Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Wed Aug 31, 2005 1:27 am Post subject: Scott answers your questions - round 19 - 8/30/05
Hey Scott,
I sent that Eric Dolphy CD to you. It's called "Out to Lunch". Let me know if you get it, and what you think.
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Hi Scott,
1- You've complained (and rightly so) about people selling bootleg video and audio of you on ebay. Have you ever tried threatening/suing them to stop it?
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Anytime I see someone selling our bootlegs on ebay, I send them a "you're an asshole" letter, and they always stop. Seems it's embarrassing for them to be caught by the person they're ripping off.
Or, did you ever consider doing what Zappa did, and getting a copy of whatever it is they're selling, and then selling copies of it yourself? If someone is going to make money off of shitty quality recordings and videos of you , it might as well be you instead of some asshole in Paris, right?
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Well, the point is that I don't want people to hear shitty recordings of me, even if I'm paid for it.
2-I noticed that your new surf green Suhr has a rosewood fingerboard- did you decide that you didn't like that maple neck Suhr you were using for a while?
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The maple neck has a more aggressive tone - it's great for some things but I still like rosewood more.
3-During the course of your career did you ever consider auditioning for/joining a "big name" rock band? (Kiss, Guns N Roses, David Lee Roth, etc)
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I was never too interested in playing in that type of band because my taste in music has always leaned towards the uncommercial.
4-Well, i guess i need to face this sooner or later, so it might as well be here. Next May, i will turn 40. How about booking a couple of gigs here in NYC at that time, and also playing at my birthday bash out at my sisters place. I'm going to need something to cheer me up, and i don't think strippers would go over too well with the relatives. Keep in mind, you'd be getting all the free alcohol and barbequed foods you and the trio wanted, as well as the fact that my sister has a great black lab, and i'll bail you out if you get arrested for playing too loud.
Don't think me insane, it just never hurts to ask.
Thanks again for taking the time to answer questions,
mike
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We're always hoping we can tour the states again, but unfortunately it won't be this year. We'll make a serious try in September 2006.
Hi Scott. My name is Åsmund, and I'm a huge tribal tech fan. I would really like to thank you for your effort in this very group. I find guitarists (and musicians) of your caliber to be rear.
I hope that TT will reunite soon.
I play the bass, and you've worked with a couple of bassplayers that I admire, and I will use this oppertunity to ask you about them.
1. How's it like working with Gary Willis? What's he like?
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When Willis was teaching at GIT, he came by my room at lunchtime and asked me if I wanted to walk over to the Burger King with him. One of my students asked him "will you get me something?" Willis said "yeah I'll get you an application."
2. If the two of you were to fistfight. Who would've won?
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Willis. He's a good athlete and he showed me and Kinsey how to throw a nerf football.
3. How's it like working with John Patitucci? How's he like?
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He's a nice guy but I never worked with him in a situation where either of our opinions on music meant anything since we were working with Chick Corea.
4. Same as number 3, only on Victor Wooten.
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Victor's great, really creative, very easy to work with and an incredibly fast learner.
5. Have you ever worked with Richard Bona? What's your opinion on the guy?
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I've never worked with him but I like his playing a lot.
6. Not bassplayer related.
If Aliens came to our planet, and found the human beings to be too stupid to live,(mainly because of Kenny G's musical necrophillia) what would you tell them to prevent them from wipeing us out?
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I'd tell them to go to the Gyu-kaku Japanese BBQ on the corner of Van Nuys and Ventura Blvd.
are you familiar with Carl Verheyens strat set up? He claims to have found the best tremolo set up for strat (six point). if yes, what do you think of it?
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I tried it, but on this particular guitar it didn't seem to make a difference - both ways it stayed in tune great. I think it's more about putting the bridge on correctly, setting it up floating, and plenty of graphite in the nut.
Why can't we get your video transferred to DVD once and for all ? Gambale got that ! And how about new food for thought ? Thanks !
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That's a question for Warner - they own the videos now.
Have you ever thought of just saying, "Ah fuck it" and getting a desk job instead?
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I don't have the skills to do anything else, so no.
howdy scott, 1st time caller!
i've followed some of your past conversations about your homemade isolation cabinet....
i've recently purchased a used Demeter isolation cabinet, and went about doctoring it up a bit... celestion vintage 30 speaker, ripped out the dacron insulation and added 2" thick wedge sound treatment, added rubber feet, and basically 'proofed' it as much as seemed practical.
i'm curious to know, if you've done any more experimenting with the iso thing, for home recording, and if so, could you elaborate on what you found out, and your impression of what kinds of things needs to happen to get the most out of it (types of microphones used, eq required, sound pressure that works best, etc.)
i'm running a vintage mesa boogie mark2b into it....
and have considered adding something like a 'hotplate' to it...
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I don't use the box anymore - I used it only once, on the Thick album. No matter what you do, the box is always going to create it's own frequencies which will be picked up by the mic, no matter what type. You'll get a better tone by just throwing a bunch of moving blankets over the cabinet - it won't be as quiet as a box, but it takes the volume down a lot. The hotplate will only make the tone thinner - I'd stay away from that one.
Hey Scott,
Do you prefer square cabinets or angled cabinets? Not for sound despersal reasons, but for actual tone. Do you hear a difference in bass response between the two? A lot of players seem to. I know I do.
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I use straight cabs for recording and slant cabs for the stage. If you do need to mic up a slant cab, always mic one of the top speakers - the bottom speakers on slant cabs sound really weird.
Hi Scott! Here's some mo'
1. Is your Maxon OD9 stock or modified? Which model is it? Is it one of the new ones or one of those older vintage ones?
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It's a new one, stock.
2. Could you recommend some speakers for a 2X12 cabinet to work with a 100W head? I read that you don't like the Vintage 30s...
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I hate Vintage 30's - they make a horrible double note sound when even slightly stressed, and to me they sound fuzzy and midrangy. I'm really the wrong guy to ask, because to use a 2x12 with a 100 watt head means you need a high output speaker and I don't like any of them. I used to use EV's, which are really midrangy, but you might be able to make them work for you - I 'd have to EQ the amp with tons of bass and treble and zero midrange.
Here's one more...
Have you ever tried the Hughes and Kettner Rotosphere? Any comments?
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Never tried it.
Hi Scott, I am a long time fan, thanks for all the great music and info.
I am a Gary Willis fan too, I have all of his solo stuff, and was very influenced by him as a student at GIT 1988.
What was it like to write with him?
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We never wrote together.
When a song was presented to T.T. from the composer, you or Gary, how was it handled. Was it brought in finished, or did you brain storm about the arrangement and or any part of the composition.
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Tunes were brought in finished, but in rehearsal things always changed - usually arrangements but sometimes grooves and tempos changed too.
Would you ever get into it about a specific part of a song, having two very strong different opinions. If so how would you settle it.
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The writer of the tune got the last word, but we were usually in agreement about whatever would make the tune better.
Scott, Your reharmonization of Dr. Hee on VTT is terrific. When I first heard it, I went back to the original tune on the original Dr. Hee album, and the new one was like a whole new tune. Giant Steps and Everglades as well. Totally hip. What did you do to hear Dr. Hee that way? Same with the others? Do you just start fooling around on guitar and just happen upon something? (This is what my friend Lyle Workman does to come up with his wild tunes). I'm especially interested in Dr. Hee, because it seems to be so radically different from the original, i'd like to get some idea of your thought process on that one! (It's one of the great reharmonizations of a tune i've heard in years, the coolest chords).
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Thanks for the compliment, but it's actually not a reharmonization - the chords are the same as the original. Probably what you're hearing that makes it sound so different is that the chords are being played on guitar instead of keyboards, and the voicings are a little different, and also we played it as a shuffle instead of a funk rock feel. Anytime I decide to revisit a tune, I try to make it as different as I can. I've only been able to play a handful of the tunes I wrote for Tribal Tech in my trio because in a lot of the Tribal Tech music, the chords are moving around too fast for me to handle on guitar.
Hi Scott...
1)Which are the players you like most about his guitar tone? To me the most i like are Steve Lukather, Allan Holdsworth, Pat Metheny, Bill Frisell, and you obviously.
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Jeff Beck, Mike Landau, Jimi Hendrix, Ritchie Blackmore, Stevie Ray Vaughn, Ray Gomez, Billy Gibbons, Joe Walsh, Sonny Landreth, Johnny Winter, Rick Derringer, Albert Collins... there are more.
2)Have you ever considered to play with your tele in some new stuff or gigs ?
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I'll definitely use it on the next record.
3)Have you ever studied Dave Liebman's book of harmony, what do you think about it?
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I've never seen it but I'm sure it's good - he's such a great player.
4)What do you think about Wayne Krantz?
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He's killer - I really like Two Drink Minimum.
5)What do you think about Steinberger guitars?
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Never tried one.
6)What kind of tunes or tempos are uncomfortable to you? some bebop stuff it's a challenge to me mostly because the language and tempo...ufff¡¡¡
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I'm not comfortable either at blazing fast tempos.
You hip to Oz Noy? He writes some pretty cool stuff, to me.
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Sorry, I've never heard him.
Hi Scott - have you ever played George Alessandro amps - I'm recording at home and would prefer to use a low powered amp and I've heard good things about the blue tick and the English.
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I've heard good things about them too but I've never heard one.
have you ever jammed with Danny Carey of Tool?
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Yes I jammed with him and John Humphrey a couple times at Danny's studio. He's a great drummer - I like his playing with Tool and he also plays fusion really well.
scott, i scored a DG Stomp recently....
i think i remember an earlier interview with you, where you mentioned this unit.
do you have any favorite settings with this unit, that you'd be willing to share?
in particular, did you ever set it up in stereo? and was it in an effects loop, or in front of the amp?
thanks!
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Sorry, I screwed up on that one. The unit I have is a UD Stomp - it's just a delay box, although a really good one. I only use it in the studio since it's meant to be used in stereo and I play mono live.
Scott,
Why do you use distortion pedals in channel two of your OD 100?
Is the distortion in the amp not happening enough?
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I have a problem with any amp's hi-gain distortion on the neck pickup - the sound is too woofy for me, and not good for chords when I roll the volume down. As far as the bridge pickup, using amp distortion is a bit fatter than using a pedal, but it's more hairy and fuzzy as well. I find with a good pedal like an SD-9, I can get the tone just as fat if I roll the treble knob down just a little further - the notes are much smoother and I can switch back and forth between pickups with no problem. Also, low notes are way more punchy using a pedal.
How high do you set your action on the guitars you use for the blues trio?
I keep trying to raise the action higher and higher on my Strats without ending up with some kind of repetitive strain injury. It seems like higher action really makes playing legato-type stuff a lot harder.
Your thoughts?
Thanks, and keep on ruling the six-string universe!
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I have the same problem - I've kind of given up some of my legato stuff because playing those kind of lines on a strat with higher action and .011's is pretty hard on the hands. My action is 1/16th from the string to the last fret, which is still pretty low, but in my Tribal Tech days I was playing .009's with very low action.
I was just wondering if Slidin' into Charlisa was influenced by John Scofield at all? Sounds like a tune he would write. Reminds me of that lazy east-coast post-bop vibe he gets. Also, what does the title refer to exactly?
Thanks Scott!
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It was actually more influenced by Donald Fagen, one of my favorite writers. And the title refers to exactly what you think it does, sliding my dick into some chick named Charlisa. That title was too long.
Scott,
I happened to hear a tape of you giving a lesson on Pork Pie Hat, which was awesome. Do you think you will ever cover that tune ?
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Probably not since Jeff Beck did that already, but it is a fun tune to play. Carl Verheyen has a really great chord melody arrangement of it that I'd like to learn.
Hi Scott!
1. Do you use any ear protection when you play live or practice with the band?
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No, and I've been lucky that I haven't damaged my hearing - I'm trying not to play as loud these days.
2. Are you familiar with Axess Electronics and the products they offer? Any thoughts?
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No
3. What studio monitors do you use?
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Tannoy PBM 6.5 II
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Sorry, I didn't receive it yet - are you sure you sent it to Musicians Institute? 1655 McCadden Place, Hollywood, CA 90028
I would like to greet Mr. Scott "The Mango" Henderson a Happy Happy Birthday!!!!
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Thanks!
Now for the questions...
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How about one per customer after this?
How did you come about teaching?
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needed money
What made you decide to teach?
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see above
What are your unforgettable experiences while teaching?
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I try to forget them
Are you still happy teaching?
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I'm happier after teaching
Did it ever came a time you learned something from your students as opposed to they learn from you?
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I've learned a few things from some of my better students, and from the bad ones I've learned that 15 gauge wire isn't strong enough to hang them with.
Can you ever live and play guitar withour effects?
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Ask me after WW III
What was your first guitar?
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Kent
What was your first amp?
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Fender Champ
What was your first guitar pedal?
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MXR Distortion+
What was the first song you ever learned and played?
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Whole Lotta Love
Why dont you keep your old gear?
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see first answer
Why do you play so good?
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see first answer
Why dont you put out 2 records a year?
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I'd rather try to do a quality record and it takes a long time for me to write music that I consider good enough to be on a record.
Why do us fans keep asking questions?
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Good question!
Your great Mr. Scott!
Your one of a kind!
Jimi Hendrix oughta check you out if he was still alive...
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Let me please apologize again for the time Mesa Blue Moon records actually used a line like that in an ad for the Tore Down House album. Anybody that knows anything about music knows Jimi had more talent in his little finger than I have in my whole body.
forgot to ask this question, it always takes me days transcribing a song... can i know what are the steps in transcribing a song? from the chord part till the lead part? in transcribing how do you if a chord is a major or minor etc... thanks so much Scott!
Hey Scott, I listened to "The loner tribute to Jeff Beck" I really like your playing, Do you Know Fernando Pareta, he is a great guitarist from Argentina?
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