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landgrabber posted:is there a fuzz that'll sound good on both my telecaster and my humbucker guitar if i love mids? Have you messed with Eqs much? I get the feeling that you'd really get lost (in a good way) in a pre and post chain EQ pedal or rack mount.
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Mar 27, 2022 16:27
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landgrabber posted:is there a fuzz that'll sound good on both my telecaster and my humbucker guitar if i love mids? More "primitive" fuzzes can be very difficult to work with, but the ToneBender mk2 was a mid-forward fuzz. There are some clones out there but none of them are super cheap joyo-esque ones that I can find. If you go with something like a fuzz face or a tone bender clone you'll really need to be careful to put it FIRST in your signal chain, right into the guitar and not into a tuner or EQ or what have you; simpler-built fuzzes like that have some weird magic that needs to directly interact with your guitar.
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Mar 27, 2022 17:33
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Carcosa. Doesn't care about buffers, positioning, or pickup; rules as a boost, treble boost, fuzz, and noise machine; totally impossible to scoop in any way. Also costs very little. Top tier fuzz for sure.
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Mar 27, 2022 17:36
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Carcosa is amazing, also the MXR La Machine (or other Foxx clones) are good but are a lil scooped depending which clone. You can also just get a Muff clone modded with a mids knob, those rule. Tonebenders are amazing, and I recommend them. The Fuzz War is amazing and seemed far less scooped than a normal muff. Keely Fuzzbender and EQD Park Fuzz are definitely two to try. JHS Bender is actually fantastic which I hate lmao. My summary for trying flavours would be: Park Fuzz Fuzz War La Machine Pelitaur Carcosa is not negotiable. Try those and then let us know what you like.
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Mar 28, 2022 01:45
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yeah i remember wanting a carcosa in the past. will be the next thing i try! thanks friends
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Mar 28, 2022 02:06
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I'm not much of a guitar lick player since I tend to stick to folky fingerstyle but I've come across Happy Traum's little series and practicing along with these things has been a blast and they make sense shape-wise right away https://www.youtube.com/watch?v=VipPz3dI_Jg
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Mar 28, 2022 15:59
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I have a bit of a theory question about harmonizing guitars. Let's say I'm writing a sweet metal riff. It's in G Phrygian for example. If I want to have a quick piece of lick be harmonized in 3rds, would I just take each note I want harmonized, and put it a major 3rd(or even minor 3rds if I wanted I guess) away from itself, or would I use the Phrygian scale and make it 3 scale degrees? Doing the former you might sometimes wind up with a harmonizing note not in key, but I find often times it still sounds perfectly fine, especially if it's fifths. Until now, I usually just try whatever and go with what sounds good, and of course I know that's okay, but I'm asking in order to learn more about theory and common practices.
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Mar 28, 2022 16:24
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Drunk Driver Dad posted:I have a bit of a theory question about harmonizing guitars. Let's say I'm writing a sweet metal riff. It's in G Phrygian for example. If I want to have a quick piece of lick be harmonized in 3rds, would I just take each note I want harmonized, and put it a major 3rd(or even minor 3rds if I wanted I guess) away from itself, or would I use the Phrygian scale and make it 3 scale degrees? Doing the former you might sometimes wind up with a harmonizing note not in key, but I find often times it still sounds perfectly fine, especially if it's fifths. Until now, I usually just try whatever and go with what sounds good, and of course I know that's okay, but I'm asking in order to learn more about theory and common practices. Most commonly it's 3 scale degrees higher, but either can work depending on what you're going for
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Mar 28, 2022 16:27
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The more typical """correct""" way to do it would be to keep it in the key, so either major or minor thirds depending. That's the sort of idea that goes back to JJ Fux's ideas about counterpoint. The thing about Fux and his formal counterpoint rules was that those were for a specific kind of choral music from a couple hundred years ago and the music police aren't going to arrest you for moving in parallel fifths or crossing voices. Do what sounds better. Moving parallel lines, like straight fifths or fourths or major thirds or whatever will sound more like a tone or a texture of the original note than a harmony or like separate voices. If you want it to sound more like a texture a single straight harmony might accomplish that better. If you want it to sound like two voices working together keep it in the key. gently caress it, change the harmony every couple phrases, or allow a few notes to have a different harmony, that's what Randy's doing on Crazy Train.
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Mar 28, 2022 16:34
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parallel fifths as a rule is kind of misunderstood i think... it's not arbitrary, it's because parallel fifths makes voice leading very difficult or impossible -- the interval is wide enough that when it happens, you can't really perceive the independence of each melodic line anymore. it's a really nuts and bolts rule, and like, feel free to break it but like to me it's about what sounds good. a lot of the time parallel fifths don't sound good, or what i'm trying to do is derailed by them.
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Mar 28, 2022 16:38
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Thirds, octaves, and ninths are the cheater harmonies that work well in a ton of situations
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Mar 28, 2022 16:42
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Aren't parallel fifths what Death use a lot of the time? Sounds sick for metal, imo. Also in this context does parallel mean what I mentioned, where you are just playing the exact interval instead of the scale degree? https://www.youtube.com/watch?v=b9AMFf5Ih7Y&t=232s Not sure if this is technically fourths or fifths my ear isn't that good, I just know I played it with my brother the other day using fifths and it sounded good and fairly close to that. Drunk Driver Dad fucked around with this message at 16:49 on Mar 28, 2022 |
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Mar 28, 2022 16:42
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Using perfect 5ths will always sound good (or, almost always, as there's maybe a case where it won't) because the 5th is under the hood basically just the same note in some ways. One of, if not the, clearest overtones of a single note is the 5th, so it's pretty much already sounding, so you are reinforcing it when you harmonize using parallel 5ths. tl;dr: power chords are never bad.
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Mar 28, 2022 16:47
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Lumpy posted:Using perfect 5ths will always sound good (or, almost always, as there's maybe a case where it won't) because the 5th is under the hood basically just the same note in some ways. One of, if not the, clearest overtones of a single note is the 5th, so it's pretty much already sounding, so you are reinforcing it when you harmonize using parallel 5ths. Yeah a fifth is already a major overtone in the note, harmonizing there (especially with distortion that will emphasize the overtones) will make it brighter and more complex and will stand out a bit. Again it comes down to whether you want it to sound like one note with a different character or multiple notes working together. LG - my understanding is Fux put the kibosh on parallel movement in counterpoint for what I said above; it sounds more like one voice than two (or three or four) separate voices, it stops being polyphony and turns into homophony. Thirds/sixths you could get by with in tiny measures because they are usually moving in separate intervals, sometimes three semitones apart, sometimes four. It didn't sound like a single voice as easily as with fourths, fifths, or octaves.
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Mar 28, 2022 17:07
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Also our boy Pat Finnerty hit 100k subscribers and did a live lil stinker for Headstrong last night, he called ninths a scumbag interval.
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Mar 28, 2022 17:08
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Me and iron maiden are sumbags
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Mar 28, 2022 17:11
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Can't argue with the facts
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Mar 28, 2022 17:29
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I was also going to say carcosa for a versatile fuzz that works well with most setups.
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Mar 28, 2022 19:09
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I’d like to see that finnerty vid but I assume he’s talking about this interval on a drop d tuned guitar A9 -d-9 -a-7 -d-7 Which kept turning up in early 2000s rock around the hoobastank epoch and yeah it sucks. It’s a cheap way to add drama to a riff that would otherwise just be wailing on one power chord. It’s The Serious Part of a nu metal song. Exception made for Deftones Be Quiet and Drive which loops it so much it becomes cool again. massive spider fucked around with this message at 19:38 on Mar 28, 2022 |
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Mar 28, 2022 19:27
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The high notes on the guitar in Headstrong, which follow the paltry vocal melody, keep hitting the 9 of the chord. It's like chugga NINE NINE chugga NINE NINE chugga chugga. It's a scumbag riff for sure.
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Mar 28, 2022 20:05
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Baron von Eevl posted:Also our boy Pat Finnerty hit 100k subscribers and did a live lil stinker for Headstrong last night, he called ninths a scumbag interval. I bought some spicy ketchup with his Beato promo code. 👍
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Mar 28, 2022 20:16
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Why not get the muffalleta fuzz?
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Mar 28, 2022 20:56
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Muffs aren't reality known for being mid-forward.
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Mar 28, 2022 21:03
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oh wait the muffuletta doesn't come with an octave fuzz, so disregard my previous post. it's poop from a butt and you should avoid it. octave fuzzes rule
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Mar 28, 2022 21:37
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Just get the joyo voodoo octave. edit it's a foxx tone machine and like 1/5 the cost of the dano clone with the exact same features. Baron von Eevl fucked around with this message at 22:06 on Mar 28, 2022 |
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Mar 28, 2022 22:02
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What do you guys think of the French Toast octave fuzz?
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Mar 28, 2022 22:23
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super fuzz style octave > foxx machine imo
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Mar 28, 2022 22:26
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duodenum posted:What do you guys think of the French Toast octave fuzz? The French Toast is great but it's another foxx clone. You can get the joyo and have exactly the same thing but with the option to scoop the mids or not, be able to toggle the octave with a foot switch, an LED, and a more durable enclosure. I had the French Toast and loved it though.
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Mar 28, 2022 23:02
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duodenum posted:What do you guys think of the French Toast octave fuzz? Great fuzz terrible enclosure, but about the best cheap fuzz on the market in the early 00s... The new Danelectros in the red housing are still good but way pricier - there's a Foxctave and a Super Fuzz in that range which are both killer.
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Mar 28, 2022 23:16
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I really like the sound of the Black Mass Missionary Fuzz. Seems like it had a lot of tonal possibilities to dial in
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Mar 29, 2022 00:35
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Baron von Eevl posted:Just get the joyo voodoo octave. While a decent suggestion I am gonna say please don't get the Voodoo Octave. It's not nice in my opinion. I don't know what the gently caress is it's deal but I own two good Foxx clones (MXR La Machine and a HBE UFO a la Shields) and have played both the Warm Audio version and an original. The octave is not good. Specifically the core fuzz sound is somehow thin and blown out at once for the couple I tried (I thought the first was broken). I mean it's cheap so gently caress it give a shot I guess, just don't have high hopes imo.
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Mar 29, 2022 01:22
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Tried out a Gretsch hollow body at the weekend, was nice but I felt besides the large body it was hard for me to reach the high frets. I did really like the Bigsby trem though, especially as I'm playing a lot of Alice in Chains/Would? right now. I'm going to try a G5655t center block I think, narrower body looks like it may be more comfortable, but I may instead/also fit a Bigsby trem to my Epiphone G400. Looks like it should just screw on in place of the existing tail guard? The strings on it are loving old actually, might be a good excercise anyway. I gather the B5 is the model I want, or the cheap licenced B50 or B500. Anyone got experience of them and know if it's okay to cheap out on the copies? BizarroAzrael fucked around with this message at 02:19 on Mar 29, 2022 |
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Mar 29, 2022 02:12
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BizarroAzrael posted:Tried out a Gretsch hollow body at the weekend, was nice but I felt besides the large body it was hard for me to reach the high frets. I did really like the Digsby trem though, especially as I'm playing a lot of Alice in Chains/Would? right now. I'm going to try a G5655t center block I think, narrower body looks like it may be more comfortable, but I may instead/also fit a Bigsby trem to my Epiphone G400. Looks like it should just screw on in place of the existing tail guard? The strings on it are loving old actually, might be a good excercise anyway. is Digsby Glarry’s trem brand?
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Mar 29, 2022 02:18
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Ok Comboomer posted:is Digsby Glarry’s trem brand? Man I fixed that whilst you were posting, god drat.
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Mar 29, 2022 02:20
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Hey guys, do me a favor and settle a small issue that's bugging me. I'm working on learning Spheres of Madness right now. Every single tab I've stumbled across in the intro, has the first 2 small groups of notes(and other similar ones) tabbed out as triplets. Even Rocksmith's CDLC has it as triplets. However, if you open it up on youtube, and listen to it at .75, .50, or eve .25 speed, it really just sounds like 2 regular sixteenth notes to me. So the first couple of bars I think would be something like 0-0 R 0-0 R 0-0-0-0 R | 0-0-0-0-0-0 R 0-0-0-0-0-0 R | With all the open palm muted open notes being sixteenths. The rests very in their lengths though. But mainly, am I right about it not having triplets? I see how it sounds like it at full speed, but definitely seems to just be 2 straight sixteenth notes to me. I just am confused, out of all the people transcribing this, none of them slowed it down to listen? https://www.youtube.com/watch?v=0KZQNxWjgao Drunk Driver Dad fucked around with this message at 03:02 on Mar 29, 2022 |
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Mar 29, 2022 03:00
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Yeah, that's just sixteenth notes. It sounds to me like the effect of sounding a little bit like triplets at some points is an artifact of the double-tracking.
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Mar 29, 2022 03:13
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Drunk Driver Dad posted:Hey guys, do me a favor and settle a small issue that's bugging me. I'm working on learning Spheres of Madness right now. Every single tab I've stumbled across in the intro, has the first 2 small groups of notes(and other similar ones) tabbed out as triplets. Even Rocksmith's CDLC has it as triplets. However, if you open it up on youtube, and listen to it at .75, .50, or eve .25 speed, it really just sounds like 2 regular sixteenth notes to me. So the first couple of bars I think would be something like Ive always played it as triplets (the bits you've tabbed as 0-0 r, I'd play as 000-000 r), fwiw, that's definitely what it sounds like to me Maybe try and find some footage of them playing it live field balm fucked around with this message at 04:10 on Mar 29, 2022 |
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Mar 29, 2022 04:08
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When am I gonna be good enough to play with strangers? Is there a way to know? I'm sure the answer depends on skill level and other specifics and obviously getting out of my head is gonna be a big first step. So what I'm asking about is: I found an ad for a local jazz practice w/ a rhythm section (drums and upright bass), which seems like an incredible opportunity. They're intermediate but say they welcome all skill levels, and while I'm sure I'm a beginner I'm not sure if I'm like... too much of one. They're playing stuff out of Real Books, and I'm just working my way there, like this month (and worried I'm neglecting some stuff along the way). I can play a couple songs all the way through (Discharge stuff, jazz melodies, blues comping for myself are my go tos when I'm just practicing). I often forget the metronome but I can do it there too, and I can recover from flubs. I've jammed a bit with a friend of mine who is a technical wiz but doesn't really get improvisation, so we were both blowing each other's minds in that context, and I've definitely gotten better since then. If anything, I think I know my M/m 7+6 Freddie Green chords, and I can find notes on the fretboard pertty quick, so I could probably muddle along w/ a chart doing that. Is this worth everyone's time or am I gonna respond to that ad, show up, and faceplant?
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Mar 29, 2022 04:10
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i think i see him doing doublets not triplets https://www.youtube.com/watch?v=TTg8bnIKe20
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Mar 29, 2022 04:15
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I also used to thing this part in Blinded By Fear was triplets but after watching their live stuff it's just single down strokes https://www.youtube.com/watch?v=0oJFV3lc2TQ&t=70s sounds really similar
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Mar 29, 2022 04:19
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