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> Arpeggios vs Modal Scales, Lesson By Laszlo Boross
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post May 27 2015, 07:47 PM
Post #1

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Original lesson: Arpeggios vs Modal Scales by Laszlo Boross

I recorded this December of last year, but my sub ran out before I got to post it. Looking at it now, I see i should redo it.

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Gabriel Leopardi
post May 28 2015, 04:42 PM
Post #2

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Hi Insidious! Great to see you back here.

Your take is not bad but there are some elements that can improved on this one:

- Tone: I feel that your sound EQ needs some tweaks. It's lacking some low frequencies, and it seems that it has too much highs. Also, if you can set it with less drive, your phrasing will sound more defined, mostly on the palm muted sections.

- Timing: You have timing issues starting at 00:24 and from there to the end.

- Staccato: Your muting is not strong enough to get the staccato sound required on the palm muted sections. The reason is that you are not doing enough pressure with the palm of your right hand but it's also related to tone.

Keep on practicing with these elements in mind and share a new take when you notice improvements.


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Darius Wave
post May 29 2015, 05:43 PM
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Hi there! smile.gif I'll try to short and clear on this:

Good things
1. Consistent picking - in case of tone and strength
2. Good attack and pretty clean (noise-free wise)

Things to work on:
1. Timming (not all the time but some monets do fall out of perfect sync)
2. Palm muting vs open notes contrast - if might be a case of your tone (to much treble boost or just type of distortion that acts like there is treble boost in front of). Or...just move your right hand a bit more towards neck pickup and make more solid contact of your hand with the strings. we need to have clear fidderence between notes withm palm muting and those without

And...the star of issues...which is actually sort of funny (not because of you) smile.gif

13th bar (at least according to guitar pro file). We have 16th notes there. Sound simple when we listen to guitar and metronome only. But Laszlo made a triplet feel on hi-hat in the backing track smile.gif So actually when you play 16th notes there is no single chance you could match your playing with hi-hat groove at this moment smile.gif It's quite unnatural but possible to place regular 16th notes in the triplet groove. So...this one is tricky because You get confused on what to listen to to match your timming. What you play here is not correct - it sounds like you do not know what's exactly happening and where to spot you timming "checkpoints". One and only tip here is...do not listen to hi-hat. For those 2 fast bars you need to switch off your "listening mode" and focus only on the 4 main beats. Those are true, "square" 16th notes, not "6/8 16th notes feel" and this makes a lot of difference. Think of bass drum and snare to match your timming and do not care it sounds "out of sync" with hi-hat. This is more like a mental training - trying to workout your focus and ability to switch off some natural habits just to get proper timming with your part of solo. PM me if this sounds not clear enough smile.gif

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Bogdan Radovic
post May 30 2015, 09:31 PM
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This is not an easy lesson to master and I think you did pretty well. My advice would be to focus on the 2nd half of the lesson where shreddy bits start (0:26 mark). Other suggestion would be to dial in a tone which matches the Laszlo one in the lesson. Try lowering your gain and tweaking the EQ to have lesson high frequencies. Try lowering reverb if you have some to a more subtle level. The goal is to get a nice warm and punchy tone. This will help you play all the sections and have them sound more precise and clean. Especially when palm muting starts, you seem to do it in the lesson but the tone is not reacting accordingly and it sounds weak (it needs to sound tighter and with more bass when you do palm muting).

I think that it would be great if you could practicing this one just a bit more and submit a new take.

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post Jun 1 2015, 07:01 PM
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