American - Musician | August 20, 1966 - December 8, 2004
Using string bends instead of just playing regular, unbent notes can definitely help give certain riffs a cooler, heavier edge.
Dimebag Darrell
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When you're on the road, you've got to have your four-track - or some kind of recording device to jam on and have a good time.
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I do some three-part harmonies on 'Throes of Rejection' and 'Hard Lines, Sunken Cheeks,' but I didn't go overboard with it.
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Whenever I record more than two or three layers, it starts to get cluttered up, and you can't hear the cut of the guitars as good. It's hard to get four guitars to hit at exactly the same time and keep the attack tight.
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I'm not going for a soft sound. I ain't lookin' for a warm sound. My sound is warm, but I don't need tubes to do it. The Randall RG-100 is the best amp for what I do.
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I love 'Dogman' by King's X and Living Colour's 'Stain.'
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To me and my band, guitar riffs are what it's all about. We know that every time we jam on a great riff, we've got a fighting chance of writing a great song!
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My whammy system is set up so I can yank the bar up as well as do dive-bombs with it. This means that if I accidentally push down on the bridge with my palm, my strings go sharp and sound out of tune. I make sure this never happens by never resting my hand on the bridge when muting. I always do my muting just in front of the bridge.
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When I play live, I jump around like an idiot for an hour-and-a-half or more under a lighting rig that's hotter than hell.
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Losing control of your pick on stage sucks, so I scratch some deep X's into both sides of my pick with something sharp, like a dart.
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To make harmonics scream, I first dump my Floyd Rose real quick, hit a harmonic with my left hand while the string is still flapping, and then use the bar to pull it up to the pitch I wanna hit.
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I'll sleep anywhere!
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