nothing... I've slashed picks before though and sharkskin would work really well. Mediaeval knights had the handles of swords covered in sharkskin to improve the grip.
80's JCM800 cab. Missed two over the last two days for cheap
I thought you were going to discuss playing a song with two bands at once.
^well yes, it's the same
You would get thunderstruck
Well I was wondering if there's anything technical that I should check out first
What are some things to look for when testing out a cab (just the cab)? I may be looking at an '85 Marshall JCM800 4x12 sometime, but it won't be with my own head. Is there anything specific I should be looking for when I'm testing out a cab?
It'll mute the sound if anything touches the head, specifically under the bridge.
Anchoring with your pink is bad imo... you constantly have it stretched out which causes strain which will affect your ability. Obviously if you do this enough you can do it infinitely quickly, but it's still a strain. Also I find it particularly weird when sweeping.

However I feel that anchoring is absolutely necessary, both for speed and proper economy of motion. Anchoring gives control. The best anchoring method I've found involves keeping your wrist on the bridge without muting. Slide a bit towards the strings for palm muting, slide back to unmute. That is all.

Whoever says resting your arm/wrist/whatever is bad is ridiculous. It would only be bad if you're straining and trying to get your arm to move through your guitar or something. Floating completely is actually straining because you have to do work to keep your arm off the guitar. Is typing with your arms floating off the table easier than resting your arms? Point proven.
Quote by axemanchris
I do have a gripe about your statement about universities not screening their entrants. I went to Mac, but the criteria for Western and Toronto were the same. I played (RCM) two grade 8 pieces, a grade 9 piece, and a grade 10 piece and didn't get in my first year. The next year, where I did get in, it took playing two grade 10 pieces, a grade 9, and a grade 8. These are pro stage pieces, here - not just 'learning to play' pieces. If you have to be a pretty damned good player just to get in, with four years of intense study, you're bound to be a pretty damned good player coming out.


Sorry, I didn't mean any of that in a technical 'playing ability' sense. I'm looking at this from the perspective of at least classical piano where you have a huge pool of people who are fantastic technically (At least a million of these people, and thousands probably from places like China (with conservatories specifically for this) alone). They can easily play any piece you put in front of them. But these people may not be musically inclined; the ability to move your fingers rapidly says nothing about the amount of depth or feeling or interpretive ability you can put into your music. For example, one of the things my professor loves to do is take technical exercises and scales and challenge students to play them as musically and with as much feeling (and all of this making sense and feeling natural) as you would play say the moonlight sonata.

As you said there are difficult technical requirements that must be met but from where I'm coming from practically everyone can meet them... and sadly potential orchestras or bookers aren't going to listen to every artist who just graduated. There's immense amounts of branding involved in this relatively obscure (it's less popular now) market so most of the artists they book are already household names, and you need something big (like a big university or a big competition) on your resumé to justify why they should even consider you.
Wow I find this interesting. I'll bring in some contemporary classical composition if I decide to do this.
Quote by Archeo Avis
For the Love of God is in E minor, and the overwhelming majority of Western music is not modal in any way.


95% of people going on about modes are just referring to them as glorified hand positions. Real modal music is well... modal, and doesn't just go through every possible hand position for that scale. For something to 'go through all the modes' it would involve essentially 7 different 'keys' (well not keys but.. modes).

why bother learning modes then?

Most people are using 'mode' and 'hand position' interchangeably. If you're one of these people then it just means being able to play the same scale anywhere on the fretboard. Otherwise if you want to learn modes in the proper sense, then it's because you want to write modal music.
500/hr is definitely over the top but I know several teachers with fully booked schedules who charge 100/hr.

I've never thought about grants, and never heard of someone applying for one. We all try to get our money and credibility through competitions.

In terms of a university, "going to a university" is far less important than "which university". I tend to understate the importance of a university degree because I have tons of friends getting music degrees just for more letters after their names. And seriously, a four year music degree says nothing about your ability to play music. Four years isn't nearly enough time to study with a professor and develop. My professor has commented on this many times; often by the end of the four years his students have just broken their bad habits and finally begun to play properly!

But as you said, a university degree in music can be priceless for classical musicians if they go to universities such as Julliard, Curtis, Oberlin, etc. because these are the colleges that actually screen their students first. It's more of a 'mark of quality' than a 'this person has studied for four years' thing.

I think the bottom line is that any type of music as a career is far more difficult and unglamorous than everyone makes it out to be.

on an unrelated side note I wish classical music would stop being for the polite rich audience... only fifty to a hundred years ago we still had heckling audiences and works like the Rite of Spring inciting city-wide riots (sounds like rock music nowadays doesn't it?).
Quote by Confusius
You can learn A LOT of things in five years without "learning scales". He probably knows more scales than he thinks and more theory than he thinks. I also think the fact that you say that if he hasn't learn scales in five years it will take him another five years to learn them. Where your rational reasoning for that? People develop at different rates and people discover interests at different times. He might take 10 years or he might take 1. It all depends on the amount of effort and practise he puts in now that he's discovered a path he might want to follow. If you had read what I quoted you would have realised I wasn't disputing why he hadn't learnt scales in five years but the fact that he shouldn't study music because it might take him another five.

I concur. Also, it's not possible to play that much and 'only know the A minor pentatonic'. I'm guessing TS knows a lot more than that, and just doesn't know the naming or conventions. As a classically trained pianist I learned massive amounts of theory without knowing what it was; I even applied it to composing. When I did finally take theory courses it was more like figuring out what I already knew was called and how to use it. Maybe TS should try to find a theory course/book and see how much he's actually familiar with.

Also as a classically trained musician I usually detest people who shrug off theory with 'well X famous musician didn't know any theory'. But it's partially true in a different way, because while these people didn't learn theory itself, they're either naturally talented at following theory or have been exposed to so much music that they have almost immaculate theory when writing songs.

prepare for largely unrelated discussion about the classical career path here

Just for the record, it is remotely possible to go the classical route without university, although in my case that's probably just because my teacher is a retired university professor lol. And the classical route is no easier than the general/pop/rock/metal/whatever route. Even having performed piano internationally in front of audiences of as much as 3000 people, it's still very difficult to become well known and secure a living. The best choice for classical musicians is to win an extremely high profile international competition... but these competitions are so intense that many times they won't award a first prize if they didn't feel anyone was good enough.

Music as a career is difficult all around. I feel that the most stable musical career is that of a teacher [note that here I mean a private teacher, not one in a school ], but that's because I enjoy teaching. There are classical teachers who make easily 100 dollars an hour. Even very well known performing classical musicians still teach, because they make 500 dollars an hour and it's a set schedule, unlike their performances. So even if they make 30 000 dollars (a common value for high profile performers) a concert, they might only play one concert a month, while they could teach 40 hours a week (believe me there are way more than 40 people in the world who would die to be taught by these people and some of these students actually live in different countries... they fly over every week for lessons) and at 500 dollars an hour that equates to a ridiculous 80 000 dollars a week. And as a teacher you can arrange your own schedule. Want to make a space in your schedule so you can play that gig? A few phone calls and it's done.

If you really want to make music your career, I suggest that you find some people to give a few lessons to. See if you like teaching. If you do, try getting a full music education and a few certificates and diplomas to go along with it as it brings in students and lets you increase your fee. And while you're teaching (as long as it's privately and not at a school) you can take the time to do the other 'fun' parts of music on the side.
Quote by music_mike
Why are some Asians so damn weird?! lmao

especially Asian nerds... with video cameras.
I was watching to catch a predator and this showed up in the related videos... they call themselves "The The Transition Program" and they think they're so smart but it's really dumb...

And the song is such a ripoff of the Office. Michael Scott does not approve.
now what about the cost of promotion? a great video is useless if nobody sees it.
Make sure you record the very first time you try playing it with a bow (test it first by plucking the strings lol)


As I said before i would forgo the whole finger marker inlay thing... it looks more professional and it's much easier. you can always use stickers (or paint, then sand that off) until you get the hang of it.

Do you actually have violin fingerboard and neck measurements to work off of? You should probably try to get that down, for playability's sake.
Quote by cedricsmods

One option is to have no inlays on the top of the fingerboard, but to have small lines where the frets would be on the side facing you as you play. That gives a clean look, but you can still see where to finger notes.

Uh... how exactly do you intend to hold this then? Because unless you're doing some weird positioning you're not going to have a good view of either side of the fingerboard... you would be looking straight at it, as in when you look at the violin on your shoulder the neck is pointing straight at you. The way some people learn is they have stickers on the part where they should put their fingers (like removable fret lines), and once they're good enough they take it off.
I think the neck is a bit fat and thick especially near the scroll but I can't really tell from the pictures
Quote by haz_uk
what do we get in return?


I think we get a breakfast with 'keven' in return.
1. sid vicious couldn't play crap
2. bass is the best instrument for someone who's dedicated but really can't play
3. keep her. The personality is way more important. She can grow with the band and it'll only make her more loyal or whatever in the long run.
also, i'm not a fan of the hammeron just because i like picking on the beats. But yes, hammer on is fine especially if you want it smoother
e |--17p12-------------12-15p12------------12-15p12-----------12-13p12
B |-----------13----13--------------13-----13--------------13----13-------------13
G |--------------14----------------------12----------------------14--------------------14

assuming d is downstroke and u is upstroke and consecutive downstrokes constitute a sweep. i guess the first downstroke can be an upstroke

yeah you've got it right, it's not a complex or confusing pattern. just practice and get the patterns down. it's relatively easy once the coordination is there.
heh. the proper definition of the 'right way' for speed picking is 'whatever helps you pick the fastest without hurting yourself'. There's a youtube video somewhere of a guy speed picking with the pick between his fourth and fifth fingers.

but yes. Index and thumb is personally the most efficient.
Nothing better than learning how to make an awful instrument sound awesome. Then when you get an awesome instrument, you'll sound. Quite good. Keep going at it. As long there isn't a physical defect which hinders your playing, it'll make your playing that much better.

Oh yeah, sorry for the lack of monetary advice. Get really good and convince someone to lend you money which you'll pay back in monthly installments?

because i like my high notes more than my low ones
uhhhh i'll look at it later

but assuming they match? is there a reason why using a single speaker could be bad?
so i have a marshall DSL100, but no cab yet
and a fender princeton reverb (1x10), which has a speaker in it, and the speaker is connected to the head in the combo by a cable which I can unplug.

and basically i was wondering how dangerous it would be to use the fender as a temporary cab (for testing purposes) until i actually get a cab.

and if none of this makes any sense, i picked up the marshall at a liquidation place and all they had were: strobe lights + trumpets + a whole lot of bass cabs + harmonicas + my amp

oh and i watched people buy big MGs and 100w spiders =/ but it wasn't as stupid as

lady: "can we use the guitar amps for home theatre?"
salesperson: "sure!"
*lady buys guitar amps for home theatre*
Quote by Skierinanutshel
no. HCl cant. HCL(aq) can, in higher concentrations (typically 6M minimum). schools typically only stock 1M, and vault up anything above 4M.

i used 16M in my chem lab. it was so strong that you could see gaseous HCl coming out of solution and it was EXTREMELY exothermic when it was used to neutralize a basic solution. Lol this was during an extraction and it vaporized a lot of people's ether when they were dumb enough to add it while hot. then the funnel's cap came off and their stuff poured all over the ground. It was a 3 session lab, and they just wasted one session.

if you have access to a university chem store, and then you'll have a fun time transporting it lol

ummm anyways how about raping a wall socket?
Blending options FTW especially overlay

then do another overlay layer, erase the parts that are a bit much (using a feathered brush of course).
is it just me or did the neck not actually snap? at the end the neck is entirely in place and the body is still whole, it just looks like it wasn't bolted together in the first place?

although, i liked the crack sound xD
WHOA canadian amps

though they're still just as expensive, without massive canadian inflation on the soldanos. i will have to see about this (massive inflation).
^actually thats a really good point. anything that can make my princeton do modern metal would have to basically be a very very small spider and override my amp entirely.

but good god now i have to figure out how to make this large purchase

and in canada, prices MASSIVELY inflate. tsk tsk.
my completely unrelated note in the first post involved technicalities of stringing the Avenger and Fender together, which i have concluded would be fairly ultimate setup. In case anyone is unaware, the Fender is only 12 watts (I mic my amp anyways so live it could only go up to 3 without clipping regardless)

as for the SLO + Fender deal how much more win would it have over the Avenger, especially if i'm using fender cleans?

the main reason i was asking about pedals was that firstly my parents (and even to an extent me) would probably not allow such large purchases (especially after that jem one mmmmm (this is all my own money harharrr i am in the workforce)) so for amps it would probably take a very long time to get it. And secondly its not exactly necessary right now anyways.
on most of the damage control reviews i think they say how it sounds really tight on a SS amp but gets slightly iffy into tubes.

Also, with tube pedals how much of it is overrated hype?

yeah but just think, with unlimited budget i could hook up 100 MT-2's and it'll sound brutal xD
well, probably not /too/ modern, i like my mids since i barely play any chords (other people doing that) and mostly melody even with vocals