Jason Becker and Joe Srump took this sound to the next level . Cleaner and faster . But he did it first and did enoughAnyone 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...
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.Jason Becker and Joe Srump took this sound to the next level . Cleaner and faster . But he did it first and did enough
Listen to perpetual burn and altitudes . Best shred songs ever made .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.
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 shreddersJason Becker and Joe Srump took this sound to the next level . Cleaner and faster . But he did it first and did enough
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 sterileI 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.
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...
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.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
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)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.
Cesario Filho. He's ridiculous.
Red Strat has DiMarzio HS pickups. Fender Yngwie Strat has YJM Fury pickups
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.Say what you want about his ego, how he has no feel, how he's arrogant, whatever....no man alive can touch his right hand technique and how clean everything is.
Then again, I'm no Peter Cerman...
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.
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.
Just a couple weeks ago I was astonished to find that Cerman is still out there to this day crafting cringe of the highest order.
This upload is just like 2 months old
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