funky monk

IO VARNING! IO2 har en sjuk hög latency mvh

En massa inspirationsinstrument: En ny gitarr, kanske en 12 strängad martin (mums) en ukulele ett piano en kazoo massa slagverk bandlös bas en fiol men undersök dig själv så att du inte har GAS (Gear Acquisition Syndrome) först, det är mycket viktigt. mvh

här och här kan du titta mvh

Ingen bra idé tycker jag. Det är väl främst den dåliga standarden på låtarna som stör folk och inte att vissa individer spottar ur sig för mycket. eller har jag missförstått? Hur som helst skulle förslaget kunna drabba andra duktiga låtpostare vars alster jag gärna lyssnar på.

hejhej

Fysikens lagar gör att ett ljud upplevs högre om det är centrerat jämfört med om det är utpanorerat. Vet inte om det är linjärt eller logaritmiskt eller whatever... iaf kompenserar man för detta genom att DAWn sänker volymen med X db, när signalen är centrerad och sänkningen blir proportionell allteftersom den panas. -3 db är standard men vissa föredrar -6. Det blir då en ökar volymdynamik vid paning. vid 0 db sker ingen sänkning alls. Equal power innebär att signalen är lika stark oavsett var i panoramat den befinner sig.

Personligen tycker jag att "Equal power" som introducerades i Cubase SX3 funkar bra. Egentligen borde den ju vara standard eftersom den kompenserar helt och förenklar en jäkla massa. Själv har jag dock aldrig använt de andra inställningarna. Men ni som t.ex. använder -3 eller -6, gör ni det av gammal vana och/eller för känslans skull?

menar du att du har latency på över 40ms ?? just det latency heter det. Japp latecy över 40ms här, men som tur är påverkar det inte mitt arbete.

Aha, smart. Det kanske löser alla problem. ska testa, tack för tipset

Har en IO 2 och preampsen är riktigt klena. Jag antar att samma preamps används till storebröderna. Det är iaf svårt att få bra ljud från en sm57. Rätt mkt brus också. Vidare är ASIO drivrutinerna riktigt värdelösa. Sitter med en ny quad och lyckas fortfarande inte få en delay under 40 ms. mvh

Hej Jag har för avsikt att använda midi filer från BFD i EZ drummer. Har kopierat över midifilerna till "My midifiles" i EZ katalogen. Spelar upp filerna en och en med hjälp av "play" knappen i EZ och allt låter som det ska bortsett från att vissa noter behöver i efterhand flyttas för att matcha BFD. Så långt är allt som det ska vara. Men om jag click & drag:ar en BFD fil till arrfönstret från antingen windows utforskare eller EZs "groove display" följer vissa noter inte med. Det är inte så att noterna uteblir beroende på pitch, utan det är vissa noter i samma pitch hänger inte med. Det som däremot fungerar är om jag använder Cubase "import midi" funktion. då följer allt med. Det jag kan se då är att de noter som annars inte följer med är långa, udragna noter. Men jag tycker att även de långa noterna borde följa med när man släpper ner filen ifrån utforskaren till arrfönstret någon som kan förklara eller upplysa? tacksam för svar mvh

Sök på "Equalizer" i manualen

Det tar några dagar till veckor beroende på hur mkt du spelar. se till att inte riva bort skinnet som finns på fingrarna. Har du jätte ont kan du ta en paracetamol tbl.

🙂 😛 😄

ladda hem boss pedalkatalog. Där står rätt bra tips och de vanligaste setupen

Här kan du köpa 10 mm (istället för 6 mm) tjocka plattor för m2 priset 20 euro alltså ca 60 kr billigare.

Vad tycker du om pluggen? fungerar den som den ska? ska ladda hem demon, men vore kul om att höra erfarenheter mvh

En bra grej du kan göra som faktiskt gäller alla aspekter i musikskapandet är att analysera andra musiker för att få kunskap och inspiration. Lyssna på dina favoritartister eller musik liknande den du försöker skapa och lär dig hur andra gör. Åk till biblan och låna notböcker. Vilka ackorder använder de och i vilken ordning? För att skriva en mvg text måste du först och främst ha något att säga och brinna för att vilja berätta. Det är som att skriva en historia, du måste lägga mycket tankeverksamhet bakom det.

Citat från harmony central: "Ease of Use : No Opinion Ive been using a HP for a very long time. Almost as long as thd have made them. Im a pro guitar player and I play 150+ dates a year. I dont write that many reviews but I like dispelling some hype with my experience. As far as easy to use I dont know how to rate this. If you know what your doing at all this is striat forward. If you dont you could really mess something up like your guitar amp! But theirs not much to a HP and the directions are clear. Sound Quality : 8 One thing that I keep hearing thats just incensing me is this idea of "play your 100W, 50w, 30w, etc.. amplifier at bedroom levels" crap. I just dont know how anyone can think they could get a reasonable sound from a loud amp at levels that wont sound loud through walls of houses or apartments. Here's how Ive used this box and I find it invaluable in these circumstances: 1 - As a load box for the EVH type setup. Im not a big EVH fan but Ive taken some ques from him and others that used to run their marshall heads' speaker outs to a load box effectively turning the head into a preamp in the system (running it through FX and then to a power amp). Not only is that great control over studio and stage volume but you can run time based effects with non master and non FX loop amps. For this the HP works wonders. I like to use the 16ohm HP and still turn the marshalls speaker out to 4ohms. It gets it even lower and darker that way and I think it sounds better. I dont care if the 2 EQ switches dont have a big effect if you run it this way because I dont use them. I dont think they sound good at all. 95% of the time thats how Ill run my early marshalls or Voxs. One tip Ive learned from experience. Dont use tube power amps with this kind of setup. It sounds much better with non-tube, pro-sound PA power amps. Theyre designed to color the tone of the sound as little as possable and thats kind of what your going after. I have my sound from my marshall now I just want to faithfully amplify it. 2 - To tame the loudness of amps as an attenuator. As far as using the HP in a way that wont greatly effect your tone you can only get away with a taming of the volume. Thats all. Im not gonna BS about bedroom levels like other people. Ive found this unit is only good for taking the edge off of a really loud amp. Anything past the first 2 settings and your into wierd noise territory. Ive never found an attenuator that wasnt like that. -12dbs or more and on come the fizzles and the flabbies. Especially when your talking -16dbs and below. I dont see how anyone can think that they could ever get the natural sound of the amp this way. Theirs too many variables besides the amps speaker output level that make an amp sound certain ways when loud. If you must do this Id say at least try to make a seperate speaker cab for running it low. With lower and very inefficiant speakers. I am a devotee of the HP but I use it in a realistic way. I use it to keep my marshalls out of Tinnitus levels and down to normal loud stage levels and to make my Vox more reasonable at home. If your willing to put up with a certain amount of wierd glassy compression and some fizzing and flubbing to play your amp at home you could look past this to an extent. Even at -12dbs a dime'd 100w amp is still loud enough for stage volume. Its mostly a feel thing too. I dont think its the HP making your sound fizzy. I think thats just how your amp sounds when you attenaute all the energy off and are barely moving a speaker. Thats why I say I just think its crazy to expect your amp to sound like it would normally. It is a cranked sound (because it is comming from your amp and the amp is cranked), but not the one most people are after. Its more a feel thing then anything. Its hard to describe the sound at extreme attenuation levels. If you wanted to get close to that one really glassy, shrill guitar sound in Layla it sounds kind of like that. But I dont think its a tone change as much as a feel change. It just feels extremely weird at those kinds of attenuation levels. Kind of like a weird, extreme compressor effect. Strange. Ive always felt if you want good home tone then get a small low wattage amp. If you want bedroom level tones your gonna have to face the fact that it's not going to be that great. For kinda loud home tones I run the HP with my Vox. For even lower ones I use an early 70's Tweed Modded Champ (really sweet.) And for hotel room levels I either breakdown and use my P Reliability : No Opinion After years its always worked for me. Its really beaten up now. Road rash all over. Customer Support : No Opinion The few times Ive emailed THD they responded within a week. Never called. Overall Rating : No Opinion If you intend to use it to tame loud amps or in a Load box way Id say its a great value. If you are looking for cranked amps at bedroom levels Id say you need to sit and think about how realistic that idea is." källa: http://reviews.harmony-central.com/reviews...Attenuator/10/1

Hei Magi! Jeg svarer på engelsk, slik at det blir enklere å forstå meg 😳 :: To write good lyrics is the same as being able to tell great stories. With as few words as possible, you need to capture the essence of an atmosphere, a mood, or a feeling. Most all great stories begin with an exciting, mysterious, unusual - in some way interesting start. The first sentences must capture the attention of the listener. This is often done by using "new", interesting or "textured" words - or by describing an interesting setting or interesting people with great imagery and metaphors. As the story progresses, some unexpected twists and turns keeps the listener interested enough to listen all to the end. It's hard to explain how to write a good lyric, so I have tried to analyze one - to show how the writer has used his words to convey images and emotions to us, to maintain an atmosphere and to carry the story forward. --- Tim Mcgraw - Grown men don't cry First verse: 1. I pulled into the shopping center 2. And saw a little boy wrapped around the legs of his mother 3. Like ice cream melting they embraced 4. Years of bad decisions runnin' down her face 5. All mornin' I'd been thinkin' my life's so hard 6. And they wore everything they own, livin' in a car 7. I wanted to tell 'em it would be ok 8. But I got just got in my suburban and I drove away My thoughts on the first verse, sentence by sentence: 1. Setting. The framework for the story - where are we?, what time, place, universe and so on. 2. People. Who is this story about. Don't forget that the observer (singer) is also a character here. 3. Texture, imagery. This sentence really says it all, doesn't it? You can picture two people embracing like they were melting together. The writer is activating our imagination - getting the mind interested.. 4. More texture and imagery. Without saying straight out that "the mother is crying because she's made some wrong choices in her life", the writer is able to transmit both a feeling and an image of hopelessness in the same sentence, still leaving our minds to "solve" the metaphor - making the lyrics more interesting than if the situation was simply explained.. 5. Change of focus to keep the story interesting. Back to the main character (singer) - and his relation to these other characters. 6. More imagery - again, without saying directly that these people are poor. 7 / 8. Moving away from the situation. Changing focus. This enables the listener to be prepared for a new setting, a new sidestory - something new. Also notice that we're not getting really personal with anything here in the first verse. The singer is mostly describing a situation that he is observing, not something he is actively involved in - this lets the listener join in on the observation and attach his/her feelings to the situation - instead of getting attached to the characters (which would be a bad idea, since we dont even know the characters properly yet, and it would be hard to feel anything for them at this point..?) It's interesting to see the songwriters use of "senses" in his choice of words.. SEE, HEAR, SMELL, FEEL, TASTE. (1. First we get the setting. ) 2. Then we SEE the people. 3. And you know the TASTE of icecream (metaphor: sweet embrace?). 4. You know the FEELing of tears on your face. and so on.. [CHORUS HERE] Second verse: 1. Keep having this dream about my old man 2. I'm 10 years old, and he's holding my hand 3. We're talkin' on the front porch watchin' the sun go down 4. But it was just a dream - he was a slave to his job and he couldn't be around 5. So many things I wanna say to him 6. But I just placed a rose on his grave, and I talk to the wind 1. New setting - a little more personal now, since we have gotten a little bit more attached / used to the singer character. 2. FEEL: most people know what it feels like to hold your fathers hand. Observe that we begin with the sense FEEL - which is the closest and most personal one to us all. 3. New senses... HEAR, SEE, - we are moving "away" from our person. HEAR is the third closest sense to us, and SEE is the one furthest apart.. So by describing "talking.. watching the sun go down".. - he is moving our focus away from the FEEL sense, step by step. 4. Now the twist in the story, and the reason for why the writer begun to move us away from the FEEL sense in the previous sentence. We are taken away from the "idyllic" father/son relationship and brought down to earth by the cold hard facts. 5. Back to the HEAR sense ("..say to him.."), moving closer to something more personal again? 6. FEEL. The touch of a rose - thorns = pain, but beautiful to look at.. - perfectly describing the singers "broken" relationship with his father.. And again back to HEAR (talk to the wind), and then to FEEL (the sensation of wind on your skin).. Moving to something more personal again.. The writer is pushing and pulling us back and forth between different senses, causing tension and expectation.. [CHORUS] Third verse: 1. I'm sittin' here with my kids and my wife 2. And everything that I hold dear in my life 3. We say grace and thank the Lord 4. Got so much to be thankful for 5. Then it's up the stairs and off to bed and my little girl says 6. "I haven't had my story yet." 7. And everything weighin' on my mind disappears just like that 8. When she lifts her head off her pillow and says, 9. "I Love You Dad" 1. Even more personal and serious.. Now we feel we know the singer character - and we are introduced to his family. Observe how the words and images get more "simple" and down to earth now. Instead of using clever imagery and "textured" words - the writer is taking the story "down to earth", describing with the most simple and easy words... 2. hold dear in my life (FEEL) 3. say grace (HEAR) 4. Conclusion sentence.. Afterthought.. A little breathing room in the story. We get ready for something new.. 5. New situation / setting / atmosphere.. another little twist in the story, and we are moving away from the tension/seriousness.. 6. Goodvibes are coming back as you picture the little girl asking to hear a bedtime story 😳 7. The good vibes are back indeed! Forgetting about the past and all the worries, focusing on the present. 8. More simple imagery, leading our imagination up to the final payoff sentence. 9. PAYOFF! What could be more good-vibe than this? 😉 As you see, the writer is taking us on an emotional rollercoaster. We begin with observing a sad situation.. Then we are brought to the memories of an even more sad situation (poor relationship with his father).. And then a bit back up to a melancholic and personal situation where we get an afterthought - an "ending" of the sadness. And then back to the happiness of the present. By using clever and unusual images: "And saw a little boy wrapped around the legs of his mother Like ice cream melting they embraced" The writer grabs our attention, and takes our imagination on a journey. And as we progress in the song (story) it gets deeper and more personal - but also more simple and down to earth. So, the beginning seems to be "clever" to catch our attention - and then the story is made more and more simple to make it easy to remember and relate to.. The combination of a lyric that is interesting to listen to, easy to remember, and makes you feel something is what makes this lyric work. And there is the music - that with its mood-setting choices of chords and melody makes it even more interesting and memorable. And makes you feel even more for the words and the story... --- Even though these are my thoughts, I hope you got something out of them. Perhaps you begin to focus on how you build your story - and how you choose to tell it, and try to make it more interesting, memorable and heartbreaking/positive/"feelworthy".. - J. månadens inlägg!

En E9 utan ters och med en F# är en Esus2. lägg till en D så har du E7sus2

Bsus4 har E som andra ton. Bmadd11 har kvar den lilla tersen

E7sus2 Bmadd11 F#7sus4/5+ D6add9 (utan 5:a) välj det som passar slipsen bäst! mvh

Vilken av gitarrerna? Den första leadgitarren är vänd (reversed). Sedan följer en massa dubbar och melodislingor med varierande grad av rör distortion och big muff. Ackordplocket är rent. Allt kört igenom en marshall major om jag inte minns fel. mvh

Slänga? om man nu ska göra något drastiskt öht så borde man ändå nita tråden, så att även kommande forumnister kan ta del av den. Här har många bra åsikter lyfts fram och om du tycker att det är på dagisnivå så har du nog missat några sidor med inlägg.