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Yeah, not all sound devices are capable of recording and playing at the same time.
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Feb 15, 2011 21:18
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I looked back a few pages but couldn't find anything on merch. What's a good place to get shirts made online? I looked into Spreadshirt but the prices quickly get out of hand when you add elements to the design.
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Feb 15, 2011 22:04
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rt4 posted:Yeah, not all sound devices are capable of recording and playing at the same time. This one is, though. I've been using it on my PC for years.
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Feb 15, 2011 23:44
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Has anyone played one of the new "60s Tribute" Gibson LP/SGs and have an opinion on it? I don't want to run out to a local music store and try one because I'm not really good at being objective with a desirable shiny new guitar in my hands, if you know what I mean.
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Feb 17, 2011 02:33
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RetardedRobots posted:Has anyone played one of the new "60s Tribute" Gibson LP/SGs and have an opinion on it? I don't want to run out to a local music store and try one because I'm not really good at being objective with a desirable shiny new guitar in my hands, if you know what I mean. I was curious about that line and looked it up, and apart from cosmetic stuff the only real feature seems to be the slim neck. I've had several bad experiences with thin-necked Gibsons; they just wouldn't stay in tune very long. Not so bad when you're in the studio, but really irritating on stage. If you want a workhorse Gibson modified to your taste, consider picking up a model from a non-desirable year, make sure it has a fat neck, and put on your favourite pick-ups. There's a good chance you'll be much happier with that in the long run.
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Feb 17, 2011 12:47
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Crudus posted:Pretty much this, but I would guess he means taking a sample which was originally in 4/4 time, and then putting it against a predominant rhythm which is 3/4, 5/4, or 7/4 feeling. Sorry i have to point this out even though its completely irrelevant to the topic at hand. This is DJ mothafuckin shawdow. Premade samples? He samples off vinyl and sometimes other musicians, not pre-made samples like vengence or some poo poo. I just feel dirty thinking that DJ Shadow is out buying the newest "WEST COAST GLITCH BREAKS" sample pack and making beats with them. Sorry for the derail.
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Feb 18, 2011 02:12
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He doesn't mean "premade" as in supermarket-brand shelf beats. He means "it was recorded by someone else." Premade doesn't inherently mean "the beat provided by garageband" after all.
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Feb 18, 2011 04:04
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Sad Mammal posted:Are there any websites that feature compositional analysis of "poppy-er" music than Bach, Mozart, et al? All I know of is http://blog.fixyourmix.com/ They look kind of embarrassing, and the author's name is right out of your worst arena rock nightmares, but Rikky Rooksby's series of books on songwriting and pop music theory are just outstanding. It sounds like what you're looking for - he does a lot of deconstruction and theory of pop songs and pop songwriting. Use the specific book titles as the guide for which angle you'd like to cover - some are more guitar or keyboard-centric than others, while others are focused on songwriting or arranging. Any of the "how to write songs" ones are actually great pop music theory books in disguise. An extra bonus is that he throws in everything from Smiths to Blur to T. Rex to Big Star songs as examples rather than just sticking to "Michael, row your boat ashore" or whatever.
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Feb 18, 2011 17:02
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DAW question. I want to do a sort of Genghis Tron thing. Basically combining guitar work with synths and electronic drums. I'm starting from scratch although I do own a MIDI keyboard. Not really sure what the best thing to buy would be. I guess I'll be needing an audio interface, some kind of guitar modelling and a DAW with synths. I really liked Reason's synths but apparently Ableton would be better for this kind of thing although I know Ableton's synths aren't as good. Got a budget of around £500 ($800) but the cheaper the better. Ideas?
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Feb 18, 2011 20:16
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Tesseraction posted:He doesn't mean "premade" as in supermarket-brand shelf beats. He means "it was recorded by someone else." Premade doesn't inherently mean "the beat provided by garageband" after all. Pretty much this. But I'm glad to see that are some rabid fans of the music I like.
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Feb 20, 2011 23:31
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I want to paint something on my acoustic washburn (natural finish), but I want it to be easily removable - can I just use watercolors?
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Feb 20, 2011 23:57
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Why not paint onto some sort of decal paper/removable sticker and then cut around the painting with an exacto knife and apply. Then you could just peel the design off later if you got tired of it. Of course, I'm assuming you don't mean to repaint the whole thing, but rather putting some kind of design on it.
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Feb 21, 2011 11:02
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I'm playing Bass and learning music theory to along with it - would the purchase/practise/use of a keyboard help me out or dilute my practise to negate any positive effects? I'm dedicating an hour or two every other day and maybe 20 minutes on 'off' days.
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Feb 21, 2011 13:56
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Do you want a keyboard specifically to help with bass, or just because you want to learn that too?
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Feb 21, 2011 14:01
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Specifically to help with the theory, to help with the bass 
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Feb 21, 2011 14:11
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Southern Heel posted:Specifically to help with the theory, to help with the bass Having a keyboard around is probably the best thing you can do while you're learning theory. Keyboard itself won't translate over to bass directly, but it definitely helps you conceptualize theory in a very concrete way. And strong theory absolutely helps bass-playing.
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Feb 21, 2011 15:35
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It is a firm belief of mine that every musician ought to own a keyboard, even if he or she isn't a keyboardist, exactly because it helps with theory and is easy to tinker with to explore different sounds.
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Feb 21, 2011 17:32
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I've actually been thinking of getting myself a cheapish MIDI controller both for learning and the occasional play around. Is something like this any good? It seems pretty okay but some people have in reviews complained about latency but they strike me as the kind of people who are recording on a five year old laptop with onboard sound as the source of their ASIO woes. Also as the kind of people who wouldn't realise what the problem there is.
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Feb 21, 2011 19:03
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I have one. Works just fine for my needs, although I had stopped using it for a while and only recently started up again. At the moment I'm powering it through USB but using the midi send to go into my interface. Just easier that way. I'm using a not-quite-new Macbook Pro/TC Impact Twin. Latency hasn't been a problem for me so far, nor was it back when I was using Garageband on an iMac and knew nothing about anything. So yeah, I think you should be fine with it too as long as you check your setup to make sure there are no obvious conflicts.
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Feb 21, 2011 19:54
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So I'm considering selling my Akai SB-1 Deep Impact on eBay, however there doesn't seem to be any others already for sale or auction or anything. I know they were in demand a couple of years ago because someone offered me $600 cash for mine and I knocked him back. Am I likely to get in the $1000-1200 price range for it? I've barely used it.
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Feb 22, 2011 00:04
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LifeSpan-Void posted:So I'm considering selling my Akai SB-1 Deep Impact on eBay, however there doesn't seem to be any others already for sale or auction or anything. I know they were in demand a couple of years ago because someone offered me $600 cash for mine and I knocked him back. Am I likely to get in the $1000-1200 price range for it? I've barely used it. On the other hand, a couple went for $550 recently on Talkbass: http://www.talkbass.com/forum/f213/deep-impact-bjf-fromel-folk-fuzz-boomerang-more-681660/ http://www.talkbass.com/forum/f213/akai-deep-impact-$550-shipped-685284/ If you do auction it, include a reserve price if you're that worried. It'll cost a few extra dollars, but you won't sell it for less than you want.
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Feb 22, 2011 01:31
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Paramemetic posted:It is a firm belief of mine that every musician ought to own a keyboard, even if he or she isn't a keyboardist, exactly because it helps with theory and is easy to tinker with to explore different sounds. Speaking of which, I play guitar and bass and I wanted to learn keyboards but I can't get my hands to work independently of one another. Anyone got any tips on what exercises will help me overcome that? I originally thought being able to play the other two instruments would make it easier to translate over to keyboards, but I've found that's not the case at all.
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Feb 22, 2011 07:17
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It's more the other way around - playing keyboard/piano translates across to guitars, but that's more useful at higher levels of playing. As far as learning to play independently, your best bet is to just build up your ability - start off simple and then build up to harder songs, where it's best to learn to play each hand's piece separately and then work on putting them together. You will probably need to play very slowly when you first try and put them together. This is not something you can learn overnight but it's very, very useful.
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Feb 22, 2011 10:16
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Paramemetic posted:It is a firm belief of mine that every musician ought to own a keyboard, even if he or she isn't a keyboardist, exactly because it helps with theory and is easy to tinker with to explore different sounds. This is definitely true for anyone who wants to compose, even if you never use the keyboard to actually write songs; just farting around on the keys can make various concepts click into place. Also think that in general it's a good idea to develop perspective from another instrument's point of view. I remember being amazed at the new world that opened when I started to write music that focused on the bass first. Somehow it makes for more melodic results; perhaps because it helps you to think in layers of single note lines, like classical music, instead of wall-to-wall chords. Before I knew it I was writing stuff without any chords in it at all; and using instruments like reeds, strings, etc. Even got me jobs writing for modern dance and the theatre, so it's not just a private pleasure.
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Feb 22, 2011 10:28
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Crudus posted:Why not paint onto some sort of decal paper/removable sticker and then cut around the painting with an exacto knife and apply. Then you could just peel the design off later if you got tired of it. Of course, I'm assuming you don't mean to repaint the whole thing, but rather putting some kind of design on it. yeah but ideally i'd like the wood to kinda shine through
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Feb 22, 2011 12:21
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I'm a relatively inexperienced musician (bass guitar) and I just auditioned well enough to be accepted into a band. It's 90% originals with no previously written parts for me to play. I'm obviously committed to practicing my rear end off in preparation for playing out, which I've never done before. I'm curious if anyone has any advice... nothing really specific, but maybe things you wish you had done when you first started out.
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Feb 22, 2011 17:10
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Don't try and be forefront of the band (this generally goes without saying), just be patient during practices and be like a butler for the early days - do as your told, don't play otherwise. Once you're comfortable with the guys you can piss around a bit more but in the early days just make it as apparent as possible that you're a well-behaved and mature musician, even if you're capable of being immature when the time is right. 
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Feb 22, 2011 17:16
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Cloud Dog posted:I'm a relatively inexperienced musician (bass guitar) and I just auditioned well enough to be accepted into a band. ... Cultivate a telepathic connection with the drummer. Depending on the style of music it may be somewhat acceptable to play out* a bit or it may not sound good. Definitely go for simplicity if your not confident in your ability or role in the band just yet. I think most of the important "rules" are contingent on exactly what the band is like and what everyone wants. Personally, I've always found that playing supporting instruments like bass and rhythm guitar allows me to devote more attention to listening to everyone else. For me, this almost always results in better playing on my part. Even if you need to pay more attention to your own part at first, it's really worthwhile to make sure you can pick out any given part at any given time, and listen to parts interacting in pairs. This is in addition to hearing the group as a whole when necessary. It's an easy skill to pick up; all you need to do is play and listen. Speaking of which: Get some musician's earplugs and always, always wear them (unless you're in an acoustic band). Not only will you avoid hearing loss and tinnitus, but you'll actually be able to hear the whole group better. That's all the sage advice I can think of. Really it's your band members that you need to satisfy and be satisfied with, so most of the specifics are down to you and them. *In case it's not clear, I mean this in the sense of "playing stuff that calls attention to your self".
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Feb 22, 2011 19:01
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I've never followed a structured practice regime of any kind and just played whatever I felt like so I kind of feel like I spent 8 years learning what I could probably have learned in a few. My question is what kind of program I should follow? I don't really have an overview over the different techniques and such I should practice. Is there a site or something to help plan this out?
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Feb 23, 2011 00:53
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While there is general advice of "play when you can" it might help if you tell us what instrument you play.
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Feb 23, 2011 13:23
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Of course I'd forget the most important part. I play guitar.
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Feb 23, 2011 14:43
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Either* of the guitar megathreads will point you to this very handy little bastard. Good for warm-up, good for post-warm-up. Good all round, really. You'd be better off reading the OP of the New to Guitar Megathread and going from there really. *search says the intermediate level thread is no longer on the live forums so the Newbie thread will have to do I guess
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Feb 23, 2011 18:38
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So I recently purchased an Akai APC40, which I am using with this DJ template along with Ableton Live 8 Akai Professional APC Edition: http://marshall-law.co.nz/2010/09/22/dj-template-v5/ First off let me say that this template is (in my opinion) as essential to using an APC40 for Dj'ing as using an APC40 is to Ableton. The template adds even more functionality to your setup than I thought possible. Anyways, on to my questions. After setting the template up as per the developers instructions, everything is working fine except the step counter lights designated on the APC40. I was wondering if anyone was familiar with this specific template, and if they could provide any insight to getting the step counter working. I tried getting in contact with the guy who wrote it up, but he has yet to provide a solution. After some Googling, I found a few people who were experiencing the same issue, but every solution proposed doesn't seem to work for me. Because of the vague nature of the name of the template, I am having a hard time coming up with relevant Google searches and such for help. I know this is a rather specific case, but I seem to be running out of options. Any help would be greatly appreciated.
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Feb 24, 2011 04:28
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I think I give up on Line6. I had an AxSys 212, an Ax2, a Pod, a Pod 2, a Pod XT, and now a Pod 3. I wish I was kidding. And I've finally gotten sick of it. There's no good dirty tones in my Pod, at all, it's not possible. I can get gorgeous clean sounds, and I can play rhythm guitar for Mudvayne, but that's it. It's clean, or crushing distortion/fuzz. Where are my dirty sounds? Where are my "guitar solo in Hotel California" sounds, or my "Pink Floyd - Time" sounds, etc? I want distortion, but I don't need DISTORTION, I just want it breaking up a bit. I need to stay with an amp simulator, and it needs to be all in one, but who's making a good one in the <$500 range that actually sounds good throughout the entire spectrum? I just can't pretend to be interested in My Big Solo when my tone would fit perfectly on a Slipknot album or something.
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Feb 24, 2011 06:18
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Couldn't you just buy a dedicated distortion/fuzz pedal and have that route through your all-in-one? I've always preferred having separate pedals for each effect I'm running to the point of throwing my all-on-one into my "old electronics" box for retirement.
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Feb 24, 2011 12:57
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MC Fruit Stripe posted:I think I give up on Line6. I had an AxSys 212, an Ax2, a Pod, a Pod 2, a Pod XT, and now a Pod 3. I wish I was kidding. And I've finally gotten sick of it. There's no good dirty tones in my Pod, at all, it's not possible. I can get gorgeous clean sounds, and I can play rhythm guitar for Mudvayne, but that's it. It's clean, or crushing distortion/fuzz. Where are my dirty sounds? Where are my "guitar solo in Hotel California" sounds, or my "Pink Floyd - Time" sounds, etc? I want distortion, but I don't need DISTORTION, I just want it breaking up a bit. Yeah, I have a line 6 spider practice amp and it doesn't do those in between tones very well. Your best bet is to dial in a nice clean tone and throw your OD of choice on top of it, maybe with a touch of delay/reverb/chorus to fatten it up some.
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Feb 24, 2011 16:15
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To be fair while they might be better now, I always remember the Spider II (are we on IV or V now?) had a pretty nasty effects system. The amp effects array was nothing compared to the pods et al.
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Feb 24, 2011 17:32
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Tesseraction posted:Couldn't you just buy a dedicated distortion/fuzz pedal and have that route through your all-in-one? I've always preferred having separate pedals for each effect I'm running to the point of throwing my all-on-one into my "old electronics" box for retirement.
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Feb 24, 2011 18:50
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In which case you're going to be hard-pressed to find something that suits your needs. I admit that I don't really look at all-in-ones so I'm not the most helpful person to talk to, but there are a lot of nice fuzzboxes out there that would suit your needs - I mean hell with some tweaking even my Metal Zone pedal can actually provide some soft distortion. After all both Drifter and I have recommended get a dedicated distort! What exactly is your problem with having your guitar go through two boxes instead of one? Maybe if we knew what was putting you off we could give you some better advice?
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Feb 24, 2011 20:09
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MC Fruit Stripe posted:I think I give up on Line6. I had an AxSys 212, an Ax2, a Pod, a Pod 2, a Pod XT, and now a Pod 3. I wish I was kidding. And I've finally gotten sick of it. There's no good dirty tones in my Pod, at all, it's not possible. I can get gorgeous clean sounds, and I can play rhythm guitar for Mudvayne, but that's it. It's clean, or crushing distortion/fuzz. Where are my dirty sounds? Where are my "guitar solo in Hotel California" sounds, or my "Pink Floyd - Time" sounds, etc? I want distortion, but I don't need DISTORTION, I just want it breaking up a bit. I suggest the Electro Harmonix English Muff'n. It's a tube based overdrive pedal. It can do distortion and it can make the kind of tone you're describing. Don't be thrown by the name. I doesn't sound anythign like the Big Muff. There's some pretty good demos of it on youtube and the EHX site. MC Fruit Stripe posted:I've been considering that as well, but it would be the same thing, I'd want one that could do a multitude of sounds, not just throw a tube screamer down and be done with it. Oh....well in that case, I got nothing. The English Muff'n is an awesome pedal though. CPL593H fucked around with this message at 00:42 on Feb 25, 2011 |
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Feb 25, 2011 00:40
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