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^This guy is one of the coolest posters in this subforum, someone answer the guy. Please go back a page since he deserves the help. My question: how do ibanez V1/V2 humbucking pickups compare to other after-market ones? Are they high output? What other pickup is their 'sound' the most similar to, judging by the current Dimarzio stock? E: gently caress it, here's his post: baka kaba posted:I'm trying to get back into ear training, because I'm horrendously bad at it.
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Jun 3, 2011 05:12
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Any chance there's some nice sounding strings VSTis around that I can either get cheaply or free? There has to be some open source maniac out there that has made some cool sounding fake violins and cellos. I need to dress up a sad sounding pop song and we all know a string section does that nicely, right fellas?
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Jun 3, 2011 05:34
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cat doter posted:Any chance there's some nice sounding strings VSTis around that I can either get cheaply or free? There has to be some open source maniac out there that has made some cool sounding fake violins and cellos. I need to dress up a sad sounding pop song and we all know a string section does that nicely, right fellas? Have a look at the free Kontakt Player, it probably has some string samples.
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Jun 3, 2011 06:44
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Excavation posted:You know how there are those small toy keyboards sold in piss-scented electronics stores targeted at kids, right? My friend has one and loves it, I've played it too and while it is fun there are some limitations. It might on the big side for a backpack, but maybe look for an old Casiotone on eBay or such; you should be able to find a decent one for $30-50. Or a Korg MicroX, but those are more expensive ($200-300) h_double fucked around with this message at 06:54 on Jun 3, 2011 |
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Jun 3, 2011 06:47
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cat doter posted:Any chance there's some nice sounding strings VSTis around that I can either get cheaply or free? There has to be some open source maniac out there that has made some cool sounding fake violins and cellos. I need to dress up a sad sounding pop song and we all know a string section does that nicely, right fellas? DSK Overture and DSK Virtuoso are solid full symphony orchestra VSTis, and there's also DSK Strings which is pretty good. All three are freeware.
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Jun 3, 2011 13:45
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I love gooooooooooons. Gonna make me some video game music for the hell of it too.
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Jun 3, 2011 13:50
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baka kaba posted:I'm trying to get back into ear training, because I'm horrendously bad at it. I've had similar problems with bad MIDI piano sound when using EarMasterPro. As have a lot of other users. For the life of me I couldn't hear the difference between harmonic P4 and P5 because of it, but then I looked up a way to import the Grand Piano sound from GarageBand, and that helped a lot. And if you have an actual keyboard, you can send the audio to it and back again, which sounds even better. I'm not sure whether you can do something similar with Teoria. Probably not since it's a browser-based thing, but I'd look into it. Contact them and see if there's a way.
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Jun 3, 2011 18:47
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SSJ2 Goku Wilders posted:^This guy is one of the coolest posters in this subforum, someone answer the guy. Please go back a page since he deserves the help. Aww shucks  codyclarke posted:I've had similar problems with bad MIDI piano sound when using EarMasterPro. As have a lot of other users. For the life of me I couldn't hear the difference between harmonic P4 and P5 because of it, but then I looked up a way to import the Grand Piano sound from GarageBand, and that helped a lot. And if you have an actual keyboard, you can send the audio to it and back again, which sounds even better. Aha, so it's not just me then? I hear some weird combo sounds at times too, but the main problem (apart from me getting stupid things wrong) is that I just cannot hear the root sometimes - I can hear an interval of some kind but I can't pull it apart or anything, it's really strange. And yeah not sure if I can do anything about the MIDI instrument it's using unfortunately, maybe I'll have to look into getting something more tweakable. I'd be interested to hear if any pros have trouble with that Teoria exercise though, just to know if it's something that can be overcome with practice
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Jun 3, 2011 22:00
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baka kaba posted:I'm trying to get back into ear training, because I'm horrendously bad at it. Absolutely, MIDI piano is abysmal for ear training really. As far as harmonic intervals, you have to learn how to hear them simultaniously. Some of them have "tricks" like P5 sounds like a loving brick wall. I hear a P4 as actually the root and the fifth BELOW it, but I know from that sound that it would more likely be a P4 in the academic sense. Have you sung the chords yet? Go through and pick a random note, like B. Now sing a Maj7th chord with B as the roots, now a min7th, and a diminished too if you're inclined. Then once you've sung those a few times at a SLOW pace to get the sound in your head, go back and sing a Maj7th chord with B as the MAJOR 3rd, then repeat as a P5. This teaches you to hear not only melodic intervals but also to hear the chord made up by melodic intervals. You didn't mention if you're singing these exercises. "Ear Training" is a bit of a misnomer, as really the only way you can truly "hear" something is if you can sing it back with little hesitation.
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Jun 3, 2011 22:00
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Ah cool, thanks! First up I'm not singing them at all, which I probably really should (especially since I'd like to be able to sing) so I guess I better get over that pretty quick. I've definitely been trying to just 'hear' intervals, instead of (say) getting a major 6th and hearing the walk up to the octave in my head, which just happens before I can stop it. I'll ditch the MIDI though if it's really that bad, I didn't want to assume since I know I suck too. Really useful information though, cheers
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Jun 3, 2011 22:12
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baka kaba posted:Ah cool, thanks! First up I'm not singing them at all, which I probably really should (especially since I'd like to be able to sing) so I guess I better get over that pretty quick. Teoria's a pretty good program, I use it in school sometimes. I wouldn't ditch the MIDI just yet unless you have access to a decent keyboard/piano for an hour or two a week. "walking" up to the octave isn't a bad thing, but use that to identify where you are in the scale and then just name the interval. Are you using solfege?
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Jun 3, 2011 22:16
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Well when I say ditching MIDI I really mean trying to use a decent VST instrument or something, just to avoid any weird phasing issues or whatever might be making some note combinations really hard to differentiate. I'm not using solfege either - I did find another training program which uses that, except it ran out of exercises! I guess I'm trying to force myself to hear 'distances' instead of scale degrees, or is that a bad idea? In case you hadn't guessed I'm pretty much half-assing it here
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Jun 3, 2011 22:43
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I came across a procedural music generator called Otomata recently and its inspired me to try to program up something similar that would use multiple blocks as a set of 'instruments' each having their own MIDI voice. So say, instead of the single block shown on the website there'd be four blocks with one using a slap bass voice, another using piano sounds, and then maybe a glockenspiel and an accordion thrown in for good measure. My problem is that I'm not a musician, so I don't know how to go about picking groups of notes that would sound good together when played in any combination. The Otomata guy mentions using the series D A Bb C D E F A C - is that a standard sequence in music theory, and if so what terms should I Google for to learn more about it? Are there other, similar sequences of notes that would work together? Thanks!
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Jun 4, 2011 00:42
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baka kaba posted:Well when I say ditching MIDI I really mean trying to use a decent VST instrument or something, just to avoid any weird phasing issues or whatever might be making some note combinations really hard to differentiate. A Good VST Piano is the way to go! Use solfege. It's not that hard, but holy poo poo will it make your life better than just singing "la" or "na". Because each syllable is different you'll soon find yourself being able to pull out relative pitches in a single key. For Major, use Do-Re-Mi-Fa-Sol-La-Ti-Do and minor use Do-Re-Me-Fa-Sol-Le-Te-Do With that, each minor chord tone in the key is phonetically "flattened" by using the "eh" sound instead of the "ee" sound. Do you have skype? I'd really like to help you out with this more as I really liked my ear training classes.
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Jun 4, 2011 02:04
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I had a crazy/potentially awesome idea today. I have one of these that I never play since getting an acoustic guitar that I like better. I've got a lovely acoustic pickup it right now, but had the idea to go all out and put a humbucker in there, wire up a volume knob and a jack and essentially turn it into some kind of hosed up acoustic-electric/hollowbody monstrosity. How well would this set up work? Would I need to find a way to ground the strings or could I just wire up everything and then put it in? Would it feedback like crazy and make it unplayable in a live setting? Is this entire idea crazy and should I just quit being cheap and buy an actual acoustic electric?
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Jun 4, 2011 02:18
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Seventh_Samurai posted:I had a crazy/potentially awesome idea today. I have one of these that I never play since getting an acoustic guitar that I like better. I've got a lovely acoustic pickup it right now, but had the idea to go all out and put a humbucker in there, wire up a volume knob and a jack and essentially turn it into some kind of hosed up acoustic-electric/hollowbody monstrosity. I did it recently with one of my cheapie acoustics and it worked fine. I was able to mount it directly to the sound hole by stacking up two humbucker rings and sandwiching the edge of the hole between them. I had just wired it directly to an enclosed jack taped to the side of the guitar. I didn't ground the strings at all, if you were using a single coil the hum might be a problem but it was fine with a humbucker. I only played with it in my bedroom and it would feed back really easy, but as long as you didn't let the strings vibrate it was fine. The first thing I played on it was "Cat Scratch Fever", it was perfect for that sound.
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Jun 4, 2011 02:41
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Noise Machine posted:A Good VST Piano is the way to go! Haha well, my singing experience is pretty much limited to tuneless crowing over a mistreated acoustic guitar, so singing with scales is something I've always wanted to start but I never got around to. I'll definitely try the solfege approach though - I found the thing I was running through too: http://www.musicalmind.org/ MIDI again but it was going well. I don't have a webcam (or even a microphone I can use at the moment) but I really appreciate the offer!  Realistically I probably won't even start the singing antics for a while yet, but when I do any advice would be awesome. Even any videos you think would be helpful, since I can't do the video chat thing. Either way seriously, thanks!
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Jun 4, 2011 18:00
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Alright it's time to get serious about learning some theory and working on my songwriting skills. My goals at the moment are to work on interval recognition and key recognition (recognize a key from listening to a progression), and I'm going to purchase a few theory books to help me on my way. I'm currently most adept at drumming and don't need rhythmic help, I'd just like to learn harmony basics for songwriting purposes and better guitar improvisation/knowledge. I've found a few good iOS apps (namely Ear Trainer) to work on intervals. Currently I'm looking at: Essential Ear Training for the Contemporary Musician Movable Do solfege is something I would like to learn, this looks like a decent reference. Berklee Jazz Guitar Chord Dictionary: I'd like a reference on hand for chord voicings. If any has a similar "chord dictionary" they prefer, I'd love suggestions. A comprehensive book to study from would also be nice, and this is what I'm really looking for input on. Anyone have a favorite general theory book to recommend? I've been looking at the following: Berklee Music Theory Book 2 Essentials of Music Theory: Complete Self-Study Course, Book & 2 CDs Thanks in advance, the two books above look OK but if there is something more theory-bible-like, I'd appreciate knowing about it.
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Jun 4, 2011 21:06
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Really need to finalize a cover for my EP, and I was wondering if I could recruit one of you musiciangoons with photoshop skills to help me out??
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Jun 5, 2011 04:16
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PDP-1 posted:I came across a procedural music generator called Otomata recently and its inspired me to try to program up something similar that would use multiple blocks as a set of 'instruments' each having their own MIDI voice. So say, instead of the single block shown on the website there'd be four blocks with one using a slap bass voice, another using piano sounds, and then maybe a glockenspiel and an accordion thrown in for good measure. Oh I meant to reply to this if nobody else did Basically the notes it's using are from the D natural minor scale (D E F G A Bb C D E...), only it's not using the 4th (G) for whatever reason. The notes in that program span a couple of octaves - according to the Wikipedia page for the Hang Drum it's based on they go D3, A3, Bb3, C4, D4, E4, F4, A4. The numbers just tell you which key it is on a standard piano keyboard: C4 is the 4th (from the left) C key on the keyboard, also called 'middle C', and it's all based around that. If you have a smaller keyboard C4 should still be in the middle, even if it's not the 4th C (because you're missing the lower range of keys). The number changes on each C - this should explain it better:  Point is D3 and D4 are the same note, just that D4 is an octave higher - like someone with a higher voice singing the same tune. The notes your program is using are fairly spread out, instead of cramming them all into one octave. There are probably some good technical reasons why they've chosen to do things exactly the way they have (I have some suspicions myself) but I'll just say that when you're playing notes together it helps to give them some space. Anyway the D natural minor scale is D E F G A Bb C D E F... (it repeats once it hits D again), and we name the notes in the order they appear: D is the root, E is the 2nd, F is the 4th etc. (we call these scale degrees). So that program's notes (D A Bb C D E F A C) go: R 5th 6th 7th | R 2nd 3rd 5th (I put the little | in where you hit the next octave) You can duplicate that for any scale or mode you want to look up, there's some here: http://www.woodwind.org/clarinet/Study/Scales/index.html So for example you can take A major, which is A B C# D E F# G#, plug that into the little formula up there: R(A) 5th(E) 6th(F#) 7th(G#) | R(A) 2nd(B) 3rd(C#) 5th(E) And you get A3 E3 F#3 G#3 A4 B4 C#4 E4 You'll need to learn some music theory for the hows and whys of where scales come from and all that, why some things work better than others and so on. In all honesty though I'd probably just try experimenting, change the notes around and see what kind of interesting/pleasant/unpleasant combinations you can come up with
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Jun 5, 2011 18:51
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My string heights were way too high on my strat past the 12th fret, so I used a ruler and lowered the strings at the bridge. Everything to 4/64" at the 17th fret. Now I get heavy fret buzz past the 12th fret and above the the 5th fret toward the nut. Between the 5th and 12th frets things are alright. Is this indicative of too loose a truss rod or too tight? Or is this some other factor I'm neglecting?
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Jun 6, 2011 04:15
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codyclarke posted:My string heights were way too high on my strat past the 12th fret, so I used a ruler and lowered the strings at the bridge. Everything to 4/64" at the 17th fret. Now I get heavy fret buzz past the 12th fret and above the the 5th fret toward the nut. Between the 5th and 12th frets things are alright. Is this indicative of too loose a truss rod or too tight? Or is this some other factor I'm neglecting? It's indicative of the strings being too close to the fretboard.  The spots where you're hearing buzz says to me that you have more fret wear between the 5th and 12th frets, which is why there's no issues there. Remedies could be: a) Raise the strings back up b) Play softer c) Put thinner strings on d) Get a taller nut installed e) Loosen the truss (allows the neck to bend with the pull of the strings) The problem is, however, if you do either of the last two options, you're going to be lifting the action again. So you adjust the bridge again, get more fret buzz, so you adjust the truss again. Eventually the instrument is unplayable.
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Jun 6, 2011 17:48
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xzzy posted:(Help) Thanks for the input. I guess I'll just take it into the shop. Guitars are so finicky.
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Jun 7, 2011 06:51
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baka kaba posted:Awesome stuff. Thanks so much for this! Your post was really clearly stated and exactly what I needed to know. It sounds like I can give the user the option to pick a root note (D3, C4, etc.) and a scale type (natural minor, major, etc.) and then use the scale intervals as offsets from the root to generate whatever set of notes they want to use. From there it's a short step to figuring out the numbered MIDI note that corresponds to each root, 3rd, 5th and so on. It seems as though I've got just enough information to be dangerous - time to start programming this monstrosity up!
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Jun 8, 2011 19:37
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Yep! In fact if you're using MIDI notes I think it'll be even easier because you're just taking a number and incrementing it with a set pattern. Basically the major scale is: W W H W W W H and natural minor is: W H W W H W W W means Whole Step and H means Half Step, which equates to 2 and 1 notes respectively. So here's your list of notes: A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb... So pick your root note (let's say A), and the major scale would be A, then up a whole step (2 notes) to B, then another whole step to C#/Db, then a half step (1 note) to D... so for your MIDI thing it would be get the start number, +2, +2, +1, +2... For the actual set of notes (your drum tuning) it should be pick your root, then: R +7 +1 +2 +2 +2 +1 +4 Something like that!
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Jun 8, 2011 23:10
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I have had one drum kit my whole life and I am looking to get a new one. I started a band in February and we are about to start playing some shows and I'd like an upgrade (currently playing Pearl Export series). I suppose I have two questions: 1. What should I be looking for when I try out prospective kits? 2. Any suggestions? We play a sludgy-stoner rock kind of thing. I'd like a deeper sounding kick drum, but other than that, I'm in the dark a little.
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Jun 8, 2011 23:33
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VELOUR SPACESUIT posted:I have had one drum kit my whole life and I am looking to get a new one. I started a band in February and we are about to start playing some shows and I'd like an upgrade (currently playing Pearl Export series). Have you considered an electronic kit? You can make the kick drum as deep as you could ever want, there is massive scope for sonic variety and if you ever get bored with the kit sound just turn the dial and be playing a whole new kit (repeat ad infinitum). Even if you were still on the acoustic side you could go to the drum store and dick around on an e-kit for a bit until you find a sound you like and then get one of the staff and say "ey yo I like this kit please build me up a non-electronic equivalent and I will provide you with money to facilitate this exchange". Either way, play an e-kit, they are awesome.
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Jun 9, 2011 12:19
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I'm considering upgrading my music laptop since my old one suffers from some pretty heavy slowdown once I get to something like seven tracks with effects and drums. I use Reaper, ezDrummer and Guitar Rig 4, and plug everything into a Saffire LE Focusrite (firewire). I use some other NativeInstruments software packages like the Session Strings package. My keyboard goes into my laptop via a USB MIDI interface. What should I be looking at as a matter of priority; RAM, CPU or something in between? I'm currently using a single-core 3ghz with 2gb RAM. Is there anything else in my setup that might cause a "bottleneck"? I'm fairly new to proper recording, so I want to make sure I'm going to buy something that'll improve performance as much as possible.
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Jun 9, 2011 23:05
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Power_13 posted:I'm considering upgrading my music laptop since my old one suffers from some pretty heavy slowdown once I get to something like seven tracks with effects and drums. I use Reaper, ezDrummer and Guitar Rig 4, and plug everything into a Saffire LE Focusrite (firewire). I use some other NativeInstruments software packages like the Session Strings package. My keyboard goes into my laptop via a USB MIDI interface. Multi core CPU and a bunch of RAM will be the biggest concerns, but if you go over 3GB of ram (which is basically every notebook now) then make sure you run a 64bit operating system so you can actually use all the RAM you have available. An i7 CPU paired with 8GB RAM will be a solid recording machine that should stay relevant for some time. You could spring for a solid-state drive (SSD) which will definitely provide a speed boost but they might not be best for recording as they have a limited amount of write cycles so recording track after track will lower the drives lifespan. Some laptops have 2 hdds, one SSD and one regular platter drive, so that you can have the OS and all DAW software on the SSD for fast loading times and then all the recording is done on the regular drive.
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Jun 9, 2011 23:49
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Thanks I hadn't considered the RAM/64-bit thing, I'll have to check the software I use supports 64-bit operating systems.
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Jun 10, 2011 00:57
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VELOUR SPACESUIT posted:I have had one drum kit my whole life and I am looking to get a new one. I started a band in February and we are about to start playing some shows and I'd like an upgrade (currently playing Pearl Export series). In my experience playing different drum kits, it's all about how it feels to you. Don't buy any kit that you haven't physically played on, or you might get stuck with something that just doesn't feel right to you. Depending on your price range, getting a smaller kit and adding extra drums might give you the sound you are looking for. Especially if you are willing to cannibalize your old kit, buying individual drums (as opposed to an entire new kit) might be more to your liking. Deeper sounding kicks result from a larger diaphragm, but it also has to do with how you tighten the head(s), and what you fill it with. Same goes for the snare, fresh from the shop it might sound like poo poo but some tweaking and damping pads goes a long way. The bottom line is that any kit you buy will most likely need to be altered to your taste. Also, cymbals are a huge part of what makes a kit. If you have any that you really like the sound of already, use them! If not, don't skimp on them. Good quality, name-brand cymbals will serve you well and are worth the price if you are serious about playing drums. As far as electronic kits, I've had poor experiences in the past. They can be useful at times, but overall I've found that anything short of top of the line kits makes me fight against them just to play normally. On top of that you need proper amplification and lots of patience to get the settings just right. When I had one, I quickly realized that acoustic kits have many nuances that are difficult to reproduce digitally, and I never really enjoyed playing it. That said, if money is no object there are great mesh-head kits out there with semi-realistic cymbals that might offer you the flexibility in sounds you want. Again, play before you buy.
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Jun 10, 2011 03:25
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Power_13 posted:Thanks Win7 64 is pretty clever at running 32bit stuff, I haven't run into any issues so far with running legacy software in the 18 months 7 has been on the market (I repair computers for a living) so you should be ok with whatever you run, even though ultimately native 64bit operation will give you best performance. And quickly with the e-drums: use any of the higher end Roland or Yamaha kits (td-9 and above for Roland) and usability becomes transparent, the cheaper kits you definitely have to fight with to get them to do what you want but a good all-mesh kit is fantastic to play and the hi-hat cymbal is probably the only thing I feel is lacking on my kit, but you can get ones that fit to a regular hi-hat stand and will give a lot of the feel of a regular set of hats. Amplification may be something to consider but you can just plug straight into the PA at a lot of venues so that makes things a lot simpler.
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Jun 10, 2011 05:24
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The Rubberbandit posted:stuff Yeah, I wasn't really feeling the idea of an electronic set... But thank you for the advice. I am keeping my cymbals and dig them already so I was just looking for a new shell kit and you've given me a bit to think about, even if most of it is "it will just feel right". Kind of zen like, I dig it. Thanks again.
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Jun 10, 2011 14:24
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I decided at some point last year that I would like a Tele. I had thought to stretch to get and American Standard, which at the time were around £840. I was going to get it some time this year when I had the money. However in the new year the prices of Fenders (and Gibsons) raised dramatically, not just in line with the 2.5% vat increase in the UK at the time. The guitar I was looking at is now £1,030. I've been looking today at the CIJ 62 Custom, which I really like the look of (with the white banding and all), and I've read a lot of good things about Japanese Fenders. This is £650. Although I'd want to buy a hard shell case (the fender molded one comes with the American Standard), so that would put the price around £700 for something comparable. I intend to find a shop to play both models, but generally what are people's opinions on the American vs Japanese Fenders? Would the American be worth the extra money, or could I be perfectly happy with the Japanese? Obviously if I compare some in a shop and the AS blows me away compared to the CIJ I would have to find the extra money somehow. I would prefer not to have to cow-tow to the price hikes, but I also don't want to be disappointed.
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Jun 11, 2011 18:22
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Power_13 posted:I'm considering upgrading my music laptop since my old one suffers from some pretty heavy slowdown once I get to something like seven tracks with effects and drums. I use Reaper, ezDrummer and Guitar Rig 4, and plug everything into a Saffire LE Focusrite (firewire). I use some other NativeInstruments software packages like the Session Strings package. My keyboard goes into my laptop via a USB MIDI interface. Get a MacBook Pro. Since there are only a small handful of possible hardware configurations on Mac, companies are able to write more stable (and better performing) drivers/apps compared to Windows, where there is a need to support dozens of hardware manufacturers, multiple flavors of Windows (in 32 and 64 bit), etc. h_double fucked around with this message at 19:06 on Jun 11, 2011 |
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Jun 11, 2011 18:58
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Kash posted:Japanese Telecaster question I've heard a lot of people praise the Japanese Fenders. I've played one, and it was pretty nice - light weight, a soft V feel to the neck (it was a 50s reissue), pretty good sounding pickups. A few people who've owned them have switched the electronic components out, so keep that in mind as a possible weak spot. h_double posted:Get a MacBook Pro. I'm having trouble finding a Windows laptop that supports firewire, so Mac is already on my list of things to try out.
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Jun 11, 2011 19:13
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Or get a Firewire extension card. Edit: Even Digidesign/Avid has specific recommendations on which cards have an optimal chip.
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Jun 11, 2011 19:18
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I've looked, but I can't find a laptop around my budget (£600/$1000) with PCMCIA/ExpressCard slots to plug a firewire expansion into. The last time I looked into buying a laptop was about ten years ago, so I'm trying to catch up with the newer stuff.
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Jun 12, 2011 03:57
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Thinkpad T Series Highly customizable, durable, and come with an ExpressCard slot. Most other models do as well, I believe. Starting price is $750.
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Jun 12, 2011 06:07
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I play a couple guitar at a couple of variety shows at my university each year and I saw a video of a band doing their whole album with Guitar Rig. What I thought was if there was some way of using Amplitube to simulate all my different sounds and running it on a laptop with an audio interface of some sort and controlling it with a midi floor board and hooking it all up to our PA system. Is this possible, would it give acceptable sound, and what gear should I use to get it to work?
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Jun 12, 2011 23:35
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