 Greetings, I'm Rob Chapnich from Monkey Lord and today I'm going to teach you all about the dark art of whammy bar techniques. Dive bombs, lizards and neck, drop kicks, the cat, punch notes and many more. To be honest, I started off absolutely loving using my bar and I relied on it far too much. I was a huge fan of Joe and Steve, I'm still on, I'm talking Sachin via here. I became quite good with the bar and it kind of was a detriment to my music. I ended up relying on the bar far more than a good lick. And that'd be a lesson to you. The bar is a wicked tool for getting some interesting sounds and tones. There are a couple of things you can do with the bar that you can't do without one, but none of it compares to the might of a wicked lick or a good tune. So why don't I show you my tool? This is my Wilkinson tremolo. This thing is fantastic. It's a vintage style six screw trem. Various different ways of setting these up. I personally prefer to lift the middle four, have the outside to slightly sunk so you pivot upon those two. You want to be able to fit a pletrum underneath here so it slightly floats free. You should be able to manipulate it with one finger and also wherever you put it, it should stay. That's the sign of a good trend. I hate it when they flop down after use. That's not very practical. If you're unsure how to set up your tremolo, just go and see a great louvier or a really good guitar shop near you and have it set up because it'll save you hours of heartache. That's a lovely set up tremolo. We'll just ruin your life. This lets me be using a Chapman guitars ML1 and a Marshall JVM 410 set to death mode through a 1960s Marshall 412 cab. Now before we start, I tuned to E flat so you may want to do that but you don't really need to. So here are some tuning notes. So here is exercise one, the dive bomb. There are two variants upon a dive bomb. The first one is that you grab the bar with your left hand like Satch would do and you pick squeal and note and dive it from there. A bit like this. That's pretty cool. All I'm doing is grabbing the bar, pick squealing using the thumb on my pick hand to rub over the string as I pick the string, causing an artificial harmonic anywhere on the string and any string I need and diving it with the left hand. You can find a harmonic anywhere you want as long as you have the technique right. The other way is you strike just ahead of the third fret on generally the G, B or D string. If you go just ahead of that third fret, you'll find a bunch of really nice bright harmonics which also reappear on the neck because the neck is mirror-imaged. So what I've done is strike the string, in this case it's the G string. I've just dabbed my finger just in front of that third fret to cause the harmonic and then I've dived it down. I'm picking with the bar already in my right hand. So it's pick, dab, dive, pick, dab, dive. Wipe that down. You can do this on any string just ahead of the third fret. Let's try the E string for example. Vomel Slayer in its tone. You can do this as I said mirror-imaged up here. This would be my 15th fret, just ahead of the 15th fret, depending on the scale of your guitar. Maybe it would be just ahead of it sometimes. But it's around that third fret. Bands like Rage against the machine do things where they grab a bunch of strings and do the same thing. And you get a nice effect. All the different intervalics, mingle, and merge and become dissonant and horrible. And in fact that leads us to our second technique. This is where you take two harmonics and dive them at the same time. For this example we use the 19th fret E and B string. Now there are fourth apart. And as I dive them down you're going to get all sorts of movements within the guitar and they start to go in and out of position and you get some lovely effects. Check this out. Now that sounds particularly good if you get two notes which are exactly the same and dive it down because as the guitar moves they slightly sit down at place and you get this wonderful banging of the two notes in the ear. So for example when you tune your guitar with harmonics. If I did that and dive it you get a wicked sound. That's particularly enchanting isn't it. So for the dissonant dive bomb we're going to go seventh fret on the E string and we're going to go fifth fret on the B string. Everything is both exactly the same note. Now for the Lizards tongue. This is a fantastically musical, very gutter rule and kind of textural sounding technique that I think Joe Satriani probably invented. Lord Joe. And what you do is you depress the bar, choose a note, slide it up as you lift the bar back to the normality, back to the natural setting and then play a lick. And the secret is to land on your feet. So for example if I'm playing a lick line. I want to land on this first note of the lick so I'll slide to it using a lizard technique like this. And it sounds Macbarrows. So very slowly and simply you grab a note, any note you want as long as you can land on a lick you can play. Make sure you dive the bar before you strike the note, slide it on up and then release it as you slide. So when you get to your lick you're pretty much in key. You can do the exact same thing going backwards so you can take a note, dive it and then release it as you come back up.