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If you're just looking at working with loops (and not writing your own drums) this is a really cool thing: http://www.drumbot.com/projects/drumbot/ How does Amazing Slowdowner actually sound? Is part of the cost the time-stretching algorithm, like élastique? Reaper uses those and it's pretty amazing how much you can slow the audio down without it sounding noticeably different
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Jul 18, 2011 22:25
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Anyone know any good resources for learning how to pick and strum songs in the same vein as folky tunes? I'm not new to guitar, (I've been playing for oh god six years now) but due to being in a Ska band and generally enjoying fast paced tunes, my forte right now is playing really fast, fantastic strumming (of all strings), and bar chords are a walk in the park. However, I'm getting into a real fix on old fashioned singer-songwriter stuff like Carole King, Jim Croce, Guthrie, etc. While going through the chords on these songs makes it fine for playing, it really doesn't sound "right" to me without the wonderful stuff in between. From broad google searches, all I'm finding is chords, chords and more chords. It's disappointing, because I'm sure most of those songs would be perfect exercises. If anyone here knows of any though outside or inside familiar songs, dropping me a link would be much appreciated. Thanks!
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Jul 21, 2011 04:37
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Thanks for the drum tips, goons. Will peruse. I have the demo version of the Amazing Slow-downer. I don't know exactly how it works, but it does it really well. Anyway, you can only play the first 2 minutes of a song with the demo/trial, but you can play (and slow) full songs if you burn them to a CD first.
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Jul 21, 2011 06:27
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Lazerbeam posted:What amp would you guys recommend for small gigs/being heard over the drummer? I play a range of styles and I'm looking to spend up to £250 or so. Quoted for lack of response. I think it got lost at the bottom a couple of pages ago.
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Jul 21, 2011 13:30
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Lazerbeam posted:Quoted for lack of response. I think it got lost at the bottom a couple of pages ago. Head or Combo? You say range of style but what does that include? A lot of clean? Hard rock distortion? Metal? What about searching for a used Vox AC15 or AC30? darkhand fucked around with this message at 23:53 on Jul 21, 2011 |
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Jul 21, 2011 23:48
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Thanks for the replydarkhand posted:Head or Combo? Combo I suppose, easier to transport. darkhand posted:You say range of style but what does that include? A lot of clean? Hard rock distortion? Metal? Sorry, I wasn't clear there. I play rock, blues and metal but I'd also like to get a nice clean sound for my electro-acoustic, as well as some jazz in the future. I can get distortion through stompboxes if I have to though, I already have a Danelectro cool cat for metal. darkhand posted:What about searching for a used Vox AC15 or AC30? I'll keep an eye out for these on ebay then. Thank you 
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Jul 22, 2011 10:36
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Is an AC15 going to be loud enough with a drummer? (I'm guessing you're using this for practice too.) I used a crappy 30W solid-state Laney amp with a drummer once and I got completely drowned out, I know tube amps are a bit different but 15W still sounds a bit low to me.
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Jul 22, 2011 21:45
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baka kaba posted:Is an AC15 going to be loud enough with a drummer? (I'm guessing you're using this for practice too.) I used a crappy 30W solid-state Laney amp with a drummer once and I got completely drowned out, I know tube amps are a bit different but 15W still sounds a bit low to me. Not on stage. You might be able to get it louder than a drummer, but you'll be well past the amp's sweet spot, maybe risk damaging the speaker. I use a 50W tube amp it has to get loving LOUD before it fills a room. Acoustic instruments will always have more tone, timbre, and room-filling power at low volume than amplified ones. No matter how loud you get, you're just shooting sound in one direction with a speaker. The only way to guarantee your guitar is as loud as the drummer is to mic it.
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Jul 22, 2011 22:16
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I don't know UK pricing that well, but there's a lot of amps in that price range. You're going to see some lower-powered tube Heads that can do a small subset of styles; Orange Tiny Terror for classic rockish sound or a Vox that does indy rockish sounds and nice cleans, for example. The Vox Lil Night-Train head looks really nice but is also only 15w. Or you can scour auctions/local listings to find cheap used stuff. You're also going to see A LOT of higher-powered, more versatile solid state amps like a Marshall MG50 and a million others. If you just want to be loud then try out some loud solidstate amps. If you're looking for  MY PERFECT TONE and higher-powered TUBES you need to do a lot of deal scouring or raise your budget.I'm not much help I'll shut up now. darkhand fucked around with this message at 22:37 on Jul 22, 2011 |
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Jul 22, 2011 22:27
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CalvinDooglas posted:Not on stage. You might be able to get it louder than a drummer, but you'll be well past the amp's sweet spot, maybe risk damaging the speaker. I use a 50W tube amp it has to get loving LOUD before it fills a room. Yeah I was assuming for most gigs there'd be a PA to go through, but you're probably going to have to rely on the amp itself for volume at your practices. I saw people talking about a great Marshall solid state amp recently, one of the AVTs I think? I don't know which model people liked but you might be able to pick one up from ebay or something for under £250. The other option might be to get a nice amp like darkhand's suggested for practice and gigs, and spend a bit more on some cheap toneless beast for rehearsals
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Jul 22, 2011 23:17
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Here's a newbie related question: in rehearsal scenarios, with smaller amps are you generally going to just want to aim the amp right at the drummer? What I usually do is place the amp at a 3/4 angle in front of the drummer, pointed right at him. The way it works out, when we get loud I am basically relying on him and my knowledge of the fretboard that what we are playing sounds good because I can't hear myself very much at all. I've yet to play a live show though, and I feel like worrying about that is getting way too ahead of myself.
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Jul 23, 2011 06:40
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baka kaba posted:Yeah I was assuming for most gigs there'd be a PA to go through, but you're probably going to have to rely on the amp itself for volume at your practices. I saw people talking about a great Marshall solid state amp recently, one of the AVTs I think? I don't know which model people liked but you might be able to pick one up from ebay or something for under £250. The other option might be to get a nice amp like darkhand's suggested for practice and gigs, and spend a bit more on some cheap toneless beast for rehearsals I took a quick look for what I can get for £250 that's decent and loud, this is what I came up with so far: Marshall MG50FX Marshall MG50DFX Vox VT80+ (A bit more expensive than £250) Fender Frontman 212R Fender Mustang III The mustang sounds great from what I've heard (on youtube anyway) and has received some very positive reviews so I might go for that.
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Jul 23, 2011 13:23
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Lazerbeam posted:I took a quick look for what I can get for £250 that's decent and loud, this is what I came up with so far: I have a Fender Mustang 3. I like it alot but by itself it is not loud enough for a drummer unless he is playing soft stuff.
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Jul 23, 2011 19:39
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Mustang 3 is 100w, how loud do you need to get beyond a drummer? 200w?
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Jul 23, 2011 19:52
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Philthy posted:Mustang 3 is 100w, how loud do you need to get beyond a drummer? 200w? I always thought it was 50watts or so but I guess not  How many watts do I need then?
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Jul 23, 2011 20:45
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40 or 50 tube watts through a 1x12 will keep you up with a normal volume drummer, and fill a small room like a bar. Not a loud drummer or a large room. The wattage wont' really have an impact on how "loud" you get, because your amp isn't limited by its volume so much as the fact that when it's too loud it sounds like poo poo and hurts your ears. On most tube amps you will never take the volume past 5. The amount of volume knob you have that produces good tone is called your "headroom". When you're too quiet, you get bad tone, and when you're too loud, you get bad tone. Every amp is different, though, so you need to really crank one up to see how it does - ask permission from the store clerk first. On my little Mesa DC-5, I have substantial headroom from 3-7 or so. My buddy's Fender tops out 3 and is painfully loud by 5. Many solid state amps, despite their wattage, will start clipping by the time they get loud enough to play in public. Higher wattage, as well as higher impedance, increases your headroom. You won't actually need to play louder, you will just have better tone at whatever volume you need. Because perceived volume and wattage have a non-linear relationship, you have to multiply wattage by 10 to double the maximum volume. And that's maximum volume you'll never use because even a lovely little 15W will match volume with a drummer, but sound unbearable. Higher impedance is adding speakers. Every speaker you add is more resistance, and the power is divided evenly among them. If you turn a 50W 1x12 into a 50W 4x12, you will have a lot of headroom - maybe not enough to match volume (as well possibly creating impedance issues with your amp!). Any tube guitar amp heads above 100W are pretty much made for running half stacks. You don't need a 200W amp unless you're running like a full 8x12 stack. And you don't need a full stack, no matter where you're playing. If you're talking tubes, you likely won't need anything more than 60W 1x12 to play gigs. Any room or bar worth playing (and many not worth playing) has a PA system and will mic your amps. At most gigs, you can just dial in your best tone for the PA and use your amp as a guitar monitor, which makes things easy for most amateur sound guys. CalvinDooglas fucked around with this message at 04:59 on Jul 24, 2011 |
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Jul 24, 2011 02:57
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Thanks, Calvin. I've always wondered what it takes.
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Jul 24, 2011 04:53
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I should add that the subjective advantage to something like 50W over a high-wattage amp is that you can get a more aggressive tone at your stage volume. Lower wattage also means that the amp gets naturally overdriven at a lower volume. Cranking the volume on a mid-wattage amp is basically the secret to pre-Van Halen guitar tones. It gives your clean tone sort of twangy punch and decompresses your overdriven tones a little. Lower wattage and high volume is great for sharp tone that can swap rhythm and lead without a lot of adjustment. If you want a "classic" guitar tone where your hands are responsible for the tone entirely, go with a 40-60W tube amp. High wattage amps are good for saturated, compressed tone. Compression reduced perceived volume and has to be overcome with the brute force of volume. High gain, hard rock guitar tone sounds like rear end when it's pushing a lower wattage amp past its decent range. The amps's natural overdrive negates the pedal overdrive and produces a shrill, gritty tone - a tone which 15W amp owners are very familiar with. The downside is that your creamy metal distortion is terrible for solos and you need to use less balanced tones overall to switch between rhythm and lead parts. If you're into hard music, check out a higher wattage head. CalvinDooglas fucked around with this message at 05:10 on Jul 24, 2011 |
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Jul 24, 2011 05:08
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crm posted:That thing is nice, but $50 nice? I dunno. Yeah, that's why I said "Additionally, using Audacity or something like Amazing Slow Downer is essential." As others said, you can pitchshift, change speed, and equalize in Audacity, but as far as I can tell it has to render the clip each time you use an effect or change a parameter. This is a pain in the rear end for me (as opposed to ASD which autocorrects pitch for speed and outputs in real time) since I'm constantly transcribing or trying to play something by ear. This is the NTG thread so I doubt very many people are going to be dropping $50 on something they can barely utilize, but once you reach that sort of intermediate status where you have some decent chops, own a couple nice piece of gear, and are tired of just playing stuff for which you can find sheet music or tabs, the investment seems a good deal less extravagant. Leviathan fucked around with this message at 20:26 on Jul 24, 2011 |
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Jul 24, 2011 20:24
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Eh, I haven't used it but from the looks of things it doesn't do a lot for the price. You can buy a copy of Reaper for $40 and have basically the same functionality (it might actually sound better too) in a fully featured DAW
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Jul 24, 2011 21:29
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Dohh you're right, I totally forgot Reaper's only 40 bucks, preserves pitch, and that the ReaEQ VST is free
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Jul 24, 2011 22:07
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In your project settings change the pitchshifting method to one of the super-rad ones too. It's pretty amazing how much you can slow it down without it sounding any different EDIT super-rad not being elastique SOLOIST, christ what did they do to that. You also have to right click the speed slider on the main screen and tell that to preserve pitch if you want to use that control baka kaba fucked around with this message at 22:41 on Jul 24, 2011 |
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Jul 24, 2011 22:16
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Either my Vox AC30 or my Orange AD30 have no issues overpowering my drummer (who's pretty heavy-handed) through a sealed 2X12 cab. Both are on the edge of natural breakup at that point, but since I don't care for a perfectly clean tone, that's fine with me. I greatly prefer gigging with 30 watts since I can drive the holy hell out of them, get the tubes cooked good and hot and not have the sound guy attempting to murder me by the end of the night.
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Jul 25, 2011 00:18
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EatinCake posted:Anyone know any good resources for learning how to pick and strum songs in the same vein as folky tunes? Not many folk fans here?
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Jul 25, 2011 18:10
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Strumming patterns are pretty much a "listen and learn" thing
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Jul 26, 2011 02:14
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If you mean like the in-between runs and flourishes, have you got a link to an example?
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Jul 26, 2011 03:45
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I have one of The Faint's old guitars, a Washburn PS 1800. It's even in the I Disappear music video  Some stats from the Washburn website:
 Sadly, the headstock is cracked:    Can this be repaired? If so, how much should I expect to pay?
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Jul 27, 2011 02:05
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How did that happen and is this a guitar you intend to play? Playing a signed guitar - even a fancy one - is pretty wanker stuff. Plus it'll wear the signatures off. If you're not going to play it, don't waste the money on a repair. Glue it back together convincingly and scavenge the nice parts, and put them on your normal guitar.
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Jul 27, 2011 03:13
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CalvinDooglas posted:How did that happen and is this a guitar you intend to play? I bought it from a charity auction about six years ago. The charity auctioning it didn't mention that it was broken, so I kind of got screwed -- I wasn't about to dispute it and ask for a terminal disease patient to give me my money back. CalvinDooglas posted:Playing a signed guitar - even a fancy one - is pretty wanker stuff. Plus it'll wear the signatures off. Hm, didn't consider this. I've had a guy say that I could get it repaired for $200, and I've had someone else say that there was no way in hell, that they'd have to practically rebuild the whole thing. I'm just now learning how to play, so I'm just trying to figure out if the money I'd spend on some garbage guitar that I'm probably going to upgrade from once I get better should instead be put towards fixing a much nicer one. EDIT: As far as the signatures go -- ideally I'd like to either recoup my costs or have a nice guitar to play on. It's not like I'm going to be taking it to shows, so I'm not too worried about looking like a tool. As far as recouping is concerned, it's probably going to be very difficult to break even as unlike the original auction I would accurately list it as broken, and The Faint probably doesn't have as much hype riding behind them now as they did six years ago. They were putting out a new album every 1.5 years from 1998 - 2005. If I kept it I could hit it with a clear coat or some kind of lacquer to preserve the signatures (I'd do my research and test first to make sure it's not going to ruin them). Sure it'd reduce the resell value, but I could play it without worrying about destroying the signatures and it'd still be a cool conversation piece. Then again they did just sign a new band under Diplo's label a couple of months ago, so maybe they'll get super popular and I'll have made a terrible mistake. Heh, it's starting to look like the answer is "sit on it for awhile", which sucks because I've already been doing that for six years and I'm getting tired of keeping track of it. zorch fucked around with this message at 04:53 on Jul 27, 2011 |
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Jul 27, 2011 03:50
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EatinCake posted:Not many folk fans here? I dunno if this is too basic for you, but have you checked out http://justinguitar.com/en/FO-000-Folk.php ? I always found Bright Eyes tabs to be pretty easy and fun to play: mostly of hammer-on chording, and boom-chick strumming. Although, I think I've misunderstood what you are trying to do. darkhand fucked around with this message at 10:57 on Jul 27, 2011 |
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Jul 27, 2011 05:49
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The bridge pickup on the guitar is often called "twangy". What word do you use to describe the sound of the neck pickup?
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Jul 27, 2011 12:33
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Hey, guys. This is going to be a bit of a different question. I've been playing the guitar for two years now, and I can play pretty well. I can improvise and I don't find it too hard to write my own material now. I'm in my first band now, and just a couple of hours ago, I had my first gig. We've been only practicing for about two weeks, and we practiced really hard. We got it down to a notch. We decided on a set of ten covers we could play really, really well. It was nothing advanced. While practicing with my band and at home, I could pull off the lead stuff down to a notch, but.. when I was on the stage - it got pretty awful. I could play the progressions and the rhythm licks when I needed to, but when the time came for me to solo, I played really loving poo poo. I didn't feel stage fright, I like performing both improv comedy and some other things, but when I knew that I needed to play some fast lead stuff, I was "Ohgod ohgod ohgod" and I completely borked it. So, I have a couple of questions here: 1) How do I prepare myself mentally for heavy-duty lead parts? 2) What do you do to calm yourself down and get yourself in state for soloing on stage?
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Jul 27, 2011 14:06
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emoltra posted:
Either way, you will probably have to spend about the same amount of money to get a guitar you can play. The cheapest, easiest repair on that kind of damage is probably just a new neck. For that price you can get a MIM Fender strat that sounds just fine. And I was serious about swapping the parts. It's an unusually nice guitar for a band to sign and give away, so I understand the temptation to love it dearly. But it's broken, and you'd be playing a guitar with signatures all over it. Your most cost effective solution is to harvest the pickups, electronics, knobs, and tuners from the PS1800, and put them in a cheaper guitar. If you pulled the gear out of an $1200 guitar and stuck it in a $400 Gibson LP or somesuch, you would increase that guitar's value substantially. Not only in quality, but it'd a very unique instrument. Who cares if the signed guitar sounds good? Most buyers will never play it. In fact most signed guitars are the cheapest crap Squier and Epiphone models available - the guitar itself is worth only about $150. It's the signatures that make it valuable as a collector thing. Might as well put some of that quality and value into a guitar that you will play and might well sell, too. CalvinDooglas fucked around with this message at 17:07 on Jul 27, 2011 |
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Jul 27, 2011 17:04
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^^^ Seems like it's a collector's thing anyway, especially if it was broken on stage by the band (tell everyone that)rt4 posted:The bridge pickup on the guitar is often called "twangy". What word do you use to describe the sound of the neck pickup? Dark maybe? And the bridge pickup's bright? Not in my personal experience since I have a humbucker at the bridge so that's where I go for thick heaviness, but hey. I'd personally say the split positions are twangier baka kaba fucked around with this message at 19:49 on Jul 27, 2011 |
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Jul 27, 2011 19:47
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Neck pickups are usually mellow.
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Jul 27, 2011 21:23
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CalvinDooglas posted:And I was serious about swapping the parts. It's an unusually nice guitar for a band to sign and give away, so I understand the temptation to love it dearly. But it's broken, and you'd be playing a guitar with signatures all over it. Your most cost effective solution is to harvest the pickups, electronics, knobs, and tuners from the PS1800, and put them in a cheaper guitar. Alright, you've convinced me. Thanks for the input.
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Jul 28, 2011 00:25
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rt4 posted:The bridge pickup on the guitar is often called "twangy". What word do you use to describe the sound of the neck pickup? "juicy", depending on the guitar, but also "mellow" or "honey".
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Jul 28, 2011 02:14
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Freneshay?
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Jul 28, 2011 04:15
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Tubular, vocal, bell-like, dark, mellow...uh I'm out of words
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Aug 2, 2011 02:26
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Pretentious Turtle posted:Tubular, vocal, bell-like, dark, mellow...uh I'm out of words unsparkly
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Aug 2, 2011 03:47
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