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Quick question about chords under high gain. When I play a major chord on either of my amps with gain over 65% it sounds a touch muddy and flat compared to a power chord, I get that because of the major third interval. Minor chords and especially a minMaj7 chord however sound aggressive on my Laney amp which I love. Meanwhile if I turn the amp's gain down and use my Superfuzz pedal in front it flips round, Minor chords sound like cold, wet, poo poo while major chords are full of life. What's the deal?
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Oct 22, 2015 06:37
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| # ? Jun 5, 2024 23:05 |
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Short version, when you mix frequencies in a distortion system, you get different partials made up of the sum and difference of the frequencies, and different amplifiers are going to tend to do that in different ways. Part of the problem is that the more complex the frequency ratio, the goofier the intermodulation distortion is going to tend to be, and this only gets worse when you're dealing with equal temperment tuning, which adds complication to pretty much every ratio but 4ths and 5ths. A random example is that an equal temperment major third is about fifteen cents sharp of where it's 'supposed' to be.
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Oct 22, 2015 09:52
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Verizian posted:Quick question about chords under high gain. When I play a major chord on either of my amps with gain over 65% it sounds a touch muddy and flat compared to a power chord, I get that because of the major third interval. Minor chords and especially a minMaj7 chord however sound aggressive on my Laney amp which I love. Meanwhile if I turn the amp's gain down and use my Superfuzz pedal in front it flips round, Minor chords sound like cold, wet, poo poo while major chords are full of life. What's the deal? Agrinja's explained it well already, and I'd hazard a guess that the reason major chords sound good through your fuzz is that the octave effect of your fuzz combines with the intermodulation distortion in a way that reinforces the overtone series - meaning major chords would sound better and minor chords worse. Just a wild guess, though. Something like the Quadrafuzz is worth an experiment, and the guy who built Os Mutantes' guitars supposedly built a pickup for each string and then had a fuzz circuit for each string built into the guitar, after which they were all combined at the output, specifically to avoid this sort of thing.
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Oct 22, 2015 10:28
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So yeah, I actually went through with that Jaguar build... I am such a weak man. Worked with Ron Kirn again, he owns. The guitar just got here, could only play her for a few minutes but it's insane. Pics from Ron as he was building it (click for larger versions):       Pics from this morning:                     
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Oct 22, 2015 11:04
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Grats! Ron is a really cool dude (as I'm sure you're aware), and would definitely be my first choice if I were to ever get a boutique Fender-y thing made. I've also never heard even a single story about him flaking out on a build, unlike pretty much any other boutique luthier I can think of.
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Oct 22, 2015 11:51
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Schpyder posted:Grats! Thanks!  Yeah, he's the real deal. I mean, ordering a guitar without being able to play it first is pretty insane, but Ron has my trust. He simply won't let a bad instrument leave his shop - and he sticks to his stated build times. And above all, he's not a snake oil salesman going on about tonewoods or whatever. He just builds great guitars.
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Oct 22, 2015 12:12
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Not sure if I'm keen on the headstock but that's some really nice work there either way. How much did it run you, if you don't mind me asking?
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Oct 22, 2015 12:25
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I actually really like the headstock. I think it looks classy. I think I'd get a Ron Kirn over a Fender CS, it seems like it has the quality for less with more options. Not that I think I'd ever have the money for either. Boutique luthiers are pricey.
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Oct 22, 2015 12:29
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Thanks! The headstock is one of several shapes that Ron makes. This particular one is the closest to a vintage Jag. Ron will do a basic Jaguar for like 2,2k; this one ran a little over 3k with all the options. Pricey indeed, but gently caress it 
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Oct 22, 2015 12:41
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Wengy posted:Thanks! Yeah, that's sexy as hell and as much as I would love a short scale fender I really wish they would come out with one that didn't have a rosewood fretboard because 3k is way too much for me to spend on that.
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Oct 22, 2015 19:16
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Wengy posted:Pics from Ron as he was building it (click for larger versions): I'd learn to play left handed if it meant I could have this guitar. Goddamn
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Oct 22, 2015 20:21
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^^^ now you can!monolithburger posted:Hope I'm not being a pain in the butt, but it might be helpful to have an option to switch to a left handed view - I had a hell of a time getting my head around right handed charts when I first started playing. Just put the new version on the server, the page should update within 10 minutes so left-wingers are no longer left out in the cold. Next up: alternate tunings and more scales.
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Oct 22, 2015 21:30
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Here's a new one for me, I didn't get zapped per se but I was definitely noticing some sort of current (or whatever you call it) through my strings earlier today, I was using an amp that was plugged directly into a wall socket (UK with the 3 prongs). This freaked me out a little bit so I transferred the plug over to a power strip plugged into a different socket and the problem seemed to be fixed. I know it's inadvisable to play in such a way and I will certainly try to make sure that I don't play without a grounded socket, but how potentially dangerous is this? I suppose it would be a wise thing to always use a surge protector on your equipment. What way can I check that the grounding error is not with my guitar?
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Oct 22, 2015 21:52
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fullroundaction posted:I'd learn to play left handed if it meant I could have this guitar. Goddamn Lol thanks. As a lefty I'm usually on the outside looking in (at all the awesome guitars I don't get to play), so I had to take matters into my own hands...
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Oct 23, 2015 00:14
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Piling on: gorgeous axe. Congrats! 
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Oct 23, 2015 00:21
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ivoroid binding is wisdom
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Oct 23, 2015 00:53
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Wanna finger that maple fretboard
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Oct 23, 2015 00:54
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Congrats on your awesome life choices Wengy.
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Oct 23, 2015 02:13
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Thanks I'm making those choices as long as I can, I'll be jobless soon enough so gently caress it
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Oct 23, 2015 08:18
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TopherCStone posted:^^^ now you can! This super helpful, looking forward to seeing it progress.
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Oct 23, 2015 22:52
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I'll stop spamming after this, I promise, but Ron took some really cool glamour shots of my Jag that he just belatedly sent me:          
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Oct 23, 2015 23:04
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No it's cool please keep spamming 
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Oct 23, 2015 23:06
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I gotta say, playing this thing I don't understand how the Jaguar never really established itself. The body shape is incredibly comfortable, the 24" scale is a revelation (to me), the rhythm circuit, the two single coils and the bass cut switch allow for a vast variety of tones... It's awesome. Not that the Strat and Tele aren't, but this is such a cool, thoughtful design.
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Oct 23, 2015 23:12
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Wengy posted:I gotta say, playing this thing I don't understand how the Jaguar never really established itself. The body shape is incredibly comfortable, the 24" scale is a revelation (to me), the rhythm circuit, the two single coils and the bass cut switch allow for a vast variety of tones... It's awesome. Not that the Strat and Tele aren't, but this is such a cool, thoughtful design. It did, kind of. The Jazzmaster was first but has never been a great jazz guitar for players looking for the sound of big archtops so instead it got picked up by surf players who loved the trem. The Jag was an attempt to refine the design for surf musicians with the mute and sharper pickups and it got pretty popular on that scene. Unfortunately it was expensive, players didn't like the short-scale, the pickups were too weedy for the new humbucker sound, the controls were too complicated, and the bridge has always been fiddly at best. Then rock and roll got into it's swing and really hosed the whole deal up. Hendrix picked up the Strat and Clapton and Page picked up the Les Paul and it was mostly over for the offsets. After that it languished for a few decades until Cobain and Sonic Youth and the reissues. I think with a few mods to Leo's original the current editions stand up to any other design, even at the expense of some of the character. The Classic Players and Johnny Marr are the logical development: less string behind the bridge so you lose the clangy resonance, hotter pickups, stable tuneomatic bridge, none of the rhythm/lead madness, and you can't turn the pickups off accidentally.
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Oct 23, 2015 23:46
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The combined death of surf/instrumental melodic weird rock music + percussive toned offsets really sucks massive rear end
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Oct 24, 2015 00:02
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Yeah, the original bridge was / is poo poo and the fact that you can accidentally 'turn off' the guitar is pretty insane (why did Leo think these three weird switches were better than a traditional pickup switch???). Still, I think people underrate the versatility of these guitars and exaggerate their quirkiness (I have a Kirn Jazzmaster too, I love offsets, sue me) - they just feel awesome. If Hendrix had picked up a Jag instead of a Strat...
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Oct 24, 2015 00:06
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I really love the rhythm switch and controls honestly. You can great crazy fat dirt tones with it on and rolled all the way back. I agree on the tailpiece spacing and bridge though. The JMJM is perfect for me when it comes to its base hardware. I'm glad it was my first JM.
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Oct 24, 2015 00:12
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I love my Jag and i love it partly because it's a quirky little motherfucker, it's just part of the charm to me. That's lovely Wengy, congrats my friend
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Oct 24, 2015 02:39
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jfc that's a nice looking offset. I'm a huge binding and block inlay guy as well. 
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Oct 24, 2015 02:50
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My Squier Jag is the only guitar I regret selling. I spent a lot of time getting it set up perfectly. My AVRI '62 Jag, on the other hand, was a dog. I keep thinking they're going to do Johnny Marr Squier Jag, like the Mascis Jazzmaster, but it hasn't happened yet...
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Oct 24, 2015 02:59
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Wengy posted:Yeah, the original bridge was / is poo poo and the fact that you can accidentally 'turn off' the guitar is pretty insane (why did Leo think these three weird switches were better than a traditional pickup switch???). Still, I think people underrate the versatility of these guitars and exaggerate their quirkiness (I have a Kirn Jazzmaster too, I love offsets, sue me) - they just feel awesome. If Hendrix had picked up a Jag instead of a Strat... Hendrix played jazzmasters long before the strat, and he seemed to have at least played live on a jag as early as '68. Hendrix had access to just about every contemporary guitar and there are pictures of him using just about all of them. For whatever reason, strat were always his primary guitar. Probably because he felt he could get the most out of strat trems. But his thoughts and preferences are nothing more than myth and legend now.
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Oct 24, 2015 03:35
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I like the rocking bridge, especially the new staytrem on my VI. Set it up right and it will always return in tune. Just get a quality tailpiece where the metal won't degrade. Worst case any plumbers/gas supply store can sell a length of brass pipe that will work as stable bushings for the bridge if you hate the rocking but that leads to string friction on the saddles. Biggest problem is finding an arm to fit original fender trems.
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Oct 24, 2015 05:20
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Gripen5 posted:Hendrix played jazzmasters long before the strat, and he seemed to have at least played live on a jag as early as '68. Very interesting, I didn't know that - thanks! Thanks to all of you for the nice comments The guitar is a bit of an indulgence on my part, but whatever, it plays really, really nicely, and going for a short scale was definitely the right move. My tiny babby fingers are thanking me.
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Oct 24, 2015 06:44
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Is it appropriate to email a guitar professor at a local university i don't attend to ask for some referrals for guitar teachers? Like maybe he has some students that are open to teaching? Its becoming clearer that teaching myself classical guitar is A Bad Idea. I can only seem to find general guitar teachers, and teachers that only take children students. I actually found one classical teacher in my area, but he operates through a church, idk if I can handle that.
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Oct 24, 2015 17:51
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Barnyard Protein posted:Is it appropriate to email a guitar professor at a local university i don't attend to ask for some referrals for guitar teachers? Like maybe he has some students that are open to teaching? Its becoming clearer that teaching myself classical guitar is A Bad Idea. I can only seem to find general guitar teachers, and teachers that only take children students. I actually found one classical teacher in my area, but he operates through a church, idk if I can handle that. I think that's totally appropriate, and it's highly possible that the professor teaches privately in the area. What's the university?
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Oct 24, 2015 20:40
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firebad57 posted:I think that's totally appropriate, and it's highly possible that the professor teaches privately in the area. What's the university? ASU in Tempe, AZ. I live a couple suburbs over from there. I don't know why I'm stressing at the idea of sending someone an email, sheesh what is wrong with me.
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Oct 24, 2015 20:55
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Barnyard Protein posted:ASU in Tempe, AZ. I live a couple suburbs over from there. I don't know why I'm stressing at the idea of sending someone an email, sheesh what is wrong with me. That's a great program with a doctoral program, so you should be fine, even if Frank Koonce can't teach you himself. Let me know if you don't hear back from him, and I can try to scare up a good teacher in the area for you.
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Oct 24, 2015 21:26
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firebad57 posted:That's a great program with a doctoral program, so you should be fine, even if Frank Koonce can't teach you himself. Let me know if you don't hear back from him, and I can try to scare up a good teacher in the area for you. No kidding, it took 12 minutes after I sent Dr. Koonce an email for him to reply with the contact information of a brazillian guitar doctoral student. Perfect. Holy smokes.
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Oct 24, 2015 21:40
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Looking for some tips on a bit in a solo I'm working on. To start with, it's a pretty simple phrase:code:Once it heals up I imagine it won't be a problem, but I wonder if I'm playing this like a complete loving idiot and there would be a better way to do it? Any tips appreciated. And here's a gp tab of it, and a link to the actual song, for reference: http://www.911tabs.com/link/?4527038 (solo starts measure 75, troubling bit is 80) https://www.youtube.com/watch?v=DCLxySOIOG8 Solo starts 2:36, trouble part is 2:45 It is harmonised so the tab is probably more useful than the actual track.
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Oct 25, 2015 01:44
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Maybe I'm just being naive because I suck, but can't you just bend when you get to the 22nd? Like you'd need to practice getting a smooth transition so there's no obvious change in speed, but if you treat the slide and the immediate bend as all part of the same movement, it should work fine right? Could you even tell if someone did one or the other?
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Oct 25, 2015 01:51
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