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#1
I need some tips on how to pick really fast and still get a clear loud sound. A good example would be the tremolo picking on "Eruption", which is what I'm trying to learn to do better. I can do it and it sounds clear, but it's quieter than other parts when I play the whole thing. HELP ME!!!!!!~!!!
#2
Maybe your palm muting and you don't know it, its possible. I don't know how you can't make it clear, either you play it clear or you can't tremolo pick and its sh*t.
#3
I can play it very clear and nice but it's a little quieter than the rest of the song when I play it.
#4
try to scoot your fingers up to the end of the pick so there is very little sticking out. I also kind of tilt it to the side but thats just me
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#6
Flex your thumb inward. It angles the pick a little bit so you can strum quite a bit faster.
#10
You should play the same when plaing slow as you do when playing fast. That applies to technique, muscle tension and volume.
What a lot of people don't realise is that picking loud actually solves a lot of guitar related problems.
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#11
is it for solo-ing, something about solo-ing you must know is that its not the speed that counts...you can get more feeling out of five notes than out of 50 notes
#15
paul gilbert said in his video that the volume of the note is dependent on how deep the pick is into the strings, especially in fast licks(or in your case, tremolo)...so if only a small portion of you pick contacts the string/s as you strike it then chances are youll get a weak sound from the string, on the other hand, if more of your pick strikes the string/s then the result is a stronger sound...in short, you dont have to strike harder for a stronger sound, you just have to stick your pick deeper into the strings as you tremolo away...
#17
I'm also listening to Metallica, does anyone know how do to that really fast shred Kirk likes to do alot? (Blackened, Seek and Destroy)
#19
Quote by 3G1p2p
try a thinner pick if you can


Thinner picks bend when striking the string, making it harder to play quickly and accurately. Some people find it easier to play with a thinner pick, but usually you want a fairly heavy one. I use 2mm Big Stubbies, and I cant play nearly as quickly with anything thinner...though maybe im just too used to them.
#22
Quote by Modernmusich8er
I just use standard size picks but I'll try heavier and thinner picks and see which I prefer.


Try the big stubbie, it makes all other picks it b**ch.
#26
is it for solo-ing, something about solo-ing you must know is that its not the speed that counts...you can get more feeling out of five notes than out of 50 notes


Just keep your mediocre playing practices to yourself. Some people want to achieve technical ability.
Dead soldier! Go now to Valhalla!
#27
^ At least learn to respect others opinions, he made a good point - soloing shouldn't just be lots of picked notes played really fast.
#28
Why not? It adds a completely different sound that many people like. Wouldn't you rather have the option of compressing many notes into a quick phrase to create a unique sound than playing the same 5 notes over and over in boring repetitive patterns? I'm not saying melody isn't important, it's part of what makes great solos great, but some people rat on speed because they can't do it or something. Also you can have melody at fast speeds. In fact the two should be interwoven appropriately when soloing in my opinion.

And for example take chords and arpeggios: Say you play a 4 chord progression. Okay, it might sound fine but there's nothing special about it. Now sweep that same progression fast (not too fast though...you still wanna keep the tonal feeling of the chord.) It's completely different and probably more exciting.
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#29
Quote by Sir Edwin CBE
^ At least learn to respect others opinions, he made a good point - soloing shouldn't just be lots of picked notes played really fast.


Soloing is be whatever the soloist in question feels like doing.

Soloing shouldn't be anything.

Phrasing is always there, if it's fast or slow, what's the difference? It's just the speed of the notes. Get out of your box thinking that fast is different from slow, it's all the same. It's music. Learn to appreciate.
He who joyfully marches to music in rank and file has already earned my contempt.
He has been given a large brain by mistake, since for him the spinal cord would fully suffice.


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#30
If it really is a volume problem, pay attention to where you're picking the string, too (near the bridge or near the neck).

#31
Quote by Sir Edwin CBE
^ At least learn to respect others opinions, he made a good point - soloing shouldn't just be lots of picked notes played really fast.


Displaying emotion is impossible when you're struggling desperately just to hit the right notes. Speed is a byproduct of accuracy, and accuracy counts for a lot.
#32
When someone tells someonelese that the minimalist Dave Gilmour type approach is "mediocre playing practices " then I do see a problem. In my opinion speed should be used to good effect - njot used allof the time. If someone wants to play fast all the time that's their choice - it does not mean that the other approach is wrong though.
#33
Quote by Sir Edwin CBE
When someone tells someonelese that the minimalist Dave Gilmour type approach is "mediocre playing practices " then I do see a problem. In my opinion speed should be used to good effect - njot used allof the time. If someone wants to play fast all the time that's their choice - it does not mean that the other approach is wrong though.


Well, firstly, I haven't heard anyone only play fast ever. Secondly, speed should be used to good effect... Duh.

When did anyone say the other approach is wrong? It's not wrong, it's just a lazy man's route.
He who joyfully marches to music in rank and file has already earned my contempt.
He has been given a large brain by mistake, since for him the spinal cord would fully suffice.


Remember: A prudent question is one half of wisdom.

Click.
#34
Quote by Gman400
Just keep your mediocre playing practices to yourself. Some people want to achieve technical ability.



That's when.
#35
Quote by Gman400
Why not? It adds a completely different sound that many people like. Wouldn't you rather have the option of compressing many notes into a quick phrase to create a unique sound than playing the same 5 notes over and over in boring repetitive patterns? I'm not saying melody isn't important, it's part of what makes great solos great, but some people rat on speed because they can't do it or something. Also you can have melody at fast speeds. In fact the two should be interwoven appropriately when soloing in my opinion.

And for example take chords and arpeggios: Say you play a 4 chord progression. Okay, it might sound fine but there's nothing special about it. Now sweep that same progression fast (not too fast though...you still wanna keep the tonal feeling of the chord.) It's completely different and probably more exciting.

It's not about speed. What is the use of playing fast if it sounds like crap? Not saying that playing fast can't sound good. I think it sounds great. But just because a solo is faster doesn't make it better. In my opinion, the feeling of the solo is more important than the speed.

You have good points though. Speed is useless if you don't use it right.


-DS
Last edited by Drop Subject at May 14, 2006,
#36
Quote by Sir Edwin CBE
That's when.


I don't see wrong anywhere in there... I must be blind.
He who joyfully marches to music in rank and file has already earned my contempt.
He has been given a large brain by mistake, since for him the spinal cord would fully suffice.


Remember: A prudent question is one half of wisdom.

Click.
#39
Quote by Resiliance

When did anyone say the other approach is wrong? It's not wrong, it's just a lazy man's route.


Am I to understand that you are saying that not playing shred-style is lazy? Since Gilmour was mentioned in the post you quoted, I can only assume that you were referring to his style and others similar to it. It is a style different from your favorite one, but that does not make it better or worse. It makes it different. Spanish and Chinese take two very different approaches to making a language, but neither is better than the other.
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