Jake Dreyer http://www.guitarworld.com/taxonomy/term/1333/all en Bent Out of Shape: White Wizzard — 'The Devil's Cut' Guitar Solo Lesson, Part 1 http://www.guitarworld.com/bent-out-shape-white-wizzard-devils-cut-guitar-solo-lesson-part-1 <!--paging_filter--><p>If you've been following my blog posts, you will know I recently recorded guitar solos for the new White Wizzard album, <em>The Devil's Cut</em>. </p> <p>I recently got together with my band mate and fellow White Wizzard guitarist, Jake Dreyer, to go over our favorite solos from the album and show you how to play them. </p> <p>We also chose specific parts from each solo to give you in tab form, which we feel would be beneficial for you to learn. Jake's style is highly advanced "neo-classical," and he uses a lot of sweep picked arpeggios. This contrasts my simpler, melodic "bluesy" style and between us we can cover a wide range of styles and influences. </p> <p><strong>Will</strong>: Here's a lick from my solo for "King of the Highway." It uses a simple pentatonic idea where I double pick each note with palm muting to create a staccato style effect. This technique could be used to enhance any scale or arpeggio idea to create a "riff" within a solo. I've heard guitar players such as John Sykes and Jake E. Lee use this technique, and I have subsequently made it a trademark of my own playing. This technique can be used to create dynamics within your solos or used to create interesting motifs within your songs. Try it out!</p> <p><img src="/files/imce-images/tab1_0.jpg" width="620" height="87" alt="tab1_0.jpg" /></p> <p><strong>Jake</strong>: This example comes from the seventh measure of my solo from "Strike the Iron," the second track from <em>The Devil’s Cut</em>. My goal was to give this section of the solo a climax as well as a transition into the next chord (A major). This is done by outlining the V chord in A harmonic minor, the E7 chord (E G# B D). </p> <p>This lick starts with a 32nd-note ascending three-string arpeggio outlining an E major chord in root position followed by a descending and ascending E major arpeggio in the same position, this time going down to the fifth string. Beat two has the same arpeggio, slid up one position to first inversion, meaning the arpeggio now starts on the third of the chord (G#). This is descended and ascended with an added tap to the fifth (B). </p> <p>Measure eight has us continue with the same notes, but during this measure we introduce an added note, F, which is going to now give off the tonality of an E7(b9). You could think of this as basically outlining a secondary leading tone chord in A harmonic minor. The first shape highlights a descending and ascending three-note-per-string G# whole diminished chord, which is string-skipped from the first string to the third string, followed by the same pattern, only moved up a minor 3rd. </p> <p>Beat eight contains a multi-finger-tapping technique going from the notes D to E; you could analyze the E as being a neighboring tone to the G# diminished chord or as the root in the dominant b9 chord. I do this by using my second and third finger on my right hand. Though if you had a device that kept your pick on your thumb (i.e. the Chris Broderick pick clip), it could be done by using the first and second or any combination you feel is more comfortable. At any rate, that is the lick that takes up measure 7 and 8 of "Strike the Iron."</p> <p>Now turn on that metronome and start annoying your girlfriend/boyfriend/parents/siblings/household pets with this lick. At least that is what I hope for!</p> <p><img src="/files/imce-images/tab2_0.jpg" width="620" height="146" alt="tab2_0.jpg" /></p> <p>Thanks for watching our solo lesson. Hopefully you learned something you can use in your own playing. We will have a second lesson coming soon. <em>The Devils Cut</em> is out in the US on Century Media Records and in Europe on Earache Records. Cheers!</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/tAK2n741NaI" frameborder="0" allowfullscreen></iframe></p> <p><em>Will Wallner is a guitarist from England who now lives in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and toured Japan, the US and Canada in 2012. Follow Will on <a href="https://www.facebook.com/wallnervain">Facebook</a> and <a href="https://twitter.com/willwallner">Twitter</a>.</em></p> http://www.guitarworld.com/bent-out-shape-white-wizzard-devils-cut-guitar-solo-lesson-part-1#comments Bent Out of Shape Jake Dreyer White Wizzard Will Wallner Videos Blogs Lessons Tue, 25 Jun 2013 15:36:50 +0000 Will Wallner 18637 at http://www.guitarworld.com The Do's and Don'ts of Playing Live http://www.guitarworld.com/dos-and-donts-playing-live <!--paging_filter--><p>Hello again, all you guitar freaks out there. This is Jake Dreyer with my second column for GuitarWorld.com. </p> <p>First thing's first, I just wanted to apologize for my tardiness with this latest post. The last few months have been pretty busy. </p> <p><a href="http://www.guitarworld.com/getting-ready-record-dos-and-donts">Around the time of the last entry</a>, I had just joined the heavy metal band White Wizzard (Earache Records), and shortly thereafter we left for a month-long tour with Firewind in the U.S., followed by a two-month European run as direct support for Iced Earth. </p> <p>Upon returning to the States, I shot over to New York to teacher-assist one of the best players/instructors and an all-around awesome guy, the one and only Chris Broderick, at his Winter Guitar Retreat with Alex Skolnick. That whole experience was really cool in itself. To see players of all different ages and backgrounds performing Megadeth and Testament tunes onstage with Chris and Alex was amazing. I do not think I spent any holidays with my actual blood family, but it was all good because it was all in the name of heavy metal -- or something like that. </p> <p>At any rate, let’s get to something worth talking about. </p> <p><a href="http://www.guitarworld.com/getting-ready-record-dos-and-donts">The last article I did was on the do’s and don’ts of recording</a>, so, since touring is so fresh in my mind at this moment, this article will be the about the do's and don’ts of playing live. This is a very huge topic, and I will touch upon only certain aspects.</p> <p>Just for the record, I am still learning about all of this as well. I do not think anyone has mastered the art of live performance due to the simple fact that no one can predict what will happen during a gig: gear failure, sudden short-term song-memory loss, weather, drummer randomly explodes on stage, etc. It’s going to happen to everyone. (Well, on second thought, maybe the last one is only Spinal Tap, but hey, you never know.) Basically the goal of this article is to recognize what could potentially happen in a live circumstance. </p> <p>Let’s start with gear. Gear is like that friend that smokes way too much pot. Sometimes it can be a great time around them. Other times you make plans to meet some place to hang and they never show up. In my opinion gear is the number one cause of headaches at a gig, especially being in a touring band when time is definitely of the essence and unfortunately not on your side. </p> <p>Basically you have 10-15 minutes to load off the other bands gear and get yours on, hooked up and line-checked. Believe me, 15 minutes will never fly by so fast in your life. In most circumstances, the touring package will backline each band’s gear. </p> <p>For those out there who don’t know what back lining is, that’s where the gear for the band coming up is already set up behind the band that is playing. But, still even in those packages, certain things happen that might cause you to show up to the venue too late to backline (van troubles, border crossings that take WAY too long ... the list goes on.)</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/U7yOitj68MY" frameborder="0" allowfullscreen></iframe></p> <p>The point is there is no time for any sort of gear troubles. Knowing this, I keep my gear setup extremely simple: Head (Bogner Ecstasy), cab (Bogner Ubercab), tuner, chorus pedal, and guitar (Jackson CS KV7.) (If the stage is big enough that I can act out my inner Dokken stage moves, I will throw a wireless in the chain as well.) Even with that setup being so easy, I still have problems here and there. That’s why I always bring along another backup head and a few extra cables. </p> <p>In my opinion, the most important backup to have out is a second guitar. My “B” guitar (Jackson KV2), as I call it saved me twice in a span of two days on the recent European tour. In Bristol, England my D string broke during the verse of one of the songs in the middle of our set. Luckily I had my backup on a stand off on the side of the stage, switched it, and continued on with the show. The next night in Paris, France I restrung my main guitar in the green room prior to going on stage and made sure it was all tuned and the strings were stretched. During our line check 5 minutes before the house lights went down and our intro tape rolled, I am doing my usual guitar wankery, come to bend a note on the high E string up a whole step, Bam! High E string breaks. Brand new too! It happens. Grabbed the other axe and carried on. </p> <p>Since I do not have a guitar tech yet, I always try and change my strings at least once a week being out on the road. Before I launch into this next little paragraph, I don’t want to come across as if I am whining about playing guitar onstage every night. I had some of the best times of my life on the road. With that said, though, touring is not easy and it is definitely not glamorous by any stretch of the imagination. </p> <p>Your sleep schedule is completely out of whack. Food is kind of a toss-up. Some catering rules! Other nights, it’s just completely awful. But what you can pretty much count on most of the time is it will not be anything healthy. Your set time onstage and playing to the fans is what makes all of those hard times worth it. So making sure that you are prepared for anything is essential. </p> <p>Another thing for me that makes the live show more relaxing and enjoyable is knowing that I am warmed up enough. I always try and do a minimum of an hour before hitting the stage. Usually, I like to break it up into standard warm up routine of finger stretches, scales and arpeggios. The iPhone has a killer metronome app, so I will run the usual Paul Gilbert exercises with a click for an alternate picking warm up. During this time I will also practice sections of the solos that are tough and any other parts of the set that I might be blurry on. Finally the last thing I do before going on stage is practice bending and vibrato. </p> <p>The final thing I will say on playing live is that being relaxed on stage is key to a good night. I know for me if I mess up something in a solo or whatever, I get so bummed at myself for messing it up that my concentration just goes out the window and in turn, I end up screwing up more stuff eventually ruining the show for myself.</p> <p>My best advice is to just realize what happened and that it is in the past and deal with it after the gig. Above anything else, have fun with it. That is why we all started playing music in the first place. Right? Thanks again for taking the time to read this article. I hope you were able to get a little information out of it. Feel free to check out some videos from the recent White Wizzard tours at my <a href="http://www.jakedreyer.com/">website</a>. Also, if you guys or gals have any questions, hate mail or want to tell me a story about gig nightmares or whatever it might be, drop me a line at <a href="mailto:jake@jakedreyer.com">jake@jakedreyer.com</a>. </p> <p>Take it easy, till next time.</p> http://www.guitarworld.com/dos-and-donts-playing-live#comments Jake Dreyer White Wizzard Blogs Mon, 13 Feb 2012 16:24:01 +0000 Jake Dreyer 14610 at http://www.guitarworld.com Getting Ready to Record: The Do's and Don'ts http://www.guitarworld.com/getting-ready-record-dos-and-donts <!--paging_filter--><p>Hey, all fellow guitar nerds/guitar geeks, my name is Jake Dreyer and here is my first column for GuitarWorld.com. </p> <p>First off, just a little background about myself. I am a 19-year-old guitarist from Panama City Beach, Florida, who did the most cliché thing a young inspiring guitarist can do: I moved out west to Los Angeles to attend Musicians Institute. </p> <p>During my high school years, I spent WAY too much time in my room with a metronome practicing Paul Gilbert/Jason Becker licks, which subsequently caused me to lose all social contact and any hope of having a girlfriend. During that time, I was fortunate enough to begin taking lessons from guitar giants and all-around great guys like Chris Broderick, Dave Shankle and Terry Syrek.</p> <p>In July, I was honored to have joined Jag Panzer -- although, only for like a weekend before the band split up (more on this in a future article). </p> <p>I recently worked with Neil Turbin (original Lead singer of Anthrax) in his band DeathRiders, and within the past week I landed a gig as a touring guitarist in another heavy metal band that is about to embark on a badass tour (which, I believe is sponsored by <em>Guitar World</em>!). I will let that be known as soon as I can. Finally in May I released my first instrumental wankfest solo CD titled <em>In the Shadows of Madness</em>, which features Adam Sagan (ex-Into Eternity) on drums and Noah Martin (Arsis) on bass.</p> <p>OK, enough about me. What I really want to talk about in this first article is recording! Now, I cannot talk about actual recording techniques to save my life. That is a whole other art that I left up to the producer JJ Crews. What I can talk about is some stuff that as a guitar player I have learned about working in a studio. </p> <p>My main genre is (insert sub-genre here) metal. Even if you are a non-head-banger, hopefully some of these tips will still be of interest.</p> <p>The first tip I have is about being prepared. This is a pretty broad topic that can really be stretched, but I will just talk about a few guitar things that really help out in making the recording process run smoother and less stressful. </p> <p>The first tip I have is always practice with a click. Hopefully the band you're recording with is tracking to a click. It is just my opinion, but I always find this makes a world of difference in the “tightness” department. Some will disagree, but even if your band is trying to go for that '70s prog-rock mega-song that is 18 minutes of fluctuating tempos and time signatures and you're thinking, “Yeah, like I am going to build a click track to this." </p> <p>No one’s blaming you! So if you find yourself in the situation that the drummer does not track to a click, you can still practice all your parts to a metronome on your own time. This will still do wonders when it comes time to track. Not only will it help you cement your parts and in turn make your guitar tracks tighter, but in my personal experience I have found that recording with a click track or practicing with a click will make tracking go by so much quicker. Your producer and engineer will thank you in return!</p> <p>Ok, so since were still on the topic of being prepared another sub topic I would like to dive into is soloing. Now keep in mind this is just my opinion on this subject, but it is something I am sure every guitarist has to face when they come into track. </p> <p>Many guys, myself included, are so stoked on recording that we forget about the solo until it comes times to track. What happens here, you ask? This famous line, “I am just going to improv it, man." Alright, now here is where I might make enemies. </p> <p>Unless you are really, really good at improv and have been doing it for a while or just somehow possess Jeff Beck's amazing improvisation skills, do <em>not</em> be that guy. No doubt, some of the best solos have been improvised on the spot and have come out beyond killer. </p> <p>"So how do I know if I am good at improv?” you ask. Try this exercise out: record the rhythm you will be soloing over with the exact amount of bars as is in the song. Now pretend you are at the studio recording your lead. Set up another guitar track so that you can record your solo over the top. Record yourself improvising three different solos over the rhythm. Listen back. If they suck, start writing a solo or at least work it out enough to where you know where you will want to go with it (You will be happy with yourself in the end.) </p> <p>On the other side of the coin, if you are digging it then go kill it in the studio! Now I was not born with Marty Friedman’s improv skills. To this day I still work out all my solos before laying down any leads. It might take some more hours of homework writing that solo, but take it from me, getting a copy of your CD and listening back to a solo that you think blows is a horrible feeling. Try to avoid that at all cost! </p> <p>Thanks for taking a moment to read through my thoughts. Hopefully these little tips sparked some interest. Love to hear from you the readers! If you have any questions or want to send me hate mail, drop me a line at <a href="mailto:jake@jakedreyer.com">jake@jakedreyer.com</a> and be sure to check out <a href="http://jakedreyer.com">jakedreyer.com</a> for news, audio, video and all the usual crap you see on a website. </p> <p>Take care,</p> <p>Jake</p> http://www.guitarworld.com/getting-ready-record-dos-and-donts#comments Jake Dreyer Blogs Wed, 07 Sep 2011 20:17:34 +0000 Jake Dreyer 12626 at http://www.guitarworld.com