very clever guys, glad to see that when someone has an opinion you don't agree with, instead of bothering to say somthing intelligent and worthwhile you make bad dumb jokes and think that means you're clever. It's fine if you don't agree with me, but at least take the time to say somthing the matters rather than just be insulting for the sake of being insulting. I've bothered to listen to Malmsteen plenty. He was my fav guitarist for years and I own all his albums. But, as I got a more carefully tuned ear for timing, it became exceedingly evident that malmsteen is way off time with his runs. Just listen to the first simple minor runs of Far Beyond the Sun right after the big Eb to E chords. He arrives at the final note early every single time. That sort of thing is present ALL over the Concerto live DVD. Secondly, muddy means an excess of lows, mids, and gain for a tone that ends up not being well defined. Any time Malmsteen gets towards the lower strings it sounds like a huge blur. The Dimarzio site description of his pickups should be enough to comb that out. "We EQed the HS-3™ with a broad low-end while gently rolling back the top. The result is warmth without a glaring high-end" "The smooth tone curves of the HS-3™ produce a sweet over-drive tone without jagged edges." And the YJM he uses in tandem with the HS-3 is just an HS-3 with a different magnet. When you listen to Paul Gilbert, or Jason Becker, you hear EVERY note in a run with the attack of the pick sounding them all. Listen to the solo on Superheroes by Racer X. It's in perfect time and exceptionally well defined. OR listen to Viking Kong and hear what Yngwie would sound like if he were actually in time and playing on a guitar that had some real definition. Plus all of Yngwie's runs are the same, he's been recycling the same bag of tricks since the 80s. The 3 minor arpeggio forms up the neck, the diminished sweeps up the neck. The minor lick that utilizes the #4. All the runs based off the pattern for Trilogy Suite, which he does like 30 times a show. And the insesent resolve of just ending any run by sliding up the fret board all of a sudden and bending into key. I'd love to hear a well placed non-diatonic note out of him one day that actually relates to the the chord being played under it. Petrucci knows about those options and he dropped out of Berklee pretty early on so WHY should the man who has publically claimed to know "everything about music theory" not?
Hi people I'm actually new to the forum, i just joined because I was doing some googling looking to find out if people found it confusing to play their instrument with malmsteen because he knows all the notes on the guitar as I do in the tuning of E, but when tuned to Eb, we still call A, A - But its actually Ab. Anyway, after reading the post above I felt compelled to join up.
First of all, malmsteen is one of the most innovative players alive, he may have a few licks that he uses alot, but being able to play 80% of his stuff I can tell you here right now, he isn't only about inversion arpeggio's, diminished triads and "off timed runs". But I see him to be one of the only players that utilises pitch axis, key changes a plenty, and switching between harmonic minor, Aeolian, Dominant Phrygian, Phrygian, Melodic Major, Melodic Minor, and Diminished. His runs are clear and concise, and his music has an amazing style to it. Paul gilbert at one of his clinics said he is inspired by Malmsteen. Malmsteen taught Steve Vai.
Coming from years of improvisation, I can tell you the problem with some people, malmsteen likes to play 7 notes of the scale in timed sections of 8, but instead of playing 3 notes in a triplet and 4 notes as a quadtuplet, he divides the time for that 8 notes into 7, sometimes holding the note but rarely.
Tone: Tone comes from the body of the guitar first, then the pickups amplify that tone, and its dependend on the signal clarity how it goes to the amp.
Having being playing Metallica for 10 years on an ESP with EMG's and an Ibanez with EMG's I can tell you EMG's do produce a pretty clear sound when they are active pickups. But the clearest I've had is when i bought a malmsteen signature guitar, with the HS3 on the bridge and YJM on middle and neck. A little fact for you. Single coil are the only pickups that can send a clean signal to the amp. Malmsteen likes single coils because they don't distort the signal. And he does a post distortion. This means the clarity between the guitar and amp is at its maximum.
Humbuckers on the otherhand, distort the signal before it gets to the amp. Therefore when you distort that signal it becomes mushy. Heres how you can test it. Goto a music store, grab a malmsteen signature strat, and then grab any guitar with EMG's. Plug into an amp with plenty of distortion. Strum a Dmajor chord, now arpeggiate that chord anywhere on the neck. while distorted. Grab the other guitar and do it. Its mushy as hell on the EMG's. Whilst on the single coil its very clear and precise. I arpeggiate very fast and clarity comes only through my strats. I'm not a die hard strat fan, but i realise for malmsteens style of music, you need to use a strat with single coils on a marshall. If you want satriani's tone you need to use a basswood guitar with a rosewood neck with dimarzio humbuckers. For an example visit my myspace. The neoclassical stuff is written on both my strat that i built myself and my signature malmsteen guitar. The more melodic pop instrumental stuff is played on my JS1000. I use a marshall tone for my strat, and for the JS I use a Soldano.
I'm also a music teacher and I've got a few students all over sydney now if anyone wants lessons pm me at my myspace pages.
Neoclassical:
www.myspace.com/liquidaces
Instrumental Rock:
www.myspace.com/liquidaces2
PS I was wondering if you're as good as you claim to be please give me your myspace page because I think with what you said you have to back it up with evidence. I'm expecting you to be as good or better as paul gilbert - who i met.
Thanks for reading guys.