Guitar Players

I play folk show tunes, nah just kidding.

I like it dark, deep, and painful.

what kind of guitar does everyone have?

Im playing a schecter she devil, I loved the color scheme.

as for influences, Kirk Hammett of the old metallica. but of course!

[quote]Kill’Em All wrote:
what kind of guitar does everyone have?
[/quote]
Cordoba Gitano D5

[quote]Kill’Em All wrote:
what kind of guitar does everyone have?
[/quote]

Gibson Les Paul Custom
American Fender Strat
Jackson USA Scott Ian Model
1 Homemade Electric
Yamaha Acoustic (That was my first)
1 Classical Guitar
Ibanez Bass
1 Frankenstein (I broke a bridge and swapped necks and bridges, etc)
1 broken electric (I will rebuild it one day)
Cello
Mandolin

Amps
Roland JC-120
Crate Blue Voodoo (The only reason I bought this damn thing was because I got a good deal)
1 Practice amp
1 Bass amp

Want:
Bogner Uberschall

Hard as Hell Rock/Metal w/Classical/Jazz/Blues influences for lack of a better description…

My Dad was a hot Sax Player back in the WW2 era (played w/Count Basie)
and a Jazz combo man in the 50/60’s, also good on piano, so…I grew up with music…

Damn, You had to ask this one…Too many to name, so I’ll just hit a few at random in no particular order: Ritchie Blackmore
(Even Yngwie Malmsteen bends knee to him,Nuff Said’!), JimiHendrix (Saw
him play live BTW with the orig. “Experience”), Larry Coryell (Awesome Technique), Charo (Yes, she’s
pretty good too!), Michael Schenker, ,Tony MacAlpine, Gary Moore (Too Good!), Leslie West,Vivian Campbell,
Eric Clapton (Met him in person, held his strat & SG and he taught me
a few licks too!),plus Jeff Beck & Jimmy Page (The Ex-Yardbird Axis!!), Ronnie Montrose, K.K. Downing, Tony Iommi(The RiffMaster),
, Warren DiMartini, George Lynch,Jake E. Lee & Steve Stevens (Masters of tasteful
melodics, their solos help the song, not dominate it, which has always been my direction and from me a high compliment), Frampton
(Humble Pie era),Mike Bloomfield, ANY guitarist that has worked with Alice Cooper(Steve Hunter/Vin Moore, etc;

Alice knows how to pick em’ with Ozzy the second runner up
in finding the best for their style,i.e.: Randy Rhoads/Jake/Zakk Wylde),Joe Pass,Johnny Winter/Rick Derringer,
Dave Mustaine (Riffmaster #2 after Iommi IMVHO), Pete Townsend
(Writer and proof that if you cant understand the importance of ryhthm guitar, you suck…“live@Leeds”, Nuff Said/;-),
Vai, Satch & Frank Zappa (“The Technicians”
maybe lacking some soul, but have other gifts),“The Micks”:Mick Ronson,Mick Mars, Mick Ralphs & Mick Box, Paul Gilbert,Ulrich Roth, Alvin Lee,
Don “Buck Dharma” Roeser (Innovator of “Stun guitar”),Mark Farner(The original funkrocker,long before “rapcore” existed,
Farner proved Funk and Hard Rock could work), Johnny Ramone (Chord Crunch God), Darrell Abbott, Midge Ure,Lita Ford,
Leigh Stephens (Original purveyor of
feedback as rock music language, along with Hendrix),Chuck Berry:Innovator of rock guitar language (All those guys above who stole his licks then claim Black dudes can’t rock
should eatsh*t and die, they don’t even realize he is the original rockmaster!)…Whoops! Did not mean to rant, this post kinda’ stirred my
passionate love/hate relationship with music…It all began to go downhill the night I heard, on my school project crystal
radio, the distorted opening chords of The Kinks “All Day and All of the Night”…

Me and one of my axes in Jimmy Page mode/:wink:

[quote]boyscout wrote:

There’s also a vid on youtube of myself playing at last year’s Christopher Parkening Classical Guitar Masterclass/workshop. Be gentle.

Two pieces:
Bach “Prelude” from Cello suite no. 3
Tarrega “Capricho Arabe”
[/quote]

nice work. is there more vid with parkening’s critique ?

[quote]Aragorn wrote:
SkyNett wrote:
Cool thread.

I’ve studied extensively with Al Pitrelli from TSO and John Petrucci from Dream Theater. I was a music major at 5 Towns college and played in a ton of bands (both cover and original).

I’m including a pic of some of my gear… & my dirty socks… ; )

+10 cool points for mentioning Al Pitrelli!

And damn you for studying with two of my heroes (although I don’t think I mentioned Al in my list–that will be corrected shortly).

Mustaine from Megadeth has said that playing with Al pushed the band as musicians more than any other guitarist he’d worked with. They didn’t expect his polished composition skills.

Also, what does “extensively” mean?

Finally, I suppose you know that Al Pitrelli worked first with Savatage (and also Alice Cooper). Pet peeve of mine, since Savatage is basically the parent and alter ego of Trans-Siberian Orchestra. They wrote the song that got TSO on the map. I love TSO, but nobody pays any attention to the freakin’ awesome parent band.[/quote]

By extensively I mean…

Al was my teacher for about 4 years in my late teens/early twenties - I studied with him at a guitar shop called Focus II in the mid - late 80’s, and I also used to go to his house in Northport to take lessons. I’d been playing for a few years when I hooked up with him, and he really helped me take my playing to the next level.

I studied with John for a year when he was giving lessons out of his parent’s house in Kings Park. I feel quite fortunate to have had them both as teachers - especially Al - he was very encouraging and really helped me get my chops together - had a huge influence on me of course. He’s a great musician, and an amazing guitar player.

And yea, all the Savatage stuff - Jon Oliva and Al have been working together for years now. I remember when Al was in MD, plus when he auditioned for Roth, I hung out with him at the Brokerage when he used to play with Randy Coven, plus the Alice Cooper gig, Asia, Michael Bolton - the man is prolific, that’s for sure.

Don’t know if you’ve seen these - couple Youtube vids of Al, Oliva and a couple other locals (I think the guy playing keys was with Dream Theater for a while)playing a bar as “Ethyl Mertz” during a break from recording one of the TSO albums - it’s a raw jam, but there’s some smokin’ playing going on… : )

[quote]Kill’Em All wrote:

what kind of guitar does everyone have?

[/quote]

I have an old P-Bass which was my first bass, it’s got about a thousand stickers on it, and when I get some money I’m getting new pickups and a graphite neck for it.

I have a Joe Pass signature series Epiphone, and a 330 Dot.

Then of course there’s my baby: my Schecter Custom-4 Diamond Series bass. 6-bolt neck, 24-fret, 2 EMG-HZs, and just about the smoothest and most perfect action on the planet. It’s so light too, maybe only about 10 or 12 lbs, but it’s got a deep end that goes on for days. I’ll never play anything else.

Rig: Hartke 410 TP half-cab playing through a Behringer Ultrabass BX4500H head. When get even more money I’ll buy get the full stack (either a 215 or a 130).

-dizzle

The Joe Pass Epiphone. I took the pickguard off though, it looks much nicer without it.

My baby. The inlays read “Funk Sauce”

-dizzle

[quote]Chewie wrote:
Kill’Em All wrote:
what kind of guitar does everyone have?

Want:
Bogner Uberschall

[/quote]

Hey Chewie, I have a Bogner Shiva 212 with 6L6s. It RAWKS…Love me a Bogner. Ive never played one, but I’ve heard the Ubers are monsters. Good luck snagging one… :wink:

My primary is a Yamaha Pacifica Mike Stern Signature (Hey, before you knock Yamaha, try some of their instruments. Great for the money, and their higher end stuff is great!)

Acoustic is your standard Martin D1 w/ cutaway and an LR Baggs p-up.

Dizzle, again not to be a jerk, but I really think the only use for attributing 1/3 of a note in the signature would be for transcription purposes. It wouldn’t make anything harder to play, as it’s going to have the same basic rhythmic structure as 2/4, 4/8, 8/16, etc.

If you want to play some ‘challenging’ time signatures, mess around with 7/8, 5/8,or something like 15/16. I personally think most people who use them do so to say ‘Hey, look at me, I write songs in bizarre time signatures’, but that’s just my opinion. Of course, there are those who can use them well, like Zappa, Bela Fleck, Joe Zawinul, Mingus, etc, but those guys are on another level.

[quote]swivel wrote:
boyscout wrote:

There’s also a vid on youtube of myself playing at last year’s Christopher Parkening Classical Guitar Masterclass/workshop. Be gentle.

Two pieces:
Bach “Prelude” from Cello suite no. 3
Tarrega “Capricho Arabe”

nice work. is there more vid with parkening’s critique ?
[/quote]

Nope, sorry. I can give you some basic stuff about what he said. Overall, he wasn’t a very good teacher. His big focus I think is tone and sound, and with me he didn’t have so much of an issue with that I guess.

basically:
-work on the rubato
-I tend to close my eyes when I play, he thought me missing notes or biffing notes was because of this. Parkening recommended I open my eyes and look at my left hand (which I still don’t do).
-Try to vary the repeated sections of capricho more–use different ornamentation each time to make it more interesting.
-More dynamic shape, especially on ascending runs: make a big crescendo

Other than that, the second day I worked with him, he told me that I was dressed nice, and that was about the feedback I got. Excellent.

The parkening workshop/masterclass is a good thing to put on a resume, and montana is gorgeous, but I don’t think I’d go back again. I’ve had the opportunity to work with Jerome Ducharme, Odaire assad, and observe a masterclass given by the guys from the LAGQ; all of those artists were much, much better teachers than parkening.

Especially jerome Ducharme (2005 GFA winner), amazing guy–that was a fun masterclass to take.

[quote]A-Dizz wrote:

My jazzophile friends and I are going to get t-shirts printed up with that on it–except instead of 4/4 we’re going to use the symbol for ‘common’ time.

3/4 and 3/6 are my favorite. They’re so much fun to play and I feel like I can get the most creative in them, especially 3/4

-dizzle[/quote]

The shirts sound fun. I’ve never been able to get into stuff divided into 3 very much. However, I love 7/4 and 15/8. There’s something about that quarter note ‘jump’ feel from the ‘missing’ beat that makes it just rock.

[quote]Kill’Em All wrote:
what kind of guitar does everyone have?

Im playing a schecter she devil, I loved the color scheme.[/quote]

After college I plan on expanding my arsenal, but for now my main guitar is an Epiphone Les Paul standard, and I have a homebuilt ax84 Hi-Octane, and a Fender Blues Deluxe which I plan on gutting and rebuilding as something with more gain. If you are interested in homebrew amps (it can be really cool to build your own stuff) check out the ax84 website:

www.ax84.com

Ahhh…what I wouldn’t give for a killer bass player to jam with these days - but besides that I’m just too busy with school. I still play every day, but no time for any kind of band.

Very nice gear Dizz.

Hey everyone,

I am looking to start learning this summer. Any pointers on a decent guitar to learn on? I do not have a musical background, so it is going to be learning how to read music and then play the guitar, so starting from scratch.

Haha I’m over it, let’s just end the time signature portion of this thread right here. I understand your point, but you may have to just try and play in that time to really get it. Maybe I’m just insane, I dunno.

-dizzle

[quote]SkyNett wrote:
Ahhh…what I wouldn’t give for a killer bass player to jam with these days - but besides that I’m just too busy with school. I still play every day, but no time for any kind of band.

Very nice gear Dizz.[/quote]

Thanks a lot man.

-dizzle

[quote]boyscout wrote:
swivel wrote:
boyscout wrote:

There’s also a vid on youtube of myself playing at last year’s Christopher Parkening Classical Guitar Masterclass/workshop. Be gentle.

Two pieces:
Bach “Prelude” from Cello suite no. 3
Tarrega “Capricho Arabe”

nice work. is there more vid with parkening’s critique ?

Nope, sorry. I can give you some basic stuff about what he said. Overall, he wasn’t a very good teacher. His big focus I think is tone and sound, and with me he didn’t have so much of an issue with that I guess.

basically:
-work on the rubato
-I tend to close my eyes when I play, he thought me missing notes or biffing notes was because of this. Parkening recommended I open my eyes and look at my left hand (which I still don’t do).
-Try to vary the repeated sections of capricho more–use different ornamentation each time to make it more interesting.
-More dynamic shape, especially on ascending runs: make a big crescendo

Other than that, the second day I worked with him, he told me that I was dressed nice, and that was about the feedback I got. Excellent.

The parkening workshop/masterclass is a good thing to put on a resume, and montana is gorgeous, but I don’t think I’d go back again. I’ve had the opportunity to work with Jerome Ducharme, Odaire assad, and observe a masterclass given by the guys from the LAGQ; all of those artists were much, much better teachers than parkening.

Especially jerome Ducharme (2005 GFA winner), amazing guy–that was a fun masterclass to take.
[/quote]

ha nice ! i’ve always thought parkening had a great sound but that he also tends to get lost in his own little world… it makes sense that he’s not a teacher. i was wondering about that/that’s why i asked. dressed nice , that’s classic !

Great thread right up my ally. How did I miss this. I’ve been playing over 20 years (I’m 32). I have a friend that knows all the guy guys in the LAGQ in fact I got to have diner with the one night. Those guys are like rockstars to me. I even play some of Andrew York’s stuff. Big Andy fan I even play a David Daily Guitar. Sounds greats really loud with no hash trebles and big basses. Sometimes I go over to USC to watch the classical guitar recitals, I even went to a Pepe Ramero master class (thats an expeience.

[quote]swivel wrote:
boyscout wrote:
swivel wrote:
boyscout wrote:

There’s also a vid on youtube of myself playing at last year’s Christopher Parkening Classical Guitar Masterclass/workshop. Be gentle.

Two pieces:
Bach “Prelude” from Cello suite no. 3
Tarrega “Capricho Arabe”

nice work. is there more vid with parkening’s critique ?

Nope, sorry. I can give you some basic stuff about what he said. Overall, he wasn’t a very good teacher. His big focus I think is tone and sound, and with me he didn’t have so much of an issue with that I guess.

basically:
-work on the rubato
-I tend to close my eyes when I play, he thought me missing notes or biffing notes was because of this. Parkening recommended I open my eyes and look at my left hand (which I still don’t do).
-Try to vary the repeated sections of capricho more–use different ornamentation each time to make it more interesting.
-More dynamic shape, especially on ascending runs: make a big crescendo

Other than that, the second day I worked with him, he told me that I was dressed nice, and that was about the feedback I got. Excellent.

The parkening workshop/masterclass is a good thing to put on a resume, and montana is gorgeous, but I don’t think I’d go back again. I’ve had the opportunity to work with Jerome Ducharme, Odaire assad, and observe a masterclass given by the guys from the LAGQ; all of those artists were much, much better teachers than parkening.

Especially jerome Ducharme (2005 GFA winner), amazing guy–that was a fun masterclass to take.

ha nice ! i’ve always thought parkening had a great sound but that he also tends to get lost in his own little world… it makes sense that he’s not a teacher. i was wondering about that/that’s why i asked. dressed nice , that’s classic !
[/quote]