how can i improve my guitar improvisation soloing? i know lots of scales like blues, pentatonic, diatonic,?

Knowing scales do not enable you to improvise. You improvise by spending time on your instrument playing whatever comes to mind. In other words experiment. You do know improvise means to play without previous preparation.

You have talent. Talent is a love of something, not an ability. You work hard at something and learn how you can be better. You have to practice no more than 15 minutes a day on what your teacher taught you in the most recent lesson and then just play. Learn and form a habit in the three basic chords i.e. major, minor and 7th. take C as an example. Major C E G the 1st 3rd and fifth notes of the major scale. Minor C Eflat G the 1st flattened 3rd and 5th. 7TH C E G Bflat, the 1st 3rd 5th and flattened 7th. Remember that the sound, or chord, is a combination of all the notes being played. the chords symbols tell you 2 things First the scale from which the chord is derived and the type of sound that that will be produced. By adding or subtracting one or more notes to the chord being played by the rest of the band and will put the feeling want to the music.      Dave   

When I was younger, I used Jamey Abersold books to practice with.. especially the 2, 5,1 book. Berklee books 1,2 and 3..  and did a lot of reading and listening. Takes time and practice.  

There are two enormous resources available to you, other musicians playing live or on recordings, and the vast music literature.  There's some overlap, so that many notable solos are available for study as sheet music.

On that note, learn to read standard music notation.  That allows you to more easily understand what you're learning than does tablature.  You can also write down musical ideas and licks you decipher or compose yourself (a micro-recorder is great for those, and some phones have sufficient audio recording quality).

But notation's biggest advantage is access to the music literature.  The more you understand how music works, the better and more easily you can recognize and understand how musical phrases are built, which gives you starting points for crafting your own.

Study the mechanics of guitar playing, and make an honest effort to develop good technique, which can make up for lack of guitar-god-like abilities†.

One of Jimmy Page's greatest assets is the wealth of licks he knows, which kept him a very busy session player.  Not only is it proper to "borrow" licks from other players, that vocabulary is fundamental to developing your own voice — imagine trying to develop as a writer without studying other writers and using their techniques.

Do recognize licks that are overused and avoid playing them (unless for a very good reason), and aim for the less commonplace.  The jazz guitar literature teaches a lot of phrases that most amateur rock players have never heard, but that color the playing of advanced guitarists and make it far more interesting.

( † During a session I worked in the late '70s, the producer wanted a short fill from the acoustic player.  Although my principal instrument is bass, I double on guitar and made one of a handful of suggestions.  The producer didn't choose mine for that section, but had me dictate it to the pianist who used it later in the tune.

The producer confided afterward that he was sure the pianist could manage the somewhat tricky phrase, but that "those young players all know the same hundred licks, and not one has any technique."  He was pointing out that, while I was concious of technique and a year into classical guitar studies to remedy deficiencies of my own, expecting them to play something requiring genuine expertise was unrealistic.)

Develop your "own voice". Listen to as many different styles and even other cultures as you can, and have at it. Get some backing tracks. record some of your playing to those tracks and play them back, listen for the feel and originality.

Was watching Clapton life in 12 bars and he talked about how a Pakistani (that or India) classical style of that culture who played clarinet like instrument influenced him so much, Open your mind, reach inside yourself.

I don't care much for those who spend hours/days learning how to play some lead note for note. "Gee sounds just like the Eagles!" You're not going to replace them, and those notes have 'been there, done that". Find out what you have, not mimic what they have

Good on learning lots of scales, but good soloing comes from the heart, or the emotions, using scales in the process. Kinda like knife skills when cooking, where they re a good thing, but the taste of what you make is way more important, no matter how you get there.

Soak up what you feel when you hear the good stuff others have recorded. Anger, frustration, sadness, loss, happiness, whatever. Tap into whatever personal experiences you may have had, even at your young age. The big dogs break the trail, then you make it your own.

Listen to instrumentals from other instruments and copy those styles. The fuzz pedal was originally pitched as a device that allows a guitar to sound like a tuba.

Its an art. a skill, natural.

Few can "learn" it. It is there or not.

Just keep "fiddling" around, if you have the knack, it will come to you.

Just continuing to practice - try out different combinations to find your personal style and what you like best.

Don't be afraid to make notes and write down combinations you liked. Just because you write it down doesn't mean you aren't still doing "improvisation". It means you are learning and building your style by taking notes on things you have liked so you can continue to practice them later. As you get better, your improvisation will also get better because you will have remembered those combinations you like best that makes up your personal sound and your personal style. You will be able to easily remix your favorite combinations.

One thing I always hated most was playing something that sounded "so cool" while just messing around and then a week later, couldn't get the combination to turn out the same way. (usually because of missing or forgetting one transition or chord combo that had been part of the original set)