Chords for Heiden Guitars: Guy Clark Fills Us In On The Appeal Of Heiden Instruments
Tempo:
125.45 bpm
Chords used:
D
E
G
Gb
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[Gbm] [D]
[E] [A]
[Gb] Rather than write about the Haydn [D] guitars, since I have this [E] aimed at you, why don't
we talk about this?
Because I'm not [D] familiar with Michael Haydn at all.
Well, Michael is a wonderful builder.
I don't know how long he's been building.
I've known him for 10 or 15 years.
I bought two of his guitars.
[Em]
And he's now, he's pretty much quit building guitars.
He's building Mandolins because the market is so much easier to make a living.
Because Mandolins, I mean they started like 50 out.
For a Mandolin, a hundred if it's an old [C] Gibson.
Right, I [C] saw one of the old F5's from the 20's.
And I think he said it was [D] worth hundreds of thousands of dollars.
Oh yeah, I mean, and what I think, or I'm told, I don't know, but the market was given
up by the Japanese.
Collectors in Japan are just absolutely nuts for this kind of stuff.
You know, old fenders, like a 50's Stratocaster is [G] a hundred grand or something.
I mean it's just like.
And anyway, so George can always sell those Mandolins at that price.
And for some reason, really good handmade Mandolins sell like hotcakes.
And he said most of his clientele is like doctors and [C] lawyers.
Real musicians can't afford them.
Right, yeah, who can [B] buy a $20,000 Mandolin?
Yeah, I mean.
[E]
I mentioned to a friend of mine yesterday about the Santa Cruz guitar saying,
that's doable.
[D] I can crunch together over time the money to buy one of their guitars.
When you start talking $15,000, [Abm] $20,000, I mean, [D] most people, be they musicians or not,
can't afford them.
Yeah, it's a strange little business, [G] little niche of America.
[D]
Can I look at the Michael Hyden real quick with this, with the video here?
Sure.
[N] I love playing this guitar.
The neck is so slinky,
[Abm] but it's a wide neck like the
[Gb] others.
[E]
[D] It's got a shallow, a shallower body.
It's very comfortable to play.
Takes all the boom out of it.
Why do you want the boom out of it, for [E] you personally?
Because I don't like it.
It just is a dull roar down the low end.
[D] And it's [Abm] very hard to control on [Em] stage.
You find out that if you get feedback and you get problems,
and so [D] when you have the shallower body, it's not a worry.
Well, it's always a worry, but [G] not with the Richard McClush pickups,
[Gm] for some reason, it's some kind of electronic,
there's six pickups and they're wired out of phase,
and all this voodoo that I don't know anything about,
but that guitar just won't feed back, period.
I mean, it doesn't.
And it's dead quiet, there's no [F] hiss or noise.
You can [Eb] use it to record in a studio.
[Gb] What are the, what are those, Ron?
The [E] system of pre- and before you install it.
Well, [D]
it's hard to find somebody to know how to install it,
[G] because it's not just [A] like putting a saddle [E] on it and [Eb]
adjusting [C] it,
because it's [G] like six different pickups,
[Gb]
and they're sitting on little legs,
but you don't just raise and lower the action casually,
like you can on a regular guitar. Right.
This is pretty involved.
[D] So once you do that, you better be prepared to have somebody who can set it up.
Well, yeah, and [E] somebody who can install it.
I had to [Gb] make this bridge purposely for these pickups [G] wide enough to just fit right.
And then this [E] is Richard [Abm]
McLeish's EQ system in it.
It's just a little small thing.
Now this, it actually comes as well as plastic things.
It's monstrosity.
But Paul [E] McGill and I figured out, why don't we just do that,
because I really didn't want that in there.
So anyway, we just made that up.
[Em]
But, I mean, it's the best pickup guitar I've ever played.
[Eb] For being consistent, anytime you just walk up there and you know it's going to be right.
So, unlike that cheap one you get in my [A] guitar.
[E] [A]
[Gb] Rather than write about the Haydn [D] guitars, since I have this [E] aimed at you, why don't
we talk about this?
Because I'm not [D] familiar with Michael Haydn at all.
Well, Michael is a wonderful builder.
I don't know how long he's been building.
I've known him for 10 or 15 years.
I bought two of his guitars.
[Em]
And he's now, he's pretty much quit building guitars.
He's building Mandolins because the market is so much easier to make a living.
Because Mandolins, I mean they started like 50 out.
For a Mandolin, a hundred if it's an old [C] Gibson.
Right, I [C] saw one of the old F5's from the 20's.
And I think he said it was [D] worth hundreds of thousands of dollars.
Oh yeah, I mean, and what I think, or I'm told, I don't know, but the market was given
up by the Japanese.
Collectors in Japan are just absolutely nuts for this kind of stuff.
You know, old fenders, like a 50's Stratocaster is [G] a hundred grand or something.
I mean it's just like.
And anyway, so George can always sell those Mandolins at that price.
And for some reason, really good handmade Mandolins sell like hotcakes.
And he said most of his clientele is like doctors and [C] lawyers.
Real musicians can't afford them.
Right, yeah, who can [B] buy a $20,000 Mandolin?
Yeah, I mean.
[E]
I mentioned to a friend of mine yesterday about the Santa Cruz guitar saying,
that's doable.
[D] I can crunch together over time the money to buy one of their guitars.
When you start talking $15,000, [Abm] $20,000, I mean, [D] most people, be they musicians or not,
can't afford them.
Yeah, it's a strange little business, [G] little niche of America.
[D]
Can I look at the Michael Hyden real quick with this, with the video here?
Sure.
[N] I love playing this guitar.
The neck is so slinky,
[Abm] but it's a wide neck like the
[Gb] others.
[E]
[D] It's got a shallow, a shallower body.
It's very comfortable to play.
Takes all the boom out of it.
Why do you want the boom out of it, for [E] you personally?
Because I don't like it.
It just is a dull roar down the low end.
[D] And it's [Abm] very hard to control on [Em] stage.
You find out that if you get feedback and you get problems,
and so [D] when you have the shallower body, it's not a worry.
Well, it's always a worry, but [G] not with the Richard McClush pickups,
[Gm] for some reason, it's some kind of electronic,
there's six pickups and they're wired out of phase,
and all this voodoo that I don't know anything about,
but that guitar just won't feed back, period.
I mean, it doesn't.
And it's dead quiet, there's no [F] hiss or noise.
You can [Eb] use it to record in a studio.
[Gb] What are the, what are those, Ron?
The [E] system of pre- and before you install it.
Well, [D]
it's hard to find somebody to know how to install it,
[G] because it's not just [A] like putting a saddle [E] on it and [Eb]
adjusting [C] it,
because it's [G] like six different pickups,
[Gb]
and they're sitting on little legs,
but you don't just raise and lower the action casually,
like you can on a regular guitar. Right.
This is pretty involved.
[D] So once you do that, you better be prepared to have somebody who can set it up.
Well, yeah, and [E] somebody who can install it.
I had to [Gb] make this bridge purposely for these pickups [G] wide enough to just fit right.
And then this [E] is Richard [Abm]
McLeish's EQ system in it.
It's just a little small thing.
Now this, it actually comes as well as plastic things.
It's monstrosity.
But Paul [E] McGill and I figured out, why don't we just do that,
because I really didn't want that in there.
So anyway, we just made that up.
[Em]
But, I mean, it's the best pickup guitar I've ever played.
[Eb] For being consistent, anytime you just walk up there and you know it's going to be right.
So, unlike that cheap one you get in my [A] guitar.
100% ➙ 125BPM
D
E
G
Gb
C
D
E
G
_ _ _ [Gbm] _ _ _ _ [D] _
_ _ [E] _ _ _ _ _ [A] _
_ _ _ [Gb] _ Rather than write about the Haydn [D] guitars, since I have this [E] aimed at you, why don't
we talk about this?
Because I'm not [D] familiar with Michael Haydn at all.
Well, Michael is a wonderful builder.
_ I don't know how long he's been building.
I've known him for 10 or 15 years.
I bought two of his guitars. _
_ _ _ [Em] _ _ _ _
And he's now, _ _ _ he's pretty much quit building guitars. _ _ _ _
_ He's building Mandolins because the market is so much _ easier to make a living.
Because Mandolins, I mean they started like 50 out. _
For _ _ _ a Mandolin, _ a hundred if it's an old [C] Gibson.
_ Right, I [C] saw one of the old F5's from the 20's.
And I think he said it was [D] worth hundreds of thousands of dollars.
Oh yeah, I mean, and what I think, or I'm told, I don't know, but the market was given
up by the Japanese.
_ Collectors in Japan are just _ absolutely nuts for this kind of stuff.
You know, old fenders, _ like a _ _ 50's _ Stratocaster is [G] _ a hundred grand or something.
I mean it's just like.
_ _ And anyway, so _ George can always sell those Mandolins at that price.
_ _ And for some reason, really good handmade Mandolins _ _ _ _ sell like hotcakes.
And he said most of his clientele is like doctors and [C] lawyers.
Real musicians can't afford them.
Right, yeah, who can [B] buy a $20,000 Mandolin?
_ _ _ _ Yeah, I mean.
[E]
I mentioned to a friend of mine yesterday about the Santa Cruz guitar saying,
that's doable.
_ _ [D] I can _ crunch together over time the money to buy one of their guitars.
When you start talking _ $15,000, [Abm] $20,000, I mean, _ [D] most people, be they musicians or not,
_ _ can't afford them.
Yeah, it's a strange little business, [G] little niche of America.
[D] _
Can I look at the Michael Hyden real quick with this, with the video here?
Sure. _ _ _ _ _ _
_ _ [N] I love playing this guitar.
_ The neck is so slinky, _ _
[Abm] but it's a wide neck like the _ _ _
_ [Gb] others.
_ _ _ [E] _ _
_ _ [D] It's got a shallow, _ a shallower body.
_ It's very comfortable to play.
Takes all the boom out of it.
Why do you want the boom out of it, for [E] you personally?
Because I don't like it.
It just is a dull roar down the low end.
[D] And it's _ _ [Abm] very hard to control on [Em] stage.
You find out that if you get feedback and you get problems,
and so [D] when you have the shallower body, it's not a worry.
Well, it's always a worry, but [G] not with the Richard McClush pickups,
[Gm] for some reason, _ _ _ it's some kind of _ _ electronic,
there's six pickups and they're wired out of phase,
and _ all _ this voodoo that I don't know anything about,
but that guitar just won't feed back, _ period.
I mean, it doesn't.
And it's dead quiet, there's no [F] hiss or noise.
You can [Eb] use it to record in a studio.
_ [Gb] What are the, what are those, Ron?
The [E] system of pre- and before you install it.
Well, _ _ _ [D] _ _
_ it's hard to find somebody to know how to install it,
_ [G] because it's not just [A] like putting a saddle [E] on it and [Eb] _ _
adjusting [C] it,
because it's [G] like six different _ _ pickups,
_ [Gb] _
and they're sitting on little legs,
but you don't just _ _ _ raise and lower the action _ casually,
like you can on a regular guitar. Right.
This is pretty involved.
[D] So once you do that, you better be prepared to have somebody who can set it up.
Well, yeah, _ and [E] somebody who can install it.
I had to [Gb] make this bridge purposely for these pickups [G] wide enough to _ just fit right.
_ _ And then this [E] is _ _ _ _ _ Richard [Abm] _
McLeish's EQ system in it.
It's just a little small thing.
Now this, it actually comes as well as plastic things.
It's monstrosity.
But Paul [E] McGill and I figured out, _ why don't we just do that,
because I really didn't want that in there.
_ _ So anyway, we just made that up.
[Em] _ _ _ _
But, I mean, it's _ the best pickup guitar I've ever played. _ _ _
[Eb] For being consistent, _ anytime you just walk up there and you know it's going to be right. _ _ _
So, unlike that cheap one you get in my [A] guitar.
_ _ [E] _ _ _ _ _ [A] _
_ _ _ [Gb] _ Rather than write about the Haydn [D] guitars, since I have this [E] aimed at you, why don't
we talk about this?
Because I'm not [D] familiar with Michael Haydn at all.
Well, Michael is a wonderful builder.
_ I don't know how long he's been building.
I've known him for 10 or 15 years.
I bought two of his guitars. _
_ _ _ [Em] _ _ _ _
And he's now, _ _ _ he's pretty much quit building guitars. _ _ _ _
_ He's building Mandolins because the market is so much _ easier to make a living.
Because Mandolins, I mean they started like 50 out. _
For _ _ _ a Mandolin, _ a hundred if it's an old [C] Gibson.
_ Right, I [C] saw one of the old F5's from the 20's.
And I think he said it was [D] worth hundreds of thousands of dollars.
Oh yeah, I mean, and what I think, or I'm told, I don't know, but the market was given
up by the Japanese.
_ Collectors in Japan are just _ absolutely nuts for this kind of stuff.
You know, old fenders, _ like a _ _ 50's _ Stratocaster is [G] _ a hundred grand or something.
I mean it's just like.
_ _ And anyway, so _ George can always sell those Mandolins at that price.
_ _ And for some reason, really good handmade Mandolins _ _ _ _ sell like hotcakes.
And he said most of his clientele is like doctors and [C] lawyers.
Real musicians can't afford them.
Right, yeah, who can [B] buy a $20,000 Mandolin?
_ _ _ _ Yeah, I mean.
[E]
I mentioned to a friend of mine yesterday about the Santa Cruz guitar saying,
that's doable.
_ _ [D] I can _ crunch together over time the money to buy one of their guitars.
When you start talking _ $15,000, [Abm] $20,000, I mean, _ [D] most people, be they musicians or not,
_ _ can't afford them.
Yeah, it's a strange little business, [G] little niche of America.
[D] _
Can I look at the Michael Hyden real quick with this, with the video here?
Sure. _ _ _ _ _ _
_ _ [N] I love playing this guitar.
_ The neck is so slinky, _ _
[Abm] but it's a wide neck like the _ _ _
_ [Gb] others.
_ _ _ [E] _ _
_ _ [D] It's got a shallow, _ a shallower body.
_ It's very comfortable to play.
Takes all the boom out of it.
Why do you want the boom out of it, for [E] you personally?
Because I don't like it.
It just is a dull roar down the low end.
[D] And it's _ _ [Abm] very hard to control on [Em] stage.
You find out that if you get feedback and you get problems,
and so [D] when you have the shallower body, it's not a worry.
Well, it's always a worry, but [G] not with the Richard McClush pickups,
[Gm] for some reason, _ _ _ it's some kind of _ _ electronic,
there's six pickups and they're wired out of phase,
and _ all _ this voodoo that I don't know anything about,
but that guitar just won't feed back, _ period.
I mean, it doesn't.
And it's dead quiet, there's no [F] hiss or noise.
You can [Eb] use it to record in a studio.
_ [Gb] What are the, what are those, Ron?
The [E] system of pre- and before you install it.
Well, _ _ _ [D] _ _
_ it's hard to find somebody to know how to install it,
_ [G] because it's not just [A] like putting a saddle [E] on it and [Eb] _ _
adjusting [C] it,
because it's [G] like six different _ _ pickups,
_ [Gb] _
and they're sitting on little legs,
but you don't just _ _ _ raise and lower the action _ casually,
like you can on a regular guitar. Right.
This is pretty involved.
[D] So once you do that, you better be prepared to have somebody who can set it up.
Well, yeah, _ and [E] somebody who can install it.
I had to [Gb] make this bridge purposely for these pickups [G] wide enough to _ just fit right.
_ _ And then this [E] is _ _ _ _ _ Richard [Abm] _
McLeish's EQ system in it.
It's just a little small thing.
Now this, it actually comes as well as plastic things.
It's monstrosity.
But Paul [E] McGill and I figured out, _ why don't we just do that,
because I really didn't want that in there.
_ _ So anyway, we just made that up.
[Em] _ _ _ _
But, I mean, it's _ the best pickup guitar I've ever played. _ _ _
[Eb] For being consistent, _ anytime you just walk up there and you know it's going to be right. _ _ _
So, unlike that cheap one you get in my [A] guitar.