I'm kind of a newb with video recording. Is there any free or at least inexpensive software that lets you easily replace the audio in a video recording? Being that this is GS I refuse to use the built mics on video cameras.
Mac or Win?
Free: On the Mac, I would assume iMovie would let you do that. On the PC, I suspect you could get Windows Movie Maker (included or free download, not sure which) to do it. I haven't used any of the recent versions of it.
On the not-free side of things -- but far more capable, I'm a big fan of Sony's Vegas (Win), the 'platinum' consumer version (which goes for around $100; there's a lesser consumer version you can sometimes get for around $60 or so I think that doesn't include some of the HD and maybe DVD burning options of the 'platinum' consumer version. Vegas should do everything you need and plenty more. (Version 10, which I have, allows you to open up to 10 stereo audio tracks and 10 video tracks; video editing is all non-destructive, preview mode is no-wait (and I'm on a modest but well-tuned P4 single core running XP), audio editing allows you to use your existing WMD and ASIO audio plugins, but is not entirely non-destructive. There's also a pro version (for a princely ~$600) that I'm told is the bee's knees but is certainly overkill for your purposes. I used all kinds of free, demo, and giveaway video editors and they all sucked (IMHO) until I got to Vegas. An added, welcome bonus, the video editing is VERY similar to audio editing in DAWs like Cubase, Sonar, etc.
Quote:
Originally Posted by scottrod
I don't see how anybody can play guitar.
You guys are freeks.
I have an acoustic Ibanez, I just keep it around for when the occasional freak drops by though.
Maybe someday... In the meantime, I lust after the skill.
Hey rube! Ivory pounda in da house! Circle the guitar cases and don't shoot 'til you see the whites of his keys...
(I'm guessing. )
Yes, guitar players are freaks, but then so are keyboardists... I mean, how crazy is an instrument arranged in ascending 12 semitone octaves -- an equal temperament instrument that can be played in any key -- but then the nuts make some of the keys an entirely different shape, color, and position, reflecting ONE scale out of hundreds of possible scales. Yes, if you want to play extremely rudimentary music, you can ignore the funny black keys in the back, but to play anything with any real harmonic life and movement in it, you're going to need to get off those white keys... and then, heaven forfend you want to change keys...
I occaasionally tune the 6th to D ,benefit of this is when you play solo,you can keep playing bass notes along ( ..many of these songs are in keyD)Like Happy Traum
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Last edited by lovenara; 26th July 2012 at 06:35 PM..
Reason: more info
I'm on PC, so looks like Vegas is what I need. Thanks!
There's a free trial version. If you decide to buy, you get an activation code that keeps it going after the trial period. Make sure everything works for you, first.
I occaasionally tune the 6th to D ,benefit of this is when you play solo,you can keep playing bass notes along ( ..many of these songs are in keyD)Like Happy Traum
Drop-D... it's the gateway that leads to DADGAD addiction.
That Happy Traum piece is quite lovely -- but sadly truncated. Fortunately, there seems to be a lot of Happy Traum available at MOG (US subscription streaming) and so likely on Spotify, etc. His vocals have a bit of a David Bromberg quality to them... much down home charm.
Since I tuned in I have not been able to put the guitar down. After nearly 45 years of playing I feel like I'm learning all over again. It feels great to be letting my fingers explore new territory.
Quote:
Originally Posted by theblue1
Ha... you're hooked.
Appears to be so.
__________________ "The main thing is to have a gutsy approach....but use your head." Julia Child
"i was not looking at what it was doing, i just kept going till it sounded full." jamesyeah "Sometimes invisible are these glistening threads........" Janni Littlepage
Since I tuned in I have not been able to put the guitar down. After nearly 45 years of playing I feel like I'm learning all over again. It feels great to be letting my fingers explore new territory.
Appears to be so.
What I found myself thinking was that it was almost like getting a new instrument for free.
Quote:
Originally Posted by guitarmax_99
Another denizen from planet DADGAD. I've been living in the tuning for about twenty years now.
I don't disagree with what he says, but he sure takes a long time to say it.
Surely the length of the video is commensurate with the content?
What I see, hear, and understand, is a description of Bensusan's personal development through DADGAD with musical illustrations; he explains how the novice can become conditioned by the modality and how to overcome this.
The music alone is worth several viewings. Agreed the video style is limited but the informal setting doesn't detract from the message.
Personally I felt like I'd learnt something (or have begun too).
Surely the length of the video is commensurate with the content?
What I see, hear, and understand, is a description of Bensusan's personal development through DADGAD with musical illustrations; he explains how the novice can become conditioned by the modality and how to overcome this.
The music alone is worth several viewings. Agreed the video style is limited but the informal setting doesn't detract from the message.
Personally I felt like I'd learnt something (or have begun too).
Oh, I'm finding it quite valuable (I'm on my second go through and plan on returning), and, no doubt, though it's a bit of a ramble, I'm sure I would be similarly hard-pressed to get to the point if I was trying to, in few minutes, talk about something so expansive and, to some extent, maybe a bit elusive.
The kitchen setting is nice because it really underlines the intimacy, it's a bit like having a nice philosophical sitdown with another player. And I really appreciate that.
For the most part, I like to watch a guy in action and then, rather than see a blow-by-blow description of how he plays something (simultaneously boring and hard, for me, to keep track of, even if I know and understand every component move), I like to hear him talk in general about his approach and philosophy -- very much like this.
Maybe it just seemed longer because I had to stop the vid every half minute or so and play for a while to think about what he said.
Seriously, it's a very worthwhile ten minutes. And, actually, how he describes his path parallels the way my own approach has been evolving... first being sucked into all the modal and improvisational possibilities and then thinking, OK, now, time to get to work, let's figure out where all the chords are.
So one of the first things I set out to do was to 'map' the neck in my head with harmonizations of what seemed like the most useful scales for me D/Bm, Dm/F, G/Em and then think of the chords in those harmonizations in their harmonic values, basically thinking in terms of Nashville Notation. (Alternately, of course, I could have chosen Roman Numeral.)
The next thing I did, since I'm a songwriter, was try to get myself so that I could relatively quickly transpose one of my existing songs into one of my favored keys for DADGAD.
And, to stay sane, I first added Nashville notation for changes (on those songs I hadn't already done that) and that made it far easier to quickly translate. (It's also improving my harmonic pattern recognition, as I have often, in the past, just thrown together chords I 'knew' would work without explicitly thinking through their harmonic values. Not a haphazard process because, at this point, a lot of that stuff is subconscious with me, but thinking of the songs in those terms really helps when you're moving from key to key looking for a 'felicitous' tonal/harmonic framework for a given song.
OK, now, time to get to work, let's figure out where all the chords are.
I really got a lot out of that vid.
But my approach is slightly different while being equally rewarding. I honestly don't know many of the chords I'm playing in standard tuning. So the process of finding those familiar places now that I am in DADGAD is a wonderful thing.
This tuning really lends itself well to experimentation.
Haven't seen this mentioned yet, so I thought I would. I've used DADGAD tuning off and on for years and love it. A few years back I picked up one of those Shubb partial capos (Kyser makes one as well)-the one that only capos 3 strings. When I got it I instinctively capoed the 2nd,3rd, and 4th strings for an open A tuning. One night I saw someone with the same capo turned the other way. When I got home I tried it, putting the capo on the 3rd,4th,and 5th strings. As soon as I strummed the open strings I thought "Whoa,that's DADGAD (only tuned up a step of course)". It takes away some of the possibilities of standard DADGAD, but also adds a few others (like not having to stretch up to the 5th fret with your pinkie on the low E to get a G bass note). I've definitely found a lot of interesting things to do with this capo. Here's a photo for those not familiar.
I have found that it is much easier to listen to 'The William Tell Overture' without thinking about the Lone Ranger than it is to put a guitar into DADGAD tuning without thinking about 'Behind Blue Eyes'.
But my approach is slightly different while being equally rewarding. I honestly don't know many of the chords I'm playing in standard tuning. So the process of finding those familiar places now that I am in DADGAD is a wonderful thing.
This tuning really lends itself well to experimentation.
Yeah, some of the chords I play in standard are so harmonically complex I can never remember the spelling.
For instance, I use Cmaj7add6/E a lot (you can also spell it Am9/E but that's not the context I tend to use it in... I'm usually using it in Em as part of a turnaround).
That's where something like Eddie Boston's most excellent 'Chord Designer' -- actually a chord analyzer that lets you 'draw' the fingering on a six string fretboard and then tells you various spellings (it will even 'play' the chord for you from the page which can be very handy).
His Chorderator is a more conventional type-in-the-chord-and-see-possible-fingerings utility but, unlike some others you'll find on the web, it allows you to put in custom tuning and has presets for standard tunings like DADGAD, 5 string banjo, etc.
Quote:
Originally Posted by adathead 53
Haven't seen this mentioned yet, so I thought I would. I've used DADGAD tuning off and on for years and love it. A few years back I picked up one of those Shubb partial capos (Kyser makes one as well)-the one that only capos 3 strings. When I got it I instinctively capoed the 2nd,3rd, and 4th strings for an open A tuning. One night I saw someone with the same capo turned the other way. When I got home I tried it, putting the capo on the 3rd,4th,and 5th strings. As soon as I strummed the open strings I thought "Whoa,that's DADGAD (only tuned up a step of course)". It takes away some of the possibilities of standard DADGAD, but also adds a few others (like not having to stretch up to the 5th fret with your pinkie on the low E to get a G bass note). I've definitely found a lot of interesting things to do with this capo. Here's a photo for those not familiar.
Next time I get $30 together that doesn't need to go to bills (ha!), I keep telling myself I'm going to buy one of these things...
You can change what strings it stops. I saw a guy with TWO of them on his guitar and he was doing some crazy stuff.
That said, I'm still working to sort DADGAD melody runs out from standard in my head. I sort of have this 'memory switch' in my my conscious interface with my muscle memory and I set it one way when playing standard and the other way when playing in DADGAD. Remembering chords isn't much of an issue, but those melodic run moves are SO deep in muscle memory that sometimes the 'communications' between the conscious mind and the procedural/muscle memory systems get confused. Or something.
Muscle memory is almost like this black box that seems to have its own personality -- I think that was one of my problems when I was trying to learn how to play music as a kid. I have a hard time remembering sequences (of anything, words, dates, chords, notes, [but not so much numbers for some reason-- I used to carry about 75 phone numbers in my head until I intentionally started flushing them all out when I got my first cellphone with an address book. (Yes, I go so far back on the cell phone thing my first mobile didn't have an address book or even an onboard clock. It used to drive me nuts. But it was one of the smallest phones out at the time -- you could actually put it in a trouser pocket (although not necessarily without 'or are you just glad to see me' jokes.)
Anyhow, it took me a long time to get my musle memory on board with the whole learning to play guitar thing. It kept rebelling but now it seems like it actually rather likes playing guitar. Stockholm syndrome?
Pierre is THE MAN when it comes to DADGAD. One of the finest players you'll ever hear IMHO.
He's very easy going and personable, as well. And, of course, his playing is fluid and musical. I get a lot out of that sort of informal talk about practice.
Quote:
Originally Posted by 12ax7
.[INDENT]I have found that it is much easier to listen to 'The William Tell Overture' without thinking about the Lone Ranger than it is to put a guitar into DADGAD tuning without thinking about 'Behind Blue Eyes'.
That's funny. Seems like I recall hearing that "Behind Blue Eyes" (which I rather liked as a kid when it came out) was in DADGAD but it's been decades.
And I guess, being a big fan of the Celtic/Brit folkies long before I first put my guitar in DADGAD (just to see), I'm a lot more likely to think of Renbourn or Jansch or Davy Graham than I am Townshend or, you know, that Zep dude.
I absolutely love DADGAD yet i have been experimenting with tunings similar to drop C like CGCFCF AND CGCFCC. There is also another on i like that my idol dallas green uses that is CGDGBE
I've used this tuning a lot at times in the past, although not as much lately. It's great for acoustic blues jamming, but my general strategy is to just finger the third, fifth and sixth strings and move up and down the neck. Maybe it's not kosher, but DADGAD power chords have a melancholy mood like nothing else.
I've used this tuning a lot at times in the past, although not as much lately. It's great for acoustic blues jamming, but my general strategy is to just finger the third, fifth and sixth strings and move up and down the neck. Maybe it's not kosher, but DADGAD power chords have a melancholy mood like nothing else.
No rules.
But it is a tuning rich with possibilities once one gets beneath the shimmering surface.
By trading away some key flexibility (that's why they invented capos, eh?) you open yourself up to some really rich 'pedal tone' possibilities. (Not Mr Music Nomenclature here. You know what I mean, open strings. )
That's where something like Eddie Boston's most excellent 'Chord Designer' -- actually a chord analyzer that lets you 'draw' the fingering on a six string fretboard and then tells you various spellings (it will even 'play' the chord for you from the page which can be very handy).
The idea of someone having used exclusively DADGAD for 20 years, as some of you say you have, is crazy to me. These altered tunings are primarily use for droning songs where you sit on the tonic and drone the open string(s). If you're going to play a song with a chord progression, I think you'd be better off in standard tuning.
Not necessarily, DADGAD is a modal tuning so you can delve into different chordal voicings without using drones exclusively.... You can even solo in DADGAD although it requires a different approach to fingerings! Minor pentatonic is cool.
I agree it can paint you into a stylistic or melodic corner somewhat.
I'm gonna post a couple of my songs in the next few days to give a vibe of how I use it
Haven't seen this mentioned yet, so I thought I would. I've used DADGAD tuning off and on for years and love it. A few years back I picked up one of those Shubb partial capos (Kyser makes one as well)-the one that only capos 3 strings. When I got it I instinctively capoed the 2nd,3rd, and 4th strings for an open A tuning. One night I saw someone with the same capo turned the other way. When I got home I tried it, putting the capo on the 3rd,4th,and 5th strings. As soon as I strummed the open strings I thought "Whoa,that's DADGAD (only tuned up a step of course)". It takes away some of the possibilities of standard DADGAD, but also adds a few others (like not having to stretch up to the 5th fret with your pinkie on the low E to get a G bass note). I've definitely found a lot of interesting things to do with this capo. Here's a photo for those not familiar.
the lyrics came a couple of days later. it's not at all my usual kind of thing, but maybe at some point i might get around to doing a good recording of a good performance of it.
The idea of someone having used exclusively DADGAD for 20 years, as some of you say you have, is crazy to me. These altered tunings are primarily use for droning songs where you sit on the tonic and drone the open string(s). If you're going to play a song with a chord progression, I think you'd be better off in standard tuning.
Listen to Pierre Bensusan and then see if you still feel the same way.
Whoa, i didn't see this before. I guess on some level i knew something like this had to exist but i never actually looked... thanks.
ha, turns out my favorite chords all have very nasty names... but hey, something about roses and smelling as sweet and all that.
I know precisely what you mean.
I got addicted to 'rich' chords (also known in some quarters as lazy man's jazz chords ) way back and would sometimes spend a fair amount of time just trying to get a proper spelling of some chord I'd stumbled on (which is why I gravitated to very explicit chord-tab, I guess you call it [you know, where plain vanilla first position G is noted as 320003?]
It was actually I that asked Chorderator dev, Eddie Boston, to develop the 'Chord Designer' app, for that reason, so I wouldn't have to stop what I was doing to analyze some chord with a load of open strings. (I'm not lazy, I'm just expedient. I hate to lose a hot date with the muses because I'm bogging down in my stumbling analytical skills when there's music to be made.)
The idea of someone having used exclusively DADGAD for 20 years, as some of you say you have, is crazy to me. These altered tunings are primarily use for droning songs where you sit on the tonic and drone the open string(s). If you're going to play a song with a chord progression, I think you'd be better off in standard tuning.
Quote:
Originally Posted by Blast9
Not necessarily, DADGAD is a modal tuning so you can delve into different chordal voicings without using drones exclusively.... You can even solo in DADGAD although it requires a different approach to fingerings! Minor pentatonic is cool.
I agree it can paint you into a stylistic or melodic corner somewhat.
I'm gonna post a couple of my songs in the next few days to give a vibe of how I use it
I'll let Blast9 speak for me on that, for the most part. (Although, while I keep thinking I want to put up something just to give a reference point, I honestly keep feeling like I'm still learning fast enough I'd rather just get a little better, first. )
Mind you, I'm not someone who's been playing DADGAD for more than the last 3 or so years, so I can't answer for others. And I do switch around from standard (which I've played for a very long time), open chords for slide, and DADGAD.
But there's no reason DADGAD necessarily has to produce droney results. You can keep your bass line moving -- you could argue it's even easier in DADGAD -- and you can keep the top end changing up, as well, through intelligent chording.
PS... soloing in DADGAD is really little different than soloing in standard except, of course, it's laid out differently. There are slightly different opportunities presented, familiar 'shapes' take on different harmonic values (for those whose solo playing is informed by a larger harmonic picture), but, though soloing in standard is, for me, second nature and soloing in DADGAD is still a bit of a conscious effort (reminding myself what tuning I'm in, primarily, at the 'jump' between the 3rd and 2nd strings), I can easily see how someone could habitually solo in DADGAD.
Pierre is THE MAN when it comes to DADGAD. One of the finest players you'll ever hear IMHO.
Ooohhh yeeaahh. Saw him 10 years ago when I was vacationing in Quebec City. Bought his then new album "Intuite" on the spot. Something special going on there. An innovator for sure.
Cdlt
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