Learning how to play the blues is a great idea, seeing as it’s the foundation of most rock music.

If you’re just starting out on guitar, blues guitar instruction may be a little too advanced, especially since blues lead guitar lessons are mostly what it’s about.

Even the blues rhythm guitar instruction requires that you at least understand and can play barre chords. Your average blues guitar instruction dvd seems to be geared towards the intermediate to advanced level.

How I stumbled onto the blues.

Since I began playing guitar, I was only really interested in rock music. Most of rock music is done with power chords, so there was less to worry about when soloing.

I was quite surprised when a friend of mine told me that I was one of the best blues guitarists he had ever heard.

Okay, he said it, not me.

This got me thinking about how to play blues guitar. Is there a blues scale or something that I’m supposed to know. Up till that point I was playing the major scale mostly and modifying it to accommodate the blues.

What is the blues scale?

A lot of blues players use the minor pentatonic scale. There’s also a guitar scale specifically called the blues scale.

Here’s the most common finger pattern and position of the minor pentatonic scale.

As I’m sure you can guess, this will work over a blues progression in A.

Blues guitar, or any blues for that matter, is tricky to learn, mostly because it defies classical music theory, and sometimes common sense as well.

Here are the finger positions for this pattern.

These pics are from a page on my main website: Pentatonic guitar scales

So what about the blues scale?

The blues scale has an extra note added on to the pentatonic scale. This is called a blue note.

In the A minor pentatonic, the blue note would be a D# or E flat (Same thing right). Unfortunately, I’m away from my PC while writing this, and I don’t have my graphics program handy, so no picture.

You can work it out though. In the top picture it’s the note on the fret just after the D, and to the right. Easy enough.

Now here’s something that may shock you…

I play blues lead guitar all wrong and it still works!

While everyone is working with the blues guitar scales I just showed you, I use a different blue note - G sharp, but that’s not all, I use the major scale and play in the wrong key.

I do also use the regular blue notes found in the blues scale, but I’m also trying to make the notes fit the chord better.

I think I’ve mentioned this in a previous blog post, but here goes again: If it’s a blues song in A, I use the G major scale, modified slightly.

Whichever key the song is in (as long as it’s a blues or rock song) I use the major key that’s a whole tone down.

Here’s a video I made to demonstrate one of my guitar sounds by playing the blues. It’s not a guitar instruction video, but you can see and hear what I’m talking about.

A great way to learn and practice blues guitar is with backing tracks, or more correctly Jam tracks. When I get back I’ll post the backing I used here.

A great source of blues guitar instruction, and plenty of Jam along tracks: Learn and Master Spotlight Series: Blues Guitar

If you’re totally new on guitar, their main guitar instruction material covers all styles - Learn and Master Guitar

Learning how to play fast lead guitar solos, the kitchen sink and a mug.

I learnt something quite important the other day about playing guitar fast, when I accidentally bumped a mug that was standing on the kitchen sink.

You probably know what I’m talking about, like when you drop a plate or something like that and it doesn’t break, but instead does this funny wobble.

First it does this broad rocking motion, and then as it starts to settle it actually speeds up, with the vibration becoming faster and faster as the distance it moves from left to right becomes less and less.

Playing fast guitar solos means learning how to use less energy, or perhaps I should say it’s an economy of motion.

So anyway, there I was staring at this wobbly mug on the kitchen sink, and watching it come to a complete standstill I thought “Gee, I wonder how fast it’s going now?”

Here’s the basic principle behind playing fast guitar solos: The more energy you put into playing each note, the slower you’re going to be.

Here’s a list of things you can do to start playing guitar faster:

• Hold the plectrum so that less is protruding, so only the very tip hits the strings.
• Lower the strings on the guitar till they’re as close to the fretboard as they can go. If you get too much fret buzz then take it to a luthier (Guitar builder) and ask for a fret leveling.
• If you only know the pentatonic scale, then learn the major scale because there are more notes per string for each scale pattern.
• Learn to relax when playing guitar. Sometimes people tense up on the guitar when it’s important to substitute strength for speed. It’s a mistake to think that to play lead guitar solos faster you must apply more finger pressure.
• Practice your scales slowly with a metronome and gradually increase the speed. This is what Steve Vai recommends, and he’s not doing too badly with it.
• For faster picking, remember to keep your fingers stiff and let your arm do most of the work. When I pick very fast my entire arm becomes rigid and most of the motion is generated by my upper arm muscle (weird huh).
• Know your scales really well. If your mind is full of doubt, your fingers won’t put out.

A finger exercise I used to practice fast picking.

This is a finger pattern I devised myself, about 31 years ago, to practice fast picking as well as give me something that was easy to play fast and still usable.

Here’s a picture of it, with the finger numbers included. This is what it should look like from your point of view, with the thickest string being at the bottom of the picture.

fast guitar solo pattern

The way to practice playing fast with this pattern is to use alternate picking. In other words down up down on the 6th string, then up down up on the 5th string and so on. It doesn’t matter which direction you start with, as long as the next pick is in the opposite direction.

You should play from the lowest note to the highest as well as back again from the highest note to the lowest.

Although this is not technically speaking an actual guitar scale, the above pattern will work nicely over an E minor and an A major, as well as an E, A, D and G power chord.

Just remember to play fast guitar solos when using this pattern, cos it may not work out so nicely with the passing notes (the ones with the 2nd finger).

Last but not least, keep practicing till you break the speed barrier. It may seem like you’re making no progress the one day, and then the next thing you know you’re flying across the fretboard with style and finesse.

Want a cheap V-Amp 2 or have you been waiting for the V-Amp 3 like me?

Well, it seems like while the others are sleeping, someone was ready when the first V-Amp 3’s shipped out, but that’s not why I’m writing this.

It’s the new price on the old V amp 2 that got my attention.

Update: This was written a while ago, and all the V-amp 2’s are sold out, so probably the best bet now would be to look on ebay for a second hand V-amp 2,

If you’ve read a bit on my blog, you might realize that I already own the Boss gt pro, so why on earth would I be interested in the V-Amp 2 or 3?

Well, firstly, I used to own a V-amp. The original one with only 16 amp models.

I got some excellent sounds out of that thing and totally enjoyed playing on it, both live and in the studio, which brings me to my second reason.

I need something for my other PC which I’m setting up as a late night alternative studio. These things record very well.

I guess I could go for a Behringer V-Amp 3 Guitar Multi Effect Processor, seeing as it’s got the USB option and comes with recording software. By recording software I mean an entire multitrack recording program for the computer. Kind of makes sense, seeing as there’s a usb audio interface bundled with it.

Check out what other people are saying here, this may just be the best answer to setting up your new home studio. Just click the picture.

Anyway, this got me thinking back to the time when the V-amp was my main guitar recording gear, so I went through the list of songs I’d made backing tracks of, and I thought I’d just share an audio clip here for those who’ve never heard a V-amp before.

The following was done using an Ibanez S series Prestige guitar, and recorded straight into the desk.

V-amp Solo

The difference between the first V-Amp and the V-Amp 2, as far as I can tell, is that there’s twice as many amplifier models.

I think the V-amp 3 looks like a good deal with the extra features, but if you don’t think you need them, and you’ve got your studio recording software of choice, then just stick to the Vamp 2

What I found with the speaker cabinet models on the original V-amp, was that only one or two of them worked great for all the amplifier types, but if you sit with a recording and try emulate a particular sound, you can find other speaker and amp mixtures that get quite close.

Well, I’ve been waiting for the V-amp 3 so I guess I should get one.

So why another post on the Boss GT Pro when I’ve already written a review?

• Well firstly, after finishing Parisian walkways, it’s hard not to share what is fast becoming my favorite guitar sound yet on the GT pro.
• Seeing as I’ve already recommended it very highly as a guitar effects processor and amp modeler, It’s kind of my duty to make sure I publish a good sound patch when I find one, and anything else that may be helpful
• I need to make some correction on my Boss GT pro review, mostly about the stomp box models, seeing as I’ve at least found some good use for them.
• Someone may find it useful.

Let’s just say it feels like Christmas in July. Finding a new amplifier and stomp box that was already mine but I never knew I had.

All because the boss said “here’s a recording of Parisian walkways. Make it”

After years and years of turning down requests to learn and play Parisian walkways, it finally happened. I had no choice but to make a backing track of Gary Moore’s Parisian Walkways, both with and without the lead guitar.

Gary Moore uses a Gibson Les Paul into a Marshall Guvnor distortion peddle going into a Marshall amp. Unfortunately I don’t have a Gibson Les Paul, a Marshall amplifier or a Guvnor distortion peddle.

Here’s what I used: A Marathone guitar which now has Schaller Hotstuff pickups in, and a Boss GT Pro. The guitar recording was done straight into the PC via USB.

There are 2 things to note here:

1.) The Marshall guvnor simulation on the Boss GT pro sounds nothing like a real Marshall Guv’nor.

2.) Whereas Gary Moore plays Parisian walkways mostly on the neck pickup, I used the bridge pickup because my neck pickup is wired with a permanent coil tap and will never sound the same as a Gibson humbucker.

Here’s a short excerpt from my Parisian Walkways backing track to demonstrate the sound - Parisian walkways Boss GT Pro demo

Admittedly, it doesn’t sound exactly like the original, but the guv’nor simulation added a touch of grit to the sound which I found quite fun to play with, especially on the lower notes.

One of the signs of a good amplifier model, is whether it retains its tonal character when you back off on the guitars volume. This Marshall simulation does that quite well.

I didn’t copy Gary’s ending, I made my own. I cheated a bit by adding the feedbacker effect, which worked out quite well with the volume backed off.

Here’s my Parisian Walkways ending

Here are the settings I used in the order they are in the effects chain:

1. Overdrive: Guvnor (GUV DS). Drive 35, Bottom -22, Tone -50, effect level 100, Direct level 0.
2. Preamp: Channel mode = single, Type MS1959(1), Gain 16, Bass 76, Middle 40, Treble 52, Presence 45, Level 54, Gain switch is High, Solo switch is off, Speaker type is 8×12″, Mic type CND87, Mic distance = On Mic, Mic position = 7, Mic level is 100 and direct level is 0.
3. EQ: Low cut 55 Hz, Low EQ +5db, Lo mid frequency is 0db, High mid frequency 4 kHz, Hi mid Q 1, Hi mid EQ +3db, High EQ 0db, High cut is flat, and EQ level is 0db.
4. Noise suppressor: On, Threshold 50, Release 30, and Detect = input.
5. Digital delay: Type = Pan, Delay time 536ms, Tap time 50%, Feedback 24, High cut 11.0kHz, Effect level 14, Direct level 100.
6. Reverb: Type = Hall 1, Reverb time 2.5 seconds, Pre Delay 0ms, Low cut 165Hz, High cut 4kHz, Density 10, Effect level 39, Direct level 100.

What also works quite nicely is to replace the Guvnor with the Booster pedal. It’s a cleaner sound but also good for classic rock.

Boss GT-Pro Guitar Multi Effects Processor

Is the Boss GT pro better than earlier models.

When Roland first came out with their COSM effects processors, I bought one - the Roland GP 100, after which I took a long break before buying anymore of their stuff.

I wasn’t convinced they had solved the amplifier simulation problem, but seeing as I’d bought the thing, I did my best to get a decent sound out of it.

Listening to my old recordings with it, they turned out sounding quite good, but I had to do a lot of tweaking back then to get those sounds.

A lot later I bought the Boss GT 6, and initially I was very disappointed with it, then I learned a few tricks like using the booster peddle simulation to improve the amplifier models tone, and which amplifier models worked best.

I slowly fell in love with it, but like most Roland and Boss products at the time, you had to really experiment and tweak. Once you found your formula it was plain sailing.

Composite object sound modeling is supposed to simulate the sound of various guitar amplifiers, and I think they’re a lot closer now.

The truth of the matter is that sometimes they’re so darn good that the thought of them bringing out a newer version bothers me.

What if they don’t have the same amplifier models I use now, or they change it so it doesn’t sound the same?

I was lucky when I moved up from the Boss GT 6 that they still had the same Peavey 5150 model that I liked so much in the GT pro, and it sounded much the same.

The Marshall models seem to have changed, but I prefer them now.

Here’s the real difference, and why I’m glad I took a leap of faith.

1. The sound is clearer, almost brighter, but in a good way. maybe this has something to do with the increased bit depth.
2. When you’ve found the amplifier simulation that you like, there’s very little tweaking needed or eq. On the GT 6 there where certain tricks that I learnt to get the most out of an amplifier model, but the GT pro doesn’t need them. Also, they don’t work the same. This is a completely different animal.
3. Now I can record straight into my PC’s usb port, and the noise level is virtually non existent. No more banging my Mackie mixing desk to sort out the dry joints either.
4. A separate compressor, independent of FX 1 or 2 groups.
5. The dual channels are one of my favorite features, seeing as you get to have a different amplifier model for the left and right channels, and delay one of them by up to 50 milliseconds. Here’s a recording of my favorite 5150 stereo split - Boss GT-pro dual channel rock demo - Custom patch
6. The sound over headphones is virtually the same as what comes out the monitors. On the GT 6 this wasn’t the case. Late night jamming just got a whole lot more fun.
7. It’s rack mountable, so for the studio it’s perfect. I was getting tired of leaning over to change things on the floor. My back isn’t what it used to be.

Here’s some of the things I’m not too excited about with the GT pro.

1. The acoustic guitar sounds, both for turning an electric guitar sound into an acoustic one or making an acoustic guitars piezzo electric transducer sound like a miked up acoustic just don’t do it for me. They do have some use though, like background strums or making things sound different.
2. The distortion and overdrive peddles they’ve modeled don’t behave the same as their analog counterparts, but to be perfectly honest with you, I haven’t fiddled with them too much. It’s kind of pointless when you’ve got some great amplifier models to do the same job better.
3. No foot peddles, but I guess I knew I’d have to buy them separate.
4. There is only one speaker cabinet simulation that’s worth using, which is the 8 by 12 double stack. This is about the same as the GT 6, so no big difference there. Would have been nice to have more though.

All things being equal, the Boss GT-Pro Guitar Multi Effects Processor still gets me the sounds I need to copy any song or guitar sound I want.

If you’re thinking of buying a Boss GT-Pro, or you want a bigger picture and some user reviews, you can click the image above for more info.

Sure, there may be some differences, and sometimes Boss is off the mark a bit, especially in some of their original speaker models, but nothing that a bit of good eq can’t fix. This is so much more than just getting by, and believe me, I’ve plugged guitars into real valve amplifiers that didn’t sound half as good as what’s coming out of this digital box.

Admittedly this isn’t always the case, but when you’ve got so much to work with, you inevitably find what you’re looking for. Here’s a video I made to demonstrate one of the Marshall patches I use. The settings are further down the page.

Boss GT Pro patches I’ve made myself that you can copy.

This first one is the sound patch I used for point 5 of “Here’s the real difference”. I called this one 5150 drive stereo.

The preamp channel mode is Dual - Left and right, and shows D-L/R. Channel delay time is set at 50ms, which seems to be one setting for both channels.

Channel A: Type is 5150 drive. Gain is 8, bass is 80, middle is 100, treble is 60, presence is 0, level is 64, gain switch (Gain SW) is high, Solo SW is off, speaker type is 8×12″, mic type is CND87, mic distance is On Mic, mic position is 7, mic level is 100 and direct level is 0.

Channel B: Type is Metal Lead, Gain is 8, Bass 80, Middle 70, Treble 100, presence 85, Level 45, Gain switch is High, Solo is off, Speaker 8×12″, microphone type is CND87, mic dis = on, mic pos = 10, and again the mic level is 100 while the direct sound is 0.

EQ settings: Equalizer on, Low cut 55hz, Low EQ +10dB, Lo-Mid is 0dB so no need to worry with that one. Hi-Mid f (frequency) is 4.00kHz, Hi Mid Q = 1, Hi Mid EQ +3dB. High EQ is 0dB and High cut is flat. Level is 0dB which just means your not boosting the signal but the EQ still works.

Delay settings: These aren’t really crucial to the sound, and it’s always a matter of personal preference, but here’s what I’ve used for this one. Type = Pan, Delay time = 536ms, Tap time = 50%, feedback = 24, High cut = 11.0kHz, Effect level is 14% and direct level is 100%

Signal FX chain: I like keeping things as close to what they would be in the real world so no biggie here. Preamp first, then EQ, Noise gate, Digital Delay. I don’t know why the noise gate is there where it is, but it seems to work.

My Marshall amplifier simulation on the GT Pro.

This one works great for a bluesy Stevie Ray Vaughn sound stratocaster neck pickup position, and cleans up very nicely when you back off a bit on the guitars volume control. It’s also quite effective as a main hard rock sound when you use higher output humbucking pickups.

Here are the settings: Channel mode is Single, Channel select is channel A, Type is MS HiGain, Gain is 8, Bass 80, Middle 50, Treble 50, Presence 0, Level 50, Gain SW High, Solo Off, Speaker type is 8×12″ again (the only one I use), Mic Type CND87, Mic Dis = on mic, Mic Pos = 7, Mic Level = 100, Direct level 0.

EQ settings: These are the same as 5150 stereo, but here they are again anyway. Equalizer on, Low cut 55hz, Low EQ +10dB, Lo-Mid is 0dB so frequency doesn’t matter. Hi-Mid f (frequency) is 4.00kHz, Hi Mid Q = 1, Hi Mid EQ +3dB. High EQ is 0dB and High cut is flat.

Delay settings: Same as 5150 patch above. Okay, I’m getting lazy now.

Reverb: Type is Hall 1, time 2.5s, pre delay 0ms, Low cut 165 Hz, High cut 4.00kHz, Density 10, Effect level 39 and direct level 100. The effect chain is the same as 5150, but with reverb after the delay.