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Scott answers your questions - round 2.17 - 11/3/10

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StarShip Captain

Joined: 14 May 2004
Posts: 278
Location: Boulder, CO

PostPosted: Wed Nov 03, 2010 7:08 pm    Post subject: Scott answers your questions - round 2.17 - 11/3/10 Reply with quote

Scott what theory essentials do you think need to be learned before one can transcribe complicated stuff and understand it, and just in general grow musically? I'm looking forward to your lessons by the way!

Learn the different chord types and their extensions, the modes of the major and melodic minor scales, diminished and augmented scales, uses of the pentatonic scale, and uses of triads over all the chord types. A good private teacher can show you all that stuff in a couple lessons. Also, realize that all improvisers use chromaticism to some extent, so be prepared to hear some passing tones that don't belong to the above tools.

Scott, can you give us the list of songs you play with berlin and chambers?
Argentina is waiting for you!

Can't wait to get down there! We're not sure about the song list yet, but we're considering:

Highway To Hell
All The Single Ladies
Rocket Man
Whipping Post
Laughter In The Rain
Poker Face
Sweet Caroline
Stayin' Alive
Highway Star
Lookin' Out My Back Door
Star Wars Death Star Theme
Great Balls Of Fire
Chim Chim Cher-Ee
Dust In The Wind
Super Freak
Rock Around The Clock
Part Of Your World
Monster Mash
Close To The Edge

It's a long list, I could go on…

have you heard of david bray amps?he's supposed to be making some fat ass amps! cheers

No, but I went on his web site and thought the clips sounded good, though generic and not very diverse. I can't tell if his amps could deliver what I need for my personal sound based on hearing those clips. I'm sure his amps are more versatile than he's making them sound - he should think about hiring some guys who play other styles to make some clips for him too. I found this quote: "On any amp that I build or perform a Mod/Rework on, I record a soundclip of your amp and send it to you to hear, prior to shipping, to make sure it is exactly what you want." I thought that was kind of weird, since anyone who knows tone would never judge an amp from hearing one sound clip made by one person. There are too many variables, like speakers, amp settings, guitar, pickups, microphone, mic placement, mic preamp and room acoustics. How do you know the tone in the player's fingers is anything like yours? These factors can make an amp sound a thousand different ways, so a sound clip means absolutely nothing unless he records the amp with the same exact gear, settings, environment, and playing style as yours. His recording could be a million miles away from what you hear when you fire the amp up at your gig. I'm not saying anything negative about his amps, but the sound clip offer doesn't make much sense to me.

The downside of boutique gear is that you can't often hear it at your local store. I've heard a lot of boutique amps because my friend Steve Snider has brought quite a few of them over to my studio. These were well known amps with great reviews from the guitar magazines. Some of them sounded good, but some really sucked. I don't mean sucked for my particular style, I mean thin sounding, harsh treble, no bass, noisy - that kind of sucked. After hearing my OD-100 and '71 Marshall blow away amp after amp, Steve bought an OD-100 and I don't think he's on the boutique amp trail anymore. I learned something from that - never trust a magazine review. Obviously there are reviewers who don't know what they're talking about, or they're being paid to say good things about bad amps. Before sound clips and reviews seduce you into ordering an amp you've never played, make sure there's a good return policy.

Hi Scott,
I know you are coming to South America(world jazz circuit) , will you come to Peru? do you know the days? Thanks!

Unfortunately, the shows in Peru, Dominican Republic, and Columbia were cancelled. I'm bummed about it because I was looking forward to seeing some friends in Columbia, and I've never been to Peru or Dominican Republic and was looking forward to visiting. Sorry, hopefully next time!

Hey Scott

You mentioned spending some time with the Badger 18 for recording at home - I love mine, though I've found the gain control a bit sensitive while using it with pedals. How do you run it on yours? Do you use the same SD9/RC Booster settings as you would with say the SH100? Do you run the Drive a little higher than the Power at lower volumes?

I set the pedals the same, volume all the way up and gain around 2 o'clock. The gain on the amp is 7, power, drive, and mid on 5. That's for a high gain sound. John told me that my power & drive setting is running the amp at 4 watts. It might sound better if I turned it up, but for me the whole point of that amp is to be able to use it while the family's asleep. Of course my 100 watt amps sound fatter, but the Badger is amazing and sounds bigger than any small amp I've ever heard. It sounds great with pedals, but I like it the best for bluesy tones with the amp alone, like the Landau clips on the Suhr web site. Those are the types of tones I'll mostly use the Badger for.

I was recently hired by drummer/WWF wrestler Kirk Covington to do a drum clinic version of Stella by Infra-whatever. Since we did that album on ADAT and I don't have one anymore, I couldn't simply pull the drum tracks from the record, so I used the Badger to add guitar to my midi composition sequence. I have to say, it sounds huge and the people I've played it for can't believe it's an amp running at 4 watts.

Any plans of revisiting India in the near future? I hear Landau and Ford are due here early next year.... can't wait!

I can't wait either, but I guess I have to wait my turn since there are many great musicians like Mike who haven't played there yet. Sandy will let me know when he thinks it's time for me to come back - hope it's soon!

Hi Scott!

I know you are using Digital Performer in your studio. Why did ypu choose this platform? Do you have any experiance with Logic pro? If yes, how would you compare the two?
Many thanks and all the best!

I've been using DP since it first came out as a midi only program which I used for composing. We used it synced to tape for some Tribal Tech records, to play synths during the mix, since we would have never been able to fit so many keyboard tracks onto tape. When it became an audio program, we used it to record Thick, Rocket Science and Well To The Bone. I guess the reason we chose it is because at the time it was the most advanced midi software, and as it evolved we just stayed with it. Except for Willis - he went to Logic. I got a letter from him last week, and he said that on his Mac, Logic runs about 10 times faster than DP. He was pretty pissed off about it since he needs to work at least some in DP for the new TT album - he hates DP. But, having never used Logic myself, DP seems to be working fine for me and I don't feel like learning a whole new platform. I think what's going on with Willis is that he needs a really low buffer setting to avoid latency, and apparently Logic works better than DP with those settings. I use Apogee Symphony, so the card does all the work - there's no latency and I can set the buffer much higher so DP runs fast. Sorry, that's probably not the detailed answer you needed, but that's all I know about the comparison of DP and Logic.

Hi Scott,

awesome show at the Baked Potato saturday night!!! At a certain point you played a jazz standard, it was only you and Mitch Forman on the stage, what's the name of that beautiful song? Amazing performance, so Ecm!!!! Goosebump!!!!

Thanks - it was Blue And Green by Miles Davis.

I was expecting you to push the amplifier a lot more on stage, while instead you had a pretty normal volume, so you can tell that you don't need to push your gear that much to get a good sound?

Not with a master volume amp and pedals. Amp distortion can be buzzy sounding at lower volumes, but the combination of a good pedal and crunch setting on the amp sounds pretty smooth, even at low volume.

scott, thanks for posting in TGP!
got a few questions:
1. why mango686? also you got a tune called mango prom, do you like mangoes?

And my publishing company is Mango Prom Music, short for Mango Promenade, a little street I always wanted to live on in Florida. Maybe someday.

2. speaking of tunes, how do you usually name your tunes?

I listen to them for awhile and see what images pop into my head. It's usually porn, but I can't name every tune after that. Uh-oh, my wife just read that and says women are the last thing anyone thinks of when they hear my music.

3. have you seen this?
quite funny

That's awesome!! I've had two Beagles, and they were both just like that. And they follow their noses to infinity. I've gotten "we found your dog" calls from over ten miles away.

4. are you being serious about the guitar of the future with john? i cant tell weather you're being serious or just joking, i hope you're being serious though, but you're a strat guy to the bone, plus the homer comments so it might be just a joke

Just kidding - I'm referring to the episode where Homer is hired by his half brother to design a car. I'd love to see what features Homer would put on a guitar.

btw drummers you should check out this one

This guy RULES! This goes directly to Jeff Berlin. If Dennis can't make the Europe summer tour, between this guy and the one in my last post, we're covered. Wow, two new amazing drummers in one week!

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