starry_night

thats how i see things too, thats why i always ask something.. to learn something that i wanna know; even tho i dont know the right words to use to ask things because i lack such vocabularies makes perfect sense in some ways...

dammit how do i suppose to keep the song from sticking in my head!!!! hhwaaaaaahh!!!!!!

thanks for the tip enamel.. youre such a great help to our dumb freatboards! and yeah i think youre right, i have to UNDERSTAND my own way of playing and re "study" my own attack and everything to make all of my notes work! well, all of us have these "unconciously" applied styles that i think we have to realize by ourselves to make us better. and yeah i never thought of how i pick every strings if i was playing arpreggios! now atleast im starting to realize how i was picking them, i.e. having some notes in which scientifically i should have given it a downstroke to prepare for the higher string but yet i still do it the other way(which always made it slower or unsmooth)... you know, some unconscious mistakes which we always do because we never concentrated on those very little unimportant details which in the future turns out to be the very weakness of your playing... very well said pete, you still never changed a bit, you still speak wisely!

what i wanna try is the new innovation of Ibanez S series. light yet fat! but still worth a fortune here! waaaaaaaa!!!!!!!!!!

havent you figured it out yet duff? everyone here says different things. it would only mean that it really depends on you, your taste, and your belief. it seems here that it doesnt really matter WHAT you use, what matter most is, HOW you use it. and remember, a good player can play even on a bad instrument! rock on!

yah i agree, commercial products that is. i just love that certain song. thanks anyway. now, does anybody know what the best exercise is for alternate picking? like everyone else, i have this 'slower-right' problem but it seems that i aint improving when i do fast runs instantly during a freestyle playing. i can do it though but only when my mind is set to doing it but i found out that whenever i do those fast alternate picking instantly, i get the chance of being clumsy... help anyone?

hey the fact that i was searching for a blues saraceno tab doesnt have anything to do with me learning to be a good musician. i just wanna have the music sheet of that certain track. thats all. and another thing, it will help you a lot in understanding it easier if you analyze other player's style.. i.e. analyzing how saraceno approached the blues music then comparing it to another artist, while learning the blues fundamental itself... BUT, i still wanna have that tab!

yes it is relative in a way in the sense that it is like the technology... the one who invented the wheel is still a virtuoso although he never invented the car. what it takes is much understanding of what we do (beyond the guitar) and then applying our originality like what redwhite just said.. we need to be 'unique' but what we need now is the understanding of not just the guitar but the whole music. that connects us to what marksound said... well, what you said marksound just made sense, but dya think we need to compare? isnt it better to absorb those good players in our head than to compare who plays better than who? now can anyone share me their 'never look back' tab? its a good source of blues ya know?

yes pete youre exactly right and thats what actually happened! it made the pickup perform poor and unbalanced! but dont worry because i havent altered anything on my guitar yet. what i used is my cheap replacement hb pickup and my guitar is still in its original form. well i think im gonna need to forget the 'two-magnet' idea now that i know that it was the cause of the poor tone of my pickup. well, gotta build a taller driver core i guess... thanks very much pete..

hey fookub and pete, i have a good news.. now i understand why my magnets behave like that.. the only simple reason is that they are cut or manufactured in two different ways like so: as you can see the polarity of the magnet that i used for the driver was divided on its flat surface while the other one was divided on its sides.. thats the reason why the second magnet originally sticks BETWEEN the poles of the humbucker and NOT under the poles because it absorbs on both of it's sides.... whew! i hope you guys now can imagine waht i was trying to explain... fookub, the magnets are exactly with the same size.. originally, i planned to use only the magnet i got from the hum for both the driver and the pickup but too late that my driver core was made shorter in height than the pickup poles and it wont reach the pickup's magnet so i have to extend another magnet for the driver but ironically it perfectly fitted exactly under the core and above the pickup's magnet... now can anybody please tell me where i can find those blues saraceno tabs online? especially 'never look back'....

nice collections redwhite! and yeah youre right.. thats how to begin.... hey i also found something interesting from the limewire... it is a book called 'scales improvisation for jazz music'. i downloaded it in pdf format and its kinda big file (200pages).. its nice to see that the book have its own chart so you wont get dizzy reading the same old tabs.. easy to understand and easy to imagine...

you are correct pete... and i cant deny that steve vai is one of the greatest but in view of the word virtuous, i think its better to look forward to creating your own thing than trying to 're-do' what have been done by somebody from the past. try alan holdsworth, he did his own thing and nobody like him does the same sound. what we need is to understand their theories rather than just listen to their music. i mean we need to try to understand the scientific side of those they play rather than the musical ones. behind a virtuoso is ones complete understanding of the knowledge that they posesses. having fast-fingers dosent count on being a virtuoso. try chopin. he is a piano virtuoso but piano is not his forte. but still he became one because he made such pieces that are so hard to master and to perfect by an advanced player. now, try robert johnson. he doesnt emulate any of his idols but he did understand well the principle behind it. in fact he actually looked behind the notes that his idols were playing and did it the same way but in his own understanding. his secret lies in the unusual detuning of his strings to his own tuning where he is the only one who can understand what he is pressing on the fretboard. i once overheard at our guitar convention that in one of his solos, his guitar was tuned like CAEFDD or something.. now that made him a legend and a virtuoso.. by creating his own theory by thoroughly understanding what others did. well, there defenitely is a whole lot more to learn OTHER THAN the shred ethic... now, can anybody tell me where i can find those blues saraceno tabs?? especially 'never look back'!!!!!!!

hey for those loners out there who strives to learn the best guitar playing out there... need not to learn alone anymore, you need a company, so lets exchange ideas and knowledge for a speedy learning.. plese visit the guitar heroes den (teachers wanted) thanks

hey for those loners out there who strives to learn the best guitar playing out there... need not to learn alone anymore, you need a company, so lets exchange ideas and knowledge for a speedy learning.. plese visit the guitar heroes den (teachers wanted) thanks

hi guys for those loners out there who used to learn guitar all by themselves, please try having a company for a speedy learning by exchanging ideas and knowledge! teachers wanted Guitar Heroes Den see ya there

i have started this topic to help us all speed up our guitar learning by exchanging ideas and knowledges as well as questions and quests for the long time dream of being a guitar virtuoso.... hey, more heads are better than just one so if you are a loner in learning guitar methods, then join in so ya'll gonna have company..

im sorry pete i just stated the poles as Negatives and Positives but it stands the same meaning of north and south. well, checking again, my ex-hum has a single magnet where it sits between the poles of the hum (not under the poles--->>N-S-N) as you can imagine. its magnet has the power twice that of a fender so i think it would work fine. now, i was able to magnetically stick the ordinary N-S magnet above the N-S-N magnet hoping that it would give much more power to the driver considering that it combines the power of those two magnets... i hope you get the idea... well i dont really know if i put on the polarities right, what i want to explain is that the magnet(N-P-N) actually absorbs metals on both sides of it(N) and the other one(N-P) absorbs only on one side and rejects on the other side so i assumed it as it is drawn... (this is experimanted on a magnet to magnet basis->>opposites attract so above the N of the below magnet is a P so they physically stick)... oh well, so much to learn, so much to understand... P.S. hey everybody please visit this site.. and teachers wanted: here thanks...

pete of you can please check on your mail i sent you a drawing of what i did.. i cant post any pics on this site so i sent you the drawing instead.. is there any interference with what i did with my magnets?

yeah i did it that way... i simply took away the other half of the hum and then converted it to a single.. and the remaining bobbin i just used to be the bobbin of the driver. the driver is yes 3mm but 10mm tall, i used .22 wire as you recommended but i think ive gone to about nearly 10ohms far.. but the pics are not availabe yet so i cant clear out my explanations yet. ill be posting it whenever it is ready.. i am obtaining sustain but NOT the tonal quality that ive been expecting.. i am using the ruby but not the fetzer coz my uncle who happens to be an electronic tech said it will hardly gives a boost somewhat with that kind of calculations so he gave me a better one to work with.. actually i believe he took it from a kenwood design but still it directly goes into the ruby.. just minor modification on the circuit i guess.. and heres another obstacle, i am having trouble with my bridge... the pickup just kinda decreased its gain or power or something right after i shared its signal into the driver.. and when i tried to disconnect the sustainer, it came back to its normal performance... damn...

whoa! that nearly made me wrong after all! you see i am trying to rebuild my hum so it seems impossible to keep the driver away from the neck pickup... good thing i wired the driver on the other side (the pickup exits on the upper side of the guitar and the driver is on the downside)... now the problem is, i cant troubleshoot why the signal slowly increase its volume when i activate the sustainer.. i mean it would start very low then constantly increases.. i think the signal is sent too slow or something is keeping it from flowing smoothly... the 'pop' is kinda loud but the starting sustain is very low.. and i cant work on the harmonic switch.. it wont give the harmonics... like the switch is useless after all.. i followed your dpdt diagram perfectly but it wont work.. i think the problem is not on the switch.. actually ben ive been planning to take the 'innards' of my marshall mini-amp if ever i fail to build my fetzer-ruby but i have to come up with something to further 'boost' the mini-amp(put a boost like fetzer just before the mini-amp) to make it work better.... i hope this gives you the idea...

wouldnt it be adviseable to solder the leads to the wires? will it be ok if you just twist it without soldering? or should we avoid soldering it?

yes i agree with pete.. i believe those amp designs are made with their proven point some way... so i think they will basically act the same way- TO BE AN AMP! because thats what they are... now i believe we will be able to do better than pete's version someday IF we understand how everything works so what we need to do now is to start from scratch and basics and dont even try to follow pete's or anybody's 'much advanced innovation' because it will only confuse us much more... what we need from him and from other pros are the precious advices that they are providing us right now. if pete says THE SECRET IS IN THE DRIVER(i already read this line half a million times when i dared to read from page 1 till 79, nobody listens to him until then...), then lets go study the principle of the driver! now, i wanna share my little experiment from now on... but first i wanna have all your possible comments or suggestion with this: i am building the fetzer-ruby right now and the circuit seems to be perfectly built(with a big help and inspiration from pete).. now what i have on the neck is a generic hum(i dont wanna wreck my dimarzios!), with an NPN magnet between its poles.. what i did was, i removed the other half of the hum to make it single then i am planning to share the NPN magnet of it with the driver's 'core' (as soon as i get it from the machine shop where i specially ordered them to do) with the dimensions following pete's suggestion (3mm x 10mm x 5.6mm) just a little taller to follow the height of the 'ex-hum's' poles.. now i used the other half of the hum's bobbin as the bobbin of the driver so it will still be uniform and to minimize the alteration problems with the guitar.. i will never know if this would work not until i put on the driver.. well i hope this works fine.. my purpose here is to give everybody an idea on the design or planning part of the project.. i hope this helps... if i successfuly made it i will as well post pics in the future... rock on! p.s. pete, please give us an advice on where to connect the on/off switch best as well as the led to make the most out of the sound or to prevent it from interferring with the power.. thanks!

(So the answer is, it is the end of the signal chian, like a speaker, but the magnetc energy connects it to the strings.) now this ends my case... very much thanks pete!!!!! youre a much great help!!! desperation ends here