How To Play Like Synyster Gates In A7X?

2026-04-18 14:32:19 51
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3 Answers

Thaddeus
Thaddeus
2026-04-19 23:18:19
Synyster Gates’ playing is all about contrast—brutal riffs meet beautiful melodies. To play like him, study his bends first. They’re never perfectly in tune; they’re slightly aggressive, like a vocalist pushing a note. His solos in 'Seize the Day' or 'Dear God' show how he blends country-style licks with metal chaos. I obsessed over his alternate picking economy—he’s freakishly efficient, never wasting motion. His tone is another puzzle: thick mids, just enough gain, and that sustainiac for infinite notes. Gates also writes solos like they’re part of the song’s DNA, not just flashy add-ons. The outro solo in 'Save Me' feels like the climax of a movie. It’s not about copying his licks; it’s about stealing his drama.
Yara
Yara
2026-04-22 08:51:27
Synyster Gates from Avenged Sevenfold has this insane blend of technical precision and wild creativity that makes his playing stand out. To get close to his style, you gotta dive into his hybrid picking technique—he mixes pick and fingers for those fluid, fast runs. His solos in 'Bat Country' or 'Afterlife' are masterclasses in melodic shredding, where every note feels intentional but still explosive. I spent months just trying to nail his vibrato—it’s wide and vocal-like, almost as if he’s singing through the guitar. His use of harmonic minor scales and chromatic passing tones gives that sinister, cinematic vibe A7X is known for.

Another key is his phrasing. Gates doesn’t just play fast; he tells a story. Listen to how he builds tension in 'The Stage' solo, starting slow and then erupting into chaos. His rig matters too: that Schecter with the sustainiac, mixed with his love for delay and wah, creates his signature sound. But honestly? The real secret is his attitude. He plays like he’s on fire, but never loses control. It’s a balance of chaos and discipline I’m still trying to crack.
Cassidy
Cassidy
2026-04-24 02:32:12
If you wanna channel Synyster Gates, start by dissecting his rhythm work—it’s just as important as his solos. His riffs in 'Nightmare' or 'Hail to the King' have this swagger, a mix of bluesy bends and metal precision. I noticed he often uses drop D tuning for that chunky low end, but his chord voicings are weirdly jazzy sometimes, like in 'So Far Away.' His palm muting is tight but not robotic, and he layers harmonies like a mad scientist. I remember trying to replicate the dual-guitar parts in 'Beast and the Harlot' and realizing how much he leans on thirds and octaves.

His lead style is a Frankenstein of influences: classical shred, country bends, and punk energy. The way he hybrid picks arpeggios in 'Buried Alive' is nuts—it’s like he’s got three hands. And don’t skip his whammy bar tricks; he uses it like a vocalist uses vibrato, adding little dips and squeals. Gates also loves modal interchange—mixing major and minor flavors—which gives his writing that epic, emotional pull. It’s not just about speed; it’s about making every note weep or scream.
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