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I am being cheap and would like to record things (Drums). Anyone know of a good USB (so i dont need another interface) mic that can handle drums? Guitar and voice would be nice too, but mainly drums. I have a version of Cubase that came with a guitar effect pedal that has USB out on it, so software and guitar recording should be ok, I just don't have something that does a respectable job of drums. http://www.amazon.com/Blue-Microphones-Snowball-Microphone-Aluminum/dp/B002OO333Q/ref=sr_1_3?ie=UTF8&s=electronics&qid=1274321937&sr=8-3 Can that do it?
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May 20, 2010 03:20
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Can anyone tell me what kind of body this guitar has? It has a Stratocaster neck with no visible model number, but the neck and body are slightly different colors and the body is obviously not a strat.
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May 20, 2010 04:28
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James K. Polk posted:Can anyone tell me what kind of body this guitar has? looks like a BC Rich something-or-other.
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May 20, 2010 04:45
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BC Rich Bich
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May 20, 2010 06:24
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Looking to get into electronic music production as a hobby, anyone know how steep the learning curve of the Kaoss Pad is or if would that be a reasonable choice for getting into making live sound? TIA.
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May 20, 2010 09:32
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An0 posted:BC Rich Bich Which I guess leads to a bigger question, why would someone do that?
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May 20, 2010 14:15
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James K. Polk posted:Which I guess leads to a bigger question, why would someone do that? Desperation.
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May 20, 2010 14:44
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Noeland posted:Looking to get into electronic music production as a hobby, anyone know how steep the learning curve of the Kaoss Pad is or if would that be a reasonable choice for getting into making live sound? TIA. Step 1: Put finger on Kaoss Pad. Step 2: Move finger. There is a bit more control options but overall that is it. Although correct me if I am mistaken but a Kaoss Pad on its own won't let you actually create any noises, isn't it just an effects unit and looper? You would still need some other source (synth, laptop etc) to actually generate your beats and so forth before adding effects. The Kaossilator Pro has almost exactly the same form factor as the Kaoss Pad but actually has a built in synthesiser so you can create all the sound within the one unit. They are a lot of fun and you can do some cool stuff with very little experience in electronic music, no need to understand keyboards, sequencers or any of that fancy stuff, just start making noises until you figure out something you like the sound of. In a live situation you would probably want to use it in tandem with another device (probably even a Kaoss Pad) because saving and loading previously saved loops drops the sound out entirely so you can't switch seamlessly between songs unless you are doing a complete on-the-fly set with no prior material (this is also cool and completely doable but all your mistakes would be broadcast as well until you settle into your groove). With a second looper you could get one song playing through it and then load up another without the period of silence. A K-Pro and K-Pad combo would let you jump straight into making electronic music in a live situation immediately with very little preamble but it would be a little pricey to just buy both straight away (unless you are cashed up in which case go for it).
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May 20, 2010 15:14
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Svrdfsk posted:And also, what do these pads do? (Like Korg Nano-Pad) Don't buy a Nanopad, they only last about 6 months before the pads start to fail, if that. My friend and I both bought Nanopads and had the same experience. Unless you really want to mail your pads back to Korg for replacement ad infinitum 
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May 20, 2010 18:17
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RandomCheese posted:A K-Pro and K-Pad combo would let you jump straight into making electronic music in a live situation immediately with very little preamble but it would be a little pricey to just buy both straight away (unless you are cashed up in which case go for it). Ah, alright, that answers my question perfectly. Thanks.
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May 20, 2010 20:31
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The bridge posts on this guitar are crooked, is there anything I can do about this? Everything works as is, but a couple of the saddles are screwed all the way to the extremes to intonate correctly.
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May 22, 2010 02:25
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Gorilla Salsa posted:Desperation. I don't think it looks too bad. The worst thing about BC Rich guitars has always been the headstock. Edit: This reminds me, where would be a good place to buy after market necks? I wanna grab a 22 fret american strat neck to replace my mexi strat neck. cat doter fucked around with this message at 04:55 on May 22, 2010 |
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May 22, 2010 04:50
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cat doter posted:This reminds me, where would be a good place to buy after market necks? I wanna grab a 22 fret american strat neck to replace my mexi strat neck. EDIT: Pick your poison: http://goo.gl/2y2t http://goo.gl/jk8p
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May 22, 2010 14:08
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hello, i'm looking to buy a midi keyboard controller. i want to produce trance/tech-trance music with it by using ableton live. my question is - should i get one with or without drum pads? i just don't want to spend money on something that isn't necessary, but i'm not sure if that's the case... do i really need velocity sensitive pads or will my computer keyboard be fine for triggering? edit: also, would i need a midi soundcard for this or will i be able to get all the functionality via usb? fomoz fucked around with this message at 02:24 on May 23, 2010 |
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May 23, 2010 01:52
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If this is right under my nose, I beg mercy. I must ask to know. I have a Schecter Omen with dual humbuckers, and I want to install P-Rails pickups in the neck. The guitar doesn't have a 5-way selecter, but a push/pull tone pot. I want the most out of that pickup, so I want to get a Triple Shot. The wiring in my guitar looks like this (heads up, it's a PDF!)http://schecter.musicianscentre.com/home/schecter-wiring-diagrams/schecter_C1_exotic.pdf?attredirects=0&d=1 The Triple Shot (if you didn't know already) is a nifty mounting ring that lets you split your humbucker as you choose. You can see it here at Musicians' Friend and you can look at some wiring instructions from SD here at their website (Heads up, another PDF). You can see from the wiring instructions that the triple shot has only a bare, black, and white wire. The guitar, as it stands now, has bare, white, black, and red. My question is, am I correct in guessing that I should solder: 1) The Bare and Black wire to the volume pot as they already are. 2) The White wire to the tab on volume pot where the green is right now. 3) Bypass the push/pull pot entirely? Thanks for the info guys, I appreciate it immensely.
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May 23, 2010 05:26
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Is there any particular reason that MusiciansFriend has Superior Drummer 2.0 for so god drat cheap? It's literally half the price that Sweetwater sells it for, plus they're including a midi pad and flash drive. If there's nothing wrong with this I'll crank out the credit card, but it seems fishy to me. Maybe I'll call them when they open up later.
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May 23, 2010 13:26
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the wizards beard posted:The bridge posts on this guitar are crooked, is there anything I can do about this? Everything works as is, but a couple of the saddles are screwed all the way to the extremes to intonate correctly. Managed to sort this out (I think). Stew-Mac sells a $20 tool to bend crooked bridge posts back, I improvised with an old elephant wrench and got things pretty straight. I still need to replace the nut which is pretty stubborn. The previous owner broke the nut so that the lowest slot sheared off to the side and it was repaired by building up the missing piece with superglue(!) Any help on removing a stuck nut? I've tried tapping from the sides with no luck, might try and heat the area and see if any glue starts to melt.
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May 23, 2010 17:41
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I've usually found that I need to cut through the finish before tapping a nut out. I use a double edged blade from a safety razor for this- it's thin and flexible enough to get into tight spaces but also sharp enough to cut through thick poly finish. I'm sure any exacto or utility knife blade will work as well though. If you tap without cutting through the finish you risk having paint chip and flake off around it. I've never heard of using heat but I wouldn't recommend it. Once you've scored the finish it should tap out with very little trouble. Once it's out you can clean the space under it of excess glue. You can glue the new one in but it really isn't necessary- string tension will hold it in place just fine. Also if you google around you can find files of templates that help you do proportional spacing without shelling out for the StewMac ruler.
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May 24, 2010 01:37
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I did score the varnish around the nut, but in the end I had to take a hammer and chisel and chip it out. It came out in chunks and was pretty easy except for the last few bits of plastic stuck in the corner that I had to sand out. The finish wasn't harmed but that wasn't a huge concern as the guitar is already fairly battle-worn. I threw a new nut in there and widened the slots, didn't bother gluing it, and did a very quick set-up so I could try it out. Really enjoying my new guitar, getting this thing back into a working state was a lot of fun 
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May 24, 2010 02:35
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the wizards beard posted:The bridge posts on this guitar are crooked, is there anything I can do about this? Everything works as is, but a couple of the saddles are screwed all the way to the extremes to intonate correctly. the bridge posts on gibsons are supposed to be crooked. do you mean the tailpiece posts? those are usually parallel to the frets
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May 25, 2010 01:09
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mrbradlymrmartin posted:the bridge posts on gibsons are supposed to be crooked. do you mean the tailpiece posts? those are usually parallel to the frets They are slanted as it relates to the frets, but look at his picture. The insert for the bridge post is slanting forward noticeably. From what he says he fixed it already.
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May 25, 2010 01:45
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I will admit being guilty to not having read all the way through the thread to see if this has come up, but I think my questions are just esoteric enough to warrant their own post. I am planning out a sort of three stringed electric guitar like instrument that I want to build as a project this summer. Unfortunately three stringed pickups don't really exist. In my research I've noticed that some bass pickups have a "split pole" design where there are two poles in the pickup on either side of the string (like this). I have tried looking for the interior schematics of these pickups to answer my questions but my Google skills are falling short. If possible, I'd like to use a six string guitar pickup in a manner similar to the way these split pole bass pickups have a pole on either side of the string (two poles for each of the three strings). What I'm wondering is whether or not the poles inside of these pickups are wrapped individually or wound together in sets somehow. Articles I can find on pickup-winding are kind of confusing in general, and I'm not even sure how being wrapped one way or the other would make a difference. My last question has to do with range - I'm not sure whether my instrument will have thicker bass-like strings or ordinary guitar strings... it seems that if I could use a six string pickup for three strings in the manner described, a thicker string would be picked up easier by the spaced poles. Obviously pickups are designed to suit different frequency ranges, but I'm not sure "how low I could go" with an ordinary guitar pickup before it would sound like poo poo. (I realize this second question would be best solved through experimentation.) Thanks to any electricians/guitar techs who can help me out.
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May 25, 2010 07:51
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Crudus posted:I will admit being guilty to not having read all the way through the thread to see if this has come up, but I think my questions are just esoteric enough to warrant their own post. Just out of curiosity, why a three stringed instrument? Also what do you wanna tune the strings to, and would the neck be half of a normal fretboard width?
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May 25, 2010 08:53
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Crudus posted:I will admit being guilty to not having read all the way through the thread to see if this has come up, but I think my questions are just esoteric enough to warrant their own post.
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May 25, 2010 13:33
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Crudus posted:I will admit being guilty to not having read all the way through the thread to see if this has come up, but I think my questions are just esoteric enough to warrant their own post. Luckily there's a pretty easy answer to this: The coil is wound around all six pole pieces as a group. In normal strat type single coils that is. Each of the two coild in a standard humbucker is constructed the same way. So if you built your instrument to direct each of the three strings between two pole pieces it should work fine. That's kind of tricky though- I would recommend something with a "rail" type pole to make your life easier. Still, the only thing stopping you from doing what you're talking about is the difficulty of getting the strings aligned just so. Pickups are really pretty forgiving- old Fender Mustang basses came with a six-pole strat pickup under a closed cover to hide the incongruity. They definitely weren't the best sounding Fender basses but they did technically work. Just so I'm thorough: There are exceptions to the construction I talked about above- some hum-canceling Jazz-bass pickups have two coils side by side. Fralin humbucking P-90s have two coils side by side with a single row of poll pieces. And of course there are a lot of stacked singes out there. None of this really changes how they're wired for what you're describing. Post a thread when you start your build please- sounds like it could be a Mark Sandman sort of thing or at least close.
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May 25, 2010 20:05
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Thumposaurus posted:They are slanted as it relates to the frets, but look at his picture. The insert for the bridge post is slanting forward noticeably. From what he says he fixed it already. I did fix it, but now that the guitar is strung up and getting played again it looks like the bridge is starting to lean forward slightly... I might have to pull the studs, dowel the holes and re-drill. I'm going to wait and see, I might end up replacing the bridge completely. It's a shame as I really like how it's playing, it needs a little truss rod adjustment but otherwise it's perfect for me.
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May 26, 2010 18:47
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codyclarke posted:Just out of curiosity, why a three stringed instrument? Also what do you wanna tune the strings to, and would the neck be half of a normal fretboard width? I want the instrument to look and be timbrally (sp?) similar to a shamisen, but amplified. As such, I probably wont use an ordinary fretboard, but something fretless. However, I am mindful that the string spacing will need to be careful in order to take advantage of the poles like I want to. As for "rail" style pickups, do these have the same humming problems single-coils do? I was actually planning on using a humbucking setup, but that info wasn't really relevant to my split-pole question. Would I need to have two rails at reverse polarity to achieve the same effect?
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May 26, 2010 19:03
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Crudus posted:I want the instrument to look and be timbrally (sp?) similar to a shamisen, but amplified. As such, I probably wont use an ordinary fretboard, but something fretless. However, I am mindful that the string spacing will need to be careful in order to take advantage of the poles like I want to. There are rail-style humbuckers that fit in a single coil hole. A rail style single coil would have some hum it is just the nature of the design of single coil pick ups. Lipstick style pickups don't have pole pieces either the wire is wound around the magnet inside the tube so it should act like a rail would in case you want another option to look into.
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May 26, 2010 19:22
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I want to play around with jumping channels on my new 1965 Fender Bassman. I've never done it before and have no clue how to. From what I've read if there is four holes, 1 2 | 1 2 you can plug your guitar in to 1 on the left side, put a cable in 2 on the left side, and plug the other end into either hole on the right side. If this is right, can you use just a short guitar cable to do this? Or should I use a speaker cable? Also, I play a 1977 Gibson Les Paul. I read that certain channels sound better with certain guitars/pickups, but I can't really find any information on my amp about that. If any of you guys have any idea I'd love to hear about it. Also, does anyone know of a site I can buy a new chassis for it? I don't care if it's a remake, the original is pretty beat up and I plan to gig with it a lot. Thanks a lot in advance. Mr. Cool fucked around with this message at 09:08 on May 28, 2010 |
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May 28, 2010 09:06
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You definitely want to use an instrument cable, not a speaker cable. The shorter the better. Is there anything structurally wrong with the chassis? If you're going to gig a lot with it, you're just going to get a new case all beaten up too. It'd be a ton of work to transplant an entire amp into a new chassis. My early-70s Ampeg V2 is quite beaten up but it's solid so who cares.
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May 28, 2010 22:20
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Mr. Cool posted:Also, I play a 1977 Gibson Les Paul. I read that certain channels sound better with certain guitars/pickups, but I can't really find any information on my amp about that. If any of you guys have any idea I'd love to hear about it. It's really a subjective thing. Just find a tone on either channel that you are happy with.
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May 28, 2010 22:47
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Fret wear: how much is too much? I can see where the frets are flatter under the strings, and when the strings are off and I run my finger up the fret I can feel the flat spots, too. The wear is distributed pretty evenly along each string.
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May 29, 2010 02:33
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Do you ever fret out when you bend or anything? If not, you're fine. No reason to do anything about it until it starts affecting playability.
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May 29, 2010 03:25
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The other day I ran my amp for about 90 minutes missing one of the two power tubes. It was apparently shaken loose in transit the night before. It's a 50 or 60 watt amp, Mesa/Boogie DC-5 combo. The tone was very different, it sounded crunchy almost like a Bassman or Tweed. Is there any chance I damaged it?
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Jun 2, 2010 02:56
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Can someone recommend a good tutorial on how to equalise tracks for a total beginner? I want to understand why all my recordings sound like muddy poo poo.
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Jun 10, 2010 21:20
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Popcorn posted:Can someone recommend a good tutorial on how to equalise tracks for a total beginner? I want to understand why all my recordings sound like muddy poo poo. Along with that, something like this will help you get a feel for what is where in the audio frequency spectrum, but beware. Do NOT use it as a hard-and-fast rule, just use this to help you get familiar with what's where, and internalize that familiarity. You can find plenty of eq "recipe books" that say what to cut/boost for a given sound, but be careful to use them as only general guides, and use your ears as the authority. Other tips: with eq, always cut before boost. Cut frequencies you don't want instead of simply boosting the ones you do want. If you go through your tracks putting in a bunch of eq peaks, boosting the stuff you want, your mix will get out of control very fast. Cut first, then adjust the volume of the tracks accordingly. These are tips that assume you know how to generally use an eq, though. I don't have any links if you're trying to learn the absolute basics, sorry.
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Jun 10, 2010 22:15
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Popcorn posted:Can someone recommend a good tutorial on how to equalise tracks for a total beginner? I want to understand why all my recordings sound like muddy poo poo. Can you post one of your tracks, so we can be a little more specific? Blustrat has some good advice, but one thing that really helped me (and that was not part of your question about EQ) was visualizing the layout of your tracks like the layout of a band on stage. For example: bass and lead guitar on one side, vocals a little closer to the center, drums at center (and with a little reverb so they're further back in the mix) and rhythm guitar on the other side. I know this is not what you asked about, but it can make a gigantic difference if you're not doing it.
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Jun 10, 2010 22:21
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I am, sadly, an almost absolute beginner, but I will check out those links in earnest. Slippy, thanks for your 'visualisation' tip-- that's the sort of thing I find helpful. Easier to As an example of my muddy-as-poo poo 'mixes', here's a (completely unfinished) track-in-progress: http://popcorn.gunsha.com/mud%20and%20lightning%202.mp3 This isn't the best example There are all sorts of problems with this recording at the moment-- like the unfinished vocals, the 500 overdubbed placeholder guitars and, erm, in fact the placeholder everything else-- but, as an example of the kind of thing I'm struggling with, when the chorus comes in after the Blur-style drum fill... that needs to sound punchy and whallopy, and right now, it sounds like a pile-up. And I don't know how to make it sound punchy. Likewise in the little solo bit (with the arpeggiated guitars), it's just... a muddy mess. I understand I need to make sure my instruments are occupying different frequency ranges rather than all fighting over the same space. This is exactly all I understand. I don't know to use EQ software or what EQing really is. edit: http://popcorn.gunsha.com/monk%20scratch%204.mp3 here's a totally different earlier take of the same song, but it sounds even worse.
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Jun 10, 2010 22:52
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CalvinDooglas posted:Fret wear: how much is too much? When you start fretting out* you need to replace your frets. Until then, a good buffing wont hurt. Next time you need to change strings, go ahead and take them all off and rub each fret with a green scouring pad and then wipe your fingerboard down with rubbing alcohol. That should smooth things out enough that you wont have any trouble bending. *for clarification, I mean when a string buzzes very bad on a particular fret despite havig set up the action very well.
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Jun 10, 2010 23:12
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Popcorn, I'd definitely mess around with your panning -- it sounds like everything is fighting for the center space. That said, this is loads better than my first recordings. Loads. Try panning the different instruments so that they occupy the space a little differently -- and think about three dimensional space, as well. Reverb and echo can move a sound forward and back in the mix, and will add depth. After that you can apply the EQ that bluestrat was talking about. I'd also recommend compressing your tracks so that they sound a little more even (compression reduces the differences between the peaks and valleys on the waveform). An easy way to do this is with Levelator. Just drag an uncompressed track onto it and whammo: instant awesome. Other than that, did you record bass for those recordings? I couldn't hear it at all (which might just be my speakers). When I was making my first recordings, I never put much emphasis on the bass but it definitely fills out the sound. Overall, this wasn't nearly as bad as you made it out to be. Nice work.
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Jun 11, 2010 00:06
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