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#1
I have been playing for quite some time now. However, i just cant get the "feel" when i am covering a song. Its just sounds sort of mechanical. Can anyone help me?

Ive posted the link as an example.

http://picosong.com/9fvi/
#2
some of the notes in the beginning were off time. try to be more "loose" with your bends. Don't just try to get the bend done and move onto the next note. Try to ease it and make the transition a little smoother.
#3
I think it might be pretty hard to play something accurately over a backing track and not sound mechanical. Listen to how mechanical those tracks sound before you add guitars. Your technique sounds pretty good.
#4
I think you would benefit from adding more vibrato to the bends and some of the longer held notes, other than that your technique sounds pretty good.
Feel sometimes just comes with experience, as others have said try to make the notes flow into one another as opposed to treating them as individual notes, particularly with the bends.
#5
You're trying to hard to play it the same way Jimmy did. You're never going to get feel if you just let the solo tell you what to do and stick %100 to the script. You have to take some creative control.
#6
as tyle12 said, your timing was off in parts there

use more vibrato on bent notes and just in general (IMO, others may disagree)

i'd also maybe say be more loose with the timing a little bit, but i'd say you need to get the timing down right before you try that.
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I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

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#7
Thanks, alot guys. Ill heed your advice, timing sadly has always been an issue for me.

Quote by Jimjambanx
You're trying to hard to play it the same way Jimmy did. You're never going to get feel if you just let the solo tell you what to do and stick %100 to the script. You have to take some creative control.


I know man I heard the way page played it note to note and i sort of "immitate" it. Im just afraid ill go out of time way to much if i "do my own thing" . Im really confused when it comes to this.
#8
I wouldn't try to do your own thing before you can imitate the way page does it. this is probably not directly analogous, but I wouldn't try to write a novel if i'd never read one before.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#9
Quote by Dave_Mc
as tyle12 said, your timing was off in parts there

use more vibrato on bent notes and just in general (IMO, others may disagree)

i'd also maybe say be more loose with the timing a little bit, but i'd say you need to get the timing down right before you try that.

This. I think it is the timing that makes your playing sound kind of "meaningless". It is not accurate enough and it's not loose enough (or it is loose but in a wrong way). It kind of sounds like you are just trying to play the right notes. Try to listen to how Jimmy plays it. Try to mimic him. Don't just play the right notes - there's more to music than just the right notes.
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#10
^ Yeah, bang on. There's a quote around (maybe satriani) along the lines of "there's a difference between feeling loose and being loose" (something like that, i think i saw it in someone's sig), and that's about the height of it. There's a massive difference between being loose in a musical way (i.e. not sounding mechanical or robotic) and just having poor timing.

It's kind of the difference between the different levels of competence, too. If you have poor timing you want to fix that to get to have good timing. Once you have good timing you can then play with the timing a little bit to sound more musical.

it's like if someone can't read, you don't worry about putting feeling into things they read out loud, you learn how to read first. once you can read, though, you try to lose that monotone.

you're trying to get the feel before you've got the timing, and I'm not sure that's the right approach.

I also don't mean this to sound harsh, so i apologise if that's the way it comes off. I was pretty lucky, timing always came pretty naturally to me (I think ), I'm certainly not saying I religiously practised it for hours or anything like that.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
Last edited by Dave_Mc at Sep 11, 2014,
#11
Pay attention to your breathing, the stairway solo is quite conversational - if you compare the parts to somebody speaking you can see how the breaks between them equate to pausing for breath. That also means there needs to be some coherence and flow to those discrete sections. Think about when you were at school, you could talk all day long but the moment you got asked to stand up and read to the class you started sounding like a robot. That's because you didn't know exactly what it was you were supposed to be saying, you were reacting on the fly and don't always get it right because you don't know exactly how you should be pacing the sentence and inflecting until you reach the end of it.

This is no different, but you need to be completely familiar with the sounds you're trying to replicate as well as having the technical ability to be able to play things correctly. If you recall that solo perfectly from memory and can sing or hum it without hearing the original then you're in the right place. Without that level of familiarity with a piece it's pretty much impossible to learn to play it. You can't sing a song if you don't already know the words, have you ever tried singing a completely unknown song at karaoke? It's impossible, and having the words there on screen makes next to no difference. Trying to play a song without first knowing it is pretty much the same thing.
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#12
Quote by danyal92
I have been playing for quite some time now. However, i just cant get the "feel" when i am covering a song. Its just sounds sort of mechanical. Can anyone help me?

Ive posted the link as an example.

http://picosong.com/9fvi/


Feel is timing and articulation - but mostly timing. Start practicing with a metronome as follows -:

1) pick a speed and time sig- 90 bpm 4/4 for instance. tap your foot to each click

2) play 4 whole notes

3) play 2 half notes

4) play 4 quarter notes

5) play 8 8th notes

6) play 12 triplets

7) play 16 16th notes

repeat etc etc. drill this into your head through repetition. If you don't understand what any of that means - learn it. The point of the exercise is to internalise the different rhythms to a pulse of quarter notes. It may be annoying, but it'll help.
#13
Personally, I think a large part of playing with feeling is technique. While technique isn't the only component, it's definitely a major part. In the audio clip, your timing is off in a couple places, you'll need to fix that up first then see what else is off.
#14
Lots of really good input so far.

All the pieces of the puzzle are in there. Now to just fit them together so they sound like you mean it. Most of the issues are timing related and that comes with practice and experience. Some notes need to be bang-on and others have more discretionary freedom. Knowing the difference is the key.

When I am covering Jimi, SRV, or Santana there is a ton of stank these guys put on every note and phrase. You can't really express it in notation or tabs very well. I often think "saxophone" or or just having a conversation with the listener. The sax really owns phrasing with emotion and feel. I hope this helps.
"Your sound is in your hands as much as anything. It's the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use." -- Stevie Ray Vaughan

"Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent." -- Miles Davis

Guthrie on tone: https://www.youtube.com/watch?v=zmohdG9lLqY
#15
@ Dave_Mc
That's the approach im going for, first i want to nail the original version before improvising.
@steven seagull

Thanks alot for the input. I can actually humm or "sing" the solo, i always do that but i just kind of go into my "zone" i just loose track of the drums. Im working on that.
#16
Quote by reverb66
Feel is timing and articulation - but mostly timing. Start practicing with a metronome as follows -:

1) pick a speed and time sig- 90 bpm 4/4 for instance. tap your foot to each click

2) play 4 whole notes

3) play 2 half notes

4) play 4 quarter notes

5) play 8 8th notes

6) play 12 triplets

7) play 16 16th notes

repeat etc etc. drill this into your head through repetition. If you don't understand what any of that means - learn it. The point of the exercise is to internalise the different rhythms to a pulse of quarter notes. It may be annoying, but it'll help.


This is exactly what I need, im good with technique but the thing is that I never really understood how to use a metronome or what 16th notes or similar are. It's like it goes over my head. Im searching lessons on it these days btw.
#17
Thanks alot for all your input guys. I don't know what the main problem is. I mostly play metal so in the link below the timing is fine but the feel is a little "ekh"

https://www.youtube.com/watch?v=tTw-Yp_7fWA

And in this one (a blues solo) the timing kind of goes off because the backing track was extended but the feel is "dead". I never really liked what I did here:

https://www.youtube.com/watch?v=mx2hVZhz3zM
#18
I'd say in both of those solos you are often behind the beat. Try tapping your foot and let the beat of the rhythm connect with your heart. Like this guy:
http://www.youtube.com/watch?v=6lbvSBNLLoo
"Your sound is in your hands as much as anything. It's the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use." -- Stevie Ray Vaughan

"Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent." -- Miles Davis

Guthrie on tone: https://www.youtube.com/watch?v=zmohdG9lLqY
#19
Yeah, timing sounds a bit off in both videos. And really polishing up the technique will help a lot. Being unable to play a solo right/cleanly/right as in messing it up or unable to play up to speed can really mess up your timing. For example being unable to play a fast lick may cause to you be behind and you end up rushing the other parts or playing licks too fast leaves you too much space in between making your solo sound kinda empty.
#20
Yeah your chops seem pretty good but the feel not so much. Work on your vibrato more, that's not helping (though isn't the only problem and isn't a panacea either). Also consider sliding down at the end of a phrase. Actually try to have phrases, too- you're playing a lot of notes which aren't really technically wrong (talking about the second vid here), but it sort of sounds like there's no real aim to what you're playing. It doesn't really go anywhere.

Again, this might not be 100% analogous, but you're like an actor who knows his lines 100% but sounds like he/she is reading a script rather than acting. That's kind of what the problem is. And unfortunately it's very difficult (at least for an amateur like me, maybe a real teacher would be better able to help ) to teach "feel".

EDIT: Again, I apologise if that sounds harsh, that's not my intention. Just you asked what we thought was wrong, and you don't seem to know from your posts, so I told you what (in my opinion) is wrong, in the hope that that means you'll be able to fix it.

I'd also say as well, just listen to a bunch of solos from players who are known to have killer feel.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
Last edited by Dave_Mc at Sep 13, 2014,
#21
The "tone in your fingers" is also what you should improve. It doesn't really sound that great sound wise. I mean, you do have speed. You can play all the notes correctly and cleanly. Now you need to pay attention to sounding good. It has to do with technique and phrasing. Pay attention to your vibrato.

And the problem with all of your solos is the rhythm. If you don't know what 16th notes are, you should learn what they are. There are four 16th notes in one quarter note and you usually count quarter notes. So play 4 notes per beat and you've got 16th notes. Start with slower tempos.

Again, I have exactly the same thoughts as Dave and I think his analogy was pretty good. Right now it kind of sounds like you are playing the guitar, you aren't playing music. Music is about so much more than just right notes.

Maybe joining a band could improve the musical side of your playing and also your rhythm. In a band you need to learn to listen. And you pretty much have to play in time.
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#22
^

And yeah, "tone in your fingers", that's what I mean.

I think that's what arron_zacx probably means too (in addition to the timing thing, which is a good point)- just to clarify, when he says technique, because if you read that at face value you'll just go away and practise your chops which might not help all that much (going back to the actor analogy, that actor isn't going to get better at acting by trying to memorise his/her lines any better).

Also, while I agree with everything else you (MaggaraMarine) say, I don't think I'd really say it's the difference between playing guitar and playing music. I think they're both the same, really. It's more like the difference between playing guitar hero well and playing guitar (or music, however you want to phrase it) well.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#23
It's funny, the raging argument about soul and "feel" in the "today's music sucks" thread had so many people wailing on the idea of soul and feeling, and this one is nearly proof of its existence.

Soul and feeling is one of the hardest things to replicate, which is why it is a form of greatness in itself.

Mastering the art of bends, vibrato, etc. is very difficult and even though you have the chops, the feel is incredibly hard to get.

You have to just let yourself go...let it flow...some people can get close, others not, but you'll never achieve the exact feel of Hendrix, Dave Murray, Clapton, etc. so don't feel down about it.
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#24
I didn't watch the video but all good musicians are musicians who make their instrument sing. One of the best ways to add feeling is a good vibrato. Do you listen to music that has lots of feeling? Music has to have feeling for me to listen to it. James Brown, Miles Davis, SRV. One of my favorite guitarists since the late 70's has always been Robin Trower - fantastic vibrato. And he's said it himself - the key is to make the guitar sing. Listen to anything from SRV and listen to how he puts feeling into everything fill and riff he plays. Listen to any cellist or violinist and how they use vibrato to make their instrument sing.
#25
Quote by TheRiz
It's funny, the raging argument about soul and "feel" in the "today's music sucks" thread had so many people wailing on the idea of soul and feeling, and this one is nearly proof of its existence.

Soul and feeling is one of the hardest things to replicate, which is why it is a form of greatness in itself.

Mastering the art of bends, vibrato, etc. is very difficult and even though you have the chops, the feel is incredibly hard to get.

You have to just let yourself go...let it flow...some people can get close, others not, but you'll never achieve the exact feel of Hendrix, Dave Murray, Clapton, etc. so don't feel down about it.

I don't think this is the same argument. You can tell when a guitarist can play and when he can't play. It doesn't really have to do with "feeling" or "soul". We just describe it as having not any feeling because it sounds like there are just notes but nothing else. And I think everybody agrees that there's more to music than just right notes. So I would say this so called "feeling" is about technique. At least to a certain extent. A good guitarist could play almost anything and you could say it has feeling, unless it sounds out of place.

But let's not discuss this in this thread.

TS has certain kind of technique (speed) but he has to improve his technique to sound good. And I'm not talking about speed.

Quote by Dave_Mc

Also, while I agree with everything else you (MaggaraMarine) say, I don't think I'd really say it's the difference between playing guitar and playing music. I think they're both the same, really. It's more like the difference between playing guitar hero well and playing guitar (or music, however you want to phrase it) well.

I think good guitarists do both. They play music on their guitar. I mean, you can play the guitar without playing music. And I think TS was kind of playing the guitar without playing music (sorry if this sounds a bit harsh). It has a lot to do with the other things than right notes.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
#26
Quote by MaggaraMarine

I think good guitarists do both. They play music on their guitar. I mean, you can play the guitar without playing music. And I think TS was kind of playing the guitar without playing music (sorry if this sounds a bit harsh). It has a lot to do with the other things than right notes.


I agree with you, I just don't like the (sort of pretentious) way some people (not you) call themselves "musicians" rather than "guitarists", if their main instrument is guitar. No-one would say "she's not a violinist, she's a musician" to a virtuoso violinist, for example. If you look up the definition of "musician", one of the accepted definitions is "someone who plays a musical instrument". So by definition if you play guitar you're a musician. That's all I mean.

I'd argue you're not playing the guitar well if you're playing it but not playing music Playing it well is a whole other matter, of course.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
Last edited by Dave_Mc at Sep 13, 2014,
#27
Thanks alot guys.

No I dont care if anyones being harsh its seriously less painful than being unable to play a solo in time.

You that thing that most rhythm guitarists have. Like the listen to a song and they can just determine the strum pattern, the pauses everything on their own? Ive never actually been able to that. I just cant determine the rhythm of a song on my own unless i have heard the rhytm before.

E.g. "Old mc donald had a farm e yaaee e yaee ooo"

I cant determine the strum pattern just by those lyrics but I can do it if i hear someone playing it on the guitar.

By reading all the comments I think this is the underlying root cause of not being able to play in time atleast I thinks its connected somehow.
#28
^ Yeah that could well be it. I'd actually say it probably is.

Have you considered getting music lessons? As I said above, I'm not a teacher so I don't want to do more harm than good.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#29
Quote by Dave_Mc
^ Yeah that could well be it. I'd actually say it probably is.

Have you considered getting music lessons? As I said above, I'm not a teacher so I don't want to do more harm than good.



I have, thinking of skype lessons, but i dont know how productive that is.

I was just checking out rhythm lessons:
so if a song is in 4/4 it means 4 beats per measure and each beat gets a quarter note.

1 whole note = 4 beats.

Half note = 2 beats
Quarter note = 1 beat.

8th note= 0.5 beat

am I correct here?

also i get it that one note per beat means im playing a quarter note but if i play an eight note that has to be half the duration of a beat? but playing an eight note in a 4/4 time wouldn't that change the time signature? im getting very confused here.
#30
Quote by danyal92
Thanks alot for all your input guys. I don't know what the main problem is. I mostly play metal so in the link below the timing is fine but the feel is a little "ekh"

https://www.youtube.com/watch?v=tTw-Yp_7fWA

And in this one (a blues solo) the timing kind of goes off because the backing track was extended but the feel is "dead". I never really liked what I did here:

https://www.youtube.com/watch?v=mx2hVZhz3zM



You have really good chops man!
#31
Quote by danyal92
I have been playing for quite some time now. However, i just cant get the "feel" when i am covering a song. Its just sounds sort of mechanical. Can anyone help me?

Ive posted the link as an example.

http://picosong.com/9fvi/



Quick question do you play along to records? By the way no one can sound exactly like Jimmy Page unless that person is Jimmy Page. When people cover songs they don't play it exactly note for note they usually put their own spin on it. So to bring this to a conclusion don't worry too much about sounding exactly like someone else focus on your own sound.

#32
Quote by Black_devils
Quick question do you play along to records? By the way no one can sound exactly like Jimmy Page unless that person is Jimmy Page. When people cover songs they don't play it exactly note for note they usually put their own spin on it. So to bring this to a conclusion don't worry too much about sounding exactly like someone else focus on your own sound.




Yes I do, alot actually. I know there's no jimmy page but page himself but its like "doing justice to the solo" theres no better version of it than the original.

I know i do but the main focus is musicality. Im pretty clear on the difference between a guitar player and a musician as otherwise i would never have created this thread.
e.g. IMO dave mustaine is a guitar player while marty friedman hes a musician! (yes i might get alot of hate for this).
#33
Quote by Black_devils
Quick question do you play along to records? By the way no one can sound exactly like Jimmy Page unless that person is Jimmy Page. When people cover songs they don't play it exactly note for note they usually put their own spin on it. So to bring this to a conclusion don't worry too much about sounding exactly like someone else focus on your own sound.


I think good guitarists can mimic other guitarists pretty well. Yes, good guitarists have their own style but they also understand other people's styles. Having your own style is not a reason to suck. Also by learning solos note for note and trying to make them sound like the original can really improve your skills. I mean, you need to pay attention to so many things and you get out of your comfort zone. That way you'll learn new ways of playing. And you will play things that you wouldn't normally play.

Quote by danyal92
I have, thinking of skype lessons, but i dont know how productive that is.

a)

I was just checking out rhythm lessons:
so if a song is in 4/4 it means 4 beats per measure and each beat gets a quarter note.

1 whole note = 4 beats.

Half note = 2 beats
Quarter note = 1 beat.

8th note= 0.5 beat

am I correct here?

b)

also i get it that one note per beat means im playing a quarter note but if i play an eight note that has to be half the duration of a beat? but playing an eight note in a 4/4 time wouldn't that change the time signature? im getting very confused here.

a) Yes, that's correct.

You can just look at the note name. 8th note - what does that mean? It means that eight 8th notes equals one whole note - it's 1/8 of a whole note. Same with half notes. It's half the length of a whole note. So one 4/4 bar is one whole note, two half notes, 4 quarter notes, 8 8th notes, 16 16th notes, 32 32nd notes and so on.

b) No, what notes you play doesn't really have an effect on the time signature. You need to see the big picture, not just look at what one instrument plays. You need to listen to the beat. Even if you are playing 8th notes, the beat could be 4ths. The time signature only changes if the amount of beats per bar changes. Listen to the drums. Listen to the snare and bass drum. In the most simple beat they play quarter notes. They pretty much define the other note values.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
#34
Quote by danyal92

e.g. IMO dave mustaine is a guitar player while marty friedman hes a musician! (yes i might get alot of hate for this).


I dunno. I'd just say marty is a better guitar player. I mean, both write music and arguably mustaine's songs are more popular than friedman's. from that point of view, you could even argue that mustaine is more of a musician than friedman- yet friedman is the virtuoso.

You can see why I have trouble with the term. (I'm a total marty friedman fanboy. I like megadeth too, though increasingly more in spite of mustaine than because of him.)

Quote by MaggaraMarine
I think good guitarists can mimic other guitarists pretty well. Yes, good guitarists have their own style but they also understand other people's styles. Having your own style is not a reason to suck. Also by learning solos note for note and trying to make them sound like the original can really improve your skills. I mean, you need to pay attention to so many things and you get out of your comfort zone. That way you'll learn new ways of playing. And you will play things that you wouldn't normally play.


Agreed.

I'll let you handle the other bit about the note durations, I'm used to british convention (quavers, crotchets and the like) and I don't want to confuse him... and me.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#35
Quote by Dave_Mc
I dunno. I'd just say marty is a better guitar player. I mean, both write music and arguably mustaine's songs are more popular than friedman's. from that point of view, you could even argue that mustaine is more of a musician than friedman- yet friedman is the virtuoso.

You can see why I have trouble with the term. (I'm a total marty friedman fanboy. I like megadeth too, though increasingly more in spite of mustaine than because of him.)


Agreed.

I'll let you handle the other bit about the note durations, I'm used to british convention (quavers, crotchets and the like) and I don't want to confuse him... and me.


Thanks for the input man. Im working with a metronome with hopes that it will improve my timing. I just can't learn to develop rhytm , what should I do to just sense the rhythm of a solo on my own. Just play different rhythm parts of many songs?
#36
I'm not sure, actually. As I said above, I'd be inclined to try lessons (and mention to the teacher that timing is a problem).
I'm an idiot and I accidentally clicked the "Remove all subscriptions" button. If it seems like I'm ignoring you, I'm not, I'm just no longer subscribed to the thread. If you quote me or do the @user thing at me, hopefully it'll notify me through my notifications and I'll get back to you.
Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#37
Quote by danyal92
Thanks for the input man. Im working with a metronome with hopes that it will improve my timing. I just can't learn to develop rhytm , what should I do to just sense the rhythm of a solo on my own. Just play different rhythm parts of many songs?

Play it slower. Play it so slow that you can figure out exactly when each and every note should be played. Once you know how to play it accurately in a slower tempo, you are ready to play it in a faster tempo.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
#38
Quote by MaggaraMarine
Play it slower. Play it so slow that you can figure out exactly when each and every note should be played. Once you know how to play it accurately in a slower tempo, you are ready to play it in a faster tempo.



Thanks alot man i am doing that. Thanks again
#39
Quote by danyal92
Yes I do, alot actually. I know there's no jimmy page but page himself but its like "doing justice to the solo" theres no better version of it than the original.

I know i do but the main focus is musicality. Im pretty clear on the difference between a guitar player and a musician as otherwise i would never have created this thread.
e.g. IMO dave mustaine is a guitar player while marty friedman hes a musician! (yes i might get alot of hate for this).


I just wanted to throw in there that "doing justice" to anything in music, aside from more regimented forms of music, shouldn't mean playing it note for note (IMO. I could be wrong here). I worked with a drummer who had this same mentality a few months back and it was dreadful.

Everyone has their own unique style/approach and things they bring to the table, and I believe that "doing justice" to a tune should be done by allowing yourself (your style and approach) to shine through in it.

You aren't Jimmy Page. That's not at all a bad thing. In fact, that's a REALLY REALLY good thing, because that means you have the power to take that tune (or any tune) and add a little 'danyal92' spin to it and make it something different. It may be a little different or it may be very different, but the point is to expand on Jimmy's ideas. Go look up some live takes of Jimmy playing that, or any of his tunes. Even he was always trying to expand on his own ideas and try new approaches. He absolutely never plays that solo the same way twice.

Imagine how 'All Along the Watchtower' (Jimi's version) would have sounded if he was concerned with "doing it justice" by playing it exactly like Bob Dylan did? It would have been kind of boring, honestly, and wouldn't be one of the greatest covers ever recorded. Do many people believe that Dylan's version is better? Sure, but that didn't stop Jimi from doing an awesome cover of it
#40
^ I agree with you but I think it depends on what you are doing. What's the purpose of covering a solo or a song? If it's a technical/aural/whatever exercise, I would say playing it as close as possible to the original is what TS should do. But if the purpose is to just play music you like, then of course add your own twist to it. But I guess TS is learning the solo more as an exercise. Also, before you start making changes to it, I think it is also good to be able to play it like the original version.

"I'm just playing it in my style" is not an excuse for not sounding good. TS was asking what's wrong with his playing. Why his playing doesn't sound good is not because he's playing it in his own style. It's because he's playing out of time and just "playing notes".
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
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