Content
Thread
Forum
Date
Quote by TrustMeWhenISay
this proves my theory.

Yeah I think I agree.

I answered the multiple choice questions pretty conservatively for the most part because I don't have a high opinion of myself as a musician, or think I'm 'incredibly connected' with music (though I do of course enjoy it a lot).

Despite this, my Musical Test score was as good as most other people's from what I can tell. Interesting.

For anyone who wants a challenge 'matching the beat': try putting a click track to 'Blackened' by Metallica and keep it in time for the whole song.
My Results
Enthusiasm for Music - 46% - MEDIUM
Musical Perception - 14% - LOW
Emotional Connection - 34% - LOW
Music Curiosity - 49% - MEDIUM
Social Creativity - 1% - LOW

Musical Test score:
Group the Music - 3/4 for Rock, Pop and Jazz, the remains got clumped together
Match the Beat - 16/18.
Tap to the Beat - 8 High, 1 medium
Melody Memory - 10/12 (dunno how, found this really difficult)

Lol, I'm an awful musician. Maybe I'll take up drums more seriously
My friend sent this to me on Facebook the other week, it's great
If done right, my favourite is Spalted Maple with a natural finish. After that, either flame or quilted with a nice dye. You can get fantastic looking finishes with either.
Interesting, the idea of modal progressions has interested me for years, but I've never known where to learn about them.

To be honest though, I'm pretty awful at normal progressions in major/minor keys, so a better understanding of that would probably benefit me before tacking modal stuff

EDIT: Thanks AeolianWolf, I'll give that a better read over in a bit. At first glance it looks like it'll make sense if I give it a bit of thought. Very helpful!
Quote by steven seagull
The simplest way to get a feel for modes is to play over a static drone note - some instruments still work that way, bagpipes for instance. That drone note will establish a tonal centre, because it's a constant reminder to the ear of that note.

Let's say you have a constant bass note of D or a repeating bassline of just D notes . Using the notes of C major over that backing will lead you to be playing D Dorian, because that bassine is strong enough to over-ride the natural pull of those notes to C.

That works for any mode, create a backing that shifts the tonic and you can pull the musc away from the stronger major or minor tonics. A static bassline isn't the only way you can do it, but it's by far the simplest way to hear it.

Thanks, that's a good way of thinking about it. So you'd generally only use modes over (relatively) static backing? Would it work over a couple of chords that don't really resolve to anything?
Quote by drawnacrol
Their was a big debate about this before and some software developer posted that as soon as one of their apps are cracked their sales start falling so much that they can't afford to post updates anymore since they lost so many people that would have bought it but instead got it for free. Pirating software does cost companies, its the same as pirating an album, sure it's not a physical object but it costs thousands to make and that money has to be made back through sales.

Thank you for illustrating my point

I'm gonna try not to spam up this thread too much any more, I think the point has been made.
Quote by htsktim91989
you have to realize that low frequencies don't become audible until about 1 foot from the speaker, so what you hear when you play you amp is completely different from what the mic is picking up. in a close mike situation, the mic will pick up mainly high frequencies. if you want to experiment with what im talking about, put your ear directly in front of your speaker, you'll notice right away that the sound is very harsh. if you have another mic, you could use one for a room mic and one for a close mic, but youll have to use a spectrograph to make sure the mics are in phase.

I'm pretty sure that's false. The microphone will pick up bass wherever. True, you will hear more treble if you put your ear in front of the speaker, that is because high frequencies are directional, i.e. they travel in straight lines, whereas low frequencies go everywhere.

So, instead of having less bass when having the microphone near the speaker pointed straight at it, you actually have more treble.

If you find the distortion is a bit harsh, as someone else said, try moving the microphone off-centre and maybe angling it a bit. Hope this helps
Mark (steven seagull), could you give a quick example of when modal playing would be used? I know the topic of modes comes up a lot here, but I think it might be useful, thanks
It does, it costs them the money you should have paid them to purchase the software. If every single user pirated the software, the company would make no money, same as someone selling guitars. I fail to see how this doesn't negatively impact the company financially.

Now, pirating software with the intention of purchasing it if you like it and when you have the money is something I'm not going to argue against, I do it myself. However, Reaper is damn cheap. If it's something you are seriously using then it shouldn't be that hard to pay up. Acting as though using it and not paying for it is OK 'because they let you' is just wrong, it's taking advantage of a very customer friendly business policy that should be encouraged.


Quote by TechnicolorType
Why are you so greedy?

Greedy? That's a bit rich coming from someone who seems to want something for nothing, arguing against those who think people deserve to get paid for hard work.

I know you said you wouldn't reply to anyone else here, but I thought I'd just throw that out there
Quote by Ziphoblat
Invalid comparison. Each individual guitar costs the company money to make, therefore they're losing money if you were to steal a gutiar. You downloading some software doesn't cost the company a penny. Downloading software can be better compared to obtaining copyrighted schematics for a guitar and building one yourself.

Uhuh, so all the thousands of working man-hours making the software costs nothing? The fact that the programmers income is dependent on people buying the software means nothing? Why is it any different than someone stealing a guitar? Believing that pirating software costs no one money is either ignorance, stupidity or more likely plain denial.

You think that downloading music is OK? Films? Books? You think it doesn't hurt anyone?

Downloading copyrighted schematics is the same - people have paid money to have those designed, the same as they pay money to have a guitar made.
I love my RGA32, fantastic for the price. I think it's my favourite guitar I've ever played, the neck is perfect for me.

Best advice though: go and play them and see which you like best.
Quote by EatShreddies
I don't understand the beef, nobody pays for anything if they don't have to in this day and age.

I've paid for my software (Logic Pro + Pro Tools) because I can get legit copies dirt cheap through my university. But honestly, I don't think anybody should pay for recording software so long as they're not profiting from it.

If I downloaded reaper and then recorded an album and make a tidy sum of money, then I would feel obliged to pay reaper whatever they ask for the privilege. The only way people can learn and take an interest in music production is to get cracked copies, it would be like buying a 2k les paul for someone who's never played guitar before.

Thats just the way i see it anyway.

So by that logic people shouldn't have to pay for their guitars/amps/whatever until they make money from it? Bullshit.
Quote by Tom 1.0
so what can we do? maybe everybody who enters should put it in their sig like i have?

Plan.
Is there any way to give this more promotion? I don't think many people know this is happening.
Quote by IronMaiden5

Haha, loved it
Yeah he's talking about the preamp gain/clipping. Basically the 40dB figure means that is the maximum you can amplify the signal, i.e. the amplification you are getting with the gain knob on full. It doesn't tell you anything about when it will distort.

The point when things will distort depends on the loudness of the original signal and the gain you apply to it. If you have a quiet signal, you can put lots of gain on it before it distorts. If you have a loud signal, you may only need to use a little bit of gain.

One reason they put the gain figure on the specification is because some microphones are very quiet, and need lots of gain to get up to a reasonable level, so you need to ensure you have enough to amplify these small signals.

You mean you're setting the fader in the DAW to -6dB? And when you play it back the meter reads -12dB? If that's what you mean, then that's because what you're recording is at -6dB. So if you turn the fader down to -6dB (0dB means you aren't changing the level of the signal), you will now get -12dB.

Decibels are a very confusing unit, partly because there are so many types. I suggest you learn a bit about them.

I hope some of this helped
Quote by Beanerofshred
Ok new problem...It was working fine and i tracked some guitar but all the sudden it pops up and says that the ASIO sample rate is not supported by one of the USB interfaces, please check your sync settings in the Control Panel...iv tried messin around with my fast track but nothing really seems to be doing anything, how would it work for 2 hours or so and then suddenly stop working?

Are you using Vista? If so, try this, if you haven't already. Should be similar on XP or Windows 7 though.

1. With Reaper closed, right-click the speaker button in the bottom left hand corner of the screen and click 'Playback Devices'

2. Make sure the Fast Track isn't selected your default sound card.

3. Load up Reaper and try to set it up as you normally would, preferably with ASIO4ALL.

Basically Reaper doesn't like sharing a sound card with Windows if it can help it. Having exclusive control of the Fast Track allows it to get lower latency (I think). When you aren't using Reaper it's fine to have it as your default though.
There's a button on the front of the Fast Track Pro which says Mono/Stereo. Try that. Also, I don't play at ear splitting volumes and I don't need my gain on 10 when using my SM57. Turn up your amp a bit maybe, and make sure you don't have the -20dB pad on.
I seem to be one of the few people who enjoy the production on the album. I dunno, I guess it just works for me. It doesn't have to have multi-million dollar (pound/euro) production, as long as it fits with the music, which I think it really does. Considering they did it themselves I think it's fantastic.

But then I also enjoy the sound of And Justice For All (even though I know it sounds shit).
Nice! I only just found this thread. I think this should be publicised a bit more, to be honest, I'm on this site all the time and I never heard that this was going on.

I'll enter and decide how much to donate later.

Good work godofshred!
Have it really close to the amp but not directly in front of the speaker. If the mic is in the middle, pointing directly at it, your sound is much bassier, that eats away attack.
Having the mic in the middle pointing at the centre of the cone actually increases treble, as treble is directional but bass goes everywhere.

This graph from the AES Journal demonstrates it nicely:
The adverts have been getting on my tits to no end, but I heard it's actually quite funny. The best thing was when the E4 announcer guy said: "Guys, please watch Phone Shop, we've put so much money into marketing it!"
Quote by unet
Edit: Spencer Sotello is so not crap!
I think he's a great singer.

Well obviously it's all preference, but the video for Icarus Lives just makes me wince. Sounds like he's constipated and straining REALLY hard to push out this really thin voice, especially the harsh vocals. Just me maybe

Anyway, I hope they stray out of their comfort zone of the south east when they come back to the UK.
I do prefer the original version of Acceptance, mainly because I heard it first and it's why I got into Tesseract. The new vocalist doesn't have quite the same effect in my opinion, and his screams really don't work as well. I thought he had a whiny voice at first, but I got used to it after watching Deception a few times.

He fits really well on the other tracks though, at least I think so. I'm just glad they didn't ruin great music by putting a crap singer over it *coughperipherycough*

Don't see what you mean about the guitar and cymbals, if anything I think the cymbals sound better. Keep in mind they produced and mixed it themselves, so I'm pretty impressed in that respect.

I hope you like it after a few listens.
So, my EP came yesterday. Good stuff, I say.
Quote by bogeaqyt
ISIS-Celestial (the Tower) Remix By Justin Broadrick of Jesu
So much better than the original, even more dark and atmospheric.

Not familiar with the original and I'm listening on crappy speakers, but I do like Justin Broadrick and I'm enjoying it so far
http://www.youtube.com/watch?v=z8o6abS-6dQ

My Twin by Katatonia

Took a great song and just made it different, in a very good way.
Hmm, I say get a few good books. Preferably ones with practical step by step guides. There's a good book I'm looking at at the moment called 'Learn Java in 21 Days', but I can't find an equivalent one for C++. It's difficult to find technical books at the right level that are easy to follow, some books give loads of information, but are extremely hard to follow (I find).

I learned C++ at uni from lectures and workshops, but I know someone who's teaching himself from books and he seems to be getting along well with it.

Other than that, this is a great website: http://www.cprogramming.com/begin.html

I use it for reference all the time, and I reckon their 'Getting Started' section is worth looking at. Should hopefully get you started anyway.

Hope this helps, good luck
Quote by Dave Frenzy
it would just cause confusing during the switch over.

OH NOES, the confusion!

Pfft, the French managed it, can't be that hard
Well, depends on how much time you want to put into it. If you're interested in learning a programming language, I say learn Java or C++ then apply your skills to writing a VST later, when you're feeling confident with it. I just wanted you to know it's not something you just jump into doing, takes effort, you know? If you're really interested I say go for it, it's a great skill to learn and you can always put it on your CV or whatever.

I'm considering making a VST plugin for my final year project (either next year or the year after), so if you're still interested then I might be able to give you a hand.
Can you get some screenshots of your Reaper set up? Without seeing what's going on it's hard to help.
VST plugins are written in C++ and you can get an SDK (software development kit) to start you off from Steinberg. A word of warning: I've been learning some C++ as part of my degree and I have NO idea where to start writing my own plugin yet.
Cab wattage is the maximum power it can take from a head. It's passive (has no power supply, it's just speakers) so it only takes power from the head, it doesn't supply its own.

In other words, all the 'volume' comes from the head.

EDIT: Yeah, don't put a 100W head into a 20W cab.
Water by Atheist

Or, as someone said above:
Floods by Pantera
Yeah I have no idea how feasible it would be, I'm just drooling over it a bit for the aesthetics

I hope he puts up that comparison soon.
Yeah, wouldn't be easy and the cast is cool, I'm certainly not doubting that. I mean, from glancing at the photo I actually thought it was wood!

I'm sure you could do a big batch of wood covers with a CNC machine though and the cost wouldn't be that high?

Anyway, the pickups sound nice form the video. I usually don't like the sound of 8-strings, but I liked what I heard when he briefly used the 8th string.
Lol, didn't see the epoxy thing and assumed

I just think that this would look amazing as a pickup cover:

Quote by 8stringlover