Steve Ouimette Interview: From Guitar Hero Riffs to Studio Secrets PT: 2.

WEBVTT
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Without further ado, here is part two of our interview with Steve Ouimette.
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[BLANK_AUDIO]
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[BLANK_AUDIO]
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[silence]
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And this was probably the hardest lesson of my life.
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We had everybody we could think of audition for it.
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[ Inaudible ]
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And everybody sounded like a caricature of Dave,
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'cause Dave has a very, very distinctive voice.
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Yeah.
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I'm not even gonna try to mimic it
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Hmm.
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because I will sound like a caricature of it as well.
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[LAUGHTER]
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And we ended up running out of time
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[ Pause ]
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after we had three different versions
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and they were all, I should say, compromised.
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And we ended up going with the best that we could.
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Oh wow.
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And I remember the YouTube comments on that.
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I think if you look it up,
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you could probably find the video somewhere.
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You know, it was one of those atrocities
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or what did I ever do to you kind of,
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to have this horrible, and it was like,
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[laughs]
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Oh wow.
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man, that was a rough one.
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Hmm.
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However, I have an opposite story
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that was really funny to me is I was doing round and round
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for that game as well.
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And believe it or not, I was able to hire Steven Piercy.
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Nice! [laughs]
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Yeah, and the best part about that was everyone slagged on them saying,
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Oh no! [laughs]
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"Why did they get someone that sounded more like Steven Pearson?"
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And I thought, "Yeah."
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Yeah, right.
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And I'm thinking, "You know, this is why the internet sucks, right?"
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That's awful.
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[LAUGH]
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Because it's like, "No, that is him."
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And it didn't matter.
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And Cook's
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And then let's even take it one farther.
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So a great friend of mine who really was the fish that saved Pittsburgh.
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[BLANK_AUDIO]
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That's an old reference to you that weren't born in that era.
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Brody Dolanek is probably one of the most chameleon-like
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amazing singers I've ever known.
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He's in a band, a Zeppelin band called Zusa, Zeppelin USA,
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and he does covers like nobody else.
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Thank you.
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And he sang on the majority of the Guitar Hero covers.
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And his first assignment was to do Talk Dirty to Me.
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Mmm
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Now here's a guy that lives on Elton John
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I'm gonna hire you to place poison
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and Robert Plant and David Gilmour.
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And I go, "Hey, dude," and Klaus Mein, and, you know,
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"Hey, this song is--yeah."
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(silence)
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[LAUGHTER]
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And guess what?
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His response, or the online response, was, "So what?
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(silence)
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Oh!
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They hire some half-assed poison cover band
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(laughing)
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and have Brett sing over it."
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[laughs]
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So to this day, to this day, yeah, it's, you know, Brody.
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[LAUGHTER]
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[LAUGHTER]
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You know, that's how I start every phone call, you know.
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Every Rose has its thorn, Brody.
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You know, it's, so he's going to go down in history
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That's just too humorous.
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as the guy that is Brett Michaels,
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and I'm a cheap knockoff of CeCe Deville.
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So.
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(laughing)
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Ooh.
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That, yeah, that is...
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Yeah, so you never know what you're going to get.
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Oh man.
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You never know what you're going to get with the comments though.
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That is.
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That is.
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You
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No, no.
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And I can sort of relate to this because I don't know if you're familiar with the game
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No, I'm not.
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You
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You
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Go Vacation, which was actually rather, it was a rather popular game.
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Thank you.
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Who is the publisher?
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Nameco, SEGA.
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Oh, okay, okay, yeah, okay, yeah.
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So it was a rather popular game and there are 10 songs on the game and I sang on seven
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Okay.
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Yeah, he says tentatively, yeah.
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of them.
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And occasionally I'll get emails from people saying, "Hey, are you the guy that sang on
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this game?"
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It's like, "Yeah."
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Because you don't know what's going to happen.
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Yeah.
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What am I setting myself up for here, yeah.
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So somebody has gone to all the trouble to actually upload these to YouTube and people
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Yeah.
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Okay. So do my Japanese translations. Yeah. [laughs]
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were trying to figure out the lyrics.
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And the composer is credited as the lyricist on the game.
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However, it was a Japanese composer, amazing guy, Norihiko.
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And his English translations left a lot to be desired.
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So myself and the other singer, the females, yeah.
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But myself and the other singer were left to our own devices
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Indeed, right? Yeah.
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[no audio]
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Yeah. Oh. [laughs]
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to actually rewrite the lyrics
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and given the go ahead okay for doing so.
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but we never got credit and we didn't get paid
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for that portion of it, which is unfortunate.
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However, in doing so,
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did not keep original copies of this stuff.
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So in trying to listen back and somebody asking me like,
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what did you sing here?
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Right. Oh, okay.
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It's like, well, I don't know.
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'Cause it's like you go in, you're hired,
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Wow.
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you do your thing, you walk out and you're done.
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And I eventually got so many requests on this
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that I contacted Norihiko.
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Wow.
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He had the original files that we had delivered back to him
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and was able to give me the lyric files.
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>> Yeah.
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Oh.
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But to listen or read comments on the YouTube thing
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Oh.
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is just like some of them are real complimentary
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Oh, I, yeah, I didn't have that ever, so I wouldn't know. I will say this though.
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and nice and others are like, wow,
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can I go hide in a hole now?
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(laughs)
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Well, but to be called a cheap knockoff of CC to Bill.
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Well, I mean, I was a cheap knockoff of CC to Ville. I mean, CC to Ville is CC.
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(laughs)
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Sure.
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That's what the other thing is, is that you cannot duplicate DNA.
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No, of course not.
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As a guitar player, we can plug into an amp and get a tone similar.
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Yeah.
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(Music)
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[ Silence ]
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I work really really hard to get the technique facilitated the same but man
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Yes.
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I have the greatest respect for singers, you know guys like Brody Dolanik or Mark Martel who sound
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Yeah.
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You know like that's yeah, you're you're talking about that's an uncanny kind of thing
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Just like Freddie.
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But to be able to do that is there are very very few people on this planet that have that ability
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No, oh actually, wait, I have seen that.
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So I'll be the first one to say it, you know
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I do these re-records, but would I rather listen to my version than the original? No.
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I mean, come on, let's just say it's like Hendrix or Hendrix Light. Oh, is it that's been going
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Yeah.
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around lately? The Mel Gibson and the Mel Epiphone? Have you seen that? Yeah, the meme,
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That is funny.
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The meme, yes.
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it's like this guy that looks kind of like Mel Gibson. And that's exactly what we're doing.
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Sure. Sure. Or have you ever taken something and sampled it and used it, reused it? Yeah.
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We're doing our best, but ain't nothing like the real thing. There's just nothing, you know.
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And our brains are really, really good at being able to notice the absolute slightest
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Yeah.
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deviation. It's amazing how good, and kids are even more brutal about it. That ain't the real
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thing. And you're like, yeah, I know. Man, you just killed my magic trick there. Wow.
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Well, I can't. I mean, as far as...
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Right, yeah.
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You
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Well, I know you can't in terms of like when you're doing something for a game.
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[ Silence ]
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Hey, you heard me too, many times.
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However, I bring this up because a buddy of mine played me a song in the car once.
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Yep.
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And this is prior to the easy, easy ability that it is now.
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Yep.
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But it's Jeff Soto.
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And he had a band called Human Clay alongside when he was doing Talisman.
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And he played me a particular song that was a Talisman song previously and then played
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Silence.
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this new thing in the car one day and just said, "Hey, what do you think of this?"
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[silence]
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And I just said, "Did you sample your guitar part and rewrite something over it?"
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And he turns and he looks at me and he's like, "How the fuck can you tell that?"
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[laughs]
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Silence.
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So he reused his own material and you noticed it.
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Yes.
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Yeah.
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[silence]
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But they re-pitched it and they sped it up by literally using like a tape style speed
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Oh, okay.
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[silence]
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[ Pause ]
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up instead of like a very speed thing.
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Oh, like a very speed, okay.
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So it would be a lot less noticeable with no artifacts on it.
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Wow.
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(silence)
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But I noticed that it was the same rhythm, same chord changes, and I just was like, "I
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Wow.
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think that's the same part.
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You just sped it up."
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Well, no, I have never done that, but that's cool.
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And he was shocked.
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Okay.
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Well, I mean, that's cool.
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Oh, right on. Nice. Woo! [laughs]
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And you have to say hi to Jeff next time you talk to him.
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Jeff actually sang on a few tracks for me as well.
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Yeah, he did some corn tracks and Foo Fighters for me
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Wow. Woo hoo.
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for Rock Revolution.
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And that was awesome to be able to work with Jeff
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'cause I met him at Engvay's house in 1985.
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When I, yeah, yeah.
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I mean, that was, and he was, he's a young guy
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[LAUGHTER]
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Yeah.
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[ Silence ]
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Yeah.
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Well, living with him for a while and being a guitar player who's
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and I was over at Engvay's house
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because I had met those guys at Day on the Green
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suddenly thrust in the concept of singing made me super self-conscious
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and they said, "Come on over anytime."
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And I did, and there was Jeff and not long after that,
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of my own experience.
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And I think that's a good thing.
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I think that's a good thing.
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he was not there and it was Mark Bowles.
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I think that's a good thing.
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I think that's a good thing.
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I think that's a good thing.
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but I've always loved Jeff's voice
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Yeah.
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Yeah.
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and it was really great to work with him.
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Yeah.
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Yeah.
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- Yeah.
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Well,
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living with him for a while and being a guitar player who's suddenly
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- Yeah, but you got a great voice.
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The concept of singing made me super self-conscious of my own voice.
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So, let's take it back a little bit more to the technical aspects here, if you don't mind.
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Like you wouldn't believe.
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Well thank you.
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But it's true, I mean, I only speak the truth here.
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Well okay, let me give you your money after the podcast is over.
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I cannot tell a lie.
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- Yeah, right.
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I'll slip you the hundred.
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(laughing)
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Wow, it's a hundred now?
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(chuckling)
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Yeah.
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(muffled speaking)
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No, I love it.
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[inaudible]
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[inaudible]
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Now, you mentioned technique and how everybody's sort of individual in our playing and all
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Course.
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[ Inaudible ]
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Yeah.
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this kind of stuff. So the first thing that I came to mind when you just when
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you said that, again, we're both huge kiss fans here was the things that makes
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Ace sound like Ace because Ace is not a technician like at all. But it is very
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Nope, nope.
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Yeah.
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difficult to replicate some of the all those little nuances that he does
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because he's he's seemingly so awkward, at least to me, you know, and well, nobody
00:09:42.360 --> 00:09:46.820
Yeah, no, it's in, yeah.
00:09:44.640 --> 00:09:47.020
>> That could have been the drinking though.
00:09:46.820 --> 00:09:50.260
(laughing)
00:09:47.020 --> 00:09:50.020
[LAUGHTER]
00:09:48.520 --> 00:09:51.160
even early on, well, even early on, it might have been the
00:09:50.020 --> 00:10:19.020
[ Inaudible ]
00:09:50.260 --> 00:09:59.160
Yeah.
00:09:51.160 --> 00:09:54.200
drinking, but you know, so with the technical aspects and stuff.
00:09:54.200 --> 00:09:59.120
But what I wanted to ask as a follow up on that on the the
00:09:59.120 --> 00:10:02.200
performance aspect of the ones when you perform, has it been
00:09:59.160 --> 00:10:12.760
[Silence]
00:10:02.200 --> 00:10:06.840
any particular player or track that you've had to record that
00:10:06.840 --> 00:10:12.160
you felt on a performance aspect that was just murderous for you
00:10:12.160 --> 00:10:14.880
that that was really, really difficult? Yeah, the oyster
00:10:12.760 --> 00:10:20.600
Buck Dharma. Buck Dharma. It was the most difficult to do Cities on Flame because it was like this
00:10:14.880 --> 00:10:37.380
called home. Yeah.
00:10:19.020 --> 00:10:19.340
[
00:10:19.340 --> 00:10:21.380
Sighs ]
00:10:20.600 --> 00:10:27.960
free-form stream of consciousness blues rock thing that was just not typical for my hands.
00:10:21.380 --> 00:10:23.420
[ Sighs ]
00:10:23.420 --> 00:10:25.440
[ Sighs ]
00:10:25.440 --> 00:10:27.480
[ Sighs ]
00:10:27.480 --> 00:10:29.520
[ Sighs ]
00:10:27.960 --> 00:10:32.920
And for some reason that, you know, you think, oh, like Dimebag Darrell or something like that.
00:10:29.520 --> 00:10:31.560
[ Sighs ]
00:10:31.560 --> 00:10:33.600
[ Sighs ]
00:10:32.920 --> 00:10:39.160
Dime was a little bit more calculated and schooled, I think. And so it made it a little easier to
00:10:33.600 --> 00:10:35.620
[ Sighs ]
00:10:35.620 --> 00:10:37.660
[ Sighs ]
00:10:37.660 --> 00:10:39.700
[ Sighs ]
00:10:37.880 --> 00:10:58.380
Got you.
00:10:39.160 --> 00:10:44.600
not play like him, but to at least understand where he's coming from. I think the Buck Dharma
00:10:39.700 --> 00:10:41.740
[ Sighs ]
00:10:41.740 --> 00:10:43.780
[ Sighs ]
00:10:43.780 --> 00:10:45.820
[ Sighs ]
00:10:44.600 --> 00:10:52.120
thing just always struck me as being so like a rolling rambling thing that was a one-off.
00:10:45.820 --> 00:10:47.860
[ Sighs ]
00:10:47.900 --> 00:11:02.580
[ Pause ]
00:10:52.120 --> 00:10:57.640
And I think that's what it is. When you get into the jam style solos, they're the hardest
00:10:57.640 --> 00:11:01.880
to reproduce because they wouldn't reproduce it either. It would be different every time.
00:10:58.380 --> 00:11:02.380
Right. Yeah.
00:11:01.880 --> 00:11:08.440
And, you know, yeah, I think that's really tricky. But I always reference that one because
00:11:02.380 --> 00:11:30.220
Okay.
00:11:02.580 --> 00:11:04.220
Pure improvisation.
00:11:04.900 --> 00:11:29.900
Okay.
00:11:08.440 --> 00:11:14.360
it stands out as me going, "I don't think I'm gonna get this." And I think it's okay.
00:11:14.360 --> 00:11:19.240
That song doesn't even sound like Blue Oyster Cult the way that we did it. And I had a great
00:11:19.240 --> 00:11:24.680
singer that didn't sound anything like, and I can't remember who the singer was on that song,
00:11:24.680 --> 00:11:29.640
But Chris Powers did the cover and he was the same guy that sang "Devil Went Down to Georgia" for me.
00:11:29.640 --> 00:11:35.320
He was a great singer. He didn't sound like the Bloestar Cults vocalist, but it was what it was.
00:11:29.900 --> 00:11:41.900
[ Pause ]
00:11:30.220 --> 00:11:37.580
[BLANK_AUDIO]
00:11:35.320 --> 00:11:37.320
But yeah, Buck Dharma, by far.
00:11:37.320 --> 00:11:38.780
Yeah.
00:11:37.580 --> 00:11:40.780
Okay, yeah, that would not have been my guess.
00:11:38.780 --> 00:11:43.800
Yeah, right, right. Yeah. Yeah.
00:11:40.780 --> 00:11:42.980
But yeah, that's interesting though, right?
00:11:41.900 --> 00:11:43.900
[LAUGHTER]
00:11:42.980 --> 00:11:47.140
Right, no, but I think it's interesting because you think on a sort of
00:11:43.800 --> 00:11:53.980
Yes.
00:11:43.900 --> 00:12:08.900
[ Background noise ]
00:11:47.140 --> 00:11:51.900
performance level, like you said, certain players have a very distinct style for
00:11:51.900 --> 00:11:54.180
their note choices, if you will.
00:11:54.180 --> 00:11:58.660
And you can find a lot of repetition type of stuff in there,
00:11:54.700 --> 00:11:55.200
Yeah.
00:11:55.200 --> 00:12:01.280
Exactly.
00:11:58.660 --> 00:12:00.320
where there's patterns and all this kind of stuff,
00:12:00.320 --> 00:12:03.380
or the way they articulate.
00:12:01.280 --> 00:12:06.560
Yeah.
00:12:03.380 --> 00:12:06.540
But then when you have stuff where, you know,
00:12:06.540 --> 00:12:08.660
it's like you're doing what now?
00:12:06.560 --> 00:12:13.260
It is. Yeah.
00:12:08.660 --> 00:12:13.860
And it is hard to sort of get into that mindset, I think.
00:12:08.900 --> 00:12:10.980
(laughs)
00:12:10.980 --> 00:12:21.980
So along the lines,
00:12:13.260 --> 00:12:17.440
Yeah.
00:12:13.860 --> 00:12:16.740
And then try to do it convincingly
00:12:16.740 --> 00:12:18.180
like you have to do in your case.
00:12:17.440 --> 00:12:19.340
More recent... Yeah.
00:12:18.180 --> 00:12:20.860
It's different, you know?
00:12:19.340 --> 00:12:21.840
Yeah, more recent, yeah.
00:12:20.860 --> 00:12:23.020
(silence)
00:12:21.840 --> 00:12:32.640
Dime bags.
00:12:21.980 --> 00:12:24.680
I was gonna just kinda expand upon that little part
00:12:23.020 --> 00:12:31.460
Oh, good one, Jerry.
00:12:24.680 --> 00:12:26.540
'cause he's asking like, what was the hardest thing?
00:12:26.540 --> 00:12:30.100
What's the hardest tone to have recreated in your past?
00:12:30.100 --> 00:12:34.480
Dime bags, really?
00:12:31.460 --> 00:12:49.460
Mm-hmm, yeah.
00:12:32.640 --> 00:12:37.140
Yeah, dime bags was tough because I actually,
00:12:34.480 --> 00:13:04.460
[ Pause ]
00:12:37.140 --> 00:12:39.000
and I had everything at my disposal.
00:12:39.000 --> 00:12:42.940
At the time, dime was working, well had been,
00:12:42.940 --> 00:12:45.560
he wasn't with us at this point even at that time,
00:12:45.560 --> 00:12:48.340
but he had been working with the guys at Crank,
00:12:48.340 --> 00:12:53.540
amps and his rig was actually there and Crank is in Arizona here.
00:12:49.460 --> 00:13:09.460
Yeah.
00:12:53.540 --> 00:12:57.620
And so I actually got to check out his rig, which was the Randall,
00:12:57.620 --> 00:13:03.020
the RG series, and it was the worst sounding thing I have ever
00:13:03.020 --> 00:13:04.260
played on in my life.
00:13:04.260 --> 00:13:10.540
And that's because my hands don't have what Dimes had and it was
00:13:04.460 --> 00:13:06.460
(inaudible)
00:13:06.460 --> 00:13:35.460
[ Pause ]
00:13:09.460 --> 00:13:32.960
OK.
00:13:10.540 --> 00:13:12.060
perfectly set up for him.
00:13:12.060 --> 00:13:17.260
So I wanted really badly to see if I could borrow the rig, you know,
00:13:17.340 --> 00:13:18.700
that was never gonna happen.
00:13:18.700 --> 00:13:22.180
So it was so scooped and so different
00:13:22.180 --> 00:13:26.180
because it's a solid state amp and in his pickups,
00:13:26.180 --> 00:13:28.780
now I had his pickups, he had a Bill Lawrence,
00:13:28.780 --> 00:13:32.780
I was in the 500 XL or LAX, I forgot what it is,
00:13:32.780 --> 00:13:35.540
it's the Bill Lawrence blade pickup.
00:13:32.960 --> 00:13:42.960
Yeah.
00:13:35.460 --> 00:14:04.020
Sure.
00:13:35.540 --> 00:13:38.760
And I had a dime slime that I borrowed from somebody,
00:13:38.760 --> 00:13:42.540
which was the, it was a lower end one than the real Deans.
00:13:42.540 --> 00:13:45.620
But that was incredibly hard because he had it tuned
00:13:42.960 --> 00:13:52.960
[BLANK_AUDIO]
00:13:45.620 --> 00:13:49.140
So the pick squeals would just explode off of the strings
00:13:49.140 --> 00:13:52.340
and I couldn't ever quite get that scoop
00:13:52.340 --> 00:13:54.280
without scooping out the harmonics
00:13:52.960 --> 00:14:02.460
Right, yeah.
00:13:54.280 --> 00:13:56.420
that were coming out of the guitar.
00:13:56.420 --> 00:13:59.620
It was like a weird, I'm erasing what I need
00:13:59.620 --> 00:14:01.220
and yet I can't have it.
00:14:01.220 --> 00:14:03.780
And so it was painful.
00:14:02.460 --> 00:14:12.460
[BLANK_AUDIO]
00:14:03.780 --> 00:14:06.380
And I did, I think I did five or six songs.
00:14:04.020 --> 00:14:09.700
Do you think that they may have run two tracks, one that's the scoop thing that you're talking
00:14:06.380 --> 00:14:13.300
I doubt it.
00:14:09.700 --> 00:14:13.660
about and one just to grab the harmonics?
00:14:12.460 --> 00:14:17.460
Yeah.
00:14:13.300 --> 00:14:16.200
I think it was just all in his hands.
00:14:13.660 --> 00:14:17.300
Sure.
00:14:16.200 --> 00:14:17.480
It's like Zach Wild, right?
00:14:17.300 --> 00:14:25.260
[Laughter]
00:14:17.460 --> 00:14:24.460
Thank you.
00:14:17.480 --> 00:14:21.860
That guy and his crazy squeals with those EMGs
00:14:21.860 --> 00:14:23.800
and the EVs and all that stuff.
00:14:23.800 --> 00:14:25.640
Yeah, that was really tough.
00:14:25.260 --> 00:14:32.740
He had, just to kind of go off on the Zach Wild thing, that guy had that at probably 17.
00:14:25.460 --> 00:14:30.460
Thank you.
00:14:25.640 --> 00:14:26.480
And I'm...
00:14:26.480 --> 00:14:34.120
Yeah, it was already there.
00:14:31.460 --> 00:14:38.460
Thank you.
00:14:32.740 --> 00:14:35.560
I mean, I remember when I was attending
00:14:34.120 --> 00:14:37.600
Yep.
00:14:35.560 --> 00:14:38.680
Berkeley College of Music, there was a tape
00:14:38.680 --> 00:14:40.680
because I was friends with John Deservio
00:14:39.460 --> 00:14:40.460
Thank you.
00:14:40.680 --> 00:14:42.860
who played with Zach quite a bit.
00:14:41.460 --> 00:14:42.460
Thank you.
00:14:42.460 --> 00:15:09.460
Thank you.
00:14:42.860 --> 00:14:45.840
And I knew John through some people at Berkeley
00:14:43.040 --> 00:14:43.880
Yeah, yeah.
00:14:43.880 --> 00:15:02.260
Mm-hmm.
00:14:45.840 --> 00:14:46.920
'cause I was attending there
00:14:46.920 --> 00:14:48.720
roughly around the same time he was.
00:14:48.720 --> 00:14:52.280
And I somehow got my hand, I still have this cassette.
00:14:52.280 --> 00:14:54.480
In fact, I actually just digitized it last year
00:14:54.480 --> 00:14:55.520
during COVID.
00:14:55.520 --> 00:15:00.520
And it is insane to listen to John and Zach jam
00:15:01.440 --> 00:15:05.760
because his DNA of how he still plays to this day
00:15:02.260 --> 00:15:06.700
Yeah.
00:15:05.760 --> 00:15:10.280
is already ingrained in that fucking cassette that I have
00:15:09.460 --> 00:15:10.460
Yeah.
00:15:10.280 --> 00:15:13.040
of him just jamming in a room.
00:15:10.460 --> 00:15:11.460
Yeah.
00:15:11.460 --> 00:15:12.460
Yeah.
00:15:11.520 --> 00:15:13.280
And I think that's actually quite true.
00:15:12.460 --> 00:15:13.460
Yeah.
00:15:13.040 --> 00:15:19.600
Yeah.
00:15:13.280 --> 00:15:14.840
I think that's quite true of players.
00:15:13.460 --> 00:15:34.860
I've always been curious to if he got a bunch of that from John Sykes.
00:15:14.840 --> 00:15:17.260
I think that if you started playing at 12 or whatever
00:15:17.260 --> 00:15:20.400
by 17, it's there, you know?
00:15:19.600 --> 00:15:27.240
Yes.
00:15:20.400 --> 00:15:23.080
But yeah, those squeals and everything, it's just, you know,
00:15:23.080 --> 00:15:26.320
it's Zach's one of those players, one note, it's Zach.
00:15:26.320 --> 00:15:30.360
You know, you know it, you know, so, but...
00:15:27.240 --> 00:15:29.240
[Laughter]
00:15:29.240 --> 00:15:37.160
Doesn't it? [Laughter]
00:15:30.360 --> 00:15:36.480
It sure sounds like it, doesn't it?
00:15:34.860 --> 00:15:36.500
Right?
00:15:36.480 --> 00:15:37.320
Yeah.
00:15:36.500 --> 00:15:44.100
he does that like nobody's business you know as well yeah and he's got and he's got one of those
00:15:37.160 --> 00:15:39.260
Sure.
00:15:37.320 --> 00:15:40.800
Yeah, John Sykes is, yeah.
00:15:39.260 --> 00:15:46.520
Although, well, have you ever done any of the Whitesnake stuff? You have.
00:15:40.800 --> 00:15:43.040
I covered John Sykes.
00:15:43.040 --> 00:15:46.880
Yeah, yeah I did.
00:15:44.100 --> 00:15:45.140
planks
00:15:45.760 --> 00:16:06.200
sub to
00:15:46.520 --> 00:15:53.880
Was it the original version or the re-record that they did with...
00:15:46.880 --> 00:15:48.280
I did still the night.
00:15:48.280 --> 00:15:50.760
Brody Sang did an amazing David Coverdale.
00:15:50.760 --> 00:15:55.760
I found a, no, no, the real one, not that silly new.
00:15:55.760 --> 00:15:59.260
Yeah, I did the John Sykes version.
00:15:55.800 --> 00:15:57.800
So you did the John Sykes version.
00:15:57.800 --> 00:16:08.280
Oh.
00:15:59.260 --> 00:16:02.880
And I got a boogie mark two to do it.
00:16:02.880 --> 00:16:05.400
And that was the weirdest amp I'd ever used.
00:16:05.400 --> 00:16:08.220
I found the settings online of,
00:16:07.000 --> 00:16:24.420
y
00:16:08.220 --> 00:16:10.280
it was like a picture of John's amp.
00:16:08.280 --> 00:16:29.200
Wow.
00:16:10.280 --> 00:16:13.760
and I was able to dial it in, but man, if you bumped it,
00:16:13.760 --> 00:16:15.720
it no longer sounded anything like it.
00:16:15.720 --> 00:16:18.280
And it wasn't until two weeks ago
00:16:18.280 --> 00:16:20.720
that I ever had a boogie again because of that.
00:16:20.720 --> 00:16:22.740
I just bought a Mark IV,
00:16:22.740 --> 00:16:24.800
and it's much, much easier to dial in
00:16:24.420 --> 00:16:34.420
[BLANK_AUDIO]
00:16:24.800 --> 00:16:26.720
than the two was for me.
00:16:26.720 --> 00:16:27.560
Crazy.
00:16:27.560 --> 00:16:30.040
But I guess I didn't know that all of the EQ
00:16:29.200 --> 00:16:37.200
Sure.
00:16:30.040 --> 00:16:32.560
was pre the first gain stage.
00:16:32.560 --> 00:16:34.040
I didn't know that that's why, you know,
00:16:34.040 --> 00:16:36.480
that's why the bass was so different.
00:16:34.420 --> 00:16:42.040
That's awesome.
00:16:36.480 --> 00:16:38.740
And then the eeglographic EQ is after the fact.
00:16:37.200 --> 00:16:43.220
It's all plenty fine.
00:16:38.740 --> 00:16:42.700
I'm starting to get a little bit nerdy here, talking to, yeah.
00:16:42.040 --> 00:16:43.240
That's what we love.
00:16:42.700 --> 00:16:53.420
I never have tried a Tri-axis, but I've seen them,
00:16:43.220 --> 00:16:47.200
So well speaking of that and you're talking about Mesa Boogie, let's just kind of jump
00:16:43.240 --> 00:16:43.920
Yeah, yeah, yeah.
00:16:43.920 --> 00:16:53.920
[BLANK_AUDIO]
00:16:47.200 --> 00:16:48.200
for a second.
00:16:48.200 --> 00:16:51.200
Did you ever have a tri-axis?
00:16:51.200 --> 00:16:53.200
Okay.
00:16:53.200 --> 00:17:00.920
Well, it's the rack mount version of several of their amps.
00:16:53.420 --> 00:16:56.820
I know about them, it's the little button thing,
00:16:53.920 --> 00:16:55.920
You
00:16:55.920 --> 00:16:57.920
You
00:16:56.820 --> 00:17:00.540
it's the digital, yeah, yeah, right.
00:16:57.920 --> 00:16:59.920
You
00:16:59.920 --> 00:17:01.920
You
00:17:00.920 --> 00:17:01.920
What it was.
00:17:01.920 --> 00:17:03.920
You
00:17:01.920 --> 00:17:04.300
So let's like take a schoolboy step back.
00:17:03.920 --> 00:17:13.920
[BLANK_AUDIO]
00:17:04.300 --> 00:17:20.000
What was your first guitar and amp?
00:17:06.140 --> 00:17:11.140
My first guitar was a Memphis Les Paul copy.
00:17:11.140 --> 00:17:14.320
No, excuse me, Seville, not Memphis, Seville.
00:17:13.920 --> 00:17:20.920
[LAUGH]
00:17:14.320 --> 00:17:15.960
I think there was about a million of them.
00:17:15.960 --> 00:17:18.480
I think it was 15 or so pieces of plywood.
00:17:18.480 --> 00:17:24.220
I walked into Mao's music as a 12-year-old
00:17:20.000 --> 00:17:35.040
Wait a minute.
00:17:20.920 --> 00:17:30.920
[BLANK_AUDIO]
00:17:24.220 --> 00:17:26.340
and I had failed on drums.
00:17:26.340 --> 00:17:27.940
I was Bobby Brady and I knew it.
00:17:27.940 --> 00:17:29.860
And so I moved over.
00:17:29.860 --> 00:17:31.060
My parents were thrilled.
00:17:31.060 --> 00:17:33.400
Let's get them a guitar, that'll be quieter.
00:17:32.920 --> 00:17:52.920
Sure.
00:17:33.400 --> 00:17:38.400
And so, yeah, I think everybody's parents
00:17:35.040 --> 00:17:37.480
Did your parents know my parents or something?
00:17:37.480 --> 00:17:39.560
(laughs)
00:17:38.400 --> 00:17:41.520
that had a drum kid knew this.
00:17:39.560 --> 00:17:52.800
Sure.
00:17:41.520 --> 00:17:44.560
So I walked into Maus Music in Concord, California,
00:17:44.560 --> 00:17:48.320
and they had rows and rows of Gibson Les Pauls.
00:17:48.320 --> 00:17:50.640
And I wanted a Gibson Les Paul
00:17:50.640 --> 00:17:53.800
'cause Ace Fraley, you know, surprise.
00:17:52.920 --> 00:17:59.920
Oh, yeah.
00:17:53.800 --> 00:17:58.800
And I ended up walking out with a wine red Les Paul copy
00:17:58.800 --> 00:18:02.160
that I'm sure set me back three to five years
00:17:59.920 --> 00:18:01.920
I'm going to do a quick search.
00:18:01.920 --> 00:18:02.920
I'm going to do a quick search.
00:18:02.160 --> 00:18:08.160
learning how to play because it was set up so poorly, you know, it was awful. And then
00:18:02.920 --> 00:18:05.920
Oh, yeah.
00:18:03.280 --> 00:18:05.540
(laughing)
00:18:05.540 --> 00:18:07.800
(laughing)
00:18:05.920 --> 00:18:07.920
Oh, yeah.
00:18:07.800 --> 00:18:36.800
[silence]
00:18:07.920 --> 00:18:36.920
Oh, yeah.
00:18:08.160 --> 00:18:15.100
the amp, it was from a company called Rock Amps and it was, I think it's called the Petra,
00:18:15.100 --> 00:18:21.440
and it had a distortion knob on it. So it was this cane wooden looking thing with a
00:18:21.440 --> 00:18:28.320
cane, it was like tongue and groove. I still have one. It had volume, reverb, treble, bass,
00:18:28.320 --> 00:18:38.000
distortion and the distortion was a fuzz. I believe it's a silicon fuzz that's built into this freaking amp.
00:18:36.800 --> 00:18:38.800
Oh nice.
00:18:36.920 --> 00:18:38.920
Wow. Huh.
00:18:38.000 --> 00:18:44.720
And it is, they didn't make many of these things, I don't think, but I bought one recently because I wanted
00:18:38.800 --> 00:18:54.800
[ Inaudible ]
00:18:38.920 --> 00:19:06.340
Montage.
00:18:44.720 --> 00:18:53.720
nostalgia and I found it for like 100 bucks. But it was amazing and I built a freaking, it was a four foot by four foot
00:18:53.720 --> 00:19:00.920
cabinet that I was going to plug this 10 watt amp into. It was a butt jointed press board
00:18:54.800 --> 00:18:58.280
[LAUGHTER]
00:18:58.280 --> 00:19:26.280
[laughter]
00:19:00.920 --> 00:19:07.560
and a baffle board that had 15 speakers. It was three 10s, two 12s, and a bunch of
00:19:06.340 --> 00:19:32.760
Azure.
00:19:07.560 --> 00:19:13.000
mid-range tweeters from like various transistor radios and whatnot, all wired in series. So it's
00:19:13.000 --> 00:19:20.120
probably like 250 ohms, right? And I plugged the thing into it and I had Naga-Hide and Radio
00:19:22.040 --> 00:19:26.280
shack, grill cloth, and these furniture rollers. And I rolled it out of my house
00:19:26.280 --> 00:19:52.280
[laughter]
00:19:26.280 --> 00:19:33.960
onto the driveway and the whole thing just kind of leaned. And it sounded so
00:19:33.960 --> 00:19:38.600
incredibly bad. It just barely made a peep. There was just no volume to be had
00:19:36.220 --> 00:19:46.220
[BLANK_AUDIO]
00:19:38.600 --> 00:19:43.880
because, I mean, I was running the wrong impedance. So I ended up using one
00:19:43.880 --> 00:19:47.280
speaker at a time. I would put it into the little speakers and I'd hit a chord and
00:19:46.220 --> 00:20:02.220
So was that a Tony Iommi thing or was that an Angus thing?
00:19:47.280 --> 00:19:51.080
it would light them on fire because there was way too much power. So that
00:19:51.080 --> 00:19:57.000
was my first guitar and amp and yeah, I later got an SG which was the best thing that ever
00:19:52.280 --> 00:19:54.280
Nice.
00:19:54.280 --> 00:19:56.280
(sighs)
00:19:56.280 --> 00:20:23.280
[pause]
00:19:57.000 --> 00:20:06.320
happened to me and then I moved on. It was an Angus thing. I got the SG. It was similar
00:20:02.220 --> 00:20:03.220
Yeah.
00:20:03.220 --> 00:20:13.220
[BLANK_AUDIO]
00:20:06.320 --> 00:20:11.600
to the Firebrand SGs that they made. They were walnut and they were very stripped down
00:20:11.600 --> 00:20:17.000
and I love that guitar. It was not that great of a guitar but it was such a huge step up
00:20:13.220 --> 00:20:20.220
You still have it?
00:20:17.000 --> 00:20:18.920
from the Seville, it's not even funny.
00:20:18.920 --> 00:20:23.320
No, I have nothing of my past.
00:20:20.220 --> 00:20:39.140
That's cool.
00:20:23.280 --> 00:20:25.280
[LAUGHTER]
00:20:23.320 --> 00:20:29.160
Unlike a lot of friends I have, I own none of those things.
00:20:25.280 --> 00:20:35.280
[inaudible]
00:20:29.160 --> 00:20:32.040
But I do have a picture of me with that guitar,
00:20:32.040 --> 00:20:35.320
so I'll have to find it because the guitar's hanging down
00:20:35.280 --> 00:20:38.280
[LAUGHTER]
00:20:35.320 --> 00:20:38.160
to my knees 'cause I'm a little kid.
00:20:38.160 --> 00:20:41.160
But yeah, yeah.
00:20:38.280 --> 00:20:40.280
[LAUGHTER]
00:20:39.140 --> 00:20:42.820
That's interesting though, Steve, because I mean, you're mentioning here that you're
00:20:40.280 --> 00:20:43.200
(muffled speaking)
00:20:41.160 --> 00:20:49.760
No, I'm not.
00:20:42.820 --> 00:20:46.580
buying all this gear because you got to have it, but yet you don't sound like you're too
00:20:43.200 --> 00:20:48.200
[inaudible]
00:20:46.580 --> 00:20:58.580
precious about the gear.
00:20:48.200 --> 00:20:53.200
[inaudible]
00:20:49.760 --> 00:20:54.040
I have one thing that I've kept for 30 plus years now
00:20:53.200 --> 00:20:55.620
(whispering)
00:20:54.040 --> 00:20:56.920
and it's I bought Elliot Easton's
00:20:55.620 --> 00:20:58.540
(breathing deeply)
00:20:56.920 --> 00:20:59.980
Mutron Octave Divider from Ewurlitzer Music
00:20:58.540 --> 00:21:00.540
(inaudible)
00:20:58.580 --> 00:21:05.580
Wow.
00:20:59.980 --> 00:21:02.780
in Boston, Massachusetts from Stan Chang.
00:21:00.540 --> 00:21:29.220
[ Pause ]
00:21:02.780 --> 00:21:04.280
When I was in the computer business,
00:21:04.280 --> 00:21:06.760
I bought that for $35
00:21:05.580 --> 00:21:28.580
Wow.
00:21:06.760 --> 00:21:10.600
and I also bought his Mutron flanger for $35.
00:21:10.600 --> 00:21:13.760
I later sold the flanger for like 1500 bucks,
00:21:13.760 --> 00:21:16.940
but I still have the Mutron and I just had it worked on again.
00:21:16.940 --> 00:21:19.280
I use that on the Devil Went Down to Georgia,
00:21:19.280 --> 00:21:21.320
we used it on the T-Ride record,
00:21:21.320 --> 00:21:23.240
and I've used it for so many things.
00:21:23.240 --> 00:21:26.260
It's unbelievable, and I will never let that go.
00:21:26.260 --> 00:21:28.200
But I'm not really precious about anything else,
00:21:28.200 --> 00:21:29.260
to be honest with you.
00:21:28.580 --> 00:21:49.580
Ah, that's pretty healthy, I think.
00:21:29.220 --> 00:21:33.260
All right, let's take a quick break.
00:21:29.260 --> 00:21:31.600
Yeah.
00:21:31.600 --> 00:21:32.600
Yeah.
00:21:32.600 --> 00:21:35.600
That I do.
00:21:33.260 --> 00:21:36.720
We've been talking a lot about like your whole gaming history
00:21:35.600 --> 00:21:38.600
Yeah, I do.
00:21:36.720 --> 00:21:39.620
and where you kind of came from as a guitar player.
00:21:38.600 --> 00:21:40.600
No, no.
00:21:39.620 --> 00:21:42.160
We haven't even begun to scratch the surface of the fact
00:21:40.600 --> 00:21:42.600
Yeah.
00:21:42.160 --> 00:21:44.060
that you actually write some music too.
00:21:42.600 --> 00:21:49.600
Well, obviously, it has been guitar-centric in what we've been talking about, but after
00:21:44.060 --> 00:21:47.140
(laughs)
00:21:47.140 --> 00:21:49.780
Not like rewriting somebody else's music,
00:21:49.580 --> 00:22:07.580
What a time.
00:21:49.600 --> 00:22:00.600
Guitar Hero, actually, like I said, I got into just a little bit of a bit of a
00:21:49.780 --> 00:21:51.720
but like actually writing your own thing.
00:21:51.720 --> 00:21:53.900
Why don't we delve a little bit into that?
00:21:53.900 --> 00:21:56.980
(audience chattering)
00:21:56.980 --> 00:22:25.980
[ Pause ]
00:22:00.600 --> 00:22:04.120
Like I said, I got into Just Dance, and that opened up a lot of doors for working with
00:22:04.120 --> 00:22:07.220
Ubisoft and Activision and other games.
00:22:07.220 --> 00:22:12.520
So I've worked on Call of Duty, I've worked on Ghost Recon, I wrote the theme for The Crew
00:22:07.580 --> 00:22:24.580
I think that was right.
00:22:12.520 --> 00:22:14.800
2 from Ubisoft.
00:22:14.800 --> 00:22:20.480
Ghost Recon Wildlands was really interesting because I was writing narco curritos, which
00:22:20.480 --> 00:22:23.780
are Mexican drug lord songs.
00:22:23.780 --> 00:22:28.380
So I had a whole team of people I worked with in LA that made it sound authentic.
00:22:24.580 --> 00:22:34.580
Hmm.
00:22:25.980 --> 00:22:36.140
Did they have to go down to like the drug fields and get actual people field hands to
00:22:28.380 --> 00:22:30.960
I wrote an entire soundtrack for that game.
00:22:30.960 --> 00:22:39.300
Well, we watched a lot of Breaking Bad.
00:22:34.580 --> 00:22:39.580
Silence.
00:22:36.140 --> 00:22:38.020
come play this stuff for you?
00:22:38.020 --> 00:22:39.020
Okay.
00:22:39.020 --> 00:22:40.020
Okay.
00:22:39.300 --> 00:22:42.800
Yeah, that's as close as I got to it.
00:22:39.580 --> 00:22:41.840
(laughing)
00:22:40.020 --> 00:22:42.280
(laughing)
00:22:41.840 --> 00:22:44.300
[LAUGHTER]
00:22:42.280 --> 00:22:44.020
Okay.
00:22:42.800 --> 00:22:46.680
But yeah, I mean, I think that the composing side
00:22:44.020 --> 00:23:07.980
Hmm.
00:22:44.300 --> 00:23:13.300
[ Pause ]
00:22:46.680 --> 00:22:49.100
has been really interesting because I kind of get
00:22:49.100 --> 00:22:51.200
shoehorned as a guitar player, obviously,
00:22:51.200 --> 00:22:52.840
because I can't stop talking about it.
00:22:52.840 --> 00:22:54.340
I'm a total guitar nerd.
00:22:54.340 --> 00:22:57.020
I've written everything from Balkan gypsy tunes
00:22:57.020 --> 00:23:04.300
to Bollywood music. In fact, we did a session at East West back for one of the Just Dances
00:23:04.300 --> 00:23:09.980
where it was an entire Bollywood Christmas thing. And so I'm more eclectic when it comes to that.
00:23:08.860 --> 00:23:13.020
(background noise drowns out other sounds)
00:23:09.980 --> 00:23:14.140
I'm certainly not an orchestral composer, even though that was what my degree was in.
00:23:13.020 --> 00:23:16.580
(laughing)
00:23:13.300 --> 00:23:38.300
Cool.
00:23:14.140 --> 00:23:20.940
I just don't find myself, I can't keep up with the guys doing the Hans Zimmer style thing because
00:23:16.580 --> 00:23:34.100
Sure.
00:23:20.940 --> 00:23:26.380
that's such a saturated world and I made a decision early on not to even bother touching that.
00:23:26.380 --> 00:23:32.200
So I kind of split my time half and half with video games and television. And you mentioned
00:23:32.200 --> 00:23:38.200
Robert Navarro. I'm now a partner of Pop Machine. I'm actually partnered with Robert.
00:23:37.100 --> 00:23:40.380
Wait, he didn't, did he tell me that?
00:23:38.200 --> 00:23:50.280
Well, it started about, I guess it's about six months ago now. So I'm doing all the mastering.
00:23:38.300 --> 00:23:40.300
(no audio)
00:23:40.300 --> 00:24:10.280
[ Silence ]
00:23:40.380 --> 00:23:42.480
No, or it was with somebody else
00:23:42.480 --> 00:23:45.040
and then he took it back and then you jumped in or?
00:23:45.040 --> 00:23:50.620
Oh, yeah, okay.
00:23:50.280 --> 00:23:54.040
Yeah, so I'm doing the mastering in the middle.
00:23:50.620 --> 00:23:51.500
Okay, gotcha.
00:23:51.500 --> 00:23:54.060
Yeah, no, a pop machine's been around for a while.
00:23:54.040 --> 00:23:57.560
Oh yeah, I wrote one of the first library albums
00:23:54.060 --> 00:24:15.560
[inaudible]
00:23:57.560 --> 00:24:00.000
for Pop Machine called Highways and Byways,
00:24:00.000 --> 00:24:03.880
which was a bunch of acoustic kind of back porch,
00:24:03.880 --> 00:24:06.160
Sunday Drive style stuff.
00:24:06.160 --> 00:24:09.120
But yeah, now I'm actually a partner with him
00:24:09.120 --> 00:24:11.540
doing the mastering and the metadata
00:24:10.280 --> 00:24:26.260
[ Silence ]
00:24:11.540 --> 00:24:15.120
as well as producing the albums with other artists.
00:24:15.120 --> 00:24:17.600
So that's a big chunk of time
00:24:15.560 --> 00:24:21.660
Gotcha. Sure. No, that stuff is tedious work.
00:24:17.600 --> 00:24:19.200
that I'm taking up now doing that.
00:24:19.200 --> 00:24:24.120
And it is, it's fun for me to be on that side,
00:24:21.660 --> 00:24:30.160
[inaudible]
00:24:24.120 --> 00:24:26.120
on the mastering and metadata side,
00:24:26.120 --> 00:24:30.080
'cause I did that for APM for many, many years for Endgame.
00:24:26.260 --> 00:24:50.260
[silence]
00:24:30.080 --> 00:24:32.240
And then I stopped doing that.
00:24:30.160 --> 00:24:31.160
Aha.
00:24:31.160 --> 00:24:50.160
[inaudible]
00:24:32.240 --> 00:24:34.720
So yeah, I do music for "Let's Make a Deal."
00:24:34.720 --> 00:24:36.680
I do music for "Monday Night Football."
00:24:36.680 --> 00:24:39.320
In fact, I just did another theme for them
00:24:39.320 --> 00:24:42.100
for the upcoming, for the season.
00:24:42.100 --> 00:24:46.160
And I did music for the Chicago Cubs last year,
00:24:46.160 --> 00:24:48.080
which was sad because it came right out
00:24:48.080 --> 00:24:49.340
at the time that COVID hit.
00:24:49.340 --> 00:24:51.880
And I had just done the new theme for the Cubs
00:24:50.160 --> 00:25:00.800
And yeah, sure.
00:24:50.260 --> 00:25:08.260
Yeah. Yeah. Do you find that with your, you know, when you're composing and the fact that
00:24:51.880 --> 00:24:53.700
and everything and they're using it,
00:24:53.700 --> 00:24:57.160
but you know, sports last year really wasn't sports
00:24:57.160 --> 00:25:01.160
the way that, you know, it's coming back, but yeah.
00:25:00.800 --> 00:25:12.200
Slowly but surely, but yeah, it'll take some more time.
00:25:01.160 --> 00:25:03.380
Yeah.
00:25:03.380 --> 00:25:15.220
Yeah.
00:25:08.260 --> 00:25:12.020
you've done so much, put words in your mouth there and using your saying, but you've done
00:25:12.020 --> 00:25:17.100
so much sort of like forensic work when it comes to other people's music, do you find
00:25:12.200 --> 00:25:14.440
(laughing)
00:25:14.440 --> 00:25:40.300
Haven't heard that in a while.
00:25:15.220 --> 00:25:31.220
[Silence]
00:25:17.100 --> 00:25:21.600
that that has sort of like influenced your composition?
00:25:21.600 --> 00:25:23.700
Do you find that there's some cross pollination there?
00:25:23.700 --> 00:25:27.640
Or is it just like, no, I have that's part of that.
00:25:27.640 --> 00:25:31.140
And when I do my own thing, you kind of want to step away from that or.
00:25:31.140 --> 00:25:37.980
There has to be some.
00:25:31.220 --> 00:25:36.740
Well, I only have 64K of RAM in my head. So what happens is after I'm done,
00:25:36.740 --> 00:25:43.700
after I'm done with a project, well, you know, when I'm done with a project, it empties out of
00:25:37.980 --> 00:25:42.980
- Right, yeah.
00:25:40.300 --> 00:25:43.300
(people chattering)
00:25:42.980 --> 00:26:02.980
Right, yeah.
00:25:43.300 --> 00:26:12.300
[ Inaudible ]
00:25:43.700 --> 00:25:50.340
my head completely. I think that it becomes part of my bigger circle as far as the knowledge that
00:25:50.340 --> 00:25:55.060
I've gotten out of that. But no, I don't think it really does influence. I think I'm in a different
00:25:55.060 --> 00:26:03.220
mindset in the forensic space that it doesn't rub off on me the same way that way. Not compositionally.
00:26:02.980 --> 00:26:09.980
Yeah.
00:26:03.220 --> 00:26:10.260
I mean, yeah, I probably do glean some things from it, but I still think my style is unaffected by
00:26:09.980 --> 00:26:16.980
Whatever the brief is, type of thing. Yeah.
00:26:10.260 --> 00:26:14.980
that and it's more learning whatever I'm going to have to go into because a lot of times
00:26:12.300 --> 00:26:13.300
[
00:26:13.300 --> 00:26:14.300
Sighs ]
00:26:14.300 --> 00:26:15.300
[
00:26:14.980 --> 00:26:19.180
I'm already out of my, I don't really have a norm.
00:26:15.300 --> 00:26:16.300
Sighs ]
00:26:16.300 --> 00:26:16.300
[
00:26:16.300 --> 00:26:17.300
Sighs ]
00:26:16.980 --> 00:26:20.980
Yeah.
00:26:17.300 --> 00:26:17.300
[
00:26:17.300 --> 00:26:18.300
Sighs ]
00:26:18.300 --> 00:26:18.300
[
00:26:18.300 --> 00:26:19.300
Sighs ]
00:26:19.180 --> 00:26:22.980
It's always been based on whatever the needs of the company were.
00:26:19.300 --> 00:26:19.300
[
00:26:19.300 --> 00:26:20.300
Sighs ]
00:26:20.300 --> 00:26:20.300
[
00:26:20.300 --> 00:26:21.300
Sighs ]
00:26:20.980 --> 00:26:30.980
Whatever the brief is, stop the thing.
00:26:21.300 --> 00:26:21.300
[
00:26:21.300 --> 00:26:22.300
Sighs ]
00:26:22.300 --> 00:26:22.300
[
00:26:22.300 --> 00:26:23.300
Sighs ]
00:26:22.980 --> 00:26:25.860
I don't write albums every day for myself.
00:26:23.300 --> 00:26:23.300
[
00:26:23.300 --> 00:26:24.300
Sighs ]
00:26:24.300 --> 00:26:24.300
[
00:26:24.300 --> 00:26:25.300
Sighs ]
00:26:25.300 --> 00:26:25.300
[
00:26:25.300 --> 00:26:26.300
Sighs ]
00:26:25.860 --> 00:26:31.860
It's always been focused on whatever the end go, yeah, yeah, yeah.
00:26:26.300 --> 00:26:26.300
[
00:26:26.300 --> 00:26:27.300
Sighs ]
00:26:27.300 --> 00:26:28.300
[
00:26:28.300 --> 00:26:29.300
Sighs ]
00:26:29.300 --> 00:26:30.300
[
00:26:30.300 --> 00:26:31.300
Sighs ]
00:26:30.980 --> 00:26:31.980
Yeah.
00:26:31.300 --> 00:26:32.300
[
00:26:31.860 --> 00:26:36.260
So if I get a brief, my brain just opens up and I go in that direction.
00:26:31.980 --> 00:26:36.980
Yeah.
00:26:32.300 --> 00:26:33.300
Sighs ]
00:26:33.300 --> 00:26:34.300
[
00:26:34.300 --> 00:26:35.300
Sighs ]
00:26:35.300 --> 00:26:36.300
[
00:26:36.260 --> 00:26:40.740
And I take it the same way as I would a rerecord and I just, I research by listening to different
00:26:36.300 --> 00:26:37.300
Sighs ]
00:26:36.980 --> 00:26:45.980
Right.
00:26:37.300 --> 00:26:38.300
[
00:26:38.300 --> 00:26:40.300
Sighs ]
00:26:40.300 --> 00:26:41.300
[
00:26:40.740 --> 00:26:45.260
things and I say, "Okay, well," then I add my own version of that in.
00:26:41.300 --> 00:26:56.540
Well, next time you need to do that, let me know because I know some of his current band
00:26:45.260 --> 00:26:46.620
So yeah.
00:26:45.980 --> 00:26:49.980
Yeah.
00:26:46.620 --> 00:26:47.900
So fortunately it hasn't.
00:26:47.900 --> 00:26:49.780
I don't sound like Elton John.
00:26:49.780 --> 00:26:53.020
I kind of wish I did, but you know.
00:26:49.980 --> 00:26:52.980
No, who doesn't, right?
00:26:52.980 --> 00:26:53.980
Yeah.
00:26:53.020 --> 00:26:55.460
Yeah, right?
00:26:53.980 --> 00:26:54.980
All right.
00:26:54.980 --> 00:26:58.980
Yeah.
00:26:55.460 --> 00:26:56.460
Yeah.
00:26:56.460 --> 00:26:58.020
Oh, you do?
00:26:56.540 --> 00:26:57.540
members.
00:26:57.540 --> 00:26:58.540
Yes.
00:26:58.020 --> 00:26:59.020
Okay.
00:26:58.540 --> 00:27:01.120
Yes. (laughs)
00:26:58.980 --> 00:27:18.980
Well, I might not have said the question as I intended, but not necessarily that you would, for one of a better phrase, rip off composition-wise, but more like has it sort of educated your mindset as far as like recording chains or gotten an idea where it's like, oh, you know what, that's really cool.
00:26:59.020 --> 00:27:03.780
Well, there you see, there you go.
00:27:01.120 --> 00:27:30.540
(ander
00:27:03.780 --> 00:27:04.780
Oh.
00:27:04.780 --> 00:27:04.780
Oh, sure.
00:27:04.780 --> 00:27:05.780
Oh, sure.
00:27:05.780 --> 00:27:10.780
Yeah, everything that I learned from a rerecord ends up going, "Yeah, I'm going to do this
00:27:10.780 --> 00:27:11.780
one.
00:27:11.780 --> 00:27:12.780
I'm going to do this one.
00:27:12.780 --> 00:27:13.780
I'm going to do this one.
00:27:13.780 --> 00:27:14.780
I'm going to do this one.
00:27:14.780 --> 00:27:15.780
I'm going to do this one.
00:27:15.780 --> 00:27:16.780
I'm going to do this one.
00:27:16.780 --> 00:27:17.780
I'm going to do this one.
00:27:17.780 --> 00:27:18.780
I'm going to do this one.
00:27:18.780 --> 00:27:19.780
I'm going to do this one.
00:27:18.980 --> 00:27:21.480
That's really cool on this record.
00:27:19.780 --> 00:27:20.780
I'm going to do this one.
00:27:20.780 --> 00:27:21.780
I'm going to do this one.
00:27:21.480 --> 00:27:25.140
They did, like they did, oh, they ran a plexi,
00:27:21.780 --> 00:27:22.780
I'm going to do this one.
00:27:22.780 --> 00:27:23.780
I'm going to do this one.
00:27:23.780 --> 00:27:24.780
I'm going to do this one.
00:27:24.780 --> 00:27:25.780
I'm going to do this one.
00:27:25.140 --> 00:27:27.620
but then they had this or whatever, right?
00:27:25.780 --> 00:27:26.780
I'm going to do this one.
00:27:26.780 --> 00:27:27.780
I'm going to do this one.
00:27:27.620 --> 00:27:29.580
So that gives ideas from that.
00:27:27.780 --> 00:27:28.780
I'm going to do this one.
00:27:28.780 --> 00:27:35.500
Yeah, everything that I learned from a re-record ends up going, it definitely comes back into
00:27:29.580 --> 00:27:37.900
Right, yeah.
00:27:30.540 --> 00:27:33.460
(muffled speaking)
00:27:33.460 --> 00:27:35.460
(inaudible)
00:27:35.460 --> 00:27:37.460
(inaudible)
00:27:35.500 --> 00:27:37.300
my production for sure.
00:27:37.300 --> 00:27:38.500
Yeah, absolutely.
00:27:37.460 --> 00:28:06.460
[ Pause ]
00:27:37.900 --> 00:27:42.980
No, no.
00:27:38.500 --> 00:27:43.820
I didn't used to mix my own music and it wasn't until we started doing after Guitar Hero where
00:27:42.980 --> 00:27:49.160
AlEXa just
00:27:43.820 --> 00:27:48.420
I was forced to actually have to do my own mixes that things really started to change.
00:27:48.420 --> 00:27:52.980
And yes, everything I learned goes back into the toolkit for whatever.
00:27:49.160 --> 00:27:53.900
fucked it up,
00:27:52.980 --> 00:27:55.100
And I actually think that way too.
00:27:53.900 --> 00:27:59.680
once I farms
00:27:55.100 --> 00:27:59.060
I just put a video up on Instagram yesterday of,
00:27:59.060 --> 00:28:01.200
or today of something I played yesterday.
00:27:59.680 --> 00:28:05.020
because it wasn't
00:28:01.200 --> 00:28:04.140
I got this really cool, I'll show you guys.
00:28:04.140 --> 00:28:08.200
I think we talked about this, the legendary tones hot mod.
00:28:05.020 --> 00:28:06.940
like words,
00:28:06.460 --> 00:28:08.460
No.
00:28:06.940 --> 00:28:08.480
nice wow.
00:28:08.200 --> 00:28:13.980
Yeah, so what this is, is you plug it into
00:28:08.460 --> 00:28:09.300
Oh.
00:28:08.480 --> 00:28:10.560
Wow, yeah.
00:28:09.300 --> 00:28:12.300
(background chatter)
00:28:10.560 --> 00:28:33.560
Yeah.
00:28:12.300 --> 00:28:30.300
[ Inaudible ]
00:28:13.980 --> 00:28:16.940
the second preamp tube section of a Marshall
00:28:16.940 --> 00:28:18.900
and it gives you a modified Marshall
00:28:18.900 --> 00:28:20.300
with an extra gain stage.
00:28:20.300 --> 00:28:22.660
So it's kind of like what we used to do back in the day
00:28:22.660 --> 00:28:26.120
when you chop up the amp and put extra tubes in and stuff.
00:28:26.120 --> 00:28:28.900
When I was using this, which is, it's great
00:28:28.900 --> 00:28:29.800
because now I don't have to,
00:28:29.800 --> 00:28:31.780
I won't do that to an amp at this point in time,
00:28:30.300 --> 00:28:32.640
(chuckling)
00:28:31.780 --> 00:28:33.560
they're too valuable.
00:28:32.640 --> 00:28:59.640
[ Inaudible ]
00:28:33.560 --> 00:29:00.560
No.
00:28:33.560 --> 00:28:35.220
Yeah, I thought a lot about that.
00:28:35.220 --> 00:28:37.940
How do I create this particular tone?
00:28:37.940 --> 00:28:40.660
And that came from, I was using Echo Boy
00:28:40.660 --> 00:28:45.400
because I wanted to use a stereo set of Echo Plexus
00:28:45.400 --> 00:28:47.960
and I wanted to use this 480L reverb
00:28:47.960 --> 00:28:49.540
that I had used on a guitar track
00:28:49.540 --> 00:28:51.520
from a re-record a few years ago that I thought,
00:28:51.520 --> 00:28:55.560
"Oh wow, this gives it this really great ambient vibe."
00:28:55.560 --> 00:28:59.180
So yes, I absolutely learned to put those things
00:28:59.180 --> 00:29:00.360
in my productions.
00:28:59.640 --> 00:29:06.640
>> Sweet.
00:29:00.360 --> 00:29:02.380
I'll send you guys a link to the video
00:29:00.560 --> 00:29:05.720
Yeah, it'd be really cool.
00:29:02.380 --> 00:29:05.820
because I think the tone turned out really, really cool.
00:29:05.720 --> 00:29:06.720
Yeah, yeah.
00:29:05.820 --> 00:29:06.660
Yeah.
00:29:06.640 --> 00:29:09.640
(people chattering)
00:29:06.660 --> 00:29:07.500
- Yeah.
00:29:06.720 --> 00:29:11.840
So when it comes to, you know, reverbs and things outside of the, well, not necessarily
00:29:07.500 --> 00:29:14.540
- Yeah.
00:29:09.640 --> 00:29:11.640
(inaudible)
00:29:11.640 --> 00:29:41.520
(inaudible)
00:29:11.840 --> 00:29:17.000
outside of the hardware realm, but when you're not talking about hardware amps and things,
00:29:14.540 --> 00:29:17.620
- Yeah.
00:29:17.000 --> 00:29:23.160
do you find yourself that you hunt down a, you know, like you mentioned, like a 480L
00:29:17.620 --> 00:29:35.220
Yeah, at this point, yeah, I made a switch about four or five years ago completely away
00:29:23.160 --> 00:29:27.560
or are you using or making use of like IRs
00:29:27.560 --> 00:29:29.960
and things like that at this point in the end?
00:29:29.960 --> 00:29:44.480
Yeah.
00:29:35.220 --> 00:29:36.660
from hardware.
00:29:36.660 --> 00:29:44.620
I am 100% in the box now aside from my amp heads.
00:29:41.520 --> 00:29:49.080
amp heads. Sure.
00:29:44.480 --> 00:29:48.960
Yeah.
00:29:44.620 --> 00:29:51.180
I had when the recalls were just brutal. When we were doing Guitar Hero, we had an SSL J-Series
00:29:48.960 --> 00:30:02.420
Yeah.
00:29:49.080 --> 00:29:51.080
>> All right.
00:29:51.080 --> 00:30:21.060
[ Pause ]
00:29:51.180 --> 00:29:58.460
and we had all the Pultex and the 480Ls and whatnot. And it would take hours to do a recall of six
00:29:58.460 --> 00:30:05.020
little things they needed changed. Well, I can't do that anymore. And honestly, yes, hardware does
00:30:02.540 --> 00:30:06.300
Yes.
00:30:05.020 --> 00:30:11.980
sound different, but I have a ton of the UA stuff, waves, and other programs that are so close, you
00:30:06.300 --> 00:30:08.380
Can just cycles the
00:30:08.740 --> 00:30:34.160
Well, if there weren't any
00:30:11.980 --> 00:30:15.200
you have to go with the flexibility and repeatability
00:30:15.200 --> 00:30:17.760
and immediacy of saying,
00:30:17.760 --> 00:30:20.160
yeah, I got three, four ADLs running.
00:30:20.160 --> 00:30:22.980
When am I gonna go and have three of those again?
00:30:21.060 --> 00:30:26.220
No doubt just sitting around as hardware boxes.
00:30:22.980 --> 00:30:23.820
You know what I mean?
00:30:23.820 --> 00:30:25.120
And so, you know,
00:30:25.120 --> 00:30:28.000
and they're getting kind of harder to maintain.
00:30:26.220 --> 00:30:34.260
Mmm, yes.
00:30:28.000 --> 00:30:29.180
So I don't miss it.
00:30:29.180 --> 00:30:32.520
I had a brocasty, one of the greatest reverbs ever.
00:30:32.520 --> 00:30:36.400
And then I found the seventh heaven version of the brocasty.
00:30:34.160 --> 00:30:34.160
singleity in music. Yeah.
00:30:34.260 --> 00:30:54.080
Yeah, yeah, yeah.
00:30:34.260 --> 00:30:51.900
[inaudible]
00:30:36.400 --> 00:30:38.640
And let me tell you, I did AB tests.
00:30:38.640 --> 00:30:40.440
I went back and forth and back and forth
00:30:40.440 --> 00:30:41.960
and I sold my brocasty.
00:30:41.960 --> 00:30:43.280
I will never say anything bad about the
00:30:43.280 --> 00:30:46.960
Picasti. I will say that the 7th Heaven
00:30:46.960 --> 00:30:48.680
saved me because now I can have four
00:30:48.680 --> 00:30:50.760
versions of that running and I don't have
00:30:50.760 --> 00:30:52.440
to print, you know, I don't have to print
00:30:51.900 --> 00:31:02.340
Sure. Sure. Well,
00:30:52.440 --> 00:30:54.800
the take and you know when you're doing
00:30:54.080 --> 00:30:54.060
Yeah.
00:30:54.800 --> 00:30:57.640
stems for a game no way do I want
00:30:57.640 --> 00:30:59.960
anything like a real-time bounce per stem
00:30:59.960 --> 00:31:01.960
per track, you know.
00:31:01.960 --> 00:31:29.680
Yeah, I remember that. Yeah. Yeah. 64K of RAM. Oh, that's good. That's good. That's good.
00:31:02.340 --> 00:31:03.340
I think I.
00:31:03.100 --> 00:31:19.100
Yeah, just a real quick Jody, but I, Bracosti as well, I can't remember it was for when they did the launch of the unit, but there was several years ago that they actually released a bunch of IORs that they had done for that as well.
00:31:03.340 --> 00:31:25.340
In a moment of silence there.
00:31:19.100 --> 00:31:24.100
Yeah, so I'm sorry Jody, I stopped over here though, what you got?
00:31:24.100 --> 00:31:32.100
Yeah, the reboot, right?
00:31:25.340 --> 00:31:29.500
Well, yes, exactly.
00:31:29.500 --> 00:31:31.900
No, it was waiting for session
00:31:29.680 --> 00:31:38.440
Yes, I am.
00:31:31.900 --> 00:31:36.780
to catch up. I was going to say about the 40L. I'm assuming that you're using the UA
00:31:32.100 --> 00:31:34.100
You
00:31:34.100 --> 00:31:38.100
Do
00:31:36.780 --> 00:31:49.900
version of that plugin. Yeah. Right.
00:31:38.100 --> 00:31:42.100
do
00:31:38.440 --> 00:31:41.720
I have the Relab, which is excellent as well.
00:31:41.720 --> 00:31:45.760
But I use, you know, I've kind of invested pretty heavily in the UA.
00:31:42.100 --> 00:31:46.100
do
00:31:45.760 --> 00:31:51.520
I've got an Octo-satellite card, and I've got the X8P.
00:31:49.900 --> 00:31:57.900
Sure.
00:31:51.520 --> 00:31:58.040
And I don't run out of processing power because I do still use a ton of waves and a variety
00:31:57.900 --> 00:32:05.940
>> Right. Right right.
00:31:58.040 --> 00:32:02.920
of other ones, but I do go back to the UA a lot for their emulations, which are very good.
00:32:02.100 --> 00:32:09.340
Yeah, it's something Jody and I talked about a fair bit here as well because it is very
00:32:02.920 --> 00:32:12.920
Yeah.
00:32:05.940 --> 00:32:26.060
So
00:32:09.340 --> 00:32:15.340
easy to get what we call a geared arrangement syndrome here where you're constantly chasing
00:32:12.920 --> 00:32:24.920
Right.
00:32:15.340 --> 00:32:19.620
sort of like the air quote, best emulation, right?
00:32:19.620 --> 00:32:24.460
And that's, in my opinion, and without always a moving target because it depends on which
00:32:24.460 --> 00:32:28.760
unit has been, you know, my word, thank you.
00:32:24.920 --> 00:32:47.840
That's true.
00:32:26.060 --> 00:32:28.060
emulated.
00:32:28.060 --> 00:32:34.060
[ Pause ]
00:32:28.760 --> 00:32:34.280
And most people, not everybody obviously, but most people that end up getting the emulations
00:32:34.060 --> 00:33:03.040
[ Pause ]
00:32:34.280 --> 00:32:38.080
have probably never worked with a hardware unit to begin with.
00:32:38.080 --> 00:32:44.320
So I think whether it's an exact replica of whatever it is becomes less important and
00:32:44.320 --> 00:32:48.960
it becomes more important of how you're actually using said piece of gear where you can use
00:32:47.840 --> 00:32:48.680
I agree.
00:32:48.680 --> 00:32:57.440
Slate's great, it's great.
00:32:48.960 --> 00:32:49.960
that.
00:32:49.960 --> 00:32:53.880
So it's interesting that you mentioned like, yeah, use the UA stuff and I'm a big slate
00:32:53.880 --> 00:32:57.240
guy and Jody's a UA guy.
00:32:57.240 --> 00:33:02.880
But yeah, but it also is like for me, I feel like it wouldn't behoove me to get another
00:32:57.440 --> 00:33:06.040
Right.
00:33:02.880 --> 00:33:04.720
emulation as well, right?
00:33:03.040 --> 00:33:18.040
[ Pause ]
00:33:04.720 --> 00:33:09.480
Because I think it's better to really get to know the gear that you have and whether
00:33:06.040 --> 00:33:22.640
Well, no, a good song is a good song.
00:33:09.480 --> 00:33:13.440
I'm succeeding at that is arguable at this stage.
00:33:13.440 --> 00:33:16.720
But it's like, yeah, you know what, Chris, that song would sound so much better if you
00:33:16.720 --> 00:33:18.800
had a different SSL emulation on it.
00:33:18.040 --> 00:33:20.540
[LAUGHTER]
00:33:18.800 --> 00:33:19.800
You know what I mean?
00:33:19.800 --> 00:33:44.600
So yeah, right.
00:33:20.540 --> 00:33:22.620
(laughs)
00:33:22.620 --> 00:33:32.620
[BLANK_AUDIO]
00:33:22.640 --> 00:33:27.680
I've said it before and I'll say it again, put a mic anywhere near Paul McCartney and
00:33:27.680 --> 00:33:29.000
it's going to be great.
00:33:29.000 --> 00:33:30.520
And it doesn't matter.
00:33:30.520 --> 00:33:35.760
Yes, the Beatles were recorded extremely well and, you know, I'll forever be thankful that
00:33:32.620 --> 00:33:51.120
Yeah?
00:33:35.760 --> 00:33:38.160
There are things that we can hear on that.
00:33:38.160 --> 00:33:40.600
But I'll tell you this, back in the day,
00:33:40.600 --> 00:33:42.000
I have to say back in the day,
00:33:42.000 --> 00:33:43.740
get off my lawn, all those things.
00:33:43.740 --> 00:33:48.280
When we had hardware, a keyboard, a sample,
00:33:44.600 --> 00:33:51.600
Yeah.
00:33:48.280 --> 00:33:51.160
or whatever it was, we had one.
00:33:51.120 --> 00:34:01.120
[silence]
00:33:51.160 --> 00:33:54.320
You didn't have a lot of money to buy an H3000
00:33:51.600 --> 00:33:58.600
Yeah.
00:33:54.320 --> 00:33:58.220
and you knew that thing inside and out.
00:33:58.220 --> 00:34:00.580
Now you go and you buy a plugin
00:33:59.600 --> 00:34:07.600
Yeah.
00:34:00.580 --> 00:34:03.580
and I guarantee you don't know it inside and out.
00:34:01.120 --> 00:34:08.120
Yes.
00:34:03.580 --> 00:34:09.860
If you have 150 or 1200 or whatever, you're using presets or you're twisting it a little
00:34:07.600 --> 00:34:35.600
Yeah. Yeah.
00:34:08.120 --> 00:34:31.120
Yes.
00:34:09.860 --> 00:34:13.120
bit here and there, but you are not intimately familiar.
00:34:13.120 --> 00:34:18.720
I think being familiar with your gear and getting the best out of it, that's a whole
00:34:18.720 --> 00:34:20.140
different thing.
00:34:20.140 --> 00:34:23.120
And that's called being dedicated to your art.
00:34:23.120 --> 00:34:25.840
And these days, there is no excuse.
00:34:25.840 --> 00:34:31.180
If you can't make something sound good with the tools that come with your DAW stock, then
00:34:31.120 --> 00:34:33.360
You've got a problem. Yes.
00:34:31.180 --> 00:34:33.540
it's your fault.
00:34:33.360 --> 00:34:51.800
This is almost sounding like a commercial for us on a previous episode.
00:34:33.540 --> 00:34:38.720
It's not gonna get saved by, you know, it's like wine or any of those things.
00:34:35.600 --> 00:34:42.600
Right.
00:34:38.720 --> 00:34:44.880
You get 95% of the way there, the extra five costs you exponentially more, and only a few
00:34:42.600 --> 00:34:57.040
Yeah, no, but I'm so happy to hear you say that because it's something that Jody and
00:34:44.880 --> 00:34:50.720
of the cork sniffers are gonna notice the difference, you know?
00:34:50.720 --> 00:34:52.720
Yeah.
00:34:51.800 --> 00:34:54.300
[LAUGHTER]
00:34:52.720 --> 00:34:54.720
Yeah.
00:34:54.300 --> 00:35:08.300
[ Inaudible ]
00:34:54.720 --> 00:34:56.720
Yeah.
00:34:56.720 --> 00:35:06.060
Yeah.
00:34:57.040 --> 00:34:58.440
I say a lot, right?
00:34:58.440 --> 00:35:04.600
And I think it can come across as sort of hyperbole or just arrogance, quite frankly,
00:35:04.600 --> 00:35:05.920
But it really is true.
00:35:05.920 --> 00:35:07.240
It really is true.
00:35:06.060 --> 00:35:11.700
It's not about arrogance at all, you know, because I don't do that well sometimes.
00:35:07.240 --> 00:35:16.000
Well, no, but I'm saying from our perspective, it's like, well, you know, yeah, all the mud
00:35:08.300 --> 00:35:10.300
[laughs]
00:35:10.300 --> 00:35:12.300
[LAUGHTER]
00:35:11.700 --> 00:35:15.380
Yeah, sure.
00:35:12.300 --> 00:35:14.300
[laughter]
00:35:14.300 --> 00:35:32.300
[ Pause ]
00:35:15.380 --> 00:35:17.380
No.
00:35:16.000 --> 00:35:17.880
people can use the stock stuff, right?
00:35:17.380 --> 00:35:20.380
That's right.
00:35:17.880 --> 00:35:19.160
No, it's not about that.
00:35:19.160 --> 00:35:23.060
It's like, you know, it really is, do you know your EQ?
00:35:20.380 --> 00:35:28.520
That's right.
00:35:23.060 --> 00:35:24.880
Do you know your compressor?
00:35:24.880 --> 00:35:28.120
And then, you know, everything else is just flavors kind of thing.
00:35:28.120 --> 00:35:29.120
So there, okay.
00:35:28.520 --> 00:35:30.540
And absolutely true.
00:35:29.120 --> 00:35:33.400
Okay, I gotta go out on the lawn and yell up my clouds now.
00:35:30.540 --> 00:35:33.540
Absolutely true.
00:35:32.800 --> 00:35:36.800
[laughs]
00:35:33.400 --> 00:35:37.600
So yeah.
00:35:33.540 --> 00:35:39.580
Oh man.
00:35:36.800 --> 00:35:45.360
But of course.
00:35:37.600 --> 00:35:40.320
So what do you say Jodi?
00:35:39.580 --> 00:35:41.580
Yeah.
00:35:40.320 --> 00:35:44.680
Should we thank Steve here for being very generous with his time here and go into the
00:35:41.580 --> 00:35:43.580
Oh!
00:35:43.580 --> 00:35:47.020
Totally fun.
00:35:44.680 --> 00:35:46.520
last few questions here.
00:35:45.360 --> 00:35:52.640
Well, we have three questions that we're going to finish up with here.
00:35:46.520 --> 00:35:48.240
Thank you so much Steve.
00:35:47.020 --> 00:35:58.220
Yeah. Oh, totally fun. Thank you. Oh, there are three questions? Okay. Yes.
00:35:48.240 --> 00:35:49.360
Really really appreciate this.
00:35:49.360 --> 00:35:52.840
So as I, we have three questions.
00:35:52.640 --> 00:35:54.260
Yes.
00:35:52.840 --> 00:35:55.120
We're gonna, yes.
00:35:54.260 --> 00:35:56.580
Yeah.
00:35:55.120 --> 00:35:57.120
Do you want to start Jodi?
00:35:56.580 --> 00:35:57.380
Steve?
00:35:57.120 --> 00:36:08.920
Very cool.
00:35:57.380 --> 00:36:01.680
Name your favorite piece of gear
00:35:58.220 --> 00:36:12.300
It's going to be the Universal Ox. Yeah, yeah. Yeah, that's it. It's got to be that. I mean,
00:36:01.680 --> 00:36:05.200
that you absolutely cannot live without.
00:36:05.200 --> 00:36:12.080
All right. Okay.
00:36:08.920 --> 00:36:09.920
Straightforward.
00:36:09.920 --> 00:36:12.920
All right.
00:36:12.080 --> 00:36:25.200
There you go.
00:36:12.920 --> 00:36:19.880
There you go.
00:36:12.940 --> 00:36:18.540
All right, I'm gonna just plan B. Studio, sorry, Studio One. I mean, come on,
00:36:18.540 --> 00:36:23.740
I can't do anything without Studio One. No, it's the Mac. No, okay, all right. I'm gonna
00:36:19.880 --> 00:36:26.880
There you go.
00:36:23.740 --> 00:36:30.060
just go back to the ox. I love them all, but that's the answer. Yeah.
00:36:25.200 --> 00:36:28.200
[LAUGHTER]
00:36:26.880 --> 00:36:28.520
All right, awesome.
00:36:28.200 --> 00:36:30.540
(sniffling)
00:36:28.520 --> 00:36:29.520
You'll be lost without it.
00:36:29.520 --> 00:36:33.740
Okay, so the second question I would like to ask, what's the biggest lesson that you've
00:36:30.060 --> 00:36:42.700
Oh, that's a great question. That you can never, you never are at your pinnacle.
00:36:30.540 --> 00:36:32.800
(sniffling)
00:36:32.800 --> 00:36:35.720
(muffled speaking)
00:36:33.740 --> 00:36:44.840
ever learned in your career?
00:36:35.720 --> 00:37:04.040
[silence]
00:36:42.700 --> 00:36:51.180
Yeah, I think that no matter what things you've done, you could always do better.
00:36:44.840 --> 00:36:50.200
Very hungry in other words, yeah.
00:36:50.200 --> 00:36:52.120
Okay.
00:36:51.180 --> 00:36:56.020
That's what I've learned. You might be thinking, "Wow, that was awesome," and it might be,
00:36:52.120 --> 00:37:02.120
[BLANK_AUDIO]
00:36:56.020 --> 00:37:03.760
but there's more. Human beings are incredible at being able to grow. So that's what I would say.
00:37:02.120 --> 00:37:17.380
Very good.
00:37:03.760 --> 00:37:17.440
Okay. Okay. All right. Do your absolute best work wherever you are every time and don't be a dick.
00:37:04.040 --> 00:37:05.040
But wait, there's more.
00:37:05.040 --> 00:37:07.960
Alright, one last question.
00:37:07.960 --> 00:37:18.720
The advice that you universally give to others.
00:37:17.380 --> 00:37:19.380
That's...
00:37:17.440 --> 00:37:32.880
Isn't that the most universal thing? I have to say, just treat people with kindness. We have
00:37:18.720 --> 00:37:19.840
Don't be a dick.
00:37:19.380 --> 00:37:30.380
Yeah.
00:37:19.840 --> 00:37:24.280
You have never stepped inside the studio I had in LA, but I actually literally had a
00:37:24.280 --> 00:37:31.280
sticker that said don't be a dick on it.
00:37:30.380 --> 00:37:40.380
Very cool.
00:37:31.280 --> 00:37:48.280
No worries.
00:37:32.880 --> 00:37:36.040
way too much of that going on in the world. If you don't have something nice
00:37:36.040 --> 00:37:39.960
to say, don't say anything at all. But yes, I would say always do your best.
00:37:39.960 --> 00:37:45.080
I've got a lot of I've got a lot of plan B's on there. Sorry about that, guys.
00:37:40.380 --> 00:37:46.380
No, that's awesome. That is very, very cool.
00:37:45.080 --> 00:37:53.480
Yeah. Man, this was fun. This was fun.
00:37:46.380 --> 00:37:46.880
Very cool.
00:37:46.880 --> 00:37:51.920
Good. Well, thank you again for doing this.
00:37:48.280 --> 00:37:51.280
Yes, we agree.
00:37:51.280 --> 00:37:53.280
Thank you very much.
00:37:51.920 --> 00:37:52.880
Yeah, a lot of...
00:37:52.880 --> 00:37:57.880
Yeah, I think we've laughed more today than we have in a fair bit of time.
00:37:53.280 --> 00:37:58.780
Quite a long time.
00:37:57.840 --> 00:38:03.480
Well, good. Yeah. Alright.
00:37:57.880 --> 00:37:58.380
So...
00:37:58.380 --> 00:38:00.380
Yeah.
00:37:58.780 --> 00:38:00.620
Yes.
00:38:00.380 --> 00:38:08.880
Yes, don't I feel important?
00:38:00.620 --> 00:38:07.640
Well, it's time for Friday Fines and we always kick it off with Chris. What do you got today, Chris?
00:38:03.480 --> 00:38:05.640
(mumbles)
00:38:05.640 --> 00:38:19.640
[ Pause ]
00:38:07.640 --> 00:38:10.640
Yes.
00:38:08.880 --> 00:38:12.980
I have some music this week, just like you did last week.
00:38:10.640 --> 00:38:14.560
Yeah, mine was impromptu though.
00:38:13.480 --> 00:38:18.080
And it's the new single with Biffy Cliero.
00:38:14.560 --> 00:38:16.820
(laughing)
00:38:16.820 --> 00:38:22.400
Mm-hmm.
00:38:18.080 --> 00:38:22.000
They have a new single out called "Unknown Male 01".
00:38:19.640 --> 00:38:24.640
[ Pause ]
00:38:22.000 --> 00:38:25.480
And besides being a really, really cool song,
00:38:22.400 --> 00:38:29.540
Oh yeah?
00:38:24.640 --> 00:38:53.640
[ Pause ]
00:38:25.480 --> 00:38:29.200
the production is fucking amazing.
00:38:29.200 --> 00:38:30.960
It sounds really, really good.
00:38:29.540 --> 00:38:35.180
Well go at 'em.
00:38:30.960 --> 00:38:34.380
Yeah, it's produced by a guy called Adam Noble.
00:38:34.380 --> 00:38:37.040
And yeah, you should go check it out.
00:38:37.040 --> 00:38:38.360
It's a really, really cool song.
00:38:38.360 --> 00:38:40.320
And I think it's one of those tracks
00:38:40.320 --> 00:38:42.800
that's gonna make it into my list of reference tracks
00:38:42.800 --> 00:38:47.600
when I'm mixing. Yeah, it sounds really, really good. So there you go. What about you, Jody?
00:38:43.620 --> 00:38:45.900
Ooh, exciting.
00:38:45.900 --> 00:38:51.440
My Friday Fine this week is Yamaha
00:38:47.600 --> 00:38:48.160
What do you got for us?
00:38:48.160 --> 00:39:11.900
Huh.
00:38:51.440 --> 00:38:56.440
and it's brand new DTX8 and DTX10 electronic drum sets.
00:38:53.640 --> 00:39:18.640
[ Silence ]
00:38:56.440 --> 00:39:00.200
I guess what sets these kits apart
00:39:00.200 --> 00:39:02.720
from other electronic kits is they're using wood shells
00:39:02.720 --> 00:39:05.040
for their toms and their snare.
00:39:05.040 --> 00:39:07.580
So it's still the same concept
00:39:07.580 --> 00:39:10.760
if you've got like these rubbery symbols and such
00:39:10.760 --> 00:39:14.080
and your Yamaha brain, but you're now playing
00:39:11.900 --> 00:39:28.840
Me, too.
00:39:14.080 --> 00:39:16.520
on your mesh heads with wood shells.
00:39:16.520 --> 00:39:18.880
That's gonna make much of a difference, I'm not sure.
00:39:18.640 --> 00:39:40.400
[ Pause ]
00:39:18.880 --> 00:39:19.920
I don't know.
00:39:19.920 --> 00:39:24.920
It would be interesting to record that with live cymbals,
00:39:24.920 --> 00:39:27.160
comparatively how I did it with V-drum kits
00:39:27.160 --> 00:39:29.520
way back in the day with just the mesh heads
00:39:28.840 --> 00:39:36.640
1000.
00:39:29.520 --> 00:39:31.100
that you didn't have a whole lot of sound with.
00:39:31.100 --> 00:39:36.100
So yes, the Yamaha DTX series now has wood shells.
00:39:36.100 --> 00:39:37.960
Steve, can we put you on the spot?
00:39:36.640 --> 00:39:54.100
Doesn't have to be new. Ooh, yes. Yeah.
00:39:37.960 --> 00:39:40.300
Do you got something you wanna like say, hey?
00:39:40.300 --> 00:39:41.300
No!
00:39:40.400 --> 00:39:43.160
I got something, but it's nothing new.
00:39:41.300 --> 00:40:06.300
You cannot leave the batteries in those things.
00:39:43.160 --> 00:39:44.200
It's something old.
00:39:44.200 --> 00:39:48.240
And you guys are seeing it right here.
00:39:48.240 --> 00:40:15.240
Yeah, what I'm showing here is an EBO from Heat. I believe they call the company. Everyone that does not know, if you don't know, oh, I burned out my battery. I left it on. I left it on. I left it on. Okay, so an EBO is an electromechanical voice, not voice, it's an electromechanical unit that Jody and I, Chris, do you have one?
00:39:54.100 --> 00:40:15.220
Oh no.
00:40:06.300 --> 00:40:13.300
[pause]
00:40:13.300 --> 00:40:17.300
[laughs]
00:40:15.220 --> 00:40:18.420
I generally tend to borrow Jodie's when I need one.
00:40:15.240 --> 00:40:27.240
Okay, okay. Yeah, this is infinite sustain from your guitar or bass or other instrument
00:40:17.300 --> 00:40:20.300
[laughs]
00:40:18.420 --> 00:40:20.500
One's every four years.
00:40:20.300 --> 00:40:22.300
Right.
00:40:20.500 --> 00:40:21.500
Thank you.
00:40:22.300 --> 00:40:26.300
[pause]
00:40:22.380 --> 00:40:24.340
I just wanted to say thank you,
00:40:24.340 --> 00:40:36.780
for everything we do during our Soldier
00:40:26.300 --> 00:40:31.300
[pause]
00:40:27.240 --> 00:40:35.260
that uses the proper strings. It does not work on an acoustic guitar, to my knowledge.
00:40:31.300 --> 00:40:51.300
[ Pause ]
00:40:35.260 --> 00:40:40.640
Bronze doesn't work. But anyways, it lets you sustain a single note for ever and ever
00:40:36.780 --> 00:40:38.160
and the rest of our lives,
00:40:38.160 --> 00:40:40.780
with all the answers we're going to
00:40:40.640 --> 00:40:45.160
and ever. And the closer you get to the pickup, the louder it gets and it picks up the hard
00:40:40.780 --> 00:40:42.940
answer to everyone on behalf of her
00:40:42.940 --> 00:40:34.220
on this call,
00:40:42.940 --> 00:41:03.940
Very nice.
00:40:45.160 --> 00:40:48.200
harmonics of the string, it sounds kind of like feedback,
00:40:48.200 --> 00:40:49.980
used on a gazillion different tracks
00:40:49.980 --> 00:40:51.400
from a gazillion different artists,
00:40:51.400 --> 00:40:54.840
and it may be the coolest invention of all time.
00:40:52.300 --> 00:40:54.380
(laughs)
00:40:54.380 --> 00:41:06.160
Is now, is that an original EBO?
00:40:54.840 --> 00:40:56.800
I literally said earlier
00:40:56.800 --> 00:40:59.360
that I had my Mutron Octave Divider forever.
00:40:59.360 --> 00:41:01.280
I've actually had this as long,
00:41:01.280 --> 00:41:05.700
and this is, so this is 33 years old, and it still works.
00:41:03.940 --> 00:41:32.940
Yeah.
00:41:05.700 --> 00:41:09.600
Well, it's a 33-year-old Ebo.
00:41:06.160 --> 00:41:11.340
Well, okay, so yeah, okay, you're,
00:41:09.600 --> 00:41:22.080
No.
00:41:11.340 --> 00:41:13.180
you're still, I was wondering, yeah,
00:41:13.180 --> 00:41:15.700
yours is an EBO/EBO.
00:41:15.700 --> 00:41:17.020
I thought like for a second there,
00:41:17.020 --> 00:41:18.680
you said it was like a rerelease of something,
00:41:18.680 --> 00:41:20.420
but you've actually used it so much,
00:41:20.420 --> 00:41:22.420
you've got the paint coming off the logo.
00:41:22.080 --> 00:41:23.840
I have worn the paint off of it.
00:41:22.420 --> 00:41:32.320
Oh, it's a fantastic device.
00:41:23.840 --> 00:41:26.280
I have worn most of the white paint off of it.
00:41:26.280 --> 00:41:33.080
I've used it for so many different things and it never ceases to amaze me.
00:41:32.320 --> 00:41:33.920
I've just used it the other day.
00:41:32.940 --> 00:41:35.740
Yeah, I think David Bowie's heroes, right?
00:41:33.080 --> 00:41:36.640
Yeah.
00:41:33.920 --> 00:41:35.920
Yes.
00:41:35.740 --> 00:41:36.740
That's...
00:41:35.920 --> 00:41:40.720
Ooh.
00:41:36.640 --> 00:41:53.920
could be heroes just for one day with an Evo. No. Me? I've been to everyone since 1986.
00:41:36.740 --> 00:41:42.240
Ooh, we're not gonna top that.
00:41:40.720 --> 00:41:44.820
So now, question.
00:41:42.240 --> 00:41:43.240
So...
00:41:43.240 --> 00:41:43.740
L-
00:41:44.580 --> 00:41:47.060
Audio
00:41:44.820 --> 00:41:46.720
Have you ever attended the NAMM show?
00:41:46.720 --> 00:41:48.420
Yeah.
00:41:47.060 --> 00:41:51.220
(silence)
00:41:48.420 --> 00:41:58.620
So you tend to remember the old man that had the Ebo booth.
00:41:51.220 --> 00:41:53.220
You
00:41:53.220 --> 00:41:55.220
You
00:41:53.920 --> 00:42:00.320
Yeah, of course, the guy that would do the the guy that actually really nailed it.
00:41:55.220 --> 00:41:57.220
You
00:41:57.220 --> 00:41:59.220
You
00:41:58.620 --> 00:42:00.020
Constant.
00:41:59.220 --> 00:42:03.380
(silence)
00:42:00.020 --> 00:42:01.980
Right.
00:42:00.320 --> 00:42:05.240
Yes, yeah, I actually missed a whole error. Oh, I'm sorry to hear that because
00:42:01.980 --> 00:42:03.500
He's no longer around.
00:42:03.380 --> 00:42:05.380
You
00:42:03.500 --> 00:42:12.660
At least I don't think he is.
00:42:05.240 --> 00:42:11.840
He was-- there was an offshoot that was from a company called--
00:42:05.380 --> 00:42:09.540
(silence)
00:42:09.540 --> 00:42:16.700
[BLANK_AUDIO]
00:42:11.840 --> 00:42:14.840
well, Mutron turned into ARP, and they released this crazy thing
00:42:12.660 --> 00:42:19.660
I've heard of it.
00:42:14.840 --> 00:42:16.640
called the Gizmotron.
00:42:16.640 --> 00:42:19.800
Has anyone ever heard of the Gizmotron?
00:42:16.700 --> 00:42:18.700
[LAUGH]
00:42:18.860 --> 00:42:28.620
[BLANK_AUDIO]
00:42:19.660 --> 00:42:21.660
(sighs)
00:42:19.800 --> 00:42:24.760
Yeah, Lowell Cream and Kevin Godley from 10 CC invented--
00:42:21.660 --> 00:42:36.240
(laughs)
00:42:24.760 --> 00:42:27.200
or Kevin Godley or Lowell Cream invented it.
00:42:27.200 --> 00:42:30.320
And it was six wheels made of rubber
00:42:28.620 --> 00:42:52.620
Cool. Very cool.
00:42:30.320 --> 00:42:34.040
that would turn your guitar into a cello-like instrument.
00:42:34.040 --> 00:42:37.560
and it was what a mess to put that thing on an instrument,
00:42:36.240 --> 00:42:49.420
Oh boy.
00:42:37.560 --> 00:42:38.680
but it worked when it worked.
00:42:38.680 --> 00:42:40.720
It was brilliant in the light from Jimmy Page.
00:42:40.720 --> 00:42:42.880
She's at Led Zeppelin uses that.
00:42:42.880 --> 00:42:44.360
And they just recently,
00:42:44.360 --> 00:42:47.480
someone bought the rights to the company and rebuilt them.
00:42:47.480 --> 00:42:49.520
And I have a Guzmatron.
00:42:49.420 --> 00:42:50.420
Nice.
00:42:49.520 --> 00:42:53.720
So I talk a lot.
00:42:50.420 --> 00:42:51.420
All right.
00:42:51.420 --> 00:42:53.420
Well, there you have it.
00:42:52.620 --> 00:42:54.620
Yeah.
00:42:53.420 --> 00:42:57.020
We're going to wrap it up here.
00:42:53.720 --> 00:42:57.720
So, okay.
00:42:57.020 --> 00:43:02.400
While we've got your attention, we would like to ask that you go to our website, InsideTheRecordingStudio.com,
00:42:57.720 --> 00:43:27.700
[ Silence ]
00:43:02.400 --> 00:43:04.500
and sign up for our email list.
00:43:04.500 --> 00:43:09.580
Doing so gets you weekly reminders of the most current episodes and Tuesday tips that
00:43:09.580 --> 00:43:10.620
come out.
00:43:10.620 --> 00:43:16.280
In addition to that, when you sign up, you do get some free plug-in presets from Chris
00:43:16.280 --> 00:43:21.320
and I, that will help make your productions a little bit better. If you are signed up on the
00:43:21.320 --> 00:43:27.400
email list any time we are running a contest, you are automatically entered to win. If you send us
00:43:27.400 --> 00:43:35.640
an email to Goldstar@insidetherecordingstudio.com with the word "Steve", you will get something back
00:43:27.700 --> 00:43:51.680
[ Silence ]
00:43:35.640 --> 00:43:40.440
in your inbox that might make you laugh. And if you have a topic of suggestion for us to explain
00:43:40.440 --> 00:43:45.880
in a future episode, contact us and we'll put it into consideration for a future episode.
00:43:45.880 --> 00:43:49.640
And with that, I'll say, see you next week.
00:43:49.640 --> 00:43:51.640
OK.