Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Mon Jun 20, 2005 2:01 pm Post subject: Scott answers your questions - round 16 - 6/20/05
Scott, I guess you've still received no reply from Voracity with regards to Auatralian tour. I'd be happy to get all 6 fusions fans in Australia to email them and hassle them about your tour. What's their email, and is there somone in particular I should be talking to?
Cheers,
Glenn
Quote:
Simon Higgins is the man at Vorticity Music.com. I cant give you his e-mail cause I don't know if it's his private one, but you should be able to reach him through their website. Thanks!
Hi Scott
I love your music and your teaching..
I would to ask you something about composition
- Are there any chords progressions you can suggest us to create something like your wonderfull tunes? I saw your "jazz guitar chord system" and I think your way to consider chords simply clever......
but what weld a chord to another in your mysterious boundless mind??
I thank you to much
Quote:
That's a good question, but unfortunately the reason I choose one chord instead of another is also a mystery to me. It's more art than science, so if there's a reason for picking a chord, it's that it sounded better to me than any of the other ones I tried. If I'm having a good day, or at least a good moment, I hear the harmony I want. But most of the time I have to try a lot of chords until I find the one I like. Gifted composers can just improvise and immediately create the harmony they want, but I'm far from gifted - I throw away 90% of what I come up with. That's why it takes me so long to write an album of music. The only thing I have going for me is patience - I realize that if I keep trying, I'll eventually come up with something I like.
Hey again Scott,
1. I was wondering do you ever compose using Midi? eg. Cakewalk
Quote:
I use Digital Performer.
2. Have you ever used one of those midi pickups?
Quote:
I used to, but it would enter so many wrong notes into the computer that I changed to entering bass and drums with a little midi keyboard.
3. You said in a previous discussion, when your making up a tune you just tap it out, would you compose on a Keyboard or Guitar? and then would you just play around until you got some cool tech goin on?.
Quote:
I always compose on guitar. I always have a drum groove first and then jam on it to come up with rhythmic ideas, then tweak the harmony later.
I sometimes find it hard to get a tune goin..
Quote:
Welcome to the club.
Hi Scott, I've been an avid fan of yours for many years. I saw you in Sweden at the jazz festival in Umeå in 1994 or so when you played there with Tribal Tech. Your LIVE cd is just amazing - I listen to it just about every day. Your tone on the LIVE cd is unreal - so raw and yet clear and defined.
1. What pickup switch position do you use/prefer the most?
Quote:
Mainly the bridge and neck.
2. How often does your band practice when you're not on tour?
Quote:
Only to learn new tunes.
3. How many rehearsals (or minutes) does it take for the band to learn a new song of yours (rough idea)?
Quote:
We're all pretty good about learning our basic parts before the rehearsal - we use the band rehearsal time to experiment on the tune and get creative with it. It usually takes an hour or two of playing it down before we feel we're ready to play it live.
4. How much do you practice playing guitar (hours per weeks?), meaning trying to learn new stuff, transcribe, etc, vs composing music?
Quote:
I try to practice a couple hours a day, but if I'm in writing mode I pretty much stick to that for at least a few weeks at a time and don't practice at all. It seems to be better for me to concentrate on one thing at a time.
5. Any chance you might come to Alberta, Canada for a gig? We'd love to see you here!
Quote:
If we tour the states we'll try!
Thanks a lot for the amazing stuff you do - you inspire so many guitar players in the world. Also, huge thanks to taking the time to answer all these questions!
Cheers, Robert
Hi Scott!
Thanks for the great gig in Graz! It was I think the best concert i've been to.
Here's my question.
You hardly ever do vibrato with the fingers. When did you switch to the wang bar? On older Tribal Tech recordings it sounds like finger-vibrato.
Quote:
I still do finger vibrato quite a bit, but I do use the bar more now. It was a gradual transition so I don't really recognize any certain time when I changed.
v
Hi again dear scott
I just wanna ask you about your "melodic control" video.
When do you talking about chord changes you say looking for the next interval about the scale of the next chord. Do you think to every single interval or do you feel each interval by ear?
I hope you understand..
I look forward to hear from you.. thank you a lot
Greatings from Italy
Andrea
Quote:
If I'm playing a new chord progression that I don't hear yet, I have to rely on my technical knowledge of intervals and scales. As I get to know the song and can hear what's coming next, my ears help me know what to play.
Hey Scott
What a pity about the aussie tour, ill help Glenn out and try to get 3 or 4 more people to go to your show :p...
I know your a massive Wayne Shorter fan, but i was wondering what your thoughts are on his more recent stuff with Danilo Perez, John Patitucci and Brian Blade are? Ive heard from a really great australian guitarist here that the gig the shorter quartet did at the melbourne jazz festival was the best he's seen, i was wondering if you share a similar opinion?
Quote:
I haven't heard them live but I always enjoy hearing Wayne.
I think you have one of the best tones on the planet but what do you use when just playing at a small jazz club with a more traditional setting where your distortion sound might not be as accepted? eg a local jam session on some standard.
Quote:
I can get my distortion sound at a pretty low volume so it's never been a problem. And if they don't accept the distortion sound then fuck 'em.
Have you ever thought of using a sax or trumpet player on your albums?
Quote:
We had Bob Sheppard playing sax on the first two Tribal Tech albums. He's a great player but the sound of the sax in our music made it sound too jazzy - we wanted more of a rock sound. In the future who knows, but I'm into guitar trio these days.
Ive seen you talk about how you like Kurt Rosenwinkel, so what do you think about some other younger players like Joshua Redman, Brad Mehldau, Mark Turner, Roy Hargrove ect...
Quote:
All great players.
When you transcribe, did you write down the music on manuscript &/or make a lead sheet of the tune you work out? or do you just work out the music and play it?
Quote:
I write it down, but I don't transcribe so other people can read it. I usually just write chord symbols and the melody notes, without rhythmic figures. I know the melody and the timing of the chord changes so I don't need to write rhythms. I only need enough info on the paper for me to sing the melody while I play the chords.
By any chance have you heard of the incredible Australian guitarist James Muller or aussie trumpet player Scott Tinkler, or any other aussie jazz muso's?
Quote:
Brett Garsed is a great guitarist - sorry I don't know the other guys.
Hello Scott!
I really want to thank you and the band (both TT and blues band) for your music, you have been huge inspiration for me. Your gig in Athens was kind of a shock too! ) Pleasure to see you guys play and to meet you, just to find out that you are the totally cool, down-to-earth, humourous and pleasant unlike most of the vendettas around! Very very cool.. To the unimportant stuff now:
I've been playing for about 6 years, lately I'm very much into jazz and fusion stuff but I'm self-taught. I have been studying jazz theory and harmony on my own but even though I understand what I read I have a hard time putting it to practice real-time (especially the changes part) and end up using "safe solutions" when improvising which is very dissapointing for me. I transcribe everything I can but still something just doesn't fit. Any ideas-suggestions?
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Sounds like you just need a good teacher - I'm sure a few lessons with a good jazz guitarist would help a lot. Studying theory and transcribing are great, but taking lessons with an experienced player (who knows how to teach) will clear things up as well as inspire you.
Another thing, I have the SE-70 and I am trying to find a way to use the horn-type synth. I place it in the loop (serial or parallel) but I doesn't work right, it drops the volume of the signal and I can't level it with other settings (rev+delay patches) even with Master at 100. Also if I use my amp's mix knob how will I get this pretty cool wet only synth? Another user told you recommend to use only the wet from the SE and not put the whole signal through it. True?
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I've never used the synth patches so I can't help you there, but running your dry signal through the SE-70 will ruin your tone for sure. I use a little mixer and only use the wet sound from the SE-70.
I would like to ask a lot more but I feel lucky to be able to even do that.. Thanx a lot for everything!!
Hi Scott! Here's a couple of questions, I hope you enjoy them!
1. Have you ever played a Fender ToneMaster? Any comments?
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Never tried one.
2. What drum machine do you use for practicing? Any drum machines you could recommend?
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I have a Yamaha QY-100. That's the best portable drum machine/sequencer out there that's small, inexpensive and easy to program.
3. What mixer do you use or recommend for using in the fx loop of the amp to make it parallel for using multi fx units?
Quote:
Custom Audio makes the best one.
4. What do you think of the humbuckers John Suhr puts in his guitars? Are there any you would recommend? How come you decided to use Seymour Duncans?
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I'm just used to the Seymour Duncan 59 and 59 double screw cause I've been using them for such a long time. I tried a few of John's humbuckers and they sound good but I still like the 59 more.
5. Can the MoogerFooger ring modulator make the guitar sound a bit like a moog lead sound?
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Not really, but it's still a great pedal.
6. Are there 2X12 cabinets you like or could recommend (brands, spearkers...)?
Thanks so much for answering! You da MAN!!!
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John Suhr's 2x12 is the best one I've ever heard. The only problem is that if you use Celestion Greenback 25 watt speakers in it (my favorite), then you can't crank a 100 watt head into it. I use my 2x12 with a 60 watt Fender head.
Hi Scott
Really digging your music these days, hope you'll come back to Toronto soon.
My question is about a specific project/artist you worked with.
What was it like working with Billy Childs on the I've Known Rivers album?
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Billy's very nice to work for. I didn't see the music prior to the session so I was a little nervous, but Billy was very patient and relaxed so it was cool.
One of the tunes, Realism, definately sounded like a Tribal Tech type tune, but with Billy's signature of course.
Did you have any input into your parts?
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There were some parts he wanted me to play exactly, but I also came up with some ideas of my own that he liked.
What do you think of Billy's music/playing?
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He's a monster pianist and a talented writer, though his music is a little more classical/composed than what I'm into now. I prefer a looser approach to music than I did back in the early Tribal Tech days.
....and what gear did you use for that session? (had to be asked)
Quote:
I really don't remember - sorry.
It's great that you take time to answer everyone's questions.
Thanks a lot
Hey Scott! Here's another one:
How are the pedals attached to the drawer in your rack? Are they fastened so that you can transport the rack in any position or do you always have to carry and place it so that the effects don't fall off?
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They're fastened with 3M Dual Lock. It's a plastic version of Velcro that's much stronger.
Hi Scott!
It always great to have opportunity to ask you question!
1)What do you think of that kind of practice?...Just.. not to play guitar for five days
and then you got some fresh ideas and you are independent from patterns. Don't you think that can be a pretty useful tool?
Quote:
It's good to take breaks from your instrument - 5 days seems a little long, but whatever works for you is good.
2)I saw La Ve Lee club calendar for June....so you play there with Kirk, Scott and Jimmy Earl....what kind of music is this? what is the concept? Is this somehow related to Tribal Tech?
Quote:
It's somewhat like the later Tribal Tech because we're mostly jamming without written music. When we do play songs, they're written by Scott Kinsey, so it's really his group. His new album comes out soon and I'm going to tour with him a bit in Europe around February.
Hey Scott! Here's another one:
1. When you played with the cs-2 compressor what sounds did you use it for?
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Only for my clean sound.
2. Do you remember your settings for that pedal?
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No.
3. Are there any other compressors you like and use?
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I only have that one. I don't use it live anymore because my RC Booster is compressed enough, but I'll probably use it again in the studio if I need to.
Hi Scott !
Have You ever try to play concert after (too much of) alcohol ?
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Yes, and I'm careful to never do it again. I like to drink a little because it helps me in my battle against nervousness, but for me anything over one drink is too much.
or what's the worst thing you were doing while you were drunked ?
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Playing really badly.
thanx for geat music and for answering !
hi scott i wanted to ask you which sequencer are you using and if you can suggest me one to buy...(at about 350$ and easy to use )
Quote:
Yamaha QY-100
do you believe that the sound quality is better from a good sequencer or from a very good computer,mac for examble;
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The computer sound is only as good as the synth it's playing. If you have a great synth, then it'll sound better than a QY-100. If you don't have a synth, I think the QY-100 sounds are better than the QuickTime sounds that are built into the Mac.
i m asking you that because i try all the time to make backing tracks for jamming and i want to know which is better sound quality..
and i wanted to know your opinion(if you have listened),about the ELECTROVOICE 12" 200watt speakers...
Quote:
EV speakers are too midrangy in my opinion, but lots of people use them. I used to use them myself before I re-discovered Greenbacks.
hope to see you as soon as possible in greece again.you are a fantastic player and a great guy with a lot sense of humor
thanks a lot scott
Hello there!
I was fortunate to see you playing at Fasching in Stockholm back in March (you killed!) and when I about a month ago noticed that you were going to play at Jazz-Bangen in Högbo/Sandviken (my hometown!) later this summer I was thrilled! Me together with two friends and my parents are going there but in the latest updates it seems that your name has disappeared!?
What's the reason for that shit? Also, IF you are going to play on Bangen, is there a possibility that there will be Tribal Tech records for sale as it seems impossible to find them in Sweden?! By the way, it would be hilarious if you guys could perfom "The Moon Of Parthesius"
Quote:
Sorry about that. That mini-tour had to be cancelled because there weren't enough dates to go with the one in Sweden, but hopefully the new ESC label will be able to get our records up there. The new live CD is on Mascot records and I'm sure you can get that one in Sweden.
Hello Scott! Here's some mo'
1. Do you find that the shape of the neck has an effect on the tone of a guitar?
2. Do you find guitars with bigger, more massive necks fatter in sound?
Quote:
I'm sure the neck has an effect on the tone and I guess it makes sense that a fatter neck would give you a fatter sound . Unfortunately I can't get used to fat necks so I hope it isn't a huge difference.
Hi Scott,
Just regarding your teaching, do you ever have students that push your patience WAAAY past your limits? Like turning up to lessons and not practising a SINGLE note/exercise/scale/tune that you worked on in the previous lesson/lessons and turning up totally unprepared and unorganised on a consistent basis?
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I don't teach private lessons, so I don't really assign tasks to students with any kind of time frame. But of course I have students that I don't like because they show they're not making any effort.
If so how do you deal with the offenders?
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I ignore them and hope they'll discover bartending.
You jokingly mention that you have thoughts of harming your students.
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Yes........ yes I do.......only thoughts.........
I have those same thoughts with some of my students. My feelings go out to you!
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Finally someone understands my pain.
One day we'll get you down here to Australia!
Take care.
Thanks again for being so hospitable when I met you with my crew in Vienna a couple of years back, and signing my Suhr guitar. It felt like the stupidest thing to do at the time, but was more than worth hauling across a few countries for the pleasure the result brings.
Q1: The one disc missing from your site with a rundown of the gear used is VTT 2. Visceral would be a good word for that tone. Very real, to the point of being in the room. I use it as a reference for my own home recording, and am interested in firstly the guitar/amps/cabs/pedals used, and the techniques employed in creating such a full sound and a wide spread from a single pass.
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Thanks - I used the OD-100 on that record except for "The Litigants" where I used my old Marshall. The cab was my 4x12 with Greenbacks. People probably get tired of me saying this but an important part of the tone comes from using a real cabinet with a birch back like the old ones. Bogner sells really good ones - the new Marshall cabs with pressboard backs just plain suck! I used the OD-100 mainly without distortion pedals - channel 2 boosted. With the Marshall I used a TS-9 into the Voodoo 1. This was before I started using the SD-9 for my hi gain sound. Sometimes I fattened up the guitar by making it stereo. There's a couple tracks where the dry guitar is in the middle and there's a L 20ms, R 30ms delay along with it, or dry on the left and 10 to 20ms delay on the right.
Q2: I heard you have moved channels on your OD-100, and now ch2 is the mainstay. Is that for all sounds, or for when you carry another amp?
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For everything - channel 1 is off, which is weird since on the Henderson model OD-100, channel 1 is the modded channel. I think channel 1 sounds better on the Henderson model cause it sounds closer to a Fender, but these days I'm more into the Marshall sound and channel 2 is great for that.
Q3: Can you please stop changing components in the OD-100? I have a wife and family to consider, and they need me to be around for a while yet to come. I had the PCB out the other day and there is a very real risk that I end up flat on the floor before I realise the risks I am taking.
It does sound better though. Or does it?..
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Let's be careful out there... but yes it's fun to make your amp sound better by changing little components, and it's a fairly safe hobby if you're not standing barefooted in water.
Sup scott dog.
First off, you own.
1st question. ANy plands to get youre self to the uk? I mean like sheesh, id pay to see you and i think youre shite! Im joking you rule.(im not even funny anymore...)Actually thats probably one for youre managers n stuffis.
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I'd love to play in the UK but what we've been offered to play there wouldn't even cover the flights. I know we have fans there, but apparently the promoters there don't. I do this for a living and I can't go to places where I'm gonna lose money to play.
2nd question, If you had to have sex with any animal (not humans smart ass) what would it be?
Dont tell me youve alleady been asked or to ask youre management.
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Wow.... has our ask Scott forum come to this? Ya see....tell them what pickups you use, and next thing you know....
3rd question, I find youre improv a bit more interesting than the other big name fusioneers, like holdsworth and gambale. I love both of the mentioned guitarists but i prefer youre story like phrasing and find what you make up more digestable. Its simpler yet has more depth with less focus on chops more focus on mood. What would you have to say on the matter?Would you agree?
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Not to say anything bad about any of the guys that play way more notes than I do, but I knew years ago that extreme chops just wasn't what I was interested in as a musician. I respect guys that can do it, but my favorite players for the most part don't. Even if I wanted to play really fast, I don't have the physical ability to do it. I just try to get good tone and come up with phrases that somehow relate to each other - if I can succeed in that it's enough for me.
4th question, DO you ever listen to any extreme metal? like nile or cryptopsy? Id really suggest to check out ION DISSONANCE or Meshuggah. What about electronic music like buffalo daughter or somthing? What about noisey stuff like the boredoms or the locust (they wear green hot pants and everything!)?
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I like listening to that kind of music, but usually three or four tunes is all I can take in one sitting. I really like Meshuggah - they're great musicians and very rhythmically creative. My students play me come cool metal stuff sometimes. I don't rush out and buy the CD's, but some of it I like. The only electronic music I've really liked is Square Pusher, but I'm sure there's tons of stuff out there I haven't heard. I like how Jeff Beck went in that direction for awhile - those records are cool. For my own music, I'm more into using machines for color, not performance, but to each his own.
LAstly, i must say on a serious note that i really like youre music and think youre absolutely ace.
Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Mon Jun 20, 2005 5:58 pm Post subject:
Part II
When Tribal Tech will reunite at some point in the future, will you still use your single coils guitars?
Quote:
Yes, the purple Suhr that I used with Tribal Tech has single coils and 10's, and it still sounds pretty fat, so I have no reason to go back to humbuckers live.
Your known for being picky when it comes to gear. What about the HiFi stuff for listening to music. Do you constantly switch between three different speaker cables?
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I just use a good receiver and Tannoy 6.5's. I'm not as picky with that stuff as I am with guitar gear.
I read somewhere that you worked with the telephone when you were younger. Did you sell vacuum cleaners and such?
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Answered in # 7
Everybody needs a fanclub. Where's yours?
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My three dogs.
You name the song Tacos Are Good, but doesn't sound ...anything like that!?!
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Yeah it sounds like Tacos are bad.
Hello Scott, I'm Martin from Poland I've got a question about speakers in cab, what sound do you prefer, rear loaded or front loaded speakers, in closed 4*12 cab?
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I've never heard a 4x12 with front loaded speakers - it must not sound very good because nobody I know of does it that way.
Have you noticed sound difference between floating tremolo (up and down) or sit on the body tremolo (only down) in strat?
Quote:
Yes, you'll get more bass with the tremolo sitting on the body, but it's a pretty subtile difference. Not having any upward pull sucks though, and having the bridge sitting on the body makes it much harder to keep it in tune when using the bar.
Joined: 13 Jun 2005 Posts: 2 Location: Harrogate england
Posted: Wed Jun 22, 2005 2:17 pm Post subject:
Dear General Forum users,
Id just like to appoligise for the animal sex question. I know the question was extreme and quite tasteless but i assumed there would be a priceless comedy reply rather than an appauled one. Makes sense actually, but none the less I hope no one takes it upon them selves to out sick that question. I hope that question has not cheapened the value of this forum which is to appreciate and discuss art and general good stuff.Its not big and its not clever. And as ive learnt, let scott say the funny stuff.
Scott Henderson is cool! _________________ Writting numbers in the desert sand.
Posted: Wed Jun 22, 2005 10:02 pm Post subject: Re: Scott answers your questions - round 16 - new 6/20/05
kirk95 wrote:
Scott, I guess you've still received no reply from Voracity with regards to Auatralian tour. I'd be happy to get all 6 fusions fans in Australia to email them and hassle them about your tour. What's their email, and is there somone in particular I should be talking to?
Cheers,
Glenn
Quote:
Simon Higgins is the man at Vorticity Music.com. I cant give you his e-mail cause I don't know if it's his private one, but you should be able to reach him through their website. Thanks!
Hi Scott
I love your music and your teaching..
I would to ask you something about composition
- Are there any chords progressions you can suggest us to create something like your wonderfull tunes? I saw your "jazz guitar chord system" and I think your way to consider chords simply clever......
but what weld a chord to another in your mysterious boundless mind??
I thank you to much
Quote:
That's a good question, but unfortunately the reason I choose one chord instead of another is also a mystery to me. It's more art than science, so if there's a reason for picking a chord, it's that it sounded better to me than any of the other ones I tried. If I'm having a good day, or at least a good moment, I hear the harmony I want. But most of the time I have to try a lot of chords until I find the one I like. Gifted composers can just improvise and immediately create the harmony they want, but I'm far from gifted - I throw away 90% of what I come up with. That's why it takes me so long to write an album of music. The only thing I have going for me is patience - I realize that if I keep trying, I'll eventually come up with something I like.
Hey again Scott,
1. I was wondering do you ever compose using Midi? eg. Cakewalk
Quote:
I use Digital Performer.
2. Have you ever used one of those midi pickups?
Quote:
I used to, but it would enter so many wrong notes into the computer that I changed to entering bass and drums with a little midi keyboard.
3. You said in a previous discussion, when your making up a tune you just tap it out, would you compose on a Keyboard or Guitar? and then would you just play around until you got some cool tech goin on?.
Quote:
I always compose on guitar. I always have a drum groove first and then jam on it to come up with rhythmic ideas, then tweak the harmony later.
I sometimes find it hard to get a tune goin..
Quote:
Welcome to the club.
Hi Scott, I've been an avid fan of yours for many years. I saw you in Sweden at the jazz festival in Umeå in 1994 or so when you played there with Tribal Tech. Your LIVE cd is just amazing - I listen to it just about every day. Your tone on the LIVE cd is unreal - so raw and yet clear and defined.
1. What pickup switch position do you use/prefer the most?
Quote:
Mainly the bridge and neck.
2. How often does your band practice when you're not on tour?
Quote:
Only to learn new tunes.
3. How many rehearsals (or minutes) does it take for the band to learn a new song of yours (rough idea)?
Quote:
We're all pretty good about learning our basic parts before the rehearsal - we use the band rehearsal time to experiment on the tune and get creative with it. It usually takes an hour or two of playing it down before we feel we're ready to play it live.
4. How much do you practice playing guitar (hours per weeks?), meaning trying to learn new stuff, transcribe, etc, vs composing music?
Quote:
I try to practice a couple hours a day, but if I'm in writing mode I pretty much stick to that for at least a few weeks at a time and don't practice at all. It seems to be better for me to concentrate on one thing at a time.
5. Any chance you might come to Alberta, Canada for a gig? We'd love to see you here!
Quote:
If we tour the states we'll try!
Thanks a lot for the amazing stuff you do - you inspire so many guitar players in the world. Also, huge thanks to taking the time to answer all these questions!
Cheers, Robert
Hi Scott!
Thanks for the great gig in Graz! It was I think the best concert i've been to.
Here's my question.
You hardly ever do vibrato with the fingers. When did you switch to the wang bar? On older Tribal Tech recordings it sounds like finger-vibrato.
Quote:
I still do finger vibrato quite a bit, but I do use the bar more now. It was a gradual transition so I don't really recognize any certain time when I changed.
v
Hi again dear scott
I just wanna ask you about your "melodic control" video.
When do you talking about chord changes you say looking for the next interval about the scale of the next chord. Do you think to every single interval or do you feel each interval by ear?
I hope you understand..
I look forward to hear from you.. thank you a lot
Greatings from Italy
Andrea
Quote:
If I'm playing a new chord progression that I don't hear yet, I have to rely on my technical knowledge of intervals and scales. As I get to know the song and can hear what's coming next, my ears help me know what to play.
Hey Scott
What a pity about the aussie tour, ill help Glenn out and try to get 3 or 4 more people to go to your show :p...
I know your a massive Wayne Shorter fan, but i was wondering what your thoughts are on his more recent stuff with Danilo Perez, John Patitucci and Brian Blade are? Ive heard from a really great australian guitarist here that the gig the shorter quartet did at the melbourne jazz festival was the best he's seen, i was wondering if you share a similar opinion?
Quote:
I haven't heard them live but I always enjoy hearing Wayne.
I think you have one of the best tones on the planet but what do you use when just playing at a small jazz club with a more traditional setting where your distortion sound might not be as accepted? eg a local jam session on some standard.
Quote:
I can get my distortion sound at a pretty low volume so it's never been a problem. And if they don't accept the distortion sound then fuck 'em.
Have you ever thought of using a sax or trumpet player on your albums?
Quote:
We had Bob Sheppard playing sax on the first two Tribal Tech albums. He's a great player but the sound of the sax in our music made it sound too jazzy - we wanted more of a rock sound. In the future who knows, but I'm into guitar trio these days.
Ive seen you talk about how you like Kurt Rosenwinkel, so what do you think about some other younger players like Joshua Redman, Brad Mehldau, Mark Turner, Roy Hargrove ect...
Quote:
All great players.
When you transcribe, did you write down the music on manuscript &/or make a lead sheet of the tune you work out? or do you just work out the music and play it?
Quote:
I write it down, but I don't transcribe so other people can read it. I usually just write chord symbols and the melody notes, without rhythmic figures. I know the melody and the timing of the chord changes so I don't need to write rhythms. I only need enough info on the paper for me to sing the melody while I play the chords.
By any chance have you heard of the incredible Australian guitarist James Muller or aussie trumpet player Scott Tinkler, or any other aussie jazz muso's?
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Brett Garsed is a great guitarist - sorry I don't know the other guys.
Hello Scott!
I really want to thank you and the band (both TT and blues band) for your music, you have been huge inspiration for me. Your gig in Athens was kind of a shock too! ) Pleasure to see you guys play and to meet you, just to find out that you are the totally cool, down-to-earth, humourous and pleasant unlike most of the vendettas around! Very very cool.. To the unimportant stuff now:
I've been playing for about 6 years, lately I'm very much into jazz and fusion stuff but I'm self-taught. I have been studying jazz theory and harmony on my own but even though I understand what I read I have a hard time putting it to practice real-time (especially the changes part) and end up using "safe solutions" when improvising which is very dissapointing for me. I transcribe everything I can but still something just doesn't fit. Any ideas-suggestions?
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Sounds like you just need a good teacher - I'm sure a few lessons with a good jazz guitarist would help a lot. Studying theory and transcribing are great, but taking lessons with an experienced player (who knows how to teach) will clear things up as well as inspire you.
Another thing, I have the SE-70 and I am trying to find a way to use the horn-type synth. I place it in the loop (serial or parallel) but I doesn't work right, it drops the volume of the signal and I can't level it with other settings (rev+delay patches) even with Master at 100. Also if I use my amp's mix knob how will I get this pretty cool wet only synth? Another user told you recommend to use only the wet from the SE and not put the whole signal through it. True?
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I've never used the synth patches so I can't help you there, but running your dry signal through the SE-70 will ruin your tone for sure. I use a little mixer and only use the wet sound from the SE-70.
I would like to ask a lot more but I feel lucky to be able to even do that.. Thanx a lot for everything!!
Hi Scott! Here's a couple of questions, I hope you enjoy them!
1. Have you ever played a Fender ToneMaster? Any comments?
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Never tried one.
2. What drum machine do you use for practicing? Any drum machines you could recommend?
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I have a Yamaha QY-100. That's the best portable drum machine/sequencer out there that's small, inexpensive and easy to program.
3. What mixer do you use or recommend for using in the fx loop of the amp to make it parallel for using multi fx units?
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Custom Audio makes the best one.
4. What do you think of the humbuckers John Suhr puts in his guitars? Are there any you would recommend? How come you decided to use Seymour Duncans?
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I'm just used to the Seymour Duncan 59 and 59 double screw cause I've been using them for such a long time. I tried a few of John's humbuckers and they sound good but I still like the 59 more.
5. Can the MoogerFooger ring modulator make the guitar sound a bit like a moog lead sound?
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Not really, but it's still a great pedal.
6. Are there 2X12 cabinets you like or could recommend (brands, spearkers...)?
Thanks so much for answering! You da MAN!!!
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John Suhr's 2x12 is the best one I've ever heard. The only problem is that if you use Celestion Greenback 25 watt speakers in it (my favorite), then you can't crank a 100 watt head into it. I use my 2x12 with a 60 watt Fender head.
Hi Scott
Really digging your music these days, hope you'll come back to Toronto soon.
My question is about a specific project/artist you worked with.
What was it like working with Billy Childs on the I've Known Rivers album?
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Billy's very nice to work for. I didn't see the music prior to the session so I was a little nervous, but Billy was very patient and relaxed so it was cool.
One of the tunes, Realism, definately sounded like a Tribal Tech type tune, but with Billy's signature of course.
Did you have any input into your parts?
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There were some parts he wanted me to play exactly, but I also came up with some ideas of my own that he liked.
What do you think of Billy's music/playing?
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He's a monster pianist and a talented writer, though his music is a little more classical/composed than what I'm into now. I prefer a looser approach to music than I did back in the early Tribal Tech days.
....and what gear did you use for that session? (had to be asked)
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I really don't remember - sorry.
It's great that you take time to answer everyone's questions.
Thanks a lot
Hey Scott! Here's another one:
How are the pedals attached to the drawer in your rack? Are they fastened so that you can transport the rack in any position or do you always have to carry and place it so that the effects don't fall off?
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They're fastened with 3M Dual Lock. It's a plastic version of Velcro that's much stronger.
Hi Scott!
It always great to have opportunity to ask you question!
1)What do you think of that kind of practice?...Just.. not to play guitar for five days
and then you got some fresh ideas and you are independent from patterns. Don't you think that can be a pretty useful tool?
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It's good to take breaks from your instrument - 5 days seems a little long, but whatever works for you is good.
2)I saw La Ve Lee club calendar for June....so you play there with Kirk, Scott and Jimmy Earl....what kind of music is this? what is the concept? Is this somehow related to Tribal Tech?
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It's somewhat like the later Tribal Tech because we're mostly jamming without written music. When we do play songs, they're written by Scott Kinsey, so it's really his group. His new album comes out soon and I'm going to tour with him a bit in Europe around February.
Hey Scott! Here's another one:
1. When you played with the cs-2 compressor what sounds did you use it for?
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Only for my clean sound.
2. Do you remember your settings for that pedal?
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No.
3. Are there any other compressors you like and use?
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I only have that one. I don't use it live anymore because my RC Booster is compressed enough, but I'll probably use it again in the studio if I need to.
Hi Scott !
Have You ever try to play concert after (too much of) alcohol ?
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Yes, and I'm careful to never do it again. I like to drink a little because it helps me in my battle against nervousness, but for me anything over one drink is too much.
or what's the worst thing you were doing while you were drunked ?
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Playing really badly.
thanx for geat music and for answering !
hi scott i wanted to ask you which sequencer are you using and if you can suggest me one to buy...(at about 350$ and easy to use )
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Yamaha QY-100
do you believe that the sound quality is better from a good sequencer or from a very good computer,mac for examble;
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The computer sound is only as good as the synth it's playing. If you have a great synth, then it'll sound better than a QY-100. If you don't have a synth, I think the QY-100 sounds are better than the QuickTime sounds that are built into the Mac.
i m asking you that because i try all the time to make backing tracks for jamming and i want to know which is better sound quality..
and i wanted to know your opinion(if you have listened),about the ELECTROVOICE 12" 200watt speakers...
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EV speakers are too midrangy in my opinion, but lots of people use them. I used to use them myself before I re-discovered Greenbacks.
hope to see you as soon as possible in greece again.you are a fantastic player and a great guy with a lot sense of humor
thanks a lot scott
Hello there!
I was fortunate to see you playing at Fasching in Stockholm back in March (you killed!) and when I about a month ago noticed that you were going to play at Jazz-Bangen in Högbo/Sandviken (my hometown!) later this summer I was thrilled! Me together with two friends and my parents are going there but in the latest updates it seems that your name has disappeared!?
What's the reason for that shit? Also, IF you are going to play on Bangen, is there a possibility that there will be Tribal Tech records for sale as it seems impossible to find them in Sweden?! By the way, it would be hilarious if you guys could perfom "The Moon Of Parthesius"
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Sorry about that. That mini-tour had to be cancelled because there weren't enough dates to go with the one in Sweden, but hopefully the new ESC label will be able to get our records up there. The new live CD is on Mascot records and I'm sure you can get that one in Sweden.
Hello Scott! Here's some mo'
1. Do you find that the shape of the neck has an effect on the tone of a guitar?
2. Do you find guitars with bigger, more massive necks fatter in sound?
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I'm sure the neck has an effect on the tone and I guess it makes sense that a fatter neck would give you a fatter sound . Unfortunately I can't get used to fat necks so I hope it isn't a huge difference.
Hi Scott,
Just regarding your teaching, do you ever have students that push your patience WAAAY past your limits? Like turning up to lessons and not practising a SINGLE note/exercise/scale/tune that you worked on in the previous lesson/lessons and turning up totally unprepared and unorganised on a consistent basis?
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I don't teach private lessons, so I don't really assign tasks to students with any kind of time frame. But of course I have students that I don't like because they show they're not making any effort.
If so how do you deal with the offenders?
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I ignore them and hope they'll discover bartending.
You jokingly mention that you have thoughts of harming your students.
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Yes........ yes I do.......only thoughts.........
I have those same thoughts with some of my students. My feelings go out to you!
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Finally someone understands my pain.
One day we'll get you down here to Australia!
Take care.
Thanks again for being so hospitable when I met you with my crew in Vienna a couple of years back, and signing my Suhr guitar. It felt like the stupidest thing to do at the time, but was more than worth hauling across a few countries for the pleasure the result brings.
Q1: The one disc missing from your site with a rundown of the gear used is VTT 2. Visceral would be a good word for that tone. Very real, to the point of being in the room. I use it as a reference for my own home recording, and am interested in firstly the guitar/amps/cabs/pedals used, and the techniques employed in creating such a full sound and a wide spread from a single pass.
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Thanks - I used the OD-100 on that record except for "The Litigants" where I used my old Marshall. The cab was my 4x12 with Greenbacks. People probably get tired of me saying this but an important part of the tone comes from using a real cabinet with a birch back like the old ones. Bogner sells really good ones - the new Marshall cabs with pressboard backs just plain suck! I used the OD-100 mainly without distortion pedals - channel 2 boosted. With the Marshall I used a TS-9 into the Voodoo 1. This was before I started using the SD-9 for my hi gain sound. Sometimes I fattened up the guitar by making it stereo. There's a couple tracks where the dry guitar is in the middle and there's a L 20ms, R 30ms delay along with it, or dry on the left and 10 to 20ms delay on the right.
Q2: I heard you have moved channels on your OD-100, and now ch2 is the mainstay. Is that for all sounds, or for when you carry another amp?
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For everything - channel 1 is off, which is weird since on the Henderson model OD-100, channel 1 is the modded channel. I think channel 1 sounds better on the Henderson model cause it sounds closer to a Fender, but these days I'm more into the Marshall sound and channel 2 is great for that.
Q3: Can you please stop changing components in the OD-100? I have a wife and family to consider, and they need me to be around for a while yet to come. I had the PCB out the other day and there is a very real risk that I end up flat on the floor before I realise the risks I am taking.
It does sound better though. Or does it?..
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Let's be careful out there... but yes it's fun to make your amp sound better by changing little components, and it's a fairly safe hobby if you're not standing barefooted in water.
Sup scott dog.
First off, you own.
1st question. ANy plands to get youre self to the uk? I mean like sheesh, id pay to see you and i think youre shite! Im joking you rule.(im not even funny anymore...)Actually thats probably one for youre managers n stuffis.
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I'd love to play in the UK but what we've been offered to play there wouldn't even cover the flights. I know we have fans there, but apparently the promoters there don't. I do this for a living and I can't go to places where I'm gonna lose money to play.
2nd question, If you had to have sex with any animal (not humans smart ass) what would it be?
Dont tell me youve alleady been asked or to ask youre management.
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Wow.... has our ask Scott forum come to this? Ya see....tell them what pickups you use, and next thing you know....
3rd question, I find youre improv a bit more interesting than the other big name fusioneers, like holdsworth and gambale. I love both of the mentioned guitarists but i prefer youre story like phrasing and find what you make up more digestable. Its simpler yet has more depth with less focus on chops more focus on mood. What would you have to say on the matter?Would you agree?
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Not to say anything bad about any of the guys that play way more notes than I do, but I knew years ago that extreme chops just wasn't what I was interested in as a musician. I respect guys that can do it, but my favorite players for the most part don't. Even if I wanted to play really fast, I don't have the physical ability to do it. I just try to get good tone and come up with phrases that somehow relate to each other - if I can succeed in that it's enough for me.
4th question, DO you ever listen to any extreme metal? like nile or cryptopsy? Id really suggest to check out ION DISSONANCE or Meshuggah. What about electronic music like buffalo daughter or somthing? What about noisey stuff like the boredoms or the locust (they wear green hot pants and everything!)?
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I like listening to that kind of music, but usually three or four tunes is all I can take in one sitting. I really like Meshuggah - they're great musicians and very rhythmically creative. My students play me come cool metal stuff sometimes. I don't rush out and buy the CD's, but some of it I like. The only electronic music I've really liked is Square Pusher, but I'm sure there's tons of stuff out there I haven't heard. I like how Jeff Beck went in that direction for awhile - those records are cool. For my own music, I'm more into using machines for color, not performance, but to each his own.
LAstly, i must say on a serious note that i really like youre music and think youre absolutely ace.
Cheers!
Josif.
Hi,Im Andre Valle from Rio de Janeiro, Brasil and have 3q 4u:
1-What do you thing about the Peavey classic 100 ,amplifier?
2-have u a recommendation mod to a Fender am std,like pu's, tremolo...?
3-when u come back to Rio?
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