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Colonel J posted:I started learning some Veil of Maya (the track is Mark my Words) and it's my first foray into deathcore. The fast triplets on the low string are killing my forearm and elbow, and lots of times they're not even right as the pick gets "stuck" on the string and I can't complete them. Just wondering, what picks are you using? Are you only playing that low string or are you playing the full power chord? How good are you at playing sustained, fast, alternate picked palm mutes? Just by guessing, I think you're likely moving your pick too much when it doesn't need to go that far back and forth. Also are you moving your elbow to palm mute? That's kinda weird, your wrist and fingers should be doing a lot of the leg work and your elbow shouldn't be moving much.
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Dec 30, 2012 21:09
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Moogs posted:So I'm at the point where I can pretty accurately pick out notes on the guitar based on what I'm hearing. I'm working on soloing (blues scale, minor pentatonic, etc.) but I'm not really sure where to go from here. Just keep at it? You could try following Justinguitar's lesson plan, it's nice to have something structured to follow and build on what you've already learned. It's probably worth learning the CAGED system too (Justin has a section for this), and learn your fretboard. Studybass has a nice exercise for learning that, along with the circle of 5ths/4ths (which will come in handy) - obviously you'll need to fill in the other two strings yourself, but of course the top one is the same as the bottom! For your chord progressions you want to read up on diatonic chords, musictheory.net will learn you a bunch and studybass is worth working through too - it's focused on bass but the basic theory applies to everything. The short version is that for the key of C major, you have the major scale C D E F G A B, and that gives you the chords: C major (C-E-G) or Cmaj7 (C-E-G-B) D minor (D-F-A) or Dm7 (D-F-A-C) E minor (E-G-B) or Em7 (E-G-B-D) F major (F-A-C) or Fmaj7 (F-A-C-E) G major (G-B-D) or G7 (G-B-D-F) A minor (A-C-E) or Am7 (A-C-E-G) B diminished (B-D-F) or B7b5 (B-D-F-A) You're basically starting on a tone in the major scale, then hopping two over to get the next, then two again to stack the next... this pattern works no matter what major key you're in, you'll always get the same I ii iii IV V vi viidim chords based on the key (capitals for major, minuscule for minor). So you tend to get the same patterns in songs, like the V7 resolving to the I, or pop punk songs using I IV and V (so in C major, that's C F and G). The vi is called the relative minor, it's common to hop over to that to change the feel of the progression and give it a melancholy turn. Stuff like that, there are tricks to pick up. There are a bunch here. Minor keys give you a different pattern of chords, if you read the theory links up there you'll find out what they are! You also might want to use this to train your ears: http://www.iwasdoingallright.com/tools/ear_training/main/ Interval recognition is a good skill to work on (like saying yep that's a perfect 5th), and you can also try setting it to play a sequence of notes with a delay, and trying to repeat it yourself on the guitar
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Dec 30, 2012 22:47
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Francostein posted:Just wondering, what picks are you using? Are you only playing that low string or are you playing the full power chord? How good are you at playing sustained, fast, alternate picked palm mutes? I'm using a Jazz III. I practiced more today and things are already better. It's a pretty subtle movement! My elbow doesn't move that much, it's more that I tend to stiffen it up to get that fast movement. I think it's just going to be a question of taking it slowly. I love that sound though, and if anybody has suggestions of good songs to learn for that type of music I'm all ears. It seems that often those tracks are either way too easy or way too hard. It's the first time I play in drop B and I'm in love with the sound.
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Dec 30, 2012 23:09
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Colonel J posted:I'm using a Jazz III. I practiced more today and things are already better. It's a pretty subtle movement! My elbow doesn't move that much, it's more that I tend to stiffen it up to get that fast movement. Yup as I thought, just need to practice more. A good song in that tuning to learn would be At The Gates - Suicide Nation or The Duskfall - Cage Closed. Lots of fast triplets in those two and if you can match the duskfall then you're good to go.
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Dec 31, 2012 01:39
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Colonel J posted:I'm using a Jazz III. I practiced more today and things are already better. It's a pretty subtle movement! My elbow doesn't move that much, it's more that I tend to stiffen it up to get that fast movement.
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Dec 31, 2012 02:14
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Francostein posted:Yup as I thought, just need to practice more. A good song in that tuning to learn would be At The Gates - Suicide Nation or The Duskfall - Cage Closed. Lots of fast triplets in those two and if you can match the duskfall then you're good to go. Plus At the Gates are just awesome. I've been working on Suicide Nation, Blinded by Fear and Cold when not drop-A'ing some Nile. Also ATG are B Standard, not Drop B, which means you also get to play Carcass, Crowbar and Amon Amarth. Also, speaking of picks, I'm using a Dava, it's got a nice flexible feel to its rubberised body but a solid picking edge, I really like it. Hexenritter fucked around with this message at 04:56 on Dec 31, 2012 |
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Dec 31, 2012 02:59
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CitrusFrog posted:Plus At the Gates are just awesome. I've been working on Suicide Nation, Blinded by Fear and Cold when not drop-A'ing some Nile. I know, I may or may not be trying to subtly trick the guy into liking B standard over Drop B. Also gently caress the solo for Cold, I've been meaning to learn it for years but just haven't felt like it for a while.
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Dec 31, 2012 05:53
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Francostein posted:I know, I may or may not be trying to subtly trick the guy into liking B standard over Drop B. The clean 4-6-8-0-0 4-6-8-0-0 etc bit that's also the basis for Flames of the End or the bit after? And B standard is far superior, carry on 
Hexenritter fucked around with this message at 06:34 on Dec 31, 2012 |
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Dec 31, 2012 06:25
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CitrusFrog posted:The really fast trem-picked one with the unison bend or the clean 4-6-8-0-0 4-6-8-0-0 etc bit that's also the basis for Flames of the End? The really fast one where the drums go into a double bass pattern.
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Dec 31, 2012 06:33
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Francostein posted:The really fast one where the drums go into a double bass pattern. That is a tasty solo, and you caught me before my ninja edit, haha. I'm looking at the tab for that solo and listening to the track right now, oh yes, definitely a sexy bit of stringwork. Hexenritter fucked around with this message at 06:43 on Dec 31, 2012 |
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Dec 31, 2012 06:34
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Colonel J posted:I'm using a Jazz III. I practiced more today and things are already better. It's a pretty subtle movement! My elbow doesn't move that much, it's more that I tend to stiffen it up to get that fast movement. If you aren't picking from the wrist you really should be.
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Dec 31, 2012 10:57
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How do people like the black Ultex Jazz III 2mm's? I've tried a Big Stubby 3mm, Max-Grip nylon 1.5mm, and three different 1.38mm Jazz III's in red nylon, black stiffo and carbon fibre. None of which fit every situation for me. I'm still just a beginner having bought my first guitar less than a month ago, playing through Rocksmith and a few Rob Chapman tutorial videos. I can get gold in the tremolo picking challenge using the Big Stubby but it gets sweaty after about 20 minutes playing and starts spinning. The rest are either too flexible or too small and I drop down to silver but they don't spin on longer tracks like the B.S. does. Verizian fucked around with this message at 18:33 on Dec 31, 2012 |
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Dec 31, 2012 18:04
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I really want to try the 2mm Jazz III max-grips, but I can only find them online, and I just haven't pulled the trigger yet. The more picks I try, the more I know I like'em thick.
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Dec 31, 2012 18:47
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bus stop posted:If you aren't picking from the wrist you really should be. Seconding this. You get much better control and you won't wear your arm out like you're 
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Dec 31, 2012 21:11
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I bought my first guitar ever yesterday, and tried playing the basic chords a little. My left arm/wrist got really sore/exhausted after just 10-15 minutes of me trying to get those chords right. Is this normal? I realize that these are probably muscles I've rarely used before, but I just want to know that I'm not doing something significantly wrong. I tried holding the neck with my thumb behind it, and only the tips of my finger touching the strings. The palm of my hand wasn't touching the guitar at all.
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Jan 1, 2013 12:08
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Completely normal! Your fingertips are going to hurt, too.
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Jan 1, 2013 15:24
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Nevertheless you should always try to find an overall posture that allows you to relax as much as possible.
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Jan 1, 2013 18:11
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Warcabbit posted:Completely normal! Your fingertips are going to hurt, too. Eventually you will also figure out that tiny shifts in your hand position can make a big difference in how hard you have to squeeze to get the chords to sound right. It will come naturally over time if you just keep practicing so don't worry about it too much. If it starts to hurt just take a break for a little bit.
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Jan 1, 2013 18:14
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Anyone have experience with the book "Voice Leading For Guitar: Moving Through the Changes" by John Thomas (Berkless Press)? I've owned it forever and am just now working through it page by page. The material is pretty familiar, but I can't tell if I'm stupid or if the author just presents it poorly. Page 9, for example, is hanging me up: https://docs.google.com/viewer?a=v&...pl0PvfR5G0BGLeg (link to a google doc) -It's just a bunch of diatonic drop 2 voicings, but above the list it says "The following are in the key of C", then immediately above the staves it says "Key of G". No key signatures. -The first example is "Ionian Major 7" voicings, but the first chord appears to spell a G6, and the second is a rootless Gmaj9. Only half of the chords in the "Major 7" example actually contain a Major 7th. -The second example is "Ionian 6", and includes 6/9 chords, and at the end a Gmaj7 with no 6th at all. -It's not until the third example (Mixolydian) that the chords actually contain the notes indicated by the mode and harmony: they are all clearly G7 of some sort. So am I missing something or can I blame this confusion on the book? CalvinDooglas fucked around with this message at 20:20 on Jan 1, 2013 |
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Jan 1, 2013 20:16
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This is really helpful, thank you!
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Jan 1, 2013 22:23
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^^^ hey no probs! Feel free to ask if there's anything you want to know in more detail, there's helpful people around hereCalvinDooglas posted:So am I missing something or can I blame this confusion on the book? I don't totally understand what's going on, but couldn't you read the chords like this? E B D G (Em7) F# B D A (Bm7) G D F# B (Gmaj7) B F# A D (Bm7) D G B E (Em7) D A B F# (Bm7) So the key signature is C, but the actual key you're in is G, so you get the accidentals. The third chord is the tonic, and the others are the key of G diatonic chords you get through parallel movement either way. The third chord in the next set is G6, so I'm guessing it's the same principle? I'd work them out if I had time, but I read music l___i_k__e_______t__hi_________s
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Jan 1, 2013 22:49
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baka kaba posted:
After going through them methodically, I determined that it's a combination of poor editing/presentation and unclear explanation in the book. It appears to be diatonic drop 2 voicings that are appropriate for a root of G in the given mode. If you assume a root of G, the chords in the first example become G6, Gmaj9, Gmaj7, repeat. I think "The following examples are in the key of C" was attempting to convey that "No key signature is indicated because these voicings can appear in any key". The trick was hum the root over each series of chords, which made the modal aspect more clear. Who'd have guessed using one's ears would help with music!
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Jan 1, 2013 23:58
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more string talk: moved my Strat from D'Addario 10s over to DR Pure Blues. I feel dumb for sticking with D'Addario for so long now, probably going to move my other guitars over to the DRs as well.
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Jan 3, 2013 04:14
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Does it matter what channel I use if I've got a stereo EQ and only need one channel?
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Jan 3, 2013 04:21
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Been following this thread for quite a bit now. I guess I can share a story, and see what you guys think. I was at my local goodwill, and in the electronics section was this offbrand no name guitar, after a quick inspection of the fretboard, action, and pickups, I bought it for $10. I think the strings might be hosed up, but they ring clear... As I've been playing, I notice sometimes the intonation is off, and sometimes it's on I've picked up a strobe tuner for Iphone which told me that my intonation is correct. Could the notes sounding off be an issue with finger placement/fretboard pressure? Is there something I'm forgetting? should I restring it with the new strings I have sitting on my desk? I've played the guitar off and on for a few years, never really being serious, but since I'm in Afghanistan now, I figured the best time would be now, with all the free time I have. I've been using Rocksmith to teach myself techniques and to "practice" playing some songs I like (this is a huge motivator for me to play what I know, especially 90's Grunge/alt) I plan on using Justinguitar.com to cover more techniques, that I'm sure rocksmith will not cover. As for music theory, I just can't get it. I'm reading it, and reading it, and it's just not clicking. Where is the most basic "Alright 1st graders, let's learn music" that I can start with. I promise not to be offended!! Cowboybot fucked around with this message at 06:34 on Jan 3, 2013 |
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Jan 3, 2013 06:28
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Cowboybot posted:Been following this thread for quite a bit now. I guess I can share a story, and see what you guys think. Yes. Restring it. If you still have problems, is the intonation in and out at the same spot randomly, or are you having it be out at different spots on the fretboard? If you have uneven, or particularly worn frets in places, they'll intonate poorly, even if you're dead on, on the twelfth.
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Jan 3, 2013 08:09
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The fretboard is in really really good condition. I'll have to check specifically on the frets themselves. The 1st E string gets stuck on the edges of frets sometimes, but thats it. I'll restring it this afternoon, and see how it sounds. As for the Intonation, I've noticed on the 6th E string, I hit open it's great, 3rd fret Great, 5th fret it's either/or.
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Jan 3, 2013 08:20
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Holy poo poo why did I not start barre chords earlier?! Advice to everyone starting: Don't be an idiot like me and put off barre chords as long as you can. They're tricky but not as insanely hard as they seem to be at first. That and they sound cool as well as give you way more things to play with/along with.
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Jan 3, 2013 11:04
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syntaxfunction posted:Holy poo poo why did I not start barre chords earlier?! Advice to everyone starting: Don't be an idiot like me and put off barre chords as long as you can. They're tricky but not as insanely hard as they seem to be at first. That and they sound cool as well as give you way more things to play with/along with. What's your practice routine on them? I've been putting it off for 6+ months now  . I'm starting to get too good to not be able to play barre chords and it's shameful as poo poo.
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Jan 3, 2013 13:59
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muike posted:Does it matter what channel I use if I've got a stereo EQ and only need one channel? Generally the guideline that I know goes "left channel is the Mono channel" but it may not matter for your particular EQ.
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Jan 3, 2013 18:07
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http://www.jemsite.com/vrg/main.swf Virtual RG Builder. Have fun.
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Jan 3, 2013 20:51
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Koth posted:http://www.jemsite.com/vrg/main.swf I didn't even succeed in building one as ugly as Steve Vai plays.
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Jan 3, 2013 22:02
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That's a lofty feat to set for yourself.
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Jan 3, 2013 22:19
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KingColliwog posted:What's your practice routine on them? I've been putting it off for 6+ months now Seconding this. I've been putting off barre chord practice in favor of learning wanky metal solos for far too long.
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Jan 4, 2013 00:33
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My practice schedule is just the JustinGuitar schedule basically, with a few easy songs thrown in (Specifically Today by The Smashing Pumpkins and Lightning Crashes by Live). The reason I picked Today (Aside from liking the song) is its barres are around the middle of the neck which are a tonne easier than ones right up either end. It's more about just trying to play them any chance I get. Chord changes, practice each shape (E, Em and A/Asus2 mainly) and then try and roll them in to a song.
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Jan 4, 2013 04:11
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I'm sure this has been asked before, and if this is the case, please bear with me. I'm just looking for some advice about some guitar modeling software. I am planning on picking up a Scarlett 2i2 soon, and would like to know what the consensus would be on either Amplitube 3 or Guitar Rig 5. Is there a clear winner, or is it super subjective? I feel like this would be right up Agreed 's alley.
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Jan 4, 2013 04:32
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Holy poo poo, I changed the strings on my 10$ goodwill guitar, and mein gott in Himmel, it sounds so much better. The notes ring bright and true, and I don't have anymore intonation problems. As I was taking off my old strings, I noticed just how crummy they were, all jacked up, wound too tight at some point, and just freakin old. I wonder why they got rid of the guitar in the first place. So, now it's back to blaming myself for lovely notes, and dirty intros. Gotta keep up the practice.
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Jan 4, 2013 12:15
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Maybe a silly question, but is Rocksmith actually good for learning to play the guitar, or is it just fun and games?
Sjonkel fucked around with this message at 23:39 on Jan 4, 2013 |
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Jan 4, 2013 23:35
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My rhythm guitarist swears by it and my bassist just bought herself a copy. To be fair, we are a terrible garage band, but it does purport to contain instruction. I dunno.
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Jan 4, 2013 23:50
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Sjonkel posted:Maybe a silly question, but is Rocksmith actually good for learning to play the guitar, or is it just fun and games? I like it, especially how you can just play along with the songs if you want. ed And yeah, it's probably a big help for the rhythm section.
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Jan 4, 2013 23:57
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