Victor's Bootcamp, Fell Deeds Awake! Now for Wrath!! Now for Ruin!! Options

[Todd Simpson]

Well Fought Soldier!!! I can see you are making progress on your SHRED!!! You have some very solid takes here. One thing I'd suggest is to pick as lightly as you can so that your pick is just barely striking enough to make the string sound. You may need a bit more gain for this. Too much gain can be bad, but too little can also be a problem. Finding the right balance just takes some tweaking. For moving at top speed, you want your hands relaxed as possible so that your arms don't burn out. Also, tension will kill your speed. It takes time and focus, but you are getting there! You are tight on the metronome until you hit 120. You do a good pass on 120 but it's drifting from the metronome. It's still evenly paced though and that's what really matters. It's good to push beyond your boundaries as well as that is the area you are heading towards playing in. Eventually it will feel easy. Let's Debrief!!

MEDALS OF HONOR

PLANTED MUTE: Easy to get string noise when traversing, you keep it nice and clean. Well done!!

SYNCH ON POINT: If your hand synch drifts even a pinch, drills like this will let you know. You keep tight synch which is great. Score!

TRAVERSELY: Being able to traverse frets and strings while making everything sound like it's being played on one string that's moving under your hand instead of your hand moving is what I want to see from this mission and you nailed it! Smooth and under control.

This is a great drill for working on your overall top speed. Focus on relaxing in to it and picking a bit lighter with a bit more gain. Also, Try this without the pick. Just using your left hand to hammer on the notes. Loop that for a bit. Put enough gain on to let you hear it without the pick. Work that for a bit then add the pick back in. It's like a batter swinging with weights on the bat to prep for his turn at the plate. It makes the actual lick easier one you add the pick back.

You've gotten what I wanted you to get out of this one Soldier. You are ready for the next one!!! Keep your picks sharp!! (use a pocket knife if you have to, keep a find beveled point on your pick which reduces the time it takes from one strike to the next) and keep up the fight!!

You just..

LEVELED UP!!!

Onward!
Sarge

Hi

Here are all various speeds,

From 70BPM to 140 BPM.
140 BPM is and should be way above my current level of speed.

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This post has been edited by Todd Simpson: Aug 24 2020, 04:54 AM

[Victor Simion]

Well Fought Soldier!!! I can see you are making progress on your SHRED!!! You have some very solid takes here. One thing I'd suggest is to pick as lightly as you can so that your pick is just barely striking enough to make the string sound. You may need a bit more gain for this. Too much gain can be bad, but too little can also be a problem. Finding the right balance just takes some tweaking. For moving at top speed, you want your hands relaxed as possible so that your arms don't burn out. Also, tension will kill your speed. It takes time and focus, but you are getting there! You are tight on the metronome until you hit 120. You do a good pass on 120 but it's drifting from the metronome. It's still evenly paced though and that's what really matters. It's good to push beyond your boundaries as well as that is the area you are heading towards playing in. Eventually it will feel easy. Let's Debrief!!

MEDALS OF HONOR

PLANTED MUTE: Easy to get string noise when traversing, you keep it nice and clean. Well done!!

SYNCH ON POINT: If your hand synch drifts even a pinch, drills like this will let you know. You keep tight synch which is great. Score!

TRAVERSELY: Being able to traverse frets and strings while making everything sound like it's being played on one string that's moving under your hand instead of your hand moving is what I want to see from this mission and you nailed it! Smooth and under control.

This is a great drill for working on your overall top speed. Focus on relaxing in to it and picking a bit lighter with a bit more gain. Also, Try this without the pick. Just using your left hand to hammer on the notes. Loop that for a bit. Put enough gain on to let you hear it without the pick. Work that for a bit then add the pick back in. It's like a batter swinging with weights on the bat to prep for his turn at the plate. It makes the actual lick easier one you add the pick back.

You've gotten what I wanted you to get out of this one Soldier. You are ready for the next one!!! Keep your picks sharp!! (use a pocket knife if you have to, keep a find beveled point on your pick which reduces the time it takes from one strike to the next) and keep up the fight!!

You just..

LEVELED UP!!!

Onward!
Sarge

Thank you for your feedback.
When I play with the left hand only just by doing hammer-ons and pull-offs the hardest part for me is crossing strings.

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[Todd Simpson]

Yup. It's flat out hard. You have to use the first finger to strike all by itself and it's just hard. Even if it barely makes a noise that's ok. It's the practice of moving the fingers thats important. Even if some notes barely make a sound. It's a power drill for the left hand.

Thank you for your feedback.
When I play with the left hand only just by doing hammer-ons and pull-offs the hardest part for me is crossing strings.

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[Victor Simion]

Hi,

Here is Lesson 28.
I want to focus on playing it perfectly.

So after last time when I pushed my speed limit, this time I played it very slowly in the video 60 BPM, focus on make it sound as good as possible.

I attached a reaper screenshot.
This is where I compare my playing to the metronome and see if it's on time.
From what I can see I generally tend to play a little in front of the beat.

In this screenshot I can see that I played most of the in front of the beat, but just a tiny fraction.
I can also notice some spots where I played after the beat in this example.

But as I wrote above I generally tend to play a fraction in front of the beat.

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[Todd Simpson]

Look at him go!!! Yet another tricky one. You don't seem to have much trouble with it! I do notice you are drifting just a pinch on the metronome clicks. But you are doing much better than in previous Missions. You get better with each one so keep it up!!!

Let's Debrief!!!

MEDALS OF HONOR

TRAVERSE OR DIE With skill and grace, you traverse like a champ! It's a good thing too because this is non stop traverse up and down without a break. Score!

SILENCE IS GOLDEN: Solid mute resulting in clean tone without string noise. KEY to playing a bit like this. Without good muting, it's a mess. With so many notes and so much happening, if your mute is lose it turns in to a noise fest!

PICK ARTICULATION: is some of the best from you I've seen from you. Your pick articulation gets better each time as well!!!

You KRUSHED IT!!! Super Congrats!!
You are entering the deep end of the pool Soldier. You are ready!
You just..

LEVELED UP

Hi,

Here is Lesson 28.
I want to focus on playing it perfectly.

So after last time when I pushed my speed limit, this time I played it very slowly in the video 60 BPM, focus on make it sound as good as possible.

I attached a reaper screenshot.
This is where I compare my playing to the metronome and see if it's on time.
From what I can see I generally tend to play a little in front of the beat.

In this screenshot I can see that I played most of the in front of the beat, but just a tiny fraction.
I can also notice some spots where I played after the beat in this example.

But as I wrote above I generally tend to play a fraction in front of the beat.

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This post has been edited by Todd Simpson: Sep 3 2020, 03:49 AM

[Victor Simion]

Hi,

I tried to get a better angle of my playing but this was the best I could for this video.
At second 7 I was a bit hesitant in playing that note not sure what was coming next because I was focusing on camera and that resulted in a hand sync loss.

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[Todd Simpson]

Well fought Soldier!! There is just a pinch of drift so not enough to keep your from attacking the next target!! Let's Debrief!!!

MEDALS OF HONOR

CLEAN KILL: Doing a great job managing the string noise that is very hard to escape in licks like these! Not a problem for you. You've developed a very good palm mute Soldier!!!

SMOOTH AS GLASS: Pick articulation is smooth and consistent. Just a pinch of drift as you mentioned, but not enough to throw me off. You clearly have a good handle on these licks!

PACE BY PACE On the whole your pace is good. Synch is tight and you play with confidence. It's great to see you making such good progress!!


In short, you just...

LEVELED UP!!!

You are ready for what's next Soldier. You will be at the FOUR CHEVRON badge before you know it and
neck deep in the CRAZY bits!!

Sarge

Hi,

I tried to get a better angle of my playing but this was the best I could for this video.
At second 7 I was a bit hesitant in playing that note not sure what was coming next because I was focusing on camera and that resulted in a hand sync loss.

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This post has been edited by Todd Simpson: Sep 14 2020, 06:23 AM

[Victor Simion]

Hi,

Here is my tab for Lesson 30.

I feel that the bending note is twice as longer as the other notes.
Let me know what you think.

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[Todd Simpson]

I have guitar pro 6 which can open guitar pro five files but those end with .gp5 I was not able to open the file you sent that ended in .gp however, if you need to adjust the length on a note, that's perfectly ok Soldier. The bend is that lick is just a half step up bend which is traditional for that scale. So as long as the bend is to pitch, you can hold is as little or as long as you like. I really just want to see a bend to pitch. Onward!!

Sarge

Hi,

Here is my tab for Lesson 30.

I feel that the bending note is twice as longer as the other notes.
Let me know what you think.

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[Victor Simion]

Hi,

I uploaded Guitar Pro 5 version.

I would have uploaded my reaper file for practice using midi with vst, for drums and guitar, but for some reason this is not working.

Let me know what you think about practicing this way using drums also.

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This post has been edited by Victor Simion: Sep 16 2020, 05:43 PM

[Todd Simpson]

I was able to open it after all! I don't know what I was doing wrong before Soldier. I see what you are doing and it's a great idea!! Take all the notes and put them to a drum beat. This is a great way of working and getting used to playing over a drum track. I'd say go for it! Very clever approach.

Sarge

Hi,

I uploaded Guitar Pro 5 version.

I would have uploaded my reaper file for practice using midi with vst, for drums and guitar, but for some reason this is not working.

Let me know what you think about practicing this way using drums also.

You are at GuitarMasterClass.net

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[Victor Simion]

Hi,

Here is lesson 30.

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[Todd Simpson]

Well Fought Soldier!! You put it on the line and walk away a winner! These licks are sorted. Try them in a solo asap to solidify them as part of your permanent back of tricks! Let's Debrief!

MEDALS OF HONOR

SLOW START FAST FINISH: You show good fret board discipline by being able to play these licks slow and fast. It's important not to skip to the end and just play fast. It's always a good idea imho to learn a lick note by note and then speed it up. Ideally one should be able to play any lick in ones library at any speed within a players range.

MUTE OF DEATH: With licks like these, a weak mute means string noise. Not a problem here. Your mute has developed in to a to a good grip which permits no string noise to get through. Nice!

PITCH PERFECT: The lick with the pitch bend is often tricky. Getting the bend to hit pitch takes a careful hand and a good ear. Miss it by just a pinch and it sticks out. Not so here! Score!!

You've got this licks down pat Soldier! You are ready for what awaits!!
You just...

LEVELED UP!!!!

Onward!
Sarge

Hi,

Here is lesson 30.

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This post has been edited by Todd Simpson: Sep 23 2020, 10:51 PM

[Victor Simion]

I am currently practicing Lesson 31:

https://www.guitarmasterclass.net/wiki/inde...%9D_-_Lesson_31

I am practicing with the backing tracks playing all those licks.

Playing lick at 50% speed then playing at 100%.

At 100% speed I start to lose the hand sync, I think the backing track is a little bit too fast for me.
Then I try to play at 100% speed just a short burst, then go back to 50% speed, then I try the next lick and so on.
Then I get back to 100% speed and stay there longer and start to lose the hand sync.

Then I make the backing track slower by using Reaper.

I think I am getting a lot from this exercises from Lesson 31.

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[Todd Simpson]

I'm glad you are getting a lot out of it Soldier! BURST SPEED is a technique that works for many, not for all of course, but many. I"m glad it's working for you! It's a good way to feel the speed of a riff before the hands can quite do it. This is a Mission with some fast play to be sure. It's meant to push your boundaries a bit. You can also use the slow push method of playing with a metronome at a slower speed and bumping up the metronome just a bit to get faster with each bump. You can use both methods is they both help. Also, remember to lighten your touch a bit when playing fast, both hands, and don't tense up. This will allow speed/precision and stamina. Onward!

Sarge

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[Victor Simion]

Hi,

Lesson 31 is here:

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[Todd Simpson]

Well fought Soldier!!! This is a good example of what I'm looking for. One thing I would ask you for the next mission is to increase your gain/distortion just a pinch, and use the bridge pickup always unless otherwise requested in the Mission description. The reason for the request in additional gain is simple. With a bit more gain than you are using on this mission, it exaggerates any issues in your muting/choke/sustain/etc. which allows me to spot any bits that might need more work. When the gain is just a pinch to low in these types of licks, it minimizes errors which doesn't allow me to help you get better. Also, as for always using the bridge pickup. It allows me to hear your pick strikes. I'm not sure which pickup you are on in this video but I can't hear the attack on your strikes. if you are on the bridge/treble pickup, then please add more treble to your overall tone as I really need to be able to hear the pick strike to be able to best help you move forward. Just a couple of small things to keep in mind for the next mission. Yngwie, as an example, uses the neck/bass pickup quite a bit as it removes the sharpness of the pick attack and results in a more rounded sounding pick attach which gives a distinctive tone but minimizes variation in how each strike sounds which helps gloss over any inconsistencies in picking. Thus, why I suggest you avoid it like the plague during bootcamp. I hope this makes sense!!

MEDALS OF HONOR

PRECISION KILLS Precise and clean picking, even with a stretch. This one has a big pinky stretch in it to force your hand to not use the first three fingers and instead use the pinky. You nailed it!

SYNCHING AND SWIMMING Very tight and controlled, right/left hand synch. One bad strike and the loop falls apart. Not a problem!!! Tight as a drum!

SILENCE IS GOLDEN Very good muting and noise control with the right hand. Like I said, add a bit more gain and we will drill down and make sure there are no issues!

In short you KRUSHED IT and ..

LEVELED UP!!!

Onward!

Sarge

Hi,

Lesson 31 is here:

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This post has been edited by Todd Simpson: Oct 9 2020, 05:02 AM

[Victor Simion]

Yes, you are right it makes sense.
When I practiced Lesson 31, I listened to my recording several times.
Then I reduced the gain from my tone in order to find the sweet spot where it sounds like I am playing with as much accuracy as possible.
Ok, now I understand I will increase my gain to see if there are issues in my hand sync.

Regarding the bridge pickup I noticed it makes some unwanted noise on the high strings.

Check my videos here to see what I mean:
Check it around 1:20
I play on the same string so, I don't think any unwanted noise should ring.

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[Todd Simpson]

Noise level seems fine and gain is good here also. The problem starts around 1:35 where you go in to a series of bends and 3 in a row are not quite to pitch. The solo before that is working quite well! When working out which strings to bend, make sure that the note you are trying to bend to is in the scale that you are working in. E.G. if you want to bend up a whole step to a new pitch on a string, make sure that one whole step up from the start of the bend is in the scale you are working in and make sure that the pitch at the end of the bend is the same note you are trying to get (play the bend and check it against the actual fretted note you are trying to reach). These should match. Bending to pitch is one of the trickiest things about playing lead. Especially when one is still sorta new at bending to pitch. The ear doesn't always notice that the hand has missed the note Id' say go back and listen to the bends at the end of the solo and see if you can hear when they go out of pitch. It creates a great deal of dissonance that the ear can be trained to pick up right away.

Once you go back and listen through it, try to play the same thing but with correct bending to pitch. Just map out ahead of time which notes you are bending and how far you need to bend them in order to get them to the right pitch and then re record the solo. You have some space at the start of the solo where you are playing power chords, this could be used to try some other solo techniques. Once more in to the breach!

onward!
Sarge

Yes, you are right it makes sense.
When I practiced Lesson 31, I listened to my recording several times.
Then I reduced the gain from my tone in order to find the sweet spot where it sounds like I am playing with as much accuracy as possible.
Ok, now I understand I will increase my gain to see if there are issues in my hand sync.

Regarding the bridge pickup I noticed it makes some unwanted noise on the high strings.

Check my videos here to see what I mean:
Check it around 1:20
I play on the same string so, I don't think any unwanted noise should ring.

You are at GuitarMasterClass.net

Don't miss today's free lick. Plus all our lessons are packed with free content!

Don't miss today's free blues, jazz & country licks. Plus all our lessons are packed with free content!

[Victor Simion]

Noise level seems fine and gain is good here also. The problem starts around 1:35 where you go in to a series of bends and 3 in a row are not quite to pitch. The solo before that is working quite well! When working out which strings to bend, make sure that the note you are trying to bend to is in the scale that you are working in. E.G. if you want to bend up a whole step to a new pitch on a string, make sure that one whole step up from the start of the bend is in the scale you are working in and make sure that the pitch at the end of the bend is the same note you are trying to get (play the bend and check it against the actual fretted note you are trying to reach). These should match. Bending to pitch is one of the trickiest things about playing lead. Especially when one is still sorta new at bending to pitch. The ear doesn't always notice that the hand has missed the note Id' say go back and listen to the bends at the end of the solo and see if you can hear when they go out of pitch. It creates a great deal of dissonance that the ear can be trained to pick up right away.

Once you go back and listen through it, try to play the same thing but with correct bending to pitch. Just map out ahead of time which notes you are bending and how far you need to bend them in order to get them to the right pitch and then re record the solo. You have some space at the start of the solo where you are playing power chords, this could be used to try some other solo techniques. Once more in to the breach!

onward!
Sarge

Yes, this was an older take of mine.
Winter Tune:
Take a look here https://www.guitarmasterclass.net/guitar_fo...mp;#entry765711

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