Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Wed Mar 09, 2005 10:18 pm Post subject: Scott answers your questions - round 13 - 3/09/05
Hi Scott,
1-In your time at GIT, has Stanley Jordan ever done a clinic or concert? If you've seen him, what were your impressions?
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I don't know if he's ever been to GIT - I miss a lot of stuff being on the road. I've never seen him play live.
2-During your "worst gig ever" that you wrote about in Q&A #11, did it ever occur to you after the sound cut out the second or third time to just plug your guitar straight into the amp, and bypass your effects altogether? Or is your rig too complicated for that?
I don't know, it just seems like a better solution to me than kicking your amp to the floor
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Yeah but kicking the amp to the floor is so much more fun. The problem was the FX loop return jack on the looper - not knowing that, the first thing I did was to bypass all the pedals and plug directly into the amp. When it kept happening is when I got mad - I never thought to just unplug the amp loop. D'oh!
3-On the new live album, after you do the intro with the chords and volume pedal on "Jakarta", what are you using to get the sound when you state the main theme for the first time? It sounds like some ethnic percussion instrument, and i think it's amazing.
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Thanks, it's one of the pitch shift patches I programmed in the SE-70.
Hi Scott. Thank you very much for taking time answering our questions. I was wondering if the Arion SCH-1 Chorus pedal you`re using is made in Japan? Because I once saw it in a guitar shop in Japan and it`s incredibily cheap I couldn`t believe you`re using it.
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Yeah sometimes you luck out when cheap gear sounds great. That pedal rocks.
Further more, you mentioned before you`re using Korg PX4 and programmed a good set of sounds for practicing and composing on the road. I was wondering if you could share your setting with us, for I believe many of us are using that little tool as well. Thank you.
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My sounds aren't anything special.
Hi, Scott, just want to know if you are coming to Argentina in 2005.
We miss you badly!!!!
Please, if I have to contact somebody else to get an answer, just let me know.
Thank you so very much for EVERYTHING, man.
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I'm just starting to e-mail with our agent there to see if we can come in the fall. I'm hoping to do a whole tour of South America like we did last year.
Hello Scott,
imagine you were invited on stage to participate in a jam. The band knows each other and they start off playing a groove with wierd chord changes you don't recognise and after a few bars everybody looks at you and you can read in their eyes: "Come on Scott! Blow us away! Play a really cool solo..."
What would go through your mind? What would you do? How would you get into the impro without knowing the song?
I'd really like to know the answer to this one, thanks.
See you in Ivrea on March 6th!
Darko
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I've only been in a few situations where I had to play through changes I don't know without the help of a chart. What would go through my mind? Fear mostly, but my relative pitch is pretty good so I'd just try to hear what's happening and play the kind of solo that has lots of space in it so I can listen in the holes.
Hello Scott!
I actually didn't want to bother you with another stupid equipment question but I saw a photo of a marshall cabinet at your site and I want to buy a cab for BluesRock. Are the new marshall greenback cabs okay (if they're good enough for you, then they will do it for me, too ) or would you recommend something else?
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I would definitely recommend something else. Those cabs have pressboard backs which sound terrible. They're also wired with cheap, thin cable - and a switch on the speaker jack is not a good idea. I'd go with a company like Bogner or Stark that makes cabs like Marshall used to make in the old days.
Hey Scott,
Just want to say i thing your music is great, Ive read though most of the "Scott answers your questions round", most of the questions i wanted to ask have been answered, good work.
Ive noticed at the end of a few TT tunes, Scott kinsey often takes a solo over the melody, like "Wasteland" and "Revenge Stew" and "Speak". Why is that?
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I don't know, it's just kind of a cool thing to have a solo over the melody. It's actually a pretty traditional thing to do.
And will you or TT ever play in Ireland?
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I don't know if our agent has ever had an offer from Ireland - we'd love to go, so if you know any promoters there...
Hi Scott. I'm Israel from Canary Islands, Spain.
Hope to see 'u soon playin' round here and goin' to the beach, you have such a nuclear white skin ! It's screaming "give me sunlight, give me sunlight!!"
I'm a huge SRV fan and I've noticed that, while to my point of view, in your blues records you seem quite influenced, both in blues guitar technique and sound by Stevie, you have never mention him as an influence.
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I love Stevie's playing but my influences are actually the same as his - a combination of Albert King and Jimi Hendrix. I play with quite a bit more gain than Stevie did so I'd have to say that my tone is way more influenced by Hendrix and I was using this kind of tone years before I ever heard Stevie. One thing that I really liked about Stevie's playing was his angular use of rhythm so if there's a Stevie influence in my playing, it's that.
So, in which measure is your sound and technique influenced by Vaughan? Have you pay attention to his technique (play with the round edge of the pick, 011...), sound, etc..?
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I'd have to say none. I didn't know that he used the round edge of the pick - I learned that from Michael Landau. Big strings on strats tuned to Eb is way pre-Stevie, but I think he helped in making it more popular today.
Oh, you play with 011's... have you tried the GHS Low Tunes? I play with those strings in all my guitars and men, they sound like thunder. The gauge goes: 011 - 015 - 019 - 028 - 038 - 058.
If you would want to try them but can't find them in your guitar dealer let me know and I'll be pleased to send you a pair of those amazing string sets.
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I've heard about them - I'll have to try a set.
Me again, Scott. I keep thinking about you saying that your tone on the first VTT album was your worst ever. Now I am probably tone deaf and a dumbass but "Snake Soda" is track I just can't stop listening to and I think your tone just rocks! So, there!
I just got your "LIVE" cd and it is in constant rotation in my CD player.
I love the photo on the inside cover! Let me introduce you to Marina who is 19 months old now...
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Cute! Thanks Darko!
Hi Scott!About one month ago I asked you to help me choosing a definitive guitar that could have a sound similar to yours.You advised me to buy a re-issue strat like the one you used in Dog Party.....Well, I bought one used (for something more than 800 bucks...I am not luky like you!!). It's the '62 reissue Olympic white+Deluxe hardshell case.Know I would like to put the Seymour Duncan '59 pickups.My questions are:
1)If I am not wrong,you said to someone in the forum that the two pickups at the neck and at the bridge should be the same, right?...But what type?I mean both bridge type or both neck type?
2)The Seymour Duncan '59 double screw I think doesn't fit in the strat body (unless a liuther enlarges the pickup housing in the body..which I don't know if it is advisable), so I should use the single screw ones.The question is:the Seymour '59 single screw do they sound like the double screw? 3)What about the middle pickup?Do I have to change it or leave the Fender original one?
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I think you're a little confused about the humbucking pickups - Seymore Duncan's '59 humbucking pickups are available with double screws or single screws, but they're both two-coil pickups that won't fit in your guitar unless you enlarge the pickup housing. Single screw humbucking pickups still have two coils, but there are studs on the other coil instead of screws. If you decide to put humbuckers on your guitar, I recommend a '59 single screw at the bridge for a fat strat-like sound, or a '59 double screw for an even fatter fusion sound, and a jazz pickup on the neck. If you decide not to rout your guitar and stay with single coil pickups, I recommend John Suhr's V-60's and I like all three pickups to be the same. I personally like single coils better, and you don't have to rout the guitar.
4)The switch is 3 position..you think I should put the 5 position (I have already the kit)?
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I like the 5 position switch because I can wire it so the tone controls are bypassed in positions 2 and 4.
5)To finish:in the Suhr Scott Henderson model one of the tone knobs controls the middle and neck pickups...what is the reason?It is advisable I do the same in my strat?
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That's so you can use the second tone knob for the treble pickup, the pickup that needs a tone control the most.
Hi Scott thx for your music ,i was in 1992 and 1996 in Ravenna for Mister Jazz in Italy i can't forget those days very important for me
P.s. its possible that you post some pod patch for us
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I don't have a patch program for the POD - mine is an old one.
Thanks for all your great music. After listening to your music I don't know weather I'm inspired to player harder or quite completely knowing I'll never be that good!!
I've been reading these Q&A's for a while now. They are quite interesting at times. I have to ask, does it make you feel uncomfortable that people are hinged on your every word about your gear/tone, playing etc. If I put my self in your shoes for a minute, it seems like it would be quite frustrating. Has anyone ever came back and said you suck for giving them the wrong advise. I guess that's the price you pay for stardom!!! ;>)
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So far nobody's pissed off about my advise, but you should take anyone's advice with a grain of salt because the one giving it out can only rely on his personal taste and experience, and everybody's different.
Hi Scott, first time caller, long time listener....
I've had the privelege of seeing you twice. Once in Boston (on the Commons) w/ Chick back in '86 or '87 while I was at Berklee and once at Club More in Clearwater Florida w/ Tribal Tech. Enjoyed both performances very much.
Anyway, I've always wanted to ask you about this so I guess this is my opportunity. On the tune "Hole Diggin'" on the Dog Party album, at around 1:55 in the tune, you quote a riff from a solo that Rick Derringer plays on an old Edgar Winters White Trash album from like, 1973 or something. The tune was "Rockin' In The USA" and he just burns on that solo in an old school classic rock sort of way. And I love the vibe of that album. Very raw. Very dry drums. Very cool. Anyway, just wondering if you were a fan of Derringers (or Edgar Winter, as it were) or just happened upon that album and enjoyed the solo itself as much as I did? Doesn't seem like there are too many folks out there that have ever heard that album.
Good luck to you and man, I wish I could take a lesson with you one day!
Thanks,
Greg
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WOW!!! You nailed it man - stole it is a better word! I know the guitar parts and solo on that tune by memory - it's one of the first times that I learned a whole guitar solo. I've been playing those licks since I was a kid. The tune is Back In The USA, and it's some of the best rock & roll guitar playing ever recorded in my opinion. Rick Derringer rules!
Hi Scott,
1: What do you think about tube distortion pedals (like boogie vtwin)?
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Answered in previous answers - now there are too many for me to find it, but it's in there. Use the word Tonebone to search.
2: What kind of distortion do you think is good in front of a good clean amp(like Blackface for example) to get some more marshall kind of gain?, because you say that you use your distortion pedals always with the distortion channel of your amp.
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The Maxon OD-9 and SD-9 sound great in Fender amps.
3: How do you study your rhythm in fast tempos, and how is the way you feel it?
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Just about every rhythmic figure that I play at fast tempos was originally learned much slower, so it's just a matter of gradually increasing the tempo while still retaining a good feel.
Hi, Scott.
I hope everything is going awesome with you! I've been using your 'Jazz Guitar Chord System' book for the past several years. I was wondering what prompted your choice of color for each particular chord type when you developed this system...i.e. why is major colored red, minor colored dark blue, etc. Do you actually relate these chord types to "visual colors"
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Glad you like the book! That's a very metaphysical question - my metaphysical answer is that when I did major, the red pen was the closest one to my hand. (and so forth)
...and what's the first thing that comes to mind when you hear each of these chord types? Thanks much!
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When I hear major chords, I think about titties, but when I hear minor or dominant chords, I think about titties, but when I see titties, I don't think about chords.
Joined: 17 May 2004 Posts: 13 Location: Chicago, IL
Posted: Thu Mar 10, 2005 11:15 am Post subject:
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When I hear major chords, I think about titties, but when I hear minor or dominant chords, I think about titties, but when I see titties, I don't think about chords.
so...
major chords = big titties (happy)
minor chords = small titties (not as happy)
dominant chords = wild titties (intense)
2 sets of titties together = bitonal effect (very intriguing)
seeing titties = priceless
Posted: Thu Mar 10, 2005 3:53 pm Post subject: Re: Scott answers your questions - round 13 - new 3/09/05
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WOW!!! You nailed it man - stole it is a better word! I know the guitar parts and solo on that tune by memory - it's one of the first times that I learned a whole guitar solo. I've been playing those licks since I was a kid. The tune is Back In The USA, and it's some of the best rock & roll guitar playing ever recorded in my opinion. Rick Derringer rules!
"Back" In The USA! Yeah, that's it! Not "Rockin' In The USA" which I believe was a KISS song! : )
I'm actually listening to it now as I type! I downloaded it awhile back and have it on my PC. Sounds better on vinyl though!
Anyway, thanks for the response! I can sleep better now knowing the answer to this deeply festering question that I had gnawing at me since the release of "Dog Party".....
Greg
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