Chords for In the Studio: Bon Iver
Tempo:
121.65 bpm
Chords used:
Eb
Ab
B
E
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Ab] [Eb]
[Cm] [Ab]
[Eb]
So in October 2008, Nate and I, my brother,
were driving around sort of in the idea
that we were looking for a place to maybe move into,
make a recording studio, [Bb] [Ab] and maybe live there.
We didn't really know what [C] exactly we were looking for.
[Eb] We came across this place.
We looked at a couple of [Ab] places [Eb] out in the country,
and [C] we looked, we came into this place,
and it was kind of just a normal ranch house.
The driveway was really beautiful,
and it was really close to our [Ab] parents' house,
like growing up, [C] like it's three miles,
[Ebm] we're three miles from kind of the house we grew up in.
[Eb] And we [Bb] came into this place,
[Ebm] this sort of weird ranch house, kind of odd vibes,
and you walk downstairs into this sort of like
laundry room looking area,
and there's this giant window looking into this room
that we're in now that was an indoor pool.
So this room that we're sitting in now
is this giant indoor pool with this window looking into it.
And so the realtor's going on and on about,
and the foundation's good, and the plumbing is this,
and me and Nate are just looking at each other like,
do you see this?
This is like one of those recording studio windows.
We kind of instantly were just
immediately interested in the place,
and there was a [Ab] lot of bedrooms,
and it was just kind of like this blank slate
in a lot of ways.
So, you know, it started out with like this room.
This is the room that we kind of wanted to make
into the main kind of recording space,
but it was just literally like kind of [Eb] moldy [Ab] indoor pool
with like unusable space.
[D] And so [Ab] Dan built like a big framework,
and I [Eb] bought this basketball floor
from like a middle [Ab] school off of Craigslist in St.
Paul,
and we brought it all in and built it.
He designed the ceiling,
and they redid the den,
the old kind of laundry room-looking place,
and just kind of built it out,
and me and Brian would purchase gear,
and we'd find microphones,
and all this whole time kind of like waiting
for the carpet guy to finish so I could record
[Eb] and re-set up the keyboard and do [Ab] this stuff
and redo a vocal track or something.
And so it was really interesting.
The whole time we had the place
and building out the actual space
was kind of like while the record was being made,
sort of like this building metaphor for the record,
and also just this place that felt kind of like summer camp.
Then we did some work to the bathrooms and the bedrooms,
and we got like a bunch of bunk beds out here.
We had a listening party for all the people on our labels
and booking agencies and things.
We can sleep 18 out here now.
We had our fabulous friends up in Minneapolis
doing the music video out in the barn.
They made a video studio out of this crazy situation.
So it really has become [B]
kind of like this art space,
but for people from Wisconsin,
so it's not like this weird thing
where it feels like an art space.
It just feels like a place where a lot of things happen.
We made the Gangs record here,
the Volcano Choir record here was done in the early stages.
So just a lot of things happened here.
I think why this new record sounds the way [E] it does
as compared to [B] like Pharemo, you know,
whether it was the cabin or in North Carolina
or wherever I was working on it,
[E] it was me [B] alone in sort of reverberant places,
but like not good reverb,
kind of like [Gb] small crappy rooms
and [E] [B] [E] small [B] area with not good acoustics.
So that sort of had a lot to do [Ab] with the creakiness of that record
and like the black and white-ness of it.
And I think just sort of like the [Dbm] excitement
of sort of like not being in my early 20s anymore
and sort of building [Abm] this place with my friends
and really kind of expanding
at what [B] Volta Bear could be as a project,
moving in [Gb] here and really truly becoming a team,
building this place,
[E] had a lot to do with [B] its color, the new record's [Abm] color,
and also just [B] the space being more lush and carpeted
and a lot of cedar wood and like old [Gb] maple
and just like old-found barn wood.
In a weird way, it's more [B] cabin-y [Dbm] than anything people probably [Abm] imagine.
When we moved in, it was a family home,
and the family [N] had sort of moved on,
and actually the man who lived here passed away
and the family had all grown up and moved away.
And so when we moved in, he was a veterinarian,
and there was a [Eb] vet's clinic.
They had like a home vet clinic where people would show up.
And in fact, the first couple of months when we moved in,
people were showing up with their animals and being like,
Hey, is the vet still here?
And we were like, Nope, sorry,
just some scruffy dude smoking cigarettes.
[Ab] [Eb]
[Bbm]
[Ab] [Eb]
There's a Sony C [Fm]-37 microphone
that [Eb] sort of became the cornerstone microphone for the record,
and it's a microphone I used in Montreal [Cm] in a studio,
and it's [Bb] so special.
It's from the 50s, [Eb] and it's just got such a look about it,
and it's got such a smooth [C] sound,
and it's just like a [Bb] [Eb] timepiece kind of, [Ab] it's great.
[Eb] There's a couple guitars that sort of really made the record happen,
[Abm] and a [Eb] Les Paul gold top thing that was really beat up that I found,
and then a Korg M1, which is the Bruce Hornsby keyboard
[Ab] that they used in all the Ender Range recordings in the early days,
and that became really vital too.
So I'd say those are my favorite pieces of gear.
There's this X-Files sort of storyline with Mulder,
and the whole thing is about his younger sister
being kidnapped by the aliens.
It's way cooler than just an alien show, by the way.
But April Base is the military base where she was taken from,
where this cigarette-smoking man lived,
and there's all this lore and history.
But mostly I just liked how that sounded.
I didn't want to name this place.
I thought it was kind of corny,
but we ended up just calling it The Ranch and stuff,
and I was like, you know, let's not call it The Ranch.
Let's just go ahead and call it something cool, April Base.
So it's kind of like fitting.
We're here, it's spring, and everything gets renewed.
April Base.
Cool.
Sweet.
Is that good?
[N]
[Cm] [Ab]
[Eb]
So in October 2008, Nate and I, my brother,
were driving around sort of in the idea
that we were looking for a place to maybe move into,
make a recording studio, [Bb] [Ab] and maybe live there.
We didn't really know what [C] exactly we were looking for.
[Eb] We came across this place.
We looked at a couple of [Ab] places [Eb] out in the country,
and [C] we looked, we came into this place,
and it was kind of just a normal ranch house.
The driveway was really beautiful,
and it was really close to our [Ab] parents' house,
like growing up, [C] like it's three miles,
[Ebm] we're three miles from kind of the house we grew up in.
[Eb] And we [Bb] came into this place,
[Ebm] this sort of weird ranch house, kind of odd vibes,
and you walk downstairs into this sort of like
laundry room looking area,
and there's this giant window looking into this room
that we're in now that was an indoor pool.
So this room that we're sitting in now
is this giant indoor pool with this window looking into it.
And so the realtor's going on and on about,
and the foundation's good, and the plumbing is this,
and me and Nate are just looking at each other like,
do you see this?
This is like one of those recording studio windows.
We kind of instantly were just
immediately interested in the place,
and there was a [Ab] lot of bedrooms,
and it was just kind of like this blank slate
in a lot of ways.
So, you know, it started out with like this room.
This is the room that we kind of wanted to make
into the main kind of recording space,
but it was just literally like kind of [Eb] moldy [Ab] indoor pool
with like unusable space.
[D] And so [Ab] Dan built like a big framework,
and I [Eb] bought this basketball floor
from like a middle [Ab] school off of Craigslist in St.
Paul,
and we brought it all in and built it.
He designed the ceiling,
and they redid the den,
the old kind of laundry room-looking place,
and just kind of built it out,
and me and Brian would purchase gear,
and we'd find microphones,
and all this whole time kind of like waiting
for the carpet guy to finish so I could record
[Eb] and re-set up the keyboard and do [Ab] this stuff
and redo a vocal track or something.
And so it was really interesting.
The whole time we had the place
and building out the actual space
was kind of like while the record was being made,
sort of like this building metaphor for the record,
and also just this place that felt kind of like summer camp.
Then we did some work to the bathrooms and the bedrooms,
and we got like a bunch of bunk beds out here.
We had a listening party for all the people on our labels
and booking agencies and things.
We can sleep 18 out here now.
We had our fabulous friends up in Minneapolis
doing the music video out in the barn.
They made a video studio out of this crazy situation.
So it really has become [B]
kind of like this art space,
but for people from Wisconsin,
so it's not like this weird thing
where it feels like an art space.
It just feels like a place where a lot of things happen.
We made the Gangs record here,
the Volcano Choir record here was done in the early stages.
So just a lot of things happened here.
I think why this new record sounds the way [E] it does
as compared to [B] like Pharemo, you know,
whether it was the cabin or in North Carolina
or wherever I was working on it,
[E] it was me [B] alone in sort of reverberant places,
but like not good reverb,
kind of like [Gb] small crappy rooms
and [E] [B] [E] small [B] area with not good acoustics.
So that sort of had a lot to do [Ab] with the creakiness of that record
and like the black and white-ness of it.
And I think just sort of like the [Dbm] excitement
of sort of like not being in my early 20s anymore
and sort of building [Abm] this place with my friends
and really kind of expanding
at what [B] Volta Bear could be as a project,
moving in [Gb] here and really truly becoming a team,
building this place,
[E] had a lot to do with [B] its color, the new record's [Abm] color,
and also just [B] the space being more lush and carpeted
and a lot of cedar wood and like old [Gb] maple
and just like old-found barn wood.
In a weird way, it's more [B] cabin-y [Dbm] than anything people probably [Abm] imagine.
When we moved in, it was a family home,
and the family [N] had sort of moved on,
and actually the man who lived here passed away
and the family had all grown up and moved away.
And so when we moved in, he was a veterinarian,
and there was a [Eb] vet's clinic.
They had like a home vet clinic where people would show up.
And in fact, the first couple of months when we moved in,
people were showing up with their animals and being like,
Hey, is the vet still here?
And we were like, Nope, sorry,
just some scruffy dude smoking cigarettes.
[Ab] [Eb]
[Bbm]
[Ab] [Eb]
There's a Sony C [Fm]-37 microphone
that [Eb] sort of became the cornerstone microphone for the record,
and it's a microphone I used in Montreal [Cm] in a studio,
and it's [Bb] so special.
It's from the 50s, [Eb] and it's just got such a look about it,
and it's got such a smooth [C] sound,
and it's just like a [Bb] [Eb] timepiece kind of, [Ab] it's great.
[Eb] There's a couple guitars that sort of really made the record happen,
[Abm] and a [Eb] Les Paul gold top thing that was really beat up that I found,
and then a Korg M1, which is the Bruce Hornsby keyboard
[Ab] that they used in all the Ender Range recordings in the early days,
and that became really vital too.
So I'd say those are my favorite pieces of gear.
There's this X-Files sort of storyline with Mulder,
and the whole thing is about his younger sister
being kidnapped by the aliens.
It's way cooler than just an alien show, by the way.
But April Base is the military base where she was taken from,
where this cigarette-smoking man lived,
and there's all this lore and history.
But mostly I just liked how that sounded.
I didn't want to name this place.
I thought it was kind of corny,
but we ended up just calling it The Ranch and stuff,
and I was like, you know, let's not call it The Ranch.
Let's just go ahead and call it something cool, April Base.
So it's kind of like fitting.
We're here, it's spring, and everything gets renewed.
April Base.
Cool.
Sweet.
Is that good?
[N]
Key:
Eb
Ab
B
E
Bb
Eb
Ab
B
[Ab] _ _ _ _ [Eb] _ _ _ _
_ _ _ _ [Cm] _ _ _ [Ab] _
_ _ _ _ [Eb] _ _ _
So in October 2008, Nate and I, my brother,
_ were driving around sort of in the _ _ idea
that we were looking for a place to maybe move into,
make a recording studio, [Bb] [Ab] and maybe live there.
We didn't really know what [C] _ _ exactly we were looking for.
[Eb] We came across this place.
We looked at a couple of [Ab] places [Eb] out in the country,
and [C] we looked, we came into this place,
and it was kind of just a normal ranch house.
The driveway was really beautiful,
and it was really close to our [Ab] parents' house,
like growing up, [C] like it's three miles,
[Ebm] we're three miles from kind of the house we grew up in.
[Eb] And _ we [Bb] came into this place,
[Ebm] this sort of weird ranch house, kind of odd vibes,
and you walk downstairs _ into this sort of like
laundry room looking area,
_ _ and there's this giant window looking into this room
that we're in now that was an indoor pool.
So this room that we're sitting in now
_ _ is this giant indoor pool with this window looking into it.
And so the realtor's going on and on about,
_ and the foundation's good, and the plumbing is this,
and me and Nate are just looking at each other like,
do you see this?
This is like one of those recording studio windows.
We kind of instantly were just
immediately interested in the place,
and there was a [Ab] lot of bedrooms,
and it was just kind of like this blank slate
in a lot of ways.
So, you know, it started out with like this room.
This is the room that we kind of wanted to make
_ _ _ _ into the main kind of recording space,
but it was just literally like kind of [Eb] moldy [Ab] indoor pool
with like unusable space.
[D] And so [Ab] Dan built like a big _ _ _ _ framework,
and I [Eb] bought this basketball floor
from like a middle [Ab] school off of Craigslist in St.
Paul,
and we brought it all in and built it.
He designed the ceiling,
and they redid the den,
the old kind of laundry room-looking place,
and just kind of built it out,
and me and Brian would purchase gear,
and we'd find microphones,
and all this whole time kind of like waiting
for the carpet guy to finish so I could record
[Eb] and re-set up the keyboard and do [Ab] this stuff
and redo a vocal track or something.
And so it was really interesting.
The whole time we had the place
and building out the actual space
was kind of like while the record was being made,
sort of like this building metaphor for the record,
and also just this place that felt kind of like summer camp.
Then we did some work to the bathrooms and the bedrooms,
and we got like a bunch of bunk beds out here.
We had a listening party for all the people on our labels
and booking agencies and things.
We can sleep 18 out here now.
We had _ our fabulous friends up in Minneapolis
doing the music video out in the barn.
_ They made a video studio out of this crazy situation.
So it really has become _ [B]
kind _ _ of like this art space,
but for people from Wisconsin,
so it's not like this weird thing
where it feels like an art space.
It just feels like a place where a lot of things happen.
We made the Gangs record here,
the Volcano Choir record here was done in the early stages.
_ So just a lot of things happened here.
I think why this new record sounds the way [E] it does
as compared to [B] like Pharemo, _ you know,
whether it was the cabin or in North Carolina
or wherever I was working on it,
[E] it was me [B] alone in sort of reverberant places,
but like not good reverb,
kind of like [Gb] small crappy rooms
and [E] _ [B] [E] small [B] area with not good acoustics.
So that sort of had a lot to do [Ab] with the creakiness of that record
and like the black and white-ness of it.
And I think just sort of like the [Dbm] excitement
of sort of like _ not being in my early 20s anymore
and sort of building [Abm] this place with my friends
and really kind of expanding
at what [B] Volta Bear could be as a project, _
moving in [Gb] here and really truly becoming a team,
building this place,
_ [E] _ had a lot to do with _ [B] its color, the new record's [Abm] color,
and also just [B] the space being more lush and carpeted
and a lot of cedar wood and like old [Gb] maple
and just like old-found barn wood.
In a weird way, it's more [B] cabin-y [Dbm] than anything _ people probably [Abm] imagine. _
When we moved in, it was a family home,
and the family [N] had sort of moved on,
and actually the man who lived here passed away
and the family had all grown up and moved away.
And so when we moved in, he was a veterinarian,
and there was a [Eb] _ vet's clinic.
They had like a home vet clinic where people would show up.
And in fact, the first couple of months when we moved in,
people were showing up with their animals and being like,
Hey, is the vet still here?
And we were like, Nope, sorry,
just some scruffy dude smoking cigarettes. _
[Ab] _ _ _ _ [Eb] _ _ _ _
_ _ _ _ _ _ [Bbm] _ _
[Ab] _ _ _ [Eb] _ _ _ _ _
_ _ There's a Sony C [Fm]-37 microphone
that [Eb] sort of became the cornerstone microphone for the record,
and it's a microphone I used in Montreal [Cm] in a studio,
and it's [Bb] so special.
It's from the 50s, [Eb] and it's just got such a look about it,
and it's got such a smooth [C] sound,
and it's just like a [Bb] [Eb] timepiece kind of, _ [Ab] it's great. _ _
[Eb] There's a couple guitars that sort of really made the record happen,
[Abm] and a [Eb] Les Paul gold top thing that was really beat up that I found,
and then a Korg M1, which is the Bruce Hornsby keyboard
[Ab] _ that they used in all the Ender Range recordings in the early days,
and that became really vital too.
So I'd say those are my favorite pieces of gear.
There's this X-Files sort of storyline with Mulder,
and _ the whole thing is about his younger sister
being kidnapped by the aliens.
It's way cooler than just an alien show, by the way.
But April Base is the military base where she was taken from,
where this cigarette-smoking man lived,
and there's all this lore and history.
But mostly I just liked how that sounded.
_ _ _ _ I didn't want to name this place.
I thought it was kind of corny,
but we ended up just calling it The Ranch and stuff,
and I was like, you know, let's not call it The Ranch.
Let's just go ahead and call it something cool, April Base.
So it's kind of like fitting.
We're here, it's spring, and everything gets renewed.
April Base.
_ Cool.
Sweet.
Is that good?
_ _ _ [N] _ _
_ _ _ _ [Cm] _ _ _ [Ab] _
_ _ _ _ [Eb] _ _ _
So in October 2008, Nate and I, my brother,
_ were driving around sort of in the _ _ idea
that we were looking for a place to maybe move into,
make a recording studio, [Bb] [Ab] and maybe live there.
We didn't really know what [C] _ _ exactly we were looking for.
[Eb] We came across this place.
We looked at a couple of [Ab] places [Eb] out in the country,
and [C] we looked, we came into this place,
and it was kind of just a normal ranch house.
The driveway was really beautiful,
and it was really close to our [Ab] parents' house,
like growing up, [C] like it's three miles,
[Ebm] we're three miles from kind of the house we grew up in.
[Eb] And _ we [Bb] came into this place,
[Ebm] this sort of weird ranch house, kind of odd vibes,
and you walk downstairs _ into this sort of like
laundry room looking area,
_ _ and there's this giant window looking into this room
that we're in now that was an indoor pool.
So this room that we're sitting in now
_ _ is this giant indoor pool with this window looking into it.
And so the realtor's going on and on about,
_ and the foundation's good, and the plumbing is this,
and me and Nate are just looking at each other like,
do you see this?
This is like one of those recording studio windows.
We kind of instantly were just
immediately interested in the place,
and there was a [Ab] lot of bedrooms,
and it was just kind of like this blank slate
in a lot of ways.
So, you know, it started out with like this room.
This is the room that we kind of wanted to make
_ _ _ _ into the main kind of recording space,
but it was just literally like kind of [Eb] moldy [Ab] indoor pool
with like unusable space.
[D] And so [Ab] Dan built like a big _ _ _ _ framework,
and I [Eb] bought this basketball floor
from like a middle [Ab] school off of Craigslist in St.
Paul,
and we brought it all in and built it.
He designed the ceiling,
and they redid the den,
the old kind of laundry room-looking place,
and just kind of built it out,
and me and Brian would purchase gear,
and we'd find microphones,
and all this whole time kind of like waiting
for the carpet guy to finish so I could record
[Eb] and re-set up the keyboard and do [Ab] this stuff
and redo a vocal track or something.
And so it was really interesting.
The whole time we had the place
and building out the actual space
was kind of like while the record was being made,
sort of like this building metaphor for the record,
and also just this place that felt kind of like summer camp.
Then we did some work to the bathrooms and the bedrooms,
and we got like a bunch of bunk beds out here.
We had a listening party for all the people on our labels
and booking agencies and things.
We can sleep 18 out here now.
We had _ our fabulous friends up in Minneapolis
doing the music video out in the barn.
_ They made a video studio out of this crazy situation.
So it really has become _ [B]
kind _ _ of like this art space,
but for people from Wisconsin,
so it's not like this weird thing
where it feels like an art space.
It just feels like a place where a lot of things happen.
We made the Gangs record here,
the Volcano Choir record here was done in the early stages.
_ So just a lot of things happened here.
I think why this new record sounds the way [E] it does
as compared to [B] like Pharemo, _ you know,
whether it was the cabin or in North Carolina
or wherever I was working on it,
[E] it was me [B] alone in sort of reverberant places,
but like not good reverb,
kind of like [Gb] small crappy rooms
and [E] _ [B] [E] small [B] area with not good acoustics.
So that sort of had a lot to do [Ab] with the creakiness of that record
and like the black and white-ness of it.
And I think just sort of like the [Dbm] excitement
of sort of like _ not being in my early 20s anymore
and sort of building [Abm] this place with my friends
and really kind of expanding
at what [B] Volta Bear could be as a project, _
moving in [Gb] here and really truly becoming a team,
building this place,
_ [E] _ had a lot to do with _ [B] its color, the new record's [Abm] color,
and also just [B] the space being more lush and carpeted
and a lot of cedar wood and like old [Gb] maple
and just like old-found barn wood.
In a weird way, it's more [B] cabin-y [Dbm] than anything _ people probably [Abm] imagine. _
When we moved in, it was a family home,
and the family [N] had sort of moved on,
and actually the man who lived here passed away
and the family had all grown up and moved away.
And so when we moved in, he was a veterinarian,
and there was a [Eb] _ vet's clinic.
They had like a home vet clinic where people would show up.
And in fact, the first couple of months when we moved in,
people were showing up with their animals and being like,
Hey, is the vet still here?
And we were like, Nope, sorry,
just some scruffy dude smoking cigarettes. _
[Ab] _ _ _ _ [Eb] _ _ _ _
_ _ _ _ _ _ [Bbm] _ _
[Ab] _ _ _ [Eb] _ _ _ _ _
_ _ There's a Sony C [Fm]-37 microphone
that [Eb] sort of became the cornerstone microphone for the record,
and it's a microphone I used in Montreal [Cm] in a studio,
and it's [Bb] so special.
It's from the 50s, [Eb] and it's just got such a look about it,
and it's got such a smooth [C] sound,
and it's just like a [Bb] [Eb] timepiece kind of, _ [Ab] it's great. _ _
[Eb] There's a couple guitars that sort of really made the record happen,
[Abm] and a [Eb] Les Paul gold top thing that was really beat up that I found,
and then a Korg M1, which is the Bruce Hornsby keyboard
[Ab] _ that they used in all the Ender Range recordings in the early days,
and that became really vital too.
So I'd say those are my favorite pieces of gear.
There's this X-Files sort of storyline with Mulder,
and _ the whole thing is about his younger sister
being kidnapped by the aliens.
It's way cooler than just an alien show, by the way.
But April Base is the military base where she was taken from,
where this cigarette-smoking man lived,
and there's all this lore and history.
But mostly I just liked how that sounded.
_ _ _ _ I didn't want to name this place.
I thought it was kind of corny,
but we ended up just calling it The Ranch and stuff,
and I was like, you know, let's not call it The Ranch.
Let's just go ahead and call it something cool, April Base.
So it's kind of like fitting.
We're here, it's spring, and everything gets renewed.
April Base.
_ Cool.
Sweet.
Is that good?
_ _ _ [N] _ _