Rudi
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Posts posted by Rudi
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wow, nice job there!
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what Lisa & John said.
especially Lisa, she's always right
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Captain Kelly's Kitchen
The Jolly Beggarman
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I think this shows the (non Custom) factory in Nashville. There are supposed to be 3 in all, including a repair/restoration plant.
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Bad Moon Rising - Creedence Clearwater Revival
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Anyone remember David? Maybe some oldies will remember the Commodore computers; 64 Amiga500/600 etc. He was the UK head of Commodore. I was researching something about Spanish guitars and discovered this thing of his.
David recorded a very fine CD of his Flamenco guitar pieces at the demise of Commodore. I met with him at this time to record an interview for the floppy-disc mag TI (Total Irrelevance). The interview was arranged by Mick Lovering and Mick had asked me along.
Mick, myself and Steve Perrett all contributed to TI at this time. TI was the magazine supporting OctaMED SoundStudio, the best music tracker program made for the Amiga computer. So we all created computer music in those days as well as making conventional music.
Mick & myself were made welcome at Davids Thames side home, where we were permitted to play his very expensive handmade Flamenco guitar.
I dont know quite what to make of this venture, but its part of the history of many of us and as such it remains interesting.
And yes I bought the 'Batman Pack A500' pictured here for my son.
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Jon Rose of Australia
This is Jon Playing violin outside Sydney Opera House
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ok I've done it.
I have done several of these now and the reason you are getting a poor response is that people are tired of them.
BTW, I bitterly regret being persuaded to listen to coldplay. thats not a joke. Im serious.
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Saw this on the Gibson Forum. Dont bother with the video. Just watch the minute at 630.
Makes sense if you have no drummer.
Most drummers will open your bottle with their teeth. If not, just use the tension rods on his bass drum a couple of times.
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This is wonderful...
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20 hours ago, snabbu said:
What I mostly noticed was the lack of doubles rather than the tuning.
cheers
Gary
What? They're using stunt doubles live now?
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Curious. I never would have known as I dont listen to these artists, but the idea of singers copying the sound of a tool is quite funny.
I listened to 50% of this though and I get the message.
Good singers seem more relaxed about autotune these days.
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17 hours ago, fasstrack said:
Nah. Whoever the money-makers are would sue---saying the lawmakers are 'interfering with commerce', or some such. Tie it up in court for years with shark lawyers and motions.
Noise pollution is here to stay. If anything it'll only get worse. Try any library these days for quiet---a la the 'good old days'---and see what happens when you have the temerity to complain about some genius screaming on a cell phone 2 feet from you, of course, like you don't exist and it's his birth or constitutional right.
I doubt either of us will see it going back to what we treasured, and figured would last as long as we did.
The path of least resistance? You don't have to like, you DO have to accept and adjust. Or become a hermit...
Well although the sentiment is real, I was not being entirely serious.
Lawsuits? Seems unlikely here; not yet anyway, but we are never more than a score years behind USA social culture. I still haven't forgiven the US for popcorn in cinemas & halloween.
Most likely it would need the determination that was demonstrated when the anti-smoking campaign was in full frenzy.
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Now we are accustomed to the term 'light pollution'.
http://www.gov.uk/guidance/light-pollution
There is also 'noise pollution' http://en.wikipedia.org/wiki/Noise_pollution
I propose that music's unrestricted exposure in public areas be recognised as a class category of environmental noise. I used to be able to wander around and enjoy the music inside my head. That is much rarer now, because I cant focus on it with the indiscriminate use of music in public places. Its also nice just to enjoy the quiet sometimes.
There may even be a case to answer that the pop music under discussion is injurious to the creative process of musicians.
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On 2/23/2018 at 9:01 PM, john said:
It seems that Gibson are in financial difficulty. They cite cheap copy guitars making a massive dent in sales. Fender own their own cheap copy guitar companies as a way around that. It makes sense for them to sell off Cakewalk, bring some cash in.
Its pretty serious for Gibson, though they own Epiphone for cheap copies too.
I'm glad Cakewalk has the chance for a future.
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12 hours ago, Nathaniel Selway said:
Oh I always start with keys. I've written a handful of songs and they all have somewhat intricate melody and bass riffs, but sometimes when writing new songs I struggle to recreate the kind of thing I've done before. Now, as each key has all the different modes being based on what degree of the key scale they are on, and each mode scale plays the full key scale just starting along different degrees, are the notes not all exactly the same in each mode, the order is just what changes? (Please excuse me if this is an ignorant statement, I really am just hear to ask stupid questions so I can learn) if a riff does not start on the first degree of the mode it is composed in, how do you know it is in said mode?
Thanks heaps =)
The easy cop-out answer is 'you need a good ear'. But before you can trust your ears you need to start somewhere. You need to know the key 1st. If you can 'hear' the key, then that is ideal.
If not, the note (or chord) that ends a tune is usually what gives it away. So if that chord is 'C major' then the key is C major. If you can hear the root note of C but are unsure of whether its major or minor, then play them both to see what fits. One will sound right & the other will sound wrong.
Sticking with C major. If you play that scale (all the white notes on a piano starting and ending with C) it will sound familiar. If you then play the white notes starting & ending with A (so A is the root note) then the notes it will sound sad. That key is A minor. A is the the 5th note of the C major scale. So start and end using the 5th note.
Still sticking with all the white notes, begin with the 2nd note of that scale, D. Play from D and end with D. This is the Dorian mode in the key of D.
The 4th note is F. Start & end with F will give you the Mixolydian scale in F.
The point is you are using all the exact same notes each time, but beginning and ending in different places.
To extract these examples from any key use the scale numbers explained.
5th = (relative) Minor,
2nd = Dorian
4th = Mixolydian
There are other scales/modes of course, but the method is the same for finding them all. So to find 'E Dorian' you would work this backwards. E is the 2nd note of the major scale of D. So the notes from D major will be the correct notes to use for playing E Dorian.
For the riff you mentioned. You need to recognise the note pattern of the scale/mode in relation the the key. These note patterns are all unique. So it can be done, but you need to put in some scale/mode practice, that will also serve as ear training.
Hope this helps.
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12 hours ago, Slimdrizzy28 said:
What kind of music genres do you make?
I've only ever made one. I call it rhubarb.
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On 2/23/2018 at 12:16 AM, Nathaniel Selway said:
Interesting!! Vocalists use it more than any other musicians I'd say. What do you play? Also, could you explain how you compose in diffrtent modes? I understand that different modes have different "feels" etc. But I heard that when composing in a mode, you do not have to start with the first note in that mode's scale. So. How DO you compose in a mode, and how do you tell what mode a riff is in? Thanks so much =)
I'm a guitarist. I dont compose in modes generally, but I did one instrumental that way. It was in Dorian Mode. I made up special chords using only those modal notes.
True you can start with any note in the mode/scale. The first thing is to establish the key that the song/tune/riff is in. Then work out the notes that fit. The pattern those notes fit will be the scale/mode.
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Sooner or Later - the Grass Roots
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22 hours ago, Nathaniel Selway said:
For example, when I play bass, if I suddenly have to jump from the E string to the D or G string, I tend to think of trying to play the note with my elbow. This makes me move my elbow down automatically giving me more reach. When singing if i need to hit I high note I think of it being somewhere outside my body. Little habits and quirks you might have to help make things easier for you
Never come across that kind of thinking Nat. Never experienced it either.
I sometimes think of a 'datum shift' (starting point for scale) when looking for different phrasing. Eg: If playing F mixolydian, I would play the major scale of A#. actual Datum Shift is something I did at work with Cartesian coodinates.
What you use sounds similar to memory techniques. Exaggerating an idea so that it becomes memorable.
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13 hours ago, Nathaniel Selway said:
Hey all!
I'm Nate!
Kinda new here! So....what are your randomest techniques and visualizations for anything? Whether it be instrumental, lyrical, or vocal. I've got some wacky and weird ones, let's here yours!!
Hi Nate & welcome. I would like to answer your question, but I dont understand it
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14 hours ago, Pahchisme Plaid said:
Have either of you ever inquired of your fans what draws them to your music? Also, is there generalized “group” that comes for your music? Like for example, The Wall Street crowd on a Friday night come to chill or Ladies getting together for a regular girls night out or other musicians come to appreciate your music. Do you see repeat listeners, do you have a following or a new crowd each week or a good mixture of both? Do your listeners purchase your paraphernalia including your CDs and/or from Bandcamp or whatever online source you offer or are people you’ve not had contact with your purchasers of CDs and online offerings? Or is it a combination? Do you think you have more that hear your CDs and online offerings and then come to listen to you live or does it seem that those who listen to you live then purchase your music from you? I’m asking these things to help identify your audience and perhaps you might find more efficient ways of advertising based on you target audience.
I have rarely played my own music out live. Blown Out is just a covers band. My home recordings reach only a few people, mostly friends at that. I have never asked them what they think of it. I dont want to ask them.
I dont sell my music. Anyone is welcome to it. If my music was popular, I would consider setting up an account for buying it, but the proceeds would go to the Alzheimers Society.
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Most musicians seek approval. For a long time I though I was different, but I'm not.
I am glad though, that I am at least not brooding & resentful toward those who are indifferent and unmoved by my music. Glad because I see it so much here & elsewhere.
As a listener, I have consumed music voraciously, and sometimes feel its almost worn to the nub, except that there is always more. By more I don't mean rehashing the same thing all over again. I mean something a little different.
Enjoying familiar sounding music is wonderful, but some of us also need to keep broadening our scope. Different music doesn't come knocking on the door. It has to be hunted down.
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guitar with built in bottle opener
in Musician's Lounge
Posted
Yep. Theres a tensioned roach recess in the headstock.
The Custom shop version has a gas powered corkscrew, but thats just for cork sniffers