Kroz reci Scott Henderson-a

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Cortex
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Kroz reci Scott Henderson-a

Post by Cortex » 04 Nov 2011, 08:49

Svi mi znamo ko je Scott Henderson, a oni koji ne znaju to je neoprostivo, momentalno da ste poslushali neki od njegovih mnogobrojnih i sharolikih albuma, ali ono po chemu Scott-a najvishe dizhu u nebesa [krajnje opravdano] je njegov ton.
Pored svojih veshtina i beskrajno dobrog para ushiju koje su mu obezbedile ogroman ugled medju blues/jazz/fusion gitaristima, Scott je nadaleko prejzovan kao gitarista sa strashno expresivnim i DEBELIM tonom. Prvo jedna od relativno novijih njegovih stvari sa svojim blues triom chisto da ko ne zna vidi o kakvom se tu tonu radi i kako Scott chini ono shto chini najbolje, a onda cu preci na stvar.



Naime na njegovom forumu postoji serija intervjua sa Scott-om koja se protezhe vishe od 3 godine u nazad, ja sam vecinu od njih ischitao vremenom, a sa strane sam copy-paste-ovao ono shto mi se chinilo zanimljivo, ima tu raznih guitar nerd saveta, music guru saveta, Scott govori o iskustvima sa drugim poznatim muzicharima, i sl. Gledao sam dodushe, da ovde na forum ne postujem previshe toga jer bi ste brzo izgubili interesovanje, kao shto znam da ja bih. Izostavio sam pitanja, samo Scottove odgovore imate, ali svuda je jasno iz konteksta shta je bilo pitanje. Idemo.

************************************************************************************************************

"For my Marshall cab with Greenbacks, I just put a 57 right in the cone of the speaker, about an inch away from the grille. On the 4x10 cabinets with Kendrick Blackframes, I put the mic on the paper right next to the cone.

To get a fat soloing tone, I get a bright sound from the amp, but roll down the tone quite a bit on the guitar - for other sounds I move the mike around and vari the guitar tone. Putting the mic in the cone will get you the biggest sound, but it's too hairy unless the guitar tone is rolled down. Lots of guys keep the tone up on the guitar, mic the paper and compensate by turning up the bass and treble on the amp with very little mid, and that sounds cool too, but I've been doing it the reverse way for such a long time that it just feels like "my tone".

I've tried the Palmer and other cab simulators and I thought they sounded pretty good, but I got a bigger sound with the real deal."


"No problem, I like talking about gear. I've never tried stainless steel frets through an amp - I played a Suhr that had them and it felt really smooth but John told me they're a bit brighter so I'm staying away from them. My tone knob is on 3 as it is. Same reason for alder - it's darker than the other strat woods.
3 with high gain sounds, between 4 and 7 with cleaner sounds. BTW, I'm talking about tone #2 which on my strats only affect the treble pickup. Tone #1 for my neck and middle pickup is usually on 7 or 8. [???]
I think you get a fatter tone by turning the tone down on the guitar with lots of amp treble than the reverse. I agree with what Jeff Beck says about volume - if the guitar is on 10, sometimes it overloads what it's going into but if you back it off to 9 you get a smoother tone. "



"When Jean-Luc Ponty was looking for a guitarist for a tour, he asked Allan first and Allan recommended me, so it's a true story but wrong band leader. If that also happened with Chick, I never heard about it. I doubt if Chick asked Allan to play with him because Allan is famous for his beer drinking - the first thing Chick asked me was "do you drink or smoke pot?" I said no but should have said not that much.

We didn't get along well on the road and I was fired after two tours. On a personal level, I don't like organized religion and that certainly includes Scientology, so my lifestyle and beliefs were in direct conflict with Chick and his crew. I'd heard about some of the things he'd asked of previous musicians so I was expecting to have to deal with some Scientologyisms, but I was surprised when he told me not to have sex with girls in the audience after the gig because it degrades the music. I thought that anyone who would say something like that must be completely nuts, regardless of how well they play. I don't actually believe that Scientologists are crazy, just brainwashed in a creepy Ned Flanders kind of way.

On a working level we didn't get along either. At that time I was using a stereo rig and was used to standing in the middle of it to get my tone. When I soloed, Chick insisted that I walk out 20 feet to the front of the stage to strut for the audience, which I took to be a Vegas mentality. I told him that I couldn't hear myself up there and that I don't play as well when I'm not in control of my sound - he responded by saying "your perception of how you sound isn't as important as how the band looks to the audience." After that I just couldn't take his band concepts seriously anymore. I heard they were doing dance steps after I left the band....As many of Chick's fans know, he has a commercial side, no doubt another influence of Scientology, and during that time period I guess it was that side of him I was working for. After awhile I just refused to cooperate and was eventually fired. But regardless of how I feel about Chick as a Scientologist band leader, I still have great respect for him as an extremely talented musician. I'm glad our troubles weren't about music, because I know he liked my playing even if he didn't like my attitude. On a funny note, when I told Jean-Luc Ponty that I was going to take the gig with Chick, he laughed out loud and said "you??" and walked away. I didn't understand at the time what he thought was so funny - apparently he knew that I was a Scientologist's nightmare. Chick hired me a couple years later to play on a movie score he was doing and it was nice that there didn't seem to be any hard feelings or anything. I certainly don't have any - but I wouldn't allow myself to get into another situation where I can't be myself. "



"Don't just sit around practicing - that's only half of it. Get in a band as soon as possible and try to get a gig playing at least 5 nights a week, no matter what kind of music. Early on I always looked for cool musicians to play top 40 stuff with - people that realize it's just a money gig and don't take it too seriously. We'd play some dumb tune like "Cocaine" and when the dance floor filled up with drunks I'd solo for 15 minutes. I soloed more on those top 40 gigs than I do with my trio. "




"smooth jazz inspires me to listen to Pantera."



"You're on the right track - keep transcribing and you'll start hearing many similarities among different players as to how they phrase outside notes. Often passing tones occur on up beats which resolve to chord tones on down beats . "


"I like listening to that kind of music, but usually three or four tunes is all I can take in one sitting. I really like Meshuggah - they're great musicians and very rhythmically creative. My students play me come cool metal stuff sometimes. I don't rush out and buy the CD's, but some of it I like. The only electronic music I've really liked is Square Pusher, but I'm sure there's tons of stuff out there I haven't heard. I like how Jeff Beck went in that direction for awhile - those records are cool. For my own music, I'm more into using machines for color, not performance, but to each his own. "



"Me and Adam Stark did an A/B test between a vintage Greenback from the early 70's and one of my brand new ones. The old vintage speaker had a cool funky tone - really, really dark though. We liked the sound of the new one better, but that old speaker reminded me of some of the tones of Jimmy Page! It was too dark for me, but I still liked it. Now Celestion is making a new "hand built" version of the Greenback that I'll get to check out in a couple weeks - I'm looking forward to hearing it."



"I've used those a couple times when I couldn't bring my own amp. I wasn't crazy about it but it did the job OK. I don't like the cabinet though, because the new Marshall cabs have a pressboard back and I think they sound weird. It might be OK for live, but when you mike it you can hear some pretty nasty frequencies. It's easy to fix though - just take the back to a cabinet maker and tell him to copy it, only using birch instead of pressboard. If you want it to really sound good, sell those 16ohm speakers and get 8 ohm Greenbacks, throw that silly ohm switch in the trash, wire it at 8 ohms and use 10 gauge wire instead of that television wire that Marshall uses - and you'll have a great sounding cabinet!" - when asked about Marshall JCM 2000 dsl-100 on 1960a cab



"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. "



"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."


"Maple is more aggressive sounding and you can hear the pick more. Rosewood sounds softer, maybe a little more compressed and even sounding. I did one tour with a maple neck and a got lot of comments like "sounds more rock.""


"Some of my Greenbacks are brand new and probably made in Asia and I think they sound great. I tried some of the new expensive "handmade" Greenbacks that are supposed to be re-creations of the old ones, and I didn't like those at all. Then I read that Eric Johnson loves those... so it's about individual taste."


"Not to sound like a snob, but I'm not much into any amps that aren't 100 watts. I don't even like the 50 watt Marshalls for lead. The reason is that the bass frequency is much lower and bigger sounding on 100 watt amps - the bass on smaller amps is more like low mid than real bass."


"I always have my boost pedal on for clean tones, but with the guitar volume rolled down - with one exception, when I do the volume swell chord thing ala Holdsworth where I need it super clean. Without the pedals, the amp is clean when the guitar volume is on 5, and really crunchy when the guitar volume is on 10."


Image



"I like the Precision Overdrive and find it really nice for some things, but live I'm using Maxon's new VOP-9, which sounds like an SD-9 with a different midrange frequency that makes single coils sound huge. In my opinion the Precision and the SD-9 sound best with humbuckers."



"Instead of performing, just participate. When you participate in something, you're doing it just for the joy of doing it, not because you're trying to impress someone or get compliments. Being lucky enough to do something you love is enough. And if you get paid for it too, that's really lucky. You have to play as though you have nothing to prove to anyone, otherwise playing isn't fun, it's just stressful. The most creative stuff happens when you're the least nervous, and for some people that's a difficult state of mind to get to, especially on stage. A lot of great musicians attained that state of mind with drugs and alcohol, but I think with practice you can do it with your mind by just learning to relax. Personally, exercise helps keep my body relaxed, and humor and jokes relax my mind. I'm just at the gig to have a good time playing music and watch the babes, if there are any."


About Joe Zawinul
"Playing with Joe was one of the highlights of my career. Just listening to him play every night was awesome. I don't know if those stories about Mozart were true like in the movie, but I can definitely tell you that Zawinul did it. Everything he "composed" was an improvisation right on the spot. He was a musical genius to say the least. Plus he was an extremely funny guy with more confidence than anyone I'd ever met before.

One time I was overdubbing in the studio for him and I played something I didn't like - I told him I didn't like it and asked to do it over. Joe said "if you didn't like it, what the fuck did you play it for?" I don't think he could even conceive of playing something and not totally digging it, because everything he played was a motherfucker.

My favorite story about Joe is that he was always trying to get me to smoke pot and drink with him before the shows, and I told him, man, I can't play on that shit. But after getting sick of him bothering me for months about it, I smoked a joint with him and got really wasted before a concert in Austria. I was having a great time until we hit the stage, and I fucked up every melody and couldn't play shit on my solos. It was a disaster. Then after the gig, Joe comes up to me and yells "Henderson! How many fuckin' times have I told you not to do that shit before a gig?" I have a million stories about my experiences working with Joe, most of them funny, and enough to fill a book."


"A lot of guys use single coils and a humbucker in the bridge. I've been using a single coil in the bridge for many years now and I think with enough gain it sounds just as fat and creamy as a humbucker when I roll the treble down to around 3. I think a single coil is clearer sounding and has more bass than a humbucker, but I'm glad I have some guitars with humbuckings for recording, just for variety."


"Warming up doesn't do much for me, though it's important that my hands are warm. If they're cold I run hot water on them for a few minutes before I play."


[o publici na njegovim svirkama]
"Sometimes I look out at all those male faces and think - it could be worse... this could be a prison band."


[Scott korsiti wah na kraju svog lanca]
"I like it better after the distortion pedal - makes it fatter and more rock & roll sounding."


"I like the sound of a very short cable. "


"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."

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sinisake
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Re: Kroz reci Scott Henderson-a

Post by sinisake » 04 Nov 2011, 09:03



Bas sam juce gledao ovo, u sklopu priprema za bluz projekat. Lepo i prakticno... :bambi:

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+Hopkins+
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Re: Kroz reci Scott Henderson-a

Post by +Hopkins+ » 04 Nov 2011, 10:25

Cortex, hvala na ovim informacijama, izvukao si carski, svaka mu je zlatna.

Neke od njegovih zapažanja sam čak i ja provalio, tipa za bas frekvencije na pojačalima slabijim od 100W, onda za vintage 30 isto, nije da ih mrzim baš kao on, Žica ima super zvuk sa njima sa Firebirdom i Orangeom, ali stvarno mislim i to mu stalno pričam da bi imao još mnogo bolji zvuk kada bi tu kutiju zamenio za neku 4x12. Ovo za maple je isto lepo objasnio, i ono za Zavinula, mogu da zamislim kako mu je bilo peglanje sa njim, ma sve..

Hvala još jednom :ziveli:

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guv'nor
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Re: Kroz reci Scott Henderson-a

Post by guv'nor » 04 Nov 2011, 15:19

Carski, jos bolje sto pesmica ide tijekom iscitavanja posta. :)
Ovo za opremu i ton sam vec iscitao par puta do sada, mada nikada nije zgoreg preci jos jednom :bow: , dok me je trivia apsolutno odusevila, kakav gigant. :ziveli:

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guv'nor
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Re: Kroz reci Scott Henderson-a

Post by guv'nor » 04 Nov 2011, 15:34

sinisake wrote:
:kokice: ... :bow:

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dweezil
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Re: Kroz reci Scott Henderson-a

Post by dweezil » 05 Nov 2011, 07:33

drazesno, mnogo lepih misli i pametnih i zrelih saveta :bambi:

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fattwang
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Re: Kroz reci Scott Henderson-a

Post by fattwang » 05 Nov 2011, 09:19

Mora da je slušao negde Vlatka. :)
Neparne ritmove ovde objašnjava kao kvadraturu kruga.

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sinisake
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Re: Kroz reci Scott Henderson-a

Post by sinisake » 05 Nov 2011, 10:55

Zapravo, imam informacije iz prve Djedove ruke, sto bih naglasio ™, on bas i ne konta te neparne ritmove... Djed ce opsirnije. :lol: :ziveli:

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ssmc
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Re: Kroz reci Scott Henderson-a

Post by ssmc » 05 Nov 2011, 12:00

Nema Dersua već duže vreme. Da nije uhapšen na demonstracijama protiv Wall Street-a? :kokice:

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xspaceman
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Re: Kroz reci Scott Henderson-a

Post by xspaceman » 05 Nov 2011, 12:21

ssmc wrote:Nema Dersua već duže vreme. Da nije uhapšen na demonstracijama protiv Wall Street-a? :kokice:
pre ce bit da se ubacio kao krtica i da iznutra rastura ceo pokret! :lol:

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guv'nor
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Re: Kroz reci Scott Henderson-a

Post by guv'nor » 05 Nov 2011, 14:01

Ja s' izvinjajem, trenutno nemam dovoljno vremena (citaj RAM-a :mrgreen: ) da pogledam ponovo, a od juce je deda vec dosta zaboravio - da li je objasnjavao nepravilne ritmove ili nepravilne tonske grupe (cmokis me u ... :bambi: )?

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nebojsak
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Re: Kroz reci Scott Henderson-a

Post by nebojsak » 05 Nov 2011, 15:25

guv'nor wrote:da li je objasnjavao nepravilne ritmove ili nepravilne tonske grupe (cmokis me u ... :bambi: )?

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sinisake
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Re: Kroz reci Scott Henderson-a

Post by sinisake » 06 Nov 2011, 12:31

guv'nor wrote:Ja s' izvinjajem, trenutno nemam dovoljno vremena (citaj RAM-a :mrgreen: ) da pogledam ponovo, a od juce je deda vec dosta zaboravio - da li je objasnjavao nepravilne ritmove ili nepravilne tonske grupe (cmokis me u ... :bambi: )?
Tako je, objasnjavao je nepravilne ritmicke grupe, pri szoliranju, pre nego neparne ritmove; to radi i sam Bog, Pablo, katkad, samo su njegova objasnjenja znatno jednostavnija. :lol:

[Djedove_informacije]

A Skot je bio izlozen neparnjacima, i to preko zene, koja je Makedonka, a usput predaje na nekoj muzickoj akademiji tamo.

[/Djedove_informacije]

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guv'nor
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Re: Kroz reci Scott Henderson-a

Post by guv'nor » 06 Nov 2011, 13:19

Hvala koleza. [on-sreen keyboard radi, jbga :hide: ]

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Gagi
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Re: Kroz reci Scott Henderson-a

Post by Gagi » 07 Nov 2011, 12:27

Cortex bravo za tematiku i trudu na informacijama :bambi: , priključujem se svojom omiljenom:

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