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Scott answers your questions - round 31 - 10/7/06

 
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kirk95
StarShip Captain


Joined: 14 May 2004
Posts: 277
Location: Boulder, CO

PostPosted: Sat Oct 07, 2006 12:45 pm    Post subject: Scott answers your questions - round 31 - 10/7/06 Reply with quote

Is there some tone reason you put your tremolo springs the van halen way? Would it sound better to use 4 springs (even though it would feel tighter)?

Quote:
Honestly I just started doing that cause I thought it looked cooler, and 4 springs makes it too tight for me.



On "Dog Party" did you crank the volume on your tubescreamer when you stuck it into the DC30?


Quote:
Yes, on Tube Screamer type pedals I turn the volume all the way up.



Never mind about that tremolo springs question... I just tried 3 versus 4 springs. 3 springs has TONS more bass!

Quote:
Cool! Just about every little thing you mess with on a strat changes the tone in some way.



Hi Scott!

Saw you at the potato the other night, that was great!

I have one Question:

- You are going in a more blues influenced direction, are you doing this because you really love that style or because itīs easier to get gigs and make money that way?

Quote:
As a band leader I could never play music I don't love - as a sideman that's a different story. If I wanted to go in the money direction, I sure wouldn't play blues. I'd improve my reading chops, stay home and do sessions - that's where the real money is. The only improvement I've noticed about playing in a more blues influenced guitar trio over Tribal Tech is that there are actually women at the gig, which is a huge improvement.


I read that Pat Metheny mentioned you especially as a guitarplayer he admired and that more people should listen to. Not a question really, but thought you would like to hear that compliment, in case you didnīt know.

Quote:
That's nice of him to say that - he's such a great player.



Hi Scott!!!

Can you give me any advice to improve on my ritmic phrasing? When I improvise on a swing feel I can get cool slow phrases, thinking in the time 2 and 4.But when I want to do something faster I go up easily at 1 and 3 and
I loose the feeling. You think is good to pay attention on my foot(time 2 and 4)?


Quote:
I think you'll feel swing better if you tap on 2 & 4 but that's hard to do at burning tempos. I don't feel very comfortable playing super fast tempos - I never practiced on that very much.




Another question for you,
When I improvise I think in the 5 pentatonic positions, but most of times I finally do the same ideas. You think is a good way to view the fret?

Quote:
Try to think up and down the neck on each string more than positions.



the last one,
I've studied jazz since last year, now I've got many new concepts to develop like new scales, chords, arpegios, sight reading, phrasing, transcriptions...etc Many concepts in a short time, it can be stressful...
I need organization, but I don't know if it's good for me to study all these concepts at the same time (a bit of everyting) or the oposite.
Can you give me a general idea of your organization when you started to study jazz? just a basic idea, no details.
Sorry for the grammar... A lot of thanks Scott, thanks for your time!!!


Quote:
All those tools are important - I think I practiced equally on all of them, except sight reading. That one got missed somehow. I wasn't all that organized, I just practiced what I thought I needed at the moment.



Hey Scott!

I followed you advice on p.u's,so I ordered V60LP's! There are some wiring options though,as far as I know,so I just wanted to know your opinion on that part; vintage,modern or blender and why? I know it can be of significant difference on the overall sound,as I already heard that 'blender' is the best selling one. Which one do you use?

Quote:
Sorry, I don't know what those are. My guitars are wired like this - tone 1 is for the neck and middle, tone 2 is for the bridge, and the tone controls are bypassed on position 2 & 4.


Scott,

What does your LA gig schedule look like in October?
Traveling to LA from MS just need to now when and where you are playing and I am there. And hopefully check out open counseling.
Thanks keep rocking!


Quote:
La Ve Lee October 4 with Kinsey, Baked Potato Oct 18 with the trio and 19 with Kinsey.



Hi Scott no questions this time
I just saw a question above where the guy asked if you were going in a more Blues direction.
It reminded me of your video where you said something like.....
" I would rather hear Albert King drop his guitar than some guy streaming mindless 16th notes"
I gotta tell you that was the funniest true thing I ever heard.
That & your description of Ed having Sex.
Thanks again for the music & that tape! Hey any chance you would ever do a all blues dvd along the lines of that instructional tape? Ok I guess that is a question

Quote:
I said this in another post, but to repeat myself, if I did a blues instructional video, I'd just tell people to listen to Albert King.


Hi Scott!!!

I asked before about if is a good to think on 5 pentatonics positions to view the fret. But i seen you said is much better to think of the guitar as six pianos. Can you tell me how it works? or give me any example? I don't understand it and I would like to begin with because think on positions is not the good way like you said.
Thanks for your advices and for your music, i love it!


Quote:
All it means is to learn the notes on each string and play up and down the neck, not only in visual positions. This helps in many ways - you teach yourself which intervals over each chord you need, where they are on the guitar, and most importantly, what they sound like. It's about looking for one good note, as opposed to looking for a group of notes like a scale or arpeggio.


Scott, a friend of a friend told him to tell me to ask you this question: "Since you now think that adding weight to the headstock sounds better, have you tried any of those metal things (like the Groove Tubes Fatfinger) that clip on to the headstock.... Purple Monkey Dishwasher?"


Quote:
Yes I tried the Fatfinger and thought it was pretty cool. I don't know if I'd use it on a track but I'll probably try it again next time I record.



Hi Scott

Have you ever try G&L or Tom Anderson guitars and what is your opinion?

Quote:
I've never tried a G&L, and all I can say about the Tom Anderson guitars I've seen is that they were pretty heavy.
That's usually not a good thing. A lot of guys like their guitars to be really pretty with exotic swirly wood, but most of that kind of wood is heavy. Maybe Tom also makes light guitars from alder and I've just never seen one.


Also i wpuld like to ask how you use your booster. I mean before the amp or after? and how much gain from the amp and the booster?

Quote:
My RC Booster is a pedal that goes before the amp. The gain on the amp is crunchy when the guitar is on 10 and clean when the guitar is on 5 or 6, and the booster is turned all the way up.




No real question here, just something funny.

I now own a copy of Primal Tracks, in the wrapper, with receipt, which I bought at a truckstop in Padukah, KY, along with Robben Ford's Tiger Walk.
How about that?

Quote:
That's awesome! I saw Birds Of Fire at a truckstop once - blew me away.



Hi Scott!

First, I'd like to know info on your South America Tour. I can't find any dates anywhere.

Second, can you tell us a bit about your process of composing. When writing a piece like Black Cherry, do you first think about harmonic paths and then come up with chords, or things just come out from you mind like that, with all inversions and voices??? Cna you tell the best 3 songs you wrote, in your opinion?
Thanks a lot!

Quote:
I usually write the melody and harmony at the same time and later try to find cooler voicings. I don't listen to my own music at all, and I don't have any favorites. When I listen to my own songs, all I can hear is how I could have made it better now. Here are the S.A. dates.

Nov 9 San Juan, Puerto Rico
Nov 10 San Jose, Costa Rica, Jazz Cafe
Nov 11 San Jose, Costa Rica, Jazz Cafe
Nov 12 Bogota, Columbia
Nov 13 Bogota, Columbia
Nov 14 Quito, Ecuador
Nov 15 Quito, Ecuador
Nov 17 Cordoba, Argentina
Nov 19 Neuquen, Argentina
Nov 21 Buenos Aires, Argentina
Nov 22 Montevideo, Uruguay
Nov 24 Santiago, Chile
Nov 25 Concepcion, Chile




Hi Scott,
There seems to be a resurgence of interest in blues/jazz concert DVDs at the moment with the New Morning Paris club series and various others coming out. Any chance of you putting out a live DVD of the trio?

Quote:
I really have no idea at this point.


I imagine there is quite a demand for one as there are various bootlegs floating around on ebay and I'm guessing filming a concert with two camera coverage wouldn't be that expensive? Of course, I could be wrong.

Quote:
You're right, it probably wouldn't be that expensive, I guess it's just picking out the right place to do it.


If you haven't heard Rodney Jones you should check him out. Great Jazz guitar player.
Soul Manifesto is a killer album. Some folks describe him as kind of a cross between Benson (technique and feel) and Coltrane/Tyner (with regard to harmony).
The solo on Everglades is very nice GREAT phrasing!


Quote:
Thanks, I'll check out Rodney - I've heard he's really great.


Hey Scott,

You might have already answered this question in previous posts, but just a quick question about your music. In your tunes (especially Tribal Tech) do you think about each chord that you solo over or do you just hang out in one specific key? Reason I ask is I recently bought your transcription book from Hal-Leonard and the chords in the solo sections are very complex. Thanks for your time and see you at La Ve Lee!

Quote:
Some of that music is complex and you do have to think about each individual chord when you solo, since more often than not, each chord isn't followed by a related chord in that key. Not too many ii V I's in Tribal Tech songs. Thank goodness there were also a lot of one chord vamps to solo on.


Hi Scott

I was trying to do a resume of your rules about how to build a good guitar, so can you please tell me:
1) The kind of wood you prefer for neck, fingerboard(if different) and body

Quote:
alder body, maple neck, rosewood or maple fingerboard.


2) No binding between the fingerboard and the neck?

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I don't know if that makes a tone difference.


3) The bridge must be made of steel, it can be 2 or 6 screw, it depends on the guitarist personal choise of sound (more or less vintage...)

Quote:
Yes


4) Graphite or bone nut?

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I use bone, but I don't know if there's a tone difference.


5) Sperzel

Quote:
I like them, and I do think they sound better than Klusons.


6) Duncan 59 and jazz humb. v60 single coil in between or v60 single coil everywhere...

Quote:
Yes


7)No painting between bridge and body

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I think you mean no paint on the block where it meets the bridge plate. Yes - very important.


Am i forgetting something?....

Quote:
The less paint the better - I'd avoid candy colors.


HI Scott,

When the time comes to listen to music, do ever listen to your own CD's or
other albums you played on? Are you into audiofile or have any special
stereo for listening to music thru?

Quote:
No, I don't listen and dig myself. I'm a pretty humble person and when I hear myself all I hear are my shortcomings. My stereo is nothing special, but I do like the fact that on my Yamaha receiver I can bypass the tone controls and hear it flat, and I like my Tannoy speakers.


When you improvise, do you intent for a solo to have a certain "mood" or is it all automatic?

Quote:
It's automatic at this point.


Do you feel it is important to learn some "bop" lines when initially learning jazz and learning to improvise over changes, know the genres history a if you want to play jazz?

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Yes it's important.


Did you learn bop ines when first begining jazz?

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Yes, tons of them.


Obviously it is important if you want to play bop strictly but what if your goals are to play more contemporary ala yourself, Rosenwinkel, Mark Turner, etc.?

Quote:
Then transcribe those guys. Sometimes when listening to more modern players, it's the changes themselves that are unusual - if you listen to them playing traditional standards, I'm sure you'll recognize some vocabulary that's older than they are, mixed in with the modern stuff that they've created and added to it.


I don't think Coltrane mastered bebop before jumping off or Shorter in his compositions for that matter.
When are enough ii V lines enough, know what I mean?
Scold me if that's to many questions!

Quote:
I guess that depends on what style your career is headed in. I stopped working on standards a long time ago in favor of writing my own music, which definitely has usurped a lot of practice hours, but that's OK. I still transcribe when I have time and still love to play standards, but my priority is working on my own music.


Hey Scott,
I just signed up for this list, and was hesitant to do so. I would first like to apologize for being,"That Guy." I saw Tribal Tech back in 1993 (I think) at the Jazz Bistro in Chicago. Great show, btw. So great in fact that I think by the end of your first set I was on like my 5th or 6th Long Island iced tea. You were hanging out at the bar during break, and I approached you, and was the total idiot drunk guy that could barely say two words. You were very nice about it from what little I remember. Then my bass player buddy at the time pulled me of of you, and we hit the road. Then I puked in his car, and yada, yada, yada. My question is like the subject says, "Can you ever forgive me?" I had my one opportunity to talk to one of the most versatile guitar players in the world, (yes, I pretty much own all of your music), and just blew chunks all over it. I AM VERY, VERY SORRY! Btw, it is now 2006, and I have yet to drink another Long Island iced tea in all that time. I did learn my lesson.
Your ever humble student of life,
Lance Case

Quote:
Wow, sorry I don't remember, but sounds like you had a fun night! All I can remember about that gig is Kinsey's rig blowing up and he had to use the club's Fender Rhodes all night. But I'm right there with ya on the Long Island iced tea - awesome drink if you like pink elephants and I've seen a few. All is forgiven my son.

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Last edited by kirk95 on Thu Mar 03, 2011 1:52 am; edited 1 time in total
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masonjoussa



Joined: 22 Oct 2006
Posts: 3

PostPosted: Sun Oct 22, 2006 5:23 pm    Post subject: jamman Reply with quote

hey scott u told me awile back u had a jam man in teh back of ur rack i was wondwering how this was wired with everything do u run ur signal all threw it or does it go threw a line mixer as well with the se 70 i just got one and im wondering how to add it to my gear i was thinking in a line mixer after all the pedals and then have its own volume pedal so i can control the mix leval with to wich i think would make it more flexible what do u think let me know also when i tried to set it up with my midi boared and teh se 70 it worked but for some reason se 70 was taking messages from on all chanels even tho i had it set to chanel 2 and with the board so when ever i started a lopp on my midi board it would also change the se 70 im not sure if u had this probelm as well
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jorge



Joined: 19 Oct 2006
Posts: 2

PostPosted: Thu Oct 26, 2006 1:30 pm    Post subject: scott Reply with quote

hello men
sorry I am from Costa Rica and my english is fucking bad
Yes you come to Costa Rica at 10 and 11 of november yahoooo
I need help
how make when you practice for have a new Ideas or how do you practice that
thanks
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masonjoussa



Joined: 22 Oct 2006
Posts: 3

PostPosted: Wed Nov 01, 2006 2:25 am    Post subject: volume pedals Reply with quote

hey scott do u really have bolth ur volume pedals in the fx loop a tied this and it sounded way diffrent do u use a diffrent type of volume pedal i know u make the ones u spin with ur feet can u let me know what parts t get to do that i guesse im just a lil confused on how all that works but i think u have great controll over ur tone it seems like the one u spin with ur foot is alot less sentitive then most regualy pedal ones cause ur allways spining but it seems to anly slighty change ur volume wich i like very subtle
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