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Elphenor
09-21-2014, 08:18 PM
Let's talk about playing and buying guitars/pedals/amps etc. in this thread...

I've been playing for a few years on just whatever I could afford which has generally been Made in China Fenders. The Squire lol
I need to buy something that doesn't sound like shit, but I'm still pretty poor any recommendations?

Also, what kind of practice regimen do you keep? Like an hour on Scales then an hour on Songs or.... ?

slunken
09-21-2014, 09:53 PM
There are some pretty good squires. The vintage 65 series comes to mind. Easy to upgrade pickups too.

butthurt
09-21-2014, 11:15 PM
Ibanez makes some very nice guitars that don't cost too much.

bye june
09-22-2014, 08:50 AM
I play an Epiphone Les Paul 100, it sounds pretty good for a $250 guitar, it's not amazing.
My amp is a Marshall 1960 Lead 4X12 Cab with a Tube DSL 100H Head...it's pretty awesome. I put down some serious cash for it though... I've got a bunch of Boss pedals too, and one of those DigiTech whammy pedals. Most of this was bought when I still had a job...

soniclovenoize
09-22-2014, 09:13 AM
Yay! A gear thread!

My current setup is a Mexi Strat through a Vox AC15

My effects board currently looks like this:

Digitech Whammy ->
EHX MicroPog ->
EHX Double Muff ->
Boss DS-1 ->
EHX Lil Big Muff ->
Death By Audio Total Sonic Annihilation -> effects send ->
EHX Small Clone ->
MXR Phase 90 ->
Boss BF-3 ->
EHX Memory Boy ->
Boss DD-7 -> effects return to Total Sonic Annihilation -> amp

I just got the Death By Audio Flaming Lips' Space Ring Time Destroyer, which should be here on Wednesday (if UPS is right). The thing looks insane so I'm super excited for it!

The Omega Concern
09-22-2014, 12:29 PM
I don't GAS anymore (gear acquisition syndrome), so don't get me started. For practice I prefer Line 6 stuff cuz its easier. But if the need arises to actually care about tone and effects, I need someone around to say, "That sounds plenty good enough sir. Please step away from the gear and no one will get hurt."

Elphenor
09-22-2014, 01:55 PM
Yay! A gear thread!

My current setup is a Mexi Strat through a Vox AC15

My effects board currently looks like this:

Digitech Whammy ->
EHX MicroPog ->
EHX Double Muff ->
Boss DS-1 ->
EHX Lil Big Muff ->
Death By Audio Total Sonic Annihilation -> effects send ->
EHX Small Clone ->
MXR Phase 90 ->
Boss BF-3 ->
EHX Memory Boy ->
Boss DD-7 -> effects return to Total Sonic Annihilation -> amp

I just got the Death By Audio Flaming Lips' Space Ring Time Destroyer, which should be here on Wednesday (if UPS is right). The thing looks insane so I'm super excited for it!

This sounds pretty awesome even though I don't know anything about half that stuff.I didn't know there was a DOUBLE muff.

Elphenor
09-22-2014, 01:58 PM
I have a amp with a bunch of effect built in and also a chorus effect pedal and flanger effect pedal because I use those the most.

Dogfighter28
09-22-2014, 02:33 PM
I have a blue Washburn X which is a Seymour Duncan humbucker and buzz feiten tuning, it's great for those chunky and grungy riffs and stays in tune no matter what I throw at it. It was a bit noisy so I had someone wrap the pickups in foil or something, I can't remember exactly but it helped a LOT.


Picked up a Fender Deluxe Players Strat on Ebay. It sounds heavenly on clean or through a big muff. I have trouble keeping this one in tune, though. Removed the whammy bar.

I used to play through and amp but it's way overpowered for apartment playing. Recently got a Line 6 Pod.

Most cherished pedals would be my Carbon Copy Analog Delay and the Devi Ever (yeah I know) Silver Rose. I can do a lot with those two.

I almost always play acoustic all that being said, I have the same black Takamine that Springsteen plays.

soniclovenoize
09-22-2014, 03:08 PM
This sounds pretty awesome even though I don't know anything about half that stuff.I didn't know there was a DOUBLE muff.

The Double Muff is actually not at all what it sounds like it is! It's actually an overdrive pedal. But more specifically, it's meant to replicate the 60s OD sound, in which they'd just use a razor and slash the speaker cone in their amp to get the rough, dirty sound but not completely fuzzy sound. I love it, it has lots of tonal character to it... especially when combined with other things.

For the other stuff, the Whammy and the MicroPOG are both types of pitchshifters; DS-1 is a really basic garagey distortion pedal; Lil Big Muff is a newer model and more compact Big Muff that in my opinion sounds much like the green Slovitek Big muff, which was my favorite; the Total Sonic Annihilation is hard to explain, but it randomly fucks with your signal to yield insane and unpredictable results, but it won't work alone, it needs other pedals to do it; The Small clone is a chorus pedal, what Cobain used on "Come As You Are"; MXR 90 is phaser; BF-3 is a flanger; the Memory Boy is an analog delay, and the DD-7 is a digital delay, both have their own subtle differences; finally the Space Ring Time Destroyer which is en route is like three ring modulators in one, with tremolo and bitcrusher properties.

slunken
09-22-2014, 03:23 PM
I recently built a mini-board to house a new project I'm working on:

any instrument >

POD 2.0 >

Boss BD-2 Blues Driver>
Boss TR-2 Tremelo>
Boss RV-3 Reverb/Delay >
Jamman Solo >

any amp

slunken
09-22-2014, 03:26 PM
Sonic what do you think about the mini-pog? What do you use it for?

I kind of want one but I've always figured the larger POG would be the way to go but it takes up too much real estate. Haven't gotten an opportunity to actually play with either.

soniclovenoize
09-22-2014, 03:46 PM
I love the MicroPOG, I use it a lot. 98% of the time, I use it to get an "organ" sound. I then match it up with the Small Clone to get a faux spinning Leslie sound as well. You are right, the MicroPOG is less versatile than the actual POG, but it's more compact, and I sorta just use it for that "organ" sound, so it suits me fine.

I also use it to begin an effects chain when I play bass in a completely new band I'm in. It's meant to jump the bass signal up and octave, and the wet signal goes through it's effects and to a guitar amp, and the dry bass just goes to a bass amp. That way, I can play both bass and "guitar" simultaneously.

slunken
09-22-2014, 04:16 PM
I guess yea I was curious if it did more than just up and down a couple/few octaves. i was wondering if the micro would still let me get organ or piano or keyboard or uke/banjo or flute sounds from it. keyboard sounding stuff.

i still use a digitech synth wah for an envelope lol

like i can dial up a few different organ/synth sounds with what i've already got (also utilizing phasing and chorus and delay) but was wondering how versatile the small POG actually is. My research has told me that it's fairly limited and wouldn't be much of an improvement with what I have. There's just no way I would ever buy A POG or a HOG they're so huge.

soniclovenoize
09-22-2014, 04:49 PM
Yeah the MicroPOG isn't so good to get the flute sounds, that's more for the larger POG. As I sai,d I was just looking for a specific sound, and just utilize it for that.

It can do an alright 12-string sort of sound.

Elphenor
09-22-2014, 05:00 PM
I really want to start accumulating more pedals and stuff and get a unique set-up going but I don't know where to start.

I really like clean 80's style tones rather than anything Metal-ish. Like distortion and feedback is great but I don't usually like the "heavy" sound.

Elphenor
09-22-2014, 05:02 PM
Usually I just acoustic and I legit know how to play but I really want to move to a mixture of electronic and traditional sounds.

noyen
09-22-2014, 05:04 PM
jaguar baritone custom aka jaguar bass VI custom

yamaha magicstomp
kaoss pad 4
total sonic annihilation
eh small clone 4600
alesis nanoverb
ni guitar rig 5
ebow

slunken
09-22-2014, 05:27 PM
I really want to start accumulating more pedals and stuff and get a unique set-up going but I don't know where to start.

I really like clean 80's style tones rather than anything Metal-ish.

Buy a used solid-state amp (i'm thinking 80s/90s fender or even peavey) and a cheap chorus pedal to mate with the flanger.

soniclovenoize
09-22-2014, 05:33 PM
I really want to start accumulating more pedals and stuff and get a unique set-up going but I don't know where to start.

I really like clean 80's style tones rather than anything Metal-ish. Like distortion and feedback is great but I don't usually like the "heavy" sound.

I think you might be looking for a Small Clone.


total sonic annihilation


YES!!!!!

noyen
09-22-2014, 05:45 PM
YES!!!!!

it's a special pedal for me because my friend julia gave me two when she agreed she would produce a few record projects for me, and i built her two noise machines, a jacked up atari punk machine and a 16 step sequencer noise machine i hacked together. she was foh engineer for suicide, wire, yeah yeah yeahs, slint, mogwai, caribou, the knife, m83, etc.. just tons of people. when she died this year i met up with stuart from mogwai and gave him and the rest of the band some gifts, including the other pedal and some other things. so he has one now. i wonder if they'll end up using it on any future recording.

The Omega Concern
09-22-2014, 08:17 PM
jaguar baritone custom aka jaguar bass VI custom





What size strings you got on that monster? I always wanted to play one through a Zvex Fuzz Factory and a full stack. I figure it could reach steroid level of a creamy Siamese Dream tone.

noyen
09-22-2014, 08:46 PM
What size strings you got on that monster? I always wanted to play one through a Zvex Fuzz Factory and a full stack. I figure it could reach steroid level of a creamy Siamese Dream tone.

25-35-45-55-75-95, but i've also used 14-18-26-44-68 as well as 24-34-44-56-72-84 - just depends on what sets i can find since for a long time (i haven't checked recently) it was hard to find sets of strings like the original. the larger gauges, especially 25-95 is quite floppy on the low end. the action on it is kind of hard to deal with all the time so i like to go with the smaller gauges. it sounds amazeballs most of the time. it's hard to play.

Elphenor
09-22-2014, 10:45 PM
Re-stringed all my guitars today

Dat new string sound tho

bye june
09-23-2014, 08:35 AM
Boss SD-1 Super Overdrive - that's my main distortion, I'd like to get a Big Muff soon
Boss CH-1 Super Chorus - my main effect
Boss BF-3 Flanger - my main effect before I got the chorus
Boss MT-2 Metal Zone - I use this mainly for finger tapping stuff
Boss PH-3 Phaser
DigiTech Whammy V - A whammy pedal if you don't have a tremolo arm, I like bending harmonics it's really fun.

Turn em all on at once and let the noisefest begin

Poots
09-23-2014, 09:34 PM
An hour of scales sounds like torture. Do people really do that these days? I guess if you want to sound like Reb Beach.

soniclovenoize
09-25-2014, 05:06 PM
Got my Space Ring Time Destroyer the other day. It's fucking AWESOME.

It was also signed by The Flaming Lips on the bottom, which is dumb because I usually velcro my pedals, so now I have to choose if the pedal should be secured to my board or if I should keep a semblance of resale value...

Elphenor
09-29-2014, 04:14 AM
Can someone tell what kind of effects are being used on the guitar here:

<iframe width="560" height="315" src="//www.youtube.com/embed/FIZC1lEGz6c" frameborder="0" allowfullscreen></iframe>

soniclovenoize
09-29-2014, 08:43 AM
Just sounds like a fuzz pedal.

Elphenor
09-29-2014, 09:36 AM
It sounds so clean like just a solid block of guitar rather than the distortion I hear with most "fuzzy" sounding stuff idk

Elphenor
09-29-2014, 09:37 AM
I mean the riff is super simple but pointless on my acoustic lol

soniclovenoize
09-29-2014, 11:56 AM
Well you can dial in certain aspects of the fuzz on different pedals, and then different fuzz pedals will have different qualities anyways.

slunken
09-29-2014, 01:01 PM
Also depends a lot on what color your guitar is

The Omega Concern
09-29-2014, 11:02 PM
25-35-45-55-75-95, but i've also used 14-18-26-44-68 as well as 24-34-44-56-72-84 - just depends on what sets i can find since for a long time (i haven't checked recently) it was hard to find sets of strings like the original. the larger gauges, especially 25-95 is quite floppy on the low end. the action on it is kind of hard to deal with all the time so i like to go with the smaller gauges. it sounds amazeballs most of the time. it's hard to play.



25-95's??? 68's, 84... good lorrrd. Dude, why don't you just start doing heroin. It's probably safer.

noyen
09-29-2014, 11:21 PM
25-95's??? 68's, 84... good lorrrd. Dude, why don't you just start doing heroin. It's probably safer.

25-95 is standard bass vi gauge. the smaller gauges take care of action problems and floppy buzzing. i don't get your heroin joke.

lizard people.

The Omega Concern
09-29-2014, 11:42 PM
I just like to think of it as a guitar, not a bass. In that context, those heavy strings are off the hook and its built to handle it. Strats do well with Zvex stuff btw...if you care to go to insane tone land. I had a nice Strat for awhile and the single coils on it with a Fuzz Factory was in the metal God tone realm and just a few tweaks away from an overpowering Creamy Dreamer like set-up.


Coming out of a full stack in a small room and it feels like your getting closer to the tone of creation. I think i had 13 -52's once and did it. Always wanted to use that set-up with the Baritone Strat, never have. It was like chasing the dragon in some ways...hence the heroin reference.

The exploding boy
10-01-2014, 06:22 PM
These are some of my guitars

Gretsch Nashville '67

http://s25.postimg.org/5a4aaij8v/nas1n.jpg

Fernandes Vertigo

http://s25.postimg.org/8wf5k9vxr/vertigo.jpg

The others are a black and white Squier Strat and a black and white Aria Pro II FS (strat copy). so cheap shit really. I also have a Seagull acoustic and a Gibson Chet Atkins SST which is a semi acoustic but i play neither of those really as i don't like acoustic guitar pretty much at all. I inherited them though that's why i have them. I'd sell the Gibson if the finish wasn't so fucked up it's not even worth 400$ anymore (when technically it should be worth around 1300$)

Really while i should be playing the gretsch the most, i like the cheap Squier strat best i'm afraid.... I used to wonder why, then realised all the bands i like used cheap instruments in their beginnings (robert smith plays a sears guitar on Three imaginary boys for one). So i figure cheap guitar is the sound i've grown to like.

These are my basses.

http://s25.postimg.org/b7jbb0oa7/basses2.jpg

As much as i can sorta play guitar i still prefer playing bass by far. I only decided to get passable on guitar all these years back so i didn't have to deal with guitar players who always want to throw some shit in like some jazz chords they've been learning. Like i'm supposed to give a fuck, nevermind like it.

I don't really play the Epi though, its the least comfortable bass i've ever tried and also it sounds very early 70's (obviously meant to) which is a sound i don't like. As soon as you turn the mudbucker on it's like the worst muffled distorted definition-less sound ever. I've been trying to sell it. It weighs a ton and the neck will hit the floor if you don't hold it. Still not sure why they make any instruments out of mahogany.

The Douglas is the prettiest thing i've ever owned. I've always wanted a black semi hollow like that and it took me years to find an affordable and yet good sounding one. This is as good as it gets unless i'd be willing to get a custom made. Ideally i'd like a bridge pickup too but what can you do... with a lot of fiddling i can get almsot any tone i like out of it

The Ibanez was bottom of the line, it's the first instrument i ever bought in 1996. It's also probably still to this day the best sounding bass i've played. for my money anyway. It is pretty much a fender in sound though, obviously with the J and P. It doesnt look like much but it looks worse seen vertically really.

As for gear, well i kinda hate gear really. I hate turning knobs and plugging stuff and spending ridiculous amount of cash on it. I know i'm supposed to be into this shit but i could never be. Nowadays I tend to just plug into a DAW and use Amplitude or Guitar Rig for effects. I have four Boss pedals (chorus, flange, distortion and delay) and i pretty much never use them as i can get better results through these software.

slunken
10-01-2014, 06:25 PM
white Aria Pro II FS (strat copy).

my first guitar was a blue one. still have it but it needs the jack rewired. it's beat to hell. played it for ten years in numerous bands before i upgraded.

slunken
10-01-2014, 06:28 PM
as far as sears guitars go im still on the lookout for the "perfect" 70s department store guitar. love those weirdo japanese models like airline, silvertone, harmony, kay, teisco, etc. played a bunch and owned a bunch but never kept one.

The exploding boy
10-02-2014, 01:20 PM
my first guitar was a blue one. still have it but it needs the jack rewired. it's beat to hell. played it for ten years in numerous bands before i upgraded.

This was my first too. Well it was my grandad's and he gave it to my brother cause he had picked up guitar then i started messing around with it and later on when my brother stopped playing it became mine. It's still an alright guitar. Its not like i could sell it for more than like 50$ anyway so why bother. I did use it on a recording just this year.

Poots
10-02-2014, 07:32 PM
as far as sears guitars go im still on the lookout for the "perfect" 70s department store guitar. love those weirdo japanese models like airline, silvertone, harmony, kay, teisco, etc. played a bunch and owned a bunch but never kept one.

I'm one of those guys who never sells any piece of gear. I've sold one guitar in my life just because the guy kept hounding me about it and I never played it. I'm always amazed by guys who can let go of gear. I'm afraid I would regret it forever.

Elphenor
10-03-2014, 03:20 AM
I actually had two of my guitars stolen a few months ago....

fuzzyroes
10-03-2014, 04:13 AM
These are some of my guitars

Gretsch Nashville '67

http://s25.postimg.org/5a4aaij8v/nas1n.jpg

Fernandes Vertigo

http://s25.postimg.org/8wf5k9vxr/vertigo.jpg

The others are a black and white Squier Strat and a black and white Aria Pro II FS (strat copy). so cheap shit really. I also have a Seagull acoustic and a Gibson Chet Atkins SST which is a semi acoustic but i play neither of those really as i don't like acoustic guitar pretty much at all. I inherited them though that's why i have them. I'd sell the Gibson if the finish wasn't so fucked up it's not even worth 400$ anymore (when technically it should be worth around 1300$)

Really while i should be playing the gretsch the most, i like the cheap Squier strat best i'm afraid.... I used to wonder why, then realised all the bands i like used cheap instruments in their beginnings (robert smith plays a sears guitar on Three imaginary boys for one). So i figure cheap guitar is the sound i've grown to like.

These are my basses.

http://s25.postimg.org/b7jbb0oa7/basses2.jpg

As much as i can sorta play guitar i still prefer playing bass by far. I only decided to get passable on guitar all these years back so i didn't have to deal with guitar players who always want to throw some shit in like some jazz chords they've been learning. Like i'm supposed to give a fuck, nevermind like it.

I don't really play the Epi though, its the least comfortable bass i've ever tried and also it sounds very early 70's (obviously meant to) which is a sound i don't like. As soon as you turn the mudbucker on it's like the worst muffled distorted definition-less sound ever. I've been trying to sell it. It weighs a ton and the neck will hit the floor if you don't hold it. Still not sure why they make any instruments out of mahogany.

The Douglas is the prettiest thing i've ever owned. I've always wanted a black semi hollow like that and it took me years to find an affordable and yet good sounding one. This is as good as it gets unless i'd be willing to get a custom made. Ideally i'd like a bridge pickup too but what can you do... with a lot of fiddling i can get almsot any tone i like out of it

The Ibanez was bottom of the line, it's the first instrument i ever bought in 1996. It's also probably still to this day the best sounding bass i've played. for my money anyway. It is pretty much a fender in sound though, obviously with the J and P. It doesnt look like much but it looks worse seen vertically really.

As for gear, well i kinda hate gear really. I hate turning knobs and plugging stuff and spending ridiculous amount of cash on it. I know i'm supposed to be into this shit but i could never be. Nowadays I tend to just plug into a DAW and use Amplitude or Guitar Rig for effects. I have four Boss pedals (chorus, flange, distortion and delay) and i pretty much never use them as i can get better results through these software.


Sick guitars man. Looks like you got a nice little jam space too, you any good at those keys?

I like jamming out on my Squire strat too. I think ultimately because it's just so damn easy to play because the necks so small on it and I think the frets are a little smaller than usual.

Theres actually people out there who put new pick-ups in their squire and use em as their main guitars.

The exploding boy
10-03-2014, 07:26 AM
Sick guitars man. Looks like you got a nice little jam space too, you any good at those keys?

I like jamming out on my Squire strat too. I think ultimately because it's just so damn easy to play because the necks so small on it and I think the frets are a little smaller than usual.

Theres actually people out there who put new pick-ups in their squire and use em as their main guitars.

I'm not that good at "those keys" no. I guess the most complex thing i can play is like..Mellon collie or something (the song) which is dead simple. I didn't really practice past the first like 4 months, i picked up keys about a year ago. I just wanted to be able to add simple lines to my songs.

Though i do write synthpop type stuff now but recording isn't like playing in a live setting. You don't have to be that good and it's more about textures than playing difficult parts. Also the keyboard in the pic is a piece of shit. Like beginner type stuff. It's part of the gear I inherited it when my grandad died (who had a proper home studio) but if i hadn't had it i wouldn't have picked up playing keys so i'm grateful for it. I have a 61 keys midi controller now. I looked at vintage synths for a while ( i love 80's synthpop and 80's electronic soundtracks like Goblin, Vangelis, that kind of stuff) but the decent ones were out of my budget range and with synth software nowadays you can do all that stuff anyway.

This is the latest instrumental i wrote (not really finished there's a few things that need changing and improving) and the first to be all synth. Even the beat i played on keys though really the "snare" sounds ridiculously thin and i want to change it. It takes a while to get going, ideally there will be voice on it at some point (not by me).

https://soundcloud.com/ichigo-milk-band/ichigo-milk-flick/s-qb85P

The exploding boy
10-03-2014, 07:30 AM
Speaking of voice does anyone have decent experience with mics for voice?

I've been looking at buying a Rode NT1

http://www.rodemic.com/images/nt1/package-trans.png

Which is kinda above my budget at 300$ but i want to get something that's above decent and i hear it's pretty good. But if anyoen has suggestions...

I own a Blue Snoball USB mic but it turns out it's pretty much shit for singing. that or i suck at figuring out how to make it sound good. It picks up so much noise.

bye june
10-03-2014, 10:41 AM
I'm one of those guys who never sells any piece of gear. I've sold one guitar in my life just because the guy kept hounding me about it and I never played it. I'm always amazed by guys who can let go of gear. I'm afraid I would regret it forever.

I know what you mean...sometimes I'll think about getting rid of one or replacing one but then I'll immediately be like "man I'll miss that one too much if I sell it."

bye june
10-03-2014, 10:45 AM
I was recently given two guitars for free, one electric Fender and one acoustic with a shitty paint job.

They're both pretty terrible cheap guitars so I'm thinking about smashing them for a music video or something. Is that bad? The acoustic one is ulgy and sounds really bad...I wouldn't feel bad about destroying it for a cool video.

Poots
10-03-2014, 02:50 PM
Speaking of voice does anyone have decent experience with mics for voice?

I've been looking at buying a Rode NT1

http://www.rodemic.com/images/nt1/package-trans.png

Which is kinda above my budget at 300$ but i want to get something that's above decent and i hear it's pretty good. But if anyoen has suggestions...

I own a Blue Snoball USB mic but it turns out it's pretty much shit for singing. that or i suck at figuring out how to make it sound good. It picks up so much noise.

I have a Shure KSM27 that I used to use for everything. I think they sell them as SM27 now but I think it's the same mic. It has a upper mid bump that lets vocals really cut. Now I use it for electric guitar cabs and it sounds killer. A nearby studio used to request that I bring it in sometimes for certain things they were doing, even though they had Neumanns and shit like that. Anyway, I think it sells new for less than $300.

The exploding boy
10-03-2014, 03:18 PM
I looked it up, most sites dont have it avilable but it was 300$ USD when it was. The NT1 is 269 (i meant 300$ canadian). Of course that's only about like 31$ difference so not a deal breaker. On paper it seems pretty similar i have to say. I was attracted by the Rode because i read it us one of the quietest mic in its price range. the shure seems to boast about very low self noise too. Maybe it's a crapshoot between the two. I'll see if i can get a Shure cheaper on ebay, but i'm probably still settled on the Rode for now.

Poots
10-03-2014, 03:26 PM
Shure SM27 (http://www.sweetwater.com/store/detail/SM27?utm_source=Google&utm_medium=PPC&utm_campaign=none&utm_term=DSA_-_Product&adpos=1t2&device=c&network=g&gclid=CM2ciq6nkcECFQQQ7Aod13AAlA)

the shure SM27 has a three position bass roll-off switch, 15dB pad, and a higher spl rating (152 vs 137 for the Rode)

slunken
10-03-2014, 04:18 PM
Theres actually people out there who put new pick-ups in their squire and use em as their main guitars.

i mentioned this earlier. if you find a squire that you like the neck of it's the best deal in town for a great guitar. i like the feel of the vintage squire series telecasters.

about 6 months i passed up on one of those "vintage" line of squire teles but it had a killer pickup upgraded on it. guy only wanted i think $140 for it w/hsc i still think about it from time to time. my next purchase is definitely going to be that when the time comes.

what i hate is havling, for instance, a crummy bass in a case that rarely gets played and is only used once in a while for recording and then 3 different mediocre keyboards instead of one great one.

i have a gretsch electromatic that i never play casually. just recording once in a while. i can't sell it either so it's just taking up space and hopefully accruing value as the years pass. owning that guitar really makes me want to join a rock band as a rhythm guitarist. it's a great axe it's just not quite cut out for the type of playing i do everyday or am exploring in my solo work (frippertronics). then because i have it and rarely play it i feel like i'm neglecting it. ugh

slunken
10-03-2014, 04:22 PM
I was recently given two guitars for free, one electric Fender and one acoustic with a shitty paint job.

They're both pretty terrible cheap guitars so I'm thinking about smashing them for a music video or something. Is that bad? The acoustic one is ulgy and sounds really bad...I wouldn't feel bad about destroying it for a cool video.

i'm curious...

can you post pictures of the guitars

soniclovenoize
10-04-2014, 08:34 AM
i mentioned this earlier. if you find a squire that you like the neck of it's the best deal in town for a great guitar. i like the feel of the vintage squire series telecasters.

I actually use one of those Squire Telecaster "California Vibe" basses. I got it set up and it plays really well. You can't really replace the pickup though, as it's a special unique single pickup meant to get that 60s Motown bass sound.

bye june
10-04-2014, 11:16 AM
i'm curious...

can you post pictures of the guitars

http://i.imgur.com/jzQ8CZw.jpg

http://i.imgur.com/FgEgiD0.jpg

slunken
10-04-2014, 11:37 AM
Thise dont look fucked enough for smashing. Lol at the flames though.

bye june
10-04-2014, 11:42 AM
Yea but they sound terrible.

slunken
10-04-2014, 11:58 AM
I'd sell them before I wrecked them. That's just me doe.

slunken
02-07-2015, 05:44 PM
thinking about picking up a voodoo labs pedal power 4x4. pretty boring purchase.

Poots
02-08-2015, 07:54 AM
thinking about picking up a voodoo labs pedal power 4x4. pretty boring purchase.

I've always though I needed something like that too. I just use the 1Spot thing which works perfectly and only costs $20 or something, but for some reason I think I need to spend $200 on something that does exactly the same thing.

noyen
02-08-2015, 04:45 PM
anyone know much about the clone guitars and which knock offs are the best? i'm in the market for an electric guitar but my budget is only about 200 now. seen some tele knockoffs on ebay in the 300 range. would like something gretsch or jaguar in style though.

The exploding boy
02-08-2015, 05:29 PM
Probably don't buy those from china...which most of them are.

I considered getting a knockoff Gibson EB-2 bass forever two years ago because the body looked fantastic. what i heard bout chinese knockoffs is...usually the body is fine. It's the electronics they skimp on. A lot of people who know their shit buy a chinese knock off then change the electronics. If you have knowledge of this shit it can be worth it..on the other hand, you'll sitll have to get some decent pickups unless you have some lying about.


Also about knockoffs, there's some shameless knockoffs that actually will have brand names on the headstock. I hear that customs are aware of those and often times won't let them in. Which means you waste the money and get nothing. Anyway it goes without saying anyone actually using brand names for their knockoffs are probably so morally wrong that their instruments must be all kind of awful.

do you know rondomusic? They have instrument ranging from like 80$ to 600$

(there's a jaguar knockoff on that page)

http://www.rondomusic.com/electricguitar-ss4.html

Their knockoffs have a good reputation and are really cheap. The semi hollow bass to the far left i posted above is from rondo. For the price i paid (400 but the shipping was very high because i'm in canada AND they wouldnt send it without a case which i also had to buy...great case actually for the price), i'm very happy. They're american but what they actually do is they DO buy knockoff bodies (well not JUst knockoffs some are original i think, like my bass is close to an eb2 body wise but isn't exactly an eb-2) from chinese factories but put their own electronics in.

I can't guarantee you'd like it but it's worth looking into. You could possibly find reviews.


For jaguar though, you could go with squier no? Probably would be better than any knockoff.

noyen
02-08-2015, 05:45 PM
Probably don't buy those from china...which most of them are.

I considered getting a knockoff Gibson EB-2 bass forever two years ago because the body looked fantastic. what i heard bout chinese knockoffs is...usually the body is fine. It's the electronics they skimp on. A lot of people who know their shit buy a chinese knock off then change the electronics. If you have knowledge of this shit it can be worth it..on the other hand, you'll sitll have to get some decent pickups unless you have some lying about.


Also about knockoffs, there's some shameless knockoffs that actually will have brand names on the headstock. I hear that customs are aware of those and often times won't let them in. Which means you waste the money and get nothing. Anyway it goes without saying anyone actually using brand names for their knockoffs are probably so morally wrong that their instruments must be all kind of awful.

do you know rondomusic? They have instrument ranging from like 80$ to 600$

(there's a jaguar knockoff on that page)

http://www.rondomusic.com/electricguitar-ss4.html

Their knockoffs have a good reputation and are really cheap. The semi hollow bass to the far left i posted above is from rondo. For the price i paid (400 but the shipping was very high because i'm in canada AND they wouldnt send it without a case which i also had to buy...great case actually for the price), i'm very happy. They're american but what they actually do is they DO buy knockoff bodies (well not JUst knockoffs some are original i think, like my bass is close to an eb2 body wise but isn't exactly an eb-2) from chinese factories but put their own electronics in.

I can't guarantee you'd like it but it's worth looking into. You could possibly find reviews.


For jaguar though, you could go with squier no? Probably would be better than any knockoff.


awesome, thanks for the response. yeah, i am actually okay with messing with internal electronic components and stuff. i do a lot of soldering and projects like that.

ill def check out rondo music. looks like stuff im looking for.

you're right about the squires. they play fine. its just something about it in my head with branding i need to get over. i'd be fine with some wild name/no name guitar but for some reason squire's have never impressed me in the past. ive heard they have all gotten better and the difference between usa and squire isnt so large now. it's the made in japan fenders that are actually really well made. at least in my experience.

thanks dude. exactly what i was lookin for.

The exploding boy
02-08-2015, 06:33 PM
I'm anti branding too. Well what i mean is...there's so many people willing to pay ridiculous amounts of cash to get brand names when sometimes the difference is so slight in quality. Or they're not serious enough about music or play well enough that it should really make a difference (id probably have to ******* myself in those). I mean they don't realise that PART of the reason for the much higher price IS the brand name. Like a 800$ Gibson is rarely twice as good as a 400$ Epiphone. You have to factor the brand into the price. Personally ill play anything, any knockoff bullshit, if it sounds and plays alright to my ears. I don't care about the brand. But for some it's like, if it doesn't say fender or gibson they won't be seen with it...

Ultimately with cheaper instruments though, unless you can find reviews or try it for yourself before buying, it's always gonna be a BIT of a crapshoot. As long as you're aware of that.. But you can always resell. You'r already ahead of me if you can mess with electronics. I have no patience for this shit and never learned anything of the like.

slunken
02-08-2015, 06:56 PM
anyone know much about the clone guitars and which knock offs are the best? i'm in the market for an electric guitar but my budget is only about 200 now. seen some tele knockoffs on ebay in the 300 range. would like something gretsch or jaguar in style though.

the squier "classic vibe" tele is an awesome guitar. you can get them used for dirt cheap (under 200) and it's easy to upgrade the pickups.

slunken
02-08-2015, 07:01 PM
I've always though I needed something like that too. I just use the 1Spot thing which works perfectly and only costs $20 or something, but for some reason I think I need to spend $200 on something that does exactly the same thing.

i run both into the front of the amp and into its stereo fx loop. it's an older amp too and i use a lot of effects with digital clocks. that said, the one spot was useless for me (i was able to successfully power about 1/3 of my board)

i was disappoint when i got there because while they are in stock at the warehouse they aren't in the actual store yet so they had to have it shipped. ugh.

slunken
02-08-2015, 07:04 PM
i'm kind of in the market for another guitar as well. i want to find one of those danelectro reissues from the 90s with the really large necks. everytime one pops up on craigslist i sit on it and then it disappears. @$200

Poots
02-08-2015, 07:14 PM
Just get one of these
http://www.byoguitar.com/Images/Kits/2012-11/V-Black-Pickguard/VBlackPickguardLg.jpg

http://www.byoguitar.com/Guitars/Electric-Guitar-Kit---V__BYO-V.aspx

It's less than $200 and it's a flying v so you'll have to beat the pussy off after you finish constructing it. It doesn't even matter how it sounds you can just play a tape when you're up there on stage. Maybe wear some shorts and have a fake dildo hanging out the leg while the ladies look at that guitar with hardened paint drips running down it but it don't matter you're getting laid and you didn't even bother to plug it in to an amp but no one notices or cares. PUSSY

noyen
02-08-2015, 07:17 PM
those kits do look fun. ive looked at lots of those but the time to put in before i can actually play it would be forever. i'd have to stop using the interwebs. but i think eventually i'll go for one of those kits because i do enjoy the woodworking/polish/finishing and all that stuff too.

slunken
02-08-2015, 07:18 PM
I'm anti branding too. Well what i mean is...there's so many people willing to pay ridiculous amounts of cash to get brand names when sometimes the difference is so slight in quality. Or they're not serious enough about music or play well enough that it should really make a difference (id probably have to ******* myself in those). I mean they don't realise that PART of the reason for the much higher price IS the brand name. Like a 800$ Gibson is rarely twice as good as a 400$ Epiphone. You have to factor the brand into the price. Personally ill play anything, any knockoff bullshit, if it sounds and plays alright to my ears. I don't care about the brand. But for some it's like, if it doesn't say fender or gibson they won't be seen with it...


its mostly idol emulation imo

slunken
02-08-2015, 07:22 PM
my dream guitar right now is a gibson sg with a trem arm

http://i4.photobucket.com/albums/y132/Adpics/Weller-SG.jpg

slunken
02-08-2015, 07:24 PM
in the pocket for sure

noyen
02-08-2015, 07:33 PM
that is pretty hot. always loved the sg design and with a trem looks even more badass.

dreams of glass
02-08-2015, 09:18 PM
My newest axe is a Mexican Strat, sort of powder blue I guess, not sure about the year. It needs to have the pickups yanked and the guts replaced, but it plays like a champ. I don't have an amp right now, so it's not really an issue.

I also have my Ibanez Gio Gax70 which I've had for years.

And my prize possession, my Takimine acoustic nylon string, which my Dad bought my Mom in 1973.
Thing sounds gorgeous.

I've had more guitars in my life, but they have all been sold or traded.

I don't have any pedals left either, but I used to have a Big Muff, a Crybaby Wah, and also a Phaser pedal, I forget which brand.

The exploding boy
02-08-2015, 09:18 PM
its mostly idol emulation imo

yup

The exploding boy
02-08-2015, 09:30 PM
I had an Epiphone EB-3 bass as seen in one of those pics on the last page. I sold it. I mean it's a SG body on bass. It sucked. It had horrible neck dive because the neck is heavier than the body and i hear the SG is the same way. You need a good strap. For the bass id have needed a weighed strap actually. If you didn't hold it, the neck would hit the floor. But that wasn't my only issue with it.

I'm sure the SG is a fine sounding guiter otherwise as can be obviously heard on many records... but yeah, unbalancedtoo apparently.

I used to be into Gibson basses look wise then i learned that basically, neck dive is a thing with the vast majority of their basses and a few of their guitars. It's like a defining feature of a gibson i guess...

Sonic Johnny
02-09-2015, 12:30 AM
Every Epiphone I've ever played was guilty of having a ginormous clumsy neck.

dreams of glass
02-09-2015, 12:36 AM
Guys, I'm not kidding I had a mini flying V when I was a kid.

I so wish I still had that thing.

The exploding boy
02-09-2015, 12:46 AM
Every Epiphone I've ever played was guilty of having a ginormous clumsy neck.

Weird because actually, the Epi bass i sold had one good thing about it, its neck (i mean too heavy yeah but otherwise). It was very comfortable. I hated the tone but its just because it' supposed to sound like a late 60's bass. Muddy as shit.

Mals Marola
02-09-2015, 02:02 AM
i got an epiphone from my cousin a while back & the only thing wrong with it was the loose tuning pegs, great-soundin guitar

my main one's a strat, gotta get that damn nut fixed though after a guy i took it to tried setting it up like an LG or something - that's not the stratty way! feels like paper now

bobliefeld
02-09-2015, 04:23 AM
Last month I treated my self to an ESP LTD ec1000vb. It's got active EMG pickups. Bought it because it's pretty. Actually it's really lovely, such a nice & easy guitar to play.

EMGs have a bit of a bad rep though.."no character". and my amp is a 5150 which isn't great for cleans. For heavy stuff it's amazing but clean, especially the bridge pickup, it can sound really strange almost like a synth.

teh b0lly!!1
02-09-2015, 10:31 AM
hey a gear thread!

teh b0lly!!1
02-09-2015, 10:32 AM
i just traded a 7 string reminder of my metal days for an epiphone es 335
got a classic '57 at the bridge. it's surprisingly good

http://guitarinternational.com/wp-content/uploads/2011/05/EpiSheraton-e1304604498297.jpg

teh b0lly!!1
02-09-2015, 10:34 AM
fuck you for that beautiful gretsch teb i want a gretsch so bad

teh b0lly!!1
02-09-2015, 10:34 AM
my most cherished guitar is actually a 87 SG that i want to put a bigsby on

slunken have you had any experience with vibramate

slunken
02-09-2015, 04:20 PM
no i don't know much about wang bars, only historical info.

i mentioned before i really want an sg with trem. i would accept either a danelectro reissue (with the the wide neck - sounds more like a les paul) or an off-brand 70s japanese model would be ideal. as long as it has a bar.

slunken
02-09-2015, 04:27 PM
sg's are too expensive and 70s supermarket guitars are unreliable i'll probably just try to get danelectro. if you really like a les paul sounding guitar that has amazing pick response (chime, twang, growl) those 90s reissues can't be beat for the money. like $250 top dollar. i like them because they have thick necks like a hollowbody and the body is nice and weighty too for deep sustain. amazing sound.

The exploding boy
02-09-2015, 05:53 PM
fuck you for that beautiful gretsch teb i want a gretsch so bad

the worst is i barely use it. I haven't in many months now anyway. It's not quite the sound i'd like, but since it's inherited, i'm never selling it. I will find a use for it yet at some point anyway.

slunken
02-09-2015, 06:36 PM
the worst is i barely use it. I haven't in many months now anyway. It's not quite the sound i'd like, but since it's inherited, i'm never selling it. I will find a use for it yet at some point anyway.

do you find that, even if you've cleaned it after you last played it, that it oxidizes in the case? i would pull mine out after even a few weeks and the whole fucking thing would be wrecked. oxidized chrome. gross strings.

maybe it was just me. i sweat a LOT when i play. it was like driving a classic caddy through the mud.

teh b0lly!!1
02-10-2015, 01:10 AM
perhaps it's a humidity situation?
it's pretty dry where i live so i don't get that

teh b0lly!!1
02-10-2015, 01:10 AM
try wiping off the strings and make sure the guitar doesn't lie there for a few weeks with wrecked strings

teh b0lly!!1
02-10-2015, 01:12 AM
no i don't know much about wang bars, only historical info.

i mentioned before i really want an sg with trem. i would accept either a danelectro reissue (with the the wide neck - sounds more like a les paul) or an off-brand 70s japanese model would be ideal. as long as it has a bar.

it's kind of a shame, i came across a few just like those in the past month
they're local auctions though so i'm not sure you\the sellers would be bothered

The exploding boy
02-10-2015, 01:21 AM
yeah i dotn ahve that problem. However....i stringed this guitar only once so far and HOLY SHIT, an exercize in frustration. First time with a bigsby bridge. You kinda ideally need two people... I want to have to restring this as least often as possible.

teh b0lly!!1
02-11-2015, 01:50 AM
i never had to do this because i don't own a bigsby guitar
what's so frustrating about it

Poots
02-11-2015, 02:28 PM
The string ball ends slip off the little posts on the bigsy and make you want to kill yourself. It is a sisyphean task that will make you just play the damn thing with five or four strings or whatever instead of replacing them.

The exploding boy
02-11-2015, 02:40 PM
^

YES.

Glad to know i'm not just a retard. Cause i was like...maybe i am a retard and don't understand the proper procedure to string this? I mean it did get a little better towards the end but still.

Poots
02-11-2015, 02:43 PM
The only thing I have found is to replace the tuners with locking ones and just pull the strings tight right from the start. You have zero windings on the posts, but at least you have your sanity.

slunken
02-11-2015, 04:08 PM
^

YES.

Glad to know i'm not just a retard. Cause i was like...maybe i am a retard and don't understand the proper procedure to string this? I mean it did get a little better towards the end but still.

Bend the bottom part about 45 degrees before putting it on the post

The exploding boy
02-11-2015, 06:41 PM
yeah i tried that after the first one. It helps but doesn't keep it from happening.

I basically stringed it with one hand on the bridge and one hand on the head. very uncomfortable.

Ive been wondering about using the blue gum thing used to put posters on walls. put ball end on post, stick some blue gum over ball end and post, then remove gum after.

Poots
02-11-2015, 06:47 PM
just buy these and be done with it

http://www.sweetwater.com/store/detail/106C

slunken
02-11-2015, 06:59 PM
yeah i tried that after the first one. It helps but doesn't keep it from happening.

I basically stringed it with one hand on the bridge and one hand on the head. very uncomfortable.

using a capo will help. i always do anyway.

slunken
02-11-2015, 07:00 PM
this is clutch

http://www.sweetwater.com/images/items/750/099-0502-000-large.jpg

Poots
02-11-2015, 07:01 PM
is that a fuck rug?

Sonic Johnny
02-11-2015, 07:08 PM
Hey i'm sure i've asked this before, but what are some good songs for an intermediate learner to try? So far of all the songs i've taught myself, Siva is the most fun to play - a few interesting chords, lots of sections to learn, nice balance of riffing and leads. Any suggestions?

slunken
02-11-2015, 07:11 PM
the bass line to stranglehold

slunken
02-11-2015, 07:12 PM
transpose it all over the neck

slunken
02-11-2015, 07:13 PM
blue oyster cult - burning for you

great for playalongs either lead or rhythm

slunken
02-11-2015, 07:14 PM
those are my two little jam practice warmup exercise things at the moment

noyen
02-11-2015, 08:35 PM
so im bidding on a mij jaguar hh special, a guitar I used to own but had to sell for crack cocaine. 399. so far so good. hope to get it and swap out the pickups with something HOTTER.

Poots
02-11-2015, 09:54 PM
Don't those already have some pretty hot pickups? I could be wrong, it's getting hard to keep up with all the different models and versions of models that Fender keeps coming out with.

noyen
02-11-2015, 11:09 PM
Don't those already have some pretty hot pickups? I could be wrong, it's getting hard to keep up with all the different models and versions of models that Fender keeps coming out with.

They do indeed have nice pickups stock but I replaced them on my old one with dimarzio's dp155s and it gave it the sound I'm looking for.

Yeah there is a lot of new stuff. The black tops, the pawn shop models... I'm liking the mij 2007 models though I wouldn't mind the pawn shop bass vi.

bobliefeld
02-12-2015, 06:30 AM
The string ball ends slip off the little posts on the bigsy and make you want to kill yourself. It is a sisyphean task that will make you just play the damn thing with five or four strings or whatever instead of replacing them.

Is it worse than a Floyd Rose?

Break a string and not have cutters and an allen key set and 10 minutes to get the thing in tune??

I got a mocking bird with floyd rose (yeah lol) and I like it but I'm fixed bridge + locking tuners for life now.

Poots
02-12-2015, 08:25 AM
I've never changed a Floyd Rose but it seems like you need a degree in civil engineering to do it. I've got an American Deluxe stratocaster with the regular nut and locking tuners and it stays in tune no matter what you do with the whammy bar.

teh b0lly!!1
02-12-2015, 08:40 AM
actually there's a new system called Evertune that's based around routing your guitar for it, which means losing a considerable amount of wood

BUT - you tune your guitar once, and no matter what happens to it, it'll keep that same tune forever

that is TEMPTING

teh b0lly!!1
02-12-2015, 08:41 AM
particularly for me because i'm obsessed with being perfectly in tune
two or three cents off on one string can drive me crazy

Poots
02-12-2015, 08:44 AM
What if you want to tune to open or some other alternate tuning?

bobliefeld
02-12-2015, 10:14 AM
It's not like a floyd or whatever where you need to get the balance of everything spot on. You tune up however you want and the system then works to retain whatever balance is set. It's kinda a weird mechanical system of springs and levers and pulleys but apparently not all that difficult.

It's supposedly not that great though as it can adjust out some of the subtlety in guitar playing. And also guitars by nature shouldn't be perfectly in tune everywhere. It's a perfectly imperfect instrument. Dunno the science of it tbh but if you're playing in a band and your the only one with Evertune there's occasions when you're going to sound a little out of tune.

slunken
02-12-2015, 11:25 AM
i don't think i've ever played a guitar that has crazy dive action and i don't think i've ever had a problem with a guitar staying in tune. i guess they are both related.

you're lucky to be able to get a semitone from a gretsch bigsby and that's how i like it

Poots
02-12-2015, 04:33 PM
I have this dvd and every time I watch it I set one of my strats up to float thinking that I'll be able to master it like Beck. It's hard to explain being so inspired and dispirited at the same time. I mean, he is otherworldly.

<iframe width="560" height="315" src="https://www.youtube.com/embed/drAv2FoYji8" frameborder="0" allowfullscreen></iframe>

bye june
02-12-2015, 11:03 PM
This is my dad's mid-80s Washburn G-2V, I had it worked on and fixed up but...

http://i.imgur.com/lnON7lN.jpg

I still need this screw piece thing for the wonderbar trem...where the fuck would I find one?

http://i.imgur.com/iFpYi19.jpg

My dad said he might be able to get someone to weld one but I don't know.

Elphenor
02-12-2015, 11:14 PM
Are you gonna smash it now?

bye june
02-13-2015, 01:39 PM
lol good one but no it's a nice guitar that I put some money into last year...plus it's my dad's and it was the first electric guitar I ever played. I want to start playing it again but I need that piece.

slunken
02-13-2015, 02:53 PM
Have you tried the internet

slunken
02-13-2015, 03:34 PM
Just kind of posting out loud for a second but J.H.C. I have been looking for a pedal board and flight case combo for forever.

I need one that is no larger than 31.5 inches long (exterior) but it needs to be at least 28" long (interior). I want the kind where the bottom lid is the bottom of the board, but i also need a riser to house a power supply (voodoo labs 4x4 is less than 2" tall and the width of about two pedals) underneath.

Pedaltrain doesn't make my size, Trailer Trash is too expensive/complex. I found a bunch of great cheap ones (under 100) that is just a cheap flight case that uses the bottom (the smaller) lid as the pedal board but i would have to find one that has enough height clearance for me to add a small riser to to either the whole bottom layer or just a partial layer to house the power supply underneath.

i'm only seeing options of 5-6" high. that might not be enough, whereas the pt-pro with ata case is about 9" high.

here are the cheapies i was looking at - http://hybridcases.com/09/ http://www.rondomusic.com/product7519.html http://www.rondomusic.com/product7515.html

for the $$$ I would really like to make one of those work even if i had to make a riser of some kind. but if pedaltrain made a 28" model i would have bought it years ago.

Poots
02-13-2015, 07:38 PM
Why don't you just make your own pedal board? I've done it before and it's really cheap. Just get some shit at Home Depot and spray paint it black and it will be just like you want it.

slunken
02-13-2015, 07:41 PM
because i want an ata case for it. it's not so much the board at this point, it's the housing.

Poots
02-13-2015, 07:45 PM
Yeah, those are not going to be cheap. I've made those too, and the parts are pretty expensive by themselves. Eat rice and beans for a month and have one custom made to your specifications.

slunken
02-13-2015, 07:51 PM
i'm just going to have to spring for a trailer trash

Poots
02-13-2015, 07:53 PM
Every time I've went the budget route I've been disappointed in the long run. If I buy the best, I'm paralyzed by buyer's remorse for a week or two, but eventually I'm glad I did. Remember: if you have more expensive stuff, you'll be a better artist.

slunken
02-13-2015, 08:04 PM
my problem hasn't been the money necessarily i just find it hard to believe that only one company makes what i need. there have to be alternatives for a 28" rising board.

slunken
02-13-2015, 08:12 PM
i would much rather have a slatted surface instead of drilling my own holes and etc

noyen
02-13-2015, 09:14 PM
I lost my bid on the jag hh :( always some asshole sitting there the last three seconds. Maybe I'll go the build route. white people problems.

ButtHash
02-13-2015, 10:20 PM
Bought me a Roland JC-77 last weekend. The chorus sounds so pretty. Throw a reverb and delay pedal in and you're set. I used to have a Boss CE-2 pedal which sounded amazing but I had to sell it (apparently it's not easy to find, I found it at goodwill for $3). Anyway this amp's chorus sounds as good as that pedal, which makes sense.

Gotta get a good, cheap distortion pedal though. Ideas?

noyen
02-13-2015, 10:37 PM
rat or rat clone. the big muff. standard distortion. They aren't expensive. good and cheap don't exist much in the pedal world. And I build them myself and they cost a fair amount of money and labor, even doing it as cheap as possible. danelectro has lots of cheap pedals. boss has a few good ones (lots actually)

Poots
02-13-2015, 10:59 PM
you can't beat a rat for live work. I like muffs for recording. You can drop some serious coin on some klon bullshit but a $40 boss super overdrive will do the same thing. I fucking love distortion pedals.

teh b0lly!!1
02-14-2015, 02:37 AM
does nobody here use Guitar Rig or Revalver?
you can get some crazy tones from those things

teh b0lly!!1
02-14-2015, 02:39 AM
i was considering letting the fractal axefx get to me but then i figured it can't do much better than what i'm getting with those two programs

slunken
02-15-2015, 01:36 PM
this power supply is amazing. i can plug my entire board into it and everything is dead quiet. i had 7-8 pedals powered by wall warts going into one of those heavy duty power supplies and had the thing maxed out.

now i only need two spots for the entire rig. amp and power supply.

Poots
03-04-2015, 12:00 PM
Has anyone tried the Black Arts Toneworks "Pharaoh Fuzz"? It seems awesome, like a Muff for live work. Not too expensive either among boutique fuzzes.

brutechinasky
03-04-2015, 12:39 PM
does nobody here use Guitar Rig or Revalver?


i use GR5, but i'm so lazy i pretty much use only the presets

The exploding boy
03-04-2015, 12:59 PM
I use Guitar Rig and Amplitube.

I found no preset satisfactory on either so made my own but i kinda hate dealing with that sort of shit so i pretty much made one or two setting i like and keep with it.

Well i started with presets that i modified. Like the one i mainly use was originally APPARENTLY supposed to sound like Andy Summers in The Police. they called it like message in a bottle or something. But i modified it a bunch.

I tried the Edge one being a big fan of U2's 80's sound and it sounded nothing like the edge to me. Maybe you have to have the proper guitar too....

slunken
03-04-2015, 01:57 PM
i have a LINE 6 POD2 that i rarely use. they're fun to mess around with in a pinch and i would travel with it and a mini-amp but its too tempting to use a completely different sound for every recording. i prefer to work within a tighter set of parameters. i realized 95% of the time i used it, i was basically just trying to recreate the sounds of my main rig.

slunken
03-05-2015, 05:24 PM
found this old band photo

http://i207.photobucket.com/albums/bb14/slunken_2007/old%20sketchbook/catbandpromo.jpg (http://s207.photobucket.com/user/slunken_2007/media/old%20sketchbook/catbandpromo.jpg.html)

LaBelle
03-05-2015, 06:03 PM
did he hit those purrfect notes?

The exploding boy
03-06-2015, 01:33 PM
maybe not the right place to ask (i men maybe i should go on pro forums) but...anyone ever had any issue with a truss rod that WONT budge?


I've been having real issues with my Squier Strat. It won't keep in tune past the like 7th fret or so. I figure a truss rod adjustment might be in order. Thing won't budge either left or right....

Poots
03-06-2015, 04:26 PM
I've heard of this but I've never dealt with it. I think it could mean that the rod is at the end of it's adjustment, either one way or another. It could also be that the wood has shrunk now that it's winter (you do live in Canada right?) and is grasping the russ rod, preventing movement. It could mean that the allen screw or nut or screw or whatever is just not well oiled after years of sitting there with no adjustment. Finally, the only other thing I could think of would be that since it's a Squire the truss rod is kind of shitty and not easy to turn.

I'd address the above problems before I'd go forcing it though. I've heard you can really fuck the neck up.

slunken
03-07-2015, 07:41 AM
you're supposed to adjust less than 1/4 turn each day so if you can't get even that i would take it somewhere

if you go cranking on that thing you will crack the neck no problem

Poots
03-09-2015, 12:05 PM
If you decide to force the truss rod, could you please film it for us? One camera on the guitar as you force it, and another on your face so we can get your reaction when the truss rod shoots up through the fret board.

The exploding boy
03-09-2015, 12:13 PM
I did manage to budge it in the end. I did two quarter turns so far, waited a day between each for the neck to adjust. Haven't tried it yet today but if it doesn't fix the problem i'm not touching it more than this. It seems to be mainly the g string though which is weird, you'd think all the strings would be affected equally if it was the neck....

Poots
03-09-2015, 12:26 PM
It could be some unlevel frets. Take a hammer and start beating the fretboard until it plays better.

The exploding boy
03-09-2015, 12:48 PM
Good idea.


But the thing see is i didnt have a problem with it until this winter. I'm sure dryness has had something to do with it. Wonder if it'll fix itself come spring or summer.

Poots
03-09-2015, 01:29 PM
Good idea.


But the thing see is i didnt have a problem with it until this winter. I'm sure dryness has had something to do with it. Wonder if it'll fix itself come spring or summer.

Probably is the winter weather, and I think you're right, it should correct itself. You leave it overnight in a tub of hot water and maybe speed up the process.

The exploding boy
03-09-2015, 02:09 PM
Good idea.

teh b0lly!!1
03-10-2015, 04:42 AM
teb you really seem to have no idea at all what you're doing

what you're describing can be an intonation issue, a frets issue. it's a goddamn squier of course its whack. don't be messing with the truss rod if you don't know what you're aiming for at least

Sonic Johnny
03-26-2015, 05:52 PM
Anyone have one of those MCIS Tab books? Worth the $$? Like are the tabs more detailed than the stuff up on spfc.org? If the answer to all three of those questions is yes: does anyone wanna sell me a second-hand one?

reprise85
03-26-2015, 06:12 PM
i used to have it. it was pretty great and much better than most of the online tabs. plus you get the sheet music of course.

Sonic Johnny
03-26-2015, 06:24 PM
ahahahahaha sheet music, that's funny.

slunken
03-26-2015, 06:29 PM
Anyone have one of those MCIS Tab books? Worth the $$? Like are the tabs more detailed than the stuff up on spfc.org? If the answer to all three of those questions is yes: does anyone wanna sell me a second-hand one?

they're the most difficult to find out of the 3 (siamese dream, mcis, and adore). expect to pay $50+.

i mean not only do you get tabs of the songs but you get tabs for all the weird little background stuff and keyboard parts transposed for guitar and james' ebow stuff tabbed out its crazy

slunken
03-26-2015, 06:31 PM
you can find pdf copies of both mcis and sd on torrent sites pretty easily if you want to do that - i remember just searching for guitar tab under pdf and it was in a pack with a bunch of other books

reprise85
03-26-2015, 06:32 PM
ahahahahaha sheet music, that's funny.

it's nice to have it, say you want to play something on piano, you dont have to figure it out. i was never very good at figuring shit out on my own, so having the sheet music was very useful. or when i needed to show someone the rhythm of something. of course i had the songs memorized and didnt even have to worry about the rhythm or time signature or anything. but other people i played with needed it, and it was easier to start with it while learning the song.

but yeah you gotta be able to read it i suppose

slunken
03-28-2015, 11:14 AM
spent this morning notating more sound banks on the boss sl-20 slicer (there are 80). i'm determined to understand this thing.

The exploding boy
03-28-2015, 11:21 AM
teb you really seem to have no idea at all what you're doing

what you're describing can be an intonation issue, a frets issue. it's a goddamn squier of course its whack. don't be messing with the truss rod if you don't know what you're aiming for at least

I hadn't seen this then but i'm not a moron. FOor one i had messed with truss rods before just a long time ago. And I didn't go turning that truss rod willy nilly. I know you can break your neck and i really can't afford to lose any guitar. And I research shit before i do it if i'm not 100% sure. I did daily quarter turns for 3 days. Clearly it had to be done either way as there was pretty much no spacing between the string and frets when i pressed the first and last. I messed with the bridge now, i got it closer to being in tune the whole length of the neck but not quite. i'm hoping at this point the weather change will bring it back to normal.

teh b0lly!!1
03-29-2015, 01:25 AM
that's cool, reading back i sounded like an asshole. didn't mean it.
it's just all very delicate and you need to know exactly what you're doing and why you're doing it. at least in my experience - you won't get a great setup on a guitar by just experimenting.
print out some measurements, work with those.

<iframe width="420" height="315" src="https://www.youtube.com/embed/1_-3Bh1VFI8" frameborder="0" allowfullscreen></iframe>

Mals Marola
04-14-2015, 08:09 AM
i'm probably going to be getting a fender tube amp of sorts, really soon

any tube-amp related advice over here? i know it's a bit more of a delicate operation & whatnot, but this one doesn't even have a standby switch or anything so... i don't want to just be blowin tubes & valves form day 1! only owned solid state up to this one (though at present i am still very much happy with my orange)

slunken
04-14-2015, 10:49 AM
Of sorts...

This one...

Mals Marola
04-14-2015, 12:19 PM
http://www.musoscorner.com.au/client_images/1491971.jpg

fender ramparte, 9w, cool & hot inputs

was really just askin about general tube amp care/maintenance since i've never owned one before, always solid state, and it doesn't have a standby switch
but i guess that would only really assist things, since it must have something built in that would handle it simultaneously
though if it's anything like the tube preamp i have it's pretty much just a turn on, wait a few minutes, let cool down after usage then turn off sort of thing

soniclovenoize
04-17-2015, 12:51 PM
http://i928.photobucket.com/albums/ad123/soniclovenoize/IMG_7073_zpso4qrdpzb.jpg

Rebuilt my board, swapped some pedals, etc.

Disco King
04-17-2015, 02:12 PM
A while back, I picked up the Hardwire RV-7 reverb because it was the cheapest I could find with a reverse reverb function.

However, I realized that with the reverse reverb, only the wet signal comes out, and there's no dry signal. So, that means there is a delay from the time I strike a not to the time it sounds. Which is annoying as fuck for coordination, thinking "I have to play this not XXms before I actually wanna here it."

What's a cheap reverb with reverse reverb that isn't stupid like that?

slunken
04-17-2015, 03:25 PM
Metal zone into the muff?

I sometimes run a blues driver after mine

soniclovenoize
04-17-2015, 04:37 PM
Metal zone into the muff?

I sometimes run a blues driver after mine

Oh I rarely use those two together, it's one or the other (or the overdrive pedal preceding them)

soniclovenoize
04-17-2015, 04:44 PM
A while back, I picked up the Hardwire RV-7 reverb because it was the cheapest I could find with a reverse reverb function.

However, I realized that with the reverse reverb, only the wet signal comes out, and there's no dry signal. So, that means there is a delay from the time I strike a not to the time it sounds. Which is annoying as fuck for coordination, thinking "I have to play this not XXms before I actually wanna here it."

What's a cheap reverb with reverse reverb that isn't stupid like that?

http://enricodomines.com/wp-content/uploads/2012/08/Line-6-ToneCore-Verbzilla-Guitar-Effects-Pedal.jpg

The other guitarist in two of my bands has a Line 6 Verbzilla. When he got it I totally made fun of him for having a Line 6 pedal... until I heard it. It's actually sounds great and I believe it does what you are looking for, and it's only $150 new.

slunken
04-18-2015, 12:16 PM
Oh I rarely use those two together, it's one or the other (or the overdrive pedal preceding them)

i'm surprised - you can get a great pink floyd/gilmour sound using the two. surely you know of this combo? at best it adds a nice amount of bite back into the muddy muff sound.

the easiest way is to crank the muff and use the other distortion pedal (i like the blues driver) as an EQ/Tone/Volume control. or you can crank the distortion pedal and have the muff adding the appropriate amount of fuzz. endless possibilities in order

Poots
05-08-2015, 11:07 PM
look at this Martin ripoff of a Gibson SJ200. Only $5300 as well.

https://www.martinguitar.com/media/k2/attachments/CEO-8_x.jpg

Disco King
05-23-2015, 10:10 PM
http://enricodomines.com/wp-content/uploads/2012/08/Line-6-ToneCore-Verbzilla-Guitar-Effects-Pedal.jpg

The other guitarist in two of my bands has a Line 6 Verbzilla. When he got it I totally made fun of him for having a Line 6 pedal... until I heard it. It's actually sounds great and I believe it does what you are looking for, and it's only $150 new.

I'll look into that. Thanks!

I've been eyeing Noisemaker Effects' pedals for a while now. They are the most inexpensive boutique brand I've ever seen, and they have some nice fuzzes. The problem is deciding which one.

Their pedals tend not to have tone knobs, so it seems like each one specializes in a tone, and then gives you volume and gain controls.

It's difficult for me to decide which one I want, because even though I can clearly hear that they are different, my ear isn't really trained well enough to really assess the timbre and deliberate what I really like and why. It's just sort of like, "Oh, this is cool. Wait, this is cool, too." Plus with the demos, it's hard to ignore the influence of the music being played on my perception on the sound and to just focus on tone. I wish there were a shootout video or something.

I'm thinking that the Crush and the Cold War seem fairly similar to a Muff, so I may as well get one of their more unique pedals. So I'm kind of leaning toward the Donner Party, which sounds pretty nasty, the Zero (which seems to give the user more tone control with all the knobs), and the Kill. The Freakshow is also really interesting, but the fact that it only has a level knob kind of makes it seem limited. Still, that one sound that it does is a pretty sick sound. Also, the Noise Invader and Arcade are cool.

What are your guy's recs?

http://www.noisemakereffects.com/pedals.html
http://www.cheaperpedals.com/collections/noisemaker-effects?page=1
https://soundcloud.com/noisemaker-effects/
(Just posting more than one link because it doesn't seem that their official site has all of them)

Disco King
05-25-2015, 06:10 PM
For what it's worth, I ended up pulling the trigger on the Freakshow, the Donner Party, and the Loudmouth. I'm already planning my next purchase to be the Super Arcade, which I may get sometime after I round off my pedal board with things that aren't fuzzes.

slunken
05-25-2015, 09:14 PM
IMO boutique pedals are only for boutique players.

i didn't hear anything in those samples that couldn't be achieved with a combination of big muff (any) with a tube screamer or blues driver.

Disco King
05-25-2015, 10:53 PM
"Boutique player"? What's that mean?

I can see how a lot of the milder fuzzes (like the Crush) would be achievable with a Big Muff (though the Noisemaker ones sounded less muddy to me), but I've never gotten the sort of crazy breakup I was hearing in the Donner Party and Super Arcade demos out of the Tone Wicker Big Muff I had (not that that's a criticism of it; it was and will probably still be my favorite pedal). I guess I've never tried driving it with an overdrive, as I've never used one, though. So perhaps you're right (in which case, thanks a lot for giving me post-purchase remorse, buddy).

Too bad I don't still have my Muff to compare them with. I just thought I'd experiment with other fuzzes, because there is a small chance I may get my old Muff back (long story), so I didn't want to buy a duplicate. But if it turns out I won't, I'll definitely re-purchase one down the line. I like all the Noisemaker ones for what they are, but they seem to be on the more treble-ish side, whereas the Muff goes down to the apocalyptic firepits of doom.

soniclovenoize
05-26-2015, 09:07 AM
They sound pretty good, I'd definitely pick one up. Big Muffs don't get that cool oscillation to them.

Also be sure to get a variable power source for whatever fuzz you get, to simulate a dying battery; you will get cooler results you wouldn't otherwise get with a constant power source.

Also I finally picked up a Fuzz Factory and I love it to death.

Disco King
05-26-2015, 01:41 PM
Hmm. I've never heard about the "variable power source" thing. Sounds cool. I'll look into that!

Some of these pedals have a "starve" knob that does the dying battery thing (similar to the "stab" on the Fuzz Factory, I think). But the variable power source sounds like it'd be really cool to try with my Muff or something when I get it.

Congrats on the Fuzz Factory. From the demos I've heard, those things are really versatile and great. The sort of thing I'd buy if I weren't so cheap. I love how you can get sorta retro classic clean-gated fuzz and octavey oscillating glitchy sustaining fuzz in the same box. Thing is crazy.

I've been looking at some of Devi Ever's pedals, too. Probably not in my price range, but it's still fun to browse. One interesting one was the LP, that I assume uses variable power to get that "skipping record" sound.

soniclovenoize
05-27-2015, 09:42 AM
Yep exactly, the Stab seems to control the power-in, so the Fuzz Factory pretty much has a built-in variable power supply.

Our guitarist had Devi's Disaster Fuzz, and it was very cool; it is worth mentioning that he did in fact get a variable power supply for it because it wasn't doing exactly what he wanted. So there you go.

He recently dropped it from his board for a Dwarfcraft Great Destroyer though, I'm not sure why. Both sounded great though. It probably just didn't gel well with the new Awkward Bodies songs, not sure.

The guitarist in a different band I'm in has a cool boutique fuzz that sounds fantastic. I don't remember what it is though, I'll check it out tonight at practice.

Disco King
06-07-2015, 05:24 PM
Does anybody know what effects Iha used in his MCIS Pumpkins solos? Like in "Zero" and "Fuck You"? I'm thinking it's a Digitech Whammy in octave up mode or something, but just want to be sure.

I used to not be interested in getting a Whammy pedal, because I'm not big on pitch shifting. However, the cool shit that can be done with octave shifts is making me rethink that.

soniclovenoize
06-08-2015, 08:51 AM
It was, with more signal processing as well.

Disco King
06-08-2015, 11:06 PM
I see. Now I suppose I need one of those, too. G.A.S. has been bad these days.

I tend to find pitch-shifting kind of cheesy and too artificial sounding in general, but I do like octave effects. So I guess if I get a Whammy, I probably won't use the other sorts of harmonies too often. Seems like a lot of money to spend on something I'll only have a limited use for.

How does the Whammy compare to pedals like the EHX Pitchfork or Boss Pitch Shifters/Harmonizers?

Speaking of G.A.S., I'm also hankering for a phaser. From the videos I've listened to, I like the MXR Phase 90 the best, because it seems to be the most transparent, whereas the Modtone Atomic colors the sound a bit and sort of washes out the tone. The Small Stone isn't bad, but it sounds like it sweeps through the lower frequencies more, whereas the 90 sounds a bit broader.

However, I'm kind of wondering if I'll end up wanting more than one knob, to control the rate and depth independently, which is why I haven't completely ruled out the Modtone yet. Do you guys like having more control over the parameters, or does one knob do enough for all your phasing needs?

On top of that, that Line 6 Verbzilla you linked me to sounds great. It turns out that it doesn't do reverse reverb, but it does other awesome things that are more ambient and ethereal than a typical reverb. And I'm also eyeing the DigiVerb, because that pedal does do reverse reverb, and still keeps your dry signal, unlike the Hardwire.

Those are just some of the pedals I'm constantly browsing online. I really need to stop. Maybe I should just block any gear site and focus on actually practicing my instrument for the next little while.

soniclovenoize
06-09-2015, 10:04 AM
I see. Now I suppose I need one of those, too. G.A.S. has been bad these days.

I tend to find pitch-shifting kind of cheesy and too artificial sounding in general, but I do like octave effects. So I guess if I get a Whammy, I probably won't use the other sorts of harmonies too often. Seems like a lot of money to spend on something I'll only have a limited use for.

How does the Whammy compare to pedals like the EHX Pitchfork or Boss Pitch Shifters/Harmonizers?

OK well first off, the "unnatural sound" of the Whammy is a part of it's charm, something I really liked about it. Check out the song "Waited a Light Year" by Tripping Daisy, there's this simple lead melody played on a shifted-up Whammy. And it's slightly-out-of-pitch-ness really gives it a unique character. Also listen to the end of the solo on "Just" by Radiohead... Johnny is using a Whammy to hit the higher unnatural notes, and the final note is digitally squelching, like it can't quite make it--I love that! Gives the song an extra edge and paranoia.

But with that said, there are several generations of Whammy. Those parts mentioned above were played with either a first or second generation Whammy that did have pitch imperfections. By now, we are on a 5th generation whammy (I just sold my 2nd gen for a 5th) and it is WAY more precise, and doesn't have that out of tune quality as much. So if you are looking for more precision, then the newer models are quite good. That is why I upgraded, because when you though on a really weird delay then the notes really go out of whack, and sounds bad; I needed something more precise.

Also this pedal is useful for playing harmony lines. You can switch to like the "/\5th \/7th" setting and it'll add the high 5th and a lower 7th to your melody, immediately creating a three-part guitar harmony! All at the ease of a foot switch! One of my bands recently played with a sort of early 00s revival emo band and their guitarist was doing this the whole time, it was cool. It's not really what I am interested in, but it's what you can do with the Whammy. I swear I hear it all over Francis The Mute.

In contrast the EHX MicroPog and the delux POG more dials in whatever weird pitch undertones you want and you let it fly (think of Johnny's main riff in "My Iron Lung", it soudns like either a POG or something similar). It's more versatile and WAY MORE ACCURATE but it doesn't have the footwsitch and bending capability as the Whammy. So I would say the are just simply different beasts altogether, which is why I have both! When is more active, the other is more a stand-alone stomp box.

The Boss Pitchshifter is very cool, and I think is less precise than either a whammy or a POG, but it is somewhere in between the spectrum of the two as an active bender and harmonizer, and a box to create standalone pitch undertones. It's like the middle ground.

Speaking of G.A.S., I'm also hankering for a phaser. From the videos I've listened to, I like the MXR Phase 90 the best, because it seems to be the most transparent, whereas the Modtone Atomic colors the sound a bit and sort of washes out the tone. The Small Stone isn't bad, but it sounds like it sweeps through the lower frequencies more, whereas the 90 sounds a bit broader.

However, I'm kind of wondering if I'll end up wanting more than one knob, to control the rate and depth independently, which is why I haven't completely ruled out the Modtone yet. Do you guys like having more control over the parameters, or does one knob do enough for all your phasing needs?

Good question! Yeah, the Phase 90 is great! But just recently I wanted to do something a bit different (a jet airplane phase) and it couldn't do it. It's REALLY good at doing what it does, but you can't really get anything different out of it.

Those are just some of the pedals I'm constantly browsing online. I really need to stop. Maybe I should just block any gear site and focus on actually practicing my instrument for the next little while.

Ha! Very true... Remember that an effect is useless unless you 1) know how to use the effect and 2) have the musical know-how to back it up.

slunken
06-09-2015, 08:08 PM
Ha! Very true... Remember that an effect is useless unless you 1) know how to use the effect and 2) have the musical know-how to back it up.

You left out creativity

soniclovenoize
06-10-2015, 09:44 AM
I suppose that was implied.

slunken
06-10-2015, 10:38 AM
You'd be surprised

Disco King
06-12-2015, 01:12 PM
OK well first off, the "unnatural sound" of the Whammy is a part of it's charm...

Hmm. Well I suppose I might warm up to the other functions if I do get. I mean, there are recordings I enjoy that use it (like some of the ones you mentioned).

In contrast the EHX MicroPog and the delux POG more dials in whatever weird pitch undertones you want and you let it fly (think of Johnny's main riff in "My Iron Lung", it soudns like either a POG or something similar). It's more versatile and WAY MORE ACCURATE but it doesn't have the footwsitch and bending capability as the Whammy. So I would say the are just simply different beasts altogether, which is why I have both! When is more active, the other is more a stand-alone stomp box.

The Boss Pitchshifter is very cool, and I think is less precise than either a whammy or a POG, but it is somewhere in between the spectrum of the two as an active bender and harmonizer, and a box to create standalone pitch undertones. It's like the middle ground.

I see. I guess for my purposes, it's between the Whammy and the Boss now, as the expression pedal is a must. Thanks for the info!

BTW, could using the octave-down effects on the lower strings damage a guitar amp the same way that plugging a bass into a guitar amp might?

Good question! Yeah, the Phase 90 is great! But just recently I wanted to do something a bit different (a jet airplane phase) and it couldn't do it. It's REALLY good at doing what it does, but you can't really get anything different out of it.

I see.

Ha! Very true... Remember that an effect is useless unless you 1) know how to use the effect and 2) have the musical know-how to back it up.

Definitely. I've been trying to stick to something like a practice schedule, as I feel like my playing has been stagnant for a while, but I never know the best way to go about learning stuff. I've been doing some speed drills, but I don't know if I should practice a single drill until I get up to a good speed before I move on to the next, or if focusing on only one for a week will only make me faster at that particular drill, and not faster in general. Also trying to learn the fretboard better so that I don't get stuck in boxes doing the same old licks when improvising.

It's been a while since I've actually played any songs. I've mostly been doing exercises. I think I'm at the point where playing other people's songs is a bit boring to me, but I don't have the skill to write a lot of my own that are satisfying to me.

Disco King
06-29-2015, 02:39 PM
I just impulse-ordered a Boss Tera Echo. I keep on organizing my list of what my priority pedals, only to get something not even on it.

chatterbox
07-03-2015, 10:39 PM
I've lost interest in stomp boxes and effect pedals in recent years... but when I would (or do on occasion) use them, I liked my..

-big muff (I forget the version, but it came in the wooden box, made by Electro Harmonix, etc... just do not know if it was the japan, us, or what version)
-the 1st style of the jekyll & hyde OD/distortion pedals. by visual sound
holy grail reverb (i actually like this one a lot) by electro harmonix
ibanez ts-9 (the 99$ model..) which i like as well.

run through a fender hotrod deluxe. i have a bunch of gear but my pedals and amp have a lot of wear. My guitar(s) of choice are dc-3 danelectro and a 1995 les paul special (doublecut- good wood era still). i like both a ton- the dano being very light with more tone, the LP with a lot of crunch and different but still, a very very nice tone.

i have a few tascams for recording purposes and some decent microphones too.

Disco King
07-10-2015, 07:37 PM
I got my Tera Echo a few days ago. I love the thing.

Also got my Noisemaker pedals last night. I love their tones, but they are noisy as fuck, and the volume increase makes it hard to play them in my apartment. They hiss a lot and pop when you engage them. I don't know if I just need a noise gate or if I will end up needing to mod them.

Disco King
11-27-2015, 12:31 PM
Anybody try the Nano Big Muff? Is it exactly the same as the regular Big Muff Pi?

It says it has the same circuits, but some reviews I see say that it sounds a bit smaller, whereas others say it's the exact same thing in a different box.

If it's exactly the same, I'd definitely go for it to save space.

Disco King
11-27-2015, 06:27 PM
That probably goes for all modern Muffs, right? Or is it the Nano specifically?

Yeah, I hear that they don't cut through the mix well. I don't have a band, so I suppose that isn't a huge problem for me. Maybe it'd be just as bad for recording, though, I dunno. I also hear some people deal with that by driving it with an overdrive in the right way.

Poots
11-28-2015, 03:17 PM
Big Muffs don't really cut through in a band setting, unless it's a one guitar band, in my experience. They work great when recorded though, as you can move things around frequency-wise to make them have some space of their own.

As far as running it with an overdrive (like a tubescreamer), it makes it sound completely different. It puts in all the missing mids that make a Muff by itself get lost in the band mix. However, it doesn't really sound like a Big Muff anymore. The scooped mids thing is part of what makes it so gloriously heavy.

One thing to consider are these muff clones out there now that have a mids control. You can up the mids until it cuts through the band mix, but by then, again, it doesn't really sound like "Teh SIMESE DREAMZ" tone anymore.

soniclovenoize
12-01-2015, 12:51 PM
Anybody try the Nano Big Muff? Is it exactly the same as the regular Big Muff Pi?

It says it has the same circuits, but some reviews I see say that it sounds a bit smaller, whereas others say it's the exact same thing in a different box.

If it's exactly the same, I'd definitely go for it to save space.

Avoid ALL EHX Nanos. Their voltage is wacky and inconvenient and you are simply better off shelling out an extra $50 for the "full" or standard models. If space is an issue, then replace it with a pedal you don't use live and/or build a bigger board. Nanos are shit.

As for your other question, I can't speak for Nanos specifically, but in general there is a wide variance in sound between all Big Muffs. I remember back 15 years ago three of us all had different model Big muffs--the silver NYC, the black Russian and the green Slovitek--and we AB'd them all and they were all different! This is not uncommon, as for some reason (I bet someone else more knowledgeable can elaborate the reason, like spguitar) the same circuitry would still not yield the same sound and every Big Muff was slightly different sounding.

Matter of fact, just last week I went in and ABd my 9-year-old Lil Big Muff with a few other ones and lo and behold they were different, even to this day with newer models!

This is a good guide:
http://www.kitrae.net/music/music_big_muff.html

That probably goes for all modern Muffs, right? Or is it the Nano specifically?

Yeah, I hear that they don't cut through the mix well. I don't have a band, so I suppose that isn't a huge problem for me. Maybe it'd be just as bad for recording, though, I dunno. I also hear some people deal with that by driving it with an overdrive in the right way.

imo They cut through the mix fine. I guess it depends on what your mix is

Disco King
01-01-2016, 09:32 PM
Thanks for the responses, fellas

I have some time off, so I'll probably try to get back into the habit of actually practicing. When I do pick up my guitar, I mostly engage in aimless noodling and running through sections of songs I already know.

It's kind of daunting trying to figure out what to start practicing when I pick up my guitar. Do you guys have a practice schedule?

I've tried making one in the past, but I think I put too much shit on it, so it became too long and unrealistic. I can't practice every single area of guitar playing all the time, but at the same time, I can't myopically focus on one until I am satisfied with my skill level, and then move on to another, because you have to keep at everything indefinitely. You don't, like, "graduate" from scales and then move on to chords or something.

There are a lot of goals I have, but breaking them down is kind of hard. Like, I want to just have a better musical vocabulary in general so that I have more to draw on when writing songs, instead of just defaulting to the same power/cowboy chords and pentatonic scales I'm comfortable with (I noodle so much in the minor pentatonic that I hate the sound of it now). I'm trying to drill into my head extended chords, major modes, and exotic scales, but they aren't sticking well. I also want to hone my chops so that I can play faster (maybe even shred), do that fingerpicky sorta thing (not sure what you call it... you know, songs like "Rotten Apples," that are very arpegiatted and I suck at), be able to incorporate artificial harmonics fluidly into playing, etc. Also, transcribing songs by ear (I rely on internet tabs way too much to take myself seriously as a guitar player).

Thinking about all this stuff intimidates me so much that I end up just doing my aimless noodle shit and never improving.

teh b0lly!!1
01-01-2016, 11:15 PM
you have to have a clear direction of where you want to go.
i find that the most important thing is to develope your musical 'brain', not your fingers.

i've been playing for around 14 years (man i feel old as shit typing this) and now i'm at a place that i can honestly say i don't get intimidated by amazingly technical guitar players anymore. i mean of course i get jealous when i see somebody playing something very technical that happens to be really cool or musical, but these two ends don't often meet.

the reason i'm saying this is, do you want to be a better guitarist to be able to impress people at guitar stores, or do you want to develop your playing to become a better musician?
even though you'd probably pick the latter, learning exotic scales, being obsessed with technique, and wanting to play faster - are pretty much the former.

just to be clear, this is not to shit on technical and theoretical proficiency. it's just that, imo, the real question is, do you want to be a great guitar player, or do you want to develop your skills as a tool for songwriting and musicianship.

a musician i greatly admire always says that 'you should only strive to be as technically good as you need to be to facilitate the ideas in your head'. now that doesn't mean you should slack on your playing and not give a shit about how good you are - but rather, that you need to focus on the right things.

my tips would be:
1. play a lot, until you're able to anticipate what the phrase you're GOING to play is going to sound like. shorten the distance between what you want to hear, and playing it. improvise over songs. play along to songs.

2. always be in tune, and work hard on being precise with your timing. these two things alone will make your playing sound a thousand times better, and are absurdly underrated. play along to a metronome. learn to identify when you're behind or after the beat.

3. determine what skills you lack in, and find songs that address those problems. work on them until you get them right.

4. write songs.

Run To Me
01-04-2016, 12:50 PM
you have to have a clear direction of where you want to go.
i find that the most important thing is to develope your musical 'brain', not your fingers.

i've been playing for around 14 years (man i feel old as shit typing this) and now i'm at a place that i can honestly say i don't get intimidated by amazingly technical guitar players anymore. i mean of course i get jealous when i see somebody playing something very technical that happens to be really cool or musical, but these two ends don't often meet.

the reason i'm saying this is, do you want to be a better guitarist to be able to impress people at guitar stores, or do you want to develop your playing to become a better musician?
even though you'd probably pick the latter, learning exotic scales, being obsessed with technique, and wanting to play faster - are pretty much the former.

just to be clear, this is not to shit on technical and theoretical proficiency. it's just that, imo, the real question is, do you want to be a great guitar player, or do you want to develop your skills as a tool for songwriting and musicianship.

a musician i greatly admire always says that 'you should only strive to be as technically good as you need to be to facilitate the ideas in your head'. now that doesn't mean you should slack on your playing and not give a shit about how good you are - but rather, that you need to focus on the right things.

my tips would be:
1. play a lot, until you're able to anticipate what the phrase you're GOING to play is going to sound like. shorten the distance between what you want to hear, and playing it. improvise over songs. play along to songs.

2. always be in tune, and work hard on being precise with your timing. these two things alone will make your playing sound a thousand times better, and are absurdly underrated. play along to a metronome. learn to identify when you're behind or after the beat.

3. determine what skills you lack in, and find songs that address those problems. work on them until you get them right.

4. write songs.

Holy shit THIS

One thing I would add is pick an album you really like that's just a bit beyond what you think your current skill level will allow you to play, and then learn the whole thing. Everything I've learned on guitar came directly from learning songs via careful listening, tabs, and watching videos of the artist. I have never once sat and memorized a scale just for the hell of it; that's way too boring for me. I need context to get excited, and it sounds like you might also.

Disco King
01-04-2016, 09:58 PM
you have to have a clear direction of where you want to go.
i find that the most important thing is to develope your musical 'brain', not your fingers.

i've been playing for around 14 years (man i feel old as shit typing this) and now i'm at a place that i can honestly say i don't get intimidated by amazingly technical guitar players anymore. i mean of course i get jealous when i see somebody playing something very technical that happens to be really cool or musical, but these two ends don't often meet.

the reason i'm saying this is, do you want to be a better guitarist to be able to impress people at guitar stores, or do you want to develop your playing to become a better musician?
even though you'd probably pick the latter, learning exotic scales, being obsessed with technique, and wanting to play faster - are pretty much the former.

Yeah, I'm also typically not interested in technical skill for the sake of it. Like, Yngwie Malmsteem and Steve Vai and all those guys, they may be good, but I find them boring as hell.

So, I'm not aiming that high in terms of technical skill, but I still wanna have some chops in order to broaden the range of things I'm able to play and create. Like, I find shredded solos in death or thrash metal kind of boring, but I'd love to be able to use shredding to link more melodic solo phrases in order to spice up solos. And I wanna learn interesting scales to create solos that sound different from the typical minor pentatonic stuff that's in a lot of rock music.

just to be clear, this is not to shit on technical and theoretical proficiency. it's just that, imo, the real question is, do you want to be a great guitar player, or do you want to develop your skills as a tool for songwriting and musicianship.

I want to increase my skill level increase my songwriting ability, I guess. I feel like everything I write sounds kinda old hat. Like, generic chord progressions mostly using open chords or power chords, minor pentatonic leads, etc. I feel like I have no idea how to go about melody, and I usually write progressions without knowing how to go about writing the leads or the vocal line.

At the same time, I feel like part of the reason I want to use some less common scales and extended chords is because I'm not a good enough songwriter to make something unique out of the standard stuff, so I wanna write a song using a Byzantine scale or something because that's an instant ticket to making something sound different. Sometimes I think about how the vast majority of music I like uses the same major scale and triads and pentatonic scale, and how rock music doesn't tend to stray very far from the rudiments of classical theory and blues, and yet the music still sounds unique and interesting to me. If I were a better songwriter, I could probably also do something unique and interesting with the standard toolkit, but I am usually so bored with anything I come up with that I can't even bring myself to finish writing any songs.

a musician i greatly admire always says that 'you should only strive to be as technically good as you need to be to facilitate the ideas in your head'. now that doesn't mean you should slack on your playing and not give a shit about how good you are - but rather, that you need to focus on the right things.

Even though I only have to be as good as necessary to express my ideas, I will never know exactly what skills I'll need to play whatever I will want to play, so I feel like just being a well-rounded player in general is a good idea. Plus, I might even get ideas from the things I learn.

my tips would be:
1. play a lot, until you're able to anticipate what the phrase you're GOING to play is going to sound like. shorten the distance between what you want to hear, and playing it. improvise over songs. play along to songs.

Yeah, this is something I really want to do. I just kinda noodle around, and what comes out comes out. I can't hold an idea in my head and just crank it out, or do anything intentional and purposeful. It's more like, "hey, the song is in this key, so I'll just wank around in that key by playing random phrases using notes from the scale." Because I tend to get stuck in box positions because I have trouble linking them so that I can utilize the entire fretboard, it's always the same tired bluesy licks that sound like I'm doing some variations on going up and down a scale.


4. write songs.

I should probably do more of this. I haven't written much for the past few years, because I feel like I'm not good enough to bother writing, and that I should increase my musical knowledge first so that I write better songs. But writing songs is probably the best practice for writing songs. I just have a hard time doing things I know are shit because it's demotivating and frustrating.

Holy shit THIS

One thing I would add is pick an album you really like that's just a bit beyond what you think your current skill level will allow you to play, and then learn the whole thing. Everything I've learned on guitar came directly from learning songs via careful listening, tabs, and watching videos of the artist. I have never once sat and memorized a scale just for the hell of it; that's way too boring for me. I need context to get excited, and it sounds like you might also.

Yeah, I think I need to learn the discipline to learn songs all the way through. I'll pick a song I like and want to learn, will learn bits and pieces of them, and will get bored from working on the same song, and then will file it away with the intention of coming back to it later, but will never just finish the job. There are very few songs I have in my "repertoire," so if I were sitting around a campfire holding a guitar, I would probably have nothing to play.

I recently told myself I'd suck it up and learn just one easy song. Started learning "Into the Void," and I have everything memorized but the solo. And I keep telling myself I'll finish that part, too, but I'm so bored by the song that I just can't get myself to do it.

redbreegull
01-04-2016, 10:38 PM
At the same time, I feel like part of the reason I want to use some less common scales and extended chords is because I'm not a good enough songwriter to make something unique out of the standard stuff, so I wanna write a song using a Byzantine scale or something because that's an instant ticket to making something sound different. Sometimes I think about how the vast majority of music I like uses the same major scale and triads and pentatonic scale, and how rock music doesn't tend to stray very far from the rudiments of classical theory and blues, and yet the music still sounds unique and interesting to me. If I were a better songwriter, I could probably also do something unique and interesting with the standard toolkit, but I am usually so bored with anything I come up with that I can't even bring myself to finish writing any songs.

Yeah, I think I need to learn the discipline to learn songs all the way through. I'll pick a song I like and want to learn, will learn bits and pieces of them, and will get bored from working on the same song, and then will file it away with the intention of coming back to it later, but will never just finish the job. There are very few songs I have in my "repertoire," so if I were sitting around a campfire holding a guitar, I would probably have nothing to play.


I have hit a total block when it comes to songwriting. I have between 50-100 "ideas" that I have recorded, like little parts of songs, chord progressions. I struggle with the same thing you are describing; my tastes are mostly fairly simple rock and folk music, and when I listen to music that is good to me, I never sit there and think damn this is the same four chords as a thousand other songs and it's a typical pop melody and it's in 4/4 time, how boring." But when I write, these things hound me. It all feels very stale to me. Sometimes I hit something in particular and I "know" it is good, but it rarely happens with whole songs, usually just little pieces. Even when I do manage to do something I believe is compelling on guitar, it's even harder for me to match it with a good vocal melody, which is weird because I'm a better singer... but my melodies sound very very unoriginal and generic.

Do you sing? I would never be able to learn songs through and not get amazingly bored if I couldn't sing to them. That's like the part that connects me to the guitar I feel like. Also, in a campfire type setting or whenever you play for others, I have found that people will react more positively to you if you sing even if you are bad. It feels nice getting praised for doing something as simple as singing and playing a song, and this has always been a big motivator for me.

teh b0lly!!1
01-04-2016, 11:21 PM
discoking, i think you kinda missed my point man.

you sound very uninspired (not saying that as an insult), so you just figure you "might as well become a more well rounded player" by being able to pull off exotic stuff.
i mean, if you are not inspired and don't have a clear direction of where you want your playing to take you, it won't matter even if you'll have the biggest skill set in the world. your imagination and creativity need to drive everything else, and not the other way around. that's exactly what makes all those youtube player wankers. it's like trying to paint without knowing what it is you're trying to convey, but you figure you better work hard on your photorealistic painting skills.

what matters is telling a story, expressing yourself, being your own man through music.
it may seem easier to just buff up on scales and technique, but it's a dead end. focus on becoming excited about what you do, no matter how. the rest will fall into place.

#my2cents #justsomethingtothinkabout

teh b0lly!!1
01-04-2016, 11:29 PM
redbreegull, i totally get what you're saying, and i try not to let my own overanalyzing to get the best of me as well.

i've got two things to say to you though:
1. i find that if you'll play straight through a song you are writing, from beginning to end, and just be free with it in real time, you'll have a much easier time understanding how to construct it without becoming too self aware. if you like your own voice that's a big advantage for you.

2. don't come up with ideas and just toss them in the bottomless drawer. when you come up with something, do your absolute best to make it into something, then and there. i've been guilty of doing this myself too, and at least for me, i know that if i have a great idea and i just record it and let it sit there until it gets cold - that's the way it's going to stay, because nothing you try to add later will ever feel right, or be 'good enough'.

Disco King
01-05-2016, 02:07 PM
I have hit a total block when it comes to songwriting. I have between 50-100 "ideas" that I have recorded, like little parts of songs, chord progressions. I struggle with the same thing you are describing; my tastes are mostly fairly simple rock and folk music, and when I listen to music that is good to me, I never sit there and think damn this is the same four chords as a thousand other songs and it's a typical pop melody and it's in 4/4 time, how boring." But when I write, these things hound me. It all feels very stale to me. Sometimes I hit something in particular and I "know" it is good, but it rarely happens with whole songs, usually just little pieces. Even when I do manage to do something I believe is compelling on guitar, it's even harder for me to match it with a good vocal melody, which is weird because I'm a better singer... but my melodies sound very very unoriginal and generic.

I'm in a similar boat. I have a bunch of unfinished ideas, and even when I come up with an idea I do like, it's hard for me to add anything to it. Like, I'll come up with a good riff as a verse or something, and then will try to create a chorus by trying random ideas in the same key, but being in the same key doesn't guarantee that it'll "fit" the song, and I don't feel like the song is going where it should be going. The extra section I add feels like it may as well be any other song but the one I'm writing. I don't know how to let the song go where it needs to.

Do you sing? I would never be able to learn songs through and not get amazingly bored if I couldn't sing to them. That's like the part that connects me to the guitar I feel like. Also, in a campfire type setting or whenever you play for others, I have found that people will react more positively to you if you sing even if you are bad. It feels nice getting praised for doing something as simple as singing and playing a song, and this has always been a big motivator for me.

I don't sing very well at all. I only sing while playing if nobody is home to hear me, because I'm pretty embarrassed by it. It's something I also want to practice, but I suck at guitar, so all of my practice time goes to that.

Plus, learning how to sing seems really daunting. The guitar is a human-made instrument, so learning what you are "supposed" to do is a bit simpler. But with the voice, it seems to be trickier.

discoking, i think you kinda missed my point man.

you sound very uninspired (not saying that as an insult), so you just figure you "might as well become a more well rounded player" by being able to pull off exotic stuff.
i mean, if you are not inspired and don't have a clear direction of where you want your playing to take you, it won't matter even if you'll have the biggest skill set in the world. your imagination and creativity need to drive everything else, and not the other way around. that's exactly what makes all those youtube player wankers. it's like trying to paint without knowing what it is you're trying to convey, but you figure you better work hard on your photorealistic painting skills.

what matters is telling a story, expressing yourself, being your own man through music.
it may seem easier to just buff up on scales and technique, but it's a dead end. focus on becoming excited about what you do, no matter how. the rest will fall into place.

#my2cents #justsomethingtothinkabout

I dunno, it all sounds kinda abstract. Like, I have ideas about the sorts of music I want to do and stuff, is that equivalent to "expressing yourself" and "being your own man through music"? It's not like I don't know what my musical tastes are at all. I do have ideas about how the skills I want to learn would factor into what I want to do. Like, exotic scales would be cool for sort of psychedelic-stoner-doom music I'm kind of interested in making. I think it would be cool to do music with a slight jazz tilt, so learning about jazz theory seems like it'd be cool (but I haven't even approached that yet because I wouldn't know where to start and I feel like I need to get down some basics in regular classical theory first). And I'm sort of sick of typical major or minor triads (majors sound too happy a lot of the time for me, and minors sound sad in a sort of cartoony "funeral march" sort of way, and I'm kind of seeking that more bittersweet tense sound that I think some extended chords could offer me), so that's part of why I want to learn new chords. Learning my scales in depth, I think, would also help me be able to do the thing you were talking about with "anticipating" what I want to play and playing from my imagination rather than just hitting random frets that are in key. And learning to play faster would help me play the sort of solos I want to play.

I do agree about the thing about me probably being "uninspired," though. I don't feel like I have clear aspirations or anything that I'm engaged in that I feel proud of. Not just in guitar playing, but in general. I dunno, it seems to me that I'm at the age where my peers have their domains in life and some are doing pretty interesting things, whether it be in music (people I know in bands and shit) or just in general (people who are artists of other sorts, are politically active, I have one friend who's doing research in Germany with underwater lasers or some shit), and I'm just kind of aimlessly wandering around not really doing anything or working toward anything, and feeling to drained to really pursue any of those things I have an interest in. I can't really remember the last time I was just immersed in something that I really wanted to do. It's just shit I feel like I have to do interspersed with doing pointless shit like shuffling between a few websites I browse because I lack the energy to do anything actually fulfilling.

reprise85
01-05-2016, 05:48 PM
When I came back from my terrible relationship/kidnapping thing, I got really inspired right away. I had also not been allowed to play guitar for like, 4 years. I found some freedom in it, expressing myself, and I would call it "being my own [person]" - so I do know what teh bolly means. It was all very inspired and whenever someone I know hears it because it comes up or something, they are generally impressed.

But that was after 4+ years of trauma and being unable to express myself at all. It was all the pain but all the wonder at being a free person again. It was finding normalcy, not having to be worried about being assaulted sexually or otherwise. It was finding drugs for the first time, doing stupid young adult things, having a job that paid shit but I liked a lot that I wouldn't be forced to quit arbitrarily just as I was getting comfortable. I think that kind of feeling of freedom and transcendence is really hard to pull off without such an extreme and extended event happening right before it. For example, I had strategies as to how I slept - position of body, of blanket - in an attempt to not draw my bf's attention so he wouldn't come rape me basically. Just being able to lay however I wanted was so amazing! Taking LSD was amazing - being able to have that kind of "control" over my environment, patterns and shit, and really being able to feel it without worrying what would happen in 5 hours or 5 minutes because no one was going to hurt me.

And even though it was so abnormal, I still had just ended a 4+ year relationship which does inspire extreme feelings by itself.

I've never been able to replicate it but I do have those songs to revisit sometimes.

teh b0lly!!1
01-06-2016, 04:05 AM
I dunno, it all sounds kinda abstract. Like, I have ideas about the sorts of music I want to do and stuff, is that equivalent to "expressing yourself" and "being your own man through music"? It's not like I don't know what my musical tastes are at all. I do have ideas about how the skills I want to learn would factor into what I want to do. Like, exotic scales would be cool for sort of psychedelic-stoner-doom music I'm kind of interested in making. I think it would be cool to do music with a slight jazz tilt, so learning about jazz theory seems like it'd be cool (but I haven't even approached that yet because I wouldn't know where to start and I feel like I need to get down some basics in regular classical theory first). And I'm sort of sick of typical major or minor triads (majors sound too happy a lot of the time for me, and minors sound sad in a sort of cartoony "funeral march" sort of way, and I'm kind of seeking that more bittersweet tense sound that I think some extended chords could offer me), so that's part of why I want to learn new chords. Learning my scales in depth, I think, would also help me be able to do the thing you were talking about with "anticipating" what I want to play and playing from my imagination rather than just hitting random frets that are in key. And learning to play faster would help me play the sort of solos I want to play.

I do agree about the thing about me probably being "uninspired," though. I don't feel like I have clear aspirations or anything that I'm engaged in that I feel proud of. Not just in guitar playing, but in general. I dunno, it seems to me that I'm at the age where my peers have their domains in life and some are doing pretty interesting things, whether it be in music (people I know in bands and shit) or just in general (people who are artists of other sorts, are politically active, I have one friend who's doing research in Germany with underwater lasers or some shit), and I'm just kind of aimlessly wandering around not really doing anything or working toward anything, and feeling to drained to really pursue any of those things I have an interest in. I can't really remember the last time I was just immersed in something that I really wanted to do. It's just shit I feel like I have to do interspersed with doing pointless shit like shuffling between a few websites I browse because I lack the energy to do anything actually fulfilling.

you're right, it is pretty abstract stuff, and i'm probably doing a poor job conveying my own realizations that have come after long years of search. i don't mean to make myself out to be a master guru of songwriting and guitarplaying, i have just worked at it very long and only recently really started to feel like i'm finding my own voice.

what i mean by the "being your own man" part, is that if you try and write a song, and continuously doubt and second guess yourself, you're destroying your own inspiration. if you take a song and write it and rewrite it dozens of times and still hate it (god knows i've been guilty of this for a loooong time), you are ultimately just obscuring who you really are, by trying to be like music you like from other artists.

the idea is to teach yourself to accept what comes out of you and try to go with it, rather than force it into being everything you ever liked about music. no one song can encapsulate everything about you. just let it be what it is - a picture of you in time. just say what you want to say. hum a melody that comes to mind. fuck around with it. see how it evolves.

when you revisit it much later, i think you'll find many times, that it wasn't nearly as bad as you thought. i'm probably still not very clear but anyway.

and also, just to clarify - i absolutely don't think knowing your shit or being a great guitar player is for wankers. so if that's where your heart's at, go for it.
but keep in mind that so much of what you like about music, is probably mostly very simple chords and songwriting. soma is based on around 5-6 chords.
there's an infinite amount of songs with 3-4 chords in them that come to life and become "three dimensional", because what's around it is beautiful. that's what counts. and that's what i mean when i say you need to find your inspiration. you can write amazing songs with the simplest chords and zero guitar histrionics. ok i'll stop.

Disco King
01-06-2016, 01:52 PM
When I came back from my terrible relationship/kidnapping thing, I got really inspired right away. I had also not been allowed to play guitar for like, 4 years. I found some freedom in it, expressing myself, and I would call it "being my own [person]" - so I do know what teh bolly means. It was all very inspired and whenever someone I know hears it because it comes up or something, they are generally impressed.

But that was after 4+ years of trauma and being unable to express myself at all. It was all the pain but all the wonder at being a free person again. It was finding normalcy, not having to be worried about being assaulted sexually or otherwise. It was finding drugs for the first time, doing stupid young adult things, having a job that paid shit but I liked a lot that I wouldn't be forced to quit arbitrarily just as I was getting comfortable. I think that kind of feeling of freedom and transcendence is really hard to pull off without such an extreme and extended event happening right before it. For example, I had strategies as to how I slept - position of body, of blanket - in an attempt to not draw my bf's attention so he wouldn't come rape me basically. Just being able to lay however I wanted was so amazing! Taking LSD was amazing - being able to have that kind of "control" over my environment, patterns and shit, and really being able to feel it without worrying what would happen in 5 hours or 5 minutes because no one was going to hurt me.

And even though it was so abnormal, I still had just ended a 4+ year relationship which does inspire extreme feelings by itself.

I've never been able to replicate it but I do have those songs to revisit sometimes.

That makes sense. A lot of artists seem to be able to express their personal experiences, especially harrowing ones, through their music in a way that really connects to other people. The things you went through sound awful, and it's really amazing that you could be doing what you're doing now despite it, when many other people in similar situations probably aren't fortunate enough to recover to that extent. Kinda reminds me of how Corgan said "Tonight, Tonight" was sort of a message to himself to believe in himself because of how he persevered despite his abusive childhood.

I've tried in the past to write songs about my personal hangups, but each time, it'd just come off as so trite and cringeworthy, like high school poetry (well, I guess a lot of it literally was high school poetry...), so I'd always scrap it. I guess that has more to do with lyrics than guitar, but I also have a hard time creating lyrics and music that symbiotically work with each other and say the same thing and reinforce each other's meanings, rather than just being arbitrarily paired. If I start with lyrics, it just ends up being bad poetry. If I start with music, I just end up filling it in with nonsense words that rhyme and fit in the bars.

I think that I always just end up feeling that my personal woes or whatever just aren't profound enough to not be cringeworthy to write about, and I just feel like I'm being melodramatic and whining when I try to use that stuff in music. I mean, when I hear about the things you went through, I'm like "I had it pretty easy. How can I whine about my life after that?" One of the most trying experiences I've recently had didn't really inspire me to create art from it. It just drained me to the point that I didn't even pick up my guitar for a long time. Even reflecting on it now doesn't give me any retrospective thoughts on it that I could do something with. I just go "ugh that was so shitty."

I think for a while, I tried giving up the angst thing and trying to write sort of heady psychedelic lyrics. But that's not me, either. I'm not some cool far-out space shaman guy. I'm a textbook square. I mean, I barely even go to parties or drink or anything, most of my time is spent going to school and playing Lego Marvel Super Heroes these days.

you're right, it is pretty abstract stuff, and i'm probably doing a poor job conveying my own realizations that have come after long years of search. i don't mean to make myself out to be a master guru of songwriting and guitarplaying, i have just worked at it very long and only recently really started to feel like i'm finding my own voice.

I don't think you're conveying yourself badly. I just tend to need more clarification when it comes to things that are more intuitive than operational. I've totally dug your posts so far, though.

what i mean by the "being your own man" part, is that if you try and write a song, and continuously doubt and second guess yourself, you're destroying your own inspiration. if you take a song and write it and rewrite it dozens of times and still hate it (god knows i've been guilty of this for a loooong time), you are ultimately just obscuring who you really are, by trying to be like music you like from other artists.

I kind of agree and disagree. On the one hand, I think a good part of what somebody's identity is is their tastes and what they like and dislike. So, if you dislike something you've written, that in itself says something about who you are and how much the thing represents you. It may be that you feel you aren't really expressing yourself.

But I do agree about me probably just trying to ape music from other artists. I don't feel I've found my "voice" yet. It's more like, "hey, I like The Cure, I'm gonna write a song that sounds like The Cure. I also like Slowdive, so I'm gonna write a song that sounds like Slowdive." I haven't gotten to the point where I can just write something that sounds like me. At the same time, though, I wonder if that just comes with the territory of being a beginner. Like, if you listen to the early music of various artists, it seems to be more derivative than their later stuff, when they would grow into their own sounds. Corgan in The Marked sounds like he's trying to do the new wave/gothy/post-punk thing. He even dressed goth in those days. Maybe I just have to write some derivative shit before I write some unique shit.

the idea is to teach yourself to accept what comes out of you and try to go with it, rather than force it into being everything you ever liked about music. no one song can encapsulate everything about you. just let it be what it is - a picture of you in time. just say what you want to say. hum a melody that comes to mind. fuck around with it. see how it evolves.

when you revisit it much later, i think you'll find many times, that it wasn't nearly as bad as you thought. i'm probably still not very clear but anyway.

Yeah, I think one hurdle I need to get over is that I just need to let myself write for the sake of writing, and let myself write things that I'm not in love with so that I can get the practice. I feel like I'm crippled by not wanting to create shit, as if I'm supposed to come out with music on par with the music I admire straight out of the gate, when the music I admire weren't the first-ever songs by their respective artists. I'm pretty much immobilized, which means I can never improve and progress.

Much easier said than done, though. Trying to just power through something I don't have my heart in is like trying to push my head through a lightyear of saltwater taffy.

and also, just to clarify - i absolutely don't think knowing your shit or being a great guitar player is for wankers. so if that's where your heart's at, go for it.
but keep in mind that so much of what you like about music, is probably mostly very simple chords and songwriting. soma is based on around 5-6 chords.
there's an infinite amount of songs with 3-4 chords in them that come to life and become "three dimensional", because what's around it is beautiful. that's what counts. and that's what i mean when i say you need to find your inspiration. you can write amazing songs with the simplest chords and zero guitar histrionics. ok i'll stop.

Yeah, I think I need to find balance. I don't have scales other than the minor pentatonic completely ingrained in muscle memory yet (I have to think about them if I want to play them), so I default to mindless bluesy noodling, and in a lot of cases, it just doesn't express me or the kinds of things I have in my head. So, that seems to be a case where increasing my technical knowledge of scales would increase my ability to express myself.

But in other cases, I could probably create something good out of basic cowboy chords, and I just need to learn to be a better songwriter to make something of it.

redbreegull
01-06-2016, 02:04 PM
what i mean by the "being your own man" part, is that if you try and write a song, and continuously doubt and second guess yourself, you're destroying your own inspiration. if you take a song and write it and rewrite it dozens of times and still hate it (god knows i've been guilty of this for a loooong time), you are ultimately just obscuring who you really are, by trying to be like music you like from other artists.

This is interesting advice. I have heard it said before that while songwriting, usually the first thing that occurs to you is closest to perfection and the more you think about and tweak it, the farther it will move from that inspired place.

But as a writer (like as in pen on paper/hands on keys), all my education and practice says write and then rewrite and rewrite and rewrite and rewrite, and each time you edit you will come closer to something actually meaningful that others might want to read... and in this way, the only question is at what point do you need to let something be done vs. forever keep making it slightly better, because your ideas will never reach a maximum amount of "honing."

redbreegull
01-06-2016, 02:09 PM
but certainly I like the idea of something coming out the best first because it saves a lot of time. I'm not sure what I think. A paragon of my songwriting: five years ago I came up with this simple little arpeggio thing in A as an intro/outro to a song. I felt it had something naturally good about and kicked it around for half a decade, trying to write the rest of it from time to time. Last summer, the chorus part just came to me when I was in the shower. Like just popped into my head. I picked up the guitar and in an hour had written three choruses. I've been working on it a few times a week since, and have been unable to come up with anything for the verses that feels compelling. I know the chorus parts are good now, but I'm seemingly stuck until something else falls into my lap at a random time.

Poots
01-07-2016, 09:40 AM
I think the best thing to do, instead of constantly rewriting and second-guessing yourself, is to just write another song. The first one isn't perfect, but sometimes you can't polish a turd. So just move on and slowly your first drafts will become really good. That's been my experience, at least.

redbreegull
01-07-2016, 04:17 PM
hey teh b0lly, thanks for all the advice btw


do you have any recommendations for getting better at playing with a metronome? I have basically no natural rhythm and I have been aware for a long time that one of my biggest weaknesses is that I can't keep a steady speed when I play and sing. I've tried and tried to play with a metronome but moving focus onto following the sound of the click or the flash of the light actually seems to make the problem worse. Playing with an actual percussionist or a guitarist with better rhythm is not really an issue because I can easily visually follow the beat by following that person's movements. But it almost feels like my brain does not have enough RAM to run the playing guitar and singing programs and the listening/watching a metronome program at the same time.

Elphenor
01-08-2016, 08:36 AM
I feel like playing an accompainment instrument with out other musicians is uninspiring

Learned more in the last month of playing with other musicians than I did in the last 2 years of playing by myself

soniclovenoize
01-08-2016, 12:02 PM
hey teh b0lly, thanks for all the advice btw


do you have any recommendations for getting better at playing with a metronome? I have basically no natural rhythm and I have been aware for a long time that one of my biggest weaknesses is that I can't keep a steady speed when I play and sing. I've tried and tried to play with a metronome but moving focus onto following the sound of the click or the flash of the light actually seems to make the problem worse. Playing with an actual percussionist or a guitarist with better rhythm is not really an issue because I can easily visually follow the beat by following that person's movements. But it almost feels like my brain does not have enough RAM to run the playing guitar and singing programs and the listening/watching a metronome program at the same time.

Are you playing rigidly when you practice to a metronome? I can only speak for myself, but I try to have my entire body feel and be one with the rhythm. I find this much easier with a live drummer, to thrive off the natural rhythmic ambiance being emitted in the room/stage some way... But with a metronome or a drum machine, you have to make up for it by physically moving your body with the tempo and at the very least tapping your toe. You have to be one with the rhythm.

it takes some practice but you can do it... One of my bands, we lost our fucking amazing drummer this summer, and we moved into Drum Machine Land (and now apparently we're thinking about getting an electronic/laptop/programmer person to create synthetic beats & manipulations live--being the rockist I am, I am totally afraid of this, going out of my comfort zone, so it's going to be an adventure I'll be diving into!) and it took a while to get used too. After playing with live musicians for nearly 20 years, it was difficult to play to a drum machine, which was theoretically more accurate and predictable than a human drummer. But I just had to "channel the rhythm" a little bit harder and make more effort for my body to exude the rhythm itself (and to fucking crank the drum machine in the PA!).

Disco King
01-08-2016, 02:54 PM
I feel like playing an accompainment instrument with out other musicians is uninspiring

Learned more in the last month of playing with other musicians than I did in the last 2 years of playing by myself

You're probably correct. Only time I've ever played with other people was when I made a shitty ad hoc talent show band.

Other than that, I've never played with other people, because I always feel like I need to be "better" before I'm worthy of playing with another person, so that I don't have to be embarrassed by how shitty I am.

But if I had just played with other people, I would probably be better today. Kinda sucks that I turned down some requests to jam in the past, and now that I do wanna jam, I don't really have anyone to do it with.

redbreegull
01-08-2016, 04:00 PM
Are you playing rigidly when you practice to a metronome? I can only speak for myself, but I try to have my entire body feel and be one with the rhythm. I find this much easier with a live drummer, to thrive off the natural rhythmic ambiance being emitted in the room/stage some way... But with a metronome or a drum machine, you have to make up for it by physically moving your body with the tempo and at the very least tapping your toe. You have to be one with the rhythm.

thanks for the tips, I am going to redouble my efforts. I've been playing for 12 years and there isn't really an excuse for how bad my rhythm is compared to the rest of my playing which is pretty ok for what I'm into.

You're probably correct. Only time I've ever played with other people was when I made a shitty ad hoc talent show band.

Other than that, I've never played with other people, because I always feel like I need to be "better" before I'm worthy of playing with another person, so that I don't have to be embarrassed by how shitty I am.

But if I had just played with other people, I would probably be better today. Kinda sucks that I turned down some requests to jam in the past, and now that I do wanna jam, I don't really have anyone to do it with.

in my experience, playing with another guitarist is a great way to improve fast if that person is within a certain window of superior skill. Guitar people tend to be annoying show offs, and if someone is too much better than me I have found myself relegated to playing straight open chords while the other person engages in a lot of hot dogging and wankery. But if someone is just a bit better than me, that's a great way to absorb new stuff. Some of the periods of biggest improvement I have gone through have been while I was playing with other guitarists. But I think it also depends on what the other musicians are into. I have a buddy who is not quite as good as me, but we are good enough to play together and keep talking about recording stuff... but he's just totally closed to the kind of music I play and keeps hinting that he wants me to play more like him rather than trying to stake out a musical synthesis, so we don't really play off each other or improve by playing together

Disco King
01-08-2016, 05:58 PM
I would imagine that the musical collaborator would have to be near enough to you in skill that you can learn new things from them without them just leaving you in their dust. Unless they are just very patient and generous, like a teacher.

Yeah, it sucks to work with people who are so particular, they aren't willing to meet halfway. Like, I have specific ideas for some of the music I want to play, so if I were to form a band, I can imagine being a bit precious about some material, but I'd definitely be open to working on material in addition to stuff that I don't have as much control over. Being collaborative would make a musical project more diverse anyway, and prevent it from sounding like one of those bands where all their songs sound the same.

I know there is a guitar/music club at my school that I could probably check out for jam partners and whatnot, but I somehow get the feeling that it's going to be a bunch of guys playing Bruno Mars songs or some shit.

redbreegull
01-08-2016, 07:19 PM
I would imagine that the musical collaborator would have to be near enough to you in skill that you can learn new things from them without them just leaving you in their dust. Unless they are just very patient and generous, like a teacher.

Yeah, it sucks to work with people who are so particular, they aren't willing to meet halfway. Like, I have specific ideas for some of the music I want to play, so if I were to form a band, I can imagine being a bit precious about some material, but I'd definitely be open to working on material in addition to stuff that I don't have as much control over. Being collaborative would make a musical project more diverse anyway, and prevent it from sounding like one of those bands where all their songs sound the same.

I know there is a guitar/music club at my school that I could probably check out for jam partners and whatnot, but I somehow get the feeling that it's going to be a bunch of guys playing Bruno Mars songs or some shit.

When I was like 15 and 16 I spent two summers hanging with my cousin who was a lot better than me, but really enjoyed teaching me all the shit he knew how to do. I learned so many things from him. But yeah, it can be hard if there is some expectation of a formal let's jam environment but you are significantly less skilled than the other people.

I played with 28if for many years regularly as well and he was a lot better than me for a long time, but he stopped practicing and learning new stuff and eventually I surpassed him and now have far surpassed him. So I guess that's a good lesson on the virtues of regular practice and learning new things outside your comfort zone.

And yeah these days I have no idea where to find people to play with. A guy I went to high school with saw a video of me playing on FB and asked me to jam with him. Said he had a bunch of blues songs written and was looking for someone to start something with. Honestly I just felt too weird about seeing this guy I haven't seen in 8 years and then jamming with him. I have too much social and performance anxiety, which I guess is why I have never been in a serious band after high school.

teh b0lly!!1
01-08-2016, 10:14 PM
hey teh b0lly, thanks for all the advice btw


do you have any recommendations for getting better at playing with a metronome? I have basically no natural rhythm and I have been aware for a long time that one of my biggest weaknesses is that I can't keep a steady speed when I play and sing. I've tried and tried to play with a metronome but moving focus onto following the sound of the click or the flash of the light actually seems to make the problem worse. Playing with an actual percussionist or a guitarist with better rhythm is not really an issue because I can easily visually follow the beat by following that person's movements. But it almost feels like my brain does not have enough RAM to run the playing guitar and singing programs and the listening/watching a metronome program at the same time.

sure, no problem man.

my recommendation would definitely be:
1. to practice playing along to other music either with an acoustic, or with an unplugged electric (or, just play completely dry. no delay, no verb, no nothin' to mask inaccuracy). try to get used to listening and following the "band", and the drums, and to your own playing simultaneously.

2. record yourself playing to a metronome, or a backing track, whatever, and listen closely. i needed to develop an ear for it - your notes need to sound as if the drum, or the click, punches through them, if that makes sense.
like your note is getting "wrapped around" the kick or snare.

crabshack
01-08-2016, 11:55 PM
For example, I had strategies as to how I slept - position of body, of blanket - in an attempt to not draw my bf's attention so he wouldn't come rape me basically.

Solid guitar playing and gear advice.

The exploding boy
01-10-2016, 05:07 PM
I
Yeah, it sucks to work with people who are so particular, they aren't willing to meet halfway. Like, I have specific ideas for some of the music I want to play, so if I were to form a band, I can imagine being a bit precious about some material, but I'd definitely be open to working on material in addition to stuff that I don't have as much control over. Being collaborative would make a musical project more diverse anyway, and prevent it from sounding like one of those bands where all their songs sound the same.
t.

that is me. not metting halfway. Unwilling to compromise. Also, to try to get better at playing guitar.

Anyway, lack of technical skill should never prevent anyone from writing music.



Also all my tunes sound the same.

Disco King
01-11-2016, 02:41 AM
I guess there are things I wouldn't do. Like, I'd be pretty unwilling to play pop-punk or kinda jokey novelty stuff or something. And if I wrote something with a particular vision, I'd be hesitant to accept ideas that take it in a different direction.

But, like, I'd play stuff that I don't typically play or listen to if another band member wanted, or play songs they've written that are outside my immediate interests, if it were the sort of thing I can respect without necessarily being super interested in. Like, I don't listen to ska, but if a hypothetical bandmate wrote a good song with ska influence, I don't think I'd be unwilling to play it.

I also think I gotta stop letting my lack of skill prevent me from writing music. I always go like, "my songs will suck anyway, so may as well get better first," but that's dumb because songwriting is valuable practice in itself. I'm gonna try to write more. I was in the middle of writing a song yesterday. It's not a song I'm totally in love with, and it's a little derivative of another musician's stuff, but I'm going to try to finish it and record it anyway, or else it'll be another song I'll never finish.

The half-finished songs I have so far don't have the problem of sounding the same, but that doesn't mean much when I have so few of them. But so far, out of my favorite ideas that I actually intend to finish eventually, it kind of ranges from shoegaze to riffy/doomy rock to psychedelic rock. I wanna write more quiet acoustic songs, but that requires actual songwriting, like good vocal melodies and lyrics that work with progressions, instead of just rock riffs that you can just sort of mindlessly throw around.

teh b0lly!!1
01-11-2016, 06:44 AM
yeah i find myself more and more into folk/acoustic music as the years go by tbh

many people would say it's boring but i say fuck them

teh b0lly!!1
01-11-2016, 06:45 AM
i want to take this opportunity to mention how much i hate people whose reponse to quiet music is
I'M LUVIN' THIS SOOOOO RELAXING I LOVE HOW YOU CAN CHILL TO THIS MUSIC

Elphenor
01-11-2016, 11:01 AM
Just to throw out my general advice on getting better

What you do with your strumming hand is about as important as learning exotic scales and with your fretting hand you can get a ton of mileage out of bending strings

You can play a guitar solo with 2 notes really

redbreegull
01-11-2016, 02:52 PM
I guess there are things I wouldn't do. Like, I'd be pretty unwilling to play pop-punk or kinda jokey novelty stuff or something. And if I wrote something with a particular vision, I'd be hesitant to accept ideas that take it in a different direction.

But, like, I'd play stuff that I don't typically play or listen to if another band member wanted, or play songs they've written that are outside my immediate interests, if it were the sort of thing I can respect without necessarily being super interested in. Like, I don't listen to ska, but if a hypothetical bandmate wrote a good song with ska influence, I don't think I'd be unwilling to play it.

I would attempt to play pretty much anything at least for the practice, and it can never hurt to play something you wouldn't have challenged yourself to play without other people. My bud is really into kind of stripped down lo fi punky stuff I guess. Not exactly sure what to call it. he likes a lot of things that I credit as an evolution of post-punk but he doesn't really get classic rock and isn't interested in anything older than the 2000s. He loves Tokyo Police Club, the Strokes, that kind of stuff. Very up down rhythm and bang bang bang drums. I like this kind of music too but my playing style leans towards folk/americana/classic rock/neil young and to him that's just like fucking country music.

yeah i find myself more and more into folk/acoustic music as the years go by tbh

many people would say it's boring but i say fuck them

as you should!

Just to throw out my general advice on getting better

What you do with your strumming hand is about as important as learning exotic scales and with your fretting hand you can get a ton of mileage out of bending strings

You can play a guitar solo with 2 notes really

the guitar solo in cinnamon girl is one note

Disco King
01-11-2016, 02:56 PM
yeah i find myself more and more into folk/acoustic music as the years go by tbh

many people would say it's boring but i say fuck them

When I wanna get in songwriting mode, sometimes I'll spin a folk or slowcore album, or maybe something like the "Tonight, Tonight" EP.

Just to throw out my general advice on getting better

What you do with your strumming hand is about as important as learning exotic scales and with your fretting hand you can get a ton of mileage out of bending strings

You can play a guitar solo with 2 notes really

I was once looking at this online exercise that tried to get you to learn to create good solos by going as basic as seeing what you can do with a two-note solo or even a one note solo where you play with rhythm. I'll link it later if I can find it.

I haven't practiced my right hand chops nearly as much as theory and left hand stuff. Haven't done a lot of sweep picking. Artificial harmonics (I think those are the strumming-hand ones) are easy to just do, but integrating them smoothly into actual music is hard (hard to move the position of the pick in your fingers fluidly). I can't really fingerpick, either.

redbreegull
01-11-2016, 03:09 PM
I think sometimes you can get so used to the way you yourself sound when you play that you become cynical or jaded about it, but it doesn't necessarily sound boring or rehashed to others. Unfortunately I am very affected by the input of others, but I find that if you can find people who like to listen to you play, even casually, it can help you get out of your own head and appreciate your own playing again.

My style is generally just open chords (although I like songs with lots of chords) and I do a lot of hammer ons, pull offs, and little variations within chord progressions to create melodies within the rhythm if you know what I mean. It's very country folk I guess and pretty simple, and can easily start to sound to me like something no one would want to hear. So for me, playing only in my room by myself with no one around to give me feedback is like my biggest enemy

Fingerpicking can get really complicated, but you only need to know the basics to make it sound good (like many aspects of the guitar I guess). I only use my thumb and first two fingers which is like totally bad form or whatever, but it's good enough to play any SP song with fingerpicking for example.

teh b0lly!!1
01-11-2016, 05:08 PM
i love fingerpicking.

i'm one of those guys with really long fingernails on my right hand and zero fingernails on my left hand. it sounds too good to give up on though. much better than nail-less fingers or any pick. nick drake mothafuckaaa.

redbreegull, while not incorporating your third finger is perhaps not preferable, you can still make plenty of it. i just found some acoustic bluesy folk singer i love who plays like that and his fingerpicking is decent that way.

redbreegull
01-11-2016, 06:37 PM
i want to take this opportunity to mention how much i hate people whose reponse to quiet music is
I'M LUVIN' THIS SOOOOO RELAXING I LOVE HOW YOU CAN CHILL TO THIS MUSIC

somehow I missed this before but I endorse this post 1000%.

Elphenor
01-12-2016, 12:37 PM
but also that folky guy who learns to play guitar just well enough to impress people around campfires is super obnoxious and you said something about doing that itt

redbreegull
01-12-2016, 05:04 PM
but also that folky guy who learns to play guitar just well enough to impress people around campfires is super obnoxious and you said something about doing that itt

well I've been playing for 12 years so I know a bit more than G D and C if that's what you mean... I'm no virtuoso, but I can play the guitar. But yeah, my "artistic identity" is voice and guitar together. I don't really do one without the other. I'm not too interested in playing something I can't sing along with, because I want what I do to be interesting and compelling by itself, and just hearing a guitar playing doesn't do that for most people, or for me generally. anyone who is self-satisfied enough to just totally play in isolation and appreciate playing guitar just for themselves, that's awesome and I envy that, but to me sharing is the most rewarding part. and I don't want to toot my own horn, but vocal-wise it's not very often that I cross other singer/guitar people who I truly think are better singers.

so in a way yeah I am the guy with the guitar at the campfire, but not quite in the pejorative way you mean, at least that's not how I see myself. I think that people generally enjoy when I play. Honestly though, I think the omg that guy just took out a guitar what a fucking douche I hate him thing is mostly the "guitarist's gaze," which is another reason I have trouble with other musicians. So many guitarists have this nasty competitive streak... probably anyone who has a guitar and has played long enough knows "that look" that another musician gives you when you take your shit out of the case. I don't truck with that shit cause I have zero interest in competing with anyone else's skills and I am not impressed by technical accuracy.

teh b0lly!!1
01-12-2016, 08:18 PM
just hollarin' that i agree with elph that obnoxious guitar dudes at campfires are obnoxious. it's usually the ones who think they're hot shit though, even though they suck balls.
also, redbreegull i think you just coined "guitarist's gaze"!
it's probably what i hate most about the guitar - that so many of its users are snobbish, competitive know it all's, who ironically are usually not even good musicians (even if they can "shred" or play run of the mill blues licks or whatever).

teh b0lly!!1
01-12-2016, 08:18 PM
i'm getting a "post ur musics" vibe in this thread can you guys feel it

redbreegull
01-13-2016, 03:48 PM
just hollarin' that i agree with elph that obnoxious guitar dudes at campfires are obnoxious. it's usually the ones who think they're hot shit though, even though they suck balls.
also, redbreegull i think you just coined "guitarist's gaze"!
it's probably what i hate most about the guitar - that so many of its users are snobbish, competitive know it all's, who ironically are usually not even good musicians (even if they can "shred" or play run of the mill blues licks or whatever).

yeah the guitarist's gaze is real. I've met guitarists who claim to not know what I am talking about, but I suspect it's because they are the ones most guilty of looking on other players with scorn out of some misguided sense of competition. I think it's much nicer to play to people who just like music than to other musicians. There's way too much snobbery in terms of technique and the kind of music one plays, and guitar people tend to be such obnoxious "one-uppers"... guitar people are like an old boy's club as well. I have an ex who plays and she is pretty good, and we played together a lot as a duo when we were dating. When other musicians talked to us, they almost always addressed me directly and basically ignored her presence, and when it happens over and over and over it becomes pretty obvious that it is because she is a woman. By virtue of my sexual organs, most of these assholes saw me as the musician and her as a prop, the girl who is in the band as scenery, even though she was just as good as me. All this kind of bullshit just really puts me off of wanting to deal with other musicians. I would like to be in a band again but I guess I want to have my cake and eat it too.

Elphenor
01-13-2016, 04:46 PM
Nah it's like when I started and was bad I wanted to show off this new thing I learned

But now I play in a group and don't need to break the thing out on my friends, I don't even mention being a musician

Elphenor
01-13-2016, 04:56 PM
Plus almost none of the music I like anymore features guitar that would sound good by itself

Abstract noises and funk chords

Unless you're goddamn Dylan Idk that I can dig acoustic

Hold on guys let me play this Pere Ubu song acoustically gonna impress the ladies lol

redbreegull
01-13-2016, 07:31 PM
Unless you're goddamn Dylan Idk that I can dig acoustic


nah man there are few things on Earth more perfect than a good musician with an acoustic guitar and some songs to sing. The acoustic guitar is beautiful because in its simplicity, it needs nothing else to sound perfect. It doesn't need an amp and a speaker and a never-ending chain of expensive effects. I love me some good electric guitar, but especially if you mostly play without other musicians, I feel that all that stuff becomes more limiting.

My attitude towards covers is usually that it's not compelling to me unless I can add something or do something different than how the song was originally recorded, so I play plenty of songs that were full band or heavier as recorded by the artists... the challenge is in making it sound good with only one instrument. part of what I am most interested in is getting the guitar to emulate more parts of the band than just a guitar playing open chords. Changes to strumming that evoke the drums in a song, or inflections and harmonic changes within chords that create an internal melody like an orchestral part or a second guitar... that's my shit.

Elphenor
01-13-2016, 08:11 PM
Elliot Smith was pretty cool too

redbreegull
01-13-2016, 08:17 PM
yeah I love him, and he's a great example of just how much you can do with just a voice and a guitar. ironically, I prefer his lusher full band stuff though

crabshack
01-13-2016, 08:31 PM
Hold on guys let me play this Pere Ubu song acoustically gonna impress the ladies lol

A real guitar player could transcribe any song from any genre and format it to an acoustic guiar. Like those guys that turn rap songs into folk songs. All songs have notes.

Elphenor
01-13-2016, 08:36 PM
duh?

It wouldn't even be hard to play it acoustic, where there are actually notes, it would just be pointless

Yeah let me just play this on acoustic:

<iframe width="560" height="315" src="https://www.youtube.com/embed/5KJmND2j8CU" frameborder="0" allowfullscreen></iframe>

crabshack
01-13-2016, 08:39 PM
Why would it be pointless? Any song can be stripped down to its chord or root notes with vocal applied. What's stopping you?

crabshack
01-13-2016, 08:41 PM
I just youtubed some Pere Ubu and these songs are very rhythmic. Very much inclined for an acoustic guitar which is a kind of a rhythmic instrument.

Elphenor
01-13-2016, 08:46 PM
All songs have notes.

lol so you think

Elphenor
01-13-2016, 08:48 PM
Why would it be pointless? Any song can be stripped down to its chord or root notes with vocal applied. What's stopping you?

common sense?

crabshack
01-13-2016, 08:50 PM
lol so you think



Drums are tuned. If you mash down on all the notes on a keyboard - a note is formed. Even a badly played guitar chord has a scale that it falls in to.

Are you being serious?

crabshack
01-13-2016, 08:52 PM
Don't blame your inability around a musical instrument stop you from thinking that any song could not be played around a campfire.

Unless we're talking about abstract noise or something which you're not.

Elphenor
01-13-2016, 08:59 PM
<iframe width="420" height="315" src="https://www.youtube.com/embed/gTljpH7cfW8" frameborder="0" allowfullscreen></iframe>

Elphenor
01-13-2016, 08:59 PM
It's not a question of whether it can be done like I said

It's a question of why the fuck would you

The Omega Concern
01-13-2016, 09:15 PM
yeah I love him, and he's a great example of just how much you can do with just a voice and a guitar. ironically, I prefer his lusher full band stuff though



I'd like to find a song to cover and do it as well as this guy did with his choice:



<iframe width="640" height="360" src="https://www.youtube.com/embed/c745E7T_Wvg" frameborder="0" allowfullscreen></iframe>

crabshack
01-13-2016, 09:16 PM
<iframe width="420" height="315" src="https://www.youtube.com/embed/gTljpH7cfW8" frameborder="0" allowfullscreen></iframe>

You could transcribe the two synth notes in this song and do an acoustic song of it. It might be boring if you're not a great guitar player, but it could be done. Many amazing folk songs only feature two chords.

crabshack
01-13-2016, 09:18 PM
It wouldn't even be hard to play it acoustic, where there are actually notes, it would just be pointless


This is where being a proficient or knowledgeable guitar player comes in to play. You can transcribe individual notes or melodies into chord progressions. If you're any good.