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Faltese Malkin posted:So I do my own recording in the basement of my house. I've done two of my own albums so far and for my third I wanted to take a little break from writing and do a Beatle cover album (very original, I know) Not a lawyer, not giving legal advice- In music business class we learned it's illegal and prosecutable to even record a cover of someone's copyrighted work without first obtaining the rights. Needless to say distributing these online, even for free, is also illegal. That said, I'm sure the lawyers who defend the Beatles copyrights charge in the neighborhood of $Ferrari/hour and are unlikely to be hired to procure the hypothetical damages that they may be able to argue you've caused in terms of promoting yourself with their material. You probably wouldn't get more than a simple cease and desist if they even take notice. In any event, is it really worth any risk just to snag a few more comments from other bands on Myspace? Just record it for yourself and pass it out to family and friends.
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Aug 29, 2010 07:21
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Whats the deal with covering bands in like a bar gig? Obviously its not like gigging on tour at big venues where you're going to get noticed by people that care, but if you're getting paid a few hundred bucks and wanna end on a cover(or if you dont have enough originals and play some covers) technically you get paid for covering their song. I know the Flaming Lips used to cover John Lennon and Pink Floyd back when they weren't so popular as they are today and played their more grunge/psych/rock poo poo. But they were at bigger venues touring the states (places the size of The Metro in Chicago, Southgate House/Bogarts in Cinci, not pavilion/lawn big, but bigger than a bar), but they were also so goddamn broke I KNOW they didn't buy rights to perform those songs.
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Aug 29, 2010 22:24
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Milka posted:One of my relatives passed away and I've been offered his bass guitar. I can play alright, but I'm right handed, and it's a lefty model. Is it worth my time to restring it and play it like a right handed bass? I usually don't play with a pick, so I don't think which side the pickguard is on would matter..and I know the volume/tone knobs would be on the bottom a little further away. Is there something else I'm missing? Would the body be digging into my ribs or anything? I haven't seen the bass guitar in a while, but I can assume based on his income that he had a pretty high end one. Don't bother, it'd be more trouble than it's worth. You'd have to change the nut, readjust the bridge, install a new strap button... which might reduce potential resale value, plus it'd look goofy to play.
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Aug 29, 2010 23:50
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RizieN posted:Whats the deal with covering bands in like a bar gig? Obviously its not like gigging on tour at big venues where you're going to get noticed by people that care, but if you're getting paid a few hundred bucks and wanna end on a cover(or if you dont have enough originals and play some covers) technically you get paid for covering their song. I'm pretty sure it's the venue's job to worry about ASCAP or whatever for live situations.
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Aug 30, 2010 00:19
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RizieN posted:Whats the deal with covering bands in like a bar gig? Obviously its not like gigging on tour at big venues where you're going to get noticed by people that care, but if you're getting paid a few hundred bucks and wanna end on a cover(or if you dont have enough originals and play some covers) technically you get paid for covering their song. There's no problem whatsoever with covering other people's songs live. Depending on where you live, there may be technicalities involved concerning the local (national) copyright association, but that's the venue owner's problem. They usually pay a flat monthly fee that covers both canned and live music. You're also free to record other people's songs without having to ask permission from either the original artist or the publisher. But when you start selling those covers, you'll owe a certain percentage of the proceeds. My contracts with (European) copyright organisations all stipulated 4% for the author, 4% for the composer. So if you commercially released a CD with 10 songs including 1 cover, 8% of a 10th of the wholesale (the retailer's net) price would go to the author & composer of the one you covered. However, I have no idea how it works for putting covers on the web that anyone can download. Common sense would have the same rules apply, but I can imagine that some copyright organisations don't like the idea.
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Aug 30, 2010 12:25
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Crosspost from the bass thread, I've been having trouble getting distinguishable/varied sounds from my PBDDI I'm using a Fender MIM Jazz and a GKMB115: "I'm wondering if this is the case... it was cheap and I had heard nothing but good, but as far as I can tell I can only get about 3 distinguishably different sounds to come out of it (a heavy techno/electronic 'distortion', an unremarkable booming clean that sounds no better than the guitar plugged directly into the amp, and a plain, weak boost that adds more noise than character). I was certain it had something to do with gain/boost settings on the amp, or something, but hours later I'm wondering if the pedal is just not gonna cut its weight..." Like I said I was certain it was some switch or knob on my end that was interfering (or perhaps using the wrong input... the Jazz goes into the passive input, yes?) but its been like 4 hours of fooling with this guy and I haven't been successful at approximating 80% of these sounds http://www.youtube.com/watch?v=9Qi-UQ4jvAs (they come through similar and distorted.. and not the good distorted!)
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Aug 30, 2010 14:41
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 do you play that first bend note as a downstroke and just continue down or do you play it as an upstroke and then play the second two down? Do you hold the first note with your finger while you play the second two, or do you just let it flop back into place like a pull-off, mute it, and then play the rest in quick succession? I can play this, it's not a complex 'thing' or anything, but I've always wondered about the 'proper' way to play it. The all-downstrokes method seems to be easiest but it feels weird.
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Aug 31, 2010 04:57
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Okay, so I didn't know where else to post this. If this isn't the right place, feel free to angrily re-direct me. I've got an S-S-H setup on my Jackson DK2-L and I threw an EMG 81 into the bridge years ago. Unfortunately, while that tone is great for certain things, it doesn't give me everything I want, and the stock singles A) leave a lot to be desired and B) aren't active pickups, which the 81 is, and as a result don't react well. I had some kind of switch put in, I forget off the top of my head what it is, that keeps the singles from loving up while wired into the 81, but it effectively turns them into one single, lovely pick up. Basically, all of these  amount to this question: Are there any single coil pickups, preferably active, that anyone can recommend that provide a lot of rich tone, some deep end, and a sound that generally contrasts that of the 81 in the bridge? Any insight or ideas would be greatly appreciated.
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Sep 3, 2010 10:39
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EMG makes plenty of singles, both active and passive. That's probably a good place to start. Duncan Blackouts also come single-sized and have an interesting wiring scheme that allows you to choose the output level. I don't know about mixing with EMGs but it's an option.
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Sep 3, 2010 20:19
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Can someone explain to me what an attenuator is and how to use one? All I'm sure of is that they have something to do with tube amps. Unless I'm thinking of something else.
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Sep 4, 2010 05:16
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Tell me if my old-rear end Roland TD-6 I scored off Craigslist sounds realistic to you. The only part that stands out to me is a weird snare sound at about 0:26, which is probably just my lovely playing anyways. Please be specific if you hear something that sounds off - I can edit any sample I wish to pretty exacting standards. http://dl.dropbox.com/u/10996731/groove%20-%20t.mp3
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Sep 4, 2010 06:25
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Ferrous Wheel posted:EMG makes plenty of singles, both active and passive. That's probably a good place to start. Duncan Blackouts also come single-sized and have an interesting wiring scheme that allows you to choose the output level. I don't know about mixing with EMGs but it's an option. Yeah, I was looking at those EMG singles, which is the natural option, but even the difference between the few that they have was hard to distinguish. I'll likely end up with one of those, but I hope someone might have some personal experience with some of them before I bite the bullet.
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Sep 4, 2010 07:36
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Hey guys, I figure this would be the best place to ask this. I'm someone that knows next to nothing about music theory and recognizing notes. I would like to make someone a music box from this kit http://www.grand-illusions.com/acatalog/Large_Music_Box_Set.html to play this melody http://www.youtube.com/watch?v=KckGp2Hz9yU&feature=related Basically what I'm asking is whether this in impossible based on the range of notes on that kit and how much trouble it would be for someone that does play music to figure out the notes from that song for me by ear on the notes available in that music box(Or a ballpark of what you would say is a fair price to pay someone to) Thanks for reading =D
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Sep 4, 2010 08:16
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Without breaking out a keyboard and noodling it out, it sounds like that tune either contains borrowed chords or changes keys, which contain accidentals (sharps and flats) that are not in the regular key. The music box you linked is capable only of playing in C-Major and A-minor (as well as various modes but those probably aren't in that song.) It wouldn't be an issue to transpose the melody to fit in the key of the music box, but if that key changes during the song, you aren't going to be able to reproduce it. You either need to find a box that can play chromatically or have someone re-write the tune a little bit as they are transcribing it. As to that, it wouldn't take anyone who is a musician or even just has a good ear more than an hour to figure out the notes being played in something as simple as that. Judging from it's source, you could probably find the transcription online already from a fan of the game. Hope that helps.
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Sep 4, 2010 17:47
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FuzzyWuzzyBear posted:Tell me if my old-rear end Roland TD-6 I scored off Craigslist sounds realistic to you. The only part that stands out to me is a weird snare sound at about 0:26, which is probably just my lovely playing anyways. Please be specific if you hear something that sounds off - I can edit any sample I wish to pretty exacting standards. The cymbals are surprisingly decent. As well as most of it, the toms however don't sound terribly real. Ninja Toast! fucked around with this message at 18:18 on Sep 4, 2010 |
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Sep 4, 2010 18:14
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Epi Lepi posted:Can someone explain to me what an attenuator is and how to use one? All I'm sure of is that they have something to do with tube amps. Unless I'm thinking of something else. I can give you an overview. An Attentuator is essentially a big master volume knob you place between your head and the speaker, so you are able to drive your tube amp into overdrive while still retaining a reasonable volume.
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Sep 4, 2010 19:16
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Noise Machine posted:I can give you an overview. An Attentuator is essentially a big master volume knob you place between your head and the speaker, so you are able to drive your tube amp into overdrive while still retaining a reasonable volume. Here's a video too http://www.youtube.com/watch?v=z6LXHgb6CCY I've heard talk that they'll burn your tubes out quicker, just because you're driving them harder, but I don't know how much difference it makes
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Sep 4, 2010 21:57
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Noise Machine posted:I can give you an overview. An Attentuator is essentially a big master volume knob you place between your head and the speaker, so you are able to drive your tube amp into overdrive while still retaining a reasonable volume. How much do these things go for? I've got a Fender Blues Jr amp that I love but I can't ever push the Master past 2 or the Pre amp volume past like 4 or I risk getting in trouble with my neighbors. Would like to hear what my amp can do when it's overdrived more often.
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Sep 4, 2010 22:19
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Some amps have this feature built in. My Crate Vintage Club has a gain and a master volume on the dirty channel, I can crank the gain to 10, drop the volume, and get great grunge at a reasonable volume. I paid $300 for mine, but I'm sure they can be found cheaper. As an aside, it also has a pedal switch for the dirty and clean channels which I find awesome. And an effect loop if you're into that kind of thing, I prefer preamp myself. Paramemetic fucked around with this message at 23:36 on Sep 4, 2010 |
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Sep 4, 2010 23:32
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Paramemetic posted:Some amps have this feature built in. My Crate Vintage Club has a gain and a master volume on the dirty channel, I can crank the gain to 10, drop the volume, and get great grunge at a reasonable volume. I paid $300 for mine, but I'm sure they can be found cheaper. A master volume and an attenuator are not the same thing at all. With your master volume down you're pushing your preamp tubes, but the power amps tubes aren't doing much. With an attenuator, you can crank the master volume and get some distortion from the power amp tubes at a reasonable volume.
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Sep 5, 2010 01:37
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DrChu posted:A master volume and an attenuator are not the same thing at all. With your master volume down you're pushing your preamp tubes, but the power amps tubes aren't doing much. With an attenuator, you can crank the master volume and get some distortion from the power amp tubes at a reasonable volume. EDIT: oops, disregard. There are some amps out there that do have built-in attenuators though and let you drop the output wattage, if you're looking for the convenience baka kaba fucked around with this message at 02:12 on Sep 5, 2010 |
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Sep 5, 2010 02:09
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Valtaherra posted:Yeah, I was looking at those EMG singles, which is the natural option, but even the difference between the few that they have was hard to distinguish. I'll likely end up with one of those, but I hope someone might have some personal experience with some of them before I bite the bullet. I don't have personal experience with the active EMGs, but based on the attributes listed and your description of the sound you want I'd recommend one of the alnico variants. The David Gilmour set is based around the SA pickups, and his EMG tone is strat-y enough for me. I know that's not as good as a personal report but I think the SAs would be a pretty safe bet as active singles go.
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Sep 5, 2010 06:27
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Two questions: I have to teach a girl guitar. She likes classical music but I don't really know too much. I need some suggestions for some easy classical pieces I can use. Is it generally possible to be able to change the channel of an amp with a multi-effects board. Specifically, I have a Zoom G9.2tt and I'm looking for a good tube amp and I'd like to be able to change channel with my board. Thanks
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Sep 5, 2010 15:24
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Crudus posted:Without breaking out a keyboard and noodling it out, it sounds like that tune either contains borrowed chords or changes keys, which contain accidentals (sharps and flats) that are not in the regular key. The music box you linked is capable only of playing in C-Major and A-minor (as well as various modes but those probably aren't in that song.) Thank you for the answer, I really appreciate it.
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Sep 5, 2010 18:31
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Today my microphone isn't working. I have it plugged into my soundcard and it's just giving me white noise through both Cubase and Ableton. I've checked the ins/outs on the soundcard and everything seems normal as far as I can tell. What are the first things to try?
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Sep 5, 2010 22:24
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Boz0r posted:Two questions: If the amp supports midi channel switching. Not many amps have that though and the only ones I can think of are pretty expensive.
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Sep 6, 2010 08:06
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Boz0r posted:I have to teach a girl guitar. She likes classical music but I don't really know too much. I need some suggestions for some easy classical pieces I can use. - Jeux Interdits (very easy) - House Of The Rising Sun (chord changes and correct finger placement) - The Streets Of London (introduction to fingerpicking) - La Bamba (combining strumming and picking) - La Bella Maria De Mi Alma (from the Mambo Kings movie) - early Bowie stuff, e.g. the slow non-sensical ballads like Bewlay Brothers After that, try to move to Jobim stuff transcribed for guitar as soon as possible. She'll feel ever so proud nailing One Note Samba in the correct voicings, and singling along with it makes it a wonderful experience for a relative newcomer (it's hard to gently caress up, so no endless recommencing and throwing the guitar on the shag carpet). The one book you'll need for this is 'Bossa & Samba N°1' - Publication Alain Pierson, Paris. Don't even look at any of the other Bossa Nova books, as they (in my experience) all have their voicings dumbified or just plain wrong. It's been around for ages, and every mature guitarist I've known has a copy. It's got some stuff by other Brazilian composers as well, incl. Ben, Bonfa, Gil, and Powell. It'll be the most useful guitar-related purchase you'll ever make, short of that pristine Super 400 sitting in the proverbial Little Old Lady's attic. As strange as it may look, this is actually all good training if she decides to go classical after all. NB: if she were really interested in a proper classical education, she wouldn't have asked you for tuition. A hardcore classical teacher will torture students with finger positioning, general posture, and endless scales before letting them try anything resembling a good tune. Boz0r posted:Is it generally possible to be able to change the channel of an amp with a multi-effects board. Specifically, I have a Zoom G9.2tt and I'm looking for a good tube amp and I'd like to be able to change channel with my board. No. What you *could* do is get an old Boss Line Selector (which, incidentally, has lots of other switching functionality, including s/r iirc). Your set-up would then be: guitar into board into LS, which then splits the incoming signal to output A and/or B (or even C if you have another channel or amp). Lots of output modes can be set by a simple knob, and there's volume compensation knobs as well. It's a great piece of gear, even in a professional environment (no noise from switching whatsoever). I used one as a channel selector for my old Vox, which at last put an end to the increasingly annoying chore of daisy-chaining and volume adjusting of the individual channels. You'll find it useful for lots of other set-ups as well; multiple amps, separate effects chains, an auxiliary amp with all effects bypassed placed close to the drummer for reference, and so on. Oh, you can also use it to have 3 instruments ready and plugged in, which can be a godsend to the progrock trio types who have one or two alternative instruments mounted on stands. No noise from the inactive instruments, and no worries about volume differences or tone (including the possibility to share any or only some effects with the other instruments. It's a great little box, really.
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Sep 6, 2010 17:45
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I have a good guitar rig going (Peavey JSX -> effects -> Avatar 2x12), but badly need a bass amp. I want another half-stack, especially because I would want to experiment with running the JSX into my Avatar cab and the bass cab at the same time (and to swap out heads/cabs for new sounds in the future), but can't really afford more than a combo amp. So, my question - can the amp part of a combo be bypassed to use the speaker with a different amp? If this isn't normal, is it at least a feature in some combo amps that I could look for?
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Sep 6, 2010 18:03
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Underflow posted:
I'm 100% sure you can do it if you have an amp that supports midi switching such as a Marshall JVM or that modular Randall amp. CmdrSmirnoff outputs are really common.
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Sep 7, 2010 02:26
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JumboJetDreams posted:I'm 100% sure you can do it if you have an amp that supports midi switching such as a Marshall JVM or that modular Randall amp. Sure, but introducing the criterion of channel switching capability while retaining his effects set-up would limit his choice of amp considerably, no? The Boss Line Selector pedal I mentioned will do what he wants with any multi-input amp, and much more if/when he starts experimenting.
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Sep 7, 2010 08:28
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Right, I've got a chord progression which I cannae find a good scale to solo over. E, D, B, F The B fucks everything up completely, but the B is necessary for the hook in the melody so it cant be anything else. What would you solo in if you had that progression?
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Sep 8, 2010 14:16
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Hammer Floyd posted:Right, I've got a chord progression which I cannae find a good scale to solo over. Just to check, are they all major? Edit: I'm gonna go with B minor/blues. 
Paramemetic fucked around with this message at 19:11 on Sep 8, 2010 |
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Sep 8, 2010 18:20
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Forgive me if I'm about to hit you flat with a wall of stupid, but here's my question. Okay, say I want to play through one effect or series of effects...let's just say I want to play through a chorus right now. So I'm playing through a chorus. What if I wanted to, on some other route, have like a fuzz + reverb always on and controlled by a volume pedal that I could fade in and out while at the same time playing through that chorus? Basically, is it possible to have these two "routes" going at the same time, using one amp? Is something like the Boss LS-2 capable of this?
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Sep 10, 2010 04:55
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As I understand it, you can chain them in a pedalboard so that you can control what you need. For example, if you want reverb, fuzz, delay, and chorus you'd chain: Guitar->Reverb->Fuzz->Delay->Chorus->Amp You could then run all four effects, or stomp any individual one's bypass and the others would still go. So you could turn off the fuzz by stomping its bypass, and you'd still get the reverb, delay, and chorus. As for controlling them using a wah style pedal, I don't know any way to do that other than a stompbox. Some stompboxes/modeling processors allow you to control an effect using a wah pedal while offering multiple effects you can turn on and off by stomping different pedals. They also have presets that will give you different noises that you can usually customize, so you could theoretically have two or three similar but not the same settings next to each other on the box and switch between them to change your effects. I have a Digitech RP355 which I find really cool for this purpose. I'm not sure I'd perform with it (I would if I needed effects because I don't own any single pedals) but it gets the job done. It has a wah pedal that I can use to control volume or any one of the different effects I tell it to in the preset, as well as switches in performance mode that let me toggle distortion, chorus/fx, or delay for any given preset. They're pretty cool and reasonably affordable, maybe $200? The RP355 also has a 20 second phrase looper which is neat, and a USB out that lets you record (though it models the sound rather than capturing the actual amp output, so what you hear is not what you get).
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Sep 10, 2010 05:36
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Mmm, I know what you're talking about, but I don't think I worded my post very well. In essence, what I'm thinking of is having "pedalboard A" with its various effects, "pedalboard B" with its effects, and something in between so that these 2 boards can be used independently of each other. So my effects wouldn't all be connected in a single chain. The "Guitar->Reverb->Fuzz->Delay->Chorus->Amp" chain would be like, if I wanted to use chorus exclusively I would have to turn off the pedals before it...and if I wanted to use reverb/fuzz as well as the chorus, it would be reverb into fuzz into chorus making a hellish noise. What I want is more like the chorus on one "circuit" able to be blended with the reverb+fuzz (via volume/expression pedal) from the other "circuit". Sort of like a big pedalboard broken into segments so that you could have one thing going on "A" and a whole other deal on "B" and wouldn't require careful tap dancing on your big single chain of effects to get what you want. Thinking about it right now leaves me unsure if this is a really stupid concept that I can't wrap my head around. Please feel free to let me know if I'm retarded.
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Sep 10, 2010 07:10
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Achtane posted:Mmm, I know what you're talking about, but I don't think I worded my post very well. You should be able to get an ABY switcher like this. Put a loop on A + B. Then you can decide whether you want to play through one or the other (or both). Put the volume pedal in the reverb/fuzz loop and you'd be able to blend it in when you have A+B selected. Then you could get this and put it reversed at the end to combine the two loops back into one signal. If you ever wanted to play with no effects, you could either just turn off the effects on the loop you were playing through or get ABCY boxes instead and make one of the channels just a dry signal. Does that make sense?
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Sep 10, 2010 13:51
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Narwhale posted:You should be able to get an ABY switcher like this. Put a loop on A + B. Then you can decide whether you want to play through one or the other (or both). Put the volume pedal in the reverb/fuzz loop and you'd be able to blend it in when you have A+B selected. Then you could get this and put it reversed at the end to combine the two loops back into one signal. If you ever wanted to play with no effects, you could either just turn off the effects on the loop you were playing through or get ABCY boxes instead and make one of the channels just a dry signal. Does that make sense? Yes, that seems right. Thanks!
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Sep 10, 2010 17:25
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Narwhale posted:You should be able to get an ABY switcher like this. Put a loop on A + B. Then you can decide whether you want to play through one or the other (or both). Put the volume pedal in the reverb/fuzz loop and you'd be able to blend it in when you have A+B selected. Then you could get this and put it reversed at the end to combine the two loops back into one signal. If you ever wanted to play with no effects, you could either just turn off the effects on the loop you were playing through or get ABCY boxes instead and make one of the channels just a dry signal. Does that make sense? The only complication I can see is with the A+B setup the volume pedal controls the volume too - you'll lose half the signal or so with the wet signal rocked off, unless the switcher can deal with that (the links aren't working for me). Might not be an issue of course! Also wouldn't you get a combination of fuzz+reverb and clean+chorus (two separate sounds at once), instead of taking a chorused clean guitar and gradually making it fuzzier and verbier? Depends what you want, really. Multi-effect units do seem like a pretty good system for this, I have an old Zoom pedalboard and I'm sure the ridiculously expensive rack units like Eventides have at least as much control. My Zoom has a chain of effects modules and one of the parameters you can set for each is how the expression pedal affects it, so you could have a patch with fuzz and set the gain to increase as the pedal's rocked forward, put reverb on with the pedal increasing the level, and a chorus with no pedal control (so it's always on). Obviously you can't use your own pedals but it's an option
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Sep 10, 2010 20:22
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baka kaba posted:The only complication I can see is with the A+B setup the volume pedal controls the volume too - you'll lose half the signal or so with the wet signal rocked off, unless the switcher can deal with that (the links aren't working for me). Might not be an issue of course! Also wouldn't you get a combination of fuzz+reverb and clean+chorus (two separate sounds at once), instead of taking a chorused clean guitar and gradually making it fuzzier and verbier? Depends what you want, really. That's true. If it's important that all effects are in line (ie A>B as opposed to A + B) then a better solution would probably be just put the fuzz & reverb in a true bypass loop. The only downside with that is there would be no way to go from just chorus to just fuzz+reverb with one switch, but Achtane may not care about that anyway. As far as the volume issue, I'm not aware of anything like this but I wonder if an expression pedal that controls wet/dry mix is available or easy to make. That way if you set the 2 loops' levels equally, you could mix in a bit of the fuzz>reverb without changing overall volume. It doesn't seem like it would be too hard to make, but my guitarist is an electrical engineer so I just get him to build all my flights of fancy  .
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Sep 10, 2010 21:00
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So I went to the basement of the house I've been living in (my dad's former audio store) and found a mixer. It only has 1/4" output however. Can I run the 1/4" output from it into the 1/4" input for my firewire recording interface to record, or is that going to gently caress something up? I realize that if it will work it's going to drop everything to a mono channel.
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Sep 12, 2010 19:28
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