So much of what counts for live performance on YouTube is actually the mere editing of a studio musical performance within live footage. A web audience cannot truly know if it you are capable of delivering your type of material in an evocative fashion with just a dubbed video.
One thing I mentioned but I don't think I stressed enough is that while you can use AmpliTube and other apps as real-time plug-ins, I personally don’t recommend it. On one hand, you get the amazing ability to change everything from amp model to mic placement long after you've captured the perfect take, right into the final stages of mixing. The options can be endless — and to me, that’s a problem.
In today’s lesson, we’ll be looking at how you can use two common arpeggios, 7th and m7th shapes, in combination to outline the 7#9 sound in your jazz guitar lines and solos, allowing you to dig into this fun and interesting chord without worrying about learning any new scales or modes before you can nail this chord in your solos.
Being in a band is like being in a family. The difference is, when you get sick of each other in a band, you get to split off and name a side project after yourself instead of being stuck constantly screening your phone calls. Some bands have the music part down pat but wouldn't be caught in the same room as their drummer. When this happens, the band usually ends up existing purely in the past tense. Here are a couple bands that drifted apart way before they should have.
This is a blog post from the heart. It is a reflection on what I am feeling and have (once again) fallen into. This happens every six months or so. Usually it's because I accept too much work and get too exhausted to remember my own rules. So hopefully, this blog post will help you one day when you're a session player — and are wondering why the hell you became one!
There’s been a lot of press lately about pro singers who have hurt their vocal chords, and lord knows, if you sing at all, you know you don’t want that to happen to you. Perhaps some vocal training for the masses is just the ticket to healthy, kick-ass vocal endurance.
When my father took me shopping for my first electric guitar and amp, he gave me two choices: a cherry sunburst Gibson Les Paul (brand new: $575, no joke) with a Peavey 10-watt amp, or an Aria Pro II guitar with a Peavey 65-watt Bandit amp. At the time I was just joining my first band, so as much as it pained me to not show up looking like Jimmy Page, I knew a 10-watt amp wasn't going to cut it.
We interrupt our regular top nut series to bring you a request. I’ve had a lot of you asking for a guide to balancing your guitar’s vibrato unit. Well, here it is. The good news is that the whole balancing process is the same for most locking and non-locking vibrato units; i.e. any unit that’s based on the classic Stratocaster spring vs. string tension design.
In this Sick Lick, I'm using the E pentatonic scale with the added major 3rd. This is one of my favorite scales to use when soloing. It creates such a unique sound and is very noticeable, especially when adapted to rock or metal solos. It's a great way to really throw the listener, as we would predominately use minor scales in rock or metal solo. The listeners aren't really accustomed to hearing the major 3rd.