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I'd like to tune my Ibanez Iron Label 7 string down to F#, B, E, A, D, G, B (basically an 8 string F# tuning without the top string). It's currently tuned to B, E, A, D, G, B, E. The guitar has a 25.5 scale and a bubinga neck. If someone could help me out with some questions I've got that'd be great. (1) Is this tuning feasible on a guitar of this scale? (2) I'm planning on using the D'Addario 8 string set of strings that starts at 0.74. Will that produce enough tension? (3) Am I likely going to have to file wider grooves in the nut? (4) I assume I'll need to make some truss rod adjustments. I've never done this before. Any advice?
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Jul 9, 2014 12:28
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Synonamess Botch posted:I had a set of brand new D'Addario 9s do that a few weeks ago, the string ball popped right off of the high-E. My solution is to never buy D'Addario strings again and I recommend you do the same. I've had the same thing happen as well. It's so strange that the same company makes the NYXLs, I've not really seen any negative issues outside of the price tag on those.
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Jul 9, 2014 13:13
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I started to get serious about playing again after playing an acoustic for about a year. I have been diligent about practicing for at least an hour each day, but I am worried I am not taking full advantage of my time. I end up jumping from thing to thing. For example, last night I drilled on changing from D to G for a few minutes. After that I worked on the pentatonic scale. After that I just messed around with power chords (which I cannot seem to get sounding good on the acoustic) trying to recreate some rock riffs I looked up on the Internet. Am I going about this the right way? Are there things should I be doing differently to accelerate my learning? I really want to learn to play rock style music (getting an electric soon) and soloing is something that I always dreamed to being about to do. You guys were really helpful on guitar buying advice so any tips you have would be really helpful.
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Jul 9, 2014 13:38
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Nigel Tufnel posted:I'd like to tune my Ibanez Iron Label 7 string down to F#, B, E, A, D, G, B (basically an 8 string F# tuning without the top string). It's currently tuned to B, E, A, D, G, B, E. The guitar has a 25.5 scale and a bubinga neck. If someone could help me out with some questions I've got that'd be great. 1.) It might be a little loose but it doesn't seem unplayable. 2.) I play a 0.56-0.13 set at B standard on 24.75" scale necks (Hey i remembered it's " for inches and ' for feet, suck my dick imperial system) so 0.74 at F# seems ok 3.) Probably, but check first and file just enough for the new string to fit. 4.) You're going to need a full on new setup, involving bridge and truss rod adjustments. The best advice I can give is to just be cautious when doing it, don't just gorilla strength that poo poo. It's possible to really gently caress up your truss rod by overturning it, but it takes a moderate amount of overdoing it to do that. You should also use a 24" ruler to check the neck bow in case you don't feel comfortable just eyeing it. Check some setup guides on the internet and if you don't feel comfortable doing it right away on a guitar you like, then maybe try on a lovely guitar of yours that you don't like. I still think that everyone should own a cheap beater guitar for trying new fixes and mods on before trying it on a nice guitar with sentimental/actual value.
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Jul 9, 2014 14:28
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Synonamess Botch posted:I had a set of brand new D'Addario 9s do that a few weeks ago, the string ball popped right off of the high-E. My solution is to never buy D'Addario strings again and I recommend you do the same. Never had a problem with D'Addario 9s myself, maybe you just had bad luck. Ernie Ball is the worst though. I feel as if their lifespan is 1/1000th as long as any other brand, hell the Korean strings on my Agile are better.
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Jul 9, 2014 15:12
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25.5 is really short for an 8 string but it's not impossible. I think .80 is the lowest gauge I'd go for an F# at that scale, so maybe go somewhere in between what me and franco said, depending on how you like your string tension. You may need to drill your tuners out to accept bigger strings.
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Jul 9, 2014 15:13
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unlawfulsoup posted:Never had a problem with D'Addario 9s myself, maybe you just had bad luck. Earnie Ball e's snap like a thread it seems. I've never had the same amount of trouble with XL's although I have had a ball come unwound. I currently have NY 10's on and have zero problems.
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Jul 9, 2014 15:26
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I feel like a certain number of guitar strings are bound to fail, given what they're used for and how many most guitarists encounter over years of playing. Anyone who really does feel the need to avoid D'Addarios forever because of one broken E string should probably do lots of research since they manufacture strings for like a dozen other brands as Agreed detailed upthread. In related news, I wiped off my NYXLs with a microfiber cloth and the initial stickiness is completely gone. They sound and feel pretty good. I don't mind the price by virtue of the fact that I buy strings so infrequently, but if the stuff about improved metallurgy is true then I think they'll probably be worth it for a lot of people. The soldered wrap is cool, and maybe it even helps keep the ball ends on. 
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Jul 9, 2014 19:27
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I decided to do a little experiment today. I've got a POD X3 and wanted to see how sending a dry guitar signal from my DAW into the POD sounds vs just recording an effected signal from the POD. I don't know much about recording guitars in a studio setting yet, I assume most guitarists tweak their tone exactly and then record that signal but what if you wanted to change up something in the effects chain without having to re-record your guitar playing? Anyhow, here's my little recording: https://soundcloud.com/diodmusic/pod-x3-pre-vs-post-processing-guitar Order to the sound is: dry 1st pass - wet 1st pass - dry 2nd pass - wet 2nd pass - and then a quick comparison at the end (dry, dry, wet, wet) Guitar: Fender Telecaster Standard (only neck pickup, 2 guitar layers) Effects: POD X3 (amp, compressor, mod, reverb) Software: Ableton Live Audio Interface: POD X3 (first pass), MOTU Ultralite (second pass) I also got a crash course in recording 2 separate guitar parts and layering them appropriately. I'm a little out of tune but I like how this came out. I need to practice more. When you're recording your guitar what do you prefer? Dry or wet?
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Jul 9, 2014 19:54
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Dotcom Jillionaire posted:I decided to do a little experiment today. I've got a POD X3 and wanted to see how sending a dry guitar signal from my DAW into the POD sounds vs just recording an effected signal from the POD. I don't know much about recording guitars in a studio setting yet, I assume most guitarists tweak their tone exactly and then record that signal but what if you wanted to change up something in the effects chain without having to re-record your guitar playing? Most guitarists who are not producers will get a bit weird at the idea of reamping. It's all a bit voodoo because the interaction between guitar and amp is a pretty fundamental part of the performance. Plus guitarists are autistic about 'tone', myself included. Sometimes a sound which is pretty nasty solo'd can work really well in context and reamping can be part of that. Producers love it because it means they get to record a track once and then the musician can gently caress off while they reamp and tweak and get some actual work done. Minimum of interaction with idiots and no spending two days loving around with 8 amps and 20 mics to have the guitarist say "actually, I'm pretty sure the first take was the sound I'm going for". Edit: I have used both methods, if it's 'my' session I'm going in amped and wet because I'm paying for time and I want to enjoy myself while getting poo poo down and who doesn't like a cranked amp in a live room. If it's a paid session then I will still bring options but the man at the desk gets final say. I will happily play straight to desk, or even through that 10 watt Gorilla practice amp if he so wishes because he is the man paying me. darkwasthenight fucked around with this message at 20:20 on Jul 9, 2014 |
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Jul 9, 2014 20:14
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Isn't it a better idea to pipe that signal off to an amp anyway? Either splitting it between the amp and the desk, or using a send or something. Dry guitar sounds like absolute poo poo and it'll just kill the most basic vibe, never mind trying to get a performance that actually works with the dynamics of the amp
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Jul 9, 2014 21:50
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baka kaba posted:Isn't it a better idea to pipe that signal off to an amp anyway? Either splitting it between the amp and the desk, or using a send or something. Dry guitar sounds like absolute poo poo and it'll just kill the most basic vibe, never mind trying to get a performance that actually works with the dynamics of the amp Usually you will split out of a DI or similar and go out to the desk and also back to your amp so you don't notice any difference until you come to the reamping process. There are boxes specifically designed for it with different impedances on each output to match the desk/amp.
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Jul 9, 2014 22:26
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darkwasthenight posted:Usually you will split out of a DI or similar and go out to the desk and also back to your amp so you don't notice any difference until you come to the reamping process. There are boxes specifically designed for it with different impedances on each output to match the desk/amp. This is something I've been wondering when it comes to recording guitar, basically what's the best method? Old school which is just putting a mic in front of an amp, using a DI box from your amp's aux or main speaker send, or using a speaker emulator? I would assume that micing a cab is the best sound wise or have speaker emulators?DI boxes gotten worlds better recently?
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Jul 9, 2014 22:44
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Check this out, there isn't a best way. Only personal preference.
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Jul 9, 2014 22:50
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Yeah if I had an amp I would be using it  . The amp modeling on the POD is close enough for me right now but a nice rig is on my purchase list. I'd been looking into some DI boxes for use with synthesizers (to get a nice tube sound) and saw the REDDI recommended a lot.
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Jul 9, 2014 22:53
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I like the stick a mic in front of the amp method. Amp modelling has always seemed stiff and unnatural (because it is) and di has its own quirks to it I don't like. And as someone who uses feedback a lot, the mic way of doing things makes a lot more sense. If you want a very uhhh "clean" tight sound you can recreate 100% of the time then emulation is really great for that and you bypass a lot of the annoyances that come with positioning mics and setting up things and all of that.
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Jul 9, 2014 23:32
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No wrong tools, just wrong situations. I've heard tracks from a pro studio using high end custom interfaces; the producer I was working with had just had Editors in there and the week after Martin Simpson (the English folk guitarist)was due in. You could hear every scrape of the strings and it was great. Perfect for the songs. The week after I played with a punk band who recorded an EP in a literal shipping container lined with Styrofoam using £100 worth of mics and a digital recorder. We used an Ashdown bass amp and a Fender Frontman in stereo for the lead guitar, DI for bass and one room Mic + kick Mic for the drums. The second guitar had to overdub afterwards because we didn't have enough amps. When they finished tracking they smashed the masters through a brickwall compressor and then a distortion so it sounded like the hinges were falling off. Perfect.
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Jul 10, 2014 00:21
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The only flatwound strings in my town are apparently D'Addario strings, so I just grabbed another set and they worked! All nice and on and playing nicely; took the time to raise the bridge a tiny bit, too, and the intonation didn't really need any adjustment. god drat do I like how they play. Man, why did it take me this long to play on flatwounds? I like the feel a lot more than normal-wound strings. It'll take some getting used to, but the feel and sound makes a good combination. But goddamn $14 for a set  (now don't all at once tell me about how cellists and violinists would love paying $14 for a set of strings)
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Jul 10, 2014 00:39
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Ghost of Reagan Past posted:The only flatwound strings in my town are apparently D'Addario strings, so I just grabbed another set and they worked! All nice and on and playing nicely; took the time to raise the bridge a tiny bit, too, and the intonation didn't really need any adjustment. The good news is that flats last drat near forever. I could never really dig the tone (except on bass), even for jazzy stuff, and I didn't feel like shelling out the money for Thomastiks or Pyramids just to try.
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Jul 10, 2014 01:16
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is there any reason to go for one revision of the digitech whammy over another
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Jul 10, 2014 02:48
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Buy the old one for eight million dollars because it is the old one.
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Jul 10, 2014 02:52
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That sounds like a good thing to do with a Digitech product.
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Jul 10, 2014 03:11
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RagingHematoma posted:I started to get serious about playing again after playing an acoustic for about a year. I have been diligent about practicing for at least an hour each day, but I am worried I am not taking full advantage of my time. I'm kinda in the same boat. I started playing about 2 months ago after several tries over the years that never lasted more than a few weeks. What I'm doing differently this time is taking a more structured approach. 1. I've taken a number of technical exercises from the free videos that Pebber Brown has posted on Youtube - those are the first half hour of practice time. Picking exercises, chromatic scale exercises, two finger ladder exercises, and spider exercises from the video series that start with this one: https://www.youtube.com/watch?v=34lhNNn1Ig0. 2. Working through the Mel Bay Modern Guitar Method Book 1 is the next half hour of study. I find this really frustrating because some days I just can't seem to fret the right note or pluck the right string. I think the most important thing I'm learning from this book is not to let my frustration stop me. Baby steps. 3. Lessons from the beginner's course at http://www.justinguitar.com/ take up the next half hour. He has a lot of great advice, and I still need a lot of work on being able to play chord changes smoothly. Working through his beginner course of videos puts some structure around that. 4. Finally, a half hour with Rocksmith, though usually I run out of time or am too tired after the above. Do I spend 2 hours every day practicing? Nope. But I try to do at least one or two of the above every day. I have no idea if what I'm doing is effective, efficient or even useful. But it is something.
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Jul 10, 2014 03:44
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Sockington posted:Yeah, that G12T is all sorts of bright. The Wizard tames it a bit, but I could see throwing in an Eminence Governor (or other V30 variants like WGS stuff) to compliment the Wizard better down the line. Is it broken-in at all? Did you fiddle with your EQ? It might not be the right speaker for you, but many people who are dissatisfied with it never really seem to give it a chance. Maybe disconnect the Wizard and try the G12T on its own?
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Jul 10, 2014 05:03
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Eccles posted:I have no idea if what I'm doing is effective, efficient or even useful. This is why I started taking lessons. I can't say I recommend it to someone because I might have just gotten lucky with my instructor. To me, it's a complete no-brainer. You want to learn something- for 25-30$/week you can get an hour with someone who is literally paid to do what you want to do, and this hour is devoted to them helping you learn the thing. There are a zillion other things that are great about lessons. You can ask "Hey i can't put my finger on it, but what am I doing wrong?" You will feel like a shithead if you come in one week and you obviously haven't been practicing. They will encourage you when you progress! I assume you are very motivated and you need to be for the first 3-6 months or so. You gotta want it. Do less thinking and more practicing. 40 OZ fucked around with this message at 07:20 on Jul 10, 2014 |
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Jul 10, 2014 07:09
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muike posted:is there any reason to go for one revision of the digitech whammy over another Does anyone use anything Digitech makes other than the Whammy? Like, I was just reading a terrible pulp monster-hunting novel and it had a gunfight at a rock concert, and it namedropped the destruction of "a whole bank of Digitech pedals," and it just sounded so incredibly awkward and forced.
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Jul 10, 2014 09:15
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Allen Wren posted:Does anyone use anything Digitech makes other than the Whammy? Like, I was just reading a terrible pulp monster-hunting novel and it had a gunfight at a rock concert, and it namedropped the destruction of "a whole bank of Digitech pedals," and it just sounded so incredibly awkward and forced. Bad Monkey is really popular TS-like pedal, and the Grunge is great for distorting and EQ-ing a Strat to sound (roughly) metal. I ended up selling both, but they're pretty affordable so quite popular.
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Jul 10, 2014 09:54
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The death metal pedal is a staple of noise acts because it self-oscillates really easily.
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Jul 10, 2014 10:26
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Their digital delay is pretty solid too.
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Jul 10, 2014 10:28
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I have their hardwire line's chorus pedal. It's ok. Not great. Versatile though.
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Jul 10, 2014 10:29
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Eccles posted:I'm kinda in the same boat. I started playing about 2 months ago after several tries over the years that never lasted more than a few weeks. What I'm doing differently this time is taking a more structured approach. It sounds like you and I are on the same path. I spent a while on Justin Guitar and made it to stage 4 which got me the basic chords. I found his videos really helpful. The only issue I have is I have to put each finger down individually to get the chord shapes right. I am trying to unlearn this, but my brain is wired to put one finger down at a time. I did not go to Stage 5 yet because I was bord with just doing open chord shapes and wanted to try some scale stuff and power chords for rock guitar. I found Marty Schwartz's channel really helpful to learn how to play some easy rock songs with power chords. I ordered the Mel Bay book you recommended. It looks like a good resource. I also ordered the Guitar Book for Absolute Beginners. http://www.amazon.com/Guitar-Absolu...r+new+york+book I am going to try some of the Pebber Brown routines. That dude really seems to know what's up. It was interesting to hear that he was Buckethead's instructor at one point. I'd love to hear some stories about how some of the more advanced players in this thread learned. What were the key things you focused on that helped you to get to the next level? RagingHematoma fucked around with this message at 14:14 on Jul 10, 2014 |
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Jul 10, 2014 13:39
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Edit: sometimes, I'm a serious idiot.
Sockington fucked around with this message at 05:50 on Jul 12, 2014 |
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Jul 10, 2014 13:39
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Allen Wren posted:Does anyone use anything Digitech makes other than the Whammy? Like, I was just reading a terrible pulp monster-hunting novel and it had a gunfight at a rock concert, and it namedropped the destruction of "a whole bank of Digitech pedals," and it just sounded so incredibly awkward and forced. I just bought a hardwire supernatural reverb and after 1 hour I like it a lot.
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Jul 10, 2014 15:18
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Digitech makes solid stuff; the Bad Monkey is fairly popular as a sturdy decent TS clone, the DL-8 and JamMan are both popular, the RV-7 is on a ton of pedalboards around here because of the reverse setting, the Synth Wah gets some use, and I personally use the iStomp (set on impossible mode, natch) They also had the Space Station which is highly fetishized
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Jul 10, 2014 16:27
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The RV-7 on reverse mode is sort of shoegaze in a box.
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Jul 10, 2014 16:31
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Goons! My GAS is flaring hard for an SG right now, and I could use some advice in buying used guitars. I was browsing at a local pawn shop and found an Epiphone SG (possibly a G-400) for $200, seemingly marked down from $260. Strings look good in terms of not buzzing and decent intonation, though the A string is not present. Here are my questions for this situation: 1: Should I be concerned that the A string is missing? It would suck to find out my "new" axe is hosed for just the one string. Don't know if someone snapped it, or there's a part that cut it. 2: Is there any way to know for sure that this guitar is, in fact, a G-400? I have the serial number, but there was no distinguishing marks on the guitar. It has a set neck, trapezoid inlays, half pickguard, and covered pups. 3: I'm going back sometime soon to check intonation with a tuner, double check that the frets aren't goofy. Anything else I should add to my list?
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Jul 10, 2014 17:54
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G400 has the small heel seen here. Non G400s usually have the bigger heel or bolt on.
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Jul 10, 2014 19:16
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goons posted:Duh, yes. Oh, huh. Well, I stand corrected, then. For the record: book posted:A body in a yellow tee shirt flew twenty feet in the air, screaming, before crashing into an overhanging speaker and taking the entire assembly crashing to the floor in a shower of sparks. The crowd loved it. The guard's impact caused a giant confetti dispenser to break open prematurely, spilling tons of reflective bits of white paper like snow. "What the hell, man?" Mosh shouted as a great grey mass vaulted effortlessly onto the stage, knocking over stands and crushing a huge bank of Digitech pedals. Through the wall of sparkling fake snow, the creature turned toward us.
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Jul 10, 2014 19:45
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Southern Heel posted:and the Grunge is great for distorting and EQ-ing a Strat to sound (roughly) metal. the only time I have ever seen the grunge pedal was in this sonic youth video http://youtu.be/qHvan9XHD9M?t=3m31s
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Jul 10, 2014 20:02
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Allen Wren posted:Oh, huh. Well, I stand corrected, then. "The guitarist's pitch shifted immediately yet transparently, as though in a moment he'd effortlessly reached for another guitar tuned especially for the moment"
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Jul 10, 2014 20:17
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