Many Guitar Players WRESTLE With This...But Few TALK about It 

Yep Tims list is loooong with top artist he worked for…meat loaf, Madonna ,Celine Dion,Michael Jackson.ect..just unbelievable

Did he play the rhythm part in beat it? Always wondered considering Eddie is the solo. Mr brother requested meatloaf on a classic rock channel once and the dj cursed him out 😂

@@bojangles6444 no Tim’s on Jacksons dangerous album …well Michael Jackson used to hire “guitar heroes” back then for solo parts

I play the small part on Michael Jackson's black or white :) that's the only Michael Jackson song I played on... thanks so much for the comments

@@timpierceguitar that was my other curiosity. Slash played something from that live but I didn’t think he did in the studio.

David thank you so much.....

And, the reason we Do have to think about it.. is that we don't want to mute strings we Want to hear, like in chords. So. It doesn't happen overnight. I should know..

Edit: I posted my comment as i watching, and I saw you talked about the right hand constantly moving. 🤣

Thank you so much!

And you can’t change tunings or key

You're right about .strandberg*. I LOVE my Boden 7. I use it for everything from prog and art rock to jazz.

Thanks so much Daniel I really appreciate it

Chris good to know... I'll keep doing it :-)

i'm pretty sure Tim gets his PRS guitars either for free or at a deep discount. I bet your assessment is correct. You probably just got a bad one. I am a PRS guy. I did however have a Gibson 335 and the tuning with it was a nightmare and I eventually sold it cause of tuning also... Every guitar is different. My current PRS which is a CU24 is just rock sold for tuning...

Thank you very much

SHHH! Don’t give out intrepid Teacher ANY ideas like THAT!

Amen.

David thanks I appreciate it

I was using Excel long life strings and not having that problem, when they were about 10 years old🤔😁 I changed them for some cheaper ones... Now I get the problem your talking about. Rock on man🎸🤘

@@markbrooks4658 Are they like the Elixer Strings? The coated ones? I've never tried them but it might be a good idea. Thanks!

Yes they are the stings, I just checked my spelling. I did leave them on there a long time, not quite 10 years. Maybe not being 100% clean helped

You bet! Hope it helps

I think they are used partly due to the reason you mentioned and partly because of muting tapping

Thanks Evergreen

Wow sounds cool

I also love the Axe Fx... And all the Fractals.....FM9 , and FM3... Thanks for the comment

At the risk of telling you something you already know.... You can't always mute the strings next to a vibratoed (is that a word?) note with your fretting hand. Since the finger vibratoing(?) the note is sometimes touching strings above the rest of the hand, the fretting hand cannot mute them. When I do vibrato I use my pick hand fingers, the ones not holding the pick, to mute. I will mute the low-E and sometimes the A with my fretting hand thumb, and sometimes mute the high-E with the side of my index finger; but it's the pick hand fingers that keep things quiet, especially on the strings adjacent to the string I'm doing vibrato on. Sometimes I can't mute with my pick hand fingers as I pick the note, but very soon after picking it. If I try to mute at the same moment I pick the string I am vibratoing I sometimes mute that string by mistake, so I mute the adjacent strings just after picking the note. This can add an interesting attack to a note, making it more complex harmonically, as long as you mute the adjacent strings before they are perceived as an actual note. (Unless that's the effect you are going for. Jimi Hendrix and Stevie Ray Vaughan (and many others) are known for letting the strings next to a bent or vibratoed note ring a bit for a dirty or noisy sound when they were going for a nasty kind of feel.) Sometimes when I'm doing a wide vibrato I actually push/pull the adjacent strings away from the vibratoed string, to give me more room and a clean sound for the vibrato. I'm still working on this, it takes planning and concentration. I hope it will become more natural and reflexive over time. Again, this often happens just after I pick the vibratoed note.

@@jeffbower8355 Thanks, Jeff. It’s something I wasn’t even conscious of to begin with but as you add more gain it becomes way more obvious. I’ll definitely try out some of your tips.

@@Jimthehumanoid Thanks Jamie. The other part of muting that I didn’t mention is palm muting. (Again, you likely know about this but I’ll offer some specifics.) You don’t so much use your palm as you use the base of your thumb. I mostly mute the lower strings (lower in pitch) this way. So if I’m playing a note on the 2nd string (B in standard tuning) and doing vibrato upward (toward the G string, as there isn’t much room to do vibrato down toward the high-E string), I mute the lower 3 strings (low-E, A and D) with my ‘palm,’ that is, the base of my thumb. Immediately after picking the B string and bending it up a step and beginning vibrato, I place the side of my picking hand thumb on the G string to keep it quiet, while resting the third and fourth fingers of my picking hand on the high-E string. I just did this and realized that in addition to resting the base of my thumb on the lower 3 strings I also rest the side of my picking hand thumb on the lower strings. This gives me two methods of damping, which is very useful if you are moving around much. When I decide to ‘act like a rock star’ and push the guitar toward the audience, or lift the neck high, or do a spin, one of my muting methods may fail, so having two methods is safer. An additional challenge is to do all of this without adding unnecessary tension in either hand. Tension is the enemy of speed and precision, so remain aware of any unneeded tension. I sometimes practice very slowly so that I can pay attention to everything at once: total tension of each hand, where the tension is (palm, wrist, fingers, forearm, jaw, doing the ‘guitar solo face’ - this should not be tense, it’s showmanship). Some players tense their feet … all of this reduces speed and precision. That’s a lot to pay attention to at the same time so slow practice can reveal issues I need to work on. The other approach is attention rotation. Play the lick or note over and over at normal speed and on each play through pay attention to one thing. Do this regularly and you will be better able to monitor yourself while playing, even while playing live.