Sorry So Sorry

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  • - section 1: Main Guitar Tab
    - section 2: Guitar Outro / Jam
    - section 3: Vocal Outro / Jam
  • - section 4: Live Lyrics
     
    NOTE: CAPO ON 1. ALL TABS, NOTES ETC RELATIVE TO CAPO.
  •  
    -- SECTION 1: Main Guitar Tab --
     
  • There are 3 parts:
     
    Part 1 - Verse ("Spend your nights here...")
  •  
     
    C Emin
  • e |----0-------0-------------0------------2-----
    b |----0-------3-------------0------------0-----
    g |----0-------0-------------0------------0-----
  • d |----2-------2-------------2------------2-----
    a |----3-------3-------------2------------2-----
    E |--------------------------0------------0-----
  •  
     
    Basically it's a back and forth transition from C to Emin,
  • with an little "add" to each, on the b or high e string.
    Note: The add is not a hammer on.
     
  •  
    Part 2 - Break/Pre Chorus ("And you really... didn't know")
     
  • Amin7 D Amin7 D
    e |---------0--------2-----------0----------2--
    b |---------1--------3-----------1----------3--
  • g |---------0--------2-----------0----------2--
    d |---------2--------0-----------2----------0--
    a |---------0--------0-----------0----------0--
  • E |-----------------(2)--------------------(2)-
     
    This part is just back and fourth between between the A and the D,
  • you can get fancy an do little hammer ons with the high e string
    when playing the D, but it isn't required.
     
  • Part 3 - Chorus ("I'm sorry... so sorry")
     
    Emin A C D
  • e |---------0----------0---------0---------0--
    b |---------0----------0---------1---------3--
    g |---------0----------6---------0---------0--
  • d |---------2----------7---------2---------4--
    a |---------2----------0---------3---------5--
    E |---------0---------------------------------
  •  
    You could play the progression with added notes
    on the high e string. (ie: not playing it open)
  •  
    ie:
     
  • Emin A C D
    e |---------2----------7---------3---------5--
    b |---------0----------0---------1---------3--
  • g |---------0----------6---------0---------0--
    d |---------2----------7---------2---------4--
    a |---------2----------0---------3---------5--
  • E |---------0---------------------------------
     
    I think variation is key here.
  •  
    -- SECTION 2: Outro / Jam --
     
  • To build loops in the outro, you're going to need to use Line 6 Delay Modeler pedal
    with your guitar. If you're also going to add vocal harmonies / loops, like Howie,
    you'll need a SECOND Line 6 Delay Modeler pedal with your mic. In theory you could
  • run a mic and guitar through one Line 6 pedal, but you won't be able to break up the
    vocals from the guitar, and there will be mic vs guitar sound level issues (and
    possibly feedback issues).
  •  
    Howie also uses Boss DD-5 Delay pedal throughout the song for (a trailing) effect on
    his vocals. This tab doesn't take that into account. You can email me if you need
  • more detail about the DD-5.
     
    One more thing to consider is that Howie doesn't take breaks building the loop.
  • That is, he is always actively recording and not waiting to see how his loops playback.
    Of course that takes practise to become comfortable with your ability to loop, but
    it comes quickly. I think if you wait for playback, your loops don't flow as
  • gracefully... of course I could be wrong.
     
    Line 6 settings (both for guitar and mic): effect dial turned to "loop sampler",
  • every dial set to 0, except mix, which is turned to FULL. All vocal echo/delay is
    managed seperately through the DD-5 pedal. As far as I can tell there is no echo
    or delay on the guitar.
  •  
    BUILDING THE OUTRO LOOP
     
  •  
    STEP ONE: play the chorus (see tabs above), play it until your comfortable. You want
    to start your loop as you begin to play the Emin Chord. Play the chord progression once,
  • the moment you hit the Emin chord again, stop the loop sample (but keep recording, ie:
    press the far left button, not the middle one).
     
  • When I play the Emin for the second time, I ONLY PLAY IT ONCE, but let it ring.
    As soon as I do this I slide my left hand (with fingers still in Emin position),
    up around the 15th fret. I then mute all stings, and begin to strum...
  •  
    STEP TWO: muted strums. As mentioned above, I have my hand across all strings and strum
    along to the loop, matching the rhythm. Usually around the halfway mark of hearing
  • the D chord playback I stop strumming and get ready for building the next layer.
     
    [note at this point, if you want you can stop recording and let the loop run.
  • You've got a solid foundation set up]
     
    STEP THREE: counter melody. This is the "lead part", played on the high e string.
  • Again, there's always slight variations. Here's a basic pattern:
     
     
  • e |---10-12-12---10-12-12---10-12---8-10---7-8---5-3-2---
     
     
  • Some times Howie then matches that melody on the b string
     
     
  • e |---10-12-12---10-12-12---10-12---8-10---7-8---5-3-1---
     
     
  • Keep in mind you're basically soloing in the same pattern as the key of G (relative
    to the capo). Play with it, make your own solo. (note: I'm usually pretty accurate
    in my key ID'ing... the G pattern works, but it doesn't seem theoreticaly right since
  • the song doesn't employ a G chord at any point)
     
    STEP THREE: the bassline. It's completly played on the low E sting. Howie uses an
  • octive pedal to drop this part an octive lower, and give it a more richer sound.
    He doesn't always use the pedal, and sometimes plays it naturally. I personally
    think no octive pedal is fine.
  •  
    Here's a basic pattern:
     
  •  
    E |---0--0-3-5---5--5-7-8---8--8-9-10---(12)\---
     
  • Basically, the bass is mimicing the chorus chord progression:
     
    E -> A -> C -> D
  •  
    or
     
  • 0 -> 5 -> 8 -> 10
     
    STEP FOUR: Drums. I'm not going to get into too much detail, if you need help with
  • this, email me. Listen to live version for timimng. Remember keep it simple -
    less is more. Also, remember to make you 'bass drum' sounds using the palm of a closed,
    but not clenched, fist on the front of the guitar body (towards the bottom).
  • The "snare drum" sound is made with the open slap of your hand (towards the top).
     
     
  • Once your drums are playing back hit the stop record button (middle knob).
    Look up at crowd. Smile.
     
  •  
    THAT'S IT! At least for the guitar. Building your loops / jam is an experiment.
    Some nights Howie doesn't use all samples possible, some nights he goes balls out.
  • The only other thing I've noticed he uses to "clean up" his loops is he'll sometimes
    add a root 5 power chord, as the A chord is played back in the loop. That is, he plays:
     
  • A
    e |------------
    b |------------
  • g |------14----
    d |------14----
    a |------12----
  • E |------------
     
    Play it lightly, don't go crazy.
  •  
     
    -- SECTION THREE: Vocal Outro / Jam --
  •  
    I'm not going to go overboard with detail on this one. The trick to this one is to
    realize the importance of matching the start time of the vocal loop with the guitar loop.
  • It's not that hard. As your guitar hits the Emin chord, you want to start the loop on
    your Line 6 connected to mic.
     
  • The nice thing about this loop is that you don't need to rush, your guitar loop
    will carry you. Let the mic line 6 continue to record.
     
  • There are basically 3 layers to the loop. I'm assuming the phrase sung is:
     
     
  • love did you know... all your time yeah... oh come on
     
     
  • First pass : did you know... all your time yeah...
     
     
  • This pass your tone should be low, dark, and with minimal note variation between sylables.
    You're setting up the foundation here.
     
  •  
    Second pass: did you know... all your time yeah... oh come on
     
  •  
    This pass should be more dynamic and higher. Your vocal progression on the
    "all your time yeah" part should be a noticeable downward progrssion.
  •  
     
    Third pass : love did you know... all your time yeah...
  •  
     
    This is for all the glory, you're practically yelling this. It should be much clearer
  • than the previous passes. If you're gonna yell like Howie, take a BIG step back from
    the mic. Don't worry, you'll be heard loud and clear.
     
  • Once you've done your 3 vocal passes hit the stop record button (middle knob).
    Look up at crowd. Smile (again). Let the loops run together a few times.
     
  • Kill the guitar loops.
     
    Let the vocal run once more.
  •  
    Annnnnnnnd you're done!
     
  • PLAY TOO ..
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Sorry So Sorry
DAY HOWIE
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