Do you hear clashing?

The solo indeed sounds sick. Nicely done! The licks sound familiar, but also entirely fresh and original if that makes sense. I do not think the solo clashes at all with the backing. I think your friends may be reacting to the fact that the rhythm is too buried in the mix. Alternatively, the backing may be too busy when that solo deserves something with more space to sit on. Either way I really enjoyed it!
 
There aren't any "wrong" notes at all, and it's frickin clean, great playing

But i get where they're coming from - at least to my ear.

It doesn't "clash" in the traditional sense, of there being sour notes, but it feels way more "meh" than it should with that great of a take, because the note choice almost feels like its disregarding what's going on behind it. Especially the arpeggio licks.

Not trying to be a dick or anything, just my 2 cents i guess
 
DanTravis62 said:
There aren't any "wrong" notes at all, and it's frickin clean, great playing

But i get where they're coming from - at least to my ear.

It doesn't "clash" in the traditional sense, of there being sour notes, but it feels way more "meh" than it should with that great of a take, because the note choice almost feels like its disregarding what's going on behind it. Especially the arpeggio licks.

Not trying to be a dick or anything, just my 2 cents i guess
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I get it. That's kind of what my friends were saying. I think whatever "clashing" there is, if any, it sounds cool rather than ruins it
 
WhiteShadow said:
I get it. That's kind of what my friends were saying. I think whatever "clashing" there is, if any, it sounds cool rather than ruins it
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Yeah I don't hear any actual sour notes, it's all technically correct - i think they're just having trouble with the aesthetic choices, which I kind of "get" where they're coming from

With the track behind it, there's a lot of pentatonics and not a ton of melody or motion to play off of, so your friends probably think the more adventurous note choice feels like it has less impact - or less than it should with that volcanic of a solo section. Those arpeggios would hit way harder with some more diatonic/melodic chords behind em :dunno:

I probably would have done something way way out of the box for a section like that - paradoxically, with more pentatonic based backing riffs, it's actually easier to sell sour notes and wild Kerry King/Hanneman stuff than it is to try and imply arpeggios over it.

The playing and phrasing are kickass though, and I really dig the feel - super solid and pushing the rhythm perfectly for an aggressive vibe.
 
WhiteShadow said:
Some of my music snob friends are telling me that my guitar solo here clashes with the chords underneath. I personally don't hear it. I think it sounds sick. Thoughts?
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You can tell them that someone who actually went to Berklee listened and found no clashing. The solo was on point!
Your music noob friends need a hearing aid 😆
 
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The riff that’s being played underneath. It is the main riff of the song. It’s played through all of the verses. It is a bit unique. It’s kind of a E minor/Dorian thing with a G# thrown in. Weirdly, I don’t really hear that note clashing with anything seems to sit in there just fine. I know theory reasonably well, but some things I just leave up to memorizing patterns and what not.
 
Dude.

You rip.

I have spoken and it is so.

lighters in the air concert.png
 
Great playing!

The rhythm underneath has some single note stuff which may conflict with your lead a bit; but it isn't doing that for the entire lead. I had no problem discerning everything.
But, like Dan said ^^ maybe some different chord progressions for the underlying rhythm during the lead break would work better to separate everything better to the listener.
 
BigGuitars said:
I like this feedback bc if anything the vibe I’m getting is that its unique. No one has said its bad lol
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Honestly that's what it is.

The lead and rhythm are both bad ass. It's just too busy for there puny little ears to fathom. They just cannot comprehend the level of intensity this passage is offering.

If you played the same exact lead with the rythym having the same key, same notes but slow/open chords they would say yeah brooo you're the best.
 
Sounds great. If I did anything to it, I’d take the backing guitars down about 2 to 4 DB so the solo sticks out a little more and bring them back up once the solo is over. I’m listening on my iPad do it may be a little hard to tell, but if not done already, I’d pan the backing guitars hard right and left and have the solo more center, maybe panned 20 right and 20 left.
 
BigGuitars said:
The riff that’s being played underneath. It is the main riff of the song. It’s played through all of the verses. It is a bit unique. It’s kind of a E minor/Dorian thing with a G# thrown in. Weirdly, I don’t really hear that note clashing with anything seems to sit in there just fine. I know theory reasonably well, but some things I just leave up to memorizing patterns and what not.
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Even if it is the main riff of the song, I would do a 2 - 2 - 2- 2 or 4 - 2 - 4 - 2 or something to break it up and and get a little more diatonic motion going on, if simply only because it's alot easier to make a solo sound good
 
Sounds good to me as well. A little bit of clashing or outside stuff is what makes things more interesting.
 
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