Monday, 13 June 2016

Rob Scallon, Jared Dines: 8 String VS Djent Stick and Djent Guitar VS Shovel

Continue the Battle on Jared's channel:

song, commentary, stems, and early access on Patreon:

On the Djent stick is Jared Dines.
You should subscribe to his channel:

The 8 string I'm using is my signature model with Chapman Guitars :)

Still the prototype, but for the impatient, preorders on the production models are already up!
UK (Europe) -
Germany (Europe) - (6 string) / (8 string)
Australia -
Chile (South America) -

Mixed by Fluff:

My buddy Jeff helped me program the drums.
He's in a rad band called Westgate:

This video was made possible because of Patreon support from Cody Melcher, Rob Harper, Michael Christie, James Bryant, Charles Jones, Robin Tregaskis, Jedidiah Silvertooth,Edward Breadwinner, Walter Zwinger, , Joe Cseko jr, David Newell, Jared Dines, Andy "VaultsOfExtoth" Wears, Nick Crawford,Taylor Fraser, Josh Fittler, Viacheslav Blinov, c Zachary Gaffney, Stefan Gunn, Brandon Ruf,Jean-Gabriel Labrèche, Alexander Gomez, Eric Felton, Andrew Jones, Joshua A Burton & many other awesome people on my patreon page
Thank you so much!

keep in touch...
Second Channel:

8 String VS Djent Stick

Djent Guitar VS Shovel

Stefano Sebo Xotta: DVC Guitar Friend 12 - Far East

On this video Stefano “Sebo” Xotta plays the song “Far East” from the album Speak by his guitar project Strings 24.
Sebo used a DV Mark DVC Guitar Friend 12 combo amp.
On the front end he connected a Harley Benton Little Blaster distortion pedal and a MXR Carbon Copy delay.

Sebo and DVC Guitar Friend 12 - Far East

Dhalif Ali: JTC Jam Of the Month June

Jam Track Central's Jam of the Month of June

JTC Jam Of the Month June - Dhalif Ali

Tommaso Zillio: "Getting Out Of The Guitar CAGED System Part 2: Learning Mechanical Integration

Programming languages teach you to not want what they cannot provide" (Paul Graham). Scale systems can be just as restricting.

The ability to see arpeggios and scales in your head is vital for any guitar player. Are you able able to imagine them on the fretboard? If so, how did you learn to do it? If you used the CAGED system, then you might still have some work to do.

A very common and troublesome issue with the CAGED system is the way scales and arpeggios are integrated together into the system. It's ironic, because learning how to play these patterns is one of the biggest "marketing" reasons why the CAGED system is so popular: lots of people learned CAGED just to get an integrated knowledge of scales and arpeggios. And because of that, many people have picked up a flawed, inefficient system and spend countless practice hours to make it work.

Since this integration is one of the most publicized "strong points" of the CAGED system, it is just natural that when an instructor like yours truly who is critical of the CAGED system states that there is a problem, the Internet goes into a frenzy. Although, most of that frenzy comes from a simple misunderstanding of what the apologists and critics mean by the word "integration". Indeed, there are TWO meanings for this word in this debate, and being able to understand the difference is key to understand what is going on.

The CAGED system DOES incorporate the memorization of scale shapes and the positions of the chord notes inside them, which we will call the "visual" integration. But visual integration works in any system: no matter which patterns I use to play a scale, I am in principle able to point to the arpeggio notes in it.

What guitar players actually require, on the other hand, isn't simply visual integration: what is actually beneficial is called "mechanical" integration, meaning the possibility to fluidly move between a scale and an arpeggio as they play - and making sure that both the scale and the arpeggio patterns are playable. This is where the CAGED system falls short.

Of course, this is something that can be seen only when scales and arpeggios are actually played on a guitar fretboard, as opposed to just watching scale/arpeggio patterns on a piece of paper or on a computer screen. As such it is much easier to show this point practically than it is to explain in words, so be sure to watch the following video to see how this concept actually applies to guitar playing.

This example shows why mechanical integration is the best feature to have rather than a simple visual integration: it doesn't just help in real playing situations, it will help make all of your playing more consistent, and will help get results from your practice efforts much quicker than other methods. My previous video also shows a prime example of this: CAGED Sucks part 1: Right Hand Consistency.

About the Author

Tommaso Zillio is a professional player, teacher, and composer. Visit his website to know more about guitar and music theory.

Nili Brosh, Greg Howe, Marco Sfogli, Jason Becker: A Matter of Perception Melody Writing Contest Starts NOW! WIN!

The day has finally come and it is now time to enter my melody writing contest by going to

!!For those of you who might've missed the last email describing this contest, here's a recap of the details:

I've teamed up with Premier Guitar magazine to bring you a brand new kind of guitar contest: write your own melodies over a short backing track from "A Matter of Perception" (a download link will appear once you select "yes" when asked "will you be submitting your melody?" on the contest page). Once written, film a video of yourself (can be an iPhone video) playing your new melodies over the track and upload it back to Your videos will be judged by Jason Becker, Greg Howe, Marco Sfogli, and myself! Remember - the objective here is *melody*, not soloing. So don't let the number of notes these guys usually play fool you - they're all looking for melodic genius from you!

I must say, my favorite thing about this contest is the prizes. You are entering for your chance to win:

3rd place: a $100 donation to Jason Becker's ALS fund in the winner's name, Dean Markley strings and Dunlop picks of the winner's choosing.

2nd place: a $150 donation to Jason Becker's ALS fund in the winner's name, a set of EMG pickups of the winner's choosing, an EMG swag bag (t-shirt, lanyard, stickers), Dean Markley strings and Dunlop picks of the winner's choosing.

1st place: a $250 donation to Jason Becker's ALS fund in the winner's name, an Ibanez guitar thumbprinted by Jason Becker and signed by his dad, Gary Becker. The guitar is also signed by Greg Howe, Marco Sfogli, and myself. An EMG pickups endorsement deal, two MXR pedals - the Carbon Copy delay and Analog Chorus, and Dean Markley strings and Dunlop picks of the winner's choosing.

The contest will run starting today, June 13th, to July 25th, after which there will be a 3-week judging period. If you need more details, watch my promo video by clickinghere. I'm not going to waste any more of your time by takling...get at it and write those melodies! We are so looking forward to hearing them!


More soon!






Leticia Filizzola: You too - Martin Miller - great job on this classic solo

Leticia Filizzola: This will always be one of my fav solos ever.

You too - Martin Miller - cover

Gianluca Ferro: presents ESP E-II - Breath Of Nibiru - A Djinns Illusion

Italian ESP player Gianluca Ferro gets out an ESP E-II HRF NT-8B 8-string baritone for his song "A Djinns Illusion" from his band Breath Of Nibiru. Like all E-II models (formerly known as "ESP Standard"), the HRF NT-8B is made in Tokyo by ESP craftsmen at our factory. This guitar has a neck-thru-body design at 27" scale, and is powered by an EMG 66-8H / EMG 57-8H Brushed Black Chrome active pickup set.

27" Baritone


3Pc Maple



Deep Red Metallic Satin



Thin U

24 XJ


Schaller Straplock

Gotoh Locking

Hipshot w/ String Thru

EMG 66-8H Brushed Black Chrome

EMG 57-8H Brushed Black Chrome


Vol/Tone/Toggle Switch



Gianluca Ferro presents ESP E-II - Breath Of Nibiru - A Djinns Illusion