Carvin custom shop DC600 video review - Jemsite
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post #1 of 11 (permalink) Old 04-28-2014, 04:21 PM Thread Starter
Rab
 
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Carvin custom shop DC600 video review

Hi ya Jemsite,
If you are wondering about Carvin guitars or looking to buy one, here is a video that might help you out.
This video is a review of my DC600 custom shop usa in swamp ash.
Jam played at the end using my Legacy 3 head and cabinet. Enjoy and thank you for the support by subscribing to my channel. always appreciated..



http://youtu.be/8THYQQrDZ2U

Last edited by Rab; 04-28-2014 at 04:28 PM.
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post #2 of 11 (permalink) Old 04-29-2014, 08:19 AM
 
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Re: Carvin custom shop DC600 video review

You play well, but honestly, your songwriting bores me to tears dude... I've seen a few of your videos now and not one of them is anything but you creating a chord progression then ripping a lead over it.

You need contrast! Contrast between parts, instruments, sections, time signatures, timbre, etc. All of these would help stop your music becoming repetitive and boring - As it is, you can play lead lines in every style under the sun, but the music underneath those needs to support the contrasts and dynamics in the lead part.

That said, nice guitar.
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post #3 of 11 (permalink) Old 04-29-2014, 08:55 AM
 
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Re: Carvin custom shop DC600 video review

And just so you get an idea of where I'm coming from with this - this isn't just aimless criticism.

https://www.youtube.com/watch?v=delMUM-kcAs

Check this song out. Its Marco Sfogli. He plays a relatively similar style to you, albeit at a completely inhuman level of technicality.

But listen to how he sets up contrast and development in the song. lead line wise, he's not really doing things a million miles away from what you are.

Here's a breakdown of moments in his songwriting that create and maintain contrast and motion to keep the listener interested

00:00 - 00:14 - Synth lead, no backing. Full band hasn't arrived yet.


00:14 - 00:42 - Full band enters. Lead guitar part plays over a straight progression, phrasing helps to create contrast, but ultimately he's playing a lead line over the same backing for 3 repeats


00:42 - 00:51 - He begins to back off on the lead phrasing and adopt a more laid back, slightly outside feel, in preparation for the next section, contextualising it and bringing the difference in the backing to the forefront.


00:51: 01:11 - Backing track changes. Rythm guitars become more pronounced and the lead playing feeds into a more conventional chorus structure - the lines here are the hook of the song and are composed not to do anything fancy technically, but to ensure the listener has a point of reference from which Marco can then make them compare these lines to his more technical playing later in the song.


01:11 - 01:20 - Bringing back more technicality and reintroducing the initial backing, which he then subverts by entering the next section


01:20 - 01:29 - Sliding arpeggio idea starts appearing, and breaks from the thus far established pattern of phrasing and moves up the neck as a form of motive idea, rather than a lead line. This part is based less on the relationship between the scale's tones and steps, and more on the shifting effect of this broken arpeggio. Presto, lead contrast over a static backing track!


01:29 - 01:48 - Honestly, this is just more lead playing, but he DOES start to make greater use of pick attack and still retains some of the sliding feel introduced in the previous section. I'm sure harmonically and in relation to the chords what he's doing is very complex, but I'm not sure if that was a "composed" decision or just based on feel. Either way, well done.


01:48 - 02:07 - Return of the chorus. Again, backing track contrast and a reiteration of contextualising, but simpler, lead lines (With some interest thrown in this time)


02:07 - 2:18 HUGE arpeggio/legato section, played on the neck pickup to be as fluid as possible and, again, create a sense of motion - this time though the increased tempo and the closer structure of the notes means the motion is more intense and heightened in importance.


02:18 - 02:24 - Brief reprise of the chorus idea in order to bring the listener back down to ground - This is important! It prevents the listener from being bored by the next section, and creates a real surprise when it comes in and is completely different to the previous bars.


02:24 - 02:41 - MASSIVE arpeggiated solo section, again, the fluidity of technique and tone is the centerpiece here, but listen to the backing - It's become a powerchord vamp at a faster pace than at any previous point, and the articulation is very staccato - this really sets off the fluid lead line without overshadowing it - it drives home just how smooth this guy's playing really is.


02:41 - 02:54 - Return to normal lead ideas to end the solo, but with a wide range of articulation tricks to break up the ideas.


02:54 - 03:08 - Harmonized lead part breaks up the solo, leading into a new repeated phrasing that, again, meshes with the big synth hits in the backing to really hit hard on the downbeats.


03:08 - 03:18 - ridiculous but constrast-light tremolo picking section while the synth hits continue, keeping up intensity while providing the listener a brief respite from following all these chord changes and lead articulations


03:18 - 03:26 - Massive lead breakdown into screaming wholetone bend, to prepare for...


03:26 - 03:42 - The sick keyboard solo! Note that the guitar hasn't switched from it's lead tone, but has become reinforcement for the backing part to PREVENT THE SONG'S INTENSITY FROM FADING, while not overshadowing the new lead.


03:42 - 03:50 - Again, a lead line with little actually going on but a huge amount of contextual relevance - This gives the listener something to hold onto before the next section of ridiculously technical playing, preventing listener oversaturation and retaining musicality instead of just shredding endlessly. This is well composed, non-improvised lead writing.


03:50 - 04:00 - More lead playing, but the backing track towards the end of this section breaks down and moves to a thinner timbre, softening listener fatigue during the next section. Note how much of this guy's songwriting is dedicated to making sure the listener isn't just being hit in the face with a constant barrage of what he thinks is cool to play! He's making a real effort not to kill his audience and turn them off.


04:00 - 04:19- Chord playing over the thinner backing track, releasing the tracks tension completely before returning to...


04:19 - 05:36 - That main chorus idea again! Now the listener can come back to the track and get into this section without it blending into everything else. This is repeated with interest thrown in for a decent chunk of time before heading into a final, less intense but still very well phrased solo.


05:36 - 06:12 - This solo is just a solo, there's not much to say about it other than he makes sure to keep the variety going in terms of lead styles - note how hard he has to work to do this while the backing track isn't changing. He's really having to go through the whole range of articulations and phrasings to stop the listener getting bored, and really, it still comes off as having less energy than the previous sections where the backing track meshed with the lead more. That's not bad, keeping that intensity to this point would just make the song an exercise in wankery and excess, but it's an important thing to note about lead writing.


06:12 - 06:30 - He ends the song on a broken arpeggio idea to avoid, presumably, the cliche of ending on a huge bend or powerchord. Nice writing!

Last edited by GuitarBizarre; 04-29-2014 at 09:01 AM.
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post #4 of 11 (permalink) Old 04-29-2014, 01:12 PM Thread Starter
Rab
 
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Re: Carvin custom shop DC600 video review

Thank you for listening and for your observation and nice break down in your Second reply. You will make a nice producer/writer in the future.
Saying that, im sorry i bored you to death as for others its not that boring. Some people like seafood and some people dont. Music is taste and art. Some players like to arrange alot and some like me, likes to keep it fairly simple. Its just my style and music personality. I come for old school of influences (i may look young but im an old fart, lol). I let my phrasing do most of the arrangements and i put lots of feelings in my playing as you already saw that since you have the eyes and ears of a producer. One players is good at that which is George lynch.
I just like to fire up a backing track and just play...Its just rock n roll..Besides this is just a review of the guitar..

Regards

Last edited by Rab; 04-29-2014 at 01:28 PM.
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post #5 of 11 (permalink) Old 04-29-2014, 01:37 PM
 
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Re: Carvin custom shop DC600 video review

A little defensive, but ok. I'll say this much - I looked at some of your actual titled songs, and they have the same issue - one chord progression repeated for 5 minutes. You don't really seem to be putting much effort into your songwriting compared to your technical lead playing. Why don't you try writing something in sections, verse chorus verse chorus solo chorus, taking note of the ideas in those sections, and seeing how you can integrate your playing with that backing structure?

The risk you run currently with your style of composition is that you've no reason to change up your style to fit what's behind you, and as such you sound like you're unaware of what's behind you. For comparison, take the solo at 2:!4 in this, which I play - https://www.youtube.com/watch?v=DcE6b8ruGEY

I didn't write the backing for this, all credit for that goes to Tony Dickinson (Winner of many Dwelling Of Duels competitions, Featured artist on the Bionic Commando 2 soundtrack, backup bass player for Trans Siberian Orchestra), but listen to the reason the solo flows through the music - phrasing fits with sections where the bassline is rising, chord tones that aren't in the general key signature are employed as tension within the lick, and the solo ends with a strong tone within the key signature as the piece's main riff comes back in with a releasing of tension.

Without being rude - are you taking this into account in your own music, or are you simply shredding your way through licks, scales, patterns and ideas that simply exist within the same space as your backing?
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post #6 of 11 (permalink) Old 04-29-2014, 02:49 PM
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Re: Carvin custom shop DC600 video review

I thought this was a thread about a guitar?
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post #7 of 11 (permalink) Old 04-29-2014, 03:28 PM
 
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Re: Carvin custom shop DC600 video review

Quote:
Originally Posted by moebius View Post
I thought this was a thread about a guitar?
Yeah me too, I didnt know it was a critique of Rab's playing style.
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post #8 of 11 (permalink) Old 04-29-2014, 03:42 PM Thread Starter
Rab
 
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Re: Carvin custom shop DC600 video review

Ya me 2...sorry about this folks as this is a review of the Carvin DC600..Dunno realy where did that come from..
I'll be happy to discuss my playing style in private or in an appropriate thread.

Last edited by Rab; 04-29-2014 at 05:02 PM.
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post #9 of 11 (permalink) Old 04-29-2014, 06:35 PM
 
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Re: Carvin custom shop DC600 video review

Quote:
Originally Posted by MatiasTolkki View Post
Yeah me too, I didnt know it was a critique of Rab's playing style.
composing*
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post #10 of 11 (permalink) Old 04-29-2014, 09:41 PM
 
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Re: Carvin custom shop DC600 video review

Quote:
Originally Posted by GuitarBizarre View Post
composing*
Doesn't matter. The video was a demo of the guitar, not of Rab's playing.
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post #11 of 11 (permalink) Old 04-30-2014, 06:01 AM
 
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Re: Carvin custom shop DC600 video review

Quote:
Originally Posted by Rab View Post
Ya me 2...sorry about this folks as this is a review of the Carvin DC600..Dunno realy where did that come from..
I'll be happy to discuss my playing style in private or in an appropriate thread.

No need Rab. I enjoy the videos you post. Carry on.
And excellent guitar.
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