Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Mon Jul 19, 2004 11:32 am Post subject: Scott answers your questions - round 3 - 7/29/04
Can you give us a description of what you do with your students when they come in with a chart (or real book) and want to learn a song? What is your process for not only teaching a student all about a new song (head, changes, scales/arps for soloing), but also what do you do to help the student teach themselves for the next time they want to learn a song? Everyone says, "well first we learn the head, then the changes, then the scales for soloing..." But could you be a little more in depth in how you take a student through the process for learning tunes?
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Please don't take this the wrong way.... I'm a really slow typist and your question would take me too long to answer. Also, not to sound like a jerk, but when people ask me questions concerning the teaching of music, I start asking for money. But what you've heard everybody say is essentially correct.
what are Scott's favorite melodic cells to play over a dominant (whether played altered or implied melodically) within a ii-V progression? i.e...over Dmi7-G7...I might play (in swing eighth notes) 1,b7,6,5 over Dmi7; then play #9,b9,1,b7 over G7. The first four notes are very much inside Dmi7 but the second set has that outside/altered sound. I'm looking for some new ideas. Thanks.
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That's basically the right idea - if you're looking for some new ideas, try transcribing some sax solos over some ii V I progressions.
I'm Dan from South Africa. Youve probally been asked this a million times before, how did you get that tone on the Dog Party album, your gear page says you used a 30 watt matchless. Can you tell what model it was, and a more in depth run down of the gear used.
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I used a Matchless DC 30 through a Marshall straight cab with Vintage 30 speakers. (Luckily the amp wasn't loud enough to make them do that horrible double note sound that they're famous for). I used a TS-808 for most of the record, but I used a Voodoo 1 on Fence Climbin' Blues and Hound Dog.
And secondly scale wise how did you approch the solo section in Dolemite(Tore Down House).
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It's just an A Blues, except that E7 is replaced by G7, so I'm just playing either mixolydian or lydian dominant as the basic scale over each chord.
Scott, how do you feel about controllers like the Ztar and pitch-to-MIDI systems like the Axon?
I mean, to what degree are or have you been involved with that stuff, and what about the future?
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I used to be into guitar synth in the early Triibal Tech days, but that's before I learned what cool sounds I could make with the guitar itself. I never dug the tracking, and it just never felt that real to me, so after messing around with it for about 2 years I stopped using it altogether. Besides, Scott Kinsey's synth sounds were so much better than mine that most of the time when I pulled out my factory programmed sounds, the guys would just laugh at me.
1-I saw a pic of Scott putting crazy glue on his fingertips- is this done for every gig, or was that for "special circumstances"?
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I use it to glue my fingernail back to my finger when I bend a string too hard and pull the finger away from the nail. (Painful!) It works really well and lasts for at least one gig.
2-Since the Bottom Line has closed, has Scott looked into other venues here in the NY area? I would highly recommend BB King's, and i think it's a safe bet that everyone who would've gone to the Bottom Line would now go to BB's to hear Scott play.
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I always dug playing at Sounds of Brazil in the Village, but I love BB King's too.
3-I remember Scott saying once that the first 3 TT records couldn't be re-released because whoever owned the rights either wouldn't sell them, or wanted too much money. Is this still the situation, or will we some day soon see those albums be re-released?
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Relativity owns the first three Tribal Tech records, but they're out of print because Relativity is now a rap label. Nobody seems interested in buying them from Relativity, not even us.
4-Is Scott's wife really a doctor? If so, has she been any influence on his lifestyle?
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Her doctorate is in music, not medicine. When I was recording the slide parts on Lola Fay, she stuck her head in the door and said "that sounds like shit", because I was playing so out of tune. But other than to confirm my belief that I'm a terrible slide player, she's given me lots of help with my music, not to mention emotional support. But I think she's getting tired of listening to pedals.....
5-Does Scott (or would he be willing to) ever sell his old gear on ebay?
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I sell stuff all the time, but I'm a Recycler guy. Ebay takes too long.
Is there any chance that you will record a cd together with Michael Landau? It would be awesome to have you guys play together on one cd!
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I love Mike's playing - we did a gig together once that was really fun. The only problem for me, and maybe for most guitarists, is lack of material. It's hard enough to come up with songs for my own records, so the only way for me to do projects with other guitarists is to do covers, standards, whatever. That means no writer's royalties, which is how I make a living.... I'm not the type of musician who likes to write a song in two minutes on a napkin and say let's go. I'm not even happy with my songwriting ability when given half a day to write a tune (as proven on the VTT sessions). So, that's the main reason I don't get involved in those kind of projects.
Also, i know you used Fralin pickups during the dog party sessions, but what model were they?
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They were the Woodstock model.
Does Scott dig heavy metal or hip hop/rap? If yes, who? and briefly why?
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I'm not into rap that much, but I've heard a few things I like. I don't listen to metal that much either, but I like Pantera and Mushugga (spelling??)
What singers does Scott like, past and present? Also, why? if possible...
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Oh man, too many to name.... I like Robert Plant, Stevie Wonder, Ray Charles, BB King, Beyonce, Thelma Houston, Sly Stone... I guess that's all older singers except for Beyonce - sorry, don't listen to the radio much these days. If there's anything I don't like very much, it's jazz singing - you know, when the singer drops all the famous names... "then Bird played, then Trane played, then Miles played".... Kirk Covington does an imitation of that kind of singing that's hysterical.
Scott, would you have any plan to release a blues oriented instructional video ?
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Honestly, I wouldn't do it because I don't think it's something that I'd enjoy teaching. Playing blues is all about feel and timing. The best way to learn it is to learn solos by the greats, so that you can experience first hand what it feels like to phrase like that. It's important not just to learn the notes (that's usually the easiest part), but to get the phrasing down. That's sometimes a difficult thing to do since blues players often float across the time, not often playing rhythms that are with the beat. But if you're patient and just go one phrase at a time, you'll start understanding how it works. If I did a blues instructional video, I'd probably just sit there transcribing Albert King.
How do you input both the OD-100 and Bandmaster heads in your new dual amp live set-up? Do you use a splitter with ISO out? Output from the interface?
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Bob Bradshaw put another output in my pedal looper for the Fender. It's an isolated output, so there's no ground loop problem with the two amps.
I know that your Bandmaster has been heavily modded by Alexander Dumble, but I was wondering if it still sounds like a blackface Fender? Or has Alexander turned it more or less into a Super Steel Stringer or Overdrive Special?
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Boy, this is going to be a clueless answer.... I've never owned a blackface Fender, or one of Alexander's amps either, so I really have no idea. It just sounds good!
When travelling by airplane, how do you transport your guitar? If you've somehow figured out a way to carry it on the plane, please share it, as anytime i've done that it was like pulling teeth to get the airline personal to cooperate.
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I'm surprised by that because I carry my strats in a hardshell case onto planes all the time and I don't often get bothered about it. If they say anything, I just tell them it fits in the overheads no problem, or in the closet. If they still say no, I ask to talk to their supervisor and give them the delicate instrument rap and they always say OK. They don't enjoy hearing about paying for damages if it's checked with baggage.
When you play exciting lead, do you prefer to play really fast, or really loud? Or both? And if not, why? And, is your sauce still in San Bernadino?
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I don't have the skills required to play really fast by today's standards, and even if I did, I wouldn't do it because the faster you play, the less women will be at your gig. But I do play really loud, because my amp sounds better that way and I can't hear the boos from the audience..
My BBQ sauce was rescued from San Bernadino, but I ordered way too much. After 6 months, most of it went bad in a science project kind of way..... I must order more!! (Say hi to Charlie!)
i got a band called Ananda, (fusion)i'd like to send my first realise "mater"
it been wonderfull, send you the cd. how I cand send U? sorry for my bad grammar
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Anyone that wants to send any music to me can do so c/o Musicians Institute in Hollywood, though I can't respond directly to letters.
I saw you show here in Buenos Aires, Argentina (where I'm from) and I loved it! You're my hero...
I just wanted to know what kind of speaker cabinet you where using.
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Thanks! It was a rented Marshall 4x12 cabinet, but one of the small ones - I'd never used one before. I couldn't really hear it because I was getting most of the sound from the monitors, but it seemed to sound OK. What I really miss on flying gigs where I can't bring my own cab, are the Greenbacks. I think the only Marshall cab that has them is the "Slash" cabinet, which is impossible to find on the road, so I usually have to play through the 75 watt speakers found in most Marshall cabs. They're pretty nasty sounding compared to the Greenbacks.
Is there any particular reason why you are using the straight 4x12 cabinet instead of the slant one? Has it something to do with a slightly better bass response?
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Actually I use a slant live because I can hear myself better over our extremely loud drummer, and our soundman likes the slant better live because he says the bass is tighter and doesn't interfere with the bass guitar frequencies as much. But in the studio I always use the straight cab because it has more bass.
Have you tried the Brown -cabinets w. tonetubby's?
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No, I've never heard them.
Where do you set your Clean Gain and Master on your OD-100 when recording your Blues CD's? Is the recording Vol about the same as Live?
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The gain on my clean channel is on 8 and the boost is on, so I don't really have a clean sound, like totally clean. If I want it cleaner I get that by turning down the guitar. The amp's volume is on 5, and that's WAY loud, but I'm using a volume knob in the FX loop which cuts that down by about 25%. For recording, since I'm not using the volume knob, the volume is around 4.
How far back is your mic from the grill?
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About an inch.
I am curious on which tracks from "Well to the Bone" you played your Suhr Tele. I'd guess on "Lola Fay" and "Well to the Bone", could be wrong though...
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I got my Tele after the record, or I would have used it on the country tune for sure, as well as a few others. That guitar sounds awesome!
According to analogman.com you have a modded Boss DS-1. What do you use that for and how do you set it?
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I never ended up using that pedal - AnalogMan made it sound way better than a stock one, but the character of that pedal is pretty scooped and I just never found a use for it. I've got a Blues Driver that's also really scooped that I like more than the DS-1.
Joined: 14 May 2004 Posts: 278 Location: Austin, TX
Posted: Wed Jul 21, 2004 1:48 pm Post subject:
Here are a few more we missed!
Yo Scott,
What is the year/model and detailed setup of the blue Ibanez you use in your first video?
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Sorry, it's been too many years since that guitar. I just wanted them to make me something that was as close to a strat as possible. I guess they came as close as they could, but when I finally decided to have the Fender Custom Shop make me a real strat, I was blown away by how much better it sounded. This isn't a dis on the way Ibanez made the instrument, but the Fender strat had a bigger body shape and was lighter, so I'm sure that's where the better tone came from - the hardware on the two guitars was exactly the same.
Also, I know that you like your Suhr guitars very much, and I would love to have the Scott model (or any Suhr for that matter), but if you were to have a Fender Strat, which model and how would you have it set up?
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I don't know anything about which models Fender is currently offering, but basically if you want a good vintage strat sound, you should try to find one that's made of alder and is as light as possible, with a rosewood fingerboard. If you want it to sound really good, you'll have to change the pickups. I'd recommend Suhr V60 low peak, or if you want pickups that don't hum, DiMarzio Virtual Vintage 2.2's. Don't let anybody talk you into putting a pickup "set" in your guitar, meaning that the treble pickup is wound hotter than the other two - believe me, that ain't the way to go. Put 3 identical pickups in there and balance the volume by raising the treble pickup very high, the middle a bit lower and the neck pretty low. Also, if Fender is still putting bridges on their guitars with that bullshit zinc block, you're gonna have a big problem. Before the days of the Ghoto 1088 with the steel block, I took my Fender zinc blocks to a machine shop and had them duplicated in steel. Take a magnet with you to check out guitars - if the magnet sticks to the block you're in good shape. If it doesn't, you'll have to pay around 100 bucks to a machine shop to make it right, or check into replacement bridges with steel blocks that are made to fit on Fenders.
Scott,
What 12 albums (or more) should I have, that you learned greatly from or you consider to be your most all-time favorites?
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If you're looking for great songs, great melodic improv and great sounds, you can't go wrong with Weather Report. Check out Talespinnin', Black Market, Heavy Weather, Mr. Gone, Night Passage, 8:30 - that's 6 of the 12 right there.
Band of Gypsys is a great Hendrix record but I would say buy them all... I did.
Led Zeppelin II is great, but I'd say buy all of them too.
Jeff Beck plays his ass off on every one of his records.
If you're interested in modern jazz guitar, buy any record by John Scofield, Pat Metheny, Kurt Rosenwinkle, Steve Cardines.
Then if you have any money left and want to find out where the musicians above got a lot of inspiration and ideas from, get albums by Miles Davis, Cannonball Adderly, John Coltrane, Muddy Waters, Charlie Parker, Albert King....
I could go on and on but you'll need some money for food.
Also, which Chick Corea cds are a must? Thanks for all the info!
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Most people say Light As A Feather is his best record - I'd have to agree even though he's done lot's of cool stuff since then. I liked the fusion album he did with Bill Conners on guitar - I think it's called Hymn of the Seventh Galaxy.
I don't always like the music he does, but he plays great on all of his records.
Joined: 17 May 2004 Posts: 29 Location: Atlanta, GA
Posted: Wed Jul 28, 2004 8:33 pm Post subject:
Its always a great pleasure to read Scott's comments. I've installed a Dimarzio middle and neck 2.2 in an older scrap parts guitar. Can't wait to spend a little time with them, after too many years with a H-S-H, and H-H guitars. Thanks Scott!!! _________________ WTB:
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