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Every group writes differently and every group has a different amount of people writing and contributing.

I've just started a new band. We've finalized 3 songs and we have 3 other in the works. I'm mostly working with the other guitar player. We put together the melodic and rhythmic structures. The bassist and the drummer then add their own parts in open jam/rehearsal.

We've only had 3 practices with the drummer and 2 with the bassist, but the guitarist and I have gotten together 3 times a week for the past month.

It's just what works in this group and setting.

My last band, all the material was come up with in group jams and then the lyrics were penned by the singer after we had a decent recording and a melody loosely mapped out.

The band before that, the other guitar player and I came up with songs on our own time (separately), finished down to the drum hit, and then we'd work with the bassist and drummer to make sure they were happy with their parts.

You do whatever is effective and works, and sometimes music isn't so regimented. Things can be a little free floating until it comes time to lay down an official EP (and even then... look at any blues/jazz/early rock band. It was still free floating).

You guys should definitely, consciously, while jamming, try to say: "Ok, what we just did was cool as hell, let's try to turn that into a tune"

It's worth a shot. If not, maybe you need to work with the drummer should get together and work on some go-to grooves. I don't know. You've got the blessing of having things be more free floating since you're the only melodic instrument.

Also, get that MC to start writing out some rhymes or lyrics or melodies or whatever the hell. That's gonna be the easiest way to start getting solid tunes together.
Quote by lalopunk
yeah, i just read some guy who posted that his power supply is working after 5 years

so, yeah I guess is a good investment, though it seems not to work well with wah wah, and the pedaltrain forces you to mount the supply on the center, so what if you wanna put your wah on the pedalboard, you would get hum noise

I dislike that, I would like to keep my pedalboard as neat as possible with the wah on it, instead of having it on the floor, and that power supply interferes with the wah, i read some guy who drilled a big hole, so he could mount the power supply more to the left instead of center, so it wouldn't interfere with the wah


Yeah, I've never had problems with my wah. I mean, I think it depends on the wah or something. It could also have nothing to do with the power supply itself. I mean, the power supply is in a shielded enclosure. It shouldn't get interference from the wah (not to mention the wah isn't some magical device. It's in a shielded enclosure as well..).

I think it's more likely that his wah isn't true-bypass and the signal is bleeding over to the next pedal in his chain. I had a wah awhile back that used an FET to bypass it (no idea how that worked), and it made my other pedals sound like shit. I now have a Jam Wahko Plus. No problems whatsoever.

You can mount it anywhere, it's just that if you buy the pedaltrain-1 or 2 (they're supposed to go together), you have to mount it dead center to line up with the holes. I'm thinking of seeing if someone wants to buy my pedaltrain-1 and just building one, but I want to get all my pedals built first. I'm having trouble deciding on modulation.

Another option is that the Pedal Power 2+ has a courtesy outlet on it so you can plug a power strip into it (and subsequently mount it on your board if you're into that sort of thing). You could always plug your wah into that and it might clear up the issue.
Quote by lalopunk
musicianfriends, guitar center, a few people commenting on how they go bad after a few months, that kind of scared me away of trying voodoo labs, imagine spending 100-150 on that, and then having it go bad after a few months. I only have 4 pedals and 1 wah wah, so the 1 spot does fine for me. I only play in my room anyway lol


I found one guy complaining about breaking his connectors and then being too dumb to find the replacement connectors that they do, in fact, sell.

Then there was one guy who got a bad egg (apparently). That's 1 guy out of reviews on three sites (GC, Musiciansfriend, and sweetwater).

Both of those bad reviews were on musiciansfriend... I'm usually very weary about trusting their reviews. This is the same website that accepts reviews from old men that rate a polytune mini at 1/5 stars because their old eyes (that probably couldn't see a ****ing elephant crossing the road) couldn't read the display. Give me a break...

Anyway, I can see why you wouldn't need one. It's not like you HAVE to have one, but it's a good investment if you plan on expanding or recording any time in the future.

EDIT: I was going to link the polytune mini reviews because they're so ridiculous, but apparently musiciansfriend doesn't sell them anymore lol
Quote by lalopunk
is not my setup, is the first pic I found online

obviously, if you have pedals like that, you would need an isolated power supply, but if you are starting out with a pedal board, you don't need those monster supplies

also, i keep reading these reviews that say they go bad after a few months, i read them on guitar center, musicianfriends, sweet water, can't be coincidence, they expensive as hell too


Don't know what reviews you're reading or on which supply. I've had a Voodoo Labs Pedal Power 2+ for three years and I've never had a problem (knock on wood). The only time it's not unplugged is on the way to practice or a gig. Otherwise it's on my bedroom floor plugged in.

An isolated power supply is a one time investment, and the smartest one you'll make. I've heard of one spots going out, but never a Voodoo Labs, plus, no one knows the future, but most players I know go through phases of having eight pedals and then having two and then six etc etc. It's better to have isolated power for them every time One spots are noisy when you go above 4-ish pedals.
You guys are awesome Thanks for all the suggestions everyone!
I don't think tabs are all bad. I prefer not to use them nowadays (they're often more hassle than they're worth), but starting out? I needed those.

I don't think I would have spent the past 8+ years playing and learning and honing if my first few years playing were spent practicing picking patterns, techniques, and scales to a metronome and digesting theory books during breaks. I needed to be able to rock out. Otherwise I would have quit a long time ago.

Yes, they're not the most accurate thing in the world, and I have run into guitar players who only rely on tabs, and yes, they are behind where they probably could be, but that's their fault for not taking an interest in (and putting in the time and effort to) understand music and tonality.

It's the 'easy road', but in the beginning, the easy road is important. You can get off at the first fork in the road if you want, but there's nothing wrong with them, especially starting out. You get better by playing, and if tabs allow you to do that and keep you interested in progressing? Go for it. Just remember to go back and put the understanding together later when you've learned a thing or two about music

I still use them very occasionally. I used them when I was in a cover band, especially. I have good ears, but sometimes it's faster to look at the tab real quick and get a general idea of what position on the fret board you're supposed to be in on the solo at each bar or two.
Quote by reverb66
These are among my favorite soulful and dynamic vocalists:

1) Sam Cooke - see Bring it on Home, Get yourself another fool, Summertime
2) Bill Withers - Ain't no Sunshine, Grandma's Hands, Lean on Me etc.
3) Raphael Saadiq - Good Man, 100 Yard Dash, Stone Rollin
4) Amy Whinehouse - Back to Black, You know I'm no good
5) Lana Del Ray - West Coast, Ultraviolence, Cruel World ( the entire Ultraviolence album is really solid)


Ah cool! thanks. I'll check these out. I love me some Sam Cooke
Quote by JohnProphet
one possibility springs to mind right away, Clare Torry on Pink Floyds "The great gig in the sky"

Starting at 1:06

Video


Lol how did I miss this one?? Thanks for reminding me that this exists. Time to get to work
Doesn't look too bad, actually. I don't know if it's actually worth $600 just because of the way things go with resale value (it IS a parts-castor, which drives down the price significantly, however all the parts seem to be parts of American strats).

The only thing that's still worrying me is the body, but I can't do much with those pics. I was also worried that the logo might be fake, but he's claiming it's a 57 reissue and the 57 reissue did use the decal type logo, so that checks out

I would see if the guy wouldn't mind you trying it out. It looks like he used a neck and body from a '57 reissue, but it's possible that you run into the problem that the neck and body don't like each other (it happens).

See if it plays/sounds good. If it does, $600 isn't a terrible deal for an American Strat. You might be able to knock him down a little on it (just because it isn't using all the original parts), but don't be too pushy. That guitar actually looks nice.
Can't tell you much by the pics you've posted. The color looks a little off based off of the comparison pics, but you can really tell by the innards (usually).

Try throwing up a pic of the wiring. I might be able to ID it (I'm by no means expert, but I can usually tell if it's a Fender or not (if it's not too ancient)).

The 'Dred' could very well be just someone writing on the guitar. I used to write my name under the neck too (or maybe that's totally not normal and that means something different). Not sure what the 'M' means.

Also, a pic of the headstock might help. Just because it says 'Fender' doesn't mean it is. I can tell you off the bat that Black lettering with gold outlining indicates a MiM and Gold lettering in a black outline indicates a MiA.

If you see a thin outline around it, it could be a water-slide decal. I've seen those going around craigslist now and again.
Quote by Baby Joel
so, you're saying that music is math?


It can be. Sometimes. Practically? Not really. No one's using math consciously while they're performing (aside from counting beats).

I guess math just applies everywhere (that's what I meant, anyway).

But if you wanna get technical (and 'rigorous', apparently) like Eastwinn, math is the science of numbers, quantity, and space, so everything in music is math. Math encompasses patterns and fractions, so notation, time signatures, tempo, scales, modes, intervals, and even the frequencies we derive the 12 notes that we use in western music from, are all maths
So lately I've been really getting into more 'lyrical' approaches to lead guitar playing. I'm primarily a blues/blues rock/psychedelic/fuzz rock player, so I feel like this is something that I'm already doing, but I need to hone in on more.

I've accepted (well, years ago) that I'm not a 'technical' player. Long arpeggiated sweeps played at breakneck speeds not only scare me (The muscles in my hand can't handle them for some reason), but I find them to be boring. They make people's jaws drop, but I feel like emulating the human voice and it's nuances seems to be received better by an audience.

Anyway, I was hoping someone could suggest some singers to look into. I've been listening to a lot of Derek Trucks lately and I've been listening to Hendrix since before I picked up a guitar, so I understand the basic concepts of the whole thing (it's more about pick attack, position between the neck and bridge that you're picking, and using slides and hammer-ons/pull-offs (and combos of the two) to emulate vocal phrasing), but being that I play guitar, I've always gravitated toward good guitar playing more than good vocal performance.

Any suggestions? I'm looking for soulful and dynamic. A singer (or singers) that have that 'Hendrix' thing that no one seems to be able to put to words, but still makes them top those 'top 100' lists every single time for best at their craft.

Also, any suggestions on how to improve on this type of stuff is extremely appreciated. It seems like there aren't any lessons on this type of stuff.
Quote by Eastwinn
it's 2048 if you follow the criteria in my original post but allow for an 'empty' scale. 2047 if you follow the op exactly. and so on. the approach in the link you posted was not sufficiently rigorous for my liking and suffered because of it. a finite sum of n choose 11 is the method, anyhow.

will consider this challenge


So, basically, it came up with the answer you were looking for, but you don't like the way the guy came up with it?

I guess that confuses me a little

I mean, if the solution and the general criteria of what makes a scale a scale is the same, couldn't you just (by the properties of maths) rearrange the equations to where the formula you've come up with is essentially the same (maybe a more streamlined version of) as what this guy did?

Sorry if I have no idea what in the **** I'm talking about (I don't). I really haven't done anything to do with maths (aside from music, but that's pretty much elementary school level shit) in over 4 years.
You could always, you know, do this amazing thing called 'fixing your guitar'. Go on youtube and start learning how to setup a guitar. Pickup height, truss rod adjustment, string height, intonation. Learn it.

Also, look up some vids on soldering and wiring a guitar. You probably have a bad solder joint on one of your grounds.

Learn to EQ your amp properly.

These are all things that, if you are truly serious about playing guitar, you'll have to learn to do unless you want to needlessly spend hundreds on these types of things in the future. Even great guitars don't stay in perfect working order forever.

Also, there's nothing wrong with acoustic. If you were really serious, you'd practice the shit out of that thing regardless of how much you 'hate acoustic'. Make it sound good bro. Get good at it. I promise when you finally do get a new guitar for Christmas, you'll sound 100x better than you will if you spend your time complaining on the internet about how your parents won't let you have it now.
Quote by Eastwinn
the math on that page is incorrect. in fact, even what you pasted isn't right. 11 choose 0 = 1? sure bout that

edit: lemme clarify, 11 choose 0 is 1. lol

my complaint is in its inclusion.


Fair enough, so take out 1 note scale and the 12 note scale. You get 2046 (cause who cares about the chromatic scale, anyway? **** those fusion players. They're too good).

If you don't include the 2 note scale as well because that's simply an interval, you get 2035

EDIT: I have seen the number 2048 multiple times though, especially when I had a little bout studying scale theory (waste of the brain cells that died trying to understand it). I haven't done the maths myself, but it was explained to me once and it made sense. Calculate it yourself and let me know if it checks out. I'm not 100% sure. I had to look it up though, because it's been awhile.
No idea what in god's name you just wrote, but there are 2048 possible scales.

Here it is by possible notes in the scale:

1-note scales: 11C0 = 11! / (11! * 0!) = 1
2-note: 11C1 = 11! / (10! * 1!) = 11
3-note: 11C2 = 11! / (9! * 2!) = 11 * 10 / 2 = 55
4-note: 11C3 = 11! / (8! * 3!) = 11 * 10 * 9 / (3 * 2) = 165
5-note: 11C4 = 11! / (7! * 4!) = 11 * 10 * 9 * 8 / (4 * 3 * 2) = 330
6-note: 11C5 = 11! / (6! * 5!) = 11 * 10 * 9 * 8 * 7 / (5 * 4 * 3 * 2) = 462
7-note: 11C6 = 11! / (5! * 6!) = 11C5 = 462
8-note: 11C7 = 11! / (4! * 7!) = 11C4 = 330
9-note: 11C8 = 11! / (3! * 8!) = 11C3 = 165
10-note: 11C9 = 11! / (2! * 9!) = 11C2 = 55
11-note: 11C10 = 11! / (1! * 10!) = 11C1 = 11
12-note: 11C11 = 11! / (0! * 11!) = 11C0 = 1

Found all that I believe in the first thing that came up on google here. It's an interesting read.

Really, only about 36 scales are usable and many of those scales fit into each other. Less of those are pleasant to the human ear.
I'm currently using a 2013 MiM standard strat and I've never had tuning issues, even when bending 2 steps up :-/ See how the nut lube (wow that sounds dirty) or the new nut works out, and maybe have a competent tech set it up.

I put about $250 in upgrades into it (changed out some of the innards, added a switch to re-route the pickups to run in series, and bought some D. Allen VooDoo Blues pups for it). It plays like a dream.

I have heard of MiMs being hit or miss (I sincerely hope you didn't get a 'miss'), but I've personally never had problems with any MiM I've owned. I would even say the 2013 is the best of the bunch. It seems they've upped the quality a bit.

So yeah, try the nut lube and/or a new nut and a proper setup. If that doesn't fix the tuning issue, maybe some more precise tuners will help. Otherwise, pups is the only thing that REALLY needs to be done to a MiM strat to bring as close as you're gonna get to MiA quality.

EDIT: Oh yeah! how many string trees are you rocking? If you've got two, try getting rid of one for a while and see if that takes away the tuning issues.
Yep

I personally hate Squiers, but all but one of the Fender guitars I own are MiM. I just change out the pups and a few internal things, maybe do a mod or two (I'm a big fan of the 'fat-switch' mod that allows you to run a few pickup combos in series on a strat like a humbucking guitar).

Usually equates to abouts +$250, but $700-750 for a strat that plays just as well and (IMO) sounds better than a MiA? Sign me up

Just make sure you like the way the neck feels and see how well it's set up in store (and if there's an intonation problem or a truss rod problem, definitely ask if it can be fixed before you buy).
I would try to give it a quick setup first. Really, just truss rod, intonation and string height (if you can manage that one. It's a pain in the ass without the right tools). Trem block can wait. Usually those don't go out so easy. If it's the sound that's the problem, it could be the pickups or more likely the height of the pickups.

Anyway, the other comments are right. I've owned 8 strats over the past 10 years, and it really can be hit or miss, even when it's the same year/specs. It's better to play it in store if possible. I've also made use of GCs return policy 2/4 times that I've ordered a guitar from them. If you're not in love with the way it feels, then send that shit back and ask for a different one.

Remember: Guitars are made by humans, even in a factory. If you watch the videos of the Gibson factory, they have a guy that shapes the neck and sorta eyeballs it and does his best, then another guy will make sure the neck is "up to specs" (meaning it's usable) and then they sort them out to either be high end or low end depending on how well they play. I would assume Fender does the same thing.

If you're loving the one in the store, $200 isn't terrible to get a guitar that actually plays and sounds the way you like it. I'd do it man.
If I remember to shave: 15.

If I forget: Mid-20s.
So, if I'm reading this right, you have nothing? If you're completely unfamiliar with effects pedals, go buy yourself a REALLY cheapy Multi-FX unit (I recommend a used RP250 just because it has an expression on it and you can play with some Wah and Volume swells). That way you can get a good idea of what you're going to need. It sounds like a bad investment, but you need to start compiling a list of effects you're going to use and ones you'll never use. After that?

Tuner man. It sounds totally lame and boring, but being in tune is the #1 most important thing when you're playing music. A BOSS TU-2 will work fine. I personally use a Polytune Mini (just because of size) and the Korg Pitchblack is always cool

After that, depending on what music you play, it might be dirt time. Check out Overdrives (Tubescreamer, Blues Driver, Electra, Klon, Timmy etc), Distortions (RAT, Blackstar HT-Dist, DS-1, Jemini, etc), and Fuzzes (Fuzz Face, Tonebender, Univox Super Fuzz, Big Muff, Devi Ever, etc). I just named a few from each category, but it's important to not just call any distorted guitar 'distortion'. There are pretty big differences between the three, and you need to understand them.

After that, it's all about what you need (hell, it's always about what you need. Some guys use no dirt pedals!). Some things to check out: Wah, Univibe, Delay (analog/tape and digital), Reverb, Phaser, Chorus, Flanger, Tremolo, Octave, Vibrato, Compressor, Booster.

Just listen to your favorite guys and figure out what they use. Use that as a starting point to figure out what you want, and watch A LOT of youtube videos (like I'm talking triple digits if you have to) until you find EXACTLY the sound you want. There's seriously nothing worse than dropping a few hundred on a pedal you've been drooling over for months only to find something you like better a week later. You see the same 5 brands recommended for every single pedal. Don't always listen. Sometimes something you've never heard of is going to be the perfect fit, and you should go looking for those gems. 'Related Videos' is your friend on Youtube.

EDIT: Some brands to check out if you're bored:

BOSS
Ibanez
MXR
Dunlop
Univox
Mojo Hand FX
Earthquaker Devices
Devi Ever
Danelectro
Bearfoot FX
CatalinBread
Voodoo Labs
Maxon
Electro Harmonix
TC Electronic
Keeley
Wampler
Lovepedal
Xotic
Fulltone
Way Huge
Mad Professor
BBE
Morley
VOX
life hacks = people feeling the need to create a problem and be the genius who fixes it.

It's kinda like the Facebook quizzes that assure you that your IQ is far above average based on statistics gathered at Cornell University (yeah ****in right...).

I'll admit there are one or two cool things that people posted at the beginning of the 'life-hack' craze, but it's getting a little try hard.
1. Chipotle
2. In N Out
3. Pei Wei
Quote by WeZ-84
Wow that LED is brighter than the sun!

Have you got any sound clips?


Lol yeah, I'm gonna have to start wearing sunglasses while I play.

And no, not at the moment. I'll probably throw a sound clip up tomorrow or Monday.
Quote by jmaguire
That's cool.

By bypassing the whole board do you mean that your signal just goes dry through the pedal? Because that's what I'm looking for. I thought holding it was for the tuner?

I'm not looking to have all my effects in this pedal, it's just for extra effects that I might need for like one part in one song at a time. Hence why I'm not looking at an M13 or something that's a bit more serious.


I meant it kills the signal completely. You may be right that it's a tuner (I think it does that or tap tempo). I don't remember exactly :-/ I haven't had it on my board since April-ish.

If that's what you're going to be using it for (just a few added effects), I would just make whatever effects patches you need, keep a blank one as 'Patch A' and then just change whatever you have set as 'Patch B' to the effect you want for each song. It's pretty easy and quick to do (like seriously MAYBE 4 button presses at most).
Quote by Linkerman
Have you already updated it to version 2.01? You get 45 new effects with it.

http://www.zoom.co.jp/products/ms-50g/software/


Yep! I don't think I have very many of the new ones in any of my patches, but I remember a couple of them being a huge improvement over the original ones

Quote by jmaguire
That's sweet! Is there any way I can bypass it when I'm in patch mode? Or just set up a blank patch?

I'm pretty sure I'll go for the Zoom. Sounds nuts for the price they ask.

And yeah, very happy with my guitars/amp. Running a Framus and a modded Les Paul into an Egnater Tweaker 88 into an Orange 212. I got that covered


I just used to have a bunch of blank patches set up where I needed them (it's one of those things where I would make sure the set list was down the night before a gig and then set it up the night before so everything was ready to go). It's also really quick to switch between patch mode and regular mode once you get used to it.

There's a bypass switch by holding the footswitch, but I think it might actually bypass the entire board (can't remember).
Thought I'd share my latest pedal build. I haven't built anything in nearly a year, and this build wasn't without about 100 headaches, but I plugged her in this morning and she screams! Probably the best sounding fuzz I've built yet. Sounds just like the demo (maybe even better!)

Just finished her last night. Here are some pics (she may not be pretty, but she'll kick you in the teeth) :

Guts shot (a little blurry lol):

I took out the 1n film cap. I may change out the transistors today. I managed to get 6 matched pairs out of a batch of 60 transistors (30/each)


Back of the strip board:
Not the prettiest solder job, but this might be the first build where I didn't have to run a utility knife in between the strips to get it to work


All boxed up:
Yes, I know the knobs aren't level lol. I'll probably buy a new enclosure and re-drill it. I have to order some water slide decal paper first though. I want to give this badboy a nice professional look. It's in a 1590b enclosure


In my little bedroom chain with the LED on:
She works! For some reason she didn't the first time I wired it up. Had to redo the whole thing. Good thing I always order 2 of everything


I used this Vero layout (thanks JohnK! You're awesome!):


So... yeah. That's her
I have a Zoom MS50G laying around. I used it A LOT when I was in a cover band and needed to dial in certain effects that I don't normally carry (phasers, reverbs, double delays, etc).

It's great for that. There's at least 1 decent patch for every modulation you can think of (except univibe), and ended up saving me a lot of space. I actually was able to get rid of some of my digital based effects (my 2nd delay and my reverb), which was a huge plus to the wallet and to the real estate on my board.

The dirt/amp sims/compressors/boosters really suck on it, but I already have a good amp and a few good dirt pedals laying around, so who cares? I don't...

It's also great for experimenting with effects. I would say the modulation could be equated to any BOSS pedal you'd buy. So basically, not the most organic and beautiful sounding modulations, but they work and sound good enough to use live. Plus, being able to chain 6 effects in a row for each patch and change the order of them is pretty useful

As long as you have a decent setup to begin with (are you happy with the way your guitar/amp sounds?), you're gold. Go for it!
I'd go for pentatonic/blues or dorian mode action on that particular progression. I mean, the only note that doesn't fall into all three of those is the 3 on your I chord.

If it's getting stale, a major/mixolydian scale would do just fine, but I wouldn't adjust EVERY time the I comes along.

It's more about finding what scale(s)/mode(s) are going to fit your progression the best and picking one or two as a starting point. Use your ear to do the rest and pay attention to target notes.

That'll get you through 99% of rock/blues stuff.

EDIT: totally wrote diatonic instead of dorian. oops
Quote by Cathbard


Hey Cathbard, do you get any excess amp hum with that setup? I made something similar (mine was passive, but I'm assuming the 9v is for the LEDs) and I got mad amp hum, to the point where it was pretty much pointless to have it on my board (ended up gutting it and turning it into a Fender Blender clone). I heard I should build one with a transformer but I wanted to get your opinion, if you wouldn't mind
Quote by gumbilicious
just to clarify for TS: the 12ax7a's and the 7025's were just low noise 12ax7's. they weren't actually quieter (they have the same gain factor as a 12ax7) so much as they had a more favorable signal to noise ratio.


My bad. Should have worded that better Thanks for clarifying.
Someone bought me the Dunlop set. It works pretty well. The Fast-Fret shit by GHS I've heard is pretty good too.

Before that I used water and I still do sometimes. Guitar cleaning kits are a lot like snake oil. Specially engineered oils from the ISS aren't going to make your guitar play better or make you a better player. They make you believe you need it when once upon a time none of that existed and everyone got on just fine

As far as cloth goes, rip up an old cotton T-shirt. It's the best material for guitar cleaning IMO.
Looks cool man. Can't make out what's printed after the 12AX7A (which is different than a 12AX7 mentioned above). 12AX7As are much quieter than a 12AX7. I'd pop it in and try it out

I want to say it's a 7025 which were manufactured for military use (although the last number doesn't really look like a 5), and are supposed to be the quietest of the bunch and should offer some clearer, louder tones. I'm pretty sure they were used in the Blackfaces back in the 60s.

I could be wrong on all that. I've seriously never heard of a Yamaha branded tube. I'm just reading the label on this one

EDIT: Tried googling 7023 and just got a bunch of people misreading their tubes. Could be what I keep doing every time I look at that pic lol
Some advice that someone gave me a few years ago: Start projecting. It's 1000x easier to stay in tune and hit notes when you're projecting.

Here's an easy way to start out ->

Step 1: Stand in your room and pretend there's someone sitting in front of you. Now talk to them like they're 50 yards away. Just talk. Loud. Really loud. Don't yell, just pretend you're talking, but you want someone far away to hear. Practice doing that until you have a handle on how that feels to speak that loudly.

Step 2: Use that same voice and start singing.

I promise you you'll sound A LOT better than what you just posted.

That same person I mentioned who gave me that advice let me borrow a CD set by Roger Love (famous vocal coach). I think it was called "Set your voice free" or something like that. See if you can find it. It's for singers, public speakers, business people, and just people that want to be able to communicate more effectively. It's helped me immensely with not only my singing, but my social life as well.
When it gets smart enough to become my recording slave I'll invest.

"JIBO, create a new audio track and arm it. I need to double that guitar track real quick"

"JIBO, the latency on that is terrible. Can you align those tracks for me?"
I think the only thing I would change is how pretentious and close-minded I was for the first 5 years I was playing.

I always turned my nose up when I saw a lesson online or information having to do with learning theory. I wanted to go about it on my own. I had this weird preconceived notion that the good players out there never learned a lick of theory. That theory would somehow hinder me. In a lot of ways I can see how it could have in the first few years of playing, but to ignore it for so long was a mistake.

I had the ability. I was born with a pretty damn good ear and could tab things out very well from the get-go, but if I had sat down and learned what the CAGED system was and spent some time learning notes, scales, and how they relate to the key of a song instead of fret numbers, I would probably be a better player than I am now.

I still put together a whole lot of it on my own. When I sat down and learned some theory, more often than not, I would be like "ooooh, so that's what that thing is called. It has a name.", but at the same time, I probably would have learned it faster if I would have been less of a snob about it all and just sat down with a theory book 2 years into my playing rather than 5.

I realized that learning guitar with theory and learning guitar without theory were the same thing. Anyone can put together concepts and understand it all, with or without the language that theory gives you. The only difference is that theory is all there and written out. That thing you might learn a year from now (one of those epiphany moments) on your own was written in that book sitting on your shelf years before you were even born.

Anyway, TL;DR: Don't be afraid to learn some theory, and don't think that you'll be better if you never pick up a theory book. We actually learn theory as we understand music and our instrument better whether it's by the book or in our own head.

The thing is, when you hit one of the many brick walls you hit as a player, a theory book will more than likely teach you something new about music that will open a window in that wall.
I'd recommend checking out D. Allen pickups. I've tried a few different sets of Fender pickups and wasn't ever truly happy with the results. They're not bad, don't get me wrong, but if you're looking for 'dat vintage sound', I think D. Allen blows Fender's pickups out of the water.

I'm pretty sure D. Allen has a set called "Texas Flood" that are modeled after the Stevie tune. I ended up buying the VooDoo Blues set and I absolutely love them. They were exactly what I was looking for

Edit: Here are the Texas Floods I was talking about, and here are the '69 VooDoo pickups which are the same ones I got but the bridge pickup is different (much better demo on these though)
Well Jimmy Page was actually a studio musician, so, it was his job before he went on to play in The Yardbirds and form Led Zeppelin. John Paul Jones was also a studio musician. That's how they met

I would imagine you get a lot of practice having to come in every day, 5 days a week, and play something you've never laid eyes on from 9-5.

As for Hendrix, he played A LOT. Lots of sit ins, and weeks of gigging in the Chitlin' Circuit. He was also in a number of bands (The Isley Brothers, Little Richard, and Curtis Knight and the Squires) before he was "discovered" by Chas Chandler and taken to London to start his solo career. I think he even played in a band with Randy California at one point.

So yeah, these guys may have reached 'God' status but it was after years of playing professionally and even more years of learning their craft.

Hendrix was 24 when "Are You Experienced?" was released. Jimmy Page was 25 when "Led Zeppelin" was released. Eddie Van Halen was 23 when "Van Halen" was released. Stevie Ray Vaughan was 29 when "Texas Flood" was released.

It's not that difficult to see that these guys actually had A LOT of time to practice and become the players they became.
I saw you mentioned you're having problems with a Toshiba? I mean, I'm using a Samsung that's far from capable of even running most games, but for stuff it can run, I found a way to get rid of lag: SD Card, like the one they put in Digital Cameras.

Mine's a 32 Gig 80Mb/s 'gold' SanDisk card (you can get bigger ones, I believe, but I was on a budget and I really don't need that much space).

What I do is copy all the game's program files after install onto the SD card and make the game run the files on the card instead of my hard drive.

Don't know why it works, but I'd assume it has something to do with the speed that it can retrieve files. I was playing Diablo 3 after the expansion and it was playing like shite. bought the SD, and it runs better than it's ever run.

That only works for the processing though. The graphics and sound won't improve with the card, so my games still look like they belong on an N64, but at least I can play

It might be a cheap fix if you're having problems with the game lagging out and whatever.

EDIT: I also run my DAW through the card. Much faster and less crashing
Quote by Eastwinn
but like... is it really the worst song then?