YTSEJAM Digest 3594 Today's Topics: 1) Patrick Rondat by Arash Ashouriha 2) A few things by "The Notorious B.I.G. S.W.I.F.T.Y." 3) The Shredders Strike Back by Eckie 4) Re: ... by Tom Cox 5) RE: This Is How We Shred by "Jason Birzer" 6) pink pickles and sauerkraut by John Hough 7) Picking by email_address_removed 8) Atheist, Anacrusis, Cynic, Watchtower, Imperium by "Ryan Good,WSUM Loud Rock Director" 9) Re: YTSEJAM digest 3592 by "Matt Halloran" 10) Hair Band Shampoos by Chris Oates 11) Re: Picking by Rick Audet 12) George Bellas by "Trevor W. Hoit" 13) DT live MP3s by Peter Rajkai 14) Re: YTSEJAM digest 3590 by rjurado ---------------------------------------------------------------------- Date: Mon, 02 Mar 1998 07:07:11 -0800 From: Arash Ashouriha To: email_address_removed Subject: Patrick Rondat Message-ID: >I would also like to promote a great french guitarist, Patrick Rondat. He >sounds the way Yngwie wants to sound. I only have one of his albums, >Amphibia. It has all those incredible shredsolos that Yngwie is so famous >for, but it also has some wonderful songwriting. It's all instrumental, for >those who are interested the fanclub website, from which you can order >records from and hear samples at, is at >http://www.gatewaytorondat.force9.co.uk/index.html, check it out. Wow. I'm not the only one who knows the great PATRIC RONDAT !!!!!!! He is really good. He plays "Vivaldi's Four Seasions" and he kicks ass. You should check him out. Arash -------------------------------------------------------------------------- | PROG OR DIE - The Progressive Music Page | | | | DREAM THEATER - FATES WARNING - ROYAL HUNT - SHADOW GALLERY | | | | http://lionel.kr.fh-niederrhein.de/~ashouria/index.htm | | OR | | http://www.geocities.com/SunsetStrip/Venue/1748/ | | | | by Arash Ashouriha | | | | email_address_removed.de | -------------------------------------------------------------------------- ------------------------------ Date: Mon, 02 Mar 1998 00:08:06 -0600 From: "The Notorious B.I.G. S.W.I.F.T.Y." To: email_address_removed Subject: A few things Message-ID: According to vocalist Joe Lynn Turner on the CD "The Yngwie Malmsteen Collection," Yingyang's first name is pronounced "Een-gay." It's on the CD, ripped straight from the "Live In Leningrad" album. Does anyone else on this list own a GoVideo double deck VCR? My girlfriend and I bought one this weekend, and I'm kind of confused as to exactly what this thing can do. I've got the basics down, but I want to see this sucker get fancy. Does Manu (or another good drummer) play on Satch's new "Crystal Garden," or am I going to be treated to the joys of a drum machine? And finally, I've got 2 passes to the local movie theater. Does anyone have any recommendations as to good movies that are playing now? I've already seen Titanic, but after that, I'm totally ignorant. Take care, all, Mark Peters email_address_removed ------------------------------ Date: Sun, 01 Mar 1998 23:36:45 -0700 From: Eckie To: email_address_removed Subject: The Shredders Strike Back Message-ID: Uroboboborororososossippi scribbled: > Some choose to hold their > breath while playing and tense up their arm so that the picking stems from the > whole arm shaking instead of a controlled hand motion. These are the sort of > people who can't masturbate for longer than thirty seconds, either. It's all > in the technique! HAHAHAHAHAHA!!! How true...I've yet to play guitar using an orange or citrus fruit though. (http://www.jackinworld.com/ for further details...and think of it as technical instruction for playing guitar, the context is thrown in a much funnier perspective) "Whoa, what was that?" "That's what we call the ENDLESS SLIDER!" > What I MEANT to say was that I was referring to the shreddaz who mentally bug > out after fast passages with that "I can't play any more notes" attitude, i.e. > "We usually don't play that song until last because I can't make it past the > solo blah blah blah." Usually it's due to lack of warming up "I do it everytime before I go on stage. Sometimes I do it in the middle of a performance. You can do it whenever you feel like it." > This issue also depends on one's standard of speed. Mine has changed several > times over the years, usually whenever I hear a level of playing I've never > heard before. "Whoah, I thought THAT dude was fast...but THIS dude...THIS DUDE > IS FAST." Your definition of "reasonably fast" just might be Kirk Hammett, > whereas mine might be Mr. Malmsteen himself. Do you base the definition of > "reasonably" on what YOU can do, or by how many other guitarists can play at > that level? My bro just went to some state musical performance competition and this kid was goin' for a world record, (okay, some kinda record) for the most notes played in one second. I dunno, physically or audibley, WHAT that limit is, but it's gotta be fookin' fast. Anyhoo, the speed of a player is no good if the passage just sucks Hanson through a straw. My point? I dunno. But I do know that I feel a TON more emotion out of Satriani's solos than I do with Micheal Romeo's. Don't get me wrong, I respect both artists' talents, and Romeo can REALLY fly (and hey, he's even larger than Skankweed) but all the work I've heard from him off of Divine Wings of Tragedy (BUY NOW IF YOU HAVE IT YET NOT!!!) sounds like he's soloing for the sake of showing off at some times, whereas Satch will take a few notes, somehow extend them through some subtle vibrato or whammy bar magic and make me wanna cry. > When I said "NOT EVERYONE CAN PLAY FAST" I was referring > to the mental aspects as well as the physical. Practicing complacency is much > harder than practicing arpeggios, but both are necessary to succeed. The > defeat usually lies within the mind. Occasionally there are physical > limitations, such as low manual dexterity. More often than that are people who > just can't think that fast, and they will actually say "I can't think that > fast, my ears can't keep up with that stuff, etc." Sometimes they break free, > sometimes their fear confines them. It is a lack of belief in oneself that > keeps one from true shredding. Believe in yourself you must. YEEEES HMM HMM! To become true Jedi Shredder, overcome yourself you must! > p.s. this must be boring the hell out of the non-guitarists. Nah, Carol enjoys our posts. ~Eckie, the jedi shredder in training (I still haven't passed that test where ya gotta lift a Dual Rectifier head out of a boggy marsh using only your middle finger) ------------------------------ Date: Mon, 02 Mar 1998 00:36:49 -0600 From: Tom Cox To: email_address_removed Subject: Re: ... Message-ID: ]From the drummer that everyone loves to hate- Just to let some people know that my attitude isn't as bad as you would think. I played a gig with my band this last weekend, and one of my guitar players told me joke that all you guitar players out there might enjoy: What do you call a guy who hangs out with the band? YOU GUESSED IT--THE DRUMMER... Later ------------------------------ Date: Mon, 2 Mar 1998 01:35:51 -0500 From: "Jason Birzer" To: "The Jam" Subject: RE: This Is How We Shred Message-ID: >Good: Ansel Adams displays a BETTER command of black and white contrast than >Mark Seliger. Bad: Ansel Adams is a BETTER photographer than Mark Seliger >because of his command of black and white contrast. Worse: Ansel Adams is the >BEST photographer. Of course, you know that the truth is that Ansel Adams IS the BEST photographer! :^) -------------------------------------------------------------------------- Jason Birzer "One likes to believe in the freedom of music "The Longshot" but glittering prizes and endless compromises shatter the illusion of integrity." email_address_removed Rush - The Spirit Of Radio -------------------------------------------------------------------------- ------------------------------ Date: Sun, 01 Mar 1998 23:06:14 -0800 From: John Hough To: email_address_removed Subject: pink pickles and sauerkraut Message-ID: Did that subject grab your attention for some reason????? THAT's because I put a subject in!!!!! most of you do that but there are a few people that leave the subject blank or leave RE:Ytsejam Issue #XXXX What would you do if you saw that message? More than likely skip it If you want people to read your message, put in a relevant subject. that's why you can change it so you have one. **************************************** John Hough email_address_removed http://www.jps.net/jhough Home of the Hard Rock/Heavy Metal Listening Booth. With sound samples from bands like Stratovarius, Gotthard Vanden Plas, Superior, etc. Check it out!!!!!! **************************************** ------------------------------ Date: Mon, 2 Mar 1998 01:12:48 +0000 From: email_address_removed To: email_address_removed Subject: Picking Message-ID: > From: Uroborosss > Subject: Return of Shredology > I agree. I was referring to the "Gee... I'm tired" kind. The "shreddaz" who > actually tire out, as in have to put their pick down, massage their hand, > massage their shoulder, drink some Gatorade, etc. Some choose to hold their > breath while playing and tense up their arm so that the picking stems from the > whole arm shaking instead of a controlled hand motion. These are the sort of > people who can't masturbate for longer than thirty seconds, either. It's all > in the technique! Loosen up! Stop making your entire arm rigid! Recognize the > flexability of the wrist! You'll be more satisfied, and not just with your > guitar playing! The book (recommended by JP) that covers a great deal about the stresses and tension in the forearm that you referred to is called "The Inner Game of Music" and is definitely a great resource. Also, for those of you who can not read music, but would like to (even though you love Megadeth and insist that it's stupid to read anything besides tab) should get "The Musician's Guide to Reading and Writing Music" by Dave Stewart. He breaks it down so that even a non musician brainstem could learn it, and makes it enjoyable to read. > solo blah blah blah." Usually it's due to lack of warming up, but there are I don't warm up... I have a method that I use, in a series of (potentially dangerous to people who try these and aren't ready) finger stretches and exercises. I saw Greg Irwin on the Tonight Show once, doing all these weird finger exercises, and it was really freaky to watch... so I learned to do the ones I could remember. Coupling that with my stretching, I am usually free to start playing, as long as my fingers aren't cold. I plan to put my finger exercises on the web page eventually (Gabbo, don't even TRY to make a funny). > This issue also depends on one's standard of speed. Fair enough... when i say reasonably fast, I mean slower than Gilbert, but fast enough to play the majority of what you want to get across. A lot of it depends on the terminal speed that the player WANTS to reach. I have friends who practiced speed just to play like Johnson (Eric) and Satch, and no faster. > This is true as well. When I said "NOT EVERYONE CAN PLAY FAST" I was referring > to the mental aspects as well as the physical. "I can't think that > fast, my ears can't keep up with that stuff, etc." This is something I've heard people say, but I know it's possible to overcome. Jazz is INFINITELY harder than shred from a mental perspective, because usually in a shred song, people want you to reproduce the same pyrotechnics and psychotic licks each time you play the song... with jazz EVERYTHING is improv. Further, with shred, it becomes sort of like playing Nintendo... you learn these combinations of buttons to press and *tada* you win. It becomes hand/eye coordination. With jazz, you have a lot more to think about to sound reasonably okay. I won't even get into what I've found out that I have to practice... let's just say that while I'm not the king of all guitarists, I'm fairly well versed in shred, and know that the main thing I need to work with is my metronome. With Jazz, I'm a feeble little peon, and need to work out my brain. > From: Calvin 6S > Subject: Economy Picking MICHAEL.ANGELO. called this Alternative Picking. Because of this, I tend to refer to circular picking as economy picking, but for ytsejam purposes, we'll just use the terms interchangably. . > But where was Economy Picking in the list? Well, it's a mix of sweep and alternate picking, but it's generally treated as Alternate picking, since it's used for the same purposes. > guitar teacher told me I should pick everything Alternate Picking and get rid > of the tiny little pick! Well, the type of pick you use is your own decision, but I agree with him on the alternate picking issue. I always teach strict alternate picking. Almost all of my favorite guitarists swear by it, and that's good enough for me. > never play as quickly or as cleanly as I wanted to. Then I went on for a > couple years with little to no progress until I got to MI. Then my roommate > from New Hampshire said I picked funny (Alternate Picking) he showed me > economy picking, where I responded "That's how I started playing, but was > told I would never be fast this way." Well, I started to revert back to economy > picking, bought some Jazz III picks, and within a matter of a month I was > playing much, much faster and cleaner. See, I think that it's imperative to start someone off on Alternate picking, because it tends to lead the player to better timing. It's hard to do the two downstrokes or two upstrokes in a row and maintain the exact same speed as the down/up motion in alternate picking. Economy picking is just that... it saves motion. Overall, economy picking players tend to play more snakey sounding lines... closer to a legato feel, where alternate pickers get the really choppy chunky sound that metalheads love. That's not to say that you can't achieve the same sounds with each technique. Alternate picking presents a greater challenge, which is why I chose to work on it. I saw a MICHAEL.ANGELO. clinic early on, and I understood the power of pure alternate picking. Because of this, I can play 1, 2, 3, and 4 note per string licks at high tempos without having to resort to sweep picking. I know eventually I'll go back and learn to do alternative picking thoroughly if I feel the need to go faster (if you master it, it is undoubtably faster than regular alternate picking) but speed is not a major concern for me. I can get 16ths at 196-200BPM with alternate picking, and that's faster than I need right now. I heard Stump does 220 or so with economy picking, so it might be worth it (and note, yall, I can't do EVERYTHING that fast... Stump can play just about anything standard and scalar or sweep based at that speed. He's more machine than man... twisted and evil...) I personally value Alternate picking as the most important technique, because it functions in every genre and every type of lick you might want to do, and stresses regularity of motion, which will help with timing. > So the point(s) I am trying to make is 1) Economy Picking was left off and 2) > Alternate Picking is just as valid, but play however you feel natural (as long > as you don't forget dynamics!) is the best way of picking. If it feels > natural to you, odds are you will struggle with it less later on. Exactly... some guys end up playing the same either way... if you've truly mastered economy picking, you should be able to overcome the timing issue it is plagued with, and be able to outrun the average alternate picker. If you truly master alternate picking, you should be able to play sweep arpeggio shapes, but alternate picked (like Steve Morse's Tumeni Notes, which is alternate picked from the first note to the last) and should have an advantage against the economy picker in particular types of string skipping/sequence/2 note per string licks. This is a great topic, but we're not even coming CLOSE to opening this up to non guitarists... :) That was my original intention with that last post. Then again, with all the Yngwie content lately, we might as well just say whatever the hell we want, as long as it doesn't contain a judgement about his playing. "Apathy is the "suckbird" on cynicism's bloated carcass." - Dennis Miller Chris Ptacek email_address_removed http://www.prognosis.com/madsman Go Home and Practice! ------------------------------ Date: Mon, 02 Mar 1998 13:34:35 -0600 From: "Ryan Good,WSUM Loud Rock Director" To: email_address_removed Subject: Atheist, Anacrusis, Cynic, Watchtower, Imperium Message-ID: Hey- Anyone got info about any of the above personnel? I understand that 1) the guys in atheist went their own ways (a few went to school) 2) cynic's members have various projects which I have no ideas about 3) watchtower is back together? and writing? 4) Imperium is supposed to have a new one out soon. 5) anacrusis' screams and whispers is really really really underrated. Help. ____________________________________________________________________ "Ascend, descend, the digital ghost, above the silent sacred host. We only hold you high to see that we can never learn." - Tarwater ____________________________________________________________________ Ryan Good - WSUM - Assistant Music Director / Loud Rock Director Host of Strong Progress, Thursdays from 2pm till 4pm Home - 608-285-8695 Radio - 608-262-1206 Office Hours: Wed 10-11, Thurs 12-1, various other times... "The World is Tuning In..." WSUM/MSR Homepage - http://msr.wisc.edu ____________________________________________________________________ ------------------------------ Date: Mon, 2 Mar 1998 01:24:52 -0400 From: "Matt Halloran" To: Subject: Re: YTSEJAM digest 3592 Message-ID: > > "My daddy can beat up your daddy!" > "No way!! My daddy can beat up YOUR daddy!!! > -Sorry, I just felt the need to add my own bit immature nonsense to this list. > Thanks. > Yeah...ya think so well my Mom will whip both their asses > ------------------------------ > > 2). Any extreme of sloppiness tends to degrade the music to the > point where one rarely considers the player a technical master, and > thus, rarely a shredder. That player may still be great, like Alex > Lifeson, and may be admired, but the egotist shredders will look down > on the player, and the Good Guy shredders will try to learn what the > guy is doing RIGHT and learn from that, in hopes of one day being > able to combine the player's greatness with the technical mastery > generally equated with shred. > Hey I like That statement. > I believed somone asked what guitars we all play....well I am pretty much a Strat man my self got a couple of them twankers and i also like to walk my digits over a lovely Ibanez 540S 7-string......Yes it is the S model. 10 Cd's....hmm in no particular order Steve Vai-----entire catalog Joe satriani----entire catalog Eric Johnson----entire catalog Bjork------Homogenic Savatage------any---(just got gutter ballet on Cd the other day...just like a long lost friend) Dave Matthews Band-------entire catalog Corrosion of Conformity----Deliverance Pearl Jam-----catalog Queensryche-----you name it I play it Alice in Chains----Dirt course that doesn't even touch the surface....I like just about anything if it can move me in an emotional way...heck I even like a Clint Black song I also use economic picking.....I picked it up by accident it just felt natural.....I do the alternate thing if I am concentrating on just 2 strings but I use economic when doing runs and such. Jazz III's Kick ass....I gotta Thank Eric Johnson for that Uh oh Out of Molson "I'm not a Fucking Buddhist but this is enlightenment." Bjork ------------------------------ Date: Sun, 1 Mar 1998 21:23:16 -0800 From: Chris Oates To: "Ytsejam (E-mail)" Subject: Hair Band Shampoos Message-ID: Well, I use HE conditioner, and I get lots of compliments on my hair, so I think it's just fine for a man to use. :) ~Chris Oh, DT is a cool band. ;) ------------------------------ Date: Mon, 02 Mar 1998 01:06:47 -0800 From: Rick Audet To: email_address_removed Subject: Re: Picking Message-ID: Mads wrote: >> From: Calvin 6S >> Subject: Economy Picking > > MICHAEL.ANGELO. called this Alternative Picking. Because of this, >I tend to refer to circular picking as economy picking, but for >ytsejam purposes, we'll just use the terms interchangably. Not that it matters, but I once had a jazz guitar teacher show me that technique and he referred to it as "slip picking". I practiced it a bit, but found it to be awkward, so I kept with the alternate picking. Funny thing is that when I play air guitar to Symphony-X tunes, I notice I use a lot of slip picking in my playing. Go figure. :) Rick Audet ------------------------------ Date: Mon, 2 Mar 1998 01:21:09 -0800 From: "Trevor W. Hoit" To: "'email_address_removed'" Subject: George Bellas Message-ID: >For anyone who loves classically-influenced keyboard-based >progmetal you must own Vitalij Kuprij's High Definition. >This disc would be on my list of 10 best in 97 had I made such a list. ------------------------------------------------- >I bought this CD, and I liked a few tunes, but I thought there was a lot of >filler, and a lot of mindless noodling. This guy's talented, but I thought >he >could use a good songwriting lesson. > But on the topic of Neo-Classical Shred, check out Geroge Bellas, , he has 2 >cd's "Turn of the Milllenium" and "Mind over Matter" (both shrapnel). >----------Art Good call! I was going to recommend those discs next. BTW, they both feature guest keyboardist Matt G. of Chaos Theory. Trevor > ------------------------------ Date: Mon, 02 Mar 1998 10:30:09 +0100 From: Peter Rajkai To: email_address_removed Subject: DT live MP3s Message-ID: > Do you know where I can find FULL live shows of DT in mp3? > Thanx Try http://www.elender.hu/elender/myung/pod Here you can also find some old cover songs of DT from me. :) Someone asked for other DT like prog bands: well, you should check out 2 MP3s of Wellington zipped at http://www.colargol.idb.hist.no/~einarg/dt.html (thx for Einar B. Gilberg for putting it there). Maybe Dr. Mosh could also put these on his page (??). It would be great. I'd like to read reviews of this 2 instrumental masterpieces! Cheers, Bungle ------------------------------ Date: Mon, 02 Mar 1998 05:47:45 -0800 From: rjurado To: email_address_removed Subject: Re: YTSEJAM digest 3590 Message-ID: email_address_removed wrote: > YTSEJAM Digest 3590 > > Today's Topics: > > Subject: fender strat > Message-ID: > > the five different positions on the strat do as follows.... > position 1(all the way forward, towards the headstock): neck pickup > only > > p2: neck and middle pickup > p3: middle only > p4: middle and bridge > p5: bridge only > > those are how stock, non-modified strat switches work. the tone knobs > > (don't quote me on this, but i am pretty sure) affect the neck and > middle pickups. they can be redone to affect whatever pickups you > want, > though.... I don't know if anyone else has responded, but if you have one of the newer Strats like an American Standard (I think) or a Strat Plus, there's this thing they call the TBX control. That controls both bridge and middle pickup tone. I think the Clapton model has it too. It's got a detent in the middle at the "5" position on the knob. I don't remember what that's for. -Rob ------------------------------ End of YTSEJAM Digest 3594 **************************