This is pretty cool, John! Also, thanks for the Allan lessons, they helped me notice if I was on the wrong track while transcribing them, such a pity I injured my left wrist while going through Home…
I never thought I would see anyone play this part of the song.. amazing stuff! Pretty sure that part is the reason why the title of the song is “saturation point” I play the solo after that on my channel.
Very cool lesson! Very cool guitar as well. I've been on the look out for a Hurricane-Ltd 2 for awhile. They are quite rare. Looking forward to more Becker in the future. Cheers.
Thank you! Didn't know how rare it was when I got it in the late 90s. I'd def like to do more Becker stuff if I can think of something that would work well.
@@TurrigenousOfficial If you ever decide to sell it or are open to trades let me know. Kiesel put out a tribute model some years back--and even those are rare and hard to find.... Well, I'd love to see you do some more. Your Holdsworth studies, book, analyses, and so on are arguably the best. Top-tier stuff my friend. Thanks for sharing as well as the reply. Take care
That’s really sick. I love Jason Becker, his stuff is crazy. That part reminds me of stuff Buckethead does. Octave displaced chromatic stuff with delay
@@TurrigenousOfficial totally. I think Shawn said Buckethead was inspired by his stuff that was in turn inspired by Conlon Nancarrow who composed using suped up player pianos to play “unplayable “ stuff
Great stuff! This has the first Marty solo I figured out... Sort of. Never gave alot of thought as to whether the row section was legit worked out or not, especially due to the recording/delay obscuring much of the note specifics.
Thank you! Yeah I used to think it must have been some bizarre arpeggio thing that was harmonized and not played well. How wrong I was! This was also at a time you couldn't easily slow down music and do all kinds of stuff to it in order to really understand it. Hell, as I said it took Marty to say it was a 12 tone row and use of a delay for me to even try to unlock what the hell is going on!
Hmmm I never really did many. From what I recall, the piano player Gordon Beck did all the arrangements. Allan just played on it. He also played very little actual chords on it except the beginning of Countdown. Maybe if something strikes me. I really dig Isotope.
@@TurrigenousOfficial How do you transcribe Allan's very fast parts where he is playing 32nd notes? I am a little skeptical that people can transcribe something so fast (considering the harmonic complexity) without slowing it down.
I never said I don't slow it down haha. Up to 25%. I just need 2 notes and then listen for the 3rd and expand on it. Allan's tone and playing is usually crystal clear (minus the 70s stuff) so it's pretty easy. Plus you start to see familiar patterns and shapes and can guess where there gonna go
@@TurrigenousOfficial Sorry, i didn't want to suggest that you claimed not to slow it down. I was just speaking in general. I never spend much time taking solos down from records, so i am not that good at it. When i tried some Chick Corea stuff, it was extremely difficult and it took me a week to get one song. Although, i never slow it down. I am kind of weird in that way. I think that if i can't get it without any help from technology, i shouldn't be playing it.
I gotcha! I just find that limiting. Without doing what I've done I would have never grown as a player. Dont care how I do it, as long as it's done haha
Any chance you would do any of the cacophony songs? I feel like almost all of the available tabs are so wrong. Thanks so much for all the Holdsworth stuff!
Slightly off topic but a big question, do you know of any live versions of the dominant plague? Have been trying to figure some of it out by ear and can't find a single video for reference, thank you for all the hard work you do
Thanks! Anyway there isn't any and probably wont be. Allan didn't use the Synthaxe live for much. Off the top of my head, the only Synthaxe tunes played live were Non Brewed, Looking Glass, Atavachron, Sand, Pud Wud, Distance Vs Desire (Most of the chords being done by Steve Hunt), and Spokes, which is incredibly rare. Most of those tunes could be moved to regular guitar so after 1990 Allan stopped using the Synthaxe live all together, then needing a double neck to play NBC and Looking Glass because of the tuning, then eventually moved them to Standard.
@@TurrigenousOfficial thank you for your response! So from what I'm gathering this song was likely never translated to standard tuning and still in fifths on the recording?
@@evandiliberto6238 I believe its 100% in standard but I don't remember any reason why it couldn't be played live. I think some reasons why a lot of SA tunes werent done live were if the song was switch to guitar, it would lose its impact, or there might be something about that tune that makes it a bit tricker to play live using the SA. If he had a singer, I don't see why he couldn't play Secrets or Against the Clock, and they could have been adapted to regular guitar, as with a few other synthaxe tunes. Or even the melody played on guitar or keyboard instead of singing it, like how he did The Things You See or White Line. So who knows. Its amusing to me that a LARGE portion of tunes he wrote were never played live. The only one I can think of that was actually attempted at rehearsals but aborted was Tullio.
I dont even wanna say how many takes it took to get it at 70% haha. I relearned it that morning but got the bug to record it. I just kept making so many small dumb mistakes!
awesome! love Allan and love Jason, hope that you get to analize speed metal symphony, the harmonies and concepts are really cool but the recording it's pretty blurry and hard to transcribe, cheers from chile!
Thank you! I've worked on and off on them a while. Some of the first stuff I've transcribed. One of my main transcribing goals is all of Perpetual Burn! All the Allan stuff really helped my ear so I'm hoping itll be easier this time, including using the stuff from BlackBerry jams etc.
absolutely killer content man, you deserve wayyy more recognition
Thanks!!
Wow. Thats an out-there little section. Awesome.
Yeah! It's so cool. Even though Marty said in an interview how uncool it is haha.
This is pretty cool, John! Also, thanks for the Allan lessons, they helped me notice if I was on the wrong track while transcribing them, such a pity I injured my left wrist while going through Home…
Thank you! That's terrible to hear though. I tried to warn people that ones a nightmare. Hope you heal up soon.
I never thought I would see anyone play this part of the song.. amazing stuff! Pretty sure that part is the reason why the title of the song is “saturation point”
I play the solo after that on my channel.
Awesome as usual and expected :-)
Thank you!
Very cool lesson! Very cool guitar as well. I've been on the look out for a Hurricane-Ltd 2 for awhile. They are quite rare. Looking forward to more Becker in the future. Cheers.
Thank you! Didn't know how rare it was when I got it in the late 90s. I'd def like to do more Becker stuff if I can think of something that would work well.
@@TurrigenousOfficial If you ever decide to sell it or are open to trades let me know. Kiesel put out a tribute model some years back--and even those are rare and hard to find.... Well, I'd love to see you do some more. Your Holdsworth studies, book, analyses, and so on are arguably the best. Top-tier stuff my friend. Thanks for sharing as well as the reply. Take care
Thank you so much! I just try my best. As for the guitar, that's gonna have to be close to impossible for me to get rid of 🤪
That’s really sick. I love Jason Becker, his stuff is crazy. That part reminds me of stuff Buckethead does. Octave displaced chromatic stuff with delay
I think Buckethead got that idea from Shawn Lane, on how Shawn got that really cool sound using wide stretch intervals. Shawn got it from Allan :).
@@TurrigenousOfficial totally. I think Shawn said Buckethead was inspired by his stuff that was in turn inspired by Conlon Nancarrow who composed using suped up player pianos to play “unplayable “ stuff
@@BenFairbank I can believe that. I know shawn had a song name after him on his Tri-Tone Fascination record.
Dude you are amazing!!! Thank you!! Instant subscribe!!
Thank YOU for watching!
Cool. Glad to see you are branching out. I read Marty stacked many 12 tone rows on top each other for one part on that album. End of a song I think.
Thanks! Maybe, its hard to tell whats really going on at the end.
Great stuff!
This has the first Marty solo I figured out... Sort of. Never gave alot of thought as to whether the row section was legit worked out or not, especially due to the recording/delay obscuring much of the note specifics.
Thank you! Yeah I used to think it must have been some bizarre arpeggio thing that was harmonized and not played well. How wrong I was! This was also at a time you couldn't easily slow down music and do all kinds of stuff to it in order to really understand it. Hell, as I said it took Marty to say it was a 12 tone row and use of a delay for me to even try to unlock what the hell is going on!
Like seeing the AVS in the background there!
Thanks!! 😄. It was gifted to me. I have a pretty decent sized NES collection
@@TurrigenousOfficial awesome man. Guitars and games.....good times!
I was wondering if you can do some of allan's trascriptions on Jazz standards from none too soon.
that would really interesting!!
Hmmm I never really did many. From what I recall, the piano player Gordon Beck did all the arrangements. Allan just played on it. He also played very little actual chords on it except the beginning of Countdown. Maybe if something strikes me. I really dig Isotope.
@@TurrigenousOfficial How do you transcribe Allan's very fast parts where he is playing 32nd notes? I am a little skeptical that people can transcribe something so fast (considering the harmonic complexity) without slowing it down.
I never said I don't slow it down haha. Up to 25%. I just need 2 notes and then listen for the 3rd and expand on it. Allan's tone and playing is usually crystal clear (minus the 70s stuff) so it's pretty easy. Plus you start to see familiar patterns and shapes and can guess where there gonna go
@@TurrigenousOfficial Sorry, i didn't want to suggest that you claimed not to slow it down. I was just speaking in general. I never spend much time taking solos down from records, so i am not that good at it. When i tried some Chick Corea stuff, it was extremely difficult and it took me a week to get one song. Although, i never slow it down. I am kind of weird in that way. I think that if i can't get it without any help from technology, i shouldn't be playing it.
I gotcha! I just find that limiting. Without doing what I've done I would have never grown as a player. Dont care how I do it, as long as it's done haha
Any chance you would do any of the cacophony songs? I feel like almost all of the available tabs are so wrong. Thanks so much for all the Holdsworth stuff!
Totally! I was thinking more Jason stuff, but something like Burn the Ground would be fun if I got right.
Slightly off topic but a big question, do you know of any live versions of the dominant plague? Have been trying to figure some of it out by ear and can't find a single video for reference, thank you for all the hard work you do
Thanks! Anyway there isn't any and probably wont be. Allan didn't use the Synthaxe live for much. Off the top of my head, the only Synthaxe tunes played live were Non Brewed, Looking Glass, Atavachron, Sand, Pud Wud, Distance Vs Desire (Most of the chords being done by Steve Hunt), and Spokes, which is incredibly rare. Most of those tunes could be moved to regular guitar so after 1990 Allan stopped using the Synthaxe live all together, then needing a double neck to play NBC and Looking Glass because of the tuning, then eventually moved them to Standard.
@@TurrigenousOfficial thank you for your response! So from what I'm gathering this song was likely never translated to standard tuning and still in fifths on the recording?
@@evandiliberto6238 I believe its 100% in standard but I don't remember any reason why it couldn't be played live. I think some reasons why a lot of SA tunes werent done live were if the song was switch to guitar, it would lose its impact, or there might be something about that tune that makes it a bit tricker to play live using the SA. If he had a singer, I don't see why he couldn't play Secrets or Against the Clock, and they could have been adapted to regular guitar, as with a few other synthaxe tunes. Or even the melody played on guitar or keyboard instead of singing it, like how he did The Things You See or White Line. So who knows. Its amusing to me that a LARGE portion of tunes he wrote were never played live. The only one I can think of that was actually attempted at rehearsals but aborted was Tullio.
What poster is next to the nirvana poster?
I have 6 Dawn of the Dead mini theatrical posters behind me. That one is a rare german version if I remember correctly.
I will put this up there with the harder lessons on here. I had to get up, leave and come back.
I dont even wanna say how many takes it took to get it at 70% haha. I relearned it that morning but got the bug to record it. I just kept making so many small dumb mistakes!
awesome! love Allan and love Jason, hope that you get to analize speed metal symphony, the harmonies and concepts are really cool but the recording it's pretty blurry and hard to transcribe, cheers from chile!
Thank you! I've worked on and off on them a while. Some of the first stuff I've transcribed. One of my main transcribing goals is all of Perpetual Burn! All the Allan stuff really helped my ear so I'm hoping itll be easier this time, including using the stuff from BlackBerry jams etc.