Joined: 14 May 2004 Posts: 278 Location: Boulder, CO
Posted: Thu May 04, 2006 11:07 pm Post subject: Scott answers your questions - round 26 - 5/4/06
am a big big fan of yours from israel , nowadays in germany near munich.
i heard u r coming to a gig here with the blues grup & i will do all my best to come and see u (waiting for so long in israel & u´re not coming). the tribal tech grup is my favorite fusion insp band , r u guys gonna do a tour in europe__ ?????
No touring with Tribal Tech in the near future, but I'm playing in Scott Kinsey's new group with Matt Garrison and Gary Novak. We'll be touring in Europe this fall. Hope you made it to our Munich gig - that club has a great sound.
Hey Scott, bigtime fan here. You and Mike Landau are the guys I consider to have the definitive Strat tone. Well, Jeff and Jimi too, but you guys are a tad more refined. : )
Couple of gear related questions:
- What are your settings on the BB preamp? How much gain is from the BB and how much is from the amp?
Volume and gain about 2 o'clock, bass at 3 o'clock, treble down just a little. The amp is crunchy if I hit a chord with the guitar on 9 or 10 - the rest comes from the pedal.
- When you record at home, how do you monitor yourself? Off the amp or on studio monitors? If you use the monitors, are you going dry or do you add some outboard reverb/delay? What kind of reverb?
On studio monitors - the cabinet room is way too loud. I record dry but monitor with reverb from my board. I add the good reverb and delay when I mix in a real studio.
Also, any chance that you would be touring Australia/New Zealand sometime in the future?
Thanks for all the advice you've given out in these Q&A threads, it's been a great help for those of us who don't get to try out a shitload of gear. All the best with the future!
I've e-mailed Vorticity at least ten times and sent them a press kit and even video of the trio. Never heard back from them.
You were formerly a Charvel and Ibanez player, correct? How similar is the neck on your Suhr to the Charvels you used to play? Does the Suhr have the flattened D neck carves of the Charvels?
I don't know - when I got my first Suhr it felt really comfortable, and I don't remember the neck feeling that different from what I was playing before. I don't know what a flattened D neck carve is - the only thing I know about my Suhr neck is that it's a D shape .800-.880 and 16"R (I'm just reading off the order sheet - I don't know what any of that means).
I owned it for awhile - it's an 80's Marshall that was modded by the Amp Shop in LA and then John put a loop in it. It sounded OK, but definitely not as sweet or fat as an old one.
Hi Scott, just wanted to say thanks! I had the privilege of studying with you at the GIT 1996/97. To this very day (I am a working musician now) you have been one of the best teachers I ever had (together with Carl Schroeder). You where such an inspiration and so much fun! I justed noticed this forum and thought I say hello!
Thanks - glad to hear you're working!
I read all the other question-rounds and I am a little confused now... do you play the BB-Preamp or the SD-9 or both or what? I saw the Xotic-video but in I think it was round 12 or 13 you said you just play the RC and you don't like the BB and the AC so much....?
Xotic probably wouldn't like me saying this, but when the BB first came out I didn't like it at all. The new BB (it's light is on top by the knobs) doesn't sound anything like the first one I heard. I'm using it live now and I love it. It's more transparent than the SD-9, but I still use the SD-9 sometimes in the studio - to me it sounds better with my Fender than the Marshall.
What's the major difference between a "Henderson"OD100 and the "classic"OD100 or the "standard" - I mean soundwise not technically? There is a shop in germany selling an OD100SH is that the one with your specs and mods? The tips on setting up the Fender bridge helped a lot, thanks. Keep up the good stuff!
The classic has a cloned Marshall transformer and circuit, and EL34's - it sounds just like my '71 Marshall. The original OD 100 is way more Fender sounding. I probably don't need to describe to you the difference in sound between Fender and Marshall. I have both OD-100's and they're both great.
Hi Scott, thanks a lot for sharing your thoughts.. Love your music
What do you think was/is inside musicians like Hendrix and Coltrane that isn't in the regular musician, or do you think that whatever talent they had was just more developed than everyday folk?
Some people are just more naturally gifted than others. That's not to say a person that isn't as gifted can't work hard and become a great musician. People like Coltane and Hendrix were probably extremely gifted, and worked hard on top of that.
I'm really sorry if this is too personal, but I've heard from people that you're not the happiest of guys, why? You play guitar for a living, make your own music, while being artistically in control, you're way ahead of the pack of guys trying to do the same thing... I would be happy if I got to that stage...
I don't know why anyone would say that - I'm totally happy and feel very lucky to do what I do for a living. There have been times in the past that maybe I was in self-hate mode for not playing up to my own expectations, but I've learned that that attitude sure doesn't help.
Do you know a guitarist called Graeme (Graham) Marshall, who used to go to, and then taught in GIT around the mid 90's.. I gather you're not to hot with names, so.. he was scottish, brown hair, about 6ft... erm.. played an Ibanez.. I think.. Anyway, if you do remember him, do you class him as being a good guitarist, and good in the sense of one of the best.. and I know this is a long shot, but what did he do well, and not so well.. He is a huge fan of yours from what I gather, and was in your sessions a lot.. The reason I'm so interested is because I'm thinking of getting lessons with him, and if you so much as remember him, then I'll jump at the chance to learn a few things..
The name sounds familiar but it's been too long - sorry.
If someone wanted to collaberate with you, and they had written a song that wasn't harmonically complex, would you;
1. Tell them to fuck off
Of course not - I like a lot of music that isn't complex.
2. Do it and play simple (to a degree)
I'd try to play whatever fits the tune.
3. Do it on the conditions that they let you add in the region of 10 notes per chord
How come no other women I know will even attempt to listen to this kind of music.. I don't understand, do you think its a society thing, or do our brains work in different ways?
Loving it.. Thanks
I don't see it so much as man/woman, but more as musician/non musician. A lot of fans of jazz and fusion are musicians themselves - and fans of guitar driven jazz and fusion are more often guitar players. Who knows why, but the great majority of guitar players and airline pilots are men. Still, I think that most of the girls who were dragged to my gigs by their guitar player boyfriends had a good time too.
Have you heard John Mayer (esp. his new blues trio)? What do you think?
I like him - he's got good phrasing and tone.
Dream Theater's drummer, Mike Portnoy, has the last few years made a few coverband shows where he pays tribute to his influences. So far I think he have played a Beatles show at the Modern Drummer Festival, a Zeppelin show and he's about to pay tribute to The Who in June. I don't know if this is something that interests you, but it would surely be cool to see you emulate Page, Hendrix, Albert King or any of your influences. Have you thought about doing something like this?
I've learned solos by all those guys - you would have probably dug my cover bands in the 70's.
Are there any releases to expect from you in the near (or distant) future? I think you should include a Lucille-like song about your Suhr on your next album.
And uh... what about a biography? In book-form.
I'm working on new tunes now. I'm not sentimental about guitars - if I like a new one better, it goes on the tour. This message board is as close to a biography as I want to get.
just wondering if you know what is up with Joe Diorio lately. I am unable to find anything conclusive online. He had an awesome website a year or two ago, but now nothin. I know he was teaching at USC. Just thought you may know what he is up to musically.
Joe had a stroke and is now recovering, and I've heard he's doing better and better. Call the USC guitar department to get a more detailed update.
And..just thought I'd pass this along; I heard a ripping version of Spears by Shawn Lane on his myspace tribute page. Did you guys ever play together?
No, I just met him one time at GIT.
Hi Scott ! I went to your concert in Empoli to the Alchemist Pub. You were wonderful ! There is not much good music here, and your visit was fantastic ! Why did international stars, like you and your musicians, choose a little place like the Alchemist ?
Thanks for the autograph on my guitar academy card and sorry for my english
To me that's a funny question, since I don't consider myself an international star. I'd be pretty surprised if the Stones played the Alchemist Club but we play small clubs at least a couple times a week and they're our favorites - small and intimate, and the sound is usually better than theatres. In fact, so far the Alchemist club is the best sounding room of the tour.
Couple of gear/amp questions . . . I'm sorry, I know you're probably tired of these types of questions by now.
1st off, I'm also a graduate of Florida Atlantic University (Classical and Jazz Guitar Studies). One of my former jazz guitar instructors happened to be one of your early guitar students from Palm Beach (Charles Carey - absolutely one of the most knowledgeable and supportive guitar teachers I've ever had, not to mention one hell of a player - he truly kicks ass in everything he does - Charles also went to FAU, and then graduated from University of Miami . . . ALA Pat Metheny).
Okay, so first and foremost . . . Guitar Amps:
I've recently started seriously playing "Rock and Fusion" and I'm very inexperienced when it comes to amps (I'm just kinda use to my ES-175 and a small clean polytone type amp - for the Rock/Fusion I'm currently playing Les Pauls and Strats/Teles). Unfortunately most of the boutique and higher end amps I read about aren't readily available for me to try out around here in Tampa, FL (i.e. - Custom Audio OD-100 Classic, Fargen, ect). I'm wondering what amp you might recommend, which has a good "Super Reverb" type clean, and yet has a real singing overdriven lead tone, similar to yours, all capable of being played at somewhat lower band volumes without much tone loss.
I recently purchased a Fender 410 Deville, which has an okay clean tone, but it's overdriven lead tone is about as musical as a wet fart, and I can't play this amp above 3.5 (with a band) because it's just too damn loud (and it's only a 60 watt amp) - I'd love to be able to really crank the amp to get those tubes saturated, but I just can't or I blow the band away.
Charles Carey likes the Bogner Shiva, and I have been looking into the Fargen Bordeaux (though I don't have access to any around here) - any suggestions??? Perhaps I should just be using another kind of pedal for my lead and dirty rhythm tones (SD9)??? I have an Ibanez TS9, and I sometimes mix that with a DOD-308 for some articulation and tightness . . . works okay sometimes, but I do need something a bit more edgy and full - and at times I really like the Marshall Plexi or the Super Lead tone, but I just can't play the amp as loud as I'd need to in order to get that tone (again, I'd just blow away the band) - perhaps I should get an attenuator??? Does any of this make sense???
Anyhow, thanks so much for all your time . . .
- Ian C.T. vom Saal
Ps. Though I've read that you hate your tone on VTT, I actually really like your tone at the end of "Everglades" -- that's a great tune by the way.
I'm not the best one to ask about new amps - I'm not really an amp expert who's tried a lot of smaller boutique amps. I like the old Fender Super and Deluxe and have gotten great tones from those amps, both clean, and dirty with a pedal, and at a pretty low volume.
When you record an improvised solo do you try to approach it the same way as you would if you were playing live or do you have a "record mode" and a "live mode"? Live you sound like you are more "reckless" and on recording you play in a more ordered way(both ways sound great to me.)
That's because in the studio I usually fix my mistakes, and live you get what you get. I've had much less reckless nights than on the live album, but I'll do a better one someday.
When I hear you playing by yourself in clips it sounds like you have too much delay--- but then with the band it sounds perfect. Did it take you a while to find the right delay mix with the band? Does this mix change for different venues?
Thanks---I love your playing.
I have a wet/dry knob on the floor and I adjust it for different types of playing and different rooms. I don't always get it perfect and sometimes I'll ask the soundman if it's too wet or too dry in the PA.
Do you ever have to consiously limit yourself in terms of gear or practice?
example: you hear a really great bluegrass line that you want to learn but it would not relate to stuff you are currently working on so you don't work on it.
or you would like to experement with a les paul but it would take you too far away from the sounds that you are currently working with.
I am curious because, with only so much time, it must take allot of focus to get so good at one thing. You probobly have to make really specific choices about what to work on.
I've definitely blown off a lot of practice hours in favor of writing tunes, and practiced more on things that are directly related to what I do (I haven't learned very many polka or opera licks). Gear wise, if it'll make my guitar sound cool and different, I'll buy it if I can afford it. I'm sure I'll use every guitar I own (including a Les Paul) on the next record even though my main axe will always be the Suhr.
first of all I wanna say I'm a girl, Elisa (I red strange things about women and your music..)
I love the way you play, specially some blues impro you made in Spain and someone recorded and put on emule, they are now my Bible (but I have to work on jazz stuff a lot)
I'm attending an hard pop/rock class in Milano(Italy)hope to be strong enough to end it, becouse it fights with my creativity so much..
just wanted to ask you if you are coming in Italy somewhere making clinics or playing some blues, and eventually when thank you for being such
wish Music can live in you other 100 years
K. will be happy to know that there's actually another girl that listens to this kind of music. Thanks Elisa - there are some gigs in the second week of May close to Milano. They're on the touring page of my website.
I have never heard a jazzy sound from your guitar like wes montgomery or pat metheny sound, do you like these sound? Do you think that is possible to have this sound with a valves amplifier? I have some friends that tell me that is impossible to be a jazzy sound with a valves amplifier, is this true? I would like play jazz and blues/rock with the same amplifier but I don'i know if is possible, thanks!
Yes I love the tone of hollow bodies when it's done right, and those two guys definitely got it right. I think I got a pretty good tone on Stella on the Reality Check album - that's the only album where I used a hollow body. I borrowed a George Benson model from Ibanez and used the clean channel of my OD-100. So from my experience I'd say hollow bodies sound great in a good tube amp's clean channel, and then you've got the other channel to rock out.
hi Scott me again
in Rocket Science, in the piece called Song Holy Hall
I'd like to know your complete set up (guitar, pickups, effects, amp)
just for the curiosity to explain myself that miracle
Suhr guitar using the treble pickup which was a Seymour Duncan '59. guitar tone knob rolled down to 3, OD-100 amp on channel 2, and Fulltone Octafuzz.
do you use an E-bow or a volume pedal or the knob at the beginning?
do you use some fuzzer like an Octavia or what? maybe the octave sound is just an harmonic?
It's the Octafuzz but to get that sitar type sound, set the Octafuzz volume all the way up, the gain all the way down (that's the typical setting for the Tycobre Octavia and all it's clones), and pick as close to the bridge as possible.
do you use any ring modulator and what one?
The Moogerfooger - it's the best ring mod I've heard.
you play often with fingers rather than with the pick there, don't you?
Yes, to get the fattest tone use your fingers. I do that most of time for melodies, but when I'm improvising I use a pick because I'm not good enough with my fingers for faster stuff.
I think that piece of Music is a kind of that magic wich only few times in a life happen, no enough english words to define it, and the better sound I've ever heard in my life.
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