Let's see if someone can help me out! I have 2 guitars and want a change in both.
For MIM strat i want to change the bridge pickup, to some metal distortion one, humbucker like, with crunch and definition. I want to leave the stock on neck adn middle.
For Epiphone SG G400 Faded i want a combination that can take tight distortion with big crunchy tones out of the bridge pickup, and a slightly versatile jazzy-bluesy neck pickup with more low-end for soloing or some leads.
Nobody can blame you for not liking the Beatles, but...
I think you haven't listened to them enough, and haven't read enough about them.
I know i'm a bit of a fan myself, though i don't listen them more than once a month maybe, but i can remember some impressive facts that i find amazing, for example:
1) They made the first video clip in history, maybe they invented MTV 2) Incorporated feedback in one of their songs (i feel fine) really early, i haven't heard someone before who did it 3)Used reversed tapes too 4)Made the first stadium gig ever 5)Have 27 no. 1 hits! 6)Made one of the first concept albums with sgt. peppers 7)Used fade-out endings (i don't remember records before doing them also, not sure they are the first) 8)Made a double album (also not sure if they are the first) 9)Yesterday is the most covered song in history (though i hate the song) 10)They made the first world satellite TV show with all you need is love and recorded it live 11)Their first record was recorded entirely on one day! 12)They incorporated eastern instruments on their songs such as sitar 13)Made one of the first heavy songs, with helter skelter
These are only to name a few of the facts why so many new generations love them. They were amazingly creative, funny, and innovative. Every artist remembers them as an influence.
For their skills and sound, i agree they sound bad but, it was the 60's, they sounded the best they could.
For their skills i don't know what the hell you mean with them being unskilled. There are hundreds of instruments played on their songs, and many are played by themselves, including piano, keyboards, sitar, ukelele, flutes, violin, trumpets, who knows what else.
And for their rhythm and groove, you really should check Paul's solo album "Run Devil Run" with old covers. Beast of an album.
I guess you can call them musicians, cause they actually make music, whether they are remixing or not. But what i'm sure of, is that a turntable or that mixing stuff is NOT an instrument, so you would not be a player of any instrument, you'd be a mixer, or engineer, dont know exactly.
Actually i have no problem understanding that this is not modal and that is simply C# major scale over C key (assuming that's the case in this song, otherwise imagine we're playing that). What i don't understand is what the hell are modes supposed to mean then? LOL!.
Just playing beautiful morning, by machine head, and actually trying to play it on time, my teacher asked what scale do they use. I found that they actually use C# over a C root note, which i find surprising even the progression used on the, spme would call, locrian mode. Amazing and strange. Do you remember other songs using this kind of thing?
I'd say definitely no, based on millions of Beatles girl fans, and the contradiction it'd be to say that the Beatles are shit. Get it? I mean, maybe they're THE most influential contemporary band, and they sang love songs, until they started with acid at least.
I found prophets of war to be the worst damn annoying song DT ever made, i hate it, and it always seems to be chosen by my random iphone function. I can't even delete it, cause my iphone is sincronized with who knows what and can't delete.
I've recently changed my PC from a XP system based one, to a new 6 core 16GB RAM win7x64 operated system.
I used to record through a M-AUDIO Fast Track Pro into nuendo 4, with no trouble, using it also as a sound card.
Now i can use it as a soundcard without installing the drivers, but cannot record, if i install the drivers all kind of robotic alien wierd sounds come from my fast track, what the hell is that!!!!!! has anybody had this issue too?? is the fast track pro compatible with win7??? or should i switch to Line 6 UX2 that i also have, but never used? Does the UX2 act as a soundcard too?
BTW i mic my amps too the XLR inputs recording only the miced sound, no software modeling applied, and i heard reaper is a beast DAW, maybe i should switch to that one too???
if only i lived in the usa to try all that stuff, Argentina has zero options to try, they dont even import celestion nowadays, what the hell! i wanted to order a national cab and put Vintage 30's but theyre not bringing em here, theyre bringing eminence, and I checked Orange PPC212 here the sale price is U$S 900, whats the price you've paid?
Wow! read your article and it's great stuff! a bit to technical for me to understand but if i understood right, more speakers equal more low end. So i assume for heavier stuff or distortion, you'd probably want a 2x12 or 4x12, for jazzy clean styles, you'd want a single speaker, and depending on the freq response you'd choose between an 8'' or 10'' or 12''.
I'm sure its not that linear but great stuff! Helped inmensely, and now i want a 2 or 4x12 cause i'm a metal crazy guy you know... theyre expensive as hell though.
By the way, how does the speaker affect the tone of your sound, or which caracteristics of a speaker determines its sound?
I'm planning ahead to make a pickup change in both my Epi SG and my MIM Strat.
I was thinking bout SD lil' screamin demon for my strat bridge single coil pickup, looking for a distortion crunch tone out of that position. The other pickups i plan to leave them stock. Wandered bout EMG S too or Dimarzio's Tone Zone.
For the Epi i thought about SD invader, Dimarzio's Crunch lab or EMG 81 for bridge, SD Jazz, Dimarzio's Liquifire or EMG 85 for neck. I plan to use this one for metal especially on bridge, and more like a warm blues-jazzy sound out of my neck.
I was just wandering cause i don't get it yet, and haven't actually tried it, but talking about stereo effects....
I have a Boss DD-7, a CH-1, a BF-3, whammy, all pedals that have stereo output or dry-wet outputs. I have 2 amps, HT-5RH and AC4TV, is it possible to run stereo configurations with these 2 different amps? or when talking bout stereo we are talking about something else that i just dont get?
You keep saying the same, neither deny nor accept something, changed the lyrics.
If you don't like the name it used to be called, put it the way you like it, cause it keeps existing. Why the hell the TS did mention modes if they do not exist anymore? Does he live in 1576? Because according to you there's no way he could've known about them, cause now theres a different concept.
I guess you didn't teach him either, with your bible.
What MaggaraMarine said is exactly the way it is, and clearly spoken i think. If i get it right it is the same as i tried to explain before, maybe explained a little better.
But i see the point of AeolianWOlf, you started talking about the same as Magga, and then got wrong what magga explained better.
It is the same notes you're playing in a different context, not the order of the notes, actually the notes.
Am is not the same as C major. I get it when you say, if you play C major scale, then it is C major scale, why the hell call it A aeolian?, Because in an Am progression, the resolution chord is Am, and so the scale (actually the same scale as before) is called A Aeolian, it is the name of the scale that changes, not the scale.
It is actually confusing if you don't understand modes, but it is the name given to them. I think it would be more confusing to say that we simply use C major scale in every progression that you can use it, regardless of the context.
Anyways, i think we are both talking about the same thing, actually naming it different.
This day i don't practice exercises except some speed ones, or for warming up, but i guess there are many things i learned in my 13 years of playing by practicing exercises, boring or not, like someone said, as means to an end.
Streching, independence of fingers, scale developing, speed, rhythm, chords, inversions, for all of them i had exercises till i had enough, and applied them.
But i guess in the other hand, you could make exercises less boring, by making them out of songs you like, i think that's a valid point of view, wish i'd done it with some annoying ones
Ok. Let's start from the beggining. TS asked what are modes? i answered him to try them out easy way, meaning, playing major or minor scales, starting not from the original root note. If you mention E F# G# A B C# D# it is a E Ionian scale or major scale. Playing the same notes but in a different order, exam. F# G# A B C# D# E, you'd be playing the F# dorian scale. Same notes, different order, different intervals from the root note, that's why they sound different.
If you take the chords you're playing over, it could or could not be modal, it is not always. Chords usually are part of many scales. Depending on which scale are you playing over the chord, you actually can call it a modal sequence.
If you take E F# G# A B C# D#, you can form the chord for each of its notes. That would be EM7, F#m7, G#m7, AM7, B7, C#m7, D#m7(b5). If you play a sequence over those chords you're playing a E Ionian or major sequence, unless the chords are shared by another scale too, and you decide to "sound" the other way, it is possible too.
if you take F# G# A B C# D# E, the chords will be F#m7, G#m7, AM7, B7, C#m7, D#m7(b5), EM7. If you play a sequence with some of that chords you'd be playing an F# dorian sequence, unless you share chords, and you don't want to sound dorian.
If you listen "Evil Ways" by Santana, you can hear him playing over the G dorian scale, in a Gmin-C sequence, that are actually the chords formed over the 2nd and 5th intervals of the F key, that's why he plays the F scale over the sequence, and we call it G Dorian. It is G as a second degree of the F scale.
If you play an F#m7 and you expect it to be F# dorian, you're not there yet, to make it dorian yo have to separate it from a F# phrygian or F# aeolian. The note that WILL make it dorian is the Major 6th of the F# scale, in this case D#, if you play a m7 with a major 6th, you're in F# dorian, and that's about it.
I hope you can teach me out of this, if that's the case like some of you are saying. Maybe we're saying the same, but expressing in different ways.
If you were meaning by modal variations, taking chords from a parallel mode, to use it in your progression, then we were talking about different things, and my spelling would've been incorrect, maybe cause i'm not english speaking in Argentina, my home. Then maybe you need to recommend me English lessons, but not music theory by the way.
Hope we keep the discussion, its nice to have one actually
it looks to me like you don't know enough theory to discern why they're a pile of ****.
Let's see your theory knowledge, so you explain us all why modes are a pile of ****, you could try explaining them to every contemporary artist too, cause' as what i'm aware, everyone of them use modal variations in many of their albums.
You can try picking Up, down, up, down, instead of down up down up in the first case. Or you can mix some sweep picking to help.
For example :
------17-16-13----------------------- U D U ----------------------17-15-13------- U D U
Doing some sweep between 13 and 17 frets.
If you intend on repeating these pattern, the problem will appear again when you finish upstroke on 13th fret cause you will go down to start over instead of picking up like i suggested. So i recommend METRONOME really slow till you get the inside picking.
Best you can do master it is creating irregular patterns, maybe 5 notes on each string before changing, or triplets.
I think the best you can do is learn some theory first. Learn major intervals and minor intervals, learn the different degrees in a scale, and then listen while playing what you read.
To make chords out of them, you have to notice which notes of the scale make each chord. For example, 1st 3rd 5th make a major chord in a major scale. If we have C scale, C D E F G A B, then C E G make a C major chord. Each note in the C major scale will fit while playing a C major chord.
That doesn't mean it is the only scale that fits, any scale that has a C E G, will fit in a C major chord, because that notes are the ones you are actually playing.
You can learn any scale first, i recommend you to learn major and minor scales in each key first (they're the same but moving along the fretboard, you know what i mean do you?) and then learn the major and minor pentatonic scales. Major is 1 2 3 5 6 of the major scale. Minor is 1 3 4 5 7 of the minor scale.
After that you can learn modal scales but that is another lesson.
Make sure you "play" the string when you tap it. Tap, then release the string making sure you play it so that the next note can be heard clearly. When you change strings you have to practice right hand muting, there's no other way about it, noise gate won't fix that issue.
I Just got my new HT-5RH w/HT-112 cab, wonderful distortion, very versatile, really crunchy, nice very responding separate EQ. Not used reverb much, has anyone found a good use to it? Clean channel doesn't break up until past 12' and it's a light break up. I have a VOX AC4TV too and that one breaks up really fast. Pedals work extremely well, best amp for metal on this price.
If im breaking the rules, fair enough, didnt know that...
As for the solutions i found one useful: blankets, sheets, towels. I'll try that today. Hope it works, if it doesn't can i keep asking for solutions, especially if people cares to answer? or is this breaking the rules?
Stop multiple posting. Every possible solution has already been suggested. Find a way around it out of those listed here, get over it and play with headphones, or just move. Regardless of what you pick stop posting back to back in here.
If you don't like it, then don't read it, why do you care?