John Petrucci, Alexi Laiho comments

Q: Why did you make those lame comments about Dream Theater in Guitar World [April 2005]? You’re a fine player, but comments like those just make people lose respect for you. Did you know it caused a big stir? – Brad Bailey

[Laiho indirectly called Dream Theater guitarist John Petrucci “super lame” and said of the group’s songs, “It’s not even music; it’s sports.”]

AL: F***. [laughs] Well, apparently it did. First of all, I think it’s really funny that people trash bands and musicians everyday on the internet, and nobody gives a s***. But once you say something like that – which wasn’t even too bad – in a magazine, all of a sudden you’re the biggest dick on earth.

But truthfully, I don’t know why I said that. I was having a bad day or something. Obviously, John Petrucci is a better guitar player than I am, and it’s not my place to talk s*** about him.

-----

Q: I’ve been a longtime Dream Theater fan, but always felt your 2003 album, Train of Thought, brought things to a new level for the band. What did you do differently with that album? – Jason A. King

JP: Thanks. We wrote the two albums before that one in the studio, and recorded the songs as soon as we finished writing them. With Train, we went back to holding writing sessions and rehearsal periods where we cranked up the amps and let it rip, rather than sit there with headphones and worry about our parts. That helped us craft more dramatic, less-experimental material, the kind of stuff that’s always the most fun to play live and which crowds respond to best. I wanted every song to have that energy. We also tried not to pverrecord and keep the arrangements cleaner so there was more breathing room in the songs. Guitarwise, I wanted to have more intense soloing and over-the-top parts while keeping the songs structured and melodic and lyrically strong.

Q: If you could be any superhero, who would you be and why? – Josh Catlett

JP: Superman, because I like the way he could fly around the earth and turn back time. I want more practice time!

Q: How do you do those awesome high-to-low sweeps in “Under a Glass Moon”? – Dave Scarborough

JP: I focus on two elements to make those sound good. First, I really separate the notes with my fretting hand so they don’t ring out like a chord. I use some alternate chord shapes that help with this. Second, I drag the pick from one string to the next using the hand’s momentum. That way, I’m not actually picking the individual strings but rather pulling the pick up against the string.

Q: What do you use to get that great, distinct distortion sound? And do you have any thoughts on acoustic simulation gear? – Russ Addison

JP: My distortion usually comes from the amp. On Train of Thought, I used a Mesa/Boogie Road King, which has a very cool liquidy overdrive that also lends itself to clarity and separation of notes. For acoustic simulation, the Fishman piezo system in my Music Man signature guitar sounds so good that I’ve recorded with it. It’s very convenient and allows you to switch back and forth and blend sounds.

Q: Did being a guitar teacher affect your playing? And what do you feel makes a person a good guitar teacher? – John Strange

JP: Yes, it did affect my playing. It forced me to stay on top of my musical theory and learn songs and techniques that I wasn’t interested in, but which my students wanted to learn. A good guitar teacher will create an individual plan for each student rather than expect everyone to fall into his overall method.

Q: Most guitarists go through a phase of learning other people’s material note for note. What did you master this way, and do you still do it now that your playing has reached such a high level? – Wouter Ectors

JP: Of course I did it. I learned by figuring out stuff like Steve Morse’s “Introduction,” the Dixie Dregs’ “The Bash,” Randy Rhoads’ solo on “Over the Mountain” and tons of stuff by Yngwie, Al Di Meola, Allan Holdsworth, Steve Vai and Joe Satriani. Working on other people’s solos always gives you fresh perspectives and develops your ear, which is why I still do it. It’s always good to challenge yourself. That way you don’t get to a point where you’ve learned enough and say, “That’s it.”

Q: Does [Dream Theater bassist] John Myung ever talk? – anonymous

JP: I understand your confusion; to most people John is certainly a man of few words, but I’ve known him my whole life and we’ve had some of the lengthiest, deepest conversations I’ve ever had with anyone.