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Bu içerik 5846 Fikir ve Sanat Eserleri Koruma Kanunu'nca korunmakta olup, yayımlanma tarihi ve hazırlanma şifresi belgelenmiştir. Yazılı izin alınmadan yayımlanması, kopyalanması ve alıntı yapılması yasaktır.
İçerik hırsızlığı tespit edildiği takdirde ilgili site ve site sahibi hakkında Başsavcılığa yazılı bildirim yapılarak gerekli makamlardan IP, erişim ve kişi bilgileri istenecek ve hukuki süreç başlatılacaktır. Ayrıca Google'a içerik hırsızlığı rapor edilerek ilgili sitenin sandbox adlı verilen filtrelemeye tabi tutulması ve Google içeriğinden silinmesi talep edilecektir. Makale ID : 32 Hazırlayan : Cenk Oltan Yayımlanma Tarihi : 16/10/2009  Hailing from Sweden along side class acts such as: Soilwork and Yngwie
Malmsteen; Scar Symmetry brings a new life to Melodic Death Metal
scene. Showcasing his deadly skills co-guitarist Per Nilsson
demonstrates the perfect mixture of harmonically sophisticated lines
and technical guitar work. I had the chance to interview him before the official release of the new Scar Symmetry album: "Dark Matter Dimensions"(October 2nd) For more info check out Per Nilsson's myspace: http://www.myspace.com/pernilsson Cenk Oltan: What are Scar Symmetry's current plans? At this point in time, is Scar Symmetry your primary musical involvement? Per Nilsson: We?re releasing our 4th album in October, "Dark Matter Dimensions", which is the first one with our new vocalists, Roberth Karlsson and Lars Palmqvist. Scar Symmetry has been my main band pretty much since we started in 2004. I'm also a member of progrockers Kaipa, but that's a studio-only project. I've been thinking of doing like a solo project or something when time permits, but it's yet to happen, we'll see. C.O: What made you interested in playing a 7-string? I saw you playing an Ibanez RG 1527 and an old universe. Are those your main guitars? Can you talk about your guitars, pickups, strings, and gear in general? P.N: I bought Steve Vai's "Passion and Warfare" in 1990, he poses with a seven string Universe on the cover. That album kinda changed my perception of guitar playing, and it became one of my favourite albums ever. A few years later I found a used seven string Universe in a music shop and instantly I fell in love with it. I bought it and I'm still using it. I'm also using the RG1527 and the seven string Xiphos. I'm an Ibanez endorsee these days, I don't own or play any other guitars. I have an eight string RG too that I used for one song on the new album, and I play a six string JEM with Kaipa. I use whatever pickups that comes with the guitar, I string my seven strings .009-.054 with whatever brand is the cheapest, and I use small Jazz III picks, I think it's Dunlop but I'm not sure. C.O: What kind of amps and effects do you use? What amp did you use for the last album? I heard a couple of tracks, and the tone and the mixing really complements the band's sound and style. How much are you involved with the overall production? P.N: I play whatever amps around, when we tour or do festivals we always use the rental backline they provide, so I'm used to working with anything. For our new album, we used modified Marshall jcm900 for rhythms and a Rocktron Egnater for leads, both with a Marshall 4x12 cab miked with a SM57 straight into the cone. We used a TC Electronic preamp as a boost for rhythms and a tube screamer for leads. In my home studio I use a lot of software amps due to the convenience of them. I think the guitar tones on the new album are the best ones we've had so far. I co-produced it with Jonas, though my contribution was more on the tracking and arranging side. We tried every guitar amp in the studio for the rhythm guitars, for example the Engl Fireball, Krank, a couple of Marshall's, but we ended up with the modified jcm900. It kinda sounded like a Fireball on steroids. The bass was recorded with an Ebs amp, but we also reamped the bass through the rhythm guitar setup, but with a 2x15 bass cab instead, and blended them.  C.O: I hear lots of tensions, changes, and interesting
harmonies in your playing style. Did you ever formally study music?
What helped you to develop your own sound? And I guess that brings me
to the influences: I am guessing Holdsworth and some Jazz plays a big
role in there...
P.N: I went to music school when I was a kid, I learned the basics there, but I guess most of what I know I've learned by myself, from books, transcribing, trial-and-error and whatnot. I also studied for a year with jazz pianist/composer Alvaro Is Rojas, which was an eye-opening experience. He taught me a lot about jazz theory and improvisation, but the most important thing I learned from him was to always try to connect emotionally to what I play, otherwise what I play doesn't make any sense. In the late eighties and early nineties, I listened a lot to the shred guitar players of that time, like Yngwie Malmsteen, Marty Friedman, Jason Becker, Greg Howe, Tony MacAlpine, which inspired me to focus a lot on my shredding chops. Then I heard Allan Holdsworth for the first time and he has been my favourite guitar player ever since. He is just so far ahead of any other guitarist, if there is a guitar God it has gotta be him! C.O: What is your practice routine usually like? What helped you develop such killer technique and touch? P.N: I don't have a practice routine anymore. When I was younger I used to practice for eight to twelve hours a day, but nowadays I'm too lazy hehe. C.O: How do you and Jonas decide who plays the solos in the songs? Each of you have your distinctive styles. Do you think about whose playing fits the certain song or groove more, or is it more of a just go by the flow approach? P.N: Well we like the idea of having two lead players in the band, especially since we have different styles of playing. Often we don't decide upon who's gonna do which solo until we're gonna record the solos, and then it's like "ok I want to do the first solo because I love the chord progression, are you ok with doing the second solo?", and we work things out that way. C.O: How do you approach composing and song writing? Does the band come together and start writing, or does everyone compose their parts on their own? Can you explain the process--especially your individual process? P.N: Jonas and I write all the music. I usually start off with a drum groove, a guitar riff, or a chord progression, and write a song from there. I then record a demo of it with programmed drums and keys. Jonas works pretty much the same way. Then Jonas and I get together and write the vocal melodies and arrangements for the songs, usually with me doing a little bit more of the melodies and him doing the growling arrangements. We record ourselves singing the vocal arrangements using phony words, and then we send it to Henrik who writes all the lyrics. Kenneth, Roberth and Lars doesn't write anything but they sometime come up with ideas for their parts which often end up making the songs better.  C.O: What do you look for in a perfect guitar tone?
P.N: Playability is always nice. I don't think I'm a very sloppy guitar player but it's nice to have a sound that is somewhat "forgiving" if you know what I mean. If I should think of some words that describe my guitar tone preferences it would be that I like my rhythm sound to be both crunchy and chunky. My lead tone needs to be smooth and creamy, put some stereo delay on it and I'm in shred heaven. C.O: Did you guys have to make drastic changes in your writing styles to adapt to the new singers? This time it seems like you are really going to push the boundaries for vocal arrangements?. P.N: The guitar, bass, synth and drum parts were written in the same manner as we have always done. The vocal arrangements were easy to write I think, we just figured what kind of singing style would fit on the part we were working on, most often it seemed obvious to us which way to go with it. There were a few times that we thought we would do something over-the-top with layering and harmonies, and we sure pushed the envelope this time as far as vocal arrangements go, but the most important thing was for the songs to have a nice flow to them, and melodies as awesome as possible. C.O: Do you have any advice and tips for the practicing guitarist? P.N: I think it's of utmost importance to train your ears. To me, if I can't recognize a certain scale/mode by ear, I'm not going to be able to use that scale properly. Other than that, it's all about knowing why you play guitar and trying to figure out what goals you have. If you put your heart into it, you will be fine. Though using a metronome never hurts! |