Joined: 14 May 2004
Location: Boulder, CO
|Posted: Fri Sep 10, 2010 5:47 pm Post subject: Scott answers your questions - round 2.11 - 9/10/10
| I'm starting to get busier with the Tribal Tech album and also Scott Kinsey's new album. I don't want you to have to wait such a long time for answers so I'll be posting more often in the future, maybe every five questions or so.
1) thanks for your music, you're one of my favorite voices in music and inspiration.
2) totally agree with you about religion thing. well said (btw love link in your image section on your website ((Louis CK learns about the Catholic Church))
| Yeah, that video is really funny - great casting for the priest. |
1. i play (or at least try) straight ahead jazz with pretty classical jazz tone, but not have too much experience in studio (and all times i was recording i wasn't happy with my sound - but studio and engeeners were not pro too imo). i know you have great knowledge and experience about sound and recording so if you could share some global tips about recording guitar would be great
| In general, to get the tone you want in the studio, you need to be happy with your live tone first. If you are, then it's just a matter of listening to your live sound and trying to re-create that sound as it comes out of the studio monitors. I don't like listening in headphones while I'm playing - it isn't often the same tone I hear on playback through the monitors. I'd rather have my amp head in the control room, cabinet in the recording room, and listen through the monitors. The mic makes a huge difference - if your tone is fairly dark and you use big strings, you can probably use a Shure 57, which is the favorite mic of many guitarists. If you use thin strings, you can make the tone fatter with a Neumann U87. Place the mic about an inch away from the cabinet's grill cloth and start by putting it where the paper meets the cone. If it's too bright, move it towards the paper, and vice versa.
Here are some things to watch out for which will harm your tone:
Running through unused pedals (especially non true bypass ones)
Speaker cable that's too long (over 50 feet)
Cheap mic preamp (the most common problem)
Bad sounding recording room (too small, hard surfaces, oddly shaped, etc.)
2. What is this record on your website called 'to sam ja' "Aki Rahimovski" its first time i heard you play something like that, and honestly first thing i don't like too much that is signed by your name (maybe early jeff berlin songs are very... old school fusion:) but i Love your solos from there) but this is new to me (ok sound is still killing)
| Contrary to what I'm known for, I do pop sessions too. Jazz fusion isn't doing a great job of putting my kid through school - that session was for a Croatian singer. |
i forgot last question...
3. What's your favorite character in family guy?
Thanks for answers and mainly for music, hope to see you in Poland again (with your own band this time:> couse i can't wait to hear new Tribal Tech stuff)
| Stewie, and I'm a big fan of his role as Darth Vader. Whoever arranged the Death Star tune as an elevator Bossa nova should win a Grammy. Brian also kills me, especially when he (despite his intellect) can't help being a dog. I hate to sound like a TV junkie, but I'm totally addicted to Breaking Bad - that and Family Guy are my favorite current shows. |
I hope you like it
No questions here - I just felt compelled to thank you for your willingness to speak out about Scientology in particular and some of the abuses inherent in organized religion in general. I can personally vouch for the fact that Scientology is one of the creepiest, most mindless forms of group-think ever conceived. In the early 80s, I dated this chick whose dad was essentially L. Ron Hubbard's right-hand man. Long story short, her folks mounted a full court press to convert me - literally on the first day we met. When they realized I wasn't having any, they proceeded to strong arm their daughter into severing all ties with me. At any rate, I felt personally vindicated by many of your remarks on these subjects, and I just wanted to say "thanks!"
It's inspiring to know there are great artists who have survived this sort of oppressive crap and have gone on to thrive and succeed at doing what they love.
Keep taking no prisoners, and I look forward to the forthcoming TT record.
| Thanks, I really appreciate your letter. I'm not some kind of crusader against religion, but I'm openly against Scientology and I do my best to warn people about this ruthless and dangerous scam. Scientology charges big money to deliver the completely nonsensical teachings of a known con artist and felon, and has the audacity to call itself a religion. It's more like a group of very expensive psychiatrists who are all quacks. It lures it's victims in by using a very simple but tried and true method called "bait and switch". This con has been used for ages by corrupt salesmen, politicians, and everyone else who practices fraud.
This is how the con works in the case of Scientology: You start out by taking a personality test, after which you're told about all the things that are wrong with you, then told that these problems can be fixed with Scientology. That's the "bait", but then you're asked for money to take courses which consist of dangerous and unprofessionally applied psychotherapy designed to weaken your mind so you'll accept without question what they're going to tell you next. You pay more and more money to continue through many levels, all the while, you're being told that the top levels hold great and powerful secret lessons, which you can learn after you've paid from tens to hundreds of thousands of dollars.
How much money you're able to spend determines how quickly you proceed, and once you've been bilked out of all that money and reach the top levels, it's time for the "switch" - you learn the big secrets, like the badly written science fiction story of Xenu the space alien, a story so ridiculous that no one who's capable of reasonable thought would ever believe it. But at this point, you can't think reasonably anymore because you've been so thoroughly brainwashed that you'll believe anything they tell you. To see the nonsense that Scientologists actually believe, watch this South Park episode.
or check this page:
The crap that these poor people have swallowed is more comical than the worst episode of Star Trek: The Next Generation. Hubbard was an excellent con man, but an extremely shitty science fiction writer. Still, I have to admit, it's a great idea to scam people out of their money if you have no morals at all.
Scientology also says that members who pass into the highest levels of the church attain superhuman strength and mental abilities. You would think they'd want to prove that by allowing these people to win some Olympic gold, or predict earthquakes, but of course it's just a fairy tale. The only thing they've been able to produce is a few talented actors and musicians, and of course there are many better ones who aren't Scientologists.
Tobacco companies have used movie stars for many years to make smoking look attractive, so the existence of the Scientology Celebrity Center is no surprise. Mixing with the rich and famous is COS's most effective advertisement to attract new marks. Ever seen a Muslim or Baptist Celebrity Center? The COS treats celebrities like royalty, so the stars have no complaints, but there are tens of thousands of "minions", working their asses off in tiny cubicles day and night for little or no money, just for the opportunity to take more brainwashing classes and work their way slowly up the ladder, a process which will take them a hundred times longer to achieve than their rich celebrity counterparts. These are the poor victims and their families you don't hear about in the news. If I can prevent just one person from being conned by this vicious, greedy cult, I'll feel like I lived a worthy life.
Brainwashing isn't illegal, but there is a criminal aspect of Scientology, and their partner in crime is the IRS. The Church Of Scientology doesn't pay a penny in taxes. Instead, the money which should go to our country goes to pay COS's biggest overhead and most needed weapon - a gigantic network of high priced lawyers. In this country, that's a powerful line of defense, OJ Simpson being the perfect example. COS clearly isn't a religion by anyone's definition, and is considered a purely business for profit organization everywhere else in the world, except in the US, where the IRS gives it tax exempt status as a religion. This is possibly one of the most blatant cases of injustice perpetrated on the American people in history by the IRS and US Department Of Justice. According to legal experts, COS attained their tax exempt status in 1993, after infiltrating the IRS, blackmailing their top officials, and filing thousands of lawsuits against them until the head of the IRS finally gave in, a decision which without question was in violation of the Constitution Of The United States. How could this happen? Can we do something about it? Everything you need to know is here.
Just curious how the phone conversation with Miles went, how'd he get your name ... did you 2 actually talk one-on-one for a bit (about anything interesting ie. music) or was it pretty brief & straight-forward.. ? Do you ever look back and regret not taking that gig?
| I don't regret passing up the gig, because I don't think I would have been happy there. After Chick's gig, I became a lot more careful about my decisions in that area. My conversation with Miles was brief, but he did say he dug my playing and wanted to play some of my tunes from the Spears album, so I was pretty happy about that. Robben Ford was leaving the band and recommended his long time friend Don Mock, who didn't want the gig either. Don recommended me, so that's how Miles heard me and got my number. |
And how did you land the gig with Zawinul, was there a lengthy audition process etc? ... and outside of Joe's work on Weather Report, Miles, & the stuff you recorded with him (lot right there I know) ... is there anything missing that you recommend to people who aren't that familiar with his output beyond that stuff?
| Joe heard me play when I was in Jeff Berlin's band. I guess he came to see Jeff play as a possible replacement for Jaco. Years later when Weather Report broke up, a friend of mine who was doing tech work for Joe reminded him about me and got me a meeting with him. We just jammed together for awhile and I got the dream gig of my life. The main thing about Joe's career that you missed is his work with the great Cannonball Adderley. It was that band which made Joe's tune "Mercy, Mercy" a hit. Some trivia - they had a short cameo appearance in the Clint Eastwood film "Play Misty For Me", playing at the Monterey Jazz Festival. What amazes me is listening to Joe's first solo records when he was playing very traditional bebop, and then to Cannonball's band when he was playing a mix of jazz, blues, and R&B. He sounded great back then, but no one would ever expect that he would become the truly genius composer and innovative synthesizer master who would take the style of electric jazz to it's highest level to date. He, along with Wayne Shorter and various versions of Weather Report, set the bar so high that in my opinion no other group of musicians in that idiom have even come close to that level of greatness. |
I stumbled across this board after reading that crazy/entertaining thread on the Gambale message board (I'm sure you know the one). It's very cool that you answer fan questions, as it gives us fans a chance to get to know you and your personality (great sense of humor BTW). Having read all of the other FAQs i think it is so cool and refreshing to see a musician in this idiom who is totally open minded with regards to other forms of music (I almost fell out of my chair when i read that Steve Tavaglione turned you onto Meshuggah! That's too awesome). If you dig Meshuggah, you might want to check out a group called Zu. Just imagine If Meshuggah had a baritone saxophonist instead of guitar (sort of). Also, Check out Animals As Leaders, they're an instrumental jazz/metal hybrid that you might like (8 string guitars like Meshuggah). If you dig hiphop, check out Q-Tip (Rosenwinkel has collaborated with him).
I have two questions:
1) I know you mentioned that you dig prog rock (Gentle Giant and others) and i was wondering, have you've ever checked out The Mars Volta? what do you think of them? definite KingCrimson/Zepplin influences
| I don't know the bands you mentioned, but thanks for the info! I'll check them out when I have time. |
2) Also, have you ever seen "Curb your enthusiasm" or "It's always sunny in Philadelphia"?, both excellent TV shows in my opinion (i know you like your comedies).
Hope you can get to Toronto so I can see you play sometime
Thanks for the music Scott! keep it coming.
| I haven't seen the 2nd one, but Curb Your Enthusiasm is great. I try to catch it whenever I can. |
first, how do you set up your Hot Rod deluxe, no bass like on your Suhr? Still got the Celestion G12H65 on it?
Any infos from you on speakers models in general would be great.
| volume 4 treble 5 bass 1 mid 5 presence 12
I still use the G12H65. I've tried a lot of speakers, but my favorite is still the Greenback (see 2.10). It's not enough wattage for a combo amp, so I use the 65 which also sounds great.
I'm sorry but I'm confused, you said :
The string tension is determined by the height of the bridge saddles. The higher the saddles, the easier it is to bend the strings. It has to do with the angle of the string as it's bent over the saddle, and the downward tension on the bridge. Unfortunately, this adjustment can only be made by tilting the neck. If you want the saddles higher, the neck slot on the guitar has to be sanded down a little at the top, so that the neck tilts back slightly more and you can raise the saddles. I'd recommend sending the guitar to John for this adjustment - I wouldn't trust anyone else to do it. If the saddle screws are sticking out, the saddles are too low - I have mine set so that the screw tops are approximately flush with the top of the saddles.
If there's not enough downward tension, when you bend a string it can move on the saddle, and the extra wear can cause the string to break more often. Also the bridge doesn't stay in tune as well when using the bar. I think more downward tension on the saddles makes the guitar sound better, sustain better, and stay in tune better too. If you raise the saddles, don't forget to raise your pickups so they're the same distance from the strings as they were.
in 2.7 :
About the string tension, that has to do with the saddle height. Raising up the bridge and lowering the saddles will decrease the string tension, and the opposite will increase the string tension. The down side of having low saddles is that the strings can actually move slightly on the saddle when bending, causing them to wear down and break more often.
I want my Suhr to be easier to bend and to play...could you clear it up? i really missed something.
thanks a lot !
| I looked in 2.7 and couldn't find that post. I've been using the Fender Vintage bridge for years, so the only reason I'd say "raise up the bridge" is if I was using the Gohto two post bridge, so that post has to be from a long time ago. I looked into the archives at post 27 but it wasn't there either. Anyway, I am soooooooo sorry! Wherever that post is, it's a total fuck up on my part. It should read: Raising up the bridge and lowering the saddles will increase the string tension, and the opposite will decrease the string tension. I'm sorry again for the mistake!!!
Raising the saddles will make the strings easier to bend, but if you use a Fender six screw bridge which doesn't move up and down, the only way to raise the saddles is by getting a neck adjustment.