Thread necroed because I found a new cool method.

Do you ever think you curl your fingers enough when playing? Let's test that, shall we? Play the 5th fret/7th fret/12th fret harmonics across the entire strings and let them ring. Play something in the key of the m7 just played. So for example, if you hit the harmonics at the 5th fret, play in Am. If you truly think you curl your fingers enough and don't interfere with the vibrations of the other strings, you should basically be able to play anything across without disturbing the m7 harmonic chord. You have to make sure to hit the harmonics again when you take out one of the intervals, though.

I thought it was cool, so I thought I'd share.
Quote by Saturated Fat
well, in that case, continue on your journey, my fellow guitar chum

Much thanks, . Travel safe and resist the temptations of the hot babe side.
Quote by Ikonoklast
Because you have to faff around with batteries. Batteries cost money.

They also sound abysmal.
Quote by Saturated Fat
I noticed that in the videos you would flex your hand after an exercise or two- which I think for someone that has been playing for as long as you, shouldnt happen. This probably means your fretting hand is very tense.
So, relax, and instead of putting pressure on the whole neck,by using your whole hand and wrist, try to keep your wrist relaxed and instead have your fingers do all of the work.
Hey, maybe I am wrong, but either way I hope this helps.

I'm pretty certain I ain't tense in my fretting hand. It usually plays and feels very relaxed.
Quote by se012101
The thing I finally realized relatively recently - and it's dead simple, I don't know why this didn't occur to me years ago - about body parts and guitar playing, is to just use the one which is most suited to the type of motion you need to make. The biggest factor is the size the motion needs to be. So, you are picking one string fast, you need small movements - ok, the wrist fits the bill. You want to progress through several strings while doing this. That's a bit of a big movement for the wrist. You keep the wrist motion going for the picking of the individual strings, but overlap some elbow motion into it to get from string to string. You can't do that with the frozen elbow technique people get when they take the "must pick with your wrist" thing too literally. Earlier in my development, I couldn't cross strings very evenly. The notes would bunch up on each string. This would totally puzzle me. I'd look at my pick movements on each string, and they be nice and neat and economical (for then) - maybe a millimeter of movement of each side of the string as I picked. Then I'd look at the gap between the strings and it would be a good 1/4". I'd say to myself, "how the hell am I supposed to make | | movement as quickly as || movement"? It totally didn't make sense, it seemed impossible. That is until I started using a little bit of elbow along with the wrist when it was needed.
The same logic applies to the fretting hand. Take string skips. So your fingers are making these nice small movements fretting one string. Then suddenly you have to skip a whole string. Even if you keep your fingers close to the fretboard, there's a much larger distance to cover perpendicular to the neck. Well, if you take your next larger joint - your wrist - and put a quick little rotation in there, you can cover that 3/4" inch or so in no time.
All of these motions - using small joints for small movements, and larger joints for large movements - are very natural. The biggest problem with anchoring (including anchoring your forearm so that only your wrist can move) in my opinion is that it prevents you from making these natural motions.

A lot of this is true, now that I realize it. One thing that's really tough though is knowing when to use wrist motion for the left hand and not all the time. I have a habit of swirling my wrist a lot when I'm playing easy stuff. Many people will find that wrist rotation when doing string skippin' works, but it can easily become a habit that carries over into things that don't require it. I have this problem, as mentioned.
Quote by lwayneio
number 2 on your list is wrong, think about it. Anchoring limits your wrists range of motion therefore making it necessary to use your elbow to pick fast. Try and think more in terms of the picks motion to the string and concentrate on what muscles you are using when picking. also carpal tunnel is caused when too much pressure is applied to the underside of the wrist which compresses the median nerve, this is usually caused buy guitar players that fix their wrist to the guitar heavily. also happens to people who anchor their wrists to their desk when using a keyboard and mouse.

This is exactly what I'm talking about, which is what frustrates me. I don't even care if one of the statements are wrong. This picking hand business is too much to think about and it's not even worth writing whole paragraphs about because there's too many different stances on the subject.

(Completely going against what I said above..): Heck, even to just point out the major inconsistencies with what most people are saying about anchoring..

First, most people are paranoid about anchoring because of carpal tunnel and the paranoia is largely unfounded due to one basic fact: carpal tunnel has a lot more to do with genetics than it does with hand function. Even if you don't have a family history of CT you can still get it, but it really depends on how badly you're limiting your wrist from moving. There are still exceptions. Some people might already press too hard and may never develop CTS in their entire lifetime. I don't press hard because, well, I hardly even anchor to start with. At least not anymore.

Second, some people say it happens even if you lightly anchor. Other people say that there's a higher risk of developing cubital tunnel syndrome instead because of the stiffness of the elbow while playing.

Going back. I say **** it all and work on one basic way of picking and find out your own ways to make it comfortable. When it becomes painful or inconvenient, change it up, and never be partial to what a bunch of nerds said. Eventually at some point in the road all picking becomes very similar. The main thing is that we're using different ways to get there. I've just fallen into the category of the generic guitar player who talks about picking techniques and then talks about what he does/should be doing, but that's unavoidable.

This has really turned into some philosophical and convoluted piece of shizz.. but I think this is probably the best way to approach it and I'll be more open rather than restricted to sets of techniques from now on.
Quote by zhilla
I think you should talk to him about it - ask him the benefits of doing it his way, and discuss the disadvantages you know of with him. See how the conversation goes and take it from there.

No kidding, that's what I was gonna do.. I just like to see what you guys thought of it. When I approached my sister about the subject she had a pretty interesting take on it.. she's not much of a guitar player but she did lots of wrist work when she was drumming for a march band and she says excessive wrist action leads to tendonitis regardless of anchoring or not.

If this holds true, then my path to fixing my technique is gonna be difficult.. here's a list of what I have heard and have assumed so far.

1. Anchoring is bad in some circumstances because it can lead to carpal tunnel syndrome... so you should not anchor and keep your hand floating above the strings...
2. ...however, not anchoring makes it difficult to use your wrist.. you end up using your forearm more, or at least this is from my experience. Despite this, people recommend not anchoring anyway and state that non-anchoring + good wrist action leads to greater speed...
3. ...but in actuality, excessive wrist action leads to tendonitis. However, using your thumb+index won't lead to tendonitis... but it makes it tougher or impossible to achieve warp 9 speeds. But wait, there's more! You're moving these two joints so much that it could easily become straining. Eek.
4. Other guitar players will then claim to do whatever is the most comfortable... and then say what they do. They're either from the anchoring/non-anchoring school and very rarely are they from both.

...the ****. Maybe I'm just overthinking it all, but I'm about to come to the conclusion that everyone is full of horse**** and that you'll end up with hand injuries from excessive playing no matter what school you're from.

I'm all for improving my technique day in and day out guys, but worrying about which path will lead to the least amount of strain is too much work. I think the best approach for me would be this: analyzing how I can play a passage to the best of my ability and modifying my technique whenever pain becomes a common factor in my playing. My technique is already half complete anyway.. all I really have to do is build on what I already find comfortable/non-straining and refine that. I mean, I can't play real fast but technique is defined as the summation of all of one's skills.. cleanliness, articulateness, tricks, context of those tricks, scales.. I'm not worried about speed - I'd love to play fast but I'd like to just figure out how to come to terms with the instrument right now at any comfortable tempo.

I really gotta start recording some vids again.
Quote by Man of Mop
Pfft. In my humble opinion, it's totally fine to noodle when you're playing other peoples music too - just don't call it practice or let it push practice out

Why stop yourself from doing something that is fun because it's "waste of time"? Fun is why we picked up the instrument after all...

Take it however you want. We all picked up the guitar to have fun, yeah, but we all come from different hemispheres. Some of us only have fun if we're noodling and some of us only have fun if we're practicing. I believe in having fun but I have to often question whether what I'm practicing or noodling is developing my skills or not. There's no doubt in my mind, however, that one can improve just as well as a guy practicing a bunch of boring techniques in his living room by just practicing a song or two.

Don't get offended if you're not of the many, but I think it's pretty true. Many people just play the song and never practice the essential riffs in a particular song, which only ever amounts to just familiarizing yourself with playing the song in particular. Y'can't really improve too much from doing this.. it's like you're always painting an image of this vast landscape but you lack attention to certain details.

Anyway, I don't discount practicing songs to improve but it needs to be done correctly, y'know? Regardless of whatever methods you use to get better at anything, how you use them plays a pretty crucial part in getting there.
It's one thing to have a good practice schedule.. it's totally another to be able to NOT noodle around.

Unless you're actually developing the clarity and technique with any given song you know, you're not practicing. And if there isn't a camera or there aren't people around, you're not performing. If it's not practicing and if it's not performing, it's noodling. Everyone's guilty of noodling. It's so widely known that it isn't even a dirty secret.

So, uh.. yeah. Try what I try to do and only pick up the guitar if you're going to practice or perform. Anything else is a waste of time.. and if you can't help but noodle when playing, then put the guitar away for a while and write songs. There is one exception to the noodling rule, I should add: It's totally fine to noodle if you're playing your own music. Reason being that it's something you can connect to and you're developing your musicianship by doing so.

What kind of scales do you know, anyway? I could probably provide some tips on what you should learn.
Quote by yabes24
you mean 4 notes of the major scale in a row on each string? that sounds usless in any song scenario but maybe for stretching it would be good. personally i only do 3 on each string at the most. because that 4th is just easier to hit by moving down a string ><
id just sit down and figure out where you want to go with music and tell your teacher those goals

It isn't useless if you're trying to incorporate a simple run into your soloing. You ascend up the scale in four note patterns.

Like so (where X represents the interval of the scale, not fingering patterns):
1 2 3 4
2 3 4 5
3 4 5 6
4 5 6 7
5 6 7 1
6 7 1 2
7 1 2 3..

And so on and on.

I've already told him what my goals are. I'm studying with a teacher to improve my technique and to find my own voice on the instrument. I didn't just call him and say "hey I wanna take lessons", I heavily interviewed him before I even considered it.
Quote by se012101
I can't offer any advice about the picking, since I've never really used the thumb/index method - I use pretty much 90% wrist/10% elbow and have had pretty good success with that.

The 4th's exercise is a very good one for inside string crossing, and learning to roll your left hand fingers better.

I'm not iffy on doing the scale in 4ths, though. I know it's pretty good for string crossing and such. It's also good for a scale run if you can't think of anything melodic to play during leads. I've been doing pentatonic runs in two-note patterns and it sounds kinda cool.
Forgive me for betraying the "you can never serve two masters" rule, but I'm stuck in uncertainty again.

On our first lesson, Blake pointed out to me that I don't curl my fingertips enough when I'm playing sometimes. This was news to me. So was the fact that I often bled one note into the next when playing. Still, good stuff to know. But during yesterday's lesson, he said to practice going up the major scale in fourths (four note patterns).. but to start anchoring my hand when I'm doing it. And get this: he's telling me not to use my wrist but my thumb+index to pick.

Now I'm getting some bad vibes. It's one thing to anchor, and it's another thing not to use your wrist.

What do you think, guys?
If you got it for free, it's worth it no matter what condition it's in. It always costs someone else effort to put something together. If you got it for free, then you got lucky.

..philosophy aside, if you really have to, find out what kinda tonewood the body's made out of, and fill it up with blocks of the same wood. Then reroute it for whatever kind of configurations you need.
Quote by Noob_Cakes12
would anyone suggest it? cause from what i heard i know les paul necks used to be thinner they were now or thats what i heard and if so how should i approach doing this task? how thing could i go wihtout causing any damage to my guitars build?

1958 and 1960 era Les Pauls had that thinner neck. Jimmy Page shimmed down his 59's neck but I wouldn't recommend it.. learn to love your guitar for what it is and if you can't, sell for something that does the job for you.
I was gonna make a topic just like this. Good thing you did.

My life:

I started out with a used Hagstrom Bass. I then moved on to an Aria Pro II tele and had some cheap VOX practice amp to get by with. Less than a year later I had a Pacifica. Then I had a Kustom Solo 16R (and still have that one to this day). Then I got a Godin Radiator. Then a G400 right after that one less than a week later. Less than a year later I ended up with a Peavey Wolfgang and then a 6505. I then ended up with a Gibson LP 2004. Then I ended up with a G&L Strat from 1997. Bought a VOX AD30VT. Sold the 6505 for a Marshall JMP50 clone. Bought a Gibson LP Deluxe 1971. Bought a Fender Am. Standard 2008. Bought a 5150 head. Sold my G&L and bought a VOX Tonelab.

This is all in the span of six years. There's probably people out there who bought and sold more gear in that time than I did, but for an eighteen year old punk like me.. it seems like an obsession. :S

Every day I find more things that I want or "need" but don't have the will to save up or sell what I already got. I wouldn't call it hell, but it's not fun knowing that you have an addiction for new gear all the time. I'm never satisfied with what I have.
The only one who can help you not suck is you. A teacher will point you in the right direction of what to do to not suck, but you still have to help yourself.
Quote by lwayneio
I think i understand modes, but i have only watched a little bit of frank gambale modes no more mystery and this is what i think they are. Basically a major scale will sound a like a different mode depending on what chord is being played in the backing and what note you resolve to. So a C major scale will sound E phrygian if played over an Em7 chord, it will be the same notes as c major but when resloving to the note e and played over the e chord it sounds phrygian.

Is this right or have i misunderstood them?

Quote by chainsawguitar
Can people stop doing this with modes?!

Those scales are not all in the key of C. They are in the keys of C Ionian. D dorian, and E phrygian.

I think it causes confusion to think of C as a "parent scale", as each scale is a scale in its own right! When I play D dorian, I'm not thinking "this is the second mode of C major", rather "this is D dorian". Its much simpler to think lika that- once you get where the modes come from.

I don't think Ionian should be considered the "parent scale", its just another mode.

All modes are created equal

You sometimes have to think of where the mode came from, though. Some people get by fine by just knowing the intervals and notes, but others reach a whole new level of understanding by being able to piece together everything.
Quote by leej11
Hmmm this anki looks good but you can't print and stuff. Does anyone know a similar thing that allows you to print flashcards? (that you have madE)

You wouldn't want to print out these flashcards. The premise behind Anki is that it organizes and indexes your flashcards for you. If you print everything out yourself you'd be spending more time organizing your cards than actually reviewing them.
The main thing about this method that I didn't mention is that it shouldn't be practiced by itself. If one were to digest all possible riffs from every song, then there wouldn't be much to practice. That does make finding ~10k riffs hard, even 1k. Not to mention that this isn't an entire method to base your progress on. You still have to do chromatic warm-ups and fingering exercises to ensure that you have the best possible ability to play riffs of any sort.

I agree with some of your points.. remembering how to play something doesn't equal being able to play it. With guitar actually, something you don't actively practice easily becomes hazy or not remembered. The main reason why you don't practice all these chops and riffs actively is because you'd have the riff stored in memory before the next time the card comes up. A lot of guitar players boast about being able to play what they hear within a short period of time. In order to apply this to flashcards, you can only attempt to replicate a riff when you hear it.

So the actual byproduct of this method is developing a stronger ear first, which for anyone is a must. I'm not saying you'll automatically know all the chops you learned in those flashcards, but I think anyone can agree that developing a closer connection to the instrument will lead to having stronger chops anyway.

So technically the topic title should be called "A Potential Way to Improve your Ears (and maybe chops): The 10,000 Riffs SRS Method". A major issue with the method that I'm trying to figure out is judging how well you do with the flashcards. In Anki there are four possible answers for cards: "Wrong, Easy, Moderate, Difficult". Wrong has to be scrapped out altogether because you're never getting a card 'wrong', you're just attempting to replicate the flashcard's riff until it sounds about right. The the rest of the three represent how long it took you to pull it off. What if it was an incredibly easy riff and it took you a couple of minutes to figure it out? What if it was an incredibly difficult riff and it took you five to ten minutes to figure it out? It's hard to actually gauge what's 'easy' and what's 'hard' by the standards in the program.

Ultimately I think the most potential for the method leads toward learning chord progressions and being able to pick them out by ear. There are other programs out there that boast the same thing but they feel like a chore. The success rate for picking up chord progressions with an SRS will be low at first and you'll often get them wrong for a while, but at some point you'd get them right just because of immersion in the sound. When you experience something for a long enough period of time, you start to see some patterns. Other things, not so much.
Think about the chord progression. The modal patterns by themselves will always sound major-esque. For example.. Even if you play D Dorian starting on the D like it should, it'll still sound somewhat major. You might think differently, but I can still hear tonal similarities by itself. When your backing track of choice actually has a Dm playing and you're chugging out that D Dorian, you'll really bring out the sound of it.

Ex. 1 (D Dorian over D Dorian progression!)
(Scale) D Dorian: D E F G A B C
(D Dorian I) [Actually the II of C] Dm: D F A
(D Dorian IV) [Actually the V of C] Gmaj: G B D
(D Dorian V) [Actually the VI of C] Am: A C E

It sounds good because all the notes correspond. Heck, you could even go further and say that you're also playing G Mixolydian during the IV and A Aeolian during the V.. HOWEVER, it really depends on your tonal center! The tonal center makes a big difference regardless of what chord you're playing. What if you were to just play a C Major scale the way you usually did?

Ex. 2 (C Ionian over D Dorian progression?)
(Scale) C Ionian: C D E F G A B
(D Dorian I) [Actually the II of C] Dm: D F A
(D Dorian IV) [Actually the V of C] Gmaj: G B D
(D Dorian V) [Actually the VI of C] Am: A C E

It'll still sound good. However, note that you don't really see C in any of the chords until you get to D Dorian V. You're not creating dissonance but you can't really hang on that C as much.. it's not a note you can resolve to. If you played D Dorian, however, you can resolve on the root tone more often because the D is featured in virtually half of the progression!

And note that when you're utilizing modes you still have to kinda follow the rules with Ionian in order to make it sound good. In C, the II, III and VI are minor chords. In D Dorian, the I, II, and V are minor chords. If you decided to go against it..

(Scale) D Dorian: D E F G A B C
(D I) Dmaj: D F# A
(D IV) Gmaj: G B D
(D V) Amaj: A C# E


Anyway, before I confuse you any further, I'll just state my main point. If for any reason you're confused about a mode, just consult the progression that's being played with that mode. You can read about theory all you want. You can talk about it with someone for hours and hours. But you won't really understand them all that well until you toy around with them and understand the context that they're used in. Hell, I don't even understand modes all that well. But when you actually write about them, and analyze a common progression that they're used over, something starts to click!

Oh yeah. Really think about the tonal center thing. Don't just skim over it. I always used to think "ugh, a mode is just another major scale", but that really limited me. A mode is based off another major scale pattern but it isn't a major scale. You're changing the tonal center and thus all the intervals are shifted up. And because of the progression that's being used, you can't use the root note of the original pattern because it doesn't sound good.
Quote by doom3rulz
oh, my bad then. i like the idea, i'll give it a try, but 10,000 cards would be a little time-consuming to reach, though

No doubt. It's not something that's easily do-able. It's kinda like a project of sorts.. the best thing to do is develop a quota. Say for example.. "I'll put in twenty new cards a day but only review a quarter of 'em".
Quote by doom3rulz
Interesting ideas, but I think you mean "exasperating"

Exasperating would work too, but exacerbating is defined as 'increasing in severity'. In other words, the amount of people who are learning flashy stuff without substance is increasing. The context is a lil' weird, but it works.
Even if you could have perfect pitch, you wouldn't want it. It's a very limited skill on its own. People with perfect pitch can't play in non-A440 tunings. ..just an aside.

By all means, try it anyway. Attempting to get a great ear is better than not at all!
Alright, folks. The idea behind this hasn't been put to the test, but it's not even worth questioning because much of the logic behind it is painfully simple. The inspiration of the idea stems down from Khatzumoto's "AJATT method", which utilizes a spaced repetition system in the same fashion to learn Japanese. He says 10,000 phrases to learn Japanese. Why not 10,000 riffs to power up your guitar vocabulary and ear?

Much of the explaining is going to be done in a Q&A fashion. This is a TL;DR thread. If you don't feel like reading it, bad on you, because you'll regret it if this method works in concept.

Q: Ears AND chops?! What's this SRS do-hickey?
A: I'm glad you asked since that's what the entire idea is about! An SRS is a spaced repetition system, the newest trend in learning just about anything. Chemistry, Law, second languages.. some people even use it for music theory.

The idea behind an SRS is simple: you answer flashcards. These flashcards, depending on how easily you were able to answer them, go to a box. These boxes contain flashcards you have previously reviewed but cannot be seen again until a certain amount of time has passed.

Research studies have shown that certain concepts are best easily remembered when you engage your long-term memory and not your short-term memory. How is this done? You SPACE the reviews apart. If you look up new information, any new information, wait a couple of hours and quiz yourself on it. If you got it right, come back to that same information again in 3 days. And if you got it right again, then in 6 or 9 days. Then in 21 days. Then in a couple of months. Then, eventually.. you'll never have to see the flashcard again, because it's firmly engraved in your memory.

This has practical use for developing one's musicianship.

Q: How do you figure? I pretty much remember any riffs I've practiced a hundred times over, anyway.
A: Well, that's fine and dandy, but wouldn't you much rather prefer it if you never had to practice it that much?

Let's assume something. You're one of those kind of guys who finds interval ear training boring and you want to build some strong chops fast. Problem is, it's hard to connect with music if it's tablature and you know ear training is the way to go!

Here's the proposal. You take bits and pieces of songs that contain cool guitar riffs you want to learn. You rip these and stick them in these SRS doo-hickeys as flashcards and you never actively study them.. you just use your ear to figure out the riff whenever it comes up.

Q: Why can't I actively study the riffs I've picked out of songs?
A: You want to get a stronger ear, right? You're not ear training if you already know what to play when you hear it. So in order to do this correctly, you only need to play the riff when the card comes up. Never look at it and never practice it again until that card comes up to be reviewed again.

Q: That's cool, but I don't think I'll memorize the riff if I'm not practicing it..
A: At some point, you will memorize it.. maybe not with your hands, but internally, and that's what you want. You hear thousands of guitar players saying "remember to internalize the sound of the scale.. internalize.. internalize.. INTERNALIZE". Think about it like this: You'll have time to practice all these cool riffs once the SRS starts telling you that you have basically no cards to review for months and months.

Q: Okay, doc, give it to me straight.
A: I'll outline it in steps.

  • Get Anki. It's one of the best SRS programs out there. You'll see that it's used for language learning, but it can also be utilized for dozens of other things out there.
  • Go on Youtube and convert some of your favorite songs to .mp4s via keepvid.. then rip the audio from those and turn them into .mp3s or .wavs. Then edit and take out specific riffs as desired.
  • You'll have to do a bit of working around in Anki to figure this out. It's not too hard. Import the riff as a flashcard. Note that there's a "question" and "answer" field. You might be able to use this to your advantage. Say for example you put the audio of a chord progression for the question field and you have to write down what you just heard in the answer field.
  • Build up a total of 10,000 cards in the deck. You heard me. [10,000 is a magical number. The number 10,000 can mean how many hours you've spent in a field of study. It can mean how many hours you've wasted procrastinating. A master procrastinator has spent 10,000 hours perfecting his craft. How about words? The average english-speaking citizen knows about 8,000 to 10,000 words.] Don't be an illiterate musician. Music is a tonal language, so expand your vocabulary! You can't tell me that it's impossible because there are trillions of permutations.
  • Make sure you're always on the up-and-up with reviews when they come and make sure you have a variety of material. Don't just put a bunch of AC/DC riffs in your flashcards, kids! Aim for an entire genre's worth of bands, that way you know you'll be expanding your horizons.
  • Ultimately, make sure these chops are all relevant to your goals. Don't learn them just because they're cool. Yeah, you're training your ear by figuring them out. But anyone who learns how to speak a language only learns words that gets a point across.. just like a melodic lead player doesn't learn a bunch of patterns that never get used. The amount of people who dress to impress (ergo, abandoning substance for showmanship) is exacerbating. (I was waiting an entire paragraph JUST to say that word!)

Post what you think.

Also, inb4tl;dr
Scrap the idea, man. Familiarize yourself with music through listening and trying to play it by ear, not by going through a song hundreds of times on a game until you get "100%". If you can't do it by ear, just listen and compare to tabs, you'll get by much better.

My belief is this: your memory of how the song works will not improve just because you can play it accurately on a game. If you went into performance mode in GH, I bet you nine times out of ten that you would be unable to do 100% FC because you cannot see the notes. The relevance is that the notes in-game are all you have to connect to the music.. nothing else.

In essence, both GH and RB are a distraction. They're a nice break from the instrument but can't really be used for learning. What you can do is use the libraries from GH and RB and just try to learn them one by one away from the game.
Okay, to explain in broader terms: The GK3 is a Roland 6-piece peizo pickup that goes right by your bridge and picks up a signal from each individual string. It takes this signal and puts it through to a Guitar Synthesizer.. from there you can use midi patches (I think, I'm not first-hand familiar with these but I have a friend who owns one).

Now comes the ugly part: You have to use something like ImpulseTracker or FamiTracker to get the kind of sound you're looking for. You basically record one of the pitches and turn it into a midi soundfont that covers all the pitches of the fretboard.

This is probably your best bet.. you might be able to get a GK3 and Roland Guitar synth for about 500 bucks and you'll have more options for 8/16 bit sounds. The DBA Robot pedal is nice but it doesn't have enough options.
Just alternate pick it. It doesn't hurt to practice your alternate picking and get up to higher speeds.
Quote by IAmTheArsonist
Think that when you are a hardcore guitar player, chicks will dig you and you will get laid like a billion times... A day.

I don't mean to sound like a dick, but that's a terrible outlook. One should never pick up the guitar because they think they'll get laid. Play for yourself and only for yourself, not so other people will like you.

If you want to get re-motivated, the best way is to figure out what your goals are and just.. work towards them. Really, some guys will write a thousand page essay on how to get re-motivated but there is no "secret" or "method" to do that. What it takes to get motivated about anything is just to put some time in and do something correctly within that time frame. If you make any qualifiable progress within that time frame, that's enough to build confidence and get you back to being motivated.
Quote by carnagereap666
How can I get a 8-bit sound without pedals?

You can't. You have to plug into a GK3 and make a midi soundfont out of the NES chiptunes.
Page is sloppy but what separates him from the bulk of guitarists is his phrasing. Phrasing, phrasing, phrasing. Good phrasing can make you sound awesome.. the problem is attaining it, it's not something that can be learnt. You have to get a feeling for phrasing!
Thread necro!

I finally found myself a great teacher who goes by the name of Blake Paul. He's an acoustic Jazz+rock+blues guy and he has fantastic technique. He says he picked up a lot of his knowledge by studying with a teacher who went to GIT - just knowing that much, I know I'm getting high-quality lessons.

I had my first lesson with him today. I didn't think there would be much to expect at first, but there was. The first thing he pointed out to me on the get-go is that although I'm a good player, I don't curl my fingers enough when playing around with some basic scales. This isn't a MAJOR oversight.. I sat down earlier tonight and observed what he pointed out. It mainly happens with my index finger and it's really hard to curl it enough when I do 4 to 5 fret extensions with my fingers.

In other news: I recently invested in a VOX Tonelab LE so now I can plug right into the mixer. I'm going to record some new videos soon.. maybe some sound demos and more technique vids. It's easily been 2 weeks since my last video update, so maybe there'll be some more progress observed in the next one.
Awesome news! I managed to sell the G&L for 750 bucks. I was hoping to get close to a thousand for it but I had to low-ball it a little bit.

Still haven't listed my '71/72 Les Paul and I'll have to do a bit more thinking on that.

I'm fairly certain that I'm not going to be buying any amps now. I've already got a 5150, a Marshall and a Vox AD30VT, so there's not a lot I can do in the way of amps - my main intention is to go smaller. So, why bother with bigger and more powerful amps? I ain't got that much room.. Anyway, I tried to limit my options.. but I realized that my options are already limited to start with (when it comes to wanting to know what to look for) - asides from JEMs or JSs, I really don't know all that's out there.

Anything higher-end guitars you can recommend trying out, guys? I don't want to go and spend my cash all in one go on something I haven't had other guitar models to compare to. I'm lookin' around in the range of $1000~3000.
Ditch the tuner and use reference pitches, dude. :/
Quote by Taylor B
Okay any of you guys know of a build or a schematic that is a bluesy overdrive pedal kind of thing? I`m sure many of you do.

Now do any of you know of a bluesy OD pedal with an onn off switchable extra gain stage added in?

If not please just reccomend a schematic with a good bluesy clip and I`ll add the gain stage myself...


The VOX Satchurator does that on/off switchable extra gain stage thing. Too bad there ain't any schematics of that floating around.

What you could try, though: find a Blues OD schematic that already seems to work and try incorporating a (x)dB signal booster before the output jack. I don't think you'd want to put it right after the input jack, though, since you'd also be boosting the overdrive rather than just the signal and getting a really 'blegh' sound. So it's not really an extra gain stage but just a signal boost. Most of the time guitarists think they need more gain when all they really need is a signal boost to bring up their dynamics. It actually gives the illusion of an extra gain stage anyway because you're removing the subtleties of a normal overdrive pedal.
Nice man, you scored big time. Godins are amazing guitars. HNGD.
Quote by GunsN'tallica
There's this chromatic legato exercise (which I'm sure you may have all heard of) that goes 1-2-3-4 going up (hammering-on) on all the strings, then 5-4-3-2 (pull-offs) and so on up the fretboard, up to 10th position, and back down again. However, I find that when I go back down to 2nd/1st position, there's this awkward ache in my hand. The pain is in the bit by my thumb. I position my thumb in the middle of the neck, below where my middle finger is placed. Does anyone know why I'm experiencing this pain in my hand and how I can avoid it?

The simplest source of the problem would be that you're pressing down too hard with your thumb. That's the problem with the classical hand position - you can have more fretting accuracy but you need to be more "in tune" with the pressure that your thumb has on the neck.

I'll just say this, just in case you don't know it already: Your thumb is just supposed to be a guide for your fingers, not a gripping tool. If you ever have to lift the neck up, you should only have to do it with a minimal amount of force.
Quote by ibanezgod1973
a couple of links for you then

you said in another thread you tried the js20s which is basically a js100, the js1200 and 1000, feel totally different so i agree you gotta try one 1st but you will be impressed...

I expect to be impressed, I liked the feel of the JS20S/JS100 to start with: if people claim that the JS1000s and JS1200s feel better, then there is definitely room for improvement.

Also, I've got some pretty bad news.. that G&L ain't gonna sell for 1500. 1000 at most, and the dudes at the local music store say that if I trade it in I only get 70% due to commission and such. That puts me farther from getting a JS or a JEM, which means that it's definitely a priority for me to sell the old Goldtop. Even if I do sell it, I'll still only have enough cash for an awesome guitar and maybe a VOX Tonelab if I want a smaller unit than my AD30VT.

I think the main thing is that I have as many amps as I'll ever need for now. What I should focus on is a good line-up of guitars. I was fortunate enough to end up with a Fender Am. Standard, a Gibson Les Paul Standard, a Peavey Wolfgang and the two other guitars. If I take those two guitars out of the equation and put in a great all-around axe, I'll never have to worry about buying new guitars again. I've got the unfortunate problem of wanting too much so I need to find gear that satisfies my desires in small quantities.

So, yeah. I'll write in this thread again soon with updates on the guitar sellin'.
Angus Young

Bands: Angus actually started out in some kind of pub band called the Easybeats with his brother Malcolm and his father George (I believe that's his name). Later he and Malcolm joined (rather, started) AC/DC. Not really impressive, a lot of people know this and I think there's probably even more background to the bands he was in.
Guitar: He commonly used '64, '74 and '80s SGs. Don't quote me on this but I believe a lot of his ebony/black SGs were either late 70/80 ones. Angus doesn't always play standard SGs, however. He has been known to use Melody Makers (could be wrong about this) and SG Specials on occasion. He even used an ES-335 on stage around this decade. But in short, Standard SGs and occasionally other Gibsons. He doesn't deviate too much from the norm.
Picks: Angus likes thick rounded picks, I believe.. 1mm and above. That's how Angus gets such an awesome attack on his riffs.
Cables: I can't say I really know anything on this subject. I'm pretty sure he uses high-grade cables, though. Oh, yeah. He's also been known to use wireless systems since he moves around a lot. He did it in the beginning with Bon Scott and he still does it now!
Pickups: Some people might say, "oh duh he obviously uses those signature pickups Gibson made", but this is far from the truth. All of Angus' SG pickups are stock. Simple as that. This is potentially debatable for newer SGs, though.. the pickups are possibly a bit different than he's used to and he might change them out for different ones.
Amps: He generally uses JTM45s but has also been known to use Bluesbreakers. Thing is, kids, Angus uses very little preamp distortion. Most of his crunch actually comes from power amp distortion which is acquired from playing the amp through greenback 4x12s and insanely loud volumes. He doesn't use attenuators. Over the years Angus' stage setup has changed, I think - he has a lot of amps on stage to fill the space, but they aren't plugged in. He's actually playing through a single JTM45+cab going to a PA. His album sound is kinda different, though. I think you'll hear a lot more preamp distortion rather than power amp distortion post-BiB. I think this is due to the fact that they were getting older and it's just not convenient to have the amp so loud all the time.

Man, I'm a nerd.
I'm not sure how to put it.. they're just well-balanced picks. Lots of bounce, easy to grip, and it really rounds out your sound. Some people say they're too small, which is why Dunlop started making the Jazz III XLs (I think that's what they're called). Personally I like 'em just the way they are and wouldn't have them any bigger or smaller. I loved them so much that I bought 24 of them when I went down to my local music store two weeks ago.