More Malmsteen

Exo-metal said:
Anyone here who thinks he can keep up let him post it here. I've been working hard for a while now and he is light years and beyond...
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Jason Becker and Joe Srump took this sound to the next level . Cleaner and faster . But he did it first and did enough
 
Matt300ZXT said:
I think Becker is actually sort of sloppy....maybe it's just the godawful tone he used. Joe Stump is pretty good, but the stuff I've heard, I still think Yngwie is better.
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Listen to perpetual burn and altitudes . Best shred songs ever made .
 
Techdeth said:
Jason Becker and Joe Srump took this sound to the next level . Cleaner and faster . But he did it first and did enough
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I agree, although I felt Yngwie stood out to me much more for his unique bubbly strat tone (at least in the early days) and feel/vibrato rather than technical abilities vs other shredders

Also, to me a lot of these very clean, precise modern shredders like Ostro, the guy you showed with the purple/green Vik guitar lol, and others make Becker and really most shredders in that era come off comparatively sloppy. It makes sense though since with just technique alone we can expect it to improve with the successive generations, but the feel/musicality and tone won’t necessarily get better (in general I feel it’s declined)
 
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Matt300ZXT said:
I think Becker is actually sort of sloppy....maybe it's just the godawful tone he used. Joe Stump is pretty good, but the stuff I've heard, I still think Yngwie is better.
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Joe Stump never did anything for me either. By modern standards Becker is I think a bit sloppy. Like if you listen to those fast sweep arpeggios in Serena, while it’s impressive the speed he plays them at and his great feel, his note spacing is quite uneven, the downward sweeps rush a lot and aren’t in control and so also many of those inner notes of the arpeggios get glazed over (not clean). Some of these really precise modern players wouldn’t do that and so are more impressive to me from a purely technical point, but most are pretty sterile
 
braintheory said:
I agree, although I felt Yngwie stood out to me much more for his unique bubbly strat tone (at least in the early days) and feel/vibrato rather than technical abilities vs other shredders
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Bubbly is exactly how I always describe YJM’s early tone, particularly when he hits the lower strings! Never seen anybody note this before you.

Regarding feel, not sure how anybody can listen to Marching Out (e.g., Overture 1383) and claim the man has no feel.
 
GrimTrigger said:
Bubbly is exactly how I always describe YJM’s early tone, particularly when he hits the lower strings! Never seen anybody note this before you.

Regarding feel, not sure how anybody can listen to Marching Out (e.g., Overture 1383) and claim the man has no feel.
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Yeah I think a lot of that bubbly sound comes from that strat neck pickup. He turned me on to using them for high gain shred tones and in many ways I prefer them now to humbuckers in the neck. Not many other shred guys seemed to use that. The trick I find is using a good boost to the amp like he did. It made all the difference for me, while with humbuckers I could still achieve great shred tones without it in most amps (exceptions of course)

Feel was to me always one of his main strengths. I just didn’t really care for most of the musical content, but I honestly haven’t really heard any shredders yet where the music itself did much for me. It’s their playing and tone I’d like
 
JohnnyGtar said:
Cesario Filho. He's ridiculous.



Red Strat has DiMarzio HS pickups. Fender Yngwie Strat has YJM Fury pickups

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Respect to this dude's playing but why do some of these guys use those god awful synth backing tracks?? It automatically brings your playing down a few notches its so distracting.

Then again, I'm no Peter Cerman...

 
psychodave said:
I use to think this until I found this guy. I purposely chose a live solo (copping yngwie) and his picking sounds just like old yngwie.

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This guy's shredding and alternate picking stuff is amazing, but man his vibrato and sense for bending in general is just unreal. Wow.

To me, a player's vibrato has always been the truest indicator of their skill and relationship with the instrument overall. Good vibrato makes a player sound almost magical, like they're actually expressing themselves through another voice. Bad vibrato makes a guitar sound like it's just some gadget a player is trying to "operate" by following steps they've read in a manual, without fully understanding the whys and hows of what they're doing.

Not to get too lofty and fart sniffy but this guy is a great example of a player who knows exactly what he wants his instrument to convey, and who makes his instrument sound more like an extension of himself than some external piece of equipment.
 
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TheGreatGreen said:
That guy's shredding and alternate picking stuff is amazing, but man his vibrato and sense for bending in general is just unreal. Wow.

To me, a player's vibrato has always been the truest indicator of their skill and relationship with the instrument overall. Good vibrato makes a player sound almost magical, like they're actually expressing themselves through another voice. Bad vibrato makes a guitar sound like it's just some gadget a player is trying to "operate" by following steps they've read in a manual, without fully understanding the hows and whys of what they're doing.

Not to get too lofty and fart sniffy but this guy is a great example of a player who knows exactly what he wants his instrument to convey, and who makes his instrument sound more like an extension of himself than some external piece of equipment.
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That's why Yngwie is light years ahead of most of the modern players who are "technically" more proficient

His playing sounds like it's coming from a person
 
DanTravis62 said:
That's why Yngwie is light years ahead of most of the modern players who are "technically" more proficient

His playing sounds like it's coming from a person
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Yep. Yngwie's playing has an almost vocal quality to it. Not the tone that comes from his equipment, but his phrasing and those high note bends he does that end in wide but controlled vibrato and literally sound like a human vocalist really reaching for it and screaming out high notes. It's really cool.

The worst vibrato comes from those people where you can practically hear them thinking to themselves "ok now is where I shake the note because that's just what you do with notes that you hold for a while for some reason" and they squeeze as hard as they can and forcefully shake their whole arm back and fourth as rapidly as possible, and it sounds like hyperactive yodeling or something. It just ruins whatever they were trying to convey. Totally takes you out of the moment.

I'd actually rather hear wrong notes than bad vibrato, because at least you know the artist knows wrong notes are mistakes. Bad vibrato is much harder to forgive because it tends to be consistent with the player. It feels like the player is fully aware of it but simply doesn't recognize how emotionally dissonant or vacant it is, otherwise they wouldn't keep doing it. And if they can't even hear or understand that, then how low must their capacity for interesting ideas be at all?
 
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