#1
http://www.youtube.com/watch?v=BOtxxuRaasE

Enjoy, doing this for fun, and to evaluate some of my technique. Some outside comments will be helpful. The first 0:30 seconds are a bit sloppy, but it's pretty solid after that.
Please comment I will comment on yours.


Quote by Spoonman69
Rap is music,far better than metal for example. id much rather hear about hoes and anal sex than dragons and supressed homosexuality.
#2
The main issue in this cover stems from timing; you're frequently out by a fair amount, particularly during fills, and it seems as if you try to make up for it by speeding up to keep up with the song (a problem that was hell for me to overcome!). This is really evident in the first 16th note fill, and the tapping section. To overcome this problem, slow metronome practice, identifying accents in bars/sections that you can use as reference points (such as the start of a bar or phrase), and listening carefully to the hints that the recorded drums leave (where certain pieces of the kit hit, repeated ideas .etc.) can all help tie the ideas together. All in all, a bit of this more aural practice, along with the practicals of playing along with individual sections (at slow, comfortable speeds and then tying them together) can help with consistency of timing, and so you won't have to speed up to catch up, or play ahead of the recording.
The timing picked up near the end - during the revisited intro and groove - which shows that you definitely can stay tight. Tapping your foot helps, which I know can be difficult with music with frequent time signature/tempo changes such as this. The aural practice above, from my experience, can help a lot with this, as you can understand the song more and know the reference points.

At the beginning of the song, which you noted is sloppy, the main thing you can do besides work on the timing is use the side of your palm more for muting. From what I can tell, you're getting a lot of squeaks and uncomfortable string noise - applying the side of your palm to the strings, and left hand muting (which really boils down to lifting your fingers off slightly) can minimize this issue. Think of it as a staccato quality.

Anywho, after that critical cynicism... the positives! And my apologies if I seemed too harsh in all the above, I'm a very critical person.

I watched a couple of your other videos (Big Big Big, and FCPREMIX), and from what I can tell, your technique's working for you - although I was a bit surprised when I saw your picking hand's angle Your left hand is fluent, and you're not jumping too far off the strings, which is great. Again, the main concern is timing; isolate sections, tap along, find those accents and reference points, and slowly piece everything together - you're more than capable judging from your current technique.

Finally, kudos for attempting some Protest The Hero! Keep up the great work, and feel free to contact me if you like. I'd be more than happy to help.

#3
^ Thanks for the huge analysis
I practiced it as bigger section than the 16th note feels, so every 30 seconds. I think that's why some parts are out.
Thanks for watching the other vids, i'm not sure what you mean by my picking hand's angle. Is it at too much of an angle?
Thanks alot Let me know when you put up any covers, I feel bad for not having any comments to return.


Quote by Spoonman69
Rap is music,far better than metal for example. id much rather hear about hoes and anal sex than dragons and supressed homosexuality.
#4
Not a problem Again, apologies for its critical nature.

And by god, at least from my perspective, the angle of your pinking wrist is phenomenal! I tried angling my picking hand in a similar way, and tried out the first 16th note fill (the harmonic minor/blues hybrid), and I stood no chance whatsoever. My pick was on an extreme angle to the strings, so a lot of squeaks and uncomfortable noises jumped up. I couldn't really tell what angle your pick was on through your videos, but it might be worth adapting your picking technique, or even just experimenting with different approaches to see how your tone, playability and consistency change - then pick out the best aspects and tie them together into a form of super-picking.

Generally, the approach is to have your pick almost parallel to the strings, with a slight angle to allow it to drift through them - a completely parallel pick can experience drag and get caught in the strings, which is pretty weak. Another point Guthrie Govan - who's a phenomenal guitarist and teacher, who I wholeheartedly recommend checking out - points out is that when changing strings, the positioning of your wrist and pick in accordance the strings should remain fairly similar. That is, the arm moves (only slightly) to cross strings, while the wrist performs all the picking motions. This principle really just ensures that picking dynamics, tone and control are as similar to one another on all the strings - whether you have 6, 8 or you're playing on the inside of a piano.

That's just my take on it, and I in no way mean to come off as an elitist But I really would recommend testing out many different picking strategies, even for just a few minutes each day, and piece together aspects of the ones that offer the best tonal, dynamic, and overall best qualities to your ears and body. I took the very same approach and ended up with a similar technique to what I described above, and my control has improved a ton - not that I'm advocating that particular approach, but more the idea that a different approach can be beneficial, even if it takes a while to get it under your belt.

Sorry for the wall of text, but I hope it's helped out. If you have any questions you'd like to ask me, or you're just up for a chat, just let me know

EDIT: I haven't got any covers up, sorry, so there's no need to return anything =] If you like though, there's a Guitar Pro piece in my sig, and there should be another one up next week (more in the vein of RPG/soundtrack music). If you'd like to check them out, feel free, but please don't feel obliged.
Last edited by juckfush at Nov 28, 2009,
#5
May as well mate
Thanks for the tips, I will try out different angles of picking. I think about a year ago I looked at Paul Gilbert's picking technique and saw it was at about 45', so I tried to intimidate that, and took it too far
You're not being too harsh man, a good critic is a critical one.
Oh, and I have heard of Guthrie Govan, he is amazing. I just haven't looked at any of his instructional stuff.


Quote by Spoonman69
Rap is music,far better than metal for example. id much rather hear about hoes and anal sex than dragons and supressed homosexuality.
#6
Paul Gilbert definitely knows his stuff, and if his picking angle is an indicator of the tone you want, try to incorporate it into your playing, by all means! Taking aspects you like of anyone's playing is a great way to develop a definitive and characteristic style and sound. And I'm glad I didn't sound like a prick

If you like, I can try to send you PDF's of both of Guthrie's instructional books. The first focuses on the theory of playing, and theory in general (unfortunately, I don't have the backing tracks for this one, but if I get them, I'll forward those to you as well), while the second is very technique-oriented (everything from alternate to hybrid picking, improvisation, multi-finger tapping, and everything in between! I've been using this book and John Petrucci's as warm ups for a few weeks now, and they really pay off, even after a short time).

So if you like, and if I can work out how, I can send over the PDF's in a day or so, tops.
#7
Wow, that would be great man. I have JP's already, the exercises in there are so handy

Could you e-mail GG's to me? It seems very broad


Quote by Spoonman69
Rap is music,far better than metal for example. id much rather hear about hoes and anal sex than dragons and supressed homosexuality.
#9
Ok, thanks a lot man I'll have to get back to you tomorrow, i'm tried.


Quote by Spoonman69
Rap is music,far better than metal for example. id much rather hear about hoes and anal sex than dragons and supressed homosexuality.
#10
Jesus Christ, Juckfush. So much text
R.I.P. Ronnie James Dio. Supplied amazing music to both me and my mother.

He will be missed.