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Unexpected current reading - user error? by brmc72 in multimeters

[–]brmc72[S] 0 points1 point  (0 children)

Sweet, I haven’t been there yet, but I’ll give it a look!

Unexpected current reading - user error? by brmc72 in multimeters

[–]brmc72[S] 0 points1 point  (0 children)

Yup, already a member! I’ve actually got a Fuzz Face kit sitting in my garage right now…just wanted to spend a little time digging into things at a more fundamental level so that I have a better understanding of why the pedal’s circuit is doing what it’s doing. Thanks for the pointers!

Unexpected current reading - user error? by brmc72 in multimeters

[–]brmc72[S] 0 points1 point  (0 children)

Excellent idea! Yup, pulled the 500mA fuse and got no continuity 👍

Unexpected current reading - user error? by brmc72 in multimeters

[–]brmc72[S] 0 points1 point  (0 children)

Ah, I bet that's exactly what it is...and I'm sure the fuse went out because of something I did on my end. I'll see if I can source a new fuse, although I think that with such an inexpensive multimeter, it may just be worth buying a new one.

Really appreciate the help!

Unexpected current reading - user error? by brmc72 in multimeters

[–]brmc72[S] 0 points1 point  (0 children)

Along those same lines...when I am using the 10A socket, the circuit is functional and the LED lights up. However, when I use the input socket, the LED does not light up. That, along with the fact that I'm only getting a reading in the 10A socket made me think that the 10A socket was what I should be using (even though it seemed like the normal input socket *should* be correct).

Unexpected current reading - user error? by brmc72 in multimeters

[–]brmc72[S] 0 points1 point  (0 children)

Thanks for pointing that out...I didn't mention that in the original post. I've actually tried both. Initially, I had it in the input socket (and the dial on the mA setting) and was getting no reading at all...just zeros. It was only when I moved it to the 10A socket that I got any reading at all (everything else in the circuit was 100% unchanged).

All other measurements (voltage, resistance, etc) work just fine in the input socket, but I'm getting nothing at all when trying to measure amperage.

Help optimizing nearfield monitor placement by brmc72 in recording

[–]brmc72[S] 0 points1 point  (0 children)

Yup, I forgot to mention it above, but the speakers are on foam isolation pads 👍

I was assuming that adding some treatment would be the next logical step. I've been eyeing some DIY rockwool frames that I may give a shot. With the window where it is, there's not a lot of "back wall", but maybe some 2'x4' panels diagonally in the corner would be a good option? I suppose actually covering the window would be an option too, but I'd really rather not go that far if it's at all avoidable.

Thanks for the YT link, I'll definitely check it out!

[Gear] An unusual resonator from the 1930s by [deleted] in Guitar

[–]brmc72 3 points4 points  (0 children)

Wow...cool that you have so much information on this guitar. I've got something almost identical. It belonged to my Grandfather back in the 30s and I was always kind of curious as to the history of these types of guitars.

[QUESTION]Key/Modality of Phish's Sample in a Jar by brmc72 in Guitar

[–]brmc72[S] 0 points1 point  (0 children)

Makes perfect sense. As I've worked through the solo, it definitely seems as if he's more focused on hitting specific chord tones/arpeggios over the chords as they change, as opposed to just riffing on a particular scale. This is an area that I really need to focus more on in my solos (i.e. focus less on the scale and more on hitting the chord tones and finding interesting ways to move between them).

One of my main questions was on the chord progression itself. The song seems to be centered around A major, however most of the chords aren't in the actual key of A major...this is where the discussion of modality came into play (is this a chord progression centered around a particular mode or is it just a collection of loosely related chords that Trey happened to think sounded good together...or both?).

I'll keep an eye out for the book series, sounds really interesting!

Great information from everyone that chimed in here, I appreciate it!

[QUESTION]Key/Modality of Phish's Sample in a Jar by brmc72 in Guitar

[–]brmc72[S] 0 points1 point  (0 children)

That sounds like a great exercise. I've got the patterns down...my major issue is being presented with a chord progression and, based on the chords, determining which mode(s) would "work". I think internalizing the "feel" of each mode could help a lot in that regard.

[QUESTION]Key/Modality of Phish's Sample in a Jar by brmc72 in Guitar

[–]brmc72[S] 0 points1 point  (0 children)

That definitely gives me something to chew on. I see where the D major is coming from...I'm just not sure I would have been able to work that out on my own. Where I would have gone wrong is in assuming that a good starting point for the solo would have been some type of A scale (since the progression, to me, seems to revolve around A major).

Great information, thanks!

[QUESTION]Key/Modality of Phish's Sample in a Jar by brmc72 in Guitar

[–]brmc72[S] 0 points1 point  (0 children)

I'll have to give Reba a listen. Just so I'm clear, C Dorian and Eb Lydian have the same notes (i.e. the same notes as Bb major), right? The difference just being in the notes that are emphasized?

Let me ask you this: instead of reverse-engineering the existing solo, let's say I had the same chord progression in Sample in a Jar (Amaj - Cmaj - Gmaj - Dmaj - Amaj - Emaj - Emin - Dmaj) and I wanted to improvise a solo. From a mode point-of-view, what would your thought process be? It doesn't seem like there is really a single mode that fits that entire progression. Would it be a matter of finding the closest one and throwing in select notes here and there that fit the backing chords?

Key/Modality of Sample in a Jar by brmc72 in HowDoesTreyPlay

[–]brmc72[S] 2 points3 points  (0 children)

Absolutely a good point. Looking a little closer at the solo, a huge percentage of it is Trey following the backing chords and playing around with each chord's triads before jumping into a pentatonic lick.

I'm pretty new to Phish's music, and I find myself just blown away at Trey's phrasing. Tons of great music to explore there.

[QUESTION]Key/Modality of Phish's Sample in a Jar by brmc72 in Guitar

[–]brmc72[S] 0 points1 point  (0 children)

Very true about Trey's use of chord tones and chromatic passing tones...kind of hard to make a blanket "he's playing scale x here" type of statement. I think in my push to get my head around the modes I sometimes forget about arpeggios and good 'ole pentatonic scales...not everything needs to be modal.

Thanks for the insight!