Chords for Creative Cribs - Tree Adams (NCIS)
Tempo:
125.95 bpm
Chords used:
F#
E
C#m
C#
F#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hello, welcome to the Treehouse.
Tree Adams here.
Right this [E] way.
[N] This is the vestibule where we will have lunch and hang around.
This is the golden rhino which is essential to the full functioning of the studio.
Any studio for that matter.
And then here we have our, kind of the main room where I will do a lot of the writing
and where we mix.
And I'll have meetings for playback and stuff with producers and directors.
We can do like maybe [C#m] 10 or 12 strings or a band ensemble with drums, guitar, bass, keys,
that [N] kind of thing.
Well over here, this is kind of where I've got a lot of the compression stuff.
There's a company called Overstayer.
I'm a big fan of their work.
This is a saturator which is basically like a harmonic distortion piece of gear.
And you can really do a lot to give stuff muscle with that thing.
And we'll patch it in over there through the patch bay.
And then this is their stereo compressor.
This little box is incredible.
It's got a blend knob that allows you, where's the blend knob?
Right here.
The blend knob allows you to basically get like the sickest sounding compression you
want and then kind of dial in how much of that in the regular signal you want.
Which is a great kind of mix.
It's very flexible.
And then of course an 1176 which I think is somewhat ubiquitous but essential.
This Avalon is sort of good for certain applications.
And then a couple of other mic pre's here.
This Vintech audio is cool.
It's got some Neve 1272's in it.
That's a custom job made here in Southern California.
And this TLA2.
It's been a good workhorse.
I guess typically I've got a template going with VE Pro where I've got a lot of my samples set up.
Use a lot of Spitfire audio in there.
And that's just kind of in every session so that the main rig is connected to it and triggering all the sample libraries.
I do really love even when using an electronic score or any kind of samples to combine it with as much live recording as possible.
So I'm a big fan of just putting a mic up and hitting stuff.
So come with me over to the drum room where silly things occur.
So sometimes I do a lot of music that requires like propulsive elements, tension or energy.
And so sometimes obviously we'll have a drummer come in.
Sometimes I've got a few guys on my team helping me.
We'll all just come in here and take turns beating on water jugs.
I've got a chroma harp that I keep out of tune [F#] for anything sort of horror oriented.
[C#] [F#m]
[F#] You get a lot of mileage out of that.
And I think generally just the more air we can put on things the better.
So this is kind of one of my airing it out rooms.
And I like, you know, we've got a collection of microphones over here.
I'll throw up anointment and just put, you know, hitting something in time to whatever we're doing.
And I feel like it helps imbue the track with a little bit of sonic depth.
So that we get a little bit of clarity between whatever MIDI elements we may be doing and some analog.
Then obviously we've got another room where I'll record, you know, guitars or one of my favorites is right here.
Actually I keep this in here with me because I love it.
It's a 65 amps.
This thing here, the Tupelo model is one of my favorites.
It's just got a great tone.
I'm secretly a blues guy and that really helps.
And then in here, you know, I've got some more amps lying around.
This is an old Fender Bassman, a Supro from 1960.
[Em] The Tiny Terror, a little orange amp.
That's always fun.
And this is a great room for sort of putting in, you know, a handful of musicians if we need.
You know, we've got the Hear systems all set up so everybody can have their own mix.
You know, it's a good little creative space.
Then going next door we've got another workstation.
This is Alex and Joey.
Say hello to the people.
Hello, I'm Joey.
So there we go.
We've got another workstation here.
So it's all a mirror setup with what's on the main rig over there.
And then I've got a rig at home that I'll write with.
And so sometimes the three rigs will kind of [N] incorporate.
Tree Adams here.
Right this [E] way.
[N] This is the vestibule where we will have lunch and hang around.
This is the golden rhino which is essential to the full functioning of the studio.
Any studio for that matter.
And then here we have our, kind of the main room where I will do a lot of the writing
and where we mix.
And I'll have meetings for playback and stuff with producers and directors.
We can do like maybe [C#m] 10 or 12 strings or a band ensemble with drums, guitar, bass, keys,
that [N] kind of thing.
Well over here, this is kind of where I've got a lot of the compression stuff.
There's a company called Overstayer.
I'm a big fan of their work.
This is a saturator which is basically like a harmonic distortion piece of gear.
And you can really do a lot to give stuff muscle with that thing.
And we'll patch it in over there through the patch bay.
And then this is their stereo compressor.
This little box is incredible.
It's got a blend knob that allows you, where's the blend knob?
Right here.
The blend knob allows you to basically get like the sickest sounding compression you
want and then kind of dial in how much of that in the regular signal you want.
Which is a great kind of mix.
It's very flexible.
And then of course an 1176 which I think is somewhat ubiquitous but essential.
This Avalon is sort of good for certain applications.
And then a couple of other mic pre's here.
This Vintech audio is cool.
It's got some Neve 1272's in it.
That's a custom job made here in Southern California.
And this TLA2.
It's been a good workhorse.
I guess typically I've got a template going with VE Pro where I've got a lot of my samples set up.
Use a lot of Spitfire audio in there.
And that's just kind of in every session so that the main rig is connected to it and triggering all the sample libraries.
I do really love even when using an electronic score or any kind of samples to combine it with as much live recording as possible.
So I'm a big fan of just putting a mic up and hitting stuff.
So come with me over to the drum room where silly things occur.
So sometimes I do a lot of music that requires like propulsive elements, tension or energy.
And so sometimes obviously we'll have a drummer come in.
Sometimes I've got a few guys on my team helping me.
We'll all just come in here and take turns beating on water jugs.
I've got a chroma harp that I keep out of tune [F#] for anything sort of horror oriented.
[C#] [F#m]
[F#] You get a lot of mileage out of that.
And I think generally just the more air we can put on things the better.
So this is kind of one of my airing it out rooms.
And I like, you know, we've got a collection of microphones over here.
I'll throw up anointment and just put, you know, hitting something in time to whatever we're doing.
And I feel like it helps imbue the track with a little bit of sonic depth.
So that we get a little bit of clarity between whatever MIDI elements we may be doing and some analog.
Then obviously we've got another room where I'll record, you know, guitars or one of my favorites is right here.
Actually I keep this in here with me because I love it.
It's a 65 amps.
This thing here, the Tupelo model is one of my favorites.
It's just got a great tone.
I'm secretly a blues guy and that really helps.
And then in here, you know, I've got some more amps lying around.
This is an old Fender Bassman, a Supro from 1960.
[Em] The Tiny Terror, a little orange amp.
That's always fun.
And this is a great room for sort of putting in, you know, a handful of musicians if we need.
You know, we've got the Hear systems all set up so everybody can have their own mix.
You know, it's a good little creative space.
Then going next door we've got another workstation.
This is Alex and Joey.
Say hello to the people.
Hello, I'm Joey.
So there we go.
We've got another workstation here.
So it's all a mirror setup with what's on the main rig over there.
And then I've got a rig at home that I'll write with.
And so sometimes the three rigs will kind of [N] incorporate.
Key:
F#
E
C#m
C#
F#m
F#
E
C#m
_ _ _ _ _ _ _ _
Hello, welcome to the Treehouse.
Tree Adams here.
Right this [E] way.
_ _ [N] This is the vestibule where we will have lunch and hang around. _ _
This is the golden rhino which is essential to the full functioning of the studio.
_ Any studio for that matter.
_ _ And then here we have our, kind of the main room where I will do a lot of the writing
and _ where we mix.
_ And I'll have meetings for playback and stuff with producers and directors.
We can do like maybe [C#m] 10 or 12 strings or _ a band ensemble with drums, guitar, bass, keys,
that [N] kind of thing.
Well over here, this is kind of where I've got a lot of the compression stuff.
There's a company called Overstayer.
I'm a big fan of their work.
_ This is a saturator which is basically like a harmonic distortion _ _ _ _ piece of gear.
And you can really do a lot to _ give stuff muscle with that thing.
And we'll patch it in over there through the patch bay.
And then this is their stereo compressor.
This little box is incredible. _
It's got a blend knob that allows you, where's the blend knob?
Right here.
The blend knob allows you to basically _ _ get like the sickest sounding compression you
want and then kind of dial in how much of that in the regular signal you want.
Which is a great kind of mix. _
_ It's very flexible.
_ And then of course an 1176 which I think is somewhat ubiquitous but essential.
_ _ _ _ This Avalon is sort of good for certain applications. _ _ _ _
And then a couple of other _ _ mic pre's here.
This Vintech audio is cool.
It's got some Neve 1272's in it.
That's a custom _ job made here in Southern California.
_ _ _ And this TLA2.
_ It's been a good workhorse.
I guess typically I've got a template going with VE Pro where I've got a lot of my samples set up.
Use a lot of Spitfire audio in there. _
And that's just kind of in every session so that _ _ the main rig is connected to it and triggering all the sample libraries.
_ I do really love _ even when using an electronic score or any kind of samples to combine it with as much live recording as possible.
So I'm a big fan of just putting a mic up and hitting stuff.
So come with me over to the drum room where silly things occur. _ _ _
_ _ So sometimes I _ do a lot of music that requires like _ _ propulsive _ elements, tension or energy.
And so _ _ sometimes obviously we'll have a drummer come in.
Sometimes I've got a few guys on my team helping me.
We'll all just come in here and take turns _ beating on _ _ _ water jugs.
I've got a chroma harp that I keep out of tune _ [F#] _ _ for anything sort of horror oriented.
_ _ [C#] _ _ [F#m] _ _
_ [F#] You get a lot of mileage out of that. _ _
And I think generally just the more air we can put on things the better.
So this is kind of one of my airing it out rooms.
And I like, you know, we've got a collection of microphones over here.
I'll throw up anointment and just put, you know, hitting something in time to whatever we're doing.
And I feel like it helps imbue _ _ _ _ the track with a little bit of sonic depth.
So that we get a little bit of clarity between whatever MIDI elements we may be doing and some analog.
_ Then obviously we've got another room where _ _ I'll record, _ you know, guitars or _ one of my favorites is right here.
Actually I keep this in here with me because I love it.
It's a 65 amps.
_ _ This thing here, the Tupelo model is one of my favorites.
It's just got a great tone.
I'm secretly a blues guy and that really helps. _ _
And then in here, _ _ _ you know, I've got some more amps lying around.
This is an old Fender Bassman, a Supro from 1960. _
_ [Em] The Tiny Terror, a little orange amp.
That's always fun.
And this is a great room for sort of putting in, you know, a handful of musicians if we need.
You know, we've got the Hear systems all set up so everybody can have their own mix.
_ You know, it's a good little creative space.
Then going next door we've got another workstation. _
_ _ _ _ _ _ _ _
This is Alex and Joey.
Say hello to the people.
Hello, I'm Joey.
So there we go.
We've got another _ workstation here.
So it's all a mirror setup with what's on the main rig over there.
And then I've got a rig at home that I'll write with.
And so sometimes the three rigs will kind of [N] incorporate. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
Hello, welcome to the Treehouse.
Tree Adams here.
Right this [E] way.
_ _ [N] This is the vestibule where we will have lunch and hang around. _ _
This is the golden rhino which is essential to the full functioning of the studio.
_ Any studio for that matter.
_ _ And then here we have our, kind of the main room where I will do a lot of the writing
and _ where we mix.
_ And I'll have meetings for playback and stuff with producers and directors.
We can do like maybe [C#m] 10 or 12 strings or _ a band ensemble with drums, guitar, bass, keys,
that [N] kind of thing.
Well over here, this is kind of where I've got a lot of the compression stuff.
There's a company called Overstayer.
I'm a big fan of their work.
_ This is a saturator which is basically like a harmonic distortion _ _ _ _ piece of gear.
And you can really do a lot to _ give stuff muscle with that thing.
And we'll patch it in over there through the patch bay.
And then this is their stereo compressor.
This little box is incredible. _
It's got a blend knob that allows you, where's the blend knob?
Right here.
The blend knob allows you to basically _ _ get like the sickest sounding compression you
want and then kind of dial in how much of that in the regular signal you want.
Which is a great kind of mix. _
_ It's very flexible.
_ And then of course an 1176 which I think is somewhat ubiquitous but essential.
_ _ _ _ This Avalon is sort of good for certain applications. _ _ _ _
And then a couple of other _ _ mic pre's here.
This Vintech audio is cool.
It's got some Neve 1272's in it.
That's a custom _ job made here in Southern California.
_ _ _ And this TLA2.
_ It's been a good workhorse.
I guess typically I've got a template going with VE Pro where I've got a lot of my samples set up.
Use a lot of Spitfire audio in there. _
And that's just kind of in every session so that _ _ the main rig is connected to it and triggering all the sample libraries.
_ I do really love _ even when using an electronic score or any kind of samples to combine it with as much live recording as possible.
So I'm a big fan of just putting a mic up and hitting stuff.
So come with me over to the drum room where silly things occur. _ _ _
_ _ So sometimes I _ do a lot of music that requires like _ _ propulsive _ elements, tension or energy.
And so _ _ sometimes obviously we'll have a drummer come in.
Sometimes I've got a few guys on my team helping me.
We'll all just come in here and take turns _ beating on _ _ _ water jugs.
I've got a chroma harp that I keep out of tune _ [F#] _ _ for anything sort of horror oriented.
_ _ [C#] _ _ [F#m] _ _
_ [F#] You get a lot of mileage out of that. _ _
And I think generally just the more air we can put on things the better.
So this is kind of one of my airing it out rooms.
And I like, you know, we've got a collection of microphones over here.
I'll throw up anointment and just put, you know, hitting something in time to whatever we're doing.
And I feel like it helps imbue _ _ _ _ the track with a little bit of sonic depth.
So that we get a little bit of clarity between whatever MIDI elements we may be doing and some analog.
_ Then obviously we've got another room where _ _ I'll record, _ you know, guitars or _ one of my favorites is right here.
Actually I keep this in here with me because I love it.
It's a 65 amps.
_ _ This thing here, the Tupelo model is one of my favorites.
It's just got a great tone.
I'm secretly a blues guy and that really helps. _ _
And then in here, _ _ _ you know, I've got some more amps lying around.
This is an old Fender Bassman, a Supro from 1960. _
_ [Em] The Tiny Terror, a little orange amp.
That's always fun.
And this is a great room for sort of putting in, you know, a handful of musicians if we need.
You know, we've got the Hear systems all set up so everybody can have their own mix.
_ You know, it's a good little creative space.
Then going next door we've got another workstation. _
_ _ _ _ _ _ _ _
This is Alex and Joey.
Say hello to the people.
Hello, I'm Joey.
So there we go.
We've got another _ workstation here.
So it's all a mirror setup with what's on the main rig over there.
And then I've got a rig at home that I'll write with.
And so sometimes the three rigs will kind of [N] incorporate. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _