I don't sing, and never made an actual attempt to learn how. On other hand, I still play the guitar on a fairly regular basis. I'm a solid player who has room for improvement (video in sig for reference).
The whole "Rhythm vs Lead" argument is always very one-sided on the agreement of "you need to be able to understand rhythm and groove to play anything; even that intricate lead."
If you go into Guitar Center (or the equivalent if you're not American) on a weekend, and you can hear the pros from the amateurs. The "pros" (even if they only play as a hobby) has a great sense of groove and where everything lies to the beat and in the bar. The amateurs, even if they play something flashy, will always have this odd, off-kilter sense of time.
Whether you want to play Yngwie's "Arpeggios from Hell," or you want to jam out to a funk tune, you need to understand where the beat is and develop a sense of groove and rhythm.
the chemist, I'm really like your composition. It gives me a lot of Liquid Tension Experiment vibes to it with the synth work. It also has such a lovely, modern metal sound to it that I really like. The drums sound really nice, but I feel like the snare isn't too "punchy," making it not as cut through in the mix. The guitars sound pretty good, and make for a great base, but they can sound a little "boxy" at times (assuming they are direct into your interface?). Other than that, I really like your starting point!
Would you mind checking out my thread for an original song that I have?
Hey, everyone! This is my first time posting in here for some advice on critiquing one of my mixes. I have recently gotten into home recording over the past week, and I would like all of the opinions I can get!
This song is something I've written back in September 2015 shortly after buying my Fender Strat. Over time, I would keep coming back to it, working on it as time went on. The more music I wrote, this song became one of my favorites to continuously play. After I began recording, I had to get everything set in stone in the form of rough demos.
As for the song, I am still very new to mixing and mastering. I played, recorded, and mixed.master all of the guitar and bass tracks. I have a lead guitar track (Strat through Marshall), two electric rhythm tracks (Les Paul through Epi Valve Jr panned left; Strat through Marshall VM panned right), an acoustic guitar in the center, and a bass tracked that has a DI'ed and Mic'ed track to it. The drums were programmed by me using the MT PowerDrumKit plugin. *Everything mic'ed with a Shure SM-57*
When it comes to the mixing and mastering, how is it? One noticeable "problem" I see with it is the volume of the guitar solo, which I know will need adjustment in future revisions of the mix. What other suggestions can everyone recommend for me?
Thank you for your time! I will gladly do a c4c, even though I may not be the most experience person in the subject!
nimrodnaim, I wouldn't see why it would make a huge change on the neck relief (truss rod adjustment) on the guitar over a long period of time. Unless you're going from E standard down to B standard on the same guitar, it would need a bit of adjustments.
As everyone else mentioned, you need power when it comes to gigging as a bassist. Playing a 50w amp at home isn't too band and can get plenty loud, but when you're playing in a venue, you'll be drowned out with that same amp.
Haven't concerts and merch ALWAYS been the meat and potatoes of any musician? Even when it comes to the biggest pop stars of any decade, they made pennies off of their biggest hits.
It's also very apparent that free downloads of a band's new material is the biggest thing these days. Artists know they'll make very little on the actual song, so I believe this is the new marketing tactic they use in hopes of drawing in a bigger audience at their live shows.
I'd buy two homes, neither of which exceeding $500k in value. I'd use one of them for my own personal home to live in just to myself, making it truly my own. As for the other home, I would rent it out. Ideally, the rental house would be a duplex, and I'd use that property as a form of income for myself just in case anything ever happened to the lump sum of money.
Besides the houses, I would like to travel to Europe, particularly France, Italy, and Switzerland. I'd also like to check out the rest of the countries along the Mediterranean sea at one point. I'd also like to check out most of the US and Canada, too.
I'd invest some into retirement accounts, and then I'd donate the rest of the lottery winnings into whatever charities. That way, I'd be set once I hit "retirement age," I'd have a place to live, and I'd also have some form of revenue from a rental property.
Pretty disappointed in your story. 2/10 would NOT bang.
**On a serious not, if you want to truly write a story, it takes practice. Work on a few different exercises such as stream-of-consciousness, web diagram writing, etc and make an effort to write on a daily (or near daily) basis. Even if you write for 30 minutes a day, it's better than nothing. Don't expect to write the next LOTR as your first attempt, but be sure to always work towards improving your craft.
The potted plant was when LostLegion complained that his dad changed all the settings on his crappy practice amp and he was mad and the pit suggested that he buy his dad an amp and someone else suggested he buy a potted plant. The thread was deleted though.
I have 4 electrics and 3 acoustics when it comes to guitars. Out of them, I play 1 of the acoustics, and 2 of the electrics frequently. Besides the guitars, I have a bass that I play a lot.
I typically play in E standard, and a guitar dedicated strictly for Eb standard. Open D is another tuning that I've been playing around in a bit lately, and that's quite refreshing to play in.
I wouldn't really know what is "too much" when it comes to guitars, but I am happy with my collection at this point. There is one acoustic I have that has a terribly warped/bowed neck (no truss rod) that I picked up dirt cheap at an auction plus an electric that I hardly ever play.
1) You're rather new to guitar. 2) You are probably young, and haven't fully developed complete dexterity and motor control (or, inversely, are getting a bit older and losing some fine motor control)
To properly play barre chords, it takes patience and practice. What I noticed from a lot of beginners is they push too hard with their thumb on their fretting hand, causing them to really lose "balance" with the barre chord.
Ideally, your clean and dirty signals should both be identical, or close to it, when it comes to your rhythm sound. Whether you're getting your dirt/overdrive/distortion from a pedal or a separate channel on your amp, you should adjust these rhythm tones accordingly.
As for your lead tone, it should be louder than your rhythm tones, but not drowning out the rest of the band. Majority of people get their lead tone from a boost pedal in the form of an overdrive with the gain off and the volume at or near max.
So, about an hour ago, I was hit with a bit of nostalgia after I remember this gem of UG meme: the potted plant. From what I foggily remember, didn't someone suggest that a potted plant make the tone of the amp better? In honor of that (presumably false) memory, I took a picture in honor of that.
Since I'm in the sense of nostalgia, what are some of your favorite old UG memes? There's the noddin' cap, Kensai's train accident, the fog machine, etc.
Anywho, I'm bored af, and just wanted to rant/reminisce. I hope everyone is doing well here!
I am actually very fond of DiMarzio's pickups, and most familiar with their products. For Dimarzio pickups, I would suggest these for the either the bridge or neck:
PAF Pro Air Norton Air Zone Tone Zone (more so the bridge)
All of those pickups sound lovely, and with the exception of the Tone Zone (high output), any of them can be placed in either position. If you DO go with the route of swapping out your middle pickup, the DiMarzzio Area series is great. IF you're not going to change out the middle pickup, then either leave in the one you have, or not even wire it in to the circuit.
With Seymour Duncans, I love my set of JB/Jazz in my Epi Les Paul.
I agree with what Cajundaddy said. If the guitars are keepers, then get them set up. If you can't get it professionally set-up, then look at the countless videos people have posted on YouTube about the subject. Instead of selling off a guitar and buying a new one to replace it, spend a little time getting to setting it up and ACTUALLY playing it.
From what you said in your OP (original post), you've had each of those guitars for a couple months, yet you've also claimed that you "haven't spent more than 50 hours with any of them." With that, I can only take one thing out this: you are interested in music, but not interested in PLAYING music. You've owned numerous guitars, and nitpicked problems that are easy fixes even for the non-mechanically inclined to figure out.
If you only played each guitar for 50 hours over the span of owning it for a few months, you are averaging like a couple hours a week. I don't really think the problem is completely on the set-up on the guitar, but more so you're lack of drive to even get to an amateur level at guitar.
The best way to practice rhythms and get them correctly to is play them slower and build them up. Using programs like Transcribe! or Guitar Pro can be very beneficial to building up your rhythm techniques.
Playing with patience and diligence will get you very far.
I think it could either be a combination of technique or set-up based on previous posters. A bad set-up could make it hard to get things right, even without knowing about it. Like Tony Done suggested, take it to your local music store and have them look it over for you.
When it comes to technique, you said the following:
Quote by nsdimitrije1
Now when i try fingerstyle on open chords it sounds well, but when i do it on barre chords they sound muffled. Same grip same everything but with pick, and they sound better, not quite the same as open but much better.
Now, if that holds true, I find it pretty peculiar since your grip is the same. When you pick, every note of your barre chord is clear? If they are, I have one thing that I can think of when it comes to barre chords. The only thing I can assume is that when you go to fingerpick a barre chord, you're so focused on your picking hand, your fretting hand becomes a bit laxed in technique.
Quote by jae426
They... they remove your fingernails..?
Depends on the job. I work in a ktichen doing a lot of prep and washing a ton of dishes. My right (picking) hand's nails get so worn down from being in the sink all the time.
That symbol represents a slide. Usually, in tabulature, the "/" means to slide UP TO that note while the "\" symbols means to slide DOWN FROM that note.
In the song you're trying to play, you'll have to slide up to that note (5th note of the D string). The previous measure, 21, has you playing a very similiar shape as the one in measure 22. Measure 21 as you going from an F major shape (xx321x) up to a G major shape (xx540x) in measure 22. **Note: The song is a half-step down, but I'm referring to the notes as if they are in standard tuning.**
So, to properly play that, you'll need to play the 3rd fret on the D string (with your ring finger), and quickly slide up to the 5th fret on the D string.
If you need a reference as you what slides are supposed to sound, look, and feel like, refer to these two videos below:
Hey there! Glad to see that you're taking enough of an interest in the instrument to branch out and acquire a new guitar. Hopefully I can give some sound advice for you to consider.
Out of the guitars you've listed, I have experience playing the Ibanez JEM as well as numerous Telecasters, but not that SPECIFIC model. Since you've mentioned versatility and "speed play," the JEM has a very thin neck, which aids in better for that type of playing. As someone like me who has bigger hands, it helped me with some even wider stretches. With the telecasters that I've played over the years, the neck shape depends on the exact model you play. Some of them feel a bit thicker than others, and it comes down to preference. The most acclaimed one of your choices would be the PRS SE 24, but I have no first hand experience playing one, so I don't have opinion about them.
As for sounding like the bands you've listed, the PRS or the Fender Baha Tele would be good choices. The PRS is a solid guitar and can easily get any humbucker tone well while the Telecaster has single coils, which can be useful.
I would suggest trying out the guitars before purchasing them (if that is an option, of course). That way, you can go in with your playing preferences and form your own opinion on them. I can only give suggestions since one guitar can feel comfortable to me while it may feel uncomfortable you, or vice versa.
Yeah, if you're physically pressing on your strings while you're muting, you're pushing too hard. Your hand should lightly rest on the strings as opposed to pressing into them.
Position wise, like stated above, depends on the bridge type of your guitar. A wrap-around has a similiar position to a TOM (like on a Les Paul), and both of them are different than muting on a Stratocaster type bridge.
I guess it depends on the style of the guitar. If it was a strat (ala Jimi Hendrix), then yeah, I can imagine the knobs getting in the way at times. As for something like a 335 or a V, I wouldn't imagine the knobs getting in the way.
Both of the users above me have both given great advice on the usage of capos. They'd still be the same notes since your guitar would still be in standard tuning. You'd just "think" in a different key to make things easier. As for the key you're in, the 2nd fret would be such a weird place to accurately change positions.
If you were to place the Capo on the second to avoid barre chords (or to do finger picking that required certain "open string" sounds), then you'll only end up with one non-barre chord: the E major shape. To help out with chord shapes on the 2nd fret, you'd force the Fm, Ebm7, and Bbm7 chords to barre chords higher up on the neck just like how jerrykramskoy mentioned.
Original: C# F# C# G# F# G# F# Fm Bbm7 Ebm7 B E/G# (A#m7) (D#m7)
Capo 2nd Fret: B E B F# E F# E x* (Am minor shape, 8th fret on A string) y z A E/G# ---> D shape with 2nd fret on Low E string
x = Jerry's first shape suggestion y = Jerry's second shape suggestion z= Jerry's third shape suggestion
As you can see, the shapes are still a bit annoying to change between with the capo (on the 2nd fret) or without it. You CAN put it on the 4th fret, as suggested above, and think of it as you were in the key of A major, so you'll end up having a much easier time playing the chords. I'd also suggest using a Capo on the first fret of your guitar, and thinking as if you're in the key of C major.
Capo 1st Fret C F C G F G F Em Am7 Dm "Bb"* "Eb/G"**
"Bb" --> either as a barre chord as (w/o barre): x2444x or xx444x "Eb/G" --> play it as xx6454
However, the best choice you'd have would be a Capo on the 4th fret (above) since that would be the easiest way to finger all of the chords.
Captaincranky gave a great answer for getting the A chord under your fingers.
Like he said, when it comes to playing the A chord with either a 123 or 234 fingering, you'll need to straighten your wrist out a bit more. Lowering it (your wrist) to the floor so you're not playing with a "baseball grip" will cause all kinds of unwanted muted and choking of strings.
This chord in particular has many different fingerings to it, and all of them are extremely useful in many different circumstances. 123, 213, 234, and 111 are all the most common ways to finger an A chord. Persevere through it, and you'll be fine! When the time comes, you could also try fingering it as 333 to get you ready for "A-shape" barre chords, but that won't be until a bit down the road in your guitar playing journey.
I'll typically use Instagram to follow a few different musician's pages as well as occasionally posting some pictures of food I've made. Really original on my part (sarcasm), but I want to get better at actually presenting my food.
It's been roughly a decade since I learnt the basics on guitar, but I can give you some recommendations for you off the top of my head.
thomascharles5 also stated some really good points. Learn your basic, common "cowboy" chords (like C, Am, G, A, Em, and E) if you don't know them already. I am certain guys like Marty Schwartz and Justin Sandercoe have videos on YouTube about this for reference.
Another recommendation is learning the notes on the fretboard working in groups such as open strings to fret 5, fret 5 to fret 12, etc. Once you hit fret 12, it's an octave higher (same note, higher in pitch) than the open string. This will help you with moving shapes around of scales and finding out how to play the same scale in different parts of the neck.
As for learning theory, two of the greatest references are: (1) musictheory.net and (2) The Crusade articles here on UG (IIRC, that's their name). Learning theory will help you understand how chords and scales are constructed as well as how they interact with one another.