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I like D'Addario phosphor bronze custom lights. They're relatively cheap and sound as good as anything else I've tried. Occasionally I'll spring for Martin SPs, especially if they're cheap. I do think their sound remains usable for longer than most sets, and they sound good in general. The cost is hard to justify though and the D'Addarios come in three packs. They're also extremely easy to find, which can be helpful in a pinch. Hard to go wrong with them, but there are plenty of great strings out there. Edit: oh cool new page 
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Apr 13, 2010 17:34
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^^^^^^  Ferrous Wheel!!! ^^^^^^The Bananana posted:I just snapped a string, so on that note( Anything D'Addario is normally fantastic.
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Apr 13, 2010 17:38
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), any suggestions for good steel acoustic guitar strings? Gotta go get new ones, so any recommendations would be great.
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If you want something that sounds bright and hate changing strings coated elixirs are nice. They cost twice as much but they last forever keeping basically the same sound. Went from them to the D'addario phosphors and the d's sound slightly nicer and darker for a short time, but on my guitar at least were a bit quieter, and they sounded old in a month or two where the others settled in for a week then sounded about the same for a yearish. They hold their look too, which is a whitish gold color, if you care about that sort of thing. People tend to get curious about them and want to try them at some point, so may as well  On that note, I need to get some flatwound strings for my electric... Ninja Toast! fucked around with this message at 18:51 on Apr 13, 2010 |
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Apr 13, 2010 18:48
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So I'm moving overseas, need to buy a travel-sized guitar that can get beat up. This leaves me basically with (as far as I can tell) the options of a Baby Taylor or a Little Martin. Which should I get? Or is there an elusive fourth option <$400 I can get?
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Apr 13, 2010 20:44
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Request. Does anyone still happen to have an install of either of the versions of Sound Raider? Cant seem to find one on general internets anymore. Thanks in advance. Edit: Sound Raider was free. Not warez req. eArh0x fucked around with this message at 00:51 on Apr 14, 2010 |
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Apr 14, 2010 00:49
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eArh0x posted:Request. Does anyone still happen to have an install of either of the versions of Sound Raider? Cant seem to find one on general internets anymore. Thanks in advance. Is this it? http://www.brothersoft.com/sound-raider-70290.html Please note that I have no idea what the program is or does, but this showed up in a general search. Edit: Also maybe this one http://softwaredownloadmirror.com/freeware/sound-raider-1.0/276727/raider.zip
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Apr 14, 2010 11:17
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I skimmed through any relevant looking threads over the first two pages, so apologies if it's been answered before. I've finally gotten a full band together and am aiming to get gigging ASAP. However, a good deal of my more recent songs are based on preprogrammed synth tracks in Reason on top of the usual two guitars, bass and drums setup. Even if one of the guitarists were to play some of these parts live by running a controller through Reason, we'd still be left with a track or sometimes two being left out. What are my options for playing these synth accompaniments live, other than the obvious solution of hitting play on a laptop with the Reason files or .wavs loaded and running it through the PA? Will the audience react negatively?
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Apr 14, 2010 17:31
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In my experience, the audience won't even notice if you play backing tracks from a laptop as long as everybody on stage is doing something. If you're all playing instruments but you need a backing track with another part because there aren't enough of you, most people aren't even gonna figure out that sound X is a recording from the computer. 95% of the people in audiences just aren't that on the ball. That said, if you wanna play over a backing track with a full band you guys have to be incredibly tight. The backing track isn't gonna follow your drummer and isn't gonna go with the flow when somebody fucks up a transition. It's just gonna play through at it's steady speed and you have to follow it. For this reason your drummer needs to be able to hear the backing track, needs to pay attention to it and needs to be solid. A lot of tight bands sound great on stage while doing stuff like unintentionally speeding up into a louder section. During performance it's easy for the tempo to wander slightly without anybody intending it. And if the band is tight they will all change tempo together when this happens so that it still sounds good and the band members might not even realize their tempo is drifting. But if there's a backing track invovled when the tempo changes even a little -- trainwreck. Now the band is plodding along together half a beat in front of the backing track and the backing track is getting slightly further behind each beat. Good luck lining up with it again. I didn't think I'd write that much, I've never even been in a band that does this. I have definitely seen bands that pulled it off well. So I'm not saying don't try it. I'm saying don't think it'll be easy to just throw in a backing track at rehearsal one day.
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Apr 14, 2010 17:43
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Can anyone recommend a good ressource for sheet music for clarinet and alto saxophone? I'm a complete beginner in both instruments and don't know poo poo about reading music yet, but I assume it will be a good idea to find some and try to practice with it, outside of being taught. I'm looking for jazz, mainly 30s and 40s stuff.
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Apr 15, 2010 01:17
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@Random Cheese, Yes thats it, but those links have been broken for ages. Thanks, though. Anyone? Edit cuz my typing is dumb
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Apr 15, 2010 03:41
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eArh0x posted:Request. Does anyone still happen to have an install of either of the versions of Sound Raider? Cant seem to find one on general internets anymore. Thanks in advance. edit: think I found it - http://www.zshare.net/download/74983523bb91c1b4/ DrChu fucked around with this message at 04:42 on Apr 15, 2010 |
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Apr 15, 2010 04:18
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Col.Kiwi posted:In my experience, the audience won't even notice if you play backing tracks from a laptop as long as everybody on stage is doing something. If you're all playing instruments but you need a backing track with another part because there aren't enough of you, most people aren't even gonna figure out that sound X is a recording from the computer. 95% of the people in audiences just aren't that on the ball. This is really great advice and definitely something you gotta keep in mind.
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Apr 15, 2010 04:54
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Col.Kiwi posted:Thanks for the advice. Yeah, everyone will be occupied playing something, we're just stuck as a four-man band with songs written for 6 or so musicians. I'll talk it over with the rest of the guys when we next meet up to see what they think; it's not crucial as we've got enough material without synths to let us perform as a regular band. I've got a midi input keyboard, is there any way to make it seem more like a real instrument being played by having the backing tracks triggered from the controller? If it's not overly complicated, it might be worth it to not have one of us stagger over to the laptop between songs.
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Apr 15, 2010 11:16
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Ableton is the most popular program for doing that sort of thing. You could assign each section a key on the controller and just trigger them one after the other. I believe you could even assign one key per song if you felt like it, so that each subsequent press triggered the appropriate sample. As mentioned, making this work live is an art unto itself but it is doable and worth trying out. I bet the demo version of Ableton would be capable enough to help you decide if you want to do this or not.
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Apr 15, 2010 15:54
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Schmopenhauer posted:Can anyone recommend a good ressource for sheet music for clarinet and alto saxophone? I'm a complete beginner in both instruments and don't know poo poo about reading music yet, but I assume it will be a good idea to find some and try to practice with it, outside of being taught. Look for a "fake book". These are collections of the melodies + chords for hundreds of standards (mostly jazz, some stuff like show tunes and older pop songs). These started as photocopied collections of dubious legality passed from hand to hand (and there are still similar electronic versions floating around), now there are also several legitimate published equivalents (which benefit from better typesetting and fewer errors in transcription) that you can find at pretty much any music store; there is one called "The Ultimate Fake Book", the "Real Book" series etc.
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Apr 15, 2010 17:33
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Thank you, that sounds perfect. Can't wait to learn some tunes! But first I guess hours upon hours of scales.
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Apr 16, 2010 02:18
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So, I'm thinking about getting a digital recorder to use as basically a musical notebook/scratchpad. All I really need it to do is easily record and playback tracks that I put into it, namely electric guitar tracks run through a device similar to a Line6 Pod and recorded directly, no mics, no vocals, no drums. Just guitar. The heaviest editing I'd need the unit to do would be adjusting volume and panning the raw tracks. I have all the effects and eq I need already integrated into my setup. I have a good friend who works at a local music store and when I described what I was looking for, he recommended the Tascam DP 008 and that he could hook me up with one for a little less than retail. I don't really want to mess with computer recording right now, and I really like that this unit is totally self contained and won't eat up my actual computer's hard drive space when I use it, and that if I get the urge to lay down an idea at 2 in the morning, I won't have to wait for the computer's OS to boot up and run the recording program. I'll just be able to press the power button on some portable device and bam, ready to record. What I'd like to ask you guys is whether this unit, the Tascam DP 008, compared to everything in this price range, is the best device for doing what I'd like to do. I guess the biggest priority would be ease of use. I mean it looks pretty good to me but I thought I'd run it by your guys first just to be sure it wasn't a hard to use, under-featured device when compared with its competition, whatever that might be. Basically, I'd like the device I get to quickly and easily be able to record a track, pan it, then record another track over or along side it while the previously recorded tracks play back. The next priority would be durability. I'd like the thing to last a while. Is this unit a piece of poo poo that will break on me in a year? And finally, sound quality. But really, as long as it doesn't sound low-bit or noticably low quality in any other way, it's fine with me. I mean, I have a decent set of ears but the AD/DA converters don't have to be Burr Browns or whatever. That's pretty much all I'm looking for - a multi-tracking device that's easy and convenient to use that is also tough enough to withstand regular use, and sounds pretty good.
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Apr 16, 2010 02:52
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GreatGreen posted:digital recorder I can't vouch for the Tascam but I have a Boss Micro-BR which does prettymuch everything you've listed. http://www.roland.com/products/en/MICRO_BR/ It's portable, has it's own effects and a lot of drum patterns, offers 4 track recording with the ability to bounce down and has v-tracks and all that. It is battery powered but I think you can find an adapter for desk usage, although the batteries do last for a good few hours. Would be good for the 2am inspiration sessions as you can put headphones on and go anywhere being as loud as you want. Ease of use is subjective, it does have a lot of menus for some of the more in-depth stuff but it is really simple to actually arm and record tracks. You can master it in the unit or just export the WAV to a PC for further work. I've had mine for a couple of years now and it's still in perfect working order.
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Apr 16, 2010 05:34
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GreatGreen posted:digital recorder I don't have any experience with that particular unit, but I have been using a Tascam DR-07 for a few months, and it is so dreamy I almost can't believe it. Easy to use, sounds great, straight-across-the-board awesomeness. The menus and controls for the recording end of that DP-008 look very similar to my DR-07, which means it is probably crazy intuitive. Read through the manual, mess with a unit at the store. If it's a pain in the rear end to use, it's not going to become the "buddy" you're looking for. You might even want to take a peek at the DP-004 if you want to keep it super simple, though all the varying inputs on the 008 would be great to have. Edit: clearance DP-004's: http://pro-audio.musiciansfriend.com/product/Tascam-DP004-Digital-Pocketstudio-Limited-Edition-Red?sku=583086
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Apr 16, 2010 16:23
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I was in Guitar Center today playing an American Vintage 62 Jazzmaster and the neck felt fantastic to me, really just perfect. Can anyone who's played both this guitar and either the J Mascis, Thurston Moore or Lee Ranaldo Jazzmasters comment on how they compare? I'm just curious about how fast the necks are, how the profile compares. I asked this question on the offset guitar forums since there's better odds of people there having played multiple Jazzmaster models, but those forums are slower to respond and those guys are kind of insular and not helpful.
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Apr 17, 2010 02:33
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I was wondering if any of you know about a book, or perhaps a website that lists all/most of the classical musical forms and describes them in depth? By in depth I mean that the source would analyze its form, technicalities and perhaps even analyze a few examples of that type of classical work. Most websites or books I've found will list something along the lines of: Rondo form: a work of classical music that uses the pattern of ABACAD. I'd prefer having much more details than this. Thanks a lot
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Apr 22, 2010 02:17
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Elotana posted:I played the upright bass for eight years in grade school, and switched to electric bass when I moved out to college and law school for space reasons. Now that I'm getting a real place and not a college dorm or efficiency apartment, I kind of want to revisit the big fella again, but the one in my parents' attic was a half-size and is way to small for me as an adult (I'm 6'1" with a large frame and hands so I'd need at least a 3/4). I'm in school for music currently, and I purchases a Shen Bass. They're pretty good for the money. I have the hybrid model but I'm sure the "lower" models are still as good, I'd recommend you find someone to properly set it up. If you're on the east coast I know a guy who you could get in touch with. http://www.cscproducts.com/
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Apr 22, 2010 02:37
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Please tell me I made the right decision by passing on this guitar ESP Explorer JH2 James Hetfield signature IIRC, the "real" versions weren't made in China or: Body: Mahogany body (Basswood) Neck: Set maple neck Pickups: EMG humbuckers Inlays: Rosewood "deer skulls". 22XJ extra jumbo frets Bridge: Tune-o-matic Hardware: Black color hardware Looks too much like a cheap Chinese copy to me. Did I make the smart move by saving my $460?
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Apr 22, 2010 02:58
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The A-Team Van posted:Please tell me I made the right decision by passing on this guitar You would have made the right decision passing on it if it were legit, worry not.
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Apr 22, 2010 05:46
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A quick question about using the FX loop on an amp. I've been building a pedal complement over the past few months and have been experimenting with order, etc. I finally tried plugging my pedals in through my fx loop and the result was crazy but awesome. My only issue is that the loop added TONS of noise to the signal, even with the guitar volume turned all the way off. I have 2 questions: Is it the pedals causing this noise or something else (cord, something on the amp, etc.)? Would something like a noise suppressor reduce/eliminate this noise when the guitar isn't being played, and if so should I place it on the Send or Return end of the chain? The signal chain, for the record, is: Fender Lead II > Marshall DSL50 head > (loop: Little Big Muff Pi > Boss GE-6 EQ > Back into the DSL 50) > 2x12 Cab
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Apr 22, 2010 19:23
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himajinga posted:A quick question about using the FX loop on an amp. I've been building a pedal complement over the past few months and have been experimenting with order, etc. I finally tried plugging my pedals in through my fx loop and the result was crazy but awesome. My only issue is that the loop added TONS of noise to the signal, even with the guitar volume turned all the way off. Those particular pedals (especially the fuzz) will probably sound better normally in between the guitar and amp, and not used in the effects loop. In general, an effects send is good for modulation type effects (delay, reverb, flanger, chorus, etc.), while volume/distortion/overdrive type effects work better directly after the guitar. That said, a noise gate placed after any kind of moderately extreme distortion can definitely help make things more manageable when you're not actively playing. vvvvv EDIT: yeah you're right about the noise gate, I misspoke h_double fucked around with this message at 19:59 on Apr 22, 2010 |
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Apr 22, 2010 19:35
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What kind of noise is it, himajinga? Is it a loud hissing noise or is it like a buzzing sound? Also, h_double is right. For the most traditionally acceptable signal route, you're going to want to do this: guitar -> big muff -> Marshall preamp -> Boss EQ -> Marshall poweramp. Also, if you're going to use a noise gate, put it as early in the signal chain as possible. Like, right after your guitar. It doesn't just magically filter out the "noise," but rather, it silences the entire signal when that signal is under a predefined volume level (you could almost say that this threshold acts something like.... a gate!). When the volume is under X, the gate is closed and nothing that goes in it comes out of it. When the volume is over X level, the gate swings open and everything gets through. The place in your signal chain that will have the most difference in volume between guitar playing and not guitar playing is right after the guitar, before the distortion box. The distortion box will add a ton of compression, making the softer played parts basically just as loud as the loudly played parts, so if you put the gate after the distortion box, you'll have a really hard time dialing it in to work correctly, if it's even possible to do this at all. So basically, with a noise gate, you're looking at a signal chain that looks like this: guitar -> noise gate -> big muff -> Marshall preamp -> Boss EQ -> Marshall poweramp. GreatGreen fucked around with this message at 20:02 on Apr 22, 2010 |
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Apr 22, 2010 19:57
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GreatGreen posted:What kind of noise is it, himajinga? Is it a loud hissing noise or is it like a buzzing sound? Thanks for the advice, but I guess I should have clarified a bit. I understand "normal" pedal routing and how gates function. The guitar certainly sounds hosed up with the signal chain I have right now, but I love it; it is non-traditional, but that's my intent, I'm playing screeching noisy music. I'd like to keep the routing/sound as is, just remove the noise so it's not annoying/undermining the dynamics when I'm not playing. Tonally it's awesome. As to the nature of the noise, it's more of a hum/buzz, almost like when a cable is grounding out or something, certainly not a hiss. It is persistent when the guitar volume pot is off, and even if the guitar is unplugged. It is quieter when the pedals are turned off, but still quite present, and doesn't happen until I plug the cord from the input of the LBM into the Send jack of my FX Loop. Maybe put the gate in-between the Send and the LBM? himajinga fucked around with this message at 20:39 on Apr 22, 2010 |
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Apr 22, 2010 20:35
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If it's a buzzing sound, a noise gate probably isn't going to help you, because the buzzing means that it's most likely a grounding issue. The buzzing sound is known as "60Hz hum" and it gets the name from the fact that American electrical outlets reverse their polarity 60 times per second. Each time the electricity changes polarity, it makes a tiny clicking sound, and when that sound is repeated at a rate of 60 hertz, or 60 times per second, you get what sounds like a buzz. The buzz is most likey audible in your rig because more than one device in your signal chain is grounded to the same circuit. Try using batteries and unplugging your pedals from their respective AC adapters and see what that does. That won't be a permanent solution, but at least doing that can help you deduce where the noise is coming from. GreatGreen fucked around with this message at 21:03 on Apr 22, 2010 |
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Apr 22, 2010 20:56
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Cool, I'll try it when I get home. Thanks!
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Apr 22, 2010 21:58
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So I'm thinking of picking up a boost pedal. I thought about this MXR but then thought a simple linear boost would probably make a great first pedal build. Anyone have opinions on a good one? I think a super clean boost would probably be the most useful to me in general but it seems hard to go wrong with a Rangemaster clone. BYOC is the easiest place to find but I think I remember someone mentioning a cheaper dealer. Anyone want to remind me? Fake edit: Maybe it was General Guitar Gadgets? They're currently closed for the sabbath so... 
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Apr 24, 2010 05:30
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Ferrous Wheel posted:So I'm thinking of picking up a boost pedal. I thought about this MXR but then thought a simple linear boost would probably make a great first pedal build. Anyone have opinions on a good one? BYOC has something called a "confidence boost" that is literally $15 and is designed especially for first-time builders. GGG is super christian, and I think they include bibles with every order, so that's what's up with the sabbath thing. EDIT: That's kind of weird though. It's not like they couldn't just chill out on Sundays and let the computer take orders for them to fulfill on Monday, but to each their own, I guess. I can't say I wouldn't personally be bothered if I owned a business that whiny elitist atheists refused to shop at. Gorilla Salsa fucked around with this message at 16:02 on Apr 24, 2010 |
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Apr 24, 2010 15:59
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I've been using the Roland 'Brit combo' modeling setting on a Roland Cube, but have also been 'saturating' it by setting a Boss ME-70 Preamp section to 'combo' as well, then tweaking the equalizer on it and leaving the Roland equalizer on straight 12s. On top of this, I also turned on the 'Natural' overdrive setting on the ME-70, with the level on full. This gets me a really nice (to my ears) sound. Usually when I try stupid poo poo like this, it tends to 'oversaturate'. I don't know how to explain it, but you notice it quite fast, as it seems as if your lows are being 'capped' by the amp itself, making everything sound like crap. However, with these specific settings, it doesn't sound all that bad. I like it a lot. I was just wondering whether doing things like this are a no-no? I can't really think of any bad consequences. But if this is going to make me get used to a bedroom tone that will sound poo poo for everything else, I'd like to know. Any thoughts?
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Apr 24, 2010 17:30
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Electronic music newbie question here! I'm looking to get into writing my own music for games. I'd like to know if there are recommended software packages with good starter tutorials for complete newbies. Cheap is preferred, but if cheap can't be done, well, I'll live. Mostly I'm worried about ending up face-to-face with a huge complex package that I can't really do anything besides noodle around in and waste time, and as this will be my first DAW package, I won't really have the terminology or the understanding of conventions. Ideally, I'd like something with sane defaults such that someone (who, you know, knows what they're doing, unlike me currently) can sit down and crunch out something passable in a few hours. I'm not looking for fine art or the ability to accurately simulate a full orchestra, just the ability to string notes together without making me want to punch something. My computer's Windows and can probably run just about anything for that platform. Suggestions?
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Apr 25, 2010 09:45
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I'm currently learning Satch Boogie but I'm having some problems cleaning up the notes on the intro. Take a look at the video below (only 8 seconds). You'll see the final section I have to play that 5-4-0 section moving down the strings:code:Video of me playing that section: http://www.youtube.com/watch?v=n7n-KXGavCc
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Apr 25, 2010 14:24
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Palm muting seems to be very important for playing anything with lots of gain, I've noticed. Experiment with your hand position, as the closer you move your palm away from the bridge, the more you'll mute the strings. I think the answer to your question is to be found therein. Experiment with your hand placement and the different levels of muting. Try putting your palm really close to the bridge, then play your string, and notice how it still sounds out. Move your hand closer to the neck and it'll just make a 'plunk' sound. I think that part is supposed to be played muted anyway.
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Apr 25, 2010 17:44
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SSJ2 Goku Wilders posted:Palm muting seems to be very important for playing anything with lots of gain, I've noticed. Experiment with your hand position, as the closer you move your palm away from the bridge, the more you'll mute the strings. I think the answer to your question is to be found therein. Experiment with your hand placement and the different levels of muting. Try putting your palm really close to the bridge, then play your string, and notice how it still sounds out. Move your hand closer to the neck and it'll just make a 'plunk' sound. I think that part is supposed to be played muted anyway. Yeah I'm 90% Satch PMs that and a good deal of that intro - I had a tab for it in a guitar world back in high school that I remember having a lot of palm muting throughout the intro.
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Apr 25, 2010 18:07
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Nigel Tufnel posted:Problem is that I'm having trouble stopping the open strings ringing out after I move out of that run. Any tips? I suck so take this as advice from someone who sucks, but I learned to play single note stuff by muting around the string you're playing - mute the strings below with your palm and the strings above with your fretting hand, so only one string is able to ring. When you shift to another string everything moves with it, muting the note that was ringing
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Apr 25, 2010 19:32
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Gorilla Salsa posted:BYOC has something called a "confidence boost" that is literally $15 and is designed especially for first-time builders. GGG is super christian, and I think they include bibles with every order, so that's what's up with the sabbath thing. Yeah the confidence boost seems alright but I'd have to buy a separate enclosure for it. And maybe it makes me a whiny elitist atheist, but people who take leviticus really seriously tend to be pretty homophobic and have lovely politics in general so the specific religious stance of the General Guitar Gadgets guys does turn me off a bit. In any event, Small Bear offers a reasonably priced boost with a good degree of functionality so I'll probably go with that.
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Apr 25, 2010 23:11
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I'm thinking of sticking some tape on the back of my guitar necks at the 7th, 12th and other frets to act as a feelable fret marker so i can flail around like a retard while playing. Does anyone know of some tape that won't leave hideous gunk on the back of the neck or stain the wood if I ever need to remove it?
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Apr 26, 2010 10:35
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