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> Adam M's Thread, for Gab's Army
Gabriel Leopardi
post Jan 7 2019, 04:15 AM
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Hi Adam!

Ah ok, thaks for clarifying! It's not a bad idea to use your tablet by now. It's simple and easy to set up.

Great to know that you are practicing over the blues backing track. I'd like to hear an audio in a few days if it's possible.

Regarding the mic, I honestly never tried it so I can give you any comment about it. I only can say that you can't go wrong if you get a 57. Check out this: https://www.gearslutz.com/board/so-much-gea...45-vs-sm57.html



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Adam
post Jan 7 2019, 05:07 PM
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QUOTE (Gabriel Leopardi @ Jan 7 2019, 04:15 AM) *
Hi Adam!

Ah ok, thaks for clarifying! It's not a bad idea to use your tablet by now. It's simple and easy to set up.

Great to know that you are practicing over the blues backing track. I'd like to hear an audio in a few days if it's possible.

Regarding the mic, I honestly never tried it so I can give you any comment about it. I only can say that you can't go wrong if you get a 57. Check out this: https://www.gearslutz.com/board/so-much-gea...45-vs-sm57.html

Thank you! This thread is interesting to read and I would like to try both, TBH. But I think the SM57 is the safest bet, as you suggest. Maybe in the distant future I'll get a second mic (I saw materials where people do double mic on 1 cab).

As for our tone lab, I tried setting all eq controls to 5 and go from there (I think this should be done before going to another equipment piece) but I don't really know what exactly to look for. The trebles I have to keep above 6/7 or it gets muddy, mids I keep about 5 and bass between 5 and 6. I found a tone I like, I usually use this setting, but I'm not sure if it's technically okay.

Tomorrow I'm going to pick up my new cab, so I will be able to start working with the other amp smile.gif

This post has been edited by Adam M: Jan 7 2019, 05:07 PM


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Gabriel Leopardi
post Jan 8 2019, 11:41 PM
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QUOTE (Adam M @ Jan 7 2019, 01:07 PM) *
Thank you! This thread is interesting to read and I would like to try both, TBH. But I think the SM57 is the safest bet, as you suggest. Maybe in the distant future I'll get a second mic (I saw materials where people do double mic on 1 cab).

As for our tone lab, I tried setting all eq controls to 5 and go from there (I think this should be done before going to another equipment piece) but I don't really know what exactly to look for. The trebles I have to keep above 6/7 or it gets muddy, mids I keep about 5 and bass between 5 and 6. I found a tone I like, I usually use this setting, but I'm not sure if it's technically okay.

Tomorrow I'm going to pick up my new cab, so I will be able to start working with the other amp smile.gif




Everything seems good here! I need to hear to give tone feedback, number are numbers, there is not way to comment about sound without hearing. biggrin.gif


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Adam
post Jan 10 2019, 01:40 PM
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I got my cab and it's more than I could ask for. It's amazing in every way!

I'll post a demo for each amp soon. I'm almost finished with my thesis chapter but I'll need a few more days. I may be able to post 2nd take for Blues Collab today or tomorrow, though.

PS. My mom loved the final mix for Winter Collab and she'll be happy to watch more of them smile.gif


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Gabriel Leopardi
post Jan 11 2019, 04:06 PM
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Congrats mate!! Enjoy it! smile.gif

Send my greetings to your mom!


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Adam
post Jan 12 2019, 12:10 AM
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QUOTE (Gabriel Leopardi @ Jan 11 2019, 04:06 PM) *
Congrats mate!! Enjoy it! smile.gif

Send my greetings to your mom!

Thank you! smile.gif



Here's another take for the Blues Collab. It's not perfect but it's definitely better than the previous one.


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Gabriel Leopardi
post Jan 13 2019, 06:21 PM
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Hi Adam, thanks for the new video!

This is getting better but there is a lot of work to do yet. The first thing that you need is to learn some licks to make them of your own. Learning licks and phrases is like learning to talk when you are a baby. It's a must to be able to communicate through language.

This lesson is a monster class with lots of great licks. What about giving it a try? It can take many time, but maybe in small blocks you can learn a big part of it.

https://www.guitarmasterclass.net/ls/30-Beg...er-Blues-Licks/


Another lesson that I recommend working is this one:

https://www.guitarmasterclass.net/ls/BB-King-Blues/


What do you think?


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Adam
post Jan 13 2019, 09:55 PM
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QUOTE (Gabriel Leopardi @ Jan 13 2019, 06:21 PM) *
Hi Adam, thanks for the new video!

This is getting better but there is a lot of work to do yet. The first thing that you need is to learn some licks to make them of your own. Learning licks and phrases is like learning to talk when you are a baby. It's a must to be able to communicate through language.

This lesson is a monster class with lots of great licks. What about giving it a try? It can take many time, but maybe in small blocks you can learn a big part of it.

https://www.guitarmasterclass.net/ls/30-Beg...er-Blues-Licks/


Another lesson that I recommend working is this one:

https://www.guitarmasterclass.net/ls/BB-King-Blues/


What do you think?

Thank you!

If that's okay, I'd like to start with the 30 Licks lesson and submit them in series of 5-6? That way you could give me feedback in between and I would improve a bit with each part, then of course I'll re-record them all in one go for a final version.

Are you able to pick up my tone from those vids? Or should I do the demo with tablet closer to the speaker?


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Gabriel Leopardi
post Jan 14 2019, 03:56 PM
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QUOTE (Adam M @ Jan 13 2019, 05:55 PM) *
Thank you!

If that's okay, I'd like to start with the 30 Licks lesson and submit them in series of 5-6? That way you could give me feedback in between and I would improve a bit with each part, then of course I'll re-record them all in one go for a final version.

Are you able to pick up my tone from those vids? Or should I do the demo with tablet closer to the speaker?



Great! Let's go for it mate!


The sound from your video is ok!



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Adam
post Jan 15 2019, 01:00 PM
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QUOTE (Gabriel Leopardi @ Jan 14 2019, 03:56 PM) *
The sound from your video is ok!

Do you mean it's "ok" as a starting point or "ok" as it's good and doesn't need improving? I will post my Zombie amp sound soon too.

As for the effects, I know more or less how to set up overdrive and distortion but maybe there are some special tricks?

I guess the noise gate should be set up just to mute the noise when not playing and stop muting once I start playing.

About the chorus and delay, I set them up following Boss' presets (Pedals that make the tone) and I have no idea how each knob works and how to use them to fit my needs. Could you give me some tips to learn it?


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Gabriel Leopardi
post Jan 15 2019, 03:21 PM
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QUOTE (Adam M @ Jan 15 2019, 09:00 AM) *
Do you mean it's "ok" as a starting point or "ok" as it's good and doesn't need improving? I will post my Zombie amp sound soon too.

As for the effects, I know more or less how to set up overdrive and distortion but maybe there are some special tricks?

I guess the noise gate should be set up just to mute the noise when not playing and stop muting once I start playing.

About the chorus and delay, I set them up following Boss' presets (Pedals that make the tone) and I have no idea how each knob works and how to use them to fit my needs. Could you give me some tips to learn it?



I think that it's ok for this purpose. Tone is a neverending search and we are always improving our sound because our ear keeps on evolving, and our taste also changes.

There is not one way to use each of the effects and processes that you are listing here and it's a lot better if you experiment by yourself.

Regarding Overdrive pedals, I usually put them before the guitar amp to shape the sound, and sometimes to add a bit of drive and sustain to the amp's drive. However, there are some cases in which I preffer a very clean amp tone and a lot of drive from the pedal. This depends a lot on the pedal, the amp, the guitar and the sound that I'm looking for. One thing that I've learn is that it's always to set drive the lower possible, based on what you need. Let's supose that you need a lot of sustain and distortion for the sound that you want. Once you get the sound, try lowering a bit the drive pot and see if the tone still works. From my experience, it always improves the final result, and you also get a more organic tone, with more dynamics.

There are lots of tutorials, and pedal demos at youtube that I recommend watching to train your ear, learn more secrets and understand how different brands and models work. Check out this one (for example)




About Delay, you need to understand the concept called "Pre" and "post" which means that you can set your effect after or before the preamp of your Guitar Amp. The result is different and I recommend you to find out by yourself the different results that you can get. When talking about delays, the settings are in most of the cases "Time" (speed of the delay, how fast it repeats what you played), "Feedback" (how many times it's repeated), "Mix" (Volume mix between your playing and the effect). Modulators as Chorus and Phases, usually include two settings "Deep" and "Speed". Deep can be understood as the amount of effect, and Speed as the time or tempo of the modulation.





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Adam
post Jan 15 2019, 04:03 PM
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QUOTE (Gabriel Leopardi @ Jan 15 2019, 03:21 PM) *
I think that it's ok for this purpose. Tone is a neverending search and we are always improving our sound because our ear keeps on evolving, and our taste also changes.

There is not one way to use each of the effects and processes that you are listing here and it's a lot better if you experiment by yourself.

Regarding Overdrive pedals, I usually put them before the guitar amp to shape the sound, and sometimes to add a bit of drive and sustain to the amp's drive. However, there are some cases in which I preffer a very clean amp tone and a lot of drive from the pedal. This depends a lot on the pedal, the amp, the guitar and the sound that I'm looking for. One thing that I've learn is that it's always to set drive the lower possible, based on what you need. Let's supose that you need a lot of sustain and distortion for the sound that you want. Once you get the sound, try lowering a bit the drive pot and see if the tone still works. From my experience, it always improves the final result, and you also get a more organic tone, with more dynamics.

There are lots of tutorials, and pedal demos at youtube that I recommend watching to train your ear, learn more secrets and understand how different brands and models work. Check out this one (for example)




About Delay, you need to understand the concept called "Pre" and "post" which means that you can set your effect after or before the preamp of your Guitar Amp. The result is different and I recommend you to find out by yourself the different results that you can get. When talking about delays, the settings are in most of the cases "Time" (speed of the delay, how fast it repeats what you played), "Feedback" (how many times it's repeated), "Mix" (Volume mix between your playing and the effect). Modulators as Chorus and Phases, usually include two settings "Deep" and "Speed". Deep can be understood as the amount of effect, and Speed as the time or tempo of the modulation.




Thank you! These vids look great to learn from!

I'll take my time and try to come up with something. Thanks to Zombie's fx loop I'll be able to check the effects both before and after the pre-amp smile.gif

My free GMC subscription has expired and I've decided to renew it after I'm finished with my thesis because otherwise I'll never get it done. I'll try to practice everyday but I may not be able to reply too often.


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Gabriel Leopardi
post Jan 16 2019, 02:52 PM
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QUOTE (Adam M @ Jan 15 2019, 12:03 PM) *
Thank you! These vids look great to learn from!

I'll take my time and try to come up with something. Thanks to Zombie's fx loop I'll be able to check the effects both before and after the pre-amp smile.gif

My free GMC subscription has expired and I've decided to renew it after I'm finished with my thesis because otherwise I'll never get it done. I'll try to practice everyday but I may not be able to reply too often.



Hi Adam, great to know that the videos helped! Take your time to experiment and feel free to share here tone samples so I can give you my feedback.

All the best with your thesis! smile.gif


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Adam
post Feb 24 2019, 08:14 PM
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Hi! I wanted to update you on my current situation.

As far as guitar is concerned, I tried really hard to implement all the advice from our thread and I'm happy to say that using more fingers for fretting higher notes and bending is now much more natural. And it's become easier too.

As for vibrato, I really like the classical version and any other seems very unnatural - especially bending and unbending with multiple fingers.

I'm starting to position my fretting hand differently - with thumb perpendicular to the neck but for now it only happens on higher strings. When playing on lower strings the thumb is still parallel to the neck. I'm also trying to play thumbless a bit but it's very difficult at this point.

I also found my sweet spots on the chorus controls! About delay pedal, it's okay but mine has many options and I just keep experimenting now and then and see what works for me. I understand their structure (from technical point of view) a bit more but I'll also go more in depth when I have more time for that.

One of my guitars needs rewiring because I made it simple with master volume knob when I installed PAFs just so I can play but it's a mess. The other needs some attention too. The pickups are supposed to be noiseless but when switching to neck, some noise starts to appear. I'll check if anything broke loose there. And it could use some copper foil too, I still didn't have time for that.

About the latest collab, is there anything you think need immediate attention to fix, or do you have any other suggestions?

Sometime ago I got a bit emotional at GMC. I got the news that my only childhood friend is gone now. We didn't exactly talk for past few years because she moved to another town and I guess it's natural. Still, I was hoping for some kind of reunion and there won't be any. I'm still quite sad but I'm finally starting to move on, guitar therapy helped me a lot here. This experience only made me appreciate those around me even more now.

Last but not least, I'm slowly getting to the end of exam session (because of COP 24 all year's schedule had to be changed and that's why it happens so late). I'm thinking I'll pass it but there's a lot of hard work for it. I must study day and night because I'll only have one attempt. It's the last big thing as next semester there's only master's defense and no other exams.



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Gabriel Leopardi
post Feb 25 2019, 04:04 PM
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Hi Adam, thanks for the update.

I'm really sorry about your chilhood friend. It must be very hard and sad mate. sad.gif


All the guitar related things sound good to me. It's nice to know that you've been working hard and that you can note improvement in many different things. This is an endless journey.

Regarding your collab take. I like it! You note choices are tasty. There is room to improve your bending, vibrato, and to experiment more with rhythm when phrasing but that's what we are working here, so we are on the right track.


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Adam
post Feb 26 2019, 01:52 AM
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QUOTE (Gabriel Leopardi @ Feb 25 2019, 04:04 PM) *
Hi Adam, thanks for the update.

I'm really sorry about your chilhood friend. It must be very hard and sad mate. sad.gif


All the guitar related things sound good to me. It's nice to know that you've been working hard and that you can note improvement in many different things. This is an endless journey.

Regarding your collab take. I like it! You note choices are tasty. There is room to improve your bending, vibrato, and to experiment more with rhythm when phrasing but that's what we are working here, so we are on the right track.


Thank you. It really is hard. She was usually the one who used to help me at times like this. She simply forbade me to feel down and hopeless. Also, she was the first person to help me find my own value, bring it outside and be proud of it. With all that said, I'd feel bad just staying idle and drowning in sadness. Playing or even just holding a guitar works like a good therapy for me now.

About guitar related stuff, I would like to discuss an article about Marty Friedman's approach if that's okay. I'll add the link tomorrow, today my mind is still a mess.


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Gabriel Leopardi
post Feb 26 2019, 08:29 PM
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QUOTE (Adam M @ Feb 25 2019, 09:52 PM) *
Thank you. It really is hard. She was usually the one who used to help me at times like this. She simply forbade me to feel down and hopeless. Also, she was the first person to help me find my own value, bring it outside and be proud of it. With all that said, I'd feel bad just staying idle and drowning in sadness. Playing or even just holding a guitar works like a good therapy for me now.

About guitar related stuff, I would like to discuss an article about Marty Friedman's approach if that's okay. I'll add the link tomorrow, today my mind is still a mess.



I understand how hard this is for you mate. I'm sorry.


I'll wait for the link.


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post Feb 27 2019, 01:29 AM
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QUOTE (Gabriel Leopardi @ Feb 26 2019, 08:29 PM) *
I'll wait for the link.


Link

Here it is. I wanted to send it yesterday but I fell asleep in front of my computer.

I'm the most curious about your opinion about part 2 (ditching the scales) but all advice here is pretty interesting.


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Gabriel Leopardi
post Feb 28 2019, 02:44 PM
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QUOTE (Adam M @ Feb 26 2019, 09:29 PM) *
Link

Here it is. I wanted to send it yesterday but I fell asleep in front of my computer.

I'm the most curious about your opinion about part 2 (ditching the scales) but all advice here is pretty interesting.



I know what he means. He don't think on scales when playing and improvising. However, this is being said by a musician who studied, played and practiced scales when he was young so I don't see how this can be taken as completely true or helpful.

There are big names like Slash, Jimi Hendrix and even Jeff Beck who made amazing solos without knowing too much about scales. I think that playing only by ear has its advantages but it can be limiting. For me, the best is to find the good balance between learning some scales, and experimenting with our ear. Learning new scales can open new posibilities that maybe we wouldn't imagine. And this can also happen by listening to new music and learning the phrases by ear.

Another concept that he is talking there is "following the chords". This is also very helpful for soloing and it's based on targeting chord tones when making a solo over a chord progression and using other notes as passing tones. This is very powerful, even more than learning scales, but scales are helpful for this too, because they give you ideas on which notes can be used as passing notes.

In other words, there is not one way, you have to find your own way. But don't take too seriously this type of articles that take one phrase out of context and provide a "magic formula".

I extremely recommend you to get into Kristofer Dahl's improvisation lessons. His "Your first phrases" and Jam School series" have a similar concept to what Marty thinks.





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Adam
post Mar 4 2019, 04:32 PM
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QUOTE (Gabriel Leopardi @ Feb 28 2019, 02:44 PM) *
I know what he means. He don't think on scales when playing and improvising. However, this is being said by a musician who studied, played and practiced scales when he was young so I don't see how this can be taken as completely true or helpful.


I think he means thinking beyond the scales here. As you said, he did all that when he was young and I remember Jason Becker mentioning he discovered Hungarian minor scale thanks to Marty. I understood this part as using the scales as tools to learn the sounds and ditching the concept of a scale once you sort of master it and can use them freely, maybe subconsciously.

QUOTE
There are big names like Slash, Jimi Hendrix and even Jeff Beck who made amazing solos without knowing too much about scales. I think that playing only by ear has its advantages but it can be limiting. For me, the best is to find the good balance between learning some scales, and experimenting with our ear. Learning new scales can open new posibilities that maybe we wouldn't imagine. And this can also happen by listening to new music and learning the phrases by ear.


It's true that you can play amazing music, even knowing just 1 scale. But as you say, it's limiting. I think Kirk Hammett uses mostly Blues scale, Natural minor and Pentatonic and his solos sound nice but it's not what I'd like to end up doing. On the other hand there's Yngwie who knows his scales but he also knows a lot more theory and he can use the ornamentation without worrying it will sound bad. My friend who studies jazz music at Music Academy says that scales are important but he said they are just a theory and the only practical way to learn to apply it is by playing licks.

QUOTE
Another concept that he is talking there is "following the chords". This is also very helpful for soloing and it's based on targeting chord tones when making a solo over a chord progression and using other notes as passing tones. This is very powerful, even more than learning scales, but scales are helpful for this too, because they give you ideas on which notes can be used as passing notes.


Is this what happens in the 3rd part of the Anthem Collab or do you mean chords within one key? In the Collab the key changes, I assume, because it's C Aeolian, not Ionian. If it changed to C major, would it be just changing modes or how does this work?

QUOTE
In other words, there is not one way, you have to find your own way. But don't take too seriously this type of articles that take one phrase out of context and provide a "magic formula".

You are right again! But I think the magic formula does exist and it was described in the article. Marty mentioned all the factors that ended up creating his own unique style. I believe while there's no identical formula for everyone, it stays the same for everyone: journey, exploration and discovery. Absorb what you like and reject what you don't. With that said, do you think it's possible to become a real neoclassical shredder and develop rhythmic skills based solely on James Hetfield? I think one would affect the other and I'm not sure if the result would be nice. I do realize that every player, even soloist, should be able to play rhythm guitar as well and for me it's Metallica.

QUOTE
I extremely recommend you to get into Kristofer Dahl's improvisation lessons. His "Your first phrases" and Jam School series" have a similar concept to what Marty thinks.


I think his profile even mentions Marty as one of Kris' inspirations. I sometimes watch his Facebook streams but lately I barely have the time to do more than an hour of technical practice, sometimes it's even less. I'll make sure to check his lessons when I'm done with the thesis.

Now I wanted to ask you another thing, related to the Collab. Let's take the 3rd part in the key of A minor. If I wanted to play the Phrygian mode over it, how would work? I think I'd have to use E Phrygian to keep the same notes and the root note would be E? I'll check the Theory section for some introduction to modes when I have more free time but could you explain it a little using this example?

I also wanted to share my recordings with you. On last saturday I went to a Metallica S&M concert with my brother and it was amazing. It's an Ukrainian tribute band but I think Metallica acknowledged them as the official. I've recorded two songs. The video quality isn't good at all but the sound is okay. Hearing it live was a great experience! The band is called Scream Inc and they have their concerts on their YT channel too, if you're interested in the whole thing.





Edit: There's first part of my take for 3rd part of the Collab. COuld you let me know if it's okay to use?



This post has been edited by Adam M: Mar 4 2019, 08:17 PM


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