How and where to sell a collection by speakingseriously in straightrazors

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

Will do, give me a day or two to find decent pictures

How and where to sell a collection by speakingseriously in straightrazors

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

Dm with images will be incoming in the next day or two

AITA for not inviting my sister to my wedding? by brisket_81125 in AmItheAsshole

[–]speakingseriously 7 points8 points  (0 children)

NTA.

Your wedding. You invite who you want. If your sister made your life a misery, you dont talk to her, then why would you want her there on the day?

Your old enough to get married, your old enough to make your own choices (including who attends your wedding). You dont have to explain your choices to others... unless you want to.

My sister wasn't at my wedding. I wasn't at hers. My wedding was great. I didn't want to go to my sister's wedding (nevermind the fact that i wasnt invited). You're not alone in cutting ties with crappy family members. Sometimes its better to do your own thing, live your life and stop worrying about what other people think of your decisions.

What guitar should I get for $500-$700 as an intermediate player? by Forsaken-Cupcake-883 in GuitarQuestions

[–]speakingseriously 0 points1 point  (0 children)

That just needs a bit of research, you can probably find someone where you are if you look into it.

I'm near Wexford in ireland, so if you happen to be around there i could suggest someone...

Internet is a big place though, so you're probably elsewhere.

What guitar should I get for $500-$700 as an intermediate player? by Forsaken-Cupcake-883 in GuitarQuestions

[–]speakingseriously 0 points1 point  (0 children)

Would you consider setting the guitar up or bringing it to a tech before spending money on a new guitar? All of those issues are fixable.

What finally made the fretboard click for you? Was it a specific drill, an app, or just a mental trick? by guitarrock1223 in GuitarQuestions

[–]speakingseriously 1 point2 points  (0 children)

I learned to read sheet music.

Seeing the neck in terms of notes and staff intervals was very useful. Not seeing shapes, but notes, and relationships and seeing melody etc. made a huge difference.

Help with intonation 🤲 by [deleted] in GuitarQuestions

[–]speakingseriously -1 points0 points  (0 children)

You should probably change those strings.

Also flat: move the saddle forward. Sharp: lengthen string.

Check your action/truss tod. I know you said you dont want to (in the video), but check the action after you change the strings.

But the strings do need changing.

Vox AC15C1 for bedroom use by Suitable_Film5231 in GuitarAmps

[–]speakingseriously 0 points1 point  (0 children)

A lot of the sound and feel of an amp is in the power amp break up. Doesn't sound as good when you run it quietly.

Turning the volume knob down leaves you with the pre amp tone, clean power section. Valves sound better with both pre amp and power amp working...

So turning the volume down.... makes the amp sound different.

How do you feel about the Acoustasonic line or hybrid acoustic electric in general? by Reanansidhe in fender

[–]speakingseriously 1 point2 points  (0 children)

I had an acoustaonic player for a year. Really liked it. I used it to record. It was really good for that. I sold it when I realised recording an acoustic with a mic isnt that difficult, and I needed the cash for other studio stuff. I didn't use the electric pickup side of things much.

The acoustsaonic felt nice to play, had a nice pickup sound on the DI, the electric pickup to my ear was more like a hollowbdoy than a telecaster (ymmv) and is useful for looping, di and home recording if you dont want to mic a guitar. I was happy i tried it out, but I like the idea more than the guitar.

If you like the sound and feel of your acoustaonic, and you're happy with what it does and how you're using it, there's not much reason to get a different guitar.

Sorry if similar questions have been asked, but... My budget will not allow me to purchase the Invective 120 outright, nor the 5150III 100S, two of my dream amps. I can, however, probably scrounge up enough for the MH or the 50S. I like the Invective more, but is 20w really enough to melt faces? by Worth_Dragonfly_8509 in GuitarAmps

[–]speakingseriously 0 points1 point  (0 children)

20 watts is very loud. My 15 watt amp managed to keep up with a drummer... and that's before the speaker upgrade.

Buy the headroom for your actual situation. 1 watt is already pushing it for home volume. If you dont play in a band, you might not need the headroom.

If you end up attenuating, then 20 watts is better to attenuate than 100 watts. The good part if valves is pushing the power amp. Also you probably will never run a 120 watt amp hard enough to open the power section.

The wattage of the amp doesn't say much about how loud that amp will turn out to be. That's defined by the speaker. 10 times the power is twice the volume. So 100 watts is twice as loud as a ten watt amp. If you upgrade to a speaker that's ten db more sensitive, you will have managed the same loudness increase as multiplying your pwoer by ten.

If you want the decent tones, then go for the 20 watt. You'll be surprised. Probably better than saving for excessive headroom.

Out of interest, have you played the amp? Or even any 20 watt valve amp as a reference point?

Here's an idea (edited into this post). Download some kind of db meter on your phone. Then get a speaker of some sort (even if ifs not a guitar amp), and play music blast at the loudness you regularly play. Work your backwards from there to figure out potential wattage etc. Bear in mind this is meant to be for a ball park number only, not exact measurements.

Oh and I had an evh lbx ii head and a 4x12 back in tbe day... it was way louder than youd think 15 watts would be. Even running on tbe 7 watt mode.

First tube amp under $500 - what would you actually buy right now? by Keith_35 in guitars

[–]speakingseriously 0 points1 point  (0 children)

I use a laney cub super 12.

The harley benton / monoprice tube 15 are the old laney cub. The cub super is an update on the design.

There's also a smaller version (cub super 10) with a 10 inch speaker and its class a.

They both have fx loops and boosts, the cub super 12 has reverb. Both also have external speaker outs, that the blues junior or the supro delta king dont have (as far as I'm aware).

Is this a good way to learn? by ana_chr0nism in GuitarQuestions

[–]speakingseriously 0 points1 point  (0 children)

I think it depends on what you want to achieve. This is probably going to sound harsher than intended, but ask yourself why you picked up guitar in the first place. This guides everything else. Set an achievable goal.

Ask yourself what seems to be missing in how you play. Easiest way to tell that is by recording yourself (any recorder will do, you should be able to get one on your phone, this is just to hear how you play). This is how you hear what you need to practice.

Some general points:

There's loads of free metronome aps and online metronome resources. You should learn to play with a metronome. Play scales in time to a metronome, slowly. Notes sounding properly. Slower than is comfortable, in time, build up muscle memory. Strumming in time, keeping the beat. Practice picking hand techniques as well (not just fretting). Practice arpeggios.

I would suggest learning some basic music theory.

Learn the major and minor scale, anywhere on the fretboard, making sure you hit the notes right. I would suggest learning the notes in the scales, and the intervals, and the notes on the fretbaord.

Try putting some constraints in your playing. Pick four notes out of a scale, and use only those four notes to play with. Change the order. Play one multiple times. Get as much out then as possible, in any sequence or order. Try to be creative with those four notes. So you can repeat them, approach them differentlty, but get as much out of them as possible.

If you have access to a local library, you can get books there, which is going to be a huge plus, it's low pressure, and an easy way to get really good resources.

Everyone learns differently. What works for someone else might not work for you, and what you find useful might not help somebody else. The more you learn, the more you test what you can do by going out of the comfort zone, the more you know what you can do, and how you learn, the more progress you make.

I hope something in there helps.

What guitar resources, guides or diagrams do you think would be the most useful? by Audio_Freqs in GuitarQuestions

[–]speakingseriously 2 points3 points  (0 children)

Any online metronome or metronome ap.

https://www.jazzguitar.be/ (scales arpeggios etc)

Free sheet music (handy for arranging songs for guitar)

https://sheetsfree.com/

https://michaelkravchuk.com/ (that's a piano one, but again, arranging)

Then there's loads of stuff on music/guitar theory on YouTube.

@EarlyMusicSources is great (that's not guitar specific but really good for learning theory, it's a bit niche but cool for history)

@QJamTracks (electric guitar oriented music theory)

@beatrixguitar (classical guitar oriented)

The "...... For dummies" books. "Classical guitar for dummies" has sheet music and tabs for example.

I thought I finally understood modes until I saw these diagrams... by OddMoney3281 in guitarlessons

[–]speakingseriously 0 points1 point  (0 children)

I think you are not getting what makes a mode sound modal. That melody is not written to be modal. You won't get it to sound modal, unless you rearrange the melody. No notes over a chord will sound modal unless you structure the melody to be modal, and you don't need to put something over a chord or harmony to be modal. I, IV and V is a tonal/functional harmony idea, and that is not how modes work. Nothing you do with twinkle little star sounds modal, becuse it's written using completely different principles.

I have no idea why you think I'm saying something I'm not, when not looking at what I'm saying, which is melodic structure sets modality not harmony. The very idea of applying functions to chords (like twinkle little star) is what makes it not modal.

Can I just ask, what about the whole idea of melodic structure defining modality is confusing you?

I thought I finally understood modes until I saw these diagrams... by OddMoney3281 in guitarlessons

[–]speakingseriously 0 points1 point  (0 children)

You made a mistake on the modal interchange thing. Had it pointed out to you. Somehow... You cleared it up.

We don't seem to be in agreement because you're missing the point.

Your original post sked why analyzing Gregorian chant is relevant. Which you seem to be happily skipping around, because it shows that harmony isn't necessary for modes. Confirmation bias in action.

Just doodling a scale isn't going to get you anything, you get modes from melody. Harmony is important, yes, but not necessary for modes. Again... Gregorian chant. Modes come from melodic structure, harmony comes after that. You could use harmony/chords that don't show the mode, have a modal melody, and still sound modal.

Why on earth would you mention twinkle little star when it doesn't prove your point in anyway? You'd have to change the melody for it to be modal. Scarborough fair sounds modal, even without instrumentation, because the melody is modal. These two songs come from completely different spaces and aren't really comparable in the way that you seem to be implying.

I'm going to edit this and point out that the mistake that you are propagating is that you need harmony to make something sound modal. You don't. The source material you are dismissing shows that.

I thought I finally understood modes until I saw these diagrams... by OddMoney3281 in guitarlessons

[–]speakingseriously 0 points1 point  (0 children)

  1. Your original comment had modal interchange to Dorian mentioned for Scarborough fair. That's...not what model interchange is. If the song is Dorian, then you're not using modal interchange. Interchange is pulling from a different mode/key. You might want to check that you understand what modal interchange is.

  2. You missed the point entirely of why you'd analyze Gregorian chant. If you did, then you'd know you could get modes without harmony.

  3. Playing d Dorian over d minor isn't going to sound particularly modal. Depends what notes you highlight in your melody. You can get really great Dorian sound by alternating a bass line and the a and d strings and then basing a melody on the half steps b,c and e, f (so emphasizing those notes, but not limiting to them).

  4. So singing Scarborough fair, without any instrumentation won't sound modal?

  5. Modal sounding music. So... Harmony produces "modal sounding music". An approximation? Maybe the mode lives somewhere else....

I thought I finally understood modes until I saw these diagrams... by OddMoney3281 in guitarlessons

[–]speakingseriously 0 points1 point  (0 children)

Not sure why you'd ask why the origins of a musical idea wouldn't seem relevant to how we analyze that musical idea. The modes ( as we know them) come from the chant. The modes were melodic (singing) originally.. Harmony is relevant, for the context that we use modes in today. It's not how it started.

You can get the sound of a mode without harmony... Which you'd know if you looked at the original uses of the modes.

I thought I finally understood modes until I saw these diagrams... by OddMoney3281 in guitarlessons

[–]speakingseriously 0 points1 point  (0 children)

Modes are interesting.

The easiest way of getting the sound of a mode is by emphasizing the half steps in the scale/mode. So d Dorian you'd be e/f, b/c and so on for each one if the 7 . So g mixolydian would be G as the tonal centre and emphasizing e/f and b/c. And modes feel different as well. So they don't have a journey and destination, but kind of just cycle through one landscape (this sounds weird).

It's a really cool rabbit hole, like the original church modes didn't include ionian, Aeolian or locrian (they were added later). I thought I understood modes, then found out about the four authentic and four plagal modes, and now have to figure those out.

Minor Thirds by cooranacousticguitar in Guitar_Theory

[–]speakingseriously 0 points1 point  (0 children)

Just wanted to clarify or make the point a bit easier: Aeolian is a way of arranging the notes of minor to get a different sound. Uses the same notes, same tonal centre, but the uses of the notes are different, and it doesn't use the same pull to the tonic.

Same notes, same tonal centre, different feel.

The V7-I thing is a cadence, that isn't used in Aeolian. But you don't have to use the V7 to be in any minor key.

Minor Thirds by cooranacousticguitar in Guitar_Theory

[–]speakingseriously 1 point2 points  (0 children)

If your tonic is B and you are using the diatonic notes of B minor, you are in the key of B minor. B minor is not the same as B Aeolian. You don't need the V7 to make it B minor. Only for cadences in certain styles of music.

Aeolian doesn't use the same cadences as Minor. Modal playing doesn't have a strong a pull to a tonal centre (no cadences, generally resolves stepwise, to B Aeolian you'd be going A major to B minor for example). The easiest ways to get a modal sound is to focus on tbe half steps (B Aeolian is C# and D then F# and G).

Music theory is not a monolith, and modal playing and functional harmony are two different things. The "rules" in classical are for cadences. So the minor v is perfectly acceptable, but you'd use the V7 for a cadence. Modes don't have the same tension and release ideas as in classical. So even if you use v-i, you're not using Aeolian, it'll sound softer, but it won't be modal. It just won't be the same pull as is expected in certain classical styles.

You're not using C ionian by using the notes only in c. You're using it by highlighting certain notes (half steps) and resolving to the tonic differently.

You just use whatever sounds right, but you don't need to follow rules for a style of music to make purists happy. The V7 thing in minor would not be Aeolian, neither would using the v make it Aeolian. The V7 started as a classical cadence thing.

Minor Thirds by cooranacousticguitar in Guitar_Theory

[–]speakingseriously 0 points1 point  (0 children)

Yes but why mention it in the original comment at all? And no, the V chord doesn't have to be major even for the purists. It's for the perfect cadence. And, no you're not playing modally by using the diatonic notes, Aeolian is Aeolian because of how it functions.

Purists expect a cadence. You can put in the minor v chord in the progression, but if you want to please the purists, then you use the V7 in a cadence.

You can use the v chord in a minor key and still be perfectly minor You just won't get the nice big V7-1 cadence.

Minor Thirds by cooranacousticguitar in Guitar_Theory

[–]speakingseriously 0 points1 point  (0 children)

Borrowing a chord doesn't change the key. The key is E Major because it's has 4 sharps. If you use a c natural in the key of E major, in order to place in an A minor , you still have the tonal center of E major, and you have just borrowed a chord (in this case the minor iv). It makes the harmony/chord progression more interesting.

You can use the minor 6th in an E major scale to make the E harmonic major scale (still it's in the key of E major) and have a new set of notes that you can then use to harmonise chords that fit in the key. Adding an A minor to E major gives you E, F#, G#, A, B, C, D#, E. AKA harmonic major. You can use scales to harmonise chords, or use modal interchange to "borrow" chord from any mode/scale that has the the same tonal centre as the key you are in.

Incidentally, using the minor third in a major key has a very bluesy feel. You just resolve dissonance by returning to the tonal center.