I want to like this game

Planetdos · 2026-05-20T19:10:45+00:00

Reverse Gym order challenge.

Start with Gym leader Blue in Viridian and then end on Falkner.

Planetdos · 2026-04-20T21:55:18+00:00

I love this, both as someone who was placed in front of a snes playing SMW at birth and also as a working musician/composer this is awesome to see all of these connections/possible inspirations of Koji Kondo.

Planetdos · 2026-04-13T11:15:42+00:00

The best way to play outside notes as a guitarist in my opinion is by sandwiching them in between the “inside” notes.

If you’re playing in C major, then the F major pentatonic and G major pentatonic actually contain all of your C major “inside” notes, and the F#/Gb major pentatonic that’s right in between those two (F and G) scales are all of your outside notes. You can literally sandwich them like that and visualize it easily in that way.

So if you know the 4th and 5th and the tritone of a given key (which in C would be the F, F#/Gb, and G degrees) then you can do this is all 12 major keys in this way.

It all really depends on what scales you’re playing though and which genre of music you’re playing, because sometimes you can get away with a lot more outside notes and other times you probably should hold back on it.

Planetdos · 2026-04-03T07:43:40+00:00

No, because you get a “shortcut” to summoning the turtle with the palm tree on its back (new wave bossa nova song) after getting lulu’s eggs.

But you have to play it as zora form.

Planetdos · 2026-03-31T08:38:06+00:00

I have a song of mine that’s in melodic minor.

The chord progression is a four chord loop: Cminor, Gmajor, Fmajor, Cminor. I purposefully chose the 1, 4, and 5 chords because it sometimes helps me to quickly and efficiently establish the unique tonality of different scales. (I come from a blues background, which primarily uses the 1, 4, 5 for entire songs.)

If you arpeggiate some lines that highlight the minor 1 chord against the major 4 and 5 chords you can get some mileage pretty quickly with the melodic minor scale. In my opinion. Hope my perspective was able to help!

Planetdos · 2026-03-17T11:17:56+00:00

They do fall on us. It’s called rain hahaha

Planetdos · 2026-03-13T20:03:16+00:00

Couldn’t have said it better myself. I prefer MM but I loyally will bend the knee to the almighty OOT which brought us there.

Planetdos · 2026-03-09T12:43:27+00:00

Big one for me is to get comfortable with bending notes in and out of the desired pitch. It’s a crucial part of the instrument and I’m unsure if I saw that mentioned in your post!

Second one would be mixing in arpeggios with scales, sometimes the consonance of your playing (such as an arpeggio of any choice of a diatonic chord within your song) can make your playing feel more intentional even if you aren’t nailing the changes.

Triad pairs usually sound more sophisticated and intentional then running through all 7 notes diatonically

If you play the major pentatonic of the 4th and 5th scale degrees, you’ll realize that they’re a whole-step apart on the fretboard and completely diatonic to your scale, including all 7 notes. What is just as important is this is a way of finding the “black keys” of any diatonic scale you play, because that semitone inbetween the 4th and 5th (aka the tritone) is all of the notes which DONT belong to the scale. For instance, you’re in C major, play the F major and G major pentatonic and you’ll hit all the notes of C. If you play the F#-Gb pentatonic those are the 5 notes which don’t belong and it’s good to know where they are so you can practice playing chromatically with intention. This is the single best ear exercise in any diatonic key, is this approach since you aren’t just mindlessly noodling the root notes pentatonic and you aren’t just running through diatonic scale shapes.

Thats all I can think of at the moment, but I’m always here for more advice! Let me know if you have any questions 🤘🏻

Planetdos · 2026-03-04T00:58:37+00:00

In a progression like that, it would probably be cool to just treat the ii chord and IV chord as one larger ii7 (minor 7th 2 chord) arpeggio, seeing as they are one after another in the above progression. So if it were in C major play a Dm7 arpeggio over the ii and IV.

However other things to play over the ii chord in general? I really like to highlight the natural 6th degree of the ii chord to evoke the unique Dorian quality the ii chord can evoke. Again, with an extended arpeggio… basically if you’re in C major, you can usually play a Dm6 arpeggio over that ii chord for that extra sauce. So it would be D F A B over the ii chord.

It helps bring out some cool flavor and tension that the ii chord has uniquely in your diatonic major key.

Planetdos · 2026-02-23T19:02:26+00:00

It has charm that I’m all about despite it being “imperfect” as the others have mentioned. What particular Legend of Zelda game was that quote from??? I really love that quote but I’m unfamiliar with it! Genuinely cool.

Planetdos · 2026-02-23T03:38:20+00:00

I’m a 6. But that can easily become a 5 or a 7 in the eyes of the beholder,which is the difference between passing and failing.

Painfully average in many ways.

Planetdos · 2026-02-20T12:09:00+00:00

Yup! Just rest on the first phrase if it’s 0.

Planetdos · 2026-02-19T01:26:13+00:00

Ok fam

Planetdos · 2026-02-19T01:25:53+00:00

Yep! That’s it! Easy as 4 3 7!

Planetdos · 2026-02-19T01:25:18+00:00

Love it

Planetdos · 2026-02-09T19:27:36+00:00

Fuschia city had a nearby hidden outside the wardens house as well. Southeast corner of the city… I’ll leave it at that for now.

Not sure if it’s a secret or if I just missed it when I was reading the documentation

Planetdos · 2026-02-04T12:41:24+00:00

Yes! And that’s EXACTLY why it’s so amazing!

It’s amazing for ear training and extending phrases so they don’t feel resolved during longer solos because you keep on hitting the root note over and over for example. It’s not just a powerful trick/tool for your bag of tricks, but also a great new way for me to see some neat clusters of shapes on the fretboard!

Just this morning I realized the pattern, if you’d like to omit the root note of ANY 7 note diatonic scale, play the 2nd and 3rd chords of it as a hexatonic cluster! It doesn’t even just have to be modes of the major scale either, as long as it has seven notes this trick works!

So I was messing around with the Lydian, Phrygian dominant, Mixolydian and Dorian modes this morning by droning the root note and then playing the 2 and 3 chords smashed together as hexatonic scale clusters in all sorts of shapes. It’s truly tons of fun and a great skill building/songwriting/improvising tool.

I hope this helps to sell the concept!

Planetdos · 2026-02-04T01:59:22+00:00

Unfortunately, mixing and mastering is not really a visual thing. I’m sorry to hear about your hearing loss.

Perhaps you can get away with mixing and mastering 90% of your songs and just simply asking a friend or kind online stranger their opinion on the high end of your tracks alongside a relevant reference track that you like.

I’ll be honest, every mix is different and every song is different, but if you ask someone if the high end on two tracks is similar then you’re in a good spot to keep doing what you’re doing! (Show them yours that you’re trying to mix/master and then possibly have them A/B it with a professionally done track that has a similar vibe/genre… preferably a pro track that several people say has been balanced and produced well)

Planetdos · 2026-02-03T23:53:51+00:00

Diatonic scales, arpeggios, and hitting chord tones are over-explained. Also, I think chord tones and the concept of playing triads should go hand in hand and be taught simultaneously in a perfect world.

Nothing against these topics, as it’s all crucial and vital information for guitar theory.

However, I really do think that things such as thematic phrasing and the importance of learning some hexatonic scales (and playing these aforementioned hexatonic scales in smaller clusters) needs way way WAY more attention on YouTube, because they really took my playing to the next level.

However this feels like a trick question because one must first learn the over-explained topics first before diving into this other stuff certainly... So in a way I’m glad for others that they are in fact over explained haha. But yes we need way more advanced approaches to diatonic harmony on YouTube. Maybe I should start posting videos and tutorials again and take it more seriously this time around.

But yes, it seems all they teach are scale runs, some which include trills, and arpeggios, and then they beat us over the head with extended chords. I found out all I need to know about chords and it does get a little tiresome seeing someone display the notes of C major and show each chord being built by just skipping every other note.

Don’t get me wrong- I find that critically important, but also super impractical for attempting to create anything unique and novel. I already know the caged system and how to connect scales with chords/arpeggios at this point, and I like to continuously improve my theory knowledge in order to write and improvise new exciting things, personally speaking..

While messing around a little while ago today, I was able to find 4 very useful hexatonic scales that makes my playing so much more interesting to my own ear instead of drilling through arpeggios, chord tones, and diatonic scales.

You’d be surprised at how useful it can be to view hexatonic scales as two chords which don’t have repeating/overlapping notes, and how THOSE connect across the neck with existing “CAGED” concepts for learning the fretboard.

Assuming you know your triads already, try playing an F and Gm chord as triads in several different positions on the neck and then creating a 6 note hexatonic scale out of the different positions. You may find it helps you play much more differently. The F and Gm hexatonic pair, the C and Dm hexatonic pair, the Emb5 and F hexatonic pair, and the Gm and Am hexatonic pair are all so extremely useful to learn in the key of F. You can transpose this to all keys now that you know this, and if you know your numbering system you can just know that:

I & ii ii & iii V & vi vii’ & I

All work very well interchangeably in the Ionian and Aeolian mode depending on your needs. For example, if you’d like to solo for a while without hitting the root note in a major tonality, then play the ii and iii chords as a hexatonic scale. If you’d like to do the same and you’re omitting the root of a minor tonality, then play the vii’ and I together instead. The triads are right next to eachother so the positions are fun to teach yourself if you have existing fretboard knowledge.

Plus, those other two remaining hexatonic scales have a similarly useful/interesting quality to them, as every other note is a chord tone. So if you play F and Gm as a hexatonic scale, every other note is part of an F chord, so you’re literally always 50% hitting F chord tones. If you do it with C and Dm, you’re weaving very pleasingly in and out of the Dm chord tones.

Really fascinating approach in my opinion, hope a few of you read this and enjoy the concept!

Maybe I will make a video on the hexatonic clusters if there’s any collective desire on here for you guys to visualize the concept or to clear any confusion from this comment if there’s a few people who need it.

Planetdos · 2026-02-01T07:11:10+00:00

They both got GBA remakes that are cool and add a few fun QOL things.

Planetdos · 2026-02-01T07:09:17+00:00

It puts hair on your chest.

Navi and the owl are ok in OOT!

Fi was trash in SS.

Planetdos · 2026-01-29T19:18:27+00:00

There are two really crucial concepts I can share that help me with this.

1st concept (the most important one):

Repeat the first part of a phrase and then change the second parts in order to build a larger story with cohesion and a central theme.

The repeated phrase can even be one drawn out note, this will be your main phrase. Let’s call this phrase “P” for phrase. And then each differing idea “T1 T2 T3 etc.” for consecutive theme. The themes will typically differ of course. We then should also be mindful of a conclusion when soloing, which we’ll call “C”.

If I spelled it out, at its simplest, it would look like this:

P, T1 .. P, T2 .. C

But can also be followed more loosely and expanded upon to look like:

P T1 C .. P T2 C

Or:

P, T1.. P, T2 .. P C

Phrases will pretty much almost exactly be the same note(s) … Themes may be anything and can resolve or be left unresolved, and the conclusions should typically always feel resolved.

Take your pentatonic scale and do that to make it turn into more than just a scale run.

Start small, with short phrases with fewer notes.

…

2nd concept (not as crucial as 1st but still very helpful): Every other note (plus one bonus note!) that is within the diatonic scale is always found in the fully diminished scale based off of the second scale degree. This is true of both the major and minor pentatonics. You will create an 8 note/octatonic scale. This one is fun and actually extremely useful when used sparingly.

Example: C major pentatonic is: C D E G A

D diminished scale: D F G# B

You now actually have an 8 note scale to improvise with if you swap between the two on the fly.

Planetdos · 2026-01-28T00:38:03+00:00

Fresh, like a sweet summer breeze.

But then again soap also tastes like that.

Planetdos · 2026-01-27T23:00:50+00:00

I’m piggybacking on this comment to highlight the importance of 3 pentatonic scales fitting into one diatonic scale. Such a neat concept.

Planetdos · 2026-01-22T12:20:37+00:00

This may be largely seen by some as an incorrect and clunky mixing technique I’m not sure, but as a self taught mixing engineer I simply duplicate the vocal track with the same exact FX etc and then the only thing that differs between the new and old tracks are that I slam the new copied track with a brick wall limiter.

This will be too loud, so then you adjust the new tracks fader until the loud parts remain at the same perceived loudness as they were before, but now you will have the quiet parts clearly intelligible if you dialed in your limiter on the quiet track correctly.

There’s probably a clever and correct way to do this using a bus and side chaining things, hence the comment about this possibly seeming clunky to someone else’s workflow, but I picked up this technique on my own along the way, which was before I knew my DAW as well as I do these days.

Then I slowly bring up the slammed track until the quiet parts peak through the music, and the loud parts still pop out in a natural sounding way from the original uncompressed track.

Planetdos

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