Joined: 14 May 2004 Posts: 277 Location: Boulder, CO
Posted: Wed Feb 21, 2007 12:01 am Post subject: Scott answers your questions - round 34 - 2/20/07
Hi Mr. Henderson...
I wonder...will you EVER come to Norway again?
Yes, we're playing in Arendal at the Canal Street Festival on July 27.
Have you ever tried Hamer guitars...if so what do you think of them?
I've never tried them.
I've just ordered a Suhr tele...much the same as your setup,but different neckshape..I'm soo looking forward to play it...Do you use Tele a lot?
I love my Tele - I haven't used it much live but I've recorded a few times with it and it sounds huge. Strats are great but the tremelo bridge takes some meat away and I really hear that after playing the Tele.
What country guitarists do you admire the most?
Jerry Douglas is amazing. Johnny Highland is great too, and my old buddy Steve Trovato plays incredible country guitar.
Why did Kirk get the boot?
A lot of questions here...Hope you have the chance to answer..Pardon my
I'm a huge fan of yours (like everyone on this site) and agree 100% with your description of the music industry in America (more specifically what gets airtime and what doesn't) versus that in Europe and South America, where people are more open to what you do (I'm referring to the various interviews with you that are posted online).
Will you ever visit Seattle, WA, Vancouver, BC (they do have the annual international jazz festival in the summer), or anywhere else in the vicinity of Washington state? I'm sure all of your fans in the northwest are just as eager as I am to see you live.
I'm looking into doing some touring in the states this year so all I can say at this point is that I'll try my best to make it happen.
One unrelated question: Of all the Tribal Tech albums out there, which is your favorite (or maybe you have multiple favorites)?
I don't really have a favorite - I don't listen to myself that much.
Finally, I recently purchased Tore Down House, and I was wondering if you noticed there is a slight high pitched background tone on the title track. I'm guessing it has something to do with the guitar track. Anyway, I 'm not trying to be critical or anything. I just thought you might have some funny story about it or something.
Yes, it's on the guitar track - I turned the amp up too loud for the Vintage 30 speakers and that's the sound they make when they get stressed. It's the reason I don't use those speakers anymore.
Thanks again for making yourself available to us by answering questions. LOVE LOVE LOVE your tone, your playing....very inspiring to say the least.
So.........new guitar amp huh? You realize that there's a bunch of people questioning their OD100 amps thinking that if you don't use it anymore that there's something wrong with them. I too thought that for a bit but then realized I LOVE my sound from the OD100SH/SE and your tone on the live cd pretty much kicks ass and that too was channel 1 of the OD100 if I am not mistaken.....I'd love to hear your thoughts on the new amp but also what you liked or disliked about your OD100 and then the OD100 classic. I believe you also had John disable one of the channels that you weren't using and I was wondering why...in descriptive terms if possible.
I still have my OD100 and OD100 Classic and I love them both. With pedals, I just prefer the sound of channel 2 in crunch mode over channel 1. The main reason for the switch to the Suhr amp was because I needed a lighter amp for the road. The airline industry passed a new regulation in October 2006 - anything over 70 pounds can't be checked in as luggage. Anything over 50 you pay extra for, but anything over 70 doesn't get on the plane, period. I almost had to leave my OD100 in Puerto Rico, and I just lucked out that the pilot was a music fan. I hadn't been using the clean channel anymore, so it made sense to do a one channel amp, and it has an aluminum chassis - in the A&S road case it's only 63 pounds.
I was also curious to know if there have been any more progress with a transcription book of your stuff. I'd LOVE to see some tabs of the live cd!!! Hell, you could tab the stuff yourself and make copies to sell to the general public........
As always, God bless and have a great year!!
There's a new book of the blues stuff coming out soon from Hal Leonard.
No gigs in Germany or Holland ??
If you play in Holland you could also do a workshop at the "Institute for the arts" in Arnhem, and earn some big extra money
If I can do something or organize something for you, just tell me !!
I'm probably able to do it..
Have a good time !
Your Slidin' into Charlisa reminds me a bit the singing line of Patto's "Flat Footed Woman" (just a few seconds, don't worry )
You can hear it here http://www.olliehalsall.co.uk/rollemsmokem.htm
Do you know them? And in particular their extraordinaire guitarist Ollie Halsall?
If you don't know them, let me know if you're interested to receive their music, Patto was an english rock band of the first seventies.
Yes I've heard him and I've also heard Holdsworth mention him in some interviews. He played some great stuff.
Thanks for being you!
Have you ever been to Las Vegas and or would you consider performing here?
I've been talking to the "Dive Bar" so hopefully sometime soon.
I was thinking the other day that my wife is a "Cat Person" and I'm a "Dog Person". I value a dog's loyalty whereas my wife thinks it's dependence or stupidity that motivates dogs.. as an owner of many dogs, what's your take on it.
Them's fightin' words... I don't see too many cats sniffing out criminals or doing amazing tricks like riding on skateboards. Get a divorce. (just kidding)
Heey Scott, i was very excited when i read you were coming to holland again! Looking forward to it!
I was wondering what cab do you use with your new amp? Still CAA 4x12? Do you still use the bogner 4x10 sometimes?
I still use the CAA 4x12, straight cab in the studio and slant for the stage. I still use the 4x10 for recording.
What do you think of the OD-100 Classic+?
I've never heard it - I don't really need an amp with more gain.
I noticed you don't have a power suply for your pedals, so i assume you use bateries? Do you have a particular reason for that?
BTW your little guitarlesson for fpe on youtube was very interesting, it gave a lot of ideas!
For distortion pedals, batteries sound better than power supplies, except alkaline batteries which sound even worse. The ones I like are the cheap Eveready's with the cat jumping through the 9 on them. See, cats are good for something.
This risks getting into your personal life, which is not the intention, but here goes: Can you explain something behind the reasons for the break from Kirk? I'll miss his laid back style, and humour. He's a huge character, and will be missed by your fans as he was a big part of the live experience.
Jb from argentina once again!
The truth will come out some day, i know it.... meanwhile i`ll bother you with stupid cuestions...
I have about 7 pedals on my rig and i like my sound, but if i plug the guitar straight to the amp i have a better sound, so, what should i do? get pre amp or something? The Wha is modified with true bypass, the others are Boss pedals(Blues driver, Cs-2, DD-3, Dm2, Super chorus) and a ProCo Rat.
Sorry to tell you this but those Boss pedals are ruining your tone. You can find true bypass pedals that do the same things. I love a lot of the Boss pedals used one at a time for recording, but when you chain through a bunch of them, you got problems. Another option would be to get one of those pedal loopers where you leave the pedals on and control the loops.
Wich where your favorite Rock covers to play back in your cover band days? give me a Top 5!
Tush, Gimme Three Steps, Rock n' Roll Hoochie Koo, Brown Sugar, Walk This Way.
I want sound more "Out" on an A7 blues context, for example, what do you recomend? i know that you posted before, but i`ve been through the 33 rounds and i can`t remember...
You're the poster child for the diminished scale. You have endless transcribing ahead of you.
My stepfather used to play guitar and compose a lot while he`s in the bathroom taking a dump.. thats a great technique! have you ever tryed it?
No, but I believe it was Dizzy Gillespie that said taking a dump right before a gig will make you play better.
I am really stoked to see Alan Hertz playing/touring with you. Not that I had anything against Kirk, he is awesome. But hey, sometimes things change. Is Alan going to tour with you again or on a regular basis?Or are you going to have to do the old, "Whichever pro level drummer that fits the trio, and is around, and has an open schedule type of thing?"
Juggling band members is a reality that most bands face almost every time they tour.
Alan's on the next two tours and I hope he'll keep doing the gig cause we love his playing. I don't like to change band members, it's a pain in the ass. We played at the Baked Potato the other night for the first time with Alan, and all my musician friends really dug his playing and told me that the band sounds really musical. Alan's got chops but he uses them in a tasteful way - he puts more energy into creating cool grooves than into destroying them with million note fills every eight bars. He's also a recording engineer, and what really impressed me is that on our South America tour he was playing a different kit every night and he managed to tune every one of them to sound better than some guy's own kits. Especially the snare - his sound is fat and ballsy, not high pitched and pingy. I hate that type of snare sound. Some drummers feel that their snare should "crack", which I guess makes them think it cuts through the mix, but in reality all it does is give people a fucking headache. So, we're stoked to have Alan playing with us. He's a nice guy, super professional, so if he says he's gonna be somewhere, you can count on it. And he hasn't been banned from ever playing at the Baked Potato again. I like that in a drummer.
How you obtain that long sustain note?
Just out of curiosity, when you get your guitar and you decide to study, no practicing but study, move forward in your knowlage what is that you study, like the Ted Greene lesson you did what was that lesson like, what did you guys talk about.
I like to transcribe stuff, either great saxophone solos, or compositions that I like. In my lesson with Ted, he just played a lot which is what I asked him to do. I have enough on that tape to keep me busy for a long time.
When your soloing over jazz or fusion, at what point do you just drop the scales and play off the cuff or play chromatic ideas/unrelative notes while sticking to the position of the respective key? Thanks!
I try not to think at all when I play. In any language, you learn the words well enough that you don't think about them when you talk, you just think about what you want to say.
Besides all your blues and rock vocabulary,self taught and transcription work, what kind of guitar and/or music stuff did you learn studying and/or jamming with players like Pat Martino, Joe pass,Joe Diorio?... I mean deep concepts or ways of thinkin' or hearing that maybe made improvements or important changes in the way you improvise or make music with the instrument.
Hi Ignacio, to be honest I learned more from just transcribing their solos than I did from them as teachers. As I remember, none of those guys talked very much, they just played and I always had my tape recorder ready.
Do you have in mind play with your tele in some gigs?
Thanksˇˇˇˇ Ignacio from Santiago, Chile.
It's pretty hard for me to carry around two guitars on the road, so probably not.
Michael Brecker passed away. Big shock...
According to previous message and old interviews I've read,
I guess you digged into transcription of him at a certain point of your life.
Could you please share any stories, experiences, emotions?
How was the recording of Rob whitlock's Sketchin' and Sketchin'2 ?
Did you play togother or overdubbed? (Sorry for nosing into.)
I never met him, he overdubbed on Rob's record. I saw him play many times and he was always amazing. I always looked forward to hearing new albums from him - it's really sad that he's gone.
I was just wondering if there's any possibility that you might go to Sweden during the European tour?
From what i gather, Fasching (in Stockholm) seems to be an ok place to play at, since it is as established as it is.
Myself, and a lot of other people i know who enjoy good music would of course jump through the roof in joy if there was such a possibility.
//Erik from Sweden
I've played at Fasching many times and I love that club, but unfortunately we're not playing there on the spring tour.
Thanks again for doing this every month... so cool of you.
Have you tried the Gotoh GE101 yet?
Is that the one that's supposed to be a copy of the vintage Fender bridge? If so I've heard John talk about it but I haven't seen one yet.
It's kind of refreshing to see that you've downsized and simplified your effects setup and are going into a single channel of an amp. I suppose at some point you figure out what order effects work the best and it's probably more organic to work this way.
After removing the Bradshaw switching unit, do you find yourself doing the stomp box tap dance?
On a few songs, but I manage. My back feels a lot better though.
The Custom Audio one channel line mixer - is that there to provide a parallel effects loop where only a serial loop exists or?
Yes, the Boss SE-70 is a real tone ruiner if the dry sound goes through it. I set all the patches to 100% wet since the dry sound goes through the mixer.
With the single channel amp, how is the gain and tone set to allow for lead and clean tones? It's been my experience that setting an amp for a good clean sound is not always the best for overdrive pedals, where you might want to have a slightly darker setting.
When I turn the guitar down to about 5 it cleans up, but I don't have a clean sound like in a two channel amp. My amp is on permanent crunch mode.
btw: I miss the history and opinion of gear information stuff which was taken off the web site - you should have warned us, so we could archive it for ourselves. The detail and your look down memory lane of what worked and what didn't was informative and entertaining.
No problem, we'll put it back up.
Great seeing you at NAMM!
My question is, which booth had the best "talent"? Dean? Schecter? Diamond? Personally I thought Diamond was a standout
I agree, the talent at the Diamond booth was standing out pretty far! Looked to be way over 36 inches!
I would like to ask you if you use a power attenuator (hot plate, load box) in your amp to receive the max amount of tubes distortion.
Several years ago i saw you live at Lavelee and you played with the Custom Audio OD 100w head i think. I mean in a such small place you have to have the output of the 100w tube amp at most to 2!!!
So if you use, which one? Allan Holdsworth use to have in the past Rocktron Juice Extractor and then his personal made Harness.
I'm not a fan of those things - they compress too much and the dynamics of the picking are lost.
Last time you mentioned that altering the strat's volume so that it retains treble when you turn down messes up the guitar's tone. Does it mess it up with the volume all the way up, or only when you turn the volume down?
Only when you turn down, but for me that's all the time since I like the tone better with the volume on 9. Hey that's a good first verse... too bad my lyric writing career is over.
2 quick Qs: Guitar finishes---poly vs. nitrocellulose--any effect on tone, and if so, what?
I'm sure there's an effect on the tone, and according to John the thinnest possible coat of paint the better, but I forget which of the two is the thinner one.
You heard the Electro Harmonix English Muffin...if so, thoughts?
Sounds delicious but I haven't heard it yet - I'm due for a trip to True Tone Music.
Have u some trouble with Rio?It was the second time that u came to Brazil
And you don´t come here.Some problem with"the girl from ipanema"?
My best regards
No, she's hot! I guess the people booking the tour didn't get an offer from Rio - sorry!
I've heard from several sources that your recent gigs in quartet format were very good, and unlike any previous stuff you have done. Is there any plans for a recording, or better still, a DVD?
I play in two quartets, one is Scott Kinsey's band playing his original music, and one group playing only at La Ve Lee with Steve Tavaglione jamming and playing standards. Kinsey will do a new album but he'll probably use a lot of different musicians like on his first one, and we've talked about recording the other group, but who knows if it'll actually happen.
Asked you a question regarding the "contemporary/modern" jazz guys like Rosenwinkel, Brecker, etc and how they play over standards. You said, "transcribe them and I bet they are playing similar vocabulary on ii-V's, etc. as Coltrane, Davis, Shorter, etc." You of course were right. Transcribed and printed some transcriptions of Brecker and he was using similar vocabulary as the greats, twisted his own way of course but similar.
Listened to much Kenny Garrett? He is a BAD MOTHERFUCKER of a sax player. Great tone, great lines, cool harmony, great feel!
I haven't listened to him as much as others, but I agree he's a bad dude.
- Do you dig Benson? (the player with the HUGE ear, Great feel and tone
of course and not the smooth jazz/pop dude. Although he can sing his ass off as well.)
I'm a big George Benson fan, and I studied his playing a lot in college. I had to play a Jean-Luc Ponty tune live that George had recorded on - it was a challenge to play anything as good as he did on those changes.
- In transcribing and through observation I have noticed that many devices (superimposed pentatonics, superimposed triads, scales from different roots, etc.) yeild virtually the same harmony. When playing jazz, either changes or modal, do you find yourself "thinking" to use a particular device to get the harmony you hear in your head out?
I'm aware of the tools I can use when I play, but if I find myself thinking about them while I'm playing, then something's gone wrong. It's better for me to just play without thinking and hope that my practicing and studying pays off.
I know I do sometimes, however lately I have taken to playing the changes and getting them in my head and then I wont even look at them again, instead letting my ear guide me. I know Benson and others do this all the time.
Any thoughts on doing this?
I got a hunch that's what many of the greats often did after getting the language down.
[quote] I think letting your ears guide you is the best, and I've always felt that I play better when I know the changes instead of reading them. I haven't memorized that many standards, but I know this from memorizing many changes of my own. [quote]
Heey scott, great to see you'll be back in europe again i'll be there!
I have a question: how much of an influence has Jeff Beck been too you? As an example: he uses his tremolo bar very much the same way you do
btw thanks for teh FPe Tv lesson on you tube, it was very good
I've been listening to Jeff Beck since I was 15, so it would be surprising if his influence didn't show in my playing. I respect him very much - he stayed away from drugs and I believe that contributed to the fact that he's the only one of the ultra famous rock guitarists from his generation that's still playing his ass off, even better than back then.
Is there any way (if you can find the time) to put up just like a quick mp3 on the internet somewhere of you guys playing with Alan? Anything? I am dying to hear some of the new stuff, as I have been a fan of his for quite some time now. His fans are used to having a lot more access to his music, but I totally understand that you do not operate that way...yet. If you are seriously considering finding an entity that distributes artists live music, you should contact these folks...
DSBD.net Or Digitalsoundboard.net. Or
Those are all links to the same place. I just thought that if I put three different ones down, one may stick in your mind a little longer. I think I speak for all of us when I say that we (your fanbase) would definitely love to buy your live shows. If you are recording them anyway, you might as well make some money off of them, right? Please, just think about it, Mmkay?
We don't record the shows - if we did, we'd find a way to sell them for sure. On the road there's usually barely enough time to soundcheck and eat dinner - no time for setting up do do a decent sounding recording.
I recently got a QY100 and I am about 1/3 of the way through the manual. How deep do you go into it when you are using it to jam or to compose? Do you simply use the preset grooves and enter in chords and voicings and build from there measure by measure, or do use some or all of the available 16 tracks and really build from the ground up....and do you plug into a real midi keyboard for composition?
For simple tunes like standards, I just use the preset grooves and enter the changes. For more complex tunes where I need my own grooves and bass lines, I write them on the computer (Mac, Digital Performer, Oxygen 8 midi keyboard) and then dump the sequence into the QY. It's much easier for me to write with DP since that's what I use for composing and tracking.
You have any thoughts on the Marshall silver jubilees? After reading one of your posts on Bonamassa, I went to check him out and he was leaning primarily on one of them----sounded pretty amazing.
He gets a great tone - I've never played through those amps but I've heard that they're the best sounding of the modern Marshalls. I'm still sold on the older ones for my type of tone.
Greetings from Moscow, Scott!
I've been your biggest fan here since I first heard Illicit and Face First when it was released. Love your blues albums even more. Thank you very much for what you do and all the tips you give! A few of your tips gave me more than 4 years in the best jazz colledge of Russia!
Actually, was gonna ask if there's any chance to see you playing here 'cos I thought Russia is a bit shocking for foreigners and also jazz is not very popular here, to say the least. Checked your site and what a surprise - you're coming to Moscow for the second time, unbelievable! Couldn't get to your gigs last time but certainly not gonna miss these ones! Look, if there is any help I can give you here, I'd be very happy!. I mean, any help, I'm ready to be your guide, interpreter (my english is not bad - learned from my english and american buddies) help carrying the gear. I could give you some hand in case you're going to record your gig at Forte - I'm a sound engineer for a TV and film production/post production company here. So if you need anything just let me know and I don't mean getting paid for that, of course. my email is email@example.com. Cell number is +7-903-160-3418. Would be happy to hear from you!
Actually this will be the 5th time we've played at the Forte club in Moscow. We're good friends with the staff there so we have all the help we need, but thanks anyway for the offer! See you soon!
Hi ! got a few questiosns :
Could you write some informations about your gear when You were using Mesa Boogie (for example on TT'Tribal Tech' recording)about effects, processors, speakers ?
Studio Preamp, 290 Power Amp, Marshall cab with EV 100 watt speakers, no pedals.
And what Do you think about using Mesa Studio preamp (which i love) with some combo (i think it sounds not bad with some fender amps)
I never tried that.
Have You ever tried Korg a2/a3 processor?
have You tried Ibanez Frank Gambale model (fgm400)?
I never liked any of the Ibanez solid body guitars. I liked the one that Mace Bailey made for me, but it wasn't an Ibanez at all, it was a custom made strat copy with my specs, pickups, and bridge. Ibanez was just the name on the headstock. They never made anything remotely like it for sale to the public, but they wanted to sell this other guitar as my model, which I thought was a pretty shitty endorsement policy. That's why I bailed - thank goodness for John Suhr.
Landau and OHM have been playing the “Dive Bar” and getting a great crowd I have been to almost every show. Please make the trip I will drag everyone I can to all your shows. After they see you they will be dragging all the people they know.
Kinsey would be perfect for that place too, half the people here in Vegas are from NY or LA.
Thanks for the response I will be checking there calendar to rally the troops!!!
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