going back to what I said earlier about your first vid.
notice here in your 2nd vid you arent playing anything remotely resembling that sort of “clinical” 6 string bit. This is sort of why I said work on smaller units. Look like 95% of that 2nd vid is played on the EAD strings.
If you were my mortal enemy and I wanted you to fail miserably id say “dude, spend lots of time worrying about and working on that 2nps across all 6 strings bit” lol
I hear ya, but I think its still a totally different thing. There is just a totally different feeling to 2nps stuff. I can pretty much rip on 3nps stuff but my 2nps is pretty weak by comparison.
3 exercises come to mind for working on 4s based on 3nps scales.
one of my faves. a sort of dumbed down version of the Paul Gilbert lick. Great for working on 4s. (put it wherever on the fretboard u want)
D------------5–7--5-----------
A–5--7–8------------8–7--5
next logical thing (for me its fingers 3 and 4 on the D string)
G-----------5–7--9–7--5—
D----7–9--------------------9
then this up and back loop. I do several variations of this idea on the GBE strings for my warm up exercise just out of habit
G----------------------5–7--9–7--5-----------------
D------------5–7--9-------------------9–7--5------
A–5--7–8----------------------------------------8–7
once u have that 3 string loop rocking nicely then its just a matter of working on the other sets of strings and the string tracking etc to put it all together.
Another cool, somewhat harder “3nps 16th” pattern is this idea (just another snippet from the loop above). Sort of a double ended Paul Gilbert lick
G----------------5------------
D-----5–7--9------9–7--5
A–9--------------------------
I can pretty much rip on all of those…yet not on the 2nps stuff. So how related IS the 2nps stuff?? to me its simply 2 different worlds
If you were my mortal enemy …
I don’t need any more of those!! 
I"m going to record this for you right now
@JonJon I just realized i misread that lick. So maybe i should work on it first. I recorded this
E------------5– -----------
B–5–7–8------------8–7–5 . repeated
and then
E------------5–7–8--7–5 -----------
B–5–6–8------------8–6–5
I read Paul Gilbert and my brain read what it wanted to read. I need to give that a few run throughs and see how i do. I like these little snippets. They’re going into my warmup for a while and I’ll report back when i think i have some progress. Thanks!!
well the actual PG lick is pretty much super hard. Plenty of pros struggle with it or swipe it etc. Plus its triplets so its not directly applicable to what u stated. (16ths on 3nps)
E------------5–------
B–5–6–8------8–6
thats why i like this version as an intermediate step…plus its 16ths
E------------5–7--5–-----
B–5–6–8-------------8–6
No - I get it - and definitely see what your suggestions are intended to do and how they’re relevant - and also i see immediately how i’m not great at them as well. 
I’ll get these under my fingers and be back soon with updates. I’m in the middle of a crazy stretch of business travel so my practice regimen is taking a hit since I’m in town 2 nights a week this month. I appreciate these inputs - they’re already being put to use.
NP. whatever u do, finish your practice sessions on something nice and smooth and error free. dont finish on fast n sloppy stuff. Wish i had known that trick back when I played golf lol
Hey @EightmanVT, first of all thank you for choosing my etude
I think this is a much better video to analyse your technique, as the speed forces you to do “realistic” movements. In fact, this is faster than what I recorded, which was 108bpm!
I have the impression that your picking motion becomes “escaped downstrokes” (DSX) when you go fast, which makes the fast passages in the etude very hard to play (they are supposed to work with escaped upstrokes - USX). As a consequence, it seems that your right hand tries to sweep through the string changes, interrupting the flow of your alternate picking and giving you the feeling of stickyness - this is only a guess and I’d ask @Troy to double check.
On the other hand, it seems to me that your single string picking is already fast, so that you are already past the first obstacle that Troy mentioned.
Have you tried some phrases with downstroke-only escapes? for example something with 3 notes on the low E, then 6 notes on all the higher strings? Something like
D-------------------5-8-7-5-7-8--etc.
A-------5-8-6-5-6-8---
E-5-6-8---------
If my DSX impression is correct, this should feel like butter!
@EightmanVT everything @tommo Tommo says here is on target, and I’d go with that. You clearly have surpassed the “I can’t play fast” step, which is the number one thing everyone who utters this phrase needs to do. The next thing you need to do is take the picking motion you already have, which is working, and learn to play clean synchronized lines with it. Any line, doesn’t matter, so long as it fits the technique you are using. In this case, you are using a downstroke escape motion, so again, as @Tommo points out, lines where the last note on the string is a downstroke are the way to go. Pentatonic lines starting on an upstroke work this way, for example.
But you can also do an even simpler thing, which is just get hand synchronization happening on a single string at a tempo that is fast enough to force you to use your efficient form. Here’s an example of this at 160bpm which I filmed for another forum user, @superslip103:
The attempt here isn’t to be super duper fast. It’s to play simple patterns at a speedy clip where the left hand and the right hand are locked up nice and tight. I’m just making this up as I go. You. can do the same, or use repeating patterns - whatever you like.
As you work on multi-string DSX type lines, also work in a bit of this. They should improve together. You want fluid, effortless motion with solid synchronization between the hands. I would not worry about anything that requires trying to switch strings using combinations of downstrokes and upstrokes until you have this happening reasonably solidly.
If that sounds limiting, never fear. I invite you to check out some John McLaughlin lines. He has spent nearly his entire career playing almost exclusively downstroke string changes, and he’s still able to improvise amazing stuff like this solo on the classic jazz tune “Cherokee”:
Gents - It felt like Christmas when I saw I had your responses to my thread here. . @tommo - as always - thanks for your insight and for drawing some additional attention to my thread. I’ve never thought of my picking in terms of downward escape - this helps immensely as it gives me something to go focus upon in terms of the videos here. I have a feeling that my picking changes depending on what I’m doing - or attempting to do. I will eventually post some examples of what I mean. @Troy - Thank you very much for the additional comments and references. I’m in the middle of a fairly brutal stint of business travel - hoping to come to an end next week - so I will use the time to go badk and watch the material you have referenced. I will try the exercise Tommo posted as well as those above that I have already incorporated into my warmups. Once I get some consecutive days of practice at home - I will report back with some results. Thanks again gents. This is something I really want to figure out and I think I may have a limitation that impacts and causes me to use DSX as opposed to USX as was highlighted. I find that I’m unable to pick at any kind of speed the more i slant downwards - even on a single string. Thanks much and I’ll be back!!