Chords for Synyster Gates Schecter Hellwin Signature Amp At: Guitar Center
Tempo:
85 bpm
Chords used:
E
A
F
G
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A]
[E] [F] [E] [N] I developed an amp with Schecter because they're a fabulous company and they let me come in and pretty much just design what I wanted to do.
So we basically commissioned one of the best amp designers of all time to come in and do this.
James Brown who did the 5150 for EVH and a bunch of other stuff, but just a really brilliant and unique guy.
He takes all the improper adjectives and everything and kind of translates it into sound and he does a very good job with it.
Especially me, I don't know really what the hell I'm talking about, I just know what I like.
I was definitely looking for, believe it or not, an unbelievably amazing clean.
That was one of my number one priorities.
I knew he was going to kill the distortion.
I wasn't even worried about that.
So I really wanted an amazing clean and I wanted this thing to play beautifully.
We have two different clean voicings, one being the USA.
[E] And then you have the UK voicing, which I'd probably use this for more rock type of [Em] stuff.
[D] [C] [G]
[D] [E]
Another [G] very important thing, needed to have great break up, great resonance.
And so the recommendation was all birch, really fucking thick wood, Celestion Vintage 30s, all USA made.
And it just cranks, it pushes air, it breaks up unbelievably and it just has a great resonance to it.
Playability got there right away, the clean channel was amazing from the get go.
The distortion, the actual sound of the amp came together really really fast.
This gate was a bitch to figure out.
We dealt with this particular type of gate that's not this kind of square thing where it just comes in and out.
It's very forgiving and smooth and delicate and it just pertains to the distortion channels.
So basically if you were to apply a gate over the whole amp via stop box or something like that, it would affect the clean too.
And if you have your amps really really loud, which we like to get because this amp sounds really really amazing cranked with all the break up.
It just sounds phenomenal.
But you'd turn to clean and then you'd hear that kind of phasey, it just really thins out your tone and adds this unwanted texture.
I don't know, I've had troubles with gates before in the past.
It's a great idea, but it was a very difficult process getting it to actually work.
And we had to curve it different ways, but we got it figured out and it [E] fucking works.
[A] [Bb] [G] [E] [G]
It goes to basically nothing, but you [E] still get
[F] [C] [A]
[C] [Bb] [A] [F] [E]
[F] [E]
[E] [F] [E] [N] I developed an amp with Schecter because they're a fabulous company and they let me come in and pretty much just design what I wanted to do.
So we basically commissioned one of the best amp designers of all time to come in and do this.
James Brown who did the 5150 for EVH and a bunch of other stuff, but just a really brilliant and unique guy.
He takes all the improper adjectives and everything and kind of translates it into sound and he does a very good job with it.
Especially me, I don't know really what the hell I'm talking about, I just know what I like.
I was definitely looking for, believe it or not, an unbelievably amazing clean.
That was one of my number one priorities.
I knew he was going to kill the distortion.
I wasn't even worried about that.
So I really wanted an amazing clean and I wanted this thing to play beautifully.
We have two different clean voicings, one being the USA.
[E] And then you have the UK voicing, which I'd probably use this for more rock type of [Em] stuff.
[D] [C] [G]
[D] [E]
Another [G] very important thing, needed to have great break up, great resonance.
And so the recommendation was all birch, really fucking thick wood, Celestion Vintage 30s, all USA made.
And it just cranks, it pushes air, it breaks up unbelievably and it just has a great resonance to it.
Playability got there right away, the clean channel was amazing from the get go.
The distortion, the actual sound of the amp came together really really fast.
This gate was a bitch to figure out.
We dealt with this particular type of gate that's not this kind of square thing where it just comes in and out.
It's very forgiving and smooth and delicate and it just pertains to the distortion channels.
So basically if you were to apply a gate over the whole amp via stop box or something like that, it would affect the clean too.
And if you have your amps really really loud, which we like to get because this amp sounds really really amazing cranked with all the break up.
It just sounds phenomenal.
But you'd turn to clean and then you'd hear that kind of phasey, it just really thins out your tone and adds this unwanted texture.
I don't know, I've had troubles with gates before in the past.
It's a great idea, but it was a very difficult process getting it to actually work.
And we had to curve it different ways, but we got it figured out and it [E] fucking works.
[A] [Bb] [G] [E] [G]
It goes to basically nothing, but you [E] still get
[F] [C] [A]
[C] [Bb] [A] [F] [E]
[F] [E]
Key:
E
A
F
G
C
E
A
F
_ _ _ _ _ _ [A] _ _
[E] _ [F] _ _ _ [E] _ [N] _ I developed an amp with Schecter because they're a fabulous company and they let me come in and pretty much just design what I wanted to do.
So we basically commissioned one of the best amp designers of all time to come in and do this.
James Brown who did the 5150 for EVH and a bunch of other stuff, but just a really brilliant and unique guy.
He takes all the improper adjectives and everything and kind of translates it into sound and he does a very good job with it.
Especially me, I don't know really what the hell I'm talking about, I just know what I like.
I was definitely looking for, believe it or not, an unbelievably amazing clean.
That was one of my number one priorities.
I knew he was going to kill the distortion.
I wasn't even worried about that.
So I really wanted an amazing clean and I wanted this thing to play beautifully.
We have two different clean voicings, one being the USA.
_ _ _ [E] _ And then you have the UK voicing, which I'd probably use this for more rock type of [Em] stuff.
_ [D] _ _ [C] _ _ [G] _
_ _ [D] _ _ _ [E] _ _
Another [G] very important thing, needed to have great break up, great resonance.
And so the recommendation was all birch, really fucking thick wood, Celestion Vintage 30s, all USA made.
And it just cranks, it pushes air, it breaks up unbelievably and it just has a great resonance to it.
Playability got there right away, the clean channel was amazing from the get go.
The distortion, the actual sound of the amp came together really really fast.
This gate was a bitch to figure out.
We dealt with this particular type of gate that's not this kind of square thing where it just comes in and out.
It's very forgiving and smooth and delicate and it just pertains to the distortion channels.
So basically if you were to apply a gate _ over the whole amp via stop box or something like that, it would affect the clean too.
And if you have your amps really really loud, which we like to get because this amp sounds really really amazing cranked with all the break up.
It just sounds phenomenal.
But you'd turn to clean and then you'd hear that kind of phasey, it just really thins out your tone and adds this unwanted texture.
I don't know, I've had troubles with gates before in the past.
It's a great idea, but it was a very difficult process getting it to actually work.
And we had to curve it different ways, but we got it figured out and it [E] fucking works. _ _ _ _
_ _ [A] _ [Bb] _ [G] _ [E] _ _ [G] _
It goes to basically nothing, but you [E] still get_
[F] _ _ _ [C] _ _ _ _ _ [A] _ _
[C] _ [Bb] _ [A] _ _ [F] _ [E] _ _ _
_ [F] _ _ [E] _ _ _ _ _
_ _ _ _ _ _ _ _
[E] _ [F] _ _ _ [E] _ [N] _ I developed an amp with Schecter because they're a fabulous company and they let me come in and pretty much just design what I wanted to do.
So we basically commissioned one of the best amp designers of all time to come in and do this.
James Brown who did the 5150 for EVH and a bunch of other stuff, but just a really brilliant and unique guy.
He takes all the improper adjectives and everything and kind of translates it into sound and he does a very good job with it.
Especially me, I don't know really what the hell I'm talking about, I just know what I like.
I was definitely looking for, believe it or not, an unbelievably amazing clean.
That was one of my number one priorities.
I knew he was going to kill the distortion.
I wasn't even worried about that.
So I really wanted an amazing clean and I wanted this thing to play beautifully.
We have two different clean voicings, one being the USA.
_ _ _ [E] _ And then you have the UK voicing, which I'd probably use this for more rock type of [Em] stuff.
_ [D] _ _ [C] _ _ [G] _
_ _ [D] _ _ _ [E] _ _
Another [G] very important thing, needed to have great break up, great resonance.
And so the recommendation was all birch, really fucking thick wood, Celestion Vintage 30s, all USA made.
And it just cranks, it pushes air, it breaks up unbelievably and it just has a great resonance to it.
Playability got there right away, the clean channel was amazing from the get go.
The distortion, the actual sound of the amp came together really really fast.
This gate was a bitch to figure out.
We dealt with this particular type of gate that's not this kind of square thing where it just comes in and out.
It's very forgiving and smooth and delicate and it just pertains to the distortion channels.
So basically if you were to apply a gate _ over the whole amp via stop box or something like that, it would affect the clean too.
And if you have your amps really really loud, which we like to get because this amp sounds really really amazing cranked with all the break up.
It just sounds phenomenal.
But you'd turn to clean and then you'd hear that kind of phasey, it just really thins out your tone and adds this unwanted texture.
I don't know, I've had troubles with gates before in the past.
It's a great idea, but it was a very difficult process getting it to actually work.
And we had to curve it different ways, but we got it figured out and it [E] fucking works. _ _ _ _
_ _ [A] _ [Bb] _ [G] _ [E] _ _ [G] _
It goes to basically nothing, but you [E] still get_
[F] _ _ _ [C] _ _ _ _ _ [A] _ _
[C] _ [Bb] _ [A] _ _ [F] _ [E] _ _ _
_ [F] _ _ [E] _ _ _ _ _
_ _ _ _ _ _ _ _