One After 909- The Beatles (Guitar Cover) скачать в хорошем качестве

One After 909- The Beatles (Guitar Cover)

Tabs available here- https://www.patreon.com/posts/one-aft... Thanks ‪@wmvansise8797‬ and Eric Mason for lending me this Fender Rosewood Telecaster! This is the live rooftop concert version of One After 909, as heard on Let It Be (1970). John and Paul wrote the song (mostly John) during the early days (1958-1960) when they were called the Quarrymen. They recorded a version of it as The Beatles in March 1963, during the From Me To You sessions. This 1963 version wasn't released until the Anthology 1 album in 1995 During the January 1969 Get Back sessions, they were referencing their early compositions. Most of these jams were half-jokes and silly reminiscings. In both Get Back (2021) and Let It Be (1970) films, you can see this January 3rd rehearsal where they bring back One After 909. Although Paul and John laugh at the innocent silly lyrics, the group continued to play the song throughout the whole month of January and ultimately decided to play it on the rooftop with Billy Preston on keyboards John played rhythm guitar on his Epiphone Casino, into a Fender Twin Reverb amp. For this song his pickup position switch was up, meaning the neck pickup was engaged. He might have rolled down the volume or tone knobs a bit, because the signal is cleaner and darker. Here are my knob settings: Vol 9.5 Tone 2 George played lead electric on his Fender Rosewood Telecaster, also into a Fender Twin Reverb. He starts the song on the middle position (both pickups engaged), then at 0:26 switches to the bridge pickup. You can see him make this switch in the Get Back/Let it Be documentaries The tones coming out of their silverfaced Twin Reverbs on this day were notoriously overdriven and crunchy, which has perplexed Beatles gear nerds for decades. Twins are extremely loud and clean amplifiers, rated at 100 watts with solid state rectifiers. To get distortion from these amps is ear-deafening, and I don't have an easy answer as to why they got so much crunch But I managed to replicate their tones using similar gear. I'm playing through my 1974 Fender Silverface Pro Reverb, which is very similar. It also features two 12" ceramic speakers, but is rated at 40 watts and has a tube rectifier. I'm using guitar pedals to drive this amp hard- an Analogman Bad Bob Boost into a Klon KTR overdrive pedal Interesting notes: 0:00 John plays the intro riff as XXXX32 but the first time he does it, it looks on camera like he's playing B major XXX442. This is not true, he just was resting his ring and pinky fingers over the B and E strings to make it look that way 0:13 John mostly plays alternating bass notes on low E and A strings, but in some cases just strums 0:21 George plays an interesting up strum on the E major chord, hammering on the D string 0:26 George switches from middle to bridge pickup position 1:02 George accidentally hits an open A note 1:29 George plays an Fsharp9 chord before the solo 2:03 George plays an Fsharp9 chord, then adds a pinky to make it a dominant seven sharp nine 2:14 George does a double stop riff, barring 11th fret to 13 fret, which means he quickly accidentally plays a Gsharp major chord 2:19 George brings back the intro riff 2:26 John sustains an A note on G string 2:41 George makes a slight error on the ending riff, missing the A note on the D string 2:46 John holds his hands together while singing Danny Boy, remember it was outdoors in London in January- brr! MY GEAR: 2021 Epiphone Casino USA Royal Tan 2010's Fender MIJ Rosewood Telecaster 1974 Fender Pro Reverb Analogman Bad Bob Boost Klon KTR Neumann TLM-103 Thanks for watching! 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