Quote by eGraham
It has the potential to, if not cleaned properly. But you can say that about any part of the body.

Some will argue that foreskin just adds an all together unnecessary health risk, but.. well, that is the argument lol.

There are theories that being circumcised helps against infections, but it's still debated. Either way it's not a huge deal, just wash your junk!
Quote by macashmack
There's this girl that's really cute, but she doesn't like my "manly" ways. She says that she likes nerdy guys. How do I get her to like me?

This is serious. She is so adorable I need to protect her from tigers and bears.

Walk up to her and begin to ask her out, but then in the middle of it start stuttering and sweating and quickly shuffle away. She'll swoon for sure.
Quote by yoman297
nearest one is an hour away... guess I gotta grow a pair and actually ask my parents to take me there

Yep. Chances are it's not something terrible, but it sounds unpleasant and they can probably give you something that'll help get rid of it.
Quote by yoman297
...well shit. This may be the most embarrassing moment ever living with my parents

Go to some youth clinic and get it checked out.
I too watched monkeys on the stream. I saw them in Sweden a week early but I have to see the Glaston set was pretty epic.

So many bands were there that I would have loved to have seen. Then again there were so many schedule conflicts that not going probably saved me some heartbreak. Oh well.
Quote by boreamor
A band people should look up: Half Moon Run, they were amazing for such an unknown band.

Man, yes. Full Circle is amazing. And the rest of the debut.
I appreciate the positive reinforcement.

Here's another quick take of a song with clearer vocals:
Hey guys. I've never really sung before but I want to start recording some of my songs with my own vocals, so I figured I should give it a try.

Here's me singing part of The Gardener by The Tallest Man on Earth.

Any advice or opinions?

From my experience, if you just jump into bed with anyone you can find it'll leave you feeling empty and missing your ex. That said, if you can find a girl who you actually think is cool and attractive and you get a chance to casually hook up with her, it can definitely help. It shows you that there are other good things out there waiting.
Quote by Neo Evil11
I hate those guys. I mean, if multiple girls say no, it's no man. Gtfo

Hitting on a girl in a club isn't the same as harassing her. Make eye-contact, exchange a smile, chat a little, maybe dance a bit (not grinding). If she seems interested, go for it, otherwise move on. I doubt you'll get thrown out for talking to girls unless you're being disrespectful.

People hate on clubs and I think it's mostly unwarranted. Sure angry bouncers can be a pain and drinks are expensive but I like dancing to good EDM with my friends and I like making out with random cute girls.

EDIT: Guess this has been said a few times. Oh well.
Quote by T00DEEPBLUE

I am sorry about your friend. Long distance relationships are very, very difficult ones. Is it at all possible that you can meet her again at any point? If you're willing to make it stick around, set up arrangements to meet up again. It is important to talk to her about how the distance affects the relationship though. I know that is a very difficult thing to talk about, but it needs to be done.

Well, if we were actually in a relationship that'd be one thing. But 3 weeks isn't that long and it was mostly a summer fling, not very serious. I live in Stockholm so chances are she'll be around sooner or later, but she's not exactly moving here.

I'll get over it, I just feel like it could have been something great had things been different, you know. It's a shitty feeling.
As usual I feel bad posting here because most people's problems are so much worse than mine, but whatever. Every time I meet someone I like something gets in the way or it goes to hell for one reason or another. I finally met another girl I really really clicked with after my last attempt a few months ago. We spent pretty much every moment of the last 3 weeks together.

Too bad she's no longer around and lives 700km away. What the hell, life.
Quote by jrcsgtpeppers
So how do you cancel out all the amazing emotional feelings an physical feeling during sex? Seems to be the only logical way not to cum. Since not cumming is completely counter productive and counter reproductive to the entire evolutionary cycle. I would still cum even if I not my finger off. It still feels great down there. I could pierce my dick with a needle over and over again and that wouldn't stop my gfs vagina from making my dick wana cum. Not only is it physically impossible due to physical reasons hearing my gf moan and grab me makes it even harder, no pun intended

So WTH Do I do when doing to keep the doing going?

Vary your tempo. Go fast for a while, and if you feel you're getting too close slow down. Alternatively swap to another position/angle to get a change of pace.

Depending on how regularly you're having sex try to make sure you've cum (ie masturbated) in a reasonable timeframe prior. Try what works for you, maybe the day before, maybe the same day.

Alternatively just finish, take a break (Go down on her or just cuddle or whatever) and then go again. That'll usually give you all the time you need. If it's an option she can always start you off with a "full" blowjob and then take it from there.

Some people would tell you to think about something else, but I think that's pretty silly. If you're having sex with a girl you want to give her all your attention, right?

EDIT: Adding to this, in my (albeit limited) experience guys put too much effort into lasting long. Sure, you don't want to blow it in 30 seconds, but most girls probably aren't looking for a 2 hour sex marathon, and more importantly sex that lasts long doesn't necessarily imply good sex. Just make sure you go long enough to make it a nice experience for everyone involved. If you do blow it too early tell her it's because you find her so attractive. And then learn to get her off with other parts of your body.
Didn't intend to start a heated debate but I guess it can't hurt.

I got myself a copy of the Slate pack, and I'm looking at getting a cheap electronic kit to learn a bit. Figure it's worth the investment. Also talking to a drummer friend who's gonna help me get into all of this and give some insight.

Thanks guys!
I've recently set up some starter recording equipment and have started to write and record songs. They're pretty simple pop/rock songs and I record the guitar, bass and vocals through mics and ampsims.

What I'm missing is drums. I've never owned a kit, I don't play drums and frankly I know very little about them.

Like I said the music I'm working with right now is pretty basic so all I want to do is create some simple but satisfactory MIDI drumtracks. Where should I start? What are some good programs or VSTs for my DAW? How do I learn the basics of drumming without every touching actual drums?

Should I just go with prebuilt loops, in which case where is the go to place for those?

I've considered buying a midi drumkit and just learning but I don't really have room or the money, right now anyway. I would like to get started in the meantime.

The drums in this song is a good approximate of the style I'd like to imitiate:


Really digging this right now. Girl quartet doing post punk.
Recent purchases:

This Sweater:

This Jacket:

This sweater:

Good stuff. I probably need to reduce my spending tho.
Quote by Demon Wolf
Yeah Stockhooolmmmmm

Cool, well I'm gonna listen to Darkness on the edge of town and be happy.

I'll take em if you insist.
Quote by tiky
I think that David Gilmour was the one who said that he would love to had never listened (and also made) Dark Side of the Moon to see what his experience by listening the album would be.

If i could choose only once the experience of listening again for the very first time an album would be (today, not tomorrow) is "Abbey Road" album of The beatles, I still remember when i listened for the first time (an uncle, who was a musician, gave me a pirated copy of it as a present, and made me listen to it with his audiophones, my mind was blown out and i was probably arround 10).

By this thread we could discover albums that had blown people minds that we haven't still listened and we can share our experiences!

Pd1: Can someone confirm that the inicial phrase was said by David Gilmour? I can't find the exact words on the net by hum
Pd2:So, I normally don't do threads on the pit, but i think this could be fun

I've never given Beatles that much of my time but I'm currently spinning Abbey Road all the way through for the first time. Expecting good results.

OT: OK Computer. Now that was an experience.

Quote by JohnnyGenzale
Velvet Underground & Nico

And that.

EDIT: I Want You (She's So Heavy) is sweet, haven't heard it in so long.
Quote by GypsyJen
ok, so I obviously have an opposite ( and very strong) opinion than the majority here... so here are a couple of links to a well known song the first is the mainstream version of the song, the second is a transposed verion in a MINOR key. If you can honestly say that after listening to both of these that they dont make you feel something very different then I would say you need a hearing aid. The first is in the key of F, the second is in the key of F minor ( i believe)

This isn't what the thread is about. It's about wether there's a noticeable difference when transposing to a different key. For instance, raising a song from G Major to G# Major. Minor and major keys have different sounds, no one's debating that.
Quote by ChemicalFire
The saffire 6 is the 2i4 which a different design and USB 2 support. The 2i4 is the Saffire's replacement.

If you want to mic things than you'll definitely want one of the Focusrite's. A/D conversion blows the fastcrap *ahem* fasttrack out of the water.

They're really not great. If you have no choice they're fine, but not compared the the saffire/2i4

Well this is turning into a difficult decision. Thing is they guy's also selling some great speakers and mics at great prices, but he'll only get rid of it as a package.

I'll think about it, appreciate the advice!
Quote by ChemicalFire
Hold up against?

It doesn't.

Is it really that bad? They're the same price and I'm getting the C400 a lot cheaper so I figured it was worth considering. What am I losing out on?

Would you pick a Saffire 6 over the c400 too?

I don't really care about amp simulation or anything, I just want to get my vocals, my mic'd amps and my midi keyboard into my DAW.
Gonna steal this thread since I'm in kind of a hurry.

How does the M-Audio Fast Track C400 hold up against the 2i4? I can get it used at a low price but I don't want to buy something that's not right for me.

Any experiences? All I really need to record (for now) are miced amps and a midi keyboard.
I have a shot at buying a AVID Fast Track C400 pretty cheap.

How does it compare to the stuff in the OP, specifically the saffire 6?
Quote by MaggaraMarine
I like their playing too but they are not that accurate when they play fast. They are good. But by sloppy I mean not accurate and also listen to Heartbreaker solo. When Jimmy plays the solo, you can hear that his hands are out of synch (I'm not sure if he does that on purpose though) so some notes get muted and it doesn't sound clean. Yeah, playing sloppy means not playing cleanly and accurately (and by clean I don't mean through clean channel, I mean the sound is clear). Most are sloppy only at high speeds.

Listen to Led Zeppelin 1979 Knebworth concert. That's definitely not Page's best moment (though back then he had problems with heroin) even though I like the concert.

And having a sloppy technique doesn't mean that you always play sloppily. They only played sloppily when they played fast. Also Jimi Hendrix is always out of tune. Though it's kind of part of his sound. And it's kind of understandable because of his heavy whammy bar use. It doesn't sound like Jimi Hendrix if it's not a bit out of tune.

Don't get me wrong, I think they are great guitarists. But lacking technique is always lacking technique. But IMO they are good enough guitarists to play the music they want to play.

Adding to this though, all that matters is the end result obviously. I love the heartbreaker solo and I think the imperfections add a lot to it, and the same goes for a lot of Page's stuff. So it all comes down to preference and style.
Quote by mdc
Yeah s'all 'bout the brand name buddy.

I don't understand why people become obsessed with modes at a certain point in their musical development, cuz I never did.

Basically it's because most of the internet labels them as an integral part of basic music theory.
Chord progression:




The song is in E major and the first chord is a first inversion E I guess. What about the other two?
Quote by blake1221
Cancel the plans. Stop engaging her.

I feel like I should talk to her about it in person though, and not just ignore her?
You should do what most successful musicians do, study something else and keep doing music on the side. Find people who share your tastes and start a band. Studying music won't make you a rockstar, original ideas and persistence might.
I've been hanging out with a girl for a few weeks, had sex a few times etc. She's cool but to be honest I'm not super into her and not that attracted to her. I feel like she's way more into me, and that I should really put an end to it before I get in to deep.

I realize this is basic stuff but I'm pretty awkward and have never dealt with anything like this, and frankly I find it terrifying. How do I let her down easy, without making it awkward? It's not like we're a couple or anything, but still, I can't just stop answering her calls.

We're watching a movie together this weekend.
I wish I had 2500 dollars to spend on a coat.

Anyway, just got these:

Think they're pretty cool, go great with black skinnies.
Quote by MaggaraMarine
I would think the dorian scale as minor with #6 rather than A minor played over a D minor progression. D dorian scale is nearer to D minor than it's to A minor.

I agree with this, and it's how I've been looking at it. The issue this brings up is figuring out what passing notes to use and when. To illustrate, a Bb (the minor sixth) would normally work over the Dm7 as a passing note but I'm guessing it would clash against the G7 chord (since it has a B).

Anyway I'm pretty much in over my head here, but some things are being cleared up at least.
Quote by Benn14
So if I were to play with and then play 5--7--8 on the high e string, I would be playing the Major Scale in it's entirety?

The major scale has 7 notes. In your example you play it twice across two octaves.
Quote by MaggaraMarine
But you know that D minor with #6 is exactly the same notes as A minor scale?

Yeah, that was my point, in this particular case knowing the shapes and intervals of the dorian scale isn't very useful, one might as well just refer to A minor while keeping in mind the chords. With that in mind, when is the Dorian scale of any use?

Another problem arises with modulation of course. Like if there's a blues-ish progression with 2 or more dominant chords clinging to a natural minor will mess you up. I'd know where the chord notes are but the tricky part is what passing notes to use and how they'll sound when you're suddenly thrown into another key. In that particular example knowing the mixolydian scale would come in handy. But I'm not sure if that's the right way to approach it.

The thing about keys makes a lot of sense actually, thanks.
So would it make sense to approach it through a D Dorian scale (Or rather D minor with #6)? Or should I just consider it A minor?

I'm basically wondering whether I should spend time making all these "jazz-scales" part of my toolset or if I should just ignore them and focus on the major/minor ones and arpeggios, chord notes, stuff like that.
Well it's not like I dismiss someone because of music taste. But if they like the same stuff I do that's cool, one in the pro column for sure.
Appreciate the advice.
Here's another question:
You have major keys and you have minor keys, right. In a major key you'd play a major scale, in a minor key you'd play a minor scale. A certain major scale contains the same notes as it's relative minor scale (C Major - A Minor). Now, to decide which key you're in you look at the tonal center.

This chord progression (Cmaj7-Dm7-Em7-Fmaj7) is pretty easy to pin down as being in C Major. It starts on a Cmaj7 chord and it uses chords harmonized from the C major scale.

Now, a similar progressin in A Minor could be something like:

Am7 - Bm7b5 - Cmaj7 - Am7

Or whatever. But this progression would probably be labeled as A minor, right. Again, it uses chords that fit into A Minor and it starts and begins with Am7.

Now say we don't use any A or C chords and instead go with:

Dm7 - Em7 - G7 - Dm7

I'm pulling this out of my ass pretty much but hopefully you'll get my point. This is a progression which uses chords taken from the C major key, but it doesn't contain a C chord nor an A chord. What key is it in? A minor or C Major? Does it matter? Assuming we establish the D as the tonal center, is it simply in D minor with some accidentals/borrowed chords?

Adding to this: Why exactly do we only have two kinds of keys, major and minor? The minor scale matches up with a major scale starting on the 6th scale degree, so what's the reasoning behind having those two types of keys?

I'm trying to google this stuff but it really tough finding what I'm looking for. Mostly because I'm not sure what it is. Hopefully it makes some kind of sense.
Alright, that makes sense. I guess the problem I'm having is that so many people are telling me something and then this forum contradicts it, and I don't really know who to listen to.

In the end I think it's all just different ways to describe the same thing. The whole modal scale thing just makes it so much more complicated than it has to be, I guess.

You mentioned modulation and that's one of the things I'm having trouble with and using modal scales (chord scales? either way) seems like an easy out which I guess is why they're so popular.

Quote by chronowarp

If you can't hear in your head what "sounds good", then the issue is your ear training and musicality.

That's not really what I meant. I can play something and like what I hear, but I also want to understand why it sounds good so I can replicate it.
Okay so here's what I'm trying to wrap my head around: Using only the C Major scale over a progression like this one (avoiding modal scales since the popular opinion seems to be that they're stupid) , how do you create a varied and interesting sound? Is playing chord notes the secret? How do I know what accidentals to throw in and what licks to use?

People always stuff like "Play what sounds good to you" but that doesn't really help anyone get anywhere. I can play random notes all day but unless I can actually understand what's going on it's of no use.

Bonus question: I feel like whenever someone mentions "modal scales" (or whatever you'd like to call them) on this forum it gets brushed aside as an abundant concept. Yet every website I can find that teaches jazz soloing uses them as an integral part of their stuff. Is jazz different? Are all those sites stupid?