Come Out and Play

Dude,

This is something that is very close to my heart. Playing live.

First of all, my sincere thanks and appreciation to you for inviting me to join those competitions and that very special wedding gig. It took me out of my own (imperfect) world and into the real one.

I actually enjoy playing live (if it is not a competition). Everything is so carefree on stage and I can spontaneously play whatever that comes to mind – improvisation, I call it. That is the epitome of “Freedom of Expression”

Playing live means you truly communicate with other musicians in a musical way. I don’t know how to express this in words but I am sure you understand that. It’s like the Mind Games session. No practice. Just let the music determine the flow. No competition. The music takes the lead.

Playing live challenges us to control our mind, body and soul – all in order to ensure perfect execution of techniques and maintaining the role as a responsible band member. This will definitely enhance the musicianship and take it to another level. For me, I am always hoping for the Dev’s Boogie or Mind Games level which once again, the mind and soul takes over.

Story time……

I did my first “live” performance when I was 15 during a campfire. That’s right. A campfire. A friend was the organizer (The Red Crescent Society – they organize the campfire and invite kids from other school to join – mostly to know girls and all that, as we were an all boys school). I wasn’t a member of the society but the “payment” was a roti canai breakfast….so why not?

To help this good friend, I rope in WL and another guy (the same guy in my guitar class) to do Two Steps Behind. The venue was in the middle of the school field, dark (with the fire as the only light source), I did the vocals and all single line melodies, including the solo on my Yamaha Classical. My 2 friends were covering the rhythm on steel strings. All that in front of 200 people. That’s right, 200 people. There were some dumb idiots clapping along. Wish I could go over and smash their head with my CG-100A. It’s a rock song for God’s sake, not Chinese pop. Damn…….

The best comment I heard after that was “Don’t know who is that guy but he did a good job with that Bon Jovi song….”

Sorry Jon. Sorry Joe. That night, this kid got the credit.

Of course, it wasn’t until more than 10 years later I got to do it again, this time, in a real rock band.

Despite all I have just mentioned, I still think I am not geared for live performance. Deep down, I am still very much a bedroom player. The stage fright and to some extent, some little boy bashful-ness is still there.

With every chance I have on stage today, I try to take myself less seriously; so I can learn to let go. I think the first time I ever smiled on stage was probably during your bro’s wedding gig… That should be the vibe of a life show. I guess that’s a good start.

Every moment on stage should be savoured and enjoyed to the fullest. Even something as disastrous as Asian Beat had very valuable take-home lessons.

Being able to perform on stage is a blessing. It doesn't matter if there is a hot shot musician in the audience – because it is not his stage.

Just play.

I am still very determined to use that shaker on stage….one day dude, one day…

The (Alternative) Essentials

Dude,

This started off as a “what-goes-in-your-toolbox” post but I thought since there are already countless articles on that, let me share with you some other important stuffs which others may take lightly upon. They are not necessary to be in the toolbox, but I always make sure they are accessible.

Music Stand

I wouldn’t have bought one if it wasn’t for your bro’s wedding gig. This is the best investment I’ve ever made. I used to practice sitting down, with the manuscript on the table. After 10 minutes, my neck feels the strain. After 30 minutes, I will get stiff neck for the whole day (and many a time, continued through the next day) and if I am determine enough to sit through whatever I was doing for an hour, I will die. Music stand literally, saved my life!

Micro-fibre Cloth

I was a champion for guitar polish until Mr. Shopkeeper introduced me to “Magic Cloth”. To support a friend doing business (friend is more of his boss actually) I bought one, but did not use it (it came from the Shopkeeper, I was skeptical) until my Mum (the greatest Mum on Earth) told me about her new discovery – a cloth so good, you can wipe oil and dirt off the kitchen tiles without any detergent or liquid. Guess what – it was microfiber cloth. She was right. I could get rid of fingerprints and dirt on the guitar with just one wipe. Note that this was back in 2005, where microfiber was just introduced as a household cleaning tool.

I now use 2 pieces of cloth – micro fibre for “polishing”, and another piece (not microfiber but lint-free cloth) purchased from Shell petrol station, to hold the guitar while doing the wiping.

Polish is still important, but I will probably do it once a year. Now is to get a real good polish.

Brush

Any type of brushes, with art brushes being the best choice (although I am contemplating Chinese brush). What is it for? For those hard to reach places – between your strings and the body, bridge, pickup mounting, trem spring cavity, body-neck joint, and where ever the cloth can’t reach.

Zip lock bags and bubble wraps

What the hell? Put your glass slide in, zip it up and roll it. Rest assured it won’t be crush by whatever you have in your tool box. You can extra-secure it with a bubble wrap around it. Zip locks helps to prevent the slide from… sliding out. You can also throw that glass slide into your gig bag and not worry being greeted by glass pieces by the time you need to use.

Olive Oil

Or recently Canola oil. Cooking oil is probably very very low in moisture (had it been high, imagine this – Cook prepares a wok of oil for frying stuff, oil heats up and oil start splattering around. Cook runs away. Neighbours thought here is gun fight in the house. Neighbour calls police. Police come. Cook arrested for negligent…..and the story goes on with the finale of aliens taking over Earth. Don’t ask me why. Long story.).

Dude, I don’t advocate this but if the fingerboard – particularly unfinished boards, particularly, rosewood – is having signs of dryness and cracking (….and BIG shop is closed for a week so you can’t get lemon oil), get into your kitchen, get a cotton bud, dip into oil and “brush” on the fingerboard.

Oil protects metal surfaces as well but you need to experiment if cooking oil will cause fret wires to turn black. Lemon oil will. I doubt olive oil will do that.

Cotton Buds and Tissue Papers

Cotton buds to brush oil, tissue papers to wipe off excess oil (tissues are disposable, micro-fibre cloths are not).

Sandpaper

I used to have the finest grade in my toolbox. I thought there will be metal deposit on my cable jack due to moisture, which may interfere with the signal. I think too much. Never heard of that before (eventhough from the electrochemistry point of view, it’s possible)

Anyway, if you are a fingerpicker, this is essential to shape your nails. I remember having one manicure lesson with my classical guitar teacher on how to shape your nails!

Rubber Bands/Tying wires

Or anything that can bind things together. It’s always nice to keep cables rolled up nicely to fit into gig bags. I always save up all the wires’ tying cables that come together with electrical appliances. Comes in real handy.

Sitting Cushion

I sit on a chair with a marble seat. Try playing for an hour sitting on that. Enough said.

Mineral Water and Dequadin Lozenges

Try playing for an hour straight without any liquid to keep you hydrated. Enough said.

Of course, don’t forget the “real” essentials – pack of picks, cables, tuner, metronome, extra strings, etc – all in a good gig bag.

I would have put chocolate and ice-cream as well as teh ais and nasi goreng telur mata kerbau ayam tepi as some of the essentials, but that will be a little too much isn’t it?

If Your Heart Says OK, It’s OK

Dude,

I believe you and I are primarily, lead guitarists by “training”. These days, I am a little more into exploring rhythm, after re-visiting the music of Jimi Hendrix. But do allow me to share something that is very close to my heart – lead playing.

When I first started on lead, I tried real hard to study all scales and modes, all lead playing techniques and every single article on lead playing that I can lay my hands on. After all that, I am very much stuck with the pentatonic box… and none of those music theory have been of any great help (don’t get me wrong, music education is important, but that’s also a huge problem for me).

So dude, knowing that I can’t progress much; I decided to surrender to fate.

Today, I build most of my solos on pentatonic. Pentatonic is probably the most versatile group of notes you can ever have within the musical scale. Blues, rock, metal, jazz – you can easily fit any major or minor pentatonic, sometimes both.

Having said that, it probably means that theory is not really significant for me……What makes a great solo then?

I’ve always thought the Solo of Death Award goes to the song Lonely in the Night by Eric Johnson from the album Venus Isle. You just gotta listen to it and tell me how you feel. I just don’t know how to describe it. It is my all time favourite solo.

Maybe, that’s what important to me in building a great solo. It has to tell a story. It has to stand out. It has to have melody, tone, harmony and emotion, plenty of emotion.

Of course, if I can’t describe what makes a great solo, here are some that will help me to do it:

1. Mr. Crowley – Randy Rhoads
2. Cry Me a River – Zakk Wylde
3. Time – David Gilmour (in fact, anything by David Gilmour)
4. The Spirit Carries On – John Petrucci
5. Tornado of Souls – Mary Friedman
6. Limelight – Alex Lifeson
7. All Along the Watchtower – Jimi Hendrix
8. These Days – Ritchie Sambora
9. Punch Me I Bleed – Alexi Laiho
10. Wall of Denial – Stevie Ray Vaughan
11. Stairway to Heaven – Jimmy Page
12. Right Now – Eddie Van Halen
13. Just Take My Heart – Paul Gilbert

There are many more of course. I did a quick mind scan and this 13 came up, maybe due to the immediate emotion they invoked. You may notice that some of my biggest heroes are missing here – Eric Clapton, Uli Jon Roth, Yngwie Malmsteen and many instrumentalists such as Satch and Vai. While doing this, the criteria were more towards song rather than instrumental. To fit a solo into a song and make it awesome is much more difficult than a whole instrumental of guitar solos.

To sum it all, I think the best solos come from deep within us. We reach down deep into our hearts, feel the song and play according to the emotion we feel. Whether it is a positive or negative kind of feel, as long as your heart approves it, whatever comes out will be awesome.

Stairway to Heaven solo was done on a Telecaster. Can you believe that?

Now Everybody Can Play (Shred, Strum and Pluck)….Terms and Condition Apply

Dude,

Yeah, I know. I shamelessly drew the title from the tagline of a budget airline, which I am still trying to sort out whether to like them or hate them.

But seriously, it is so easy for one to pick up guitar these days.

Nowadays, you can get a fairly good piece of axe with the price of RM500 (or below). A certain effects pedal manufacturer can offer a distortion at less than RM100. More and more brands are now coming up with “Starter’s Pack” – with axe, amp, gig bag and cable all bundled into one nifty looking box. If you know the sales guy well, he may even throw in a set of free strings!

If you think about it, for a beginner, browsing through guitar store today can be quite an exhausting experience. Unless you know what you want (or in my case, it’s the wallet that decide what I will get), you will have to go through a jungle of a showroom (not before doing endless research on the net to find which brand and model is suitable).

Guitar lessons are getting more and more sophisticated as days go by. Back then, I would be damn happy to get my hands on some VCDs or some featured lesson on mags. Today, you get YouTube and recently, there is a new trend in music education – Skype. More and more artistes are coming out with instructional DVDs (most ridiculous one I have is Jeff Loomis’s one, makes me want to stop playing and concentrate on other things).

Dude, more schools are popping up everyday, with the BIG shop forming its own academy. Gone are the days you need theory to get some paper qualification. So many courses today are structured to be practical in its approach and teaching process.

And of course, an important factor…. Buying power.

Dude, I don’t know how many times you encounter this, but I witnessed some really expensive purchases, once in Singapore – an ESP Flying V – by not so great players (mostly decided by the dad’s or mum’s wallet).

And I have also seen some really great players (like Uncle) who are stuck using really cheap/budget gears (also decided by their wallet, but their own).

Now, you may be thinking I am drifting from the title. You may be asking “Dude, what the hell are you trying to say?”

No matter what guitar we use, or which guitar instruction method we use, all are useless. What we need is just passion and love for what we have and play. Sometimes people need to realize that even if we don’t play as well as John Petrucci or we don’t own that Fendeer Custom Shop SRV No.1, our appreciation for music is already, the greatest reward. Furthermore, no use playing like JP if we don’t have his heart and soul (for me, no use playing like JP cos’ can never do things he does).

With all the gears and amenities so easily available today, it’s not surprising there are more and more Melvins out there (check South Park’s definition of “Melvin” or in our case, you know who). On the other hand, it also gave birth to some really good players and enable others to improve their game.

So, folks, listen up. You may be able to afford that EVH guitar (RM30,000, you gotta be kidding) or stuck with a Squier S-65 for the rest of your life. It doesn’t matter. As long as you have the heart to play, you will achieve that greatness one day. If music and the guitar you play doesn’t discriminate you, then why should you?

You can only start having 25 (or more) guitars if you really show the passion. My musical brother showed me that you need a lot of passion and commitment to achieve that – and playing wise, fully command his hero’s, Zakk Wylde’s playing style and able to summon it by command – as well as bold enough to make sacrifices. He has the heart, so he deserve 25 (and more). You Melvins out there, at least learn to play properly first.

Till I get my own 25, I hope more people can pick up guitar. That will lead to more new (and good) products in the market, more resources available and more guitar oriented concerts in this country. Hopefully, I will be better then.

So, pick up your axe and fight like a farmer.

RM30,000 for a guitar… you gotta be kidding.

Dev's Boogie - Afterthoughts

Dude,

What a post that was……alien spacecrafts crashing into each other………

I am listening to Dev’s Boogie while doing this reply. I can feel some frustration in my playing, which I believe was born out of the thought that why did I waited so long to write and record my own music? Thinking about the wasted time (and years) really helped  push me to almost perfection.

As usual, I cannot recreate that anymore. Will need a driving force.

Macedonian, Sumatran, Iraqian…… That’s hilarious…I want to see you pull them off... Yeah, the shopkeeper is really something. I remember him ordering a RG for me without me confirming it. I think he was quite bitter about it.

Anyway, he did invite us to a singles launch with his band of void decks. For me, that’s all flash and no substance.

My dear shopkeeper, if you have gone to a point where you can afford to rent a venue to launch your single – with press and media people and all other nitwits and numbskulls who were dumb enough to attend – and at the end, I still don’t hear anything about you (I don’t listen to ERA FM) or see you in papers or TV, then you are wasting time.

Sometimes, it’s not about the plan and objective. It’s all about seeing where you will end up at. If you can’t see that, don’t waste your time living in your fantasies. Get out and get real. Mastubatory noodling will get you no where.

Dude, I almost forgotten the 2nd version recording session. Your original was really wicked, although I know you really hated it. But if I remembered correctly, here’s an account of what happened.

You had a good run doing the second version with the LP but somehow you reach a point you started having some issues with some phrases. I was there looking at you and you should have seen your face dude… You were angry but focused. That showed how committed a musician you were then, and even more so today.

I then decided to leave you alone. I remember turning the lights down, signaled to you from the control room to relax. Then, I walked out. I remember hearing you nailing all the notes and phrases…which was quite a delight. After a while, everything went quiet and next thing I know, you were in the control room together with hot-shot producer, reviewing what you had just recorded.

First time hearing that floored me. And these were your exact words: “This is my response to your superhero theme”….

That was the quote of the century.

It was a different solo altogether but it still has the SB stamp on it and as usual, wicked, evil but yet highly melodic and technical. You were right: It gels well with the theme from my first solo.

To top you, I may have to look for that lesson on Hungarian pentatonic…no kidding dude, there is such thing!!! Maybe shopkeeper can show me how, and throw in that diminished void-deckian harmonic minor flat fifth……Till then, I think he functions better as shopkeeper..

Dev’s Boogie

Dude,

As we all know, this is not any boogie-woogie. This is no holds barred shredfest.

We know how the song came about but if you allow me, I will break down part by part and share what is the inspiration behind it.

To begin with, there was no plan to record Dev’s Boogie. You know why? Because the whole songs were not laid out to be that way.

The first 2 part of the intro was a lick I rip from a Guitar Player lesson on minor “oriental” sounding licks. I added the “Marty Friedman” to complete the clean intro before launching into the high gain licks part. I am very happy with the tone, played on the bridge. The pinch harmonic was crisp and clear.

All rhythm were played on the bridge pickup. The Am – Fm – Gm progression was actually by David Bryan’s keyboard intro in the opening of Bon Jovi’s Live in London 1998 Concert. Sambora then came out and did some talk box licks, before the band opened the show with Livin’ On A Prayer. The progression gives that rock feel and “raise your sword and fight” kind of vibe.

The progression maintained through the song although second part is two measures less – to prevent it from being too monotonous.

My first part solo was the very first solo I composed prior to recoding. As you know with all my work in SB Influence, all solos are improvised in the studio, with most of the song being heard for the first time there. I don’t really know what was the theme behind the solo. Even during composing, I basically just winged it and practice it over and over again so I can play the same thing during recording.

First half of the solo is standard minor and minor pentatonic fare and as I approached the second half, I threw in a good dose of minor harmonic licks. If you listen carefully, they are very similar to what I did in Mind Games.

The ascending lick and half time feel melody serves as break for each part – intro, Dev’s solo, my solo, interlude, etc – just to break things down to ease the musical flow of the song. If you remember, we attempted to do harmony on the break but just couldn’t get the timing right. The plan for it was to double track the part but due to communication breakdown with the producer, it didn’t see the light of the day.

I slowed down the piece with a slow part with just one chord strumming. The plan was to have someone solo over it in a live show (with spotlight on the soloist) as well as some choir vocals (don’t ask me why). Because it sounded too dull, I messed around with some melody using keyboard during mixing (to simulate the choir). I had a few version of it and the producer had probably chosen the best one for the final version. There was even plan for a piano tune on it but that is another story. Would have been great cos’s that will put some Dream Theater vibe into it.

The main progression then surfaces again, this time, two measures less. Initially I had flanger on but once again, producer took it out during the final mix. However, I thought it was rather good as the rhythm was thick sounding.

My solo for this part was totally improvised during recording. As of all my electric works, solos are done using neck pickup.

Then comes what I always thought to be my proudest achievement – the harmonized licks. This is purely Iron Maiden influence and I am really happy how it sounded, although a little too repetitive. I thought the repetition added more character to the music as well as paving a nice flow to end the song.

I save the best for last. Your solo. Every time I listen to this song, I get something new feelings about it. I feel that your solo actually added the balls needed for this song. They are melodic but brutal at the same time. Thanks for the killer melodies dude. Definitely another highlight of the track.

I spent two weekends mixing, adding keyboard and doing drum programming with the hot shot producer. Overall, I am quite happy with it.

So put them all together, there you have it. Dev’s Boogie.

I hope more people can get to hear this track. I have so far shared it with only two person – one guy whom I met at the mechanic. This Chinese guy had some issue with his audio system and went to your neighbourhood mechanic for some repair. He had John Petrucci’s Wishful Thinking going on. So conversation started from there and he owns a alarm company and plays an Ibanez Prestige RG. This 45 year old gentleman’s comment – not bad, good rock vibe. That was the first and last time I saw and spoke to him.

The other person is a guitar teacher (although he is more like a shopkeeper). His comments - “Sounds like you just play through some repeated progression from some guitar lesson jam track. I do that with my student all the time”. Well, if you think about it he is quite right. Then again, right or wong he may be, it doesn’t matter.

Most important, Dev’s Boogie pushed me to play beyond my usual capability and I had some great stuff recorded from your magical hands. It was a confidence booster for me and I really hope to have more chance to record my stuff.

Till then, I am looking forward to Return to Boogie.

Here’s probably what happened when you unleashed the fury from 1:54 to 2:04

1. Some earthquake happening in some land
2. Mustaine decided to compose Dialectic Chaos and hired a brutal guitarist to record it to top us
3. The sonic wave created as a result of speed and brutality of the solo sent some interference to global network and electronic systems, causing the world wide web to be down for 10 seconds and malfunction of electronic-based parts
4. All Dream Theater’s members’ mind froze for 10 seconds
5. Al DiMeola’s fingers cramped for 10 seconds
6. Planets in the solar system got misaligned for 10 seconds
7. Planets beyond
   Milky Ways
   experience some tremors (for 10 seconds)
8. Some alien spacecrafts crashed into each other due to the sonic wave as of (3) above
9. Our southern neighbour ( the island country), sank 10 inches down sea level (for the record they are sinking average 4 inches/year)
10.  Council of Guitar Gods made you the Supreme God

Back to the Future: From Past to Present (Reprise)

Dude,

Building the Music Bakery has always been a dream and given the daily life commitments and all that, it is going to be a challenge and struggle. I will eventually get it done, as I really want to build a place to work out all the crazy ideas and put them into reality; A jamming place or  at least a place to chill musically (with some lychee jellies for snack).

This Music Bakery thing has been going on for years. Having my own practice space right now seems like a good start. I don’t need a state-of-the-art studio. I just want a sanctuary to express myself musically. That will be the real Sanctuary of Rock.

Sometimes, I really admire your drive to get things done. Having two albums completed is a great achievement dude. I am always hoping you will have a third one out ASAP and as usual, whether I am playing or back at the control board, you will have my full support!!!

You mentioned about musical priorities… that prompted something though. I don’t know what is mine. Still trying to find out what I really want, but you just gave rise to that little something I always dreamt of doing (never want to re-visit this cos’ of various limitations until you mentioned “musical priorities”).

Performing in a stadium and all that are fantasies (at this age now, it’s a fantasy, back when I was 18 it was a dream). Do get me wrong, they are fun and I will always pray for that to happen, even for 5 minutes…..

I don’t think I have shared this with you, but I have always wanted to do soundtrack – for movies, video games, etc. Due to my limited vocabulary, I can only do instrumental stuffs. You know, stuffs like soundtrack to some violent video games or some dumb B-grade   action movies. There is something about the audio-visual connection that attracts me.

To be able to make music that gel with emotions and characters, that for me is fulfilling. That is why I dig your song so much, because each of them tells a story, almost like a soundtrack to your life ( pun intended, in a serious manner).

As I grow older, these dreams seem to be much harder to achieve, sometimes out of reach. I look forward to the day when I can slip into the disc player, the soundtrack to my life…

On guitar buying; Dude, we should never stop if we can afford to buy more guitars. As mentioned, if it’s not for the realities of life – home loan, bills, etc – I would have gotten the following: Squier Classic Vibe 60s’, a black Epiphone Les Paul Custom, Epiphone Dot, an Ibanez RG, 24 frets with locking trem, PRS SE Custom 24, any good Taylor Acoustic, Gibson SG Studio, a flying V (affordable one  is the Epiphone Korina) and ultimately, the Fender Eric Johnson Stratocaster.

Being a player is one thing and being a collector and able to appreciate each make and “attitude” of the guitar is another. But being both at the same time, it’s empowering!

Guitar players are a difficult lot to understand huh?

Back to the Future: From Past to Present

Dude,

I guess the past few posts described how I acquired the six guitars I have today and what were the primary influences that helped developed my techniques and style.

It has been almost 18 years since I first played my open E string and C major chord.

Things have not change much since then….

Learning is a continuous process (for a lifetime). I am still discovering new things every day (like the performance of Marillion with Dream Theater). Even all these years of playing guitar, I still find it a challenge to execute all techniques and licks with perfection: bearing in mind, dynamics and tone colour.

Those cds which had accompanied me through the years are still receiving heavy rotation. It’s amazing that every one of them still sound as fresh. My heroes remained the same, with more being introduced every now and then.

Each and every day, I still try to live my rock ‘n roll dream – I am living it as a chemical salesman at this moment. Not the best thing in the world but at least, I can still write this blog during office hour, in the office.

I would probably stop buying guitar (for the time being, still got too many I need) and focus on gearing to produce my own stuff – A  portable 8/16-track digital studio, a good microphone and a reasonably powerful computer – and I am ready to go (not before a little basic in Pro Tools). Add a nice sofa in the room, I’ll have that “Music Bakery” I have always dreamt of.

As I’ve mentioned, learning is crucial. There are many things for me to learn, and many more for me to “un-learn”. I am stuck quite long within the blues-rock genre and I really wish I can do a little metal or jazz sometimes. The day will come….(if I can stay more than 5 minutes on TABS…)

I don’t think I will ever stop playing. This is the only thing I feel I am good at, at least, for a bedroom player..

I actually sat through a TAB for more than 5 minutes while learning Eric Johnson’s The Boogie King. At the 7^th minute, I launched into some licks from “Crossroads”. So, 7 minutes seemed like a good start

Oh yeah, I figured out that my Telecaster-Larry Carlton connection was in the song “Emotions Wound Us So” from the concert Live in Blue Note (Tokyo 1993). It was a yellow Schecter Tele, black pickguard, 24 frets with rosewood fingerboard….

My Very Own Blackie

Dude

One of the highlight in my guitar playing story happened somewhere in 2009. I remember calling you and told you I was going to get ‘em Stratocaster.

At that time, the BIG shop had a bigger outlet as their HQ. They were having some promotion – Fender Frontman 65W with a Mex 1954 Classic Reissue Strat – at about RM3900, that’s about USD1000 plus.

Once again, finance was an obstacle. I settled only for the guitar. I later found out that you can get a Mex Standard for RM1000 less…….

The Strat is based on 1954 Fender Stratocaster, with small frets and vintage tuning gears and 1 ply pickguard. I had it set up with 5 springs at the back and subsequently wired the bridge pickup to the tone control, so I can balance the tone when I switch from neck to bridge position.

Black Strat with maple neck. My very own Blackie.

So, why Fender Stratocaster?

Here’s why: Eric Clapton, Eric Johnson, the great Jimi Hendrix, Rory Gallagher, Jeff Beck, Stevie Ray Vaughan, Uli Jon Roth, Yngwie Malmsteen, Buddy Guy, 3 cool guys in Iron Maiden, David Gilmour, Alex Lifeson (the legendary Limelight Strat!!!), John Mayer, Sonny Landreth, Robert Cray to name a few.

If Strat is good enough for the greats and legends, it is good for me.

No two Strat (or any other guitars) sound the same (Mex or US). Mine has a rather stinging tone (call it bright if you want), most probably due to the maple neck. Tone is rather thin but that’s how it was back in 1954. Maybe they can sound the same, if yours is a top line signature model as all materials are of highest standard, thus giving the consistencies of quality and performance of each piece. Having said that, all Strat retains that instantly recognizable neck pickup tone….

As for my Strat...... 

 The guitar is quite a challenge to play because of the small frets and lacquered fingerboard (which tends to get a little sticky after some time).

It’s a quite a heavy axe as well but no two Strats are of the same weight (…and once again, unless you have quarter-sawn alder for the body, which may have similar density).

The neck profile, I believe is a “V”. Barre chords are painful.

Because of all 5 springs are loaded, the tension can be a little high sometimes.

Despite all that, I try to use the Strat each time when practicing. I believe there is a “bond” to be cultivated between the player and the instrument. I had similar experience with the S-65. I trust the Strat is no different as I barely touch it until recently.

Today, I am more comfortable with the Strat than before – although I am still trying to get use to it – and I believe I should be thankful that I have a Classic Reissue and not some funny, inconsistent Mex Standard. Next on the list is to slap a set of DiMarzio SH-2s on it. That will be great.

It’s strange that I sounded like I hate the Strat. But then again, beggars can’t be choosers right? It is a Fender Stratocaster after all.

But seriously……

I always believe a Stratocaster make the lousiest guitar player sound good. There is an unknown force within the guitar that brings the best out of a player. If you look at clips of the greats I mentioned earlier, you can see that the Strat is an extension of their soul. Strat players are just different. Of everyone mentioned, I really enjoy watching SRV. You see and feel his passion for playing. He is like a man possessed.

Maybe that was what I went through with the John Mayer Strat at the BIG shop during one of our visits recently. Normally, I would be quite reserved if there is a recording device going on, but I am glad you captured that cos’ as usual, I don’t know how I did that (that’s not normal for me). That was the Strat, not me. It was the Strat vibe. It wasn’t me. The Strat was alive. IT’S ALIVE….……..

Strat is empowering. You feel like a Guitar God holding one. You can weave some magic while playing one.

A Strat is a Strat. It’s all about finding the one that speaks to you…..I am still looking though….

And if all else fail……….

“I have a Fender Stratocaster”. Doesn’t that sound nice?

Someday, I will own an Eric Johnson Signature Stratocaster.

Blood Red: Finally, a Heavyweight in the Family

Dude,

I believe you know what I will be talking about: My Epiphone Les Paul Classic.

There was a new shop in the suburb I was staying. It didn’t last for a year, but it did have some interesting guitars.

One of the guitar that is close to my heart is a Les Paul. Clapton used it during his John Mayall days, Gary Moore used it, Randy Rhoads used a nice goldtop, Slash uses nothing else but Les Paul, Gary Rossington uses one, Zakk Wylde is an endorsee and of course, Eric Johnson used one during his Electromagnetic days.

Primarily, I am a blues player – with split personalities of jazz and metal – naturally, Les Paul is a must-have.

During that period, between 2006-2007, I was down in Singapore quite often for gigs. The Epiphone Les Paul Standard was retailed at quite a competitive price but once again, I have to be prudent in my spending (I didn’t earn a lot then, still don’t do today though…sigh…)

So, it was very welcoming having a new shop opened here. In my currency, the Les Paul Classic was quite affordable.

I believe this particular model was a replica of some 50s Les Paul, and it’s one of the model that was authorized by Gibson. Now, the guitar is very different from its Standard counterparts. One thing is that the Classic is chunky (big, huge, big boned, fat, etc). No joke, compared to the Standard, this is the Eric Cartman of the gang. The fingerboard is wide as well.

I eventually settled for it because of affordability. It’s a Les Paul and it’s a classic “reissue” of the real thing from the 1950s. Once again, no complain.

You know why I call it blood red. Bad accident when I took the case back to exchange for a bag because the headstock is longer than a Gibson. I will gladly leave that part out. Pretty dumb incident though. Point to note, part of the fingerboard has my blood smeared on it…..

I will also gladly forget the incident on the night before GBOB. The LP dropped and the neck snapped almost into two. Got it repaired obviously, and I thought it sounded better after that incident. Maybe I am just consoling myself…..

How did the guitar fared then?

The most noticeable feature of this guitar is its weight. It is heavy. But the wood resonates well. So, this guitar is best played sitting down (although I remember the solo to My Time was done staying up…..). Maybe that is what made the guitar sound so full.

With the name Les Paul Classic, it has indeed, a classic tone. The original tone was (fortunately) captured on your song My Time. The tone with stock pickups was rather subtle and responded well to mild overdrive. Unfortunately, it starts to break if pushed to higher gain distortion. I eventually replaced the pickups with a pair of Seymour Duncans – ‘59 for the neck and JB of the bridge.

This “improved” version was used to record solo to Lifeline (is that the right title?). I was quite happy with the tone and at this moment, I have one blues/southern rock instrumental ready for it to unleash its full potential.

The guitar has a rebellious and ballsy vibe in it. When you hold it you feel powerful. There is some appealing about a Les Paul that makes you want a second one. I want a black Les Paul custom next. An Epiphone will do just fine.

I am currently using this guitar for slow blues, blues rock and metal (although I still can’t play a proper metal style….). It is responsive to playing dynamics and with the wide fingerboard, you can bend strings all up to the gates of heaven.

Every guitarist should have one (God should have 3 or more) Les Paul in their arsenal.

All you folks with Les Paul, select which pickup you want to play on and turn the volume of the other one to zero. Pick a note and switch your toggle switch back and forth. You can do that with a Strat as well. Thanks to Randy Rhoads and Jimi Hendrix for this technique.

Ozzy Osbourne, Randy Rhoads Tribute, Crazy Train, 0:20 – 0:22

Jimi Hendrix, Electric Ladyland, ,Voodoo Child (Slight Return), 0:43 – 0:46 (he used the above technique to emulate this part live)

Mistaken Identity (The best Strat I know is a Squier Tele)

Dude,

I got Marty to sign Risk… the last album before he left, and a commercial failure. That’s like rubbing salt in to wound.

Scenes is a great album. Had a few downloaded tracks but it wasn’t until one of the trip to Singapore that I managed to get it.

Those were good days and I am sure there are many more to come.

Back to history class now……

Somewhere in 2006, I thought I was ready to invest in another guitar. There were no references and no plan on what the next purchase is going to be. At that time, the BIG shop only accepts flexi payment from one particular bank – and I happened to have the credit card.

I have previously mentioned about the Tele inspired by Gone Wrong and a Larry Carlton’s concert. Larry was playing this achingly beautiful ballad with a 24-fret Charvel Tele. I believe I gave you the concert in mpeg format.

As such, the aim was narrowed to a Tele shaped, or at least, a Tele sounding guitar. It’s interesting to note that this is also the time I started on Brad Paisley and found new joy in country music.

Wait a minute, I think I was also looking for a beat around axe…that’s right. So, price is another determining factor.

We took a weekend visit to the BIG shop downtown and my memory is quite vague how I ended with the California Series Squier Tele. I remember getting a yellow one out of the box – upon confirmation to purchase – only to find a crack at the body-neck joint area. So my latest guitar was still, off the shelf. With a nice grey Ritter bag, I brought it home.

Now, this Tele is no country gentleman. This guitar was RUDE!!! The scariest part is that, this is the best sounding Strat I ever have. That’s right, the best Strat. The neck position is more Strat sounding than any Strats I have come across (at that time at least, cos’ now the EJ Signature can easily smoke any single coil configuration out there).

I am not sure if this identity crisis was an accident, but I am rather glad with it. The guitar was comfortable and at USD157.90, I have no complains (except for the weight).

Since then, the guitar has been in 4 live performances – 3 weddings, 1 gig – and my favourite would be at your brother’s wedding. The combination with TS7 and Marshall was sweet for the intimate setting yet losing none of the “ball-siness” and rock edge.

What was planned to be a beat around became a reliable and live performance companion (and I know it was build for more  – your shredding was well recorded as a testimony of the guitar’s versatility and potential).

I’ll keep this short and sweet. The Tele is gonna be around for a long time.

2 Squiers so far… looking for the 3^rd one in the form of Classic Vibe 60s… wonder why I have yet to be approached for an endorsement. I will continue to champion Squier Guitars, if they continue to retain that price range…. And quality of course. But I have to mention the rather disastrous Squier you got. That was quite a disappointment. But then again, that’s another story…….(but it was really bad..)

Someone Wicked This Way Come

Dude,

Many thanks for your comments and support to this blog. It’s nice that you replied because I have forgotten how the SA sounded in hands of a pro…I have yet to reach that level, but I am very glad that was recorded at its best. In fact, the session will have its own chapter, and I remember everything was done on the SA.

I have still 3 guitars stories to go.... One is coming immediately after this post because I actually purchase that guitar after the Are You Influenced session – inspired by Gone Wrong and Larry Carlton’s concert video.

On your second comment, I totally agree with you. I can only take 5 minutes of TABS before launching into my blues style. Yeah, back then, we were more than willing to strain our ears just to get it right.

I thought I sounded better then. I cannot re-create “Chromatic”. Not trying to be boastful,  that sounded more jazz than jazz itself. I can’t even play simple jazz to save my life nowadays. Certainly, all the wah licks are history. Luckily, they were recorded to remind me what I was capable of back then….

Till I get the groove back, let’s see how we first met………………….

I don’t know how to start this. I reckon this is going to be quite a long winded one.

The SA and S-65 served me well. Nothing much went on during the period, except that I used to play almost every night in my room ( I was staying alone then) and most of the time with the lights off (took the lights from the adjacent street light as I was on the 2^nd floor of an apartment.

I will either do some “mind jamming” – just play what comes to mind, or I will do what I did for many years, jamming to cds. I don’t do much of those anymore now. In recent times, I will just do finger exercise to keep the muscle memory active (I get rusty very fast).

I still continued to explore CD shops around my area, especially in that Egyptian theme shopping centre. At that point, my musical taste was much broader than before. I started listening to The Rippingtons, Spyro Gyra and found new appreciation for avant garde style jazz, thanks for Mahavishnu Orchestra, Return to Forever and my personnal favourite, Al Di Meola (met him in 2006… quite an attitude, but he did smile when I told him – “I’ve heard Al Di Meola, I’ve seen Al Di Meola and today I feel Al Di Meola”. I was probably the only kid he smiled to during the autograph session after his concert at the Philharmonic Hall down town).

So, on the our first meeting……………..

If my memory serves me well, Marty Friedman dropped by Malaysia in May 2005 for an Ibanez sponsored guitar clinic. I was one of the earlier few at the autograph signing session.

So, that was where we met.

Not much I can recall but I remember we said “Hi” to each other and you sat beside me…(I was there damn early, could’ve gotten the first row but settled for the 3^rd or 5^th.). You had this plastic bag full of Megadeth and Marty’s stuff – CD sleeve and photos.

At that point in time, I only know Marty Friedman from Cacophony – thanks to the uni days downloads, and some of his solo stuff. The only song I knew from Megadeth was Symphony of Destruction.

Seeing the big bag of stuff, it came naturally to me – “You a big fan?”

That started off everything…..

The autograph session was rather uneventful, I remember you taking the photo for me and me of you right? Mine have to be taken twice cos’ Marty was distracted by a chick...

The Clinic venue was at a pub and I remember queuing up in front of the door to grab the best seat (was still hoping he will do some Cacophony stuff)…Because I tried to act civilized, I only managed to get a seat about 15 feet away from the stage – but right in the middle with very little obstructions.

I managed to grab a stool and together with WL we had our own table. You walked in just in time, right before Marty came out right? By then, the venue was full…

Marty did well throughout the clinic, including screwing the technicians for the amp volume.

We did not meet after that but miraculously, we met at Eric Johnson’s concert in Singapore. That was a surprise to me and we even went for the after gig “party” where you got EJ’s autograph and I got to shake his hand and tell him thank you for the music and influence.

I think our adventures really started after that. We began writing emails and meeting up for tea.

It has been almost 6 years now. Rather going through history, here’s why it was life changing after associated with you:

1. Visit to guitar stores was more frequent and the duration spent there is much longer.

2. I got introduced to many more music that I have only read about, the most significant one being Zakk Wylde and Black Label Society (although I still don’t like Vodolok or something that sound like that, especially the CD cover!!!)

3. Finally, someone understands what I am talking about.

4. Finally, twin guitar leads!!!!

5. I get to play expensive guitars that are beyond my affordability level

6. Someone who equally enjoyed  Nasi Goreng Ayam Tepi Telur Mata Kerbau (note it’s “enjoyed” cos’ I don’t think we can swallow that shit anymore….)

7. Eric Clapton live in Singapore, the opening riffs to Layla….. that moment, priceless

8. Whitesnake live in Malaysia, opening keyboard riff to Here I Go Again…that moment, priceless (thanks for the ticket, dude)

9. Yngwie Malmsteen live in Singapore, manager shouting at the world…that moment, dumb.

10. Derek Sherinian leaving in a taxi with a chick (with shorter than short skirt) amidst all that chaos - and I believe only two of us saw that cos the area was quite secluded….that moment, epitome of drug, sex and rock and roll,

OK, dude, here are the serious ones.

You called me one night and asked if I can play bass for your new CD (you just won some cash from Creative Commons). Cut it short, I eventually did some guitar work for few tracks.

That was my very first experience with real recording, and what an experience it was. If it wasn’t for that, Dev’s Boogie wouldn’t have seen the light of the day. I wouldn’t be motivated to record my own composition if it wasn’t for that session.

You encouraged me to get out from the bedroom. I get stage fright easily and don’t really dare to play in front of others. GBOB and Asian Beat did it for me (although the latter was a little disastrous). But the best was the gig at your brother’s wedding reception. I felt light, relaxed and I really had fun. It was just the soul and fingers doin’ the work. The mind was at ease (maybe the cough syrup helped….)

If there is anyone who can dissect my style and give fair comments, that will be you. It’s difficult to have someone that completely understands my aspirations, at least musically. I think you read that part of my mind.

All the sharing and exchanges that we do every day are educational and adds that little ray of light in our otherwise routine-ny life.

I could go on and on how much I have learnt from you, and how much my guitar playing torch is kept burning because of this brotherhood.

Someone wicked came along and make me a (almost) Guitar God… not too bad.

If I can sum it all up, all I can say is thank you.

Some of the greatest bands were made up by two key players: Jon Bon Jovi and Ritchie Sambora, Steven Tyler and Keith Richards, James Hetfield and Kirk Hammett, Adrian Smith and Dave Murray, Glen Tipton and KK Downing, Marty Friedman and Jason Becker, Muddy Waters and Johnny Winter, Brian May and Freddy Mercury, Roger Waters and David Gilmour, Dave Mustaine and his co-guitarist(s), Status Quo, Don Henley and Glen Frey, John Lennon and Paul McCartney, Paul Stanley and Gene Simmons…….

Listen to Dev’s Boogie, I think we are almost there, can be on the list too…..

The Next One

Dude,

I graduated in March 2003 and started working about 3 months after that. No, I did not get a gig with a band. I was a chemist in a sealant and adhesive factory.

Salary wasn’t great but it was rather sufficient for me to go back to the store and get my TS7 Tubescremer and a Dunlop Crybaby and BOSS’s Fuzz FZ-3 and Metal Zone MT-2 a while later.

I shifted to another suburb to be closer to my new workplace. So I got the package up to my new place (just a room actually) and by end 2003, I was ready for another guitar.

I told you about a friend who is a studio musician playing for some local rock artist. He had a beat around guitar in the form of Ibanez SA (this guy’s “real” Ibanez is a Japanese Factory made Prestige, and he hand painted it himself. He used to work for Zoom or Digitech in Singapore and they sent him to Japan for a tone course for 6 months. He hooked up with one of the Ibanez guy and after 6 months, collected his guitar.…..don’t know how people get job like that while I am whacking my body with harmful chemicals).

So, this Ibanez SA has a sweet crunch tone and it looked quite good, at least to me. It looks like a “real” electric guitar with the trem bar and strat style body.

Once again, I went to the friendly neighbourhood store, which by then, was still doing a good job as the agent for the sole distributor for Fender and Ibanez.

The cheapest branded guitar on the shelf was the Ibanez SA (they had some Mex Strat). Dude, at that time, they even had one Squier Showmaster, which was more of less as pricey as the SA. That Squier was wicked though, but I was determined to get a “branded” one this round.

So, I got the SA and this time, with a Gator hard case. However, as I was still on my motorbike at that time, I drove to the store using a company car (which had to be returned to the premises at the end of every work day), I had to temporary place the guitar at WL’s place – we were living in separate suburb then. The plan was to sneak the company’s car out on the weekend and take it back home (used to work half day every Saturday)

Being a good friend he was (and still is), he and his girlfriend delivered the axe to me on the very night.

26 sound files were recorded using a Sony digital recorder (again, belong to the office) on 2 nights. First night done with the SA and second with the S-65. I remember I emailed you some of them during our emailing days.

With that, by end 2004, the SA and S-65 accompanied me almost every night.

No new guitars for the next 2-3 years. But that period was crucial in further developing my style.

Enter SB Influence.

Folks, if you ever find yourself sitting beside a stranger in a guitar clinic, never underestimate effect when you start the conversation with “You a big fan?”. It can be life changing!!! If nothing happens, you still have the comfort of a stranger for that few hours.

The Chosen One

Dude,

Many thanks for your comment. I agree with you that uni sucks. Probably the only chick I knew back then was the one who eventually became my wife!

Yeah, back when we were still in school, WL and I frequently talked about all the rock bands and things I read in mags, and things he saw on the net (back then I don’t have Internet at home). I remember he bought my first Dream Theater concert when he and his family were up at the city during school holidays. It was the videotape of Live in Budokan.

I feel blessed that I am surrounded with people like that, and of course, in the later part, SB which would eventually propel  me to greater heights. Look out for the chapter “Someone Wicked This Way Come” dedicated to you.

Till then, let’s continue the story of my pathetic guitar life…………

This little neighbourhood store we were talking about started opening its door for business not long after that. Since its inception, I was quite a frequent visitor. In that store as well, I had my first “real” trial of guitars. Other stores in the city will be extremely careful with a poor kid like me touching their products.

On one fine day in 2002– not like a perfect day, just like any normal day – after coming back from the campus, I suddenly thought: “Maybe it’s time I go get the electric guitar.”

Now, months before that, I had purchased a Fender Frontline. Although Fenders looked really tempting, the realities were all at the Squier pages.

I have tested several guitars in the store before that. The only affordable one was the Squier S-65.

What in the world is a Squier S-65?

At that time, I didn’t really care. It looks like an Gibson SG, it was black in colour and has 2 humbuckers. I was like “It’s an electric guitar and it cost less than USD200 (USD171 to be exact)… For God’s sake, what else do you want?”

As my study loan was used to finance this purchase. So, I got to be extremely prudent on how I spent it.

Having said that, all I could afford was a beginner level guitar, with agathis body and rosewood fingerboard, and a cheap non-padded Ibanez bag to go with it.

As budget was rather limited, I chose the Marshall MG15DFX as the sound projector. Still wish I could have gotten the 30 but that was more than good for me then.

Not forgetting, a Fender California Cable, gig ready 18 feet length. Don’t ask me why, but that was the only one they have.

All that and a very challenging ride home (all on my motorcycle) started it all.

I remember sitting in my room staring at the package (still in their) boxes for almost 15 minutes. Just couldn’t believe I finally got them.

Yes, I finally got it.

But being the protective guy I am, the package did not stay long with me in the city. I brought it home and only got access during weekends or longer semester break. Over the time, I practiced on WL’s Samick and his Yamaha acoustic FG 410.

I can't really recall much on the time I spent on it, except I did the whole Love Thing by Satch on it (not before 2 days of ear torture)....

It wasn’t until a year later, when I started working, the noise machines were brought up to stay with me.

The neck plate on the my Squier says “Squier by Fender. 20^th Anniversary. Freedom of Expression since 1982. You folks out there who laughed at me having a Squier, try to get one of it that has the nice engraved chrome neck plate at this point in time!!!

School of Rock at Electric Ladyland

Dude,

One of the biggest surprises in my life was how I managed to survive the local equivalent of O-Level and A-Level examination. I eventually got a place in the oldest university of this country – in the capital city. So, on May 2000, I enrolled in the Department of Chemistry, Faculty of Science, University of Malaya, to begin my training as a chemist.

Small town boy come to big city – all that drug, sex and rock n’ roll…..

Not… but the Rock n’ Roll part, yeah baby…

While many of the other kids were enjoying their dorm life and endless orgy parties (just kidding), I was extremely efficient in being home immediately after lectures (I stayed out of the campus). Why?

Remember WL? This guy was seated beside me since primary one till my A-Levels, broke our leg in the freak accident and took our black belt in Taekwondo together. We ended being roommate for the next 3 years in university.

WL is a Computer Science student in the same university, majoring in Artificial Intelligence. Now, all the IT geeks get a designated computer in the faculty’s lab, and for some reason, they began installing KaZaa, downloading everything from how to make a bomb (just kidding) to academic books – all that safe from the lab supervisor’s knowledge.

WL was also a fellow student during my classical days and he is equally at home listening to rock, metal and everything electric.

So day after day he will be back with something new…first it was the mp3 – Vinnie Moore, Cacophony, Wes Montgomery, Steve Morse and many many more…..

Then came the videos – John Petrucci’s Rock Discipline, Marty Friedman’s Melodic Control, The Allman Bros Band Live at the Fillmore, Joe Stump Berklee Video, Dream Theater’s Change of Season, Larry Carlton Live at Blue Note, Paul Gilbert’s Terrifying Guitar Trip, the list was endless. Till today, they are still the best reference I have.

My first 1.5 year in uni were spent without a guitar, although later, WL would bring his Samick and Mini Marshall, which I played most of the time. I look forward to trips home, cos’ that’s when I get to play on my classical.

During that period as well, I made frequent trip to local CD stores. You get everything in the city. I remember getting my first Randy Rhoads cd – Tribute – and finding Uli Jon Roth’s Earthquake and Fire Wind lying at a flea market, unappreciated (it’s now safely in my cd drawer). Finding all the cds, which I could only read about in Guitar World was indeed, priceless.

Guitar stores – this is another story. To cut it short, I swear I could have died a happy man after my first encounter with an American Strat or an ESP. But drooling over them was all I could afford to do.

In 2002, Paul Gilbert conducted a clinic here in the city. I saw an ad on ticketing outlets and it led me to a new guitar store around the suburb I was staying. The store was still under construction, and I got a chance to speak to the proprietor of the store and had some good vibes going around. Because renovation was going on in there, the place was rather messy. I got my ticket to the clinic, wave goodbye and promised to check the store when they are up and ready.

I went back eventually when they were up and ready. Little did I know that this little neighourhood store will eventually pave the way for many great and mighty things to come.

Digital music is the in-thing now…but nothing beats the feeling of holding a new cd, ripping the plastic off, playing the disc and reading the entire booklet/sleeve…..