Scott Henderson Discussion :: View topic - Scott answers your questions - round 2.29 - 7/8/12
Scott Henderson Discussion Forum Index

Scott Henderson Discussion
The Official Scott Henderson Discussion Forum

 FAQFAQ   SearchSearch   MemberlistMemberlist   UsergroupsUsergroups   RegisterRegister 
 ProfileProfile   Log in to check your private messagesLog in to check your private messages   Log inLog in 
  Chat Users Currently Chatting   

Scott answers your questions - round 2.29 - 7/8/12

Post new topic   Reply to topic    Scott Henderson Discussion Forum Index -> Scott Henderson Discussion
View previous topic :: View next topic  
Author Message
StarShip Captain

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

PostPosted: Sun Jul 08, 2012 7:32 pm    Post subject: Scott answers your questions - round 2.29 - 7/8/12 Reply with quote

Just wanted to say a million thanks for the super detailed wiring instructions for my forthcoming Kerry Wright cab.

No problem! You're not going to believe how great it sounds!

Hi Scott~ I remember you mentioned that during the recent Tribal Tech recording session, your regular 4X12 rig didn't work that well because the bass from your guitar and keyboard is in the same frequency range. So I wonder how you could overcome this. Was there any changes in your recording rig/technique?

No changes at all. There weren't any clashes in low end during the mix, but there was a funny phone call from Willis, asking me why my tone has so much bass now. I told him it's because I've switched to guitars built for men. The humbucker guitars I used to play didn't have an ounce of bass. They had double screw humbuckers which have even less bass than normal ones, and I was using 250k volume pots which suck out even more bass. When I listen to my tone on the old records, it sounds extremely small to me. I still use my Gibsons for layering sometimes, but single coil guitars sound so much bigger.

hey scott. first of all i love the new album!! sick !! also i love the got faith n phat (like the 2012 version of face first) ... two quick questions first :
i just purchaaed a vertex axis wah.. in my chain its wah to sd9 to rc to BB to ts9 silver modd. (i always have the rc on) when the rc and sd9 are on i get a crazy hiss from the wah in open position(foot down) and its still kinda of there in closed (foot up) ...
question is do you ever experience any noise with your high gain pedals on as well as your wah? like hiss and so forth?
note when the rc is turned off this hiss diminishes dramatically...

I don't combine distortion/boost pedals - that's where your hiss is coming from. I've only combined the SD-9 and RC Booster when I use the Deluxe, because the amp is too clean. Even then, the gain on the RC is all the way down. I set my pedals to give me what I want without needing to combine them. If I need less gain, I get it by turning down the guitar. That's why I use such a short guitar cable, because I don't want my tone to change when I turn down.

Second question: what do you use to clean your suhr rosewood fretboard?( just got mine and these guitars are amazing!!)
thanks again for your time and amazing music!! fried potato potato fried!! lol

I use regular guitar polish. I can make you a video about it for the discounted price of $125. lol

Hey Scott,

I have a cupla questions about for you.
The live trio album, 2005 - How was it all recorded with effects etc? I know its all mono live, but on the album there is a lot of stereo effects, panned delays etc. how did you record it?

It's recorded in the normal way, with a 24 track mobile recording system. Each track is mono, and there are no effects used while recording. Stereo placement of the instruments and FX are done at the mix. I was pretty uncomfortable recording the live album with less delay & reverb than I usually use, but I didn't want to take the risk that my normal setting would be too much and then I'd be stuck with it.

also for regular albums in the studio is everything recorded dry, and delays and reverbs after?

Yes, but in the studio, you can hear all your FX while you play because you set them up from the board, after the mic, then permanently add them back at the mix. You shouldn't commit to anything until the mix. The only time I do it is when I know there's no plug-in which will give me what I want. For example, if I decide to use my Univibe, I have to record it while I play, because I don't own a virtual one that sounds even close to that good.

The track Spinx - where does it come from? i cant find it on any album.

It's one of the new tunes I haven't recorded yet.

one more - why no gig in Vienna again for the next European tour? last time was incredible!!! and you guys will be close by.

No idea. That's all about money, promoters, agents, etc. I stay out of that area.

Thanks for all the seriously unblievable playing man...F#@K YES!!
The live album is my my opinion the most jaw dropping guitar playing out there...Sultan's Boogie is next level!!
Hanging for the new trio album....what about another live album too??

The live album will have to wait until I have a whole new set of material, but I'd like to do another one.

Hello Scott from Greece have you ever tried a germino amp if yes which one and what is your opinion?

I haven't played one, but it's one of the very few amps which John Suhr says good things about.

Secondly according to your suhr amp is it a plexi super lead specs with a master volume?your new TT album is fantastic. what i could say for the guitar tone is freaking huge

Thanks! Yes, it's basically a plexi with a master volume and FX loop.

Thanks Scott for the 101 on Speaker installs, I just put some new Warehouse speakers in my CAA 2x12 and your advice really came in handy. Lucky I had some Mogami 10 gauge speaker cable lying around : )

Here's a suggestion if you think it's worthwhile - if you and Mike Landau and some of your friends shot a video of you guys just hanging out and talking tone, gear, playing - quite a few people like myself would pay for a decently shot video of this. Do you think you guys would enjoy making something like that?

I'd be open to it but I don't know about Mike. He's a more private person than I am. Also he must be tired of the millions of questions people ask him (including me).

Hello Scott what about the new greenback from Celestion they called it creamback and it is 65 watts have you tried it yet ? if yes what is your opinion? Thanks

Sorry for my English!!!!

It's on their web site, but it's actually not available until August. Rick Skillman at Celestion told me it sounds killer and is sending me one to check out as soon as they have them in stock.

Hey Scott. Some gear questions if you don't mind.
I saw the recently posted video of you with Godlyke on youtube talking about the SD-9. Great video. I see in the video that the Suhr you have appears to have a roasted maple neck. Guess you finally got one! What are your thoughts on it ?

No, it's not. I don't even know what one looks like, but if it's darker, then you're probably thinking I have one because of all the leftover graphite on my headstock. John is going to do a roasted neck and body for me in the near future.

Also, on your earlier non-roasted necks from Suhr, did you use flatsawn or quartersawn maple ? Have you noticed a difference in tone between the two ?

That's a question for John - he explained that to me once but I've forgotten. He did say he doubts if there's any difference in tone.

Also, I'm thinking of going in for some nice single coils. I love the kinda tones guys like you and Landau have and also of guys like SRV. Which one would you recommend ? The V60, V60LP, ML standard or the ML classic ? My guitar has an alder body, maple/rosewood neck. It has the vintage 6 hole bridge and on your recommendation I have put a steel block in there.

I can't really make a recommendation because I don't know specifically what you like. It's all about midrange - ML's have more than V60's, and closed back cabs have more than open back cabs. If you like a scooped tone, try V60's with an open back cab. That's going to be more like the SRV tone. ML's with a closed back cab will give you a lot more mid, closer to a Ritchie Blackmore or Jeff Beck tone.

I like the focused sound of a closed back cab for recording, but with ML's it's too midrangy for me, so I use V60's. I don't like closed backs on stage because they're too directional and hurt people's ears, as well as make it difficult for the sound guy to mix, so I use an open back. I get about the same amount of mid by using ML's with open backs as I get by using V60's with closed backs. I use different pickups for each situation because I want the same amount of mid from my live and recording cabinets.

Regarding the bridge, I'm contemplating putting new saddles there. I have the solid block style saddles and I'm thinking of putting raw vintage bent steel saddles. You've ever tried those ? And if you haven't, what kind of difference do you think bent steel saddles make over solid block ones ?

There's a huge difference in tone between the two. I've never tried the brand "raw vintage" - I use the regular saddles which come on the Fender vintage bridge. Bent saddles produce a bigger note with more bass than solid saddles, which in my opinion have a more "choked" or "pinched" sound. It's kinda hard to describe, but it's easy to hear for yourself. Just record some notes on one track playing only the high E string, swap saddles on that string and play the same exact notes on another track - you'll definitely hear a difference, especially on high notes. It's important to remember when doing a proper A/B test that NOTHING changes between the two takes except what you're testing. If a volume or tone knob on the amp or guitar is even slightly moved, the test is ruined. Also make sure to use a brand new string for both takes.

There are various Suhr models that have tried to get close to the tele sound with interesting modifications. Guthrie Govan's model has the two outside coils of his humbucker engaged while Andy Wood's model has a mod where the bridge pickup can be wired in parallel. I know I'll never get a true tele sound in a strat but is there a way I can get really close ?

Not really. The sound of a Tele is as much about the body shape and not having a tremolo bridge as it is about pickup wiring. Combining the bridge and neck pickups on a strat like you can on a Gibson might make it sound more like a Tele than the conventional strat wiring, but it's a poor substitute for the real thing.

Have you ever played a guitar that had a Tele body with strat pickups and a 6 hole vintage bridge? John Suhr says that the Tele body shape contributes to a fatter sound.

I haven't played one. The traditional Tele body doesn't have contours like a strat, so it probably has more wood - if John says it has a fatter sound than a strat, I'd be inclined to believe him. On the other hand, if you're after the traditional strat sound, that's not going to be it.

Ok, a question about amps. If you had to have a clean and a dirty tone of equal volume, what would you recommend ? A two channel amp or a really nice clean head and using pedals like the RC Booster, SD-9 and VOP-9 ?

Your only option is a two channel amp. Pedals don't sound as good if the amp is too clean, and a crunchy one channel amp can't give you loud, ultra clean sounds. For my style, a one channel crunch amp works fine - I don't care if there's a little bit of distortion in my chords, because it helps compress them so individual notes don't stand out louder than others. I can get ultra clean at a decent volume level - not as loud as my lead volume, but loud enough. I don't see why clean tones need to be as loud as lead tones, unless you're playing in a very loud funk band and your rhythm guitar playing is being drowned out by a horn section. In my world, clean tones are softer by nature, and used in sections of music that aren't as loud as the ones using distortion.

When can we expect the new album ? Any special guests featured on that one ? Landau, perhaps ??
Thanks again for taking the time out to answer our questions. Cheers!

The HBC album (Henderson, Berlin, Chambers) will be released in October. Sorry, no guests on this one.

Hi Scott,

I have always loved your playing and Tribal Tech's music, to the point that I
quit playing guitar for quite a while because I didn't see any point in polluting
the world with my own noise when there are guys like tribal tech that play
a kind of music I could never come up with, no matter how hard I tried.
Well, getting older, I am not that strict anymore.

That's a much healthier attitude!

Recently I read in an interview with a German guitar player magazine that
you have been playing Herbie Hancock's "Actual Proof" since you were a kid.
That is again quite frustrating for me. I have always liked this tune, and I
have a real book lead sheet. I know how to play many standard tunes, II-V-I's, have exposed myself to a lot of Jazz harmony on the level of "Joe Pass Guitar Style", but my concepts are probably way too old-fashioned. With this tune (as well as with most other stuff from Tribal Tech, or e.g. from Miles Davis or Zawinul) I am nevertheless totally lost.
There seems to be a large harmonic gap between standard Jazz tunes like "All the things you are" or "Have you met Miss Jones" and the harmonic concepts of modern fusion. But I suspect that the modern fusion compositions also follow some set of rules derived from e.g. major, melodic and harmonic minor, diminished scales analysis.
Q: Is there a transcription/arrangement/analysis available for "Actual Proof"?

The only chart I've seen is probably the one you have - it's from one of the newer Real Books. I've never seen a transcription of Herbie's solo (that would be a lot of work!!)

Q: Based on your teaching experience, can you recommend an accessible source for analyzing and understanding the harmonic skeleton of modern fusion compositions?
Thanks for reading that far.
Cheers from Austria, Andy

The short answer is no, because such a source doesn't exist. Modern jazz or fusion is different than standards simply because: the chord changes aren't as predictable, there are often more chords per measure, the forms are not as strict, like for example AABA (sometimes material is not repeated at all), and the sounds of the instruments aren't as traditional.

It's important to realize that a lot of modern composing is pure art, and not based on the theory of the past, therefore, it can't be analyzed in a scientific way. Chords are chosen simply because the composer likes them, and that's it. You won't find a theoretic reason for it, like you would if you analyzed All The Things You Are. In modern music, any chord can go to any chord, and the only criteria is - do you like the way it sounds? This is where transcription is valuable - even though there may be no logical reason you can see for a composer to head off in whatever harmonic direction he chose, transcribing the changes will get modern chord movement into your ear, and give you more ideas for your own writing.

However, the scales and chord tones which you'd use to improvise over modern changes are exactly the same as in any jazz tune. Most of the scales are modes of major and melodic minor, diminished, and augmented. Sometimes there are so many chord changes going on under the melodies, no one wants to solo over them, so they solo over a one chord vamp instead. This is the case in many Weather Report and Tribal Tech tunes. I know, because I've written many chord progressions in my tunes that I definitely wouldn't want to solo on.

Also, fusion is known to have more rhythmically difficult grooves, as in Actual Proof. To be honest, I'm not a fan of odd meter music, though I like some bands like Mahavishnu and Gentle Giant. My skill at playing Actual Proof is nowhere near the level of Herbie's, but what I have just comes from the experience of playing it many times.

Hey Scott,

Did you already check out the new SD9M from Ibanez which is the SD9 circuit with mid and gain boost switches?
Might be interesting?
Greetings from The Netherlands,


Sorry, haven't heard it, but I'll check it out on my next visit to True Tone.


Will there be a Tribal Tech tour? If so, will there be a gig somewhere in Germany?

Probably not, because the economy in Europe is hard enough with a trio. My agent wants to do a Tribal Tech tour in Asia in early 2013, which could be possible because their economy is stronger than most, but we have to wait to see what the offers are. I can't afford to go on the road and make less than I normally do.

By the way, is it a write error in the touring list or will the trio really play in Kessel, Germany? I cannot find tickets, I cannot find a venue in Kessel, I cannot find Kessel at all in the internet. I only know Kassel but I cannot find information about Scott Henderson gigs there. Can somebody please give information or corrections about this announced gig or provide a link to a ticket shop that has the gig listed?


We played in Kassel, Germany, Kulturzentrum Schlachthof, Mombachstrasse 12 – 34127. It was a fun gig!

Hi Scott, have you ever tried Sennheiser e-906 for or other mics type for your cab? I would like to ask you why your choice is on Sm 57. What's the real difference in tone between different mics that you have tried?

Thanks in advance, you, Mike and Jeff are my tone Gurus!

Yes, I've heard the 906, and contrary to what you may have heard, it's a poor substitute for a 57. It's thinner and generally anemic sounding - a terrible mic in my opinion. I've tried A LOT of microphones - last year I had a week off, and I rented over 25 mics and did a huge A/B test. I still use a 57.

There are three most often used types of mics - "dynamic", like the Shure SM57 and Sennheiser MD 421, "condenser", like the Nuemann U87, and "ribbon", like the Royer 121. The 57 has been used on countless guitar recordings - chances are that every time you listen to your favorite guitar players, you're hearing a 57. That includes Landau and Beck. Condensers are the perfect vocal mic - they have a boost in the mids which makes vocals and acoustic instruments sound fat, but in my opinion makes distortion guitar sound midrangy and nasal, with very little bass. Ribbons are very dark, but can sound nice when recording a bright guitar. If you play a bright amp and turn the guitar tone knobs all the way up, a ribbon can work. For me, ribbons are too dark because I get a dark sound from my guitar and amp. Sometimes guitarists mix a 57 with a ribbon, using the ribbon to add some bass and depth to the low end. Extra bass is the last thing I need - I use single coils, a vintage bridge, and a 4x12, so I have bass to spare.

Jeff Beck used a Neumann on Who Else (47 or 67, I forgot which, but probably a 67 since the 47 can't handle loud volume). The exception is Brush With The Blues, which was recorded live with a 57. If you want to hear a perfect example of the difference between a dynamic mic and a condenser, check out that record. The high end on Jeff's tone on that record is unbelievably sweet - no way a 57 will give you that. But it's also lacking in bass compared to Brush With The Blues, where the tone sounds generally bigger and takes up more space in the mix.

I'm sorry for this silly question, but i couldn't find any answer about that.. what is the difference between putting a 250k ohm or a 25k ohm volume pedal in the fx loop? Is it about adjusting volume level properly, or it has with sound?
Thanks a lot for sharing your immense experience with us! And greetings from Italy!

Putting the wrong volume pedal in the wrong place will hurt the tone (usually cutting high end), and also make the pedal's taper not work properly. A 25k ohm pedal needs to be in the FX loop to work right. Using a volume pedal before the amp doesn't make much sense to me, since it affects gain exactly like turning the volume knob on your guitar. I like to be able to control level and gain independently. By using a volume control in the FX loop to control the master volume, and using the guitar to set the amount of gain, I can have any degree of gain at any volume level.

Havng heard you quote the Theme from Shaft during Actual Proof, just wanted to remember Skip Pitts. That intro was one of the reasos I picked up the guitar many years ago. I still can't play it worth shit

My Shaft imitation is pretty sad. I use a boost pedal before the wah which I need for the melody, and there isn't enough time to turn the pedal on and off and adjust the guitar volume between the clavinet part and the head. The Shaft quote would sound much better if it was just the wah and the amp. Thanks for reminding me about Skip Pitts - bad ass guitar on that track.

Hi Scott,

Could you tell me why you prefer the badger 18 vs 30?
The 30 sound more like a marshall than the 18?

The 18 is a great recording amp at very low volume, and when I tried the 30, I didn't think it sounded nearly as good, and it's louder, so what's the point? The reason for an 18 watt amp in the first place is so you can record without disturbing anyone. Also, unless you're playing with the softest drummer in the world, the 30 isn't loud enough for a gig, so that amp is pretty useless for me.

Hi Scott!

Any new info on the HBC Super Trio album? Could you tell us what tunes are going to be on it?
Also the new Tribal Tech album is amazing and your tone is out of this world! It was well worth the wait - thank you for it!

Thanks! I think my tone has improved for the HBC album. I'm almost finished and we start mixing on July 10. The songs are the same ones we play live - some Weather Report tunes, Actual Proof, some blues… I've finished the hardest songs, which are the ones that needed heavy layering. I'm proud of the work I did on the Weather Report stuff - it was important to me, on the composition parts of the songs, to reproduce everything Joe & Wayne played. Being a fan, it was interesting to transcribe parts I've never even heard before because they're so low in the mix, but I'm pretty sure I got them all. It's a fun record to work on, and Jeff & Dennis sound amazing.

In your opinion, Scott, ceramic or alnico for your favorite pickups?

The only ceramic pickups I've ever heard came stock on my 90's Les Paul. They sounded terrible, so I replaced them with Seymour Duncan alnico pickups ('59 on the bridge, Jazz on the neck). Now it's a great sounding guitar.

Have you heard Trevor Rabin's new release "Jacaranda"? If so, what do you think of it.

Sorry, I haven't heard it.

Hey Scott!!just wondering what your take on hipshot locking gears is? I heard that John Suhr is putting them on a lot of the new models (if not all) . I also read that he prefers them. How do you compare them in tone with the sperzel if you've already tried them? thanks again for taking the time to answer these questions! Have you heard the Landau album yet? i would do anything to see you guys play together live!!! lol have a good one!!

I haven't seen the Hipshot gears yet - I'd like to compare them to my Sperzels'. I still haven't heard Mike's record yet - sorry!

Hi Scott,

could you share some info about the second VTT record, like what kind guitar did you use(all Suhr single coils?), amp, pedals?

Suhr guitar, all V60LP single coil pickups, the original OD-100 head, no pedals.

and also, what about the actual process? Was there a lot of free jamming and trying to come up with stuff that way, or did you or someone else just start with a riff, how did you usually put the parts together, and is everything on record played live or was there much overdubbing?

I know you say you can hear it's been written in the studio, but I think it's as good as anything else you've done!

Thank you so much!!

On this record, Victor and Steve didn't want to sit around waiting for me to come up with chord changes like they had to do for a lot of the first album, so we ended up jamming more - the second album is much looser than the first, and there wasn't nearly as much overdubbing.

Hello Scott.

I want to add to my positive comments on your lyrics on the previous round.
I think humor and comedy is a way underestimated form of art. Yes, at its best, it is a form of art in my opinion.
Addressing serious and important issues through humor is not easy and I think you have succeeded in it on several of your lyrics.

It's just that your guitar playing is so marvelous that it takes up the listeners attention and totally mesmerizes them so they may not be able to pay attention to the lyrics.

I never expected that anyone would even pay attention to my lyrics, and that's pretty much been true, but thanks for the compliment!

My questions this time:

I have read from your answers that you don't use any special tunings, but how about when playing slide? Is it all standard tuning?

I used an open E chord tuning for the Dobro in Continuum on Tore Down House.

Have you tried the Vox V846 Handwired wah pedal and if you have, what do you think about it? I believe it is supposed to be like the original Vox wahs.

All the best.

I haven't heard it, but I've heard good things about it. Definitely on my list to check out.

Hi Scott, I read that on the first track of Tribal Tech X, Mech X, you have used tha Klon Centaur. Could you tell me how usually set the Klon? Do you like it more as overdrive or as a boost?

Volume all the way up, tone about 11 0' clock, gain about 1 o'clock.

Have you tried the new Rockett Pedals Holdsworth OD/ Boost?
Thanks a lot

No, I haven't heard them.

Hi Scott.

There doesn't seem to be a lot of questions this round so.. what's up?

ha ha… If you look at the Index, I've think I've said everything I know…

I got home last week from a Europe tour with my trio. After the tour, I went to Mumbai to record an album with Sandeep Chowta and musicians from India. We're mixing the HBC Record on July 10, and the band is touring in Europe from Oct 3-20 and then playing a few gigs in India.
US gigs:
June 30 Baked Potato with Rufus Philpot and Andy Sanesi
Sept 12 Workshop at Shape Shifters NYC
Sept 13/14/15 Iridium in NYC with Jeff Berlin and Mike Clark

I'm writing music for a new trio album with Alan Hertz on drums and Travis Carlton on bass.

Hello Scott, hope you are doing well.

Really digging your new Tribal Tech X record, the guitar tones are insane!


I also wanted to ask you if you remember what did you use to get two particular tones that are part of my favorite guitar tones of all time.

1.- On your live CD, on the Song "Dog Party" the rhythm part.

Suhr guitar with V60LP pickups. Channel 1 of the original OD-100 with a Maxon OD-9 (their Tube Screamer).

2.- On the Thick album, the song "Sheik of Encino" the lead/solo part. Thanks a lot!

Fender Strat (made by John when he was working there) with Seymour Duncan '59 double-screw pickups. Channel 2 of the original OD-100 with the boost on - no pedals.

Hi Scott.
I wonder about two things. You played a lot of new songs in Gothenburg recently. I think I only recognized three: Hillbilly in the Band, Sultan's Boogie and a very cool, almost smoothe, Dolemite. You also said that Well to the Bone is a bit old. Does this mean that you have a new cd coming soon?

As soon as I can - I need about four more tunes.

Another question: I really liked your drummer, he was great, but what happened to Kirk Covington? Is he coming back?

If Tribal Tech tours next year I'll work with him, but his drumming style is too loud and over the top for the music I write for my trio.

Hi Scott!

I read in an interview with you that properly matched, good sounding tubes are difficult to come by.

How do you pick out the good ones? Do you have a good source or do you try them out before you buy?

What are the most important things to look for while buying tubes?

Thanks for your time!

They match the tubes for me at Suhr - I don't have the tools to do it myself. I always carry a set of four matched tubes on the road - if something goes wrong with a tube, I replace all four. As I've said in previous posts, I'm not really an expert on tubes. I use JJ's because John says they sound great and are more reliable than the others. I don't have any experience comparing one brand to another - I just take John's word for the best tubes to put in the amp. Here's an article which explains matching tubes in detail.

Hi Scott ,

Did you try Vemuram pedals?
If yes, could you say what do you think about it?
Mike Landau seems to use one now(Jan Ray).

Best regards


I haven't heard them - another thing for the list. I did hear Fulltone's new version of the Plimsoul - less bass so the mids come out a bit more. Both versions are killer.

Hi Scott, i wonna thank you for your good advice about speaker cabs.
I got my Kerry Wright 2x12 offset 2 Weeks ago (with 1 Warehouse ET 65 + 1 Veteran 30 with both ported and closed backsides) and i really love it.
I also changed from the Custom Audio OD 100 Classic to "your baby" the Suhr SH 100
This amp is amazing,
the sound is more open and more dynamic on the SH !!!
You are 100% right, less is more (soundwise)
one channel, one girl = easy life

John told me that when you split the signal to go to two separate channels, there's extra circuitry involved which hurts the tone. I agree that the SH-100 sounds better than the OD-100 Classic.

a huge, huge compliment on your great lyrics !!!!!!!!!!!!!
Me and a bunch of my friends ( non-musicians & girls too) love your subtile sense of humor.
I can't believe that you didn't get enough recognition for your killingly funny stories on Dog Party, Tore down House & Well to the bone.
My all time favorit of all lyrics is your song "I hate you" !!!
I'm a big fan of black humor (especially the british one)
but your words in "I hate you" are meaner and better than everything else i've ever heard.
This song was a wedding gift to friends of mine,
I put a CD & the printed lyrics in a box, (sorry i copied only one song)
and they have to open the box 5 years after the wedding,
and listen and read "i hate you" together.
I hope they have something to laugh about

So please give us more of your hilarious lyrics !!!!!!

Thanks &
all the best

That's my most popular tune as far as lyrics. I have to admit, that one was fun to write.

Hi Scott! Im a big fan of your music from Argentina. I had te pleasure to see the last two gigs you did here, on 2010 and march and the guys were incredible. I also had the luck to get last Tribal Tech record signed by you! Man...thanks a lot for that.
I have a couple of questions so here it goes:

1) On a live situation, you prefer a calm and and very respectful audience or one more wild, with hot chiks dancing and shouts of joy at every solo? On your last gig here i was dancing like a mad man on second file...of course there was no shouting and girls around i hope you dont mind.

Nothing more boring than a calm audience.

2) I recently started using your six pianos aproach...when learnig the chord tones all over the fretboard, you recomend learning just the grade number(1357) or the actual note name(CEGB) af that chord... hope i made my self clear.

It would be much more difficult to learn the interval number without knowing your key signatures first, therefore knowing the name of the notes. But the point of it all is that by doing this, your ear learns the sound of the intervals and eventually you can find them without having to think about it.

3)Its seem that you like tenor sax players a lot...what about Sonny Rollins? I started listening to him a while ago and love it...great phrasing!

He's awesome.

4) Hope to see you again here in Argentina!

Well thats all...a have more questions but im too slow with english writing...hope i didnt make too much mistakes!
Thanks Scott!
Back to top
View user's profile Send private message Send e-mail Visit poster's website
Display posts from previous:   
Post new topic   Reply to topic    Scott Henderson Discussion Forum Index -> Scott Henderson Discussion All times are GMT
Page 1 of 1

Jump to:  
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum

Powered by phpBB © 2001, 2002 phpBB Group