1 00:00:00,040 --> 00:00:02,320 I'm old enough that my, I remember my first guitar teacher 2 00:00:02,320 --> 00:00:05,880 had one of those and you had to flip the switch every time you 3 00:00:05,880 --> 00:00:08,480 went to a different string. It was like, and you'd get it 4 00:00:08,480 --> 00:00:12,960 and it was a strobe and then you'd go A and then flip the big 5 00:00:12,960 --> 00:00:14,760 old switch on the Peterson. It was crazy. 6 00:00:14,840 --> 00:00:17,360 I mean, they worked, but it was like, it was like it. 7 00:00:17,360 --> 00:00:19,520 Was the original ear training exercise? 8 00:00:19,520 --> 00:00:21,560 Yeah, we didn't know we needed. You know, there's a thing to 9 00:00:21,560 --> 00:00:23,680 that. Like we're, you know, like 10 00:00:23,680 --> 00:00:24,800 that's how I learned how to tune. 11 00:00:24,800 --> 00:00:27,120 It was like, now people don't really do that anymore. 12 00:00:27,120 --> 00:00:29,080 And it's like, you see people that can't really, it's like, 13 00:00:30,000 --> 00:00:31,280 can you tune? It's like, yeah, just give me an 14 00:00:31,320 --> 00:00:33,440 A And it's like a lot of like kids are like, huh, they don't 15 00:00:33,440 --> 00:00:36,400 know how to do that. Yeah, even though it's like old 16 00:00:36,400 --> 00:00:39,160 Les Paul's and stuff that I have that have the Raptail bridges, 17 00:00:39,240 --> 00:00:40,800 people are like, how would you ever play that? 18 00:00:40,800 --> 00:00:43,240 It's never going to be in tune. And I'm like, yeah, I'm never 19 00:00:43,240 --> 00:00:44,520 going to be in tune. So it doesn't. 20 00:00:44,520 --> 00:00:47,800 Matter, we've established on multiple episodes now. 21 00:00:47,920 --> 00:00:49,880 Sometimes it's better to not be in tune. 22 00:00:49,960 --> 00:00:51,720 Yeah, I was talking about this with somebody yesterday. 23 00:00:51,720 --> 00:00:54,520 Like this beat, like I, I just have his friend Kevin Gilbert 24 00:00:54,520 --> 00:00:58,760 that like, he was like tuned, but like, not too close, you 25 00:00:58,760 --> 00:00:59,200 know? Just kidding. 26 00:01:00,120 --> 00:01:01,240 Yeah, Yeah. You know, like little Beatles 27 00:01:01,240 --> 00:01:03,320 recordings and stuff. Like, yeah, soloed stuff. 28 00:01:03,320 --> 00:01:05,400 It's like, well, that's pretty out of tune, but it's so cool. 29 00:01:05,640 --> 00:01:08,320 I always find if you're a little flat, it's all good. 30 00:01:09,000 --> 00:01:11,960 Just don't be sharp because that's when it starts to go 31 00:01:12,480 --> 00:01:14,160 buddy, buddy, what's going on there? 32 00:01:14,160 --> 00:01:17,120 Sour I literally had to sit with a metronome and practice like 33 00:01:17,120 --> 00:01:20,520 8th notes like because so I can't remember if I was rushing 34 00:01:20,520 --> 00:01:22,720 or what it was even, but I remember a teacher of mine being 35 00:01:22,720 --> 00:01:25,120 like, sit with the metronome and really pay attention. 36 00:01:25,120 --> 00:01:28,200 Try and play right in the middle and then try and pull back and 37 00:01:28,200 --> 00:01:30,760 then try and be a little on top and see if you can do it, you 38 00:01:30,800 --> 00:01:32,600 know. And so I sat I'd be like, what 39 00:01:32,600 --> 00:01:34,680 like as a student I was like, what does that even mean? 40 00:01:34,680 --> 00:01:38,080 And then I'd be like, oh, OK. And now it's like, if anything I 41 00:01:38,080 --> 00:01:40,600 pull too far on the backside. Now I have to be like don't be 42 00:01:40,600 --> 00:01:43,440 lazy. How do you get your skills to 43 00:01:43,440 --> 00:01:46,680 the level of Pete Thornness? Probably motivated by the fear 44 00:01:46,680 --> 00:01:49,960 of sucking the most. I can't suck. 45 00:01:50,280 --> 00:01:52,320 Yeah, I can't suck. Don't suck now, but no. 46 00:01:52,320 --> 00:01:54,560 So over preparation. I mean, when I'm going into a 47 00:01:54,560 --> 00:01:58,800 gig, it's like for me, I just have to go in. 48 00:02:00,000 --> 00:02:02,040 I wish I could be a little looser actually like a little 49 00:02:02,040 --> 00:02:04,520 more like just comfortable with in my own skin. 50 00:02:04,520 --> 00:02:06,960 But I've always been an over preparer and going. 51 00:02:06,960 --> 00:02:10,600 I have to have every part and every sound right, like right 52 00:02:10,600 --> 00:02:13,600 from day one when I go in. But that's kind of in my like, 53 00:02:13,760 --> 00:02:16,120 because I'm not, I'm not like I don't consider myself like the 54 00:02:16,120 --> 00:02:17,440 greatest guitar player or anything. 55 00:02:17,440 --> 00:02:19,880 I just, I'm just a competent guitar player, I think. 56 00:02:19,880 --> 00:02:24,080 But like what I do do is really pay attention to the actual 57 00:02:24,080 --> 00:02:27,040 parts and the the tones on the record and stuff. 58 00:02:27,040 --> 00:02:30,960 And if you walk into an audition or, you know, rehearsal day one 59 00:02:30,960 --> 00:02:32,960 and you've got all that stuff together and the artist looks 60 00:02:32,960 --> 00:02:35,520 back and he goes, man, that sounds just like the record. 61 00:02:35,520 --> 00:02:38,560 That's like, you know, then you can say you're like, it's a real 62 00:02:38,560 --> 00:02:40,200 yeah, that's what I was going for. 63 00:02:40,440 --> 00:02:42,160 And then. And then from there you can 64 00:02:42,160 --> 00:02:44,200 start to, if they're like, OK, now branch out a bit and go. 65 00:02:44,200 --> 00:02:46,080 But at least that's always a great baseline. 66 00:02:46,160 --> 00:02:48,720 I feel like. And so I'm always like striving. 67 00:02:48,840 --> 00:02:51,840 It's got to be that like every. And So what that means is 68 00:02:51,840 --> 00:02:55,440 generally for me is just a ton of preparation going into a gig 69 00:02:55,440 --> 00:02:59,120 of like sitting there repeating and, you know, coming up with 70 00:02:59,120 --> 00:03:00,840 the right sounds and everything, just putting as much time in. 71 00:03:00,840 --> 00:03:02,840 It might be, you know, that it's weird. 72 00:03:02,840 --> 00:03:05,040 I'm not, I'm not like a really consistent practicer. 73 00:03:05,400 --> 00:03:08,520 But like when it comes to preparing for gigs and things, 74 00:03:08,520 --> 00:03:11,400 I'm so devoted and I, I kind of love like going down that rabbit 75 00:03:11,400 --> 00:03:13,600 hole into that space. And I can do that like 12 hours 76 00:03:13,600 --> 00:03:15,720 a day and just, you know, take a break for dinner, maybe forget 77 00:03:15,720 --> 00:03:16,880 to eat dinner. And you're like, why am I so 78 00:03:16,880 --> 00:03:19,560 hungry? I'm feasting on tone. 79 00:03:20,080 --> 00:03:21,240 Yeah, I'm feasting on tone. Yeah. 80 00:03:21,840 --> 00:03:24,440 Guitar players always have a different answer to that because 81 00:03:24,520 --> 00:03:26,440 regimen will have a good effect on somebody. 82 00:03:26,440 --> 00:03:30,440 But then preparing for your gig, the practice and meticulousness 83 00:03:30,440 --> 00:03:33,560 that goes into that, the byproduct is your great player 84 00:03:33,800 --> 00:03:36,600 in fundamental ways that some people get to. 85 00:03:36,600 --> 00:03:38,320 And I'm going to practice my sweet picking or I'm going to 86 00:03:38,320 --> 00:03:41,240 practice my legato. Yeah, I mean, I feel like when I 87 00:03:41,240 --> 00:03:43,560 was in Chris Cornell's band, the other guitar player was Yogi 88 00:03:43,560 --> 00:03:45,160 Lanich. And he was definitely like, he, 89 00:03:45,440 --> 00:03:47,080 you know, he could. He was a jazzer. 90 00:03:47,080 --> 00:03:49,800 I mean, he'd play rock great, but he, it's almost like jazz 91 00:03:49,800 --> 00:03:52,320 vocabulary was like his. But maybe not a lot of people 92 00:03:52,320 --> 00:03:55,600 know that about him. But anyways, he had this 93 00:03:55,600 --> 00:03:58,920 beautiful, like kind of loose, you know, you could hand him a 94 00:03:58,920 --> 00:04:01,120 guitar, any guitar, and he'd just, he had these great big 95 00:04:01,120 --> 00:04:03,520 hands and he'd just pick it up and he was just confident and 96 00:04:03,520 --> 00:04:06,440 he'd play and he was so comfortable and not always 97 00:04:06,440 --> 00:04:09,200 learning the parts just like the record or if a song was in an 98 00:04:09,200 --> 00:04:11,920 alternate tuning, he'd probably learn it in standard just 99 00:04:11,920 --> 00:04:13,400 because it was easier. Like I ain't. 100 00:04:13,400 --> 00:04:14,920 Retuning this got to be able to do it. 101 00:04:15,200 --> 00:04:17,880 No, man, just go like this and he was just he just had that 102 00:04:17,880 --> 00:04:20,440 thing where I was the opposite. I was the guy that was like, no, 103 00:04:20,440 --> 00:04:21,760 every part has to be in the tuning. 104 00:04:21,760 --> 00:04:24,520 It has to be just like the, you know, and we were actually great 105 00:04:24,520 --> 00:04:26,360 together. It was like if there'd been 2 of 106 00:04:26,360 --> 00:04:28,960 him or two of me in that band, it wouldn't have worked as well 107 00:04:28,960 --> 00:04:31,600 as it did with the with the, the different, you know, So if there 108 00:04:31,600 --> 00:04:35,440 was a loose kind of, you know, like a lot of Kim Tails souls, 109 00:04:35,440 --> 00:04:39,320 like 90s kind of psychedelic, you know, yoga could do that 110 00:04:39,320 --> 00:04:41,080 stuff just great. And then I would do a little bit 111 00:04:41,080 --> 00:04:43,840 more of the Morello like kind of like dialed, you know, the 112 00:04:43,840 --> 00:04:47,000 specific, you know, so in Chris's band, that was really 113 00:04:47,000 --> 00:04:48,440 nice. It's just different kinds of 114 00:04:48,440 --> 00:04:50,720 guitar players and sometimes, sometimes it works well when you 115 00:04:50,720 --> 00:04:52,600 put them together. Something I really admire about 116 00:04:52,600 --> 00:04:55,960 you is the fact that you're able to go into that rabbit hole 117 00:04:56,120 --> 00:04:59,280 because it's like you're like diving into the ocean of tones. 118 00:04:59,280 --> 00:05:02,440 You know, for me, sometimes I could get lost really quick and 119 00:05:02,440 --> 00:05:04,040 I'm like, how is what does that sound? 120 00:05:04,040 --> 00:05:08,080 When I listen to you play like so much of your amazing tone and 121 00:05:08,320 --> 00:05:10,240 and skill is just coming from your hands. 122 00:05:10,400 --> 00:05:14,240 I like putting different gearboxes in front of that power 123 00:05:14,240 --> 00:05:16,960 and be like dude, check what happens when we put it in the 124 00:05:16,960 --> 00:05:19,920 synth pedal. Ring Ring Modulator. 125 00:05:20,600 --> 00:05:22,160 You're going to love this flanger. 126 00:05:22,280 --> 00:05:24,480 But it's got to be really fun for you because it might not be 127 00:05:24,480 --> 00:05:26,600 something that you would normally plug into and then you 128 00:05:26,600 --> 00:05:28,120 might discover something that's like holy. 129 00:05:28,400 --> 00:05:30,720 Shit, yeah, a lot of people will say, too, that like, especially 130 00:05:30,720 --> 00:05:32,360 for me, they'll be like, oh, you don't use a lot of gear. 131 00:05:32,360 --> 00:05:34,680 And it's like, well, it's not out of a way of being, like, 132 00:05:35,280 --> 00:05:37,800 ignorant about gear because there's so much amazing stuff. 133 00:05:37,800 --> 00:05:40,520 Yeah, it's just, I'll, it's like, I find the hammer and the 134 00:05:40,520 --> 00:05:42,120 nails that work really, really well. 135 00:05:42,280 --> 00:05:44,000 And I figure out how to use them the best I can. 136 00:05:44,160 --> 00:05:46,720 But then this guy will put something cool on the floor. 137 00:05:46,720 --> 00:05:49,280 And then it's like a whole new world opens up. 138 00:05:49,360 --> 00:05:53,760 I like to diagnose somebody's tonal needs and just find out 139 00:05:53,760 --> 00:05:56,520 what makes them tick. So I I put down here. 140 00:05:56,520 --> 00:05:58,520 The only thing I would probably add to this would be a 141 00:05:58,520 --> 00:06:00,720 compressor for cleans. And otherwise you've got me 142 00:06:00,720 --> 00:06:02,440 dialed. I'm in a little delay, a little 143 00:06:02,440 --> 00:06:04,960 phase, you know, a little bit of, you know, of course the 144 00:06:04,960 --> 00:06:07,560 module and a great drive and that's what more do you need, 145 00:06:07,560 --> 00:06:09,320 You know, you can do 90% of you know. 146 00:06:09,520 --> 00:06:11,800 There's so many demos I've watched. 147 00:06:11,800 --> 00:06:13,320 You're the only guy I've ever trusted. 148 00:06:13,320 --> 00:06:15,560 I want you to know that. I swear. 149 00:06:15,600 --> 00:06:16,800 I swear. What about him? 150 00:06:17,840 --> 00:06:21,320 No, I'm a paid shield. You would do demos like you'd be 151 00:06:21,320 --> 00:06:23,960 in your and it would be just some random thing, maybe a fuzz 152 00:06:23,960 --> 00:06:26,840 pedal or whatever you were playing through and I'd and I 153 00:06:26,840 --> 00:06:28,960 would see if Pete did a demo of it, I'd be like, I know that's 154 00:06:28,960 --> 00:06:30,920 going to be good. Yeah, and you're not the only 155 00:06:30,920 --> 00:06:32,920 person to say that. When it comes to tone, you're 156 00:06:32,920 --> 00:06:35,800 the guy and that's just one of you. 157 00:06:35,800 --> 00:06:40,000 Like what's your favorite demo that you've you've done? 158 00:06:40,000 --> 00:06:42,720 Is is there one that sticks out? When I go back and I listen to 159 00:06:42,720 --> 00:06:44,640 some of them, like there's actually songs that ended up on 160 00:06:44,640 --> 00:06:49,800 my last record that were like, there was this one for this 161 00:06:49,800 --> 00:06:51,600 crazy box that never went anywhere. 162 00:06:51,600 --> 00:06:53,960 And I was like when I was doing the demo, I was like, this is 163 00:06:53,960 --> 00:06:56,640 not going to take off. But this thing is ridiculous and 164 00:06:56,640 --> 00:06:58,400 cool 'cause it was just so specific. 165 00:06:58,400 --> 00:07:00,360 It was this thing called the Vintage Revolution. 166 00:07:00,360 --> 00:07:03,640 I think it was a 2 Rackspace thing full of analog effects. 167 00:07:04,080 --> 00:07:07,480 So it had like analog OverDrive and modulation, analog delay and 168 00:07:07,480 --> 00:07:09,920 all this stuff in it. And it had a proprietary foot 169 00:07:09,920 --> 00:07:11,120 switch and right there I was like. 170 00:07:11,840 --> 00:07:14,040 You're like dude. We'll have to see about this. 171 00:07:14,320 --> 00:07:18,960 It sounded so cool and it had it ended up as this song on my last 172 00:07:18,960 --> 00:07:22,680 record called All Is Not Lost. But like I took a big part of 173 00:07:22,680 --> 00:07:25,520 the demo and then verbatim used those tracks on the record and 174 00:07:25,520 --> 00:07:27,360 actually just ended up over driving drums and building a 175 00:07:27,360 --> 00:07:29,160 whole song out of it. So that one comes to mind as 176 00:07:29,160 --> 00:07:32,520 being like the ones that ended up there was on the last record 177 00:07:32,520 --> 00:07:35,480 too. There was a song called In Good 178 00:07:35,480 --> 00:07:40,400 Company that Tim Pierce and Laurie Basilio guested on that 179 00:07:40,440 --> 00:07:42,320 guest solo. And that started out as like a 180 00:07:42,320 --> 00:07:46,040 demo of, I think a compressor, a Wagner compressor. 181 00:07:46,240 --> 00:07:48,840 So it's those ones where I go like that's a good enough 182 00:07:48,840 --> 00:07:50,240 composition that I should just build on. 183 00:07:50,240 --> 00:07:52,960 What a cool way to write, even, man, because you write within a 184 00:07:52,960 --> 00:07:54,800 different headspace and then also you're like, wait a minute. 185 00:07:55,040 --> 00:07:57,360 This one I actually really like. Yeah, and then and then years 186 00:07:57,360 --> 00:07:58,600 ago I'm by. So now I want to go back and do 187 00:07:58,600 --> 00:08:01,000 that again, go farm all the old, you know, go through them and 188 00:08:01,000 --> 00:08:01,960 go. That was good. 189 00:08:02,760 --> 00:08:04,760 They're nice little demos. This is all they are of like a 190 00:08:04,760 --> 00:08:08,040 minute and 1/2 or something of and you know, you're not in the 191 00:08:08,040 --> 00:08:10,720 headspace of like, OK, we got to sit down and write some songs 192 00:08:10,720 --> 00:08:12,120 for a record now. It's like, not oh. 193 00:08:12,200 --> 00:08:14,760 Yeah, it's not daunting. Yeah, it's just fun. 194 00:08:14,760 --> 00:08:16,840 It's, and that's not what I always say about my videos, is 195 00:08:16,840 --> 00:08:19,120 actually what you're seeing me do is I'm tricking everybody 196 00:08:19,120 --> 00:08:21,280 into think I'm demoing gear. I'm actually just having fun 197 00:08:21,280 --> 00:08:22,840 writing little songs. Yeah, dude, that's. 198 00:08:23,080 --> 00:08:25,360 Great. Inspired with a sound, you know, 199 00:08:25,360 --> 00:08:27,160 you turn on the whatever. Here's the dimension. 200 00:08:27,160 --> 00:08:33,520 It's like. But you know what? 201 00:08:33,520 --> 00:08:35,720 That's the coolest part about what you're doing, I feel like 202 00:08:35,720 --> 00:08:39,200 is that's the perfect marriage of cool gear, fun. 203 00:08:39,240 --> 00:08:41,919 We all love gear. And then you're able to use that 204 00:08:42,000 --> 00:08:44,000 to literally paint a picture in that moment. 205 00:08:44,120 --> 00:08:45,760 That's it. And it's maybe you've kind of 206 00:08:45,760 --> 00:08:48,240 confined 1 pedal. So it's like there's not now you 207 00:08:48,240 --> 00:08:49,520 don't. Oh, should I add this to? 208 00:08:49,640 --> 00:08:51,640 No, it's just like it's just gonna be that now come up with 209 00:08:51,640 --> 00:08:54,480 something that's appropriate, you know, which is it's really 210 00:08:54,600 --> 00:08:56,960 fuzzes is probably the most fun I find fuzz. 211 00:08:56,960 --> 00:08:58,880 I don't know if you found this, but if you ever do a video for 212 00:08:58,880 --> 00:09:00,480 fuzz pedal those get the least views. 213 00:09:00,760 --> 00:09:03,120 Oh, fuzz is terrible. Maybe compressor is close, but 214 00:09:03,120 --> 00:09:04,880 it's like because they're just. Well, there's nerds for 215 00:09:04,880 --> 00:09:07,080 compressors. Fuzz is usually just looked down 216 00:09:07,080 --> 00:09:09,480 upon, I guess. Yeah, people are just like it's 217 00:09:09,480 --> 00:09:12,200 going to be, you're just going to do the fuzz bends and we're 218 00:09:12,320 --> 00:09:15,680 it's all going to end in chaos. Yeah, but they're like sometimes 219 00:09:15,680 --> 00:09:18,000 the most fun because it's like this gnarly thing. 220 00:09:18,120 --> 00:09:21,080 Blues Seracino, the guitar player I was, I did a thing with 221 00:09:21,080 --> 00:09:22,200 him. This was years ago, but I 222 00:09:22,200 --> 00:09:24,320 remember something that he said about fuzzes that stuck out. 223 00:09:24,600 --> 00:09:26,160 He's like, he looks at me. He's like fuzzes. 224 00:09:26,320 --> 00:09:28,560 He's like, they're like those push lawn mowers, man. 225 00:09:28,560 --> 00:09:31,600 He's like, he goes. They all just like kind of do 226 00:09:31,600 --> 00:09:33,920 the same thing. You know, some might be a little 227 00:09:33,920 --> 00:09:36,680 louder or, you know, Wilder. He's like, but it's just like a 228 00:09:36,680 --> 00:09:39,640 push lawnmower. And I was like a fuzz is a push 229 00:09:39,640 --> 00:09:41,920 lawnmower. It sounds about the same too. 230 00:09:42,240 --> 00:09:44,880 Because a Fuzz Face will do the magic Hendrix thing where it's 231 00:09:44,880 --> 00:09:47,480 like, you know, a lot of people think Hendrix was like had the 232 00:09:47,480 --> 00:09:49,240 fuzz on a lot more than we think. 233 00:09:49,240 --> 00:09:51,760 And he just did the roll down and then it's crystal clean and 234 00:09:51,760 --> 00:09:53,720 all all his glassy highs and everybody's trying to change 235 00:09:53,720 --> 00:09:55,560 their pickups and figure out what amp he was using. 236 00:09:55,720 --> 00:09:58,120 It's like, dude, it's the Fuzz Face with the guitar rolled down 237 00:09:58,120 --> 00:10:01,480 and it brings in this beautiful high end that's like and so 238 00:10:01,480 --> 00:10:04,200 that's something totally, you know, a Big Muff doesn't do that 239 00:10:04,200 --> 00:10:06,000 at all. It's like got that more kind of 240 00:10:06,000 --> 00:10:09,360 square waved big, almost like a primitive distortion. 241 00:10:09,360 --> 00:10:13,920 I think of it as but that big wall of, you know, sound and 242 00:10:13,920 --> 00:10:15,800 then the volume control doesn't affect that at all. 243 00:10:15,800 --> 00:10:17,480 So but I think they're different. 244 00:10:17,600 --> 00:10:19,000 Sorry, Dwiesel, they're different. 245 00:10:20,520 --> 00:10:22,160 Dwiesel is going to have something to say. 246 00:10:22,160 --> 00:10:26,440 He's over there just OK. So on the flip side, what's the 247 00:10:26,440 --> 00:10:30,000 videos that get the most love then if the fuzz is lowest? 248 00:10:30,000 --> 00:10:32,120 The modern fuzz, which is just distortion. 249 00:10:32,120 --> 00:10:33,600 That's like like you do video for. 250 00:10:33,600 --> 00:10:35,880 I think I did one for this. It's like the Rev pedal. 251 00:10:35,880 --> 00:10:39,400 It's like, you know, to ask Dave Friedman, like his VOD. 252 00:10:39,400 --> 00:10:42,240 That's probably the biggest video I have, or one of them, 253 00:10:42,240 --> 00:10:44,920 you know? I think turning on pedals all at 254 00:10:44,920 --> 00:10:48,840 once could be the ticket. That's actually what you need to 255 00:10:48,840 --> 00:10:50,640 do. Forget about focusing on one. 256 00:10:50,920 --> 00:10:53,480 Just get a bunch in one room and turn them all on. 257 00:10:53,480 --> 00:10:54,920 That's actually how you get the most views. 258 00:10:55,600 --> 00:10:57,000 Wait, wasn't that a thing though? 259 00:10:57,000 --> 00:10:58,560 For real. I did that and it got like 260 00:10:58,560 --> 00:11:01,120 millions of views. Yeah, yeah, I just went one by 261 00:11:01,120 --> 00:11:03,040 one. There was like 40 and I was just 262 00:11:03,040 --> 00:11:05,960 like by the Miku, you know, It was just like complete. 263 00:11:06,160 --> 00:11:07,720 It was complete nonsense. So. 264 00:11:08,320 --> 00:11:11,440 Oh yeah, dude, yeah. But then that thing you've done 265 00:11:11,440 --> 00:11:13,480 some videos, it probably just that one pedal. 266 00:11:13,880 --> 00:11:16,520 Just a nice little transparent OverDrive, you know, Nothing to 267 00:11:16,520 --> 00:11:18,280 see. Here I told Tyler the first 268 00:11:18,280 --> 00:11:21,560 video he made, I remember. Or when I saw the video he made 269 00:11:21,560 --> 00:11:24,200 with that pedal right there, which now I use every single 270 00:11:24,200 --> 00:11:27,040 time I'm here. I laughed my ass off, dude. 271 00:11:27,040 --> 00:11:28,600 I don't. Have time to disassemble boards 272 00:11:28,600 --> 00:11:30,680 because I'm like half half of mine to be like, well actually 273 00:11:30,680 --> 00:11:34,000 this one. But like this sound is sort of 274 00:11:34,000 --> 00:11:37,960 fuzzy when you stack distortion. So like this is the bass sound. 275 00:11:57,280 --> 00:11:59,480 Yeah, my favorite fuzz is like an Octavia. 276 00:11:59,720 --> 00:12:03,680 Yeah, high the high end there and it's somehow some little 277 00:12:03,680 --> 00:12:05,440 girth. Yeah, it's interesting. 278 00:12:05,440 --> 00:12:08,280 I think Joe has one on his board on this tour that I'm doing it. 279 00:12:08,280 --> 00:12:10,120 It's like that's one of the only pedals he's using. 280 00:12:10,120 --> 00:12:12,480 Is very. I love that we should talk about 281 00:12:12,480 --> 00:12:14,000 that. We're we're burying the lead a 282 00:12:14,000 --> 00:12:16,760 little bit, but your current. We keep talking about fuzzes for 283 00:12:16,760 --> 00:12:18,480 three hours. We just keep going. 284 00:12:19,320 --> 00:12:22,040 You're in the fuzz episode. The least popular pedal. 285 00:12:23,200 --> 00:12:25,160 Let's just go niche we're. Going to get you out of here 286 00:12:25,160 --> 00:12:27,880 because you got to go play a show tonight at the Ryman. 287 00:12:27,880 --> 00:12:31,400 You're here in Nashville with the SAT Fi surfing, with the 288 00:12:31,400 --> 00:12:34,880 hydro tours going on and you guys are about halfway through. 289 00:12:34,880 --> 00:12:37,320 What's the synopsis? This isn't your first time out 290 00:12:37,320 --> 00:12:40,920 with these guys. Yeah, I did last year from the 291 00:12:40,920 --> 00:12:43,680 get go, it was like, Oh my God, is this really going to happen? 292 00:12:43,680 --> 00:12:47,280 Because for me, this is like, you know, absolutely two of my 293 00:12:47,280 --> 00:12:49,480 top influences. And then when I started playing. 294 00:12:49,480 --> 00:12:56,120 So, yeah, so I always say, like, it's sort of like for me, you 295 00:12:56,120 --> 00:12:59,960 know, you're 14 years old and, you know, you're having a dream. 296 00:12:59,960 --> 00:13:02,080 And it's like Joseph Rihani and Steve Weich called and they want 297 00:13:02,080 --> 00:13:04,400 you to play in their band, and then you and then you wake. 298 00:13:04,400 --> 00:13:05,720 Up and you. I just had that dream last 299 00:13:05,720 --> 00:13:10,360 night, actually, yeah. I've had dreams that I was 300 00:13:10,360 --> 00:13:13,520 actually like in rush, like like, and I was like, you wake 301 00:13:13,520 --> 00:13:14,600 up and they're like, that's so stupid. 302 00:13:14,600 --> 00:13:16,520 Why does my mind like tease me like that? 303 00:13:16,520 --> 00:13:17,880 It's so. But this is kind of one of those 304 00:13:17,880 --> 00:13:22,000 things where it's like playing with those two guys is, you 305 00:13:22,000 --> 00:13:24,000 know, there's a moment in like, let me see this. 306 00:13:24,000 --> 00:13:25,760 This is actually probably like the appropriate sound. 307 00:13:27,440 --> 00:13:32,280 Oh yeah. I'm planning on looking over at 308 00:13:32,280 --> 00:13:36,680 those two guys and I'm I'm looking at them and they're 309 00:13:36,680 --> 00:13:39,080 they're harmonizing on the lead in a way they've never done on 310 00:13:39,080 --> 00:13:40,240 tour. They've toured a lot together, 311 00:13:40,240 --> 00:13:42,600 but never in the same group. So now they've come up with all 312 00:13:42,600 --> 00:13:46,160 these parts that so I'm just sitting there and watching them 313 00:13:46,240 --> 00:13:48,160 and I got chills right now actually thinking about it, like 314 00:13:48,200 --> 00:13:54,400 just because that's what I do and and it's like I'm at the 315 00:13:54,400 --> 00:13:56,200 show. You have the best seat in the 316 00:13:56,200 --> 00:13:58,720 house bro The. Best seat and I'm just like, oh 317 00:13:58,720 --> 00:14:01,440 man, I couldn't believe, you know, like that because I 318 00:14:01,440 --> 00:14:05,440 learned that song when I was probably 1615 years old and just 319 00:14:05,440 --> 00:14:07,760 like that's where I. What's that first chord? 320 00:14:08,120 --> 00:14:11,520 So it's a, it's like Ibiza, but it's a. 321 00:14:11,520 --> 00:14:14,240 Gorgeous. Yeah, so you got your second 322 00:14:14,240 --> 00:14:17,720 finger on the and then you're playing the the the route and 323 00:14:17,720 --> 00:14:20,000 the third there it's so there's so many cool. 324 00:14:20,000 --> 00:14:22,600 Like this gig has definitely gotten me. 325 00:14:22,600 --> 00:14:24,320 Like what's? About say, that stretch alone, 326 00:14:24,320 --> 00:14:25,360 it's nice man. Yeah. 327 00:14:25,360 --> 00:14:51,640 And then I'm doing like this So it's really like gotten my 328 00:14:51,640 --> 00:14:53,360 stretch. You're deadly accurate on that 329 00:14:53,360 --> 00:14:55,640 too. You got to hit every single one 330 00:14:55,640 --> 00:14:56,280 of those, man. I'm. 331 00:14:56,280 --> 00:14:59,560 Generating the dark. So I'm going like this. 332 00:14:59,840 --> 00:15:05,480 I go like in the dark. You're like 3 two hit it. 333 00:15:08,160 --> 00:15:12,000 So, but it's been really good for my, my just the, you know, 334 00:15:12,000 --> 00:15:14,680 because I had to like there's some Steve stuff too. 335 00:15:14,680 --> 00:15:18,040 That's like a well, I'm going to have to play the whole song or I 336 00:15:18,040 --> 00:15:19,920 can't do the part. Yeah, you got to like get it 337 00:15:19,920 --> 00:15:22,200 warm revved into. It there's a Steve song called 338 00:15:22,200 --> 00:15:24,080 Little Pretty plays a hollow body on it. 339 00:15:24,080 --> 00:15:28,200 And it's a really his composition in the last like 10 340 00:15:28,200 --> 00:15:32,080 years has gotten so interesting because he is not afraid to play 341 00:15:32,080 --> 00:15:34,320 big kind of like these chords that we've been doing like close 342 00:15:34,320 --> 00:15:38,280 voicings, full distortion seventh string, like where 343 00:15:38,280 --> 00:15:40,320 there's like the minor nines and you're like, whoa. 344 00:15:40,320 --> 00:15:42,040 But then you listen to the whole composition. 345 00:15:42,040 --> 00:15:44,040 You're like holy hell. Like the way he's voice leading 346 00:15:44,040 --> 00:15:45,600 through chords and it all makes sense. 347 00:15:45,600 --> 00:15:49,280 What's funny too, is his ear is probably, who knows where, how 348 00:15:49,320 --> 00:15:50,880 fully developed his ear is, right? 349 00:15:50,880 --> 00:15:53,640 Yeah, where he hears it compared to where you and I would hear. 350 00:15:53,840 --> 00:15:56,520 Him explaining it to you, you'll tap into it and go, Oh my God, 351 00:15:56,520 --> 00:15:59,000 this is what he's saying. There's just that little pretty 352 00:15:59,000 --> 00:16:01,600 is. Yeah, that is, that's the one 353 00:16:01,600 --> 00:16:16,320 that I'm like, going to lie, I feel like I'm 354 00:16:16,320 --> 00:16:18,640 like. Am I hearing right? 355 00:16:18,640 --> 00:16:20,120 I know. And that'll happen for about 3 356 00:16:20,120 --> 00:16:22,720 days and then you go, Oh my God, it's beautiful. 357 00:16:22,720 --> 00:16:24,320 I'm in. I have a. 358 00:16:24,880 --> 00:16:26,760 Cool, that's exactly what. Happened to me, that's so cool. 359 00:16:26,760 --> 00:16:28,720 Yeah, and he's soloing on top of it. 360 00:16:28,720 --> 00:16:31,680 Just this gorgeous phrasing, like where he builds for we play 361 00:16:31,680 --> 00:16:34,360 that part through. So it's 3 bars of five and a bar 362 00:16:34,360 --> 00:16:52,480 of seven, this through 8 times and he's 363 00:16:52,480 --> 00:16:56,840 building the most amazing solo. That's so and it's just like I'm 364 00:16:56,880 --> 00:16:59,720 just when, when he's in my inner ears and I'm in at the same 365 00:16:59,720 --> 00:17:02,640 level and we're both in stereo and then bass and drums is just 366 00:17:02,640 --> 00:17:04,040 perfect. I just close my eyes and I'm 367 00:17:04,040 --> 00:17:05,880 like, this sounds so amazing right now. 368 00:17:05,880 --> 00:17:07,880 I'm just like, I'm just playing. That's all I have to do. 369 00:17:08,040 --> 00:17:11,960 It's expanded my mind like play that, you know, it's, it's, it's 370 00:17:11,960 --> 00:17:14,319 really a an honor. Well, expand on that. 371 00:17:14,319 --> 00:17:16,000 What? What have you taken away other 372 00:17:16,000 --> 00:17:19,280 than chord voicings? What sort of musical adventures 373 00:17:19,280 --> 00:17:21,319 are you going to go on after this is through? 374 00:17:21,400 --> 00:17:26,480 Well, you mentioned the Hydra and I mentioned fear earlier as 375 00:17:26,480 --> 00:17:28,920 like, you know what I mean? Like which is something not 376 00:17:28,920 --> 00:17:31,760 necessarily stage fright or whatever, but just like playing 377 00:17:31,760 --> 00:17:34,440 it safe and that Steve never plays it safe. 378 00:17:34,720 --> 00:17:37,600 I mean, those guys and Joe, I mean, they are riding the hairy 379 00:17:37,600 --> 00:17:40,880 edge all the time, just like, and so that's inspiring and I've 380 00:17:40,960 --> 00:17:43,560 taken away like the way they go for it. 381 00:17:43,560 --> 00:17:47,160 When he plays the Hydra every night, it's brought out on 382 00:17:47,160 --> 00:17:48,600 stage. So this thing has the three 383 00:17:48,600 --> 00:17:50,560 necks. Yeah, yeah, that gnarly. 384 00:17:50,840 --> 00:17:52,800 Can you show it? Yeah, yeah, bam. 385 00:17:52,960 --> 00:17:57,720 Yeah, and it's like, and he so imagine coming up with the idea 386 00:17:57,720 --> 00:18:00,800 to build that thing and then having to compose it. 387 00:18:00,800 --> 00:18:02,840 Like having the piece of music in your head, you're going to 388 00:18:02,840 --> 00:18:04,320 like, why do you need the harp? Why do you need? 389 00:18:04,320 --> 00:18:07,400 Then he's like, well I want to play bass, get straight guitar, 390 00:18:07,400 --> 00:18:11,600 harp and all these different. 12 strings in there and there's 391 00:18:11,600 --> 00:18:13,120 like the half fretless part of it. 392 00:18:14,360 --> 00:18:18,240 And he's, he's using it all and it's all this, this physical 393 00:18:18,640 --> 00:18:21,040 thing that he's like, I had to practice for months to be able 394 00:18:21,040 --> 00:18:22,560 to do it. He brought it and then he had to 395 00:18:22,560 --> 00:18:25,680 practice the physical movements for months to be able to, you 396 00:18:25,720 --> 00:18:28,040 know, and so, you know, I'm playing, we don't have a 7 397 00:18:28,040 --> 00:18:30,720 string here probably, but I'm playing, you know, just one. 398 00:18:49,080 --> 00:18:52,560 so he's playing that and he's playing the bass and the harp at 399 00:18:52,560 --> 00:18:54,520 the same time. So he's incorporating that part 400 00:18:54,520 --> 00:18:56,840 where he's moving and he's he's written the whole thing to be 401 00:18:56,840 --> 00:19:00,400 musical and make, you know, it's a really cool piece of music 402 00:19:00,400 --> 00:19:03,880 that and he can it's just like it's just like mind blowing. 403 00:19:03,880 --> 00:19:06,360 So like riding that hairy edge of always being creative and 404 00:19:06,600 --> 00:19:10,000 going for it every night on a piece like that is that's kind 405 00:19:10,000 --> 00:19:12,320 of it's. Inspiring that guys that far 406 00:19:12,320 --> 00:19:16,920 down in their career that have done so much still ride that 407 00:19:16,920 --> 00:19:20,680 rail of being like, you know what, whatever, like I'm ready 408 00:19:20,680 --> 00:19:22,120 to crash and burn, but I'm not gonna. 409 00:19:22,120 --> 00:19:24,280 Not resting on my laurels, just playing the old tunes or 410 00:19:24,280 --> 00:19:25,840 whatever. He's like constantly, constantly 411 00:19:25,840 --> 00:19:28,240 composing and coming up and and you know, he's probably got 412 00:19:28,240 --> 00:19:30,480 ideas that we haven't spoken about that like next year and 413 00:19:30,480 --> 00:19:31,960 the year after that. He's like, this is what I want 414 00:19:31,960 --> 00:19:33,800 to do next because that's what he's always thinking. 415 00:19:33,800 --> 00:19:36,840 It's just like this constant. It's so inspiring, honestly so. 416 00:19:37,120 --> 00:19:39,560 Yeah, Steve, I, I got to jam with him one time. 417 00:19:39,640 --> 00:19:42,000 And the only reason I'm even bringing this up is because we 418 00:19:42,000 --> 00:19:44,880 were, I was standing next to him like you probably have hundreds 419 00:19:44,880 --> 00:19:48,440 of Times Now. And when he was playing, I feel 420 00:19:48,440 --> 00:19:50,680 like I was witnessing someone truly special playing the 421 00:19:50,680 --> 00:19:54,160 guitar, the way that he was even just moving his finger. 422 00:19:54,160 --> 00:19:56,600 Yeah, like you kind of did it right Now there's his hand when 423 00:19:56,840 --> 00:19:59,280 he does things, it's just like. And I just looked at him and I 424 00:19:59,280 --> 00:20:02,280 was like. As I'm witnessing something like 425 00:20:02,280 --> 00:20:04,360 this close that I was like, this is special man. 426 00:20:04,480 --> 00:20:06,880 And then to hear him with Joe now, because we haven't really 427 00:20:06,880 --> 00:20:09,640 spoken about it like Joe is, of course he's he idolizes Joe 428 00:20:09,640 --> 00:20:11,440 still, I think. And he talks a lot about the old 429 00:20:11,440 --> 00:20:13,560 days with him growing up. And he showed up on his doorstep 430 00:20:13,560 --> 00:20:15,640 in Long Island with a pack of strings and a guitar with no 431 00:20:15,640 --> 00:20:17,240 strings and then teach me guitar. 432 00:20:17,520 --> 00:20:19,920 You know, that's how it started when they were like kids, you 433 00:20:19,920 --> 00:20:24,280 know, like Steve is a pre T and Joe is a teenager and, and here 434 00:20:24,280 --> 00:20:26,040 they are still making music together and it's just 435 00:20:26,040 --> 00:20:28,560 beautiful. But when Joe's playing and 436 00:20:28,560 --> 00:20:30,840 they're going back, because they do a lot of trading off in the 437 00:20:30,840 --> 00:20:32,880 in the show and just look at, they're looking at each other 438 00:20:32,880 --> 00:20:34,520 and they're laughing. You know, somebody will do 439 00:20:34,520 --> 00:20:36,120 something and then they'll call answer. 440 00:20:36,120 --> 00:20:39,040 And it's just like unlike anything, you know, it's like 2 441 00:20:39,040 --> 00:20:41,840 guys that have played together for 50 years or been friends, 442 00:20:41,880 --> 00:20:45,040 not played together, but been friends and stayed, you know, in 443 00:20:45,040 --> 00:20:47,960 contact and, and feed off of each other's creative, you know, 444 00:20:48,640 --> 00:20:50,560 and Joe will do things. It's like, I remember one night, 445 00:20:50,560 --> 00:20:53,200 man, he was playing and he did a thing where Steve did something. 446 00:20:53,200 --> 00:20:54,480 He did something, Steve did something. 447 00:20:54,480 --> 00:20:56,880 And then he's like, OK, and he did this riff where he like 448 00:20:56,880 --> 00:20:58,360 pulled the string off the side of the neck. 449 00:20:58,440 --> 00:21:01,240 He did one of those. And then he does it again. 450 00:21:01,440 --> 00:21:04,360 And I got, I remember it was right before the on course. 451 00:21:04,360 --> 00:21:06,280 We were off stage and I was like, did you do that string 452 00:21:06,280 --> 00:21:08,800 pull off thing on purpose? Like and he's like, yeah, of 453 00:21:08,800 --> 00:21:10,760 course it. Makes you wonder how many more 454 00:21:10,760 --> 00:21:14,480 tricks that these guys and we all could still discover, you 455 00:21:14,480 --> 00:21:15,680 know? And everyone's like, it's all 456 00:21:15,680 --> 00:21:17,640 been done. The guitar solo, the best ones 457 00:21:17,640 --> 00:21:18,720 have already been written, blah blah, blah. 458 00:21:19,120 --> 00:21:22,600 Like there's still more there and it's just a matter of do you 459 00:21:22,600 --> 00:21:24,400 want to find it? These guys want to. 460 00:21:24,400 --> 00:21:25,800 He does. He does different stuff every 461 00:21:25,800 --> 00:21:27,240 night. I mean, Joe's like he's got this 462 00:21:27,240 --> 00:21:30,600 one thing where he's he's got this like, like going up the 463 00:21:30,600 --> 00:21:33,280 neck with the pick and scraping it and it doesn't all the way up 464 00:21:33,280 --> 00:21:34,560 the neck. And I don't know quite how he 465 00:21:34,560 --> 00:21:36,640 does it, but it's so cool. And then he hits the big sustain 466 00:21:36,640 --> 00:21:39,200 note. I think using the sustainer on 467 00:21:39,200 --> 00:21:41,360 the, you know, the sustaining act on the guitar. 468 00:21:41,480 --> 00:21:43,600 I've never used one of those, so I don't know when he's turning 469 00:21:43,600 --> 00:21:46,160 it on and off and stuff, he's so seamless with it, but he'll do. 470 00:21:46,160 --> 00:21:48,400 And then he holds this note forever and the whole crowd, 471 00:21:48,400 --> 00:21:51,480 like he basically gets a standing ovation and you know, 472 00:21:51,480 --> 00:21:54,000 it's amazing. But then he finished by dropping 473 00:21:54,000 --> 00:21:56,600 the bar and doing some other like shoving the string into the 474 00:21:56,600 --> 00:21:59,480 pickups and then and then and I was like, what was that? 475 00:21:59,520 --> 00:22:02,040 Like I've never heard you do that still in like probably like 476 00:22:02,040 --> 00:22:04,280 60 shows. Dude, that is so cool. 477 00:22:04,280 --> 00:22:05,240 Yeah. And he just looked at me and 478 00:22:05,240 --> 00:22:07,080 he's like, I don't know. It worked. 479 00:22:07,240 --> 00:22:08,920 Yeah. And I was like, that's so cool. 480 00:22:08,920 --> 00:22:10,760 These are geniuses. So many tricks. 481 00:22:10,760 --> 00:22:12,640 Yeah. So I mean, Joe kind of like when 482 00:22:12,640 --> 00:22:15,400 he got me for the gig, he said I need a rock guy. 483 00:22:15,400 --> 00:22:18,160 I want somebody. It's reflected in Marco, I 484 00:22:18,160 --> 00:22:20,160 think, too. Marco plays great with a pic. 485 00:22:20,560 --> 00:22:22,440 He wanted a bit. He's like, he wants to pick on 486 00:22:22,440 --> 00:22:26,080 certain songs on bass and you know, all that stuff. 487 00:22:26,080 --> 00:22:28,800 He wanted a just rock band vibe. So he's like, I listened to your 488 00:22:28,800 --> 00:22:31,240 record, your second record and you, I know, you know, like when 489 00:22:31,240 --> 00:22:35,640 it comes to playing, you know, let me do an example of, you 490 00:22:35,640 --> 00:23:09,600 know, You know that's what he wants. 491 00:23:09,640 --> 00:23:11,800 Yeah, you got that pump, dude. You got that attitude. 492 00:23:11,840 --> 00:23:13,840 Yeah, and Justin, you know, me and Kenny, you're like Justin 493 00:23:13,840 --> 00:23:16,160 Kenny. He's like, yeah. 494 00:23:16,240 --> 00:23:18,360 And that's that. That was the the vibe. 495 00:23:18,440 --> 00:23:22,000 You know, what's so cool too, is having listened to that record 496 00:23:22,000 --> 00:23:25,800 so many times, you don't even realize how ingrained the rhythm 497 00:23:25,800 --> 00:23:28,840 parts are in your ear. So I can actually tell you, you 498 00:23:28,840 --> 00:23:31,320 nailed that rhythm part. It's not exactly like the 499 00:23:31,320 --> 00:23:32,720 record. So yeah. 500 00:23:33,160 --> 00:23:35,120 Yeah. But it's the, it's more not even 501 00:23:35,120 --> 00:23:38,080 necessarily the tone, but your, your hands, the way you're 502 00:23:38,080 --> 00:23:39,600 attacking it. That's everything. 503 00:23:39,800 --> 00:23:42,800 You could put on a fuzz pedal and play that and I would still 504 00:23:42,800 --> 00:23:44,160 be like, that's the surfing part. 505 00:23:44,160 --> 00:23:46,760 That's the surfing part, yeah, because Joe's really good rhythm 506 00:23:46,760 --> 00:23:48,600 guitar player and he's got great time. 507 00:23:48,680 --> 00:23:51,040 So it's like when you. The other one is that we don't 508 00:23:51,040 --> 00:23:54,320 think about, you know, we think about that part, 509 00:24:17,720 --> 00:24:20,280 You know that whole thing. You know, that's the exact tempo 510 00:24:20,280 --> 00:24:22,560 too. Yeah, it's probably exactly on. 511 00:24:23,000 --> 00:24:25,840 It's just like programmed into the muscle memory too. 512 00:24:25,840 --> 00:24:28,160 That's my, that's my gig, you know, which is like I'm, I'm 513 00:24:28,160 --> 00:24:30,040 playing behind singers is what I'm doing, which is what I've 514 00:24:30,040 --> 00:24:31,680 always done. It's like I always said, they're 515 00:24:31,680 --> 00:24:32,960 like, how are you going to, you know, do? 516 00:24:32,960 --> 00:24:34,480 It's like I'm playing behind a singer. 517 00:24:34,480 --> 00:24:36,440 You know, him and Steve are the singers and I'm in the rhythm 518 00:24:36,440 --> 00:24:38,480 section. And that's like, that's the kind 519 00:24:38,480 --> 00:25:16,720 of the main gig. That's great. 520 00:25:17,240 --> 00:25:19,920 Animal just came out of your soul when you're doing this 521 00:25:19,920 --> 00:25:21,120 harmonics. And I was like this is 522 00:25:21,520 --> 00:25:22,560 happening. We can do an 523 00:29:06,880 --> 00:29:07,400 What's up? I love it. 524 00:29:07,400 --> 00:29:08,920 So fun. Oh dude, you're amazing. 525 00:29:08,960 --> 00:29:10,880 You guys sound fantastic. What's up with your guitar? 526 00:29:10,920 --> 00:29:12,920 What's up with this, Sir? That thing's pretty stealthy. 527 00:29:12,920 --> 00:29:13,920 What's with that, Sir? Sir. 528 00:29:13,960 --> 00:29:14,920 Yeah. Excuse me, Sir. 529 00:29:15,440 --> 00:29:17,520 Yeah, has anyone ever made that lame joke to you? 530 00:29:17,520 --> 00:29:19,080 Why I? Took a verbal Sir, Sir, where's 531 00:29:20,280 --> 00:29:21,160 that? And you're like, what? 532 00:29:21,600 --> 00:29:23,880 What do you want? It's it's kind of deceiving. 533 00:29:23,920 --> 00:29:27,640 Look at that brown on the back. Yeah, it's all mahogany body and 534 00:29:27,640 --> 00:29:29,800 neck of rosewood board, Maple top. 535 00:29:29,840 --> 00:29:31,680 Like our favorite guitar is from Kalamazoo, right? 536 00:29:31,800 --> 00:29:34,640 For sure. But obviously a bolt on 25 1/2. 537 00:29:35,000 --> 00:29:40,320 This guitar was basically this is like a newer cosmetic Lee 538 00:29:40,320 --> 00:29:43,440 speaking version of my original signature model that came out 539 00:29:43,440 --> 00:29:46,200 about 10 years ago. We just updated it with like 540 00:29:46,200 --> 00:29:49,560 open coil pickups and the cream rings and you know, Les Paul 541 00:29:49,680 --> 00:29:52,960 like the top hat knobs and stuff, just because this guitar 542 00:29:52,960 --> 00:29:56,240 supposed to be kind of like a true hybrid chameleon instrument 543 00:29:56,240 --> 00:29:58,720 that I I can use, you know, on any gig. 544 00:29:58,760 --> 00:30:03,000 It's like when I always say like I, I, I used Joe and Steve as 545 00:30:03,000 --> 00:30:06,880 examples, also John Petrucci, like guys that are stylists that 546 00:30:06,880 --> 00:30:10,120 have signature guitars and they can be very like, you know, the 547 00:30:10,200 --> 00:30:11,720 crazy colors and do all this crazy. 548 00:30:11,720 --> 00:30:13,840 But if I go in and like when I was playing with Don Hanley or 549 00:30:13,840 --> 00:30:16,280 something, I can't really play a guitar like that because I'm not 550 00:30:16,520 --> 00:30:17,800 in those roles. I'm a side man. 551 00:30:18,040 --> 00:30:21,600 So this this instrument really reflects that I tried to make 552 00:30:22,320 --> 00:30:26,040 something for players that have to, you know, play rock gig one 553 00:30:26,040 --> 00:30:27,240 day in a country gig the next day. 554 00:30:27,240 --> 00:30:28,960 And what, because that was kind of me, I was like all over the 555 00:30:28,960 --> 00:30:31,800 map. And so so that's the aesthetic. 556 00:30:32,000 --> 00:30:34,280 Want to make something that, you know, it's mine. 557 00:30:34,320 --> 00:30:37,640 Like when you see it, it's got a look to it. 558 00:30:37,640 --> 00:30:40,200 That's like, I think that's a Pete Thorn model, but it's also 559 00:30:40,200 --> 00:30:42,400 kind of a chameleon that fits. Like it looks familiar. 560 00:30:42,760 --> 00:30:45,760 Dude, it feels so classic, but it obviously feels it's you. 561 00:30:46,000 --> 00:30:48,000 But it's it does have that thing, like you said, where you 562 00:30:48,000 --> 00:30:50,520 can go from a rock gig to a country gig to whatever. 563 00:30:50,760 --> 00:30:54,920 It just feels like classic guitar, but it's still modern. 564 00:30:55,080 --> 00:30:58,200 Yeah, that's it with all the modern kind of accoutrements and 565 00:30:58,200 --> 00:31:00,320 the switching and stuff is really, you know, I can do 566 00:31:00,480 --> 00:31:02,480 series parallel on the bridge pickup, so I can't, Oh, I 567 00:31:02,480 --> 00:31:04,440 forgot, that's a pull the knob off because that's because it's 568 00:31:04,520 --> 00:31:06,080 a push. We decided to not. 569 00:31:06,080 --> 00:31:07,400 Do this. I was like, whoa, that's a 570 00:31:07,400 --> 00:31:10,360 really thick knob. Yeah, on the on the production 571 00:31:10,360 --> 00:31:12,280 one, this actually has a a push pull. 572 00:31:12,280 --> 00:31:14,560 I was experimenting with push, push this push push on this one, 573 00:31:14,560 --> 00:31:36,720 but that gets me from the louder sounds, you know, so 574 00:31:36,720 --> 00:31:40,680 it really crosses a lot of boundaries as far as ability to 575 00:31:40,680 --> 00:31:43,000 get single coil humbucker, you know, kind of put in a 576 00:31:43,000 --> 00:31:44,840 relatively simple switching arrangement. 577 00:31:45,320 --> 00:31:50,440 So and this Thornbucker pickups, we got big frets and I've I've 578 00:31:50,440 --> 00:31:52,880 gone to this traditional tremolo. 579 00:31:52,880 --> 00:31:55,440 I was using the Wilkinson for a while that's got the locking 580 00:31:55,440 --> 00:31:59,360 yeah locking saddles, which works great. 581 00:31:59,360 --> 00:32:01,600 But Sir did something with this bridge. 582 00:32:01,760 --> 00:32:04,840 They got their own proprietary bridge, which looks a lot like 583 00:32:04,840 --> 00:32:07,320 Godos and other bridges, but it's actually made for them. 584 00:32:07,600 --> 00:32:11,200 And there's a couple things with it where it just, it's a, it's 585 00:32:11,240 --> 00:32:13,240 a, you know, strings like a regular tremolo. 586 00:32:13,280 --> 00:32:14,720 Yeah, it looks super traditional. 587 00:32:14,720 --> 00:32:18,120 Super traditional and yet seems to stay in tune better than just 588 00:32:18,120 --> 00:32:20,440 about any traditional bridge that I've, you know, they've 589 00:32:20,440 --> 00:32:24,520 done a couple things, angle over the nut angle of things here, 590 00:32:24,520 --> 00:32:26,920 strings and it's just like whatever's going on, it's just 591 00:32:26,920 --> 00:32:44,400 really Remember when I was a kid, man, 592 00:32:44,400 --> 00:32:47,560 I had a bigsby on a guitar and I was like, dude, I'm going to 593 00:32:47,560 --> 00:32:49,240 sound like I'm going to do some like Satriani. 594 00:32:49,240 --> 00:32:52,160 And I was literally like wah, wah, wah. 595 00:32:52,280 --> 00:32:55,080 It went down like and I was like, I was like, OK, cool. 596 00:32:56,160 --> 00:32:57,560 It's like that's as far as I can go. 597 00:33:02,680 --> 00:33:04,040 So wait, hey, I got a question for you. 598 00:33:04,040 --> 00:33:06,120 I mean, obviously killer guitar. Sick. 599 00:33:06,480 --> 00:33:08,360 So you're talking about like playing with Don Henley and some 600 00:33:08,360 --> 00:33:10,360 of these legends. Was there ever a point when you 601 00:33:10,360 --> 00:33:11,720 did walk in with the wrong guitar? 602 00:33:11,920 --> 00:33:15,360 Amp, Amp, My first Don Henley, my first Don Henley audition, 603 00:33:15,360 --> 00:33:17,400 which was in 2000. I didn't get the gig. 604 00:33:17,400 --> 00:33:20,280 I got pretty. I got like almost, I was so 605 00:33:20,280 --> 00:33:22,600 young in green. But then nine years later I went 606 00:33:22,600 --> 00:33:23,640 back and I got the gig. But. 607 00:33:23,720 --> 00:33:26,720 How nervous were you? Oh dude, the first time I was 608 00:33:26,720 --> 00:33:30,560 like that talk about it, that was the over preparation was 609 00:33:30,560 --> 00:33:33,280 like 3 weeks of me standing up, standing up in my living room 610 00:33:33,280 --> 00:33:36,320 like over over preparing. Like you know, so that you know 611 00:33:36,320 --> 00:33:37,920 what I mean. Like I like to stand up and 612 00:33:37,920 --> 00:33:39,480 play. Oh yeah, So you're you're full, 613 00:33:39,480 --> 00:33:42,640 full fight mode, Yeah. The first time you play the song 614 00:33:42,640 --> 00:33:44,320 standing up isn't at the audition. 615 00:33:44,480 --> 00:33:47,040 It's like, you know, it's like, oh God, the guitar feels 616 00:33:47,040 --> 00:33:49,520 different here. So I would stand up full rig 617 00:33:49,520 --> 00:33:51,920 play just for so many hours a day. 618 00:33:51,920 --> 00:33:53,960 I mean, it was insane. It was a nine song audition. 619 00:33:53,960 --> 00:33:56,040 I mean, it was in a lot of the songs you would think just the 620 00:33:56,040 --> 00:33:57,840 classic. So I was, I'd never done 621 00:33:57,840 --> 00:34:00,640 anything that heavy. I'd done some touring and I had 622 00:34:00,640 --> 00:34:02,040 a record deal and different things like that. 623 00:34:02,040 --> 00:34:04,000 But I'd never been in with a guy like that. 624 00:34:04,160 --> 00:34:06,360 And then I found out the guys that were in audition the day 625 00:34:06,360 --> 00:34:09,560 before me was like, I think it was like maybe Steve Ferris 626 00:34:09,960 --> 00:34:14,719 from, you know, Mr. Mr. you know, it's like guys Brett Tugle 627 00:34:14,719 --> 00:34:16,280 on keys. I think Greg Bissonnette was in 628 00:34:16,280 --> 00:34:18,159 playing the day before. It was like this whole, I'm 629 00:34:18,159 --> 00:34:20,320 like, what am I doing? Why am I going here? 630 00:34:20,320 --> 00:34:23,800 I'm going to, you know, and I went down and it was like 2 631 00:34:23,800 --> 00:34:26,920 wedges, Clare Brothers, you know, 1000 watts aside, like, 632 00:34:26,920 --> 00:34:28,040 and we start playing. Where were you at? 633 00:34:28,560 --> 00:34:33,120 It was at a sound stage, Sony sound stage in LA on the, on the 634 00:34:33,960 --> 00:34:37,560 Sony lot in Culver City. I was so nervous, but I'd so the 635 00:34:37,840 --> 00:34:39,199 that's just where preparation comes in. 636 00:34:39,199 --> 00:34:42,400 When you're, when you, you play it in your sleep, then that then 637 00:34:42,400 --> 00:34:44,199 you're ready. Because now if you turn your 638 00:34:44,199 --> 00:34:45,800 brain off, your hands will still go there. 639 00:34:46,280 --> 00:34:49,760 So we did Dirty Laundry was the first tune and I took both 640 00:34:49,760 --> 00:34:52,239 solos, you know, this Joe Wall solo and then the Leukather 641 00:34:52,239 --> 00:34:54,719 shred solo at the end. And yeah. 642 00:34:54,719 --> 00:34:58,520 And we start playing at that and he comes in, you know, with I 643 00:34:58,720 --> 00:35:01,760 Make my living. And it's like he's not screwing 644 00:35:01,760 --> 00:35:03,720 around like, and he was always like that. 645 00:35:03,720 --> 00:35:06,480 Sound checks are like he never, ever, ever doesn't. 646 00:35:06,640 --> 00:35:07,960 Mailed it in or? Go for it. 647 00:35:07,960 --> 00:35:10,640 He's serious as a heart attack and like going for it all the 648 00:35:10,640 --> 00:35:13,640 time. So, And I was like, Oh my God, 649 00:35:13,640 --> 00:35:15,480 it felt, and it sounded so good, you know? 650 00:35:15,560 --> 00:35:17,360 And then I just played and I remember we got to the end of 651 00:35:17,360 --> 00:35:19,240 the tune. He's like, sounds good. 652 00:35:19,240 --> 00:35:20,520 OK. And on to the next song. 653 00:35:20,520 --> 00:35:22,400 I was like, I didn't get laughed out of the room yet. 654 00:35:22,400 --> 00:35:23,800 OK. And then it went from there and 655 00:35:23,800 --> 00:35:25,400 it went actually on for about 3 weeks. 656 00:35:25,400 --> 00:35:27,400 I've got 2 callbacks and kept coming back. 657 00:35:27,840 --> 00:35:31,040 And I was like, I was so broke at the time and like just like, 658 00:35:31,440 --> 00:35:34,640 you know, in this mode of like, Oh my God, this could change 659 00:35:34,640 --> 00:35:36,480 like everything for me. This touring gig would be so 660 00:35:36,480 --> 00:35:38,000 good. And then it didn't happen. 661 00:35:38,000 --> 00:35:42,160 But he sent me a really lovely letter saying like, hey, I'm 662 00:35:42,160 --> 00:35:43,800 going to go with this. Other ended up being Peter 663 00:35:43,800 --> 00:35:46,120 Stroud. My God, the right choice, right? 664 00:35:46,120 --> 00:35:48,360 I mean, he was so much more experienced 10 years down the 665 00:35:48,360 --> 00:35:51,000 road from the experience. And so I totally understood. 666 00:35:51,000 --> 00:35:54,880 I love Peter, he's the best. So he said, I've gone with Peter 667 00:35:54,880 --> 00:35:56,400 for this tour. But he said, I'll keep you in 668 00:35:56,400 --> 00:35:58,240 mind for the future and maybe we'll do something down the road 669 00:35:58,240 --> 00:35:59,680 together. Nine years later, ended up going 670 00:35:59,680 --> 00:36:02,280 back and getting it then. So then I was, you know, 671 00:36:02,800 --> 00:36:05,760 probably about nine years more experience was about what I 672 00:36:05,760 --> 00:36:08,200 probably could have used, you know, I would say and it and so 673 00:36:08,200 --> 00:36:10,200 it all was right, but. You were, when you were young 674 00:36:10,200 --> 00:36:11,880 like that, doing auditions, Yeah. 675 00:36:11,920 --> 00:36:15,320 Like, that takes a lot of guts. And I think a lot of people, 676 00:36:15,320 --> 00:36:17,320 yeah, don't really realize maybe. 677 00:36:17,320 --> 00:36:20,840 It's like betting on yourself. You got to go in there with not, 678 00:36:20,840 --> 00:36:24,480 not 100% confidence, 200%. Yeah, it's like more than just 679 00:36:24,480 --> 00:36:26,960 the skills, man. I really had to learn and it was 680 00:36:26,960 --> 00:36:30,360 the IT was the over preparation. But just by doing and do, I 681 00:36:30,400 --> 00:36:33,160 don't know, I developed a kind of some like almost like 682 00:36:33,160 --> 00:36:35,920 audition techniques. An artist is putting a band 683 00:36:35,920 --> 00:36:38,560 together for a tour or maybe they've lost a key member and 684 00:36:38,560 --> 00:36:39,880 now they're auditioning a new member. 685 00:36:40,280 --> 00:36:42,360 They're stressed out. They've made a new record, 686 00:36:42,360 --> 00:36:44,320 probably they're getting ready for a tour cycle. 687 00:36:44,320 --> 00:36:46,280 They got a lot on their mind. And it's like, now I'm doing 688 00:36:46,280 --> 00:36:48,800 this audition thing. Oh God, is it, am I going to 689 00:36:48,800 --> 00:36:50,720 meet somebody cool? Are they going to be cool to 690 00:36:50,720 --> 00:36:53,920 travel with on a bus, like in a pressure cooker for like 9 691 00:36:53,920 --> 00:36:56,560 months of the year? You know, all those factors are 692 00:36:56,560 --> 00:36:58,520 coming into play, let alone just can they play? 693 00:36:58,520 --> 00:37:00,880 And is the, it's, it's like, can you play? 694 00:37:00,880 --> 00:37:02,560 Are you a good player? Do you know the parts? 695 00:37:02,880 --> 00:37:07,200 That's just a given. Yeah, that's there like that 696 00:37:07,200 --> 00:37:09,160 just. Has to be that you go in so 697 00:37:09,160 --> 00:37:11,640 prepared and everything it's like the rest of it is really 698 00:37:11,640 --> 00:37:14,360 your hang and like you're you know, if you're a good, you know 699 00:37:14,360 --> 00:37:16,440 somebody that people want to be around because that's the really 700 00:37:16,440 --> 00:37:19,560 difficult part about tour. So if you can go in with the 701 00:37:19,560 --> 00:37:22,000 part and everything nailed to the point where especially on 702 00:37:22,000 --> 00:37:24,920 the first tune at an audition, you're comfortable enough, even 703 00:37:24,920 --> 00:37:26,880 though the sounds weird and you're in some room, maybe 704 00:37:26,880 --> 00:37:28,960 playing with unfamiliar drummer that you don't know and 705 00:37:29,200 --> 00:37:31,160 whatever. If you can by the end of the 706 00:37:31,160 --> 00:37:34,360 song, look at them and smile like on the last hit and kind of 707 00:37:34,360 --> 00:37:37,480 make them feel like, wow, we could have just done that live 708 00:37:37,480 --> 00:37:38,840 right now and it would have been OK. 709 00:37:38,840 --> 00:37:41,680 Like that would be that would have been a you know, and you 710 00:37:41,800 --> 00:37:45,280 try and make them feel that way every time and then just be fun 711 00:37:45,280 --> 00:37:47,880 and be like loose and stuff. And if you get through a whole 712 00:37:47,880 --> 00:37:50,960 audition like that, where they feel like elevated, like, Oh my 713 00:37:51,000 --> 00:37:53,200 God, like prob you want to be a problem solved. 714 00:37:53,360 --> 00:37:55,160 I always say that because it's just a problem when they're 715 00:37:55,160 --> 00:37:56,720 putting a van together. It's like, I got this problem. 716 00:37:56,720 --> 00:37:58,320 I got to find a magician or a band. 717 00:37:58,800 --> 00:38:01,080 Just make it feel like it's not a problem, Like it's actually a 718 00:38:01,080 --> 00:38:03,640 bonus and they're excited when it then that's how you get gigs. 719 00:38:03,640 --> 00:38:06,520 So that was always kind of my, I don't know where that came from, 720 00:38:06,520 --> 00:38:09,800 but I developed that fairly early on where it's like I got 721 00:38:09,800 --> 00:38:13,920 to go in and be not a stress case, not a whatever, not a be 722 00:38:13,960 --> 00:38:16,800 be a problem solved. Make them feel comfortable and 723 00:38:16,800 --> 00:38:19,240 make them stoked. And then that's, that's about 724 00:38:19,240 --> 00:38:22,480 all I can do, you know? What about that nine year gap in 725 00:38:22,480 --> 00:38:25,520 between Henley interactions? So then I ended up on, you know, 726 00:38:25,520 --> 00:38:28,360 doing tours with Goo Goo Dolls and Sheryl Crow and like getting 727 00:38:28,360 --> 00:38:30,600 just as the experience. You can only get through playing 728 00:38:30,760 --> 00:38:34,160 right. And and then I played with a guy 729 00:38:34,160 --> 00:38:37,040 named Robbie Drokka Rosa, who was collaborator of Ricky 730 00:38:37,040 --> 00:38:40,640 Martins and he he's he Co wrote Limin La Vida loca and she 731 00:38:40,640 --> 00:38:42,960 bangs. He's like a, you know, he's but 732 00:38:42,960 --> 00:38:46,080 he's a he's a bonafide amazing artist in his own right. 733 00:38:46,080 --> 00:38:49,920 Spanish language mainly, so I toured a lot of Latin America 734 00:38:49,920 --> 00:38:51,880 with him and and that game. Has been so cool. 735 00:38:52,080 --> 00:38:54,960 Well, I learned the art of like forget about like I played the 736 00:38:55,000 --> 00:38:57,640 biggest crowded party ever played is 140,000 in Colombia 737 00:38:57,640 --> 00:39:00,880 with him with like a rented ovation acoustic and like, you 738 00:39:00,880 --> 00:39:03,200 know, just whatever like amp was, it was like. 739 00:39:03,200 --> 00:39:04,520 Something like. Didn't think it was going to be 740 00:39:04,520 --> 00:39:07,120 like this, but here we are. Here we are and he and we'd 741 00:39:07,120 --> 00:39:09,200 always still have a great show, like just plug in and just get 742 00:39:09,240 --> 00:39:10,920 that skill for it. Just go for it. 743 00:39:10,920 --> 00:39:14,160 So there was that lesson. Then I toured with Jewel after 744 00:39:14,160 --> 00:39:17,320 that and then kind of jumping forward about 2007, got the gig 745 00:39:17,320 --> 00:39:20,320 with Chris Cornell. So then I I did like 300 plus 746 00:39:20,320 --> 00:39:23,520 shows with with Chris and, you know, covering his whole catalog 747 00:39:23,520 --> 00:39:27,160 and everything only to lead up to a month after the Cornell 748 00:39:27,160 --> 00:39:29,880 touring thing ended. John Hanley audition again. 749 00:39:30,120 --> 00:39:31,200 OK, let's. Go Wow. 750 00:39:31,240 --> 00:39:32,600 You're like, all right, dude. Here I am. 751 00:39:32,600 --> 00:39:34,640 I'm ready. No, I'm. 752 00:39:34,760 --> 00:39:35,040 Ready. Yeah. 753 00:39:35,040 --> 00:39:36,960 You're like, what's up, Don? Did he remember you? 754 00:39:36,960 --> 00:39:37,760 Oh, he totally. Really. 755 00:39:37,760 --> 00:39:38,840 Hey, Pete, what's up? What I. 756 00:39:38,960 --> 00:39:40,680 Oh dude, how cool is? That, Yeah. 757 00:39:40,680 --> 00:39:42,360 And then we did. We did one, and then we did a 758 00:39:42,360 --> 00:39:43,800 call back and then that was he, he said. 759 00:39:43,800 --> 00:39:45,640 All right, you got the gig. It's kind of like a weird full 760 00:39:45,640 --> 00:39:48,120 circle moment. One year full circle moment 761 00:39:48,120 --> 00:39:50,520 where it was really, and it was so appropriate, like he did, you 762 00:39:50,520 --> 00:39:53,480 know, Peter was the right guy in 2000 and then I was finally 763 00:39:53,480 --> 00:39:56,240 ready and Peter Stroud, I mean, in 2000, I was finally ready. 764 00:39:56,240 --> 00:39:59,120 And so it was. It was like my path of learning 765 00:39:59,120 --> 00:40:00,880 and you know. By that time you had some 766 00:40:00,880 --> 00:40:03,440 serious notches in the belt. Yeah, so many gigs. 767 00:40:03,440 --> 00:40:04,840 And it was just like, I knew how to tour. 768 00:40:04,840 --> 00:40:08,320 I knew how to be comfortable and crack jokes and be, you know, it 769 00:40:08,360 --> 00:40:10,360 was like. What about your guitar playing 770 00:40:10,360 --> 00:40:13,560 do you think has stayed the same and what has changed? 771 00:40:14,400 --> 00:40:17,320 So much has stayed the same. Yeah, well, no, I'm seriously 772 00:40:17,320 --> 00:40:19,600 like, you could hang out with all these incredible players and 773 00:40:19,600 --> 00:40:22,120 pick up Nuggets here and there, but yeah, how much of them do 774 00:40:22,120 --> 00:40:24,400 you internalize? I mean, I think one thing that 775 00:40:24,400 --> 00:40:26,880 I've always tried to maintain is it's like, it's funny, like 776 00:40:26,880 --> 00:40:29,160 playing with Joe and Steve and we do some moments in the show 777 00:40:29,160 --> 00:40:31,640 where we trade and stuff and I'm actually taking some solos And 778 00:40:31,640 --> 00:40:34,760 it's like Steve's got a great thing that he says where he had 779 00:40:34,760 --> 00:40:39,440 to learn to be the like, you know, doing G threes or, you 780 00:40:39,440 --> 00:40:41,560 know, gigs with the NV and stuff like that, where he's like, 781 00:40:41,560 --> 00:40:42,720 well, you're not going to be that. 782 00:40:42,880 --> 00:40:46,840 So I better be as Steve Vai as I can be all my wacky Steve Vai 783 00:40:46,840 --> 00:40:49,560 stuff, as he puts it, you know, and it's like, so he just goes 784 00:40:49,560 --> 00:40:51,600 into his and when you think about it, that's exactly what NV 785 00:40:51,600 --> 00:40:55,240 does and that's exactly what Joe does or, you know, so I've 786 00:40:55,240 --> 00:40:56,800 learned to do that. Just be like, Hey, I've got a 787 00:40:56,800 --> 00:40:59,200 thing that I can do. You know, I can turn on the wall 788 00:40:59,200 --> 00:41:02,160 and bend the note really far and do like, you know, like just get 789 00:41:02,160 --> 00:41:04,200 and and kind of play to the guy in the back row. 790 00:41:04,520 --> 00:41:07,560 I don't necessarily have to do like 18 sweet picking licks in a 791 00:41:07,560 --> 00:41:09,680 row or whatever, like some people can do because I can't, 792 00:41:09,680 --> 00:41:12,080 you know, but it's like, I'll do my thing and I'll try and 793 00:41:12,440 --> 00:41:15,760 project to that guy. And, and it seems to work like 794 00:41:15,760 --> 00:41:19,400 when it, you know, even with them, I, I'm so honored to be 795 00:41:19,400 --> 00:41:21,880 there and the fact that they let me even do that. 796 00:41:21,880 --> 00:41:24,560 And then when I'm doing it, when I watch the videos, I go, dude, 797 00:41:24,560 --> 00:41:26,560 you, you sound OK. You know you're doing good with 798 00:41:26,560 --> 00:41:28,800 the, with the, with, with these guys that you you wouldn't. 799 00:41:28,800 --> 00:41:30,280 Be up there if you couldn't hang. 800 00:41:30,400 --> 00:41:32,040 Yeah, they wouldn't have me. That's like the ultimate 801 00:41:32,040 --> 00:41:34,040 validation. I would tell myself every night 802 00:41:34,040 --> 00:41:37,880 is like, if these guys are so good, they would never put me up 803 00:41:37,880 --> 00:41:41,160 here if I wasn't on the level So and there's so you need to 804 00:41:41,160 --> 00:41:43,560 remind yourself that, but. Totally, and they're so 805 00:41:43,560 --> 00:41:46,680 supportive, you know, they're so like they are the most lovely. 806 00:41:48,360 --> 00:41:51,920 You know, there's there's healthy ego, right, and they've 807 00:41:51,920 --> 00:41:53,600 got that ability. Like I said, you couldn't stand 808 00:41:53,600 --> 00:41:55,800 up there and play the Hydra if you didn't have that confidence, 809 00:41:55,800 --> 00:41:58,120 which kind of bleeds into a healthy ego, you know? 810 00:41:58,120 --> 00:42:02,720 But they're so comfortable just being themselves and being like, 811 00:42:02,720 --> 00:42:05,120 I'm Steve, I I'm Joe Satrian and I'm like, OK, I'll just be Pete 812 00:42:05,120 --> 00:42:06,320 and do my Pete thing. That and. 813 00:42:06,320 --> 00:42:09,320 Dude, that's the that might be the most pure thing that has 814 00:42:09,320 --> 00:42:12,560 ever been said on this pod because just being yourself and 815 00:42:12,560 --> 00:42:14,800 being happy with that and being like, you know what? 816 00:42:14,800 --> 00:42:16,880 This is what I do and this is kind of, you know who I am. 817 00:42:16,880 --> 00:42:19,240 And it's not out of like a hey, I got the whatever. 818 00:42:19,240 --> 00:42:21,480 It's more out of like, well, I'm going to say what I think I 819 00:42:21,480 --> 00:42:23,880 should say right now, you know, and do it in the best way that I 820 00:42:23,880 --> 00:42:25,520 can. And if it's one note, you know, 821 00:42:25,520 --> 00:42:27,720 then that's OK. Or if it's a million notes, 822 00:42:27,720 --> 00:42:29,920 great if you can do that, whatever your thing is. 823 00:42:29,920 --> 00:42:31,560 But it really is. That's the beauty. 824 00:42:31,560 --> 00:42:33,840 Because it's we always have to remember it's not sports, it's 825 00:42:33,840 --> 00:42:35,560 art. You know, we're making art and 826 00:42:35,560 --> 00:42:38,000 it's like it's. And your personality shines 827 00:42:38,000 --> 00:42:39,400 through in that, and that's so cool. 828 00:42:39,800 --> 00:42:42,840 Yeah, yeah, yeah. If you let it, you know, if you 829 00:42:42,840 --> 00:42:46,280 don't try and do other like let it, let it just just be the best 830 00:42:46,280 --> 00:42:48,200 of you you can be. And that's all anybody can ever 831 00:42:48,200 --> 00:42:49,400 ask of you in life, I guess.