Tuesday, 8 February 2011

Angelo Diaz: keys for the sickest guitar player in the history of man kind

Angelo Diaz
written by the sickest guitar player in the history of man kind

allen holdsworth-heavey machinery by A.D. from heavey machinery

Inophis: The Last War (Final Fantasy)

I made this video using some scene of Final Fantasy.
It's a Metal Symphonic Instrumental tune.


The Last War (Final Fantasy)

Gerson Antezana: El Infierno


Fred Brum: Fred "The Shred" Brum demos Jaden Rose

Jaden Rose Guitars Newest Endorsee - Fred "The Shred" Brum

Arnaud: Still got the Blues for Gary Moore

We lost an awesome guitar player, Mister Gary Moore. He was one of my heroes, I can't count how much hours I spent listening to him with or without Thin Lizzy. Rest in peace Gary, we'll always got the blues for you. The least I could do is a little video, we'll miss him so much...

Still got the Blues, rest in peace Gary Moore...

Dave Celentano: Two Handed Tapping and Blues instructional DVD's

Dave Celentano:
Introduction from "ASAP Two Hand Tapping" instructional dvd by Dave Celentano.
Check out all Dave Celentano's guitar instruction products at:

"ASAP Two Hand Tapping" instruction dvd by Dave Celentano

Dave Celentano:
Introduction from "Essential Blues Guitar" instructional dvd by Dave Celentano.
Check out all Dave Celentano's guitar instruction products at:

"Essential Blues Guitar" instruction dvd by Dave Celentano

"Killer Pentatonics" instructional dvd by Dave Celentano

Peter Holmgren: Donut Licks, the arpeggios with a hole?

Peter Holmgren:
This is my favourite parts from my song Donut. Donut refers to car drifting and listen to the slide part with the revving up sound at the beginning!

Peter Holmgren - Donut Licks

Fernando Miyata: insanely amazing at Expomusic 2009

Fernando Miyata na Expomusic 2009

Fernando Miyata na Expomusic 2009 - Parte 2

Fernando Miyata na Expomusic 2009 - Parte 3

Marty Friedman: BOSS power stack demo

Marty Friedman e os Pedais BOSS ST-2 e PS-6

Marek Peperkorn: spicy licks and monster metal riffs!

this is a small comparison between my 3 ibanez guitars (ibanez rgt220a, ibanez s320 and ibanez dtt700) in 3 songs (scarified by racer x, my curse by killswitch engage and dr p by dead horion, my own band). the guitars ran through the same setting everytime. let's see who can hear a difference ;) what's your favorite?
all material used in this video (audio and video material) was completely recorded by myself.

My Ibanez Collection - Comparison

9 note scale from the devil - fitzeflinger

Marek's Monster Metalriffs

Alan Hernandez: My Tribute to Gary Moore, RIP

My Tribute to Gary Moore

News: customguitarboutique.com giveaway

customguitarboutique.com We are giving away a 20ft lifetime warranty DL cable 1/4-1/4 cable. Simply "Like" our Facebook page and post on our wall. "David Laboga Cables wanted".

On february 28th I will announce the winner and ship the cable.

Not bad for a cable valued at $49.95 and free shipping that will last a lifetime and give you the best tone on the planet.

Robbie Calvo: Strat O Blogster goes all tele on me

Thanks to JP over at StratOBlogster for spotting another great guitar lesson video set from Robbie Calvo

FPE-TV Intervallic Guitar Solo Lines by Robbie Calvo

RobbieCalvoGuitar.com - D Dorian Lesson

SoloCraft - #9 Pedal Tones Performance - Solo Guitar Lessons - Robbie Calvo

Lukasz Kulczak: worskup fusion

Workshops are one of the proposals PMGuitar Guitar Center. The workshop aims to bring together musicians who form a variety of musical styles. They are an extension of regular classes in the courses PMGuitar.The first edition of workshops led by Luke Kulczak - sensational guitarist, hope Polish guitar !!!!!

Warszaty Gitarowe P.M.Guitar "Luki Kulczak" 13.11.2010

News: Aussie Pink Floyd, even better than the real thing?

"The live touring sensation, The Australian Pink Floyd Show (TAPFS), are back on tour with a series of headline shows across the UK and Europe featuring a world first for rock concerts – 3D Stereographic Visuals.

The band have recruited Hollywood visual effects legend John Attard who has worked on films such as Gladiator, Last Samurai, Harry Potter, Holes and many more. Attard realized that by augmenting the shows with 3D elements he could bring the level of audience involvement in the show to a whole new dimension. The whole show is a visual overload of the senses. Not only from the visuals but from the immersive quadraphonic sound.

Pink Floyd were always a multimedia experience and it seems fitting that TAPFS should be the first to bring the 3D experience to a rock concert. The 3D used in TAPFS is the same as that used in cinemas. The Audience wears 3D polarised glasses, stereo images are then sent to the eyes and the brain sees the whole thing in 3D. Look out for the song Eugene where the audience experience high speed 3D explosions of TV’s!

Add to all that the incomparable laser light show, the quadraphonic sound system, and of course the inevitable inflatables and you have an incredible, spectacular experience waiting for you on TAPFS 2011 Tour.

The Australian Pink Floyd Show Tour Promo 2011

UK Tickets are now on sale and can be booked through www.aussiefloyd.com or http://www.livenation.co.uk or 0844 576 5483 (24 hours). Tickets are selling fast and three shows are alrady sold out with limited availability on some of the remaining venues! Tickets are priced at £27.50 regional and London £29.50 and are subject to a booking fee.

For further information and European Tour ticket information please see the bands website at www.aussiefloyd.com

Atanas Shishkov: concert date announced

Atanas Shishkov:  Dear Friends,
I`m glad to invite you on our concert at Jazz Club STAGE, Kardzhali on 12.02.2011 :
I was invited together with my friend and mate - Svetlin Staikov - to make a guitar evening!
There are many guitar fans in Kardzhali and I hope it would be a lot of fun for all of us!

Tom Hess: How To Develop Creativity In Your Guitar Playing - Part 1

How To Develop Creativity In Your Guitar Playing - Part 1

by Tom Hess

Do you struggle with becoming a more creative and self expressive musician? Many guitarists run into this problem as they begin to feel more comfortable with the physical aspects of their guitar playing. A lot of musicians can't seem to write songs or create their own guitar solos at the same level as they can "play" their guitar. Their music sounds stiff, uninspired or not very creative and expressive. If this describes you, then this article will help you to identify the causes of why this problem exists in your guitar playing and will show you the steps you need to take to overcome it.

That question of how one can become a more creative guitar player is a very typical one that I (and probably most guitar teachers) am very often asked. Before I go into detail to answer it I need to say that in order to completely overcome such a problem will require one to work at it for a long time. And I strongly suggest working with an excellent teacher to help you through this. He/she will save you a lot of time, effort, aggravation, etc. (Refer to my previous article on "How To Choose A Guitar Teacher".)

Most players have, at some time in their musical development, felt uncreative, uninspired or otherwise not very expressive musically. Fortunately, there are several things that can help one get over this. The first (and the most critical) thing to realize is that the problem lies in lack of creativity as a "musician" rather than as a "human being". We are all creative and expressive as people (that's a big part of what makes us human). When it comes to your ability to express your innate creativity through your guitar, the problem lies in lack of mastery over several fundamental musical skills. Typically the issue is caused by a combination of factors such as those in the following list:

Music Theory Problems
Not knowing your fretboard well enough so that you don't need to think about where the notes are as you are playing, improvising and writing music.
Not having memorized all the notes in the key(s) you're working with.
Not knowing what notes are in what chords.
Not knowing what notes are consonant and what notes are dissonant in any given situation (and more importantly, how to control dissonance in music theory!)

Aural Skills (Ear training) Problems
Not listening closely enough to recognize consonance and dissonance.
Not knowing how to use and control dissonance aurally.
Not knowing what notes and chords are going to sound like before you play them!
Not being able to aurally (by ear) understand the emotional function of each individual pitch in a scale and a chord.

Guitar Technique Problems
Not having enough physical technique developed on your instrument to do the types of things that will allow you to be creative. If you are severely restricted musically by what your hands are able to do (or rather, what your hands are not able to do), it will be physically hard (or impossible) to do certain creative things.
Not knowing how or when to control your technique.
Thinking too much about what your hands can do instead of what you want them to be able to do in order to execute your creative possibilities.

If you have any of the above problems, work on fixing them because those things, although not really elements of creativity itself, are the basic skills that one must possess to be creative/expressive on an instrument. The human mind is amazing and can do several simultaneous operations, but the more things you ask your mind to do at the same time, the more difficult it becomes to do any of them well. To really be creative and musically expressive, you need as much of your conscious brain energy as possible to be concentrating on being creative/expressive. If you don't really understand what notes you can use in a given situation to produce desirable results, and at the same time your mind has no idea what the notes are going to sound like before you play them, and at the same time, you are struggling with the limitations of what you can physically play, and at the same time, you don't know how to control dissonance, etc., how much conscious brain power do you actually have left to think about improvising an expressive guitar solo, create an original melody, or to write a song with new ideas? I would bet that the majority of those of you reading this have this problem to some extent. I suggest to make it a priority to get these basic skills under your belt as soon as you can.

Once you have (or if you have) a good amount of control over the basic musicianship skills, you are ready to go deeper into the creative aspects of playing / writing.

I usually find that my most creative musical ideas don't come from thinking about music at all. I look at other forms of art (and nature) to find new ways to see creativity. Once I have an interesting idea or concept in mind, I look to find all the possible ways that I may be able to adapt that into musical form to suit my musical needs. Following is an example of what I am talking about.

A few years ago I began thinking about the similarities and differences in the different processes that are used in separate art forms (painting, music, poetry, stone or marble sculpture, etc.) Of the four I just mentioned, only stone cut and marble cut sculpture starts with something (the raw materials of stone or marble) and then the artist destructively eliminates materials to create the art. Poetry, music and painting generally are created from nothing (no materials from which to take away from) thus the artist creates the art constructively (adding materials such as letters, words, musical pitches, rhythms, brush strokes of wet paint, etc.). I once made this simple analysis of the stone sculpture process, I knew that its importance would be significant and valuable to me eventually. After almost a year of thinking about a way in which I could apply the principle of destructive creation (versus constructive creation), I finally had some brand new ideas (at least they were brand new ideas to me) for a new creative way (process) to write music. I found ways to apply this to general musical compositional processes and form. I'm sure there are more ways to apply the principal that I have not yet thought of. If I told you my own discoveries it might hinder you from discovering your own and going beyond what I was able to do. I encourage you to think deeply about how you might be able to apply destructive creation into new musical writing processes.

Another example of taking creative processes from other forms came when I was watching a Disney movie on DVD. There was a special features section after the movie on the DVD in which the film makers showed diagrams and charts called story boards. The purpose of these story boards was to communicate more clearly the ideas from the writers and producers of the movie to the artists who were creating the animation for the film. I thought about how this might be applied to my advantage when writing the music for my "Opus 2" CD. Since I had in my mind all of the things I wanted to express in the music, I used this story board technique to better communicate between the right side of my brain and the left side of my brain. I charted out with diagrams, charts, elemental lists, etc. all of my non musical ideas (emotions, thoughts, ideals, experiences, etc.) that I wanted expressed in the music. The plans were much more organized now, I could clearly see what I wanted to be expressed at what moment during the music. This helped to keep me on track musically. I was very pleased with the final result. There many other processes that I used in composing "Opus 2" (and "Opus 1"), but this general principal is one that I think any composer or songwriter can use no matter how advanced or basic one's music writing skills are.

As the previous example illustrates, I typically think about what I want to express before I think about writing the music. That is something that surprisingly not a lot (probably most) songwriters don't really do much (especially in the non classical music world.) I'm not saying that my ways and processes for writing music are better than someone else's way (because I believe all methods are legitimate), I'm just offering here one of my ways of composing which may be a new approach for you.

Tom Hess is a highly successful guitar teacher, professional touring guitarist and recording artist. He teaches guitar players around the world via rock guitar lessons online. Visit tomhess.net to get free guitar playing tips, assessments, surveys, mini courses and to read more guitar playing articles.

Simone Fiorletta,Davide Perruzza: No Gravity - Worlds In Collision details

No Gravity are a new progressive power metal outfit and the brainchild of renowned guitarist Simone Fiorletta. Their debut release ‘Worlds In Collision’ features some of the most illustrious vocalists in the power/prog metal field and sees release on Lion Music on 18th March 2011.

Conceived in early 2010 from the ashes of Italian progressive metallers Moonlight Comedy, Simone Fiorletta’s intention was to enclose in a single album the best singers of the Power/Prog world with each track tailored for each vocalists individual style; and what a selection of vocalists No Gravity have enrolled!

With Andy Kuntz (Vanden Plas), Michele Luppi (Killing Touch, ex Vision Divine), Fabio Lione(Rhapsody Of Fire, Vision Divine), Mark Basile (DGM), Roberto Tiranti (Labyrinth) and Emiliano Germani (Moonlight Comedy) providing the vocal angle this release makes a serious statement of intent from this new band.

The No Gravity line-up is completed by an equally skilled band. In addition to Simone Fiorletta’s virtuoso guitar work we have second guitarist Davide Perruzza, keyboardist Andrea De Paoli, bassistAndrea Casali and drummer Marco Aiello who all form a formidable unit with instrumental prowess and the delivery to rival the genre’s big names.

The music for ‘Worlds In Collision’ was entirely written and arranged by Simone Fiorletta whilst each tracks vocalists were given the task of composing their own lyrics and vocal melodies. The album was recorded, mastered and mixed by Fiorletta at his studio; with the exception of the vocal tracks which were recorded at various studios of the singers own choice.

Stylistically ‘Worlds In Collision’ includes many facets of modern Power-Prog Metal. There are moments of pure virtuosity but all the time there is the will of the song coming first and foremost. The listener will find numerous musical textures with moments of light and shade, dark and heavy themes and stunning musicianship which continue to reveal new depths on each subsequent listen. Yet No Gravity have managed to craft an album that is instantly listenable and despite the numerous vocalists the albums has its own distinct sound - ones that will appeal to fans of the leading names in prog/power metal as well as the more adventurous metal fan in general.

With 'Worlds In Collision’ No Gravity have produced a superb debut album and marks an exciting new chapter in the career of one of Italy’s most respected musicians.


01. Sailing On Sight.
02. The Killer.
03. Can’t Dream Anymore.
04. Voices From The Past.
05. Religious Beliefs.
06. I’m Bleeding.
07. Nowadays.
08. Touchin’ My Enemy.
09. Unexpected Gift.


Simone Fiorletta – Acoustic and Electric Guitars.
Davide Perruzza – Electric Guitars.
Andrea De Paoli – Keyboards.
Andrea Casali – Bass.
Marco Aiello – Drums.
Michele Luppi – Vocals.
Andy Kuntz – Vocals.
Emiliano Germani – Vocals.
Fabio Lione – Vocals.
Mark Basile – Vocals.
Roberto Tiranti – Vocals.


All songs written and produced by Simone Fiorletta.
Recorded, Mixed and Mastered by Simone Fiorletta at “S.F. Digital Studio”.


Anton Tsygankov: ANTI

Song played by Anton Tsygankov, 2005 "ANTI" project CD

"ANTI" Anton Tsygankov project CD is avaible at CDBaby.com and Itunes.


Dancing Colours song played by Anton Tsygankov, 2005 "ANTI" project CD

"Feeling" song played Anton Tsygankov, 2005 "ANTI" project CD

Jeff Loomis: Nevermore Aussie tour dates

Nevermore have scheduled the following Australian dates:
June 09 - The Hi-Fi, Brisbane, Australia
June 10 - Billboard, Melbourne, Australia
June 11 - Manning Bar, Sydney, Australia
June 12 - Fowlers Live, Adelaide, Australia
June 13 - Rosemount, Perth, Australia

Jon Bloomer: Suhr Modern Bengal Burst

New Guitar Day! Suhr Modern Bengal Burst

Rich Brymer: the engine is running hot!

Rich Brymer:
this is the final version of the latest song i've been working on.
hope you enjoy it.

Latest song 2/7/11

Fernando Miyata: insanely amazing at Expomusic 2010

Fernando Miyata - Estande da BOSS - Expomusic 2010

BOSS ME-25 - Dicas de Ajuste Fernando Miyata

Fernando Miyata na Expomusic 2009