Chords for Beyond Backstage - Richie Kotzen - Secret Equipment- Rig Run Around
Tempo:
139.4 bpm
Chords used:
F
B
G
Fm
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Alright, so I'm Richie Cotsen today.
I'm going to show you my rig [F] and my guitar.
That's a Fender Telecaster, my signature model, and it's the guitar that I play off [B] the rack.
I do two [F] things to it, actually three things I do.
I sand the finish off, I add the drop detuner,
and I add this guitar tuner that lives inside the guitar.
Other than that, the guitar is totally as
it is off the rack.
Maple fingerboard, a little fatter neck, [G] that's what I like.
I have [B] fairly
large hands for my size.
Frets [F] are what they call 6100s.
The wood, curly maple top, and swamp ash
back.
I have the Marzio pickups, Flying King chopper key.
One unique feature about this Telecaster,
it has a comfort cup.
Most Telecasters are squared off in the back.
This one is not,
so it makes it more comfortable to play.
Other than that, there is one other feature.
In the
middle position, you get both pickups, which is normal, but rather than this being a tone knob,
it's a switch.
And it's a series parallel [G] switch, so that gives you some other [B] tonal options.
Take you through the pedals that I'm using.
Jim Dunlop, [F] Cry Baby, standard, classic,
original version.
No knobs [Fm] on the side, no switches, [F] no nonsense.
Here, I've got a pedal
that I designed with a company called Tech [B] 21.
This is an overdrive here, and we spent about
six months developing the overdrive.
It's a cool overdrive, because it's a normal overdrive,
and it has a boost feature.
[F] But, you can use them [B] independently of each other.
You've got,
actually you have one, two, three different overdrive options [F] within these two switches.
The delay [B] has a tap tempo feature, [F] a flutter feature, so you can get a chorusing effect.
You can set your tempo by hitting the spotlight.
Middle switch is a reverb, as well as a sans amp.
You set the sans amp settings relatively flat.
You can use this as only a reverb.
Doing a gig where you're on an amp that isn't your favorite amp to play through,
you can use the sans amp to kind of tweak the color and the response of the amp.
So,
it's a cool feature to have as an option.
The main point of this pedal in the design was to
make it small.
I wanted something that was very compact, that did take up a lot of space,
and did everything I needed it to do.
I'm not a fan of [B] big pedal boards.
I wanted everything in a small unit, hardwired together, and that's what this is.
It's a very
cool [F] unit.
A modification that I made to it, or actually my friend who built it made the modification,
we're sending fan and power out of this input, or yeah, from the input into the output of the wah,
and we're using a stereo cable.
So, what we've got is the wah being powered by that pedal,
and there's no battery in the wah.
You don't need another adapter, and it just simplifies
and streamlines my rig.
We had to modify the wah to do that, as well as this pedal, which is my
personal amp.
It's a Marshall 1959 HW, and [C#] that means hand-wired.
It's a 100 watt Marshall [B] head.
[F] They call this version a Flexi, because the front panel is flexiglass, and this, to me,
is the best Marshall for the kind of sound that I like, and the way that I play.
It's got a lot
of attack.
It's very percussive and responsive.
It has a nice bop to it, and when you crank it up,
it overdrives it really nice, and that's really it.
I'm running the bottom cabinet only,
mainly because I'm singing, so running this top cabinet would really make it difficult for me to
hear my voice.
So, we just run the bottom cabinet, and pretty much it.
I'm using a wireless, too.
This is a Line 6 model wireless.
It's very efficient.
Works well for me, and that's it.
[B] That's my
I'm going to show you my rig [F] and my guitar.
That's a Fender Telecaster, my signature model, and it's the guitar that I play off [B] the rack.
I do two [F] things to it, actually three things I do.
I sand the finish off, I add the drop detuner,
and I add this guitar tuner that lives inside the guitar.
Other than that, the guitar is totally as
it is off the rack.
Maple fingerboard, a little fatter neck, [G] that's what I like.
I have [B] fairly
large hands for my size.
Frets [F] are what they call 6100s.
The wood, curly maple top, and swamp ash
back.
I have the Marzio pickups, Flying King chopper key.
One unique feature about this Telecaster,
it has a comfort cup.
Most Telecasters are squared off in the back.
This one is not,
so it makes it more comfortable to play.
Other than that, there is one other feature.
In the
middle position, you get both pickups, which is normal, but rather than this being a tone knob,
it's a switch.
And it's a series parallel [G] switch, so that gives you some other [B] tonal options.
Take you through the pedals that I'm using.
Jim Dunlop, [F] Cry Baby, standard, classic,
original version.
No knobs [Fm] on the side, no switches, [F] no nonsense.
Here, I've got a pedal
that I designed with a company called Tech [B] 21.
This is an overdrive here, and we spent about
six months developing the overdrive.
It's a cool overdrive, because it's a normal overdrive,
and it has a boost feature.
[F] But, you can use them [B] independently of each other.
You've got,
actually you have one, two, three different overdrive options [F] within these two switches.
The delay [B] has a tap tempo feature, [F] a flutter feature, so you can get a chorusing effect.
You can set your tempo by hitting the spotlight.
Middle switch is a reverb, as well as a sans amp.
You set the sans amp settings relatively flat.
You can use this as only a reverb.
Doing a gig where you're on an amp that isn't your favorite amp to play through,
you can use the sans amp to kind of tweak the color and the response of the amp.
So,
it's a cool feature to have as an option.
The main point of this pedal in the design was to
make it small.
I wanted something that was very compact, that did take up a lot of space,
and did everything I needed it to do.
I'm not a fan of [B] big pedal boards.
I wanted everything in a small unit, hardwired together, and that's what this is.
It's a very
cool [F] unit.
A modification that I made to it, or actually my friend who built it made the modification,
we're sending fan and power out of this input, or yeah, from the input into the output of the wah,
and we're using a stereo cable.
So, what we've got is the wah being powered by that pedal,
and there's no battery in the wah.
You don't need another adapter, and it just simplifies
and streamlines my rig.
We had to modify the wah to do that, as well as this pedal, which is my
personal amp.
It's a Marshall 1959 HW, and [C#] that means hand-wired.
It's a 100 watt Marshall [B] head.
[F] They call this version a Flexi, because the front panel is flexiglass, and this, to me,
is the best Marshall for the kind of sound that I like, and the way that I play.
It's got a lot
of attack.
It's very percussive and responsive.
It has a nice bop to it, and when you crank it up,
it overdrives it really nice, and that's really it.
I'm running the bottom cabinet only,
mainly because I'm singing, so running this top cabinet would really make it difficult for me to
hear my voice.
So, we just run the bottom cabinet, and pretty much it.
I'm using a wireless, too.
This is a Line 6 model wireless.
It's very efficient.
Works well for me, and that's it.
[B] That's my
Key:
F
B
G
Fm
C#
F
B
G
Alright, so I'm Richie Cotsen today.
I'm going to show you my rig [F] and my guitar.
_ That's a Fender Telecaster, my signature model, and it's the guitar that I play off [B] the rack.
I do two [F] things to it, actually three things I do.
I sand the finish off, I add the drop detuner,
and I add this guitar tuner that lives _ inside the guitar.
Other than that, the guitar is totally as
it is off the rack.
_ Maple fingerboard, a little fatter neck, [G] that's what I like.
I have [B] fairly
large hands for my size.
_ Frets [F] are what they call 6100s.
The wood, _ curly maple top, and swamp ash
back.
I have the Marzio pickups, _ Flying King chopper key.
One unique feature about this Telecaster,
it has a comfort cup.
Most Telecasters are squared off in the back.
This one is not,
so it makes it more comfortable to play.
Other than that, there is one other feature.
In the
middle position, _ you get both pickups, which is normal, but rather than this being a tone knob,
it's a switch.
And it's a series parallel [G] switch, so that gives you some other [B] tonal options.
Take you through the pedals that I'm using.
_ Jim Dunlop, [F] Cry Baby, standard, classic,
original version.
No knobs [Fm] on the side, no switches, [F] no nonsense.
Here, I've got a _ pedal
that I designed with a company called Tech [B] 21.
_ This is an overdrive here, _ and we spent about
six months developing the overdrive.
It's a cool overdrive, because it's a normal overdrive,
and it has a boost feature.
[F] But, you can use them [B] independently of each other.
You've got,
actually you have one, two, _ three different _ overdrive options [F] within these two switches.
The delay [B] _ has a tap tempo feature, [F] a flutter feature, so you can get a chorusing effect.
You can set your tempo by hitting the spotlight.
Middle switch is a reverb, as well as a sans amp.
You set the sans amp settings relatively flat.
You can use this as only a reverb.
Doing a gig where you're on an amp that isn't your favorite amp to play through,
you can use the sans amp to kind of tweak the color _ and the response of the amp.
So,
it's a cool feature to have as an option.
_ The main point of this pedal in the design was to
make it small.
_ I wanted something that was very compact, that did take up a lot of space,
and did everything I needed it to do.
I'm not a fan of [B] big pedal boards.
_ _ I wanted everything in a small unit, hardwired together, and that's what this is.
It's a very
cool [F] unit.
A modification that I made to it, or actually my friend who built it made the modification,
_ _ we're sending fan and power out of this input, or yeah, from the input into the output of the wah, _
and we're using a stereo cable.
So, what we've got is _ the wah being powered by that pedal,
and there's no battery in the wah.
You don't need another adapter, and it just simplifies
and streamlines my rig.
_ _ We had to modify the wah to do that, as well as this pedal, which is my _
personal amp.
_ It's a Marshall _ _ 1959 HW, and [C#] that means hand-wired.
It's a 100 watt Marshall [B] head.
_ [F] They call this version a Flexi, because the front panel is _ _ flexiglass, _ and this, to me,
is the best Marshall for the kind of sound that I like, and the way that I play.
It's got a lot
of attack.
It's very percussive and responsive.
It has a nice bop to it, and when you crank it up,
it overdrives it really nice, _ and that's really it.
I'm running the bottom cabinet only, _ _ _ _ _
mainly because I'm singing, so running this top cabinet would really make it difficult for me to
hear my voice.
So, we just run the bottom cabinet, _ and _ _ pretty much it.
I'm using a wireless, too.
This _ is a Line 6 model wireless.
_ It's very efficient.
Works well for me, _ _ and that's it.
[B] That's my
I'm going to show you my rig [F] and my guitar.
_ That's a Fender Telecaster, my signature model, and it's the guitar that I play off [B] the rack.
I do two [F] things to it, actually three things I do.
I sand the finish off, I add the drop detuner,
and I add this guitar tuner that lives _ inside the guitar.
Other than that, the guitar is totally as
it is off the rack.
_ Maple fingerboard, a little fatter neck, [G] that's what I like.
I have [B] fairly
large hands for my size.
_ Frets [F] are what they call 6100s.
The wood, _ curly maple top, and swamp ash
back.
I have the Marzio pickups, _ Flying King chopper key.
One unique feature about this Telecaster,
it has a comfort cup.
Most Telecasters are squared off in the back.
This one is not,
so it makes it more comfortable to play.
Other than that, there is one other feature.
In the
middle position, _ you get both pickups, which is normal, but rather than this being a tone knob,
it's a switch.
And it's a series parallel [G] switch, so that gives you some other [B] tonal options.
Take you through the pedals that I'm using.
_ Jim Dunlop, [F] Cry Baby, standard, classic,
original version.
No knobs [Fm] on the side, no switches, [F] no nonsense.
Here, I've got a _ pedal
that I designed with a company called Tech [B] 21.
_ This is an overdrive here, _ and we spent about
six months developing the overdrive.
It's a cool overdrive, because it's a normal overdrive,
and it has a boost feature.
[F] But, you can use them [B] independently of each other.
You've got,
actually you have one, two, _ three different _ overdrive options [F] within these two switches.
The delay [B] _ has a tap tempo feature, [F] a flutter feature, so you can get a chorusing effect.
You can set your tempo by hitting the spotlight.
Middle switch is a reverb, as well as a sans amp.
You set the sans amp settings relatively flat.
You can use this as only a reverb.
Doing a gig where you're on an amp that isn't your favorite amp to play through,
you can use the sans amp to kind of tweak the color _ and the response of the amp.
So,
it's a cool feature to have as an option.
_ The main point of this pedal in the design was to
make it small.
_ I wanted something that was very compact, that did take up a lot of space,
and did everything I needed it to do.
I'm not a fan of [B] big pedal boards.
_ _ I wanted everything in a small unit, hardwired together, and that's what this is.
It's a very
cool [F] unit.
A modification that I made to it, or actually my friend who built it made the modification,
_ _ we're sending fan and power out of this input, or yeah, from the input into the output of the wah, _
and we're using a stereo cable.
So, what we've got is _ the wah being powered by that pedal,
and there's no battery in the wah.
You don't need another adapter, and it just simplifies
and streamlines my rig.
_ _ We had to modify the wah to do that, as well as this pedal, which is my _
personal amp.
_ It's a Marshall _ _ 1959 HW, and [C#] that means hand-wired.
It's a 100 watt Marshall [B] head.
_ [F] They call this version a Flexi, because the front panel is _ _ flexiglass, _ and this, to me,
is the best Marshall for the kind of sound that I like, and the way that I play.
It's got a lot
of attack.
It's very percussive and responsive.
It has a nice bop to it, and when you crank it up,
it overdrives it really nice, _ and that's really it.
I'm running the bottom cabinet only, _ _ _ _ _
mainly because I'm singing, so running this top cabinet would really make it difficult for me to
hear my voice.
So, we just run the bottom cabinet, _ and _ _ pretty much it.
I'm using a wireless, too.
This _ is a Line 6 model wireless.
_ It's very efficient.
Works well for me, _ _ and that's it.
[B] That's my