Collaboration - Slow Neoclassical Solo, FINAL MIX AND COMMENTS Options

[Emir Hot]

Hi guys

After all the trouble I had with my computer I am back with the mix and the comments. Sorry for the delay. First my Sonar crashed and just as I fixed it my whole system crashed. Now I can finally continue with my work This collab was very interesting. I enjoyed listening to your takes. I hope you will find my comments useful and thanks for playing in this one


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GROUP 1

Chris Evans (0:00 - 1:09)

This take is great. The first thing I noticed when I imported your takes in the project was that you followed all the rules about recording and exporting the track. Great and healthy signal, mono solo track, no reverb/delay and stereo track with the backing. Well done. I believe that's not a hard task plus I don't need to spend 15 min aligning and cleaning the take. Your tone is really nice and has a great clean definition. I don't really have many words to say about your playing. It is clear that you enjoyed playing over this backing and when such thing happens, the take must be good I said in the lesson explanation “try to feel the whole thing as you're telling some kind of a story on the guitar”. Your take is exactly that, like the whole story. If you don’t feel what you’re playing then the melody reflects in a weird way. Everyone can notice that, even if a listener is not a musician. It is obvious that you’re a skilled and experienced player. Great control, nice flow and smooth connection between notes and phrases, nice amount of consistent vibrato and overall feel was great. Note choice was very interesting especially when you target the diminished chords. I was scared that at some point you don’t get too excited and not overplay but you carried it nicely all the way. I liked those jumps from a lower octave phrases to a very high notes. It just shows that your imagination and compositional skills are coming from a true artist. Well done Chris.


TheKeplerConjecture (1:09 - 2-14)

I really like this take. Full of great melody lines. There are some nice jumps from lower to higher octave. Well known Yngwie/metal trick. Your control throughout the take was very well controlled and balanced. You also did a good job with note choices. It is clear that you really worked on this and there was that polishing stage where you probably got rid of some unwanted notes and ended up with a nice take. That’s also my approach to composing. I might be wrong but it really sounds like you spent some serious time. I like the way how you target diminished scales. You wait for it on some note and kick in with the group of very nicely chosen ones for the dim7 part. The only thing that could be much better is your vibrato. It would sound much stronger if your vibrato was wider. Don’t be afraid to use it as much as possible in this style of music. It really adds power in playing. Also remember that next time you export mono guitar take. No need for stereo track on solo take. You export stereo only for the one with the backing. That’s a good practice and everyone should pay attention on that. Remember it if you want to have the whole thing done in a professional way when you work with producers and sound engineers. Well done for this one.


Enforcer (2:14 - 3-19)

After some discussion on forum about your previous recording you managed to produce very interesting take. There are still a couple of things that could be improved but this take works as it is. I noticed in your previous collaborations that your vibrato is somehow aggressive and very often some notes sound like nearly out of tune. In this take nothing is out of tune but sometimes just on the edge. I have a feeling that most of the notes you’re bending unconsciously even though there are no bends. The vibrato is consistent most of the time but sometimes you break that 8th note feel when vibrating and that reflects different in the phrasing. It should always be the same from beginning until the end. The scales are all correct and you did a great job with some very interesting melodies. That shows your real creative side which I noticed from your first collaboration. The first part of the solo was somehow all over the place with no perfectly defined melodic continuity but later (from those drum breaks) everything was perfect. There was a great melody flow. Especially the part when you’re sliding that diminished pattern and all the way until the end. I also noticed that when you’re picking faster palm muted phrases they are not perfectly in time. Maybe because of the palm muting you need to concentrate more on picking as your hand get stuck on the bridge and you limit your picking movement. Not a very big deal but it’s hearable. This take is very interesting melody wise and that shows your great compositional skills but some technical side of it can be more polished. Credits go to you for the properly exported track. Good signal, mono track, no effect etc... That’s how pro guys do it Well done.


maharzan (3:19 - 4:24)

Very nice take. Perfectly structured melody which starts slowly and with every next phrase announcing something different. That’s exactly how an interesting melody should be composed. Your vibrato is pretty good. Well controlled and consistent. There were only a couple of moments where you nearly lost that continuity but that was nothing dangerous. Some notes were not vibrated. Don’t be afraid to go for it all the time whenever you have a long note. All scales were correct and your note choice was very interesting. There are million ways how you can build the melody over this progression and you definitely found a good one. I noticed that when you’re going for faster runs you’re not perfectly in time. That’s noticeable when the drums have those broken fills and in the end with the very last lick. That lick itself was great but you were speeding it up just slightly before the beat. Be careful there. If you make us enjoy the take all the way then don’t ruin it at the very end just because you got too excited. You had some nice bends which were very precise. That’s very important when you go for bending not to make it sound out of tune. Another interesting part is how clever you target your every next note and switch from one scale to another. You wait for the part to come and just execute or resolve on the right spot with the right note. That shows that your skills as a composer are very good. You really showed an interesting and creative piece of work which I am very pleased to hear. Well done.


audiopaal (4:24 - 5:28)

This take has some very nice melody flow. There was only one wrong note on 4:41 (A note instead of A#). There you have the F# chord and it’s a major chord. A# is major 3rd from F# so that would be the right one. Never play minor interval over a major chord. The sound is somehow too clean. While is doesn’t sound bad at all I think it sounds better when I applied some distortion from Amplitube plugin. I couldn’t make warmer distortion as your sound was somehow already a bit distorted. Now it sounds dirtier but at least more in style. This solo is supposed to be played with distortion but not extreme metal one, more like a hard rock type of sound. Your vibrato could be more consistent. Vibrate from the wrist and keep the 8th notes feel against the tempo while vibrating. Vibrato is very important key in nicer and smoother connection between notes. It really adds a lot into the overall impression. Your phrasing was ok but sometimes too many long notes in a row. I wish you went for just a few more busier melodic runs. That’s just a stylistic thing, nothing to do with your actual playing but also improves the overall quality of the take. I liked when you switched to the higher octave and broke that low register continuity. It refreshed the melody and made it much more interesting. Your notes in that part were really good. Always felt like you’re targeting somewhere to resolve while you kept just the right amount of tension. The resolution came in the end which was nicely composed but you went a bit far after the backing stopped. I like this take but for the next time try to think of some tips that I mentioned in order to make it even better. I can hear that you’re talented musician and no reason why every next one wouldn’t sound better and better. Good work.


jafomatic (5:29 - 6:33)

Very good playing Jafo. Your melodic ideas are really nice. Not repetitive at all. Always something unexpected but never overplayed which I like. I wish your vibrato was much wider. It sounds almost flat. Read audiopaal’s comment about the vibrato. The take would definitely sound better if you applied some vibrato. Your faster phrases are very nice but sometimes they sound like you pick them weak. Don’t be afraid to pick harder. It also reflects in your sound. You just can’t get out all the power of you good guitar sound if you don’t pick the note properly. While speaking about the sound you could have a bit more drive. All your faster melodic shapes were excellent but sometimes sloppy in rhythmical placement. They need to sound tight and that’s the impression I want to have where we can all say “hey this guy knows how to do this” . The reason might be because of your picking. Just pick harder and with confidence. You had one wrong and weak note (6:20) which was the only wrong one in the whole take. Just before the long drum fill. The chord was F# and you slided from E to F. You should have played E and F#. I am sure this one didn’t sound right to you either. The rest of your notes and ideas were just great. Many cool licks and melodies to borrow from this one. I was really enjoying listening to this take. One thing recording wise - do not export your solo guitar in stereo format. Really no need for that. It sounds exactly the same as mono and my processor needs more power when I have such take in the mix. You’re an extremely talented player and just try to work on the things I mentioned. Stronger picking and vibrato. Your compositional skills are good. Well done.


Sensible Jones (6:33 - 7:38)

Nice ideas Jones. Very nicely organized solo but there are things that you can improve. You played all correct notes but many of your runs were sloppy. Some of them were completely displaced from the actual rhythm and that just doesn’t sound right. I heard exactly what your great ideas were but they would make more sense only if you played them on the correct spot. You need to practice your licks slowly. Once you’re 100% sure that you’re doing great then you speed it up until you reach the tempo you need. The first sloppy one was 6:41-6:43. Very common neoclassical lick but you slipped a little. The next one was on 7:12. You played one unnecessary note before the actual expected pattern. That first note displaced the whole line and the whole run sounded off beat. That’s the place where many of you went unison with the backing – on the long drum fill over F# chord. On 7:25 you had some scratches just before the diminished run. They sounded like you didn’t know how to start that pattern and you went faster with the diminished line which sounded rhythmically displaced. All nice ideas and great note choice but many times not rhythmically correct. The ending was good with that little trill. The other thing I want to say is your sound. It’s too trebly and too distorted. Just tweak it with the EQ and gain. Take out some treble and put less gain. The basic sound definition was good. The last thing but not less important is your vibrato which is nearly flat. I mentioned that in previous comments. Vibrato is one of the most important ingredients for a good soloing that every player should use whenever there is a long note. Read audiopaal’s comment regarding the vibrato. Your overall playing is good and your melodic ideas are great. Just work on the things mentioned and you can become a good guitarist. With your talent I see no reason why you can’t get there soon. Nice work overall.


bladzerok (7:38 - 8:43)

The first thing that I noticed is a very cool guitar sound. Kind of 80’s rock sound which I really like. Sounds like a real amp. Your playing and your ideas are on a great way to become a pro player. That’s very obvious from your melodic approach and some very interesting phrasing. You used a floyd rose in a couple of places but in a very clever way. One of the things I wish I could hear more is the vibrato. I said it many times in previous comments. The take is very well organized and everything could have been perfect if you didn’t miss that last diminished scale You played F dim notes but we need E dim notes. E, G, A# and C# are the right notes in that part. I am sure this didn’t sound right to you either. On 7:55 or 7:56 you had A note over F# chord which is minor 3rd against F#. Just after that the second time you played A# which is major 3rd and that’s the correct one, not the A note. The whole line was nicely structured so that note didn’t stand out that much as a wrong one but technically it was the wrong one. One of my favorite lines in your solo was 8:02 – 8:08. Great idea for the melodic run which finishes with a floyd rose touch in the end. I can hear that you pretty much know what you’re doing on the guitar and that’s very good to notice. Just be very careful which scale goes where. Please export your solo take mono next time. Read jafomatic’s comment about that as he did the same That’s just one thing every sound engineer will require if they hire you for some session work. Nice work overall.


Crazyfret (8:43 - 9:48)

I am not sure how long you’ve been playing guitar for but if I knew it would help me better judge your playing. Your main problem is timing and rhythm placement. I used to have the same problem when I first got into soloing. While your melodic ideas were really nice your timing was off nearly throughout the whole take. Every line started somehow before the actual beat. You need to practice with the metronome and follow that beat and the tempo. That will help you tighten up your playing. Take some simple pattern in 8th notes and repeat slowly until you’re 100% aligned with the tempo. Not a single note should be before or after the beat. The rest of your playing was nice. Some lines reminded me of Garry Moore The guitar sound had a good definition but your vibrato is very weak and that gives you hard time in getting the 100% of your sound out. You need to practice vibrato. In this case of ballad feel you need to vibrate in 8th notes against the tempo. That adds a lot into the overall playing impression. Most of your notes were in the correct scale which is good. On 9:45 (ending of the last diminished run) you finished with the wrong note. You stopped on C# instead of D note. There I resolve on Bm chord and the D note is minor 3rd against Bm chord so that would be the right one to go for. Another thing which wasn’t really necessary was your very last note. You already finished unison with the backing and you should have stopped there. That note goes too much into the next take and interferes with Gus’ guitar Also read jafomatic’s and bladzerok’s comments about exporting the mono track for mixing. Not a big deal but it’s a good practice to remember for the next time. You had nice melodic runs just try to practice things I mentioned. Thanks for collaborating


Gus (9:48 - 10:55)

Another stereo track Just read jafomatic’s and bladzerok’s comments and I don’t need to repeat it. Nice playing Gus. Your rock feel is very good. There are things you could work on. The first thing is the control. On 10:04 there was that first dirty unarticulated noise which shouldn’t be heard in a studio recorded take. You have tools to mute it before exporting the track. I heard some other minor ones but they were on the edge of acceptable range Vibrato was present most of the time but it really should be more consistent. Especially when you bend and hold the note vibrato should be really wide if you want to sound like a pro. Your bends were good btw. Some rhythmical problems were noticeable all the way from 10:24 – 10:29. I am talking about the hammer ons and pull offs. Rhythm placement of those licks was all over the place. When you go for such pattern you really need to make sure it’s tight as much as possible and on the beat, otherwise the whole lick is wasted. The rock run on 10:40 – 10:45 wasn’t precise either. Very good idea but not executed tight. The ending was good. Good thing is that your scales were all correct and well done for that. It is clear that your ideas sound very clever but in order to really make them work you need to work more on all the things mentioned. There were some very nice lines and I just wish you played them tighter. Remember these tips for the next time and I hope we’ll see improvement. Thanks for joining the collaboration.

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GROUP 2


Dexxter (0:00 – 1:10)

Awesome take Dexxter. Excellent tone. Is this your flying V guitar? I remember from your REC takes that you had killer tone on that guitar. Besides you have an excellent control and feel. Your take sounds extremely professional. Every melodic line and your creative ideas are something that we usually hear from top class players. I like that you moved to the higher octave at some point and broke the low register continuity which gave totally new dimension and huge refreshment. Scales, lines and note choice are all great. I can hardly find any weak point to comment. The only thing I noticed is your bends could be just a tiny bit more in tune. You followed my lick from the lesson (or it sounds like it to me) when I play a note and right after bend to that same note from a fret below. You didn’t bend it all the way to the right spot but that’s really minor issue which is not even worth mentioning Your vibrato is very consistent and great but I would go for even wider vibrato if I played this take. When you moved to the high octave you played just great amount of vibrato. Don’t be afraid to go for it, just make sure that you control it well. Excellent take and thanks for joining the collab.


JamesT (1:10 – 2:14)

Great ideas James. I really like your solo. Very good control and great neoclassical lines. Some parts sounded like I am listening to Bach I like how you combine muting and normal picking so you get dynamics and more interesting phrasing. That’s what I do as well all the time. It just shows that you have skills and experience. Sounds like you followed my instructions and went for the correct scale approach. You even targeted that sus 4 spot and resolved on a normal major chord. However I have to say that there is one weird spot with the scale choice. On 1:57 you played C note over F dim 7 chord. That note doesn’t belong to that arpeggio. You should have gone for F, G#. B or D. After that you went for the B note to target that F# sus 4 which is great but I couldn’t hear the sus 4 at all as you already ruined the logical chord structure with the previous C note which created harmonic confusion. After that you had another diminished run which was correct. Let me say that the last diminished run wasn’t very well controlled. It sounded a bit sloppy. Sounds like your hammer ons and pull offs are not strong enough. There are tons of exercises for that and just practice that technique more. Also the last note (before the unison ending) was just a bit late from the right beat. Besides these things I think you’re an extremely talented player which is on a good way to make a great career. Well done.


leedbreak (2:15 – 3:19)

After some corrections that we had in your Guitar Pro file you managed to produce a very listenable take with some very interesting lines. So there is already progress which is great. I have just looked back at our corrected GP file and there are still a couple of notes that you missed from our corrections although nothing major. I said I will not judge your scales this time as you said you’re not very familiar with the theory but I will focus on your playing. For that reason I am not going to go back and tell you which notes you missed but please be careful next time and I am sure you can do it correctly even without my help. Of course you can always feel free to ask anything if you get stuck. Now back to your technique. I am not sure how long you have been playing guitar but to me it sounds like a couple of years. If I am correct with this then I think that you’re doing pretty good. I say this because I remember when I had 2-3 years of playing I sounded similar Not everyone can compose, record and play solos after a couple of years so you’re on a good way. You need to practice vibrato. Play 2 or 3 notes over some simple progression and try to connect them smoothly while vibrating from the wrist. Try to stick to the tempo and vibrate in that tempo feel. In this particular case of a ballad the best vibrato is if you’re following 8th notes feel when vibrating. The next thing is your connection between notes. It’s a bit aggressive and not smooth. You’re cutting notes just slightly shorter than their actual durations so your melodic lines don’t sound like smoothly connected. You did have some vibrated notes and some bends. Both sounded nearly out of tune because you’re not controlling them 100%. This comes with time and I said you’re already doing good just need more practice. I can hear that you have some clever ideas for the melody. You just need to use that skill with your improved technique and your playing can sound good very soon. The purpose of these collaborations is that you get experience with composing, practicing, improving your improvisational skills etc. That’s why it is useful to join whenever you have time so we can monitor your progress and give you the best advices possible. If you want to learn theory, Pedja’s collaborations are great for that. In my ones you can learn theory as well but the focus in my collabs is towards the technique, melodic creativity and sometimes recording. This take is good and I am looking forward to your next ones which should be better each next time. Good work overall.


Nimrandir (3:19 – 4:24)

This take is excellent. Great control and great ideas. You attached dry guitar because you were not sure about the sound but I think your sound works great over this backing track. Maybe just a little less bass frequency. You also mentioned some timing issues but that’s almost impossible to notice so I won’t take it as an important issue. You are one of rare in this collaboration that had good vibrato. Very nicely controlled and executed where needed. You really sound like very experienced player. I don’t know how you sound with faster shred stuff but in this kind of soloing you did a great job. Phrasing and note choice are very tasteful. There were some small trills in some of the melodic lines which added excellent taste to your melody. I almost don’t have anything else to say apart from well done. Next time just export mono take instead of stereo. Your dry take was mono but this one wasn’t. Great work Nimrandir.


Oubollig (4:24 – 5:29)

I heard some very interesting playing in this one. There were some chords played together with the solo which is very interesting approach in soloing. Reminds me of George Lynch in some parts. First I want to say that your tone could have had just a little more drive. It works as it is but at some parts you needed a bit more sustain for longer notes. It actually sounds over distorted on the lower strings but on the higher not enough drive. That happens sometimes if you are using neck pickup all the way through the solo but I might be wrong here as I don’t know which one you used. Regarding the technique everything was pretty nicely controlled but you had some lines where you could have been tighter. All melodic runs were great but there were some wrong notes. Let me just correct that for you and be just little more careful next time. From the start I can see that you’re great player so let’s avoid any wrong note next time as we all want to enjoy listening to pro guys. I am saying this because you’re really not far from becoming a pro. On 4:36 you played pure A major chord over my E/G#. That was a complete clash. You could have gone for E7 arpeggio or if you wanted to play the chord just follow my E/G#. Then on 5:02 – 5:05 (F# phrygian dominant) was another wrong one. Just before the finishing note of that phrase you had A, B, C# and B. It should have been A#, B, C# and B as that’s the F# phrygian dominant pattern. When I am talking about this pattern I want to point that you didn’t play it very tight. Two notes were a bit sloppy. On 5:19 – 5:21 there were four chromatic notes. The second note C was not in the scale. I understand that you wanted to go for the chromatic approach but this would have worked only if this line was at least as twice as fast so we can treat that C as a passing note. This way sounds like that note is the real part of the melody and clashes with F# phrygian dominant formula. The last one is the ending line where you once used A note. A# should have been used as we are still in F# major chord. Everything else was very nicely composed. As I said you’re on a good way to become very good player and just pay more attention next time which scales you’re going for. Very good work overall.


Sergio Dorado (5:29 – 6:33)

What to say Sergio. Every time you impress me with your great ideas. Awesome control, killer tone and great execution. I have never heard you using floyd rose this way like Vai and Satriani usually do. You went for that effect that people call dive bombing but in some very smartly chosen places. Where the backing track has some melody fill you go for that as you don’t want to disturb my line and then go back to soloing. This just shows that you really think of the whole arrangement not just your own playing which is a great thing to notice. I must say that you had some timing problems here and there but the overall quality of your solo really puts that behind. It usually happens when you’re finishing some faster phrases. The scream on 6:10 was not perfectly in tune and the ending of that scream ended with the noise instead of nicely defined note. You just need to be more careful when using floyd rose this aggressive way. The ending line made me smile. Great idea to play the harmony in 3rds over my melody on the backing track. Besides the issues I mentioned, this is still an awesome take full of creativity and some very interesting techniques. As always, I am very happy when you join my collaborations as your participation is giving these collabs a great flavor. Well done Sergio


superize (6:33 – 7:38)

Nice intro Superize. Great melody, good control and some cool neoclassical licks. I remember from your great REC takes that your vibrato is not yet developed 100% for solos like this but I can tell you that it extremely improved since you did my first collab. The vibrato timing is good, feel is good and it just needs a better control and a bit wider than now. That of course makes me happy whenever I hear the improvement. Just continue to practice it and it will be great. I know your timing is great and you are very aware when you go off a little. That’s noticeable from your metal riffs in REC takes where you demonstrated some very exceptional takes with complex timing. Your notes are all nicely connected and there were no breaks in the melody. The phrase on 6:55 – 7:04 could have been executed tighter. Practice picking and get better with faster playing. This musically awesome line was a bit sloppy but within acceptable range. Also the last diminished part had one little note that almost slipped but you managed to land safely. Everything else was very good. I would just advise that next time you export your mono take for the solo and please switch off delays and reverbs. You left your effects in this one so I can’t do much in the mix with your take although your guitar sound is very nice. Great work superize.


twist (7:38 – 8:43)

Hi Twist. I remember fixing your GP file but I can’t hear that you corrected some of the notes in this recording. Open your GP file (fixed one) and look at the bar 9 where I changed your 14th fret into 15th. We are in the F# major chord and your 14th fret on the 3rd string is minor 3rd interval from F# but we need major 3rd which sits on the 15th fret. The exact same thing happens in the bar 17. Apart from that everything was correct. You posted this video on Youtube. I watched it and there is something I noticed which I wouldn’t otherwise if you just left your audio You use your pinky in places where you have normal 4 frets situation which is good. Wherever you have wider stretch you are using only 3 fingers. Why? It is more natural to use it there as you’re dealing with more frets. This happens in that part which you didn’t fix (bars 9 and 17) and the last diminished line. Both of these are “crying” for pinky. Because of that you have much more stress to control the whole line. Whenever you have opportunity to use your pinky just go for it. That means when you have 4 frets situation and more than that, always use pinky. Your vibrato is not very developed. You’re vibrating from the finger but you need to do it from the wrist. This will come with time but you really need to practice vibrato more. Your guitar sound is well defined but the type of distortion you are using is a bit buzzy. Listen to Dexter’s take and try to find something similar in your presets if you are using any amp simulator. I am looking for something warm, and with enough sustain but decent amount of drive. This take works as it is and I am happy I could help with your GP file. I am happy to do it anytime but please don’t forget about those corrections. Nice work with your creativity.


Velvet Roger (8:43 – 9:48)

This take is interesting with some cool arpeggios. I like the concept you had in mind when you were composing it. However there were quite few notes that were not in the scale but I will rather focus on your playing this time. Your connection between notes is not smooth. I said the same thing to “leedbreak”. This is my sentence quoted from his comment: “You’re cutting notes just slightly shorter than their actual durations so your melodic lines don’t sound like smoothly connected.” I can only think of one reason why this happens. It really sounds that you played the whole take with all down strokes when picking. I really apologize if I am wrong but that’s how it sounds to me. When all notes are picked like that you have constant amount of attack (the same tension) and you’re completely losing dynamics. Alternate picking (up/down) will smooth that movement as some notes will be with less attack and some with more. That’s how we create nice melody flow and dynamics which is very important in music in general, not only in soloing. You need to achieve the melodic flow with no breaks. That’s not an easy task but if you practice picking and vibrato like I said in many previous comments I am sure you will sound much better. You do use vibrato but it is inconsistent and that’s another thing that won’t let you achieve the smooth flow of your melody. I liked the way you composed this solo as there are some very nice lines. If only you played them the way I explained this would have sounded great. It works as it is but I am trying to give you tips to make it better. Well done for all good things that you delivered and I hope I’ll see you again



Tjchep (9:48 – 10:52)

You are an extremely talented musician. I enjoyed your every upload on forum and every video of you playing. Great feel and overall control, nice vibrato – agressive just when needed. There is not much to be said about your playing. Just keep up the great work and you are ready to start becoming well known player. I heard some dirty notes but that probably came because you were too excited when recording. Almost slipped completely a couple of times You also need to concentrate on your hands instead of closing eyes and just killing the beast out of the guitar which is a great thing if you execute everything properly The weakest point in this solo was that double stop on 10:05 which was out of tune. I would have played these two (look at the bottom Tjchep picture attached). Apart from that I liked everything you played and I can only say well done and thanks for joining the collaboration. I hope to see you again. Well done


Rated Htr (10:52 - end)

The first thing is to apologize about missing your take I hope now it’s all ok. Your take sounds good. All correct notes and good control. Some faster runs can be tighter especially when you’re playing legato which doesn’t really sound like you have enough strength. It is important to pull off like you really pluck your string hard, not just moving off the finger from the fretboard. The playing and the creativity is good. Some things can be controlled better. Often you go for that quick hammer on and pull off like you want to make a quick trill. That’s a very cool little thing which I use a lot in my licks. The problem is that every time you execute it too slow so it doesn’t sound like a trill anymore. That one is usually notated as the grace note (the note doesn’t even have the duration) but it’s up to you to find a place for it. Vibrato is not bad but it could be more consistent. I know you’re soon to become ICMP student so I am sure you will improve it all there and come back to impress us all The mistake you made is that you exported your solo with the effects so unfortunately I can’t do much in the mix. The worse is that you have a huge amount of reverb in your sound so if I touch anything I will just make it worse. The third is that your take is stereo which doesn’t change the sound but it’s a good practice to export your solo guitar mono for easier mixing. The last thing is that your last note was cut. You probably didn’t set your markers all the way when you were exporting the take. I fixed it somehow I like your melody and creative ideas. You can definitely compose just need to improve the technique. Wish you good luck at your university and if not on GMC I can help directly from London. Cheers

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This post has been edited by Emir Hot: Aug 31 2009, 08:58 PM