Hi, I don't know if this is the right place to post this, but how do you do that kinda wavering/chirpy thing on Alexi's second solo around 3:28 in Kissing The Shadows? Is it something with the floyd rose or some really weird bending or what?
TAB Thread.
- Thread starter <-Warheart->
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<Arcane>
Active Member
It's pretty easy tremolo work but my english is to bad to explain it in an easy way 
Btw. whats with an update for first page? And Mitch, you should definitely delete the LDB tab on first page. It's a pretty bad tab.
Btw. whats with an update for first page? And Mitch, you should definitely delete the LDB tab on first page. It's a pretty bad tab.
reaperscythe
Member
it's a whammy flutter effect.
watch this at 2:19
[ame]http://ca.youtube.com/watch?v=YTBl45KOoXs&feature=channel_page[/ame]
Fret
Member
- Feb 4, 2008
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Yes it's whammy bar flutters. You can see him doing some here at 8:42
Edit: Eh too late...
Last edited by a moderator:
Ah ok, thanks. I figured it would be something simpler than I thought since I couldn't even catch what people were doing in cover videos.
Corny
Member
If you use pure trial and error for tabbing out metal solos/songs, you don't use all the benefits of knowing scales, period. You are MUCH MUCH MUCH faster at tabbing things if you assume diatonic playing.
An example: A typical Alexi solo from the album follow the reaper stays in the same key in most cases. A key contains only 7 different notes. You only have to hear witch note of these 7 Alexi plays (add some notes for possible harmonic minor or diminished variations). If you use trial and error, you have to try out all 12 notes, the whole chromatic scale as Mitch mentioned above.
It's just logical thinking that you are faster with scales. And to top all these facts: The chance to make mistakes is obviously smaller.
And by the way, I'm not the only one who says this. If it makes it more believable for some guys: Mitch actually has the same opinion.
Indeed. It's not trial and error if you know your basic scales because you're guessing the next note, thinking in scale terms.
If the first note is an E in the key of Emin, and then next one goes up in pitch, you can hear it in your head and recognize whether it's the major2nd or the minor 3rd, so you try which one you think it is. Using trial and error would just be trying E, F, F#, G, G# etc until you found the note, which is wasting time and not exercising your brain and ears.
Well said.
This is why you don't necessarily NEED to know theory in order to write music, but when you do it just makes it so much easier on yourself. Knowing theory and all that -in of itself- won't make you any more creative or original, but it always facilitates that transition from head to hands. It never hurts. If anything, some players simply use it as a crutch when they aren't inspired, playing from the mind rather than the heart. But that kind of player would suck anyway. If they didn't know that theory, it'd be even worse.
In terms of CoB, Alexi has said it himself, about going to school for music and learning his technique and chops there. He's said, basically, that it's best used as a tool to help communicate ideas with other band members and make the songwriting process much smoother and less time consuming. Because then it isn't all that guesswork in figuring out how to make the guitar (or any instrument) do what you want it to.
It especially helps with improv, too. Because if you're used to taking that trial and error approach, you're just going to be all over the place, or stuck in one place that works. If you know enough theory to know what's going to be in key with what's being played, all of a sudden you're so much more in control and free to play whatever you want without all that stress of feeling at the mercy of the song when it should always be the other way around.
innuenDO
Pottwahl
Does this damage the FR in a way if you do it too much? For example the knife edges?
Does anyone has a decent tab of the Malmsteen's Gates of Babylon sweeps?
Ensi
CAT WITH FUKKEN PODS
Play a note.
Put your hand on the floyd rose arm.
Press it down, then slide your hand off it QUICK, so it goes back up very quick.
Or you could pull it up then release it quick.
What I do is just kinda "slap" the trem arm.
<Arcane>
Active Member
I think not but it could be that your springs go baggy. I had to replace mine last year.
<Arcane>
Active Member
I will record Kissing The Shadows tomorrow and upload it on YouTube and I can play the solo pretty good but Mitch, how do you play the last part in your solo tab in bar 12? Do you tap the A# and slide with your tapping finger up to the D and back to the A#?
This is how I play it atm: I tap the A# and slide up to the D. Then play the A# but with my left hand, slide down to the G and play the rest of the downstroke sweep.
This is how I play it atm: I tap the A# and slide up to the D. Then play the A# but with my left hand, slide down to the G and play the rest of the downstroke sweep.
orb
Sinergy Obsessor
- Aug 24, 2007
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This guaranteed makes tabbing by trial and error more accurate than tabbing by scales... you can't just assume every note he plays is going to be in the scale. You're going to end up with very inaccurate tabs that way. I assure you this is the way all the idiots on ultimate-guitar tab. I have seen so many bad bodom/sinergy tabs where any time there's a fast run/arpeggio, there's wrong notes that are all in a scale, because instead of listening to the notes, they just go with the scale. Obviously you guys aren't that stupid, and you take it to the next level by instead of just going with a scale you listen to see if you think it's in the scale or not, but that's still just adding another step to the process.
Besides, you act as if you have to go through 12 different notes to find the right one. You must have an absolutely terrible ear if you start one half step away from the right note and then go through every single other note a half step at a time to get to the right note... it takes me on average 2-3 note tries to get to the right note, and since I check every note instead of assuming the next note will be in the scale, it gets very, very accurate tabs.
But see you yet again assume just like Corny did that just because you are not using scales to tab, you are not using your ears either. When I hear the next note in a song, I don't think to myself "okay so is that the next note in the scale? Is it a common interval like a major 3rd?" But I don't go up to the note one half step at a time like a monkey... I listen for how big of an interval it is with my ear and try to guess what note it is, and if it's wrong, I'll be able to tell in which direction with my ear, and usually find the right note on the next or 2nd try after.
You act as if you don't use your ears when doing trial and error, but really using my method you use your ears way more than just using the scale to figure out the next note. When you use the scale you are using logic, whereas when you do it my way you're using your ear.
FossilMerrick
Member
@orb:
It's not as if Mitch just starts from the first fret on the thickest string and works his way up till he finds the note he wants, he has trained his ear so he knows where certain notes would be, and I'm gonna condidentally say that he could find any note give or take a semi-tone anywhere on the neck..
I remember he also figured out a solo for one of the Blooddrunk songs without his guitar! Mind you, that's the awesomeness of guitar pro.. Still, he did it, end of!
It's not as if Mitch just starts from the first fret on the thickest string and works his way up till he finds the note he wants, he has trained his ear so he knows where certain notes would be, and I'm gonna condidentally say that he could find any note give or take a semi-tone anywhere on the neck..
I remember he also figured out a solo for one of the Blooddrunk songs without his guitar! Mind you, that's the awesomeness of guitar pro.. Still, he did it, end of!
I use my ears more than anything else when I am transcribing, hence why I didn't need a guitar to tab a Paul Gilbert song in 4 hours, all instruments, vocals included.
When you're using scales, you're obviously using your ear because you have to guess the interval like you said, but if you use your ears and there's a not that's not in the scale (b5, #7 etc), then you KNOW if it's in the scale or not because my ears have developed in a way that I can recognise an augmented 7th, a flat 5th.I know what a diatonic major/minor scale sounds like, and if I hear one of those notes that's not in the scale, I can actually tell what the interval is without checking. I don't have perfect pitch, but I can tell intervals well enough to be able to tab notes right first time without using trail and error or a guitar.
To each his own, anyone can use their own methods for transcribing, but I am quite comfortable with the way I do it and comfortable with the results too. Not to brag, but I don't see anyone complaining with any of the COB/Sinergy/RX/PG tabs that I do, and I use this method everytime.
When you're using scales, you're obviously using your ear because you have to guess the interval like you said, but if you use your ears and there's a not that's not in the scale (b5, #7 etc), then you KNOW if it's in the scale or not because my ears have developed in a way that I can recognise an augmented 7th, a flat 5th.I know what a diatonic major/minor scale sounds like, and if I hear one of those notes that's not in the scale, I can actually tell what the interval is without checking. I don't have perfect pitch, but I can tell intervals well enough to be able to tab notes right first time without using trail and error or a guitar.
To each his own, anyone can use their own methods for transcribing, but I am quite comfortable with the way I do it and comfortable with the results too. Not to brag, but I don't see anyone complaining with any of the COB/Sinergy/RX/PG tabs that I do, and I use this method everytime.
Ensi
CAT WITH FUKKEN PODS
Corny
Member
Yes, I didn't want to start arguing - if you feel more comfortable the way you do it, fine, orb. BUT since you said that you have a good knowledge of scales and theory, I think that you already think in scales, maybe without knowing it, so that you automatically know which notes to exclude when you play a fast run. And I think that you are able to do this (if you are) because you have learned scales.
One last statement: I disagree with your ultimate-guitar opinion. In fact, I think these tabbers would do us all a huge favour IF they USED scales. You say they transcribe wrong because they think in scales - I think they do it wrong because they don't know any (in combination with bad pitch and a lack of patience).
One last statement: I disagree with your ultimate-guitar opinion. In fact, I think these tabbers would do us all a huge favour IF they USED scales. You say they transcribe wrong because they think in scales - I think they do it wrong because they don't know any (in combination with bad pitch and a lack of patience).
Mitch is king
Someone on the RX forum made this...
<Arcane> said:
Well, Epi actually tabbed that bar. I don't play it that way because it's rather difficult, so I changed it to this:
It's still quite difficult at this high speed, but I am more comfortable with this lick because I play alot of Paul Gilbert licks, and it sounds extremely similar, and it'd look cooler!
Corny
Member
<Arcane>
Active Member
^^OK, looks easier... So you tab bar 20, slide to bar 24 and back? Like the short slide in tzhe solo in your Midnight Madness cover (when you tab the D and slide down one step.)
Btw, I skiped KTS and recorded Blooddrunk
Btw, I skiped KTS and recorded Blooddrunk
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