I need to get a new looper, my old one got smoked in the flood.

Any recs? Are there any out there that I could run my phone through and actually get some of the youtube backing tracks on the looper instead of having to queue them up, play through the surrounds sound?


Finally tried out a Marshall origin while I was out of town. Killer little amp (I played the 20w, but I'll buy the 50 if I get one). Ran it through a EVH 4x12 that they had with a new 60s neck Les paul. Killer classic rock sound, and even sounded great at lower volume using the master volume knob.
Throwing an overdrive pedal at it would really liven things up.

Alas, that trip was already expensive AF with the purchase of the SJ….

Howdy Woody….

If you're looking for backing tracks to jam with I'd recommend checking out this site.
I've been on this site for some years now and there's plenty of sub-forums to check out.

Homepage:
https://www.tdpri.com/

Backing tracks submissions by contributors:
https://www.tdpri.com/forums/twanger-central.21/

Hope that helps.

All this talk but still none of y'all got the BALLS to post your playing clips. Other than cherrypopinski and wayneevans, at least they'll post something now and then.

But the REST of YOU straight up got no BALLS.

https://vocaroo.com/17VLHU0EoH3U

brosapiens stepping up and showing yall that's he's got a set of BALLS. Love the tone brah, I'm listening to it trying to make a guess what type of guitar and amp you're using.

I don't think it's a strat and I don't think it's a fender amp. That's all I could come up with lol.

I feel like we should demand Dominik to post a clip of his schmoe satriale's licks. You've been extolling the virtues of that jersey stuffed hoagie for YEARS, Dom.

It was Helix Native / Fender Twin. Builtin preset.
The guitar is a Chapman ML3 Pro with Frallins ..

https://vocaroo.com/1dJrmVRndBQ3

This is with a Jet City / Waza and captured with phone. Sloppy and out of tune but I really like the give of that amp ..

Ooooh I really like your tone here, at least what I can make out through the phone. The Waza thing is a "tube expander" right? Tell me again what the Waza does? Is it a power attenuator that does a solid state version of goosing of the power like that Fryette thing does?

Yeah … it attentuates to line level then re-amps using a class AB power amp. It also adds an FX loop, has builtin comp, delay, reverb, eq, midi, amp ctrl out and some other things.
It's a really cool piece of gear and tbh I don't feel it being in the way at all!!

I posted a Boston cover a few years back

Here’s one that brought me back to them junior high school dances

Crossing Woody-F off the list of miscers having NO BALLS. Tremendous tone coming in with the fukking full Marshall stack and the Gibby Les Paul, look at those fukking glowing abalone inlays.

Nah, that's a standard progression used in lots of jazz standards. It's just that a lot of people will analyze it as ii-V in Cb and a random Abma7, so they want context to know where the Ab comes from. But the Gb7 is actually subbing for Eb7 (the V of Ab), which is the true puzzle behind the question and the answer adimare was probing for.

That goes back to Barry Harris and the 4 dominant chords concept. If you take a diminished chord and lower only one pitch of the diminished chord, it becomes a dom7 chord rooted with the name of the note you moved that pitch down to. This obviously works for any of the 4 pitches of the chord because a dim7 chord's pitches break the octave into 4 equal parts.

So Edim7 = E G Bb Db. If you lower the root, you get Eb G Bb Db (Eb7). If you instead lower the 3rd, you get E Gb Bb Db, which is an inverted Gb7. Therefore an Eb7b9 and Gb7b9 both contain 4 of the same pitches; ergo, Gb7 can sub for Eb7 (backdoor dominant). You can do the other two pitches to form A7 (tritone sub of Eb7) and C7 (tritone sub of Gb7) chords. Any dom7 can be preceded by its ii chord, so that's where the ii chord comes from in a backdoor progression.

Had he wanted to be tricky, he could have left off the ii chord and said: Gb7 Abma7. Now potentially a classical theory guy might call that a V of Cb resolving to a Deceptive Cadence (V-vi) with a Picardy Third (minor resolution changed to major).



I'm not going to do the TPS reports thing about the bass stuff; adimare covered it perfectly. But I will say that if one Googled "Why does E°7 substitute for A7" I'm pretty sure the explanation would show up, and it's peculiar that the same bass concept between the tritone and the diminished wasn't the most immediate consideration.


Lol. Well, had I subbed C7 with C7b9/E it would have given the answer away. But in fairness, yeah, I usually write Ebma7 E°7 Fmi7 in that context because most players will raise the root and lower the 7th each a respective half step to create the diminished and not everyone will do that for Ebma7 C7b9/E, but I think most players would rather see the latter if they're soloing on a new chart.

Back when I was a modern player, I would always write shiit out like that. B/C was for pussies when you could label it as Cmi(ma7)b5 or G/A as A9sus4, and my professors would always squawk. It wasn't until I would give my charts and hear players play shiit, shiit voicings, or skip the chords and need a few seconds to process the chord, that I went for whatever is the simplest to convey the sound I'm looking for.

Clearly a diminished chord is part of the dominant family and the 5 chord family campers (e.g., Aebersold) are not logical having it and augmented in its own family, and I'd be fine with dropping ° if this is the trend. What's your argument for notating it as a C7b9/E (besides the fact that diminished chords function as dominants)?


Now that you got backdoors, here's another one for you:

Key of Ab: Dbmi7 Gb7 Cmi7 Bdim7 Bbmi7 Eb7 Abma7

What did you have in mind?

In your case some fast fusion shred, preferably with mostly picking over legato lol.

This Charvel DK24 I got that's MIJ with stainless steel frets and Bareknuckle pick-ups is pretty much the apotheosis of Charvel guitars imo. This guitar is fukking great.

Mornin' everyone….

It takes some courage to put our selves out there for the world to listen and comment on.
We have to take the bitter with the sweet so we all need the skin of a snow tire.

I don't provide links to my original material as I write them because I don't think my writing genre would be very popular with the MISC. demographic.
So, I remain low key in this context.
My music links are in my sig should anyone want to give a listen to my originals or play-along videos of some of my favorite songs.

To those that do upload their material I always try to offer encouragement even if I don't care for the genre.

Back to it.

It's kind of you to make excuses for them Wayne, but in reality it's just their lack of BALLS.

Joining the winning team of men with BALLS and post your clips, so-called guitar-miscers.

Exactly what you mentioned: just familiarity. Since diminished chords are not used so much now, some players might not have voicings, chord scales, etc at the tip of their fingers like they do with dominant chords.

Hahaha nice call out. I'm actually a drummer so no guitar shredding videos from me. Since we've been talking jazz I do have a live recording of me playing jazz drums from years ago for a piece I arranged:

https://soundcloud.com/alejandro-di-...-in-wonderland

Fukk man that is on another level. Sounds straight up pro and classy AF. That's super impressive to me that you're a drummer with all that theory knowledge and can arrange tunes like that.

I feel like it takes a long time and devotion to the instrument and music to reach *classy* status. Legit feel like I'm in my tux and dancing with a done-up broad in the fukking Starlight Room and chit. Lol repped, adimare coming in with 24ct platinum BALLS.

I would actually rep you for this post lol

I'm curious about your tremolo picking, how fast can you play on a single string repetitiously, consistently with control? And not the locked arm thing, but tremolo picking with enough wrist mobility to change strings.

I ask this because I don't think I've ever seen you play any fast solos and wonder if you actively work on it. Z4v4's speed burst recommendation really worked for me in terms of increasing my raw wrist speed.

It is decent, it'd be easier for me to shoot you a quick vid on instagram but admittedly I make up for my lack of strict alternate picking with legato. I focus more on melodic soloing but I need to build a repertoire of speedy licks to spice up my playing.

I was watching some cheesy competition where Alex Skolnick said something to the effect that while speed certainly isn't everything it's like the salt for a dish, you need the right amount to keep it from being bland or too salty.

Yea I understand that, a lot of my favorite guitar players have even gotten away from the speed based stuff as they have gotten older expect maybe Malmsteen. But the problem is after 20 some odd years of playing you'd think I'd have a better grasp of it by now. Like playing Like Rick Graham or some insane chit like that. I pretend to be able to do that stuff.

Ahem. I'm super drunk and here's my impression of esteemed english jazz guitarist John McLaughlin. This is literally exactly what he sounds like. Prove me wrong philistines.

I always like what Holdsworth himself said, that sometimes he likes it slower and at times he likes to play fast and spicy. Fast playing is passionate in another way, he says, and I think that's absolutely right. Why I always despised "Omg, fast playing has no emotion" guys is because that attitude just fundamentally limits your tools of expression as a musician.


Although, I did find there were players with fast AF chops who just couldn't write memorable music. Rusty Cooley is one example.

Maybe you meant Al Di Meola?

Lol I was too drunk to actually play his stupid 2 note per string lines at 250bpm 16th notes. Di Meola is the far easier person to fake-mimic but I was clearly too wasted to even be able to play Mediterranean Sundance LMAO.

Any of you guys use your tone knobs? I'm thinking about modding a 2 humbucker 1 volume/1 tone into just 2 volume knobs. Seems like it would be more useful since I pretty much leave my tone knobs at 10. Thoughts?

I've got 2 humbuckers with a single volume and tone like a Tele. Tone is only wired to the bridge pickup because I like rolling off high end for a fatter tone but when I switch to the neck I want it to sound more like a Strat most of the time (push-pull coil split on tone only for neck).

My volume knob is a push-pull with a treble bleed (high pass) on by default so if I want a warmer neck tone I pull the pot or roll in more volume. Ideally I'd have 1 volume and 2 tones like a Strat.

Leo's original Strat wiring with the bridge wide open was a mistake and many pros will wire the 2nd tone to the bridge pickup.

I usually keep tone/vol at 7/10 and modulate gain and bite from there. It works really well with a good amp.