![]() Go easy on the mids, too, and only use a modicum of reverb. You’re going to need either an amp with the channel gain cranked to the max, or a heavy metal style distortion pedal – even a distortion and an overdrive together. It’s extremely edgy and distorted, and with little in the way of effects, other than wah-wah at times. Get the toneĪmp Settings: Gain 10, Bass 7, Middle 4, Treble 7, Reverb 2 This will make the string skips cleaner and more manageable, therefore minimising the chances of accidentally hitting the wrong string. ![]() Keep your pick slightly twisted so the edge hits the string, but also keep the tip of the guitar pick angled upwards, so any upstroke movement naturally brings the pick away from the strings. Alternate picking is used here for a more mechanical, quantised sound with each note intended to be played with the same velocity. Example 8 is a helpful visual for learning about the three forms of the minor. As you can see, the melodic minor scale utilizes the leading tone in its ascending form, and the subtonic in its descending form. Our final example is a melodic riff using alternate picked arpeggios. Example 7 shows a B melodic minor scale, ascending and descending, with scale-degree names labeled. Here we use sweep picking to ascend the three-string arpeggio, followed by a picking-hand tap, then we use fretting-hand tapping to descend the arpeggio. Example 4 shows how he might use sweeping and tapping together to play diminished 7th arpeggios. Jeff is an expert at seamlessly combining techniques during solos. ![]()
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