I decided to start this off by using the most common saying heard when someone lays their eyes on one of my guitars for the first time (myself included): It’s a cigar box guitar! It is played similar to a regular guitar, and it can do almost anything a regular guitar can do; it just takes some creativity and a little imagination, much like the building process.
I’d like to focus on riffs and rhythm ideas that represent what I think of as “the real deal” metal. I’ve designed these riffs to help you build up both your pick-and fret-hand technique in regard to executing pure metal ideas like these with power and precision.
Part 7 is very interesting because it relates very closely to Part 3. This new section follows the same themes within Part 3, but in a different relative key. Part 3 was based around Bb major, which is the relative major scale of G minor. Part 7, however, features the same themes but played in G minor and, in some sections, G harmonic minor.
Every producer has his or her secrets. Some use gear, like a certain mic or pre or vintage amp to get a signature sound. Sometimes it's studio trickery. I just like to think of it as being in control of the studio space and the tools at hand. Sometimes the most obvious tracking methods are overlooked by the casual observer. Here are some of those tips. I guarantee a better sound by applying these simple methods.
There are those people who can fit in in a wide variety of genres, and it's not just the licks or music theory knowledge or clothing that gets them the gig, but the tones as well. I'm not saying you can't bring your Kramer to a country gig; just know how to make it sound twangy.