Guitar Tabs Tabs for Love of a Lifetime  (from the Firehouse album Firehouse) (5K) Tabs for I Live My Life for You  (from the Firehouse album 3) (12K) Tabs for When I Look Into Your Eyes  (from the Firehouse album Hold Your Fire) (12K) Tabs for Here For You  (from the Firehouse album 3) (12K) Tabs for You Are My Religion  (from the Firehouse album Good Acoustics) (12K) Sound Clips Note: A MIDI player and a RealAudio Player (version 3.0 or greater) are required. MIDI file of All She Wrote  (From the Firehouse album Firehouse) (39k) Solo from In Your Perfect World  (from the Firehouse album Good Acoustics) (210k) Clip from Can't Stop the Pain  (from the Firehouse album Category 5) (580k) Clip from Bringing Me Down  (from the Firehouse album Category 5) (547k) Videos

My Guitars In May of 2006, I met a guy named Ed Miers at a show we did in Indiana. He told me that he was the CEO of a company called GREM USA, and that they made guitars. I told him that I would be happy to take a look at his guitars, and I'm SO glad I did. They are PHENOMENAL guitars!! GREM Guitars are all 100% made in America, and their quality is FAR superior to ANYTHING I've ever seen or played in my life. I told him that I had to have one! Since then, we've worked out an arrangement where I'm now exclusively endorsing GREM Guitars. I am so excited to play these fine instruments of such exceptional quality. I hope you'll take a look at their website: GREM USA My Amps The amps I use exclusively in the studio are Randall MTS Amplifiers. I'll be using these amps live every chance I get. They are the most versatile amps I've ever heard. The design of these amps makes it possible for me to have three amps in one. The kicker is that all three amps in the one box sound and respond better than any other amp on the market. Because they are modular AND hot-swappable, I can have a virtually unlimited variety of tones at any gig and/or in the studio. They are absolutely AWESOME!!! You should check them out here: randallamplifiers.com In case you're wondering who else is playing Randall MTS Amps, here's a list: George Lynch, Anthrax, King's X, 3 Doors Down, Breaking Benjamin, Chris Duarte, Danzig, Dark New Day, Disturbed, Drowning Pool, Five For Fighting, Goo Goo Dolls, Good Charlotte, Gotthard, Good Charlotte, My Chemical Romance, Michael Wagener (one of my favorite producers of all time), Nonpoint, Sevendust, Tommy Lee, and many more. My Rig I get many emails asking me what equiptment I use on the road to get my tone. I've always wanted to have the best possible tone without having to take all my studio gear out to be abused. We do a lot of flying around, jumping from one hotel to another, and sometimes back in just a few days, and the less I have to check underneath a plane, the better. Most airlines won't even let you check anything over 60-65 pounds anyway, so that refrigerator-sized rack might just sit at point A when you have to be at point B for a gig, so beware. Since FireHouse is a very diverse band, I need to be able to switch from clean to crunch to World War III tones with the stomp of a single button. I hate tap-dancing up there onstage trying to turn off my delay, change channels, and add reverb in the split second where needed, while trying to sing and play, all at the same time, so I decided to go with a very simple, yet effective rack setup. Right now on the road, I'm using a Randall RM-100M head for my main tone. It has three stellar sounding channels / preamp modules. I use three 4x12 speaker cabinets, all with Celestion Vintage 30 watt speakers. The speaker output of the head goes directly into the middle cab for my dry tone. The other two cabinets are wet left and wet right. They are driven by a power amp which is fed by the TC G-Force. Anyway, the head has a line output which is an output that includes the tone of the output section of the amp. I go line out into a GCX, which is a signal splitter and looping box, and the signal feeds the TC G-Force (for delay, a little bit of pitch shifting, and a tiny bit of reverb). I use only a touch of reverb for "air". I also sometimes use a tube screamer for solos. I'm using an All Access pedal to switch everything. Plugged into the All Access pedal, I have a volume pedal, which is set to control delay level, so the delay is not just on or off, but controllable for all levels in between. My Strings I'm using Dean Markley Strings. Dean Markley makes the greatest quality strings on the planet. I've been playing them ever since I started playing guitar. They have amazing tone that lasts and lasts. By the way, I've never broken a Dean Markley String during a gig. Check them out here: deanmarkley.com My Picks I have been using In Tune Custom Guitar Picks now for many years. They make the best picks I've ever used and I highly recommend you check them out here: InTuneGP.com My Pedal Board The pedal board I use is the Pedaltrain. The Pedaltrain is an extremely rugged, yet lightweight designed pedal board that comes with, and fits snugly into its ATA flight case. I've had a lot of pedal boards, and this one is, by far, the best I've ever had. I never have to worry about it getting damaged when it's thrown around by the airlines or by stage hands. The construction is rock solid, and the pedals are mounted at an angle so I can see the L.E.D.'s even in the afternoon sunlight. It also has a lifetime warranty. Check the Pedaltrain here: Pedaltrain My Cables I get emails all the time from people asking me about cables. I've tried every kind of cable on the planet and I have found that the best cables available in the world are from Four Star Wire & Cable. What makes these cables so good? It's simple: Very high shielding so there is NO interference. Every night, you just wrap it up, and there's no tangling, no spagetti mess. These cables keep my live and studio rigs running flawlessly and sounding their very best, day after day, night after night. Check out the professional cable that pros rely on here: MyStarSound.com My Philosophy One thing that we guitarists share is the desire to make our guitar sound it's very best. I am always adding more and more pieces of gear to my system, but this basic system gives me the flexibility to play just about any gig, and have a great time doing it! Good luck with everything, and remember, LIFE IS TOO SHORT FOR BAD TONE!!... Bill My Studio STUDIO GEAR: In the studio I love to use processors by Yamaha, Focusrite, Neve, Avalon, Tubetech, T.C. Electronics, Lexicon, Urie, A.M.S., E.M.T., G.M.L., Drawmer, and Fairchild. My recording preference is the Digidesign Pro Tools format. I also love using Reason. All my music programs are run on Macintosh. If you're into this stuff too, let me know!

	Tips & Tricks Q. "Where can I buy FireHouse CD's"? A. I get a lot of people asking me where they can find past FireHouse CD's so I have a new page (Bill's Recommendations) where you can get them. The latest FireHouse release, PRIME TIME, is available from the FireHouse Website. Q. "How did you get the acoustic guitar sound on 'Good Acoustics'?" A. I used a Neuman KM-84 and an Audio Technica AT-4033. The 4033 was at the 12th fret pointed straight at the fret board, and the KM-84 was pointing at an angle toward the sound hole from the bridge end of the guitar. The overall sound is actually four tracks of separate performances. My stereo pair of Yamaha 6 strings is panned hard left and right, and so is a pair of Yamaha 12 strings. This is a neat way to get a wall of sound from acoustic guitars, but it takes four times as long to record. (It's worth every minute of it!) Q. "How did you get the rhythm guitar sound on the first two FireHouse albums?" A. I've gotten a few emails asking about the guitar sound on the first and second FireHouse albums. Thanks so much for asking about it. The short answer is that we multi-tracked the rhythm guitars SEVERAL times to get that tone. Here's the long answer: David Prater, our producer, had a modified Fender Bassman and I recorded one track with that. Then, I recorded the song again with that same amp. At this point, we had a stereo pair of Fender bassman. Next, we recorded a track with my mid 70's modified 50 watt Marshall. Then I recorded another track with that amp. At this point, we had 4 tracks recorded, 2 stereo pairs if you will, of 4 separate performances. Then I recorded a stereo pair of tracks with a Soldano SLO 100 the same way. This means that I played the song 6 times, as closely the same way as I could, and Prater blended these 6 performances together to get the sound you hear. The second album was done the same way, except we added another stereo pair of Prater's Musicman 100 watt head, which, by the way, we used for all of the lead tracks. So, on the HOLD YOUR FIRE album, you're listening to 8 tracks of rhythm guitar. If you're looking for an amp that will deliver this sound, I would suggest you get the Randall RM4 and the Randall RM 100. Get The SL+, Ultra XL, KH 2, and Tweed modules, then lay stereo pairs of each module, pan each track of the stereo pair hard left and right, then listen to your wall of sound!! I hope this helps to explain how we achieved the guitar sound on the first two FireHouse CD's. Q. "Any advice on making it in the music business?" A. Well there are five things that come to mind. Write some KILLER songs. Make a GREAT recording of them. Get a good entertainment attorney. Our attorney is John Wilk of Phillips Nizer. His number is 212-977-9700, and he's the best in the business. Be persistent and don't give up. Remember everyone passed on the Beatles in the beginning! Have fun! Remember we got into this business because we love music. I also would suggest reading "All You Need to Know About the Music Business" by Donald S. Passman. GOOD LUCK!