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Quote by Duaneclapdrix
Cool. The last four bars were Cmaj7, Fmaj7, Dm7 G7, Cmaj7 which I could serve up in an ice cream cone, so it will be interesting to hear how things turned out.


Somehow I ended up with 12 bars of yours lol. Anyway, yeah, there's some inversions in there and a few chords more complicated than a 7. I think you'll like it. I'm interested to see how it sounds now too (cheesy organ VSTs don't do anybody's music justice).
Lol I should have read the OP over again before working on this. I thought I wasn't allowed to add a suggested chord progression. Oh well. Maggara will figure it out. My melody doesn't stray too far away from convention.

Quote by Duaneclapdrix
Yes. I'm getting hype.

In other news, me and my jazz teacher talked about how to spice up the vanilla chords I had for my melody. I wanted to leave them straight so Lersch could do things to them if he wanted to. (Not because I couldn't think of anything better. Couldn't be that >_>
So thanks to this challenge, I know more about sick subs yo


The final progression wasn't vanilla, so I don't know how much he changed from your original ones. Nothing too-too crazy, but I think only two or three were straight up diatonic triads from the part I was sent (maybe even less honestly).

Oh, and if you end up reading this Maggara: You may want to level out the MIDI velocities and I kinda realized that my melody sounds especially terrible without reference to the click track, so make sure to turn that sucker on
For Fuzz my 4 favorites are Univox Super Fuzz, Roger Mayer Axis Fuzz, Analogman Sunface, and DBA Fuzz War, but that MFZ-1 sounds pretty dope. Might have to see if I can build a clone of it or something.

The Super Fuzz usually has a lot of clones floating around (just saw one for $95 on Reverb). I think I saw some Axis Fuzz clones on there too.

All of them except the DBA are classic fuzz tones ala 60s-70s. That's the era I think I like the most when it comes to fuzz. Fuzz is one of those things (Univibe also) that you really can't go half-assed with or you're going to end up hating them...
Alright, Maggara has it (unless google drive's being weird again).

Sorry it took awhile guys. I had to re-write the whole thing today since I listened back to what I'd done Saturday and it was garbage (not that the new one is great either).
As an MRM advocate, I can see the need for it.

As a human being, it saddens me that these men have had to embrace this sort of ideology to find happiness. I don't necessarily blame them for resorting to it though....
Quote by Frenetixx
Hello

I am having problems improvising my own music and creating my solos. I keep playing the same riffs over and over and cant really seem to keep making up more new and cool sounding solos. It seems that if I had a sound in my head I couldent play it really on my guitar, what can I do to start improving my improv and soloing? I tried learning new scales, I would learn the box shapes but it would sound like for the most part me just going up and down scales, nothing good, I am really into classic rock and bands like black sabbath, that's the sound I am looking for, I just want to become a better guitar player, any tips would be greatly appreciated, thanks


You might try becoming more familiar with arpeggios and scales (and the relationship between the two) and how they react to different progressions/chords. A lot of the the leg-work in translating a sound from your head to the instrument can be done by identifying the 'flavor' of the sound your hearing.

Another big thing is ear training. I recommend 'The Functional Ear Trainer' from miles.be

Last thing is a little exercise I picked up from justinguitar.com (probably the most effective out of the bunch here, but the others are important too!). Do this every day. Choose a melody. It can be anything, but it has to be something you know very very well (nursery rhymes and national anthems are pretty good starting places). Then pick a starting note (any note on the board) and figure out the melody. No bends and you have to stay in a 5-fret box as much as possible. So basically you're not allowed to slide up and down the string or bend to pitches. It's to teach you how to find melodies across strings and become familiar with the intervals between the strings.

The first couple days (or weeks), you're going to make mistakes, but eventually you'll get a grip on playing a melody without having to go find it.

Oh yeah, and expanding on your 'memory bank' of riffs can help too. You can play the same riff 100s of ways (different tempos/rhythms/backing chords), so don't worry about using the riffs you've already learned in new and unique ways. Also, learning to copy vocal melodies is a great way to expand your knowledge of palatable runs.
Quote by Lersch
I think it's correct. What I sent Jet was around 200 bpm.


I didn't That would have probably changed everything, to be honest. It's funnier this way, anyways


alright cool. thanks But now Duane's saying 'last 4 bars' which scares me lol.
Just got it. I have some shit going on tonight but I should be able to work on it tomorrow. If I can't get it done by then, I'm busy Sunday+Monday so I'll be done Tuesday at the very very latest.

EDIT: Ok, was I supposed to get 12 bars of Duane's/Lersch's? Or did I set this up wrong in LIVE? I have it at 4/4 200bpm
Gotta play devil's advocate here (and maybe someone already has), but it's possible that a vindictive friend of the guy you just sent that email to got on his facebook and did all of that as a joke. Maybe the guy you sent the email to didn't even know about it either!

I've had friends get on my facebook in the past and post pictures of homosexual men making out and posting sexually explicit things on any girl's (incl. my Mom) wall they could find because it 'was funny' to them.

If that's the case, you just totally bombed a bridge and labelled yourself as a crazy dude that overreacts to everything. You made yourself toxic (either way, really). If you're going to be an asshole, think things through. That was kind of a stupid/rash move.

Burning bridges is never a good idea, no matter how much of a ****-nut is on the other side of it, and no matter how much you think that person is a cancer in your life and that they'll never be anything but. Like primusfan said, let them do the burning. It doesn't serve you to do the burning.

Life changes and time heals. Even some of the worst people in your life can be advantageous later on. You can stop calling them/being around them, but don't burn the bridge!

The only time burning a bridge like that is ok, IMO, is when they've done something to actually hurt you financially or physically and even then it's a line you need to be very mindful of crossing (feels don't count!). Facebook bullshit? Nope. Don't burn that bridge.

You can be assertive/alpha/not-a-doormat/etc and set boundaries with people (if they don't like them, they can suck it, right?), but acting like a man-child that can't keep his rage in check just makes you look bad...
Cut out the dead weight and see if your life turns around. Mine did.

You don't necessarily have to change who you are. You just have to change the people you surround yourself with. There are people in the world who appreciate and even respect people like you.

It's not easy being a nice guy. I know that first hand. I've been screwed over financially and even ended up homeless for a while because of shitty people who magically forgot all the times I opened my doors (and my wallet) to them when they needed it.

It also helped me to surround myself with people who cared enough about me to be an asshole for me from time to time.

It could also be the town you're in. Different places breed different people. I've found that the mid-west, known for it's 'hospitality', is filled with two faced pretentious idiots. I've had much better luck near the east coast where people are (supposedly) more hostile.

Also, in case you're thinking it, the memories/nostalgia of your old friends isn't worth it. History with a person or persons isn't worth shit. I learned that the hard way. I think that's the only thing that really changed about myself (besides becoming much happier). I no longer reminisce. I hate the entire idea of it.
In E

He seems to be using the E minor pentatonic / E blues scale in the lead bits.
Quote by rickyj
I've seen them a couple times in the last few years, their shows are pretty meh-worthy. They try to hard.


They were really killing it when Ace and Peter came back. When they left again, it went pretty downhill.

I saw the Psycho Circus Tour and the 'Farewell' Tour twice. They were amazing. I saw them a few years later when they were touring with Aerosmith and there was a definite drop in quality. Less fireworks, less connection between the musicians and less overall energy. It just wasn't what it was.
They're not great, no, but nor is AC/DC or GnR (IMO), but people still love them. Their live show is where the goods are. Studio stuff is pretty 'meh' at best.

I probably haven't been a fan since I was about 12, but I can say that the 3 shows I went to were some of the best rock concerts I've ever been to.

Another thing to understand is that KISS is a brand more than it's a band. It was specifically engineered from the beginning to bring in the $$$ and so you won't really find anything profound musically/artistically there.

Think of them more like a circus act based around rock music rather than a group of legitimate artists and you'll be a lot closer to understanding them.
Quote by MaggaraMarine
Why not? I mean, we don't know what's out there. I would guess if there are aliens, they don't know either. How could they know we are "not that special"? I mean, even if we just found some random bacteria on some other planet, it would be pretty special to us. Finding life in any form on other planets is so rare that it is special. Even finding a planet that could be suitable for life is rare.

I don't know if aliens think the same way. But it's a fact that life outside the earth is very rare. And we can't even be sure it exists (though it would be kind of strange if it didn't exist, at least in some form).


We don't look for any certain species (because we don't know any "alien species"). We are just interested if we can find anything living somewhere. It could be as simple as bacteria or something more advanced than humans.


Fair point.

I guess I just find it hard to believe that a civilization advanced enough to be traipsing around the galaxy (or beyond) would find much interest in our species, but I suppose anything's possible.

If humans were capable of faster-than-light travel, would we be concerned with every species we encountered? I would imagine maybe the first 5 or so intelligent ones, maybe even less.

Eventually it would become observation-based, I would think. Especially when we're talking about species that are in the stages of development that humans are currently in. We're really only at the beginning of our journey through development.

Hell, for all we know, our entire species is just some weird alien experiment hehe.

You're right though, we don't know what's out there. This topic is reminding me of The Fermi Paradox a bit.
https://www.youtube.com/watch?v=0fKBhvDjuy0

Considering that there are 40 billion earth-like planets in our galaxy alone, it seems highly unlikely that there aren't any other intelligent species in the universe.

The idea that they've come here or already are here? I don't know. I suppose it's likely but we're really an imperceptible blip even in our own galaxy.

We've (humans) also only been here for a very small fraction on the time earth has been around. It's more likely that if aliens visited that it wasn't at a time when humans inhabited earth.

Also I have to wonder: Do we really think that we're so special that another species would go out of their way to find us and make contact?
Quote by chrismendiola
Rosetta Stone and "[Language] for Dummies" books are excellent. But the absolute best way to learn, if you can find a way, is immersion. Obviously.


Shameless plug: Berlitz

Based on total immersion.

Basically you walk into class every day and the teacher won't speak a word of any other language except the one you've signed up for.
Quote by Cianyx
Duolingo is pretty good as a supplementary app. It doesn't explain grammar and syntax though.

French is tough because differences in singular and plurals are pretty subtle to the baka gaijin ear


They also butcher the pronunciation in a few of the languages. I know because my Mom laughed her ass off when I spent 6 weeks learning some basic conversational Dutch so I could talk to her in her native tongue.

I'm finding Duolingo+internet videos taught by people who actually speak the language to be effective. And of course, good ol' asking someone who grew up speaking it (thanks Mom!)

FSI has some pretty good language courses and they're all free
You can move left or right up or down or hit them in different orders. It's kinda recommended that you try getting used to playing them different ways.

I guess to start just try going in order from top to bottom, right to left.

The numbers are which fingers to use. 1=Pointer, 2=Middle, 3=Ring, 4=pinky
Quote by Robbgnarly
Yeah, but your getting 144 picks of the gauge you want and the rest are all a different gauge or that is what I am getting by it saying 4 gross (a gross is 144) and having a pick of 4 different gauges and no selection for an individual size

You could contact www.stringsandbeyond.com and ask them about them. They are a great company to order from and have insane customer service


Huh. I didn't know they did picks as well. That's where I get my strings from since I play a weird gauge-set. I'll shoot them an email next time I order strings.
Quote by Robbgnarly
Found some on amazon, but you have to buy almost 600 at once and they are $73 and only 1/4 of that order will be the gauge you want
http://www.amazon.com/Jim-Dunlop-4350-Guitar-Picks/dp/B000EEJBLQ


Might do that next month or so (if it's still there)

Thanks for the link! I'd probably never have to buy picks again lol

There's a similar one on Dunlop's website but it's a lot more money. That one looks like a pretty good deal.
.73 Nylon. Used to use the Dunlop 'Riffs Picks' (red guys) but I've lost all of them now and I can't find them in stores so I'm using the 'Snarling Dogs' .73s. They feel about the same but don't last quite as long. I'm thinking of buying a jar of the Dunlops at some point.

I like the way the nylon in that gauge bounces off the strings while you're playing. It just feels...right.

Tried a few others. I kinda like the Ultex .73s on an acoustic if I'm playing rhythm. Otherwise I stick to the Nylons
I personally don't think the state should have the final call, but nor should the child. It's the parent's choice until she's 18.

I mean, they're showing initiative toward finding a cure through alternative means which tells me that they want to cure it (and there have been success stories with alternative medication. I read an interesting journal on maitake mushrooms a while back. Apparently they shrink cancerous bladder and breast tumors).

So the way I see it, if Chemo isn't the only option, and the court is forcing her to get Chemo, it's not too far of a stretch to have kids tested in school for ADHD and then charging their parents $200/month for mandatory Aderall, because, well, it's "in the minor's best interest" and apparently the state now has a say in that.

Yeah, we don't want religious nuts refusing to get their kids vaccinated and then the kids dying, but it's a fine line. I think this particular case may have crossed it a little bit.
I think the only time is when I was younger and I wouldn't clip my strings close enough to the peg.

Strap failed but I managed to catch it by the headstock. Ended up putting 4 or so holes in my hand.

From then on I've always made sure to cut them as flush as possible and bend any protruding strings down.
But isn't that what makes it so wonderful?

It opens up all kinds of choices of what you can pursue. How boring would it be if there were a finite number of things you could master on an instrument?
The second tempo (at ~3:40) sounds like it's moving up to ~144. Probably an unintentional speed up, and really not even noticeable unless you're counting the beats. Try recounting it yourself because sometimes I screw those up hehe.

But yeah, the drums sound like double time in that second section. For the sake of accented beats (I don't even know that GuitarPro picks up on that, but someone using it for the standard notation might), I'd change the tempo to 144 when the drums come in. You can clearly hear the accent on the 1 and 3 (with the 3 being less pronounced but more pronounced than the backbeat), so it might screw up the interpretation.

Honestly it doesn't much matter. You could also change it to 2/4 timing and half the note values (and leave the tempo at 70), but it sounds like 4/4 at ~144 in the second section to me.
3-4 hours if you count blues wanking. I figure it'll take that long for my fingers to get tired.

Actual songs? maybe 30-45 minutes.

I used to pull ~4-5 hours at a job I worked at, but I was entertaining on the patio at a restaurant, so I could cycle the same 30-60 minute set over and over and no one would be the wiser.
In. Preferably composer. I think I'd be pretty shit at arranging.
That attitude seems to be kinda like a 'stick it to the man' type thing, but the ones getting hurt are the musicians, not some huge record company that just has to pump out another Beiber to make money.

Also, the idea that you can make a living selling concert tickets, vinyl, and merch is a little misguided. You'll make money, but expect to make less than an entry-level school teacher at best. It's not easy. Tours are expensive and exhausting. Most low-mid level acts are lucky to break even. Most end up in the hole.

The industry needs to change. Maybe downloading music is a good way to influence that, but at this point it's putting more musicians on the street or working at CVS than propagating changes. They could have written your next favorite song or put on the show that you'll tell your kids about, but they won't get that chance. To me? That's kinda sad.

It's not your fault. The industry has had time to adapt and has proven that it's a dinosaur with some kind of strange anti-evolutionary complex, but that doesn't change that the artist pulls in far less profit when you and 250,000 other people can't spare $10 on an album.
Just keep practicing them. I don't have particularly large hands either. What I've found is it's more about muscle memory and building comfort than the size of your fingers. If you can stretch them the length of frets 1-4, you've covered nearly every conventional chord there is. Even if it kinda hurts now, the pain will go away with time

Go look up Jess Lewis playing Guthrie Govan if you need inspiration. She's got tiny hands and she can do it.
try .cr instead of .se
Well, how does this song make you feel? What message are you trying to convey?

Are you feeling uneasy? unstable? disjointed? Maybe you should include more dissonant chords to convey that. Use more imperfect cadences.

Happy? stable? Maybe more resolution and stable chords.

I think it'd help if you came up with a melody. Just try singing the lyrics. Play around with it until you get something you like and then build chords around it.

I already notice (having only read a few lines) a lot of stable couplets mixed with mostly stable rhymes (Parallel, perfect, and family). I'd figure out how you want to sing those. Go through and figure out how many stresses are in each line. That can help you make some decisions too.

The general rule when writing a song, or making any art for that matter, is to have everything become a part of the "big picture".

So, I'm seeing lots of stability in the lyrics. Does that match up with how you feel? If not (and judging by the tone of what I did read, I'm thinking not), it might be wiser to change some of the lyrics to match that. Try changing some of the lines to assonance or consonance rhymes (assonance = vowel sound matches but consonant after and sound before doesn't. Consonance is when they don't rhyme at all) to convey that. Use some more dissonant and not so run-of-the-mill chords mixed with stable chords. Maybe throw it in a minor key with modulations to major where appropriate.

Plan the whole thing out. If there's a relief in the tone (i.e. gets happier), try changing to a different key or using a happier scale (lydian scale maybe?) for that part. If it's getting real dark, maybe work out of the phrygian or melodic minor scale. The more deliberate you go, the more whatever kind of message you're trying to convey here is going to shine through. Even just breaking it up into sections and writing something silly like 'Sad' next to it can go a long way when you're building a progression/melody.

Sorry I didn't read your whole lyric. It was long as hell lol. good luck! Hope I was able to give you a few ideas.
I got a little kitty when we found a litter of them living in a dumpster behind my work.

Cats are super easy (ours even puked in his litter box when he was sick!), and they're only really active in the early morning and evening, so surely that's when you wouldn't be working, right?

I was only 19 when I got him, extremely poor, and probably fed him more often than I fed myself. It's really whenever you feel like it. Just make sure they're allowed wherever you live, and set some money aside for vet visits.
'The John Stamos'. I actually walk into the barber shop and tell them I want 'The John Stamos'.

I'm not talking 80s John. Like now John.

Little bit of some weird creamy stuff to style and go
I got it in September, so no, but I am getting a DLS Rotosim (Leslie simulator) and a hell-ton of strings, so I'm happy
+1^

Just to add on to what Maggara said, I find it very useful to listen to the studio take as well as as many live takes that I can find if I'm covering a tune.

That way I can see what the artist originally intended as well as what he/she might have thought was not as important/vital (maybe a solo was improved in the studio or they changed a section when they played it live, etc).

For Hallowed Be Thy Name, I'd personally go for a live version. Maiden really shines live.

Also, remember that it's YOU playing the song. No matter what, a little bit of you is going to shine through. You just have to decide how much. I personally try to keep the original 'vibe' of the song intact as well as I can when I'm covering something.

That's where paying attention to what parts are important to the original artist comes in handy (you can change the ones that aren't!).
It depends on the scale length (and you gotta make sure the screw setup is the same). The bullet is a 25.5" scale length, so as long as the scale length is 25.5", it'll work. Check out the back to see how many screws (I'm guessing a 4-screw. pretty standard) too.

Not sure what brands or whatever (I wouldn't get anything too fancy... buying something that's worth more than the guitar seems like it's defeating the purpose), but generally just searching for 'replacement strat necks' on Google will turn up some good results. Just pay attention to scale length and how it goes on the body (# of screws).
Quote by StewieSwan
But the thing is that 90% of the time the bar doesn't pay you.


Like I said: I agree with paying the musicians (P2P practices have got to go), but that's all that's needed.

Maybe have this list, but a big "OR" between 1-14 and 15.
I agree with paying the musicians and not using 'exposure' as a reason to not pay a band. 'Pay to play' is a pretty underhanded practice and demeans the musicians, but the rest of this list is kinda BS man.

You expect the club to do promotion? To buy fancy lighting for you? To provide a stage? A sound engineer?

C'mon, really? That's just being a lazy musician. Go pick up a PA system and some cool lights, call the venue (or go there in person if possible) before your show and find out what they've got on hand, and make do. Need promotion? Print out your own damn flyers and deliver them to the venue before the show. They'll put them up.

Take some goddamn initiative. You're selling a product. If a bar is paying you, they're paying for a product. Expecting them to provide half the rig and to do your promotion for you is like McDs handing you a cold patty, an uncut bun, and some condiments in a baggy and telling you to make your own goddamn cheeseburger.

No wonder bands aren't respected/payed half the time...
Just sounds like a delay with a wah with a clean guitar sound. The 'scratchy' sound comes from raking/scraping the muted strings.

There's some other guitar work in there, but it sounds like the same effects going on

EDIT: Based on the other little guitar licks, I'd guess there's a compressor in there too.
Quote by liampje
I do know how a chord is constructed. Hearing a chord is a whole different story. Mostly I do not hear how a single note functions in some kind of weird voiced chord. Similair to the problem I have not being able to hear how chords function.

The conclusion would be that my ear sucks. I need to have some kind of ear trainer that trains this rather than "what is this interval?"


musictheory.net has some chord-ear trainers.

miles.be has an ear trainer that gives you a cadence (major or minor) and then a note. You have to guess the scale degree. It helped me to connect how each note 'feels' within a musical context rather than just static intervals.