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Zo posted:This is my point I don't know why you quoted me I am disagreeing. It's not really that difficult to learn the substance of the chords as you learn them, and certainly doesn't take months of practice to get to the point of putting them together in a song. There is, of course, hardly a chance in hell that someone could pick out by ear the chords in a song if they've never played those chords before. If that was the other guy's contention, I'd agree with you that it's impractical, but it's so impractical that I have to think s/he did not mean that.
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Jan 23, 2011 02:17
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Hanpan posted:So I really want to get some more effects going on... I've been looking at the Line 6 POD devices as they seem to be relatively popular. I'm struggling to figure out which one would be most appropriate for someone at my level (beginner/intermediate). One thing I know is that I want to be able to change effects mid song, so I'm guessing I'll need one like this http://www.dawsons.co.uk/acatalog/info_00065430.html ? If you plan to go on stage any time I'd start getting some stompboxes. Or a really nice digital console for the stage, but those are pretty expensive to buy all at once. With stompboxes, I would start with the most basic and obvious ones: overdrive and wah. The only way you can really change effects mid song is with your feet. The quality of effects is pretty much in line with the pricing, except maybe extra fancy boutique stuff. A good overdrive and a good wah will run you about $200 total. If you don't think you'll ever need something roadworthy by all means get a console, it's got way more effects. Stomboxes sound better in my opinion and create really unique tones because of how they interact in sequence, but you'll spend $1000 on 7 nice pedals while a fancy Line6 console for the same price might give you dozens of sounds. CalvinDooglas fucked around with this message at 02:08 on Jan 28, 2011 |
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Jan 28, 2011 02:02
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The Fool posted:My wife bought me a new acoustic guitar for christmas this year, and I've been noticing a buzz coming from the bridge on some of the strings. It was set up by a local shop when she bought it, but is there any adjustments I can do myself to fix it, or should I just bring it back by there? Your strings are probably not old, but you may want to replace them so you can tap those bridge pegs in tighter. If that doesn't work, take it to get looked at to see if the "bone" piece or something else is loose. It's likely a simple fix, but get it diagnosed and have the fix explained. Making adjustments to the bridge of an acoustic guitar could be a one-shot deal, so I think you'll want to leave that to someone with experience.
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Jan 30, 2011 18:40
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uncle jimbo posted:What the hell is wrong with my output? pretty much
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Feb 2, 2011 06:42
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superdylan posted:I'm about to throw this stupid floyd rose tremolo in the trash. I spent a few hours the other night dialing in the correct spring tension and intonation, then i snapped a string. I replaced them all one by one, tuned it 8,000 times, and stretched out the strings so they stay there. The problem is that whenever the tremolo gets bumped, it doesn't come all the way back to where it was. So if everything is exactly in tune and my wrist hits the tremolo bending everything up, it will settle back down to ~20 cents sharp. If I pull up on the bridge and bring all the strings down, it will settle about 20 cents flat. Is there a part I can lube or replace to fix this, or should I sell it and move on? I think the bodies are routed just for those super trems. Take it to the shop if you're not sure, and ask what your bridge replacement options are. You'll get fine tremolo action and consistent tuning with a regular tremolo bridge and locking tuners.
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Feb 8, 2011 01:22
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Another good way to memorize the fretboard is to work out your scales and chord inversions. You'll only remember stuff that you use, and if you "memorize" 138 notes but only learn chords and scales in the lower 7 frets, those upper notes won't stick in memory too long.
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Feb 15, 2011 02:18
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SaucyPants posted:could you tell me more about Chord inversion? any exercises? I have been messing around with a lot of beginner jazz lately to help me learn more chords and the notes( and pick up chicks) and this sounds intriguing There's some prerequisite theory that you'd need first, it won't make much sense if you don't know 1) all the notes on the guitar, 2) scales, 3) chord construction. Basic voice leading is also helpful, especially if you're playing jazz. if you already know these things: An inversion is a chord that is not in root position. Instead, it has the 3rd, 5th, or 7th in the bass. The best way to learn them is to figure them out with your knowledge of scales and chord construction. Start with triads, such as the lowest root position triad on the guitar, G: 320xxx. Staying on the low E, move up to the third of the chord, B on the 7th fret. Find the other two notes in the chords on the same set of strings: 755xxx. Spelled BDG, with the third, B, in the bass instead of the root, G. Do this on sets of 3 adjacent strings, one octave. When you get around to 7th chords, make the exercise 4 adjacent strings.
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Feb 16, 2011 02:19
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FetusSlapper posted:I've been playing for ~20 years, and really the only thing I haven't mastered (other than a sync between my left and right hand) is sweep picking. Anybody have any links on excersizes and practices that can help unlock this mental block? that L/R synchrony is pretty important to technical development in general. Do you have a practice routine, or use a metronome at all? Before doing economy picking, make sure your alt picking is decent because you'll need precise articulation. You ever seen Wheel of Fortune? that arrow smacking the pegs as the wheel slows down? That's what sweep picking is like. You use it to move across strings in the same direction. Where it gets tricky is when you use economy picking overall, which is what advanced "speed" players usually do. That's basically sweep picking with direction changes, and is different enough from alt picking that it warrants its own slot in your practice routine. It'll take some patience to develop the precision you need to change direction efficiently. If your hands aren't coordinated all that well it'd indicate your alt picking is probably spotty, so work that up a bit and then start looking at economy picking when you've got some right hand precision. Start the metronome at 60. CalvinDooglas fucked around with this message at 02:30 on Feb 16, 2011 |
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Feb 16, 2011 02:27
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David Pratt posted:The sustain on my electric guitar seems to have suddenly dropped right off. Any obvious cause for this? old strings
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Feb 19, 2011 19:12
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RetardedRobots posted:Unless you are trying to do something crazy, like humbuckers on a telecaster. And working on a hollowbody/semi-hollow body can be tricky if you don't know the secret of tying strings around the pots. Internal soldering also gets tricky if your guitar has only exactly enough wire get from the pickup to the switch.
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Feb 26, 2011 02:34
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baka kaba posted:Personally I bar that with my pinky, I can't do it with my ring finger and clear the top string. Might be a bad habit but there it is! Who needs the high e? You rarely see it in most actual music (outside of method books). Just barre with the ringer finger and use your finger overhang to mute it. If you need all 5 strings, use three fingers in the middle and the index to barre the A and high e. Don't always default to the barre for notes on the same fret. As often as they make something a little easier, they also reduce your options. Sliding the pinky and ring fingers together is a lot easier than sliding pinky barre. You also can't do decorative hammer/pull from a barre. CalvinDooglas fucked around with this message at 03:22 on Mar 2, 2011 |
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Mar 2, 2011 03:17
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SSJ2 Goku Wilders posted:
16ths at that tempo are a little above "new to guitar". Just keep on the alt picking.
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Mar 6, 2011 02:22
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SSJ2 Goku Wilders posted:I remember there being another guitar thread like this, but for intermediate level. Checked the first two pages and didn't see it! my bad there's an intermediate thread that seemed to die when my laptop did last fall, "No Longer New to Guitar". Unless you are concerned that your basic motions are not in shape, I would work up the alt picking. Just be sure that your pick is nice and flat! I think you'll find it easier to work with alt picking for string skips than economy. Up accents are a pain to get consistent, but remember to relax and not change the angle of the pick like you do with economy. In that intermediate/advanced thread I posted a basic alt picking exercise that you can use to get your alt and string skipping in good shape. edit: looks like the intermediate thread dropped off into the archives. Any way to bring it back? I don't have access CalvinDooglas fucked around with this message at 17:52 on Mar 6, 2011 |
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Mar 6, 2011 17:49
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I can only imagine it would make a maple neck wayyy too slippery to play on. No idea if it will damage the finish, but those things are plenty slick already. If you use an oily product it will make visible dirt build up faster.
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Mar 10, 2011 16:54
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Philthy posted:Ah well, very enjoyable to watch this guy play guitar. Pity about the audience. Got one of his picks, a red jazz III. Which I have been looking for a while now. All the stores never have em. They are called Eric Johnsons now, Guitar Center has them.
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Mar 14, 2011 15:52
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22 Eargesplitten posted:So guess what dumbass managed to chip the corner off of his nut?
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Mar 16, 2011 00:46
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tune those to C and F then strum the guitar open and you'll see why people keep them where they are. The D B and G strings form a G major triad that you barre in a lot of chords, and strings G B and E form a minor triad with the same usefulnes.
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Mar 18, 2011 00:32
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You could just have the coils tapped, which means you'll be able to turn off half the humbucker with a switch or push/pull on the tone knob. Probably cost less than new pickups, and you'll get a nifty new switch out of it. If that doesn't sound good, P90s are about humbucker size and are a little brighter.
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Mar 23, 2011 19:30
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crm posted:I just wanted to share that I hate the position 1 F chord. It makes me want to strange a kitten. Just do G and A barre, then come back to F. It really doesn't come up that often, and when it does, you likely won't need to hold it for long.
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Mar 25, 2011 02:15
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Well if you gotta do it you gotta do it. Do this: Fret the whole barre chord: 133211 then remove everything but the barre: 1xxx11 How many strings does your index finger actually need to press on? Only those three. Don't waste energy barring the other strings because your other fingers are pressing down there. Practice that 1xxx11 on other frets and then press down on the middle three strings.
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Mar 25, 2011 04:53
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It's fine. Next time you restring, though, try to hold the peg down firmly until it gets up to tension. If you're particular about your guitar you can always slacken the string and try to re-seat the peg.
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Mar 28, 2011 02:59
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Feh, learn by ear. Most tabs are wrong.
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Mar 31, 2011 16:22
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No guitar/amp combo from Guitar Center will replicate a sound you hear on an album, especially not one that production-heavy. In a dense classic rock mix, the guitars often have really thin, wimpy parts when you separate them out. I can tell you right now that guitar tones on Ziggy Stardust, at least the radio singles, will sound awful on their own. If you're really a fan of thin, tinny tone, though, get a Vox or another "vintage British" amp. Something like the setup on "White Room" is a more realistic version of that same classic Brit sound. All that in mind, you'll probably really like the sound of a basic Fender through a Fender. It's a warm, full sound with some versatility. CalvinDooglas fucked around with this message at 04:59 on Apr 13, 2011 |
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Apr 13, 2011 04:55
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Side Effects posted:The new series isn't MIA, they're made in Japan. A fender employee confirmed this. except the finish, wood, and switches. Squiers are covered with opaque, plastic-y stuff, and nice guitars are finished like a car, with several layers of lacquer and paint. CalvinDooglas fucked around with this message at 03:27 on Apr 14, 2011 |
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Apr 14, 2011 03:24
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Fret light will help your guitar playing as much as LA Lights helped kids learn to walk
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Apr 15, 2011 16:49
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Paramemetic posted:Most likely you can repair it by bending the contact of the input in so it touches the cable's output more cleanly. I certainly wouldn't send it back to them. No way send that poo poo back. Especially if it was ordered from Parker rather than online. Unless you've damaged it in some way, exchange it. Parkers are every bit as fancy and expensive as PRS and G&L, and you should not tolerate crap right up front. If it's under warranty I don't see why this is even a question. I mean $100 vs free? If this were your beater axe or you'd already made a return impossible I'd say to thriftily fix it yourself. You're certainly welcome to and you'll probably succeed, but if you've already had quality control-type issue it does not bode well for the longevity of the instrument. If it turned out to be a systemic issue, such as if a whole run of guitars received incomplete solder or poor wiring, you could be looking at a series of repairs down the road. As a consumer, you are safest to take advantage of whatever warranties or exchange options are available until you void it when you get a huge ceiling-colored dent in the headstock. CalvinDooglas fucked around with this message at 06:32 on Apr 19, 2011 |
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Apr 19, 2011 06:27
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Walked posted:Also, variations to spice up chords? I like do to a lot of: If you have a handle on basic root movement already, start getting into the voice leading. Begin by voice leading your basic I IV V, ii V I, I V vi type progressions. That means finding a way to play those chords by moving each note, "voice", within the chord by step or third. Instead of moving every note in the I up a fourth to play the IV, find a way to play the IV without changing position and moving each note as little as you can. Voices can move in different directions, too. Here is a classic, simple example: C x3201x, G7 x2303x, Am x0221x In strict Roman numeral terms, that's a I V65, vi (a deceptive cadence). The 6 5 thing is how you notate a Roman numeral 7th chord in first inversion. That is, with the third of the chord as the lowest note. In this example trace each voice through the progression and note the relationship to the chord: C B A - Root third root E F E - third 7th 5th G G A - 5th third root C D C - root 5th third When you can do those, start experimenting with that kind of smooth chord movement and see what chords are nearby each other in terms of voice leading, rather than root movement. Once voice leading becomes part of how you see chord progressions, you will start to understand more possibilities, such as altering one note to change the quality or root of a chord without jarring the listener.
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Apr 19, 2011 17:24
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Don't forget to relate your discoveries back to root movement patterns, too. It's when you can analyze in both terms that you really understand how they work together as a way to generate new ideas and rehash old ones. Sometimes a mundane progression by root movement is interesting in its voice leading, and vice versa. I should have included an example of a small voice leading alteration that results in an interesting root progression: C x3201x, G7 x2303x, Bbmaj7 x1323x, Am x0221x C B Bb A - R 3rd R R E F F E - 3rd 7th 5th 5th G G A A - 5th R 7th R C D D C - R 5th 3rd 3rd CalvinDooglas fucked around with this message at 23:13 on Apr 19, 2011 |
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Apr 19, 2011 17:44
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The key terms you'll want to learn about are voice leading, the circle of 5ths, and Four Part/SATB writing. You will spend more time on the basics than I did in my explanation above, but it's a foundational concept nearly universal in western music. Don't be afraid of doing boring work with sheet music, it will do wonders to help you visualize the idea. Ask to explore various genres for examples, particularly classical and jazz music. Classical music is like a math problem you have to solve, while jazz is like having an answer having to figure out the question. Classical: What chord is this cluster of notes? Jazz: What cluster of notes makes an Eb7b9? it's hard to suggest more reading, if you feel you've grasped the explanations earlier, work with those until you 1) have derived some basic "rules" for yourself, 2) are confronted by an example that breaks those "rules", and then 3) are able to articulate questions to address the apparent differences between your "rule" and the "exceptions". Searching for random topic info will probably be more confusing than anything. A note on perspective: If you take theory seriously enough to impact the way you make and hear music, you will inevitably feel "trapped" by the "rules" that you deal with while you're learning. Those are necessary to keep you focused on one concept at a time and before you know it, you'll go from writing half note melodies on a I IV V to composing ideas that integrate all of the little concepts. Restrictions are like pipes to water - they channel your creativity and effort to an identifiable, concrete goal. CalvinDooglas fucked around with this message at 18:07 on Apr 19, 2011 |
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Apr 19, 2011 18:00
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Set it to clean tone, low gain. Roll off the bass, boost the treble on the amp and the pedal.
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Apr 26, 2011 17:04
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The "saturation" of an overdrive pedal is the result of the difference in gain between it and the amp's gain. If you plug a OD pedal into a channel that also has high gain, you lose saturation, which is the fuzzy distorted part of overdrive tone. Keeping the amp clean with low gain gives your OD pedals more punch.
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Apr 26, 2011 20:48
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you'll get used to whatever you play. I play a Yamaha with a somewhat skinny neck, just a little narrower at the nut than a Fender neck. There's no advantage to one or the other, though a wider neck may be a little more comfortable as a beginner. Watch out, though, because wide, thin necks are also a gimmick of "metal" guitars that you may find otherwise undesirable.
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May 4, 2011 05:02
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you are squeezing way too hard. work on finger strength rather than thumb/forearm strength by playing your chords with the thumb off the neck entirely. It'll force you to use more precise and efficient technique with your fingers, which takes the stress of your thumb. If your fingers have poor angle, like they're laying too flat or something, it takes more thumb force to feel secure in the grip. Let your fingers find the best angle, and make sure you're not dropping your wrist too far or choking up too much like on a baseball bat.
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May 7, 2011 00:46
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baka kaba posted:
Bm7b5, not Bdim7
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May 19, 2011 00:25
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The irony is totally not worth the price. It's also hard to take an act seriously when they do crap like that - notice he's playing on the floor rather than a raised stage.
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May 24, 2011 22:43
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Drop D is for sissies. Only use it if you actually need that low D, 'cause it makes everything else just that much harder to play. Once you learn in standard you can always go to drop D when you really need it, which is rarely. The problem with Drop D (or any tuning of the same intervals) is that invites disgusting laziness. So many guitar players use drop D so they can play power chords with one finger, which is terrible playing and even worse songwriting. If you want to jam with real people instead of your old KoRn and SoaD albums, learn in standard tuning. You don't want to be one of those people who immerses him/her self in a genre and can't play anything but your 3 favorite tracks in it. The best example of this can be found at any open stage blues jam. I once had the misfortune of being paired with a guy whose instrument was "7 string guitar" and I guess was trying to branch out into non-metal styles. We attempted to play SRV's "Pride and Joy", but he had no idea when to change chords, couldn't count the length of the form, and couldn't play a solo in A. baka kaba posted:I just use my pinky because I can't bend my ring finger like that and have it clear the next string. That's fine if you're also fretting the C# behind it to resolve, but I wouldn't make a habit of double stopping with the pinky. Excessive barring takes away from your ability to play articulate more complex chords wherein the suspensions are resolved. You rarely play a sus4 just as a sus4. Most of the time that suspended tone resolves downward to the third, and ideally you can do that while the other strings ring out. If you have to interrupt and re-finger the chord to resolve a suspension, you're just adding unnecessary movement and taking away from the sound. CalvinDooglas fucked around with this message at 18:21 on May 26, 2011 |
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May 26, 2011 18:06
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Don't spend too long on chromatic warmups. Once you get some basic dexterity with both hands, move on to scale warmups (plus arpeggios if you're feeling perspicacious). It does very little good to spend that much time playing patterns you don't use in music. Warming up with musical fundamentals goes a long way to making those familiar musical sounds second nature.
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Jun 6, 2011 02:53
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Pocket Billiards posted:First thing I do when I pick up a guitar is play the C major scale up and down, position by position, starting at the open 6th string E and going up as far as that guitar allows. Once I've done that a couple times through in quavers and triplets and without any mistakes I go on. Now do the other 11 scales! Once you work through them a couple times it's actually a piece of cake. Do them in circle of 5ths order so you're only working with changes of one flat/sharp at a time. They really do become second nature. Anymore, I have to find technique issues to concentrate on because my fingers will hit the right notes and right rhythms even if I'm distracted. If you get into gigging, that kind of musical autonomy is extremely useful. Especially starting on the lowest note - as I always recommend - is good for your fingers/brain because it makes you think more in absolute terms of "what note is this?" rather than just where you are within a fingering pattern. CalvinDooglas fucked around with this message at 03:34 on Jun 6, 2011 |
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Jun 6, 2011 03:31
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Jesus, it's not that hard. There is no "hardest scale", they're all just arbitrary finger placements and if you learned Eb minor first you'd think that was the easiest. Work out C, then go to F and continue adding one flat until you get to Gb major, then switch to sharps at B major and subtract a sharp until you get all way back to G. You can tackle it in a few hours all at once, or do them a couple scales at a time over a week or two. As always, these exercises become confusing if you use poor technique. Make sure you're using the pinky. When doing 3-note per string scales, you should NEVER have to slide to change position or barre strings.
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Jun 6, 2011 06:39
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The Decembrists guitarist was pretty crappy last time I heard their music, I can't imagine any of their songs are that difficult.
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Jun 7, 2011 02:49
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