|
Shugojin posted:If you can take a picture of your wiring would be nice too. I have your diagram but a picture would let me spot any weird mistakes. If everything is low volume then it sounds like something is grounding where it shouldn't. It's not really that everything's super low volume, it's more that low volumes simply disappear and aren't picked up. On further thinking though I might actually have some kind of phase problem since I have an un-calibrated neck pup and two bridges. I'll see if I can grab a shot of my wiring.
|
#
?
May 30, 2015 19:05
|
|
|
|
| # ? May 18, 2024 03:29 |
|
|
The old warhorse got new pickups Quarter Pounders that sound really nice
|
|
#
?
May 30, 2015 19:09
|
|
|
Kilometers Davis posted:Okay dumb question incoming! If I down tune my PRS to C#/D standard with 10s, will the intonation be as accurate as it is at E with the same strings? I've tuned my SG down to C# with 11s to play some Sabbath/QotSA and it sounds and feels so good to me right now. The PRS is a one piece stoptail and has spot on intonation in standard with 10s so I'm hoping I'm good. I see no particular reason why not, but the slackening may affect the neck relief to a point where the intonation may be affected. I'd try it and see. As personal preference I couldn't imagine going so low with such thin strings but that's strictly me.
|
|
#
?
May 30, 2015 19:10
|
|
|
juche mane posted:I see no particular reason why not, but the slackening may affect the neck relief to a point where the intonation may be affected. I'd try it and see. As personal preference I couldn't imagine going so low with such thin strings but that's strictly me. That's what I was thinking, a truss rod adjustment in a day should take care of that. Honestly it's the only way I can get the right sound for heavy doomy sludgy stuff. Tight huge strings sound too choked and full, thin slack strings have this really lively snapping sound that reacts great under fuzz. The Sabbath connection is actually what made me realize this for myself back in the day. Iommi has to play little rubber band strings and while people have spent years trying to sound like him with x y gear it's mostly due to his playing style and slack strings. My only issue with loose thin strings is the resonance in the guitar definitely drops and I miss that rumble in my belly sometimes.
|
|
#
?
May 30, 2015 19:18
|
|
|
There are a poo poo-ton of rules regarding when you use A# and when you use Bb (just to pick a single enharmonic example). Most of the obvious ones have already been discussed. You need the full musical alphabet in a scale, and you need to stick to the intervals in chord building and then alter the individual elements as necessary without respelling the notes. So, if you have an A and an A# in the scale or key or whatever, that A# is probably a Bb in reality. And it doesn't always save you accidentals, especially in classical music theory where much importance is placed on key modulations, related keys, secondary dominants, non-harmonic tones, and so on. It gets even more fun, though, because you also have double-flats and double-sharps. You see these a lot in classical music because of the rules regarding what notes are called in various chords, scales, and so on. And these rules actually make sense, as they allow the musician to know exactly what's going on. Musicians in this period, more than today, understood the relationships between the notes, melodies, and the key, chords, and scales of what they were playing. (Hell, at one point, you had figured bass, where the entire bass line was improvised based on nothing more than a single bass note and a series of numbers written below it.) All told, each one of the 12 notes in a chromatic scale has 3 possible names, save one. Starting on your open E string, here are the names of the notes. (I'm favoring sharps on the "black key" notes): E, Dx, Fb F, E#, Gbb F#, Ex, Gb G, Fx, Abb G#, Ab A, Gx, Bbb A#, Bb, Cbb B, Ax, Cb C, B#, Dbb C#, Bx, Db D, Cx, Ebb D#, Eb, Fbb
|
|
#
?
May 30, 2015 20:26
|
|
|
Actually, -plays Twist of Cain while you nerds get shoved in lockers-
|
|
#
?
May 30, 2015 20:50
|
|
|
Lockers have great acoustics! *plays clarinet*
|
|
#
?
May 30, 2015 21:13
|
|
|
Yeah my friend's problem was just the neck pickup being too high. Dropped it and fiddled with a couple pole pieces and it's great. Really wants you to roll the volumes back to like 5 to get nice cleans but hey.
|
|
#
?
May 30, 2015 21:26
|
|
|
baka kaba posted:Lockers have great acoustics!
|
|
#
?
May 30, 2015 21:30
|
|
|
Just put a duvet over your head
|
|
#
?
May 30, 2015 21:54
|
|
|
SubG posted:Playing into a closet is a pretty standard practice trick, actually. Most rooms in the average house are pretty bright, but a wall of clothes and that kind of poo poo sounds dead as hell so you really have to work at projecting. That's actually an awesome mental image You can also sing in there like frank black
|
|
#
?
May 30, 2015 22:14
|
|
|
I thought everyone knew that bathroom tone is the best possible tone in conventional housing arrangements. Closets, pfft.
|
|
#
?
May 30, 2015 22:14
|
|
|
Spanish Manlove posted:The black star kicks rear end and so does an orange micro terror (buy used) I'm about to take the plunge and get a home amp, would this be a good choice? http://www.sweetwater.com/store/detail/IDCOREBEAM
|
|
#
?
May 31, 2015 00:05
|
|
|
unlawfulsoup posted:I thought everyone knew that bathroom tone is the best possible tone in conventional housing arrangements. Closets, pfft. Only if the trim is unpainted tonewood..
|
|
#
?
May 31, 2015 01:43
|
|
|
Lumpy posted:Only if the trim is unpainted tonewood.. Little known fact, toilet bowls are natural resonators.
|
|
#
?
May 31, 2015 01:47
|
|
|
Thought some people may like to hear my tone after getting the HM300 and finding my SD-1. I got the opportunity to play live earlier this week, so here is a small little clip for those curious about the tone I managed to get. Not perfect, and I'll certainly be continuing to experiment to get it as good as I can, but I'm certainly pleased. http://vocaroo.com/i/s0VfPT6EKmlw
|
|
#
?
May 31, 2015 16:33
|
|
|
unlawfulsoup posted:Little known fact, toilet bowls are natural resonators. honestly thats where most of my riffs belong.
|
|
#
?
May 31, 2015 16:33
|
|
|
I've been playing 16 years and I know 0 theory, embarrasing i know. I always want to learn and then I read posts like above and my brain explodes. I'll never learn theory 
|
|
#
?
May 31, 2015 17:22
|
|
|
Whale Cancer posted:I've been playing 16 years and I know 0 theory, embarrasing i know. I always want to learn and then I read posts like above and my brain explodes. I'll never learn theory I've never really cared either way, I don't want to play like Steve Vai but I do like to know what I am doing somewhat, just do whatever you like, that's my motto.
|
|
#
?
May 31, 2015 17:42
|
|
|
Whale Cancer posted:I've been playing 16 years and I know 0 theory, embarrasing i know. I always want to learn and then I read posts like above and my brain explodes. I'll never learn theory I'd been playing 15 years and knew none either, but I started paying to take lessons from an actual person and we're sort of backing our way into theory by way of doing stuff that's enjoyable. It seems difficult but believe it or not, you've got a bunch of bits and pieces of theory in your head from playing 16 years -- it's unavoidable. A good instructor is going to help you knit those together
|
|
#
?
May 31, 2015 19:14
|
|
|
Whale Cancer posted:I've been playing 16 years and I know 0 theory, embarrasing i know. I always want to learn and then I read posts like above and my brain explodes. I'll never learn theory Sure ya will! I've been playing about as long and don't really know a lot, but it's enough to make my life easier. You don't have to be Neo seeing the matrix or any of that poo poo, just knowing a bit of how things are structured helps you work stuff out and remember it My advice is learn the fretboard first, so you can tell exactly which of the 12 notes you're playing, instead of 'fret 9 on the A string' or whatever. Then take a little time to look at stuff you're playing, chords and lead, and work out what notes you're playing there. Try finding those same notes somewhere completely different on the fretboard, so you get a completely different chord shape, or zoom up the neck to play a lead riff in a whole other register. Instead of playing that A-E-G line down here, play it up here Really it's about playing around in a limited way, but without having to guess anything. And then you'll start to learn more and more about what's going on and a bunch of dots will connect, and you won't need to rely on memorising tons of information and abstract patterns
|
|
#
?
May 31, 2015 19:37
|
|
|
I've spent the last couple months practicing jazz/techy stuff and pushing theory in my brain and the EXACT second I burned out from going too hard and started playing in my comfort zone I remembered how it's okay to never be Kilometers DiMeola. I try to stay involved in learning theory but if I make it my #1 focus guitar playing becomes like a chore. Please don't assume I'm saying gently caress theory just jam power chords all day but... do exactly that if it's what you enjoy playing. Find your balance, suck it up sometimes and learn the boring stuff, but never turn this super fun hobby into a grind that you dread.
|
|
#
?
May 31, 2015 19:44
|
|
|
One thing I do like to do is start playing say in A, just dicking around and then find out just how many places I can go on the fretboard while staying in A. Then if I am doing say a basic A chord, just check out what other notes are in that chord, and could I then look for places on the fretboard to dick around in that would compliment A etc. Just using notes as springboards to other locations really. That I do find great fun and it's a nice way to gobble down chunks of theory while enjoying playing to me.
|
|
#
?
May 31, 2015 20:22
|
|
|
Whale Cancer posted:I've been playing 16 years and I know 0 theory, embarrasing i know. I always want to learn and then I read posts like above and my brain explodes. I'll never learn theory Honestly, I 100% know that feeling. You just need to find something that is idiot proof enough for you and slowly build from there. I liked this series because I actually understood it, and at only 3 videos is a nice simple start. https://www.youtube.com/watch?v=ijdl7aZVeF0
|
|
#
?
May 31, 2015 20:38
|
|
|
I think a lot of people take the wrong approach to theory and try to just pack it into their brains as I MUST PLAY THE THEORY when, in all reality, it's just an explanation of what is being played. I'd been playing guitar for a few years before I started learning theory, both classical and jazz, in high school. One of the biggest things that helped me was learning to read music, learning the theory on the page, and then applying that to the fretboard. That way it wasn't just intervals as abstract ideas or names of spaces between dots on the clefs, they would also become shapes that my fingers made. This then meant that chord theory learned on the page became theory applied to the fretboard, both in terms of understanding/feeling the intervals that made up the various chords as well as understanding why the different chords were behaving like they did. When I wanted to hear what a progression sounded like, I'd play it and, because this gets you to learn your instrument in a hurry, it means you can also mess with different inversions and voicings without having to pull out the guitar grimoire (Am I dating myself too badly, here?) to figure out which Bdom7 sounds right. Put another way, Bach or Beethoven or Gillespie or Van Halen don't sound like they do BECAUSE THEORY, the theory can just provide an explanation of why they sound like they do and the routes that they take to achieve their sounds. Yes, all are playing in musical forms that proscribe certain tonalities and chord progressions (aka the theoretical starting point that each began with), but they all achieved greatness where countless others were utterly forgotten because of their individual takes on the theory they understood. While Bach, Beethoven, and Gillespie had much more explicitly conceived theoretical bases, a lot of Van Halen's (and huge numbers of other blues/rock players) are working off of intuitive understandings of theory and there is nothing wrong with an intuitive understanding of theory. If you play a ton of songs and get a feel for what certain progressions sound like, you're developing that intuitive understanding. You can write plenty of great music without having to be a Berklee grad and, speaking as someone who was a big enough goober to go there for a while, there are plenty of Berklee students (especially me) that can't write anything meaningful regardless of having been through 400 level theory classes. Learn theory if you want to understand what's happening under the hood and be able to communicate that to others. If you're learning theory to write better, your time is probably better spent writing stuff, playing things that you want to sound like, and then writing some more.
|
|
#
?
Jun 1, 2015 03:18
|
|
|
peter gabriel posted:One thing I do like to do is start playing say in A, just dicking around and then find out just how many places I can go on the fretboard while staying in A. It's also an easy as hell way to write songs.
|
|
#
?
Jun 1, 2015 13:30
|
|
|
For some reason learning guitar is approached in the worst possible way by pretty much everyone (especially me), to the hilarious point where you can have a lifelong, successful career as a professional musician without even knowing what notes you're playing.
|
|
#
?
Jun 1, 2015 13:43
|
|
|
Spanish Manlove posted:It's also an easy as hell way to write songs. Yes! It's also fun, to me it is for sure. Dead basic example, if you play an A then there is an E note in there, so in some way (you can care how or not, doesn't matter) E is related / a good guy to have around, so gently caress off to E and see what happens, go wild and play a scale in E over an A chord. Theory frees you up and gives you wings if you let it, rather than be a restrictive boring thing. By the time you've done a few nights of stuff like this you'll know your fretboard well, all without doing it in a dry or dull way.
|
|
#
?
Jun 1, 2015 13:47
|
|
|
fullroundaction posted:For some reason learning guitar is approached in the worst possible way by pretty much everyone (especially me), to the hilarious point where you can have a lifelong, successful career as a professional musician without even knowing what notes you're playing. Okay, so you play a yeeeee followed by a nyaaah then two dooooos. But yeah, seriously, I've been taught in classical guitar which is still a little better but I can probably still only consistently recognize the notes for the first five frets, anything else takes me way too long to figure out.
|
|
#
?
Jun 1, 2015 13:49
|
|
|
peter gabriel posted:Yes! Once you learn where all the notes are in a scale and can play them fluently across the whole neck you start to feel like neo at the end of the matrix where you're seeing through your guitar. My drummer friend always asks where I learned to improv poo poo and honestly it's just from nights like you're describing where I was learning the neck of the guitar with dumb riffs, so that now when I need to come up with a riff on the spot I just unfocus my brain and think of some patterns of notes that make sense near a point I want to play on the neck or that make sense with something I was just playing.
|
|
#
?
Jun 1, 2015 13:56
|
|
|
Spanish Manlove posted:Once you learn where all the notes are in a scale and can play them fluently across the whole neck you start to feel like neo at the end of the matrix where you're seeing through your guitar. My drummer friend always asks where I learned to improv poo poo and honestly it's just from nights like you're describing where I was learning the neck of the guitar with dumb riffs, so that now when I need to come up with a riff on the spot I just unfocus my brain and think of some patterns of notes that make sense near a point I want to play on the neck or that make sense with something I was just playing. Agreed 100%, you see invisible shapes eventually on the fretboard and get to know 'safe' spots for each key so you can noodle away in G or whatever all over the place and people think you're hot poo poo. In reality it's about as impressive as a bunch of nerds knowing the way from Iron Forge to Stormwind off by heart but because it's on guitar instead of WoW we look cool and they look like dorks, gently caress YOU dorks. *flicks cigarette*
|
|
#
?
Jun 1, 2015 14:36
|
|
|
peter gabriel posted:Agreed 100%, you see invisible shapes eventually on the fretboard and get to know 'safe' spots for each key so you can noodle away in G or whatever all over the place and people think you're hot poo poo. on foot: ironforge into dun morough to loch modan to badlands to searing gorge through blackrock mountain to burning steppes to redridge to elwynn to stormwind, I think there's a tunnel from loch to searing and they took away the quest for the key so it's just always open now. or take the tram Like with that example, it's always better to let people think you know less than you actually do.
|
|
#
?
Jun 1, 2015 14:55
|
|
|
peter gabriel posted:Agreed 100%, you see invisible shapes eventually on the fretboard and get to know 'safe' spots for each key so you can noodle away in G or whatever all over the place and people think you're hot poo poo. Yet jam bands continue to exist.
|
|
#
?
Jun 1, 2015 16:05
|
|
|
Spanish Manlove posted:on foot: ironforge into dun morough to loch modan to badlands to searing gorge through blackrock mountain to burning steppes to redridge to elwynn to stormwind, I think there's a tunnel from loch to searing and they took away the quest for the key so it's just always open now. or take the tram Maybe I was vague. My point was if nerds can learn how to get there in WoW then we can do the same with music theory, it's just about doing it often over time, then the info seeps in without you realising. Edit: I actually get what you are saying now, I did misunderstand and I agree with you again there  comes along bort posted:Yet jam bands continue to exist. Yes they do (?)
|
|
#
?
Jun 1, 2015 17:45
|
|
|
Waldstein Sonata posted:I think a lot of people take the wrong approach to theory and try to just pack it into their brains as I MUST PLAY THE THEORY when, in all reality, it's just an explanation of what is being played. I'd been playing guitar for a few years before I started learning theory, both classical and jazz, in high school. One of the biggest things that helped me was learning to read music, learning the theory on the page, and then applying that to the fretboard. That way it wasn't just intervals as abstract ideas or names of spaces between dots on the clefs, they would also become shapes that my fingers made. This then meant that chord theory learned on the page became theory applied to the fretboard, both in terms of understanding/feeling the intervals that made up the various chords as well as understanding why the different chords were behaving like they did. When I wanted to hear what a progression sounded like, I'd play it and, because this gets you to learn your instrument in a hurry, it means you can also mess with different inversions and voicings without having to pull out the guitar grimoire (Am I dating myself too badly, here?) to figure out which Bdom7 sounds right. Yep. Music Theory is super important (and I suck at it for how much professional schooling I've had) but its just one way to interpret music. Its important to remember that even "music theory" is really just "western music theory" and its just one cultural direction of music. You can do some really melodic things with atonal music, and Eastern style music theory is really different and unique and goes against the "rules" of traditional Music Theory but still sounds really good. Look at the stuff that Nobuo Uematsu writes for example, under the lens of Western Music Theory, and it doesn't really add up. It seems like it shouldn't quite work. And yet, it does. It works fantastically well. Its just using a different philosophy of music. And that's totally cool. All that said if you can't write music or read music its just going to hold you back from playing better. And now an old joke! How do you get a guitarist to stop playing and shut up? Put sheet music in front of em! 
|
|
#
?
Jun 1, 2015 17:48
|
|
|
My pickup finally arrived! I know I'll have to wax pot this one like my last, but I really want to install it.  Edit: last one https://youtu.be/_VGI066gNsY Sockington fucked around with this message at 20:57 on Jun 1, 2015 |
|
#
?
Jun 1, 2015 20:53
|
|
|
Sockington posted:My pickup finally arrived! Wax potting is for wimps, install your pickup in all it's raw glory.
|
|
#
?
Jun 1, 2015 20:57
|
|
|
Technique question: there's a technique many guitarists use in their solos, but I don't know the name of it - for example it's at the start of the "Good times Bad Times" solo, and Gilmour also uses it a lot, and probably every guitarist ever. It looks like e|-------12--------12---------- B|----12--------12------------- G|14b-------14b--------------- D|---------------------------------- A|----------------------------------- E|----------------------------------- How are those called? What's the trick to them? I feel like I'm doing it wrong, do they sweep it? Thanks.
|
|
#
?
Jun 2, 2015 00:05
|
|
|
Ring finger for the 14 bend and use your index flattened like a barre over the two 12s. Let the 12 on the B string ring out and then roll your finger back so it mutes the B string while using the pad of your index for the 12 on the E string.
|
|
#
?
Jun 2, 2015 00:16
|
|
|
|
| # ? May 18, 2024 03:29 |
|
|
A fun version of that appears in Ruby Soho, if you want the punk take on it: http://youtu.be/0P9QMkm9Eew Around 1:35.
|
|
#
?
Jun 2, 2015 00:38
|
|