That one's a pain in the ass to play. It's not a problem for the first 2-8-ish times but then it gets tiring, I know.
I had to learn it for a cover band I was in. I started learning it on electric and I'd always peter out after awhile and had to play the chords for a few bars here and there when I was at band practice.
It seemed to click better (and become less tiring) after I started practicing it on a thick-stringed acoustic guitar. If you have an acoustic laying around, try playing it on that. It'll be harder but if you can work your way up to where you start normally getting fatigued on the electric (for me it was between 10-14 bars lol), going back you can do it on the electric for days.
The song is mostly a muscle memory and chords 2-4 can be a pain. Also remember that your right hand is basically sweeping. Just be as economic as possible, really with both hands. It's one of those riffs where you really need to be.
Still working on singing backing while playing that one, but I'm getting closer.
What type of music are you playing man? I mean maybe I'm just lucky but nearly everything I write can be broken down onto paper as a the lyrics, changes, maybe a little tab for a riff or riffs, and then general tempo and rhythm guidelines. 99% of rock/folk/pop/reggae/blues/jazz songs can be broken up that way.
The rest should be interpreted by the band. Every group has it's own groove and if you don't like the groove you're in, than you shouldn't be a part of that groove.
I'm sorta in the same position as you: I've been writing with a singer for the past month and we've put together quite a number of demos and we're looking to expand.
The thing is that we're not trying to make every song exactly the way we wrote it. Music evolves. Even your own songs will. Some of my older songs have gone through 5+ iterations/overhauls. It happens. I mean, it's one thing to have a vision of where you want to go, it's quite another to be a musical tyrant
If you're not "feeling it" with this drummer, than maybe you need to find a new one if you guys want to actually get serious. I mean it sounds to me that if you guys can't find a groove that's close to how the song was intended to be played, than you're playing with bad musicians or playing with musicians who don't want to play the type of music you're going for. Neither is a group of musicians that you should be associating yourself with.
The drummer should be able to give you something relatively close to what you need. It's your job to make a few adjustments here and there if need be or to say "Hey dude, I need to play this. This is the idea I came up with before. How do we make it work?"
I play blues/acid rock and I use the following: .38, .36, .34, .15, .13, .10 and usually tune a half step down.
String gauge is about preference. I mean yeah, there's tonal differences and some tunings need higher gauges, but if it's not comfortable to play on higher gauges, then don't. Really, you should be able to use a set of 9s and tune down to Drop D or D standard without any tuning issues (unless your tuning machines or trem system suck).
More tone comes from the way you play than the thickness of your strings, so why not be comfortable?
Just to add to lemurflames' suggestions. Go pick up an acoustic guitar for awhile as well. I keep 11s on mine and it keeps my hands in shape.
I set it up myself about a week ago. It's had about 5 professional set ups from the shop since i bought it in August. It's really frustrating. I might just trade it in..i don't even like the way it sounds a lot of the time, to be honest. It has next to no sustain. I expected better from a $1200 american instrument
Sustain could be your pickups heights or the action. Just sayin.
I've been doing that 'write a song ever day for 30 days' challenge-thingy (I'm going for 50). I've been coming up with some cool/different stuff.
I guess I would say, if anything, it's keeping my mind pretty sharp and creative and has helped me realize that you have a lot more inspiring moments and grow much quicker if you keep writing all the damn time.
It might seem difficult for the first 20 minutes, but as long as you know how to play your instrument and have a little know-how when it comes to constructing music, there's no reason why you can't pen a song every day or twice a week or whatever. Songs will always write themselves. You just have to put in the effort.
I mean, don't get it confused. I've written a lot of shit in the past 12 days but I've also come up with about 2-3 good songs and one that I think could be great. Not every effort will turn out to be genius but you can't get to genius without trying first.
Like PSimonR said, it's all about your own preference. Another thing I would try is to mix the Rhythm tracks lower when the lead changes.
Another suggestion might be, if it's not too much of a pain in the ass, is to mix in another Lead left and Lead right when they're playing two different parts to round out the tracks (since you're essentially double tracking each part, this makes the most sense to me).
There is no limit to the amount of tracks to use. I watched a clinic that the guy that produces The Dillinger Escape Plan and Suicide Silence taught and he'll track as many guitars as he feels is necessary for a part, that might mean recording a triple-track (2 dirty+a dry) or more and then overdubbing another double track for notes that he feels need to draw attention, and that's just for a single guitar in a song
Watch videos and plan it out. Don't just go hog-wild. Figure out what you feel like would look like a reliced guitar and put it on paper before you pick up a hammer in one hand and an XActo knife in the other.
Buy parts that you can add rather than relicing them yourself where ever possible (pickup covers, pickguard, hardware, etc).
I went about relicing a guitar a few years back and it looks absolutely terrible. I went too far and I didn't plan it out.
Nah man. You can sing about whatever the hell you want. Your music doesn't have to be one big song about how you can't get women...
From my experience, it's about space and understanding. You and your SO have to have an understanding that, whether it's a hobby or your dream, you're a musician and no matter what, that's what you're going to do.
If they can't accept that and expect you to choose between them and music, do they REALLY love you? Methinks they don't...
I've actually found that being in a fulfilling relationship inspires me. I have a lot more confidence and feel like coming up with material is much easier. When you have your needs met (goes back to that maslow's hierarchy thing with 'self-actualization'), than you're in a much better place to be creative.
Also, for me, finding a girl who's actually quite a talented poet helped me because she can help me out when I have shite lyrics and need someone to help me get my point across without sounding like a 15-year-old.
To me it sounds like straight single coils with some mad compression and noise reduction put on in post, and maybe a touch of reverb on the amp. As far as treble boost goes, I would say it's more likely the choice in pickup, but that might help to recreate it.
You can't really make a humbucker equipped guitar sound like a strat. There may be something in Guitar Rig to do it, but I doubt it sounds right.
You could try unscrewing the screws (with a flat head screwdriver) from half of each of humbucker, so you either have 6 screws or 6 pole pieces in each.
Check out this video. Skip to about 7 minutes in (this guy talks a lot) to see what I'm talking about:
Sounds like you're putting too much power into your playing. Loosen up. Relax everything. I have the same problem (shaking hands) even before I start playing. Go see the doc if you think you have some sort of health problem. Mine turned out to be an essential tremor (usually only old people get this, but somehow I have it).
Even for more aggressive styles of music, you only want to fret and strum as much as what's needed to produce the sound you want and nothing more.
Try playing again but try not fretting as hard as possible (only fret with enough pressure to produce clear notes) and try to keep your fretting hand as low to the fret board as possible to reduce movement.
When strumming, try to loosen your hand. You want enough power to keep the pick in your hand but don't squeeze on it like you're trying to choke the life out of a small animal.
Also, with wrist movement, control what you're doing. If you need to pick aggressively, do so, but make sure to relax as much as possible.
Playing guitar shouldn't cause extreme strain, and you want to do everything in your power to reduce the amount of strain you're causing.
The Dunlop kit is pretty good if you already have it I just don't recommend the string cleaner as I've found it makes strings snap easier.
If you don't have it, just some water (possibly with soap if it's real bad) or Windex will do. Just make sure you dry everything completely with a rag if you use water. I cut up old t-shirts to make 'guitar-cloths'.
After you start getting things wet, the dirt and dead skin should come off pretty easily. Use your finger nail to lightly scrape it off for nastier spots.
DO NOT use abrasive sponges or steel wool. That stuffs not real good for the fretboard and frets.
Also, I don't know why but for some reason I can play squeaky clean when I'm alone, I can play without screwing up at all in front of other people (even when performing in front of "lots" of people, e.g. a school event), but when I hit that record button I make tons of mistakes. Like that video, I messed up parts I nailed when I was just practicing it. Dumb question but do people usually practice the song a lot before they record? I honestly don't practice songs I learn a bunch of times.
It's called red light syndrome. Many, many musicians have it. Basically, any time you're being recorded, you fall to pieces. It's a common problem for those of us that end up in a studio recording our music.
If you can help not looking at the camera or the screen in any way and train yourself to go back to "that place" where you're comfortable and not thinking about it, you'll make less mistakes. Just focus on the music and not the camera
It takes time to get over it, but you can do it!
I also find for home recorded stuff, not worrying about time is a HUGE factor in getting better takes. Just remember that you can always hit 'delete' and re-record it.
Self taught. I've been playing for eight years. Got into theory about two years ago, but still couldn't care less about most of it or find that 95% of it is just putting names to things I already knew, but knowing some terminology and stuff helps out when you're in a band where the bassist and the keys guy know everything under the sun theory-wise.
I don't really feel hindered at all. Maybe I did for the first 4-5 years or so, but I'm finding that as long as you spend time and actually learn, and try to actively make sense of it and try new things and new positions, then you're doing the same thing as the guy that starts with a guitar teacher and learns theory earlier on. You just don't have names for everything and associate things more with sound and feel rather than the concept that describes that sound and feel.
The trick to being self-taught (for me) is to really try to understand the instrument (and music in general) instead of relying on 'how-to-play' videos or tabs for everything you do. Use your ear and start putting together ideas and finding patterns in and between the songs you've learned to play.
The only thing I regret is not being able to play exceedingly fast. I get tripped up when I try to learn those fast sweeping arpeggios and stuff. It could be my hands, or it could be that I never had anyone teach me the proper way to do it. I can pull off shorter runs, but I can't do those big ones. Like that one in Metropolis Pt. 1 by Dream Theater. I tried that one pretty actively for like 4 months and wasn't even close lol. But I'm primarily a blues/acid rocker anyway, so it doesn't really hurt me.
You're not doing anything wrong as far as recording, performing, and filming covers (well, a clearer camera might do you some good), the problem is your choice in material to cover.
You have to go for stuff that the general public is interested in now. The audience for Yngwie Malmsteen covers isn't very large. If you were to say, get creative and do a metal cover of 'Royals' by Lorde, well, I'm sure you'd get a lot more views.
Why? Because that's what's popular right now. Not necessarily the 'metal' side of it (or whatever style you decide to do a cover in), but the amount of people on Youtube searching for 'Royals' every single day is quite large. Start listening to the radio a little. Find out what's popular, and give it a crack. That way, every time someone searches [insert crappy pop song title here], your video comes up.
Good luck, and keep on cracking at that guitar. You got some skills.
Why not just be patient & wait until you can afford a better amp?
You obviously aren't gigging considering your current setup and what you have is perfectly adequate for a practice amp. Spending money now on pedals you may not need in the future is a potential waste of money.
Seconded. All the pedals in the world can't replace a good amp and a good set of pickups. Take care of that now, and you'll be in good shape.
Find a combination of amp/pickups that when you plug that guitar in dry, you're on the verge of creaming your pants.
Do everyone that lives in a 10 mile radius of you a favor and take some singing lessons. You'll save lives and ears.
Also, you may want to read up on recording. The quality is beyond garbage. Even 1960s recordings of Syd Barrett where David Gilmour basically sat him in front of a tape recorder and prayed to the gods that he'd start singing something sound better.
I see in the picture you have an SM58 and a laptop, so why does this sound like it was recorded on your grandpa's flip phone? I can see using it as an aesthetic, but you failed miserably. Download reaper and watch some youtube videos on mixing, using EQ, and recording instruments and vocals.
If I owned a bar and you showed up with this demo, I would NOT let you play at my establishment.
Buy an amp with a headphone input :-/ It's pretty standard on most combo amps out there nowadays.
Doesn't have to be fancy, and if you feel like you need to get rid of your amp (which I wouldn't unless you don't like how it sounds), then the money you get from selling it can be put toward an amp with a headphone port.
I honestly don't think you need the FX loop at all if your running into a DAW. Here's why: The reason FX loops were made was because time based effects (i.e. Delay) sound terrible when you put them before an amp's onboard distortion/OD/Crunch and sound just as bad when they're going through a clean pre-amp that you cranked to get tube saturation. An FX loop alleviates it by allowing you to place your pedals after the gain stage.
Another side effect of an FX loop is that your modulation pedals get fed a stronger signal (since your signal goes through the gain stage before it hits those effects).
Without any of that being a factor in your case, you don't really need one. In fact, you may find that your rig sounds cleaner/clearer without the FX loop when you're playing on the clean channel without tube saturation, but that's another two paragraphs.
Try running everything in the same order (main line effects and then whatever is in your effects loop) directly into the DAW and then use one of the amp sims from Guitar Rig. I think it'll be fine If your modulation sounds weak, try adding a booster in between the main line and effects loop pedals.
You shouldn't be running into tube saturation or Dist/Crunch/Fuzz/OD problems because you shouldn't be using them. Pick something clean in Guitar Rig to simulate.
Sorry if you know most of what I said, but I figured I'd cover the whole shebang
EDIT: In fact, don't even use an amp sim in Guitar Rig. Go with a cab sim. I'm assuming you have an OD of some sort on your board. Another way to look at them is an 'amp in a box' of sorts, so you really shouldn't need an amp sim
Sounds like you're just more comfortable starting with an upstroke. If it worries you, practice it to a metronome or a song or whatever, perhaps playing whatever line you're trying to do starting both ways.
There's no point to playing things at break-neck speed, so get up to the speed you want and then practice getting up about another 10-bpm (at most, really) faster. That way you have a buffer.
Also, I would imagine (although I don't have research to prove it) that starting with an up stroke sort of 'winds the hand up' in a sense. You're fighting gravity with the first note and then working with gravity for the next and maybe that's making it easier/faster for you to hit the notes you want.
It could also be that you're just not used to it as much as the other way. I've been playing for quite a long time and I still find things that give me problems for a few days/weeks. It's all about muscle memory and you will always come across things that you haven't developed the muscle memory for. Don't let that make you feel amateurish. It's a journey, not a contest
Honestly, how a guitar player gets from point A to point B defines them as a guitar player, and maybe that's just your way of approaching it. It's not something I'd worry about, but it never hurts to work on things that you're having trouble with
This is what I do. I'm a Fender guy but don't have the $$$ to buy MiA. I'll buy a MiM Strat or Tele or whatever, then change out the pups and MAYBE the tuning machines.
I've noticed that quality on the MiM have gone up over the past few years (last two I bought were set up perfectly aside from pups right out of the box). They've upgraded the hardware slightly (not the pups though), and they feel more quality.
To me, it's well worth it. Why spend $2000+ on a MiA when I can spend ~$500 on a MiM, throw $200-$250 pups in it, change out the tuners for around $100 and have it sound just as good?
Try a MiM in store to see if you like it, though.
EDIT: Make sure you check out pups not made by fender as well as made by them. I usually order some D. Allen pickups (I highly recommend these), but it's all personal preference.
I need a DAW with 2 tracks open, one with the backing track and one with the guitar input. Then I just play the backing track and make sure the guitar track is muted in a way that it is not played over the computer speakers, so I can just focus in the amp itself. After it is recorded I combined it with the video and synch it and done is the job! Can anybody tell me why the guy in the video combined the camera mic audio with the audio he recorded via his pc? Is it to make the sound a bit bigger/more roomy?
It might be. Otherwise it might be room ambiance. A big part of music (in recording, anyway) is the room. If you're playing in a big room with hardwood floors, you want the recording to reflect that. Some nicer cameras have mics capable of capturing that and it's worth blending in. In most scenarios it isn't though as the average consumer digital camera doesn't have capabilities to capture room ambiance. Another way to do it, is if you have two mics to set one close to the camera and the other up to the amp and blend those tracks together.
If you need the track to sound bigger, double track it. Play it once for the camera and then again without the camera and blend both audio tracks together. This is often (like literally 99% of the time) used in studios to fatten guitar tracks. Basically, you will NEVER play anything exactly the same way twice, and when you blend two different takes together (that are perfect as far as the notes and bends go), you get a fatter track. I don't recommend this if you're using this as a tool to show your instructor how well you're doing and to have him critique you on what you are and are not doing right as you want to keep stuff like that as close as possible to a single take.
As far as your plan goes: That works. Follow what I tried to say in my first post (record the guitar's input or mic the amp so as to get ONLY the guitar's sound) while only listening to the backing track and then blend them together in your DAW. Then match that with the video and you're good to go.
EDIT: Mic placement is important too. Look up 'shavering' to get a good idea of where to put a mic up against the amp.
EDIT 2: Upon watching your video, he's only using his camera audio to align his video and audio. He's not actually using the camera's audio in the final video. He mute's the camera audio around 14 minutes
I think headphones are your best bet. Run the backing track through your headphones on your computer or whatever and then record the amp's signal with the Blue Yeti while you film. If your headphones seem to cumbersome or ugly (and you're really that self-conscious about it), then get some little ear buds and run the wire behind you. Hardly anyone will see it
Another way is to run the backing track through your computer speakers and try to get as close as possible to the guitar's true sound with the blue yeti and then blend the backing track back in in post production.
The definition of pop rock has changed over the years. Currently, I would say the faux-indie and acoustic rock guys are where pop rock is nowadays. Also, the 'whooa oooh oooh' type guys (if you listen to the radio or watch television, you'll know exactly what I'm referencing) are there too.
Back in the 60s-70s it was Beatles, Zep, Hendrix, etc
In the 80s it was hair metal like Van Halen, Twisted Sister, Quiet Riot, etc
In the 90s it was Nirvana, Pearl Jam, Soundgarden, RHCP, etc
In the 00's it was male singer-songwriters. Think John Mayer.
Today it's Imagine Dragons, and Ed Sheeran types.
I would say there's always been splinters in other directions, but I just wanted to point out that it's changed. Like flaaash mentioned, check out the Billboard charts. That'll give you a good idea of where you need to go.
I watched a seminar at Berkeley where John Mayer talks about pop and he says that you pretty much go wherever the current music is headed or is at. You can have your own music that you like but if you want to sell millions of records, you make at least a few generic pop songs based off of what's popular at the time.
I was stoned at the time, but the first time I heard Whole Lotta Love live (I think it was the HTWWW version) and they comeback after their 20 minute jam and Robert goes: "WAAAAAAaay WAAAay down insiiide....Yooooou NEEEeed....loooooOOOOOVEEEE" Nah nah nah nah DUNdunana nanana Nah nah nah nah DUNdunana nanana.
Hmm, they do sound sorta similar...quite similar actually. I love Led Zeppelin and Jimmy Page is a supreme guitarist but if you listen to "Black Mountain Side" it sounds like a song from the earlier 60's, almost exact. It's unfortunate for me to admit, but there might have been some plagiarism going on, who knows. I don't think anyone has the right to cancel the reissuing though.
Everyone borrows from everyone else and Black Mountain Side is actually a folk standard.
Zep has a history of it, and I don't think their fame helps. Lemon Song, Bring It On Home, Babe I'm Gonna Leave You, and Whole Lotta Love are just the tip of the ice burg when it comes to songs they ripped off.
The thing is, was that it was a lot more accepted back then. I think it was either B.B. King or Bob Dylan that said something along the lines of that it was a sort of honor to have someone steal their idea and use it in a completely different way.
I believe there's a term for it in music theory (can't remember), but both of them are ripoffs of one of the most cliche classical/baroque designs there is.
The only thing that sets them apart from the other artists that use it is the recorders/flutes in the background and that's going to have a hard time standing up in court not to mention it's been 43 years...
#1 neck - has to feel good. This is the most important because changing out a neck can really screw up a guitar's setup beyond repair. (rare situation, but still. I've had it happen)
#2 hardware - needs a fender style trem system. I don't mind replacing with higher quality, but it needs the cavity and spring-holder-thingy at the very least.
#3 pickup config - Has to be able to fit single coils, so either an SSS or an HSS
If it meets that criteria, I'm good. I can always change out tuners, pups, trem block, and the pots if need be. I'm a big fan of buying a MiM Fender for <$500 and then throwing $200 pickups, $80 tuners, and maybe a few other things on it and having a strat that sounds like it's $2500.
Nah. It sounds similar, but just make sure you don't steal their melody. Yours actually reminds me more of The Doors.
If you need more peace of mind, break down both track's chord progressions into roman numerals and see if they match. I'd be willing to bet there's a difference somewhere.
Otherwise, I think you need chord progression AND melody to match up for it to be considered plagiarism. Otherwise everyone using a I-IV-V progression (a whole shit-ton of artists) would be sued every year.