soundian

I bet he's on a pilgramge to still No. 7, Kentucky.

Always, always, ALWAYS check any piece of equipment with the word PRO in the title. Most of it is very unprofessional.

Behringer are cheap and cheerful, make sure you know what you're getting before you buy.

Originally posted by Craig Quik:

I tried it at practise the other day - i only have one pickup but i tried it anyway...

The resulting sound was too boomy and unclear so I changed back to my normal settings and all was fine...

Mmm. I wasn't holding out much hope for it being a short-cut, but still ,that's only one person, anyone else tried it?

Just read the link. Well, skimmed actually.

It says pretty much what I'm saying. Fine tuning is subjective, and in my opinion dependent on key, but with such a crude method as fretting a guitar, you have to compromise. If your gonna play a fretted instrument, you can't be too fussy about the tuning.

Still don't see what short-octave means though.

p.s. 440 Hz

Originally posted by YETI:

right before i can explain what i ment by short octave i have to do a bit of background knowledge. if you take the friquency of a standard a (440 Mh) and the frequency of the next a up (god knows what) subtract the smaller number from the bigger divide by 7 you get what should be the difference from one note to anopthe unfortunately does not work like that.

now if you take a fitfth interval (bog standard power chord) is not a real fifth frequency wise but is slightly short of one.

again if you ty to tune a guitar only with armonics you'll find yourself with a very out of tune hi e

if you want some mathematical information about this check out http://www.skytopia.com/project/scale.html

for any more questions just fire out

I know there's a lot of different tunings to make up for the slight difference in perception. Shit, one of my mates had an awesome electric piano which gave you at least 8 different tuning options. Guitar frets can't be moved so relying on the harmonics (which are completeley dependent on string ratio, not on fret distance) rather than fretted tuning would seem like a fair compromise (IF your intonation is right).

Now I'll go and check the link you posted and either come back and eat my words, or ask for an interpreter.

I still want to know what this 'short octave tuning' is. Anyone shed any light on this.

And don't suggest short scale cos i'll just laugh, I remember enough wave theory!

Originally posted by YETI:

short octave of modern tuning

What's that?

Originally posted by redmeat:

I read an article ages ago on the Fender website (I think) about how to EQ an amp.

It went something along the lines of: Start by playing the open E and A strings on your neck pickup and increase the bass control on the amp until it starts to sound boomy, then back it off slightly. Then use the middle pickup (it assumed we're all strat players!), play the D and G strings and increase the middle control until it sounds honky (I paraphrase) then back it off slightly. Finally, use the B and E strings with the bridge pickup, increase the treble until it sounds brittle, then back it off a bit.

Personally, I start with my usual settings then tweak them (sometimes quite a lot) according to the room/stage sound/whatever but I thought the article was quite interesting anyway.

Interesting. I wonder if it works? It could be a good way of getting a basic sound out of someone else's amp quickly. Do any of you guitar types want to try that and let me know.

I just hope some of our younger viewers aren't getting the impression that there's only one way to EQ. Shit, if that's true why don't we all superglue the pots right now.

It depends on the GUITAR, CABINET AND ROOM. The reason people give you shit to play with is so you can use those big flappy things on the side of your head to judge wether it suits these criteria.

Sorry guys, just been listening to some extremely bad guitar sounds.

You know the sort: combine harvester shred levels played through a tin can attached to the PA with a piece of string and a special tin can-XLR adaptor.

I thought that's what you meant. It would have been easier to understand if you'd said 'master volume at full ( through an attenuator)' or something like that.

Or maybe I'm just thick and it was perfectly understandable your way.

Note for the confused: there is no point in using an attenuator if the output stage of your amp isn't valve. Just attenuate the signal using the in-built attenuator (master volume).

Originally posted by craig deadenstereo:

I run a marshall JMP at full pre-amp vol and full master vol through the low input. (using an attenuator)

Bass - 10, Mids - 10, Treb - 4. Presence - 5.

I'm confused. It sounds as if you're using the attenuator in-line between your guitar and amp.?(

Originally posted by lime

pretty sure youd have to make sure the cables were oober oober sheilded too.

am i right soundian?

Nah, they run on DC.

You'd better get someone who really knows what they're doing then. The only way I can see of doing it is by removing the fretboard, drilling holes for the LEDs and routing channels for the cables. Once that's all back together you would have to rout an additional hole for the battery and a switch on the body of the guitar.

If you do mean 78 rpm then you're going to have to look hard. If you do mean 45 rpm then any bog standard record deck will do the trick. What people pay hundreds of pounds for is direct drive decks (it works on magnatic induction rather than physical contact). Great for mixing, superfluous for listening to vinyl at home.

Boiling them in ethanol is supposed to make the tone change last longer but if I can't be fucked trying the boiling water technique I'm never going to try the highly dangerous form.

Originally posted by The Ghost Of Fudge

there was a thread below

You've got so many stickys it's really easy to miss any 'normal' threads.

I knew I was being too nice to bands recently, not even a nomination for 'Most miserable'.

The last two are mine also I think.

Originally posted by Frosty Jack

Um, well, kinda, but not really...

Think of the melody as a line that flows above the chords, but is anchored by notes from the chords at certain points.

e.g. While the Am chord is playing, your melody doesn't have to use only A, C or E, but having one of them in there somewhere sounds good. Then when the chord changes to D7, you should try and have a D, F#, A or C in it somewhere. As long as your melody is in the same key as the whole piece you can use whatever notes best express the feeling you want.

But really, if you sit and try and work out what can go where, you'll probably never get a decent melody at all. It should just flow naturally without worrying about the rules. If it sounds right, then it is right.

Try coming up with a melody first, then fitting the underlying chords to it, instead of the other way round.

Words of wisdom.

The best melodies are always the ones that stick in your head for days (or weeks). I think being a musician at least means you have the ability to transform what's in your head into music. It's probably the major difference between a 'musician' and 'someone who can play a bit'.

Originally posted by SteveCrisis

Wasn't it Castro's that burned down? I remember reading the fire-marshall's report. Foul play and arson had been dismissed. Someone had simply left a fag burning.

Don't you mean 'someone forgot to put a fag out'.

I was thinking along the lines of learning how to use the beastie with pink noise. Mostly as a backup cos I've noticed recently that I hear differently when I'm tired. It would be good to have a check.

Of course I would need to get a spectrum analyser as well so it's probably not gonna happen.

I've never heard Behringer mics but I'm surprised that you rate them considering most of their equipment is 'cheap'n'cheerful'.

Mind you, I have had one engineer say that he's A/B'ed Behringers reference mic with several others and the small difference is not worth the extra 500+ quid.

Anyone ever used one of these cos 350 for a reference mic is feckin cheap and I'm tempted.

Oh well, looks like my particular brand of irony/sarcasm will be missing from this debate. Not to worry , it's only a bit of fun after all.

Unless the fudge guys let me hear all the tracks before and I can at least give negative votes.

AYE MIN, AT SONGS NAE EES, AT'LL NEVER APPEAL TAE THI KIDZ.

(That was my tribute to the ongoing, on-line love affair between Zombie and Stripey)

I have work at 6 on the 2nd. Don't suppose it matters too much though.

Drummonds might be a possibility this Sunday cos the jazzers don't turn up til about 8 and it has the essentials (beer and a CD player).

We wouldn't be able to crank it up though but that shouldn't matter too much since it's the songs we're meant to be judging.

I shall enquire.

Neumanns. Yum.

We've got to stop agreeing like this Badger, people will talk.