Chords for Groundation ● The Next Generation ● Prairie Sun Studios with Jim Fox
Tempo:
111.85 bpm
Chords used:
Cm
Gm
Ab
Abm
Fm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Gm]
[Dm]
[Gm] [Cm] [Gm]
[Cm] [Gm] Prairie Sun Studios, Sonoma County, [Cm] California.
[Gm] Beautiful place, surrounded by these oak trees like the cover of a [Cm] young tree.
It's a really special [Gm] spot to be to capture a creative moment.
[Cm] This place [Gm] has a sound.
And from Hebron Gate until now, it's a part of the [Cm] Groundation story.
[Gm] With the analog tape machines, the Neve console, the microphones.
[Dm] You could have been in [A] a studio in 1972 [Cm] and this is the equipment you would have [Gm] had.
Harrison really wanted to try and capture [Cm] that style [Gm] of work.
[Cm] [Gm]
[Cm] [Gm]
[Cm] [Gm] In the reggae world, Jim Foxx is a [Cm] legend.
[Gm] Culture, Easer Vibration, Gregory Isaacs, Don [Cm] Carlos, all these [Gm] albums.
For years and years and years, you see the name [C] Jim Foxx, Lion [Gm] and Foxx Studios, Washington, D.C.
This is Jim [Cm] Foxx.
And, whoa, [G] Jim Foxx, how do you do it?
Jim Foxx, it's no secret.
[A] It's just a 2-inch analog 24-track.
That's it.
Sound done.
He has a very calm energy.
You can see he knows everything about what he's doing.
Great ears.
Even just the playbacks, [Gbm] when we're listening back to our tracks, [A] they already sound amazing.
He just made it easy.
It was very exciting in the [Gbm] studio to come into the control booth and hear a sound
[A] that almost sounded ready for the record already.
It sounded great.
Even when we were [Gbm] doing rough takes.
Yeah, the approach I take is I'm pretty [A] direct.
I use it like if there's an instrument playing, especially an acoustic [Gbm]
guitar.
I have to get down on my [A] knees and kind of listen to see if [E] there's a [Gbm] spot where the sound really sounds pure.
[A] And that's where I want to put the microphone.
[Bb] Pick the right microphone, put it in the right spot, and I'm done.
This is the way.
And from Hebron Gate, that's been the sound.
And immediately, the sound jumped quality.
[Ab] [Ebm]
[B] [Abm] [Ebm]
[Abm] The analog definitely is [B] a warmer sound.
[Abm] I don't know how to fully describe it.
It's the kind of thing you can't really put words to.
Why do we want to [Ab] record analog instead of digital?
It's a bit of a mystery because digital is actually better.
It's more [B] perfect.
[Ebm] Analog, [Abm] there's so many different [Db] paths of the electrons in the console.
[Abm] And then the way it hits the [Eb] tape, then it comes back, then plays back off the tape.
[Abm] And you can't measure [Gb] the difference, but something [Abm]
extra is there.
So [Bb] we'd like to capture that extra.
And I don't think anybody knows what it is, but [Fm] you can feel it.
[Cm] [Ab]
[C] [Cm]
[F] [C]
[Fm] It's extremely difficult to record in analog.
It's time-consuming, even just rewinding and playing of the tape.
Not just, [Ab] click the spot, ready.
We only have [Fm] 24 tracks.
And we have many cases [Ab] more than that input.
So we have [C] to figure out where we need to [Fm] combine things.
[Bb]
So that when it comes time to mix, we want to have [Ab] separate elements [C] as much as we can [Fm] get.
I have 24 tracks of analog tape.
And your [Abm] solo is this track 7.
[Cm] All the other tracks, 23 [Fm] tracks are instruments.
[F] So if you're [C] taking the solo again, [Ab] just know, as you're taking a try, you're erasing the previous one.
[F] And if you stop and say, [Fm] oh, [F] yeah, that was a good version.
[Cm] Okay, well, it's [Ab] gone.
It's gone.
So you got to play it.
There, you can't [C] keep going back and [Cm] changing because you think you might have a better idea.
What's there is [Abm] there.
And that's the [Ab] raw feeling of the music.
And it's very cool.
It [Cm] made every take feel more real.
[Ab] And it puts the pressure on in a really [Eb] good way.
It forces the musicians to really play together and to work together and really focus [Fm] to make the take happen.
My feeling is it's a lot of fun.
It's to be a witness to the birth of this creation.
And it's a lot of fun.
[F] Very nice.
[Bb] Next song.
[Dm]
[Dm]
[Gm] [Cm] [Gm]
[Cm] [Gm] Prairie Sun Studios, Sonoma County, [Cm] California.
[Gm] Beautiful place, surrounded by these oak trees like the cover of a [Cm] young tree.
It's a really special [Gm] spot to be to capture a creative moment.
[Cm] This place [Gm] has a sound.
And from Hebron Gate until now, it's a part of the [Cm] Groundation story.
[Gm] With the analog tape machines, the Neve console, the microphones.
[Dm] You could have been in [A] a studio in 1972 [Cm] and this is the equipment you would have [Gm] had.
Harrison really wanted to try and capture [Cm] that style [Gm] of work.
[Cm] [Gm]
[Cm] [Gm]
[Cm] [Gm] In the reggae world, Jim Foxx is a [Cm] legend.
[Gm] Culture, Easer Vibration, Gregory Isaacs, Don [Cm] Carlos, all these [Gm] albums.
For years and years and years, you see the name [C] Jim Foxx, Lion [Gm] and Foxx Studios, Washington, D.C.
This is Jim [Cm] Foxx.
And, whoa, [G] Jim Foxx, how do you do it?
Jim Foxx, it's no secret.
[A] It's just a 2-inch analog 24-track.
That's it.
Sound done.
He has a very calm energy.
You can see he knows everything about what he's doing.
Great ears.
Even just the playbacks, [Gbm] when we're listening back to our tracks, [A] they already sound amazing.
He just made it easy.
It was very exciting in the [Gbm] studio to come into the control booth and hear a sound
[A] that almost sounded ready for the record already.
It sounded great.
Even when we were [Gbm] doing rough takes.
Yeah, the approach I take is I'm pretty [A] direct.
I use it like if there's an instrument playing, especially an acoustic [Gbm]
guitar.
I have to get down on my [A] knees and kind of listen to see if [E] there's a [Gbm] spot where the sound really sounds pure.
[A] And that's where I want to put the microphone.
[Bb] Pick the right microphone, put it in the right spot, and I'm done.
This is the way.
And from Hebron Gate, that's been the sound.
And immediately, the sound jumped quality.
[Ab] [Ebm]
[B] [Abm] [Ebm]
[Abm] The analog definitely is [B] a warmer sound.
[Abm] I don't know how to fully describe it.
It's the kind of thing you can't really put words to.
Why do we want to [Ab] record analog instead of digital?
It's a bit of a mystery because digital is actually better.
It's more [B] perfect.
[Ebm] Analog, [Abm] there's so many different [Db] paths of the electrons in the console.
[Abm] And then the way it hits the [Eb] tape, then it comes back, then plays back off the tape.
[Abm] And you can't measure [Gb] the difference, but something [Abm]
extra is there.
So [Bb] we'd like to capture that extra.
And I don't think anybody knows what it is, but [Fm] you can feel it.
[Cm] [Ab]
[C] [Cm]
[F] [C]
[Fm] It's extremely difficult to record in analog.
It's time-consuming, even just rewinding and playing of the tape.
Not just, [Ab] click the spot, ready.
We only have [Fm] 24 tracks.
And we have many cases [Ab] more than that input.
So we have [C] to figure out where we need to [Fm] combine things.
[Bb]
So that when it comes time to mix, we want to have [Ab] separate elements [C] as much as we can [Fm] get.
I have 24 tracks of analog tape.
And your [Abm] solo is this track 7.
[Cm] All the other tracks, 23 [Fm] tracks are instruments.
[F] So if you're [C] taking the solo again, [Ab] just know, as you're taking a try, you're erasing the previous one.
[F] And if you stop and say, [Fm] oh, [F] yeah, that was a good version.
[Cm] Okay, well, it's [Ab] gone.
It's gone.
So you got to play it.
There, you can't [C] keep going back and [Cm] changing because you think you might have a better idea.
What's there is [Abm] there.
And that's the [Ab] raw feeling of the music.
And it's very cool.
It [Cm] made every take feel more real.
[Ab] And it puts the pressure on in a really [Eb] good way.
It forces the musicians to really play together and to work together and really focus [Fm] to make the take happen.
My feeling is it's a lot of fun.
It's to be a witness to the birth of this creation.
And it's a lot of fun.
[F] Very nice.
[Bb] Next song.
[Dm]
Key:
Cm
Gm
Ab
Abm
Fm
Cm
Gm
Ab
_ _ _ _ _ _ _ _
_ _ _ [Gm] _ _ _ _ _
_ _ _ _ _ _ [Dm] _ _
[Gm] _ _ [Cm] _ _ _ _ [Gm] _ _
_ _ _ [Cm] _ _ [Gm] Prairie Sun Studios, Sonoma County, [Cm] California.
[Gm] Beautiful place, surrounded by these oak trees like the cover of a [Cm] young tree.
It's a really special [Gm] spot to be to capture a creative moment.
[Cm] This place [Gm] _ has a sound.
_ And from Hebron Gate until now, it's a part of the [Cm] Groundation story.
[Gm] With the analog tape machines, the Neve console, the microphones.
[Dm] You could have been in [A] a studio in 1972 [Cm] and this is the equipment you would have [Gm] had.
Harrison really wanted to try and capture [Cm] that style [Gm] of work. _ _ _
[Cm] _ _ _ [Gm] _ _ _ _ _
[Cm] _ _ _ [Gm] _ _ _ _ _
[Cm] _ _ _ [Gm] In the reggae world, Jim Foxx is a [Cm] legend.
_ [Gm] Culture, Easer Vibration, Gregory Isaacs, Don [Cm] Carlos, all these [Gm] albums.
For years and years and years, you see the name [C] Jim Foxx, Lion [Gm] and Foxx Studios, Washington, D.C.
This is Jim [Cm] Foxx.
And, whoa, [G] Jim Foxx, how do you do it?
Jim Foxx, it's no secret.
[A] It's just a 2-inch analog 24-track.
That's it.
Sound done.
He has a very calm energy.
You can see he knows everything about what he's doing.
Great ears.
Even just the playbacks, [Gbm] when we're listening back to our tracks, [A] they already sound amazing.
He just made it easy.
It was very exciting in the [Gbm] studio to come into the control booth and hear a sound
[A] that almost sounded ready for the record already.
It sounded great.
Even when we were [Gbm] doing rough takes.
Yeah, the approach I take is I'm pretty [A] direct.
I use it like if there's an instrument playing, especially an acoustic [Gbm]
guitar.
I _ have to get down on my [A] knees and kind of listen to see if [E] there's a [Gbm] spot where the sound really sounds pure.
[A] And that's where I want to put the microphone.
[Bb] Pick the right microphone, put it in the right spot, and I'm done.
This is the way.
And from Hebron Gate, that's been the sound.
And immediately, the sound jumped quality.
_ _ [Ab] _ _ _ _ [Ebm] _ _
[B] _ _ _ [Abm] _ _ _ [Ebm] _ _
_ _ [Abm] The analog definitely is [B] a warmer sound.
_ [Abm] I don't know how to fully describe it.
It's the kind of thing you can't really put words to.
Why do we want to [Ab] record analog instead of digital?
It's a bit of a mystery because digital is actually better.
It's more [B] perfect.
_ [Ebm] _ _ Analog, [Abm] there's so many different [Db] paths of the electrons in the console.
[Abm] And then the way it hits the [Eb] tape, then it comes back, then plays back off the tape.
[Abm] And you can't measure [Gb] the difference, but something _ [Abm]
extra is there.
So [Bb] we'd like to capture that extra.
And I don't think anybody knows what it is, but [Fm] you can feel it. _ _ _
_ _ _ [Cm] _ _ [Ab] _ _ _
_ _ _ [C] _ _ _ [Cm] _ _
_ [F] _ _ [C] _ _ _ _ _
_ _ [Fm] It's extremely difficult to record in analog.
It's time-consuming, even just rewinding and playing of the tape.
Not just, [Ab] click the spot, ready.
We only have [Fm] 24 tracks.
And we have many cases [Ab] more than that input.
So we have [C] to figure out where we need to [Fm] combine things.
_ _ [Bb]
So that when it comes time to mix, we want to have [Ab] separate elements [C] as much as we can [Fm] get.
I have 24 tracks of analog tape.
And your [Abm] solo is this track 7. _
[Cm] All the other tracks, 23 [Fm] tracks are instruments.
[F] So if you're [C] taking the solo again, [Ab] just know, as you're taking a try, you're erasing the previous one.
[F] And if you stop and say, [Fm] oh, [F] yeah, that was a good version.
[Cm] Okay, well, it's [Ab] gone.
It's gone.
So you got to play it.
There, you can't [C] keep going back and [Cm] changing because you think you might have a better idea.
What's there is [Abm] there.
And that's the [Ab] raw feeling of the music.
And it's very cool.
It [Cm] made every take _ feel more real. _
[Ab] And it puts the pressure on in a really [Eb] good way.
It forces the musicians to really play together and to work together and really focus [Fm] to make the take happen.
My feeling is it's a lot of fun.
It's to be a witness to the birth of this creation.
And _ it's a lot of fun. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [F] Very nice.
_ [Bb] Next song. _ _ _ _ _
_ [Dm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Gm] _ _ _ _ _
_ _ _ _ _ _ [Dm] _ _
[Gm] _ _ [Cm] _ _ _ _ [Gm] _ _
_ _ _ [Cm] _ _ [Gm] Prairie Sun Studios, Sonoma County, [Cm] California.
[Gm] Beautiful place, surrounded by these oak trees like the cover of a [Cm] young tree.
It's a really special [Gm] spot to be to capture a creative moment.
[Cm] This place [Gm] _ has a sound.
_ And from Hebron Gate until now, it's a part of the [Cm] Groundation story.
[Gm] With the analog tape machines, the Neve console, the microphones.
[Dm] You could have been in [A] a studio in 1972 [Cm] and this is the equipment you would have [Gm] had.
Harrison really wanted to try and capture [Cm] that style [Gm] of work. _ _ _
[Cm] _ _ _ [Gm] _ _ _ _ _
[Cm] _ _ _ [Gm] _ _ _ _ _
[Cm] _ _ _ [Gm] In the reggae world, Jim Foxx is a [Cm] legend.
_ [Gm] Culture, Easer Vibration, Gregory Isaacs, Don [Cm] Carlos, all these [Gm] albums.
For years and years and years, you see the name [C] Jim Foxx, Lion [Gm] and Foxx Studios, Washington, D.C.
This is Jim [Cm] Foxx.
And, whoa, [G] Jim Foxx, how do you do it?
Jim Foxx, it's no secret.
[A] It's just a 2-inch analog 24-track.
That's it.
Sound done.
He has a very calm energy.
You can see he knows everything about what he's doing.
Great ears.
Even just the playbacks, [Gbm] when we're listening back to our tracks, [A] they already sound amazing.
He just made it easy.
It was very exciting in the [Gbm] studio to come into the control booth and hear a sound
[A] that almost sounded ready for the record already.
It sounded great.
Even when we were [Gbm] doing rough takes.
Yeah, the approach I take is I'm pretty [A] direct.
I use it like if there's an instrument playing, especially an acoustic [Gbm]
guitar.
I _ have to get down on my [A] knees and kind of listen to see if [E] there's a [Gbm] spot where the sound really sounds pure.
[A] And that's where I want to put the microphone.
[Bb] Pick the right microphone, put it in the right spot, and I'm done.
This is the way.
And from Hebron Gate, that's been the sound.
And immediately, the sound jumped quality.
_ _ [Ab] _ _ _ _ [Ebm] _ _
[B] _ _ _ [Abm] _ _ _ [Ebm] _ _
_ _ [Abm] The analog definitely is [B] a warmer sound.
_ [Abm] I don't know how to fully describe it.
It's the kind of thing you can't really put words to.
Why do we want to [Ab] record analog instead of digital?
It's a bit of a mystery because digital is actually better.
It's more [B] perfect.
_ [Ebm] _ _ Analog, [Abm] there's so many different [Db] paths of the electrons in the console.
[Abm] And then the way it hits the [Eb] tape, then it comes back, then plays back off the tape.
[Abm] And you can't measure [Gb] the difference, but something _ [Abm]
extra is there.
So [Bb] we'd like to capture that extra.
And I don't think anybody knows what it is, but [Fm] you can feel it. _ _ _
_ _ _ [Cm] _ _ [Ab] _ _ _
_ _ _ [C] _ _ _ [Cm] _ _
_ [F] _ _ [C] _ _ _ _ _
_ _ [Fm] It's extremely difficult to record in analog.
It's time-consuming, even just rewinding and playing of the tape.
Not just, [Ab] click the spot, ready.
We only have [Fm] 24 tracks.
And we have many cases [Ab] more than that input.
So we have [C] to figure out where we need to [Fm] combine things.
_ _ [Bb]
So that when it comes time to mix, we want to have [Ab] separate elements [C] as much as we can [Fm] get.
I have 24 tracks of analog tape.
And your [Abm] solo is this track 7. _
[Cm] All the other tracks, 23 [Fm] tracks are instruments.
[F] So if you're [C] taking the solo again, [Ab] just know, as you're taking a try, you're erasing the previous one.
[F] And if you stop and say, [Fm] oh, [F] yeah, that was a good version.
[Cm] Okay, well, it's [Ab] gone.
It's gone.
So you got to play it.
There, you can't [C] keep going back and [Cm] changing because you think you might have a better idea.
What's there is [Abm] there.
And that's the [Ab] raw feeling of the music.
And it's very cool.
It [Cm] made every take _ feel more real. _
[Ab] And it puts the pressure on in a really [Eb] good way.
It forces the musicians to really play together and to work together and really focus [Fm] to make the take happen.
My feeling is it's a lot of fun.
It's to be a witness to the birth of this creation.
And _ it's a lot of fun. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [F] Very nice.
_ [Bb] Next song. _ _ _ _ _
_ [Dm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _