Chords for Steve From Pup Reveals His Guitar Rig | Gearheads
Tempo:
90.4 bpm
Chords used:
C
D
G
F
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The players that always kind of interest me are the ones who are kind of serving the song and not overplaying.
Players sound really great just a guitar and an amplifier,
and then when they're adding things, like an [D] overdrive and a delay,
[A] you're still kind of hearing all, you're still hearing the instrument,
[D] you're hearing the actual fingers on the [A] strings and the frett.
Again, [Gb] not overplaying, kind of being melodic.
Yeah, [Eb] I don't know, I like players that have, that are, [Bb] you know, exercise, restraint, and [Db] show a lot of intensity.
[F] [Bbm]
You are [Db] forever just a baby on the [Bbm] reservoir.
Out of breath, out of breath.
[Db] Close up, baby on the reservoir.
My name is Steve [G] Sledkowski.
I play guitar in the band that's from here in Toronto called Pup.
So I have this Tele, which I got from Fender generously,
which is kind of the main Telecaster that I use now.
But all that like guilt trip, like those early kind of riffs from the Pup days were all kind of on the Tele,
so they're all kind of [A] like, you know, [B]
[Gb]
[Gbm] [D] [C]
Tele kind of just is so biting that it cuts through, but it all kind of works.
Yeah, so I've been [F] a Fender guy essentially kind of from day [C] one.
My first pedal was a Boss Blues Driver, which is like one of the like OG distortion, you know,
so I don't have one now, but like it would have been all that like Eric Clapton kind of like.
[Cm]
I was pretty lucky, I kind of had a few [D] guitar teachers who were like, and this is something that I kind of took to heart,
it's like you should be able to play clean anything that you can play distorted.
So it was a lot of focus on like trying to play stuff clean and get a good [Bb] kind of sound out of the guitar
before I got eight, nine pedals, whatever's on this board right now.
I've been using Vibrolux amps probably for about a decade,
[C] and Dr.
Z is a really amazing boutique manufacturer out of, just outside of Cleveland, Ohio.
I've always been kind of a proponent of finding like an amp that will give you kind of a solid clean tone,
because I think especially now with kind of like boutique pedal manufacturing where it is,
you can kind of find distortion and [Dm] kind of overdrive sounds kind of dialed in and [Cm] focused
and kind of in line with what you need from an overdrive in like a Fender [A] amplifier.
It's sort of a classic [G] Fender kind of sound,
[D] where you can just plug the guitar in,
there's [G] a little bit of reverb there.
You should always kind of be able to manage everything
and not have it be completely [C] out of control.
When we're doing a tune like Reservoir, [G] it's a lot easier to then just kind of be [D] like,
[F] [G]
[Bb] [Am]
[C] [D]
and also still kind of have them, you know.
[F]
Fuzz [C] pedals I kind of think are the biggest, there's like the widest variance [G] in kind of like how they [Bbm] sound
and what they are.
So what I'm using right now is [Gb] made by this guy in Brisbane, [Ab] Australia,
[G] who has a shop that's like world renowned [C] called Tim Guitars.
The fuzz of his that I'm using right now is called the Big Mud.
You know, this is just like through the head and the cab and just [D] the fuzz.
There's so much variance even within the pedal, like on the tone.
It's like a little bit more kind of muffled.
As you push it even more, it kind of becomes like almost like an 80s like metal.
Reverb pedals, [Dm] kind of fuzz pedals.
[B] I've sort of settled on a delay,
the [Ab] Strymon El Capistan, which I love very, very much.
The Freeze, [D] which is that sort of like, it's like an infinite sustain of a single attack,
which is one of my favorite.
I found out about this from the jazz guitar player, Bill Frizzell,
[A] tuned like [G] Dark Days on the [F] first record.
[C]
[F] [C] It should still sound good and still feel like [Ab] enough.
Tone wise, [F] if it's just the guitar, the amp, maybe [G] one overdrive pedal.
You know, that's always something that I want to be able to fall back on,
whether that's in my bedroom and it's quiet or, you know, on stage at a festival or something.
That's kind of always been my approach is sort of just like have that relationship
with the instrument between me and the instrument.
And again, why I keep coming back to just, you should be able to plug it into an amp,
just a guitar, [C] and it should sound good.
And then add the pedals kind of afterward.
[Gm]
Players sound really great just a guitar and an amplifier,
and then when they're adding things, like an [D] overdrive and a delay,
[A] you're still kind of hearing all, you're still hearing the instrument,
[D] you're hearing the actual fingers on the [A] strings and the frett.
Again, [Gb] not overplaying, kind of being melodic.
Yeah, [Eb] I don't know, I like players that have, that are, [Bb] you know, exercise, restraint, and [Db] show a lot of intensity.
[F] [Bbm]
You are [Db] forever just a baby on the [Bbm] reservoir.
Out of breath, out of breath.
[Db] Close up, baby on the reservoir.
My name is Steve [G] Sledkowski.
I play guitar in the band that's from here in Toronto called Pup.
So I have this Tele, which I got from Fender generously,
which is kind of the main Telecaster that I use now.
But all that like guilt trip, like those early kind of riffs from the Pup days were all kind of on the Tele,
so they're all kind of [A] like, you know, [B]
[Gb]
[Gbm] [D] [C]
Tele kind of just is so biting that it cuts through, but it all kind of works.
Yeah, so I've been [F] a Fender guy essentially kind of from day [C] one.
My first pedal was a Boss Blues Driver, which is like one of the like OG distortion, you know,
so I don't have one now, but like it would have been all that like Eric Clapton kind of like.
[Cm]
I was pretty lucky, I kind of had a few [D] guitar teachers who were like, and this is something that I kind of took to heart,
it's like you should be able to play clean anything that you can play distorted.
So it was a lot of focus on like trying to play stuff clean and get a good [Bb] kind of sound out of the guitar
before I got eight, nine pedals, whatever's on this board right now.
I've been using Vibrolux amps probably for about a decade,
[C] and Dr.
Z is a really amazing boutique manufacturer out of, just outside of Cleveland, Ohio.
I've always been kind of a proponent of finding like an amp that will give you kind of a solid clean tone,
because I think especially now with kind of like boutique pedal manufacturing where it is,
you can kind of find distortion and [Dm] kind of overdrive sounds kind of dialed in and [Cm] focused
and kind of in line with what you need from an overdrive in like a Fender [A] amplifier.
It's sort of a classic [G] Fender kind of sound,
[D] where you can just plug the guitar in,
there's [G] a little bit of reverb there.
You should always kind of be able to manage everything
and not have it be completely [C] out of control.
When we're doing a tune like Reservoir, [G] it's a lot easier to then just kind of be [D] like,
[F] [G]
[Bb] [Am]
[C] [D]
and also still kind of have them, you know.
[F]
Fuzz [C] pedals I kind of think are the biggest, there's like the widest variance [G] in kind of like how they [Bbm] sound
and what they are.
So what I'm using right now is [Gb] made by this guy in Brisbane, [Ab] Australia,
[G] who has a shop that's like world renowned [C] called Tim Guitars.
The fuzz of his that I'm using right now is called the Big Mud.
You know, this is just like through the head and the cab and just [D] the fuzz.
There's so much variance even within the pedal, like on the tone.
It's like a little bit more kind of muffled.
As you push it even more, it kind of becomes like almost like an 80s like metal.
Reverb pedals, [Dm] kind of fuzz pedals.
[B] I've sort of settled on a delay,
the [Ab] Strymon El Capistan, which I love very, very much.
The Freeze, [D] which is that sort of like, it's like an infinite sustain of a single attack,
which is one of my favorite.
I found out about this from the jazz guitar player, Bill Frizzell,
[A] tuned like [G] Dark Days on the [F] first record.
[C]
[F] [C] It should still sound good and still feel like [Ab] enough.
Tone wise, [F] if it's just the guitar, the amp, maybe [G] one overdrive pedal.
You know, that's always something that I want to be able to fall back on,
whether that's in my bedroom and it's quiet or, you know, on stage at a festival or something.
That's kind of always been my approach is sort of just like have that relationship
with the instrument between me and the instrument.
And again, why I keep coming back to just, you should be able to plug it into an amp,
just a guitar, [C] and it should sound good.
And then add the pedals kind of afterward.
[Gm]
Key:
C
D
G
F
A
C
D
G
The players that always kind of interest me are the ones who are kind of serving the song and not overplaying.
Players sound really great just a guitar and an amplifier,
and then when they're adding things, _ like an [D] overdrive and a delay, _ _
[A] _ _ _ you're still kind of hearing all, you're still hearing the instrument,
[D] you're hearing the actual fingers on the [A] strings and the frett.
_ Again, [Gb] not overplaying, kind of being melodic.
Yeah, [Eb] I don't know, I like players that have, that are, [Bb] you know, exercise, restraint, and [Db] show a lot of intensity.
[F] _ [Bbm] _ _
_ You are [Db] forever just a baby on the [Bbm] reservoir.
Out of breath, out of breath.
[Db] Close up, baby on the reservoir.
My name is Steve [G] Sledkowski.
I play guitar in the band that's from here in Toronto called Pup.
So I have this Tele, which I got from Fender generously, _
which is kind of the main Telecaster that I use now.
But all that like guilt trip, like those early kind of riffs from the Pup days were all kind of on the Tele,
so they're all kind of [A] like, you know, _ _ _ _ _ [B] _
_ _ _ _ _ [Gb] _ _ _
[Gbm] _ _ [D] _ _ _ _ _ [C]
Tele kind of just is so biting that it cuts through, but it all kind of works.
Yeah, so I've been [F] a Fender guy essentially kind of from day [C] one.
My first pedal was a Boss Blues Driver, which is like one of the like OG distortion, you know,
so I don't have one now, but like it would have been all that like Eric Clapton kind of like.
_ [Cm] _ _
I was pretty lucky, I kind of had a few [D] guitar teachers who were like, and this is something that I kind of took to heart,
it's like you should be able to play clean anything that you can play distorted.
So it was a lot of focus on like trying to play stuff clean and get a good [Bb] kind of sound out of the guitar
before I got eight, nine pedals, whatever's on this board right now.
I've been using Vibrolux amps probably for about a decade,
[C] and Dr.
Z is a really amazing boutique manufacturer out of, just outside of Cleveland, Ohio.
I've always been kind of a proponent of finding like an amp that will give you kind of a solid clean tone,
because I think especially now with kind of like boutique pedal manufacturing where it is,
you can kind of find distortion and [Dm] kind of overdrive sounds kind of dialed in and [Cm] focused
and kind of in line with what you need from an overdrive in like a Fender [A] amplifier.
It's sort of a classic [G] Fender kind of sound, _
[D] _ _ where you can just plug the guitar in,
there's [G] a little bit of reverb there.
You should always kind of be able to manage everything
and not have it be completely [C] out of control.
When we're doing a tune like Reservoir, [G] it's a lot easier to then just kind of be [D] like, _ _ _
_ _ [F] _ _ _ _ _ [G] _
_ _ _ [Bb] _ _ _ _ [Am] _
_ _ _ _ _ [C] _ _ [D] _
_ _ _ and also still kind of have them, you know.
[F]
Fuzz [C] pedals I kind of think are the biggest, there's like the widest variance [G] in kind of like how they [Bbm] sound
and what they are.
So what I'm using right now is [Gb] made by this guy in Brisbane, [Ab] Australia,
[G] who has a shop that's like world renowned [C] called Tim Guitars.
The fuzz of his that I'm using right now is called the Big Mud.
You know, this is just like through the head and the cab and just [D] the fuzz. _ _ _
_ There's so much variance even within the pedal, like on the tone. _
_ _ _ _ It's like a little bit more kind of muffled.
_ As you push it even more, it kind of becomes like almost like an 80s like metal. _
_ Reverb pedals, [Dm] kind of fuzz pedals.
[B] I've sort of settled on a delay,
the [Ab] Strymon El Capistan, which I love very, very much.
The Freeze, [D] which is that sort of like, _ _ it's like an infinite sustain of a single attack,
which is one of my favorite.
I found out about this from the jazz guitar player, Bill Frizzell,
[A] tuned like [G] Dark Days on the [F] first record.
_ _ [C] _ _ _
[F] _ _ _ _ [C] _ _ It should still sound good and still feel like [Ab] enough.
Tone wise, [F] if it's just the guitar, the amp, maybe [G] one overdrive pedal.
You know, that's always something that I want to be able to fall back on,
whether that's in my bedroom and it's quiet or, you know, on stage at a festival or something.
That's kind of always been my approach is sort of just like have that relationship
with the instrument between me and the instrument.
And again, why I keep coming back to just, you should be able to plug it into an amp,
just a guitar, [C] and it should sound good.
And then add the pedals kind of afterward.
_ _ _ _ [Gm] _
Players sound really great just a guitar and an amplifier,
and then when they're adding things, _ like an [D] overdrive and a delay, _ _
[A] _ _ _ you're still kind of hearing all, you're still hearing the instrument,
[D] you're hearing the actual fingers on the [A] strings and the frett.
_ Again, [Gb] not overplaying, kind of being melodic.
Yeah, [Eb] I don't know, I like players that have, that are, [Bb] you know, exercise, restraint, and [Db] show a lot of intensity.
[F] _ [Bbm] _ _
_ You are [Db] forever just a baby on the [Bbm] reservoir.
Out of breath, out of breath.
[Db] Close up, baby on the reservoir.
My name is Steve [G] Sledkowski.
I play guitar in the band that's from here in Toronto called Pup.
So I have this Tele, which I got from Fender generously, _
which is kind of the main Telecaster that I use now.
But all that like guilt trip, like those early kind of riffs from the Pup days were all kind of on the Tele,
so they're all kind of [A] like, you know, _ _ _ _ _ [B] _
_ _ _ _ _ [Gb] _ _ _
[Gbm] _ _ [D] _ _ _ _ _ [C]
Tele kind of just is so biting that it cuts through, but it all kind of works.
Yeah, so I've been [F] a Fender guy essentially kind of from day [C] one.
My first pedal was a Boss Blues Driver, which is like one of the like OG distortion, you know,
so I don't have one now, but like it would have been all that like Eric Clapton kind of like.
_ [Cm] _ _
I was pretty lucky, I kind of had a few [D] guitar teachers who were like, and this is something that I kind of took to heart,
it's like you should be able to play clean anything that you can play distorted.
So it was a lot of focus on like trying to play stuff clean and get a good [Bb] kind of sound out of the guitar
before I got eight, nine pedals, whatever's on this board right now.
I've been using Vibrolux amps probably for about a decade,
[C] and Dr.
Z is a really amazing boutique manufacturer out of, just outside of Cleveland, Ohio.
I've always been kind of a proponent of finding like an amp that will give you kind of a solid clean tone,
because I think especially now with kind of like boutique pedal manufacturing where it is,
you can kind of find distortion and [Dm] kind of overdrive sounds kind of dialed in and [Cm] focused
and kind of in line with what you need from an overdrive in like a Fender [A] amplifier.
It's sort of a classic [G] Fender kind of sound, _
[D] _ _ where you can just plug the guitar in,
there's [G] a little bit of reverb there.
You should always kind of be able to manage everything
and not have it be completely [C] out of control.
When we're doing a tune like Reservoir, [G] it's a lot easier to then just kind of be [D] like, _ _ _
_ _ [F] _ _ _ _ _ [G] _
_ _ _ [Bb] _ _ _ _ [Am] _
_ _ _ _ _ [C] _ _ [D] _
_ _ _ and also still kind of have them, you know.
[F]
Fuzz [C] pedals I kind of think are the biggest, there's like the widest variance [G] in kind of like how they [Bbm] sound
and what they are.
So what I'm using right now is [Gb] made by this guy in Brisbane, [Ab] Australia,
[G] who has a shop that's like world renowned [C] called Tim Guitars.
The fuzz of his that I'm using right now is called the Big Mud.
You know, this is just like through the head and the cab and just [D] the fuzz. _ _ _
_ There's so much variance even within the pedal, like on the tone. _
_ _ _ _ It's like a little bit more kind of muffled.
_ As you push it even more, it kind of becomes like almost like an 80s like metal. _
_ Reverb pedals, [Dm] kind of fuzz pedals.
[B] I've sort of settled on a delay,
the [Ab] Strymon El Capistan, which I love very, very much.
The Freeze, [D] which is that sort of like, _ _ it's like an infinite sustain of a single attack,
which is one of my favorite.
I found out about this from the jazz guitar player, Bill Frizzell,
[A] tuned like [G] Dark Days on the [F] first record.
_ _ [C] _ _ _
[F] _ _ _ _ [C] _ _ It should still sound good and still feel like [Ab] enough.
Tone wise, [F] if it's just the guitar, the amp, maybe [G] one overdrive pedal.
You know, that's always something that I want to be able to fall back on,
whether that's in my bedroom and it's quiet or, you know, on stage at a festival or something.
That's kind of always been my approach is sort of just like have that relationship
with the instrument between me and the instrument.
And again, why I keep coming back to just, you should be able to plug it into an amp,
just a guitar, [C] and it should sound good.
And then add the pedals kind of afterward.
_ _ _ _ [Gm] _