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Sound has a lot to do with pickups.  I'd suggest looking into pickup upgrades, rather than a pedal or such.  While pedals can hep somewhat, sound is really found at the pickup level.  You might look into Seymour Duncan JB/59 for a well rounded tone that does well at a lot of styles.

Instructor

Sound and Build Quality is good, but the problem is, I tried a Krank Distortius Maximus Pedal years ago and found the Blackstar pedal wanting, compared to it.  You can hear the sonic and tonal difference...it's not quite as extreme and breaks up.  For less metal saturation it does well.  I prefer the amp sounds that I can get from the Blackstar itself, especially using the shape buttons.  By the way I am a Blackstar dealer as well.  Their HT Pedals are okay but I think they are about 40.00 too high.

Instructor

We used it to develop our Summer Shred Academy - It made coming up with relevant ideas easy, especially given the strength of arrangements and sound engines. 

Im not a big tabber, I can pretty much play what I need to and work things out, faster than it would take me to read tabs or write them.  However for many people I can see where this program would help.  Currently I'm using it to develop our Counterpoint Curricula. 

Instructor

You mean HT 5?

Its no live rig, but it definitely can be used, Ive done it.  I played along side a 212 Fender HR Deluxe, and held my own.  It also has direct outs so you can put it directly into a mixing board, or, like you said, mike it up, which is a common thing to do anyways live.

I love my HT 60 2x12 Stage, but I hate dragging it around

Instructor

The big 9

A  Am C  D Dm E Em F and G

Do you know all these?

If so then, the next step you should do is examine what Makes a Major scale, and then study what Intervals out of a Major scale make a triad Major and what ones make a triad minor. You should have those down, and be able to write out those maj/min triads before studying 7ths.  Basically 7ths are the 4 note harmoniztion of chords.  If you can't first understand 3 part harmony, like I described above, 4 won't make any difference.

Instructor

Capo 1

Em

G

Cadd9

This guy is awesome - I love this kind of music - this really resonates with me.  The rhythm is brilliant.  Understated, but the atmosphere it allows for is spot on!

I'm gonna tell you something.  This guys worked out all the fine details, and its that attention to the little things and commitment to the basics that makes this song a top quality song.

Fantastic find!

Instructor

Mine too!  Got it in 1986, with some of my scholarship money.  It was a cream Pantera x250, Matsumoto. 

As I understand now those were awesome for the time and are highly sought collectables now.  If I ever find one, out there I'd seriously consider picking it up. 

My second guitar was an ESP I got later that year (first income tax return) from Valley Arts, it was a Prototype for the George Lynch/Steve Stevens model (they were both interested in similar directions) and its a one of a kind.  I still have it all these years later.  Its changed a lot because I didnt treat it as a one of a kind.  I played the hell out of it.

The neck broke in 91 and I changed the M1's with Duncan Invader and a Pearly gates.  I dont play it anymore, and its changed so much from the original...new neck, (when grunge hit I got rid of the original Floyd) new Hamer bridge, Sperzels, etc.

Instructor

My girlfriend works New Years Eve, otherwise I'd have loved to zip off and rent a hotel in San Antonio, TX.  I got to do that a few years ago and watching the new year from the observation deck of the hotel, was an incredible experience.

Instructor

First of all, I think they key distinction that you have made, is that you are "Teaching them to play the patterns" of modes, which I entirely agree with.  Once you know all the patterns you know all the patterns for every mode.

Your thoughts about using the Dm in a predominant role in a progression for purposes of training the student, and looking at that in Dorian, is at the very least...intriguing to me.  I cant say anything more about it, because Ive never heard what that sounds like when you teach it, it would be cool to be a fly on the wall when you do this. 

I have used the Dm in a vamp, in the sense that Might do Dmin to Dmin 9 To Dm7 etc, but all witht he central tonality of D so that the resolution feels firmly placed on D.

I've also taken the D minor blues and added a B note, ala Carlos Santana, over the Dmin chord.

Ive used the same idea to demonstrate how quickly the natural inclination to jump to C is "Hijacked" and how the finality of the Dorian is "lost" in that instant.  Your approach seems to say, push ahead, ignore that finality and focus on the chord tones of that Dm stubbornly...and that's what I find intriguing.  I may try that, just to see if it sounds "together".

Whatever you do, that approach seems to work for you, and your students benefit, and thats the important part.  I just wish I could hear what that music/improv sounds like, when you teach it

Instructor

Another person trying to pick a fight with me.

Really?

This is getting old, quickly.

Instructor

My question to you, then Don, is how do you have the student take the chords out of C Major, and focus on the D, and keep the resolution on a D once they start playing chords?

By the way when you say Dorian, am I right to assume you are referring to Dm as the chord that you are "centering upon" as opposed to a D, or do you mean D as a single note, like a drone?   

The challenge of making a background progression Based off the chords in C Major, feel like its staying on D Dorian, would be the hard part, so I'm interested in how you manage to make it centered upon D.  Leaving out the F makes sense, as a start. 

It sounds like you have a dedicated intentional approach to this, and I salute you. 

Instructor