I don’t have the full clip unfortunately, just the bit about centrifugal funk. 
I think that @Troy is mostly correct concerning Shawn’s picking technique. There are a number of examples in Power Licks and Power Solos which are strongly indicative of downward pickslanting, however, there are a few odd cases which I don’t feel Troy has addressed.
Shawn definitely states that he starts his ascending and descending 6s with an upstroke, which is indicative of DWPS. The descending 4s and 5s lick, which I’ve tabbed below (in a symmetrical shape), is also indicative of this.
-9-7-6---7-6-------|-------------------|-------------------|
-------9-----9-7-6-|-9-7-6---7-6-------|-------------------|
-------------------|-------9-----9-7-6-|-9-7-6---7-6-------|
-------------------|-------------------|-------9-----9-7---|
-------------------|-------------------|-------------------|
-------------------|-------------------|-------------------|
u d u d d u d u d u d u d d u d u d u d u d d u d u
The string changes in this example are particularly indicative of DWPS. Shawn also ends this sequence on an upstroke, which is a common tendency when using DWPS. Interestingly, Shawn calls this a “strict alternate picking” lick, which it is not.
As Troy mentioned, Shawn says that he can’t play this lick beginning on a downstroke, calling it a “disaster.”
I do wonder, however, if some part of this “disaster” is a consequence of an issue with chunking. Adherence to the DWPS method allows the 9 note sequence to be chunked as a single unit, which is easily executed and easily repeated. Playing a sequence of odd length with strict alternate picking would require that the sequence be composed of two separate chunks, one beginning with a upstroke and one beginning with a downstroke. Repeating the sequence then requires flip-flopping between the two chunks, which I feel is probably more difficult than repetition of a single chunk.
There are also some interesting outliers, which don’t fit the DWPS methodology. For example, in Power Solos, Shawn demonstrates two different sequences for playing descending pentatonic fives.
The first of these is as follows:
-15-12----------|-12-------------|
-------15-12----|----15-12-------|
-------------14-|----------14-12-|
----------------|----------------|
----------------|----------------|
----------------|----------------|
d u d u d u d u d u
This is a strict alternate picking sequence, and Shawn burns through it. If it’s played with linear picking movements and DWPS throughout, this would require a 2-string swipe between the two groups of 5. An alternative is that Shawn may have included some wrist extension on the final note of the first group of 5, allowing him to jump the two strings before beginning the second group of 5 with the upstroke.
I’m not sure which of these approaches is being used. Shawn demonstrates this sequence very quickly, and with the angle on Power Solos, I can’t determine if any wrist extension is being used at all. Also, Shawn demonstrates with his usual wet lead tone, which has delay and reverb, and could potentially mask any sound that might indicate swiping.
I think Shawn probably used both approaches, depending on tempo.
The second of these sequences for descending pentatonic 5s is:
-15-12----------|----------------|
-------15-12----|-15-12----------|
-------------14-|-------14-12----|
----------------|-------------14-|
----------------|----------------|
----------------|----------------|
d u d u d d u d u d
This is the standard DWPS arrangement of descending pentatonic 5s, as played by Eric Johnson, further indicating that Shawn was at least primarily a downward pickslanter.
Shawn’s picking movements are interesting, also. Shawn’s medium to fast picking seems to be primarily driven by wrist deviation, though there is certainly some rotation and flexion/extension visible at these speeds. This suggest to me some degree of crosspicking and 2WPS.
Shawn’s super fast picking looks qualitatively different to me. To me, this looks a more constant DWPS orientation with a primarily elbow driven picking movement, with some deviation-like movement of the wrist occurring because the wrist is so relaxed, whipping back and forth due to the primary elbow movement. Based on Troy’s analysis of Jorge Strunz’ technique and Shawn’s very shallow pick depth, I suspect he incorporated significant swiping when utilizing this mechanic.
Unfortunately, it’s difficult to be really concrete about much of this. There is little high quality video of Shawn available. Of the videos which are of sufficient quality, most provide poor angles for studying his picking movements. Shawn almost always wore long sleeves to cover his ever worsening psoriasis and his increasing weight (due to Cushing’s Syndrome) obscures his movements in some of the videos shot near the end of his life.
Still, I feel I can justify the existence of the elbow mechanic. Consider the atonal outro jam in this video of Not Again.
Shawn’s atonal solo begins at 4:08. Initially, he plays mostly legato phrases, with some medium to fast picking. We have an angle down the neck, and we can see that the picking movement is based on wrist movement, with very little movement of the forearm. To my eyes, this looks like to be primarily wrist deviation, but with some rotational and flexion/extension movements also.
Beginning at about 4:56, Shawn begins playing some extremely fast picking licks. To me, this looks very different from his primary medium to fast speed form. Here, it looks to me like the forearm itself is moving up and down due to a small elbow movement, with the wrist loose. Shawn is wearing black and the movement is difficult to see, but I’m convinced there is a change in movement mechanic happening here. When I slow down this video in Transcribe!, it still appears to me that this super fast movement is primarily elbow driven.
Perhaps the change in picking mechanic is more evident in this video:
Shawn begins a solo, with a decent view of his picking hand at about 36:00. Initially, this looks to me like the medium to fast speed, wrist based picking movement. Notice that there is not much movement of the sleeve over his right forearm. At about 37:00, Shawn begins the super fast picking movement.
Notice the much greater degree of movement of the sleeve over his right forearm, and over his upper arm. I don’t feel this much greater amount of sleeve movement would be consistent with the same wrist movement at higher speed. Instead, this indicates a change in picking mechanic to me, with the elbow being the primary driver of the picking movement.
I’d appreciate if others would comment on what they believe is happening here. Most seem to believe that Shawn exclusively used picking movements which were primarily driven by wrist movement, whereas I believe that he primarily used such movements with the elbow taking over for sustained picking at super fast speeds.
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Awesome post Tom. The ‘disaster lick’ is definitely dwps because it’s economy, the chunks don’t flip. There’s a hand closeup that confirms this.
The fives pattern which you’ve expertly hit on is similar to Yngwie’s occasional ascending outside string changes. It’s either extension or rotation or perhaps both. We’ll probably never know but that’s ok because aside from fingers those are really the only plausible possibilities. So for those who want this lick you know what you have to experiment with.
Re: motion itself I’ll go with your observations there. Can’t really tell. Players who can comfortably go at those kind of speeds may all be elbow players the way the @milehighshred is. When John switches from wrist to elbow you almost don’t notice. Could be the same here.
Again great post.
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fastest player EVER… no one is even CLOSE
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I believe he’s slowing down time for himself, while it goes on like normal for the rest of us.
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You see, you’re joking, but this is definitely what actually happens as you get better at playing fast.
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Hi @Troy. Thanks.
I was certain that the disaster is strict DWPS too, I just wonder if part of the difficulty with playing it with strict alternate picking has something to do with an increase in chunking complexity.
Regarding the picking movements, I’m not 100% certain that I’m correct, either. I’d mostly be interested to know if others believe what I’m suggesting to be plausible, or if they find the examples I’ve provided to be convincing.
Hi @tommo. I know that feeling. I’ve watched some videos of Shawn and thought all of his movements, not only his playing movements, seemed unnaturally fast.
He was obviously an intuitive genius when it came to the the mechanics of guitar (and piano) playing, and he obviously had a high degree of physical capability.
I’m hesitant to ascribe superpowers to him, however. I think it’s just too convenient to simply declare that his abilities so drastically exceeded those of everybody else, that his degree of skill is unattainable for the rest of us.
Even if we suppose that Shawn was truly exceptional in terms of his raw physical capability, how can I be sure that I don’t possess a similarly exceptional degree of physical capability? How can you be sure that you don’t?
Much of my playing technique has been developed by carefully studying the playing of virtuosos and by imitating their movements. This process of careful study and imitation has been very effective for me.
I’ve found that if I can become comfortable imitating a players methods, I can achieve similar results. This is why I have recognized so many distinct “modes” in my playing technique.
For reasons I’ve discussed above, Shawn’s fastest picking is difficult to analyse, and therefore difficult to imitate. We don’t have a clear unambiguous template to follow. However, as Troy mentions, there are only so many plausible possibilities.
I’ve used wrist deviation based mechanics for years and I have developed strong facility with a picking “mode” which resembles Shawn’s medium to fast speed mechanics. So far, I have not been able to achieve Shawn’s super fast speeds with this technique. Maybe more time and practice is required or maybe the issue is primarily mental and may just “click” in the future. Maybe there is a change in mechanics at these speeds, or maybe not, and Shawn was just that exceptional.
I don’t know. I think it’s time for me to start training an elbow based mechanic to see if it works for me.
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If the speed aspect of Shawn’s playing is of interest, you might want to take a look at the ‘Hyper Picking’ instructional video from the early 90s, parts of which you can find in YouTube. It’s super dated and tempting to laugh at when you first watch it. But knowing what we know now, what is discussed holds up surprisingly well. The player easily reaches 20+ notes per second with a movement that has that ‘maybe wrist maybe elbow’ illusionary quality to it that Shawn’s does.
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In a video of Shawn at a clinic he once described having all of the techniques that he had later by age 13 - he described himself as “super fast, but sloppy”. But later, he learned to “clean it up”. He describes this in a youtube video called “Shawn Lane Talks About Speed”. Shawn also was a fan of classical pianist Simon Barere who was known for playing everything that he did at ridiculous blindingly fast tempos (there are videos of Barere on youtube as well). Shawn’s instructional videos are interesting - once you get beyond the fact that he’s playing some things at jaw droppingly insane speeds with astonishing clarity, speed and articulation you understand his fingering patterns are not executed similarly to a lot of other players. It’s especially noted at 5:40 in the “Power Solos” video. He’s playing rhythmic groupings of five starting with the second finger instead of the first and then angling his hand to achieve it properly and smoothly. It’s weird. It’s almost like his second finger is functioning as a pivot point of sorts and his second and third fingers are dancing around two frets away. I sure wish these videos were re-released on DVD or BluRay from the master tapes because I think this segment alone discusses a lot more of some of Shawn’s more unusual groundbreaking techniques than anywhere else. But some of it is that Shawn achieved a way of utilizing tremelo picking to run scale patterns.
I’m Todd by the way, veteran of tons of internet based guitar forums and mastermind of the instrumental act aliensporebomb.
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This is just the Eric Johnson fives pattern, ascending:
https://troygrady.com/seminars/cascade/clips/fives-asc/
But also works descending:
https://troygrady.com/seminars/cascade/clips/fives-desc/
It’s one of the many instances of those two players doing the same licks, almost note for note - descending pentatonic sixes, etc. There’s even a really cool three-string sweep hybrid picking (i.e. pick + fingers) lick that Eric plays on Austic City limits that Shawn also plays. In all of these cases, the unifying feature is that these are lines that fit downward pickslanting. Eric talks about this to a degree on both his tapes, as we’ve discussed before, though it appears that Shawn was mostly unaware.
When Shawn plays the descending version of the fives pattern (forget which tape but it’s on there), he picks all the notes, with sweeping, same way Eric does, and the same way I’m doing it in the example above. He describes it as “speed picking”, i.e. he’s aware that he’s sweeping those two notes and that it’s not pure alternate. When he does it ascending in the example you’re pointing out, it sounds like he’s doing it partially picked / legato, with some finger movement or perhaps forearm to get over the strings.
Why? Who knows. I think this is just another example of the real world being messy, and not always as methodical as you’d like. Sounds cool, works for him, and that’s enough. In general I think these are also all examples of the strong influence that right hand mechanics exert on the left hand choices you make, even when you’re not actually picking everything, and even when you’re not aware of it.
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This rings with something I could have been sure I read in an interview with Shawn. He said something like when he was learning a new lick he would play it fast, but sloppy, and then gradually dial it back until he could play it fast and clean. Quite the opposite of the start slow and build speed strategy, which we now know isn’t helpful because of different mechanics used at higher speeds.
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That’s right on, and I would suggest it’s even more fundamental than the techniques simply being different. It’s that when you’re learning, especially if you’re self-taught, you don’t even know what the correct technique is, so how can you do it slowly? Playing fast is how you discover which movements are able to be done fast, and slowing them down is how you make them accurate.
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Sad thing for me is that I never really took notice of this advice until you mentioned something similar on the forum here. If only I had of known all of this earlier!! 
Thanks Troy for chiming in and including the links. I think part of Shawn’s magic was his fingerings. If you ask 100 guitarists how they finger an ascending pentatonic scale like that, they might all do it a little differently. In Shawn’s case he found using the second finger instead of the first was more efficient or faster for his body to execute. I sure wish he was still around because a lot of these pick angle movements or angling of the hand are so subtle yet different it’s amazing it took Cracking the Code to kind of bring it out into the light as a topic of discussion amongst musicians and guitarists. I’m sure if Shawn was asked he’d actually be able to give a lot of insight. Sadly there’s no HD footage of him doing his work that I’m aware of so we just have to watch what does exist in whatever format it is in.
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Re: those pentatonic fingerings, that individual note that begins the phrase is actually the second note of the box fingering, not the first, so Shawn using the second finger (or perhaps the third) is the standard way to do it. I’m not even sure you can play the line if you start on the index. I’m also not sure if I’m explaining this clearly, my coffee is wearing off!
But yes, totally, Shawn seems like he was a super nice guy and would have been an obvious choice for many reasons, musical and mechanical, for the kinds of interviews we do. I would like to think he would have been up for doing such a meeting.
The instructions that Shawn provides on Power Solos regarding pentatonic fingerings is primarily to avoid fretting sequential notes with the same finger, via the finger rolling technique. If this is ensured, the exact sequence of fingers used is really not so critical.
The example described in Power Solos is this ascending pentatonic 5s sequence:
-----------|-----------|-----------|-------3-5-|
-----------|-----------|-------3-5-|---3-5-----|
-----------|-------2-5-|---2-5-----|-5---------|
-------2-5-|---2-5-----|-5---------|-----------|
---3-5-----|-5---------|-----------|-----------|
-5---------|-----------|-----------|-----------|
Shawn advocates the following fingering sequence
2, 1, 3, 1, 3
for each 5 note grouping, as opposed to
3, 1, 3, 1, 3
as this fingering requires you to use the 3rd finger for last note of each group and the first note of the next group, via finger rolling. It’s awkward and difficult to coordinate. Shawn’s method requires a significant stretch between the 1st and 2nd fingers. He mentions that the hand needs to be angled to facilitate the stretch between these two fingers.
An alternative fingering, which I believe to be equally effective is
3, 1, 4, 1, 4
for each grouping. This avoids the finger rolling issue and reduces the difficulty of the stretch for those with smaller or less flexible hands.
For most, Shawn’s method is a little stretchy in the lower registers but comfortable in the higher registers. For most, my alternative I’ve shown is comfortable in the lower registers but a little cramped in the higher registers.
I actually prefer Shawn’s method and use it more frequently. I’ve taught this pattern to some players who were simply not able to make those reaches in the lower registers, so I devised the alternative.
Both solve the crucial issue, which is the avoidance of repeated finger-rolling.
This is not to downplay the importance of effective fingering solutions in Shawn’s fast playing.
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I’m trying this lick, I like this fingering, but like you say, might not work for me in higher register. I’ll check it out. Thanks for sharing!
Edit: Nah man, Shawn’s way all the way! 2, 1, 3, 1, 3
Dude, this lick f****** shreds! 
Inspired by this thread, I rewatched “Power Licks” for the first time post-CTC, and what immediately struck me is just how much he uses “hammer-ons from nowhere” in his playing.
In his version of descending fours over a three-note per string scale, he’s picking 5/12 notes.
When he plays one-note per string triads, he’s picking 1 note out of 3(!).
What’s amazing to me is how consistent his sound is, even when he’s not picking. I remember an interview from not too long before he died, where the interviewer examined his guitar and found he had very light strings with super-low action. That’s certainly going to help.
The other guy that comes to mind that uses a lot of hammer-ons from nowhere in his fast playing is Pat Metheny. They’re very different players, of course, but both guys valued legato-smoothness in their phrasing over machine-gun alternate picked lines.
As a picker, Shawn was DWPS, and he had his lines that worked really well for that (the pentatonic stuff, it seems). But for the lines that didn’t work well for that, he used a completely different approach. Between Shawn’s pick-less hammer ons and the hybrid picking approaches of guys like Marshall Harrison and Scotty Anderson, you start to see how a heterogenous approach can let you play lines that would be impossible with strict DWPS.
And if it sounds good, who really cares if you’re picking every note?
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