Conference napalm::guitar

    That's a neat one!  I figured out one little riff in the "Dreams"
    solo on 5150 that might be interesting to fiddle with:  Holding
    down g string, 5th fret, hammer on 12th fret, then 10th.  In the
    solo, EVH has the string bent so as you go along the note goes down...
    Sounds much like a police car w/ doppler effect.  Only really audible
    wif lotsa 'eavy metal distorsion, knowerra mean, mate? May seem old hand
    to some, but I figured I'd drop it in.                 
    
    

    Oops.  Another one I forget is one that Jake E. Lee uses:  pinch
    b&e strings together so that they touch on the fret of your choice,
    now bend b by headstock.  Sounds like one's going up, one down.
    I'll be quiet know.

    RE -1: yeah, that's a good one, however, you can get it a lot `sicker'
    if you hold the "e" note w/ the pinky and bend the "b" string note
    severly with your ring finger (you can bend the note all the way
    to a unison interval if you try)...then do right hand pick harmonics
    on the harmonic interval of your choice (note-every note has a harmonic
    of the note played represented as the same note, a third above,
    a fifth above, a dominant 7th above, then the octave). You get the
    same effect of one harmonic ascending and a second harmonic decending.
    A further sugestion is to change the harmonic intervals as your
    doing it.
    
    My entry is a little ditty for pulling harmonics (do you have this
    one down yet db? (^:) It involves a vibrato arm that can pull notes
    `up' as well as drop them. I like this effect done on the G string.
    From the note of your choice, pull of onto the open G string. Almost
    instantly drop the vibrato arm down low, place a finger over the
    5th fret G harmonic and pull it up quickly with the arm. Notes-
    there is NO right hand picking involved, it's busy working the vibrato
    arm, so you have to have a strong pull off to assure the string
    will still be ringing when you touch the harmonic on the string.
    I like doing this effect in rapid succession, pulling up the G harm.
    at the 5th fret, then the B harm. at the 4th fret, then the D harm.
    at the 3rd fret, maybe back top the B for movement, then up to the
    high G harm. at the 2nd and a 1/4 fret. Try it, you'll like it.
    -William j. Buckley
    

    re: .1
    
    That's a great one.  He also does essentially the same thing as
    one of the opening guitar fills in "Good Enough" (on that one you
    can hear him bend the string before hitting the harmonic which is
    what gave me enough information to figure out how it was done.)
    
    Re: .3
    
    I spent a little time working on that but I'm not as good as
    incorporating these things into solo's as you are.
    
    Here's a sorta basic one: artificial harmonics.  A lot of other
    tricks are extensions of this technique but since I never seen anyone
    do it at one of our jams, I thought I'd include it:
    
    The trick allows you to get a harmonic for any note you want, or
    practically any combination or series of notes played as a melodic
    riff.
    
    Suppose I want to play an F chord using nothing but harmonics. 
    I would fret the F chord on the first fret.  Now take your pick
    and tuck it into your palm such that your thumb and first fingers
    are free.  Place your first finger 12 frets (one octave) above each
    note you've fretted and then pluck the string with your thumb. 
    Do this for each note in the chord and you get a real neat,  almost
    harp-like sound.   I often play chords and whole riffs with this.
    In the middle of a solo it can be a wonderful change in dynamics.
    
    There are TONS and TONS of variations on this.  Lenny Breau used
    to play one note as a harmonic, the next note would be two strings
    down and played without the harmonic, and then alternating back
    again.  I've seen Steve Morse, EVH, Holdsworth and a few others
    do this also.  It's usually called harping and it only works for
    certain chords.
    
    Other variations: 
    
    	1) just tap the harmonic instead of plucking it.
    
        2) I was fortunate enough to briefly talk to Eric Johnson after his
           Boston debut.  He showed me this variation that sounds EXACTLY
           like a japaneese koto.  The variation is to pick the note
           directly behind the 1st finger and then add quick, short
           but wide vibrato with the left (fretting) hand.  I'm still
           working on this.  The difficult part is choosing the correct
           riffs and knowing where and how to put the vibrato in.
    
    Thanks for your contributions.  This has been great so far.  I think
    William J. knows enough of these things to fill up an RA81 so I'm
    looking forward to more.
    
    	db
    

    Here's some neat tapping tricks that might spice up a solo. Tapping
    is limited to a certain degree, so excuse me if you've figured this
    out already. I like the sound of Jeff Watson's eight finger tapping,
    but don't have the chops to get all four fingers of the right hand
    happening yet, so I cheat buy using all four fingers on the left
    hand and sliding the hand as well to produce more notes, as well
    as the index and middle fingers of the right hand which can be trained
    with little difficulty to tap notes. An F# phrygian tapping lick
    I have is on the high E string at the second fret. play the notes
    F# & G with the first and second fingers of the left hand respectively,
    then slide the first finger up to A at the fifth fret (now you in
    postion to play the rest of the mode) play B with your middle, C#
    with your ring finger, D with your pinky, tap E with index Finger
    Right hand and F# with the middle finger R.H. Then decend. 
    Variations include trills, turnarounds, common tones, and repeated
    passages at any point of the fingering.
    
    Another neat and easy tapping thing is one I do in Bach's Brandenburg
    Concerto #3, where I hammer the bass motion on the low E & A strings
    while playing the counterpoint on the G string in hammers and
    pull-offs. You use your mouth to control the vibrato arm 8^).
    -William J. S. Buck

    
    	How 'bout some simpler "tricks" that the less accomplished players
    can try -
    
    	1. The "mutola" effect - I guess is just muting all the strings
    	   with the heel of your hand *while* plucking -
    
    	2. Chicken Pickin - Hold your pick just right so that when the
           string comes off the pick tip, it immediately strikes the
    	   flesh of the thumb.
    
    	3. Scratching the E (yecch!) - Fret the harmonic of your choice,
    	   run the side of your pick down the string lengthwise.
    
    	4. Fake echo - On guitars so equipped with seperate volumes
           for the bass and treble pickup, turn the bass volume pot
    	   down low. Use your "rythm-lead" switch to cut up the sound
    	   of a dacaying note or chord.
    
    	5. Fake Whammy - Strike a harmonic on, say the G string, and
    	   bend it around by yanking on the G string *behind* the nut.
    	   Or just grab the neck up by the machines and yank it around
    	   (not reccommended on guitars you love)
    
    	6. Fake Drum - Mute all the strings with the left hand and slap
    	   the string set with the bottoms of the right hand fingers.
    	   Good for showing the drummer the song's meter.
    
    	7. Violin sound - using you favorite distortion box, swell the
    	   volume (long "attack") using the volume control on the guitar.
    
    	8. Guaranteed infinite sustain - Place the bottom strap lock
    	   in physical contact with your speaker cab while playin at
    	   hight volume.
    
    	9. sick Sick SICK! - clamp little lead fishing weights to your
    	   strings down by the bridge - within the last inch of string.
    	   That'll make ya sound "different"!
    
    	Have Fun!
    
    	Joe Jas
    

    To get the proper traditional "electric" blues sound (intermittent
    cable and a speaker with a rip in it) from an acoustic guitar:
    
    Thread a strip of wax paper (or ordinary paper if you must) through
    the strings just above the sound hole, then pick your blues (Chuck
    Berry licks in particular) as usual.
    
    Sounds great...

    
	I've seen Ralph Towner get distortion on his acoustic guitar
    by threading a book of matches through the strings.
    

    
    Here's a quick one that everyone used in L.A.:
    
    	You're at a recording session.  It's decided the song needs
    
    a 12 string rythmn guitar.  Nobodys got one.  Replace the 3rd
    
    string (G) with a .009 or .010 string tuned to a high G on a
    
    standard acoustic guitar.  Another session DONE.
    
    RW.
    
    
    ususally passes all but the really critical ears. 

    Steel drum sound: Thread a pick into the top (in pitch) three strings,
    just in front of the bridge.  The slightly out of tune, muffled
    result sounds much like a steel drum.
    
    Johnny Jupiter
    
    

    See 93.8-10 for a neat DDL trick plus "pinky swells".
    
    Here's a neat one: A snare drum sound believe it or not!
    
    Take one string and bend over and past another string.  Now slap
    the two string simultaneously and you get a very snare drum like
    sound.
    
    I've found that it works best on acoustic guitars.  Be warned that
    it is likely to leave your guitar out of tune.  Also, I've found
    that the best way to sound the strings is by hitting hard with
    the nail of your picking hand.  I sometimes do it by "flicking",
    which is bending your thumb around so that it touches the nail
    of the finger your using to hit the string.  Then use that finger
    to push against the thumb and then pull the thumb out of the way
    so the other finger sorta snaps straight.
    
    	db

    here's another one.    If you have a delay,  turn the delay up so
    you play and the the echo spits it out a second later.  kick on
    some distortion, and if you're feeling extremely artistic, perhaps
    a bit of chorus.
    The Big trick:  With your pick on its side rotate it around above
    your selected pickup.   Challenged many a keyboardist to reproduce
    this And None Of Them Can.  (Heh, heh.)
    
    		Craig
    

         heres one for grins and chuckles.if any one out there has a
    double neck try this with the volume on the 12 string turned all
    the way up and the 6 down do some rapid alternate picking on the
    6 i hard live but ihave done it for recording and small playiny
    areas if you want to hear what i mean just send me a mail stop and
    i will send tape
                 scott
    

    
    	An interesting effect is to take a piece of foam and place it
    under the strings.  If you play *vary* hard you can get some very
    interesting sounds with a very short sustain. 
    
    	You can also take a slide and place it over a harmonic above
    a pickup(about where the twentieth or so fret would be, and play
    above the slide.  Interesting chordal effects on only one string.
    
    	Replacing the bridge with a piece of 1" across flat metal will
    create a sound very reminiscent of Indian music.

        
    	This one I invented from the days before I could get a whammy
    but I listened to EVH and Jeff Beck ( There and Back ) a lot.
    
    	On the G-string ( really the only one that works well for 
    this) let's say generally between the 4th and oh....14th fret
    so you get the best tone.
    
	( I'll assume a righty player )
    
    	The effect you get is kind of fast whammy-wailing, but 
    the left hand does the work, no bar, and you don't depend as
    much on sustain and overdrive.

    
    
example, lets say: 
        	D on G-string 7th fret, with 3rd finger, backed up 
    	by 2nd finger to handle bending both UP and DOWN.

		the steps:
     -   Pick D, while starting to 
     -   BEND UP (toward you)to E,
     -   quick PULL back DOWN (away from you)through D and KEEP PULLING
    		DOWN to hit E again,
     -  RETURN THROUGH d AND bend back up   to E
    	REPEAT
    
    	basicaly, bend up-down-up-down above and below string level,
     without stopping in-between.  pick once for each cycle
        it's all in the wrist on this one...try to hit the same pitch
        bending up as bending down so it sounds real even.
	You are duplicating very closely an E held at the 9th fret 
    	that you would oscillate by quickly jabbing the whammy down
        and letting go.
                You can do this extremely fast, faster than you could 
        do the same effect with a whammy without looking like a
        spazz-case, because you are getting effectively 2 whammy 
        for each tick of the pick.  And that's the neat thing: you 
        CAN pick because you're picking hand is not holding the bar.

    	Like I said, you don't need gobs of overdrive and sustain. For
    	instance you can fit this into a solo sort of ala Muddy Waters
    	to create some tension or just build while waiting for a chord 
    	change to come around.....
    
    	.....whatever
    
    
    Jim.
    
    
    
    
    

    
    	On a whammy where the bar removes easily from the bridge, you
    can pull the bar out. Makes a great, convienient slide!
    
    							Les
    

    I don't know as this is an actual guitar trick, this is more of
    a set-up trick.
    
    For those of you who have Kahler locking trems, and are sick of
    them, do what I did to get your old-non-moving bridge back!
    
    Now, this is pretty elementary, Those with Kahlers have already
    figured out what I've done.
    
    Simply adjust the spring tension as tight as it will go, and screw
    the side pegs in as tightly and as far in as possible!  Then, remove
    the locking nut, as you won't need it.  I put the bar in it afterwards
    and tried to move it, and I bent the bar. 
    
    Fixed bridge.  Did that last night after realisation that I hated
    my kahler, and I couldn't play the simple A (open A, E) and bend
    the D# on my B string up to an e, meeting the high e, note-wise,
    without the A going out.  Syd Barrett never had a locking system.
    
    /c
    

    
    Anybody got any new tricks ? 
        
    I'm running out of fresh ideas 8^)

    re -1
    
      Get the paul gilbert instruction video, it has 3 or 4 awesome
    GUITAR TRICKS.
    
    
    
               dave
    

    Tony,
    
    Stop your whinin' and buy the video !  Sheesh !  What else can you buy
    for your guitar for $45 ??
    
    Hmmmm ?
    
    ;^)

    >>Stop your whinin' and buy the video !  Sheesh !  What else can you buy
    >>for your guitar for $45 ??
    
  >>  Hmmmm ?
    
    How about some dinosaur teeth bridge pins? or the nut or saddle?  or
    a dozen sets of strings? or 3 gross of picks?  or 5 weeks of
    instruction with a master?  
    
    Hmmmmmmmmm!
    ;^)
    
    

    Well, yu see my point anyway ...
    
    ;^)
    
    Now what would a Charvel owner want with dinosaur teeth bridge pins?
    
    ;^)

         
    I'll try an re-vitalise this topic ...
         
    Switch your guitar to the neck pickup and turn the volume of the 
    neck pickup down to 0. Keep you finger on the volume knob.
                         
    Hammer on a note on the (low) E string and as you hammer on, turn 
    the volume of your guitar up (so the note kinda fades in) and put 
    some vibrato on the note you've just played. Repeat but with different 
    note (try playing a Gmaj scale on the low E using the above technique). 
                             
    Sound Good.              
                             
    -Tony                    

    In the same vein as the previous note...
    
    An EVH 'roaring elephant' -
    
         Volume all the way down, whammy bar all the way down.  Play some
         harmonics and then volume swell/let up on whammy bar.
    
    Not particularly useful, but interesting.  Needless to say, use a
    healthy dose of distortion.
    
    ~Steve

    >    An EVH 'roaring elephant' -
    
    >    Volume all the way down, whammy bar all the way down.  Play some
    >    harmonics and then volume swell/let up on whammy bar.

    In case y'all are wondering, the harmonics in question to played
    are a G, F#, and E simultaneously (thats G, 5th fret/G string;
    F#, 7th fret B string, and E, 12th fret on the high E string).

    Ok,
    
    To do the following trick, you have to be somewhat familiar with
    a few other guitarists tricks...its a combination of a few things.
    
    To start this diddy, first pick your fav harmonic combination with the
    plectrum (how about the high G & B at the 5th fret for a lack of
    something better? - I suggest two harmonics instead of one).  As
    quickly as you can, take the pick hand and place it on the low E
    string, with the other hand reaching over for the vibrato arm.  The
    left hand should `flick' the end of the vibrato arm quickly and
    repeatedly, as to achieve the Brad Gillis `cricket' effect.  As the
    left hand is cricketing away with the vib. arm, the right (pick) hand
    pulls up on the low E string slowly, causing the tremolo unit to pull
    forward, thus giving the cricket effect on your harmonics a dopplar
    (sp??) effect!  Its like the dive-bombing crickets from hell effect!
    ;^) 

Here's a trick which gets attention when opening a show or before a 
jumpin' song.

	1) get a bassy sound out of your amp and effects. I also use
	   the neck pickup.
	2) use some nice distortion and a great deal of reverb.
	3) turn down the volume pot on the guitar, or volume pedal, but
	   leave the amps' volume up.
	4) nail the low E-string so it rings loud. (an open E )
	5) swell the volume using the knob or pedal.
	6) as the volume increases, and the distortion kicks in 
	   hammer on the first fret of the low E-string ( F ) and 
	   continue to swell.
	7) quickly turn the volume down to nothing (again on the guitar/pedal)
	   and let the note fade with the reverb.
	8) repeat from step 4 and do it quicker each time.


This if done correctly should produce the opening to the JAWS theme.
*** NOTE  the volume control should come before the distortion for the
optimal results. 
                                  Rob
    P.S. 
    I know It's Late

    I like the little trick that Sebastian Bach does in that Skids vid...
    Where he reach over the neck and barres and hammers...  Unique for
    me..
    
    jc

    Yo, JC...
    
    Sebastian Bach is the lead singer for the Skids...guitar duties are
    handled by Dave "Snake" Sabo and Scotti Hill.  I believe the technique
    you are talking about was done by Scotti in the I Remember You video?
    If so, it's bogus!  I know the solo, and I watched the video in slow
    motion and the trick he does in the video does not match the notes
    played!  Just a bit of flash for the camera me thinks!

    Skid Row is a bag if tricks (or should that have a "d" in it ...).
    I hate it when bands do unrealistic things in their videos.  I think
    they underestimate the intelligence of their fans.
    
    
    				Scary

    I'm not surprised thats it's bogus.  I tried it last night in a
    "Hollies" tune, and it didn't work out too well, did it Bulldawg?
    
    I like trix, but I like them to sound good.
    
    ;^)

    re: -1
    
    It looked wild......but, we have alot of axe slingers in our audiences,
    and while it aint our job to impress them, it sure is fun.  I prefer
    impressing people with good tastful lix....wish I knew some!
    
    8*)....the Stealth Bulldawg (classic rock super hero) TAH-DAH!
    
    P.S.  BTW, the trix that look difficult and aren't ("cheaters") may not
    impress the guit players, but I've seen Coop actually get groped in a
    real fun place....there's various ways to have fun while playin' out! 

    
    	How about a violin sound from a guitar?
    
    	Eddie (VH) does this on the Diver Down album and as part of
    	his incredible live solo.(if anyone has seen them latley,
    	they'll know what I mean)
    
    	Its simple. Using a clean sound(no distortion) set your delay
    	for about 1/2 a second. Hammer on whatever (preferable low)
    	note you want, and with your picking hand, turn up the volume
    	relativly fast.(keeping the volume at 0 and turning it up a
    	split second after you hit the note)
    
    					Steve
    
    	p.s. The delay should have only 1 repeat at the same volume
    		as the original note.

Violining is a lot easier if you have a volume pedal as it leaves both
hands free....


jc

    
    
    re -.1
    
    Violining is even easier with a violin! 
    
    :^)
    
    

    Ritchie Blackmore does some nice 'violining' in the live version of
    "Space Truckin'".
    
    cheers/mike

	Try playing a guitar with a violin bow. Of course you can only
	play chords (and you get resin all over everything), but you can
	certainly get a differnt feel for the chords. A violins bridge 
	has a lot tighter radius to it than a guitar (most guitars are
	10 to 12 inch radius on the fret board / bridge, while violins
	have about a 4 inch radius), so you can get to the individual
	strings with a bow on a violin. I saw someone on TV (years ago)
	that was using a violin bow on his guitar.

	You can even play your woodsaw with a violin bow (You see people
	on PBS tv stations every now and then who are exceptionally 
	good at this - you play the edge without the saw teeth).

	Pink Floyd used to go into the studio with all sorts of 'unique'
	musical gear (like milk bottles and trash can lids) & add them
	as musically as possible. 

	By the way, student bows (el cheapo quality and fairly short,
	but fine for experimentation on a guitar) can be had for about 
	$20.00 - $25.00 in many shops (these use nylon 'horse hairs' and
	are made of fiberglass).

							Jens

    Didn't Jimmy Page use a bow in "The Song Remains the Same"?
    
    At the end of "Casmir", there were only a few strands left on the
    bow!
    
    cheers/mike

    The general technique here is usually called "volume swells".  I've
    discussed it extensively somewhere in here (including DDL settings
    and notes for "Cathedral") but I can't seem to find it.
    
    BTW, Steve Morse uses a lot of these techniques.
    
    Sounding like a violin is but one of VERY many sounds and applications
    for it:
    
    	o Steve Morse can do some dead-on steel pedal type things
    	  with it (check out the rhythm guitar under the violin solo
    	  on "The Bash" from the "Night of the Living Dregs" album).
    
    	  Basically what you do is turn the volume off, hit something
    	  on the order of a double stop like A and D, turn the volume
          on and bend the A up to a B.
    
    	o Brass - basically it's just the "violin" thing but with a
    	  Op-amp type distortion box - the sound becomes brass-like.
    
    	o Flute - like brass only with the neck pickup and some eq
    	  emphasizing the low-to-mid range and de-emphasizing the highs
    
    	o Ethereal/Pad - basically just put a delay on it with something
    	  near the following settings:
    
    		Mix	Delay	    Regen		Mod
    		50%	250-600ms   About 2-4	     Little or none
    			            repeats
    	
          A "wet" mix of "deep" reverb also helps a lot.
    
    	  Basically this gives you a long sustaining "pad" type sound.
    	  VERY un-guitar like.  In fact, this is sorta my favorite
    	  even if it isn't useful for playing lead lines.
    
    	  It's wonderful if you're a keyboardless two-guitar band.  You
    	  can get that lush synth-wash backdrop w/o any keyboards.  And
    	  everybody in the audience will think you are using a guitar
    	  synth.
    
    	o Fade-ins/outs - Like at the end of Boston's "Foreplay" when 
    	  the distorted guitars come flying in to start "Long Time".
    
    	  Or the solo in, what I think is "Somebody Get Me a Doctor"
    	  on "Van Halen II".
    
    Other notable recordings: Lead line on title track of Dreg's "What If".
    
    There's also a neat trick I discovered for adjusting the how quickly
    the gain kicks in on your volume knob.  If you have a two-pickup
    guitar with the Les Paul type 3-position switch, put the switch in
    the middle position (both pickups on).
    
    Let's say you're gonna do the swelling with your neck pickup.  You
    will find that adjusting the volume of the other (bridge pickup)
    volume knob will have a considerable affect on the "gain" of the
    neck pickup volume knob.
    
    Like, if the bridge volume is 10, you will find that the "gain" kicks
    in very quickly on the other volume knob.  If the bridge volume is
    like 3 or 4, you will find that the "gain" is MUCH more gradual
    on the other volume knob.
    
    You can use this to sorta "customize" the gain of the volume knob, or
    syou can use it to create fairly different type sounds by having
    what amounts to a different attack/contour curve.
    
    One other standard warning: I've trashed gone through about 4 volume
    pots in two years doing this kind of stuff.  I used to do "Cathedral"
    and that particular one really wrecks your volume pot, so be prepared
    to have problems if you use this technique a lot.
    
    I've found that the Carvin replacement pots are pretty sturdy.  I've
    had the current one for about a year now with no problems other than
    it tends to get noisey and hot if you use it a lot.  But the problem
    goes away after you stop (apparently no permanent damage).
    
    	db

>    The general technique here is usually called "volume swells".  I've
>    discussed it extensively somewhere in here (including DDL settings
>    and notes for "Cathedral") but I can't seem to find it.
    
    It's in the EVH note.

    
    	re. 35
    
    	It might be easier with a volume pedal, but when I saw VH live,
    	and also in "Live Without a Net" he uses the volume knob.
    
    	re. 39
    
    	Jimmy Page does use a violin bow (and also beats the sh*t out
    	of his Les Paul while doing it) in "Dazed & Confused" 
    	I saw him do almost the same solo w/ a violin bow with
    	the Firm. Incedible. He had lasers this time, though.
    
    					Steve
    
    	p.s. Dazed & Confused live is just too short, dont you think?
    	p.p.s. Im joking

            
    Apparently Page nearly fell off his chair laughing when he saw
    Whitesnakes "Still of the Night" video, where Adrian Vandenberg
    uses a violin bow on his guitar during an orchestral part.
            
    What a poseur!

    Page did laugh at that, but how else is a 5 piece rock band going
    to effectively simulate the sampled string sounds on the album?
    I think they way they presented it in the video was acceptable.

                                  
    They could have had Tawny Kitaen playing violin - just as ridiculous
    I know, but a lot nicer to look at  8^).

    Page seems to be spending a lot of time belittling people doing some of
    the things he regards as "his".
    
    I'm sorta getting tired of him doing that in interviews.  One values
    a little more in the way of "grace" from someone in his position.
    
    Imitation was once regarded to be the sincerest form of flattery.
    
    I'd like to see him stop harping on the application of what he "did"
    on start focusing more on what he is "doing".  He needs to start by
    "doing" something.

Thanks for saying that DB.  Page is a jerk.  Where does he get off 
sittin' on his butt doing nothing and living off his distorted 20 year old
blues/rock riffs, and slamming other guys who are at least contributing 
something new ?  He's probably just ticked that the new speedsters (Vai,
Bettencourt, EVH...etc) are getting more attention than he gets...
What really gets me is most of those guys list Page as main influence!
PU-lease !

jc (Who feels better now)

    Dear Jimmy Page,
    
    Talent + HUMILITY breeds RESPECT

    
    	While not wanting to turn this into a "slam Page" note......
    I saw page on the tv a while back, he was having real trouble putting
    the chords to Kashmir together on his $Zillion Martin acoustic. YUK!!!
    My cat could have done better,  mind you my cat don't do coke by the
    ounce...well....not that I've noticed....guess you never know with 
    cats :-).
    
    Cheers
    		Pete.
    		Pete.

    RE: .49...you'll never know unless you go to the kitty bed and look
    for cancelled checks ;^)
    
    So, Jimmy Page slags some current guitar heroes and what do we do?
    
    Slag on Page!!
    
    WTF, he can say whatever he wants just like us.
    
    joe.

    re .43 
    
    Is that the Whitesnake song that's a blatant 
    rip-off of Kashmir? Or am I thinking of a 
    different Whitesnake song?
    
    -Tom

    It don't really concern me too much about what people say about
    Page 'ripping this off' and Page 'saying that'!
    
    All's I have to do is sit down and listen to some Led Zeppelen II
    and that tells me right there just how great a guitarist Jimmy
    Page was.
    
    Mike

    Anybody heard that string quartet playing Kashmir (name of the group
    escapes me now).  Might even be better than the original.
    
    						Brian

>        <<< Note 46.53 by AQUA::ROST "Bikini Girls With Machine Guns" >>>
>                    -< Just Another Excuse For Next Unseen >-
>
>    Anybody heard that string quartet playing Kashmir (name of the group
>    escapes me now).  Might even be better than the original.
>    
>    						Brian

Is it the Kronos String Quartet?  They do Purple Haze.

Bob

    
    	re.52
    
    	I couldnt agree with you more, Mike.
    
    				Steve

    RE - Kashmir ripoff ...
    
    	Nope, I can't think of the new Whitesnake tune that rips this tune
    off, but it's *NOT* "Kitten's Got Claws".  The tune you're thinking
    about realy shows of that 7 string Ibanez Universe.  Some serious
    bottom end on some of the chords !
    
    
    				Scary

    
    Hey, scary.  Is it "Judgement Day"?
    
    J.

    Thankyou !!  There are mounds of brown body laying all about.  I could
    hear it in my head - I could see myslef playing Kashmir-type chords and
    saying "gee, this sounds like Kashmir.  Wonder why Kingdom Come didn't
    think of this ?".  It's a good tune though.  Puts a little space
    between the radio fluff tunes on that CD.
    
    
    
    				Scary

    
    
    >>saying "gee, this sounds like Kashmir.  Wonder why Kingdom Come didn't
    >>think of this ?".  It's a good tune though.  Puts a little space
    
    Re.58
    
    	Kingdom come did think of it.....it's called "Get it on".  It's a s
    much a rip as I've ever heard.
    
    Cheers
    		Pete.

    Re: .54
    
    Nah, it's not Kronos, it's some outfit from NYC that plays (mostly)
    jazz, wish I could remember.  This track gets played lots on the fusion
    programs here in Boston.  Pretty hip.
    
    							Brian

    Name of that string quartet is on the tip of my tongue -- "Turtle *" --
    just can't remember the rest of the name.
    
    - Evan
    
    (Who doesn't even like the thought of part of a turtle sitting on the
    tip of his tongue...) ;-)
    
    

    Has anyone heard RACER-X's live album were at the end of paul gilberts
    solo piece he suddenly get a very compressed sound. If you have
    heard it you'll know what I mean, anyway one day just after I had
    snapped the top E string I procceded to re-string it and while doing
    so found that if you play some bends at the top of the fret board with
    the E string tuned so it's just straight and not slack you get a
    sound fairly similar, i'm sure paul gilbert did'nt play it this
    way but it's fun playing around with the sound you get from it anyway.
    
    

    
     Saw Paul at a clinic a few years back he explained how he did that.
    
     One word: EVENTIDE.
    
     The do all harmonizer of doom. The same effect can be produced with a
    pitch transposer. Pick a setting for a fifth or octave higher and then
    turn your mix to all effect. The dry guitar tone disappears and all
    that is left is the processed tone. Sounds terrifying to say the least.
    
    
    								R.C.
    

    
    Came up with a cool one recently.
    
    Play a quick lick on the low E, A or D (or all of them) and include a
    couple of right hand taps. After you've tapped, slide the right hand
    finger (won't work with a pick) all the way down the strings (towards 
    the bridge) until it slides off the neck. As your finger leaves the neck 
    keep sliding down the string (the slide should be fast) and it will cause 
    the string to 'fret' against the pickup, and gives a well cool 'squeak'. 
    If you use it in the middle of a fast run, do the 'squeak' and then do a 
    slide on the low E into a chord, it sound great.
    
    Its difficult to explain, but try it.