Guitar Talk With Dan and Mick From 'That Pedal Show"

one of my favorite things to do is to watch other guitar YouTube channels when I was in London recently I made a pilgrimage out to Stonehenge actually my wife and kids went to Stonehenge and I went about 20 miles further and I got to interview Dan and Mick from that pedal show which is a channel I love to watch and I've watched for years here's my interview thank you for inviting me here by the way are you kidding they're 28 miles from Stonehenge and my wife was like I want to go to Stonehenge and I said are you serious and she's like yeah what do you mean am I serious and she hasn't seen spinal tap so we've got a great Stonehenge story I want to hear it okay so wait introduce yourselves and tell people kind of how you guys got into doing this okay um I'm Dan Daniel steinhardt um my name's Mick Mick Taylor I was an editor of a magazine a guitar magazine so my world was guitar magazines until magazine started to drop off a little bit we come online Dan uh I and a company called the gig rig and we've been making switching systems and power supplies and pedal boards for rock stars and all the lovely people Nick and I've been good friends for a long time and we were we wanted to go into a room and make noises the truth yeah yeah and and whenever whenever we go the conversation always ended up about gear yep and it was I've you know I've I I love gear and I I love the potential that it provides and we kind of clicked on this thing and we'll you know I think we've been I'd ask Mick to come on board to to give me a hand because I didn't know any stuff about business you know guitar player and and we're just talking about gear all the time okay and looks like well let's just why don't we just film this because I've seen um I'd done a few little videos before but I'm just terrible at it then one day Nick showed me a video that he made and it was beautiful and the Lighting and Sound I'm just like how do you even do that and so we got in the cupboard seven years ago and made our first uh video so did you think though that this was going to be a thing that you guys were going to be YouTubers it's kind of strange right yeah yeah I get you must talk to people who are slightly uncomfortable with the term because you never think of yourself as that right even though that's what you are and that's that's that's the way it's evolved but you know Dan and I been in bands our whole lives Dan you know makes this thing for lots of professional musicians like a bit of magazine journalists and it just kind of took flight I mean in the way that it took flight for you like that it took flight for us kind of like that yeah a bit more gently um but I have to say uh you know we must off the cap to Lee Anderson and chappas um to I don't know I guess Mike Herman's to gear man dude to who else was around uh yeah because they were the Trailblazers yeah the oh geez yeah yeah and they showed us they showed us that it was possible Phil X yes that's right I was I used to watch those videos religiously because he's amazing he did that this morning um when done right those videos you could see the benefit that they would have to players who wanted to understand there was I think for me there was a so much misinformation um floating around on gear forums and stuff and when when someone puts across a piece of information eloquently and and succinctly on a YouTube video man it cuts through all that stuff this is really interesting that you mentioned this so Tim Pierce and Phil ax are two of my dear friends Tim was one of the so I watched both of those guys earlier now you make a great point about this Dan is that in the past I used to go on these gear forums I won't say ones but more Pro Audio ones I'm a music producer and you know and you'd read stuff and you'd say well none of that's true these people don't use this gear these people that are talking about it have never used these pieces of gear they're just basically what I call repeaters yeah yeah but then with YouTube when you're on YouTube you actually hear the things you see them so you can make up your own mind how you like the sound if they're well recorded you guys this is what I love about what you do and and on Pro YouTube channels here that are doing professional audio recording of guitars guitar sounds and things like that with real microphones placed properly mic pres and things like that you can hear them yourself and make up your own informed decision as to how things sound and I think it's actually well it's kind of been to the detriment of those old forums they don't really have any meaning anymore because of YouTube which I think is I think it's great because you you really really can experience things you never would have gotten a chance to hear before especially you know maybe pedals that are out of date or something that aren't made anymore or guitar amps for me that I that I own you know I've got a Laney clip uh with us with a 71 cabinet 412 Laney cabinet with fans in it now you never see these things they're rare to find right that are in good working condition that you can hear and I can put you know an sm57 on it and a 421 and put it through two Neve mic pres and you know get perfect mic placement blend the two things together into one sound this is what a Laney clip or what this Laney clip sounds like and other than that when do you actually hear the things properly recorded yeah totally to know what Tony iomi if he played one what it would have sounded like you know like what the actual things sound like so this is what is great about what you guys do demonstrating these things there's a pedal so when I came in and I'm talking a lot here I don't like to talk a lot when I'm interviewing people but I asked them hey have you heard of this pedal and I heard of this fuzz pedal yesterday I was watching one of Tom book of x videos and he mentioned it and I said I've never even heard of this battle well Tom said what's the best selling pedal and he was in some pedal shop in Nashville and they said oh this fuzz pedal I was like I've never even heard of this and I'm usually on I usually know the stuff that's coming out and then I asked them about it and they're like oh it's right here of course it is close it is you should meet Jesse he's a he's a great dude he um used to play in a band in the UK called The hoax okay uh and they they were Jesse I hope none of this is uh sounds pejorative because it's not meant in this way um kind of SRV and Hendrickson that kind of revivalists if you like and they did a fantastic job of it you know cranked amps really um authentic gear and great players great great players and Jesse since gone on and he he makes a lot of good stuff I think he lives in the US doesn't he now I believe so yeah so he's in the US somewhere Jesse Davey for those of you who don't know so that was the first things we discussed was you know we're talking about the forums yeah whenever I go in the forums it was it would be this pedal sounds greasy and glassy and but it's got it it's got a fat bottom end while still retaining a streamline mid-range it's like well the thing is it's like one of the first things I said is this has no sound it has no sound it reacts to what goes into it and then what comes out of it yes you know that reacts to what gets into it yes so it's part of a chain and if you're going to describe something the sound you get you've got to tell people what guitar you're using yeah you know how loud are you playing and obviously you know things like tube screamers and you know we can talk about where they're um where they push the mids and that sort of stuff and so if we're talking about EQ curves and things yeah great but it's just one of those things that always tickled me when you know when you see that people describing titles with no mention of guitars maps without using yeah we don't I think we've done our share of that as well we've been guilty of that if guilty is the right word but I still don't know what this pedal sounds like okay if you want but one thing we've become increasingly passionate about is this whole idea of better and worse and best and just trying to put it over that if you like the sound and it makes you want to play and it inspires you that's the that's the best thing for you and it doesn't need to be the best thing that the internet says or the latest Boutique thing that costs whatever and you have to wait two years to get it's not about that we're very passionate about that you know it's just the most important thing is you pick up a guitar and play and you feel inspired to play because we also passionately believe that a good tone or a tone that's good to you will make you play better and make you connect yeah because that's what we're about it's connection through music that makes that emotional connection for humans who are listening and or even though we have this thing called that pedal show and we have this crazy room full of gear that's what we're interested in really it that that experience has been transformative for both of us yeah you know and I'm sure for you as well there's the reason that we do this is because at some point music lit something in us you know that we we talk to people all the time people who come to our experience days who've never plugged into a loud app never experienced what it's like just to go and it I've changed my life when I was a kid first time I played was allowed it's incredible and you know uh so that is our motivation is to help people truly connect because we understand the power that has if if what you if music is in you having that connection getting rid of the stuff and just helping that connection so that you can say something and that's that's it and whether that's with a Bad Monkey or a um a cxm 1978 you know 800 pound Reverb paddle that's irrelevant it's like you you do the work you find the gear that you like and then that helps you be you well if I want to know what a pedal sounds I'll type in that pedal show and I will let's see look up to see if you've done a video on a particular pedal because instead because I know when Mick was showing me this Reverb pedal here he's playing minor 11 voicings and he's and he plays stuff that is gonna sound great with a clean sound with the stereo you know miking and everything it sounds amazing in the room he knows when you talk about how does it make you feel how does it make you play people play better when they like their sound also when you're demonstrating a pedal if you have the the experience you know how to make this pedal sound great by the types of things that you play that will sound great through that and bring those things out you're not just playing straight you know gcd you're playing these beautiful more intricate voicings that really bring out the ambience uh will will accentuate and make sound even more beautiful go to shout Pete Thorne I'm Tim Pierce being masters of that that's right yeah understanding that craft so perfectly well and that and I love the way Pete describes it which is he'll just plug a pedal in he'll play it for a bit and it'll take him somewhere and he'll let that idea develop yep and it's just it's magic because I guess most of us when you're less experienced you can play a few things maybe and you you sort of try and impart that on the gear whereas you get a few more years down the road a few more notes under your belt and you can let the gear do what it what it brings out of you and it's an interesting it's a different uh experience I too I would usually buy stuff that I hear my friends demo if I hear Pete demoing something I'll call them and I'll say tell you know tell me about this when Tim plays something I'll be like well I don't I why don't I have that and and Tim's like oh yeah I've got 15 of them like like what this is the way that I find out about new gears by going watching my the YouTube channels that I watch especially me being a guitar player and everything and being a recording engineer I know I don't make this kind of content on my channel very often but I used to I have 1200 videos I have a lot of recording videos way back seven years ago when I started and I'm really passionate about that and I love sounds and I love guitar sounds I love all different types of sounds but um these the ability to hear them is that's a that's to me is the best thing about about YouTube and I love channels that you guys deal with pedals and uh and play guitar and I and I know that I'm going to get a great demonstration of what the things are going to sound like that's very kind um some days are better than others of course but you know again it's like none of that stuff you know if we get a new pedal in that we're excited to try um and there's and let's be honest there's some absolutely amazing gear out there at the moment yes more that more than there ever has been absolutely yeah honestly so we are spoiled for Choice yeah it's funny that every now and then we will just take a step back and go oh I haven't played the hot cake for a while let's just put that back on oh yeah that's right that thing is amazing you know uh let you know I'll pull out the old space Echo every now and then stick it in it's like it still has something that nothing else has got right you know and I think it's important because I still we are surrounded by I terrified to think how many pedals we actually have here but I still get excited about a new paddle turning up you know there's always been great gear and that excitement can actually certainly for me I'm very excited counting you mate Academy um and I'll get really fizzy about stuff but I'm going to give myself a few days and and let that wear off and then come back to it you know um I'm the opposite right I'll get a new pedal out I hate this and then a week later this is the best thing I've ever heard but we we do one of we do uh a thing called experience days here so we'll get six uh people in do it once a month they come in spend the day and it might be someone who's never plugged in a loud amp I think you mentioned it earlier or ton ton of stuff they may never have done before but the first thing we do is we take that Deluxe Reverb and we plug in our Les Paul and we put on three and five on seven and on Ten and crank it and anyone that wants to have a play can have a play and just say look for all of this that's probably what most of us are after most of the time right and it's important to just ground that and remember yeah that so many records I mean you know this better than anyone so many records you've heard has been exactly that just a crank damp a decent mic a decent mic pre and someone who knows how to capture that sound and knows how to play that's that's where we start you know some of my favorite thing questions that I've asked in interviews when I Peter Frampton is one of the first people I interviewed back in 2018 and I asked Peter about his rig back in the 70s and and it was very complicated actually even though there's only a few battles but yeah you know he had his his uh talk box going through one Marshall he had his uh he had the Benson Echo rat he had a phase 90 I think he had uh you know he it was it was a really sophisticated rig so yeah that for back then so it's amazing really creative yeah with the Leslie you know all going out all the time and and absolutely beautiful guitar sounds that he would get yeah out of that and and you had these massive things that you'd have to bring around with you I mean we've been talking about moving a Leslie cabinet just for that so just to be that creative and to go for those sounds again yeah you know and nowadays it's you have your choice of every anything and it's so easy to do really well the tools are available aren't they and yeah stuff like um the routing options for Signal paths the noise reduction all that kind of stuff because he would have been taking something that had been crafted very carefully in the studio presumably yeah and trying to take that on the road at 200 Watts or 20 000 Watts or whatever you know this and and not things like it would have cost you a hundred thousand dollars 25 years that's right to get that level of signal routing and all of that so and I do I I often I don't know if this ever comes up in your in your interviews Rick but having that level of choice gives us the option paralysis that's right yeah yeah and the idea sometimes can get lost in in that whereas that simple well let's see what we can do with the Les Paul and Deluxe Reverb yeah somewhere in there has to be some happy ground uh you know I don't need you know look at this it's ridiculous this is this these boards are an experiment at the moment it's utterly ridiculous because you get lost in but this is the the time that we live in now yeah it's not just pedals it's amplifiers it's microphones it's mic pres everything's been miniaturized uh you know there's digital recording rigs that you use that uh you know you don't have I have a 24 I have a two inch 24 track in my studio that I would like to use when I when I have it you know have time to use it I love to turn on there's nothing like it there is nothing like it right right in all your years and with all your experience and you go to tape it's like it does something right so I mean we've got to a point that we don't use plugins at all anymore when we're recording guitars we just got a couple of nice pres and we there's a couple of rooms uh room mics at the back and just a you know General mix of those so you get a sort of sense of the room and you know obviously there are amazing plugins out there but we just got to a point it's like every time we added a plugin it just took something away yeah so we and simplifying even like that to get to the you know yeah you get it right at source you put like in the right place decent mic pre we also run everything through the analog desk which just helps a little bit with a very tiny bit of subtle EQ if we need it but no post um I mean you would do that if you were making a record but to capture a guitar sound in a room it's it's fine maybe you would do that if you were making a record well it's interesting because I have all the digital you know I have the computer-based modelers I have the rack modelers and everything but for me the quickest way to get a sound is to just turn on a you know like plug in an amp and put on put a mic or two on a cabinet and through some mic present you're up and running and in two minutes and if it's not the right sound it's like I'll pull that head off let's put this one I just put stack them up in my control room nice and I've got usually we'll have four four twelves if I'm using a head in the control room and I'll put mics on all of them and I can just switch out the the speaker cables from them and you know go go between sounds in like one minute yeah that's way faster than okay pushing buttons here and oh what if I do this I'm going to go on this mic model microphone model or that microphone model it's like well I have the real thing so I'll just yeah it's far faster to do it or to tweak the pedals oh you know it's muddy in the front end I'll just put a little distortion pedal that'll high pass it before before I go in there and things like that these are all things that I've when I produced I produced mainly metal bands you know beginning and then in the late 90s because that's the music that was popular right even though I'm going to be 61 in a couple weeks then people will be coming in with lower and lower tune guitars and extended range instruments and it's like well they you put those through Distortion and you have to high pass them because the front end of the amps it just just become super muddy to tighten the mid-range and so I would start doing things where I'd either use an EQ before it or put a distortion pedal with with almost no gain on it and it would high pass the guitar and then it would say it would would have the right kind of EQ curve on it going into the amp that would make it have a full sound and a nice tight mid-range and stuff so guys used to use the tube screamer for that didn't they that's right yeah yeah for that exactly that's why they came up with the you know jubilees and things like that is to is for that reason but the tube scream room was a very common thing to use in front of the app to tighten up the tighten up the mid-range it was interesting I did a video with Dave Friedman and he said um if you use lighter strings because I use Eights on my guitar I mean my guitars have different some might have nine some have tens I use 13s in my acoustic so but he said you know lighter strings have less bass and will have a tighter mid-range and he said you should make that video so I was like it's a great idea so I did this thing where we went and we did 11s the tens the nines to eights and everything and and it's true he and because he said he goes Eddie Van Halen used Fender bullets they uh nine through 40. right right so it's kind of like a hybrid you figure a nine gauge goes to 42 and 8 gauge goes to 38. and then he's tuned down a half step or wherever he was tuned yeah yeah and um and so his sound would be was tighter because of that it was tighter than what it would have been if he used tens 10 through 46 for example and I was just like oh that's great that would be a great video and that actually turned out to be a really cool video ideas to do that but but knowing that to me though just finding those things out and just kind of doing those back-to-back ABS I think was fascinating yeah they all it's it's a big part of the the because it's called that pedal show right but what we're trying to get across is that all of those things do matter yeah every single aspect of your ecosystem totally makes a difference and it might be that you could tighten things up with a different string gauge or you could do it with an EQ pedal or a different distortion pedal or you could change the EQ in your amp and the result isn't the same right and I suppose having the confidence to try those things and and get into it without driving yourself crazy yeah because you get two weeks in going I've got eight tube screamers here and I can't decide which one's best you know that's that's a dangerous place to be but where do you go guys when you're do you adjust the pedal first you adjust the amp do you move the mic do you change the EQ and the mic pre you know it can be anything really sure the simplest thing first I would say yeah my recording wise always Mike get them get the sound in the room first yeah get the mic placed right and things like that but but play get the sound to where it inspires you absolutely yeah that's what you were that's what you guys are saying exactly that and we you know Dan and I we probably play a bit louder than we should in here and we're we're passionate fans of of volume not for volume's sake but for the dynamic that it offers yes so you can get light and shade and you know it might only be 12 bars in the night where you're fully you know hammering but having that depth of the access to volume just gives you Dynamic from from the guitar through the whole rig understanding that and that Dynamic relationship and the way the speaker comes you know back through you back through the pickups creates all that extra harmonic information um is something that I think is is lost in the in the silent and digital environment and I think some people are forgetting it forgetting how inspiring it can be now we get all the practicality arguments yep and they're valid I I remember when people didn't have money to pay Roadies yeah yeah my first car when I was I think I was 18 and as a little um little hatchback and I was going down about my first 412. the first martial I'm like okay I can only buy this if it fits in the car and you know three-door I open the thing I rip the back seat out and I squeeze the 4x12 in and I get in and I'm on the steering wheel like this and I'm going it fits brilliant and I was away because because I'd heard it's like I that's it I have to have a full 12. do you remember when you were young enough to carry a 412 upper flight stairs down without Serious injury yeah yeah no the mind's going as well um yeah but that was I've never complained about loading gear yeah you know because if this it's like you know all the bands you used to go and see that were so inspiring and right we went sort Jay Potter mass of the Royal Albert Hall just got a lot of gear look here and he had and he holds it everywhere everywhere he had three dumbbells not just his gear by the way but the PA and everything like the whole rig yeah yeah yeah the three dumbbells two Tweeds yes with a 412 EV and a rotating speaker yeah and extra you know that's all behind extra fall back just for the because you did say three dumbbells three dumbbells yeah three doubles and he was 116 DB on stage okay now I was set he was very generous and gave us really great seats Right in Front Royal Albert Hall and I was a little nervous thinking because we're on stage soundcheck and it was powerful yeah at no point was it unpleasant to listen to I mean I'm far from it it was incredible but what that volume enabled him to do is I never forget there's one one seller in the night the band stopped and he basically had the volume rolled off in his guitar yeah and you could hear him acoustically throughout the whole of the royal everhole yeah and everyone is gripped then for the next 10 minutes he starts to build and build because he's got somewhere to go and at the end of the 10 minutes the whole crowd is on their feet you know and just it was just the most extraordinary thing and that's what that volume gave him it gave him the potential to just build and live this thing up to this incredible crescendo but at no point was anyone going yeah that's great Joe it's a little bit loud it was just it was yeah because he knows how to handle it yeah totally he knows how to build that dynamic in that light and shape by using that volume it's not just about okay here we go I'm trying to rip everyone's heads off it's interesting when I when I uh interviewed Pat Metheny he was talked about he never plays and which is true you can tell he never plays two notes the same Dynamic back to back never does Al Di Meola and when Al's playing in Al's so rhythmic and so Dynamic with his playing you know this just without even doing anything with the sound just playing on the guitar and and uh and so many guys would use their volume control and back back it off so it's not quite hitting the hitting the amp is hard and that's like a big thing not running your if people ask me Rick are you do you have your volume on full all the time I said no I changed my volume all the time depending on you know and you got to play with Dynamics so that it you actually build an intensity and it makes the amps react differently yeah what the thing about the guitar is um when I was my old guitar teacher who um we put together this like a four-piece Jazz Ensemble and we'd play pieces and it was like when you hear the horn section do it and they were so bang and so Dynamic and the guitars tended to be really flat sort of lacking that it's like actually hearing the way a horn player approaches this and and you hear in so many in Robin Ford and you're hearing so many amazing Dynamic guitar players language how they've taken that Dynamic approach from horn players yeah yeah I think it's the result as well of the time of having to play Loud because there was a time where there was no Alternatives true yeah no true you had to play loud and that because NBA systems weren't uh it they just didn't have the power to to uh I mean think about the Beatles when they yeah they couldn't be heard that's where they start playing okay if I were to say to you guys now this is you're gonna hate this question but what's your minimum things that you would put on a pedal board and what would they be right now today it's usually okay it's usually at least two game pedals okay one that's more Gainey yeah one that's less gainy and put the less Gainey one after the morgany one so that you've got a boost you've got somewhere to go yep and for the more Gainey one we'd probably choose something that didn't have a radical EQ shape so something was just a good distortion what might that be oh god there are so many overdrive pedals or or maybe even a first but first it's kind of extreme that's maybe that's for later down the line yeah but just a good all around distortion pedal and then a decent cleaner overdrive so my favorite combination personally would be a clone type in that second position yeah because it's got a great EQ shape as a boost yep and you can it's got loads of Headroom um and the first would be something that emulates just a good fat tube overdrive so right I don't know oh God we've got so many so that would be the overdrive section yep and then down the line you can add to that I'll do my overdrive section I would because I play teles into mattresses and boxes and things um I would tend to go with something flatter like a achilles modded Blues driver or a light speed by green light speed yep something like that something that that isn't doesn't radically change even an ODI one actually because you can set that to be slightly flatter the Nobles oh yeah yeah and then something like a tube something like a Kingsley page that's been on my board forever and just this phenomenal thing and but the combinations of those two there's not a lot that I can't get I would where Mick would probably have a fuzz I'd probably have a travel booster okay in the front just because More Travel is better yeah Dan tends to like um AC type amps that are a bit more pushed yeah so if you hit that with too much full frequency it can get mushy exactly what you're just saying it's right there yeah it depends on what amplifier if you're playing through a fender style lamp that has more of a scoop mid-range versus a Vox style yeah it has a more focused appointed mid-range you're gonna do something different before the amp yeah yeah whereas I tend to like the big Headroom more powerful 100 watt type amps and you can do anything that's why I I have some people like why do you have so many hundred watt amps It's like because you have a lot more yeah variation with them yeah I mean I have plenty of combos that are not in my shot and everything but you see many 100 watt amplifiers in my it's just something about that big Transformer that yeah just seems to give and then we go what uh modulation delay and maybe Reverb if the amp doesn't have it yeah so I always go for an electric mistress type flanger okay there's something about that really short delay time that I also you know it helps projects so it's great for graphic link password is great for solos and I'll often use that instead of a boost um that'll be my modulation delay something tapey I like how I generally have two delays on the board and one is generally always taping the other one's always a dd3 type warm digital there's a new delay by um it's 12-bit um yeah it's a lower bit sample sample rate and that's the thing about these older delay pedals I have the the original boss or original but the sample delay the silver one really the old one DS2 yes yeah and it's it's a beautiful sound it's a lower bit rate it uh when you get into the higher bit rate uh delay pedals and they they're and sometimes they can be too clean sounding yeah but you're but you're saying that those that's why you'd like the the like a 12-bit dollars yeah I just and I and and the combination of you know one feeding into the other when you see a tapee explain that to people that don't know like a tape sounding yeah so I mean I will often there's the takeout Echo by um Echo fix yep which is the I I have one of those and they're fantastic just fantastic yeah and it's like a super clean version of the the space Echo yeah there's a role in space Echo sat behind that Marshall if you can't see it but and I I love that sound it's amazing um now if I'm not going to haul one of those along to a gig uh memory man yep it's a hard to beat yeah and but a combination of you know a memory man or a nice tape Echo with a really cool sounding digital delay put them together it's like love it yeah yeah that's about it isn't it and then it's just it's variations on that we both massive fans of tremolo either electronic or amplitude form amplitude form with two two overdrives a delay so you could either do like a short doubling delay or a slap back or something longer yeah something wobbly we call modulation puzzles panels wobbly pedals something that wobbles um you can you know that you can cover most most things yeah and then once you get up to this kind of level it's just more of that so it's just more gain stages more wobbly more delay more Reverb yeah there is a ring modulator down there as well which is a some Folly that's happening at the moment you know I find when I plug in some of my old pedals in the studio if I I have a mxr flange or I'm from Rochester and I was uh no way and MX service based there and and so everybody had the Distortion plus and they had the at the the um the flanger and the and the uh the phase 90 and but the flanger that was the first pedal I ever bought mxr flanger back in 78 I heard Helen I was like I'm buying this flanger I still have it and it can be noisy you know it's an older pedal yeah yeah you're right it's hardwired just like my memory man which is as hard as that's 30 years old or whatever I don't know how old it is these pedals that can be noisy that that had the original you know what do you call this when they have the power cable coming out of those old but but uh things that I might not use in a live rig because it's just too much unless you have some type of switching gating system or or you know digital switcher that I wouldn't use I'd play I'd use something cleaner I mean when I just did the show here in London I brought three pedals I mean I've got all these things it's like hey I had bought a Clon type pedal and I had a I was going into AC 30 and I had a just a DD the boss ddl3 or but I think that's what I can't remember Mike what was it that I used 33 dd3 yeah I probably was 83 yeah and uh and that was it I had tuner and those three that into an ac30 you get the sound of the ac30 you need to push it a little bit beautiful and put a 57 in front of it and that's pretty much all you like for me if I'm traveling that's my little pedal board put it in the suitcase and that's it right so Happy Days Happy Days yeah yeah we're all for not that it would look like it but we are all for simplification yeah so for example now these are very flashy Boutique expensive versions of what I'm talking about but this could be a boss bd2 Blues driver this could be a con type yep so they're wired up on this true bypass switcher again don't worry about that just if the lights on the pedal's on okay so without any Overdrive [Music] okay so which pedal is this this is this one which is the chase Bliss automatone Mark II pre which it basically does all overdrive but in an analog way like I say could happily be a boss bd2 Blues driver Dan's just turned the Reverb down a little bit just a bit beautiful [Music] that sounds great nice nice long Reverb basic there too yeah and if Dan part of the way through playing he'll turn on the juggler which is currently set up just to be like a cleaner boost kind of thing and you'll hear it get louder and this would be if you're going from a like a rhythm sort of situation to having to play a solo Maybe [Music] thank you so that is hitting the amp harder of course right so it's getting so you're getting more amp breakup from that as well I mean it's adding the character of the pedal but also when you're chaining the two cascading from one pedal to the next into that the ecosystem so the app's just on the edge so yeah you get a little extra harmonics the amp goes into a little overdrive as well and it's kind of interesting around that whole pedal Distortion versus amp Distortion and our answer is all the Distortion yeah yeah you know you want everything harmonically working together and they don't work the same the amp distortion would never be exactly what the pedals into the amp would be they just they just don't work together because that is adding EQ it's adding a certain gain structure to it it's pushing the amp in a different way because it's getting more input yeah into the front end of the amp yeah so maybe I'll just get down to play for a sec you wanna play so you tell you okay um just to when the question about um you know basic board set up what would that be I'll turn those things on when we get a listen we go listen to that so what I'll be turning on is a little bit of overdrive we'll be using Delay from here we'll be using Reverb from cxm and we'll be using harmonic tremolo from one of these and I'll just I'll build that up as we go okay cool [Music] thank you [Music] foreign [Music] thank you [Music] foreign [Music] foreign [Music] I love the power of that you know having an amp that's got some push to it like that that's not loud and sounds super full it's really nothing like it there is nothing like it oh yeah nothing like it and the way that the guitar that you have to control the guitar and and the interaction between the two is everything yeah yeah and I think one of the things that we love about Experience day is when we get players along who have never experienced that never experienced playing loud because of that it is such a symbiotic relationship you know and yes all the players that we love that you know we're listening to Growing Up they developed that connection that's right you know I've I've someone posted some old Eddie Van Halen the other day and it's like that guy he was so flipping Dynamic with what he did and he would he would tell a story through and it's like oh okay and I think a lot of the you know they're amazing players but and they'll play it as this level all the time but when you hear those those Masters and just take you on this journey it's like yeah yeah and that's what that gives you amazing so um I got a call I'll find a picture from uh Neil fan he was they're going on tour yep and they were short of memory man okay right so I let him my memory man yep and I said um this is when they're doing the family band and I said yeah great I just want you I want you to sign it and draw on it do whatever you want so anyway uh Neil and all the family Drew on this memory man anyway we were there you go hoodies we were going to interview Neil and he was out here with Crowded House that reformed as you know um and on the way to the gig we drove past Stonehenge and we do the gag do the gag do the gags the film it was like you know are we doing Stonehenge no we're not so the spinal tap reference if you don't get yes so we went and interviewed Neil and it was wonderful magic just he's awesome oh man he's so great and he's like he's my favorite musician you know it's a massive Hero Of Mine He's been very very kind and generous at this time and they're just the whole family just beautiful people anyway we've done the interview we're sitting in a restaurant uh in Camden and my wife goes that's Davidson hubbins hang on it's just walking past it's like no with Michael McCain we chased him no way we chased him out of them we'll put the fire in now yeah yeah oh my God the video yeah yeah yeah but here there he is yeah Justin we did the same little human and we said look we're massive fans and we we quote it's crazy it's impossible we're quite spinal tap references every day and he goes and I don't get a penny uh it was just wonderful so there we go yeah oh my god well guys this has been incredible oh mate thank you so much better thank you so much for coming here it's a big it's a big deal to us my pleasure thank you so much for inviting me this is really really great that was always welcome I will never forget that story thanks guys

Channel: Rick Beato

Views: 173,463

Keywords: rick beato, everything music, rick, beato, music, music theory, music production, education

Id: uJHiCaYEWSQ

Length: 43min 31sec (2611 seconds)

Published: Wed Jul 12 2023