Neil Zaza
by Lisa Sharken
A consummate musician, Neil Zaza possesses both impeccable technique and a prodigious sense of melody, drawing frequent comparisons to legendary players such as Joe Satriani, Steve Vai, Jimi Hendrix and Jeff Beck. Though Zaza may be best known by other musicians — and perhaps a well-kept secret to some, his profile has grown rapidly and his popularity is expanding worldwide.
We spoke with Zaza soon after he returned home from a triumphant tour of the Far East in support of his latest release, Melodica. He provided details on the exciting trip, and explained how music is an essential bond between people everywhere. Additionally, we got the dirty details on Zaza’s musical background, his current live rig, and the new signature model NZS-1 Cort guitar which features his favorite Duncan pickups.
What inspired you to begin playing guitar? Who were your initial influences and how have they changed over time?
The very first time I heard the open chords of Van Halen I, I knew what I wanted to do with my life. That left a real mark on me. From there I discovered the players of the day that would have an eventual fingerprint on my music — guys such as Michael Schenker, Randy Rhoads, Brian May, and Neal Schon. I can still hear a lot of their influences to this day in my playing. A few still stick with me in my approach to playing and to melody. First and foremost would probably have to be Neal Schon for his whole singing and melodic approach to the guitar. There isn’t a guitarist alive that couldn’t hum at least one of his solos. I think my vibrato is fashioned more after Michael Schenker than anyone. The guys that really hit me when I listen to them now are Steve Lukather and Andy Timmons. Those guys are devastating!
How would you describe your style and tone?
If I had to sum up what I do in one word it would be “melodic.” I think every project that I do and song that I write now is steeped more in what the song is saying, where the melody is going, and seeing the tune as a whole rather than just worrying about ripping some fast solo. I would say that I have a very sustaining tone that is not too bright, but has definition an punch. My pickups have a lot to do with that!
What are you currently using in your live setup?
I am playing my Cort Neil Zaza Signature guitar through a pedal board consisting of a Boss TU-2 tuner, Keeley compressor, Vox wah, Keeley Nova wah, MXR Phase 90, and prototype Keeley pedal that will be eventually a Neil Zaza signature pedal. I also use a Boss DD-5 digital delay in the loop of my amp. For amplifiers, I am using either a Mesa/Boogie Road King or a Wizard 50 or 100 watt head into a 4×12 cabinet. All my cables are George L’s. If I am on tour overseas and can’t bring an amp, I use either a SansAmp Tri-AC or a Hughes & Kettner Tubeman into the return of a tube head.
Tell us about the development of your new signature model Cort guitar and its key features. What were you looking for in playability and tone?
I am really excited about my new Cort signature guitar NZS-1! When they approached me, I said I would only do it if it was the highest quality, and the perfect axe for me. We worked months on different prototypes, materials, and components and I really feel this raises the bar. It features an American basswood body with a 20 mm maple top, three-piece maple neck with ebony fingerboard, Tone Pros bridge with strings through the body, Sperzel locking tuners, and two Seymour Duncan humbuckers — a Custom Custom in the bridge and a ’59 in the neck. I also have a coil tap switch that will take me from humbucker to single coil in no time flat.
How are your personal guitars set up?
My action is low, but not insanely low. I want it to fight back a little bit. I use Ernie Ball .010-.046 gauge strings. If I use anything lighter than .010s, I bend them through the roof and my stretches are hard to control.
What types of picks do you prefer?
Dunlop Tortex 2.0 mm (purple).
When did you discover Seymour Duncan pickups?
I have always known and loved Seymour Duncan pickups. They have been in a few of my guitars and I always thought the tone was crisp and defined, while at the same time full-bodied, no matter which one I used. I think Seymour is the real deal in that he lives it — it is his art and he has mastered it, but continually strives to improve it. He knows and understands the heritage of the pickup, but he is writing his own chapter in its history. I really respect him and the products that Seymour Duncan puts out.
Which models are you currently using and what do you like most about the tone of the pickups?
I am using a Custom Custom in the bridge and a ’59 in the neck position. What I love about the pickups is that they are very clear and defined without being too harsh or brittle, and warm enough without being muddy. They cut through great, but still have a fullness to their tone. They even sound great when I coil tap them. I have the best of all worlds with these pickups in my guitar.
Tell us about your recent tour of the Far East.
The tour took me all over Asia, to countries like China, Korea, Indonesia, Singapore, Philippines, and Taiwan. It was an amazing tour because the fans were fanatical, and in fact, many of the shows were sold out or over capacity. Every night was something different in a positive way. One night in Guangjou, the crowd charged the stage! At the shows in Jakarta and Surabaya in Indonesia, it was so packed in and rowdy that I was scared there was going to be a riot! And at the sold-out show in Seoul, the fans were singing back my solos to me as I played them. It was a tour I will never forget, and I can’t wait to go back next year.
What were the highlights of the trip?
I guess aside from the above, the greatest highlight was the realization that music is truly universal, and regardless of where we all come from, we are all united in song. It didn’t matter that we didn’t speak the same language or we were all from different countries. It was always about the music. Every night these fans came out to be entertained and hear their favorite song of mine. It didn’t matter how long I had been flying or how tired I was, as every concert was a chance to perform for new and old fans. It is something I will always remember, and the concept itself is the highlight of the trip.
Do audiences differ around the world?
Asia is just wilder than say the U.S. or Europe. In China and Korea, the crowds are intense and very vocal. They listen and react to everything you do on the guitar, and are extremely loud. Indonesia is just absolutely insane and rowdy, whereas my crowds in Taiwan and Singapore have been more reserved, but appreciated it in a more reflective way. Europe is like that as well.
What advice can you offer to other players on crafting their own unique style and tone?
I think that is the greatest goal there is–to find your own voice on the guitar. While we always want to emulate our heroes and sound like them, you really have to use them as a starting point, and then forge ahead and find out what it is that makes you special on the instrument. Find your individual voice through the forms of gear, musical styles, vibrato, and all the components that make up a player. Try every axe, amp, pickup, and different types of strings. Use what works and what makes you play better, and be more confident in trying to realize the tone you are hearing in your head.
The beautiful thing about the guitar is that it really reflects the player’s touch, velocity, muting, and hand movement. There is really no instrument so personal as the guitar. It is a matter of taping into that and finding what you are made of.
How do you warm up before a gig?
I basically run through some scales and just mess around a bit. There is no set routine that I do. I might run through some tunes or I might play a few tunes. Whatever it is, I have to warm up so I don’t blow my hands out.
Can you offer some tips on practicing? How someone can maximize their efforts to get the most out of practice time?
The most important thing you can do is practice slowly and articulately. Make sure both hands are working together, and not just one hand doing pull-offs or the other hand picking wildly. They must both work together. Be sure that you understand what you’re playing and the choice of notes, so it’s not just a bunch of whacking around.
What are you currently listening to for enjoyment? What would we find on your playlist this week?
I have been glued to Jellyfish Spilt Milk for the duration of this tour. It is the one album I always listen to with my iPod
Lisa Sharken is Seymour Duncan’s New York-based artist relations consultant.