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baka kaba posted:But yeah if it's on both hands it's probably a physiological issue? You might be able to strengthen the muscles but it's probably worth seeing a professional if you can Spanish Manlove posted:If it's happening to both of your hands then it could be a genetic thing where the extensor tendons for your 3rd and 4th fingers are too close together and you just need to exercise your hands more to build up flexibility. EDIT this could also be due to a carpal injury or something so if it's painful or happens a lot you may want to ask a doctor about it. It doesn't hurt. It's not even uncomfortable. It's been a thing for as long as I can remember and it never really caused me any real problems before. I don't need to be holding a fretboard to have it happen. Even just holding my hand out and curling/straightening the fingers does it. Annoying. Part of the reason I quit learning guitar and piano in the past is because of this stupid finger. It happens on my right hand but it is very manageable to the point where it wouldn't even be a problem if I were southpaw. My biggest concern is the fact that I need to lift my ring finger in order to lift the pinky. If I were to make a fist and try opening it one finger at a time, I can do it without issue from index-pinky, but in the opposite direction the ring finger absolutely must raise first. My right hand doesn't have that requirement. It's very weird. It's entirely possible that both hands are built the exact same way but it's negligible on my right because I favor that hand and the finger/joints/ligaments/etc get more use and are therefore stronger and more coordinated. I'll still talk to my doctor about it next time I see her and see what she has to say. baka kaba posted:I don't have a clue what I'm talking about, but finger independence exercises might help. Practicing trills with your pinky might help - hammer on and pull off over and over trying to get a consistent sound, and try fretting the lower note with different fingers Spanish Manlove posted:Use one hand to make a pair of fingers on the other hand spread apart as far as possible, stretching out the webbing between your fingers. I'll do those exercises. Thanks. rio posted:Yes, that used to happen to me often on upright bass many years ago. The way I moved past it was practicing long tones, moving very slowly and focusing on keeping my finger curved from the knuckle to the finger tip all the way down to the string, making sure that one the finger hit the string that the first segment of the finger was almost at a 90 degree angle as it pressed the string to the fingerboard. That fixed night hat problem and my third finger which was locking at the second joint. My lock happens at the third joint (or first? whichever is the one that connects it to the hand). I'm glad to know someone has experienced it before and worked past it. Mak0rz fucked around with this message at 23:25 on Jan 13, 2018 |
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Jan 13, 2018 23:20
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Clayton Bigsby posted:Question is, what the gently caress do I get? Get a 335 clone and turn it into a doom/sludge monster.
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Jan 13, 2018 23:34
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Clayton Bigsby posted:So I'm in the midst of one of my occasional gear reshufflings. Could use a thought or two. If you want to go all in on an archtop, mentioning Ibanez and jazz in the same post I’m obliged to mention the Ibanez Contemporary Archtops that they just released last year. They are under 1000 and feel like guitars that cost more, almost on par with the Japanese made Ibanez archtops. The slightly smaller body size, not too thin but not too thick neck profile, fretwork (generally speaking) and the little details like the knobs, colored wooden binding and everything make for a comfortable and attractive guitar while being slightly different than a standard jazz box on both looks and sound. This is a demo and review I did of the one pickup version although they do make two pickup versions. There is also now a less expensive version that is blonde and is really awesome looking (I might have gotten that one if it was available at the same time as their other ones but it was released later). https://www.youtube.com/watch?v=tsCHbaACP-k rio fucked around with this message at 00:08 on Jan 14, 2018 |
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Jan 13, 2018 23:59
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Spatulater bro! posted:A mild breakthrough on the fret buzz issue. I've determined with a high level of certainty that the buzz is emitting from the next fret up from the currently played fret. I figured this out by placing a capo on a fret, picking the string to consistently produce the buzz, and gently sliding the corner of a post-it note over the next fret. Without exception the buzz was replaced by the papery vibration. If it's not just one or two frets then it's probably a truss rod issue. You can buy a notched straight edge and adjust the truss rod yourself if you feel comfortable (it's not really hard, just look up which direction to turn the truss rod to fix the issue and make small adjustments over a period until it's fine), or pay a professional if you don't. I generally don't feel comfortable with truss rod poo poo  e: clayton bigsby buy an offset
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Jan 14, 2018 00:07
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Mak0rz posted:It doesn't hurt. It's not even uncomfortable. It's been a thing for as long as I can remember and it never really caused me any real problems before. I don't need to be holding a fretboard to have it happen. Even just holding my hand out and curling/straightening the fingers does it. Annoying. Yeah it's not necessarily a problem, just how your hands are - and guitar is a really unnatural thing for your hands to be doing. Could be that there's nothing you can do about "fixing" it, but you should hopefully be able to control it with conscious effort, y'know? And strengthening exercises might give you enough muscular support that your fingers don't accidentally collapse out of position I mean that's sort of what everyone has to deal with when they pick up the guitar anyway, getting your fingers strong enough to get in the right positions and stay there. Practice helps with that! But a professional might be able to give you some physio exercises and tips to correct it, who knows
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Jan 14, 2018 00:39
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Spatulater bro! posted:A mild breakthrough on the fret buzz issue. I've determined with a high level of certainty that the buzz is emitting from the next fret up from the currently played fret. I figured this out by placing a capo on a fret, picking the string to consistently produce the buzz, and gently sliding the corner of a post-it note over the next fret. Without exception the buzz was replaced by the papery vibration. It could be that whoever did the fret level did it in such a way that it is slightly angled down - like, the frets get gradually and almost imperceptibly higher as you go up the neck. Do you trust whoever did fret work (if anyone other than the factory)? The other is that the angle of the neck is wrong and you can fix that with an angled shim, assuming you have a bolt on neck. It’s ghetto but I’ve used playing cards cut gradually smaller, stacked big to small from bottom to top to make quick neck shims to test angles. Your action shouldn’t be the issue at all at the height you have it.
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Jan 14, 2018 00:41
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Lester Shy posted:Get a fanned-fret 8 string from Rondo and play jazz on it. I had an 8-string for a while (Schecter Omen-8) and while it was entertaining to play my Trump sized fingers did not particularly care for it. I can do a 7 but 8 is just a bit too much. rio posted:If you want to go all in on an archtop, mentioning Ibanez and jazz in the same post I’m obliged to mention the Ibanez Contemporary Archtops that they just released last year. They are under 1000 and feel like guitars that cost more, almost on par with the Japanese made Ibanez archtops. The slightly smaller body size, not too thin but not too thick neck profile, fretwork (generally speaking) and the little details like the knobs, colored wooden binding and everything make for a comfortable and attractive guitar while being slightly different than a standard jazz box on both looks and sound. Hmm, will definitely ned to check those out. Took a quick look at your vid (nice playing, will watch the rest this evening!) and it sounds wonderful. Not sure I am ready to go all-in on a jazz archtop though, might dip my toes in with a cheaper model to begin with... Anime Reference posted:Get a 335 clone and turn it into a doom/sludge monster. That would be Something Awful indeed. But cool.
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Jan 14, 2018 16:09
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Home to myself for the first time in months, cranked Marshall and Les Paul gently caress yasssss
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Jan 14, 2018 17:11
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One of these days I will turn the master volume on my Marshall up past 1. Hopefully.
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Jan 14, 2018 17:22
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Southern Heel posted:Home to myself for the first time in months, cranked Marshall and Les Paul gently caress yasssss  Go nuts!I'm in the same boat today: nobody home but me. Gonna crank Strat and Blackstar HT5.
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Jan 14, 2018 17:54
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rio posted:It could be that whoever did the fret level did it in such a way that it is slightly angled down - like, the frets get gradually and almost imperceptibly higher as you go up the neck. Do you trust whoever did fret work (if anyone other than the factory)? The other is that the angle of the neck is wrong and you can fix that with an angled shim, assuming you have a bolt on neck. It’s ghetto but I’ve used playing cards cut gradually smaller, stacked big to small from bottom to top to make quick neck shims to test angles. Your action shouldn’t be the issue at all at the height you have it. Interesting. So if it's the first issue, is there any way to measure that to confirm? If it's the second issue, will the micro tilt on the back of the neck pocket be able to help out? It seems like the neck would need to be angled FORWARD, not back, to fix this problem, right?. And I assume the micro tilt can only angle it further back from where it's currently at? So would a neck shim be placed at the back of the neck pocket?
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Jan 14, 2018 18:27
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If anyone is in the market for a giggable micro head then I'm going to have to recommend the new Vox MV50 range. The YT demos have been average at best but got to try them out in store yesterday and they're ridiculous. I was using the Clean and AC models into a little Vox 112 at 8 Ohm so only got half of the rated output (they put out 12.5 watts at 16, 25 watts at 8, and 50 watts at 4) but it was blowing my tits off. The feel is uncannily similar to a cranked tube amp so the Clean model had that Fender sag, whereas the AC was immediate and in your face just like my 30. Tone control only but it was useable all the way round the dial; ditto gain and volume. At various points I had three store staff wander past the booth, do a double take, and stick their head in to ask some variation on "what the gently caress is that?!". Couple of them ended up demoing it themselves because they couldn't believe the volume and tone was all coming from this little pedal-looking thing. I swap between guitar and keys so have to take two rigs out which is a pain, but I'm seriously considering selling my AC30 and getting one each of these, then wiring up a 212 with two 4 ohm speakers for a portable 100 watt stereo setup. I know we're well into 21C guitar tech now but if they upscale them into a range with bigger outputs and more features (I definitely missed a 3 band EQ and reverb) these are going to be gamechangers.
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Jan 14, 2018 18:57
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Spatulater bro! posted:Interesting. So if it's the first issue, is there any way to measure that to confirm? Normally the high part of the shim would be in the back of the neck pocket so you’d have to put the high part of the shim on the other side (the side facing the neck and not the side facing the body). I don’t know if any way to measure specifically for the first problem. What you are describing is something that could be caused by it but unless it was grossly unbalanced between the highest and lowest frets then I don’t know that measuring would show you enough of a difference to prove that is the problem.
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Jan 14, 2018 19:23
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Traded a dean vendetta (the original kind) that had a bent fret and a crack in the finish+ chipped headstock for a behringer delay, a Screamin blues, and a Dunlop wah. Not a bad exchange imo.
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Jan 14, 2018 22:52
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betterinsodapop posted:
I know this is more of an Amp Megathread post, but I wanted to talk Blackstar+ for a post: If you read the new gear and amp megathreads you already know most of this, but I played a Blackstar HT-5H head/cabinet at a Sam Ash and it was my first experience with Blackstar. I live in an apartment and had been using a PODHD and, later, a Yamaha THR-10 for apartment-living volume levels. I really love the THR-10, but that little Blackstar blew my freaking mind. The ISF knob is so incredibly useful! It has a really decent clean tone and plenty of wonderful gain. I found a 2009 head/cabinet on Reverb for just $300 and I love it. I'm a multi-amp fan, and before long I paired it with a Peavey Classic 20MH and bought another Blackstar HT-110 cabinet (if I remember the model correctly) and I run the Peavey in 5W mode which matches very well with the Blackstar, in stereo; and wow they really complement each other, clean or crunch. It's Sunday so I'll wait until tomorrow to turn them on and play, because I'm off work on Monday and my neighbors are all out working, so I can turn them up and get some feedback and have a ball. Gonna include some pictures but first I need to give a shout-out to forums treasure Dang It Bhabhi for fixing my Dunlop stereo tremolo/pan pedal, which in addition to giving me those effects, also splits my signal out to the two amplifier inputs without noise. The pan/trem/rotary effects lead the chain: Fulltone MDV-3 @18v > MXR EVH Phasor (very noisy! SAD!) > the overdrives: an old Korg Tube Works Tube Driver, the B.K. Butler design, and a new v4 OCD also @ 18v, then into the Dunlop Stereo Pan/Trem out to the amp inputs. From there the amps' effects sends go to the modulation effects: > tc electronic Corona Chorus in stereo > tc electronic Flashback X4 delay in stereo, with the Ernie Ball active volume pedal acting as an expression pedal for the delay volume or whatever I want to assign it) > tc electronic Hall Of Fame 2 reverb > back to the amps' effects returns. I want to add two more pedals and I am in *desperate* need of a pedal-board to mount all this stuff. But sitting on the chair between those amps is the sweet spot. It sounds so great. I need to figure out what to add to the effects chain to make the two amps' effects buffers have the same level, because the Peavey really overplays that reverb compared to the Blackstar. I need to level that out. I also have two more pedals I really want: an EVH Flanger and some kind of rotary simulator like the E.W.S. Modded Arion Stereo Chorus or the similar-sounding Blue Hippo Chorus. Personally, I like the E.W.S. Arion a lot more. But tomorrow I can get noisy and have fun playing. Again, thanks to Dang It Bhabhi for fixing my almost 20 year old Dunlop pedal. And when I need to keep it down, the THR-10 is right there ready to go. I love that little guy, but drat I love tubes. This is not the correct thread for amps/rig setups, but I'm so happy with it I'll post this and some pics anyway:   The surprise Blackstar:  I'd happily take this into a studio or record at home. The Fender Blues Jr. I modded has been a disappointment, although it was a very fun (if scary) project, but these amps play well together right out of the gate.
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Jan 14, 2018 23:44
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Clayton Bigsby posted:Been tempted to get a 7-stringer of some sort, perhaps an Ibanez Universe. Or maybe a jazzy thing like an Ibanez AF75. Or something fanfretted. Or a baritone. Or a fanfretted baritone. gently caress, I have no idea. I am all covered in the shred department, and I have two Teles and a Strat so fairly well set there. Any fun ideas? Figure budget 0-1000 USD. https://www.youtube.com/watch?v=3nIiPOGAfo0
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Jan 15, 2018 17:11
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darkwasthenight posted:If anyone is in the market for a giggable micro head then I'm going to have to recommend the new Vox MV50 range. The YT demos have been average at best but got to try them out in store yesterday and they're ridiculous. ive played the ac and rock heads and thought the same thing, but im hesitant to pick one up after i saw this https://youtu.be/C_JKjdw5wl8 i really want them to release that one, hopefully at namm this year
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Jan 15, 2018 17:54
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Gringostar posted:ive played the ac and rock heads and thought the same thing, but im hesitant to pick one up after i saw this Don't think it'll hit this year, but who knows. Looking at that I'm seeing stuff I'd like (reverb and channel switching) but not in the format I was hoping for. They should really make a module format where you can choose between circuits because I'd snap their hand off.
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Jan 15, 2018 19:37
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I've been doing chromatic spider exercises regularly for a few months now (probably 2-3 times a week on average, for 20 minutes a session, sometimes more frequent/long) and I have to say I am seeing a marked improvement in my fingering ability. I didn't believe it would change anything, but it's always touted as so important. I am very far from a shredding god yet, but the difference is really there. As you get faster and more precise, it seems like the empty space between fast consecutive notes appears larger and larger. Also synchronzation between fast picking and fast fingering becomes more natural and clean. Variety also seems to be important; going slow, fast, backwards, staying one one string, it all has its place it seems. Going very slowly and deliberately helps fingers get stronger, especially when going backwards. Anyway nobody I know really cares about this poo poo so I felt like sharing here. Ive played guitar for an embarassing number of years before taking this seriously, and it feels like I've made more progress in the last 6 months than the 10 years before that. It seems boring to get in the habit at first, but now I view it as an essential warm up tool and actually dont like playing withoiut going through a few spider runs first.
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Jan 16, 2018 23:54
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Colonel J posted:I've been doing chromatic spider exercises regularly for a few months now (probably 2-3 times a week on average, for 20 minutes a session, sometimes more frequent/long) and I have to say I am seeing a marked improvement in my fingering ability. 
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Jan 16, 2018 23:56
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https://www.youtube.com/watch?v=heZDNrs-KWs&t=414s https://www.youtube.com/watch?v=1ztAUZq-qss https://www.youtube.com/watch?v=DPF2x7UTl7A I'm getting slaughtered by trying to make sense of all these Donny Mccaslin pieces. The arrangements and time signatures are nutty. Fast Brazil is going to murder me.
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Jan 17, 2018 01:02
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its curtains for Kevin posted:https://www.youtube.com/watch?v=heZDNrs-KWs&t=414s Yesss I love Donny McCaslin. For anyone not familiar with him, it’s not his claim to fame because he is a well known jazz guy but he is on David Bowie’s last album, which also has some other killer jazz players - I heard the album before knowing who was on it since it was being played a lot after Bowie’s death and I was thinking that there were some guys biting off of Jason Lindner and McCaslin and then found out it was them and had my mind blown that they were on the album. Mark Guiliana is also an amazing drummer who can really kill it. I forget who the bass player was (which embarrassed me since I am also a bass player and no one remembers the bassist in general). Anyway, there’s a lot of needless info but it’s cool seeing Donny McCaslin getting some love here.
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Jan 17, 2018 01:14
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gently caress the arrangements I have, none of the studio tracks follow it and I have to learn it all by hand
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Jan 17, 2018 07:45
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I hope this is the right place to ask what I'm sure is a stupid question. I'm trying to understand minor pentatonic scales, I've been taught the A minor starting at A in the 5th fret of string 6 with this 1-4 1-3 1-3 1-3 1-4 1-4 pattern, and I've also been taught that a scale must start and end on the same note, the root so A in this case. But the last 1-4 goes A to C, then I'm told to reverse and go back down the scale from there. So I go from A to C on the thin E string and then back to the A and back down. So how can this scale "end" on C if it's supposed to end in the same note it began?
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Jan 17, 2018 19:09
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The proper scale is just the single A-A octave (i.e. the initial 1-4 1-3 1-3). After that you're just repeating the pattern to keep going up.
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Jan 17, 2018 19:18
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Yeah you're basically just continuing the scale with the available notes - when you're practicing it's typical to get to the highest root note, then keep going (onto the next strings if necessary) until you run out of notes under your fingers, and then come back down to that root note. So it's like you overshoot and come back. Same for going back down the scale, you go past the lowest root until you run out, then back up to the root There's nothing about a scale that says you need to end on a particular note, this is just practice so you learn where the roots are. So you're playing and learning all of the notes available in that position (including that extra C), but you're paying special attention to which ones are the root, and finishing on it so you get used to the sound
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Jan 17, 2018 19:36
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Oh ok, that clears it up. I definitely had the wrong idea about that C. Thanks guys
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Jan 17, 2018 19:51
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Thoughts on the new 2018 LTDs? I won't lie, I really really want one of these, an EC-Black Metal. All black hardware, ebony fretboard, single Seymour Duncan Blackened Black Winter pickup, even a black LTD logo. No fret inlays, and only a single volume knob. There's something extremely badass about the simplicity of it. 
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Jan 17, 2018 22:01
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Spatulater bro! posted:Thoughts on the new 2018 LTDs? It should have a black pentagram inlay on the 12th fret 
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Jan 17, 2018 23:39
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Double posting! I think there are a few BOSS Katana owners in this here thread, so hopefully this isn't totally out of place. I made a little web app to let me edit my .tsl (liveset) files so I could change the amp model to one of the "sneaky" amps and toggle the hidden bright setting. It's nothing you can't do with search / replace yourself, but it's prettier and I think a little easier. Very handy for me to take a patch I like and see what it sounds like through all the hidden amps. Should be simple enough to use, but I'd love feedback if it's not! https://eskimospy.com/katana/ Lumpy fucked around with this message at 23:56 on Jan 17, 2018 |
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Jan 17, 2018 23:45
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Spatulater bro! posted:Thoughts on the new 2018 LTDs? Is that really an ebony fingerboard? Looks more like rosewood to me.
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Jan 17, 2018 23:48
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Gnumonic posted:Is that really an ebony fingerboard? Looks more like rosewood to me. According to the ESP website it's Macassar Ebony.
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Jan 18, 2018 00:52
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Spatulater bro! posted:Thoughts on the new 2018 LTDs? Any word on price? ~$800 seems like a reasonable guess.
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Jan 18, 2018 00:59
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Anime Reference posted:Any word on price? ~$800 seems like a reasonable guess. ESP's website agrees.
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Jan 18, 2018 02:14
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$749 to be exact.
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Jan 18, 2018 03:24
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Spatulater bro! posted:According to the ESP website it's Macassar Ebony. Interestingly, you'll sometimes hear some folks refer to Chechen as "Caribbean Rosewood," but it really isn't rosewood at all.
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Jan 18, 2018 04:06
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Deketh posted:I hope this is the right place to ask what I'm sure is a stupid question. To really open up that question, you are basically playing a pitch collection. This is how I like to teach because there is less fingering memorization but you have to apply music theory to get more scales/modes. So an example is that A to A would be the full 2 octave minor pentatonic scale. But, if you start on C and end on C it would be C major pentatonic. So that fingering would would over both a C major chord or an A minor chord. Or it would work over other chords too when you start doing substitutions, like if you start on the 3rd note of A minor pentatonic, D, you get notes that spell out a D7sus sound because you end up with D E G A C D etc. which, if we are in D is 1 2 4 5 b7 in terms of scale degrees. This is more of a jazz thing for a chord like that but it is just to illustrate the idea with modes that you only need to know one big fingering in a position as the theory of how starting on each note applies to a different chord - otherwise you end up memorizing separate fingerings for each scale and mode and that ultimately takes more of your time using pentatonic as an example you know are learning just 5 fingerings but getting 10 scales out of it since you know that the same fingering applies to both minor and major pentatonic. It is the same with major scale shapes/pitch collections but you get 7 scales out of each scale shape, which are the 7 modes of the major scale I am sick on the couch so sorry if that is too much unasked for info but it gave me something to do and I’m big on pushing that kind of stuff on guitarists because it ends up being a big time saver AND it is a sneaky way to get people to want to learn their theory.
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Jan 18, 2018 06:13
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Spatulater bro! posted:Thoughts on the new 2018 LTDs? I don’t play metal but drat that looks great. I bet it plays great too - I have been really impressed by LTD. My first one was a six string bass and it played way beyond its price point. Since then I’ve had students who got guitars that have all been great and if anything would only benefit from pickup changes if you were to be really scrutinizing. Edit: whoops, thought I was editing that in, not double posting.
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Jan 18, 2018 06:15
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If that has black winters then you don't need to change pickups, I love those things.
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Jan 18, 2018 06:35
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weirdly the viper model is 7 string while the eclipse and superstrat are 6 also there's the bill kelliher signature guitar  rio posted:I don’t play metal but drat that looks great. I bet it plays great too - I have been really impressed by LTD. My first one was a six string bass and it played way beyond its price point. Since then I’ve had students who got guitars that have all been great and if anything would only benefit from pickup changes if you were to be really scrutinizing. their korean contractor is the same one that makes the prs se line and gretsch's budget stuff among other things The Muppets On PCP fucked around with this message at 07:03 on Jan 18, 2018 |
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Jan 18, 2018 06:59
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