|
Pretty sure a black schecter omen is for people who hate their dads or whatever the doofus from Linkin Park played in the One Step Closer video. Or an Ibanez 7 string.
|
#
?
Aug 30, 2016 05:29
|
|
|
|
| # ? Jun 8, 2024 19:19 |
|
|
From the demo bias fx is pretty neat - way better than my POD HD, although the 5150 clone isn't quite as nice as my AMT pedal -> power amp setup - but how the hell do you people play through studio monitors? I guess I don't have the best monitors (some $100 m-audios), but I also don't have the best cab, and it just sounds wrong in some way I can't easily describe through the monitors. I tried to use a pod -> monitors setup for a while and it just lacked... punch, or midrange, or I don't know what compared to running through an actual guitar cabinet.
|
|
#
?
Aug 30, 2016 12:08
|
|
|
does bias fx have a nice plexi clean tone?
|
|
#
?
Aug 30, 2016 12:19
|
|
|
Gnumonic posted:From the demo bias fx is pretty neat - way better than my POD HD, although the 5150 clone isn't quite as nice as my AMT pedal -> power amp setup - but how the hell do you people play through studio monitors? I guess I don't have the best monitors (some $100 m-audios), but I also don't have the best cab, and it just sounds wrong in some way I can't easily describe through the monitors. I tried to use a pod -> monitors setup for a while and it just lacked... punch, or midrange, or I don't know what compared to running through an actual guitar cabinet. Try mixing some "room" in there: a real cab pushes air in a way most monitors won't. Either use it on a send or if your cab sim allows it, do it there. You don't need loads but it makes a huge difference to making it sound more 'real' for want of a better phrase.
|
|
#
?
Aug 30, 2016 12:31
|
|
|
I'm writing out my first guitar tab in, like, a decade, having long since learnt to play by ear. To my amazement I'm having trouble finding software that actually lets me write in fixed-width text without also doing "helpful" things like converting dashes to emdashes and throwing the alignment out. What do people use to quickly write and edit tabs on Mac in 2016?
|
|
#
?
Aug 30, 2016 15:18
|
|
|
Try SublimeText or Atom.
|
|
#
?
Aug 30, 2016 15:22
|
|
|
jwh posted:Try SublimeText or Atom. You can also use TextEdit, making sure to select "Make Plain Text" in the format menu. Comedy option: MacVim
|
|
#
?
Aug 30, 2016 15:24
|
|
|
Did it with Sublime, thanks!
|
|
#
?
Aug 30, 2016 15:39
|
|
|
How bad can pick-ups be affected by close by electric circuits? I've notice a weird "static" sound coming off my guitar and bass and depending where I point my guitar at the sound differ or become more present or less. I was thinking that maybe it's because the electricity in my house is over 40 years old and that my gears is next to the circuits panel with the breakers? Frog 1.0 fucked around with this message at 19:59 on Aug 30, 2016 |
|
#
?
Aug 30, 2016 19:56
|
|
|
Yeah pickups get all sorts of silly noise from strange places. Single coils more so but that's because humbuckers have a second coil literally designed to amplify the noise a second time but out of phase.
|
|
#
?
Aug 30, 2016 21:12
|
|
|
So here's the thing, my MIJ strat is amazing and I want to love it forever. I am going to put some BKP sinners in there (black on black guard? currently 'real' aged cream on anodised aluminium which I can't really duplicate without another custom order) and I'm thinking about replacing the neck with a charvel neck half scalloped - thoughts?
|
|
#
?
Aug 30, 2016 21:18
|
|
|
Is it classic 60hz or something else? Also, lets all petition for a national A4= 427.63 Hz standard, then mains hum will just be a free tuner and drone B string. 440 only became dominant because Nazis.
|
|
#
?
Aug 30, 2016 21:19
|
|
|
Southern Heel posted:So here's the thing, my MIJ strat is amazing and I want to love it forever. I am going to put some BKP sinners in there (black on black guard? currently 'real' aged cream on anodised aluminium which I can't really duplicate without another custom order) and I'm thinking about replacing the neck with a charvel neck half scalloped - thoughts? You can reuse the guard and possibly even the covers from the old pickups so don't worry about that.
|
|
#
?
Aug 30, 2016 21:29
|
|
|
shame on an IGA posted:Is it classic 60hz or something else? Hah, that's a great idea! A lot of things will throw EM, but most commonly I find that dimmers and fluorescent light ballasts are the most common when you're just sitting around somebody's living room. And cell phones, too. That's a neat sound.
|
|
#
?
Aug 30, 2016 21:33
|
|
|
Shugojin posted:You can reuse the guard and possibly even the covers from the old pickups so don't worry about that. I meant the scratchplate tbh - I think I'm going to leave the entire scratchplate, pickups, etc. exactly as is an order a prewired guard from BKP, so I can return to 'vintage spec' and swap-in and swap-out only worrying about the grounding wire. Because I'm still getting the hang of my gear, made a little video to that effect: https://www.youtube.com/watch?v=0w33uiOFKh0 Also you are the reason I'm considering Sinners, should have added a shout-out  Not sure how I'll handle the neck though, the cheapest Mighty Mite isn't exactly cheap: http://www.ebay.co.uk/itm/Charvel-Sandimas-Style-Neck-/262579298909?hash=item3d22f2225d:g:vO8AAOSwuhhXXbFy can I scallop myself?
|
|
#
?
Aug 30, 2016 22:25
|
|
|
I haven't even used my sinners yet the guitar is still waiting. Need to get correct studs for the anchors, hopefully I figured it out and they work with the new bridge or else I'm taking the whole thing to a hardware store to find a properly threaded bolt to use in pulling out the old stud anchors. And then maybe I can finally put the whole thing together. Gonna play with tunings but I am currently thinking half step down with 10s or maybe d standard with 11s. We will see.
|
|
#
?
Aug 30, 2016 22:45
|
|
|
jwh posted:Hah, that's a great idea! I get some neat interference when a tram goes past my house. Sounds like an electric bee 
|
|
#
?
Aug 31, 2016 02:11
|
|
|
shame on an IGA posted:Is it classic 60hz or something else? My friend spent some time as a club musician in Gibraltar in the seventies. He used to claim that all the pianos, and therefore all the other instruments, on the rock were tuned slightly off 440, as there was only one piano tuner in the city and he had a habit of picking up the phone to use the dialtone as a reference frequency instead of using a tuning fork. Said it used to drive any new musicians who came over to do a season absolutely barmy before they learned to compensate.
|
|
#
?
Aug 31, 2016 13:03
|
|
|
Studs don't fit so all I know now is the anchors are smaller than edge pro studs and bigger than edge 3 ones Anyone got any ideas better than just finding bolts at a hardware store and using them to pull the old anchors and installing some proper edge pro ones?
|
|
#
?
Aug 31, 2016 15:55
|
|
|
Also I'm too excited so I'm heating up the soldering iron to put the sinners in my g&l Worst case I need to buy a second set  e: jesus goddamn christ  e2: yeah these aren't coming out Shugojin fucked around with this message at 19:30 on Aug 31, 2016 |
|
#
?
Aug 31, 2016 17:38
|
|
|
So my city has a local open jam for blues musicians thats really friendly. I went last night and the amount of gray hair was staggering, from black and white musicians alike. It really made me feel good. Anyway, I was thinking about joining them for a few numbers. I'm quickly realizing that all the songs I feel are 'blues' are really rock tunes that might have a 12 bar in them. I've been racking my brain on which blues tunes to play that are known but aren't 'overdone.' I want to learn them relatively quickly so any ones with a simple lead and basic rhythm would be great. My ideas so far: Crossroads (is this cliche? - i can play all of the cream solo.......) Key to the Highway Crosscut Saw Bell Bottom Blues (see, is this even really blues?) Would love some help on this from fellow blues dads. (also I have a real hard-on for any good Clapton covers. so ideas that way would be great!) Captain Apollo fucked around with this message at 20:42 on Aug 31, 2016 |
|
#
?
Aug 31, 2016 20:40
|
|
|
https://www.youtube.com/watch?v=tTHwFgwdBYk
|
|
#
?
Aug 31, 2016 21:05
|
|
|
Brief sinners review: The good: Holy poo poo the sound. Like the distortion is good but the harmonics on the cleans are just blowing me away like holy shiiiiit. You need a light picking and use of the volume but you can get the most shimmery sounds like holy gently caress. I'll do some demos at some point after I fix: The bad: Yeah so I maaaaay have derped the gently caress out on how single coil covers work and broken the windings on the neck so it doesn't work and am gonna have to pay them to rewind it unless they feel like being nice to dumb ol me but even if they don't that's fine because it's my fault. The ugly: black covers on pearloid pickguard but I love it anyway Overall: Yeah no these are gonna stay in this and I'm gonna have to come up with some other plan for the project guitar. Shugojin fucked around with this message at 21:46 on Aug 31, 2016 |
|
#
?
Aug 31, 2016 21:25
|
|
|
Captain Apollo posted:So my city has a local open jam for blues musicians thats really friendly. I went last night and the amount of gray hair was staggering, from black and white musicians alike. It really made me feel good. Regardless of his contribution to blues development, Robert Johnson was Clapton's hero and thus a religious figure for bluesdads. He only did two recording sessions in entire life, so there's not a lot of stuff to learn, but if you get the basic chords down on any song of his they'll fill in the hard parts for you, guaranteed. EDIT - Here, have the complete recordings: https://www.youtube.com/watch?v=tAqzeInakec
|
|
#
?
Aug 31, 2016 21:49
|
|
|
Blues jams are all about having fun so keep an ear out for respecting the vibe of the night but also don't be scared of playing Little Red Rooster, Yer Blues or anything else like that, the old guys will love it probably if they don't have heart attacks from the sheer face melting tempo of it all https://www.youtube.com/watch?v=Y4pL-zLbkv0
|
|
#
?
Aug 31, 2016 22:18
|
|
|
darkwasthenight posted:My friend spent some time as a club musician in Gibraltar in the seventies. He used to claim that all the pianos, and therefore all the other instruments, on the rock were tuned slightly off 440, as there was only one piano tuner in the city and he had a habit of picking up the phone to use the dialtone as a reference frequency instead of using a tuning fork. Said it used to drive any new musicians who came over to do a season absolutely barmy before they learned to compensate. hi noel gallagher
|
|
#
?
Aug 31, 2016 23:24
|
|
|
If you're looking for blues, you can't go wrong with Skip James and Son House. Great influences to pull in. Hubert Sumlin is another great blues guitarist - best known for working with Howlin' Wolf, he's a cool musician to look into.
|
|
#
?
Sep 1, 2016 04:44
|
|
|
DOOP posted:hi noel gallagher hi our kid
|
|
#
?
Sep 1, 2016 11:20
|
|
|
I'm dicking around in B standard on 10s and it still sounds punchy af sinners are literally everything I have ever wanted in a pickup
|
|
#
?
Sep 1, 2016 17:04
|
|
|
Probably a stupid question but I couldn't find the answer from a quick googling: with 3 string arpeggio patterns (think Yngwie stuff), how do you determine the root chord that it's based on? I know a bunch of patterns just from dicking around with his songs specifically, but I have no confidence in actually being able to name the "root" I'm using for the arpeggio. e: For an example, scroll half way down the page to the sweeps here (or control+find "Guitar Solo"): https://tabs.ultimate-guitar.com/y/yngwie_malmsteen/demon_driver_tab.htm fullroundaction fucked around with this message at 18:59 on Sep 1, 2016 |
|
#
?
Sep 1, 2016 18:51
|
|
|
fullroundaction posted:Probably a stupid question but I couldn't find the answer from a quick googling: with 3 string arpeggio patterns (think Yngwie stuff), how do you determine the root chord that it's based on? I know a bunch of patterns just from dicking around with his stuff specifically, but I have no confidence in actually being able to name the "root" I'm using for the arpeggio. it mostly just comes from knowing your arpeggios/chords well to be honest. the way i think is most often there will be a root, minor 3rd, 5th and probably minor 7th so to start with I'd just look at the notes and see if they fit into that pattern. so if it's G - E - C - A i'd think oh hey that's all the notes of Am7 so it's probably that, since it wouldn't make much sense with anything else as the root. sometimes people use weird arpeggios and mix it up more but that's a good basis i think. when you get more used to it you can just sort of hear the... quality i guess? and you'll immediately know like yeah this is an augmented arpeggio and the root must be this. e. so in your example it looks (at a glance) something like Bm > F♯ > Bm > F♯ > A > D and so on. i don't know the song but just based on what notes are being played it looks like that Lovechop fucked around with this message at 19:34 on Sep 1, 2016 |
|
#
?
Sep 1, 2016 19:25
|
|
|
canyoneer posted:Found a guy locally selling the MIM 60s strat with lacquer for $600. Gonna go see it Wednesday. OK I bought this. It was a great craigslist transaction. Guy invited me into his humongous house, and pulled it down off the wall. He bought it a year ago and then decided that he didn't like Strats (that's OK, nobody's perfect). He had about a dozen more guitars on the wall, and this was the cheapest of the lot. I had come prepared to negotiate down, but decided not to. I know "like new" and "mint condition" is an overused phrase, but this really was. Literally not a scuff or a scratch on it, the backplate still had the plastic protective film attached. Case too, looked like it had sat in a closet stacked on end with a bunch of other cases and never taken anywhere. This was essentially a new guitar that a guy had bought for $900+tax last year, and sold it to me for $600 this year. It really didn't feel at all like an actual vintage instrument that had been played for 50 years straight (not that I expected it to). It feels heavier, and it was weird to actually have remaining finish on the back of the neck! Neck was noticeably fatter than the famously skinny '61 neck. It will totally suit his needs though, as a Stratocaster shaped instrument that he'll play the heck out of. It's in our price range too, because we're both broke. Here's a pic of the old original 61 the week before he sold it. That's the guitar I learned to play on, and thus every guitar I've played since has made me think "this guitar feels weird".  And two bonus dad jam photos  
|
|
#
?
Sep 1, 2016 20:12
|
|
|
That 61 is lovely. I know what you mean about the other one not feeling like an old guitar, they never do. I have a 65 Mustang and it feels legit, relics or reissues feel nothing like it. Guitars don't age the way manufacturers seem to think they do for some reason. Also, anything from 65 or earlier means Leo was around keeping an eye on things and was in the factory and that makes me feel good cos the guy is basically my hero. Details like clay dot markers and brass side dot markers on the neck you only get while Leo was there, after he left CBS said 'lol nope' and made everything to a budget.
|
|
#
?
Sep 1, 2016 20:59
|
|
|
fullroundaction posted:Probably a stupid question but I couldn't find the answer from a quick googling: with 3 string arpeggio patterns (think Yngwie stuff), how do you determine the root chord that it's based on? I know a bunch of patterns just from dicking around with his songs specifically, but I have no confidence in actually being able to name the "root" I'm using for the arpeggio. Someone should really make this prominent in the OP http://www.scales-chords.com/chordid.php But to answer your question, really it's just knowing the shapes of chords but if you have the time you can plot it all out and figure out the key of that part of the song and then do some critical thinking because the root isn't always the lowest note in the arpeggio. Correct me if I'm wrong, but I only just looked at the first two arpeggios, and from applying some knowledge of Yngwie's habits, I'm going to guess that solo's in B harmonic minor because he loves harmonic minor and B makes sense because it's one of the four horsemen of keys for metal songs (the minor variants of E, A, B, and D). So I just looked at the notes of each arpeggio, and looked for a pattern. First one is D, B, F#, D. I get how in that order it can be confusing but that's the 8 6 3 1 of D major (or the 5 3 1 5 of F# major which in hindsight is likely what that really is). Then it goes to the second arpeggio that goes C#, A#, F#, C#. Immediately here I noticed that he's so far used B, C#, D, and A#. That's a dead ringer for B harmonic minor. Now you can see why he's doing 1 3 6 8 instead of 1 3 5 8, because the relative major to harmonic minor (something I can't find a name for) is the major scale but with a sharp fifth, so he's using 8631 since 8531 of that scale is basically dissonant and lovely. C# is the second note in B harmonic minor and after going back to reread this post for goofy errors, I forgot where I was going with this so gently caress it. I don't really feel like going through each arpeggio but B harmonic minor diads (that note and it's diatonic third) would go: B minor C# minor D Major E minor F# Major G Major A# minor B minor So look at what Yngie is doing in the rest of the solo and correct my lazy interpretation if I'm wrong because he loves key changes in his solos and it likely might switch to A harmonic minor (or it's homie, E dominant phrygian) because that key's like his bread and butter. Spanish Manlove fucked around with this message at 23:09 on Sep 1, 2016 |
|
#
?
Sep 1, 2016 22:59
|
|
|
Before: 2002 Fender Highway 1 Stratocaster  After: Tulsa Time Fender Highway 1 Stratocaster Custom Hand Wound Tulsa Pickups (Alnico II) Bone Nut Fender Locking Tuners 
|
|
#
?
Sep 1, 2016 23:01
|
|
|
peter gabriel posted:That 61 is lovely. That's because there's a ton of other differences beyond just "guitar got old". There are of course your standard differences in quality permitted in the factory but also a bunch of little differences in the individual components and what the factories you get those from now allow. Plus the grades of wood you end up using for the body (mostly gonna be weight here since I'm not the biggest believer in TONEWOODS) but also for the neck and fingerboard feeling. Lotta little tiny things work together to be an instrument.
|
|
#
?
Sep 1, 2016 23:05
|
|
|
Shugojin posted:That's because there's a ton of other differences beyond just "guitar got old". There are of course your standard differences in quality permitted in the factory but also a bunch of little differences in the individual components and what the factories you get those from now allow. Plus the grades of wood you end up using for the body (mostly gonna be weight here since I'm not the biggest believer in TONEWOODS) but also for the neck and fingerboard feeling. Totally agree, you've also got mad cultural things going on as well, for example back in the 50s Gibson gave precisely zero fucks where they got their mahogany from, so those early guitars are made from non farmed, hundreds of year old trees in some cases. That made them lighter (farmed wood is grown quicker by basically drenching it and therefore it grows more densely) and they needed no weight relief, that's true of much wood at the time, it's not about tone but definitely about feel and weight. Also you just can't really fake 60 years of being a bit of wood, unless you have a time machine
|
|
#
?
Sep 1, 2016 23:46
|
|
|
Spanish Manlove posted:Someone should really make this prominent in the OP Thanks for the in depth post. I came to most of the same conclusions, I was just hoping to do a lot less work :p I'll probably work out the different shapes and then make a chart so that I can just memorize them like a barre or jazz chord shape, since there are so few. I don't like to think, is what I'm saying
|
|
#
?
Sep 2, 2016 00:53
|
|
|
Shugojin posted:That's because there's a ton of other differences beyond just "guitar got old". There are of course your standard differences in quality permitted in the factory but also a bunch of little differences in the individual components and what the factories you get those from now allow. Plus the grades of wood you end up using for the body (mostly gonna be weight here since I'm not the biggest believer in TONEWOODS) but also for the neck and fingerboard feeling. Oddly this video has just come to light which I found interesting, it's just another world https://www.youtube.com/watch?v=Pf7vKfg6qeg When we think about old guitars it's hard to imagine how they were made and made so differently to now, even Fenders
|
|
#
?
Sep 2, 2016 16:37
|
|
|
|
| # ? Jun 8, 2024 19:19 |
|
|
OK so I waas going to buy some Sinners but then the BKP site decided to chuck on an extra 20% for VAT so out of principle gently caress that noise. Decided to go with an MXR Micro Amp+ to get the strat at the same output level as my Jackson/Ibanez. I've also decided to sell a bunch of poo poo: Seymour Duncan Vapor Trail Delay In the jam-booth in Andertons it sounded amazing - modulation on the delay sounded spacey and really soulful - but playing it through my home rig I just couldn't make it sound anything but overbearing. It would be either all-but-imperceptable or just take over entirely. It was the nicest sounding of the Ibanez Chorus and the MXR Carbon Copy too, so I think I just need to accept that delay doesn't have a place in my sound. Ibanez TS Mini I got this to push a Micro Dark, and sounded OK through my Crush 120H but never spectacular. It also didn't particularly place nice with either my JHS AT or the MXR 5150 - just flubbed all the midrange. I realised that I only ever used it with the drive channel on the Orange, and that itself has more than enough gain by itself. TC Hall of Fame Reverb Mini I toneprinted a few settings onto this and the only thing that was remotely interesting was the Steve Vai Ocean reverb, but after sitting there and A/B'ing against the built-in reverb on the 120H I just couldn't justify it being there at all. Maybe I'll regret it if I get an amp without built-in reverb but it seems I could better served with something like a Neunaber Immerse if I really needed Reverb as part of 'my sound'.
|
|
#
?
Sep 2, 2016 17:55
|
|