Contact Scott

Milford, CT, 06461
United States


Musician, instructor and producer offering guitar lessons, drum lessons, piano lessons, ukulele lessons and bass lessons.

Scott is the vocalist/guitarist in the Americana Prog Rock band Birds Over Arkansas.



Musical blurbs ranging from guitar lessons, word craziness, piano lessons, sciencey brain stuff and drum lessons.

Post #3: Intonation - Music vs Speech Pathology

Scott Haskitt

After a piano lesson this week, I spoke with my student's parent, who is a speech pathologist. One thing that my wife can tell you, whenever linguistics, speech pathology or word play comes up in conversation, I get the urge to break out the popcorn and gummi savers; not because they both mimic the symptoms of some sort of aphasia, but talking about this stuff is movie level entertainment for me. Playing with how words sound and look, the relationship between the sounds and the signal path between brain and mouth has always tempted a career change. A couple of old friends of mine recently told me that makes a logophile, and I believe them, because I really like words with lots of vowels and "ph" sounds

Anyway, she mentioned that her daughter was in a class talking about speaking in public, when the teacher addressed something about her "intonation". This reminded her of being taught to sing, and found herself thinking about how these two terms relate in music and speech. So I thought I would explore the meaning of the word in these two different contexts. I suspect it will give me a little different perspective on each, which is most of the joy of thinking about etymology and wordplay. New perspectives on things we use every day keeps us sharp, or distracted... maybe both!

Intonation in music refers to the musician's or instrument's specific and detailed tendency toward pitch accuracy. For example, my Guild D-55 acoustic has fairly accurate intonation over the whole usable fretboard, whereas my Telecaster is a bit sharp on frets 7-12, due to an abnormal dip in the neck in that area, regardless of how I set up the guitar via the bridge or truss rod.

It is important to realize that how we discuss and judge intonation is meaningless without a standard of tuning. There have been many tuning systems used over the centuries, and the one we (in western music) are most accustomed to currently is equal temperament tuning. There are other tuning systems in use today, and each has their advantages and disadvantages when considering different musical repertoire. Equal temperament doesn't give us the mathematically pure intervals within the scale (this is "Just Intonation"), but rather averages these intervals and makes for equally good sounding, or equally bad sounding intervals for general use. Since most of us are used to hearing music played in equal temperament tuning, we are accustomed to hearing music that is not quite in tune, from a mathematically purist standpoint. The point is, if we are to judge intonation of a musician or instrument, we must have a standard in place for any judgment to have meaning. Here's a short video that plays chords and switches between equal temperament (unpure intervals) and just intonation (pure intervals). Note the difference in how in tune, or out of tune each example sounds:

So how does that relate to the use of the word intonation in speech pathology? The word is defined in speech as "the modulation of the voice in speaking". This can be easily explained by the two sentences: 

"Your name is John."

"Your name is John?"

The voice would go normally go down in pitch slightly at the word John in the first sentence, whereas to communicate this in the form of a question, the voice would go up in pitch slightly at the word John in the second sentence. 

Obviously, these two examples are not held to a standard of pitch and intonation to the level of detail involved in musical intonation, but there still has to be some sort of standard by which we can assess the speaker as to whether their intonation communicates the intended meaning clearly, or not.  I'm going to speculate a bit here, as I don't have any formal training in any profession involving speech. If you know what you're talking about and can correct me or help, please comment or email me!

I would say that the standard of intonation necessarily reflects the meaning or emotion intended by the speaker, and is achieved by a certain acceptable range in pitch, relative to the general pitch range of the speaker's voice. There is also some mention of the rhythmic cadence of sentences and how that relates to the perceived meaning. 

The phrase "meaning or emotion" is especially thought provoking to me, because as a musicians, we constantly strive to communicate a meaning or feeling through pitches and rhythms. If your instrument is not well intonated, it becomes very difficult to communicate this meaning or emotion without distracting the listener, or yourself as the performer. The meaning is muddled, confused and not quite as clear. 

So, I want to leave on a thought. Perhaps a way to learn more from this comparison is to try to examine music, more from the perspective of the definition of intonation in speech, rather than the literal interpretation of mathematical intervals and tuning systems. As musicians, how can we "intonate" other aspects of music, such as rhythmic placement, note choice, tempo, intensity, dynamics, arrangement and timbre to communicate the meaning we intend? Certainly, some of this can be conscious and calculated, and some of it is more automatic and subconscious, given a certain level of proficiency and cultural context. 

Post #2: BOA Recording (vocal & acoustic tracking)

Scott Haskitt

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Spent this afternoon tracking lead vocals and acoustic guitar for a Birds Over Arkansas song called Forgotten Lights. If you're not familiar with the term "tracking", it refers to the actual process of recording of an instrument or vocal track (as opposed to mixing, editing or mastering). Last year, we had recorded everything for this song at a Weathervane recording workshop with producer/engineer Brian McTear. The workshops with weathervane basically take one song from a band/artist for a weekend. Saturday is spent tracking the song, and Sunday is spent mixing the song, each day with a live audience of patrons for the weathervane organization. Here's a video of the whole process if you're interested! video 1 of 2 

Again, if you're not familiar with the recording process, this is actually a short time to record for today's standards. With the endless options available with computer recording and home recording options, bands can take years to record a collection of songs. Of the recordings I've been involved with, the less time a recording takes, the more exciting and spontaneous the end product sounds. Granted, there is a tradeoff; there's usually recording quality gained in taking more time to be more precise and detailed about the process. Best case scenario, you have musicians who are prepared and a separate producer and/or engineer who knows what they are doing and can pull a good performance from the musicians in a short period of time.

So, everything actually went really well that weekend and everything we set out to record was finished on time (Laura wasn't there that weekend, so we recorded her vocals later). So the reason we re-recorded the vocals is, they were recorded somewhat experimentally with a ribbon microphone. Although the result was pleasant, interesting, and worked within the scope of one song, it was a very different sound than we usually get/prefer in either my studio or John's studio. Ribbon microphones tend to get more low frequency response than dynamic and condenser microphones with a diaphragm, and actually roll off (decrease above a set frequency) the high frequencies in the sound spectrum, which gave us a boxy, midrangy sound on the vocals... kind of lo-fi and cool sounding, but we wanted something more conventional. So I redid them, and it actually went really well today. 

As for the acoustic guitars, when the workshop is over, Brian McTear sends a mix to everyone who attended, and after we trade notes on the mix, Brian emails a final copy to the group. After that, the band gets "stems" of the recording, which means they get the individual drum, vocal, guitar, bass and all the auxiliary/extra instrument tracks. Once the band has this, they can mix the song on their own, or redo things if they wish. So, when we got the stems, the acoustic guitars were missing, and after a little bit of back and forth, we decided to just re-record them. Given the studio's and Brian's super busy schedule of paying bands/artists, and the fact that we were able to do all of this basically for free, it was an easy decision. 

The performance was simple enough, since we've played the song live quite a bit since doing this workshop.  So, that went well too. I doubled the track, which means I recorded myself playing the part twice, identically, on two separate tracks. Most commonly, these two tracks are sent separately to the Left and Right speakers in a mix, and what results is a very wide, large sound. 

Once it is mixed by John, our good friend Bryan Dale will master the track, which means he will clean up any odd frequencies, trim the beginning and ending seconds and optimize the dynamic levels and loudness of the track. 

So, we are very excited to finish mixing Forgotten Lights, which was written for my grandmother during her last year of life. She lived to be 97 years old, and in her final year her memory began to fail. We knew she wouldn't make it much longer, because mentally, she had showed almost no signs of aging well into her 90s. Pretty incredible. Everyone in my family misses Eva quite often, and were so lucky to have her for so long in our lives. 

Thanks for reading!

Acoustic and Vocal recording chain at my studio today:

- guitar: Guild D55 acoustic with D'Addario Bluegrass coated strings

- microphone: Rode NT2 large diaphragm condenser microphone in cardiod pattern, no rolloff or pad. 

- preamp - Universal Audio Apollo duo twin, Solo 610 B emulated preamp plugin.

- Logic Pro X 



Post #1: Tying The Room Together

Scott Haskitt

Yep. I'm writing a blog. Because... well, day to day, between lessons, performing, practice, songwriting, session/production work and trying to keep up with goals I've set either years ago or last week, things can seem a little scattered... I imagine, especially to Laura, and likely, our neighbors. In better moments of clarity, I always realize there's a common thread tethering all this noise (beyond just being actually pretty noisy). Most obviously, together these things help along my progress musically, which has been my most consistent and longest-standing form of self-validation in my life. At any rate, it's a close second to Calvin and Hobbes. 


So, my goal here is to try to dig up and follow that line, be more cognizant of the link between the days in a way that helps me to do all these things in a more coherent stride. Along the way, I hope to make some discoveries that are helpful to me, but not in such a self-indulgent way that it's painful for others to read. Which also means I'll be posting weird sciencey music videos of planetary periodic polyrhythms and lo-fi audible atomic displacement patterns, and possibly some kind of weekly audio clip of things I'm working on. 

Oh, and my father has been urging me to start a blog for a while now. I've realized he gives pretty good advice. So there's that. Hi Dad. :)

That's all for now. I have a lot of work to do getting this site up and starting a LivingSocial promotional campaign in the coming week for my online guitar lessons. 

I'll leave you with a video of an unfinished classical chorale-ish piece for Ukulele I was working on a while ago. It's rough, but I really liked it and have been meaning to get back to it. 

Thanks for reading!