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Walked posted:Thats what I've heard. I guess my biggest quesiton is: is the gap between the Taylor 114ce and a higher end taylor worth the extra $500 - 700? Probably not for me, at this stage, buuuut I dont know either. It may or may not make a huge difference right now, but if you can afford it, maybe you should go for it anyway. Get something that might last you the rest of your life. But test 'em out, see what you like.
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Apr 19, 2011 16:24
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MurraneousX posted:This is probably a stupid newbie question but how different is a humbucker pickup opposed to two single coils engaged simultaneously? Depends on how the two single coil ones are wound. Some Strat pick up sets for instance have the middle pick up wound in the reverse direction of the neck and bridge so that when it is engaged with the neck or bridge it acts as a humbucker where the two coils cancel out the 60 cycle hum a normal single coil pick up has. It will still sound different than a true humbucker. Quality comes more from materials used than the shape of the pickup itself, the magnets used and how hot they are wound contribute more to the sound that the shape as well.
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Apr 19, 2011 16:27
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Manky posted:It may or may not make a huge difference right now, but if you can afford it, maybe you should go for it anyway. Get something that might last you the rest of your life. But test 'em out, see what you like. Thats kinda what I'm thinking. If I can find an acoustic that just clicks for $1500 or somesuch; and not have any need for something new, and keep the Seagull around for dabbling/travel/etc, its probably worth it.
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Apr 19, 2011 16:42
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Walked posted:Also, variations to spice up chords? I like do to a lot of: If you have a handle on basic root movement already, start getting into the voice leading. Begin by voice leading your basic I IV V, ii V I, I V vi type progressions. That means finding a way to play those chords by moving each note, "voice", within the chord by step or third. Instead of moving every note in the I up a fourth to play the IV, find a way to play the IV without changing position and moving each note as little as you can. Voices can move in different directions, too. Here is a classic, simple example: C x3201x, G7 x2303x, Am x0221x In strict Roman numeral terms, that's a I V65, vi (a deceptive cadence). The 6 5 thing is how you notate a Roman numeral 7th chord in first inversion. That is, with the third of the chord as the lowest note. In this example trace each voice through the progression and note the relationship to the chord: C B A - Root third root E F E - third 7th 5th G G A - 5th third root C D C - root 5th third When you can do those, start experimenting with that kind of smooth chord movement and see what chords are nearby each other in terms of voice leading, rather than root movement. Once voice leading becomes part of how you see chord progressions, you will start to understand more possibilities, such as altering one note to change the quality or root of a chord without jarring the listener.
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Apr 19, 2011 17:24
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CalvinDooglas posted:If you have a handle on basic root movement already, start getting into the voice leading. Thats really helpful. Doubly because I had written that EXACT progression as a part of a song I'm triyng to put together, and doubly so because the G7-Am is "deceptive" as you described. Seriously, really really helpful. Thank you. edit: Really, thank you. That puts me on the right path so much. EXACTLY the response I needed 
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Apr 19, 2011 17:30
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Don't forget to relate your discoveries back to root movement patterns, too. It's when you can analyze in both terms that you really understand how they work together as a way to generate new ideas and rehash old ones. Sometimes a mundane progression by root movement is interesting in its voice leading, and vice versa. I should have included an example of a small voice leading alteration that results in an interesting root progression: C x3201x, G7 x2303x, Bbmaj7 x1323x, Am x0221x C B Bb A - R 3rd R R E F F E - 3rd 7th 5th 5th G G A A - 5th R 7th R C D D C - R 5th 3rd 3rd CalvinDooglas fucked around with this message at 23:13 on Apr 19, 2011 |
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Apr 19, 2011 17:44
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CalvinDooglas posted:Don't forget to relate your discoveries back to root movement patterns, too. It's when you can analyze in both terms that you really understand how they work together as a way to generate new ideas and rehash old ones. Sometimes a mundane progression by root movement is interesting in its voice leading, and vice versa. Any suggested deeper reading on this? I've got a lot on a quick google; but some is really poorly written / etc. Its exactly what I need to start playing with, but a good book / reference could help. I'm going to peg my music teacher demanding we start working on this next week in practice as well.
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Apr 19, 2011 17:50
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The key terms you'll want to learn about are voice leading, the circle of 5ths, and Four Part/SATB writing. You will spend more time on the basics than I did in my explanation above, but it's a foundational concept nearly universal in western music. Don't be afraid of doing boring work with sheet music, it will do wonders to help you visualize the idea. Ask to explore various genres for examples, particularly classical and jazz music. Classical music is like a math problem you have to solve, while jazz is like having an answer having to figure out the question. Classical: What chord is this cluster of notes? Jazz: What cluster of notes makes an Eb7b9? it's hard to suggest more reading, if you feel you've grasped the explanations earlier, work with those until you 1) have derived some basic "rules" for yourself, 2) are confronted by an example that breaks those "rules", and then 3) are able to articulate questions to address the apparent differences between your "rule" and the "exceptions". Searching for random topic info will probably be more confusing than anything. A note on perspective: If you take theory seriously enough to impact the way you make and hear music, you will inevitably feel "trapped" by the "rules" that you deal with while you're learning. Those are necessary to keep you focused on one concept at a time and before you know it, you'll go from writing half note melodies on a I IV V to composing ideas that integrate all of the little concepts. Restrictions are like pipes to water - they channel your creativity and effort to an identifiable, concrete goal. CalvinDooglas fucked around with this message at 18:07 on Apr 19, 2011 |
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Apr 19, 2011 18:00
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That was cool, I haven't really read much about that before (although I've played around with voice leading without knowing what it was), thanks! You put an X in the wrong place for your last G7 up there though
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Apr 19, 2011 21:09
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Walked posted:Anyone? So I spent pretty much all night playing different guitars. Ended up falling in love with the Martin OMC-1E. So now I have one of those. Hooray.
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Apr 20, 2011 13:11
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baka kaba posted:You put an X in the wrong place for your last G7 up there though
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Apr 20, 2011 15:49
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Pyrthas posted:Looks right to me. DooGLAAAAASSSS!!! Nah it got fixed 
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Apr 21, 2011 00:20
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anyone in Aus know how much Billy Hyde cost to re-setup a guitar?
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Apr 21, 2011 11:02
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dolphins are gay posted:anyone in Aus know how much Billy Hyde cost to re-setup a guitar? Where do you live? I can recommend a couple of places in Brisbane. I imagine Billy Hyde would just send them off to someone else anyway.
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Apr 22, 2011 11:10
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MurraneousX posted:This is probably a stupid newbie question but how different is a humbucker pickup opposed to two single coils engaged simultaneously? Two single coils in series (with one pickup reverse wound and having the magnet in reverse polarity with regards to the other pickup, e.g. the middle pickup on a strat) is the same as a standard humbucker in theory, but due to the phase cancellation from the greater distance between the coils, they don't sound very similar. That's the reason why strats sound "quacky" in positions 2 and 4. Theoretically a single coil sized humbucker would have even less phase cancellation than a standard humbucker, due to the coils being closer together. I guess you could say that they sound even more like a humbucker than an actual humbucker does, but it's a very mild difference. I like them, and some people even prefer them over standard sized humbuckers.
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Apr 25, 2011 02:38
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Does anyone have any recommendations for a baritone guitar? I play a lot of post-rock and post-metal and tend to use a bunch of various down-tunings, so I think a baritone is probably a good investment rather than torturing my other guitars with constant retuning and horribly low tension.
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Apr 25, 2011 03:12
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Mondrian posted:Does anyone have any recommendations for a baritone guitar? Post-metal tunes down 24.75s and 25.5s even to B. Baritones are for tech metal and surf.
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Apr 25, 2011 04:26
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yeah I'm aware of that, but I hate having the super-thick 60+ gauge strings or having absolutely no tension. maybe I'll just get a regular 25.5" guitar and replace strings and give it a thorough setup.
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Apr 25, 2011 06:01
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Mondrian posted:yeah I'm aware of that, but I hate having the super-thick 60+ gauge strings or having absolutely no tension. There is a reason baritones have a longer scale. My suggestion in a Baritone is to look for one of the Fender Jaguar HH baritones (27" scale, hardtail, matching black headstock). But that's mostly because I think they are sexy--never played one and they weren't in production long. You should be able to get a steal of the Jaguar or a Gibson studio bari if you can find one. For a cheaper used find, the Epiphone baritones were all Korean made. Most current production baritones are a bit too 'metal' looking for my liking with Gretsch's offering being a notable exception. RetardedRobots fucked around with this message at 07:04 on Apr 25, 2011 |
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Apr 25, 2011 06:46
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I'm not the greatest fan of the Railo altered V shape guitar but got drat I am in love with the finish on this Amfisound Railo: http://www.youtube.com/watch?v=pyzUFKr_tes
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Apr 25, 2011 12:34
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I got a problem. So I have a cheap Dano Cool Cat Drive (v2) and a Dano Metal II pedal. Now, I'm stuffing them through a Vox DA5 modeling amp, but every time I try to get something like http://www.youtube.com/watch?v=uNvxq9FZANo this, I just wind up with some completely different noise. Now, I know the answer is 'Ooh, go get a tube amp', and I probably will in six months, but what I'm trying to do is work with what I have till I can play a little better. So, given all the darn options in a DA5, what amp setting and knob setting should I have to plug pedals into it and have it sound okay? http://www.voxamps.com/downloads/PDF/DA5_OM_E1.pdf (DA5 manual for reference) Edit: Playing a telecaster, bridge pickup (quarter pounder) mostly, minihum in neck. Warcabbit fucked around with this message at 14:31 on Apr 26, 2011 |
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Apr 26, 2011 14:27
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Set it to clean tone, low gain. Roll off the bass, boost the treble on the amp and the pedal.
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Apr 26, 2011 17:04
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Ah. I've been using 'blues', not 'clean'. I'll try 'clean'. Probably exactly it.
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Apr 26, 2011 18:03
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The "saturation" of an overdrive pedal is the result of the difference in gain between it and the amp's gain. If you plug a OD pedal into a channel that also has high gain, you lose saturation, which is the fuzzy distorted part of overdrive tone. Keeping the amp clean with low gain gives your OD pedals more punch.
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Apr 26, 2011 20:48
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Aaaand that's what I was doing wrong. I kept cranking up the gain, not lowering it. Explains a lot, really.
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Apr 26, 2011 23:11
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Hey thread, help me out with some guitar recommendations? I tried out a bunch in a shop today and the best was a Washburn WI666 which felt really nice but has a dumb bloodspattered finish and 666 embedded in the fretboard. The main thing I liked about it was the weight and balance, I think because the body and neck were both mahogany. Looks-wise, ideally I'm looking for something with a transparent finish so you can see the wood grain, not an opaque laquer. For budget around £200-300.
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Apr 27, 2011 20:43
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Can anyone help me out on two things: 1) Fingerpicking. Anyone have any suggestions for places to find information on varying patterns / exercises / etc? There's a mishmash of information online. For a feel for my level - I've got Dust in the Wind and House of the Rising Sun nailed down pretty well; and can travis pick pretty well. I guess I should start working on alernating bass; but still looking for more interesting patterns / thoughts. 2) Can someone please tell me what effect I'd be looking at to get a tone similar to this: http://www.youtube.com/watch?v=AQEp8Fx6oyE I dont really know much about guitar effects really 
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Apr 27, 2011 20:51
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Walked posted:Can anyone help me out on two things: As far as this is concerned, if you want a challenge, transcribe (or use guitar pro, preferably version 5.) piano sections of various songs on your guitar. You'll have a lot of fun learning chord shapes, accents etc..
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Apr 27, 2011 21:20
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How should I go about choosing new strings? I have a Fender Squire and the strings that I have on it haven't been changed in more than a year and sound really horrible now and go out of tune super quick. Are there any brands/types of strings I should look at getting? I can buy basically any set of strings from here.
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Apr 28, 2011 10:53
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For a Fender Squire? Meh. Set of D'Addario 9s will do just fine. Better than fine. I mean, Elixirs are nice but they're also fifteen bucks a pop and why bother?
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Apr 28, 2011 11:20
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Walked posted:Can anyone help me out on two things: 1) Depends on what direction you want to go. Personally, I think it's stupid to treat "fingerpicking" as a separate discipline in guitar playing, with picking on the other end. The guitar was designed to be plucked with your fingers. The pick is a neat invention, and is very helpful for playing certain styles, but unless you use your fingers in some form or another, you're not reaching your full potential. If you can tell us what direction you'd like to go in, it'd be easier to give specific advice. But here are some general thoughts: - If you mostly use a pick when playing, learn how to hybrid pick. It is awkward at first, but very much worth it, and will greatly expand your possibilities. - If you really want to explore Travis picking/alternating bass style, I can wholeheartedly recommend "The Art of Contemporary Travis Picking" by Mark Hanson. It starts out very simple, ramps up gradually, and by the end you're playing fairly difficult pieces. He has another book called "The Art of Solo Fingerpicking" which takes it even further. If you work through both of these books, you should have the foundation needed to explore guys like John Fahey, Leo Kottke, Rev. Gary Davis, etc if that's something that interests you. - Keep learning different chords, and possibly even some basic chord melody arrangements. Let the music you're playing dictate the patterns you use, not the other way around. 2) Some sort of fuzz or overdrive with a lot of reverb.
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Apr 28, 2011 19:16
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Porn Thread posted:1) Depends on what direction you want to go. Thanks; this is helpful! I really want to pursue proper fingerstyle stuff; I can strum okay with a pick for rhythm stuff, but I like folk guitar a whole lot. So maybe that gives some feel for direction. I think travis picking/alternating bass is the road to start going down there, or is there another style I dont know yet?(I mainly play bass, which may contribute to quickly picking up fingerstyle). But I agree; I do spend a lot of time picking too, just so I can get enough exposure on both fronts. It just so happens fingerstyle has "clicked" much better. And thanks; I figured there was a good bit of reverb in there. Another stupid question(s) 1) What's the difference really between delay and reverb? 2) Anyone used the martin silk and steel folk strings fingerstyle? I've heard good things and think I'll pick up a set; but I'm curious.
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Apr 28, 2011 19:52
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Walked posted:Another stupid question(s) Delay is the repetition of the noise at a certain interval. http://en.wikipedia.org/wiki/Delay_%28audio_effect%29 Reverb is an echo, and achieved through a different effect.
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Apr 28, 2011 21:11
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Walked posted:1) What's the difference really between delay and reverb? I think technically reverb is the way that sound waves reflect off surfaces and arrive back at various times, sometimes with frequencies affected, which basically defines the sound of the space. So you can get a room sound, an 'I'm in the shower' sound, the sound of a hall or a cave or a whoaaaa space canyon etc. Think of it as the sound of the environment, from a room sound to an extreme sonic vista of spaciness. It's used a lot on vocals (sparingly), drums and atmospheric parts. Delay is basically a sound repeating, sometimes just once and sometimes repeating several times and usually fading away. It can be used rhythmically or just for atmosphere - if you turn the delay time right down it acts like a really basic 'room sound' reverb (sound reflections get back to you real quick), and if you turn the feedback up enough the repeats stack up and you can get a really dense sound This looks like a basic delay pedal: https://www.youtube.com/watch?v=GgTVpc8b-vw And here's a pretty basic reverb: https://www.youtube.com/watch?v=dJDEcLTyYdU baka kaba fucked around with this message at 01:37 on Apr 29, 2011 |
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Apr 29, 2011 01:29
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I've been playing some cool funky stuff this morning but I have little idea what these chords are that I'm playing. How do I figure it out? Is there a handy website where I can click on a fretboard and it'll tell me the proper name of the chord?
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May 1, 2011 17:36
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rt4 posted:I've been playing some cool funky stuff this morning but I have little idea what these chords are that I'm playing. How do I figure it out? Is there a handy website where I can click on a fretboard and it'll tell me the proper name of the chord? ChordFind has a reverse chord look up.
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May 1, 2011 17:57
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Perfect! Thanks.
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May 1, 2011 20:40
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Hello everyone, I was wondering if an experienced guitar player could help me with some things I am a little confused about when it comes to mastering guitar. Most of my guitar playing career has been spent playing classical style guitars, or steel string acoustic guitars. For this reason, I do not have much experience with amplification, effects pedals, etc. However, I have a fairly nice guitar and amplifier. I have a Schecter Omen 6 guitar, and a Laney Hardcore Max 15w Amplifier. My question has to do with effects pedals. Basically, from what I have read online, I have learned that I have a Solid State amplifier, and that this alters my sound. I have read that the recommended pedal for me to buy now would be a distortion or overdrive pedal, so that I do not have to use the overdrive setting or way up the gain on my amplifier. This will result in a crunchy, yet still 'good' sound. It won't sound too 'bunched up', and there will be less useless noise in replace of crunch. Correct me if I am wrong here, or if you have other suggestions that would be awesome as well. I don't know much about Delay, Reverb, or other types of pedals, and a primer on those would be good as well. I know that I would love to be able to have a sweet Surf Rock type guitar tone, which means I will need some reverb. I guess this is a long winded question, but really my overall question is what guitar pedals should I get if I have $100-$200 to spend, and I want to have both a good clean guitar tone and a good distorted tone for metal. Another question I have is that the A-string on my guitar seems to be buzzing worse and worse every time I play it. How do I fix this? From my research, it is most likely that I will need to take it to a guitar luthier to have it 'set up'. What does 'set up' mean in laymen terms? And how much would this cost me? This buzzing is coming through the amp and it really pisses my guitar teacher off every time it comes through. Thanks in advance for anyone that takes the time to answer my questions. I tend to ask a lot of questions in this thread and others, but that's only because I respect the level of expertise and reliability that comes from these forums.
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May 2, 2011 04:45
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I would just like to comment that I picked up a slide yesterday. Tuning to Open G and everything I do sounds awesome. Any suggestions for actual songs to try out?
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May 2, 2011 05:09
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I'd get some Boss pedals for surf music. This video has been very inspirational to me, I hope it is to you too: http://www.youtube.com/watch?v=GX5EhRCWJOs&t=2m18s
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May 2, 2011 05:11
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