I know this is not the best view here but I do have my phone settings maxed out at 1080p and 60fps. Either way, this feels much more effortless than stringhopping and I was wondering if anyone could take a look:
Just did this quickly while running out the door. Sometimes when practicing certain licks I tend to revert to stringhopping but this felt fine and I did not feel fatigued the way I would whilst stringhopping.
The curve seems to be fine, Iām not sur if thereās a slight hop in the upstroke, Iām not good in spotting the muscle usage, so i might be wrong there, so if youāre sure itās effortless I tend to trust in that instead of my interpretation.
Do you feel comfortable with your fretting hand? My impression is that itās not totally flawless, itās in sync so techically no problem just it seems you force yourself to do two hard things at the same time.
I simply let the notes ring when praticing crosspicking, so i can focus eintirely on the picking, not sure if thatās the best way, but to me it seems I have to have one thing in the toolbox before I combine it with another one.
Yeah Iām naturally a DWPS so I donāt even think about the upstrokes, they always just free themselves from the plane of the strings automatically. As far as the fingering, I feel comfortable with it enough but youāre right itās not flawless.
If the fretting feels comfortable it should be fine.
Iām not sure what it is but something seems to be on 98% instead of 100%.
So itās not easy to spot, thereās nothing going horribly wrong, it just doesnāt seem totally perfect to me.
So next guess would be timing (thatās my biggest personal issue on crosspicling), can it be that down and upstrokes are not evenly timed? Thatās just guessing (my natural timing is really bad) based on the fact that that happens for me.
I think itās probably at the point that thereās only small things to change - just I canāt spot them.
If the guess is right I wouldnāt worry too much, if you tend to revert to stringhopping that might fall in place but irself.
True. I just picked a random arpeggio and didnāt have much time to practice it. Yeah sometimes on the lower strings I end up string hopping. Maybe itās my set up but I find crosspicking on the g b and e strings much much easier.
I think itās all these small things that makes this so hard.
Swapping the slant at speed isnāt easy but thatās just a physical task, and basically the idea is the same as in slanting in one direction.
But when moving through all strings so many things changes so fast that itās really hard to keep it clean and accurate.
If you have problems on lower strings my guess would be that you have less pick angle/attack which ends up in more string resistance, the wrist angle changes a lot during strnigchanges.
Just curious: do you feel any difference if the turnaround (ascending descending strings) is inside or outside?
To me an inside turnaround is way harder than outside, which i canāt explain because it feles fine while ascend or descend.
Outside always felt easier due to swiping and the hardest for me was always inside descending string changes. crosspicking makes it hardly noticeable in terms of difference of feel now, but its still there to a degree.
As far as the lower strings being harder because the pick is at less of an angle: yeah I think thatās the case. I anchor the side of my hand to the bridge so my wrist moves in an arc when switching strings. This makes things like the intro to tumeni notes feel easier to me (easier but not achievable haha) than say a full 6 string arp. I think Troy actually mentions this and I learned how to crosspick from watching his video that describes how Andy Wood does his (supinated hand position and slight downward slant using deviation and flextension). Troy said somewhere that this particular crosspicking style is harder to do for full 6 string lines and easier for 1-4 string lines. He mentions that the Morse or Miller way of doing it lends itself better for those. And I think the anchoring is why.
Yeah i think i saw that too, with the 4 string ālimitā and thatās pretty much my experience.
Eventhough to me itās more the other way round, I play fat and round picks and almost flat. I get more angle on the higher strings and the result is almost no tone ā¦ effortless at itās best 
I remember back in old days I gave tumeni notes a try, frustration at itās best. I just wasnāt able to pick it.
I have to look f I still have the tabs, Iām sure I canāt fret it at the moment, but Iām curious if the picking is now achievable, at least on level thatās not killing the whole thing 
This looks and sounds good to me. If you feel pretty relaxed, I would say keep it up and see how far you can take it.
Looks fine from here. As far as the 98% vs 100% @theGuyFromGermany mentions, Iām hearing two things that jump out at me (and, being overly analytical in the spirit of making you better and not being flawless myself - I certainly struggle with both). First, there are some spots where the timing sounds a little off, most notably when you first hit slo-mo and start ascending again. Second, it sounds like your downstrokes are audibly louder than your upstrokes, which makes this sound a little more uneven than it really is.
Pretty clean playing though! 
Thanks. Yea I totally agree. Iām gonna have to go home later and refilm another take of this because Iām sure part of it is that I literally did a 10 second take before running out the door. Iāll try and keep it tighter and get it a bit quicker with a better camera angle and we can hopefully better tell what is happening. I obviously find DWPS much easier and there are times where I need to really concentrate when trying to crosspick or it quickly turns into stringhopping or me trying to do a rotational wrist movement instead of maintaining my slant and simple using a curved picking motion.
If anyone has a nice lick that utilizes the g b and e strings and they want me to give it a go on film let me know! I think it may be better than trying to do this 5 string arp for learning purposes.
Donāt get me wrong, man - I thought your playing was overall excellent. Weāre talking about the last couple percent between excellent and flawless, so definitely donāt beat yourself up over this.
Iāve been doing a lot of practice like this lately:
|-------------------12-15-15-12-------------------|
|-------------12-15-------------15-12-------------|
|-------12-14-------------------------14-12-------|
|-12-14-------------------------------------14-12-|
|-------------------------------------------------|
|-------------------------------------------------|
ā¦or to make it more interesting:
|-------------------12-15-17-15-------------------|
|-------------12-15-------------17-15-------------|
|-------12-14-------------------------16-14-------|
|-12-14-------------------------------------17-14-|
|-------------------------------------------------|
|-------------------------------------------------|
ā¦though, honestly, yeah this is the pentatonic box and all, but at high speed I donāt know if the fretting hand side of this is all THAT much easier - the 12-15 stuff flows better with my pinkie, but I feel like itās a little slower for it, and the position shift adds a little bit as well, too. Still, if the biggest issue here is my fretting hand, thatās progress, and I suspect if you can really get this super smooth and even and shift it up or down the neck through other shapes of the pentatonic box easily, itād sound pretty damned awesome.
Itās actually something I came up with as a DWPS exersize, before I realized when I thought I was downward slanting I was actually crosspicking, and it worked just as well for either. 
Yeah see I would probably just automatically use dwps for that line. NOW, if I made it three notes on the high e string instead of four, this would require me to descend with the opposite pickstrokes, and then Iād probably crosspick the whole thing
Bingo - I got the email notification, saw just the first sentence, and was coming here to suggest exactly that - rather than 12-15-15-12, add a 5th note, on the 17th fret, which flips the downstroke/upstroke relationship on the way back down. I suspect half the reason I developed a crosspicking mechanic in the first place is that thatās one of the patterns I would practice here and there over the years.
Great clip. Youāre close here. You are using a very lightly supinated setup, so upstrokes will not go very high above the strings. You will notice however that some of these upstrokes go higher than others, and the subequent downstroke comes crashing down a little as a result. This is where the intermittent lack of smoothness is coming from. However this lack of smoothness is not in itself the problem - itās what is causing it.
We canāt see your arm because the fretting hand is blocking it. However if the occasional āhigh upstrokeā is forearm rotation, then itās not stringhopping, itās just somewhat unnecessary. Itās worth eliminating because it is disrupting the flow. Or, itās worth doing on every note, whichever you prefer. Choose one approach, do it consisently.
However if it is wrist extension only on those upstrokes, then it is stringhopping. Why? Wrist extension by itself is fine - nothing wrong with that. But when you use it two notes in a row, thatās where the tension comes from. Because this is a supinated setup, extension should only happen on the downstroke. The upstroke should simply move to the side via deviation. If your upstroke lifts via extension and so does the subsequent downstroke, then that particular sequence of notes was stringhopped, even if the others are smooth.
This is the boat a lot of players are probably in with this technique, i.e. a mix of crosspicking and (potentially) stringhopping, if that is whatās happening. What you will note is that a mixed approach, even if some of the string changes are inefficient, is dramatically easier than all stringhopping. Youāve seen those clips on here - fully stringhopping players canāt move as fast as youāre moving in this clip. So youāre doing great. But these occasional inefficient sequences will still build up tension and still cause injury over time, just at a slower rate. And that in itself is dangerous because you may not realize youāre doing it.
What I would recommend is filming yourself repeatedly and testing. You know what the efficient sequences and the inefficient ones look like now because youāre doing both. I like the forward roll because itās simple, but you can try four-string sequences, three-string, two-string inside, two-string outside - whatever you like. Film them all. You may notice that some donāt exhibit the issue and there you have some evidence to go on.
Good work!
Hereās a new one messing with diminished. I find things easier on 3-4 strings than 5-6 with the way I crosspick. Lemme know what you think.
Good clip. I think you can probably see the lifted upstrokes and ādive bombā downstrokes that follow them. Can you see what Iām referring to?
In general there shouldnāt be any of that. The whole things needs to feel more like side-to-side movement, and not so much like lifting and dropping. Whether this is stringhopping or not is sort of academic because in either case itās unwanted and most likely not helping.
Just hold down the open C chord and try the three string roll on the E, G, and C notes. Itās a nice little puzzle piece because there are almost no variables - no arm movement or hand synchronzation to worry about. You want that movement completely smooth with no lifting and dropping.
You can also try the pronated version of this which means anchoring on your thumb heel. You donāt need much pronation - the arm just needs to be ever so slightly tilted so that it is not parallel with the strings. Both supinated and pronated feel pretty similar. I recommend experimenting with this, because you want to increase your chances of making progress. Success in one area leads to success in others.