- #Scott henderson discussion board scott henderson direct full
- #Scott henderson discussion board scott henderson direct software
- #Scott henderson discussion board scott henderson direct series
Software and Hardware Remote Control X-MONITOR's user interface includes a virtual version of the iLoud Precision Remote Control (sold separately). No more struggling to experiment with back-panel settings, it can all be adjusted within X-MONITOR. From the software, users can adjust the low-frequency extension, low, high, and mid-frequency contours, standby timer setting, precise speaker delay, and more. Rear Panel Control at the Desktop X-MONITOR gives access to the same controls as Precision's rear panel making it easy to adjust the settings right from the sweet spot, both for individual speakers or linked pairs. Together they make the Thinline feel exceptionally responsive and awake. That difference is also apparent when the guitar is plugged in, and the body’s more resonant characteristics are a great match for the lively Wide Range humbuckers.
Compared to a solid-ash Telecaster, the Thinline sounds much more zingy, resonant, and alive-particularly in the midrange. The semi-hollow construction of the Thinline yields audible differences, too. Still, the natural blonde poly finish is beautiful and marks a lovely visual link between the first blackguard Telecaster and this more deconstructed variation on the form. As a consequence, the grain in the two sections that make up our review guitar are less than ideally matched. Because boring beetles have endangered ash trees, visually perfect specimens of the wood are in short supply these days. On the new American Vintage II version, the ash body is fashioned from two solid sections of ash glued together at the guitar’s center line. To create the lighter, semi-hollow Thinline, Rossmeisl adopted the construction technique he developed for Rickenbacker: routing acoustic chambers from a solid section of ash, and then capping the back of the guitar with a thinner section of wood.
#Scott henderson discussion board scott henderson direct series
The first Telecaster Thinline, which appeared in 1969, was hatched from the mind by Roger Rossmeisl, who famously designed Rickenbacker’s 300 series guitars, among others, before moving to Fender and conceiving the Coronado, Montego, and the company’s mid-’60s acoustic line.
Pickups were not the only deviation from design norms that distinguished the ’72 Thinline.
#Scott henderson discussion board scott henderson direct full
We’d never be able to cover his full style here, so hopefully this is enough to encourage you to do your own listening and draw your own influence from this master of touch, tone, and phrasing. Henderson is still one of the most exciting players out there. This particular riff is about creating mood and atmosphere, and it works a treat. He’s back in full fusion mode for this record, but keeps some bluesy vocabulary when soloing. 6), gives you a flavor of where Henderson is now, drawing influence from his latest record, Vibe Station. Henderson has so many great lines like this when he unleashes, so get listening and transcribe some for your own use. This line could also work over an E7 chord or even an E minor tonality.
Sticking with the theme of Henderson’s exciting approach to chromaticism, Ex. Play with the ideas and never lose sight of the importance of a smooth resolution. The three-fret gaps on the 1st and 3rd strings will never be totally diatonic, so this is an easy way to add some outside sounds without learning complete fingerings for the diminished scale. 4 is an example of how he might use this over an A7 chord. 3ĭiminished sounds are a big part of Henderson’s playing and Ex. Theory nerds might define it as a Super Locrian scale with some chromaticism, but it’s simpler than that-just tension and release. You could analyze this lick closely and try to work out what scale he’s using, but I don’t think that’s the idea here because we’ve got the 5, #5, 6, b7, R, and b9 all represented. The notes might make you think of an E7alt chord, but it’s a great trick to use over an A7 to imply the V-I sound. Notice how fluidly they blend with SRV’s trademark b9 lick at the end of measure three. The 6ths we start with are a big part of Henderson’s vocabulary. 2 is still very much in the traditional blues vein, but we’re moving along the neck with some pace, so it may feel a little tricky. Vocabulary like this is really all down to players like Stevie Ray and Albert King, and while this is an essential part of Henderson’s playing, he can get way more adventurous. 1) is a straight-ahead blues idea using notes of the A minor pentatonic (A–C–D–E–G) scale, as well as the 6th (F#) thrown in on those starting double-stops for some grit. Start with “Dolemite” on Tore Down House to get a taste of some of Henderson’s best blues playing. The MIDI pickup is long gone, and instead we have some variation of Strat/Marshall/Tube Screamer. He continued with the blues theme, but gradually twisted it with greater jazz influences and some Jeff Beck-inspired tremolo sounds. From there, he released two more solo records, Tore Down House and Well to the Bone.
0 kommentar(er)
