Let's get ready to RUMBLE!

  • Thread starter Thread starter mshilarious
  • Start date Start date
Rokket said:
If it will let me, can I download them? I want to put them on a CD! :D
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Hey you!!!! Quit that yappin' and bang out a solo!!! You've got some stiff competition!!!!
 
Purge said:
Hey you!!!! Quit that yappin' and bang out a solo!!! You've got some stiff competition!!!!
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Sez you! I bet you your guitar I can top it! :D


.....not..... :o


I am still chuckling about it....
 
How many more solos do we have coming in? When do we get to start arguing?
 
Purge said:
How many more solos do we have coming in? When do we get to start arguing?
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Mine by tomorrow. You won't argue about it, but you may throw up!

Mind my caveat in the previous thread about having anything in your mouth that could possibly be a projectile when you listen... :D

It will be an honest effort, BTW. But you all know I am a bass player, so...
 
Here's mine, called "Contest Entry". It's pretty much all minor pentatonic box at the 13th fret.
 
Nice job apl. Good tone. I especially liked the double stops around :18 to :20 because of the way they built the intensity, and the bend you did in that passage.

Tim
 
apl said:
Here's mine, called "Contest Entry". It's pretty much all minor pentatonic box at the 13th fret.
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That was pretty cool. I don't see what all the fuss was about?


(Jack Nicholson as the Joker: )
"...wait'll they get a load of me..."
 
And mine:



Starts off with an F diminished bit, then a C melodic minor to a G diminished arpeggio, then up a chromatic scale to finish with a pair of tritones, the last implying an F7. But I didn't write it with that in mind, I just hashed it out and figured out the scales afterwards.

Recording was my Gibson The Paul into a modded ART Dual MP set on 'tewbilicious', processed with a UAD-1 Nigel plug.

I slowed down the keys part to an andante, then gave it about a 10% boost after I cut the guitar track :D It only took me 15 takes :eek: but the final cut is a single take. I did move the last two notes to nail the cadence, I missed it a bit on the take.
 
mshilarious said:
And mine:



Starts off with an F diminished bit, then a C melodic minor to a G diminished arpeggio, then up a chromatic scale to finish with a pair of tritones, the last implying an F7. But I didn't write it with that in mind, I just hashed it out and figured out the scales afterwards.

Recording was my Gibson The Paul into a modded ART Dual MP set on 'tewbilicious', processed with a UAD-1 Nigel plug.

I slowed down the keys part to an andante, then gave it about a 10% boost after I cut the guitar track :D It only took me 15 takes :eek: but the final cut is a single take. I did move the last two notes to nail the cadence, I missed it a bit on the take.
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That almost sounded like the theme to "The Munsters"! :D :cool:
 
Hey Purge, I've been listening to your solo and what gets me every time is the machine gun technique that comes in at :15. Reminiscent of the intensity of the 32nd note passages of the Bach Chaconne from the Partita No. 2 in D minor. I bow to your musicological prowess in quoting from the Master himself.

...but I've got to confess that to the skeptic in me the rest of the solo sounds suspiciously like ocnor's work played backwards, sent to reverb and then the recording done from the reverb's return.

Tim
 
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mshilarious, you are a hero of the avant garde. Anybody that quotes from Lennon/McCartney's Day Tripper in the first phrase of their chromatic/atonal solo is a guitar god in my book.

The only composers I like as much as JS Bach are John and Paul.

Tim
 
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Timothy Lawler said:
mshilarious, you are a hero of the avant garde. Anybody that quotes from Lennon/McCarthey's Day Tripper in their first phrase of their chromatic/atonal solo is a guitar god in my book.
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Hehehe I just realized the extreme similarity. Actually I was trying to crib a solo of mine from 14 years ago, which was pretty much a ripoff of Jeff Beck's She's a Woman, so I guess that comes full circle :o
 
Purge said:
Alright, here we go. Hang on to something. I titled this piece "Suck My Rock".
http://www.nowhereradio.com/artists/album.php?aid=4363&alid=-1

Phase 1 of this musical masterpiece begins with a technique known in some circles as a "pick slide". For this piece, I chose a brand new Dunlop Gator Grip .96mm pick, knowing that the grainy cocaine-like residue texture would certainly add to the emotional feel.

Phase 2 employs a technique in which I perfectly articulate every note in a chromaticdiminishedmixodoriaphrygianflatted mode. Not done very often, and I'm quite certain that I will be scoring some points here. If you're not crying or slitting your wrists from the pure beauty that has been utilized here, we will move onward.

Phase 3 consists of some double stopped 4ths in a matter that might be reminiscent of some classic rock songs; however, I've got better effects. So, fuck 'em.

Phase 4 is a heart-wrenching rapid fire pickup-selector process. I lit my right hand on fire in order to achieve something special. DO NOT try this at home. I am an experienced guitarist and I don't want anybody hurt.

Phase 5 is a reprise of phase 2. Often times I am told, "I wish I could listen to your soloing forever." This is as close as you can get.

Phase 6 is composed of another wailing doom pickslide technique that is intended to leave the listener completely spent, yet gasping for more.

And there you have it. What do I win?
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Damn, dude. I was gonna submit one where I just played an F over all the cheesy keyboard parts in succession, but I don't think even that could compete with this one. Nice. :D
 
Timothy Lawler said:
Hey Purge, I've been listening to your solo and what gets me every time the machine gun technique that comes in at :15. Reminiscent of the intensity of the 32nd note passages of the Bach Chaconne from the Partita No. 2 in D minor. I bow to your musicological prowess in quoting from the Master himself.

...but I've got to confess that to the skeptic in me the rest of the solo sounds suspiciously like ocnor's work played backwards, sent to reverb and then the recording done from the reverb's return.

Tim
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BWAHAHAAAA!!!!! Nice!
 
scrubs said:
Damn, dude. I was gonna submit one where I just played an F over all the cheesy keyboard parts in succession, but I don't think even that could compete with this one. Nice. :D
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I don't think that your signature has ever been more appropriate than it is now!
 
Rokket, it sounds like you've got some hip Darius Milhaud polytonal influences going on here. Makes me think of Milhaud's idea of "a thousand simultaneous musics rushing towards me from all directions".

Very cool from a Boef sur le Toit perspective.

Tim
 
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