Chris Letchford of Scale The Summit

Houston-based progressive-metal band Scale The Summit's new album "Carving Desert Canyons" has received rave reviews from fans of metal and instrumental guitar alike, leading to a recent attention-grabbing feature in Guitar World. I caught up with eight-string wizard Chris Letchford to talk, gear, the early years, and the state of modern prog...

FSG: Tell us a little about yourself and your musical background. Were there any particular influences early on that drew you to metal and progressive music?

Chris: I started music in the 4th grade, playing saxophone. I moved onto bass at age 12 and was playing that instrument for about 1 year until my dad brought home my first guitar. I started with lessons very early on as well. So I have been playing guitar for a little over 10 years now. I really didn't start taking it seriously until 15 years old. I grew up in a very musical family, so the inspiration was always there. My dad was huge into Yes, Stevie Ray Vaughn, Johnny Winter, and Buddy Guy. Out of all of those I'm still listening to pretty much only Yes. I was drawn into metal actually through Pantera. Dimebag is one of the reasons I started taking guitar more seriously. After finishing High School I decided that playing guitar was definitely something I wanted to do professionally so I enrolled in Houston Community College to take a bunch of sight-reading, theory and jazz theory improv classes. I was also still taking private lessons and a piano class. After one semester of that, really enjoying it, me and Travis (other STS guitar player) decided to move to Los Angeles to attend Musicians Institute, to not only get better at guitar, but to find a bassist and a drummer. We were having a hell of a time finding members in Houston. We both took the Guitar Craft Academy course and the GIT Course, and here we are now. We all moved back to Houston once the band line-up and school was complete. I'm currently teaching in the Houston when we're not on tour.

FSG: How did Scale the Summit come to be?

Chris: Well, like I mentioned earlier, we formed in Los Angeles. Me and Travis moving out to LA to attend MI was the best decision we could have ever made. We met the rest of the guys there and haven't looked back since.

FSG: How did you settle on the eight-string as being your primary instrument, and how did you arrive at the BEADGbeg tuning?

Chris: I first started seeing a few of the jazz guys using the 8 string's set up with 5 guitar strings and 3 bass strings. Thought it was a neat idea and seemed challenging but obviously would not work for the style of music the band was playing. I started researching more about 8 strings and found Conklin guitars. I got my first 8 string Conklin a little over 4 years ago, tuned with the high A and low B. I knew having a the F# would not work for my style of playing. I started using the 8 string with the band the first day. I just liked the idea of having the extra space to move around, larger chord voicings and more strings for extended melody. Plus, I always like a challenge. Playing an 8 string, one of the biggest challenges is keeping the other strings quiet while playing. I later on went with the high G string, just because I simply found more use for it, especially with chord voicings.

FSG: Tell us about that gorgeous Sherman eight-string! Do you have any strong preferences in terms of guitar setup, like string gauges, action, pickups?

Chris: Well the Sherman is awesome. I actually have 2 more on order right now. Me and Mike have really helped each other out. He makes me some killer guitars and I push his name. Guitar World Magazine was obviously huge, I'm sure his email was swamped from it, as mine was extremely swamped as well! It was crazy actually. haha.
I like my action lower, and I play a normal pacj 10-56 for the first 7 strings and then a 08 for the High G string. I'm able to get the action height the same on all my guitars from taking the GCA course at MI, we spent the first 3 months just learning proper setups. Its great being able to work on your own guitars. I like my radius very flat as well. Usually around 16. My current Sherman and the couple more I have on order have Nordstrand Pickups. I like them a lot...super clear and quiet.

FSG: What do you use for amplification and effects? Do you have to make any special adjustments or additions to accommodate the eight?

Chris: No special adjustments needed. It's just a normal guitar but with extra strings. I play an ENGL Powerball Head. I'm actually endorsing them as of last week. So I have a cabinet on the way from Germany to replace my current Orange 4x12. I run a Holy Grail Reverb pedal and a Boss DD-6 through my effects loop, to fatten up the sound and make it nice and smooth.

FSG: Was there a period of adjustment when you got the eight, particularly with the unusual tuning?

Chris: No, not at all. I know a lot of theory and I know the notes on my fingerboard well, so it was an easy change. I switch between 6, 7, and 8's on a daily basis, as I primarily teach on 6 strings.

FSG: How does the compositional process work for the band? Do you write notation for everyone?

Chris: I write 90% of all the music, including all the second guitar. Me and my guitar player use to guide our drummer as to what we needed for select parts but now we just write out of the music, show it to him and he'll come up with his own parts, same goes for our bassist. He comes up with a lot of killer stuff. Being that we play pretty complicated music, its nice that we all know a good amount of theory. It's a lot easier to communicate with each other. Plus we're one of the few bands that all like what each other write. I hear horror stories about bands getting into arguments over writing and usually breaking up soon after forming. We're lucky I guess that we came together with a pretty much exact same view on what we wanted to play.

FSG: How heavily does improvisation figure into the band's approach?

Chris: Usually only during the writing stages. I write most of my solos by analyzing what the rhythm part is, and then start working out ideas. I'll first jam over the part to see what stylistic approach I'm going to take. My drummer we'll pretty much approach it the same way. We'll jam some parts over and over until we hear something we all dig.

FSG: You and Travis are definitely a strong two-guitar team. Are there any arranging tricks with the dual-guitar lineup that you feel are unique to the band?

Chris: Thanks a lot! I would definitely agree. I think thats another lucky aspect to this band is that we both have the same practice discipline and similar style of playing, so we fit together well. I would say the most unique thing would just be all the layered guitar parts we play and the riffs that helps us stand out from all the other progressive-style bands.

FSG: Are there any new players or bands that have caught your eye recently?

Chris: Tosin and Bulb's stuff is really awesome. I've been into Tosin's playing when he had his older band Reflux, who are also on our same record label. His new project with Bulb called Animals as Leaders is great as well. I found out about Bulb a long time ago through myspace, I now have something like 100 of his songs in my Itunes. My favorite, if he is reading this, was a straight riff based ENGL Invader head demo called 'Palmer'. Damn good. Needs to make that a song in his band.
Cynic is another, although not a NEW band, they are NEW as in being back together. Their new album is great. I also like Textures new album. Got some sweet riffs in every song.
And lastly, there is a side project from Cynic's new rhythm guitar player and the drummer of Textures called Exivious. Which is a more fusion type band, which is great. Should definitely check that out. They have also been around for a while, but just started really putting time into it and getting a full length released.

FSG: How do you feel about the current state of progressive music in general?

Chris: I think its doing alright. With progressive music, you have to be some what talented to play it, so there is never going to be a take over of prog bands, like there has been with all the deathcore bands that have been coming out. Not that any of those bands are talentless, but I think we all know what I mean. That style is obviously easier to play, at least for guitar.

FSG: What's next for the band?

Chris: Tour in support of our new album 'Carving Desert Canyons'. We, our agent and our label are very picky with what tours we take, so hopefully there will be some good some coming together this summer/fall. Would announce a huge tour we're going to be having this fall, but I don't want to jinx it from happening since its so far away, but its a great one!

FSG: Thank you for taking part in this interview!

Chris: Thanks for having me!

www.scalethesummit.com

www.myspace.com/scalethesummit

Interview with Santiago Dobles of Aghora

Santiago Dobles of Aghora, interviewed by distressed_romeo


I conducted this interview with Santiago via email. At the time of writing, Aghora’s last album ‘Formless’ has been out for a few months, receiving excellent press from fans and critics alike.

Tell us a little bit about your musical background...

It all started with watching my dad play guitar and piano at a very early age. I always loved the guitar. I started out with that and piano classes. Then, in 2nd or 3rd grade, I moved to violin, but when I discovered Rock music (Hendrix, Led Zeppelin) I decided that guitar was the instrument for me. This was at the age of 11. Ever since then I have had a love/hate relationship with the guitar and I am blessed and cursed with wanting to always be with my guitar.

What were your experiences like at the Berkley College of Music?

It was, for the most part, good. I do not like the idea that it’s a very "cookie-cutter" manufacturer of "musicians", but it does have some great things that it offers. For example, you meet great musicians there. Some of the teachers are real gems (Mashi Hasu, Robin Stone, Norm Zocher, Jon Finn, Mark White). Also, there are some great ideas that float around the hallways of such a place: playing through changes, ii/V/Is & passing tones, fusion. I think, now that I look back at it after over 12 years, I did get a lot of direction at Berklee. It is a place where you can easily see how to be and how not to be. Nowadays kids can learn more through a good teacher, DVDs, & Youtube.

You've studied with a pretty impressive list of instructors. How did each one help you develop your playing style?

Mark White really got me aware of passing tones and ii/V/Is. You can hear those in the ‘Dime’ solo. My father gave me my musical theory and ear training foundation. Robin Stone really gave me my foundation (pentatonics & basic scale understanding on the fretboard). Jon Finn really helped me bridge the gap between Jazz and rock. Mashi really opened my brain and prepared it to understand jazz improv and how to make it work on the fretboard. He is a wizard! Jae Valentine helped me with my chops. Paul Masvidal helped me to further investigate fusion and playing through changes. Ironically enough I didn’t get any ‘chops’ from Paul. Chops came from Derek Taylor, Paul Aldanee. Their legato and phrasing kicked everyone's ass.

How did you initially discover the sevenstring guitar?

Steve Vai's ‘Passion and Warfare’.

Was there a steep learning curve involved when you first tried it?

No not at all, ‘cause the 6 string already has a B in it, so it just made sense to me. The only thing that took getting used to was the stretching.

What do you tune to? Do you have any unique tunings you use for individual songs?

Bb standard, and occasionally I drop down to Ab.

What's your current setup (guitars, FX, amps, strings, etc.)?

I have 2 Madison Divinty heads with EL 34's, 2 Madison 4x12 cabs loaded with Eminence "Private Jacks". My pedal board consists of a Crybaby Wah, Boss Delay, Boss DS 1, Ibanez Tubescreamer, MXR phase 90, Tsunami Chorus by Rocktron

Is that sexy Conklin still your main guitar?

Its one of the main axes although she needs tending to (fretwork etc), so she is retired for now.

In addition to the seven-strings, you're also credited as playing banjo and fretless guitar. Tell us a bit about those...

Yes, I have an electric banjo that I tune to Open B, or Open C at times, and a fretless Madison Guitar with EMGs that I also tune to open tunings. Both are my versions of a sitar or sarongi sound.

The new lineup seems to have become an extremely strong unit within a relatively short space of time. How does this group of musicians compare to the lineup on the debut album?

Honestly? Better; more dedicated, tighter, and a lot more devoted. Younger blood is always more vigorous.

Do plan to remain a one-guitar band for the foreseeable future?

For now? Yes, until it feels like we need another guitarist. Honestly though Alan really fills up live! He is a monster bassist. Aghora now is like a power trio with a vocalist.

What's the official situation with the Cynic reunion at the moment?

I do not know. I basically parted ways from that. Due to scheduling issues I could not commit to the reunion. I really had to focus more on Aghora, my family and my studio business.

What does your current practice regime consist of? Are there any new techniques you're adding to your vocabulary?

Usually I will work alternate picking for 10 to 30 minutes daily, then legato for 10 - 20 minutes. Usually I just "play" now over 2 or 3 chords and just improv. I usually hit the metronome like a crack addict hits the pipe. I work everything with the metronome. Also, I work a lot of sweeping with it.

Your Chops from Hell video is getting great feedback from all who've seen it. Are there plans for more instructional products?

Yes, soon actually. I plan to do an Aghora DVD that covers all the solo work and how it’s done. I am also going to do more of a practice session on DVD so it is like a practice guide for those that need that. I have found out that with my students some people really need guidance on how to practice. Not everyone has the discipline to figure that out on their own. I really didn't want a ‘shred off’ video. I figured it would be better to do a video without all the bells and whistles and just teach.

What's your approach to playing over chord changes? Is your thinking based more on scales, or chord tones? Do you have any particularly tonalities you're especially fond of?

There are two approaches. One is scale theory, and I find the scales that relate to the various chords in the changes. The other way is based on arpeggios and chords. Ultimately it’s all the same but initially you have to separate it to learn it and ‘see’ it. I am still a long way away from mastering it, but I have been able to really get a taste of it from listening to and analyzing Allan Holdsworth, Scott Henderson, and Frank Gambale.

When you cut a solo in the studio, do you replicate it onstage afterwards, or do you prefer to improvise a new one each time?

It’s a little bit of both. I just try to be in the moment both in the studio and live. I try as much as possible to not need to punch in solos I just ‘go for it’ and I keep going till I get the take I want that has the right feeling. Live I also ‘go for it’. If there is a chance to allow spirit to come through and play whatever in the moment is correct I go for it. I guess that comes from really loving the old Fusion masters (Mahavishnu, Bill Connors, Holdsworth). For the most part live I will nail key parts that are the actual melodies or strong lines that should be present in the music. I rehearse playing the original solo. But sometimes it just feels right to let it be and go with the flow on stage. It keeps you from being a robot and mechanical or sterile.

What's your compositional process? Do you write notation for the band and/or yourself?

No. I used to write things out now I don't at all. Usually I start with the groove, or an ostinato or a drum pattern than write everything on top of that. Also, lately I pay attention to balance between free-flow, linear music and circular composition. In other words Pop writing style, Indian music, and traditional Classical music.

Who would be your pick for 'most underrated guitarist ever'?

Nuno Bettencourt

You're one of the current undisputed masters of the legato approach to phrasing, especially the 313 technique. Do you have any methods for developing this style?

Wow, thank you for the compliment! I consider myself still a beginner in that approach. Every time I hear Holdsworth I want to cry!

Are there any new approaches you've developed based on the original concepts that Holdsworth, Derek Taylor and their ilk pioneered?

I have explored the ‘technique’ of finger permutations: 212, 213, 214, 312,313, 314. That alone can open up a whole new ball game on the fretboard. It’s like a master key. So what I do is I apply it to all scales, arpeggios etc. I don't think of it as licks anymore; it’s more conceptual now.

Are there any new players who've caught your ear?

Alex Machacek, Tim Miller, Max Dible, and Rusty Cooley have some great chops

Are there any musicians who've influenced you that we might be surprised about?

Dimebag, Peter Gabriel, Christina Aguilera, Nile, Ackercoke.

There's an obvious fusion influence in Aghora's music, particularly from the Mahavishnu Orchestra and Allan Holdsworth. Did you ever practice 'traditional' jazz, learning standards and transcribing bop solos, etc.?

I learned a few standards, but what I really try to devour is playing through changes, using ii,V,Is to make melodic lines. I love coming up with melodic lines. The 213's & 313's work great for that. I love listening to Fusion and playing over it, or using Fusion concepts over Metal.

What are the best and worst shows you've played, and why?

So far we have had some really cool shows. Only once did we play with a big international act that treated us like shit. Their egos were out of control. But usually we have good shows. What’s funny is sometimes we think " aw man we sucked" but when we speak to the crowd after the show people say it was a great show.
Strange how the expectations of the artist are very different than that of the fans. The artist tends to be too critical, I think. Best show so far was our CD release party. We played all of ‘Formless’ from start to finish live.

One of the coolest things about your soloing is the sense of 'breath' and phrasing, which is something most shredders seem to miss. Do you have any tips for developing this?

Work your blues phrasing, listen to jazz players, and also listen to Indian & Arabic music. Their phrasing is IMMACULATE! To develop phrasing you have to learn to sing with your guitar. Also, you have to take a scale and break it out of the box and see it all over the neck. Make melodies by connecting the dots. Also, listen to Indian Ragas in particular! Learn to play scales on one string with only one finger. As for breathing, really pay attention to your vibrato. It’s a tough path but I think phrasing is everything. A lot of guys have no clue about phrasing. It’s sad!

What are Aghora's plans for the rest of the year? Do you plan on coming to Europe at some point?

Yes we will be there for Progpower, October the 6th & 7th, 2007. We are working on some more European dates too probably before that.

Is there any chance of an instrumental album at some point?

Actually, it’s been on the back burner for a while. 4 songs are done. I just need to do about 6 more. It’s definitely more fusion oriented than Aghora.

Hopes for the future?

Keep making records, touring, and having fun. Also one day I plan to understand Holdsworth!


Thanks to Santiago for taking the time to respond to my questions, and all the best to Aghora in the future.

http://www.aghora.org/