Is DSX motion likely to hold me back?

I’ve been working on my open string tremolo picking and have got this up to about 190 BPM.

After “going for it” I found that my fastest technique by far is DSX with elbow. I really want to stick with this as the motion feels completely relaxed and controlled.

I’ve started practicing left hand synchronisation with the Yngwie six note single string pattern and this is going well so far.

The thing is I’ve been thinking that the DSX motion might hold things back when I want to start changing strings. Especially with Yngwie style exercises and licks which I’m really looking forward to doing.

Is the DSX motion likely to hold me back? I don’t want to be stuck having to play exercises or patterns that effectively aren’t compatible with DSX.

Has anyone else been in the same position?

This is my technique feedback thread from a little while back

hi slashfan,

of course you can wonder and doubt if… but I quote Troy and tell you not to overthink things. Maybe because I come from the motörhead school of rock where the law is: if it sounds cool it is cool and nothing more counts. but that is an advice even in the shred world of rock. I saw your technique critique you’re playing fast and good and you know it

That said, DSX is nowhere a one way street and does not hold you back in any way

you can
a) avoid the Yngwie lines and come up with your own, that maybe share the scales and tonality with Yngwie’s, so it sounds alike independently of the escape paths
b) make pull ofs/hammer ons as a part of your playing habits to change strings when playing Yngwie lines
c) swipe! pretend that something like escape paths do not exist, in other words: go before the CtC knowledge and do everything by ear and feel
d) bake in your good and comfortable DSX motion and learn another one later
e) bake in your good and comfortable DSX motion and step by step try to incorporate helper motions like VInnie Moore does: he can play the Yngwie stuff AND his own original stuff just by introducing a little forearm rotation (but not as a strict a method… like I said: go for it)

Or look at people like Andy James or Andy Woods. I do not think they are held back… by whatever it may be. they stand for guitaristic greatness while using DSX. I say this, because - as a side note - I sometimes have a feeling that here in the forum as well as in other corners of the web DSX and elbow is meant not to be as worthy as USX and forearm/wrist. I don’t know why. But look at the variety of fine players and be amazed what all can work properly with fine artistic output.

By no means I am an expert, but I believe and I often see it here that the fixation on a certain motion mechanic or escape path is the thing that holds people back and that reproduces old dogmas like elbow is bad or something alike…

I hope I could help at least a little :slight_smile:


Thanks @JudasPriester what a great reply. I’d not thought at all about the points you mention it they’re spot on :+1:

Appreciate you taking the time to post.

I am in the same position. I realised that I can play smoothly and faster using DSX. After getting used to starting the 6 note pattern and any improvised ‘fast runs’ with an upstroke, i am really making progress. it presents problems with the EJ and YM stuff though and I am not sure whether the USX motion will unlock once my brain gets used to playing faster or whether DSX will always be the motion that works best.
At the moment though I am concentrating on the 6 note pattern, ping pong sixes and pop tarts lick, all starting with upstrokes.
I rhink its a case of adjusting things to fit using DSX and developing your own style and runs.
Hope this helps


Answers above are spot on. My shortest answer is a question - has USX held Yngwie back? Nope! Just adjust some lines and blaze away. Most adjustment might be as simple as starting on an upstroke.