How can i get the right guitar tone with high volume?
I think the other answerer who mentioned high gain had a good point. Too much gain = muddy, fuzzy, indistinct, or mushy tones. Consider lowering the gain on your pedal a little.
There is a strong correlation between treble response and volume... as you raise your volume, you will need to tweak your treble settings. Normally I would say its the other way around... as you turn up the volume you usually find yourself turning the treble down, if anything.... So try boosting your treble next time.... *or* try cutting your bass. Your headroom is affected by the amount of bass you're putting into your amp than any other factor.... so if you want clarity at high volumes you need lots of headroom, and that means minimizing the amount of bass that goes into your amp.
Does the Metal Master have a bass knob? Turn it down - say, 3 notches or so. Don't scoop your mids on your amp too much, either.... mids = volume, and no volume means you get lost in the mix, which means you'll try boosting other frequencies to make up for it, which means you'll end up sounding like poo. Don't cut your mids - put them at 5, or at least no lower than 4. You should notice an immediate improvement in how your amp sounds when you're playing with the band. It may not sound as good to you when playing solo, but its a whole different story when playing with the band (or recording!)... you have to tailor your sound to "fit in".
Something that I do with my guitars is slope the pickups down a little so that they're closer to the treble strings (top three strings, ie E, B, G) than the bass strings. This reduces the bass output a little from your guitar.... you don't have quite as much "chunk", but you can compensate for this with your rig. The important thing to recognize is that it helps keep your lower end tight and subdued, not boomy, muddy, or farty.
Hope some of this helps!
Grindcore is a subgenre of metal.
It is characterized, generally, by fast riffing, especially with minor key power chords. Strong control with the rhythm hand is essential - being able to go from palm-mute to silence to a tasty pinch harmonic or lead note is the basis of this type of music.
You want a metal tone - a chunky tone, moderate to heavy distortion. Make sure your power chords are solid and your playing is accurate accurate accurate. Start slowly and practice to a metronome.
I am not familiar with grindcore bands - but practicing the Phrygian and Locrian modes (which are the darkest of the minor modes) should give you some ideas where to start from. Almost every metal guitarist I know of tunes their guitar down - the idea being that bass = darker tone and a darker character of distortion.
I suggest you balance the desire to sound "evil" with keeping your strings in decent tension. If you're going to detune your strings, get thicker strings. I only drop a half-step, and I'm using 11's and I still can go out of tune pretty easily (especially when I play too hard). 9's, by comparison, are floppy floppy floppy once you start detuning.
What are the best to strings to use to get an acoustic sound on an electric guitar ?
The type of strings won't make as much of a difference as proper EQ and maybe a bit of compression, but I'll mention strings here in a second.
Cutting below 250-300 hz, a moderate cut around 800hz -1khz, and lowering your highs to taste would be a good place to start, although the type of acoustic sound you want will change what EQing you actually do. Make sure to try different positions on your 5-way to tease different tones out... one way work better than the others.
An acoustic simulator pedal is basically a glorified EQ pedal, although there's some other stuff going on in there. Getting one of those would make it easy, but you might also want to consider getting an EQ pedal... they're incredibly handy at making minor adjustments to tone, or even doing more radical things like clean solo boosts or cutting bass before your amp to tighten up your distorted sounds...
As far as strings go, you might see a difference in using nickel-wound strings vs steel strings. I personally prefer Elixirs - they're nickel-wound and coated to last longer. The benefit of nickel-wound is a slightly mellower tone than steel. If you get non-coated, just know that nickel doesn't last as long as steel, so they'll go dead a bit quicker. Wipe 'em down after every use and you'll maximize their life span either way, though.
I hope this helped... glad to hear you picked the guitar back up! Good luck!
How much would it cost to have a guitar pickup replaced?
The cost to put a pickup in should range between 20 and 60$, depending on the complexity of the installation, whether any routing needs to be done, if custom wiring needs to be done, etc.
I would advise against the H4, I believe that's one of their passive pickups, and quite frankly, EMGs passive pickups blow.
I would suggest something from Seymour Duncan - the JB, Alternative 8, and Duncan Custom would be higher output but should still give decent cleans (ie still be versatile - good distorted tone but clean up well enough to have good cleans). Pickups like the Invaders or DiMarzio's x2n would be more for the heavy stuff only.
If you're looking for a very tight metal tone, I would suggest Seymour Duncan's Full Shred. I'm getting the Alternative 8 in my guitar, it should be done any day now (i'm lazy, having the music store install it and do some work on the guitar that I could totally do but end up being too busy or too unmotivated), can't wait to hear how it sounds... I've heard its basically the best of the Duncan Custom, Duncan Distortion, and JB... so I have high hopes!
DiMarzio Evolutions are good pickups, if you get the right type for your guitar. I think the Evo I's are the higher pitched ones, which would probably be better for your Epi.... mahogany body? Otherwise the other Evo, the one with the darker tone.
Some players don't realize that if their pickups don't quite sound the way they want them to there's quite a bit you can do to customize the sound... not limited to lowering the pickup if its too hot, razor-edged, or muddy, raising the pole-pieces if you want certain strings to be more present without adding mud (I lower the bass side of my pickups and usually raise the pole-pieces on those lower strings, for clarity but no mud), and changing volume/tone pot values and adding/changing the various resistors and caps present in its electronics.
For instance - if you change your volume pot to 1 MegOhm it'll brighten up your guitar - might be just the thing to help combat a guitar that is overdarkened. Or you've got icepick syndrome - somewhat common when a trebly guitar has a pickup in it with a really high peak resonance. Lowering your volume pot to 250k ohms will help darken it up... just like changing the value of the cap on your tone knob... a higher value will bleed off more treble and pull off more top end, which can help kill that icepick/shrieky treble thing.
So... well... hope this helped! Good luck, and here's hoping choose a better pickup and get a great sound out of it!
What are the disadvantages of using a compressor on a vocal as you record it?
The two main disadvantages, to me, are 1) the danger of overcompression and 2) (which is related) coloring the vocals too much.
Vocals are very dynamic - they tend to have a wide volume range, from quiet to loud. Usually we have to tame them down to work well in a song - that's normal. The problems come when the singer has poor mic/vocal control, and varies between being too loud and too soft. Too soft, and we don't get a good quality tone, too loud, and we might clip. Clipping is bad, especially for vocals - which is why a lot of times we will use compression on vocals while they're being recorded. It's the same with a bass guitar - you want a very consistent volume with the bass, so a bit of compression on it as its being recorded isn't a bad idea, especially for a player not used to recording in a studio environment. Drums especially can benefit from compression while recording as well, although you have to be careful not to color the cymbals too much or cause "pumping" by overcompression.
You can't "uncompress" - if you do squash the vocals too much when recording, you have to recut, there's no way around it. That is why when recording using a medium to medium-high threshold with a gentle ratio (perhaps -15 db with a 1:1.3 to 1:1.2 ratio) isn't a bad way to go. Again, mic control is very important, so the singer needs to back off a bit if they're belting it, and the engineer needs to tailor the mic trim to the situation... not riding it, but setting it at a reasonable level for the situation.
Some compressors color the sound more than others - you can think of them as a type of filter. Really, every component you run your signal through acts as a type of filter - an important consideration when recording. Not only do you want to minimize your noise as much as possible, but you want to be careful not to wipe out your top end, or give a mid-frequency "honk", or anything like that. You may end up doing just that later in the mixing down, but if the vocals are too colored right from the get-go, then your options become limited when mixing - you have to really cater to your vocals no matter what, but you don't want to be limited. We, as the audience that is, really pick up on oddities in a vocal performance, even if it's on a subconscious level. A poor or unsuitable frequency response will impart an undesirable quality to your final mix.... so you want a relatively uncolored vocal take to start with, and if the artist needs a tailored sound, you can achieve that during your mixdown process.
I would hesitate to record without at least minimal compression if the player/vocalist isn't well-versed in how to record well in a studio environment, and may even do it then in an effort to improve the signal-to-noise ratio of the take. Again, the key is to not overdo it, keep your threshold relatively high (perhaps -15db is too low for many situations) and your ratio relatively gentle. Your final vocal or instrumental compression may be greater than 1:2, but that's a decision that needs to be made during the mixing process, not when recording.
Hope that helped!
How can i make my amp and guitar sound good together?
Well, you've probably only got 8 or 10 controls to work from, right?
Guitar (One or two volume knobs, pickup selector, tone knob)
Amp (Gain, Level, Bass, Mids, Treble, etc)
Put all of your guitar's knobs full up, set all of your amp's tone controls to halfway, then start adjusting. I imagine your EQ will end up being something like treble 75%, mids 40%, bass 50%, gain 60%. Try rolling off the tone knob a bit to tame the highs, rolling back the volume will do much the same thing, but it can get a little ragged.
Don't use too much gain. Use your ear - beyond a certain point you won't hear any more crunch, it'll just be noise.
Try raising your pickups closer to the strings, but again don't raise them too high. I like to lower the bass side a bit so the bassy side doesn't dominate and fart out the amp. Helps with clarity, too.
The best way to sound better is to get a better amp. Practice amps don't sound nearly as good as bigger amps with more watts and more or bigger speakers.
What do you think about a fretless electric guitar?
The only comparison I have is a fretless bass... I really haven't heard of a fretless guitar before...
A fretless bass will really mellow the tone out - I think that no frets means a less sharp attack, in the same way that playing fingerstyle differs from playing with a pick. I *imagine* that a similar effect would be heard on having a fretless guitar.
I think the biggest problem a fretless guitar will suffer from is intonation - especially when you play chords. Your playing has to be extremely precise - if it isn't you will definitely hear it. Frets give us that "fudge" factor. But you already knew that...
Okay, so I just did a smidgen of web research, and I've heard basically that same sentiment echoed elsewhere.... melody and 2-note chords are okay, but anything more than that is basically unfeasible.
If your son is willing to live with that, then go for it!
What type for guitar is better used for heavy metal?
I've heard great heavy metal tones made from a wide variety of guitars - Strats, Les Paul knock-offs, Explorers, Semi-hollowbodies, you name it, it can be done and probably has.
The criteria for choosing a good guitar are as follows:
Does it feel good to you? Does it fit your hands? Different neck styles will feel radically different sometimes, and sometimes fret size will make a difference. This is the most important qualification. If it works for you, it's good.
Second - how good is the wood? Denser woods give you more sustain, which is important in heavier styles of music. It's not critical, but in general denser woods are preferred over lighter woods for modern detuned heavy metal. This is sooo not a rule, though, and this is nowhere near as important as feel and electronics...
Third - electronics. Really, you probably should swap out your stock pickups and put better pickups into whatever guitar you end up buying, unless it's really really expensive or something. Try to select a pickup with high output and *less* bass response, to offset the bassier tone that your denser wood body will provide. You want a moderately balanced tone, you don't want to have a farty bassy signal, as that just leads to mud.
Finally, as long as you have high output pickups, the guitar isn't nearly as important as the amp and speakers. A high-gain tube amp with decent speakers will turn any guitar with higher output pickups into an acceptable metal axe.
I guess what i'm saying is that it's not as important to focus on the brand name as it is to focus on the feel, the wood, and the electronics, in approximately that order. If a cheaper guitar feels better than the expensive one, buy the cheaper one!
I've been playing LTD now for a while, cuz I found the neck fits my hands better than the Jackson Dinky I was playing, and I couldn't be happier. Swap out the pickups for higher output humbuckers (Seymour Duncan JB's, in my case), and you're good to go.
Last note: remember how I said bass is mud? Trust me on this. Get an EQ pedal and turn down your bass frequencies before your signal hits the amp (cut somewhere below 300 Hz to start). You will benefit immediately with more clarity and less mud. You can always dial in more bass with your amp, but the bass will actually feel like "warmth" instead of fart.
My heavy tone is like how Kerry King (Slayer) does it - I cut bass before it gets to the amp, and on the amp I turn mids up all the way, with just enough bass to get some warmth, and enough treble and presence to get that crisp feel back. My tone instantly got a lot fuller and crunchier when I did this - your guitars' volume all comes from your mids, after all.
Which is better for playing heavy riffs and solos? Boss Metal Zone Or Metal Core?
Well, I have both, so I think I can answer this question pretty well.
The Metal Zone has a very 80's sound to it... if you want any kind of 80's metal, from death to thrash to power to whatever, this is a great pedal to do it. It is one of the most versatile pedals I've ever used within those genres - the onboard semi-parametric midrange EQ is simply amazing for voicing your distortion to go anywhere from Slayer to Metallica to Pantera.
The cons to the Metal Zone are that it has less bass response than other distortion pedals - again, though, this is a characteristic of 80's metal - and that it doesn't have that chunkiness if you're playing solo quite as much as you would probably like. I think this is why many players have ditched it for other pedals - it doesn't sound like they want to sound when played solo. The Metal Zone can easily have a bit of a buzzy quality to the distortion as well.
The thing is that this lowered bass and great mid/treble response means it makes A) a great pedal for leads and B) a great pedal for recording and playing live.
The Metalcore is my current favorite distortion pedal, I use it regularly. It has more of the modern metal tone.... more lower mids, more bass response. To my mind, it works best as a rhythm pedal - when I jam with my buddy who rocks a Marshall, I do end up competing with him a bit in terms of "sonic space", so I tend to use this pedal to get a different tone.
To get a solo boost for the Metalcore I use my wah pedal's solo boost - when used before the pedal it gives a nice round saturated tone that's great for single note leads, but almost unsuitable for anything else.
I should mention that I use high output pickups (either Dragonfire Actives or Seymour Duncan Alternative 8 with a homebrew onboard buffer preamp) and usually have some EQ after the distortion to help voice it a bit better - I will usually cut some of the lower mids and bottom ends (below 200 hz or so) to improve clarity, and if I need to boost a little in 1.5khz - 3 khz to help me cut through, I can.
Something I should emphasize is that when you're playing live the tone that sounds good solo (more treble, scooped mids, lots of bass) does not work well in the mix. Too much bass, for instance, muds over the bass and drums, reducing the power of the band and forcing those instruments to compete with you.
Its not so much about gain as it is carving out your own sonic space, and that's why I use EQ so much.
A good tip is to lower the bass side of your guitar's pickups, the side under your low E - this takes out a little of the chunk, but it increases the overall clarity of your tone and makes it easier for you to cut through the mix.
In general, when playing with the band, a good tip is to take the tone that sounds good when playing solo, bump up the mids 10-20%, turn down the bass 20-30%, and reduce the gain 10-20%. This is especially important when recording! Standard practice when mixing is to cut the bottom end of the guitar clean out to make room for the bass and drums, and doing that live will increase the overall power of the band.
For you, I think that the Metal Zone might be a better choice, but there is no substitute for playing before you buy, or making sure you can return the pedal if you don't like it.
How can you keep a Fender Deville 212 from farting out when running higher bass and a Metal Zone pedal?
Yes, the speakers and tubes do make a very large difference in sound. However, what you want and how you describe what you want are two different things.
A tighter metal sound does not come from adding more bass. Doing this creates a sound that is progressively warm, thick, bassy, flabby, and farty, as you have experienced.
What I suggest is setting the gain, then treble, then bass, and with the mids at 12 o'clock (neither boosting nor cutting), set the level to be where it needs to be with your amp at normal playing levels. Just like the other answerer said, starting everything at 12 o'clock, then tweaking from there.
What you must recognize is that bass = mud. You've discovered that already. Bass takes vastly more headroom than other portions of the audio spectrum, so if you try to push more bass then your system can handle, it'll fart out.
What's more, to have a full and balanced sound you must balance treble and bass.
Try this - lower the bass side of your pickups (the part under the thicker strings). Angle it down so it's lower than the treble side. By dropping it like this (start with a little, then a little more) you reduce the bass going *in* to a gain device. This is good, because less bass means more headroom, more sonic space for mids (volume) and treble (definition and clarity).
By doing this, the bass eq on your metal zone becomes less effective, and this passes less bass on to your amp, which also can now use more sonic energy to reproduce those mids (volume) and treble (attack, clarity, etc) frequencies.
You've got to turn the bass down on both, though, turning up the bass absolutely does no good, and actually degrades the sound of your rig. Lowering the pickup does help, and getting an eq pedal would also not be a bad idea.
If you want to have a harder sound out of you combo, you can try putting different tubes in. 6L6's are good for metal, since they have a lower response. Of course, the speakers will dictate the total overall response, and if you get bass-heavy tubes with a bass-weak speaker, you run right back into the same problem as before. EL34's have a sweet treble response. I am fond of the Electroharmonix EL34's. I think that if you were aiming for a Marshall-type sound, these would be tubes to look at getting.
Remember to rebias if you switch types of power tubes (EL34's to 6L6's, etc).
You don't have to rebias preamp tubes, which makes them a lot more fun to swap in and out. Different tubes will have different effects at different places. Usually the first tube is the most important in terms of gain, because it gets hit the hardest, so it would be the first I would try customizing.
I like JJ's, especially the spiral-wound. Low hum, low noise, good overall sound. Some characterize them as too dark, but I haven't had that reaction to them. Different amps, different reactions, different ears, I guess.
Remember to keep your old tubes as spares.
Oh yeah, and definitely no such thing as "solid state" speakers. Speakers are speakers are speakers, kinda. High watt speakers don't break up as easily as lower watt speakers, which means they have better bass response, among other things. Celestions are good. Figured I've said enough by now. Replacing speakers in a combo isn't too much fun, unless it's really worth it. Start with fiddling with your settings, then try a different distortion pedal, then try swapping tubes, and only then try swapping speakers.
How well should I be able to draw for graphic design?
Having a high level of drawing skill helps designers in a lot of ways. I wouldn't say it's crucial, but you'll find out after a while that you'll wish you had developed your drawing skills. Saul Bass, who's a very well known designer, talked a little bit about the importance of drawing when asked what his advice to graphic design students:
First - check the battery, if your bass is active. Double check all of the volume knobs and all that junk. Is the cable good? Okay, is the jack good? Plug/unplug the cable a dozen times or so, see if that makes a difference.
It's a five string, mm? Some amps can't handle that lowest string. One of my practice-style amps could, barely, the other just fuzzed out.
I would take the bass and the amp back to Guitar Center, and see if they can diagnose the problem. If they can't, then you need to consider what your options are. Try plugging one of their basses into it to see if it works or not.
My first inclination is that there is some wiring issues going on with it, but if it works with their amps... hmm....
Yeah, that's what I got. Take it back, but bring your amp with you. If it's a small practice amp, though, then that's probably what their answer is going to be. The bass is supposed to have "high output" pickups, so maybe it does just overwhelm it....
They don't have "active pickups" in them, they have a preamp. You can switch the pickups, which are passive, with the ones you want and keep the preamp unaffected - you definitely want to keep the preamp, a bass with no preamp is going to suck unless it's a lot higher quality than a basswood body can offer.
When you adjust your bridge, are you intonating it (ie, checking open string vs 12th fret harmonic)? I hope so, because if you just change your action without re-intonating you'll end up out of tune when you play up the neck.
Another good idea is to see if you can run the preamp at 18v instead of 9v, if it's not already. It's a great way to add some headroom and clarity to the tone. I imagine either googling or emailing the manufacturer should provide that answer.
Can you use a Fender bass with a fender amp and a Boss guitar distortion pedal?
Pedal will not get wrecked.
If anything, you may end up with a very fuzzy, muddy tone. You will lose some of your lower end, which is why many bassists use them in parallel, ie think of Muse's bassist.
The idea there is that instead of having bass -> pedal -> pedal -> amp, you have
bass -> splitter ->
splitter A out -> pedal -> mixer/signal combiner
splitter B out -> mixer/signal combiner
mixer/signal combiner -> amp
This way you can still have the tone of your distortion pedal but keep the clean low end that you would otherwise lose when using the distortion pedal.
Cheap material to make homemade drum silencers for a full size drum kit?
The classic one is to stuff a pillow or sweatshirt or something into the kick. You can dampen your toms with those ring thingies, I imagine you could probably make your own out of paper or thin cardboard, basically just a ring to go around the edge of the drum head of each tom, maybe a 1/2 - 3/4 inch thick.
You can dampen the fundamental if you take two pieces of duct tape and put them in an x shape over the center of the drum. I don't know how much it helps for sound, though, but I do know it does change the sound of the drum. Makes it harder to tune, from what I've heard, but if you haven't tuned it just right it helps you fudge it. Something like that.
Don't know about the cymbals. I've heard something about drum felt... don't know what it is. I'm a guitarist, what do I know?
=) Good luck!
Everyone has to be able to play in tempo throughout the song.
One of the most challenging exercises for me has been to play along to recorded music or to a metronome. If everyone in the band practices playing to a metronome, your overall "tightness" will improve. It takes time and it takes practice, and people have to be willing to turn down, if that's what it takes to hear each other.
The drummer especially has to be on time, and that means practicing to a metronome religiously.
My normal method of recording is to hack out a song structure in a music program - basically, using MIDI instruments. Then each band member takes a turn recording over them (obviously everyone has to know the song first, and spend some time practicing both in the group and solo!), monitoring via headphones. This gives me the ability to record each instrument in isolation, which gives the best possible sound quality (no mic bleed!), and the ability for "do overs" and multiple takes if someone keeps on screwing up (speaking from personal experience ha ha). Drummer first, then bassist, then guitarists, then vocalist, usually at least. Not always, but that's the basic procedure.
No drinking or drugs before or during gigs or practices. Period. Alcohol and drugs kill your sense of timing - even though you may not realize it, or may think you're totally nailing it, the rest of us who are sober can hear you effing it all up.
So, personal practice, hearing yourself recorded to realize how much you are actually screwing up, and staying sober for playing live and practicing.
My two cents.
There are so many tricks and tips to recording that it would take pages and pages to scratch the surface, but the basic idea here is that if you want condenser mics you'll need phantom power, and if you want to get sound into your computer with the highest fidelity, you'll need an audio interface - ie a USB audio interface a la a Lexicon Alpha (I own one). The Lexicon Alpha is pretty inexpensive ( <100$ I think ) and has much better noise figures than even more expensive internal sound cards.
For phantom power, you can either use a cheap mixer (Behringer makes great cheap mixers, for instance) to supply it, there are DI boxes that have phantom power, or you can spend a little more scratch and get an audio interface that has phantom power. The disadvantage there is that you need to make sure you have at least two jacks that support phantom power for the overhead condensers....
One drummer that I've worked with had a somewhat inconsistent double-kick - he fluttered more than slammed. He was great live, but for studio that was his main flaw. So I ended up just using overhead mics and layering kick drum samples with a software drum trigger in the mix.
If you're recording in isolation it makes things a bit easier, you can get higher quality recordings that way. What I've done before is to walk around the room while the drummer plays, and done my best to find the "magic spot"... the area in the room where it sounds the best. Instead of overheads, I'll put two mics in an x-y pattern right there, at the same height and direction as I was standing/looking, and record ambiently just like that. While not to compare myself to the masters, Led Zep did something like this when recording tracks like "When the Levee Breaks".... they had a mic down the hall they recorded from! The quote from that article was that "distance = depth"... so that's an idea for you right there.
what is the natural frequency response of a kick bass drum?
As a rule of thumb, I expect the low end of the kick to be 50-150 hz, the "body"/"warmth" to be 300-500 hz, and the beater to be around 3khz.
The last time I was doing some mixing, I believe I high-passed the kick around 60hz, cut around 400 hz, and brought it up a few db around 4 khz... I kept a decent tight thump, I cut a bit of the body to make room for other instruments, and brought the beater out for intelligibility. I low-passed it around 6 khz, iirc. I take the approach of high- and low-passing everything to try and get the most clarity and headroom out of a mix... so most instruments start out with a high-pass of 150 hz or so to make sure that the bass, kick, and toms won't get muddied up. Stuff like that.
How to increase bass boost in a music video file ( A live performance on drums)?
Well, I would say that if you could extract the sound as a wav file, then you could load it into a program that has or supports a multiband compression plugin. That would allow you to increase the emphasis of the bass notes in a more surgical manner than just boosting the bass on the EQ...
I very quickly googled "vob wav extract" and "free multiband compression" to get the two links below. Programs like N-track studio and Reaper are a little more complex in terms of audio editing, but far more powerful.
Goldwave is another audio editor, of moderate complexity. It should have the capacity to boost bass frequencies, but not as powerful as one of the multitrack programs above. Audacity is another audio editing program, but to get the full functionality of the add-on plugins you'll need to download the LAPSDA (sp?) plugin pack. Google "audacity" and on the site it'll point you in the right direction.
You can use some simple EQ to try and get more bass out of your track. 50-80 hz is where the lowest thump of the kick is going to be. 100-150 hz or thereabouts is where the toms lie. The area between 300-800 hz is called the "mud zone"... if it was just the drums in the mix I might consider boosting a bit in this region, but if there's anything else there it will most likely start to sound very crappy very quickly - smooshy, indistinct, etc.
You can also boost a little bit around 1.5-3 khz, that's where the beater frequency for the kick is. In general when you boost bass you want to boost treble... but use your ears, that's the final judge here.
Compression raises the apparent volume of a sound at the expense of adding some odd harmonics - it's used in the mastering process as one of the elements of helping to balance out instruments in the mix, make them sound more even in volume, and to get that "commercial" quality sound. Unfortunately it's used too much these days, but that's another story (google "loudness war" if you're interested). You want to use some form of compression on your mix, since you want to make it sound louder. However, you just want to raise the bass. Two options.
First, you could pull out the audio, copy it, pull all of the treble (say everything over 300-400 hz) out of it, then boost and compress the snot out of it, then mix it back in (probably 6:1 - 8:1 compression, 10-20 ms attack, <100 ms release, threshold will vary depending on source material). Or, you could use multiband compression, and basically do the same thing without having to split and add back in. The nice thing about a decent plugin (ie ReaXComp in Reaper) is that it will show you how much db you're compressing by.... a good general guideline is 2-3 db = light compression, 3-6 db = moderate compression, 6-12 db = heavy compression, and usually that's too much already. I try to aim for no more than 5-6 db myself on most material, but I also try to let my ears be the judge.
Hope that all made sense... or at least pointed you in the right direction!
why are music studio speaker monitors so expensive?
The point of studio monitors (or headphones, etc) is not to sound "louder" or have "bigger bass", but to be *accurate*.
Studio speakers are built to have a flat frequency response, something that isn't really all that popular. Consumers prefer speakers and headphones that emphasize the bass and treble frequencies (louder, more bass). That's all fine and dandy, but if you're a recording engineer, you need to hear what's being recorded *exactly* the way it sounds. Without this accuracy the music would sound weak and dull... since the treble frequencies were being boosted by his headphones, he would hear weak treble as just fine, same thing with bass frequencies. You would pop it into your stereo and it would sound like crap.
I don't think you need an uber expensive set of studio speakers or headphones to record and mix, but you do need something that is pretty accurate and can reproduce bass frequencies well... not emphasized or exaggerated, but accurately. I've been very pleased with any number of <$200 studio headphones, for instance, but I always triple check my mixes against other playback devices - an mp3 player, a boombox, computer speakers, car stereo, etc. But that's mixing territory, and getting a little off topic.
The 57 can do them all. It has a slightly flatter frequency response than the 58, and is good for recording instruments, especially guitar. It is acceptable for bass, but not completely ideal. 58 has more of a humped upper midrange, which can warm up vocals. This makes it less than ideal for instruments, unless you want to warm up an instrument within that frequency spectrum.
Try doubling them - recording both at the same time, then blending the results. It has a very fat quality to it. I do it with a '57 and a condenser mic, and can get extremely, extremely good results recording vocals, guitar, bass, and drums (with a kick drum mic as well, in this case). Of course, for a condenser mic you need phantom power. A cheap 4-channel mixer can do the trick, or some DI boxes.
Kick drum mics also can be used to record basses... works best if you put the kick mic up close and the other mic (condenser, '57, whatever) back a foot or two.
I have to play bass in front of 500 kids tomorrow how do I look cool?
Practice your material as much as possible - have it down cold. You want to be able to play it without even thinking about it, ideally!
The best way to play is to be comfortable, confident, and look like you're having a good time. Sure, there are superficial things you can do to look "cool"... ie dress up a bit, do guitar hero poses, etc, but especially for your first time you want to be comfortable, calm, and collected.
The advice about not freaking out is solid - just keep playing, most people won't realize that you've made a mistake, so smile a bit more, and keep going.
Be comfortable - play in clothes you're comfortable with, get plenty of sleep the night before, practice a bit a few hours before the gig to help you loosen up.... just look like you're having a good time and roll with whatever happens. And finally, don't worry. It'll all turn out for the best!
I disagree with the other answerer to a certain degree.
Music = melody, and melody = notes + rhythm.
Drums are the foundation of the rhythm, and the other instruments at times support the rhythm and/or melody, or may feature melodies of their own.
Bass guitars are low in pitch (deep, low, bassy, etc) and provide a link between the rhythmic component of the song and the harmonic component of the song.
Something to keep in mind - bass frequencies give us power, mid frequencies give us volume, and treble frequencies give us information. Drums and bass instruments (ie bass guitar) are the source of power in a band.
Vocals and other higher-pitched instruments primarly serve the harmonic content by either creating a melody or by adding notes that give the melody a suitable context.... ie, when the vocalist is singing a mournful melody, a violin might play counterpoint in a minor key, while a guitar strums chords that fill out and support the listener's impression of that sound.
Guitars can function rhythmically and melodically - they can provide emphasis to the rhythm and use their notes to "fill in" and complement the melody, or in the case of fills and solos, they add their own melodies.
"Lead" guitarists primarily add flourishes and solos - ie, melodies. "Rhythm" guitarists primarily function as support - something to fill in the sonic space between the vocalist, the lead guitar, and the bass.
The lead guitarist is *not* the most important part of the band... the melodies are! It is the function of each band member to deliver the notes and rhythm that make up that melody.
The lead guitarist and vocalists *are* the most noticeable part of a band, because we hear melodies more than we hear harmonies or rhythms.
I don't see the point in saying "you are a lead guitarist and you are a rhythm guitarist"... if you don't have rhythm, then you'll be a crappy lead guitarist! If you've ever heard someone play sloppy leads, you'll know what I mean... notes that don't fit in with the song, lines that stand out because they clash with the underlying feeling of the song. A good lead should *complement* the song - the song is not there to showcase the lead!
The type of amplifier you have will make a big difference in what EQ settings you use, and will make a tremendous impact on your tone.
A 15w amp, no matter how well EQ'd, cannot give you the same quality of tone that a 50-100w stack can. I say that because most of these guys are using overdriven tube stacks (in general most pro-level musicians do), and that's a tone that you just can't match by setting your EQ a certain way. Consider your whole signal chain - what type of guitar are you using, does it have high output humbuckers (necessary!), what type/if any effects are you using, are you taking impedance issues/cable capacitance issues into account, what type of amp are you using, what type of speakers?
Each part of the puzzle makes an impact on tone overall.
I'm not familiar with "gothenburg" tone, but in a very general sense if you're playing solo you want to boost bass and treble and cut mids a bit and be very liberal with gain, if you're playing live you want to cut bass and boost mids and treble and lower your gain a bit for clarity.
Boosting mids is good for guitar volume, in fact its very important for guitar volume, but with no treble I don't think you're going to sound very good with this EQ setting....
One great way to tighten up your tone is to pay attention to your bass. Anytime a signal goes through a gain stage, too much bass = muddiness, fartiness, etc. Cut your bass before it gets to your amp or distortion pedal (your main gain stages). You can do this with an EQ pedal or by lowering the bass end of your bridge and neck pickups slightly.
You will notice much cleaner distortion overall, a lot more clarity, and now you can dial in bass on the amp that will sound "warm" instead of muddy.
What kind of guitar can make the sounds of all the guitars in 1?
Daniel k has it right. The acoustic guitar and electric guitar are similar in construction, but the bass guitar is a completely different instrument. The scale length is different, the string gauges are different, and even the way you play the bass (ie, fingers vs pick, picking style, slapping and popping, etc) is very different than guitar.
You can *simulate* the sound of an acoustic with the right electric and some good modeling hardware. Even the Boss Acoustic Simulator isn't too bad. Couple that up with a touch of chorus and you can get a very decent approximation of an acoustic guitar. Vice versa is also possible, but less practical. An electro-acoustic will have pickups, and with some EQ and the right distortion pedal and/or amp you might be able to pull off some decent sounds.
If you want all three to sound *right* then you _have_ to buy all three, and the accompanying amplifiers, since a bass guitar can blow a guitar amplifier, and guitars don't often sound that great on a bass amp.
Um, it is possible to vaguely approximate a bass sound with a guitar, but I've never heard it done very well. Various pitch-shifter pedals, EQ, and compression can get you a vague resemblance, but it won't really be fooling anybody.
There is a guitar called the ... Variac? Variax? Something like that. Line 6 makes it. The guitar has a knob that will make it sound like 12 different guitars, including an acoustic (but not a bass). I think you have to use it with their amp to make that happen, but I dunno, it's been a while since I've looked at it. I think it was well over a grand us$, and wasn't within my budget at the time.
which bass distortion pedal is the best for metal?
I would suggest the Big Muff. It's over 50$, I do believe, but no by much. 80$, maybe? It's a fuzz with lots of treble and bass, I've heard of it being used with bass before.
I would try any fuzz you can get your hands on, to see how it sounds.
No - but your intonation might be a little off around the 12th fret and whatnot, and you might want to carry an extra set of strings around with you, in case you might snap a string tuning up to 460. Best to be on the safe side.
I wouldn't worry too much - enjoy!
How do I tune my Grestch drumset to a metal sound?
I cannot second that mic placement comment enough. the "sound" of metal drumming, especially the bass drums, is not so much in the bass drum itself (although it had bloody better well be tuned - good answer, btw!) but where you mic it and how you EQ it. Again, cutting a lot of the lows under probably 80-100hz on it while emphasizing somewhere around 1.5khz will bring out the beater and loose a lot of the flab that a double kick will give. Running a parallel compressed kick sound will definitely help.
The only thing I can add to the tuning thing is that you want to be in tune with the rest of the band. If you're tuned to Eb and everyone else is tuned to Db, then you won't sound nearly as "tight" or cohesive.
Using damping rings can also keep your toms and kick from ringing out too much, so if you do a lot of quick hits you don't get a muddy sound.
Who did design Corporate Identity of new "United Airlines" and "Ted" ?
anser your questiojn
It's very simple.
Tell your friend to do his best Barry White impersonation. Then tell him that that's what bass is - low frequency sound. It's rumble, vibrations in your chest, "boom".
Now kick him in the nuts. When he screams, tell him that that's treble - high frequency sound. The splash of a cymbal, the sound you get when you bang silverware together, and the blood-curdling scream that your friend emits when you kick him in the nuts for being such a dumb***.
What I do is to first put down scratch tracks - put down a midi drum track, scratch bass, guitar, and vox, enough that everyone gets the basic idea of what goes where, then instrument by instrument go through a rerecord everything... always drums first, then bass, then guitar, then vox.
Drums first because that sets your rhythm, so its important that if you're playing, you keep it even and consistent - keep a metronome handy if you have to, but again, I base everything off of a midi drum track, so that's one way to do it.
Obviously you'll need decent headphones to make this all happen.. it was crazy to me how hard it was to do it right the first couple of times, its really a skill all in its own....
To say this a different way, put down the song on different tracks, then as each person records, have them monitor all of the *other* parts, and play their own track as they go. If they've been practicing its no big deal, of course.
I prefer to record every instrument in isolation so I( can tweak everything just the way I want it. I prefer to use as few mics as possible to keep the mic bleed and phase cancellation at a minimum. Obviously I want the cleanest sound possible, but for the drums, its more important to get the cymbals right... a weak kick can be fixed in the mix by layering samples over it, for instance, but realistic cymbals are a real bastard to make happen!
I use Reaper, my laptop, a USB audio interface, and a couple of mic's to get the job done.
Hope this helped!
Could I use an 810 bass cabinet with Marshall head?
Yes, but it won't necessarily sound that good.
The primary function of the guitar speaker (besides making sound) is to serve as a simple lowpass filter for the sound. The guitar amp puts out a lot of high frequency crap noise, and its easiest to simply roll all that off by using the speaker.
The problem is that bass speakers don't have that much of a roll-off - they'll let a lot more of that high end crap through.
So they'll work, sure, but they won't necessarily sound all that great.
Is there a program that can "emulate" a subwoofer on a computer to play bass in songs?
You're limited by physics.
If your speakers can't physically play the bass frequencies, then no program or plugin will be able to overcome that.
WMP has an option, umm, SRS WOW effects, that's called "TruBass". What this means is that when we hear the overtones of bass notes (the higher frequencies that correspond with the low frequency rumble of real bass) our brain can trick us into filling in the blanks, so to speak, to the point where we kinda think we're hearing the lower frequencies anyways.
That option is already in WMP, Go to File -> View -> Show Enhancements, SRS WOW effects is one of them.
what is the best tuning for deathcore thrash on a 5 string bass?
Why don't you tune to whatever key the singer can actually sing in?
Some friends of mine play Drop D down 1/2 step, ie Drop C#. The bassist has a 5 string, and tunes his bottom two strings to C#.
They can either tune down to you, or you can tune together and not use your 5th string as the root note, if that makes any sense.
What difference do bass magnets, push-pull volume knobs, fingerboards and keys do?
Alright, I'm going to take a hack at it, but honestly I don't understand what you're asking.
By "bass magnets" I think you mean pickups - pickups are magnets wrapped in wire that sense the vibration of the strings and turn that into an electrical signal (voltage). A good way to think about pickups is to think of them as filters - as the string vibrates, the wood of the guitar and neck will vibrate also (resonate is a good word for it), and this creates a certain "tone", a certain sound. Pickups take this resonating tone (strings + wood + fretting technique etc) and cut some frequencies and emphasize others. Pickups are different - some emphasize more treble, some are "punchier", some as more even. I can't give more detail than that - I'm a guitarist who dabbles in bass, not the other way around. *grin*
Push-pull knobs can be wired to do a number of different things, from bypassing tone controls, to producing a signal boost, to "coil-tapping" a humbucker (turning off half of it, in other words), to changing pickups from serial to parallel, or in-phase to out-of-phase. I can't be more specific than that, again, it really depends on the specific way its wired.
By fingerboards I think you mean the wood that the frets are attached to on the neck, right? I put a link below that talks about different types of wood and what the differences between them are. Good link. If you want more information like that, try googling "guitar tone wood".
I'm not sure what you mean by "keys".... perhaps the tuners on the head of the guitar that tighten or loosen the strings? Also called tuning pegs or machineheads.... Not much help there either, unfortunately.... I can say that different tuners have varying levels of quality. The best tuners are the ones that turn the most precisely... in other words, a tuner with a ratio that's higher than 12:1 is better. Another link below, I searched google for "guitar machineheads quality" for that one.
I hoped this helped a little!
Is it really d-n-b when its that fast? Dang.
Yes, it is certainly possible. I would suggest getting active pickups, if you don't already have them, because that will give you a fuller tone, better treble response, and onboard EQ to tailor your tone to match what you want.
I specifically mention treble because to have a full sound you need a balance between treble and bass. Presumably you won't be spending a lot of time on your lower notes anyways, you want to be able to have your own sonic space after all....
Anyways, beyond that I think its all about EQ. Managing your frequency response is one of the biggest factors that many musicians just aren't away of - its probably the single biggest difference between different amps and pedals, for instance, that is, how they manage their EQ both before, in between, and after the different gain stages.
Whatever effect(s) you end up going with, I strongly strongly strongly recommend you put them in parallel to your dry signal. If you've ever heard Muse, for instance, the bassist has three parallel signal paths - one dry, one through a Big Muff fuzz/distortion pedal, and the third into a bass synth pedal. Your dry signal keeps your lower end, and your effected signals give you different textures and timbres.
So - want more bass? Run your dry signal in parallel with any effects, have active pickups with onboard EQ, and consider putting more EQ into your signal path, before and/or after the preamp.
Having some tubes somewhere in your signal path can really help fatten up your sound, too, if you use them right!
Not being completely clean, ie using some gain in whatever form (overdrive, fuzz, distortion) can really help you add an interesting texture, if you don't overdo it to the point where the notes aren't recognizable. Remember, this is drum n bass, not Sonic Youth or anything like that. *grin*
Um, your amp choice is crucial too. For a bassist, more watts = better, pretty much no matter what. Just because you have a 1000 watt amp doesn't mean you need to crank it, but it does mean that you have the most clarity and headroom possible. I really like Ampeg, I think its a great brand for rock bass especially, but there are so many good choices out there that its difficult to just say one or two brands!
Your speaker choice is absolutely critical, too! Nice speakers will do wonders for you tone (speakers rated at high wattage levels tend to not break up as easily, and so help preserve you bottom end!)...although admittedly if you're playing live and the house has a system, its better to go direct into the console....
Hope this helped a little... good luck!
It's easy if you've used a soldering iron before. Basically you find the loose wire, heat the tab where it needs to go, touch a bit of solder on it, and touch the wire to it. Make sure the connection is good, then remove the gun and hold the wire there until it cools (which should be fast).
If you don't feel comfortable wielding hot metal objects around in your bass' innards (keep it ventilated, solder makes smoke n fumes!) then take it to a music store. They'll charge you a bit, hopefully not too much more than 20-30$.
Ask them what a setup is while you're in there, it might be a good idea.
Its not an easy call. Most often grounding problems come from your power supply.... so if you're using a power strip to power multiple units, effects, stompboxes, etc, that's the first place I would look to fix it. Try plugging into different outlets, a different power strip, different power outlets, etc. The next step up would be plugging into something with isolated supplies, and that is a bit of money.... I think the name is DC Brick, something like that?
The way to diagnose this would (I presume) unplug everything else but the amp from the power strip or wall. No ground hum? There you go, now you know what to fix.... either get better wall-warts, power strips, maybe a power conditioner? (ie Furman etc)
Beyond that, I normally start at the beginning of your signal chain... is your bass properly shielded and grounded?
So.... those would be the common things I would look at. Beyond that I would start thinking about taking it to an amp tech.
Can an electric guitar be converted in to a bass guitar?
the scale would be wrong, the action too low, not a wide enough fretboard (iirc), the pickups not voiced correct, the hardware would all have to be switched out (bigger strings), and the neck wouldn't be built for that kind of tension and would eventually give out.
What is the difference between bass amp heads and pre-amps?
So to turn the signal coming out of your bass into sound coming out of some speakers you need two things. First, you need a power amp. Power amps take a line level signal (around 1.4v I think) and pump up the signal until it's strong enough to push sound through a speaker. The thing is that power amps expect a line level input (or thereabouts), but most instruments put out a very weak signal - sometimes called instrument level or mic level. So you need something that will take that weaker level (instrument level, usually no more than a few hundred millivolts) and boost it up to line level. That is the second thing that you need, a preamp.
A "head" has both in one box. You plug your bass in, the signal goes into the preamp, is boosted and EQ'd etc to line level (or thereabouts), then is sent to the power amp where its strength is boosted to "speaker level", then sent out the back, to the speaker jack (where you have hopefully plugged in some speakers!).
A "preamp" is just that - a preamp. It raises instrument level to line level, but it doesn't have the power to raise it to speaker level.
All recording devices (consoles, DAW's, mixers, audio equipment like compressors, EQ's, etc) expect a line level input, so if you have a passive bass you will usually want to plug into a preamp first before you process or record your signal. The exception is when a mixer or other device has a jack that specifies "mic in" or "instrument in" (basically the same thing).
The preamp is usually relied on for "color", ie, to warm it up, boost lows and highs, to give it some "zing", whatever, in addition to getting your signal to line level.
If you have an active bass, you should already be outputting a line level signal, or at least approximately so, so you may not need a preamp in that case, unless you want the specific color or tone that a particular preamp may give.
A lot of the time bass guitars will record or play live by simply plugging right into the mixer or DAW, instead of plugging into an amp. Passive pickups will need a DI box or a mixer with a "mic in" jack. This is done because the amp/mic method can result in lost bottom end - mic bleed can be hell on stage, and any time you can plug straight into a mixer means fewer chances for mic bleed and a better overall sound.
Hmmm. Hope that helps. I'm not a bass player per se - I dink around with it - my focus is mostly on guitar. I've spent a fair amount of time recording and hob-nobbing with bassists (y'all are cool) so I have a bit of knowledge I can share.
If you have more specific questions, feel free to email me through my profile!
I don't understand very much what you want to create with your ink artwork BUT the only advice i could give you is to use the pen tool.
- PLACE the background image then put on it the ink drawing but if you want to take out the white areas just magic wand that out in PHoTOSHOP then save it as GIF then place it unto Illustrator.
-Select the PEN TOOL, go clicking the form of what you want to achieve on the ink artwork.....
i'm no sure if you even understood what i told you but the only clear tip would be to use the pen tool to "draw" the white areas and to use layers...
You consider the opening of 1960 Psycho one of the most memorable of film story?
Actually, abstract/animated opening credits were common on TV and on the movie screen in the Fifties and Sixties. "Psycho" wouldn't really stand out for the opening; the story, including the death of the leading lady so early in the film, is what makes it notable.
Anatomy of a Murder (1959)
Suspense Theater (early Sixties anthology series)
North by Northwest (1959) ~ one of my all-time favorites
Unfortunately, a number that come to mind I wasn't able to find on YouTube.
EDIT: Saul Bass was particularly fond of that style, and Hollywood certainly kept him busy!