20 questions with Rob Caggiano (2012)

This great conversation was conducted with current Volbeat / former Anthrax lead guitarist Rob Cagganiano right after the release of Anthrax's latest studio effort, Worship Music. 

1. Let's start with your early days! Do you remember when did you picked up the guitar first?

I got my first guitar when I was about 5 years old. It was a little red acoustic and I fell in love with it immediately! I actually started singing and playing very soon after that. I must have been 6 years old at that time. My dad would take me around to different family parties etc... and I would bang on this little acoustic and sing Dion and The Belmonts songs! ;-)

2. Who were your biggest guitar heroes in your teens?

Well I started taking the guitar very seriously after my mom got me AC/DC's Back in Black album at the local flea market (Yonker's Raceway). They had a really cool record/vinyl vendor there and it was all heavy metal and hard rock records. Anyway I was mesmerized by Angus Young's guitar playing after the first listen and also the overall sound of that album...It just sounds HUGE! I think a week or so later, at the same flea market, I picked up Van Halen 1. That pretty much sealed my fate! Haha To this day Eddie and Angus are my two biggest guitar heroes. In fact, I'm gonna see Van Halen tonight at Madison Square Garden!!! 

3. What was the first song you were able to play in its entirely?

The first song I learned to play on the guitar in it's entirety was Yesterday by the Beatles. The second song was Jumping Jack Flash by The Rolling Stones.

4. Did your parents support your musical plans?

Yes my parents are amazing. They have always been incredibly supportive of my love for music and the guitar. My dad is actually obsessed with music himself so I grew up with a lot of different music in the house. I think that really helped shape who I am today as a musician.

5. Which was your first professional band?

My first professional band was called Boiler Room from Brooklyn NY. We got a nice record deal in the late 90's, toured the world and broke up immediately after that! Haha

6. Do you remember the audition for the Anthrax gig? How did you get in touch with the guys?

Well we always had a lot of the same friends. The NYC music circle is actually very small. In fact Anthrax's current booking agent Mike Monterulo was sort of managing my first band back then. Anyway, I've always been a huge Anthrax fan and I definitely made that fact known to those guys! One thing lead to another and here we are. The first time we got  together and jammed was a bit surreal for me but I think it felt really good and the "vibe" was there. I was nervous for sure though.

7. Scott is undoubtedly one of metal's greatest rhythm players. In the beginning was it challenging for you to play with him side by side?

Scott is definitely an amazing rhythm player and he was always an influence on my playing. Listening to guys like Scott Ian and James Hetfield as a kid really shaped the way I approach the instrument. It's in my blood to play this style on the guitar. I think Scott and I locked in together right off the bat. When I listen back to some of our shows I'm always amazed at how tight we are together. Especially considering the fact that Anthrax is definitely not one of those bands that spends time in the rehearsal room. When I first joined the band, I think the weirdest thing was actually just looking over to that side of the stage and seeing Scott Ian standing there rocking out! That wore off pretty quickly though. Now I'm in 2 bands with the guy! lol 

8. How do you guys usually share guitar duties in the studio? Do you play all the leads while Scott lays down the rhythm tracks?

Well Scott usually handles most of the rhythm parts but there are times when I'll play sections etc... or double what he's doing to beef things up a bit. I'll play some rhythm stuff on choruses a lot of times to beef up what's already there and create a nice dynamic. I like when choruses get "bigger" usually. As far as the solos go, I play all that stuff as well the "color" overdub guitars in spots. Charlie actually played some cool texture guitar overdubs on the new record as well.

9. The solo of Safe Home is killer, one of your best! Do you remember how did you work this out?

Thats a funny story actually. Originally Charlie was going to play that solo and he just wanted me to record it and coach him through it. Well after a while we both just weren't feeling it for whatever reason. I don't remember exactly how it went down but I think I just picked up the guitar to show him an example of how I would approach the solo and after I played it once, Charlie looked at me and said..."That's the solo!". And I said "Really? Well it's a good thing I hit the record button then!" Haha

10. Initially how did you start the reworking of old material on The Greater Of Two Evils? How much did you pay attention to the original guitar parts? (I tell you the truth, guitar-wise these versions are much better for me than the original recordings.)

Well thank you for the compliment! To be honest I never fully understood why we did that record. For me those old recordings are classics. They are very much perfect as they are and I never really saw the point in re-recording those tunes. I think John Bush felt the same way at the time. It ended up being a really cool thing in the long run and it was lots of fun but a bit confusing at the same time. Anyway we invited a small group of people from our fan club to Avatar Studios in NYC to watch us jam those songs live. What ended up on the album was very much that performance with a few minor fixes here and there. I think the main reason why I played some of those guitar solos different on that album was simply to try put my own stamp on it. I know John definitely sang things a bit different as well for the same reason. I just felt that if we were going to play the old songs note for note the way they were....what the hell would be the point??

11. How do you see, what are your strengths when it comes to soloing? Any techniques you should be better in your opinion?

I think my main focus and and what I strive for with every solo I play is to actually "say something" with it. I like solos that are memorable and exciting but also played from the heart. If I can listen back to one of my solos and remember it when the song is done then I know I've succeeded with my own personal goal. At that point I can only hope the fans like it and hear it the same way I do. There are so many guitar players out there that practice 25 hours a day and can play a million miles an hour but so what? A lot of times when guys like that play solos within the framework of a song it just ends up sounding like exercises because they're far more concerned with technique than substance. Anyone can learn to play all the scary guitar techniques in the world if they're willing to spend the time to practice like that. That's really all it takes but to me there is no magic that at all. Listen to AC/DC's "Whole Lotta Rosie" from their live album If You Want Blood....You Got It. To me that's what playing solos is all about! Listen to David Gilmour on "Comfortably Numb". You can't learn that stuff! It's a feeling. It's an emotion that comes from the heart and exits through the fingers. That's magic!

12. As a long time ESP endorsee, which models do you prefer and why?

Well for the longest time my favorite guitar was actually the first guitar that ESP sent me back in 96. It's an old purple Horizon made of swamp-ash. I've acquired a ton of ESP guitars over the years and they're all great but this guitar is special. It just feels amazing and sounds great. I actually have a brand new ESP Rob Caggiano Signature guitar that just came out a few weeks ago at the NAMM show and it's very much based on my original old Horizon but also tweaked out a bit with some very specific things. It's an awesome guitar! It's also fitted with my new Dimarzio Signature pickup called "The Thunderer". This thing screams! I didn't think it was possible but this new guitar sounds and plays better than my original.

13. Which do you like more, Floyd Rose whammy equipped guitars or models with TonePros fixed bridge?

I used to play Floyd Rose fitted guitars a lot years ago but for the past 10 years or so it's been strictly fixed bridges for me. I like the way they sound better and I like the consistency.



14. Pickup-wise, you're a DiMarzio guy. Which particular models do you favor the most?

I've been playing Dimarzio pickups for as long as I can remember. I think they make the best pickups hands down! I used the Tone Zone for my bridge pick for many years. As I said earlier, I have a new signature pickup called "The Thunderer" and it's somewhat based on the Tone Zone. I worked closely with Steve Blucher on this thing and I couldn't be more happy. It really does scream! Steve's a total genius man, that guy really knows what he's doing with this stuff and he really understands "tone". He basically listened to my nonsensical ramblings about what I wanted and he made perfect sense out of it and delivered! Haha The thing I like most about the Dimarzio stuff is the fact that you can always here the "wood" of the guitar, if you know what I mean. Basically if you have a great instrument already, Dimarzio pickups will take that to the next level and really make it sing. I've also had some long talks with Larry Dimarzio in recent times as well and I just really love his philosophy and the philosophy of the company. Larry rules! These guys definitely get it.

15. What string gauge do you use on your guitars?

I use D'addario 10-52's.

16. As far as amps, which way works better for you, the use of a high gain monster or a vintage stuff boosted with an overdrive pedal?

In the studio I use all different kinds of set ups but live I tend to go for a high gain amp. I only use Boost/Overdrive pedals when I solo.

17. How is your current stage setup? Do you use stompbox effects under your feet?

I do uses some stomp boxes but my set up is very minimalistic. Here it is:

1. Boss Tuner Pedal

2. Cry Baby Classic Wah

3. RockBox "Boiling Point" ...overdrive/boost. 

4. Death By Audio "Interstellar Overdrive Supreme"

5. MXR SmartGate

6. MXR EVH Phase 90

7. MXR Micro Chorus

8. Boss DD-5

Everything is controlled by a Musicom Lab EFX MKII which is basically a loop switcher. It rules!

18. As a producer, you did an awesome job on Worship Music, the record rips! When did you explore your senses to production works and which other producers do you respect the most?

Thanks man! I've been producing records for a long time now and I've always been enamored with the recording studio and the whole process of making records. I love working with different artists and I love pushing myself with each record as well. I'm not one of these producers that keeps making the same record over and over again. I hate formulas and I hate to repeat myself. I also feel that every band and every record is unique. No two records should ever sound alike in my opinion but the "sound" of the band/artist should be present at all times. There are a lot of great producers out there and of course that means that there are lots of crappy ones out there too! My favorite record producers right now are Paul Epworth (Adele, Florence and The Machine), Jackknife Lee (Bloc Party, U2), Gotye (self produced artist), Christopher Jon of I'Parasite (self produced artist), James Blake (self produced artist), Justice (self produced artist). Of course there are more out there but these are first few that came to mind. These guys are really pushing the envelope creatively and sonically. My favorite 2 producers of all time would have to be Jimmy Page and Mutt Lange. Anyway, I'm very proud of Worship Music because I know all the hurdles Anthrax had to clear in order to finally finish this record. It's a special record for all of us in that sense and it's a really great feeling that the fans seem to dig it as well. I'm relieved!

19. What moment of Worship Music are you the most proud of?

It's kind of hard to say actually. I'm proud of the entire album. I'm proud of the songs, the performances, the sounds we got and the overall vibe of the album. 

20. As far as The Damned Things, who's got the weird idea first to join forces with members of Fall Out Boy? What will the future brings for this band?

The Damned Things started as a group of friends just getting together to make some fun music. I think we all had blast doing so as well. The album "Ironiclast" came out on Island records and we toured the world soon after. Right now it's on hold because Scott and I doing Anthrax full time but it was great fun and musically very different to everything else I had going on at the time. I really hope we all get a chance to do it again at some point soon. As far as getting together with the guys from Fall Out Boy.....I guess it looks weird on paper but to be honest, it's not weird at all from my perspective. Joe Trohman and Andy Hurley are very into heavy music and they always have been. I'm also influenced by a very wide range of different music as well. Same for Scott and Keith Buckley. When we got together to write the album it really clicked on many levels. If it didn't click then we definitely wouldn't have done it. I'm proud of that record as well because it was very challenging to write/record/produce an album with a line up like that and make it stand on it's own. The record needed to be unique and it needed to be far removed from what Anthrax, Fall Out Boy and Everytime I Die is musically and sonically. I think we succeeded in doing so and for that... I'm proud. 

https://twitter.com/robcaggiano

VOODOO AMPLIFICATION - TRACE DAVIS

A few years back I had the opportunity to interview the incredibly talented Trace Davis on behalf of Voodoo Amplification. Here's his story, hope you enjoy!

How long have you been involved in the amplifier business?

I was surrounded by it as my father worked at Westinghouse in Bath, New York USA over seeing the manufacturing of vacuum tubes. They made their own tubes as well as tubes for RCA, GE, etc. I grew up listening to music and really got into it when I was 12 years old. I started playing guitar until I was 15 and completely immersed myself in it. I began playing professionally at 17 years old and that led into touring. From there I began doing sessions both as a player and as a recording engineer. I traveled a great and eventually wanted to take some time off from being on the road. When I moved to Ithaca, New York in 1998 I founded Voodoo Amps. In the early years we were solely a Tube Amp Modification Company. Through numerous requests we began offering service and repair on tube amps and circa 2005 we began manufacturing our own products. 

What was your basic idea when you formed your own company?

Unlike most I did not wake up one day and decide "Hey, I'm going to start my own amp company!" (lol) When I was working as a session guitarist and recording engineer I would bring in amps that I Modified or built from scratch to use on sessions. I befriended the producers/engineers I worked with and they would ask if they could borrow one or more of the amps as they wanted to use it on an up coming record they were recording. As an amp company the hardest thing to do is to get your amps on recordings, at least back then as it was not like it is these days (IE: its very affordable to purchase a DAW and record a record in your house). Back then 2" analog tape was still the number medium for recording as the sampling rate on Pro Tools was still pretty low (did not sound as real) so looking back on it, it was easier for us to get our amps into recording studios as I was already working in that world so that gave us an advantage. Things got so busy that I was working 80 hours a week so I had to make a choice and I decided to go into the Amp Modification business full time.

I know a lot of our readers are asking themselves "why does a high quality tube amp like a Twin Reverb, a SLO-100, a 5150 a Dual Rectifier or a handwired 1959 Plexi need to be modified"? So what's the reason behind that seasoned professionals would rather use modded than stock gear?

That's an excellent question and one that has many answers all depending on one's point of view. Let me preface this by saying that tone is subjective thus making it a matter of taste and as with all matters of taste there can be no right or wrong, just tone. Lots of people talk about how an amp "sounds" sonically (IE: the tone) but not that many talk about how an amp "feels" to play on. For example; If an amp feels stiff/hard to play when you bend and vibrato, players will place a pedal in front to smooth it up/make it feel easier to play on. To us an amp has to sound and feel good to play on.

Modding - Since the inception of tube guitar amps players have always pushed the envelope. Point of face when engineers first designed tube guitar amps they never dreamed someone would turn an amp up to the point of distortion - that was unheard of. IE: If your guitar amp distorted in the recording studio you had to turn it down as it was considered "un-recordable". But players cranked the amps up and thus overdrive was born. Fuzz pedals came about as a way to add more gain to an amp's tone. For as long as there have been tube amps people have been Modding them.

Transformers/Components - These days amps are made with poor quality transformers (typically Chinese made) and high quality transformers. It's no secret that mass produced amps are all about the bottom line (IE: profit) so naturally they gravitate to using lower cost transformers and often times lower quality components, PCB's (printed circuit boards, etc). We offer Custom Designed Mercury Magnetics transformers that are designed to our specs to get the highest level of tone and quality possible.

High Gain Amps - Many high gain amps suffer from little to no note articulation.

Reissue Amps - Very rarely is there a reissue that truly lives up to the original design. As we have literally worked on, serviced and maintained thousands of vintage amplifiers we know what makes the original amps sound and feel the way they do. IE: certain transformers, voltages, component types/values, etc. We work on a great deal of Fender, Marshall and Vox reissues each month. The common theme is that every one wants the reissues to sound and feel like the originals. In some cases a reissue is an affordable platform for Custom Mods.  

What kind of modifying works are usually made at Voodoo amps?

It runs the gamet all depending on the player. On one end we have some simple Mods that are minimal in nature all the way to a complete rebuild of an amp (IE: strip everything off from the chassis and install Custom Transformers and a Custom Circuit). Naturally we also offer comnent Upgrades (coupling/bypass caps, filter caps, transfrormers, etc). 

What was the strangest mod request you have ever recieved?

On a humorous note; A woman called and asked us asked us to put a "hex" on her fiancée’s mistress. We initially thought it was a prank phone call though once we realized she was serious we politely explained that it was not a service that offered as we worked on guitar amps. Within 10 minutes she called back again - True story.

On a serious note; A gentleman who played a Gamba brought in a Fender Hotrod Deluxe and needed us to voice the amp to work with an Electric Gamba (similar in nature to a Viola Gamba). We designed Custom Transformers that were made to our specs by Mercury Magnetics and also redesigned the amps internal circuitry. It a fun project and the results were great!  

Beside modifying existing stuff, you've developed a long line of original Voodoo amplifiers as well. Could you please introduce them with a few words, especially the Hex DL, Witchdoctor DL, and V-Rock DL Series, as well as the V-Plex SL and V-Reck SL Series?

Dual Lead Series: All of our DL Series have a Clean Channel, a gain channel and a Solo Boost feature on the Gain channel. The Clean channels are identical on all models where as the Gain channels are different from model to model.

V-Rock - For many years we were asked to replicate the guitar tones from the 80's where players used hot-rodded/Modified Marshalls. Our V-Rock is a exactly that. With more low end on tap, effortless feel and incredible harmonics makes the V-Rock the perfect hot rodded 80's tones better than any thing else on the market. Dripping with effortless harmonics/sustain with an incredibly easy-to-play feel makes the V-Rock a must have amp. We also offer this in a single channel model (Single Lead Series).

Hex - A high gain British flavored amp picks up where a JCM800 leaves off. You have all the punch and roar of a 2203 but with more gain tap making it perfect for hard rock, modern punk/emo to metal tones. Its articulate and clear under higher gain tones and can be used for a variety of various musical genres. The Hex falls nicely between our V-Rock and Witchdoctor making it a great middle-of-the-road high gain amp.

Witchdoctor - This is our highest gain model and is designed this amp to meet demanding needs of today’s Modern Metal tones. The amp works extremely well in standard tunings as well as drop tunings (IE: baritone and 7 string guitars). The Witchdoctor has guttural low end that is always tight, intense harmonic complexity and responds instantly to pick attack. There is no other amp on the market that works as well with baritone or 7 string guitar.

Single Lead Series: These are our more vintage style amp designs.

V-Plex: We worked on a late 68 plexi that sounded stunning. We documented this amp and cloned the transformers so that we could offer the best out-of-the-box plexi to the rest of the world.

V-Rock: As the 80's are considered "Classic" or vintage by many we also offer the V-Rock in our Single Lead Series.

Who are the most important Voodoo players/endorsees?

The truthful and sincere answer is that all our endorsees are equally important to us, truly. Some of our lesser known or up-and-coming players have been key to helping us get to where we are now.

We have been blessed to be able to work with several well known and legendary players. To name a few; Jason Hook of Five Finger Death Punch, Vivian Campbell & Phil Collen of Def Leppard, Richard Fortus of Guns N Roses/Thin Lizzy, Brad Whitford of Aerosmith, Richard Kruspe of Rammstein, Doug Aldrich of Whitesnake, Chris Henry of Mondo Generator, 

Are Voodoo amps made by hand exclusively?

Yes, we proudly make every amp at our facility in Lansing New York USA. 

How many craftsmen do you employ right now?

At present we have five (5) full time employees. 

Where is the headquarters of Voodoo custom shop located, and how many Voodoo stores are running in North America?

Our headquarters are in Lansing, New York USA. Modifications are highly specialized and therefore we have one (1) location in the USA. 

Are Voodoo amps distributed in Europe as well?

We are presently looking for a European distributor.

Voodoo's kind of boutique amps are quite expensive as I see the retail price range. Do you have any plan to develop more affordable series in the future?

The section listed as "Dealer" price is what a customer here in the USA would pay if they walked into a music store to purchase the amp. The reason the amps are more costly in Europe is due to the shipping costs and import feed/duties/taxes. Having said that; We are working towards setting up manufacturing in the UK to effectively bring the cost of our products down in Europe so that we can be more competitive.

Which type of sound do you personally prefer, British or American?

First and fore most, I am a fan of tone and as such I love all kinds of tones. This is why we offer different types of production models as well as various different circuitry Modifications. For clean tones I and most others prefer the older Fender Black Face style clean tones. For gain tones I personally lean towards British flavored tones but American tones certainly have their place depending on the type(s) of music one is playing. Our Hex and V-Rock are British flavored where as our Witchdoctor is a more unique design, which I suppose some would call America flavored.  

Do you have favorite preamp and power tubes?

The quality of modern production tubes changes so often that it makes it difficult to narrow it down to one tube.

Power Tubes - As a generalization I prefer the tone of EL34's though there are very few modern production EL34's that I really love the tone of. My favorite were the NOS Mullards and Telefunkens (very rare). Presently with modern production tubes we are using the Reissue Tung Sol EL34B's. Keep in mind that we "burn-in" the tubes for 72 hours and then test/select and match the tubes. I say this as the tube manufacturers are no longer burning in the tubes, which has been part of the manufacturing process for decades. It is the last step in the manufacturing process but a couple years ago when the cost of metals went up they all decided to stop burning in tubes as it was a labor based step. Sadly they did not charge less for the tubes but instead charge the same amount for a lesser quality product. We built burn in racks like they had back in the 60's and we burn the tubes in for 72 hours, which is the minimum amount of time required. Burning in tubes not only increases reliability but also makes the tubes sound better (more three dimensional) and also makes them feel better to play on. If you purchase tubes that are not burned in but are "matched" you can rest assured that after a few weeks of routine playing tour power tubes will spread apart and the tone will suffer. The same will happen with your preamp tubes.

Preamp Tubes - As such we often use more than one preamp tube to get the sound and feel we are looking for. I like the sound of the Chinese 12AX7A's but they need to be properly burned in. Once burned in they are very balanced from lows, mids to highs and have great harmonic content. We always use and recommend a matched tube for the Phase Inverter position and for tube driven Effects Loops. 

These days modeling amplifiers are quite popular. What do you think about them?

There was a big boom period in the USA for digital modern amps but that has since passed. While a lot of players use them at home or as a quiet way to work on demos late at night but when playing live they do not feel or perform the same a tube amp.

www.voodooamps.com

HENRIK FREISCHLADER - ROAD TO BUDAPEST ON FIRST CLASS BLUES TRAIN

EARLIER THIS YEAR I WAS FORTUNATE ENOUGH TO CONDUCT A CONVERSATION WITH GERMAN BLUES GREAT HENRIK FREISCHLADER. ENJOY!

YOUR BRAND NEW ALBUM IS CALLED „NIGHT TRAIN TO BUDAPEST". DOES THIS TITLE REFER TO YOUR GROWING HUNGARIAN POPULARITY?

The songs of this album indeed came into being on the night train to Budapest. My anticipation of seeing you guys and your beautiful city clearly motivated me :-) And my popularity in Hungary I owe to you!!

WHAT DO YOU THINK WHAT MIGHT BE THE SECRET BEHIND YOUR HUNGARIAN SUCCESS?

The secret has a name – Mr. Csillag Zoltán, and of course the people who are interested in my music! We had already been in touch long before my first show in Budapest, because he has managed the World Wide Gary Moore Fanclub very lovingly and for many years. When I was 17 years old, Zoli’s website about our mutual hero was THE web address for me to stay up-to-date. We wrote each other every once in a while, exchanged rare concert recordings of Gary’s, and at some point, Zoli visited me in Vienna at one of my shows, and despite his high standards, he must have liked my music. After Gary’s death, we directly got in touch and as usual, Zoli was the first one to organize something to honor Gary: The Gary Moore Memorial Night! He invited me to play with Gary’s band in Gary’s stead. I was very nervous, but all the kind people in Budapest and this inviting, magnificent city provided me with the calm necessary for it. I was so delighted by your capacity of enthusiasm and your musical feeling that I definitely wanted to play a show with my band in Budapest. This first show has remained unforgotten until today.

HOW IS YOUR MUSICAL POSITION IN OTHER EUROPEAN COUNTRIES, WHICH ARE THE STRONGEST TERRITORIES FOR YOU WHEN IT COMES TO TOUR?

Germany is in first place, for sure – here, we have simply played for many years and most of our fans are from here. Austria and Switzerland are in second place, and in the UK, we’ve already had a few successful tours as well.

ALTHOUGH YOU’RE EUROPEAN, YOUR MUSIC GOT AMERICAN HEAVY BLUES ROOTS. WHO ARE YOUR MAJOR INFLUENCES WHO’S GOT THE BIGGEST IMPACT ON YOUR STYLE SO FAR?

Gary Moore had and still has the biggest influence on my playing – his feeling is and will remain unsurpassed, it’s something you can’t learn, but only try to get as close to as possible :-) But Peter Green, Albert King, Stevie Ray Vaughan, and BB King have also very much influenced me.

WHAT KIND OF BLUES DO YOU LIKE THE MOST – CHICAGO, TEXAS, OR MISSISSIPPI DELTA?

I actually like all styles if they’re played well, because this is what matters. A badly played Texas shuffle doesn’t have anything to do with Texas Blues - the same is true of the other styles. This is why I actually listen to the groove and the expression of each musical style.

HOW DO YOU CONSIDER YOURSELF – A BLUES GUY WHOSE HEART IS POUNDING FOR ROCK AS WELL OR A ROCKER WHO HAS HUGE BLUES BACKGROUND?

In my heart, I’m more of a Blues guy and my heart is pounding for the Blues, still, I sometimes like to play a bit harder. Maybe this will change once I get older, haha.

CAN WE SAY THAT YOUR CONTEMPORARIES ARE KENNY WAYNE SHEPHERD AND JOE BONAMASSA?

To be honest, I don’t see myself in the same league – both of them already have a much bigger fan base than me. But we all work to keep the Blues alive and so, I would answer your question with a YES :-)

AS FAR AS YOUR NEWEST EFFORT S CONCERNED, PLEASE TELL US WHAT ARE THE MAIN DIFFERENCES AND SIMILARITIES TO YOUR PREVIOUS WORKS IN YOUR OPINION?

I would say that the songs on my new album are a bit more complex than the ones on its predecessors. The mix with other musical styles like Soul, Funk, Rock, and Jazz music has remained the same.

WHEN IT COMES TO SONGWRITING, WHAT KIND OF THINGS MOVE YOUR MIND THE MOST?

Somehow, my mind is always moved by misunderstandings, by emotions. People that don’t understand each other, developments that are not understood, etc.

HOW WAS THE STUDIO PROCESS?

It took quite a long time because we always had shows in between and so it was difficult to always again focus on recording. Once you get back into the studio, you somehow get going. The situation motivates you. Still, there’s a chance that you get stuck and need a day off!

I’VE SEEN YOU ON STAGE WITH BOTH FENDERS AND GIBSONS. DOES YOUR CHOICE OF GUITAR DEPEND ON WHAT KIND OF TONE THE ACTUAL SONG REQUIRES?

Yes, it definitely does – every song demands a certain guitar even though you could play every song effortlessly on every guitar. But a particular guitar can add a special touch to a song. At least, that’s what I desire.

AS A GUITARIST/VOCALIST, ISN’T IT DIFFICULT TO SHARE YOUR ATTENTION BETWEEN SINGING AND PLAYING IN THE SAME TIME?

This somehow worked out quite automatically – by now, I’m so used to it that it’s not difficult to me anymore. Maybe this is also connected to me having played the drums for many years beforehand. A good timing helps you with making good use of both at the same time.

SO FAR YOUR STAGE SETUP, ARE YOU A MARSHALL PLEXI GUY?

Back in the day, I used to be one, but by now, I’ve played REALTONE Amps, which a good friend of mine manufactures, for about 10 years. They sound very natural and dynamic without many gimmicks – above all, you hear the character of the guitar. I don’t miss anything and that’s why I don’t try out anything else anymore.

USUALLY HOW DID YOU PRODUCE THAT RAW OVERDRIVEN TONE? WHAT KIND OF STOMPBOXES ARE IN YOUR PEDAL BOARD?

The amps themselves are mostly responsible for everything. I always turn them up very loud so their natural tube sound gets slightly crunchy. In addition to this, I prefer using boosters (Xotic Effects RC-Boosters) instead of distortion pedals because most distortion pedals sound rather unnatural and thin. A small hint of an amp signal does it for me. And then, I have an old Vox Wah, a Deja Vibe, and Lehle switch boxes for my amps.

MOST BLUES PLAYERS SWEAR TO REALLY HEAVY STRINGS, .012 OR .013 GAUGES. WHAT ABOUT YOU?

I play 10-52 strings – they’re strong enough and still give ample scope for an Albert King bending ;-)

WHAT KIND OF ADVICE WOULD YOU GIVE TO YOUNGER BLUESMEN WHO WANT TO PUT THEIR CHOPS TOGETHER?

Of course, I would recommend to them to go all in. I myself didn’t do it any different from that. It’s not a secure and, particularly, not a steady job, and you don’t have the time and freedom everyone always imagines you to have. On the contrary, you work a lot and you work hard. And then there isn’t even a guarantee of financial success. But there is a guarantee of very real, profound, and happy moments. I believe that everyone who follows his or her vocation – regardless of what it is – knows this feeling of oneness. If you’re already lucky enough to have found your vocation, you should follow it.

http://www.henrikfreischlader.de/

Photos by Császár Márta (www.kifra.hu)

JOHN ROTH – WINGER’S SECRET WEAPON

  

…And the Winger story continues with a brief conversation. Guitar great John Roth has been handling guitar duties in the band since 1993, when he was asked to join forces with Kip Winger, Reb Beach, and Rod Morgenstein. Now he talks about his thoughts and impressions on Better Days Comin’, as well as songwriting, gear stuff, and many other things. Enjoy!

You've been playing in Winger for more than 2 decades. How do you feel, have you been involved more and more in the creative process over the years?

It's exciting to have become more and more involved in the songwriting with Winger over the years! It's always a blast to write songs with the band and to see how they evolve along the way.

You got your own moments on the previous records for sure. As far as this particular writing/recording process, which tunes wear your handprints the most?

So Long China and Storm in Me.

When you write for Winger, do you always pay attention to what Kip asked for, or enjoy your artistic freedom?

Both. Kip is a great guy to write songs with. He has a strong vision for where he wants a song to go, but at the same time is always open to hearing to all song ideas, riffs, arrangements, etc.

Guitar-wise, which new songs are you the most proud of?

All of them!

This time how did you share guitar duties with Reb in the studio?

All four members of Winger are so involved in other projects that it rarely allows us the luxury of being in the same room together for the recording of an album. We normally work with with Kip individually and work out who does what along the way.

What kind of gear did you use during the recording of Better Days Comin'? Do you still prefer those vintage Fenders and Gibsons?

For all of the rhythm guitar tracks I used my 1990 Gibson Les Paul Studio through a Mesa Dual Rectifier Roadster head into a 4x12 Marshall cabinet. For my solos and clean guitar tones I used a 2010 American Standard Fender Stratocaster HSS model with Dimarzio pickups.

You are a very versatile player, who could do chicken pickin' country stuff, blues, classic rock, but your pocket is also full of smokin' shred licks as well. How did you become an all-round player, and who are your biggest influences?

I guess my versatility just comes from years of playing in a lot of different bands, and from always having an open mind to experimenting with different styles. I have so many different influences, but if I had to name three, they would be Jimi Hendrix, Jeff Beck, and Billy Gibbons.

A few years ago you have taken over Dann Huff's position in Giant. I guess you had to fill some large shoes there...

There really is no taking over Dan's position, he is irreplaceable. I was honored to be the guitarist picked to play and be a part of the songwriting on Giant's "Promise Land.

Any plan for yet another Giant album together?

Not as of now, but I would love to do another Giant record!

Now you're in Starship as well. Could you please tell me something about this band as well?

Starship is a group of incredibly talented players featuring the iconic vocals of Micky Thomas as well as the beautiful voice of Stephanie Calvert! The band has a new record out called "Loveless Fascination" on Loud and Proud records. Go check it out!

www.wingertheband.com

www.johnroth.com

www.starshipcontrol.com

ROD MORGENSTEIN - WINGER

Alright, Folks, I know well this blog is primarly about guitars, but let me make an exception. I just conducted this interview with drummer extraordinaire Rod Morgenstein regarding the brand new Winger record, which is yet another killer effort from this band of virtuosos. Despite his busy schedule, the Berklee professor kindly answered my questions - as always!

This new record is a true candy store for Winger fans - it shows all the signature elements, from guitar heavy rockers across ballads to progressive stuff. Was it a conscious decision from the band - giving something to every fans?

I think there has always been a mix of styles in Winger’s music, even as far back as the first record. ‘Hungry’ starts with a classical string arrangement, ‘17’ has really syncopated, funky guitar riff rhythms, not to mention the 2-measure displaced, upside down drum pattern right after the guitar solo, and ‘Headed For A Heartbreak’ has the long extended guitar solo at the end followed by the all drumming over the keyboard/guitar ostinato. So, even the first record took advantage of all of our collective music backgrounds. Maybe this eclectic approach is more obvious now than in the past. But it is precisely the bringing together of all these elements into the music that we feel gives Winger our identity.

As far as Winger fans, how do you see, could the female fan of Hungry "walk hand in hand" with the much more serious music lover of the latter Winger works?

I think that part of what makes Winger’s music interesting is that it can be experienced in different ways and on different levels, depending on who the listener is. At it’s core, most of the music is straight-ahead, heavy hitting rock. But, at the same time, there are also more intricate harmonic, melodic and rhythmic elements happening at various times in the music, which musicians will find intriguing and challenging. So I really think our more recent recordings can be appreciated by the older fans including, as you say, the ‘female fan of Hungry’.

Are US fans see the band differently than the Europeans?

I think fans of rock music are, in many ways, very much alike around the globe. However, as far as Europe goes, in the 50's and 60's many American jazz musicians moved to Europe because there appeared to be more of an appreciation for jazz music there. And so, the feeling was that Europeans were more open-minded about improvisational music. So maybe in some ways, the European audience is more open to rock bands like Winger, who like to mix things up a bit and not just stay the safe course.

The new record sounds so natural. How was the recording of the drums? How were the kit setup and the mic settings?

Normally, drums are set up on the other side of the glass, securely away from the control room. This time around, we set the drums up right by the mixing console in the control room. So Kip, who produced, engineered and mixed the record, was right there 5-10 feet away from me. It made communication and ease of operation so easy. The mic’ing is always similar, with every drum having its own mic, and room mikes set up a few feet away. Kip is always experimenting with different mics, as the recording of drums is an on-going process.

Did you work out the drum tracks the same way as you used to do during the past sessions?

With every recording, I always get a few days in advance of the recording to get familiar with the songs. And it is during this time that I work out some specific groove patterns. But a lot of the drumming is left to jamming during the recording. And so, no 2 takes of a song are ever exactly alike. There is something fresh and creative by allowing some of the drumming to be happening on the spot. Sometimes, some of the best stuff happens when you are cruising on the seat of your pants.

Do you have your own method to record drum tracks in the studio?

I like to be very familiar with a song before I go into the studio to record. It enables me to come up with ideas that I think add to the process. But I also enjoy getting feedback from the producer as we're recording, because another person's perspective can trigger other interesting ideas. For example, the weird, displaced drum groove that happens right after Reb's solo in '17' from the first album, came about as a result of the producer suggesting I do something that you would never hear on a rock record.

How do you feel, is it easier to do a Winger record nowadays than in the '80s, on the peak of the band's success?

I think recording is easier now, for one reason, because Kip is a seasoned veteran engineer/producer. And everyone in the band has years of recording experience. But it is still a pain-staking, long process. Technology has made certain aspects of recording easier. But, with all of its power, it has created so many options in the recording process, that things can actually take longer to get completed.  

So far the new songs, there are straight forward rockers, like Rat Race, Queen Babylon, Midnight Driver, as well as the most progressive tunes in Winger history such as Tin Soldier and Better Days Comin'. Do you enjoy playing both way?

I love the challenge of playing all styles of music in an authentic manner, while throwing some of my individual drumming personality into the mix. And, whether a song requires a straight-ahead, basic groove like ‘Can’t Get Enuff’, or a more technically challenging song in 5/4 like ‘Tin Soldier’, the key is to take the challenge seriously in terms of bringing the song to life by creating and playing the appropriate parts for it. One of the most exciting parts of my career has been having the opportunity to play and record in so many different musical genres. The Dixie Dregs, with guitarist Steve Morse, is an instrumental rock/jazz/classical/country fusion band, The Rudess Morgenstein Project, with Dream Theater keyboardist Jordan Rudess, is a prog duo that experiments playing in time signatures of every kind, Jazz Is Dead is a jam band that allows the musicians to dig down deep and create a different performance at each gig, and The Jelly Jam, with Dream Theater bassist John Myung, and King’s X guitarist/vocalist Ty Tabor, is a vocal-oriented musician power trio. So, each of these bands is very different from one another. And I love the challenge of coming up with just the right stuff for each one. And so, in Winger, we cover a range of styles, but the challenge is the same with each song, and it is all totally enjoyable.

Which is more difficult - to play slow and simple stuff or beating complicated rhythms, odd time signatures?

This is a fantastic question, Gyorgy! This is an on-going question that musicians debate over and over. One of the most difficult transitions I went through just before I got involved with Winger in 1987, was learning to have respect for simplicity. We sometimes confuse 'simplicity' with being 'simple', 'easy', that 'anybody can do it' because it’s so simple and stupid . I was a jazz-rock-fusion musician playing complex rhythms with the DIxie Dregs

There is an exotic breakdown in So Long China, with latinesque rhythms, congas and bongos. Did you tracked that or you guys hired a percussionist?

I think the latin rhythms were programmed by Kip and John. John came up with that cool interlude section.

On Karma you got Firs Ending, an interestig piano piece played by you. Were there any thoughts to play some keys on this new record as well?

During the recording of Karma, I was taking a break from cutting drum tracks, jamming on the piano, and Kip stopped me to ask what I was playing, because he really liked it. I told him it was something I wrote, and he thought it would be cool to put it on the album. So it wasn’t anything planned, just a spur of the moment decision. Nothing like that happened this time around.

Though Winger was the most virtuosic "hair" band, with larger than life hit singles at the end of the 80s, you guys could not achieve that level of success you should have been deserved for. So can you tell me why couldn't Winger maintain its popularity (like Bon Jovi and Def Leppard did) in spite of sing along songs in radio and first class musicianship?

The answer to this is easy. Def Leppard formed in the late 70’s, and Bon Jovi came around in the early 80’s. So both bands were firmly established by the late 80’s. Winger’s first album was released in the second half of 1988. As they say, ‘hindsight is 20/20’. Nirvana hit the scene in 1991 with ‘Smells Like Teen Spirit’, which ushered in the grunge music scene, which signaled the end to everything that had been happening the past few years. And so I think bands like Winger had not been around long enough, like Def Leppard and Bon Jovi, to have been firmly established by 1991.

As a Berklee professor at the school's drum faculty, how could you coordinate your campus life with touring? I ask this because Mike Mangini, for instance, had to give up teaching at Berklee for the Dream Theater gig...

In my 17 years teaching at Berklee, I have missed as many as 5 weeks in a 15 week semester. But most of the touring I have done since the year-long Winger tours of the late 80's / early 90's are short one, two, or three week runs. And so, this enables me to keep up the teaching schedule at the college. As far as Mike Mangini's situation goes, Dream Theater will do tour runs that can sometimes last six, seven. or eight  weeks, which would make it virtually impossible for him to meet the daily teaching requirements of Berklee or any college.

Finally, could you please tell me what's the best thing regarding playing in Winger?

Aside from the immense respect I have for John, Reb, and Kip’s talent, the friendships in Winger run quite deep, and I always look forward to hanging with the guys, whether in the studio or on tour somewhere around the world. There is something to be said about being in a band with people whose company you enjoy. Within minutes of being together, it’s like being a teenager all over again. And there is certainly nothing wrong with that!

http://www.wingertheband.com

http://www.rodmorgenstein.com

http://www.berklee.edu/people/rod-morgenstein