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Where can I find a good drum backing for doing guitar exercises at a certain BPM? I've looked everywhere but I swear I can't find what my teacher uses which is basically a drum track with a differential on the first beat so I know when the cycle starts/ends, I can only find metronome stuff and stuff with accents on each beat. The reason I can't find it might be because I don't know the name in English though.
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Jan 30, 2012 07:30
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Your best bet is to just make one yourself. Basic drum machine software is available all over the internet in one form or another---here's a flash one you can dick around with: edit - wait, hold up, that doesn't have numeric bpm. My bad, just woke up. Here's one I've used before for vaguely-similar purposes: http://www.threechords.com/hammerhead/introduction.shtml Just add something extra (a snare hit, a cymbal ping, anything) to the downbeat so you've got that marker. hexwren fucked around with this message at 18:50 on Jan 30, 2012 |
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Jan 30, 2012 18:47
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I just realized (after reading this) that I had never understood the circle of fifths. Is there a reason that we're often told to play through the circle clockwise instead of counter-clockwise, which sounds like the more important direction?
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Feb 1, 2012 00:13
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In my theory classes we were required to play through it counter clockwise, creating dominant seventh chords and then resolving them.
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Feb 4, 2012 02:20
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I want a wireless kit for my guitar. What should I get that's not too expensive, but not poo poo? EDIT: In Denmark Boz0r fucked around with this message at 22:42 on Feb 5, 2012 |
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Feb 5, 2012 22:39
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Is there a thread that deals with live audio mixing and reinforcement? Alternatively, are there any good online resources dealing with live mixing? Most of what I find is geared towards studio situations.
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Feb 6, 2012 07:08
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I'm mixing/mastering some of my tracks for the first time and I'm trying to wrap my head around how peaking/clipping works, and when it is a problem. Should I be worried if my mix-down's waveform has any peaks at all that reach the maximum volume, or just if it is "brick-walled"? Basically should I be trying to fix this or is it fine (picture from Audacity):  I read somewhere that these are called "transient peaks" and are fine, but other resources I've read have said that good mastering means getting as close to maximum volume as possible without hitting it. Lord Krangdar fucked around with this message at 08:04 on Feb 7, 2012 |
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Feb 7, 2012 08:01
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Is there enough interest in ML for a remix competition thread? I always find out about them at the last minute and it may be nice to have everyone posting their finds in one place. That or am I missing an extremely obvious thread or forum for this kind of thing?
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Feb 8, 2012 20:18
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I've got an Ibanez RG1570 from around 2005-2006 with an Edge Pro and I've started noticing that if I hold it up horizontal face-up there's a noticeable difference in tuning than if I flip it heads-down. Also, if I have the tremolo arm in with the guitar face-up there's a measurable difference in tuning if the arm is pointed towards the neck than if it's pointing away. What can I do to fix this?
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Feb 8, 2012 23:23
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Add springs. You'll have to set it up again though.
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Feb 8, 2012 23:33
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Forkboy posted:The cables are getting tied to the desk posts, so they'll be out of the way and reasonably pull-proof. I'm just worried about her pulling the monitor stand over. Assuming this is the bottom floor with cement underlayment, and you have a carpeted room, I'd recommend a rotary hammer (rented from United Rental mayhap or any local vendor), an appropriately sized masonry bit, a ratchet, and appropriately-sized LDTs. Drill holes into base of monitor stands, position monitor stands, mark spots to drill through the carpet and into the cement. Use rotary hammer to drill holes into cement beneath (you might use 2 bits for eight holes, but probably one will work just fine), use the depth rod to drill an appropriate depth, then take the LDTs and fasten the bases of the monitor stands through to the cement. Those babies won't go anywhere, and they are completely removable, and if you have a carpeted floor, the carpet will "self-repair" and nobody will know there are holes in the cement! Alternatively, you could fill the holes with epoxy if you move the monitors somewhere else.
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Feb 9, 2012 04:11
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Lord Krangdar posted:I'm mixing/mastering some of my tracks for the first time and I'm trying to wrap my head around how peaking/clipping works, and when it is a problem. Should I be worried if my mix-down's waveform has any peaks at all that reach the maximum volume, or just if it is "brick-walled"? The thing your red arrow pointed to is colloquially called a "click." They are audible and anyone who has worked with music recording before will hear them and point them out in all but the noisiest tracks/studios. You can pretty easily train yourself to notice them, however. Listen to that bit over and over again, and see if you can pick it out. It kind of sounds like a soft tapping on the speaker cone. Edit: this is one of the reasons things like compression and limiting exist. There are also a lot of plugins that remove clips from otherwise well-normalized audio.
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Feb 9, 2012 08:02
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I don't know jack poo poo about recording and mastering and whatnot, but is stuff like that avoidable as long as you aren't doing the whole Loudness War(tm) thing?Crudus posted:There are a lot of solutions and tools you can use to achieve a good mix so basically the answer to your question is yes. 
muike fucked around with this message at 08:12 on Feb 9, 2012 |
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Feb 9, 2012 08:06
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There are a lot of solutions and tools you can use to achieve a good mix so basically the answer to your question is yes.
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Feb 9, 2012 08:11
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If you're getting that kind of wild variation (and it's not intentional) you need to get on the compression to smooth it out anyway. If you go nuts with the compression you can erase those pesky dynamics and get a BLOCK OF SOUND and then you're the winner
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Feb 9, 2012 18:46
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Pretentious Turtle posted:Ok, maybe I didn't read your question correctly, because I thought you were asking for an explanation of how to mix/master, which is talked about in many other threads and really isn't a small question. But now I realize you were probably asking whether if by being careful you can avoid getting a waveform that has clipping or clicks during the actual recording phase. This is possible, and you can avoid a loudness war by recording through a multi-channel mixer so that maximum volumes are preset, and if it starts to happen someone can be monitoring things and adjusting on the fly. Or just make sure the band are all on the same page so that doesn't happen. That being said, things like compression and no-click plugins are pretty easy tools to use, so you should read up about the basics because it's going to take some effort anyway to capture a perfect recording, why not learn as much as you can?
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Feb 11, 2012 08:03
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Boz0r posted:I want a wireless kit for my guitar. What should I get that's not too expensive, but not poo poo? Line 6 Relay, get the 30 not the 50. I never had any dropout problems with the 30 but I didn't like how flimsy the transmitter felt and the 50 is much nicer.
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Feb 12, 2012 17:32
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Thanks, I've been looking at them but I wasn't sure about them, they seemed pretty expensive, but I figure that if I cheap out I'll just end up buying a piece of poo poo. Is the not-flimsyness of the 50 worth the extra 140€?
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Feb 12, 2012 17:54
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Basically the transmission quality was good but the battery cover was a dumb piece of poo poo that would flip open on me if I didnt duct tape it down, and then even if I did pressing on it might cause it the batteries to jiggle and do a reset. After that happened on stage once I was done with it. Seeing as the whole point of a wireless system is that its got to be something you can depend on live I dont see the point in scrimping. massive spider fucked around with this message at 18:08 on Feb 12, 2012 |
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Feb 12, 2012 18:03
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So here's a question. There are tons of Les Paul knockoffs, but what if you want to get the real thing? The quality of Gibson's new guitars are supposedly poo poo, so do you get used?
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Feb 12, 2012 18:25
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lordblytzkrieg posted:So here's a question. There are tons of Les Paul knockoffs, but what if you want to get the real thing? Go and lay your hands on as many as you can until you find the one you want to buy. The inconsistency means you got to either really trust the seller or inspect it yourself.
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Feb 12, 2012 18:39
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Manky posted:Go and lay your hands on as many as you can until you find the one you want to buy. The inconsistency means you got to either really trust the seller or inspect it yourself. Is there a guide out there to tell you if your guitar is poorly made and how to test it? Special things to look for like, problems with the wood, sloppy fretwork, and bad wiring?
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Feb 12, 2012 20:17
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Glue joints, hardware fit, fret crowning, fret ends, even binding, cracks in the fretboard, filler around inlays, wiring, neck bow, things like that. Most importantly, just picking it up and strumming a few chords to see how it resonates and if it feels like a dead instrument. I think there's a few guides out there, if I come across any good ones I'll post 'em.
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Feb 12, 2012 20:29
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lordblytzkrieg posted:Is there a guide out there to tell you if your guitar is poorly made and how to test it? Special things to look for like, problems with the wood, sloppy fretwork, and bad wiring? Dan Erlewine's Guitar Player Repair Guide comes with a DVD, one of the features is how to evaluate a guitar. I haven't actually watched the DVD yet but the book is fantastic and I can't recommend it enough. Reading through it also gives you a good idea of what to look for, and how serious certain problems might be.
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Feb 12, 2012 20:40
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Pretentious Turtle posted:fret crowning, fret ends What should you be looking for when it comes to fret quality? I took my guitar in for a setup and the luthier said I had some major factory-fret setting issues, but I don't know enough about the frets themselves to know what's wrong.
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Feb 13, 2012 05:55
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Gaps between the fretboard and the bottom of the frets, poorly filed fret ends. More difficult to spot out, even when you're looking for it is poorly crowned frets. The best way to check this is by fretting every note on ever string, bend everywhere you can to look for fretting out or anything that feels "grindy" when you do vibrato. This can be difficult to judge depending on the neck relief. You can try looking at the frets too, but I find that really difficult to do in store lighting, something that they're not unaware of, I'm sure. Another thing is frets poking out the side of the board, but this isn't necessarily a sign of lovely quality, as this can happen to any guitar if the fretboard needs conditioning or has moved from a dramatically more or less humid environment.
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Feb 13, 2012 06:00
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Does anyone know any software for messing around with spectrograph images?
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Feb 13, 2012 12:52
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Can anyone identify the instrument John Darnielle uses in Mountain Goats songs such as שקט and others? It's the tinny synthesizer thing that I'm pretty sure is a Concertmate series child's electronic keyboard that I happen to own, but I'd like to know.
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Feb 14, 2012 16:23
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big business sloth posted:Can anyone identify the instrument John Darnielle uses in Mountain Goats songs such as שקט and others? It's the tinny synthesizer thing that I'm pretty sure is a Concertmate series child's electronic keyboard that I happen to own, but I'd like to know. Can you pick out a couple other songs to look for? My girlfriend's got a whole stack of MGs records (I'm just starting to get into them seriously), but I don't think I've/she's heard that one.
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Feb 14, 2012 22:23
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baka kaba posted:If you're getting that kind of wild variation (and it's not intentional) you need to get on the compression to smooth it out anyway. If you go nuts with the compression you can erase those pesky dynamics and get a BLOCK OF SOUND and then you're the winner I've been dropping a limiter on my tracks in Ableton (or using the limiter preset for the built-in compressor) and it works pretty good at keeping me out of clipping territory.
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Feb 16, 2012 02:04
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What's a good amp for a nylon guitar? I know this is faintly ridiculous but humor me 
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Feb 16, 2012 02:05
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Mandals posted:I've been dropping a limiter on my tracks in Ableton (or using the limiter preset for the built-in compressor) and it works pretty good at keeping me out of clipping territory. You know what else works pretty good? Not clipping at the source. I'd say that works "best"
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Feb 16, 2012 06:16
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Mandals posted:I've been dropping a limiter on my tracks in Ableton (or using the limiter preset for the built-in compressor) and it works pretty good at keeping me out of clipping territory. It should do, that's what it's for!  A limiter's basically a compressor with the ratio turned up, if it's a hard limiter it should brick-wall anything that tries to go above your threshold, so your sound never goes too far and clips. It's like a riot cop with a shield slamming people back - gets the job done, but not in the most nuanced and acceptable way. It comes down to taste really, but if you're getting a lot of squashing (like when you listen to songs on the radio) you might want to delve a bit deeper and tame the wild beasts within
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Feb 16, 2012 14:29
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Schlieren posted:You know what else works pretty good? Not clipping at the source. I'd say that works "best" For me it depends on my instrument and the context. In a perfect world, I'd be able to record without having to use shortcuts like throwing a limiter on things. On the other hand, my nylon is boomy and has always been super hard to control in terms of dynamics. So if I just want to play around in session view and not have to worry about the details too much I'll choose the shortcut every time. In an actual recording session I'll spend time to get the source signal from clipping.
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Feb 16, 2012 19:00
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Can I throw a pretty basic question about latency in here? I've got a Saffire Pro 24 hooked up in Windows 7 with a chain that looks like DAW > Saffire Pro MIDI Out > Machinedrum > MIDI Thru > Virus C MIDI IN > Audio to DAW. My question is that while each instrument has its own Audio Inputs to the DAW and the buffer sizes are set as low as possible, to 240 samples, which should be quite a tiny latency, I'm still getting around 120 ms between triggering a MIDI signal in Ableton and getting the sound back from either instrument. So, to compensate, I've set the MIDI track that goes out to the Virus at -128ms and while that causes the audio that comes back from it to be in sync with the rest of the arrangement, it also means that the drum machine is hopelessly out and of course any hope of playing the synth directly is out of the question. Is there any way of minimising this latency? I've moved my production from a macbook pro that I feel dealt much better with my setup but moving back would mean sacrificing the cpu power of the desktop, which has been quite welcome so far. I realise that going through the drum machine to the synth isn't ideal but I only have one MIDI port out. Does anybody have an idea? edit: The annoying this is that ableton only reports 19.8ms latency and adjusting it to compensate for that does nothing. 50hz fucked around with this message at 23:11 on Feb 16, 2012 |
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Feb 16, 2012 23:02
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Wax On posted:Is there enough interest in ML for a remix competition thread? I always find out about them at the last minute and it may be nice to have everyone posting their finds in one place. Check this out for example: http://www.remixcomps.com/ 
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Feb 17, 2012 18:19
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I recently got a technical pro dmx-b1 to learn to beat match with on Craigslist, but I can't for the life of me figure out how to set a cue point. I've tried googling every permutation of "dmx-b1 manual" I can think of, but I haven't been able to find any sort of pdf instructions. Does anybody have any idea how I might be able to set a cue point on this: http://music.productwiki.com/technical-pro-dmx-b1/
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Feb 17, 2012 19:28
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Das Butterbrot posted:Check this out for example: http://www.remixcomps.com/ Thanks, this is exactly what I was looking for.
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Feb 17, 2012 21:28
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Does anyone know where I can find orange knobs, pickup covers, and switch tips for a strat? It's all I need to make a mystery machine themed guitar, but I can't find orange stuff anywhere.
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Feb 17, 2012 23:06
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| # ? May 9, 2024 22:45 |
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Rotten Punk posted:Does anyone know where I can find orange knobs, pickup covers, and switch tips for a strat? It's all I need to make a mystery machine themed guitar, but I can't find orange stuff anywhere. What about just dying some regular white parts?
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Feb 18, 2012 00:59
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