STU BROOKS (Nine Inch Nails, Dominic Fike, Dub Trio) [Bassed. Podcast 40]

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[SPEAKER_02]: Hello, and welcome to the based podcast.
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[SPEAKER_02]: It's been a minute, Nick and I are back, and we're joined with the amazing Stu Brooks.
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[SPEAKER_02]: Stu has played with many artists, like Dominic Fyke, Lady Gaga, Lauren Hill, Mob Deep.
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[SPEAKER_02]: Mike Patton, Modus Yahoo, started out live band, recently joined Nine-inch Nails, which is awesome.
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[SPEAKER_02]: Huge Nine-inch Nails fan here, if we didn't know.
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[SPEAKER_02]: Also a jad for artists so all three of us are jad for your artists on this call.
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[SPEAKER_02]: What is up, man?
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[SPEAKER_02]: How's it going?
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[SPEAKER_01]: Hey guys, thanks for having me.
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[SPEAKER_02]: Yeah, who you are?
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[SPEAKER_01]: Who are you on tour with right now?
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[SPEAKER_01]: I'm out with the Dominic Fike.
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[SPEAKER_01]: We're about our sixth show in the link up with Taman Paula tomorrow.
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[SPEAKER_01]: I'm in Columbus, Ohio.
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[SPEAKER_00]: That's sick.
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[SPEAKER_01]: That was about a six-week tour, but half the shows are with Team Impala and the rest of our headliner shows with Dominic.
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[SPEAKER_02]: very cool.
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[SPEAKER_02]: Is your, are you flipping set lengths like some nights or 45 minutes and headliners?
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[SPEAKER_01]: Yeah, it's a 90 minute set list with Dom and I come to headliners and then 45 for the team shows.
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[SPEAKER_01]: Isn't it?
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[SPEAKER_01]: Isn't it crazy?
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[SPEAKER_00]: Yeah, isn't it crazy like when you do those nights, it, it's just like such a quick 45 after you've done like an hour and a half the night before.
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[SPEAKER_01]: for sure.
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[SPEAKER_01]: Yeah, I've done a ton of opening shows with a damn dub trio over the years, like where it's like 30 minutes or 45 minutes and it's just like two short.
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[SPEAKER_01]: You kind of just like get it's almost like you get warmed up and then it's over and it kind of then it's like what do you do for us the night?
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[SPEAKER_00]: Right.
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[SPEAKER_00]: It's 7 p.m. You're like, do I go back to catering or I don't know.
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[SPEAKER_01]: That's got to get some dirt or something.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: Cool.
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[SPEAKER_00]: Nice.
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[SPEAKER_02]: That's awesome.
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[SPEAKER_02]: Speaking of dub trio, you also have some some solo artists work that came out.
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[SPEAKER_02]: What was it?
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[SPEAKER_02]: Maybe four or five years ago.
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[SPEAKER_02]: I was watching one of one of the tunes that had like Poppy in it.
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[SPEAKER_02]: All right.
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[SPEAKER_02]: Cool.
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[SPEAKER_02]: That's, so at this point we've got, you know, base player, solo artist producer, you're also playing guitar a lot for nightingales, like maybe two or three songs, a night.
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[SPEAKER_01]: Yeah, yeah, it's like the first, um, act two is, it's kind of like the first six or seven songs I'm playing guitar.
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[SPEAKER_02]: Have you always been such a switch other?
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[SPEAKER_01]: I love multitasking.
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[SPEAKER_01]: I sort of got that with dub trio, like, got practice with that, doing multiple things, but not usually guitar, usually more like synths and noise makers and doing dub, dobs and real time and stuff like that.
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[SPEAKER_02]: What got you into dub music generally and forgive me if I'm misused in some of the terms that the first time I was aware of your playing was the
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[SPEAKER_02]: you know, looking back like I would listen, I would tear it up so much, honestly not even knowing who the base player is, but I was just like, psyched out how good it was.
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[SPEAKER_02]: What got you into that scene, are they the same thing?
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[SPEAKER_02]: What you were doing with modesty, ahoo, and what the dub stuff is?
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[SPEAKER_01]: Um, well, modesty, uh, picked up dub trio as his rhythm section.
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[SPEAKER_01]: Okay.
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[SPEAKER_01]: Cool.
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[SPEAKER_01]: Yeah, I, but we had done some studio stuff with him leading up to that, but um, dub trio formed in 2004.
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[SPEAKER_01]: Um, we were rhythm sectioned for another band, um, that originally, like, came out of Boston, um, it was, uh,
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[SPEAKER_01]: But we had a singer, the guitar player from Doug Trio, Dave Holmes, his older brother, was the singer.
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[SPEAKER_01]: And we had the Anthony Parks on drums and myself and Dave on guitar.
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[SPEAKER_01]: And we moved out to New York in 2000.
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[SPEAKER_01]: And around that time, we were listening to a lot of electronic music, like John Gold and Drum and Bass.
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[SPEAKER_01]: And kind of doing some live.
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[SPEAKER_01]: was kind of doing early live drum and bass, kind of pioneered that I'd say like early like maybe Zach Dan Ziger was doing it early or Jojo Mayor.
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[SPEAKER_01]: But Diyosini was exceptional at it and um...
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[SPEAKER_01]: Uh, I guess, um, when we first moved to New York, we, he switched off and, um, started up his band Kudu, and then we were on a search for another drummer and we found Joe Tamino.
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[SPEAKER_01]: we started up.
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[SPEAKER_01]: I guess we auditioned him first and those are last audition as well and became instant buddies and he gave me a king tubby tape which is he's like the father of
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[SPEAKER_01]: and the record was King Tubbing meets uptown rockers or up rockers uptown and um um uh that blew my mind and um we started incorporating that stuff into um the band and then um the band was called actual proof and uh so then um i kind of was like damn i wish i knew
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[SPEAKER_01]: about this music before we were doing jungle because it's sort of jungle is derived from dub and as well as like so many countless styles of music and but so I kind of went backwards and then kind of obsessed over it and then I joined this artist named Topaz who is like an Afrobeat artist, artist, Afrobeat
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[SPEAKER_01]: and dub kind of mix and we went out on tour with the whalers who family men was the captain of that band and you know for it was Bob Marley's band and uh I watched him every night for about six weeks and I came back and we formed a trio basically like one story short and I came back a different musician from that tour and we
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[SPEAKER_01]: just started experimenting with live dub because usually it's a style of music that is in engineers realm in the studio or at if it's a live show it'll be like the engineer at front of house doing the dub effects but we kind of took that process and applied it to not only reggae but any style of music and that's sort of where we
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[SPEAKER_01]: kind of found our niche was like this live dub mixed with punk and ambient and noise and just I mean whatever there was no limitations really right and it was you you've usually got a base back in the day was mostly jazz bass right
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[SPEAKER_01]: Um, yeah, I was playing a jazz bass.
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[SPEAKER_01]: I was playing in a tele-AZ, um, for forever, uh, since I moved to New York, I, I got a, um, a tele-AZ from, uh, Jimmy Copelo, who, who does a leave a Copelo basis?
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[SPEAKER_01]: I don't know.
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[SPEAKER_01]: Okay.
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[SPEAKER_01]: But this before he had that, and he was at the New York Italian-based boutique, and he recommended, uh, some regular stuff, and this, a tele-AZ,
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[SPEAKER_01]: It's like a legendary Lutheran, and now he's with Ollento, LaBella's based company.
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[SPEAKER_01]: But so I had an early version of this Masino, I'll tell you, I see, which, like, there's some LaBella flats on it, and the pre-app inside was just so a tremendous, and that
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[SPEAKER_01]: I guess back to like the multitasking question, like I guess when we were doing the live dubbing, I was playing some keys and then also doing Dumbo Facts.
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[SPEAKER_02]: Yeah, because you've got the base and you usually have a rack of pedals plus the synth.
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[SPEAKER_02]: and you're manipulating pedals with your hand, there's probably more at your feet, I don't know.
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[SPEAKER_02]: But like that was opening.
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[SPEAKER_01]: Yeah, that's pretty much it.
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[SPEAKER_01]: Yeah, I was opening up microphones with my feet with like volume pedals or AB switches.
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[SPEAKER_00]: That's it.
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[SPEAKER_01]: And that's where you saw with modest, you kind of like that we were able to turn like a trio into a much,
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[SPEAKER_01]: bigger sound, I think.
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[SPEAKER_01]: It sounds like a lot more instruments I'd say.
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[SPEAKER_02]: Yeah, from, I mean, because the outside are looking in, like sound effects are so important in that kind of music.
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[SPEAKER_02]: It's like, it's just a constant.
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[SPEAKER_02]: Obviously, the stereotypical one is that the snare, rimshot, delay, or the guitar.
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[SPEAKER_02]: And to me, when I was trying to like,
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[SPEAKER_02]: do some research looking back on some of your work and being like, how does this relate to nine inch nails?
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[SPEAKER_02]: Um, I feel like you, it's it.
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[SPEAKER_02]: You know, you talked in an interview about like visualizing it and all that kind of stuff like it really made sit like on paper.
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[SPEAKER_02]: It doesn't make sense But if you look at the music and how you're doing it and all the different artists you're interacting with down the line.
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[SPEAKER_02]: You're like, oh my gosh.
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[SPEAKER_02]: It's just it's an iteration of the same energy.
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[SPEAKER_02]: I feel
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[SPEAKER_02]: Do you feel that way?
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[SPEAKER_02]: Because even your solo work, going that scinty, dark aspect, it's like the DNA, the same thread that a band like Nine and Stale's pulls on, kind of feels like it was always there.
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[SPEAKER_01]: Yeah, thank you.
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[SPEAKER_01]: Yeah, I guess like when I first fell in love with music, it was 1991 or two.
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[SPEAKER_01]: And so I was listening to The Dowered Spirels, the first record that really turned me on to Nine Stale's.
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[SPEAKER_01]: I kind of carried that with me for the rest of my life, I guess.
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[SPEAKER_01]: And just that kind of, I guess, expression with sound design.
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[SPEAKER_01]: And just the way you deliver music in general, I think.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: I was able, I always carried that with me, even with Matsuyahu, who was like a religious, reggae artist.
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[SPEAKER_01]: I came at it with an aggressive stance, and all the gigs that I've done,
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[SPEAKER_01]: sound design being the first and foremost important thing.
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[SPEAKER_01]: Yeah, I'd say that's where that's incorporated into all the styles of music that I'm playing.
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[SPEAKER_00]: Nice.
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[SPEAKER_02]: Yeah, so
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[SPEAKER_02]: When I, you know, I don't feel like base players were showing up with pedals until like, I don't know, 2010 regular like the average guy having pedals.
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[SPEAKER_02]: Yeah.
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[SPEAKER_02]: And you, I mean, you've kind of been doing that with the dub thing from the start, uh, which I think is really cool.
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[SPEAKER_02]: Do you feel like as you developed that style and kind of whatever you were bringing to the stage, like,
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[SPEAKER_02]: Did you ever felt like you got kind of over your skis about like, uh oh, I just got my hands swatted because I just, you know, chorus up a ballad on a gig and like they're like, no, not the vibe or what?
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[SPEAKER_02]: Like, did it take refinement of that?
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[SPEAKER_02]: Do you remember ever like being like, most crap?
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[SPEAKER_02]: I'm never doing that again.
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[SPEAKER_02]: Like, I just fuzzed out a Celine Dion song or like, what did it take to develop that style?
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[SPEAKER_02]: Or did you feel like you always had an
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[SPEAKER_01]: I guess like early on in my New York, I was doing a lot more like dance music, so some synth kind of bass was welcomed and I think I'd excited people like the way I was like incorporating certain effects.
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[SPEAKER_01]: And then later session work was kind of more in that vein as
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[SPEAKER_01]: where I was playing flatwounds and it was like tubby and dubby kind of style of music early on in New York.
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[SPEAKER_01]: And still like I have like the Moggerfugier low pass filter on my board to this day.
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[SPEAKER_01]: But with with Dominic now in nice funnels I'm I use the cotton cortex and with Danny
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[SPEAKER_01]: using is basically on the quad cortex at this point.
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[SPEAKER_01]: But I'll be depending, I'll create a loop of like the mode, the motor foger, and maybe a fuzz pedal or something that's any expression title, but yeah, I try to just show up with the good clean tone, with the distortion tone.
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[SPEAKER_01]: Uh, generally, um, um, you know, like the, the, the Jadfrier capable capital, um, that's, we show up to the session with that.
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[SPEAKER_01]: You're good.
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[SPEAKER_02]: Yeah.
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[SPEAKER_02]: Um, we, well, I, I want to talk about tone first and then like I really want to dive in on gear to, um,
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[SPEAKER_02]: How has your tone changed?
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[SPEAKER_02]: Because we were just kind of hinting at it.
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[SPEAKER_02]: Like dub is like, I mean, tone off bass up, like feel it in your bones.
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[SPEAKER_02]: Nine inch nails has such a variety of bass tone, where a piano paladino played on one song or like you get some of the songs that are early 2000s late 90s.
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[SPEAKER_02]: And it's like music man, round-wound, like hyperactive kind of makes me think,
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[SPEAKER_02]: Um, how do you balance that?
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[SPEAKER_02]: Do you try to?
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[SPEAKER_02]: Does anybody care?
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[SPEAKER_02]: Like what do you do now?
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[SPEAKER_02]: Like how's your tone evolved or changed to like the heck?
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[SPEAKER_02]: Yeah.
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[SPEAKER_01]: Um, well, I guess like the evolution of my tone.
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[SPEAKER_01]: I sort of early in New York days, um, like in 2000, 2001, I sort of found.
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[SPEAKER_01]: in a musical identity with the flat-wounds.
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[SPEAKER_01]: I was like, okay, this is my sound, you know, I'm gonna stick with this.
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[SPEAKER_01]: And, like, base all the way up, treble the way down, like, base button pushed in.
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[SPEAKER_02]: Yeah, yeah.
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[SPEAKER_01]: And, and just kind of rolled with that forever.
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[SPEAKER_01]: And, I guess it was by the time I moved to, actually, right before I moved to LA, I was doing that scenario gig.
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[SPEAKER_01]: I got out of note on my way out the door from Lenny Pickett saying he said felt not heard and I was like dude, like dude, yeah, just get an adjustment from the monitor guy, you know, like, but whatever, um, because on broadcast, I think they just spikes or forgiveness came came across fine, but, um,
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[SPEAKER_01]: uh but that kind of hurt me a little so I was self conscious about that um but I like the first thing I did was started collecting p-bases like when I moved to LA and um I think it was a great call for me because um I realized that um p-bases the non-active
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[SPEAKER_01]: the pre-amps that I was using over the years were just kind of over driving pedals and then they don't really react very well like so then like I realized like I have more balance and you can cut through the mix easier it's just sort of sits in the mix automatically like a clean T-base yeah with the pick and
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[SPEAKER_01]: Yeah, I guess so, that's where I'm at now.
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[SPEAKER_01]: And like the past year or so, like working with Nightish Niel is my tone is improved, I'd say.
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[SPEAKER_01]: Working with the quad cortex and putting a lot of time to that with the Nightish Niel's crew and tech tech, my tech and
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[SPEAKER_01]: the front of house and monitors just going up and back like dialing in tones and with with the trend as well.
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[SPEAKER_01]: I feel like my tone has improved drastically and learning those devices as well.
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[SPEAKER_00]: Yeah, I love digging into the quad.
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[SPEAKER_00]: That's basically all I use at this point.
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[SPEAKER_00]: I think there's something to be noted about like how live to be like I play a country gig that's like very Americana and a lot of the stuff is like
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[SPEAKER_00]: You know, maybe it's like flats on a pee and maybe it's not maybe it's a five string, maybe it's four But there's like a certain amount of a live that I try to build and I could imagine in your shoes, especially doing like these Like arenas, you know, with the nine inch nails gig, it's like there is a certain amount of like I do need to take my touch on it Do you see that much where you're like I'm gonna I'm gonna add more aliveness or I'm gonna pull it in a moment like do you do you find your kind of
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[SPEAKER_00]: Shooting for those tones or you like, no, this is like my life tone kind of thick.
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[SPEAKER_00]: Does that make sense?
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[SPEAKER_01]: Yeah, I guess I got more keen on Using gates and compression and the gate like the digital gate stuff is
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[SPEAKER_01]: game changers so fun like as you can really just destroy a sound and but then it's not going to feed back and like it's singing like it's a and it has a nice percussiveness to it and um they had just experimenting with that has been really fun and then
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[SPEAKER_01]: I have more impact with Miss Less, you know, I think, right.
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[SPEAKER_01]: And the B stage like playing in the center of the arena, I think is a whole other challenge.
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[SPEAKER_01]: And
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[SPEAKER_02]: Um, like keeping it crazy to feel to like your your front of the PA now, but you've also got in ears.
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[SPEAKER_01]: All right.
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[SPEAKER_01]: So I want to be like really careful as to not over embellish or, but whatever.
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[SPEAKER_01]: I mean, um, I'll find out tomorrow because the Taemin Pollish show was in the center.
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[SPEAKER_01]: And I know that it's a different audio team and, um, we'll see how it goes, I'm curious.
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[SPEAKER_01]: Yeah, we'll show it will be in the round.
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[SPEAKER_01]: Very cool.
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[SPEAKER_02]: So Nick has been full quad cortex for a minute.
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[SPEAKER_02]: I am only recently
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[SPEAKER_02]: uh, embracing the digitalness.
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[SPEAKER_02]: They came out with the mini and I was like, okay, this has me written all over it because I'm, I'm a big noble guy or I'll have the capo or I'll have some flavor of analog preamp and then I have a really awesome compressor called the DLA2A.
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[SPEAKER_02]: That's
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[SPEAKER_02]: So between those two, the mini fits in really perfect and I'm kind of using it for stall boxes and less like my fundamental tone comes from there.
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[SPEAKER_02]: It's just how I have it in my my chain right now.
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[SPEAKER_02]: But I mean, having the global EQ stuff and really even having a gate
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[SPEAKER_02]: Um, I didn't realize how much something so boring would really clean up like front of house, even a bass rig behind you a little bit, but like I can't tell when the gate is opening and closing, like it's that good and it's that subtle.
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[SPEAKER_02]: Um, so on, you're a rundown of the nine-inch
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[SPEAKER_02]: in a rack with the quad cortex before it, what are you doing in the quad cortex and what are you doing with the system?
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[SPEAKER_02]: Like what does that add for you?
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[SPEAKER_01]: Well I'm I'm used to using apps as well and the the nice nails show doesn't have any apps on stage
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[SPEAKER_01]: I just saw it up there, you know, I think a lot of artists do that now, and I'll be doing that this week as well.
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[SPEAKER_01]: Nice.
23:02.628 --> 23:10.732
[SPEAKER_01]: Right now I have a, and I get a lot of behind me because I'd like to feel it, but I'm really
23:20.635 --> 23:26.178
[SPEAKER_01]: sending out a dry signal to this as well.
23:26.418 --> 23:32.180
[SPEAKER_01]: And they're too, because everyone was just redundant, nice.
23:32.841 --> 23:42.705
[SPEAKER_02]: So are you running any apps, or like, is it all distortions, and you keep your tone pretty, like untouched, or maybe it was like one main app,
23:49.429 --> 23:52.131
[SPEAKER_01]: I like to use it as a stop box for nine snails.
23:52.211 --> 24:01.897
[SPEAKER_01]: It was like different because it's the same scene but just kind of like a stop stop.
24:03.272 --> 24:21.294
[SPEAKER_01]: Yeah, and stop mode, I should say, excuse me, and stop mode, and then able to do switches and kind of keep that feeling like I have a pedal board in front of me still, you know, this is the way of understanding, I'd add.
24:23.258 --> 24:45.996
[SPEAKER_01]: Fuzz, like I like the sub-synth effects in the quad cortex, and EQs, EQ changes, it depends on the section of the song, and switches are automatic with playback, and yes, some of the stuff
24:53.025 --> 25:09.843
[SPEAKER_01]: Yeah, and then like trying to make the baritone like so to be distorted distorted guitar sound into a base sound on a dime So whatever I can do to make that happen in the quad cortex, we made it possible
25:10.569 --> 25:16.294
[SPEAKER_02]: Yeah, do you, so I'm actually going to do like a preset pack.
25:16.334 --> 25:28.425
[SPEAKER_02]: I'll, I'll, I'll, not that you need it, but I'll send it to you when I get it done, but like, I have a lot of cool stuff in my studio where like, I think the coolest part of the quad cortex is like capturing things to me.
25:28.445 --> 25:30.787
[SPEAKER_02]: A lot of people like that don't care about that at all.
25:30.847 --> 25:32.169
[SPEAKER_02]: I don't want to waste my time or whatever.
25:32.789 --> 25:56.076
[SPEAKER_02]: but I've collected like all these kind of odd ball cool things around my studio like I've a really great beef 15 and it's 70s beef 15 so it has the the deep and the bright switches on them and everyone says not to touch those and I touch those every time like I hit the deep switch I hit the bright switch and that turned bass and trouble down so it
26:01.878 --> 26:23.731
[SPEAKER_02]: plus some kind of 47 plus an API preamp like I can start capturing things as chains instead of like I'm going to capture the B15 and then the microphone and then the pre- it's like no I can do one capture for kind of the whole chain that I'm using in the studio and bring it live and that kind of thing really excites me.
26:25.112 --> 26:47.805
[SPEAKER_02]: For like the amplifier models, is there a particular one you gravitate to like I would assume maybe an SVT or something like that, but is it that color or I think I was liking the fender inspired sweet I think it's like the flip top, but also
26:50.560 --> 26:56.824
[SPEAKER_01]: I can't remember where I ended up, but I love the high-watt inspired and sweet presets that they have.
26:59.866 --> 27:00.326
[SPEAKER_01]: Yeah.
27:01.067 --> 27:14.215
[SPEAKER_01]: And like the captures, I've never really done, but I'll dig around and try to find like some good fuses, because I think the fuses are hard to nail on the quite cortex at this time.
27:16.199 --> 27:16.599
[SPEAKER_00]: I agree.
27:16.619 --> 27:20.581
[SPEAKER_00]: I actually find some kind of trouble with a lot of ampsims currently on my quad.
27:20.601 --> 27:25.003
[SPEAKER_00]: I'm using someone else's capture of just an SD.
27:25.163 --> 27:27.144
[SPEAKER_00]: And it's like, I think it's good.
27:27.184 --> 27:31.246
[SPEAKER_00]: And then all my drives or captures of drives that I used to have on my physical board.
27:31.326 --> 27:34.928
[SPEAKER_00]: And then I use the capture of the capo, which is kind of funny right now.
27:35.908 --> 27:42.211
[SPEAKER_00]: Yeah, but the JHS killed does a cool fuzz thing that I can't get to come through on the capture.
27:42.231 --> 27:46.132
[SPEAKER_00]: I guess just because of the nature of a fuzz and how it just needs to be out to what you're doing.
27:46.572 --> 27:54.635
[SPEAKER_00]: So I, you said that and I was like, yeah, that would be a pedal I would have externally just to, you know, fully get what it can do.
27:54.655 --> 27:58.517
[SPEAKER_00]: Because I drive one thing, but a reactive fuzz is a totally different thing.
27:59.397 --> 28:02.919
[SPEAKER_01]: Yeah, there's a new, sorry, go ahead.
28:03.799 --> 28:09.964
[SPEAKER_01]: I was just, I spent some time experimenting with that, and I still don't really have an answer for, like the best way.
28:10.585 --> 28:10.785
[SPEAKER_01]: Right.
28:11.546 --> 28:24.937
[SPEAKER_02]: Around when I was ditching the bigger quad cortex, because it just wasn't working with me, because I was, I was bringing so many pedals plus this big thing that I wasn't utilizing enough, which is why the mini was so awesome for me.
28:27.039 --> 28:38.090
[SPEAKER_02]: They came out with something called V2 captures, and I had just captured a fuzz petal, and felt like it was a little bit of a bait and switch.
28:38.110 --> 28:39.952
[SPEAKER_02]: It was in reality, wasn't.
28:39.992 --> 28:46.459
[SPEAKER_02]: But I was like, this is not, this doesn't feel like the petal that's in front of me, and I don't understand why you can capture.
28:47.279 --> 29:06.468
[SPEAKER_02]: A overdrive so well and not a fuzz will write around when they made the mini they came out with v2 captures Which I think work on all quad cortexes, but you have to plug it into your computer and it does It does all the processing like both on the machine and in the cloud and it does some new kind it takes a little bit more DSP
29:07.668 --> 29:15.252
[SPEAKER_02]: Um, but I really like the union tube of transistor sub buzz fuzz a lot and it nailed it.
29:15.472 --> 29:33.980
[SPEAKER_02]: So like going from v1 where it's just you plug the pedal into your quad cortex, it's like, not really there, but I could kind of get it there by like boosting fuzz way more than I should and like taming some high end way more than I should then the quad quartet capture sounded like
29:34.818 --> 29:39.001
[SPEAKER_02]: where I started, you know, sounded like I wanted it to, but I was having to do weird stuff with the knobs.
29:39.582 --> 29:45.306
[SPEAKER_02]: The V2 stuff, if you ever get a chance, just hook it up to your computer, it's night and day better.
29:46.387 --> 29:51.090
[SPEAKER_02]: Um, like every fuzz pedal, I don't know if you can do modulation all that stuff.
29:51.130 --> 29:52.832
[SPEAKER_02]: It probably can't yet, but, um,
29:53.512 --> 30:05.444
[SPEAKER_02]: That's the only way to do the fuss thing in my opinion Because it rips and now I just want to start collecting little Fuzz captures like a weirdo you guys are gonna make me build a huge board again
30:08.367 --> 30:31.535
[SPEAKER_00]: I see people will use the quad in tandem with plenty of other stuff and something I love about literally I'm just like a quad in a tuner like that's literally what I'm running and 99% of the time I'm loving it but there's like an inspiredness that I do miss about like when I was growing up like you know playing guitar you'd be like oh you know this random thing washes up on Craigslist
30:32.135 --> 30:33.515
[SPEAKER_00]: Logis by it and see if it's cool.
30:33.555 --> 30:45.758
[SPEAKER_00]: You know, see if it works with what I'm doing and I just don't have that anymore And I was actually having a conversation in the day with the buddy There's a few other pedals that I firmly believe that quad just won't do for me and the O.C.
30:46.098 --> 31:00.922
[SPEAKER_00]: 2-3 thing Like the generators in the quad do not grow in the same way it sounds good But it doesn't sound like what I'm wanting and that's the other pedal I was like a fuzz and an octave would be really cool to have externally
31:01.722 --> 31:10.447
[SPEAKER_00]: Like in addition, and then you kind of my dumb brain opens up the floodgates and I'm like, well Might as well have a bunch of ideas You need the big moke pedals.
31:10.667 --> 31:12.828
[SPEAKER_02]: Yeah, yeah, oh, I got this me.
31:12.888 --> 31:26.635
[SPEAKER_01]: So Microsoft my board right now is like a medium-sized pedal train that fits the external tuner To quad cortex the capo
31:28.431 --> 31:34.153
[SPEAKER_01]: I'll loop with the base war from death by now.
31:34.173 --> 31:34.353
[SPEAKER_01]: Yeah.
31:34.373 --> 31:34.693
[SPEAKER_01]: Yeah.
31:34.753 --> 31:36.794
[SPEAKER_01]: We did a nougat figure with expression.
31:37.314 --> 31:41.095
[SPEAKER_01]: And that basically takes up all the space.
31:41.395 --> 31:44.616
[SPEAKER_01]: I could probably add one more like, no C2 on there or something.
31:44.636 --> 31:45.416
[SPEAKER_00]: That's it.
31:45.476 --> 31:55.980
[SPEAKER_01]: I like having, I don't use the loop at all on this gig right now, but Dominic, like show, it's like, I was, but then I found such a good
31:57.444 --> 32:00.165
[SPEAKER_01]: And there's not that much fuzzings in this show.
32:00.445 --> 32:05.287
[SPEAKER_01]: So a lot of this stuff is like clean or distorted clean, you know, right.
32:05.307 --> 32:09.328
[SPEAKER_00]: I mean, I rarely go clean anymore on live settings.
32:09.589 --> 32:11.309
[SPEAKER_01]: There's, yeah, it's like driven something.
32:11.809 --> 32:18.432
[SPEAKER_00]: Man, because I find that in, so in a lot of the clubs I play downtown, and I've said this before, a lot of the basses get shoved straight to the subs.
32:19.192 --> 32:21.434
[SPEAKER_00]: And I'll do anything to get up.
32:21.634 --> 32:26.137
[SPEAKER_00]: I play bright, pee-based, bright music man, stuff like that.
32:26.177 --> 32:32.181
[SPEAKER_00]: I'll add drives just to get some kind of like exterior information besides just like rumble mung.
32:32.701 --> 32:40.327
[SPEAKER_00]: And same with like these lately we've been doing like the like, minor league hockey arena size stuff where it's like,
32:40.847 --> 32:47.271
[SPEAKER_00]: You know, boomy, open room and the same thing happens often where you'll just end up mostly in the sub, so I do the same thing.
32:47.471 --> 32:55.116
[SPEAKER_00]: I'll always, I pretty much almost always add a little bit extra drive just to get clarity or lack of time.
32:55.396 --> 32:55.816
[SPEAKER_00]: Yeah.
32:56.877 --> 32:58.118
[SPEAKER_02]: Here's the time I'm sure.
32:58.878 --> 33:02.582
[SPEAKER_02]: Here's we turned into show and tell, but here's what I'm working right now.
33:02.763 --> 33:06.627
[SPEAKER_02]: Okay, this is this is my self actualization, right?
33:07.628 --> 33:20.142
[SPEAKER_02]: So I've got the noble and the LA to a clone the DLA to a and then the squad cortex many sits at the bottom So well, I've got this done like plastic everything on it, but like
33:20.382 --> 33:21.503
[SPEAKER_00]: No, it's not dumb, dude.
33:21.543 --> 33:24.965
[SPEAKER_00]: The last, last gig I did, I got beer thrown on my quad.
33:25.045 --> 33:29.928
[SPEAKER_00]: And I, before I had left the venue, it changed my, it changed my preset.
33:30.008 --> 33:40.835
[SPEAKER_00]: And everything, like I guess, whatever, you know, flipped over and luckily you're still a base preset, not like, for instance, I was just happy that I have downloaded somebody's recreation of the Allison Chains dirt tones on guitar.
33:40.995 --> 33:44.397
[SPEAKER_00]: And I was like, this would have been just horrible if my base just shoved through that.
33:44.697 --> 33:47.699
[SPEAKER_00]: But literally, I ordered a shield, so not dumb at all, by the way.
33:48.499 --> 33:50.361
[SPEAKER_00]: It just flies off and it's annoying.
33:51.401 --> 33:53.343
[SPEAKER_02]: Ah, no, it's good.
33:54.764 --> 33:59.367
[SPEAKER_02]: I've got, okay, something else showin' till since we're doing that segment now.
34:02.029 --> 34:06.572
[SPEAKER_02]: The MPC3 live, are you guys into MPCs at all?
34:06.612 --> 34:08.333
[SPEAKER_02]: Have you used it for electronic music?
34:08.873 --> 34:10.614
[SPEAKER_02]: It's like a doll in a box-based.
34:10.895 --> 34:15.278
[SPEAKER_02]: Like the newest MPC is kind of having a moment, again, a pop-in-all, and check it out.
34:15.998 --> 34:16.941
[SPEAKER_02]: it's so easy.
34:18.164 --> 34:19.226
[SPEAKER_02]: I don't know how to make a beat.
34:19.627 --> 34:20.971
[SPEAKER_02]: I don't know how to do anything on it.
34:21.151 --> 34:22.214
[SPEAKER_02]: Like nothing.
34:22.515 --> 34:22.996
[SPEAKER_02]: Zero.
34:25.283 --> 34:37.306
[SPEAKER_02]: It is a crazy good, like bass practice tool, because it's touchscreen, and you can do all the DAW stuff, but it's battery powered and it has a mic and a speaker.
34:37.826 --> 34:41.527
[SPEAKER_02]: But then I was like, why am I not using this for MIDI control?
34:41.667 --> 34:44.308
[SPEAKER_02]: Why am I not using this like practice my bass?
34:44.848 --> 34:53.830
[SPEAKER_02]: And I made this mobile practice setup where I can just turn the speaker on and have like a bass preset and I'm using it like a console or something like that.
34:54.710 --> 35:06.376
[SPEAKER_02]: Um, and I also have an Instagram reel that's like kind of popping off because I've bought a you almost see it in the background have a Yamaha player piano like a nice piano for my studio Cool.
35:06.676 --> 35:16.100
[SPEAKER_02]: That can kind of play itself, which it's sad on Facebook marketplace forever because everyone's like that's so stupid Why would I want a piano that plays itself?
35:16.620 --> 35:23.584
[SPEAKER_02]: Which I agree but it's got floppy disks in it That can play you know something like Christmas songs or whatever
35:24.184 --> 35:32.692
[SPEAKER_02]: But Yamaha never made, they never made pianos that were crappy just to put the player stuff in it.
35:33.092 --> 35:38.697
[SPEAKER_02]: They would take their really great pianos already and add MIDI and the player stuff to it.
35:38.817 --> 35:44.423
[SPEAKER_02]: So I saw this and I was like, this has five pin MIDI in and out on the back of it.
35:45.143 --> 35:57.692
[SPEAKER_02]: I wonder if I can send MIDI to the piano to play itself and send MIDI out of the piano to record what someone's actually playing, and like spoiler, it actually worked.
35:58.493 --> 35:59.834
[SPEAKER_02]: So I was taking...
36:01.875 --> 36:04.357
[SPEAKER_02]: I'm super into it.
36:04.377 --> 36:06.339
[SPEAKER_02]: I took the NPC and put it in cord mode.
36:06.999 --> 36:11.664
[SPEAKER_02]: Because, like me, I'm a little bit of a music theory idiot.
36:11.804 --> 36:13.887
[SPEAKER_02]: Like I know enough to get around and all that kind of stuff.
36:13.947 --> 36:16.189
[SPEAKER_02]: But like, I don't know how to play guitar.
36:16.209 --> 36:18.371
[SPEAKER_02]: I don't know how to do like a lot of chord composition.
36:19.112 --> 36:23.257
[SPEAKER_02]: NPCs made for people who don't typically know chord compositions either.
36:23.917 --> 36:28.382
[SPEAKER_02]: So they're like hitting the pads and like it's playing all these different chords and you change the key.
36:29.203 --> 36:37.608
[SPEAKER_02]: So I just, I hooked that up to my piano and like now I'm just hitting one chord, five chord, four chord, whatever, and it's reacting on the other side of the room.
36:38.489 --> 36:56.920
[SPEAKER_02]: Anyway, the NPC, I feel like, Rhett sold it a video on it, but like, if people start using that as a base tool and putting amp Sims in there that are actually good for base players, like, I feel like it is, it's like a quad-core textbook right in front of you.
36:57.540 --> 37:02.825
[SPEAKER_02]: And it's like all these people are kind of combining what they're actually doing because they're just computers.
37:03.325 --> 37:10.411
[SPEAKER_02]: So like why doesn't it quad cortex have a beat making thing and why doesn't MPC have foot switches?
37:10.531 --> 37:17.337
[SPEAKER_01]: Like we're kind of at this weird property over the Nudeler and DLR.
37:18.038 --> 37:23.923
[SPEAKER_01]: Uh-huh, I think it's called exponential devices.
37:24.003 --> 37:25.524
[SPEAKER_01]: I think is the name of the company.
37:29.558 --> 37:30.338
[SPEAKER_01]: the Nudeler.
37:31.318 --> 37:36.260
[SPEAKER_01]: And it's a great chord making device and an arpeggiator.
37:36.280 --> 37:38.520
[SPEAKER_01]: And I bet that would be sick with your piano.
37:38.880 --> 37:39.240
[SPEAKER_02]: Yeah.
37:40.741 --> 37:42.001
[SPEAKER_02]: Is it conductive labs?
37:42.041 --> 37:42.801
[SPEAKER_02]: Does that sound right?
37:42.901 --> 37:44.482
[SPEAKER_01]: That's could that's a conductive labs.
37:44.502 --> 37:44.722
[SPEAKER_01]: Yeah.
37:45.422 --> 37:45.802
[SPEAKER_01]: Sweet.
37:46.702 --> 37:47.543
[SPEAKER_02]: This looks cool.
37:47.623 --> 37:48.923
[SPEAKER_02]: He's going to buy it for this over.
37:49.123 --> 37:49.483
[SPEAKER_02]: I know.
37:49.543 --> 37:52.544
[SPEAKER_02]: That's I don't need more to feed the addiction.
37:52.564 --> 37:52.964
[SPEAKER_02]: Yeah.
37:53.164 --> 37:53.944
[SPEAKER_01]: I think you'll like it.
37:55.085 --> 37:55.725
[SPEAKER_01]: That's sorry.
37:55.925 --> 37:56.245
[SPEAKER_01]: Wow.
37:56.285 --> 37:56.725
[SPEAKER_01]: That's cool.
37:58.371 --> 38:02.117
[SPEAKER_02]: I've never dove into MIDI, but, you know, now I am.
38:03.119 --> 38:04.461
[SPEAKER_02]: I just need more stuff to worry about.
38:05.063 --> 38:07.084
[SPEAKER_00]: still on the on the gear conversation.
38:07.325 --> 38:17.871
[SPEAKER_00]: Sue, is there anything that you've like kind of been eyeing the idea of like, for instance, lately I'm just really back into like the Japanese knockoff bases.
38:18.312 --> 38:20.853
[SPEAKER_00]: Like, I think they're so fun and I'm just very interested in them.
38:20.873 --> 38:24.356
[SPEAKER_00]: Is there any piece of gear that you're like, oh, you know what?
38:24.376 --> 38:31.440
[SPEAKER_00]: I've actually been considering like going back that route or like thinking about the half rounds or anything like that.
38:31.500 --> 38:33.021
[SPEAKER_00]: Is there anything just fun you're looking at?
38:36.874 --> 38:39.356
[SPEAKER_01]: Um, yeah, I'm sort of a hoarder at this time.
38:39.396 --> 38:41.318
[SPEAKER_01]: I'm trying to, yeah, I'm staying.
38:41.678 --> 38:44.320
[SPEAKER_01]: But um, it's funny.
38:44.340 --> 38:54.028
[SPEAKER_01]: Like I love, um, right now I'm kind of obsessed with acoustic instruments that are kind of weird, um, like I just picked up, um,
38:55.993 --> 39:19.863
[SPEAKER_01]: piano guts like a piano harp yeah you know uh so basically a deconstructed piano yeah you can do like prepared piano kind of stuff with that this is really yeah it's oh my god it fell on it fell on it it almost fell on me um oh my god not too long ago and like yeah it broke skin uh
39:21.545 --> 39:24.568
[SPEAKER_01]: Yes, so heavy, and, uh, but useful.
39:25.228 --> 39:31.855
[SPEAKER_01]: Yeah, and cool, like putting an e-boh on it or something like that, or like striking it with, uh, Nalets or...
39:32.888 --> 39:49.000
[SPEAKER_01]: Yeah, some other metal or, you know, prepared piano kind of stuff like getting closed pans or taking some coins to it or nails, um, been doing a lot of kind of vandian or like score like kind of music.
39:49.740 --> 39:55.905
[SPEAKER_01]: Yeah, um, like, you know, um, I prepared piano, uh,
39:58.147 --> 40:00.989
[SPEAKER_01]: You know, I did a record with Mark Juliana last year.
40:02.591 --> 40:06.414
[SPEAKER_01]: The drummer called questions volume one.
40:06.494 --> 40:08.015
[SPEAKER_01]: He composed it and I produced it.
40:08.135 --> 40:09.917
[SPEAKER_01]: There was a sender around a felt piano.
40:09.937 --> 40:14.841
[SPEAKER_01]: And it was like a Japanese-made Tom-Thom piano.
40:15.602 --> 40:16.182
[SPEAKER_01]: Cool.
40:18.324 --> 40:21.727
[SPEAKER_01]: And I kind of like I'm unawaiting list for the trauma of those.
40:22.402 --> 40:40.280
[SPEAKER_01]: Yes, that's so yeah, I like the thought of the deconstructed piano, especially just like something to get you completely out of your usual creative process Yeah, yeah, it's cool We actually took the piano apart or it had been outside in a backyard There was you know Eric Wilson from some blood.
40:41.001 --> 40:46.166
[SPEAKER_01]: Yeah, yeah, yeah, it was his I was at his house and saw a piano like
40:47.563 --> 40:49.064
[SPEAKER_01]: decomposing in the backyard.
40:49.084 --> 40:51.365
[SPEAKER_01]: I was like for what are you doing with that?
40:51.845 --> 40:55.807
[SPEAKER_01]: And he was like nothing just been there.
40:55.847 --> 41:03.210
[SPEAKER_01]: I guess it was from the 60s or 70s and it was pretty beyond repair around the inside was still fine.
41:04.190 --> 41:08.312
[SPEAKER_01]: And within minutes we had a whole team of people with hammers and
41:17.057 --> 41:22.331
[SPEAKER_01]: Power saws with the piano sounds mixing together, so it's insane.
41:22.852 --> 41:25.238
[SPEAKER_00]: Yeah, that's so funny.
41:25.855 --> 41:34.997
[SPEAKER_02]: My the closest thing I have to that, I play for a guy named Nathan Evans Fox sometimes, and he is a song that's popping off.
41:35.237 --> 41:39.878
[SPEAKER_02]: He does a lot of, I mean, I can cuts every now and then, sorry people who don't like cutting.
41:40.278 --> 41:45.939
[SPEAKER_02]: He just, he, he talks shit on Facebook and is to go to him all the time and makes songs that are funny.
41:47.219 --> 41:50.780
[SPEAKER_02]: So he's a song going off right now that's about cutting down flock cameras.
41:51.680 --> 41:59.985
[SPEAKER_02]: So like, I had this great record, I'll also, all of his band is pretty much remote at this point.
42:00.945 --> 42:06.629
[SPEAKER_02]: My friend Zach actually recently moved in New York, ladies in Nashville, Nathan's in Nashville.
42:06.689 --> 42:14.814
[SPEAKER_02]: And so it's kind of like when he has a song that pops off, he'll ask some guys that have trusted relationships and home studios to like, okay, go work on this one.
42:15.594 --> 42:18.476
[SPEAKER_02]: This one's doing well and Instagram do this one, that kind of thing.
42:19.356 --> 42:31.201
[SPEAKER_02]: Um, but I didn't expect, I was like, oh yeah, while I'm here, I'll just like record some power tools, so I had like a really nice Soyuz microphone and a power tool and like a wrench and stuff and I was like, this is going to be awesome.
42:31.221 --> 42:31.862
[SPEAKER_02]: They're going to love it.
42:32.442 --> 42:34.243
[SPEAKER_02]: Sounded like crap.
42:34.863 --> 42:45.745
[SPEAKER_02]: it was like tinny and not realistic and it took like the magic out of a really like tongue-in-cheek funny song obviously I didn't even send that to the client.
42:46.205 --> 42:53.306
[SPEAKER_02]: But I was just then left in my studio like I'm such an idiot standing here with a power tool and a tube mic.
42:53.806 --> 42:55.006
[SPEAKER_01]: No, I disagree.
42:55.446 --> 42:57.747
[SPEAKER_01]: I think it's cool to try to try that stuff out.
42:58.487 --> 43:02.808
[SPEAKER_01]: Yeah, it depends on the microphones and the recording set up and
43:05.118 --> 43:09.161
[SPEAKER_02]: Which also I didn't think about, you know, ribbons are fragile and all that, whatever.
43:09.581 --> 43:26.253
[SPEAKER_02]: But like, recording a power tool with a large diaphragm condenser, not the move, like dynamic or ribbon, like don't dare anything up, but like the like larger than life sound is really bad with a saws.
43:26.273 --> 43:26.514
[SPEAKER_01]: Yeah.
43:27.134 --> 43:28.595
[SPEAKER_02]: Or like a richer something.
43:28.895 --> 43:30.457
[SPEAKER_01]: Oh my god, this video that I sent,
43:32.036 --> 43:35.377
[SPEAKER_01]: I took up the power saw on the piano and everything.
43:35.837 --> 43:39.739
[SPEAKER_01]: I sent it to my wife and she hated it.
43:39.799 --> 43:41.099
[SPEAKER_01]: It was just so jargon.
43:42.459 --> 43:44.360
[SPEAKER_01]: You should have warned me, it was just crazy.
43:45.220 --> 43:47.001
[SPEAKER_01]: But yeah, I was poorly recorded.
43:47.021 --> 43:47.981
[SPEAKER_01]: It's just so loud.
43:48.901 --> 43:55.984
[SPEAKER_01]: But I wanted to host it and I decided against it because of her reaction.
43:56.264 --> 43:58.044
[SPEAKER_01]: Didn't want to annoy the people.
44:01.287 --> 44:08.212
[SPEAKER_02]: So tell me, especially with a lot of your ambient stuff, do you have like a vibe-y home studio set up?
44:08.272 --> 44:09.553
[SPEAKER_02]: Is it bass focused?
44:09.653 --> 44:10.834
[SPEAKER_02]: Is it everything?
44:10.914 --> 44:15.738
[SPEAKER_02]: Like, do you have an area you can walk out and just make ambient music?
44:16.658 --> 44:18.680
[SPEAKER_02]: Or is that mostly on the road, too?
44:20.581 --> 44:25.665
[SPEAKER_01]: Um, I have a home studio that's more like a production room.
44:26.145 --> 44:28.407
[SPEAKER_01]: Um, this is like,
44:29.010 --> 44:35.672
[SPEAKER_01]: There's no live room, but the drums are set up in front of the speakers, basically.
44:35.773 --> 44:38.534
[SPEAKER_01]: Bunch of bases and guitars and synthesizers.
44:39.014 --> 44:40.574
[SPEAKER_01]: Noise makers, drum machines.
44:41.375 --> 44:45.476
[SPEAKER_01]: It's more like synths, driven, more than anything.
44:47.377 --> 44:55.020
[SPEAKER_01]: Yeah, I guess when I'm making music though at home, I'm not really necessarily making and being music, but I guess the project that I'm working on with Mark,
44:57.273 --> 45:15.612
[SPEAKER_01]: uh... this largely driven by drones and uh... and felt piano some acoustic stuff but the only electronic side is uh... i used the swarming trowin a lot which is a drone machine and there's a little lot of noise makers that i'm using so
45:17.523 --> 45:17.864
[SPEAKER_01]: Cool.
45:18.825 --> 45:22.029
[SPEAKER_01]: Yeah, the swamatron is special.
45:22.089 --> 45:23.531
[SPEAKER_01]: Have you seen or heard that?
45:25.173 --> 45:32.242
[SPEAKER_02]: Is it like is this like a fairly old piece of gear like big knobs silver or am I looking at something different?
45:32.919 --> 45:35.161
[SPEAKER_01]: It looks old, but it's actually from the 2010s.
45:35.381 --> 45:37.043
[SPEAKER_01]: Oh, okay.
45:38.084 --> 45:38.524
[SPEAKER_02]: Oh, I see it.
45:38.544 --> 45:38.925
[SPEAKER_02]: Oh, I see it.
45:38.945 --> 45:39.585
[SPEAKER_01]: You made.
45:40.526 --> 45:41.427
[SPEAKER_02]: Trent Resner has one.
45:41.467 --> 45:43.289
[SPEAKER_02]: It looks like for social network.
45:44.049 --> 45:44.310
[SPEAKER_01]: Yeah.
45:45.491 --> 45:46.452
[SPEAKER_01]: Yeah.
45:46.512 --> 45:46.892
[SPEAKER_01]: Yeah.
45:46.952 --> 45:49.975
[SPEAKER_01]: It's interesting to buy a staff and, uh,
45:52.145 --> 45:53.528
[SPEAKER_02]: Wow, all right.
45:53.568 --> 45:54.209
[SPEAKER_02]: Yeah, I want it.
45:54.309 --> 45:56.492
[SPEAKER_00]: I mean, it's only he's typing in bank account numbers.
45:56.512 --> 46:00.959
[SPEAKER_02]: You know seven thousand dollars on reverb for oh, this is an old listing.
46:00.979 --> 46:02.341
[SPEAKER_02]: There's no way that's still itchy.
46:02.782 --> 46:03.744
[SPEAKER_02]: That looks awesome.
46:04.715 --> 46:07.056
[SPEAKER_02]: swarm of tron.
46:07.156 --> 46:08.257
[SPEAKER_01]: It's special.
46:08.297 --> 46:27.325
[SPEAKER_01]: It's eight oscillators tuned around one note and there's a filter knob, a tactic, a sustain release, like Q shape and then there's another knob that kind of
46:30.518 --> 46:33.941
[SPEAKER_01]: notes into a dissonant kind of situation.
46:34.301 --> 46:53.538
[SPEAKER_01]: So like you have it in unison and it sounds huge if you have them all all eight oscillators running but if you gently turn that knob they start pulling apart and widening distance from the top note in the bottom note and you'll get a initially
47:00.238 --> 47:23.995
[SPEAKER_01]: bigger and bigger sounding until it's just like kind of dissonant and I love there's ribbons on it so you can sort of like I was about to ask is that these like the long things at the bottom yeah so you could you know use the ribbons or just the knobs that they have the same function but you can detune it and kind of move it around and you can really
47:28.082 --> 47:28.703
[SPEAKER_02]: Fair.
47:28.763 --> 47:30.866
[SPEAKER_01]: But yes, so I got my hands on one of those.
47:30.966 --> 47:40.179
[SPEAKER_01]: And on the mark, Julie, on a record questions, you could hear that quite a bit across the record.
47:40.867 --> 47:41.227
[SPEAKER_01]: Hmm.
47:41.728 --> 47:42.409
[SPEAKER_00]: That's awesome.
47:43.370 --> 47:44.090
[SPEAKER_02]: Man, I love that.
47:44.130 --> 47:49.236
[SPEAKER_02]: I'm thinking about like just in general, I've, you know, life stuff, all that whatever.
47:49.316 --> 47:57.244
[SPEAKER_02]: Like kind of taking a break on a lot of the stuff I've been producing to try to make some kind of music for myself.
47:57.484 --> 48:03.851
[SPEAKER_02]: I feel like as a as a base player, there are times where I kind of took the easy way out of
48:04.731 --> 48:08.132
[SPEAKER_02]: not actually learning great concepts of composition.
48:08.212 --> 48:15.013
[SPEAKER_02]: I think I do a pretty good job producing, but not necessarily the writing aspect of it for myself.
48:15.033 --> 48:18.794
[SPEAKER_02]: So I'm trying to think a lot about like, what does that look like for me?
48:18.854 --> 48:25.456
[SPEAKER_02]: And I think it probably will start off being some flavor of ambient music, especially as I'm...
48:26.356 --> 48:37.780
[SPEAKER_02]: have this piano behind me, like it's easy to do some kind of MIDI trigger into a reverb, but now I've got a drone, you know, and then like what happens when you hit record?
48:37.800 --> 48:55.365
[SPEAKER_02]: Do you like do you like um create a drone, let it go, and are you just hitting record the whole time, and you're just sitting with the sounds and seeing what happens from them, or do you have ideas of
48:55.933 --> 49:00.615
[SPEAKER_02]: where a composition can go, is it usually you alone, too?
49:00.635 --> 49:05.176
[SPEAKER_01]: Yeah, in this process, it's been marked mostly composing.
49:05.276 --> 49:11.939
[SPEAKER_01]: I'm kind of similar, like, I have limitations with my songwriting.
49:13.099 --> 49:21.862
[SPEAKER_01]: I tend to do like, ostinados and like, modal music, looping, loop oriented music.
49:22.675 --> 49:27.096
[SPEAKER_01]: I love hip-hop reggae, like I'm writing, that's the music I make.
49:27.896 --> 49:44.119
[SPEAKER_01]: But then with Mark, he kind of went down this road with a piano and Harlan's fired by composers like the effects twin or Trent and Atticus, or Nils Fram,
49:49.386 --> 50:12.760
[SPEAKER_01]: Um, he just took a giant leap into this world of composing where it's like, um, more like a meandering of chords that kind of twist in the emotion of the song into unpredictable ways and it's really amazing.
50:19.065 --> 50:20.386
[SPEAKER_01]: The melodies are very simple.
50:20.446 --> 50:30.116
[SPEAKER_01]: The chords become a little more complex in relation to the melody, which is just sort of twist around like it's really amazing.
50:30.196 --> 50:35.961
[SPEAKER_01]: So I've been like taking those channel compositions and doing
50:39.812 --> 51:00.562
[SPEAKER_01]: producing it and arranging it and coming up with instrumentation and we have a concept, but after the questions volume one record we started doing some more film stuff or film inspired.
51:00.582 --> 51:03.283
[SPEAKER_01]: I guess you could say it's just a broader
51:04.333 --> 51:05.454
[SPEAKER_01]: spectrum of emotion.
51:07.595 --> 51:15.119
[SPEAKER_01]: The question is a little more meditative and like something you can do while meditate, listen to while meditating or doing yoga.
51:15.159 --> 51:16.080
[SPEAKER_01]: Nothing too harsh.
51:17.120 --> 51:28.387
[SPEAKER_01]: I would go nuts with like some electronic drums or glitching or distortion and he would kind of walk me back just a little bit to
51:34.492 --> 51:59.975
[SPEAKER_01]: I've got a better example, but so this new batch of songs that Mark and I are working on are much broader in the spectrum of emotion and sound, where it's a little more, it could be a giant, like Tyco drums, group of Tyco drums, or huge sub-drops, or
52:03.193 --> 52:11.017
[SPEAKER_01]: So, and he'll let me get a real good confidence if I want, or industrially, if I'm nice.
52:11.057 --> 52:11.457
[SPEAKER_01]: Let's say.
52:12.158 --> 52:27.706
[SPEAKER_01]: I actually did a recording of like chains and metal metal and saws and different things like you were saying, and I did struggle with that a little bit, but I applied it to some songs that I was doing with Danny Alphanim.
52:28.291 --> 52:34.753
[SPEAKER_02]: yeah like like the sound in the room being a lot different than the sound that comes through the microphone when you're grabbing.
52:34.773 --> 52:37.213
[SPEAKER_02]: Yeah, I struggle instruments instruments.
52:38.193 --> 52:40.854
[SPEAKER_01]: But you know, Jamie Lydell, he's got that podcast.
52:42.614 --> 52:43.755
[SPEAKER_01]: Hey, I was audio files.
52:44.575 --> 52:44.975
[SPEAKER_02]: Oh, no.
52:45.095 --> 52:46.115
[SPEAKER_02]: I'll have to check it out.
52:46.275 --> 52:52.117
[SPEAKER_01]: He did a he created like a podcast intro.
52:52.137 --> 52:53.937
[SPEAKER_01]: Like he he does like these like
52:55.193 --> 53:17.178
[SPEAKER_01]: how to make a clap with an 808 but using just like synth and like how how to build that and neat starts the show with like making a sound and he did this one episode where he was like breaking or rubbing salt crystals together and micr liking that up and nice detuning it and
53:23.394 --> 53:27.275
[SPEAKER_01]: Yeah, I highly recommend changing the pedals podcast because I didn't.
53:27.475 --> 53:49.440
[SPEAKER_02]: Yeah, I didn't expect it to be so unnatural, but not in a normal unnatural, you know, this is also like really like a Cole's 4038 or something like that where it's like it's a little bit of taming harsh rhythmic stuff, but it's still like pretty neutral and then there's fragileness
53:49.880 --> 53:50.120
[SPEAKER_02]: Maybe.
53:50.320 --> 53:53.722
[SPEAKER_01]: So he did tuned it like pitched it down.
53:54.282 --> 53:55.883
[SPEAKER_01]: Oh, that was amazing.
53:55.963 --> 53:57.243
[SPEAKER_01]: Listen to like great idea.
53:58.144 --> 53:59.444
[SPEAKER_01]: She's also slowed down.
53:59.765 --> 54:01.485
[SPEAKER_01]: And you hear like.
54:01.505 --> 54:03.386
[SPEAKER_00]: Yeah.
54:03.706 --> 54:04.967
[SPEAKER_01]: I guess he was like.
54:06.888 --> 54:10.049
[SPEAKER_01]: Doing like a little shootout with microphones and it was cool.
54:10.790 --> 54:10.890
[SPEAKER_01]: Yeah.
54:10.910 --> 54:11.790
[SPEAKER_01]: That was the point of that.
54:12.270 --> 54:12.550
[SPEAKER_01]: Nice.
54:13.391 --> 54:13.511
[SPEAKER_02]: Oh.
54:15.882 --> 54:16.984
[SPEAKER_02]: Yeah, I'm I'm excited.
54:17.004 --> 54:23.732
[SPEAKER_02]: I'm gonna you're gonna inspire me to try some ambient music soon That's lovely
54:25.910 --> 54:26.771
[SPEAKER_02]: I just need to do it.
54:26.951 --> 54:30.593
[SPEAKER_02]: I need to cargo time yourself and be like, yeah, turn in the cell phone off.
54:31.313 --> 54:33.534
[SPEAKER_02]: I'm going, this is basically meditation.
54:34.014 --> 54:35.695
[SPEAKER_02]: Right, like, see what happens next.
54:35.795 --> 54:38.417
[SPEAKER_02]: But dude, this has been amazing.
54:38.897 --> 54:40.578
[SPEAKER_02]: Thank you so much for talking to us.
54:40.658 --> 54:41.839
[SPEAKER_02]: Thank you.
54:42.319 --> 54:43.380
[SPEAKER_02]: Really appreciate it.
54:44.140 --> 54:45.801
[SPEAKER_02]: You know what, one more thing.
54:46.481 --> 54:51.904
[SPEAKER_02]: Did you ever get into like John Zorn or like really expressive jazz?
54:52.024 --> 54:55.146
[SPEAKER_02]: I'm not sure if you ever heard of him, but he was a big, new guy.
54:57.426 --> 55:03.933
[SPEAKER_01]: Yeah, I used to play Tonic back in the day when it was there, and I was swear actually the stone was his club.
55:04.293 --> 55:12.943
[SPEAKER_01]: I played the stone with the dub trio way back and Mike Patton was part of that little scene.
55:13.243 --> 55:15.025
[SPEAKER_01]: All right, I forgot about that crossover.
55:15.225 --> 55:15.506
[SPEAKER_02]: Yeah.
55:15.526 --> 55:16.246
[SPEAKER_01]: Okay.
55:18.979 --> 55:40.385
[SPEAKER_01]: uh... zorn has a label called sodic and uh... the first like and the first move to the new arc i was listening to Jamie saft who had a solar record on there he's a keyboardist uh... and he had an amazing record yeah um... i guess he's uh... also um...
55:42.317 --> 55:50.200
[SPEAKER_01]: uh marker celly works in his studio for like managed to studio as a good friend.
55:50.720 --> 55:52.361
[SPEAKER_02]: Cool.
55:52.381 --> 55:59.464
[SPEAKER_02]: I uh John Zorn like as a teenager is another one of those like artists that just it was so shocking.
56:00.344 --> 56:03.385
[SPEAKER_02]: that I was like, this is the coolest thing I've ever heard.
56:03.485 --> 56:16.670
[SPEAKER_02]: So my, you know, I transitioned to like, you know, having a regular job, not always being a full-time base player kind of thing anymore, having a kiddo, it's like I've never really done anything for myself.
56:16.710 --> 56:21.052
[SPEAKER_02]: So I'm finally going to go see some shows that I've always really wanted to.
56:21.152 --> 56:26.894
[SPEAKER_02]: So going to big years, a big part of that track was, I'm actually going to get to see John Zorn.
56:27.534 --> 56:32.122
[SPEAKER_02]: And one, I had no idea the cult-like following his fanbase had.
56:32.744 --> 56:33.645
[SPEAKER_02]: No, it was for that.
56:34.607 --> 56:36.610
[SPEAKER_02]: Um, it was a make a lot of times nobody.
56:38.133 --> 56:46.837
[SPEAKER_02]: because he had a venue locked out where it was, his compositions would play all day, and then he'd play at the very end.
56:46.937 --> 56:56.041
[SPEAKER_02]: So, man, and I cannot remember, I can't remember the name of his biggest act collective thing together.
56:56.681 --> 57:02.504
[SPEAKER_02]: But the first night I saw him, he was playing saxophone, he wasn't just conducting, and it was a
57:03.504 --> 57:10.466
[SPEAKER_02]: crazy organ player, and then the drummer of Slayer, and it was just all expressive.
57:10.746 --> 57:13.087
[SPEAKER_01]: Was it a debaordata?
57:13.507 --> 57:20.489
[SPEAKER_02]: Yes, yes, which was so cool, but also like in the most like, I'm a badass.
57:20.509 --> 57:22.950
[SPEAKER_01]: You've been playing for Mr. Bungle lately, which is a
57:24.427 --> 57:27.048
[SPEAKER_01]: Yeah, Mike's band, you know, that makes sense.
57:27.288 --> 57:28.089
[SPEAKER_02]: It's such a crossover.
57:28.389 --> 57:37.493
[SPEAKER_02]: So John Zorne, you know, you will wait outside for two hours to get in to see him and his set is slated for like an hour and a half.
57:37.953 --> 57:45.777
[SPEAKER_02]: He will play 45 minutes and he will go, see you've done and then like Cralga's wild, which is fine, but then I saw this one guy.
57:45.857 --> 57:48.858
[SPEAKER_02]: The Cralga's also a much different crowd than I've usually been into.
57:48.898 --> 57:50.179
[SPEAKER_02]: They were a bit older than me.
57:50.519 --> 57:52.720
[SPEAKER_02]: I was probably the youngest guy there, which I was happy to be.
57:53.360 --> 57:59.065
[SPEAKER_02]: but this one guy ran up to the stage to like shake his hand or something at the very end.
57:59.505 --> 58:07.512
[SPEAKER_02]: And so like he tells everybody, gee, later he goes walk off this guy, rocks him to try to shake his hand and he just gives him the finger and runs away.
58:07.552 --> 58:13.857
[SPEAKER_02]: And I was like, this guy, he knows exactly like his audience because everyone walked away from that being like, I love it.
58:14.217 --> 58:16.099
[SPEAKER_02]: Like this is, you know, he's the coolest.
58:16.119 --> 58:17.340
[SPEAKER_02]: He just gave that guy the figure.
58:18.440 --> 58:22.822
[SPEAKER_02]: And then we waited for multiple nights.
58:23.223 --> 58:25.043
[SPEAKER_02]: Masada, Masada is the big one.
58:25.604 --> 58:32.487
[SPEAKER_02]: There were so many people waiting outside for Masada that I didn't even get in the venue for the first performance.
58:32.687 --> 58:36.829
[SPEAKER_02]: The second one came and I waited outside for two or three hours to get into.
58:36.949 --> 58:38.990
[SPEAKER_02]: But anyway, I was just curious.
58:39.050 --> 58:40.911
[SPEAKER_02]: I knew there would be Croes.
58:40.931 --> 58:42.571
[SPEAKER_01]: Do you know Jonathan Maran?
58:44.623 --> 58:45.504
[SPEAKER_02]: a great bass player.
58:45.624 --> 58:47.886
[SPEAKER_01]: He was in the band, um, groove collective.
58:49.387 --> 58:50.008
[SPEAKER_01]: Did you remember them?
58:51.128 --> 58:52.129
[SPEAKER_01]: No, I see.
58:52.209 --> 58:53.270
[SPEAKER_01]: I'm from the 90s.
58:53.630 --> 58:55.192
[SPEAKER_01]: Uh, so sick.
58:55.332 --> 58:56.593
[SPEAKER_01]: He's such a great bass player.
58:56.933 --> 58:57.634
[SPEAKER_01]: One of my favorites.
58:58.575 --> 59:00.997
[SPEAKER_01]: So he was on the Jamie South record.
59:01.752 --> 59:02.412
[SPEAKER_01]: Okay, I saw it.
59:02.792 --> 59:04.052
[SPEAKER_01]: So maybe they would have been saw that.
59:04.673 --> 59:05.353
[SPEAKER_02]: Oh, you know what?
59:05.453 --> 59:15.315
[SPEAKER_02]: I know him because I'm a big old Yamaha place base player, like a whole BB 3000 and I think he's on that too.
59:15.995 --> 59:17.415
[SPEAKER_02]: Yeah, he's always played an old young.
59:17.435 --> 59:18.035
[SPEAKER_02]: I think you're right.
59:18.075 --> 59:27.157
[SPEAKER_02]: Yeah, which I was like real recognized real, you know, because I have totally four bases behind me that are all the same color.
59:27.917 --> 59:32.939
[SPEAKER_02]: And it's just because every time I see when I'm like, that's really cheap and it shouldn't be.
59:33.419 --> 59:35.780
[SPEAKER_02]: I'm going to buy and now they're not driving more.
59:36.280 --> 59:40.942
[SPEAKER_02]: So dude, okay, the crock of y'all have been raised.
59:41.142 --> 59:42.282
[SPEAKER_02]: They're just shortage because of me.
59:42.422 --> 59:49.885
[SPEAKER_02]: Actually, I also spend my free time low-balling people on reverb who are listing them for way too high.
59:50.265 --> 59:52.886
[SPEAKER_02]: I'll just sit every day just to piss these guys off.
59:53.046 --> 59:55.226
[SPEAKER_01]: I really wanted to get the Peter Hook signature.
59:55.426 --> 59:56.567
[SPEAKER_01]: But yeah.
59:57.168 --> 59:58.735
[SPEAKER_01]: Yeah, yeah, yeah, yeah, yeah.
59:59.835 --> 01:00:10.160
[SPEAKER_02]: Those 80s y'all in the haze man, like I've never played anything like it, but the late 70s, BB-2000 ones, I couldn't play it.
01:00:10.520 --> 01:00:14.482
[SPEAKER_02]: Like they're like 13 rounds and the neck is so big.
01:00:14.883 --> 01:00:24.408
[SPEAKER_02]: I've never heard passive electronics that brilliant and big and kind of slap 80s, but like literally could not play the instrument.
01:00:24.848 --> 01:00:28.790
[SPEAKER_02]: Like I gave it up because I was like this is physically very difficult.
01:00:30.652 --> 01:00:36.894
[SPEAKER_02]: But then whenever Nathan East got involved, we all behind the 80s and started guiding the taste.
01:00:37.535 --> 01:00:41.176
[SPEAKER_02]: Everything just like came together in my opinion, but.
01:00:41.817 --> 01:00:42.517
[SPEAKER_02]: Okay, cool.
01:00:42.557 --> 01:00:44.058
[SPEAKER_02]: Dude, this has been awesome.
01:00:44.378 --> 01:00:45.078
[SPEAKER_02]: Thank you again.
01:00:45.698 --> 01:00:46.659
[SPEAKER_02]: We're so grateful.
01:00:46.679 --> 01:00:47.719
[SPEAKER_01]: Yeah, thanks for having me.
01:00:47.879 --> 01:00:49.040
[SPEAKER_01]: Thank you so much for having me.
01:00:49.569 --> 01:00:56.254
[SPEAKER_02]: Is there anything that you are currently promoting that you think people should check out?
01:00:56.354 --> 01:00:57.695
[SPEAKER_02]: We mentioned a couple of projects.
01:00:59.556 --> 01:01:00.176
[SPEAKER_02]: What do you think?
01:01:01.017 --> 01:01:06.741
[SPEAKER_01]: The next thing that's coming out is the Danielle Fment record which is coming out this fall.
01:01:07.486 --> 01:01:26.859
[SPEAKER_01]: Also on Sumerian, I produced a few tracks and I played on everything, just about except for one and that has the great band and amazing compositions so yeah, we're definitely
01:01:31.442 --> 01:01:34.828
[SPEAKER_01]: Well, thanks again, and what else I don't know, yeah.
01:01:35.349 --> 01:01:39.335
[SPEAKER_02]: Well, they'll have to watch your your socials because you've always got something.
01:01:39.495 --> 01:01:41.178
[SPEAKER_02]: It's it's constant, which is awesome.
01:01:41.278 --> 01:01:42.159
[SPEAKER_01]: That's testament to you.
01:01:42.179 --> 01:01:42.841
[SPEAKER_01]: Thank you so much.
01:01:42.921 --> 01:01:43.902
[SPEAKER_01]: So, thank you.
01:01:44.629 --> 01:01:44.929
[SPEAKER_02]: All right.
01:01:44.990 --> 01:01:53.140
[SPEAKER_02]: We will try not to wait as long to have another podcast, but we're trying to only drop heaters.
01:01:53.160 --> 01:01:54.682
[SPEAKER_02]: So here's a heat for you.
01:01:55.142 --> 01:01:56.885
[SPEAKER_02]: You'll have to wait for the next heater.
01:01:57.966 --> 01:02:00.169
[SPEAKER_02]: We're not just, you know, serve it up fast food.
01:02:00.229 --> 01:02:00.890
[SPEAKER_02]: Heaters only.
01:02:00.910 --> 01:02:01.390
[SPEAKER_02]: That's right.
01:02:01.651 --> 01:02:01.971
[SPEAKER_02]: All right.
01:02:02.031 --> 01:02:02.932
[SPEAKER_02]: See you guys next time.
01:02:02.952 --> 01:02:03.313
[SPEAKER_02]: See.