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The Kurt Rosenwinkel Forum » Tag: picking - Recent Posts http://www.kurtrosenwinkel.com/forum/ The Kurt Rosenwinkel Forum » Tag: picking - Recent Posts en Sat, 23 Jul 2016 21:12:16 +0000 smoke on "Adam Rogers' right hand technique" http://www.kurtrosenwinkel.com/forum/topic/adam-rogers-right-hand-technique#post-12778
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Fri, 18 Apr 2014 19:29:58 +0000
smoke 12778@http://www.kurtrosenwinkel.com/forum/ <p>Rodney Jones picks the same way. I think Sheryl Bailey as well. I've tried it in the past but dropped it after a few months. You have to give up hybrid picking which is important to me so I went back to the way I used to pick. My technique was no better, nor my tone, nor my time, nor my penis length... </p> <p>Way too many people picking all kinds of ways to wreck your technique based on how others do it. That was the lesson for me. It was a fun experiment when it didn't matter as much (early college) but no way would I scrap 20+ years of hard ass work now that I'm getting paid to play. </p>
HlynurS on "Adam Rogers' right hand technique" http://www.kurtrosenwinkel.com/forum/topic/adam-rogers-right-hand-technique#post-12776
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Fri, 18 Apr 2014 17:27:10 +0000
HlynurS 12776@http://www.kurtrosenwinkel.com/forum/ <p>I don't feel any added tension in my thumb when I do it, as a matter of fact I feel like there's less tension overall and I'm able to be more relaxed when picking. Benson seems to bend his thumb back quite a bit while Adam Rogers keeps his thumb straight and his forefinger relatively straight as well and when I try to emulate that I feel really loose and relaxed while still being accurate.</p> <p>I do feel like it has some distinct advantages at least for me, with the kind of pick I currently use (Dunlop JazzTone 204) if I use the "traditional" angle of the pick then the pick just kinda rolls over the string and it's harder to make distinct notes as I have to move the pick farther or even lift it up away from the strings to get a good note. With the kind of angle that Adam uses I am able to let the pick just cut through the string and rest on the string below without much effort and it helps with more distinct note seperation. Perhaps with other kinds of picks there might not be as big of a difference.</p> <p>And yeah of course a lot of guys pick differently and still sound amazing, it really all just boils down to preference. Mike Moreno also has a peculiar picking technique as he holds the pick with 3 fingers and he sounds amazing doing it. </p>
Matt on "Adam Rogers' right hand technique" http://www.kurtrosenwinkel.com/forum/topic/adam-rogers-right-hand-technique#post-12773
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Fri, 18 Apr 2014 14:16:15 +0000
Matt 12773@http://www.kurtrosenwinkel.com/forum/ <p>that style of picking doesnt offer any distinct advantage overall: it's just the way those guys pick (rogers and benson). Kurt picks differently and he sounds great; Metheny picks weird and his tone is amazing! so i think it's all about what your ears hear. if you like it, go for it. </p> <p>personally, i dislike it because i don't like to add the tension in my thumb to get the pick into position. i do like the sound of it though. </p>
Gia5 on "Adam Rogers' right hand technique" http://www.kurtrosenwinkel.com/forum/topic/adam-rogers-right-hand-technique#post-12770
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Fri, 18 Apr 2014 11:20:27 +0000
Gia5 12770@http://www.kurtrosenwinkel.com/forum/ <p>I did. In some ways gives you advantages, better tone, a fattest note and sometimes more speed. But it can't cover all the aspects of playing, especially the rhythmic ones in non swing-situations. So, when the situation needs it, i switch to regular picking. It takes a very long time anyway, at least in my case. </p>
HlynurS on "Adam Rogers' right hand technique" http://www.kurtrosenwinkel.com/forum/topic/adam-rogers-right-hand-technique#post-12766
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Fri, 18 Apr 2014 09:58:58 +0000
HlynurS 12766@http://www.kurtrosenwinkel.com/forum/ <p>I've been studying Adam Rogers' picking techique lately, it looks really effortless and efficient. I've googled around and it appears that people call it the "Benson technique" since George Benson turns his pick in that direction as well but I think Adam's technique looks a lot more effortless. It feels really wierd to switch to picking like this at first but I'm getting used to it. Having the pick at that angle makes it easier to separate the notes better with less effort, the pick doesn't have to travel as far to clear the strings. The tone also changes a bit and I think it sounds better when using this technique, the notes sound thicker.</p> <p>Do any of you guys play with this kind of picking technique or have made the switch to this kind of technique?</p> <p>Here are a few examples of Adam's right hand technique:<br /> <a href="http://www.youtube.com/watch?v=7b0Kg6w95oc" rel="nofollow">http://www.youtube.com/watch?v=7b0Kg6w95oc</a><br /> <a href="http://www.youtube.com/watch?v=M0wPHaKit9s" rel="nofollow">http://www.youtube.com/watch?v=M0wPHaKit9s</a> </p>
jorgemg1984 on "Pat Metheny/Julian Lage triad picking" http://www.kurtrosenwinkel.com/forum/topic/pat-methenyjulian-lage-triad-picking#post-6225
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Thu, 05 Jan 2012 21:50:27 +0000
jorgemg1984 6225@http://www.kurtrosenwinkel.com/forum/ <p>They HAVE to be good at that price... does anyone know what picks Lage Lund use? Sounds like Pro Plec to me. </p>
patfarlow on "Pat Metheny/Julian Lage triad picking" http://www.kurtrosenwinkel.com/forum/topic/pat-methenyjulian-lage-triad-picking#post-6224
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Thu, 05 Jan 2012 20:52:39 +0000
patfarlow 6224@http://www.kurtrosenwinkel.com/forum/ <p>julian lage uses these picks <a href="http://shop.bluechippick.net/products/TAD60.html" rel="nofollow">http://shop.bluechippick.net/products/TAD60.html</a> </p>
bingefeller on "Pat Metheny/Julian Lage triad picking" http://www.kurtrosenwinkel.com/forum/topic/pat-methenyjulian-lage-triad-picking#post-6219
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Thu, 05 Jan 2012 10:42:06 +0000
bingefeller 6219@http://www.kurtrosenwinkel.com/forum/ <p>I found an online transcription featuring some of the Metheny clinic.</p> <p><a href="http://01guitar.over-blog.com/article-26275574.html" rel="nofollow">http://01guitar.over-blog.com/article-26275574.html</a></p> <p><a href="http://01guitar.over-blog.com/article-26150199.html" rel="nofollow">http://01guitar.over-blog.com/article-26150199.html</a></p> <p>enjoy! </p>
cruxtable on "Pat Metheny/Julian Lage triad picking" http://www.kurtrosenwinkel.com/forum/topic/pat-methenyjulian-lage-triad-picking#post-6215
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Wed, 04 Jan 2012 23:25:40 +0000
cruxtable 6215@http://www.kurtrosenwinkel.com/forum/ <p>that's good to know, i didn't even think of that book..maybe I should pick it up </p>
jorgemg1984 on "Pat Metheny/Julian Lage triad picking" http://www.kurtrosenwinkel.com/forum/topic/pat-methenyjulian-lage-triad-picking#post-6214
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Wed, 04 Jan 2012 20:52:40 +0000
jorgemg1984 6214@http://www.kurtrosenwinkel.com/forum/ <p>The funny thing is Metheny says he hates his right hand technique! </p>
Matt on "Pat Metheny/Julian Lage triad picking" http://www.kurtrosenwinkel.com/forum/topic/pat-methenyjulian-lage-triad-picking#post-6212
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Wed, 04 Jan 2012 19:37:31 +0000
Matt 6212@http://www.kurtrosenwinkel.com/forum/ <p>DDU and UUD all the way </p>
wilmore on "Pat Metheny/Julian Lage triad picking" http://www.kurtrosenwinkel.com/forum/topic/pat-methenyjulian-lage-triad-picking#post-6211
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Wed, 04 Jan 2012 18:35:19 +0000
wilmore 6211@http://www.kurtrosenwinkel.com/forum/ <p>i recently got the metheny warm up book and it has a lot of spread triad exercises. in one of them he picks down down up for all triads but all the shapes are two adjacent strings for the two down strokes and a string skip for the up stroke. it would work for your g to g/b shapes. i like to practice spread triads through the circle of 4th's using strict alternate picking and staying in one position.<br /> cheers! </p>
cruxtable on "Pat Metheny/Julian Lage triad picking" http://www.kurtrosenwinkel.com/forum/topic/pat-methenyjulian-lage-triad-picking#post-6210
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Wed, 04 Jan 2012 18:00:30 +0000
cruxtable 6210@http://www.kurtrosenwinkel.com/forum/ <p>There's a couple videos/songs now where I've heard picking of open triads in triplets, and I'm trying to figure out how to do it cleanly and quickly in the right hand. Here are the clips:</p> <p><a href="http://www.youtube.com/watch?feature=player_detailpage&amp;v=yJYLfBMPuic#t=71s" rel="nofollow">http://www.youtube.com/watch?feature=player_detailpage&amp;v=yJYLfBMPuic#t=71s</a> (can also be heard in actual recordings - it starts with four picks per chord - ex 1-3-5-3 and then he goes to do 3 per chord)</p> <p><a href="http://www.youtube.com/watch?feature=player_detailpage&amp;v=QcETmST9BoY#t=210s" rel="nofollow">http://www.youtube.com/watch?feature=player_detailpage&amp;v=QcETmST9BoY#t=210s</a> (this clip of metheny blows my mind- just constant 3 note arpeggios of open triads)</p> <p>I can't tell how either of them picking, but I've tried both of these ways, neither of which seemed to be easier than the other:</p> <p>strict alternate picking - so lets say going from G to G/B - strings 6-5-3 to 5-4-2 - you would pick DUD UDU and do that for any set of triads</p> <p>down up-down - alternate picking, but starting each set of three notes on a downstroke - so just DUD DUD DUD etc. This seems easier to pick accurately and hit the strings consistently but harder to play fast and evenly.</p> <p>Can anybody shed light on what would be the best way, or can you tell how these guys like Metheny/Lage are doing it?</p> <p>Thanks-<br /> Paul </p>
jorgemg1984 on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5628
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Thu, 22 Sep 2011 08:30:54 +0000
jorgemg1984 5628@http://www.kurtrosenwinkel.com/forum/ <p>Other good example</p> <p><a href="http://www.youtube.com/watch?v=4i49xR10ydk" rel="nofollow">http://www.youtube.com/watch?v=4i49xR10ydk</a></p> <p>Although I really like lots of plays that play a lot of notes - Coltrane, Parker, Keith Jarrett, Metheny, Scofield, Kurt.. all these new generation guitar players like Lage, Gilad, Moreno, Kreisberg. etc... Even in my solos I like playing a lot of notes - but you can do that and use motifs and rests... </p>
laruenickelson on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5624
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Wed, 21 Sep 2011 23:02:27 +0000
laruenickelson 5624@http://www.kurtrosenwinkel.com/forum/ <p>I think I'd rather listen to the slowest guitar player than the fastest...</p> <p><a href="http://www.youtube.com/watch?v=SdxzU00hSGA" rel="nofollow">http://www.youtube.com/watch?v=SdxzU00hSGA</a></p> <p>Of course he is thinking faster. </p>
patfarlow on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5623
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Wed, 21 Sep 2011 20:12:14 +0000
patfarlow 5623@http://www.kurtrosenwinkel.com/forum/ <p>If your definition of interact is stopping and letting others play, he and most players do that. They ARE interacting its just that the gypsy style requires the steady backbeat traditionally. If you want more malleable jazz, you're right Gyspy jazz wont transform on the spot like more modern jazz can. </p>
jorgemg1984 on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5617
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Wed, 21 Sep 2011 15:57:31 +0000
jorgemg1984 5617@http://www.kurtrosenwinkel.com/forum/ <p>Ha ha that reminded me another thing I miss when I hear Oberg playing - besides not hearing a story I usually don't hear any interaction between him and the rhythmic section. I also feel this in some gypsy jazz groups or the oscar peterson trio where usually the compers are just providing a steady beat for someone soloing. Miles talked a lot about this, you must stop playing and leave space for group interaction - his records "Four &amp; More" and "My Funny Valentine" are excellent for that. George Coleman and Herbie Hancock play a lot of notes but always leave space for Tony Williams and Ron Carter interact with them. </p>
patfarlow on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5616
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Wed, 21 Sep 2011 15:38:25 +0000
patfarlow 5616@http://www.kurtrosenwinkel.com/forum/ <p>yea </p>
Quintricacy on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5615
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Wed, 21 Sep 2011 15:26:36 +0000
Quintricacy 5615@http://www.kurtrosenwinkel.com/forum/ <p>So is this a challenge to not listen to anyone and just play really fast? </p>
jorgemg1984 on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5610
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Wed, 21 Sep 2011 12:19:12 +0000
jorgemg1984 5610@http://www.kurtrosenwinkel.com/forum/ <p>I agree, Julian is very creative. I actually think you hit the point: I wish guys like Oberg and Martino searched for more creativity and specially for more diversity. Thats something I listen in Julian. </p>
patfarlow on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5609
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Wed, 21 Sep 2011 11:57:25 +0000
patfarlow 5609@http://www.kurtrosenwinkel.com/forum/ <p>I actually think Oberg is better because of the gypsy influence i like , whereas martino is 99% 16th notes. IMO </p> <p><a href="http://www.youtube.com/watch?v=uSMv7eSehRw" rel="nofollow">http://www.youtube.com/watch?v=uSMv7eSehRw</a></p> <p>Lets not forget Julian Lage though another awesome creative player </p>
jorgemg1984 on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5606
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Wed, 21 Sep 2011 11:34:59 +0000
jorgemg1984 5606@http://www.kurtrosenwinkel.com/forum/ <p>I agree, its just my opinion not an absolute truth :) I also admire their speed but usually thats just it, although Martino can make excellent solos (as on "Just Friends") when he stops playing so many notes and for me is in a whole other league than Oberg. </p>
patfarlow on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5604
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Wed, 21 Sep 2011 11:20:38 +0000
patfarlow 5604@http://www.kurtrosenwinkel.com/forum/ <p>At this point its just subjective opinion for both us. I actually prefer the style scofield and wayne krantz for solos. I just admire the speed and veracity of Oberg, martino and so on. </p>
jorgemg1984 on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5603
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Wed, 21 Sep 2011 11:04:08 +0000
jorgemg1984 5603@http://www.kurtrosenwinkel.com/forum/ <p>I get your point, I am not just throwing an opinion away. I have heard many things from him and although he can play very fast and has a lot of vocabulary he doesn't impress me at all. I don't hear a story on his solos. Coltrane plays a lot of notes but the lines are much more elaborate and related to each other, he is not just blowing changes or licks. Even Martin Taylor doesn't impress me playing single lines - although his solo guitar work is the best ever on that subject IMO. Even better than Joe Pass. </p>
patfarlow on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5602
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Wed, 21 Sep 2011 10:45:29 +0000
patfarlow 5602@http://www.kurtrosenwinkel.com/forum/ <p>People used to day that coltrane didnt say anything in his solos...and that it was more irritating then impressive. Be cautious of writing a player off....Oberg has got skillz you gotta admit , even Martin Taylor looks impressed <a href="http://www.youtube.com/watch?v=LJrBBObaMMY" rel="nofollow">http://www.youtube.com/watch?v=LJrBBObaMMY</a> </p>
jorgemg1984 on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5601
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Wed, 21 Sep 2011 07:21:23 +0000
jorgemg1984 5601@http://www.kurtrosenwinkel.com/forum/ <p>Monder is so sick... His work on "The Vastness of Space" (Reid Anderson) and "A Girl Named Joe" (Chris Cheek) is just unbelievable.</p> <p>Martino picking is seductive and he is a good player. I just don't understand why he doesn't use motives to tell a story, to build tension and reach a climax.. I think it was Hal Galper that said the whole question / answer thing started with slaves singing in fields and that was a very important part of blues and jazz in the beginning. Can you image a sax player playing unstoppable stacatto always hard on dynamics lines? I actually hate when guitar players say that cliche (and they do say it a lot) "oh I wasn't influenced by guitar players, I just try to sound like a sax when I solo and like a piano when I comp" but I think Martinos playing is too guitaristic. And his sound was so much clear in the beginning, now is very dark and muddy. I wish he always played like this</p> <p><a href="http://www.youtube.com/watch?v=8kEdoHGmDwU" rel="nofollow">http://www.youtube.com/watch?v=8kEdoHGmDwU</a> </p>
Matt on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5599
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Tue, 20 Sep 2011 23:18:57 +0000
Matt 5599@http://www.kurtrosenwinkel.com/forum/ <p>yeah, i agree. i read a few interviews with him and he has said that for him playing the guitar is pretty tough because he'll pick it up for an hour and might get frustrated or upset and have to put it down for a while until he's mentally ready, or so i interpreted it. i think he's very hard on himself, not that everyone isn't but i think there's a line between striving for higher abilites and debasing your achievements. </p>
Floatingbridge on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5598
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Tue, 20 Sep 2011 22:46:10 +0000
Floatingbridge 5598@http://www.kurtrosenwinkel.com/forum/ <p>Yes Matt, I feel you on both the monder and holdsworth comments. I wish holdsworth didn't mind the sound of chords coming from the guitar ( like if it just sounded like guitar instead of pastel light shot through fog ... It's tough to hear all the voices and judging by his hands it's cooler than the couple voices I'm hearing first ). Early days and live stuff shows this side better but the earlier stuff does not reach this Coltrane quality he has now ( which is quite inspiring actually... Mean sure , he is a total genius but he has exponentially blown himself out of the water over the years ... Knowing that makes me hopeful and excited for potentially being able to get to a better place in playing and understanding ).<br /> One thing that boggles me about him though ( and I feel weird getting into it because I don't know him and it's not really any of my deal ) but I find it weird that there hasn't been too much new material from him. Respectfully, yes there is a wealth of nuance and variety in comparing youtubed footage of any tune of his over the years in regards to vibe and soloing but is it booze or depression or something? Yes, it maybe more surprising than people may think and I don't know his economic situation., but he tours and is able to pay his dudes. He lives somewhere and his kids are adults , right? I'm sure daily life is somewhat expensive , but I feel like over the decades ( vai has signed him for a pending album , perhaps potentially other avenues to make cash or tour or something that doesn't feel sell outish or something... He invented a goddamn beer draughts tap thing that he gets revenue from and apparently bars in San Diego use it !... He just seems extremely genius, resourceful, and tediously devoted and curious and down to improve ). I just don't really understand the ( what I am seeing as ) mega compositional / album hiatus ( yet touring ) of this legend. His dudes probably are super stoked to be with him and tour but you know they would all be so stoked if Allan called and said " ok there is some new shit and it's heavy , get ready and put on your ears and pra ticking cap and come transcribe my crazy symbols and make your own sense of this because this tour is the new shit'! That would be really exciting, right? It makes me curious and a little sad, but I still am very glad that he exists and has made what he has and will be happy to see him when he comes around. </p>
Floatingbridge on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5597
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Tue, 20 Sep 2011 22:19:12 +0000
Floatingbridge 5597@http://www.kurtrosenwinkel.com/forum/ <p>Jorgemg, I just heard that now ... So true. Although, it's quite seductive the way martino clearly picks ( with conviction ) each solidly logical and complete little lick . Each one is a cool lick . Dynamically , it's all flat and the same . And that's part of his aesthetic and every smooth guy wishes he could do it that well. Clear articulate machine guns pelting you with marshmallows of tone with slihtly sharper corners- all at roughly the same speed and pressure. That one lick that he has always done ( or that idea to drill you with a brief passage for a couple chorus wears thin sometimes. The first time I heard him do it was on the album strings. My first experience with him. It's very . Wow... He really is doing that... He REALLY is doing that ( good for him , see ? )... Hmm those guys are just shoveling along against this... Hmm. And what sucks is that it's effect is really in that the thing stops at some point (... Less about that it was the payoff of getting somewhere else ). The sco solo on the other hand, couldn't agree more. </p>
Matt on "andreas oberg challenge" http://www.kurtrosenwinkel.com/forum/topic/andreas-oberg-challenge#post-5596
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Tue, 20 Sep 2011 21:37:28 +0000
Matt 5596@http://www.kurtrosenwinkel.com/forum/ <p>floatingbridge mentioned monder and i'll say Monder is one of the greatest ever. the way he can play chords, with those crazy voicings, and build a great solo and get gritty and fast, i mean, you cant hardly ask for more.</p> <p>allan holdsworth, albeit all legato, is another player in that vein. he can shred with the best, and fastest, but his ideas and builds are so fantastic. </p>