#1
As above.

I like using clashing notes, with high gain, and sliding them out, so they don't really have time to sound crud!

That, and unison bends when used right, etc.

Everyone, list everyway you can think of!
Including effects, etc.

Cheers -
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#3
Minor second intervals, sound really dissonant and can be used as replacements for pinches in most heavy riffs.
#4
A personal favorite is to take a noteon one string then take a second note one whole step below the first one on the string below after that you bend the second note so that it goes out of tune with some dist this willl give you a cool and usefull sound! you can also bend the string a full bend which will result in that both notes are the same =)
#5
Quote by samlocke14
wammy bar harmonics, they are ****ing sweet!
assuming you have a guitar with a flyod tho

+1. They are awesome. He took my answer lol.
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#6
Quote by guitaringsailor
A personal favorite is to take a noteon one string then take a second note one whole step below the first one on the string below after that you bend the second note so that it goes out of tune with some dist this willl give you a cool and usefull sound! you can also bend the string a full bend which will result in that both notes are the same =)

Or you could just leave them as is, I'm pretty Matt Heafy does that in rain.
He does this:

E|----------
B|-----8----
G|----11---
D|----------
A|---------
E|--------

I reckon if you were to chuck in some random bar abuse it'd scream like a bitch!
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#7
whammy bar harmonics>everything.
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#8
Play a perfect fourth and bend up the first note.

e-13
b-12b
Not only would it disrupt the fabric of time and space, but it would totally ruin the surprise!
#9
Quote by Kailoq
Play a perfect fourth and bend up the first note.

e-13
b-12b


That's a tritone, not a perfect fourth.


I like pitch shifters, since the ones I use tend to make the sound "edgier". Electric toothbrushes work great, too.
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#11
Quote by GuitarMunky
Feedback !


I agree, its amazing when you get it perfect.


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#12
while sustaining a note, tap the natural harmonic 12 frets above i.e :

I----3---------(15)------------------I
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#13
i like to make the ugliest nastiest 4 note chord i can then just bend the hell out of it.
#14
i like to use dynamics to make guitar screams more dramatic...

like, I'll play an open A, letting it ring for two beats, and then as it's still ringing, i'll throw in a very high-register lick, like 12th fret or higher, and it makes the guitar scream in comparison to itself...

also, i have a DD-6 delay pedal, which has a mode where you can hold the pedal down and it'll just increase the volume and rate of repeat on whatever you just played, and it REALLY makes stuff scream. as soon as you take your foot off it, the volume goes back to normal, so it allows for some interesting techniques.

another good one is to use a glass slide on the strings right over the pickups to get that seagull kind of sound. if you have a volume pedal, you can do the whale calls by swelling up a few choice notes.

it's also fun to throw sequences of natural harmonics into heavy riffs to bring them way up and take the riff to new heights... try playing some heavy riffage in E minor, and then just make the last bar of your progression a sequence of harmonics from the 5th, 7th and 12th frets
#15
Double note bends be my favorite technique. Love em.
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#16
Quote by psychodelia
That's a tritone, not a perfect fourth.


I like pitch shifters, since the ones I use tend to make the sound "edgier". Electric toothbrushes work great, too.


Doh, I messed up the string names, it should be b and g.
Not only would it disrupt the fabric of time and space, but it would totally ruin the surprise!
#17
Quote by samlocke14
wammy bar harmonics, they are ****ing sweet!
assuming you have a guitar with a flyod tho


+2. And then whammy bar feedback!
#18
whammy bar harmonics are really annoying unless you know how to do them effectively. i don't think most people my age do.
#20
Quote by Shado\/\/dance
Age doesn't matter...majority of guitarists don't know how to do them effectively

well it seems like most 15-17 year olds just seem to do stuff that "sounds cool", and they don't worry about using them effectively.
#22
The same way as you do with your girlfriend I guess...
Note: Sorry if my grammar and/or vocabulary isn't very good, English is my 2nd language!

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#23
Quote by Spamwise
well it seems like most 15-17 year olds just seem to do stuff that "sounds cool", and they don't worry about using them effectively.


Exactly. I take it this drives you insane, too?

And yea, I sure hope so Nth...if not, we're gonna have a whole generation of Zakk Wyldes...sans finesse...though that's a debate in itself...
Last edited by Shado\/\/dance at Dec 7, 2007,
#25
Quote by Daisy_Ramirez_
As above.

I like using clashing notes, with high gain, and sliding them out, so they don't really have time to sound crud!

That, and unison bends when used right, etc.

Everyone, list everyway you can think of!
Including effects, etc.

Cheers -
Daisy


turn on the wah pedal and press it all the way down while bending a note.
#26
digitech whammy pedal + wah pedal + floyd tremolo + pinch harmonic.
you do the math
#27
how do u make intentional feedback? someone mentioned feedback as a way to make your axe scream but how do you control it?
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#28
Having lowered bass in favor of mids and/or treble and little constant vibratos, e.g. Brian May help much.
#29
i play folk/blues/60s rock.. so theres not alot of screaming... but i do like the Beatles scream in Birthday..

e---12------
B---15b----
G------------
D------------
A------------
E------------

bend the B string up to an E.. or right in around it (to get that weird vibrato effect), and then bend it back to D
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#30
I have my Wah set up so that it is very subtle, so I can add it in without getting the "errrrwaaah" Kirk Hammet esque sound. Also, I pick very hard when I enter into a big, climaxing bend, which gives it a huge, accented, half-pinched sound.
#32
natural harmonics can be good in the right context, Van Halen etc.