Write an Alchemy profile on yourself!



  • Dr NickDr Nick Posts: 3,556
    edited March 2016
    OK, here it is:

    [shadow=red,left]"Dr Nick" (yup, that's really his name).[/shadow]


    Celtic Soul Brothers
    Tampa Bay
    7-Days Notice (7/7/N)
    Band of Buddies
    The Wedding Band
    Back room (of my house)

    Jurassic/Cretaceous (he likes to think)

    [shadow=red,left]Famous / Infamous for[/shadow]

    Playing other people's solos note for note (especially Don't Stop Believin'). Excellent musical memory. Versatility. Trying to use obscure/unusual equipment, and having one of the spikiest guitars on the Dino Rock site.
    Excessive gain in his early days. Overuse of the wah pedal. Entering guitar solo competitions in styles he's never played before and annoying forum members asking for votes (to be fair, he has several CD's, t-shirts, iPhone apps and a couple of guitars he's won over the years). Trying to fit classic riffs into Church songs. Writing awesome endings to Dino Stories. Grossing other Dino Rock Forum members out with his knowledge of all things medical, and telling them everyone they love is going to die.


    Obvious: Dr Nick LOVES Iron Maiden, and Dave Murray was by far his main influence during his formative years as a guitarist. Since then he has also been heavily influenced by Steve Lukather, Neal Schon, Reb Beach, Angus Young, and uses John Sykes as a template for vibrato, although he falls short of this ideal. Mind you, who doesn't? He's a bit of a magpie, and steals licks and riffs from multiple guitarists - John Petrucci has been a regular source in recent years.
    Somewhat annoyingly, bits of The Edge and Mark Knopfler keep creeping into his playing despite his efforts to suppress them.

    Not-So Obvious: Dr Nick first wanted to play lead guitar after hearing Ace Frehley, but you'd struggle to discern this. He also loves early Yngwie and the idea of neoclassical shredding, but rarely reaches for those heights. Someone once told him he reminded them of George Lynch - which is no bad thing. He loves The Beatles, and has a soft spot for 70's disco. The good parts anyway.
    He was raised on classical music by parents who should've known better.
    He should probably listen to Doctor and the Medics more. And possibly Grim Reaper.

    Dr Nick has spent many years playing in covers bands. As a result, he is used to learning songs in a short space of time and performing them at a high standard. He's played everything from blues to soul to funk to pop to rock to heavy metal, rhythm and lead. He has a prodigious memory, and can recall and play songs he's not played (or heard) for over 20 years - which really annoys his bandmates.
    This can be a source of conflict, as he has a tendency to remember other people's parts better than they do, and point this out. He aims for high standards during performances, and pushes himself to be either as close to the original as possible, or improve on the original (in his head at least). When playing original solos, he tries to incorporate new licks, tricks and techniques each time, and aims to play interesting solos. He loves melody, and likes to include melodic sections into his leadwork.
    He has played in a Church band for over 15 years, which has developed his rhythm playing to the point where he can play most things straight from a chord chart without thinking. He's been entering competitions for several years, and this has forced him to adopt new techniques such as sweep picking.

    Unfortunately Dr Nick rarely gets the chance to play original material. He also doesn't practice as much as he'd like to. This is partly because he has a busy job. I know this is heresy, but he actually works for a living instead of living the dream.
    This is exacerbated by the fact that he has a wife and 3 kids.
    And a house.
    Quite a big house.
    And 2 cars.
    And 3 chickens.
    And one of the kids plays in a football team (that's soccer to you philistines).
    And all his kids have music lessons.
    All this needs paying for, and lets face it, unless you're Jimmy Page, something's gotta give. And in this case it's guitar practice. What makes this even more annoying is that when he does get a chance to do a bit of woodshedding, his playing comes on nicely - his picking is cleaner, his left hand becomes faster and more accurate, and new things he's trying to learn come together in minutes. But then life intervenes, and it's back to square 1.
    Last year he started a second job.
    So he's good, but he could be great.
    He very rarely writes full songs, although for some reason people who do often ask him to critique their work.
    Actually, as of this year, technically he now has 3 jobs.

    For years Dr Nick lived in an isolated world, where floor multiFX units where king. Consequently his tone sucked. He didn't know it, but was aware not all was right. He tried to drown this out with more and more gain, reverb, and chorusing. This didn't work.
    And then one day, he actually got to play a tube amp. This sent him on a 2-year pilgrimage to find HIS sound. After much research, testing, playing, and being annoying on TheGearPage, Dr Nick finally found what he was looking for. Since then, he's been an ECC83/EL34 devotee. His main amp is an Elmwood Modena 60, which gives him a variety of tones and gain levels from clean to AC/DC to '80's metal.
    His tone further improved when he acquired a V30-loaded 2x12 cab.
    He aims for a fairly thick tone at all times. He predominantly uses Super Strats with Floyd Roses, and since escaping from the floor units doesn't use much in the way of effects, although he has a habit of throwing in the wah pedal whenever he's playing heavier leads, and adds a touch of delay for slower stuff at times. He favours the BudWah. He strives for clarity, regardless of the amount of gain, and he hates "fuzz", especially in solos. He virtually never uses reverb, but for clean stuff he sometimes adds a soft slow chorus and a touch of delay just to fill out the sound. He tries to avoid too much top end, and often uses the neck pickup for solos for that beautiful thick tone - ideally a single coil or a hot rails. When recording he tends to use a Mesa Boogie Dual Rec sim, and back off the treble most of the way. 

    [shadow=red,left]Guitar Style[/shadow]

    Dr Nick regularly uses all the usual bar chords, and often frets all 6 strings even if he's not aiming to play them - this is a hold over from his classical and jazz lessons. He then throws in the occasional full chord just for the effect. He also likes to keep the high B and E string open and let them ring over the chords.
    He uses dotted 8ths quite regularly (he HAS to have a tap tempo delay), which folks at Church seem to think is cool.
    He can play funky chords, chuggy blues and thrashy metal with comparative ease, often within one song - which folks at Church don't think is cool.
    He has a soft spot for moving chords over a pedal note, and uses Bark At The Moon as a warm-up.
    Dr Nick's lead playing derives from a mishmash of all the solos he's had to learn over the years. He knows a lot of '70's and '80's licks and tricks, as well as the basic pentatonic stuff, and uses them to link melodic ideas, which are often based on the melody of the song. Other times he tries to come up with an alternative theme (Neal Schon's influence), with some flash bits thrown in. He does a lot of 2-handed tapping, and as well as the usual Van Halen-y stuff he does more complex patterns across several strings (Sancho calls this his "Stunt tapping", and Dr Nick likes this description). He can sweep a bit, but has a few patterns he sticks to.
    Live, on the whole he tends to play within himself, as he prefers to play well rather than screw up. If he's going to do something really tricky, he'll have practiced it A LOT beforehand and it will be planned.
    If he's drawn to a particular lick, he'll learn it and incorporate it into something he's doing. However he'll often change the method, and this is particularly obvious with faster runs - he tends to use 4-notes per string tapping instead of 3-notes per string picking (or legato), to compensate for what he sees as his limited speed. This is especially obvious with some lines he's stolen from Satch, Vai and Petrucci. He has a particular descending tapped run that he uses fairly frequently, although the scale changes depending on the song and key.
    He doesn't do Yngwie, although he wishes he could.
    He can get pinch harmonics with ease, and has a habit of throwing in a Zakk Wylde-ish squeal just to annoy people.


    Dr Nick has at least 3 different vibratos. He uses the whammy bar for vibrato when playing sustained chords, and before he could do vibrato properly, his original vibrato involved resting his hand on the (floating) bridge and applying a bit of pressure rhythmically, which he thought sounded like Mark Knopfler's vibrato (him again). He still does this both for chords and solos, to get a gentle vibrato that can be very effective. This is why he pretty much always uses floating trems.
    He also has a wide(ish) medium speed vibrato for those aggressive solos, which he bases on John Sykes (and to a lesser extent Yngwie).
    When bending notes up half or full steps, he also has a narrower faster vibrato he throws in as the note reaches pitch, although if his fingers are tired he uses the hand on the bridge method instead.

    [shadow=red,left]Recommended listening[/shadow]

    Most recent competition entry (August Burns Red - no, I've never heard of them either, BUT I WON!!!):

    Original instrumental using predetermined list of chords (in any order):

    The Darkness song with Dr Nick on lead guitar (2nd runner up):

    Periphery song with Dr Nick on lead guitar (feat. Dr Nick's son):

    Cover of "Whale Song" with new solo:

    Cover of Urban Madness with new solos (3rd place):

    Competition entry (didn't win anything but it's my son's favourite):
    Post edited by Dr Nick on
  • gqn_angelgqn_angel Posts: 1,302
    Dr. Nick, that "bridge vibrato" technique is pretty cool!  I need to take tapping lessons from you.

    Love all of y'all's alchemies :metal:...keep 'em coming forumites!
  • VenomboyVenomboy Posts: 3,601
    Nice solos. I can hear a lot of Petrucci in your overall approach, phrasing, and sound.
  • Dr NickDr Nick Posts: 3,556
    [quote author=Venomboy link=topic=17608.msg265057#msg265057 date=1440562673]
    Nice solos. I can hear a lot of Petrucci in your overall approach, phrasing, and sound.

    You're right, I've added that to the 'fluence bit. I often recall a solo of his when I'm looking for inspiration, and steal something.

    I haven't seen anyone else do the bridge vibrato thing, but it works for me. Loads of it in that Whale Song thing. I think it's pretty easy, but I guess I've been doing it ever since I got my first floating trem. One reason I never use fixed bridges.

    These are really interesting, at least I think so. Keep 'em coming.
  • TravisWTravisW Posts: 976
    edited July 2018
    Travis Woyen, a.k.a. TravisW


    7th Seal
    Rule 17

    (regardless of classification, I chose the Ankylosaurus because they're cool. They're like the Paul Baloff of the age of Dinosaurs)


    Famous / Infamous for
    If there's any particular thing Travis Woyen is known for, it's for talking about how prolific he is as a writer, which is unusual considering the low completion rate of his work. As one of more okay rock/metal guitarists in the Fargo, North Dakota metro area, he is known locally for sporadic live appearances and rarely seeing other local bands.

    Michael Schenker, Uli Roth, Marty Friedman, Dave Mustaine, Edward Van Halen, Ritchie Blackmore, Alex Lifeson, Jan Akkerman, Dave Murray and Adrian Smith.

    Not-So Obvious
    Eric Clapton, Allen Collins, Steve Morse, Jeff Beck, Steve Howe, and Andy Summers.

    Woyen is known to be a prolific writer, largely based on his word and that of those close to him. He has played with co-guitarist Troy Salonen for over a decade, and that has made them stylistically similar and fairly tight players. Travis is not a formally trained guitarist, having only taken a half dozen lessons in his life. That said, he has a firm grip on the typical metal player's technical toolbox, although he very rarely taps. He sometimes strictly alternate picks, often mixes alternate picking with hammerons and pulloffs, and sometimes does sweep arpeggios. While he's capable of playing pretty fast, he shies away from most things that he considers "shred".

    As mentioned above, despite any pretence of being a prolific writer, very few have heard a fair sampling of his work outside of the 7th Seal album "Conspiracies of Thieves", aside from a few demos. Woyen's paranoia regarding being repetitive has made him a "style wanderer", which can lead to either interesting idiosyncracies or lack of identity. While being able to keep a band together over a long period of time, Woyen's inability to actually make them do anything in a timely fashion has resulted in the existence of his solo career, which isn't really a career because there's no money involved.

    Travis' tone has a certain lower midrange prominence. Woyen uses an old Peavey 5150, and tends to run his gain as low as it will go without losing a lot of sustain. Depending on which guitar he's using, that's somewhere between 3 and 4 on the lead channel gain control. Distortion-wise, think "cracking crunch" instead of sizzling gain. Woyen mostly plays guitars that he built which are 10+ pounds. These instruments have a good amount of inherent sustain that tends to mean that he doesn't need as much gain as he would with guitars that sustain less. Overall, think medium gain through a 6L6 amp and British Speakers.

    Guitar Style
    Rhythm Style:
    Woyen uses a fair number of inversions, which means that his index finger is often somewhere other than the root. Forgetful bass players often point out that he's a pain in the ass to follow when they haven't bothered to learn the song that they're playing and instead watch where his fingers are on the fretboard. Woyen often displays a percussive Mustaine influence, but with a preference for Lifeson-esque extended voicings. Despite being a fine lead player, Travis still in many ways considers himself primarily a rhythm guitarist. Compositionally, he writes for 2 guitars, and very often will break chord voicings in two and give each half to one guitar.

    Lead Style:
    Travis aspires to Schenker or Roth-esque levels of phrasing quality. Since he can't do that, he gets as close as he can. While a die-hard EVH devotee, he doesn't tap much because he thinks it's too obvious. His lead tone is very mid-heavy, with the biting upper treble frequencies rolled off. Woyen often goes for "odd notes", because they seem interesting. This can result in very interesting solo passages, and can also result in uncomfortable feelings...feelings of being used in a tawdry way. Feelings of aural abuse. Shame.

    Woyen has several vibratos that he forgets, and then defaults to the one that he primarily uses. The vibratos that he forgets vary in speed and depth. The one that he actually uses 90% of the time is somewhere between Eric Clapton and Uli Roth.

    Recommended listening

    Travis Woyen solo (Lost album - 2000)

    7th Seal song "Dusk" from album Conspiracies of Thieves - 2007

    Rule 17 song "Awake" - demo - 2010 (Travis is first solo)
    Post edited by TravisW on
  • Seven MoonsSeven Moons Posts: 8,701
    edited July 2018

    Vincent, aka Seven Moons.



    Heavy Flower (1982-1985)
    Home (Vincent’s place, that is. Not the '70s band of the same name).



    Famous / Infamous for
    Being unapologetically metal and immune to the dreaded bluzak disease and similar wimping ailments.
    Playing in front of TV, adding scorching leads to soap opera theme songs.
    Being nerdy, and annoyed by circle pits.
    Sporting a long moustache and living with cats.
    Having rockstar crushes on female death metal vocalists, and singing their praises at every corner in forum threads.

    Uli Roth and Michael Schenker. Vincent has been worshipping them for so many years that he now has a german imprint on his playing: he uses a lot of aeolian minor and tends to focus on the melodic side of things (he also loves V-shaped guitars). He’s not remotely in that league of players, but the underlying philosophy is that if you can’t be german like a Mercedes AMG or a Porsche Turbo, you can still be german like a Trabant.
    Kirk Hammett. Kirk is not a deliberate nor conscious influence on Vincent, although he actually enjoys his playing on the first three or four Metallica albums. But Kirk’s touch can definitely be heard in Vincent’s bends and pitch accuracy.

    Not So Obvious
    Tony Iommi, Robin Trower. You can’t hear much of Tony, and even less of Robin, in Vincent’s playing, but both of them are important inspirational figures to him. Plus, Vincent is left-handed like Tony, and makes weird guitar faces like Robin.

    Vincent fudges things well enough to fool average audiences into thinking he’s better than he actually is. He feels at ease with improvisation and actually sounds best when he doesn’t overthink, and just goes for broke. He sometimes comes up with cool melodic parts. Although he’s no spring chicken, Vincent is still steadily improving because he likes to learn new tricks that he incorporates in his playing after a while. That’s what Glenn Tipton has been doing all along his career. Only, Glenn’s achievements are more noticeable.
    Vincent pays a lot of attention to guitar tone, and he has a true dino tone, growly and screaming, with respectable crunch and oomph.

    Vincent’s timing is sloppy. When he started, he showed very little interest in rhythm playing. It took him many years to realize that a poor sense of meter was the price he had to pay for that stupid initial negligence. And unfortunately, when it comes to music, Vincent has terrible work ethics: that’s because he doesn’t need to play for anything else than sheer escapism. As a consequence, although he’s a quick learner, it takes him forever to complete the recording of a single tune, or reach the next level of guitar skills. His performances are inconsistent and vary greatly from one day to another.  He would also be of very little help in a studio, since mixing and production tasks bore him to no end.  

    Vincent’s current core tone is based on a simple combination of high-output humbuckers and Marshall master volume amps with EL34 tubes. His typical recipe goes as follows. Plug some kind of V or SG with EMG pickups directly in the Lead 1 channel of a Marshall JCM 2000 head. Set the gain, master, and tone settings at noon. Dial in a very light touch of reverb. Add a MXR Carbon Copy delay pedal in the fx loop for the leads. Let it rock.

    Guitar Style
    Vincent is completely self-taught, and primarily a '70s type of player, blues-based with an added layer of aeolian minor. In fact, that was all the extent of information available to him when he started, and it took the invention of the internet to make him learn seriously about other scales and modes.
    Vincent’s lead work is based on pentatonic, aeolian, or sometimes phrygian, licks. It often incorporates 3- or 4-point layovers. Less commonly, he throws in harmonic-minor or diminished-sounding bits. He likes to play palm-muted staccato runs. Vincent is mostly an economy picker. He’s not fast and must resort to legato when he wants to sound flashier. Tapping and whammy bar tricks won’t be found in Vincent’s playing, as he never cared about tapping, and very much prefers hardtail guitars. Like his german gods (and like Kirk), he doesn’t mind a bit of wah. As a rhythm player, he relies on the standard metal fare of power chords, pedal tones and gallops.
    Vibrato: Vincent has a relatively narrow finger vibrato, neither particularly slow nor fast, that sounds decent in the right setting.

    Recommended listening
    A handful of tunes on his Reverbnation page.
    Post edited by Seven Moons on
  • These are GREAT!! You guys are doing awesome! Keep 'em coming.
    I ain't falling for no banana in the tailpipe.
  • TravisWTravisW Posts: 976
    This is cool, I hope everybody does one. It's neat to have the bit of background on everybody in a convenient format and be able to listen to some clips. It's also interesting to see how everybody sort of imagines themselves, and their own interpretations of how they think they sound.
  • SanchoSancho Posts: 18,678
    If I were totally honest though, I could just replace everything about playing (style, strengths, weaknesses) with "just lets his fingers flap about"...
  • VenomboyVenomboy Posts: 3,601
    Seven Moons, nice job on Coast to Coast. One of my favorite Scorpions songs. Good job on nailing the guitar sounds too.
  • Disciple83Disciple83 Posts: 380
    These profiles are awesome!
  • mr_crowleymr_crowley Posts: 6,582
    Ok, so I took a crack at this!

    Pontus Gustafsson (mr_crowley)



    Gasoline Stars



    Famous/Infamous for:

    Playing Superstrats in neon colors.
    Abusing every '80s flash trick in the book.
    Wearing more jewelry than your daughter, tighter pants than your wife and more make up than your mother.


    Obvious: Dave Murray, Michael Schenker, Kai Hansen, Zakk Wylde, Warren DeMartini, Jake E. Lee.

    Not-so obvious: Daniel Almqvist (singer Gasoline Stars), Richie Sambora, Ace Frehley, Jimmy Page.


    Songwriting. Pontus writes sweet and catchy pop-like tunes with memorable hooks. Something he cut his teeth doing while in Gasoline Stars.

    Uniqueness. In a time where most young heavy metal guitarists are taught by the same top five guys on YouTube and having super monster chops Pontus is sort of a throwback to the old days where most guitarists had their imperfections and quirks that made them unique and stand out from each other.
    He has no monster chops and super clean technique but tons of attitude and already at the age of 23 a quite unique style and phrasing.

    Stage presence. Slim body type, long blonde hair, cowboy boots and covered in accessories. He doesn't only looks the part (and does it well) he also enters the stage with the attitude of tearing the audience a new one.
    Windmilling, headbanging, going down on his knees while soloing - throwing all those poses he  practiced instead of sitting in front of the  metronome. Pontus is a show!


    Timing. Early in his carrer much of his playing was just plain completely off time. Since then he have sort of got that shit together but old habits tends to creep up from time to time. His solos can sometimes come off as a little haphazard due to this.

    Lack of versitality. Pontus is a melodic heavy metal kind of guy and he plays melodic heavy metal kind of music.
    He can sort of fake his way through other genres but when studied a little closer it falls apart pretty easily.


    Very simple and very much in the EVH school of thought. A Superstrat with a high output humbucker in the bridge pretty much straight into some kind of hot rodded Marshall-esque amp. Usually quite saturated with a lof of upper mid bite. Rather "tight" and "chubby" tone than "fat".
    Add some delay and chorus to thicken things up and you're pretty much  there.
    As for clean, pretty much anything goes. But contrary to much other of his style and tone Pontus is not a fan of the very '80s heavily chorused plastic-y clean sound.

    Guitar style:

    Rhytm wise Pontus have lent a lot off the '80s L.A. scene in the sense that he utilizes a lot of the high strings in his rhytm playing. Most notably in the style of Warren DeMartini from RATT but usually with a straighter more European sounding rhytm.
    Another L.A.-influenced thing he has going is using the sus4 note in a LOT of his riffing. Sort of spicing up a and varying a chord he plays more than one time.
    Pontus favours chords where he can take use of open strings. Like variations of the folk chords but with just the root and fifth ringing out.
    He also likes to play just the root note and the third of the chord when using distortion in order to add some color to the riff.
    Other than that it is pretty much the standard fare. Power chords, barre chords and the occassional folk chord.

    When it comes to lead he draws a lot from repeating pentatonic shapes a la Zakk Wylde.
    There is also quite a lot of chromatic thrown in in Pontus's faster legato licks.
    He taps regularly but not much beyond the standard arpeggio based EVH like ideas.
    Pontus also does a lot of reckless whammy abuse.
    Pontus used to use his solo spots to blast as fast as he possible could but have grown to more often than not trying to incorporate melodic content. Not necessarily as a them but just some kind of hook.
    He is not a strict alternate picker but uses a little more of an economic approach where he tends to start off on a down stroke everytime he switches strings to then keep alternate picking.

    Pontus has a pretty wide vibrato. Sort of in between fast to medium paced.
    It is a little ragged and sometimes sound like it may spin out of control at any moment.

    Recommended listening:
    Madikken - Exotic Salvation: https://www.youtube.com/watch?v=tuQ6acJhbUI
    Iron Glow - Perfect Harmony: https://www.youtube.com/watch?v=gKI2OTZKYF8
    Gasoline Stars - Cathouse Blues: https://www.youtube.com/watch?v=N4Dp4zNKc6M
    Gasoline Stars - L.O.V.E.: https://www.youtube.com/watch?v=HqyUW6JEEEk
  • Duojett71Duojett71 Posts: 9,324
    edited July 2018
    Mark Peters-Duojett71


    Skull of Geronimo(2009-2010)


    Watch Mark Peters in Action at the bottom of this page!

    Famous / Infamous for

    Famous for:

    His love of Belgian style beers and wearing classic rock and heavy metal T-shirts

    Infamous for:
    Having a wealth of useless information such as who played Corey Haim's Dad in 'License To Drive'(Richard Masur) to who played most of the guitars on Linda Ronstadt's 'Simple Dreams' Album(Waddy Wachtel)

    Obvious: Adrian Smith, Brian Robertson, Michael Schenker, Tony Iommi, Jerry Cantrell
    Not-so-obvious: Jimmy Page, Gary Moore, Ritchie Blackmore, Eddie Van Halen, Alex Lifeson, Jake E Lee

    Songwriting. Much of Bedowyn's music is composed by Peters. His riffs draw a great deal from Schenker, Iommi and to a lesser extent Jerry Cantrell. Cantrell's influence can be heard on the the more droning riffs. Much of this comes from his love of 90's era bands such as Soundgarden and Alice in Chains. Many of the inverted chord progressions are an obvious nod to MSG era Schenker.

    Emotion. It is well known that Peters's favorite players are Adrian Smith, Brian Robertson and Michael Schenker. This comes through in his overall feel. His attack on the instrument is similar to the aforementioned players although probably not as off the cuff as Schenker. His solos tend to be more composed ala Adrian Smith and he tends to play to his strength as a more emotive player than a fast player. His solo in "Evil And Right" off the 'Wolves And Trees  EP pay homage to Robertson with a tasteful use of wah as well as Smith in overall composition.

    Melody. This ties in with the emotive aspect of his playing. From a compositional standpoint it isn't always straightforward riffing in the vein of Black Sabbath(although there is plenty of that). Some of his chord progressions are drawn from his love of bands like Led Zeppelin and Blue Oyster Cult. Also there are a great deal of lead melodies in Bedowyn's music that are very vocal  and atmospheric.

    Hair. Peters has been known to have great hair. This especially comes through in a live setting. If there is a house fan in the venue, his hair really comes alive and takes on a life of its own.....often overshadowing his playing. This comes in handy oftentimes when he is having an off night. At that point no one really cares what he is playing.


    Consistency. Mark is not a schooled player. He has often stated that he never really practiced....mostly noodled to songs when he first started playing. He has also stated he has a lazy streak as well as ADD, that caused his lack of real woodshedding. This often times come through in his consistency as a player. In a live setting when he is on...he is on, but if something throws him off early it can throw his performance off for the rest of the set. He has also claimed he has never played a set without at least one or two mistakes. Peters takes comfort in the fact that the band plays so loud, hardly anyone notices.


    Peters is most known for a high gain Les Paul sound. His main guitar is a 2008 Ebony Les Paul Custom with a Bareknuckle Mule in the bridge and a Gibson P94 in the neck(used sparingly). In the last 3 years it is run exclusively through a Baron Custom K88 Head and a custom built 4x12 with high wattage Eminence speakers. His amp is so high gain that he tends to dial it back more on the rhythm and higher on the lead. The distortion is always from the amp and there are no overdrive pedals used. Overall the sound comes across as a super hot Les Paul tone through an amp that has both a classic and modern distortion. The tone is thick, with a great deal of bottom end, but there is also a good deal of top end overtones. There is also a heavy use of delay on many of his solos that lend to a very atmospheric quality. There is some use of Phaser, Flange and an Electro Harmonix Octave Multi-plexir. A good example of this can be heard on solo to the title track of the 'Wolves and Trees EP. Peters is not exclusively a Les Paul player. Often you will find him playing an 80's era MIJ Fender Stratocaster with Dimarzio mini humbuckers.

    Guitar Style

    Mark is predominately a self taught guitarist. While his early inspirations to pick up the guitar were from hearing Eddie Van Halen and Yngwie Malmsteen, he is virtually the opposite of those guys. Stylistically he is more of a 70's pentatonic player, occasionally drifting into harmonic minor and the Phrygian mode. While many of his solos are blues based, some of them have a middle eastern quality such as his solo in "Snarling Of Beasts". Peters is more of a feel player than a technical player. When he does play some of the faster runs, they are usually played in a legato style rather than an alternate picking pattern. This also plays to his strength. While not a strong alternate picker his legato runs are generally smooth and clean.

    Like his influences much of his phrasing is very vocal in quality. Peters tends to play for the song rather than try to rip your head off. His appeal live is has much to do with this. His solos tend to be memorable for their melodic content.

    Mostly a short to medium vibrato but can very. Not aggressive and tends to be more subtle and tasteful. He has been known to use an occasion wide bends for effect but it is used sparingly.



    Recommended Listening:


    Wolves And Trees EP-2013:VVV
    Blood Of The Fall LP( 2015): VVVV
    Wolves And Trees EP(again):VVVv
    Post edited by Duojett71 on

  • Jurassic

    Shattered (Ron Wood era Stones cover band)
    The Gentlemen Pirates of the Cape Fear (Mayall/ Green-era Fleetwood Mac)
    Day One (Blondie, Pretenders, Squeeze, U2, Dire Straits covers)
    Bobby'e King and the Ladies Choice Blues Revue  (all manner of Muscle Shoals/Stax/Motown/Dowd r&b/ soul)
    Somewhere Near Uranus (Green Day, Blink 182, Misfits, Danzig, Social Distortion, Black Flag, Bad Brains, Husker Du covers)
    Machine Gun Kelly (Journey, Kansas, Eagles, Styx, Foreigner, etc)
    Scum Gumbo (Motley Crue, GnR, Poison, Ratt, Hanoi Rocks, Enuff Znuff, The Cult, Alice Cooper, Ozzy)
    Billy Ding and the Hot Wings (jump blues, New Orleans r&b, sun records rnr, chuck berry, etc)
    Gal Holiday and the Honky Tonk Revue (Patsy Cline, Peggy Lee, Loretta Lynn, June and Johnny, Buck Owens, Merle Haggard)

    Famous / Infamous for
    Being a five-assed monkey.  Cary has frequently been in a large variety of stylistically divergent bands at the same time, and not being particularly adept at any of them.
    Making money.
    Being an asshole.  not known to suffer any fools besides himself.

    Jimmie Vaughan, Hendrix, Slash, Keith Richards, SRV, Billy Duffy, EVH (rhythm)

    Not-So Obvious
    Cornell Dupree, James Burton, Don Rich, Albert Collins, Peter Green, Duke Robillard, Charlie Baty, Eliot Easton, Neal Schon, James Jamerson (melody)

    Cary is smart enough to know the rhythm section rules the day on a live date, and is adept enough to listen to what's going on and stay out of the lead vocalist's grille.  

    Frequently gets bored and tries to keep things fresh by mixing up styles to dreadful effect.  Robin Trower univibe guitar doesn't belong in a Patsy Cline song.

    for Les Paul and Telecaster, Cary favors low(er) gain, crunchy sounds, with the kind of power amp drive you get by being waay too loud for the room.  Lukather's Rosanna tone, Robbo's Live and Dangerous tone, as well as Dan Baird and Rich Robinson's early sounds come to mind as references.

    for Stratocaster, pretty much the opposite, favoring super wet, higher input gain sounds.  think Kenny Wayne Shepherd, Eric Gales territory.

    Guitar Style
    at his best, he's as filthy as Clayton Kershaw's curveball.  at his worst, he has been known to sound like he's falling down the stairs while trying to play and smoke a joint at the same time.

    Rhythm Style
    Swing, swing, swing.  Cary can't play on the beat if his life depended on it.  he favors inversions, sliding 6th doublestops, and anything that avoids the root, preferring to let the bass handle that.  if the bass is walking, so much the better, let the punters figure it out!

    Lead Style
    not a speedy alternate picker at all, he likes to milk a few tasty bends and employ melody and counterpoint to their fullest effect.  also uses a lot of space and sparse, angular phrasing to add drama and tension.  

    probably Cary's best stylistic attribute. his medium width, lush, 3 dimensional vibrato is his calling card, and uniquely his own.

    Recommended listening
    Cary's a cover band musician so, none!  buy the record and listen to the real thing!  
  • [quote author=Duojett71 link=topic=17608.msg265185#msg265185 date=1440911951]
    Hair. Peters has been known to have great hair. This especially comes through in a live setting. If there is a house fan in the venue, his hair really comes alive and takes on a life of its own.....often overshadowing his playing. This comes in handy oftentimes when he is having an off night. At that point no one really cares what he is playing.
    :chuckle: :chuckle: :chuckle:
    Ha, ha, Mark! That was awesome.  :up:
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