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h_double posted:Does anybody know of a simple but decent freeware notation program? I am going to have a look at Finale Notepad, it's only What are you using it for? when you get down to the light version the only advantages it has are that you can print nice looking scores and hear it as you write. If you don't need those, I wouldn't even bother with software.
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Feb 16, 2010 23:54
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, but was curious if there's anything else out there worth having a look at.
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h_double posted:I spent a couple hours tooling around with Finale Notepad and it looks pretty well suited to my needs. yeah, it's very basic, but for simple stuff it works just fine. Figuring out the little quirks in Finale can be frustrating, though, so don't throw away your pencils yet. kryptonik posted:I'm not set- but I do kinda like the idea of having the built-in tuner. Got any guitars I should look at? A built in tuner is pretty gimmicky. You're only saving like $15, but also putting unnecessary hardware into an acoustic instrument. There is really no situation where you'd need to tune up so quickly, but couldn't have a real tuner available or your ears. If you're on stage you'll probably be plugged into a tuner, or you can get one of those that clips on the head of the guitar, though I don't know how well those work. I think the more useful guitar attachment would be something to hold my beer or maybe a sandwich and fries. Think I'm gonna make dinner soon. CalvinDooglas fucked around with this message at 02:20 on Feb 17, 2010 |
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Feb 17, 2010 02:16
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Sharks Eat Bear posted:Recently I've been playing my dad's US Vintage Series Strat, and I decided to restring it. After restringing my friend noticed that the bridge looked like it was raised a little bit more than usual off of the body. I honestly didn't know if it was or not, but I decided to check out the tremolo spring tension in the back anyway. One of the manuals I downloaded off of Fender's site said that the tremolo block should be 3/16" away from the body wall, so I measured and that's how far it was. I'm thinking that maybe the bridge has always been raised as much as it is now, but it just struck my friend as odd because he'd never really noticed until new strings were put on.
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Feb 17, 2010 21:31
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Do I need the Line 6 brand power supply to run a Line 6 FM4 Filter modeler? I'd like it if I could just plug it in my OneSpot. And is that pedal going to sound good live?
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May 18, 2010 20:05
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Pleasure to chill posted:The Line6 stompbox modelers need 9V AC, but according to the Line6 website, they can also run on 12V DC. AFAIK, the OneSpot can only output 9V DC, so it will probably not work anyway. You don't need a Line6 power supply, though, just get a cheap one with the right specs from radio shack or whatever. hopefully the guy I'm getting it from has the power supply and pedal, it's just part of a sale/trade so I can pay some bills. I'm not even sure it's a pedal I want in my rig, but I'll give it a shot. I can probably sell it for more than it's costing right now. has anyone used the FM4, is it any good? I just can't see using more than one or two of those effects.
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May 18, 2010 21:46
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DrChu posted:You can use the OneSpot if you get an adapter like this - http://accessories.musiciansfriend....WELAID=26018582 and that takes care of the phase issue? Why do Line 6 pedals use AC power? I bet if I opened one up there'd a big old transformer right there, they just put it inside so you'd have to feed it AC. Especially considering you can run it with a bunch of 6 volt batteries.... I know they're not blasting AC current through a circuitboard.
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May 19, 2010 00:41
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I hope the thing is worth it. if it's good I'll use it a bunch, if it sucks I'll just use it until that MGMT song runs its course in our repertoire.
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May 19, 2010 02:35
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Fret wear: how much is too much? I can see where the frets are flatter under the strings, and when the strings are off and I run my finger up the fret I can feel the flat spots, too. The wear is distributed pretty evenly along each string.
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May 29, 2010 02:33
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The other day I ran my amp for about 90 minutes missing one of the two power tubes. It was apparently shaken loose in transit the night before. It's a 50 or 60 watt amp, Mesa/Boogie DC-5 combo. The tone was very different, it sounded crunchy almost like a Bassman or Tweed. Is there any chance I damaged it?
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Jun 2, 2010 02:56
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mrbradlymrmartin posted:When you start fretting out* you need to replace your frets. Until then, a good buffing wont hurt. Next time you need to change strings, go ahead and take them all off and rub each fret with a green scouring pad and then wipe your fingerboard down with rubbing alcohol. That should smooth things out enough that you wont have any trouble bending. I get a little bit of buzz on most of the high E, but that extends beyond the worn frets (1-15), so I'm inclined to believe it's an action issue. The good news about the fret wear is that it's really even, which means I'm not unconsciously resorting to the same positions and keys all the time.
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Jun 11, 2010 00:38
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quote:The even better news here is that your fingerboard is in very good shape. Even a very slight bump left on top will get a fret or two wearing drastically faster. Hydrolith posted:On the guitar: Has anyone got a good diagram showing a good pentatonic scale pattern that moves down the fretboard, rather than just across the strings? I know the pentatonic shapes, but I don't know a good way of chaining them together. I mean, I tend to switch up to the next shape only when I run out of scale when reach the top of the previous one, which, as I understand, isn't the most efficient position to change shape. We could definitely chart something out here, but the best thing you can do is figure all the stuff out the hard way. No amount of memorization and jamming in keys will do as much as sitting there and working out your scales in every key and position. It's a chore, but once you do it a few times it starts to catch and your fretboard will really open up. I would also make a point of being able to think of your keys/scales in absolute terms, intervals and note names. Shapes are useful to a point, but they end up limiting your playing and boxing you in. Shapes are physical patterns that don't necessarily work out to make pleasant melodic patterns. You also run the risk of only gaining skill in transposing the licks you already play. It's good to know your stuff in every key, but you don't want to be stuck playing the same bluesy "A minor" type riff when someone gets funky in Eb. Knowing all the notes will make you more flexible when it comes to note choice in your leads, as well as help you come up with more interesting chord progressions. There's a lot of information and discussion about this stuff in the Beginning Guitar thread. CalvinDooglas fucked around with this message at 02:57 on Jun 11, 2010 |
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Jun 11, 2010 02:52
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KenMornignstar posted:I bought an acoustic drum kit a few months ago. Unlike my electronic kit I feel more comfortable playing with the hi-hats on the right instead of the left.
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Jun 12, 2010 04:30
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KenMornignstar posted:Im relatively sure any long time drummer will tell me to set up my kit the way thats most comfortable to me. I can most comfortably do my normal hi hat work with the hats on the right. eehhh, you should check out the drumming thread, if only because this is a fairly specialized gear question. Yamaha has excellent instruments all around - I own/have owned 3 Yahama guitars and a keyboard. They make everything, and well.
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Jun 12, 2010 07:04
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dr. madlove posted:hey all, i would like to know what the following chords would be in drop D tuning..
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Jun 13, 2010 03:36
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as long as it's still a 12AX7 of some kind you're probably fine. If you aren't sure to get, just get generic Groove Tubes. Regardless of brand, a huge number of tubes are made by just a few manufacturers.
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Jun 15, 2010 22:33
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Watch out for the knobs, too. I've lost the exterior part of two pots in transit. Having a fixed master volume is kind of nice for tonal consistency, though.
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Jun 22, 2010 23:23
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Chexxum posted:I picked up a beginner's music theory book and just started going through it. One of the listening exercises tells you to write down what you hear. The answer key shows this: you almost always want to split up the beats in the middle of a measure like that. That example there wouldn't be hard to read with a half rest, but if you were playing a bunch of 8th notes and saw a quarter rest in the middle of the measure it could easily throw you off. Anyone who's done sight reading from a book of poorly edited jazz charts knows the pain of oddly placed and superfluous rests. Were your example to start with a blank half measure, or end with it, you could use the half rest. It's also unusual for beginner dictation exercises to include rests. I did a year of university ear training and we just used full note values. As long as you get the right pitch and rhythm, the rests can be a little subjective (even without rests there is still a little bit of space between notes for breathing, bow direction changes, hand position shifts, etc). With the exception of very precisely performed classical music, I think most people tend to avoid rests and let the performer decide whether to let an entire 8th note "ring out". If rests were written to reflect actual performance reading music would be a lot harder. CalvinDooglas fucked around with this message at 19:43 on Jul 5, 2010 |
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Jul 5, 2010 19:39
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Has anyone else used GarageBand 6 and found the software bass samples out of tune? I'm trying to put something together but it sounds terrible because all the bass samples are slightly out of tune.
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Dec 22, 2010 06:58
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Something smashed the rightmost preamp tube in my Mesa/Boogie DC-5. Looks like it's the V5 position, "Phase Splitter and Driver". A regular old 12AX7. I'd like to use a somewhat bright, open tone to bring out my single coils. Any suggestions?
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Jan 3, 2011 01:38
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Got a Groove Tube for now. I can customize later. I'm gonna see what the other tubes are and if I can upgrade one of those. Looks like I got a GT-12ax7-C to replace a smashed Sovtek 12ax7LPS. I'm pretty sure they're the same tube, but I'm gonna do some swapping and see if I can round out my tone a little. CalvinDooglas fucked around with this message at 01:53 on Jan 4, 2011 |
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Jan 4, 2011 00:50
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You gotta get through some of the classical stuff before analysis of pop music even makes sense. The nice thing about classical is that theory was developed specifically to describe the era's music. Bach through Beethoven or so are pretty much textbook theory composers. Even though scales/modes and Roman numerals are most of what you need to describe pop, there are tons and tons of classical cliches that hold over: cadential 6/4 chords, modulation to secondary keys, secondary leading tone and dominant chords, sequences. Work out classical theory with your instrument and ears, too, it'll do wonders for recognizing them in other music, and then you'll see why people still learn classical theory.
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Jan 30, 2011 18:47
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I suppose you could obtain some of his music and listen to it?
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Feb 1, 2011 05:53
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KaosPV posted:Yeah, but I meant that I'm a bit ignorant when it comes to polyrhythms and uneven rhythms, so I would appreciate if someone could point out to me where he does such a thing (making polyrhythms 4/4 beats). To "train my ear" to recognize them, so to speak. It's pretty easy to figure out when a rhythm goes out of 4/4 if you just keep counting the downbeats. If you get to a melody that doesn't line up on the same beat every measure, you're in syncopation/hemiola/polyrhythm territory.
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Feb 2, 2011 07:41
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Lumi posted:Can anyone give me a suggestion for a rhythm training app/software? I want to improve my music reading rhythmically, and I feel like an interactive way (i.e. something like it showing a rhythm and I tap it out or vice versa) would be the best way for me to catch on. metronome and a sight reading/singing book. Ottman Guide to Sight Singing has TONS of rhythmic, melodic, and two part exercises. Literally years worth of practice material. People can get PhDs and not finish it. Not to sound too hardcore, but you really gotta get down in it to get any benefit. No hand-holding or training wheels, just set the metronome to 40 and start reading. CalvinDooglas fucked around with this message at 07:56 on Feb 3, 2011 |
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Feb 3, 2011 07:53
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Lick
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Feb 4, 2011 03:25
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amotea posted:I've been practicing guitar for about a year now (avg. 1-2 hrs each day) and I'd like to know more about creating my own music. So yesterday I was reading more about intervals and the "feeling" associated with them at the site of the book "How Music Really Works": You'll want a thorough understanding of theory basics, especially the interactions between harmony and form (like where do the dominants occur in a double period and how are they resolved?). I don't think there's a special trick to composing just for guitar, but you'll probably find piano a lot easier for rudimentary composing because it's so much easier to play different instruments' parts simultaneously. You could spend a few years working up the skill to play chords, bass lines, and melodies simultaneously on guitar, or do it on the piano in a few weeks. As you learn about the structure of music you'll want to study it in compositions that you like. How does a phrase work with the harmony, how does harmony lend itself to form, and how does form shape the overall experience of the piece? I would suggest getting started on learning to read notation and get learning various examples of composed music. Classical, jazz, progressive rock, whatever. The first thing you'll need is an ear for phrasing. Think of it like a language. you need to understand phrases, then sentences, then chapters, etc. Don't hesitate to get into the nitty gritty of analysis. You may feel like it sets you behind conceptually to spend an hour marking up 16 bars of a piece you'll never play, but skill comes from work, not just understanding.
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Apr 5, 2011 18:03
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