Tricks & Tips Discussion

[CandidPicker]

Thought this might inspire some creative thought and ingenuity for those who dabble in many aspects of instrumental music or music in general.

For the less knowledgable, what tricks or tips have you learned over the years that makes it easier to create, adapt, adjust, or build whatever music project you are working on? Perhaps something that saves you some money, time or effort?

Please limit this discussion to musical instruments or music-related items. If perhaps you might like to discuss other aspects of tricks or tips, you may begin your own thread which discusses these.

I'll begin: When creating a rig in my HeadRush Gigboard, I find it useful to be aware of how much treble sits in my live mix. Too much causes a sharp cutting harshness, decreasing amounts (in 5% increments) mellows out the tone and produces a smoother singing tone. This tip I've applied to most all of my amps prior to my HeadRush, with favorable results.

 

[Black Plaid]

Please limit this discussion to musical instruments or music-related items.

Because what this group of fine PRS enthusiasts is best at, if anything, is staying on topic.

 

[JJJ]

I guess just generally learn as much as you can about how your gear works, and how to work on it yourself.

 

[BrianC]

the first great tool I got was a drum machine. it helped me to get in time and make what I was doing sound more like the song I was playing.

second big tool was getting a looper. really helped my lead playing.

I practice band songs with Garage Band and Itunes. Quieter fast and saves wear and tear on my amps.

I moved away from "specialty guitars" strategy to Swiss army knife strategy.

I will get flamed here but its really about the amps not so much the guitar. I have gone from 12 or so core down to four as my amps have increased and REALLY increased in quality and cost.

 

[Bill SAS 513]

Brian...2 things...What do you consider your Swiss army Knife Guitar...love the term, BTW...of course, for me...SAS, 513, etc...

Second...I'd say its more of a combination of Axe/Amp, that satisfies a specific sound. Not disagreeing, At all, that amps are critical...I went all tube a few years back and will most likely never look back.
And I see how Loopers can be critical, especially if learning solo in your basement, with no one around...Kinda like now, huh??!! Good time to pick one up.

 

[CandidPicker]

the first great tool I got was a drum machine. it helped me to get in time and make what I was doing sound more like the song I was playing.

It's vitally important to have some form of beat going on in the background that you can either feel or hear. (My feet just aren't enough...LOL.) I've got EZ Drummer 2 as a plug-in for my Logic Pro X, as well as the DAW's drum loop library, though I've not spent much time with either yet, for lack of knowledge how to employ these well...this is where it might be helpful for someone to chime in on how to set up some drum tracks with either aspect; or perhaps direct us with some YT videos to we can see more clearly what direction to take...

second big tool was getting a looper. really helped my lead playing.

I'd agree here, but many of us don't have a good sense of tap tempo, and/or correct timing when it comes to using a looper. Sadly, I fall into this category and don't see this in the cards for me anytime soon.

I practice band songs with Garage Band and Itunes. Quieter fast and saves wear and tear on my amps.

I also prefer to practice to my iMac's Music with my HeadRush FRFR playing at a respectable level so as not to overpower what's playing in the background. I've yet to try recording myself to my DAW so as to hear what I'm doing...I think this was emphasized in the Virtual Experience we just viewed recently..."record yourself so you can hear what you sound like, and correct any bad habits with tempo, etc..."

I moved away from "specialty guitars" strategy to Swiss army knife strategy.

Although the Swiss Army Knife approach makes sense, it's more of whether either of my S2 SC will provide a decent tone or not....I'm not looking to play a wide variety of genres, simply because my repertoire doesn't command that. If the music is just too hard to play, I don't, or I just set it aside to practice at a time when the parts can be analyzed more efficiently and realized. Since I'm not a session player myself, and just a hobbyist, listening to a wide variety of music is what inspires creativity, not necessarily being forced to sit down and analyze guitar parts...

I will get flamed here but its really about the amps not so much the guitar. I have gone from 12 or so core down to four as my amps have increased and REALLY increased in quality and cost.

Regards amps and effects, the HeadRush is quite versatile but requires some adjustments so as to dial in an appropriate tone quality. Granted, it'll never be a DG-30, but there are some amp models within HeadRush Gigboard that do quite well for my needs. Perhaps that is why I chose the amp modeling/FRFR route, while it's not pants waffling volume, it is reasonably good quality tone, IF one dials it in correctly.

 

[CandidPicker]

For those who use Logic Pro X, Apple just released v. 10.5 which contains a new drum synth, and 2 sampler functions. There's also Live Loops, which contain cells instead of tracks, where you can trigger multiple cells in various vertical "scenes" which most appropriately match your desired project. There's also a new step sequencer for adding your own handmade drum loops. AND a drum machine designer. Plus a lot more... Here's a vid I found helpful....

 

[Tony M.]

For those of us who own Bigsby equipped guitars:

Use a capo during string changes. It's like having a third hand.

 

[Mirroredas]

There are some things that are invaluable to my workflow.

1) I use Guitar Pro to write EVERYTHING down. Not only you can get a basic idea of how all the parts work together even before starting to record, but you can also isolate specific sections in order to practice using the Speed Trainer option. You can take advantage of that work, export to midi and import to your DAW, using as much stuff as you want as guide tracks.

2) Worry more about tuning than tone. Chances are, you are not going to be happy with your first takes, or you're going to EQ the hell out of the original sound that you like so much in order to get a decent mix. You can grow fond of a specific tone, but you can't grow fond of out of tune instruments. Instead of endlessly dialing a tone, I just try to get in the ballpark as quickly as possible, practice a bit and then record without stressing so much. I can always listen back, see what I can improve and try again tomorrow. Meanwhile, I already have a decent spare take, instead of zero amazing takes.

3) Backup everything. Backup your scores,your projects, audio stems, rough audio, finished tracks, artwork. Double, triple backup (with dates, in order to follow your progression), if needed.

 

[Black Plaid]

When doing recording and mixing:

1. Work on getting the correct sound for the mix 'on tape' - unless you are reamping, then ... whatever.
2. Spend more time getting the drum sounds right. Then spend even more.
3. Mix with your ears and not your eyes.
4. Listen critically to music you like the mixes to, both before and during mixing.
5. Ear fatigue is real. It's actually brain fatigue, take breaks from a mix, listen to other things.
6. Test your mixes in drastically different environments. Check that it works in mono.

I don't know if this is all obvious stuff, but thought I'd try to add something to the conversation.

 

[CandidPicker]

When doing recording and mixing:

1. Work on getting the correct sound for the mix 'on tape' - unless you are reamping, then ... whatever.
2. Spend more time getting the drum sounds right. Then spend even more.
3. Mix with your ears and not your eyes.
4. Listen critically to music you like the mixes to, both before and during mixing.
5. Ear fatigue is real. It's actually brain fatigue, take breaks from a mix, listen to other things.
6. Test your mixes in drastically different environments. Check that it works in mono.

I don't know if this is all obvious stuff, but thought I'd try to add something to the conversation.

3) This is excellent advice. Most often, people are critical of what we say, not how we say it. Same applies to music.

Tim Pierce made a superb statement recently about working with other musicians when you present a guitar take to them: Give them something they like immediately. Anything that comes across like the chore of a father changing a baby's diaper is not going to be received well...

Therefore, be sure of the topic and help your audience to see clearly what you're saying so as to avoid criticism, but allow constructive criticism if others are unclear of what your point is.

Remember this: One builds with materials. How you build is much like telling a story. If the foundation is weak, the story won't support itself. If the foundation is strong, you can add more to the story and make it something worthwhile. Same with music, start with a strong foundation, and build on and within that. You'll thank me later.

 

[CandidPicker]

One thought I meant to add to this was that the test of any practiced and accomplished guitarist is the ability to play cleanly. Not just hybrid picked acoustic-style fingerpicking, but lead lines the length and span of the fretboard.

Very often, modern music has high gain guitar with a pounding rhythm section that evokes forcefulness and power behind the song, which is appealing to this younger generation. Yet consider what many masterworks were accomplished during the 60s and 70s, long before DAWs were invented where parts could be layered ad infinitum for a massive sound. as the technology changed, so did the ability levels of folks who recorded, mixed and mastered.

As only an older man starting out in this avenue, I've a long ways to go before I can say anything that will prove of lasting value to those who are likely inclined to follow. Don't be afraid to get your hands dirty if only you'll remember to clean up afterwards. This is one basic tenet of work that we all follow. That being said, I'm off to create something, be that perhaps only preparing dinner. Last one to the table has to do the dishes.