Metropoulos Forum

i'm a sick person - and here is proof - but this is the ultimate phrase...

http://soundclick.com/share?songid=6340957

slowed down: ed on right - me on left
real speed: ed on right - my take speeded up to match (knowing i can't play it to speed but wanting to check if the phrase sounds right if i could)

listen to how much swing is in the phrase even when ed is playing at that high velocity - when you slow it down, you can hear it swing - de dah de dah de dah. smokin'!

is this about amp building? uh - no. sorry!
my rabid fan got the best of me.

You nailed it man!

However...

For the cardinal sin of speeding up your own guitar recording, you are hereby sentenced to play this slightly modified intro to hang 'em high, note for note, at tempo, cold, and intoxicated, the file is attached. (gotta be logged in to see it I think)

Rob one of my favorite parts. right on.

jcm800nut wrote:You nailed it man!

However...

For the cardinal sin of speeding up your own guitar recording, you are hereby sentenced to play this slightly modified intro to hang 'em high, note for note, at tempo, cold, and intoxicated, the file is attached. (gotta be logged in to see it I think)

man yer right - i'm so ashamed!! i shoulda just practiced it for the next 150 years instead.

rockstah wrote:Rob one of my favorite parts. right on.

this is the part i think is played at the 17th fret - there's no reason to go down to the 14th - it's all right there - and it feels really good when you get to the C and the C# and then you bend the C up to a C# - kind of a jeff beck move - but i guess holdsworth does that sort of thing too - hit the note and then follow it by bend a lower note up to that note. such a cool feel in yer hands. and at the 17th fret, the A is right there for yer ring finger - no strangeness to it - like it feels at the 14th - IMO.

rgalpin wrote:i'm a sick person - and here is proof - but this is the ultimate phrase...

http://soundclick.com/share?songid=6340957

slowed down: ed on right - me on left
real speed: ed on right - my take speeded up to match (knowing i can't play it to speed but wanting to check if the phrase sounds right if i could)

listen to how much swing is in the phrase even when ed is playing at that high velocity - when you slow it down, you can hear it swing - de dah de dah de dah. smokin'!

is this about amp building? uh - no. sorry!
my rabid fan got the best of me.

Killer Dude! What did you slow it down with? I have tried Amazing Slow Downer before on that part and it does not sound that clear.

Looks like Curt Mitchell has been over this bit a few times too! Check this at 2:05

http://www.studiotracks.com/riffs/videoriff2.wmv

He does it two ways in the vid.

Kinda sounds different to Rgalpins, but Rgalpin's sounds more 'right' to me. Hell, fo all I know they are identical! My ear just can't keep up with all those notes, even slowed down!

Its the swing that makes it sound even faster than it really is. I've always noticed that when I play straight phrases. Then you play with some swing and its like WOW! Where did those extra notes come from?

Where did you get those Curt Mitchell clips? I thought I had most of his EVH stuff.

OdgeUK wrote:Looks like Curt Mitchell has been over this bit a few times too! Check this at 2:05

http://www.studiotracks.com/riffs/videoriff2.wmv

He does it two ways in the vid.

Kinda sounds different to Rgalpins, but Rgalpin's sounds more 'right' to me. Hell, fo all I know they are identical! My ear just can't keep up with all those notes, even slowed down!

Curt has no feel for VH, those tabs are pretty bad, though it looks like he is getting the machine gun part a little closer these days. Getting the right notes and playing it to speed is not that difficult when you don't swing it. It's that damn right hand picking strength that keeps everyone at a great distance from ever playing this thing right. I'm always starting over with the picking hand with this riff.

f*ckin' show off!!
awesome, you did nail it!!
i have to practice.
i think the conversion neck i ordered will help me move around faster. like you, i dont have a the biggest hands.
awesome, great job!!

rgalpin wrote:

rockstah wrote:Rob one of my favorite parts. right on.

this is the part i think is played at the 17th fret - there's no reason to go down to the 14th - it's all right there - and it feels really good when you get to the C and the C# and then you bend the C up to a C# - kind of a jeff beck move - but i guess holdsworth does that sort of thing too - hit the note and then follow it by bend a lower note up to that note. such a cool feel in yer hands. and at the 17th fret, the A is right there for yer ring finger - no strangeness to it - like it feels at the 14th - IMO.

it sounds good. but i beleive it is played at the 14th with the big stretch. its a thing ed does, those stretches. but u can do it any way ya want.

Great rgalpin ! sounded right on. I also think Ed played that lick there with the 14-17-20 fret stretch. I also think his guitar was slightly outta tune on either the high e or b string. To nitpick, I also think the extra tone and boinginess of the Fender bridge helped alot as well. Also the dive bomb parts sound more accurate with a Fender bridge. Either way, that sounded damn good.

hey rob i learned it the way u are playing. its interesting that it could be the way hes playing it. it does make perfect sense in the left hand doing it all there at the 17th fret. the thing I'm listening for is if those notes are hammered or picked especially the 14 17 20 fretted notes in question.
there are some slurs which sound like slight slides. it is hard to get those rubber bandish legato sounds playing it all at the 17th fret. to me it doesn't feel right as far as the phrasing goes playing it all at the 17th fret but it can be done.

in still listening to it and playing it both ways.

Here's a little story invoving that lick.

It's '89, I'm at a Paul Gilbert clinic. Paul is ,technically , tearing it up, playing all kinds of 'scary' stuff. We get to the request part, where people ask questions, which more often than not, is like this, "Can you play this Malmsteen solo", or Have you heard of Akira Takasaki" (Paul had, and even said he ripped alot of licks from the guy). Paul finally looked my way , and I ask him to play 'Eruption'. I hear alot of murmers and sounds of disbelief that I had asked Paul,who had just run the gamut in the latest of sweeped arppegios and string skipping licks, to play this solo that everyone 'THOUGHT' they could play.

You know what Paul did ? He only played the fuckin' tapping part, albeit with his left hand over the top of the neck. I was bummed, because that fast,boingy assed lick,to me, was and still is one of the most awesome licks EVER.I guess, I was more into 'feel' than the vast majority of those shredder dudes there.