jimmarchi1's forum posts 8022

umm

any vst plugin should run in FL assumig its modern eough for the last update of widows10.. I lost one, MH_Thump but hey, after some reinstalls all good but thump

worth a shot! maybe when you graduate and have some income you can enroll in some piano and guitar lessons... I actually take piano lessons with my son LOL, never too late to improve

FYI, a sus chord omits the third, if there's a third its an add chord, either 9 for 2 (get it, 7 tones up from 2?) or its an 11th, for some reason we don't say 'add 11' though, just he way it is, and 11 is a full major with a high 4th, AKA 11th, a close harmony with 3 and 4 in teh same octave is an add4 usually though.. a sus2 is usually written as a 9th, so it would be C9 for a 2nd with no 3rd and Cadd9 for a 3rd and a higher 2nd

proper naming dictates voicing, so it matters... its soemthing that ahs fallen apart in elad sheets in these ignorant times

https://youtu.be/pele5vptVgc

can you tke more music classes as electives ins chool... maybe a guitar performance class too for lessons thata re tuition funded? some people don't need lessons, you might benefit from them

if you didn't live in Indi I would offer to teach you.

so are your sources... guitar chords share the same naming conventions as every other instrument... no difference on a staff, guitar chords are just chords

this is almost a dead lift on a 90s pop tune LOL but its such a silly change its just an accident

yeah, the C is called Cadd9 by musicians, D over F# i just D, F# is the 3rd, its just an inside voicing, called a secondary dominant. you sound like you're suspending with a G on the top string

riding the G across them? the C with a G is an add9, not s sus technically, you're thinking sus 2 but with the 3 in its an add9, iw as hearing an Am but tis wishful thinking, i woudla subbed an Am7 for Dsus, and if you're playing an Em with a G and D up top its an Em7

i thought it was your song

still needs an occasional A7 to be itneresting, subbing Dsus and Em7

use this new power wisely...

https://www.premierguitar.com/articles/25774-tone-tips-quick-tips-for-recording-and-mixing-acoustic-guitar

there's some absolute basics that are spot on... some other thigns to know, for a snappy rhythm sound try using a capo whether you need one or not.... say you are playing in A major, 1st position, try capoing up a whole step (2 frets) and playing G forms, the capo will change the tone without resorting to any processing... same mic position, same chords, different inversions and an artificial barre finger behind your hand takes the nut out of the equation adding snappiness and reducing that acoustic guitar honk ;-) Also, dont be afraid to mute some strings low or high to fit that part into a tighter register and leave bandwidth in teh finished mix for otehr instruments. You hear these tricks more than youthink in commercial productions. Your rbain will say "I can tweak that in the mix" but if you can get it outta that guitar in the room before plugging in a microphone then you saved yourself some serious knob tweaking and potential degradationa nd artifacts from extra processing.

and try not to let the microphone pickup all that room noise... carefully find a spot i the room where the computer and HVAC don't leak in so loudly OR turn the HVAC off and get sweaty while you focus onr educing computer bleed. There's soemthing hissing like a mofo in your track. You also picked up rattle, a resonance from an objec tin the room that pops up when you hit its resonant frequency in one of your chords... lsiten carefully. That should be avoided.

this is ltierally the ebst vocal you've ever recorded.... tis not exactly a hifi capture, but the feeling is in there and the delivery has authority and msore precision than your previous efforts, perhaps just HOLDING a guitar when you sing will help you overdub better vocals?

its a little muddy, the guitar, changes are Cadd9, G, Am7?, Em(7), so major major reltaive minors? subbing an Adom7 for the Am occasionally and holding for 2 bars would add tension and give modulation point, classic folky trick

sounds highly compressed, I suspect you elft the limiter on, next time just elave ehadroom or don't use the limiter as a limiter, switch it to comp mode, try seetting the threshold for just below your loudest peak and keep the threshold at about 3:1, fiddle with the time constants based on the tempo, try the different attack curves, if i sued fruity limiter while tracking I would try soemting fairly grabby like 1 or 2 and I would also disable the saturation for sure, save that kidna effect for the mix... work on your microphone palcement, its hard doing it on your own. Glad you got your kit together, keep experimenting.

But...what if you put Synth9 on an Oberheim? Would that be a synthception?

1) I sold my oberheim in 2015, it wasn't the Jump synth anyway, not nearly as brassy

2) what a weird thing to suggest! Does it have a blend control? might be itneresting to blend the real deal analog synth with the EHX version that for some extra fattitude?

what's curious is that the soudns seem to be TOTALLY preset.... I get that on the mel9 and the rhodes one, but on the B9 and the synth one you might need some basic parametric control.... these are complex gadgets capable ofa range of sounds

But...what if you put Synth9 on an Oberheim? Would that be a synthception?

1) I sold my oberheim in 2015, it wasn't the Jump synth anyway, not nearly as brassy

2) what a weird thing to suggest! Does it have a blend control? might be itneresting to blend the real deal analog synth with their version that way for some extra fattitude?

hahaha, that one took me off guard the first time I heard the coldplay song on teh radio, iw as like hopping mad... lucky I didn't crash my car! but I think they did it with Hutter's blessing. Interestingly, the whole delivery, prudction and guitar sound to this song is so U2 its painful. There's not an original idea in the entire song. Huge hit of course....

if you want an OCD you cna get that joyo or even the EHX OD Glove, its a slightly revoiced OCD that i thought played better with a wider variety of guitars and amps than mike fuller's original design (okay, not original, the OCD is just a tweaked up clone of the original voodoo lab OD which is just a fucking distortion+ with the clipping diodes shunted to the bais potential of the 1st stage of the op amp isntead of striaght to ground so the clipping threshold isn't static, its determined by input signal amplitude)... but anyway, as far as store demoing goes I actually preferred the cheaper OD Glove to the OCD

valar guitaris!

yeah, the lego metaphor is about how sometimes something will poke out ofits register to syncopate and take up a higher space... a sanich is static! it goes bread, ham, cheese, mayo, bread... legos are patterned but inconsistent.

that's nice...

its the elgo theory of writing and arrangement, eveything interlocks rhythmically and harmonically like making a tall, triple thick all of legos, bu you can go down to short and single brick thick easily by adding a rest for come layering intruments sometimes... mostly what'sther builds tller, not thicker, but verus Tel nobody's paiting analogy? legos are more true than paints

PS : Xaq i am so embarrassed! I didn't get the joke and I am kinda AM the joke.

for real zaq? is my jazz training THAT transparent?

quoting the lick? wat? if you wnna borrow phrase be my guest, its not copyrightes and is not for profit music... but if you can grok why the lick works you deserve it, the harmony is dense as all fuck.. I posted it to show any tools can do any jobbut also ther is an example of guitar playing to the groove and not just campfire strumming! its busy but productive.

okay, why is the DAW just a tool? you think fruity loops you think EDM. PERIOD, yet this was made 100% in FL producer:

using good araangement aesthetics, soe live performance and just a general sense of funkiness

my pedalboard ampis not on my pedalboard. Its in a drawer. although if I start playing out again like I hope to I will likely put it in a rack drawer as a backup amp.... with the peals. That's if I don't get the enw Boss looper/multiFX and ditch my TC echoes and Line6 m5

BUT! right now that shit is in the extra-guitar-gear drawer with other utility boxes that don't need to be setup and ready to travel. You could just sit that shit on top of a 2x12 and have at it whenever and wherever, nothing else is needed.

I just think everyone needs a killer amp and their practice ampa s a abckup, a serviceable axe and a backup, and maybe, just maybe some abd reverb.... okay, not really! You don't need the reverb. Play louder and shit will reverberate.

and startingout, putting a bunch of shit in line hurts your development, ti does.... stompboxes are responsible for piss poor touch... I blame them!

https://youtu.be/Um9W0JS0s8s

that said, I think the most useful thing a guy with a marshall SS practice amp could invest in as a first pedal is a good multiFX just to get an aproximation of all the effects.... the dirt will be screwy, but the modulations, comrpession, delay and verb will really get the OP a feel for thigns if he looks at the aforementioned line6 multi effects or soemthing similar. Iwouldn't go cheaper than a line6 or you're shooting yourself in teh foot. If he ahs 300 bucks he could look at the nova system and get 2 classic analog dirts built in too. All in one. I felt it was the ebst all in 1 box I ever used, though the standalone novas sound ebtter and ind elay the rack units and the flashbacks own all over it... but tis going to sound damned good and give him a tubescreamer, a rat and the full pallette of TC digital effects along with a nice all analog signal apth for the dry signal for everything but the compression.

http://equipboard.com/items/tc-electronic-nova-system

I know my review is ahrsh but Iw as looking for more out of it. Understand I use a multi-amp rig alot and I also was trying to sue it as a amster midi controller for some other gadgets when i got it and it was ahrd to get it working m y setup. I shoudla qualified thigns more. it did sound great in a 1 amp rig if I didn't mind tap dancing or wanted to ignore the other MIDI gear. I needed some apch points between teh analog and digital sections, more outs, maybe a ground lift.... but the OP? might be the ticket for him. Invest in a big muff or a fuzz box and maybe a quilter later and he's got a good baord for gigs that can power a borrowed speaker cab and will be small enough to take on the train/subway. Also, it has good bread and butter effects that can be dialed in to handle whatever type of music he likes with a little patience. The rat and TS can cop a lot of stuff with all of the TC digital crap getting their abcks. He might ened soemthing grimier to do dan auerbach, but tis helps to have some grungy old tube amps for that type of shit too. Just as important as the big muff and the old shin-ei fuzz boxes.

Deny the gear wisdom or bask in it. I care not my Aussie friend, I am chillin' poolside on this too-hot-for-beach day! gotta pack up and go home tonight. Then i will get really into some forum shiznit, man!

I get that. I think if the guitar would really die then maybe it will come back ebtter and stronger. We're in a weird era though. Its not unlike the birth of rock n roll in some ways. All the sudden there's a proliferation of cheaper isntruments and weird new music making tools at a time where the music business is chaotic, like the wild west. The psot-war era was actually like this. The guitar amp was being improved and perfected, fender was bringing serviceable, feedback free guitars to the masses. Little local labels and and regional radio DJs were proliferating music thatw as either new or previously unkown to the mainstream (blues was race music until after world warII).... lots of technological rbeakthroughs are available to enthusiasts now thanks to computer recording just like the proliferation of army surplus electronic parts in teh 50s had companies cranking out the earliest affordable tape amchines and selling them to people like Sam Phillips. Major labels are always scrambling to keep up but still lean on repackaging the older, big names they've poured tons of money into. Its an itneresting time in popular music. We haven't seen all these conditions in a while. We're ripe for some Rockabilly to take shots at the Sinatras and Benny Goodmans or some Beatles to render the Frankie Valleys and Bobby Darrins obsolete. Who knows what that music is going to be or when it will happen but the conditions are right in a lot of ways. I just haven't ehard anything new that is ushering in such a drastic paradigm shift. I am not eharing a Buddy Holly or Chuck Berry and certainly I am not eharing any fucking Beatles.

What is dead can enver die! It just coems back ahrder and stronger!!! the iron islands will save the guitar! but first? winter is coming

I try to make time to for ball busting, but with so many young people on equipbaord its hard to fit everyone in every week.

or do you mean am I all about EQD pedals? normally? no, but if they're going to send me demo untis to review then I am feeling enthusiastic. I do ike that on their demo recordings EQD will generally psot a synth one. With such a crazy stable of effects its nice to ehar them on synths. I usually like my guitar to be fairly 'guitarish' but I generally am programming a synth just to be weird sounding, so adding an extra layer of weird from a pedal is something I defintiely am all bout.

well, its a stolen lick at least... I just wanted to bust your balls because I haven't gotten around to it lately

oh man, I got the new EQD reverb pedal coming for review soon! I'll try it on guitar of course, but with a synth filter built in I am really stoked about putting it on a synthesizer or piano! maybe try it on some bad synth strings!!!

I'm all fixated on this because my day job is in accounts payable and billing so I pretty much just deal with money going in and out and balancing the monthly budget for my clients. I eat, breathe and sleep cash flow like I used to eat, breathe and sleep music theory.

gotta make time for your folks, especially at our age.... god knows how long you have with them

here's my ppol-side, rambling .02, guys

I feel like the guitar is also suffering from being heavily adopted by rock music fans, replacing air guitar in the 80s as a form of hero worship.... there are a lot of guys imitating their idols, often badly ons tage who are not that itnerested in the isntrument as anything but a conenction to their favorite artists...they don't really care aout music and aren't interested in the history of popular songwriting. This site actually trives on those people and so does the entry-level guitar market and most of all the pedal market. I think that's why pedals have exploded to a certaine xtent and this site's existence lends credence to my theory. Some of us ae just into talking gear in a friendy environment than gear-page, but the majority of members are fixated on certain items sed by a handful of bands they love rather than guitar, recording, synths and music in general. this kidna hero worship and specialization defintiely hurts music and with guitar it is the ruling apradigm. its been building up sicne the 70s and its hurting the whole reputation of the isntrument. When iw as a kid people were impressed if you were the one kid ins chool elrning guitar because it was still cool and special. There was an assumption that if you weren't good yet that you would be good eventually ebcause everyone else wuit after a week! Now people stick with it more, maybe ebcause of the itnernet, but they don't always come out with great chops or an original voice. Everybody and their brother plays and they all do a convincing kings of leon impression.... its not impressive anymore. On the other hand the synth is still a little baffling to most kids. Although the avialability of soft synths that make it asy to crank out EDM bangers certainly is democritizing, degrading and demysifying the synth too... rather than say electric guitar is dying I would rather say that a culture of amateurism is desensitizing the audience to everything. They just don't care about the same things they sued to because no one is terribly good at it anymore. The real virtuosos are the protools master and great mix engineers, you know? And half the time those folks are uncredited so the signer, like Timberlake or Gaga gets the adulation. I don't think teh audience pays attention to whats going on in tehse songs. They don't worry about whether they have a guitar or a weird sequence of samples or maybe some moog plucks holding down the hook. They lsiten to teh whole production and then amdire the vocalist or trash them regardless of what the vocal actually sounds like.

I just don't elt this stuff worry me though and neither should you. I sued to be bothered but I no longer make a living through music and I have just elt it go. I am going tow rite the sort of music I want, play with who I want, record what I want and I'll keep loving my guitars and amps. I learned tos top worrying and love the bomb. The folks at the Post should too... they ahve enough to worry about inS utheast where I used to work! Their whole region is so fucked up.

and you need an amp too Walrus

its a solid state practice marshall, for real, the order of attack on gear for anyone looking to play rock music should be amplifier, guitar then effects. A lot of people don't want to ehar that ebcause individual effects pedals are relatively cheap and easy to aquire, but people sink down a ton of money into pedalbaords and then find when they play shows their beginner amp isn't cutting it.... then they come abck n equipboard and start asking what the best deal in tube amps is because they sunk all their cash into effects pedals the last few eyars isntead of saving it and buying an amp. Just smoke that over, youngin'. You're probably not getting a lot of legit shows out of the amp you've got, its a bedroom amp. Maybe its got enough power to serve as a backup.

On the amp front, consider the quilter stuff. Its solid state, but the little Quilter 45 watt pedalboard amp I bought a month ago on a lark is blowing my mind with tis power and very tube-amp-like tones. And I am comparing it to my haord of vintage tube amps. 150 dollars brand new. Then get a big muff and some swirly/echoey stuff. Effects are fun, but you cna play a show without them.... but a nice sounding amplifier with plenty of power if needed? well, try playing a show withough an amp or with soemthing not loud enough or that soudns abrasive and gets lost behind the drums when you kick on your distortion pedal and see how happy you are ;-)

give them an overdue invoice...

man, if you can't be bothered to play my music back on a rudimentary stereo setup I don't care how my music sounds to you.... I mix for dead center in stereo, period. If you wanna sit off to the side, lsiten in mono or arrange your speakers weirdly then the stereo field will be weird... fuck you, set the speakers up right and sit in teh center if you want the fulle ffect of everything i did. I can't mix for every set up and position. i can make sure that the mix is passable in mono. I can kake sure it will work on my phone's built in speakers with all their midangey pahsiness.... I can check earbuds and make sure its passable. But Ic an't make it sound GREAT on all these systems. I have to settle on one and I am always going tos ettle for properly positioned stereo, wide bandwidth, high ehadroom playback systems. I would say that decent all-in-pne 'bookshelf' devices fall into that category. I am not going to sit aorund and worry about people who wanna lsiten sitting sidways, 2 yards from a google home speaker. Should I check my mixes to see if they sound alright to people with eharing aids too? jesus... the fact of the amtter is that the people who PAY FOR MUSIC, have passable stereo playback setups to enjoy it on and the people who want it for free can get what they get!

disgruntled musician rant over

looking for an effects pedal? when was the last time you saw it?

thanks folks, remember to tip your waittress!

for rizzle, g-money, save the money for a more serious guitar and a legit tube amp.... the 100 to 300 bucks you'll spend on a satisfy stompbox experience could contribute substantially to more important upgrade... like a serious guitar and amp

I acutally didn't go to any keyboard or guitar class. , and the basic notes in music theory in school when I was in 7th grade. That's it. The rest is my effort.

yeah, I know

warm up, even before practice... there are pelnty of internet resources with proven pop/rock warmups.... even if you don't feel they imrove your performance they will limber up those vocal chords so you don't strain them -- I'm trying to remember the name of the coach who amde the CD I use with singers and its escaping me. I burned a copy from a buddy and totally forget the name of the guy right now and I am not home to look. "Gug, gug gug and all that. Loosens your face muscles up too so you can enunciate well and not sound like a slurry Radiohead wannabe LOL

you could defintiely stand to think more about your guitar playing...e vne if you don't wanna elarn any andanced technique, there's a world of thigns you cna do that leave more room for the other musicians, contriute groove and support the vocal. As the vocalist it should be really obvious to you what to do on the vocal support front, but being one with the rest of the rhythm section is really a product of listening to great rhythm sections like the Fame studios house band behind Aretha or Motown and Stax productions. In any idiom outside of the hard rock world less is usually more in rhythm guitar, man. Hell,e ven look at a tom petty song some time. Don't play mroe than you have to, if that much... try thinking of your guitar as a drum soemtimes or maybe the wound strings as left hand and plains as right hand on piano. Syncopate a lil more. Although Indian classical is pretty drone oriented so, maybe I am smack talking ehre. but you cuys sound like you are looking to be way clsoer to western music with telagu lyrics

hey there

dirt bags or nerds, Madmike

needs work, keep practicing together.... build soe chops and confidence. Talk more when Ig et back from vacation if you want.

are you keys or guitar??? keys?

he electric guitar may be going the way of the saxaphone as a maisntream pop music isntrument, hwoever , it is super-alive and karate-kickin' in the udnerground and with hobbyists and enthusaiasts in a way the the sax is just not. Its inehrent mutabiltiy is the key to tis popularity. Maisntream musical trends have been slowly leaving the guitar behind sicne Iw a s a kid and I think tis because the synthesizer is even more versatile and creative. Even I am one of thos e"why not just play that part with a synth" people.

I have spoken, back to ym vacation.

shit, that dino-bird kicked yu in the ehad, hun?