but when things happen sometimes, especially with bass. I mean I don’t believe in making it perfect, because I like things to stick out sometimes. But it’s pretty much by drawing dots in Digital Performer. Well, I don’t even do it with the volume pedal so much, I don’r really use the volume pedal in the studio as much as I use it live. :: Live, you control your master volume using the Subtle Volume Control from E.W.S. I wouldn’t out him through that nightmare of mixing the guitar, haha! I would never do that to anybody, that’s my job And, like for him, 10 tracks of guitar is just one fader, you know, so. His main gig is to, you know, get the balance between the guitar, bass and drums right. Because I don’t wanna have him deal with that. I mean, the guitar stems, like all the mixes of all the guitar parts are pretty much all automated and ready before Allen even comes over. Especially for guitar, even if you’re recording at 96 khz, there’s these digital spikes that are kind of nasty, especially in the high end on the guitar and the tape helps smooth all that out and make it sound nicer to your ears. And that really helps warm it up, and it doesn’t sound like a digital project. and also the mastering engineer, he put it on tape. Because the plug-ins now are so good, that ehm. And everything’s in the computer, there’s no. :: Where did you do that? At your home studio? :: So you mixed your new cd with Alan Herz? the possibility for bad days is great haha!
So I’ve learned that one of the big secrets or writing is being patient with yourself and just not. Some days I work all day and I don’t really get anything done and then on some days I get a lot done. Yeah, I mean it really is all you can do because. you just you know take a break and then come back to it, you know.
Yeah, yeah, yeah that’s very time consuming and often you get your best results rhythmically when you’re writing in real time. That seems to be a more organic and natural way to write music then sitting there and stop time and trying to think of… Just like when you’re playing a solo, and then you pick and choose just nice things that you’ve played to be the catalyst for an idea, for a song. So, if you improvise, a lot times you come up with the best ideas, when you’re improvising and things happen just by accident. start out with the melody on one song, start out with maybe a bass line or a drumgroove.but I have to say usually I start out with some kind of a groove, because I like to write in real time, as a lot of jazz composers do. Then you have a bigger chance of the song’s being different. It’s different every time and I’m almost glad it is, because I don’t wanna get into a habit of composing the same method, using the same method every time. :: How do you compose? Do you mainly start out with rhythm or melody? I just put the notes in by keyboard and then Digital Performer prints out the charts. So then later I have to write the chart that’s the only drag! Because sooner or later I have to get the information into the computer, midi, so the computer can write a chart. And I always try to get as many open strings into my voicings as I can so it has to be obviously audio guitar and. because a lot of my voicings have to do with open strings. :: It doesn’t really capture all of the nuances. give you an idea of what it’s really gonna sound like. I’ve done that on the last five or six records, for composing, I compose with real guitar because I find that midi doesn’t really. How did you write guitars this time? Do you use midi keyboards for that, or actual record guitar on your home demos? :: I know when you write, you go into ‘composition mode’ for a while when you write for a cd.
It’s not so big that everything sounds rock n’ roll, but it’s not so small where you don’t get a nice sound from the drums. And they have beatiful Neve board, and it’s a. It’s a studio called ‘King Size Sound Labs’. So that’s when I schedulded some gigs and this time. it was just a small studio, close to my house. Where did you record them for the new album?Įh. :: You play on tour with a French rhythm section. ah well, thank you! Thanks so much man, thanks a lot. :: Man, I love your new album ‘People Mover’! It has everything I like about music, great guitar tones, improvisation, great songwriting, smart layers of sounds, a great mix, it was just a treat from start to finish. Photos by Rutger van der Zalm and Richard Hallebeek, copyright Music Maker 2020. Use elsewhere is strictly prohibited without written permission of Music Maker and Richard Hallebeek. Part of this interview was printed in Music Maker Magazine in the March 2020 issue. Before soundcheck at Scott’s gig at De Beurs, Tiel, nov 25, 2019, he took over an hour to do this interview in the cafe of the venue.
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