Quote by Declan87
Guitar solos have periods of popularity, popular music always moves in waves. Nothing ever dies that will not be reborn and repackaged.


It's only a matter of time, really. I've been seeing more and more dudes with acoustics parading around as 'singer-songwriters' playing folk-inspired tunes in the past few years.

Kinda reminds me of Bob Dylan, Woody Guthrie, Joan Baez, Simon & Garfunkel, etc.

It doesn't sound the same, and I wouldn't say the songwriting is quite as thoughtful, but the trend seems to be the same.

One or two of them will pick up an electric guitar, and then who knows what'll happen.

I think it's a little bit of a leap to directly link guitar-based rock with cultural trends, but I think it'd be silly to outright ignore it too. We seem to be moving in a similar direction culturally that ultimately birthed that style of music. It's interesting, and I'm interested to see how it unfolds.

Something's coming. I'm not saying riff-rock is back, but if things keep-on a'chuggin the way they are, people are going to be looking for something other than what's popular now to identify with. Who knows? We may even end up with a whole new genre, and people will be on forums 50 years later calling it 'Dad-[something]' and complaining about people who talk about it. There might even be guitar solos involved

Anyway, what do I know? Just some speculation.
Quote by Eastwinn
so today an ex-girlfriend of mine called me from her highschool (yup) saying she needed to change the bulb in one of her headlights cause the snow was getting a little more intense and she's a garbage driver. so anyway i drive down there and do it for her cause apparently no one else could and while i'm at it i'm like "okay lemme check your oil" (in spanish tho obv cause getafe) so i tug the dipstick the littlest bit and the plastic handle just cracked right off. that's how long it has been since she'd even thought about oil. disaster right there

Oh lord O.o

Reminds me of my first car. It didn't end well. She is no longer with us.
On my way to band practice. Stopped at red light. Got rear-ended by a pickup going full speed. When we pulled to the side of the road, I realized my entire trunk was mashed. Amp, pedalboard case, a few pedals, and a partscaster trashed.

It wasn't the most expensive loss in the history of gear mishaps, but for a poor musician it was a pretty big setback. Insurance didn't give me jack either, because apparently putting ~$500 into a $250 guitar only gets you the used price of the original $250 guitar back :-/
Quote by sickman411
Wait Liam are you transposing an Amaj7 shape up a fret? I misread the OP earlier. Wait, I misread the OP again twice since I started writing this.

From what I can gather, you're playing (low E to high E) x02120 and then 003230, is that right?

That's what I gathered by reading his post.

He's saying he's playing the Amaj7 in the open position and moving up the fretted fingers one fret (I think).
I'm sure someone else has a better explanation (still bad at explaining things in proper theory-speak), but if you play an Amaj7 like this: 5x6654 or like 5x7654, you may notice that it looks a hell of a lot like a C#min chord (x46654) but with an A in the bass.

An Amaj7 chord has the notes A, C#, E, G#

A C#min chord has the notes C#, G#, E

I would go on to say that the two could be used as substitutes for each other in certain musical contexts

So if you move up the notes in 'A' position from [x02120] (is that the voicing you're using?) to [x03230], it becomes a Dmadd9/A (I believe) So the notes become A, F, D, and E.

So going back to the Amaj7 chord, we can see that the A and E match up with the second chord (obviously), but the C# and D kind of clash, and the F and G# clash (maybe not as much, but a little), so that would be where you're getting a fair amount of dissonance when you continue playing the notes of the Amaj7 over the second chord.

The reason it still has a 'Maj7' sound goes back to how similar the Maj7 and the minor chord are (in this case it's sharing notes with an A#maj7).

I would personally play a lick using the Amin scale over it, but I think you could get away with Dmin as well, and a slew of others, but I'm too lazy to think about it
Roy G Biv

It's clearly Red, Green, Blue.

It's in the name...
Yes. If you're writing music with notes and chords and stuff that falls at least mostly into equal temperament, yes.

Before I knew theory, I'd do what you do, except I'd get stuck 9/10 times. Like really really stuck. I would be unsure of how to continue a song, or how to put a vocal melody or a bass-line to it. It'd end up just being a recorded file that never went anywhere. Eventually it'd get deleted or lost. I've had 100s of 'songs' like that.

Now, when I get stuck, I can look at the chords or the melody that I'm working with and come up with a number of different things/ideas that I know will, in all likelihood, 'work' within the context of the song.

Knowing theory pretty much makes it so you have no reason not to finish a song aside from laziness or boredom.

I'm not saying that you can't write great music without knowledge of theory. You can. But why not use all the tools you can to write music? It's like not ever using your pinkie when you play because you can't be bothered to waste time incorporating it into your playing. It's just silly and misguided...

Theory isn't hard.. You can probably learn all the bare-bones basics in about a week if you take notes, and I guarantee you'll say to yourself: "How in the hell did I get by without knowing this stuff before?!"
In most bands I've been in, jams inspire ideas for people to take home and flesh out a little more on their own and then come back the next time and see if the band can finish fleshing it out.

I don't think I've written a single song without some form of jamming. It's like musical brainstorming. It's important

Jams are also pretty essential for 'getting the feel' of bandmates. I was in this cover band last year and it was dreadful. The other guitarist/singer hated jams because 'they go on forever', so, naturally, we never jammed. That resulted in some serious flow/rhythmic issues and completely closed the door to any artistic freedoms.
I once got ~132 pages in. Took about 5 months.

Sometime near the end of the 21st century, two alien races come to Earth. One makes their presence known and begins working with the US Government. The other settles in Antarctica, unknown to the world's governments.

The story was set in the 22nd century. Basically, the US had taken control of the world under the guise of democracy (aside from a few places. Namely Cuba, Greenland, and Antarctica), when in reality the government was run by an elite group of the rich and corrupt (mostly comprised of aliens). It was like a silent oppression. The US allowed Cuba and Greenland to remain free of it's rule as long as the US was allowed to send any citizens they deemed a 'threat to the democracy' there. Antarctica still remains a desert and ultimately uninhabitable.

The story followed Reese, a middle-aged assassin employed by one of the US's intelligence agencies. His cover is blown within the first 9 chapters and the agency he works for goes after him. He eventually makes his way to Antarctica where he meets The Greys, the aliens that landed there and live in secret. It turns out, they've established what I would describe as the lovechild of the CIA and the MIB. Shenanigans ensue.

It was kinda a weird cross between Deus Ex, Elysium, 1984, and a David Baldacci novel.

I feel like I grew as a writer, but the story never really panned out. I had about 50 pages of plot, character profiles, location profiles, etc etc. I kinda realized that it was either going to be a 1000 page book or broken up into three like Lord of the Rings.

I may revisit it someday, but looking back at the pages, it kinda sucked. I'd feel more comfortable scrapping the whole thing and restarting with just the basic plot ideas, but like a song that doesn't pan out, it's hard to go back and make huge changes because you'll always kinda hear it the way it was in it's original form.

Anyway, it's a lot of work. I remember spending days on a part and making change after change, then reading the whole thing back and hating it or realizing it didn't make sense.

No idea how publishing or any of that jazz works. I'll figure it out if I ever end up rewriting it.
Quote by mydoggylio6
I trusted the video but because the demonstrator was from peavey and the amp is also from peavey , someone said that it may be filtered and so the sound may be as they want it to be . Just sayin'

If that's your concern (and it's a legitimate one), check out some other youtube videos. As many as you can, in fact.

If you get a chance to try it in person, even better!

I don't know if Peavey does it (I really doubt they do), but I know BOSS will put other effects on some of their videos to make their pedals sound better in their official videos. It's a little dodgy, but that's what's wonderful about the internet: You have options when it comes to equipment demos
I don't have the mp3 in front of me, but a lot of the stuff made back then was out of tune and out of time up through... I would say the 90's.

Tangerine by Zeppelin and Friday I'm In Love by The Cure are a few other examples. Back then it was more about being in tune with the rest of your strings and the being in tune with the band (and even that was sometimes a little iffy).
Quote by crazysam23_Atax
But that's the beginning, not the end.


Sorry. I was just confused. I thought you were suggesting not to bother learning or using any shapes because they were useless.
Quote by crazysam23_Atax
Or, you know, just learn the fretboard and then learn the notes/intervals of certain scales.

Shapes are like kindergarten level. Why bother to learn the fretboard if you're gonna go and use shapes?

Because that's how the instrument is set up?

I agree that understanding how it all works and fits together is the primary goal, and it's sad that there's such a large amount of guitarists that just stop at shapes, but there's nothing wrong with memorizing/using something like the five positions of the major scale as a launching point/home base or as a learning tool.

From a learning standpoint, they're useful. While I don't necessarily think learning every scale and every chord is useful, a lesson in the CAGED system (and figuring out the underlying concept there) and a lesson on chord construction and shell voicings for chords larger than a triad takes a huge difference with the learning curve.

Supplement that with some reading on chord progressions and voice leading, and you're golden
I got a Novation Launchkey 25 for pretty cheap at GC (~$10 after trade in and discounts. I think it was on sale for ~$120 to begin with). Looks like it's going for like ~$80 on eBay right now.

I run it through Ableton for tracking drums and keys (and controlling plugins occasionally). It's got wheels for pitch-shifting and modulation as well as 8 knobs you can map (you can map the wheels and certain keys as well).

It's not bad. It's not the most durable thing in the world (very cheap components. The only thing that feels relatively nice on it are the keys themselves), but it definitely does the job. I'm thinking of upgrading to a 49 after Christmas (has some more do-dads. Goes for ~$150 on eBay..)

As far as cheaper midi controllers go, I'm happy with it. I had an AKAI MPK25 before that. There's far more you can map with that, but the keys were shit and it was hard to play. I think running something actually playable (like the Novation. Maybe a KORG) next to an AKAI APC40 for controlling parameters, samples, and faders would be pretty ideal for making any sort of music where VSTs and real-time mixing would be needed/useful.

Anyway, I'm sure there are more knowledgeable people here, but I figured I'd chime in with some cheaper options
Even if you buy two very similar guitars (or even the same exact model), it can be a life saver.

I've had a few gigs where a string broke and my backup strat saved my ass (run it through an A/B box and keep the backup plugged in, tuned, and ready to go on the side of the stage). I float my trem, so one broken string means the whole guitar is out of tune...
Quote by MaggaraMarine
It's because of the C# major chord. It doesn't have an F note. And if you play over C# major chord, the note you play over it is an E#. That's because of the note's function. It is the third of the C# major chord. It is also the major 6th of the scale. It sounds like a major 6th, not a diminished 7th, and that's why it's called an E#, not an F. F note in the key of G# minor would be a diminished 7th.

Let's transpose the same chord progression to another key. Let's take the key of A minor. The chord progression would be Am-G-F-D. If you played the same notes over that progression, I bet you wouldn't call it a Gb, you would call it a F#. Or let's take E minor. In that case the progression would be Em-D-C-A. You wouldn't call the C# a Db.

But yeah, it's all about the function of the note. There's a third between C# and E#. There's a fourth between C# and F. Yes, they are enharmonic but their function is different. As I said, in the key of G# minor E# is the major 6th (that also appears in the G# dorian scale), F is the diminished 7th.

It would also be stupid to call the note an F because of the chord it is played over. The chord already has an E# in it. So calling it an F would make no sense. F is not a chord tone. It would also be confusing for sheet music readers.

And yeah, in a diatonic scale there can't be two F's (F and F#). A diatonic scale always has A, B, C, D, E, F and G notes in it (natural, sharpened or flattened).

Ah. Makes sense now. Thanks
Quote by billytalent77
You would call it an E# rather than an F because there's already an F(#) in the scale. You want every scale (if it's using 8 notes) to look like A B C D E F G with various sharps or flats thrown in. If you already have an E in the scale you'd call it an F rather than an E# for the same reason. A lot of theory rules are based simply in making the notes easier to read once you have an understanding.

That's where I see the discrepancy, and why I'm confused.

The song is in the Key of G#min

The diatonic notes of G#min are [G#, A#, B, C#, D#, E, F#]. In the example, the chord C#m (C#,E,G#) is changed to C# (C#,E#,G#).

So my question is why couldn't we call it F? We have an E and an F# in the original scale, so adding in the new note screws it up either way:
[G#, A#, B, C#, D#, E, E#, F#] or [G#, A#, B, C#, D#, E, F, F#].

I guess it makes more sense to not use a flattened 7th but rather a sharpened 6th in terms of how we construct the chord from the scale, but in terms of keeping only sharps within the scale, it doesn't seem to matter.

I guess I kinda answered my own question, but it confused the hell out of me at first
Hey Maggara, just wondering: You seemed to make it a point that the E# in the C# major chord was not an F at all. Why can't we call the E# in the C# major chord an F?

Is that just because we already have an F# in the key of BMaj/G#min and we're trying to avoid repeated notes? It seems like since it's a non-diatonic note, and we already also have an E in that key as well, F or E# would work. Or is it because to get the major triad we're sharping the b3 (E) in the chord, and so we would just tack a # onto it?

Sorry, I'm still getting a grasp on formal theory (I would have certainly called it an 'F'). I come from a more 'self-taught' background on all of this and I'm still getting used to all the semantics involved.
He was deported 6 years ago, so I don't really have to worry about it.

Probably wouldn't even if he was still in the country. It's our life, not his.
Quote by Cajundaddy
So many misunderstandings about tube vs solid state.

Welcome to the internet
I use a used 1994 Fender Champ 25SE (25w 1x12) for practicing and smaller gigs/rehearsals. The preamp section is SS. poweramp is 2 6L6s. Takes pedals well (like all Fender amps). Has an FX-loop, Headphones, built in Attenuator and Spring Reverb (tank kind. Not huge, so no surf rock, but decent enough sized for other applications).

I picked mine up for $250, but they usually go for ~$200 (I bought mine at GC. It was an emergency lol).

Anyway, it's not bad. A little boom-y (as to be expected from 6L6s) and the OD channel is garbage, but for the price, it's something to look into.
Bro. You're over thinking this. Just relax and go for it if you like her. Worst case she says "no".

It's not the end of the world if she does...

She's a person. You're a person. Quit putting her on a pedestal. She's no better than you and you're no better than her.
Used to use a Line6 Spider III 15w 1x8 in HS. Our drummer was one with a 'lighter touch' (and had a smaller drum set). By putting the amp up a little higher (on an end table) and diming that sucker, it was doable.

My next band (also in HS) had a heavy handed drummer with a rather large professional set. No amount of finagling with where the amp was helped. I eventually had to borrow one of my Dad's 100w 1x15 Yamaha's (SS) to even practice with that guy. IIRC, the Yamaha didn't even get as loud as my 25w 1x12 Fender Champ SE (Tube) does now. You could try and track down one of those. They go for like ~$200 now.

It's possible, but you're at the mercy of your drummer's style and how loud their set it. You're also looking at diming the thing with no extra headroom (dynamics go out the window).

You can try. It may work. In a gig situation, you'll want to mic your amp anyway. But I would definitely look into getting something a little bigger down the road. Used tube and larger SS amps don't cost as much as you'd think, and just because they aren't $1000, doesn't mean they sound bad. You just gotta do the research
Oh man. Butt hurt much? Feeling entitled?

Learn English. You clearly skimmed what I said and went 'Hulk Smash' on your keyboard.

You seem to be missing the point. I'll reword it again: It's UG's website. When you submit a tab, it becomes the property of UG to use as they please. If that means making it into a Tab Pro file and charging a monthly fee for Tab Pro? So be it. It's a service they offer. You agreed to these terms when you submitted a tab. So did I. So did everyone that submitted one.

UG generally (key work 'generally', I know you're going to **** that one up like the word 'usually') chooses the best out of it's bank of user-submitted GP files to make into a Tab Pro file. Yes, it gets a 5 star rating, but UG hosts the file. They pay their own monthly fees and employees to keep this website running. They can rate it however they like. They can charge what they like. They own all of it

There are no 'ethics' or anything behind this. If you don't like 'the system' or you think it's unfair, that's your problem. Go make your own tab website and you can make it all free (except for yourself. You'll still be paying lol)

The existence of TuxGuitar is a moot point. I was comparing Tab Pro to Guitar Pro. Both cost money. Both do the same thing. TuxGuitar does it for free. Good for them.

This is how UG does it. They have to make money. If you paid for it and you're upset about it? That's your fault for spending money without researching what it was you were paying for. If other users do this? That's their own damn fault too. You don't order a guitar or buy an amp without doing research (and if you have, you know why that's a bad idea).

Take the same logic into other areas of your life: Don't buy/subscribe to/sign shit before you know what it is and what to expect...

Common sense man.
There are no ethics involved. When you submit a tab to UG, it becomes theirs. It's in the user agreement. They can use it however they like.

And yes, all of them have automatic 5-star ratings. I never thought it was nefarious in any way. Everything's a conspiracy these days though, so who knows?.

They're usually 5 star GP tabs anyway, and the GP tabs are still available for free. So basically you either pay for GP or subscribe to Tab Pro to get these tabs. It's costing you money either way, so you pick your poison.
Quote by Bixter
Problem is, I just don't have the money right now for the kind of amp that i want, so in the meantime i thought I'd try to improve the sound of the one i have

The problem with that is that you may feel like a pedal sounds great on your amp now, and then when you buy the new one it sounds like shit (or vice versa!) and then you're out whatever the difference is between new and used when you replace it.

In the long run, it's more money down the hole, but if you're ok with that, have at it
Definitely try as much of it as you can before you buy. Bring your guitar and plug it into the amp you're going to be using (or as close as you can get).

Never heard of a Diago, but make sure it's an isolated power supply if you're looking to cut down on noise.

IME, the MXR Dynacomp adds a lot of extra noise, and sounds kinda 'eh'. The Decimator's supposed to be nice and worth the money. I've heard mixed things about the NS-2, especially RE stuff like pinch harmonics and palm muting (apparently it drowns them out).

Try out some other Overdrives at the store. MXR makes some nice stuff, but there's a million ODs out there. There might be something you like 10x better. Do more research. Go online and check out demos of everything you can.

One last piece of advice: If there's one thing I've learned over years of chasing tone, it's to ALWAYS ALWAYS ALWAYS buy exactly what you want. If you're looking at a $500 whatever, don't ever say: "well, I'll just get this $130 thing to tide me over". You'll never be happy with it, and you'll be losing money. Go get a multi-FX unit if you really need something to 'tide you over'. I keep one in my closet in case I need something weird that I don't have on my board (Zoom MS-50G).
Quote by Jet Penguin
Dat seagull tho

Gotta love
That was interesting. Great job everyone Pretty cool shit.

Nice job with mixing Jet!
Try listening to some new music, or even just really sitting down and learning a song, like note-for-note and try to emulate the way it sounds the best you can. It may also be beneficial to learn to sing and play some songs you like, if you haven't already.

If you can be bothered, sometimes it helps me to get motivated if I spend a week really focusing on something I want to improve in my technique.

Please don't feel that you have to write your own music to be a guitarist. Plenty of hugely popular acts have covered other people's tunes. If writing your own music is fun, have at it, but don't feel like you can't consider yourself a musician if you don't write your own tunes.

And please don't take your brother and cousin's criticism seriously (beyond a motivation to expand your knowledge of music). There's absolutely nothing wrong with pentatonics or 3-4 chord progressions. If you want to see what pentatonics can do, go listen to Hendrix or old 1950s-1960s RnB & Soul music (I recommend any one of the Stax-Volt singles). Most of that stuff is based off of pentatonic phrases.

Insisting that something isn't good because it's not complicated enough is a little pretentious (and mostly comes from musicians or producers who are overly proud of their own musical knowledge. Listeners don't care how complicated it is).

Anyway, that's my $0.02. Good luck!
Apples and oranges. Be happy you worked on that pinkie earlier on

I just tried it and I automatically used my index middle and pinkie.

I don't think you should worry about how other people are playing it or to enforce any sorts of rules about what fingers to use. As long as you're playing it correctly and up to speed, it doesn't matter.

Use what's comfortable. If you try it their way and it's easier? Go with that. If you've got it down your way? Stick with it. The end goal is to move effortlessly and economically when you play. The path of least resistance is almost always the correct path

And for the last one, when I tried it, I did the first three notes as a single down stroke and then started an up stroke for the 14. Kinda like sweeping down the first three and then up the rest.
This morning I saw a Blue Jay and a Cardinal duking it out over a bird feeder. It was like some Empire Strikes Back shit. Pretty cool
I think you could, but you'd have to change the chords across the whole tab. It'd be easier to just change the tuning back to std though

Not sure how to do any of that though lol. I haven't submitted a tab in years.
The chord diagrams (blue letters) are filled in by UG automatically. I see you wrote the fingerings anyway, so hopefully whoever looks this up pays attention to that.

If that's the mistake you're talking about, maybe shoot UG an email and write a note in the comments on the tab.

EDIT: See where you have the tuning? You marked it at as half-step down (D#,G#,C#,F#,A#,D#), therefore, the chords would be E, B, F#, not F, C, G (in standard tuning, these match the chords and fingerings you wrote. In D# standard, they don't).

Either you marked the tuning wrong or you marked the chords wrong
Quote by GlenGuitar16
Thanks for that mjones1992

I've got a heat gun etc so I think i'll try make a start this weekend, if all goes well i'll start uploading pictures.

Also, hahaha, another problem I have with this guitar is sourcing a neck to fit.

Good luck!

I'm still not 100% sure on the water-based lacquer. You may want to check out some other sources on repainting or see if Stewmac has more info before diving into that.
Quote by GlenGuitar16
Everything but the neck is intact, anyone have any experience repainting a guitar with this kind of cover? do i sand it off or?

Once I get started i'll post updates

Well, sanding with like, sand paper, would be a total pain in the ass (tried it with my acoustic. Suffice it to say after a week of sanding, it still has about 70% of the finish still on). I'm assuming it's a poly finish (looks like it. Can't really tell for sure). Most modern guitars are.

Here you go!

I know stewmac also has quite a bit of info on repainting (I believe it's waterbased lacquer that you want, but someone please correct me if I'm wrong) and finishing Just look up toward the top at the 'How-To' section.

EDIT: LOL was looking for info on the S270 to see if it was a poly finish and ended up on the UG reviews of the guitar. This is gold:
Don't be fooled by the S2170's slenderness; once you handle the guitar, you'll be quickly reminded that it does in fact possess a mahogany body. Still, it balances nicely on a player's lap. On its own, the buttery Wizard II prestige neck is nearly worth the guitar's full retail price, the rounded contours of this five-piece maple/Bubinga composite just melt into your fretting hand, and it only takes a lick or two to start gushing over the 22 jumbo frets and Ultra-flat radius, which foster an atmosphere of bending nirvana. Whammy junkies will fully appreciate both the smoothness and the consistent tuning afforded by the roller bearings in the revolutionary Ibanez-designed ZR (zero resistance) bridge, not to mention it's handful of tweakable features like the arm torque adjuster, which lets you easily adjust the whammy bar's height.
Quote by matiss.gutans
C major chord has only 3 notes, right? Why we play more then free of them... so they aren't triads?

As stated, they're octaves of the notes.

Check it out:

Take an open C Major chord in standard tuning. You'd play it as x32010. Those notes are xCEGCE. See how the C and E are repeated? they also happen to be the 1st and 3rd of the chord which are (arguably) the most important notes in a triad. The 1st denotes the chord, and the 3rd denotes major or minor, but that's a whole other conversation

To understand why we do it, I think it's helpful to look at music in a band context.

Basically, in nearly all forms of western music, we have the Melody and the Harmony which drives the pitch side of the music (there's also the rhythm and beat that drives the other side. We could also get into timbre, but let's not right now).

Your singer (in a rock band context) handles the melody. The guitar and bass handle the harmony (another way to look at harmony is to imagine people singing in harmony. Each string is another dude or dudette's voice singing).

Imagine your singer is singing a C note. You're playing a C Major chord on your guitar, and your Bassist is clunking a C.

The notes go:

Singer: C (higher range) + subtle harmonics unintentionally made by a human voice
You: CEG (lower than singer), CE (In range with singer) + all kinds of subtle harmonics unintentionally made by your guitar.
Bassist: C (even lower) + subtle harmonics unintentionally made by his bass guitar.

So all the notes together amount to one big C Major triad repeated at different octaves with the singer singing a nice cool C. You could even add a low G (332010 or GCEGCE) to your chord to add in another G (you're playing a G/C, but because the bassist is hitting a low C, the overall perceived chord is still C Major)

Pretty boring, but as you can see, guitar chords are harmony. You could certainly JUST play a C Major triad (and this has it's place!), but the more octaves you add, the more interesting (and harmonically rich) sound you get.

Experiment what works best in the context of a song you're playing. Read up on some theory too

I hope I was able to at least somewhat explain what's going on and why we play octaves on top of the triad (and sometimes below).
Quote by gabisimonov
Currently I don't have any money for a new good amp, however, it will be so bad connecting it to the microCube?

Because it's like installing heated seats into a 1989 Station Wagon that's on it's way out...

Yes, you're getting heated seats, but you're still driving a 1989 Station Wagon.

Wouldn't it be a better investment to save up for a little while longer (and suffer not having your heated seats) and go buy a used 2005 BMW X5 that already has heated seats and will probably last you a lot longer in the long run?

Go find a nice amp with a crunch channel that you like, find out how much it goes for used, and save up You'll thank me later.
Quote by Jet Penguin
Nah I just like to hype things up.

As the only one who has heard the whole thing: This is one hell of a strange piece.

lol. I bet. We're 'embracing the chaos' though, right?

To the next guy: If you find mine difficult, please just be thankful that I didn't get my idea of sampling seagull screeches at different pitches to work
Quote by Jet Penguin
Sending it to the next victim.

And I do mean victim. MJones made your life a living hell.

Oh man. Was mine really that bad?