'Ask Romeo' is now closed while the guys work on finishing up the new cd. I'll see if we can get Mike to answer another batch of questions for you once the cd's done & he has some time to breathe. 'Til then, here are his answers to your questions; thanks to everyone who participated!
***CD Questions***
~Question:
Do you have some things you agree to tell about the new Symphony X album ? Things like: do you have some songs ready? do you have an idea for the release? the sound?
~MJR:
We are still in the process of working out the songs - We have alot of music and riffs - but we are still working on lyrics and putting things together. We've been trying to write on the tour bus - but it isn't very easy - there are alot of distractions and the bus is always moving around. As far as the material - most of the music, in terms of style, is along the lines of the Odyssey - sometimes a bit heavier and darker. This one has been tough because we want to do something more intense than the last CD and create something original and fresh - we've put alot of pressure on ourselves to do something that will be challenging for us and exciting for the fans. It gets harder every time. We will continue trying to work on the bus, but as soon as we get home ( about Sept 4 ), we will get really busy and try to get the songs finished and recorded by December - and the release by March.
~Question:
Can you give us a hint on the theme of the next album? Or the name of at least one track?
~MJR:
The new CD is along the lines of the Odyssey - maybe a bit darker. We are still working on the tunes, but the overall feel is darker and heavy. We've been talking about ideas for a longer track, as well. As far as titles, we have a few working ideas - but nothing is definite yet.
~Question:
Will there be a epic song in the new album?
~MJR:
We've been throwing around a few ideas for a "longer track" ( ...although probably not 24 minutes! ), but song with a few different movements or sections - and tune to get the orchestra in there doing some cool, dark stuff.
~Question:
Maybe it has been asked, but ive been wondering...maybe someone knows. How do they do it? first the make the melody line and then write the music for it, or vice versa?
~MJR:
Usually the music is there first - and the vocals are crafted around the underlying music. There have been a few times were there was a melody, and the music was built up around it, though. But most of the time - the music is there first.
~Question:
Is the bonus track of Masquerade on the album 'The Odyssey' still with the old bassist Tom, or is it a remake with Mike LePond?
~MJR:
It was in-between...so I took up the bass duties on that one.
***Playing and technique questions***
~Question:
Hey Michael, I'm a huge fan and i wanted to know who were your biggest influences and what scales do you play the most. thanks a lot.
~MJR:
In chronological order -
Ace Frehely / Kiss - for making me pick up a guitar
Jimmy Page - learning LedZep tunes and pentatonic/ rock licks
Randy Rhoads - for everything else after that - had the biggest influence on me
Eddie Van Halen - for the chops and tapping
Al Dimeola - for his picking and technique
Uli Jon Roth - for his incredible vibrato and phrasing
Yngwie Malmsteen - for the unrelenting intensity of his playing style
Alan Holdsworth - for his cool note choices and phrasing
I could go on and on about different players / musicians that have influenced me, in one way or another...but I'll just mention a few more: Marty Friedman, Jason Becker, Paul Gilbert, Frank Gambale, Shawn Lane, Frank Zappa, Black Sabbath, Kansas, Rush, Pantera, ELP, Judas Priest,Bach, Beethoven, Wagner, Rimsky-Korsakov, Stravinsky, John Williams.
~Question:
The guitar/keyboard unison after the guitar solo in Masquerade (the remake) - is that tapped or picked? Great show at Gigantour in Pittsburgh, and thanks for coming out to say hi (even though you stole LePond from us!) And thanks for answering our questions.
~MJR:
The ascending sequences are tapping with string-skipping and the descending patterns just are tapped across adjacent strings..
~Question:
What inspired you to develop your tapping technique?
~MJR:
Mostly out of necessity - to be able to play things that weren't meant for guitar. I would hear a great arpeggio sequence or long legato line for piano or violin - but on guitar - it never worked. I would move the notes around to find a way to play some of these things, to make it sound smooth and fluid - and that lead to some of the tapping ideas. A recent example would be : on Vitalij Kuprij's solo CD there is a track based on Beethoven's Piano sonata in C#m - third movement. It has these long, fast ascending arpeggio sequences , which, on piano are fine, but on guitar required some tapping and string jumping to make it work. That is how it happens.
~Question:
At around 5:02 of "Candlelight Fantasia", right after the guitar solo, there is a really awesome melody going on in the background while Russ is singing. Something similar can be heard during the verses of the champion of ithaca section of "The Odyssey". I was wondering how do you get that sound. Is that some kind of delay effect?
~MJR:
It is just a digital delay effect set to a single repeat on the dotted-eighth note. I'll just play eighth notes ( a staccato phrase outlining the chord ), and the delay fills in the gaps - making it sound like sixteenth notes. Kinda like 'Cathedral' by Van Halen - same principle.
~Question:
In your opinion which one is your most difficult solo?
~MJR:
There are few, when playing live, that I have to practice a bit to get them up to speed - Smoke and Mirrors, Inferno and Sea of Lies.
~Question:
It is true that you learn some stuff by guitarist Michael Angelo Batio?
~MJR:
When I was younger, I saw his instructional video and admired his right hand technique. He made alot of sense when he talked about picking ( using a thick pick, minimal movement, positioning, etc.) - mostly common sense stuff, but it made me realize some things to be aware of when I was practicing my picking and getting my chops together. Since then, I've talked to Mike a few times and he is a really cool guy, as well as a great player.
~Question:
What's the most difficult SymX song to play live?
~MJR:
I would say- the Odyssey - there is just alot going on in that song.
~Question:
Were you influenced by, as well as what are your thoughts, on Shawn Lane?
~MJR:
Shawn Lane was an amazing player and all-around extremely talented musician. I definitely got some licks and ideas from him.
~Question:
What's Romeos favorite progression in these modes: D phrygian and E dorian and Bb Major
~MJR:
I don't like to think that way - rather the opposite : 'what scales can I use over a given progression ?' . That seems to make the most sense.
Say the progression was : Dmin7 / Amin7b5 / Gmin7/ Ebmaj7 - and you could play D phrygian throughout. But to me, it is all Bb major scale - and I'm thinking of modes in terms of fingering positions - because it's all the same notes of Bb major. Tonally, it's all the same.
I like think the other way around - If I had to play over that progression - : Dmin7 / Amin7b5 / Gmin7/ Ebmaj7 - I'd start to think about which scales and tonalities I like.
Over the Dmin7 - I would play D Dorian ( or as II in C major )
over the Amin7b5 - I would play A SuperLocrian ( mode VII of Bb melodic minor )
over the Gmin7 - maybe G Phrygian ( III of Eb major scale )
and the Ebmaj7 - Eb Lydian ( IV of Bb major scale )
It is important to know what scales work over what chords - you will have more choices - rather than everything diatonically , although that works too.
Check out the solo on Eyes of Medusa, for instance. The rhythm part under the solo is basically F#.
So I thought of it as a static F# - and played different tonalities ( scales ) over the section. Its starts off with a Lydian phrase - then gets into some harmonic minor licks and phrases - then melodic minor for a phrase - then a whole-tone ( augmented ) phrase - and ends off with a pentatonic/blues lick. All with F# as the root - but since the F# in the rhythm is only a 5th chord ( 1+ 5 ) - you could think of it as major or minor - always experiment.
~Question:
I played the guitar in 4th grade(for about a year) and i am interested in getting back into it, but I'm not really sure where to start. Any suggestions?
~MJR:
Start with the basics - some chords and pentatonic licks. Learn some songs and jam along = have fun.
~Questions:
My question is this, are there any plans for Romeo to do a instructional video or book on his tapping technique, he has some of the best tapping chops i have seen this side of vai!
Will you record a new instructional vid someday?
Please please please make an instuctional book and/or video. The Guitar Chapter was a great demonstration video, but we would all love some instructional to get an insight into your playing.
~MJR:
It's something I've been thinking about - an instructional book/video. I'd like to do something really in-depth - alot of licks/ideas, theory and examples with some jam along tracks - After the new CD is done - I plan to start putting some ideas together for it. I'll let you know how it progresses.
~Question:
If you write an instrumental, where do you start? I'm currently in an instrumental band, and my guitar teacher explained to me how you can keep it non-boring and stuff, but I don't really know where to begin...And my guitar teacher doesn't really know either cos he's mostly blues guitar and those don't have much instrumental songs or something.
~MJR:
I would think of an instrumental song the same as any other song - except replacing the vocal lines with guitar lines. Have a definite intro riff or section ( A ) - some kind of melody for a 'verse' type section ( B ) and a middle guitar solo or interlude type part ( C ) -" just like a normal song" - A B A B C - give it some structure and melody in-between the shredding, some key changes and movement - not just ' mindless noodling over the same A minor chord for 6 minutes ' , that gets old quick.
~Question:
I wanna know what and how Romeo practised to get a good day with his guitar and training his skills?
~MJR:
I listened to alot of different players and music - I learned alot of songs, solos, and licks from guys like Page, Rhoads, DiMeloa, Van Halen, Malmsteen, Holdsworth, etc. ) - as well as different classical pieces. If I couldn't play something - I'd work it up to speed with the metronome. I'd study books on theory and work on different playing techniques. Also, I would create rhythm tracks to improvise over - different chord changes, key and time signatures to work solos out and try new ideas. - trying to develop my own style. and...A lot of practicing!.
~Question:
How long do you usually practice playing guitar each day? Do you have certain things that you play each time (like scales, etc) or is it just random?
~MJR:
It depends...when we are touring, I'll practice ( or really just 'warm-up' ) before we play and occasionally noodle on the bus - to keep the chops up. When I am writing, I am always playing - but not really 'practicing'. But....when we are getting ready to record - I practice a lot - I'll metronome up all my old exercises ( scales, sequences, arpeggios, tapping, endurance, etc) - everything! I'll also practice improvising over chord changes /rhythm tracks and work out some cool new licks and phrases.
***Guitar and Amp Questions***
~Question:
Your named appeared on the Caparison Guitars website, do you have some kind of endorsement deal with them? I've never seen you use a Caparison guitar at any time, so that's why I'm asking.
~MJR:
Caparison recently made me a bunch of guitars - to my specs. I've been using them on Gigantour and they are smokin! I sent them a few different necks to model after, as well as body style, pickups, bridge, etc - and they custom built each one - they are really great instruments.
~Question:
Which pickups are you actually using on your guitars?
~MJR:
DiMarzio X2N ( bridge ) and ToneZone ( neck ). I've been using that configuration forever - I know exactly how they react and how my amps work with them.
~Question:
Which effects (compression, delays...) do you use in live perfomances?
~MJR:
Everything is in the Line6 Vetta Head. Some great overdrive ( TubeScreamer ) and analog type delay effect models are in there. For live I use an 'analog chorus' mod on the rhythms - and for the solos, some delay and chorus. For the clean tone - some compression to keep it glued together and some chorusing.
~Question:
What sort of things do you look for when creating your tone in terms of eq, effects, etc..?
~MJR:
For rhythms - I like a full sound with tight bottom end and some midrange for definition..not much effect ( maybe some chorus for thickening ). For solos - less bottom end , more midrange - focused sounding with some chorus (or detuning) and a bit of delay ( or reverb ).
~Question:
Why do you have 2 Vetta amps on stage with you for Gigantour?
~MJR:
Line6 sent me the Vetta Head II for the tour. It is my back-up amp - I copied all my setting from my original head to the new one - a complete duplicate...in case anything ever goes wrong ( plus, it looks cool ).
~Question:
Why the change from ESP to (or is that back to?) Caparison? And what are the chances of you playing some stuff from The Damnation Game next time you're in the UK?
~MJR:
Caparison recently made me some custom guitars. They hand build exactly what I asked for - wood, neck size and radius, body style, pickups - everything I wanted. About The Damnation Game...not sure. By the time we are touring again, we will have a whole new CD of material to play! So it becomes more difficult to decide which older songs to play in the set list.
~Question:
What the real story with the gear that was used on the first 3 cds, and his solo record, to get his solo tone. I KNOW it wasn't a TriAxis that was used to get that very "Rockman-esque" tone. The tonal difference between his solo and rhythm sounds is far too different to get with the same preamp unless he 1.) Had it modded or 2.) ran it through a crapload of other processing/EQ. Enquiring minds want to know. My guess is the answer will be either a.) Studio Magic or b.) Goat sacrifices to pudding covered midgets or c.) I used a Rockman X100...
~MJR:
You busted me, dude. For the solo CD and first 2 SymX CDs - the only amps I had, at that time, were a Marshall JCM800, Fender M-80, a Mesa/Boogie recording pre-amp. By the third CD ( Divine Wings ), I had bought the Tri-Axis and for some of the solos, I used a Rockman Compressor/Sustainer as a preamp ( in front of the Marshall...if I remember correctly ) - but only on that CD - thus - the 'Rockman-esque' tone on some of those solos. I always like to experiment and try out new things - different pre-amps, cabs , mic placement, etc.
***Studio and Recording Questions***
~Question:
What kind of microphone placement/EQ/overdubs do you use on your amps in the studio? The rhythm sound on The Odyssey is killer!
~MJR:
I used 3 different amps for the Odyssey - ENGL fireball, Line 6 Vetta head, and Mesa/Boogie Dual Rectifier. The rhythm tracks were mostly the ENGL and the Line 6 Vetta ( for different amp tones, clean, etc. ) and the Boogie and Vetta for the solos. The cabinets were Mesa/Boogie half backs ( 4x12 ). For mic choice and placement, I like to experiment a bit...but usually a Shure SM57 and a Sennheisser 421 - up close to the speaker ( the 57 a bit off axis OR off-center of the cone ) and sometimes an AKG 414 back a few feet for some ambience and space. Then into the Neve 9098s ( preamp & EQ ) and EQ a little to clean up the bottom end and get it sounding tight - I'll double track all the rhythms.
~Question:
How long did it take you to learn the ins/outs of recording with all the gear you have? (gigastudio, nuendo, Vetta head, etc.)
~MJR:
Not very long - I've always been into recording and try to keep up to date with gear and stuff. Back in high-school, I had a four-track recorder and some mics, then I bought and eight-track reel to reel machine and mixer, then some outboard gear. Eventually, I got the digital 8-tracks machines and then the computer based systems. It was gradual, so the learning curve was easier with the gear I use now. (I always read the manuals, too.)
~Question:
When you are writing the orchestral parts like, for example, on the song The Odyssey, (A Masterpiece of Brilliance by the way) do you use a keyboard or maybe just your computer?
~MJR:
I've played piano since I was 12 - so I'm not too bad - all the orchestral parts I played on keyboard ( although, there is some MIDI editing that takes place - to achieve certain effects ).
~Question:
How do you figure out which instruments work the best for the sound you're trying to achieve? Obviously the end result is perfection but do you go through a lot of trial and error like maybe recording a part using tremolo strings then if not satisfied edit in a different instrument?
~MJR:
Not much trial and error - I've studied alot of scores and books on orchestration - so I know what I'm looking for beforehand. Also, with most of those sections, I scored it out on paper first - so I knew what I wanted and what it was going to sound like.
~Question:
Do you use midi instruments for any of the orchestral parts?
~MJR:
Everything is basically MIDI information ( at one point ) - I use Gigastudio with a few different orchestral instrument sample libraries, (The Vienna Symphonic Library is my current favorite - a bit pricey, though - about $5000). I play and record the parts as MIDI in Nuendo2 - keep building using the necessary instruments - then send out the MIDI to three dedicated Gigastudio machines - and then record the audio. Back into Nuendo2.
***Touring and Gigantour Questions***
~Question:
We just would like to know your feelings about this Gigantour, what do you like in that event, or dislike maybe ?
~MJR:
So far, everything on the tour has been great - I think Dave Mustaine has done an excellent job in putting this thing together. There are some great bands and great players on this tour - and everyone gets along - no attitudes or bullshit. The fans also seem to enjoy it. The only complaint I've heard is about our set time - only a half hour - which for us is short and it is tough to pick songs that fit the amount of time. But aside from that - everything is cool.
~Question:
Do you plan on doing a headlining tour of the states soon?
~MJR:
We will be doing a headline tour after the release of the new CD (which we are hoping to finish and have released by March).
~Question:
Is the new album going to be a concept album?
~MJR:
No, not a concept CD - there may be one longer track, though.
~Question:
Does symphony x have any kind of rivalry with dream theater?
~MJR:
Not at all. Actually, it was Mike Portnoy who put in a good word to Dave Mustaine for us to be on Gigantour.
~Question:
Did you ever jam with John Petrucci? [because that would be a meeting of gods].
~MJR:
We talk a bit about gear and some chop/ technique stuff - he is a great player and I'm sure we'll noodle sometime during this tour.
~Question:
Is everyone's perception of dave mustaine askew, or is he a prick?
~MJR:
Dave is an awesome guy - he's been great with us, and with running the tour - he's been fair, but yet, doesn't take any shit.
~Question:
I saw symphony x in chicago, last weekend, was that the best show you ever played? [say "yes"]
~MJR:
Umm..yes..hehe.
~Question:
Is the reception you've been receiving at Gigantour better than you expected? I heard you're 3rd in merchandise sales and basically every review I've read on the Gigantour forums has been extemely positive.
~MJR:
The reception has been really great. At first we weren't sure how we would go over, (considering the lineup - there are alot of different bands and different styles), so we were just hoping for the best. But, it definitely has turned out much better than we had anticipated - very cool.
~Questions:
Will Symphony X ever consider doing a tour of Australia & New Zealand? We are all dying to see a SX show down here!!!!
What are the chances of a Symphony X South Africa tour?
I'm a SyX brazilian fan, and you may have heard that in our country we have a lot of people that enjoy their music. Based on that, my question is very simple and obvious : are there any plans to have them playing around here in a near future ?
~MJR:
After we release the new CD (hopefully in March or April) - we will start touring plans and get everywhere we can!
***Random Stuff***
~Question:
Michael is listed in the credits on the new Steve Walsh album, Shadowman. What was his contribution to that album?
~MJR:
Steve asked me to do the orchestrations on some of his tunes - ( which was a honor because I'm a big fan of Steve and Kansas). He had heard the Odyssey and some other symphonic/film music I had done in my studio and contacted me to lend a hand with his solo CD. I used Nuendo2 for MIDI editing/composition and recording - and Gigastudio with a bunch of orchestral instrument sample collections.
~Question:
What is your favorite current TV show (if no favorite, what do you watch the most)?
~MJR:
I don't watch to much TV - mostly movies (DVDs), although I do like Law and Order.
~Question:
I started a thread a while ago about the intro of Candlelight Fantasia sounding similar to the music in Star Wars Episode 2 when Anakin is just about to go and find his mother who has been captured. Not sure if this theme was created for a previous episode but if it was then was it any influence on Candlelight Fantasia......or if it was only played in Ep.2 (which was after Divine Wings) was the legendary John Williams influenced by you ??
~MJR:
Well, Divine Wings was years before Episode II - so draw your own conclusion. I admit, though, John Williams is a big influence for me, especially for the Odyssey track.
~Question:
What did you think of the latest Star Wars film and its musical score?
~MJR:
I thought the film and score were really good. 'Empire' and 'A New Hope' are still my favorites - as well as the music.
***CD Questions***
~Question:
Do you have some things you agree to tell about the new Symphony X album ? Things like: do you have some songs ready? do you have an idea for the release? the sound?
~MJR:
We are still in the process of working out the songs - We have alot of music and riffs - but we are still working on lyrics and putting things together. We've been trying to write on the tour bus - but it isn't very easy - there are alot of distractions and the bus is always moving around. As far as the material - most of the music, in terms of style, is along the lines of the Odyssey - sometimes a bit heavier and darker. This one has been tough because we want to do something more intense than the last CD and create something original and fresh - we've put alot of pressure on ourselves to do something that will be challenging for us and exciting for the fans. It gets harder every time. We will continue trying to work on the bus, but as soon as we get home ( about Sept 4 ), we will get really busy and try to get the songs finished and recorded by December - and the release by March.
~Question:
Can you give us a hint on the theme of the next album? Or the name of at least one track?
~MJR:
The new CD is along the lines of the Odyssey - maybe a bit darker. We are still working on the tunes, but the overall feel is darker and heavy. We've been talking about ideas for a longer track, as well. As far as titles, we have a few working ideas - but nothing is definite yet.
~Question:
Will there be a epic song in the new album?
~MJR:
We've been throwing around a few ideas for a "longer track" ( ...although probably not 24 minutes! ), but song with a few different movements or sections - and tune to get the orchestra in there doing some cool, dark stuff.
~Question:
Maybe it has been asked, but ive been wondering...maybe someone knows. How do they do it? first the make the melody line and then write the music for it, or vice versa?
~MJR:
Usually the music is there first - and the vocals are crafted around the underlying music. There have been a few times were there was a melody, and the music was built up around it, though. But most of the time - the music is there first.
~Question:
Is the bonus track of Masquerade on the album 'The Odyssey' still with the old bassist Tom, or is it a remake with Mike LePond?
~MJR:
It was in-between...so I took up the bass duties on that one.
***Playing and technique questions***
~Question:
Hey Michael, I'm a huge fan and i wanted to know who were your biggest influences and what scales do you play the most. thanks a lot.
~MJR:
In chronological order -
Ace Frehely / Kiss - for making me pick up a guitar
Jimmy Page - learning LedZep tunes and pentatonic/ rock licks
Randy Rhoads - for everything else after that - had the biggest influence on me
Eddie Van Halen - for the chops and tapping
Al Dimeola - for his picking and technique
Uli Jon Roth - for his incredible vibrato and phrasing
Yngwie Malmsteen - for the unrelenting intensity of his playing style
Alan Holdsworth - for his cool note choices and phrasing
I could go on and on about different players / musicians that have influenced me, in one way or another...but I'll just mention a few more: Marty Friedman, Jason Becker, Paul Gilbert, Frank Gambale, Shawn Lane, Frank Zappa, Black Sabbath, Kansas, Rush, Pantera, ELP, Judas Priest,Bach, Beethoven, Wagner, Rimsky-Korsakov, Stravinsky, John Williams.
~Question:
The guitar/keyboard unison after the guitar solo in Masquerade (the remake) - is that tapped or picked? Great show at Gigantour in Pittsburgh, and thanks for coming out to say hi (even though you stole LePond from us!) And thanks for answering our questions.
~MJR:
The ascending sequences are tapping with string-skipping and the descending patterns just are tapped across adjacent strings..
~Question:
What inspired you to develop your tapping technique?
~MJR:
Mostly out of necessity - to be able to play things that weren't meant for guitar. I would hear a great arpeggio sequence or long legato line for piano or violin - but on guitar - it never worked. I would move the notes around to find a way to play some of these things, to make it sound smooth and fluid - and that lead to some of the tapping ideas. A recent example would be : on Vitalij Kuprij's solo CD there is a track based on Beethoven's Piano sonata in C#m - third movement. It has these long, fast ascending arpeggio sequences , which, on piano are fine, but on guitar required some tapping and string jumping to make it work. That is how it happens.
~Question:
At around 5:02 of "Candlelight Fantasia", right after the guitar solo, there is a really awesome melody going on in the background while Russ is singing. Something similar can be heard during the verses of the champion of ithaca section of "The Odyssey". I was wondering how do you get that sound. Is that some kind of delay effect?
~MJR:
It is just a digital delay effect set to a single repeat on the dotted-eighth note. I'll just play eighth notes ( a staccato phrase outlining the chord ), and the delay fills in the gaps - making it sound like sixteenth notes. Kinda like 'Cathedral' by Van Halen - same principle.
~Question:
In your opinion which one is your most difficult solo?
~MJR:
There are few, when playing live, that I have to practice a bit to get them up to speed - Smoke and Mirrors, Inferno and Sea of Lies.
~Question:
It is true that you learn some stuff by guitarist Michael Angelo Batio?
~MJR:
When I was younger, I saw his instructional video and admired his right hand technique. He made alot of sense when he talked about picking ( using a thick pick, minimal movement, positioning, etc.) - mostly common sense stuff, but it made me realize some things to be aware of when I was practicing my picking and getting my chops together. Since then, I've talked to Mike a few times and he is a really cool guy, as well as a great player.
~Question:
What's the most difficult SymX song to play live?
~MJR:
I would say- the Odyssey - there is just alot going on in that song.
~Question:
Were you influenced by, as well as what are your thoughts, on Shawn Lane?
~MJR:
Shawn Lane was an amazing player and all-around extremely talented musician. I definitely got some licks and ideas from him.
~Question:
What's Romeos favorite progression in these modes: D phrygian and E dorian and Bb Major
~MJR:
I don't like to think that way - rather the opposite : 'what scales can I use over a given progression ?' . That seems to make the most sense.
Say the progression was : Dmin7 / Amin7b5 / Gmin7/ Ebmaj7 - and you could play D phrygian throughout. But to me, it is all Bb major scale - and I'm thinking of modes in terms of fingering positions - because it's all the same notes of Bb major. Tonally, it's all the same.
I like think the other way around - If I had to play over that progression - : Dmin7 / Amin7b5 / Gmin7/ Ebmaj7 - I'd start to think about which scales and tonalities I like.
Over the Dmin7 - I would play D Dorian ( or as II in C major )
over the Amin7b5 - I would play A SuperLocrian ( mode VII of Bb melodic minor )
over the Gmin7 - maybe G Phrygian ( III of Eb major scale )
and the Ebmaj7 - Eb Lydian ( IV of Bb major scale )
It is important to know what scales work over what chords - you will have more choices - rather than everything diatonically , although that works too.
Check out the solo on Eyes of Medusa, for instance. The rhythm part under the solo is basically F#.
So I thought of it as a static F# - and played different tonalities ( scales ) over the section. Its starts off with a Lydian phrase - then gets into some harmonic minor licks and phrases - then melodic minor for a phrase - then a whole-tone ( augmented ) phrase - and ends off with a pentatonic/blues lick. All with F# as the root - but since the F# in the rhythm is only a 5th chord ( 1+ 5 ) - you could think of it as major or minor - always experiment.
~Question:
I played the guitar in 4th grade(for about a year) and i am interested in getting back into it, but I'm not really sure where to start. Any suggestions?
~MJR:
Start with the basics - some chords and pentatonic licks. Learn some songs and jam along = have fun.
~Questions:
My question is this, are there any plans for Romeo to do a instructional video or book on his tapping technique, he has some of the best tapping chops i have seen this side of vai!
Will you record a new instructional vid someday?
Please please please make an instuctional book and/or video. The Guitar Chapter was a great demonstration video, but we would all love some instructional to get an insight into your playing.
~MJR:
It's something I've been thinking about - an instructional book/video. I'd like to do something really in-depth - alot of licks/ideas, theory and examples with some jam along tracks - After the new CD is done - I plan to start putting some ideas together for it. I'll let you know how it progresses.
~Question:
If you write an instrumental, where do you start? I'm currently in an instrumental band, and my guitar teacher explained to me how you can keep it non-boring and stuff, but I don't really know where to begin...And my guitar teacher doesn't really know either cos he's mostly blues guitar and those don't have much instrumental songs or something.
~MJR:
I would think of an instrumental song the same as any other song - except replacing the vocal lines with guitar lines. Have a definite intro riff or section ( A ) - some kind of melody for a 'verse' type section ( B ) and a middle guitar solo or interlude type part ( C ) -" just like a normal song" - A B A B C - give it some structure and melody in-between the shredding, some key changes and movement - not just ' mindless noodling over the same A minor chord for 6 minutes ' , that gets old quick.
~Question:
I wanna know what and how Romeo practised to get a good day with his guitar and training his skills?
~MJR:
I listened to alot of different players and music - I learned alot of songs, solos, and licks from guys like Page, Rhoads, DiMeloa, Van Halen, Malmsteen, Holdsworth, etc. ) - as well as different classical pieces. If I couldn't play something - I'd work it up to speed with the metronome. I'd study books on theory and work on different playing techniques. Also, I would create rhythm tracks to improvise over - different chord changes, key and time signatures to work solos out and try new ideas. - trying to develop my own style. and...A lot of practicing!.
~Question:
How long do you usually practice playing guitar each day? Do you have certain things that you play each time (like scales, etc) or is it just random?
~MJR:
It depends...when we are touring, I'll practice ( or really just 'warm-up' ) before we play and occasionally noodle on the bus - to keep the chops up. When I am writing, I am always playing - but not really 'practicing'. But....when we are getting ready to record - I practice a lot - I'll metronome up all my old exercises ( scales, sequences, arpeggios, tapping, endurance, etc) - everything! I'll also practice improvising over chord changes /rhythm tracks and work out some cool new licks and phrases.
***Guitar and Amp Questions***
~Question:
Your named appeared on the Caparison Guitars website, do you have some kind of endorsement deal with them? I've never seen you use a Caparison guitar at any time, so that's why I'm asking.
~MJR:
Caparison recently made me a bunch of guitars - to my specs. I've been using them on Gigantour and they are smokin! I sent them a few different necks to model after, as well as body style, pickups, bridge, etc - and they custom built each one - they are really great instruments.
~Question:
Which pickups are you actually using on your guitars?
~MJR:
DiMarzio X2N ( bridge ) and ToneZone ( neck ). I've been using that configuration forever - I know exactly how they react and how my amps work with them.
~Question:
Which effects (compression, delays...) do you use in live perfomances?
~MJR:
Everything is in the Line6 Vetta Head. Some great overdrive ( TubeScreamer ) and analog type delay effect models are in there. For live I use an 'analog chorus' mod on the rhythms - and for the solos, some delay and chorus. For the clean tone - some compression to keep it glued together and some chorusing.
~Question:
What sort of things do you look for when creating your tone in terms of eq, effects, etc..?
~MJR:
For rhythms - I like a full sound with tight bottom end and some midrange for definition..not much effect ( maybe some chorus for thickening ). For solos - less bottom end , more midrange - focused sounding with some chorus (or detuning) and a bit of delay ( or reverb ).
~Question:
Why do you have 2 Vetta amps on stage with you for Gigantour?
~MJR:
Line6 sent me the Vetta Head II for the tour. It is my back-up amp - I copied all my setting from my original head to the new one - a complete duplicate...in case anything ever goes wrong ( plus, it looks cool ).
~Question:
Why the change from ESP to (or is that back to?) Caparison? And what are the chances of you playing some stuff from The Damnation Game next time you're in the UK?
~MJR:
Caparison recently made me some custom guitars. They hand build exactly what I asked for - wood, neck size and radius, body style, pickups - everything I wanted. About The Damnation Game...not sure. By the time we are touring again, we will have a whole new CD of material to play! So it becomes more difficult to decide which older songs to play in the set list.
~Question:
What the real story with the gear that was used on the first 3 cds, and his solo record, to get his solo tone. I KNOW it wasn't a TriAxis that was used to get that very "Rockman-esque" tone. The tonal difference between his solo and rhythm sounds is far too different to get with the same preamp unless he 1.) Had it modded or 2.) ran it through a crapload of other processing/EQ. Enquiring minds want to know. My guess is the answer will be either a.) Studio Magic or b.) Goat sacrifices to pudding covered midgets or c.) I used a Rockman X100...
~MJR:
You busted me, dude. For the solo CD and first 2 SymX CDs - the only amps I had, at that time, were a Marshall JCM800, Fender M-80, a Mesa/Boogie recording pre-amp. By the third CD ( Divine Wings ), I had bought the Tri-Axis and for some of the solos, I used a Rockman Compressor/Sustainer as a preamp ( in front of the Marshall...if I remember correctly ) - but only on that CD - thus - the 'Rockman-esque' tone on some of those solos. I always like to experiment and try out new things - different pre-amps, cabs , mic placement, etc.
***Studio and Recording Questions***
~Question:
What kind of microphone placement/EQ/overdubs do you use on your amps in the studio? The rhythm sound on The Odyssey is killer!
~MJR:
I used 3 different amps for the Odyssey - ENGL fireball, Line 6 Vetta head, and Mesa/Boogie Dual Rectifier. The rhythm tracks were mostly the ENGL and the Line 6 Vetta ( for different amp tones, clean, etc. ) and the Boogie and Vetta for the solos. The cabinets were Mesa/Boogie half backs ( 4x12 ). For mic choice and placement, I like to experiment a bit...but usually a Shure SM57 and a Sennheisser 421 - up close to the speaker ( the 57 a bit off axis OR off-center of the cone ) and sometimes an AKG 414 back a few feet for some ambience and space. Then into the Neve 9098s ( preamp & EQ ) and EQ a little to clean up the bottom end and get it sounding tight - I'll double track all the rhythms.
~Question:
How long did it take you to learn the ins/outs of recording with all the gear you have? (gigastudio, nuendo, Vetta head, etc.)
~MJR:
Not very long - I've always been into recording and try to keep up to date with gear and stuff. Back in high-school, I had a four-track recorder and some mics, then I bought and eight-track reel to reel machine and mixer, then some outboard gear. Eventually, I got the digital 8-tracks machines and then the computer based systems. It was gradual, so the learning curve was easier with the gear I use now. (I always read the manuals, too.)
~Question:
When you are writing the orchestral parts like, for example, on the song The Odyssey, (A Masterpiece of Brilliance by the way) do you use a keyboard or maybe just your computer?
~MJR:
I've played piano since I was 12 - so I'm not too bad - all the orchestral parts I played on keyboard ( although, there is some MIDI editing that takes place - to achieve certain effects ).
~Question:
How do you figure out which instruments work the best for the sound you're trying to achieve? Obviously the end result is perfection but do you go through a lot of trial and error like maybe recording a part using tremolo strings then if not satisfied edit in a different instrument?
~MJR:
Not much trial and error - I've studied alot of scores and books on orchestration - so I know what I'm looking for beforehand. Also, with most of those sections, I scored it out on paper first - so I knew what I wanted and what it was going to sound like.
~Question:
Do you use midi instruments for any of the orchestral parts?
~MJR:
Everything is basically MIDI information ( at one point ) - I use Gigastudio with a few different orchestral instrument sample libraries, (The Vienna Symphonic Library is my current favorite - a bit pricey, though - about $5000). I play and record the parts as MIDI in Nuendo2 - keep building using the necessary instruments - then send out the MIDI to three dedicated Gigastudio machines - and then record the audio. Back into Nuendo2.
***Touring and Gigantour Questions***
~Question:
We just would like to know your feelings about this Gigantour, what do you like in that event, or dislike maybe ?
~MJR:
So far, everything on the tour has been great - I think Dave Mustaine has done an excellent job in putting this thing together. There are some great bands and great players on this tour - and everyone gets along - no attitudes or bullshit. The fans also seem to enjoy it. The only complaint I've heard is about our set time - only a half hour - which for us is short and it is tough to pick songs that fit the amount of time. But aside from that - everything is cool.
~Question:
Do you plan on doing a headlining tour of the states soon?
~MJR:
We will be doing a headline tour after the release of the new CD (which we are hoping to finish and have released by March).
~Question:
Is the new album going to be a concept album?
~MJR:
No, not a concept CD - there may be one longer track, though.
~Question:
Does symphony x have any kind of rivalry with dream theater?
~MJR:
Not at all. Actually, it was Mike Portnoy who put in a good word to Dave Mustaine for us to be on Gigantour.
~Question:
Did you ever jam with John Petrucci? [because that would be a meeting of gods].
~MJR:
We talk a bit about gear and some chop/ technique stuff - he is a great player and I'm sure we'll noodle sometime during this tour.
~Question:
Is everyone's perception of dave mustaine askew, or is he a prick?
~MJR:
Dave is an awesome guy - he's been great with us, and with running the tour - he's been fair, but yet, doesn't take any shit.
~Question:
I saw symphony x in chicago, last weekend, was that the best show you ever played? [say "yes"]
~MJR:
Umm..yes..hehe.
~Question:
Is the reception you've been receiving at Gigantour better than you expected? I heard you're 3rd in merchandise sales and basically every review I've read on the Gigantour forums has been extemely positive.
~MJR:
The reception has been really great. At first we weren't sure how we would go over, (considering the lineup - there are alot of different bands and different styles), so we were just hoping for the best. But, it definitely has turned out much better than we had anticipated - very cool.
~Questions:
Will Symphony X ever consider doing a tour of Australia & New Zealand? We are all dying to see a SX show down here!!!!
What are the chances of a Symphony X South Africa tour?
I'm a SyX brazilian fan, and you may have heard that in our country we have a lot of people that enjoy their music. Based on that, my question is very simple and obvious : are there any plans to have them playing around here in a near future ?
~MJR:
After we release the new CD (hopefully in March or April) - we will start touring plans and get everywhere we can!
***Random Stuff***
~Question:
Michael is listed in the credits on the new Steve Walsh album, Shadowman. What was his contribution to that album?
~MJR:
Steve asked me to do the orchestrations on some of his tunes - ( which was a honor because I'm a big fan of Steve and Kansas). He had heard the Odyssey and some other symphonic/film music I had done in my studio and contacted me to lend a hand with his solo CD. I used Nuendo2 for MIDI editing/composition and recording - and Gigastudio with a bunch of orchestral instrument sample collections.
~Question:
What is your favorite current TV show (if no favorite, what do you watch the most)?
~MJR:
I don't watch to much TV - mostly movies (DVDs), although I do like Law and Order.
~Question:
I started a thread a while ago about the intro of Candlelight Fantasia sounding similar to the music in Star Wars Episode 2 when Anakin is just about to go and find his mother who has been captured. Not sure if this theme was created for a previous episode but if it was then was it any influence on Candlelight Fantasia......or if it was only played in Ep.2 (which was after Divine Wings) was the legendary John Williams influenced by you ??
~MJR:
Well, Divine Wings was years before Episode II - so draw your own conclusion. I admit, though, John Williams is a big influence for me, especially for the Odyssey track.
~Question:
What did you think of the latest Star Wars film and its musical score?
~MJR:
I thought the film and score were really good. 'Empire' and 'A New Hope' are still my favorites - as well as the music.
Likewise.
