mista

Anyway, "Paranoid" is played on the E of the 12th fret of the low E string! Otherwise, it doesn't sound right. When I have time, I'll post Guitar Club's comment on the transcription of "Paranoid," which says pretty much the same things I was saying before, namely that it's very difficult to reproduce the same feeling as the original, even though it's a very simple riff. ROCK ON!

In fact, it's one of the first times I'm posting comments, so I'm sorry if sometimes I come off as a bit out of place or if I get fireflies mixed up with lanterns. Anyway, if I may offer some advice to guitarists, I say: watch out for bending, learn to hit the notes you have in mind precisely with bending, and learn to use this technique in your solos with good taste. Oh, and also learn to vibrate the notes and be expressive, and don’t stress too much about speed. I’ve already mentioned that I’m not a guitarist, so I don’t want to act like a teacher, but in my experience, I've seen a lot of fast people who think they’re cool struggle to record a decent solo in the studio, whether due to a lack of feeling, coming in with a out-of-tune guitar, or not knowing how to do in-tune bends. That's all! Bye everyone!

momo, maybe we have slightly different reference points and perhaps you didn't quite understand what I meant. I know that many can't reach the speed, but these are still "amateur" guitarists, so to speak. Personally, I've seen and known quite a few fast guitarists, up and down stages and in and out of studios (Vic Mazzoni, Olaf Thorsen, or other less well-known professionals like my bandmate Steve Volta). I assure you that among the professionals, sweeping and picking techniques, especially in the realm where I played at a good level (power metal), do not impress anyone. On the contrary, we have a good laugh when we hear guitarists shredding like crazy and then hitting disgusting notes when bending or sounding completely flat and expressionless in their playing. That's why at the beginning of the discussion, I encouraged guitarists to not underestimate (a bit like you do, no offense) simple techniques, always listening to what they play and not treating the guitar as an "athletic" exercise, but always trying to put in expression and "soul". The history of rock teaches us that great guitarists didn't always possess exceptional technique, but they always had personality, a sound, and unmistakable expressiveness, something that many sweepers and six-stringers lack and will never have! Curious: do you play Paranoid at the seventh fret?

I don't want to get into technical issues, especially since I'm just a bassist, even though I've seen dozens of guitarists—both professionals and amateurs. I've formed this opinion: picking sixths and sweeps are certainly difficult techniques, but with training and persistence, anyone with a bit of talent for the instrument can master them. Mastering bending technique, however, in a natural and spontaneous way, isn't easy because it requires a certain symbiosis with the instrument that few achieve, even after years of study. The touch of the right hand is also something similarly natural and innate, very important for me when evaluating a guitarist. People like Iommi, Malmsteen, B.B. King, and Hendrix had a "magical" right-hand touch that allowed their guitars to produce dynamic sounds full of nuances that no effect can imitate. Take the riff from "Paranoid": it's the simplest riff in history, but reproducing it with the same "mood" as the original is nearly impossible.

momo all this fervor in claiming that bending is an easy technique...bah! It’s clear that everyone knows how to move their little finger and change the pitch of a note. The problem is knowing how to grab those tasty notes when you move your little finger. In my opinion, bending, being a completely "irrational" technique, tests the true talent of the guitarist. If they have it, they'll hit even out-of-scale notes in the right way, compositionally valid. If they’re lacking in talent, they’ll take refuge in playing mixolydian scales at 200 mph for 23 hours a day. Take Tolki and Malmsteen. Tolki is a tritone, Malmsteen is a cool guy, and you can hear it even in his bends (not to mention his touch and his inimitable sound).

Come on, let’s stop with these frustrations from musicians who say: “But how?! I can play Lydian and Mixolydian scales and the harmonic minor, and I don’t even have a damn band to record a decent demo?! The world is a mess! Look at Slash! Just pentatonics and everyone worships him!? How ignorant…” In rock, it’s not what you do, but how you do it.

Yes, yes, I understood your objection, ale79! It’s clear that the techno-thrash of Rust in Peace is not thrash with techno keyboards! However, it was also clear that here it was meant in the sense of metal with influences from techno music ;-)

I’m sorry to contradict some of the commentators, but it is undeniable that the genre of No Limits and other works by Frank Andiver contains arrangements that deliberately incorporate elements inspired by techno music. In fact, Frank himself has produced many techno records aimed at the DJ market and has always tried to infuse these influences into metal music. You may or may not hear them, but I can tell you - from a reliable source, as I mentioned I know him personally - what the intentions of those who composed and arranged the pieces were and what they are.

this review shows us how, when it comes to music, one can easily spew four bullshit completely interchangeable and still give the appearance of being connoisseurs. Reflect, Debaseriani...reflect...

The most beautiful moment is when he uses the plural majesty "orphans of their sought-after sound, we pay tribute to them through this review"... great! Anyway, I agree with you on the mentioned tracks, the only ones worth noting; the others are just painful meatballs (oh my god, what a drag songs like breakdown). Anyway, the Guns are the Guns, so don't get too full of yourselves!