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Thread: Attn: Guitarists

  1. #49

    Join Date: Sep 2008
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    The thing about Hammett is that he was always just a dude who was happy to play lead in a thrash band. He never really lauded himself as a super clean shredder or technique guy. He just played fast, awesome thrash and gave all of us some awesome shit to headbang to.

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  3. #50

    Join Date: May 2010
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    I doubt he ever really publicly compared himself with the Petruccis and Van Halens, but he was definitely promoted as a virtuoso player. Maybe that wasn't so much his own doing.

    Not trying to be pedantic, but this is the kind of stuff I was devouring when I was 15 and fantasizing about earning the chops to play guitar for millions.

    Again I was just tossing out my favorite example of a successful player with shit vibrato.

  4. #51

    Join Date: Oct 2008
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    Quote Originally Posted by noodles View Post
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    You guy a point there, since I can easily rattle off several good ones from classic tunes. Shortest Straw is probably my favorite thing he has ever done.
    I love that solo. The melody before it has great tension, then you get all that badass stuff after. That and Blackened are probably my favourite solos by him.

  5. #52

    Join Date: Sep 2008
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    Quote Originally Posted by noodles View Post
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    Honestly, I've never liked Hammet all that much. He absolutely came up with some cool stuff on MOP and Justice, but he's got this oddity to his playing that just bugs me. It's kinda like every note is sharp from pressing down too hard, and his vibrato has always sounded tentative and unsure to my ears. The sound of him playing grates on me.
    Not to dip into fanboi mode of my own, but IIRC, that was also back when he was still taking lessons from Satriani. He'd bring in these riffs that he and the band had written, show them to Joe, and then they'd sit down together and Joe would suggest scales and modes he could use and help him work out melodic ideas. I don't know what the last album Joe actually helped him compose leads on - it might have been Kill 'em All or Ride the Lightning where he stopped, as the band started to get bigger - but Satriani was clearly a much bigger influence for him back then, whereas these days it seems like he does a lot more pentatonic shred.


    To briefly (heh) return to vibrato... A buddy of mine asked me to play music for his wedding a few weeks back, and asked me to do an electric guitar version of Pachelbel's Canon for the recessional (yes, he sent me the video of that asian kid doing that cheesy rock cover, and asked if I knew the guy. And no, I did it in a very different direction than that, because that arrangement sucks). I spent a week or two with a violin score, arranging it for lead guitar and then practicing it to make sure I could nail it even when a bit nervous playing in front of an audience. Given the constraints and the fact it was an outdoor wedding, I was playing with my half stack on the edge of a field and my Flashback X4 providing accompaniament support as a looper.

    So, first, that's two weeks of my life I'm not getting back. Second, however, I found myself thinking that the song really started to come together once I started focusing on my vibrato, and being sure to add it on any note I was holding for more than say a 16th note. I just finished recording it for him the other night (the video guy was an uncle of the bridge and ended up getting sick before the wedding and couldn't do it, so they recorded all the spoken bits at the reception the next day and had me record all the music I played) and I wasn't thinking about it too closely then, but...

    Really, I think when you start playing classical music on electric guitar, you REALLY start thinking about vibrato. On a rock/shred solo you don't necessarily notice it, but when you're playing classical, suddenly the vibrato is glaringly absent, on violin music. It's no wonder Yngwie has such an awesome vibrato. He HAS to.
    "They can kill you, but the legalities of eating you are a bit dicier." - David Foster Wallace

  6. #53

    Join Date: Oct 2008
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    ^ That's a good point. One of my all-time favorite pieces is the Elgar Cello Concerto, 1st mvt. Imagine playing it with no vibrato:

    [VIDEO]]Yo-Yo Ma: Elgar Cello Concerto, 1st mvmt - YouTube[/VIDEO]

    Incidentally, I credit Romantic-era music for inspiring my love of metal

    EDIT: Just check out how differences in attack and vibrato totally change the vibe of the piece, as well as how the different types of vibrato change the emotional content from tension to release. Jacqueline du Pre is playing like she has something to prove, and it comes through in a more aggressive vibrato and more exaggerated dynamics and tempo swings, while Yo-Yo Ma seems to be more in control but less "on fire," as it were.

    The particularly aggressive oboe player in this recording always cracks me up, especially in the first few minutes.
    Too much focus leads to tunnel vision
    Too much faith leads to religion
    Too much knowledge leads to confusion
    Too many guitar lessons lead to jazz-fusion

  7. #54

    Join Date: Jun 2017
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    Oh god, you mean that fast "twiddlie" thing guys do when they cover bad Metallica while playing Kirk Hammet solos? I HATE THAT.

    I learned to oscillate my vibrate in roughly 8ths from the tempo or half-time it if we are talking high bpm. It is just more pleasing to the ear. I love Frank Gambale's take on modern vibrato and how the newer generation of players are lost on the art of "subtle vibrato".
    "A paranoid is someone who knows a little of what's going on." - WILLIAM S. BURROUGHS

  8. #55

    Join Date: Sep 2011
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    Quote Originally Posted by Chris View Post
    Listen to your lead playing. Are you the guy that pulls off a great sounding, cleanly played, tasteful run that sounds like it's about to summon Odin himself to give you a high five, only to SHIT ALL OVER IT at the end with horrendous, Eddie Money style 500-mph vibrato that sounds like a swarm of wasps trying to invade your eardrums?

    Is that you? If so, do us all a favor - STOP THAT SHIT. Vibrato doesn't mean "shake the fuck out of a note as fast as you can". Vibrato is RHYTHMIC. If your fucking tempo is 100bpm and your vibrato is 386.5bpm, guess what? Your vibrato SOUNDS LIKE CRAP.

    Pay attention. It's as important as legato, phrasing, and everything else you motherfuckers are working on. Practice your vibrato assholes, and stop ruining otherwise great lead lines.
    A Fuckin Med!!! Your vibrato is your voice, it dont matter if you can throw down words like a guy at a car auction if nobody can understand them.
    Vag Jackson, Man Of Action

  9. #56

    Join Date: Jun 2017
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    Quote Originally Posted by bigdave View Post
    A Fuckin Med!!! Your vibrato is your voice, it dont matter if you can throw down words like a guy at a car auction if nobody can understand them.
    Absolutely! I've always maintained that a player's vibrato is his most uniquely distinguishing characteristic! Glad someone else sees it that way.

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