InvaderTSN

InvaderTSN wrote on Dec 20th, 2009 at 5:15pm : Are you ever coming back?

Probably eventually...maybe. We'll see.

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Has anyone ever told you that you have an uncanny resemblance to John Myung?

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looks like you were right, but yeah Ex Deo pulled out of some shows heres the link:
http://blogs.myspace.com/index.cfm?fuseaction=blog .view&friendId=10773295&blogId=517039978

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hahaha, that's perfect, I'm not changing a thing, I'm just gonna send it the way you typed it :P

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that's awesome man haha I'm livin it up...I'm gonna write a nasty letter on the wall of the guy who makes the 667 view for messing up the satanic(ness) :P

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My Engineering teacher looks exactly like Gordon Freeman.

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Actually, yeah. This one is pretty good:

http://www.fuzzlogic.com/flex/

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Now we just need to make a sitcom

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For Windows, I recommend Cakewalk Sonar or Acid Pro. I've heard Cubase is good too but I don't have any personal opinion. There's Audacity and Reaper as well, which are free, so check thoese out first.

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InvaderTSN wrote on Jul 2nd, 2009 at 10:35pm : Alright. Do multi-fx pedals work, like Line 6 PODs?

Oh yea, the POD is alright but limited to a guitar only.

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InvaderTSN wrote on Jul 2nd, 2009 at 9:58pm : Are there any cheaper alternatives, like playing into a USB mic?

I'll cut right to the chase....that will sound like ass.

I mean, it depends on what you want to do. If you just want to record little clips here and there, you can be as ghetto as you want. But if you want to record a track or something for others to hear...I suggest you don't skimp on buying quality gear.

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InvaderTSN wrote on Jul 2nd, 2009 at 8:45pm : Are digital audio interfaces expensive? I got the DAW.

Prices vary depending on the quality and features you need. Generally, the more inputs available, the more expensive. Soundcard quality is also a factor. I have a 2 Analog 1 MIDI interface and it was $200. However, this is obviously not enough if you want to record a band. So that's what you have to think about.

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InvaderTSN wrote on Jul 2nd, 2009 at 6:29pm : Oh, I see. So how do you record?

You need 2 basic things to start off with:

1. A digital audio interface - This is a piece of hardware that allows you to plug in your instruments and MIDI devices, which is then transferred into the computer as digital audio signal.

2. A Digital Audio Workstation software - This is the software that allows you to record your playing and come with other features that aid in music production such as MIDI sequencing, audio editing, sampling, etc.

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InvaderTSN wrote on Jun 29th, 2009 at 10:34pm : So when using terms like 4ths/5ths/etc., you just use the corresponding note in the scale and build on it?

They mean different things in different context. If I'm talking about scale degrees (ie The 6th of the natural minor scale), then I'm referring to the 6th note of the minor scale.

However, if I say "build on 3rds" or this note is a 3rd/4th/5th away from that note, I'm talking about the distance of intervals. E--8-- is a major 3rd above E--4--

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InvaderTSN wrote on Jun 27th, 2009 at 8:53pm : For 3rds, if you do something like this, A-------------------5---------------------------- ------------------------------------------------| E-------5---7--8--------------------------------- -------------------------------------------------- | would the corresponding harmony be this? A------------5---7---8--------------------------- -------------------------------------------------- | E-------8---------------------------------------- ------------------------------------------------|

Assuming that you are using the natural minor scale, yes.

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InvaderTSN wrote on Jun 27th, 2009 at 4:49pm : Do you know how to harmonize? I'm trying to harmonize a riff, but I don't think it sounds right. Do you just play the octave of the main part or something?

Whatever scale your riff is based off of, use other notes in the scale for harmonization.

For example, if you are using melodic minor (1, 9, b3, 11, 5, 13, 7) as the basis for your riff, and maybe it goes 1, b3, 1 b3, 9, 11, 9, 11 (very generic). A typical harmonization would be to build on 3rd's, so the corresponding harm would be b3, 5, b3, 5, 11, 13, 11, 13 above the riff. But keep in mind this is a cliche and can become stale very quickly. Also try harmonizing in 6ths, in which case the harm would be the same pattern above, but in a range below the riff. 4ths are also good, but are used more in jazz than in metal or rock.

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InvaderTSN wrote on Jun 24th, 2009 at 9:24pm : I honestly can't believe you're still at this.

hey! what you talkin bout? still at UG? I'm happy I'm here too sweets! ♥

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InvaderTSN wrote on Jun 25th, 2009 at 12:24am : By shape I meant something like this.

Oh okay.

Well then I guess it would be like this:
A melodic minor:
E--------------------------------4-5
B---------------------------5-7-
G--------------------4-5-7-------
D-------------4-6-7--------------
A--------5-7--------------------
E-5-7-8--------------------------

A altered dominant
E-----------------------------------5
B------------------------------6-8-
G----------------------5-6-8-----
D---------------5-7-8-------------
A--------4-6-8-------------------
E-5-6-8--------------------------

A whole half diminished
E-------------------------------------4-5
B------------------------------4-6-7-
G----------------------4-5-7-----
D---------------4-6-7-------------
A--------5-6-8-------------------
E-5-7-8--------------------------

It's pretty inefficient to think of scales in terms of shapes. Try to learn the interval concept better and it'll help you "move" your scales.

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InvaderTSN wrote on Jun 24th, 2009 at 11:19pm : What's the shape of those scales? I don't know how the number system works.

I don't know what shape is...

But those numbers are scale degree intervals. 1 is the first note, 9 (2) is a whole step, or 2 frets above 1. major 3 is a whole step above 2. 11 (4) is a half step above maj3. 5 is a whole step away from 11. Maj 13 (6) is whole step from 5. Maj 7 is whole step from 13, and then back to 1 (8), half step from maj7.

Now if there's a "#", it means half step higher than the reference points above. For example, #9 is a whole + half step above 1 because regular 9 is only a whole step. If there's a "b", it's the other way. b9 is just a half step above 1.

So using this formula, I think you should be able to figure out the scale. If it's still confusing let me know...maybe even on AIM or MSN or something.

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InvaderTSN wrote on Jun 24th, 2009 at 9:41pm : Hey, I was wondering if you could help me with scales. I'm trying to find a scale that'll give me the classical-y sound that starts at :50. http://www.youtube.com/watch?v=BEvMWirqRQ0 I'm trying to write a melodic death song and abusing the minor scale over and over gets old quickly.

Can't make it out too well. But it sounds like harmonic minor: 1, 9, b3, 11, 5, b6, maj7, 8.

Try these scales for something refreshing and different:
melodic minor: 1, 9, b3, 11, 5, maj6, maj7, 8
altered dominant (diminished whole-tone): 1, b9, #9, maj3, b5, b13, b7, 8
whole-half diminished: 1, 9, b3, 11, b5, b13, bb7, maj7, 8

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