For some reason, I can't see this video, but I'm familiar with Delay's style. He sounds very modern with a traditional approach (without use of overblows) and sometimes sound like "on the edge". His chromatic work is also worth a particular study. ---------- lflisboa
i Pluto-----i made a BUNCH of High end drills ..Some just having high end-----some ascending and some descending into low end.
When u take singing lessons, one of the big things a vocal teacher focusus on is; A SMOOTH TRANSITION FROM YR CHEST VOICE ,TO YR HEAD VOICE, WITH NO BREAK.
Thats what I worked on for about 4 years-taking breaks to work on guitar or new songs, but focused heavily on that transition.
stole bunch runs from players----made my own----
J Ricci amd a bunch of u guys suggested we learn "low end riffs" on the high end. when I got around to practicing that, it helped a couple of things 1]note familiarity and muscle memory of high end and low end-- 2] A much smoother transition from low to high end
Sometimes with an A harp or G I would tape off holes 1-5 for like a week
I mentioned P Delay "jumped". He also smoothly transitioned. When a player can do that, WITHOUT making it sound like 2 different events. It keeps my interest and keeps me wanting to listen longer.
LFiSBOA-- I enjoy listening to players, who don't play "safe'. sometimes they have to due to circumstances and its the right thing to do. But a great player in a band their familiar with, that pushes the limits of their playing and goes for it, it keeps me wanting more. I can tell their having fun and trying new stuff. I like the way P Delay does that.
I can play 75-85% of this lead now ---at about a 60 % ok sounding ratio---BUT Im ok with that taking so much time. His choice of notes, when and where he puts them is really hard for me. iT FORCES ME TO PLAY UNFAMILIAR PATTERNS. I freakin love that
Anyway Piazza, Hummel are 2 players I study a lot. Right now Iam all in with P dealy--very challenging