So, like I have mentioned previously this is the way I do it. This is the way play guitar. I could play like this.
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Of course it doesn’t sound right because there’s no feeling in it. So, you have to strive for the feeling I would say.
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And if you can hear, I’m using this head here, this amplifier head here that it’s just has a very simple circuit just like AC\DC amplifier and Marshall’s of the old days or many ratios that you can find, and even different brands of amplifiers. But there’s no getting control. There’s just volume, so you can have you guitar playing clean if you need to. Just depending on how you strung the strings or you touch the strings. It’s very touch sensitive.
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So, lick clean.
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But you can get it dirty.
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Just if you strum it or touch it harder. Another thing I do a lot because I learned it from watching Angus Young is that he plays with the volume not on the guitar a lot because it will not just act as a overdrive control as well into that thing with the settings you have long ahead or you can get a cleaner and less-driven and also less right kind of—so, now consider that I have head volume pretty low.
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It’s almost entirely clean.
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It gets dirtier. It gets brighter.
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Like that, so this is another thing I use a lot especially during rhythm parts. We were talking also about the philosophy of the “simple music”. And the secret in it I guess which is probably one of the secrets of rock and roll is the groove and it may come down to how you type the chords together giving sense to what you’re doing. So, you could play “Back in Black” like this because you know that it’s an E, D, A chord that’s the main—
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Okay or you could try or we will bring it up a bit or you could try to give it more feeling.
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Another rhythm pattern that can be very demanding is “You shook me all night long” rhythm pattern, the initial one and the first one. It goes something like…
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And all the pattern there. There is a lot of pauses in there and the value that you give to those pauses makes the difference actually between something that is rocking and something that is not rocking at all. Another thing I give a lot of importance to is the way I pick the strings. I mean I pick the strings; I hit the strings with my electrum because I tried to be as flat as I can when I hit them. And being flat, that I’m not cutting—I’m trying not to cut to the strings, so I’m not doing…
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But I’m trying to do this kind of hit right there. I’m not sure if you can see that because that is going to make the strings ringed on chords and it is just a beautiful result because you’d hear that ringing and there’s plenty of rhythm out ringing in open chords from AC/DC actually. It’s one of the best characteristics of power chords. You get this A-chord ringing.
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With the string going bouncing and you can hear it bouncing owh like that closing.
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That happens because you’re hitting the strings flat and you’re strumming them like Malcolm used to tell Angus, “Hit the bagger, don’t press it just hit it.
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For solos, one of the big secrets if you can call it that, that I found about Angus was that he’s using a lot of his pinky finger for holding notes, solos and stuff like that. And using that finger instead of the other one or this one let’s you vibrate in different way. So, you can actually do the bridle closer to the way he does it. This is if you don’t do it.
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This is how you do it with your finger.
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It’s easier.
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And also for notes that are not advanced.
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You can hold that note longer and easier because you’re actually bending your strings.
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See, the guitar does not move.
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You see it moving using your fingers.
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Another thing that I notice from listening actually that comes out of listening only is that couch crunch sound that sometimes it makes both in chords strumming and in single notes strumming. It’s just very effective. I think that used to the combination of two things that I think he does. One is t
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