on the nature of electricity & acoustics

cross-the-oceans-in-my-mind  asked:

Hey, it's me from the band question thingy, haha. Thanks to your advice, I've been able to write situations like practices or performances less awkwardly now. However, something that gets to me is describing what's going on with the instruments and such. Like guitars, drums, bass and such. Could you give some advice on describing their sounds and movements?

Hey again, love!  I’m very happy that advice helped you :D  After I wrote it, I was all nervous about it because I wasn’t sure if it was the direction you wanted.  But I’m glad it worked!

This is a pretty broad question, because every instrument is different and it really depends on how deep you want to go into it.  You can get away with basic information, or you can really get into the specifics of a few instruments.  I’ll just cover the basics of the instruments you mentioned: guitar, bass, and drums.


Describing Musical Instruments

So I’m gonna describe each instrument with a little information on the instrument itself, its contribution to the overall sound, some common terminology, and the roles of each player in the band dynamic.  Sorry if it gets a little lengthy – I’ll try my best to condense a lot of information!


Guitar – Electric and Acoustic

The guitar is often considered the “leading” instrument as its sound is most distinctive, and can function similarly to vocals in a song.  It is played by using the dominant hand to pluck the strings, and the non-dominant hand to make chords by pressing down certain strings along certain frets.  Common gear includes:

Acoustic Guitars: Guitar, electric tuner, capo, mic (onstage), string cleaner, picks, guitar case, shoulder strap

Electric Guitars: Guitar, electric tuner, capo, guitar cable, amp, amp cabinet, effects pedals (+ pedalboard for multiple pedals), string cleaner, guitar case, shoulder strap

There’s two types of playing: chord strumming and melody picking.  Melody picking involves picking out a melody one or two strings at a time; chord strumming involves using all the strings, silencing some strings, fretting (pressing down) some strings, and leaving some strings open (not pressed).

Chords are named A through G, referring to which note is the “top note” of the chord – plus different variations of these chords, which are known as major, minor, sharp, flat, suspended, diminished, and a few more.  The minor key is known for creating a more serious, somber feeling, while major is stereotypically cheery or positive.

While experienced musicians can often pick up a song by listening to it, most guitarists play using a chord sheet, which lists out chords on top of the corresponding lyrics.  Here’s an example:

So this is what guitarists will be looking at during practice, as well as listening to the drummer to maintain rhythm.  Throughout a song, the guitarist may give an opening “riff” or line of music unique to their instrument – they then strum throughout the song, usually shining most between verses and in the stereotypical guitar solo during the bridge of a song.  Many guitarists tap their foot or bob their head while strumming.  They’ll likely carry extra guitar picks in their pocket if they do (and they often do) drop a pick in the middle of a song.  At the end of practice, they’ll unplug, clean the sweat off their strings, and pack up.

Guitarists often double as singers, mainly because vocals and guitar both require a musical ear.  A guitarist needs a good sense of tone and rhythm, as well as good hand-eye coordination.  They’ll also need a certain amount of money to afford any of the aforementioned gear – for a decent guitar, amp, a couple pedals, and the works, the total price can start around $800 dollars.  And that’s not including extra stuff like new pickups, effects pedals, and a pedalboard!

For further reference, here’s a glossary of guitar terminology, as well as a more extensive guitar dictionary.


Bass Guitar

Bass guitar is considered one of the easiest instruments to learn, as it deals in mainly single-string plucking, making for less clumsy playing.  It’s considered a supplement to the sound as it’s not often identified (or even noticed) by the casual listener – mainly because it’s so low that it creates less of a noticeable sound and more of a feeling.  That feeling is what inspires the “party type” listener to turn up the bass, as it gives a satisfying vibration when the volume is turned up.

Bass interacts with the guitar as it typically plays one of the notes out of the guitar’s chord, at a much lower octave.  The bass line functions in two ways: as part of the rhythm section, and as harmony to the rest of the music.  Bass creates a “full” feeling to music which often goes unappreciated.

During a song, the bassist usually begins with the drums, as they work together to keep rhythm (see: slapping).  Bass can be as simple as hitting a note and letting it ring throughout each measure, or much more active with rapid picking and complicated bass lines.

The gear for a bass guitar is similar to that of an electric guitar – bass guitar, electric tuner, amp, amp cabinet, effects pedals, string cleaner, case, & shoulder strap.  Some bassists use picks; some use their fingers; some interchange depending on the song and the desired sound.  The overall price of a bass rig can vary depending on experience, but is typically a bit lower than the typical price of an intermediate guitar rig.  Think $600 and up.

Here’s a list of common bass terminology.


Drums – Electronic and Acoustic

Drums, both electronic and acoustic, are the backbone of music.  They require the most natural skill of any instrument, as a strong sense of rhythm can’t just be learned.  Drums are one of the only instruments that don’t involve notes and melody – some drummers are completely tone deaf!

Drummers can be quite removed, mentally, from the rest of the music for many reasons: because their instrument is very loud and overpowering to their ear; because they work mainly as a rhythmic leader, while others cue off them; and because the nature of their instrument is so different from others.

The main differences between electronic and acoustic drums are volume (acoustic drums are naturally louder), sound (electric drums can be set to have many different sounds/effects), and transportation (electric drums require sound gear, while acoustic drums are clumsier and more difficult to move). As far as gear goes:

Acoustic Drums: stool, five drums, four cymbals, bass drum pedal, drumsticks, drum stands, drum tuner, mutes, drum key wrench, drum rug

Electronic Drums: stool, five (smaller) drums, four cymbals, bass drum pedal, drumsticks, collapsible drum stands, sound cable, amp, drum rug

While acoustic drumsets are physically bigger and require more parts, they cost less than electronic drumsets.  Acoustic sets + gear come in at an average $800, while electronic sets + sound gear are more like $1000.  

A drummer doesn’t follow a chord sheet, which gives them more autonomy throughout the song.  But it also means they’ll need more direction/practice if they don’t know the song.  Throughout practice, a drummer usually counts off the song (by clacking their drumsticks) and plays from beginning to end.  There are times when the guitar begins the song, and the drummer hits the bass drum rhythmically until they come in.  A drummer’s equivalent of a “riff” is called a “fill”, and it usually occurs during the transition between measures or verses, rather than taking up full measures like a guitar riff.

Here’s a list of common drumming terminology.


That’s the best I can give you in one post, but if you want more in-depth information on one instrument, be sure to send another ask and I’ll help you out!  I grew up with all this information, so I might as well do something with it.

Thanks again for asking, and for your patience :)  Good luck!

- Mod Joanna ♥️


If you need advice on general writing or fanfiction, you should maybe ask us!

Percy Jackson Band AU

The Riptides 

Percy Jackson is the lead vocalist and guitarist of the band. He sings okay as a lead singer and he has Jason to help him and harmonize with. Percy prefers his electric to the acoustic guitar. He was the one who named their band.

Jason Grace is a vocalist and a guitarist to the band and was in fact the one who suggested making one for fun, too bad Percy took him seriously. Jason loves playing the guitar and killing it, sometimes he stumbles though and he writes several of the bands songs. 

Leo Valdez is the hardcore and a naturally talented drummer of their band. He tends to like to add a bit of “leo” to his drumming solo’s or parts of their original songs. While performing, Leo enjoys to add some pyrokinetics behind him, it gives him flare he claims. 

Frank Zhang is the keyboardist and some backup vocals, though Frank aspires to be a hardcore drummer player, he doesn’t know how to play and frankly is bad at it so he resulted to the keyboard. He was the last member and newest member to join the band. 

Nico Di Angelo is the bassist of the band and sometimes DJ’s some of the beats for the band. He played bass during his younger years and went back and forth to it, he does some backup vocals and is a big inspiration to the group with ideas. 

The Olympians

Annabeth Chase is the lead guitarist, she’s highly skilled in the guitar, rather than her voice, but her voice is also well. She is one who began the band as a small idea. She is also a side vocalist.

Reyna Arellano is the bassist of the group and does vocals at the same time, she has a strong and husky voice and it’s quite attractive and many people are a fan of her voice. She likes to stay as a side vocalist and a bassist though.

Piper Mclean does lead vocals and also plays some guitar on the side, most of the time acoustically. She designed all the band merch with some help and is usually the one who writes songs.

Hazel Levesque does the drums, she doesn’t seem like much of a drum type, but she enjoys playing it and on the side when needed, she adds in other little instruments such as the uke and electric violin and keyboard. 

Lana Del Rey - Flaunt Interview

Lana Del Rey is… happy? 

“I think I was feeling happy that I was present, and not afraid in a way that I couldn’t enjoy my everyday things,” the musician says of the new record’s title, sat in blue jeans, cross-legged on the floor of a Chateau Marmont hotel suite, enjoying French fries and a Diet Coke on a balmy, breezy Friday afternoon. “I’m the kind of person that really loves those things. Like when I drive, I love every road, and I can’t believe that I’m in L.A. I love the architecture, grabbing a coffee, striking up conversation with the people I encounter. And I hate when I can’t enjoy the little things because in the back of my head I have concerns or preoccupations. So for me, it was that sort of lust for life. It was kind of just about happiness.”

“The record has fewer dimensions,” she remarks. “But they’re more beautiful than in the past. I had no idea that would make it easier to talk about.” Has this ease with discussing the content perhaps coincided with a sort of softening, or openness toward her in the arenas of public or journalistic reception? “I feel that,” she says thoughtfully. “And it’s helped me be more open as well. Because it’s hard to talk about your innermost feelings if you feel the reception will be cold. And I hung back for a while. I did a handful of interviews, but not many in the last few years. But also I was writing and writing, and digging through stuff, and not writing things as easy to digest or discuss. It still comes from me, but as I’ve evened out as a person, I don’t have as much I don’t want to say. I feel comfortable.”

“Da-vid La-Chapelle. Whoa. Da-vid La-Chapelle,” Del Rey says breathily, “I just couldn’t believe it,” Del Rey says. “Because I always make things really hard to work, because I don’t want to talk that much. So I had defiantly said to someone, ‘Don’t ask me unless David LaChapelle is shooting it.’ And then I get a call from Stephen Huvane [a partner in Slate PR], and he’s like ‘David LaChapelle is shooting it and you’re going to do it.’ So when I got to his studio, which is like a few blocks from my house, I was blown away. He’s amazing. And he thinks big picture, and different picture, and textures, and he doesn’t want to do a simple portrait right now because that’s not where he is in his life. And I’m the same way. I don’t want to make a pop record if I’m feeling more acoustic, for instance. And so he’s very true to his own space. There’s not that many people that I would follow into the unknown, so to speak, but with him, I would probably do most of what he suggested.”

David LaChapelle - “I have had a relationship with Flaunt for a long time. Lana’s a down-to-earth person. I like her writing. I saw her show at the Hollywood Bowl, and really liked the music, and that inspired the concept and ideas for the photos. Lana was interested in the artistic angle, not a promotional angle, which I really liked. Much more interested in creating art than promoting something.”

Notably, there is a track on Lust for Life, recorded with Sean Lennon, a layered and playful number that explores, among other things, John Lennon and Yoko Ono – a canonical deity of lust and artistry if ever there was – that sees Del Rey refreshingly step outside her own paradigm. “I felt like it belonged to someone else,” she says of the single, “Tomorrow Never Came.” “And I never feel that, because I like to keep everything for myself. I thought it might be strange for Sean to sing a song about John and Yoko as well. But I think the fact that I sing, ‘Isn’t life crazy now that I’m singing with Sean.’ It points to the fact that we’re both aware. I didn’t want it to come out exploitative in any fashion. Not that it would. Still, I wanted to be as careful as possible. I wanted it to come across layered with this sort of meta narrative mixed in. In a way it’s a song about a song.”

I speak over the phone to Lennon, currently in New York, who originally received a very simple version of the song from Del Rey with only her vocals, guitar, and an organ. “To me,” he shares, “Ninety-nine percent of what is magical about that song was already contained in her original vocal performance. I felt like it was my job to simply highlight and accentuate what was already there in her voice and melody, and in her lyrics. Everything I played was merely ornamental, like tailoring a ballroom gown on an already stunning woman: the only way to mess up is if you take away from or disguise the beauty that is already there.”

Considering the lineage in the song and their first collaboration together, I ask Lennon what he learned from the experience. “She has exceptional taste,” he remarks. “I told her that working on her song was a valuable lesson since I often modulate and take unintuitive chordal and melodic twists and turns, and she reminded me that you can be perhaps even more compelling if the melodies and chords feel natural and intuitive, not contrived or disorienting as in my music. Anyway I’ll never forget when she called me after I sent her what I did and her first words were ‘It’s perfect!’ I almost cried with joy because I honestly don’t think anyone has ever said that to me about anything I’ve ever done. It was a very good feeling.”

Beyond the meta-awareness of the lyrics and rich instrumentation [Lennon added “acoustic six- and 12-string guitar, electric guitar, lap steel, upright bass, vibraphone, harpsichord, orchestra bells, drums, and Mellotron strings, and shaker”], a particularly resonant lyric repeats itself a handful of times: You weren’t in the spot you said to wait. I ask Del Rey if there are running themes of stasis or waiting elsewhere on the record. “I think that’s why I felt that of anything on the record, that wasn’t my song,” she considers. “I didn’t feel like I was waiting for anything. It’s really not about anything personally, except that I love the sonics of it; the filters. I try to be as careful as I can that I’ll want to sing stuff on stage that I write. And that song will be an easy one to do because it doesn’t pull at any heartstrings or anything. And I know it’s special to Sean as well, because he’s his dad’s biggest fan. And so I like that, in a small way, they had a moment, in whatever surreal way that could happen.”

 Accordingly, you have my personal favorite track on the record, “God Bless America,” an unbridled spanker of a song that’s title refrain is followed by, “And all the beautiful women in it”—that’s instantly echoing through your melon and one in which Del Rey remarks, “Yeah, I went there.” She describes the song, of which Mawson shared earlier his reluctance to release as a single, given the tendency of Del Rey to net the mentioned public polarization, “It has some strong messaging,” she says nodding. “Some iconography, with Lady Liberty, fire escapes and the streets, and I do get a little New York feel when I listen back to it.” I tell her the song feels grandiose in production, anthemic in verse… very New York in fact, a sparkling pile of empire and accomplishment. And while New York (and its banks) have churned out the free world leader and a boys club not so concerned about everyone therein being blessed, moreover the “beautiful women in it”—reminding us that grandiosity has its pitfalls—“God Bless America” could easily ascend the ladder as a 2017 rally cry.

I ask her if she feels the appropriative nature of the song title may stir any pots of sorts.”Well, it’s the God word,” she says measuredly. “But the phrase has wider meaning. It’s more of a sentiment. When I wrote it I didn’t feel like it was confined to a traditional portrait of the Lord, as some sects might see it. It was more like, ‘Fucking God bless us all and let’s hope we make it through this.’ She further explains the genesis, “When all the Women’s Marches were happening, I had already written this song, because I had been hearing a lot of things online. And I have a sister, and a lot of girlfriends, who had a lot of concerns about things that were being said in the media by some of our leaders. And I saw an instant reaction from women, and I was like, ‘Wow. There is no confusing how women are feeling about the state of the nation.’ And so without really trying to, I felt compelled to just write a song and say we are all concerned. And it really made me think about my relationship with women. And I felt proud of myself, because I do love the women in my life. And I take care of them, and I ask them what they think about music, and guys, and problems, and I thought it was so cool that I’m really right there in the same boat with them. And sometimes I’m not. Sometimes I feel like I’ve got my finger right on the pulse of what’s going on, and then some of my music comes out and it’s like, ‘Fuck, that was a miss. Fuck, that’s not what people feel, at all. But with this, I was right there with everyone.”

Considering the caution from management around the track, I ask Del Rey if the potentiality for rib kicks, or what have you, is particular to her, not just someone famous. Does she feel she’s been on the receiving end of a sort of media lust? A presumptive, dutiful debunking of myths? “Perhaps,” Del Rey considers. “Or the journalists don’t have enough going on personally andthey feel like their contribution to current culture is myth building. It’s either one. It’s a broad mix. And I’ll definitely take accountability for how my energy has informed a lot of not true stories. But 50% of that has just been someone’s personal agenda.” Still, despite the pricks and pokes over time, Del Rey does feel the media is incredibly important and worth fighting for at the moment. “That’s why I do love journalists,” she says, “when they’re not assholes, because writers are critical thinkers. They’re people who think it’s important to have conversation, and conversation can lead to change.”

I’d agree: the fundamental purpose of media is to present the facts and propel conversation. That, of course, has been tossed into the bullshit blender of late; a corrupted election, orchestrated intel leaks, and in turn media’s brandishing “the enemy of the people” by the venal and orange President Trump, has the press in a pretty gobsmacked, beleaguered position. So ass over heels that even the governing party’s own Fox News mascot, Bill O’Reilly, has finally been ousted for sexually pawing and verbally gnawing on women whom his employers have considerably paid off over the years to keep hush. It’s a mess out there, right or left or between. “I feel like this election jolted almost everyone who was floating around, feeling weird, whatever… right into the current moment,” Del Rey says. “I know several people that had a sort of drifter mentality that are now in the thick of it, considering things, and considering their own contributions, and what matters. I’ve known what matters to me for a long time, so I was already kind of there, but I didn’t really see it going this negatively. I feel like we’re in a bit of a Hitchcockian experience, and you’re in a scenario, and every day you wake up and you can’t believe the things being said and done are real. And I think some people are questioning if this shit is actually happening, like especially with the North Korea issues, which are really the scariest because you’re talking about nuclear annihilation.”

“The world is in an extraordinarily tenuous place. And while it could be said, certainly for the sake of this piece, the earliest seedlings of civilization were wrought with lust for power, we are, it seems, at somewhat of a tipping point. On the topic of the Women’s March, I share a video of the protests in Caracas, Venezuela, where some two million people were marching that morning against President Nicolás Maduro, dozens of whom were reported killed by police or government backing loyalists.” I remark that the collectivist, community-making nature of protest could perhaps only be likened to the power of song. Is there anything on the record that explores this swell of community-making here and around the world at present? She considers. “Well, I have a song that’s quite aware about the collective worry, about whether this is the end of an era. It’s called “When the world was at war we kept dancing.” But I actually went back and forth about keeping it on the record, because I didn’t want it there if it would make people feel worse instead of better. It’s not apathetic. The tone of the production is very dark, and doesn’t lead to a fucking happy feeling. And the question it poses: Is this the end of America, of an era? Are we running out of time with this person at the helm of a ship? Will it crash? In my mind, the lyrics were a reminder not to shut down or shut off, or just don’t talk about things. It was more like stay vigilant and keep dancing. Stay awake.”

Given the pace and intensity of the environment in our surrounds of which the artist speaks, I point out that there are still moments on the record that feel lonely, or lost in expectancy, far from active. I cite a lyric: “We get all dressed up to go nowhere in particular.” Del Rey shares that she’d had a phone call with a friend earlier that day, about their personal lives, their music, and she states that he too raised that when talking about artistic stall as a demonstration of stasis. She disagreed with him. “It wasn’t about stasis. I meant that you don’t need to have anything to do to get dressed up and feel special.”

We live in a culture where pressure and precedent abound, one in which women are constantly challenged with not feeling special based on their body, their skin color, their age, their social position, their follower count. Does she agree? “It’s more like we just don’t have as much cultural practice at taking the time to appreciate ourselves for who we really are,” she says. “We spend a lot of time when the nation was founding building government, money, and then getting the education system down, so it’s not like some cultures where you take time to mediate, et cetera, on your own dreams, wishes, self worth. I think it’s not enough practice. It’s not like they teach you that in school. But I think that that’s changing too. That’s actually a lot of what the record is about. Even in “God Bless America”… ‘Take me as I am, don’t see me for what I’m not… Only you can save me tonight.’ It’s about seeing people: what they’re actually doing. Who they actually are.”

In that sense, Del Rey is championing the same values as her influential predecessors, few and far as they may be, or as bamboozled by the power systems in which they thrived. Consider “Beautiful People,” where she trades verses and coalesces on the chorus with the one and only Stevie Nicks, of whom I refer to as a bonafide badass. “I didn’t know what to except or that I could even ask her, Del Rey remarks. “When I went through ideas of women that could really add something to the record, she was the one we kept coming back to. ‘Bonafide badass’ is a great phrase for her. She’s really real. And she’s still fucking touring, which baffles me. There are so few women doing that. You’ve got Courtney Love, who works, sings, tours… there’s not that many women who were making music in the ’70s or ’80s who still make music. It really is pretty crazy.”

“I know a couple of people who love to write,” she says as we’re collecting ourselves to leave the hotel room, “and love to rhyme, love melodies, and I do too. But to me it’s so much more than that. It feels like a life’s work and it feels like it’s really important just to me, so I put a lot of time into it.”

We’ve been speaking for a little over an hour. I return to a conversation we’d briefly shared on the photo shoot regards this, Flaunt’s music issue, and its theme (“heartbreak”), determined before we’d secured Del Rey as our cover subject. She’d been briefed on this by her publicity team and was admittedly wary about aligning. Again, that embodiment dilemma. Appropriation? Role playing? “Everything I’ve done in the last two years,” she says with confidence, “I would never say anything that wasn’t true. Even in the music. That’s why I was nervous about me being on the cover, and in big font “The Heartbreak Issue” because the thing is, I don’t feel heartbroken. So I didn’t want to continue a narrative that didn’t apply to me. Because the only person who truly cares about whether I continue that narrative, or any, is me. So I have to do my due diligence. And it doesn’t always work, but I’ll be damned if I don’t fucking try.”

Batfamily Musical Talents Headcanons

Bruce: His parents taught him how to play the piano when he was a boy, but he hasn’t done it as much since their deaths. Though sometimes on really quiet nights he will sit at the grand piano in the living room and play when he needs some time to clear his head. Occasionally his kids will quietly sneak in the doorway and listen to his music when they think he’s unaware of their presence. He knows they’re there of course because he’s The Batman, but he secretly likes sharing this small piece of his parents with his children.

 Dick: Dick has taken music lessons before for so many different instruments, but the kid just couldn’t sit still enough to learn more than the basics. However, he absolutely loves listening to others play and will sometimes dance along. His dancing is unique and has a certain flare to it, with fluid movements that are completely mesmerizing to watch. Especially when he throws some gymnastics into it, which makes his dancing look even cooler and more complicated.

Barbara: She’s amazing at the piano like Bruce, and they often play duets together for the family, her on the higher keys and Bruce on the lower. She plays for Dick on her own a lot, weird bouncy tunes that she makes up as she goes with goofy lyrics that make them both laugh.

Jason: It’s actually canon that Jason plays the guitar, so I think he would play an electric one because he thinks it’s cooler, but really he’s so much better with an acoustic. He plays really emotional songs that have made people cry more than a few times, and it’s even better when he sings along in his rough but soulful voice. He was great when he was Robin, but after he came back to life his singing voice somehow became so much better that it rivaled professional singers. 

 Cass: Cass may not be good with words, but she has a natural talent for creating music. Random melodies come to her easily, and it’s not rare to hear her humming a quiet tune of her own invention. Alfred noticed this and taught her about writing music, and she found it to be so much easier than reading words. Sometimes she will compose a song and give it to Bruce, who will perform it on the piano while Cass listens.

Tim: Tim isn’t very open about his musical talent and never does it in front of others, but Tim is secretly a fantastic singer. His voice isn’t very loud, but it has a softness to it that is the polar opposite of Jason’s deep and rough one. The only time anyone has heard him sing is when he thought he was the only one home and he sang alone to music on his headphones. Little did he know that Alfred was silently standing by his doorway and listening in.

 Steph: She doesn’t play the drums, per se, but Steph is really good at beats. She isn’t aware of the talent, but she’s always doing stuff like tapping her pencil on a desk or drumming her fingers rhythmically on a table when she’s thinking hard. Tim once asked her about it, but she honestly had no idea she was making actual music.

 Damian: It’s canon that Dami plays the violin, which I assume Talia must have taught him when he was with the League as a way to make him more cultured. He would play really sweetly, but whenever someone asks him to play for them he insists he has no idea what they’re talking about and leaves the room. He really enjoys playing for his pets though, especially Alfred the Cat and Goliath, who love it.

Alfred: His musical talent isn’t playing an instrument or singing, but rather the ability to coerce his family into playing together while he listens. He will convince Cass to show one of her compositions to Bruce, who gets Barbara to play it with him for everyone. After some convincing, Jason strums along on his guitar, Damian will quietly bring out his violin and play a background harmony, and Steph will tap a beat with her hands on her lap. Dick dances around the room with Cass in a fun dance of their own invention, and even Tim reluctantly sings along with any lyrics that pop into his head, Jason soon joining in as they harmonize perfectly. Those are the moments when Alfred really feels like they’re a family, and maybe he hides a small video camera or two on a nearby shelf so he can record his family’s musical jam session to watch when he feels down.

Week 40: Music

Strung up & Hammered!

IPhone6 ProCam4 5:30pmish (Aust.EDST) natural light from west facing window against side fence. f2/2 ISO 100 1/33s

I have a very musical family… 3 of 4 play an instrument or 2. My eldest son plays bass guitar, my daughter is a musician, she sings, plays guitar and a little piano and is studying songwriting at Music college. Mr 17 plays guitar, drums, keyboard and sings and is interested in producing. And while mr 16 was learning piano he decided he wanted to leave that to the others.
So far we have 1 piano, a keyboard, a bass guitar, 4 acoustic & 2 electric guitars and a drum kit.
There was a look of relief when I showed my daughter the piano pics for this week, that I hadn’t headed up to her room to use her guitars! Lol(Side note… super proud parent moment: she’s playing 3gigs across 2 music festivals in the next month!)
She chose my submission for this week… please see my Outtakes for her other options! Lol

Hey @retrokarrots, thanks for submitting another great photo. I started playing guitar when I was a teenager, it’s a great time to be discovering music, discovering how to play it and hearing music from the past for the first time, I love the fact that you’ve got a music vibe around the whole house, maybe you could start a band and pay for your own early retirement! :) When you look in a piano, there’s a whole lot going on and you’ve caught that superbly in your ‘strung up and hammered’ photo-Mojo.

Jared Leto

Jared Leto is one of the most accomplished and versatile creators of his generation. He’s an Oscar-winner actor with two decades of film and television roles under his belt, quietly amassing a list of critically acclaimed appearances in films like Fight Club, Requiem For A Dream, Dallas Buyers Club and Suicide Squad among many others. His band Thirty Seconds To Mars has been in action since 1998
His guitars attract my attention.
The Pythagoras and Artemis.

“Jared wanted to build a couple of very specific guitars that would represent the aesthetic of 30 Seconds To Mars. The result was the Pythagoras and Artemis guitars. These guitars have taken on a life of their own and embody the persistence and determination that is synonymous with 30STM.
Artemis (the black guitar) was commissioned by Jared as a companion to the original McSwain white Pythagoras. Jared wanted this version to be black with red glyphic inlays. It is basically the same as the white Pythagoras except that this version is a 25-1/2” scale.black custom McSwain guitar 25-1/2” scale with red glyphic inlays ” (the McSwain Guitar Website.)

Are your compositions written mainly on guitar?

Jared Leto:I would say guitar is my main instrument; I’ve written more songs on a Martin acoustic than I’ve written on anything. And then I use a Les Paul often as well.

The Les Paul is your main electric?

Jared Leto: Yeah; I’ve been using an SG a bit live because it’s light and fun to play.

So you’re essentially a Gibson player. Have you ever experimented with Fender-styled instruments?

Jared Leto:I utilized both but live I’ll play mostly a custom guitar [a pair of Steve McSwain-designed guitars dubbed Pythagoras and Artemis] that I had built years ago or a Gibson. I like the weight of it and the sound that I get from it. But they’re both tools and it depends on the song in the moment and what you’re goin’ for. But there’s nothing that beats the direct, clean tone of a Strat; it’s hard to beat that if you’re goin’ for something on the cleaner side of the world you know?

Interview by Steven Rosen.Ultimate-Guitar.Com © 2010.


Takamine is just great guitar! TT - SERIES. Takamineis known for its steel-string acoustic guitars. Guitars of Takamine have the most natural acoustic-electric tone,in my opinion.

Musical MBTI

The MBTI Types, and what instruments they should play.

INTP - Keyboard

Not that thing we use for typing (though, that too) The keyboard has a lot more options than the piano and it can be used for a lot more purposes with interesting combinations just waiting to be found by your friendly neighborhood INTP (that never leaves their house)

ENTP - Saxophone

Saxophones are all very diverse and there are many styles and ways to play it. Each one has a complex system of notes and keys, which would be challenging for any other person but an ENTP. 

INTJ - Cello

The cello is just a coverup, though. Everyone knows the real instrument of the INTJ is the triangle. The triangle is the symbol of the Illuminati and represents world takeover, which we all know is exactly what the INTJ’s are planning to do.

ENTJ - Accordion

Hey, it’s two in one! That’s pretty efficient, right? The accordion requires a lot of multitasking skills, which is no problem for an ENTJ.

INFJ - Violin

The violin is a delicate instrument with a soft sound. It takes a lot of practice and dedication, but it’s just about the perfect instrument for the INFJ.

ENFJ - Flute

Flutes are one of the most common instruments in the woodwind family, and they produce a very soft and high pitched sound. They’re often playing the melody in concert bands. 

INFP - Acoustic Guitar

Acoustic Guitars are very soulful and strum deep, and meaningful sounds. With a lot of patience and thought, the INFP could easily master the Acoustic Guitar.

ENFP - Xylophone

It’s creative, it’s loud and it’s very unique. Wait, am I talking about the xylophone or the ENFP? Not much of a difference anyways.

ISTP - Electric Guitar

Between the ISTP’s ability to quickly grasp on to concepts and how in-tune they are with their surroundings, the ISTP could easily master the electric guitar. 

ESTP - Turn Tables

The ESTP is a natural DJ, they’re the life of the party anyways! Now they just get to mix up tunes as well, which should be an easy concept to grasp for them.

ISTJ - Trombone

The trombone looks like a simpler instrument, but it requires a lot of practice and dedication to actually make a good sound, which is usually no problem for an ISTJ. 

ESTJ - Trumpet

The trumpet is one of the most popular instruments in the brass family. The trumpet has a bold, declarative sound.

ISFJ - Piano

It’s classic, takes a lot of memorization skills, and has a beautiful sound that can impress many people. Pretty sure the piano just screams ISFJ.

ESFJ - Harp

With a light and angelic sound, the harp is very common at weddings and parties, something an ESFJ would be invited to anyways, but should also play the harp at.

ISFP - French Horn

The french horn is known to be one of the harder instruments to play, but it’s very independent and has a smooth and unique flow, just like the ISFP.

ESFP - Drums

The drums require a lot of attention and ability to be aware of one’s surroundings and keep the beat steady. The ESFP’s natural talent.

the-mbti-crew.tumblr.com

- Ari

Geez you blew my cover - Hype [INTJ]

What Makes the Stones the Stones aka Stones vs. Beatles

The story is the stuff of rock and roll legend. Two old school friends run into each other on the London tube. One has a stack of records under his arm. The other can’t believe that they are the same then-little-known blues and rock and roll records with which he is obsessed. They get to talking and soon, with the help of a few new friends, a band is formed. We can all thank the fates that Mick Jagger and Keith Richards got on that train together.

In 1962 the first iteration of the “Rollin’ Stones” played their first show. The next year, the band’s original line up (Mick Jagger — vocals and harmonica, Keith Richards — rhythm guitar, Brian Jones — lead and slide guitar, Charlie Watts — drums, Ian Stuart — piano) found its groove. Performing covers of American blues and rock and roll songs, the Stones cultivated a following in London. They soon found themselves recording and signed to a label. Confronted with what songs to release, they regularly made decisions that, in hindsight, provide a neat contrast to their main contemporaries, and rivals for the spotlight, the Beatles.

It is impossible to understate the cultural impact of the Beatles. The first boy band. Beatlemania. The Ed Sullivan Show. Four scrappy lads from Liverpool with a love of 50s rock and roll introduced a whole new generation to the hip-shaking truth that Elvis first brought into popular culture. But their innovation was that they did so in a way that not only made teens scream, but also let parents (the hipper ones anyway) tap their toes too. Songs like “Please Please Me” are the kind of harmonizing, major-key rockers that made the Beatles a force to be reckoned with. The title also offers the kind of clever twist that make Lennon/McCartney one of rock and roll’s premier songwriting teams.

In contrast, the Stones put out altogether swampier, rootsier, and more deadly material. Even their more pop-oriented fare had a different edge (“Let’s Spend the Night Together” [more overtly sexual] “Mother’s Little Helper” [the horrors of suburban life laid bare] “It’s All Over Now” [a song about love that also summons the apocalypse in its title]). Released only two years after “Please Please Me” the Stones’ cover of Howlin’ Wolf’s “Little Red Rooster” — to this day the only blues song to be number one on the charts —  is everything the Beatles are not. It is slow, sinuous, and features a solitary vocal presented starkly against a slinking, unsteady slide guitar. As is so often the case with the Stones, as a counterpoint to the molten menace on top, there is an undeniable groove underpinning the whole ramshackle structure with Richard’s rhythm guitar melding perfectly with Charlie Watts’ sparse drumming and Bill Wyman’s tasteful bass.

The videos of the Stones performing “Little Red Rooster” provide another window into how they differ from the Beatles. When the Beatles performed for television, they were united. Brought together by their similar haircuts and matching suits, they bopped along amiably and wore their electric guitars in matching poses. Paul McCartney’s left-handedness meant that he and Lennon looked even more perfect; mirror images coming together to sing harmony parts and splitting into flawless reflections of each other on either side of the main microphone. In interviews, all four were affable and, while potentially snarky, always goofy and likable.

The Stones by contrast were a much surlier and more rag-tag bunch. Keith Richards has said: “You either wear the white hat or the black hat. They wore the white so…” This makes it sound like the band had no choice. The truth is the black hat fit more naturally on the Stones. There are two illustrative videos of the band performing “Little Red Rooster.” In one they are crammed together on a tiny “stage” surrounded by hip teens. Keith is playing a big acoustic guitar that he struggles to find room for, and Brian Jones has an electric that looks like it flew in from space. Mick struggles for space in the center, selling the lyrics with flicks of his expressive eyes, and Bill Wyman looks like a statue off to the side; one that happens to play bass. The group has no natural visual cohesion. They are shoved together by happy accident, the ties that bind them, strictly musical.

The other video of “Little Red Rooster” is much starker, almost shocking. The camera opens on a dark soundstage. Tree branches flicker in the front of the frame as mausoleum doors swing open. Mick Jagger stands alone on a blank set that is dimly reminiscent of a nocturnal graveyard. The camera swings down from its starting height and comes to fix on his face. As it moves in we see him lazily flipping a harmonica over and over in his hand. In that moment it may as well be a switchblade glinting in the moonlight.

The rest of the video is almost entirely focused closely on Mick’s face; the sole spot of light in the deserted studio. The band are revealed only as barely-lit specters at the very end of the song. Jagger throughout always knows which camera is on him at any given time. He switches his gaze between them effortlessly. Every hint of innuendo and danger in the lyrics is made explicit (but not cheapened in being revealed) by his subtle gestures and movements. This is not the Mick Jagger that dances across stadium stages, but the communicator. In this video, the enigmatic storyteller who can deliver any lyric, shows himself.

Imagining the Beatles even attempting something like “Little Red Rooster” is impossible. Envisioning any of them doing what Jagger does in that video is equally impossible. The Beatles and the Stones have many similarities. It would be foolish to deny that. However, there are also significant and important differences between the two bands. The Beatles, Liverpool boys from a working class town, and the Stones, middle class art school drop outs from soon-to-be-swinging London, were on similar but increasingly divergent paths. Thrust together by popular music’s appetite for opposition and their respective manager’s desire to cash in on the success of the other, the band members never harbored any animus towards each other. Even on their earliest recordings, the elements of what make these two pillars of contemporary rock and roll so wonderfully different were present. The Beatles had an ear for harmony and looked to early rock and roll to find their greatest inspiration. The Stones had an innate talent for drama and danger and found the blueprint of their voice in the work of delta and Chicago blues men as well as the harder rocking elements of the first wave of American rock and roll. These two starting points are what lead these two bands made up of men of similar ages with similar interests to, by 1969, record albums as exceptional and different as Abby Road and Let it Bleed.

Stories album by album of Alice in Chains

Jar of Flies (1994)

It was released on January 25, 1994 through Columbia Records. It is the first EP in music history to debut at number one on the Billboard 200 Chart with the first week sales exceeding 141,000 copies in the United States and was well received by critics. The EP has since been certified triple-platinum by the RIAA and has gone on to sell 4 million copies worldwide, making Jar of Flies one of the biggest sellers in Alice in Chains’ catalog.

About music and lyrics

Jar of Flies well demonstrates Alice in Chains’ broad musical scope and features a variety of predominantly acoustic songs ranging from dark, depressed passages like “Rotten Apple” and “Nutshell” to the more upbeat anthems like “No Excuses”. It also boasts various instrumentation not otherwise common in the Alice in Chains catalog; the opening track, “Rotten Apple”, features a talk box effect, and “Don’t Follow” includes both harmonica and soul-driven vocals. However, Cantrell’s signature electric guitar style still plays a prominent role in correspondence with the acoustic rhythms. “Whale & Wasp” also offers another Alice in Chains rarity in its purely instrumental nature, as does the blues/country-inspired “Swing On This”, the closing track of the album.

While it was never originally intended for a public release, Columbia Records released Jar of Flies on January 25, 1994. Jar of Flies debuted at number one on the Billboard 200, the sales that prompted this was over 141,000 during the first week of its release thus becoming the first ever EP and first Alice in Chains release to top the charts. It was the only EP ever to gain this distinction until 2004, when a mashup EP by Jay-Z and Linkin Park titled Collision Course also achieved the number one spot ten years later. Jar of Flies has since been certified triple platinum. With over 2,037,853 copies sold during its first year and sold another million more copies after two years. Paul Evans of Rolling Stone called the EP “darkly gorgeous”, and Steve Huey stated “Jar of Flies is a low-key stunner, achingly gorgeous and harrowingly sorrowful all at once.”

[Tracklist]

3

Red hair and black leather, my favourite colour scheme 

1997/98 Rickenbacker 360, turquoise-glo*

I love the incredible red-ish rosewood that only Ric seems to use.  No other (mass production) guitar companies (that I am aware of) seem to ever use any rosewood anywhere near this colour.  WTF?  Why are Ricky fretboards so red?!?  I love them…but WHY are the they only ones that look like this?!?

* The real name for this colour is just plain old “turquoise”, but that isn’t “Ric” enough for me.  So I took it upon myself to Rick-ify the name in the tradition of their well known finishes like “mapleglo” (natural), “fireglo” (sunburst) and “jetglo” (black).  See how much more fun everything is when you stick a “glo” at the end?  So, “turquoise-glo” it shall be for evermore.

PS: here’s a video that will help put the first line above in context..it’s not Richard Thompson himself performing it, but these guys do a great bluegrass-y cover version of Thompson’s incredible song “1952 Vincent Black Lightning”.  Dig it!

2

Yaybahar

Görkem Şen performs on an acoustic instrument which has a unique resonant sound (one which many would only expect from electronic music processing) - video embedded below:

This is an acoustic instrument with no electricity or anything… Natural source coded materials which are membrane, coiled spring and string working together. Maybe we can say that this is a new bridge system between string and resonant body. But generally this is a new design and emit obviously natural vibrations and gives new playing abilities.

Link

[INFO] What is SOLO DAY?

Everyday that flows by without meaning. The group who wants to escape the daily routine of people. B1A4’s story of them finding their dreams are published in this mini album with their feelings & recreating aspects of a perfect beginning as they grow

#B1A4 is using #SOLODAY to create a new meaning for “solo”, showing that it’s actually a pleasant beginning and time to become more mature.

This is actually because in Korea, “solo” is often used as the opposite of “couple”, but in English speaking countries, “single” is used so B1A4 is putting a new perspective on this term “solo”

Title song #SOLODAY is an exquisite combination of electric guitar and acoustic guitar, a melody which anyone can hum to, it’s a melody which you can feel the freshness of nature, as well as sensational beats and addition of members sophisticated voices.

#SOLODAY music video is filmed in US California in order to maximise the cheerful and refreshing feeling of the song. The album info includes info of the MV, about the 5 boys who are missing their dreams and the mysterious girls who appear in front of them, They hope for their dreams to come true but that’s only imagination, but when they act on their thinking and ideas “dreams” become “reality”

#SOLODAY’s music video, unlike other existing idol music videos, is more like a short film, focusing on the story rather than a dance by doing this, the understanding of the song improves. #B1A4 reveals an honest story directly through their own composition and producing.

#B1A4 #SOLODAY does not need any further modifying. Their story begins now.

“July 14th "SOLODAY [will be] our own new anniversary! To the always shining & wonderful ‘solos’ (single people)!

CR trans: B1A4_UK

Reup: B1A4Couple

Take out with full credits

This Ain’t a Fairy Tale | Chapter 1

So I have been working on this story. It’s a multi-chapter AU tayvin fic. I know it seems like a lot of AUs are out there just now which is weird timing now that I’m ready to post this but also cool…. if you hang with me, i think you’ll like the story line. As always I appreciate feedback (positive or constructive); it’s kind of what helps writers stay motivated.  

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - 

“Honey, please don’t bring your phone to the dinner table,” Andrea said, looking at Taylor. “I thought your father and I had raised you with better manners than that. What could possibly be so important as to interrupt our family dinner?”

Taylor immediately stuffed her iphone into the back pocket of her jeans. “I’m sorry mom. You’re right.” Taylor blushed with embarrassment and quickly blinked away the tears that were threatening to spring from her eyes. She wanted nothing more than to please her parents and hated to disappoint them, especially her mother. They were, after all, her world. Her rocks. The only people she could count always on. And what she was looking at on her phone was not worth her time anyway, especially in front of her parents at dinner. A bunch of her classmates were making fun of her curly hair in an Instagram post, comparing her to a cartoon character.

“Is everything alright honey?” her mom questioned in a soft voice, as she of course noticed the glistening tears in her daughter’s ocean blue eyes.

Taylor glanced to the left at her father, who sat at the other end of the ornate cherrywood dining room table, and then back towards her mom. “Yes, Mom. Everything is fine.” She paused and thought to change the conversation. “How was work today, Dad?”

Keep reading

10

One of the HUNDREDS OF GUITAR SHOPS I visited this week…Long & McQuade Mississauga (a suburb of Toronto):

  1. Nice finish on this Gibson ES-195.
  2. This must be a new model…CBS large headstock, bullet truss rod (and so I assume a 3 bolt neck…) AND a matching headstock!  As all the kids say these days “that’s super-keen daddy-o!”
  3. Since this is the second shot of the same ES-195, does that mean I should refer to it as an ES-295?? 
  4. Nice, used Martin D-18 for $1800.  A bit of damage/wear on the body, but it actually looks good on this guitar!
  5. I’m not a big fan of “satin” finishes, but I’ll gladly make an exception for this dark-burst Larrivée OM model.
  6. I have owned so many Strats in my life that it takes a lot for me to be impressed with any (non-vintage) one.  But here we have a gorgeous 2001 American Series (later re-branded “American Standard”) Stratocaster in natural  with red-ish tort ‘guard.  $700-ish
  7. Gibson “Arlo Guthrie” signature.  Looks like it’s based on the one Robert Johnson played (er…  L-1?  L-0??  not sure…)
  8. Carved top, set neck Tele?  What will they think of next??
  9. Is it me or does Squier make some nicely finished bodies?  
  10. Another one of them newfangled '68 reissue silverfaces.
[TRANS] #B1A4's 5th Mini Album #SOLODAY Tracklist info

모든 만남이라는 단어 뒤편에는 헤어짐이라는 그림자가 숨어있다. After all the meetings, there’s a shadow of separating that follows.

#B1A4 is using #SOLODAY to create a new meaning for “solo”, showing that it’s actually a pleasant beginning and time to become more mature

This is actually because in Korea, “solo” is often used as the opposite of “couple”, but in English speaking countries, “single” is used. so B1A4 is putting a new perspective on this term “solo”

1) Title song #SOLODAY is an exquisite combination of electric guitar and acoustic guitar, a melody which anyone can hum to. it’s a melody which you can feel the freshness of nature, as well as sensational beats and addition of members sophisticated voices.

#SOLODAY music video is filmed in US California in order to maximise the cheerful and refreshing feeling of the song. 

The album info includes info of the MV, about the 5 boys who are missing their dreams and the mysterious girls who appear in front of them, They hope for their dreams to come true but that’s only imagination, but when they act on their thinking and ideas “dreams” become “reality”

#SOLODAY’s music video, unlike other existing idol music videos, is more like a short film, focusing on the story rather than a dance. Under the blue sky&red hot sunshine, w/ a heart-refreshing melody, the boys create a short story bringing natural scent and happy “healing”. by doing this, the understanding of the song improves. #B1A4 reveals an honest story directly through their own composition and producing,

#B1A4 #SOLODAY does not need any further modifying. Their story begins now.

July 14th “SOLODAY [will be] our own new anniversary! To the always shining & wonderful ‘solos’ (single people)!

2. What will I be? - acoustic guitar with members’ different voices that stands out. It’s nice to just imagine the members sitting on bar stools in a concert, singing this song.

3. 잘돼 가 - urban R&B genre, with electric piano and heart-thumping sad electric guitar adlib. This song is about self-esteem and pride after loving someone. The info also says to listen to the lyrics thoroughly!

4. 물 한잔 - a blend of acoustic guitar plus intense electric guitar as well as ear piercing (?) synth sounds and addictive lyrics that gets you running and jumping and drinking!! Spend the hot summer with your loved ones and cool down with "물 한잔” (lit. “Glass of water”)!!

5. DRIVE -medium tempo hiphop song with synth sounds & mysterious chord progression. In particular, the lyrics are in the sense of #B1A4 CNU, after listening to the song, you might unconsciously imagine yourself driving under the hot sun! //(this really sounds very CNU style ^o^)

6. YOU - As long as there’s you I’ll be fine, that’s YOU! You (ft Sunmi) is a contemporary R&B song. The simple instrumentals make this an attractive song. Jinyoung applies the elements of Doo-wop (style of rhythms and blues emerged in African American communities) in composing this song, plus Sunmi’s enchanting voice which will make this song more provoking to the ears.

source: applemusic.co.kr, b1a4.com

trans cr: @B1A4_UK

Take out with full credit to the source and translator!