wylde1919

The old 'you get what you pay for' comes in here. They ain't no PRS, but for the money you could do a hell of a lot worse (*coughs* fender... ahem). I still think the best value for money series is the prs SE series. Great lil axes for reasonable prices.

S

The worst guitar I have played in recent memory was a PRS SE. Guess it is all preference.

my last post on modes did not get much feedback at all so thought i would try again!! i know all of the shapes in C major, but i still don't know when to play them. i was on this website which gave you backing tracks in certain keys and modes, so i tried to play over it like it said but it did't sound right at all. so if there is any advise, help, or links that people can send me i would appreciate it.

thanks, chris.

Ummm, I don't think I agree with what you are saying (or at least how you are saying it)

If you play an A flat Locrian (Ab Bbb Cb Db Ebb Fb Gb) over a tune that is in A flat (Ab Bb C Db Eb F G) You are going to get some really disonant sounding stuff.

i just wanted to add to the guy who commented about using the sandthrough to your advantage. It may actually look pretty cool if you did like a sandthrough burst on the guitar!

the spider2's are on sale because the spider3's are coming out

i have an original spider 2x12 with EV 12L's and i just thumps

however after going to the line6 forums i would not buy a line6 again

there are so many complaints about amps dying and no customer support

I have a friend who has gigged the daylights out of two line 6 amps, and never had any problems. Guess its like anything, some good some bad.

Hey all, I am in need of money, Baby gots ta have shoes!

I am selling my Epi LP Standard, Heritage Cherry Burst with EMG HZ upgrade and straplocks. Come with hardcase and fairly recent pro set up (and no I don;t mean me!) I am asking 500 but will field offers.

I also have a black Washburn Acoustic Electric, unsure of the model but I am pretty sure it is lower end. 3 band EQ, but it has a good sound. It is maybe a 7 of 10 cosmetically, standard pick scratches and a little wear around the rosette and logo. I added brass pins (woo hoo mega upgrade) and I think that makes a huge difference in the sound. I am asking 200, no hardshell on this one, but I will add the gigbag.

Pics available upon request. Will ship to US only, and buyer pays shipping. Let me know if anyone is interested.

I only own two guitars that I bought from the store. A godin SD (not that you couldn't have guessed that ) and a Takamine EG560CBS

I have two amps, one is a heavily modified valve junior (currently for sale) and the other is an ax84 P1 that I built from scratch thats sitting in a valve junior cabinet. Eventually I'm going to built a mini stack out of it with one speaker per cab (like the marshall ministack, I love the way those things look)

The only effect pedal I have is my BOSS TU-2 tuner.

The tone all comes from the fingers boys, not the gear like you sissys

Yeah, true. I can't help it though, I'm addicted to gear. We need to start a support group or something around here.

I sold my kids crib so I could buy a new wah pedal........ only kidding! It was her changing table..........

point and laugh, na, sounds good!

This one perhaps?

http://www.minarikguitars.com/products.gui...guitarcolorId=4

no comment on ocean bursting but I too would like to say dragonforce rocks!

Have:

Ibanez

Talman

RG570

RG7620

Fender USA Strat (Sunburst)

Fender Mex Strat olympic white

Fender Mex Tele in Black

Epi Les Paul

Epi Zakk Wylde Bullseye

Epi Sheraton

Epi Sg

Jackson PST-3 Rhoads V

Magnum Les Paul Copy (was painted bullseye by me but looked so crappy I have since stripped it and I am going to do a Carolina Hurricanes theme)still in peices, no paint done

Turser Tele with the intention of refinning, in peices no paint job done, big surprise

Washburn Acoustic

Some Canadien Nylon String Acoustic

Fender acoustic

Martin dcx1ce

Peavey Fury Bass

Peavey Chorus Classic 212sold

Line6 Flexton II 112 w/Pedalboard (not the fb4 but the larger one)

Want:

First and foremost the talent of guys like LGM, Drak, and Clavin, just to name a few!!!

Ibanez Jem PMC (either an RG remod or Id take the real thing!)

Gibson SG (cherry of course)

Epi Goth Explorer

Saga Telecaster Kit (wanna start builing not just painting)

Ibanez SoundGear 5string

Line6 Vetta half stack

Peavey Triple X Half Stack

Gallien Kruger Half Stack

Wanted to update my list(Italics=updates). I guess I just need to get some of these projects rolling

I was thinking about this last night, and I realize I may have downplayed technique. Technique is great to have, but it is a tool. You have to know when to use it and when not to. Building your chops is like building your vocabulary. If you have a great vocabulary you could say "Your boisterous nature is obnoxious and boorish, please cease with such nonsense." But why do that when you can just as easily say Shut the **** up. Everyone understands it, and it gets your point across very clearly. the flipside of that is, if you don't have the vocabulary you may have something more complicated you want to say, but no way of saying it.

The only way to become aguitar hero, is to make sure that your music speaks to it's intended audience. I hear alot of people (including famous guitar players) say, play what you want and what you feel, don't worry about what anyone else thinks. That is only true to a point. Remember that music performance is about a relationship between you and the folks in the audience. You want to move them. You want to make them say, "I felt that." If you play for only yourself on stage, it just ends up being musical masturbation.

From a technical standpoint, the best thing a guitarist can learn is to find the pocket. If you can make a riff or set of chord changes groove, you will make an impression on your audience, regardless of whether or not they are schooled musicians. The average listener can't tell that Yngwie plays licks 100 times faster than Hendrix. But they can feel that his (Hendrix's) licks are in the pocket and groove.

O and if none of that works, just splay your legs apart real far and do the windmill thing like Townsend!

Hey I am a member from way back in the day who has not posted in a long time (never have been able to get a single project started). IN any rate I am looking for replacement pups for a strat and was wondering if anyone had tried the fralin woodstock 69's?

gorecki I now have no respect for you jk!

Edit: Post was due to me being lazy and skimming the post my apologies to Boggs!

YOu may actually wanna make sure you have at least some gain on your amp before tacklng those harmonics between frets 2 and 3. as far as any harmonic is concerned though, make a concerted effort to remove your finger from the path of the strings vibration once you "plucked" the harmonic. Otherwise you'll deaden the note again.

2 months ago Guitar One, I believe, did a great lesson on Harmonics from simple natural harmonics on the fret 12 all the way to harp, pinch, and hammered harmonics.

All 3, started out on bass playing in jazz bands and reading charts so I guess im alittle more than a guitarist playing bass . In my current band i play both rythm and lead

I chose the modeller. Right now I run straight into a flextone 2 with either my 95 american standard Strat or my Epi LP (for gigging), BUt For at homw I just run either my 7620 or 570 through a peavey Chorus classic.

However if I coudl ever afford it, I;d also like to run a Germino Half Stack straight in, no effects. There are the nicest sounding tube amps I've ever Heard. Think Duanne Allman only a little brighter!

Thanks Ki!

It's cool that the beauty of a community like this, different perspectives to aide in learning

what you did not mention is that the changes equate into the modes as well that is all i was saying.

Here we are wit this again huh! You are right but wrong at the same time Smitty. Guitar players tend to view modes and scale positions in the smae way. What you just described is playing a major scale starting at different places with in the scale. YOu have the notes themselves right but modes are deeoer than just the right notes. To truly make the modes work you have to really have the correct chord changes moving beneath those notes. A good example that I like to use is the difference between major and minor. YOu can hear if a piece is major or minor by the changes. If you take the exact same solo and play it over a ii- V- I it will sound major while if you play it over ii7 flat 9- V- i, it will sound distinctly minor. Another example is if you are vamping over a single chord (i.e. Miles Davis's "So What"). If you are playing over A Vamped E minor 7 you can start out playing in E aeolian (naturla minor) and then switch to an E Dorian. It sounds less dissonant if you stick to the modes that contain G flat and D two places where the chord is "colored" the most. PLease PM if you have questions or corretcions!

The thumb idea is a good one, I use the same technique when playing one of the counterpoint lines in Randy Rhoads' "Dee"

i gotta disagree ultramn. If you wanna do chromatics like that I feel like you should use the entire chromatic scale. doing the 4 finger 4 fret approach is fine but leaves out notes in the chromatic scale. If you use the entire 12 notes it also helps train your ears.

GHS makes some mixed set strings (i.e the zakk wylde set is insanley heavy on the bottom if you get the "lo" style). I always like d addario when I was playing jazz. THeir flatwounds always sounded the warmest to me. I use mostly ghs on my electrics and d addario's on my acoustic. THough I do use EB's every once and a while!

I think you both would like them if you ever get a chance to play one. They are more plentiful here in North Carolina cuz Terry started out here (his old shop is actually a five minute walk from my workplace). But there again like I said before its all just opinion!