
Advanced
Intermediate
· Improve your right- and left-hand technique.
· Understand how to outline chord progressions with arpeggios.
· Learn the science behind unusual tonalities.This lesson is all about shred guitar—specifically Extreme axeman Nuno Bettencourt's inventive approach to tapping arpeggios. Let's jump right in.
Nuno Bettencourt's work with Extreme is chock full of shred ideas to cop. Especially his solos on "Get the Funk Out" and "He-Man Woman Hater." Throughout this lesson I will pick apart these solos and give tips on how to develop speed, accuracy, and most importantly your own voice.
Let's start with tone. You'll want a good amount of gain when playing these licks, so the tapped notes pop out nicely. However, if you already have a strong tapping technique, experiment with lower gain sounds, or even a clean sound. That's an important step in developing your own voice as a player. Even if you can't match the volumes between both hands, you might actually like it when not all notes have the same volume. It can create interesting accents and a more dynamic sound.
He-Man Woman Hater
If you have trouble bringing any of the examples up to speed, analyze where the problem occurs. Is it a string change? A weak hammer or noisy pull-off? Pinpoint the problem and focus on practicing that bit in isolation. Once you get up to faster tempos try to think in note groupings rather than individual notes and focus on the notes that fall on the beat.
Let's get on with Ex. 1. Nuno's trademark tapping lick is a straightforward C major arpeggio (C–E–G) with an added 9 (D). Learn to visualize the shape of the arpeggio that the lick is based on, that way you can easily transpose it to fit whatever context you want to use it in. In "Get the Funk Out" Nuno squeezes in a few extra notes during the ascending part in order to make the next repetition of the lick start on the beat. Keep an ear out for that one.
Ex. 1
Ex. 2 shows a similar figure that shifts the accents around by using triplets. Nuno sometime doubles a pattern on a string or slightly changes the it–like skipping the hammer-on from nowhere on the lowest string at the end of the pattern–to land a certain note on the beat. This comes in handy when playing these arpeggios over changes while shifting the accent around.
Ex. 2
Since we're taking about chord changes, let's apply these arpeggios to a chord progression in Ex. 3. Note that Nuno often plays these major arpeggios leading into non-diatonic chords which adds funkiness. In this exercise we'll move through the circle of fifths before working our way back towards the key center, which is A. To create a climax, I start this lick using triplets and then go into full-shred mode on the last few measures using 32nd notes.
Ex. 3
Now that you're familiar with Nuno's style of tapped arpeggios, how can you take these ideas and implement them without sounding like a Nuno rip off? We can start by using more than major triads.
Ex. 4 shows an Cm(add9) arpeggio (C–D–Eb–G) and a C diminished triad (C–Eb–Gb) with an added b9 (Db). You can create dark and interesting sounds that would fit in more extreme metal styles, but also prog-rock settings that want to push into different harmonies.
Ex. 4
In Ex. 5 I used arpeggios to outline a more pop-flavored progression. This could be used in conjunction with a more synth-like sound to create arpeggio layers in the background of a pop song.
Ex. 5
Ex. 6 focuses on minor harmonies to bring out more of a C Phrygian (C–Db–Eb–F–G–Ab–Bb) flavor.
Ex. 6
The next step after exploring different harmonies is to switch up how we play through these arpeggios. Ex. 7 demonstrates how to move this pattern through different tonalities. It creates a very intervallic, more prog-rock sound. I recommend you take this idea and apply it to the different arpeggio shapes from Ex. 4. Play around with the fingerings a little bit and see what's most comfortable for you.
Ex. 7
Ex. 8 takes this idea and applies it to a classic rock chord progression. I put it in a 6/4 meter and use a staccato rhythm pattern to give it a modern progressive feel.
Ex. 8
Feel free to experiment with different sequences and see how they sound. Take a simple lick or idea like Nuno's tapping arpeggios and play around with them. If you change the harmony, rhythm, or sequencing it can lead to interesting new ideas that will make you sound more like yourself.
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Empress Effects is proud to announce the release of the Bass ParaEq, a bass-specific parametric EQ pedal.
Building on the success of their acclaimed ParaEq MKII series, which has already gained popularity with bassists, the Bass ParaEq offers the same studio-grade precision but with features tailored for bass instruments.
Basses of all types – including electric and upright basses with active and passive electronics – can benefit from the Bass ParaEq’s tone-sculpting capabilities.
The new pedal follows the success of the Empress Bass Compressor and ParaEq MKII Deluxe, which have become some of the company’s best-reviewed and top-selling products. The Bass Compressor’s popularity confirmed what Empress had long suspected: bassists are eager for tools built with their needs in mind, not just adaptations of guitar gear.
The Bass ParaEq retains the line’s powerful 3-band parametric EQ and studio-style features while introducing a bass-optimized frequency layout, a selectable 10MΩ Hi-Z input for piezo-equipped instruments, a dynamically-adjusted low shelf, and automatic balanced output detection—perfect for live and studio use alike.
The Bass ParaEq also offers an output boost, adjustable by a dedicated top-mounted knob and activated by its own footswitch, capable of delivering up to 30dB of boost. It’s perfect for helping your bass punch through during key moments in live performance.
Whether dialing in clarity for a dense mix or compensating for an unfamiliar venue, the Bass ParaEq offers precise tonal control in a compact, road-ready form. With 27V of internal headroom to prevent clipping from even the hottest active pickups, the Bass ParaEq is the ultimate studio-style EQ designed to travel.
Key features of the Bass ParaEq include:
- Adjustable frequency bands tailored for bass instruments
- Selectable 10MΩ Hi-Z input for upright basses and piezo pickups
- Auto-detecting balanced output for long cable runs and direct recording
- Three sweepable parametric bands with variable Q
- High-pass, low-pass, low shelf, and high shelf filters
- Transparent analog signal path with 27V of internal headroom
- Buffered bypass switching
- Powered by standard 9V external supply, 300mA (no battery compartment)
The Bass ParaEq is now shipping worldwide. It can be purchased from the Empress Effects website for $374 USD and through authorized Empress dealers globally.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.