I've been through alot of string guages, and never changed my neck, this ranges from 10-52, 10-46, 9-42, 9-52, 11-52. And i wanna move up to 12's and see how i fair with those =] I was told that the tension on the neck could bend it out of place, is this true? If so, how do i prevent it?..
I can see most of his techniques but the main thing that i don't get is that in order for me to get quite close to the sound, i need some delay and reverb. Also distortion+tubescreamer to get that swelling sound very precise.
Correct or am i overdoing it?
Did Beck use alot of distortion in his playing? Delay & Reverb, did he use?
Hendrix is impossible to copy, Hendrix is just one of those who sets a road, and he decorates it, I.e Bold as love is A, E, F#m etc etc, that's his road, he decorates the chords with his little fills and rythmical playing style. If i was you, i'd learn what he does, then use it to your own playing.
Hendrix is one of those you just can't play exactly the same, he plays in style and feeling, not in chords, scales and perfectality, if that's a word. 8D.
Theres a trick I learned where if you wrap a certain kind of tape around the end of the bar, when you screw it in the tape take up the extra space so that you don't have to screw it in so tight, and it also gets rid of the extra play in the bar. I believe it's called PCB tape, it's commonly used for plumbing and pipe purposes. Medical tape works pretty well also.
I've put the whammy bar on my guitar, and it began getting quite tight on the last turn so it locked in place to hover roughly where my pickups are (or beside the volume knob) That alright? It won't strain the bridge or anything will it?
Well i have a vypyr 30, its great for experementing with the load of effects loaded on to it. Just the idea of stacking all those amp models onto one makes it feel cluttered, it doesn't give that raw, no where else sound a marshall does or a fender blues jr. (yummy).
It's a great amp for the price but for the expressive blues music i play, it doesn't have that much of a heart stabbing sound which i like...
i try to use as many different kinds as i can. i generally consider balls and daddario to be run of the mill good strings.
im using elixir caoted now. different sound. good but different. and tehy are supposed to last very long so hopefully the money is worth it. seem more responsive when i am doing trills and such....but thats most likely because my old ones were worn out.
i want to check out dean markley, DR and boomers.
Dean markley's are cool, i used to use the nice thick bottom thin top.
the only have decent shop in glasgow, aside from reverb (that only do the slinkys and dean markleys)
Yeah bright strings i like, just annoying sometimes though. Gain does slightly mesh the strings together, if you play clean and use .11 per se, you will get a nice beefy tone. if you play clean with .09, it's quite thin, but to be honest i quite like that sometimes.
Ok, i'll try and find DR's and rotosound yellows... (yellow probably meaning "medium")
Getting sick of slinky and the D'Addaros now, Thinking about what to use, was thinking of going down a guage since i used to use 11's for like a week, sounded too thick to i moved to slinky top phat bottom, but it's just a pest playing chunky down low then when you move to the higher strings... its like quiet and stuff.
What kind of strings do you use? describe why you use them and stuffs.
Also, whats recomended for blues? i normally use light gain, sometimes fuzz and have a mix between lead and rythm playing.
Being a more blues guitarist i use more silicon fuzz, While i have fuzzface on my hendrix expression pedal, i also have a mxr classic fuzz 108. Quite cool but sometimes i accedently touch the knobs out of place, which is a pain.
improvising As Zhilla said, listening to something then hearing something in your head really helps, think of the dynamics of what your playing too, do you hit the string hard or soft? do you give that snapping sound? do you over bend? Also, instead of playing the scale up and down with occasional bends and stuff (1, 2, 3, 4, 5, 4, 5, 4, 3) try and mix the notes completely up, see what you can come up with by using some strange sequences of notes, like 1, 3, 2, 5, 1, 3, (the numbers being the note numbers) try also to limit the amount of notes to use and create a lick or see how many ways you can vary the note sequences and dynamics, by using 3 notes, you can create a plenthora of licks. Using Chromatic notes are great too, if your fast enough, you can just use them as passing tones. For improvising, its difficult to hear the arpeggios but if you know the progression, A, D, E, Bbm or some weird chord, don't be afraid to mix the actual arpeggio in with the scale when that chord comes along. If your someone really jazzy or random, sometimes playing a lick and moving it up half step, then half step again, then back to the scale can sound really cool. its all about imagination. You could be a slow, unskilled guitarist but because you have the mind, you can create really sweet solos from bends, Vibratos, Hammer and pull offs. Vibrao and Bends are important if your using them properly. Something i used to do, if i remember correctly was the chords were A, A#dim, i bend to the root note, and once it changes to the A#dim, i bend just that slight bit more. Vibrato really shapes some solos if there really fast and rock, or slow and blues. It's about your ear, to fit in.
I suppose it wouldn't hurt learning it. i just hate tab, i'm more of an ear person.
Oh aye natekicksbut, I'm sorry its just i've never really seen a name or who made it first for it, i just call it electric vibrato, but aye, hendrix did do alot of it. I often refair it to angus young because its basically all he does during solos (not literally or trying to sound mean)
Can you be specific about what "rake" you are referring to? He quite regularly uses a technique similar to a rake, but the strings aren't muted - he's actually holding down a chord leading to the "lead note". Is that what you're talking about?
sultans of swing, second solo. thats posibly the best example.
Alright, i'm looking for some more unused techniques to add to my collection, i have however already grown to like hendrix pre bends, Double stops, trills, electric acdc vibrato, step up scales (jazz), rakes. i really can't remember the others.
One i am interested in is knopfers rake technique... its really puzzling, although i haven't really looked in depth what hes doing but i'd be glad if people told me.
You can write stuff together as a band, which would be cooler. Or you can continue writing stuff in stranger timings, however i think you should record it and put it on cd, send to the whole band. they can use it as a sort of backing track.
As a musician, your an artist, you learn from your experences and surroundings, i can't stress enough how you must meet new people if its online, links with other freinds, adults, parents, anything. just learn alot from people and get to know more people. Once you know alot of people you can jam with plenty of people. you want some people who would probably follow what you do, so you would need to find someone who is like that.
I feel some of your pain pal, i play older music, older than me anyways and everyone has either never heard of the music or just can't be botherd playing it, most people i know play metal or something acoustic and sing songy. I need a band to...
But seriously, you should definately going out there, being a musician, an artist, you need to get out from your shell. Meet new people, be expandible, play your best! Although this sounds easier said than done, its the other way about. if your a naturally freindly person, this becomes more and more easier each time.
CONFESSION: i have aspergours, probably what you said you have, its a mild autism but with social difficulties, emotion showing is hard, etc.