Chords for Rig Rundown - Roger Waters' The Wall Tour: Snowy White
Tempo:
134.5 bpm
Chords used:
G
A
E
F
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] [G] [E]
[A]
[G] Hey, this is Rebecca Dirks with PremiereGuitar.com. I'm here with Snowy White.
We're checking out the guitar rigs for the Roger Waters Wall Tour this summer.
We're in sunny, hot Chicago, [A#] and you've got some really cool guitars behind you, so let's just start there.
[B] Sure.
Well first, [N] of course,
of course, it's my [B] old [G] Les Paul.
I've had it
43 years, [Am] and it's old and cracked up [E] like I am.
And
[F#m] it's a [F] fantastic guitar.
It stays in tune, [Bm] and it sings on every [A] fret, [F#]
[Am] and one day I'll clean it.
And that's, what year is that?
[G] It's 1957.
And everything is original on it?
No, no, no,
because it's a working guitar.
I'm not precious with it.
I just, if things need [Dm] changing,
it's been refretted, different machine heads, been rewired.
This is a bridge that Peter Green gave me, actually, so I put that on.
And I've hammered these down, because they stick [Am] up, these little things, and when I'm going like that, they get up my fingernail.
[G] So, you [D] know, [A] it's a working guitar.
[E] I'm not precious with it.
That's [F#] me, just in case I [A] forget my [Bm] name.
[C] [A]
So there's that.
That's the one I pick up as often as I can, and
[E] that's my main guitar, my main squeeze.
This [D] one here, the [G] Black Strat,
this is for some of the songs on Roger's show that I need with, I need to use a tremolo arm.
So I use this on a few of the songs where I need some whammy bar.
I need that particular Strat sound for Roger's songs.
It's an actual
[D]
copy of David Gilmour's Black [G] Strat.
So I figured it might sound a bit more authentic.
It doesn't, of course.
This one is, it's black, funnily enough, as you see.
It's actually a black one.
That's because when we do the front stage song, Roger wants to,
everything to be in black.
So this belongs to the band or basically belongs to Roger.
So I picked that [Em] up for the songs on the [N] front stage.
Last but not least,
this is an acoustic I use on the last song, [E] Outside the Wall.
This is a Bedell, made by a company called Bedell, and [D] actually it's really good.
I only use it on one track here, but
when I'm home, I play it quite a lot.
It's a nice acoustic.
[F] I'm Tim Meyer, and I'm doing guitars for all these guys.
All right, so you want to give us a little bit of details on the Vox amps before we jump into the pedalboard.
Yeah, sure.
Snowy's been playing out of Vox's for donkey's ears,
for years.
So we've carried [C] it on, and he gets a,
to my ear, a very signature dark,
[F] powerful sound out of them.
And we're only, [C] AC30's only 30 watts, so we're running small wattage here for a big sound.
[F] He has the newer version on the main stage, so there's a master volume, but in production rehearsals, Snowy
set him up and worked with me a little bit.
So we have a little bit of break up on the amp itself, but he can get a nice, you know, clean enough tone,
you know, for the Pink Floyd stuff.
He pushes most everything with the Blues driver.
[G] The Blues driver is like the main distortion, you know, push pedal.
[N] And that's, those are his settings for all the solos and
for a lot of the rhythm work.
And like he told you before, for really powerful
power chord rhythm work, he kicks in the second AC30, and for all the solos, he kicks in the second AC30.
So he's using the Ernie Ball volume pedal there, right?
[B] What's he use the OD3 for?
There's a point in the show called Snowy's note,
and it's one of the most exciting ones.
The wall's already built, no one can see us back here,
but it's one of the signature solos that goes on there.
And the first note, he slides up to this long
sustained note that he holds for, I don't know, a couple of minutes.
So [G#] we have the the overdrive pedal with the EQ set up, and I tune it in,
you know, roughly when the wall's up into the temperature of the room or the outdoors,
to find the sweet spot to where that sucker's going to [G#m] sustain.
And then, you know, because it's rock and roll and things change by showtime, then Snowy has an idea where to go with it,
but he's got to find it and grab it, and he pulls it in and holds it.
It's really good fun back here.
And then the rotary pedal?
The rotary pedal is used mainly as a chorus pedal.
We don't use it to ramp up and down like a Leslie.
[B]
But he uses that on a lot of his solos too, you know.
You don't hear it as chorusing, you just hear it as thickness.
So it's tastefully done.
And then the M9, the Line 6 M9, is [Bm] used for all the echoes and some of the chorus.
And so that takes care of all the other echo and modulation stuff, anything like that.
[N] We have these D2 delays that are in the chicken run, and they're all set
Well, the Floyd used to do this.
They did it on the albums, and they did it live,
to where the echoes are synced together.
In other words, they're all supposed to be the same timing.
So everybody has an external dialed-in echo, mainly for the tic-tic-tic-tic, that kind of stuff.
So they all have one, and that goes back to the chicken run.
Between the three of these guys, how many guitars are you taking care of every night?
Counting the mandolin, the banjo, 27 guitars.
Keep busy, huh?
All the time.
All right, well thank you for showing us some of the details of the pedalboard and amps here for Snowy.
Sure.
From the standpoint of both recreating the tone and playing the show,
how much do you guys try to stay authentic, and how much do you take some liberty?
We try and stay pretty authentic, because basically that's what the boss wants.
You know, Roger wants to make it sound just about like the record.
Having said that, we do have a bit of freedom, but we're very aware that we have to keep everything in context.
I think the only free part in the show for me is the solo in Brick 2, which I can do what I like really.
But we try and keep it all in context, because it's bigger than the music.
It's the whole theatre thing.
It's all timed, it's all click-tracked, it's to the millisecond, everything's linked [G] up.
So we basically have to keep it pretty straightforward.
[C]
[G] I don't know if it's come across in the video, but [Dm] this is a really ridiculously huge production here.
It's really cool.
It's [D] difficult to get an idea of the size when [F] you look at it on a TV screen.
You have to be [E] here.
This [Am] is Rebecca Dirks for [Em] PremiereGuitar.com.
[A]
[G] Hey, this is Rebecca Dirks with PremiereGuitar.com. I'm here with Snowy White.
We're checking out the guitar rigs for the Roger Waters Wall Tour this summer.
We're in sunny, hot Chicago, [A#] and you've got some really cool guitars behind you, so let's just start there.
[B] Sure.
Well first, [N] of course,
of course, it's my [B] old [G] Les Paul.
I've had it
43 years, [Am] and it's old and cracked up [E] like I am.
And
[F#m] it's a [F] fantastic guitar.
It stays in tune, [Bm] and it sings on every [A] fret, [F#]
[Am] and one day I'll clean it.
And that's, what year is that?
[G] It's 1957.
And everything is original on it?
No, no, no,
because it's a working guitar.
I'm not precious with it.
I just, if things need [Dm] changing,
it's been refretted, different machine heads, been rewired.
This is a bridge that Peter Green gave me, actually, so I put that on.
And I've hammered these down, because they stick [Am] up, these little things, and when I'm going like that, they get up my fingernail.
[G] So, you [D] know, [A] it's a working guitar.
[E] I'm not precious with it.
That's [F#] me, just in case I [A] forget my [Bm] name.
[C] [A]
So there's that.
That's the one I pick up as often as I can, and
[E] that's my main guitar, my main squeeze.
This [D] one here, the [G] Black Strat,
this is for some of the songs on Roger's show that I need with, I need to use a tremolo arm.
So I use this on a few of the songs where I need some whammy bar.
I need that particular Strat sound for Roger's songs.
It's an actual
[D]
copy of David Gilmour's Black [G] Strat.
So I figured it might sound a bit more authentic.
It doesn't, of course.
This one is, it's black, funnily enough, as you see.
It's actually a black one.
That's because when we do the front stage song, Roger wants to,
everything to be in black.
So this belongs to the band or basically belongs to Roger.
So I picked that [Em] up for the songs on the [N] front stage.
Last but not least,
this is an acoustic I use on the last song, [E] Outside the Wall.
This is a Bedell, made by a company called Bedell, and [D] actually it's really good.
I only use it on one track here, but
when I'm home, I play it quite a lot.
It's a nice acoustic.
[F] I'm Tim Meyer, and I'm doing guitars for all these guys.
All right, so you want to give us a little bit of details on the Vox amps before we jump into the pedalboard.
Yeah, sure.
Snowy's been playing out of Vox's for donkey's ears,
for years.
So we've carried [C] it on, and he gets a,
to my ear, a very signature dark,
[F] powerful sound out of them.
And we're only, [C] AC30's only 30 watts, so we're running small wattage here for a big sound.
[F] He has the newer version on the main stage, so there's a master volume, but in production rehearsals, Snowy
set him up and worked with me a little bit.
So we have a little bit of break up on the amp itself, but he can get a nice, you know, clean enough tone,
you know, for the Pink Floyd stuff.
He pushes most everything with the Blues driver.
[G] The Blues driver is like the main distortion, you know, push pedal.
[N] And that's, those are his settings for all the solos and
for a lot of the rhythm work.
And like he told you before, for really powerful
power chord rhythm work, he kicks in the second AC30, and for all the solos, he kicks in the second AC30.
So he's using the Ernie Ball volume pedal there, right?
[B] What's he use the OD3 for?
There's a point in the show called Snowy's note,
and it's one of the most exciting ones.
The wall's already built, no one can see us back here,
but it's one of the signature solos that goes on there.
And the first note, he slides up to this long
sustained note that he holds for, I don't know, a couple of minutes.
So [G#] we have the the overdrive pedal with the EQ set up, and I tune it in,
you know, roughly when the wall's up into the temperature of the room or the outdoors,
to find the sweet spot to where that sucker's going to [G#m] sustain.
And then, you know, because it's rock and roll and things change by showtime, then Snowy has an idea where to go with it,
but he's got to find it and grab it, and he pulls it in and holds it.
It's really good fun back here.
And then the rotary pedal?
The rotary pedal is used mainly as a chorus pedal.
We don't use it to ramp up and down like a Leslie.
[B]
But he uses that on a lot of his solos too, you know.
You don't hear it as chorusing, you just hear it as thickness.
So it's tastefully done.
And then the M9, the Line 6 M9, is [Bm] used for all the echoes and some of the chorus.
And so that takes care of all the other echo and modulation stuff, anything like that.
[N] We have these D2 delays that are in the chicken run, and they're all set
Well, the Floyd used to do this.
They did it on the albums, and they did it live,
to where the echoes are synced together.
In other words, they're all supposed to be the same timing.
So everybody has an external dialed-in echo, mainly for the tic-tic-tic-tic, that kind of stuff.
So they all have one, and that goes back to the chicken run.
Between the three of these guys, how many guitars are you taking care of every night?
Counting the mandolin, the banjo, 27 guitars.
Keep busy, huh?
All the time.
All right, well thank you for showing us some of the details of the pedalboard and amps here for Snowy.
Sure.
From the standpoint of both recreating the tone and playing the show,
how much do you guys try to stay authentic, and how much do you take some liberty?
We try and stay pretty authentic, because basically that's what the boss wants.
You know, Roger wants to make it sound just about like the record.
Having said that, we do have a bit of freedom, but we're very aware that we have to keep everything in context.
I think the only free part in the show for me is the solo in Brick 2, which I can do what I like really.
But we try and keep it all in context, because it's bigger than the music.
It's the whole theatre thing.
It's all timed, it's all click-tracked, it's to the millisecond, everything's linked [G] up.
So we basically have to keep it pretty straightforward.
[C]
[G] I don't know if it's come across in the video, but [Dm] this is a really ridiculously huge production here.
It's really cool.
It's [D] difficult to get an idea of the size when [F] you look at it on a TV screen.
You have to be [E] here.
This [Am] is Rebecca Dirks for [Em] PremiereGuitar.com.
Key:
G
A
E
F
D
G
A
E
[A] _ _ [G] _ _ _ _ [E] _ _
[A] _ _ _ _ _ _ _ _
_ [G] _ Hey, this is Rebecca Dirks with PremiereGuitar.com. I'm here with Snowy White.
We're checking out the guitar rigs for the Roger Waters Wall Tour this summer.
We're in sunny, hot Chicago, [A#] and you've got some really cool guitars behind you, so let's just start there.
[B] Sure.
Well first, _ [N] of course, _
_ of course, it's my _ [B] old [G] Les Paul.
_ _ _ _ I've had it _
43 years, [Am] and it's old and cracked up [E] like I am.
_ _ _ _ And
[F#m] it's a [F] fantastic guitar.
It stays in tune, [Bm] and it sings on every [A] fret, [F#] _
[Am] and one day I'll clean it.
And that's, what year is that?
[G] It's 1957.
_ And everything is original on it?
No, no, no,
because it's a working guitar.
I'm not precious with it.
I just, if things need [Dm] changing, _
it's been refretted, different machine heads, been rewired.
This is a bridge that Peter Green gave me, actually, so I put that on.
And I've hammered these down, because they stick [Am] up, these little things, and when I'm going like that, they get up my fingernail.
_ [G] So, you [D] know, [A] it's a working guitar.
[E] I'm not precious with it. _ _ _ _
That's [F#] me, just in case I [A] forget my [Bm] name.
[C] _ [A] _
So there's that.
That's the one I pick up as often as I can, and
[E] that's my main guitar, my main squeeze.
This [D] one here, the [G] Black Strat,
this is for some of the songs on Roger's show that I need with, I need to use a tremolo arm. _
_ _ So I use this on a few of the songs where I need some whammy bar.
_ _ I need that particular Strat sound for Roger's songs.
It's an actual
[D] _
copy of David Gilmour's Black [G] Strat.
So I figured it might sound a bit more authentic.
_ It doesn't, of course. _ _
_ _ _ This one is, it's black, funnily enough, as you see.
It's actually a black one.
That's because when we do the front stage song, Roger wants to,
everything to be in black.
So this belongs to the band or basically belongs to Roger.
So I picked that [Em] up for the songs on the [N] front stage. _ _
_ _ _ _ _ Last but not least,
_ this is an acoustic I use on the last song, [E] Outside the Wall.
This is a Bedell, made by a company called Bedell, and [D] actually it's really good.
I only use it on one track here, but
_ _ when I'm home, I play it quite a lot.
It's a nice acoustic.
[F] I'm Tim Meyer, and I'm doing guitars for all these guys.
All right, so you want to give us a little bit of details on the Vox amps before we jump into the pedalboard.
Yeah, sure.
Snowy's been playing out of Vox's for _ _ donkey's ears,
for years.
_ So we've carried [C] it on, and he gets a,
_ to my ear, a very signature dark, _
[F] powerful sound out of them.
And we're only, [C] AC30's only 30 watts, so we're running small wattage here for a big sound.
[F] He has the newer version on the main stage, so there's a master volume, but in production rehearsals, Snowy
_ set him up and worked with me a little bit.
So we have a little bit of break up on the amp itself, but he can get a nice, you know, clean enough tone,
you know, for the Pink Floyd stuff.
He pushes most everything with the Blues driver.
[G] The Blues driver is like the main distortion, you know, push pedal. _ _ _ _ _
[N] _ And that's, those are his settings for all the solos and
for a lot of the rhythm work.
And like he told you before, for really powerful
power chord rhythm work, he kicks in the second AC30, and for all the solos, he kicks in the second AC30.
So he's using the Ernie Ball volume pedal there, right?
[B] _ What's he use the OD3 for?
_ There's a point in the show called Snowy's note,
_ _ and it's one of the most exciting ones.
The wall's already built, no one can see us back here,
but it's one of the signature solos that goes on there.
And the first note, he slides up to this long
sustained note that he holds for, I don't know, a couple of minutes.
So [G#] we have the the overdrive pedal with the EQ set up, and I tune it in,
you know, roughly when the wall's up into the temperature of the room or the outdoors,
to find the sweet spot to where that sucker's going to [G#m] sustain. _
And then, you know, because it's rock and roll and things change by showtime, then Snowy has an idea where to go with it,
but he's got to find it and grab it, and he pulls it in and holds it.
It's really good fun back here. _ _ _ _ _
And then the rotary pedal?
The rotary pedal is used mainly as a chorus pedal.
We don't use it to ramp up and down like a Leslie.
[B] _
But he uses that on a lot of his solos too, you know.
You don't hear it as chorusing, you just hear it as thickness.
So it's tastefully done.
_ And then the M9, the Line 6 M9, is [Bm] used for all the echoes and some of the chorus.
And so that takes care of all the other echo and modulation stuff, anything like that.
[N] We have these D2 delays that are in the chicken run, and they're all _ _ set_
Well, the Floyd used to do this.
They did it on the albums, and they did it live,
to where the echoes are synced together.
In other words, they're all supposed to be the same timing.
So everybody has an external dialed-in echo, mainly for the tic-tic-tic-tic, that kind of stuff.
_ So they all have one, and that goes back to the chicken run.
Between the three of these guys, how many guitars are you taking care of every night? _
Counting the mandolin, the banjo, _ 27 _ guitars.
Keep busy, huh?
All the time.
All right, well thank you for showing us some of the details of the pedalboard and amps here for Snowy.
Sure.
From the standpoint of both recreating the tone and playing the show,
how much do you guys try to stay authentic, and how much do you take some liberty?
We try and stay pretty authentic, because basically that's what the boss wants.
You know, Roger wants to make it sound just about like the record.
_ Having said that, we do have a bit of freedom, but we're very aware that we have to keep everything in context. _
I think the only free part in the show for me is the solo in Brick 2, which I can do what I like really.
But _ we try and keep it all in context, because it's bigger than the music.
It's the whole theatre thing.
_ It's all timed, it's all click-tracked, it's to the millisecond, _ everything's linked [G] up.
So we basically have to keep it pretty straightforward.
[C] _
[G] I don't know if it's come across in the video, but [Dm] this is a really ridiculously huge production here.
It's really cool.
It's [D] difficult to get an idea of the size when [F] you look at it on a TV screen.
You have to be [E] here.
This [Am] is Rebecca Dirks for [Em] PremiereGuitar.com. _ _ _ _
_ _ _ _ _ _ _ _
[A] _ _ _ _ _ _ _ _
_ [G] _ Hey, this is Rebecca Dirks with PremiereGuitar.com. I'm here with Snowy White.
We're checking out the guitar rigs for the Roger Waters Wall Tour this summer.
We're in sunny, hot Chicago, [A#] and you've got some really cool guitars behind you, so let's just start there.
[B] Sure.
Well first, _ [N] of course, _
_ of course, it's my _ [B] old [G] Les Paul.
_ _ _ _ I've had it _
43 years, [Am] and it's old and cracked up [E] like I am.
_ _ _ _ And
[F#m] it's a [F] fantastic guitar.
It stays in tune, [Bm] and it sings on every [A] fret, [F#] _
[Am] and one day I'll clean it.
And that's, what year is that?
[G] It's 1957.
_ And everything is original on it?
No, no, no,
because it's a working guitar.
I'm not precious with it.
I just, if things need [Dm] changing, _
it's been refretted, different machine heads, been rewired.
This is a bridge that Peter Green gave me, actually, so I put that on.
And I've hammered these down, because they stick [Am] up, these little things, and when I'm going like that, they get up my fingernail.
_ [G] So, you [D] know, [A] it's a working guitar.
[E] I'm not precious with it. _ _ _ _
That's [F#] me, just in case I [A] forget my [Bm] name.
[C] _ [A] _
So there's that.
That's the one I pick up as often as I can, and
[E] that's my main guitar, my main squeeze.
This [D] one here, the [G] Black Strat,
this is for some of the songs on Roger's show that I need with, I need to use a tremolo arm. _
_ _ So I use this on a few of the songs where I need some whammy bar.
_ _ I need that particular Strat sound for Roger's songs.
It's an actual
[D] _
copy of David Gilmour's Black [G] Strat.
So I figured it might sound a bit more authentic.
_ It doesn't, of course. _ _
_ _ _ This one is, it's black, funnily enough, as you see.
It's actually a black one.
That's because when we do the front stage song, Roger wants to,
everything to be in black.
So this belongs to the band or basically belongs to Roger.
So I picked that [Em] up for the songs on the [N] front stage. _ _
_ _ _ _ _ Last but not least,
_ this is an acoustic I use on the last song, [E] Outside the Wall.
This is a Bedell, made by a company called Bedell, and [D] actually it's really good.
I only use it on one track here, but
_ _ when I'm home, I play it quite a lot.
It's a nice acoustic.
[F] I'm Tim Meyer, and I'm doing guitars for all these guys.
All right, so you want to give us a little bit of details on the Vox amps before we jump into the pedalboard.
Yeah, sure.
Snowy's been playing out of Vox's for _ _ donkey's ears,
for years.
_ So we've carried [C] it on, and he gets a,
_ to my ear, a very signature dark, _
[F] powerful sound out of them.
And we're only, [C] AC30's only 30 watts, so we're running small wattage here for a big sound.
[F] He has the newer version on the main stage, so there's a master volume, but in production rehearsals, Snowy
_ set him up and worked with me a little bit.
So we have a little bit of break up on the amp itself, but he can get a nice, you know, clean enough tone,
you know, for the Pink Floyd stuff.
He pushes most everything with the Blues driver.
[G] The Blues driver is like the main distortion, you know, push pedal. _ _ _ _ _
[N] _ And that's, those are his settings for all the solos and
for a lot of the rhythm work.
And like he told you before, for really powerful
power chord rhythm work, he kicks in the second AC30, and for all the solos, he kicks in the second AC30.
So he's using the Ernie Ball volume pedal there, right?
[B] _ What's he use the OD3 for?
_ There's a point in the show called Snowy's note,
_ _ and it's one of the most exciting ones.
The wall's already built, no one can see us back here,
but it's one of the signature solos that goes on there.
And the first note, he slides up to this long
sustained note that he holds for, I don't know, a couple of minutes.
So [G#] we have the the overdrive pedal with the EQ set up, and I tune it in,
you know, roughly when the wall's up into the temperature of the room or the outdoors,
to find the sweet spot to where that sucker's going to [G#m] sustain. _
And then, you know, because it's rock and roll and things change by showtime, then Snowy has an idea where to go with it,
but he's got to find it and grab it, and he pulls it in and holds it.
It's really good fun back here. _ _ _ _ _
And then the rotary pedal?
The rotary pedal is used mainly as a chorus pedal.
We don't use it to ramp up and down like a Leslie.
[B] _
But he uses that on a lot of his solos too, you know.
You don't hear it as chorusing, you just hear it as thickness.
So it's tastefully done.
_ And then the M9, the Line 6 M9, is [Bm] used for all the echoes and some of the chorus.
And so that takes care of all the other echo and modulation stuff, anything like that.
[N] We have these D2 delays that are in the chicken run, and they're all _ _ set_
Well, the Floyd used to do this.
They did it on the albums, and they did it live,
to where the echoes are synced together.
In other words, they're all supposed to be the same timing.
So everybody has an external dialed-in echo, mainly for the tic-tic-tic-tic, that kind of stuff.
_ So they all have one, and that goes back to the chicken run.
Between the three of these guys, how many guitars are you taking care of every night? _
Counting the mandolin, the banjo, _ 27 _ guitars.
Keep busy, huh?
All the time.
All right, well thank you for showing us some of the details of the pedalboard and amps here for Snowy.
Sure.
From the standpoint of both recreating the tone and playing the show,
how much do you guys try to stay authentic, and how much do you take some liberty?
We try and stay pretty authentic, because basically that's what the boss wants.
You know, Roger wants to make it sound just about like the record.
_ Having said that, we do have a bit of freedom, but we're very aware that we have to keep everything in context. _
I think the only free part in the show for me is the solo in Brick 2, which I can do what I like really.
But _ we try and keep it all in context, because it's bigger than the music.
It's the whole theatre thing.
_ It's all timed, it's all click-tracked, it's to the millisecond, _ everything's linked [G] up.
So we basically have to keep it pretty straightforward.
[C] _
[G] I don't know if it's come across in the video, but [Dm] this is a really ridiculously huge production here.
It's really cool.
It's [D] difficult to get an idea of the size when [F] you look at it on a TV screen.
You have to be [E] here.
This [Am] is Rebecca Dirks for [Em] PremiereGuitar.com. _ _ _ _
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