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Not sure where else to post this since the "How do I recreate a sound?" thread has been archived, but my cover band does this song and I've been scratching my head forever trying to figure out how to recreate that resonant sort of wah-ish plinking sound in the intro and after the choruses on the keyboard. Any idea what's going on there? https://www.youtube.com/watch?v=VjATZYHs4Tc
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Jul 6, 2018 20:32
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Envelope filter?
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Jul 6, 2018 22:03
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i don't think this is it, (i don't have my good headphones next to me to listen closer) but it kinda sounds like a jaw harp with a wah or envelope filter, or maybe a talkbox into the wah/envelope?
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Jul 7, 2018 01:03
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Lester Shy posted:Why do a lot of "premium" basses have huge chunks of wood where the horn would be? Like this: It's not exactly new in six-strings.  Frankly just aping one of the most famous guitar designs of all time is explanation enough for it.
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Jul 18, 2018 15:23
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It makes it easier to play the high notes without bending your wrist and getting carpal tunnel. There are a /lot/ of high notes on that bass.
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Jul 18, 2018 20:03
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How does that make it easier though? He was asking about the top horn, not the cutout.
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Jul 19, 2018 23:51
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the LP has like six frets where the neck isn't 360-degrees accessible that bass has like six and then another ten
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Jul 20, 2018 08:39
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Can someone explain to me how the gently caress EQ pedals are supposed to work and how I can get it to cut out excessive feedback on my mandolin and get rid of that massively bass-heavy picking sound? Please and thank you.
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Jul 26, 2018 12:32
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What eq pedal do you have/are you looking at? What are you using for amplification? I'm assuming its an electric mandolin. Tbh and without wishing to sound patronising the best thing you can do is fiddle with eq on your amp and pedal until you find something that works in most situations. If its a graphic eq like an MXR (with different frequency sliders) then its worth bearing in mind the lowest note on a standard tuned mandolin is 196hz, so cutting anything below that should help. A little dip around 400 would also probably be beneficial. Are you able to stand somewhere else or face another direction to eliminate feedback? If not or if it's a persistent issue regardless then perhaps a noise gate is order.
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Jul 26, 2018 14:00
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NonzeroCircle posted:What eq pedal do you have/are you looking at? What are you using for amplification? I'm assuming its an electric mandolin. It's an MD615 Eastman with a K&K internal fusion pickup, so not really an electric mandolin. I have a Behringer Graphic Equalizer. Can't really fiddle with EQ on my amp because I don't use one- just into a DI box into a PA system. I'll try cutting stuff (I assume that means sliding all the way down) anything below 196 and see if that works.
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Jul 26, 2018 15:03
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If its the yellow pedal with 7 sliders then yeah, try pulling the lowest frequency slider (far left) all the way down, and then adjust the next one along down a bit, that's the one that's closest to the lowest note your instrument produces.
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Jul 26, 2018 21:00
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Yeah that's the one. Cheers guys, hopefully this works until I can afford a proper LR Baggs acoustic pedal.
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Jul 26, 2018 23:05
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Anyone have experience with Logic Pro X's region automation? I have three different recordings on three different tracks. I want to jump between them every two bars. I split all three regions every two bars, so now each track has 8 different regions on it. What I thought region automation would do is let me go through and bump up the gain on each new region by 3 or 4 dB. What it's actually doing is adjusting the default region automation for every region on the track unless i go in and manually change each one, so ... functionally the same as using track automation instead, but less convenient. There's got to be a way to have the default region automation just be "no change from the track's normal automation unless I change it," right? Googling is no help, because I keep getting results for the opposite problem (region does nothing, track does everything), and there's nothing under the automation settings menu that seems like it would help. Am I missing something or is region automation really useless? If it makes a difference, I'm on 10.2.3 since I'm still running Yosemite until I'm finished with my current project and can update everything, so maybe this is a bug that's been fixed in the current version.
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Aug 2, 2018 18:05
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I just started learning accordion (yeah, I know, I'm goony, hipster trash). Does anyone have any resources they recommend?
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Aug 4, 2018 23:26
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Jazz Marimba posted:I just started learning accordion (yeah, I know, I'm goony, hipster trash). Does anyone have any resources they recommend? Not a learning resource, and only kind of related to the accordion (unless you're playing a button melodeon) but Mosen Ahmini is a loving beast of a concertina player and you should definitely listen to his stuff. https://www.youtube.com/watch?v=uErD0eVgzBE https://www.youtube.com/watch?v=DFalXoDhurA
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Aug 5, 2018 18:53
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So I wrote a little song the chord progression of which is Ebminor > Emaj7 > C# > Ebminor I'm having trouble figuring out what key its in, or understanding how keys work in general with regards to this. I mean I've made this progression that sounds nice to me but how do I as, someone learning theory, go about determining which key this is in? Any help or resources would be much appreciated. I'm looking for stuff to help me understand more in general as well as for this specific little progression. Hopefully this isn't too big for the "small questions", I apologize if it is. Kvlt! fucked around with this message at 05:47 on Aug 18, 2018 |
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Aug 18, 2018 05:36
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That's Eb Phrygaeolian. Okay not really, but given that you've got a run of three half steps in it (Eb, E, F, F#) I'm not sure you're going to get a great answer unless the melody makes it clear. Sure is pretty though. Other people in here know lots more about theory than I do though so somebody might have a better answer.
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Aug 18, 2018 08:04
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I'm at a loss myself, for this particular example. I'd guess some sort of Ebminor with some chromatic notes. There are plenty of examples of pop music floating between minor modes (Smoke On The Water). Try posting in the music theory thread, lot of clever people in there, and lots of resources if you're interested in learning more. https://forums.somethingawful.com/showthread.php?threadid=3854015 Konsek fucked around with this message at 18:46 on Aug 18, 2018 |
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Aug 18, 2018 10:01
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Kvlt! posted:So I wrote a little song the chord progression of which is Ebminor > Emaj7 > C# > Ebminor You got these notes Eb Gb Bb E G# B D# C# E# G# Which we can turn into this scale if we use the sharp version of the flat notes (Eb = D# etc): E (E#/F) F# G# A# B C# D# Apart from the note in parentheses (which comes from the C# chord) that's pretty much the B major scale, B C# D# E F# G# A#, or E... lydian? Or whatever weird mode starts on the Eb I can't be bothered looking it up  So yeah the C# is the wildcard there, because of its 3rd. I guess it depends on what key the progression sounds like it's in (I don't really know what I'm talking about, just rambling) - if it does feel like Eb is the tonic, then that F natural (the 3rd of the C# chord) resolves up a half step to become the 3rd of the Ebm chord, and the 3rd is one of the most important notes because of how much it defines the sound The trouble with music theory is that knowing a bit tells you the basic rules, and then almost nothing seems to actually follow them. You get into secondary dominants and borrowing chords from the major/minor key and it all gets a bit convoluted. But remember, it's all trying to apply some structure to explain why something sounds good - and you don't need to know the theory to come up with something you like! Don't worry about it too much, unless you're genuinely curious about how to analyse it That reminds me, another way you could look at it: C# as the tonic chord, D#m (that's Ebm) as its ii, and Emaj7 as the III borrowed from C# minor. Borrowing the III and the VI is a neat trick to know and it can be really obvious when you hear it in a progression. No I haven't actually tried playing yours yet!
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Aug 18, 2018 16:56
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I'm gonna be saying "D# minor" instead of the enharmonic equivalent "Eb minor" in this effortpost. Hope thats okTrig Discipline posted:I'm not sure you're going to get a great answer unless the melody makes it clear. I agree with this. The melody, bass line, or voice leading can have a huge effect on how a chord movement is gonna feel. baka kaba posted:So yeah the C# is the wildcard there, because of its 3rd. I guess it depends on what key the progression sounds like it's in (I don't really know what I'm talking about, just rambling) - if it does feel like Eb is the tonic, then that F natural (the 3rd of the C# chord) resolves up a half step to become the 3rd of the Ebm chord, and the 3rd is one of the most important notes because of how much it defines the sound If we're in some kind of major scale or one of its modes, then I agree that one of these chords has to be a wildcard (non-diatonic), but I don't think it has to be the C#. We know that the C# major and E major can't be diatonic to the same major scale because they're two major chords separated by a minor 3rd interval. That doesn't happen in a major scale. However, the D# minor chord can coexist nicely in a major scale with either the E major chord (iii and IV in the key of B) or the C# major chord (I and ii in the key of C#, or V and vi in the key of F#). And I think you're right about the F in the C# major chord resolving up a half step to the F# in the D# minor chord. If that's true, and if we're in some kind of major scale, then we have one of two possibilities: F the leading tone (7th scale degree of F# major), or F is mediant (3rd scale degree of C# major). Or to put that another way, the D# minor chord could be a vi chord in F# major, or a ii chord in C# major. baka kaba posted:That reminds me, another way you could look at it: C# as the tonic chord, D#m (that's Ebm) as its ii, and Emaj7 as the III borrowed from C# minor. Borrowing the III and the VI is a neat trick to know and it can be really obvious when you hear it in a progression. No I haven't actually tried playing yours yet! So if you are thinking of C# major as the tonic chord, we have this: ii -> bIII -> I -> ii That bIII chord (E major) would be one of the chromatic mediants in C# major. Rick Beato does a great job explaining chromatic mediants: https://www.youtube.com/watch?v=dhXL3q7e-xc But my problem with this analysis is that the bIII -> I movement isn't a strong cadence. The C# chord doesn't feel like a tonic to me. I prefer to think of this progression as not having a tonic chord, because none of the chords in this progression has a dominant relationship to its subsequent chord. By that I mean, a V -> I authentic cadence. https://en.wikipedia.org/wiki/Cadence_(music)#Authentic_cadence The strongest cadence in this would be C# major > D# minor as a V -> vi deceptive cadence in F# major. https://en.wikipedia.org/wiki/Cadence_(music)#Interrupted_(deceptive)_cadence If you find that persuasive, then you could label the Emaj7 chord a bVII in F# major. vi -> bVII -> V -> vi Or if you prefer to think about this in D# minor, the relative minor (Aeolian mode) of F#: i -> bII -> bVII -> i Either way, I'm calling that E major chord out as the non-diatonic chord in this progression. e: just realized its bIII in C# major, not III e: just realized i typed iv when i meant vi. fixed e: the seventh degree in the natural minor is bVII not VII. fixed Helianthus Annuus fucked around with this message at 18:08 on Aug 21, 2018 |
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Aug 19, 2018 23:51
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baka kaba posted:Apart from the note in parentheses (which comes from the C# chord) that's pretty much the B major scale, B C# D# E F# G# A# Oh yeah, one more possibility. If you assume the D# minor and E major chords are diatonic, that puts us in B major, and that chord change would be a iii -> IV. That would make C# major the II chord of B major. That makes C# major the non-diatonic borrowed chord, because the diatonic ii chord in B major is supposed to be C# minor, not C# major as we have in this progression. iii -> IV -> II -> iii Like in my last post, this thing doesn't have a tonic chord. The only reason I prefer my analysis in F# major is this: If you imagine all the possible chord movements in a list ordered by how "strong" they sound, the iii -> IV movement is further down the list, and the V -> vi movement is closer to the top. I dunno if this is always the "right way" to think about it, but it's how I like to approach chord progressions that don't fit nicely into a key. But again, voice leading, melody, etc can make a big difference. I would need to hear the song to say more. e: typed iv when i meant to type vi. fixed Helianthus Annuus fucked around with this message at 15:11 on Aug 21, 2018 |
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Aug 20, 2018 00:14
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Yeah, I don't fully grasp all of those concepts but just from playing the progression a bit, I agree that the C# -> D#m is the defining change that feels like it's resolving. So D#m does feel like the home chord, to me. D# minor is F#'s relative minor though right? (You said it's the iv but that would be Bm) I'd be pretty comfortable calling it that, but that's just my nub opinion And yeah the Emaj7 does feel like the wildcard adding that "hey what's happening but I like it" spice. I started wondering if you could treat the D#m as an Ab9 but this is getting out of hand and I've no idea what I'm doingThanks for the feedback though, I give it a better read over tomorrow! I'll watch that video in a bit too, that guy's been popping up on my youtube recs for some reason 
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Aug 20, 2018 22:45
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baka kaba posted:Yeah, I don't fully grasp all of those concepts but just from playing the progression a bit, I agree that the C# -> D#m is the defining change that feels like it's resolving. So D#m does feel like the home chord, to me. D# minor is F#'s relative minor though right? (You said it's the iv but that would be Bm) ya its the vi, sorry. roman numerals are hard for me, especially in lower case. i'll fix it Helianthus Annuus fucked around with this message at 15:13 on Aug 21, 2018 |
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Aug 21, 2018 15:09
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Well the only reason I mentioned it is it makes the F# major idea a lot stronger, if you think it's basically bouncing around its relative minor instead (kinda!)
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Aug 21, 2018 16:12
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Man, my posts have so many mistakes. There are so many details that have to be 100% correct, or it doesn't make any sense. I've probably had to edit them at least a dozen times. And just now I discovered that I said the wrong progression when I rewrote vi -> bVII -> V -> vi in a minor key. I said i -> bII -> VII -> i but I should have put bVII instead of VII according to https://en.wikipedia.org/wiki/Roman_numeral_analysis#Minor
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Aug 21, 2018 18:07
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Helianthus Annuus posted:Man, my posts have so many mistakes. There are so many details that have to be 100% correct, or it doesn't make any sense. I've never seen that anywhere except Wikipedia. If you're thinking in D# natural minor and play a C# major chord I'd say that's VII not bVII because the root note of the chord is from the scale. If the root note of the chord is flat compared to the note of the scale, say (still in D# minor) a major chord built on C, then it would be a bVII surely. And yes, when I post about theory I edit my posts about 5 times too, haha. By the way, I enjoy reading your music theory posts! Konsek fucked around with this message at 19:17 on Aug 21, 2018 |
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Aug 21, 2018 19:13
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Konsek posted:I've never seen that anywhere except Wikipedia. If you're thinking in D# natural minor and play a C# major chord I'd say that's VII not bVII because the root note of the chord is from the scale. If the root note of the chord is flat compared to the note of the scale, say (still in D# minor) a major chord built on C, then it would be a bVII surely. Thanks for sayin that, thats really nice to hear. What you said about the VII and the bVII was my initial thinking as well, but I think wikipedia is actually right this time. When you're doing roman numeral analysis, I think you're supposed to assume each chord's root comes from a major scale if you don't specify otherwise. I think you and I were trying to give aeolian mode (natural minor) the same courtesy. But if you think about analyzing something in phrygian, do you wanna write it like this? i bII bIII iv v° bVI bvii Or is this better? i II III iv v° VI vii If I wrote something using the chords on line number 2, I would have to explicitly tell you that it's in phrygian. I think it's more explicit to use the chords from the first line, and I think it's more consistent to give natural minor mode the same treatment that you would give phrygian or any other mode. And I think that becomes even more important when you're analyzing chords from the harmonic minor or phrygian dominant. That said, I dunno why the major scale (ionian mode) has to be the "default" scale, other than historical reasons. edit: adam neely has an explanation, i find it persuasive https://www.youtube.com/watch?v=iW6YeDJklhQ&t=451s Helianthus Annuus fucked around with this message at 02:47 on Aug 22, 2018 |
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Aug 21, 2018 21:50
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^^^ Excellent reading to brush up on this stuff. I never got that advanced but it reinforces some of the basics I've ignored lately because of busy life and all. Thank you for your good work.  I need new headphones. My Sennheiser HD-595s have served me well for, poo poo, probably at least 10 years now? They're all beat to poo poo now.  They're discontinued. I'm looking for something similar. ~$150-ish is fine. $200 to maybe just a biiiiit above if they're super stellar. Cheaper is also totally cool too. I'm no audio engineer, but I'm looking for "reference" enough quality for monitoring and listening, at least in that price range. Definitely want the same open-aire "circumaural" style. Doesn't have to be Sennheiser. But I mean, I've beat the poo poo out of these for 10 years and they're still sounding pretty good... I've had other Sennheiser stuff too that has also been super great. Let me know what you think!! Thank You. e: Oh, and obviously wired and no extra noise cancelling nonsense or anything. e2: Doing my research. Headphone amps are still a thing? I'll mostly be smashing signal through some kind of audio interface. Do I really need one of those these days? e again: I know headphone amps exist to like 4-port off headphones in a studio set-up. I'm looking at general music listening at high quality, and monitoring for playing/recording elec drums and guitar. But even for general music listening on my computer, I have a small audio interface that I assume puts out way more signal than a phone or computer's headphone jack. I could definitely be wrong. It's an old-rear end M-Audio Mobile Pre, and the headphone jack actually may be a bit jacked up. fartzone_42069 fucked around with this message at 05:29 on Aug 22, 2018 |
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Aug 22, 2018 05:03
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I like my Audio Technica ATH-AD900X headphones, i don't use an amp with it. I have it plugged into my audio interface too.
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Aug 22, 2018 05:51
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Does anyone have any experience playing guitar with hitchhiker's thumbs? The thumb on my fretting hand wants to bend to about 90 degrees on the back of the neck, which doesn't hurt per se, but it can get very uncomfortable after a while. Trying to keep my thumb straighter feels unnatural. I use my thumb to fret the E when I need to, at least.
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Sep 9, 2018 03:03
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If it's getting in your way, try playing a guitar with a thinner neck and see if it helps. Like, go to a store, try a lot of guitars, and see if one of them feels better. If you find one, either buy it or make a note of the neck radius so you know what to shop for next.
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Sep 9, 2018 03:28
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Guys, I'm concerned about my band going into production and the frontman seems to want to put one of my songs on the bill. I'm probably being conceited about this, but I've always been worried about song rights and what is going to happen years from now if I ever leave the band or am pushed out and everyone goes on playing these songs, or if I'm going to somehow be restricted from singing these songs on my own, or receiving residiuals on them in the future if they ever do become any kind of success. *Granted, we're really just using the lyrics, but they're a fairly well loved work of mine. The guitar part I had originally written was pretty much dumbed down into a much more simplistic version, so I'm not so worried about that part, though I may bring it out in the studio for the hell of it. Should I be copyrighting my songs as a precaution, and what would be the best way to go about doing that? e. I am probably over-thinking this, because I seem to get into this vein of thought where I think the frontman is going to screw me over. But, he is actually a good friend and has been perfectly successful on his own merits. Jeff Goldblum fucked around with this message at 05:50 on Oct 1, 2018 |
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Oct 1, 2018 05:46
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Jeff Goldblum posted:Guys, I'm concerned about my band going into production and the frontman seems to want to put one of my songs on the bill. I'm probably being conceited about this, but I've always been worried about song rights and what is going to happen years from now if I ever leave the band or am pushed out and everyone goes on playing these songs, or if I'm going to somehow be restricted from singing these songs on my own, or receiving residiuals on them in the future if they ever do become any kind of success. *Granted, we're really just using the lyrics, but they're a fairly well loved work of mine. The guitar part I had originally written was pretty much dumbed down into a much more simplistic version, so I'm not so worried about that part, though I may bring it out in the studio for the hell of it. Are you a member of your local performing artists rights collection agency? Ascap in the US I believe. If you're releasing music all of you should join up. From there the technical side of registering ownership of songs is pretty easy. And no one can stop anyone from performing a song live, no matter who wrote it. You just won't receive any performance royalties.
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Oct 1, 2018 06:42
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whiter than a Wilco show posted:Are you a member of your local performing artists rights collection agency? Ascap in the US I believe. If you're releasing music all of you should join up. From there the technical side of registering ownership of songs is pretty easy. And no one can stop anyone from performing a song live, no matter who wrote it. You just won't receive any performance royalties. Seconding registering on ASCAP. There is a LOT of information that is important to know when it comes to copyright in music. Definitely recommend doing some research and if you can ask someone you know in the industry, even better.
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Oct 1, 2018 19:27
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Unless your song is a number 1 hit, and on the radio for months/years at a time, you don't have anything to worry about. You trying to catch that .00875 cents per play on Spotify?
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Oct 3, 2018 01:00
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Pokey Araya posted:Unless your song is a number 1 hit, and on the radio for months/years at a time, you don't have anything to worry about. You trying to catch that .00875 cents per play on Spotify? The money's in sync licensing 
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Oct 3, 2018 05:52
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I still wouldn't really worry about it. Write songs, make music, have fun. Also sync licensing is split 50/50 with the songwriter and the recording artist, so again, don't worry about it.
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Oct 3, 2018 06:14
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That is seriously terrible advice. Sort it out and register your songs. It costs nothing and takes 5 minutes.
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Oct 3, 2018 06:38
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whiter than a Wilco show posted:That is seriously terrible advice. Sort it out and register your songs. It costs nothing and takes 5 minutes. How many songs have you sold? How many records have you been on? How many songwriting credits do you have? If the answer to all these is 1 or less, you can probably stop giving advice. Also it is a $150 fee to register with BMI or $100 for ASCAP. Also you sign a 2 year contract as a songwriter, and 5 year as a publisher, they also take a 13% commission. The original question was about "my band going into production ... one of my songs on the bill". I have no idea what these terms mean. Are you recording these songs? Are you playing them live? What "bill" are they going on? There is a <1% chance any of these songs are going to go anywhere. You bringing up this argument to your band is probably going to cause a lot of strife, and resentment. Are you having fun playing in that band? Cool, then keep doing that. If you're already feeling some resentment, just quit, and do your own thing. Unless you are planning on making music your sole income, don't worry about it.
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Oct 3, 2018 08:41
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Pokey Araya posted:How many songs have you sold? How many records have you been on? How many songwriting credits do you have? If the answer to all these is 1 or less, you can probably stop giving advice. Also it is a $150 fee to register with BMI or $100 for ASCAP. Also you sign a 2 year contract as a songwriter, and 5 year as a publisher, they also take a 13% commission. I've released multiple albums, and scored multiple television series. About a third of my annual income is from songwriting royalties. The reason you have an adult conversation as a band at the start is to avoid having strife and fighting later if you have any kind of success at all and can't remember who did what. It's not an "argument" you're bringing up you idiot, it's a pre emptive solution, and no one should ever, ever be in a musical project with anyone who's afraid to actually plainly talk through where everyone stands in the group, because I can guarantee 100% they will gently caress it up with some weird resentment they will never discuss directly. I'm not in America, I should have known you'd get boned on fees. Regardless of joining up or not, have actual conversations about how your band is going to run OP.
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Oct 3, 2018 08:52
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