Jstrat57
Justin Schroeder
Milwaukee, WI
USA
115 posts total | IP Logged
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I just downloaded a program that tells me (approx) how far my mouse travels...
I went 1000 feet in 24 hours. It also keeps track of trips
ala..tells you how many more feet you have to go before you travel the great wall of china (reminding me of thins i should be doing other than sitting at my machine)
JSClone1 Id love to see any full length videos you have.. assuming they are for the taking. I really enjoyed the for the love of god solo. Do i remember right that you have a video of "why" as well?
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Thu Jan 16 '03 4:06:43 pm
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JS Clone 1
Richard Haier
Toronto, Ontario
Canada
1104 posts total | IP Logged
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Hustler08 - Joe comes every year to Toronto. Sometimes to Quebec.
Jstrat57 - My videos are the ones on the site which are quite old. I have some others. Hordes of Locusts live, The Mystical Potato Head Groove Thing live + solo intro, an older Potato Head live from last year. Some clips of my old band. No Why though.
The Duke - Pinch on open string? It's really not so much a 'pick'. It's more of a whack I find. Making sure you get plenty of skin on that string. Sometimes Joe hits multiple strings for the cross hand squeals. Pinching an open string is possible. Rear pickup makes it easier. Then just find the right spots. Some guitars are easier than others.
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Thu Jan 16 '03 4:59:53 pm
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death cube k
6054 posts total | IP Logged
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js clone 1 no dude i have crappy dial up.... yeah i know it sucks.
i would love to see the video , but it would take 15 years to get it... lol
ethn the only good thing about spiderman movie was.......... bruce campbell..... he was good......
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Thu Jan 16 '03 4:59:58 pm
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josh_jwc
23 posts total | IP Logged
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Mr. Nick- Youd probably be better off making your own backing track to Always, Summer Song, up in the sky,and stuff like that. It would be really hard to find something like that. Making backing tracks to Dream Theater stuff would be hard though, cause all of the keyboards.
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Thu Jan 16 '03 5:19:01 pm
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Clarky
Paul Clark
plays the organ, going blind
www.paul-clark.com
2318 posts total | IP Logged
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Artanis - you've obviously had a sneek preview of my rambling compositions... lol
mowlie - haha... 6 months ago I lived in Kent.... Now I live in Berkshire.... I guess that when my set is 'gig ready' I'd be looking to play around London.... I'll make a pile noise come gig time - but it is quite a way off... I need the album sorted first... the completed product is still quite a few months away...
I'll look forward to seeing you....
r6r - there are luthiers... and people that work on the till in a guitar store [that talk a good set-up]....
I don't know what 'plekked' is... never heard of it... what's the deal.... I'm curious...
ovation - and Clarky will be wearing underwear on stage... made of kevlar... lol.....
I'm glad you like Requiem... that one is personal... I wrote the main melody to that [1st cycle of the part where the band cuts in] when I got home from my grandmothers funeral.... and song is dedicated to her memory...
migupais - those harmonics with reverse divebombs are 'natural' harmonics [open string]...
try pre-dropping the whammie bar, hit a natural harmonic on the G string around the 2nd fret and slowly allow the whammie bar to return to centre....
You've move the 'bridge saddle' which effects the 'intonation'. This sets the length of the string so that the string is 'in tune' with the fingerboard.... The natural harmonic at the 12th fret should be exactly the same note as fretting a the string at the 12th fret. The harmonic is the 'mid-point' of the open string so if the fretted note is higher than the harmonic the string is too short. Undo the allen bolt, move the saddle back and check again.... If the fretted note is lower then the string is too long.... so the saddle moves forward... If you set this with a digital tuner it'll be pretty close... If you want it set spot on... take it to a luthier that has a strobe...
Narface - I can do a pretty reasonable set-up myself... which is part of my string changing routine... Once a year or before some serious event [like a tour] they all get a good seeing to... My luthier is a close personal friend and always gets my guitars.... so I get a good rate... last time was around £50 a guitar and I had 3 done....
after the set-up they feal better than they did new
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Thu Jan 16 '03 5:24:23 pm
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Clarky
Paul Clark
plays the organ, going blind
www.paul-clark.com
2318 posts total | IP Logged
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h302 - wow... there's an imposter on the loose....
he's an ugly git, stands a little gay in the pic and plays one of those funny guitars with the hole in.....
and he's from Kansas
he has to die.....
JSC1 - that's not the best description I've ever seen as to how a forced harmonic is executed..... "whack"...
Surely you can do better than that dude...
There's a theory posse thing coming so appologies for a multiple post... those not interested just skip over.....
Edited Thu Jan 16 '03 5:34 pm
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Thu Jan 16 '03 5:32:38 pm
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Clarky
Paul Clark
plays the organ, going blind
www.paul-clark.com
2318 posts total | IP Logged
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Theory Posse – here are the answers to the ‘keys’ used during the modulations.
A little note: (V7) indicates the ‘target’ V7 chord so that you can see where the modulation occurs.
To make things easier to illustrate I’ll use ‘*’ to represent harmonic minor and melodic minor. So ‘A*’ means that you have the choice of A harmonic minor or A melodic minor. The one you choose to use is a matter of personal taste – so experiment with both.
Note that the letter on its own means a ‘major’ key - E = E major.
From the key of Em to Am
I VI IV I (V7) I
chords ¦ Em ‘ ‘ ‘ ¦ C ‘ ‘ ‘ ¦ Am ‘ ‘ ‘ ¦ Em ‘ E7 ‘ ¦ Am ‘ ‘ ‘ ¦
key - - Em - - - - - - - - - - - - - - - - - - - > A* - Am - - >
chords ¦ Em ‘ ‘ ‘ ¦ C ‘ ‘ ‘ ¦ Am ‘ ‘ ‘ ¦ Em ‘ E7 ‘ ¦ A ‘ ‘ ‘ ¦
key - - Em - - - - - - - - - - - - - - - - - - - > A - - - - - - - >
From the key of E to Am & A
I Vb VI IV I (V7) I
chords ¦ E ‘ ‘ ‘ ¦ B/D# ‘ ‘ ‘ ¦ C#m ‘ A ‘ ¦ E ‘ E7 ‘ ¦ Am ‘ ‘ ‘ ¦
key - - E - - - - - - - - - - - - - - - - - - - - - > A* - Am - - >
chords ¦ E ‘ ‘ ‘ ¦ B/D# ‘ ‘ ‘ ¦ C#m ‘ A ‘ ¦ E ‘ E7 ‘ ¦ A ‘ ‘ ‘ ¦
key - - E - - - - - - - - - - - - - - - - - - - - - > A - - - - - - - >
From the key of Em to F#m & F#
I VI IV VII (V7) I
chords ¦ Em ‘ ‘ ‘ ¦ C ‘ ‘ ‘ ¦ Am ‘ ‘ ‘ ¦ D ‘ C#7 ‘ ¦ F#m ‘ ‘ ‘ ¦
key - - Em - - - - - - - - - - - - - - - - - - > F#* - F#m - - >
chords ¦ Em ‘ ‘ ‘ ¦ C ‘ ‘ ‘ ¦ Am ‘ ‘ ‘ ¦ D ‘ C#7 ‘ ¦ F# ‘ ‘ ‘ ¦
key - - Em - - - - - - - - - - - - - - - - - - > F# - - - - - - - >
From the key of E to F#m & F#
I Vb IIc (V7) I
chords ¦ E ‘ ‘ ‘ ¦ B/D# ‘ ‘ ‘ ¦ F#m/C# ‘ ‘ ‘ ¦ C#7 ‘ ‘ ‘ ¦ F#m ‘ ‘ ‘ ¦
key - - E - - - - - - - - - - - - - - - - - - - - - > F#* - - > F#m - - >
chords ¦ E ‘ ‘ ‘ ¦ B/D# ‘ ‘ ‘ ¦ F#m/C# ‘ ‘ ‘ ¦ C#7 ‘ ‘ ‘ ¦ F# ‘ ‘ ‘ ¦
key - - E - - - - - - - - - - - - - - - - - - - - - > F# - - - - - - - - - - >
From the key of Em to F#m & F#
I IV Ic IVb (V7) I
chords ¦ Em ‘ ‘ ‘ ¦ Am ‘ ‘ ‘ ¦ Em/B ‘ ‘ ‘ ¦ Am/C ‘ A7 ‘ ¦ Dm ‘ ‘ ‘ ¦
key - - Em - - - - - - - - - - - - - - - - - - - - - - - > D* - Dm - - - >
chords ¦ Em ‘ ‘ ‘ ¦ Am ‘ ‘ ‘ ¦ Em/B ‘ ‘ ‘ ¦ Am/C ‘ A7 ‘ ¦ D ‘ ‘ ‘ ¦
key - - Em - - - - - - - - - - - - - - - - - - - - - - - -> D - - - - - - - - >
From the key of E to Dm & D
I Vc Ib IV (V7) I
chords ¦ E ‘ ‘ ‘ ¦ B/F# ‘ ‘ ‘ ¦ E/G# ‘ ‘ ‘ ¦ A ‘ A7 ‘ ¦ Dm ‘ ‘ ‘ ¦
key - - E - - - - - - - - - - - - - - - - - - - - - > D* - Dm - - - - >
chords ¦ E ‘ ‘ ‘ ¦ B/F# ‘ ‘ ‘ ¦ E/G# ‘ ‘ ‘ ¦ A ‘ A7 ‘ ¦ D ‘ ‘ ‘ ¦
key - - E - - - - - - - - - - - - - - - - - - - - - > D - - - - - - - - >
From the key of Bm to Cm & C
I (V7) Ib (V7)
chords ¦ Bm ‘ ‘ ‘ ¦ B/A ‘ ‘ ‘ ¦ Em/G ‘ ‘ ‘ ¦ G7 ‘ ‘ ‘ ¦ Cm ‘ ‘ ‘ ¦
key - - Bm - - > E* - - - - > Em - - - - > C* - - > Cm - - - >
chords ¦ Bm ‘ ‘ ‘ ¦ B/A ‘ ‘ ‘ ¦ Em/G ‘ ‘ ‘ ¦ G7 ‘ ‘ ‘ ¦ C ‘ ‘ ‘ ¦
key - - Bm - - -> E* - - - > Em - - - - - > C - - - - - - - - - >
Note in the last example that we briefly pass through another key to get to the target key….
Edited Thu Jan 16 '03 5:37 pm
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Thu Jan 16 '03 5:34:52 pm
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JS Clone 1
Richard Haier
Toronto, Ontario
Canada
1104 posts total | IP Logged
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Clarky - Whack. I swing my wrist at the strings and make sure pick and skin hits it rather than lightly picking it. It is a strike, a whack. I've seen Joe do it too. That's how i'd describe it. Works for me when I think that way. Just offering what I can. If I can't do any "better than that" THEN SORRRRRRRRRYYYYY!
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Thu Jan 16 '03 5:38:11 pm
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Clarky
Paul Clark
plays the organ, going blind
www.paul-clark.com
2318 posts total | IP Logged
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JSC1 - chill dude... I'm not getting shitty with you or taking the piss so there's no need to get out of your pram.... you well know that it is very possible to create forced harmonics both gently and at high velocity...
I was thinking more along the lines of describing that the pick and the fleshy part of your thumb [or forefinger] make contact with the string simultaniously...
The deeper into the string the flesh pushes, the more harmonic. The lighter the flesh pushes you hear more of the fretted note.
The scream occurs when the ratio of the harmonic and the fretted note is around 50-50....... this is due to addition and cancellation between the frequency of the fretted note [the fundimental wavelength] and the frequency of the harmonic added on top..
Applying forced harmonics with the forefinger are more difficult technique wise but is a more accurate method. This is good if you want to play very high notes that are beyond the range of the fingerboard. So you apply harmonics an octave higher...
Applying with the side of the thumb is a more general method but is simpler to execute as it does not require great alterations to the shape of the picking hand...
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Thu Jan 16 '03 5:50:22 pm
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Clarky
Paul Clark
plays the organ, going blind
www.paul-clark.com
2318 posts total | IP Logged
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Theory posse: ok guys… I know that some of you have struggled with modulation a little so here is a mock situation that you could be faced with when writing a song…….
Picture this: You and your singer are sitting together writing a song. The lyrics and a melody worked out already. It’s an atmospheric ballad [called ‘I Love You So Much I Could Shit’] as the melody is being sung to you, you can here a vibe in your head not unlike Satch’s ‘Crying’ as being a very nice setting to the tune. Your singer sings it in a key that is most comfortable to the vocal range… You noodle a few chords and figure that it’s in the key of A major. So together you mess with it until you arrive at a nice chord progression to complement the melody….
Note: To show the fingering of the chords I’ll write them 1st string [skinny E], then 2nd string [B] and so on. ‘O’ = open. ‘X’ = mute [don’t play it] and the number represents the fret.
Example using an E chord. I’ll write it: - E [O,O,1,2,2,O] - a pretty familiar chord yes?
Also I can’t make a little ‘triangle’ shape to show a ‘major 7’ chord so I’ll use ‘^’ instead… Therefore E^7 = E major 7.
Back to the story. So you are playing it as an arpeggio on your neck pick-up, clean with a nice gentle chorus effect and a pile of reverb. Each chord lasts for one bar. You are playing nice and slow on 16th notes so you can play the bass note of the 1st and 3rd beats of the bar. This pretty little chord progression goes something like this:
In the key of A:
A^7 [9,9,9,11,O,X] ¦ D^7 [9,10,11,12,O,X] ¦ A^7 [9,9,9,11,O,X] ¦ D^7 [9,10,11,12,O,X] ¦
Bm add9 [7,7,7,11,X,7] ¦ E11 [7,7,7,7,7,O] and repeat progression…….
Cute or what!!!
So the writing is going pretty well… your singer is gob-smacked ‘cos you’ve just plucked another killer progression out of nowhere… and then breezes off to the kitchen to make some coffee….
You’re sitting there thinking “this is all pretty nice but there’s a little something missing”… And being a mindless shredder like me it dawns on you “I need a solo….”
But you want a contrast to the mushy major7 chords… you need to move it up a gear to get the song to climax…. And Crying does this too bang in the middle of the track.. so your next thought is “good enough for Satch… so it’s good enough for me”…
You think back and recall an awesome idea you was messing with a few weeks ago and this is just what the song needs…. It’ll fit great… a real master stroke…. but it was in Em… and the killer lick at the end uses open E and B strings so if you transpose it you’ll lose the effect…. Ah ha… time to have your cake and eat it…. Modulate… so you look at the chords your monster solo worked over..
Em [O,8,9,9,X,O] ¦ C^7 [O,8,9,9,X,8] ¦ Em [O,8,9,9,X,O] ¦ C^7 [O,8,9,9,X,8] ¦
Am add9 [O,O,9,10,O,X] ¦ B7 add11 3rd inversion [O,O,8,9,O,X]
Am add9 [O,O,9,10,O,X] ¦ B add11 [O,O,8,9,X,7] and repeat progression loads of times ‘cos it’s so much fun to tear up over…and it is after all your band right.. what you say goes....
So all you have to do is to build a little ‘bridge’ from the key of A to Em to get there and another from Em to A to get back to the song… You’ll be looking for the dominant 7 chords of Em and A to use as a springboard to get into the solo and then back to the song….
To get there you insert:
A^7 [9,9,9,11,O,X] ¦ D^7 [9,10,11,12,O,X] ¦
<2 chords per bar> Bm add9 [7,7,7,11,X,7] - A 1st inversion [9,10,9,11,X9] ¦
<2 chords per bar> D^7 [5,7,6,7,5,X] – B7 1st inversion [5,4,4,4,6,X] ¦
And to get back to A:
<2 chords per bar> Em [X,8,9,9,7,X] - E7 3rd inversion [X,9,9,9,X,10]
[br <2 chords per bar> A [X,10,9,11,X,9] - E7 2nd inversion [X,9,7,9,X,7]
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Thu Jan 16 '03 5:55:15 pm
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Clarky
Paul Clark
plays the organ, going blind
www.paul-clark.com
2318 posts total | IP Logged
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theory posse: So you’ve figured out the song and end up with:
Verse
A^7 ¦ D^7 ¦ A^7 ¦ D^7 ¦ Bm add9 ¦ E11 ¦ A^7 ¦ D^7 ¦ A^7 ¦ D^7 ¦ Bm add9 ¦ E11 ¦
Bridge
A^7 ¦ D^7 ¦ Bm add9 - A 1st inversion ¦ D^7 - B7 1st inversion ¦
Solo
Em ¦ C^7 ¦ Em ¦ C^7 ¦ Am add9 ¦ B7 add11 3rd inversion ¦ Am add9 ¦ B add11¦
Em ¦ C^7 ¦ Em ¦ C^7 ¦ Am add9 ¦ B7 add11 3rd inversion ¦ Am add9 ¦ B add11¦
Bridge
Em - E7 3rd inversion ¦ A - E7 2nd inversion ¦
back to the verse
Obviously I’ve missed out the chorus etc etc…. but the intention of this is to see a good reason for a modulation and how to make it happen… and show it being applied…
Back to the story…..
So your singer hears it and is totally blown away…and the solo is ‘lady melting’ stuff..
Your singer also happens to be an ultra-fit babe, she gets totally melted down on your vibes and is so impressed that she wants to have your babies…
This then leads to a mind-blowing ‘slippy slide’ session…..
All the more reason to know about modulation!!!
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Thu Jan 16 '03 5:56:53 pm
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MegaBoyd
Boyd
suisun city, california
u s A
Plays: Bass
854 posts total | IP Logged
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Slick & Eoc!!!!!! Slick & Eoc!!!!!! Slick & Eoc!!!!!! Slick & Eoc!!!!!! Slick & Eoc!!!!!! Slick & Eoc!!!!!! Slick & Eoc!!!!!! Slick & Eoc!!!!!! Slick & Eoc!!!!!!
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Thu Jan 16 '03 6:09:12 pm
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this_is_my_name
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I'm kinda new to this site and stuff..... anyways......
I've been playing guitar for quite a while and i understand everything that you guys are talking about as I already knowmost of it. Except for "Pinch" or "Pick" harmonics with the index finger.... I can do the regular ones with my thumb, but i never heard of using your index finger.... How does this work????
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Thu Jan 16 '03 6:17:22 pm
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Jstrat57
Justin Schroeder
Milwaukee, WI
USA
115 posts total | IP Logged
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this is my name These are usually used when you want to play notes not on the fretboard (or just want an airy note an octave higher than something lower than 12) pick goes into thumb and middle finger grip. and use your pointer to cause a harmonic somewhere higher on the string. These dont sound at all like pinch harmonics.. they sound more like the 5 7 and 12 natural harmonics
Eric Johnson loves them, and i believe he got the technique from chet atkins, but i may be mistaken
JSC1 Id love to see hordes and potato head if youve got a good way to send them to me... Im on a good conxon so no worres about that. If not, no worries.
Anyone use a johnson j-station? im thinking of getting one for recording into my procuter. They are a arm and a lef cheaper than a pod... so looks like my option... same quiestions aboit the line6 guitarport.
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Thu Jan 16 '03 6:34:29 pm
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Phydeaux_3
Greg Frank Marcus
Stittsville, Ontario
Canada
Plays: Guitar
341 posts total | IP Logged
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Hustler08 - Joe DID play Ottawa, in '89 at the Congress Centre, had Stu with him too! The t-shirt I have says it was the Dreaming In A Blue World tour, & it was AWESOME! Joe ain't never been back to Ottawa since. Usually you have to go to Montréal (like I did for G3) or Toronto (like I did for the Strange Beautiful Tour) to see him anymore. Hopefully he'll come back someday, Ottawa's not THAT bad if you don't have to live here... ;O)
smooches,
» Phy³ . . .
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Thu Jan 16 '03 7:16:04 pm
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tyrantduke
Alan Schrader
Cameron, MO
USA
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Clarky, hey man, I would love to know what the hell you're talking about, but you have to break it down for the stupid people like me. How about starting these lessons a bit father back... say like, what a major 7th is... this simple idea baffled me. If you could broaden my views i would be much appreciated.
Ah, my school district is soooo gay, it is snowing and freezing and 1/4th of the student body is gone because they are sick and we are STILL having school tomorrow. We didn't today but they are bringing us back for ONE DAY before the three day weekend. URRG.
Joe Satriani, hey man, I just attempted to tab your song Raspberry Jam Delta-v from Crystal Planet, i posted it on guitartabs.cc -- it should be up in a couple of days, check it out and let me know how i did!
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Thu Jan 16 '03 8:34:52 pm
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tyrantduke
Alan Schrader
Cameron, MO
USA
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i cant listen to mp3s on the web.. i have kazaa and they work fine on there, but if they are at a site i cant listen to them, what am i lacking?
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Thu Jan 16 '03 8:35:55 pm
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