Guitar Players

  1. Alternative (Creed, Three Doors Down etc.)
  2. Just started, kind of off and on but total of about 2 years maybe
  3. Mark Tremonti!!

[quote]jakshafter wrote:
also check out don Ross

[/quote]

I really dig that! Have you ever heard of these two? Rodrigo y Gabriela. This chicks rhythm is amazing:

Totally influenced by American metal.

[quote]A-Dizz wrote:
I’m a bass player. Apples and oranges, I know, but I figured I’d chime in anyway even though I’ll probably be shunned by all you kick-ass, super-cool guitar gods.
[/quote]

Bass players hold it down. I wish someone would have taught me the importance of rhythm when I first started playing.

[quote]florianopolis wrote:
guitar about ~3 yrs. i love django. would love to go to france for his festival. still working on rasqueda technique for flamenco.
[/quote]

Real Flamenco or Rumba? I prefer Rumba as it is more fun rhythmically. Rumba is also easier as it is only 4 count.

“4/4 is for the weak minded!”

My jazzophile friends and I are going to get t-shirts printed up with that on it–except instead of 4/4 we’re going to use the symbol for ‘common’ time.

[quote]LIFTICVSMAXIMVS wrote:
florianopolis wrote:
guitar about ~3 yrs. i love django. would love to go to france for his festival. still working on rasqueda technique for flamenco.

Real Flamenco or Rumba? I prefer Rumba as it is more fun rhythmically. Rumba is also easier as it is only 4 count.

“4/4 is for the weak minded!”

My jazzophile friends and I are going to get t-shirts printed up with that on it–except instead of 4/4 we’re going to use the symbol for ‘common’ time.[/quote]

3/4 and 3/6 are my favorite. They’re so much fun to play and I feel like I can get the most creative in them, especially 3/4

-dizzle

  1. Metal, bit of blues and classical

  2. Many years!!

  3. Hammett, Hetfield, King, Hanneman, Mustaine, Dime, Vai, Satch, Iron Maiden boys, Michael Amott, EVH, the list could go on and on!!

3/6? Is that a type-o? Not trying to be a smartass, but I’ve been playing for 10 years in several styles and never heard of using -/6 anything. Some time value between a quarter note and an eighth, and why is it necessary?

[quote]boyscout wrote:

Some links for you:

[/quote]

http://www.youtube.com/watch?v=o8d-5gCGlYg

Hey boyscout, good stuff.
I’m blown away by the discipline of world-class classical players. I think ‘Recuerdos’ is the first song I heard in that genre that really grabbed me by the throat and knocked me on my ass.

If you haven’t heard Sharon Isbin, her stuff is phenomenal, and she’s a great composer as well. Another great composer in the genre is Andre York. Check out Denouement (sp? by him.

damn, Rodrigo Y Gabriela are pretty amazing.

carina alphie is good too. www.alfiecarina.com. she is like a female steve vai.

i took a lesson from jake shimabukuro in Hawaii. the guys is awesome. here is clip of him playing bluegrass on the uke TommyFest Oct 06 - 7 Jake Shimabukuro - bluegrass ukulele?? - YouTube

floripa

[quote]SinisterMinister wrote:
For the gypsy jazzer, here’s Bireli Lagrene playing a Miles Davis standard with John Mclaughlin:

http://video.google.com/videoplay?docid=6989495568157691372&q=Bireli+Mclaughlin&hl=en
[/quote]
Nice, All Blues. One doesn’t get to often hear these Miles tunes in a “gypsy” fashion. Bireli and Mclaughlin are both techinical masters.

[quote]Yo Momma wrote:

A few of my bass heros are Jaco Pastorius, Marcus Miller, Carl Radle and Bootsey Collins.

[/quote]

Ah Jaco!

I still can’t put on “Birdland” wihtout getting goosebumps…

TQB

[quote]SinisterMinister wrote:

3/4 and 3/6 are my favorite. They’re so much fun to play and I feel like I can get the most creative in them, especially 3/4

3/6? Is that a type-o? Not trying to be a smartass, but I’ve been playing for 10 years in several styles and never heard of using -/6 anything. Some time value between a quarter note and an eighth, and why is it necessary?

[/quote]

No it wasn’t a typo. It’s a really hard time to work in, and I believe it’s usually only found in latin types of music.

It isn’t necessary at all, but neither is weightlifting, but they’re both really challenging and a lot of fun. Look it up, I’m sure you can find some good 3/6 stuff to work on.

Hope that helped

-dizzle

[quote]A-Dizz wrote:
No it wasn’t a typo. It’s a really hard time to work in, and I believe it’s usually only found in latin types of music.
[/quote]

I am guessing it’s mostly composed of triplets?

  1. Acoustic versions of all kind of rock music and jamming. I haven’t played much electric for the last ten years.
  2. About 28 years.
  3. John Martyn, David Gilmoure, Terje Rypdal, Frank Zappa. I’m more of a rythmic player myself, though. I don’t have fast fingers.


Cool thread.

I’ve been playing for about 25 years - into Eddie Van Halen, George Lynch, Paul Gilbert, Vai, Satriani and Eric Johnson (among many others)…

I’ve studied extensively with Al Pitrelli from TSO and John Petrucci from Dream Theater. I was a music major at 5 Towns college and played in a ton of bands (both cover and original).

I’m including a pic of some of my gear… & my dirty socks… ; )

That B.C Rich is a custom built job I had done years ago. It’s a solid one piece, neck thru body, 24 fret rosewood fingerboard. I also have another custom built strat and a Martin acoustic.

The rack is an old Roland DEP-5 I use for chorus and reverb, and if anyone’s curious the reason I use a Marshall cabinet is because I used to use Marshall heads, but I was never all that happy with the sound - in fact, I had a couple of Marshall heads I had tweaked by a local guy who did the Lee Jackson type pre-amp mods - but still, just found the 5150 head to have great tone right out of the box.

As for now, I’m finding it a bit limited. I’m thinking a Mesa-Boogie Triple Rectifier is going to be coming into my life one day soon - I’m still deciding between that, a Laney or maybe Hughes & Kettner…

Oh, and for the tech-heads the bridge pick-up is a Dimarzio X2-N, with an HS-3 in the neck position. : )

[quote]A-Dizz wrote:

No it wasn’t a typo. It’s a really hard time to work in, and I believe it’s usually only found in latin types of music.

It isn’t necessary at all, but neither is weightlifting, but they’re both really challenging and a lot of fun. Look it up, I’m sure you can find some good 3/6 stuff to work on.

Hope that helped

-dizzle[/quote]

I was curious about this, so I did a bit of reasearch. Irrational time signatures, as they’re called, are used to express divisions of a whole note other than the standard eight, quarter, etc.

So, a rational time siguare, say 4/4 is equal to 1. Or, there’s 4 quarter notes in each whole note, all evenly spaced across the note–and we use the entire lenght of time of a whole note. Basically, this is a way of writing tuplets with out the tuplet sign.

What the ratio is in it’s simplest form expresses the portion of the whole note to be used. 3/6=1/2. So, our measure is equivilent to a half note in length–or it could be writen in a standard key signature as 2/4.

We continue: the top number in the signature indicates how many counts or beats are in the measure. In this case: three. So we have a measure that lasts 1/2 of a whole note that has three evenly spaced beats in it. So 3/6=a measure of 2/4 with a triplet grouping of three quarter notes in it.

So, essentially, you just made playing a quarter note triplet in 2/4 really goddamn hard. And why? Oh, there’s not really a reason. Well, there is, yes, but it has more to do with writing art music that is complicated and would make the notation very confusing with all the tuplet things. However, the tuplet things are not nearly as confusing as trying to figure out some sort of irrational time siganture.

It’s an interesting concept. But it doesn’t really solve any sort of issues. The cool thing about triplets and duplets and other things is that you can set them up against each other and make a polyrhythm type sound. Eitherway, you’d still be writing in tuplet signatures or writing each individual part of music in a different time signature–then the only way to keep together becomes counting only the first, or strong, beat of each measure.

[quote]SkyNett wrote:

As for now, I’m finding it a bit limited. I’m thinking a Mesa-Boogie Triple Rectifier is going to be coming into my life one day soon - I’m still deciding between that, a Laney or maybe Hughes & Kettner…

Oh, and for the tech-heads the bridge pick-up is a Dimarzio X2-N, with an HS-3 in the neck position. : )

[/quote]

The triple rec would be an excellent choice. But if you really want variety, try out the road king. The thing is simply amazing, and you can do a lot of things with it. Including being able to switch between class A and class A/B power amps and between 6l6 and el34 power tubes. Crazy!

Either that, or you could try out the simul 2:90 and triaxis combo (rack gear), that’s up to 128 different sounds you can have access to via midi.

PS: i’m a big fan of mesa’s products. I use their 50/50 power amp. Someday, when I’m not a poor college student, I’m going to get a triaxis or one of their preamps.

[quote]LIFTICVSMAXIMVS wrote:
A-Dizz wrote:
No it wasn’t a typo. It’s a really hard time to work in, and I believe it’s usually only found in latin types of music.

I am guessing it’s mostly composed of triplets?[/quote]

Read the Irrational section.

[quote]SkyNett wrote:
Cool thread.

I’ve studied extensively with Al Pitrelli from TSO and John Petrucci from Dream Theater. I was a music major at 5 Towns college and played in a ton of bands (both cover and original).

I’m including a pic of some of my gear… & my dirty socks… ; )
[/quote]

+10 cool points for mentioning Al Pitrelli!

And damn you for studying with two of my heroes (although I don’t think I mentioned Al in my list–that will be corrected shortly).

Mustaine from Megadeth has said that playing with Al pushed the band as musicians more than any other guitarist he’d worked with. They didn’t expect his polished composition skills.

Also, what does “extensively” mean?

Finally, I suppose you know that Al Pitrelli worked first with Savatage (and also Alice Cooper). Pet peeve of mine, since Savatage is basically the parent and alter ego of Trans-Siberian Orchestra. They wrote the song that got TSO on the map. I love TSO, but nobody pays any attention to the freakin’ awesome parent band.

[quote]boyscout wrote:
A-Dizz wrote:

No it wasn’t a typo. It’s a really hard time to work in, and I believe it’s usually only found in latin types of music.

It isn’t necessary at all, but neither is weightlifting, but they’re both really challenging and a lot of fun. Look it up, I’m sure you can find some good 3/6 stuff to work on.

Hope that helped

-dizzle

I was curious about this, so I did a bit of reasearch. Irrational time signatures, as they’re called, are used to express divisions of a whole note other than the standard eight, quarter, etc.

So, a rational time siguare, say 4/4 is equal to 1. Or, there’s 4 quarter notes in each whole note, all evenly spaced across the note–and we use the entire lenght of time of a whole note. Basically, this is a way of writing tuplets with out the tuplet sign.

What the ratio is in it’s simplest form expresses the portion of the whole note to be used. 3/6=1/2. So, our measure is equivilent to a half note in length–or it could be writen in a standard key signature as 2/4.

We continue: the top number in the signature indicates how many counts or beats are in the measure. In this case: three. So we have a measure that lasts 1/2 of a whole note that has three evenly spaced beats in it. So 3/6=a measure of 2/4 with a triplet grouping of three quarter notes in it.

So, essentially, you just made playing a quarter note triplet in 2/4 really goddamn hard. And why? Oh, there’s not really a reason. Well, there is, yes, but it has more to do with writing art music that is complicated and would make the notation very confusing with all the tuplet things. However, the tuplet things are not nearly as confusing as trying to figure out some sort of irrational time siganture.

It’s an interesting concept. But it doesn’t really solve any sort of issues. The cool thing about triplets and duplets and other things is that you can set them up against each other and make a polyrhythm type sound. Eitherway, you’d still be writing in tuplet signatures or writing each individual part of music in a different time signature–then the only way to keep together becomes counting only the first, or strong, beat of each measure. [/quote]

Like I said, it’s just for shits and giggles. Why not try to have some fun with crazy signatures and weird syncopation therein? It’s just interesting, that’s all.

I’m not too serious about it, and if you look at my band’s website you can see that all our songs are in 4/4 or 3/4.

-dizzle