#2
Ok, good thing you will continue to work on this, because a) it needs more work and b) it has strong potential, so it will be worth it

Impressions:
I love the intro/main riff, really sets the mood for a lighthearted, driving rock instrumental in the flavour of Satriani's "Summer Song" and similar tunes. When the drums and bass come in, it doesn't disappoint but really helps further the straightforward drive (I mention this especially because often promising riffs get destroyed by drums that don't really fit them).
Another good thing is the note choice of the riff: it really lends itself to some modal melodies (again, I'm thinking of Satriani here). If you don't know what I mean yet, it's quite simple actually: the chords used in the main riff are Emaj and A5, they define your key tonality (Emaj). But don't think therefore you can/should only play the Emaj scale over this. Let's analyze: Emaj chord is made up of the notes E, G# and B, and the A5 chord is A and E. So you essentially have only four basic "ground" tones to work with, and can 'fill up' the rest of a scale with notes of your choosing to bring out a specific flavor. Of course, you can simply just always use the ground notes (and no matter what scalemode you'll use, you come back to the ground notes most of the time, because they sound "safe", i.e. they fit everywhere without much dissonance clashing). But the thing about having such a 'sparse' backing is that it leaves the space open to bring in other notes, that you can choose to bring out a specific flavour. Of course, some notes will fit better than others, thus some should be used only sparingly in short runs to 'spice' things up. But what works really well, for example, is that if you play for example a D note from time to time in the Lead. The D (dom7 interval of Emaj) will bring out a slightly more funky rocking mixolydian flavor that might give your melodies more of an edge if the normal 'major scale' (with a maj7 = D#) is too sweet.
Now onto arrangement matters, it's always quite a challenge to compose an interesting and engaging guitar instrumental. The main riff starts things off really well, and should be accentuated by a hookline melody that really catches the listener (hint, your actual lead there so far doesn't really qualify as that, I'd go back and jam up some other melodies over that). As far as the verse is concerned, here's another tricky thing. Of course it shouldn't be harmonically/dynamically so far removed that it seems almost like a bridge, but it also shouldn't be too similar to the riff before in that it seems indistinguishable. It should present a clear sense of progress and coherent direction, while at the same times bringing things down a bit (because you are going to repeat this some times and want to provide 'breathing room' now, so your later dynamic peaks have more impact). Harmonically, the verse here is a bit too similar too the mainriff, in fact basically the same save a few rhythmic placements. For example, I'd just stay on the E for now, pedal the root a bit while bringing in some more colorful doublestops to form a good riff. Or work in a few basic runs. Or some breaks and pauses, you see, basically anything to make it more distinct. This should be especially true of the bass, which is the same pattern for too long. Now, a place where it's done right is the drums: Open hihat on the fourths, and in the verse closed hihat on all eights, this little transition has nonetheless great impact in separating the 'feel' of the parts.
Now, the prechorus and chorus didn't really excite me too much. First of all, personally I think as the chorus you should bring back the intro/main riff (of course with the hookline melody on top). And the prechorus, well, I think by now at least it should take a harmonic detour, as generally the pre should serve to build up some tension that relieves itself in the chorus. You used just 2 chords for the whole time, it should be simple to find a short little other chordprogression by now.
Basically the same goes for the bridge. This part I would really make more distinct, no more Emaj-A5 loop. Some standart ways to keep things interesting here are for example modulating to a minor tonality (like C#m works well with Emaj), or even going to the parallel minor of Emin (though that would take some harmonic preparation and detours to pull off convincingly). And 'distinct' should go for all other aspects too: Different drum rhythms (how about a halftime by now?), different guitar arrangement (doesn't really have to be just riffs or powerchords, or a mix, how about some (finger)picked chord arps... beware of playing those distorted, how about a clean section?), and the lead guitar melody should reflect this shift in mood and intensity as well (for example 'calming down' with some more relaxed lines, if you were more intense beforehand. Or the other way around, if you were more subdued before).
Now, I spent little time talking about what is of course the most important aspect of a guitar instrumental, the lead melodies. I do so because I'm not really sure it will be an instrumental at all (but sure does feel like one), so I don't want to lose words in that case. You seem to have enough good stuff down, no note sounds terribly out of place or anything, however it lacks structure and hooks. Some individual licks are pretty sweet, but the order they're arranged in is pretty disjointed and doesn't seem to indicate any direction. Here's what I would do: Like I said, a simple (doesn't have to mean slow, but means catchy and with direction/purpose) main hook melody for the chorus. Verse parts are always tricky, you need to calm down here. If you can't come up with some interesting lines (that are nonetheless not too intense) for an extended period of time, just play some sparse stuff that accentuates the rhythm riff (or like for example a clean chordpicking). Now, for solos and more engaged stuff, here's some advice to develop a solo with a sense of direction and melody that doesn't feel like an assortment of licks: Make up a skeletal framework first with the important melodynotes that you want to accentuate throughought the course of the solo. Then, and only then afterwards, after you made up a melody frame that goes somewhere, you connect those with some runs. Of course, if you have some pet licks or showoff parts that you want to incorporate, go for it, but then put some work into leading in and out of those parts. Again, a good reference point to study how to do this right should be analyzing the tabs of some Guitar Instrumentals. Satriani is a good and easy to get start for this. Great work, keep it up!
#3
That's a lot of help thanks
I'll work on the guitar parts so they aren't quite as repetitive
I wasn't 100% satisfied with the lead either.
Thanks again
BRIAN. SCHNEIDER.
#4
I'm not sure what was said in the long crit above so pardon me if I beat a dead horse.

This is pretty decent as it is - however, the way the leads just start and stop is a bit unsettling. I'd suggest letting the notes ring and fade. And the one particular lead where it switches from high register to a lower one has the same unsettling effect. The solo would be brilliant - except that the climax was reached far too soon. You have the right beginning and ending, but there's no middle to justify it.

This has a very catchy rhythm, the instrumentation is fine, and you're on the right track. Keep at it.