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I do not, sadly.
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Apr 5, 2011 03:48
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I've been practicing guitar for about a year now (avg. 1-2 hrs each day) and I'd like to know more about creating my own music. So yesterday I was reading more about intervals and the "feeling" associated with them at the site of the book "How Music Really Works": http://howmusicreallyworks.com/Pages_Chapter_4/4_2.html http://howmusicreallyworks.com/Pages_Chapter_4/4_3.html Especially the diagrams on the second page really piqued my interest. I had heard about consonance/dissonance and notes wanting to resolve to other notes (degrees?), but the stuff on this page really connected to what I already seemed to know intuitively. Unfortunately this book seems to lose itself in too much detail and intermezzos, it feels as if it does contain everything I'd want to know about composing but is twice as long as it should be (about 1000 pages). So basically I'm looking for a practical book on composing music that is concise, but doesn't overly simplify things. Bonus points if it is somewhat aimed at guitarists or at least acknowledges things as power chords. I already know some of the basics on scales, modes and intervals that are necessary to play the guitar but some more rigid knowledge on those couldn't hurt (and chords). So it's okay if it's a long book containing both basic theory and composing theory as long as it doesn't explain every unnecessary detail there is to know. I can't read standard notation, but am willing to learn if necessary (I don't think it is as the book I mentioned doesn't contain any and still seems to get the point across).
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Apr 5, 2011 14:28
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amotea posted:I've been practicing guitar for about a year now (avg. 1-2 hrs each day) and I'd like to know more about creating my own music. So yesterday I was reading more about intervals and the "feeling" associated with them at the site of the book "How Music Really Works": You'll want a thorough understanding of theory basics, especially the interactions between harmony and form (like where do the dominants occur in a double period and how are they resolved?). I don't think there's a special trick to composing just for guitar, but you'll probably find piano a lot easier for rudimentary composing because it's so much easier to play different instruments' parts simultaneously. You could spend a few years working up the skill to play chords, bass lines, and melodies simultaneously on guitar, or do it on the piano in a few weeks. As you learn about the structure of music you'll want to study it in compositions that you like. How does a phrase work with the harmony, how does harmony lend itself to form, and how does form shape the overall experience of the piece? I would suggest getting started on learning to read notation and get learning various examples of composed music. Classical, jazz, progressive rock, whatever. The first thing you'll need is an ear for phrasing. Think of it like a language. you need to understand phrases, then sentences, then chapters, etc. Don't hesitate to get into the nitty gritty of analysis. You may feel like it sets you behind conceptually to spend an hour marking up 16 bars of a piece you'll never play, but skill comes from work, not just understanding.
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Apr 5, 2011 18:03
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Does anybody know where I could find a video that compares different FX boxes in line vs. effects loop? I know the general differences but I'd like to hear some samples while my pedalboard is sorta locked away.
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Apr 5, 2011 18:27
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Can anyone identify the percussive chime-like/woodblock instruments in this track? I think there's a few kinds in there... http://www.youtube.com/watch?v=xPPsrcYl4Qo edit: h_double posted:Why is it stupid? I use GR all the time on synth basses, organs, electric pianos, etc. You can use effects without putting any amp or cab models in the patch. loving hell, did not know this! Thanks! Popcorn fucked around with this message at 01:34 on Apr 6, 2011 |
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Apr 6, 2011 01:28
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can anyone show me a cheap midi/USB foot pedal thing? They all seem so expensive... I just need something with a few buttons that I can hit with my foot to execute commands... the more the merrier!
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Apr 6, 2011 01:41
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Popcorn posted:Can anyone identify the percussive chime-like/woodblock instruments in this track? I think there's a few kinds in there... http://www.youtube.com/watch?v=xPPsrcYl4Qo I'm hearing a few different mbiras (also called kalimbas or thumb pianos) of different sizes. You can hear that some have buzzing elements on em ("machachara," according to the wiki page). Here's a very peaceful example of mbira music They are also very easy and fun to make.
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Apr 6, 2011 03:18
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blustrat posted:I'm hearing a few different mbiras (also called kalimbas or thumb pianos) of different sizes. You can hear that some have buzzing elements on em ("machachara," according to the wiki page). Thanks a lot for this! I'm going to look into making my own now.
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Apr 6, 2011 16:10
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Tesseraction posted:Try playing it clean and see if it's a problem with your technique, if it's not then make sure you haven't got a hideous amount of reverb/distortion on your Zoom. Oh, and do you only have the one model of pick-up? Or two? It sounds fine clean and the only thing activated on the Zoom is an ENGL Ritchie Blackmoore sig amp model with gain turned all the way down to just give it a crunch, although it's still a bit much. I don't get what you mean with your last question, but the pickups I've got in are Power Rails(thought they were called Hot Rails) bridge and neck, and stock middle pickup. I'd try lowering the rails, but they're surprisingly tall pickups so I can't lower them at all. I think maybe the Power Rails are a little bit too "metal" for the type of music I play now anyway, so I might replace them in the future. I bought them when I was an angry teenager and now I just play silly hard rock. Also, in the song it sounds like there's not too much gain on the guitar and maybe a little fuzz pedal or something. Is this just me?
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Apr 7, 2011 01:10
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Guitarchitect posted:can anyone show me a cheap midi/USB foot pedal thing? They all seem so expensive... I just need something with a few buttons that I can hit with my foot to execute commands... the more the merrier! Line6 makes a couple, I think the smallest one is like 100 bucks. The classic trashy diy way to do it is to buy the cheapest USB keyboard you can find, pop most of the keys off, and then superglue some pieces of plastic to the ones you left behind. Obviously you may still need to turn the keypresses into MIDI one way or another.
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Apr 7, 2011 04:11
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Two weeks until we head out on tour, I'm now responsible for recording our shows but I have no gear. I really don't want to spend more than $1000 on this, but at the same time, I'm 24 and ill be recording gigs for the rest of my life, so the longer this gear lasts, the better. I will be touring with a brass band, but I regularly record acts from disco to dub step, fidelity is important. It is also incredibly important that I record our shows, even if gear fails How does this sound? 2x Radial JS3 XLR splitters $500 1x Zoom h4n digital recorder $300 1x Sony tc-d5 pro ii Xlr cassette recorder $150 1x sandisk 32gb sdhc card $50 Signal from the venue's xlr out is split into the zoom and the dc-d5. Zoom records house mix over XLR and the built in condensers capture another recording of the show. Tc-d5 records the house mix to cassette... Mail the tapes to myself and email the files to the man.
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Apr 7, 2011 09:36
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Boz0r posted:I don't get what you mean with your last question, but the pickups I've got in are Power Rails It's mostly because some pick-ups aren't general-purpose enough for playing everything - I use the standard EMG-85 neck/81 bridge and switching between them is a must for different things. I've no experience with Power Rails but if you had two different models I'd have suggested using one or the other, but it seems you already knows what's happening along those lines. Boz0r posted:Also, in the song it sounds like there's not too much gain on the guitar and maybe a little fuzz pedal or something. Is this just me? Most of that fuzz is from the rhythm guitar in the background. I'm playing it now, completely clean and with medium-high gain and it's getting the same kind of tone as the song. Perhaps you should try it this way? Maybe pre-recording the fuzzy backing chords to help it sound right to you?
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Apr 7, 2011 15:53
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wanderlost posted:Two weeks until we head out on tour, I'm now responsible for recording our shows but I have no gear. Now this is just an example, you may not need 16 channels, but something along those lines will allow you to plug everything into 1 box and have dedicated sends to the FOH board and dedicated sends to your recorder. Hook it up to something along the lines of a mackie 1604 (it's physically pretty big though, the exact equipment will be dependent on how large your setup is) and 2-mix out from that to your h4n. I'd lose the cassette recorder unless it's absolutely required for whatever reason, no one's going to want to hear the raw, unedited stage feed and you can always just burn the tracks to a cdr since presumably someone will have a laptop or something. Seriously though, the most important thing to remember is that the house mix will not translate to tape the way you think it will in your head. edit: Regardless of how you approach this, for the love of god make sure you monitor the signal from the recording device and NOT whatever mixer is inline with it. ughhh edit2: you say it's incredibly important that your shows are recorded, I would like to mention that regardless of how you get the mix to the H4N, if you're mixing that feed with its built in x/y mics you're most likely going to get quite a bit of phasing. This is assuming you planned on mixing the two together, of course. thunderspanks fucked around with this message at 20:55 on Apr 7, 2011 |
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Apr 7, 2011 20:26
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Crossposting this from the Android apps thread: Are there any decent synthesizers/MIDI controllers for Android? For example, iPad has the iMS20 and more MIDI controllers and drum machines than one can count, but I am having little luck finding anything cheap and equivalent for Android.
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Apr 8, 2011 18:25
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Tesseraction posted:It's mostly because some pick-ups aren't general-purpose enough for playing everything - I use the standard EMG-85 neck/81 bridge and switching between them is a must for different things. I've no experience with Power Rails but if you had two different models I'd have suggested using one or the other, but it seems you already knows what's happening along those lines. I found a MS 1959 model and that actually sounds pretty close if I turn down the gain quite a bit. The notes still don't ring out as clear as they do in the song, though. Would a Fuzz Factory be close to the tone he uses in the solos? I want one, so it'd be cool if that could cover that tone too.
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Apr 8, 2011 23:44
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thunderspanks posted:Such as this for example. Forget everything I said about the 1604 and H4N after this part. Get the snake splitter and the Zoom R16. Boom, entry level and very flexible live recording setup. $609 total- even with tax you'd be well within your $1000 dollar limit which you could in turn use to compliment this with mics of your own choosing instead of whatever 10 year old beat to hell 58s the house will undoubtedly provide you with.
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Apr 9, 2011 01:02
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Boz0r posted:When I play it, the first note rings clear, but when I add the next notes the sound is much more muddled than on the recording. I play an Ibanez RG1570 with GFS Hot Rails pickups through a Zoom G9.2tt to a Peavey Bandit 112. The problem persists if I just plug headphones into the Zoom board so I assume that is the source but it would be cool if someone could tell me about this. Sounds more like a volume issue. When stuff gets muddy you need to dial back the volume either on the guitar or whatever you're going through and compensate via gain or effects.
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Apr 9, 2011 06:07
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thunderspanks posted:The setup would work but you'll probably find yourself regretting having to rely on the house gear to provide your source audio. Wow, thanks dude, very good information, very clear :-) I'm absolutely positive I want to use the house gear for our recordings. On tour, I shoot still photos and man the merch table, I definitely don't have the chops to rig up my own mics, or the time, etc... For the last few weeks, I've been plugging in my zoom to the house board, confirming the levels with headphones then letting it run. I've been pleased with the results so far, but I had a sd card fail last week, so I either want to pick up a cassette deck or another h4n as a backup.
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Apr 10, 2011 04:41
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Computer Jones posted:So, I have a problem: I want to make music my with headphones on sometimes, but I have no easy way of plugging them into my audio interface (M-Audio Audiophile 2496, with just RCA connectors). I guess I could get some sort of RCA->3.5mm adapter, but then I'd have to reach behind my computer every time. Is there some way of routing Ableton's audio out into my onboard sound card, so I can use the headphone jack on my computer? I recently bought a mixer and realised that your can pipe audio from the computer through it and into the monitors- and it has a headphone jack as well. Problem solved, basically.
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Apr 14, 2011 20:22
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Figured this was the best place to ask this.. I'm nearing the home stretch for the recording of a solo album. It's getting a somewhat limited release by a brand new, tiny, and broke local record label on cassette only. It's not being done at a professional studio but with fairly high end gear and being produced by a friend with professional training. I'm wondering, since most of the people who hear it will be hearing it on a tape deck or just downloading it for free from my website a few weeks later, should I bother to master it? Not sure if the higher clarity and volume would carry over to a cassette duplication. The label might pay for it but I kind of doubt it and I don't really want to drop the cash if it's not going to make a dramatic difference on the cassettes. Two of the songs are up on my bandcamp if you want an idea of the sound. Thanks!
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Apr 17, 2011 08:21
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Here's a ridiculously pretentious question for you to sink your teeth into. Are there any cheap, unique, and good guitars out there? I look at Jack White and Beck, and in a previous generation, Kurt Cobain, and they're playing these castaway guitars which are so unique and cool, but because they played them, those same guitars are now very expensive. I just want to have a unique guitar, but I don't want to pay $1000 for it because the friggin guy from Incubus once did an overdub with it. Is there anything like that out there? (Obviously rondomusic guitars are cheap and well made, but they're also exact duplicates of other guitars. I'm looking for very unique.)
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Apr 18, 2011 01:21
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Eastwood sells a bunch of probably decent weirdo guitars for ~$600
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Apr 18, 2011 01:26
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Also, check antique malls for weird poo poo leftover from the 60's but dont expect it to play well! Oh, and you could get a nice old Vox from the 60's. They have some weird stuff in em sometimes but of course who knows if the necks are any good after all those years...
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Apr 18, 2011 01:27
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MC Fruit Stripe posted:I just want to have a unique guitar Pawn shops, man. Find all the ones around you, check them out weekly. Find something you fall in love with, or find something bizarre. Sooner or later it'll come. Don't buy someone else's unique guitar. Pawn shops are like natural causeways for serendipity.
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Apr 18, 2011 01:56
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MC Fruit Stripe posted:Here's a ridiculously pretentious question for you to sink your teeth into. In addition to what everyone's said, you could always customize your own. Find a guitar with a body you like and then choose colored pickups, colored pick guard, etc. Maybe even a new neck. There are many ways to go. Small changes can go a big way, and nobody else will have a guitar that looks quite like yours!
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Apr 18, 2011 04:04
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MC Fruit Stripe posted:Here's a ridiculously pretentious question for you to sink your teeth into. Eastwood is your best bet, Italia and Danelectro are other good options. It's kind of funny though, as all of the people you've mentioned bought those guitars because they were very cheap and unpopular. Though the only 'true' unique guitars are the ones that are custom built. I know Bob Logan builds custom stuff starting at $600.
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Apr 18, 2011 04:10
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Frankensteining your own guitar is the coolest. Grab a medium priced broken guitar and just go to town. Most of the 'famous' guitars that you're talking about were probably under surgery a few times before they were recognizable.
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Apr 18, 2011 10:52
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dolphins are gay posted:Frankensteining your own guitar is the coolest. Grab a medium priced broken guitar and just go to town. Most of the 'famous' guitars that you're talking about were probably under surgery a few times before they were recognizable. That's actually what I'm in the process of right now oddly enough and it's why I came in here. I just snagged an ESP LTD MH-301 body/neck from someone for dirt cheap off of craigslist. Still has the tuners and knobs but pickups and tremolo were taken out. It's a bit banged up so I'm probably going to sand it down, patch up the dings and re-paint it. I have a few questions though as I've never really rebuilt a guitar. What do I need to know about buying a new tremolo? I have read a decent amount about them and people say not to go cheap, but very few people point to actual models to buy. Does anyone have any recommendations? It originally had a licensed Floyd Rose. My other question is pickups. Right now I'm leaning toward either Seymour Duncan blackouts and or set of EMG's of some kind, probably an 81-85 set. I play mostly metal and these seem to be the two main recommendations as far as pickups go. The guitar originally had passive EMGs, but the electronics well on the guitar has plenty of room for a battery. Anyone have any experience with either of those pickups? Also does anyone have any experience painting a guitar? I'm thinking of trying to do matte black, but that's always seemed like a tough paint style to get right to me.
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Apr 18, 2011 13:37
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How does being a rail pickup instead of six pegs or whatever affect the tone of the pickup?
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Apr 18, 2011 23:46
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rockcity posted:
Getting a matte finish is tough because your prep work, and spraying have to be perfect since you can't sand/buff/polish it like you can a gloss finish and have it look right. Black is even worse because it shows every little imperfection. You'll have to block sand your body really well. You can get satin finish clear Minwax makes a really great one it comes in black spray cans, most every Home Depot will carry it. Come over to the ReRanch forums and ask your question there and you'll get a ton more information than I can type out right now.
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Apr 19, 2011 01:13
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Thumposaurus posted:Getting a matte finish is tough because your prep work, and spraying have to be perfect since you can't sand/buff/polish it like you can a gloss finish and have it look right. Awesome, thanks for that link. You were the person I was hoping would answer my question. Your guitar from scratch build thread in DIY was amazing.
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Apr 19, 2011 04:05
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MC Fruit Stripe posted:Here's a ridiculously pretentious question for you to sink your teeth into. I second pawn shop suggestion, but in a similar quest of my own I found this site: http://www.fatdawg.com/. I haven't bought anything and the stuff is old, but if nothing else there are unique guitars to look at. I really like the Eko stuff.
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Apr 19, 2011 05:04
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rockcity posted:Awesome, thanks for that link. You were the person I was hoping would answer my question. Your guitar from scratch build thread in DIY was amazing. Sweet, it's honestly not hard to get a great finish you just have to be patient and take your time. The prep work is the big key if you skimp out there it will telegraph through the finish.
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Apr 19, 2011 19:45
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Great suggestions for unique guitars, I appreciate that. I've felt a purchase building for a while now, and in a couple months I'll definitely be making a move.
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Apr 20, 2011 14:36
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I'm using Cubase to slow down songs to make them easier to tab, but I was thinking if there are some tricks to using an equalizer to make some of the different parts more prominent to make them easier to hear. I've been experimenting a bit but I have no idea where the different instruments are in the mix.
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Apr 28, 2011 00:26
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What's a good guitar speaker cab to get if I have a 30W tube head?
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Apr 29, 2011 06:48
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burritonegro posted:What's a good guitar speaker cab to get if I have a 30W tube head? If you play rhythm most of the time, a 2x12 will give you a nice broad sound; for lead you'd probably prefer a 1x12 combined with a 2x10 or 4x10. Don't know if it's still the case, but in the mid-'90s Vox (then owned by Marshall) reissued their 30W head with a huge cab; a 4x12 if I remember correctly. That thing did very well with other heads too; a really huge sound. If you can't find one 2nd-hand, maybe just build it yourself from standard plywood and a batch of Celestion 15W speakers.
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Apr 29, 2011 12:32
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I'd thought about building one, but I'm not sure I should if it's difficult to do. Are there advantages of some brands over others, assuming factors like speaker type, size, and number remain constant? Why one would one spring for a $380 Orange over a $200 Blackstar?
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Apr 29, 2011 14:15
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burritonegro posted:I'd thought about building one, but I'm not sure I should if it's difficult to do. It's not difficult; just copy an existing model's specs if you want. I'd never done any carpentry work before, but it was just a matter of sawing a few sheets of plywood to size and making sure all joints were flush and reinforced with triangular blocks - could have used metal, but I reckoned all-wood would sound better; stuck together with super-strong wood glue. I had a nice old Electro-Voice lying around, so I only ordered front cloth, piping, protective corners, a handle, and electronics, all of which was cheap. Unless you use coasters; better not save on those or you'll quickly lose them to the road's wear & tear. Anyway, been many years since I built that (bass) cab and it's still in good shape. For speaker comparison, just go to a well-stocked guitar place and try out various models, including combos. Sometimes the amp brand may disguise a 3rd-party supplier's speakers as their own, but you can find out which is which online. As for price differences unrelated to materials used, I suppose it's all about perceived brand prestige. At a time when Britain was not doing well at all economically I asked a Gibson rep I knew why their guitars were so much more expensive on the mainland compared to the UK and he said it was because they could get away with it over there. Personally I think that speaker cabs are the amp makers' equivalent of wine in restaurants. Buy it cheap, mark it up, sell as part of the brand mystique. I mean, how much r&d and testing has to go into that now that there's plenty of proven configurations to choose from?
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Apr 29, 2011 16:22
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| # ? May 10, 2024 09:01 |
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Boz0r posted:I'm using Cubase to slow down songs to make them easier to tab, but I was thinking if there are some tricks to using an equalizer to make some of the different parts more prominent to make them easier to hear. I've been experimenting a bit but I have no idea where the different instruments are in the mix. There's a list here http://www.recordingwebsite.com/articles/eqprimer.php Instruments are sonically fairly complicated, so there are a lot of aspects you can tweak - some of it you won't care about for what you're doing, but instead of just boosting the parts you want to hear you might also want to cut the parts that interfere too. And don't forget most stuff is panned to one side a bit too!
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Apr 29, 2011 17:46
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