Chords for Jim Root on his Fender Signature Jazzmaster | Fender
Tempo:
75.2 bpm
Chords used:
E
Em
F#
Am
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em] [E]
I've been infatuated with guitars, with Stratocasters, with Telecasters, with Fender guitars,
Charvel guitars.
I mean that whole thing since I was a child.
I mean my earliest memories
are [F#] of
rock bands and influential guitar players.
I mean from the time I was like 14 when I got my first one until you know until I got into my first
bands when I was like 15, 16 years old all [Em] the way up until now.
It's been the the constant in my life that has never changed.
[E]
[Fm] I was totally stoked to even just have the Strat because
you know we came up with the compound fretboard radius and the different contour [C] on the body and all that stuff and and it's killer.
I love my Strats.
They're amazing and they're a different animal from the Tele which makes it valid
you know because it's just a little bit you know variety to me is the spice of life.
So Alex
sent me just out of the blue he like sent me this white jazz master with a flame maple fretboard on it
and it was it like had my signature specs and I was like hmm
this is interesting and I kind of like I kind of like blew it off because I was so into the Strats at the time and
I was in Iowa and I didn't have all my guitars with me.
My guitars tend to get spread out sometimes because of the two bands
you know some will be with like the Slipknot warehouse or some will be you know like shipped to Australia or whatever.
But I didn't have enough guitars with me to do all the tunings that we had for Stone Sour
so I grabbed that white jazz master and took it to rehearsal.
I did the entire rehearsal
with that guitar and it
felt so comfortable.
It completely changed my opinion of that guitar like all of a sudden that instantly became my absolute favorite guitar.
I was like I started blowing them up.
This guitar is awesome.
You need to make me a black one.
I want a red one.
I want to do this.
I want to do that.
I had all these like ideas and we just started throwing ideas around [E] for months and months.
[Am]
I'm in [G] Slipknot, okay.
We tour a lot and
there's a lot of things getting thrown around on stage.
If I had a really shiny beautiful
custom paint job that that was just really amazing it would get destroyed within a matter of months on the road
you know.
What I like about these finishes is they're very simple.
They're very roadworthy.
It's classic to me.
They lend themselves to taking on the characteristics of the player.
It'll very quickly it'll start to show you where you like to rest your arm,
how you grab your volume knob, you know, how often you're down here messing with the pickup selector,
you know.
If you're up in here a lot, you know, it'll start wearing in right there nice and good.
You know, it just it really starts taking on the personality of the player.
It's a big giant heavy Jazzmaster because it's mahogany.
You know, I love mahogany.
It's just a really great tone wood for recording and for live.
For the heavier music that we're doing
I don't need all that brightness and brilliance and that's part of the reason I
shied away from the maple boards a little bit.
They'd add a little bit of a snappiness to the top end that you know for engineers and producers
they, you know, they tend to want to dial that stuff out a little bit because everything has to sit in the mix a certain way.
So we did mahogany just as we did and it's got a weird contour.
It's not as [F] contoured as a [E] regular Jazzmaster.
It's very thick and boxy kind of but it still has like the belly cut and you know the arm cut, you know.
So it is still comfortable, you know while it's hanging off you on stage.
Did the EMGs too and I went with the brushed aluminum's on the black guitar because it just it looks killer.
It kind of pops.
One volume knob, of course, three-way selector like I like.
Keep it simple.
It is really just a stripped-down modern
guitar compound fretboard radius like the Strats so you can get the action right down on top of the frets if you want.
Jumbo frets,
ebony board,
rock maple neck, locking tuners.
It's got the contour in the neck heel so you can reach and that's the other thing too is you can really reach that
21st fret easy on this guitar.
You know like sometimes the Tele's in the Strats
it's kind of hard to get up there and grab 20-22 and bend it up into happiness, but easy easy fretboard [A] access and
[Em] it's a tone monster, you know.
I love these guitars.
They're just amazing.
[G] [A] [Am] [F#]
I've been infatuated with guitars, with Stratocasters, with Telecasters, with Fender guitars,
Charvel guitars.
I mean that whole thing since I was a child.
I mean my earliest memories
are [F#] of
rock bands and influential guitar players.
I mean from the time I was like 14 when I got my first one until you know until I got into my first
bands when I was like 15, 16 years old all [Em] the way up until now.
It's been the the constant in my life that has never changed.
[E]
[Fm] I was totally stoked to even just have the Strat because
you know we came up with the compound fretboard radius and the different contour [C] on the body and all that stuff and and it's killer.
I love my Strats.
They're amazing and they're a different animal from the Tele which makes it valid
you know because it's just a little bit you know variety to me is the spice of life.
So Alex
sent me just out of the blue he like sent me this white jazz master with a flame maple fretboard on it
and it was it like had my signature specs and I was like hmm
this is interesting and I kind of like I kind of like blew it off because I was so into the Strats at the time and
I was in Iowa and I didn't have all my guitars with me.
My guitars tend to get spread out sometimes because of the two bands
you know some will be with like the Slipknot warehouse or some will be you know like shipped to Australia or whatever.
But I didn't have enough guitars with me to do all the tunings that we had for Stone Sour
so I grabbed that white jazz master and took it to rehearsal.
I did the entire rehearsal
with that guitar and it
felt so comfortable.
It completely changed my opinion of that guitar like all of a sudden that instantly became my absolute favorite guitar.
I was like I started blowing them up.
This guitar is awesome.
You need to make me a black one.
I want a red one.
I want to do this.
I want to do that.
I had all these like ideas and we just started throwing ideas around [E] for months and months.
[Am]
I'm in [G] Slipknot, okay.
We tour a lot and
there's a lot of things getting thrown around on stage.
If I had a really shiny beautiful
custom paint job that that was just really amazing it would get destroyed within a matter of months on the road
you know.
What I like about these finishes is they're very simple.
They're very roadworthy.
It's classic to me.
They lend themselves to taking on the characteristics of the player.
It'll very quickly it'll start to show you where you like to rest your arm,
how you grab your volume knob, you know, how often you're down here messing with the pickup selector,
you know.
If you're up in here a lot, you know, it'll start wearing in right there nice and good.
You know, it just it really starts taking on the personality of the player.
It's a big giant heavy Jazzmaster because it's mahogany.
You know, I love mahogany.
It's just a really great tone wood for recording and for live.
For the heavier music that we're doing
I don't need all that brightness and brilliance and that's part of the reason I
shied away from the maple boards a little bit.
They'd add a little bit of a snappiness to the top end that you know for engineers and producers
they, you know, they tend to want to dial that stuff out a little bit because everything has to sit in the mix a certain way.
So we did mahogany just as we did and it's got a weird contour.
It's not as [F] contoured as a [E] regular Jazzmaster.
It's very thick and boxy kind of but it still has like the belly cut and you know the arm cut, you know.
So it is still comfortable, you know while it's hanging off you on stage.
Did the EMGs too and I went with the brushed aluminum's on the black guitar because it just it looks killer.
It kind of pops.
One volume knob, of course, three-way selector like I like.
Keep it simple.
It is really just a stripped-down modern
guitar compound fretboard radius like the Strats so you can get the action right down on top of the frets if you want.
Jumbo frets,
ebony board,
rock maple neck, locking tuners.
It's got the contour in the neck heel so you can reach and that's the other thing too is you can really reach that
21st fret easy on this guitar.
You know like sometimes the Tele's in the Strats
it's kind of hard to get up there and grab 20-22 and bend it up into happiness, but easy easy fretboard [A] access and
[Em] it's a tone monster, you know.
I love these guitars.
They're just amazing.
[G] [A] [Am] [F#]
Key:
E
Em
F#
Am
G
E
Em
F#
_ _ _ _ [Em] _ _ _ [E] _
_ _ _ I've been infatuated with guitars, with Stratocasters, with Telecasters, with Fender guitars,
Charvel guitars.
I mean that whole thing since I was a child.
I mean my earliest memories
are [F#] of
rock bands and influential guitar players.
I mean from the time I was like 14 when I got my first one until you know until I got into my first
bands when I was like 15, 16 years old all [Em] the way up until now.
It's been the the constant in my life that has never changed.
_ _ [E] _
[Fm] I was totally stoked to even just have the Strat because
you know we came up with the compound fretboard radius and the different contour [C] on the body and all that stuff and and it's killer.
I love my Strats.
They're amazing and they're a different animal from the Tele which makes it valid
you know because it's just a little bit you know variety to me is the spice of life.
So Alex
sent me just out of the blue he like sent me this white jazz master with a flame maple fretboard on it
and it was it like had my signature specs and I was like hmm
this is interesting and I kind of like I kind of like blew it off because I was so into the Strats at the time and
I was in Iowa and I didn't have all my guitars with me.
My guitars tend to get spread out sometimes because of the two bands
you know some will be with like the Slipknot warehouse or some will be you know like shipped to Australia or whatever.
But I didn't have enough guitars with me to do all the tunings that we had for Stone Sour
so I grabbed that white jazz master and took it to rehearsal.
I did the entire rehearsal
with that guitar and it
felt so comfortable.
It completely changed my opinion of that guitar like all of a sudden that instantly became my absolute favorite guitar.
I was like I started blowing them up.
This guitar is awesome.
You need to make me a black one.
I want a red one.
I want to do this.
I want to do that.
I had all these like ideas and we just started throwing ideas around [E] for months and months.
_ _ _ _ _ [Am] _
I'm in [G] Slipknot, okay.
We tour a lot and
there's a lot of things getting thrown around on stage.
If I had a really shiny beautiful
custom paint job that that was just really amazing it would get destroyed within a matter of months on the road
you know.
What I like about these finishes is they're very simple.
They're very roadworthy.
It's classic to me.
They lend themselves to taking on the characteristics of the player.
It'll very quickly it'll start to show you where you like to rest your arm,
how you grab your volume knob, you know, how often you're down here messing with the pickup selector,
you know.
If you're up in here a lot, you know, it'll start wearing in right there nice and good.
You know, it just it really starts taking on the personality of the player.
It's a big giant heavy Jazzmaster because it's mahogany.
You know, I love mahogany.
It's just a really great tone wood for recording and for live.
For the heavier music that we're doing
I don't need all that brightness and brilliance and that's part of the reason I
shied away from the maple boards a little bit.
They'd add a little bit of a snappiness to the top end that you know for engineers and producers
they, you know, they tend to want to dial that stuff out a little bit because everything has to sit in the mix a certain way.
So we did mahogany just as we did and it's got a weird contour.
It's not as [F] contoured as a [E] regular Jazzmaster.
It's very thick and boxy kind of but it still has like the belly cut and you know the arm cut, you know.
So it is still comfortable, you know while it's hanging off you on stage.
Did the EMGs too and I went with the brushed aluminum's on the black guitar because it just it looks killer.
It kind of pops.
One volume knob, of course, three-way selector like I like.
Keep it simple.
It is really just a stripped-down modern
guitar compound fretboard radius like the Strats so you can get the action right down on top of the frets if you want.
Jumbo frets,
ebony board,
rock maple neck, locking tuners.
It's got the contour in the neck heel so you can reach and that's the other thing too is you can really reach that
21st fret easy on this guitar.
You know like sometimes the Tele's in the Strats
it's kind of hard to get up there and grab 20-22 and bend it up into happiness, but easy easy fretboard [A] access and
[Em] it's a tone monster, you know.
I love these guitars.
They're just amazing.
_ [G] _ _ _ [A] _ _ _ _ [Am] _ _ _ [F#] _ _ _ _
_ _ _ I've been infatuated with guitars, with Stratocasters, with Telecasters, with Fender guitars,
Charvel guitars.
I mean that whole thing since I was a child.
I mean my earliest memories
are [F#] of
rock bands and influential guitar players.
I mean from the time I was like 14 when I got my first one until you know until I got into my first
bands when I was like 15, 16 years old all [Em] the way up until now.
It's been the the constant in my life that has never changed.
_ _ [E] _
[Fm] I was totally stoked to even just have the Strat because
you know we came up with the compound fretboard radius and the different contour [C] on the body and all that stuff and and it's killer.
I love my Strats.
They're amazing and they're a different animal from the Tele which makes it valid
you know because it's just a little bit you know variety to me is the spice of life.
So Alex
sent me just out of the blue he like sent me this white jazz master with a flame maple fretboard on it
and it was it like had my signature specs and I was like hmm
this is interesting and I kind of like I kind of like blew it off because I was so into the Strats at the time and
I was in Iowa and I didn't have all my guitars with me.
My guitars tend to get spread out sometimes because of the two bands
you know some will be with like the Slipknot warehouse or some will be you know like shipped to Australia or whatever.
But I didn't have enough guitars with me to do all the tunings that we had for Stone Sour
so I grabbed that white jazz master and took it to rehearsal.
I did the entire rehearsal
with that guitar and it
felt so comfortable.
It completely changed my opinion of that guitar like all of a sudden that instantly became my absolute favorite guitar.
I was like I started blowing them up.
This guitar is awesome.
You need to make me a black one.
I want a red one.
I want to do this.
I want to do that.
I had all these like ideas and we just started throwing ideas around [E] for months and months.
_ _ _ _ _ [Am] _
I'm in [G] Slipknot, okay.
We tour a lot and
there's a lot of things getting thrown around on stage.
If I had a really shiny beautiful
custom paint job that that was just really amazing it would get destroyed within a matter of months on the road
you know.
What I like about these finishes is they're very simple.
They're very roadworthy.
It's classic to me.
They lend themselves to taking on the characteristics of the player.
It'll very quickly it'll start to show you where you like to rest your arm,
how you grab your volume knob, you know, how often you're down here messing with the pickup selector,
you know.
If you're up in here a lot, you know, it'll start wearing in right there nice and good.
You know, it just it really starts taking on the personality of the player.
It's a big giant heavy Jazzmaster because it's mahogany.
You know, I love mahogany.
It's just a really great tone wood for recording and for live.
For the heavier music that we're doing
I don't need all that brightness and brilliance and that's part of the reason I
shied away from the maple boards a little bit.
They'd add a little bit of a snappiness to the top end that you know for engineers and producers
they, you know, they tend to want to dial that stuff out a little bit because everything has to sit in the mix a certain way.
So we did mahogany just as we did and it's got a weird contour.
It's not as [F] contoured as a [E] regular Jazzmaster.
It's very thick and boxy kind of but it still has like the belly cut and you know the arm cut, you know.
So it is still comfortable, you know while it's hanging off you on stage.
Did the EMGs too and I went with the brushed aluminum's on the black guitar because it just it looks killer.
It kind of pops.
One volume knob, of course, three-way selector like I like.
Keep it simple.
It is really just a stripped-down modern
guitar compound fretboard radius like the Strats so you can get the action right down on top of the frets if you want.
Jumbo frets,
ebony board,
rock maple neck, locking tuners.
It's got the contour in the neck heel so you can reach and that's the other thing too is you can really reach that
21st fret easy on this guitar.
You know like sometimes the Tele's in the Strats
it's kind of hard to get up there and grab 20-22 and bend it up into happiness, but easy easy fretboard [A] access and
[Em] it's a tone monster, you know.
I love these guitars.
They're just amazing.
_ [G] _ _ _ [A] _ _ _ _ [Am] _ _ _ [F#] _ _ _ _