Joined: 14 May 2004
Location: Boulder, CO
|Posted: Fri Nov 13, 2009 2:43 pm Post subject: Scott answers your questions - round 2.5 - 11/13/09
Always a cracking read, your writing
Joe Zawinul seems such a super-cool guy! I want to hear more about him, more stories please!!!!
It also seems like you and him do share a knack for witty and dry humor (stories, stories ...)
| I could probably write a book about the four years I worked with Joe. I've learned from associating with many famous jazz musicians, that just because they're musically talented doesn't necessarily mean they're cooking on all their burners. Joe however, was incredibly bright, witty, and could have easily made a living as a stand up comic. He had a strong Austrian accent but spoke perfect English and understood even the most obscure references to pop culture. I was always surprised when he knew things about rock bands that 19 year olds wouldn't know. He got a big kick out of all the "musician's comedy" recordings like Red's Bar, Freddy Hubbard, Paul Anka, and especially Buddy Rich - he'd say, "See how easy you motherfuckers have it? Now THAT'S a bandleader!" Most important for me is that he had absolutely no use for organized religion, so that made me very comfortable after just coming from the Chick Corea cult. I'm sorry Joe didn't live long enough to see the movie Religulous because he would have been on the floor. |
i never angry to peoples because of their own personal taste.
Of couse you can like or dislike any amp.
Roland JC-120 is may not working for you,but this is not a reason to called worst amp ever made.
You like and you want fat tone as possible,more bass always better for you,you never play total clean tone.
But a guy or girl who plays some ballads with a clean brilliant,chorused tone, probbaly he/she need a Roland JC-120.
Albert King never use valve amps and he use Roland Jazz Chorus at his later days.
I never agree it is worst amp,it is best clean sounded and transparent amp for me.Of course you can disagree,im a very liberal guy.Peace!
| I agree, when I speak in terms of best or worst, it's just a personal opinion for my own needs. Thanks for pointing that out. |
Obama vs McCain like giant douche vs turd sandwich.
Here is a song,please watch video.
| Well, I'd have to disagree with that, because I live in the US and four years of McCain would have been very comparable to four more years of Bush. Obama may not be perfect (what politician is?) but he's a big improvement over what we've had to put up with the last eight years. |
Finally i want to recommend a pedal for you
Smoky Signal Audio Tubeless overdrive
Probably you prefer EL 84,i like EL 34 much.
| I'll see if True Tone has one. |
A note about Eric Johnson,i guess he never inside G3 shredders.
I never compare him guys like Vai,Satriani and etc.
He influenced Wes Montgomery,Chet Atkins,JerryReed,Hendrix,Beck,Clapton (Cream days),Lenny Breau,Elmore James and alot of guys in different musical styles.He is not a straight metal shredder.
Im from Turkey,if my English is bad im sorry for that.
| When I used Eric's name in the same sentence with Joe and Steve, it wasn't a reference to the style of music he plays, only to the fact that they all get more press and recognition than Mike, and I have a hard time understanding why. |
Scott how long in inches is the first cable, i mean from guitar to the first pedal?
sorry if it's answered before...
| Four feet six inches. |
Did you try the new Mesa Boogie Mark V? reviews says that it has all the mark tones and it's awesome (yet expensive...)
| No, I'm quite happy with my Suhr and have no reason to try other amps anymore. |
And last q... i saw a video of yours which you demonstrate the EWS Subtle Volume Control...you play some Holdsworth style chord voicings with delay and volume swells. i would like to know the delay settings and if you use and other pedals for this sound.
| That sound is much better in stereo, and in my studio I have a very elaborate setup for that sound on the computer using eight separate Waves delay patches which have independent delay times, panning, and feedback. It's totally Allan Holdsworth's formula because it's just copied from the Yamaha UD Stomp which he wrote patches for. Live I'm mono, so I'm just using multi delay taps from the SE-70 and an Arion chorus pedal. The milliseconds of the ten taps are: 100, 190, 230, 330, 460, 560, 570, 600, 750, 870. The SE-70 can only do one feedback time so it's set at 350ms. |
Thanks again so much for taking the time to answer our goofy questions. A very heartfelt "Welcome Back". I'm glad you took some time off, everyone needs a break from time to time. I'm also glad you share so willingly your thoughts and gear with us "normies".
I took my 14 year old son to see Holdsworth over the summer and damn, the guy just keeps getting better and better and that just doesn't seem possible. I see the same thing with you. Obviously you can play. I think you are right up there with the best of the best improvisers out there right now but I'd like to know what YOU think of when trying to improve. I think all musicians strive to at least keep up with their playing so we don't lose our abilities but then there are people like Holdsworth, Landau and yourself that just seem to be getting better and I wondered what you see as your short and long term goals. I hope I am making sense. I'll try to explain a little more, some beginners might want to solo over major chords better, or get down their II, V, I's or play through chord changes but obviously you can already do this so what do you find challenging?
| I don't really have long and short term goals - my thing is just to play every day for as much time as possible. I think in very simple terms - the more time you spend playing your instrument, the better you get at it. I still transcribe and when I hear something I really like, I learn it and then instead of playing it as a "quote", I try to change it rhythmically and melodically to make it more my own. Once you've learned to get good tone and phrase well, it's all about constantly building your vocabulary, either through transcription, or better, by playing all the time and inventing your own new ideas to play. |
Your/Suhr's suggestions for fixing Fender's bridge problems WORKS PERFECTLY!!! I picked up a road worn series guitar for a ridiculously low price and did all the things you mention to improve the bridge and BAM!!! Works like a charm, thank you so much!!!
| Another satisfied customer! My pleasure - it's actually amazing that the Fender bridge can be modded to stay in tune. |
I also am intrigued that you are using a Fender Hot Rod Deluxe. I have a limited edition with a vintage 30 and it sounds pretty darn good although I really should change the speaker so thanks for the Heritage 65 suggestion. The other thing I've heard is that if you flip the wires on any current HRD, the sound gets instantly better. I think the way they come from the factory, the speaker moved forward first and I think they sound better when they move backward first. I hope I got that right. There was some debate on why one would sound better than the other and I lack the knowledge to explain it.
I heard Jim from Omega amps mods the HRD series to sound MUCH MUCH better than they already do. I guess he mods the clean channel to be much more "blackface" sounding...
Thanks again Scott, you are an outstanding player and very generous of your time. I hope you can swing a midwest gig, we'd love to see you in the Chicago area if possible.
All the best.
| I've always been told the speaker should move out first, but it would be easy to do an A/B test and find out. About Jim, if I could borrow an amp from him to hear the difference I might be interested, but I'd have a hard time shipping my HRD to him and hoping for the best. |
I read that you replaced the speaker in your HRD with a Celestion 65. Did you also change the tubes? If so, what tubes did you use?
| I didn't change the tubes yet, but I probably will change them to JJ's since I like them in my other amps. |
1) I want to ask your opinion about legato techique that only uses hammer on versus that uses hammer-on-pull-off, some legato players like holdsworth & brett garsed said in the interview that they are not using pull-off, even when going from high notes to lower notes in same string , because they don't like "click" sound of pull-off technique
| I'm not so picky about it - I use pull offs all the time and never noticed a clicking sound. |
btw i think your solo in "The Big wave" on Illicit album is one of the greatest if not greatest solo in jazz-fusion legato style,very2 fluid like holdsworth & brecker, i wonder are you using hammer on only like holdswoth or you uses hammer-on-pull-off on that track
2) what your opinion about "sheets of sounds" approach like coltrane that apply to guitar, do u use that approach sometimes? because many people only mention holdsworth when talking about players that using that approach on guitar,but i think you use it sometimes in your Tribal-Tech era ("The Big wave" on Illicit album)
thx,Scott, hope u still writing,playing great music forever, always be the Gratest Guitar Player in the world as always, GBU
| I'm playing less notes these days, not only because my tastes have changed, but because my guitars have .011's and medium action. They're set up for tone, not speed. To be honest, I don't often listen to musicians who play millions of notes, it just doesn't do much for me. I'd rather hear Jeff Beck or Wayne Shorter play one good one. |
hey scott!! thanks for the answer!
now, i agree with the above poster, we want more stories with Joe!!
| A quick one - at the Bottom Line in NYC, Gerald Veasley was in the middle of a bass solo when Joe got his attention and held up his arm to look at his watch. Gerald was very pissed off, so after the set he stormed into the dressing room and started reading Joe the riot act. He yelled at Joe "I saw you lookin' at your watch!" Joe held up his arm, now without a watch, and said, "What are you talkin' about man? I ain't got no watch!" He smiled and we all fell out laughing. |
do you think your daughter will be a musician as well??
| She already is! She's only five and she can play piano pieces with perfect time and dynamics. She sings in tune and has dozens of Disney songs memorized, even most of the songs from The Nightmare Before Christmas, which are hard! That doesn't mean we're training her for a pro music career - that's for her to decide. But since the wife is a piano teacher, I've seen for myself the benefits of kids learning music at an early age - it helps them in many other areas. |
man, sure its sucks to live in oz, no you, holdsworth, metheny, we hardly get anybody!! i cant believe they offer you less money than 10 years ago!!!
| The economy sucks everywhere now - I hope things get better in Oz soon because I'd love to come back. |
May I first just say how invaluable these question and answer sessions have been for me personally,and for many of my musician friends.It is really great to get an insight into a true top class succesful musician's world,and is hugely beneficial for my progress as a musician.
My question involves the use of your 100 watt amp with 25 watt greenbacks.I have read that you use a variac to compensate for the low efficiency speakers,I was wondering what your opinion was of attenuators,and if you had ever used or tried one at all.I have a 69 Super Bass Plexi,which sounds great with the greenbacks,but unfortunately I am considering getting higher wattage speakers to avoid blowing them all the time.I have used an Airbrake with my reissue SLP head,but am hesitant to use it with the vintage amp.So,how do you rate attenuators,and if you have a preference,which model?
Thanks for your time.Mark,South Wales UK.
| I've never tried one that I liked - they all seem to hurt the tone in some way. The variac was the solution for me, but I had to get the amp biased for 90 volts. 90 was the voltage where I no longer heard the "double note" sound from the poor speakers that were being killed. 100 watt non-master volume amps should be used with a full stack if you're using Greenbacks or Vintage 30's. Four speakers just can't handle the power unless you drop the voltage. |
hey Scott,once again thanks for taking the time to answer all these questions...i have a a fender american deluxe guitar. It has a 2 point syncronized tremolo(floating) and i use 10's strings on it....right now the tremolo feels great and i have a whole step going up on the G string.But the E and B string feel really tight when bending from 10 th fret and up ,and the action is a tad to high for me. How can i get a nice low action and nice "big bends" feel without the strings feeling like tight 11's(which it does right now) and without the high strings choking when i bend.???do i need to change string gauge??? sorry if you already answered this...thanks again ...love your playing scott!!!!!
| You might have problems that require major fixes... Fenders have a rounder neck radius, so if you lower the action, it'll probably choke when you do big bends. Most guys that play Fenders just get used to the higher action. Your options - scallop the fingerboard like Yngwie does, take the neck to a guitar shop and have the radius changed and re-fretted with bigger frets, get a new neck, or get a new guitar. If you want a strat that sounds huge, the six screw bridge has a lot more bass than the two point. 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 thought this was just too funny not to post, would I be correct in calling him a "Giant Douche...."?
| Yes, you would be correct. |
Kenny G is currently at work with longtime producer Walter Afanasieff on an as-yet-untitled album. The saxophonist is looking to take the half-finished work in an R&B direction and is meeting with acclaimed producer Babyface this week to work on a new song. "I want more rhythm in my music," Kenny G said. "I want my album to have a bit more tempo. Otherwise, I'm going to be lost in the huge smooth jazz array of saxophone players. Half of them don't even need to be making records."
| Boy, if anyone doesn't need to be making records... Walter was a good friend of mine - we played together in Jean-Luc Ponty's band. Thinking of him producing a turd like Kenny G gives me a very unpleasant feeling. Hopefully he's having a miserable time doing it - I can't imagine him taking Kenny G's music seriously, but I guess people change. (or money changes them)
I honestly don't know how a cornball like Kenny G can even call himself a musician - he's more like a bad circus act. I guess thousands of people in need of a musical lobotomy buying his records must validate everything in his mind. But it's not all his fault - he's encouraged to do the evil things he does (like record himself over Louis Armstrong) by his record label and producers. Now that I think of it, did Walter produce Kenny G mutilating It's A Wonderful World?? Fuck, I really hope not. If anyone knows, get me the info - if it was Walter, I'll call him and tell him he's an asswipe. For you guitar players who aren't offended and sickened by what those perverts did, imagine if on my next album, I take "Who Knows" right off Band Of Gypsys and put it on my album with me trading licks with Jimi. How sick is that?? Well, that's what Kenny Gorelick did, along with his piece of shit record label and producers. They should be ashamed, apologize to Louis Armstrong's family and fans, and then serve prison sentences.
The roots music of America, which is blues and jazz, has basically been ignored by the media in favor of pop music, which includes "contemporary adult crap" or whatever they call the music Kenny G plays. Dumb music has the right to exist, and I'm not calling pop music dumb because of course some of it is great, but it's unfair that jazz and blues doesn't get equal attention from the media and schools, which is how countries all around the world are exposed to it, to the point where they pay big money to bring its artists there to play. Anyway, it's not surprising to me that so many talentless people like Kenny G are popular here, and so many great blues and jazz musicians aren't. Remember that we live in a country that won't show tits on network TV, but they'll be happy to show someone getting their head blown off. When it comes to American culture, that puts it all into perspective for me. My personal take on it has always been to turn it into comedy - if you actually listen to a Kenny G record, it's incredibly funny, in kind of a grotesque and pathetic way. We listened to one of his records in the Tribal Tech van one time and I swear we had to pull over and stop because we were laughing so hard.
By the way, if you want the real scoop on Kenny, check out Pat Metheny's rant on the web - it's priceless, and dead on.
Can you describe how are you using your gain pedals?? (SD9, ZVex and Xotic)
| Check out the second answer in Round 2.4. I use the ZVex Fuzz Factory mainly to make noise. |
Also what are your SD9 Settings???
Thanks a lot...waiting for a new record from you!!!
| I set the volume all the way up, the gain at about 2 o' clock, and the tone on the first black square, just enough so that it's barely on. The pedal doesn't sound open enough if you turn it all the way off. |
It looks like a number of Wayne Shorter tunes were played (I hope you guys managed to sneak in Mysterious Traveler also). You have shared some stories about Joe Zawinul, do you have any experiences with Wayne Shorter? Thanks
| I'm such a big Wayne fan and I love playing his music! Yes, of course we played Mysterious Traveler and also Sightseeing. Wayne was kind enough to let me ride on his bus sometimes when he and Chick were touring together. Me and Chick weren't getting along and for me Wayne's bus was an escape from the world of organized religion. Also my pal Gary Willis was playing with Wayne on that tour. Wayne was always really nice to me. I made a food sculpture one time at dinner and he liked it. |
Thanks for the wonderful concert you recently gave in Hong Kong. Truly a night to remember! My wife and I really enjoyed. She's seven months pregnant and said our baby was very active throughout your set.
| Maybe trying to escape from the guitar playing! |
My questions for you are:
If your sd9 were to die on you during sound check (at a location far away from home like Hong Kong) and you had time to go to a music store to buy a replacement before the show, would you go to the music shop or just do the show without replacing the dead sd9? If the music shop didn't have an sd9 for you to buy, what pedal would you buy in its place, if any?
| I carry a spare SD9, but if I had to pick a pedal from a music store I'd probably get the Yngwie version of the DOD Overdrive 250. I've never heard one but I've been told it sounds similar to the old one. I have an old one and use it a lot in the studio. |
Hi Scott. First of all THANKS for all the great music. I am not a musician/can't play a note, but your music has given me so much joy over the years - I just wanted to say I really appreciate what you do. So here's my idea for your new cd (if it truly is the last TT record) - A tombstone on the front cover engraved with R.I.P. Tribal Tech 1985-2010. Maybe have some beer cans and pizza crusts on the lawn in front and a dog taking a leak (like on the back of your Dog Party cd) on the tombstone. On the back cover have an overhead shot of the 4 of you looking down into an open grave filled with TT cds. Anyway - I'm really looking forward this cd as well as your next trio record. Best wishes - Ron.
| Thanks Ron, nice ideas but I hope it won't be the last Tribal Tech record. Hopefully we'll be able to talk Willis into flying to LA at least once every couple years to record. |
I hope you are well, and happy.
and thanks again, for years of wonderful music, and hopefully years of more stuff i can twist my head around.
a couple of quick questions:
1. out of all the cool MIX Engineering/Production tricks you've been privy to, working with pro producers and guys that just generally really know their shite, what is your favorite mix element to do to your guitar tracks?
| My favorite one is the simplest - put the guitar about 80% on one side and between 400-450ms delay (with a couple repeats) in the middle with a small amount of reverb. It also sounds cool to put the reverb on the guitar side and the delay on the other. Another one was used by SRV a lot - dry guitar on one side and 100% wet on the other side delayed by about 20ms, both left and right sides the same volume with a little reverb. Another one is the Holdsworth way - dry guitar in the middle and 100% wet left and right delayed by 30 and 60ms. On this one, you raise the left and right just enough to hear the stereo image. Then add stereo delays and reverb to the middle guitar track - this makes for a really wide image and helps the guitar sound bigger for guys that use smaller string gauges. |
2. in dialing in the TREBLE of your Lead sounds in particular, your CURRENT lead tones, if you consider the TREBLE versus PRESENCE versus GAIN versus Volume, which of these becomes the more important element?
i know this is purely subjective, and specific-equipment related, but i'd love to hear your immediate idea of what works for you.
| I like more presence than treble because I think it sounds fatter and punchier - treble over 5 on a distorted Marshall sounds kind of nasty to me, and I like the presence on around 7. I might reverse that for a cleaner rhythm guitar track so it sounds different from the main track. I turn the preamp up until I reach the right amount of gain and set the master volume to about 6. With a 100 watt amp, if I go over that I start hearing bad things from the speaker. |
ok, one more:
3. of all your recorded tunes, which ones do your dogs enjoy the most, which ones make them run for the hills?
| Same As You was written for my dog, so they probably like that one. They run for the hills when they see me pick up my guitar because it's too noisy for them. |
First and foremost, thanks so much for the music and taking the time to answer our questions! It's a real treat for all of us to be able to communicate with have a musician of your caliber.
Also, when I bought a RC Booster I thought to myself "Man... it will not get better than this!" I assumed wrong. Your signature RC Booster is waaay more suitable for what I'm trying to do, even though the standard RC is still a great pedal, so thank you for that contribution as well. I now own several of them...
| Thanks, I'm really glad you like it! Just about everyone I've talked to says it's an improvement on the original one. |
Which leads me to my first question: I have a 68Plexi Marshall that I run through a 2x12 cab with two EV 12L speakers, at 8 Ohms. With the SH Signature RC Booster I still get the low end I'm needing, but with this pedal alone I'm not able to get the gain level I like. I need to run a second pedal, usually a Fulltone OCD. Is this because of the efficiency of the 12L's? Or could it be because 68Plexi's are pretty damn bright? (From what I understand, 68Plexi's were designed to go with Greenbacks, as opposed to Marshall designing an amp and then finding the right speaker for it.) Through my 18Watt Marshall the SH RC Booster gives me all the gain I need, and it has a Vintage 30 speaker, which should still run fairly efficient, considering there's 18 watts going through a 60 watt speaker. Any thoughts?
| The old Marshall non-master volume amps are basically clean amps, unless you turn them all the way up and blow the audience out of their seats. I think you just need a higher gain pedal for that particular amp. Try a Maxon SD-9. It's a fairly dark pedal and I think it sounds great with a Marshall, plus it has way more gain than the RC Booster or the OCD. |
My second question: I ride my volume knob to go from clean to dirty. When I roll down the volume, I obviously get a cleaner tone, yet it seems to cut through the mix more, as in, it seems louder. In and by itself that's cool, but when I need a full gain type of sound, I seem to disappear. Any idea's what might be causing this and perhaps you have some suggestions to fix this?
| I'm a little confused on that one. I think maybe you're mistaking "louder" for a mid hump which happens when you turn down. That's because turning down causes a treble loss, either because you're using a long cable, or because your volume pot doesn't have a capacitor/resistor on it. As I've said in previous posts, I hate the cap/resistor thing because I think it sounds weird. I recommend using a short cable - Xotic makes my signature one which is really short. When you say you disappear, it's because when you turn up to 10, the sound becomes more scooped and the mid hump is gone, making the guitar sound more transparent in the mix. I personally don't like my frequencies changing as I turn the guitar volume up and down, and that's why I use a short cable - it makes the guitar sound fatter, clearer, and turning up and down doesn't alter your tone. The way you're running your setup now, it's like you need different amp settings depending on where your guitar volume knob is set, and that can be frustrating. |
Scott, another one....
Will you return to humbuckers for the new Tribal Tech cd?
| No, I don't think so. I love the sound of single coils - they sound so huge! When I play humbuckers the first thing I notice is a serous bass loss, but they do have a creamy quality in the mids. I'll probably end up using both, depending on the song. |
1) I Always wonder why your favourite horn players it seems always tenor sax players "shorter,coltrane,brecker,potter,etc" (unless maybe shorter that play soprano too), and not alto sax or trumpet players,is there any particular reason like u like the tone of tenor sax better than trumpet or alto sax, or it's just the vocabulary of the tenor sax players u like more than another horn players?
| That's weird, I never really though about it - I guess it's just because my favorite players happen to play tenor. But I love Cannonball and Phil Woods, two great alto players. |
2)what brand of cable jack that u use in the past when u use mogami and now after u use the xotic , are you picky too about the jack cable that u use because it seems that you almost never talk about it?
| I thought I'd mentioned Switchcraft many times - their jacks are by far the best. That was a must use factor when doing the cable for Xotic. |
3)When u teach at GIT do u bring some pedals (distortion, delay)?
thx a lot for your answers Scott,GBU
| GIT has some decent sounding Fender amps with distortion and delay built in. They're just little non-tube practice amps, but for playing soft they're OK. |
Do you know of any up and coming or complete unknown musicians who's music or playing is groundbreaking or on the cutting edge. This isn't necessarily limited to guitar players. Looks like this is a very rare thing. Sure we can name musicians form the past that have accomplished this.
| The only one I can think of is the unbelievable guitarist Phil DeGruy - he's not completely unknown, but definitely groundbreaking. |
Hey scott ...i bet your playing some crazy show as i type this..ha ..my question is ...Depending where the RC booster is in your chain,how does it affect your tone??? In what position in the chain do you think it sounds better???
And Finally , do you still use the BB preamp pedal.???
I have the BB and your signature RC as well as the Tube Screamer Silver mod...what pedal do can you suggest as a fuzz to add to my chain?? thanks again....cant wait for a new album!!!
| I always put the pedal I use the most first in the chain, which in my case is the RC Booster. I don't use a BB, I use a Maxon SD-9. The best fuzz I've heard is the Analog Man Germanium Sun Face, but it's a tricky pedal to use live because Germanium pedals have a tendency to pick up radio stations. Live, I use the ZVex Fuzz Factory. It's not as traditional sounding as the Sun Face, but it's more versatile and can make some really wacky sounds. As a big fan of ZVex I hate to say this, but my friend bought a Vexter Fuzz Factory and it didn't sound anything like my hand painted ones. It lacked bass and general tone. So I suggest if you buy one, get the expensive one because contrary to what they say on their website, the two pedals do not sound alike. |
A couple of things
1)Do you ever use the Octafuzz as a fuzz only or you only use it as Octafuzz?
| I like the fuzz setting in the Octafuzz but I never use it since I also have the Fuzz Factory on my pedal board. I might end up using the Octafuzz fuzz in the studio sometime, because it has a totally different sound than the Sun Face and Fuzz Factory. |
2)Do you ever feel insecure thinking that your playing just suck , and after all this years you should be able to play much better and there is just to much to learn and you will never be able to make it as a musician ? (I ask becouse you proprably whent trough all of this and more)
Thanks for your precious time you share with us.
| Yeah, everybody's been through that shit. Read the book "Effortless Mastery" by Kenny Werner. I think it'll help any self-doubting musician to become a better and more creative player, and a happier human being. |
Hi Scott, I'm so glad you're back !!!!!
so here are my questions:
Have you heard Xotic's new EP Booster?
Following your "the shortest guitar cable is the better" idea, I'd have kept the EP Booster in my pocket with a very short cable from the guitar to the 1rst pedal. But that would imply leaving it always on, wich i think you don't like...
So why don't you leave you're RC Booster always on ?
| I heard the EP Booster and it's not for me. I like the RC much more. My RC Booster is on most of the time because it's my main pedal, but if I want a more high gain sound, I use the Maxon SD-9 by itself. Combining it with the RC gives me over the top distortion which I use sometimes for wild feedback, but for normal playing, my SD-9, Octafuzz, and Fuzz Factory don't need help from the RC. |
Is the fender trems on your Suhr Signature models exaclty like your's (sanded and all...) ?
| They're exactly the same except for one thing - I use a fatter arm from a Gotoh 1055 bridge, because I always break the Fender arms. The Gotoh arm is a push-in, so I had to have it threaded at a machine shop, and make the hole in the Fender block and plate bigger. I also cut an inch and a half off the bar and super glue the tip back on. |
Can you tell us a little more on your febuary MasterClasses in Italy? i'll definitly try to come see you.
| My workshops are very informal - I just play for awhile and then answer questions, giving examples when needed. I think having a lesson plan is a dumb idea, because the students are always at different levels and a plan will be boring for some and confusing for others. If everyone there asks questions about what interests them personally, they get their money's worth from the workshop. |
last thing, any comments on your playing with Chambers and Berlin?
| What a fun tour! Jeff and Dennis play their asses off and it was a blast to play with them. Plus it was a great hang since they're both comedy freaks like me. We all enjoyed it so much that we're planning to keep it going when Dennis is free - he definitely has the busiest schedule. We're booking some gigs in South America hopefully in May. |
Thanks a lot for your time here and I hope to meet you soon in Italy!! can't wait. can't believe you can never tour to Paris...damn! you could even record a DVD live at the "New Morning" (like robben ford, larry carlton etc..).
I hope some clubs will want to have you here soon.
| I've mentioned before that in my 20 year career as a band leader, I've never played in Paris. My agent says the money they offer us at the New Morning is the reason we'll never play there, which is weird because we've played many times in Nice and other cities in France and drawn big audiences, but I guess the booker of the New Morning doesn't believe I have fans in Paris. In Europe, I don't decide where I play, I just go where I'm told. I'd love to play in Paris, but on the other hand I'm thankful to have a great agent who wants us to make as much money as possible. |