12/8 Blues

mpointon734 jams
step I
TeeGee419 jams

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+ 18
Somewhere in the description of the drum track MPointon mentions something about 12/8 bars, I tried to find out what it meant, could not find it, Ernoe did not know aaaaahhhhh that gave me the blues so I just winged it. Basically 12 bars, other than the bridge which is 4 bars + 8 bars solo. I recorded it from 2 microphones, one new very close to the amp, the other old one slightly further back. Still not happy with the ...
Taggé comme / Sonne comme:
Rock, 70ies,


(I want ya I need ya I got to be near ya) .. it's the hook from "Strange Kind of Woman" by Deep Purple slowed waaaay down .. sounds great Tee man!! :W:W+1
Juillet 11 2019 20:11:29
TeeGee Lol :D :D: D: well hop on your bass because I want YOU :D ! +1
Juillet 11 2019 20:27:30
Ernie440 LOL!! :D I shall put it in my todo list sire! :) +1
Juillet 12 2019 06:32:15
TeeGee P.S. see the explenation above from Alex about the 12/8 - it actually makes sense now :W +1
Juillet 12 2019 13:00:00
Ernie440 :D he smart! :W oh btw .. really cool lead in this Tee!! :W Good job +0
I’m just going jump in as I’saw your description Tee. 12/8 refers to the underlying triplet feel of each quarter note. So although it feels like a slow 4 if you count 8th note triplets over each beat you’ll see that each bar can also be counted like this 123/123/123/123 thus giving you 12 8th notes in each bar(that’s one bar of slow four right there) it makes reading music in a slow 4 much easier too. Hope that clarifies the 12/8 thing a bit for you. Nice guitar add by the way😎+1
Juillet 12 2019 06:30:48
TeeGee Oh wow, thank you, and thanks also for the 12/8 explanation, much appreciated. Now I feel better musically speaking :D . LOL and I was looking a the drum track trying to find things that are not there :D :D :D +1
if you have the two mic tracks separate in your daw, try swapping the phase of one signal...sounds like one is canceling the other...... just a thought+1
Juillet 12 2019 09:54:25
TeeGee I thought that if you have two identical track and you flip the phase of one, then they cancel each other, don't they? I used that when trying to isolate stuff from a mixed track in the past or did you mean something else? +0
Juillet 12 2019 10:01:55
kimbo Theyll only cancel of the phase is the same. If they are already partially out of wack because say the mics are at mathematicaly opposing points, you can heR the difference by simply fliping the phase of one side and seei g if it gets laouder. If not try moving thecwave form by about a couple of milliseconds. +1
Juillet 16 2019 09:40:26
TeeGee I tried it, it changed the sound and it got quieter. It changed the sound - not sure if it is better. I think the only way I will ever get a good recording if you come over for a few days and experiment with me on it. I just don't have the ear or the knowledge to do it. All I can hear is that the raw recording does not sound half as good as with the ears or even the mobile phone. And now that I got a new mic, new cable, new USB interface, new computer it can only be either the guitar pickups or maybe the Cubase DAW, although that is very unlikely as that is also a fairly new version. +0
Very nice my friend+1
Awesome track Tee:W+1
Blinding and meaty add, Tee! I see Alex has explained the 12/8 thing already. 12/8 is, as he said, 4/4 with 3 quavers (i.e. triplets) to each beat!

Looking at the phase discussion below, it might be worth having a listen to the mix with the phase reversed on one of the channels, just for you own interest. It does, to me, sound a little phased, hence that very mid-centric tone. Although I actually really like the tone on this recording!

I have to reverse the phase on one of the channels when I mic my snare drum top and bottom. It's because when I hit the snare, one mic has the head moving away from it whilst at the same time the other mic has the head moving towards it. In short, the soundwaves are at opposition at the same time.

Phase can be a world of hurt. I have to measure the distance from the centre of my snare to my overhead mics to ensure the sound hits them at exactly (well, near enough) the same time. If I don't, the snare will sound odd and also potentially lose its position in the centre of the stereo image.

As Kimbo says, experiment with either flipping the phase on one of the channels, moving the waveform of one channel very slightly and also just experiment with the distance of the 'room' mic. Sadly, it's a tedious process but worth it once you're 'there'!
That sounds fantastic to me! No idea what you wanted to improve:D+0
:W:W fantastic TG :D+0
Ou Yeah!!! <W+0
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