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>General guitar and bass discussion
Beginner information and FAQ:
Guitar chords and inversions
String Tension Calculator (D'Addario based):
Floyd Rose Setup Video Tutorial:
>http://youtu.be/umY5NBKg5AA?list=PLcm7Ag6Q-OkZAmlY6dAhS2ZL9TUMeRZdI [Embed] [Embed] [Embed] [Embed]
Steve Vai's Ten Hour Workout
Guthrie Govan's Creative Guitar 1 & 2
Impulse Response Pack
Free VST downloads (amps and effects simulators):
ASIO drivers (they reduce latency):
>Advancing Guitarist Mick Goodrick
>Chord Chemistry - Ted Greene
>Mickey Baker's Jazz Guitar
>Modern Chord Progressions: Jazz and Classical Voicings for Guitar - Ted Greene
>Jazz Guitar: Single Note Soloing Vol. 1 & 2- Ted Greene
OLD THREAD: >>60160878
Yeah, but you're compared well stationed basswood to epiphone's cheap laminate that isn't even well dried. Something like that is guaranteed to dampen the vibrations, because it doesn't have enough dimensional stability.
luthier/amp tech/dealer reporting
monitoring thread if anyone has gear related questions
Bought a Cort G250 for lefties, will be "delivered" to me within the next few days, will I regret it? Originally wanted to get a Yamaha Pacifica 112J, wasn't available though.
How do those 2 compare?
Today i discovered the intonation on my acoustic was out of wack. Everything is just a little sharp. I'm using heavier strings than I used to and the action is a bit high. Could i just adjust the truss rod to straighten the neck a bit?
I want to replace the volume pot in my Blues Deluxe with a logarithmic one because 75 percent of the amps volume is in the first 3 (out of 12, thanks Fender) notches. I have a little electronics knowledge but am wondering how hard you think it would be for me to change it myself, or if i should take it to someone?
I've been playing for almost a year. How far along should I be?
You should be trying to make small goals with your guitar playing and work to achieve them. Its all up to you.
Stuff like transitioning from chord to chord smooth and cleanly, getting through a whole song, alternate picking, metronome practice, etc. Its all about eventually being a well rounded player with the chops to play the things you love.
Heavier strings need a slightly longer scale length to into nate properly, but the high action is likely more responsible. Tightening the truss rod will bring the action down. Don't adjust the rod at tension. Detune the thing. You can also compensate the saddle as in the pic I posted.
It's a pain in the ass but you can do it if you're good with a soldering iron and comfortable removing the entire circuit board. The pots are pcb mount 16mm iirc. Just jumper in a new full size one.
Take it slowly, one day at a time. Do just enough as to not get frustrated or burn yourself out. Work the songs in small pieces, play the shit out of them until you got those pieces down, then put them all together.
Are you referring to the fender twin half power mod? If so, yes it needs to be rebiased. You also have to disconnect one speaker so the output section sees the appropriate reflected impedance. Unless you know what you're doing, you should leave power tubes alone. Even in cathode biased amps, sometimes the cathode resistor value needs to be changed to set the proper plate current. You can swap preamp tubes freely though given they are the same pinout.
I dont understand how my hand is supposed to be for this? My index finger can keep the two strings down but the way they have to do it means my middle finger touches a string its not supposed to
You have to curl the middle finger over and come straight down on it.
Last week I was working on a kinda techy bit for a song I was recording for shits, and I was having trouble playing it, so I started getting drunk and trying to do it. It wasn't helpful, but I woke up the next day and could play all of it perfectly, over and over and over again, and I still can.
Anyways, not talking in terms of instrumentation, but artistically and conceptually, I imagine my best whenever I'm drunk (which is mostly depressive stuff anyways)
There are a couple other good mods for that amp.
>equal channel weighting
this puts reverb and tremolo on both channels. You only have to disconnect one 220k mix resistor and add one jumper wire on the preamp tubes. Then you can have two differently voiced channels both with the extra gain from the reverb section and a/b into them
normal channel gets sent into vibrato channel for absurd Mesa type od. Plug into vibrato channel and you get the original sound
I ran my twin at half power without biasing for years with no issues, someone once told me biasing is done to extend the life of the tubes.. Is that accurate?
Also when you say to disconnect one speaker, do mean just while biasing or do you mean permanently?
Biasing sets the idle plate current in milliamps. In a class ab push pull amp it's a negative voltage applied to the input grid. Too much neg voltage (overbiased) and the tubes run cold and it sounds like ass (crossover distortion). Too little voltage (underbiased) and the tubes run too hot and fail sooner. People think hotter is better, but it doesn't do anything but kill tubes. One speaker should be disconnected permanently so you have an 8ohm load. Or stick 2 16ohm in parallel in there. You're risking your output transformer otherwise.
You have some gnarly fingers and terrible technique, dude
It's probably an issue with thumb placement. Put your thumb on the back of the neck in the middle, try angling your guitar up a bit. That's how you should be playing all the time, anyway
Sorry mr segovia. Have i offended you delicate sensibilities? You wish you had my hands. My technique is thumb over to provide two anchor points on the neck. Makes for easier, more accurate bending, and playing with all 5 digits > 4 digits. Plus I play resonators guitar with a pinky slide so I thumb root notes.
Fender Vibro Champ. Mod input 2 to be mids pot. Mids are set by a fixed value resistor as stock
As a tech, I woud never recommend that series of amp.
20 watts seems much too loud for a bedroom and all those extra effects are wasted money to me.
That would be an interesting choice if I didn't have to go to flea markets and hope to find one.
Very interesting luthier bro, thanks for hanging around.
Yesterday we were discussing about the effects of woods in tone, I'm more interested on electric as it seems is not much of a difference as in acoustic... what's your experience?
There's a lumber yard near me that has a good selection of exotics/tonewoods. I th usually fairly well cured but I let it sit around until I'm sure it good
Good tonewoods are important for an acoustic, especially the top. The bracing is also just as important. Makes a difference in electrics too, but it more subtle and affects sustain more than anything. The electronics have a greater influence on the tone of an elecric
Does my knife edge look normal? I'm pretty sure it's just the paint dropping off.
>you're an ass
You're forgetting that you're the one that started this conversation with an insult. Now you continue throwing insults around. My stretch distance is probably greater that yours even with my thumb over the top. Granted, there are certain fingerings that i do slide my thumb down on the back of the neck for. I find it more important to get the sounds i want out of the instrument than to adhere to certain principles in such a dogmatic way. There is no one correct technique. Why are you so angry?
>listening to some improv recordings I did when I was high as balls
>actually pretty cool riffs
Damn, now I wish I had sum reefer. What's your guys opinion about playing while high?
Also, I remember thinking that everything I played had way too much treble (I think I made a post about it here lol) but listening to it now I think there's a bit too much bass in the tone.
Yeah, I don't do the marijuanas that often because I want it to be a sort of a special treat. Makes being high so much better.
Yeah, I felt that too. Kinda like falling a sleep or something.
How did I know you played classical? Might as well be a different instrument.
thanks based luthier anon, I was trying to tell them this yesterday
What's the best wood for sustain? I'm guessing mahogany but that's just because Les Pauls have a great reputation for being sustain machines.
Yeah that was a 1968 es335. 24.75in scale
Here's a 1937 L5. Same scale as yours.
You know the difference is negligible.
Hey, I'm that fag who always asked what was a better choice between a Yamaha bass and a Squier Affinity. I'm finally buying the Yamaha, a TRBX174 with natural finish and a pretty big discount(I actually think it's a TRBX174EW since its normal price is way bigger than some black 174s I've seen around town).
I want some other recommendations now, like resources for bass (I already play electric guitar), some cool beginner-level songs or whatever you would like a novice to know. I already plan to learn a lot of Maiden, Motörhead and Metallica, but I also enjoy some variety.
I play when I'm stoned every day. I don't drink much but when I do, I have to pick up my guitar & zone out for hours. I don't know if what I play is better but I definitely have fun.
Found it in amazon, I have these two:
Turns out he put out a new one in 2010:
The trick is to stay relaxed and pick from your wrist. As long as you aren't doing that weird arm spasm thing you'll get there with practice. It's really easy once you get the hang of it.
Some tremolo picking at 0:50
Learn some second wave black metal if you want to focus on that technique.
Black metal is good to practice that stuff. Surf too.
I played both back in the day, but without difficulty because I am a natural when it comes to picking. I suck with my left hand tho. The guy who had the guitar I played back then was the band's guitarist, I played bass.
>gut wounded silk strings
Fender Mustang has software midrange control and a host of other tweaks. Also, downloadable presets that leverage others' hard work. Earphones jack? Check!
Funny. I went to the pawn shop today and they had a Frontman 15r and 15g at $60 each. The Mustang is 100x the amp and I got mine for $40. Gotta use that Craigslist.
Amplifier class has nothing to do with method of achieving bias. Class refers to a mode of operation.
Half power will be hardly noticeable save a little headroom. A variac will squash your output power in a hurry.
Put an accent on the first beat, for starters. It will keep your picking on point. A master like Dick Dale moves the accents around but that's probably not needed for metal.
An organ has the advantage of being earth shatteringly loud.
Makes for a good church accompaniment, however; organists are few and far between and just because someone knows piano doesn't mean they can play organ.
Which is the best of the Korg Pitch Black, Boss TU, and TC Polytune.
I'm doing that Boss 2 for 3 thing and I'm wondering if taking the Tuner as the free pedal is a good choice.
For pure accuracy the Polytune. I think the PB is 1 cent accurate and the TUs a few more, don't quote me on that.
I can't really recommend the Polytune if you have crappy eyesight like myself, my eyes don't like the display at all. The polymode is nice to check if you're in tune real fast, but I use the strobe mode for actually tuning.
I'm planning to retrofit the hardware of a jazzmaster onto a telecaster body, and what to include the original telecaster knobs and 3-way switch on the guitar, plate and all. If i were to wire jazzmaster pickups and rhythm switches into telecaster pots and the switch would it still produce the same exact tone. I don't see why it wouldn't be identical, but then again I'm not even a beginner with electrical experience in guitars.
>complete and total fucking noob question here
I've got a guitar and I want to plug it into my computer to start recording/editing my fucking terrible music.
What programs should I look at or do we live in 2015 and this isn't possible.
hey /GG/ what's your favorite reverb pedals?
im looking for something pretty good but don't have too much to spend (<$150) im looking at behringer digial ones that go pretty cheap to start with
just imagine this situation stepfam:
>looking at bass cabinets at Guitar Center
>checking out 210 cabinet
>hear guy with girlfriend behind me
>notice he's looking at the bass version of that guitar
>girl looks at fender bass
> girl: what's the difference between this bass and that one?
>guy glances at bass and quickly turns back to plugging that fugly ass bass into a practice amp
>guy: because thats a shitty fender... THIS is a Dean!
>i fantasize about throwing the Mesa 210 at the back of his head.
rate my rig.
not included Squier vintage modified Jaguar bass
Guys theres this sunn 6x12 for sale on my craigslist for 600 dollars... Should i buy it? i have absolutely no reason for it, it will likely never see outside my bedroom. seems like a great deal though.
Why do so many actually shops use Reverb and just post a new amp (or guitar) for the full price and then make you pay shipping? I can get the same item 5 other places at the same price and free shipping.
Or peoples used things going over new cuz of shipping
when basses go into guitar territory it grinds my gears, specially because the guys who play those "basses" tend to neglect basslines, ruining the low end of the band. 7 string guitars aren't that bad though, they are the perfect compliment for a 5 string bass. 8 string ones are faggy as fuck.
the softer it is, the least it will sustain. Mildly wet woods are more elastic than dry ones (18% humidity) and can dampen vibrations. That's what I mean when I say "dimensional stability". Picture a polyfoam guitar body to make my point more clear.
i bought the cab used. they described it as brown tolex and burlap grille. they actually just ripped the tolex off and lazily put the burlap on the grille frame. i eventually will, but right now i'm not stressing over it. I do need to find the material type for the grille though, and another Acoustic badge.
Does there exist a two-in-one octave pedal like these crude sketches?
An up and down in one pedal with two separate switches but that aren't necessarily going simultaneously. Choose either/or, but keep settings set for both (whatever those settings are) divided.
Or even have that plus the option for both if the maker was that ambitious.
I get necessity's the mother of invention, but I have zero electrical skill nor have I soldered anything before and this seems a bit above a beginner do-it-yourselfer.
>he doesn't play his bass VI as a baritone guitar
I have one of those Roland SP-404sx units that's sitting on that amp too they're so good. I have a Roland SP-404 and loved it so much I had to get the SP-404sx. better than sex desu
wilshires have different pickgaurds and most the time the body style is a little different with the bottom horn being smaller on wilshires
the only wilshire that had the same-ish pickguard as the coronet were the very early ones, which had 2 p90s
Yeah that naked blonde has erect nipples to indicate to the world that she's horny.
I had the SP-202 and 303 years ago. I liked them a lot for what they are, but the 404sx is so much faster and easy to do shit with.
you used to be able to see it real good
now you cant see shit
the signature guitars with that repro sticker don't look nearly as dirty(sexy) for some reason
There are better practice amps for the price stepfam.
Search for used, you will be able to get much better gear. That's one of the first things I learned after buying a shit starting amp.
That's actually what I did, I probably should of mentioned that it's going to cost me $170 AUD for the amp and a Korg AX1500G. There was one guy selling a VOX VT40+ but his price wouldn't budge.
analog octave pedals typically introduce fuzz. If you want a clean octave pedal, you're looking at something digital, which is generally beyond the reach of the hobbyist.
As for manufactured pedals, I'm not aware of one.
I'm looking for a chorus but something that sounds different from average. I'm thinking something that sounds warbly and slightly detuned. Does such a thing exist?
I checked pic related but it doesn't come close to what I have in mind.
Thanks, guys. Appreciate the info.
I think that modded POG (the Quadra POG, as it's called) is exactly what I'm after. And though I'm not pulling any triggers yet, $309 is about the same/a little cheaper than the POG 2 that was on the wish list previously.
Quick walkthrough vid--
I've got a couple of those. I like them because the elasticity takes some of the tension off the shoulders, but they are limited in how high up you can place the guitar on your body. In fact, I'm probably going to take the one off my main guitar and switch it out for a regular strap.
Depends on what you mean by "dreamy". It could just be a matter of rhythmic "feeling" when you play chords. Pick a few chords out from a scale, arpeggiate them slowly, and maybe add some delay/reverb.
A good example that comes to my mind is Steve Vai's "For the Love of God". The background chord progression for that tune is just a slowly-arpeggiated cycle of familiar chords shapes.
Don't give hard Cadances, look up what Debussy and his contemporaries were doing in the impressionistic period.
Ever wonder why Claire De Lune is so floaty?
Read up on it. Classical music is very much relevant. Hope you know real theory though and not guitar "theory."
got bored and decided to replace the sticky, saggy, burlap with this fabric i had laying around.
brah find yourself some nice tweed or knitted grill cloth. something from an old organ (or that style) would be classy as fuck
Knock off Strat (Johnson by AXL)
Fender Classic Player Jaguar Special HH
Seagull Entourage Rustic CW QIT Acoustic-Electric
Oscar Schmidt OU5 ukulele
shitty practice amp
shitty multi-effect pedal
Just bought the jag recently. Really enjoying it. Kinda thinking back wondering if I should have got a JM but I think that just me always second guessing myself. Plays great, looks great, sounds great.
I know but I still think some of those vintage grill clothes are t'riffic. my m-100 has this crazy goldish woven cloth with shiny bits in it. i should take a pic of it with some mics like i did here with my leslie grill cloth >>60194755
pic somewhat related, found online
I'm picking three pedals for the Boss 3 for 2 thing ( http://www.boss3for2.com/ ) and need at least the DD7 and the NS2. However, I'm not sure what to pick as a third pedal. Rec me anything except a distortion, please.
Still not as good as an ISP though
Honestly the only Boss pedals I'd rec for anyone would be the DD7 (or DM2W if you want a true analog delay) or the TU3, that deal isn't really that great desu
got this for $300. pretty stoked on it
You like Dick, anon? I'm actually hoping to see him in concert before he dies.
Fuck no, and im a sunn guy.
Thats a 200$ cab @ most and enjoy that 6 ohm mismatch
Because Mesa have been fucking stupid for years. I don't think they realize 6V6 tubes exist.
Fuck, fairly sure Fender realized you can use 6l6 tubes for low wattage amps, my Albion 35w combo has 2x 6L6.
Who /death metal/ here?
How do I unlock Chuckster mode? Something tells me that repeating guitar exercises all the time for improving mechanics isn't all there is to it.
does anyone else here listen to Les Paul?
I mean the actual person. Really underrated guitarist/musician.
I love his stuff - a real stylish player and innovator.
Also the first to really get the possibilities of multitrack recording - all that stuff with Mary Ford with the double speed stuff and close vocal harmony stuff is just the tits
But that has nothing to do with any specific wood per se, just body stiffness.
As long as the body material is stiff enough to anchor the strings securely, you can use anything-wood, steel, stone, plastic, whatever-and get the same tonal effect.
And people have.
Where wood has the advantage is the combination of high stiffness, low(ish) weight and easy machining at low cost. Plus some of it looks pretty.
When tremoloing a string, I find it hard to skip to the adjacent one without stopping or sometimes accidentally strum both strings.
e.g. going from E to A and back:
Can someone please tell me what the fuck is wrong with me and how can I fix it?
Can't remember exactly, but it was ages ago.
Don't keep hacking through it an expect it to magically improve.
Slow it down until you have a speed you can play it with a consistent rhythm and tone - isolate individual bars or even beats if necessary - use a metronome
If playing from dots or a tab, writing your fingering and picking can help.
First part in a minor mode, with a fast afterbeat
Chorus with a different rythmic, with more tension
Solo on one of the minor scales (typically aeolian or phrygian)
break in phrygian or completely atonal
go back to the first part
eventually do the chorus one last time.
That's almost how every single track on the first three albums are.
If you want to understand how different Human/Individual Thought pattern/Symbolic and Flesh and the power it holds are different, listen to early Cynic. I'm pretty sure the prog influence came from Paul Masvidal.
Also, abuse the shit of the 1-5-9 chord.
Get yourself a Steve Digiorgio
Yepes tune his 10 string in a weird way, though.
The 7th string was C below Low E, but 8,9 and 10 were sympathetic/ resonant strings (Bb, Ab and F iirc) tuned HIGHER than the low E
It's still an ERG technically.
The way he's tuned kinda reminds me of a chapman stick.
Having more strings to let ring freely gives you a lot more mobility though.
Any of you guys have actually used a Mark V or a Mark V 25 or just parroting?
They work fine under the current design, I would prefer a 6l6 but they managed to make them not-so EL84... Even Andy Timmons mentions that.
They made the 35 for the >muh headroom crowd I suppose.
Tried the regular V and the 25w and they're both pretty meh amps to be honest. the 25w sounded pretty shite cranked and the V was fizzy, really there's nothing a IV or V can do that a IIC+ or III can't do much much better.
But yeah it doesn't really make sense to make a model with an extra wopping 10 watts, adding less than a db of volume and not much headroom. Although personally there hasn't been a Mesa amp I've thought was that great in the last 10 years honestly.
Well I do have my own ideas about death metal composition. Actually, I finished writing a whole album 2 weeks ago.
Trouble is I'm not even close to having the chops needed to play them.
Underrated now, but I think he was one of the most famous musicians/highest selling back in the 50s. He and his wife had their own TV show.
Aside from his technical contributions, Les Paul was probably one of the greatest guitarists ever. His technique was mind blowing.
Well it's mostly practice. One of Guthrie Govan's advices has probably been one of the greatest I've heard. He says that you sort of have to follow what Bruce Lee did. Use as little movement as possible, but make it matter. So when you practice something at half speed, focus on doing it while barely moving. That way you don't get tired and move faster.
thats basically how all choruses work, the have a normal signal and another signal that is slightly detuned a couple cents up and down.
theres lots of pedals that do weird chorus, but that pedal looks pretty cool.
maybe look at the midfi pitchpirate, dwarfcraft wizard of pitch, you could probably get pretty intense detune/chorus sounds from a lot of pitch pedals like the ehx pitchfork, ehx polychorus, earthquaker sea machine, dr scientist cosmic chorus
they make deluxe reverb and supersonic heads
lots of classic fender amps came in head form, the various bassman models, bandmasters, twin reverbs, dual showman, concert....lots came in head
Hey guys, I am a complete beginner in playing guitar.
I probably don't need a pedal now, but I just really wanted to get used to hearing how some of my fav guitarists sound.
favs: ritchie blackmore, yngwie malmsteen, steve vai
So basically I'd like a pretty cost efficient pedal with distortion/delay/reverb.
What would you guys recommend?
Depends what you're using it for. Personally I'm gonna get one eventually, already got a Matrix poweramp so those two together would make a killer live rig. I have a tube amp but fuck lugging that thing around the place.
It isn't a replacement for a tube amp but it is the studio/session/touring muso's wet dream, pair it with a tube poweramp (or very good SS poweramp like a Matrix or QSC) and you have some of the best sounds possible.
ZOOM G1XN I guess, you'll have to go over the manual a couple times to understand what the different options mean but the FX are decent enough to give you an idea of what you want when it comes to the day when you buy individual stomp-boxes.
What you seem to want is a true vibrato effect.
The good news is that is what every chorus pedal does, they just mix it in with your clean signal to give you the chorus effect. You just need a way to turn off the clean signal in the pedal, so all you get is the vibrato signal out, and there are two ways to do that-either a mix/depth/whatever knob or a switch.
I have an EH Small Clone, and that's what its "Color" switch does-it turns off the dry signal, making it a true vibrato effect. I'm sure there are other chorus pedals with that function on a knob, I just haven't played with too many of them. Chorus is the one effect that I never really saw the utility of, so I hardly ever use it and never try them when they're in the store.
chase bliss makes the warped
they are super expensive but you can control ton of stuff
other pedals for warbly/warpy sounds
seppuku mind warp, zvex lo fi loop junky zvex instant junky, midfi clarinot
Thank you. The Warped Vinyl, Sea Machine and Wizard of Pitch come very close to what I want. Probably after some tweaking I'm sure I could get what I'm looking for. Now to decide which one to buy...
Frank Vignola plays this movable shape by using the last joint of the middle finger to play the B and High E strings, and the ring finger to play the note on the G string, and when you move this shape up the neck, the index finger goes on the D string to play the Root. This fingering seems like it would be good to get used to so you can add an extension on the High E with your little finger.
I had a mind warp, they used to be not stupid expensive
is made cool warbly sounds but there was such a huge volume drop it was basically useless if you ever had to turn it on or off so I sold it
Guys, tell me what to practice. I'm getting tired of starting my solos in the minor pentatonic with the root on the Low E or A string, often sliding into the root or bending the 7th up to the root. What do? I want to freshen things up whilst still playing over traditional rock n roll chord progressions.
For a long while there in the 90s and early 2000s, virtually all new production 6v6s were absolute shit. They either couldn't handle the voltages of the old ones, or wouldn't produce the rated power output, or they were so wildly inconsistent by batch to the point where they were unusable for an amp maker to design anything around.
Hence the Blues and Pro Jr amps from Fender. I'm sure they'd have loved to make a twin-6v6 amp at the time-they had lots of experience doing that and it's certainly what the traditional Fender fans wanted, but the tube quality just wasn't there at the time. So they designed their low-wattage amp around EL84s, because at least THEY had consistent specs.
The situation is much better now that JJ's in the game, but even still there are brands on the market that are best avoided.
try working on arpeggios up and down the neck, and get in the habit of seeing chord tones while you solo. chord tones are safe target notes and all the other notes are always going to be adding some type of tension to whichever chord you're playing over and will want to lead back to the chord tones. once you get that stuff down you'll start thinking in terms of chords to play over rather than just scales
it's hard to practice stuff like this, most of the time people will just give you a bunch of shitty exercises where you go up and down scales in 3rds or 5ths or shit like that, and they all sound terrible and have no application when you actually improvise, because it just sounds like a shitty exercise
maybe learn some gypsy jazz licks
>go to store to try the TS Mini
>Also test the TS808
Jesus Christ the TS808 tone is fucking amazing. Unfortunately it's not exactly cheap. Buy the mini for great tone at relatively low price, or buy the 808 for god tier tone for quite a bit of cash?
Yeah, been trying to get into playing the changes lately after having just played one scale over everything for the longest time. Sometimes it sounds a bit "too clever" to me to always hit "the right notes" on every change, but I feel like I'm slowly improving. It's just hard to break out of the comfort zone.
if you know how to hit the right notes, try hitting some random chromatic note or some type of chromatic movement before you make a change and see how if it works. sort of like filling in the gaps between stuff.
there's nothing wrong with always hitting the right notes, but sometimes it gets kind of well... boring to listen to. you need to know how to play in before you play out though
What are some cool modulation effects that are "out there"? I want something insane.
Phaser and flanger are close enough that I understand not having them on the same board, but why not tremolo?
Try Earthquaker Devices, Old Blood Noise Endeavours, MASF, Alexander Pedals, Death by Audio, Mantic Flex Pro (like a crazier Rainbow Machine). Just a few builders I've been into lately.
I'm not trying to be rude here, but your form is really poor. There's no way you can sound fluid with your fingers way off the fretboard like that.
If you need your thumb over to bend well, your bending technique is off.
Don't be arrogant, or you won't improve. You have big issues in your technique.
Probably the thing I'm most frustrated about with my playing is that I can't alternate pick as fast as the Gilberts, Govans, Malmsteens, et al out there, despite countless hours with a metronome and drum tracks.
I really struggle to hit anything faster than 16th note triplets at 100bpm, while they seem to do 16th note triplets at 140 - 160 bpm with ease.
>tfw he sometimes manages to not stutter for two sentences
Stay based, Joel.
You mean sextuplets? Just keep practicing. How long have you been playing? What is the string guage you use (I personally believe that the secret to picking fast is often using HEAVIER strings, unlike what most people say)?
try a different pick, jazz III's are recomended left and right on here and are good for fast picked lines.
you may also be holding the pick in a way that limits how fast you can play and you may also being tensing up too much.
but, it's not always the picking hand. see where the problem is. whatever lick/scale run/etc you're trying to practice at those speeds, try just picking it without your fretting hand fretting notes. if you can nail the picking part, your fretting hand isn't fast enough and you need to work on that.
>(I personally believe that the secret to picking fast is often using HEAVIER strings, unlike what most people say)
ehh, probably not. heavier strings have more tension so the string isn't going "give" as much as a lighter string, but you can just as easily lighten up your picking and find a balance between attack and speed. it's probably better to do it this way because then you'll have better control and at that point the string gauge doesn't matter
>Just keep practicing. How long have you been playing?
Jesus. 15 years.
I used to use something like 10 - 46, now I've just been using Super Slinky's for the past few years.
Been using Jazz III picks for a while but routinely experiment with other picks. I've been experimenting with my technique a bit too. Used to try strictly wrist picking like Paul Gilbert, but found my top speed was pretty slow like that, so I tried switching it up to a more thumb and index finger oriented picking motion ala Takayoshi Ohmura.
I've thought of getting one of these and just practicing lines hammering on every note, to make sure my left hand is in tip top shape.
Alternate pick what?
The typical scale runs incorporate more than "alternate picking". They include string switching, left-right hand coordination, odd and even picks on the strings, and bunch of other things.
My advice is construct exercises yourself that start from the simplest alternate picking movement to the more complex ones.
For example, 8 measures of 16th notes on the open high e. Play it once then pause and evaluate. Did it start well? Did it end well? Was it arrhythmic? Unclear?
If you can't play that smoothly, perfectly, then even God won't help you when something demands greater technique.
Device other exercises like this - simple ones - that focus on specific right or left hand technique. Focus is the key word here.
>Used to try strictly wrist picking like Paul Gilbert, but found my top speed was pretty slow like that,
the way those guys say "use the wrist" is kind of misleading.
extend your arm out, by just using your wrist you can only really move it side to side. try moving it as fast as you can. now try this instead, extend your arm and move your wrist in a twisting type of motion by also using your forearm. try moving that as fast as you can
see the difference? it's much easier and faster to use that twisting type of motion and it doesn't cause any tension.
try using that twisting motion to pick fast lines and use your wrist side-to-side motion for switching strings. it's kind of like two things going on at once.
if you just want to practice hammering notes, you can mute with your right hand at the top of the fretboard.
Hell you can even hammer with the left hand and mute with the right hand when you hear the notes ringing to practice muting even more
These things are more useful when you're tapping with both hands
>twisting type of motion
I've been aware of the "wave like the queen of England" picking technique for a while, but I guess I should really put it through its paces and practice a lot to see if it suits me.
most of the really fast guys use that type of motion, from what i can tell
it's a very natural way of picking. i mean, the only other way of picking fast is to tense all the way up to the shoulder and squeeze a play as tense and hard as you can, or you can use some type of combination of your fingers and wrist. this guy on youtube, pebber brown, has a couple lessons on the finger/wrist combo, he calls it "sarod picking." john mclaughlin uses it, and shawn lane uses a sort of backwards version of it. it's pretty good for non-anchored non-palm muted lines
these are the best picks I've used
you can pick faster/cleaner with them over jazzIIIs and they're about 4x as thick so your hand doesn't cramp up with them
very comfortable, very fast
the other cool thing is they last forever. I've been using one on bass and guitar for about 3 months and its only now starting to look a little worn.
The Jazztone 208, specifically?
I want my picking to sound like a baseball card in bicycle spokes.
are the the roughly the same size and shape as jazz iii's?
i've used III's for like 6 years at this point and it's really difficult for me to use anything other than that specific shape now.
a lot of people confuse autistic dedication to something for talent. my family thinks i'm a prodigy for being able to pick up guitar as fast as i am, but they don't know that i practice chord changes for nearly an hour a day. not playing songs. an hour of chord changes. and then i also play songs but i don't consider that practice
Talent is useless if you don't practice or study.
I know someone who's good at finding melodies and manages to find stuff in 5/4 without trouble, but he goes nowhere because he's bad at learning stuff.
Also you have to draw a firm line between how good you are and how people see how good you are. My friends keep telling me I'm a beast because I can sweep arpeggios at 160bpm without trying while I think I'm shit because I cant plan ahead while playing and I take a lot of type to actually be happy with what I compose
I think some people naturally arrive at the "best" approach, whereas others need to put in time and effort to find that approach.
It's like Naruto. Ya got some ninjas that have tons of natural talent, but maybe they don't put in as much practice as they should to truly exploit their natural ability. Then you have the Rock Lees; almost no natural talent, but puts in ridiculous amounts of time and effort to eventually succeed at reaching a competitive level.
Then you got some ultra rare dudes who have both a natural propensity to find the "best" way to do things, as well as the willpower to practice and practice to further hone that ability.
Please don't shit on me.