BolivarBaLues

Sounds like standard tuning to me, with no capo. I don't know about how he fingers the chords live, but it's A6 to G6/A, like this: E |------------ B |-7--7--5--5- G |-6--6--4--4- D |-7--7--5--5- A |-0--0--0--0- E |------------ Hope this helps.

Indeed it does. Thanks!

I just had a Seymour Duncan Phat Cat single-coil pickup installed in the bridge position of my Les Paul. I left the neck pickup in, a Seymour Duncan '59 humbucker. I'm wondering if the tech wired the pickups up wrong. When I have both pickups selected, turning the volume of either pickup completely down also turns the volume of the other pickup all the way down. In other words, no sound comes out with either one of the volume knobs on zero. This wasn't the way it worked previously when I had two humbuckers in it. I should be able to completely dial out one of the pickups when both are selected

I live in Fountain City. Born and raised in North Knox, been here all my life, give or take a few years here and there. Where's Livingston?

I've never tried anything like that, but I have a modded pedal that I like quite a bit. Seems like an interesting thing to get into, but I'm mechanically challenged. You might look for a book by a guy called Craig Anderton; he used to write a column in Guitar Player magazine about wiring your own stomp boxes. I've not really read the mag since the 80s, so I don't know if he still writes for them, but at the time he was sort of the guru of this sort of stuff.

Joni transcends gender. She is just Art. With a capital "a." I don't think many other contemporary artists (i.e. not jazz) would have received Mingus' respect.

On a warm summers evenin on a train bound for nowhere, I met up with the gambler; we were both too tired to sleep. So we took turns a starin out the window at the darkness til boredom overtook us, and he began to speak. He said, son, Ive made a life out of readin peoples faces, And knowin what their cards were by the way they held their eyes. So if you dont mind my sayin, I can see youre out of aces. For a taste of your whiskey Ill give you some advice. So I handed him my bottle and he drank down my last swallow. Then he bummed a cigarette and asked me for a light. And the night got deathl

For sure. Her run from Ladies Of The Canyon through Mingus is matched by only a very few, and they're all on that list. And she's a hell of a guitar player who used some very unique tunings. I'd venture that whomever it was that criticized her work hasn't properly listened.

I just replaced the bridge pickup in my Les Paul, so I suppose I'll try to sell the old pickup. It's a Seymour Duncan Alnico II Pro humbucker with exposed black bobbins, just like the picture. I bought the pickup around 91 or 92 and gigged with the guitar for about 4 years before retiring it because of neck issues, so it's really just sat in my closet since 1996 or so. I just got the neck refurbed and installed a Phat Cat P-90, so if anyone's interested, make me an offer. It's in perfect working condition.

Robert Keely does some really cool pedal mods; send in your pedal for a mod, or buy a new one already modded. I don't own any of his products (yet), but a bandmate has a few and they sound teriffic. Check out Humbucker Music, just south of Chattanooga in northern Georgia. They have great service, really fast shipping and great prices. No sales tax unless you're in Georgia. I ordered my Boss TU-2 over the phone and it arrived the next day. I caught it on sale for around $85, but I notice they're back up to $99 right now. But they carry some Keely stuff, as well as the aforementioned Fulltone

I love the Super-90s! Another musician friend of mine swears by them, too, and he has them in a Tele and a Paul. They do have a touch of the Tele twang, but that classic Tele tone is not readily identifiable. They're bright, but not brittle, have loads of definition. The individual notes of a chord are recognizable even with loads of overdrive. The dynamic range of these things is terrific. You can back off the volume half-way or so and get some cleaner tones and gradually introduce more attack and bite by increasing the volume. I suppose the sound is somewhere between classic Tele and a P-90,

Hey Giant Steps, love the handle. I'm a big Coltrane freak. Fender Tele with Harmonic Design Super-90 in the bridge and Harmonic Design Vintage Plus in the neck position. Epiphone Sheraton II with Jason Lollar Imperial Humbuckers. 1975 Gibson Les Paul Deluxe with Seymour Duncan Phat Cat in the bridge and Seymour Duncan '59 in the neck. Peavey Classic 30 tube amp cheap powered pedal board with a Boss TU-2 tuner, modified Ibanez Tube Screamer TS9DX, Boss GE-7 EQ (used for volume boost when I solo), and a cheap Bespeco volume pedal that I never use. I'm not big into effects; I've alw

Sure, my original post was a bit hyperbolic. But everytime I discover the origins of yet another Zep ripoff, it pisses me off that they screwed so many musicians out of their deserved royalties and that I spent so much time listening to these guys when I was younger. It also makes me appreciate the moments even more when they were totally original and awesome, like the poppier stuff on Houses of The Holy, side two of Physical Graffiti and Presence. And for specifics, well here's some of the most specific examples of theivery (cases where the original composer was not credited): http://www.wa

No, a friend that plays in a local group.

Led Zepplin? What in the hell did they ever write? They stole everything they ever did and didn't even bother to credit the original songwriter. I grew up loving Zepplin, but I've only recently come to terms with the fact that they're worst than second-rate hacks. Thieves. Plain and simple.

I think that there's a F# bass note on top of the D, second measure of the verse progression. The Soft Boys are one of my alltime favs, along with The Band and Wilco. If this song is your only exposure to this great band, you should check out their classic Underwater Moonlight.

No shit. I'd like to see Bono write a song as good as "The Bewlay Brothers." Lou Reed is conspiciously missing. I know he hasn't written any real great songs lately, but his VU and 70s solo work should be enough for lifetime inclusion in all top-ten lists.

I don't know about using effects on an acoustic, unless you're in the studio, and in that case compression and reverb is about all you need. I guess it's personal taste, but to me the sound of a good acoustic doesn't need effects. Owning a Boss TU-2 tuner pedal should be required of any guitar player that plays live, regardless of the size of the venue. There's nothing more annoying and unprofessional to me than hearing someone tune onstage (the TU-2 will mute your signal when you stomp on it).

I've got a Peavey Classic 30, which is actually a 1 x 12 (the Classic 50 is a 2 x 12 50 watt model) and I absolutely love it. Great for almost all applications. I've used it in groups with two other guitarists using tube amps with slightly more wattage and never had a problem being loud enough. I was really skeptical about buying anything Peavey because my previous exposure to their products was during that horrible solid-state infested decade called the 80s, but I did a lot of research on small-ish, affordable tube amps. It comes with a Peavey "Blue Marvel" speaker, which I at first thought w

I'm not real sure about the guitar sound on that specific demo, but I noticed on the IATBYH film that the weird, super-compressed guitar sound is an overdriven acoustic.

I have a Sheraton II. $425 seems an okay price if it's in good shape. I bought mine used for somewhere around that price, and there was not a scratch to be found on the guitar and the case was in excellent shape. I love mine. It plays great, the action is great, stays in tune. Couldn't ask for more. However, the stock pickups are shit. I never played the guitar live until I put some Jason Lollar Imperial Humbuckers in it about 6 months ago; I've hardly been able to play anything else since. It just sounds fabulous; the Lollars really capture the essence of vintage PAFs and the semi-hollowbo

The key to good tone = good tube amp + good pickups. I have handwound pickups in a most of my guitars: some are Jason Lollars, the others Harmonic Design. They can be pricey (my Lollar's were $150 ea.), but well worth it. Fender makes several affordable tube amps - Blues Junior, Hot Rod Deluxe, Hot Rod Deville, etc. I happen to like the Fender Deluxe Reverb - only 22 watts, but those are tube watts. I wouldn't even consider a solid-state amp, and don't get me started on my rant about modeling technology. Most modern tube amps have a pre-gain type knob that will overdrive the preamp stage wh