#some by ear and some using a tuner

[thefage]

In the beginning of Given, Uenoyama talks about how it took him a while to be able to play the guitar how he wanted. Uenoyama plays a Fender '72 Custom Shop Telecaster. At first I did not know the significance of this line, but after having attempted to play a telecaster twice I can tell you that bitch does not make any of the sounds you want it to, nor that you would expect it to, and that line actually points to this fact and tells the audience exactly how skilled Uenoyama is on the guitar.

[melodycalypso]

Ni No Kuni Music Analysis: “Kingdom by the Sea”, Joe Hisaishi

It’s been a long time coming… haha get the reference? Lol I’m not here to talk about Taylor Swift, but I’ve thought of doing a post talking about which Ni No Kuni characters embody which TS album era… thoughts?

ANYWAYS, I’m finally back doing another soundtrack analysis! This time we’re jumping ship to Ni No Kuni 2: Revenant Kingdom! This game is just as special to me as the first one and the piece we will be looking at today is one of my favorites the soundtrack. As always, the piece is linked at the bottom of the post for your listening. So grab a snack and get comfy!!

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This piece is really calming and brings together the charm of Hideopolis! Also be aware that since now that I’ve taken more music history and form and analysis classes, this analysis will go ALL IN😂😂

0:00-0:07: The combination of harp, strings, steel pan?, and possibly other percussion instruments at the start gives me the feeling of bubbles floating by… idk it just does lol.

0:07-0:15: Also I’m loving all this syncopated rhythm! To briefly explain, rhythm is measured in counts: 1 2 3 4 (since the time signature is probably 4/4?? Or at least that’s what it sounds and feels like when I tap my foot lol). Syncopation occurs when you play on the second half of the beat or the “and”/& count. This creates a fun, groovy rhythm!!

0:15-0:26: The strings in the background from their entrance up til here, create a haunting texture with some spooky minor chords. The lower voiced strings also seem to be playing a familiar tune! This is the Habanera form the Carmen opera. I remember studying about this piece and having to memorize what it sounded like for my music literature class my last spring semester lol. I recommend listening to a recording of the Habanera from Carmen, it’s a great song!

0:27-0:1:02: A moment of silence… BECAUSE THIS MELODY IS SO GOOD!!😭

Alright alright, I’ll calm down. But the flowing melodic line crafted in the strings stirs this romantic, elegant, and eerie feeling inside you. It almost makes you want to sing along with it…just me?😅

It also plays a lot with dissonance that I’m assuming are leading tones. Brief theory lesson number 2: a major or minor scale is made up of 8 notes with 1 and 8 being the same note. The seventh note of the scale, when used harmonically, reallyyyyyyy wants to go back to 1 (or 8) on the next note. Or at least that’s what your ears tell you.

1:05-1:23: We get some woodwind voices popping in using what I believe is pitch bending on the long notes at the end of their phrases.

After some research, this instrumental extended technique—aka cool skill that is defined as pushing the limits to see what other sounds an instrument can make—is basically what it sounds like: taking a note or an instrument and bending the pitch so it comes out either flat(lower) or sharp(higher). And after putting my tuner up to the speaker of my iPad, it’s concluded that the pitch is bending flat.

1:23-1:43: Strings come back in continuing with the previous melody. Seems to be a variation or maybe even fragmentation of the previous theme.

1:43-1:52: I’m not sure since if a clarinet, oboe, or flute voice comes in during this part. The strings seem to be playing in the same register. I want to say it’s an oboe lol.

1:52-end: The same whimsical syncopation comes back in from the start and is decrescendo-ed to finish out the piece.

Another occurring theme of this piece is the use of dynamics, crescendos and decrescendos, to possibly imitate the sound of the ocean!

And that’s it!! I enjoyed looking at this piece and I hope you also enjoyed me yappin about it! Let me know your thoughts and what piece from the soundtrack you’d like me to tackle next! See y’all later!🤗🤗

[mickswritings]

Little fallen stars - Chapter 6

The twins fell asleep.

Like in that old story book: the prince, weary from his long journey, found a quiet shelter where he could rest…

And as night fell, the world shone with magical lights.

Like that brave prince, Adrian planned for tomorrow. There were weapons to be sharpened and thoughts to analyse.

What was even more important: he had the chance to spy on the army. Information was the most valuable asset in an unstable environment.

Earlier, Adrian had taken the mini radio from an abandoned car along their route. Now, with practiced efficiency, he opened its casing, carefully rerouting the antenna wiring to extend its frequency range. He recalibrated the tuner, fine-tuning the capacitors and resistors to lock onto the specific channels used by military communications. Each adjustment was deliberate, turning the civilian device into a makeshift army scanner capable of intercepting encrypted transmissions.

He retrieved a pair of worn earphones, connecting them carefully before placing one earpiece into his ear.

Continuing to tune the radio, fragmented voices crackled through. Patrols reporting from the outskirts spoke cautiously of strange, carnivorous plants spreading rapidly, their tendrils closing around anything that moved. Other channels carried urgent messages from survivor checkpoints, some mentioning sick individuals showing blue spots on their skin—symptoms no one had seen before.

From higher up, commanders’ voices barked orders, coordinating searches, rescues, and containment efforts. The harsh, clipped tones underscored the tension threading through every message—an invisible war fought as much in the shadows as in the streets.

As he listened, Adrian traced the locations of these points in his mind, piecing together a rough map. Each frequency hinted at distance and direction, each detail from the patrols helping him place the dangers and survivors across the terrain. The invisible battlefield slowly took shape, sketched out by voices in the static.

But beneath the surface, Adrian couldn’t help but smirk. The soldiers’ reports sounded organized, their tone sharp and professional, yet the care they claimed to offer felt hollow. Despite their strict adherence to military procedure—protecting, defending, attacking—their actions told a different story.

Patrols barely acknowledged the frightened survivors, offering no real protection. Instead, they pointed them toward temporary shelters with cold efficiency and vanished, leaving the vulnerable to fend for themselves. At those shelters, even the sick—those showing strange blue spots—were nothing more than a problem to be noted, not treated or truly helped. Decisions were delayed, priorities misplaced.

It was less about protection and more about investigation, a detached study of chaos rather than a fight to save lives. Adrian’s quiet contempt grew with every clipped transmission.

The intercepted information satisfied Adrian, allowing him to move on to the next priority on his list: children clothes.

With a decisive motion, he placed the mini radio into the pocket by his chest. The voices, accompanied by intermittent static, continued softly in his ear as he moved through the quiet apartment—steady, but alert.

The important reason for which he had chosen this apartment was a small bicycle resting against the wall near the entrance—a quiet sign that children had lived here. Adrian wanted a place that might allow the dolls better chances to find necessities.

Minutes earlier, as the twins fell asleep and the mini radio wasn’t yet taken out, Adrian went on to look for medicine like fever reducers, pain relief tablets or simply vitamins. Anything that might help Ember recuperate and overcome. Fortunately, he found a few, all the necessities and usual medicine that households had, even a first aid kit.

Although the medicine was there, waking Ember was postponed. From what Adrian understood—both from the doll’s condition and his own experience in the army—sometimes sleep did better than any fever medicine could.

Keeping the sofa within his sight, Adrian stepped into a small room on the left, one that clearly belonged to a child.

The eyes, blue and cold as forged steel, paused as they landed on the wardrobe.

***

“Clack.”

The sound snapped through the stillness like a blade drawn in a dark room.

Adrian’s body snapped rigid, like a blade drawn in the dark. His hand slid smoothly to the grip of his weapon, muscles tight with controlled precision as he lowered into a silent, ready stance. His stare aimed through the shadows—sharp, cold, and unyielding…

Then it landed on a little doll.

…And a wooden toy on the floor.

Long red lashes blinked up at him, wide with innocent surprise. Eden. The doll.

Adrian lifted a brow, easing out of his attack stance as he stood, placing his weapons back into their holsters. There was a breath left before he advanced, kneeling then before the misbehaving little doll.

He reached out and lifted the toy—a carved wolf, frozen in a powerful, kingly stance. He turned it over in his hands, admiring the fierce little guardian before holding it out to Eden. A smirk was formed as he watched his doll receiving the toy.

“Here’s your wolf king.”

The little hands held onto the toy. Eden stared at the imposing wolf.

Was this a king?

“Do wolves need kings?”

Adrian tucked a loose strand of red hair behind his ear.

“Yeah, little doll. Wolves need someone appointed to lead them to victory, to form strategies and plans. This throne is won by strength and determination to protect.”

With a wink—like they shared a secret meant only for the brave—Adrian rearranged another strand of Eden's hair, allowing himself to feel the soft red curls.

Then, without another word, he slipped an arm beneath Eden’s knees and back, lifting him with practiced ease. The doll let out a soft sound of surprise, his head tilting back as he took in the room from the increasing height, savouring the quiet, wide space seen from above.

“And I also have a surprise for you.”

Adrian headed back to the bedroom, where a modest pile of clothes was thrown on the bed.

There were blue coats with bright, big buttons, funny yellow pants that reminded of adventures and – oh, tiny stars dotted all over a shirt, like a starry night that held lots of dreams.

Eden’s eyes landed on them with wide curiosity.

And there it was.

The sound of surprise. And the spark of mischievous plans.

Without waiting even for a second and right after he was set down on the bed, he reached for the shirt adorned with little stars.

His long lashes almost curled with satisfaction over the first catch.

Then all the materials were felt, the patterns discovered, with lots of commentaries from the doll. Little hands glided over the seams, turning and rearranging, like each detail could potentially hold onto a secret that will unfold.

Everything felt new, and no tale from his favourite book told of treasures quite like these.

The blue coat could be from that blue forest.

Then...

What about the yellow pants?

But it was the red shirt with white dots that made Eden pause. It stopped his wandering thoughts and unexpectedly, with a rush of excitement, he gathered the whole pile with the intention of showing it to Ember.

And so, the little doll acted.

Ember, just waking from a long and exhausting dream, found himself pressed back down onto the sofa—buried beneath a mountain of fabric, with Eden perched victoriously on top, holding a red shirt speckled in white dots.

“?”

Eden brushed away a stray white sock from his cheek.

“Remember the uncle guard’s shirt? That favourite that held a big, big stain?”

Ember took a few seconds to stop himself from groaning and shoving Eden back under the very pile he’d unleashed. In that moment, he turned his head, tracking the stray sock that fell, then cast a quick glance around the room—just making sure there was no immediate danger.

“The one with the...honour?”

“Yeah! The badge of honour!”

With a small sigh that barely masked a smile, Ember reached out and wiped a faint dirt mark from Eden’s cheek. Ember was humouring him.

“And the same one the kitchen aunt swore it was the proof of jam thievery?”

Eden responded with a soft laughter. He loved to circle back to familiar stories and rediscuss past details as if, by some chance, the present would show some new discovery, some continuation in the systematic and monotone life at the orphanage.

And this shirt was real.

A new discovery.

A sudden clack echoed from the doorway as Adrian appeared. The hero walked towards them and half-kneeled, a smirk forming on his lips as he took in the chaos of the mountain of clothes.

“Hmm? Have you decided which to take?”

Adrian held in his hand a pack of wet wipes from which he took two. He handed them to the little dolls, encouraging them to clean their faces.

He had no previous experience in raising children and it took him a while to question his priorities and realise that these babies were covered in dust. Although the situation before didn’t allow him to consider hygiene, he understood that babies have a less developed immune system.

Ember allowed the stranger to check his temperature and help him wipe his face. At one point he took this responsibility himself, watching him turn and help Eden. Different from his twin, Eden had no intention to show independence but allowed himself to be spoiled.

Ember thought about the question.

“Are we allowed?”

Adrian reached up to help Eden fix some strands of hair with some claw clips he found. With the same hospitality, he offered some of those clips to Ember- shapes like fruits, colourful and mismatched.

“Yes. You can consider that everything here has been left abandoned.”

Adrian placed another claw clip into Eden’s hair and leaned back to appraise his art.

“There’s also a question that I have. Anyone you want us to look for? Family. Friends. Anyone.”

Ember admired the fruit shaped claw clips he received. With short actions, he raised his hand and fixed a strawberry clip in his hair. Although he acted so mature, he was still a little boy that loved having beautiful things.

“No, there are not.”

Adrian hummed in response and pulled a few vitamin foils from his pocket, unfolding them with practiced hands. With the previous experience of coaxing, alongside these unfriendly capsules, candy was also handed over to the twins.

This time, there were no complaints or delays. Eden and Ember took the vitamins with water, all obedient.

Leaving them to their chat and excited commentary over clothes, Adrian returned to the window. The little radio was already on—its crackling voice reciting military updates, none of which brought anything new.

He sat by the nearby table, pulling up his knife and overall gear, and started sharpening the blade with steady, practiced strokes. Beside him, weapons were cleaned and reassembled, each part moving under his fingers with the comfort of routine. The radio murmured faint military reports, but nothing demanded immediate attention.

Minutes passed, and with them, the paths in Adrian’s mind slowly shifted course, priorities rearranging themselves without resistance. The map in his head—once drawn in lines of orders and duties—was redrawn now in small, personal details

Then laughter rang out.

Drifting across the room and reaching him like a warm current.

Adrian relaxed without realizing it, his rigid posture turning into something looser, almost careless. His broad shoulders eased back against the wall, and the tension once gathered in his brow slowly smoothed away.

Warm.

Across the room, the twins had moved on from the pile of clothes, their earlier discussion on patterns and colours now blending into a new kind of exploration. The apartment, once still and quiet, now stirred under small hands and light steps.

Toys had been scattered here and there—forgotten, perhaps, but far from ruined. A plush bear with a ribbon still neat around its neck. A toy truck with working wheels and chipped but vibrant paint. Puzzle boxes, books with dog-eared pages, a wooden bead maze resting beside a basket of building blocks.

These weren’t remnants of a battlefield, but of a life once paused.

Eden dived through them with full excitement while Ember had almost forgotten his defensive and adult-like attitude.

A stuffed rabbit became a scout. A plastic crown was tried on, adjusted, and passed to Ember for approval. Each object was something new to invent around. Each discovery earned a comment, a plan, a giggle.

Adrian took a breath, observing the weapon in his hands.

That decision, once uncertain, had now taken root: he won’t leave them.

Not to the shelter nearby with the uncertain intentions, nor to the so-called authorized officials whose care was wrapped in cold procedure. He doubted that in the current world there was still a home for these babies.

And he wanted to be their warm home.

[soprano-sfogato]

I have a question maybe you can help with me with. I’m not musically trained and I suppose that makes me an amateur singer. However how would I find out what range I am? I don’t have a the slightest idea what I am. I say because I’m female but sometimes singing alto is difficult a friend said I’m contralto but I’m not sure what I could be. Any thoughts on how I could figure it out?

I’ve got a little tip that might help!

But first, please remember that classifying someone as soprano/mezzo/contralto is tricky, and it’s not just about vocal range. It’s easy to be misclassified—for example, some people are told they’re mezzo because they can’t hit high notes, but that’s often due to a lack of technique. After proper voice lessons, they might discover they’re actually sopranos. Similarly, dramatic sopranos are sometimes mistaken for contraltos.

However! It’s natural to be curious about your voice type, and that’s okay! The key is not to label yourself too quickly or get stuck thinking “omg, I’m a soprano, and I can’t sing this, this and this”. Singing should be fun, and it’s hard to enjoy it if you’re constantly focus on what you can’t do. If a song is too low or too high, just change the key and have fun!

Sorry for the long intro, lol, but I felt it was important to mention this.

Now, as I said, finding your true vocal range can be hard if you’re untrained, but you can always give it a try! Start by finding your chest voice range—this is a register we speak in. Don’t think of it as singing, think of it as speaking. Try singing something low (even something as simple as Happy Birthday) and see how low you can comfortably go.

Next, let’s check your head voice. This register is tricky because we don’t use it in daily life, so here’s a fun exercise: pretend you’re… a vacuum cleaner! (I know it sounds strange, but it works, and it’s also great for developing a head voice). Sing a melody on the “OO” vowel. If your voice breaks, you might be in your middle range, and this is normal (many untrained or beginner singers describe the middle range as a hole in their voice). Keep going higher to see if you can find your highest comfortable note.

You have to stay totally relaxed during this! Tension won’t help. If you crack, that’s okay! You won’t hurt yourself!

Also, it’s normal if you can’t recognise the note you’re singing by ear! A good tip is to download a guitar tuner app—it will show you exactly what note you’re singing.

This method will help you discover your current range. If you can reach a high C or B, you’re probably a soprano. If you can’t sing higher than F5 but you can comfortably sing as low as E3, you might be a contralto. If you’re somewhere in between, you could be a mezzo. Also, consider the timbre of your speaking voice—light and high sopranos tend to speak in a higher pitch, while lower voices and dramatic sopranos often have a deeper speaking voice.

I hope that helps! If you have any questions, feel free to ask!

[nekcihcetaruccayllacilbib]

Because of the most recent rb:

An apocalyptic world I made up. Mc up there is listening to music late at night, when suddenly cir family wakes up and starts shambling to the front door���But Something's Wrong oooooooo. Their eyes are glowing a whitish-blue, and they don't seem to notice cim when ci puts cir hand on their shoulders. Ci hides in a doorway to see what's happening. When cir little brother opens the door, a giant obsidian Creature is waiting, and promptly devours mc's numb, unresponsive family. How shocking! Ci quickly creeps to a hiding spot, but in cir panic, one of cir earbuds falls out. Ci can hear in the exposed ear a soft whirring, so soft, so gentle, so calming and friendly. It's only the music still playing in cir other ear that saves cim from being completely carried away. Recognizing this, ci sluggishly replaces the earbud, and immediately cir mind is clear again- just in time to see that the Creature has entered the room, and begun to make its way towards cim. As soon as the earbud is fully in, however, the Creature lifts its satellite-dish-like head and turns it around, looking confused. It circles the room, its head swiveling frantically like some dog or cat trying to find a smell, and as it passes mc, it's all ci can do to keep quiet, but it finds nothing and leaves.

After a millenium, or perhaps a millisecond, of waiting, mc leaves cir hiding spot and starts to pack a backpack. A flashlight, some batteries, some food. Ci also seeks out cir cat, and finds her hiding beneath the couch, ears flattened against her skull, pupils and fur blown all the way up. She calms a bit at mc's soft, feathery soft murmuring, recognizing her name and the voice who spoke it, but refuses to leave her spot until mc opens up a can of tuna. After she's swallowed all of the can's contents, eyes and ears darting here and there, she's calm enough that mc can gently lower her into the backpack.

Ci creeps out the open door and makes cir way to the nearby shopping district, ducking between shadows with cir hands plastered to cir ears, desperately keeping the earbuds. Through them, ci occasionally hears loud metal or rap playing, sometimes from cars with huddled and shaking people, sometimes from other wanderers who clutch little bluetooth speakers in their white-knuckled hands. From cir place in the shadows, ci notices that the Creatures–there are so many Creatures–tend to take a wide berth around those beacons of presumably earsplitting melodies. After ci passes the empty street and enters the nearest electronics store, ci's grateful to find that, even though all of the speakers have been looted, there are still noise-cancelling headphones left. Ci takes three pairs, hanging two around cir neck and putting one over cir ears before swiftly switching the plugs in cir phone's jack. Feeling safer, ci flits as smoothly as ci can to the convenience store, opens a can of wet food for the cat, and formulates a plan over a bottle of water and some donuts.

Ci makes cir way back home, grabs cir little brother's acoustic guitar and tuner, and loads everything securely into a wagon, which ci attaches behind cir bike. Ci raids the nearest plant nursery for as many crops and medicinal herbs as ci can fit, then the bookstore for guidebooks for how to grow and use them, and follows the river out of town, away from the Creatures.

Out in the country, ci builds a little house out of materials ci finds. Ci spends cir nights awake, slamming away at the guitar's strings and singing at the top of cir lungs until ci's hoarse, and spends the rest of it with cir headphones on, humming to cirself. During the mornings and evenings, ci plants cir crops and maps out the area. Daytime, now marked by a sun which hangs like a pendant of onyx in the white sky, is the only time it's safe to sleep.

And that's it. Mc lives alone on a little sanctuary with cir cat, offering asylum to those who come across cim.

[musicinstrumentsins]

5 Best Tips for Learning Piccolo Quickly

The Piccolo may be small, but it brings some big challenges, especially when you're picking it up for the first time. If you already play the flute, you might assume that switching is simple, but the piccolo has a different voice, a different feel, and a very different way of reacting to your breath. It is bright, sharp, and often difficult to keep under control without some focused effort. Learning can be frustrating, but also fun and rewarding if you approach it the right way. This blog will list 5 amazing tips that will help make your learning process smoother and way less stressful, and why Piccolo Insurance is important to protect your instrument from any unforeseen events.

1. Adjust Your Air Support Early On

When switching to the piccolo, your air needs to be faster but more controlled. Blowing like you do on the flute often leads to harsh or unfocused sound. Use steady air without force. Try different pressures until you find a balance that gives you clarity and control.

2. Be Patient with Your Pitch

The piccolo is sensitive to even small changes in breath or angle. Use a tuner daily and focus on long tones and slow scales to train your ear. With regular practice, your pitch will become more stable and reliable.

3. Work on Your Embouchure Shape

Your lips should form a small, relaxed opening. A slight downward angle of air usually helps. If your tone is too airy or sharp, check your mirror and adjust your shape. Even small changes can make a significant difference.

4. Get Comfortable with the Bright Sound

The piccolo’s tone can feel intense at first. Start by playing softly, then gradually increase the volume. Earplugs can help reduce discomfort during long sessions. With time, your ears will adapt, and your tone will smooth out naturally.

5. Make These Habits Part of Your Routine

Sometimes, it is the small daily habits that make the biggest difference when learning an instrument. Here are a few that can help you move forward with the piccolo:

Warm Up with Long Tones: Begin each session with long, steady notes to help with tone control and air support.

Record Yourself Often: Listening back to your playing can reveal things you might miss while practicing.

Practice Octave Jumps: Jumping between high and low notes improves flexibility and embouchure stability.

Use a Tuner and Metronome: These tools are basic but effective for pitch control and timing.

Keep the Instrument Clean: Wipe down your piccolo and swab the inside after every session to keep the pads in good condition.

These small things may not seem huge on their own, but together they create a solid foundation that supports real progress.

A Quick Note on Protecting Your Instrument

Once you have your piccolo, especially if it is made of wood or silver, you should consider how you’re storing and protecting it. These instruments can be fragile and are often more expensive than they look. Accidents can happen during travel, rehearsal, or even at home. Insurance is a smart way to make sure that if something goes wrong, you will not have to cover the full cost of repairs or replacement out of pocket. It is a simple way to protect your investment and avoid unexpected stress later.

Also, if you ever perform or rehearse in busy settings like marching bands or pit orchestras, it is worth having piccolo insurance as a backup. Instruments get knocked over, dropped, or exposed to weather more often than people realize. Coverage helps you stay focused on playing, not on worrying.

Final Thoughts

Learning the piccolo takes time and patience, but you do not need to rush it. Each step you take will build on the last. Some days, your sound may feel off, and other days, everything might click. That is part of the process. Stick to a regular practice routine, pay attention to your sound, and give yourself space to grow. With a focused mindset and a few helpful habits, you will be able to handle the challenges and enjoy the unique voice that only the piccolo brings.

[jackmaclenfypblog]

IEM (In Ear Monitoring) Research

As mentioned previously, I was tasked with finding a wireless monitoring system that could connect the MixPre10 to two wireless receivers with headphones, as we had two directors. This quickly developed into needing three as we needed live feed for our script supervisor Sophie, but I bought a headphone splitter so Ariel and Luca could listen through the same device. They work closely anyway!

I’m getting a little too far ahead of myself. When I was first tasked with this challenge, I began researching, and quickly found something called Comtek. Comtek is a system that does what I was requiring, defined as “The name COMTEK has become synonymous with live audio program monitoring in the world of film production. Digitally synthesized transmitters and receivers let directors and crew members clearly hear all the action without missing a sound”.

However, I only found out, after many confusing and frustrating hours of research, and then talking to Rowan Henderson about my troubles, that Comtek is the American version of what we call IEMs in the UK. IEMs stand for In Ear Monitoring. This made complete sense, as I can remember trying to rent Comtek systems but not understanding why I could only find systems available for rent in Los Angeles.

I thought it best, for want to reflect and consider my learning to include some of the research I did into Comteks, before I found out about IEMs. There seems to be some exciting Contact Microphone research included. What a day!

Research into Contact Microphones and Comtek System: Pickled Fish

Contact Microphones:

I have listed potential options below.

What I am going to do is buy a very cheap contact microphone, and XLR adapter, to test out – and in the meantime I will contact people and ask for their opinions/ if they have any better microphones I can borrow.

Options for buying Contact Microphones:

Flanger FA-01 Clip On Contact Microphone For Tuners: £20 https://www.amazon.co.uk/dp/B00D66WD3W?tag=freetousesoun-20&keywords=Flanger%20FA-01%20Clip%20On%20Contact%20Microphone%20For%20Tuners&geniuslink=true&ref_=nav_youraccount_switchacct (Need a headphone jack to XLR adapter)

Korg - CM-300-BK Improved Design Contact Microphone for Clip-Type Tuners – Black: £13 (£10 currently) https://www.amazon.co.uk/dp/B07DZRDCMB?tag=freetousesoun-20&th=1&psc=1&geniuslink=true (Need a headphone jack to XLR adapter)

Cortado MkIII Contact Microphone: $159.00 https://zeppelindesignlabs.com/product/cortado-mkiii-contact-microphone/

Comtek System:

The FPM-216 Field Program Monitoring Kit would allow for both directors to have feed

In terms of price: buying a Comtek kit would be too expensive, we’re talking about £1,500

I can’t find anywhere to rent a Comtek system (specifically the FPM-216) in Edinburgh. So, I will contact a few people I know and ask around for help. So currently, its looking like it won’t be possible to get this system for the shoot.

General Information on Contact Microphones and the Comtek System:

Contact Microphones:

Could be a cool way to pick up some vibrations: some closer, more tinny, removed and textured sounds of objects and sound events: the running motor of the boat.

Here are a couple videos showing the basic functions of a contact microphone:

https://www.youtube.com/watch?v=Sg-br8pndlU https://www.youtube.com/watch?v=hy_RZyg469g

Comtek System:

The answer to the question, can we get a sound feed to the directors on set, is Comteks.

What are Comteks: Live audio monitoring system for film production

Comtek is a brand of live audio monitoring systems that use transmitters and receivers to allow directors and crew to hear all the action on set. Comtek systems are built to withstand tough environments and can be used to send time code.

Good News: A Comtek can connect to a MixPre10. It connects to an X3/X4 Out, but if the MixPre10 doesn’t have this there are adapters into XLR.

The YouTube video below has all the information we need:

Comtek Research: Pickled Fish

The answer to the question, can we get a sound feed to the directors on set, is Comteks.

What are Comteks: Live audio monitoring system for film production

Comtek is a brand of live audio monitoring systems that use transmitters and receivers to allow directors and crew to hear all the action on set. Comtek systems are built to withstand tough environments and can be used to send time code. 

Good News: A Comtek can connect to a MixPre10. It connects to an X3/X4 Out, but if the MixPre10 doesn’t have this there are adapters into XLR.

In terms of price: buying a Comtek kit would be too expensive, we’re talking about £1,500. However, I will put time into researching costs, and availability, of renting a Comtek kit out for a weeklong period.

The FPM-216 Field Program Monitoring Kit would allow for both directors to have feed.

Wales: £200 for 7 days

Comtek PR-216 Personal Receiver (4) + Comtek M-216P7 (1) Comtek Wireless IFB Kit + Headphones

I eventually found a place that offered a Comtek system to rent in London, so I sent them this email:

Hi there,

My name is Jack MacLean, and I am the Production Sound Mixer on a short film, based in Edinburgh, shooting in mid-February.

I am looking for a Comtek system, that will allow me to send live audio feed from my mixer, wirelessly, to both my director, and script supervisor. I have been looking specifically for the FPM-216 Field Program Monitoring Kit; however, I have had no luck in finding this kit to rent.

Do you offer any equipment to rent that would allow me to do this?

The mixer I am using is the MIXPRE10T Audio Recorder & Mixer.

One of our crew is based in London so would be able to pick something up if its is available.

Please let me know if this is something you can help with.

All the best,

Jack MacLean

After talking to Rowan, I was set on the correct path to find my directors the feed they wanted! A crew member, Stuart, had a Rode Wireless Go system, but I wasn’t sure if that would work – so I did the research:

Director’s Feed: Research

Stuart has a Rode Wireless Go system that we could potentially use as a makeshift Comtek system for cheap.

Check what version of Rode Wireless Go system this is: is it a Rode Wireless Go II? That seems to be the one to use.

Reddit answer (not specific to the MixPre10):

Cheapest way I’ve discovered is to plug a Rode Wireless Go II transmitter into the stereo out on your MixPre ii, and give the director headphones attached to the Wireless Go receiver

Obviously, this isn’t a professional solution, but it is a solution, they will hear what you’re recording.

We can connect the transmitter to the MixPre, and have the receivers with Directors.

So, can we use the output of the MixPre10 for this purpose? As well as using it for Boom Ops.

I eventually combined my research, and found an option, in Musselburgh for £10 a day:

IEM Final Research: Pickled Fish

Summary:

If we want Luca and Ariel to be able to hear the mix, we need to rent out a Sennheiser IEM receiver for each person listening wirelessly. We have the ability for more people to listen, maybe Sophie the script supervisor would want one, then we can do that – but we would need to rent another receiver.

The cheapest Sennheiser IEM receiver I can find is for £10 a day (they don’t have a weekly rate on their website). I am going to call them tomorrow to find out if they reduce the price for a week rental. We would need to rent two of these receivers minimum.

I have linked this rental option at the bottom of the doc.

Anything in blue is technical: good to know and have written down, but more sound based than producing based.

Approach:

The overview of how we attach the IEM system is we use a kit store Sennheiser Portable Wireless Radio Mic transmitter – and then we set the rented Sennheiser IEM receivers to the same frequency.

The Sennheiser IEM receivers have an adjustable volume and amp – which will mean the signal can be catered to the ear. The Rode Wireless Go system lacks this – and I have been told will most likely be very quiet or very loud, and unchangeable.

This will mean we have to rent two IEM receivers for the shooting days.

Rowan details this in his email:

You don't need to use a big transmitter, you can also just use the small pack transmitters you are used to using and that the uni have, as long as they share the same frequency range (and decoding capabilities but don't worry about that as sennheisers are uniform for this case)

So aslong as the transmitter has the same frequency on it say 606.500 for example and the reciever IEM is set to this too they will work together.

You can plug the transmitter or transmitters into the outputs or the mixer, which can be configured in the mixer for what channels/mixes to send. Just make sure you have the right cables for this.

So all you'd need is an IEM pack with the same frequency range as the transmitter pack as the uni and any cables you need to connect it to the mixer.

We do have the problem that Yat and Michael will not be able to hear their individual booms: rather the main mix. However, if we were to attach two transmitters to both the L/R and X1/X2 stereo outputs and send one transmitter (routed to one boom) to one receiver, and then another transmitter (routed to the other boom) to a second receiver – our boom ops could hear themselves absent of the other boom.

However, this would mean our directors choosing which boom to listen to: they wouldn’t be able to listen to the whole mix.

This would also cost to hire 2 more Sennheiser IEM receivers!

However, if the boom ops are connected via headphone splitter, and are happy to listen to the main mix with the mixer, the directors could also listen to this full mix.

Also if the script supervisor were to want one: we would need another receiver.

So, the options are:

Sound recordist, and two boom operators, connected to mixer via a triple headphone splitter – listening to main mix (booms, and LAVs). Directors connected to transmitter via wireless IEM receiver - listening to whatever they would like (main mix, individual booms etc.) Means: Rent 2 IEM receivers.

Sound recordist connected to mixer via headphones. Boom operators connected to individual transmitter via wireless IEM receiver – listening to their respective channels. Directors connected to transmitter via wireless IEM receiver - listening to either boom channel (need to choose which – no main mix). Means: Rent 4 IEM receivers. Double the price.

Do we need extra cables:

We will need a 3.5mm Jack to 3.5mm Jack cable.

Picture for reference:

Changes to Kit:

We will need one more Sennheiser Portable Wireless Radio Mic kit if we go with option 1.

We will need two more … if we go with option 2.

Regardless, we will need to contact the guys at the kit store and ask for our booking to updated. I am more than happy to do this/talk to them about it, if that helps.  I’ll be there in person both Tuesday (4th) and Wednesday (5th). But also I know that going through one channel of communication is probably best!

Rental Options:

Sennheiser EK 300 IEM G3 in-ear monitor wireless receiver

£10.00 plus VAT per day

This is the best price, and closest I can find.

Here was the final quote we got:

[theblogvibe]

Own the Mic! Learn Karaoke Techniques with Vaishali Made Music Academy!

Karaoke is more than just singing along to your favorite songs; it’s an art that blends confidence, vocal technique, and stage presence. Whether you're an aspiring singer or just want to have fun at parties, mastering karaoke techniques can take your performance from average to unforgettable. At Vaishali Made Music Academy, we provide top-notch music courses in Goregaon, including our specialized K for Karaoke course, designed to help you become a karaoke pro.

In this guide, we’ll walk you through essential karaoke techniques, from vocal control to stage presence, and how our expert training at Vaishali Made Music Academy can help you shine.

Why Mastering Karaoke Matters

Karaoke isn't just about singing for fun; it's an opportunity to improve your vocal skills, boost your confidence, and enhance your overall stage presence. Whether you want to impress your friends, perform at events, or even take your singing career seriously, honing your karaoke techniques can make a huge difference.

Benefits of Learning Karaoke Singing:

Boosts Confidence: Performing in front of an audience helps you overcome stage fear.

Improves Vocal Skills: Karaoke allows you to practice pitch, tone, and breathing techniques.

Enhances Stage Presence: You learn how to engage with an audience and command attention.

Stress Reliever: Singing is therapeutic and a great way to de-stress.

Social Benefits: Great for bonding with friends and family during gatherings.

With the right training and techniques, you can truly own the mic! Let’s dive into the essential karaoke techniques that will make you stand out.

1. Master Your Breathing Techniques

Breathing is the foundation of good singing. Without proper breath control, you may run out of air mid-song or struggle with high notes. Here’s how to improve:

Diaphragmatic Breathing: Breathe deeply using your diaphragm instead of your chest.

Breath Support: Control the release of air to sustain notes longer.

Practice Exercises: Try breathing in for 4 seconds, holding for 4, and releasing for 4.

Consistency is Key: Regular practice will make deep breathing second nature when you sing.

At Vaishali Made Music Academy, we train students with proven breathing exercises to help them sing powerfully and effortlessly.

2. Work on Your Vocal Warm-Ups

Just like an athlete warms up before a game, singers need to prepare their vocal cords before a performance. Here are some effective vocal warm-ups:

Lip Trills: Helps loosen up your voice and prevents strain.

Humming: Gently wakes up your vocal cords and improves resonance.

Scale Practice: Helps improve vocal range and accuracy.

Tongue Twisters: Enhances clarity in pronunciation while singing.

Our K for Karaoke course focuses on professional vocal warm-ups tailored to different singing styles, ensuring that your voice is always performance-ready.

3. Develop Pitch and Tone Accuracy

Hitting the right notes is crucial for a great karaoke performance. Here’s how you can improve:

Ear Training: Listen to songs carefully and try to match the pitch.

Vocal Exercises: Sing scales and arpeggios to strengthen your control.

Record Yourself: Listening to recordings helps you analyze and improve your tone.

Use a Tuner App: Apps can help ensure you are hitting the correct notes.

Through guided training at Vaishali Made Music Academy, students learn how to perfect their pitch and sing with clarity.

4. Learn Song Interpretation and Expression

Singing isn’t just about hitting the right notes; it’s about conveying emotions. Here’s how you can add depth to your karaoke performance:

Understand the Lyrics: Know what the song is about and express its emotions.

Use Dynamics: Sing softly in emotional parts and powerfully in climaxes.

Facial Expressions: Show emotions through your face to engage the audience.

Body Language Matters: Express emotions with gestures and movement.

At Vaishali Made Music Academy, we teach the art of song interpretation to make your karaoke performance captivating.

5. Perfect Your Stage Presence

A great karaoke singer knows how to own the stage. Here’s how you can develop confidence:

Use Body Language: Engage with gestures and movement.

Maintain Eye Contact: Connect with your audience.

Confidence Building: Practice in front of a mirror or small groups.

Interact with Your Audience: Get them involved in the performance.

With expert coaching, our music courses in Goregaon help students gain confidence and master stage presence.

6. Choose the Right Songs for Your Voice

Not every song suits every voice. Here’s how to select songs that highlight your strengths:

Know Your Range: Pick songs within your comfortable vocal range.

Match Your Style: Choose songs that suit your natural tone.

Start Simple: Begin with easy songs and gradually try challenging ones.

Have a Go-To Playlist: Build a setlist of songs that you perform best.

The K for Karaoke course at Vaishali Made Music Academy helps students identify their strengths and pick the right songs.

7. Practice with Professional Guidance

Self-practice is essential, but expert guidance accelerates progress. By enrolling in a professional karaoke training program, you get:

Personalized Feedback: Experts help correct mistakes.

Advanced Vocal Techniques: Learn from experienced coaches.

Performance Opportunities: Gain confidence through live performances.

At Vaishali Made Music Academy, our expert instructors provide top-tier training to refine your karaoke skills.

8. Record and Analyze Your Performance

Recording your singing helps you identify areas for improvement. Here’s how to do it effectively:

Use a Good Microphone: Captures your voice accurately.

Analyze the Playback: Identify pitch issues or off-beat singing.

Make Adjustments: Work on weak areas before your next performance.

With our professional coaching, we teach students how to assess and improve their karaoke performances.

9. Join Karaoke Communities and Events

Singing in front of others helps build confidence. Here’s how to stay involved:

Join Karaoke Nights: Regular performances improve skills.

Online Karaoke Apps: Practice and receive feedback.

Music Communities: Connect with other singers and learn from them.

At Vaishali Made Music Academy, we organize karaoke events to help students gain real-world experience.

Take Your Karaoke Skills to the Next Level with Vaishali Made Music Academy!

Mastering karaoke is a journey of continuous learning and practice. With the right techniques, guidance, and confidence, anyone can become a great performer. If you're looking to perfect your karaoke skills, Vaishali Made Music Academy offers specialized training through our K for Karaoke course.

Enroll today and transform your singing!

🎤 Join our Karaoke Course now: K for Karaoke

🌍 Visit our website: Vaishali Made Music Academy

Take the first step towards becoming a karaoke pro and own the mic like never before!

[ukuleleinsider]

Everything You Need to Know About Baritone Ukuleles

The baritone ukulele is a unique and versatile member of the ukulele family, beloved for its rich tones and distinctive characteristics. Whether you’re a beginner curious about its appeal or an experienced player seeking to expand your repertoire, this comprehensive guide will walk you through everything you need to know about baritone ukuleles.

What Is a Baritone Ukulele?

The baritone ukulele is the largest in the ukulele family, with a scale length of about 19 inches and a total length of approximately 30 inches. This size gives the baritone its deeper, fuller sound compared to its smaller counterparts like the soprano, concert, and tenor ukuleles.

Unlike other ukuleles, the baritone is typically tuned D-G-B-E, which matches the top four strings of a guitar. This tuning makes it an excellent choice for guitar players transitioning to the ukulele or those who prefer a mellow tone.

The Unique Appeal of the Baritone Ukulele

1. Rich and Warm Sound

The baritone ukulele’s larger body produces a deep, resonant tone that’s often compared to a classical guitar. It’s perfect for fingerpicking, ballads, and any style that benefits from a more bass-oriented sound.

2. Easier Transition for Guitar Players

Thanks to its D-G-B-E tuning, guitar players will find the baritone ukulele familiar and easy to pick up. The chord shapes remain the same, simplifying the learning curve.

3. Versatility Across Genres

From folk and blues to pop and classical, the baritone ukulele adapts effortlessly to various musical styles, making it a favorite among professional musicians.

Call to Action: Want to explore the best baritone ukuleles for beginners and pros? Check out our detailed guide at Ukulele Insider!

Choosing the Right Baritone Ukulele

When selecting a baritone ukulele, consider the following factors:

1. Build Material

Solid Wood: Produces a richer, more resonant sound. Ideal for serious players.

Laminate Wood: More affordable and resistant to humidity changes. Great for beginners.

2. Strings

Baritone ukuleles typically use nylon strings, but some models come with wound strings to enhance their bass tones. Experiment with different string types to find your preferred sound.

3. Price Range

Entry-Level: $50 to $150. Perfect for beginners.

Intermediate: $150 to $400. Offers better build quality and sound.

Professional: $400 and above. Exceptional craftsmanship and tonal richness.

4. Brand Recommendations

Popular brands include Kala, Lanikai, Cordoba, and Ohana. Each offers a range of models to suit different budgets and skill levels.

Pro Tip: Always play or listen to a ukulele before purchasing. If shopping online, read reviews and watch video demonstrations.

How to Tune a Baritone Ukulele

Tuning your baritone ukulele is crucial for achieving its signature sound. The standard tuning is D-G-B-E, but you can experiment with alternate tunings like G-C-E-A (standard ukulele tuning) for a different feel.

Tools for Tuning

Electronic Tuners: Compact and accurate, these are the most convenient.

Tuning Apps: Many free and paid apps are available for smartphones.

By Ear: Use a piano, keyboard, or another instrument for reference.

Call to Action: Learn more about tuning techniques and tips at Ukulele Insider.

Learning to Play the Baritone Ukulele

Basic Chords

Start with simple chords like G, C, D, and Em. These are foundational for many songs and easy to learn.

Strumming Patterns

Experiment with different strumming techniques to find your rhythm. Start with a basic down-up pattern and gradually incorporate more complex rhythms.

Fingerpicking

The baritone ukulele’s rich tone is ideal for fingerpicking. Begin with simple patterns, plucking one string at a time, and progress to more intricate melodies.

Reading Tabs

Ukulele tablature (tabs) is a simple way to learn songs. Focus on pieces written specifically for the baritone to make the most of its unique tuning.

Pro Tip: Practice regularly for 15-30 minutes daily to build muscle memory and improve steadily.

Popular Songs for the Baritone Ukulele

The baritone ukulele shines in many musical genres. Here are some popular songs to get you started:

“Hallelujah” by Leonard Cohen

“House of the Rising Sun” (Traditional)

“Blackbird” by The Beatles

“Somewhere Over the Rainbow” (Hawaiian Version)

Look for baritone-specific sheet music or adapt guitar chord charts for your ukulele.

Call to Action: Discover more baritone ukulele songs and tutorials at Ukulele Insider.

Maintaining Your Baritone Ukulele

Proper maintenance extends the life of your instrument and keeps it sounding its best.

Cleaning

Wipe down the strings and body with a soft cloth after each use. Avoid harsh chemicals.

String Replacement

Change your strings every 3-6 months, depending on usage. Worn strings affect tone and playability.

Storage

Store your ukulele in a protective case away from extreme temperatures and humidity.

Overcoming Challenges

Common Issues

Fretting Buzz: Ensure proper finger placement and check for worn-out frets.

Tuning Stability: New strings may take time to settle. Stretch them gently after installation.

Transitioning Chords: Practice switching between chords slowly, then increase speed.

Staying Motivated

Set achievable goals.

Join a ukulele community or club.

Record your progress to track improvement.

Advanced Techniques

Once you’ve mastered the basics, challenge yourself with these advanced techniques:

Barre Chords: Use one finger to press multiple strings for more complex harmonies.

Tremolo Picking: Achieve a rapid, shimmering effect by alternating fingers quickly.

Chord Melody Playing: Combine chords and melody for a fuller sound.

Why Choose a Baritone Ukulele?

The baritone ukulele offers a unique musical experience. Its deep, rich tones and versatile tuning make it a standout choice for players of all skill levels. Whether you’re strumming along to your favorite tunes or composing original pieces, the baritone ukulele opens up a world of creative possibilities.

Conclusion

The baritone ukulele is a remarkable instrument that bridges the gap between the traditional ukulele and the guitar. Its warm tones, versatility, and approachable learning curve make it a must-try for any musician.

Ready to embark on your baritone ukulele journey? Explore expert tips, product reviews, and tutorials at Ukulele Insider. Let’s make your musical adventure unforgettable!

[minstrumentprogress]

2025 Plan

After a massive break from documentation of my practices, due to a mix of uni assignment hand ins and lack of motivation, I have conducted a new plan for practice which I believe will be more efficient and manageable for me. When before I'd pretty much practice flexibly, one or two instruments a day, I would find more excuses not to practice. But now I am planning to get to a point where I can regularly practice all 5 instruments every day for 30 minutes each, adding to a total of 2.5 hrs of instrument practice a day. This is a big step from what I was doing before, but with my more regimented plan I feel I get improve quicker and spend less time planning inbetween each practice. Here's how it's going to work:

GUITAR:

First 5-10 minutes: Practice an exercise to focus on a technique or bad habit you want to erase (only focus on one at a time to fix issues quicker).

Last 20-25 minutes: Either learn/practice a song from Dookie (with a goal to record some covers), practice one of your own songs to prepare to record/perform or practice a song in your acoustic cover set.

BASS:

First 5-10 minutes: Practice an exercise to focus on a technique or bad habit you want to erase (only focus on one at a time to fix issues quicker).

Last 20-25 minutes: Either learn/practice a song from Dookie (with a goal to record some covers) or practice one of your own songs to prepare to record/perform, or one other song that isn't either.

VIOLIN:

First 5-10 minutes: Practice a scale, for now rotate between C maj, G maj and D maj (which are the keys you are playing in the violin book), pick up on mistakes and use visual tuner minimally to focus on training your ear.

Last 20-25 mintues: Learn and practice the exercises/pieces in your violin book. Only focus on ONE LESSON AT A TIME to make sure you get your technique correct instead of rushing through because you are bored. You may rotate a few lessons if you get bored, but only have 3 MAX on rotation.

DRUM:

For 30 minutes: Pick 2-4 rudiments to practice to a metronome. Focus on accuracy of timing and consistent velocity (I'm not sure if that't the right word to use, I mean that one hand doesn't sound louder than the other when not wanted).

PIANO(KEYBOARD):

First 5-10 minutes: Practice a Hanon exercise. Don't rush the tempo and make sure your timing is tight slow before you increase speed and become clumsy.

Last 20-25 minutes: Learn/practice one song out of 4 that you rotate. Only focus on ONE SONG unless you play it really well and no mistakes, which is not going to happen for a while so one song for you at a time rn.

After each of these sessions I'll write a summary of what I did, things I've notices and anything I want to focus on next time. At the end of the day I'll then take pictures of the notebook and make a post to document my progress. I really can't be bothered to make a post for every instrument every day. If I record me playing a song and want to post progress I'll post it separately to the main daily post.

Time will tell how long this lasts. I think I will improve if I stick to this and stay focused. Every other improvemennt plan I've made in my life has never worked out. So I really hope this is the one.

For now I'll be doing 5 10 minutes sessions a day so I don't strain myself. I'll warm up and stretch my hands/wrist/fingers before I start a session, even if it's just for one minute. At the end of the day I'll try and do a 'cool down' sort of thing. I don't know if that is overboard, but I'm really anxious about keeping my body healthy and to be able to sustain a lot of practice.

Well there I go, I really hope this works out, if I'm doing something stupid please tell me, for now I'll give this a go. The idea is that I'll play every instrument every day. If I somehow cannot for uni work or other reasons, then I can pick up the next day and it shouldn't be too much of a problem.

[stardust-in-my-mind-blog]

tuning my lyre

I bought a purple tuner for my instrument

but it is not intuitive to me because I've never tuned anything

and I'm upset because I'm going to have to

watch a video to learn how to use it to tune my lyre

which honestly I need to do anyways

but I'm upset it doesn't just all magically come to me

like I know harps are part of my ancestory

so why I can just summon all my inner knowing?

oh right, I have to remind myself

by watching it at least once

and then I'll figure it out

there is no reason for me to expect to

be good at something I've never done

but I always find myself thinking in that pattern

so I write shit out so I know what I'm really thinking

so I can look at it a little more closely

it's easier to understand one voice narrating your life

but I've always had a greek chorus in my mind

really you should blame the muses on hercules

I took one look at that and thought

yep except my muses are the spice girls

and there you have the story of my

awakening consciousness

and they always had cool outfits and colors

when I was younger I just called them

the pretty guardians of sailor moon

rainbow bright and stormy

we always keep a little village in our mind

of characters we kind of think of people like

everyone makes their own archetypes

and you get to change them out

as often as you want to

it's your RPG, right?

why keep the shitty ones?

and then you learn toxic attachment

and how sometimes you just gotta keep

a few dark characters for when it's time

to do the dirty work of maintaining boundaries

guess what my first ideal romance was?

was it a knight in shining armor?

a conquering kind or a poetic solider?

no, no it was not

it was with a fucking telepathic hawk

and I am so upset by the truth of this

it was like beauty and the beast except

a hawk was somehow even cooler

and he could turn back into a boy at will

so it all sort of worked out in a life that felt like war

that was back in the days where I'd go to the library

with Meghan and her kind grandmother

we loved each other so much

Meghan caused teenage girl political friendship scandal

because she wanted me to sit on the front row

at her funeral instead of her best friend

I loved the library so much

I begged as soon as I taught myself to read

the library was a house of portals to worlds

like o'hare airport and its portals to our world

it was magical and a place that felt in between others

I usually like places that are in between

transitional like staircases or train stations

a place you go to wait for your transportation

I've always been a patient sort of person

but I seemed to have forgotten all about that

in my current life experience and my evolution

I watch my own behavior patterns and loops obessively

trying to find ways to improve until I drive myself crazy

to be fair that's why I'm tuning the lyre

give my hands and mind something to do

with my heart so they learn how to talk better

all together because it's been nothing

but non-stop hand to heart to mind combat

and I'm fucking tired of watching it

but it's still annoying that I can't just

pick up the tuner and understand it

or twist the string and know how find the tune

I just need to accept I'm going to break some strings

a lot of strings so I'll just make sure to

have a few spares of them

luckily they aren't expensive or anything

I still have such a childish heart

and I don't think I'd change it much

but it's nice to find where I can frame my thoughts

in a way that helps me problem solve

and not just throw a little tantrum

because it didn't turn out how I wanted or anticipated

but also learning hot to tune this instrument

is going to be so boring and I'm going to have to

focus and my adhd is absolutely incorrigible today

ulysses is going to have to take the beeswax

out of his ears at some point and I want to be

ready to make sure he never gets away again

and this lyre just might be the ticket

worked for achilles, didn't it?

[businesspikuk]

Must-Have Guitar Accessories for Every Guitarist

Whether you're a beginner or a seasoned pro, having the right accessories can enhance your playing experience and help you get the most out of your guitar. Here’s a rundown of must-have guitar accessories every guitarist should own.

Guitar Picks

Guitar picks are essential for most players, providing precision and control when strumming or picking. Picks come in various shapes, sizes, and materials, each offering a different feel and sound. It’s a good idea to try out a few different types to find the one that suits your playing style best.

Capo

A capo is a small device that clamps onto the guitar neck, allowing you to change the pitch of the strings without retuning. This is particularly useful for playing in different keys and experimenting with new sounds. A good capo is easy to use, securely fits on the neck, and doesn’t interfere with your playing.

Guitar Strap

If you play standing up, a guitar strap is a must. It supports your guitar, making it easier to play comfortably for extended periods. When choosing a strap, consider both comfort and durability. Leather straps tend to be more comfortable and long-lasting, while fabric straps offer a variety of designs and are often more affordable.

Tuner

Keeping your guitar in tune is crucial for sounding your best. While you can tune by ear, a tuner is a more accurate and convenient option. There are several types of tuners available, including clip-on tuners, pedal tuners, and smartphone apps. Clip-on tuners are popular for their ease of use and portability.

String Winder and Cutter

Changing strings can be a tedious task, but a string winder and cutter can make the job much easier. A string winder speeds up the process of winding new strings, while a cutter neatly trims the excess string. Some tools combine both functions, making them a handy addition to your guitar toolkit.

Case or Gig Bag

Protecting your guitar from damage is essential, especially if you travel with it. A sturdy case or gig bag provides the necessary protection. Hard cases offer the best protection against impacts, while gig bags are lighter and easier to carry. Choose one based on your needs and how often you transport your guitar.

Pedalboard and Effects Pedals

For electric guitar players, effects pedals can add a new dimension to your sound. Whether you prefer distortion, delay, reverb, or a host of other effects, a pedalboard helps keep everything organised. Investing in a quality pedalboard and a few essential pedals can significantly expand your tonal possibilities.

Cleaning Kit

Regular cleaning is crucial to maintaining your guitar’s appearance and performance. A good cleaning kit typically includes a microfiber cloth, guitar polish, and string cleaner. Keeping your guitar clean not only makes it look better but also extends the life of the strings and hardware.

Spare Strings

Always having a set of spare strings on hand is a good idea. Strings can break unexpectedly, and having spares means you won't be caught off guard. Keep a couple of sets in your gig bag or case so you’re always prepared.

In conclusion, having the right guitar accessories can enhance your guitar playing experience and ensure you're prepared for any situation. From picks and capos to tuners and cleaning kits, these essential accessories are a worthwhile investment for every guitarist.

[donjuaninhell]

I've been slowly putting together a pedalboard and the above diagram is what I hope it will look like when finished. Yes, a Fender '65 Twin Reverb sounds terrific on its own, and when I bought that amp off my friend Rebecca (formerly of punk/grind band Thick Piss, now a criminal defence lawyer) she threw in an Ibanez TS-9 Tube Screamer. That's been enough for me, I'm typically pretty light on effects, the only other pedal I owned for years was a Dunlop Cry Baby Wah (which my dad is borrowing at the moment). Although, if I'm going to be perfectly honest, the Tube Screamer is not my favourite overdrive pedal; I've wanted a ProCo Rat for the longest time, but if you're going to get one of those you should really get your hands on a vintage one and those are getting absurdly expensive, otherwise clones are just as good in most cases. Well, it turns out there's this galaxy of inexpensive Chinese circuit clones of coveted effects pedals waiting to be discovered in the depths of AliExpress. A lot of them are good too, hell, some of them are even improvements on the original circuit designs. Did I mention that they're cheap? In some cases we're talking a quarter of the price of a new original.

So I ordered a few. The Dunlop MXR Flanger clone has already arrived and it sounds fantastic. The Compressor clone sounds great too. I'm still waiting on the Rat clone; I'm particularly excited for this one as it also models all the Rat variants (Fat Rat, Dirty Rat, Turbo Rat). The fourth pedal I ordered is an octave pedal because the rumbling roar of Neil Young's guitar tone on "Hey Hey, My My (Into the Black)" has been burned into my brain from age seventeen onward.

Once those last two pedals arrive in the next few weeks, maybe I'll record a short video demoing them. I just think they're neat.

As for everything else, well I'd need to get an actual board, and a power supply, and it'd be smart to have a noise gate at the end of the chain, and a chromatic tuner wouldn't be expensive (although my relative pitch is still pretty damn good, so tuning by ear isn't a huge deal). Maybe I could sell the Tube Screamer, and replace it with something more like an actual fuzz pedal (a Big Muff Pi or Fuzz Face clone would be cool). I don't know if I really want any other effects. I'm not a huge fan of using delay (even if it is sometimes fun to emulate Frippertronics), and the spring reverb in the Fender Twin is lush and vibrant so there's no need for a reverb pedal. I suppose I could get a chorus (Kurt Cobain's guitar sound on "Come As You Are"), or a phaser (Hendrix playing "The Star Spangled Banner" at Woodstock), but I honestly don't know how much use I'd get out of them.

We'll see if I actually manage to assemble the thing properly with an actual board, but hey, it's a bunch of fun stuff to maybe get me back into the habit of playing more. I have no illusions of being able to play everyday for upwards of two to three hours like when I was a music student, but even just playing more often than "almost never" would be cool.

[audio-luddite]

Old Amps.

Not mine though.

My regular check of the classifieds shows some interesting things on the fringes. Some amplifiers have been listed for a Looong time. Hopeful or stubborn?

The sketchy ARC Cl60 is still there almost a year now. But I want to focus on two others. Actually 3. One is a B&K ST 140 an 80s Mosfet beast that did very well with the golden ears back in the day. That has been listed for at least 2 years. They want 400 bucks for it. Stubborn.

The other type (2 examples) is a Dynaco ST120. It is 60 Watts per channel. One listed for almost a year the other a few months.

Image from HiFiengine.

The one by itself is for $225. The other is part of a full stereo for $500 with turner preamp and speakers. That is cheap. You could sell the speakers preamp and tuner for more than that meaning the Amp is better than free.

This model is notable for being the first solid state amplifier to better tube amps as judged by J Gordon Holt the original golden ear. It has a capacitor coupled output which is weird relative to today, but is a legitimate method. My good friend had one from new and it sounded fine. He replaced that with a Harmon Kardon Citation 12 which was a big step better. There are two things interesting here. Its sound is described as tube like. It is very reliable and easy to repair if need be. It has been used as the base chassis for several DIY builds. If working it is not a bad investment for the price. If you know which end of a soldering iron to hold, it could be fun.

The B&K is interesting as it would be really easy to modify to make better. It is 70 Watts per side with good headroom. Considering it was holding its own with the big boys in the 1980s that is really good. The modification would be to make it semi-monoblock by adding another bridge rectifier and another pair of power supply capacitors to separate the left and right sides. There is lots of room in the box.

Lots of room for more good stuff.

You may need current inrush limiting to be safe with lots more capacitance, but that is easy. The splitting of the power supply will eliminate cross talk that happens during busy loud passages and give it greater clarity. Updating some electrolytic capacitors on the circuit boards would also be wise. From the Stereophile reviews you can still see online It seems that the output devices could hit limits if the speakers were under 8 Ohms.

This one did very well with golden ears and was compared to units costing 10 times as much. It is a Mosfet beast back when that was a new thing. Interesting that some reviewers noted a fine haze or veil over complex sounds or subtle details that they called Mosfet mist. They described this as tube like.

I think it is fun that reviewers describe a flaw in terms of tube sound, but seem to not consider that a flaw in a tube amplifier.

The cheap ones will eventually sell. The B&K has proved to be overpriced but the seller doesn't care.

[perpetual-fool]

guitar stuff, tired

I'm learning, which is cool. But I keep getting blindsided by problems I couldn't anticipate, which feels bad and discouraging. There's nothing really to say about the process, it's just how learning from scratch works. So, I'm just sharing. (And uh, just in case, to not be misleading, this is simply my current model. (Which probably ought to be assumed.))

It's kind of like everything that can go wrong, is.

So, theoretically, musical scales are based off of mathematical ratios and the harmonic series. If you use a tone generator to produce a sound of 55hz, and also another sound of 110hz, they are so resonant that they sound like the same pitch but higher/lower. That's the 'octave', with a ratio of 2:1, and you could fill out a scale with increasing ratios of 3:2, 4:3, 5:4 etc. as far as you want to take it. And theoretically when a thing vibrates, say when a string is plucked, it vibrates at a frequency not only proportional to its full length, but also half its length, and a third, etc..

But the reality does not match the theory. Apparently when a thing vibrates, the frequency is not determined by its full length. Things don't naturally bend into perfect parabolas, they bend into catenaries. That is, things bend more in the middle and stay more straight and the edges. So the frequency is determined by the length of the middle part, minus the 'dead zone' at the edges. And when it's vibrating proportional to half the length, that node in the middle has its own dead zone. And the effect becomes more pronounced the higher up you go. If you have a physical string tuned to 55hz, and another physical string tuned to 110hz, that higher string is going to sound a little bit off, because the actual overtones produced by the 55hz string have a slightly higher frequency than 110. So when tuning a piano for instance, you can't just get a tuner and tune the strings to the perfect frequency, that's not going to harmonize. You have to start with a particular note, and then shift everything else up/down a little bit the further away you get from that note. This is called "stretch tuning".

Now, guitar. First, I'm ignoring 'just intonation vs equal temperament', I'm tired of hearing about it. And fret spacing, which should mostly be obvious. Stretch tuning, yeah it applies. If you just go at it with a tuner it sounds off, and if you tune each string according to the adjacent string it sounds off. I'm having improved results by tuning every string according to a the same string. Nut height, if the nut is at all higher than the frets (as with a "zero fret") then it adds extra tension and pulls notes sharp. I find the difference extremely significant, and this is certainly what made my 'proof of concept' guitar sound acceptable to my ear. If you have a high nut, you can test this concept by using a capo. Nut compensation, is apparently a thing people do, but I've yet to find a good explanation of how that's supposed to work. Bridge compensation, also well known. The string is made a little bit longer than its theoretical scale length on the vibrating end, which adjusts for the 'dead zone'. String gauge, this is significant due to the previous issue. Strings of different thickness and construction will have differing amounts of dead zone, and the bridge might not allow enough adjustment for them. Electric guitars usually have a ton of room, but on acoustics the 'saddle' is barely enough to compensate for one set of strings at one specific tuning. So if you want to do something weird like tune to D standard or have a different balance of string tension, then you'd have to be able to plug up the saddle slot and rout out a new one. Scale length, my own speculation. Context, I noticed that multi-scale guitars sound substantially better to my ear. I have some ideas about why that might be, but since I haven't tested them there's not much point in going over it.

B'yeah, it's like I have to pull out every trick in the book just to make this thing minimally acceptable.

I wonder if I'm doing the right thing? Like, the point was to find happiness. I feel like I might be halfway there, but I don't know that this isn't just a dead end. Even if it's not, I would require things that no one makes (and if they did I couldn't afford it). So I'd have to do my own thing eventually anyway. Would I be happier if I'd made a junk harp out of hardware store parts and fishing line?

Things are converging on that anyway, so I guess I'll find out.

[richardhovan]

Essential Tools for Guitar Maintenance

To maintain the guitar and keep it in optimal condition, one must possess some basic tools. These tools are essential for ensuring that the instrument remains playable and produces high-quality sound. Without the right tools, maintaining a guitar can become a challenging task. Let’s discuss with Richard Hovan about the essential tools for the guitar maintenance.

Microfiber

A microfiber cloth is soft and gentle, making it perfect for cleaning the guitar. Its fine fibers effectively remove dust, fingerprints, and smudges without scratching or damaging the delicate finish of the instrument. Regularly wiping down the guitar with a microfiber cloth not only keeps it looking pristine but also prevents dirt buildup that can affect its tone. In addition to cleaning purposes, a microfiber cloth is also useful for applying guitar polish or wax. This ensures an even distribution of these products on the surface of the instrument, enhancing its luster while protecting it from environmental factors.

Screwdriver

A set of screwdrivers is crucial for adjusting various parts of the guitar. The neck, bridge, and truss rod often require adjustments to achieve proper intonation and action. Screwdrivers allow for precise tuning of these components, resulting in better playability.

String Winder

A string winder is indispensable when changing strings on a guitar. This tool makes the process quicker and more efficient by swiftly winding new strings onto the tuning pegs. It prevents unnecessary strain on the fingers and ensures that each string is properly tightened.

Fret File Or Crowning File

Richard Hovan: Additionally, a fret file or crowning file is necessary to maintain smooth frets. Over time, frets can become worn or uneven due to constant playing. Using a file helps level them out and restore their original shape, preventing buzzing or dead notes.

Electronic Tuner

An electronic tuner is vital for accurate tuning of each string. Tuning by ear can be challenging for beginners or those with less developed ears for pitch recognition. An electronic tuner provides precise readings and ensures that all strings are perfectly tuned.

Guitar Polish

Guitar polish stands out as an essential item for keeping your instrument clean and protected from potential damage. By incorporating regular polishing into your maintenance routine, you can ensure that your beloved guitar remains visually appealing while producing exceptional sound quality throughout its lifetime.

Fretboard Conditioner

A clean and well-maintained fretboard enhances the overall playing experience. Over time, dirt, grime, and sweat can accumulate on the fretboard, causing it to become sticky or rough. This can hinder smooth movement along the strings and affect intonation. By using specialized cleaning solutions and soft cloths, one can remove these impurities and restore the fretboard’s original smoothness. Regular conditioning of the fretboard prevents it from drying out or cracking. Wood is susceptible to changes in humidity levels, which can lead to structural damage if not properly cared for. Applying lemon oil or other suitable conditioning products nourishes the wood and helps maintain its moisture balance.

Wrapping Up

In conclusion, Richard Hovan says, having the right tools is paramount when it comes to maintaining a guitar. By utilizing these tools regularly, one can keep their beloved instrument in optimal condition for years to come.

Originally Posted: https://richardhovan.blogspot.com/2024/02/essential-tools-for-guitar-maintenance.html