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bdemon

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Everything posted by bdemon

  1. I suffered in music retail for a year and learned there's always some sort of deal to be found. Not greedy crap...I had to deal with guys offering me $500 "cash" for an Fender American Strat going for $999 (great way to get myself fired and get the store dropped by the manufacturer) or guys trying to get me to price match some sort of junker website reselling refurbished garbage with no warranty (can't match that with NEW product). Or guys not reading MI's fine print about all those discounts, which pretty much exclude every major manufacturer, and they still expect me to give them the discount MI won't even honor. But if you can find the best price from an authorized dealer you can usually bring that to the table of whoever you're dealing with. I have a guy come in for NI's Maschine, wanting it for $200 off. Told him he was high if he expected that price, then he said MI had dropped it to that earlier in the week...sure enough I confirmed it and he left happy. And if you've got an authorized dealer discounting some inventory that's been sitting it's worth finding out if your local store has the same problem.
  2. Yeah, so many options you gotta bring your guitar to a store for samples. That green Line 6 monstrosity is arguably the most flexible, since it models all the famous pedals, though $250 is a little pricey for some. I like the Flashback (and always sold them out when I worked retail) because it's around a hundred bucks less and has many of the same settings, along with that nifty Toneprint thing. Or if you want to blow minds for the long term you could round up five hundred bucks for the Strymon Timeline!
  3. Heck no...avoid nursery rhymes like the plague! But something like The Simpsons or Star Wars, even a pop culture standard like Another One Bites the Dust or Superfreak. Might cross into a little cheese, but it puts a smile on their face playing it.
  4. In my experience (16 years teaching in MUSIC STORES where most parents & students look for lessons) ) going for the simplest melodies is the best way to start. I'd usually start with Star Wars, James Bond theme, something familiar along those lines. The Beatles, one of their simpler tunes. The fewer strings the better. Then from there you could expand to open chords, power chords if you've got rock kids in the class. That's lead to the best student retention and enthusiasm. IMO, busting out the theory too fast is a major turn off to the young ones...as much as we know they need it!
  5. Met Reeves Gabrels at NAMM once...I loved his work on Outside and Earthling. He got some crazy sounds out of his guitar! Big on the Fernandez Sustainer pickup, he told me. The only example off the top of my head.
  6. All quality advice. I'll add Troy Stetina's Rhythms for Metal Guitar...or some title like that. Good stuff, probably not as thorough as the other methods, but being guitar based the examples are cool
  7. My first fuzz was a Zvex Fuzz Factory. Don't be like me. It is a good pedal for sure but it's just way too temperamental and wayward to be used as your one and only fuzz box. True...but it's so darn COOL that you gotta at least try it out!
  8. Do you guys actually plug the guitar into the iPad? What adapter did you purchase for that? This new gadget from Alesis is a cool candidate for the job.
  9. I made myself a badass reggae station on Pandora a few years back, seeded it with all the classic names I could find--not just Bob Marley! It's friggin' sweet...vintage tunes as well as new stuff. Keith's Pandora Reggae Station.
  10. honestly bro your best bet would be to listen to some high quality black metal. I'm not talking about the Donald-Duck-Being-Violated crap, I'm talking about old school Immortal, Dissection, Sacramentum, Abigor, Drudkh, Enslaved, Old Man's Child etc. Not hip to the bands, but agree with the advice...the best teachers are your favorite bands! Troy Stetina's books are still among the best I've seen for learning metal rhythm and lead. A bit dated in places, but think of it as learning metal history!
  11. No matter where you are you gotta deal with some sort of Nature-influenced disaster. So you read the tip sheet and hope for the best.
  12. A quality teacher is the first place to go...totally. Lots of good materials. Any books or videos (not to mention music) by Joe Pass will make your head hurt. I also like the Jazz Guitar series of books by Jody Fisher, published by Alfred.
  13. I work at Bananas At Large and the popularity among customers has leaned towards the OCD...at least, among the customers and staff I've discussed it with. Haven't checked out the Freekish yet.
  14. I just sold one to a kid from Guam yesterday, so I ran it through the paces...I think it's fantastic. It basically models a bunch of other classic delay pedals and does it really well. Some people don't think "really well" cuts it; they want perfect. That's cool...try out a bunch of pedals and find the perfect one for your sound. But having looping, tape delay, ping pong, reverse, etc., all in one box is pretty freakin' cool.
  15. Yeah, very subjective, but I've always suspected a good (or at least memorable) melody is easy to whistle or hum. Can't whistle an obnoxious sweep or two hand tapping solo! Then again, maybe there's some kid on Youtube whistling Eruption.
  16. Sounds like you need to set some actual goals. I go through phases where I just want to pick up the guitar and play whatever the heck I want, but that eventually goes stagnant. I take a class, find a cool website or book on a subject I want to know more about...the motivation continues...twenty six years later!
  17. I get students like this once in awhile. Once had a guy who had a sort of OCD with learning new skills. He'd been playing for six months and had a great knowledge of chord theory, could bust out cool picking like "Tears in Heaven" effortlessly. He even pulled out a yo-yo and started swinging it around my head, bragging about how he practiced hours every day until he won some tournament. But I still had ideas for him on, for example, how to solo. He knew the scales, but was pretty green at making music with them, so I offered pointers. "I know, I know." was his annoyingly regular response to everything I said. He didn't last long, like the others of his type. So the question of "Why are you here?" is a valid one. Nobody knows everything regardless of their talent and IMO the best ones are those who know that and are hungry to learn more regardless of their level. I'm not saying force routine exercises on her. You can try digging for clues as to what she wants versus what you think will help. But it sounds like she has natural talent and no discipline to learn the ropes...which IMO will eventually become a stumbling block.
  18. Books are a bit 20th century man. I'm tempted to agree with this, but not quite. I'm always hungry for things to play and though I go to the Internet for video lessons, I still eventually crave something on paper that can go on the music stand. Then again, I could see the iPad replacing sheet music if I can keep it from falling off the stand. I love seeking out new guitar and bass books. At least a couple times a year I grab the boss' Hal Leonard and WB catalogs and go through the available titles, looking for fresh ideas. I love the Alfred Passport series, each book devoted to the guitar of a country: Jamaica, Africa, Russia...I've only got three of them and there's at least ten. But scanning these catalogs might give you some ideas on what trends are put into print. As a guitar teacher I'm always asked by parents to give their kids actual music so they can show off their progress to family & stuff. They're not always convinced that a beginning 12 bar blues (which they can barely handle) is actually a complete song and often the chord chart of a Beatles song doesn't sound like much when it's played alone. A book on a concept along with a simple (even a popular?) song to illustrate it is an idea.
  19. Raht cheer yah go.... http://www.shermusic.com/brazguit.htm There is a Latin real book on the site too and a few other Latin related things.... Ah, man...this book kicked my butt! But in a cool way.
  20. Yeah, it makes sense. I was thinking it might be a simplified version of the guitar. Now all I gotta do is convince the student to play it--he wants to play the guitar part on bass!
  21. I'm trying to figure out the bass part to this song for a student, but I can't tell if the bass part is the same as the guitar part--which is a fantastic demo of steady, fast 16th note picking, not to mention the song is cool. I can see in this clip (and others) that the bassist is using a pick, but it doesn't look like he's doing the same 16th picking as the guitarist. But it's one of those detuned metal songs where the bass blends in a bit, so I'm trying to figure out what I can have the student play--he's a ways off from the shredding--to make him happy. Any opinions? [YOUTUBE]YLjMM0VauT8[/YOUTUBE]
  22. Yeah, it's torture, all that math & stuff instead of how to play super freakin' amazing shred guitar! But yes, there's a payoff down the road, understanding all that theory stuff. Then when you've finished taking those classes you have regular a-ha moments when you're playing guitar and connecting all that theory to it. Very cool, it is.
  23. Yeah, the different musical tastes and goals of your students makes it difficult to develop ONE perfect syllabus. My teaching syllabus is an evolving greatest hits of my own ideas and favorite pages/charts/songs from books I've collected over the years. Someone wants to shred, I take a page from, say, Stetina's lead guitar book. Kid who worships Guitar Hero? I find sheet music from the Guitar Hero songbook. And so on. Of course, I'm still doing my own studies, so I'm ready to expand on ideas in these pages or connect them to previous studies.
  24. I've found much of the stuff I teach on guitar works for bass students as well: Scales, arpeggios, riffs. The trick is customizing that info for bass, as they generally don't want to strum chords the same way a guitarist does. Gotta focus on grooves, implied harmonies, etc. Slap/popping is in the equation for most students at some point. I also started getting more bass books and instructional materials to supplement my ideas. It's cool to talk about the power of a steady 8th note groove, then hand over a song that uses it.
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