One of my current goals is to rid myself of my reliance on symmetrical relationships btw/ my alt picking hand and my left hand when using some legatto to play fast and exciting. Here is one such example of something along the lines of what I am talking about for instance; if I was attempting to fill 2 beats in a D Maj context maybe during a really exciting part of a solo. Because I am just picking sixteenth notes w/ a triplet trill for each time I pick, it makes it easier for me to keep in time while shooting for executing 2 sets of sextuplets in each beat. (I know that probably sounds kind of ridiculous, but it is exciting for me). Unfortunately, I think that relying on such a picking scheme comes @ a substantial price in terms of how I sound/making my scale fragments not sound as interesting/organic as perhaps I could.

Picking @: u d u d u d u d
e|----------------------7h9p7-----------------------\-7h9h10-10p9p7-10p9p7-----------|
b|------------7h8h10----------10p8p7-7h8h10-\-------------------------------10p8p7--|
g|---------------------(beat-one)-------------------\-------------(beat-two-----------------|
d|-----------------------------------------------------------------------------------------------|
a|----------------------------------------------------------------------------------------------|
e|----------------------------------------------------------------------------------------------|


Any fast playing junkies will probably notice how the lick above is quite similar to the Gilbert's death lick below...The thing is, the PG-ish lick below does not use a symmetrical mix of picking with respect to legatto.

u d u d u d u d u d
E--7h9p7---7-10-9h10p9p7----------------|
B----------10-------------------10-8-7-8-10-|

Unfortunately for me, the one aspect of this lick that makes it sound really exiting to me (the picking/legatto assymmetry) is also the one thing that I cannot seem to do very well @ all...(whenever I try injecting such assymmetry into my scale fragments...I fall out of the pocket groove-wise (not very exciting for me )-: Also it cuts away 50+% of my note velocity (also not very exciting).

P.S. I suspect that some-one will inevitably recommend me just slowing slowing down and playing w/ a metronome...Good advice to be sure, but it is preaching to the choir b/c that is how I already spend my day-light hours of practicing.

Solution off the top of my head ,can you do the chromatic scale exercises in triples and 5ths effortesly? it really helped me keeping in time when using an unpaar ammount of notes per string or crossing in unpaar numbers... (if i understood your question)

Let´s see what the heavy guys have to say though.

In response to your Q, yes I have a whole laundry list of single string (triplet) & (fours) (5's) (6's) & (7's) that I spend a couple of warm up hours each day on that are nothing more that single string chromatic scale sequences...actually come to think of it, I think i PDF'd it off this site (-: ...oh also FWIW, I have been driving my room-mates nuts when practicing them.

hhhh the chromatic scale + the metronome also drives my gf nuts...

but are you crossing strings (chromatic, major, minor , arpeggios, even open.. while doing 5ths..) my primitive brain for example has still troubles turning 2nps pentatonics or random arpeggios into evenly timed 5ths without repeating the last note or trying to find a "symmetrical pattern".

Most of the forum members are either sleeping right now or finishing their practice schedule
(2 am over there in the us ?) So i guess you might have to wait for a better answer :)

My advice would be to stop playing these pre-programmed shred sequences. If you are ok at them, no need to keep beating a dead horse. You should drill the timing exercises more. Of course, you can have your pre-programmed shreddy sequences ready to go, but I would leave it alone for now and investigate other things such as the timing drills with different scales in different positions.