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SubG posted:What's the goon hivemind consensus on what's a good modern P90? I picked up an Ibanez Artcore archtop a while ago that I'm really digging but the neck pickup sounds like the neighbor playing an AM radio loud enough you can hear it through the wall. So you need a HB sized p90? I do like Bareknuckle, but wolfetone and fralin are probably better options for that, and I'd listen to people like jwh and iostream for that stuff. jwh posted:I want to sing the praises of the xotic EP booster- I have two of them now (both in front and after a wren and cuff tri pie, and I love them. I found both of mine used for about 80 bucks, and they're probably the best pedal on my board. Those are clean boosts right? what's the Q range on those like?
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Aug 29, 2014 15:38
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muike posted:Those are clean boosts right? what's the Q range on those like? No idea, but whatever it is, it sounds great.
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Aug 29, 2014 19:34
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Yes, the EP is a clean boost. It does have a couple of DIP switches inside to color it a bit if desired.
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Aug 29, 2014 19:39
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muike posted:So you need a HB sized p90? I do like Bareknuckle, but wolfetone and fralin are probably better options for that, and I'd listen to people like jwh and iostream for that stuff. Check it out. Complete review of most humbucker sized P90s. Even includes Guitarfetish. (Mean 90s - not my favorite. I prefer the Dream 90s.)
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Aug 29, 2014 19:42
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iostream.h posted:Yes, the EP is a clean boost. It does have a couple of DIP switches inside to color it a bit if desired. Is it appreciably different from the recently released Dunlop Echoplex preamp pedal?
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Aug 29, 2014 19:51
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Schpyder posted:Is it appreciably different from the recently released Dunlop Echoplex preamp pedal? Yes and no, they take a similar approach in that they understand that they don't have the "luxury," as it were, of assuming all the extra hardware and so they aim for the solid-state EP coloration more directly. In my opinion, the Dunlop unit is fantastic and I really, really like the light touch it adds to the sound, and it sounds awesome in front of a good delay. There are some units by others that are extremely faithful recreations and it's my opinion that those tend to kind of suck because just the preamp alone doesn't really get at the overall behavior of the system. It needs to have some subtle coloration or it's not going to do the job it's supposed to do (unless you're about to put it straight into an EP-3, 'course).
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Aug 29, 2014 20:12
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Schpyder posted:Is it appreciably different from the recently released Dunlop Echoplex preamp pedal? I'm not sure, I haven't tried that one yet. Agreed would know I bet. That's the big difference between us, I get an idea in my head for a new sound or texture I want and I go on a gear binge and experiment until I figure it out. That's GOOD (for me, anyway) because I get a lot more experience with new stuff and it helps deepen my knowledge of how to make my poo poo work for me. Agreed tho? I swear that cat could look at a schematic and tell you not only exactly HOW something will sound, but why. loving amazing poo poo, he's accidentally taught me more cool poo poo by accident just by talking about something he's excited about. Edit: ^^^^ ahahaaa iostream.h fucked around with this message at 20:21 on Aug 29, 2014 |
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Aug 29, 2014 20:19
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Schpyder posted:Is it appreciably different from the recently released Dunlop Echoplex preamp pedal? No idea, but I can definitely vouch for the EP booster. Next time you have some money burning a hole in your pocket, get one. I really think everyone should have one, which isn't something I can say about most pedals.
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Aug 29, 2014 21:28
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Can any of you recognize this?: e|---------------------|-------------------| b|---------------------|-------------------| g|---------7h9p7-------|----------9b--7----| d|---7--9---------9----|----7--9-------9---| a|---------------------|-------------------| E|---------------------|-------------------| I feel like I've heard it before, but I can't place it. h is hammer-on, p is pull-off and b is bend a full note and release.
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Aug 29, 2014 21:47
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Sounds a bit like Black Dog in a way? That's a really common little bluesy box riff so it depends how you're playing it really, you could have heard it anywhere e- do you mean that's a pre-bend in the second bit (bend 7 to 9, play it and let it back down to 7), or are you bending 9 to 11? That would make it a bit more unusual! baka kaba fucked around with this message at 22:03 on Aug 29, 2014 |
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Aug 29, 2014 22:00
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It sounds awfully Black Keys-ey to me, although I couldn't name a specific song, and it would depend on tempo and effects.
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Aug 29, 2014 22:14
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iostream.h posted:What pots are being used for that humbucker? Check and see if they're 250k or 500k. muike posted:So you need a HB sized p90?
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Aug 29, 2014 22:21
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baka kaba posted:Sounds a bit like Black Dog in a way? That's a really common little bluesy box riff so it depends how you're playing it really, you could have heard it anywhere The bend is right after the string is picked at the 9th fret. So 9 - bend to 11 and release. It might actually be a garbled version of the riff from Edwyn Collins - A girl like you, come to think of it. Or maybe it's just common enough that it sounds familiar.
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Aug 29, 2014 22:25
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So I'm locked into the 2015 Hypemachine guitar run by Australian luthier Ormsby Guitars made by Perry Ormsby. I get to choose woods, finishes, pickups, 6 or 7 strings, standard/multiscale, etc. He does 20 of these a year. Here are a couple of last year's:  Many more build pics here. Looking at getting a 6 string multiscale and need some ideas choosing wood. Perry has basically said he can get almost anything. Can you guys help me choose something special, point me in the direction of some exotic woods? I was thinking of getting a buckeye burl, something that looks like this:  That one is from this year's Hypemachine run. He's also hinted at some sort of super special colourful woods and posted these two below as teasers. Any ideas what these are? I'm pretty keen on something like that.   Basically, give me some guitar porn to choose! Looking for tops that have super interesting patterns. Thinking snakewood, pale moon ebony or bacon ebony for the fretboard, i.e.:   
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Aug 30, 2014 03:29
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My dream guitar is a bog standard Blackmachine B2, so I would personally just go with the old ebony top and swamp ash body combo, but as far as crazy stuff goes, buckeye burl is great, waterfall and pale moon ebonies are gorgeous fingerboard woods. There's even flamed ebony which looks insane. What have you decided on for the body and neck? Are you going for the ABM individual saddles? http://imgur.com/a/lbMgf Here's a gallery of finishes and tops I like. you'll notice a lot of blue and blackmachine copies muike fucked around with this message at 03:44 on Aug 30, 2014 |
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Aug 30, 2014 03:36
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muike posted:My dream guitar is a bog standard Blackmachine B2, so I would personally just go with the old ebony top and swamp ash body combo, but as far as crazy stuff goes, buckeye burl is great, waterfall and pale moon ebonies are gorgeous fingerboard woods. There's even flamed ebony which looks insane. Is the first one in your link a buckeye burl? Also what's the neck on the 8th pic, the dark flame? Is that the flame ebony? I couldn't find any good pics for waterfall ebony or flamed ebony on Google image search. You got any examples you can link? Heh, I'm still undecided on neck and body woods also. This guitar will be used for metal so I want a really "djent" sound. Super punchy, with a tight focussed attack. Will be getting some of Ormsby's in house wound pickups in a high output humbucker for bridge, something a bit creamier for the neck. With the bridge, Ormsby supply an in house custom machined bridge setup for the multiscales.
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Aug 30, 2014 06:47
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Vidaeus posted:Is the first one in your link a buckeye burl? Also what's the neck on the 8th pic, the dark flame? Is that the flame ebony? Only thing that comes to mind is whether some of the more exotic woods will hold in the Australian climate but Ormsby does enough of these that he probably knows what he's doing. Do you prefer a finished or unfinished feel? Some woods work just fine unsealed, I know a lot of dudes who go the Warmoth route opt for Purpleheart. I'm not a big believer in 'tone woods' but there are some Australian woods that'd definitely give you a unique guitar.
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Aug 30, 2014 07:03
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I think I'm going to go for a gloss lacquer finish. I want the body to be well protected from sweat, stains, etc and don't like the idea of a matte finish rubbing and making shiny spots. I've seen a purple heart Ormsby but not a real fan of the colour.
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Aug 30, 2014 09:02
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Vidaeus posted:I think I'm going to go for a gloss lacquer finish. I want the body to be well protected from sweat, stains, etc and don't like the idea of a matte finish rubbing and making shiny spots. There's not many colourful Australian woods, sadly, but there's a few that'd stain well - Meshuggah's guitars at least seem to be maple, bubinga or basswood with the occasional cap, so if you wanna get close to their sound that'd be a starting point, but those aren't exactly custom guitar-level woods... Maybe with a laminate! Jarrah, gidgee and mulga get used for fretboards and have some nice grain patterns but they're usually very subtle. Tasmanian blackheart sassafras is kinda nice for bodies imho.
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Aug 30, 2014 11:01
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Maybe you misunderstood, I'm not specifically interested in Australian woods. Ormsby is an Australian luthier yes, but he can get pretty much whatever. I'm after crazy exotic colourful wood tops!
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Aug 30, 2014 11:07
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Vidaeus posted:Maybe you misunderstood, I'm not specifically interested in Australian woods. Ormsby is an Australian luthier yes, but he can get pretty much whatever. I'm after crazy exotic colourful wood tops! Oh, I got that! But I do think they're nice woods you might not have thought of, and you're in a better position to find a beautifully-figured piece of Australian wood than the rest of the world.  (also I thought you were asking about neck and body woods, but if it's just tops that's really not my area of expertise. sorry for my confusion!)
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Aug 30, 2014 11:52
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On the opposite end of the guitar pricing spectrum, Guitar Center has the already-cheap Epi Les Paul Special I P90 on sale this weekend for 90 bucks. I have one, and it's a great little noodling guitar with a surprisingly good set of pickups in it. Might be worth a test drive if anyone's been looking for a beater that doesn't sound like farts.
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Aug 30, 2014 14:22
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Vidaeus posted:Is the first one in your link a buckeye burl? Also what's the neck on the 8th pic, the dark flame? Is that the flame ebony? Yeah that's the buckeye burl. That neck is just dyed flame maple. I can't find any examples of the waterfall ebony right now, I don't even know if that's its proper name. It's kind of like wiggly figuring. muike fucked around with this message at 14:29 on Aug 30, 2014 |
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Aug 30, 2014 14:26
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Can anyone help me identify this certain sound I hear. I dunno if it's just the way a certain kind of amp sounds, or effect, but some distortion has an almost "squeak" to it. It may not be your kind of music but two good examples off hand would be https://www.youtube.com/watch?v=BGN89b4CP-E and https://www.youtube.com/watch?v=HDYGj5CWdXQ
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Aug 30, 2014 18:22
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Just to be clear (I'll use the first one as an example because I'm lazy), there's a few squeaky noises I can hear on there, choose your favourite: 0:26 string squeaks inbetween the chords (dragging fingers along the strings when changing chords) 1:08 sounds like muted strums punctuating the chords (like fretting hand mutes, releasing pressure for a moment) 1:50 has some normal ringing chords at the beginning, there's a bit of squelch in the attack 2:48 has palm muted chords 2:48 also has some lead if you're talking about the lead tone?? Some of the picking has that glassy harmonicky business going on (like at 3:11) I'm guessing you're either talking about the 1:08 mutes or the general guitar tone at 1:50, but you'll have to be more specific! Also I don't know poo poo about amps so someone else will have to cover that 
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Aug 30, 2014 19:04
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baka kaba posted:Just to be clear (I'll use the first one as an example because I'm lazy), there's a few squeaky noises I can hear on there, choose your favourite: Argh, the times didn't get linked. It's the lead tone around 3:08 in the first, and the lead tone around 1:10 in the first. It's not like a squeak or squeal, but instead kind of how the tone is.
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Aug 30, 2014 19:07
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Naw he's talking about some kind of spike in the uper khz range (i don't know which frequency it is) that gives the guitar tone a nice treble boosted sound. I'd guess it's probably through fender amps or something with the lows dialed out a bit and a focus on the highs. It's probably around the same frequency as pick sounds, so I'd find that and boost the frequencies around those i guess
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Aug 30, 2014 19:08
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I've recorded a short classic guitar arrangement http://youtu.be/eFh1zpAf58w and tried to do my best, going even so far as cheating with multiple parts and effects, but I fear it's not enough. Also, can anyone with a better ear tell me if my guitar is out of tune?
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Aug 30, 2014 19:24
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SHUT UP MOM posted:Can anyone help me identify this certain sound I hear. I dunno if it's just the way a certain kind of amp sounds, or effect, but some distortion has an almost "squeak" to it. It may not be your kind of music but two good examples off hand would be https://www.youtube.com/watch?v=BGN89b4CP-E and https://www.youtube.com/watch?v=HDYGj5CWdXQ When you're playing a power chord or octave chord, halfway release your left hand and strum at the same time. Spanish Manlove fucked around with this message at 02:00 on Aug 31, 2014 |
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Aug 31, 2014 01:57
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supermikhail posted:I've recorded a short classic guitar arrangement http://youtu.be/eFh1zpAf58w and tried to do my best, going even so far as cheating with multiple parts and effects, but I fear it's not enough. Also, can anyone with a better ear tell me if my guitar is out of tune? Sounds in tune enough to me - not enough for what? You want to do more with it? The part of the song that's used as the title music is pretty reliant on the bass to carry the melody, the full song (it's called Teardrop if you haven't heard it) has a vocal. So you might want to either push the melody up higher, or flesh out the harmony in the bass, play some double stops and make things major or minor at least. The higher part is really a fixed riff for the bass to play off and harmonise with Also if you want my advice (and who wouldn't) you shouldn't cheat! Especially if it's a fairly simple arrangement like you have now. You can totally play this as a solo take, it'll change how you play it and how you think about it, and you'll get ideas for more that you can do. It just takes a bit of practice, but once you manage it you can start thinking of ideas away from the guitar, come up with little melodic bits that move through the piece, and make them happen Nothing wrong with fleshing out the actual production with some doubled parts or whatever, of course SHUT UP MOM posted:Argh, the times didn't get linked. It's the lead tone around 3:08 in the first, and the lead tone around 1:10 in the first. It's not like a squeak or squeal, but instead kind of how the tone is. Youtube embeds are crazy screwing up my browser right now, but I kinda feel like you mean... ok grab your guitar, put high gain on it, hold the strings with your fretting hand and kinda bounce the edge of your pick of the strings, like you're tapping them. A thicker pick helps. Is that the kind of sound you mean? You can get that by changing the actual way you pick, how you hold it and the angle and how you attack the strings. Part of it's a kind of squeezed up amp tone too but I can hear a bit of that harmonic brittle edge in there as well
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Aug 31, 2014 02:56
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I'm trying to learn some basic improv using major scales, but I keep forgetting where I am in the scale and/or accidentally playing the wrong notes. But I can play all the major scales up and down the neck in all inversions without even thinking about it. As soon as I try and get musical, it falls apart. Any tips on how to overcome this? Practice more?
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Aug 31, 2014 03:14
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DarthJeebus posted:Practice more?
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Aug 31, 2014 03:16
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iostream.h posted:That and, what worked for me was planning a 'mood' when I work on improv. Is this code for getting drunk
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Aug 31, 2014 03:35
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DarthJeebus posted:I'm trying to learn some basic improv using major scales, but I keep forgetting where I am in the scale and/or accidentally playing the wrong notes. But I can play all the major scales up and down the neck in all inversions without even thinking about it. As soon as I try and get musical, it falls apart. Any tips on how to overcome this? Practice more? You can try playing every second note of whatever major/minor scale, it's a good exercise and gets you oriented with where certain triads are by feel. Improvisation is difficult to talk about, but if you want to be able to picture a note/notes in your head and be confident that's what'll come out of your instrument it'll just take practice and muscle memory (and maybe a little theory if you're that sort of learner). Try singing the notes you're imagining as you play them, see if any patterns come up that you can isolate and work on. The best tip I ever got for improvisation was to practice things like whole-tone scales, diminished scales, augmented scales, octatonics, even if you never see yourself using them and don't think they sound good. And most of all be confident, if you're playing strictly in a major scale whatever note you pick has a coin flip's chance of being 'right' even if it's not the one you were going for!
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Aug 31, 2014 04:58
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Buy new amp from Sweetwater. Told it will be here Wednesday. FedEx tries to deliver it today while I'm not at home.
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Aug 31, 2014 05:14
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Plus if you're getting lost within the scale, that kinda implies you don't really know where you are musically. Like you don't just want to be able to run through a major scale, you want to know when you're playing a root or a 5th or a b7th or whatever. That way not only are you less likely to get lost, you can start thinking about the chords you're playing over, what's coming up next, what chromatic notes you can indulge in a cool way. Learning scales rote is fine, but it should be a technical exercise for developing your physical skill and familiarity. If you aren't aware of what you're actually doing while your fingers are running around on the fretboard, it shifts the balance from musical to random automation. I started that way myself, and obviously there's a bit more to it than that - so long as you're listening you have a chance of pulling things in a good direction - but there's also the tendency to noodle and just play whatever, especially if you want to play a fast bit and you have no loving clue how to turn an actual idea into sound that quickly, so you substitute with a bunch of Notes That Are In The Key from a handy pattern. I think a lot of us are guilty of that! Anyway yeah, I'd recommend getting familiar with the actual scale degrees at least, always knowing where you are in relation to the root. You can start with only using certain degrees (like the root 3rd 5th 6th or something), and experimenting with those - and altering as appropriate over the chord progression, like using the minor 3rd over a minor chord. Or you could just play what sounds good, but keep an awareness of what each note is. There's only usually 7 of them, and you can vary them like sharping the 4th (and being aware that's what you're doing), so it's not too hard if you stay in a familiar pattern. Trying to learn the actual notes will help too. So if your root's the E on the 7th fret A string, and you play 5th fret D string, that's the minor 3rd, and it's also a G note. Got a G chord coming up? That would be a good place to head to when the time comes. And if the chord is G major, that means the major 3rd will be involved, which is B. B is also the 5th of E! So while you're messing around in E, you can play around with the notes that are about to define the sound of the next chord. Or you can intentionally avoid them for contrast. This is where the actual music comes in, doing tricks that sound cool. I mean ideally you won't have to think as laboriously as all that, but that's part of the mechanics of what underpins it all
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Aug 31, 2014 05:23
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Zuhzuhzombie!! posted:Buy new amp from Sweetwater. Told it will be here Wednesday. (sorry though. at least they didn't do what they did to my friend and just leave it on a random street in Boston because nobody was home)
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Aug 31, 2014 05:30
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baka kaba posted:Sounds in tune enough to me - not enough for what? You want to do more with it? The part of the song that's used as the title music is pretty reliant on the bass to carry the melody, the full song (it's called Teardrop if you haven't heard it) has a vocal. So you might want to either push the melody up higher, or flesh out the harmony in the bass, play some double stops and make things major or minor at least. The higher part is really a fixed riff for the bass to play off and harmonise with Not to sound completely bitter, I just looked at the date of the tab file, and I've been playing this tune for more or less exactly a year. I'm pretty sure you can take this as a new standad for lost cause, because I just can't play it without screwing up. It's starting to create in me a strange feeling for the magical breed that's called a professional musician - a mixture of incomprehension, admiration, and fear, not unlike the emotion medieval peolpe experienced about scientists and old women. It's microscopic differences that make it or break it - press a little too lightly or a little too hard, put a finger a millimeter to either side of the perfect position, change the angle of your picking finger by a degree, or the force of picking just slightly - and it's ruined.  Er, maybe I didn't mention that the "drums" are (usually) played on the same guitar that the tune is? Well, they are and it makes it a bit tricky with the notes that coincide with the beats. Also a very frustrating thing to record because the first part is just percussion, and those are easy, but redoing them for the sake of later, more complicated parts gets rather monotonous.  Thanks for your input and attention!
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Aug 31, 2014 10:51
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Lol dude just practice guitar. Get a regimen and some structure and give it some hard work and honest attention and focus. Stop throwing up your arms and wailing about pick angle or drum beats or this or that. If you can't do that on your own, spend a little and get a teacher.
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Aug 31, 2014 17:37
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Make sure you're spending at the very LEAST 1 hour a day just picking the strings over and over again. You aren't past being cold until you do that, not to mention warmed up.
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Aug 31, 2014 18:03
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