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Remulak posted:I dunno, but I always thought if I took Skype lessons I'd take them from this guy: I wanna get stoned with that guy.
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Jun 6, 2013 22:06
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LOL hooking my telecaster up to my iPad and playing through GarageBand might the single greatest thing ever. It is loving amazing.
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Jun 7, 2013 05:45
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Someone punch me until I get over this "okay fine you know what I like the sound of axe fxs and want to get one" phase.
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Jun 7, 2013 06:58
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Kilometers Davis posted:Someone punch me until I get over this "okay fine you know what I like the sound of axe fxs and want to get one" phase. Start looking at Kemper amp demos instead.
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Jun 7, 2013 07:46
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Kilometers Davis posted:Someone punch me until I get over this "okay fine you know what I like the sound of axe fxs and want to get one" phase. No, get one. Join us.
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Jun 7, 2013 10:35
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See, I'm just really conflicted about where I want to go with my setup. The only core thing lacking is my amp even though it's a solid combo. I love the tube sound but there are so many variables with how everything plays together and cooperates with a "real" setup. I feel like I do more shopping for pedals and ideas than actual playing and tone crafting. My interest in the axe fx is the simplicity, or rather minimalism in it's philosophy. I think I'd rather have a single consistent piece of hardware full of possibilities only limited by my knowledge of how the software works. I also need the ability to sound good at low volume/headphone level. I've always had complaints about the axe fx sounding overly processed and sterile but I'm getting more used to it thanks to YouTube demos. The Kemper has never drawn me in to be honest but I will certainly give it a chance before I go in a definite direction.
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Jun 7, 2013 10:54
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TopherCStone posted:
Fixed it myself with some help from a more amp-savy nephew ... So for anyone that has a similar issue: I had to connect the Input" port of the RC-3 to the 'Send' of the FX-loop and the Output to the 'Return'. Then I had to set it on 'Insert' . Then you can just plug in your guitar as you'd normally do and record without any problem.
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Jun 7, 2013 11:44
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Kilometers Davis posted:See, I'm just really conflicted about where I want to go with my setup. The only core thing lacking is my amp even though it's a solid combo. I love the tube sound but there are so many variables with how everything plays together and cooperates with a "real" setup. I feel like I do more shopping for pedals and ideas than actual playing and tone crafting. My interest in the axe fx is the simplicity, or rather minimalism in it's philosophy. I think I'd rather have a single consistent piece of hardware full of possibilities only limited by my knowledge of how the software works. I also need the ability to sound good at low volume/headphone level. I've always had complaints about the axe fx sounding overly processed and sterile but I'm getting more used to it thanks to YouTube demos. Well from what I've seen the Axe FX II is considered to be a solid upgrade over the Zoom G5 at a considerable price premium and I can say the G5 doesn't really sound sterile to me. At least not compared to £200 combo amps so I expect a £1985 rackmount to sound at least twice as good. There is a noticeable drop in quality when going between the direct headphone/speaker jacks and playback through a PC using the G5's USB connection but that's what happens when you drop from 32/24bit DSP with a tube boost down to 16bit without. Then again the Axe only models tubes rather than having a physical one so some people may be able to tell the difference or kid themselves that they can. A google search shows you can get a variety of <£500 all-tube rack mount power amps with blurb suggesting they're ideal paired with an Axe FX II so that might be worth it if you can stretch for extras. I dunno if a simple tube boost stompbox would work in that situation but it might give the power amp modelling that last push it needs. Going back a page to the discussion about skype lessons. One place I've found offering them is Primavolta.co.uk but I don't like the hints about their hidden store where students can buy discounted textbooks. Also why do they want people to post them cheques for Skype lessons? You'd think Paypal or card payment would be a lot more practical for online tutoring.
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Jun 7, 2013 11:54
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I picked up this amp for basically free at a garage sale. Replaced the speaker, moved the controls, and covered up my work in cheap fabric. The idea was to hide the Peavey name as much as possible and make it look less flashy without those cheap plasti-chrome knobs and cheesy "batwings" on the front of the amp.  
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Jun 7, 2013 13:21
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There's nothing wrong with a peavey so long as the 5150 exists
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Jun 7, 2013 17:41
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Peavey has a love/hate relationship with the market. Or whatever. People love to hate em but those that use em swear by em. Kinda like Carvin. The guy who sold me my Valveking (which is great), met me and some friends at a bar and we talked shop. He's had Top Hat, Vox, Orange, etc. His comment, "Other than my Orange probably the best sounding amp I ever had was that Valveking I sold you." Just got my Hofner Club CT in and am insanely impressed with the fit/finish.
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Jun 7, 2013 20:05
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The Classic 30's and Delta Blues own so hard. Peavey really has some good stuff.
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Jun 7, 2013 20:17
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comes along bort posted:Start looking at Kemper amp demos instead. I'm only going by clips here, but I think the AxeFX does better than the Kemper. Both are great, but for my money the AxeFX would be the choice
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Jun 7, 2013 20:54
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I have a guitar related question: I have a chance to meet my favorite guitarist of all time (Buddy Guy) next month, and plan on trying to get him to sign my guitar. Never done this before, I was thinking of using a sharpie paint marker and then maybe putting coat or two of clear coat over the signature. I was planning to have him sign the body, behind the bridge(it's a strat). Seems like that would get the least amount of arm wear on it as well. I don't really care about devaluing the guitar either. Does this seem like the right way to go about this?
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Jun 7, 2013 20:55
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I could never handle something like an Axe FX. I'd be paralyzed by the number of options. I'd probably spend more time going through the patches than just playing music. I really believe less is more in an amp. I want a volume and some tone controls. That's it. A Marshall JVM has 28 knobs and 8 switches. I can't deal with that.
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Jun 7, 2013 21:14
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I, personally, don't like the idea of signatures on guitars. At least on the front. A buddy of mine had the bassist for REM sign his Precision, but he signed the back of the head stock. Another friend got Flea to sign his bass and had him sign the pickguard. Yet another friend had BB King sign the underside of his Lucille pickguard.
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Jun 7, 2013 21:16
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muike posted:There's nothing wrong with a peavey so long as the 5150 exists Well, it's not like a Vypyr (I hate writing that) 15w is their top of the line model. More fun to leave people guessing. Zuhzuhzombie!! posted:Peavey has a love/hate relationship with the market. Or whatever. People love to hate em but those that use em swear by em. Kinda like Carvin. I thought it made some decent noises, so I kept it around and sold off an old Frontman I had kicking about. The name has very polar reactions by people as you said, so now most won't know until a closer inspection. 
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Jun 7, 2013 22:34
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I don't think I'll ever be able to play a barre chord. Is this a normal feeling to have?
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Jun 8, 2013 04:06
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Yes. Tilt your finger a little, don't try to put it down flat. You'll get there.
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Jun 8, 2013 04:49
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beergod posted:I don't think I'll ever be able to play a barre chord. Is this a normal feeling to have? They're like that dratted F chord.
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Jun 8, 2013 05:02
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I'm still bad at my barre chords but I had some massive mental revelation when I figured out that I could start them by laying down a power chord and adjusting my fingers appropriately. It helped tie them into existing muscle memory and helped me start forming them much quicker instead of fumbling my fingers around.
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Jun 8, 2013 05:33
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beergod posted:I don't think I'll ever be able to play a barre chord. Is this a normal feeling to have? Yes. You'll eventually get it, and then you'll have it forever. It's like riding a bike.
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Jun 8, 2013 05:33
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The OP says a lovely guitar will sound like poo poo. Why, though? What's the sound difference between a $100 guitar and a $1000 guitar? I'm speaking of electric, specifically.
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Jun 8, 2013 05:41
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the posted:The OP says a lovely guitar will sound like poo poo. Why, though? What's the sound difference between a $100 guitar and a $1000 guitar? I'm speaking of electric, specifically. Mainly, in my opinion 3 things: 1. Fit & Finish. 2. Fretboard Quality (The difference between sliding around on a rough, crappy board versus a nicely finished one is night and day) 3. Electronics, electronics, electronics. Granted, #2 could probably fit with #1 but it directly affects playability so it has its own notation. Fit and finish just flat out doesn't loving matter. Grab a $100 guitar that PLAYS well, throw some nice pickups in it and you've got a screamer. I actually did this a while back with an Epi Les Paul I picked up in a batch for resale, played like butter but at ANY kind of volume the pickups screamed like mad and they had absolutely no sense of dynamics. Did a pickup swap on another Les Paul and had a spare set of Burstbuckers so I threw them in the Epi and there was zero difference in sound versus the real thing. Granted, in a studio under perfect conditions, yeah, there's probably some differences in the wood quality, MAYBE (I don't really think so for the most part), but in the real world? Nah. Mexi-Strats are the same way, hell, I've got a Squier Telecaster on the wall that plays as well as any US Tele I've ever put hands on, it just needs decent pickups. Now this is assuming it's a DECENT cheap guitar, no bullshit with misaligned frets, warped boards, that sort of poo poo, so, there y'go. Hell, I'll give you another one, even expensive guitars can sound like poo poo. I absolutely despise PRS pickups. I've owned several PRS with different configurations and while they're extremely well made guitars, their pickups are just lackluster and boring.
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Jun 8, 2013 06:01
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the posted:The OP says a lovely guitar will sound like poo poo. Why, though? What's the sound difference between a $100 guitar and a $1000 guitar? I'm speaking of electric, specifically. Honestly everything. poo poo wood, poo poo electronics, poo poo hardware, poo poo frets, etc. there are plenty of good guitars for cheap but playing a cheaply made guitar is a terrible idea and will hold you back. That said thanks to living in a world of technology and loving rad engineering you can own a great instrument without spending over like $400.
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Jun 8, 2013 06:03
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Fina posted:I'm still bad at my barre chords but I had some massive mental revelation when I figured out that I could start them by laying down a power chord and adjusting my fingers appropriately. It helped tie them into existing muscle memory and helped me start forming them much quicker instead of fumbling my fingers around. And then I'm over here---I can barre basically anything, and twist my hand through a zillion iterations of different open chord voicings but can't play a power chord to save my life. I never know what I'm supposed to play and not, or which fret gets two notes and which gets one or whatever.
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Jun 8, 2013 07:03
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The coursera introduction to guitar class was amazing. Beginners should definitely look for them to offer it again.
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Jun 8, 2013 07:29
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Hey guys, turns out Open G tuning sounds wrong if you keep tuning down to D# and G# instead of D and G  I thought my tuner really sucked. Turns out I can't see # symbols!
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Jun 8, 2013 07:41
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Allen Wren posted:And then I'm over here---I can barre basically anything, and twist my hand through a zillion iterations of different open chord voicings but can't play a power chord to save my life. I never know what I'm supposed to play and not, or which fret gets two notes and which gets one or whatever. The way I've heard it, normal power chords add a third note on a higher string at the same fret as the high note but inverted power chords add a third on a lower string at the same fret as the root note. Don't play the bass note on every strum, the idea is to drone it so you play something like this, palm muting everything except for the 6th string. code:
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Jun 8, 2013 09:40
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Allen Wren posted:And then I'm over here---I can barre basically anything, and twist my hand through a zillion iterations of different open chord voicings but can't play a power chord to save my life. I never know what I'm supposed to play and not, or which fret gets two notes and which gets one or whatever. Are you saying you can never remember how to play a power chord? It's basically a root and a fifth (which is why they're called fifths or things like D5) - you have your root note, which is usually on one of the bottom two strings, and then you add the note that's a fifth above, which is usually two frets up on the next string. If you know your scales you can start on the root and doodle doo up to the fifth note in the scale, and set in your mind where it is relative to your root note. You just need to play that and the root together. A lot of people use the variation that adds the octave in, and it's the same deal - if you have a root note and you know where the octave is relative to that, you just add that note in too. Run up the scale if you're not sure, but honestly these intervals are something you want to get straight in your head anyway. Building chords is just a case of plonking a specific bunch of these intervals together in a way your hand can actually fret, and power chords are the simplest of the lot. Once you get the how and the why you'll be all 'oh right', and you'll be able to do things like Verizian's 5th below the root, and move the shapes up onto the higher strings where that drat B string shifts the note positions. (Also power chords are the bottom three notes of your basic barre chords, because those barre shapes happen to go root, 5th, octave, 3rd, 5th, from low string to high...) Oh as far as the what not to play goes - you play the notes you're using, the root and fifth and maybe the octave. Maybe you'll have more 'copies' of each note (like how your octave is a copy of the root), like maybe 3550xx (3rd and 4th string both playing the same G note), or 0224xx (EBEBxx, another B is stacked on top an octave higher than the other B). It depends what sound you want, the point is that you're only using a couple of named notes which gives the chord a certain neutral colour, if you add in thirds and sixths and whatever it becomes a different chord. Having just the root and fifth means it distorts really well too, no complicated intervals to muddy things up, and the lack of a third means the chords are never major or minor, so you don't have to alter them to fit the progression you're playing. They're tight and fast and uncomplicated, which is why they're good for rock music (and why bands tend to use the two- or three- note versions for speed and consistency and tightness). Aaaand you can have other 'power chords' too like ones that use 4ths instead of 5ths, but usually people mean and use the 5th versions, so don't worry about that for now baka kaba fucked around with this message at 15:32 on Jun 8, 2013 |
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Jun 8, 2013 15:08
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baka kaba posted:Are you saying you can never remember how to play a power chord? No, I'm saying I don't really know how. I always overplay and hit strings I don't want to hit or mute strings I don't want to mute or don't mute strings I want to mute. So I tend towards just playing major or minor chords when I run into a 5/power chord, whichever's denoted by the progression. Speed's never really been a problem. (I guess the real problem is that I have only the barest rudiments of theory and I don't generally think about what notes are in the chord I'm playing if I know what the chord is. So you go Dsus4 and I think "hand goes on this fret, this chord shape, up a half-step on this string," not "here is how this interval changes.") I will have to digest the two posts above and see if I can sort it all out.
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Jun 8, 2013 20:09
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Don't over think power chords. You can literally play them just by throwing the horns with your fretting hand while gripping the guitar neck. Then move your hand up and down while strumming the thickest three strings. Congratulations you're playing power chords. If you want to cheat and make it even easier "Nu metal" style then tune to drop D first, set your gain to 75% and use one finger instead of two.
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Jun 8, 2013 20:46
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This may be a more appropriate thread than the one I previously posted this in: If I change the pickups and put a non RW/RP middle pickup in my strat, will I still get that funky quack type of sound from the 2 and 4 position?
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Jun 8, 2013 20:50
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Power chords are the easiest way to sound "good" fast. Just get used to that position and slide it loving everywhere. You can move your ring finger up a string to get a different kind of sound too(say 3-3-5 instead of 3-5-5) to get something that sounds fuller sometimes.
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Jun 8, 2013 20:52
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Allen Wren posted:No, I'm saying I don't really know how. I always overplay and hit strings I don't want to hit or mute strings I don't want to mute or don't mute strings I want to mute. So I tend towards just playing major or minor chords when I run into a 5/power chord, whichever's denoted by the progression. Speed's never really been a problem. (I guess the real problem is that I have only the barest rudiments of theory and I don't generally think about what notes are in the chord I'm playing if I know what the chord is. So you go Dsus4 and I think "hand goes on this fret, this chord shape, up a half-step on this string," not "here is how this interval changes.") I will have to digest the two posts above and see if I can sort it all out. Well when I'm actually playing I don't construct chords as I go, ain't no time for that! But as an example, a Dsus4 is a D chord with the third raised to a 4th. If I don't already have that chord in my repertoire, I can find a D chord and move its 3rd - and a quick way to find a chord's 3rd is to know the major and minor versions. xx0232 is D major, right? And xx0231 is D minor. That one note that's moving is the 3rd, it's one semitone (one fret) lower as a minor 3rd, one higher as the major 3rd. Move it one fret above the major 3rd and you got yourself a 4th goin on But the other thing to notice is if you play a D major scale (or minor) starting from the D note in your chord, the third note you hit is the chord's 3rd. The 4th note is its 4th. The major 3rd is usually one string up, one fret back, and the 4th is one string up, same fret as the root. And that's what you're changing in the chord shapes to make the D major into a Dsus4. You're working with the tones in the scale to build a chord up. Really you're thinking the same way, it's just possible to understand that from different angles so it's easier to do poo poo on the fly and come up with some new ideas. As far as actually playing goes, I always like to post this https://www.youtube.com/watch?v=2tmM83KeP28 The short version is, fretting hand mutes the higher (thinner) strings you don't want, playing hand mutes the lower strings, 'surrounding' the string(s) you actually want to sound. You play with impunity because everything you don't want to hear is muted, so it doesn't matter if you hit them. Good muting technique is really important, especially with distortion amplifying every little sound
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Jun 8, 2013 22:06
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I believe I have a stable lineup.
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Jun 9, 2013 01:04
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If you're comfortable with barre chords, the easy way to turn a barre into a power chord is just play a minor barre chord with the root on the low E, and then kinda roll your fretting hand towards yourself a tiny bit so instead of fretting the G, b, and e strings, you're muting them with your barring finger. Then just sweep your pick across only the low E, A, and D and you've got yourself a power chord with the same root as the barre you started with. Example - play a G minor as a barre, so your index finger barres across the third fret and your ring and pinky are on the fifth fret of the A and D strings. Now just roll your hand the slightest bit so it's muting instead of fretting all the way across, and you've got a G5 power chord. You can move the same shape up to the A string and get power chords with the root on the A, just mute the low E with your barring finger or miss it with your pick (or both).
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Jun 9, 2013 01:05
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Zuhzuhzombie!! posted:I believe I have a stable lineup. GAS is a disease that has infected your brain and you will continue acquiring guitars that you don't need until you run out of space, at which point you will simply acquire more space, condolences
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Jun 9, 2013 01:15
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baka kaba posted:As far as actually playing goes, I always like to post this Anchoring with the picking hand to help with hitting unwanted strings is the subject of considerable debate (mostly among the bedroom Yngvies and bluesdads in places like the Gear Page). Some people go to ridiculous lengths to avoid it though. In one of his old instructional videos Marty Friedman admitted that he has a second person come in and clamp down on the neck when he's recording solos, since he doesn't like to even palm mute. Or if you're strictly a rhythm player you can go the Max Cavalera route and toss out the top two strings. One thing that does help if you're playing with higher gain is a hair tie or rubber band behind the nut or foam under the strings, which kills any extra ringing after palm mutes and stops. Some weedly-wee guys also roll the band forward if they're doing guitar janitor sweeps and poo poo too, like this: https://www.youtube.com/watch?v=qi5W_Bs3VbM Alec Bald Snatch fucked around with this message at 01:42 on Jun 9, 2013 |
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Jun 9, 2013 01:31
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| # ? May 18, 2024 05:41 |
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Honestly would anyone have even noticed if he'd left it where it was? Looks more like a party trick, not that I have anything against THOSE. But I'm far from a technical player  But yeah, that post was getting ridiculously long so I didn't mention it, but another technique is letting your fretting finger touch the lower string, like x355xxx where your index finger is fretting the 3 but the tip is just out enough to mute the low E string. That or thumb over are the best ways to thrash at the guitar without keeping your playing hand locked down. Thing about that scrunchie though, that just dampens right? I'm assuming he's good enough to basically never hit an open string he doesn't mean to, and he never wants any open strings ringing anyway? Plus he looks like he lets his right hand mute sometimes, or maybe that's just me. That looks more like insurance for guitar olympians, personally I need my crutch
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Jun 9, 2013 02:39
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