Back in the January 2013 issue, we took a first look at the Peavey AT-200 Auto-Tune guitar. In less than a year, Antares, the company behind the AT-200’s built-in Auto-Tune software technology, has significantly upgraded the system’s available features and ease of use with a variety of affordable software upgrade packs.
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.
These videos are bonus content related to the February 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
Over the years, people have noticed that when I play certain runs, my fingers move in the opposite direction of the notes that they hear. For example, as my fret hand moves up the fretboard, the sequence of notes that is heard descends (and vice versa).
Sitting in his home studio in Oakland, California, on a bright, breezy afternoon this past January, Cavestany appears to have come through Death Angel’s tribulations having regained a bit of his youthful optimism.
Of all the early fuzz-pedal circuits, the Fuzz Face is by far the sweetest sounding, with smooth and even sustain, harmonic overtones that complement the base note and chords (instead of fighting them), and compressed attack that provides violin-like tones.
The run winds up in bar 5 with some unbroken alternate picking as I ascend the D Phrygian-dominant mode across the top four strings, leading to a high D note at the 10th fret, which I shake then slide down from. Notice that I add a couple of chromatic passing tones on the top two strings during this final ascent.
The majority of what I play during this section is built from sweep arpeggios of B minor triads (B D Fs) that shift through a variety of positions. There’s a lot happening in this little four-bar section, so let’s get to it. For this last section of the solo, illustrated in FIGURE 1, I’m playing over the same rhythm part that was illustrated in last month’s column.