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I bought an alto sax a while back and neglected it soon after buying it due to living conditions (moved to a block of flats for a time). I'm just now starting to learn it and I'm curious whether any sax buffs know much about the brand (Molnet) because google sure doesn't. Well, the only references I could find to saxophones brought back Australian results so I'm guessing it may be a little-known local brand, but as I mentioned, I'd like to know if anyone can tell me more. Cheers!
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Apr 30, 2012 07:40
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Behold! A Elk! posted:Can anybody tell me the cheapest way to get realistic sounding drums in my songs without having a drum set. Perhaps a sort of program? I would prefer something where I can trigger the sound myself just to give things more of a recorded feel rather than programming beats, but if it comes to that I can deal with it. Thanks! Check out the Kontakt Player, which has a free 560MB sample library that I'm pretty sure contains some decent drum kits.
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Apr 30, 2012 08:06
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Behold! A Elk! posted:Can anybody tell me the cheapest way to get realistic sounding drums in my songs without having a drum set. Perhaps a sort of program? I would prefer something where I can trigger the sound myself just to give things more of a recorded feel rather than programming beats, but if it comes to that I can deal with it. Thanks! Drums are probably the easiest acoustic instrument to emulate (perhaps others can correct me?) and there are some good sample-based drum plugins out there. Look into EZDrummer, BFD2 and Kontakt Studio Drummer. You can either 'play' them with some kind of midi controller (a keyboard or even a full digital drum kit), or you can program them in a sequencer and apply a randomiser midi effect to slightly vary the velocity and timing and make them sound slightly less robotic.
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Apr 30, 2012 16:03
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I recently purchased an Ovation Celebrity acoustic/electric from the local guitar shop. The Ovation has an OP11 on-board preamp with a fresh battery, but when I plug the guitar into my Fender Frontman guitar amp, all I hear is line noise and no guitar sounds. Volume is all the way up on the pre-amp, I've switched around and pressed all the buttons on the dang thing, but I still do not get any amplified noise coming through my amp. Same when I hook the guitar up to my mixing board and listen to the output with headphones. Is the preamp busted? Is the pickup the culprit? No clue what's going on here
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May 1, 2012 20:21
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If it's not the cable, I would take it back to the shop. Was it working before?
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May 2, 2012 08:56
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I have a viola which is rather broken. Would it be worth getting it repaired? More pictures The first thing you'll notice is probably that the case is in terrible condition and that the bridge is missing. The lacquer also has lots of scratches, but it isn't broken, as far as I can tell. Then, the bow is missing at least 2/3s of the hairs. I accidentally broke the bridge when trying to replace the strings two years ago, fastened them too much. One thing I noticed trying to play it (before breaking the bridge) was that the tuning pegs seem to sit very loose. They easily jump out and fully loosen the string. Is this a problem? I can't actually play the viola (yet), but I'm considering teaching myself a bit. I was taught double bass (mainly classical, some jazz) many years ago and think some of the experience from that would still be useful. So the question again, would it be worth getting this repaired? Any ideas of how much it might cost?
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May 2, 2012 18:44
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Not a viola player, but things like fixing the tuning pegs, gluing on a new bridge, and restringing the bow (or just buying a new one) are all fairly minor repairs. People often repair instruments that have body cracks, have the purfling coming undone, and much worse. I would try and find a reputable luthier in your area and ask him how much it would cost for him to put on a new bridge and give the instrument a once over (tightening pegs or whatever.) He could also give you an opinion on whether/how you should go about restringing the bow/get a new one. Or if this isn't a prize instrument you could try going to a local music shop that rents or sells violins to local school children starting orchestra and they might have an in-house repair guy or give you a referral. Then I would get a lesson or two because string instruments especially require good technique while learning, and the teacher will also help you tune the instrument without snapping anything. TL;DR: yes, totally fixable, probably cost under a couple hundred.
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May 2, 2012 19:01
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I'm a violist and can help a little. One thing you should check for is the sound post. That's the only real issue that could be wrong with it, as I have known them to slip out of place without the pressure of the strings on the bridge. Just check through the f holes, and if the post is upright and vertical, you should be good. Viola bridges are pretty cheap, if I remember correctly. Rehairing the bow is a pretty common thing to do, as a professional violist is going to rehair the bow a few times per year. As a result it's not very expensive. For slippery pegs, there's this stuff you can get that comes in a tube very much like chapstick or something, that you rub on the peg on the contact points with the instrument, which makes them stick. A tube is a couple bucks and pretty much lasts a lifetime. Overall, it should cost very little to get it back in working order. You should definitely take it in to someone to have a look at it, as you'll have to anyway to get the bow rehaired, and the bridge put on in the right place too, as I'm assuming you don't know how to position it.
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May 2, 2012 20:37
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The sound post looks okay. There is a small hole in it, but it looks like it was made with a tool so I presume it's deliberate. When I looked inside the body with a flashlight I noticed a sticker reading: Antonius Stradiuarius Cremonensis Faciebat Anno 17 Plus a symbol. Attempt at a photo of it, mainly for the symbol: 
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May 2, 2012 21:04
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I've bought a used Marshall JVM410C, and I hear you can remove two power tubes to make it equivalent to 50W. Where can I find a good guide to doing this, and find out stuff about biasing and impendance and stuff like that?
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May 2, 2012 21:25
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nielsm posted:The sound post looks okay. There is a small hole in it, but it looks like it was made with a tool so I presume it's deliberate. If the sound post looks okay, it probably is, and you should probably be able to get the viola in playable condition for under $100. That label is pretty clearly a fake, which is not that uncommon. All it really means is that it wasn't made by someone famous enough to put their own name on the instrument. It doesn't even say much for quality, as I've seen a few nice instruments with imitation labels on them. Although it's probably somewhat decent, since as far as I know, any of the crappy factory-made instruments have their own label or stamp.
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May 2, 2012 21:58
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Phthisis posted:If the sound post looks okay, it probably is, and you should probably be able to get the viola in playable condition for under $100. Thanks. I'll take it to a professional in a few days then. (And yeah, the label looks cheaply typeset with Helvetica, so I'm guessing it's from some time around 1970-80.) nielsm fucked around with this message at 22:07 on May 2, 2012 |
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May 2, 2012 22:05
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I'm picking up a fender deluxe 112 plus for free at the weekend. Are they any good or should I sell it for a better amp?
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May 3, 2012 00:36
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I don't really know where to ask this so I figure if this is the wrong place someone can point me in the right direction. I want to rename all of the cover art files in my music libray to "folder.jpg" instead of whatever name they have now. I tried searching my library for all image files and renaming them from that but then it gives them all the name "folder (1).jpg" cause it thinks they're all in the same directory I guess. So if anyone knows how I can circumvent windows being dumb like that I'd really appreciate it.
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May 3, 2012 07:37
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Epi Lepi posted:I don't really know where to ask this so I figure if this is the wrong place someone can point me in the right direction. You're not going to fix Windows being dumb any time soon, but this software is freeware and works like a charm: http://www.antp.be/software/renamer
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May 3, 2012 08:48
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Who are some great musicians who started their instrument/composing when they were past their teens?
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May 3, 2012 23:12
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It feels like there is something wrong with my lead playing. Is is just me or if it isn't could you give me harsh criticism so I can fix it whilst crying http://vocaroo.com/i/s0zD6NmirX3U
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May 3, 2012 23:27
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Scottish Uncle posted:It feels like there is something wrong with my lead playing. Something's wrong. Number one thing is rhythm, it totally falls apart as soon as you start your "soloing." Try 1) tapping your foot or moving/dancing/whatever to keep your internal clock solid, and 2) playing shorter melodic phrases that are more rhythmically clear/distinct. You're playing unaccompanied, so it's a bit trickier to maintain the thrust of what's going on harmonically and rhythmically while still "soloing," but it's entirely possible. Right now your solo sounds disembodied from the (more important) rhythmic/harmonic core, because you're not playing bass notes or anything to suggest it. A simple technique to improve this performance would be to do a sort of call-and-response with yourself: comp on the first chord, play a short lick/phrase, comp on the second chord, play another phrase in response to the last. Build outward from that idea. This helps the audience (and you) keep a clear idea where the musical core is, rather than just hearing some kind of disembodied solo. Lastly, even if there was a band backing up your solo, it's a bit noodly and a little boring. Take your very first phrase - that little upward pentatonic movement is something way too many guitarists do, because it's easy - you're following your fingers instead of your ears. Try to think of more tasteful, short phrases; for example, think of what a laid-back trumpeter would do on top of these chords. Your chords/rhythm suggest something more Latin-inspired or jazzy, but it's not here - your choice in notes doesn't seem "deliberate," it seems kinda like auto-pilot. So take your time and be more deliberate, more melodic, more patient, laid-back, focus on tasteful phrasing rather than following where your fingers go. I hope this isn't too harsh, I just have done a lot of unaccompanied playing so I feel like I've spent some time addressing these issues in my own playing. Hope it helps!
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May 4, 2012 00:45
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I like the second part (starting just before you do that high chromatic walk down) better since it seems to imply the chords more, so I can still hear the progression. When you first start soloing it sounds more like random noodling, which I do myself so I know! If there is some clever interplay then it feels like you do need the progression underneath so we can hear it all working together, otherwise it doesn't sound connected to the rhythm part before. One thing you could try is hitting the chord tones of the progression, so maybe hit the root on the first beat, one of the other important tones like the 3rd or 7th on the third beat (important notes on the strong beats, basically) and then you can fill in around that. If you get good at the basics you can start to break the rules and play with what the listener gets to hear, being more subtle with the implied progression and maybe taking it in other directions for a while, but that takes skill and experience. Maybe download Audacity or something and record yourself a backing progression loop, and practice playing over that - you can try out lots of ideas and get a feel for what works and how you can dance around the progression a bit
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May 4, 2012 01:46
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Sad Mammal posted:Who are some great musicians who started their instrument/composing when they were past their teens? http://en.wikipedia.org/wiki/Late_bloomer#Music might be a good place to start.
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May 4, 2012 04:03
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I'd heard only great things about the Akai LPD-8 midi pad/controller until today, when I tried to buy one at a local music shop only to learn that their online inventory was incorrect. The guy at the shop told me that they had received three in a shipment, and all three were returned by the customers and sent back to Akai. Does anyone know what the deal might be, here? I have read rave reviews of this thing, particularly when compared against the Korg Nanopad/Nanopad2. I'd never heard of anyone having problems with an LPD-8. Is there some new quality control issue going on or something? I'm nervous about buying one now. Alternately, is there another option for a reasonably-priced, tiny MIDI pad/controller (not the Nanopad series)? vvv Yeah, he and Martin Rev are both pretty ancient. Dude was born in the motherfucking 1930s, so if he can do it, so can you Alain Perdrix fucked around with this message at 02:41 on May 6, 2012 |
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May 6, 2012 02:31
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Sad Mammal posted:Who are some great musicians who started their instrument/composing when they were past their teens? Alan Vega of the massively influential proto-punk band Suicide (who were also apparently the first group to use the word "punk" on a show flyer) was 39 when their first album was released.
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May 6, 2012 02:37
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Ok, so I've got a guitar wiring issue. I purchased a loaded pickguard from guitar fetish/GFS for my strat. I dropped it in and wired it up, and I'm pretty sure I did it correctly. Problem is, I'm still getting a terrible ground hum. I tried connecting the ground wire both to the spring plate on the back, and the bridge itself, and it actually made the hum worse when I did that. If I touch the ground wire with my fingers, the noise goes away, as expected. WTF?
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May 7, 2012 04:38
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Deelon posted:Ok, so I've got a guitar wiring issue. I purchased a loaded pickguard from guitar fetish/GFS for my strat. I dropped it in and wired it up, and I'm pretty sure I did it correctly. Problem is, I'm still getting a terrible ground hum. I tried connecting the ground wire both to the spring plate on the back, and the bridge itself, and it actually made the hum worse when I did that. If I touch the ground wire with my fingers, the noise goes away, as expected. WTF?
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May 7, 2012 12:22
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Thumposaurus posted:Switch the wires on the jack, you probably have them backwards. Might be, but it came wired up like that, and I've looked over the schematics and it seems to be in the right place. All I had to do to was wire up the input jack and connect the ground.
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May 10, 2012 05:20
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Did you account for the fact your new pickups might be color coded differently?
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May 10, 2012 05:33
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I'm having a strange problem with my MIDI controller's pitch wheel in Logic. Playing a software instrument, I can bend as I please, it works great. When I hit record though, it sounds fine as I'm playing, but once I go back to the recorded notes, it usually gets really wonky and off pitch. Digging into the pitch bend curve thing in the piano roll, it's basically when I release the wheel to have it go back to 0, it just doesn't get all the way back there. My only hunch is that there's some sort of "sample rate" for pitch bends, and certain instructions are getting lost when I let go and it springs too quickly back to neutral. Anyone have experience with this, can I increase some setting somewhere to have it not lose pitch bend info?
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May 11, 2012 05:11
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DukAmok posted:I'm having a strange problem with my MIDI controller's pitch wheel in Logic. Playing a software instrument, I can bend as I please, it works great. When I hit record though, it sounds fine as I'm playing, but once I go back to the recorded notes, it usually gets really wonky and off pitch. Digging into the pitch bend curve thing in the piano roll, it's basically when I release the wheel to have it go back to 0, it just doesn't get all the way back there. My only hunch is that there's some sort of "sample rate" for pitch bends, and certain instructions are getting lost when I let go and it springs too quickly back to neutral. Anyone have experience with this, can I increase some setting somewhere to have it not lose pitch bend info? I'm not familiar with Logic, so I don't know how you'd do this, but I'd check to make sure that your controller and program are both functioning off the same word clock synchronization. Most of the time, you'll have to change the clock settings in your DAW, though there are some controllers that allow you to change on-board word clock settings. That may fix things.
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May 11, 2012 05:41
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Pretentious Turtle posted:Did you account for the fact your new pickups might be color coded differently? What do you mean? They were already wired into the pickguard from the factory.
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May 11, 2012 17:41
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This may merit its own thread, but I don't recall seeing all that many live sound engineers in ML; I've been working at the same bar/small venue for going on six years. The past two years have been under new ownership. Over the past year the owners have brought in several new promoters who are hosting MegaNights. 5 to 7 full bands (Vox, guitar, bass, drums, keys, backline, sometimes horns, strings, toy pianos, ukuleles, you name it.) 30 minute sets each, 15 minute flip times, over the span of about four hours. Other nights, it is between 2 - 3 bands, 1 hour sets. Or, up to 5 singer/songwriter/acoustic artists. At my current rate of pay, that's been fine. When I've tried to address the issue, I'm brushed off that I'm still working the same hours, so I should not be paid more. However I think with all of the additional work involved in these high stress nights I should be paid more. Relevant facts: We do not carry our own backline, nor does backline go to the board. Just mains, effects, 16 channel board + Snake + 4 DIs. Guitars, bass, drums (except kick) are au natural. Soundcheck is mostly on the fly. Level and EQ vox (up to four), set compression, level and eq keys and any direct instruments, overall level against full band, play a chours, and GO! Between all this I have to orchestrate load in/load out of bands who decide to bring their Tool-esque drum kit and full-Marshall/Ampeg motherfucking refrigerator to a room the size of two 2 car garages. Also coach the bands on the room, most of whom have never seen it before, deal with the promoters, check outside DB levels, etc. What would YOU ask to be paid? (I'm not stating my pay just yet to see if there's some kind of 'natural rate'.) If it helps, this is in North Hollywood, CA, and venue capacity is about 250.
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May 16, 2012 20:23
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Clockwork Sputnik posted:What would YOU ask to be paid? (I'm not stating my pay just yet to see if there's some kind of 'natural rate'.) Natural rate varies wildly across the country. For that type of gig here (Twin Cities), I'd ask for $300-$350 day rate, and probably let them talk me down to $250. Since most bars here wouldn't want to pay that much for an engineer, I'd pass on the gig and tell them to let me know when whatever poor sap they get to do it quits. Seriously, it's a crappy situation that won't ever get better, if my experience has taught me anything. I've done gigs like that before, and eventually it gets to the point where nothing they pay can be enough. Alternately get them to hire another tech for those nights or see if someone else on staff can cover dockloading and preset. My recommendation, though, would be to start looking for a different gig. Anywhere that doesn't appreciate the fact that sound engineering is not an hourly-wage type of job, and that it requires actual expertise and experience, is likely to only get worse, not better. And just for comparison/perspective, almost nowhere here do people run backline to FOH. It's all mic'd or in-line DI.
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May 17, 2012 22:55
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Whats the legality of covers? I looked a bit but I have a specific idea in mind. Say for example I just played the horn section of la bamba (very poorly to the point it was offbeat but the melody is recognizable) yet I released it as "la bamba" on a intentionally terrible cover cd. Where is the line drawn? This is not my plan just an example that suits something close to what I'm doing.
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May 20, 2012 20:05
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Covers fall under the umbra of copyright law. It's part of the artist deciding on how his work gets distributed. The specific legalities, like reworking a segment through things like sampling or interpretive covers, get pretty hazy. Courts have usually decided that something's in breach of copywright if the sampled portion makes up a "significant" portion of the work in question. If "significant" sounds like an arbitrary distinction, well that's legislation for ya! If you're counting on what you're doing getting any kind of attention I would hold off on titling it "La Bamba," at least.
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May 20, 2012 20:28
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Sad Mammal posted:Covers fall under the umbra of copyright law. It's part of the artist deciding on how his work gets distributed. The specific legalities, like reworking a segment through things like sampling or interpretive covers, get pretty hazy. Courts have usually decided that something's in breach of copywright if the sampled portion makes up a "significant" portion of the work in question. If "significant" sounds like an arbitrary distinction, well that's legislation for ya! If you're counting on what you're doing getting any kind of attention I would hold off on titling it "La Bamba," at least. Ok cool thanks. Is there a list of public domain songs available to use without paying for the right to use them? I know a ton of classical music is I was under the impression that certain more modern stuff was as well (i.e. 30s, 40s, 50s music)
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May 20, 2012 20:31
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Quodio Stotes posted:Ok cool thanks. Is there a list of public domain songs available to use without paying for the right to use them? I know a ton of classical music is I was under the impression that certain more modern stuff was as well (i.e. 30s, 40s, 50s music) Anything published prior to 1923 is public domain. Nothing after that becomes public domain until 2019.
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May 20, 2012 23:14
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Another lovely facet of copyright law: public domain applies to COMPOSITIONS, not specific recordings. If you want to sample some Bach conducted by Bernstein get ready to shell out some cash.
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May 21, 2012 01:15
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Sad Mammal posted:Another lovely facet of copyright law: public domain applies to COMPOSITIONS, not specific recordings. If you want to sample some Bach conducted by Bernstein get ready to shell out some cash. what? That's the opposite of what that means.
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May 21, 2012 01:28
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Steven Slate drums are pretty awesome.
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May 21, 2012 10:37
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HollisBrown posted:what? That's the opposite of what that means. No, he's right on this. If you use a recording of a song, you're dealing with two distinct copyrights: the composition, and the actual recording. If it's a Bach piece, the composition is in the public domain and therefore free game; if it's a recording from two years ago by a well-known orchestra, then no, it is not PD and would involve some sort of rights.
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May 21, 2012 17:32
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Quodio Stotes posted:Whats the legality of covers? I looked a bit but I have a specific idea in mind. Say for example I just played the horn section of la bamba (very poorly to the point it was offbeat but the melody is recognizable) yet I released it as "la bamba" on a intentionally terrible cover cd. Where is the line drawn? This is not my plan just an example that suits something close to what I'm doing. How many CDs are you intending to distribute? If its less than a few hundred it might be worth it to just pay the mechanical royalty fees. Its like $0.20 a song or something if you produce less than 2,500 copies.
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May 21, 2012 18:12
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