Couple of things about the “feel” of doing this. I stumbled into it decades ago and have since lost and found it multiple times. The finding it had to do with realizing that with certain players I admired (Hendrix, SRV), there seemed to be such a perfect continuity between strumming and single note playing, and so I was trying to figure out how to make that happen. My guide in doing it was a particular feel the pick had in contacting the strings that sent a “this feels right!” signal to my brain. A kind of “straightness” in the up-picking direction and more of an angled contact in the downward, but both producing a kind of “ping” in the attack. And suddenly I’d get that light, easy “strummy” feeling even when playing single-note runs, pentatonics particularly. Without a better analytical framework it was hard to hold onto though. Where I tend to lose it is when I try to maintain it in other situations–multiple NPS runs and the like. You’re demonstrating it as strictly a SNPS arpeggio technique, which is huge, but I’d like to hear anything you have to say about the transition to more “dense” figures.
Related, and something I’ve been wanting to point out about this whole discussion for a while, is that the other guys who demonstrate absolute mastery of this kind of playing are the Afro-pop guitarists, where this easy, precise but ultra rapid and hypnotic arpeggio playing is a critical component ot the whole musical style. I’ve always hugely admired that kind of playing partly because it’s so different from what most of us Western shredders have primarily focused on
Anyway, I finally have a free day off–gonna spend a couple of hours trying the dobro position out!
