Quote by Bigbazz
I watched the first minute, all good advice though there are exceptions to the rule and a lot of extremely fast and skilled players don't conform too all those rules. Subscribe to Troy Grady on youtube, his whole channel is basically dedicated to picking fast, he is a complete beast of a player and he regularly features world class players where he studies their technique by filming them.

Can't recommend this enough, as much as anything else because Troy gets a really objective look at what makes players technique suited to what they do. People can tell you what they do and there's something to be said for listening to that, but often (as in the case of the video OP posted) people aren't 100% aware of everything they do.

If we look at the video in OP and using Troy's terminology, we can pretty clearly see that they're advocating for using downward pickslanting and they do on licks that mostly ascend the scale. When it comes to descending, or even fairly neutral licks, they tend towards upward pickslanting, however. That's not to discount what the person who made the video is saying, but getting a really objective view on people's technique, so you can look at that together with the practice regime they recommend and see where the strengths they have come from.

Seriously recommended watching if you really want to start deep-diving in to this:

Quote by IcefireInfinit
MisterLutherMan It’s not going to be very prominent on electric guitar, but if you’re angling the pick too much diagonally on acoustic it can have a negative impact on your tone.

That all depends on your perspective really. It's going to sound different, for sure. but I don't think anyone other than the person playing can say if it sounds good or bad.
Thread's 7 years old my dudes. Closing it.
We have a thread for posting your own lesson material, please post any links there in future.
Quote by DrFleming
People vary so much with this stuff, and there's always someone out there to tell you that there's only one way to pick - usually from the wrist. Well, tell that to Frank Zappa, Ritchie Blackmore, Takayoshi Ohmura, Allan Holdsworth, Jeff Beck...and on and on and on...

1 - Picking from the wrist is the most economical way of getting to high speed for most people.
2 - No one is going to doubt that the musicians you posted are excellent guitarists... but only one of them is really known for fast picking, and he (Ohmura) actually does pick from the wrist.
3 - This is another thread you're posting that's over 10 years old. Please check the dates.

Closing this thread as well. Please stop.
Quote by DrFleming
People, as always, think they have The Answer with this - and that answer is "pick from the wrist." There's more than one way to disprove that, but perhaps the easiest is just to say, tell Frank Zappa, Ritchie Blackmore, Takayoshi Ohmura, Allan Holdsworth, Jeff Beck...and on and on and on. Just keep playing. Please don't listen to "experts" whose dogmatism is often based on the emotional certainty they have when they type...

Dude, this thread is like 10 years old. Half the people who posted here are banned and the other half haven't been online since like 2009... it's be awesome if next time you could look at the dates on posts in a thread before replying. Thanks!
farmertom311 that's classic metronome territory; play the tune with a metronome set to the right speed so you can really internalise how it fits against a constant pulse.

That said, there's a lot to be said for having some physical thing to lock you in to the groove of the song, whether that's nodding your head in time, tapping your foot, jumping up and down on the spot The point is to get yourself physically in to the groove of the song outside of the motions of playing it.

Watch this:

It might not be exactly your style but it's a good example of what I mean. Listen and look at how Paul is always tapping his foot while playing, really locking in to a groove. He's playing pretty free so it's basically a random groove, but it's there. Even in the intro playing that terrifying Scarified riff, you can hear his foot tapping in the background. That's what you want: getting the groove in your head and really feeling it so you land everything on a consistent pulse. It doesn't even really matter if it's quite the right speed, more important than anything else is being consistent.

Breaking Orbit:


Both Aussie prog that feels similar to Karnivool. Definitely fit the "heavy instruments, melodic vocals" deal.
I reckon you're going to want to get as much sound out of that slide as you can, so sliding all the way up and hitting the harmonic is the way to go. It's not super easy but I reckon if you carefully choose which fingers are fretting notes and which ones are hitting harmonics you'll be able to get it sounding pretty seamless! Good luck!
michaelesch1999 again I think that's debatable. Some people will have a greater predisposition to arthritis, Carpal Tunnel, and so on, but that's a factor anyway. I would argue that if you practice carefully and with good technique, not pushing yourself too hard for too long at a time, then there's no physical reason not to practice and play for as many hours in a day as you want. I mean, I know that there are plenty of people, myself included, who have been known to play for that kind of time with real intensity for large spans of days, without seeing any sort of muscular or skeletal damage. Anecdata, I know, but it's not massively unusual. I'm also aware that "good guitarists people have heard of" is kind of a self-selecting group... but I feel like there's enough of them at this point.
Quote by michaelesch1999
csikos.matee2 Can confirm 6-8 hours will probably give you arthritis by the age of 20

I think that's debatable if you have good technique

Seriously though, I'd be much more worried about mental strain and burning out. Obviously if you consistently enjoy that level of practice then have at it, but if you're having to force yourself in to it... don't bother. You won't progress the way you want to if you're making yourself practice, and you'll almost certainly come to resent what you're doing as well.
I'm not sure if what I see is the same or not, but this is kind of the problem with tabs: they're submitted by other users of the site, and just like all people they're incredibly fallible. This is a huge part of the reason that some musicians, particularly older ones, will tell you that tabs are utterly useless. I don't necessarily agree, but problems like the one you're having right now are part of why tabs have such a bad rap.

The best thing you can do is take the tab as written as a framework and figure out the bits that either sound wrong or are missing. It's not an easy thing to do at first, but it'll really help you develop as a musician, and you'll get a massive rush of satisfaction when you do manage to get there!
If anyone can help you it's going to be the folks over in Guitar Building & Customizing. This forum is more for asking questions about the physical process of playing the guitar, rather than gear or anything like that.

Good luck though, hope the guys over there can help!
Yeah, happens to me all the time, particularly with songs I learned from tab years ago. Since I'm a better player now and my ears have definitely improved a whole lot, I often find that playing along to the same songs now doesn't sound quite right, because I learned it ever so slightly wrong from a tab way back when.

I think it's a good thing, it shows you're developing, both in your ears and as you're able to pay more attention to sounds while playing.
I think that if you have a limited amount of time, the best possible thing you can do is just play music. Play songs you like, songs that are about at the limit of what you can do, or even just improvise over a backing track you really like. Pay attention to your technique and stuff while you're doing so, but if you have limited time and all you're doing is running exercises or doing technique drills... you'll probably get bored and/or burn out pretty quickly.
Quote by Ballio
And stop calling them "squealies" it's undignified.

Nowhere near as undignified as policing language that you evidently understood perfectly well. Please don't do that. We (or at least I) am trying to build a forum that is friendly, welcoming, and helpful. Your statement here is none of those things. Again, please don't be that person.
There's a few ways of getting yourself in to playing and singing at the same time, but the fundamental thing is this: you need to be able to do one thing or the other so well that you don't need to think about it. For most people, that's going to mean knowing the tune and being able to sing it so effortlessly that you can actually concentrate on what you're doing on the guitar/bass.

Then again, if it's Blink 182, that might be the other way around, I'm not familiar enough with that exact song to be able to say either way.

There's also a little trick you can do that might help sync up the two parts once you've practised a fair bit: listen to the song and figure out where the two parts line up. Like, what words fall on the important beats (downbeats, beginning of each bar, whatever). You can use those to sort of 'aim' where the singing and bass need to be at the same time, which can help ground you in the song and make sure that neither part gets away form you.

There is a fair old bit of practice involved in this though, but you'll get it if you keep putting in the work! Good luck!
Quote by dannyalcatraz
I understand why you did it, but there’s no need to post the same thread in every subforum.

Yup, 100% correct.

addman3455, I'm going to lock this thread. In future can you keep it to a single forum, and if it turns out to be in the wrong place either a mod will lock it and tell you where is the right place or move the thread. This would be best placed in Guitar Gear & Accessories, but I will warn you that I don't think they're too thrilled with "how do I get X tone" questions, because it's supremely complicated, and generally impossible to make yourself sound exactly like your favorite band.
I actually don't know which song, or version of the song, or what part you mean. Can you get a video link on youtube or something? That would really enable people to give you the help you need!
Eggmond generally actually very good, I think your technique is good enough to be able to play that piece with a bit more practice. You might want to watch out for how much your fretting hand is moving, but I don't know how much of that is caused by the nerve damage you mentioned.

That said, the two parts aren't in sync as much as they should be, you should record both parts to a metronome set to the same speed so they're absolutely in time with each other as much as possible.
Quote by alexanderjosmith
are certain pickups more sensitive to pinch harmonics? Like, is there a big difference between active/passive pickups in this sense?

There might be some difference, for example, active pickups might have a more compressed sound which might bring out harmonics more... but really this is a question better suited to the Guitar Gear & Accessories forum.

I'm also going to close this thread, since it's now over 9 years old.
jontemyra01 hi! I see you're new here, and I just wanted you to know that in this forum we generally frown on necroposting in general. If you look at the date of the last post in this thread before you, it was over 9 years ago.

I'm going to lock the thread, but in future it would be great if you'd take a quick look at the dates in a thread before you post. Thanks!

Welcome to UG!
I'd be careful about trying to emulate the sound "from that video", because the audio isn't from the performance she's giving there, it looks to me like it's from a studio take recorded at a totally different time, and probably with very different gear to what you can see. The guitar used is probably the same, but beyond that I really wouldn't trust what you see.

Sadly, I'm not sure I can give you much help with actually getting that sound, just want to give you a warning about what's going on there.
We have a thread dedicated to video lessons from users here:

Please keep any future video lesson posts, unless they're directly answering a question someone asked, to that thread. Thanks.
PrestigeWW it's clearly spam. In future, could you please report the post, post in the thread so people know you've done so (to stop us getting spammed with notifications), and move on. Thanks.

I've removed the post and I'm going to edit your post to redact the spam, but in future, please take a little more care. Thanks!
Thread's nearly 2 years old, and TS hasn't been on UG for well over a year. Next time, please read the dates on posts you're replying to, thanks!

Closing it.
Quote by adhel317gibson
My question is, can I create heavy opening riffs without palm-muting?

Absolutely yes. I mean, give that we're talking about thrash, listen to the opening of For Whom The Bell Tolls; that's pretty heavy and it's not at all palm muted.
Quote by adhel317gibson
Also, is it true practice amp like mine can't make my guitar tapping sound clearly? I did tried tapping and it won't work.
I tried again with gain, volume and bass at max the results is the same

This is absolutely not true. I can't find any examples right now, but there's no amp that will stop you from using any particular technique. If you can't get it to sound, then it's going to be an issue with your technique, although what that might be is difficult to say. As a general rule, though, tapping is the same as hammers/pulls with your regular fretting hand, just with the other hand; the same principles apply.

Also, I think you should probably turn down the bass and gain a little, you probably don't need that much bass for a good tone, and as other people have said above you don't actually want to use as much gain as you think either.

All that said, in future could you start your own thread rather than piggybacking on someone else's? This thread is over 3 years old. I'm really glad that one of the users has come back an given you an answer, so I'm going to leave this one open, but in future please consider the age of a thread, and whether you should start your own, before replying.

Got any examples? I'm not sure what you mean by "celtic music" to be honest.
Sorry, guess I've been throwing too much jargon around.

If you're looking to analyse the lick, it is based around A minor pentatonic, position 5:


Writing out the notes of the lick and seeing where it falls might be a good idea if you don't know what key something is in and need to find out. This time, the guy says it's in A, so you don't need to worry about that. You know it's in A, so you find where it fits in A.

The rest of the theory can come later, but the big thing to take from this right now is: the guy states outright that it's in A, so use that.

Hopefully that's a bit clearer.
Quote by Metallimark87
theogonia777 How am I being a jackass? wtf lol

You are being purposefully obtuse by literally inserting arbitrary line breaks.

What you need to do, next time, is split your post in to logical sections. I've done what I think is best for your post above, and hopefully you can see the difference. This helps other people see what you're thinking and, hopefully, helps you organize your own thoughts so other people can follow them.

Think of it as where you'd pause in a meatspace conversation; you can't really just talk at someone and expect them to follow what you're trying to say, so break it up a bit. After all, that's what this space is; it's a conversation.

And don't give me that about what the internet was like back in the early 2000s, I was there too, and in the epoch-level amounts of time since then the quality and legibility of writing has improved immensely on forums like this. Mainly because people have learned to format their thoughts in to logical blocks that can be followed like you're talking to someone.

Now, you kids play nice.
Ok, dude, I really want to help... but this is utterly unreadable. Break it up in to smaller paragraphs so people can get what you're saying without having to read through a wall of text.

Again, seriously, I want to help you, but right now... I can't read through this, and I suspect other people will have the same problem.
I think this is a case where you really need to find a good teacher and take even one or two lessons so they can see in person what you can and can't do, and formulate some technique pointers and exercises from there. I would really ignore what anyone who tells you what to do here says because without seeing what you are actually able to do, it is actually impossible to give you any meaningful advice.
Ok guys, trying to help is awesome, but OP hasn't even logged on to UG in about 7 years.

Closing it.
Oh this is just steeped in blues tradition, so I'm going to over-explain a little.

It's loosely based around A minor pentatonic position 5, like you say, but it's using notes from A minor (particularly that B in there, the 2nd of the scale). Further than that, though, it also uses notes that aren't in either of those scales: F# and Eb.

So for a little tip, firstly, since he says it's a lick that's in the key of A, relating it to G minor (which, incidentally, is the same thing as G aeolian just with a different name) doesn't really make any sense. we should look at it from the perspective of the key it's given in: A.

So let's take a super quick look at those two notes from the perspective of A minor.

F# in the key of A is the natural sixth, so that's kind of a note borrowed from A dorian or maybe A mixolydian, but really thinking modally isn't going to help you much here, at least in my opinion; with a single note like that it doesn't do us any good. The natural 6 is used all over jazz and blues, it tames some of the dissonance that the minor 6 (F in the key of A) can cause, and lightens the sound to take you away from the "Everything is minor!" sound of the regular minor scale.

Eb is a little more troublesome in terms of strict theory. It's the flat 5th, which strictly only appears in one mode: locrian. Actual locrian really doesn't get used anywhere, that flat 5 makes it very dissonant and difficult to write with. Again, the locrian being what it is, the modes aren't hugely useful.

So what's really going on here?

He's basically using the notes from outside the pentatonic as colour tones. Notice that he doesn't stop on any of them, they're really not the focus of the sound. They're little ornamentations to add more harmony to the sound, but they don't get used for long enough to make anything sound dissonant or unstable for very long. This is why modal thinking really isn't useful here: the basic lick is based on the pentatonic, that's where the idea comes from, you could play only the pentatonic notes in it and have something that sounds basically the same. This happens all over the place in blues and jazz: you have a basic framework of a lick to work from, and you add more notes between the really important ones to give it more... sizzle.

Hope that helps clarify what's going on a bit here. If it's confusing for any reason, of course ask whatever questions you have and I'll be glad to try and answer!

I hate to say this, and sadly it's probably not an answer you're going to like very much... but you've kind of got to just do it. There's no exercise or song you can learn that will automatically make you alternate pick if your habit is currently to downpick everything. You've just got to pick a song or exercise and make yourself alternate pick it.

That said, when it comes to when to actually do it, there are two considerations:
1 - Sound. Alternate picking has a different tone to downpicking, and sometimes that's going to be what you want.
2 - What is physically possible. If you can downpick to a super high standard and it doesn't sound bad or burn you out then you might as well do that as much as possible, right? Do the James Hetfield thing and only move to alternate picking when you physically can't downpick the part.

I know that isn't necessarily the most helpful thing in the world, but really there's relatively little that anyone can say to help you with this one. Good luck!
noobX on the other hand, friends don't let friends sound like ass when they play. Have the strap at whatever height you want and screw the image of it.
MaggaraMarine I hope that's the case, but I'm going to ask you something, and I don't want an answer here, I'd just like you to think about it a bit: what are you trying to do with that post? When you really get down to brass tacks, what did you mean to get out of, or tell someone else, by commenting that you find this music (that someone else clearly enjoys) boring?

Like I said, I don't want an answer, I just think you should consider that for a minute.

Any further off-topic replies here will be removed.
traygreen078 nothing wrong with that at all, there's plenty of lefty players who play right handed guitars in all manner of ways. Carry on with what you're doing!
It definitely is possible that there's something wrong on the guitar, depending on where the string broke you might want to check for small bits of metal, imperfections in the frets or bridge or nut, just generally give the guitar a once over and make sure.

That said, it is also equally possible that the string just broke. These things happen; strings take a lot of punishment under a lot of tension and wear out. They can also have slight imperfections in the manufacturing process. So I would say just restring and have another go at the solo, it's definitely possible to play it without breaking a string again. Maybe, if the strings keep breaking in the same place, have a professional look at your guitar, see if they can find something wrong.

Either way, you'll get the solo in time, just keep trying!