DSX Gilbert Sixes reverting do downstrokes on string changes

Playing Technique
#1

Hey all,

Been playing for about 20 years, mostly cheating with legato, and I’m trying to finally fix some bad habits and get better at picking. I’m really struggling with the basic Gilbert Sixes pattern for string changes at speed (110bpm sextuplets like the DSX seminar). When playing slower it’s not an issue, but as I get into shred territory, I stop starting each string change with an upstroke. So instead of DUD > string change > UDUDUD, it becomes a weird DUD > DUDUDU which tanks the whole thing and makes it sloppy.

Do I need to get used to starting phrases with an upstroke? Is that just overthinking it? Is there a specific approach that’s worked for anyone correcting an issue like this?

#2

That line is designed to start on a downstroke, which happens to be the escaped motion for the string changes. Starting with an upstroke would produce the opposite effect. Starting on an upstroke is beneficial for other kind of licks with a downstroke escape such as the Yngwie sixes.

Can you share a video to confirm your escape motion?

#3

Legato is never cheating! And even PG uses it more extensively than he does strict alternate picking.

I second a vid though, if you are a strict DSX player I find it hard to believe that you are capable of easily making two consecutive downstrokes during string changes ending on a down. It’s really hard to do. You would see it more with a more neutral or USX position.

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#4

Escape is dependent on joint motion. There’s no value judgment there. Whichever escape the motion is making, play phrases which match that. If you see USX escapes, then play USX phrases. That’s the short answer.

But I think this is putting the cart before the horse a little. In your last TC there was some motion confusion where the picking hand was inserting extra pickstrokes per string, creating hand sync and other issues. However your tremolo was an obvious DSX elbow motion and the speed was ridonkulous. It’s a really impressive Rusty Cooley-level technique. Synced up lines with that technique would be deadly for rock and metal.

Given this, I would try to get simple repeating single-string lines locked up and clean at as many speeds as you can. This way we can remove as much hand sync and motion randomness from the equation as possible before we even bother with multi-string challenges. These patterns could include the simple 1234 pattern moving up and down fretwise like Flight of the Bumblebee, the Yngwie six-note pattern in one more positions, etc. Doesn’t matter, as long as the patterns are easy for your fretting hand and you can get them locked.

When you have time, film some test examples and make a follow-up TC, we’ll take a look!

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