Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Sun Apr 13, 2008 5:18 pm Post subject: Scott answers your questions - round 41 - 4/13/08
I've heard you're using an open back cabinet. Is this true? I saw Holdsworth do this about twenty years ago in Palo Alto. It was a 4-12" Marshall cabinet that he took the back off. I've heard Celestions aren't built to be run like this, and that they are designed to be in a closed back and you can blow them up if you run them this way. If this is true, are you using different speakers? What differences do you notice in the tone?
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Huge wonderful differences. I've always hated slant cabinets, but they're a necessary evil so I can hear myself on stage. I've tried tilting a straight cab but the bass goes away. Mike Landau had the idea to have Kerry Wright build him an open back slant cabinet and told me it rules! So I got one and he was right - thanks Mike! It sounds huge and sweet, not boxy with shitty midrange peaks like regular slants. You can check it out on the gear page of my website. I'm using Greenbacks, but I don't think I play loud enough to hurt them. The Heritage 65 speakers sound good too so I'll switch to those if my Greenbacks catch on fire.
I've just noticed that the effects order on your site has changed. Few days ago the new photo was added and now it's different. (I know it's stupid, I was just passing by and while looking on the photo I was like "Am i nuts? Or the midi was on 20? Am I already a geek?"). It was Fuzz, Octa, VOP, RC and now it's reversed. Why? And did you abondon your volume knob?
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Don't feel like a geek - I'm the geek, and a pretty stupid one sometimes. After I abandoned the Bradshaw rack, I only had a few days to put my pedalboard together before a tour. I didn't even think about the order of the distortion pedals because I never use two at the same time, so I didn't think it mattered - wrong! This wouldn't make a difference to most guys who use a long guitar cable, but I like the sound of a very short cable. I discovered that my main pedal, the RC Booster sounds better when I go into it first, because the way I had it before, there was another foot of cable going through the other pedals until I got to the RC. So now the most important pedal is first, then the next important is second, and so on. I was surprised by what an improvement it made.
About the volume knob, I've been using a 50k pot in a box for many years to control my volume, and also because it mellowed out the harsh treble most of the amps I was using had. Most of the Tribal Tech guitar tracks were played through that pot so I could change my dynamics in the studio, and the pot made the amps sound better. A couple weeks ago I was playing through my Suhr amp at home without the FX loop and realized that there were no harsh high end frequencies (duh), and I wondered what those long cables and two volume devices were doing to my tone. I added the cables and the Boss FV500L volume pedal and heard a tone change I didn't like, not just the loss of a little treble, but a difference in feel, like the FX loop was being loaded down and the notes weren't popping out - not as responsive. I added the 50k pot and it got even worse.
So as I always do, I took my problem to John Suhr. He modified my FX loop with a 12AT7 tube which has more headroom and drives the loop harder. I listened to the amp without the FX loop and when I added the cables and Boss volume pedal there was no difference in tone or feel - thanks John! But the 50k volume box still changed the sound so I decided I'd try a gig without it. At the time, we were updating the website so I put up the picture without the box. I did a gig and the tone was great but I hated trying to control my volume with a pedal. I'd barely touch it and the volume would change way too drastically. I needed my box back so I tried some different pot values and found that 25k changed the tone the least. I recorded a track of guitar with no FX loop, and then recorded a track adding the cables, Boss volume pedal, and the 25k volume box. By turning the presence up just one half a number, I matched the two tracks perfectly and couldn't hear or feel the difference. So now I'm happy, I have my volume box back for subtile volume changes, my volume pedal for the multi-tap delay long chord sound, and no tone change. How's that for geekiness?
And one more thing. Can you share a schem or tell what was done to your Wah? If not, maybe you could send a high-res photo of the inside (PCB)? Thanks anyway.
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Sorry, but that's Martin Golub's geekiness and he sells it. You can reach him at LA Sound Design (818) 845-8663.
Btw. Have you seen the "shred" movies on youtube made by the Finnish guy? (he overdubs original video with some funny stuff) If not - check them out - e.g. search "paco shreds" - totally hilarious! Some of them were banned but looks like other users are putting them up.
Thanks in advance.
Keep rockin'!
Lukasz
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Yeah, I've seen them and they're not that funny to me because they're fake. I teach two days a week and hear the same shit, but it's real - now that's funny.
Scott,
I have been listening to the tribal catalog from a mix perspective lately.
It seems the earlier records had the guitar and the whole band for that matter panned up pretty tight to center and later on y'all loosened up on that a bit and it sounds a little wider overall as a group.
Sounds with the later records the mixes have more air (for lack of a better word) The earlier records seem much more compressed and there was a kind of unity gain sound across the band, but by thick you were really getting great mix dynamics into the tracks and letting the guitar scream on melodys w/out stepping on the rest of the band...
Any thoughts on what you learned over the years in the mixing room with TT to make the mixes sound better?
Also, did you guys generally approach the mixes as starting all faders up? Or are you building from say bass & drums.
Sorry for long winded post, I've been drinking..........
Keep on with you badself
hey now
subdominic
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Honestly that's just because the first records were done on a tight budget and we didn't have the nice studio and great engineer TJ Helmerich who we had on the later records.
Hi Scott,
I'am a student in Taiwan,in next year,i will go to LA to learn Guitar
I really want to learn the guitar from Scott.
How much should i pay for the premium.
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Premium is about 3.73 and regular is about 3.47 Write to MI and they can give you a better estimate.
Hi Scott, if you got time for a few questions:
1) Are you planning any gigs in the east coast any time soon? Canada?
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No, not for the money those clubs are offering.
2) Desert island question- fender super reverb, or fender deluxe-which would you choose? I am considering buying a fender super reverb 1965 with the original never re-coned speakers (locally), but am concerned that if I blow a speaker one day, I won't be able to get a replacement 10" that will sound as good, and hence lose my tone-which is what I'd be paying the big bucks for. There are more choices (better ones I believe) for 12" speakers if the same scenario would happen with a deluxe for instance. Any advice?
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I love Supers but you're right about the speakers. Finding good 12's is easier than finding good 10's. I have Kendrick Blackframes in my 4x10 cab and that's what I used on the song "Well To The Bone", but they're not made anymore, and even the ones made in the last two years were made at another factory and sound like shit. Next week I'm going to try the new Celestion Greenback 10's and I'm hoping I like them so that I'm using speakers by a company that will continue to make them right. As far as 12" speakers for a Deluxe, the Celestion Gold sounds great (on the bright side) and so does the Heritage 65 (on the darker side). The Greenback is my favorite, but I think a Deluxe could fry it.
3) Do you feel that a suhr thinskin or antique guitar model might sound a little better than one with polyurethane coating? There's been so much debate on this and varying opinions. I personally never had a chance to A/B the different types. Wondering if you have.
As always, thanks for your time, music, and most of all inspiration to play!
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I don't know anything about paint, so I asked John - here's what he wrote to me:
Scott,
It's all about the thickness and hardness of the paint, not the actual paint.
Nitro lacquer gets gummy and soft when it gets hot, also acids in your sweat will eat nitro. You've had both polyester and acrylic lacquer on your guitars, acrylic on the orange one. The acrylic is the most like old lacquer but polyester when sprayed thin sounds the same.
Hey Scott. I need some delay and reverb to put in the loop of my new Badger combo. I was looking at getting a used SE70 until I read that you don't dig the reverbs or delays all that much. I don't care about the SE70's wacky patches, I just want a hint of reverb and 400ms delay with 1-2 repeats, mixed rather low so as not to "smear" the notes at high volumes.
I read that you recommend the Eventide Eclipse. Would I even need a Suhr minimix (parallel loop) with a processor of this quality?
Are there any other multi-effect processors (for delay+reverb) that you recommend for my Badger that will interface with the Suhr minimix, or don't require a mixer in the loop?
Coming down from San Luis Obispo on 4/2 to see you at the Baked Potato...can't wait!!!
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I don't like the SE-70 reverb, but I don't like live reverb that much anyway. I haven't used reverb on stage in 10 years. I like the SE-70 delays, and I program them to sound like reverb, but it's much cleaner sounding than actual reverb. My delay setting are really simple:
Mono Delay Algorithm
no EQ
Dly Time: 450 ms
Feedback: 15
HF Damp: -3
LF Damp: 0
Bass & Treble: 0
Direct Level: 0 (I use a mixer)
Effect Level: 100
Master Level: 19
Name Edit: Big Tits
By the way that gig got changed to the 18th.
The Eclipse is a great sounding stereo studio piece, but 2000 is a lot to pay if you're only going to use it mono. It's way harder to program too. You might be able to use high end FX like Eventide or Lexicon without a mixer, but Mike Landau uses a Lexicon with a Suhr mixer, and I'm guessing he wouldn't need the mixer if the Lexicon was totally transparent.
Hello,
did (or do you still) train your ears deliberatly with exercises? If so wich ones? And do you have some tipps iforn strenghtening the conncetion between the guitar and the "inner"-ear.
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I've never used exercises for that. Just transcribe solos and chords from records. Your ear will improve, you'll get phrasing ideas, and it's a lot more fun than dreary exercises.
What is you approach when a song doesn't need crazy fusion-bebopping but just a good rock solo with balls.
Thanks,
Lorenz
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I approach it by playing a good rock solo with balls.
Hi Scott! I'm Emanuele from Italia!
I'm a Mimmo Langella's student and he often talks about you!
I adore your way of playing; I've heard you playing in Rome 3 times, even if it's far from Napoli, my hometown.
I've heard Mimmo's last album, "Funk That Jazz" and the way you play there is amazing! I like a lot the things you played on the minor slow blues "The Harmony Of Soul"!
I've got some questions for you and hope you would answer.
What do you think about nitro finish for guitar? Do you think it really changes the tone? I'm gonna order a Suhr guitar, but John offers nitro only on Antique series.
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Answered above.
I'd like to take an alder body (2Tone SB), maple neck (modern C fat shape), flat fingerboard, 6 screws vintage tremolo and 3 V60LP (I think the new FL pickups are too brilliant, specially with maple neck: i prefer the deeper and more complex sound of V60LPs).
Have you ever heard a Mesa Boogie Lonestar amp model? I ordered one last week and it has amazing clean and crunch tones: 6L6 kind of tone and the possibility to be used in 100, 50 or 10 W way.
Thanks a lot and hope to see you playing in Italia and in Napoli soon!
Ciao!
Emanuele
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I've never heard a Lonestar.
Hey Scott, Do you think John Scofield makes up his lines? Did Scofield have much of an influence on your playing early on?
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Yes and yes. All good jazz musicians make up their own lines, but it doesn't mean they haven't also played lines from musicians before them. I'm sure that when Sco was at Berklee he did his share of transcribing the vocabulary of the masters because you can hear it in his playing, along with all the cool stuff of his own he's added to it. Listen to Michael Brecker and you hear Coltrane and lots more.
When I started college I was listening mainly to Jeff Beck, Jimi Hendrix, Led Zeppelin and Deep Purple. Friends of mine turned me on to Weather Report, Mahavishnu Orchestra and other fusion bands. One record was Billy Cobham/George Duke Live with Sco on guitar. Here was a guy with good rock tone playing jazz and I had never heard that before. We didn't have a guitar department at my college, so that album was one of my main teachers of applying the things I was learning in class to the guitar. Later I went to GIT and learned a lot from Joe Diorio and more straight ahead jazz guitarists. Sco has changed his sound from that record to a more mellow hollow body tone - my roots are in Stratocaster rock so that'll always be my tone, but in my opinion Sco was THE first guitarist to play legit jazz lines with legit rock tone and that influenced me a lot.
Hi Scott, thanx (again) for all the cool music, material, forum, answer and REAL modesty, you are a real reference man.. wish i could afford to come to MI
although I hate that all the people ask gear questions when your music is MORE important, i have to ask a fuzzy question: which fuzz is the one on the pushed blues solos (tore down house- in i hate you and lots of others, dog party, well to the bone and tore down), the 70, the octafuzz or the fuzz factory? I am into getting a fuzz for that use, pushing blues licks, (can only afford 1) and am between the lovepedal Karl, the fuzz factory and the analogman sunface. Any opinions or other suggestions?
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I used a Voodoo 1 on those records, but the Sunface is the best re-creation of the old Fuzz-face that I've heard. I have the germanium one and I really love it. I use the Fuzz Factory live though because it makes more crazy noises.
Plus! I really really hope seeing you adding a barcelona gig in this european tour.. A chance to see gary willis also, I am sure it will be very easy to find a good place, if not I would be more than happy to help out.. Last but not least, do you find that imagining the audience totally naked and cold while onstage helps with the "stress"?
thanx and greetings from spain! (sorry for the huge post if bored ignore it!)
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I don't have stress on stage, but I picture the girls naked anyway.
Scott, how come you stopped using the OD-9 in your live rig-I thought you loved that pedal for the bluesy sound?
How did you set it when you used it with your single coil guitar? Also, can you kindly share your arion chorus settings-
thanks!
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I do love that pedal and think it's the best Tube Screamer ever made, but turn it on and it's Stevie Ray Vaughan. The RC Booster is better for my style. If I do a Texas style bluesy tune on the next record and want that kind of SRV tone I'm sure I'll use the OD-9 again. I set it with the volume all the way up, gain about 2 o'clock and tone about 11 o'clock. I set the Arion a couple different ways, both with the tone at 12 o' clock. For the leslie sound, depth 12 o' clock, rate around 11 0'clock. For a more normal chorus depth around 2 o' clock, rate around 10 o' clock.
Hey Scott. I just wanted to ask some things about your old Suhr model, the "jazz version" with H-S-H which was like the Ibanez you used in the old days. I'm getting the old model cause I'm more into the fusion type playing and i personally prefered your tone the way it was back then. Not to say that your tone isn't great now, i just enjoyed the fusion stuff more. So, what bridge is preferable on that model? a Gotoh 1088 or a Wilkinson Vintage 6-screw. and also, i know you first used double screw 59's but i've also heard that later on you switched to SSV's and John Suhr recommends the SSV's over the 59's. Any thoughts about those two pickups? differences in tone etc.
Thanks in advance. You've been my constant source of inspiration since the old Tribal Tech days!
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The 1088 will give you a fatter mid but not much bass. The Fender vintage bridge is more even, a nice amount of mid and good low end. I've never heard the Wilkinson Vintage 6-screw. If you liked my tone back then, part of that tone was the double screw pickups. They sound really smooth, but like the 1088 - no bass. John's humbuckings have the right balance of mid and bass and sound better than 59's on a strat, partly because the pole pieces line up with the strings.
Hi Scott,
I was wondering if you know any good open Jazz Jam Sessions in the L.A. area ? I'm still new in town and looking to meet other musicians to get started. I miss playing with real human beings ... Band In A Box is great for practicing.. but .. you know
Any Ideas ??
Thanks !!!
Alex
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There's a blues jam at Cozy's on Ventura Boulevard, but I don't know which night, and on Monday night there's a fusion jam at the Baked Potato hosted by John Zeigler.
Scott,
You have been a constant inspiration since I first discovered your music last fall. I was wondering where you get the backing tracks that you jam along with when you're by yourself or doing a clinic? I remember you mentioned that you used a yamaha qy100 but do you make sequences on it and put them on your macbook? I just need some simple backing tracks to use when I practice and wanted to know if you have any suggestions. Thanks and please come to NYC.
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I used a Roland PMA-5 at GIT for a long time - it sounded good, and to simply write chord progressions over it's own patterns was easy, but writing sequences where I wanted my own bass lines and chord voicings was really hard, so I'd write them on my mac and dump them into the PMA-5. The dumping part was a drag though, because I could only transfer one track at a time which took forever and ate the PMA-5's memory pretty fast. I bought a QY-100 because it has much more memory, but it ended up as my drum machine at home because I never found the time to learn how to use it. Now I take my Macbook to school/clinics and even if it's bigger to lug around, I'm fast with Digital Performer and can write a sequence in 10 minutes - on those smaller machines it would take hours.
So to answer your question, if you're OK with using the patterns in the QY-100, it's very easy to program chord changes into it and you're done. But if you're like me and want to play over cool tunes like Actual Proof or Havona, you'll need to write your own bass, drums, and chords and that's WAY easier on a Mac. Digital Performer 5 even lets you use the Mac keys as a piano keyboard so you don't even need a midi controller anymore.
Hey Scott, question regarding recording lengthy solos. I can't help but wonder if those lengthy solos containg thousands of notes are actually created (as in choosing the best phrasing, melodies,etc...) then memorized/transcribed in full and finally recorded, OR is that total (or mostly)improvisation we hear, whereas you're actually improvising live while recording? If that's the case wow -hat's off man cause tht's some of the most tasteful phrasing/licks I ever heard and the fact that it's made up on the spot and sounds like that is totally mindblowing (and discouraging for us mere mortals aiming to achieve a fraction of that skill).
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Yes, it's live improvisation that you're hearing, but not always a first take. My intent is to keep the solos I play on the basic tracks with the rhythm section, but if I hate a studio solo, I'll play a better one later at home where studio time is free. If the other musicians reacted a lot to what I played on the original solo, I have to preserve that by learning where those moments are and playing something similar in those spots, at least rhythmically.
When overdubbing I loop the solo section, sometimes just playing one or two solos if I already think I got a good one, but sometimes as many as 50 if I just feel like playing, since there are unlimited tracks in Digital Performer. I always play whole solos and never stop somewhere in the middle and punch back in. I wait a couple days so that I get back some of the element of surprise and then listen to them and pick the one I like the most. If there are some bad moments but they're cool quirky bad moments I leave them in. If they really suck hard, I find a phrase from one of the other solos and pop it in there to replace the clunker. If I like a phrase that I played but don't like the tone because maybe I picked too hard or something, I'll learn it and play it again with better tone. That's the only time I punch in, to fix tone problems.
I'm not a jazz purist and don't have the attitude "I played one solo and that's what it was, so fuck it". I want my best playing on my records, so sometimes a few turds need polishing until they're more of a gold color. If you want to hear a typical slice of life from a musician, that's what live records are for. I have one that I'm not crazy about - it's far from my best playing, but not my worst either so I can live with it, but I think studio records are a different art form from live performances and I treat them that way.
Scott,
Any thoughts on Egnater amps?
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Egg Beater? I smell waffles. I've never heard one but I bet it sounds good on breakfast gigs.
Also, you have expressed some concern about the weight of the OD-100 and traveling. If someone wanted something close to the tone and versatility, but didn't want an amp that weighed eleventy gajillion pounds, what would you recommend? Any thoughts?
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Honestly all I can think of is the Suhr that I use. Any 100 watt two channel amp in a road case is going to weigh over 70 pounds and you won't be able to fly with it. The only thing I can think of is to go down to a 50 watt head. Don't get me started on the FAA.
Also, you have expressed fondness for the 12' greenbacks. As far as 10 inch speakers, you've said they sound way better in an open back (think you mentioned that about the VTT 1 album), but what types of those do you prefer? Sorry if this has been asked before.
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Answered above.
Hey again Scott. have you changed your SE-70 delay settings at all, or are there still as written in previous posts?
"I use the Rev & Delay setting. Reverb is 2.5 ms with 50 ms pre delay. Low cut filter is 8k. Reverb level 80. Delay is 400 ms with feedback 15. Low cut filter is 6k. Delay level is 45."
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Wow those are really old - my apologies because I probably read those off of an old list. I haven't used reverb in many years on stage. My delay settings are posted above.
Scott,
Nice video here with Chick! HAHA
Hopefully you guys didn't pick your own wardrobe. LOL!
Yours and Chick's solo is very nice but DAMN is Chick the goofiest sumbitch ever! At least Herbie as maintained a sense of cool.
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Well, thanks for reminding me about the low point in my career. I was young, I needed the money. I never played with Herbie but I played with Zawinul for four years and that was the coolest keyboard player to ever walk the earth. And I still play with Kinsey and he's also a bad motherfucker. So that more than makes up for 10 months with the Scientology inspired crap Chick was playing back then. But just so you know, I recently saw Chick play with his acoustic jazz trio on TV. He gained a lot of weight and maybe that's good, cause he was playing better and more relaxed than I've ever seen him play. He's fucking deadly on acoustic piano, he's just one of those guys who should never go near a synthesizer. I wish I could have played with him when he was playing jazz and not that corny Elektric Band.
My question is: how many jazz standards do you know right now?, I mean, how many do you remember in case you have to play them now without watching the Real Book.
I ask you this because I forget after a couple of months the tunes I have played before and I need to go back to the Real Book pages constantly. My teacher is always saying that I must have them in my head but it seems almost impossible to me to remember more than 4 or 5 tunes at the time.
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I might know 10 or so. But I'm not a traditional jazz musician who makes a living playing standards. Your teacher needs to be telling you to start writing and memorizing your own tunes because playing standards is a hard way to make a living. If you record them, the writers or their families get the money, not you. I have about 35 to 40 of my own songs memorized and that pays a lot more. I love standards, but so what if you read them on the gig? As long as you follow the chart and play good solos, who cares if you're looking in the book? It's a fucking standards gig, not American Idol.
Scott,
I'm a big fan of your playing, and have been for many years. I thank you for taking the time to answer all these questions, you probably have a very busy schedule.
Here are two...
I've been thinking about getting a telecaster, do you know of anyone right now who is making them on the same level as, say, John Suhr is making Strats? I'm guessing Suhr's teles are probably awesome, but I've never heard of anyone talk about them... looking for some input here with that.
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I have a tele from John and it's awesome! Adam Stark says his favorite tele is his Suhr, and he has expensive old Fender ones.
Also, as I understand, tone knobs have two kinds of taper, meaning how they respond to the changes in volume... they can be either audio taper or linear taper. (probably one is logarithmic and the other one isn't) Do you know what a standard strat is equipped with? or do you have a particular preference? I've heard audio for the volume and linear for the tones, but am not really sure.
Thanks a lot.
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I'm not sure either - sorry. I just use the pots that come in the guitars and never asked what they were.
sorry, one more queston....
What is the process you go through to reamp (I think Landau and you also call this "floating" the effects) a signal already recorded? Meaning, already in pro-Tools, and you want to add some effects to it and use some of your own stomp boxes instead of the plug ins, or maybe you recorded with a DI straight into pro tools and what to try different amps, and then mic that amp to get it back into pro tools. What box or procedure do you go through? Thanks man.
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I've actually never done that, but the process is: Use a direct box to split the signal from your guitar into two signals. One signal goes into your pedals or amp as normal and miked onto a track, and the other signal goes onto another track right from the direct box. Then you use a reamp box (reamp.com.) to change the direct box track from +4 to -10 so your new amps or pedals think it's a guitar signal. Then you can input into any regular guitar gear and re-record it. One drawback - direct boxes have a buffer which creates a tone some guys (like me) don't like - it's fairly subtile though. If you made a mistake and recorded a really crappy track with the wrong amp, it would be worth having to use a buffer to fix it with a better tone from another amp. I spend a lot of time making sure I have the right tone for the track before I record anything, and I've been able to fix whatever I needed fixing with EQ.
Hey Scott
I read it somewhere that Holdsworth's ultimate goal is to be able to improvise over any music (that might or might not be true, but that's beside the point here). Do you have the same sort of ambition? Have you ever done things like putting on some random Indian or classical music and play over them?
(quote) Never thought about it. I don't put on random music and play to it - I spend my time writing and practicing on my own music. [/quote]
Hey Scott, Do you think a monkey could learn to shred on the guitar?
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Probably.
But a monkey would never be able to play with good phrasing?
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Probably not.
Hi - thanks a lot for your music, inspiration and openminded attitude to music.
I have 3 questions - here comes the first - it´s the easy one! : do you have any kind of buffer in your line of pedals? - they all seems to be true bypass.
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I don't like buffers and don't need one since I play through a very short cable to my first pedal, and all the pedals are true bypass.
2. question : I have checked your old instruction videos and learned a lot from your lessons there. My first thing is "phrasing" and your view on the connection between the phrases - the second must have something to do with the first .. (your legendary "Ed and his girlfriend" exampel) Can you reveal how you work with this topic - I find it more and more important but difficult to develop and practice.
3. question : You also gave some good tricks about "time" - moving the melodic ideas in rhytmic patterns. How do you work with this topic? - It also seems to be very important but not as easy to find knowledge about - considering how many books you can buy on scales, chords etc.
Hope you have time to answer and I will look forward to read your reply.
Greetings from Denmark - Jesper Nordal
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Sorry, those are teaching questions and I don't answer them on this forum because the answers would be too long and I type pretty slow. I like monkey questions better.
Posted: Mon May 05, 2008 12:18 am Post subject: TS-808, OD9, SD9 or VOP9
Hi Scott...My question is quiet simple, wich do you think is the best distorsion pedal that exists? i`ve noticed you`ve used pretty mucho all of them, you`re using the Maxon VOP-9 rigth now, and i like to know yout opinion about this cause i really love your tone, and im looking for cool blues distorsion (really dynamic and warm)...hope you can help me, really love yor music.
Im a student of David Muñoz (Gnappos), you might know him.
Bye!
P.D. : Have ever played the z-vex box of rock? i really loved that one.
Posted: Mon May 05, 2008 12:20 am Post subject: TS-808, OD9, SD9 or VOP9
Hi Scott...My question is quiet simple, wich do you think is the best distorsion pedal that exists? i`ve noticed you`ve used pretty mucho all of them, you`re using the Maxon VOP-9 rigth now, and i like to know yout opinion about this cause i really love your tone, and im looking for cool blues distorsion (really dynamic and warm)...hope you can help me, really love yor music.
Im a student of David Muñoz (Gnappos), you might know him.
Bye!
P.D. : Have ever played the z-vex box of rock? i really loved that one.
Posted: Tue May 13, 2008 8:54 am Post subject: Re: Scott answers your questions - round 41 - 4/13/08 - new
Hello Scott,
What do you mean about evidence audio Lyric HG cables??
kirk95 wrote:
I've heard you're using an open back cabinet. Is this true? I saw Holdsworth do this about twenty years ago in Palo Alto. It was a 4-12" Marshall cabinet that he took the back off. I've heard Celestions aren't built to be run like this, and that they are designed to be in a closed back and you can blow them up if you run them this way. If this is true, are you using different speakers? What differences do you notice in the tone?
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Huge wonderful differences. I've always hated slant cabinets, but they're a necessary evil so I can hear myself on stage. I've tried tilting a straight cab but the bass goes away. Mike Landau had the idea to have Kerry Wright build him an open back slant cabinet and told me it rules! So I got one and he was right - thanks Mike! It sounds huge and sweet, not boxy with shitty midrange peaks like regular slants. You can check it out on the gear page of my website. I'm using Greenbacks, but I don't think I play loud enough to hurt them. The Heritage 65 speakers sound good too so I'll switch to those if my Greenbacks catch on fire.
I've just noticed that the effects order on your site has changed. Few days ago the new photo was added and now it's different. (I know it's stupid, I was just passing by and while looking on the photo I was like "Am i nuts? Or the midi was on 20? Am I already a geek?"). It was Fuzz, Octa, VOP, RC and now it's reversed. Why? And did you abondon your volume knob?
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Don't feel like a geek - I'm the geek, and a pretty stupid one sometimes. After I abandoned the Bradshaw rack, I only had a few days to put my pedalboard together before a tour. I didn't even think about the order of the distortion pedals because I never use two at the same time, so I didn't think it mattered - wrong! This wouldn't make a difference to most guys who use a long guitar cable, but I like the sound of a very short cable. I discovered that my main pedal, the RC Booster sounds better when I go into it first, because the way I had it before, there was another foot of cable going through the other pedals until I got to the RC. So now the most important pedal is first, then the next important is second, and so on. I was surprised by what an improvement it made.
About the volume knob, I've been using a 50k pot in a box for many years to control my volume, and also because it mellowed out the harsh treble most of the amps I was using had. Most of the Tribal Tech guitar tracks were played through that pot so I could change my dynamics in the studio, and the pot made the amps sound better. A couple weeks ago I was playing through my Suhr amp at home without the FX loop and realized that there were no harsh high end frequencies (duh), and I wondered what those long cables and two volume devices were doing to my tone. I added the cables and the Boss FV500L volume pedal and heard a tone change I didn't like, not just the loss of a little treble, but a difference in feel, like the FX loop was being loaded down and the notes weren't popping out - not as responsive. I added the 50k pot and it got even worse.
So as I always do, I took my problem to John Suhr. He modified my FX loop with a 12AT7 tube which has more headroom and drives the loop harder. I listened to the amp without the FX loop and when I added the cables and Boss volume pedal there was no difference in tone or feel - thanks John! But the 50k volume box still changed the sound so I decided I'd try a gig without it. At the time, we were updating the website so I put up the picture without the box. I did a gig and the tone was great but I hated trying to control my volume with a pedal. I'd barely touch it and the volume would change way too drastically. I needed my box back so I tried some different pot values and found that 25k changed the tone the least. I recorded a track of guitar with no FX loop, and then recorded a track adding the cables, Boss volume pedal, and the 25k volume box. By turning the presence up just one half a number, I matched the two tracks perfectly and couldn't hear or feel the difference. So now I'm happy, I have my volume box back for subtile volume changes, my volume pedal for the multi-tap delay long chord sound, and no tone change. How's that for geekiness?
And one more thing. Can you share a schem or tell what was done to your Wah? If not, maybe you could send a high-res photo of the inside (PCB)? Thanks anyway.
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Sorry, but that's Martin Golub's geekiness and he sells it. You can reach him at LA Sound Design (818) 845-8663.
Btw. Have you seen the "shred" movies on youtube made by the Finnish guy? (he overdubs original video with some funny stuff) If not - check them out - e.g. search "paco shreds" - totally hilarious! Some of them were banned but looks like other users are putting them up.
Thanks in advance.
Keep rockin'!
Lukasz
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Yeah, I've seen them and they're not that funny to me because they're fake. I teach two days a week and hear the same shit, but it's real - now that's funny.
Scott,
I have been listening to the tribal catalog from a mix perspective lately.
It seems the earlier records had the guitar and the whole band for that matter panned up pretty tight to center and later on y'all loosened up on that a bit and it sounds a little wider overall as a group.
Sounds with the later records the mixes have more air (for lack of a better word) The earlier records seem much more compressed and there was a kind of unity gain sound across the band, but by thick you were really getting great mix dynamics into the tracks and letting the guitar scream on melodys w/out stepping on the rest of the band...
Any thoughts on what you learned over the years in the mixing room with TT to make the mixes sound better?
Also, did you guys generally approach the mixes as starting all faders up? Or are you building from say bass & drums.
Sorry for long winded post, I've been drinking..........
Keep on with you badself
hey now
subdominic
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Honestly that's just because the first records were done on a tight budget and we didn't have the nice studio and great engineer TJ Helmerich who we had on the later records.
Hi Scott,
I'am a student in Taiwan,in next year,i will go to LA to learn Guitar
I really want to learn the guitar from Scott.
How much should i pay for the premium.
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Premium is about 3.73 and regular is about 3.47 Write to MI and they can give you a better estimate.
Hi Scott, if you got time for a few questions:
1) Are you planning any gigs in the east coast any time soon? Canada?
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No, not for the money those clubs are offering.
2) Desert island question- fender super reverb, or fender deluxe-which would you choose? I am considering buying a fender super reverb 1965 with the original never re-coned speakers (locally), but am concerned that if I blow a speaker one day, I won't be able to get a replacement 10" that will sound as good, and hence lose my tone-which is what I'd be paying the big bucks for. There are more choices (better ones I believe) for 12" speakers if the same scenario would happen with a deluxe for instance. Any advice?
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I love Supers but you're right about the speakers. Finding good 12's is easier than finding good 10's. I have Kendrick Blackframes in my 4x10 cab and that's what I used on the song "Well To The Bone", but they're not made anymore, and even the ones made in the last two years were made at another factory and sound like shit. Next week I'm going to try the new Celestion Greenback 10's and I'm hoping I like them so that I'm using speakers by a company that will continue to make them right. As far as 12" speakers for a Deluxe, the Celestion Gold sounds great (on the bright side) and so does the Heritage 65 (on the darker side). The Greenback is my favorite, but I think a Deluxe could fry it.
3) Do you feel that a suhr thinskin or antique guitar model might sound a little better than one with polyurethane coating? There's been so much debate on this and varying opinions. I personally never had a chance to A/B the different types. Wondering if you have.
As always, thanks for your time, music, and most of all inspiration to play!
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I don't know anything about paint, so I asked John - here's what he wrote to me:
Scott,
It's all about the thickness and hardness of the paint, not the actual paint.
Nitro lacquer gets gummy and soft when it gets hot, also acids in your sweat will eat nitro. You've had both polyester and acrylic lacquer on your guitars, acrylic on the orange one. The acrylic is the most like old lacquer but polyester when sprayed thin sounds the same.
Hey Scott. I need some delay and reverb to put in the loop of my new Badger combo. I was looking at getting a used SE70 until I read that you don't dig the reverbs or delays all that much. I don't care about the SE70's wacky patches, I just want a hint of reverb and 400ms delay with 1-2 repeats, mixed rather low so as not to "smear" the notes at high volumes.
I read that you recommend the Eventide Eclipse. Would I even need a Suhr minimix (parallel loop) with a processor of this quality?
Are there any other multi-effect processors (for delay+reverb) that you recommend for my Badger that will interface with the Suhr minimix, or don't require a mixer in the loop?
Coming down from San Luis Obispo on 4/2 to see you at the Baked Potato...can't wait!!!
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I don't like the SE-70 reverb, but I don't like live reverb that much anyway. I haven't used reverb on stage in 10 years. I like the SE-70 delays, and I program them to sound like reverb, but it's much cleaner sounding than actual reverb. My delay setting are really simple:
Mono Delay Algorithm
no EQ
Dly Time: 450 ms
Feedback: 15
HF Damp: -3
LF Damp: 0
Bass & Treble: 0
Direct Level: 0 (I use a mixer)
Effect Level: 100
Master Level: 19
Name Edit: Big Tits
By the way that gig got changed to the 18th.
The Eclipse is a great sounding stereo studio piece, but 2000 is a lot to pay if you're only going to use it mono. It's way harder to program too. You might be able to use high end FX like Eventide or Lexicon without a mixer, but Mike Landau uses a Lexicon with a Suhr mixer, and I'm guessing he wouldn't need the mixer if the Lexicon was totally transparent.
Hello,
did (or do you still) train your ears deliberatly with exercises? If so wich ones? And do you have some tipps iforn strenghtening the conncetion between the guitar and the "inner"-ear.
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I've never used exercises for that. Just transcribe solos and chords from records. Your ear will improve, you'll get phrasing ideas, and it's a lot more fun than dreary exercises.
What is you approach when a song doesn't need crazy fusion-bebopping but just a good rock solo with balls.
Thanks,
Lorenz
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I approach it by playing a good rock solo with balls.
Hi Scott! I'm Emanuele from Italia!
I'm a Mimmo Langella's student and he often talks about you!
I adore your way of playing; I've heard you playing in Rome 3 times, even if it's far from Napoli, my hometown.
I've heard Mimmo's last album, "Funk That Jazz" and the way you play there is amazing! I like a lot the things you played on the minor slow blues "The Harmony Of Soul"!
I've got some questions for you and hope you would answer.
What do you think about nitro finish for guitar? Do you think it really changes the tone? I'm gonna order a Suhr guitar, but John offers nitro only on Antique series.
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Answered above.
I'd like to take an alder body (2Tone SB), maple neck (modern C fat shape), flat fingerboard, 6 screws vintage tremolo and 3 V60LP (I think the new FL pickups are too brilliant, specially with maple neck: i prefer the deeper and more complex sound of V60LPs).
Have you ever heard a Mesa Boogie Lonestar amp model? I ordered one last week and it has amazing clean and crunch tones: 6L6 kind of tone and the possibility to be used in 100, 50 or 10 W way.
Thanks a lot and hope to see you playing in Italia and in Napoli soon!
Ciao!
Emanuele
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I've never heard a Lonestar.
Hey Scott, Do you think John Scofield makes up his lines? Did Scofield have much of an influence on your playing early on?
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Yes and yes. All good jazz musicians make up their own lines, but it doesn't mean they haven't also played lines from musicians before them. I'm sure that when Sco was at Berklee he did his share of transcribing the vocabulary of the masters because you can hear it in his playing, along with all the cool stuff of his own he's added to it. Listen to Michael Brecker and you hear Coltrane and lots more.
When I started college I was listening mainly to Jeff Beck, Jimi Hendrix, Led Zeppelin and Deep Purple. Friends of mine turned me on to Weather Report, Mahavishnu Orchestra and other fusion bands. One record was Billy Cobham/George Duke Live with Sco on guitar. Here was a guy with good rock tone playing jazz and I had never heard that before. We didn't have a guitar department at my college, so that album was one of my main teachers of applying the things I was learning in class to the guitar. Later I went to GIT and learned a lot from Joe Diorio and more straight ahead jazz guitarists. Sco has changed his sound from that record to a more mellow hollow body tone - my roots are in Stratocaster rock so that'll always be my tone, but in my opinion Sco was THE first guitarist to play legit jazz lines with legit rock tone and that influenced me a lot.
Hi Scott, thanx (again) for all the cool music, material, forum, answer and REAL modesty, you are a real reference man.. wish i could afford to come to MI
although I hate that all the people ask gear questions when your music is MORE important, i have to ask a fuzzy question: which fuzz is the one on the pushed blues solos (tore down house- in i hate you and lots of others, dog party, well to the bone and tore down), the 70, the octafuzz or the fuzz factory? I am into getting a fuzz for that use, pushing blues licks, (can only afford 1) and am between the lovepedal Karl, the fuzz factory and the analogman sunface. Any opinions or other suggestions?
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I used a Voodoo 1 on those records, but the Sunface is the best re-creation of the old Fuzz-face that I've heard. I have the germanium one and I really love it. I use the Fuzz Factory live though because it makes more crazy noises.
Plus! I really really hope seeing you adding a barcelona gig in this european tour.. A chance to see gary willis also, I am sure it will be very easy to find a good place, if not I would be more than happy to help out.. Last but not least, do you find that imagining the audience totally naked and cold while onstage helps with the "stress"?
thanx and greetings from spain! (sorry for the huge post if bored ignore it!)
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I don't have stress on stage, but I picture the girls naked anyway.
Scott, how come you stopped using the OD-9 in your live rig-I thought you loved that pedal for the bluesy sound?
How did you set it when you used it with your single coil guitar? Also, can you kindly share your arion chorus settings-
thanks!
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I do love that pedal and think it's the best Tube Screamer ever made, but turn it on and it's Stevie Ray Vaughan. The RC Booster is better for my style. If I do a Texas style bluesy tune on the next record and want that kind of SRV tone I'm sure I'll use the OD-9 again. I set it with the volume all the way up, gain about 2 o'clock and tone about 11 o'clock. I set the Arion a couple different ways, both with the tone at 12 o' clock. For the leslie sound, depth 12 o' clock, rate around 11 0'clock. For a more normal chorus depth around 2 o' clock, rate around 10 o' clock.
Hey Scott. I just wanted to ask some things about your old Suhr model, the "jazz version" with H-S-H which was like the Ibanez you used in the old days. I'm getting the old model cause I'm more into the fusion type playing and i personally prefered your tone the way it was back then. Not to say that your tone isn't great now, i just enjoyed the fusion stuff more. So, what bridge is preferable on that model? a Gotoh 1088 or a Wilkinson Vintage 6-screw. and also, i know you first used double screw 59's but i've also heard that later on you switched to SSV's and John Suhr recommends the SSV's over the 59's. Any thoughts about those two pickups? differences in tone etc.
Thanks in advance. You've been my constant source of inspiration since the old Tribal Tech days!
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The 1088 will give you a fatter mid but not much bass. The Fender vintage bridge is more even, a nice amount of mid and good low end. I've never heard the Wilkinson Vintage 6-screw. If you liked my tone back then, part of that tone was the double screw pickups. They sound really smooth, but like the 1088 - no bass. John's humbuckings have the right balance of mid and bass and sound better than 59's on a strat, partly because the pole pieces line up with the strings.
Hi Scott,
I was wondering if you know any good open Jazz Jam Sessions in the L.A. area ? I'm still new in town and looking to meet other musicians to get started. I miss playing with real human beings ... Band In A Box is great for practicing.. but .. you know
Any Ideas ??
Thanks !!!
Alex
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There's a blues jam at Cozy's on Ventura Boulevard, but I don't know which night, and on Monday night there's a fusion jam at the Baked Potato hosted by John Zeigler.
Scott,
You have been a constant inspiration since I first discovered your music last fall. I was wondering where you get the backing tracks that you jam along with when you're by yourself or doing a clinic? I remember you mentioned that you used a yamaha qy100 but do you make sequences on it and put them on your macbook? I just need some simple backing tracks to use when I practice and wanted to know if you have any suggestions. Thanks and please come to NYC.
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I used a Roland PMA-5 at GIT for a long time - it sounded good, and to simply write chord progressions over it's own patterns was easy, but writing sequences where I wanted my own bass lines and chord voicings was really hard, so I'd write them on my mac and dump them into the PMA-5. The dumping part was a drag though, because I could only transfer one track at a time which took forever and ate the PMA-5's memory pretty fast. I bought a QY-100 because it has much more memory, but it ended up as my drum machine at home because I never found the time to learn how to use it. Now I take my Macbook to school/clinics and even if it's bigger to lug around, I'm fast with Digital Performer and can write a sequence in 10 minutes - on those smaller machines it would take hours.
So to answer your question, if you're OK with using the patterns in the QY-100, it's very easy to program chord changes into it and you're done. But if you're like me and want to play over cool tunes like Actual Proof or Havona, you'll need to write your own bass, drums, and chords and that's WAY easier on a Mac. Digital Performer 5 even lets you use the Mac keys as a piano keyboard so you don't even need a midi controller anymore.
Hey Scott, question regarding recording lengthy solos. I can't help but wonder if those lengthy solos containg thousands of notes are actually created (as in choosing the best phrasing, melodies,etc...) then memorized/transcribed in full and finally recorded, OR is that total (or mostly)improvisation we hear, whereas you're actually improvising live while recording? If that's the case wow -hat's off man cause tht's some of the most tasteful phrasing/licks I ever heard and the fact that it's made up on the spot and sounds like that is totally mindblowing (and discouraging for us mere mortals aiming to achieve a fraction of that skill).
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Yes, it's live improvisation that you're hearing, but not always a first take. My intent is to keep the solos I play on the basic tracks with the rhythm section, but if I hate a studio solo, I'll play a better one later at home where studio time is free. If the other musicians reacted a lot to what I played on the original solo, I have to preserve that by learning where those moments are and playing something similar in those spots, at least rhythmically.
When overdubbing I loop the solo section, sometimes just playing one or two solos if I already think I got a good one, but sometimes as many as 50 if I just feel like playing, since there are unlimited tracks in Digital Performer. I always play whole solos and never stop somewhere in the middle and punch back in. I wait a couple days so that I get back some of the element of surprise and then listen to them and pick the one I like the most. If there are some bad moments but they're cool quirky bad moments I leave them in. If they really suck hard, I find a phrase from one of the other solos and pop it in there to replace the clunker. If I like a phrase that I played but don't like the tone because maybe I picked too hard or something, I'll learn it and play it again with better tone. That's the only time I punch in, to fix tone problems.
I'm not a jazz purist and don't have the attitude "I played one solo and that's what it was, so fuck it". I want my best playing on my records, so sometimes a few turds need polishing until they're more of a gold color. If you want to hear a typical slice of life from a musician, that's what live records are for. I have one that I'm not crazy about - it's far from my best playing, but not my worst either so I can live with it, but I think studio records are a different art form from live performances and I treat them that way.
Scott,
Any thoughts on Egnater amps?
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Egg Beater? I smell waffles. I've never heard one but I bet it sounds good on breakfast gigs.
Also, you have expressed some concern about the weight of the OD-100 and traveling. If someone wanted something close to the tone and versatility, but didn't want an amp that weighed eleventy gajillion pounds, what would you recommend? Any thoughts?
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Honestly all I can think of is the Suhr that I use. Any 100 watt two channel amp in a road case is going to weigh over 70 pounds and you won't be able to fly with it. The only thing I can think of is to go down to a 50 watt head. Don't get me started on the FAA.
Also, you have expressed fondness for the 12' greenbacks. As far as 10 inch speakers, you've said they sound way better in an open back (think you mentioned that about the VTT 1 album), but what types of those do you prefer? Sorry if this has been asked before.
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Answered above.
Hey again Scott. have you changed your SE-70 delay settings at all, or are there still as written in previous posts?
"I use the Rev & Delay setting. Reverb is 2.5 ms with 50 ms pre delay. Low cut filter is 8k. Reverb level 80. Delay is 400 ms with feedback 15. Low cut filter is 6k. Delay level is 45."
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Wow those are really old - my apologies because I probably read those off of an old list. I haven't used reverb in many years on stage. My delay settings are posted above.
Scott,
Nice video here with Chick! HAHA
Hopefully you guys didn't pick your own wardrobe. LOL!
Yours and Chick's solo is very nice but DAMN is Chick the goofiest sumbitch ever! At least Herbie as maintained a sense of cool.
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Well, thanks for reminding me about the low point in my career. I was young, I needed the money. I never played with Herbie but I played with Zawinul for four years and that was the coolest keyboard player to ever walk the earth. And I still play with Kinsey and he's also a bad motherfucker. So that more than makes up for 10 months with the Scientology inspired crap Chick was playing back then. But just so you know, I recently saw Chick play with his acoustic jazz trio on TV. He gained a lot of weight and maybe that's good, cause he was playing better and more relaxed than I've ever seen him play. He's fucking deadly on acoustic piano, he's just one of those guys who should never go near a synthesizer. I wish I could have played with him when he was playing jazz and not that corny Elektric Band.
My question is: how many jazz standards do you know right now?, I mean, how many do you remember in case you have to play them now without watching the Real Book.
I ask you this because I forget after a couple of months the tunes I have played before and I need to go back to the Real Book pages constantly. My teacher is always saying that I must have them in my head but it seems almost impossible to me to remember more than 4 or 5 tunes at the time.
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I might know 10 or so. But I'm not a traditional jazz musician who makes a living playing standards. Your teacher needs to be telling you to start writing and memorizing your own tunes because playing standards is a hard way to make a living. If you record them, the writers or their families get the money, not you. I have about 35 to 40 of my own songs memorized and that pays a lot more. I love standards, but so what if you read them on the gig? As long as you follow the chart and play good solos, who cares if you're looking in the book? It's a fucking standards gig, not American Idol.
Scott,
I'm a big fan of your playing, and have been for many years. I thank you for taking the time to answer all these questions, you probably have a very busy schedule.
Here are two...
I've been thinking about getting a telecaster, do you know of anyone right now who is making them on the same level as, say, John Suhr is making Strats? I'm guessing Suhr's teles are probably awesome, but I've never heard of anyone talk about them... looking for some input here with that.
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I have a tele from John and it's awesome! Adam Stark says his favorite tele is his Suhr, and he has expensive old Fender ones.
Also, as I understand, tone knobs have two kinds of taper, meaning how they respond to the changes in volume... they can be either audio taper or linear taper. (probably one is logarithmic and the other one isn't) Do you know what a standard strat is equipped with? or do you have a particular preference? I've heard audio for the volume and linear for the tones, but am not really sure.
Thanks a lot.
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I'm not sure either - sorry. I just use the pots that come in the guitars and never asked what they were.
sorry, one more queston....
What is the process you go through to reamp (I think Landau and you also call this "floating" the effects) a signal already recorded? Meaning, already in pro-Tools, and you want to add some effects to it and use some of your own stomp boxes instead of the plug ins, or maybe you recorded with a DI straight into pro tools and what to try different amps, and then mic that amp to get it back into pro tools. What box or procedure do you go through? Thanks man.
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I've actually never done that, but the process is: Use a direct box to split the signal from your guitar into two signals. One signal goes into your pedals or amp as normal and miked onto a track, and the other signal goes onto another track right from the direct box. Then you use a reamp box (reamp.com.) to change the direct box track from +4 to -10 so your new amps or pedals think it's a guitar signal. Then you can input into any regular guitar gear and re-record it. One drawback - direct boxes have a buffer which creates a tone some guys (like me) don't like - it's fairly subtile though. If you made a mistake and recorded a really crappy track with the wrong amp, it would be worth having to use a buffer to fix it with a better tone from another amp. I spend a lot of time making sure I have the right tone for the track before I record anything, and I've been able to fix whatever I needed fixing with EQ.
Hey Scott
I read it somewhere that Holdsworth's ultimate goal is to be able to improvise over any music (that might or might not be true, but that's beside the point here). Do you have the same sort of ambition? Have you ever done things like putting on some random Indian or classical music and play over them?
(quote) Never thought about it. I don't put on random music and play to it - I spend my time writing and practicing on my own music.
Hey Scott, Do you think a monkey could learn to shred on the guitar?
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Probably.
But a monkey would never be able to play with good phrasing?
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Probably not.
Hi - thanks a lot for your music, inspiration and openminded attitude to music.
I have 3 questions - here comes the first - it´s the easy one! : do you have any kind of buffer in your line of pedals? - they all seems to be true bypass.
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I don't like buffers and don't need one since I play through a very short cable to my first pedal, and all the pedals are true bypass.
2. question : I have checked your old instruction videos and learned a lot from your lessons there. My first thing is "phrasing" and your view on the connection between the phrases - the second must have something to do with the first .. (your legendary "Ed and his girlfriend" exampel) Can you reveal how you work with this topic - I find it more and more important but difficult to develop and practice.
3. question : You also gave some good tricks about "time" - moving the melodic ideas in rhytmic patterns. How do you work with this topic? - It also seems to be very important but not as easy to find knowledge about - considering how many books you can buy on scales, chords etc.
Hope you have time to answer and I will look forward to read your reply.
Greetings from Denmark - Jesper Nordal
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Sorry, those are teaching questions and I don't answer them on this forum because the answers would be too long and I type pretty slow. I like monkey questions better.
Posted: Sun May 18, 2008 2:38 am Post subject: Hello from france...
Hey Scott!
Just passing by to say hello to one of the most brillant and influent musician i know.We met years ago in nice (south france) during SK GROUP tour with novak, garrison..And i was so surprised when you told me you knew and liked my album called VIRTUALIST.I'll never forget this moment as i learnt to play by ear on your stuff...! We went on talking about ways of composing during dinner, and it was really cool.Anyway, don't know if you remember that but, again, thank's for all the beautiful things you "say" with your guitar.Your contribution to Music is simply vital.
Posted: Sun Jun 22, 2008 12:06 am Post subject: Choices
Hi scott!I´m a fan from Brasil. I have two problems to resolve.I will buy an amp and one guitar.Why do you think :
1.fender hot rod deluxe or peavey classic 30?
2. fender stratocaster with 3 singles,or 2 singles and one humbuncking in a bridge position?
Thanks man. _________________ léo castro
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