Like many have said before, try your best to do both but if you like playing drums better then put the majority of your time into that. It's a major advantage to be a polyvalent musician since you are confronted with different points of view on your instrument. The same goes for writing music: the more instruments you understand and can play, the more options you have for making compositions.
I was wondering about your opinions on dropping a Gibson Les Paul Standard to extremely low tunings. I play in a stoner/sludge band and our tunings vary from D standard all the way to an alternate drop G tuning.
I keep my 5 highest strings in D standard tuning at all times (whole step down) but I downtune my lowest string to C, A# and even G for certain songs. So far, it has stayed in tune fairly well, but I do have some problems with the looseness of the lowest string when it's tuned to G. For instance, when I play the string too hard, it sounds out of tune because it sort of bends the note up a half step. If I play the string gently, it's a perfect G but then I miss the attack that I get from playing it roughly.
I use Ernie Ball 'Not Even Slinky' strings (12-56 gauge).
My question: is it a good idea to keep experimenting with this or should I just cave and buy a baritone 6-string or a 7-string already? My guitar was set up in drop C tuning about 2 years ago. Or is there a way to set it up so that the lowest string can still remain in tune at such a low note?
Pokemon Red from start to finish without stopping when I was about 11 years old, probably over 12 hours straight. Assassin's Creed IV for 8 hours every day of the week when it just came out. Cheap entertainment
I am Stefan, singer and guitarist of PSYCHONAUT - a psychedelic/sludge band from Mechelen, Belgium. We've just released our first official EP "24 Trips Around The Sun" and have made it available for free on various platforms.
We would be very happy to hear your opinion on it. Click on one of the following links to stream the album in its entirety:
..and two years is very little when it comes to overcoming it
Exactly. I still get nervous when other musicians watch me play, even after 8 years of playing. The best thing you can do is just bite the bullet and keep practicing in front of others because it's the only way you'll get over it. But as someone has already said, there's a great difference between your problem and performing a rehearsed setlist live. A few tips though: if people hear you play for the first time, start off slow so you manage their expectations. Don't try to pick up the guitar and immediately start tapping and sweeping because it's only downhill from there.
And that's what happens when they let piano players transcribe guitar tab books
Don't play that 4th fret on the B-string. Play the 8th fret on the G-string or the 13th on the D. Those three positions represent the exact same note and will sound identical for 90%. No-one can reach that far on their fretboard, don't worry
I think I get what you're asking. Are you looking for a way to break out of traditional scales and positions?
If so, I would recommend you to learn to play more vertically instead of horizontally. Most starting guitarists will improvise in the pentatonic minor scale, for instance in the cube of the 5th and 7th fret when playing in the key of A. But it's equally as important to master the same notes in different positions on the guitar. For instance, instead of playing a "5" on the 3d string, you could play a "10" on the 2nd string. Experiment with this and you will soon realise that there really aren't that many 'wrong' notes. The fretboard can seem intimidating as there are more than 100 frets, but remember that there are only 12 different notes that just repeat over your neck.
To bring more variaty in your playing, use "in-between notes" as well. Don't blindly follow the traditional scales but use your own ear to decide for yourself which notes sound good together. For example, while it is technically frowned upon to play a 6th fret on the 2nd string when playing in the key of A, Black Sabbath used this dissonant note in first track of their first album and made history doing so. A famous quote comes to mind: "There are no wrong notes, only the look on your face."
Hope you find this helpful in finding a way to express your creative ideas. Peace!
The timing issues aren't your fault, your singing and guitar playing is tight but the drum samples just aren't synched right. The second kickdrum comes in too fast during the first few measures and then the snare is off too on several occasions. But don't worry about that, I dig your voice and it's a nice cover. It clearly took a lot of time judging by all the overdubs so be proud!
I particularly like Rosetta Stoned. The other good ones for me are Lateralus and (soooo ****in' funny...) The Pot.
Though, I guess the entire Lateralus and 10'000 Days would do.
I agree. Those 2 albums are ****ing brilliant to sink into and forget where you are.
Also definitely Pink Floyd's "Wish You Were Here" album. An amazing trip if you listen to it from beginning to end with a decent headphone or stereo. The same goes for many of their other albums of course.
Also a local band from Belgium that writes some of the most phenomenal music I've ever heard. They're called "Steak Number Eight" - something post-metal/sludge like. Check this one out, this will blow you the **** away:
Okay first of all, you should be ****ing proud that you played AND sang 12 consecutive songs in one gig. That's not an easy thing for anyone and I would have lost my voice at the end as well, I'm sure. Secondly, don't consider it as a failure but as a lesson you have learned. Use the mistakes you made to improve your skills as a musician and performer. Look for and practice techniques that will prevent the same things from happening again on future gigs. As many have already said, everyone makes mistakes and has horrible gig experiences at the start of their career. Giving up now would just be lazy as gigging is the best and maybe even the only way to get your band's name out there.
But in all seriousness, you shouldn't play that song again. It's considered to be one of the most genial songs of all time and therefore it's a big risk playing it as a starting band. Still, kudos for having the balls to try it!
Fairly regularly, yes. If I've got nothing to do and there are bands playing in one of our city's clubs or venues, I'm definitely there. I guess I enjoy about 50% of the bands that are playing and am blown away by about 2%. But still it's always nice to see locals playing music and I like supporting them.
Thank you for the advice guys However, he couldn't teach me anymore because he'd started a new job and i feel like my theory isn't up to scratch to write
Don't worry about that. Writing music and learning theory go hand in hand. As you start making riffs, you start recognizing patterns after a while and the fretboard starts to make a lot more sense. Use your ears for now. Also, there's no shame in using techniques or sequences from other (famous) players and mutating them into something different, especially when you're just doing it to learn.
Like many, I have become a lot more confident and at peace with the person I am. Honestly, these past 5 years have been the greatest of my life and they are still getting better every year. Though it's easy to be cynical and say the world is going to shit because of corrupt politicians and the shitty economy, life is pretty ****ing great.
About 5 years ago I started my first band with friends and started playing Sabbath and Zeppelin covers. I played the guitar and was the shy guy on the stage who would keep to himself, but now I'm in exactly the kind of band I've always dreamed about being in. I have a big say in everything including writing, recording and gigging and I've never enjoyed playing live more. In addition, I've discovered some really awesome music over the past few years and have loved using those influences to create a sound that would be perfect for me, personally.
When he said he couldn't teach you anymore, that means you have mastered most techniques that are used in reading and playing music. Now it's up to you to use what he taught you to your advantage and start writing your own stuff.
It's pretty much the most fun part about music there is aside from playing live so I would suggest taking your teacher's advice and start jamming and playing with other musicians. Try and make some friends who have had some experience and ask them all the questions you have. If they are passionate about music, they will gladly answer them all. When you are jamming, focus on listening to the other player and play only what would be a good addition to that riff in your head.
You'll get the most work done if you practice what you feel like practicing at the moment. If you're in a heavy metal mood, work on your 16ths and right hand technique. If you're in a blues-mood, play along to some backing tracks and experiment with new shapes. Imagination is key!
**** asking us. What solo do you want to learn? Look at that one. If it's clearly miles above where you're at right now, figure out what techniques you lack. Then, come back and ask for some good passages to practice those techniques on.
This guy makes a good point. Learning an instrument is about setting goals for yourself and picking one of your all time favourite solos as a primary objective is a great idea. However remember that that doesn't mean you'll immediately master it. Start off slow using some of the suggestions that have been made in this thread. Here are some more I instantly thought of:
Metallica - One (not the ending solo but the shorter licks in the intro and bridges) Led Zeppelin - Custard Pie // How Many More Times // Moby Dick // Rock and Roll // ... AC/DC - You Shook Me All Night Long // Highway To Hell // ...
Don't worry if there are faster parts in there that are slightly above your current level. Try them and if you get frustrated or bored, skip them and focus on the parts that you can play after a few times.
Lastly, don't forget that it's a good idea to start soloing yourself. Look into basic scales like the pentatonic minor and the blues scale. Almost every solo that's been listed here is built up using only those notes or slight variations on them. Therefore, if you understand the logic and link between the theory and the practice, finger shapes will make a lot more sense. Check out some backing tracks on YouTube and play along to them, I'm sure you'll find it very fun.
I've had this TonePort since 2008 and it has always worked perfectly on my old computer (Windows XP). However, that computer recently gave out so I tried setting up the TonePort on my laptop (Vista) but there are countless issues with it. Here are some of the problems I've experienced:
- I can't get my laptop to use the Toneport as default audio output device. That means I can hear myself playing guitar through the "Gearbox" software but I can't get YouTube videos to play sound for instance. Gearbox seems to be the only thing my laptop recognizes as sound. - Whenever I plug it in, many programmes just freeze and stop working (Reaper, Audacity, iTunes, ..) but when I unplug it, they all magically unfreeze. - Reaper can't recognize the microphone function of the TonePort but Audacity can. I can see the soundwaves as I'm recording but when I press "stop," Audacity freezes as well.
Does anyone have an idea what could be causing this? I'm guessing it's most likely not compatible with Vista or something because it seems to **** up all my computer's standard functions..
I started out with a lot of AC/DC riffs and they really helped develop some useful techniques which I still use very often. A few suggestions: "Riff Raff," "Rocker," "Whole Lotta Rosie," ...
Then I got into an 80's metal phase and learned a lot from playing Metallica riffs and songs. Though a lot of guitarists on this forum don't think very highly of them, they've got some really fun stuff to play. Check out: "Welcome Home (Sanitarium)", "Disposable Heroes", "Ride The Lightning," ... If those are starting to become easy, try some Megadeth stuff, anything from the albums "Rust in Peace" and "Peace Sells."
Then again if you're looking to improve your knowledge of different rythmic patterns and alternative time signatures, definitely try some Tool songs. I myself started with "The Grudge" and "The Pot" and then eventually more difficult ones like "Jambi" and "Ten Thousand Days."
This has gotten a little off-topic but I'd still like to comment on TS' post.
Finding musicians who are willing to do whatever it takes are an extremely rare breed. Even in my hometown where there are at least a hundred bands - of which at least 10 are really good and exciting to see live - but who lack the motiviation to take it to the next step. The key? Don't ****ing settle. Easier said than done of course since you never know who a person really is until you've known him for a relatively long period of time. But don't even bother playing with or interviewing guys who don't show that same childlike spark in their eyes. You know what I'm talking about as you mention dreaming about being in a succesful band all the time.
I realize this isn't that helpful as I'd hoped but I hope you get the gist of what I'm saying. It's your dream and your life so keep searching for the right people, I promise you they are out there. For now, start recording some of your ideas. Upload those on as many social media sites as you can and advertise that you are looking for serious people to present these ideas live.
Start by looking at the tablature and then look at your hands while you're playing the frets. After a few times, you should start to memorize the positions automatically. If not, it helps to just say the frets out loud (5 - 7 - 8 - 7 or something). As you practice more and more, the movements will start to make sense and you will no longer need to know the numbers of the frets you are playing.
Also, as said above, it's highly recommended to learn to play without looking at your guitar. It's a good way of getting familiar with your instrument and it will definitely help if you are planning to start a band and play live. Of course, if there are very large gaps between frets (like 3 - 9), I still look to be sure.