Scott Henderson — £1,000 · Pro-Level Rig

• With Ibanez humbuckers, TS9 into Marshall DSL: the correct order of tweaking is (1) amp gain at 7-8, (2) then add TS with gain at 0 to tighten, (3) then adjust TS level to taste. Don't add TS gain — it's not needed and muddies the tone
• High-output pickups into high-gain channels can sound muddy at high gain — try dropping the amp gain one notch and adding a boost pedal for clarity
• Cabinet and speaker choice affects high-gain tone more than any other factor after the amp itself — V30s give a more compressed, British sound; G12-65s are clearer
• Down-picking builds tension and aggression; up-picking alternating adds clarity to fast lines. Develop both and know when to switch
• An overdrive with gain at zero and level high is a boost — it pushes the amp harder without adding pedal character
• Using the wah at the start of a note (entering with toe down) then sweeping back to heel creates an expressive vowel-like quality

• ✗Running the Marshall DSL's gain channel at maximum — above 8 on most high-gain channels, palm mutes lose note separation and become an indistinct wall. The target is the minimum gain for the target saturation, not maximum
• ✗Leaving the wah pedal engaged but stationary between rocking it — a cocked wah (fixed position, not moving) acts as a midrange filter that changes the core tone. Either rock it expressively or bypass it completely; a cocked wah changes the sound in ways that are often unintended
• ✗Setting amp gain to maximum — superstrats with high-output humbuckers already drive the amp aggressively. Gain at 8-9 into a high-gain channel gives muddy intermodulation, not more power.
• ✗Not using a noise gate — self-noise at metal gain levels is continuous between notes. A gate is not stylistic; it is required for professional-sounding silence between riffs.
• ✗Maximum gain on the amp channel — this is the most common mistake in high-gain playing. The clarity and note separation that makes fast playing readable degrades at maximum gain.
• ✗Setting gain too high on the overdrive pedal — most overdrive pedals are most useful at gain settings of 2-5, where they add character without dominating the tone. High gain settings on an OD pedal become a distortion, not an overdrive.
• ✗Moving the wah too fast — wah is a filter effect that needs time to sweep through its range musically. Fast rocking produces a quacking sound; musical use is slower and more deliberate.
• ✗Choosing a pick that is too heavy — thin to medium picks give edge noise and articulation that heavier picks smooth away. That edge is part of the sound.

Custom guitars through a Soldano or Mesa Boogie — Henderson's Tribal Tech fusion fuses savage blues aggression with advanced jazz harmony. His oblique string bending and raw energy are instantly recognisable.