Joined: 14 May 2004 Posts: 278 Location: Boulder, CO
Posted: Tue Sep 07, 2004 1:30 pm Post subject: Scott answers your questions – round 5 - 9/15/04
1-Do you still keep in touch with Joe Diorio? He seems to have disappeared, and there doesn't seem to be any info on him anymore. Also, was he an influence on your playing in any way?
As far as I know, he's still teaching at USC. I haven't seen him since he left GIT and that's been about 7 or 8 years now. When I was a student at GIT I learned a lot from Joe, especially chord voicings. He's a truly amazing player and one of the best solo guitarists ever, but I was never very influenced by him because I never seriously considered playing that style of guitar.
2-Do you ever get tired of hauling around a ton of equipment to play gigs with, and wish you could just use a couple of pedals and a combo amp? When you tour overseas, how does the gear get transported? Do you guys rent a bus or something?
I don't mind carrying gear around. We ship our gear to Europe by cargo and our agent there has a large van that we travel in.
3-Are you planning on touring the states when the live album comes out?
I'm going to try, but I never know for sure until I figure out the money details. It's OK if I only break even, but I don't want to lose money to tour.
4-Have you ever tried to get a gig at any of the blues festivals that happen every year?
I've tried with not much success - seems like they hire more traditional acts.
5-Since you're working on a live album, what are your feelings as far as "touching up" things on a supposedly "live" record? If you think it's okay to touch up or re-record things, where do you draw the line?
I couldn't touch up the guitar tracks if I wanted to since there's too much bleed into the drum mikes, so what I played is what you get. I might be able to paste part of a song to another if the tempos are the same, but I'm not sure they are, so more than likely I'll just pick the best take and live with it.
6-Are you going to bring your Suhr in and let John use the Plek machine on it? If you already have, what's your opinion on the Plek?
Haven't seen it yet but John says it's amazing - I'll do it next time I need a fret job.
7-At this point, do you ever end up playing to a crowd that doesn't know who you are, or are all the gigs pretty much filled with fanatical guitar players? If you ended up in front of an indifferent crowd at this point, do you think it would alter the performance?
We have more fun playing in clubs for our own audience, but sometimes we play festivals in Europe where the majority of the crowd has never heard of us, and we get an hour to turn them into fans - I like that challenge.
Hey Scott, just a couple of things on my mind I wanted to ask about. Iv alway dug speed and technique. About a year ago steve vai or satch would have been the guy a would compare every player to. However, since discovering you, my outlook on what i means to be a great player has totaly changed, now your my benchmark! Anyway, what do you think of these players? do you like their playing? Do you think there is a change you would ever be asked to be on the G3 tour w/ them. Would you accept?
I'd be surprised if I was asked since my style of music is so different from theirs. I' don't have any of their records but I've heard a little bit of their playing from my students - to be honest, I sort of bypassed the whole shred thing. I respect the technical abilities of the guys that can play that kind of music but it just doesn't appeal to me very much. My favorite rock guitarists are Jeff Beck, Jimi Hendrix and guys like Michael Landau who are more about tone and phrasing. If I want to hear fast notes I'd rather listen to jazz because I like the vocabulary of that music way more than shredder licks.
Also about your blues playin, The thing I respect most about a player is when he develops his own style of play. I liked your first two albums, but I wouldnt exactly call them original or your own style. Would you agree? But w/ Well to the Bone, I think you really found yourself and started playing stuff that was all your own. Do you think youll continue to move down the blues path and keep developing this? It seems like the interest you guys have in tribal tech might be fading, although i could be wrong, i just get that impression from some interviews.
I'd agree - Dog Party was traditional and Tore Down House was a little more me, but Well To The Bone is kind of a mixture of all the things I like in music. I don't want to guess about what's coming next though because I just like to compose and see what happens.
Gary Willis lives in Spain now, so Tribal Tech is on the back burner - we don't have plans for a new album or tour at this point.
G'day Scott! I love your playing, you've somehow got that right mixture of jazz harmony complexity and raw blusey emotion. Keep it up!
1. It seems that Tribal Tech is on the bench right now, do your ever see the band coming together again? Do you have any other plans for another jazz project (mabey a solo jazz cd with many musicians?)
Tribal Tech will probably do another album but we don't know when. No plans for a jazz project.
2. I'm not quite happy with my Texas Specials in my ash body, maple neck Strat. I also want something noiseless. Im trying to figure out what to get out of the Kinman avn traditional, Avn Blues or the Dimarzio Virtual Vintage 2.2. I know you really like the Dimarzio, but the Kinmans get so many positive reviews. Have you ever experienced the Kinmans? If so, what is your opinion about them
I've heard a lot of great things about the Kinman's but I've never tried them.
3. Have you ever thought of doing some session work lately? Local or studio? I'd love to hear you in some different musical contexts, plus it might earn you an extra buck...
I do sessions once in a while. I just played on a record with Rob Whitlock, a great organist who's a friend of mine from Florida. Vinny is on drums, Anthony Jackson on bass, and Michael Brecker played on it too - should be a cool record.
4. Have you been down here in Australia? What do you think of it, and any chance you might come down again any time soon?
I've been once with Tribal Tech and we had a great time. I'm talking to a promoter about possibly coming down early 2005 with the trio.
Hey Scott, I have been a fan for many years and want to thank-you for your continued release of music. WE thank you VERY much for giving our ears fresh and new music to listen to. You keep making it, we'll keep buying it!!!
I was a tad disappointed to hear that you were not happy with your tone on the Vital Tech album as I think it sounds really good. It's different than some of your others but I think it still kicks ass and the playing is.............other-wordly.
That record was the first time I used the Kendrick Blackframe 10" speakers and the cabinet I tried first was a closed back, which basically smothered the speakers because the cabinet is so small. I found out later that they sound much better in an open back cabinet, so yeah, I was disappointed.
I am trying to think of something to ask that hasn't been asked yet and I'm not coming up with too much............How bout something like, what are some of your favorite movies and books?
The list would be way too long!
What cd(s) are in your car and house right now?
Today in my car I'm listening to comedy CD's - Jerky Boys, Red's Bar, Mrs. Miller, ect. Too many CD's in the house to name.
I am not sure if you have discussed this already, but the guitar world lost one of the greats (Shawn Lane) and I wondered if you had any stories that you would like to share regarding Shawn.............
I only met him once after I saw him play at GIT - he had really good tone and he played very musically. He didn't do much of that fast shred stuff that I guess he was famous for. I was surprised he could play like that because I had only heard people talk about how fast he could play.
In the last series of answers you mentioned that you like classical music. What composers and compositions do you really dig?
My favorites are Debussy, Ravel, Scriabin, and of course Mozart. My favorite composition right now is Reverie by Debussy.
What initially sparked your interest in taking up the guitar in the 1st place? Is there a specific moment that you remember that triggered your interest? And at what age did you start playing?
I heard Jimmy Page's solo on Whole Lotta Love - that was it for me. I had already been playing since I was 10, but after I heard Led Zeppelin, I knew what I wanted to do for a living.
How did you become interested in jazz? Was it early or later? And what are some of your personal favorite jazz albums?
Much later, around college. My friend turned me on to Weather Report and Mahavishnu Orchestra. It sounded a bit weird at first, but I became a big fan.
Hi Scott I'm Jenpol from France.
I've just finished to transcribe your solo from Giant Steps with Vital Tech Tones and it's just amazing ! F*** ! You are one of the greats musicians of our time, really! After that (hard) work I've some questions for you :
-How did you processed to reach this ease over these changes ?
I've been playing that tune for a long time - that's the only answer I can think of.
-Have you got some "pre-writing" phrases or something like that ?
Sure, I have some worked out stuff and some lines from transcribing many Giant Steps sax solos.
-Is it possible to really improvise at that speed and above all, with that "harmonic stress" ?
It doesn't feel like stress if you really know and hear the harmony of the tune, but of course playing at fast tempos is hard (at least for me). Fast tempos make it harder to improvise as purely or melodically because sometimes we have to rely more on pre-learned hand movement just to keep the tempo up, and it becomes more of a re-organization of ideas than it is pure improvisation. If you heard me play Giant Steps on another record, it would be a different solo for sure, but you'd recognize things. Even on Coltane's alternate takes of Giant Steps, you can recognize some shapes and patterns that he used on the album track. One word of advice on learning a song like this - start out playing it mega-slow for a long time and that harmony will stick in your ears. After doing that, you won't stress out as much at faster tempos.
What I meant was compound radius fingerboard. I read that your Suhr guitar had a 16" radius (very flat). At the time of my question I thought the Suhr had a compound radius fingerboard (meaning something like a 12" radius near the nut (more curved - easier chording in that position) and then gradually moving to a 16" radius as you move up the neck (easier bending, no fretting out). One of the places offering these types of necks is www.warmoth.com.
I've never seen one, but I like flatter necks in general. The necks on my Suhr's are very comfortable for me, and they don't fret out while bending strings.
Question 2: I agree with a previous poster regarding your opion of your tone on VTT - man all I can say is, you gotta step back and listen to it like your are someone else - VTT1 is such a great record, with such great tones, and more importantly, great playing.
Thanks! If had the ability to step back and listen like I was someone else, then I'd listen to my own records. But I don't so I don't. I've learned to leave that self-critical shit behind me while I'm playing, but there's still too much of it around for me to enjoy listening back. So choosing takes for the live record should be a real laugh riot....
Question 3: On the first track of Illicit, it think it's "The Big Wave", your sound and approach have a real Holdsworth feel, both in terms of tone and phrases. I think you've mentioned before that he was a big help at times in helping you get a decent sound. Can you impart some of the wisdom that the Master of Tone shared with you?
He told me about Neuman 87 microphones, and showed me how to use stereo delays to fatten up the sound, and he also told me about the Lee Jackson preamp that I used for a few records. We were mixing Dr. Hee and he brought a whole rack of gear for me to try. Alan is such an incredibly nice guy and I was just blown away that he would help me. For anyone who wants to hear Allan's delays, check out a Yamaha DG-Stomp - the patches that he programmed are awesome.
1. is your middle v60lp RWRP ? if not, how do you eliminate the noise when using position 2 and 4 ?
Yes it is
2. you mentioned you "start with the bass and treble on around five and the mids off" when you are checking out a new amp, do you mean 5 o'clock (max) or 12 o'clock (half) ?
sorry, I meant 12 o'clock.
I've just received your mail in order to inform to us that you not will be at The la Vee tonight..
Well I couldn't go to your show tonight anyway, because I'm writing you from little ITALY!! I've waited for writing you, because I thought you could not reply me because you're busy and I don't have your email address , but when I discovered this forum I've decided to do it.. maybe you don't remember about me, but we have played togheter 3 years ago during your clinic at "Chitarre" school to Orvieto in Tuscany! I had 17, and till I saw you live my guitar playing is changed! I want to ask you how can I do to improve my guitar playing.. I play the blues but I want to change my phrasing, to detached me from pentatonic scales..I love your phrasing on "Vital Tech Tones".. Which an easy way is to go in that guitar playing direction?I also would be so happy if you visit my band's web site www.almostbluesband.com .. there is also the photo on the occasion I talked you before if you want to listen some of mine mp3 and take me some advices to email@example.com maybe I would be the happiest guitar player in the world... I really admire you ! David Pannozzo from italy
Thanks David - I'm sorry I can't respond by visiting websites and giving advice or I'd be teaching all the time and two days a week at GIT is enough for me. But I will say that if you want to detach from the usual pentatonic stuff, start transcribing horn players and developing ideas more related to other scales.
Hi Scott. I hear that you said the best way of learing how to write is to transcribe. I was wondering that when you transcribe, how much do you do that? Only melody and solo or the whole things
I don't write rhythms down, just the melody notes and chord symbols. If the chord voicings are really important then I'll write them down too.
Hi Scott I'm Martin from Poland. 9 years ago my friend Gianfranco Continenza from Italy told me about You and Tribal Tech, it was brilliant. Since that I've found good sound. I've got few question about equipment. I've got Fender custom shop strat vintage reissue 62 (alder body, rosewood fnbr. steel trem.) with tuners kluson vintage style - change it for sperzel or shaller loocking?
I don't know Klusons, but I really like the Sperzel locking tuners.
I have to change pickups and thinkig about V60LP or virtual vintage 2.2 - should I change oryg. capacitor (dimarzio recomm.).
No - stay with 250K pots and the same capacitor
What do you think about Rivera amp.
Never heard one.
What do You recommend TS9 silver, SD9/808/silver, SD9/808 -analog man; Sd9 maxon;SD9 Ibanez?
The SD9 is a different type of pedal than a TS9/808. It's more scooped and has more gain, so which type of pedal you get depends on your style of playing. The TS9/808 sounds better on the rhythm pickup but the SD9 sounds great on both so I like it more. As far as the brand, AnalogMan's silver mod on the TS9/808 is really good and the stock Maxon OD9 and SD9 sound great too.
I'd like to know why you chose the Boss SE-70 over other (newer and more expensive) units? Are the delay sounds that good? Which other units have you tried?
Actually the reverb and delays in just about any other unit are better than the ones in the SE-70. I just use it live because it does lots of other cool stuff besides reverb and delay, and it's a half space unit - the other half is my Black Cat Vibe which I love too much to dump in favor of a better multi-effect. I want to keep my rack nice and small.
Why do you prefer the rack unit over delay pedals, are you switching tempos a lot?
I don't like reverb or delay going into the front of the amp - it's better in the effects loop.
1. What's the model of Ibanez you use in your educational videos? That blue/purple one.. Sounds good.
The reason I left Ibanez is basically because they refused to make that guitar for the public because it had a real bridge and not a Floyd Rose - no offense but I don't like the sound of Floyd Rose bridges. So if someone liked my tone and decided to buy that model, it wouldn't sound at all like my guitar - not exactly an honest endorsement policy. Thank goodness for John Suhr.
2. How about Danny Gatton? Do you like his album "Relentless"? Big Mo, that's fine song.
He was a bad dude.
i Scott I forgot to ask about marshall 1959 SLP. What do You think about new reissue of 1959 SLP Marshall? Have you ever check that model ?
G'day Scott, Chris Kinman here. One of the members here told me you have heard of my pickups but haven't tried them. I'd like to rectify that so please shoot me an email. firstname.lastname@example.org .... you will be asked to register with Spam Arrest by email so your mail can be let through, but if you dont I might be lucky and find it and authorize it myself.
Joined: 05 Sep 2004 Posts: 3 Location: Bellevue, WA
Posted: Wed Sep 08, 2004 9:09 pm Post subject: Re: US Stomp
I just found one of the UD Stomp delay pedals, used for $200 shipped. Some great delay presets (including the Holdsworth ones), better tone than my Line6 DL4, but it may take a while to get the interface down for live use.
For you all:
I think Scott's reference to Holdsworth's patches in the DG-Stomp are actually in the UD-Stomp. The DG-Stomp is a amp modeler with some effects, while the UD-Stomp is all about delays and modulation.
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