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Everything posted by arcadesonfire

  1. Does anybody use the H9 phone app to edit their pitch, mod, or timefactor pedal? Can it work without needing the actual H9 hardware unit? If so, how do you connect? Are there cables that go from the lightning jack to that USB type B jack? Or from lightning to midi?? Eventide’s web site is just confusing me. Thanks for any help.
  2. In Rainbows And I’d vote for Back in Black and Aja too. Other personal faves: Nevermind, Graceland, and Illinois, which is also know as Come on Feel the Illinoise, by Sufjan Stevens.
  3. Thanks everybody! I was also disappointed with the mini-humbuckers... I had purchased and put one in my current Strat's bridge years ago, but I took it out because it wasn't good for either sound. But I am happy to hear your advice about splitting a humbucker. I had always thought that was more a gimmick than a useable tool. So it's nice hearing your experiences. I think that's the way to go, and I can experiment with different humbuckers over time.
  4. Hiya guitar folks. I’ll be upgrading to an American deluxe Strat not too long from now, but I’m having a heck of a time deciding whether I want all three single coils or if I want a humbucker in the bridge. What pros and cons do you see to each? If you’ve got a bridge single coil in a Fender-style guitar, what do you use it for?? I’ve got a plexi/baseman clone w EL34s and love a good Van Halen tone; I could get even closer with a Strat + humbucker than w my Hamer! But then again, a bridge single coil on a Strat or tele has a unique, crunchy/sharp sound. And I rewired my current Strat so the bridge SC can pair w either other p/u; I get two kinds of squawk! So which do I want or need more?
  5. Well then I’ll develop an app that lets you hail a cab from anywhere!
  6. Very interesting. If I were an entrepreneur, I’d set up an app and a subscription service to monetize the work done by those folks. Get a new surprise profile every week or something.
  7. Everybody knows that Canadian Marshall clones from the early 70s are the best. Nobody's willing to say it though, so we get all these other recommendations.
  8. For something like being in a pit orchestra for a Broadway show, I could totally understand the need to go from country Fender cleans to deadly triple-rectified brutalz to plexi rock and on and on. Small tube amps can't cover the range. Even if the audience won't think of the guitar amp as they evaluate the show, the realism of the guitar's various sounds could affect their experience... And it could certainly affect casting directors' opinions.
  9. I spent those weeks on disability awaiting back surgery due to picking up an amp the wrong way. I can sympathize with the draw toward something solid state! But I have no clue how to test them. Manufacturers really ought to turn toward building realistic, practical, low-cost roadie simulators.
  10. Interesting. I need to learn more about it. I put "country" in quotes because I'm guessing there are various definitions, and it's a diverse range of styles/sounds..... Speaking of which, do I understand correctly that all kinds of slides (lap steel, pedal steel, plain old glass slide on a regular guitar) were inspired by Hawaii?? Or did mainland music export that to Hawaii?? ...... It'll be fun to watch and learn. TV can trump books when it comes to music lessons!
  11. Thanks for the word! I will try to find the prior episodes online and then tape the upcoming episodes... One of my favorite things about my company’s history of rock music book is that it delves heavily into “country” music’s contribution. Traditionally, I had always seen rock described in terms of blues and gospel influences, but it really was a nexus of two different cultures (blues and country) that brought us rock. I’m sure this is obvious to all y’all, but I can attest that TV histories I saw in the 90s were skewed and didn’t pay much attention to the development and contribution of “country” music.
  12. I often wish I could think like a drummer. I’m so busy trying to write an interesting chord progression or develop an interesting timbre/effect, and then I just repeat the same rhythms I’ve used on previous songs. The drummer in my old duo was really big on creating memorable beats that would last in the audience’s head. Wish I had that instinct.
  13. Impressive. .... I find myself going in and drawing velocity curves (freehand) or even adjusting each note manually to pull it off. I wish I didn’t waste the time like that on freakin demos. I should be spending more time noodling around with bluesy licks on the guitar!
  14. The Cakewalk drum module! Never used a real drum machine. I've always just composed in Cakewalk. An upgrade many years ago came with samples (supposedly) of a drum kit used by John Bonham. I met a drummer on Tuesday to work on songs I recorded in Cakewalk with these samples, and he didn't even know they weren't real drums. What an age we live in....... Going back to a recent discussion though, perfectly click-aligned drums can't be the real thing.
  15. Nah... but I used reverb.com for the first time this weekend. Got a Supa-Trem 2 on the way for just $160 after tax and shipping. It’s got a “warble” mode!!
  16. That's an excellent perspective. I find that my strumming hand is much slower than years back when I was in a regularly gigging band. The main thing that got my hand so nimble was that the drummer often demanded only downstrokes. Simple exercises/restrictions like that can add a lot to our playing. Godspeed as you get your groove back.
  17. Ah, good point. I will count myself lucky. Now go get your dorian scales back in good shape!
  18. Well, thank you. I said that mostly jokingly. But I've also worried that I'm too far removed from what's hip these days, because I have frequently received responses to my ads, then sent them demos of my new stuff for the new band, and never heard back--which leads me to think they hated it. I worry it might be my 80s new wave singing.... meh whatever. I've got a "date" with one drummer this weekend. He seems excited, so let's trust that he's sincere and actually likes my voice.
  19. Also just had first choir rehearsal of the fall last night. I hadn't sung for two months. WHEWEEE, I lost all my chops. Gotta do a lot of scales and arps before next rehearsal.
  20. How to get a drummer who plays well, isn't f'ing nuts, and actually wants to play the stupid music I write.
  21. I meant to ask, if you don’t mind: Where were you playing? Does the band have any recordings online??
  22. Even though a non-Fender US-made strat would be so much cheaper, I just can't stand the thought of playing one that doesn't have the signature headstock. Darnit!
  23. Saw the title of your post Unam, so I came in here. (I'm usually in the political forum.) I'm trying to get a new band going in New York, and I'm nearly 36. I've been playing in various bands here for 12 years, and one common experience is playing to a near-empty room. There are so many venues that the people who go see shows are all spread out. You've gotta develop a small fan base, and it usually begins with either having lots of friends who will come or by being friends with a band that already draws a crowd. Once you show a venue that you can bring a crowd, they might have you in mind for a slot on a bigger bill, and then you can develop a relationship with the venue. The most "successful" band I was in had connections to other bands at first, and we had a few groups of friends to invite out. It helped that the drummer had been in a really big band in Montreal years before too. We then developed a relationship with Pianos (lower east side) and various Brooklyn spot. Then we got some write-ups and got some big bills--though not many record sales. (Few people buy recordings anymore.) Nevertheless, we would still sometimes play to empty venues, just a few people in the crowd. Other bands on bills rarely stick around for full bills. Gotta get their stuff back to their rehearsal spaces yeknow. That "successful" band of mine ended in 2014 when we were a duo and finally got an offer for a record deal; it was a small no-name company, and my partner didn't think we'd get anywhere with it. It hurt me, but a certain Grammy-winning audio engineer assured me that there isn't money to be made in this business anymore. Spotify and a saturated market have kinda killed rock music aside from a tiny tiny lucky few--who could still end up with very little after their one hit.... This week in Brooklyn, I saw a packed crowd in a venue with a bill headlined by a band we once played with to a relatively small crowd. Even though they had played a tiny show with us, this time, you could barely find room to stand. Why was it so packed this week? The venue was a cafe that was closing, so tons of strangers who knew the place for its coffee came out because it was a special event; all the bands on the bill had friends or former employees of the cafe. Once again, having personal, non-music relationships with people can be key to introducing your music to new listeners. And even still, in New York rock music, you're likely to only find such packed crowds at special events.* So why am I trying to start a new band at this point?? Why is it worth it?? I am not at all aiming for a profession with it. Instead, I just want to play because it's what I always wanted to do. I want to make recordings even if no one listens. I want to have rehearsals rather than sit on my arse. I want to develop some relationships, even if it takes lots of trial and error. And I've got friends with bands; I want to get on their bills. Playing in a band will be a cost, not a profit, but it's something I'll pay for in the same way people pay for other hobbies. *Halloween! If you want to play to a big crowd at a non-arena venue, get a cover band going. They sell big in October. Perhaps the biggest crowd I ever played to (without it being an opening set for a nationally known band) was Halloween. Weezer and Fleetwood Mac cover bands.
  24. Oooh, now I remember. That makes a hell of a lot more sense.
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