Chords for Мик Томсон (Slipknot) рассказывает о своем Ibanez MTM100
Tempo:
92.6 bpm
Chords used:
B
E
C#m
F#
G#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[Bm] This [B] is Mick from Slipknot.
my Vanez.
why it is the way it [C] is.
[F#] [G] About a year and a half ago, [G#] I got a chance to look at some different designs that [Cm] they
jumped out.
puts my [B] elbow out, my arm out.
body, your arm laid over the body
allows a
my Vanez.
why it is the way it [C] is.
[F#] [G] About a year and a half ago, [G#] I got a chance to look at some different designs that [Cm] they
jumped out.
puts my [B] elbow out, my arm out.
body, your arm laid over the body
allows a
100% ➙ 93BPM
B
E
C#m
F#
G#
B
E
C#m
_ _ [Bm] _ _ This _ _ _ _ _ _ _ _ [B] is Mick from Slipknot.
Just want to take you through my new MTM100 signature model, my Vanez.
Show you some of the features and talk a little bit about why it is the way it [C] is. _ _ _ _ _
[F#] _ _ [G] About a year and a half ago, [G#] I got a chance to look at some different designs that [Cm] they
were thinking about putting into [B] production.
This was one of them [B] and it immediately jumped out.
[C] _ [B] I liked it.
[F] One thing I [E] really like is the way it puts my [B] elbow out, my arm out.
So instead of having to pick from your wrist with your body, your arm laid over the body
of the guitar, I mean obviously you can still pick from your wrist, but it just allows a
nice resting point where you can pivot from your elbow [G#] and you can keep your wrist tighter.
And I find for me anyway that it's [B] much more comfortable when I'm doing speed picking,
rhythm stuff.
_ So, construction of the guitar, it's a five piece laminated neck through with walnut and maple.
Very, very strong neck.
Doesn't want to move.
Not all rubbery, not noodley in any way.
_ _ _ The bridges that I use are [C#] fixed.
I mean I love [A] the ability to have the string terminate here, [G#] lock, [D#] fine tuners, but then
you don't have the hole knock in the body, [E] so you've got just that much more [B] mass in your body.
A bunch of mass added when you throw this bridge in.
It's a fairly hefty bridge [C#m] design.
_ [E] On these there is a volute [F#] on the back of the [E] neck for strength.
[C#] _ _ [E] Again, theoretically it could add a little [F#] bit to the overall [A] sound.
I mean it [B] helps any kind of mass you add [G] through here.
Typically [B] it's going to sound better.
I mean when you [F#] really thin a neck out too much, you start losing tone, but you gain
playability, so this is a really [C#m] good combination of the two.
You don't give up too much wood, you don't sacrifice the playability.
It's a Wizard 3 neck.
[E] _
My fretboard, this is rosewood, [A#] pretty flat.
I like my fingerboards fairly wide and flat.
I mean it's sort of like an electric version of a [C#m] classical neck, almost.
And overall, the guitar is not, [E] it looks like it's kind of big, but it's not really actually that big.
It strikes a balance.
It's not too big, but it's big enough that [B] you hit a note [C#m] and it just holds.
I mean [B] there's a marked difference over most.
_ _ [E] _
_ [G#] The sustain is pretty [E] amazing.
It is a big difference.
[G#] And as with all my guitars [B] that I have made, it's got [E] reversed headstock, [B]
my seven inlays,
[F#] _ _ _ [Em] and [B] one volume knob with a switch.
[E] _ _ [C#m] Three way switch, [E]
neck, both, bridge.
_ I find that for playing metal, how often do you ever touch a tone control?
[A] And every pot you run to, [E] you're going to run a little signal to the ground, so you'll
actually end up with a little bit of a hotter signal running just to [B] your volume.
[A] And using the switch to split [E] them.
So why give up any signal to [B] something that you're not [D] going to use in the first place?
So [B] that even helps with the output [C#m] on the guitar.
[B] So the pickups were designed with this kind of guitar in mind.
What [G#] works best when [B] something is purpose built for [A] big [B] strings and low tuning as opposed
to just forcing [C#m] something to work.
And [D#] it really makes a big [D] difference.
It ends up [B] being a lot tighter.
_ [A] It doesn't sacrifice any bottom end to stay tight.
_ [B] It's just the way it handles the frequencies.
They just did a great job of finding what this particular frequency spectrum needs optimally
[G] and then tuning the pickup more in [E] that range.
And I've put these in [C#m] a bunch of [E] guitars that are tuned up to E and they [C#] sound great too.
So this [B] is the MTM [G#]-100.
The _ [B] higher [F#] model.
Neck [Em] through.
_ [C#m] _ _ It's also available in a bolt-on version, the MTM-10.
Not giving up much, but [E] these right out of the [F#] box, [E] straight in the studio.
[G] They're perfect.
[G#m] _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [C#] _
_ _ [B] _ _ _ _ _ [N] _
_ _ _ _ _ _ _ _
Just want to take you through my new MTM100 signature model, my Vanez.
Show you some of the features and talk a little bit about why it is the way it [C] is. _ _ _ _ _
[F#] _ _ [G] About a year and a half ago, [G#] I got a chance to look at some different designs that [Cm] they
were thinking about putting into [B] production.
This was one of them [B] and it immediately jumped out.
[C] _ [B] I liked it.
[F] One thing I [E] really like is the way it puts my [B] elbow out, my arm out.
So instead of having to pick from your wrist with your body, your arm laid over the body
of the guitar, I mean obviously you can still pick from your wrist, but it just allows a
nice resting point where you can pivot from your elbow [G#] and you can keep your wrist tighter.
And I find for me anyway that it's [B] much more comfortable when I'm doing speed picking,
rhythm stuff.
_ So, construction of the guitar, it's a five piece laminated neck through with walnut and maple.
Very, very strong neck.
Doesn't want to move.
Not all rubbery, not noodley in any way.
_ _ _ The bridges that I use are [C#] fixed.
I mean I love [A] the ability to have the string terminate here, [G#] lock, [D#] fine tuners, but then
you don't have the hole knock in the body, [E] so you've got just that much more [B] mass in your body.
A bunch of mass added when you throw this bridge in.
It's a fairly hefty bridge [C#m] design.
_ [E] On these there is a volute [F#] on the back of the [E] neck for strength.
[C#] _ _ [E] Again, theoretically it could add a little [F#] bit to the overall [A] sound.
I mean it [B] helps any kind of mass you add [G] through here.
Typically [B] it's going to sound better.
I mean when you [F#] really thin a neck out too much, you start losing tone, but you gain
playability, so this is a really [C#m] good combination of the two.
You don't give up too much wood, you don't sacrifice the playability.
It's a Wizard 3 neck.
[E] _
My fretboard, this is rosewood, [A#] pretty flat.
I like my fingerboards fairly wide and flat.
I mean it's sort of like an electric version of a [C#m] classical neck, almost.
And overall, the guitar is not, [E] it looks like it's kind of big, but it's not really actually that big.
It strikes a balance.
It's not too big, but it's big enough that [B] you hit a note [C#m] and it just holds.
I mean [B] there's a marked difference over most.
_ _ [E] _
_ [G#] The sustain is pretty [E] amazing.
It is a big difference.
[G#] And as with all my guitars [B] that I have made, it's got [E] reversed headstock, [B]
my seven inlays,
[F#] _ _ _ [Em] and [B] one volume knob with a switch.
[E] _ _ [C#m] Three way switch, [E]
neck, both, bridge.
_ I find that for playing metal, how often do you ever touch a tone control?
[A] And every pot you run to, [E] you're going to run a little signal to the ground, so you'll
actually end up with a little bit of a hotter signal running just to [B] your volume.
[A] And using the switch to split [E] them.
So why give up any signal to [B] something that you're not [D] going to use in the first place?
So [B] that even helps with the output [C#m] on the guitar.
[B] So the pickups were designed with this kind of guitar in mind.
What [G#] works best when [B] something is purpose built for [A] big [B] strings and low tuning as opposed
to just forcing [C#m] something to work.
And [D#] it really makes a big [D] difference.
It ends up [B] being a lot tighter.
_ [A] It doesn't sacrifice any bottom end to stay tight.
_ [B] It's just the way it handles the frequencies.
They just did a great job of finding what this particular frequency spectrum needs optimally
[G] and then tuning the pickup more in [E] that range.
And I've put these in [C#m] a bunch of [E] guitars that are tuned up to E and they [C#] sound great too.
So this [B] is the MTM [G#]-100.
The _ [B] higher [F#] model.
Neck [Em] through.
_ [C#m] _ _ It's also available in a bolt-on version, the MTM-10.
Not giving up much, but [E] these right out of the [F#] box, [E] straight in the studio.
[G] They're perfect.
[G#m] _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [C#] _
_ _ [B] _ _ _ _ _ [N] _
_ _ _ _ _ _ _ _