Throwback Thursday! Rusty Cooley Behind the Scenes
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- čas přidán 13. 05. 2015
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Throwback Thursday! Vintage Rusty sweep awesomeness from his first Cracking the Code interview. Rusty's known for his physical power, but it's his interesting chord colors and clever mechanical patterning that steal the show. He's always cooking up cool ideas. - Hudba
Probably the fastest player ever. Even MAB and Chris Impellitteri would struggle to keep up with this guy.
Sorry for all the grammar errors and words don’t make sense and shit when you get off line I was driving and voice texted him
Shawn lane
Really watching the speed of his picking hand, it feels supernatural.
shawn lane is faster tbh
Yeah tbh Shawn Lane defied laws of physics haha
Truly a GOAT. His writing is as insane as his technique.
Here's the thing about Rusty. I only heard his stuff on the Outworld records, but the riffs he wrote sprinkled with these melodic badasseries around them - it was awesome.
You should check out his pre-Outworld solo album, and also his newer band Day of Reckoning. It's good stuff.
Rusty Cooley is just absurd. Wish he had more albums with Outworld.
Rusty is a freak of nature!
Insane skills
i luve rusty playing forever n ever amen
Is that 8 strings Rusty . This is my first time see you play and I don't have any words that the fasts and smoothest playing I've ever seen
Hi troy hope all is well. Have you got any vids of you gigging with a band or solo etc. That be really cool to see.
Keep up good work with your channel youve helped out a lot of guitar players thanks.
Troy, I've said it before but I'll say it again 1000 times - thank you for all the hard work you put into this channel and for selflessly giving all this information out (for free!) to fellow guitar players. It's really helped my playing a lot, though I'm still a novice. You are a truly inspiring player and also a really talented film-maker. I have one quick question - I've read you essentially saying that as long as it's halfway decent and has had a good setup by a decent luthier one can play their ass off on any guitar; however I've noticed you personally seem to gravitate towards shorter-scale instruments like your Much-Stang and Les Paul, unlike a lot of the virtuoso players of the 80s who tended to stick with superstrats and the 25.5 scale. Do you find the shorter scale length (with their closer fret span) to be a little easier to play on? I'm quite a small guy with smallish hands and long fingers and am looking at building a guitar - I'm wondering if something short scale might be a better fit for my hands. Thanks for your time and for responding to all our questions and comments - keep up the great work!
Really interesting to look at the angle Rusty's picking arm approaches the strings in some of these passages, literally crossing over the back of that Lo-Pro Edge bridge in an almost Di Meola posture and appearing to anchor only on the strings themselves at times (and no apparent forearm anchoring on the body at times, another signature of people like Di Meola and Vinnie Moore). And the "backward arch" in the picking hand, with the back of the pinky curled backward/upward toward the back of the hand is something we see with Paul Gilbert, another floating/string-anchoring guy. I think the upward/backward curl of the pinky (and the way that affects the rest of the hand) is a key to simultaneously getting the pick grip close to the strings AND keeping the palm or ulnar edge of the hand cleanly on the strings or bridge while upward pickslanting (or two-way pickslanting from a neutral or primary up default angle). It's a way of "locking out" the fifth metacarpal bone of the picking hand, which seems to have some benefit.
severalpaperclips Trem height is a thing Rusty talks about - he's very particular about approaching the strings from that vantage point and doesn't like the hardware getting in the way.
severalpaperclips Totally agreed, it's like a Karate fist, it is the best shape to have some maximum strength and to twist your wrist to do the Two way pick-slanting. It' s almost invisible with Paul Gilbert, but this his secret with his giant hand who solve the muting issue. I am very curious to see how Paul could mute on a 7- 8 string, when his right hand couldn't stay at the same position. Will he do the Cooley slide forearm?
Inglorious Kam As I experiment with a Rusty style right hand, I find that the hardest part is alternate picking on the low E, where there's no lower strings for the fleshy part of the base of the thumb to rest on. On a 7 string, the low B string actually gives you additional area to rest on without adjusting your approach (until you decide to do a lot of alternate picking licks that include the low B string). Back to the "locked out metacarpal": I find it helps me establish a stable string (or bridge) anchored "home" hand orientation for upward slanting, where the rotation to dwps for two-way passages is sort of an unstable anomaly (tipping the stable platform for an instant) that the hand naturally wants to return from. But one thing I'm finding so far is that with extremely fast Rusty-esque picking, I end up using my shoulder muscles quite a bit, so I wonder how draining it might be to do for extended periods. I can do a slightly slower version that's more of just a forearm/wrist twitch, but it doesn't have the speed and authority that comes when the elbow and shoulder are working that whole "paint can shake" on the pick. In contrast, It seems that Paul Gilbert's motion is much more relaxed and "economical". I hope there's a way to get the more relaxed-looking Gilbert motion working without requiring giant hands. So far I can't come near the base picking speed Gilbert does (or my own speed with other mechanics) when I try to mimic Gilbert's technique.
@@severalpaperclips One thing that's very interesting about Gilbert, when he demonstrates picking something slowly his pick actually mutes the string immediately after passing through it. Watch him do this then practice doing it with slow picking for a few weeks, I'll bet your relaxed picking speed increases as you train into these very small motions. I stumbled onto this year's ago while reading the book that came with The Stylus Pick five pack of picks. The book said to use the smallest possible pick stroke, so I just rubbed the tip of the pick on the string without letting it leave the string; no notes were sounded, only the pick chirps blending into each other. So I was doing what Gilbert does but even more extreme as I didn't even sound any notes, ZERO SUSTAIN! Try this for a couple weeks! After you get the feel of this it's easy to make the pick strokes slightly larger to allow short but rapid notes, like what Gilbert does when he picks, both quickly and slowly. I still "rub the pick on the string" almost every day for a few seconds to recalibrate into this tight motion. So I think the bottom line is to ask yourself "How is the pick moving?", rather than "How am I moving the pick?", or, "What motion mechanics should I use to move the pick?" This is me...
czcams.com/video/SNkfkUD6TG0/video.html
Anybody who is wondering
Check out Hanon exercises for piano . Marshall Harrison references them in his book School of Legato, they are easily adapted to guitar , and reminiscent of Vinny Moore and MacAlpine(a pianist((big surprise!?))
So the "satanic merry go round " was just Czerny? One of the guys who trained Beethoven
Great stuff! Though I have to ask, where is Rusty's Code footage/interview/tabs located? I hope this is available for purchase...
damn didn't know Rusty was this good....his Outworld stuff is great!
Grande Rusty! Bestia!
Rusty Cooley spends a lifetime chasing the recognition as a master guitarist, shred virtuoso and technical master. Gets judged by lesser talents for not having what they deem “enjoyable music”. I hate to tell you guys but he doesn’t practice his life away to write common progressions like Hendrix, Van Halen or Page. He goes above and beyond to please himself, too challenge himself as a master. As a guy that plays fast passages and respects the lighting fast arpeggios and speed of sound scale runs, I could listen to this all day. It’s melody on a complex level that a common person can’t fathom because they themselves aren’t on that level on comprehension.
haha wtf
@@dogzzen1520 shut the fuck up, he's right.
Wtf is this bullshit.
@@valebliz your brain is the one which is filled with bullshit
@@an_38kitkashyap sure, you're like Paganini, now go.
where can i find the full interviews with rusty?
Amazing technicality, but not a chance could I listen to that for enjoyment.
Uncle Furball Ok
Mac you should listen to his album, I think when he practices he's only concentrating in technique because he wants to keep his ability to play
That is practice dude, go listen to his songs. Battle of Angels for example
Agreed
I didn't know he ever played a universe. Great to watch anyone on a uni :p
Hey Troy...love the series!
I've been playing guitar for 30+ years, but I've never been all that interested in the 'shred' school of playing. But now I want to pick up some tricks and better my chops in the styles that I'm most interested in.
So I subscribed to your Masters in Mechanics series last night and so far I'm loving it.
I'm wondering...can you give some guidance about not only WHAT to practice, but HOW to go about practicing in a methodical way? I want to really give this speed thing my best effort (being 45 I'll need to be careful not to hurt myself). But I want to make sure that I'm practicing in such a way that I'll see results.
I'm patient so I can wait...I just don;t want to be flailing away without getting anywhere.
Thanks man!
SamuelAging Hey, Brendan here from the Cracking the Code team. Thanks for the nice comments! Glad you're enjoying the videos and finding the material useful. And thanks for picking up the subscription :)
Your other comment, about how *all* of us - even if we've mastered some particular area - have so much to keep learning, is great. And in fact this gets at why it's actually hard for us to answer this particular question about the best way to go about practicing…we don't really know! The question of HOW to practice, we've found, is a lot more complex than meets the eye, and not the kind of thing we claim to have the answers to.
There are so many follow-on questions that it's hard to make any kind of blanked statements here. For example: what type of practice works best for you? What are your goals - to learn a specific piece? To have fun experimenting? To expand your repertoire of techniques? Not to mention things like…how does memory work? Why is performance so variable? What muscles, exactly, contribute to picking speed? What's an optimal practice schedule or session length? How do you learn to do a physical movement correctly when you don't yet know what "correct" feels like?
This is actually something we're super interested in, and hope to explore further. And it's a questions we've gotten a lot, so we know others are interested in this topic too! We'll definitely keep you posted if/when we have more to share on this. Feel free to shoot us an email if you have more specific Qs and we'll do our best to answer if we're able to!
-Brendan
Hey Troy, I subscribe to your Masters In Mechanics series and have enjoyed the interviews, especially the one with Michael Angelo Batio, and more recently I enjoyed the Strunz and Farah interview. However there's one problem regarding my subscription to Masters Of Mechanics. The following is the problem I have encountered with the menu to Masters Of Mechanics: The Rusty Cooley section or sections are missing! I don't even have the limited amount of Rusty Cooley material you chose to make available on CZcams!
When I watched the Michael Harrison interview you said that when you went to interview him you stayed in Houston long enough o also interview Rusty Cooley. So, where is the Rusty Cooley interview or anything else where you study Rusty Cooley's picking mechanics? I've scrolled down the entire selection of what the Masters In Mechanics menu offers, and there is nothing mentioning Rusty Cooley! What possible explanation could there be for this? I am extremely interested in seeing your entire interview with Rusty Cooley, along with your analysis and explanation of how he picks so fast and clean. Why is it not in the Masters of Mechanics Series and where would I be able to find the full, uncut interview? After all, I do pay the monthly fee for subscribing to Masters Of Mechanics and I think this is a very reasonable request.
Aside from this one major problem, I have been quite happy with your Masters Of Mechanics Series! You have truly discovered an innovative and effective way of analyzing what types of movements comprise world class lead guitar technique! Other teachers will tell you what notes to play but when asked how they do what they do (such as moving from one string to another while fast alternate picking at high speeds) their typical replies are "I don't know how I do what I do; I just do it", "Just keep practicing and as your coordination improves you'll be able to play fast and clean too", or "Make sure you spend most of your practice time playing slow to a metronome, and then just gradually increase the tempo on the metronome over the weeks and months until you can play fast and clean." You are the first to have tacked the problem of understanding exactly how virtuoso level shred guitar players do what they do and everything from your innovation with the camera that is attached to the guitar, to the slow motion footage, to your verbal explanation of why picking the way they pick is helping them be both fast and precise is a true breath of fresh air and what was the very stagnant pool of lead guitar instruction which hadn't changed a bit since the days of Doug Marks Metal Method lessons from over 30 years ago until you came along and accepted the challenge in a fashion that I would expect from an elite level engineer studying a problem for NASA!
Pretty cool. One day I’ll be on this channel. Been working. Haven’t had much time to practice. Not sure if I can play anything on my channel right now but I do believe my 18 NPS picking is pretty sick. It’s not just a single twitch on a string. Multiple strings are used.
Sounds like the synchronisation was off at 2:01 and 2:03. And quite a few moments of unwanted string picks. Don't know if it's down to desynchronisation of unwanted string rubbing.
Left me somewhat uncertain about the quality of playing.
Troy, is this first cracking the code with young beardless Rusty still available anywhere? I've never seen it. I have the other one.
Where can I find the full rusty cooley videos from troy? Is it on youtube?
thats one dedicated player
Wow super amazing..uncle rusty its cool
sounds a little c64
Insane
Hey Troy,
I know your channel is more focused on lead playing rather than rhythm, but I firmly believer that amongst the great pickers James Hetfield must be mentioned. The way he grabs the pick and his righthand motion towards the bridge when playing arpeggiated chords have always been an amazement to me, not to mention his legendary downpicking style. Any chance of dedicating a lesson to him and other great rhythm players?
SomethinWild I agree indeed
SomethinWild lmao james is an amazing rhythm player but not a lead player imo
YEah, shred is cool but do something different
Indeed, James would be super interesting.
Sweet.
Hey,Rusty have Behringer V-amp Pro.Cool.
Eek, eek, eek, eek, eek, eek, eek, eek... Bulululululu.
Rusty simply has the best chops! Monster player!
He’s incredibly fast.
holy shit
PacMan shred.
Chris Impelliteri and Glenn Proudfoot also....
what is syncopation
off beat beat
Making noise vs making music ....
Music is noise.
@@EulogyfortheAngels but noise isn't.
Brother Rusty Cooley has many notes but nary feel.
Monster technician,Boring after 2 minutes.
cast390 Nope.
I'm not bored for 2 years
listen to some outworld than come back
+Uncle Furball And U R Un Ed UKated Dum Shitt
GForceFGT gooby pls
He does is plays a faster than me, he is boring and badd at the gitur!
Technically brilliant but one of the most boring players out there.
@Darth Revan man this tired old comeback is so fucking stupid.
@Darth Revan no, it's just that you're clueless on the whole art history.
@Darth Revan never said anything about how much you know about music, don't care either really as far as i know you can be a great player, but if you really believe you have to master the technical part of an art to have say on the content of someone's else production, you have little clue on how art critique work.
@Darth Revan no, again. Art critiques are bad in the sense they often become an elitist circle of asses, by reasonings extremely similar to your first statement btw. Art critique as a discipline is simply being able to understand what an artist is doing and why, even if you can't do the same (and you're not supposed to be able to).
@Shuckle Huckle compositional level is not the same as technical level. He is technical amazing, but compositional boring.
He has no feel, just technical, does get monotonous quick
It's an acquired taste just like 'feel' is. All this is very subjective.
Justin A he's definitely a monster guitar player, can't take that away from him
while i admire what it takes to be able to do that ... i find it pointless and meaningless
He Make noise but can't make music
Check out his solo album, Outworld album, and his albums with his newer band Day of Reckoning. He can totally make music.
No interesting timings, no rythm patterns, no beat, no direction. Yeah, extreme creativity my ass. As impressive as uninteresting.
put on 0.75x speed then. The guy is breaking the boundaries that we think exist in playing.
@@drguy12345678 i don't care how fast he can alternate pick or sweep, if he can't come up with anything interesting either melodically or rythmically. There's plenty of very technical players with a much more interesting playing. And i don't want to take away anything from how impressive he is technically, i just would do something else with it.
@@valebliz everyone has different music tastes this one just isnt for you
@@drguy12345678 sure, totally agree with this
I don't get Cooley's appeal. He's so generic. He takes everything he's working on and immediately plays it as fast as he can. Actually, he plays too fast for his synch much of the time. His patterns are actually all very basic , just played as fast he can. He should spend the rest of his life trying to mix up his stuff. You have to sound good at some point.
This video was done solely to focus on his speed and technique, this is why. If you actually want to listen Rusty's music check out his solo songs and bands.