Chords for Ty Tabor Interview part 4 - Legendary Tones
Tempo:
130.2 bpm
Chords used:
D
G
A
E
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em]
[Bb] [G] Originally, the way I [F] first heard the amp that ended up being that magic secret amp
[Em] that is on the first four Kings X records, there was a musician's [E] shop in North [Em] Jackson
that used to have shows in this little warehouse area in the back.
And there was this band I used to go see there that always played through the Lab Series stuff.
And it was to me the best guitar tone I had ever heard in my life.
[Dm] I just thought, wow, that is the [F] most amazing sounding amp I [G] have ever [E] heard.
I [Dm] plugged [E] into a couple of [D] them in the shop and everything, and I didn't really get [Em] that tone.
And I was a bit perplexed by it because it actually sounded terrible.
But that was where I [C] first became familiar [E] with the amp.
And then I moved up to Missouri in 1980.
And I was going to school at the time, and I was playing [D] in that band that Jerry was
[Em] playing in the band with me.
It's called the Tracy Zinn Band, by the way.
And the keyboardist in that band had a Lab Series L5 that he wanted to sell, so I [E] bought his.
So I had time to live with it [Dm] and [C] start learning how to tweak [Gm] it and try [E] different guitars
with different pickups and stuff on it.
And it started becoming like just [C] the tone.
[D] I love that amp.
At a certain point, a few years later, we got hired as a band to play [G] on an artist's
[D] album that was on the Star Song record label.
[C] That's [Bm] when we moved down [G] here to Houston because Star Song was here, [A] the other artist
was here, and we just needed to be here for rehearsing and doing tours and whatever.
During that time, I bought my first Strat Elite.
[D] The Strat Elite is a unique [A] Strat that was made only for a couple of years that had Fender
active electronic pickups in it, which were only used in that guitar.
It can't be found in any other [D] guitar anywhere.
Those [Am] pickups don't exist [F] anymore.
[Gm] I got a few of them [F] from the actual factory that they had left over at one point just
so we could get our hands on whatever we could get [Cm] our hands [G] on.
But they're very hard to find, [F] and they're one of the most [Cm] unique [G] pickups I've ever [F] played through.
They're some of the best [G] sounding pickups I've ever heard, but [D] because what [Eb] helps make
them [D] sound so good is also what's wrong with them.
They're very microphonic, and you can pick up a [G] lot of RF signal and [A] noise.
It was a difficult guitar to use at first because I never knew when I was going to be able to.
I'd go to some places, it would sound supreme.
[D] Go to other places, and get all [A] this buzz.
And Lab Series is bad for the same thing.
But at that point, I was using both.
When I finally bought another Lab, right around the same time I bought that Strat, and I put
the two together, I was really expecting a tone that made everybody go, wow.
And instead, [Eb] at first, [G] everybody was like going, yeah man, [D] not sure about the whole
[A] stratty kind of sound when we're trying to [Bb] be so heavy.
[A] It wasn't thought of as a good tone at [Gb] first, even within our band.
[B]
But after [Gbm] hearing it back within the [D] band on a few [Gm] things, live things and recording,
[A] and after starting to get a lot of people [Gb] talking to me about, what are you [A] playing
through, how are you getting that tone?
I started realizing, no, there's something here.
[Dm] And so did Doug and Jerry [Am] too at that point.
And then eventually, it became a thing where they wanted that tone.
When I tried to use a different [A] guitar, they'd be like, no man, we need that [D] stratty sound.
[A] It became a beloved tone, but [Gb] it took a little while to grow on [G] us.
It was a [A] combo of using several things that were wrong.
[Gm] For instance, my Lab, [N] at one point, it has a [F] negative and a positive [Gm] power section, apparently.
One side pushes, [Ab] the other side pulls.
I [Gm] blew out one section of the amp so that only one side [D] was either pushing or pulling.
And it [C] changed the tone.
And it [D] sounded really good to me all of a sudden.
[Am] I took it in to get it repaired because something obviously blew or whatever.
But I was like, will this thing [C] continue to play this way?
And the guy goes, well, [D] have you ever thought about [A] taking the power section out completely
and using it just as a head?
[C] And I run it through some Celestion speakers, some of the cabs, like a Marshall [F] cab, [Eb] the
cabs that you really like.
[Dm] So that's what I started doing.
I had power sections taken out [Am] entirely at [D] that point.
Started using them strictly as a [G] preamp.
[A] So all of this stuff was a matter of being forced into doing [D] so to make the system work.
And before I was done [A] with it all, I had five or six pedals that gave a certain tone, that
[D] changed this EQ and gave this [A] amount of gain.
All this different stuff that ended up [G] being a [D] load of trouble.
[A] Because everything was stuff you couldn't get your hands on, stuff that [D] would break
easily, it was [A] not road ready.
It was just a nightmare.
But [G] it was [F] one of the most [E] unique tones [B] I've ever [Gb] heard.
But it became [B] impossible.
[E] It was shutting down shows, [A] literally, [E] because I couldn't get gear to work.
On Dogmen, I [Abm] went to Dual Rectifiers at that [Bb] point.
I had a good [Ab] relationship with the people at [G] Boogie who was using their [Gb] power already.
They [E] had, I [G] think, customized a couple of [Ab] cabinets for me by packing them [Dbm] and [Abm] stuff.
They were just great.
They were awesome to work with.
Just super [Ab] supportive.
Had [G] good friends there.
[Ab] So yeah, I decided to try the [G] Dual Rectifier because [Gb] I was hearing [Dbm] some stuff out there
with [E] that amp that [Bbm] [Bm] was blowing me away.
Just [Ab] like with any amp, you can't just go buy an amp because you [Gb] hear a tone [E] on an album
[G] and [Dbm] plug it in and get the same tone.
[B] All of us know [Ebm] that it doesn't work that way.
It [Abm] took working with it, like working with the [Db] Lab Series, there was [Gb] just one mega [Bm] sweet
spot for a [Db] tone [Ab] and it had to be found.
[B] But once you found that sweet spot, it did something you couldn't get with any other [G] amp.
[Dbm] [F]
[Bb] [G] Originally, the way I [F] first heard the amp that ended up being that magic secret amp
[Em] that is on the first four Kings X records, there was a musician's [E] shop in North [Em] Jackson
that used to have shows in this little warehouse area in the back.
And there was this band I used to go see there that always played through the Lab Series stuff.
And it was to me the best guitar tone I had ever heard in my life.
[Dm] I just thought, wow, that is the [F] most amazing sounding amp I [G] have ever [E] heard.
I [Dm] plugged [E] into a couple of [D] them in the shop and everything, and I didn't really get [Em] that tone.
And I was a bit perplexed by it because it actually sounded terrible.
But that was where I [C] first became familiar [E] with the amp.
And then I moved up to Missouri in 1980.
And I was going to school at the time, and I was playing [D] in that band that Jerry was
[Em] playing in the band with me.
It's called the Tracy Zinn Band, by the way.
And the keyboardist in that band had a Lab Series L5 that he wanted to sell, so I [E] bought his.
So I had time to live with it [Dm] and [C] start learning how to tweak [Gm] it and try [E] different guitars
with different pickups and stuff on it.
And it started becoming like just [C] the tone.
[D] I love that amp.
At a certain point, a few years later, we got hired as a band to play [G] on an artist's
[D] album that was on the Star Song record label.
[C] That's [Bm] when we moved down [G] here to Houston because Star Song was here, [A] the other artist
was here, and we just needed to be here for rehearsing and doing tours and whatever.
During that time, I bought my first Strat Elite.
[D] The Strat Elite is a unique [A] Strat that was made only for a couple of years that had Fender
active electronic pickups in it, which were only used in that guitar.
It can't be found in any other [D] guitar anywhere.
Those [Am] pickups don't exist [F] anymore.
[Gm] I got a few of them [F] from the actual factory that they had left over at one point just
so we could get our hands on whatever we could get [Cm] our hands [G] on.
But they're very hard to find, [F] and they're one of the most [Cm] unique [G] pickups I've ever [F] played through.
They're some of the best [G] sounding pickups I've ever heard, but [D] because what [Eb] helps make
them [D] sound so good is also what's wrong with them.
They're very microphonic, and you can pick up a [G] lot of RF signal and [A] noise.
It was a difficult guitar to use at first because I never knew when I was going to be able to.
I'd go to some places, it would sound supreme.
[D] Go to other places, and get all [A] this buzz.
And Lab Series is bad for the same thing.
But at that point, I was using both.
When I finally bought another Lab, right around the same time I bought that Strat, and I put
the two together, I was really expecting a tone that made everybody go, wow.
And instead, [Eb] at first, [G] everybody was like going, yeah man, [D] not sure about the whole
[A] stratty kind of sound when we're trying to [Bb] be so heavy.
[A] It wasn't thought of as a good tone at [Gb] first, even within our band.
[B]
But after [Gbm] hearing it back within the [D] band on a few [Gm] things, live things and recording,
[A] and after starting to get a lot of people [Gb] talking to me about, what are you [A] playing
through, how are you getting that tone?
I started realizing, no, there's something here.
[Dm] And so did Doug and Jerry [Am] too at that point.
And then eventually, it became a thing where they wanted that tone.
When I tried to use a different [A] guitar, they'd be like, no man, we need that [D] stratty sound.
[A] It became a beloved tone, but [Gb] it took a little while to grow on [G] us.
It was a [A] combo of using several things that were wrong.
[Gm] For instance, my Lab, [N] at one point, it has a [F] negative and a positive [Gm] power section, apparently.
One side pushes, [Ab] the other side pulls.
I [Gm] blew out one section of the amp so that only one side [D] was either pushing or pulling.
And it [C] changed the tone.
And it [D] sounded really good to me all of a sudden.
[Am] I took it in to get it repaired because something obviously blew or whatever.
But I was like, will this thing [C] continue to play this way?
And the guy goes, well, [D] have you ever thought about [A] taking the power section out completely
and using it just as a head?
[C] And I run it through some Celestion speakers, some of the cabs, like a Marshall [F] cab, [Eb] the
cabs that you really like.
[Dm] So that's what I started doing.
I had power sections taken out [Am] entirely at [D] that point.
Started using them strictly as a [G] preamp.
[A] So all of this stuff was a matter of being forced into doing [D] so to make the system work.
And before I was done [A] with it all, I had five or six pedals that gave a certain tone, that
[D] changed this EQ and gave this [A] amount of gain.
All this different stuff that ended up [G] being a [D] load of trouble.
[A] Because everything was stuff you couldn't get your hands on, stuff that [D] would break
easily, it was [A] not road ready.
It was just a nightmare.
But [G] it was [F] one of the most [E] unique tones [B] I've ever [Gb] heard.
But it became [B] impossible.
[E] It was shutting down shows, [A] literally, [E] because I couldn't get gear to work.
On Dogmen, I [Abm] went to Dual Rectifiers at that [Bb] point.
I had a good [Ab] relationship with the people at [G] Boogie who was using their [Gb] power already.
They [E] had, I [G] think, customized a couple of [Ab] cabinets for me by packing them [Dbm] and [Abm] stuff.
They were just great.
They were awesome to work with.
Just super [Ab] supportive.
Had [G] good friends there.
[Ab] So yeah, I decided to try the [G] Dual Rectifier because [Gb] I was hearing [Dbm] some stuff out there
with [E] that amp that [Bbm] [Bm] was blowing me away.
Just [Ab] like with any amp, you can't just go buy an amp because you [Gb] hear a tone [E] on an album
[G] and [Dbm] plug it in and get the same tone.
[B] All of us know [Ebm] that it doesn't work that way.
It [Abm] took working with it, like working with the [Db] Lab Series, there was [Gb] just one mega [Bm] sweet
spot for a [Db] tone [Ab] and it had to be found.
[B] But once you found that sweet spot, it did something you couldn't get with any other [G] amp.
[Dbm] [F]
Key:
D
G
A
E
F
D
G
A
[Em] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Bb] _ _ [G] Originally, the way I [F] first heard the amp that ended up being that magic secret amp
[Em] that is on the first four Kings X records, there was a musician's [E] shop in North [Em] Jackson
that used to have shows in this little warehouse area in the back.
And there was this band I used to go see there that always played through the Lab Series stuff.
And it was to me the best guitar tone I had ever heard in my life.
[Dm] I just thought, wow, that is the [F] most amazing sounding amp I [G] have ever [E] heard.
I [Dm] plugged [E] into a couple of [D] them in the shop and everything, and I didn't really get [Em] that tone.
_ And I was a bit perplexed by it because it actually sounded terrible.
But that was where I [C] first became familiar [E] with the amp.
And then I moved up to Missouri in 1980. _
And I was going to school at the time, and I was playing [D] in that band that Jerry was
[Em] playing in the band with me.
It's called the Tracy Zinn Band, by the way.
And the keyboardist in that band had a Lab Series L5 that he wanted to sell, so I [E] bought his.
So I had time to live with it [Dm] and [C] start learning how to tweak [Gm] it and try [E] different guitars
with different pickups and stuff on it.
And it started becoming like just [C] the tone.
[D] I love that amp.
_ At a certain point, a few years later, we got hired as a band to play [G] on an artist's
[D] album that was on the Star Song record label.
[C] That's [Bm] when we moved down [G] here to Houston because Star Song was here, [A] the other artist
was here, and we just needed to be here for rehearsing and doing tours and whatever.
During that time, I bought my first Strat Elite.
[D] The Strat Elite is a unique [A] Strat that was made only for a couple of years that had Fender
active electronic pickups in it, which were only used in that guitar.
It can't be found in any other [D] guitar anywhere.
Those [Am] pickups don't exist [F] anymore.
[Gm] I got a few of them [F] from the actual factory that they had left over at one point just
so we could get our hands on whatever we could get [Cm] our hands [G] on.
But they're very hard to find, [F] and they're one of the most [Cm] unique [G] pickups I've ever [F] played through.
They're some of the best [G] sounding pickups I've ever heard, but [D] because what [Eb] helps make
them [D] sound so good is also what's wrong with them.
They're very microphonic, and you can pick up a [G] lot of RF signal and [A] noise.
It was a difficult guitar to use at first because I never knew when I was going to be able to.
I'd go to some places, it would sound supreme.
[D] Go to other places, and get all [A] this buzz.
And Lab Series is bad for the same thing.
But at that point, I was using both.
When I finally bought another Lab, right around the same time I bought that Strat, and I put
the two together, I was really expecting a tone that made everybody go, wow.
_ And instead, [Eb] _ at first, [G] everybody was like going, _ yeah man, [D] not sure about the whole
[A] stratty kind of sound when we're trying to [Bb] be so heavy.
[A] _ It wasn't thought of as a good tone at [Gb] first, even within our band.
[B] _
But after [Gbm] hearing it back within the [D] band on a few [Gm] things, live things and recording,
[A] and after starting to get a lot of people [Gb] talking to me about, what are you [A] playing
through, how are you getting that tone?
I started realizing, no, there's something here.
_ [Dm] And so did Doug and Jerry [Am] too at that point.
And then eventually, it became a thing where they wanted that tone.
When I tried to use a different [A] guitar, they'd be like, no man, we need that [D] stratty sound.
_ [A] It became a beloved tone, but [Gb] it took a little while to grow on [G] us.
It was a [A] combo of using _ several things that were wrong.
[Gm] For instance, my Lab, [N] at one point, it has a [F] negative and a positive [Gm] power section, apparently.
One side pushes, [Ab] the other side pulls.
I [Gm] blew out one section of the amp so that only one side [D] was either pushing or pulling.
And it [C] changed the tone.
_ And it [D] sounded really good to me all of a sudden.
[Am] I took it in to get it repaired because something obviously blew or whatever.
But I was like, will this thing [C] continue to play this way?
And the guy goes, well, [D] have you ever thought about _ [A] taking the power section out completely
and using it just as a head?
_ [C] And I run it through some Celestion speakers, some of the cabs, like a Marshall [F] cab, [Eb] the
cabs that you really like.
[Dm] So that's what I started doing.
I had power sections taken out [Am] entirely at [D] that point.
Started using them strictly as a [G] preamp.
[A] So all of this stuff was a matter of being forced into doing [D] so to make the system work.
And before I was done [A] with it all, I had five or six pedals that gave a certain tone, that
[D] changed this EQ and gave this [A] amount of gain.
All this different stuff that ended up [G] being a [D] load of trouble.
[A] Because everything was stuff you couldn't get your hands on, stuff that [D] would break
easily, it was [A] not road ready.
It was just a nightmare.
But [G] it was [F] one of the most [E] unique tones _ [B] I've ever [Gb] heard.
But it became [B] impossible.
[E] It was shutting down shows, [A] literally, [E] because I couldn't get gear to work.
_ On Dogmen, I [Abm] went to Dual Rectifiers at that [Bb] point. _
I had a good [Ab] relationship with the people at [G] Boogie who was using their [Gb] power already.
They [E] had, I [G] think, customized a couple of [Ab] cabinets for me by packing them [Dbm] and [Abm] stuff.
_ They were just great.
They were awesome to work with.
Just super [Ab] supportive.
Had [G] good friends there.
[Ab] So yeah, I decided to try the [G] Dual Rectifier because [Gb] I was hearing [Dbm] some stuff out there
with [E] that amp that [Bbm] _ [Bm] was blowing me away.
_ Just [Ab] like with any amp, you can't just go buy an amp because you [Gb] hear a tone [E] on an album
[G] and [Dbm] plug it in and get the same tone.
[B] All of us know [Ebm] that it doesn't work that way.
It [Abm] took working with it, like working with the [Db] Lab Series, there was [Gb] just one mega [Bm] sweet
spot for a [Db] tone [Ab] and it had to be found.
_ [B] But once you found that sweet spot, it did something you couldn't get with any other [G] amp.
[Dbm] _ _ _ _ _ [F] _
_ _ _ _ _ _ _ _
_ _ _ [Bb] _ _ [G] Originally, the way I [F] first heard the amp that ended up being that magic secret amp
[Em] that is on the first four Kings X records, there was a musician's [E] shop in North [Em] Jackson
that used to have shows in this little warehouse area in the back.
And there was this band I used to go see there that always played through the Lab Series stuff.
And it was to me the best guitar tone I had ever heard in my life.
[Dm] I just thought, wow, that is the [F] most amazing sounding amp I [G] have ever [E] heard.
I [Dm] plugged [E] into a couple of [D] them in the shop and everything, and I didn't really get [Em] that tone.
_ And I was a bit perplexed by it because it actually sounded terrible.
But that was where I [C] first became familiar [E] with the amp.
And then I moved up to Missouri in 1980. _
And I was going to school at the time, and I was playing [D] in that band that Jerry was
[Em] playing in the band with me.
It's called the Tracy Zinn Band, by the way.
And the keyboardist in that band had a Lab Series L5 that he wanted to sell, so I [E] bought his.
So I had time to live with it [Dm] and [C] start learning how to tweak [Gm] it and try [E] different guitars
with different pickups and stuff on it.
And it started becoming like just [C] the tone.
[D] I love that amp.
_ At a certain point, a few years later, we got hired as a band to play [G] on an artist's
[D] album that was on the Star Song record label.
[C] That's [Bm] when we moved down [G] here to Houston because Star Song was here, [A] the other artist
was here, and we just needed to be here for rehearsing and doing tours and whatever.
During that time, I bought my first Strat Elite.
[D] The Strat Elite is a unique [A] Strat that was made only for a couple of years that had Fender
active electronic pickups in it, which were only used in that guitar.
It can't be found in any other [D] guitar anywhere.
Those [Am] pickups don't exist [F] anymore.
[Gm] I got a few of them [F] from the actual factory that they had left over at one point just
so we could get our hands on whatever we could get [Cm] our hands [G] on.
But they're very hard to find, [F] and they're one of the most [Cm] unique [G] pickups I've ever [F] played through.
They're some of the best [G] sounding pickups I've ever heard, but [D] because what [Eb] helps make
them [D] sound so good is also what's wrong with them.
They're very microphonic, and you can pick up a [G] lot of RF signal and [A] noise.
It was a difficult guitar to use at first because I never knew when I was going to be able to.
I'd go to some places, it would sound supreme.
[D] Go to other places, and get all [A] this buzz.
And Lab Series is bad for the same thing.
But at that point, I was using both.
When I finally bought another Lab, right around the same time I bought that Strat, and I put
the two together, I was really expecting a tone that made everybody go, wow.
_ And instead, [Eb] _ at first, [G] everybody was like going, _ yeah man, [D] not sure about the whole
[A] stratty kind of sound when we're trying to [Bb] be so heavy.
[A] _ It wasn't thought of as a good tone at [Gb] first, even within our band.
[B] _
But after [Gbm] hearing it back within the [D] band on a few [Gm] things, live things and recording,
[A] and after starting to get a lot of people [Gb] talking to me about, what are you [A] playing
through, how are you getting that tone?
I started realizing, no, there's something here.
_ [Dm] And so did Doug and Jerry [Am] too at that point.
And then eventually, it became a thing where they wanted that tone.
When I tried to use a different [A] guitar, they'd be like, no man, we need that [D] stratty sound.
_ [A] It became a beloved tone, but [Gb] it took a little while to grow on [G] us.
It was a [A] combo of using _ several things that were wrong.
[Gm] For instance, my Lab, [N] at one point, it has a [F] negative and a positive [Gm] power section, apparently.
One side pushes, [Ab] the other side pulls.
I [Gm] blew out one section of the amp so that only one side [D] was either pushing or pulling.
And it [C] changed the tone.
_ And it [D] sounded really good to me all of a sudden.
[Am] I took it in to get it repaired because something obviously blew or whatever.
But I was like, will this thing [C] continue to play this way?
And the guy goes, well, [D] have you ever thought about _ [A] taking the power section out completely
and using it just as a head?
_ [C] And I run it through some Celestion speakers, some of the cabs, like a Marshall [F] cab, [Eb] the
cabs that you really like.
[Dm] So that's what I started doing.
I had power sections taken out [Am] entirely at [D] that point.
Started using them strictly as a [G] preamp.
[A] So all of this stuff was a matter of being forced into doing [D] so to make the system work.
And before I was done [A] with it all, I had five or six pedals that gave a certain tone, that
[D] changed this EQ and gave this [A] amount of gain.
All this different stuff that ended up [G] being a [D] load of trouble.
[A] Because everything was stuff you couldn't get your hands on, stuff that [D] would break
easily, it was [A] not road ready.
It was just a nightmare.
But [G] it was [F] one of the most [E] unique tones _ [B] I've ever [Gb] heard.
But it became [B] impossible.
[E] It was shutting down shows, [A] literally, [E] because I couldn't get gear to work.
_ On Dogmen, I [Abm] went to Dual Rectifiers at that [Bb] point. _
I had a good [Ab] relationship with the people at [G] Boogie who was using their [Gb] power already.
They [E] had, I [G] think, customized a couple of [Ab] cabinets for me by packing them [Dbm] and [Abm] stuff.
_ They were just great.
They were awesome to work with.
Just super [Ab] supportive.
Had [G] good friends there.
[Ab] So yeah, I decided to try the [G] Dual Rectifier because [Gb] I was hearing [Dbm] some stuff out there
with [E] that amp that [Bbm] _ [Bm] was blowing me away.
_ Just [Ab] like with any amp, you can't just go buy an amp because you [Gb] hear a tone [E] on an album
[G] and [Dbm] plug it in and get the same tone.
[B] All of us know [Ebm] that it doesn't work that way.
It [Abm] took working with it, like working with the [Db] Lab Series, there was [Gb] just one mega [Bm] sweet
spot for a [Db] tone [Ab] and it had to be found.
_ [B] But once you found that sweet spot, it did something you couldn't get with any other [G] amp.
[Dbm] _ _ _ _ _ [F] _