Branding your business is a lot like creating your signature sound as a musician. It resonates with the community that sees your efforts as unique and establishes you as a standout. At Live4guitar, community is key, and that’s why wanted to expand the nature of our brand to also help our community shape the way you get their signature sound.
Live4guitar is proud to present the Live4guitar overdrive pedal.
In this part we’re in Larry Carlton territory for solo 3 and our first look at Vertical improvisation. Larry Carlton is a master at extracting all the juicy notes out of a scale without always running up and down in sequential order.
History shows us that great achievements can manifest from determined or creative people faced with a lack of resources while undertaking a critical task. In the field of professional audio, especially mixing and mastering, subjectivity becomes the variable that can determine everything from landing a commercial spot to developing a signature sound. Alloy 2 from iZotope neutralizes several variables by providing six key processing tools in a plug-in that can be used to enhance mixes on individual tracks, mix buses, or overall enhancement on a master bus.
Hey guitar lovers everywhere!!!
2012 has been a great year. We hope you enjoyed Live4guitar website and all that was on offer.
One thing crossed my mind as I was determining how to write a detailed description of something that’s only 6kb in size. The answer actually came to me as I was having an X-Ray taken of my kidneys. How soon is it going to be before we’re able to take a digital imprint of something like a lead vocal? Not to get all existential, but can you imagine creating an impulse by mapping the inside of Devin Townsends skull, throat, torso, and muscular make up? Then inserting the impulse into the impulse loader that has a graphic interface resembling Data from Star Trek the Next Generation?
Some tribes of Native Americans used to believe that taking a picture of someone could possibly be stealing part or all of that persons soul. It’s also been said that imitation is the most sincere form of flattery. Ultimately if you can create a product that leaves an iconic imprint on those who use it, it will at some point be considered a “classic”. Once the product takes on the monikor of being a classic, it is then defined by the unique characteristics that make it often imitated, but never duplicated. To duplicate it, you need to steal its soul.
Does you blues soloing lack the melodic lyricism of Eric Clapton or SRV, or perhaps you’d like to add some slippery, modern dissonance like John Scofield or Scott Henderson? These series of articles explore the various ways you can use the architecture of a chord sequence to really spice up your soloing vocabulary and add an air of sophistication and real authority to your playing.
Following from the previous article, this time we're looking at BB King style of phrasing blues.
In recent years we’ve seen a heavier influx of electronic music flavors influencing genres of rock and metal. Now that we’re able to cross-pollinate effects onto our guitars that would otherwise be exclusive to drums or synthesizers, it opens up a wider range of possibilities for a much more interesting musical journey. For this tutorial I’m going to show how to get a popular “glitch” or “stutter” type effect on your guitar tracks. This effect can of course be used on any instrument. The plugin that we will be using for the glitch effect is a free plugin called DBlue Glitch.
Does your blues soloing lack the melodic lyricism of Eric Clapton or SRV, or perhaps you’d like to add some slippery, modern dissonance like John Scofield or Scott Henderson? These series of articles explore the various ways you can use the architecture of a chord sequence to really spice up your soloing vocabulary and add an air of sophistication and real authority to your playing, Nailing the Changes. All solos follow the conventional 12 bar blues format in A, arranged to get more colourful harmonically as we progress. There’s no funny business with the chords, just I, IV, and V. Any inherent ‘Bluesy’ or ‘Jazzy’ feel is a result of the notes selected against the underlying changes. Study the relationship carefully and all of these tones can be at your disposal.
Sorry guys, its been a while i know. Work expansion has left me busy, so not much time to write.
Thought i would show you a neckbreak repair that i did a while back, as it wasn’t as straightforward as most breaks to put right. Neckbreaks, or the more likely Headstock breaks. Is there anything worse that can happen to your guitar?
