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It's not for mistakes, though you can roll it up past the nut if you're doing some legato/tapping stuff that doesn't use any open strings, it's for keeping the bits of string behind the nut from ringing.
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Jun 9, 2013 02:52
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baka kaba posted:Thing about that scrunchie though, that just dampens right? I'm assuming he's good enough to basically never hit an open string he doesn't mean to, and he never wants any open strings ringing anyway? Plus he looks like he lets his right hand mute sometimes, or maybe that's just me. That looks more like insurance for guitar olympians, personally I need my crutch Yeah it's just to dampen the strings. Jennifer Batten used to market a thingy which clamped on to the headstock you could flip over the fretboard. Michael Angelo Batio uses a similar device here: https://www.youtube.com/watch?v=iQ8ml7eENuI Anyway "crutch" is such a meaningless word in this context. If it works, it works. It's not like you get extra points for muting better or anything. It's like getting mad at people who use noise suppressors. muike posted:It's not for mistakes, though you can roll it up past the nut if you're doing some legato/tapping stuff that doesn't use any open strings, it's for keeping the bits of string behind the nut from ringing. This is how I use them. On longer scale guitars the ringing is a serious problem to where you pretty much need something back there. Alec Bald Snatch fucked around with this message at 02:59 on Jun 9, 2013 |
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Jun 9, 2013 02:55
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I recently found out Tesla (the pickup builder) makes production versions of these mutes. You can't flip them but they do fix stuff ringing behind the nut if you're not trying to get your Sonic Youth on: I got two for free when I ordered a few pickups from them. I put one on my Dot but I don't notice much of a difference. Matches the guitar's color scheme, though, so I guess I'll keep it.
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Jun 9, 2013 03:06
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Nah I mean I will literally hit the wrong strings sometimes, so I need to mute to keep that under control. I'm not accurate enough to leave them free and only worry about damping sympathetic vibrations and ghost pulloffs. I mute for that too of course, and that's what most people will use it for, but if I just relied on scrunchies it would be a sad day for all concerned. Totally works as a crutch for me! I also leave my strings uncut so I can make a racket by hitting them under high gain, so y'know - whatever gets the job done as far as control or lack of it is concerned
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Jun 9, 2013 03:07
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baka kaba posted:Nah I mean I will literally hit the wrong strings sometimes, so I need to mute to keep that under control. I'm not accurate enough to leave them free and only worry about damping sympathetic vibrations and ghost pulloffs. I mute for that too of course, and that's what most people will use it for, but if I just relied on scrunchies it would be a sad day for all concerned. Totally works as a crutch for me! Ah I see. I definitely had that problem for a while. What I wound up doing is pretty much leaving my right hand on the strings at all times and resting my ring and pinky fingers on the guitar and sorta using them to mute higher strings and the heel of my hand on the lower strings, rolling the hand back and forth as I go up and down. It's weird trying to describe it since it's so internalized I don't really think about it. quote:I also leave my strings uncut so I can make a racket by hitting them under high gain, so y'know - whatever gets the job done as far as control or lack of it is concerned Exactly. If it's good enough for people who make a living playing guitar, then it's good enough for the rest of us.
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Jun 9, 2013 03:23
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Yeah I think I know what you mean - I basically do what video guy does, right hand on the strings like a palm mute below the strings I want to play, left hand handling the higher strings. It's basically like having your hand free really. I can see people being totally against playing-hand muting but that's in a whole other world of technique and tonal concern. But either way, it's something guitarists need to get a handle on so they have a level of control, and don't get frustrated about the sound they're making. However you do it, you gotta realise it's an issue with solutions in the first place. I think a lot of people are given the impression they're supposed to just hit the right strings perfectly, and if they make an imperfect sound it's because they're not good enough yet. Even badass super-accurate players know how to settle everything down the moment things go a little awry
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Jun 9, 2013 03:46
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baka kaba posted:As far as actually playing goes, I always like to post this I've never managed to do that consistently and well. I always end up touching the strings to the pickup poles, unless I'm muting way back by the bridge (where I rarely play).
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Jun 9, 2013 03:51
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Depending on where my hand just shifted from I'll sometimes play power chords with my middle/pinky (rime of the ancient mariner was where this was the most comfortable) or index/middle/ring if it's in the middle of a bunch of +5 fret stretches. But I got banana hands so I'm weird, I guess. I stick to regular ole modified barre shapes most of the time though so that's that.
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Jun 9, 2013 03:57
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^^^I'm the opposite, since picking up the bass I've found myself doing index/pinky for octave shapes spanning a whole two frets  Hypnolobster posted:I've never managed to do that consistently and well. I always end up touching the strings to the pickup poles, unless I'm muting way back by the bridge (where I rarely play). It sounds like you're pressing pretty hard, unless your pickups are really close to the strings? You're not really putting any weight on them, it's just wherever you happen to pick, you let the heel of your hand settle against the strings instead of keeping it clear. The further you are from the bridge the lighter your touch can be too, since you get more damping power Depends how aggressively you play though, and if you're picking or strumming. There's things you can do with your fretting hand at least, sometimes I have to rely entirely on that. All hail the grip of death (OK sometimes I use the tip of a fretting finger too) baka kaba fucked around with this message at 04:26 on Jun 9, 2013 |
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Jun 9, 2013 04:22
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Declan MacManus posted:I got two for free when I ordered a few pickups from them. I put one on my Dot but I don't notice much of a difference. Matches the guitar's color scheme, though, so I guess I'll keep it. Hey, you use Teslas? I've got a pair in my pointy guitar. What's the wider world say about them? Why'd you choose Tesla?
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Jun 9, 2013 04:48
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Warcabbit posted:Hey, you use Teslas? I've got a pair in my pointy guitar. What's the wider world say about them? Why'd you choose Tesla? I like how they're voiced, especially the new Opus 4 pickups. The quality and consistency is very good (never had a problem with construction, pickups sound like the samples). They're a bit more expensive than GFS pickups but I can find them at places that ship for free so it usually evens itself out.  People who try them tend to really like them, and their actives sound distinctly different from EMGs which is cool. Their super high output pickups leave me a bit cold but I've never been a fan of incredibly hot pickups anyway. I don't know if Harmony-Central is still around but people used to dig them there and I know a lot of builders put them in their projects if they don't want to just slap a standard JB/Jazz set in their guitars.E: The name is also a plus  They're very good "mass market" pickups, on par with Seymour Duncan, DiMarzio, and the like. You can get better pickups, but you have to go into the boutique range for that.E2: I also got the Opus 4s for a steal; looks like they go for around 100 apiece depending on where you look. They're handwound, so you'll get variances from pickup to pickup Declan MacManus fucked around with this message at 05:31 on Jun 9, 2013 |
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Jun 9, 2013 05:17
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God dammit I've got a real bad case of GAS for the Epiphone Thunderhorse explorer. Just got an email from the guy at my local store asking if I want to preorder one for £450($685 USD) with 9 months interest free credit. I love coil tapped Burstbuckers, the space-age composite fretboard and my Ibanez can't really tune four semitones down from standard without restarting the entire loving setup process over again which makes it difficult when I want to practice in E standard. Anyone have any experience with them? All I've seen so far are people who went to NAMM back in January saying it's better than the old Gibson model along with Brendan Small's "lazy comedy with a guitar" clips on Youtube.
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Jun 9, 2013 19:46
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Is there a reason why changing one string makes other strings sound more in tune? Like playing the initial bends in Hummer sounds different when the sixth string is in E than D even if I'm not sounding it. Or so it seems. Is there a reason for this or is it all in my head? I'm started playing it and gone, "hmm, this sounds wrong" and then realised it was tuned to E.
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Jun 10, 2013 07:47
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Bridge tension? If you have a tremolo system that can pull up then the springs in the back are balanced against the tension of all strings combined. This is more pronounced with a Floyd Rose style trem where if you increase tension on any one string then the others all fall a little flat. Reducing tension on a string by dropping the heavy E to D will have the opposite effect and pull the rest sharp. Two possible solutions are #1 get a hardtail, which is part of the reason for my post above. Or #2 block off the trem so it's level with the body. #2 is fine for switching between E standard and Drop D but you need heavier strings and a completely new setup for making big changes. Which you have to undo to go back usually.
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Jun 10, 2013 09:00
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Verizian posted:Bridge tension? If you have a tremolo system that can pull up then the springs in the back are balanced against the tension of all strings combined. This is more pronounced with a Floyd Rose style trem where if you increase tension on any one string then the others all fall a little flat. Reducing tension on a string by dropping the heavy E to D will have the opposite effect and pull the rest sharp. I actually have a string-through setup. And I'm beginning to think it's all in my head as to what I expect versus what I hear. I can't seem to find anything about it Googling so I'm guessing I'm just a crazy person!
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Jun 10, 2013 09:05
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Check it with a chromatic tuner then or use this site GTDB.org If that shows a problem then it could be the strings haven't been stretched in properly. Also double check the neck join if it's a bolt on, you don't want it to be loose. Assuming it's a strat style bridge plate with saddles you might want to check if there's any significant movement there or double check the intonation at the 12th fret harmonic compared to the open string.
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Jun 10, 2013 09:27
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syntaxfunction posted:I actually have a string-through setup. And I'm beginning to think it's all in my head as to what I expect versus what I hear. I can't seem to find anything about it Googling so I'm guessing I'm just a crazy person! The tuning on the other strings does change slightly when you raise or lower the low E string on a fixed bridge. It's definitely not just in your head.
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Jun 10, 2013 10:52
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I have a guestion to some of the fusion guys out there and some of the theory geniuses. I've never been much of a fusion guy. The band I'm in is indie with a slash of funk, but I play a lot of jazz, blues and metal as well, but recently I've been listening to some Soft Machine and Tribal Tech. At first, I hated it then and now I kind of like it, but what I really love about fusion are some of the fast-paced harmonic changes that happen. Specfically, this kind of cadence that I'm hearing a lot in fusion. Let me give you an example: http://youtu.be/_Sl5FmuaLmY?t=3m32s What the hell is that progression? I can't figure it out.  Does anybody else have any tips on fusion guitar? Specifically, the chord voicings and lines? Thanks in advance guys.
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Jun 10, 2013 17:02
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Whole lotta drop chords. e: Also watch out with that fusion stuff. It's easy to get sucked into a smoothness vortex where at first you're like dang Larry Carlton had some tasty licks in Fourplay, then it's hey these old George Benson LPs are pretty sick. Next thing you know you start compulsively watching Local on the 8s and one day you wake up only to find yourself at a Michael McDonald concert. Alec Bald Snatch fucked around with this message at 18:05 on Jun 10, 2013 |
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Jun 10, 2013 17:43
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comes along bort posted:Whole lotta drop chords. Probably some Stanley Jordan in there somewhere, too.
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Jun 10, 2013 20:57
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So Jerry Cantrell is rocking out at the Ubisoft conference. And I heard what I'm 99% certain is the new AiC song today and it too rocked.
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Jun 10, 2013 23:04
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Oh what's this? A very large box came in the mail?  Huh I wonder what could be inside? Oh nothing. Yeah I'm not even going to take a picture of that. Let me fix this:  Aww yeah, that's looks nice. It's from NYC Pedalboards and it's a Bigshot. I got some added extras: Covering: Tweed Tolex [$30], Hardware : Nickel [$5], Latches: Standard, 2nd Level: 18" [$18], Add Velcro: 1 Yd. [+$4] so grand total (including a 10% off facebook promo code) was $246. Expensive? Yeah. Nice? Hell yes. The thing is stable as a rock and the latches are tight and secure. I wouldn't check it on an airplane but for local gigging it's more than enough. I may have purchased one that's too big for my mediocre pedal chain, but these are just the pedals leftover from two transatlantic moves, so there's more coming. In particular I really like the riser as I can hide my power supply (soon to be supplies because I'm sorta out of outputs on it) and it's great for accessing the stuff on the back row. I may switch the layout and have the distortion loop on the riser so the stuff that gets toggled more often is front and center. Also yeah I do write my name on everything I own. Edit: also included is that LTD Eclipse I bought for 385 with a case, and antonia la negra the monstrous SG tuned in B standard. Spanish Manlove fucked around with this message at 01:28 on Jun 11, 2013 |
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Jun 11, 2013 01:19
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That is a lovely pedal board. How much does it weigh when it's fully assembled?
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Jun 11, 2013 07:40
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About 15kg or so, not so bad for how big it is.
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Jun 11, 2013 11:36
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My Korg Metronome has this cool feature where I can change the kind of note it uses to keep rhythm, e.g., from a quarter note to an eighth note, which helps me keep the beat on songs that have multiple eighth notes. I can't find such a setting on the Garageband metronome or any comparable Mac apps. I feel like I'm missing something insanely obvious. Can someone help me out?
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Jun 12, 2013 03:30
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beergod posted:My Korg Metronome has this cool feature where I can change the kind of note it uses to keep rhythm, e.g., from a quarter note to an eighth note, which helps me keep the beat on songs that have multiple eighth notes. Most DAWs don't have full featured metronomes.
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Jun 12, 2013 04:08
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Do it old school: learn to subdivide. That's basic musicianship 101.
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Jun 12, 2013 06:25
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Exadus posted:I have a guestion to some of the fusion guys out there and some of the theory geniuses. I've never been much of a fusion guy. The band I'm in is indie with a slash of funk, but I play a lot of jazz, blues and metal as well, but recently I've been listening to some Soft Machine and Tribal Tech. At first, I hated it then and now I kind of like it, but what I really love about fusion are some of the fast-paced harmonic changes that happen. Specfically, this kind of cadence that I'm hearing a lot in fusion. What part specifically are you talking about? Cause the main section isn't a cadence or progression so much as a vamp/lick. Holdsworth, although a fascinating character with an incredible legacy, is probably the worst possible introduction to fusion you could have, cause he really broke the mold. He's not overly concerned with traditional harmony and a lot of amazing guitar geniuses still don't fully understand what he does or has been doing since the seventies. I'm certainly not going to attempt to explain it, I suggest you read as much material about him as you can find. Fusion, in a nutshell, is jazz played with the sounds of rock. So if you want to know what it's all about, you have to study jazz. Soft Machine were almost in a genre of their own. To me it comes closer to prog rock than jazz, cause of the lack of functional harmony (notwithstanding many jazz uses modal harmony). For a guitar fusion perspective I guess a good starting point is Mike Stern although for me the greatest ever is probably John Scofield. (EDIT: How could I forgot Scott Henderson, but I guess you found him already.) But pretty much any modern player who's ever played with Miles Davis basically falls into the fusion category. Miles also made some of the first records that are recognised as fusion. Other great groups/players include Return to Forever, Billy Cobham, Deodato, George Duke, Herbie Hancock (definitely check out the Headhunters album) and of course Weather Report. EDIT: Just remembered I once came across someone's thesis on Holdsworth which I assume contains more information about him than you could ever want to know, but also has a few transcriptions of his playing. https://www.duo.uio.no/handle/10852/26952 cactuscarpet fucked around with this message at 14:12 on Jun 12, 2013 |
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Jun 12, 2013 13:58
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Soft Machine, for me, straddles that line between jazz/prog/fusion/psych that Zappa always straddled. The Hugh Hopper heavy era, at least. Not a big fan of the Holdsworth stuff.
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Jun 12, 2013 15:21
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And when you get tired of all that poo poo you can start jamming some Sonny Sharrock or Derek Bailey.
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Jun 12, 2013 15:36
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There are endlessly great fusion guitarists. I myself prefer John McLaughlin and Al DiMeola (pick everything all day err day) and Frank Gambale can be fun as well. But those guys are huge names in the genre, so 
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Jun 12, 2013 18:26
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Anyone tried plugging their guitars into an ipad? I'm looking into something like Amplitube or an equivalent to set up some effects to then send to my loop pedal, and I'm curious what the best peripheral is to get my guitar signal into the ipad. iRig? Apogee Jam? Something else? Is there a clear cut winner or is it mostly a wash? I don't have any experience with these little gadgets, so I'd love to hear from anyone with some knowledge.
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Jun 12, 2013 23:35
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shawn lane shawn lane shawn lane I need to go through his work again and see what I can get out of his style this time. I wasn't very successful before.
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Jun 12, 2013 23:47
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I think I like Allan Holdsworth so much because of his Geordie accent.
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Jun 12, 2013 23:47
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Kilometers Davis posted:shawn lane shawn lane shawn lane https://www.youtube.com/watch?v=KPaHCfFCnKQ See? Shawn Lane is easy stuff. https://www.youtube.com/watch?v=lJmQxx8Lmhg VV: You could always file down the nut
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Jun 13, 2013 01:57
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Quick bridge question: if a tune-o-matic bridge on a set neck guitar is adjusted all the way down and the action is too high, is there anything to be done? My friend has an Epiphone he bought used ages ago and recently pulled out of the closet that exhibits that problem
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Jun 13, 2013 01:57
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TopherCStone posted:Quick bridge question: if a tune-o-matic bridge on a set neck guitar is adjusted all the way down and the action is too high, is there anything to be done? My friend has an Epiphone he bought used ages ago and recently pulled out of the closet that exhibits that problem Bolt-ons (and shims) 4lyfe  .
Remulak fucked around with this message at 02:08 on Jun 13, 2013 |
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Jun 13, 2013 02:06
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Remulak posted:Check the truss rod, it may be way too loose. Other than that you can file away at the nut I guess. I'd like to say I bought my Korean Epiphone for the bolt on neck. The true answer is I'm a cheap rear end probably.
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Jun 13, 2013 02:14
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Remulak posted:Check the truss rod, it may be way too loose. Other than that you can file away at the nut I guess. Neck is straight, nut height is good. Bridge is too high, so I suspect the neck was set at the wrong angle. Is it possible to get shorter saddles?
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Jun 13, 2013 02:16
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Okay, so now I'm thinking about getting my guitar set up in drop A. Any recommendations on string sizes for this? I'm guessing 13 and up is what I need, which is perfectly fine (as long as I can still bend).
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Jun 13, 2013 02:59
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