I can barely justify spending more than $1000 on a guitar lol. Not a cheap hobby by any means

My amp, pedals, cables, and the guitars I have lol

I agree with you, I personally feel there’s a point of diminishing returns with electric guitars even among say, Gibson’s most expensive custom shop electrics you still find quality control issues and realistically the electronic components, woods, finishing techniques they use are no different that of their production run models.

Acoustic instruments however are different for the reasons you have listed. It why the Stradivarius violin is a priceless piece of history and regarded not only a the epitome of violins but a sheer work of art in itself.

Every process of making an acoustic instrument to include the components used play an immense role in how the instrument will sound. However since I’m a pretty amateur guitarist in my humble opinion I’m fine settling with a budget friendly option sub $800. That’s the upper limit of what I would pay for an acoustic considering I’m mostly an electric player and also I’m not proficient enough in my playing to justify spending such a high amount of money on a guitar

No worries if you have any other suggestions for an acoustic throw them my way, I definitely want another one. One that I’ll take care of properly this time. Humidification and all.

Wanna try this out, but unfortunately don’t think I’m gonna find it out in the wild

https://www.sweetwater.com/store/det...E&gclsrc=aw.ds

Yep. I've played a 30k custom made guitar created by a guy in South America and it was the best nylon guitar I've ever played - granted most of the costs was for man hours put into the aesthetic. But, I of course would never pay that much but I felt pretty privilege to play it and be trusted to play it.

There's a price point eventually where quality and cost are pretty peak, but it's much higher for acoustic/nylon strings than electric guitars. I've played amazing electric guitars priced around $500. Guitars I would have no problems playing in a gig etc.

A lot of frills with electrics guitars, to me the neck suitability for my hands size/style is the most important. Shape/weight for comfort, neck for playability. The rest can easily be changed yourself like pick-ups etc.

My Maton acoustic is a probably worth a few thousands still and there's no need for anything better unless you're a real enthusiast. The same goes with audio listening equipment, you get to a point where incremental quality has exponential costs.

Signature guitars are usually a huge scam, but it makes the artist money so I can't hate.

Not really a guitar question but where can I find and listen to really high quality albums? A buddy was telling me that the sound in albums on streaming services like Spotify is "compressed" and therefore leaves out a lot of sonic details. I have a decent set of head phones (QC25) that should help. In particular, I'm looking for Tool records.

Where they make sense to me is when certain specs you want are only available in a signature model.

I'm a 22 fret HH Superstrat guy. I do not want 24 frets, I want low wind humbuckers over single coils, and prefer the aesthetics of rear rout over a $10 pickguard. Ibanez don't offer a Prestige AZ that ticks those boxes but if the Martin Miller model was 22 frets instead of 24 then I'd seriously consider that. There's a Suhr Pete Thorn signature model along those lines but it's got a slim neck which isn't really my thing. There's a Richie Kotzen Tele with stacked Dimarzios that has a beefy neck so if I were in the market for an axe I'd most likely get one.

Obviously a lot of people who buy them are motivated by thinking they'll sound more like their favorite player. Jeff Beck's signature model has always amused me. He plays a Strat with basswood body, pickups made by John Suhr that require a deeper body rout, and he has a stash of old Wilkinson roller nuts to keep his trem in tune. Nothing like the model Fender sells. There's other weirdness. Steve Vai comes out with a new model to replace the JEM called the PIA but the ones he plays have all got a Fernandes Sustainer in them with a switch and a battery compartment — stock model doesn't have it. Satriani insists on a 9.5" radius but has his tech radius the higher frets to around 11-12" so he can have a super low action without choking on bends. His signature model doesn't have that. List goes on.

I've come to see for an electric a partscaster is the way to go. Get exactly what you want.

Why are studio desks so damn expensive

I can’t play for **** but I’ve been trying for a couple months, I now have Caluses on my finger so they don’t hurt anymore. I haven’t learned a song yet but can do the intro for laid to rest at just over half speed. Only problem I’m having when trying to increase my speed is when I’m picking, just underneath my nail I keep scraping that bit of my finger against the string. Is this normal or just not very good hand placement?

Kind of a beginner question here. When trying to make a song, or solo sound “good”, is it mainly due to the key that the song is played in.

So, if I were to write my own song in the key of G. Then I would want to follow a particular chord progression like I-ii-IV-V so G, Am, C, D as the chords to use, and the solo would be the notes on the G major scale?

I’m trying to figure out how to really use the scales musically, not just being able to run and up down a scale in a particular position at 160 BPM.

Yeah it scrapes against the target string, the only part of the pick that is exposed is the last 10-15% of it, I really hold a good chunk of the pick I think which might be the problem, it doesn’t happen if I’m just playing slow but when I’m trying to play the song properly and I’m picking faster that’s when I start to notice it. Fingers getting a little sore from it and I think it’s going to blister and open up soon lol.

I’ve also picked up a bad habit of having my thumb too wrapped around the neck instead of it just sitting on the back but the more I watch other people play guitar I’ve noticed a lot of people do it so I don’t think that’s too bad of a habit at the moment?

Sounds good to me. You can play any note in the scale but on the downbeat you'll want to target those strong 1-3-5 chord tones unless the chord voicings have a strong pull to the 7th and the extensions (9th, 11th, 6th/13th). Music would be boring if it was all chord tones and creating tension has its place. The best advice I could give is to analyze existing music you like. What does your own ear already gravitate toward? Before trying to reinvent the wheel so to speak look at what's already been done and done well. Also listen to other styles of music to get ideas.

It's worth mentioning that the major scale has a tritone interval between the 4th and 7th and in the jazz world that 4th/11th is an "avoid note." Handle with care so to speak because it will clash with a Maj 7th. The major pentatonic scale gets around this with 1-2-3-5-6. No 4th and 7th. Now avoiding those altogether would also be boring so with experience you'll learn how to construct interesting melodic lines with both those tones only avoiding them at the same time. Even that can still be done if you're pivoting off Lydian which starts on the 4th.

I mentioned The Beatles recently.Yesterdaystarts off in F major then he borrows from D melodic minor for the next 6 notes before descending down natural minor (Aeolian) and back to major again.Eleanor Rigbyfloats between Dorian and minor (Aeolian) with some blues scale thrown in. The point is there are no rules really and when a popular artist does something interesting like that then it becomes ingrained in the public consciousness. So analyze what's already out there. Try to figure out why it works or why you like it. That's what I spend most of my time doing. And over time you build up a vocabulary. You can borrow from what you like but mix it up enough so it's not a direct rip. Inspired borrowing.

Good question. I think producer George Martin as a classically trained musician played a key role even if he's not in the songwriting credits. Many songs follow the same old chord progressions but putting the right chord voicings under those melodies with voice leading, the right arrangement, moments where they borrow from another key as mentioned, etc. can make the difference between generic and genius. Left to their own devices I'm sure the music would have still been great but not like the finished product we hear today.

Hired a new guy at work Wednesday and two days later he tests positive for the Rona.
Quarantine for the rest of us then get tested on Monday.

No going out this weekend, stay away from my kids etc, so I'll be camping in my basement studio. Can't remember when I last had this much time to dedicate to practice. Might even restring a bunch of them which I've been lazy about.

Try to even come close to my skillz

https://forum.obnoxiousbrutes.com/showt...post1625376333

Played with other musicians for the first time a drummer and keyboardist/bass player

They thought I was really good had a great time

Ever heard of Rex Carroll?

Lol, describes me to a T. Except I did also check out a few Boss GT units. All garbage.

Try a tube preamp into power amp and cabinet simulation/IR loader.

Effectively you're taking the biggest PITA in the chain in terms of volume, burning through power tubes, and getting a decent recorded tone, and replacing it with something convenient that can fit on a pedalboard. Coming up for 2 years for me with this setup and while nothing beats a real tube amp that's cranked this is the best compromise.

To simulate my rig in the real world I'd need a couple of power amps, a pair of 4x12 cabs with a bunch of expensive mics in some kind of sound proof room or isolation cabinet, then run all that into a pair of digital delays which then go into studio monitors. Essentially what Bob Bradshaw did in the rack days. Expensive and cumbersome.

So do you do that so you can get a wide range of sounds? I was in a band that played original music so I never needed to change things too much. Nowadays I just plug into my Orange Rockerverb and crank that bad boy up to 1. Sometimes 1.5.