The Joe Satriani Interview

hey everybody i'm rick piatto this past week i got the opportunity to interview the great joe satriani many of you know him as satch and i've been wanting to interview joe for the past few years and was lucky enough to connect with him just the other day here's my interview welcome joe so good to be here finally talking to you yes i've been wanting to interview you for basically since the entire my entire channel which has been going on for about four years or so yeah well great you got a great show so thank you thank you i appreciate it joe what are you working on right now there's a board you can't see it over there it's got about 20 songs up there got it in my head a while ago once the lockdown started that i was going to have to figure out something to do with all this pen up energy musical energy so uh my live band is kind of scattered around california and as far as australia so i just said hey i'm just going to start writing the weirdest stuff ever and let's just do two albums my keyboard player ray thistlethwaite is an amazing keyboard player but he's also a brilliant singer and i thought well might as well do some vocal songs too so that's what we've been working on doing some solos here and there for different people uh you know uh still working on the amplitube song which we're just mixing it right now so lots of fun things uh lots of guitar playing as you can see gear com being crammed into this little room on a daily basis you always have great sounding records and how involved are you with things like that well the the history of it really goes back to working with my friend john cunaberti john was a drummer originally and i met him i think as early as 1980 i was in a band called the squares we desperately needed front of house engineer and he was making the transition from the stage to front of house and into the studio so he became our front of house engineer and he became our sort of engineer producer in the studio because we didn't know what the hell we were doing and from there we worked for about four years together under uh in that arrangement and so when i got the idea to do a solo record for real i reached out to him and i said i don't know what i'm doing so let's start so i learned from him basically because he has always been not only a creative musician in his own right but he is a he's an audiophile head you know what i mean he's just like a very strict engineer and he likes to get things right and my catalog survives to this day because of john kuniberti his tireless efforts continually uh safeguarding uh the entire catalog and reinventing it remastering it and i should say his you know he became my co-producer and engineer for if not probably more than half of my catalog we still work together and he's been you know he just did the stripped albums for me um and uh he's a mastering engineer has been for 20 years as well so um yeah it's interesting career that he's had and i've benefited from his enormous talent i i'm kind of smiling because i'm thinking about all the times that i played the nastiest guitar bits and he was out in the room moving the mic around looking at me through the control room going how's that sound you know and that's how simple it is but when you're playing you probably know this when you're playing guitar you really don't know what it sounds like you you you know what it feels like and so you start to react to what you're getting out of it but it's the engineer and everybody else in the room they're just sitting there listening to it and you know they're a lot of times they're doing this because they're not feeling it they're not getting the the payoff from it you know and the tactile give back you know so he's always been there to say you know there's this frequency and that frequency i really want to tame this uh and when i'd ask him stupid things like well how can it how can it sound like a hawk that's you know diving down through the forest you know and and he'd look at me funny and go okay i think i know and he'd pull out an la2a or something you know and he'd make it work and i would watch him do that and i'd go wow and i'd remember that you know and so we have a long history of that of exploring things together that we didn't think we could do but you know we we gave each other enough rope to to develop that um that moment in the studio each time 40 years that's a long time it is i mean 1980 till now it is crazy joe talk a little bit about when you first start playing and the reaction of the amplifier with the guitar and how important that is oh well i think the most important thing is you you have to be inspired so whatever it is that you're working with whether it's you know the strings the guitar itself uh your pedals the amplifier if you're not inspired then the your audience will never pick up on that magic that excitement that enthusiasm the love you know of of of the art you know um i think that's primary in in the whole scheme of things it's the the most important thing um and in in in that defense we can go back and and um i know you're you're a good musical historian especially when it comes to guitar and you can now look back and say i love that guitar solo but today the musician in my head knows that that's a pretty crappy sound you know right right that b string is out of tune why didn't they do that again you know but you go but i love it it sounds great you know and and and that's all that really matters is the is that thing that we can't describe but we know it when we hear it and we know it when we love it so um that's the most important thing so i i never let that get in the way but it is important when you're recording or playing live that you feel comfortable with your gear so i'm not going to discount that at all i mean i'm a guy who stuck with a company because they kept saying we'll make it the way you want it and they just keep doing it and i keep loving it so you know uh it's it's proof you know i'm living proof that it's important to feel comfortable you know and inspired so that there's never that roadblock in front of you or at least you minimize it to to the most that you can you know if i were to play your guitar right now what would i find would it is would it be incredibly easy for me to play um is there anything that would surprise me the way your guitar is set up right now uh that's funny the way the way you mention it because the one that i'm holding right now first of all you'd say joe when was the last time you changed these strings and uh i'd be like hmm you know i don't really know when i change them you don't like changing strings right i hate changing strings uh god bless my tech mike manning who just keeps my guitars in perfect shape but how many times have i seen him since february i think like twice you know i think he changed all the strings in december when we were at pliers recording shape-shifting and then everything just went to hell and and so now the i mean i've recorded a lot on this guitar and i won't change them until they break that's just quirk right um you'd probably say wow the action's pretty high on this so okay this guitar it's number three okay i don't know if you can see that right yeah so usually number one is a complete prototype and it's just so that myself and the team and ibanez can just look at everything and say you know it's a go we're going to go with all these components and then number two might be the first roll-off uh the factory you know and and uh so i've got number one and number two in the other room they were on the hendrix tours last year beat to hell just like crazy those actions are really low because a lot of times when i go out i don't want to be fighting too much especially if i'm i'm busy running around pointing and acting like an idiot um you know playing with my teeth i mean who needs high action when you're playing with your teeth right but i noticed that everything i recorded at home was on this guitar which was the one that i thought was not the one and then every time i would send demos around to everyone leading up to the recording last year everybody said whatever it is bring that guitar and i say really number three that was the one i left at home and so now i realize number three has is you know is my guitar it's my go-to chrome guitar so i haven't changed anything because i'm a little superstitious about it right now and it's a bit of a fight you know but you know this is the one that got me through playing all the stuff on shape shifting and i realized there was something to it that the the resistance it gave me uh made me sort of trim a couple of notes out and that was part of what i wanted to do was to not overplay on that album so for a song like uh all for love um that's like 99 live performance and that's take number 10 it was really brutal getting to take number 10 because because of this guitar but once i i did number 10 it was like wow that's that's something different i wouldn't have done that on a really comfortable guitar where i could fly up and down i'd be playing too many notes so um yeah no it's been good to me joe what gauge strings are you using on that guitar this is these are tens i tens that i tuned to e flat i i started doing that i guess ten years ago uh because uh when i got together with the guys in chicken foot uh sammy was like let's do e flat we didn't do the whole record of d flat because uh i brought in andy johns to produce that first record and he you know and he's andy was just really amazing he was an amazing human and a and a producer and he could hear how you should tune your guitar for a song it was uncanny just like he knew where to how to tune a kick drum and and how to reamplify it and where to put all the mics and he just you know it was a visceral thing with him as well as a musical spiritual intellectual thing you know he was a he was a great engineer but he had this heart that would come into it and he'd listen and he'd say to me you know i do this at 4 40. trust me you know or let's tune down even lower you know so anyway uh after a while me and mike were like look we can have 440 guitars and e-flat guitars there's just too many guitars and strings to change so i said okay let's just e-flat everything's e-flat and and my and i was using nines at the time and it was just too floppy so i went up to tens and i thought okay hurts a little bit but i'll get over it joe what what is something now that you're working on as far as your technique you've got some time or is there anything that you're working on technically to uh that is something that you haven't done before uh not that i would show you or the rest of the world but there are things that you're working on right always yes yeah um i guess it's funny you know um i've been playing guitar for a long time and i started as a drummer when i was nine so um my patience for practicing has been waning over the decades you know when you're 14 you'll spend you know as many hours as you don't have to be at school or doing work around the house whatever uh you know playing guitar uh but it's different when you're 30 and then you're 40 and 50 and oh my god i'm 64 years old so it's like how much patience do i have to go through every scale and every key and every exercise i've ever seen and and so i just don't do it because there's no time well i won't make excuses i'll just say i'll just tell you what i'm like which is i find that when i'm practicing technique that part of me that's creative starts to fade and the stuff that i write is based on what i'm practicing and so when i listen back to it i go well who's going to buy a ticket to see somebody practice right so and and plus some you know kids do it much better on instagram today they just know how to turn it on for the phone and and you know 16 seconds of the fastest crazy stuff you ever heard i love it i mean it's better than coffee in the morning is just watching instagram for like a minute or two you know yeah it's uh i i love watching instagram it's it's uh it's very fun so i so what i find is that it's better for me if i just concentrate on writing and writing and writing so behind the camera is my pro tools rig and there's a song that is really weird and i have just been working and working this song there's no guitar on it yet so i'm just playing keyboards i'm not a great keyboard player so it's mainly harmonic shapes and stuff and uh and it's a curious thing because there's no five you know there's only a flat five and i'm and i'm trying to create a beautiful melody over some very weird changes but the the thing is is moving between a minor chord and then a major chord off the flat five so i'll do that you know for hours and hours for a couple of weeks i might send a demo to the guys just so they'll yell at me and tell me i suck or something like that but just you know just to get me going and then eventually it will push me to play something uh that i haven't done before and and i have a feeling that this particular song is going to teach me how to avoid a note that is ingrained in all my fingering you know because when you you pick up the guitar oh you can't hear it sorry and then [Music] this is just mindless stuff that my fingers kick out you know because i've done it a million times and uh but that's not original and it's not really about this song that i'm playing i could certainly impress my friends by playing the fastest thing i could over this but i just be playing all the notes all the time and i hate that you know like because ultimately i want an album let's say if there's 10 songs where they're like a hendrix album every song is different you're scratching your head going is that the same guy playing guitar again on the third song sounds not like the guy on the second song you know different guitar different scale different temperament different attitude everything i like to play guitar specifically for the song and so if anything i would admit that if i practice too much the guitar player is just going to want to show off and and you know if i'm working at home there's nobody to stop me if i'm with john kuniberti he'll tap me on the shoulder and he'll say oh give me a break do that again play something interesting you know and uh so all the producers that i've worked with have have been that cool and and that talented you know and they'll sit there like jim scott just last december i think he watched me one day play solos for six hours i must have done 180 solos and every one of them was a miss and it was like kind of close and you know he was encouraging but at the same time he'd look you know he'd shake his head like ah not getting anywhere with this one so it wasn't until the ver the very end when i uh when i thought okay suicide is perhaps an option here at the last solo that something happened and and so you know sometimes that happens you just have to blow out all the things that you know people think you are well known for to get to that point where they go joe if i were to ask you what what is your favorite solo that you've played could you pick one or pick a couple n no i don't think so i mean i'd still scratch in my head i mean when first of all it's painful to listen uh to the my performances because i just i hear i have a memory of every take you know and uh and so there's always a story behind it like why didn't i just do that again or you know how come that you know the situation didn't allow me to do that again or why did i think that was a good idea or that approach you know um that's the you know it's the curse you know one of the cool things about being on tour is you get to you know play this stuff over and over again so i've been blessed with the opportunity to play surfing with the alien over and over again every night and i'm still working on it i'm still thinking now and that's because you know that that melody the melody performance happened at hyde street studios one afternoon uh one take from the beginning to the end there were people standing at the door like this you know pointing to their watches that's when people had watches you know it's like four o'clock dude get out of the studio you know and and i'm like oh just give me just like you know a couple more minutes here and we're we're plugged into the even tide that's not working right and the tube driver and the marshall and i hadn't really prepared for it so i just did this thing playing that kramer guitar that would go out of tune if you looked at it and that was it and we couldn't recreate the sound or anything so uh i listened to that when i listened to the album i go that's very inspired and it's fun and it's supposed to be fun but damn i wish i could have tuned the guitar and so even even now joe you still think back to then you when you listen to performance all those things come back to you you remember being there and then you you're really self critical about your own playing oh absolutely yeah i mean to from that record like you know satch boogie hadn't really figured out how to play it so that means every time i play the head in the song if you listen to it i play each time it's different not because i was clever but because i hadn't really figured out and we didn't even know if it was going to work you know and then we sat back and listened to it and we thought yeah is it that's a head right that's a head that'll work uh and then the last record uh same thing we recorded stuff weren't sure uh if you know i hadn't really prepared to play it but you know when a producer says hey what if you you know grabbed that other guitar and and did that part and i go okay let's try it and we'd sit there and you go wow that's uncomfortable and i'd have to work on it for a while and then you know the beauty of recording of course is that you you show the best version you know but my memory of course is all the failures leading up to the best version so yeah that's uh again that's why when you're on stage every night it's a relief because you can say wow it can be as subtle as like you know is it is it like uh or is it or i mean i play around with what notes is bend what note to play flat uh the length of the note how do i pick it uh we're not even talking about the sound that that marshall there is turned up pretty loud i think yeah so um and i'm using the the waza thing um so but i'll work on that if i have a 60-day tour every night i'll go out and i'll go okay tonight i'm gonna take that seventh note and i'm gonna wiggle it and then the one after that i'm gonna play short and let's see what happens see if someone in the audience closes their eyes or does this you know it's just like anything to reach people more now i've read that you studied with letty tristano yeah years ago back in the early 70s it's funny because you talk about satch boogie you call it a head like a jazz player melody is that really from being around jazz musicians like that well it's uh it's from being around my parents my parents were jazz age kids so they played jazz all the time um they would they would pepper it with classical music because i i think they they thought they that you know they had to bring the five kids up right and and and make sure they got a good heavy dose of of classical music um but what they played when they were having all their parties uh was just great jazz music uh you know and and it was the stuff from uh the 40s uh which was their time you know their beginning time and uh all all the way up to stanley turnteen and those crete taylor records and everything yeah so i have a love for all of that i mean i i was introduced to the west montgomery records through my parents uh as well as uh miles davis and and coltrane everything i mean it was playing all the time i'm the youngest of five kids so that means my my older siblings were perfect for the late 50s and all of the 60s and i watched from the corner of the room if they let me in how excited they were about early rock and roll british invasion motown blues everything my old brother's a blues heart player so i got to watch that happen he introduced me to john lee hooker and just that whole world when i was a young long-haired kid who just wanted to play you know hendrix and black sabbath so i had these great influences uh from my parents all the way up and i wound up in front of lenny chistano by accident because i i went to a place called five towns college for one semester it was a disaster for me you know i'm sure they were good people but i've always had a problem with authority but um anyway uh i was complaining to one of my classmates at the time that i just just i was not learning the secrets of music and i wanted to know the secrets of music i was looking for yoda or somebody to teach me like what it's all about and uh he said lenny trustano and i said who's that you know and from there turns out i i was growing up in uh west barron car place in nassau county long island and just into the next county in queens was this guy lenny tristano this jazz great the father of jazz the first guy to write record rehearse perform totally free-form music i mean this once i got into that world i was totally blown away and uh so i spent about uh i'd say about two months taking lessons i i mean it makes absolutely no sense but i just joined the disco band okay so and we were getting ready to go out on tour so i'm just an 18 year old kid and making a living was extremely important at the time so um i had to do that uh but i would go see lenny once a week and i don't know if do you know did you ever get to meet lenny tristana i never got to meet him but i'm a big fan of his playing well lenny was a very unique individual let me put it that way he uh the lenny that i met you know this was later in his life he would teach in this room upstairs in his victorian house there in queens um he he was a short stocky guy he kind of spoke like this all the time hey joey what the hell are you doing you know that kind of thing right up to your face he was blind completely blind so his eyes were were malformed and and um he wore only leotards [Laughter] the reason and this is i'm not disparaging him at all i just think he's a beautiful genius but you just have to understand this is you have to think about joe who just like i'm just like a fusion heavy metal rock kid i just love hendrix i love tony naomi i just you know i like ellen holdsworth and and john mclaughlin and i'm looking for the secrets of music and uh i show up there i don't look like any of the students who seem to be like some weird jazz grateful dead off shoot of society right i don't have a cyclopedic encyclopedic knowledge of bebop and jazz like every other student i just i'm me i'm a rock kid you know i want to be in a rock band but i also want to know the secrets of music and i'm confronted with this grown-up who is quite unusual the beautiful thing about this is that he gets right to the heart and soul of what i i'm not and shows me what i'm doing wrong i'm not practicing right i'm not admitting what i don't know it's just like he just kind of rebuilt me just by yelling at me nicely by making me practice things that drove me insane like to the amount of practicing i had to do and memorization had nothing to do with how i was exposed to music before and uh you know i had to scat sing with records put on an lp scat sing the melody memorize scat sync with complete accuracy the solo and then finish the head i also had to play by myself ahead improvise a solo until he told me to move on and sometimes it would be 20 minutes i kid you not if he thought it was something good i'd just sit in the room he'd walk out of the room and i'd just be sitting there playing by myself with this song going through my head then he'd come back in you know and he'd say something to me you know and and everything was a zen lesson one day he said he asked me uh he goes hey joey so so what'd you think of that what do you think about what you played and i said well i i uh you know i'm like i'm thinking well i think i could have done this and that and he goes uh the problem with your kids from the suburbs is you always you got the subjunctive disease you're always thinking about what you should have played you could have played and you would have played and you never played what you want to play you know when you first were releasing records in the 80s you sold millions of records back then then now we're in the streaming era and what do you what are your thoughts on streaming versus actual physical recordings well uh i think because of my age i'm a little confused by it you know um i can tell you that you know maybe i wouldn't say that to everybody but i probably just did millions of viewers um i'm only a few years younger than you joe so you know the confusing part is that the response is not the same but i do know i mean when i really turn my brain on i go this is way better than when i was when i had my first ep and i had a box of them in the back of my corvair my 1963 death trap corvair and i was driving around berkeley trying to figure out where can i put these where who can sell these who will you know and i walked into tower records like well you take like five of these you know and that was rough you pre-digital pre-internet your nobody and you have a solo album of all things instrumental guitar like who wants that right and and i'm driving around in a corvair right like will you take my record i literally i got this magazine called sonic option i think it was called at the time it had listed all independent record stores around the world and i actually just picked a bunch and because i had a hundred of these records and i knew i was gonna sell a hundred and i put two of them in these mailers and i would mail them to you know uh the independent record store in dusseldorf with a note if you can sell this thank you very much buy yourself a beer you know that kind of thing and i just sent it out everywhere and i didn't know what the hell was going on and i mean there's no feedback you know you got to remember that you go to the post office you drop it in the mail nothing not even crickets i mean nothing you know and so today is quite different because you know we're you're going to get feedback from this immediately right right you know right away did i do good do i did bad should i tweak this tweak that you know do they like it and uh so so you and i benefit from that where we can write a song record it put it up and we know right away we go to sleep wake up the next day and there's just feedback immediately and there's commerce immediately from it hopefully but there's most likely there's going to be immediate commerce of some kind very different from me driving around berkeley in my corvair trying to get someone to to stock the record you know uh so uh it's a good thing and and uh you know recently uh i decided to open up some of the the backing tracks albums and we put out uh the the stripped uh package and just to to just to hit the pre-order level so quickly and to see the reaction uh has been really great and that never could have happened uh you know in the late 70s or early 80s it just wouldn't have happened and in a lot of ways even though we're all in this huge sea of competing with each other there really was this sort of big fish in a very small pond uh organization of the music industry uh pre-internet and uh good luck trying to get a radio station to play your song and um a chain remember rack jobbers and oh yeah of course it's the organized crime of the music business it was literally organized crime yeah just to get somebody you had to fly here and go to dinner with this guy and go to his house and all this stuff just just so they would put your record in a store it's like really it's stuff you just didn't never wanted to know about and and you had to put it out of your mind because it was too weird um and it reminds me you know before i was talking about that disco band i remember having to pay off union guys with cash at the bar every night that we would play somewhere right including we had to do kickbacks to our agent back then i mean it was rough you know and i'm i was late to the game i'm not i didn't have to do the 60s that was totally wild west and and my upbringing in the music industry was semi-wild west but now it's so organized the only problem is for guitar players is that it's not in vogue right now so it's and and so i think people are feeling that that uh that pushback guitar players are you know uh but if you're a singer and and you know how to look at the camera and and come across this is the best time ever ever without a doubt i mean look who's popular you look at the top oh yeah spotify and you know it's just personality you know what i mean so uh yeah so if you got one crank it up you know that is hilarious because no one ever talks about these other parts of the business about these particular things the the impediments to getting your music out there historically back in the 80s the seven you know and how different is now you can finish something and put it right out five minutes later on instagram wherever whatever you want to do one of the things is there's no way to separate the fact that each time you put out a record you really don't know if people are going to like it you just don't know nobody knows no one's ever been able to figure that out and you know if you look at the biggest artist today you look at let's say we look at taylor swift's catalog one only one has sold the most and there's one at the bottom of her list and you know that she's looking at the one at the bottom going why didn't they like that right i mean she's happy about the one at number one but she's thinking what about those others like what did i do wrong you know so we don't really know as artists what's gonna hit what's gonna make people happy uh and but that shouldn't be confused with this argument about whether or not streaming is good or bad that's a totally different thing streaming is just a more i just think it's a better delivery system uh i i know that when i go on spotify and i listen to music the music isn't broken they're wrong skips that's right i remember bernie grumman uh when i was mastering a record at bernie's a number of years ago and i and i said bernie how often do you put on a record and he says well you can only put it on once every 24 hours otherwise you ruin the grooves and i'm thinking who in the world ever would do that like i know bernie's a genius but the rest of us just play stuff over and over again and i thought about that how many times i played a record until it did sound kind of like sandpaper like half music half sandpaper and it was my fault like oh i did that hmm and and so yeah spotify i can listen to the same song a million times and it sounds exactly the same and i'm very happy about that you know so and i would want if somebody put on a song of mine and they listened to it a hundred times in one day i wouldn't want it to degrade so um yeah we all want to get paid more but that's what i said when i was 14 and i played the car place high school dance i complained that i only got like eight dollars like hey i should get ten right but and so now i'm complaining with the record company and and uh whatever the guy's name is on spotify i should be getting more but yeah we should always get more because we're musicians so joe what does it say about the listener this is kind of an esoteric question but the in in the 80s you could sell millions of records well you you could sell millions of records as a guitarist what does it say about that do you think that people were more open-minded to guitar music to instrumental music to more sophisticated music because your music was very sophisticated even though it's you know even though it's i mean it's very sophisticated people could sell millions of records doing instrumental music doing guitar music i just think it's just the trends i mean there's always been trends i think when i was a a kid uh i was on just purely on the receiving end of of uh of music right so um i remember listening to dave clark five it was my sister's records and uh just thinking well that is the greatest sound i'd ever heard in my life glad all over or something just i never heard anything i mean now what i think about it was at 45 was on a little portable record player thing was beat to hell the recording beautiful recording but compressed like crazy but so much excitement you know and when you're a kid and you hear grown-ups people are 18 20 whatever having fun you're like that's it i i just want in on that whatever whatever it is they're doing i don't care how it was recorded if it was compressed or whatever i don't care if the you know if the 45 is all scratched up from the dog chewing it or whatever but it's just like you you you know you react to the music so i was on the receiving end of that trend so how come the dave clark five weren't as big as the beatles and how come it just stopped for them and that that's because people moved on so people will always move on every generation they need their own beat they need their own tones in the sound of music is a message and that message is formulated by the new generation it's curated by the people who survive long enough you know and they can polish it up they can make it better but i don't think it's you know in a way it's almost like it's not the job of this of the veteran to come up with the new thing it's to take care of everything else that's happened before them but no there is a 16 year old right now or there's probably you know a few million of them who maybe they don't they haven't done it on purpose but they're creating the next sound and the next beats and that is what their generation is going to want to hear everything else will be to them will be well that's old music this is relevant music so and and so that you have to realize that you know we we just passed through you know you can't hold on to anything it's chaos is is what happens you have to accept there will be conflict all the time in your life and and in the industry or the or the art form that you pick and and i totally embrace it you know um when i'm painting i realize i don't know what i'm doing and i embrace just the chaos of it and when i'm working on the song that i describe before you that's that's behind you on the screen i still haven't figured that out as a matter of fact last night i i went upstairs and i told my wife that everything that i recorded for the last like two of previous two hours was horrible i think i'm pretty good but i just played really bad stuff for two hours you know so uh luckily when i opened up that file this morning i had erased it so i didn't even want to have a memory what it was but anyway i i've digressed into something else but i just think that um time moves on and so there's no point for us to just to discuss like why isn't this happening anymore it's just you know this is what's happening whatever's happening now just accept it and move on doesn't mean that you can't play old stuff if that's what you like you should just play it so you know uh you know don't just play the notes as lenny said you know you just play what you want to play that's the key don't play what you don't want to play don't be subjunctive just play what you want to play that is a great answer joe i really appreciate you taking the time today this is really amazing it's an honor to have you here and and thank you so much thank you thank you i enjoy watching uh you know your show and uh i i you know believe it or not the stuff that you play i don't think like you we i know we know the same stuff but i'm just really impressed with your approach uh and and it's sometimes it's really simple you'll say oh you know triads built on minor thirds going this direction they go who thinks like that you do so now i know i don't know i just you know i kind of have my own way that i've that i think about that i think everybody does though you know we all have our own way to kind of organize things in our brain and yeah and uh well it's good that that you share it i mean it's really important uh there there are people out there who love it we're hanging on all the funny things that you come up with so that's all for now don't forget to subscribe if you're a first time viewer ring the bell that'll let you know when i go live and when a new video comes out give it a thumbs up leave a comment that's very important if you're interested in the biato book go to my website at www.rickbeater.com follow me on instagram at rickbiota1 check out the new beatto ear training program at beautifuleartraining.com and if you want to support the channel even more think about becoming a member of the beatto club thanks for watching [Music] you

Channel: Rick Beato

Views: 789,757

Keywords: rick beato, everything music, rick, beato, music, music theory, music production, education, joe satriani, steve vai, joe satriani interview, satch boogie, surfing with the alien, joe satriani guitar, joe satriani interview 2020, Guitar, Shredder, guitar lessons, play like joe satriani, joe satriani always with me always with you, joe satriani flying in a blue dream, joe satriani live, lennie tristano, guitar gear, g3 guitar concert

Id: AYdmelm9ADM

Length: 41min 56sec (2516 seconds)

Published: Mon Sep 28 2020