DRG Needs You! Join the DRG Main Site Content Creation Team!Submitted by Dinosaur David B on Thu, 11/26/2009 - 01:58If you ever been denied membership to the DRG Forum due to the strict registration policies, here is your chance to become a valuable contributer to the future of DRG. Join the DRG Content Creation Team and add content of lasting value to the main site!As a member of Dinosaur Rock Guitar's Content Creation Team you will be able to: The "Fast Fingering" Box PatternSubmitted by Dinosaur David B on Thu, 02/04/2010 - 19:13Will all due respect and reverence to my very schooled musician friends and players, I am not one of you. While I know how to play, and more importantly, how to express myself, I am not a theory guy, or even a big modes guy. I don't think in terms of modes. I think of the neck in terms of box patterns and positions. Obviously, there is a connection between those positions and the modes, but we all process information differently. Apogee Duet Audio InterfaceSubmitted by Dinosaur David B on Wed, 02/03/2010 - 22:28Item:
Apogee Duet Audio Interface
Price Paid:
$495
Condition:
New
Features:
Pros:
High quality, firewire audio interface for Mac. Really simple, one knob interface. Portable. Made specifically to play nice with Mac and Logic. High quality A/D converters. Two superb microphone inputs, each with phantom power and up to 75dB of gain. With Duet, you can record a pristine vocal track while playing your guitar or keyboard, stereo mic your acoustic or even capture a live concert. Duet's dual, 1/4" high impedance inputs are ideal for any combination of two instrumentalists: guitar and bass, bass and keyboard, guitar and guitar, etc. Simply plug into the breakout cable inputs labeled with the corresponding instrument icons and jam or record using your favorite Core Audio-compatible application. Maestro software lets you micro control the interface and your signal. Duet is the first two-channel audio interface with control functions built directly into Apple's Logic Pro, Soundtrack Pro and GarageBand. If you want to use Duet with another audio application on your Mac, Maestro lets you can control all of Duet's capabilities and settings and use Duet with any Core Audio-compatible application. Everything Duet is capable of and more is easily controlled and configured within Maestro. Cons:
Won't work with Windows OS. Seems as if an additional output other than the headphone out might be useful. Summary:
Sleek, simple, elegant 2 channel audio interface for Mac. Sony MDR-7506 Studio HeadphonesSubmitted by Dinosaur David B on Wed, 02/03/2010 - 21:48Item:
Studio Headphpones
Price Paid:
$99
Condition:
New
Features:
Big, soft, cushy earpads. Adapter lets it fits 1/4" or 1/8" jack. Springy coil chord. Foldable ear cups.
Pros:
Super comfortable when on. Real good sound. Tough as nails. They have survived many drops to the floor. There's an R on the right headphone and an L on the left one. Cons:
They always feel a little looser than I feel they should, and they can fall off your head rather easily if you're doing the one ear on, one ear off thing. The folding ear cups can be a pain in the ass. Who really cares that they fold? Coily chords tangle on everything, and you probably still need an extension chord 90% of the time. Summary:
The Sony MDR-7506 headphones are the industry standard for studio headphones. They combine studio-quality sound, reliablity, and long-session comfort in an affordable package. They use use 40mm drivers to deliver clean and clear sound without distortion. Their closed-ear design makes these headphones great for studio and live use, while tough construction means they'll be there when you need them. I just bought a second pair. Not because of any issue with the original set. I just need another pair.
Samson S-Phone Headphone AmpSubmitted by Dinosaur David B on Mon, 02/01/2010 - 23:30Item:
Samson S-Phone Headphone Amp
Price Paid:
$169
Condition:
New
Features:
Four headphone channels, which is pretty much standard, but along with per-channel bass and treble controls, it also provides an AUX IN per channel, that lets you -- in my case run an OUT from the preamp into this IN to put "more me" in the headphone mix. That is, you can balance the signal that's coming out of the mic pre, with the backing track AT THE HARDWARE without adjusting or having to effect the software levels that are being recorded. Pros:
You get a lot of control for the price. Cons:
The one area that may be problematic and worth mentioning, is that this headphone amp might be a bit underpowered for certain scenarios. This amp is rated at 140W spread over 4 channels, i.e. each channel will only receive 35 watts. That enough wattage for my recording needs currently, but if you're trying to hear your backing tracks over, say live drums, it might not be enough power in some environments. Summary:
There are plenty of good headphone amps available, but this one seemed to do a lot for $169. There are other headphone amps that provide more power per channel, but seemed to have less flexibility. Of course, you can spend a lot more if you need to as well. Check out Joebuddha's 3 note chromatic picking exercise!Submitted by Dinosaur David B on Wed, 01/20/2010 - 13:17Michael AmottSubmitted by Seven Moons on Sat, 01/16/2010 - 14:27Groupology:
Arch Enemy, Carcass, Carnage, Spiritual Beggars
Essential Recordings:
Arch Enemy: Rise of the Tyrant, Doomsday Machine, The Root of all Evil. Spiritual Beggars: On Fire, Demons. Carcass: Heartwork.
Strengths:
Weaknesses:
His tone occasionally sounds too gainy, hence a bit synthetic, and some may find his Schenker fixation too obvious and repetitive. Guitar Style:
Michael's lead playing incorporates some modern shredding abilities while retaining the spirit and taste of classic metal players from the 70s. This is true not only in the stoner metal context of Spiritual Beggars, but within Arch Enemy's melodic death metal as well. Michael's tone and melodic lines are quite recognizable and memorable. His most obvious influence is Michael Schenker, and he uses a lot of pentatonic and aeolian licks. He also acknowledges inspiration by Uli Jon Roth, Frank Marino, Ritchie Blackmore and Tony Iommi, but this shows less systematically in his playing. He is one of those players who really have a masterful and discerning use of the wah, often left in half-cocked position in true Schenker fashion, or uses to put a dramatic accent on trills and bends. Michael also has a great vibrato: wide, rather slow, expressive and tasty. His rhythm playing with Arch Enemy involves a lot of thrash metal riffing, along with more Iommi-inspired slower parts. The Spiritual Beggars stuff is more diverse. Typical Gear Choices:
Michael use various models of Vs, mostly with fixed bridges, including models from his own signature series by ESP a couple of years ago, and currently by Dean. The ESP models were equipped with Seymour Duncan SH1/SH4 pickups. The Dean ones include a specific signature set of Dean pickups. As for amps, Michael has been playing through various Marshalls, Peavey 5150s, and was an endorsee of Krank, before switching to Randall, who released a Amott signature head. He has very recently parted ways with Randall, though. Michael's wah pedals are either the classic Vox or the Rocktron Black Cat Moan. What You Need to Know:
Michael Amott's playing and songwriting brilliantly blends classic metal with death/thrash aspects. For old-school metalheads looking for melody, hooks and twin leadwork in the context of brutal and technically demanding contemporary metal, Arch Enemy is the place to start (don't be a pussy about the vocals). Those looking for a more retro sound and spirit will also be delighted by Michael's other band Spiritual Beggars. Hide MatsumotoSubmitted by Glamrockerfs on Sun, 01/10/2010 - 17:11Groupology:
X Japan, solo, Spread Beaver, Zilch
Essential Recordings:
Vanishing Visions, Blue Blood, Jelousy, Dalia, The Last Live
Strengths:
Versitility: In X Japan alone, Hide performed on a wide variety of songs. Their songs covered territory in Speed/Power/Progressive Metal , Glam Metal , Ballads, interludes and songs often combined elements of all. Throughout all this Hide and his co guitarist Pata always played memorable guitar solos. In his side project he has adventured into material as diverse as big band, funk and industrial. While his more exploratory tangents may not be your cup of tea, his knowlege and interest in such diverse styles is inspiring. Technique: Like fellow countryman, Akira Takasaki, he took Anglo-American Metal Guitar and while not reinventing the wheel, improved, refined and cranked riffs and solos with laser precision Image: Yes, he gave Poison a run for their money but he was very original (he initially trained to be a beautician) and his outlandish outfits, makeup and hair gave him alot of stage presence. Weaknesses:
Location/Timing/Image: X Japan became Massively popular in Japan and East Asia but possibly due to them singing in Japanese, they were unable to break into mainstream popularity elsewhere. Their popularity in Japan exploded around 1991 right as Glam was about to be replaced by Grunge in America and Europe. Even though they signed with Atlantic Records in 1993 the Label was unable/willing to promote them in the United States, leaving potential fans unaware of their existance. Guitar Style:
Hide's work with X Japan covered many styles. On some of their more speed/power metal type songs ( e.g. Blue Blood, Vanishing Love, I'll Kill You) he uses alot of palm muted 16th note with power chord based riffs. On their more Glam Material (Week End, Desperate Angel, Sadistic Desire), he uses riff's that sound like a mix between British Metal (rhythmic style) and L.A. Metal (tuning and attitude). In these songs he and co-guitarist Pata usually play the same rhythm parts. During their ballady material (Endless Rain, Longing, Tears) the guitar usually arpeggiates diatonic chords played by piano. In a about half of their songs he and Pata do a harmonized guitar solo, always incredibly melodic. In the majority of his guitar solos Hide sticks to the Minor Pentatonic, Minor, and harmonic minor scales, though he uses the other diatonic scales as well. He is a classically trained trumpet player so he definantly knowes theory. He is alwasy very precies and in time and has very good chops, though always plays for the song. He occasionally uses a Fernandez sustainer. Typical Gear Choices:
Fernandez Guitars, he had/has his own signature guitar. A yellow with red hearts mockingbird shape with a sustainer. He was most commonly seen with Peavey Amps. What You Need to Know:
X Japan is regarded as the first Visual Kei Band. They are essencially the precursor to J-Rock. They brought about the common trait of Japanese Metal/Rock Bands to be very diverse in their sound, with fast Metal songs and sappy ballads. Hide often seen as the most flamboyant member of X Japan, as they toned down their crazy glam/goth image in the 90s Hide Remained decked out with pink hair and crazy costumes. Unfourtunantly after their breakup, Hide lived hard and one day after a drinking binge accidentally hung himself while trying to relieve shoulder pain. His funeral was attended by over 50,000 people. His death prevented a planned X Japan Reunion and though the band has reunited he has never officially been replaced. DRG Wishes Ronnie James Dio a full and speedy recovery.Submitted by Dinosaur David B on Wed, 11/25/2009 - 19:31One of our heroes, Ronnie James Dio, recently cancelled his European tour was taken to the hospital. After a week or so of fan speculation as to what was wrong, the official word has come in from the Dio website. Here is the latest update from Wendy Dio: |
User loginWho's online
There are currently 0 users and 1 guest online.
Who's new
|
