Hello guys,

This is the thread for uploads and comments,

Daniel

Well usually I hold my takes back and release them later after some contemplation. Today, however, I feel compelled to post early. So! If these aren't dreamy enough, just let me know and I can head back to the drawing board.

1. simple (probably the most friendly for mixing)
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2. slightly strange (just slightly)
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I think I like this one better, has more character, I love the delay! the ending idea is very dreamy!

very good job!

Try turning down the backing track volume in your DAW and putting your solo on top of it, it doesn't matter if the overall volume is not too loud. In the final mix, I'll leave all the solos at the same volume.

All right, I'll re-mix the second version, the one with two guitar tracks, and figure out what's going on with the level changes. My usual setup doesn't do that at render or playback.

I'm glad you liked the take!

It's probably because I used a limiter at the end, this is a mastering process, so it sounds loud. But yeah, just try doing what I told you and hopefully it won't be a problem

Actually, it could also be that my multiband limit/comp/gate weren't set properly. Let's try like this:

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Those should be only adjusted for loudness. I'll see if I can fix the delay not fading itself out. That may have its level unintentionally raised by compression on my track but I didn't worry about it since you'd trim that anyway. Shall I trim instead?

Well I am making progress with a sound that gels better with the backing track. I lost track of time and was jamming over it looped till ... ummm ... 7am .... Since we have some creative license I am gonna experiment next with some non-guitar effects to up the "dreamy" factor.

By the way, I can't get that tune out of my head. Perhaps some "Sublimal Sub-conscious Reprogramming Techniques" you are using on our sensitive souls?

ok, I see what's happening, yeah the compression is keeping the delay to fade by itself,

why do you use the compression on the track anyway? I'll trim it if you want but I'm just saying these things so that you'll be conscious of them,

I like the repetitive pattern you use, a good idea would be to break it in the last part. I mean it sounds good as it is, but it might gave it a feel of completeness,



Oh you caught me! this is why I came to GMC, to reprogram all your minds to follow the new world order, through guitar collabs,

If you repeat anything over and over, it will stick in your head. Yesterday I had this Ozzy song in my head, I just took the guitar and played it, and now it's gone. Good advice if you are in the same situation,




also try sending it with no comp, multiband limiting, cause I already did this process in the backing track, that's what's probably conflicting,

The arrangement (your track) redlines when I turn off the limiter. I also forced my left/right tracks to fade out smoothly together.

Regarding the pattern, I fall off the groove around the last 4 bars. That should also break the pattern, I think, but maybe it wasn't clear with both tracks competing for attention.

This never sounds as good to me without some push. Maybe it's my headphones, they're big but NOT serious studio monitors. Students (and a couple instructors) have come to ask me how I get this big sound, or how I mic my amp (I don't even HAVE an amp!) so I think the sound can't be all bad. The flip side is that all the guys with audio engineering experience & education insist that it's over compressed? It's a little frustrating

Okay, so: it's not bad with everything turned off, but it doesn't sound warm and full anymore:

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edit: attached the actual solo track.

Yeah I see what's going on, the thing is that the backing track is limited so if you added a little bit of anything it's gonna clip, so you have to turn down the backing track a lot, mix it with your solo and then limit it a bit, just to have it louder but this is not necessary, I can do that in the final mix,

probably is not a good idea to have the backing track limited I guess, I'm gonna ask another instructor about this,

I think it's okay, it looks like I had your track bumped +1.1db originally (with all the stuff turned on). Once I took yours back to 0db it seems okay.

all right, thanks!

@jafo, I love your tone and your take, very dreamy and melodic !

My try :

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Ibbie RG270 + POD 2.0 + Ableton + ReCabinet and a bit of EQ.

Not sure it's 5/8 whatever tempo, sorry.

Good takes guys! This odd time is throwing me for a loop.

I seem to find it matches same tempo but at 5/4 ...

I got the track matched up on the measures in the DAW at 5/5, but I've always been a little ignorant of rhythm outside of "just playing on time"

To get past the oddness of the beat, Daniel has provided us with that nice count in measure(s). If you select JUST that section (2 bars in my DAW, but perhaps 1 bar of 5/8?) and loop JUST that section you can jam for a while on that, without the backing, until you get used to phrasing along with the accents within the drums there.

At 5/4 I get a two bar pre-count like Jaf. It may well be then a 10/8 time signature if it was a one bar pre-count. Some help please Daniel. It would help me to sync up the delay times via MIDI on the G-Major better. At the moment, I am probably synced at a half-time feel which for this piece may not be such a bad thing ...

I don't know. I am confused. It still seems to match anyways and maybe that is all that matters?

Good idea! I'll play around with that tonight.

Whole notes at 148 bpm should be equal. The only "odd" divisions occur at fractions of the measure. So, at 148bpm, whole note of delay comes to 1622ms. The division beyond that should be simple enough.

Nice pentatonic soloing! I like the pauses you make,

Some notes are a little out of tune,

I'll give you more detailed comments on the final mix thread,





listen to it without playing and imagine something over it, or sing over it, that'd probably help



Well, that's subjective, to me the eighth note is the hi-hat pulses at the beginning, so those are two bars of 5/8,

So the fourth note would be counted like: 1 - 2 - and, 1 - 2 - and 1 -...etc.

That's actually what the drums are doing,

Thanks Daniel and Jafomatic. I am over-thinking it. Not the first time!

That could help, although the rhythm of the drums has a different grouping that the count-in measures,

That's kind of my bad, but it reinforces the exercise on odd time signatures, so it's good!

the grouping in the count-in is: 1 - 2 - 3 - 1 - 2


While the drums to me are: 1 - 2 - 1 - 2 - 3


Except at the end: 1 - 2 - 3 - 1 - 2






it is all that matters,

all that theory behind odd time signature should help you understand better not confuse you,





yeah, well put, if you set your delay at 1622ms then you'd get a bounce at the tempo of the hi hat,

still to me that is an eighth note,

Any advices to sound less pentatonical ?

Use the minor scale to start, a good interval in this case would be E - C

Hi Daniel,

Here's my take with backing and without. I tried to stay in that dreamy sorta haunty mood. I hope it works.

Cheers!

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I see that you had a musical idea in your head before recording, that's a good thing, did you sing it?

I think the haunty mood comes from using that low register and staying in the same area of the guitar. Try moving around more.

good job!

Yeah, I stayed in the lower register on purpose. I wanted to play the entire piece on the same string. It was an experiment. I do sing those parts, yes. Muris got me to start doing that. It helps, as I can (poorly) sing what I'm thinking easier than I can play it on the guitar.

I can revisit some higher register stuff if you prefer.

Thanks for the comments!

Cheers!

This is quite the occasion for me. My first GMC Collaboration Upload ever!! I have said it before but I will say it again: I just love this backing track. It has really grown on me. Thank you Daniel.

Here is my take.

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Looking forward to hearing everyone's take and the final mix.

wow, nice effect at the end! that little melodic phrase on the delay really made sense to me,

The tone is good, not too bright, very full,

I think your picking is still a little noisy, focus on that,

That is just the way the picks I use are ... They bite the strings hard and give a pronounced pick noise. I switched over to using various V-Picks a few months ago and for this I used the Freakishly Large for a fatter tone. Most times I use a lot thinner pick ... the Screamer. I tend to not be light in my picking either which is kinda necessary with the heavier gauge 11-49 strings. So not really sure how I can tone it down? Any ideas?

Glad you like it and thanks for the advice. Appreciate it.

I'm a fan of picking the strings hard,

it has something to do with the pick and strings but really it's in your hand, tilt the pick just to see where it makes the least noise,

It could be that I don't really hear it on my end as being so prominent since I don't have studio monitors? I use P.A. speakers and a powered mixer fed by the audio interface/sound card. Good for a live band but not really for tracking and mixing ... I do have studio headphones with a very flat response and seems to sound fine on there using the 112dB Redline Monitor plugin on the master outs as a check which gives some kind of reference when using headphones. Of course, appropriate speakers would be better. That is next on my shopping list.

[EDIT] >> Actually, maybe they aren't so bad? The specs on the P.A. speakers say they have a frequency response of 60Hz-16kHz (-3dB) & 55Hz-18kHz (-10dB) so I am losing some definition at the high end. Although, that is probably where pick noise sits. They are built like bricks though at 25kg a piece pushing 200W RMS!!!

Still plan on getting some studio monitors to complement them in the near future. It is always a good idea to hear a mix on various systems anyway.

Great takes so far... I like the range of sounds. I want to try to earn the points...but I'll have to submit another take for that, this is pretty straight forward. Here is mine .

good job Hammerhead,

I would encourage you to risk more, doing some vibrato, sliding,





If you feel like you have to adjust your picking depending on the strings, that's going to make it difficult for you to feel completely comfortable and use the best of your abilities. I recommend that you use the picks that make you feel the most comfortable so that you don't have to think about it, it becomes a part of your fingers almost.



I just imported your solo in my DAW. Make sure you follow the collaborations guidelines to consolidate the solos. The starting point must be an exact bar line so that it's in perfect sync with the backing track when importing it. In this case the exact bar line would be the first hihat hit.

Exactly. I have tried using other picks but I so much like the feel, playability and tone of the thicker picks and thicker gauge strings. It feels just right. An extension of my hand.

As you said before already, it is all in the fingers, there is no other explanation for it as I have pretty much tried everything else to try to cure the pick noise woes. It is just difficult for me to separate the noise from the playing. It is more than just a little distracting. I was aware of it before but even more so now. I chalk it up to just experience and practise. I need more of it!

Unfortunately, it seems, I can't think my way out of this one. I have made so many changes to pretty much everything in the last few months that it is bound to take time for the brain and fingers to catch up. Frustrated? For sure.

good job Hammerhead,

I would encourage you to risk more, doing some vibrato, sliding,


I just imported your solo in my DAW. Make sure you follow the collaborations guidelines to consolidate the solos. The starting point must be an exact bar line so that it's in perfect sync with the backing track when importing it. In this case the exact bar line would be the first hihat hit.

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Daniel,
Thanks! Sorry about the recording... I just read the guidelines... so I'll take your advice and submit another take, and I will take some chances!

I know how that feels. The best thing you can do is analyse your picking by the smallest possible bits at a time. By that I mean, take a look at when the hand falls, when it hits the string, then when it passes the string, the when it raises again, you know what I mean?

you won't do this for hours but at least you'll do it sometimes to note what's causing some unwanted noise,

and of course be open to change at any time if it requires to hit the strings hard so that you "shake" your old habits do it, or whatever it takes,

Daniel,
Here is another take and I went for a whole new sound to mix it up. I can also record my last take properly with the Ballad track lined up on the proper beat if you like (not a problem to do). I took more chances here and it felt good. I think I might mix it up one more take and shoot for a completely new sound again. It felt like I had to stretch to rethink my relationship to the music. At first I wasn't sure I could do it... then Bam! I could hear the new music, (in my head) with the same backing track.

Great job, Hammerhead! Much improved over the last take. Likin' this one a lot man! I had exactly the same experience as you. I thought why not? Do something I might not necessarily have done otherwise. Liberating is it, not?


I know exactly what you mean. This was kinda inevitable. I did much the same thing analysing my right hand technique, in particular, for flamenco not so long ago. Took me about 2-3 months to get the mechanics down solid for good tone, projection and articulation. Therefore, I expected much the same thing taking up the electric again for the first time in over four years!

It is a little disconcerting though that I can plainly hear the pick noise even when playing simply, deliberately and slowly. It is always there. All the advice I have gleaned from the net points to the fact that I do everything in my power to "enhance" the noise by using high gain, max treble and volume on guitar, thick picks, thick gauge strings, pushed mids and trebles in both amp and DAW, a hard picking style and the list goes on .... Am I doomed?!

[EDIT] >> Speaking of which I may just play Flamenco for a week to take my mind off things ... I have been spending too much time on the electric.

Let's see if you can figure out where this one took me..

Edit: Remixed...

Loved it! very good idea, never thought of it,





I like this one so much better! great job! I can tell you were a lot more loose on this take, keep searching for that state in your recordings,

Thanks Daniel. This backing immediately took me to the beach for some reason. The idea behind the recording is of someone standing on a pier, storm approaching and missing a loved one. Sad, I know..but that's the picture I was trying to paint.

Daniel,
Thanks for the kind words! I really enjoy the backing track, I feel like it gives a lot of room to explore and yeah it is liberating, and thanks for the fast feedback!

Not sure if it fits the dreamy theme here.. but I guess I am just flowing on the beat.. simple notes.

Hope you all like it.

That wouldn't happen to be the Triaxis preset I shared would it? I think it fits the mood nicely. Nice work.

Thanks.

Ah no, I was playing it at random presets.. and just exploring the G-force presets too.. This time I actually went and tried all presets on G-Force.

I don't have a volume pedal. It would have been great to come up something on a volume pedal.

Nice agressive bends and tremolo work!

you risked a lot here, good job!

I'll write detailed comments for the final mix,





I actually didn't think of a sad picture, but a very peaceful one with your remix,

I'll keep my image

Thanks Daniel.. SHould I post the track with no BT also or do you not require that?

Cheers!

yes please post it for the final mix,

Hi Daniel,

Is there room for another participant? I haven't tried one of these collabs yet, but your backing was really interesting, and I ended up working something out over it.

Here's my mix:
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Here's just the guitar with the reverb removed, but other effects intact:
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I recorded clean into garageband, so I can change the amp modeling and effects pretty easily.