Wim performs “Wimpicking,” combining independent bass, melody, rhythm, and wide-string picking into a single-guitar arrangement.
Wimpicking Technique
Wim reverses his normal pickstroke orientation to create outside string changes, then explains how he used computer sequencing, chunking, sleep, and detailed bass-line construction to make the arrangement playable.
First Bass
Karoshi Bass
Sweep Bass Triplets
Sweep Bass Funk
Sweep Bass Pattern
Rhythm And Time
Wim connects his rhythmic feel to drumming, the deceptively simple groove of “Billie Jean,” repetition during television practice, and learning to hear the metronome as musical rather than mechanical.
Building Technique
A nine-month effort to master a two-second Judas Priest phrase leads to Wim’s methods of isolating tiny chunks, previewing goals with half-speed recording, and pursuing projects that can take years to complete.
Judas Priest Stringhopping
Wimpicking Skips
Sleep And Mental Practice
How rest, sleep, visualization, and forced recall improve memorization and technique—even when the instrument is not physically present.
The Guitar Academy
Wim explains how unused evening office space became a 200-student guitar and drum school, how he automated its administration through programming, and what distinguishes a genuinely effective teacher.
Karoshi
Wim discusses overwork and chronic stress before performing “Karoshi,” whose Japanese influence, mechanical imagery, power-metal writing, and Wimpicking reflect the experience of working oneself toward collapse.
Karoshi
Improvisation And Vocabulary
Improvisation as a combination of learned vocabulary, mechanics, special effects, narrative design, controlled risk, and social reinforcement rather than purely spontaneous inspiration.
II-V End On The Third
III-I Swing
Got Rhythm Lick
Early Development
Wim recalls beginning guitar at six, improvising blues, appearing on television, becoming Dutch guitar champion at thirteen, and later confronting weaknesses in his picking synchronization.
Core Technique And Chunking
Wim relates cumulative practice hours to small, repeated improvements and demonstrates how tiny chunks and immediate feedback make difficult motions—including his single-string picking motion—rapidly trainable.
Single String Motion
Transcribing For Technique
Oscar Peterson and video-game transcriptions become technical studies in memory, string skipping, stretches, near-speed practice, pianistic sweeping, diminished and augmented arpeggios, and right-hand problem solving.
Oscar Peterson Just Friends
Super Mario Theme
Oscar Fourths Sweep
Oscar Fourths Sweep Attempts
Oscar Fourths Sweep Slow
Oscar Fourths Sweep Variation
Pianistic Sweeps
Diminished Sweeps Slow
Diminished Sweeps
Three-String Sweep Arpeggio
Latin Chromatic II-V
Augmented Sweep Arpeggio Tk1
Augmented Sweep In Context
Augmented Sweep Arpeggio Tk2
Personal Style And Polyrhythm
Wim describes developing an identifiable voice by combining jazz, funk, piano vocabulary, and guitar mechanics, then constructs “Mad Max” from bass lines, strummed backbeats, and three-against-four rhythm.
Mad Max Bass
Mad Max Back Beat
Mad Max Quarter Note Beat
Mad Max 3 Against 4
All-Fourths Tuning
Chord shapes act as fretboard landmarks as Wim recounts spending a year with an all-fourths tuning whose mechanical efficiency ultimately removed the positional differences that inspired him.
Min7 A Shape
II-V-I G Shape
Mechanics And Inspiration
Why different fretboard shapes produce different musical ideas, how physical constraints can generate creativity, and why irregularity—from guitar tuning to crooked city streets—can be more inspiring than perfect symmetry.
Minor Add4 Arpeggio
Minor Add4 Arpeggio Blues
Minor Add4 Arpeggio Positions
Dorian Blues
Dominant Blues
Blues Chromatic Sweep
Blues Chromatic Sweep Treble
II-V-I C Shape
Outro
Closing thoughts on mistakes, originality, genius, and productive craziness, followed by a complete performance of “Mad Max.”
