Chords for A Guitar Lesson with Wayne Static & Koichi Fukuda (1999) | Static-X

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_ [E] This is Wayne.
[Em] This is Koichi.
And we're Static X.
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This band [Ab] isn't really like, the guitar isn't like the main focus of it, so [Fm] we tend to do all of our tricky things with [Ab] the sequencers and keyboards and sampling and that type of stuff.
The guitar is [Fm] more sort of laying down a foundation, and [N] there's nothing like two guitars, really thick, playing the same thing really tight, to just create this wall [Eb] of crunch.
You know, you can't [F] do it with one guitar, and that was the main [C] reason I wanted two guitars in the band, just [E] to really create that [Cm] live wall of the club.
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Right [E] now I'm using a Kai MPC [Ab]-2000, _ and that's my main thing.
I can sample with it, I can [Gb] pretty much do everything with it. _
I use Roland Groovebox 505 808 sampler, [Fm] and we also use Korg Electride stuff.
[Ab] Yeah, the Korg Electride stuff, I actually sample sounds [F] from that often.
[E] Yeah, it's a cool, nice [C] little box, about this big.
It's similar [Eb] to the Roland Groovebox, it's just a little [C] bit_
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[C] Our stuff is really, really simple.
[Gb] _ [C] Like, for instance, just the main riff on Push [G] It is just two chords.
And _ _ _ _ _ _ _ [Db] we try to keep our riffs really, really very [Ab] simple.
_ A lot of stuff is even just one [N] string. _ _ _
_ _ _ [G] _ _ [F] We try to make [Abm] some different kind of sounds.
[Ab] One of the things that I use a lot when I'm writing is doing [N] the octave thing, which I'm sure other guitar players do it,
but I actually came up with the idea on my own a long time ago, where you play the octave with two fingers, and then the string in the middle, you actually just sort [C] of mute it out with the other fingers.
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_ [C] And then he'll play [Em] the higher octave, like in the beginning of Push [Db] It. _ _ _ _ _ _ _
[C] So you've got three [G] octaves going on.
Early on, when I was writing stuff, I had this idea about, what if you, instead of one guitar [Ab] playing two or three notes of the chord, what if you split the notes up between two guitars?
[Em] And that's an idea [C] that we do on the chorus of Love Dump, [Ab] maybe other places.
Yeah, on [Fm] Tron, too.
Yeah, so on [Am] the chorus of [C] Love Dump, I'll play a note, [B] _ _ [Bb] _ [C] and [G] he'll play_
You know what?
_ Yeah, [C] yeah, yeah.
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[Bb] _ _ _ [C] Creates this really big thing. _ _
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[F] So you can really create some [C] interesting things that you could not do with one guitar in that way, [G] because you don't have enough fingers, obviously.
[Fm] _ [D] And then other than that, we try to do some_
I think a lot of our technique has to do [C] with getting your hand on the bridge in the right spot, to get the [Gm] right chunk factor.
[C] _ _ [G] That's really important to what we do as well.
Some guys, I think, maybe don't do it [C] enough.
Some guys get too [Db] much.
_ You've got to find just the [Ab] right spot to get_
[C] _ _
_ _ _ Like the beginning, I mean, main [Gb] riff of Tron, in the most of them.
Oh, yeah.
It's [C] _ _ _ _
_ not [B] _ _ _ _ _
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_ _ [Bb] totally open, _ [C] but_ [F] In between.
Actually, [C] the verse on that song is pretty cool, too. It's like_
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_ _ _ _ _ _ [C] The G string, fifth fret, and [Ab] the B string, seventh fret, A string, fourth fret, D string, fifth fret.
So, five, [C] seven, four, five.
_ [B] _ _ [Bbm] _ _ [Ab] I prefer to try to create weird sounds with the guitar, as opposed to [Gb] using pedals and stuff.
[C] Do as much as you can with [Am] harmonics and [Fm] sliding and whatever.
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[Eb] _ _ _ _ [Fm] I can't believe I'm letting you do this to me.
_ _ [C] Really, [Ab] when we're on stage, we're just jumping around a lot.
[Bb] So, what we need to do is stretch our bodies out, legs and arms and neck and back.
[N] I spend 15 minutes stretching out my whole body before we go on stage.
I don't worry about_
I can play, because our stuff is so simple to play.
It's difficult at all.
Even when I'm writing new ideas, I usually write it on my drum machine and then learn how to play it on the guitar.
Because it's just easier that way.
I don't know.
_ It seems like our music is very guitar-oriented, but in our head, the guitar is more like_
In my head, [Eb] the guitar is an afterthought.
[E] And I know it doesn't [B] turn out that way in the end, [Ab] but_
Since [D] this [E] distortion guitar sound [D] has a very dominating, strong sound,
that's why it [A] dominates the whole music.
In our head, we pay attention to all the small [Ab] hi-hats.
The hi-hat programming and the keyboards and [Em] the drum beats and all that.
[Gb] It's got to be_
[E] All these sounds have to be arranged [G] pretty well inside the music.
Because otherwise, [E] all these sounds crashing with each other, you know?
It doesn't work.
And then, like_
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