Musician help, sharinng tips and techniques - Beginner friendly but also advanced musicians feel free to share techniques, all instruments welcome

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What instrument are you most proficient in

  • Guitar

    Votes: 19 54.3%
  • Bass

    Votes: 8 22.9%
  • Piano/keyboard

    Votes: 12 34.3%
  • Woodwinds or Brass

    Votes: 4 11.4%
  • Other stringed instruments

    Votes: 6 17.1%
  • Drums/ Percussion

    Votes: 3 8.6%

  • Total voters
    35
Gypsy Jazz?

Nope, but I do have a couple of bags of tarmac left over from a job if you want your drive redone...

I think the modern parlance is "folk\roots\world music", which covers just about anything that has a beat and a twang or two in it.
 
The missing parts here are "what can you do right now?" and "where do you want to get to?".

"Just do it" will at least get you started on a path and allow you to acknowledge where the technique "gaps" are..
What I can do now: shitty parodies like this balldo lawyer-themed Auld Lang Syne one (using Guy Lombardo's 1947 recording as the model)



My goal: sounding less like shit on a basic level (before even getting into mixing and all that other crap)? I don't know how to get more specific than that.
 
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I have adopted a very pragmatic approach to music nowadays.

Rule 1 - you can cram every last bit of theory into your head, but will it make you a better musician or just more to worry about when you should perhaps be feeling what you're doing?

Rule 2 - fucking something up (preferably in private) isn't a bad thing. Show me a musician who has never fucked up and I'll show you a liar.

Rule 3 - the notes you leave out can say as much, or more, as the ones you put in.

Rule 4 - it's unlikely that you'll ever sound like your "idol" while you're desperately trying to do it - be realistic, play to your strengths and carve your own niche - just the same as your "idol" did.

Rule 5 - a silent audience is ok, unless they're moving towards you.
 
What I can do now: shitty parodies like this balldo lawyer-themed Auld Lang Syne one (using Guy Lombardo's 1947 recording as the model)

View attachment 5975883

My goal: sounding less like shit on a basic level (before even getting into mixing and all that other crap)? I don't know how to get more specific than that.
Okay.
There are two little things lacking in that example.
Timing and tune - if you haven't got those two elements in any fashion then your only option is to... start a boy band...

Now, I'm not a vocal coach, but I do know that the vocal range when murmed (in the example) is quite narrow, so find yourself somewhere quiet and start singing loud.

You might find your vocal range increases alongside your confidence, and that's probably a good starting point.
 
Nope, but I do have a couple of bags of tarmac left over from a job if you want your drive redone...

I think the modern parlance is "folk\roots\world music", which covers just about anything that has a beat and a twang or two in it.

Work in civil fren?

Well folk is naturally very broad, from like national/cultural, protest music or cat ladies with acoustics singing about their star sign and periods.

Roots makes me firstly think of that repetitive AF Sepultura song or genrewise like some urban beat afro type music.
World music ig in general encompasses non western music from gypsy jazz, flamenco, bossa nova, choro, mali blues, to some abo blowing his didgeridoo
 
Rule 4 - it's unlikely that you'll ever sound like your "idol" while you're desperately trying to do it - be realistic, play to your strengths and carve your own niche - just the same as your "idol" did.
This might be the biggest thing at a certain point. Learning to sound like you. One of my least favorite parts of music school was that, for a good chunk, I was forced to play with a tone I didn't like because God forbid you play with a slightly brighter tone for classical compositions. My ears tend to gravitate towards a slightly brighter tone because I love energy and joy in my music, so I try to produce tones that - to me - exude those qualities.
 
Work in civil fren?

Well folk is naturally very broad, from like national/cultural, protest music or cat ladies with acoustics singing about their star sign and periods.

Roots makes me firstly think of that repetitive AF Sepultura song or genrewise like some urban beat afro type music.
World music ig in general encompasses non western music from gypsy jazz, flamenco, bossa nova, choro, mali blues, to some abo blowing his didgeridoo
Roots is just a new fangled way of describing music from a culture, so folk music with a more appealing title.
The World Music descrioption has been superceded by something else now (can't remember what) but it encompasses non western music, but captures the Eastern European amongst it.

I am pleased to announce that I have never been in the same room as a didgeridoo, so that's a plus...
 
Rule 1 - you can cram every last bit of theory into your head, but will it make you a better musician or just more to worry about when you should perhaps be feeling what you're doing?

I think understanding the relationship between scales/chords - keys and chord progression and having an idea of what you're doing with some structure, when practicing or composing will make you a better musician/player and putting in hours a day of playing time if possible. Sure the theory will help you do more than mash powerchords/strum open chords and learn from tabs and give you more advanced ideas to work with but there's a point where it's probably going to be counterintuitive to cram every bit of theory when you can just pick a key to play in and mess around with progressions until you find a riff/lick that you can work into something if your aim is to write your own material.

Rule 4 - it's unlikely that you'll ever sound like your "idol" while you're desperately trying to do it - be realistic, play to your strengths and carve your own niche - just the same as your "idol" did.

Yeah, I recall when Rust in Peace came out and was like obsessed with learning it all, wanting to sound like Dave and Marty. I had this epiphany, fuck it I just wanna sound like Honk. The best compliment you can get from a fellow musician is cool shit, you have your own style/sound and original ideas rather than showing off you can play Cliffs of Dover or something elite, that's someone elses work.

but captures the Eastern European amongst it.
Yes, Slavic folk and the orthodox church music, funnily like I said Bulgarian choral choir music falls under world music too.
 
This might be the biggest thing at a certain point. Learning to sound like you. One of my least favorite parts of music school was that, for a good chunk, I was forced to play with a tone I didn't like because God forbid you play with a slightly brighter tone for classical compositions. My ears tend to gravitate towards a slightly brighter tone because I love energy and joy in my music, so I try to produce tones that - to me - exude those qualities.
I can understand that annoyance.
I've been asked many times to play using particular tones that I wasn't convinced were "right" for that particular piece of music.

Years ago I was once told "it needs to be Fender PB on this" (an instrument I absolutely loathed) but we compromised on a Fender JB (which I merely just hated).
 
Well this is fortuitous, maybe.

I am looking to start a home studio, and need some advice.

The last time I recorded was in the 90s with a Roland drum machine and a Tascam 4-track. Occasionally I had a 4 channel mixer, but often recorded direct, and got pretty good results (well as good as possible considering the songs were shit and I ama terrible musician to boot). Essentially I would write the entire drum track out in the Roland, record the "drums" and guitar simultaneously, then track over the bass, then vocals.

I am looking to replicate this process digitally. I tried this a decade or so ago, but couldn't overcome the latency from the MIDI and was frustrated by the how unintuitive the tracking and drum programming of Reason 7 was.

I'm leaning towards a Scarlet 2i2 interface with Ableton lite (the free one it comes with...I'm not averse to buying another program, but I figured I'd try with the free one anyway. It also comes with ProTools jr. or whatever but I understand the learning curve on this is quite steep and I don't think it has a built in drum machine).

Also, I don't really care about sound quality, so info on mics and such, while appreciated, will probably go unheeded. Anything better than an overpowering audible hiss will be fine for this project.

I'm looking towards replicating my old process of fully programming drums for a song, and then tracking the other instruments over it.

Is this doomed to failure? Anyone help an old caveman out?
 
I'm leaning towards a Scarlet 2i2 interface with Ableton lite (the free one it comes with...I'm not averse to buying another program, but I figured I'd try with the free one anyway. It also comes with ProTools jr. or whatever but I understand the learning curve on this is quite steep and I don't think it has a built in drum machine).
Replace the DAWs you listed with Reaper, add in a midi synth with a small set of drum pad buttons, and you have my current setup. It's perfect for what I do, but will definitely be upgraded with space and improved income.
 
Replace the DAWs you listed with Reaper, add in a midi synth with a small set of drum pad buttons, and you have my current setup. It's perfect for what I do, but will definitely be upgraded with space and improved income.
Do you play the drums "live" or are you able to program them?
 
Yeah, I recall when Rust in Peace came out and was like obsessed with learning it all, wanting to sound like Dave and Marty. I had this epiphany, fuck it I just wanna sound like Honk. The best compliment you can get from a fellow musician is cool shit, you have your own style/sound and original ideas rather than showing off you can play Cliffs of Dover or something elite, that's someone elses work.
Yep.
I can remember hearing a tape recording of a live concert and was blown away with the bass playing.
I spent months trying to get the sound and feel like that guy could and in the end just walked away from it and eventually became "me" as often as I could get away with it.

Ironically, 30+ years later I found that concert on YouTube and was listening to it again.
My wife walked into the room and asked me "when did you record that?" and didn't believe me when I said it wasn't me playing.
I must have been subconciously rolling towards that for 30 years and got there without knowing I was even on that road.
 
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Rule 4 - it's unlikely that you'll ever sound like your "idol" while you're desperately trying to do it - be realistic, play to your strengths and carve your own niche - just the same as your "idol" did.
+1. It's always enlightening to listen to your influences talk about their influences, and who they were trying and failing to sound like. It reminds me of stories of Herculean heroes or shonen manga or video games or tabletop RPGs, how if you think about it from the point of view of the side characters, the most important and impactful things the heroes do are often unplanned bullshit on the way toward their real goal. In many cases it's the same with art, and the thing you shit out in an afternoon will be better received than the thing you spent years on. Which isn't to say you should give up on chasing that, but don't be in too much of a hurry to get there.
 
I'm glad I made this thread, so many musicians coming together to discuss ideas. There's a lot I can learn from you all. @Nero Fiddled is right, develop your own style of playing and don't try to replicate your idols. But learn from them though it's an extra tool in your musical toolbox.

It reminds me when I was taking bass lessons for a couple of months to work on slap and techniques that books can't teach. I told my teacher I wanted to slap like Victor Wooten, and he told me "no, aim to be better than Victor Wooten" he meant develop my own style.

Even though I developed my play style from books and listening to other bassist, I had my own style that blended all the knowledge from those sources, he thought I was good enough to play at a gospel convention at 16. I didn't take him up on the offer as it was in a neighboring state and I had no money for a hotel or food or even gas.

I started out at 13, my closest friends picked up drums and guitar and we would jam, we weren't very good. Then our guitarist moved. When we were older we found a new guitarist and we just jammed but by that point we were better. Then our drummer moved out to go to university. After that some friends from school had a whole summer gig playing at a local church, It was one of those mega churches. I don't really like mega churches as their doctrine isn't sound and it was the church that all the doctors and lawyers and other rich folk went to. So I played with them until I got caught smoking a cigarette by the youth pastor. Instead of conftonting me like a man, he went behind my back to the band's "leader" and snitched and I was promptly kicked out. I didn't enjoy being there because all of the people there never said a single word to me, like I was beneath them. They were a bunch of hypocrites. Even the band leader who was my friend in high school and I was the one that taught him the basics of guitar stopped associating with me. I contributed a lot to that church band, while all the guitarists used capos, I had to transpose into the key they were in. I dispise contemporary Christian music as it's boring, while gospel makes you wanna clap, stomp your feet, and dance. I tried to spice up the music we played but I was always told it wasn't appropriate. I remember the Bible saying "make a joyful noise to the Lord" and to always give your best for Him. Contemporary Christian music does neither, it's bare bones, paint by numbers, very formulaic.

Sorry for the rant, it started out with my music experience then devolved into some bitterness. But I'm glad to have you all here so we can exchange ideas and teach others.
 
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Sorry for the rant, it started out with my music experience then devolved into some bitterness.

Don't apologise fren, I love a good rant when I can't sleep or have had a few drinks and they always end up being concluded with some kind of cynicism and bitterness.
Things have been a bit shit here so this has been a good thread to keep my mind of things and rant about something different with anon frens than gear and whether it's a sensible life choice to buy Yngwie donuts.

It's always interesting to read about different peoples backgrounds and developments of why and how they got into music and like what drives that musical 'tism.

Regarding the influence thing, being an Aussie kid, while I was never huge on AC/DC, every Aussie kid learned their chops on some Acca/Dacca a lot of musos will say your rhythm reminds me of Malcolm, but like on meth and that's ig combined with the influence of Rory Gallagher and Swede indie rock like The Hellacopters for my more heavier indie rock. My main material is like ambient dreamy/escapist surf/psych rock of tones I've mostly created myself and is just my own progressions and licks, that would be harder to pick out a certain artist of what inspired. It's Honk and I'm dang proud of it, it's not the most advanced or technical shit ever, but it's me.

I started acoustic guitar quite young, around 8, and I'm almost as old as men Cotton killed, my grandpa played country and western professionally post war in dance halls and had a cheap 3/4 size nylon string my mums brothers fiddled around with but never committed to, while I wrote a song inspired by Billy Joel for Soleil Moon Frye - Punky Brewster, proposing my love and marriage. Unfortunately I was never able to get the 3 page handwritten letter with the song sent in the post and move to burgerland to meet my tv crush and social media wasn't exactly a thing in the early 80's. Primary school music was mostly playing recorder, tambourine and singing along to puff the magic dragon. Few of my friends also played and we did classical/electric lessons at a local music shop/school. I'd say we would have been 10/11 just before high school. I recall being in the soundproof room, with all this rackmount stuff, gear and cabs, the teacher had one of those og headless steinbergers, could play like a boss, had a saab turbo and a really hot gf and we thought he was cool af and thinking fuck yeah this is what I wanna do, fortunately not be a low rent music teacher with some thot with teased hair and hoop earrings called Debbie but it like triggered something, fortunately not an enthusiasm in trainsets but audio tech and guitar.

I got my first electric at around 12 when I decided I was convinced I wanted to be Ace Frehley or the 5th member of KISS or get ripped and swole and wear a codpiece and join Manowar and wanted a Poison tattoo. We all had denim jackets with patches, acid wash jeans, bmx bikes and the formation of our glorious long metal hair.

My high/tech school had a big music/media program and was like the production studio for a local community UHF tv station. For the school brass band I wanted to do sax, since my friends sister was quite skilled and he had experience, he got it, I got my 2nd choice, trumpet. In the first days/weeks of high school 7th grade there was like an aptitude test, where you chose your elective subjects etc, me and my friend devised a plan to deliberately fail it so we got put in special English and Maths avoid the double English and Math classes on the timetable, and get put in with the tard kids seeing we were gonna be in the school band we could spend more time in the music auditorium, studio etc, but it didn't really pan out, we did tard English and tard maths playing tard Apple IIe math games until the teachers realised for year 8 in we weren't in fact retarded, just shitheads. We were both above average students, I especially excelled in English, was always spoiled with educational material and a voracious reader as a kid, so mum and nan were kinda pissed when they found out I'd been put in tard English and Maths for the first year of high school, my grandfather thought it was hilarious when I explained why. They weren't so enthused when I bought the school trumpet home, so home practice was confined to the backyard which just made our dog and all the neighborhood dogs bark their heads off.

High school, music was clearly the first elective and this is around when Metallica were at their peak with And Justice, basically the main clique at high school was metal heads, some, punks, hippies, skaters and sports jocks, we all mostly got along we had basically a gang of like 40-50 from all year levels where a majority played an instrument, some lesser non guitarist ones like bassists and drummers and wannabe lead singers, we'd go to open age gigs and international acts and and would hangout at certain parts of the school, smoke cigs, weed and be in constant trouble for doing shit like melting the sprinklers on the school football/cricket pitch with magnesium, firecrackers, leaving the gas taps on in the science labs and having the main building of school evacuated, there were usually a few bomb threats a year when some Uncle Ted wannabe rang the school from a public phone, by 9th and 10th grade we were bringing booze to school and having "detention competitions" to see who could rack up the most or get suspended for something for time off school from making a teacher have a full meltdown, cause they couldn't do shit. If we didn't have music/media classes or the fun trade electives for the day we just ditched and when mum got us our own place and worked long hours, my place was pmuch like one of those 80's/early 90's fratboy party houses. We'd make recordings with this jerry rigged karaoke machine, I got from a pawn store. I basically removed the speaker from it, inserted a four channel mixer with a fly lead to mixer output to the karaoke input so we could record 4 inputs at once. Like a miced amps from diff rooms, 2 guitars and a bass or 1 guitar and old step sequencer but have to record on one track in one take. We'd make parody songs off kiss and metal songs or raw punk making fun of lesser talented kids at school or how the teachers were pedos. Our punk band "Born in a Crowded Taxi" should have become an Australian household name instead of Silverchair.

Something like this but butchered by a 16 year old kid. I used these sheets of metal and screws to hold the mixer in place and a lot of silicone.
1715400866656.jpeg

At school we used to get those old school printouts of sheet music or tabs where the ink would get you high when they were freshly printed, stuff like stairway to heaven, smoke on the water and whatever music the teachers would get.
In music class as a general elective, it was a lot of theory or if we were unruly, we'd just raid the instrument room for the guitars and keyboards and it was a cacophony. Band classes were a lot more formal and structured, private classes just on your specific instrument, I recall the 3 of us on trumpet who would spend a whole class just blowing through the mouth piece like a kazoo as like breathing/technique exercises and then full brass band classes and prac. I mostly focused on guitar post high school, to this day the sound of big band - brass grates on me.

In Uni I was much more responsible and focused, most of my 20's I practiced 6-8 hours a day, for uni post grad my goal was a masters of music therapy and a doctor of music philosophy, as well as some various bands and other gigs like playing latin in a restuarant I mostly have a lot of stagetech/cabling experience and then got into telco/networking because muh shekels.
 
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Mixodorian is cool. It just clicked for me that it's just the pentatonic major scale + the pentatonic minor scale.
 
Mixodorian is cool. It just clicked for me that it's just the pentatonic major scale + the pentatonic minor scale.
Assuming you mean:
1 2 b3 3 4 5 6 b7 1 ?
As mixolydian is 1 2 3 4 5 6 b7 1
And Dorian is 1 2 b3 4 5 6 b7 1

That would be a new term to me (though I can be shit with remembering names), and somewhat of a (to me) unique use case, as mixing a major and minor third is generally heard as a unpleasant sound, especially considering you dont have any other "strong" resolutions (ie 7-1, #4-5).

It can be useful in jazz improv as a way of building tension, but that is often playing around the altered dominant or a tritone sub, and often resolves from one to the other. That and octatonic scales are someone niche use case anyway.

I'll have to play around with it sometime and see what's up.

Looking quickly online i found the Mixo-dorian-blues scale

1 2 b3 3 4 b5 5 6 b7 1

Seems like adding in the extra blue note (b5) would be just enough extra to not make the b3 sound as out of place, and offer a really strong resolution in the middle.

Ultimately, I'm just some jagoff reciting my shit take on western classical theory. I'll bet as soon as I pull up a backing track and play around with it I'll find a way to make it work.

If you like those kinds of scales though, check out my favorite:
Bebop-blues scale
1 2 3 4 #4 5 6 b7 7 1

Uses blue note resolutions into both the tonic and dominant, and pairs really nicely as a fancied up version of the Lydian dominant scale popular in jazz: 1 2 3 #4 5 6 b7 1

Also, give just Lydian a shot sometime instead of major. That #4 really brightens up the sound, and turns your ear in a fun way.
 
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Cakewalk Studio 2 was what I mostly used on w98/XP, it was great as one of the first proper DAW's.

I'm not familiar with newer versions of cakewalk, would you bet 10 bucks its overbloated GUI shit with settings for your pronouns.
Cakewalk was my first daw growing up. Being a kid it was like heiroglyphics to me. Honestly I dont think I would have done a lot of recording if it wasnt for Apple's Garageband. I thought it was super user friendly and i could get drums and tracks down pretty intuitively. Using Bitwig now and I think its terrific. Used Ableton for a few years as well.
 
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