Oh I’m sure you could play the run I’m talking about without issue. I’m a different story 
I’m nowhere near your speeds.
Funny, for me the descending thing at the end with the big intervallic leaps was always a piece of cake. I think I played that like this, just DSX economy, since the slides give plenty of time hop over to the high E string
-----21-------19-------16-------|
--19----19\17----17\14----14\12-| etc
D U U U U U UBTW @gabrielthorn if you give it a try (the fast ascending 6’s), let me know how you make out. There are places where it’s not very nice for pure DSX. After you play the initial 2 groups of 6’s and cross from the G to the B string, you’ll be trapped so you either need a helper motion or…USX and swiping all the way
Swiping all the way 
Ha! Nice! I can’t see your picking hand, how are you getting to your final sextuplet?
I get how you MAB swipe the stuff on the D/G strings. You’d have to swipe an inside string change where I’ve circled though (or use some sort of helper motion to get over it without hopping)
That’s where I’m swiping through, exactly. However, I’m NOT swiping on upstroke changes when I go to lower strings.
I only swipe when I’m ascending.
Huh. That is different than my understanding of the way Troy explains swiping. I always thought they were for ‘outside’ string changes and didn’t work on the ‘inside’ string changes. But hey, I can’t argue with the results You sound great!
For me it’s the opposite. I always swipe on ascending runs, when I’m trapped between two strings. I always use forearm rotation when doing descending runs and I play any upstroke on the higher string.
Cool. Academic question - can you feel this at all? When I swipe outside string changes, I can’t really feel it. When I swipe the inside string changes, it feels a little sticky to me. It could just be that I’m not used to it though!
There was someone interviewed, who’s name escapes me now, who swiped all string changes, so it can work for sure
Probably Strunz. I think he’s the only person Troy’s interviewed who plays ‘trapped’ almost always.
Yes I think you are right. I think it was down to his grip and arm setup that allowed swiping both ways, but I’m not certain, I haven’t watched it in a long time
It depends on the tempo. The faster it is, the less I feel it. Maybe I swipe sometimes on outside changes, I’ll make a note if I notice myself doing so 
Here is a closer look at the picking hand:
I love your guitar! What is it?
Ah I see what you’re doing, thanks for giving me a glimpse under the microscope Great playing, as per the usual!
*great swiping you mean 
Also, @qwertygitarr 's interpretation sounds more valid for my ears compared to the Escobar version.
If I would play this live, I may add a hammer on before closing the second group of sixes so I can avoid the upstroke before hitting the B string. OR I would just swip as hard as I can
Ah I dunno. Seems like you’re apologizing for it lol. It’s a brilliant string changing solution and some of the best players ever use it. NO ONE is going to hear it when casually listening to a well played (yet swiped) phrase in the context of a full mix. I’d almost consider it a “side effect” of the playing of the instrument.
When I was studying classical guitar in college, I asked my teacher what I could do when changing positions to eliminate that annoying “squeak” we hear as our fingers slide over the wound strings (E A D). Rather than offer a solution, he told me something sort of interesting. He played often as a duo with a very good concert flautists. Since he sat right next to hear, he said he heard an endless amount ‘clickity-clackety’ from her keys. He also heard her gasping for breath every couple of measures. The audience likely heard very little of this. His point was every instrument has some degree of a non musical sound that is the side effect of us playing it. Rather than eliminate it (which may not be totally possible), he said to focus on the best possible tone production and musical expression.
I think your swiping is just fine
I’m not saying swiping is not good. It’s an absolutely valid technique in my opinion. I just talk about mine haha
It’s sort of clear this was meant to be all scalar (first measure below), 16th position for the last 6 notes. There’s a position shift into the next bend in the live video above.
Second measure is the “exactly what happened” version.
And that is one of the things that tripped me up over the years. (Minus the gracenote slurs) I actually would always try playing this closer to your second example since that’s what I heard
