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Q: How
does your monitor mixer cope with you and Lyle switching places
several times during the show? Do you miss your backline "over there"
at the other side? How large is the difference in working with Lyle
Workman and Abe Laboriel Jr. compared to the 2005 band with Shayne
Fontayne and Josh Freese? - from Werner
A: When
Lyle and I switch sides the monitor guy helps us with the side-fills.
We can hear what's going on pretty well. He is a great guitarist to
work with. Abe is perhaps the best drummer ever in this band.
Q: Did you
go on tour with other musician before you met Sting? - from Margitta
A: I have
toured with World Party, King Swamp and Julia Fordham.
Q: I know
you've recently been adding a second guitarist to your work with
Sting, and that Lyle Workman is currently playing in the band with
you. How has the addition of a second guitar player altered your
approach to music you've played for many years. What is the philosophy
you're using to allow room musically, and how are you being influenced
as a player by this. Is your playing and your tone/ rig morphing as a
result of this as well? - from Dennis
A: Having
another guitarist in the band has done nothing but improve my own
awareness as a player. I am learning so much from listening to Lyle.
He is a player with an enormous palate of sounds and styles. He has
certainly made me think about raising the bar with my own playing. I
am loving the experience of working with another guitarist, especially
him.
Q: I would
like to know what make a big, fat sound of the guitars on gigs? Let's
suppose we have very good sound on amp. Is it a good microphone or
very good PA system? - from Jon
A: This is
a million dollar question which people have been trying to answer for
decades. My feelings are to do with the way you set the amp up and
your level compared to the band. If you are too loud on stage the
sound man will turn you down in the PA which will give you a thin
sound. To get a big fat sound on stage you almost need to keep your
stage level lower than you think and just trust the sound man to have
you in the PA. It's also a trick keeping it low because then the sound
man will really want to hear what you are doing. This gives you
control and not him. Finally, if you are really thinking about
complimenting the song you will always have a fat (or phat) sound. The
song comes first. Your parts come second. Your sound comes third
etc...
Q: I've
read a number of articles recently focusing on hearing in today's day
and age, and with devices such as iPods and other music players many
people are at risk for hearing loss. While this may not be a huge
source of concern for most people, how do you deal with it as a
musician? Your career depends on your hearing almost as much as your
skill with the guitar. Do you wear any sort of protection during the
extended periods of time on tour with Sting? - from Gordan
A: This is
a good point although it doesn't apply to me because I am not fussy
(touch wood) about my hearing. I accept the fact that some of my high
end has gone, courtesy of Vinne Colaiuta and Manu Katche's cymbals
being only feet away for years. Perhaps I should start considering
taking steps to avoid injury. Thanks for bringing this up.
Q: When
you tour with Sting on various stages you have used the solid body
nylon and or acoustic steel string for the applicable song. On his
future dates,.. will you continue with the Guilds or go with your
newer Flamenco? I also noticed that the P-project was used on the
'Third World' disc. Do you ever pick up this guitar anymore. - from
Andrew
A: I
always keep an open mind with the guitars and change them at different
times for different reasons. They all have different characteristics
which are important to me. Currently my guitar of choice is the
Kazafumi. When I am on stage with Sting I prefer to use the Guild
Paloma. This will most likely change at some point.
Q: When
you first started performing on stage, were you completely nervous? -
from Anna
A: Yes, I
still do get nervous but it's a good energy. Nerves make you
respectful of what you are about to do as opposed to being too
arrogant and then screwing up. What I have become better at is
overcoming this feeling once I am on stage and then making it work in
my favour.
Q: Playing
in Sting's band you have the guarantee that you can play with the best
musicians around such as Manu, Vinnie and now Josh Freese. So what I
was wondering is how do you approach your guitar parts every time a
new drummer arrives at the Sting camp? - from Joshua
A: I have
been lucky to play with arguably the best drummers in the world and
they are all different. I think I adapt my playing to their styles
without changing the parts too much. Manu inspires me to take chances,
Vinnie makes me play tight and Josh makes me want to rock.
Q: Are you
very excited before you have a gig? - from Jenny
A: I do
feel excited before a gig but also I feel in control because I am in
good practice. But I do get a bit nervous which is a good thing
because it helps me respect the two hours ahead instead of thinking I
am too good. It's humbling playing in front of thousands of people.
The moment I forget that is the moment I will stop.
Q: How
does it feel to be playing places like the Hollywood Bowl as a solo
artist? It's certainly a far cry from the Bolivar Hall! - From Andy
A: Playing
the Hollywood Bowl is no better or worse than playing the Bolivar
house. Every show is a new and learning experience for me. I have to
admit though that the Bowl is a bit exceptional. Did I just contradict
myself?
Q: I
imagine when an audience responds enthusiastically to a performance it
causes you to enjoy the experience all the more, and respond in kind
to the audience. If this is true, is the opposite situation true as
well? Have you ever been disappointed in an audience's reaction to a
show? How much is the show affected by the audience? - From Amy
A: If the
audience participates enthusiastically it does make it more fun but
not necessarily better. Of course we enjoy interaction but we also
play to each other even though we may not be looking at each other. If
we can't make a connection as a group (like a team) there will never
be a connection with the audience. It's a wonderful experience when it
goes a bit crazy and fun but it can also be great when there is no
reaction. Sometimes this means they are really listening which after
all is what it's all about.
Q: What
kind of music do you make with the Tweeters together? Is it more jazz,
more pop, or in this moment more classic? - From Edith
A: The
Tweeters music is based on jamming. We like to come up with some
structures, some of which are my tunes from my previous albums and
then just go wild. Manu is the real improviser while Pino and I hold
down the riffs. I hope we can do some shows.
Q: When
The Tweeters perform, is it a mixed bag of music from everyone in the
band or does it consist mostly of your solo material? Also, as Sting's
tour comes to a close, will The Tweeters be making more appearances? -
From Trish
A: Thanks
so much Trish for your note. The Tweeters' tunes are 'based' on some
themes of mine but become unrecognisable after a few measures. That's
how we like it. We hope to do some more shows after this tour is over.
I will let the site know.
Q: I've
noticed at past Sting shows that you often pick out three or four
people in the seats close to your section of the stage and really play
to them, make lots of eye contact, throw picks to them, etc. How do
you "choose" the people? Are they the people who are obviously already
into your playing or is it the people who aren't paying any attention
at all (and surprisingly, there are a lot) and you're subtly trying to
say "Hey, focus people, focus."? - from Maggie
A: It
would be hard for me to be intimate and make eye contact with people
in the back. I don't consciously pick people out in the front whether
they appear to be listening or not. I just can't help making a
connection with whoever is there. Since there are people there and I
am not in a Jazz band (where the musicians tend to look at each other)
this is just a natural reflex for me.
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