Chords for How to Stack Fuzz and Drive Pedals with J Mascis of Dinosaur Jr. | Reverb Pedal Tricks
Tempo:
107 bpm
Chords used:
E
G
A
D
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E]
[G] [D] [E]
[Bm] [C#]
[E]
Hey, this is Jay Maskus and I'm at Reverb in Chicago.
[F#] And I've got some pedals here and I was just going to talk about my concept.
When I'm using pedals, I don't really understand boost and stuff like that.
It's usually like an amp is on and if you boost it, it's not like it's going to get louder.
It might get a little more distorted.
But I always wanted more dynamics.
So my concept was more like the big muff.
Also, people think sometimes it makes the volume lower.
But then if you have the big muff, it's going to be the loudest thing and you want it to be louder when you turn on the big muff.
Then you have to turn down everything else.
Instead of trying to push the amp.
I have the amp always just really [Em] clean.
Like my normal [A] amp sound, it's kind of depressing and a clean sound.
But I [G] always have some pedal going into it.
So I use an overdrive.
I have this double rock here to kind of turn down the signal but have a little bit of still grit to it.
[D] [G] [F#] So that's what I'd consider my clean sound.
I always have [G] some overdrive on when it's clean.
[A] But [Em] [G#] the volume [G] of it is really low [C] so that [G] it's not [F#] much louder than [E] just a clean amp.
[A] When you turn on the [G#] big muff, then it's louder.
[E]
[G] [D]
[G]
[E] People struggle with that, I guess.
They don't understand that the amp is only going to go so loud once you have the big muff on.
You can't really boost it or anything.
So you have to use some [F#] kind of restraint to turn everything else down.
[E] If you want some [A] dynamics to your sound.
[F#] And yeah, a lot of people don't want to do that.
Because of course it sounds better with the amp up and everything else up.
But if you want some [F#] dynamics to your music, you've got [D] to turn things down more than turn them up.
But I also like to use other fuzzes with the big muff to get different tones.
I'll use a tone bender kind of thing [G] with the big muff or a super fuzz or a range master.
They all [A] sound good before the big muff for different tones.
[Em] [E]
[B] [E]
[A] [G] It's like a tone [F] bender big muff combo.
And then the range [E] master is another kind of sound.
[F] Usually I'll just use those for leads.
Any rhythm sound I have would just be a big muff.
I also have a pedal that will turn the big muff down for rhythm to kind of match the level of just the clean overdrive.
And then have it all the way up for leads.
But yeah, I'll probably never use more fuzzes for rhythm.
Just for different [G] lead textures.
[E]
[B] [D]
[E] [B]
[E] [G]
[E]
[A] [G] [Am]
[Em] [E] And then I'll also use some of a flanger usually, an electric mistress and a delay for some things.
I have also a tremolo.
[B] [C]
[A] [Am]
[G]
[E] [A] [G]
[Em] [D] Now I have a song on the new album that has a 12 string.
And I wanted to bring, I have a Vox Phantom 12 string and I like the way it looks.
But it didn't really stay in tune too well.
So I couldn't use that.
But I brought out this Rickenbacker I have.
[A#] And that wasn't really working with all my stacks.
It was hollow body and the pickup seemed too loud and it was just feeding back all the time.
My friend is a guitar tech sometimes.
He's friends with REM's equipment manager.
He keeps all their stuff.
They let me use one of Peter Buck's guitars for a few shows.
And that really seemed to work.
So the guy was there for like three days and then I saw on [Gm] Reverb someone had the exact same guitar in Baton Rouge.
And we were going to be in New Orleans.
And I got it for a good deal so I didn't even miss a show.
I used the Peter Buck one for three days.
And [G#] then the next day I got the guy delivered me the guitar to New Orleans.
And I use that now and that really works.
Reverb helped me out.
[E] [C] [G] [A] [D]
[G] [D] [E]
[Bm] [C#]
[E]
Hey, this is Jay Maskus and I'm at Reverb in Chicago.
[F#] And I've got some pedals here and I was just going to talk about my concept.
When I'm using pedals, I don't really understand boost and stuff like that.
It's usually like an amp is on and if you boost it, it's not like it's going to get louder.
It might get a little more distorted.
But I always wanted more dynamics.
So my concept was more like the big muff.
Also, people think sometimes it makes the volume lower.
But then if you have the big muff, it's going to be the loudest thing and you want it to be louder when you turn on the big muff.
Then you have to turn down everything else.
Instead of trying to push the amp.
I have the amp always just really [Em] clean.
Like my normal [A] amp sound, it's kind of depressing and a clean sound.
But I [G] always have some pedal going into it.
So I use an overdrive.
I have this double rock here to kind of turn down the signal but have a little bit of still grit to it.
[D] [G] [F#] So that's what I'd consider my clean sound.
I always have [G] some overdrive on when it's clean.
[A] But [Em] [G#] the volume [G] of it is really low [C] so that [G] it's not [F#] much louder than [E] just a clean amp.
[A] When you turn on the [G#] big muff, then it's louder.
[E]
[G] [D]
[G]
[E] People struggle with that, I guess.
They don't understand that the amp is only going to go so loud once you have the big muff on.
You can't really boost it or anything.
So you have to use some [F#] kind of restraint to turn everything else down.
[E] If you want some [A] dynamics to your sound.
[F#] And yeah, a lot of people don't want to do that.
Because of course it sounds better with the amp up and everything else up.
But if you want some [F#] dynamics to your music, you've got [D] to turn things down more than turn them up.
But I also like to use other fuzzes with the big muff to get different tones.
I'll use a tone bender kind of thing [G] with the big muff or a super fuzz or a range master.
They all [A] sound good before the big muff for different tones.
[Em] [E]
[B] [E]
[A] [G] It's like a tone [F] bender big muff combo.
And then the range [E] master is another kind of sound.
[F] Usually I'll just use those for leads.
Any rhythm sound I have would just be a big muff.
I also have a pedal that will turn the big muff down for rhythm to kind of match the level of just the clean overdrive.
And then have it all the way up for leads.
But yeah, I'll probably never use more fuzzes for rhythm.
Just for different [G] lead textures.
[E]
[B] [D]
[E] [B]
[E] [G]
[E]
[A] [G] [Am]
[Em] [E] And then I'll also use some of a flanger usually, an electric mistress and a delay for some things.
I have also a tremolo.
[B] [C]
[A] [Am]
[G]
[E] [A] [G]
[Em] [D] Now I have a song on the new album that has a 12 string.
And I wanted to bring, I have a Vox Phantom 12 string and I like the way it looks.
But it didn't really stay in tune too well.
So I couldn't use that.
But I brought out this Rickenbacker I have.
[A#] And that wasn't really working with all my stacks.
It was hollow body and the pickup seemed too loud and it was just feeding back all the time.
My friend is a guitar tech sometimes.
He's friends with REM's equipment manager.
He keeps all their stuff.
They let me use one of Peter Buck's guitars for a few shows.
And that really seemed to work.
So the guy was there for like three days and then I saw on [Gm] Reverb someone had the exact same guitar in Baton Rouge.
And we were going to be in New Orleans.
And I got it for a good deal so I didn't even miss a show.
I used the Peter Buck one for three days.
And [G#] then the next day I got the guy delivered me the guitar to New Orleans.
And I use that now and that really works.
Reverb helped me out.
[E] [C] [G] [A] [D]
Key:
E
G
A
D
F#
E
G
A
_ _ _ [E] _ _ _ _ _
_ [G] _ _ [D] _ _ _ _ [E] _
_ _ _ [Bm] _ _ [C#] _ _ _
_ _ _ _ [E] _ _ _ _
_ _ _ Hey, this is Jay Maskus and I'm at Reverb in Chicago.
_ [F#] And I've got some pedals here and I was just going to talk about my concept.
When I'm using pedals, I don't really understand boost and stuff like that.
It's usually like an amp is on and if you boost it, it's not like it's going to get louder.
It might get a little more distorted. _
But I always wanted more dynamics.
So my concept was more like the big muff.
Also, people think sometimes it makes the volume lower.
But then if you have the big muff, it's going to be the loudest thing and you want it to be louder when you turn on the big muff.
Then you have to turn down everything else.
_ Instead of trying to push the amp.
I have the amp always just really [Em] clean. _ _
Like my normal [A] amp sound, it's kind of depressing and a clean sound.
But I [G] always have some pedal going into it.
So I use an overdrive.
I have this double rock here to kind of turn down the signal but have a little bit of still grit to it.
_ _ [D] _ _ _ [G] _ [F#] So that's what I'd consider my clean sound.
I always have [G] some overdrive on when it's clean.
[A] But _ [Em] _ [G#] the volume [G] of it is really low [C] so that _ _ [G] it's not _ [F#] much louder than [E] just a clean amp.
[A] _ When you turn on the [G#] big muff, then it's louder.
_ _ [E] _
_ _ _ [G] _ _ [D] _ _ _
_ _ _ [G] _ _ _ _ _
_ [E] People struggle with that, I guess.
They don't understand that the amp is only going to go so loud once you have the big muff on.
You can't really boost it or anything.
So you have to use some [F#] kind of restraint to turn everything else down.
[E] If you want some [A] dynamics to your sound.
[F#] And yeah, a lot of people don't want to do that.
Because of course it sounds better with the amp up and everything else up.
But if you want some [F#] dynamics to your music, you've got [D] to turn things down more than turn them up.
But I also like to use other fuzzes with the big muff to get different tones.
I'll use a tone bender kind of thing [G] with the big muff or a super fuzz or a range master.
They all [A] sound good before the big muff for different tones. _
_ _ _ _ _ _ _ _
_ [Em] _ _ _ [E] _ _ _ _
_ [B] _ _ _ _ [E] _ _ _
_ [A] _ _ [G] _ It's like a tone [F] bender big muff combo.
And then the range [E] master is another kind of sound. _
_ _ _ _ _ _ _ _
_ _ _ [F] _ Usually I'll just use those for leads.
Any rhythm sound I have would just be a big muff.
I also have a pedal that will turn the big muff down _ for rhythm to kind of match the _ level of just the clean overdrive.
And then have it all the way up for leads.
_ But yeah, I'll probably never use more fuzzes for rhythm.
Just for different [G] lead textures.
_ _ [E] _ _ _
_ [B] _ _ _ _ _ [D] _ _
_ _ [E] _ _ _ [B] _ _ _
_ _ _ [E] _ _ _ _ [G] _
_ _ _ _ [E] _ _ _ _
_ [A] _ _ [G] _ _ _ _ [Am] _
_ [Em] _ _ [E] _ And then I'll also use some of a flanger usually, an electric mistress and a delay for some things.
I have also a tremolo. _
_ [B] _ _ _ [C] _ _ _ _
[A] _ _ _ _ [Am] _ _ _ _
[G] _ _ _ _ _ _ _ _
_ _ _ [E] _ _ [A] _ _ [G] _
_ _ _ _ [Em] _ [D] _ Now I have a song on the new album that has a 12 string.
And I wanted to bring, I have a Vox Phantom 12 string and I like the way it looks.
But it didn't really stay in tune too well.
So I couldn't use that.
But I brought out this Rickenbacker I have.
[A#] And that wasn't really working with all my stacks.
It was hollow body and the pickup seemed too loud and it was just feeding back all the time.
My friend is _ a guitar tech sometimes.
He's friends with REM's equipment manager.
He keeps all their stuff.
_ They let me use one of Peter Buck's guitars for a few shows.
And that really seemed to work.
_ So the guy was there for like three days and then I saw on [Gm] Reverb someone had the exact same guitar in Baton Rouge.
And we were going to be in New Orleans.
And I got it for a good deal so I didn't even miss a show.
I used the Peter Buck one for three days.
And [G#] then the next day I got the guy delivered me the _ guitar to New Orleans.
And I use that now and that really works.
Reverb helped me out.
_ _ _ [E] _ _ _ [C] _ _ _ [G] _ _ _ [A] _ _ [D] _
_ [G] _ _ [D] _ _ _ _ [E] _
_ _ _ [Bm] _ _ [C#] _ _ _
_ _ _ _ [E] _ _ _ _
_ _ _ Hey, this is Jay Maskus and I'm at Reverb in Chicago.
_ [F#] And I've got some pedals here and I was just going to talk about my concept.
When I'm using pedals, I don't really understand boost and stuff like that.
It's usually like an amp is on and if you boost it, it's not like it's going to get louder.
It might get a little more distorted. _
But I always wanted more dynamics.
So my concept was more like the big muff.
Also, people think sometimes it makes the volume lower.
But then if you have the big muff, it's going to be the loudest thing and you want it to be louder when you turn on the big muff.
Then you have to turn down everything else.
_ Instead of trying to push the amp.
I have the amp always just really [Em] clean. _ _
Like my normal [A] amp sound, it's kind of depressing and a clean sound.
But I [G] always have some pedal going into it.
So I use an overdrive.
I have this double rock here to kind of turn down the signal but have a little bit of still grit to it.
_ _ [D] _ _ _ [G] _ [F#] So that's what I'd consider my clean sound.
I always have [G] some overdrive on when it's clean.
[A] But _ [Em] _ [G#] the volume [G] of it is really low [C] so that _ _ [G] it's not _ [F#] much louder than [E] just a clean amp.
[A] _ When you turn on the [G#] big muff, then it's louder.
_ _ [E] _
_ _ _ [G] _ _ [D] _ _ _
_ _ _ [G] _ _ _ _ _
_ [E] People struggle with that, I guess.
They don't understand that the amp is only going to go so loud once you have the big muff on.
You can't really boost it or anything.
So you have to use some [F#] kind of restraint to turn everything else down.
[E] If you want some [A] dynamics to your sound.
[F#] And yeah, a lot of people don't want to do that.
Because of course it sounds better with the amp up and everything else up.
But if you want some [F#] dynamics to your music, you've got [D] to turn things down more than turn them up.
But I also like to use other fuzzes with the big muff to get different tones.
I'll use a tone bender kind of thing [G] with the big muff or a super fuzz or a range master.
They all [A] sound good before the big muff for different tones. _
_ _ _ _ _ _ _ _
_ [Em] _ _ _ [E] _ _ _ _
_ [B] _ _ _ _ [E] _ _ _
_ [A] _ _ [G] _ It's like a tone [F] bender big muff combo.
And then the range [E] master is another kind of sound. _
_ _ _ _ _ _ _ _
_ _ _ [F] _ Usually I'll just use those for leads.
Any rhythm sound I have would just be a big muff.
I also have a pedal that will turn the big muff down _ for rhythm to kind of match the _ level of just the clean overdrive.
And then have it all the way up for leads.
_ But yeah, I'll probably never use more fuzzes for rhythm.
Just for different [G] lead textures.
_ _ [E] _ _ _
_ [B] _ _ _ _ _ [D] _ _
_ _ [E] _ _ _ [B] _ _ _
_ _ _ [E] _ _ _ _ [G] _
_ _ _ _ [E] _ _ _ _
_ [A] _ _ [G] _ _ _ _ [Am] _
_ [Em] _ _ [E] _ And then I'll also use some of a flanger usually, an electric mistress and a delay for some things.
I have also a tremolo. _
_ [B] _ _ _ [C] _ _ _ _
[A] _ _ _ _ [Am] _ _ _ _
[G] _ _ _ _ _ _ _ _
_ _ _ [E] _ _ [A] _ _ [G] _
_ _ _ _ [Em] _ [D] _ Now I have a song on the new album that has a 12 string.
And I wanted to bring, I have a Vox Phantom 12 string and I like the way it looks.
But it didn't really stay in tune too well.
So I couldn't use that.
But I brought out this Rickenbacker I have.
[A#] And that wasn't really working with all my stacks.
It was hollow body and the pickup seemed too loud and it was just feeding back all the time.
My friend is _ a guitar tech sometimes.
He's friends with REM's equipment manager.
He keeps all their stuff.
_ They let me use one of Peter Buck's guitars for a few shows.
And that really seemed to work.
_ So the guy was there for like three days and then I saw on [Gm] Reverb someone had the exact same guitar in Baton Rouge.
And we were going to be in New Orleans.
And I got it for a good deal so I didn't even miss a show.
I used the Peter Buck one for three days.
And [G#] then the next day I got the guy delivered me the _ guitar to New Orleans.
And I use that now and that really works.
Reverb helped me out.
_ _ _ [E] _ _ _ [C] _ _ _ [G] _ _ _ [A] _ _ [D] _