Transkrip penuh untuk Steve Ouimette Interview: From Guitar Hero Riffs to Studio Secrets

Sighs] 00:01:17.780 --> 00:01:18.780 [ 00:01:18.780 --> 00:01:19.780 Sighs] 00:01:19.780 --> 00:01:20.780 [ 00:01:20.580 --> 00:01:23.220 I believe would have been with Guitar Hero back in 00:01:20.780 --> 00:01:21.780 Sighs] 00:01:21.780 --> 00:01:22.780 [ 00:01:22.780 --> 00:01:23.780 Sighs] 00:01:23.220 --> 00:01:27.900 2007 it was actually my first gig after getting laid off from AOL 00:01:23.780 --> 00:01:24.780 [ 00:01:24.780 --> 00:01:25.780 Sighs] 00:01:25.780 --> 00:01:26.780 [ 00:01:26.780 --> 00:01:27.780 Sighs] 00:01:27.780 --> 00:01:28.780 [ 00:01:27.900 --> 00:01:30.620 Remember those guys? 00:01:28.780 --> 00:01:31.980 Wait, what? I did not know you worked for AOL. 00:01:30.620 --> 00:01:36.160 Yeah, well, it's a long story. I'll get into that. I got laid off from AOL 00:01:31.980 --> 00:01:34.980 [LAUGHTER] 00:01:34.980 --> 00:01:37.240 (laughing) 00:01:36.160 --> 00:01:42.160 Of course, there is no AOL to get laid off from anymore, but so jokes kind of on them. 00:01:37.240 --> 00:01:40.240 [LAUGHTER] 00:01:40.240 --> 00:01:42.500 (laughing) 00:01:40.800 --> 00:01:43.340 You were ahead of the curve really, right? 00:01:42.160 --> 00:01:43.160 Yeah. 00:01:42.500 --> 00:01:44.760 (laughing) 00:01:43.160 --> 00:01:48.920 And so, you know, I realized that I'd been doing music my whole life. 00:01:43.340 --> 00:01:44.340 [laughs] 00:01:44.660 --> 00:01:46.740 you 00:01:44.760 --> 00:01:51.760 [silence] 00:01:46.760 --> 00:01:48.820 you 00:01:48.920 --> 00:01:54.920 I mean, I got my degree in classical performance and composition, and I was going to be a rock 00:01:49.740 --> 00:01:51.780 you 00:01:51.760 --> 00:01:54.020 (mumbling) 00:01:51.780 --> 00:01:53.840 you 00:01:53.840 --> 00:01:55.900 you 00:01:54.020 --> 00:02:21.220 [silence] 00:01:54.920 --> 00:01:59.880 star like a lot of the guys were expecting we were going to be, and it didn't work out 00:01:55.900 --> 00:01:57.900 addy 00:01:57.900 --> 00:01:59.960 you 00:01:59.880 --> 00:02:01.600 exactly that way. 00:02:00.240 --> 00:02:02.300 you 00:02:01.600 --> 00:02:05.960 And then after I went through the whole tech business side of things, when I was working 00:02:02.860 --> 00:02:04.860 you 00:02:04.860 --> 00:02:11.020 you 00:02:05.960 --> 00:02:11.960 with game composers as well as a lot of back end stuff you don't need to hear about, I 00:02:11.020 --> 00:02:13.080 you 00:02:11.960 --> 00:02:16.480 ended up looking for, you know, I wanted to write music for video games and I went to 00:02:13.240 --> 00:02:15.300 you 00:02:15.300 --> 00:02:17.360 you 00:02:16.480 --> 00:02:24.560 a conference which is called the Game Developers Conference, folks that play games, no, GDC. 00:02:17.360 --> 00:02:19.420 you 00:02:19.420 --> 00:02:21.480 you 00:02:21.220 --> 00:02:24.420 GDC been there. 00:02:21.480 --> 00:02:23.540 you 00:02:23.540 --> 00:02:25.600 you 00:02:24.420 --> 00:02:32.960 Uh huh. CDGC. 00:02:24.560 --> 00:02:29.800 And I'm so old it used to be called the Computer Games Developers Conference before it turned 00:02:25.600 --> 00:02:27.600 You 00:02:29.800 --> 00:02:36.200 into GDC. So yeah. And a friend of mine introduced me to this guy named Kai Huang, who was running 00:02:32.960 --> 00:02:58.960 [pause] 00:02:36.200 --> 00:02:41.160 Red Octane and Guitar Hero. And that's how I got my first gig. I ended up writing, I don't know, 00:02:41.160 --> 00:02:46.600 maybe I did three or, wait a minute, probably about 10 re-records for Guitar Hero 3 and then 00:02:46.600 --> 00:02:52.280 some custom tracks and it all goes on from there. So that's the longest intro of a "How did I get 00:02:52.280 --> 00:03:11.680 here ever for your podcast. I'm sure I did. Yeah, yeah, yeah, that was the I was gonna 00:02:54.300 --> 00:02:59.020 Not at all. That was that's great. But I think you skipped something there. I think you were 00:02:58.960 --> 00:03:01.220 (laughing) 00:02:59.020 --> 00:03:02.660 Yeah, not not necessarily when it comes to the guitar hero 00:03:01.220 --> 00:03:15.560 So he didn't really skip it, he just glossed over it. 00:03:02.660 --> 00:03:10.040 But unless he's lying to me Jody informed me that you were also part of T ride and did some work for that record 00:03:10.040 --> 00:03:17.660 Yeah 00:03:11.680 --> 00:03:22.120 be a rock star. So I, yeah, I just, I'll rewind. So I met Eric Valentine back in 1988, when 00:03:15.560 --> 00:03:17.820 (laughing) 00:03:17.660 --> 00:03:42.660 Thank you. 00:03:17.820 --> 00:03:20.820 (breathing heavily) 00:03:20.820 --> 00:03:23.820 (breathing heavily) 00:03:22.120 --> 00:03:25.820 and I had kind of joined a studio-ish band 00:03:23.820 --> 00:03:26.820 (breathing heavily) 00:03:25.820 --> 00:03:28.300 with a great singer named Dave Candelaria. 00:03:26.820 --> 00:03:29.820 (breathing heavily) 00:03:28.300 --> 00:03:31.240 And Dave brought me into the studio 00:03:29.820 --> 00:03:32.820 (breathing heavily) 00:03:31.240 --> 00:03:32.840 where there was this young guy, 00:03:32.820 --> 00:03:35.820 (breathing heavily) 00:03:32.840 --> 00:03:34.880 I mean, basically we were the same age, 00:03:34.880 --> 00:03:38.280 but he was this amazing engineer already, 00:03:35.820 --> 00:03:38.820 (breathing heavily) 00:03:38.280 --> 00:03:41.920 and he was recording our demos, and that was Eric. 00:03:38.820 --> 00:03:48.820 [silence] 00:03:41.920 --> 00:03:45.440 And what happened was throughout the course 00:03:42.660 --> 00:03:44.660 You 00:03:44.660 --> 00:04:04.660 Thank you. 00:03:45.440 --> 00:03:50.440 of the next few years recording with Dave at Eric's studio, 00:03:48.820 --> 00:04:16.820 [silence] 00:03:50.640 --> 00:03:54.840 You know, I'd been playing guitar, that was what I was doing obviously, and there was 00:03:54.840 --> 00:04:01.000 this band that they were creating called T-Ride, and they said, "Hey, we've got this opening 00:04:01.000 --> 00:04:07.800 for a track called Rock and Roll Zombies from Hell, and there's this sort of crazy arpeggiated

00:04:04.660 --> 00:04:28.660 Thank you. 00:04:07.800 --> 00:04:11.660 intro that we haven't been able to get the way that we want it to sound." 00:04:11.660 --> 00:04:16.100 And I guess they had kind of had sort of like had an open audition for anyone who could 00:04:16.100 --> 00:04:24.300 play this thing that Eric wrote on, or actually Dan wrote on his Casio keyboard, that they'd 00:04:16.820 --> 00:04:20.820 [laughs] 00:04:20.820 --> 00:04:40.020 It is crazy as hell. 00:04:24.300 --> 00:04:29.800 buy him like a free Jack in the Box and a few hours of studio time. 00:04:29.660 --> 00:04:31.660 Thank you. 00:04:29.800 --> 00:04:31.420 So I said, "I'll give it a shot." 00:04:31.420 --> 00:04:37.220 And so I came in the next Monday and recorded that lick, which is sort of pseudo-famous 00:04:32.660 --> 00:04:33.660 Thank you. 00:04:33.660 --> 00:04:34.660 Thank you. 00:04:34.660 --> 00:04:36.720 you 00:04:36.720 --> 00:04:38.720 you 00:04:37.220 --> 00:04:40.300 because for the... 00:04:38.720 --> 00:04:40.720 You 00:04:40.020 --> 00:05:09.020 [ Pause ] 00:04:40.300 --> 00:04:41.700 It was a really interesting... 00:04:40.720 --> 00:04:42.720 You 00:04:41.700 --> 00:04:44.220 And I have to say that Eric was really cool about it, 00:04:42.720 --> 00:04:44.720 You 00:04:44.220 --> 00:04:46.980 'cause I didn't quite have it, but he worked with me. 00:04:44.720 --> 00:05:06.720 Mm. 00:04:46.980 --> 00:04:50.140 And that's one of Eric's skills back then, 00:04:50.140 --> 00:04:52.780 he was very much a cheerleader for you. 00:04:52.780 --> 00:04:55.140 And so he helped me get through that lick. 00:04:55.140 --> 00:04:57.740 And then he actually recorded his drum fill 00:04:57.740 --> 00:05:00.100 over the top of my lick, which was, 00:05:00.100 --> 00:05:01.340 that's how good he is. 00:05:01.340 --> 00:05:04.420 But yeah, so I was in the band for about a year and a half, 00:05:04.420 --> 00:05:05.900 more on the studio side. 00:05:05.900 --> 00:05:08.520 And then when it came down to touring, 00:05:06.720 --> 00:05:18.720 Thank you. 00:05:08.520 --> 00:05:10.940 Jeff Tyson was actually in the band before me, 00:05:09.020 --> 00:05:16.020 [Silence] 00:05:10.940 --> 00:05:13.400 and he was really the right guy to tour. 00:05:13.400 --> 00:05:17.080 I was much more of a, can we just like go home after this? 00:05:16.020 --> 00:05:22.020 [Laughs] 00:05:17.080 --> 00:05:20.180 Like I wasn't, I didn't wanna get in a station wagon 00:05:18.720 --> 00:05:21.140 (logo thuds) 00:05:20.180 --> 00:05:21.580 and ride around the country. 00:05:21.140 --> 00:05:23.560 (logo thuds) 00:05:21.580 --> 00:05:26.580 So, yes, that's right, you did not because you met Jeff. 00:05:22.020 --> 00:05:26.020 Hence the reason why I did not meet you at the Salt Lake gig. 00:05:23.560 --> 00:05:26.060 (logo thuds) 00:05:26.020 --> 00:05:29.020 [Laughs] 00:05:26.060 --> 00:05:55.060 Thank you. 00:05:26.580 --> 00:05:32.660 And Jeff, you know, I still stay in touch with 00:05:29.020

--> 00:05:31.020 That's right. 00:05:31.020 --> 00:05:38.020 [Silence] 00:05:32.660 --> 00:05:34.940 actually all the guys and Jeff is a, you know, 00:05:34.940 --> 00:05:38.620 as we all know, phenomenal player, Satriani student. 00:05:38.020 --> 00:05:40.020 Yes. 00:05:38.620 --> 00:05:42.220 And he's got these spider fingers that he'll dent frets 00:05:40.020 --> 00:05:59.220 There you go. I gotta interject real quick though because the three of us are all like super 00:05:42.220 --> 00:05:43.240 with that left hand. 00:05:43.240 --> 00:05:44.520 He's just such a great player. 00:05:44.520 --> 00:05:47.620 But that was, yes, that was my illustrious beginning 00:05:47.620 --> 00:05:48.520 into the career. 00:05:48.520 --> 00:05:51.360 And after the T-Ride thing sort of ended, 00:05:51.360 --> 00:05:52.660 I went into the tech business 00:05:52.660 --> 00:05:55.300 because I actually wanted to make some money. 00:05:55.060 --> 00:05:57.060 Yeah. 00:05:55.300 --> 00:05:57.060 Yeah. 00:05:57.060 --> 00:05:58.760 Yeah. 00:05:57.400 --> 00:05:59.400 You 00:05:58.760 --> 00:06:02.940 Yeah. 00:05:59.220 --> 00:06:05.700 guitar nerds and I will have to say that Jeff also is a super guitar nerd. At least the night I met 00:05:59.400 --> 00:06:01.440 Totally revolutionizing 00:06:01.440 --> 00:06:04.400 not as cruel 00:06:02.940 --> 00:06:07.820 Oh yeah, of course he is. 00:06:04.400 --> 00:06:04.640 and 00:06:04.640 --> 00:06:08.640 securing 00:06:05.700 --> 00:06:08.420 him on tour. 00:06:07.820 --> 00:06:13.820 Yeah, he's also amazingly skilled at being able to just plug into a pedal and sound just 00:06:08.420 --> 00:06:25.540 Uh-oh. 00:06:08.640 --> 00:06:11.320 you. 00:06:08.860 --> 00:06:18.860 [BLANK_AUDIO] 00:06:11.320 --> 00:06:29.000 >> Yeah. 00:06:13.820 --> 00:06:14.820 like Jeff. 00:06:14.820 --> 00:06:20.600 I'm completely, I'm at the whim of whatever gear I'm playing and I will play horrible 00:06:18.860 --> 00:06:38.660 [LAUGH] Yeah. Yeah. Yeah. But that's an interesting point that you kind of bring up there though with, cuz I'm with you on that when it comes to your sound. 00:06:20.600 --> 00:06:22.940 if it's not set up just perfect for me. 00:06:22.940 --> 00:06:28.860 So never ask me to get up and jam because I will just say no. 00:06:25.540 --> 00:06:33.140 There you go. 00:06:28.860 --> 00:06:32.220 I don't jam. 00:06:32.220 --> 00:06:33.060 - Yeah. 00:06:33.060 --> 00:06:40.880 Yeah. 00:06:33.140 --> 00:07:02.140 >> Thank you. 00:06:38.660 --> 00:06:43.380 It needs to feel good, it's that comfort factor, right? 00:06:40.880 --> 00:06:41.720 Yeah. 00:06:41.720 --> 00:06:44.500 Yeah. 00:06:43.380 --> 00:06:47.380 And you go like, "Well, yeah, can you plug into whatever backline?" 00:06:44.500 --> 00:06:52.160 No. 00:06:47.380 --> 00:06:50.660 Yeah, you probably can, but you're probably not going to play your best 00:06:50.660 --> 00:06:54.100 because you're kind of holding back because it feels weird, right? 00:06:52.160 --> 00:06:55.340 Well, yeah, you're not even holding back. 00:06:54.100 --> 00:06:57.860 Yeah. 00:06:55.340 --> 00:06:56.860 It's like, it's holding you back. 00:06:56.860 --> 00:07:00.220 You just, it's incredibly hard to play. 00:06:57.860 --> 00:07:07.860 [BLANK_AUDIO] 00:07:00.220 --> 00:07:02.820 I mean, I can do like maybe I can do Malcolm Young. 00:07:02.140 --> 00:07:05.140 [LAUGHTER] 00:07:02.820 --> 00:07:06.760 And that's not saying Malcolm isn't like 00:07:05.140 --> 00:07:23.140 [ Pause ] 00:07:06.760 --> 00:07:08.520 the most amazing rhythm guitar player ever. 00:07:07.860 --> 00:07:14.120 Yeah. 00:07:08.520 --> 00:07:12.640 It's just that if I try to do anything pyrotechnic wise, 00:07:12.640 --> 00:07:14.600 forget it, you know, there's just, it's yeah, 00:07:14.120 --> 00:07:17.300 [BLANK_AUDIO] 00:07:14.600 --> 00:07:17.000 I'm totally at the whim, so. 00:07:17.000 --> 00:07:20.880 Oh yeah. 00:07:17.300 --> 00:07:20.500 You had obviously some studio experience and 00:07:20.500 --> 00:07:22.660 describing your personality here. 00:07:20.880 --> 00:07:21.880 Yeah. 00:07:21.880 --> 00:07:45.360 Yeah, I mean really what it was is that after the T-Ride thing, I had a home studio before, 00:07:22.660 --> 00:07:27.340 It sounds like doing what you do now almost sounds to me like it fits you 00:07:23.140 --> 00:07:26.140 (people chattering) 00:07:26.140 --> 00:07:51.180 (laughing) 00:07:27.340 --> 00:07:32.700 like a glove because you get to do that and you get to explore sound and you get to just 00:07:32.700 --> 00:07:38.260 really do that on a super microscopic level if you will doing what you do for the Guitar 00:07:38.260 --> 00:07:51.260 Hero games, right? 00:07:45.360 --> 00:07:50.200 you know, four track and then an eight track and then I went through the whole ADAT, Mackie 00:07:50.200 --> 00:07:56.120 thing and then I bought it. Yeah, yeah, it was horrible. It sounded great for the first track 00:07:51.180 --> 00:07:52.220 Didn't we all? 00:07:51.260 --> 00:07:52.100 Yeah. 00:07:52.100 --> 00:07:54.100 You 00:07:52.220 --> 00:07:54.220 [LAUGHTER] 00:07:54.100 --> 00:07:56.100 You 00:07:54.220 --> 00:07:54.540 [ 00:07:54.540 --> 00:07:56.540 [ 00:07:56.100 --> 00:07:58.100 You 00:07:56.120 --> 00:08:01.560 and then it just fell apart after that. And then Pro Tools wasn't quite there. So I had a studio 00:07:56.540 --> 00:07:58.540 silence ] 00:07:58.100 --> 00:08:00.100 You 00:07:58.540 --> 00:07:58.540 [ 00:07:58.540 --> 00:08:00.540 silence ] 00:08:00.100 --> 00:08:02.100 You 00:08:00.540 --> 00:08:02.540 [ 00:08:01.560 --> 00:08:06.120 all the way through and when I lived in Seattle and I was working on campus at Microsoft, you 00:08:02.540 --> 00:08:04.540 silence ] 00:08:03.100 --> 00:08:05.100 You 00:08:04.540 --> 00:08:06.540 [ 00:08:05.100 --> 00:08:14.580 Mmm 00:08:06.120 --> 00:08:11.880 know, I was recording guys and I realized quickly that I didn't enjoy recording other musicians at 00:08:06.540 --> 00:08:08.540 silence

] 00:08:08.540 --> 00:08:10.540 [ 00:08:10.540 --> 00:08:12.540 silence ] 00:08:11.880 --> 00:08:17.480 all. But yeah, I had this whole basement studio set up and it was terrible. It was always cold 00:08:12.540 --> 00:08:14.540 [ 00:08:14.540 --> 00:08:16.540 laughter ] 00:08:14.580 --> 00:08:16.580 You 00:08:16.540 --> 00:08:18.540 [ 00:08:16.580 --> 00:08:18.580 You 00:08:17.480 --> 00:08:23.240 and I had to get out of there. Yeah, so I had been recording for many, many years before Guitar Hero, 00:08:18.540 --> 00:08:20.540 silence ] 00:08:18.580 --> 00:08:41.580 Mm. 00:08:20.540 --> 00:08:22.540 [ 00:08:22.540 --> 00:08:24.540 silence ] 00:08:23.240 --> 00:08:28.280 and just before Guitar Hero, I had done this tribute band with some amazing players. So I 00:08:24.540 --> 00:08:26.540 [ 00:08:26.540 --> 00:08:28.540 silence ] 00:08:28.280 --> 00:08:32.520 had Troy Lucetta was my neighbor, the drummer from Tesla was my neighbor here in Scottsdale, 00:08:28.540 --> 00:08:28.540 [ 00:08:28.540 --> 00:08:30.540 silence ] 00:08:30.540 --> 00:08:32.540 Oh, nice. Yes. 00:08:32.520 --> 00:08:39.000 and then I met Dave Hensarling, who was actually known before as David Michael Phillips as the 00:08:32.540 --> 00:08:34.540 [ 00:08:34.540 --> 00:08:36.540 silence ] 00:08:36.540 --> 00:08:38.540 [ 00:08:38.540 --> 00:08:40.540 silence ] 00:08:39.000 --> 00:08:46.120 guitar player for King Cobra, but he's like a walking encyclopedia of any musical part. So he 00:08:40.540 --> 00:08:42.540 Uh-huh, yep. 00:08:41.580 --> 00:08:42.580 Mm. 00:08:42.540 --> 00:08:44.540 [ 00:08:42.580 --> 00:08:43.580 Mm. 00:08:43.580 --> 00:08:45.640 you 00:08:44.540 --> 00:08:46.540 silence ] 00:08:45.640 --> 00:08:47.700 you 00:08:46.120 --> 00:08:48.660 He actually ended up playing bass in this band. 00:08:46.540 --> 00:08:48.540 [ 00:08:48.540 --> 00:08:50.540 silence ] 00:08:48.660 --> 00:08:50.680 you 00:08:48.660 --> 00:08:54.580 And then Robert Mason, who sings for "Warrent" now and had sung for "Linch Mob" and some 00:08:50.540 --> 00:09:02.540 [ Silence ] 00:08:50.680 --> 00:08:52.760 you 00:08:52.760 --> 00:08:54.820 you 00:08:54.580 --> 00:08:55.580 other bands. 00:08:54.820 --> 00:08:56.880 you 00:08:55.580 --> 00:09:01.600 We all became really good friends and we put together this band, which was a very accurate 00:08:56.880 --> 00:08:58.940 you 00:08:58.940 --> 00:09:01.000 you 00:09:01.600 --> 00:09:03.460 version of a band that never existed. 00:09:01.700 --> 00:09:03.780 you 00:09:02.540 --> 00:09:04.540 [LAUGHTER] 00:09:03.460 --> 00:09:08.520 So we looked like we were from the 70s, we had the gear from the 70s, but we played cover 00:09:03.780 --> 00:09:13.780 [BLANK_AUDIO] 00:09:04.540 --> 00:09:06.540 [ Sale contact ] 00:09:06.540 --> 00:09:08.540 [ Sale contact ] 00:09:08.520 --> 00:09:14.200 songs in a, "Hey, Coba Hall, burn down," and we had to bring all of our gear to this 00:09:08.540 --> 00:09:10.540 [ Sale contact ] 00:09:10.540 --> 00:09:12.540 [

Sale contact ] 00:09:12.540 --> 00:09:14.540 [ Sale contact ] 00:09:13.780 --> 00:09:32.780 That's awesome. 00:09:14.200 --> 00:09:15.200 little place. 00:09:14.540 --> 00:09:23.540 [ Sale contact ] 00:09:15.200 --> 00:09:19.760 would have on any given night, we would have 12 cabinets, 00:09:19.760 --> 00:09:22.440 four 12 cabinets and 12 heads. 00:09:22.440 --> 00:09:27.120 So it was four orange four 12s, eight Marshall, eight four 12s 00:09:23.540 --> 00:09:25.540 [ docesarThey [ laughter ] 00:09:25.540 --> 00:09:53.540 [ Pause ] 00:09:27.120 --> 00:09:29.660 and then matching heads for each cabinet. 00:09:29.660 --> 00:09:31.840 And so it was hilarious. 00:09:31.840 --> 00:09:33.320 And so that really, yeah. 00:09:32.780 --> 00:09:42.780 [BLANK_AUDIO] 00:09:33.320 --> 00:09:34.720 And so, you know, we were doing this thing 00:09:34.720 --> 00:09:36.520 to be as accurate as possible. 00:09:36.520 --> 00:09:38.880 And I think that prepped me for Guitar Hero 00:09:38.880 --> 00:09:42.600 because when I talked to the guys at Guitar Hero, 00:09:42.600 --> 00:09:44.960 I thought they were looking for note trackers. 00:09:42.780 --> 00:09:45.780 Right? 00:09:44.960 --> 00:09:48.480 And I thought, great, yeah, I totally could do note tracking 00:09:45.780 --> 00:09:55.780 [BLANK_AUDIO] 00:09:48.480 --> 00:09:50.840 'cause I'm into transcribing and whatnot. 00:09:50.840 --> 00:09:53.540 And they said, hey, we're in need of covers 00:09:53.540 --> 00:10:18.340 I hear that. 00:09:53.540 --> 00:09:57.080 because our supplier isn't able to get them fast enough 00:09:55.780 --> 00:10:13.780 Right, yeah. 00:09:57.080 --> 00:09:57.980 for the game. 00:09:57.980 --> 00:10:02.560 So I auditioned with schools out, which ended up on the game. 00:10:02.560 --> 00:10:06.400 And that's when they opened it up for me to do more songs. 00:10:06.400 --> 00:10:09.380 And that was like the gate opener of all gate open. 00:10:09.380 --> 00:10:11.480 I mean, to have that as your first gig 00:10:11.480 --> 00:10:14.800 coming into the business, it couldn't have been better. 00:10:13.780 --> 00:10:14.780 Yeah. 00:10:14.780 --> 00:10:24.780 [LAUGH] 00:10:14.800 --> 00:10:18.420 I mean really Guitar Hero 3 are you kidding? 00:10:18.340 --> 00:10:20.420 (laughs) 00:10:18.420 --> 00:10:25.300 Yeah, like what any games you worked on? Yeah this one. 00:10:20.420 --> 00:10:24.580 (laughs) 00:10:24.580 --> 00:10:27.060 I wish I could say the same thing. 00:10:24.780 --> 00:10:41.980 that yeah that that very cool. So how has if at all, how has 00:10:25.300 --> 00:10:36.660 So it's hey you know there's a lot of games people haven't heard of that are you know 00:10:27.060 --> 00:10:29.260 No, I cannot say that I worked on Guitar Hero, 00:10:29.260 --> 00:10:32.280 but some people have heard the games I've been on. 00:10:32.280 --> 00:10:38.280 [ Pause ] 00:10:36.660 --> 00:10:40.060 I've played on a lot of games so yeah. 00:10:38.280 --> 00:10:43.280 [silence] 00:10:40.060 --> 00:10:59.180 Yeah, yeah, yeah, yeah, it sure has. 00:10:41.980 --> 00:10:46.460 that process sort of evolved over the years? Now? I mean, 00:10:43.280 --> 00:10:45.280 [silence] 00:10:45.280 --> 00:10:45.600 [ 00:10:45.600 --> 00:10:47.640 Sighs] 00:10:46.460 --> 00:10:50.580 we're talking you said 2007, right? So it's been a minute. 00:10:47.640 --> 00:10:49.680 [Sighs] 00:10:49.680 --> 00:10:51.720 [Sighs] 00:10:51.720 --> 00:10:53.740 [Sighs] 00:10:51.860 --> 00:10:59.860 Is it basically the same process for you now or is it much more nuanced, I would say, today as it was then? 00:10:53.740 --> 00:10:55.780 [Sighs] 00:10:55.780 --> 00:10:57.820 [Sighs] 00:10:57.820 --> 00:10:59.860 [Sighs] 00:10:59.180 --> 00:11:03.980 I think, you know, it's funny, you know how bands sometimes their first album is their 00:10:59.860 --> 00:11:05.560 Yeah. 00:10:59.860 --> 00:11:01.880 [Sighs] 00:11:01.880 --> 00:11:03.920 [Sighs] 00:11:03.920 --> 00:11:05.960 [Sighs] 00:11:03.980 --> 00:11:09.420 best album because they didn't know better or they just, they had it. 00:11:05.560 --> 00:11:17.620 Jesus. 00:11:05.960 --> 00:11:08.000 [Sighs] 00:11:08.000 --> 00:11:10.020 [Sighs] 00:11:09.420 --> 00:11:14.180 I think there are certain songs that still were really, really inspired. 00:11:10.020 --> 00:11:12.060 [Sighs] 00:11:12.060 --> 00:11:14.100 [Sighs] 00:11:14.140 --> 00:11:17.140 Wow. 00:11:14.180 --> 00:11:17.260 I think I've done around 300 covers now. 00:11:17.140 --> 00:11:17.980 Wow. 00:11:17.260 --> 00:11:22.580 And yeah, so in the beginning, it was way in my wheelhouse. 00:11:17.620 --> 00:11:18.620 Ta-da-da! 00:11:17.980 --> 00:11:20.980 (breathing heavily) 00:11:18.620 --> 00:11:19.120 Ta-da-da! 00:11:19.120 --> 00:11:21.180 you 00:11:20.980 --> 00:11:23.980 (breathing heavily) 00:11:21.180 --> 00:11:23.240 you 00:11:22.580 --> 00:11:28.540 I mean, we're talking about Scorpions, Hat Benatar, Blue Oyster Cult, you know, that 00:11:23.240 --> 00:11:25.300 you 00:11:23.980 --> 00:11:26.980 (breathing heavily) 00:11:25.740 --> 00:11:27.800 you 00:11:26.980 --> 00:11:29.980 (breathing heavily) 00:11:28.360 --> 00:11:30.420 you 00:11:28.540 --> 00:11:31.980 kind of, you know, the Guitar Hero stuff. 00:11:29.980 --> 00:11:32.900 (muffled speaking) 00:11:30.420 --> 00:11:59.820 [ Silence ] 00:11:31.980 --> 00:11:35.280 And so it was right up my alley and I had a really great team of people. 00:11:32.900 --> 00:11:34.900 (inaudible) 00:11:34.900 --> 00:11:51.900 [ Pause ] 00:11:35.280 --> 00:11:39.880 So I had Ryan Green was mixing and producing locally here. 00:11:39.880 --> 00:11:45.640 And then Gary Sanchez was a drummer that was in a band called Metalhead with Robert Mason. 00:11:45.640 --> 00:11:49.660 And so he played all the drums on those covers except for a few where a drummer named John 00:11:49.660 --> 00:11:52.340 Covington was playing, good friend of mine. 00:11:51.900 --> 00:12:20.900 [inaudible] 00:11:52.340 --> 00:11:58.060 But over time, it

went away from rock and the majority of my re-records have been on 00:11:58.060 --> 00:12:01.720 Just Dance, which is not rock. 00:12:00.320 --> 00:12:27.320 [ Silence ] 00:12:01.720 --> 00:12:09.520 So I mean, I'm doing everything from old school Harry Belafonte to actual recent pop dance 00:12:09.520 --> 00:12:10.520 hits. 00:12:10.520 --> 00:12:14.520 I can't say the name of the two songs that I did for the new upcoming Just Dance, but 00:12:14.520 --> 00:12:19.680 I mean, I've done everything from Elton John to This Is The Rhythm of the Night, you know, 00:12:19.680 --> 00:12:25.200 if you remember that from back in the day with Jenny B. And I actually got Jenny B, 00:12:20.900 --> 00:12:22.900 Yeah. 00:12:22.900 --> 00:12:28.900 Nice. 00:12:25.200 --> 00:12:30.200 the original singer, to sing on the cover, which was, that's a career highlight. 00:12:27.320 --> 00:12:28.660 >> Oh, cool. 00:12:28.900 --> 00:12:56.200 >> Thank you. 00:12:29.460 --> 00:12:39.460 [BLANK_AUDIO] 00:12:30.200 --> 00:12:36.680 So it's become much, much more nuanced because now it could be any song. 00:12:36.680 --> 00:12:38.160 It could be anything. 00:12:38.160 --> 00:12:41.400 And I've opened it up to being able to do any kind of music. 00:12:39.460 --> 00:12:56.260 Yeah, I mean, the landscape has definitely shifted. 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 --> 00:12:53.600 hasn't been a guitar hero or a rock band or a rock revolution for what, 10 years now, right? 00:12:53.600 --> 00:12:56.680 So yeah. 00:12:56.200 --> 00:13:14.200 [ Inaudible ] 00:12:56.260 --> 00:13:03.260 And I remember, because I was teaching at the time when the explosion, if you will, of Guitar Hero. 00:12:56.680 --> 00:12:57.680 Yeah. 00:12:57.680 --> 00:13:11.120 Yeah, that they did. 00:13:03.260 --> 00:13:14.260 And it was very interesting to sort of see that because I think one thing that happened was that people got the completely wrong idea of what it was to play guitar. 00:13:11.120 --> 00:13:22.680 Yeah, I can push buttons too. 00:13:14.200 --> 00:13:16.460 (laughing) 00:13:14.260 --> 00:13:18.260 Because they come in and say, "Oh, I'm really good at guitar here." 00:13:16.460 --> 00:13:18.800 (chuckling) 00:13:18.260 --> 00:13:22.260 okay, well, that's awesome, but this is quite different. Yeah, 00:13:18.800 --> 00:13:21.800 (people chattering) 00:13:21.800 --> 00:13:51.780 [ Inaudible ] 00:13:22.260 --> 00:13:25.960 but it also did turn a lot of people onto the instrument, I 00:13:22.680 --> 00:13:25.880 Yeah. 00:13:25.880 --> 00:13:37.400 sure did. Right, right. I mean, it opened up an entire generation to an era of music 00:13:25.960 --> 00:13:29.060 think, or any instrument where it's like, at that point, it 00:13:29.060 --> 00:13:31.540 was all of a sudden, you see kids want to learn how to play 00:13:31.540 --> 00:13:34.980 Sweet Child of Mine again. It was like, wow, what did this? 00:13:34.980 --> 00:13:39.740 Yeah. 00:13:37.400 --> 00:13:43.680 that they may not have been exposed to. So it was absolutely instrumental, no pun intended, 00:13:39.740 --> 00:14:01.040 Yeah. Yeah. 00:13:43.680 --> 00:13:48.240 to the new movement. And you see the results of it on YouTube now with younger guys and 00:13:48.240 --> 00:13:51.820 girls playing extremely well, right? 00:13:51.780 --> 00:13:53.780 at a very young age too. 00:13:51.820 --> 00:13:54.960 I mean, it's no joke at a very young age. 00:13:53.780 --> 00:13:56.780 The guy that makes this guitar right here, 00:13:54.960 --> 00:13:59.760 Yeah. 00:13:56.780 --> 00:13:58.780 who's made quite a few of my guitars, 00:13:58.780 --> 00:14:01.780 as you guys can see that not the people in the podcast can see, 00:13:59.760 --> 00:14:08.000 Really? 00:14:01.780 --> 00:14:07.780 he was hired to do special edition guitars for Guitar Hero. 00:14:02.040 --> 00:14:26.460 Yeah. 00:14:07.780 --> 00:14:10.780 And then something did not go right, 00:14:08.000 --> 00:14:12.860 Oh, oh. 00:14:10.780 --> 00:14:12.780 which is unfortunate. 00:14:12.780 --> 00:14:15.780 But it was just an interesting connection to hear it, 00:14:12.860 --> 00:14:19.860 Yeah. 00:14:15.780 --> 00:14:17.780 like knowing you that you've done a lot of these tracks, 00:14:17.780 --> 00:14:20.780 and then the guy that actually built a lot of my guitars, 00:14:19.860 --> 00:14:40.860 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 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. 00:14:20.780 --> 00:14:24.480 He was asked to build some special guitars for that situation. 00:14:24.480 --> 00:14:33.780 I don't recall. 00:14:26.460 --> 00:14:36.460 [BLANK_AUDIO] 00:14:33.780 --> 00:14:36.040 (laughing) 00:14:36.040 --> 00:14:55.560 [Laughter] 00:14:36.460 --> 00:14:53.740 That's awesome. 00:14:40.860 --> 00:14:44.260 So I did all the way through "Warriors of Rock." 00:14:44.260 --> 00:14:46.060 So that was the last one. 00:14:46.060 --> 00:14:47.420 And I got to live out a dream 00:14:47.420 --> 00:14:50.420 that Gene Simmons was the voiceover for the music 00:14:50.420 --> 00:14:52.460 that I wrote for the underscore. 00:14:52.460 --> 00:14:54.060 I didn't get to meet him. 00:14:53.740 --> 00:15:10.740 Okay. 00:14:54.060 --> 00:14:55.420 I know I was like, you know, 00:14:55.420 --> 00:14:57.660 when they told me that he came into Neversoft. 00:14:55.560 --> 00:15:10.020 That's a quick plane ride. 00:14:57.660 --> 00:14:59.260 And I'm like, "Ah, you know, 00:14:59.260 --> 00:15:01.280 that's when I wished I'd lived in LA, you know, 00:15:01.280 --> 00:15:03.980 because here I am in Scottsdale, Arizona, 00:15:03.980 --> 00:15:06.380 and Gene Simmons is doing voiceover. 00:15:06.380 --> 00:15:09.380 And I kind of wish that I'd been there for that." 00:15:09.380

--> 00:15:13.940 I didn't, they told me after the fact. 00:15:10.020 --> 00:15:12.020 Why didn't you go? 00:15:10.740 --> 00:15:39.740 Okay. 00:15:12.020 --> 00:15:16.620 Oh, those cheap bastards. 00:15:13.940 --> 00:15:18.060 I'm like, "What are you, guys? 00:15:16.620 --> 00:15:24.540 Well, and knowing what I know about you and such is that you are a massive kiss fan. 00:15:18.060 --> 00:15:21.060 Come on, man." 00:15:21.060 --> 00:15:24.980 Yes. 00:15:24.540 --> 00:15:39.860 So it would have been like a major dream. Yes. Okay. 00:15:24.980 --> 00:15:27.140 And I should qualify that. 00:15:27.140 --> 00:15:32.100 I need to qualify that I'm a massive Kiss fan from '73 to '79. 00:15:32.100 --> 00:15:34.180 '78 to be fair. 00:15:34.180 --> 00:15:35.180 And the reunion. 00:15:35.180 --> 00:15:38.780 And I mean, when I say reunion, I mean the one that happened in '96, not the one that's 00:15:38.780 --> 00:15:43.860 still going on. I mean, I love Kiss and everything, but my first Kiss concert 00:15:39.740 --> 00:16:00.740 [Silence] 00:15:39.860 --> 00:16:07.140 [LAUGHTER] 00:15:43.860 --> 00:15:50.780 was Dynasty, 1979, and so I had grown up, I'm still a kid at that point, but I had 00:15:50.780 --> 00:15:55.300 seen the gatefold of Alive 2, and that's what I was expecting when they came for 00:15:55.300 --> 00:16:00.220 Dynasty, and I was treated to half stacks and a white stage, and I was like, "What 00:16:00.220 --> 00:16:08.740 happened? It's not the same Kiss that, you know..." So that's... Yeah. 00:16:00.740 --> 00:16:01.740 Yeah. 00:16:01.740 --> 00:16:03.740 Yeah, it was a lot. 00:16:03.740 --> 00:16:06.740 Yeah, again, I'm a huge KISS fan as well. 00:16:06.740 --> 00:16:13.740 My first concert was unmasked when they tore in Europe and it was a very similar stage setup. 00:16:07.140 --> 00:16:07.780 Aren't we all? 00:16:07.780 --> 00:16:32.260 [LAUGHTER] 00:16:08.740 --> 00:16:12.080 Oh, okay. 00:16:12.080 --> 00:16:15.260 Yes, yeah. 00:16:13.740 --> 00:16:17.740 It was that ramp around and at that point, I mean, I was also very young, 00:16:15.260 --> 00:16:22.180 Right, right. 00:16:17.740 --> 00:16:21.740 but they couldn't have done anything wrong as far as I was concerned. 00:16:21.740 --> 00:16:26.740 But that's when color started coming into the uniforms and all that kind of stuff. 00:16:22.180 --> 00:16:26.320 Oh yeah. 00:16:26.320 --> 00:16:29.160 The Kiskapades came to town, you know. 00:16:26.740 --> 00:16:30.740 And yeah, exactly. Yeah. 00:16:29.160 --> 00:16:32.580 It was just, yeah, when they all had their own, 00:16:30.740 --> 00:16:31.740 Yeah. 00:16:31.740 --> 00:16:32.740 Yeah. 00:16:32.260 --> 00:16:42.260 [BLANK_AUDIO] 00:16:32.580 --> 00:16:34.900 you know, Ace had purple, or Ace had blue, 00:16:32.740 --> 00:16:33.740 Yeah. 00:16:33.740 --> 00:16:41.740 Well, yeah, we're all huge Kiss fans. 00:16:34.900 --> 00:16:37.820 Paul had purple, Peter had green, and Gene had red, 00:16:37.820 --> 00:16:40.900 And it was like, "Hey guys, this feels a little vagasy." 00:16:40.900 --> 00:16:43.220 You know, I mean, they were dangerous and scary. 00:16:41.740 --> 00:16:47.740 Yeah. 00:16:42.260 --> 00:16:58.260 [LAUGH] 00:16:43.220 --> 00:16:45.380 And then all of a sudden they were super kiss. 00:16:45.380 --> 00:16:47.340 And it was like, "Oh." 00:16:47.340 --> 00:16:49.820 And then Van Halen came out and I saw them 00:16:47.740 --> 00:16:54.740 Hmm. 00:16:49.820 --> 00:16:51.760 like three weeks after and it was like, 00:16:51.760 --> 00:16:54.020 "Uh oh, I think I'm changing my mind here." 00:16:54.020 --> 00:16:56.740 You know, that is a whole different thing. 00:16:54.740 --> 00:16:57.740 Yeah. 00:16:56.740 --> 00:16:58.220 Anyways, I digress. 00:16:57.740 --> 00:17:00.740 Well, yeah, we're all huge Kiss fans here. 00:16:58.220 --> 00:17:02.280 Yeah, yeah. 00:16:58.260 --> 00:16:58.760 Yes. 00:16:58.760 --> 00:17:01.760 [LAUGHTER] 00:17:00.740 --> 00:17:07.740 So to steer this back a little bit onto sort of like perhaps the process here of what you do. 00:17:01.760 --> 00:17:04.020 (laughing) 00:17:02.280 --> 00:17:05.620 Yeah. 00:17:04.020 --> 00:17:09.020 [inaudible] 00:17:07.620 --> 00:17:08.460 Yes. 00:17:07.740 --> 00:17:14.860 you do. So now knowing what I know about you and your work, there is a ridiculous amount of detail 00:17:08.460 --> 00:17:18.580 Yeah. 00:17:09.020 --> 00:17:19.020 [inaudible] 00:17:14.860 --> 00:17:21.020 going into reproducing one of these tracks. Can you give us sort of like the short version of what 00:17:18.580 --> 00:17:30.320 Yeah, right. 00:17:19.020 --> 00:17:24.020 [inaudible] 00:17:21.020 --> 00:17:27.980 that might look like? You get, assumingly, contracted to do, "Hey, we want tracks one through 00:17:24.020 --> 00:17:54.000 [ Inaudible ] 00:17:27.980 --> 00:17:34.780 ten," or what have you. Now, what does that look like for you when you get that call, if you were 00:17:30.320 --> 00:17:37.500 Okay, well, let me use the brief from Ubisoft. 00:17:34.780 --> 00:18:02.460 [silence] 00:17:37.500 --> 00:17:39.900 So let's say Just Dance is happening. 00:17:39.900 --> 00:17:42.340 I've done the last 11 Just Dances, 00:17:42.340 --> 00:17:44.020 so it's every year it happens. 00:17:44.020 --> 00:17:46.340 So right around November or so, 00:17:46.340 --> 00:17:49.780 I'll get an email from my guy at Ubisoft 00:17:49.780 --> 00:17:53.620 and he'll say, okay, the first track is gonna be X, 00:17:53.620 --> 00:17:55.820 and they'll send me a brief. 00:17:54.000 --> 00:18:00.000 [ Pause ] 00:17:55.820 --> 00:17:58.480 And the brief is, it's usually the same, 00:17:58.480 --> 00:18:01.860 which is we want it to be a beat matched, 00:18:00.000 --> 00:18:29.000 [ Pause ] 00:18:01.860 --> 00:18:06.200 tempo matched, note for note replica. 00:18:02.460 --> 00:18:03.460 Mm-hmm. 00:18:03.660 --> 00:18:05.560 you 00:18:05.560 --> 00:18:07.620 you 00:18:06.200 --> 00:18:08.920 And of course we all know that that's near impossible, 00:18:07.620

--> 00:18:09.680 you 00:18:08.920 --> 00:18:12.120 but the idea is that they're gonna use the original one, 00:18:10.240 --> 00:18:12.320 you 00:18:12.120 --> 00:18:14.560 the choreograph too, and then they're gonna put mine in. 00:18:12.320 --> 00:18:14.380 you 00:18:14.380 --> 00:18:16.380 >> Thank you. 00:18:14.560 --> 00:18:16.540 And usually it's because of, you know, 00:18:16.380 --> 00:18:18.380 You 00:18:16.540 --> 00:18:18.400 for licensing they have to go through, 00:18:18.380 --> 00:18:20.380 You 00:18:18.400 --> 00:18:21.720 there's a lot of details that I don't know about 00:18:20.380 --> 00:18:47.380 Right. 00:18:21.720 --> 00:18:23.760 that they have to do to prepare for it 00:18:23.760 --> 00:18:26.640 so that they can say, yeah, go ahead and do that, Steve. 00:18:26.640 --> 00:18:31.280 So when I get it, I do a tempo map and I use studio one. 00:18:29.000 --> 00:18:35.000 [ Pause ] 00:18:31.280 --> 00:18:34.700 So I will accurately map out to the beat, 00:18:34.700 --> 00:18:38.500 four beats for every bar, I'll do a tempo map. 00:18:35.000 --> 00:18:42.000 [ Pause ] 00:18:38.500 --> 00:18:40.860 And then I start doing my research, 00:18:40.860 --> 00:18:43.660 which is so much easier now than it was for Guitar Hero 00:18:42.000 --> 00:18:45.000 (people chattering) 00:18:43.660 --> 00:18:45.860 because the internet has everything now. 00:18:45.000 --> 00:18:47.000 (inaudible) 00:18:45.860 --> 00:18:49.180 And I'll find out what studio it was recorded at, 00:18:47.000 --> 00:19:09.000 [ Pause ] 00:18:47.380 --> 00:19:07.380 Right. 00:18:49.180 --> 00:18:51.900 who were the players if it was a session, 00:18:51.900 --> 00:18:53.980 and I'll learn everything I can, 00:18:53.980 --> 00:18:57.100 hey, what kind of mixing console, who was the engineer. 00:18:57.100 --> 00:18:59.540 And I'll start going through, and these days, 00:18:59.540 --> 00:19:01.500 if you're lucky, you might be able to find 00:19:01.500 --> 00:19:03.600 an isolated track or two, 00:19:03.600 --> 00:19:06.320 And that can be really helpful because it gives you clues. 00:19:06.320 --> 00:19:08.940 You know, hey, that's the kind of reverb they're using. 00:19:08.100 --> 00:19:34.860 Have a great day. 00:19:08.940 --> 00:19:11.600 So I'll literally break it down into the chords, 00:19:09.000 --> 00:19:34.000 [inaudible] 00:19:11.600 --> 00:19:15.440 the rhythms, and then I'll start looking for the players. 00:19:15.440 --> 00:19:18.820 And usually it's the end result is I just have to find 00:19:18.820 --> 00:19:21.420 the best singer that can qualify for it. 00:19:21.420 --> 00:19:24.080 So that ends up being the hardest part for me. 00:19:24.080 --> 00:19:25.920 The easiest part is tempo mapping 00:19:25.920 --> 00:19:28.440 and then kind of digging into the track. 00:19:28.440 --> 00:19:32.280 And I use different tools to isolate parts. 00:19:32.280 --> 00:19:36.720 I'll use RX from iSotope or I'll use transcribe. 00:19:34.000 --> 00:19:36.000 Oh, look at that.

00:19:36.000 --> 00:19:48.720 Well, and what the one that you're probably referring to as music rebalance in isotopes. 00:19:36.720 --> 00:19:38.680 Yeah, it's true. 00:19:36.860 --> 00:19:37.860 Yeah. 00:19:37.940 --> 00:19:38.940 Three guy. 00:19:38.680 --> 00:19:42.040 You have to find as many ways as possible 00:19:38.940 --> 00:19:40.940 Thank you. 00:19:40.940 --> 00:19:42.940 Thank you. 00:19:42.040 --> 00:19:45.200 to isolate the instruments and transcribe is... 00:19:42.940 --> 00:19:45.000 you 00:19:45.000 --> 00:19:47.060 you 00:19:45.200 --> 00:19:49.660 Music rebalance? 00:19:47.060 --> 00:19:49.120 you 00:19:48.720 --> 00:19:54.380 Yeah, that and that does a really that actually does a really pretty good job of taking things apart. 00:19:49.660 --> 00:19:50.860 Yes, yeah. 00:19:50.120 --> 00:19:52.180 you 00:19:50.860 --> 00:19:57.680 It does and that's actually relatively new. 00:19:52.180 --> 00:20:21.580 [ Silence ] 00:19:54.380 --> 00:20:19.380 [silence] 00:19:57.680 --> 00:19:59.720 Most of the time I just get a stereo track 00:19:59.720 --> 00:20:02.720 and I would just listen as intently as possible. 00:20:02.720 --> 00:20:04.760 And I do have a partner that I've worked with 00:20:04.760 --> 00:20:05.720 for the last 10 years. 00:20:05.720 --> 00:20:09.600 His name's Cat Gray, amazing musician and a great friend. 00:20:09.600 --> 00:20:13.000 And he is a drummer, a bassist, a keyboardist, 00:20:13.000 --> 00:20:15.280 and everything, and a great singer. 00:20:15.280 --> 00:20:17.420 So when it came to doing like Earth, Wind, and Fire, 00:20:17.420 --> 00:20:20.440 he had actually played with the guys in Earth, Wind, and Fire. 00:20:19.380 --> 00:20:20.880 [laughs] 00:20:20.440 --> 00:20:24.400 And so, and knew, not only did he know the parts, 00:20:20.880 --> 00:20:22.380 So he knew the parts. 00:20:22.080 --> 00:20:22.920 Thank you. 00:20:22.380 --> 00:20:24.640 (laughing) 00:20:22.920 --> 00:20:51.920 Thank you. 00:20:24.400 --> 00:20:26.600 he sounded like Maurice when he sang. 00:20:24.640 --> 00:20:27.800 (audience chattering) 00:20:26.600 --> 00:20:29.760 He played the drums like the way they were played. 00:20:27.800 --> 00:20:30.980 (audience chattering) 00:20:29.760 --> 00:20:33.120 So that, you know, and we have an amazing group of players 00:20:30.980 --> 00:20:56.920 - Sure. 00:20:33.120 --> 00:20:36.120 all throughout the world that if I need something specific, 00:20:36.120 --> 00:20:37.520 I know who to get in touch with. 00:20:37.520 --> 00:20:40.240 But most of the time I'll play some of the keys, 00:20:40.240 --> 00:20:43.560 all the guitars, the bass, and then, you know, 00:20:43.560 --> 00:20:44.560 whatever else happens. 00:20:44.560 --> 00:20:47.160 But it is kind of a step-by-step process. 00:20:47.160 --> 00:20:49.080 And then you just keep going back and forth 00:20:49.080 --> 00:20:51.040 until it kind of gets to that point where you go, 00:20:51.040 --> 00:20:52.720 "Okay, I have everything." 00:20:51.920 --> 00:20:58.920 in a perfect world how long is that process? 00:20:52.720 --> 00:20:56.240 And then there's a whole other, you know, the mix stage. 00:20:56.240 --> 00:21:05.400 Depends on how much time they give me. I like to have a month if I can, but a lot of times 00:20:56.920 --> 00:21:04.120 [BLANK_AUDIO] 00:20:58.920 --> 00:21:05.920 Okay. 00:21:04.120 --> 00:21:04.960 Per song. 00:21:04.960 --> 00:21:12.360 [BLANK_AUDIO] 00:21:05.400 --> 00:21:10.540 I'll have more than one in process. So, you know, if I have a month, I kind of bounce 00:21:05.920 --> 00:21:11.920 Right. 00:21:10.540 --> 00:21:17.240 back and forth between the tracks. Sometimes I have more time. 00:21:11.920 --> 00:21:21.920 [BLANK_AUDIO] 00:21:12.360 --> 00:21:13.640 What? 00:21:13.640 --> 00:21:17.560 Are you saying a month per track or a month per brief? 00:21:17.240 --> 00:21:18.240 Per track. 00:21:17.560 --> 00:21:18.060 Okay. 00:21:18.060 --> 00:21:47.060 [ Pause ] 00:21:18.240 --> 00:21:23.800 Yeah. I mean, you know, usually for just dance, I'll have anywhere between five and eight 00:21:21.920 --> 00:21:36.320 Wow, yeah, I mean, it's a huge undertaking. 00:21:23.800 --> 00:21:29.140 10 to do so it'll get narrowed down sometimes they'll call and say hey look 00:21:29.140 --> 00:21:33.420 we really need this in the next two weeks and then I have to scramble it 00:21:33.420 --> 00:21:39.000 show it should yeah yeah it is 00:21:36.320 --> 00:21:38.600 I mean, just getting into that, and 00:21:38.600 --> 00:21:43.880 assume that it would have taken you a fair bit of work to kind of establish your workflow 00:21:39.000 --> 00:21:51.280 yeah I think that yeah it did it took some time I learned a lot during guitar 00:21:43.880 --> 00:21:47.240 and find what kind of works and how to kind of break it down. 00:21:47.060 --> 00:22:02.480 [whistles] 00:21:47.240 --> 00:21:54.240 Wow. 00:21:51.280 --> 00:21:56.280 hero then I learned a ton during Rock Revolution from Konami. That one didn't 00:21:54.240 --> 00:22:08.240 Oof. Wow. 00:21:56.280 --> 00:22:04.840 do very well but I did 55 covers in six months for that game. And that was... 00:22:02.480 --> 00:22:07.780 That sounds like a heavy schedule by comparison to what you like to do now. 00:22:04.840 --> 00:22:10.680 Yes, let's just say that I was doing it because when it was offered to me I had 00:22:07.780 --> 00:22:10.780 Oh! 00:22:08.240 --> 00:22:26.240 Yeah. 00:22:10.680 --> 00:22:14.440 20 songs on the game and I had six months and then the other guy dropped 00:22:10.780 --> 00:22:17.780 Oh! 00:22:14.440 --> 00:22:20.640 out and I said, "I'll take them, like a fool. I'll take them." You know, so that 00:22:17.780 --> 00:22:31.940 [Laughter] 00:22:20.640 --> 00:22:24.060 I will never do that again. 00:22:24.060 --> 00:22:27.300 I think I stayed in bed for a week after that was over. 00:22:26.240 --> 00:22:29.240 Probably well deserved. 00:22:27.300 --> 00:22:29.620 It was awful. 00:22:29.240 -->

00:22:32.240 [laughs] 00:22:29.620 --> 00:22:31.800 Yeah, I guess that's probably true. 00:22:31.800 --> 00:22:36.760 Yeah, yeah. 00:22:31.940 --> 00:22:35.300 That generally tends to happen when you overwork yourself on any project. 00:22:32.240 --> 00:22:34.240 It... 00:22:34.240 --> 00:22:37.240 [no audio] 00:22:35.300 --> 00:22:37.300 I know I can say close to the same thing. 00:22:36.760 --> 00:22:39.760 Yeah, for sure. 00:22:37.240 --> 00:22:39.240 Yeah, yeah. 00:22:37.300 --> 00:22:40.460 (audience chattering) 00:22:39.240 --> 00:22:42.240 Okay, so when it comes to now, 00:22:40.460 --> 00:22:42.460 (inaudible) 00:22:42.240 --> 00:22:46.240 as you say, you're working a little bit more on the pop side, shall we say, 00:22:42.460 --> 00:22:52.460 [inaudible] 00:22:46.240 --> 00:22:50.240 as opposed to like the really guitar-driven type of a stuff for the game. 00:22:49.100 --> 00:22:51.200 - Yeah, it has tended to be that, yeah. 00:22:50.240 --> 00:22:55.240 Right. How much of a deep dive do you go into? 00:22:51.200 --> 00:23:02.460 Right. 00:22:52.460 --> 00:22:55.460 (people chattering) 00:22:55.240 --> 00:22:57.040 because we have, like you said, 00:22:55.460 --> 00:23:00.460 [inaudible] 00:22:57.040 --> 00:22:59.880 everything is available online as far as, 00:22:59.880 --> 00:23:02.740 oh, we use this keyboard, or we use this and this nut. 00:23:00.460 --> 00:23:10.460 [inaudible] 00:23:02.460 --> 00:23:10.800 Yeah. 00:23:02.740 --> 00:23:07.120 How meticulous do you get as far as research 00:23:07.120 --> 00:23:10.080 on what keyboards might've been used, 00:23:10.080 --> 00:23:12.640 like recreating patches, that type of thing? 00:23:10.460 --> 00:23:13.460 (people chattering) 00:23:10.800 --> 00:23:14.180 Oh yeah, no, yeah. 00:23:12.640 --> 00:23:14.360 Or is that something that you, 00:23:13.460 --> 00:23:16.460 (people chattering) 00:23:14.180 --> 00:23:20.500 Well, yeah. 00:23:14.360 --> 00:23:16.400 do you tend to offload that to somebody 00:23:16.400 --> 00:23:19.240 who might have keyboard as their primary instrument? 00:23:19.240 --> 00:23:20.440 Or does that... 00:23:20.440 --> 00:23:23.100 (audio cuts out) 00:23:20.500 --> 00:23:23.700 Like for instance, when it comes to keyboards, 00:23:23.100 --> 00:23:25.760 (audio cuts out) 00:23:23.700 --> 00:23:25.500 when I'm talking about keyboards, 00:23:25.500 --> 00:23:27.140 I think of classic keyboards. 00:23:25.760 --> 00:23:28.480 (audio cuts out) 00:23:27.140 --> 00:23:31.140 Like if you're talking about 60s, 70s, 80s, 90s, 00:23:28.480 --> 00:23:55.160 I'm sorry, I have to ask because, 00:23:31.140 --> 00:23:34.140 Kat 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 --> 00:23:39.060 This guy has got cassette backups for his patches. 00:23:39.060 --> 00:23:41.180 He has so many keyboards, I can't even believe it. 00:23:41.180 --> 00:23:42.500 So he knows everything about it. 00:23:41.900 --> 00:23:43.900 Cassette

backups. 00:23:42.500 --> 00:23:45.880 He played, you know, you remember those? 00:23:43.900 --> 00:23:48.620 Data cassettes. Yes, I do remember those as a tiny child. Yes. 00:23:45.880 --> 00:23:48.160 Yeah, Dadaka sets, yeah. 00:23:48.160 --> 00:23:52.020 Yeah, well he was the keyboardist for Prince 00:23:48.620 --> 00:23:55.260 Oh good lord 00:23:52.020 --> 00:23:53.540 during the Purple Rain tour. 00:23:53.540 --> 00:23:56.320 Yeah. 00:23:55.160 --> 00:24:00.160 Cat is the same cat that used to teach at MI in Hollywood. 00:23:55.260 --> 00:24:24.660 [inaudible] 00:23:56.320 --> 00:24:02.420 Correct, and he's, yes, that is correct. 00:24:00.160 --> 00:24:05.620 Oh yeah, I remember I had some classes with him 00:24:02.420 --> 00:24:07.680 Oh, you did? 00:24:05.620 --> 00:24:06.820 that I studied there. 00:24:06.820 --> 00:24:10.100 Yeah, and he was, I really quickly veer off, 00:24:07.680 --> 00:24:08.520 Yeah. 00:24:10.100 --> 00:24:12.900 but he deserves like all the credit in the world 00:24:12.480 --> 00:24:13.480 I agree. 00:24:12.900 --> 00:24:17.900 because I remember his timing was ridiculous 00:24:13.480 --> 00:24:16.480 Yeah. 00:24:16.480 --> 00:24:18.480 Yes. 00:24:17.900 --> 00:24:20.500 where most people would after a while 00:24:18.480 --> 00:24:24.480 Yeah. 00:24:20.500 --> 00:24:24.160 feel relatively comfortable feeling 16th notes. 00:24:24.160 --> 00:24:25.380 You can feel that. 00:24:24.480 --> 00:24:29.480 Yeah, yeah. 00:24:24.660 --> 00:24:25.500 Sure. 00:24:25.380 --> 00:24:29.620 He had the same feel for playing 30 second notes. 00:24:26.360 --> 00:24:27.240 Hahahaha. 00:24:27.240 --> 00:24:33.240 [ Inaudible ] 00:24:29.480 --> 00:24:41.480 Yeah, Kat, no, Kat is from another planet and he actually, aside from being a great friend, he's actually, he was key. 00:24:29.620 --> 00:24:31.740 And that was just like, oh my God, 00:24:31.740 --> 00:24:34.660 that's just like different level stuff, you know? 00:24:33.240 --> 00:24:36.240 [LAUGHTER] 00:24:34.660 --> 00:24:36.660 So 00:24:36.240 --> 00:24:37.240 ( 00:24:36.660 --> 00:24:38.660 you 00:24:37.240 --> 00:24:38.240 audience murmuring ) 00:24:38.240 --> 00:24:39.240 ( 00:24:38.660 --> 00:24:40.660 You 00:24:39.240 --> 00:24:40.240 audience murmuring ) 00:24:40.240 --> 00:24:41.240 ( 00:24:40.840 --> 00:24:42.840 You 00:24:41.240 --> 00:24:42.240 audience murmuring ) 00:24:41.480 --> 00:24:46.160 key in my development. He's a true mentor in the sense that 00:24:42.240 --> 00:24:43.240 ( 00:24:42.840 --> 00:25:07.800 You 00:24:43.240 --> 00:24:44.240 audience murmuring ) 00:24:44.240 --> 00:24:45.240 ( 00:24:45.240 --> 00:24:46.240 audience murmuring ) 00:24:46.160 --> 00:24:49.120 micro-timing and 00:24:46.240 --> 00:24:47.240 ( 00:24:47.240 --> 00:24:48.240 audience murmuring ) 00:24:48.240 --> 00:24:49.240 ( 00:24:49.120 --> 00:24:53.320 the level of detail. He was the first guy that I ever met that was as hardcore as me 00:24:49.240 --> 00:24:50.240 audience murmuring )

00:24:50.240 --> 00:24:51.240 ( 00:24:51.240 --> 00:24:52.240 audience murmuring ) 00:24:52.240 --> 00:24:54.240 ( 00:24:53.320 --> 00:24:58.320 but he took it to a level that I didn't understand yet. And whenever I think I figured, you know, 00:24:54.240 --> 00:24:56.240 audience murmuring ) 00:24:56.240 --> 00:24:58.240 ( 00:24:58.240 --> 00:25:00.240 audience murmuring ) 00:24:58.320 --> 00:25:04.840 I've seen the best of his abilities, you know, he'll do something and it's an offhand thing or whatever and you go, 00:25:00.240 --> 00:25:02.240 ( 00:25:03.240 --> 00:25:06.240 audience murmuring ) 00:25:04.840 --> 00:25:10.040 you know, I've had enough of this. I already had one Eric. I had one Eric Valentine in my life already 00:25:06.240 --> 00:25:07.240 ( 00:25:07.240 --> 00:25:08.240 audience murmuring ) 00:25:07.800 --> 00:25:09.800 You 00:25:08.240 --> 00:25:09.240 ( 00:25:09.240 --> 00:25:10.240 audience murmuring ) 00:25:09.800 --> 00:25:19.520 Yeah 00:25:10.120 --> 00:25:12.520 So to have a second is pretty amazing. 00:25:10.240 --> 00:25:12.240 ( 00:25:12.240 --> 00:25:14.240 audience laughing ) 00:25:12.520 --> 00:25:15.020 So just when you think you're doing pretty good, 00:25:14.240 --> 00:25:16.240 ( 00:25:15.020 --> 00:25:17.520 you know, you've got these guys to put you in check. 00:25:16.240 --> 00:25:19.240 audience laughing ) 00:25:17.520 --> 00:25:20.920 But so yeah, Kat, whenever I'm doing a track, 00:25:19.240 --> 00:25:21.240 ( 00:25:19.520 --> 00:25:21.520 You 00:25:20.920 --> 00:25:23.420 I'll say, "Hey, you know, what do you think this is?" 00:25:21.240 --> 00:25:23.240 audience murmuring ) 00:25:21.520 --> 00:25:39.600 Yeah 00:25:23.240 --> 00:25:24.240 ( 00:25:23.420 --> 00:25:25.820 And immediately he'll say, "Well, you know, 00:25:24.240 --> 00:25:26.240 audience murmuring ) 00:25:25.820 --> 00:25:29.220 that's an OBX, you know, whatever." 00:25:26.240 --> 00:25:27.240 ( 00:25:27.240 --> 00:25:29.240 audience murmuring ) 00:25:29.220 --> 00:25:30.820 He'll go into the details and say, 00:25:29.240 --> 00:25:31.240 ( 00:25:30.820 --> 00:25:33.720 "I have a patch from it from my real one." 00:25:32.240 --> 00:26:01.620 [ Pause ] 00:25:33.720 --> 00:25:37.420 And so, yeah, that has been something the Internet never has. 00:25:37.420 --> 00:25:39.120 And I will tell you this, the other thing is, 00:25:39.120 --> 00:25:43.200 is that these days they're much harder to do a current song than an old song. 00:25:39.600 --> 00:26:01.600 Yeah. 00:25:43.200 --> 00:25:49.280 For the reason that they have everything at their fingertips now, how would you ever know 00:25:49.280 --> 00:25:56.560 how someone came up with a sound? It may have been based on an Arturia version of a model of 00:25:56.560 --> 00:26:02.400 something then run through how many different potential processes that we have. I mean before 00:26:01.600 --> 00:26:29.600 Yeah. 00:26:02.120 --> 00:26:05.420 or even layered together with another synth on top of it.

00:26:02.400 --> 00:26:08.560 it used to be is that yeah yeah I mean forget it yeah I did last the last just dance I did 00:26:05.420 --> 00:26:19.300 Sure. 00:26:08.560 --> 00:26:15.840 till the world ends the Britney Spears song and I was able to get very close to that but I guarantee 00:26:15.840 --> 00:26:20.800 that I did not do it the way that they did it because you know it's not like you plug in a 00:26:19.300 --> 00:26:20.300 Sure. 00:26:20.300 --> 00:26:41.960 Well, here's a question in regards to that, especially when it comes to doing sense and 00:26:20.800 --> 00:26:26.800 fender Rhodes and you run it through a Leslie or any of the sort you know now it's anything goes 00:26:27.840 --> 00:26:33.920 And so it was it's easier in a sense to do older songs than newer songs, 00:26:29.600 --> 00:26:38.600 Yeah. 00:26:33.920 --> 00:26:37.600 but the process has definitely gotten much more intense over time. 00:26:37.600 --> 00:26:38.800 Yeah. 00:26:38.600 --> 00:27:06.600 Silence. 00:26:38.800 --> 00:26:51.360 I am. I am a member and an addict. 00:26:41.960 --> 00:26:44.320 maybe talking older sense. 00:26:44.320 --> 00:26:48.000 Are you a member of, say, Roland Cloud? 00:26:48.000 --> 00:26:53.840 Okay, so anytime Kat says, Hey, if it's this rolling, blah, blah, blah, you go to rolling 00:26:51.360 --> 00:26:56.720 Yeah. 00:26:53.840 --> 00:26:58.080 cloud and just pull it up from there because they still have everything and it's now digital as a 00:26:56.720 --> 00:27:03.400 Yeah, I do or I just say, "Hey, you know what it is. 00:26:58.080 --> 00:27:09.280 plugin. Sure. 00:27:03.400 --> 00:27:06.320 Do you want to do it?" 00:27:06.320 --> 00:27:09.160 And we've collaborated for, like I said, for the last 10 years. 00:27:06.600 --> 00:27:07.600 Yeah. 00:27:07.600 --> 00:27:36.600 Silence. 00:27:09.160 --> 00:27:13.120 So I mean, sometimes when I get it and I think I've got it, you're talking about this 30 00:27:09.280 --> 00:27:37.280 [LAUGHTER] 00:27:13.120 --> 00:27:15.840 second note ability that Kat has. 00:27:15.840 --> 00:27:16.840 It's not even that. 00:27:16.840 --> 00:27:22.640 It's the, "No, he was using an RMX16 on this and it was panned slightly 30% this way and 00:27:22.640 --> 00:27:23.640 then it was... 00:27:23.640 --> 00:27:28.560 sounds to me like a DBX 160, probably followed by an LA-2A 00:27:28.560 --> 00:27:30.600 or, you know, and you're just like, 00:27:30.600 --> 00:27:35.240 oh, it's not an 1176, no, it's an 1176, but it's a Rev-E. 00:27:35.240 --> 00:27:38.180 No, it's a Rev-D, I can tell, you know, so. 00:27:36.600 --> 00:27:45.360 Yeah. Yeah. 00:27:37.280 --> 00:27:39.360 (laughs) 00:27:38.180 --> 00:27:41.880 And, but I'll tell you what, the thing that's crazy 00:27:39.360 --> 00:27:46.560 To making that sound. 00:27:41.880 --> 00:27:45.400 about that is all of those little details add up 00:27:45.400 --> 00:27:48.340 and exactly, exactly. 00:27:45.440 --> 00:28:13.040 Okay. 00:27:46.560 --> 00:28:15.560 [ Pause

] 00:27:48.340 --> 00:27:51.400 So it's a never ending lesson for me 00:27:51.400 --> 00:27:55.180 and something that just when I think I've gotten close, 00:27:55.180 --> 00:27:57.680 there is a hundred more things that I could have done 00:27:57.680 --> 00:27:58.640 to make it closer. 00:27:58.640 --> 00:28:03.080 So I actually am much harder on the details than I was. 00:28:03.080 --> 00:28:05.520 And sometimes I wonder if it makes you lose out 00:28:05.520 --> 00:28:08.200 on the straight energy of the track. 00:28:08.200 --> 00:28:11.280 And I will actually default to something that sounds 00:28:11.280 --> 00:28:14.840 and feels better than being technically perfect 00:28:13.040 --> 00:28:14.040 Yeah. 00:28:14.040 --> 00:28:15.040 Yeah. 00:28:14.840 --> 00:28:18.280 because you're always in the end trying to make music. 00:28:15.040 --> 00:28:20.040 No, I think that, yeah. 00:28:15.560 --> 00:28:27.200 Well, somebody did do that on the internet. 00:28:18.280 --> 00:28:20.720 So it has to feel good. 00:28:20.040 --> 00:28:21.040 Yeah. 00:28:20.720 --> 00:28:23.820 Try tuning Robert Plant sometime, it doesn't work. 00:28:21.040 --> 00:28:35.220 But I think that that's an interesting lesson in there because I was immediately struck by 00:28:23.820 --> 00:28:28.560 Yeah, and it didn't work. 00:28:27.200 --> 00:28:55.020 Haha, I know, it's awful. 00:28:28.560 --> 00:28:30.100 It sounds terrible. 00:28:30.100 --> 00:28:42.340 Yeah. 00:28:35.220 --> 00:28:39.900 two things where you said there that first of all, you default to something that feels 00:28:39.900 --> 00:28:45.660 better that has the energy, as opposed to being technically correct. And I think that's a lesson 00:28:42.340 --> 00:28:43.340 OK, that's great. 00:28:43.340 --> 00:28:44.620 Yeah, it's hot. 00:28:44.620 --> 00:28:54.280 Yeah, it's crazy. 00:28:45.660 --> 00:28:51.500 that all sort of like engineers and things can learn from because what really is technically 00:28:51.500 --> 00:28:56.140 correct, even if you're not trying to match something, it has to have the emotional content 00:28:54.280 --> 00:28:55.740 - I'll take care of it. 00:28:55.020 --> 00:29:19.940 I know someone that posted this on Bang Bang's answer shared something, it's funny. 00:28:55.740 --> 00:28:57.740 - I'll take care of it. 00:28:56.140 --> 00:29:01.420 of the track, right? And if you lose track of that, we can get into a little bit of troubled waters, 00:28:57.740 --> 00:28:59.620 - All right, love it. 00:28:59.620 --> 00:29:07.100 I love readingæ 00:29:01.420 --> 00:29:07.180 I think. And I think the second thing that I wanted to mention again, they're sort of reiterate 00:29:07.100 --> 00:29:08.120 - So imp drummer, 00:29:07.180 --> 00:29:11.260 is that you said that when you think you kind of have this down and you realize you're learning 00:29:08.120 --> 00:29:09.620 so your', 00:29:09.620 --> 00:29:10.620 Yeah. 00:29:10.620 --> 00:29:11.620 Absolutely. 00:29:11.260 --> 00:29:16.540 something else

or something new, that's kind of like part of the beautiful process though, 00:29:11.620 --> 00:29:12.620 No. 00:29:12.620 --> 00:29:13.620 No. 00:29:13.620 --> 00:29:14.620 Absolutely. 00:29:14.620 --> 00:29:15.620 Yeah. 00:29:15.620 --> 00:29:38.620 Yeah, I think that, you know, back when we were using it, we were using it, you know, 00:29:16.540 --> 00:29:23.340 because we realize that we're never done, right? We can only get refined and our focus shifts a 00:29:19.940 --> 00:29:47.940 [ Pause ] 00:29:23.340 --> 00:29:28.460 little bit. So I think it is a wonderful world that we live in. We have all these tools, 00:29:28.460 --> 00:29:35.180 but sometimes we can perhaps get too caught up in our old technical heads and we kind of 00:29:35.180 --> 00:29:37.180 lose the patient as a word when we're mixing. 00:29:37.180 --> 00:29:38.180 So. 00:29:38.180 --> 00:29:46.260 Yeah. 00:29:38.620 --> 00:29:40.900 back when we were using tape and mixing boards, 00:29:40.900 --> 00:29:42.000 you had to use your ears. 00:29:42.000 --> 00:29:43.180 There was nothing to look at. 00:29:43.180 --> 00:29:45.340 You didn't see the waveforms. 00:29:45.340 --> 00:29:47.400 You didn't, you know, you were definitely 00:29:46.260 --> 00:30:10.260 Yeah. 00:29:47.400 --> 00:29:50.300 in a different place than you are now. 00:29:47.940 --> 00:30:12.940 [ Pause ] 00:29:50.300 --> 00:29:53.100 And we have the ability to get under the microscope. 00:29:53.100 --> 00:29:56.380 So sometimes you kind of have to walk away. 00:29:56.380 --> 00:29:58.900 I think taking breaks is probably one of the best things 00:29:58.900 --> 00:30:00.740 'cause you might be there 00:30:00.740 --> 00:30:02.360 and you might think everything is right 00:30:02.360 --> 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 --> 00:30:10.760 or I need to fix this and I was totally focusing 00:30:10.260 --> 00:30:20.820 [no audio] 00:30:10.760 --> 00:30:12.840 on the wrong part. 00:30:12.840 --> 00:30:15.920 So yeah, yes. 00:30:12.940 --> 00:30:17.500 Speaking of taking a break, let's take one right now and we'll be right back. 00:30:15.920 --> 00:30:32.160 Yeah, no. 00:30:17.500 --> 00:30:31.500 Chris, what's your next question? 00:30:20.820 --> 00:30:26.180 Now we've talked about sort of like the overarching kind of a thing of how the process might work. 00:30:26.180 --> 00:30:31.780 Now I want to go back to a little bit more heavier on the guitar works, if you don't mind. 00:30:31.500 --> 00:31:01.060 You should. [laughs] Yeah, that's my side of things. 00:30:31.780 --> 00:30:38.660 So we talked briefly the other day and you mentioned the aux box from UA. 00:30:32.160 --> 00:30:34.500 (cat meows) 00:30:34.500 --> 00:30:38.440 Yes. 00:30:38.440 --> 00:30:52.020 That's changed everything. 00:30:38.660 --> 00:30:47.140 Can you tell us a little bit about how the recording gear or the gear acquisition or the use

of the gear has changed over the years from you? 00:30:47.140 --> 00:30:50.580 Because you mentioned that piece that has really kind of helped you out. 00:30:50.580 --> 00:31:02.580 This is not, yeah, I'm not trying to sound like a UA commercial here because that's Jodi's job because he's the UA guy. 00:30:52.020 --> 00:30:56.760 Well, I've paid for all my UA stuff, 00:30:56.760 --> 00:30:59.160 so we can say whatever I want. 00:30:59.160 --> 00:31:01.780 Yeah, yeah, yeah. 00:31:01.060 --> 00:31:03.060 I'm a UA guy. 00:31:01.780 --> 00:31:05.700 Well, you know, I'm a UA guy too, but I just bought it all. 00:31:02.580 --> 00:31:04.580 Yeah. 00:31:03.060 --> 00:31:31.380 Friday Safety Services 00:31:04.580 --> 00:31:08.180 Yeah. 00:31:05.700 --> 00:31:09.260 So I've run the Apollo X8P. 00:31:08.180 --> 00:31:36.180 Yeah. Yeah. 00:31:09.260 --> 00:31:11.300 And I got the AUX a couple of years ago. 00:31:11.300 --> 00:31:13.260 Here's the thing, I'm in a one-room studio. 00:31:13.260 --> 00:31:17.860 When we recorded the Guitar Hero stuff, it was at a proper studio in that they had a 00:31:17.860 --> 00:31:22.220 live room that we would record the guitars through, you know, put the cab in the room. 00:31:22.220 --> 00:31:28.700 And it's always been really difficult to get great guitar tones for me with the amps that 00:31:28.700 --> 00:31:29.700 I like. 00:31:29.700 --> 00:31:31.260 I like real amps. 00:31:31.260 --> 00:31:35.940 And yeah, well, I know you guys like direct too. 00:31:31.380 --> 00:31:33.380 Don't we all? 00:31:33.380 --> 00:31:37.380 Yeah. 00:31:35.940 --> 00:31:39.860 And I've used all sorts of modeling amps. 00:31:36.180 --> 00:32:03.180 W, v one. 00:31:37.380 --> 00:31:52.780 Yes, they have farmer pod farm. We precursor to pod farm. 00:31:39.860 --> 00:31:43.620 In fact, little known is that for the devil 00:31:43.620 --> 00:31:46.380 went down to Georgia, that all those guitar solos 00:31:46.380 --> 00:31:47.800 was amp farm. 00:31:47.800 --> 00:31:51.420 Amp farm. 00:31:51.420 --> 00:31:57.820 You gotta go back to TDM DSP farm style. 00:31:52.780 --> 00:31:54.860 (laughs) 00:31:55.400 --> 00:31:57.480 (laughs) 00:31:57.480 --> 00:32:17.100 Sure. 00:31:57.820 --> 00:32:03.580 Yeah, so we actually, because there were three different guitarists on that, it was me, Ed DiGennaro, and Jeff Tyson. 00:32:03.180 --> 00:32:32.160 [ Silence ] 00:32:03.580 --> 00:32:11.300 When we were trading solos, I said, "Just send it, you know, put whatever you need, but give me a DI, and I'm gonna reamp everything." 00:32:11.300 --> 00:32:15.940 Well, I didn't reamp in the end. I ended up using AmpFarm because it sounded great for what we were doing. 00:32:15.940 --> 00:32:22.780 I don't usually do that for anything that goes out in the public at this point or for a game. 00:32:17.100 --> 00:32:39.360 Thanks for so much. 00:32:22.780 --> 00:32:27.260 I still use a real amp head, but I use the AUX. 00:32:27.260 --> 00:32:29.500 And I have had all sorts

of attenuators. 00:32:29.500 --> 00:32:32.540 I mean, I've had the Fri-Et power station, which is amazing. 00:32:32.540 --> 00:32:59.860 [ Silence ] 00:32:32.540 --> 00:32:34.780 I had the Rivera Rock Crusher, which is amazing, 00:32:34.780 --> 00:32:38.180 but all of them still required sound 00:32:38.180 --> 00:32:40.180 to be coming out in the room. 00:32:39.360 --> 00:32:46.000 Sure. 00:32:40.180 --> 00:32:44.380 And so when the AUX came about and I could load everything down, 00:32:44.380 --> 00:32:47.100 I've never been happier because it still feels 00:32:46.000 --> 00:33:14.400 Sure. 00:32:47.100 --> 00:32:49.980 like the amp is live with a speaker. 00:32:49.980 --> 00:32:51.980 You don't get that dead blow hammer feel 00:32:51.980 --> 00:32:55.500 where the pic just doesn't bounce or anything. 00:32:55.500 --> 00:32:59.740 And it sounds like it's going to sound through my studio monitor. 00:32:59.740 --> 00:33:03.260 So I'm playing the song and I can put it in any volume I want. 00:33:00.360 --> 00:33:02.360 Thank you. 00:33:02.360 --> 00:33:32.340 [ Silence ] 00:33:03.260 --> 00:33:07.980 And it still sounds like the completed image of what I want it to sound like. 00:33:07.980 --> 00:33:11.020 And you can tweak it, but it does print that sound. 00:33:11.020 --> 00:33:14.060 Although I'll always print the DI just in case I want to reamp it again. 00:33:14.060 --> 00:33:19.020 No. 00:33:14.400 --> 00:33:16.440 So what are you using to split the signal when you do that? 00:33:16.440 --> 00:33:19.280 Are you coming out of the Apollo into the ox and back in? 00:33:19.020 --> 00:33:20.300 No. 00:33:19.280 --> 00:33:20.840 Are you splitting ahead of that? 00:33:20.300 --> 00:33:20.540 I'm... 00:33:20.840 --> 00:33:24.340 OK. 00:33:21.260 --> 00:33:23.820 Yeah, I'm using a little Labs PCP distro. 00:33:23.820 --> 00:33:27.660 So that's in my rack and I can reamp with that too. 00:33:24.340 --> 00:33:54.220 Okay, go Eric, go Eric. Yeah. Oh, that's, that's the night. I'm going to go. I'm going to go. 00:33:27.660 --> 00:33:30.820 And then whenever I do DI, I actually, I don't use the Apollo. 00:33:30.820 --> 00:33:34.260 I use the Undertone Audio MPDI 4. 00:33:32.340 --> 00:33:38.340 [silence] 00:33:34.260 --> 00:33:35.940 That's Eric Valentine's company. 00:33:35.940 --> 00:33:40.140 And I figured if you're going to buy something, buy it from a guy who's going 00:33:38.340 --> 00:33:40.340 [laughs] 00:33:40.140 --> 00:33:43.660 to use something like, you know, I mean, he built his own freaking console 00:33:40.340 --> 00:33:46.340 [silence] 00:33:43.660 --> 00:33:45.940 because he didn't think the Neve was good enough anymore. 00:33:45.940 --> 00:33:50.140 You know, like, you know what I mean? 00:33:46.340 --> 00:33:50.340 [laughs] 00:33:50.140 --> 00:33:50.540 Yeah. 00:33:50.340 --> 00:33:53.340 Wow. 00:33:50.540 --> 00:33:55.540 So that's Eric. 00:33:53.340 --> 00:33:55.340 Yeah. 00:33:54.220 --> 00:33:57.100 amazing yes 00:33:55.340 --> 00:34:00.340 I could use a knee, but hmm, I have some thoughts, you know? 00:33:55.540 --> 00:33:56.540 Yeah. 00:33:56.540 --> 00:34:00.180 Well, that's him. 00:34:00.180 --> 00:34:02.220 He says, I love the way that the Neve does this 00:34:00.340 --> 00:34:02.340 Yeah. 00:34:02.220 --> 00:34:05.400 and I love the way that the API and the SSL do these things 00:34:05.400 --> 00:34:08.500 but I really want, and so he built his own thing 00:34:08.500 --> 00:34:11.980 with Larry Jasper and now of course he did, 00:34:11.980 --> 00:34:12.960 I don't know if you've heard this, 00:34:12.960 --> 00:34:16.860 but now he just bought a 125 acre farm or something 00:34:16.140 --> 00:34:20.140 Yeah, way out north. 00:34:16.860 --> 00:34:18.940 in Vermont with his wife. 00:34:18.940 --> 00:34:20.960 Yeah, he's built this giant thing 00:34:20.140 --> 00:34:29.140 No, he's doing he's doing very well. 00:34:20.960 --> 00:34:24.260 that's the size of freaking Abbey Road in his backyard. 00:34:24.260 --> 00:34:25.720 Now they're doing concerts there. 00:34:25.720 --> 00:34:30.720 He's got a lot, it's just, that guy just, yeah, yeah. 00:34:27.340 --> 00:34:29.340 Good for him, man. That's awesome. 00:34:29.140 --> 00:34:36.140 And if I'm not mistaken, did he also like get some fair child's modified or like rebuilt under the? 00:34:30.720 --> 00:34:37.460 Oh, he makes his own. 00:34:36.140 --> 00:34:38.140 Yes. 00:34:37.460 --> 00:34:39.900 He makes the Unfair Child, 00:34:38.140 --> 00:34:39.140 That's what it is. 00:34:39.140 --> 00:34:40.140 The unfair child. 00:34:39.900 --> 00:34:43.300 which is the greatest name ever for a Fair Child copy. 00:34:40.140 --> 00:34:42.140 Yes. 00:34:42.140 --> 00:34:44.400 (laughing) 00:34:43.300 --> 00:34:44.820 So yeah, I know, and he made his, 00:34:44.400 --> 00:34:53.120 Melting. 00:34:44.820 --> 00:34:48.340 he's talking about feed forward and feed back compression 00:34:48.340 --> 00:34:52.340 or you know, I just, my brain just kind of starts 00:34:52.340 --> 00:34:55.680 getting kind of melty when I'm around him for too long. 00:34:53.120 --> 00:34:56.260 (laughing) 00:34:55.680 --> 00:34:59.060 But yeah. 00:34:56.260 --> 00:34:58.800 It. 00:34:57.220 --> 00:35:02.980 Yeah. And what about on the guitar front though? I mean, because I believe I know the answer to this, 00:34:59.060 --> 00:35:10.380 I'll buy the guitar. 00:35:02.980 --> 00:35:10.020 but how meticulous do you go about when you've done research on players and what you use and all that? 00:35:10.020 --> 00:35:12.020 [LAUGHS] 00:35:10.300 --> 00:35:12.560 (laughing) 00:35:10.380 --> 00:35:15.660 I will find an excuse to buy the guitar that they used. 00:35:12.020 --> 00:35:38.020 Yeah. 00:35:12.560 --> 00:35:38.020 Oh, wow. 00:35:15.660 --> 00:35:18.240 And if I can't buy the guitar that they had, 00:35:18.240 --> 00:35:22.020 I will borrow it or I will modify one of mine 00:35:22.020 --> 00:35:26.340 to have the same pickup string action, 00:35:26.340 -->

00:35:29.700 the guitar cable, the tubes that they used in their amps. 00:35:29.700 --> 00:35:31.660 I'll do everything that I possibly can. 00:35:31.660 --> 00:35:34.240 In fact, I've gone so far as I was doing 00:35:34.240 --> 00:35:37.420 a Barry Manilow track, Copacabana, 00:35:37.420 --> 00:35:38.980 and I found out that he was, 00:35:38.020 --> 00:36:04.020 Okay. 00:35:38.020 --> 00:36:05.020 [laughter] 00:35:38.980 --> 00:35:43.100 the guitar player was using a, the small stone, 00:35:43.100 --> 00:35:45.740 and it was a V1 small stone, 00:35:45.740 --> 00:35:48.300 So I had to go out and get that particular pedal 00:35:48.300 --> 00:35:51.660 and I can tell you that they were not made very well 00:35:51.660 --> 00:35:54.180 but they sound different than the new ones. 00:35:54.180 --> 00:35:56.900 And so yes, I go all the way. 00:35:56.900 --> 00:35:58.540 My wife always gets a kick out of it 00:35:58.540 --> 00:36:00.860 'cause I finally have the career 00:36:00.860 --> 00:36:03.020 that allows me to be the kid in the bedroom 00:36:03.020 --> 00:36:05.620 that always got everything that he wanted. 00:36:04.020 --> 00:36:29.020 Yeah. 00:36:05.020 --> 00:36:24.020 wanted. 00:36:05.620 --> 00:36:06.900 So it's like a circus here. 00:36:06.900 --> 00:36:10.000 It's like this constant revolving door of gear 00:36:10.000 --> 00:36:11.700 coming in one door and out the other. 00:36:11.700 --> 00:36:14.240 I need an entire separate facility 00:36:14.240 --> 00:36:17.440 just to hold onto the gear because I have too much of it, 00:36:17.440 --> 00:36:19.840 but I can't let some of it go because I need it. 00:36:19.840 --> 00:36:23.920 And even though I don't need it, I need it, you know. 00:36:23.920 --> 00:36:25.120 So yeah. 00:36:24.020 --> 00:36:28.020 That's that GDS that we've talked about. 00:36:25.120 --> 00:36:29.720 Yes. 00:36:28.020 --> 00:36:40.680 Gear derangement syndrome. 00:36:29.020 --> 00:36:31.020 Sure. Yeah. 00:36:29.720 --> 00:36:31.160 Yeah, it's not even acquisition, 00:36:31.020 --> 00:36:41.020 [BLANK_AUDIO] 00:36:31.160 --> 00:36:33.000 it's derangement at this point. 00:36:33.000 --> 00:36:35.920 I mean, I just started looking into fuzz pedals 00:36:35.920 --> 00:36:38.240 and I'm starting to find these pedals are going for like 00:36:38.240 --> 00:36:42.880 17, $1,800 for these, you know, I mean, no, not, 00:36:40.680 --> 00:36:41.680 The Klon? 00:36:41.020 --> 00:36:59.720 Yeah, we mentioned blue's voice before. 00:36:41.680 --> 00:36:51.020 Are you going after a Klon? 00:36:42.880 --> 00:36:46.640 No, the Klond's $5,500 overdrive and it's a joke. 00:36:46.640 --> 00:36:48.920 I mean, it's not, it's a great pedal. 00:36:48.920 --> 00:36:50.160 Bill Finningen did a great job, 00:36:50.160 --> 00:36:52.340 but everyone else is the one that's responsible 00:36:51.020 --> 00:36:58.340 Sure. 00:36:52.340 --> 00:36:54.640 for making it into something. 00:36:54.640 --> 00:36:55.880 It's the Blues lawyers, 00:36:55.880 --> 00:36:58.040 and I'm not gonna go any farther than that. 00:36:58.040 --> 00:37:02.260 Oh, okay, good. (laughs) 00:36:58.340 --> 00:37:07.540 We already mentioned them a week or two ago. 00:36:59.720 --> 00:37:04.720 Yeah, yeah, yeah, yeah, yeah, no, yeah, what's the old joke? 00:37:02.260 --> 00:37:03.640 Yeah, yeah. 00:37:03.640 --> 00:37:10.400 You got that right. 00:37:04.720 --> 00:37:07.080 They're pretty much the only one propping up 00:37:07.080 --> 00:37:09.240 the retail industry when it comes to musical gear 00:37:07.540 --> 00:37:11.220 Music business, yeah. 00:37:09.240 --> 00:37:10.640 at this point, right, yeah. 00:37:10.400 --> 00:37:13.600 That's why that last less Paul cost me $8,000. 00:37:10.640 --> 00:37:19.880 Wow, and who does your insurance on all your gear? 00:37:11.220 --> 00:37:16.360 Oh, good God. 00:37:13.600 --> 00:37:15.560 Yeah. 00:37:15.560 --> 00:37:18.520 Yeah. 00:37:16.360 --> 00:37:41.080 Expanse. So it's not even with like your PRO, it's all state. Earthquake. Sure. 00:37:18.520 --> 00:37:22.240 Yeah, right. 00:37:19.880 --> 00:37:22.840 Right, well. 00:37:22.240 --> 00:37:24.600 All state, I'm in the good hands. 00:37:22.840 --> 00:37:41.800 [LAUGHTER] 00:37:24.600 --> 00:37:29.800 No, man, it's straight up. 00:37:29.800 --> 00:37:33.720 I got a Marine Inland Insurance Policy, you know, believe me, 00:37:33.720 --> 00:37:37.760 fire, water, everything, theft. 00:37:37.760 --> 00:37:38.600 Yeah, I have it. 00:37:38.600 --> 00:37:40.240 Even though we don't get a much here out, you know, 00:37:40.240 --> 00:38:02.320 Arizona. Yeah. Yeah. Yeah. I don't have a one or another on 00:37:41.800 --> 00:37:42.720 Good for you. 00:37:41.820 --> 00:37:43.080 This is going anywhere. 00:37:42.720 --> 00:37:45.240 So one question I wanted to ask you, 00:37:43.080 --> 00:37:49.080 [ Laughter ] 00:37:45.240 --> 00:37:47.320 you've kind of already answered it. 00:37:47.320 --> 00:37:50.080 I want to ask it again anyway. 00:37:49.080 --> 00:38:17.580 [LAUGHTER] 00:37:50.080 --> 00:37:53.280 So when you're recreating these tracks, 00:37:53.280 --> 00:37:57.040 getting the sound right versus the performance, 00:37:57.040 --> 00:37:58.920 which one always trumps. 00:38:02.320 --> 00:38:07.000 that. The performance is key and you can manipulate a good 00:38:07.000 --> 00:38:12.240 performance to more mirror the original performance, but you 00:38:12.240 --> 00:38:14.960 cannot make a bad performance. 00:38:14.960 --> 00:38:16.680 It just doesn't work. 00:38:16.680 --> 00:38:17.800 So, I mean, yeah. 00:38:17.580 --> 00:38:19.860 It has to be reasonably close is what you're saying. 00:38:17.800 --> 00:38:24.480 Look, put a mic anywhere near Paul McCartney and it's going 00:38:20.040 --> 00:38:22.040 Yeah. 00:38:22.040 --> 00:38:27.640 Right. 00:38:24.480 --> 00:38:28.400 to sound good, but put a great mic in front of somebody who 00:38:27.640 --> 00:38:36.840 Yeah. 00:38:28.400 --> 00:38:32.600 doesn't have the Paul McCartney vibe

and you're in trouble. 00:38:32.600 --> 00:38:36.600 So, I mean, you know, you're in trouble. 00:38:36.600 --> 00:38:38.160 That's a fetish film I always thought 00:38:36.840 --> 00:38:47.320 There you go. Anyway. 00:38:38.160 --> 00:38:39.800 would be a funny one to make. 00:38:39.800 --> 00:38:42.360 You heard it. 00:38:42.360 --> 00:38:43.180 That's it. 00:38:43.180 --> 00:38:44.020 You're in trouble. 00:38:44.020 --> 00:38:45.200 You're in trouble. 00:38:45.200 --> 00:38:48.840 But anyways, that's, yeah, that's the rated R version. 00:38:47.060 --> 00:38:50.620 Well, so here's a question for you then going 00:38:47.320 --> 00:38:49.320 the. 00:38:48.840 --> 00:38:53.560 Yeah. 00:38:49.320 --> 00:38:51.320 You. 00:38:50.620 --> 00:38:53.400 for the meticulous aspect and using certain tools. 00:38:52.320 --> 00:38:54.320 You. 00:38:53.400 --> 00:38:55.720 This is gonna sound kind of bizarre, 00:38:53.560 --> 00:39:01.000 Yes. 00:38:54.320 --> 00:38:56.320 You. 00:38:55.720 --> 00:39:00.000 but maybe you take a track apart using RX Music Rebalance 00:38:57.320 --> 00:38:59.320 You. 00:39:00.000 --> 00:39:02.160 and you're getting your guitar part separated 00:39:00.320 --> 00:39:02.320 You. 00:39:01.000 --> 00:39:05.600 Yes. 00:39:02.160 --> 00:39:05.100 from your bass and your drums and your vocals and whatnot. 00:39:03.320 --> 00:39:05.320 You. 00:39:05.100 --> 00:39:07.660 Then you get a performance that's reasonably close 00:39:05.600 --> 00:39:22.720 Uh-huh. 00:39:06.320 --> 00:39:08.320 So 00:39:07.660 --> 00:39:10.820 and your Music Rebalance plugin has pulled out 00:39:09.320 --> 00:39:11.320 You. 00:39:10.820 --> 00:39:13.720 the original performance of the part that you're recording 00:39:12.320 --> 00:39:14.320 You. 00:39:13.720 --> 00:39:15.380 and it's relatively close. 00:39:15.320 --> 00:39:17.320 You. 00:39:15.380 --> 00:39:21.460 Do you go in with say Vocalign or Revoice Pro and then have it realign everything if 00:39:17.320 --> 00:39:19.320 You. 00:39:20.320 --> 00:39:22.320 You. 00:39:21.460 --> 00:39:23.740 it's slightly off? 00:39:22.320 --> 00:39:24.320 You. 00:39:22.720 --> 00:39:23.720 I do it by hand. 00:39:23.720 --> 00:39:29.920 I've never used, yeah, I've never used a program that didn't have too many artifacts. 00:39:23.740 --> 00:39:25.740 You do it by hand. 00:39:24.320 --> 00:39:26.320 Thank you. 00:39:25.740 --> 00:39:27.740 Okay. 00:39:27.120 --> 00:39:29.120 How are you? 00:39:27.740 --> 00:39:29.740 Sure. 00:39:29.120 --> 00:39:34.560 How much do I have. 00:39:29.740 --> 00:39:43.500 [silence] 00:39:29.920 --> 00:39:30.920 It's great. 00:39:30.920 --> 00:39:33.160 I think Vocal Line is amazing. 00:39:33.160 --> 00:39:36.000 However, it's that cat gray thing again. 00:39:34.560 --> 00:39:45.520 How dose a 00:39:36.000 --> 00:39:38.760 Once you start doing it by hand, 00:39:38.760 --> 00:39:40.880 it's that extra attention to detail 00:39:40.880 --> 00:39:43.420 versus an algorithm that you can't do yet. 00:39:43.420 --> 00:39:53.520 Yeah. 00:39:43.500 --> 00:39:46.300 You know what? Okay, so funny you mentioned that. 00:39:45.520 --> 00:39:47.520 happen that 00:39:46.300 --> 00:39:51.500 I just brought that up to just see if those along the lines are the tools that you might be using. 00:39:47.520 --> 00:39:49.520 makes 00:39:49.520 --> 00:39:44.720 me feel 00:39:49.520 --> 00:39:59.620 you 00:39:51.500 --> 00:39:56.220 But another mutual friend of ours, Mr. Robert Navarro. Yes. 00:39:53.520 --> 00:39:56.240 I love Robert. 00:39:56.240 --> 00:40:00.760 Yes. 00:39:56.860 --> 00:40:03.900 He, when he was learning logic and wanting to do timing correction using flex time, 00:39:59.620 --> 00:40:01.620 you 00:40:00.760 --> 00:40:10.760 Right. Oh, yeah. Right, without the markers and all that. 00:40:01.620 --> 00:40:03.620 you 00:40:03.620 --> 00:40:33.600 [ Silence ] 00:40:03.900 --> 00:40:08.380 he was constantly trying to use the automated version of it. Whereas, 00:40:08.380 --> 00:40:13.260 yeah, where the markers were automatically dealt with and all that kind of thing. And 00:40:10.760 --> 00:40:14.760 Right, right, right. 00:40:13.260 --> 00:40:23.580 bless Apple for adding this to logic's capabilities. However, yes, but it is not as good as somebody 00:40:14.760 --> 00:40:20.760 Well, it's good to get you in the ballpark. 00:40:20.760 --> 00:40:27.760 Yeah, yeah. 00:40:23.580 --> 00:40:29.820 who has the ear and the talent to know exactly where that hit is and then to use your own 00:40:27.760 --> 00:40:35.760 Oh, without a doubt. 00:40:29.820 --> 00:40:34.700 flex markers in there and drag it through where it is exactly where it's supposed to be. 00:40:33.600 --> 00:40:57.580 [ Silence ] 00:40:34.700 --> 00:40:38.220 So it's interesting that you do it by hand because obviously that does take longer. 00:40:35.760 --> 00:40:40.140 Yeah, it does. 00:40:38.220 --> 00:40:42.220 Of course. 00:40:40.140 --> 00:40:41.400 But it's worth it in the end. 00:40:41.400 --> 00:40:49.480 I think that, you know, in the end, everything that you do in this business stays available 00:40:42.940 --> 00:40:45.580 Sure. 00:40:45.580 --> 00:40:54.940 Sure. 00:40:49.480 --> 00:40:50.480 forever, right? 00:40:50.480 --> 00:40:57.600 the internet, everything is forever. And so everything that I do, I absolutely try to do it 00:40:54.940 --> 00:41:01.940 Sure. 00:40:57.580 --> 00:41:12.580 Yeah. 00:40:57.600 --> 00:41:03.920 to the utmost that I can within the time constraints I have, because it represents what you're doing. 00:41:01.940 --> 00:41:30.940 [ Pause ] 00:41:03.920 --> 00:41:09.760 And forget about all of that for a second. You have to be respectful to the artist. And, 00:41:09.760 --> 00:41:15.360 you know, the original artist, the original producers. Now, again, in a sense, I don't 00:41:12.580 --> 00:41:34.740 [silence] 00:41:15.360 --> 00:41:20.720 really know. I've never actually spoken to an artist that I've done a re-record about, you know,

00:41:20.720 --> 00:41:26.880 with that has had anything negative to say. But then again, I don't know how they feel about it. 00:41:26.880 --> 00:41:32.560 I know that there were lawsuits from like the band, the Romantics, they sued for their likeness 00:41:30.940 --> 00:41:33.940 Wow. 00:41:32.560 --> 00:41:38.240 when a re-record was too close to them. And I thought that was interesting. So that hasn't 00:41:33.940 --> 00:41:50.940 I'm assuming that your contracts actually cover that kind of shit. 00:41:34.740 --> 00:41:36.740 Hmm 00:41:36.740 --> 00:42:01.740 Thank you. 00:41:38.240 --> 00:41:45.260 happened to me yet. I hope the lawyers... Yeah, yeah. I mean, obviously when you're 00:41:45.260 --> 00:41:50.440 working on a project of, you know, a guitar hero or a just dance level, they 00:41:50.440 --> 00:41:54.520 dot their I's and cross their T's. They're not doing anything that isn't 00:41:50.940 --> 00:41:54.940 Sure. 00:41:54.520 --> 00:41:58.480 legitimate. This is all, believe me, you don't do anything until there's a 00:41:54.940 --> 00:42:03.460 Sure. Now here's another question for you because I actually don't know the answer 00:41:58.480 --> 00:42:01.560 green light from the lawyers. 00:42:01.560 --> 00:42:04.940 Yeah. 00:42:02.740 --> 00:42:04.740 Thank you. 00:42:03.460 --> 00:42:08.940 to this, but being that you worked on several of these guitar type games, are you somebody 00:42:04.740 --> 00:42:06.740 Thank you. 00:42:04.940 --> 00:42:22.060 So distorted, yeah. 00:42:06.740 --> 00:42:08.800 you 00:42:08.940 --> 00:42:15.180 that recreated Metallica stuff like the infamous Death Magnetic album? I think it was where 00:42:09.200 --> 00:42:11.260 you 00:42:12.020 --> 00:42:14.060 you 00:42:14.060 --> 00:42:16.120 you 00:42:15.180 --> 00:42:20.860 the album was so crushed, but the game version was like much nicer in terms of actually hearing 00:42:16.120 --> 00:42:18.180 you 00:42:18.180 --> 00:42:20.240 you 00:42:20.240 --> 00:42:22.300 you 00:42:20.860 --> 00:42:26.100 the parts. 00:42:22.060 --> 00:42:25.580 I worked on Guitar Hero Metallica, but I did the underscore for the game. 00:42:22.300 --> 00:42:24.360 you 00:42:24.360 --> 00:42:26.420 you 00:42:25.580 --> 00:42:27.700 I did the cutscenes and the underscore. 00:42:26.100 --> 00:42:50.780 Oh, so they actually got the rights. 00:42:26.420 --> 00:42:28.480 you 00:42:27.700 --> 00:42:31.340 All of the original songs were, you know, the original recordings. 00:42:28.480 --> 00:42:30.480 You 00:42:30.480 --> 00:42:32.480 You 00:42:31.340 --> 00:42:32.660 Like K.Tell used to say. 00:42:32.480 --> 00:42:34.480 You 00:42:32.660 --> 00:42:33.820 Yeah, they were. 00:42:33.820 --> 00:42:38.200 Metallica. Yeah, it's like Aerosmith. Guitar Hero Aerosmith was the same way. 00:42:34.480 --> 00:42:36.480 You 00:42:36.480 --> 00:43:06.080 [Silence] 00:42:38.200 --> 00:42:43.000 They used all the originals. In fact, it's Joe Perry's son's fault that my song, 00:42:43.000 --> 00:42:48.220 my version of Same Old Song and Dance, did not end up on Guitar Hero 3. I say 00:42:48.220 --> 00:42:53.800 this jokingly, but I guess Joe Perry's son was playing Guitar Hero and he 00:42:50.780 --> 00:43:11.740 Oh, they got the rights to the original tracks. 00:42:53.800 --> 00:43:00.260 said, "Dad, you guys should be on this." And he's like, "What is this?" And so I was 00:43:00.260 --> 00:43:04.380 in the middle of recording same old song and dance and Activision called and they said, 00:43:04.380 --> 00:43:11.520 "You can go ahead and stop. We just, yeah, we just, yep, because they want the original." 00:43:06.080 --> 00:43:08.080 Oh, brutal. 00:43:08.080 --> 00:43:15.080 You. 00:43:11.520 --> 00:43:15.660 And I'm like, "Well, all right, that's fair enough." And you know, so I've always wanted 00:43:11.740 --> 00:43:15.700 Sure. 00:43:15.080 --> 00:43:25.080 Silence. 00:43:15.660 --> 00:43:28.020 to say that publicly that they, it's Joe Perry's son. I got it out for him. Yeah. 00:43:15.700 --> 00:43:23.420 Damn him. 00:43:23.420 --> 00:43:26.340 I've got some fun stories from a guy named Steve White. 00:43:25.080 --> 00:43:35.080 [BLANK_AUDIO] 00:43:26.340 --> 00:43:28.140 Are you familiar with him? 00:43:28.020 --> 00:43:30.140 I know Stephen White, he was my guitar track. 00:43:28.140 --> 00:43:30.820 Yeah, session. 00:43:30.140 --> 00:43:30.980 No. 00:43:30.820 --> 00:43:34.740 He's session guitar player from way back in the day. 00:43:30.980 --> 00:43:34.860 Okay. 00:43:34.740 --> 00:43:36.500 Coke bottle type classes. 00:43:34.860 --> 00:43:38.380 Okay. 00:43:35.080 --> 00:43:54.200 So let's say that a little birdie told me to ask you to mention a, perhaps, 00:43:36.500 --> 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 00:43:38.380 --> 00:43:41.860 Okay. 00:43:39.540 --> 00:43:41.460 told me personally. 00:43:41.460 --> 00:43:48.460 So, but I think you'll get a kick out of it based on what I just heard. 00:43:41.860 --> 00:43:47.460 Oh, awesome, yeah. 00:43:47.460 --> 00:43:48.300 Yeah. 00:43:48.460 --> 00:43:57.460 [ Inaudible ] 00:43:54.200 --> 00:43:58.200 Perhaps something with some Mega Death tracks? 00:43:56.940 --> 00:43:59.780 [LAUGHTER] 00:43:57.460 --> 00:44:00.460 [LAUGHTER] 00:43:58.200 --> 00:44:02.200 Is this something that we can talk about or is this... 00:43:59.780 --> 00:44:02.060 Yeah. 00:44:00.460 --> 00:44:03.120 (clears throat) 00:44:02.060 --> 00:44:05.500 I can talk about it to a degree. 00:44:02.400 --> 00:44:04.900 said about all this, tricky? 00:44:03.120 --> 00:44:32.120 [ Pause ] 00:44:04.900 --> 00:44:06.900 Thanks for watching! 00:44:05.500 --> 00:44:08.780 There was a time when I was working on Rock Revolution, 00:44:06.900 --> 00:44:08.900 Thanks for watching! 00:44:08.780 --> 00:44:10.260 the Konami game. 00:44:08.900 --> 00:44:18.900 [BLANK_AUDIO] 00:44:10.260 --> 00:44:13.580 Let's just say I was working on the song, 00:44:13.580 --> 00:44:16.660 and between me and a few of the guys at the studio, 00:44:16.660 --> 00:44:19.880 we were able to get a version of the song musically that 00:44:18.900 --> 00:44:38.760 Yeah, how it's off to you. 00:44:19.880 --> 00:44:23.100 sounded like you couldn't tell the difference between the 00:44:23.100 --> 00:44:25.300 original and what we had. 00:44:25.300 --> 00:44:27.500 It was very, very, very close. 00:44:27.500 --> 00:44:31.000 Although I will say that I was doing double chores. 00:44:31.000 --> 00:44:34.040 I was doing Dave Mustaine and Marty Friedman too. 00:44:32.120 --> 00:45:01.940 Sure. We'll leave you with this cliffhanger. Our interview with Steve Womett continues 00:44:34.040 --> 00:44:39.040 Like these guys are not easy to, you know, Marty Friedman. 00:44:38.760 --> 00:44:39.760 Yeah. 00:44:39.040 --> 00:44:40.140 Yeah, well, thank you. 00:44:39.760 --> 00:44:49.760 [LAUGH] 00:44:40.140 --> 00:44:41.840 Well, listen to the song sometime. 00:44:41.840 --> 00:44:44.120 You'll understand why I'm sad about this. 00:44:44.120 --> 00:44:47.480 You know, I was so focused on the music 00:44:47.480 --> 00:44:50.740 and we were just so excited 00:44:49.760 --> 00:44:57.180 [BLANK_AUDIO] 00:44:50.740 --> 00:44:53.440 because everything sounded just great. 00:44:53.440 --> 00:44:57.680 And then we needed to get a Dave Mustaine voice. 00:44:57.180 --> 00:44:59.240 you 00:44:58.100 --> 00:45:08.100 [BLANK_AUDIO] 00:44:59.240 --> 00:45:01.300 you 00:45:01.300 --> 00:45:03.300 You 00:45:01.940 --> 00:45:03.340 in the next episode.