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Quote by FatalGear41
It sounds like your notes are "Fretting Out;" which is a very annoying phenomenon that can be caused by a number of factors. The fact that all of your strings are fretting out beyond the 14th fret strongly suggests that it is a neck curvature issue. Your truss rod probably needs a tweak.

You did not say what type/model of guitar you play. Some guitars are almost notorious for fretting out. Example: I had a '52 Reissue Fender Telecaster that used to fret out on the first three strings beyond the 12th fret. I knew the neck curve was dead on, so it drove me crazy. Some people suggested shimming the neck. Instead, I removed the vintage correct/traditional Fender Telecaster bridge/bridge plate and replaced it with a very modern, six-saddle Telecaster bridge and bridge plate. This change instantly and completely eliminated all of the fretting out with that guitar. So the problem can be very model/hardware specific.

Best advice is this: start with the easily-fixed probable causes, and then move onto the more difficult fixes, if necessary.

Does the truss rod affect the frets beyond 14th at all? I noticed truss rod adjustments have the greatest effect on frets 5-12 tops, on frets 1-4 the issue is usually the nut and past the 12th fret its probably the frets themselves not being even or just way too low action.

Just my thoughts.
I cant help you with your question, but I just wanted to say that I greatly admire your dedication and determination. Guitar is not an easy instrument to become good at and doing so at your age deserves respect no matter what. I hope you will be able to overcome those walls and even if you cant I hope you will be able to enjoy playing anyways!
Quote by Minderbinder
This is certainly one option: https://www.youtube.com/watch?v=2OONnAVIQ3I

Hey thanks for posting that vid, been looking for it for some time but didnt remember what it was called
e--8
b--8
g--5
d--5
a--7

Also would you have the thumb over the neck or behind the neck?

Its a C major inversion that Richard Fortus plays in the intro to Knocking on Heaven's door (Guns N Roses).

I swear its really tricky for me... I bar the high e and B with the pinky, D and G with the index and the A string with the middle finger, wrap my thumb around the neck and even then I can barely get all the notes to ring out clearly. I have to bend and push really hard on my pinky to get the high E to ring out, this makes it hard to fret the G with the index so I have to push really hard on the index as well and while Im doing that I have to bend the middle finger in an weird way to avoid muting the D string.

I can only play it sitting down but the guy plays it with his thumb behind the neck with the guitar hanging quite low.
Quote by JELIFISH19
Yours does have the ZPS. The ZPS is the black springs and silver bar behind the block. The EZs use different blocks that only take 2 springs. The cavity for EZs don't look anything like a traditional trem cavity. His isn't an EZ2.

Agreed, even without the ZPS the Edge Zero II should still have the wheel to adjust spring tension. To me the pic in the OP reminds me of the dreadful Edge 3 though I googled the RG450M and supposedly has an Edge Zero II... Im lost.

Are you sure it is a RG450M?
Is that even an Edge Zero II? It doesnt look like it, I have an RG with an Edge Zero II and it looks like this
Doing vibrato both up and down is useful when applying vibrato to a note you previously bent. I remember watching a Tom Hess video on youtube some years ago and well, he had a point. If you do vibrato both ways it will have a more aggressive sound because the pitch will shift between below and above the desired note.

When you do vibrato, it doesnt matter how wide your vibrato is, make sure you always return to the original note you started on.

To answer your question, on electric guitar you definitely want to use your wrist for vibrato.
Its probably easier to pick close to the bridge because of higher string tension but the closer you get the weaker the attack will be, I like to pick approximately where the neck humbucker starts.
Quote by t1mman
That's a slide, you can see it live:

https://www.youtube.com/watch?v=XRlaVN-C0O8

Damn... what the hell are they tuned to anyway?
Thank you for reminding me of when I was 14.

To me it sounds like a pitch shift detune effect, though its most likely added post production. You can probably achieve it a similar effect with a digital pitch shifter pedal such as the Digitech Whammy but it wont sound the same.
Quote by Dave_Mc
^ it is but the finger you're using to hold the string isn't as strong. it's also kind of shorter as well (normally) which doesn't help, either. you sort of have to bunch up those other supporting fingers to fit them behind the pinky, which erodes a lot of the benefits you mentioned.

That is true but its still one extra finger holding the string. Also I dont think finger strenght makes much of a difference if at all. Fingers just push the string down on the fret, the bend/vibrato motion comes entirely from the wrist. As long as your pinky is strong enough to hold the string down its enough. I can play 2 tones bends (probably more but I dont feel like restringing at the moment), its just a matter of practice once you are used to it you will have a useful tool added to your skills.

Guitar set up plays an important part as well, if its badly set up you are going to have a hard time no matter what, also fretboard radius plays an important part.

Just my two cents
I dont understand why people keep saying its harder to do bends and vibrato with the pinky, if anything it will be easier because the required strenght is spread over 4 fingers instead of just 3. Ever since I started using my pinky I dont use the 3 fingers technique anymore. The only time three fingers bends might come in handy is if you are doing a bend on the 24th fret, learn to use your pinky and your bends and vibrato will be stronger than ever.
Well Paul Gilbert uses 0.60 picks so use whatever you are comfortable with. Different picks will also produce different tone, personally I would pay more attention to the tone, with enough practice you will be able to pick fast with any pick anyway.

I like the tone of a thick pick (1.00+) on the thin strings but I dont like its tone on the low strings because the pick doesnt bend and has way too much attack. Vice versa I like thin picks on the low strings but they lack attack on the high strings... You have to find a good compromise and of course the shape of the pick is very important so just buy a bunch and try them out.
I think it means you arent relaxed enough. Its ok to make faces to make it look like you are "feeling it" when you want to (Steve Vai), but if you keep making uncontrolled faces/movements without even noticing it it means you arent comfortable with your playing.

I used to do it especially when using a wah, I think it looks really stupid so I learned not to do it but thats just me.
You mentioned Am/G, that is called a "slash chord" and no, it doesnt have anything to do with Slash of Guns N Roses. It means that you play an A minor chord but instead of having and A as the lowest note you replace it with a G.
I recently bought a Marshall JVM 215 and instead of using its footswitch I want to use a midi controller. From what I understand it is a matter of setting the EQ/gain to whatever you want and then save it so that when you hit the footswitch it will activate those settings regardless of what the knobs are set to, is that correct?

My question is - is it possible to alter the EQ so that it will effect all the presets? How am I supposed to EQ the amp according to the venue when gigging?
I like C/Am because of the 3nps scale run starting on the 1st fret of the low E and also because I can mirror the licks past the 12th fret, Im so used to it by now I should probably try something different.

What is yours?

I wanted to include a poll but since Im limited to just 10 options Ill leave it out.
In my opinion the drummer needs to be 100% accurate, a crap drummer can take down an otherwise perfectly good band. You have no chance but to follow whatever tempo he sets so ideally you want a drummer who is capable of playing along to a metronome (unfortunately not many can do this). A good drummer needs to have great control of dynamics and some common sense as well, if he is beating the holy hell out of his kit the entire time chances are the vocals arent going to be heard well especially during the quiet parts and the audience is defenitely going to notice that.

My old drummer was a complete tool, had absolutely no tempo control at all. He had a range of -10 to +10 bpm compared to the original songs (often going from -10 to +10 throughout the song!!), no creativity, no fills, just hihat and cymbal on the first beat for EVERY song on the set.

If you dont feel comfortable playing with your drummer just kick him out and look for another one. This goes for every member really... if you cant trust someone to be able to play his part accurately then he is no good for you because you wont be relaxed while on stage and wont play as well. After 1-2 rehearsals I can tell whether someone is "good enough" or not, dont feel bad about kicking someone out, a bad drummer will ruin everything so no regrets!

Hope this helps
I do it but not using earphones, I play some music on my pc so I can still hear myself (random pop tunes so they dont confuse me) and play some licks, not even following the beat/tempo/key.

I only do it when Im bored though, and doesnt really count as practice. For serious practice you want to be 100% focused on the tone and your hands movements.
What made you switch to economy picking?
Tremolo picking 16th notes at 180 bpm for 5 minutes is ****ing impressive! Im not sure you can improve by a large amount, the body just gets tired and there isnt much you can do about it.

Maybe you can try mess with the pick angle and see if it becomes more effortless.

Seriously 5 minutes!
Thanks everyone for the helpful replies!

If the difference between different brands tubes is subtle then where is it? Why does a DSL40 not sound like a JCM800 despite having the same tubes? (according to Marshall website) Why does it cost three times as much? Is it just the 3/4 channels with separate EQ for each? Is it the bigger footswitch?
Im currently on the lookout for my first new amp and I was googling some info. I noticed that many amps share the same type of tubes, for instance ECC83/12AX7 pre amp tubes are used on nearly every amp I looked up the specs for (Marshalls, Oranges, Mesa Boogie, ENGL, Fender).

Power amps sometimes differ, some use 6L6 others EL34, 5U4, ECC83.

My question is: do pre amp tubes not matter? Where does the sound of a tube amp come from? Would putting Fender tubes in a Marshall make it sound like a Fender?
It sounds dirty probably because the tuning/intonation on your guitar isnt that good. In order to play major/minor and other complex chords you need to have perfect tuning/intonation, especially the B and G strings. That and you dont need as much gain as you think you do.
I start at a tempo where Im comfortable and gradually increase by 1 bpm when I feel I can play the lick accurately. I keep increasing the tempo until I reach max speed and repeat the process a few hours later.

I dont have hard rules though, like increase bpm every 30 mins or play the lick x times without mistakes.
Paul Gilbert's and Petrucci's.
Quote by Thrasherx00

e--3
b--5
g--2
d--2
a--4

What is this chord called? Its not an A7 is it? Doesnt sound like one to me, there is no G. Maybe Amaj7/C#?

By the way thanks for naming mine!

edit: oh nevermind, I fingered it with a G# instead of the G, my bad...
The answer is Voodoo Lab Pedal Power 2+

I too had tons of buzz (I run 11 pedals, no fx loop) and was about to buy a noise gate but then I got the Pedal Power 2 plus and suddenly the noise is gone... of course you are still going to get noise if you turn everything on at once with the gain cranked all the way to 11 but having a good power supply is the first step in having a silent pedal board.

Also, are you using humbuckers or single coils?
Yes inside picking feels way harder, Im not sure if Im allowed to link other websites but try playing this
http://www.ibreathemusic.com/article/65/1

This is Moto Perpetuo, a classical piece played by Paul Gilbert on the Racer X track "YRO". It has TONS of inside picking and is an absolute pain to play, it will probably help you develop inside picking. Try using a metronome but personally it is way harder at low speed rather than moderate/fast.
Quote by MaggaraMarine
The first chord just sounds wrong. Are you sure the note on the B string isn't the 3rd fret? If it is, John Sykes uses that chord and the D chord a lot on the 1987 Whitesnake album and also Em9 chord though voiced a bit differently.

I don't know if it's sensible to name that kind of chords. They would be Cadd9#11 and D6add11. But I would just call them C major and D major. I mean, if a song used those voicings, the chord symbol over them would most likely just be C and D.


That's Bb6/9.

Actually what I meant to write is

e--2
b--3
g--0
d--4
a--3


Another one I really like is this B minor chord

e--0
b--3
g--0
d--4
a--2


And this C# minor

e--0
b--4
g--4
d--2
a--4
I really like this C lydian kind of chord... no idea what its called, it is something like this

e--0
b--2
g--0
d--4
a--3


and then the open C major chord shape played on the D note


e--0
b--3
g--0
d--4
a--5


again no idea what its called

these two go nicely with the open E min add9

e--0
b--0
g--0
d--4
a--2
e--0
Quote by Sickz


Major chords = Root, Major third, Perfect fifth.
Minor chords = Root, Minor third, Perfect Fifth.
Diminished Chords = Root, Minor third, diminished fifth.
Augmented Chords = Root, Major third, Augmented fifth.
Suspended Chords = Root, suspended second or fourth, perfect fifth.


Question: wouldnt that be a diminished triad? I remember reading somewhere that a diminished chord requires the bb7 as well, is that correct? Half diminished chord would require the b7 instead?

I dont know much about theory, I just remember reading this somewhere and Im seeking confirmation.

Thanks.
Never had this particular issue but it sounds similar to a common issue on single coil equipped guitars called "stratitis". Check if any of your pick ups has the pole pieces very close to the string giving out this harmonic and if possible lower them.
Are you sure you tuned to the correct octave?

edit: nevermind, you said you have been playing a long time so I would rule that out. You need to match the string gauge that was on the guitar, if you use heavier/thinner strings you will need to adjust the springs the bridge is parallel to the body.
During GNR era he used to use pentatonic scales a lot mixing both major and minor. He then used notes from the natural minor scale (november rain) and sometimes harmonic minor (the wah solo to sweet child o mine).

Im not really familiar with his recent work however it is not just about the notes he plays, the chords underneath his solos play are the reason the solos sound so great so you might want to check them out and see how the notes relate to the chords.

Technique wise he mostly uses legato during the fast runs mixed with some picking when he switches strings (rocket queen final solo).

Hope it helps
Quote by Fryer Mike
I agree with some of what I'm reading.

Under 1000 = not worth it at all. Cheap feel, terrible pickups, sloppy hardware.

1000-2000 = still not worth it. Getting there, but not something I feel comfortable playing a gig with considering the general feel and bridge instability (I'm talking about floating bridges).

I'm sure when you get up there in price, they start to become better guitars.

Take my opinion with a grain of salt however. I have not played EVERY Ibanez on the planet, nor do I claim to be some sort of guru. This is based off my experience playing hundreds of them in guitar shops, most of them being RGs, JEMs, RGDs, Ss, Gios, and Satrianis under 2000.

The Ibanez in my signature is the best Ibanez I've ever played. The pickups are a bit muddy, but it makes for a really neat clean sound.

If you cant get a floating bridge on a 1000-2000$ guitar to stay in tune then you must be doing something wrong. Also, the new Edge Zero II on the low tiers RGs is pretty damn good and holds tune really well.

I agree the pick ups are mediocre at best, the INF horrible, the Dimarzio/IBZ knock offs arent that good either. Prestige models usually come with real Dimarzios which you may or may not like.

My first Ibanez was a cheap GIO RG121 (fixed brige), I have to say it plays great and feels solid, I upgraded the pickups with Dimarzios and now it sounds good. I have a great time playing this guitar infact I like it better than some of the more expensive models. I really like the neck on this one, its pretty thick compared to other wizard necks but it feels great to me.

My second one was an RGR465M (which has now been replaced by the 25th anniversary 3XXV). It comes with a Dimarzio D-Activator in the bridge and an Air norton S in the neck. The bridge is an Edge 3 which is absolutely TERRIBLE so I decided to just block it. The frets are really nice allowing for very low action and the maple fretboard gives some good twangs.

Then I got an RG 1XXV 25th anniversary model. It is part of the premium series and it was made in Indonesia. The bridge is an Edge Zero II which like I said holds tune very well and also has the "zero point system" which helps to keep strings in tune when doing bends/double stops. The pick ups are meh... not too bad but not that good either. I had a little issue with the first two frets, I was getting tons of buzz on the high E string so I had to have them filed down and now its all good.

My last RG which I got a little over one year ago is an RG350Z (the Z stands for the Edge Zero II bridge). Pick ups were pretty bad and I upgraded to X2N's and a Dimarzio mini humbucker. I have to say this guitar doesnt seem to have much sustain, the neck is quite thick and the frets arent too leveled so I had to raise the action a little more than I would have liked but overall Im satisfied.

Sorry for the long post... so far I have had 4 Ibanez guitars and have been satisfied with all of them, but Im sure there are plenty of people that had bad experiences with them so its your call.
I would move it. It feels awkward not to do so, at least for me.
Noise gate most likely will not work. Its just a matter of coordination, you should fret the notes as you pick/strum. Alternatively mute the strings with the palm of the picking hand.
*removed*

nevermind, I read the post wrong lol
Yeah, I just went through an entire "off week". I was absolutely terrible, as if I suddenly had lost 3 years worth of practice.