Now, I’m constantly writing my own music, whether it’s for my own projects, YouTube videos, or my academy lessons. Heck, I don’t even really learn the cover songs I play at my solo acoustic shows. I just learn the chord progression and make my own rendition. This was different. I couldn’t just learn the gist of the songs; I had to know these riffs, inside and out.

I’m going to take you through everything I did to learn these songs and how you can use these tips if you get this type of opportunity. I’ll also point out some things I would have done differently. And at the end, I’ll share the playlist as well as where to see the entire journey of my first show with Nasty Savage.

Here’s the video version of how I learned these songs:

Get the Setlist and Build Your Playlist (ASAP)

As soon as I got the gig, I confirmed the setlist and created a playlist of those songs. I use Apple Music, so it was easy to create the playlist. One thing I didn’t do that I recommend doing is put the songs in order. Yeah, no-brainer. But for whatever reason, I didn’t do that until after the fact.

Not every band will have a setlist nailed down, especially if the gig is further out. But chances are they have some core songs they’re going to play and that their fans expect. So get started with those. You can add the rest later.

In my case, Nasty Savage had been playing the same setlist for the past year or so. There were 10 core songs we knew we were going to play. And we had one in the tank, which we ended up playing all 11 at the Running Free Festival in Bulgaria. That was my first show with them. More to come on that later.

Passive Listening

Another thing I started doing right away is passive listening. Actually, as soon as Dave (Dave Orman, their guitarist I filled in for) sent me that text asking me if I could play, I started listening to Nasty Savage’s core songs (I had spent some time listening to their latest album Jeoporady Room when it first came out, but this was a few years prior).

Once Ronnie (Nasty Ronnie) confirmed the gig, I made a point to listen to nothing but Nasty Savage. So I constantly had the playlist running while I was at the gym, in the car, and at home when doing work that didn’t involve me filming. It was always in the background.

Of course, I started actively listening right away, too, and we’ll talk about that coming up. But having these songs constantly running through my brain really helped. When you hear the same songs over and over, you start noticing things like where the changes are, and you even start anticipating those parts.

What is the Band Tuned To?

Before I get into active listening, there was one major change I had to make. Nasty Savage has been playing all of their live shows in D standard tuning. Now, the caveat is that their early records, which make up the majority of the setlist, were recorded in E standard. Jeopardy Room was recorded in D standard.

I mainly play in E standard, so all of my guitars are tuned to that. But what’s really strange is that a couple of months before all of this happened, I tuned one of my guitars that I don’t play often to D standard. Was this one of those synchronicity type of things? Who knows, but it sure worked out perfectly.

So I was able to practice the early songs with my main guitar (Ibanez Prestige RG1570) and work on the few songs we were doing off of Jeopardy Room with the other guitar tuned to D. I ultimately tuned my Ibanez to D standard before practicing with the band, as I knew that’s one I was going to use for the live shows. All that said, if you ever have this type of opportunity, make sure you find out what tuning the live shows are in sooner than later.

Active Listening

Active listening is just that. My sole focus is on the music. During this time, there are no distractions, no phone, no watching or trying to do anything else. This is also the time when my guitar is in my hands. And I’ll break this down into a few methods that I used.

For one, before I started trying to play any of the parts, I would just listen. And listen deeply. And I would focus on one song at a time. Only then would I go back and start breaking down the parts. If you start trying to play along too soon, you’ll miss certain details.

I also found a few live shows of Nasty Savage on YouTube. This was even more helpful for two reasons. All of the songs were being played in D standard. And like many bands that have had lineup changes over the years, the way certain parts are played may have evolved.

Some of these songs had a lot of different parts and changes. They weren’t the typical verse, chorus, repeat, bridge, etc. So I went old school and got a notepad and pen, and started writing down the different sections of these songs.

For example, I would write ‘Intro – 4x’ and the line underneath would have ‘Main Riff – 2x’ then ‘Main Riff 2 – 2x’ then ‘Hard Riff 2x’ and so forth. I would write what made sense to me, and in a way I knew what that part was, and how many times it was played.

Breaking Down the Songs

As I got deeper into learning the songs, I started to hear which songs had more complexities than others. And let me just tell you, some of these riffs are all over the place, technical, and in some cases, just odd to play. I think the original guitarists of Nasty Savage, Dave Austin and Ben Meyer, specifically wrote them for that reason. Pete Sykes and Dave Orman wrote some fast, technical riffs for Jeopardy Room, too. So, yeah, this was all quite challenging for me.

My thinking was to learn the less-complex songs first (and even those had some tricky riffs thrown in there). Once I did that, I was left with about three songs that took more time for me to nail down. Those were: Jeopardy Room and The 6th Finger (off the Jeopardy Room album), and You Snooze You Lose (this is a longer song with many parts, and it’s where Ronnie is smashing TVs on stage).

One important tip I can leave you with for fast, technical riffs is: break them down into small parts and practice those parts super slow. It’s almost impossible to play those riffs tight when you’re guessing the notes. So get the notes ingrained in your head (and fingers) first. Then it’s easier to speed it up.

Why I Didn’t Bring My Guitar to the First Practice

You might be surprised that I didn’t bring my guitar to the first Nasty Savage practice. There’s a good reason for that. I simply was not ready.

The guys already had a practice set up on Saturday just a few days after I got the gig. I was nowhere near the level where I could play along.

To me, band practice is not where you go to learn the songs. It was my job to be prepared before practicing with the band. This is the expectation when you play with professional musicians and a touring band like Nasty Savage.

So, why did I go to practice if I wasn’t ready yet? First, I wanted to soak in that experience of hearing everyone play and just feeling the energy of the band. Secondly, I filmed guitarist Pete Skyes playing. This came in handy later because there were some parts I had a tough time figuring out. Having those video clips helped a lot when I got back to my studio to practice.

By the next practice, I was ready. As a band, we had 3-4 practices before our first show. It felt like I had been playing with these guys for years. They’re all phenomenal musicians, and just all-around cool dudes.

Nasty Savage members:

• Ronnie Galletti ‘Nasty Ronnie’
• Pete Sykes – guitar
• Jim Coker – drums
• Kyle Sokol – bass
• Dave Orman – guitarist I filled in for

One-on-One Time with the Other Guitarist

Another thing that really helped was getting with Pete, one-on-one. We did this twice. Once, to get my rhythms tighter and go over some of the areas I was having trouble with. We met up a few days after the first practice playing with the band.

The second time was to get the solo sections down. Nasty Savage has always had two guitarists who alternate solos. That’s one of the many highlights of playing with this band. And I’m really grateful that Pete was willing to spend the extra time with me.

If you’re going to be playing with a seasoned band, whether joining it or just filling in as I did, I strongly recommend spending a session or two with the other guitarist. That can make a big difference.

Always Being Ready for the Opportunity

When I got the text from Dave Orman, I was pretty stoked. But he would’ve never asked me if he didn’t think I could pull it off. And again, this was within a short timeframe.

I had Dave here in my studio and on my YouTube channel soon after the Jeopardy Room album was released. And I’ve known Ronnie for a few years now, and I had met Pete and Jim several times. I actually had a short interview with Pete a while back, giving tips for musicians that I featured on my channel.

There are some things I want to point out. Yes, you must have the talent. That’s a given. Had I not been consistent with guitar throughout my life, this opportunity never would have come to me.

You want to stay on top of your craft, whatever it may be. Don’t let it slip away. Don’t just do it when you have time. Make the time. Make it a priority.

I also believe you need to be pleasant and easy to work with, and supportive of other bands and musicians. It also helps to be plugged into the scene around you. Don’t be afraid to put yourself out there.

The Nasty Savage Setlist (and My Playlist)

Alright, here’s my own Apple Music playlist of the exact setlist we played (minus the 11th song, Savage Desire, not available for streaming):

Nasty Savage Playlist on Apple Music

For their other releases:

Savage Desire (from Wage of Mayhem Rarities)

Nasty Savage on Bandcamp

My First Gig with Nasty Savage

First, a huge thank you to Nasty Ronnie, Pete Sykes, Jim Coker, and Kyle Sokol for letting me share the stage with you. This was a true honor and a moment I’ll always treasure. And thank you to Dave Orman for reaching out and recommending me.

My first show with Nasty Savage was playing at the Running Free Festival in Bulgaria (August 29th, 2026). My wife came with us to film and capture this experience. I’ve got the post with the video here:

My First Show with Nasty Savage (Running Free Festival in Bulgaria)

Keep it Metal,

Jason

The post How I Learned 11 New Songs in 3 Weeks to Play Live Shows (with Nasty Savage) appeared first on Jason Stallworth.

I’m going to take you through how this all came about, the gear I brought with me, a bit about the trip and festival, and why we almost didn’t make it to our own show.

You can also watch the video version below (and there’s another video at the bottom of the post documenting the entire trip).

The Text That Changed Everything

Let’s go back to how this all started. About a month before the show, I got a text from one of their guitarists, Dave Orman. He asked if I could fill in for a couple of shows. I had Dave on my YouTube channel shortly after the latest Nasty Savage album, ‘Jeopardy Room,’ was released.

Of course, I had the conversation with Nasty Savage founder and frontman Ron Galletti (Nasty Ronnie) afterwards. I’ve known Ronnie for a couple of years. In his famous words: ‘Is everybody in?’ Yeah, I was in.

So, I started learning the songs and practicing the setlist with the band. I had to learn 11 songs within just a few weeks. That was indeed a challenge. Some of their songs are technical, and there are a lot of changes. I’ll share more on that in an upcoming video.

Guitar, Gear, and How I Packed

It was a no-brainer that I was going to bring my Ibanez Prestige RG1570. That’s been my go-to guitar for many years. It also has a fitted hardshell case. Great for traveling.

The first thing I had to do was downtune my guitar. Nasty Savage plays everything in D standard these days. For strings, I like to go as light as possible, so I picked up a couple packs of 10-46. Those work great for D standard.

In the case, I packed: an extra set of strings, a guitar strap, a screwdriver and Allen wrench (this guitar has a floating bridge), and plenty of extra picks (which I ended up giving all of these away to fans after the show). Basic stuff.

I also included one very important item in the guitar case: an AirTag. These allow you to track your guitar (or any item) from your phone. Our friend let us use these (thank you to Joe, known as Pajama Joe on The Drinking with Drew Show, which I’m often on!).

I got another packing tip from Pete Sykes, the other guitarist in Nasty Savage (he’s been in the band for over a decade). He suggested placing something under the bridge of the guitar to relieve some tension. This can be an issue when flying, when there may be extreme temperature changes and elevation (our guitars were on as checked bags in cargo). So I placed a cloth under mine. And I put some bubble wrap around the headstock and neck for extra support.

Running Free Festival, Stage, and Backline Gear

I’ve never played on a stage this huge before. The lighting was insanely cool and professionally done during the show. The fog machines were run perfectly, truly capturing the ambiance and adding so much to our performance. These folks know how to set up and run a true heavy metal concert.

They also provided premium backline gear. The drum set was a DW set. Jim loved this. Pete played through a Marshall half stack, Kyle (bassist) played through an Ampeg amp, and I played through a Peavey 6505+ half stack (guitar amps were paired with Marshall 4×12 cabinets).

We (guitarists and bassist) brought our own effects pedals to use with the amps. And we were able to pack that in our carry-on luggage.

I must give a huge shoutout to the Running Free Festival promoters and everyone involved in setting this up. I’ll say this directly: You guys were so professional and so kind to us. You made sure we had everything we needed, including food (and the tasty Running Free Festival IPA beers!) before and after the show. On behalf of everyone in the band, we cannot thank you enough. It was an honor to play there.

The Show: Nasty Savage Headlining the Running Free Festival

I’ll start with the pre-show entrance. Our van was driving in as the band before us, Troops of Doom, was playing their final song (these guys sounded awesome). Remember, I said we almost didn’t make it to our own show. I’ll explain why at the end of the post. But we received a true rockstar entrance. People were holding up the metal horns and banging on the van, ecstatic to see us. I still cannot fully explain that feeling.

As Troops of Doom were clearing off the stage, we had a chance to grab some snacks and a brew, all provided for us in a spacious green room. Then we headed to the stage for setup and soundcheck. More props to the promoters and sound engineers here, as the soundcheck was one of the smoothest ever.

We hit the stage, starting out with the Nasty Savage song, Gladiator. This song has every element of traditional heavy metal, from the riffs to the melodies to the overall theme. It’s the perfect opener.

Here’s the Nasty Savage setlist for the Running Free Festival in Bulgaria, 2026:

• Gladiator
• Asmodeus
• Unchained Angel
• Jeopardy Room
• Witches Sabbath
• The Morgue
• The 6th Finger
• XXX
• You Snooze You Lose
• Metal Knights
• Savage Desire

We actually ended with Metal Knights, which is considered a heavy metal anthem. But the crowd screamed ‘one more song,’ so we have Savage Desire.

Again, this was my first show outside of the United States. And my first time in Bulgaria. The crowd was intensely into the music, and we could feel their deep appreciation for us being there. It’s an experience that I keep reliving in my head.

After the Show, Meeting the Fans

I love playing on stage. There’s nothing quite like it. First, there’s the bond and aura of the people you’re on stage with. But then there’s the reaction and pure passion flowing through the crowd.

So, my favorite part of all of this was meeting the fans after the show. I also didn’t realize how many people there knew me from my YouTube channel. And I got to have a really cool conversation about guitars with one of my subscribers, whom I consider a friend, Stanislav. And so many meaningful conversations with so many others that night.

As the festival started to clear out, we all went back to the green room and the promoters cooked us an amazing meal: some Bulgarian sausage. I could’ve eaten this for days. Of course, we had another special Running Free Festival beer.

My wife pulled out the camera and asked me how it went, and these were my words: “It was very exciting, a great show. The people here are amazing. It was so cool. I got to meet so many people. I love being on stage, but that’s what I like most. I love meeting all of these people here, too. We had a great time.”

Nasty Savage and Why This Band Still Matters 40 Years Later

Rewinding to the 80s, when it all started in Tampa, FL, Nasty Savage was a pioneer. They built a diehard fanbase. They also inspired many other bands that were getting started back then.

One of those events was the two kids who rode their bikes to Ronnie’s house to ask him how to start a band. Ronnie spent time with them and showed them the ropes. These were the Tardy brothers, who formed Obituary.

I recall having the conversation with my friend Ed Aborn, the drummer for Siren. This was another band that started during the 80s. He praised Ronnie for freely helping them make connections and get shows.

With Nasty Savage’s longevity, the fact that they’re still able to headline festivals is a true testament. Not only has this band carried the torch, but they’ve lit so many other torches along the way, and are still doing it. And this was always Ronnie’s vision. It was about building a community.

On that note, I want to give shoutouts to the awesome musicians I shared the stage with.

• Pete Sykes – guitarist
• Jim Coker – drummer
• Kyle Sokol – bassist

Not only are these guys phenomenal musicians. They’re also some of the coolest dudes you will ever meet. I’m proud to call them friends, and it was such an honor to be part of the Nasty Savage legacy that continues to be built.

Lifelong friendships were formed. Who knows what’s to come next.

Oh Yeah, We Almost Didn’t Make It to Our Own Show

This part gets a little crazy. Here was the original plan:

• Fly from Tampa to Zurich, Switzerland
• Fly from Zurich to Sofia, Bulgaria
• 3-hour drive to our hotel in Dryanovo (where the festival was)
• Get to see the bands performing that Friday night
• Get to see the other bands performing the following night (Saturday)
• Play our show (headliner, Saturday)

It didn’t quite turn out that way. As we were flying into Zurich, we noticed the plane started going away from the airport and circled several times. No big deal until we did that again.

When we finally landed, there was nowhere to park the plane because many flights were being cancelled, so many planes were grounded. After sitting there for about 30 minutes, we finally pulled in, and everyone got off the plane. By that time, we had missed our connecting flight to Sofia.

We literally stood in line at the Zurich airport at Transfer Desk A for over 9 hours. Eventually, we got to the end, and a shoutout to Samwell at the desk, who truly tried to help us and was kind. But there were no flights available that would get us to our show in time. We really thought we were going to miss it.

By 11 PM or so, we ended up going to a hotel in Zurich long enough to shower and get back to the airport to figure out how we were going to make this happen. In the end, the promoter found a flight with another airline, and we ended up making it to our show, literally, at the last minute (or hour).

Somehow, through minimal food and maybe an hour of sleep within two days, we managed to put on a fantastic show. It’s funny how adrenaline and feeding off one’s energy work once you step on that stage.

Among all the chaos, we maintained our cool the entire time. None of us ever got upset. With the insane line, we took turns taking coffee and bathroom breaks. But it’s really a testament to the character of the entire band and my wife. She came with us to help film and document the trip.

Speaking of documenting the trip, you can watch that entire video below. Grab a coffee or a beer, sit back, and enjoy the show:

Yes, my wife (Candy) was with us on this trip. Someone commented that bringing your wife or girlfriend on tour is not good. I get it. In many cases, they’re probably right. But we’re in our 50s (not 20s); my wife and I have been together for over 18 years, and she was there to film and support. She was definitely an added benefit to the band. I would not have been able to capture all of these moments on my own. We were all happy to have her with us.

Tampa DeathFest at the Brass Mug: Round 2

Earlier, I mentioned I played a couple of shows with Nasty Savage. That following weekend, we headlined the Tampa DeathFest at the Brass Mug. This was a cool yet very different show. We’re back home, and we all know half the crowd here. So that was an awesome experience as well.

Nasty Savage played the same setlist as we did in Bulgaria, minus Savage Desire. Being in the town where it all started, the crowd was singing along with the hooks of songs like Gladiator, Unchained Angel, and Metal Knights.

It was also cool going on right after our good friends from the band Must Not Kill performed. They put on an awesome show. And we hang out with Brad Mader often (we’re also both on The Drinking with Drew Show).

A quick note on gear for the Tampa show. Bands brought their own equipment. So I played through my EVH 5150 III (6L6) 100-watt head through a Mesa cabinet. And I used the same effects pedals (noise gate, overdrive, delay, EQ). I’ll cover this in detail in an upcoming YouTube video.

What This Experience Has Taught Me

I’ll be forever grateful to have had this opportunity. It came out of nowhere. Or did it?

My note to self is that you have to always be prepared. A big part of it is just being consistent with what you do, day to day. It’s picking up the guitar, or going to the gym, or writing, or practicing whatever, even when you don’t feel like it, and even when things seem to be going nowhere.

So I pass that on to you. Keep pushing and doing what you do, no matter what. Especially if it’s something you truly believe in. Because the worst thing would be for an opportunity to come your way, but you’re not ready for it.

Dave would never have recommended me for this gig if he didn’t think I could pull it off. The band would never have accepted me if I wasn’t able to keep up. I’m thankful all of these guys gave me the chance.

Lifelong friendships were made through this event. Going through all of the flight and airport drama with these guys while maintaining our coolness factor not only made the whole thing bearable, but we turned it into a journey. And the fact that we still put on an awesome show together really says a lot about the band.

All of the people I got to meet. The fans. Those who have supported my YouTube channel. And I forgot to mention the two YouTube subscribers who showed up at the airport in Sofia to meet me. That was crazy cool!

At 51 years old, this was a major highlight for me as a musician. I feel like I’m living the dream I wanted so badly when I was younger and when stuff like this seemed out of reach. So, yeah, I’m truly grateful.

Keep it Metal,

Jason

The post Playing Guitar for Nasty Savage at Bulgaria’s Running Free Festival: My First International Show and the Trip That Almost Didn’t Happen appeared first on Jason Stallworth.

There’s a backstory here, and it’s more of a drama series about me and 7-string guitars. You see, I owned a premium 7-string for a few years. I even recorded an album with one. But I had this ‘love/sorta dislike’ relationship with. Bottom line, I just couldn’t get 100% comfortable playing it. It was me, not the guitar.

So I actually gave up playing 7 string for a while. Until I had this itch that would not go away. I was missing that extended range. I also have this project that’s been on the back burner for longer than I’d like to admit, and I’ve always wanted that to be created with a 7-string. As soon as these thoughts started brewing, I knew I needed to get my hands on one. This itch was not going away.

Why I Chose this Specific 7-String Guitar

That said, there were three things I had in mind. First, I knew the issue I had with my prior 7-string was the neck. Again, this was a ‘Jason-issue,’ not the guitar’s fault. Now, you’ve seen countless videos of me playing my Ibanez Prestige RG1570 on my YouTube channel, in my academy, and in live shows. The Ibanez Wizard necks fit my hands perfectly. So it made sense to go with an Ibanez RG series for a 7-string.

I prefer thinner necks, so the Wizard necks in the RG series are perfect. Some guitarists like the thicker necks; those have always felt kind of weird to me. Though I will pick up an S-shape now and then (like my Telecaster). But that shape clearly did not work for me for a 7-string guitar. It’s the Ibanez Wizard, all the way.

Box number one, checked. Secondly, I had been telling myself for the past several years that my next guitar is not going to have a floating tremolo. I love having access to a whammy bar, but I don’t use it that much, and when I do, it’s subtle. So this next guitar was going to have a fixed bridge. That’s not to say I won’t have a 7-string with a floating trem in the future.

The other thing is, I wanted a 7-string with passive pickups. The last 7-string I had came with actives. And I used to play primarily with active pickups. But over the years, I’ve come to prefer passives. For my style of playing and my approach, and that’s a big part of what makes up your preferences, passive pickups seem to have more character and clarity.

Jason’s YouTube Review of the Ibanez Prestige RGR762AH

Here’s the video version, where you can hear some tones. By the way, that intro mix is something I’m going to expand on. It came out of nowhere. Starts out melodic, but takes a twisted turn. You’ll hear what I’m talking about in the video.

Ibanez Prestige RGR762AHBF Specs

Alright, all three boxes are checked, and the Ibanez Prestige RGR762AH was the guitar that kept standing out to me in my quest for attaining a new battle axe.

Of course, there is much more to this guitar than just ‘what Jason wanted.’ Here’s a quick rundown of the specs with some sidenotes of my own.

• Wizard-7 5-piece maple/wenge neck – The ‘wenge’ blend is known to be rigid, protecting the neck from warping, and also just gives it a really cool look.
• Bound rosewood fretboard – This has a smooth, natural feel and complements the thin neck for effortless soloing and overall playability.
• Jumbo frets (24) with the Ibanez Fret Edge Treatment – This is a ‘done by hand’ process on the fretboard, basically making sure everything is perfect.
• Gibraltar Standard III-7 bridge – This is my first guitar with this specific bridge, but after reading up on Gibraltar, they’re known for their tuning stability.
• Gotoh locking tuners – I want to put these on every guitar I own, at some point. Also, this guitar has a reverse headstock.
• Ash body – I was pleasantly surprised by how light this guitar was when I pulled it out of the case; this is a huge plus for me because I’ll be playing this on stage.
• Weathered black finish – It just looks insanely cool, and no fingerprints!
• DiMarzio® PAF® 7 (Humbuckers), Passive/Ceramic (2 – bridge and neck) – Very happy with the clarity and punch I’m getting from these pickups. There’s also a 5-way switch, and the usual volume and tone knobs.

The Prestige RGR762AH also comes with an Ibanez hardshell case. It’s form-fitting and has upgraded heavy-duty latches (these are much easier to work with than the traditional guitar case latches). They also include the inspection card, which is a nice touch, and a multi-tool for working on your guitar.

Note: The RGR762AHBF originally came with 10s (D’Addario® EXL110-7, .010-0.59). These strings made the guitar play really tight, which is perfect for those low, B-string riffs. But since I’m used to 9s, I ended up with a hybrid approach for strings. I bought a pack of my usual Elixir Nanoweb superlights (.09-.042), and a .056 gauge for the 7th string.

This still gives me the tightness plus the ability to bend strings with ease. I may play around with this more, like put a .059 on that 7th string (sometimes a subtle difference can end up being a huge difference). I may also try the custom lights. Of course, I’ll share that experience on my YouTube channel if and when I make a change.

What’s Next in the Land of 7 String Guitar?

Some cool stuff has already happened in the first month of me having the RGR762AH. First, there’s an influx of new riffs and song ideas coming out. There’s a project that I’ve had in my head, and even started writing for this over a decade ago. It’s a bit darker while still melodic, and I had told myself this really needs a 7-string for it to have the impact I’m looking for. More to come on that.

I also just released a new course in my academy called 7 String Apprentice, and I created that course with this guitar. So, if you’re in the Jason Stallworth Guitar Academy, it’s there, patiently waiting for you to start it.

I also plan to include more 7-string riffs and content in the academy (look for 7 String Madness coming soon…this will be a growing library of 7-string riffs).

Of course, more YouTube videos for 7-string guitar are in the works, and you’re seeing those now. I’m just having a lot of fun with this guitar. It’s cool how a 7-string can change the way you write and the style that just organically comes out with that extra string. And I’ll be sharing that with you along the way.

If you want to grab this guitar, you can get it at my Sweetwater link here: Ibanez Prestige RGR762AH at Sweetwater

If this isn’t quite in your budget, I would look at the RG7420EX, and there are some cool 7-strings in Ibanez’s Iron Label Series, the Steve Vai signature UV70P, and several others. These are a bit more affordable. And you’ve heard me say this in many YouTube videos; you can’t go wrong with Ibanez.

So, that’s my thoughts on the Ibanez Prestige RGR762AH 7-string. This is only the beginning. Stay tuned for much more from this guitar.

Keep it Metal, and Keep Playing Music,

Jason

The post Ibanez Prestige RGR762AH 7-String Review and 3 Reasons Why I Chose this Guitar appeared first on Jason Stallworth.

I’m sharing these with you because even if you implement just one of these things, I think it could help you expand and grow into a version of yourself you never imagined, regardless of what style or genre you play.

The Backstory (the short version)

We’re going to go back a few decades here. Back to the time when the phrase ‘be kind, rewind’ was often heard when you’re trying to find the new release of Nightmare on Elm Street.

There was this dude at school who had long hair, wore a jean jacket covered in patches, and always air-drumming with his headphones on, happy, in his own world. I heavily (no pun intended) admired this guy. I think his name was Kevin (if I recall, we went to Ransom Middle School and Tate High School together).

As timid as I was back then, I built up the courage to ask him, “Hey man, what are you listening to?”

He pulled away one of his headphones and said, “Metallica!” and went back to air-drumming. He knew he had sold me on heavy metal.

So that week, I took $20 I had from mowing people’s grass and bought the two cassettes, ‘Master of Puppets’ and ‘And Justice for All.’

It wasn’t long after that when I picked up my Uncle’s old acoustic that had four rusty strings. I just started messing around with it. I ultimately picked out the single notes of Sabbath’s Iron Man. My uncle saw that I was serious and picked me up some new strings and a Mel Bay chord book.

I dove in headfirst. A month or so later, my parents teamed up with a local musician that my dad grew up with, and we got my first electric guitar. After hearing Metallica and discovering other guitar-driven music, I didn’t want to just listen to it. I needed to be a part of it.

If you want the full version of this story, I’ve got it in my book Heavy Metal and Weights.

Playing in Different Keys, and Sometimes Different Styles

I grew up going to a small church in Cantonment, FL. I think it was a Pentecostal Holiness church. No, we didn’t handle snakes or anything like that.

We had a small music group, and there was a guitarist named Ronnie Goodman. He was more of a jazz/blues player. Not my style at all. But I was always amazed by his playing. He would play the chords to the songs, which were mainly really old gospel hymns. But then he would break out and play solos. And I could tell he was just making up the notes and melodies. That was my intro to improvising.

So my friend and I, Alex Green, ended up playing in the church band. Alex was about a year ahead of me as a guitarist. And we were both into all kinds of metal and rock n’ roll. But more than anything, we just wanted to play our guitars.

As you would imagine, these old hymns were not what we were used to playing. And pretty much every song was played in what I call piano-friendly keys (not guitar-friendly) like A♭, B♭, E♭.

Ronnie insisted that we learn the chords to the songs, which we were using bar chords. Then he would point to us when it was time for a solo. That’s when we had to make up something. Alex and I would switch off and on with our leads.

There were no tabs, and neither of us could read music. We just had to memorize the chords and make up our own solos.

Now, it should be obvious that when I was home, I was learning songs by Metallica, Guns N’ Roses, Whitesnake, and Scorpions, along with some hair metal bands.

So it was metal at home, and gospel hymns in weird keys on church days.

What did this do for me? It forced me to learn the fretboard in a way I never would have learned it otherwise. It also broadened the way I hear music and the way I write my own music. And I can sit in with just about any band and play along. That’s a really cool skill to have.

I’m not suggesting that you grab a book of hymns and learn gospel music. And I’m not suggesting that you play stuff you don’t really like. But you will be surprised how playing music in different keys, and in some cases different styles, can help you grow tremendously as a musician, and even make you better at playing the style you do like.

Improvising Along with the Radio

There were two radio stations in the area of Pensacola, FL that played rock: TK-101 and WABB FM-97. There were a couple of others, but I don’t recall the names.

TK-101 played the harder stuff like Whitesnake, Def Leppard, Dokken, and GnR, etc. WABB FM-97 would dip into that sometimes, but mainly played pop-rock, stuff like Genesis, Madonna, Prince, Richard Marx, The Outfield, and those types of bands.

As much as I loved metal, I also loved 80s rock, in general. And even most of the pop stuff, too. But here’s where the magic happened for me, and I didn’t even realize how this impacted me until years later.

I would listen to the radio for hours while having my guitar plugged into my amplifier, and just make up solos along with every song. I would try to get the chord progression down first. Not necessarily learning the riffs or the solos note-for-note. But I’d hear the underlying chord progression and just play power chords to that, followed by improvising solos.

The thing is, almost every song was a different key, sometimes a different style, and often a completely different feel.

You can see how that fits what I was doing in church. Learn the gist of it, then improvise. Of course, jamming along with the radio, those old yet huge speakers cranked up with my amp, I was playing along with the music I love, and that passion was growing by the day.

You can do this, too. These days, we have streaming and the ability to start your own radio station based on a song. Chances are, you have several stations and playlists of different styles and genres.

Press play, then plug in your guitar and just let yourself go. Get the basic progression down, and then start making up some licks that fit that key. The more you do this, you will be amazed by what you come up with.

Jamming With Other Musicians

As you’ve learned, I was jamming with other musicians the moment I started playing guitar. Well, maybe a month or so after.

I mentioned my friend Alex, who had been playing for about a year before I started. The guy is still a phenomenal guitarist. I remember him showing me and Ronnie this tapping technique with his pick that he had figured out. It was crazy. And it was cool.

We’d jam constantly, at his house, at my house, anywhere and everywhere. One time, we set up our amps on my porch, cranked them super loud (we really didn’t know any better back then), and someone called the cops.

Of course, we were also playing together in church with Ronnie. Ronnie (rest in peace) was not only an insanely talented blues/jazz guitarist, but he was also encouraging in a way that stuck with me forever. He always pushed us to play our way. So when you hear me say like a broken record to “Focus on developing your own style,” that’s where it came from.

If Ronnie was strumming on his acoustic, I couldn’t just play the same thing. I had to create something that complemented that (I was always playing my electric). There was also the piano, which was the culprit of most songs. Alex and I also learned to play bass, as that was a missing part (3 guitarists with no bass isn’t ideal).

Soon after Alex and I were playing, some of our friends picked up instruments (Matt Gainey was on bass, Matt Patrick on keys), and we formed a little group called Revelation. We never wrote anything but just jammed, and we also played some of the songs Ronnie had written.

Why does this matter? I learned not to just play notes. I learned to feel what I was playing, and most importantly, to listen. Guitarists are notorious for wanting to be the center of attention and be heard over everything else. But I realized early on that really honing in on all of the other instruments, that everything had its time and place, and everything needed to flow together to make something sound really amazing.

One Thing Leads to Another. It’s Part of the Journey

Let’s fast-forward a little to when I graduated high school (barely) in 1993. That summer, I got introduced to this dude Eddie Gray, who has remained one of my closest friends to this day. He managed a band called Palin Genesia, which means ‘A New Beginning’ in Greek, or something like that. They needed a lead guitarist.

We were sort of an alternative rock band with the caveat of having 80s-style solos (blame me for that). This was a strange time in music because grunge was in full swing, and guitar solos were swept under the rug for a brief time. But we were booking shows. That was a really cool experience.

As many band stories go, after about two years, everything fell apart. People wanted to go in different directions, or lost passion for the band, or whatever the case was. The band was no more.

After being on stages in front of hundreds (these were smaller shows), I was hooked and could not stomach the idea of not playing live. So, Eddie and I formed our own band, and we called ourselves ‘The Guys.’ We wrote originals and threw in a few covers to make a full set.

After a couple of shows, we even landed a slot at Springfest in 1999, a huge deal for us. Eddie Money performed on the stage next to ours that day, which I thought was cool.

For that Springfest show, we brought in another guitarist, Tom Sherman, who also remains one of my closest friends. For some reason, he wasn’t captured in the pic below. Not sure who was on camera duty that day (this was before the world of cell phones capturing every moment).

The Guys was also short-lived. I ended up moving to Tampa (this was around 2000), but from there on, I’ve always played live music in some capacity, whether with bands or playing solo acoustic shows. And I always will.

Playing in Front People Will Make You Better, by Default

You get it. Playing with musicians can really help you expand your guitar skills and become a better overall musician. You learn how to fit in the pocket, how to listen to the music overall, and really hear everything that’s going on, dynamics, when to be heard, and when to pull back. I could keep going.

But there’s another important element that goes right along with that, and it’s simply playing in front of people. You want to talk about developing a strong sense of playing guitar on top of a completely different skill? Performing in front of a crowd, big or small, will do just that.

Look, it’s easy to sit in your room and jam. It’s comfortable. Nobody’s watching, nobody’s judging, you can stop and start again, fix mistakes, and there’s no pressure.

If you’ve never played in front of a crowd, here’s what I urge you to do. Learn 2-3 songs (or write your own), and go to an open mic. Even if you don’t sing, just bring your guitar and play for a few minutes. Heck, it may even just be a short guitar solo that you wrote.

I can almost promise you that you will become addicted to playing in front of people, and you will become a regular at your local open mic. So, yeah, do a quick search for open mics in your area and show up (with your guitar).

Pause (this is the pause while you search for open mics, because I’m serious about your doing this).

What’s Next for You?

When I look back over my own journey, these experiences shaped me more than I ever realized at the time. And I genuinely believe they can make a massive impact on your guitar playing, too.

Sure, some of this stuff isn’t traditional guitar learning where you’re told you have to study theory like it’s homework for a major exam, and learn the song perfectly, note for note, or you get a smack on the wrist.

Through the road I traveled, it was more about expression and creating. I’m not an anti-theory guy by the way (I later realized I had inadvertently learned a decent bit of music theory, mainly simply by playing in all those non-guitar-friendly piano keys!).

In the end, it’s not about replicating what someone else can do or has done. It’s about what you have to say through your music. It’s about developing your own style.

So, a few takeaways for you:

1. Stretch yourself by playing in different keys (and even different styles).
This is one of the fastest ways to learn the fretboard, understand music at a deeper level, and become more fluid and confident when you improvise. When you step outside the one or two keys you always play in, you open new pathways in your head and fingers, and I’ll even say from deep within. And this, in a weird way, actually makes you better at your preferred genre and style. Don’t fight me on this. Trust me and just do. it.

2. Jam with other musicians every chance you get.
Even if it’s just another buddy who plays guitar. Or if you can jam with a group. Or search online for people in your area to play music with. Even better, make friends at open mics and start jamming together there. So many things open up when you get out of your bedroom (and get out of your own head) and play music with other musicians.

3. Play in front of people. Your cat doesn’t count.
I’ll revert to open mic if you’re new to this and haven’t played in front of anyone. Or you could play at gatherings (friends, family, cookouts, movie night…just don’t play during the movie unless the movie sucks). When you become comfortable playing in front of people, it builds this hidden, secretive skill that you never knew you had.

Thanks for spending these few minutes with me. It was like having a nice chat over a beer or coffee. I do hope you got some encouragement out of this and are ready to take this next step in your journey.

On that note, no pun intended, I do have a guitar academy. Check it out. See if it’s for you.

Keep it Metal, and Keep Playing Music,

Jason

The post These Non-Traditional Methods Changed My Life as a Guitarist appeared first on Jason Stallworth.

In this lesson, I’m sharing 4 alternate picking exercises designed specifically for death metal guitar. These aren’t random drills. Each one is tied to a real, practical riff you can actually use. The goal here isn’t just to practice the technique. It’s to train yourself to play like a real death metal rhythm guitarist.

These four exercises cover everything from galloping patterns and tremolo picking to pedaling riffs and crossing strings at high speeds. They also help you build the three things every death metal player needs:

• tightness
• stamina
• picking-hand control

And if you’ve ever struggled with your speed falling apart, your picking sounding inconsistent, or your riffs feeling “off,” these exercises will help you fix that, one step at a time.

Before we dive in, here’s a quick look at exactly what we’re going to cover:

Galloping + downpicking (the foundation of old-school death metal)
Single-string tremolo picking for speed & endurance
Moderate-speed “pedaling” riffs for stability & timing
Tremolo picking across two strings, the next level of alternate picking
Tabs included in each section so you can follow along

Whether you’re into the classic death metal bands or more melodic extremes, these ideas will help you sound tighter, heavier, and more confident. They’ll also give you the tools to write your own killer riffs.

Watch the full video here to hear all 4 riffs in context and follow along with each exercise:

Exercise 1: Galloping + Downpicking (The Foundation of Death Metal Rhythm)

The first technique we’re working on here is the classic gallop, but not the gallop by itself. In this exercise, you’re mixing the gallop with isolated downpicking and then tying it all together with some wicked-sounding power-chord variations to give it a real death-metal feel.

If you want to hear this section in the video, jump to 00:36.

How the Gallop Actually Works

The gallop is really just a short burst of alternate picking:
down–up–down (1-2-3), repeated in quick succession.

On its own, it gives you that charging, forward-moving feel you hear in bands like Death, Obituary, and early 90s Florida death metal.

But for this exercise, we’re not just galloping non-stop.
You’re combining two elements:

1. A single, isolated downstroke

This is NOT part of the gallop. Treat it like its own musical idea.

2. A gallop immediately after

Down–up–down, tight and controlled.

There’s a very slight pause between the isolated downstroke and the gallop. That micro-pause is what makes the rhythm hit harder and feel more intentional.

This alone is a killer way to tighten up your picking hand.

Adding Power-Chord Variations (Essential for Death Metal Feel)

To really make this sound like death metal, and not just a generic picking drill, we’re attaching a pair of chord variations to each pattern.

Here’s the idea:

• Play a D power chord (A and D strings, frets 5 and 7)
• Then shift to a darker variation on the same root (frets 5 and 6)
• Move the whole thing down a half step and repeat the pattern

This gives you a heavier, more dissonant feel that’s perfect for building real-world riffs.

Musically, this is similar to the type of rhythm work you hear in Death’s “Crystal Mountain”, where a simple rhythmic idea becomes powerful because of chord movement and note choice.

Full Exercise (Tabs Below)

Here’s the exact picking sequence you’re practicing:

• Downstroke
• Pause
• Gallop (Down–Up–Down)
• Chord variation 1
• Chord variation 2
• Move down a half step and repeat

Scroll down to the end of this section for the tabs.

The video walks through this slowly, step-by-step, so if you need to see my hands and hear the timing, jump to 03:00 in the video.

Once you get the pattern down, start adding your own notes and chord variations. That’s where the real creativity kicks in.

Tabs for Exercise 1

If you want another tightness-building technique to pair with this exercise, check out my post on eliminating string noise. It goes hand-in-hand with the picking control you’re building here.

Exercise 2: Single-String Tremolo Picking for Speed, Stamina & Control

The second technique we’re digging into is straight-up tremolo picking, that fast, relentless alternate picking you hear in so many classic death metal riffs. This exercise is all about building stamina, control, and endurance in your picking hand.

If you want to see me break this down and hear how it should sound, jump to 03:32 in the video.

The Four Notes You’ll Use

This exercise uses only four notes on one string (A string):

• 8th fret
• 7th fret
• 4th fret
• 5th fret

You’re simply playing those notes in that sequence. Nothing complicated.

The challenge isn’t what you play, but how you pick it.

Adding Tremolo Picking (The Death Metal Engine)

Once you know the notes, add fast alternate picking to every note in the sequence.

This is pure tremolo picking, consistent, controlled, and aggressive. And it forces your picking hand to stay tight and relaxed at the same time.

If you find your picking arm locking up, that’s normal. Tremolo picking is one of the most physically demanding techniques in extreme metal.

Why I Let the Last Note Ring Out (and Why You Should Too)

When you repeat this pattern, you’ll notice I let the final note ring out slightly instead of tremolo picking it non-stop.

That serves two important purposes:

1. A built-in micro-break

Continuous tremolo picking for long stretches can fry your hand.
This tiny pause gives you breathing room while still keeping the riff musical.

2. A songwriting tip

Letting that last note ring gives the riff more space and keeps it from sounding like a wall of noise.

You’ll hear this type of phrasing in old-school bands like Malevolent Creation, especially in Fragmental Sanity, where tremolo lines breathe just enough to stay musical.

Two Tips to Make This Sound Tight (Not Muddy)

Use a very light palm mute

Not a full chug…
Just a whisper of muting to tighten up the attack.

Fast alternate picking can get messy and noisy. That slight mute keeps everything controlled.

Take breaks

This exercise is physically demanding.
Practice it a few times, pause, reset your hand, and then go again.

Tension kills speed.
Relaxation and repetition build it.

Tabs for Exercise 2

Exercise 3: Moderate-Speed “Pedaling” Alternate Picking for Timing & Stability

This next technique isn’t about blistering speed. It’s about control, rhythm, and locking into the groove with rock-solid alternate picking.

This style of riffing is extremely common in classic death metal, and honestly, it can be more challenging than fast tremolo picking because the timing has to be dead-on.

To see me demo this in context, jump to 06:26 in the video.

What Makes This Exercise Different?

Unlike Exercise 2 (fast tremolo), this is moderate-speed alternate picking on a single string, with strategically placed power chords to build context.

It simulates what a real death metal riff feels like, that steady, machine-like “pedaling” on the low string while the chords give the riff shape.

You’ll practice:

• steady alternate picking
• a consistent light palm mute
• clean transitions from pedaling → chords

This is the stuff that tight rhythm guitarists are made of.

The Core Pattern (Pedaling on the Low E)

You’ll alternate pick the low E string with a tight palm mute.
This steady 8th-note (or 16th-note) pulse is your “engine.”

This pedaling technique shows up all over classic death metal, especially in Obituary, where the riffs often feel heavy, simple, and hypnotic because of this exact picking pattern.

The Chords You’ll Add

To keep this from being just a mindless picking drill, we’re adding real-world power chord movements:

• G power chord
• F♯ power chord
• B♭ variation (6th + 5th fret)
• A variation (5th + 4th fret)

These give the riff weight and movement, so you’re practicing music, not just mechanics.

It turns the exercise into something that actually sounds like a riff, not a sterile drill.

Why Practicing This With Metal Drums Helps Immensely

Because timing is the whole point of this technique, play along with something rhythmic:

• a metronome (fine, but boring)
• a simple metal drum loop (way better)
• Toontrack EZDrummer, Bogren Digital’s Krimh Drums, etc.

Even a basic blast beat or mid-tempo groove will make this feel more musical and help you stay in the pocket.

Pro Tip: Start Slow, Not Fast

This riff isn’t meant to be ultra-fast.

The whole point is to pull things back, groove into the alternate picking, and get extremely steady and controlled.

If you want a deeper dive into this mid-tempo tightness, you might like my post on
5 Metal Guitar Techniques to Take Your Riffs to the Next Level.

Tabs for Exercise 3

Exercise 4: Tremolo Picking Across Two Strings (Advanced Death Metal Technique)

This final exercise looks simple on the surface, but it’s actually the most advanced alternate-picking drill in the entire lesson.

Why?

Because instead of tremolo picking on one string, you’ll be jumping between two strings while keeping your picking perfectly even and controlled, a core skill in classic death metal.

If you want to watch how this sounds in real time, jump to 09:42 in the video.

Why This Exercise Matters

Tremolo picking across strings is one of the fastest ways to expose (and fix) weaknesses in your picking hand:

• picking angle
• string tracking
• timing
• palm muting control
• stamina

It’s also one of the trademarks of iconic death metal riffing, think Morbid Angel’s “Rapture” or the chaotic picking patterns in Cannibal Corpse’s “Hammer Smashed Face.”

This exercise will help you build the control and accuracy needed to play riffs like that, and write your own (which, you know, I strongly encourage you to do!).

The Notes You’ll Play

This pattern uses only four notes, but the string changes make it challenging:

Low E string:

• 4th fret
• 5th fret

A string:

• 7th fret
• 6th fret

Even though the notes are simple, the movement between strings is where you’ll sharpen your technique.

Break This Riff Into Two Pieces (Important)

To keep this from feeling overwhelming, don’t try to learn the full pattern immediately.

Step 1: Learn the first half only

Alternate pick:

1. E string: 4 → 5
2. Move to A string: 7 (tremolo pick a little longer)
3. Release

This small chunk helps you master the “string jump” from the E to the A string.
If it’s messy at first, that’s totally normal. This is the whole point of the exercise.

Step 2: Once the first half feels natural, add the second half

Now go:

• A string (7) → back to E string (5)
• Then continue the pattern with 6 and 5 as shown in the tabs

Here’s the cool part:
Once your hands start locking into the motion, the whole riff begins to “glue together” almost automatically.

Palm Muting Tip (Crucial for Cleanliness)

Use a light, on-off palm mute, not a full, heavy mute.

This does three things:

tightens the attack
reduces string noise (which gets loud with tremolo picking)
makes transitions between strings cleaner

Don’t overthink it. Use your intuition.
As you develop the feel, you’ll naturally know when to mute more, mute less, or lift off entirely.

This is a huge part of sounding tight, especially at higher speeds.

Practice Strategy

• Play through the pattern once, then pause
• Shake out your hand
• Go again
• Insert “micro breaks” as needed

This keeps your technique sharp without building tension or bad habits.

If you want to go deeper into cleaning up noise and muting across multiple strings, you might like my post:
How to Eliminate String Noise and Play Tighter Metal Guitar Riffs and Solos
(Internal link goes here)

Tabs for Exercise 4

Classic Death Metal Songs That Use These Picking Techniques

If you want to hear real-world examples of the techniques from this lesson, tremolo picking, pedaling, galloping, and multi-string alternate picking, here are some killer tracks to study. These are perfect references for how these ideas are used in actual riffs:

• Death – “Crystal Mountain” (intro: galloping + melodic alternate picking)
• Malevolent Creation – “Fragmental Sanity” (single-string tremolo picking)
• Obituary – “World Demise” (moderate-speed pedaling riffs)
• Morbid Angel – “Rapture” (fast multi-string alternate picking)
• Cannibal Corpse – “Hammer Smashed Face” (relentless tremolo patterns)

And if you want to hear how I personally use these techniques in my own music, here are two great starting points:

• “Final Reign” – Jason Stallworth (Masterpeace)
• “The Damned” – Jason Stallworth (Overcometh)

These tracks showcase the same alternate-picking concepts from this post in a real songwriting context.

Final Thoughts: Build Real Control, Not Just Speed

Alternate picking for death metal isn’t just about speed. It’s about control, tightness, consistency, and being able to track multiple strings cleanly without losing accuracy.

If you work through all four exercises, take micro-breaks, and practice with intention, these techniques will massively improve your riffing and your confidence.

And the best part?
Every exercise in this post directly transfers to real death metal riff writing.

Want More Metal Riff Training?

If these exercises helped you tighten up your picking, here are two resources that will take you even further:

FREE Metal Riffs & Licks Practice Guide

If you want more alternate-picking exercises, palm-muting drills, and real metal riffs you can play right now, grab my free Metal Riffs & Licks Practice Guide.

It’s my way of saying thanks to everyone who follows the channel and reads these posts.

Download the Free Guide Here

The Jason Stallworth Guitar Academy (JSGA)

If you already have the guide, or if posts like this help you make real progress, you’ll love the Jason Stallworth Guitar Academy.

Inside the Academy, you’ll get:

• step-by-step courses
• monthly rhythm lessons
• riffs, tabs, and backing tracks
• practical methods you can use immediately
• a clear roadmap for getting better at metal guitar

All designed for real, at-home players who want to play metal confidently, without overthinking theory or wasting practice time.

Check out the Academy here

Keep it Metal,
Jason

The post 4 Alternate Picking Exercises for Death Metal Riffs appeared first on Jason Stallworth.

Sometimes your palm muting just isn’t right.
Sometimes everything falls apart when you try to play faster.
And sometimes the riffs you write just don’t sound as heavy or clean as you hear them in your head.

I get it. I’ve been there too, many, many times.
And after playing metal guitar since the late 80s, recording albums, and performing live for most of my life, I’ve learned that there are a handful of simple, fixable things that instantly make your metal riffs tighter, cleaner, and more professional.

In this post (and video below), I’m going to walk you through five common mistakes that hold metal guitarists back — and more importantly, how to fix each one.

These aren’t fancy tricks or over-the-top techniques.
They’re practical, real-world concepts that will help you:

• learn metal riffs faster,
• play metal riffs tighter,
• and write your own riffs with way more confidence and clarity.

Before we dive into each one, here’s a quick overview of the five mistakes:

5 Common Mistakes That Keep Your Metal Riffs From Sounding Tight

• Palm muting that’s not as tight or consistent as you want – the easiest fix that instantly tightens your tone
• Trying to play too fast, too soon – fast is cool, but clean is better
• Playing too many notes – this one concept will explode your creativity
• Not knowing when to down-pick vs alternate pick – huge for riff writing
• Never playing in front of people or jamming with others – totally underrated, game-changing for tightening your playing

We’ll dig into each one, and I’ll share some simple, practical examples (with no tabs needed) to help you overcome these and start playing tighter metal riffs today.

Watch the full video below to see how each of these mistakes plays out in real time — and how to fix them so your riffs instantly sound cleaner and tighter.

Mistake #1: Palm Muting That Isn’t as Tight or Consistent as You Want (The Easiest Fix for Better Metal Riffs)

Palm muting is the foundation of playing tight metal riffs and rhythms.
If your palm muting is even a little off, too loose, too tight, or in the wrong spot, your riffs can start to sound unclear, flubby, or slightly out of tune.

What’s cool is:
Palm muting is also the easiest thing to fix.
And just tightening this one area can make your metal riffs sound 10x more controlled and professional.

Two key things that determine whether your palm muting sounds tight and controlled, or loose and inconsistent, are:

1. Palm Placement

Your palm should rest right where the strings meet the bridge. That sweet spot where you’re getting a clean mute without choking the tone.

• If your palm is too far forward (toward the neck), the notes will sound like they’re being choked, and you won’t have clarity.
• If your palm is too far back (on top of the bridge but not quite over the strings), your notes will sound muffled, not muted.

You want that middle ground, the spot where everything feels punchy, tight, and controlled.

2. Palm Pressure (Tension)

This is where most metal guitarists slip up.
We tend to play with aggression. We dig in. We push hard.
But pressing too much can actually bend the strings sharp, making your notes sound out of tune.

Here’s what happens:

• Too much pressure: your palm digs in, bends the strings sharp, and creates a tight-but-ugly tone.
• Not enough pressure: the notes ring too freely, losing that tight, percussive metal sound.

The trick is finding the right balance, and it often depends on the type of riff you’re playing.

Tight vs Loose Palm Muting (Based on Your Riff Style)

Here’s the part a lot of players overlook:

You don’t use the same palm muting tension for every riff.

For fast, single-note thrash riffs:

Use slightly more pressure so notes stay tight and controlled.

Not so much that you bend the string sharp, but just enough to keep everything punchy and precise.

For slow, heavy, doom-style chugs:

Use less pressure so the notes bloom a little and carry more weight.