Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Fri Oct 14, 2005 12:39 pm Post subject: Scott answers your questions - round 21 - 10/14/05
Hey Scott, you mentioned Joe Zawinul as the "heaviest musician on earth". What's the difference between real heavy/ deep music with just a bunch of random notes? I think people can feel it, but it's hard to describe, and therefore hard to practice.
Hmmmm.... I think I get the question. For people who's ears aren't accustomed to hearing more progressive types of music, it would be understandable that they'd think it sounds random. Straight-ahead jazz sounded random to me when I first heard it back in my Deep Purple days. Only experience in listening and learning can allow someone to hear the difference between quality "out" music and random bullshit.
What kind of nut do you use on your guitars? Bone or plastic? What do you think is the difference?
Bone - it's harder and lasts longer than plastic.
I cant believe your guitar cable is just 4 1/2 feet? Your a bit tall. Dont you accidentally unplug your guitar cable?
Used to see you at Charity's in upstate NY. Try to get to Nashville next tour!
What made you decide to go with the stock Maxon OD9 as opposed to the AnalogMan Silver-modded one? Are you still using the AnalogMan SD9?
I used to use the Analog Man silver mod because it made a huge improvement in my Ibanez TS-9 and SD9. When I changed to the Maxon pedals, I sent one of my OD-9's to Analog Man for a silver mod, and after comparing them I liked the stock one more. The Ibanez and Maxon pedals use different circuitry even though they both use the same chip, and the Maxon is true bypass - that's probably why the silver mod doesn't sound the same on both pedals.
What are your settings on your RC Boost?
Gain and volume all the way up, treble 12 o'clock, bass 10 o'clock.
Also - have you tried any of the newer Eminence speakers?
Yes I heard them at John Suhr's - didn't like them much.
Thanks and keep up the great work - you never fail to inspire.
Scott....thanks for always taking the time to do this...Here's my question.
What do you think of the blues playing of Robben Ford? I heard a recording of you and he jamming at GIT from years ago and you guys sounded so awesome together. Any chance they might be an offical collaboration on CD/DVD, etc?? You both have a unique way of blending jazz harmony with the blues.
Robben is a great player - we used to play a lot together when he was at GIT. But as I mentioned in the last post, I only collaborate with Frogger. I don't want him to get jealous - he enjoys biting people.
Hi Scott, Osvaldo from Puerto Rico here. I'm still in shock with your Live CD guitar sound...absolutely awesome. I have 2 questions: What's that effect you use on Devil Boy and the chorus part of Dog Party?
It's the Arion SCH-1 Chorus.
Also, I have a Stratocaster with the newer type tremolo with Stainless Steel Saddles, do you think it will sound better with a vintage style tremolo and which one you recommend.
Thanks for sharing...and recommending!!!hope to see you soon in Puerto Rico.
If you're talking about the two post Fender bridge, I don't think it has a steel block like the vintage bridge, so it probably doesn't sound as good. If you put a magnet up to the block and it doesn't stick, get a vintage bridge, or at least replace the block with a steel one.
Hello Scott I've got a question about 6 screws bridge. Have you ever tried Callaham Vintage S Model Bridge? This is link http://www.callahamguitars.com/ Thanks for any opinion.
I've never tried the bridge, but it looks well made. I did recently try a set of their saddles and didn't like them. Callaham elongates the slot in the saddle all the way up to the hump, so the string only makes contact with the hump itself. That's a bad idea, because on stock vintage saddles the string makes contact on two places on the saddle, the edge of the slot and the hump, and the more contact, the better the sound. I can definitely tell you that my stock saddles sound better. The reason they elongate the slot is to help prevent breaking strings, because the edge of the slot is sharp and that's where they usually break, but you can fix that by using a dremel and smoothing the edge of the slot on the E and B saddles.
The Callaham bridge beats the new Fender vintage bridge on these points: 1. the vibrato arm is stainless steel so it's way stronger than the crappy Fender arm, and it's shorter too, which I like. 2. I'm not sure about this, but I don't think Callaham paints the block - Fender paints the block with some kind of thick epoxy paint to keep it from rusting... they even paint the top of the block which connects to the plate!! It absolutely ruins the sound of the bridge. I wonder which genius at Fender is responsible for that brilliant idea? The old strat bridges sound great and are covered in glorious rust. Anyway, if you have a new Fender bridge, just take the block off and drop it in paint stripper for a couple hours, then clean it with acetone. You'll be amazed at how much better it sounds.
Scott, in Round 20, I think, you said you probably woudn't play with Tribal Tech again - man what a kick in nuts - you guys, along with just a handful of other people (Metheny, Sco, Holdsworth ...) were my last great hope for electric jazz - crap... What gives?
The main reason is that Willis lives in Spain now and Kinsey and I aren't very inspired to do the kind of record where we have to send files back and forth to work on it. We've done it before and it's a real drag. Also, having worked with keyboard players for most of my career, I'm enjoying playing trio and writing for guitar.
An gear related question - if you've ever used a Leslie simulation pedal/rack module (for that Badge / Abbey Road sound), which came the closest?
I use the Arion SCH-1 Chorus for that, but I've heard that the Option 5 Destination Rotation sounds good too.
Where do you put your Wah when you were using Preamps and Power Amps? Before the preamp or after it? Or did you use wah on that set up?
Pedals should always go before the preamp - delays and reverb work better between the preamp and power amp.
I think I read somewhere that you enjoy trio playing over quartet playing. I'm the exact opposite. I don't usually like playing with sax players, and I love playing with good keyboard players. On trio gigs I hate having to solo with no chords underneath me. What is it that you like most about the trio format?
During my first years of learning to play over changes I always felt that I needed chords behind me while soloing, but as I started learning to use more chord tones instead of scales, I started to hear the chord changes in my solos, and chords behind me were no longer necessary. I took the chords out of all my practice sequences to keep myself on that path. I don't like chords behind me on vamps either because if I want to take my solo in another harmonic direction then I'm free to do that. Another thing that I really enjoy about playing trio is that there's more sonic space so I can pay more attention to getting cool tones from my strat, which to me is a whole other art form in itself. I still like playing gigs with Kinsey, but those gigs are more about jamming and interplay than playing tunes with changes and comping for each other. When we do occasionally play a standard, Kinsey usually leaves the stage during my solo and drinks his tequila sunrise, and during his solo I just stand there wishing I could play that good.
Scott, have you ever considered playing a 335 type guitar for your blues trio ?
Have you listened to any of Charlie Hunter's albums?
What do you think of his music and playing?
Haven't heard him enough to comment. Isn't he the guy that says "picks are for kids"? What a stupid catch phrase.
a trem setup question....
for years, i've had a kahler setup.
i'm now building a customized strat style, similar to a suhr S style, and decided to go with a hipshot bridge...
when i first got the Kahler, someone clued me in to a great tip:
solder the ball ends of the strings, on the unwound ones in particular, and this keeps the ball ends from 'unraveling' slightly during heavy trem use.
it works on my kahlers... works like a charm.
i wonder if you have any tricks for setting up a typical trem like on your signature suhr model?
and thanks, for making really good music.
Here's a few tricks I learned from Kenny Gin at Suhr guitars. First, bore the 6 holes slightly larger, just the next drill bit bigger, cause it should be a loose fit. The top of the plate should be about even with the top of the pickguard and the end screws should be in just enough for you to get your fingernail under the head of the screw, the other four inside screws about 1/8" higher. It'll stay in tune better if it's floating - I can pull up on the bar so that the G string goes up a major 3rd to B. I have my 3 springs set the Van Halen way as most guys do these days. I also use strings that have solder on the ball winding. That's about it, just put plenty of graphite in the nut, and a drop of oil on each of the six screws and it should work well and stay in tune.
I was just listening to your "Live" CD when a question popped up in my mind...
Did you ever consider making a Hendrix or Page type rock album? Going back to your roots? Keeping it simple and just letting it rip? I wouldn't mind you doing so.
I'd rather let my roots mix with how I hear music in the present. Dog Party was a pretty big departure from the writing I was doing with Tribal Tech, but at that time I needed a break from the complexity of those records. Even though I made the most money from Dog Party, I don't feel like going there again. Now I'm just into writing without thinking about style.
I cant seem to understand how you set-up your volume pedal in your signal chain... is it after the effects and before the effects loop? before the preamp? or after the preamp into the effects adn into the effects loop? and what kind of volume pedal do you use low impedance or high impedance? thanks so much Scott!
Preamp (or FX send in amp head) to volume pedal, then to mixer (effects are plugged in here), then to power amp (or FX return). You need a low impedance volume pedal.
And do you know the difference and the use between the low and high impedance volume pedals? im asking because i want to buy one and i want to get the correct one. Boss has two models FV-300 H (High impedance) and FV-300L (low impedance). which sholud i get? I want to use it after the preamp and into a power amp. I dont want to change the gain on my preamp just the volume of my guitar sound. Again many thanks for the big help!
Get the FV-300L. The FV-300H is meant to be used with an instrument level signal, between the guitar and the preamp. In my opinion a high impedance volume pedal isn't very practical, since it affects the gain, not just the volume. It's better to control the gain with the volume knob on the guitar.
1.What would you say the main sonic differences are between the CAE 3+ (with either VHT or Boogie poweramp) and the OD-100 ?
I remember Guitarplayer giving it (CAE 3+) high ratings, clean ch = "like a refined twin" crunch ch= "marshall plexi" , lead ch= "fantastic violin sustain high gain" etc.
I saw TT in Sweden´round ´96 when you had the CAE 3+, remembering an incredibly ballsy leadsound !!! More hi gain than the OD-100 ?
and that you used it on "Tore Down House" makes it seem really versatile.
The CAE 3+ is very similar to the preamp of the OD-100. When I changed from using the CAE 3+ and the Boogie 290 power amp to using the OD-100, I didn't hear that much difference preamp wise, but it was clear that the power section of the OD-100 blew the Boogie power amp out the door. I did an A/B test by listening to the CAE 3+ into the Boogie and then into the return of the OD-100 - it was no contest. I had already tried the CAE 3+with a VHT power amp and thought that it was way too scooped sounding. So unless you absolutely need a stereo setup, I'd go with the OD-100.
2. What amps were you using with Corea and Zawinul ?
Cheeers and thanks for your time!
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I was using a Lee Jackson preamp with the first Boogie power amp, I think it was called the 295.
Do you have any idea what Gary Willis is up to?
Kirk just did some recording with him in Barcelona - that's about all I know.
I don't see any tourdates sunce August on his web site. Is it true that you fusion musissians play a lot of crappy gigs that you don't list because it would be too embaressing?
No, I list them no matter how crappy they are. I've only done one gig that I would really consider embarrassing, when my trio played in Cleveland, down in the basement of this run-down bar. What a dump! But even so, it was a fun gig and all the fans were great - plus there was good Thai down the street.
I am looking to be in the LA area for a couple weeks starting November 7.
Is there a chance you will be playing locally during this time?
If so when and where?
These are my my La Ve Lee dates in November - it's in Studio City
Nov 2 Steve Tavaglione sax, Jimmy Earl bass, Gary Novac drums
Nov 23 John Humphrey bass, Kirk Covington drums
Nov 30 Scott Kinsey keys, Jimmy Earl bass, Gary Novac drums
I really like your cover of "Continuum" - do you remember what tuning you used on the resonator? What exactly was it - single or tricone< wood or brass? I liked the recorded tone, but can't tell which kind of guitar it is. Great choice for a cover, very inventive take... keep twisting things, it's one of your best qualities!
I think it was just regular tuning. The guitar is a wood Dobro with one big resonator and two little ones. It's set up for slide only - the nut is really high so the strings sit about a half an inch off the neck.
scott, Weber speaker manufacturer has a little cabinet add-on device, called a 'Beam Blocker'....
it essentially blocks direct sound transmission off of the 'cap' of the speaker...
particularly good for the 'up-fronters'.......LOL
wonder if you've ever tried this on any of your cabinets?
I've heard of it, but I wouldn't be able to use it since I put the mic right in the cone. People that sit in the front row should be wearing earplugs anyway, especially if Kirk Covington is playing.
hi scott do you ever have any accidance with your amp head because you forget to plug the speaker cable when turnin on the amp ? how bad is the damage?
I've never done any damage - if I play a note and don't hear anything I'm pretty quick at grabbing the standby switch. If you forgot the speaker cable and stand there plugging away at bar chords for awhile wondering why you don't hear anything, you could do some damage to the power tubes and possibly the transformer (ouch).
When you used to play with humbuckers how did you set those little screws on the neck and bridge pickups?
I didn't mess with them that much unless I felt the volume was different on a string. I was told that if you turn those screws a lot it could make the pickup howl more because it breaks the seal of the wax. I have no idea if that's true though.... sorry, I'm not much help on this one.
What kind of buffer do you plug into when going out from the FX loop of your amp to go to the volume pedal, is it built in or external, what model if so? Thanks a lot!
Man, you got me twice! I'm not sure if a buffer can work in an amp FX loop. On my rig, the buffer is built into my pedal looper, before the signal goes to the amp. I can tell you this for sure, distortion pedals sound better if you don't run a buffer into them, so Bob put my buffer after my first 5 distortion type pedals, right before the cable comes out to the wah. From the wah the signal runs back to the looper and into the other chorus type pedals which don't seem to care if they're buffered.
How many jazz standards do you know by heart and can play at any moment?
Maybe 3 or 4 at the most. I never put any energy into memorizing standards. I couldn't care less about it. I love a lot of those tunes but I can read well enough to play them anytime I want.
Still using fender picks?
bought 350 fender picks a couple of years ago. thats one pick every other day. They are all gone. Only powder left... Familiar with the problem?
Still using Fender heavy's - yeah they do go fast, plus I like to light them on fire.
do you keep your pick in the traditional way when you play faster lines?
I use the big side of the pick all the time.
What would you say the most important things you learned from Zawinul while playing with him, besides that your amp was "too fxxxing loud" on stage" ha ha....but seriously
To keep the music loose and not to over-arrange everything so it's the same every night (like some of my former bandleaders do).
I am glad, you have shared the user question answers. Nowadays, many admins won't reply to their users. Thanks to you for sharing these question answers for the resume edge. Keep posting question answers to the users.
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