06-03-2021, 05:06 PM
#1111
Originally Posted By SwimToTheMoon⏩
Meh for some reason eruption always gives me trouble. There a couple key parts where his phrasing is just weird af and not typical.
Nice one man, just gotta tidy that chit up a bit and it will be sick..
and nah, haven't really recorded anything lately.. I haven't even been listening to any music in general, gotta get inspired first.. Or might just record some of the unfinished music I have..
and nah, haven't really recorded anything lately.. I haven't even been listening to any music in general, gotta get inspired first.. Or might just record some of the unfinished music I have..
Also I'm learning that phrases with hammer-ons/pull-offs are really not my strong suit. I've spent too much time picking everything and not working on legato.
Also, I have this growing suspicion that Dom is, in fact, Joe Satriani. Trying to keep his aging name relevant on message boards all over. It's why he never posts his own videos.
I see what you're doing "Dom".
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06-03-2021, 10:12 PM
#1112
I've posted this before but I want to repost this dude that Swim to the moon introduced me to. This kid's performance here is pretty masterful. Goes back and forth between gypsy jazz styling combined with flashes of for lack of a better description spanish malmsteen. Super relaxed and musical the whole way through.
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06-04-2021, 06:11 AM
#1113
Originally Posted By rollerball⏩
Great to see really young players with solid talent, the standards now are really high technique wise - a lot to do with how easily it's to access music lessons/material with the internet.
I've posted this before but I want to repost this dude that Swim to the moon introduced me to. This kid's performance here is pretty masterful. Goes back and forth between gypsy jazz styling combined with flashes of for lack of a better description spanish malmsteen. Super relaxed and musical the whole way through.
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06-04-2021, 07:03 AM
#1114
Originally Posted By rollerball⏩
Busted. I taught Kirk Wahmett.
Also, I have this growing suspicion that Dom is, in fact, Joe Satriani. Trying to keep his aging name relevant on message boards all over. It's why he never posts his own videos. I see what you're doing "Dom".
06-04-2021, 04:39 PM
#1115
Originally Posted By EoR⏩
Yeah the standards are much higher than they used to be. There are some serious monster players who barely seem old enough to drive a car.
Great to see really young players with solid talent, the standards now are really high technique wise - a lot to do with how easily it's to access music lessons/material with the internet.
It's both inspiring and depressing lol.
Originally Posted By Dominik⏩
And thereby unleashed a great evil upon the world and dumbed down a legion of young, impressionable guitar players. Truly you are the Sauron of the guitar world.
Busted. I taught Kirk Wahmett.
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06-05-2021, 07:34 AM
#1116
Originally Posted By rollerball⏩
In terms of technique the standard is higher for the reasons EoR pointed out not to mention it's easier to copy the great players when their tone is now in some software but in my opinion the level of talent and overall musicianship is not higher.
Yeah the standards are much higher than they used to be.
You were talking about Eruption and EVH. That guy's feel was off the charts. Plenty of people can play all the right notes but they can't swing like him. There's also a massive gulf between imitating and innovating. Ed was original.
1:50 Didn't need more technique or wankery. Said it all in 15 seconds.
06-05-2021, 07:42 AM
#1117
2:30-3:10
Feel Feel . Many players juiced to the gills with technique don't have it and never will.
Feel Feel . Many players juiced to the gills with technique don't have it and never will.
06-05-2021, 08:40 AM
#1118
Originally Posted By Dominik⏩
I can't really disagree when it comes to Eddie. Some of EVH's licks have a swing to them that makes them more challenging than a standard Paul Gilbert or Yngwie lick.
In terms of technique the standard is higher for the reasons EoR pointed out not to mention it's easier to copy the great players when their tone is now in some software but in my opinion the level of talent and overall musicianship is not higher.
You were talking about Eruption and EVH. That guy's feel was off the charts. Plenty of people can play all the right notes but they can't swing like him. There's also a massive gulf between imitating and innovating. Ed was original.
1:50 Didn't need more technique or wankery. Said it all in 15 seconds.
You were talking about Eruption and EVH. That guy's feel was off the charts. Plenty of people can play all the right notes but they can't swing like him. There's also a massive gulf between imitating and innovating. Ed was original.
1:50 Didn't need more technique or wankery. Said it all in 15 seconds.
The phrasing in Eruption before that descending speed picked classical run is, imo, the hardest part of the song due to the physical awkwardness of the phrases while swinging hard af.
I've heard SO MANY covers of Eruption over the years but maybe only 2 of those covers sounded halfway decent and even then they still didn't really capture the feel.
EVH is obnoxiously hard to copy and sound authentic other than the tapping thing.
When I listened back to the vid of my Eruption I posted I was disgusted and shamed at my incompetence.
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06-05-2021, 09:02 AM
#1119
Originally Posted By rollerball⏩
I've noticed the same thing. We're also talking about a performance in a studio over 40 years ago when studio time cost a fortune and if you didn't nail it in a few takes the record company would be calling producers to wrap it up. He nailed his sound on that first album with a Marshall running at 90 volts and a couple of pedals.
I've heard SO MANY covers of Eruption over the years but maybe only 2 of those covers sounded halfway decent and even then they still didn't really capture the feel. EVH is obnoxiously hard to copy and sound authentic other than the tapping thing.
What triggers me is when players today think it's easy with the benefit of Youtube, tab, Skype lessons, fancy music schools, amp modeling, sample libraries, backing tracks, Pro Tools, etc. Do they really think they could have done better back then without all the help they take for granted today?
I haven't forgotten what it was like playing through a bone dry solid state Crate or Peavey practice amp at a music store with maybe a Boss pedal if you were lucky and trying to emulate the pros. You could feel the walls closing in when people started gathering around to listen and you were fighting like hell to make it sound respectable. Today getting a great sound is piss easy and that's half the battle. So the likes of Ed and Yngwie deserve a lot of credit for how they came out of the blocks with their signature sound and style all those years ago.
06-05-2021, 09:47 AM
#1120
Originally Posted By Dominik⏩
It's nothing short of amazing to be able to record something like Eruption in those archaic recording conditions. Rewinding tape and splicing chit in instead of simply copying/pasting. Having to hook up an endless array of large, cumbersome sound processing devices rather than simply have plug-in software.
I've noticed the same thing. We're also talking about a performance in a studio over 40 years ago when studio time cost a fortune and if you didn't nail it in a few takes the record company would be calling producers to wrap it up. He nailed his sound on that first album with a Marshall running at 90 volts and a couple of pedals.
What triggers me is when players today think it's easy with the benefit of Youtube, tab, Skype lessons, fancy music schools, amp modeling, sample libraries, backing tracks, Pro Tools, etc. Do they really think they could have done better back then without all the help they take for granted today?
I haven't forgotten what it was like playing through a bone dry solid state Crate or Peavey practice amp at a music store with maybe a Boss pedal if you were lucky and trying to emulate the pros. You could feel the walls closing in when people started gathering around to listen and you were fighting like hell to make it sound respectable. Today getting a great sound is piss easy and that's half the battle. So the likes of Ed and Yngwie deserve a lot of credit for how they came out of the blocks with their signature sound and style all those years ago.
What triggers me is when players today think it's easy with the benefit of Youtube, tab, Skype lessons, fancy music schools, amp modeling, sample libraries, backing tracks, Pro Tools, etc. Do they really think they could have done better back then without all the help they take for granted today?
I haven't forgotten what it was like playing through a bone dry solid state Crate or Peavey practice amp at a music store with maybe a Boss pedal if you were lucky and trying to emulate the pros. You could feel the walls closing in when people started gathering around to listen and you were fighting like hell to make it sound respectable. Today getting a great sound is piss easy and that's half the battle. So the likes of Ed and Yngwie deserve a lot of credit for how they came out of the blocks with their signature sound and style all those years ago.
Having a glowering producer turn on that Red Light and demand you execute perfection in under 5 takes.
I have a hard enough time recording absolute garbage when the red light of my smartphone is on.
Lmao that description of trying pull off the latest licks at Guitar Center through a Crate with "walls closing in" as people stop and stare at your nervous attempts to pull off Spanish Fly. Ah the traumatic memories.
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06-05-2021, 10:27 AM
#1121
Did you hear about Boutique Amps Distribution? Lord have mercy.
Before:
Before:
06-05-2021, 10:36 AM
#1122
Originally Posted By Dominik⏩
wait wtf, the friedman amp factory burned down?
Did you hear about Boutique Amps Distribution? Lord have mercy.
Before:
Before:
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06-05-2021, 10:39 AM
#1123
Originally Posted By rollerball⏩
That's where they build them.
wait wtf, the friedman amp factory burned down?
06-05-2021, 02:28 PM
#1124
A guy I went to school with ,the fukking 90s . Won a guitar comp 3 years in a row playing eruptions backwards. I really didn't get it at the time, but now I do
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06-10-2021, 01:38 AM
#1125
Posting bugs out when I quote you Dom wtf?
Yep that's why I said technique. If you have 1 million guitar players who are all @ peak technical abilities, in other words they can play whatever each can if shown then the most important thing left is what notes can they play, what compositions can they come up with and can they be unique enough with their melodic creation to have an identity.
For example a great example is take the neoclassic/metal/rock mix. You have an older innovator like Yngwie and then a player who can play anything he can but is more "copycat" like Joe Stump. Then you have a guitarist like Jeff Loomis who plays within those styles but has enough character in his phrasing/composition to give his own sound. You can say: "Ah that sounds like a Jeff Loomis lick".
There are some skillful younger talent creating distinct music but a lot of the really stand-out unique seems to be more weighted longer ago. At the moment we have a traffic jam of guitarists who can all play the same thing but a much smaller population that can use that to stand out.
One example of a younger guitarist who incorporates a lot of rock fusiony elements but does enough to be unique is Nick Johnston. I think his vibrato and tempo change really makes it easy to recognize his approach to this style. For example some say he is a "Govan" copy, but like my LOOMIS example, he is in that realm but does enough to be original.
Or even Kiko Loureiro. His lower sustain passages with lots of muting dynamics and use of chromatics with a lot of slow wide interval playing. You could play something new from him and I could think straight away it sounds like Kiko Loureiro.
Speaking of Yngwie, he still sort of has it. His youtube channel is picking up. This 1hr clip was pretty awesome hearing him answer some more candid questions:
Yep that's why I said technique. If you have 1 million guitar players who are all @ peak technical abilities, in other words they can play whatever each can if shown then the most important thing left is what notes can they play, what compositions can they come up with and can they be unique enough with their melodic creation to have an identity.
For example a great example is take the neoclassic/metal/rock mix. You have an older innovator like Yngwie and then a player who can play anything he can but is more "copycat" like Joe Stump. Then you have a guitarist like Jeff Loomis who plays within those styles but has enough character in his phrasing/composition to give his own sound. You can say: "Ah that sounds like a Jeff Loomis lick".
There are some skillful younger talent creating distinct music but a lot of the really stand-out unique seems to be more weighted longer ago. At the moment we have a traffic jam of guitarists who can all play the same thing but a much smaller population that can use that to stand out.
One example of a younger guitarist who incorporates a lot of rock fusiony elements but does enough to be unique is Nick Johnston. I think his vibrato and tempo change really makes it easy to recognize his approach to this style. For example some say he is a "Govan" copy, but like my LOOMIS example, he is in that realm but does enough to be original.
Or even Kiko Loureiro. His lower sustain passages with lots of muting dynamics and use of chromatics with a lot of slow wide interval playing. You could play something new from him and I could think straight away it sounds like Kiko Loureiro.
Speaking of Yngwie, he still sort of has it. His youtube channel is picking up. This 1hr clip was pretty awesome hearing him answer some more candid questions:
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06-10-2021, 04:20 AM
#1126
Originally Posted By EoR⏩
Speaking of Yngwie, he still sort of has it. His youtube channel is picking up. This 1hr clip was pretty awesome hearing him answer some more candid questions:
hIS PICKING TECHNIQUE IS SO FANTASTIC, HIS ECONOMY OF MOTION IS HOW HE CAN PLAY SO FAST, FOR SO LONG. hE MAKES IT LOOK EFFORTLESS
Speaking of Yngwie, he still sort of has it. His youtube channel is picking up. This 1hr clip was pretty awesome hearing him answer some more candid questions:
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06-10-2021, 11:03 AM
#1127
Here we are talking about obscure guitar music and this gets 4 million views in a few days.
The well is dry. Mayer's memo to producers: "Give me Toto's Africa synth tone mixed with 80s Clapton and while we're at it let's copy the video."
The well is dry. Mayer's memo to producers: "Give me Toto's Africa synth tone mixed with 80s Clapton and while we're at it let's copy the video."
06-10-2021, 12:56 PM
#1128
Originally Posted By ctgblue⏩
Almost more than any other player Yngwie's movements almost seem deceptive in comparison to the sound you're hearing. His wrists and fingers often move so subtly yet you're hearing blistering speed and tone - it almost looks fake it's so relaxed and economical in his movements.
hIS PICKING TECHNIQUE IS SO FANTASTIC, HIS ECONOMY OF MOTION IS HOW HE CAN PLAY SO FAST, FOR SO LONG. hE MAKES IT LOOK EFFORTLESS
Some players fingers look faster than the sound you're hearing because it's the opposite, their movements aren't economical but their fingers/pick are fast enough to reach the target frets/strings in time.
For my money, Josh meader still kicks the arse of every other young guitarist out there bar none.
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06-10-2021, 07:37 PM
#1129
Originally Posted By rollerball⏩
This vid got me into him and damn, is he an unbelievably technical player.
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06-12-2021, 03:39 PM
#1130
So how straight of a neck is ideal for an electric? I'm assuming there has to be some bow however what is the optimum amount?
On my Suhr I adjust the truss rod with at least 90 degrees of turn to straighten the neck a bit, but how much is too much? At what point am I risking breaking something?
Right now I would say the distance between my strings and the top of the metal frets at the 22nd marker is about 3mm, is this high?
On my Suhr I adjust the truss rod with at least 90 degrees of turn to straighten the neck a bit, but how much is too much? At what point am I risking breaking something?
Right now I would say the distance between my strings and the top of the metal frets at the 22nd marker is about 3mm, is this high?
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06-12-2021, 04:51 PM
#1131
Originally Posted By rollerball⏩
First you have to figure out if your neck is straight or has relief, etc. You can't just go cranking on the truss without knowing where you're at
So how straight of a neck is ideal for an electric? I'm assuming there has to be some bow however what is the optimum amount?
On my Suhr I adjust the truss rod with at least 90 degrees of turn to straighten the neck a bit, but how much is too much? At what point am I risking breaking something?
Right now I would say the distance between my strings and the top of the metal frets at the 22nd marker is about 3mm, is this high?
On my Suhr I adjust the truss rod with at least 90 degrees of turn to straighten the neck a bit, but how much is too much? At what point am I risking breaking something?
Right now I would say the distance between my strings and the top of the metal frets at the 22nd marker is about 3mm, is this high?
I've seen lots of good tutorials on it on yt.
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06-12-2021, 05:27 PM
#1132
seen lots of guitars that had a maxed out truss rod yet the saddles were also high as ****. Ideally you want to balance out between bow/bridge height/nut cut.
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06-12-2021, 05:33 PM
#1133
Originally Posted By bignpisst⏩
My neck definitely has a bow, I just kinda dove in and started adjusting based upon a buddy's scant advice
First you have to figure out if your neck is straight or has relief, etc. You can't just go cranking on the truss without knowing where you're at
I've seen lots of good tutorials on it on yt.
I've seen lots of good tutorials on it on yt.
Originally Posted By VTheKing⏩
I suspect the culprit lies within the truss rod because a year ago my guitar had decent string height and the neck did not seem quite as bowed.
seen lots of guitars that had a maxed out truss rod yet the saddles were also high as ****. Ideally you want to balance out between bow/bridge height/nut cut.
The adjustments I've made so far seemed to have brought the guitar back to a playable level but I'm hesitant to make any further adjustments.
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06-12-2021, 05:47 PM
#1134
I learned how to setup my guitar by the book Guitar Player Repair Guide by Dan Erlewine
I recommend this book to anyone who works on or plans on working on their own stuff
I recommend this book to anyone who works on or plans on working on their own stuff
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06-12-2021, 06:07 PM
#1135
Originally Posted By bignpisst⏩
You know what's funny.. I think I actually have that book buried somewhere..
I learned how to setup my guitar by the book Guitar Player Repair Guide by Dan Erlewine
I recommend this book to anyone who works on or plans on working on their own stuff
I recommend this book to anyone who works on or plans on working on their own stuff
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06-12-2021, 07:38 PM
#1136
Originally Posted By rollerball⏩
That's the bible
You know what's funny.. I think I actually have that book buried somewhere..
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06-12-2021, 08:10 PM
#1137
Originally Posted By rollerball⏩
Me too lol
You know what's funny.. I think I actually have that book buried somewhere..
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06-12-2021, 11:31 PM
#1138
Originally Posted By rollerball⏩
90 degrees as a starting adjustment is typically way too much, especially if you're tightening. Yes, you could split the fingerboard or neck between the bottom of the fingerboard and the top of the neck where they join. This makes the guitar sound like a broken baseball bat with no visible crack.
So how straight of a neck is ideal for an electric? I'm assuming there has to be some bow however what is the optimum amount?
On my Suhr I adjust the truss rod with at least 90 degrees of turn to straighten the neck a bit, but how much is too much? At what point am I risking breaking something?
Right now I would say the distance between my strings and the top of the metal frets at the 22nd marker is about 3mm, is this high?
On my Suhr I adjust the truss rod with at least 90 degrees of turn to straighten the neck a bit, but how much is too much? At what point am I risking breaking something?
Right now I would say the distance between my strings and the top of the metal frets at the 22nd marker is about 3mm, is this high?
You check neck relief by pressing down and holding at the 1st fret (or just use a capo) while also pressing down and holding at the body fret (where the neck meets the body, usually around the 17th fret).
While these two fretted points are held (1st and 17th frets), check the spacing between the top of the 6th or 7th fret (top of fret wire) and the bottom of the 6th string. It should be about 0.25mm (use a feeler gauge) for a 12" radius board.
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06-12-2021, 11:40 PM
#1139
Originally Posted By z4v4⏩
when I do that the string just touches the very top of the frets, so I guess there is no relief. is it possible I've gone too far with the truss rod in an endangering sense?
90 degrees as a starting adjustment is typically way too much, especially if you're tightening. Yes, you could split the fingerboard or neck between the bottom of the fingerboard and the top of the neck where they join. This makes the guitar sound like a broken baseball bat with no visible crack.
You check neck relief by pressing down and holding at the 1st fret (or just use a capo) while also pressing down and holding at the body fret (where the neck meets the body, usually around the 17th fret).
While these two fretted points are held (1st and 17th frets), check the spacing between the top of the 6th or 7th fret (top of fret wire) and the bottom of the 6th string. It should be about 0.25mm (use a feeler gauge) for a 12" radius board.
You check neck relief by pressing down and holding at the 1st fret (or just use a capo) while also pressing down and holding at the body fret (where the neck meets the body, usually around the 17th fret).
While these two fretted points are held (1st and 17th frets), check the spacing between the top of the 6th or 7th fret (top of fret wire) and the bottom of the 6th string. It should be about 0.25mm (use a feeler gauge) for a 12" radius board.
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06-12-2021, 11:48 PM
#1140
Originally Posted By rollerball⏩
Truss is too tight. Give it a 1/16 to 1/8 turn loose, moving up to a 1/4 turn (give 20 minutes for wood to adjust between adjustments) until you have the correct spacing. So long as you didn't think to yourself, "Hmmm, this is kind of getting tight" when you were cranking it, you're probably okay.
when I do that the string just touches the very top of the frets, so I guess there is no relief. is it possible I've gone too far with the truss rod in an endangering sense?
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