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The Musician's Thread/Gear Porn Thread/Post your Rig

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Posts

  • NappuccinoNappuccino Surveyor of Things and Stuff Registered User regular
    edited September 2009
    To each their own then, but it certainly worked for me.

    edit: i wasn't trying to imply that i didn't use/know my scales, just that i didn't refer back to the scales constantly to make sure what i was playing belonged in them.

    Nappuccino on
    Like to write? Want to get e-published? Give us a look-see at http://wednesdaynightwrites.com/
    Rorus Raz wrote: »
    There's also the possibility you just can't really grow a bear like other guys.

    Not even BEAR vaginas can defeat me!
    cakemikz wrote: »
    And then I rub actual cake on myself.
    Loomdun wrote: »
    thats why you have chest helmets
  • EggyToastEggyToast Jersey CityRegistered User regular
    edited September 2009
    Well if you stick with the notes in the chord you won't be wrong, you just won't be all that interesting. If the chord is Bb7 and you're just playing Bb, D, F, and Ab, you're certainly representing the chord -- you're just doing the bare minimum to get by is all.

    Granted, those ARE the most important notes for the chord, because it at least provides support for other people. Knowing what you CAN play means that you know the scale, you know the 7th is diminished, and you see what the next chord/change is and know how to lead into that. After all, hitting the root at the downbeat and then not having a general progression revolving around the major notes in the chord will probably earn you some looks from your bandmates.

    EggyToast on
    || Flickr — || PSN: EggyToast
  • NappuccinoNappuccino Surveyor of Things and Stuff Registered User regular
    edited September 2009
    I suppose there was a disconnect between what I said and what I meant (which seems to be the case whenever I start talking about music) and re-reading what Khavall said, that is closer to what I did only I didn't really think of them as scales at the time, though they likely where. I would play the notes that I knew from experience sounded good within that respective chord- not just the notes of that chord.

    Which, i guess is actually playing on scales; its just that at the time, I hadn't really thought of what I was doing as such.

    Nappuccino on
    Like to write? Want to get e-published? Give us a look-see at http://wednesdaynightwrites.com/
    Rorus Raz wrote: »
    There's also the possibility you just can't really grow a bear like other guys.

    Not even BEAR vaginas can defeat me!
    cakemikz wrote: »
    And then I rub actual cake on myself.
    Loomdun wrote: »
    thats why you have chest helmets
  • DrakeDrake Edgelord Trash Below the ecliptic plane.Registered User regular
    edited September 2009
    Sheep wrote: »
    Any good sites with Jazz scales for bass/guitar?

    Jerry Garcia type jazzy stuff. I've been trying to learn Help on the Way, and I'd like to learn some similar scales.

    Scales are scales. I'm not really into the Greatful Dead, but knowing what I know about them, Jerry was probably just messing around with modes. On a cursory glance, this page seems to be a quick and dirty primer for modal playing.

    Drake on
  • VistiVisti Registered User regular
    edited October 2009
    So, I just ordered this:

    SchecterStilettoCustom5NATLHBig.jpg

    It is going to be sweet. Well, bittersweet, since I ordered because my old bass, a Warwick Fortress One, failed to deliver at our current studio session, thus pushing back the bass recording. Luckily, I got hold of a Musicman Stingray, so hopefully we're only a few days delayed.

    edit: also not left-handed. Just the best picture of the front and back I could find.

    Visti on
    [SIGPIC][/SIGPIC]
  • KhavallKhavall British ColumbiaRegistered User regular
    edited October 2009
    So I got a call yesterday from my Cellist right before rehearsal. First off he couldn't make it to my rehearsal... that's fine. He can't make it because he has to practice for some stuff with his band, who are performing Friday.

    Oh hey and by the way their bass player can't make it to the performance on friday. I play bass right? Well... sure, close enough.

    Great, we'll rehearse Thursday and I'll get the set list sometime soon.

    Of course, their guitarist was almost a bass major before he decided on Cello major/actually just playing guitar. And their singer plays bass with another band. I don't actually play bass other than I play guitar and same thing.

    Going to be so awesome.

    Khavall on
  • SheepSheep Registered User, __BANNED USERS regular
    edited October 2009
    EggyToast wrote: »
    Sheep wrote: »
    Any good sites with Jazz scales for bass/guitar?

    Jerry Garcia type jazzy stuff. I've been trying to learn Help on the Way, and I'd like to learn some similar scales.

    As someone taking jazz lessons on double bass, I'm a bit confused. You know all of the major scales in 2 octaves already, right? And practice them regularly?

    Don't "know" any scales. I play almost completely by ear and just replicate stuff I hear and enjoy.

    I know that's terrible, but it's gotten me pretty far.

    Sheep on
  • EggyToastEggyToast Jersey CityRegistered User regular
    edited October 2009
    It's only bad if you want to play something that hasn't been played before. My wife's learning fiddle and that's largely based on knowing a huge repertoire of music, and variations are based on hearing others do it.

    She still knows her scales and practices them for intonation and such, but she's not interested in creating music on her own. At least, not yet.

    The thing I like about knowing my scales, and variations on them, is that it's become much easier for me to hear intervals when I'm listening to music. I think "Oh, that's a nice transition to the 5th" and "they changed chords, sounds like the 4th now" because my practice session starts with about 20 minutes of just going through the circle fifths. Granted, practicing intonation is much more important on double bass, because without intonation and knowing where I am on the fingerboard, I don't have any actual notes. But it's pretty easy with frets, and I've found it useful even at a very basic level for just hearing all of the notes on the instrument, and the intervals present. My teacher points out that we'll move into modes at some point but that it's really simple once you know your major scales, and he said after I'm comfortable with modes I basically won't need him anymore.

    EggyToast on
    || Flickr — || PSN: EggyToast
  • SheepSheep Registered User, __BANNED USERS regular
    edited October 2009
    So just start with a general scales book, then?

    I'm not even 100% sure what modal music means. I always assumed it was playing similar chords/scales but with different octaves or root notes.

    Sheep on
  • The CheeseThe Cheese Registered User regular
    edited October 2009
    Nappuccino wrote: »
    @dark side: well, other's have done it before me :)

    Though, i don't really know if what he's doing is as complex as I one day would like it to be, it still sounds fantastic. I'm wondering if he might just have two cheaper-ish looping pedals...

    Also, i'm primarily a guitarist (saxophonist on the side), I wouldn't really want to throw that away just to be able to do complex things live :)

    you might be into ableton live

    i started using it a couple of weeks ago and i'm finding it pretty awesome for a lot of things, including little solo jams with the looper

    The Cheese on
  • KhavallKhavall British ColumbiaRegistered User regular
    edited October 2009
    INTRO TO MODES:

    Imagine a piano.

    Now imagine a scale with only white notes. C Major, right?

    But what if you only play white notes but start on D? That's Dorian mode. Modes are essentially different constructions of Scales, outside of the normal scales of structural tonality(Major, Natural minor, Harmonic minor, and Melodic minor).

    They were actually originally used before tonality was around. The super-simplified version is that Accidentals didn't really exist for a while, so the starting note of the scale wouldn't change the notes used, just where the focal point was. That's not entirely what it was, but that's a good way to think about it.

    Now modes in modern usage have a lot more flexibility, which is why you can hear things like "F dorian"(F natural minor with raised 6th) instead of "Dorian"(based on D). The great things about learning modes is that you can extend your scale library. Also modes don't have traditional tonal priority, so knowing them adds even more flexibility. So basically, learning modes just gives you more freedom.

    Also you can fuck around and make some really crazy sounds. A drummer friend of mine has a fun story where he was at a band rehearsal and they were doing... Come Together, I think, and the guitarist starts to solo in G Lydian over it. From what I understand, it was rather... interesting, shall we say.

    Khavall on
  • HomelessHomeless Registered User regular
    edited October 2009
    modes are scales where all the notes are in one key, but the scales start on different notes than the root of that key

    EDIT: dammit khavall, stop being like a professional musician and stuff

    Homeless on
  • KhavallKhavall British ColumbiaRegistered User regular
    edited October 2009
    You know what, while we're at it:

    INTRO TO SCALAR THEORY, because I'm free for the rest of the day anyways(whooo no rehearsals):
    Scales. They sure are fun right? Everyone's always saying "Learn your scales" like it will be some magical bullet to being able to play well. Eh.

    What is a scale though? Or at least, to us, as performers, what do they mean to us?

    To a theoretician, and ultimately, a scale is a collection of notes in sequential order. Any selection of notes in sequential order. Here try this: Play random notes going up the fret 'till you reach the 12th. Congratulations, you just played a scale. Do it again. Another scale! That was easy. How will that help us? I totally know like, infinity scales! And that's just on one string!

    So that definition, while correct, is pretty useless. We need one that's a little less... floppy.

    When most people talk about scales for classical and theoretical uses, they're talking about the major tonal scales. Each of these is a collection of 7 intervals that encompass 8 notes:

    Major scale
    Whole Step, Whole Step, Half Step, Whole Step, Whole Step, Whole Step, Half Step
    (Scale degrees: 1, 2, 3, 4, 5, 6, 7, 1)
    Natural Minor scale
    Whole Step, Half Step, Whole Step, Whole Step, Half Step, Whole Step, Whole Step
    (Scale degrees: 1, 2, b3, 4, 5, b6, b7, 1)
    Harmonic Minor scale
    Whole Step, Half Step, Whole Step, Whole Step, Half Step, Augmented Step(3 chromatic steps), Half Step
    (Scale degrees: 1, 2, b3, 4, 5, b6, 7, 1)
    Melodic Minor scale(ONLY ASCENDING)
    Whole Step, Half Step, Whole Step, Whole Step, Whole Step, Whole Step, Half Step
    (Scale degrees: 1, 2, b3, 4, 5, 6, 7, 1)
    These can all be expressed also as scale degrees 1-7(essentially, they are "Heptatonic". However, they're pretty much used as the base for describing other scales too. In fact, if you hear numbers for a scale degree, like in the soon to be discussed minor pentatonic(1, b3, 4, 5, b7), any alterations from MAJOR ONLY have to be noted. I'll be only using scale degrees from now on. Also, yes, I listed 8 notes, but 1 and 1 are the same note.

    Of course the next most common are the Pentatonics(Five tones). There are typical ones here too:
    Major pentatonic
    1, 2, 3, 5, 6, 1
    Minor pentatonic
    1, b3, 4, 5, b7, 1

    Finally, there are "special" scales, normally attributed to specific things. For instance, the "Blues scale". Yeah, it's used for things other than Blues, but it's called the Blues scale and pretty much always fits in blues.
    The most common, hexaphonic blues scale, is as follows:
    1, b3, 4, #4/b5, 5, b7, 1
    As you can see, it's just a variation on the Minor Pentatonic, adding the sharp 4/flat 5 to the mix.

    Ok. So "scales" in the common parlance refers to... a specific bunch of notes. Great, that still doesn't really help us that much. I mean. So what? It's a little clearer. The notes that make up a major song are part of the major scale, right? So if you're trying to play something in major, you can probably play any of the notes in a major scale and fit into the key at least. That's pretty simple, right? But how is this supposed to help me play? Don't play Eb in a C major chord. Awesome, thanks scales, that was totally worth learning. Oh and sometimes you can play Eb in C major. Sometimes even over a C major chord. It can sound cool. You'll often hear notes outside of the supposedly correct scale tones. What the fuck, scales, I thought you were cool.

    Now, the next part is basically the philosophical part of scales. What we've just learned is the theory behind them, so study that to.... well, learn the theory behind them.

    So now we get into the performers idea of scales. Also known as "The only stuff we actually care about". Here's the revelation for why you should study and be able to play without any thought specific scales, and also be able to play around scales:

    Scales are a priority list.

    That's the golden ticket. Scales give you safe points of focus. And that's what soloing is all about: Maneuvering through and around points of focus. You know what notes will always sound like they belong in a C major chord? C, E, and G. You know what notes will, while not being in the chord, be able to fit within the same world as a C major chord? D, F, A, B(and Bb, but that's a whole other intro to theory with Khavall lesson). You know what notes will not sound in place when played along a C major chord? Db, Eb, F#, Ab.

    This doesn't mean that you can't play those notes with the chord, it means that they're not going to sound like they fit in. So you probably shouldn't have an important note in the phrase, or an accented note(phrase-wise, not dynamic-wise), sit on one of those notes, unless of course you're going for a sound that doing so would give you.

    Basically, if you can play your scales backwards and forwards without a thought, if you can switch between scales and positions of scales with ease, then it gives you easy mode for playing. You're no longer picking a note at random from 11 different choices and hoping it sounds good, you've got notes with more or less "weight", essentially. You have "rules" and guides and directions to help you along. You can know before you play any note how it's going to sound.


    Boiled down to the simplest analogy I can think of:

    Essentially, improv is being given the following math problem several times per second:

    0<X<12
    Solve for X

    Scales, Chords, and really all Theory give you the rest of the information.

    However, this is all meaningless, unconnected shit by itself. Scale degrees? I'm looking at a fretboard with little dots in it every few frets, what the fuck are scale tones doing for me? Well, for that, you're going to have to find guides of scales specific to guitar/bass, that can give you the specific frets relationships. There are a few online. The magical thing about guitar and bass is that you only need to learn relationships, and every scale is exactly the same key to key, since you just slide up a fret for a different key. It is horribly unfair since some of us have to learn different fingerings and locations for every stupid scale because "OH YOU CAN'T USE YOUR THUMBS ON BLACK KEYS IN SCALES" and stupid shit like that.

    Also it's all meaningless because on guitar if you learn all five positions of the box pentatonic scale you're pretty much golden for any song you will ever play and can do any amount of soloing you want in any key. Fucking guitar.

    Khavall on
  • EggyToastEggyToast Jersey CityRegistered User regular
    edited October 2009
    Sheep wrote: »
    So just start with a general scales book, then?

    I'm not even 100% sure what modal music means. I always assumed it was playing similar chords/scales but with different octaves or root notes.

    You don't need a book to get started. Just start with two octave major scales. Here's the best way to learn them on a bass:

    Bb & F, then C & G, then A & D & E, then Eb, then B and F#, and finish up with Db and G#. If you've been playing for a while it might come pretty fast, but at a minimum do a new set a week (and practice the old sets along with the new set).

    Once you have them down just start at C and work the circle fifths, which you'll already know at that point because you just play up to the fifth (although you'll be an octave up from the starting note).

    It's just a really good technical exercise that's also musical. You get really comfortable seeing where all of the notes are on the fretboard, and it naturally teaches the relation of different scales and notes. Stuff like a I IV V progression is trivial in any key signature if you know your scales, because you think "OK, if I'm in Bb, then Eb is the fourth and F is the fifth, but when I hop up to Eb I need to think in terms of Eb -- which I know because I've been practicing my scales. Hey, some of these notes are the same -- that sounds really good if I put these things together like this!"

    If you've been focusing on tabs and playing by ear, and really aren't sure about major scales and such, the major scale goes WWHWWWH which is two steps for W and one step for H. The standard CDEFGABC if you're in C. If you're looking for a pseudo-tab, Bb is gonna be
    6 - 7 8 - 2 - 3 4 - 5 - 6 - 7 8
    3 4 - 5
    | 1 - 2
    | 
    

    And it sounds like the typical "do re me fa so la ti do" stuff. I imagine you already know this, but I don't mind writing it up so there it is.

    Anyway, when my teacher had me start this, the two octave junk was to get me out of the "comfort zones" on double bass, and work up the fingerboard into thumb position. You don't have to worry about that on bass guitar, but shifting around is still an issue and something you should be comfortable with -- and two octave scales require shifting on bass guitar. Starting out it was pretty lame, but when he showed me some chord progressions and said "OK, see this, this Bb7 just means you play a normal Bb scale, but the 7th is down one note. So you already know what this is."

    The thing about modes is that if you know your major scales really well, learning modes is trivial. In some sense, knowing all the mode names ends up rather meaningless if you understand how the notes fit together on the major scale -- aka, if you know that you take the major scale and shift this note up or down. Since the application of modes is "what notes do I play," having the major scales down is really the starting point. And it's pretty fun because it's melodic, and after you practice a while it's really fast to just bang them out at the beginning of practice.

    EggyToast on
    || Flickr — || PSN: EggyToast
  • Mr BubblesMr Bubbles David Koresh Superstar Registered User regular
    edited October 2009
    I feel kid of bad slapping this in here, since you're all talking about serious music theory, but here we are anyway. We recorded our first band rehearsal in two months, and the first since the chaos and horror of France.

    First meeting with the new singer too. Forgive the recording quality...

    http://www.youtube.com/watch?v=uFNCAkl3tqs

    Mr Bubbles on
  • Space PickleSpace Pickle Registered User regular
    edited October 2009
    As someone taking jazz lessons on double bass, I'm a bit confused. You know all of the major scales in 2 octaves already, right? And practice them regularly?[/QUOTE]

    Don't "know" any scales. I play almost completely by ear and just replicate stuff I hear and enjoy.

    I know that's terrible, but it's gotten me pretty far.[/QUOTE]

    It's not terrible at all. Using your ears is the most important thing...you just use the theory to make up for what you can't hear yet. Ideally you would be 100% ears and wouldn't need any theory.

    Space Pickle on
  • KhavallKhavall British ColumbiaRegistered User regular
    edited October 2009
    As someone taking jazz lessons on double bass, I'm a bit confused. You know all of the major scales in 2 octaves already, right? And practice them regularly?

    Don't "know" any scales. I play almost completely by ear and just replicate stuff I hear and enjoy.

    I know that's terrible, but it's gotten me pretty far.

    It's not terrible at all. Using your ears is the most important thing...you just use the theory to make up for what you can't hear yet. Ideally you would be 100% ears and wouldn't need any theory.

    WRONG

    WRONG WRONG WRONG WRONG WRONG WRONG


    NOT ENOUGH THE WORD WRONG IN THE WORLD

    Yes, at the basic level theory essentially is just easy-mode for aural skills. As you learn the basics of theory you start being able to say "Hey, a I-IV progression sounds like X, and this song sounds like X, whoo!" And if you have enough aural skills then you can pick out any relation from any note ever, and if you knew nothing about theory at all you would still be able to figure out everything. This much is true.

    But then something happens as you learn more about both:

    Theory starts to give you magic powers.

    First off, it allows you to predict the future. It doesn't matter how good my ears are when I can hear from the first note what's going to happen from then to the rest of the song. Which Theory lets you do. I-ii and I already know where you're going. You're going to V. After that back to I. You're going to repeat that pattern once at least. How do I know? Because ii goes to V. Why? Because the bottom two notes of a ii chord are also fitting in a V7/V chord. Because etc. etc. etc but the point is that a majority of music that goes from I to ii will go to V next. It's a paradigm. I-vi? You're going to IV-V. These aren't foolproof, but knowing why they happen and why they aren't foolproof allows you to guess very, very well what's about to happen.

    Next theory allows you to have super memory. I can't remember notes. Maybe when I'm playing bass I can start to remember notes, because I'm only playing two of them. But man, here's something I look at daily:
    C, G, E, D, C, G, E, D, G, C. B, G, E, D, C, G, B, E. A, G, F, C, A, G, F, C, F.
    Look at those once. Now don't look at them and recite them. Now try the same with this:
    C9, C9/E, F9.
    Easier? Now transpose it to D. G. F. Bb. Good god that requires a lot of shit to do. Here try it with this:
    I I6 IV
    Now memorize it. And transpose it to every key. Easy as fuck.

    Next, theory allows you to sightread like a boss. Those notes I listed earlier? Imagine reading them off the page all together. Too much shit. Now look at the chord symbols. Any doofus could sightread that. Oh and by the way, I bet that the IV goes to V and then I. And I don't even really need to see the IV, I I6 progression is about like screaming at the top of your lungs "I'M GOING TO IV". Future prediction powers!

    Finally, it lets you speak in secret code. Sometimes I play for things that are mostly chord based with about 50 page turns. I can cut that down to 1-2 pages by just writing out the chord changes and enough notes to make sure that once I have the general idea of how the song will sound I can play it fine. I can put it away for a year or two, come back to it, and play it fine. Why? Because theory knowledge gives me another way to get the information that takes a lot less time, while also having a much smaller toolset.


    Learning theory isn't just something you should do to make playing by ear a little easier 'till you figure out how to play everything by ear. Learning theory is the win button for awesome. Learning by ear isn't just easier and better with knowledge of theory, but you can just forget about listening halfway through to most songs if you know theory. You should be thinking theory all the time, and making sure to keep working on ear training.


    I would say that approximately 90% of the gigs I get, I get because I can sightread better, learn faster, and when it matters remember better than most other musicians. I would say 99% of that happens because of my knowledge of theory. Theory is the best thing.

    Khavall on
  • EggyToastEggyToast Jersey CityRegistered User regular
    edited October 2009
    As someone who is getting arm-deep in theory with my double bass practice, I can attest to Khavall's point. Now that I can do two octave scales through the full circle fifths, I'm moving on to arpeggios across the full circle, which really just hammers in the "OK these are the 'big ones' in this scale, and your fingers end up doing slightly different things because you're not playing every note."

    Figuring it out is trivial because I now know the theory behind it. And when we switch over to walking bass lines and he says "OK, for next time, I want you to lead into a downbeat chromatically," again, it's trivial to understand what's going on.

    That doesn't make it easy, as I still have to figure out where I'm going and where I came from, but understanding the goal, the objective, the "song," is rather straightforward. Because he'll throw stuff at me like "OK, so that sounded good, now play it but use different notes, so you're not just playing the same progression over and over." So instead of walking upward, I try jumping up to a higher note and walking back down, or shuffling over a section, and so on. But because of the underlying base of theory, it's not hard to understand. It's sometimes a pain to get my brain and fingers to agree, but that's where the practice element comes into play.

    EggyToast on
    || Flickr — || PSN: EggyToast
  • KhavallKhavall British ColumbiaRegistered User regular
    edited October 2009
    Man, most awkward gig ever last night.

    So as I mentioned before I recently joined a band on bass(Apparently I play bass now, oh well, I'm rolling with it).

    We had a performance last night at this pep rally. the pep rally was scheduled to be right after the parade. Pretty simple. There's a parade, people come inside for the pep rally, we play to pump them up, then the Blue band, jets and silks come in and the pep rally happens with this big crowd. Much better than what apparently has happened in the past, where there's this big awkward moment while the blue band is still getting up to the pep rally from the parade and all there is to do is sit there and wait.

    Well for some reason, they decided we should start playing before everyone came in. So the only people who were there were our friends. And they told us to prepare about a half hour set.

    so the end result is about 6 people see us perform a great sounding set really awkwardly because no one is there, and then about 300 people see us strip the stage. Now we were fast as fuck stripping the stage, so I'm sure that was impressive, but still. And then there was a good 40 minutes where there's just a DJ and nothing happening while the blue band gets there. If they had just had us start 15 or 20 minutes later it would've worked perfectly, but noooo.




    Also apparently we have another performance next sunday and we're debating trying to get a 2-hour set up to par and fill in at a bar gig. the only problem is since I've been with this band for a week now I still have to learn all the music.

    Khavall on
  • BolthornBolthorn Registered User regular
    edited October 2009
    That sucks. I've been in multiple situations where bands have had to start before the door opens at shows. Which, made NO sense whatsoever. Fortunately, never been one of those bands. But yeah, "Doors open at 7, first band goes on a 6:30". WTF?

    Bolthorn on
  • Uncle_BalsamicUncle_Balsamic Registered User regular
    edited October 2009
    Man, The Doors are playing?!

    Uncle_Balsamic on
    2LmjIWB.png
  • KhavallKhavall British ColumbiaRegistered User regular
    edited October 2009
    The worst part wasn't even that there weren't that many people there, but that everyone who was there was sitting. Like the rest of the band said they've performed for tiny crowds and it's normally fine, but we just had a bunch of people sitting down watching us perform rock, so we couldn't really pump them up or draw from their energy at all.

    So we just kind of stood there and played while trying to drum up some sort of energy and failing.

    Khavall on
  • Dark_SideDark_Side Registered User regular
    edited October 2009
    Khavall wrote: »
    The worst part wasn't even that there weren't that many people there, but that everyone who was there was sitting. Like the rest of the band said they've performed for tiny crowds and it's normally fine, but we just had a bunch of people sitting down watching us perform rock, so we couldn't really pump them up or draw from their energy at all.

    So we just kind of stood there and played while trying to drum up some sort of energy and failing.

    Had this happen at high school show back in the day. Ended up playing to an empty basketball court with a crowd of kids on bleachers something like 70' away. It put crazy pressure on the band and combined with horrible acoustics the whole set started to fall apart, bass player ended up half a step behind the drums, and the horn section just flat out quit playing and stood around looking shell shocked. Eventually a crowd showed up at the stage and we got our shit together enough to finish strong, but I will never forget starting out into that black abyss.

    Dark_Side on
  • SheepSheep Registered User, __BANNED USERS regular
    edited October 2009
    rcsba9.jpg
    2a7ar69.jpg
    14t4f9s.jpg


    Gonna do a bit of customization and maybe put a Bigsby on it.

    Sheep on
  • PodlyPodly you unzipped me! it's all coming back! i don't like it!Registered User regular
    edited October 2009
  • The CheeseThe Cheese Registered User regular
    edited October 2009
    Awesome. Any other cool making-of videos?

    The Cheese on
  • PodlyPodly you unzipped me! it's all coming back! i don't like it!Registered User regular
    edited October 2009
    The Cheese wrote: »
    Awesome. Any other cool making-of videos?

    I just got that from Assemblage 23's awesome synth blog "waveformless," but I believe it's from a serious of "Famous Albums" DVDs.

    Podly on
    follow my music twitter soundcloud tumblr
    9pr1GIh.jpg?1
  • pinenut_canarypinenut_canary Registered User regular
    edited October 2009
    Podly wrote: »

    This is really cool. I just recently started getting into Pink Floyd.

    pinenut_canary on
  • PodlyPodly you unzipped me! it's all coming back! i don't like it!Registered User regular
    edited October 2009
    Podly wrote: »

    This is really cool. I just recently started getting into Pink Floyd.

    You should check out Tangerine Dream too, especially their 70's stuff.

    But of course I would say that.

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  • jeddy leejeddy lee Registered User regular
    edited November 2009
    I'm not a fan of BC rich's, but for 22 more minutes they got this one on amazon for only $200.00.

    "Warlock Revenge - White"
    21-AvsjXmXL._SL500_AA250_.jpg

    http://www.amazon.com/B-C-Rich-Warlock-Revenge-Electric/dp/B00134MTQ0/ref=xs_gb_A2WTUZU3LNEDQM?_encoding=UTF8&m=ATVPDKIKX0DER&pfRdReplace=1

    Click on "View Gold Box Offer"

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  • GreasyKidsStuffGreasyKidsStuff MOMMM! ROAST BEEF WANTS TO KISS GIRLS ON THE TITTIES!Registered User regular
    edited November 2009
    I had a BC Rich Warlock 4 string bass, it was the most unwieldy, heavy thing I have ever played. Totally did not suit the style I needed it for. My brother bought it cuz IT LOOKS SO COOOOOOL but then I started playing in a jazz band, so... not gonna work. Got an Ibanez instead.

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  • jeddy leejeddy lee Registered User regular
    edited November 2009
    Yeah, I've always seen them as cheap guitars made to look raaaaaaaaaad. I need versatility of tone and some classyness to my instruments. I know other people like them though. Also if I were in an 80's thrash metal band I'd probably drop $200.00 just to play it in the band.

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  • jeddy leejeddy lee Registered User regular
    edited November 2009
    jack eddy wrote: »
    Yeah, I've always seen them as cheap guitars made to look raaaaaaaaaad. I need versatility of tone and some classyness to my instruments. I know other people like them though. Also if I were in an 80's thrash metal band I'd probably drop $200.00 just to play it in the band.

    I would just like to quote a review of this instrument that proved helpful in my decision to purchase this item or not:


    dude this gutiar is just plain sic if you want to stand out and show those classical guys what's up then this is the gutiar for you, unless your emo then well plz don't disgrace this beatiful piece of work

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  • Santa ClaustrophobiaSanta Claustrophobia Ho Ho Ho Disconnecting from Xbox LIVERegistered User regular
    edited November 2009
    Clearly the shape and heft of a guitar is directly related to the skill of the player.

    ...but not spelling or syntax...

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  • KhavallKhavall British ColumbiaRegistered User regular
    edited November 2009
    My band has a plan to all buy Squiers with powerpuff girls on them, and then replace our bass drum front with either Mojo Jojo or the powerpuff girls logo.


    We are alt-rock by the way.

    This was brought up when I mentioned that the local music store has a hello kitty strat and I wanted to buy it, join a heavy metal band, and show up with that thing.

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  • Santa ClaustrophobiaSanta Claustrophobia Ho Ho Ho Disconnecting from Xbox LIVERegistered User regular
    edited November 2009
    Hey now... It's not a costume, it's a uniform.

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  • BolthornBolthorn Registered User regular
    edited November 2009
    I actually own a black N.J. Series warlock that I really like. The neck is thick which makes the instrument a nice fit for me since I have really long fingers. You can knock the bronze series piece of shits all you want, but I love my N.J. warlock. Just recently upgraded the block on the floyd rose, cleaned all the hardware, dropped in some new pickups and replaced all the pots and some of the hardware. It has a very nice sustain now and the thing I've always loved and hated about guitars with floating tremelos and locking systems is they are a bitch to tune and intonate, but once they're in tune and intonated, they STAY that way.

    Actually, I was a bit pissed when B.C. Rich came out with the bronze series because yes, every idiot that wanted a guitar that "looked brutal" went out and bought one of those damn things. They suck. You can feel the cheapness just playing one. Not sure of the wood used, but they are significantly lighter than the better model series. A friend of mine had one and it never stayed in tune either.

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  • Raybies666Raybies666 Registered User regular
    edited November 2009
    For the guys booked to play gigs before the show even starts, I feel for you.

    Unfortunately, sometimes you just have to bite the bullet and book bars where you pay x amount to play, and profit=doormoney - x.

    You can get away with just inviting friends, charging 5-10 bucks at the door. You'll probably get a few people who just check out cheap gigs too. You'll make next to no money at first, but paying gigs are addictive and you'll end up going from there.

    Good luck.

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  • EggyToastEggyToast Jersey CityRegistered User regular
    edited November 2009
    Worst case, it's free practice and you should still approach it as a professional show. And record it. If you can't do the cheap/free shit where no one shows up and knock it out of the park, how do you know you're going to rock out when you get a good gig?

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  • UEAKCrashUEAKCrash heh Registered User regular
    edited November 2009
    I'm having an interesting problem. My current set up is recording into Audacity an then transferring it to fruity loops for mixing. Not the best method, but it works, and I have those tools to work with right now. Anyway, I've been playing a looped click track in FL, recording through Audacity, adding some compression in Audacity, saving it to .wav and putting it into FL. I lined it up properly, but for some reason the click track playing with the recorded guitar slowly gets off time.

    We re-recorded thinking that it was possibly the guitarist losing time, but he played it all through again in proper time and it was just off.

    It's not consistent though. We did a test of him just doing a short strum in time with the tempo, and it lines up perfectly. Went through all of the same steps with it, and it didn't have the problem.

    It is a somewhat complicated timed piece, but it is literally impossible for the guitarist to get off as bad as the end result. Any ideas?

    edit: Also, I have an old BC Rich Warlock Bronze laying around here somewhere that I started with. That think was indeed a beast, but it was a pretty good guitar to start off on. It was a workhorse, for sure. Then I left it in the trunk of my car during the winter under a wet blanket. Heh.

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