In this month’s column, I’d like to show you some simple and effective ways to make your metal rhythm guitar parts sound bigger, heavier and more powerful. These ideas are useful in many different ways, and I think you will find them applicable in live performance as well as when overdubbing and layering tracks.
When one of my guitar students wants to learn lead guitar, I usually show him/her the minor pentatonic scale first. Once that scale is down in all keys, I play different and familiar chord progressions and have my students solo over them using the scales they've just learned. Almost always, the same thing happens: The student's leads sound like a continuous scale. I call it the musical equivalent of a stomach virus.
“Sorry No Beige” was the slogan for Apple’s colorful, all-in-one G3 computer in the late '90s. Today you can order a guitar in just about any color under the sun or mix and match pickguards till the cows come home. But the case ... why does the case have to look so boring? Bullhorn Guitar Cases gives you a blank canvas and the tools to design your own one-of-a-kind case.
If you’re happy with the way your newly mixed track or tracks sound and you’re not planning to release the music commercially, you don’t really need to have your tracks mastered. If, however, you’re planning to send the music out into the world, you’ll want to offer your material the benefits and the competitive edge that mastering can provide.
In last month’s column, we looked at a neat pattern and lick in the key of B that incorporated the use of hybrid picking (pick-and-fingers technique). To follow up on and expand upon that topic, I’d like to present two further ideas based on the same pattern, and then show you an elegant run inspired by the great gypsy jazz guitarist Django Reinhardt.
It is during this time of year we tend to make resolutions to change the things that are not working in our lives, and to strengthen our weak points and develop our strong points. I thought you might enjoy my list of guitar resolutions! I would love to see yours in the comments section below.
Effects are like jellybeans. You can’t have just one — and is there really a flavor you don’t like? They’re all good. But since I must, I have to give you a list of the best flavors of effects this year. Keep in mind, if I could, I’d give you a top 20 list of my favorite stomp boxes of 2012, but I’ll limit it to five because I need to hold your attention and honestly, I’d be splitting hairs with some because there were so many good ones to pick from.
For this Sick Lick, I'm using the A minor pentatonic and the A minor blues scale. I tend to find that the straight pentatonic gets forgotten about or is often substituted for the blues scale. Why? Because the blues scale sounds darker and more aggressive and is a common sound for rock and blues soloing. Having said this, the straight pentatonic scale is totally killer when used in the right way.
One of the most beneficial ways to learn scales on the guitar is to break them down and work them out using the common “box patterns” for each scale. This system is a solid way to organize the neck and get any scale under your fingers when first exploring these melodic devices on the fretboard.