RE: On The Down Low - Solid State Amps and the Men Who Love Them
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RE: On The Down Low - Solid State Amps and the Men Who ... - 9/24/2007 4:00:32 PM
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_MavericK_
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OK.... Quick question to my wiser compatriots:
The major Diatonic scale has minors on the 2nd, 3rd, and 6th degrees, with a diminished on the seventh.
The minor Diatonic scale has minors on the 1st...? What are the others?
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RE: On The Down Low - Solid State Amps and the Men Who ... - 9/24/2007 4:20:07 PM
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Bro_Shane
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quote:
ORIGINAL: Schecter17
OK.... Quick question to my wiser compatriots:
The major Diatonic scale has minors on the 2nd, 3rd, and 6th degrees, with a diminished on the seventh.
The minor Diatonic scale has minors on the 1st...? What are the others?
Which one? The n atural, harmonic, or melodic minor? Or all three?
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RE: Major/Minor - 9/24/2007 5:55:04 PM
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Stratplayer
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quote:
ORIGINAL: Bro_Shane
quote:
ORIGINAL: Schecter17
OK.... Quick question to my wiser compatriots:
The major Diatonic scale has minors on the 2nd, 3rd, and 6th degrees, with a diminished on the seventh.
The minor Diatonic scale has minors on the 1st...? What are the others?
Which one? The n atural, harmonic, or melodic minor? Or all three?
Since the question was about the "diatonic" minor, I take it to mean the natural minor or Aeolian mode. The natural minor begins on the 6th degree of the major scale and continues the the same major/minor patter from that point. So what you'll have is:
I. minor
II. diminished
III. major (as in the diatonic major or Ionian mode)
IV. minor
V. minor*
VI. major
VII. major
*It is very common to use a dominint 7th chord (which is major) instead of the minor/minor7th.
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RE: Major/Minor - 9/24/2007 11:06:24 PM
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_MavericK_
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Great! That's what I was looking for! Thankee!
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RE: Major/Minor - 9/25/2007 7:22:42 AM
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DaveW
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Be careful with that list Schec.
The terms major or minor or augmented or diminsihed can only apply to INTERVALS between notes, not to individual steps of a scale, at least not without saying what interval it is. It would be better to use the term " whole step" or "half step." In guitar lingo that is 2 frets or one fret - each fret is a half step.
In the A (natural) minor scale : (a b c d e f g a)
a-b major second whole step
b-c minor second half step
d-e major second whole step
e-f minor second half step
f-g major second whole step
g-a major second whole step
FYI:
minor second = half step
major second = whole step
minor third = step and a half
major third = 2 steps
perfect fourth = 2.5 steps
diminished fifth (augmented fourth, tritone) = 3 steps
perfect fifth = 3.5 steps
minor sixth = 4 steps
major sixth = 4.5 steps
minor seventh = 5 steps
major seventh = 5.5 steps
perfect octave = 6 steps
in general:
lowering a major interval by a half step makes it a minor interval
lowering a minor interval by a half step makes it a diminished interval
lowering a perfect interval by a half step makes it a diminished interval
increasing a major interval by a half step makes it an augmented interval
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RE: Major/Minor - 9/25/2007 7:47:36 AM
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gtrdave
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quote:
ORIGINAL: DaveW
Be careful with that list Schec.
The terms major or minor or augmented or diminsihed can only apply to INTERVALS between notes, not to individual steps of a scale, at least not without saying what interval it is. It would be better to use the term " whole step" or "half step." In guitar lingo that is 2 frets or one fret - each fret is a half step.
In the A (natural) minor scale : (a b c d e f g a)
a-b major second whole step
b-c minor second half step
d-e major second whole step
e-f minor second half step
f-g major second whole step
g-a major second whole step
FYI:
minor second = half step
major second = whole step
minor third = step and a half
major third = 2 steps
perfect fourth = 2.5 steps
diminished fifth (augmented fourth, tritone) = 3 steps
perfect fifth = 3.5 steps
minor sixth = 4 steps
major sixth = 4.5 steps
minor seventh = 5 steps
major seventh = 5.5 steps
perfect octave = 6 steps
in general:
lowering a major interval by a half step makes it a minor interval
lowering a minor interval by a half step makes it a diminished interval
lowering a perfect interval by a half step makes it a diminished interval
increasing a major interval by a half step makes it an augmented interval
You're confusing the issue.
It's perfectly fine to use major, minor and diminished (and augmented if applicable) to call out the triad-based chord sequence in a scale.
It's how the third intervals are structured, from tonic to third and then from third to fifth, which gives each chord it's character:
major triad/minor triad = major chord
minor triad/major triad = minor chord
minor triad/minor triad = diminished chord
major triad/major triad = augmented chord
You're speaking of the distance between two notes and the poster was asking for the chord sequence based on triads.
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RE: Guitarists' Corner - 9/25/2007 12:35:11 PM
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DaveW
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In case no one has ever seen this before:
THIS is Alvin Lee from Ten Years After at the Isle of Wight concert (circa 70) doing his signature guitar solo from "I Can't Keep From Crying Sometimes" with the hook quotes from several pop tunes and then he detunes his low E string down an octave, plays on it and then brings it back up to tune.
It is better on their live album, but if you have not heard it before it is a good intro to this guitarist.
< Message edited by DaveW -- 9/25/2007 2:09:35 PM >
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We are now grandparents TWICE!!
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RE: Guitarists' Corner - 9/25/2007 3:07:18 PM
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_MavericK_
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Thanx, Dave! I printed that list 
The list Strat gave me made sense for what I was asking, because it fit in with relative minors/majors and such, although I'm sure they all do. I just haven't advanced to them yet. 
Tell me if this is right...
As in major Diatonic A: A Bm C#m/C#m7 D E F#m G#dim A
And in minor Diatonic A: Am Bdim C# Dm Em/Em7 F# G#
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RE: Guitarists' Corner - 9/26/2007 10:31:38 AM
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DaveW
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Please note that the major and minor scales are not the blues scale, used for most rock music, or the chromatic modes frequently used in metal.
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We are now grandparents TWICE!!
====================================
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RE: Guitarists' Corner - 9/26/2007 11:30:29 AM
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gtrdave
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Yes, a lot of blues-based rock uses both major and minor pentatonic scales and the blues scale. Use of the diatonic major and minor scales is generally more popular in vocal melodies and more pop oriented music.
Here's the comparison of those 5 scales:
diatonic major in C - C D E F G A B C
diatonic minor in Am - A B C D E F G A (relative minor to C maj)
pentatonic major in C - C D E G A C
pentatonic minor in Am - A C D E G A
blues scale in Am - A C D D#/Eb E G A
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RE: Guitarists' Corner - 9/26/2007 1:37:56 PM
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_MavericK_
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 Whoah... thanx.
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RE: Guitarists' Corner - 9/27/2007 8:13:51 AM
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DaveW
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Anyone check out the video I linked?
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We are now grandparents TWICE!!
====================================
Our CD is now available here:
http://cdbaby.com/cd/dswaggoner
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RE: Guitarists' Corner - 9/27/2007 9:55:37 AM
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gtrdave
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quote:
ORIGINAL: DaveW
Anyone check out the video I linked?
Yeah, it was neat but I'm not into that '60s/'70s blues/rock thing too much any more. I'm burnt on it from years of listening to it.
Alvin did have a good groove and feel to his playing though. And the chromatic climb was cool.
For me, guys that I really dig from that era, like Randy Bachman, Peter Frampton, Ed King and Steve Gaines, were all taking pop/rock guitar to the next level at that time when most others were still bashing out Robert Johnson-esque minor pentatonic and blues scale riffs.
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RE: Guitarists' Corner - 11/6/2007 3:58:25 PM
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Hayseed
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Any other Gretsch owners/players out there?
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RE: On The Down Low - Solid State Amps and the Men Who ... - 11/17/2007 2:48:25 AM
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drnick
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quote:
I currently use a Boss GT-3 for more or less the same thing as a POD XT can do (which I understand is a Vetta II in-a-box). I debated the POD, but decided I was just trading one emulator for another, and I'm quite happy with the sound I get from the GT-3. However, there's always room for improvement, and after years with the thing I basically use:
-a clean, quite heavily chorused sound, with a bit of a boost to a soft bluesy crunch
-a kind of jangly mindly overdriven sound
-a 1959 maxed out marshall sim + lead boost
-something I wrote to approximate to a Santana-ish sound + boost
And that's it. So perhaps I'd be better off getting the real thing, and using the GT-3 in the effects loop just for choruses, delays, compression, and maybe the EQ.
I tried out a JCM800 yesterday (the 2203 I think) and it had a nice sound, but it was TOO LOUD and I have to admit didn't have enough drive for me - I like to be able to get those pinched harminics and work them, and it wasn't up to it. I understand now why people like John Sykes get their amps modded, or else add a tube screamer to push things a little more.
Back to this if I may...
After a few weeks of travelling around the region, I'm still struggling. My town has a grand total of 2 tube heads in ALL the guitar shops. A JCM800 (too loud) and a DSL100 (too LOUD!).
Further afield I've tried a TSL60 (not bad, but not 100% sold on the tone), an ENGL Screamer 50 (probably best yet, but no reverb and only one set of tone controls) an ENGL Fireball (fantastic metal sound, but doesn't do anything else) and a Cornford Hellcat (the wicked part of me would love to turn up at Church with a Hellcat...but serious $$$, can't really justify it).
Still not sure. Any ideas what else to look out for? If I ask, they can probably get stuff in, but no clue what to ask for.
No-one mention Line 6 !!!!
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RE: On The Down Low - Solid State Amps and the Men Who ... - 11/17/2007 8:18:42 AM
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iluvatar
Posts: 1398
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quote:
ORIGINAL: drnick
quote:
I currently use a Boss GT-3 for more or less the same thing as a POD XT can do (which I understand is a Vetta II in-a-box). I debated the POD, but decided I was just trading one emulator for another, and I'm quite happy with the sound I get from the GT-3. However, there's always room for improvement, and after years with the thing I basically use:
-a clean, quite heavily chorused sound, with a bit of a boost to a soft bluesy crunch
-a kind of jangly mindly overdriven sound
-a 1959 maxed out marshall sim + lead boost
-something I wrote to approximate to a Santana-ish sound + boost
And that's it. So perhaps I'd be better off getting the real thing, and using the GT-3 in the effects loop just for choruses, delays, compression, and maybe the EQ.
I tried out a JCM800 yesterday (the 2203 I think) and it had a nice sound, but it was TOO LOUD and I have to admit didn't have enough drive for me - I like to be able to get those pinched harminics and work them, and it wasn't up to it. I understand now why people like John Sykes get their amps modded, or else add a tube screamer to push things a little more.
Back to this if I may...
After a few weeks of travelling around the region, I'm still struggling. My town has a grand total of 2 tube heads in ALL the guitar shops. A JCM800 (too loud) and a DSL100 (too LOUD!).
Further afield I've tried a TSL60 (not bad, but not 100% sold on the tone), an ENGL Screamer 50 (probably best yet, but no reverb and only one set of tone controls) an ENGL Fireball (fantastic metal sound, but doesn't do anything else) and a Cornford Hellcat (the wicked part of me would love to turn up at Church with a Hellcat...but serious $$$, can't really justify it).
Still not sure. Any ideas what else to look out for? If I ask, they can probably get stuff in, but no clue what to ask for.
No-one mention Line 6 !!!!
I wouldn't think of it.
Hmm... See if you can find a Mesa Boogie Triaxis to try out. They do clean very well and 3 of the 8 channels are based on the Mark I (Santana's main amp). As to whether they'd satisfy your preferences for heavier distortion sounds, you'd have to check it out for yourself. The more distorted tones are definitely Mesa-Boogie, not Marshall. Overall, the thing can be tough to coax good sounds out of; they're in there, but they don't show themselves as easily as say, a Marshall would.
-Dan.
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RE: On The Down Low - Solid State Amps and the Men Who ... - 11/19/2007 12:05:17 PM
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drnick
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I've always struggled to get on with Boogies. There was a Stilletto going fairly cheap on ebay, but all it had was LOUD VOLUME, no character.
Basically I think most manufacturers who do make tube amps tend to have a fair range at 100w+, and very few lower down the power scale.
There's the Laney TT50, which is...OK. Marshall TSL60 I've mentioned. Hughes & Kettner sound great, and if the Trilogy came as a 50w I'd jump, but I don't think H&K do anything below 100w.
So I think ENGL Screamer 50 head it is. 2 channels, each with a low/high gain option (so 4 sounds), it does have a reverb, series FX loop with blend control, and two master volumes so each of the 4 sounds can theoretically be boosted for leadwork if that's how you want it. And I do.
Sound like an advert, don't I?!
Now I just need a decent chorus and delay...
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Who needs new music. Everyone knows Rock attained perfection in 1974. -- Homer Simpson
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RE: On The Down Low - Solid State Amps and the Men Who ... - 11/19/2007 8:47:26 PM
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iluvatar
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quote:
ORIGINAL: drnick
Now I just need a decent chorus and delay...
If you can swing $500, check out the TC Electronics D-Two. I've used it a bunch of times with a PA rig and it's great. It's very easy to use (unlike, say, some Lexicon stuff) and has MIDI control and the option to use up to 2 footswitches. It's got some neat features for the delay patterns so that rather than just having straight repeats, you can tap in rhythms, have it recalculate the delay time based on note subdivisions (e.g. 1/4 note, 1/16 note, 1/8 note triplets), and track the tempo of what you're playing and retain that setting across patches.
I know that it's got the capability to do chorus, but I haven't used it and there isn't much space devoted to it in the manual, so I don't know how comprehensive it is. But for a delay unit, it's pretty tough to beat w/o stepping up to a 2290.
-Dan.
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Well, I've been to one world fair, a picnic, and a rodeo, and that's the stupidest thing I ever heard come over a set of earphones.
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RE: On The Down Low - Solid State Amps and the Men Who ... - 12/2/2007 5:57:33 PM
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DreadPirateRandy
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Today I discovered the two metal pieces that hold the input in place fell off my Les Paul. This is incredibly frustrating since I can no longer connect any cables or suchlike to it.
I know repair is in order but is there anything I can to do to maybe resolve the problem? (other than making the situation worse.)
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RE: On The Down Low - Solid State Amps and the Men Who ... - 12/2/2007 6:19:43 PM
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iluvatar
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quote:
ORIGINAL: RatherDashing
Today I discovered the two metal pieces that hold the input in place fell off my Les Paul. This is incredibly frustrating since I can no longer connect any cables or suchlike to it.
I know repair is in order but is there anything I can to do to maybe resolve the problem? (other than making the situation worse.)
Is the metal plate missing or just the nut and washer? If it's just the nut and washer, go buy new ones. If the jack's been pushed inside the body and you can't get at it, unscrew the metal plate, then tighten the jack to the plate w/ the nut and washer and screw the whole thing back onto the guitar.
Electrically speaking, there's not much going on inside a guitar. The only way to really screw it up is to yank on something hard and break a wire or solder joint.
-Dan.
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Well, I've been to one world fair, a picnic, and a rodeo, and that's the stupidest thing I ever heard come over a set of earphones.
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RE: On The Down Low - Solid State Amps and the Men Who ... - 12/6/2007 5:39:54 PM
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DreadPirateRandy
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So I took the plate off and seen the jack. Problem is, I'm afraid of breaking it. It appears to be stuck and crooked. It's down in the body at half my thumbs length.
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