Chords for Doyle Bramhall II on Building Blues Tones with Fuzz and Drive Pedals | Reverb Pedal Tricks

[E] _ _ _ _ _ _ [F#] _ [D] _
[C#] _ [E] _ _ _ _ _ When I was younger, I would go see guitar players that played, like Albert King and
Otis Rush, [N] and I could never tell what they were doing because I had trained my eye growing
up to see right-handed players.
I think I just gravitated towards the left-handed upside-down players because a lot of that
sort of flowed naturally for me because of what they would do, especially bend-wise,
the bending that they did, just that was like naturally.
You pick up the guitar left-handed upside-down and you start bending like Albert King.
I bought this for my last album, Welcome.
I actually didn't have an original Strat, and I went to Norm's Guitars in Los Angeles.
This friend of mine who was also a guitar dealer named Albert was there and he told
me about this guitar.
He was like, you've got to get this guitar.
Yeah, a 64 Strat.
_ The date on it, when I took off the plate, was April 21st, which is my daughter's birthday,
so that was pretty cool.
I had sort of been playing pedal boards and making them work for a long time, and then
I hooked up with this guy, Dave Phillips, that's at LA Sound Design.
He put together this board, took some of my existing pedals, and then hipped me to some
newer ones that I might like.
I was actually trying to go with a smaller board, and it is actually bigger, but it's
mostly because of this beast, which is the Vibe Bro.
That's made by Austin Pedal Maker.
It's the [E] closest thing I've ever come to a Univibe. _ _ _ _ _ _
_ _ _ _ _ _ _ [C#m] _
_ [E] _ _ _ _ _ _ _
_ [A] _ _ [G] _ [A] It [E] hits me to this thing called a Jan Ray, and it's an [N] overdrive pedal.
And you can actually control how loud you want everything, and you can also use it with
all of these fuzz bass-like things.
This is the Third Stone, which is the Jimmy fuzz.
The Zonk Machine, which was sort of my secret weapon on my new album.
All of these get really super aggressive and much louder.
And this, you can actually keep the tone of these fuzzes without, and keep them sort of
at the same volume as your clean tone.
If I use them alone, they're a bit brighter [E] sounding.
[A] _ [Em] _ _ _ _ _
_ [D] _ [G] So [E] _ _ [Em] _ [D] _
_ [E] _ [Dm] _ [E] it _ _ _ _ sort of keeps it in check, and it actually gives you a bit more sustain, and also helps
to not just take off too much.
This is just straight.
[F#] _
_ [Dm] _ _ [A] _ _ _ _ [F#m] _
[E] And [C#m] _ _ _ [F#] _ [B] _ [C#] _
[E] _ _ _ [A] _ _ then you can [E] actually, if the speakers can handle it, I can use the Third Stone and
the Cob, which is the Prescription Electronics pedal.
_ _ Just _ _
_ _ [D] _ [G#] _ _ _ the Cob [E] and the Jan Ray. _ _ _ _ _ _
_ [G] _ [C#m] _ _ _ [E] And I can use _ the classic sort of Woodstock _ Jimmy thing.
[F] You can actually [E] use it with all three of those pedals. _ _ _ _ _
_ _ _ _ _ _ _ _
[Dm] _ [E] _ _ [G#] Cob, [E] Prescription Electronics, [Dm] Experience [B] pedal.
That thing has always been crazy to me.
It actually sort of sounds like the amp's blowing up, and it has an octave in there.
So it's a fuzz and octave, and it has that swell switch on it.
This is just [E] the fuzz by itself. _
_ _ _ _ [F#] _ _ [D] _ [C#] _
[E] _ _ _ _ _ _ _ _
_ _ Add the octave, _ and _ _ _ _ _ [F#] add the swell.
[E] _ _ _ _ [A] _ _ _ _
_ [E] _ _ _ [B] _ _ [G] _ _
[D] _ [E] _ _ _ _ _ _ _
[C#] _ [A] _ _ [B] _ _ [G#] _ [E] _ _
I've been using this Blankenship amp, and it's basically a 50 watt Superbass, which
obviously was not made, but he made that one for me.
And just a Fender 212 cab.
But the Super was what I used for about four or five years, but I wanted to get into some
different kind of stuff, so I started using the Blankenship.
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