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Old 04-19-2016, 08:50 AM   #391
Elphenor
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This is serious stuff guys!

 
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Old 04-19-2016, 07:28 PM   #392
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This will just be his weird quirk that people remember him for when he becomes a famous musician. Like how Jimi Hendrix played his instrument upside down because he used a right-handed guitar when he was left-handed. Or how Sonic Youth uses fucked up alternate tunings.

People will be like, "that Elph guy, I want to only use notes above the 12th fret on the G, B, and high E strings to get that distinct Elphenor & the (Ironically-Named) Endorphins sound."

 
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Old 04-19-2016, 07:31 PM   #393
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Originally Posted by soniclovenoize View Post

Gonna use it for mixing, sweeten mixes up with it.
will definitely hit you up again

 
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Old 04-19-2016, 07:32 PM   #394
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There isn't too much there's just enough after all that

Theres a very punk line from D. Boon from Minutemen where he describes the reason for dropping all the bass from his guitar tone

"we thought it was important that each instrument be its own sovereign nation"

Additionally basically anywhere where you'd usually see a power chord played with the low E string in a punk song, D. Boon instead plays a funk chord where you barre the 3 thinnest strings on the same fret

 
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Old 04-19-2016, 07:35 PM   #395
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He was also a guy from California who was obsessed with British post punk and started wearing white dress shirts in imitation

 
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Old 04-19-2016, 07:38 PM   #396
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elph have you heard protomartyr from detroit?


 
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Old 04-19-2016, 07:41 PM   #397
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Anything but Metal

 
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Old 04-19-2016, 08:07 PM   #398
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elph have you heard protomartyr from detroit?

Their vocalist is meh, I feel like he doesn't add much, but I like them

 
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Old 04-19-2016, 08:16 PM   #399
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Their vocalist is meh, I feel like he doesn't add much, but I like them
its his group. he's 10+ years older than everone else

 
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Old 04-19-2016, 08:18 PM   #400
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Quote:
Their vocalist is meh, I feel like he doesn't add much, but I like them
but... but... he's wearing sunglasses in a darkened room!

 
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Old 04-19-2016, 08:27 PM   #401
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*shrugs*

As a vocalist I don't like him, I don't dislike him either.

If he's responsible for the sound outside of the vocals the Im obviously wrong here

 
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Old 04-19-2016, 08:29 PM   #402
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no worries - was just curious waht you might think. i just heard about them and they're apparenltly a hot shit modern post-punk outfiit

 
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Old 04-19-2016, 08:40 PM   #403
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They are checking all the boxes that's for sure

 
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Old 04-20-2016, 09:35 AM   #404
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I bought one of these many many years ago when I was using a Tascam 4 track cassette recorder. It really took the natural dull recordings and made them brighter and more alive. It also had the Big Bottom button, which I always had on for Spinal Tap reasons.

I read that it actually delays certain frequencies by microseconds so they all don't reach your ear at the same time and it sounds clearer. It doesn't actually boost or cut anything, from what I remember. A great unit for the cassette thing, not really sure how well it would work on digital recordings.
Intradesting.

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will definitely hit you up again

 
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Old 04-22-2016, 08:17 PM   #405
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Finally picked up an EHX Pitch Fork. Loving the shit out of this. Much needed in my chain. I loop and stack a lot so this is an amazing way to cut through my own bullshit and add higher (or in some cases lower) frequencies.

It's basically a harmonizer, pitch shifter, and whammy all in one nano pedal. I like it because it not only lets me go up to 3 octaves up or down but it also does 5ths. The tracking is the best in the game.

Replaces my envelope filter and is a wonderful add-on to the C9 organ machine. Can also do chorus effects.


 
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Old 04-22-2016, 10:18 PM   #406
teh b0lly!!1
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sounds great.

it can be kind of tacky but it all depends on how you use it, i guess. i really dig how it can make a guitar sound like pedal steel - that gliding effect attracts me the most. the muff combination sounds great too.

 
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Old 04-22-2016, 10:53 PM   #407
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Set it to two octaves up

Tune to F#

Remove A, E, and D strongs

Capo on 12th fret

Treble all the way up, bass all the way down

You're in bat country now. The sounds you play will be within the same frequency range as the clicks used in echolocation.

 
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Old 04-23-2016, 06:40 AM   #408
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Pretty punk

 
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Old 04-23-2016, 06:42 AM   #409
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I'm afraid to tune up though because I don't want the strings to pop and hit me in the face.

When I was 11 that happened to me and I didn't touch a guitar again until I was 18

 
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Old 04-23-2016, 08:14 AM   #410
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I once had a shitty acoustic guitar that I couldn't even tune up to standard tuning without the strings breaking. I don't know enough about the mechanics of guitars to know exactly what was wrong with it that was causing that, or if it was fixable. I eventually just got a new one.

Even then, I've never used a tuning higher than standard before, and I don't even know if that's a common thing. I mean, whereas tuning a step or two lower gives you access to lower notes you wouldn't otherwise have at the lower frets, tuning higher would only give you higher notes you normally wouldn't have at the highest frets that people don't tend to use much unless they are soloing.

But I guess it might just be more of a psychological thing. If you are used to defaulting to some particular frets when coming up with musical ideas, then everything you write will be higher if you tune up, I suppose.

I pretty much just use tunings from C#-E. Sometimes drop tunings, but rarely.

Also, that Pitchfork pedal looks pretty awesome. I was thinking of getting one, but I'm thinking that a Whammy might suit my purposes better (I think I already discussed this in this thread). But the Pitchfork's smaller footprint would be a great space saver, too.

 
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Old 04-23-2016, 10:46 AM   #411
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Here recorded this just now

Chorus on the chord picking guitar and just reverb on the scale playing guitar


 
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Old 04-23-2016, 06:14 PM   #412
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Nice job!

You are already better at chord picking than I am, I'm really sloppy at it.

There are a few "wrong" notes in the lead I feel like (that's what it feels like to me, but maybe I'm wrong), and it doesn't seem that tightly synced with the rhythm, it sounds a little randomly thrown on. I have the same problem with making leads and chords meld. Counting and really listening to what you're playing over instead of getting too focused on what you're playing is a big part of fixing that.

I think a good way to make leads sound like they have more purpose and direction is to make a couple licks that you will repeat, and place them in key places. Then link them with the other noodly stuff in between that anticipate them. Construct the leads around the licks. Almost like leads and solos are mini "songs" with song-like structures that ******* repetition and patterns (though don't take this too literally; don't make the solo literally have a verse-chorus-verse-like structure [although I mean you could it's not like it would be inherently awful but I'm not saying you need to do that]).

Somebody else probably has better advice than this.

But good stuff!

 
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Old 04-23-2016, 06:50 PM   #413
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Yeah it was just one take for the lead improvising, I really ought to be playing to a metronome when I'm recording over myself like that

 
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Old 04-23-2016, 07:11 PM   #414
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Oh, I see. Yeah, it's always a good idea to just do a random improvisation over the rhythm, play it back, and keep the parts you like for the refined lead part.

 
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Old 04-23-2016, 09:32 PM   #415
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Originally Posted by Disco King View Post
Nice job!

You are already better at chord picking than I am, I'm really sloppy at it.

There are a few "wrong" notes in the lead I feel like (that's what it feels like to me, but maybe I'm wrong), and it doesn't seem that tightly synced with the rhythm, it sounds a little randomly thrown on. I have the same problem with making leads and chords meld. Counting and really listening to what you're playing over instead of getting too focused on what you're playing is a big part of fixing that.

I think a good way to make leads sound like they have more purpose and direction is to make a couple licks that you will repeat, and place them in key places. Then link them with the other noodly stuff in between that anticipate them. Construct the leads around the licks. Almost like leads and solos are mini "songs" with song-like structures that ******* repetition and patterns (though don't take this too literally; don't make the solo literally have a verse-chorus-verse-like structure [although I mean you could it's not like it would be inherently awful but I'm not saying you need to do that]).

Somebody else probably has better advice than this.

But good stuff!
horrible advice

 
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Old 04-23-2016, 11:12 PM   #416
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emotions or gtfo

 
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Old 04-23-2016, 11:31 PM   #417
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Originally Posted by Poots View Post
Great job! Once piece of advise though. If you want your solos and guitar parts to sound spontaneous and off-the-cuff, then practice them over and over in that way until you have it down.
You don't have to write down your solo note-for-note. Keeping musical ideas you like and using them as "anchor points" between more improvisational noodling doesn't sound like a bad idea to me. Especially if those anchor points are kind of like punctuation, like the parts where you want the solo to kind of transition moods.

I mean, how many solos on records you like are probably first-take random improvisations? Like okay sometimes you strike gold the first time ("The Aeroplane Flies High"), but you don't think musicians ever take their initial raw material and refine it?

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emotions or gtfo
I revise my advice. To make your solos tighter, work on your feels. Incorporate fifteen minutes of practicing feeling things into your practice schedule. It helps to get a friend to spot you so that he or she can tell you if you're feeling them right.

 
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Old 04-23-2016, 11:41 PM   #418
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"A student once asked a wise old (blind) legendary jazz musician how to improve her modal playing.

The teacher turned to the student, gave a wry smile, and said, 'A baby fish turned to the papa fish and asked, "Daddy, what's water?" The papa fish turned around and said, "If you've got to ask, you'll never know!"'

The student asked for her money back, but the master said 'final sale.'

And that student's name? JIMI HENDRIX."

 
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Old 04-23-2016, 11:44 PM   #419
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But seriously somebody offer some real advice because I was talking out of my ass and now I actually want to know


 
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Old 04-23-2016, 11:56 PM   #420
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just play in time and use notes that don't sound like shit


 
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