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Everything posted by Goredho
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Ghislaine "Sgt. Schultz" Maxwell: "I know NOTH-ING"
Goredho replied to Gil Bang's topic in Cloak Room
If the public comes to view Trump's involvement with Epstein's pedophilia affairs as much of a given as say OJ murdering his wife, I am 100% certain congress/SCOTUS will say, "ok sure - any non-pedophile Hitler will do." They will support further moves toward autocracy/fascism/demagoguery to escape their own culpability in the whole affair. The coverup at that point will be for everyone who turned blind eye to what they put into and kept in power. We're still a long way from the public viewing this as much of a given as OJ murdering his wife, though. -
Ghislaine "Sgt. Schultz" Maxwell: "I know NOTH-ING"
Goredho replied to Gil Bang's topic in Cloak Room
Funniest part of this is Cartman's voice for Trump. Like Trump is just an older Cartman. -
Candace Owens has balls. Sorry I meant Brigitte Macron has balls.
Goredho replied to Thetexashammer's topic in Daily Texan
This isn't bad advice, but.... I'm pretty sure you were looking at a glowing screen right then, man. -
Alex Jones is not metal af.
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Ghislaine "Sgt. Schultz" Maxwell: "I know NOTH-ING"
Goredho replied to Gil Bang's topic in Cloak Room
Are you implying he would have gotten away with it, too, if it wasn't for Covid-19 Liberals The Deep State Obama Biden Hillary Pelosi Kamala his meddling base? I dunno, I think he'll figure out the right "these are not the pedophiles you are looking for" Jedi mind trick soon enough. -
This is the CR thread, so consider where we are making drastic changes/cuts... FEMA: helps citizens survive disaster NOAA: helps citizens be prepared for disaster CDC: helps people survive diseases and pandemics FDA: ensures our food and drug supply are safe for human consumption USAID: helps impoverished/desperate people worldwide It seems like we are already acting on the conclusion that unbounded population growth is no way to run a sustainable planet. On the plus side, job market contractions from AI automation won't seem as bad when you also are contracting the pool of human workers needing jobs.
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Yeah, I was not a super huge Ozzy fan. Black Sabbath was mostly before my time, and I was always more interested in the guitarists on Ozzy's solo albums than I was in Ozzy himself. So since the news, I've been trying to pin down what made Ozzy the popular icon he is. For someone who represented a musical genre, he really didn't do much to define it. I mean, he didn't have an objectively great singing voice. He didn't compose the music or write the lyrics that were responsible for this new musical genre and which made him famous. I think he maybe only came up with some of the vocal melodies in his Sabbath and solo catalog. Musically, he was a front man in the most cynical use of the word. A figurehead who attained heights with a lot of others creativity doing most of the heavy lifting. And he had this whole career outside of making music that was engineered primarily by his wife. So what made Ozzy an icon? Ultimately, I think it was that Ozzy was Ozzy and nothing more or less. The Alamo-pissing, bat-head-biting Prince of Darkness. And people of a certain age and social standing loved him for it. He was the square peg to society's round hole who really had no capacity to be anything notable in established and traditional ways. So he lived life without much regard for if or how it might line up to anyone else's expectations and damn if he didn't wind up digging himself a hell of a square hole to exist in. That's something that resonates, man. Timelessly, across generations. Its the struggle of all young people coming of age and wondering how they could possibly become anything of note in a world that they seem to live on the fringes of. If Ozzy could do it, they can do it.
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Gilmour and Waters are probably going to live forever trying to see the other die first.
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Not at all surprising, but still a loss. I am glad he got that last show before he went to the great gig in the sky.
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Gonna be selling some good pedals that aren't getting played for various reasons, none of which are because they suck. Some have been made redundant, some are niche and not being used much, etc... Pm me if you want any of these. Prices are Surly discounts. Will hold a few days to see if anyone is interested before listing on reverb at non-Surly prices. Snouse BlackBox 2 (Overdrive $150 + shipping) PastFX Elastic Mattress (Flanger $125 + shipping) PastFX Rotary Phaser ($200 plus shipping) ZVex Vibrophase (Vibrato/phaser $150 plus shipping) Subdecay Vagabond Tremolo ($100 + shipping) Red Panda Radius (Ring modulator $225 + shipping)
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It manifests itself in the memes people post in reaction to your nonsensical diatribes.
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Etty Lau Farrell is a Temu Yoko Ono.
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Trump calls for former Guardians and Commanders names.
Goredho replied to boilerhorn's topic in Cloak Room
It seemed so much more important at the time. -
Trump calls for former Guardians and Commanders names.
Goredho replied to boilerhorn's topic in Cloak Room
Yeah, I mean, I am all for wanton cancel culture. But when it starts resulting in wives not being posted in IPIHB? -
Trump calls for former Guardians and Commanders names.
Goredho replied to boilerhorn's topic in Cloak Room
A janitor at a YMCA called me a blue-eyed devil once, so all this hits close to home. -
What is going to be funny is when a bunch of people with a 7 or 8 figure net worth begin to realize they are the bulwark between the people with an 9+ figure net worth and the people with a less than 7 figure net worth.
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She looks holesome.
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Saw one of those at a pawn shop here once. Played nice.
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Yeah, drop D is the gateway drug to alternate tunings. One thing not discussed yet, and why it (and drop C) tuning is used a lot in heavy, chugging djent style music is the ability to hammer on and pull off power chords on the 4th, 5th and 6th strings. You can play heavy power chord riffs in drop D that would be impossible as power chords in standard tuning.
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A good example of a song you can learn to play in drop D that illustrates some of what I am talking about to use that droning D to good effect while concentrating on melody on the 1st, 2nd and 3rd strings is "The End" by the Doors.
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Sure, man. I hope it helps to understand why someone would bother with different tunings after they have spent all this time "mastering" the major scale, CAGED and modal patterns in standard tuning. To take it full circle to your triad study, take that last idea that you can use open 4th, 5th and 6th string as a drone and play melodically on the 1st, 2nd and 3rd strings -- use triad patterns in the key of D on the 1st, 2nd and 3rd strings over the droned 4th/5th/6th strings. Each color grouping here with a root on the 3rd string is a triad in the key of D. Walk the scale as triads up and down the fretboard. Play chord progressions with these triads. Do it while droning the open D power chord on the 4th, 5th and 6th strings. Come up with a simple 4 note melody all on the 3rd string. Play that melody all on the 3rd string a few times. Then start incorporating the other two notes of the triad associated with each note in your melody. Do that a few times. Then arppegiate those triads in your melody. Then consider how you could have played that (including the droning D power chord) in standard tuning. Is it more difficult? Is it even possible? Last thing I would encourage you to consider after you have done this and grok the previous paragraph. If you consider what you have played and a map of the D major scale to the guitar fretboard (in drop D tuning): You can visually see that: Every note you played is in the scale of D major Every 3 note triad you played is a chord Every 3 note triad you played uses a note from the scale of D major This is demonstrating a fundamental concept of music theory for music rooted in the 12 note chromatic scale (and diatonic scales made from it.) Every chord in a key is made up of notes in the scale corresponding to that key. In this case, its the D major scale. Every chord you are playing is in the key of D major and is made up of a note from the D major scale. And a chord in the key of D major is just a 3 note subset of the scale. Anyway, scale/mode shapes and CAGED in standard tuning are a great way to understand the guitar fretboard as it applies to most of the music we hear on the radio. But there are other ways of understanding the fretboard as it applies to music (like your triad study), and I would encourage you to not think of something that disrupts your CAGED understanding of the guitar as a bad thing. Things like different tunings force you to think outside of a CAGED box make you a better musician overall, and will help you make music that does not sound like its stuck in 5-7 vertical patterns on the fretboard.
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Elon Musk: Nazi traitor piece of shit [Confirmed]
Goredho replied to MaybeACoordinator's topic in Daily Texan
Why are we whispering? -
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This is the tl;dr version of what I posted 😜
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Music geek mode activated. Everything is the same except the low E string, which is now D. So the chords affected are those with a root on the 6th string. Typically those are the E, G and A in guitar centric music, but the A can be easily rooted on the open 5th string so I just move that chord there, and I really only have to think about E and G if I want a chord rooted on the 6th string. So a single shape for major and a single shape for minor works for those chords: major minor So with just adding those two chord shapes, you can pretty much get by in drop-D with any song/progression. However, drop D tuning tends to really affect composition, too. The interval changed on barring the 5th and 6th string have gone from a 4th to a 5th. Which means you can just bar the lowest 3 strings and you have a power chord, which is easier to play than a power chord in standard tuning. So for composition, most things written in drop D take advantage of this. This gives a really big and heavy open D double power chord with a high 3rd: If you omit the highest note on the 1st string, you can play that double power chord anywhere on the neck and it will work in either a major or minor context. This ability to bar a power chord with the index finger on the 4th, 5th and 6th strings leaves you 3 fingers to make extensions or play melody with over the low power chord. This allows you to do things that would be very difficult in standard tuning. Like this barred F power chord on the 3rd fret -- the red box on the first 3 strings are easily accessible to your middle finger, ring finger and pinky and you can play whatever melodic lines you want up here at the same time you hold the power chord with the barred index finger. Now consider that you can slide that barred index finger power chord at appropriate intervals up and down the fretboard to play a chord progression while doing melodic things on the 1st/2nd/3rd string in that box at each stop, and you can probably imagine how this leads to a performance that's very different than if you were in standard tuning. Like, say you were playing G, C, D, G. You play those at the 5th, 10th, 12th and 5th frets with your index finger power chords vs the cowboy chords near the nut, and you are simultaneously doing melodic things in the red box at each stop with the rest of your fingers. A lot of things written in drop D use the open D power chord on the 4th/5th/6th string as a drone, almost like an Indian Raga, and you only use your fingers to play melody on the 1st and 2nd strings. You need to think about your D centric scale more horizontally than vertically with CAGED shapes. Experiment with that with a D Phrygian dominant scale played on the 5th and 6th strings and you will be making some wild, pseudo-middle eastern music.
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