Fwiw, soloing (or, as I prefer: improvising) isn't about a certain technique you apply. Ok, for some flashy passages it most certainly is, but not as a foundation. Yes, you need to have a connection to the notes you're going to play - and that connection needs to be built up and established one way or the other. That might happen using a single (unlikely) approach or any mixture of various approaches. Scalar knowledge is one thing and can as well be aquired in different ways, be it via whatever position, 3/4NPS, up/down-the-neck scale patterns you printed out, the infamous CAGED system or just trial and error. Throw in some chord tone etudes for good measure (after all they're somewhat connected to scalar excersizes anyway). Or learn licks, patterns and whatever. Play swing standard heads. Play children song melodies. Almost endless options to go for. But: All those technical things don't make up for improvisation. They're solely there for you to ingrain whatever material. Yes, you make use of the techniques you've learned while soloing. But there's nothing like a "CAGED solo". The techniques you've learned will only help you to get the material out. A note G is a note G, regardless of whether you've learned it as the note located on the D string in your A7/E-form barre chord while examining the mighty CAGED system or whether you learned it while playing up and down the D string chromatically or whether you got it from your Cmaj7/3rd position arpeggio etude. The note remains the same. And regardless of your preferred method of "note aquisition" it'll sound the same in the same context - which is the most crucial part of all that stuff, to put things into context. To get you there, you will have to listen - which is not per se a part of the pure technical aquisition (even if it's pretty wise to always listen when you do technical excersizes). And you will have to come up with ideas. Again, that's not a part of technical excersizes (even if it's wise to always try to concentrate on musically meaningful excersizes). No "note aquisition system" will teach you which notes to actually play. Ideally, each system will ultimatively allow you to play pretty much any note (or any combination of notes) under any conditions. There's no "money notes" that you can only get because you've done your arpeggio homework. As said, a note G remains the note G, regardless of how you got there (in an equal tempered system at least, but I'll leave it to kimock to enlighten you regarding further options...). So, whatever approach you go for, just play around. And listen. And most of all: Play melodies and rhythms (actually, a huge part of a melody is rhythm, in fact the largest factor for most famous melodies to be famous happens to be rhythm).