Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Tue Dec 11, 2007 6:30 pm Post subject: Scott answers your questions - round 38 - 12/11/07
Hi Scott, have you had the chance to try a BJF Sea Blue EQ yet? Like you I used to leave my RC booster on all the time, but found I had to turn the tone knobs on the guitar down quite a bit. I recently got a SBEQ, and it really sweetens up the treble - would love to know your thoughts if you'd tried one out.
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I haven't tried one but it probably doesn't have enough gain for me. I have the output and distortion on the RC all the way up.
P.S. I sent 'I Hate You' to the girlfriend and she loved it - hooray for female fans
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No woman can resist that tune.
Hey Scott, What would Kirt Covington have to do to redeem him self ?
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That's a question for the manager at the Baked Potato. I haven't seen or talked to Kirk in over a year, but as far as I know he's still banned from playing there.
scott, do you know how many songs will there be on the blues book? will dog party, well to the bone and lola fay be included? man, they should just do your WHOLE tunes, including Vital tech tones, and tribal tech!!
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I've forgotten the list of songs I sent them, but I wish they'd hurry up and get it done.
Hey Scott. Tell us more about the time when TT played with Joey Hereida. What was the deal with him? how did he get in TT? how did you meet? what do you think of him as a drummer? It seems to be that he's one of those steady drummers. Doesn't show off or does unnecessary things but just holds a groove really really good. I don't know much about him other than the things i've heard him play in TT, but am i far off with that description?
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Joey's a great drummer that I've known and played with for many years. We did our first three records with Steve Houghton on drums, but the music for the album "Tribal Tech" was funkier and less jazzy, so we thought Joey's style would be better for that. I've also played with him in the trio he has with Marco Mendoza and that was fun too. Joey plays funk really well and has a really deep groove - plus his latin chops are amazing.
Hi Scott,
what do you think of pianist Carl Schroeder, he was one of my favourite teachers at M.I. together with you (of course) and few others...
Have you ever played/jammed with him?
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He was one of my favorite teachers too. I jammed with him once in Japan and it was really fun - we played "The Chicken".
Hey Scott:
Bummer about Mr. Zawinul... I was hoping you would share any cool stories and/or a few highlights of your time with him. Music related or other...
Thanks much...
Chris
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Playing with Joe was one of the highlights of my career. Just listening to him play every night was awesome. I don't know if those stories about Mozart were true like in the movie, but I can definitely tell you that Zawinul did it. Everything he "composed" was an improvisation right on the spot. He was a musical genius to say the least. Plus he was an extremely funny guy with more confidence than anyone I'd ever met before.
One time I was overdubbing in the studio for him and I played something I didn't like - I told him I didn't like it and asked to do it over. Joe said "if you didn't like it, what the fuck did you play it for?" I don't think he could even conceive of playing something and not totally digging it, because everything he played was a motherfucker.
My favorite story about Joe is that he was always trying to get me to smoke pot and drink with him before the shows, and I told him, man, I can't play on that shit. But after getting sick of him bothering me for months about it, I smoked a joint with him and got really wasted before a concert in Austria. I was having a great time until we hit the stage, and I fucked up every melody and couldn't play shit on my solos. It was a disaster. Then after the gig, Joe comes up to me and yells "Henderson! How many fuckin' times have I told you not to do that shit before a gig?" I have a million stories about my experiences working with Joe, most of them funny, and enough to fill a book.
Hey Scott,
I noticed that in your new rig description, you have dispensed with the Effects Level knob gizmo. I guess that means you're now adjusting the effects level patch-by-patch in the SE-70, right?
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Right, I have a regular patch for delay, and then one next to it that's a little wetter. That's the only thing I used the knob for in my old system, to adjust the delay. For other sound FX patches, the knob was bypassed.
You probably already know this, but another way to adjust the effects level on the fly is to set Assignment 1 of the SE70 to "Master Level" and Assign 1 Source = "Exp Pedal." That way a regular expression pedal (plugged into the Effects Remote/Exp Pedal jack) can be used to adjust the mix, without having to run two additional audio cables to and from the pedalboard.
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That's the first thing I tried, but when you change patches, the expression pedal defaults to 100% and then you have to step on it and turn it down. Big hassle.
I keep thinking I should get some newer effects processor, but the SE70 is so flexible, it's hard to make a switch. I guess you must think so too...
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I bought an Eventide Eclipse thinking that it would be hipper than the SE-70, and for reverb and shimmery stereo FX in the studio, it is, so I kept it. But live, the SE-70 is much faster to program and actually has more wacky patches in it. The only things that suck about it are the reverbs, which I don't use, and it MUST be used with a mixer or it'll destroy your tone.
hey scott,
for obviuos reasons you are using a short cable between guitar and pedalboard; but what abput cable length between pedal board and amp? how much cable do you think is acceptable altogether between axe and amp before tone starts to suffer? i wonder what your thoghts are on this, especially since your not using a buffer any longer.
i'm putting together a new rig, and i'll use about 25 feet + five shorter patch cables (GOOD [i.e. expensive] CABLES, so that won't be an issue) . . . but, it's all true bypass, so i wonder ...
thanks!
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I'm using a 4 foot cable to my first pedal, tiny short cables between 6 true bypass pedals, and about a 15 foot cable back to the amp. I notice only the slightest tone change when plugging directly into the amp with the 15 foot cable. I compensate for it by turning up the presence half a number.
Scott,
How important is it for a guitarist/musician to know piano/keyboards
for composing/arranging,
Did you learn piano/keys in your early years when you were studying
composition?
If yes then how did you manage to get a hold on both the instruments,cause anyways being a good jazz guitarist is challenging enough.
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I know only enough on keyboards to experiment with voicings for writing horn arrangements, but I can't really play keyboards. I've written and arranged everything for small bands on guitar.
Hey Scott,
Getting ready to buy some Wayne Shorter CD'S. It's to expensive to get
them all right now. What CD'S off the list below would you recommend?
# 1959: Introducing Wayne Shorter (Vee Jay)
# 1962: Second Genesis (Vee Jay)
# 1962: Wayning Moments (Vee Jay)
# 1964: Night Dreamer (Blue Note)
# 1964: Juju (Blue Note)
# 1965: Speak No Evil (Blue Note)
# 1965: The Soothsayer (Blue Note)
# 1965: Etcetera (Blue Note)
# 1966: Adam's Apple (Blue Note)
# 1967: Schizophrenia (Blue Note)
# 1969: Super Nova (Blue Note)
# 1974: Native Dancer (Columbia)
# 1985: Atlantis (Columbia)
# 1987: Phantom Navigator
# 1988: Joy Rider
# 1995: High Life (Verve)
# 2002: Footprints Live! (Verve)
# 2003: Alegrķa
# 2005: Beyond the Sound Barrier
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Wow I thought I was a big Wayne fan but I have to admit I haven't heard a lot of these... I like all the ones I've heard, which are Night Dreamer, Juju, Speak No Evil, Schizophrenia, Native Dancer, Atlantis, Phantom Navigator, Joy Rider, Alegrķa
Hey again Scott
I was just wondering about at which point you stopped using your purple metallic Ibanez with the double screw '59's and changed to Suhr strats. And what made you change the pickups alltogether from H-S-H to just plain S-S-S. I mean it's kinda hard to have played with something for many many years and suddenly change to a whole new type of sound. What drove you to the point of changing humbucks to singlecoils? Was it the fact that you were now playing more of a bluesy type of music than with Tribal techs setup?
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That's part of it - when I did Dog Party I wanted a more vintage tone. But the main reason is that I started playing trio more and single coils are more full range than humbuckers, so they sound bigger and have more bass, especially when using 11's and tuning to Eb.
Also, i'd like to know how you manage to get such a great tone when you play live. 'Cause i mean, to get great tone you have to play really loud for the amp to get that crunchy tone and let the speakers work aswell. However, allways when i play on gigs, (mostly smaller gigs in my school) the soundman allways complains that it's too high (go figure ) and that i have to have my amp on a lower volume so that they can put more volume "outwards" since the speaker is miked. I play through an Adam stark amp with an orange 2x12 cabinett with V30's soon to be replaced by some governors. But YOU play through a 4x12. How does that add up!?
Sorry if i'm missing something really obvious...
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My amp has a master volume so I can get that crunch tone at any volume, and the distortion pedal does the rest. So even at low volumes it sounds pretty good, but of course it sounds better at louder volumes.
Apparently Kirt is telling people that The Baked Potato said that everything is OK and he is allowed to play there again. What they really said was that if he pays them back a dollar amount he can play there again. If Kirt pays you and
John back a dollar amount, would you allow Kirt to play some gigs in your trio
as a sub for Allan Hertz?
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First of all, that's not true. Kirk's already offered them money and they told him it isn't about the money. The manager of the Baked Potato will never let him play there again, period. Not only would I not play music with him, I don't ever intend to speak to him again. Please you guys, no more questions about Kirk. That's over.
Scott,
First off, I wanted to let you know that you are the reason why I make music and are a never-ending source of inspiration for me. Compositionally, tonally and musically, to me, you are the greatest and I hope one day I can get the chance to meet you. Thank you so much for all the selfless information that you have so graciously offered to the music community and me, not to mention the years of your uncompromisingly refreshing playing. The passing on of information from the greats, who have experienced so much and hold so much information, to the youth, who are thirsty for this information and hold the future in their minds, is one of the only ways that this vocation, or any vocation for that matter, is going to advance.
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Thanks Steve - I wish that some of my favorite players were available for my questions when I was a student.
The questions I have for you today pertain to your past tone and gear that you used during your Jazz-Funk-Rock days, which is where my heart currently lies musically. It is my hope that you can see my research and passion in these questions. I appreciate your words and guidance more than you will ever know.
I am very into your Tribal Tech tone, as you put it, your "oooooh" tone and my favorite recorded tone of yours is probably your "Tribal Tech" record, where you used a Boogie Studio/395 setup. I also love the tone you got with Corea and Zawinul where you said you were using the Lee Jackson/295 setup; it seemed like such a fluid and fun tone to have. Also, you said that the best was to achieve this tone is to use a Boogie setup, and that now, you prefer the Boogie 2:90 over the 295 and 395 power amps. What do you prefer about the 2:90 and do you think that any nuances or touch of the player are lost going from the 295 or 395 to the 2:90?
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As I remember, the 290 sounded the most like a Marshall power section than the other two. It was my favorite of the Boogie power amps, mainly because it had more low bass. But I have to tell you that a lot of that tone came from from using Seymour Duncan '59 double screw humbucking pickups with the tone knob rolled down to about 5. I think that's what you're liking about that tone more than the amps.
Also, you combined the 2:90 with the Lee Jackson and CAE 3+ pre amps, but never, to my knowledge with the Quad or Studio. Is there a reason for this?
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Yes, because I quit using Boogies when I heard the Lee Jackson, and I quit using the Lee Jackson when I heard the CAE 3+. When I got my first Custom Audio OD-100 head, which is basically a CAE 3+ with it's own power section, I compared using the preamp of the OD-100 with the 290, and with it's own power section, and it was no contest - the head by itself sounded much better. I never used another Boogie power amp after that.
Weren't you using: From '86 - '89 (with Corea and Zawinul): Lee Jackson with Boogie 295; from '90 - '91: Boogie Quad and Studio; from '92 - '95: Lee Jackson with Boogie 2:90, then in '97: CAE 3+ with Boogie 2:90?
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All I remember is that when I switched to the Lee Jackson I never went back to the Boogie.
What is the main difference that you heard from the Lee Jackson to the Mesa Boogie pre amps and what was your reasoning for switching from the Boogie pre amps back to the Jackson pre amp in '92 and never return to the Boogies and why did you only stick with the Quad and Studio for 2 years?
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The Lee Jackson had a smoother, less grainy distortion than the Boogies. I don't remember much about the Quad - I only used it for a little while and didn't like it much. The Studio sounded better.
Also, while on the topic of pre amps, how would you say the CAE 3+ compares to the other three mentioned?
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The CAE is by far the best one. Smoother distortion, more musical midrange and more bass. Really sweet sounding. Of course, that can be ruined by the wrong power amp. Bob Bradshaw told me that it was designed for the 290 power amp so that's what I used with it.
You must have tried the Boogie Mark II C+. I hear it is very close in tone with the Studio and Quad pre amps and the 295 and 395 power amps, which you used for many years. What are your thoughts on it and why did you never you never record/play with it?
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No I've never heard of that one.
On tore down house, you had two completely different setups. The Plexi and the CAE 3+ and 2:90. Both gave you such a different and distinct tone. So my question is, when you toured with Tribal Tech after that album, which setup did you settle for and why did you choose that rig over the other one? As just a little side question, there sounds like there is some kind of really nice shimmer going on. What other pedals/effects besides the TS-808 did you use to get that tone?
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The only distortion pedals on that record were the TS-808 and the Voodoo One. In Tribal Tech I was using the CAE and 290, but later switched to the OD-100. It sounded better, and I was tired of the stereo thing. 99% of PA systems out there are mono, and if there ever was a stereo PA, only the people in the middle heard the guitar the right way.
What was your gear setup on your 2 instructional videos? Your tone, although different from the first to the second video, both sounded amazing!! What was your amp setup on these videos and was it recorded at room volume or was it cranked in a separate room?
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It was cranked in a separate room, but I have no idea which amps I used on those videos. It was the same gear I was using live at the time. For the videos, I set up my gear just like on stage, only with a longer speaker cable to get the cabinet out of the room.
Two recorded amp/gear setups that you haven't mentioned anywhere are your "VTT (1)" album and your "Well To The Bone" album. This info will surely help us tone junkies sleep at night : )
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The VTT 1 album is the OD-100, but since the record was recorded at Steve Smith's house in San Francisco, I brought a small cabinet with 10" speakers and a closed back. I don't like my tone on that album - I discovered later that the 10's sound WAY better in an open back cab, and also the speaker cable on that session sucked and was WAY too long.
On Well To The Bone I used a 72 Marshall, A Fender Bandmaster modded by Dumble, and the OD-100. Most of the solos were done with a TS-9 running into a Voodoo One using Greenback 12" speakers, or an old DOD Overdrive 250 using 10" Kendrick Blackframe speakers.
Lastly, if TT got back together tomorrow, knowing what you know about gear AND staying true to the TT guitar sound, what would be your setup?
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I'd use my Suhr head, which is basically channel 2 of the OD-100 Classic, my black strat with a humbucker in the treble position, and the Maxon SD-9 distortion pedal.
Hi scott I am so excited to talk to you after 15 years ..i was in MI in 1993 always ..around you!
I wish you could spend some seconds to listen to my spain improv.and tell me what you think after all these years of my journey..
I always admired your honest critical words in class ..
thanks for sharing with us all these years your music wisdom!
http://www.youtube.com/profile?user=zaxakis
sakis
Greece _________________ life after first 100 years gets easier..
Posted: Fri Feb 22, 2008 11:16 am Post subject: Since it seems to be a frequent concern here...
jerico wrote:
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Please you guys, no more questions about Kirk. That's over. Scott
Let's all respect that
Agreed. If you get a chance to hear Scott with Alan Hertz, Gary Novak, or Marivn "Smitty" Smith (in L.A. on some recent gigs and playing some great stuff), do so.
I haven't been to this forum for awhile, but since it seems to be an item of frequent concern/discussion, Kirk Covington has been "unbanned" from The Baked Potato, and is playing there with Danny Carey's Volto! on Friday, January 22, 2008 - tonight. This was confirmed for me directly by the manager of The Baked Potato Wednesday night after Kirk's name was added to the club's Web site for the gig a few days ago.
But please, as Scott has said, who he chooses to play with is his call, and he's answered this one.
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