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Sheep-Goats posted:So downsides include a somewhat twisted body and looking strange. What about the strumming hand? It does okay like that? In the normal position my forearm is almost parallel to the strings and strumming is easy while it's maybe a little more strained when I have my guitar over my left leg. Worthwhile sacrifice? Non-issue? Move your arm around while strumming to see where there's the least strain. It's going to be a little different for everyone due to differences in arm length, hand size, etc. so there's no one answer to that question. The big thing is there shouldn't be any tension in your elbow, arm, wrist, hands, or fingers. They should be completely relaxed when you play.
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Apr 5, 2013 01:00
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Anybody used a Zoom 7.1ut? Have someone offering it to me in a trade and I'm not sure if it's any good
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Apr 5, 2013 03:21
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Speaking of baritones I've been wanting one a long while but never saw any for cheap enough. But hey I have some crap strats around, so I'm going to buy this neck on ebay after I double check the measurements. What else should I get for hardware? Should I get a new bridge? I'm looking to make something really playable, but the budget for hardware aside from the neck is probably $120. I'm looking for a 60s brit rock sound and I like gfs pickups, what would sound good on a baritone?
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Apr 5, 2013 15:47
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You don't really need anything in terms of new hardware because you can lightly file the bridge/nut to accommodate the heavier strings. I'd consider changing the cap on the tone knob to have a lower frequency q point so the tone knob is actually usable. Off the top of my head I can't remember what value cap you'll need maybe look at the value on the cap you already have and raise it by three orders of magnitude as the frequency response in a first order low pass filter is inverse to the value of the cap in it. Guess what I went to school for and never actually use at work?
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Apr 5, 2013 16:15
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Pickups. Brit rock. Well. I can't say anything about 'sound good on a baritone' but I'm now curious about what my Brighton Rocks with the big magnets would sound like. Or there's the Liverpool retrotrons if you want to see if a baritone can chime. Strat body, so the increased tension will be survivable.
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Apr 5, 2013 16:57
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Epi Lepi posted:Offset owners club checking in: Imperial guitar owners club also checking in (sorry for the crappy Nexus 7 camera): 
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Apr 5, 2013 16:59
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Acid Reflux posted:Imperial guitar owners club also checking in (sorry for the crappy Nexus 7 camera): You guys just gave me an idea. Now I just need to decide between my butterscotch tele or my white yamaha. I'm thinking the Yamaha. 
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Apr 5, 2013 17:03
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Acid Reflux posted:Imperial guitar owners club also checking in (sorry for the crappy Nexus 7 camera):  One day. One day, it will be made. The Flying Venator. (Yes, the bridge isn't right, it's only a sketch.)
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Apr 5, 2013 17:56
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Well, the Shadows were a British rock band and Jet Harris played various baritones as well as short scale basses. I think a good single coil could sound good. I'd go with a set from Wilde Pickups
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Apr 5, 2013 20:08
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Here I was expecting a Millenium Falcon guitar. https://www.youtube.com/watch?v=83bEEKeoYaI
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Apr 5, 2013 20:13
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I'm learning guitar as something to do with my spare time, I keep hitting the stings below the ones I'm pressing with the back of my finger, even when I'm holding them straight down onto the strings. I saw in the OP you can lower the strings which I think would help, but it's an acoustic guitar, is there anything I can do to the guitar/how I play to stop it happening?
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Apr 6, 2013 05:53
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Do you mean you're accidentally muting strings with your fretting hand or hitting them while strumming/picking? For the first problem you need to work on positioning your fretting hand, thumb placement is really important and should be level with your index finger and as has been said repeatedly in this thread you do not want painful tension in your wrist, elbow or fingers otherwise something is going wrong. It might also be a problem with saddle height but I'm not sure how that works with an acoustic. For the second problem you solve it with a controlled version of the first problem. Just mute strings with unused fingers or the edge of your palm and practice playing each string in a chord on it's own to make sure the right parts ring out and the rest fade out with a quietly, dull fart. It takes some practice, I'm still working on correct muting techniques. Try slowly playing the following while strumming all six strings and use your thumb to mute the E string when marked with an X. Some people can manage the A string too but it's not comfortable for me so I don't recommend it. code:
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Apr 6, 2013 08:22
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Verizian posted:
Higher output, mostly. Some people find rail pickups to be muddier.
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Apr 6, 2013 08:51
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Couldn't you just use a 1M pot and experiment with different sized caps to cut through the mud?
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Apr 6, 2013 17:35
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Verizian posted:Couldn't you just use a 1M pot and experiment with different sized caps to cut through the mud? You'd need a high pass filter for that so you'd have to re-wire your whole tone control.
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Apr 6, 2013 17:40
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A Saucy Bratwurst posted:I'm learning guitar as something to do with my spare time, I keep hitting the stings below the ones I'm pressing with the back of my finger, even when I'm holding them straight down onto the strings. I saw in the OP you can lower the strings which I think would help, but it's an acoustic guitar, is there anything I can do to the guitar/how I play to stop it happening? If you're starting out, I'd really recommend following Justin's course: http://www.justinguitar.com/en/BC-000-BeginnersCourse.php He'll show you a lot of stuff about finger placement and general technique, plus it's broken down into a nice progressive structure so you'll always be building on what you've learned. Even if you just do the basics and dip in for help with stuff you run across, it's really helpful. As far as your problem goes, if I'm understanding you right you're trying to fret certain strings, but your finger is touching the adjacent strings too? With guitar you generally want to be pressing straight down onto the fretboard, using the tips of your fingers (not the pads), and as close to the fret wire (the little metal strip you're forcing the vibrating string against) as possible. If your action is too high (the height of the strings off the fretboard) then you might have trouble fretting the string without the fatter part of your finger getting in there, but make sure it's not your basic technique first. If you like you can post a closeup photo of your guitar neck around the 12th fret, side-on so we can see the gap between the string and the fretboard. It can be adjusted but it's awkward on an acoustic, hopefully it's not a problem though
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Apr 6, 2013 18:17
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Francostein posted:You'd need a high pass filter for that so you'd have to re-wire your whole tone control. Planning for that anyway so I can add push/pull pots for coil splitting and turning on all three pups. Could just rewire it for a single master tone control and use the other as a Bass cut with push/pull set to toggle between cap values. Cut bass alone or bass+low mids. Metalguitarist.org has a few different circuits along those lines that are aimed at cleaning up 7/8 strings.
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Apr 6, 2013 18:27
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baka kaba posted:If you're starting out, I'd really recommend following Justin's course: TY for that link
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Apr 6, 2013 18:33
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Sheep-Goats posted:TY for that link No probs, Justin is a rad cool dude
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Apr 6, 2013 18:37
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Anyone tried using an ES-57 to mic guitar? Not a share sm57, but GLS electronics' knockoff. If not I guess I'll report in with result later. my hope is that it sounds as good or better than the sm57, because the es57 is only $30 on amazon, compared to $100 for an sm57. In fact you can get an es57 and mic stand and xlr cable for under $50 on amazon, which seems like a very economical solution.
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Apr 6, 2013 22:32
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I'm wondering about a few things: If I file the nut slots to fit larger gauge strings, will that cause any difficulty if I switch back to a lighter gauge? (Electric if it matters) How does string tension affect intonation? That is, if I have a set of .11's on there and the 12th fret is way flat across the board when it's tuned up, would a set of .12's sharpen up the 12th fret notes and get it into better intonation? (This is in reference to a cheap acoustic, a pro intonation job would cost more than the axe is worth.)
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Apr 7, 2013 06:49
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So here's a question. I've been taking lessons, once a week, for a little over a month and playing daily for at least an hour. My instructor had me working on an A Minor/C Major pentatonic scale playing improvisations over matching chords and then over John Mayall/Eric Clapton's All Your Lovin'. We've moved from that to B Minor and I'm doing the same thing to BB King's The Thrill is Gone. I think I sound ok, he thinks I sound ok. But whenever I'm playing I feel like I'm running out of things to do. Things sound good and interesting for maybe a minute and then I find that I'm just repeating a couple few riffs/sounds that I've figured out sound good. How do I change things up and not play a 'boring part', as my instructor calls it? His advice was pretty obvious, 'be mindful of it and try different things out.' And then he demonstrated playing what I was playing and then switching it up into something different but still fitting. But I find that even when I am totally aware and trying specifically to not play the same motif throughout the whole song I just go right back to it because I'm comfortable there and I know it won't sound bad. TLDR: How do I get out of my comfort zone? Fake edit: I realize this is kind of vague because you don't know what I'm playing/how I sound....I could throw some stuff on soundcloud if it would help anyone to give me some advice/pointers. Real edit: Here's this link if it helps anyone to give me some advice. https://soundcloud.com/kyle-carson-4/sounds-from-sunday-afternoon/s-QgkUL I'm noodling around an A-Minor scale here over top of garage band playing like C, Dm, Am, and Fmaj7. It's not going to win any awards but it shows what I mean where it just kinda loses its direction after a bit. PITTSBURGH GLUE FORTUNE fucked around with this message at 19:25 on Apr 7, 2013 |
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Apr 7, 2013 18:47
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Ordered some Pyramid Strings yesterday, gonna put them on my Xaviere (which I've decided to keep in the end) and see how they are. All accounts are pretty good though.Destro85 posted:
That's just my opinion though, and others may well have equally valid ones.
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Apr 7, 2013 23:16
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Destro85 posted:I'm noodling around an A-Minor scale here over top of garage band playing like C, Dm, Am, and Fmaj7. It's not going to win any awards but it shows what I mean where it just kinda loses its direction after a bit. Noodling might be your problem - you need to be careful not to fall into a fingering pattern where you think 'ok, anything I play here will fit'. Technically it will, but there's a difference between good music and uninteresting music (I can't listen to your link right now, so don't take that as an indictment!). You need to make sure you're listening to what you're playing, picking out bits that work, listening to the underlying progression and see where you get cool moments where your playing just links up really well. Then try and work out what was so cool about it. In the end it's about how your playing interweaves with everything else, all the cool contrasts and consonances and rhythmic combinations and so on, and the way you can imply changes that are coming up to kind of lead the listener through a musical story, if you want to get flowery about it. This is stuff that takes a long time to understand and even master, but so long as you start listening critically, working out what it is you did and what you're playing over, and try to pull that trick again, you'll be on your way to making cool sounding things. For more practical advice, do what you're doing and record your playing. Then listen back - probably a lot of it will be uninteresting, but some bits you might be really proud of, cool moments you maybe didn't even notice at the time. Try and play them again, work them out, see how the trick works... and then you've got a riff. Lots of players have a bag of little hooks and tricks they like to use, especially when they're improvising live, and you can chain them together with other stuff or just throw one out there at an appropriate moment. The other thing you can try is thinking of a musical phrase in your head, and trying to play it. That's the holy grail really, being able to hear something in your head and make it happen on the instrument, but even if that's out of reach right now you can try rhythmic phrases. You can even think of a spoken pattern, the way a sentence or a phrase has a rhythm and stresses and an up-and-down melody. Try 'playing' sentences like that, even if it's just the rhythm, and making them fit in time with the music. It might get you out of the box and give you some new ideas to play with. Also - listen to other musicians!
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Apr 7, 2013 23:43
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Also, you could enroll for this really cool looking free online course on improvisation that's starting in a couple of weeks. https://www.coursera.org/course/improvisation Which I think everyone in this thread should do cos I've signed up and I wanna talk words about it with all of you.
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Apr 8, 2013 00:10
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nrr posted:Also, you could enroll for this really cool looking free online course on improvisation that's starting in a couple of weeks. I signed up!
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Apr 8, 2013 00:16
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Anyone try those new cobalt strings yet?
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Apr 8, 2013 01:13
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nrr posted:Which I think everyone in this thread should do cos I've signed up and I wanna talk words about it with all of you.
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Apr 8, 2013 01:20
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Argali posted:Anyone try those new cobalt strings yet? I considered it, decided to go pure nickel instead
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Apr 8, 2013 01:39
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Argali posted:Anyone try those new cobalt strings yet? I've had them on my Ibanez for a while. I like them. Try them, but be willing to give yourself time to adjust.
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Apr 8, 2013 01:41
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coolbian57 posted:Anyone tried using an ES-57 to mic guitar? Not a share sm57, but GLS electronics' knockoff. If not I guess I'll report in with result later. my hope is that it sounds as good or better than the sm57, because the es57 is only $30 on amazon, compared to $100 for an sm57. In fact you can get an es57 and mic stand and xlr cable for under $50 on amazon, which seems like a very economical solution. Haven't but most of the sound would depend on the frequency response; specifically, how it measures up to the SM57.  Here's the frequency response of the SM57. It matches up pretty well with what people like to hear in guitars in a mix (rolled off bass, goosed harmonics for sparkle/bite/crunch/whatever). I don't have one for the ES57, but what I can tell you is that you can probably EQ it to get it close enough to the response of an SM57 to where most listeners wouldn't be able to tell the difference. TL;DR: You'll be fine, probably, as long as you can work a parametric EQ. Fake edit: Also worth mentioning that the Shure is goddamn bulletproof so once you buy one it's yours for forever and they have decent resale value if you don't like it, whereas the ES57 is a sunk cost.
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Apr 8, 2013 03:16
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Argali posted:Anyone try those new cobalt strings yet? I tried them on bass and they're the absolute worst strings I've ever used, and I've used some bad ones. They're extremely metallic and tinny with no warmth whatsoever. They also feel really weird on my fingers. Kind of like they're never really working well with the instrument. That said, grab a pack if you're curious. A negative experience will only help you avoid similar situations in the future, and who knows you might love them.
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Apr 8, 2013 03:46
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Yeah I can understand feeling that way with them on bass. When you put them on guitar, they've almost got that new bass string metallic quality that I really like.
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Apr 8, 2013 03:48
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muike posted:Yeah I can understand feeling that way with them on bass. When you put them on guitar, they've almost got that new bass string metallic quality that I really like. I might give them a try on guitar to check that out. EB is a really awesome company so I never mind giving them my money.
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Apr 8, 2013 03:52
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Thanks very much for the words of wisdom, guys. If this is a normal thing I'm experiencing and it is just a function of skill then I'm not so worried. Though, I can definitely see where falling into the habit of playing the same fingering patters is a thing that's easy to fall into and I'm even starting to do that, but not so much that it'll be a hard thing to stop doing.
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Apr 8, 2013 03:57
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Argali posted:Anyone try those new cobalt strings yet? I like them quite a bit actually. My only real problem is the they don't seem to last as long as other types of strings but hey it's not like they are really expensive. I say try them out and if you don't like them then hey cut the fuckers off and go back to your old strings.
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Apr 8, 2013 04:45
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Does anyone have a link for learning basic ska strumming/theory/anything for guitar?
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Apr 8, 2013 04:50
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Econosaurus posted:Does anyone have a link for learning basic ska strumming/theory/anything for guitar? I would check out some basic rhythm guitar lessons on YouTube, then the rest should come either from your ears or looking up tabs for some "example" songs online, from which you can get the basic feel of the style down. By example song I mean a stereotypical ska song, it doesn't have to be something you want to learn fully but should incorporate the main guitar moves of the style. It will take some listening work on your end to determine what song to check out the tabs for, which will be good because you can listen to the guitar part carefully. Don't make a point of learning it perfectly, instead just try to copy off of it and improvise your own rhythm guitar part with the same chords from the song. But definitely look up at least 1 or more rhythm guitar lessons online first so you are playing with proper technique. Make sure your chords are ringing out clearly and your right arm maintains a consistent Down Up Down Up movement. I went over a basic game plan for how to begin learning, but can go into more specifics if you want. I can explain the music theory or more technique type stuff behind a few ska songs you pick, if you'd like. Thank you to the poster who recommend looking at a frequency response chart for a microphone to determine it's applicable uses. This is something I've never done, but seems like a good idea for finding the mics for certain situations. I have only used a parametric EQ for just did stuff by ear, but have wanted to learn more technical applications of the eq so I can "separate" 2 guitar parts better, and not have them sound like mush when playing together. Panning and EQing by ear only take it so far, I need to learn how to use the parametric EQ to it's full potential. Are there any good online resources for learning this sort of stuff? I haven't found any, yet. Anyone have any recommendations on strings that last a long time? Right now I'm using ernie ball super slinkys, not because of choice but because my nut slot is too small for other strings. I wear them down in about a week, and am breaking them consistently. I would like strings that last at least a month, and have been considering thomastik infeld strings, but am afraid I will wear them down too quickly to warrant their price (about 4 times as much as a pack of ernie balls). I never get to hear howmy amp sounds because my strings are always dead. I have played Elixirs and other coated strings, but really didn't like the way they sound, too dull which defeats the purpose of having good strings. coolbian57 fucked around with this message at 05:57 on Apr 8, 2013 |
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Apr 8, 2013 05:35
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Elixirs can last over 6 months easily. Nothing really compares to them if your goal is to have a set last forever.
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Apr 8, 2013 05:43
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Destro85 posted:So here's a question. Also, you're massacring those strings. Pluck softer.
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Apr 8, 2013 07:39
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