Jacob Kjær
has been in you.
Hëëëj!
Ahh, as a booster only! That explains a thing or two, I think I've been confused as to how the pedal came to use, because I just got one to play with from a friend, and I had a hard time hearing how it could be your only source of distortion - that's what tubes are for
Gotta play around with it tomorrow (it's too late now to crank the volume) and see what I can get.
It's a little embarassing, but I've been practicing stringskipped tapped arpeggios* without compression until recently when I re-read this thread - now I'm having a much easier time! So far it's only minor 7th's and diminished arps, but I'm getting somewhere! My biggest problem is that my ears can't pick up the notes in any of the recordings where you use this (or a similar) technique, even when I slow them down and EQ - it's so much work!
The only complex-ish thing that I've picked up directly from CD without asking you so far has been the A-major lick from Nightside 6:55 on Live Gothic. I feel that it's as far as I can push it.
Therefore another question, not directly related to gear, but rather how to get most out of it by putting fingers at the right places at the right times: Could you be my hero of the summer and tell me a bunch of players who employ something similar to your technique, but who have to play slower because they suck more?
I feel I'm starting to hit a wall when trying to play your material, and because you have a tendency to switch between easier and hard stuff every (or very second bar), I can't ever get to play a complete solo of yours!
I have tried to find teachers who could lead me in the wrong direction, but most of those whom I speak to are not enough into the subject to pass on gold
Tell me, or I will have to come to Stockholm and take lessons!
/Jacob
* I'm tired as hell of that long word, somebody more famous than ought to make up a shorter name. Skiptarpeggios or Arpiskitappios or something.
EDIT: Oh, and by the way, thanks for caring for all those slightly too nitty-gritty questions
Ahh, as a booster only! That explains a thing or two, I think I've been confused as to how the pedal came to use, because I just got one to play with from a friend, and I had a hard time hearing how it could be your only source of distortion - that's what tubes are for
Gotta play around with it tomorrow (it's too late now to crank the volume) and see what I can get.
It's a little embarassing, but I've been practicing stringskipped tapped arpeggios* without compression until recently when I re-read this thread - now I'm having a much easier time! So far it's only minor 7th's and diminished arps, but I'm getting somewhere!
My biggest problem is that my ears can't pick up the notes in any of the recordings where you use this (or a similar) technique, even when I slow them down and EQ - it's so much work!The only complex-ish thing that I've picked up directly from CD without asking you so far has been the A-major lick from Nightside 6:55 on Live Gothic. I feel that it's as far as I can push it.
Therefore another question, not directly related to gear, but rather how to get most out of it by putting fingers at the right places at the right times: Could you be my hero of the summer and tell me a bunch of players who employ something similar to your technique, but who have to play slower because they suck more?
I feel I'm starting to hit a wall when trying to play your material, and because you have a tendency to switch between easier and hard stuff every (or very second bar), I can't ever get to play a complete solo of yours!
I have tried to find teachers who could lead me in the wrong direction, but most of those whom I speak to are not enough into the subject to pass on gold
Tell me, or I will have to come to Stockholm and take lessons!
/Jacob
* I'm tired as hell of that long word, somebody more famous than ought to make up a shorter name. Skiptarpeggios or Arpiskitappios or something.
EDIT: Oh, and by the way, thanks for caring for all those slightly too nitty-gritty questions
