Chords for Eric Johnson Blues Cube Tone Capsule
Tempo:
113 bpm
Chords used:
D
B
E
A
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
You [Dm] know, I started playing guitar [C] and that's been my instrument of choice [Dm] and I love it
and it's great.
I guess it's like whatever [D] instrument you play, just try [F] to release yourself and let
that magic [G#] open up.
[F]
[C] To me it doesn't get much better than that simple, [Bm] straight ahead, pure tone that usually
comes from older tube [D] amps.
I think it largely [Am] because the [D] concept and the [G] circuitry was pretty [C] simple, so what you
get is a real [B] immediate, beautiful, uncomplicated sound.
[Em]
We [A] started talking about this Blues Cube concept and [F#] technology, which has kind of been evolving
over the years and I think that a lot [Bm] of the criteria and [G] the vision is [D] to capture [Bm] some
of that magic [B] that's happening in older amplifiers.
[E]
[A] [G]
You plug [D] in these tone capsules to dictate to it [A] how that [Bm] analog nature of that amp might react.
The tone capsule attaches [G] the amplifier, [Em] the body of the [G] chassis, much like a tube does,
so you kind of [G#] get your little tube fix a little bit [D#] anyways, you know.
Looks like, kind of like a tube and it just, it's very simple, [Em] you just plug it into [F#m] a
little spot in the [B] back underneath and if you look at it, it kind of looks like a tube that glows.
What we did when we analyzed Eric's amplifiers, we set up one of his main 100 watt tube heads
that he, particularly the one he used to [A] record Cliffs of Dover.
We [B] also listened to the response of [Bm] the amplifier, the [B] initial tack of the tone to the compression
of the tone [Bm] and applied that information [A] to [G] modify [D] the tone capsule [A] for the proper response
[D] and that began our [Em]
[Am] shaping.
[D] [A]
[D] [F] [G#] The initial shape of the sound really started from, I believe, [C] from the actual amplifier,
which [G] was fascinating to watch.
I thought it was a really ingenious [F] way of doing it.
We were able to work with the engineers [Am] and kind of change the picking [G#] attack and change,
have the amp kind of naturally sag and compress like a tube [B] amp and change the EQ contour
to where it had a certain [E] thickness to it.
All these aspects we were able to kind of mess [B] with.
I entered it like [E] a challenge, well what could we do, you know, with this new [B] technology,
where [Em] could we go with it and I was pleasantly surprised that we [B] were able to instill a lot
of those aspects in the amp.
The first time we [G] experienced the Blues Cube, it was just [A] out of the box, it was interesting
because the clean sound was convincing.
[B] [C#m] [F#]
[G#] [E]
[B] The Eric Johnson [C] Tone Capsule, [C] when applied to [F] the Crunch Channel, [C] gives you that element
that Eric [Am] is kind of famous [A#] for, that [Am] thick violin tone, the gain [D] response and the feel.
[Dm]
The reverb is a good sounding reverb.
It has a little bit of elements of [A#] like a hall sound or maybe [G] a room sound or something.
[A#] If it's a reverb [G] that just enhances the sound and [G#] doesn't make me aware of it, just enhances
it acoustically, then I think it's a really good thing and that's what it does.
That's the effect I would get off a nice old spring reverb from the 60s.
[E]
The reverb in the Blues [B] Cube sounds like it belongs in the chord [D] or the note that you're
[Bm] playing, it's part [Em] of the sound.
[F#] The clean tone, if you turn it up, actually had a nice dirty rhythm tone too.
[C#] And this amplifier is taking effects really [E] well.
If I run my tube driver [C#] or if I run my fuzz phase through it, [E] any particular effects,
it seems to be very flattering with effects, which I think [C#m] is important.
[C#] [E]
[C#m] [C#]
[E] It's different than [Bm] what the world knows as modeling.
[C#] It's [C#m] a technology that's kind of going [E] a little bit different [D#] way to achieve [B] a little bit better [E] result.
It's really being able to tap into that heartbeat of what really makes all these old tube amps [D] special.
[A]
[F#m] What Roland is [D] doing with the [A] Blues Cube and with the Tone Capsule is they're rethinking this thing.
The sky's the [E] limit.
[A]
[E]
[N]
and it's great.
I guess it's like whatever [D] instrument you play, just try [F] to release yourself and let
that magic [G#] open up.
[F]
[C] To me it doesn't get much better than that simple, [Bm] straight ahead, pure tone that usually
comes from older tube [D] amps.
I think it largely [Am] because the [D] concept and the [G] circuitry was pretty [C] simple, so what you
get is a real [B] immediate, beautiful, uncomplicated sound.
[Em]
We [A] started talking about this Blues Cube concept and [F#] technology, which has kind of been evolving
over the years and I think that a lot [Bm] of the criteria and [G] the vision is [D] to capture [Bm] some
of that magic [B] that's happening in older amplifiers.
[E]
[A] [G]
You plug [D] in these tone capsules to dictate to it [A] how that [Bm] analog nature of that amp might react.
The tone capsule attaches [G] the amplifier, [Em] the body of the [G] chassis, much like a tube does,
so you kind of [G#] get your little tube fix a little bit [D#] anyways, you know.
Looks like, kind of like a tube and it just, it's very simple, [Em] you just plug it into [F#m] a
little spot in the [B] back underneath and if you look at it, it kind of looks like a tube that glows.
What we did when we analyzed Eric's amplifiers, we set up one of his main 100 watt tube heads
that he, particularly the one he used to [A] record Cliffs of Dover.
We [B] also listened to the response of [Bm] the amplifier, the [B] initial tack of the tone to the compression
of the tone [Bm] and applied that information [A] to [G] modify [D] the tone capsule [A] for the proper response
[D] and that began our [Em]
[Am] shaping.
[D] [A]
[D] [F] [G#] The initial shape of the sound really started from, I believe, [C] from the actual amplifier,
which [G] was fascinating to watch.
I thought it was a really ingenious [F] way of doing it.
We were able to work with the engineers [Am] and kind of change the picking [G#] attack and change,
have the amp kind of naturally sag and compress like a tube [B] amp and change the EQ contour
to where it had a certain [E] thickness to it.
All these aspects we were able to kind of mess [B] with.
I entered it like [E] a challenge, well what could we do, you know, with this new [B] technology,
where [Em] could we go with it and I was pleasantly surprised that we [B] were able to instill a lot
of those aspects in the amp.
The first time we [G] experienced the Blues Cube, it was just [A] out of the box, it was interesting
because the clean sound was convincing.
[B] [C#m] [F#]
[G#] [E]
[B] The Eric Johnson [C] Tone Capsule, [C] when applied to [F] the Crunch Channel, [C] gives you that element
that Eric [Am] is kind of famous [A#] for, that [Am] thick violin tone, the gain [D] response and the feel.
[Dm]
The reverb is a good sounding reverb.
It has a little bit of elements of [A#] like a hall sound or maybe [G] a room sound or something.
[A#] If it's a reverb [G] that just enhances the sound and [G#] doesn't make me aware of it, just enhances
it acoustically, then I think it's a really good thing and that's what it does.
That's the effect I would get off a nice old spring reverb from the 60s.
[E]
The reverb in the Blues [B] Cube sounds like it belongs in the chord [D] or the note that you're
[Bm] playing, it's part [Em] of the sound.
[F#] The clean tone, if you turn it up, actually had a nice dirty rhythm tone too.
[C#] And this amplifier is taking effects really [E] well.
If I run my tube driver [C#] or if I run my fuzz phase through it, [E] any particular effects,
it seems to be very flattering with effects, which I think [C#m] is important.
[C#] [E]
[C#m] [C#]
[E] It's different than [Bm] what the world knows as modeling.
[C#] It's [C#m] a technology that's kind of going [E] a little bit different [D#] way to achieve [B] a little bit better [E] result.
It's really being able to tap into that heartbeat of what really makes all these old tube amps [D] special.
[A]
[F#m] What Roland is [D] doing with the [A] Blues Cube and with the Tone Capsule is they're rethinking this thing.
The sky's the [E] limit.
[A]
[E]
[N]
Key:
D
B
E
A
G
D
B
E
You [Dm] know, I started playing guitar [C] and that's been my instrument of choice [Dm] and I love it
and it's great.
I guess it's like whatever [D] instrument you play, just try [F] to release yourself and let
that magic [G#] open up.
[F] _ _
[C] _ _ _ _ _ To me it doesn't get much better than that simple, [Bm] straight ahead, pure tone that usually
comes from older tube [D] amps.
I think it largely [Am] because the [D] concept and the [G] circuitry was pretty [C] simple, so what you
get is a real [B] immediate, beautiful, _ uncomplicated sound.
[Em] _
_ We [A] started talking about this Blues Cube concept and [F#] technology, which has kind of been evolving
over the years and I think that a lot [Bm] of the criteria and [G] the vision is [D] to capture [Bm] some
of that magic [B] that's happening in older amplifiers.
[E] _
_ [A] _ _ [G] _ _ _ _
You plug [D] in these tone capsules to dictate to it [A] how that [Bm] analog nature of that amp might react.
The tone capsule attaches [G] the amplifier, [Em] the body of the [G] chassis, much like a tube does,
so you kind of [G#] get your little tube fix a little bit [D#] anyways, you know.
Looks like, kind of like a tube and it just, it's very simple, [Em] you just plug it into [F#m] a
little spot in the [B] back underneath and if you look at it, it kind of looks like a tube that glows.
_ _ _ _ What we did when we analyzed Eric's amplifiers, we set up one of his main 100 watt tube heads
that he, particularly the one he used to [A] record Cliffs of Dover.
We [B] also listened to the response of [Bm] the amplifier, the [B] initial tack of the tone to the compression
of the tone _ [Bm] and applied that information [A] to [G] modify [D] the tone capsule [A] for the proper response
[D] and that began our [Em]
[Am] shaping.
_ _ _ _ [D] _ _ [A] _
_ _ [D] _ _ [F] _ _ [G#] The initial shape of the sound really started from, I believe, [C] from the actual amplifier,
which [G] was fascinating to watch.
I thought it was a really ingenious [F] way of doing it.
We were able to work with the engineers [Am] and kind of change the picking [G#] attack and change,
have the amp kind of naturally sag and compress like a tube [B] amp and change the EQ contour
to where it had a certain [E] thickness to it.
All these aspects we were able to kind of mess [B] with.
I entered it like [E] a challenge, well what could we do, you know, with this new [B] technology,
where [Em] could we go with it and I was pleasantly surprised that we [B] were able to instill a lot
of those aspects in the amp.
The first time we [G] experienced the Blues Cube, it was just [A] out of the box, it was interesting
because the clean sound was convincing. _ _
_ _ [B] _ _ _ [C#m] _ _ [F#] _
_ _ [G#] _ _ [E] _ _ _
[B] The Eric Johnson [C] Tone Capsule, [C] when applied to [F] the Crunch Channel, [C] gives you that element
that Eric [Am] is kind of famous [A#] for, that [Am] thick violin tone, the gain [D] response and the feel.
_ [Dm] _
_ _ _ _ _ _ _ _
The reverb is a good sounding reverb.
It has a little bit of elements of [A#] like a hall sound or maybe [G] a room sound or something.
[A#] If it's a reverb [G] that just enhances the sound and [G#] doesn't make me aware of it, just enhances
it acoustically, then I think it's a really good thing and that's what it does.
That's the effect I would get off a nice old spring reverb from the 60s.
[E] _
The reverb in the Blues [B] Cube sounds like it belongs in the chord [D] or the note that you're
[Bm] playing, it's part [Em] of the sound.
[F#] The clean tone, if you turn it up, actually had a nice dirty rhythm tone too.
[C#] And this amplifier is taking effects really [E] well.
If I run my tube driver [C#] or if I run my fuzz phase through it, [E] any particular effects,
it seems to be very flattering with effects, which I think [C#m] is important.
_ _ _ _ _ [C#] _ _ [E] _
_ _ _ _ [C#m] _ _ _ [C#] _
[E] _ _ _ It's different than [Bm] what the world knows as modeling.
[C#] It's [C#m] a technology that's kind of going [E] a little bit different [D#] way to achieve [B] a little bit better [E] result.
It's really being able to tap into that heartbeat of what really makes all these old tube amps [D] special.
[A] _ _
_ [F#m] What Roland is [D] doing with the [A] Blues Cube and with the Tone Capsule is they're rethinking this thing.
The sky's the [E] limit.
_ _ _ _ [A] _ _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ [N] _ _ _
and it's great.
I guess it's like whatever [D] instrument you play, just try [F] to release yourself and let
that magic [G#] open up.
[F] _ _
[C] _ _ _ _ _ To me it doesn't get much better than that simple, [Bm] straight ahead, pure tone that usually
comes from older tube [D] amps.
I think it largely [Am] because the [D] concept and the [G] circuitry was pretty [C] simple, so what you
get is a real [B] immediate, beautiful, _ uncomplicated sound.
[Em] _
_ We [A] started talking about this Blues Cube concept and [F#] technology, which has kind of been evolving
over the years and I think that a lot [Bm] of the criteria and [G] the vision is [D] to capture [Bm] some
of that magic [B] that's happening in older amplifiers.
[E] _
_ [A] _ _ [G] _ _ _ _
You plug [D] in these tone capsules to dictate to it [A] how that [Bm] analog nature of that amp might react.
The tone capsule attaches [G] the amplifier, [Em] the body of the [G] chassis, much like a tube does,
so you kind of [G#] get your little tube fix a little bit [D#] anyways, you know.
Looks like, kind of like a tube and it just, it's very simple, [Em] you just plug it into [F#m] a
little spot in the [B] back underneath and if you look at it, it kind of looks like a tube that glows.
_ _ _ _ What we did when we analyzed Eric's amplifiers, we set up one of his main 100 watt tube heads
that he, particularly the one he used to [A] record Cliffs of Dover.
We [B] also listened to the response of [Bm] the amplifier, the [B] initial tack of the tone to the compression
of the tone _ [Bm] and applied that information [A] to [G] modify [D] the tone capsule [A] for the proper response
[D] and that began our [Em]
[Am] shaping.
_ _ _ _ [D] _ _ [A] _
_ _ [D] _ _ [F] _ _ [G#] The initial shape of the sound really started from, I believe, [C] from the actual amplifier,
which [G] was fascinating to watch.
I thought it was a really ingenious [F] way of doing it.
We were able to work with the engineers [Am] and kind of change the picking [G#] attack and change,
have the amp kind of naturally sag and compress like a tube [B] amp and change the EQ contour
to where it had a certain [E] thickness to it.
All these aspects we were able to kind of mess [B] with.
I entered it like [E] a challenge, well what could we do, you know, with this new [B] technology,
where [Em] could we go with it and I was pleasantly surprised that we [B] were able to instill a lot
of those aspects in the amp.
The first time we [G] experienced the Blues Cube, it was just [A] out of the box, it was interesting
because the clean sound was convincing. _ _
_ _ [B] _ _ _ [C#m] _ _ [F#] _
_ _ [G#] _ _ [E] _ _ _
[B] The Eric Johnson [C] Tone Capsule, [C] when applied to [F] the Crunch Channel, [C] gives you that element
that Eric [Am] is kind of famous [A#] for, that [Am] thick violin tone, the gain [D] response and the feel.
_ [Dm] _
_ _ _ _ _ _ _ _
The reverb is a good sounding reverb.
It has a little bit of elements of [A#] like a hall sound or maybe [G] a room sound or something.
[A#] If it's a reverb [G] that just enhances the sound and [G#] doesn't make me aware of it, just enhances
it acoustically, then I think it's a really good thing and that's what it does.
That's the effect I would get off a nice old spring reverb from the 60s.
[E] _
The reverb in the Blues [B] Cube sounds like it belongs in the chord [D] or the note that you're
[Bm] playing, it's part [Em] of the sound.
[F#] The clean tone, if you turn it up, actually had a nice dirty rhythm tone too.
[C#] And this amplifier is taking effects really [E] well.
If I run my tube driver [C#] or if I run my fuzz phase through it, [E] any particular effects,
it seems to be very flattering with effects, which I think [C#m] is important.
_ _ _ _ _ [C#] _ _ [E] _
_ _ _ _ [C#m] _ _ _ [C#] _
[E] _ _ _ It's different than [Bm] what the world knows as modeling.
[C#] It's [C#m] a technology that's kind of going [E] a little bit different [D#] way to achieve [B] a little bit better [E] result.
It's really being able to tap into that heartbeat of what really makes all these old tube amps [D] special.
[A] _ _
_ [F#m] What Roland is [D] doing with the [A] Blues Cube and with the Tone Capsule is they're rethinking this thing.
The sky's the [E] limit.
_ _ _ _ [A] _ _ _ _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ [N] _ _ _