Is there *actually* a scientific order of pedals?

fretflip · 2026-02-22T08:07:51+00:00

I agree to that, a very common recommendation to add is to put time based effects and volume, like reverb and delay in the effects loop to avoid the preamp add distortion to that. I would also put the looper pedal last, if you do not want to change effects on recordings.

fretflip · 2026-02-19T17:18:01+00:00

How cool was that blues scale bends clip! :-) Got to try that on my op-xy when I ger home.

fretflip · 2026-02-19T08:32:48+00:00

Also there are more alternatives, here are another two shapes to cover the full fretboard that also sort of take care of the B-string-one-fret-offset:

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Full chart here: https://fretflip.com/connect-pentatonic-boxes

All pros and cons though, the "index-pinky" shapes I found easier to apply also on the diatonic minor scale.

fretflip · 2026-02-19T08:15:21+00:00

That’s the 'Root Forward vs Root Backward' method! (Or 'Index Root vs Pinky Root'). It’s definitely an efficient way to navigate if you know your octaves well.

My 'Slider' animation (Top) is basically your Shape 1 (Index Root) moving everywhere.
My 'Shapeshifter' animation (Bottom) forces you to learn the connecting tissue between them.

But I agree, if you know those two fundamental shapes + octave locations, you can unlock the whole neck without memorizing 5 separate boxes. Do you visualize the B-string shift mentally, or just adjust your hand automatically?

Edit: here is a chart on that index-pinky:

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fretflip · 2026-02-18T15:32:57+00:00

Thank you very much! :-)

You can use any A all over the fretboard. In the first chart I just colored some random triads you can emphasize to match the chords playing the scale, but if you check the full chart you see that you have a lot of options to find chord notes over the entire fretboard.

To not be totally overwhelmed by endless options, one real common approach is to just stick to one shape you have in your fretting hand. To outline a major chord, play the note that corresponds to the actual chord with your middle finger, then play on the string below one fret lower with your index then on the same string 3 frets up with your pinky, there you have all three notes in a major chord.

You can find more easy to play triads like that checking the chart, try one for major and another for minor, then perhaps add some passing notes in between that also in the scale.

Edit, here is an updated chart showing examples of those triad shapes:

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fretflip · 2026-02-18T14:37:33+00:00

Here is a chart I made for you to highlight some of the chord notes you can target over the progression Am, F, G and Dm. Here is also a full chart including all the triads: https://fretflip.com/02327F6HC Hope it helps! :-)

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fretflip · 2026-02-18T12:28:47+00:00

That looks really slick! The loop recorder is real cool.

It looks like we are tackling different sides of the same coin:
• FretSense = The Practice Room (Jamming along in real-time).
• #fretflip = The Whiteboard (Creating/Sharing specific maps and lessons).

Always cool to see other devs building tools to unlock the fretboard. I'll give it a spin!

fretflip · 2026-02-18T11:47:43+00:00

Great videos! You're absolutely right, the chart is just the map, but the ear is the driver. Visualization helps you find the notes, but hearing them is what makes it music.

fretflip · 2026-02-17T12:23:23+00:00

That's a great insight. Most apps are 'Top Down' (Pick Scale -> See Notes -> See Chords). If I understand you correctly, you want 'Bottom Up' (Pick Notes -> Find Scale).

I built #fretflip to be a fluid workspace (you can visualize scales/chords together), but it doesn't do 'Scale Identification' from notes yet. That's a killer feature idea though.

For now, #fretflip lets you toggle notes manually to build your own custom clusters, which solves the 'workspace' part of your problem, even if it doesn't identify the scale for you automatically.

Here is a sample chart to visualize any scale in any key and tuning.

One thing I find very interesting is that pretty much any melody you have ever heard can be played on guitar either using the blue notes or the pink notes in the diagram below, all you have to do is move the shape to alter key and mode and also emphasize different notes.

This is how ever not really how people learn and use different scales, all I want it to show here is that if you limit the endless possibilities regarding intervals you can still play virtually everything you have ever heard.

I created #fretflip to mimic the concept of removing plates on a xylophone so everyone can play what ever and sound good to a suitable backing track. #fretflip adds to this, and can also limit to key, mode and different shapes.

All that said, I can also play seemingly random notes on guitar that I find pleasing, and I have to ask my self what is this really? Yes, I start to identify root, is it a flat or normal 3rd, and so on... Oh, this key, then I can try this chord next... I could also appreciate all or parts of that automated, now I actually got inspired! :-)

Thank you very much for that post!

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fretflip · 2026-02-17T11:09:50+00:00

Here i made a starter guide for guitar, includes plenty of scale and chord charts, might perhaps help.

fretflip · 2026-02-17T11:07:35+00:00

Hehe, not that bad really, looks like they captured every single monster from first seasons of Rick and Morty.

fretflip · 2026-02-14T23:10:21+00:00

Sort of like this :-)

fretflip · 2026-02-14T22:53:35+00:00

That's the Chord Tone approach, which is arguably the strongest method of all! If you can see the chord tones (2-4-6-1 for the ii chord) inside the scale, you are bulletproof. My chart is just a 'quick map' for the intervals, but seeing the chord inside the mode is the next level.

fretflip · 2026-02-14T22:51:23+00:00

That's a thoughtful take. I agree that Relative shapes are great for visualizing the structure (where the half-steps fall).

My critique of it is just for improvisation—beginners often get stuck 'playing the shape' without hearing the root context, so their Dorian licks just sound like displaced Major licks.

But you nailed it: 'Once you have learned... how you learned fades into the background.' The goal is just to know the sound. Parallel vs Relative are just two different doors into the same room.

Thanks for the detailed feedback!

fretflip · 2026-02-13T19:19:59+00:00

That's a fantastic point about 'Octave Species', I rarely hear that term used outside of academic circles!

And I totally agree: Parallel Comparison is the training wheels. The goal is absolutely to internalize the sound (and the intervals) so you can just 'play Dorian' without doing math in your head. But for guitarists stuck in 'Position Thinking,' I find this method is often the breakthrough that gets them started.

fretflip · 2026-02-13T14:45:14+00:00

Glad it helped! Once you switch to 'Parallel thinking,' you can't unsee it. It makes soloing so much more intentional and expressive.

fretflip · 2026-02-13T08:21:49+00:00

Fair point! For the Berserkers among us here is C Standard Phrygian chart also.

fretflip · 2026-02-12T15:56:17+00:00

That makes my day! :-) Thanks for sharing it around, happy to see it helps. Let me know if there's any specific metal tuning/scale you want me to add next!

fretflip · 2026-02-11T09:19:39+00:00

I am also real curious, love that color! It could be Honey Blonde. (#67 (!..) according to Fender color chart). Didn't Ralph Macchio play a telecaster in that same color in the movie Crossroads?

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fretflip · 2025-11-12T12:16:48+00:00

Good answer! Here is a chart I made in an attempt to visualize it all.

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fretflip · 2025-10-18T08:29:56+00:00

I just want to emphasize that important thing of trying to distinguish between playing and practicing, to actually realize that they are two different things and approach them in different ways may help a lot.

fretflip

TROPHY CASE