. Today for lunch I ate a bagel, pretty boring but not much around right now. I am on a tiff where I am burnt out on sandwiches. Probably a coffee in the near future (#2). My afternoon will involve doing some work reading about finite elements and variational calculus, followed by guitar practice, followed by going to play some Dungeons and Dragons with a large group of more engineers.
So for G&L content, I will give a rough review of my first G&L. I will likely go into specific parts and such in detail later this week, as I don't know what G&L stuff to talk about otherwise. I am not a history, nor a vintage instrument buff, so I will work with what I have. I received a flawless ASAT special just last tuesday. For those who have not seen it, here it is (and shame on you).
It is pretty non standard, #3 neck, graphite nut, locking tuners, painted headstock etc. I like how well the plain black (1 ply) pick guard looks on it. I was not expecting myself to like it and had something lined up with a pick guard maker, but I do not want to mod it any more in that sense. The finish is awesome. No pin marks to be seen. The piece of ash is excellent with lots of character, and all the good stuff is not covered by the pick guard or controls (pretty straight on that side). I bought it as I loved the fit and feel of G&Ls from the first touch. This is my first, I doubt it will be my last.
What was your first G&L, do you still have it, (and of course pics or it did not exist)?
As far as practice goes, I have mentioned before I have a hardened regime. I do exercises for more than 1 hr a day on guitar, then I might play some songs if I feel like it. Generally I don't play songs so much as dissect them, I find parts I cannot play, parts I like, and parts that are odd and try to play them and/or figure out what it is based around. Some songs I am working on are The Count of Tuscany (Dream Theatre), I have almost got this one. The Wickerman (Iron Maiden) the solo in this one is whacky and weird, I find it very difficult. Constant Motion and The Best of times (Dream Theatre again) they have some good alternate picking w/ string skipping, always need more work there. The solo for Best of Times is likely also on the list, but well, it is a freaking beast.
I have included it below in 2 parts (as it is more than 10 min, the solo is in part 2). How do you practice, is your technique at the peak you would like it to be, and if it is what motivates you to play? My ability, while pretty high, is not where I would like it, I have many areas to improve in speed, and definitely sweep picking. I also need to get my hybrid picking a lot tighter, but I wouldn't call that bad either.
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As far as music goes, first and foremost for me is Progressive music, so I am going to start there giving a bit of my influences and how they drive me. Progressive is really important to me, as it is kind of picking up where classical left off. Stretching the limits of what is acceptable in a frame while still trying to remain musical. I am a huge fan of Rush and Dream Theatre, but I also appreciate King Crimson, Yes, Jethro Tull, and Pink Floyd. These bands and players all challenge me to play better, to explore different paths to the end, and to not accept the easy way out on a tune. I figure I will include the last tune I recorded this summer (the only tune in fact, as I was quite busy and this was a bear). It is kind of a progressive fusion tune, Summer's End. I talked about working on it last time I was LR, but here is the 'finished' product. Summer's End. What are your thoughts on progressive music?
Hope you all have a good day, without too much Monday's involved
Cheers,
Kyle
. Very nice tune, like the atmosphere it creates, especially when the solo breaks in. I like how you lead up with anticipation but then put it in the background. A very interesting effect.
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