Steve Ouimette Interview: From Guitar Hero Riffs to Studio Secrets

WEBVTT
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Hello and welcome to another episode of Inside the recording studio.
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I am really excited today.
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I am Jody Whitesides and with me as always is Mr. Chris Hellstrom.
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How are you today, Chris?
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Oh, yes.
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today. I am pumped. Yes, because you can guess why we have a very special guest with us today.
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Yeah.
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Hey guys.
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Are you like sporting wood already or something or what?
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Well, who's our special guest?
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I can neither confirm nor deny that. Well, we have with us Steve Ouimette today, session
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Yes.
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Yes.
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guitar player and everything else in between. Well, he has a very illustrious career actually.
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Yes, he does.
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So I think what I think we'll do, Steve, if you don't mind, first, welcome to the podcast.
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(laughs)
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(sighs)
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Yeah, thank you.
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We very much look forward to this.
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[BLANK_AUDIO]
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To people who don't know who you are, perhaps we can start by you explaining a little bit
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Yes.
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[BLANK_AUDIO]
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of your background and what you do today.
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[ Pause ]
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Yeah, I guess I got my start.
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I've been doing this my whole life, but my start in the world of the public eye,
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I believe would have been with Guitar Hero back in 2007.
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It was actually my first gig after getting laid off from AOL.
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Remember those guys?
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Wait, what?
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(laughs)
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I did not know you worked for AOL.
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Yeah, well, it's a long story, I'll get into that.
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I got laid off from AOL.
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[Laughter]
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Of course, there is no AOL to get laid off from anymore,
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[Laughter]
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but so jokes kind of on them.
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You were ahead of the curve, really. Yeah, right.
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Yeah. (laughs)
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It is
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(chuckles)
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And so I realized that I'd been doing music my whole life.
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(breathing)
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[silence]
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I mean, I got my degree in classical performance and composition, and I was going to be a rock
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you
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[silence]
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you
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you
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star like a lot of the guys were expecting we were going to be, and it didn't work out
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.
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[silence]
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.
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exactly that way.
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you
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And then after I went through the whole tech business side of things, when I was working
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you
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you
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with game composers, as well as a lot of back-end stuff you don't need to hear about, I ended
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you
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you
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you
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up looking for, you know, I wanted to write music for video games, and I went to a conference,
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you
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you
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you
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which is called the Game Developers Conference,
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including
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folks that play games, GDC.
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DC been there.
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yourself.
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of
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you
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And I'm so old it used to be called
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(sighs)
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(silence)
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Ah ha, CDGC.
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the Computer Games Developers Conference
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before it turned into GDC.
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So yeah.
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- D, D, G, C.
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And a friend of mine introduced me to this guy named Kai Huang,
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(laughing)
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who was running Red Octane and Guitar Hero.
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And that's how I got my first gig.
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I ended up writing, I don't know,
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maybe I did three or, wait a minute,
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probably about 10 re-records for Guitar Hero 3
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and then some custom tracks and it all goes on from there.
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So that's the longest intro of a,
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how did I get here ever for your podcast?
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Not at all. That's great. But I think you skipped something there. I think you were...
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(laughs)
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I'm sure I did.
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Yeah, not necessarily when it comes to the guitar hero, but unless he's lying to me,
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Yeah, yeah, yeah, that was the, I was gonna be a rock star.
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So he didn't really skip it, he just glossed over it.
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Jodi informed me that you were also part of T-Ride and did some work for that record.
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Yeah.
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So I just, I'll rewind.
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Yeah.
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So I met Eric Valentine back in 1988
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You
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Thank you.
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when I had kind of joined a studio-ish band
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[silence]
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with a great singer named Dave Candelaria.
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And Dave brought me into the studio
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where there was this young guy,
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(breathing heavily)
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I mean, basically we were the same age,
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but he was this amazing engineer already
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(breathing deeply)
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[silence]
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and he was recording our demos.
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And that was Eric.
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And what happened was throughout the course of the next few years
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Thank you.
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recording with Dave at Eric's studio,
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I'd been playing guitar.
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That was what I was doing, obviously.
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And there was this band that they were creating called T-Ride.
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And they said, hey, we've got this opening for a track called
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Rock and Roll Zombies from Hell.
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And there's this sort of crazy arpeggiated intro
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Thank you.
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[silence]
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that we haven't been able to get the way
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that we want it to sound.
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And I guess they had kind of had sort of like had an open
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audition for anyone who could play this thing that Eric wrote
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[audience laughter]
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on, or actually Dan wrote on his Casio keyboard, that, you know,
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Thank you, and have a good week!
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It is crazy as hell.
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they'd buy him like a free Jack in the Box, and a few hours of
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studio time. So I said, I'll give it a shot. And so I came in
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the next Monday, and recorded that lick, which is sort of
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pseudo famous because for the...
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[ Pause ]
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It was a really interesting...
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And I have to say that Eric was really cool about it
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'cause I didn't quite have it, but he worked with me
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and that's one of Eric's skills back then
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You
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was he was very much a cheerleader for you.
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You
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You
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And so he helped me get through that lick.
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Mm.
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And then he actually recorded his drum fill
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over the top of my lick, which was, you know,
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that's how good he is.
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But yeah, so I was in the band for about a year and a half,
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more on the studio side.
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And then when it came down to touring,
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[
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Jeff Tyson was actually in the band before me
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and he was really the right guy to tour.
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I was much more of a, can we just like go home after this?
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Like I wasn't, I didn't wanna get in a station wagon
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laughter ]
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Mm.
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and ride around the country.
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Hence the reason why I did not meet you at the Salt Lake gig.
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Yes, that's right, you did not because you met Jeff.
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Mm.
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[
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laughter ]
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That's right.
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And Jeff, you know, I still stay in touch
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All right.
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Yes.
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with actually all the guys.
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Jeff is a, you know, as we all know, phenomenal player,
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Satriani student, and he's got these spider fingers that he'll
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There you go.
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dent frets with that left hand. He's just such a great player.
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But that that was yes, that was my illustrious beginning into
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the career. And after the T-Ride thing sort of ended, I went into
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the tech business because I actually wanted to make some
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Yeah.
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money. Yeah. Yeah.
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I got to interject real quick though,
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Yeah.
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because the three of us are all like super guitar nerds.
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(silence)
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Yeah.
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And I will have to say that Jeff also is a super guitar nerd.
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[ Pause ]
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Oh yeah, of course he is.
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At least the night I met him on tour.
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(laughing)
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Yeah.
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He's also amazingly skilled at being able to just plug into a pedal and sound just like
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Jeff.
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I'm completely, I'm at the whim of whatever gear I'm playing and I will play horrible
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Uh-oh.
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if it's not set up just perfect for me.
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So never ask me to get up and jam because I will just say no.
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(laughing)
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Yeah.
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I don't jam.
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There you go.
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Yeah.
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Yeah.
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Yeah.
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But that's an interesting point that you kind of bring up there though with because I'm
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[ Pause ]
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Yeah.
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with you on that when it comes to your sound.
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It needs to feel good.
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Yeah.
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Yeah.
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It's that comfort factor, right?
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And you go like, well, yeah, can you plug into, you know, whatever back line?
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No.
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Yeah, you probably can, but you're probably not going to play your best because you're
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kind of holding back as it feels weird.
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Well, yeah, you're not even holding back.
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Right.
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Yeah.
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It's like, it's holding you back.
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Yeah.
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You just, it's incredibly hard to play.
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[BLANK_AUDIO]
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(laughing)
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I mean, I can do like maybe I can do Malcolm Young.
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[LAUGHTER]
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And that's not saying Malcolm isn't like
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[ Pause ]
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Yeah.
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the most amazing rhythm guitar player ever.
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It's just that if I try to do anything pyrotechnic wise,
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forget it, you know, there's just, it's yeah,
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I'm totally at the whim, so.
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You had obviously some studio experience and describing your personality here.
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Oh yeah.
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Yeah.
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Yeah, I mean really what it was is that after the T-Ride, I had a home studio before, you
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It sounds like doing what you do now almost sounds to me like it fits you like a glove because you get to do that
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and you get to explore sound and you get to just really do that on a super microscopic level if you will
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[ Pause ]
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doing what you do for the Guitar Hero games, right?
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Yeah!
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in a four track and then an eight track.
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Then I went through the whole ADAT,
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[ Laughter ]
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Mackie thing and then I bought it.
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Didn't we all?
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the
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all. [laughs]
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Yeah, it was horrible.
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[chuckling]
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It sounded great for the first track and then it
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[chuckling]
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just fell apart after that.
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[ Silence ]
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Then Pro Tools wasn't quite there.
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So I had a studio all the way through and when I lived in
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Seattle and I was working on campus at Microsoft,
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I was recording guys and I realized quickly that I didn't
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enjoy recording other musicians at all.
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[LAUGHTER]
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But yeah, I had this whole basement studio set up and it was terrible.
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Oh, nice.
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(silence)
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(silence)
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It was always cold and I had to get out of there.
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(silence)
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Yeah, so I had been recording for many,
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(silence)
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many years before Guitar Hero and just before Guitar Hero,
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You
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I had done this tribute band with some amazing players.
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Mmm.
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So I had Troy Lucetta was my neighbor.
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The drummer from Tesla was my neighbor here in Scottsdale.
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Yes.
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Then I met Dave Hensarling,
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who is actually known before as David Michael Phillips,
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as the guitar player for King Cobra.
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Uh-huh, yup.
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But he's like a walking encyclopedia of any musical part.
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Hi.
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decided to do.
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[ Pause ]
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So he actually ended up playing bass in this band.
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And then Robert Mason, who sings for Warrent now,
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and had sung for Lynch Mob and some other bands.
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We all became really good friends
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and we put together this band,
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which was a very accurate version
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of a band that never existed.
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[LAUGHTER]
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So we looked like we were from the 70s,
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[BLANK_AUDIO]
00:09:05.060 --> 00:09:07.060
we had the gear from the 70s,
00:09:07.060 --> 00:09:10.500
but we played cover songs in a,
00:09:08.540 --> 00:09:32.660
That's awesome.
00:09:10.500 --> 00:09:12.420
hey, Cobo Hall burned down
00:09:12.420 --> 00:09:14.880
and we had to bring all of our gear to this little place.
00:09:14.880 --> 00:09:17.500
So we would have, on any given night,
00:09:15.020 --> 00:09:27.980
[LAUGH]
00:09:17.500 --> 00:09:19.740
we would have 12 cabinets,
00:09:19.740 --> 00:09:22.420
four 12 cabinets and 12 heads.
00:09:22.420 --> 00:09:25.980
So it was four orange four 12s, eight Marshall,
00:09:25.980 --> 00:09:29.660
eight four 12s and then matching heads for each cabinet.
00:09:27.980 --> 00:09:29.980
[silence]
00:09:29.660 --> 00:09:31.820
And so it was hilarious.
00:09:29.980 --> 00:09:36.980
[silence]
00:09:31.820 --> 00:09:33.300
And so that really, yeah.
00:09:33.100 --> 00:09:38.000
vez
00:09:33.300 --> 00:09:34.700
And so, you know, we were doing this thing
00:09:34.700 --> 00:09:36.500
to be as accurate as possible.
00:09:36.500 --> 00:09:38.860
And I think that prepped me for Guitar Hero
00:09:36.980 --> 00:09:37.980
[
00:09:37.980 --> 00:09:38.980
Sighs ]
00:09:38.000 --> 00:09:45.000
Right.
00:09:38.860 --> 00:09:42.580
because when I talked to the guys at Guitar Hero,
00:09:38.980 --> 00:09:39.980
[
00:09:39.980 --> 00:09:40.980
Sighs ]
00:09:40.980 --> 00:09:40.980
[
00:09:40.980 --> 00:09:41.980
Sighs ]
00:09:41.980 --> 00:09:41.980
[
00:09:41.980 --> 00:09:42.980
Sighs ]
00:09:42.580 --> 00:09:44.940
I thought they were looking for note trackers.
00:09:42.980 --> 00:09:42.980
[
00:09:42.980 --> 00:09:43.980
Sighs ]
00:09:43.980 --> 00:09:43.980
[
00:09:43.980 --> 00:09:44.980
Sighs ]
00:09:44.940 --> 00:09:46.780
And I thought, great, yeah,
00:09:44.980 --> 00:09:44.980
[
00:09:44.980 --> 00:09:45.980
Sighs ]
00:09:45.000 --> 00:09:45.840
Right.
00:09:45.840 --> 00:10:14.840
>> Right. Yeah.
00:09:45.980 --> 00:09:45.980
[
00:09:45.980 --> 00:09:46.980
Sighs ]
00:09:46.780 --> 00:09:48.460
I totally could do note tracking
00:09:46.980 --> 00:09:46.980
[
00:09:46.980 --> 00:09:47.980
Sighs ]
00:09:47.980 --> 00:09:47.980
[
00:09:47.980 --> 00:09:48.980
Sighs ]
00:09:48.460 --> 00:09:50.820
'cause I'm into transcribing and whatnot.
00:09:48.980 --> 00:09:48.980
[
00:09:48.980 --> 00:09:49.980
Sighs ]
00:09:49.980 --> 00:09:49.980
[
00:09:49.980 --> 00:09:50.980
Sighs ]
00:09:50.820 --> 00:09:53.500
And they said, hey, we're in need of covers
00:09:50.980 --> 00:09:50.980
[
00:09:50.980 --> 00:09:51.980
Sighs ]
00:09:51.980 --> 00:09:52.980
[
00:09:52.980 --> 00:09:53.980
Sighs ]
00:09:53.500 --> 00:09:56.440
because our supplier isn't able to get them
00:09:53.980 --> 00:09:54.980
[
00:09:54.980 --> 00:09:56.980
Sighs ]
00:09:56.440 --> 00:09:57.940
fast enough for the game.
00:09:56.980 --> 00:09:57.980
[
00:09:57.940 --> 00:10:00.300
So I auditioned with "School's Out,"
00:09:57.980 --> 00:09:59.980
Sighs ]
00:09:59.980 --> 00:10:00.980
[
00:10:00.300 --> 00:10:02.540
which ended up on the game.
00:10:00.980 --> 00:10:02.980
Sighs ]
00:10:02.540 --> 00:10:06.380
And that's when they opened it up for me to do more songs
00:10:02.980 --> 00:10:03.980
[
00:10:03.980 --> 00:10:05.980
Sighs ]
00:10:05.980 --> 00:10:25.560
I hear that.
00:10:06.380 --> 00:10:09.380
and that was like the gate opener of all gate open.
00:10:09.380 --> 00:10:11.460
I mean, to have that as your first gig
00:10:11.460 --> 00:10:14.760
coming into the business, it couldn't have been better.
00:10:14.760 --> 00:10:18.820
I mean, really, Guitar Hero 3, are you kidding?
00:10:14.840 --> 00:10:44.360
Right. Yeah. Yeah. Yeah. That. Very cool. So how has if at all how has that process sort of
00:10:18.820 --> 00:10:21.540
You know, like, any games you worked on?
00:10:21.540 --> 00:10:23.420
Yeah, this one.
00:10:23.420 --> 00:10:30.100
So, it's, it's, (laughs)
00:10:25.560 --> 00:10:27.120
I wish I could say the same thing.
00:10:27.120 --> 00:10:29.420
No, I cannot say that I worked on Guitar Hero.
00:10:29.420 --> 00:10:32.140
But some people have heard the games I've been on.
00:10:30.100 --> 00:10:34.540
hey, hey, you know, there's a lot of games
00:10:32.140 --> 00:10:34.400
(sniffles)
00:10:34.400 --> 00:10:41.400
[silence]
00:10:34.540 --> 00:10:38.340
people haven't heard of that, or you know, I played on a lot of games, so yeah.
00:10:38.340 --> 00:10:47.220
Yeah.
00:10:41.400 --> 00:10:44.320
(breathing deeply)
00:10:44.320 --> 00:10:47.240
(breathing deeply)
00:10:44.360 --> 00:10:50.440
evolved over the years now. I mean, we're talking, you said 2007, right? So it's been a minute.
00:10:47.220 --> 00:10:49.940
Yeah, yeah.
00:10:47.240 --> 00:11:16.720
[ Pause ]
00:10:49.940 --> 00:10:51.980
Yeah, it sure has.
00:10:50.440 --> 00:10:59.800
Is it basically the same process for you now? Or is it much more nuanced, I would say today, as it was then?
00:10:51.980 --> 00:11:03.380
I think, you know, it's funny, you know how bands, sometimes their first
00:10:59.800 --> 00:11:05.580
Yeah.
00:11:03.380 --> 00:11:09.780
album is their best album because they didn't know better or they just, they had it. I think
00:11:05.580 --> 00:11:17.580
Jesus.
00:11:09.780 --> 00:11:15.100
there are certain songs that still were really, really inspired. I think I've done around
00:11:15.100 --> 00:11:23.160
300 covers now. And yeah, so in the beginning, it was way in my wheelhouse. I mean, we're
00:11:17.220 --> 00:11:18.060
Wow.
00:11:17.580 --> 00:11:23.580
Thank you.
00:11:18.060 --> 00:11:19.060
[
00:11:19.060 --> 00:11:20.060
Sighs ]
00:11:20.060 --> 00:11:21.060
[
00:11:21.060 --> 00:11:22.060
Sighs ]
00:11:22.060 --> 00:11:22.060
[
00:11:22.060 --> 00:11:23.060
Sighs ]
00:11:23.060 --> 00:11:23.060
[
00:11:23.060 --> 00:11:24.060
Sighs ]
00:11:23.160 --> 00:11:30.340
talking about Scorpions, Pat Benatar, Blue Oyster Cult, you know, that kind of, you know,
00:11:24.060 --> 00:11:24.060
[
00:11:24.060 --> 00:11:25.060
Sighs ]
00:11:24.580 --> 00:11:33.580
So,
00:11:25.060 --> 00:11:25.060
[
00:11:25.060 --> 00:11:26.060
Sighs ]
00:11:26.060 --> 00:11:26.060
[
00:11:26.060 --> 00:11:27.060
Sighs ]
00:11:27.060 --> 00:11:27.060
[
00:11:27.060 --> 00:11:28.060
Sighs ]
00:11:28.060 --> 00:11:28.060
[
00:11:28.060 --> 00:11:29.060
Sighs ]
00:11:29.060 --> 00:11:29.060
[
00:11:29.060 --> 00:11:30.060
Sighs ]
00:11:30.060 --> 00:11:30.060
[
00:11:30.060 --> 00:11:31.060
Sighs ]
00:11:30.340 --> 00:11:35.260
guitar hero stuff. And so it was right up my alley and I had a really great team of people.
00:11:31.060 --> 00:11:31.060
[
00:11:31.060 --> 00:11:32.060
Sighs ]
00:11:32.060 --> 00:11:32.060
[
00:11:32.060 --> 00:11:33.060
Sighs ]
00:11:33.060 --> 00:11:34.060
[
00:11:34.060 --> 00:11:35.060
Sighs ]
00:11:34.580 --> 00:12:02.580
How much?
00:11:35.060 --> 00:11:36.060
[
00:11:35.260 --> 00:11:42.160
So I had Ryan Green was mixing and producing locally here and then Gary Sanchez was a drummer
00:11:36.060 --> 00:11:38.060
Sighs ]
00:11:38.060 --> 00:11:39.060
[
00:11:39.060 --> 00:11:41.060
Sighs ]
00:11:41.060 --> 00:11:42.060
[
00:11:42.060 --> 00:11:44.060
Sighs ]
00:11:42.160 --> 00:11:47.020
that was in a band called Metalhead with Robert Mason. And so he played all the drums on those
00:11:42.580 --> 00:12:00.580
How much?
00:11:44.060 --> 00:11:45.060
[
00:11:45.060 --> 00:11:47.060
Sighs ]
00:11:47.020 --> 00:11:51.100
covers except for a few where a drummer named John Covington was playing, good friend of
00:11:47.060 --> 00:11:53.060
[ Pause ]
00:11:51.100 --> 00:11:57.900
mine. But over time it went away from rock and the majority of my re-records have been
00:11:53.060 --> 00:12:21.180
[Silence]
00:11:57.900 --> 00:12:05.320
on Just Dance, which is not rock. So I mean, I'm doing everything from old-school Harry
00:12:00.580 --> 00:12:27.580
Hmm.
00:12:05.320 --> 00:12:12.080
Belafonte to actual recent pop dance hits. I can't say the name of the two songs that
00:12:12.080 --> 00:12:17.160
I did for the new upcoming Just Dance, but I mean, I've done everything from Elton John
00:12:17.160 --> 00:12:22.680
to This Is The Rhythm of the Night, you know, if you remember that from back in the day
00:12:21.180 --> 00:12:28.020
Yeah. Nice.
00:12:22.680 --> 00:12:28.520
with Jenny B and I actually got Jenny B, the original singer, to sing on the cover, which
00:12:27.580 --> 00:12:56.400
Cool. I mean, the landscape has definitely shifted. And I
00:12:28.020 --> 00:12:38.020
[BLANK_AUDIO]
00:12:28.520 --> 00:12:30.160
was, that's a career highlight.
00:12:30.160 --> 00:12:36.880
So it's become much, much more nuanced because now it could be any song, you know, it could
00:12:36.880 --> 00:12:41.400
be, it could be anything and I've opened it up to being able to do any kind of music.
00:12:38.020 --> 00:12:54.460
It's been a while.
00:12:41.400 --> 00:12:46.600
So I don't really get to do rock as much as I used to unless it's a session because there
00:12:46.600 --> 00:12:53.640
hasn't been a guitar hero or a rock band or a rock revolution for what 10 years now, right? So...
00:12:53.640 --> 00:12:56.780
Yeah.
00:12:54.460 --> 00:12:57.040
(man laughing)
00:12:56.400 --> 00:13:02.720
remember because I was teaching at the time when the explosion if you will of Guitar Hero and
00:12:56.780 --> 00:13:03.260
Yeah.
00:12:57.040 --> 00:13:14.040
[ Pause ]
00:13:02.720 --> 00:13:11.800
It was very interesting to sort of see that because I think one thing that happened was like people got the completely wrong idea
00:13:03.260 --> 00:13:14.920
Yeah, that they did.
00:13:11.800 --> 00:13:17.880
Of what it was to play guitar because they've they commit to oh, I'm really I'm really good at guitar heroes
00:13:14.040 --> 00:13:16.540
[LAUGHTER]
00:13:14.920 --> 00:13:35.160
I can push buttons too. Yeah. It sure did. Right, right. I mean, it opened up an entire
00:13:16.540 --> 00:13:18.880
(chuckling)
00:13:17.880 --> 00:13:21.560
I'm okay. Well, that's awesome, but this is quite different
00:13:18.880 --> 00:13:25.880
[Silence]
00:13:21.560 --> 00:13:33.320
Yeah, but it also did turn a lot of people onto the instrument, I think, or any instrument where it's like, at that point, it was all of a sudden you see kids want to learn how to play "Sweet Child of Mine" again.
00:13:25.880 --> 00:13:35.880
[BLANK_AUDIO]
00:13:33.320 --> 00:13:35.320
It was like, wow, what did this...
00:13:35.160 --> 00:13:41.440
generation to an era of music that they may not have been exposed to. So it was absolutely
00:13:35.320 --> 00:13:41.320
Yeah.
00:13:35.880 --> 00:13:53.400
At a very young age too.
00:13:41.320 --> 00:14:01.320
Yeah. Yeah.
00:13:41.440 --> 00:13:46.880
instrumental, no pun intended, to the new movement. And you see the results of it on YouTube now with
00:13:46.880 --> 00:13:54.720
younger guys and girls playing extremely well, right? I mean, it's no joke at a very young age.
00:13:54.720 --> 00:14:01.200
Yeah.
00:13:54.920 --> 00:13:57.080
The guy that makes this guitar right here,
00:13:57.080 --> 00:13:58.880
who's made quite a few of my guitars,
00:13:58.880 --> 00:14:00.520
as you guys can see that not the people
00:14:00.520 --> 00:14:01.720
in the podcast can see,
00:14:01.200 --> 00:14:09.280
Really?
00:14:01.320 --> 00:14:25.320
Yeah.
00:14:01.720 --> 00:14:06.200
he was hired to do special edition guitars
00:14:06.200 --> 00:14:08.040
for Guitar Hero.
00:14:08.040 --> 00:14:10.640
And then something did not go right.
00:14:10.640 --> 00:14:11.880
(laughs)
00:14:11.120 --> 00:14:13.120
Oh, oh.
00:14:11.880 --> 00:14:12.960
Which is unfortunate.
00:14:12.960 --> 00:14:15.800
But it was just an interesting connection to hear it,
00:14:13.120 --> 00:14:21.120
Yeah.
00:14:15.800 --> 00:14:18.400
like knowing you that you've done a lot of these tracks
00:14:18.400 --> 00:14:20.880
and then the guy that actually built a lot of my guitars,
00:14:20.880 --> 00:14:23.440
he was asked to build some special guitars
00:14:21.120 --> 00:14:33.440
That's pretty amazing. I know that one point Fender was involved with Rock Band and was Gibson involved with Guitar Hero? I can't remember. I think
00:14:23.440 --> 00:14:24.520
for that situation.
00:14:24.520 --> 00:14:33.840
I don't recall.
00:14:25.320 --> 00:14:35.320
[BLANK_AUDIO]
00:14:33.440 --> 00:14:40.640
there was a lot of things going on. I mean they had they put out a lot of games. I did every Guitar Hero until the end.
00:14:33.840 --> 00:14:36.100
(laughing)
00:14:35.320 --> 00:14:53.720
That's awesome.
00:14:36.100 --> 00:14:39.180
(breathing heavily)
00:14:39.180 --> 00:14:51.900
(laughing)
00:14:40.720 --> 00:14:46.080
So I did all the way through "Warriors of Rock," so that was the last one.
00:14:46.080 --> 00:14:50.940
And I got to live out a dream that Gene Simmons was the voiceover for the music that I wrote
00:14:50.940 --> 00:14:52.340
for the Underscore.
00:14:51.900 --> 00:15:10.020
That's a quick plane ride.
00:14:52.340 --> 00:14:53.940
I didn't get to meet him.
00:14:53.720 --> 00:14:55.800
(laughs)
00:14:53.940 --> 00:14:57.260
I know, I was like, you know, when they told me that he came into Neversoft.
00:14:55.800 --> 00:15:17.800
Yeah.
00:14:57.260 --> 00:15:01.000
And I'm like, "Ah, you know, that's when I wished I'd lived in L.A."
00:15:01.000 --> 00:15:06.380
You know, because here I am in Scottsdale, Arizona, and Gene Simmons is doing voiceover,
00:15:06.380 --> 00:15:09.220
And I kind of wish that I'd been there for that.
00:15:09.220 --> 00:15:14.000
They told me after the fact.
00:15:10.020 --> 00:15:14.020
Why didn't you go?
00:15:14.000 --> 00:15:18.940
I'm like, what are you, guys, come on, man.
00:15:14.020 --> 00:15:22.380
those cheap bastards. Well, and, and knowing what I know about you and such is that you
00:15:17.800 --> 00:15:45.800
Thank you.
00:15:18.940 --> 00:15:27.220
Yes, and I should qualify that.
00:15:22.380 --> 00:15:34.220
are a massive kiss fan. So it would have been like a major dream. Yes. Okay.
00:15:27.220 --> 00:15:29.900
I need to qualify that I'm a massive Kiss fan
00:15:29.900 --> 00:15:34.900
from '73 to '79, '78 to be fair, and the reunion.
00:15:34.220 --> 00:15:36.220
[laughter]
00:15:34.940 --> 00:15:36.340
And I mean, when I say reunion,
00:15:36.220 --> 00:16:04.220
[laughter]
00:15:36.340 --> 00:15:38.140
I mean the one that happened in '96,
00:15:38.140 --> 00:15:39.840
not the one that's still going on.
00:15:39.840 --> 00:15:42.340
I mean, I love kiss and everything,
00:15:42.340 --> 00:15:46.420
but my first kiss concert was Dynasty, 1979.
00:15:45.800 --> 00:16:04.360
Yeah, it was a lot.
00:15:46.420 --> 00:15:50.280
And so I had grown up, I'm still a kid at that point,
00:15:50.280 --> 00:15:53.180
but I had seen the gatefold of Alive 2,
00:15:53.180 --> 00:15:55.940
and that's what I was expecting when they came for Dynasty.
00:15:55.940 --> 00:15:59.340
And I was treated to half stacks and a white stage.
00:15:59.340 --> 00:16:01.220
And I was like, what happened?
00:16:01.220 --> 00:16:03.260
It's not the same kiss that, you know,
00:16:04.220 --> 00:16:06.300
(laughs)
00:16:04.360 --> 00:16:07.380
Yeah, again, I'm a huge Kiss fan as well.
00:16:04.420 --> 00:16:07.120
So that's, yeah.
00:16:06.300 --> 00:16:08.000
Aren't we all?
00:16:07.120 --> 00:16:12.020
Oh, okay.
00:16:07.380 --> 00:16:13.400
My first concert was unmasked when they toured in Europe, and it was a very similar stage
00:16:08.000 --> 00:16:27.580
(laughs)
00:16:12.020 --> 00:16:15.180
Yes, yeah.
00:16:13.400 --> 00:16:14.400
setup.
00:16:14.400 --> 00:16:19.760
around and at that point I mean I was also very young but they couldn't have done anything wrong
00:16:15.180 --> 00:16:22.100
Right, right.
00:16:19.760 --> 00:16:26.000
as far as I was concerned but that's when color started coming into the the uniforms and all that
00:16:22.100 --> 00:16:26.220
Oh yeah.
00:16:26.000 --> 00:16:30.480
kind of stuff and yeah exactly yeah
00:16:26.220 --> 00:16:29.080
The Kiska Pades came to town, you know.
00:16:27.580 --> 00:16:30.580
[laughter]
00:16:29.080 --> 00:16:32.800
It was just, yeah, when they all had their own, you know,
00:16:30.480 --> 00:16:41.780
yeah
00:16:30.580 --> 00:16:31.580
[
00:16:31.580 --> 00:16:31.580
[
00:16:31.580 --> 00:16:32.580
[
00:16:32.580 --> 00:16:33.580
[
00:16:32.800 --> 00:16:37.720
Ace had purple, or Ace had blue, Paul had purple, Peter had green, and Jean had red,
00:16:33.580 --> 00:16:34.580
]
00:16:34.580 --> 00:16:35.580
[
00:16:35.580 --> 00:16:36.580
[
00:16:36.580 --> 00:16:37.580
]
00:16:37.580 --> 00:16:38.580
[
00:16:37.720 --> 00:16:40.880
and it was like, "Hey guys, this feels a little vagasy."
00:16:38.580 --> 00:16:39.580
[
00:16:39.580 --> 00:16:40.580
]
00:16:40.580 --> 00:16:41.580
[
00:16:40.880 --> 00:16:44.040
You know, I mean, they were dangerous and scary, and then all of a sudden they were
00:16:41.580 --> 00:16:42.580
[
00:16:41.780 --> 00:16:47.780
Yeah.
00:16:42.580 --> 00:16:43.580
]
00:16:43.580 --> 00:16:44.580
[
00:16:44.040 --> 00:16:47.440
super kiss, and it was like, "Oh."
00:16:44.580 --> 00:16:45.580
]
00:16:45.580 --> 00:16:46.580
[
00:16:46.580 --> 00:16:47.580
[
00:16:47.440 --> 00:16:52.280
And then Van Halen came out, and I saw them like three weeks after, and it was like, "Uh-oh,
00:16:47.580 --> 00:16:48.580
]
00:16:47.780 --> 00:16:54.780
Hmm.
00:16:48.580 --> 00:16:49.580
[
00:16:49.580 --> 00:16:50.580
]
00:16:50.580 --> 00:16:51.580
[
00:16:51.580 --> 00:16:52.580
]
00:16:52.280 --> 00:16:54.040
I think I'm changing my mind here."
00:16:52.580 --> 00:16:53.580
[
00:16:53.580 --> 00:16:54.580
]
00:16:54.040 --> 00:16:56.760
You know, that is a whole different thing.
00:16:54.580 --> 00:16:55.580
[
00:16:54.780 --> 00:16:57.780
Yeah.
00:16:55.580 --> 00:16:56.580
]
00:16:56.580 --> 00:16:57.580
[
00:16:56.760 --> 00:16:59.600
Anyways, I digress.
00:16:57.580 --> 00:16:58.580
]
00:16:57.780 --> 00:17:00.780
Well, yeah, we're all huge Kiss fans here.
00:16:58.580 --> 00:16:59.580
[
00:16:59.580 --> 00:17:02.580
[LAUGHTER]
00:16:59.600 --> 00:17:02.600
Yeah, yeah.
00:17:00.780 --> 00:17:07.780
So to steer this back a little bit onto sort of like perhaps the process here of what you do.
00:17:02.580 --> 00:17:04.840
(laughing)
00:17:02.600 --> 00:17:08.940
Yes.
00:17:04.840 --> 00:17:33.840
[ Pause ]
00:17:07.780 --> 00:17:14.900
you do. So now knowing what I know about you and your work, there is a ridiculous amount of detail
00:17:08.940 --> 00:17:13.800
Yeah.
00:17:13.800 --> 00:17:20.580
Yeah, right.
00:17:14.900 --> 00:17:20.980
going into reproducing one of these tracks. Can you give us sort of like the short version of what
00:17:20.580 --> 00:17:27.580
Yeah, right.
00:17:20.980 --> 00:17:27.940
that might look like? You get, assumingly, contracted to do, "Hey, we want tracks one through
00:17:27.580 --> 00:17:37.540
Okay, well, let me use the brief from Ubisoft.
00:17:27.940 --> 00:17:34.740
ten," or what have you. Now, what does that look like for you when you get that call, if you were
00:17:33.840 --> 00:17:35.840
(inaudible)
00:17:34.740 --> 00:18:01.200
a
00:17:35.840 --> 00:17:53.840
[ Pause ]
00:17:37.540 --> 00:17:39.820
So let's say Just Dance is happening.
00:17:39.820 --> 00:17:44.060
I've done the last 11 Just Dances, so it's every year it happens.
00:17:44.060 --> 00:17:51.440
So right around November, so I'll get an email from my guy at Ubisoft and he'll say, "Okay,
00:17:51.440 --> 00:17:53.700
the first track is going to be X."
00:17:53.700 --> 00:17:59.300
And they'll send me a brief and the brief is, it's usually the same, which is we want
00:17:53.840 --> 00:18:22.840
[ Pause ]
00:17:59.300 --> 00:18:06.300
it to be a beat matched, tempo matched, note for note replica.
00:18:01.200 --> 00:18:03.200
Mm-hmm.
00:18:03.860 --> 00:18:05.920
you
00:18:05.920 --> 00:18:07.980
you
00:18:06.300 --> 00:18:09.100
And of course we all know that that's near impossible.
00:18:07.980 --> 00:18:09.980
Thank you.
00:18:09.100 --> 00:18:13.220
But the idea is that they're going to use the original one to choreograph to and then
00:18:09.980 --> 00:18:11.980
Thank you.
00:18:11.980 --> 00:18:13.980
Thank you.
00:18:13.220 --> 00:18:17.260
they're gonna put mine in. And usually it's because of, you know, for licensing
00:18:13.980 --> 00:18:15.980
Thank you.
00:18:15.980 --> 00:18:44.980
And then we'll move on to the next slide.
00:18:17.260 --> 00:18:21.380
they have to go through, there's a lot of details that I don't know about
00:18:21.380 --> 00:18:25.460
that they have to do to prepare for it so that they can say, "Yeah, go ahead and do
00:18:22.840 --> 00:18:29.840
[ Pause ]
00:18:25.460 --> 00:18:32.020
that, Steve." So when I get it, I do a tempo map and I use Studio One, so I will
00:18:29.840 --> 00:18:35.840
[ Pause ]
00:18:32.020 --> 00:18:38.060
accurately map out to the beat, four beats for every bar. I'll do a tempo map.
00:18:35.840 --> 00:18:41.840
[ Pause ]
00:18:38.060 --> 00:18:43.040
And then I start doing my research, which is so much easier now than it was for
00:18:41.840 --> 00:19:06.840
[ Pause ]
00:18:43.040 --> 00:18:45.820
Guitar Hero because the internet has everything now.
00:18:44.980 --> 00:19:06.980
Right.
00:18:45.820 --> 00:18:49.140
And I'll find out what studio it was recorded at,
00:18:49.140 --> 00:18:51.860
who were the players if it was a session,
00:18:51.860 --> 00:18:53.940
and I'll learn everything I can.
00:18:53.940 --> 00:18:57.060
Hey, what kind of mixing console, who was the engineer?
00:18:57.060 --> 00:18:59.540
And I'll start going through, and these days,
00:18:59.540 --> 00:19:01.460
if you're lucky, you might be able to find
00:19:01.460 --> 00:19:04.880
an isolated track or two, and that can be really helpful
00:19:04.880 --> 00:19:06.620
because it gives you clues.
00:19:06.620 --> 00:19:08.940
Hey, that's the kind of reverb they're using.
00:19:06.840 --> 00:19:33.840
[ Pause ]
00:19:06.980 --> 00:19:07.820
All right.
00:19:07.820 --> 00:19:13.180
You goodsc
00:19:08.940 --> 00:19:11.580
So I'll literally break it down into the chords,
00:19:11.580 --> 00:19:15.420
the rhythms and then I'll start looking for the players.
00:19:13.180 --> 00:19:15.000
Why do you do that?
00:19:15.000 --> 00:19:17.060
And by contributing in our Value
00:19:15.420 --> 00:19:18.780
Usually, the end result is I just have to find
00:19:17.060 --> 00:19:20.280
and
00:19:18.780 --> 00:19:21.380
the best singer that can qualify for it.
00:19:20.280 --> 00:19:24.240
plus
00:19:21.380 --> 00:19:23.820
So that ends up being the hardest part for me.
00:19:23.820 --> 00:19:26.020
The easiest part is tempo mapping and
00:19:24.240 --> 00:19:34.040
,
00:19:26.020 --> 00:19:28.420
then digging into the track.
00:19:28.420 --> 00:19:32.220
I use different tools to isolate parts.
00:19:32.220 --> 00:19:36.340
I'll use RX from Isotope or I'll use Transcribe.
00:19:33.840 --> 00:19:35.840
Oh, look at that.
00:19:34.040 --> 00:19:36.040
No.
00:19:35.840 --> 00:19:43.440
[LAUGHS]
00:19:36.040 --> 00:19:37.040
Yeah.
00:19:36.340 --> 00:19:38.500
Yeah, it's true.
00:19:37.040 --> 00:19:38.040
Yeah.
00:19:38.500 --> 00:19:44.500
You have to find as many ways as possible to isolate the instruments and transcribe
00:19:38.600 --> 00:19:40.600
You
00:19:40.600 --> 00:19:42.600
You
00:19:42.600 --> 00:19:44.600
You
00:19:43.440 --> 00:19:46.440
Well, and the one that you're probably referring to
00:19:44.500 --> 00:19:49.660
as music rebalance.
00:19:44.600 --> 00:19:46.600
You
00:19:46.440 --> 00:19:49.240
is music rebalance in isotopes.
00:19:46.600 --> 00:19:48.600
You
00:19:48.600 --> 00:19:50.600
You
00:19:49.240 --> 00:19:51.280
Yeah, and that does a really--
00:19:49.660 --> 00:19:54.900
Yes, yeah.
00:19:51.260 --> 00:19:53.260
You
00:19:51.280 --> 00:19:53.200
that actually does a really pretty good job
00:19:53.200 --> 00:19:54.440
of taking things apart.
00:19:53.260 --> 00:20:21.260
[ Silence ]
00:19:54.440 --> 00:20:19.440
[silence]
00:19:54.900 --> 00:19:57.880
It does and that's actually relatively new.
00:19:57.880 --> 00:20:02.980
Most of the time I just get a stereo track and I would just listen as intently as possible.
00:20:02.980 --> 00:20:06.740
And I do have a partner that I've worked with for the last 10 years, his name's Cat Gray,
00:20:06.740 --> 00:20:12.740
amazing musician and a great friend and he is a drummer, a bassist, a keyboardist
00:20:12.740 --> 00:20:16.760
and everything and a great singer so when it came to doing like Earth Wind
00:20:16.760 --> 00:20:21.140
and Fire he had actually played with the guys in Earth Wind and Fire and so and
00:20:19.440 --> 00:20:20.940
[laughs]
00:20:20.940 --> 00:20:22.440
So he knew the parts.
00:20:21.140 --> 00:20:25.680
and knew he knew not only did he know the parts he sounded like Maurice when
00:20:22.260 --> 00:20:29.260
[ Silence ]
00:20:22.440 --> 00:20:24.520
(laughs)
00:20:24.520 --> 00:20:53.520
[ Pause ]
00:20:25.680 --> 00:20:30.800
he sang he played the drums like the way they were played so that you know and we
00:20:29.260 --> 00:20:31.260
You
00:20:30.800 --> 00:20:35.040
have an amazing group of players all throughout the world that if I need
00:20:31.260 --> 00:20:33.260
You
00:20:33.260 --> 00:20:54.620
Hmm
00:20:35.040 --> 00:20:37.800
something specific, I know who to get in touch with. But most of
00:20:37.800 --> 00:20:42.060
the time, I'll play some of the keys, all the guitars, the bass,
00:20:42.060 --> 00:20:45.220
and then, you know, whatever else happens, but it is kind of a
00:20:45.220 --> 00:20:48.600
step by step process. And then you just keep going back and
00:20:48.600 --> 00:20:51.380
forth until it kind of gets to that point where you go, okay, I
00:20:51.380 --> 00:20:55.120
have everything. And then then there's a whole other, you know,
00:20:53.520 --> 00:21:04.400
Sure.
00:20:54.620 --> 00:20:59.620
In a perfect world, how long is that process?
00:20:55.120 --> 00:20:56.040
the mix stage.
00:20:56.040 --> 00:21:03.400
Depends on how much time they give me, I like to have a month
00:20:59.620 --> 00:21:06.620
Okay.
00:21:03.400 --> 00:21:07.680
if I can, but a lot of times I'll have more than one in process.
00:21:04.400 --> 00:21:08.840
Per song.
00:21:06.620 --> 00:21:15.620
Right.
00:21:07.680 --> 00:21:11.320
So, you know, if I have a month, I kind of bounce back and forth
00:21:08.840 --> 00:21:13.840
What?
00:21:11.320 --> 00:21:12.400
between the tracks.
00:21:12.400 --> 00:21:13.760
Sometimes I have more time.
00:21:13.760 --> 00:21:17.800
Per track.
00:21:13.840 --> 00:21:17.600
Are you saying a month per track or a month per brief?
00:21:15.620 --> 00:21:25.620
[BLANK_AUDIO]
00:21:17.600 --> 00:21:18.920
Okay.
00:21:17.800 --> 00:21:18.920
Yeah.
00:21:18.920 --> 00:21:46.920
[ Pause ]
00:21:18.920 --> 00:21:23.080
I mean, you know, usually for just dance, I'll have anywhere between five
00:21:23.080 --> 00:21:27.820
and eight or 10 to do so it'll get narrowed down.
00:21:25.620 --> 00:21:36.180
Wow, yeah, I mean, it's a huge undertaking.
00:21:27.820 --> 00:21:31.160
Sometimes they'll call and say, Hey, look, we really need this in the next two weeks.
00:21:31.160 --> 00:21:32.640
And then I have to scramble.
00:21:33.320 --> 00:21:34.640
It should, yeah.
00:21:34.640 --> 00:21:37.400
Yeah, it is.
00:21:36.180 --> 00:21:40.740
I mean, just getting into that, and I would assume that it would have taken
00:21:37.400 --> 00:21:49.100
Yeah, I think that, yeah, it did.
00:21:40.740 --> 00:21:44.180
you a fair bit of work to kind of establish your workflow and
00:21:44.180 --> 00:21:48.860
what kind of works and how to kind of break it down and...
00:21:46.920 --> 00:22:02.520
[whistles]
00:21:48.860 --> 00:22:04.360
Oof! Wow.
00:21:49.100 --> 00:21:49.940
It took some time.
00:21:49.940 --> 00:21:51.680
I learned a lot during Guitar Hero,
00:21:51.680 --> 00:21:55.300
then I learned a ton during Rock Revolution from Konami.
00:21:55.300 --> 00:21:57.000
That one didn't do very well,
00:21:57.000 --> 00:22:02.000
but I did 55 covers in six months for that game.
00:22:02.360 --> 00:22:07.360
And that was, yes, let's just say that I was doing it
00:22:02.520 --> 00:22:09.600
That sounds like a heavy schedule by comparison to what you like to do now.
00:22:04.620 --> 00:22:13.640
...
00:22:07.360 --> 00:22:10.380
because when it was offered to me,
00:22:09.600 --> 00:22:12.640
Oh!
00:22:10.380 --> 00:22:13.180
I had 20 songs on the game and I had six months
00:22:12.640 --> 00:22:19.640
Oh!
00:22:13.180 --> 00:22:15.800
and then the other guy dropped out and I said,
00:22:13.640 --> 00:22:17.660
Yeah.
00:22:15.800 --> 00:22:18.660
"I'll take 'em, like a fool.
00:22:17.660 --> 00:22:24.520
Yeah
00:22:18.660 --> 00:22:20.260
I'll take 'em."
00:22:19.640 --> 00:22:31.920
[Laughter]
00:22:20.260 --> 00:22:24.000
So that didn't, I will never do that again.
00:22:24.000 --> 00:22:27.300
I think I stayed in bed for a week after that was over.
00:22:24.520 --> 00:22:30.800
Probably well deserved.
00:22:27.300 --> 00:22:29.580
It was, this is awful.
00:22:29.580 --> 00:22:31.720
Yeah, I guess that's probably true.
00:22:30.800 --> 00:22:32.780
It...
00:22:31.720 --> 00:22:33.800
(laughs)
00:22:31.920 --> 00:22:35.320
That generally tends to happen when you overwork yourself on any project.
00:22:33.640 --> 00:22:44.260
Yeah, yeah. Okay, so when it comes to now, as you say, you're working a little bit more
00:22:33.800 --> 00:22:36.720
Yeah, yeah.
00:22:35.320 --> 00:22:37.320
I know I can say close to the same thing.
00:22:36.720 --> 00:22:39.720
Yeah, for sure.
00:22:37.320 --> 00:22:39.320
So I have a question on their body.
00:22:39.320 --> 00:23:08.320
[ Pause ]
00:22:39.720 --> 00:22:51.200
Yeah, it's tended to be that, yeah.
00:22:44.260 --> 00:22:49.480
on the pop side, shall we say, as opposed to like the really guitar driven type of a
00:22:49.480 --> 00:22:56.040
stuff for the game, right? How much of a deep dive do you go into? Because we have, like
00:22:56.040 --> 00:23:01.240
you said, every thing is available online, as far as all we use this keyboard, or we
00:23:01.240 --> 00:23:05.960
use this and this not. How meticulous do you get as far as
00:23:01.580 --> 00:23:02.420
Right.
00:23:02.420 --> 00:23:10.740
Yeah.
00:23:05.960 --> 00:23:10.920
research on what keyboards might have been used, like recreating
00:23:08.320 --> 00:23:11.240
(muffled speaking)
00:23:10.740 --> 00:23:14.140
Oh yeah, no, yeah.
00:23:10.920 --> 00:23:14.680
patches, that type of thing? Or is that something that you do you
00:23:11.240 --> 00:23:16.240
(inaudible)
00:23:14.140 --> 00:23:20.460
Well, yeah.
00:23:14.680 --> 00:23:18.000
tend to offload that to somebody who might have keyboard as their
00:23:16.240 --> 00:23:41.840
[inaudible]
00:23:18.000 --> 00:23:20.080
primary instrument? Or does that
00:23:20.080 --> 00:23:23.840
the sameMcQuryer?
00:23:20.460 --> 00:23:23.700
Like for instance, when it comes to keyboards,
00:23:23.700 --> 00:23:25.500
when I'm talking about keyboards,
00:23:24.680 --> 00:23:26.680
Why?
00:23:25.500 --> 00:23:27.140
I think of classic keyboards.
00:23:26.680 --> 00:23:29.680
IRO.
00:23:27.140 --> 00:23:31.140
Like if you're talking about 60s, 70s, 80s, 90s,
00:23:29.680 --> 00:23:44.920
You
00:23:31.140 --> 00:23:34.140
Cat Gray is by far the most knowledgeable
00:23:34.140 --> 00:23:35.340
of any person I've ever met.
00:23:35.340 --> 00:23:39.040
This guy has got cassette backups for his patches.
00:23:39.040 --> 00:23:41.220
He has so many keyboards, I can't even believe it.
00:23:41.220 --> 00:23:42.460
So he knows everything about it.
00:23:41.840 --> 00:23:44.040
Cassette backups.
00:23:42.460 --> 00:23:45.860
He played, you know, you remember those.
00:23:44.040 --> 00:23:45.560
Data cassettes.
00:23:44.920 --> 00:23:46.920
--
00:23:45.560 --> 00:23:48.360
Yes, I do remember those as a tiny child.
00:23:45.860 --> 00:23:47.560
Yeah, Dada cassettes.
00:23:47.560 --> 00:23:49.140
Yeah.
00:23:48.360 --> 00:23:48.860
Yes.
00:23:48.860 --> 00:23:54.360
Oh, good Lord.
00:23:49.140 --> 00:23:49.980
Yeah.
00:23:49.980 --> 00:23:52.020
Well, he was the keyboardist for Prince
00:23:51.460 --> 00:24:01.020
I'm sorry, I have to ask because Kat is the same cat that used to teach at MI in Hollywood.
00:23:52.020 --> 00:23:53.520
during the Purple Rain Tour.
00:23:53.520 --> 00:23:56.300
Yeah.
00:23:54.360 --> 00:23:56.620
(chuckles)
00:23:56.620 --> 00:24:06.620
[BLANK_AUDIO]
00:23:59.980 --> 00:24:02.400
Correct, and he's yes, that is correct.
00:24:01.020 --> 00:24:06.780
Oh yeah, I remember I had some classes with him that I studied there.
00:24:02.400 --> 00:24:07.680
Oh, you did?
00:24:06.620 --> 00:24:25.120
Sure.
00:24:06.780 --> 00:24:12.780
Yeah, and he was, I really quickly veer off, but he deserves like all the credit in the world.
00:24:07.680 --> 00:24:08.520
Yeah.
00:24:08.520 --> 00:24:13.780
I agree.
00:24:12.780 --> 00:24:17.980
Because I remember his timing was ridiculous.
00:24:13.780 --> 00:24:16.900
Yeah.
00:24:16.900 --> 00:24:19.020
Yes.
00:24:17.980 --> 00:24:23.580
where most people would, after a while, feel relatively comfortable feeling 16th notes.
00:24:19.020 --> 00:24:25.100
Yeah.
00:24:23.580 --> 00:24:30.540
You can feel that. He had the same feel for playing 32nd notes. And that was just like,
00:24:25.120 --> 00:24:27.380
(laughing)
00:24:27.380 --> 00:24:34.380
[ Laughter ]
00:24:29.040 --> 00:24:30.080
Yeah, yeah.
00:24:30.080 --> 00:24:36.980
Yeah, Cat is from another planet
00:24:30.540 --> 00:24:34.300
"Oh my God!" That's just like different level stuff, you know?
00:24:34.300 --> 00:24:35.300
know. So.
00:24:34.380 --> 00:24:36.460
(laughs)
00:24:35.480 --> 00:24:35.540
Mhm.
00:24:36.340 --> 00:24:36.640
Mm.
00:24:36.460 --> 00:24:42.460
[ Pause ]
00:24:36.640 --> 00:24:38.700
you
00:24:36.980 --> 00:24:40.180
and he actually, aside from being a great friend,
00:24:38.700 --> 00:24:40.700
You
00:24:40.180 --> 00:24:43.420
he's actually, he was key in my development.
00:24:40.700 --> 00:24:42.700
You
00:24:42.460 --> 00:25:11.460
[Silence]
00:24:42.700 --> 00:24:44.700
You
00:24:43.420 --> 00:24:48.060
He's a true mentor in the sense that micro timing
00:24:44.700 --> 00:24:46.700
You
00:24:46.700 --> 00:24:48.700
You
00:24:48.060 --> 00:24:50.300
and the level of detail.
00:24:48.700 --> 00:24:58.700
[BLANK_AUDIO]
00:24:50.300 --> 00:24:51.940
He was the first guy that I ever met
00:24:51.940 --> 00:24:53.500
that was as hardcore as me,
00:24:53.500 --> 00:24:56.100
but he took it to a level that I didn't understand yet.
00:24:56.100 --> 00:24:58.340
And whenever I think I figured, you know,
00:24:58.340 --> 00:25:04.860
I've seen the best of his abilities, you know, he'll he'll do something and it's an offhand thing or whatever and you go
00:24:58.700 --> 00:25:09.860
[LAUGH]
00:25:04.860 --> 00:25:10.060
You know, I've had enough of this. I already had one Eric. I had one Eric Valentine in my life already
00:25:09.860 --> 00:25:17.700
[BLANK_AUDIO]
00:25:10.060 --> 00:25:15.720
So to have a second is pretty amazing. So just when you think you're doing pretty good, you know
00:25:11.460 --> 00:25:13.540
(laughs)
00:25:13.540 --> 00:25:38.540
Okay.
00:25:15.720 --> 00:25:21.140
You've got these guys to put you in check. But so yeah cat when whenever I'm doing a track
00:25:17.700 --> 00:25:18.700
Yeah.
00:25:18.700 --> 00:25:38.700
Yeah.
00:25:21.140 --> 00:25:27.100
I'll say hey, you know, what do you think this is and and immediately he'll say well, you know, that's an OBX
00:25:27.260 --> 00:25:31.140
you know, whatever, he'll go into the details and say,
00:25:31.140 --> 00:25:34.180
"I have a patch from it from my real one."
00:25:34.180 --> 00:25:37.780
And so yeah, that has been something the internet never has.
00:25:37.780 --> 00:25:39.540
And I will tell you this, the other thing is,
00:25:38.540 --> 00:26:02.200
[silence]
00:25:38.700 --> 00:25:45.700
Yeah.
00:25:39.540 --> 00:25:41.620
is that these days, they're much harder to do
00:25:41.620 --> 00:25:43.900
a current song than an old song.
00:25:43.900 --> 00:25:46.540
For the reason that they have everything
00:25:45.700 --> 00:26:01.260
Yeah.
00:25:46.540 --> 00:25:49.480
at their fingertips now, how would you ever know
00:25:49.480 --> 00:25:51.720
how someone came up with a sound?
00:25:51.720 --> 00:25:55.500
It may have been based on an Arturia version
00:25:55.500 --> 00:25:58.100
of a model of something then run through
00:25:58.100 --> 00:26:01.900
how many different potential processes that we have.
00:26:01.260 --> 00:26:28.260
Yeah.
00:26:01.900 --> 00:26:04.100
I mean, before it used to be, is that,
00:26:02.200 --> 00:26:05.400
or even layered together with another synth on top of it.
00:26:04.100 --> 00:26:05.580
yeah, yeah, I mean, forget it.
00:26:05.400 --> 00:26:19.320
Sure.
00:26:05.580 --> 00:26:08.420
Yeah, I did the last Just Dance,
00:26:08.420 --> 00:26:11.740
I did Till the World Ends, the Britney Spears song.
00:26:11.740 --> 00:26:14.740
And I was able to get very close to that,
00:26:14.740 --> 00:26:17.280
but I guarantee that I did not do it
00:26:17.280 --> 00:26:18.780
the way that they did it.
00:26:18.780 --> 00:26:22.420
Because, you know, it's not like you plug in a Fender Rhodes
00:26:19.320 --> 00:26:20.320
Sure.
00:26:20.320 --> 00:26:41.960
Well, here's a question in regards to that, especially when it comes to doing sense and
00:26:22.420 --> 00:26:25.280
and you run it through a Leslie or any of the sort,
00:26:25.280 --> 00:26:27.960
You know, now it's anything goes.
00:26:27.960 --> 00:26:32.960
And so it was, it's easier in a sense to do older songs
00:26:28.260 --> 00:26:38.620
Yeah.
00:26:32.960 --> 00:26:35.800
than newer songs, but the process has definitely
00:26:35.800 --> 00:26:38.480
gotten much more intense over time.
00:26:38.480 --> 00:26:39.320
Yeah.
00:26:38.620 --> 00:27:03.000
owing yourselves sometimes and
00:26:39.320 --> 00:26:44.880
Mm-hmm.
00:26:41.960 --> 00:26:44.320
maybe talking older sense.
00:26:44.320 --> 00:26:47.880
Are you a member of, say, Roland Cloud?
00:26:44.880 --> 00:26:51.720
I am, I am a member and an addict.
00:26:47.880 --> 00:26:48.880
Okay.
00:26:48.880 --> 00:26:54.180
So anytime Kat says, Hey, if it's this rolling blah, blah, blah, you go to rolling cloud
00:26:51.720 --> 00:27:15.720
Yeah. Yeah, I do or I just say, "Hey, you know what it is. Do you want to do it?" And, you know, and we've collaborated for, like I said, for the last 10 years. So, I mean, sometimes when I get it and I think I've got it, you're talking about this 30-second note ability that Kat has.
00:26:54.180 --> 00:26:57.940
and just pull it up from there because they still have everything and it's now digital
00:26:57.940 --> 00:27:03.940
as a plugin.
00:27:03.000 --> 00:27:04.020
I guess I'm fire seven dollars
00:27:03.020 --> 00:27:10.380
Yeah.
00:27:03.940 --> 00:27:07.940
Sure.
00:27:04.020 --> 00:27:06.980
please.
00:27:07.940 --> 00:27:09.940
Sure.
00:27:09.940 --> 00:27:11.940
[laughter]
00:27:10.380 --> 00:27:38.620
Thank you.
00:27:11.940 --> 00:27:13.940
[laughter]
00:27:13.940 --> 00:27:15.940
[laughs]
00:27:15.720 --> 00:27:17.380
It's not even that, it's the no,
00:27:15.940 --> 00:27:44.940
[ Pause ]
00:27:16.760 --> 00:27:26.760
[BLANK_AUDIO]
00:27:17.380 --> 00:27:19.860
he was using an RMX 16 on this
00:27:19.860 --> 00:27:22.580
and it was pan slightly 30% this way
00:27:22.580 --> 00:27:26.500
and then it was no, that sounds to me like a DBX 160,
00:27:26.500 --> 00:27:29.240
probably followed by an LA2A or you know,
00:27:26.760 --> 00:27:37.320
[LAUGH]
00:27:29.240 --> 00:27:32.020
and you're just like, oh, it's not an 1176,
00:27:32.020 --> 00:27:35.220
no, it's an 1176 but it's a Rev E.
00:27:35.220 --> 00:27:38.160
No, it's a Rev D, I can tell, you know, so.
00:27:37.320 --> 00:27:37.820
>> Yeah.
00:27:38.160 --> 00:27:42.380
But I'll tell you what, the thing that's crazy about that
00:27:42.380 --> 00:27:45.380
is all of those little details add up
00:27:44.940 --> 00:27:46.940
To making that sound
00:27:45.080 --> 00:27:45.920
- Yep.
00:27:45.380 --> 00:27:48.300
And exactly, exactly.
00:27:45.920 --> 00:27:48.580
(upbeat music)
00:27:46.940 --> 00:28:15.940
[ Pause ]
00:27:48.300 --> 00:27:51.380
So it's a never ending lesson for me
00:27:48.580 --> 00:27:51.160
(upbeat music)
00:27:51.160 --> 00:27:53.740
(upbeat music)
00:27:51.380 --> 00:27:55.140
and something that just when I think I've gotten close,
00:27:53.740 --> 00:28:19.940
Yeah.
00:27:55.140 --> 00:27:57.660
there is a hundred more things that I could have done
00:27:57.660 --> 00:27:58.620
to make it closer.
00:27:58.620 --> 00:28:03.060
So I actually am much harder on the details than I was.
00:28:03.060 --> 00:28:05.500
And sometimes I wonder if it makes you lose out
00:28:05.500 --> 00:28:08.460
on the straight energy of the track.
00:28:08.460 --> 00:28:11.260
And I will actually default to something that sounds
00:28:11.260 --> 00:28:14.860
and feels better than being technically perfect
00:28:14.860 --> 00:28:18.260
because you're always in the end trying to make music.
00:28:15.940 --> 00:28:26.980
Well, somebody did do that on the internet.
00:28:18.260 --> 00:28:20.700
So it has to feel good.
00:28:20.700 --> 00:28:23.760
Try tuning Robert Plant sometime, it doesn't work.
00:28:21.080 --> 00:28:32.920
Yeah, no, I think that, yeah, yeah. But I think that that's an interesting lesson in there,
00:28:23.760 --> 00:28:28.540
Yeah, and it didn't work.
00:28:26.980 --> 00:28:37.060
No, it's awful.
00:28:28.540 --> 00:28:30.080
It sounds terrible.
00:28:30.080 --> 00:28:42.300
Yeah.
00:28:32.920 --> 00:28:38.240
because I was immediately struck by two things where you said there that, first of all, you
00:28:37.060 --> 00:29:06.060
[ Pause ]
00:28:38.240 --> 00:28:43.400
default to something that feels better, that has the energy, as opposed to being technically
00:28:42.300 --> 00:28:43.120
Yeah.
00:28:43.120 --> 00:29:03.120
Yeah. Yeah.
00:28:43.400 --> 00:28:48.600
correct. And I think that's a lesson that all sort of like engineers and things can
00:28:48.600 --> 00:28:52.200
learn from because what really is technically correct, even if
00:28:52.200 --> 00:28:54.840
you're not trying to match something, it has to have the
00:28:54.840 --> 00:28:58.800
emotional content of the track, right? And if you lose track of
00:28:58.800 --> 00:29:02.760
that, we can get into a little bit of troubled waters, I think.
00:29:02.760 --> 00:29:06.040
And I think the second thing that I wanted to mention again,
00:29:03.120 --> 00:29:10.120
No, no,
00:29:06.040 --> 00:29:09.160
there's sort of reiterate is I said that when you think you
00:29:06.060 --> 00:29:35.060
[ Pause ]
00:29:09.160 --> 00:29:11.240
kind of have this down, and you realize you're learning
00:29:10.120 --> 00:29:16.880
Yes.
00:29:11.240 --> 00:29:15.200
something else, or something new, that's kind of like part of
00:29:15.200 --> 00:29:18.400
the beautiful process, though, because we realized that we're
00:29:16.880 --> 00:29:17.880
Yeah.
00:29:17.880 --> 00:29:20.480
It's true.
00:29:18.400 --> 00:29:24.160
never done, right? We can only get refined and our focus shifts a little bit. So I think
00:29:20.480 --> 00:29:22.300
Yeah.
00:29:22.300 --> 00:29:23.680
Okay.
00:29:23.680 --> 00:29:25.120
Yeah.
00:29:24.160 --> 00:29:31.600
it is a wonderful world that we live in. We have all these tools, but sometimes we can perhaps get
00:29:25.120 --> 00:29:31.860
Absolutely.
00:29:31.600 --> 00:29:36.640
too caught up in our old technical heads and we kind of lose the patient as it were when we're
00:29:31.860 --> 00:29:40.980
Yeah. Yeah, I think that, you know, back when we were using tape and mixing boards, you
00:29:35.060 --> 00:29:41.060
[ Pause ]
00:29:36.640 --> 00:29:45.520
mixing. So. Yeah.
00:29:40.980 --> 00:29:45.380
had to use your ears. There was nothing to look at. You didn't see the waveforms. You
00:29:41.060 --> 00:29:47.060
[ Pause ]
00:29:45.380 --> 00:29:51.100
didn't, you know, you were definitely in a different place than you are now. And we have
00:29:45.520 --> 00:30:08.520
Yeah.
00:29:47.060 --> 00:30:13.460
[Silence]
00:29:51.100 --> 00:29:56.340
the ability to get under the microscope. So sometimes you kind of have to walk away. I
00:29:56.340 --> 00:30:00.820
think taking breaks is probably one of the best things because you might be there and
00:30:00.820 --> 00:30:02.340
and you might think everything is right,
00:30:02.340 --> 00:30:04.380
and you walk away, come back a half hour later,
00:30:04.380 --> 00:30:06.740
and it's like, wow, that is not right at all,
00:30:06.740 --> 00:30:09.420
or I need to fix this,
00:30:08.520 --> 00:30:20.520
[no audio]
00:30:09.420 --> 00:30:12.820
and I was totally focusing on the wrong part.
00:30:12.820 --> 00:30:15.900
So yeah, yes.
00:30:13.460 --> 00:30:19.780
of taking a break. Let's take one right now and we'll be right back. Chris, what's your
00:30:15.900 --> 00:30:38.100
Yeah. No. Yes.
00:30:19.780 --> 00:30:20.540
next question?
00:30:20.520 --> 00:30:25.520
Now we've talked about sort of like the overarching kind of a thing of how the process might work.
00:30:20.540 --> 00:30:49.540
[ Pause ]
00:30:25.520 --> 00:30:31.520
Now I want to go back to a little bit more heavier on the guitar works, if you don't mind.
00:30:31.520 --> 00:30:38.140
So we talked briefly the other day and you mentioned the aux box from UA
00:30:38.100 --> 00:30:45.100
That's changed everything.
00:30:38.140 --> 00:30:45.620
Can you tell us a little bit about how the recording gear or the gear acquisition or the use of the gear has changed?
00:30:45.100 --> 00:30:59.340
Well, I've paid for all my UA stuff so we can say whatever I want.
00:30:45.620 --> 00:30:51.100
Over the years from you because you mentioned that piece that has really kind of helped you out. This is not
00:30:49.540 --> 00:30:57.460
You should.
00:30:51.100 --> 00:30:55.820
Yeah, I'm not trying to sound like a UA commercial here because that's that
00:30:55.820 --> 00:31:00.960
That that that's that's Jody's job because he's the UA guy
00:30:57.460 --> 00:31:01.100
Yeah, that's my side of things.
00:30:59.340 --> 00:31:01.340
Yeah, yeah, yeah.
00:31:00.960 --> 00:31:13.660
Yeah. Yeah. Yeah.
00:31:01.100 --> 00:31:12.020
I'm a UA guy.
00:31:01.340 --> 00:31:02.820
- Yeah.
00:31:02.820 --> 00:31:05.620
Well, you know, I'm a UA guy too, but I just bought it all.
00:31:05.620 --> 00:31:09.180
So I run the Apollo X8P.
00:31:09.180 --> 00:31:11.140
And I got the aux a couple of years ago.
00:31:11.140 --> 00:31:13.180
Here's the thing, I'm in a one room studio.
00:31:12.020 --> 00:31:31.820
Yeah.
00:31:13.180 --> 00:31:15.140
When we recorded the Guitar Hero stuff,
00:31:13.660 --> 00:31:36.660
Yeah.
00:31:15.140 --> 00:31:18.540
it was at a proper studio in that they had a live room
00:31:18.540 --> 00:31:20.780
that we would record the guitars through,
00:31:20.780 --> 00:31:21.860
put the cab in the room.
00:31:21.860 --> 00:31:24.800
And it's always been really difficult
00:31:24.800 --> 00:31:27.520
to get great guitar tones for me
00:31:27.520 --> 00:31:29.140
with the amps that I like.
00:31:29.140 --> 00:31:31.280
'Cause I like real amps.
00:31:31.280 --> 00:31:35.940
And yeah, well, I know you guys like direct too.
00:31:31.820 --> 00:31:54.940
we all? Yeah. Yes, they have farmer pod farm. We precursor to pod farm. Yeah.
00:31:35.940 --> 00:31:39.880
And I've used all sorts of modeling amps.
00:31:36.660 --> 00:31:46.660
Oh
00:31:39.880 --> 00:31:43.160
In fact, little known is that
00:31:43.160 --> 00:31:44.740
for the devil went down to Georgia,
00:31:44.740 --> 00:31:47.820
that all those guitar solos was Amp Farm.
00:31:46.660 --> 00:32:00.660
V one.
00:31:47.820 --> 00:31:51.440
Amp Farm.
00:31:51.440 --> 00:31:57.840
You gotta go back to TDM DSP farm style.
00:31:54.940 --> 00:32:15.940
Sure.
00:31:57.840 --> 00:31:58.980
Yeah, so we actually,
00:31:58.980 --> 00:32:01.140
because there were three different guitarists on that,
00:32:00.660 --> 00:32:02.720
you
00:32:01.140 --> 00:32:04.060
It was me, Ed DiGennaro, and Jeff Tyson,
00:32:02.720 --> 00:32:19.580
(
00:32:04.060 --> 00:32:05.540
when we were trading solos, I said,
00:32:05.540 --> 00:32:09.060
just send it, put whatever you need, but give me a DI,
00:32:09.060 --> 00:32:11.340
and I'm gonna re-amp everything.
00:32:11.340 --> 00:32:12.840
Well, I didn't re-amp in the end.
00:32:12.840 --> 00:32:15.020
I ended up using AmpFarm because it sounded great
00:32:15.020 --> 00:32:16.420
for what we were doing.
00:32:15.940 --> 00:32:16.940
Sure.
00:32:16.420 --> 00:32:19.340
I don't usually do that for anything
00:32:16.940 --> 00:32:40.820
Sure.
00:32:19.340 --> 00:32:22.980
that goes out in the public at this point, or for a game.
00:32:19.580 --> 00:32:21.580
Thank you.
00:32:21.580 --> 00:32:23.580
You
00:32:22.980 --> 00:32:27.380
I still use a real amp head, but I use the aux.
00:32:23.580 --> 00:32:25.580
You
00:32:26.480 --> 00:32:28.480
You
00:32:27.380 --> 00:32:29.660
And I have had all sorts of attenuators.
00:32:28.480 --> 00:32:30.480
You
00:32:29.660 --> 00:32:32.700
I mean, I've had the Fri-At power station, which is amazing.
00:32:30.480 --> 00:32:32.480
You
00:32:32.480 --> 00:32:34.480
You
00:32:32.700 --> 00:32:34.980
I had the Rivera Rock Crusher, which is amazing,
00:32:34.480 --> 00:32:36.540
you
00:32:34.980 --> 00:32:38.340
but all of them still required sound
00:32:36.540 --> 00:32:38.600
you
00:32:38.340 --> 00:32:40.380
to be coming out in the room.
00:32:38.600 --> 00:32:40.660
you
00:32:40.380 --> 00:32:42.300
And so when the aux came about
00:32:40.680 --> 00:32:42.740
you
00:32:40.820 --> 00:32:47.820
Sure.
00:32:42.300 --> 00:32:44.540
and I could load everything down,
00:32:42.740 --> 00:33:11.740
[ Silence ]
00:32:44.540 --> 00:32:45.980
I've never been happier
00:32:45.980 --> 00:32:50.160
because it still feels like the amp is live with a speaker.
00:32:47.820 --> 00:33:14.420
Sure.
00:32:50.160 --> 00:32:52.160
You don't get that dead blow hammer feel
00:32:52.160 --> 00:32:54.560
where the pic just doesn't bounce or anything.
00:32:54.560 --> 00:32:58.180
And it sounds like it's gonna sound
00:32:58.180 --> 00:32:59.820
through my studio monitor.
00:32:59.820 --> 00:33:02.100
So I'm playing the song and I can put it
00:33:02.100 --> 00:33:04.540
at any volume I want and it still sounds
00:33:04.540 --> 00:33:08.020
like the completed image of what I want it to sound like.
00:33:08.020 --> 00:33:11.100
And you can tweak it, but it does print that sound.
00:33:11.100 --> 00:33:12.540
Although I'll always print the DI
00:33:12.240 --> 00:33:38.240
[ Silence ]
00:33:12.540 --> 00:33:14.440
just in case I want to reamp it again.
00:33:14.420 --> 00:33:16.460
So what are you using to split the signal when you do that?
00:33:14.440 --> 00:33:23.660
No, no, I'm, yeah, I'm using a Little Labs PCP distro.
00:33:16.460 --> 00:33:19.300
Are you coming out of the Apollo into the ox and back in?
00:33:19.300 --> 00:33:20.900
Are you splitting ahead of that?
00:33:20.900 --> 00:33:24.620
Okay.
00:33:23.660 --> 00:33:27.740
So that's in my rack and I can reamp with that too.
00:33:24.620 --> 00:33:36.900
Hmm.
00:33:27.740 --> 00:33:29.660
And then whenever I do DI, I actually,
00:33:29.660 --> 00:33:34.300
I don't use the Apollo, I use the Undertone Audio MP DI4,
00:33:34.300 --> 00:33:36.380
that's Eric Valentine's company.
00:33:36.380 --> 00:33:38.940
And I figured if you're gonna buy something,
00:33:36.900 --> 00:33:47.860
[LAUGHTER]
00:33:38.740 --> 00:33:40.740
[laughs]
00:33:38.940 --> 00:33:41.860
buy it from a guy who's gonna use something like,
00:33:40.740 --> 00:33:48.180
[laughs]
00:33:41.860 --> 00:33:43.700
I mean, he built his own freaking console
00:33:43.700 --> 00:33:46.500
because he didn't think the Neve was good enough anymore.
00:33:46.500 --> 00:33:50.340
You know what I mean?
00:33:47.860 --> 00:33:50.340
OK, go Eric, go Eric.
00:33:48.180 --> 00:33:52.900
Wow.
00:33:50.340 --> 00:33:50.840
Yeah.
00:33:50.340 --> 00:33:55.660
So, that's Eric.
00:33:50.840 --> 00:33:54.860
That's amazing.
00:33:52.900 --> 00:33:55.060
Yeah.
00:33:54.860 --> 00:33:55.360
Yes.
00:33:55.060 --> 00:33:58.660
I could use a knee, but hmm, I have some thoughts, you know.
00:33:55.360 --> 00:33:57.440
(laughs)
00:33:55.660 --> 00:33:56.500
Yeah.
00:33:56.500 --> 00:34:02.540
Well, that's him, you know, he says, "I love the way that the Neve does this and I love
00:33:57.440 --> 00:34:18.780
Yeah, way out north, yeah.
00:33:58.660 --> 00:34:02.420
Yeah.
00:34:02.420 --> 00:34:12.420
[BLANK_AUDIO]
00:34:02.540 --> 00:34:06.920
the way that the API and the SSL do these things, but I really want..."
00:34:06.920 --> 00:34:11.940
And so he built his own thing with Larry Jasper and now, of course, he did...
00:34:11.940 --> 00:34:16.780
I don't know if you've heard this, but now he just bought like a 125 acre farm or something
00:34:12.420 --> 00:34:29.100
Good for him, man, that's awesome.
00:34:16.780 --> 00:34:18.660
in Vermont with his wife.
00:34:18.660 --> 00:34:24.320
Yeah, he's built this giant thing that's the size of freaking Abbey Road in his backyard.
00:34:18.780 --> 00:34:30.060
No, he's doing, he's doing very well.
00:34:24.320 --> 00:34:25.760
Now they're doing concerts there.
00:34:25.760 --> 00:34:37.940
got a lot it's just that guy just yeah yeah oh he makes his own he makes the
00:34:29.100 --> 00:34:39.100
[BLANK_AUDIO]
00:34:30.060 --> 00:34:36.340
And if I'm not mistaken, did he also like get some fairchilds modified or like rebuilt
00:34:36.340 --> 00:34:37.340
under the...
00:34:37.340 --> 00:34:39.420
Yes.
00:34:37.940 --> 00:34:43.920
unfair child which is the greatest name ever for a fair child copy so yeah I know
00:34:39.100 --> 00:34:58.940
Yeah.
00:34:39.420 --> 00:34:40.420
That's what it is.
00:34:40.420 --> 00:34:41.420
The unfairchild.
00:34:41.420 --> 00:34:42.420
Yes.
00:34:42.420 --> 00:34:44.680
(laughing)
00:34:43.920 --> 00:34:48.640
he made his he's talking about feed forward and feed back compression and or
00:34:44.680 --> 00:34:53.100
Melting.
00:34:48.640 --> 00:34:54.200
you know I just my brain just kind of starts getting kind of melty when I'm
00:34:53.100 --> 00:34:56.360
(laughing)
00:34:54.200 --> 00:35:12.680
around him for too long. But yeah. I'll buy the guitar. I will
00:34:56.360 --> 00:34:58.780
It...
00:34:58.940 --> 00:35:00.940
What about on the guitar front though?
00:35:00.940 --> 00:35:03.040
I mean, because I believe I know the answer to this,
00:35:03.040 --> 00:35:07.940
but how meticulous do you go about when you've done research on players
00:35:07.940 --> 00:35:09.940
and what you use and all that?
00:35:09.940 --> 00:35:11.940
[LAUGHS]
00:35:10.240 --> 00:35:12.480
(laughing)
00:35:11.940 --> 00:35:37.940
Yeah.
00:35:12.480 --> 00:35:38.020
Oh wow.
00:35:12.680 --> 00:35:16.980
find an excuse to buy the guitar that they used and if I can't buy the guitar
00:35:16.980 --> 00:35:23.380
that they had I will borrow it or I will modify one of mine to have the same
00:35:23.380 --> 00:35:29.580
pickup string, action, the guitar cable, the tubes that they used in their amps.
00:35:29.580 --> 00:35:31.540
I'll do everything that I possibly can.
00:35:31.540 --> 00:35:36.980
In fact, I've gone so far as I was doing a Barry Manilow track, Copacabana.
00:35:36.980 --> 00:35:42.660
And I found out that he was the guitar player was using a, the small stone
00:35:37.940 --> 00:36:07.920
Even during the initial budgetowl,
00:35:38.020 --> 00:36:05.020
[laughter]
00:35:42.660 --> 00:35:45.380
and it was a V1 small stone.
00:35:45.380 --> 00:35:48.180
So I had to go out and get that particular pedal.
00:35:48.180 --> 00:35:52.360
And I can tell you that they were not made very well, but they sound
00:35:52.360 --> 00:35:54.120
different than the new ones.
00:35:54.120 --> 00:35:56.840
And so yes, I go all the way.
00:35:56.840 --> 00:35:58.480
My wife always gets a kick out of it
00:35:58.480 --> 00:36:00.800
'cause I finally have the career
00:36:00.800 --> 00:36:02.960
that allows me to be the kid in the bedroom
00:36:02.960 --> 00:36:05.560
that always got everything that he wanted.
00:36:05.020 --> 00:36:24.020
wanted.
00:36:05.560 --> 00:36:06.840
So it's like a circus here.
00:36:06.840 --> 00:36:09.940
It's like this constant revolving door of gear
00:36:07.920 --> 00:36:25.720
We were
00:36:09.940 --> 00:36:11.640
coming in one door and out the other.
00:36:11.640 --> 00:36:14.160
I need an entire separate facility
00:36:14.160 --> 00:36:17.360
just to hold onto the gear because I have too much of it
00:36:17.360 --> 00:36:20.640
but I can't let some of it go because I need it.
00:36:20.640 --> 00:36:23.840
And even though I don't need it, I need it.
00:36:23.840 --> 00:36:24.840
So yeah.
00:36:24.020 --> 00:36:28.020
That's that GDS that we've talked about.
00:36:24.840 --> 00:36:29.640
Yes.
00:36:25.720 --> 00:36:31.860
iao.
00:36:28.020 --> 00:36:40.680
Gear derangement syndrome.
00:36:29.640 --> 00:36:31.080
Yeah, it's not even acquisition.
00:36:31.080 --> 00:36:32.960
It's derangement at this point.
00:36:31.860 --> 00:36:33.820
Yeah.
00:36:32.960 --> 00:36:35.840
I mean, I just started looking into fuzz pedals.
00:36:33.820 --> 00:36:43.820
[BLANK_AUDIO]
00:36:35.840 --> 00:36:38.680
And I'm starting to find these pedals are going for like $17,
00:36:38.680 --> 00:36:40.960
$1,800 for these--
00:36:40.680 --> 00:36:41.680
The Klon?
00:36:40.960 --> 00:36:42.240
you know, I mean--
00:36:41.680 --> 00:36:50.140
Are you going after a Klon?
00:36:42.240 --> 00:36:45.800
no, no, the Klond's $5,500 overdrive.
00:36:43.820 --> 00:36:59.820
Yeah, we mentioned blue's voice before.
00:36:45.800 --> 00:36:46.560
And that's a joke.
00:36:46.560 --> 00:36:48.840
I mean, it's not-- it's a great pedal.
00:36:48.840 --> 00:36:50.080
Bill Finningen did a great job.
00:36:50.080 --> 00:36:51.580
but everyone else is the one that's
00:36:50.140 --> 00:36:58.340
Sure.
00:36:51.580 --> 00:36:54.580
responsible for making it into something.
00:36:54.580 --> 00:36:56.140
It's the blues lawyers, and I'm not
00:36:56.140 --> 00:36:59.980
going to go any farther than that.
00:36:58.340 --> 00:37:07.540
We already mentioned them a week or two ago.
00:36:59.820 --> 00:37:03.180
Yeah, yeah, yeah, yeah, yeah.
00:36:59.980 --> 00:37:02.180
Oh, OK, good.
00:37:02.180 --> 00:37:03.380
Yeah, yeah.
00:37:03.180 --> 00:37:05.140
No, yeah, what's the old joke?
00:37:03.380 --> 00:37:10.340
You got that right.
00:37:05.140 --> 00:37:07.100
They're pretty much the only one propping up
00:37:07.100 --> 00:37:09.260
the retail industry when it comes to musical gear
00:37:07.540 --> 00:37:10.540
Music business.
00:37:09.260 --> 00:37:10.100
at this point, right?
00:37:10.100 --> 00:37:10.940
Yeah.
00:37:10.340 --> 00:37:14.680
That's why that last Les Paul cost me $8,000.
00:37:10.540 --> 00:37:13.340
Yeah.
00:37:10.940 --> 00:37:19.860
Wow, and who does your insurance on all your gear?
00:37:13.340 --> 00:37:16.340
Oh, good God.
00:37:14.680 --> 00:37:17.620
Yeah.
00:37:16.340 --> 00:37:25.440
Expanse.
00:37:17.620 --> 00:37:19.620
Yeah.
00:37:19.620 --> 00:37:25.340
Yeah, right. All state. I'm in the good hands.
00:37:19.860 --> 00:37:22.340
Right.
00:37:22.340 --> 00:37:42.640
Well, good for you.
00:37:25.340 --> 00:37:29.740
No, man, it's straight up.
00:37:25.440 --> 00:37:36.260
So it's not even with like your PRO, it's all state.
00:37:29.740 --> 00:37:33.620
I got a marine inland insurance policy, believe me,
00:37:33.620 --> 00:37:37.260
fire, water, everything, theft.
00:37:36.260 --> 00:37:39.260
Earthquake.
00:37:37.260 --> 00:37:39.140
Yeah, I have it, even though we don't get
00:37:39.140 --> 00:37:41.820
a much here out in Arizona.
00:37:39.260 --> 00:37:42.260
Sure.
00:37:41.820 --> 00:37:49.580
Yeah. Yeah.
00:37:42.260 --> 00:37:47.260
Yeah.
00:37:42.640 --> 00:37:45.200
So one question I wanted to ask you,
00:37:45.200 --> 00:37:47.160
you've kind of already answered it.
00:37:47.160 --> 00:37:50.000
I want to ask it again anyway.
00:37:47.260 --> 00:37:50.260
[LAUGHTER]
00:37:49.580 --> 00:37:51.580
Yeah.
00:37:50.000 --> 00:37:58.800
So when you're recreating these tracks, getting the sound right versus the performance, which one always trumps.
00:37:50.420 --> 00:37:53.420
[LAUGHTER]
00:37:51.580 --> 00:37:59.580
I don't have one or another on that.
00:37:53.420 --> 00:38:19.860
It has to be reasonably close is what you're saying.
00:37:58.800 --> 00:38:25.800
Yeah.
00:37:59.580 --> 00:38:01.580
The performance is key.
00:38:01.580 --> 00:38:06.580
And you can manipulate a good performance to more mirror the
00:38:06.580 --> 00:38:08.580
original performance.
00:38:08.580 --> 00:38:11.580
But you cannot make a bad performance.
00:38:11.580 --> 00:38:13.580
It just doesn't work.
00:38:13.580 --> 00:38:16.580
So I mean, I'm not going to say that.
00:38:16.580 --> 00:38:25.540
So I mean, yeah, like, put a put a mic anywhere near Paul McCartney, and it's gonna sound good.
00:38:19.860 --> 00:38:46.860
[ Pause ]
00:38:25.540 --> 00:38:31.380
But put a great mic in front of somebody who doesn't have the Paul McCartney vibe.
00:38:25.800 --> 00:38:45.800
Yeah.
00:38:31.380 --> 00:38:37.780
And you're in trouble. So I mean, that, you know, you're in trouble. That's a fetish film. I always
00:38:37.780 --> 00:38:44.260
thought would be a funny one to make. You heard it. That's it. You're in trouble. You're in
00:38:44.260 --> 00:38:52.900
trouble. But anyways, that's the rated R version. Yeah.
00:38:45.800 --> 00:38:46.800
Anyway.
00:38:46.800 --> 00:38:47.800
Anyway.
00:38:46.860 --> 00:38:53.100
Well, so here's a question for you then going for the meticulous aspect and using certain tools.
00:38:47.800 --> 00:38:48.800
the.
00:38:48.800 --> 00:38:49.640
the...
00:38:50.120 --> 00:38:52.180
you
00:38:52.180 --> 00:38:54.240
you
00:38:52.900 --> 00:39:04.900
Yes. Yes.
00:38:53.100 --> 00:38:58.540
This is going to sound kind of bizarre, but maybe you take a track apart using RX
00:38:54.240 --> 00:38:56.320
you
00:38:56.320 --> 00:39:00.280
his
00:38:58.540 --> 00:39:03.180
Music Rebalance and you're getting your guitar part separated from your bass and your drums
00:39:01.180 --> 00:39:03.240
you
00:39:03.180 --> 00:39:07.820
and your vocals and whatnot. Then you get a performance that's reasonably close and your
00:39:03.240 --> 00:39:05.300
you
00:39:04.900 --> 00:39:05.740
Yes.
00:39:05.300 --> 00:39:07.360
you
00:39:05.740 --> 00:39:15.260
Uh-huh.
00:39:07.360 --> 00:39:09.420
you
00:39:07.820 --> 00:39:13.820
Music Rebalance plugin has pulled out the original performance of the part that you're recording
00:39:09.420 --> 00:39:11.480
you
00:39:11.480 --> 00:39:13.560
you
00:39:13.560 --> 00:39:15.620
you
00:39:13.820 --> 00:39:20.220
and it's relatively close. Do you go in with say Vocalign or Revoice Pro and then have it
00:39:15.260 --> 00:39:23.980
I do it by hand.
00:39:16.540 --> 00:39:18.560
you
00:39:18.960 --> 00:39:21.020
you
00:39:20.220 --> 00:39:36.540
realign everything if it's slightly off? You do it by hand. Okay. Sure.
00:39:21.020 --> 00:39:23.080
you
00:39:23.220 --> 00:39:25.220
You
00:39:23.980 --> 00:39:26.560
I've never used, yeah, I've never used a program
00:39:25.220 --> 00:39:27.280
you
00:39:26.560 --> 00:39:29.700
that didn't have too many artifacts.
00:39:27.280 --> 00:39:29.340
you
00:39:29.340 --> 00:39:31.400
you
00:39:29.700 --> 00:39:30.940
It's great.
00:39:30.940 --> 00:39:32.980
I think VocalLine is amazing.
00:39:32.360 --> 00:39:34.440
you
00:39:32.980 --> 00:39:35.920
However, it's that cat gray thing again,
00:39:34.980 --> 00:39:37.060
you
00:39:35.920 --> 00:39:38.680
once you start doing it with by hand,
00:39:38.060 --> 00:39:40.120
you
00:39:38.680 --> 00:39:40.800
it's that extra attention to detail
00:39:40.120 --> 00:39:42.180
you
00:39:40.800 --> 00:39:43.340
versus an algorithm that you can't do yet.
00:39:42.180 --> 00:39:44.240
you
00:39:43.180 --> 00:39:46.620
You know what? Okay, so funny you mentioned that.
00:39:43.340 --> 00:39:53.440
Yeah.
00:39:44.300 --> 00:39:46.380
it
00:39:46.620 --> 00:39:51.620
I just brought that up to just see if those along the lines are the tools that you might be using.
00:39:47.000 --> 00:39:49.080
you
00:39:49.080 --> 00:39:51.140
you
00:39:51.240 --> 00:39:55.300
you
00:39:51.620 --> 00:39:55.020
But another mutual friend of ours, Mr. Robert Navarro,
00:39:53.440 --> 00:39:56.160
I love Robert.
00:39:55.020 --> 00:40:04.180
yes, he, when he was learning logic and wanting to do timing correction using flex time,
00:39:55.300 --> 00:39:57.360
you
00:39:56.160 --> 00:40:00.700
Yes.
00:39:57.360 --> 00:39:59.420
you
00:39:59.420 --> 00:40:01.480
you
00:40:00.700 --> 00:40:10.700
Right. Oh, yeah. Right without the markers and all that.
00:40:01.480 --> 00:40:03.540
you
00:40:03.540 --> 00:40:05.600
you
00:40:04.180 --> 00:40:07.780
he was constantly trying to use the automated version of it.
00:40:06.260 --> 00:40:08.000
you
00:40:07.780 --> 00:40:13.060
Whereas, yeah, where the markers were automatically dealt with and all that kind of thing.
00:40:08.000 --> 00:40:10.060
you
00:40:10.520 --> 00:40:12.580
you
00:40:10.700 --> 00:40:14.700
Right, right, right.
00:40:12.580 --> 00:40:14.640
you
00:40:13.060 --> 00:40:18.060
and bless Apple for adding this to Logix capabilities.
00:40:14.700 --> 00:40:24.340
Well, it's good to get you in the ballpark.
00:40:15.020 --> 00:40:17.080
you
00:40:17.080 --> 00:40:19.140
you
00:40:18.060 --> 00:40:23.500
However, yes, but it is not as good as somebody
00:40:19.140 --> 00:40:21.220
you
00:40:21.260 --> 00:40:23.320
you
00:40:23.320 --> 00:40:25.380
you
00:40:23.500 --> 00:40:26.080
who has the ear and the talent
00:40:24.340 --> 00:40:30.140
Yeah, yeah.
00:40:25.380 --> 00:40:27.460
you
00:40:26.080 --> 00:40:28.240
to know exactly where that hit is
00:40:27.460 --> 00:40:29.520
you
00:40:28.240 --> 00:40:31.540
and then to use your own flex markers in there
00:40:29.520 --> 00:40:31.580
you
00:40:30.140 --> 00:40:36.860
Oh, without a doubt.
00:40:31.540 --> 00:40:33.580
and drag it through where it is exactly
00:40:31.580 --> 00:40:33.660
you
00:40:33.580 --> 00:40:34.760
where it's supposed to be.
00:40:33.860 --> 00:40:35.920
you
00:40:34.760 --> 00:40:36.780
So it's interesting that you do it by hand
00:40:35.920 --> 00:40:37.980
you
00:40:36.780 --> 00:40:38.740
'cause obviously that does take longer.
00:40:36.860 --> 00:40:40.100
Yeah, it does.
00:40:38.120 --> 00:40:40.180
you
00:40:40.100 --> 00:40:41.380
But it's worth it in the end.
00:40:40.180 --> 00:40:43.020
you
00:40:41.380 --> 00:40:49.540
I think that, you know, in the end, everything that you do in this business stays available
00:40:41.400 --> 00:40:43.040
Of course.
00:40:43.020 --> 00:41:10.060
yeah
00:40:43.040 --> 00:41:02.320
Sure.
00:40:49.540 --> 00:40:50.540
forever, right?
00:40:50.540 --> 00:40:53.940
I mean, the internet, it's everything is forever.
00:40:53.940 --> 00:40:59.500
And so everything that I do, I absolutely try to do it to the utmost that I can within
00:40:59.500 --> 00:41:04.300
the time constraints I have, because it represents what you're doing.
00:41:02.320 --> 00:41:31.320
[ Pause ]
00:41:04.300 --> 00:41:09.780
And forget about all of that for a second, you have to be respectful to the artist.
00:41:09.780 --> 00:41:13.220
And you know, the original artists, the original producers.
00:41:10.060 --> 00:41:12.060
yeah
00:41:12.060 --> 00:41:14.120
you
00:41:13.220 --> 00:41:16.000
Now again, in a sense, I don't really know.
00:41:14.120 --> 00:41:18.280
(silence)
00:41:16.000 --> 00:41:17.960
I've never actually spoken to an artist
00:41:17.960 --> 00:41:20.740
that I've done a rerecord about, you know,
00:41:18.280 --> 00:41:33.480
(silence)
00:41:20.740 --> 00:41:24.140
with that has had anything negative to say.
00:41:24.140 --> 00:41:26.980
But then again, I don't know how they feel about it.
00:41:26.980 --> 00:41:29.500
I know that there were lawsuits from like the band
00:41:29.500 --> 00:41:32.740
the Romantics, they sued for their likeness
00:41:31.320 --> 00:41:34.120
Wow.
00:41:32.740 --> 00:41:35.140
when a rerecord was too close to them.
00:41:33.480 --> 00:41:38.280
Hmm!
00:41:34.120 --> 00:41:52.120
I'm assuming that your contracts actually cover that kind of shit.
00:41:35.140 --> 00:41:37.260
And I thought that was interesting.
00:41:37.260 --> 00:41:39.800
So that hasn't happened to me yet.
00:41:38.280 --> 00:41:43.800
(silence)
00:41:39.800 --> 00:41:41.140
I hope the lawyers...
00:41:41.140 --> 00:41:43.940
Yeah, yeah.
00:41:43.800 --> 00:42:00.040
(silence)
00:41:43.940 --> 00:41:46.620
I mean, obviously when you're working on a project
00:41:46.620 --> 00:41:50.100
of a guitar hero or a just dance level,
00:41:50.100 --> 00:41:52.060
they dot their I's and cross their T's.
00:41:52.060 --> 00:41:55.180
They're not doing anything that isn't legitimate.
00:41:52.120 --> 00:41:55.600
Sure.
00:41:55.180 --> 00:41:57.140
And this is all, believe me,
00:41:55.600 --> 00:42:03.800
Sure. Now here's another question for you because I actually don't know the answer to
00:41:57.140 --> 00:41:59.020
you don't do anything until there's a green light
00:41:59.020 --> 00:41:59.940
from the lawyers.
00:41:59.940 --> 00:42:03.620
Yeah.
00:42:00.040 --> 00:42:01.040
Thank you.
00:42:01.560 --> 00:42:02.560
Dougost.
00:42:02.560 --> 00:42:04.620
you
00:42:03.620 --> 00:42:13.620
[BLANK_AUDIO]
00:42:03.800 --> 00:42:08.920
this, but being that you worked on several of these guitar type games, are you somebody
00:42:04.620 --> 00:42:06.680
you
00:42:06.680 --> 00:42:08.740
you
00:42:08.920 --> 00:42:15.200
that recreated Metallica stuff like the infamous death magnetic album? I think it was where
00:42:09.440 --> 00:42:11.500
you
00:42:11.500 --> 00:42:13.560
you
00:42:13.560 --> 00:42:15.620
you
00:42:13.620 --> 00:42:18.020
So distorted, yeah.
00:42:15.200 --> 00:42:20.860
the album was so crushed, but the game version was like much nicer in terms of actually hearing
00:42:15.620 --> 00:42:17.680
you
00:42:17.680 --> 00:42:19.740
you
00:42:18.020 --> 00:42:21.940
[BLANK_AUDIO]
00:42:19.740 --> 00:42:21.800
you
00:42:20.860 --> 00:42:26.100
the parts.
00:42:21.820 --> 00:42:23.880
you
00:42:21.940 --> 00:42:25.540
I worked on Guitar Hero Metallica, but I did the underscore for the game.
00:42:23.880 --> 00:42:25.960
you
00:42:25.540 --> 00:42:27.620
I did the cut scenes and the underscore.
00:42:25.960 --> 00:42:28.020
you
00:42:26.100 --> 00:42:41.220
Oh, so they actually got
00:42:27.620 --> 00:42:31.220
All of the original songs were the original recordings.
00:42:28.020 --> 00:42:57.180
(silence)
00:42:31.220 --> 00:42:34.900
like K. Tell used to say, yeah, they were, well, Metallica.
00:42:34.900 --> 00:42:37.540
Yeah, it's like Aerosmith, Guitar Hero Aerosmith
00:42:37.540 --> 00:42:39.380
was the same way, they used all the originals.
00:42:39.380 --> 00:42:43.740
In fact, it's Joe Perry's son's fault that my song,
00:42:41.220 --> 00:42:55.040
the rights.
00:42:43.740 --> 00:42:45.860
my version of Same Old Song and Dance
00:42:45.860 --> 00:42:47.940
did not end up on Guitar Hero 3.
00:42:47.940 --> 00:42:51.140
I say this jokingly, but I guess Joe Perry's son
00:42:51.140 --> 00:42:54.380
was playing Guitar Hero and he said,
00:42:54.380 --> 00:42:56.500
dad, you guys should be on this.
00:42:55.040 --> 00:43:11.840
Oh, they got the rights to the original tracks.
00:42:56.500 --> 00:42:59.380
And he's like, what is this?
00:42:57.180 --> 00:42:59.260
(laughs)
00:42:59.260 --> 00:43:07.060
Oh, brutal.
00:42:59.380 --> 00:43:04.180
And so I was in the middle of recording same old song and dance and Activision called and they said,
00:43:04.180 --> 00:43:11.300
"You can go ahead and stop. We just, yeah, we just, yep, because they want the original."
00:43:07.060 --> 00:43:22.460
(laughs)
00:43:11.300 --> 00:43:16.740
And I'm like, "Well, all right, that's fair enough." And you know, so I've always wanted to say
00:43:11.840 --> 00:43:16.920
Sure.
00:43:16.740 --> 00:43:23.940
that publicly that they, it's Joe Perry's son. I got it out for him. Yeah.
00:43:16.920 --> 00:43:23.440
Damn him.
00:43:22.460 --> 00:43:24.460
[LAUGHS]
00:43:23.440 --> 00:43:26.400
I've got some fun stories from a guy named Steve White.
00:43:26.400 --> 00:43:28.160
Are you familiar with him?
00:43:27.620 --> 00:43:30.620
Steve White, I know Steven White, he was my guitar.
00:43:28.160 --> 00:43:29.160
Yeah.
00:43:29.160 --> 00:43:30.160
Session.
00:43:30.160 --> 00:43:34.760
He's session guitar player from way back in the day.
00:43:30.620 --> 00:43:31.460
No.
00:43:31.460 --> 00:43:35.380
Okay.
00:43:34.760 --> 00:43:36.520
Coke bottle type classes.
00:43:35.380 --> 00:43:38.900
Okay.
00:43:36.520 --> 00:43:39.540
We'll talk about it off air because I don't want to repeat some of the things that he's
00:43:38.900 --> 00:43:42.260
Okay.
00:43:39.540 --> 00:43:41.440
told me personally.
00:43:41.440 --> 00:43:46.200
So, but I think you'll get a kick out of it based on what I just heard.
00:43:42.260 --> 00:43:48.020
Oh, awesome, yeah.
00:43:46.200 --> 00:43:48.460
(laughing)
00:43:47.820 --> 00:43:57.820
So let's say that a little birdie told me to ask you to mention a perhaps something with some Megadeth tracks.
00:43:48.020 --> 00:43:48.860
Yeah.
00:43:48.460 --> 00:43:51.460
(people chattering)
00:43:51.460 --> 00:43:54.460
(people chattering)
00:43:54.460 --> 00:43:59.460
[laughter]
00:43:57.440 --> 00:43:59.840
Nah. (laughs)
00:43:57.820 --> 00:44:01.820
Is this something that we can talk about or is this?
00:43:59.460 --> 00:44:01.540
(laughs)
00:43:59.840 --> 00:44:00.680
Yeah.
00:44:00.680 --> 00:44:04.520
I can talk about it to a degree.
00:44:01.540 --> 00:44:08.540
Okay.
00:44:02.820 --> 00:44:21.440
Go to
00:44:04.520 --> 00:44:08.800
There was a time when I was working on Rock Revolution,
00:44:08.540 --> 00:44:37.540
So, I'm going to go ahead and move on.
00:44:08.800 --> 00:44:10.280
the Konami game.
00:44:10.280 --> 00:44:13.560
Let's just say I was working on the song
00:44:13.560 --> 00:44:16.680
and between me and a few of the guys at the studio,
00:44:16.680 --> 00:44:19.740
we were able to get a version of the song musically
00:44:19.740 --> 00:44:22.380
that sounded like you couldn't tell the difference
00:44:21.440 --> 00:44:23.440
Have some opportunities to ask
00:44:22.380 --> 00:44:25.280
between the original and what we had.
00:44:23.440 --> 00:44:38.440
me if this Murray
00:44:25.280 --> 00:44:27.480
It was very, very, very close.
00:44:27.480 --> 00:44:30.980
Although I will say that I was doing double chores.
00:44:30.980 --> 00:44:34.040
I was doing Dave Mustaine and Marty Friedman too.
00:44:34.040 --> 00:44:38.960
Like these guys are not easy to, you know, Marty Friedman.
00:44:37.540 --> 00:44:58.300
Sure.
00:44:38.960 --> 00:44:40.120
Yeah, well, thank you.
00:44:39.440 --> 00:44:55.380
* Strategy
00:44:40.120 --> 00:44:41.800
Well, listen to the song sometime.
00:44:41.800 --> 00:44:44.100
You'll understand why I'm sad about this.
00:44:44.100 --> 00:44:47.440
You know, I was so focused on the music
00:44:47.440 --> 00:44:50.720
and we were just so excited
00:44:50.720 --> 00:44:53.420
because everything sounded just great.
00:44:53.420 --> 00:44:58.100
and then we needed to get a Dave Mustaine voice.
00:44:58.300 --> 00:45:00.020
We'll leave you with this cliffhanger.
00:45:00.020 --> 00:45:03.340
Our interview with Steve Wamette continues in the next episode.