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Mick Thomson's Top 5 Tips For Guitarists! | Slipknot Guitarist
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Slipknot guitarist Mick Thomson goes through his top 5 tips for guitarists!
1. Pick up a bass!
“Using different tools helps you break out of the mould. After playing for a number of years, you fall into a certain pattern that’s just you. You become you more and more over time, and it gets hard to strip back and see other things. Writing on bass is such a different approach, plus it’s good for your fingers!
“It’s exercise for your fingers: you have to stretch more because of the scale length. Simply for the athletics, playing bass is great for guitar players, and offers a different perspective musically.
“Your head will be in a different place, and I think that’s important. People don’t realise they probably repeat themselves more often than they think they do. If you feel stuck in a rut writing things or a certain part isn’t coming up for a song that needs something cool, play the fuckin’ bass! You’ll come up with something you wouldn't have standing there with your guitar in the basement. Different ways of thinking are good; they keep your mind open.”
2. Watch the classic Paul Gilbert videos!
“Early on, a lot of my picking development came from a Paul Gilbert video on VHS. That three-note per string thing is something I did a lot when I was younger. You can probably go back and find it on YouTube somewhere - people can still learn a lot from those.
“I remember seeing it when I was around 14 because a friend had it and at one point he pulled out the drill. We looked at it each other like, ‘What the fuck just happened?’ That’s not even human. That’s not even real. How can anybody do that, which was so far beyond my comprehension.
“Once you dive in and start, obviously it takes a while to practice, you’ll get better. It’s different for each individual. Think about Usain Bolt: if he didn’t have something special about him, everyone would run like that!
3. Add your own little colours
“There probably aren’t a lot of metal bands that use bends as much as us. I have to stop myself, because I do a lot of ghost bends, like on the song Eyeless - when I recorded that, I thought it was cool having the bottom drop out by using the wang bar.
“I would do things with picking and harmonics, bends and squeals, but after a while I thought I sounded too much like Immolation… who I absolutely love. They are the gods of bends and harmonics in riffs, especially on the first three records, which were huge for me. I didn’t want to step on that turf too much. I had to pull the plug and come up with parts that sounded different.
4. It’s all a balancing act
“I learned a long time ago that crazy shred guitar is pretty much only enjoyed by the person playing it and the other people trying to play it! It’s fun to throw it in there and surprise people so they think, ‘Ah, the guitarist really knows what they’re doing!’ but you also don’t want to alienate everybody. It’s hard to write a good song - you have to balance musicianship, musicality and listenability, without being some radio-rock candyass kinda thing.
5. Watch and learn
“When you work with other musicians, you really start to absorb this shared knowledge and approach. With Paul Gray, it wasn’t like this whole other perspective; there was a vibe we had together. Even though our records sound different and there’s evolution, you can still very much tell it’s us.
We all have this musical imprint of each other on top of our personal approaches. You see new perspectives and techniques in other players; you can absorb a lot of it subconsciously. It’s not like you go out and think you will change your perspective. It’s natural and inevitable to take on some characteristics that you learn from each other. It helps with our new music; that thing will always be there because it’s who we’ve been, for so long.”
1. Pick up a bass!
“Using different tools helps you break out of the mould. After playing for a number of years, you fall into a certain pattern that’s just you. You become you more and more over time, and it gets hard to strip back and see other things. Writing on bass is such a different approach, plus it’s good for your fingers!
“It’s exercise for your fingers: you have to stretch more because of the scale length. Simply for the athletics, playing bass is great for guitar players, and offers a different perspective musically.
“Your head will be in a different place, and I think that’s important. People don’t realise they probably repeat themselves more often than they think they do. If you feel stuck in a rut writing things or a certain part isn’t coming up for a song that needs something cool, play the fuckin’ bass! You’ll come up with something you wouldn't have standing there with your guitar in the basement. Different ways of thinking are good; they keep your mind open.”
2. Watch the classic Paul Gilbert videos!
“Early on, a lot of my picking development came from a Paul Gilbert video on VHS. That three-note per string thing is something I did a lot when I was younger. You can probably go back and find it on YouTube somewhere - people can still learn a lot from those.
“I remember seeing it when I was around 14 because a friend had it and at one point he pulled out the drill. We looked at it each other like, ‘What the fuck just happened?’ That’s not even human. That’s not even real. How can anybody do that, which was so far beyond my comprehension.
“Once you dive in and start, obviously it takes a while to practice, you’ll get better. It’s different for each individual. Think about Usain Bolt: if he didn’t have something special about him, everyone would run like that!
3. Add your own little colours
“There probably aren’t a lot of metal bands that use bends as much as us. I have to stop myself, because I do a lot of ghost bends, like on the song Eyeless - when I recorded that, I thought it was cool having the bottom drop out by using the wang bar.
“I would do things with picking and harmonics, bends and squeals, but after a while I thought I sounded too much like Immolation… who I absolutely love. They are the gods of bends and harmonics in riffs, especially on the first three records, which were huge for me. I didn’t want to step on that turf too much. I had to pull the plug and come up with parts that sounded different.
4. It’s all a balancing act
“I learned a long time ago that crazy shred guitar is pretty much only enjoyed by the person playing it and the other people trying to play it! It’s fun to throw it in there and surprise people so they think, ‘Ah, the guitarist really knows what they’re doing!’ but you also don’t want to alienate everybody. It’s hard to write a good song - you have to balance musicianship, musicality and listenability, without being some radio-rock candyass kinda thing.
5. Watch and learn
“When you work with other musicians, you really start to absorb this shared knowledge and approach. With Paul Gray, it wasn’t like this whole other perspective; there was a vibe we had together. Even though our records sound different and there’s evolution, you can still very much tell it’s us.
We all have this musical imprint of each other on top of our personal approaches. You see new perspectives and techniques in other players; you can absorb a lot of it subconsciously. It’s not like you go out and think you will change your perspective. It’s natural and inevitable to take on some characteristics that you learn from each other. It helps with our new music; that thing will always be there because it’s who we’ve been, for so long.”
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