I have not ONE fanned fret, sir. Grumble. Heard that before...
Molina (Tatosh Guitar)
None worth mentioning
Famous for / Infamous for
Trying to become an 80’s guitar god in the 90’s, right when grunge was taking
over. Knowing everyone on the local rock scene but never playing in bands for
long periods of time. Being much disorganized in his learning of the instrument
and becoming a more proficient lead player than a rhythm player, thus not being
able to carry a tune for a long time. Being obsessed with guitar tone and amps
more than with actually practicing. Owning more guitars and amps that he
obviously needs and uses. Being a 70’s and 80’s hard rock and metal
encyclopedia (according to his friends, but just a newbie compared to people from
online forums). Lurking in Dinosaur Rock Guitar for over 10 years before
Tipton, KK Downing, Adrian Smith, Dave Murray, Mathias Jabs, Randy Rhoads, Yngwie
J Malmsteen , Walter Giardino, Chris De Garmo, Michael Wilton, Kai Hansen,
Michael Weikath, Roland Grapow, Wolf
came of age when bands like Metallica and Guns N’ Roses were at their highest
level of popularity, and that was his formal introduction to hard rock and
metal. A friend of his, a total metalhead, took pity of Santiago’s lack of
formal education and introduced him to the likes of Priest, Maiden and
Scorpions, which lead to a lifelong obsession on the genre in general and metal
guitar in particular. Santiago sounds very british when riffing or playing
melodies, but goes for the 80’s lead type of playing, both German and American
Blackmore, Michael Schenker, Uli Jon Roth, Gary Moore, John Sykes, Vivian
Campbell, Jake E Lee, Alex Skolnik, George Lynch and lately, Warren De Martini.
Also, Santiago likes non-dino players like Gilmour, Eric Johnson and Al
DiMeola. Santiago had never heard Rory Gallager until recently and found the
melodic sense and style reminiscent to what he would play left to his own
devices on a blues track, but maybe that’s his ego talking.
these players were HUGE influences on Santiago, but his lack of technical
ability makes him unable to play with their level of skill and finesse. Also, people
will think he got his legato from Rhoads, but he got it mostly from Murray. The
right hand picking people think he got from Moore, but he got it from Hansen
and to a lesser degree, DiMeola. The tapping people think he got from Van
Halen, but he actually got it from Tipton’s lead on Hell Bent for Leather. Also,
because thrash metal was huge when he was learning, Santiago will often riff in
a style reminiscent of Hetfield, Mustaine and the like, but this has more to do
with how he learned rather than his particular taste. Santiago has been told by
his friends that his playing reminds them of Kirk Hammett. He hasn’t spoken to
these friends often since then.
sense. When soloing, Santiago has a very developed melodic ear and often plays
leads that can be hummable easily. He considers himself a natural lead player,
while the rhythm stuff came way later and is more of a learned skill.
has a great ear and is unsure if he has perfect pitch, but if he doesn’t he’s
close, and can often tell when a someone is singing or playing out of pitch. He
can play melodies after listening to them once, and can often figure out songs
without visual guides or tablature. Santiago learned back when YouTube
tutorials weren’t even an idea, so he had to develop without such aid.
Playing. Because Santiago was born in Mexico, folk songs and ranchero music
were everywhere, and he was expected to be able to play that in parties and
sing traditional songs as soon as people heard he played. But instead of just
sticking to the traditional barre chords and fooling around with them, Santiago
learned some classical by himself and can actually finger pick the proper way.
In a place when most of his metal friends can’t really make an acoustic sound
good, Santiago has received praise from his acoustic playing, but he can’t do
the over the top classical or flamenco thing.
Songwriting. Santiago has never written a song and would be lost if somebody
asked him to come up with lyrics. However, He’s very effective when creating
solos for songs once they are written.
Due to his lack of proper training his guitar skills are all over the place. He
only had like two weeks of guitar lessons when he was 16 and from then on left
to his own devices in an era when guitar magazines only focused on styles he
wasn’t interested on, and before the internet explosion. He has trouble finding
time to practice, and as such, some days he will be able to play Carry on my
Wayward Son just fine, then the next day he’ll struggle with Paranoid.
Santiago has always had trouble with noise when soloing and has yet to find a
way to mute the strings properly. As good as he sounds on an acoustic, where he
usually can make it work, on a distorted tone sometimes he gets it right, sometimes
he doesn’t. Also, as much as he practices he never seems to gain more speed
when soloing. He seems stuck on the same gear regardless of the effort he
employs. It’s like his fingers peaked at some speed and stayed there.
Santiago always entertained the idea of having hair akin to the typical 80’s
rock star. But genetics had another plan and he’s losing hair at increasingly
speed as he approaches the big 40. If Santiago could move his hands as fast as
his head is losing hair he would die a happy man.
Santiago likes how the big amps of the 70’s and 80’s sounded and back then almost
everybody used Marshalls. So he usually tends to stick to the British flavor
when dialing his tone, even with pedals.
mostly a Super Strat player, but also owns Gibson flavored guitars. Since all
of his guitars have humbucker pickups on the bridge and a couple on the neck
position as well, his tone is reminiscent to the guitar tones caught on early
NWOBHM records, at least to him.
owns vintage amps, but their size and sound levels make them unpractical for
home use. So he employs a Fender with el84’s and a 12” speaker and gets all his
gain from pedals. Generally speaking he uses more gain than Moore, Blackmore or
Schenker, but not as much as Sykes and definitely not like the Thrash dudes he
grew up listening. For clean sounds, he’ll play a nylon string acoustic or an
electroacoustic more often than not and really doesn’t use the clean channel on
his amps except when using pedals.
effects, Santiago has a Crybaby, an analog delay and a chorus, but he doesn’t
really use them unless the particular song he’s playing features the effect prominently.
Otherwise, he tends to run his signal pretty dry, except for overdrive pedals in
the British flavor.
all over the place as a Rhythm player. He can play riffs in the thrash flavor,
with strong emphasis on low E and A string palm muting, but seldom does it, and
prefers to go for the vintage flavor of his favorite players. He favors power
chords like Priest, Maiden and Schenker, and 4ths like Blackmore. He knows the
open chords that AC/DC play, but he doesn’t seem to have mastered that style in
more than 20 years. Santiago is a very HEAVY METAL type of player when playing
fast songs, but when jamming on his own he likes playing stuff like Aerosmith
or Toto to add some groove to his style. He tends to get bored easily with
repetitive riffing, so he adds an extra fill here and there when there’s space.
Or to make that more clear, he will play (or try) a Sabbath song the way Rhoads
played those instead of Iommi. He uses heavy picks and can’t really play with
the thin ones, so his attack is very percussive and resonating.
not a schooled player, and what he knows took years of trial and
experimentation on his own. He loves 70’s hard rock and tries to go for that
approach when soloing, but he also knows a couple of tricks from the 80’s, even
if not with the same finesse as the shred guys. He tends to be very melodic as
a soloist, and has trouble when the songs require a wild and messy lead. He
most often than not plays a strat due to Dave Murray and Yngwie, which were
huge to him back in the day, and like Blackmore and Malmsteen, he never uses
the middle pickup on a Strat. He sticks with the bridge pickup for aggressive leads
and the neck when playing a slow, soulful one.
he is mostly a pentatonic player, but he adds Phrygian and harmonic minor flavors
very often. He knows one basic shape for sweeping, and can’t really do the shrapnel
records thing, instead of going for the Maiden, Priest approach when soloing. He is not
a strong legato player, but can do a little here and there. He can alternate
pick and can play very fast sometimes but otherwise he tends to stick for the
same speed when soloing. He can tap the way Rhoads, EVH and the rest of the 80’s
guy did, but he can’t do the whole multi string tapping parts. He sometimes
uses tremolo picking and because he grew up listening to plenty of power metal,
can play harmonized leads, but he hasn’t done that in a while. Because he
listened to the right guys, he has a very good idea of what sounds good and
what doesn’t, so he will stick to what he is good at and forget the rest. He wishes he could add things in the Lee, Lynch, DeMartini style but he hasn't found the way to do so properly yet.
Fast, uneven and nervous. Inexistent in the old days. Santiago decided to work
on it once he listened to Moore, and liked to think that he had a good vibrato,
but one listen to a home recording quickly changed his mind. He’s back to the
drawing table right now, as he has never really forgotten the Hammett
comparisons and that keeps him up at night. Also, if he is playing a guitar
with a tremolo bar he will often use it to add flavor in subtle ways, but he
doesn’t really do dive bombs and other extreme whammy gymnastics.
unless you can catch him playing in his bedroom, there’s nothing to hear.
Dinosaur David B said:
Just guessing on the icon based on your description.You look a little green in that photograph, mate!