Quote by RyanMW2010
Any idea on where I can get started learning to hybrid pick? Just youtube hybrid picking licks? 

How I got started was basically just taking licks I already know and play, and replace some of the pick strokes with finger picks. Places where you cross strings are particularly good for this, and taking licks that you normally play with mostly legato are also a good place to start, that was you can concentrate on where to put the hybrid picking rather than anything else.

Short of that, yeah, youtube-ing hybrid picking licks is a good place to go as well.
Quote by FrigginPhrygian
However, I don't see why metal-heads use the technique unless you have perfected it to the point where you don't bleed one note into another note through a high gain sound (perfect muting). I wonder if some so-called "hybrid picking" licks can also be played with simply tapping or string skipping.

As one of those metal heads I'm going to throw my hat in to this.

There's really nothing harder about muting while hybrid picking than there is when you're doing it with regular picking. If you're already looking to achieve shred metal speeds then doing it with hybrid picking doesn't present any extra muting challenges.

A lot of hybrid picked licks definitely can be played with other methods (for example, I generally play Paul Gilbert/Scarified style string skipping arpeggios with hybrid picking)... but if you've got the facility to do with a technique then why not? It's an extra sound in my palette of tonal colors. Especially given that it means I can play licks like that, and for me it feels like my hands don't have to work anywhere near as hard as if I were to pick them like he does. In fact at one point I did do that, and it was definitely harder for me
Is this is a misplaced reply? Either way, I'm closing this.
Honestly, the best thing you can do with limited time is just play songs. They might be songs that push your technique, they might explore ideas that you're not used to... but seriously, if you don't have much time, play music.
Edo awesome of you to check back in dude, I do sometimes wonder about people who ask for very specific advice and how it works out!

The solo, in general really good, clean and solid. The only thing I would say to watch out for is to make sure you're paying close attention to the intonation on your bends; some of them are just a hair out of tune. Other than that, really awesome dude, keep it up!
BurningYeti godspeed, sir! You'll get it!
In my experience the best way to warm up is to play something simple to start with and progressively play more taxing things as you get warmer. If you need to stretch out a bit first then do that but I think doing it naturally and gradually works best for me.

Obviously YMMV, as ever, but that's my experience of it; I've never found that warming my hands with some external heat source to do much of anything for me.
Thread is now 10 years old. All of you, please look at the dates on threads before you post.

Thread's 5 years old, and the last post was two years ago. Check the dates in future, please.

1 - Do not try to police these forums. If you see something you don't like, report it and the mod team will make a decision about what to do.
2 - This thread is 10 years old. Look at the dates on posts before you reply, please. The user you're insulting hasn't even been on UG in about 8 years.

Closing it now.
Dude, not only is this definitely spam... this is some of the worst advertising I've ever seen. I'm not going to delete this, I'm just going to lock it as a monument to how bad this is.
Thread was moved to forum: Electric Guitar
Thread was moved to forum: Promote YOUR Band
Quote by donender
I get the feeling we're straying off the topic here.

Yes we are. One more chance guys, I want this thread to be ok, but if this carries on I'm just going to give up.
6 year old thread guys, please look at the dates before you post in future.

Closing it.
Quote by AcousticMirror
i'm going to guess with your level of cognitive ability...never.

I'm going to echo Steven Seagull to you as well. Chill; your insulting the OP isn't helpful and only makes you look bad.
Hey there, I've moved your thread to musician talk as the techniques forum is more about the physical process of playing the guitar. For discussions like the Musician Talk is a more appropriate forum and will probably get you better answers!

tear2slitwrists as far as you're concerned, I'm an army of one. Mod powers. Play nice or I'll lock the thread, plain and simple. I can silence you all day if I want.
Quote by tear2slitwrists
Basically I say no "politically correct B.S" because I don't want  to come here and say "it depends on everyone" that is the entire reason i made this thread. If you are against free speech, you are against civilization and progress. Go live in a deseet somewhere in Iran.

I suggest you drop this attitude. I understand how you feel, but being so pre-emptively aggressive and combative, mentioning utterly unrelated things, and frankly being a xenophobic (possibly racist) jerk isn't going to get you anything you want. This isn't a free speech area, and you don't get that just by joining the forum, because that's not how free speech works. If the way you speak isn't in accord with the established rules here then you will be silenced. I refer you to this:

Quote by tear2slitwrists
How long does it take nost people to get down or gain enough strength in  their hands to play the tempo and downbeat picking in Master of Puppets? No i don't think the song is really that hard, but my hand cramps up and gets too sore and tired when trying to play it. Someone said they learned it in 4 hours, is this really true, along with BPM?  Anyway, it is not really for competing purposes, I mostly just  want a vague idea how long it takes most pepople or what to expect to lookat because i want to learn the song quickly. I have found it to be generally the same with Muse's Reapers intro, aince i have never attempted fjnger tapping before, it is taking forever to get the callouses and endurance to finger ap it perfectly.

A vague idea, huh? Anywhere from a few hours to several years. No one will be able to give you an average time because no one knows. Maybe a really experienced teacher would be able to give you some answer, but even then it has no use to you.

The problem is, especially with a song like this, that there are a few different things that might be stopping you from playing it up so speed all the way through. Here are some questions that need answering:
  1. What kind of cramping is it in your hand? Is it like the cramp you get in your legs after you've been running for a while, or is it something other than simple fatigue?
  2. Is your technique as relaxed as possible?
  3. Can you comfortably downpick at that speed anyway, without worrying about going for the full length of the song or playing the right notes?

More than anything else though... you can't specifically learn the song quickly. You can only learn it at the pace your technique and endurance allow for.
jasonaeaton the techniques forum is dedicated to the process of getting notes out of the guitar; how you approach the guitar to get the music out of your head and in to the world.

No, the appearance of your headstock is not a technique.
10 year old thread guys. I'm glad this helped, but please look at the post dates in future.
Quote by Evilnine
Millenials: think it's possible to shred like EVH, Petrucci, Gilbert or Malmsteen in 5 months!

Come on man, don't be that guy.
Well this is definitely in the wrong part of the forum, so I'm moving this to Electric Guitar, although I suspect it won't go down too well there anyway. I can't actually think of a good enough reason to close it though.
Quote by FrigginPhrygian
It might be important to add that distortion is the most important ingredient to self scrutiny. I know many advocate practising cleanly, but I find that if you have a lot of gain mistakes with string muting will be profoundly noticed. I personally never understood people who claim that distortion helps hide mistakes.

Clean and gain tones cover different kinds of mistakes, especially to those with less developed ears. Gain masks things like poor tone, cleanly hitting exactly the notes you intend, poor legato technique. Whereas clean tones do little to expose problems with muting or any of the problems that harmonics might either have or cause.

Really, you should practice with both, and place more focus on practising the way you intend to play.
Wizzykin the only dumb questions are ones you don't ask, you're always welcome here with whatever you might need to ask!
Wizzykin I think that depends a fair bit to be honest, personally I would try and keep the practice using the same note divisions (16ths, 8ths, whatever) as the original unless you are already 100% confident in your timing. Working on timing at lower tempos is generally better for it than working on it quickly anyway; the larger gaps between metronome clicks really make you focus on getting it right.

That said, that's really just my take, it's up to you; if you feel like your timing is good enough for the song as it is then have at it!
darthlukan sounds good, you've got solid tone out of that guitar and the legato parts (both hammers and slides) are pretty spot-on, keep it up!
Quote by Wizzykin
Can I ask - how slow is slow?

Isn't that just the million-dollar question though?

Seriously though, slow (to me) is slow enough that you can really control what you're doing. You'd be surprised how slow that is though; muscle memory kicks in much slower than a lot of people think. Obviously depends on the piece, but for something like Damage Inc (which I believe has an original tempo of 184 bpm), slow to me would end up at least as slow as 92 bpm or probably much slower to really properly practice it, as opposed to just learning the piece.

Quote by Wizzykin
I question whether he's picking all the notes, or if he's hammering the second note on each string; is this realistic to play each note or is that going a little crazy?

Chris is definitely picking all the notes in that part, so it's absolutely realistic to do that, and while it's not an easy passage, it's not extremely difficult so it's definitely an achievable goal to be able to play that section.

Go for it, do your own progress videos!
Thread was moved to forum: Show off
Wizzykin you can apply it to absolutely anything. The idea is that you don't speed up the tempo at all until the 21 days are up; practicing it perfectly every day at a slow speed for 21 days straight to really ingrain the part in your muscle memory. Move the tempo up when you've gotten past the 21 day mark.
somsip sadly I can't find the videos that used to be up giving a pretty comprehensive set of reasons as to why Hess is actually just a horrible human being, I'm going to have to ask you to trust me on this though.

The speed bursts thing... I have mixed feelings about it. I've never been able to really make it work personally but also I know that some players really have been able to make it work very well, both yourself and some really big name players as well. I think it's probably something that works well for people who use it in moderation along side the more traditional "start slow, get it right, speed up" approach; Shawn Lane mentions is more as a way of getting past mental blocks around playing fast and I feel like that's probably where it has more value. As with all things though, your mileage may vary.
miguel.alecrim this is one of those situations where being a perfectionist is a real mixed blessing. I would say that keeping on practicing is a fine thing to do, but also don't practice one song to the exclusion of all others. Anything you learn makes you a better player, so spread out in to other songs. It certainly won't hurt and you'll probably find that the song you started on will get better.

somsip I know (or at least I assume) that you mean well... but please don't give Hess the oxygen of clicks he needs to stay in business. He's a misgynistic, financially predatory shyster and snake oil salesman. I won't remove the link myself (yet anyway), but please be aware of what an awful person he is, as well as a pretty horrendous player and teacher.
Thread was moved to forum: Lessons
linuxesp thread's like 9.5 years old now dude. Epic necro is epic.

Closing it.
reverb66 but you've misunderstood what TS has just said, and not bothered to clarify: it seems to me that they don't understand how come C major and A minor have the same notes but are different scales. Which is a perfectly valid question and nothing you said has anything to do with that; you're talking about scale degrees and intervals and all this other stuff... TS doesn't even understand the idea of different roots yet, not really.

Quote by Gosss
ok so from what I'm understanding, the notes of scale are defined by 7 notes.  

The scale does not need to start on the root note to be identified.  

the A minor scale which no note is either flat or sharp is A B C D E F G.  

What throws me off is that C Major is C D E G F A B.

Ok, just to be 100% clear here: you don't understand why these scales are different but have the same notes, right?

That's a perfectly normal question, and it is a bit of a weird one, but like I said earlier, it all comes down to where music resolves to, that is which note or chord feels most "like home". This is almost impossible to explain in writing, and there don't seem to be any videos about this that aren't laden with heavy theory terminology, but there's a bit in this video that I think captures it pretty well:

Ignore most of what he says for now; at 3:34 the guy plays a little melody followed by a couple of chords. I want you to listen and notice how the last chord sounds final, it sounds like it's finishing the little melody he played. That is resolution, that moment of "ahhh, there's the end of that" is the basic essence of a piece of music resolving, and that's what really tells you what the root (i.e. the letter name) of your scale is: the note or chord that it resolves to is the letter you use to name your scale. From there you can tell he's playing major because of how the rest of it sounds; the sound is bright and happy, it's not dark at all.

It's also worth saying that this is much easier to hear with chords than scales; single notes don't create the same kind of resolution that chords do. You can do it, of course, it's just much harder, and the effect is that much more pronounced even with simple chords.

I'm simplifying here, there is more to it, but for now this is really the core of what you need to know. Scales don't start or end anywhere, yes they are collections of notes, but what really defines them is the sound you make with those notes. That's how come A minor and C major are the same notes but sound totally different.
You're definitely not too old, I can say that for sure; my Dad recently started learning to play, he's making good progress, and the dude's like 65.

I've heard it said that if human being had to learn to walk as adults, we hardly ever would, because it's damned hard... I think there's something to learn from that: as an adult you don't have as much time as kids, and you have more things you want to do in that time, so it's difficult to find the time to play and practice, you may find you're progressing 'slower' than you would if you'd started when you were 15 or whatever. Don't let that discourage you though, try and remember that learning and playing is more about the journey than the destination, mainly because the destination doesn't exist; it's forever out of reach, you always move your own goal posts.

In terms of people to learn from, I seriously recommend Justin Sandercoe's lessons; he has a logical, thorough set of lessons for beginners, and another for intermediate players, which cover everything you should need to give you a really good start and to allow you to teach yourself more and more as you learn. Check him out here:

Keep it up, keep practicing, you'll get there in time if you just keep going!
reverb66 dude. Duuuuuuuuuuuuuude. No. Either you're joking, in which case it's super hard to tell, and someone might take what you've said at face value... or you actually believe what you've said, in which case I direct you to my earlier post in this thread about resolution and tonality.
Arthur_Frain, SrThompson, wolflen, can you all step back for a minute and ask yourselves something important: does TS have a chance of understanding modes right now? Is that what they need? Is what I am explaining really helping TS, or am I just adding more noise to an already difficult question?

Gosss, there's a lot of talk in this thread about modes, and using all kinds of crazy names... please ignore it. Anything about modes, locrian, dorian, melodic minor, harmonic minor, whatever it is: it will not answer the questions you have right now and will only mislead you anyway, since most people already don't understand it.

The question you've asked seems simple enough, and in a lot of ways has a simple answer: no. The A minor scale doesn't start on G. Scales don't really "start" or "end" anywhere. What defines a scale is the notes it contains and where it resolves to. What we mean by "resolves to" (or resolution) is where the notes feel most "at home" (this is also called "stable": it doesn't feel like anything needs to change). So if you're playing a song like, I don't know, Back In Black by AC/DC, that E chord in the riff sounds like where the song should end, it's where the music doesn't feel like it needs to move anywhere, there's no need to play any more to get it to feel "finished". That's where the riff and chords resolve to: E. That means the song is in the key of E (meaning E is where the song resolves to); so if you're playing a solo over that song, the scale doesn't start or end on E, you can play whatever notes you want over it but at the end of the day, you're always playing variations on a scale in the key of E. This also means we call that E note, the root of the key.

Now we get to the name of the scale by looking at the actual notes that are in it. So for A minor, the name already tells you that it's a song that resolves to A (again: that A note feels most like "home"), and the rest of the notes are B C D E F G, the really important note here is the C. It's what is called a "minor third". There's a whole bunch of theory behind that which I don't really want to get in to here, but the important thing to know is that the third note from the root (A B C) is the thing that defines the most basic name; it sounds minor (at the most basic: it sounds sad/unhappy), so the scale is minor. As a different example, if we look at C major (C D E F G A B): it resolves to C (C is the most "stable" note), and the third note (C D E) sounds major (it has a traditionally happy sound), so the scale is C major.

I'm glossing over some terminology here for the sake of not confusing you, but this is the essence of where scales and names come from. The really important thing that I want you to take from this is that, as I said, scales don't start or begin anywhere, they simply are. Scales are sets of notes that sound a certain way together: A minor sounds like A is the home note, and it normally sounds sad, or at least not happy.

How you play scales, what you do with all those notes, where you start or end, that's all up to you.
I'm sorry but your post doesn't make your problem very clear I'm afraid, is it possible for you to post a video of what is going wrong, so we can get a better understanding?
cdgraves, while all of what you're saying is true, I think you may have missed some details in the OP/thread: they're asking about whether to use the middle or ring fingers in the middle of the shape, not whether or not to involve the pinky. The OP makes it clear that the pinky is being used either way.