I'm not able to do that comfortably but I have no need to work on that technique considering my writing style which is just R/R, uptempo stuff.
Hendrix had huge hands…."10 3/4 inches"….from what I've read.

Back to it.

I'm glad you mentioned it because there is something special about that album and it's always been my favorite. He was still a guitar teacher without the fame and I just imagined him up late working on those interesting ideas not concerned with how they'd ever be received commercially. You probably know the story where he got a credit card in the mail when he was flat broke and used all the money to pay for studio time to make that album.



Joe's copped some heat from bedroom guitarists getting off on him flubbing some of Ed's signature parts on Howard Stern. Joe owned it and said he'll do better in 9 months when they're gigging but as I've said on another forum Hagar should invite some of these Youtubers on stage to do a cameo and see if they can deliver in front of thousands of people. They don't seem to realize there is a big difference spending years copying someone's style vs. actually being EVH or Satriani for that matter. Joe has his own style which is immediately recognizable.

Anyway Andy Wood couldn't take it anymore either.

lmao

best version of comfortably numb imo

https://www.songsterr.com/a/wsa/my-c...ise-tab-s13094

Yeah but Joe shouldn’t have tried to play Mean Streets, let’s be real.

Sometimes you can get caught up in the nostalgia and attempt something when you should just put the cue in the rack. When he was teaching in the 80s I'm sure he transcribed a lot of Ed's parts for students so he's familiar with it but then he's not an Eddie clone — Ed was one of his peers. He's got that G3 gig coming up with EJ and Vai, then the Satch/Vai gigs… and then he'll go all in with Hagar learning the VH stuff.

He should have passed on it but he had a go and you could see he immediately regretted it. But unlike the bedroom there was no second take. Like a pro he soldiered on because most of the people listening to a radio show are not guitarists and probably wouldn't be any wiser. It wasn't his finest moment but I have no doubt he'll have those parts down when the time comes. However unlike instagram parrots he'll put his own stamp on it because he's earned that right. 30 years ago he was asked to fill in for Ritchie Blackmore in Deep Purple and did a great job. Good enough they asked him to join the band but he declined and it went to Steve Morse.

Bedroom guitarists have no idea what it's like to deliver the goods live because they've never done it.

Wait… what's up? Is Chickenfoot back together?

I would never have even attempted Mean Streets on the Howard Stern show because I’m not insane.

You've posted videos and deleted them later. Sometimes I've seen a video and thought "that was great" and when I go to reply you've deleted it. The point is you changed your mind, had regrets, etc. for whatever reason. I'm sure at some point in his life he could play that intro close enough to feel like he could attempt it on live radio. He seemed really nervous too. 6am, no rehearsal, Stern's usually awkward questions… he was rattled. Anyway there are videos of the man himself butchering his parts far worse than Joe did. It happens.

Another line of criticism I saw was saying Alex VH and Wolfgang would be pissed off about this.

1. Wolfgang is doing great with his solo career and his dad told him he'd prefer him playing his own music.

2. Alex Van Halen called Satriani in 2021 about doing some tribute shows with DLR before the idea was canned.

These guys aren't getting any younger. They're all around 70. Hagar is 76. He wants to play the music and he's earned that right. Everyone knows you can't replace Eddie but Satriani makes more sense putting his own spin on the material than some random Youtuber who can copy the solos note for note.

Lol the misc isn't the Howard Stern show though. I'm just saying, he should have known better imo because it did a disservice to his actual abilities. Because there's haters like me just waiting to pounce on the Schmoe for anything.

People need to stay away from covering Van Halen is the moral of story.

There's a thing though with Van Halen specifically. I tend to cringe whenever I hear most people cover Van Halen in any way even though I'm constantly banging my own head against some of his solos myself. It really is the note for note stuff that works for be because pretty much no one is able to just improvise like that off the cuff.

Speaking of Van Halen - how do I get that Eruption tone?

I'm just using a modeled Plexi 50 - but how do I set up that MXR phaser tone or whatever? What should my delay settings be?

I hear you and for most of his career he has. When Alex VH called him he didn't think he was the right person for the job. Hagar's backed him into a corner where he's stepping into some big shoes and he looked uncomfortable. Some EVH fans were quick to say "it shows how good Eddie was" as if Joe is some hack but the reality is EVH would have struggled copying Satriani, especially at short notice on morning radio like that.

What stood out to me was he'd effortlessly pepper his riffs with fills, rinse repeat. Most guitarists aren't used to doing that. They're either playing rhythm or lead, not alternating both every few bars. I think you'd need to spend years doing it in a band to get anywhere near that level of fluency you described.

I give Joe a hard time because I've always thought his popularity outstripped his skills but I do like listening to him a bit more due to your RELENTLESS pushing of him lmao. He's not an "awkward" player in that he generally plays stuff that at least never sounds out of place or trying too hard. And he has good tone.

But let's be real, Eddie had more of whatever that is that makes a guitarist truly great.
Eddie had a vibe and swing including all those effortless fills with just an insane ability for phrasing. When I break his solos down some of his phrasing just makes no sense in terms of how he was able to intuitively understand how to put that phrasing together. I've spent so much time on fukking Eruption and Hot for Teacher it's ridiculous.

To me Schmoe always plays cliched stuff. Well executed and with that Schmoe sheen, but still, for me, always cliched.

A guy without a guitar telling people what needs to be done to play a song properly on a guitar. I imagine it's also hard to play a guitar with the strings muddied up with feces from your fingers.

LMAO

That imagery is horrifying.

Maybe these days but it wasn't cliched on those early albums. Today I get it, it's formulaic. If you were old enough to hear it the first time around you might see it more like I do.

Anyway no argument about Eddie. Something that always annoyed me was how he idolized Clapton (Cream) but Clapton wouldn't give him the time of day. Brian May and Eddie once dedicated a track to him and he said he hated it. Anyway while I'm not old enough to know what it was like when that first album dropped I was playing guitar in the 80s and know how influential he was.

Above all he was always smiling and made it look like playing guitar in a band was about the most fun you could have.

Man, fuuuuuck Clapton. I've never heard a single thing from Clapton I liked other than the Goodfellas scene where Jimmy Conway is looking at Maury with murderous intent.
Other than that Clapton can shove his aptly named Slow Hand up his own arse, pretentious blues-head dipchit.

Being the miscer with the most experience with the best modeling/digital gear I can unreservedly say that the Spark Mini really is an awesome practice amplifier.

I like it way better than the Boss Katana and it makes all other practice amplifiers look fukking retarded.

Good to know. It'd be nice to have something portable that sounds semi decent.

Even though I built a pedalboard to be portable it's not really portable so it stays at home which is dumb because nothing beats jamming with other musicians. I wouldn't mind finding someone locally to build me a handwired Princeton clone I could make a mini pedalboard for, boost, Bogner pedal, maybe a delay, and run the pedals off one of those Danelectro battery packs so it's one less thing to plug in.

Btw we were talking about EVH yesterday… someone posted this video on TGP. Lot of closeup shots so the video is a goldmine for analyzing his technique.

Yeah I really enjoy playing through that tiny little Spark amp.

I don't really pick in the way Eddie/Yngwie pick - where their speed comes from fast forearm rotation. My way is more of a wrist movement so whenever I watch videos of him playing close up it just kind of depresses me lol.
I wish I could do that floating hand tremolo rotational picking thing he does because he seems to be able to keep top speed up for almost a limitless amount of time whereas I can only sustain top speed for much shorter periods.

How about this for the FM3?



https://www.fractalaudio.com/gift-of-tone/

That sounded pretty good.

I thought it kinda lulzy to demand a written list as if I wrote down every single chord I made. You can just play around with the concept and see what you get.


Take G diminished (whole-half) for example: G - A - Bb - C - Db - D# - E - F#


What chords can you get from this? A few examples: Gdim9, Amin7b9, C7#11, Emin/maj7/add11….most of which should sound jazzy, fusioney, loungey etc.

And I thought it kinda lulzy to take a scale that is symmetrical and suggest you can get loads of different kinds of chords from it, so I asked a question that would get you to think about it.



You realize that once you've played a whole step and a half step, the entire scale sequence (whole step, half step) just repeats so all the chord types are exactly the same but just a minor 3rd higher?

In other words, the chords you can name from the 1st pitch and the 2nd pitch of the scale will be the same chord types that will be named from the 3rd and 4th pitches, repeat for pitches 5 and 6, and repeat for pitches 7 and 8.



Gdim9? Yeah, brah, it's a diminished scale, which therein lies the crux of my question.

If you get a dim chord from pitch 1, then pitch 3 will also give you a dim chord, Bbdim9, as will pitch 5, Dbdim9, as will pitch 7, Edim9.

Gdim7, Bbdim7, Dbdim7, Edim7 contain the exact same 4 pitches, so they are just inversions of one another. Adding a 9th to any of those is not a breakthrough new chord; it's just an extension of the same chord.

Since a diminished chord functions as a dom7b9, then Gdim7 (G Bb Db E) and F#7b9 (same 4 pitches with an F# on bottom) are synonymous, which means A7b9 and Bbdim7, C7b9 and Dbdim7, Eb7b9 and Edim7 are respectively synonymous. Go back to the Barry Harris diminished chord concept I explained earlier in the thread.

So basically all those chords are just one chord and can be used to substitute for one another, which is why you couldn't figure out the backdoor ii-V progression when adimare presented it way back in the thread because your diminished harmony is lacking.


An Ami7b9 is a C7/A, and both it and C7#11 come from the C dominant chord concept listed above.


An add chord means no 7th is in the chord, so Emin/maj7/add11 would be called Emi(ma11) and would be spelled E G B D# A.

Since there is no B note in the G diminished scale, that chord doesn't exist in the scale. That means that the E G B is actually E G Bb which is an E diminished triad.

Diminished chords function as dominant chords, so taking the notes you listed below and putting the Bb in there, E G Bb D# A, those pitches can be F#13b9#9 which is an alteration and extension of F#7 from above, or it can be seen once again as a variant of the Gdim9 chord where we started the post from.


Can you see now why I posed the question? All you listed were dominant functioning chords which would all be identical extensions/alterations of either F#7 and A7 or their tritone subs (C7 and Eb7), which all four dom7 chords are grouped together as one harmony by most jazz players.

Tl;dr summary - you gave me iterations of one chord.

So yeah, all I really said was that you harmonize the diminished scale and get a bunch of chords which sound jazzy, loungey etc.

Thanks for the theory refresher though, albeit none of this analysis ran through my head whilst playing. I just played out a few shapes.

Thanks with the Emin/maj7/11, I legit wasn't sure of the nomenclature on that one. 100% srs.

Lmfao REKT.

Of course Fraudy acting like he wasn’t just given a size 12 up his arse lol.

See Z4, whilst I appreciate what you said you just threw red meat to trollerball who obviously, cannot fathom any genuine human interaction which isn't attacking/being attacked.


It's also, sadly, part of the reason I find people on the spectrum to be really annoying. They tend to take harmless and innocuous statements, analyze them to death when it's entirely unnecessary, and try and lord their intellect or achievements over people. There's another graduate student like this and at times it's a real effort to not just punch him in the face.


Like I said, I just played chords I derived from the diminished scale and got cool loungey sounds. It's not as if I was going "Hey….wait a second! We can apply complex rules of substitution and see these are actually kind of interchangeable. MY WHOLE LIFE IS A LIE!!!".


I appreciate your theory refresher though, regarldess.