#2
"i'm a viking."
everything on rising force.
everything on trilogy.
gear?
coming soon... parker fly mojo flame
ibanezes: rg350dx frankenstein * rg7620 7-string
fenders: telecaster plus * stratocaster plus

line 6: pod xt live * ax2 212
other: laney vh100r * mesa dual rectifier * monster cables
#4
"Brothers" is my current favorite.
"That Hidde's a cool guy" -Abe Lincoln
"Hidde? Yeah we jam all the time" -Steve Vai
"Remember that time when burt jumped out of the tree and into the river? Good times!" -Jesus

So I heard you liek profiles?
#5
Should some one maybe make a recommendation thread and sticky it? Like a shred only thing, like they have in the metal forum; that might cut down on stuff like this.
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Quote by Master Foo
“A man who mistakes secrets for knowledge is like a man who, seeking light, hugs a candle so closely that he smothers it and burns his hand.”


Album.
Legion.
#6
Blue, arpeggios from hell, im a viking, blitzkieg, rising force, far beyond the sun. If ur into it, alot of his classical pieces are good aswell.
#7
Quote by clement1
Blue, arpeggios from hell, im a viking, blitzkieg, rising force, far beyond the sun. If ur into it, alot of his classical pieces are good aswell.


by classical you mean.......
#8
what are his best albums?
Quote by steven seagull
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you win my good sir

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#9
the album Rising Froce is a definate must hear for any guitar player period. its one of the albums that really got me interested in guitar. his work with the japaneese philharmonic orchestra is also amazing.
#10
yes the live in japan is great. i like how he is the only one who deoesnt give a **** what the conductor is doing
#11
Quote by torturer6067
yes the live in japan is great. i like how he is the only one who deoesnt give a **** what the conductor is doing


I can just see him saying "Whateva! I do what I want! It's my hot body!"

Live in Leningrad is amazing.
ALWAYS

WANNA BE WITH YOU,
MAKE BELIEV
E WITH YOU,
AND L
IVE IN HARMONY, HARMONY,



OH, LOOVE!
#12
Quote by torturer6067
yes the live in japan is great. i like how he is the only one who deoesnt give a **** what the conductor is doing


I don't. If you're going to wirte a classical piece that needs a conductor then you should pay attention to him if you're playing. Then again I couldn't sit through the whole thing anyway; too much wanking for my taste.
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Quote by Master Foo
“A man who mistakes secrets for knowledge is like a man who, seeking light, hugs a candle so closely that he smothers it and burns his hand.”


Album.
Legion.
#13
Quote by Zaphod_Beeblebr
I don't. If you're going to wirte a classical piece that needs a conductor then you should pay attention to him if you're playing. Then again I couldn't sit through the whole thing anyway; too much wanking for my taste.


Malmsteen wrote the whole thing, therefore he should know where dynamics/time sigs etc change....

TS, check out Rising Force, Marching out, Odessey and Unleash The Fury
Frank Zappa's not dead. He just smells funny.
#14
Quote by sheumack111
Malmsteen wrote the whole thing, therefore he should know where dynamics/time sigs etc change....


And the orchestra didn't rehearse? They all know the pieces backwards I'll bet; the conductor, at his most basic, keeps time visually so unless you're looking at him I don't see how you can keep time very well.
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Quote by Master Foo
“A man who mistakes secrets for knowledge is like a man who, seeking light, hugs a candle so closely that he smothers it and burns his hand.”


Album.
Legion.
#15
Quote by Zaphod_Beeblebr
Should some one maybe make a recommendation thread and sticky it? Like a shred only thing, like they have in the metal forum; that might cut down on stuff like this.


They're in the process of re-doing our rec thread.
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Lolz

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#16
Quote by Zaphod_Beeblebr
And the orchestra didn't rehearse? They all know the pieces backwards I'll bet; the conductor, at his most basic, keeps time visually so unless you're looking at him I don't see how you can keep time very well.


So I can't keep time unless I'm watching somebody wave their arms up and down? And the man who wrote the piece hasn't a greater authority on how he wants the piece to be presented than the conductor he's hiring to direct the rest of the orchestra?

Blue has always been a personal favourite.
My name is Tom, feel free to use it.
#17
Quote by Prophet of Page
So I can't keep time unless I'm watching somebody wave their arms up and down? And the man who wrote the piece hasn't a greater authority on how he wants the piece to be presented than the conductor he's hiring to direct the rest of the orchestra?

Blue has always been a personal favourite.


Ok, think of it this way: in terms of rhythmn the conductor is a visual representation of a metronome, you can keep time in any way you like but the conductor is the one with the power to dictate what tempo the piece is played at because he controls the entire orchestra.

Moreover: When was the last time you heard of a band without a rhythmn section? That's what the conductor does for an orchestra; he's a one man rhythmn section; it just so happens that no one can hear him, so he has to wave his arms drummers do the exact same thing but with noise.

Also: Yes, when it comes to playing the conductor has absolute authority, they will have sorted out tempos and things in rehearsals but during a live performance with a paying audience the conductor is in charge, to think any other way is just wrong.
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Quote by Master Foo
“A man who mistakes secrets for knowledge is like a man who, seeking light, hugs a candle so closely that he smothers it and burns his hand.”


Album.
Legion.
#18
Quote by Zaphod_Beeblebr
Ok, think of it this way: in terms of rhythmn the conductor is a visual representation of a metronome, you can keep time in any way you like but the conductor is the one with the power to dictate what tempo the piece is played at because he controls the entire orchestra.


Think about it like this. I, the composer of an orchestral suite gently tap the side of my instrument before I play to allow my conductor to exaggerate that tempo so the rest of the orchestra may follow him, and I continue to maintain that tempo myself as I, a capable musician should be able to do. When the next change in tempo that I have orchestrated comes into effect, the conductor again follows my lead, so that the rest of the orchestra may follow him.

Quote by Zaphod_Beeblebr
Moreover: When was the last time you heard of a band without a rhythmn section? That's what the conductor does for an orchestra; he's a one man rhythmn section; it just so happens that no one can hear him, so he has to wave his arms drummers do the exact same thing but with noise.


There is a vast diffference between tempo, timing and rhythm (notice the spelling). Also, the rhythm section of a band is not always responsible for the setting of the tempo, but they project it so that other band members can follow it.

Quote by Zaphod_Beeblebr
Also: Yes, when it comes to playing the conductor has absolute authority, they will have sorted out tempos and things in rehearsals but during a live performance with a paying audience the conductor is in charge, to think any other way is just wrong.


I'm sorry, but a performance of a composer's piece while that composer is in the orchestra is the projection of that composer's interpretation of his own music, not the conductor's interpretation. The conductor is in charge of carrying out the conducting of the orchestra at the direction of the composer. For reasons like these Rachmaninov and Chopin had trouble finding conductors who were that, conductors, and not directors.
My name is Tom, feel free to use it.
#19
Quote by Prophet of Page
Think about it like this. I, the composer of an orchestral suite gently tap the side of my instrument before I play to allow my conductor to exaggerate that tempo so the rest of the orchestra may follow him, and I continue to maintain that tempo myself as I, a capable musician should be able to do. When the next change in tempo that I have orchestrated comes into effect, the conductor again follows my lead, so that the rest of the orchestra may follow him.

There is a vast diffference between tempo, timing and rhythm (notice the spelling). Also, the rhythm section of a band is not always responsible for the setting of the tempo, but they project it so that other band members can follow it.

I'm sorry, but a performance of a composer's piece while that composer is in the orchestra is the projection of that composer's interpretation of his own music, not the conductor's interpretation. The conductor is in charge of carrying out the conducting of the orchestra at the direction of the composer. For reasons like these Rachmaninov and Chopin had trouble finding conductors who were that, conductors, and not directors.


1) During the middle of piece I don't think Malmsteen has any time to tap his guitar to set the new time; the conductor sets this on the fly because he's in charge: getting the right tempo would have been sorted out in rehearsals.

2) The conductor may not set the tempo but he does keep it, unless you can see the conductor you can't keep the right tempo; the conductor will fluctuate because that's natural but if he changes then so does the whole orchestra and if Malmsteen doesn't pay attention he will sound wrong, no one else. Well done, by the way, for attacking my spelling (of one word I might add); ad hominem remarks hold no sway with me.

3) The interpretation of the piece is once again something that will have been sorted in rehearsals, the conductor is interpreting it in Malsteen's way but again Malmsteen has to have something to keep time and he should be paying attention to the conductor or he could very well slip out of time with the orchestra and end up being the one to look stupid. During the performance the conductor holds the power, not the performers; picking the right conductor who interprets the music in Malsteen's way would have been sorted months in advance.
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Quote by Master Foo
“A man who mistakes secrets for knowledge is like a man who, seeking light, hugs a candle so closely that he smothers it and burns his hand.”


Album.
Legion.
#20
Quote by Zaphod_Beeblebr
1) During the middle of piece I don't think Malmsteen has any time to tap his guitar to set the new time; the conductor sets this on the fly because he's in charge: getting the right tempo would have been sorted out in rehearsals.


You're making contradicting cases. If the correct tempo was agreed in rehearsals, it isn't set on the fly, and if agreed in rehearsals, Malmsteen had the final word.

Quote by Zaphod_Beeblebr
2) The conductor may not set the tempo but he does keep it, unless you can see the conductor you can't keep the right tempo; the conductor will fluctuate because that's natural but if he changes then so does the whole orchestra and if Malmsteen doesn't pay attention he will sound wrong, no one else. Well done, by the way, for attacking my spelling (of one word I might add); ad hominem remarks hold no sway with me.


Firstly, I didn't attack your spelling, I corrected it. I'm seeing this as an amicable debate, unless you wish it to be otherwise.

Now if you can please explain to me the value in having a conductor who can't keep time perfectly, or who fluctuates, as you put it, I'd be appreciative. I wouldn't hire a drummer that couldn't land right on the beat every beat, because it simply sounds wrong. I can even less imagine hiring a conductor who can't hold tempo strictly and precisely.

Quote by Zaphod_Beeblebr
3) The interpretation of the piece is once again something that will have been sorted in rehearsals, the conductor is interpreting it in Malsteen's way but again Malmsteen has to have something to keep time and he should be paying attention to the conductor or he could very well slip out of time with the orchestra and end up being the one to look stupid. During the performance the conductor holds the power, not the performers; picking the right conductor who interprets the music in Malsteen's way would have been sorted months in advance.


And I'm sure that in the processs of selecting a conductor, Malmsteen made sure the conductor could keep time precisely, and change it to fractional rates with equal accuracy. If such is the case, Malmsteen, knowing where the tempo should change throughout the course of the suite should not need to worrry about what the conductor is doing in effect. The only way that Malmsteen may slip is if the conductor is incapable of shifting and maintaining tempos accurately once it has been set from the beginning of the piece.
My name is Tom, feel free to use it.
#21
Quote by Prophet of Page
You're making contradicting cases. If the correct tempo was agreed in rehearsals, it isn't set on the fly, and if agreed in rehearsals, Malmsteen had the final word.

Firstly, I didn't attack your spelling, I corrected it. I'm seeing this as an amicable debate, unless you wish it to be otherwise.

Now if you can please explain to me the value in having a conductor who can't keep time perfectly, or who fluctuates, as you put it, I'd be appreciative. I wouldn't hire a drummer that couldn't land right on the beat every beat, because it simply sounds wrong. I can even less imagine hiring a conductor who can't hold tempo strictly and precisely.

And I'm sure that in the processs of selecting a conductor, Malmsteen made sure the conductor could keep time precisely, and change it to fractional rates with equal accuracy. If such is the case, Malmsteen, knowing where the tempo should change throughout the course of the suite should not need to worrry about what the conductor is doing in effect. The only way that Malmsteen may slip is if the conductor is incapable of shifting and maintaining tempos accurately once it has been set from the beginning of the piece.



The correct tempo is agreed in rehearsals, yes, but it's up to the conductor to get it right during the performance and if he doesn't then that's bad but it's possible because people are not perfect; I doubt very much that any human can get the tempo right for every change in the whole concert. As such Malmsteen needs to be paying attention to the conductor: if the conductor makes a mistake then the whole orchestra makes that mistake but Malmsteen in wisdom gets it right, however, this makes him sound wrong because even though he's the only one that gets it 'right' but the audience doesn't know so it sounds wrong to them.
R.I.P. My Signature. Lost to us in the great Signature Massacre of 2014.

Quote by Master Foo
“A man who mistakes secrets for knowledge is like a man who, seeking light, hugs a candle so closely that he smothers it and burns his hand.”


Album.
Legion.
#22
I like Far Beyond the Sun, Blitzkrieg, Seventh Sign, and his Overtures. Also, I agree with SGmanforever, Live In Leningrad is great!
#23
I'd say go hear "Blue" cause it's one heck of a solo
D F O I N N T D
T W H O I R S D
Y O O R U
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A M S Y S

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Beautiful.
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#24
My favorites:
Evil Eye
Far Beyond The Sun
Icarus Dream Suite
Meant To Be
Seventh Sign
I'll See The Light Tonight
Vengence
Heaven Tonight
Paraphrase
Vivace
Sarabande

Aaaah jeez, so many. Anything with Joe Lynn Turner too pretty much, Live in Leningrad and the Eb Concerto is great (Which I have tab books for, if anyone is interested, shoot me a PM).
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#25
Any of them, seeing as they're all exactly the same.
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#26
Quote by 'Floods!'
Any of them, seeing as they're all exactly the same.

Oh no you di'ent.