Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Wed Aug 09, 2006 8:52 pm Post subject: Scott answers your questions - round 29 - 8/9/06
howdy scott!
the live cd is killer. i love how the whole band feels kinda...... amp'd up, if you know what i mean. high energy level, lots of interplay going on.... great effort. your guitar tone sounds particularly meaty, which leads me to my question. ok, question: specifically studio playing- gain staging- if most of your hi gain sound, is coming from a combination of:
a. pedal (SD9) and/or booster
b. Preamp gain
-how much of your overall tone do you attribute to just the output tubes?
in other words, assuming the studio volume isn't as loud as your typical live gig, how do you like to set up the gain structure in as far as the output section of your amp head goes....?
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I like the tone more when the power section of the amp is working hard - in other words when it's as loud as the gig. You just need to isolate your cabinet well so you can turn up. Overdubbing there's no problem, but on basics you don't want guitar bleed in the drum mikes, so sometimes you have to put your cab in another room.
Hi Scott
I know you listen to a lot of stuff (jazz, rock, funk,...) but do you like world music (gypsy, Arabian, African, ...)?
Given your harmonic knowledge I imagine you could easily adopt more exotic sound and feel if you wanted to ...
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I'm a Zawinul fan so I've heard those influences in his music since early Weather Report, and Kinsey's really into world music too, so I get to improvise over it in his band. Those guys have all the cool vocal samples and drum grooves for that kind of music. I like listening to it but I'm not equipped to go there.
Hello Scott,
What's your approach in a book for instance, Joe Diorio's "Fusion"?
Did you actually finish all the examples in this book or just took something which you can use?
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I just played the examples and took what I liked.
I'm also planning to buy the Best of Scott Henderson, are you actually involved with all of the transcribing in this book?
Thanks a lot for the great inspiration and good luck to your trio!
Brian
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I was involved with the compositional part of it, so I know all the chords, melodies and voicings are correct, but I wasn't involved in transcribing the solos.
Hello Scott,
I'm wondering if you are familiar with the music of Frank Marino. He is a person like yourself who is truly one of the great players out there but not enough people know about it.
I am also wondering if you ever stop in Chicago when you tour?
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If you mean Frank Marino of Mahogany Rush, of course I've listened to him - he's awesome. Always wanted to see him play live but never have yet. I thought everybody knew him, but I have to remember that there are guitar students at GIT who don't know who Jeff Beck is.....
I've played in Chicago many times but these days the miles to dollars ratio in the US sucks big time.
Hi Scott,
You were mentioning that you are using some jazz tunes in a real book to practice. Can you list 4 favorite tunes? Do you still practice them now?
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Speak No Evil, Prince Of Darkness, Orbits, Anna Maria, and all the other Wayne tunes.
Also what appeals to you most when listening to a solo line where you will, you know, just grab your guitar and transcribe that line instantly?
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Most of the time it's about the harmony, when I hear someone suggest a cool harmony outside the chords that I don't know or haven't heard before.
Thanks a lot, hope that some promoter here in the Philippines will take your trio here so that we Filipino fans can see you live! I'm sure there are lots of Scott Henderson Trio/Tribal Tech fans here.
Brian
Scott,
I have avi. files of your REH material as well as scanned pages from the tab booklet. If you would like a copy (so you can sell it, as you mentioned) , send (or have someone else do it) an email to mojolang@gmail.com.
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Thanks, I also know some friends who have it.
You talk a lot about having your phrases "make sense" than working a lot on chops. Could you give an example of a player whose playing makes sense, and another player who has monster chops and is well respected, but whose phrasing doesn't make as much sense to you?
If you don't like that, then how about a solo by a player that makes sense and one by the same player which doesn't make (as) much sense?
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Sorry but that's like saying who sucks and who doesn't and which solo by some guy sucks and which one doesn't. I ain't going there.
If you could collaborate with any artist/band out there right now, who would it be?
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As I've stated in previous posts, I only collaborate with Frogger.
Who do you believe is the most important musician/band in music today?
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Important to who specifically? The most important musician to me right now would be Kirk Covington since he's at the laundromat and I talked him into throwing in a shirt I need for the gig tonight.
What is your favorite jazz album if you had to pick one?
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That changes daily - been listening to Best of Cannonball Adderley lately.
PS you mentioned how jazz concerts are like a johnny cash prison concert these days, check this out if you haven't
http://www.abstractlogix.com/xcart/product.php?productid=17933
thanks, Joe
Oh yeah, and post those comics you made that everyone in the trio is laughing at in those pics on John's site.
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No can do - rated triple X and then some.
would you ever consider doing webcam lessons like greg howe over the internet?might be a cool way to go so people from all over the world can study with you.
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Teaching at GIT two days a week is all I can handle.
More on the topic on Sperzels vs. traditional tuners...
Would Sperzels still be preferable if one is trying to achieve a really VINTAGE strat sound?
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Absolutely. It's not about tone anyway, not in an EQ sense of the word. It's about how solid and big the note is. Try this test - record some notes on your strat with the vibrato bar off your bridge. Now record the same notes with the vibrato bar screwed back in. Hear the difference? Without the bar the notes are more puffy and airy, with the bar they're more solid and fat. It's because the bridge has more mass with the bar attached. That's the type of difference you'll hear when comparing Klusons and Sperzels.
short question: What bridge was in Ibanez , You were using on REH video?
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Probably the Wilkinson V100.
Hello Scott!
Just have to say thanks for the advice I got from my previous question! What's your opinion on Steve Vai and Joe Satriani?
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Answered in previous posts, though not specifically about them, but shred in general.
Hi Scott!
Which guitar did you use on the Virgil Donati record "Just Add Water"?
Hi again!
Have you ever tried Vovox cables? Any thoughts?
Thank you!!!
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Sorry, never tried them.
Sorry it's me once again , just have too many questions.
My problem is i became a lucky student of only one (serious) Jazz Academy in Poland, and finally have some cash(no, this is not main problem) and i want to buy really good guitar . The sound i enjoy the most is Your tone especially from early Tribal Tech (so the ibanez tone- sorry i like it even more than Suhr) and Strat tone (from Chick Corea EB Video) - i think You know what tone i'm talking about. so I decided my guitar will be Ibanez with 2 Humbuckers and one Single beetween ( Seymour Duncan Jazz on Neck, SD '59 on bridge , and what beetween - thats 1 question) . and Which models (Ibanez, Fender or sth else) you can choose for me to check out? (or what bridge you were playin, frets, important things).and just if i have to choose one amp with just one distortion what do You recommend to sounds a bit like You from e.g. 'Tribal Tech' CD? Sorry for long letter, bad english and if you cant answer all question. it's important for me. (and last thingi don't want to sound exacly as You becouse it wouldnt be fair i guess couse your sound is just killer:), but just begin to find own sound) Sorry. and RESPECT for all Your music
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If you're into that tone, then those are the right pickups and I'd use a Suhr V60 for the middle. As far as the guitar, my Ibanez was nothing special, just an alder guitar with a maple-rosewood neck, but not as light or well made as a Suhr. If you liked the tone better back then, it's probably the amp you're hearing. Back then I was using Boogie preamps and power amps, much more of an oooooh type tone. Round but thin in my opinion.
Hi again Scott,
You said before that you had been playing Giant Steps for a long time,did you finish transcribing this tune?
I'm asking you this because I'm planning to transcribe this tune (I already had finished transcribing the 1st 4 choruses) and I think it would be a "baby" step to finish transcribing this tune first, and then, try to analyze what John Coltrane is doing from a harmonic and melodic point of view (if I can comprehend gulp!). I think whatever your approach is to this tune would act as an example as to how I would come up with my own approac
Thanks a lot for the great music and great instructional videos!
Brian
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I wrote down about half of it - by that time I had so many ideas to work on it was enough. I don't like to learn long lines, just small phrases, like words, that I can re-arrange into my own playing. When you transcribe Giant Steps, you'll see how easy it is from a theory point of view, but how great Coltrane was at voice leading triads and seventh chords. Seamless and always extremely musical. And he could do it fast! I like his solo even more on the alternate take.
Hey Scott,
I just found out that Victor Wooten will be doing a week-long CCEB gig in November at the Blue Note and that got me thinking...
What a cool thing it would be to have a VTT3 (or Vital Chick Tech Tones) record with Chick as the special guest on Rhodes and Mini Moog, maybe some Clav... No high-tech stuff
It could be all old school type tunes, although, Chick seems to be able to crap new tunes when he wants...
It would be a kick to hear him with you, Victor, and Steve Smith.
Or is he in his own world and not open to do anything that he wasn't in complete control of?
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That sounds like the guy I knew.
Perhaps he doesn't ever want to see your face again...
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Probably. True story: A friend of mine went to a Scientology event that Chick was speaking at. In Chick's speech, he mentioned how well the ways of Scientology had worked for him in communicating with the non-Scientologist members of his bands..... except for this one guy.... My friend cracked up because he was sure that it was me, and I can only hope that it was.
Perhaps you don't want see his face again...
Quote:
Now you got it. Nothing to do with music though. It's about how tired I am of hearing about Scientologists and Christians and Jews and Muslims and all the other people who've grouped together over the centuries under the misguided and ridiculous belief that they know what's going to happen to them after they die, and that their way of living is the superior and only way. Especially when their beliefs lead to violence, and you can look in any history book for the number of deaths due to wars associated with organized religion. Or just watch the news. And don't get me started on the guys who say they're the vessel that God plays through. From what I've heard from most of those guys, I'd say if God's playing your guitar, can you please ask him to play some hipper solos? My personal belief is that there probably is a God or creator out there somewhere. He (or she) gave me a brain and I try my best to use it. It tells me that Scientology is a ruthless scam that preys on the weak minded and there's certainly no such thing as a thetan, anymore than there is a tribble. Nobody got to fuck a bunch of virgins for flying airplanes into buildings, and nobody will be thrown into hell for playing rock n' roll in night clubs, drinking whiskey, and chasing titties around. Except for Jimmy Swaggart. So, to answer your question, I'd play with Chick again only while hanging out my dick and pissing on a poster of L. Ron Hubbard.
Hi Scott...gear question.
You claimed in one of your earlier answers that you have never tried the Wilkinson VG300 bridge (the one Landau likes)...but I've just read John Suhr over here: http://www.hugeracksinc.com/board/viewtopic.php?t=6048&highlight=vg300&sid=9cdffc561396c7078746e9134f3a8ecb
claiming: "The VG300 is a zinc Block, Scott Henderson tried a steel block on the VG300 and thought it sounded "Horrible" But sounds good with the Zinc. "
What's going on?
I was thinking about a steel block for my VG300 which I think is a really good bridge, but could use a little more bass thump which might come from a steel block.
Any thoughts?
Thanks.
Quote:
Yeah there was a little confusion on that one - sorry. I did try the VG300, I just didn't know that was the model number. As far as zinc, I think John was misquoted, cause he knows I hate zinc blocks on any bridge. In my opinion steel is the only way to go. I didn't like the VG300 because I thought it had too much bass and not enough mid, but that's something you can fix with the amp EQ. Mike uses that bridge and gets awesome tone with it. Personally I like the vintage Fender bridge the most.
Have you ever starred as a celeberty guest in a sit-com?
If not, in which sit-com would you most like to appear as a celeberty guest?
Quote:
Simpsons of course. I'm so jealous of the Ramones lead singer I can't stand it. He got to say "screw you, you old bastard" to Monty Burns!!
Please, can i demand a recent setlist of Blues Band tour?
Many Thanks!!!!
Quote:
All Blues
Meter Maid
Lady P
Chelsea Bridge
Sultan's Boogie
Ashes
Sphinx
Devil Boy
Nairobe Express
Dolemite
Hi Scott. I am huge admirer of your playing. My question is have you tried Stainless Steel frets? How do you like them? Are you thinking about using them sometime in the future? Also do you have a preference between Indian and Brazilian rosewood for fingerboards and why? Thanks for your time.
Quote:
John told me that stainless steel frets could possibly make the guitar brighter and that's the last thing I need so I'm staying away from them. You got me on the fingerboard question - that's something I'd like to know myself so I'll ask John, and you can too on his website. I'm pretty sure he uses Indian rosewood on my guitars.
Hello again!
Do you like Hiram Bullock's playing?
Quote:
Hiram is a really soulful player. We've done some shows together in the past and I enjoyed listening to him.
hello scott!
more inane amp/gear questions.....
1. have you ever tied any of the THD amps? (uni, bi-valve, flexi-50)
Quote:
Yes, they're very well made, but they didn't work for me. I thought their tone was pretty nice, but the overall sound was smaller than my amps.
2. how about the bogners (shiva comes to mind)
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I had a Shiva for about a week but ended up bringing it back. Another very well made amp, but the distortion was too rock n' roll sounding for me. I like a smoother type distortion.
reason i ask is, i've played 6l6's for a long time, and am now interested in other tube tones, of the el84 and el34 flavors... and i'd love to hear your take on whatever experiments with different tubes you've tried out, and what the end result/opinion is.
sorry if this was covered in earlier posts....
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Yes, that's covered in detail in other posts.
Hi Scott.
What do you think about the newer Marshall amps(jcm2000)?... I saw you in some Europe gigs(video) using some of them... good, so so, or crap?
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I saw Jeff Beck playing one and his tone was really good. I've played them once in awhile when I couldn't bring my own amp and I got pretty good tone out of them. But anyone will tell you, an old Marshall sounds better.
When you use your Bandmaster or an amp with no fx loop, what do you do with your se70 or another digital device if the Fender doesn't have an fx loop?
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The only way to add FX to a head with no FX loop is to mic the dry sound, then go out of the mic preamp to your FX (set on all wet) , then into a stereo power amp and two speaker cabinets, one on each side of the dry cabinet. That's called floating the FX. I don't use old heads live cause I'm too old to carry all that extra gear around.
What kind of amp heads do you think are great to cover great clean and distorted tones excluding your OD100?
Thanks, you are a great inspiration for a lot of musicians in Chile, including me...Keep rockin' and playing that great¡¡¡¡¡
Ignacio
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There are a lot of two channel amps out there - I have a friend who buys and sells a lot of the current amps and sometimes he brings them over for me to try. Most of them do the job fine, but I can't recommend any of them because they cost as much or more than an OD-100 and don't sound as good in my opinion.
Oh, untamed conqueror of unprecedent circuitries and master of hallucinogenic harmonies and tone, humble greetings from Japan!
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Hmmmm.... you'd think with a moniker like that I'd have a bigger house.
I would be utmostly delighted if you could shed some light on the usage of those new Boss GT series pedals, amp modeling (its pros and cons) and whatever related info you, on the top of your stratospheric wisdom could think of. I grew up with the belief that the more pedals you have on your effects chain, the more screwed up and humful (if such a word exists...) your signal becomes. I like to keep things simple and noiseless but I fear I'm loosing something with this digital paraphernalia... is there anyway of conciliating these 2 worlds?
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You can chain through lots of pedals without tone loss if the pedals are true bypass. Unfortunately most of the Boss ones aren't and I'm not familiar with the GT series. I use a Bradshaw system where each pedal is in it's own loop - the pedals stay on all the time and footswitches control which loop is on or off. That way I'm never playing through a pedal I'm not using, plus it's programmable so I can turn multiple loops of my choosing on or off. Beats doing the floor dance. My opinion about amp modeling is that it's not there yet. I haven't heard any amp modeling devices that sound as fat as a real miked speaker, and they don't respond to how hard or soft you hit the strings like a tube amp does. I don't know much about electronics, so I can't tell you if what they're trying to do is impossible or not, but I use a POD at home for practicing and writing and it sounds pretty damn good - I'm really impressed that they've come this far.
Thanks for the reply to my question on Frank Marino (yes from Mahogany Rush). You mentioned that you would like to see him, he puts on a fantastic show. He is going out on a short tour this fall I am not sure where you live but here are the dates and locations.
W. Springfield, MD (703) 569 5940
October 4, 2006 B.B. Kings New York, N.Y (212) 997-4144
October 6, 2006 Sellersville Theater Sellersville, PA (215) 257-5808
October 8, 2006 Ram's Head on Stage Annapolis, MD (410) 268-4545
October 10, 2006 House of Blues Cleveland, OH (216) 523-2583
October 12, 2006 House of Blues Chicago, IL (312) 923-2000
October 13, 2006 Potawatomi Casino Milwaukee, WI (800) 729-7244 x7922
October 18, 2006 Galaxy Theater Santa Ana , CA (714) 957-0600
October 19, 2006 Belly Up Tavern Solana Beach, CA (858) 481-8140
October 20, 2006 Canyon Club Agoura Hills, CA (818) 879-5016
October 21, 2006 Catalyst Club Santa Cruz, CA (831) 423-1338
October 26, 2006 Granada Theater Dallas, Texas (816) 931-3330
Posted: Wed Aug 16, 2006 4:59 am Post subject: Re: Scott answers your questions - round 29 - 8/9/06 New
Hey Scott,
I just found out that Victor Wooten will be doing a week-long CCEB gig in November at the Blue Note and that got me thinking...
What a cool thing it would be to have a VTT3 (or Vital Chick Tech Tones) record with Chick as the special guest on Rhodes and Mini Moog, maybe some Clav... No high-tech stuff
It could be all old school type tunes, although, Chick seems to be able to crap new tunes when he wants...
It would be a kick to hear him with you, Victor, and Steve Smith.
Or is he in his own world and not open to do anything that he wasn't in complete control of?
Quote:
That sounds like the guy I knew.
Perhaps he doesn't ever want to see your face again...
Quote:
Probably. True story: A friend of mine went to a Scientology event that Chick was speaking at. In Chick's speech, he mentioned how well the ways of Scientology had worked for him in communicating with the non-Scientologist members of his bands..... except for this one guy.... My friend cracked up because he was sure that it was me, and I can only hope that it was.
Perhaps you don't want see his face again...
Quote:
Now you got it. Nothing to do with music though. It's about how tired I am of hearing about Scientologists and Christians and Jews and Muslims and all the other people who've grouped together over the centuries under the misguided and ridiculous belief that they know what's going to happen to them after they die, and that their way of living is the superior and only way. Especially when their beliefs lead to violence, and you can look in any history book for the number of deaths due to wars associated with organized religion. Or just watch the news. And don't get me started on the guys who say they're the vessel that God plays through. From what I've heard from most of those guys, I'd say if God's playing your guitar, can you please ask him to play some hipper solos? My personal belief is that there probably is a God or creator out there somewhere. He (or she) gave me a brain and I try my best to use it. It tells me that Scientology is a ruthless scam that preys on the weak minded and there's certainly no such thing as a thetan, anymore than there is a tribble. Nobody got to fuck a bunch of virgins for flying airplanes into buildings, and nobody will be thrown into hell for playing rock n' roll in night clubs, drinking whiskey, and chasing titties around. Except for Jimmy Swaggart. So, to answer your question, I'd play with Chick again only while hanging out my dick and pissing on a poster of L. Ron Hubbard.
====================================
Hi Scott,
A fan from Sydney, Australia here. I've been loving your playing for many years now as well as you sense of humour (any lyrics on your solo albums etc). But I had to pick myself up off the floor to read this one again because I was laughing so hard it hurt. Keep on keeping on dude!
Also, I guess the dollars per miles issue means you won't be getting back to Australia anytime soon
Joined: 17 Aug 2006 Posts: 11 Location: Moscow, Russia
Posted: Sun Aug 20, 2006 7:20 pm Post subject:
Hi, Scott.
My name is Peter, I am 24. I am in musical college. I started learning jazz only two years ago. Although I was playing classical music since I was four, but I did't practice much 'cause I didn't really like it, my parents wanted me to do that. So, the question is: how do you think, is it too late starting to play jazz at my age? I ask you this because I have problems with improvising.. I just don't know what to play... (( I can exactly transcribe complicated solos, or I can compose a solo, but when it's time to improvise... I just can't think that fast... I think that I can play only what I have learned, even when I play accompaniment. Give me please some advice or something. Thank you.
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