Walmart Soundcheck Sessions

Has anyone managed to rip the audio from these vids. I have been unsuccessful thus far.

What I don't get is why they don't just play The '59 Sound (and the countless other songs in Bb) capoed on the third fret with G-shape chords. This way they don't have to switch guitars live but they can still play them in the original key, the way they were written.

Also, in defense of Brian's voice, he actually appears to be using much more technique than he used to. For example, the 1,000 Years chorus should be far out of range for a baritone like Brian but he's using his mix (blending head voice with chest voice) to be able to fairly comfortably sing a high B. Notice how he's not just shouting with his eyes closed. He's actually singing. Obviously whether or not you like it or not is up to you, but this will help preserve his voice in the long run.

Jerseyrain wrote:

Has anyone managed to rip the audio from these vids. I have been unsuccessful thus far.

I captured them as a wav on audacity then converted to mp3. Haven't split the session up yet tho.

Jack wrote:

What I don't get is why they don't just play The '59 Sound (and the countless other songs in Bb) capoed on the third fret with G-shape chords. This way they don't have to switch guitars live but they can still play them in the original key, the way they were written.

It's not just about key, it's about the chord voicing.  If you play an open C chord and then play an A chord with a capo on 3, they sound a bit different.

Open C: C-E-G-C-E
Capo 3: C-G-C-E-G

I know the order of the notes seems minor, but it's more of a difference than you may think when you take everyone's different parts into account.

An example of where a capo might help the chord is an open D and then a C-shape with capo 2

Open D: D-A-D-F#
Capo 2: D-F#-A-D-F#

You gain an extra note (rather, an extra F# in the lower octave).

I know all that, dude. Do you really think different chord voicings sound more jarring than changing the key completely? And I'm pretty sure Alex R is a good enough guitarist to figure out what he would need to play in that case.

moosicmaniac wrote:

Jack wrote:

What I don't get is why they don't just play The '59 Sound (and the countless other songs in Bb) capoed on the third fret with G-shape chords. This way they don't have to switch guitars live but they can still play them in the original key, the way they were written.

It's not just about key, it's about the chord voicing.  If you play an open C chord and then play an A chord with a capo on 3, they sound a bit different.

Open C: C-E-G-C-E
Capo 3: C-G-C-E-G

I know the order of the notes seems minor, but it's more of a difference than you may think when you take everyone's different parts into account.

An example of where a capo might help the chord is an open D and then a C-shape with capo 2

Open D: D-A-D-F#
Capo 2: D-F#-A-D-F#

You gain an extra note (rather, an extra F# in the lower octave).

1) It doesn't really matter when strumming. Even if he were picking the notes, it wouldn't change the overall sound in a way that the audience would really be able to tell, especially on songs from T59S, where the rhythm guitar is the least relevant instrument. Remember when Brian started putting a capo on the fourth fret for Miles Davis and the Cool? Maybe a little bit different of an effect, but it didn't make or break anything. And Alex R's guitar parts wouldn't be affected by that. Everything is the same, just two frets lower (which shouldn't be an issue since he usually plays high up on the fretboard).

2) Remember we're talking about a C shape vs. a G shape (rather than C vs. A), which follow the same order, just on different strings. You'd actually get more notes out of the G shape when capo'd on the 3rd fret.

The only difference in that case would be the octave the notes are played at.

Jerseyrain wrote:

Has anyone managed to rip the audio from these vids. I have been unsuccessful thus far.

Code:

https://www.mediafire.com/?c936hz1avmv2p7f

Jack wrote:

Also, in defense of Brian's voice, he actually appears to be using much more technique than he used to. For example, the 1,000 Years chorus should be far out of range for a baritone like Brian but he's using his mix (blending head voice with chest voice) to be able to fairly comfortably sing a high B. Notice how he's not just shouting with his eyes closed. He's actually singing. Obviously whether or not you like it or not is up to you, but this will help preserve his voice in the long run.

That chorus is out of his range in that performance and sounds painful.

mja271 wrote:

Jack wrote:

Also, in defense of Brian's voice, he actually appears to be using much more technique than he used to. For example, the 1,000 Years chorus should be far out of range for a baritone like Brian but he's using his mix (blending head voice with chest voice) to be able to fairly comfortably sing a high B. Notice how he's not just shouting with his eyes closed. He's actually singing. Obviously whether or not you like it or not is up to you, but this will help preserve his voice in the long run.

That chorus is out of his range in that performance and sounds painful.

Again, you don't have to like it. But he seems to be hitting it properly rather than just screaming his head off in chest voice, which a lot of rock singers do. A B4 is extremely high for a baritone, and even for tenors. I actually like the way he sounds in the chorus and I'm glad to hear him using more technique than he has in the past.

Thanks for posting, good stuff

ral wrote:

Jerseyrain wrote:

Has anyone managed to rip the audio from these vids. I have been unsuccessful thus far.

Code:

https://www.mediafire.com/?c936hz1avmv2p7f

Sweet - thank you!!!

Just listened to this again, and was thinking about a comment somebody made earlier about T59S and 45 being a little bit slower. Listening again, I hear it, and I like it, a lot. I think Brian's songs sound better when you can spend a bit more time with them. That's one of the reasons I've always valued his acoustic performances. I feel like on this upcoming tour, they're going to put more emphasis on finesse over power. Not a bad thing.

(Although, in the interest of full disclosure, I'm skipping this tour, due to the likely high volume of Get Hurt songs that will be played.)