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Scott answers your questions - round 12 - 2/18/05

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StarShip Captain

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

PostPosted: Sat Feb 19, 2005 2:56 pm    Post subject: Scott answers your questions - round 12 - 2/18/05 Reply with quote

Hi Scott,

Just checking to see if there is any news of an Australian tour. All 6 of us who like fusion over here are really keen. Also, just wanted to say thank you for your music....I appreciate it, understand it, and love it more everytime I listen to it. Cheers, Glenn

Thanks Glenn - if it was only five of you I wouldn't bother, but since it's six I'm gonna e-mail Voracity again and see what's up. Hopefully I'll hear from them soon because we want to play down there!

Hi Scott!
Could you tell us which pickups are activated in the 5 different switch positions on you blues and fusion guitars? From what I understand you have them differently connected than the standard stratocaster set up...

No, it's just the normal way. I have the tone pots wired a little different though - tone 1 is for the neck and middle pickup, tone 2 is for the treble pickup only, and the tone controls are bypassed for the two in between positions.

Could you also explain how your wah is connected with the looper? Is the loop always on and you just turn the wah on when you need it or do you have to activate the loop first?

The wah loop is after the distortion pedals and it's always on because the wah is true bypass.

Does the buffer in the looper take care of the signal loss from the long cables running from the looper to the wah and back?

Yes, with all the cables the tone would be muddy without the buffer. I had Bob put the buffer after the first pedal loop - that's where my SD-9 lives and it doesn't like the buffer too much. Higher gain pedals and pedals with germanium transistors get shrill sounding if a buffer is before them.

Hi, again Scott!

I'd like to ask you a few more questions.

1) Did you played Gibson guitar? What do you think of it? \

I have a Les Paul that I use for recording sometimes. I like SG's too.

2) Do you have any eastern or eastern-asian roots (may be Arminian)? I really like when you play sort of eastern style, it sounds unusual.

I'm adopted so I don't know.

3)Did you ever learn Indian music?

I've listened to some Indian music but I've never learned any particular pieces. mmmmmmm....chicken tikka.......

4) I visited many fusion guitarist concerts. During Frank Gambale's concert i had a feeling that he played everything like his usual duty (The first and second songs he did a warm up). During Allan Holdsworth's concert I've mentioned that he was very angry about sound (I know that the club he played in didn't supply him with equipment he had asked) so it all was about good technique but less or without music (as well as Frank). I, really, love the recordings these guys doing, but Live concert is quiet different things. I love everything about your music especially live show (I can feel that you are real, you don't just play guitar you play music), actually I think the same about Hiram Bullock, he blows your mind from first chord. So I'd like to know do you do something before concert like pre-concert warmup?

Thank you so much for being with us!!!

I don't warm up at all except for getting my hands warm with a heater or hot water. I'd rather joke around with the guys and get in a good mood before a show than sit there alone practicing.

Hi Scott,

I'm new to your music - I saw your recent show at Tone Merchants and you guys just blew me away!

During some of your more bluesy songs, you had a killer chorus sound - almost a slow Leslie kind of sound - that you used with the neck pickup. Which chorus pedal gets that sound for you?

It's the Arion SCH-1 Chorus pedal - all three knobs at 12 o' clock.

Hi Scott,
In the last Q&A i asked about the Feiten tuning system. You said that since you use the bar so much, you tune between every song. So i was wondering:

1-Have you tried the Peterson Strobostomp tuner? It is just as easy to tune with as any of the other pedal tuners, but about 100 times more accurate. It's true-bypass, and it has the presets for the Feiten system built in. Definitely the best investment i've ever made next to my Suhr classic

I've heard about it but haven't tried it. I'm sure it's better than my Boss tuner - I'll check it out and see if it's small enough to mount on my pedalboard.

2-Since you now use the bar almost constantly, have you considered trying a Floyd Rose type locking bridge? Have you ever used a locking bridge?

I don't like the tone of the Floyd. For sure it keeps the guitar in tune better but I've never seen a locking bridge with a block, and I think that's a major element in the tone of a strat.

On an unrelated note:
3-Have you or do you ever practice any classical pieces? Any that you would recommend for practice/study?

Yes I practice classical pieces and I also fly jet aircraft and perform surgery every once in a while. Seriously I couldn't play the simplest classical anything - when it comes to playing any type of solo guitar I'm absolutely lame.

4-When you compose, at what point do you decide if a tune will have vocals or not? Some of your tunes (like "Lady P" for example) sound to me like they would work just as well as instrumentals, so i was curious as to how you decide whether to make a tune vocal or not?
Thanks as always for the interaction, and i hope we get to see you play here in NYC this year!

Sometimes I know from the start if it'll be a vocal tune or not, and there have been times when I've changed my mind halfway into it. Usually it turns into a vocal tune when me playing the melody alone or on top of the chords doesn't do it for me. I'm always hoping it can survive as an instrumental because writing lyrics is a pain in the ass.

"Phrasing is such a huge part of making wrong notes sound good, and also the way you resolve them"
Thx scott ! just few words and now i'm seeing lights.recently i transcribed your song "dolemite",at the 4th bar there is a b6th(F) against the I7 chord (A7),do you mean something like that,coz it's quickly resolved by 6th (F#) ? i got no clue also when i transcribing the melody of "billie's bounce",something like a major 7th note against a Dominant 7th chord,but it quickly resolved by b7th,i am not sure if i am right,maybe you can give me some example ? thanks for your explanation !

You're on the right track - keep transcribing and you'll start hearing many similarities among different players as to how they phrase outside notes. Often passing tones occur on up beats which resolve to chord tones on down beats .

Also what pickups you used in your LIVE album ? virtual vintage or V60lp ?

Virtual Vintage 2.2. It's getting impossible to play single coils in LA. On my last tour with single coils, I played about ten venues where I had to change pickguards and use mediocre sounding noiseless pickups. Now thanks to great sounding noiseless pickups like the Kinman AVn 56 and Dimarzio 2.2, I don't have to carry an extra pickguard around anymore.

Hey Scott, are there some current (or former) students of your's that we should check out? I'd love to add some more music to my collection.

There have always been students that have gotten really good and made records of their own but I would hate to list some and forget others. Check out GIT's website - I think they have a list of former students who have their own recordings.

What's the most crazy thing a fan has done to get your attention?

One time this chick took off her shirt and bra and threw them on the stage and....... oh wait..... .that was a Guns and Roses show.....
One very memorable fan who usually shows up in Stockholm likes the Tribal Tech song Fight The Giant, only he pronounces giant with a very hard G and yells it out between songs the whole night. We always look forward to seeing him.

Hi Scott!

Greetings from the Philippines!

Got hold of your "PLAYER'S Album"

Im just wondering what kind of guitar, amp & effects did you use to record that album?

How long did it take for you guys to write the songs?

You are truly different from other guitar players ive heard!

-well in terms of answering questions and of course how you sound and play...

Hope to hear more of your playing!

Thanks Scott!


Sorry, that album is about 20 years old I don't remember much about it. Each of us contributed two songs so I don't know about the other guys but I wrote my two songs really fast so they could get on the record - we had really short notice that the album was going to happen.

Are you using the POD with headphones or direct to your computer?

Direct to the computer.

How can i actually learn to acquire the vocabulary like you have by myself?

Or i really have to go to music school?

Thanks again Scott!

Youre the Man!


You don't have to go to music school but it might make the learning procedure easier. At least you should try to find a private teacher. Many great musicians are self taught, but most of them did a lot of listening and copying from records.

I just saw a picture of you on Joe Zawinul's site dated August 25, 2004.

It says you arrived early to get the charts down before rehearsal.

Please correct me if i am wrong, i can see in the 1st picture you were using a Korg Pandora PX4?

Did you always used a PX4 to practice? (i know you are using the POD right now for practice)

I have a PX4 before and it seems to be very handy for practice stuff.

Which would you suggest people to use? The Korg PX4 or the more popular Line 6 POD?

More thanks Scott!

You and your family take good care! (Dogs included there)


Thanks again Scott!

Youre the Man!

The POD has more realistic guitar sounds but it's too big for me to carry around, so the Pandora is always in my guitar case. I spent some time with it and programmed a good set of sounds for practicing and composing on the road. It's a great little box!


I have been recently introduced to your're great, thanks!
Two quick questions (I apologize if these have been asked already, I did try to search first):
(1) Any plans on a US tour in 2005?

We're working on it. South America plays a big part in whether I'm able to tour the US because the money I make down there makes up for the crappy money we get in the states. The economy down there is improving so hopefully we can make it work this fall.

(2) What is your feeling about the trading of live "recordings of unknown origin" (audience tapes, radio broadcast recordings, etc.) of your music via technologies like BitTorrent, etc.? FWIW this is how I was introduced to your material...I of course went out and purchased some of your commercial releases as well

Thanks for participating in such a great forum!

Honestly the thought of someone in the audience taping me makes me very uncomfortable - performing musicians should have the right to choose what they want on recordings. People in the audience should respect that.

Hi Scott,

Thanks for so many years of incredible music and guitar playing. Thanks also for taking time to answer these questions. Hopefully they haven't already come up here.

1) When did you first become aware of all the pentatonic applications you discuss in your videos? Did you sit down and work these out systematically, and then try to apply them to your playing? Or, was there an instance where you were transcribing, and actually figured out that someone was playing, say, an A minor pentatonic scale over a Gmin7 chord?

I learned that in school but I've also heard it many times when transcribing. Since most guitarists already know the pentatonic stuff, it's a great teaching tool to show them how they can improvise over changes with the information they already have.

2) If you were giving a lesson on blues playing, how would you describe the way so many players (in both blues and jazz) seamlessly combine major/minor pentatonics and blues scales to create an almost "hybrid" scale? For example - the first phrase of "Billie's Bounce" uses both the maj and min 3rd, along with the b5, and maj 6th. It's not strictly maj or min pentatonic, or mixolydian, etc… I know I'm probably setting myself up here by trying to over-think the blues, but as a teacher, I'd be really interested to hear your perspective on how it works. Especially when so many people just want to learn in terms of "scale x over chord x = the blues".

I don't think of it so much in terms of scales, but rather in intervals. There might be a parent scale that gives the overall vibe, say mixolydian. I'm always adding b3rds, b5ths, b9s and whatever else to that scale and I just see it as added color tones rather than a new hybrid scale.

3) Any plans to re-release "Melodic Phrasing" on DVD? This is, in my opinion, the best instructional video ever made. It really had a profound effect on my playing, and I've probably watched it 100 times. Never fails to amaze or inspire me.

Thanks! I don't know if it'll ever come out on DVD . I think my videos are now owned by Warner so maybe you could find out from them.

I'm a big fan of yours from Austria! Here's my question!

When you played in Joe Zawinul's Birdland in Vienna in September, Alegre Correa was the guitar player in Zawinul's Syndicate. What do you think of his playing?

Can't wait to see and hear you again in March!

Best wishes,

He sounded really good - I think for what Joe needs now, Alegre is a better choice for that gig than me. After comping on some of those fast tempos that they play, I felt like my right hand was gonna fall off. Alegre's got great right hand technique and really good time - I enjoyed watching him play with the band.

hi scott , i have some question for you

1. You said "the amp I play through now at GIT is much better - it's a Fender Princeton with one 10" speaker and it has delay & other FX built in." i have seen the review in harmony central about that Fender princeton amply there are many series like Fender Princeton 65,Fender Princeton 65 Dsp,Fender Princeton Chorus

but the type that have 10" speaker is only fender princeton chorus DSP but it has two speaker not one , the other type have 12" . the only one that have delay and other built in effect and one 12" speaker is Fender Princeton 65 DSP,is this the type that you mean?

Yes that's it. I thought it was a 10" speaker but I guess it's a 12. said "In my humbucker guitar I use a '59 double screw in the bridge and a jazz on the neck." so i know you use seymour duncan 59 in bridge but sorry i really don't know what is mean with "double screw" is this mean humbucker type pickup?

Yes, it's just a humbucker with screws in both coils. When a humbucker has screws in one coil and studs in the other, one coil is hotter ( I forget which one). Screws on both coils makes the pickup get a more even picture from the string and it's a fatter, less strat-like sound.

3. so in your humbucker guitar for neck position tu use seymour duncan SH-2 Jazz™ Model
is this true because in suhr homepage in "scott henderson signature guitar " page he only mention seymour duncan 59.

A couple years ago I changed to the SH-2 Jazz in the neck position because it's brighter than a 59. All that being said, last month I put single coils on that guitar, even though it's tuned to E with 10's. I'm just not into humbuckers these days - I'll have to tell John Suhr that his Henderson model should have V60's in it.

What do you think of vintage gear? You seem to be conecet to modern gear a lot (Suhr, Custom Audio), but still manage to get a great vintage guitar tone, not harsh like modern players. Do you think a vintage strat is for collectors, or availability or, most important, consistency is what keeps you away from this kind of gear?

Vintage strats sound great but they're too expensive, and I find them difficult to play. I hate small frets, the string spacing is wider than I'm used to and the E string is too close to the edge of the neck on most of them for me. They have great tone because they were made really well with light alder and great pickups, but if a modern strat has those qualities and also has a neck that's easy to play, I'm totally happy with that.

I love vintage amps and I use them for recording - they aren't as outrageously priced as vintage guitars (yet). On stage I need an amp with a master volume and an FX loop so I use the OD-100. Of all the modern amps I've tried, it gets the closest to a vintage Marshall.

Have you ever used any kind of Les Paul thru your carreer?

I started out playing Gibsons. The keyboard player in the top 40 band I was in knocked my Les Paul over and the headstock broke off. He couldn't afford to buy me a Les Paul so we got a strat - been playing them ever since. I bought another Les Paul right before Well To The Bone and used it for the slide stuff in Lola Fay.

Hi Scott, me and Daniela met You and Gary, Scott and Kirk in 1994 and 1995 in both tours in Milan Italy, at Capolinea Jazz Club, In 1995 was during the "Reality Check" tour, it was really a pleasure and we were really impressed by You guys, Your music (that's a fact) kicks asses. I got some pics that I'd like to post somewhere, if someone tells me how...
I read the previous posts and in one You say You consider Toots Thielemans as a real innovator in Jazz, in a way You're not.
Well I partially disagree 'cause IMHO since the very first tracks I heard such a strenght and vitality in Your tunes and in the way You play guitar that I've never heard before. I do consider You and Tribal Tech as innovators in music.
Thank You all for this great feeling!!!
As I'm also a Fucking Mac user, which is Your Mac stuff??? G5??? Os X???

Thanks Marco and Daniela

Thanks Marco - Yes, G5 and OSX. No Milan gig on this tour but maybe we'll see you soon somewhere in Italy.

Hi Scott
Love your playing and your tone. I heard that you have been doing a plexi mod on your OD100. How is it working? Have you tried it yet?


I've been talking to John about making a one channel amp that clones an old Marshall but also has his great crunch mod and FX loop. I think there are a lot of players out there who don't need channel switching and would appreciate being able to buy an amp like that instead of finding an old Marshall and modding it. We're using John's demo head as the prototype, but we didn't have time to finish it so I could use it on the tour since I leave in a few days. The circuit is done - only a few things had to be changed, but there wasn't time to change the output transformer and tubes and give it proper testing.

Channel two of the OD-100 already sounds pretty close to a plexi. I've been using channel two as my crunch channel with pedals and it works best when the bright switch is in, but I changed it's cap (slot C14) from a 470pf to a 220pf. That's the value in a Marshall and I think it makes the high end sweeter - John's doing it on all the Henderson amps now. When the bright switch is in, it becomes necessary to turn down the power amp presence control inside the amp. John puts that control on the back of the amp for guys that request it - if you're using the bright switch for some tones and not for others, that control will need to be changed.

Willis new wifes name is not Yoko, is it?

No it's Anna, and let me tell you she's a million percent improvement over the first one.

 Whose composing style causes your ribs to hurt more from laughter? Ponty or Berlin?

Whoa you're ruthless dude.... but funny. Actually I think Ponty wrote a few killer tunes, but one funny thing I remember is that Willis liked to put his cassettes on fast forward and crack up because they always went weeee ooooo weeee ooooo - most of his tunes had two chords.

 Is it true Berlin still takes credit for birthing Tribal Tech? Is it true they had to create a new school just fit his ego in thru the door?

I didn't know he took credit for Tribal Tech - hope he got some royalties out of it!

80's Christy Canyon or Ashlyn Gere?

Vanessa Del Rio!

Tae Kwon Doughnut, Baby!
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Or else....


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PostPosted: Mon Feb 21, 2005 12:09 am    Post subject: Reply with quote


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