"Swagger" (mark2b with Palmer PDI-09 direct)
- Thread starter gonzo
- Start date
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masque
thanks a lot for checking this one out...
the kit, and the kick:
i may tweak the 'point' on it a bit...
get the bite of the beater to poke out a bit more, for small-speaker translation.
this is a kit i've been working on for a while...
it's a work in progress.
thanks a lot for checking this one out...
the kit, and the kick:
i may tweak the 'point' on it a bit...
get the bite of the beater to poke out a bit more, for small-speaker translation.
this is a kit i've been working on for a while...
it's a work in progress.
follow up....
i've remixed this thing now....
you know, i'm finding that some folks are commenting after listening on laptops, and computer speakers, and i'm learning that translation is all over the map!
LOL
i was listening to my clock radio last night.....just before going to sleep, i was reading something...
and i heard 'roxanne' by the Police, come on.....
i was listening to the bass line-- what little of it would translate thru the little 3" speaker on the top of the clock radio...
and two notes of the 6 or 7 repeating notes, would play, and none of the rest would.
they would just disappear.
LOL again.......
you just can't mix, to translate on every little system, that much is for sure.
i find that if i add too much low end..... for thump...
and too much high mids and highs, for 'thock'.......
then it messes up everything else, when you playback on a really nice system.
so, the moral of the story is, mixing is sometimes about finding the best compromises!
at least, that's my story.....
i've remixed this thing now....
you know, i'm finding that some folks are commenting after listening on laptops, and computer speakers, and i'm learning that translation is all over the map!
LOL
i was listening to my clock radio last night.....just before going to sleep, i was reading something...
and i heard 'roxanne' by the Police, come on.....
i was listening to the bass line-- what little of it would translate thru the little 3" speaker on the top of the clock radio...
and two notes of the 6 or 7 repeating notes, would play, and none of the rest would.
they would just disappear.
LOL again.......
you just can't mix, to translate on every little system, that much is for sure.
i find that if i add too much low end..... for thump...
and too much high mids and highs, for 'thock'.......
then it messes up everything else, when you playback on a really nice system.
so, the moral of the story is, mixing is sometimes about finding the best compromises!
at least, that's my story.....
thecek
hey, thanks for the comments, and the interest....
basically, the song starts out in a minor key and minor 7 (i tune down a half step), and morphs into a major key on the bridge.....
then back to basic minor.
i don't really have a 'grip' on the actual chord structure here, i play a lot of partials, and use (2) rhythm parts to build the total chord, typically one for the root parts, and the other for the 'middle' parts of the chords.
the melody lead guitar parts are constantly playing with major and then minor scales....
they flow to minor when they work with the rhythm at that moment...
then move to major when the rhythm is playing something 'vanilla'...... which is my way of saying there are no 3rds in the chords, to define whether it's a major or minor chord...... it can go either way!
LOL
i've been playing with this style of melody for a long time....
but you have to be cognizant of your chording while tracking...
and KNOW..... that you are going to be doing a solo and harmony in a specific part of the song, and intentionally leave OUT certain notes, to allow room to move in either major or minor direction...
it's really not as hard as it sounds...
but it takes a long time to get as comfortable with it, as to not even consider it while writing parts and tracking.
hey, thanks for the comments, and the interest....
basically, the song starts out in a minor key and minor 7 (i tune down a half step), and morphs into a major key on the bridge.....
then back to basic minor.
i don't really have a 'grip' on the actual chord structure here, i play a lot of partials, and use (2) rhythm parts to build the total chord, typically one for the root parts, and the other for the 'middle' parts of the chords.
the melody lead guitar parts are constantly playing with major and then minor scales....
they flow to minor when they work with the rhythm at that moment...
then move to major when the rhythm is playing something 'vanilla'...... which is my way of saying there are no 3rds in the chords, to define whether it's a major or minor chord...... it can go either way!
LOL
i've been playing with this style of melody for a long time....
but you have to be cognizant of your chording while tracking...
and KNOW..... that you are going to be doing a solo and harmony in a specific part of the song, and intentionally leave OUT certain notes, to allow room to move in either major or minor direction...
it's really not as hard as it sounds...
but it takes a long time to get as comfortable with it, as to not even consider it while writing parts and tracking.
thecek
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- Joined
- Jan 14, 2013
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gonzo said:
Well, this is the basic and major thing to keep in mind while playing.
After ten years, more or less, I've found that my ability in improvisation was limited by the "box-shape" schematization of the fingerboard. So, since few months I'm into a new approach with guitar, and I'm trying to re-learn to see the notes on the fingerboard, not the positions. Maybe I can't explain in english..but I'ts a really useful thing..
