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After The War posted:"Too loud" is relative, maaaaaan. It could also be that I'm in a small room and about 3 feet in front of it. I'm just super paranoid about losing my hearing because I know I have some nerve damage in my ear (everyone does, at different levels. It's how your thresholds can be fine but you suck at understanding speech in noise)
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Apr 20, 2019 17:44
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Spanish Manlove posted:It could also be that I'm in a small room and about 3 feet in front of it. I'm just super paranoid about losing my hearing because I know I have some nerve damage in my ear (everyone does, at different levels. It's how your thresholds can be fine but you suck at understanding speech in noise) uh oh Which free spl meter did you get? I’m curious.
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Apr 20, 2019 17:50
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After The War posted:"Too loud" is relative, maaaaaan. Very true, every time I play by myself in the jam room I have to turn wayyyyy down cause it’s just ear splitting. Then the band comes by for practice and I have to turn it right back up or I can’t hear poo poo.
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Apr 20, 2019 18:36
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Eh it's better to be able to say "this is too loud" than needing everything cranked to sound good enough. It's not like our ears are meant to handle that kind of thing and we just lose the ability over time or anything Get some earplugs if you're in a small space and you can't turn down (EXAMINE DRUMMER), but there's also more to a "loud" sound than straight-up volume. Sculpting your sound, making sure a mix fits together, and allowing some frickin dynamics to exist all make things sound bigger and more intense Harton posted:Very true, every time I play by myself in the jam room I have to turn wayyyyy down cause it’s just ear splitting. Then the band comes by for practice and I have to turn it right back up or I can’t hear poo poo. See like this - you have to work with your loudest instrument, a drummer can't really turn down, but everyone else can cut some notches in their EQ to let the other instruments through instead of trying to shout louder than everyone else (also compression pedals might help keep the perceived loudness up) baka kaba fucked around with this message at 18:56 on Apr 20, 2019 |
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Apr 20, 2019 18:48
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On the topic of rhythm, I think I made a dumb mistake by practicing scales with a metronome set to a standard 4/4 beat and hitting the notes on each beat these past couple of months. I just got into 16th note strumming patterns and I'm seeing how bad I am at keeping my foot going on the beat while sub dividing consistently. I'm getting a better feel for it, but I think I delayed my development a bit by not working with 8th or 16th divisions on a slower metronome BPM. Is that how you guys work on scales? I'm thinking rather than hitting notes on a 130bpm 4/4, I'll set it to around 60 and do 8ths to start over. In also thinking of getting an instructor soon, in case I'm making other dumb mistakes like this in a vacuum.
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Apr 20, 2019 20:26
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former glory posted:On the topic of rhythm, I think I made a dumb mistake by practicing scales with a metronome set to a standard 4/4 beat and hitting the notes on each beat these past couple of months. I watch tv and noodle scales and that’s how I built 99% of my speed and dexterity. Don’t overcomplicate or worry too much  it sounds like you’ve got the right idea now and you definitely haven’t messed up in any way.
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Apr 20, 2019 20:30
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Yeah honestly that’s the key to getting a good band sound. My new band is still working out those kinks. We got 3 guitar players so it’s been interesting. Needed 1 but got a father and son combo that are working out really well, so we’re all learning to make it work. Good part so far is that I don’t feel the need to play as much lead because I’m pretty much singing every song. So I can get in whenever I feel like it and they will back off, then the rest of the time they just trade off rhythm and leads during songs and we’re even starting to overlay riffs a lot better so we sometimes have 2 people chopping up and one holding the chords down and it’s starting to come together. God I love playing music, it’s so much fun.
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Apr 20, 2019 20:32
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former glory posted:I think I delayed my development a bit You've spent this time building up the physical ability to play scales at a consistent 130 BPM. That's a different ability from correctly subdividing 8th or 16th notes. Relax.
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Apr 20, 2019 20:55
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Kilometers Davis posted:uh oh Almost any would be fine. It would just give you a rough idea. The general rule of thumb is if you have to raise your voice to talk to someone then it's too loud. Loudness is a strange thing. There was an article on Sweetwater talking about how you should mix at a certain dB SPL, and they reference equal loudness curves. The problem with using that data is that it was derived from pure tone signals. Everything you actually listen to is a complex frequency and those curves no longer apply. The cochlea, the organ that gets all the sound encoded for the brain, generally wears down over time and the high frequencies aren't as sensitive. If you do blast it with loud sound it becomes less sensitive in terms of loudness and pitch resolution. So don't be a dingus and protect your hearing.
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Apr 20, 2019 21:03
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former glory posted:On the topic of rhythm, I think I made a dumb mistake by practicing scales with a metronome set to a standard 4/4 beat and hitting the notes on each beat these past couple of months. Well tapping your foot is adding a whole other thing into the mix, if you can play 8ths or 16ths consistently then I wouldn't worry about it (unless stompin' is part of your sound of course) There's sort of two things about subdivisions - being able to do them cleanly (which a click will tell you), and being able to feel them (when you don't have a reference). So it's not inherently bad to have been playing to a 4/4 click, that's often what you'll be playing to anyway in a band situation, but it's definitely good to practice to a click sometimes so you can check your timing. Especially since you usually play subdivisions with upstrokes, which are harder and you're generally less accurate at them ime You're already playing at 130bpm, so why not try this - keep it around that tempo, set your metronome to do 8ths, and keep just playing on the beats (as in, ignoring the subdivisions). Every so often, break into 8ths - you could just try doubling up each note at first, so like C-D-E-F-CCDDEEFFC-D-E-F-.... The short bursts make it easier, and you'll get a feel for whether 130bpm is doable or if you need to dial it back. But yeah, knock it back to 60bpm if you want Harton posted:Needed 1 but got a father and son combo that are working out really well, so we’re all learning to make it work NO YOU TURN DOWN DAD (that sounds cool, especially if they all have a sense of making space in the music -hopefully once you sort out everyone's tone so they fit together you'll have a pretty easy time of it!) baka kaba fucked around with this message at 21:07 on Apr 20, 2019 |
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Apr 20, 2019 21:05
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Siivola posted:
I think what's loving with me is that I can't figure out what the "strong" parts of the beat are on a 5-tuplet. If that makes sense? But I'll try these and see if they help. Anime Reference posted:One suggestion I saw was "hip-po-pot-a-mus". It didn't work for me but maybe it'll work for you. Yup! I was so happy because after years and years of getting stuck on the first fast bit, I finally got it down. This is the second fast bit and it's really killing the feeling of pride and accomplishment I felt after successfully unleashing some focking fury. Kilometers Davis posted:Use a metronome/write something in guitar pro that goes from three time signatures 2/4 then 5/8 then 3/4 so you can practice playing 4 notes then the tricky 5 notes then 6 notes. I did a variation of that to get okay at those even though I rarely use them. My main method was playing four 16ths to the beat and then practicing working in the 5 until I was comfortable. It really is a timing you just have to develop over time. Luckily it’s often 5 notes straight so the timing between those notes can be slightly off as long as you’re hitting the next section on time. I think I understand what you're suggesting and I'll give it a try, thanks. I sorta figured I'd just have to etch the rhythm onto my soul somehow.
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Apr 20, 2019 22:26
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If it's not a memorable sound in the song itself (like if it's too fast), could you make something more suitable using MIDI or notation software or something, and listen to that until you get the sound stuck in your head? I'm guessing it's like triplets where you just feel it, but there's obviously way more uses of triplets you can fall back on for a mental reference bonus points if you use steel drums in your midi vst
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Apr 20, 2019 22:48
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baka kaba posted:
That's a great idea and I'm going to try that exercise at my standard BPM to see if I can even do that. And, thanks KD - that's encouraging to hear. Siivola, I hear you, I didn't mean to make it sound like I'm doing this as a race, I just have worries in the back of my mind that I'm not doing things "right" sometimes. I have these near term goals I'm trying to hit and I'm constantly trying to make sure I'm not teaching myself bad habits that later need to be undone. One big reason why I've been so concerned with my rhythm lately is because I'm playing my open/5th/barre chords pretty fluidly now, but I'm really struggling to sing while playing. Probably one of my biggest reasons for playing is to be able to play a nice strummer while singing with my friends and family. I'm finding I can barely hold Raffi's "Down by the Bay" -- a 4/4 G -> D7 -> C beauty when I'm singing. Let alone the ones I really want to sing. So in my mind, this is a rhythm issue and I think I can improve if I can somehow internalize the rhythm better and not have to think about it as much. Right now, when a song is in 8ths or 16ths, I've been doing it by feel only, which only seems to hold up if I'm playing along with the track but not singing. I'm also finding that as I play by feel, I'll play too many or few strums between some changes, which I barely notice when I'm playing alone, but if it's over a track or my buddy is singing over it, that throws it all out of whack. I'm really hoping I can fix this with more complex metronome work, but I don't know for sure.
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Apr 20, 2019 22:57
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baka kaba posted:If it's not a memorable sound in the song itself (like if it's too fast), could you make something more suitable using MIDI or notation software or something, and listen to that until you get the sound stuck in your head? I'm guessing it's like triplets where you just feel it, but there's obviously way more uses of triplets you can fall back on for a mental reference I think what's super hard about the particular lick I'm struggling with is that the second group of 5-tuplets must begin with a pull-off because of Yngwie's weird picking system, which is unfortunately necessary to play this poo poo. Normally you accent the first rhythmic subdivision of a beat that's equally subdivided, but gently caress if I know how to accent a loving pull-off, let alone at... from memory Far Beyond the Sun is around 165bpm? Edit: I hope I don't sound like I'm whining. It's a Yngwie song, I expected it to be unimaginably hard and essentially an exercise in masturbating to my own technical skills. Gnumonic fucked around with this message at 23:58 on Apr 20, 2019 |
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Apr 20, 2019 23:54
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former glory posted:I'm also finding that as I play by feel, I'll play too many or few strums between some changes, which I barely notice when I'm playing alone, but if it's over a track or my buddy is singing over it, that throws it all out of whack. I'm really hoping I can fix this with more complex metronome work, but I don't know for sure. Just to make sure, you're keeping your arm moving in time with the beat, right? Down-up-down-up, whether you're strumming or not, and you just let your pick or whatever come into contact with the strings when you do need a strum. So generally you'll be going down on the beats, up on the 8th note off-beats, and if you need to do any faster 16th strums you just gotta move your hand at double speed for that bit. That way you're not really timing your individual strums, you just let them happen when they're meant to, if that makes sense If you're not doing this, look up some basic strumming patterns (like down-down-up-up-down, where the constant DUDUDUDU becomes D-DU-U-D- as you contact the strings) and just get a feel for it. Singing and playing is hard, probably depends on the person too, but being able to do stuff like this makes it easier to go on autopilot. Personally I end up kinda shifting my focus between the two as needed, and honestly some stuff might be too hard to play "correctly" if you're singing at the same time, so don't worry too much Gnumonic posted:I hope I don't sound like I'm whining. It's a Yngwie song, I expected it to be unimaginably hard and essentially an exercise in masturbating to my own technical skills. haha no, I don't shred and any time I learn anything basic it's like "how the heck", going high-level like this is obviously gonna be full of all kinds of shenanigans ordinary people will struggle with with that in mind (the "I don't shred" bit) do you actually need to accent that one note? Surely it flies by. I mean you could pull off really hard but maybe that would just make it worse
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Apr 21, 2019 02:17
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baka kaba posted:Just to make sure, you're keeping your arm moving in time with the beat, right? Down-up-down-up, whether you're strumming or not, and you just let your pick or whatever come into contact with the strings when you do need a strum. So generally you'll be going down on the beats, up on the 8th note off-beats, and if you need to do any faster 16th strums you just gotta move your hand at double speed for that bit. That way you're not really timing your individual strums, you just let them happen when they're meant to, if that makes sense For some songs I do keep to a specific strumming pattern, but for many others I find I can't establish a good pattern and just sort of play it by feel, which is just me playing in a way that tries to mimic the sound, but not necessarily keeping a constant arm motion. I think you're right that I should work on sussing out an exact pattern and then stick to it for a given song. Like if I play Brown Eyed Girl, I know DDUUD, and I can play that on auto no problem. The strummers I really want to play well all seem to have strange patterns. Like Elderly Woman Behind the Counter in a Small Town - I could play that very early on, but to this day I still can't make it sound perfect. And it must be because I haven't pinned down a good repeatable pattern.
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Apr 21, 2019 02:43
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Well sometimes it's a case of breaking it down into "normal" strummy bits, and "moments" where you have to do something different, and you might need to focus on your playing when those happen. And it could be that in those cases you need to break down the vocal rhythm and the playing rhythm, work out how they interweave and learn that as a technique, repeating it over and over until you can pull it off as a whole thing, instead of two separate things that hopefully work out when you do them simultaneously And if you're not sure of a song's pattern, like just playing it on its own, it's probably worth trying to sit down and analyse it, work out what you actualyl need to play to make it sound "right" (not necessarily exact). Might be that the "right" pattern makes it easier to play and sing, and I dunno about anyone else, but when I actually have to learn a thing by working it out myself, it ends up easier to play and remember, like the process helps me connect things in my mind and make decisions that make sense to me and the way I approach the instrument
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Apr 21, 2019 02:54
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Swappable pickups are back, baby https://www.youtube.com/watch?v=M_fqLR0dRTw
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Apr 21, 2019 05:53
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I’m no engineer, but as far as I can tell there’s no good reason that solderless drop-in/plug n play pickups shouldn’t be industry standard.
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Apr 21, 2019 06:26
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Because guitarists hate change and the tone isn’t as good without artisanal, NOS solder.
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Apr 21, 2019 07:21
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Gnumonic posted:I think what's loving with me is that I can't figure out what the "strong" parts of the beat are on a 5-tuplet. If that makes sense? But I'll try these and see if they help. Edit: If your metronome is clicking at 4/4 you're basically playing a 5/4 polyrhythm, which is pretty tricky. Try 2/4 or 1/4. Siivola fucked around with this message at 10:03 on Apr 21, 2019 |
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Apr 21, 2019 09:35
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Thermos H Christ posted:I’m no engineer, but as far as I can tell there’s no good reason that solderless drop-in/plug n play pickups shouldn’t be industry standard. Yeah even literal cheap poo poo guitar fetish has it on most of their pickups and it rules.
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Apr 21, 2019 13:29
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I find that two things helped me a lot with playing gives and sevens. One is putting the metronome on and simply trying to play 5 over 1. Just focus on fitting five notes into one beat. Eventually it feels natural - it will still be hard to transition immediately from groups of 4 to groups of 5 and back but the second thing will help with that. And that is to play 5 over 2. After being able to play 5 over 1, the key is to listen to where the second beat of 2 falls in the middle of the grouping of 5. The 2 of 2 will fall right after the 3 of 5 and when you get used to how that sounds you won’t need to think about it at all. You’ll want to do this slowly and gradually speed it up of course if you are doing some shreddy Yngwie thing, but in the long run it will pay off.
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Apr 21, 2019 13:45
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Thermos H Christ posted:I’m no engineer, but as far as I can tell there’s no good reason that solderless drop-in/plug n play pickups shouldn’t be industry standard. It's not standard because guitar manufacturers want to sell whole guitars, not guitar parts, and they need to convince you that a package of the cheapest allowable parts are actually of far greater value. They don't gain anything from making it easier to customize later, that detracts from the instrument's implied value by inviting criticism of the components. Gibson wants you to think 57 classics contain some vintage pickup magic and that's part of why you need a Les Paul, not that they're OEM garbage indistinct from a GFS humbucker. Ibanez wants you to think Dimarzios are a premium feature that accounts for ~$200 of a guitar's worth, not a gimmick they're buying at half price in bulk. These companies would rather you bought a whole new guitar the next time you wanted a different/better tone. Pickup manufacturers are the only ones who benefit from ease of swapping, which is why brands like EMG and Fluence use plugs, Seymour Duncan sells the Liberator pots, etc.
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Apr 21, 2019 17:10
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Didn't somebody make a guitar with just one pickup that sat on a rail, and you could slide it up and down anywhere between the neck and bridge position as you played? Anybody know what I'm talking about? I always thought that was a cool idea even though it looked dumb as hell.
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Apr 21, 2019 17:31
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Dan Armstrong guitars used a sliding pickup system on some guitars. http://www.danarmstrong.org/londonguitar.html Westone made the "rail" bass http://www.westone.info/railbass.html I'm sure there are more but those are the two off the top of my head.
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Apr 21, 2019 17:40
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Lester Shy posted:Didn't somebody make a guitar with just one pickup that sat on a rail, and you could slide it up and down anywhere between the neck and bridge position as you played? Anybody know what I'm talking about? I always thought that was a cool idea even though it looked dumb as hell. Fishman have some guitar they modified so that they can test pickups easier https://www.youtube.com/watch?v=EwcMKvgzvck
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Apr 21, 2019 19:34
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Lester Shy posted:Didn't somebody make a guitar with just one pickup that sat on a rail, and you could slide it up and down anywhere between the neck and bridge position as you played? Anybody know what I'm talking about? I always thought that was a cool idea even though it looked dumb as hell. Don't forget the boutique Vviper Bass. And isn't just moving a pickup not the same thing as selecting a pickup since neck and bridge pickups are often wound differently? Or could you just midigate it by moving the pickup further from the strings as you get closer to the neck?
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Apr 21, 2019 19:44
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I am spending Easter as the good lord intended: Disassembling my new RG, taking out the old pots, filing out the holes, and installing a new CTS volume pot and a DiMarzio push-pull pot for tone so I can wire the ToneZone to series/parallel switching. Putting it on the Tone pot because then when the knob is up it won't interfere with my picking hand or the whammy bar. I just took the neck off and I'm figuring out Ibanez's new five-way selector (I like it, it has a mounted PCB with the two humbuckers going to opposite sides... nifty) then I gotta file out the holes. Lots of teeny-tiny wires to put on the push-pull switch. I actually did myself a favor and got all the stuff to make this easier: A soldering buddy with arms and clips to hold stuff, a bastard-cut round file and some blue painter's tape for the holes, new soldering iron tips for my Weller station, a big length of four-conductor wire, stuff like that. Happy Easter! BTW have this neat video about potentiometers and how to enlarge mounting holes safely and quickly. This whole video is a really good watch especially if you are buying instruments that use those 5/16" diameter Atlas pots and want to replace them. https://www.youtube.com/watch?v=bKNAkTWC4xA&t=296s
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Apr 21, 2019 22:26
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The Gibson Grabber bass also had a sliding pickup, although the range of movement looks small enough that you kind of wonder why they’d bother. 
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Apr 22, 2019 04:16
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I ran into a problem and I have to re-do some work. Before I do, I have a dumb question for guitar electronics knowers: Is it safe to say the green and bare wires from a DiMarzio humbucker can/should be wired together? I finished all my electronics work and the push/pull pot is dead in one position and to me dead means everything is going to ground. Visually all the connections looked correct and safe to me. I isolated the problem to the DPDT switch. I think it was defective or maybe it got overheated, but I can't see anything out of place. I have another push-pull pot and I expect to wire it the same way, but I just want to make certain I'm not being more dense than I usually am.
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Apr 22, 2019 08:14
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yeah green's usually soldered to ground for dimarzios
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Apr 22, 2019 08:25
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Pretty sure the issue isn't the DPDT, it's the new Ibanez 5-way selector. I just re-did all the work with the exact same result. The new selector switch has a PCB with a "tap" hole on it, where the white and black wires are combined. I'm pretty sure this is where it is defeating my DPDT switch. I think I need to replace the selector with an old-fashioned JEM style switch. I ordered a VLX53 which is a switch I have in my older JEM and RGs. If it fits I can make it work. Frustrating to spend so much time and not get any further. Still, if it's just the selector switch then the hardest part is done. Dr. Faustus fucked around with this message at 11:13 on Apr 22, 2019 |
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Apr 22, 2019 11:06
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How large of an impact does a pickup's position have on the sound? I always thought that rounded-off low pass filter sounding eq curve on neck pickups was largely due to the way the pickup was built, but I often hear about people putting bridge pickups in the neck. Does that mean that the eq curve comes primarily from where it's located, and the way the pickup is wired comes after in terms of impact?
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Apr 22, 2019 13:54
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Traditionally, all three pickups on a strat are the same. The tonal differences come from position and pot values.
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Apr 22, 2019 14:08
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The Dark Wind posted:How large of an impact does a pickup's position have on the sound? I always thought that rounded-off low pass filter sounding eq curve on neck pickups was largely due to the way the pickup was built, but I often hear about people putting bridge pickups in the neck. Does that mean that the eq curve comes primarily from where it's located, and the way the pickup is wired comes after in terms of impact? The pickup has a range that samples how the string vibrates. Strings will vibrate differently at different physical points. The general trend is that the more middle of the string you sample, the more low frequencies are emphasized. This ignores a lot of physics and topics like nodes and stuff. Also it ignores fretting high on the neck and then one of the anchor points is nearby the neck pickup.
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Apr 22, 2019 19:22
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I magnet swapped the V7 neck and V8 bridge in my RG as one is ceramic and the other is alcino (i think, i forget. And also which way round they were). It did make a bit of a difference. Then i put an Invader in the bridge anyway.
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Apr 22, 2019 20:25
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The Dark Wind posted:How large of an impact does a pickup's position have on the sound? I always thought that rounded-off low pass filter sounding eq curve on neck pickups was largely due to the way the pickup was built, but I often hear about people putting bridge pickups in the neck. Does that mean that the eq curve comes primarily from where it's located, and the way the pickup is wired comes after in terms of impact? Counterintuitively (because we usually use hotter bridge pickups and weaker neck pickups and adjust the height differently), the neck pickup is potentially louder than the bridge due to larger string vibrations at that point. If you install the same pickups at the same height in both position, and set your interface to riiiiight before it clips at the bridge, it'll start clipping when you switch to the neck due to an output increase.
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Apr 22, 2019 21:36
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Wasn't somebody here interested in single-coil 7-strings? Agile has their 7-string Tele back in stock: https://www.rondomusic.com/tc725mntbr2.html
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Apr 23, 2019 22:19
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| # ? May 18, 2024 01:56 |
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Anime Reference posted:Wasn't somebody here interested in single-coil 7-strings? Agile has their 7-string Tele back in stock: https://www.rondomusic.com/tc725mntbr2.html drat, if I had money I’d be all over that.
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Apr 23, 2019 23:20
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