SZ: I really liked your contributing tune “Nausu Nights” on this release, a groovy song with lots of nylon guitar shredding in it.  How did you combine the shred aspect with the dance feel to make this song work?

The reasons that I did “Nassau Nights” on this project were two, first of all I knew that from the artists that had been suggested for the first volume, there was going to be a lot of rockin going on. Jennifer Batten, Slash, Papa Roach, Gary Hoey, Blink 182, so I decided to give the project a little different flavor and wrote a Latin/Urban flavored dance track, with instead of a distorted sounding guitar, a nice clean nylon string sound. The second reason was to write something that identified with me personally as a person, so being from Nassau, Bahamas I wanted to give off that island party spirit of the night life in Nassau. With this song I was mainly thinking about melody and arrangement, I also played bass and keys on the track.  The song has been received very well, so I guess I accomplished what I was trying to do with it.

SZ: Since where on the topic of Seymour Duncan, can you explain to our readers how you get endorsement deals?

Wow, I am always being asked about the endorsement deal thing. There are several ways that it can work, you can be such and icon or entity that companies seek you out to have your name associated with their products, such as a Steve Vai, Slash, Zakk Wylde, George Benson, Herbie Hancock, Stevie Wonder, or in my case and in most cases show a company how they can benefit from a business relationship with you. Being a successful businessman as well as being an artist, I bring a lot to the table that can help companies diversify, increase, and expose their brands to new markets. When I talk to companies that I am interested in being associated with, I don’t approach them as an artist but as a businessman who happens to be an artist as well. If you are seeking an endorsement with a company that you like, know as much about their product as possible, and really it’s best if you have actually used the product over a period of time. Think about how you can help that company expose their product to new markets, because the bottom line is sales. They will be interested in you if you can help their bottom line in one way or another, which means being able to give their brands great exposure.

SZ: I heard that you have some over seas radio deals in the works can you give us some details?

Well they are not in the works, but they exist already, I have connections in different parts of the world that I use to license material and projects to various markets abroad. It’s one of the services that my label provides for groups we distribute, as well we have connections with many music supervisors for placement of music in TV, motion pictures, and commercials. We also promote to radio here in the U.S. and abroad, we recently signed a deal with a South African radio network to supply music content. Being an artist myself I understand what resources artists need to get their music out there and get heard. I just take these same practices, and resources that I have developed for myself over many years, and use them to help others with their careers.

SZ: Sounds pretty big, glad to see Boosweet is doing well.  What advice can give musicians that are looking to get into the music business, doing session or studio work?

Session work is an art form in itself, if you are contemplating making your living that way you will want to be a well rounded player, by that I mean able to play many different styles. You should be able to play several different string instruments, such as acoustic as well as electric, 12 string as well as 6 or 7 string, mandolin, dobro, banjo. You do have specialist that just play particular things, but the guys that I know that do it for a living, get called to play all kinds of stuff and they just have to be prepared for it all. If not someone else gets that call and you are sitting at home. Also it is not mandatory, but the better sight reader your are the more calls you will get because the session contractors will know that it won't take you all day long to get a written part down, and waste valuable studio time.

SZ: So it is a lot harder than it seems...  I read your bio at www.boosweet.com your record label; you have a huge list of artists you have performed with, out of all those which have been the most memorable?

I have enjoyed working with them all, because each experience was different and I learned different things from all of them. If I had to pick a few, D.J. Rodgers and Teena Marie for the vocalists because they are incredible singers that sing with a ton of emotion, to watch the audience being mesmerized by them is awe inspiring. I enjoyed Johnny “Guitar” Watson because he was a guitar player that taught me some incredible blues techniques. I thought I knew how to play the blues before I played with him, but he put me through a whole other educational process concerning playing the blues. Johnny was a great keyboard player too.  I have been onstage with people who are true legends in the music industry and just to be there with each one was a dream come true, and very gratifying.

SZ: I can't even begin to imagine that feeling.  You've been in the music business for many years, being a president of a record label, among many other industry related things.  How and why did you form your own record label Boosweet Records?

I spent 7 years as the president/partner of another indie label called Chereese Records based in Inglewood, Ca. Because of several factors it came time for me to open my own label. I already had the experience of running a label so it was just a matter of setting up shop on my own and starting the process all over again, which I might say is very hard work, and very time consuming. My average workday is probably about 18-19 hours and sometimes that’s 7 days a week. The reason for getting into the label side of the business is probably the same reason why many people form their own companies, they get tired of waiting for someone to decide their destiny. It grew out of a need for me to get my product, and some very talented other peoples product out into the market place. It has proven to be the right choice for me, because things have been going very well for my label and it literally grows daily. I also will say though this might not be for all musicians, because of the tremendous amount of work and discipline that it takes to run a company, and it also takes a toll on your creative side as running a label requires you to be an office person.

SZ: Ok, so now lets dive into your musical world.  Name some of your favorite albums.

My all time favorite album:

I have a few, “Are You Experienced”, “Band Of Gypsies”- Jimi Hendrix, “Diver Down”-Van Halen, “Alien Love Secret”-Steve Vai, “Santana 1”, “Abraxas”, “Supernatural”-Santana.  Those are my rock choices 

“Last Days and Times”, “Gratitude”-Earth, Wind & Fire, “Purple Rain”, “Controversy”-Prince, “America Eats It’s Young”- Parliament/Funkadelic, “Rufasized”-Rufus feat. Chaka Khan, “SoVery Hard To Go”-Tower Of Power.  These are my r&b choices.

“Breezin”-George Benson, “Romantic Warrior”-RTF, “Wes Montgomery Greatest Hits”-Wes Montgomery, “Captain Fingers”- Lee Ritenour, “Cab2”-Tony MacAlpine. These are my jazz and jazz fusion picks.

There are so many more I could have added to each list of favorites.

SZ: Ok, here's one of my favorite all time interview questions.  If you could form an all-star band what members would you want in it?

Wow, it would be a big band, Dennis Chambers (drums), Tony MacAlpine (guitar and keys), John Pattituci or Stanley Clarke (bass), Herbie Hancock (piano&synths), Paulino DeCosta (percussion), Randy, Michael Brecker, and Donald Myrick (horn section), and Stevie Wonder, Chaka Khan, and Peter Cetera on vocals!

SZ: I knew you were going to have a long list.  Actually, that has been one of the longest I've ever gotten in an interview so far here at The Shred Zone.  Here's a question from our technical readers.  Self taught player or lessons?

I studied music formerly, but never had that many guitar lessons. I did study with a guy named Jon Sachs who went to Berklee for a little while, but mainly I have learned guitar on my own and playing with so many different guitar players over the years. When my friend Vic Johnson (Sammy Hagar) use to live down this way, we would get together and jam in his garage, and we would steal licks from each other, stuff like that.

SZ: Along with that, what does your practice routine include?

I have finger exercises that I usually start with then depending on my mood I might work on different techniques, or learn songs that I want to learn. Sometimes I just practice coming up with different licks that are going to be very challenging to play so that I have something to work towards. I think that it is very important to always challenge your playing, it can be very frustrating at first, but when you are able to execute what you want it becomes a labor of love.

SZ: That's a good way to practice, it's always fun trying to conjure up new licks and tricks.  Here's a tough one for you, what is your favorite part of your playing style?

I think the strength of my playing whether it is lead or rhythm are my rhythmic concepts, where I choose to start a particular pattern or lick. Music is very mathematical so placement of notes and rhythms definitely are important to setting certain moods.

 Good answer, I couldn't agree with you any more my friend.  Moving on, what other works are you on?

Warren G. , Dani Spencer “Timekeeper Fe Real”, Johnny “Guitar” Watson “Bow Wow-remix”, Monique “Are You Down”, “The Dramatics”, Felix Washington “This Is The Time”, Junior Walker, and many more I cant remember !  For more info check out this link www.javamusic.com/vernonneilly.

SZ: Favorite Scale or Mode? I like melodic minor, chromatic, and diminished scales.

SZ: Favorite key to write in?

For guitar I like to write in A minor, but for songs with vocals it depends on the artist I am producing for.

SZ: Favorite trick, lick, or both? 

I like pick harmonics, tapped harmonics, sweep picking. I also developed a lick that’s good for jazz and rock soloing that is based around a common tone. For example if you are in the key of C  Major, A minor (relative), using triplets on the C, it would be

C-E, C-F, C-G, C-A, C-B, C-C octave. You would actually count triplet 1, triplet 2, etc; and you can practice this lick forwards and backwards.

SZ: I'll have to try that one out as soon as we conclude this interview, it sounds really cool.  Can you recommend playing technique for our readers to try?

I do not have a recommended playing technique, because what works for some is not necessarily good for others, just try to be a versatile as possible and learn as many different styles of playing that you can, or are interested in. You will eventually learn how to execute the way that it is most comfortable for you.

SZ: How about suggested Theory books or readings if any?

The Berklee books are good for learning a number of technical things, there is a book that I used called “Styles For The Studio” by Leon White, and also “Teach Yourself Guitar Theory” by Roger Edison that I have studied in the past. I also have a book that I still use called “Jazz Lines” by Mel Bay which deals with playing around complex altered jazz chording, and how to apply different scales and modes to fit altered chords. I would also like to say that when it comes to books they should only be used as a guide to stimulate ideas, and to learn specific information that you are looking for. Then put the book away and go through the process of experimenting for yourself how to apply the knowledge that you have just learned.

SZ: Seeing that your such a diverse player, what other styles of guitar playing do you enjoy? 

I like the sound of certain country guitars, and like trying to emulate certain licks and tones. I really enjoy guitar period and enjoy the instrument regardless of genre or style, to me music is music and is over classified.

SZ: This goes without saying, but I'll ask it anyways.  You have a really fine tuned guitar style, how did you get to the level that your currently at?

I have gone through many levels of development to get to this point, and I think that you just have to have a certain level of proficiency to be able to convey the ideas that are in your head, to get them to come out of your fingers. I have practiced very hard on articulation, where if my tone is dirty or clean the lines, or phrases that I play can be absorbed by people who are listening without straining their ears to hear what I am playing. Whether I am playing whole notes or 32nd notes they should be able to be heard by the listener, other wise you have defeated your purpose of playing a particular passage. When I listen to Steve Vai, Eddie Van Halen, Lee Ritenour play, even if they are playing very fast you can distinguish every note that they play because their techniques are clean. I practice a lot with no amp just me and the guitar, and you cant hide not hitting certain notes, because if you don’t hit them, they wont sound.

SZ: That point arises another question I have for you.  How do you write your guitar solos?

I approach solos differently depending on the song, for me the song is the most important thing. So sometimes I can improvise a solo that will fit a certain mood that I am trying to project, and sometimes I will have to sit down and actually write a solo out, or work one out. Melody is very important to me, because even in a solo if its melodious, people will be able to memorize that musical passage. One of my favorite solos is Neal Schon’s solo in “Who’s Crying Now”, or Steve Lukather’s solo in "Georgy Porgy." They are both very simple guitar solos, but the impact they have for the songs that they are in, is tremendous, you can sing them just like one of the lyrics.

SZ: Carrying on with your solo work.  Your solos have lots of variety and soul.  What lead techniques do you predominately use in your solos?  What licks and/or scale/mode patterns do you like use?

I  have learned that there are the notes themselves that you play, but just as important the rhythm of the notes that you play. Diversity comes in being able to take the same set of notes and move them around rhythmically to create a different mood, tension, or energy that you are trying to achieve. I don’t think about techniques consciously when I am playing solos, I am thinking more about melody and telling a little musical story through the solo. Like all players I tend to have little patterns that I am partial to, for example I like to sweep pick pentatonic minor arpeggios descending, and fourths ascending. Playing with so many different people I can solo in any key comfortably, and with guitar everything starts all over at the 12 fret. Regardless what key it’s in I try to use the entire neck to get variations of colors, and textures when soloing. I do not think about if I am playing Dorian, Aeolian, Mixolydian while I am playing because my ears are leading me to what I know is going to sound right. After you have played for awhile you will begin to know what certain licks, patterns, scales, modes, sound like before you even execute them on the guitar, this comes from repetition, and practice.

SZ: So what sets you apart from other musicians in the industry?

I think one of the main things that sets me apart from other musicians is my business acumen, and understanding of the music business, knowing how to deal both as an artist, and as a qualified business man.

SZ: That sounds like a real good game plan for what your doing.  So can you give our ammeter and beginner players readers some advice?  Practicing tips, etc…

For amateur players that want to become professionals, you have to practice, practice, practice, and then take your playing out publicly and play. By that I mean try to find out where they are having the open mike nights, jam sessions where you can sit in and play. Don’t worry about your level of playing yet, because you want to gain the experience of playing in front of people even if you embarrass yourself initially, its all part of the growing process. Always try to surround yourself with players that are above your present ability, that helps you to understand the level which you need to attain. As you make progress, continue to challenge yourself with things that you cannot do on your instrument, and when you can move on to something again that you cant. For beginning players take everything a step at a time, and do it slowly to make sure that you are building good skills and good habits, so that you can build a firm foundation. If you can't do the simple things well, you are not going to be able to do the more complex things well, and most importantly the amount of time you spend practicing and playing will directly reflect on how good you get, and how fast. The top players in the world did not get to where they are overnight, they have uncountable hours invested in practice, and playing. Also it’s one thing to attain a certain level of proficiency, it’s another to maintain it!

SZ: How about recommending some CD’s for our readers to check out?

As far as recommended cd’s to listen to, I will not mention any by name because there are too many good things musically out there today that people can listen to and learn. I will say make your listening diverse, if you are a rock player, shred head, listen to jazz players, r&b players all of it can be applied to any genre of music. Malmsteen is renown for bringing his classical influences to rock and creating a different flavor. Also, don't just listen to guitar players, listen to horn players, piano players for phrasings, there is so much to take advantage of to help with one’s playing. I do recommend renting, buying instructional videos, because to see your favorite player execute things you want to learn by watching cannot be substituted by just hearing. You have a visual to relate to as well.

Now we come to one of my favorite parts of the interview.  What guitars do you use and why?  Have you made any upgrades, modifications, or had custom work done on them?  (Pickups, wiring, etc)

For years I had been using Parkers because I endorsed them, and I like the weight of the guitars, very light. All of my Parkers except for one has been modified with Seymour Duncan pickups, my Fly Deluxe still has the stock DiMarzios in them. My main Parker is black with Duncan Duckbuckers in the neck and middle position to get Strat tones, there is a JB (Jeff Beck) full humbucker in the bridge that screams. This is my favorite Parker, because the people at Duncan hooked this guitar up for me, I left it with them and told them what I wanted it to sound like. About a month later after they had tested all kinds of stuff in it, they called me and said it’s ready! I can still remember the day I went to the factory to pick it up, and tested it in the sound room, incredible. Lately, until my signature models are done, I have been using Santana SE models, they feel great, look great and they have Duncans, so they sound great. These have new pickups in them called a Stag Mags, because these guitars are dual humbucker models the Stag Mag allows you to split the coils in the middle position and get Strat tones. I think that these are probably the best least inexpensive guitars I have ever played, with the exception of my 84 Fender Squire Strats. I have 2 of those 1 white, 1 black both modified with EMG pickup systems.

I have 2 Steinberger guitars with EMG pickups, 1 is green, the other is red sunburst. I also have 2 Sanchez Custom guitars that I designed and were put together for me by guitar, and bass builder Sammy Sanchez. These instruments are beautiful and sound great, and of course are loaded with Seymour Duncans. In the model I call “Mahogany Jack”, it has a 59 humbucker in the neck, reverse wound vintage strat in the middle, and a JB full humbucker in the bridge. In addition to the 5 way selector switch to change between pickups, it also has a 5 position varitone switch which yields some very, very unique tones. The other model I call “Bahama Mama” there is a set of Duncan “Live Wires” single coil set, because there is an active preamp this guitar yields all kinds of juicy Strat tones.

SZ: What other gear are you currently using for studio recording and live situations; rack units, pedals, effects and so on?

My Live setup is fairly simple, I am using a Roland GT-5 guitar preamp as my control center, this allows me to carry my tone wherever I go. In front of that I have my “Whammy II” pedal, and my Dunlop “535Q” wah. The signal goes straight into the power section of my Mesa Boogie simul class IIc, or I had a special cabinet built that houses a Peavey 50/50 stereo tube power amp. I will run the GT-5 out in stereo to the 50/50 inputs in stereo, and the cabinet is wired for a true stereo split. So instead of using 2 amps to get a true stereo signal out, I have that in one amp. I have other amps that I use at other times depending on what type of gig it is, but the one’s I mentioned before is what I use most of the time.

In the studio I use my GT-5, or my Johnson J station direct into the board, between those 2 units I can get any sound I want. I have a Conklin 5 string bass for studio use which I run through an SWR tube preamp directly into the board. Also I have a Kurzweil k2000, Roland JV1080, 5080 series modules, and Korg M1R, and Triton Rack modules. I use the Kurzweil k2000 as a controller to drive the other modules, also sometimes I use my Roland GR-33 guitar synth to drive the modules. I have a really cool pedal called “The Talker” by Digitech that I use for all of my vocorder or talkbox effects. The cool thing about “The Talker” is that you can run a line out to your amp, and one to the P.A. simultaneously from the unit. I have tons of boss effects that I have collected over the years, my original TS9-Tubescreamer by Ibanez, my original Big Muff and Small Stone phaser, my original Electro Harmonix guitar synth. I have all kinds of gear that I pull out from time to time.

SZ: So how about strings and picks?

I endorsed Dean Markley for years and used their Blue Steel 10-46 gauge strings, but as I mentioned earlier in the interview I am with Everly Strings now, and I use their B-52 Rocker set 10-46, also their classical set, acoustic light set, and 5 string bass set 45-135. I use my signature picks made by Jim Dunlop for me, they are tortex jazz picks 70mm gauge with my signature on them. I like the smaller, harder pick because I get a stronger attack on the string, and because the pick is small, my hand is closer to the string, and for me it is a more efficient motion.

SZ: Moving away from the techy stuff.  What do you think of the present state of instrumental guitar worldwide and where do you think it’s going?

I think that the representation is strong on the guitar instrumental front and I am happy to see it, what I am not happy about is the lack of medium right now to have it heard on a mass scale. You have but a few commercial stations in the country that are playing instrumental rock, or progressive rock music. I think that it will come back though, there are just too many talented players out there for them not to be heard, and music goes around in cycles. We just have to keep putting good music out there and eventually someone will notice.

SZ: Good answer.  I do agree its really a shame not to hear more instrumental guitar players on the radio these days.  There is so much talent out there, and that's why I decided to open up The Shred Zone.  We like to promote the "under dog" or "unknown" artists here.  So what are you currently up to? (Projects and other industry things.)

I am currently writing for my second project which will probably be ready in the fall of this year. I am about to release an r&b singer, her name is Elaine Stepter, her cd should hit the market in May. We are putting the final touches on her project now as we speak. I am also doing another guitar project with a very close friend of mine who’s name is Kevin Chokan, he currently tours with r&b singer Jeffrey Osborne, and is the musical director for Diana Ross. We are in the lab writing for this project now too, and if that is not enough I am to start soon on my reggae artists next project, so I am also putting tracks together for him too. As you can see, my plate is full and there is no free time, but I like that it keeps me moving all the time. I have a new website that will be launching probably by the end of April called Vernon Neilly.com, it will be a very cool site and the grand opening we will be giving away lots of free stuff for people who visit the site. Also The Shred Zone and Boosweet Records Online are about to do a monster giveaway promotion, backed by some major folks in the industry so I am looking forward to that as well.

SZ: The contest is going to be a big hit with our readers Vernon, and I can't wait for it to hit the net.