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Mar
20
comment How can I reproduce the choppy synth in “Come on Home” by Franz Ferdinand?
Definitely a possibility; at any rate the sound blends in very well with all the guitars on the album – though, there are quite a few definitive keyboards on that track. You don't have a reference that it was done this way in the original?
Mar
19
comment John Bonham's bass drum technique
Heel-down is certainly not only a jazz thing, I've also heard from metal drummers how they consider it “tighter”.
Mar
18
comment Scale length with incorrect bridge position
I'd love to say something more about this, but frankly I haven't finished anything else yet in 17-edt tuning. There's a lot of handwritten ideas, some sketches about how the theory would work out, but nothing really definitive. I've occasionally just tried improvising something on the guitar, but to little avail. Trouble is, you basically need to purge everything you know about western music from your mind: because the chromatic steps in 17-edt are so similar to 12-edo, you easily end up playing detuned diatonic melodies instead of scales that make harmonic sense in the odd 7 (or 11) -limit.
Mar
18
comment How can I get the vocals to stand out better in the mix when recording?
Very true! For a mostly acoustic recording, actually starting with a good acoustic sound is key to getting really good final result.
Mar
18
comment How can I get the vocals to stand out better in the mix when recording?
@biggvsdiccvs: cutting the violin's treble is actually likely counterproductive: it might just make the violin dull and the voice, in comparison, appear even thinner. Better cut the violin midrange, or just lower its level and perhaps even boost the treble a bit again.
Mar
18
comment How can I get the vocals to stand out better in the mix when recording?
The split-delay-invert technique you describe is certainly worth knowing, but done this way it's actually equivalent to a single comb filter, and will give a weird hollow sound. Did you mean to recommend that with the split channels panned hard stereo? Then it can indeed be quite effective for getting the violin “out of the center” while still retaining the mono modes. I would however hesitate to do it this way in a folk recording, since it'll always sound quite artificial. For more natural sound, better put different takes of the violin to L/R.
Mar
14
comment Spectrum analyzer on electric guitar
Please, let's stop calling the guitar a transposing instrument. It simply uses a different clef, not violin 𝄞 but octave-violin 𝄠. (IMO the same should be done for bass with the 𝄤 clef; that isn't commonly done, but for guitar 𝄠 is actually the standard.)
Mar
4
comment Does the type of wood on a solid body electric guitar affect its tone or sound?
youtube.com/watch?v=OLxE8iDWD_w
Mar
2
comment Multieffects Pedal to USB Recording Device
My favourite for distortion/amp stuff in particular is iZotope Trash. In general for virtual effects, the plugins included in Reaper are a great starting point, and they're actually gratis!
Mar
2
comment Multieffects Pedal to USB Recording Device
You can do that either by connecting the RP500 via USB and somehow soft-routing it as an FX plugin (not sure if/how it works with that model), or you can plug one of the M-Track's outputs back into the RP500's guitar in and record from its stereo out. The technique is called re-amping, you can look it up for further advice. — However, the main idea behind my suggestion to record the clean guitar signal was to not use the RP500 at all in a way that's audible in the final result. I would instead do all FX, amp-simulation etc. with software plugins in the computer.
Mar
2
comment Are electric guitar types associated with certain music genre?
@Basstickler: I started a CW answer list, for everybody to extend upon.
Mar
2
comment Are electric guitar types associated with certain music genre?
@Basstickler: actually I'd say such an “association list” question is fine, but only as Community Wiki. This kind of stuff is what the feature is there for.
Mar
2
comment How to differentiate between a diminished fifth and an augmented fourth interval?
This gets even more relevant in barbershop harmony, to some degree also in blues and soul: the 7-limit tritone 7:5 is actually a consonance, and sounds very different from its inversion 10:7.
Mar
2
comment Why would expectations of students vary largely between instruments?
When your instrument is the viola, you're pretty restricted anyway, so... — Seriously: it's a fact that almost all instruments have a preference for certain keys. Violin, cello, guitar, probably also oboe, indeed viola, and flute, they all prefer keys with a few sharps. But they are flexible enough to also handle a few more ♯s (though I suppose from B major upwards, you'd also struggle, wouldn't you?) or several ♭s. Now, for the bigger instruments it is probably really more difficult to “squeeze” in such a non-idiomatic key. I've never tried any brass instrument, so I wouldn't judge.
Mar
2
comment Why would expectations of students vary largely between instruments?
I once heard a violist complain his instrument “wasn't supposed to play in F-major”. Turns out the key was actually C – he'd merely misread a grace note for a ♭.
Mar
1
comment Electric guitar effects and amplification
@topomorto: yes, of course simple analogue amps aren't very flexible in their range of overdriven sounds. But the point I was making is basically: too much sound-flexibility is not necessarily helpful for a beginner to have – in fact it tends to distract from the playing itself, and from developing the technique necessary to get a good and versatile/dynamic sound out of the guitar itself, to start with. That's just a personal opinion of mine: all guitarists I really like are able to get a good sound even with the most minimalistic amp setup (or with an acoustic guitar).
Mar
1
comment Electric guitar effects and amplification
Ahem. So you're arguing that any music with electric guitars can not be listened to over a home stereo? — What's correct is: if you apply power stage overdrive to a home stereo amplifier, it would likely not end well for the tweeters, perhaps even overheat the woofers and/or circuitry, and definitely sound horrible. But, you'd probably have to mod the amp circuit to even get there: modern amplifiers, at least professional ones, should have a limiter built-in, precisely because power-amp overload is so disastrous. OTOH, unfiltered preamp distortion sounds not nice, but it's pretty harmless.
Mar
1
comment Electric guitar effects and amplification
If you mean a consumer stereo system (I wouldn't really call that a PA) then it'll probably have only RCA inputs. But, yes, you can still use those, get a twin 1/4" to RCA cable, plug it into the stereo line-out of the FX processor and the AUX in of the stereo system (or whatever it's called).
Mar
1
comment Electric guitar effects and amplification
Use a simple 1/4" instrument cable from the guitar to the FX processor, and then a pair of such cables from the processor to the PA.
Mar
1
comment Electric guitar effects and amplification
@MattL.: right, but then you need to start with a good guitar amp for the “basic sound”.