What is your guitar-gear nirvana?  Is it a trip to your local guitar shop, a trip to NAMM, or perusing the internet for video demonstrations?  Maybe for your gear curiosities you should also be looking to podcasts, as there are a few that do a great job of exploring this ever-growing industry.  On episode 49 of Fret Buzz the Podcast, Aaron Sefchick and Joe McMurray bring in Blake Wyland, the host of the Tone Mob podcast and a co-host of the Chasing Tone podcast (alongside Brian Wampler of Wampler Pedals).
Blake tells Aaron and Joe about his background and how he got into the inner workings of guitars, amps, pedals, etc.
The guys have an interesting discussion about how a new guitarist should get started finding the proper gear to achieve their desired tone(s).  Blake recommends starting with an amp simulator/amp-in-the-box to find the “base” amp sound(s) that you like.  There is a big difference between the sounds of amps made by Fender, Marshall, Vox, etc.  Blake then recommends getting a dirt pedal (overdrive or distortion) followed by a reverb pedal and a delay pedal.
This leads to talk about preferences for using a clean amp and getting your overdrive/distortion from pedals versus driving your amp (turning it up enough for it to naturally compress and overdrive) and using pedals to shape or refine that natural distortion.  This obviously leads the guys into the subject of hearing protection!
Blake talks about the music industry and how pedal builders tend to share a comradery and a mutual geekiness.
Blake tells the guys about his top episodes of the Tone Mob, including interviews with Robert Keeley, Brian Fallon of Gaslight Anthem, Joel Korte of Chase Bliss Audio, and Richard Hoover of Santa Cruz Guitars.
Next, Blake tells Aaron and Joe about his pedalboard (which is always changing).  He talks about his go-to pedals including the Mad Professor Sweet Honey Overdrive, the Emma Electronic PisdiYAUWot, the TomKat Green Muffer Fuzz, the Dr. Scientist Atmosphere, and the SolidGoldFX Electroman Delay.
Blake also talks about amps, from the Chris Benson (a local Portland builder) “Vincent” to the Sunn Beta “Lead” to the Fender “Deluxe Reverb” and “Vibrolux.”
The conversation turns to building your own pedals and the large amount of labor (soldering!) it takes to build pedals, which is why they cost so much.  There is talk of Gibson’s bankruptcy, low-end Gibson versus high-end Epiphone guitars, and profiling amps/amp modeling.  The episode ends with a dazzling tour of Blake’s studio, filled with many beautiful guitars and amps, and an obscene number of effects pedals!
Be sure to check out the Fret Buzz The Podcast YouTube channel to see the video.
https://www.youtube.com/channel/UCq_-Theg14gom9gcgkmFk7g
Check out the Tone Mob at www.tonemob.com or wherever you get your podcasts.
Welcome back to another episode of Fret Buzz The Podcast. My name is Aaron Sefchick,
and I’m Joe McMurray and today we have Blake Wyland of Tone Mob podcast.
Hello sir, how are you? Hello, I’m fantastic. How are you guys doing? Not
too bad. Yeah. Doing great. It’s a little rainy here on the East Coast. It’s
alright. It’s a flip-flop, we’re like glorious sunshine right now. Oh, really?
You know, not in the norm for the Portland area but hey, it’s all good. Yeah!
So obviously by the title: Tone Mob, all one word by the way.
Well sort of. Oh, you’re in the midst of changing it? I just changed it after
years of having it be like one-word ToneMob.com podcast. I had so many people
like, “I can’t find it where it is” because they would search two words because
that’s how the logo looks and and I was like you know, this is kind of dumb. I
wonder how many listeners I’ve cost myself, you know that I’ve seen it
somewhere and searched but not been able to find it because it’s tonemob.com. So
I changed it all over here like a month ago
or maybe maybe a little less of two words this time okay two words and it
looks like on your website it’s be tone mob now well yeah it kind of that’s a
long story it started on Instagram so I went to get
tone mob and some Italian lady already has that and so I was like I guess I’ll
be the tone mob but yeah it’s kind of a mess but if you
give you google it it’ll bring up the right stuff okay so how long has the
tone mob been around so it’s been around about four years Wow yeah it’s kind of a
weird it’s a weird deal I I started I started it on Instagram like I just
mentioned and I I didn’t know what I wanted to do but I knew I wanted to work
in the gear industry somehow and I thought you know I’ll just try to figure
out a way to do that and I kind of did so I kind of shoehorn my way into the
industry in a weird way but yeah it’s a it started on Instagram and I I was
looking around and there was no there were no podcasts at the time that we’re
talking to builders and people from the Gear community and so I thought well I
guess I’ll give it a try and so all these years later people still tuned in
and people still seem to be pretty interested in it and yeah so just
keeping on keeping on yeah and perusing the library of podcasts that are out
there actually you don’t have a whole lot of competition so that’s kind of
nice too to be able to go out there and just say okay I’m looking for a Giri
oriented podcast that really gets into the details of it all and you would be
right up there around number one so that’s kind of cool
yeah and it’s it’s kind of surprising especially given the the amount of light
that’s been shown on podcasts in the last few years especially I feel like in
2019 yeah I am I’m constantly like okay it’s like there’s there’s some other
gear podcasts but they’re mostly host based like two hosts talking about you
know different guitar subjects right and you know like 60 cycles hum has been
going for a long time and guitar nerds has been going for a long time in one
form or another and then i’ma go I’m a guest well I’m actually more of like a
co-host on another podcast called chasing tone podcast with Bryan with
Bryan Wampler so I’ve been doing that almost as long almost as long as I’ve
been doing tone mob and I think I’ve actually put out more chasing tone
episodes then I have so it’s kind of a it’s kind of a weird
thing there’s like you know a handful of Gear podcasts and it’s just me and
guitar knobs doing the interview thing and their style is way different than
mine so right it’s really a weird a weird kind of niche that I’ve found
myself in it’s really nice to have you guys because there’s so much gear out
there now that it’s it can be difficult like he you can’t just go in a good art
Guitar Center and try everything like the guys they’ll get irritated with you
it hope that have have an idea of a few things you want to check out when you
enter the store rather than just being like well there’s a hundred pedals here
that I no idea what the difference is so it’s extremely helpful as guitarists
have a place to go to be able to get some background and hear about before
you to try them yeah yeah I mean that’s really what we try to do I try to shine
light on some smaller builders I’m a huge pedal nerd and so I talk to a lot
of pedal builders just cuz that’s my thing
yeah and and you know for me somebody who’s so into it and so nerdy about this
stuff like I go to Guitar Center and I’m like you guys don’t have anything like
where’s all the good stuff I mean they still have great stuff but I’m like
where is this little niche II guys Eiland why don’t you have him you know
it’s it’s like the hipster of the gear world yeah yeah well you certainly got
into it I mean what you’re about a hundred and twenty almost 120 episodes
in which is great yeah yeah it’s it would have a lot more I’ve always
intended it to be a weekly show but there for a while I was trying to work
my day job full-time work my business you know full-time basically and do the
podcast and have a family and so there was a there was a period in in 2016
there 2017 maybe early 2017 I can’t remember where you know I went a long
time without releasing an episode so long the you know people thought I had
like was done and had just quit right and so you know why one thing that I
tell the podcasters is don’t don’t do that like that’s the worst i cost myself
so much ground by doing that but I didn’t have a choice something had to
give right and so when I was finally able to quit the day job now it you know
it’s really hit a very consistent schedule and that’s been immensely
helpful yeah and you had mentioned previous to us
starting here that you you also are in a band as well yes yeah that that is sort
of the time that the the band was in its heyday and you know the podcast started
was kind of like the band was sort of at it’s not I don’t always say peak as far
as like as far as good as we’re gonna get whatever but like as far as our
activity was going we were practicing all the time we were writing new
material wah wah wah and that kind of like took a back seat
we all had more children or you know had other things happen in our lives so the
band is actually in our restart mode right now we we just moved my buddy’s
drums over to my place we’re gonna get some new gear to practice over in my
space we’re at a different spot before and kind of get get things back on track
with that awesome what’s the name of the band
oh we’re called Ankara Shore Ankara sure ok we’ll definitely be on the lookout
for that in the future yeah there’s just one album out there
it’s on all the digital platforms if you’re interested in what a bunch of
indie rock guys in you know me being the post hardcore type guys sound like it’s
a that’s what it is it’s sort of a 90s ended up sounding like the 90s sort of
band when we all got done with it but yeah it was it’s a lot of fun and it’s
you know it’s what it’s all about at the end of the day so I gotta get got to get
back to playing with the baby yeah right right so so let’s tell it kind of give
us a little inside story in terms of how you got into this whole your interest
into the geekness the the the innards of gear and why and how that appeals to you
so much I’ve you know I’ve thought about that quite a bit like I’m not sure why I
gravitate towards that so much and I it’s always been that way for me you
know my dad played guitar and still plays guitar but he’s primarily an
stick player and never really got into the gear very much and so when I was
coming up I was I was learning about you know basically rock bands cuz I grew up
on country and and I was like asking dad like well how do you get the guitar to
sound like this and he didn’t know you know and and cuz he did it wasn’t his
thing right and and so I was calling you know I thought you know I was hearing
these bands playing these drop tunings and so this is before I even picked up
an instrument I was like calling Guitar Center mic well that sounds like bass so
maybe it’s like distorted bass I don’t know what that is and so I like remember
calling Guitar Center and asking them all these really bad silly questions
that they probably were like who is this guy
before I ever even picked up an instrument cuz I was trying to figure
out what I needed to buy and how much I needed to save so it’s almost like the
gear obsession started before I even knew how to play this kind of a weird a
weird thing to think about but I don’t know it’s a weird wiring I’ve got I
suppose ya know it all it all is kind of interconnected in terms of I mean it’s
kind of cool to find out why why certain things work the way they do you know for
sure but definitely I mean it’s it’s it’s weird when you have those light
bulb moments it’s like oh it all makes sense now okay so yeah it’s a it’s been
and I’m constantly learning because there’s constantly new things coming out
and and it’s I’m you know I’m still obsessed with it so I’m I’m always
trying to figure out what’s the latest and greatest and all that stuff do you
remember your first pedal yeah I do actually it it was again it started like
all things do it Guitar Center seems and I was playing a Fender super sonic 22 to
BAM and I was like I need a little more I need a little more to dirt there dirt
to get what I’m trying to do and the guys like Oh what you need is a tube
screamer and I was like tube screamer what’s a tube screamer right and so he
brought me a ts9 and that was my first very first pedal was that ts9 cool which
is weird because I’m not even a big tube screamer guy anymore
right you got to start somewhere mm-hmm so
I’m always interested in like I have a lot of students and sometimes they want
to they they look at my pedalboard in there they want to know what pedals they
should get do you have any I’d like to hear your ideas of what you think a rock
guitarists young rock guitarists what’s the first pedal they should really
invest in you know it really kind of depends on what their amp situation is
in in my opinion so you know if they if they’re playing direct a lot which a lot
of people start out doing these days or if they’re they have like a clean pedal
platform I like to try to to have people experiment with amp in the Box type dirt
boxes because it’s cheaper than figuring out you know what kind of amp you like
to get started so it’s like you know yeah I mentioned Brian Wampler earlier
he makes he’s known for the amp in the box stuff so if you can go pull up his
website you know him he’s got a ton of you know he’s got Marshall style ones
he’s got Vox style ones and and a ton of other builders do too so I would have
him start with a some sort of amp and a box dirt pedal and figure out kind of
like what their what their bass tone is I don’t mean bass like rice but they’re
they’re kind of normal level tone is at what what their ears like you know I’m
just kind of assuming someone’s starting from from zero basically yeah so yeah
some sort of some sort of good dirt like overdrive distortion and then you know I
feel like a reverb and delay is probably all that somebody just getting started
should really mess with because it gets deep in a big big hurry not the truth oh
man yeah it’s such a good point about the amp simulators because if you have I
mean just the basic tone of a marshall is so different than the basic tone of a
offender that really does you need the right aunt before you start getting
pedals probably yeah I you know myself personally pedals are so good now I
prefer like to keep the amp clean-ish and have it be kind of a pedal platform
so to speak that’s changing a little bit which we
can get into you know it into details on that later if you want yeah but I like
to see people start with just a clean amp and some good dirt boxes it really
can go so far with that and it sounds it’s not even like it sounds convincing
like it sounds good if you if you have the right pedals and you just know how
to set things I find in my practice I Drive I get my overdrive from the pedal
like way more cuz I’m playing at a low volume in my house but like last night I
was playing a gig outside and I got to turn my I have a fender Princeton Reverb
the tenon speaker and as soon as that thing goes up past about for like I said
my whole pedal situation changes like in the house I use a Kili red dirt
germanium for my overdrive and I just love it gets a nice saturation to it it
sounds good with my es-335 but outside with that when I can turn it up the tube
screamer really sounds phenomenal yeah like it’s not like I’m not pushing it
super hard like I’m not dialing it back as far as some people do but it’s like
at different volumes it really changes what you’re getting out of the pedal oh
yeah oh definitely yeah totally totally changes the response when you start
having the amp you know starts to compress and saturate a little bit you
know and you’re hitting it with that with that red dirt which it which is a
great pedal and yeah it’s it’s it’s weird how how much it changes at volume
and I I just I it hasn’t came out yet but it probably will by the time this
episode drops I I was talking with Mike Mitchell who plays in plays in the
Kingsmen who kind of a legendary you know Portland area band they did the
LOUIE LOUIE thing back in the day where everybody knows him from but he was
talking about them playing those old Suns how much power they had and how
they would just he’s like there’s nothing like just standing in front of a
wall of 15-inch speakers and 200 watt heads I’m soaked so cool to see like
this 70 year old man like he’s like oh yeah he’s just not what you think of but
he was so passionate about it he’s like just
feeling it just blow your pant legs and just go he’s like there’s nothing like
it all you changes everything they have hearing aids he didn’t he didn’t in he
he didn’t seem at least in our short conversation you know we only talked for
about 30 minutes he didn’t seem hard of hearing at all which was amazing to me
considering his career yeah or tinnitus yeah I didn’t ask him about it but he
seemed fine no there’s actually a there’s an interview of Paul Gilbert in
my latest guitar techniques magazine and he’s got you can see his hearing aid and
he brings it up like the fact that he can’t hear his tone he’s like I don’t
really know if it’s good I can’t hear very well I don’t know how he gets to
listen back wow that’s yeah that’s crazy aware it’s insane I wear earplugs all
the time I’m terrified of losing my hearing I feel like that would be at the
end of my career if I there’s nothing more important than your ears as a
musician it’s true it’s true and I you know being this I don’t gig out or
anything I feel like I’m a little less prone to some of that but sometimes at
concerts I catch myself I’m like oh I should have brought plugs I’m I’m
feeling it this time you know and I did it’s always freaks me out like hearing
protection is important everybody it doesn’t matter how cool you think you
look if you can’t hear you can’t enjoy this wonderful thing we call music so
yeah put your earplugs in yeah especially drummers especially drummers
it’s a it’s for anybody out there that doesn’t know it’s it’s always the high
frequencies that go first you will absolutely 100% start losing because the
human hearing goes from 20 Hertz to 20,000 Hertz and you will start losing
20 19 18 17 and 16 and it starts going more and more and there’s actually
debate out there in terms of age actually once you hit about 50 years old
you start losing it automatically anyway so like that’s for like old people
they’re not necessarily starting to go deaf when they go huh
it’s just that the fact that they can’t make out the nuances of the words
because they’re losing all that high frequency information yeah that’s that’s
a such a scary thing as somebody who’s so you know built his life around how
things sound it’s like ah ya know I only have 20 years left that’s not enough
time like crazy I mean I mean but I mean you look at all these these older
gentlemen producers engineers like Chad Blake and you know chris lord-alge ii
and you know they’re obviously older than 50 but they’ve trained their ears
to hear the things that they don’t hear you know they’ll they do know exactly
how to mix because they’ve been doing it for so long so you can you could
definitely learn the process and make sure that when you do put it out to the
masses that it still works very good with all the ways that people are
listening to music these days but nonetheless in terms of losing that
information Wow Wow Norrell the story is just too keen just to wear your hearing
protection there’s no no reason not to you yeah even if somebody gives you a
hard time I feel like that’s less of a thing now too like everyone’s like
everyone universally doesn’t want to go deaf oh I feel like maybe back in the
day there was maybe some old metalheads that would call you names for wear in
ear plugs but I feel like that’s way less of a thing these days it happened
to me like three weeks ago and saw papa doe Co here in Virginia Beach really and
I was wearing my earplugs and I mean it they were just these girls that were
kind of drunk but they were giving me the hardest time and I was like like
leave me alone you know it’s so lab or front row and anyway they were there
picking on me well they’ll be deaf so that I can make fun of them yeah yeah
well you should make fun of deaf people but you know what I mean
no no no don’t do that
cool well yeah so I mean all of this really comes down to and talking about
frequencies and all I gotta say if it really comes down to this idea of tone
and what is tone how would like in all of because you’ve obviously had a lot of
discussions with a lot of pedal makers a lot of gear makers what have you kind of
gathered over all of these talks with all of these people the the biggest
thing is that like a lot of the pedal builders start from the same place it’s
it’s really funny how at least specifically the pedal builders they
they all have a very similar story it’s like it it’s like yeah well I started
you know I built a couple DIY kits and then I did this and then I you know then
I I wanted to go further so I started developing my own stuff and you know
hours and hours of red boarding and then you know some people wanted to buy it
it’s kind of funny how similar all of their stories are and one thing I’ve
noted about the gear industry in particular and I’ve talked about it at
length on my show is that how there’s a similar type of person that listens to
my podcast that that gets started in building guitars and gear and pedals and
amps and it’s like we all have a very similar personality we all have a very
similar we all get along really well we go to NAMM which I’m sure a lot of your
listeners know what name is we’re not talking about Vietnam but the NAMM show
down in Anaheim and you know the pedal builders all get together and go bowling
all like it’s a thing yeah absolutely and so community really it’s a community
but it’s kind of it’s funny to look at it from a business perspective because
they’re all direct competitors like they’re directly competing with each
other if you buy you know if you buy an earthquake or Palisades you’re probably
not gonna buy the JHS bonsai you know type of thing and but yet they’re gonna
they’re going to specifically JHS and Earthquaker are the ones who host the
bowling party for everybody else to come to so it’s it’s a it’s like a lot
a lot of camaraderie so like the the I guess where I’m going with all this is a
is for some reason the gear world is very very friendly compared to a lot of
other businesses that’s like a huge tick take away that I never would have never
would have known otherwise yeah you okay Joe do you attribute that to
like Josh Smith from JH s is just like he seems like he’s super nice like it’s
just his do you think it’s just the fact that you happen to have some really nice
guys at the top of the pack but there’s nice guys at the bottom too and in the
middle and yeah yeah there it’s like you see you see Josh and you see like Robert
Keeley and you those guys are pretty out there and Brian waffler and you that
they’re none of that stuff is fabricated that’s just how they are whether the
camera is rolling or not and I I think it just did I think this industry for
whatever in whatever reason attracts friendlier people maybe because there’s
only like a handful of guys in the business that I actively kind of avoid I
won’t name names but it’s only like three in the whole business that’s
that’s saying quite a bit I think when you’re talking about an entire industry
of folks yeah a lot different than like the construction industry where oh my
gosh that I was in where it’s a pretty harsh industry get into the music world
in everybody is just like I love life so much more yeah I think yeah totally I
think part of that has to do with a little bit of the geekiness of the whole
thing I know with with in the recording industry it’s the same thing there it’s
very much a family-oriented and even though yeah you may have a direct
competitor it really is not the idea of you know trying to get one up on the
next guy it’s more along the lines of hey we’re all on this for the same
reasons and you know maybe my audience can learn a little something from your
audience and vice-versa and this is all one you know we’re all interested in the
same thing and that’s all good so yeah I don’t know if it’s the whole music thing
or what is but it’s it’s definitely good that’s
for sure I I think so I I mean you know I’ve talked I’ve gotten the opportunity
to talk to some some musicians that I look up to to on the podcast and you
know they were all super cool to it you know so much to the to the point of you
know we I recorded one and I’ve talked about this a few times and I always feel
a little bit creepy when I talk about it but I was able to get Brian Fallon from
Gaslight Anthem on my show and I’m a huge Gaslight Anthem fan and you know
they say these things about don’t meet your heroes you know it can they can let
you down well it couldn’t this couldn’t have been further from that case we got
along so well and we and we just enjoy chatting and we like the same stuff and
and I don’t know we got along really really well to the point where we still
talk so you know my wife was there for that recording and she came away and she
was like they’re just like you you know and she’s a big fan too so it was kind
of a weird thing I think it is the music that that brings us all together at the
end of the day yeah yeah you play music you don’t work music that’s right nobody
says that really do they it’s always playing it’s true you know is it we
recently our last interview was with Mark Bennett oh of Bennett Oh guitars
he’s a luthier guitar builder acoustic guitar builder up in Canada uh-huh
builds really high-end guitars and he was saying something very similar about
about the acoustic guitar builder world of you know that there is a lot of
camaraderie there and so that’s just another example and I think to my own
music scene the camaraderie in Washington DC and that music scene was
was really awesome and here in Virginia Beach there’s a lot of great people it’s
just a further support of what we’re what we’re talking about yeah we’re all
kind of in this together right mm-hmm I don’t think we really have a choice I
mean there’s unfortunately on this on the lower level of music in terms of the
money because there’s there’s not a whole lot of money out there for
that’s so it’s it’s more beneficial to help each other and be more of a family
than it is to try to strike each other down yeah that’s well it’s not gonna
work out it doesn’t ever seem to work out in the end for you know the hyper
aggressive competitiveness I mean I mean in some businesses it does but seems
like it always comes back to bite somebody in the music industry yeah yeah
you get a bad name for yourself in some way anthems like hey watch out for those
guys at the fret buzz pad yeah right so I give again you’ve talked it quite a
few people would have some what are some of the highlights oh man wow that’s I’m
sure there’s gonna be plenty of our viewers that will love to kind of peruse
your library if I was to go to your library right now what would be the top
three to five that you would say you definitely need to check out this
episode okay so there’s been a lot of I mean a lot of really great conversations
yeah yeah check out all 116 know the so one that my listeners always reference
back to is being one of the best episodes
I just went back and listened to it was episode 18 with Robert Keeley oh yeah
and it I’m I understand why they say it’s one of the best episodes cuz Rob
was very candid on it about some of his struggles and with with drugs and some
other things and and so I totally and I think that was the first sort of peek
behind that curtain that he had give anybody and I wasn’t expecting it when I
recorded but I was also really new at interviewing so I listen back to it my
goodness I’m so stiff like I’m like I sound like a made of wood a lot of
people really enjoy and I totally understand why but it’s not my best work
for sure but but there again lots of people like that one I reference the the
Brian Fallon episode I can’t remember them
number on that one but it’s it’s only time he’s came on that was recorded on
his bus and in Boston or on the the band’s bus in Boston rather that was
amazing and anything I’ve done to two episodes with Joel Cordy from chase
bliss and he is just I could I could talk to that guy all day long like he is
the nicest coolest dude ever so yeah either the Joel corny episodes
would be pretty pretty epic yeah where do you think like getting the most
technical like I’m always interested uh like I have limited time I’m a lot of
times I skip over when people are just chatting to be honest I just don’t have
the time or patience to listen to other people talk about randomness I’m there
to like find out like how do you get the what’s this pedal about how do you make
it work do you have some episodes that end up being much more technically based
and some that are more chatty um I’m pretty chatty as you can tell so we we
kind of bounce all over the place I really try to focus on the person behind
the the brand or the you know the band or whatever I’m really interested in
people I I do like gear but I’m really I’m really there to talk to the person
especially especially after this many episodes it’s like I kind of want to
know what makes you tick and why you do the things you do so they tend to be
more chatty however one that was very much more in-depth from a like tonal
kind of exploration side and a big departure from what I normally do was
when I talked to Richard Hoover from Santa Cruz guitars and obviously it
makes beautiful acoustic instruments a lot of people know Santa Cruz and he
really he really went into his theories on building guitars and why why things
sound the way they do and how he likes to approach things and it was really
more in-depth than I was expecting and I think somebody like you would probably
get a lot out of that episode oh yeah especially with my newfound passion for
the acoustic guitar again oh yeah rekindling of the passion yeah
that would be they’ll be awesome for me yeah I think I think you’d probably a
lot of people like that one I got a lot out of it just from doing it so it was a
he’s a really nice guy and again a wealth of information so he and he’s way
willing to share so yeah that’d be the one I would probably point people to
awesome they’ll be really cool after especially cuz we just interviewed Mark
Bennett oh and they’re kind of competitors in that same high-end guitar
world it’ll be interesting to hear how the different you know any differences
in what they say and how they approach things right yeah that’d be really
interesting so I want to know what’s on your pedal board right now well I’m
looking at it right now and my listeners if they slide over to
listen to this which I’m sure some will are laughing right now because I never
have a pedal board setup I I have a lot of pedals and I’m constantly getting new
ones and so basically my routine is every night I have a table with a power
supply on it and a bunch of patch cables and I’ll grab a random things out of my
cabinet and I put them on there and try to make new sounds and so therefore I
never have a normal pedal board right out right so like right now I just was
to playing with last night was my MERIS Enzo a mr. black blood moon reverb and a
noble tone a volume pedal well it’s a technically an Ernie Ball volume pedal
but Roman from Chernobyl tone does these mods where he puts a buffer and a tuner
and does some upgrades to it and normally I wouldn’t consider that
necessarily like adding a crucial piece of the board but how I was using it for
doing these weird cynthy sounds it was kind of important so that’s what I was
playing with last night go ahead I was going to ask how many petals do you own
roughly roughly like 10 20 30 50 100 200 yeah maybe like 200 or 250 or something
yeah it’s it’s it’s an addiction I’m sure your wife
loves this yeah she does so I mean I bring in a box from if I come in
carrying anything it wasn’t matter if it’s from the mail
or from or otherwise my three-year-olds like oh did you get another pedal yeah
usually it’s like yeah yeah but you know some of that is is a byproduct from from
what I do though as well so you know I’m testing a lot of prototypes um you know
do product development for some of these companies and so some of it is is not
necessarily final products and sometimes people just wanted me to check things
out which is the most fun and just get some feedback on it so I have I have a
lot of stuff it’s kind of its kind of I’m not sure what its kind of obscene
when people walk out into the the room out here and one of my my drummers dad
came out here recently and he walked and he’s a guitar player and he’s like wow
you sure do have a lot of pedals don’t you and he was looking at my cabinet
that I keep him in and I said yeah don’t turn around and open any of those
drawers behind you because they’re not full as well you know it’s just it’s a
it’s a funny it’s a funny thing have you ever done a I guess you don’t
do YouTube I was gonna say I’d I would love to have like a studio tour that
would be like I’m I’m really curious now like I I almost want you to pick up your
phone and take us well I can do that later maybe but it’s it’s it’s not that
big it’s a it looks bigger than it is it’s only about three hundred and three
hundred square feet or so yeah but it’s it’s really tall
it’s about fourteen six to the peak so it looks really big from the outside and
it looks cut it looks kind of big in pictures once you’re in it’s like Oh
square footage-wise it’s not really that big it’s it would be a short tour okay
no that’s the hate that’s cool stick around we’re got more awesome that’s
cool very cool it’s not like Aaron’s Aaron looks like he’s in his palace of
guitars and gear goodness and it’s like a big closet right my is mine is a
walk-in closet you can you can touch both sigh
with your arms outstretched straight yep oh yeah oh it looks so huge in the
camera that’s crazy weird yeah I can’t quite reach but yeah that’s those are
not that far away yeah yeah yeah so if you have do you have go two petals yes I
do have some go twos if I was just to like run and go play a gig I would
probably throw on like if I was gonna throw a small board together real quick
I’d probably grab my Mad Professor sweet honey it’s just I’ve had that that
overdrive for years and it just works with everything and its really touch
sensitive I think that’s just a great three knob overdrive and I’d probably
grab my I’d probably grab my EMA electronic piss di watt which is a
high-gain metal distortion with 3-band active active EQ on it so it’s billed as
a metal distortion but what’s great is it has a ton of different sounds in it
with that active EQ and the game range is actually really wide so it can be
lower gain too or it can rip your face off whatever you need so I would
probably grab that and then a yeah obviously I got to have some fuzz so I’d
probably grab a big muff of some sort most likely would be the Tomcat pedals
green muff ER and then I’m obsessed right now with the doctor scientists
atmosphere I just got that recently and I can’t stop playing it there’s so many
sounds in it awesome so I probably grabbed the atmosphere and then the
solid-gold effects electro Mandalay and I’d flip that the reverb would be at the
end but so that’d probably be what I would grab if I was like I don’t know
what I’m gonna play I need to cover some ground ball throw that on okay let’s see
what see what happens right wow so cool now obviously as we just kind of talked
about it before all of these sound a little different through what amp you’re
playing through do you have multiple amps that you kind of play around with I
do I I’m a Benson amps fan boy Benson Chris Benson is a local builder here in
Port and he’s really blown up in the last few
years I’ve known him for several years before that but he he makes the best
amps in my opinion and I have a couple that are pretty special but the one that
I the one that I think is one of the best amps on the market is the Benson
amps of incent which there’s kind of a long backstory there to how I was kind
of involved in that becoming a thing but it’s basically it’s a it’s a without
getting too into it cuz it’s pretty unique it’s a big amp and a little amp
in in the same package so it’s it looks like a regular channel switcher but when
you engage the dirt channel it’s not just bringing in another set of preamp
tubes or something it’s actually a whole separate one watt amplifier that runs
into the front of the bigger amplifier so you get full blown power tube
distortion at basically any volume level and it’s you know oh and you can turn
that off it’s a great pedal platform if you need be it’s just I think it’s a
fantastic amp I love it plus it’s got my oldest son’s name on it so there’s I’m a
little bit yeah that’s cool yeah that’s really cool that it actually puts it
into a low wattage preamp to drive it yeah well did the Vincent is came from
the Vinny the Vinny was the first version which is a 1 watt amp and I
asked Chris to make this for my son when he was born so we’d have a matching amp
for two two daddies so because yeah that’s what you have to have right it
just makes sense for infants and and I found I asked him to put an instrument
level out on it just to just for fun I thought maybe for direct recording or
whatever and I found that I was like this is my new favorite overdrive pedal
and because you can run it and say you know you you just had this is the Vinny
by the way and so I was running it into other amplifiers and I told Chris you
know this thing sounds great by itself but it really sounds good when you run
it in front of a big amp that’s what led to the Vincent being developed
it really is the struggle a lot of times you you know you want a small amp but
then there’s sometimes it’s just not loud enough yeah sometimes you want that
break up yeah sometimes I need like I need the clean Headroom for certain
things without I don’t want it to break up especially if I’m playing like jazz
or something but then you know the next song I could
want some overdrive and I do want it to break up seems like a great solution is
all I’m saying oh yeah I think I think a lot of you
know it’s one of those things where you hear about it and it sounds pretty cool
but I I’ve witnessed a few people once I actually try it they’re like oh this is
something else like this is a hole you can’t hardly put it into words it’s a
really special amplifier I think is there a a bigger maker that most people
would have tried that you could compare the tone to you know is it more in the
realm of a Fender sound or a box or Marshall or whatever that that’s what’s
really hard about the Bensons stuff is is normally with most things you can
point to something and there’s not really anything else I like it out there
you know tonally but I would say it sounds like a soup row but way more
refined you know way more way better note definition it doesn’t get so fluffy
but the break-up characteristics are sort of super oh ish it’s almost like a
I would say if you took a soup row and a fender and blended them up it would be
kind of like that and Chris probably get really mad if I know what I’m talking
about but that’s sonically what it kind of
sounds like to me so if you’re not grabbing your bends what would you be
grabbing I would problem for ease I would probably use I mean it would kind
of depend on the gig when I’m not playing my Bensons normal input playing
my son beta lead which is a completely different thing altogether yeah and but
if I was like you know gigging out and trying to just like cover as much ground
as I could it’d probably get like a deluxe reverb or something a vibro Lux
would would probably be my my go-to for that kind of stuff cool
yeah you can’t go wrong you’ve got a deluxe right Miren
yeah certain rates of dogs yeah that’s hard are you with a deluxe reverb they
just sound great yeah yeah it’s just heavy that’s why I have the Princeton
Princeton’s are awesome too I just like a little bit more Headroom
yeah yeah you mean actually physically heavy oh yeah that’s nothing it’s
nothing like the twin – my twins like oh yeah
twin is something that I’ve always found I mean I understand back in the day why
somebody would would need a twin but like man twin seems like it’s just about
overkill in 90% of application right right it’s amazing how much the room
changes things – right gosh yes it’s like you plug in you know at home you’re
like okay I got it dialed in and then you take it somewhere else and need set
it up exactly the same and you’re like this sounds awful like what happened the
room changes everything it’s so crazy yeah very much so yeah not only that I
mean there’s so many variables and anybody’s setup whether it’s the guitar
itself and how you have approached the fret board or the amp and whether you’re
using a you know a half stack or a quarter stack or if you’re using a combo
amp and the cabinet that’s in it because the cabinet is a huge variable in terms
of what’s going on and how it reverberates and the speakers that are
within and I mean it’s just there’s so many variables yeah it’s it gets wild in
a big hurry it’s it’s it’s amazing how deep the rabbit-hole goes yeah and we
haven’t even touched the idea of how much the guitar impacts your sound we
haven’t even got there yet that’s that’s funny guitars string gauge pick type
there’s so many so many variables yeah tone is oh my gosh it’s it’s amazing I
mean yeah I always find it funny because you can go online and look up
whoever’s you know rigged and how they got there
certain tone but it’s just like the recording world where you can go on many
forums and find out exactly how the compressor settings or however they
threat this put this threshold or whatever it is and no matter what you’re
never really gonna capture that original sound just because you’re in a different
environment and things change between components it’s it’s interesting the guy
that I was talking about with the whole modding of the the amps he sent me an
article about you know slashes you know that signature sound on apatite and
where that act that amp actually ended up and where the circuitry actually came
from so I guess there was an individual who actually tracked down the hole went
down the rabbit hole for years and years and actually finally found out where
that whole thing came from so it’s it’s it’s tone is man I mean there are some
people that get very very obsessed with it and for good reasons but even then
it’s just like oh my gosh there’s you know it’s like you have 200 plus 250
plus pedals out there even if you capture the tone there’s just so much
more I mean that’s like kind of like I was talking about like what I do every
night is really weird but like I’m constantly searching for new sounds
that’s what I find enjoyable I’m always trying to you know find a you know I’ve
told people before it’s like I’m searching for a new color almost in some
ways like something I’ve never heard before which you know a lot of people
don’t have a hard time believing but with the arrange of effects that are out
there now I really believe that everyone could have like their own completely
unique sound and have it be totally different than anything that’s ever ever
happened before because there’s so many insane combinations of things that you
can put together yeah yeah I mean you you look at all these guys who are pedal
makers and they’re always coming out why do I follow
Kili and you know they’re always coming out with these new crazy cool sounds
because it is it’s it’s you can’t find the end you can
always find something new to kind of play around with yes it is a
never-ending journey yeah it’s great have you ever dabbled in making your own
pedals or doing the DIY route so sword of ICH I I let’s see how to explain this
I have no depth perception so it’s soldering is very I can do it and I’m
not bad at it but it takes me a really long time so I’ve I’ve started putting
together some pedals and things before and I’m just like you know this takes me
so long it’s not really that enjoyable plus I don’t know I’m I know just enough
about electronics to be dangerous and so what I found to be much more effective
is getting my my friends who actually know what they’re doing and giving them
my wild ideas and letting them make it into a real thing so I’ve got an
opportunity to do several pedal projects with different builders for you know
that we did as small batches and I’m working on a project right now with a
couple different guys that it’s been in the works for about a year and a half
but we’re coming out with something really crazy here in the next few months
so looking forward to that but so you I have but it’s more from a more from an
idea and like I’m like part of the process but I’m not like the guy who
makes it happen interesting yeah it’s obviously
depending on your passion some people find building stuff
electronics just you know there is no better but then there obviously there
are people who yeah yeah you just you do it I’ll just play it yeah yeah I mean I
love the concept of creating something new and I’ve definitely been like I said
a part of that process but when it comes down to the nuts and bolts of of all
this stuff there’s just there’s people who are way better better at it than me
let them do their do it and it’ll be way I hear you yeah yeah I haven’t I haven’t
delved into that either something like it’s injured it does seem really
interesting it’s just a time there’s just not enough hours in the day there
certainly isn’t no there’s not that depends on what your passion is I know
that there is a group out there they actually have a podcast as well and I
have them on Instagram called DIY recording where you can buy kits and
they’ll actually kind of take you through the process of how to build your
own whatever it is that they’ve got you know from something as small as a direct
box to something a much bigger so if you are interested there are places out
there that you can go through that process and kind of get yourself a
little bit more knowledgeable in terms of why we get the sounds that we do and
what parts make you know the characteristics of such petal the deer I
have seen them before they have some really cool yes I like really really
cool kits the DIY recording guys do yeah yeah they’ve even got like a couple 500
series things that they’ve got and it’s yeah they’ve got a lot of cool stuff
going on yeah and same with pedals like that I don’t know if there’s a if
there’s necessarily a podcaster resource like that but they’re kits from you know
mammoth electronics build your own clone yeah just there’s a there’s a ton of
different ones out there that if you just want to get your feet wet that you
can kind of get started there and they’re even I could do it
so most people could probably handle it and at least get your least figure out
if it’s something you’re into or not you know without jumping fully into it and
it’s cheap if you’d get one of those it’s probably cheaper than buying the a
pre-built pedal right yes oh yeah definitely
I mean you know it you do have to you know solder a everything together but
yeah you you know you probably spend you know 60 bucks instead of 200 so caifa
billion that metal housing in the little resistors and stuff
let’s with pedals it’s a lot of labor you know that’s a lot of what you’re
paying for in fact yeah thing that that a lot of us in the in that in this world
kind of get tired of having to tell people is has you constantly get
something like well there’s only like $15 in parts why is it so much it’s like
well there’s employees and electricity and development cost and and and and and
it’s like so it’s that’s what it costs to produce but still it’s like an
ongoing battle it was the only fifteen or thirty dollars or however much they
think goes into it they don’t count any of the other stuff but when I was down
at UH the mogh Factory in Asheville over Thanksgiving if you’re interested check
out our episode with Paul gotta he’s one of the managers at Moog news I don’t
remember what episode that was somewhere around mid 20s thirty did mid 30s I’m
terrible at numbers but uh so we I got to actually go on a you know behind the
scenes to her and there was a guy working he was soldering the connections
I think it’s the new mug one it’s their newest kind of flagship model that’s got
sixteen different voices can be played at once Wow where is like a mini mug or
the typical one you can only get one gonna play one key at once mm-hmm
because you need a whole circuit board to create that one and sound but this
one because it’s got sixteen pot like you can have sixteen voices at once
it needs sixteen complete circuits yeah and so like the guy was just he was
soldering away but it was it looked like thousands of connections oh I’m sure
that’s very cool to see I have a good picture too of him doing that that I
need to should have gotten that up on the lot on that episode but um yeah yeah
anytime you look at any one of these guys little studio tours or whatnot like
it’s it most of them are not in a huge factory or anything like that it’s
usually a little shop of some sort maybe it’s even a house
that they’ve they’ve got and each room is you know a different part of the
stage for somebody’s handing off whatever and this person does this
circuitry or whatnot like that it’s usually very small operations but it is
labor-intensive there’s a lot of work that goes into it’s like it’s on a
factory line and bunch of machines ones is it no it’s somebody actually sitting
there wiring your pedal up yeah it’s it’s amazing what I’ve noticed him and I
don’t know I don’t know if you guys have experienced this two mugs maybe a little
bit different they might be an outliar in this but for the most part any of the
tours I’ve got to go on or visit chops or whatever universally it’s like wow
this is a lot smaller than I thought it would be like every single time it for
me it has been anyway it’s just I think I think there’s a misconception about
here like even if you go to like mesa/boogie like they’re one of the big
guys in this business not that big of a place like I think what a lot of people
need to realize is that these companies are not what some people think they are
it’s not not everyone’s fender not everyone’s Gibson in fact there’s
only two there’s only one fender and one Gibson everyone else is is tiny for the
most part yeah I think most people in their mind they’re like okay if I were
to drive down the street there’d be a big sign out there and there’d be a big
you know building and one like that and it’s like no no it’s somebody’s house
you’d probably drive right past it oh yeah yes one thing I’ve said on my
show before is that like most like I would say 80% of the industry or
better your local mid-sized construction company is a way bigger operation than
most of these gear companies yeah yeah anyway that’s it’s a small world no
compact here wasn’t that big by the way no really it was a it was its own
building standalone but the actual innards were there working to think
they’re putting out all the mugs in the in the world it’s not that big
interesting so it holds true I mean it’s the size of my house probably much
taller ceilings though great yeah the only big operation that I’ve ever been
to like you said was was Gibson or you walk in and it’s like wow this place is
huge they’ve got lots of inventory going on
here yeah I went to the one in Memphis but even that I was like I walked in and
I was like this building is really big and I was looking around and I would
kind of put my kind of put my business hat on for a minute I was like this
buildings way tritak like there’s not enough there’s not enough going on here
that warrants this building being that big and just what I think last year or
the year before they’re selling that building now so I
guess they figured that out too yeah well given its not doing so well right
now well I mean I guess that depends on how you look at it there we can get into
that a little bit if you oh yeah yeah that’s that’s something that like is
kind of near and dear to my heart because I’m I’m a Gibson fan I’ve always
liked Les Paul’s and just Gibson’s been a big part of my playing since day one
oh nice oh yeah you said 335 earlier right hmm there’s my baby
yes so you know all that stuff about Gibson not doing very well and they were
filing for chapter 11 and all that stuff what’s really interesting is when you
get into the nitty-gritty about that they they’re doing fine from a guitar
business perspective they’re selling a lot of guitars there that revenue from
the guitar side was doing fine it was all of the investments they made in
consumer electronics they bought the Philips consumer electronics brand and
Oneko I think that’s how you say it I can’t remember and a few others they
they leveraged themselves really with a lot of debt and bought these brands
those brands didn’t end up doing very well and that was actually the cause of
them you know having to file for for bankruptcy what was really great about
them filing for bankruptcy and now again there’s insiders that know way more
about this than I do I’m just purely looking at the outside
and what was available to the public but
once they once they’ve filed for that and had to restructure they shed all of
that so the Gibson guitar brand is now just the guitar brand they shed all
their liabilities for the consumer electronic stuff for the most part as
far as I understand it and now they’re back to just doing what they do well and
they hired the CEO they got rid of Henry who is the one who kind of I won’t say
he caused all of all of this but his decisions did kind of lead to right some
of this stuff right right um and and so they got rid of him and they brought in
a guy the CEO from Levi’s which as a brand Levi’s been doing great the last
few years and you know they kind of recognized their roots and where they
came from so I feel like this guy and he plays guitar so he’s not just some guy
he’s not a pimp just a pants guy but he plays guitar and he seems to really I
think Gibson’s going in the right direction is what I’m what I’m gay okay
good yeah hopefully I mean they’ve obviously been a staple for extremely
long time I would like to see nothing more than them you know become a huge
thing again not that they aren’t now but for me in terms of an outsider just
seeing I see that there’s a a niche for me I feel like that there’s a niche that
they’re missing out on I see that they’re selling a lot of the lower-end
and a lot of not so much a lot but they are selling some of the higher-end and I
feel like that there’s a middle ground that they might be missing out on yeah
well that’s a good point because my first Gibson was a Gibson Les Paul
Studio the I think 2003 and it was the studio faded and why did I get it
because it was $420 and it was a Gibson so and it’s still great it was a great
guitar that was the other thing it was a good price good brand name and it’s an
excellent instrument I still have it so yeah you might be right about that
but don’t you think that like the higher-end Epiphone are probably better
buy than the lowest and Gibson models maybe but then they say up a phone on it
and slash doesn’t play an Epiphone I get what you’re saying but as a as this you
know if you’re trying to be a smart consumer you are probably better off
getting the highest and Epiphone where they put in the best pickups they can
and the best they try to make it they don’t they don’t take all the shortcuts
that they take on the studio versions yeah but flash doesn’t play an Epiphone
yeah I mean I hear what you’re saying I get it in terms of a price point yes
absolutely you’re probably better off from buying a
high-end Epiphone versus a low and you know Gibson but I mean it’s the same
time you could do the same thing with a you know a Fender or any one of the
guitars out there that yeah you can find a Mexi strat that might be just smooth
as butter but it’s not an american-made strat so I mean it depends on really
what you’re looking for if you really want that that product you’re gonna go
and get it but if you go out there and find you know a flea market guitar that
has no name on it made by Joe Schmo it may actually end up being a better
guitar than a $3,000 Gibson you you’d never know but some people were very
attached to labeling and branding mm-hmm yeah and I I you’re probably right you
probably would be better served to get the Epiphone in some cases if I was to
tell somebody though like a newer player or something I mean I’d be like get
yourself like get yourself a you know middle-of-the-road to high-end use
Gibson is you know probably where I would go I I kind of buy things now when
I buy guitars I try to buy from smaller builders just cuz I’ve gotten to know so
many of them and I really like that community and typically when I’m buying
it if I’m going after a Fender a Gibson it’s gonna be a vintage or a used one
that’s just me personal that doesn’t do much for supporting the
brands but I I just there’s so many good guitars out there really it’s it’s a
great time to pick at our player it really is yeah I got mine off of uh I
think it was off reverb or maybe was eBay but I got that’s where I got my 335
it was I was very nervous about ordering off the Internet especially something
that big but the cost difference is just massive like you can buy a brand new
es-335 if for about like almost four thousand dollars a guitar center
wherever but you can get a used one in the you know closer to two and there’s
nothing wrong with it right exactly but you’re just taking that chance if you’re
buying it online that you you don’t get to try it out first which is not a
comfortable feeling but I got lucky with my gamble mice mine feels amazing and I
will I will say I had an Epiphone shared into that I played for I don’t know four
or five years and it was a great guitar I would recommend it to anybody but
there’s a significant difference with the Gibson and I haven’t played a bunch
of Heritage’s and Eastman’s and I know that there are some serious competitors
that probably make incredible guitars but the Gibson model is just so much
better in its clean tone you can really hear the the wood enos like just the
resonance of it is on a different level from the Epiphone yeah I think when you
put overdrive on it that’s not as a parent there’s more I mean the pickups
are hotter I can hear I can hear that there’s more bite to it but it’s where
it’s when it’s clean that it really shines and that quality of the wood and
the nitro finish for I mean that’s a huge part of it just the finish on the
guitar mm-hmm yeah I mean it’s gets there again we’re talking about the
rabbit-hole it gets it gets so so deep so quickly and there’s so many different
theories about what makes things sound good or sound one way or sound the other
even amongst us but the builders who are like equally
respected they’ll have like wildly different opinions on things and at the
end of the day what’s really funny about tone and and just trying to talk about
that kind of stuff is it’s also subjective yeah like it’s like I mean I
I have I’ve heard somebody say one time it was the pedal was a big muff
basically as a modified big muff and and a guy bought it and this is a builder
friend of mine and the he sold the pedal to the guy the guy emailed him and said
you know what this thing can’t do anything that I can’t do with my ts9 so
I’m gonna send it back and he’s like it’s a but it’s like an op-amp big muff
it doesn’t sound anything like a ts9 is your ts9 broken is like what’s going on
and and any did he sent it back and it was like and he tested it maybe my
pedals broke and played it nope nope it’s it’s fine and it doesn’t sound like
a ts9 now that you know that guy thought it did for whatever reason it’s it’s a
it’s a very strange thing I don’t know that you can compare the two but okay
I don’t yeah he’s like this sounds just like my ts9 it’s like okay it’s okay
well if you think if you think that then I there is no amount of persuasion I’m
gonna be able to do to change your mind so here’s what it is I guess we uh we
alluded to it a little bit and earlier in discussion of the episode how what
are your feelings on profile profiling in and like the Kemper and whatnot like
that um I think well on the internet like when I’m in my Facebook group and
in various places I I’m kind of a troll about it I’m like boo on Line six and
all that stuff but really what but really I think that they’re incredible
pieces of equipment I think they they totally have they’ve done a great job
I’ve tried almost all of them except for some of the some I haven’t tried the
boss model or yet the jeat I think they called it the gt-1000 I haven’t tried
that yet but I’ve tried the line six helix stuff and I’ve tried
the head rush and the Kemper’s not tried axaf ex yet but they all sound really
good they do what they’re supposed to do I I think they definitely have their
place but for me I am not excited about it I don’t care like I’d rather I’d
rather try to have the the real thing if I can that said if I was turning around
and getting all the time I probably have a helix you know just so easy if that
was my main thing I could totally get why somebody would have it but as far as
getting me excited about year I couldn’t care less about them yeah
you know I find that that opinion is shared quite a bit whereas if you’re a
touring musician and you’re out doing it a lot that yeah the ease of having
something like a company Lix is just I mean there’s no question I mean yeah
it’s and plus you know you’re not worrying about patch cables going bad or
you know it’s just it makes a lot of sense I totally understand why they
exist in who it’s for it’s just not really for right
no there’s nothing quite like getting your hands on some gear and you know
plugging it in to your whatever amp it is and that’s where the tone comes from
it’s a wonderful feeling it really is yeah yeah I looked at those am modeling
stuff because I play I play at the beach on the oceanfront for these for the city
of Virginia Beach mm-hmm live on Atlantic and I have to there’s a parking
lot that I have to park in and then I have to get my stuff over to my little
stage which could be anywhere from like four blocks away to like nine blocks
away yeah so I I was like looking like do I want to get one of these amp
modeling things so I can run just bring my PA you know minimize my footprint and
the amount of stuff I have to lug and I ended up that’s when I ended up getting
the Princeton Reverb I I downsized the amp and bought one of those carts I just
couldn’t bring myself to do it like $4,000 to buy an you know a pedal I was
like much rather have like the amp of my
dreams you know the small version of it yeah
no I’m with you on that for sure I probably would’ve made the same same
call yeah and those carts were great I think I have like the rock-and-roller
like 10 or 12 or something a thing I can fit my whole PA system which is one of
those all-in-one you know it’s a stack kind of like the the Bose one but it’s
not that one right right JBL you know I can fit that my amp my pedalboard
my Tupperware bin full of you know all the cables and harmonicas and a guitar
stands and everything yeah and then lay the guitar across the top and a mic
stand and cue bungee cords and just drag that thing around I could go miles but
if you got gravel gravel or rough terrain you need the one with the
all-terrain wheels all right right or you need to just switch them out
yourself it doesn’t do well on gravel that’s for those listening to the
podcast if you want to jump over to the fret buzz the podcast YouTube channel
this is where Blake runs us through his studio tour enjoy alright flip this
around I just saw a Gibson headstock there oh there we go there we go okay so
here we go this is good the door it just goes right to the outside it’s a double
door I got a couple of guitars missing they’re out for some some tweaking right
now but what’s here is my that’s a million metric instruments baritone
guitar whoa he’s a builder out of Canada makes
really really nice stuff that is a Jennings
navigator which is obviously a is tele style build really nice guitars like
really really nice guitars and the Navigator is cool because it has McNelly
pickups in it it’s all made down there in California
two parts caster it makes everything in his shop and it’s like 1,500 bucks it’s
a really really good buy really nice guitars
that’s a Roni Paul Roni and he’s not building currently but he’s getting
ready to start again 7-string that one’s pretty fun
that’s 1974 tele custom which I love to death
I love the wide range humbucker in that neck this is another roni roni Oceana
it’s a mostly hollow body it’s almost entirely hollow except for a little
block under the this area right here the tremolo cool another guy recently moved
to Nashville but formerly in California Kevin equids makes this guitar it’s
called the Rayburn and this is Rayburn number one actually and it’s got
righteous sound pickups these are kind of a new thing they’re his they’re his
wide range Club and except they’re in a standard humbucker sized round and then
these also will split and sound almost exactly like a Tele it’s kind of crazy
so that one’s really cool and this is my crown jewel this is my if everything’s
burning grab it guitar that’s my grandpa’s 55 Les Paul Junior so that’s
that’s my that’s my baby right there well understandably so and cool 360 Rick
yeah so the other ones are oh yeah well I can’t ignore this one this one was the
dream come true for me my whole life I wanted a white Les Paul Custom and my
whole life I couldn’t find one I very well until I found this one which
is the 1981 Les Paul Custom which I just love
so I’m trying to avoid showing you all the garbage that’s just kind of hard
because there’s so much but here’s the pedal cabinet some of the stuffs out of
it right now obviously it looks just stuff in there we won’t go through all
of it but quite a few things in there it’s beautiful
my mess I was working on last night few more pedals over here usually there’s a
pedal within reach wherever you are in here got drawers of pedals here or in
here some of them are out on right now I mean it’s just it’s it’s silly it’s
pretty silly let’s be honest it’s it’s wonderful
that’s like Candyland so yeah that’s that’s what I call the shred shed thank
you that’s awful the stretch in plain milk and honey yes but yes put this
thing back around
so yeah that’s the short tour it’s it’s not super big out here but that’s all
the important stuff Thank You Blake we really really do
appreciate it and I think your time today it’s been a great conversation
good talking with you guys I was that was a lot of fun enjoyed it yeah yeah
yeah especially cool after having listened to some of your your episodes
to to meet you so yeah it’s been great and I’ll have a different you know
different outlook on things when I listen to the future episodes especially
the Santa Cruz guitar one I think you’re gonna like that one a lot I do it’s
written down I’m gonna listen okay well yeah thank you again we really do
appreciate it all right thanks guys all right ugly bye
you

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