The MOST IMPORTANT Thing I LEARNED From Jimmy Page

uh [Music] [Applause] [Music] [Applause] [Music] [Applause] hmm [Applause] [Music] [Applause] [Music] foreign [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] so [Music] hey everybody this song has always haunted me i love this song so much and there's a couple of really brilliant things about it that are so unique i mean for a blues turnaround to have this baked into it [Music] and then here and this dissonance right here this is what blows me away so sometimes it's a to a flat but the chord is also kind of d to d flat [Music] and on this chord it's the most dissonant thing i've ever heard check this out [Music] now it gets a little more consonant if you use this bass note [Music] but it's so cool to break that rule and have this chord d7 and then it's basically d flat major seven especially on this one and the reason it works i think is because there's clarity from the low bass note all the way up to this there's enough space between the two intervals that it really works it's just it's such a rule breaking amazing beautiful little little melody little motif it's a motif more than a melody and the thing i want to talk about today just for a few minutes is sir jimmy page arguably one of the greatest rock composers ever so a classical level of arrangement composition writing you know and i'm sure everybody in the band participated but then when he solos it's almost like he could care less about structure and even perfection because the solos are just these off-the-cuff things with little you know all kinds of little blemishes if you were i mean it's like it's they're so irreverent and spontaneous and it took me a long time to actually appreciate that fully because when i was coming up i liked the the guitar solos that were kind of perfect you know the guys would kind of do stuff perfectly and and there's something really amazing about being able to let go and like even on this song he'll he'll just use the sound of the guitar in spot [Music] and then of course he ignores time you know and then this wonderful bend and he does this thing which i learned from alvin lee in 10 years after way back in the back way back days so the thing i want to stress is you have this amazing composer who when he actually execute his executes his compositions does it with almost an early teenage approach i mean one of you guys actually talked about playing black dog with all down strokes heck yeah [Music] sounds great with all downstrokes i mean and a rift that i actually work on [Music] out on the tiles is a great exercise and he plays that in a very teenage way so if you want a kind of a tongue twister on guitar a nice exercise learn out on the [Music] tiles then it goes and almost the sloppier you play it the more legit it sounds you see what i'm saying there's no there's no english when a body you know uh guitar english technique english when he plays this part it's it's teenage it's very teenage and then you go to something like this what is and what should never be and you have this really elegant verse you know super light touch kind of clean probably on the neck pickup just you know turn down a little bit and then switch to the bridge and do this [Music] [Music] you know and almost the sloppier you play it although i hate to use the word sloppy because it's on it the looser you play it the more legit it sounds [Music] so that that's what i'm kind of talking about today is this amazing irreverence this looseness this month spontaneity when he plays lead which is good for me because you know because being a studio musician i always had to play things very precisely so it's really good for me to rough it up and take some risks let me play through this one more time and then we'll look at some questions here we go [Music] [Music] [Music] [Applause] [Music] [Applause] [Music] hmm [Music] [Applause] [Music] so it's not the style of page necessarily but it's the attitude of page to just take risks and don't worry if you kind of bump a note now and then or if some note stops short [Music] and you know let the noises be fun [Music] something we can i think all benefit from is that kind of a looseness so now i'm going to turn on my broadcast pedal which is a very creamy kind of overdrive and i'm going to play slower and more languid so let me go after the turnaround here we go [Music] mmm [Applause] [Laughter] [Music] [Applause] so it's like don't don't be afraid to be sloppy don't be afraid to take risks and i mean that's it's a pretty cool thing to be able to give up all of that pretense of i'm gonna play perfect and just kind of go for it so that's what i get from him i'm gonna show you what i've got set up today my second camera here so there's the fm9 which is oh awesome can you still see nigel no how about now yes okay we got it back so there's the fm9 from last week's video now is it out of focus no okay good that's my pro tools screen where i'm playing along this is the wild collection of pedals and what i just turned on was the broadcast for that extra fuzz and then we look across the room got the lights got extra stuff we got the phone we got the universal audio stuff the hologram which what is that called the hologram microcosm there it is hologram microcosm marshall's this old pa head which sounds really good today i'm using the divide by 13 head and my super sweet right back there super sweet for just a push on the divided by 13 head using some old celestions from 1968 old speakers but a real amp really had fun with the fm 9 last week but it's back to the real amplifier today extra picks there my ancient tuner which is the old peterson that's my acoustic guitar mic which i pull in for acoustic guitar stuff on sessions and that's what i'm looking at and then i have windows with trees and some fog today hey rick thanks for joining us rick beato has joined us today rick's doing great check out his sting interview it he went to new york and and uh actually paid for an amazing super pro film crew so if you want to watch the sting video on his channel and donate a little money to help him get back this giant amount of money he spent on this amazing film crew um you should i haven't watched it yet but it's uh he told me about it it's very funny and fun they had a good time so definitely watch the sting interview on rick beato's channel so let's let's talk about some questions here looking looking at the chat yeah jimmy is two different kind of animals studio jimmy and crazy on disciplined stage jimmy well put jerry wilson and that's that's the genius of it to me that is the genius of it um steve welcome i looked at your recent video too i kind of i subscribed to you steve sterlachy and i i enjoy your videos keep doing them yeah rick hey rick beatto is on the chat and uh i don't know how he finds time because he's doing so many things right now rick is has a new uh version of the beato book coming out soon so watch for that um it's gonna be great so let me just play a little bit more and as i play i'm gonna watch the chat and pick another question i'll just play for a second here we go let's dive in oh and you know the the thing i'm gonna try and do this time i'm gonna play super quiet just for a second super super quiet here we go [Music] so that's a really really good way to approach a blues is to use the neck pickup not too much gain pick softly and then punch certain notes check this out guys if i pick softly that gives me the opportunity to like fire up and punch some notes never forget that pick velocity is where all of your style and emotion comes from yeah this is a a prs that i had built and i i called prs and said you know i want to have a couple of guitars made you've given me a couple of guitars for you know the work i've done on on your school and then the videos i've done and it was quite expensive to actually order a custom guitar from prs and i really wanted this to to be you know a simple looking guitar and it's one of my favorites it's it's it really really worked out great his pickups are getting better all the time [Music] and this indeed has the page system you know jimmy page had these split pickups so you can thin it out both pick up split so it's really cool you're asking about paige playing with a bow you have to remember that it was we were in a very naive time back then and anything you did like that was cool so you look at it from you know 2021 you look back at the bow and you go yeah what was that but at the time anything it was so naive it was like we were children playing in a sandbox and and he was you know anything you would do like that was like you know talk box even the wawa i mean when i got my first wawa pedal it was like oh man that's amazing uh touch on the modes for this well um i'm just playing in c minor c natural minor when i go to f it's the same scale but i try and milk a couple of things on the f what i really want to milk is this f minor six triad and the dissonance between the minor third and the sixth of this f triad [Music] and that's the kind of thing paige would do and then the resolution is where you kind of go ah so it's tension and release [Applause] so i see that f minor six shape right there and then when it goes to g minor [Music] it's great and then you can kind of just stay in c minor through the turnaround but i every time it does a turnaround i want to play this because i love it so much [Music] and you can even i try grabbing [Music] two notes on that because it's really cool but there's so many ways you can do it and it's just such a rule breaker i mean this major seventh dissonance is one thing but this flat nine dissonance right there [Music] it's just so awesome which foot do you use to switch pedals when performing live it depends my right foot is usually on the volume pedal 100 of the time so it then it becomes a left foot but if you're standing on the volume pedal with your right foot and you use your left foot to do a pedal you feel like you're going to fall down so i'll take the right foot away and stomp on a pedal the pedals that are essential that i'm going to use the most i always put closest to the volume pedal and in the front row i mean that's a key with building a pedal board and if you have a loop switcher then that loop switcher switcher will take care of the problem so i have a voodoo labs dingbat pedalboard that has a programmable loop bar right at the front edge of it and that solves all the problems because your it's right there you know for the tip of your foot you can take it off the volume pedal click the button which is really nice building a pedal board just make it as easy and convenient as possible it doesn't have to be complicated one thing i would suggest when you build your pedal board don't make it too heavy because if it's over 50 pounds it's just a pain to move around and take to gigs try and keep it under 50 pounds so a lot of these pedal boards that have like two levels and stuff and they're made out of wood and they're really big and they have the big wood cover they look great but i don't know that i could use that because it's so heavy i i like the voodoo labs you know it's really a thin piece of metal strong and then has the loop switch at the bottom at the bottom and it's not too heavy so that's something when you get out there and you're doing lots of work and you have to walk from your car to the studio which sometimes is a long way with your pedalboard weight is an issue well i the thing is i don't here's the question can you show us how you use the volume pedal to add expression to your lead lines i actually don't i the volume pedal is basically to stop noise so i have it back like this to hide noise and when i play the phrase i step on the gas now if i'm in a situation where volume swells are required for the part then that's how i use it but i don't do that when i'm playing lead maybe i should it's pretty simple there's really nothing to it you really need to have a volume pedal that does have a smooth taper though i'm using an exotic effect effects i'm using an exotic effects volume pedal but the dunlop works really good and they're easy to get and they're really really durable at this point the black dunlop ones yeah the broadcast makes this really really gritty low dirt sound i don't mind that at all and i switch it off and here's back to just the super sweet you're saying your pedal board hisses like a mean cat you start over and go pedal by pedal and figure out which pedal is adding the noise we all do this start with the first pedal check your amp if it's quiet fine add in the second pedal if it's quiet fine if it's not fine then you either have a bad cable or the pedal is causing noise the power or something also put the volume pedal after all your drive pedals crucial all the pedals that make noise when you turn them on they go before the volume pedal then all the pedals that are quiet like reverb delay modulation they don't make noise you put those after the volume pedal hey thanks rick for the the tone thing it's really simple it's just this amazingly expensive guitar through two very uh hard to get mics into a neve my pre and some speakers that are 53 years old nothing to it but thank you yeah it's but the divided by 13 anybody can get i mean the elements of this tone that anybody can get right now are a new guitar with good humbuckers an sm57 and a divide by 13 amp and a super sweet pedal all gettable now the vintage speakers that they are special but new selections are good another company that makes really good speakers is warehouse warehouse speakers they kind of sound like the old celestion so i'd check them out if i were you but these pickups are getting really really good they don't sound nasal to me at all and then there's the trick of turning the treble down to eight and it really kind of gets sweet now if i was going to use this more i might step on another drive pedal just to fatten it up i just with my hand stepped on the most distortion that fattened it up a little bit always good to have maybe three drive pedals and set them so they sound good on their own and if you need more gain just chain them just do two or three at a time okay sportster guy you're asking if i focus on the chords you want to get to and filling in between i it's both scales and chords i see chord shapes everywhere while i'm playing c minor c minor seven c minor nine triad chord shapes everywhere and that kind of that's kind of my springboard so if i'm going to play a riff i might see this c minor right here c minor 9 all of a sudden it becomes a riff and then like i said i see the f minor sixth here when the band goes to f minor and then once you see those chord shapes you can play blues but you still see the actual shape so if i see f minor six here i play blues and then activate the chord shape right afterwards do a simple melody like in this particular situation this is really good to do and that's the simple melody aspect of it i always talk about this play a simple melody play a chord shape play blues i keep cycling between between those three things the divided by 13 amp i'm using is my favorite one and i've tried a lot of them it was designed by rusty anderson and fred decone fred designed all these amps with guitar players and really you know it's a smart thing i wish other amp makers would do that he designed this with rusty anderson rusty is paul mccartney's guitar player but rusty is a great guitar player who i did lots of sessions with a very very inventive studio guitar player also but he got kind of catapulted out of that when he joined paul's band so they just they just tour and then when they're off the road they just do their own thing so rusty's a great guitar player he designed the rsa23 that by far is my favorite divided by 13 and i have used it most of the time over the last 20 years i mean sometimes you find gear in your life that you use for your whole life it will happen to you and you need to recognize that sometimes you can stop searching for the next thing because some of these things i mean i could do it with a vintage marshall some of these things that you find never get surpassed so remember that you know if you find a favorite pedal or a favorite guitar or a favorite amp you you can absolutely believe that it will be your best thing the thing you will use the most and want the most for a lifetime my kemper profiles are on the master class so finally i can talk about there is a special on the master class today just for this weekend if you go to the master class for the free trial i shouldn't say this but you can download the kemper profiles and then if you decide you don't want the master class you can opt out so the free trials are there there's a camper video in the master class i'm not sure exactly where it is but the there's a an actual attachment that has the camper profiles that we did they're free um you might even go back to the youtube video that's on my channel and look for them there they might even be on there no i don't think they're on there i think they're in the master class so yeah all of you i if you want to support the channel the master class is how i monetize it's the only way i make money i don't really make money on the youtube channel a little bit but a lot of my videos are demonetized so if you want to support me you want guitar lessons take the free trial if it's right for you stay in if it's not just opt out hey i'm going to play a little bit because that's what i came to do and then we'll take a couple more questions here we go the other thing i love to do is bursts of speed that's really effective when you're playing slow and then just out of the blue you go i always love to play with opposites simple complex clean dirty loud soft always kind of going back and forth through opposites that's that's that's what keeps it fresh and that's what keeps it interesting i think well you're asking for a tip over playing through 12 8. eventually you develop a clock so it's one two three one two three one is a one two three small threes big threes um eventually it becomes second nature and that's that's what i would work for is so that is going constantly in kind of in your body in your psyche and i don't do much of that in this song but you can definitely just swing let me show you you see i i did it there i actually swing for a little while and then play fast so always always trying to use opposites all the time also i love to use tritones it's like if i can find something like that i'll use it and then always come back to consonants after dissonance so any anyway if you guys haven't checked out the the free trial in the master class and this this sale that we're having this weekend check it out uh it's just for the next two days and um i'm going to play out a little more i want to thank you guys for for coming and for joining us and for supporting the channel and all you've got to do is take the 14 day free trial if you like it stay in and that'll that'll support us that'll keep us going because even this video we test it we get a copyright claim and led zeppelin makes the money from this video and there'll be ads on it and so if you want to support the masterclass just check it out and and see if it's right for you no obligation you can cancel any time before day 15. and so i want to thank you guys for joining us and i'll keep doing these and i'll see you in probably in a couple of weeks for another one and of course this will stay on the youtube channel archived so you can watch it anytime so play out for a little while and we'll see you guys on the next one thanks so much here we go ah so so so uh so hmm hmm so you

Channel: Tim Pierce Guitar

Views: 198,236

Keywords: tim pierce, guitar, studio, recording

Id: FyCcdruV4R4

Length: 20min 16sec (1216 seconds)

Published: Sat Nov 20 2021