Mad Muse Studio Tour

[Music] [Applause] [Music] i'm matt salazar i'm the producer here at mad mew studios warren did not want to introduce anyone he wanted to switch it up so i'm going to do this over here this is lucasflood he runs our defense curtsy big reason we're here studio manager solomon josero and i'm told i'm supposed to take you around the studio today so that's what we're gonna do all right so we're at mad mews studios obviously this is rather a special place i did have a sneak peek i have looked around already tell us a little bit about your journey how you got here because you had another place before this yeah we never intended to have a commercial facility uh we had a much smaller production space that we used and we'd you know la kind of became a niche market where musicians would have their own place the drummers would have their own place so as we were putting together productions you sort of went to everyone else's location you get it done you had a production room you're good to go and that's what we originally had it wasn't called madmu studios it was just we had like in-flight music everyone say i'm at inflight music group making whatever we're doing right and there was a larger creative space downtown we thought we'd get ahead of the curve with warner brothers moving down there and everything we're like if we set up our space then it'll be great for everything else going on well you know literally did we think about the future where something like that happens and the real estate value goes through the roof and the whole building was sold and when our lease came up for renewal suddenly the lawyers were kicking everyone out of the building and it wasn't going to happen so we're like what do we do and we i said i think it's time if we're going to like do something down here it's it would be a whole lot more fun if we had a large space room to work bring the musicians here bring everyone together at that time our songwriting events had kind of happened we were getting a lot of songwriters coming by wanting to do bigger things and it just felt like a natural thing we found this place in the fashion district it's just a row of warehouses this was a shipping warehouse and we had our first session in may we signed our lease in march our first session was in may so we had to be really quick and as you'll see it's very non-traditional the way we built it up so was this a completely empty space this this room was here it wasn't quite as nice right we had to remodel the bathrooms and things but in here you'd walk through here was a big open warehouse just concrete cool cinder block square this is uh typically the lounge but when we have shoot dates we'll turn it in i'll turn on well you guys can see uh they'll use it as a green room or so it's kind of a multi-purpose room normally when it's set up it's just the lounge traditionally so just really because we do more and more filming it gets a multitude of uses we've got like little custom covers because so many people go in there have to change or wardrobe or whatever else so we've sort of found it that it's best to leave it bare and then depending on the client will just fill in whether it needs a couch or it needs a wardrobe rack whatever may need to happen so matt this this is quite cool first of all we've got a pair of atc so god bless you god bless your back english yeah yeah those are not cheap speakers they're amazing but uh uh phenomenal speakers did you come up using them no actually i when i was younger i hated atcs which makes sense right we were talking about younger children you know your your teenage years we're all making stupid choices right stupidly i didn't like them because they're very revealing the mid-range is crazy we had in our last room uh we had a pair of dyna audio mx3es they're actually in our lounge right now which are gorgeous speakers they worked really well in that room that room was designed as a traditional control room like a mixed room the dimension everything was right for that they sounded great we brought them to this open space and they didn't like it like they just they sounded great no you know they weren't bad but after we had experienced them in the last place they just weren't inspiring to want to mix on anymore so um i just found myself i was always on my ns10s which i basically that was what i used forever it was like the one consistent thing you can take them to any room and they work right as long as low levels they just tend to work so as experimented i was like you know what the atcs would this sounds like it would work in the space lo and behold we put them in the space and you can see the ns10s are gone so these are the only monitors i use for anything now all the everything else is gone they're so easy to work on they just they're great i guess you can't say anything about them that's you know so beautiful so tell us about the console that's not a console that is actually a console yeah so i i like working on consoles whether it's it's recording or mixing i want to grab faders i want things to be right in front of me even when we're on the in-ears and we would go to the outboard racks or whatnot when we had them installed it just feels more natural for things to be right in front of you and even quicker than if you're just in pro tools um so i really fell in love um jeff who has a company called cappy uh cappy audio uh he had come out with kits maybe this is 12 years ago or something i had some of the first ones they didn't even have a colored facebook they were just you know raw metal and um i really kind of fell in love with what the sound of that was it was just it was an api sound everyone's we talked about like the 421s and me wanting to go to a different thing with the toms it was the same thing where everyone seems to be making records with neves and i thought that this sound was interesting it was different and he came out with this old sort of uh like a wally hider modded api uh design i heard them and i just replaced everything with those they just sound so incredible they i like tracking a band with all the same preamp to me and it i don't know like you might solo a never against this one or a trident against and it might sound better on the kick but for me it seems to come together easier and that was zoe again coming from studios and working in studios we tracked everything in the console we weren't thinking about what preamp to use so it's really like look i like this preamp it works i can bring a section of musicians in and it comes together so if i use it i don't have to think about anymore i set the gain level and i move on and that's pretty much you know the records i like that's that's how they were made no one was thinking about what's on the kick what's on the snare they're you're plotting it out you know so i've got those sort of like an api flavor but but modded um and we built the ones in the end those are actually we built those oh these ones yeah so that's his i think vb28 is what he calls those so you can build them and it's unique because there's two gain stages there's the preamp in there but also the same active fader circuit so it's just like if you were on a console instead of what i what i never liked about the traditional sort of api design 500 preamps is that they they only kind of took the preamp stage out and it didn't really didn't seem to have the same weight so jeff i think just kind of cracked the code and put the fader circuit in there and it seems to work a whole lot better so is it sort of channels 1 through 30 with the uh with these fdf 312's well it's it actually one starts at the very end oh so it does start one there okay yeah we we kind of went through different iterations with the ssl we had a huge patch bay right just massive you know remote and and i i wanted to say you know if we're just going to do it like this everything is wired to the mic lines directly and there's no more patchband anymore so we've organized pro tools to pick it up we know what gear the gear is permanently wired where it needs to be for the sessions that we've done we've just done enough session to know like this is what comes in we know how many mics we're going to use on drums you know here's our our close mic bucket our room mics you know that's our kind of you know guitar stuff and all our di stuff at the end it just all sort of magically works for what we do and uh it's all they're wired there's no patch bay that's what i was looking around i was trying to ask the town thinking there's no patch base so yeah so you know with this first bucket of of say eight here yeah you're you're not using eq on this so no those are actually all connected to any dis we have so if we put di's on the floor or um back here so when i'm recording guitars i'll always take a di for the you know clean feed for the editing to reamp and then if there's here there's a load box or if it's microphones it's out there right so the next bucket over is sort of like live instruments so we have you know our acoustic guitar channels our piano channels our electric you know guitar channels right and they have their own thing going on great you ended up with this the ssl here so is this just so you could keep the fader feel and option that was a big part of it yeah and you know avid makes their version of it but there's like an ipad screen and i just really wanted to uh it was a very like it's kind of a big decision to go away from the ssl i'm so familiar with it was like a piece of me and to not i wanted the feel to be the same so uh these are relatively new and i kind of said this it makes sense the way they laid them out and for what i wanted to use them for they felt right um over you know there's you know there's things you can't do but the stuff you can't do i wouldn't do you know i just want when i had the ssl we had automation on it and really all i needed to be able to do was grab a fader and work it and let it go i don't all the other stuff you know there's guys that are geniuses with how they you know what i mean that's just not me i just want to you know i'll eq the sound i'll balance it and then you know we'll move on i'll try to if i sit too long on it i lose focus of the song completely i'm i'm you know i need to like i need to have it mixed and done or i'm useless you know put someone else in the chair so how are these integrated with your dow with pro tools so they're they're daisy chained with like a usb c cable that then goes into there's a there's a mac pro down there and they're uh huey and i from from what i understand technically uh ssl has found a way around the limitation of huey as far as like fader steps and um using them it's it doesn't feel like uh a traditional huey interface at all which was was kind of difficult whenever tried one i couldn't get around there was a lag it just didn't feel right um but this feels feels right so it's just it's just huey connected in and there's you know i think we've maxed out the number of faders you can use and you know you could even you know scroll through a session and it just all sort of works good when we're mixing we have a template so we just assign you know we set the you've got a little knob here that you can roll through you know the session and we sort of just like set it to the template and everything's where it should be all the time is it relevant at all do you think to talk about just you know why we moved away from the ssl in terms of yeah the sessions being like it was really we kind of forced your hand on the business side if you had to sit here and make records like you had beautiful racks of gear and kind of everything but it just turned into a situation where sessions would be booked and you'd be on a mix and like we would have to push so much you know so many deadlines you know because it's like you know you can't just fire a console on and off as you please ironically as the studio got busier with film work i was getting kicked out of the room and it's a pain in the ass when you have an analog console for me it was always and you probably remember the smell of tape you know when you hit record there was a smell and i feel like whatever musicians were in the room you just knew we weren't rehearsing anymore it's serious and it's the same way when you when i put the mix up on the console we are we're 100 devoted for me you know mind space into doing this and just when the business started to change and we started doing more film stuff the room wasn't just mine anymore when i needed it and then when you lose the space or you come back and it's analog right so things will adjust right the just the temperature change will adjust the way it kind of is right and it wasn't functional anymore to work because you kind of come out of the same reason that the analog was so great because it really focused you into that space became my downfall because i couldn't remain in the space right to be focused so it was a big transition with the where the company was like look we have to either you have to find another product you know we'll move into another space and it's like well that's just not cost effective at all you know this is just our kind of tracking shooting location um so i had to kind of force my way to figure out what i liked in the box and what i didn't why didn't i like the things i didn't like and you know we kind of came to a place that we like those were hard work conversations i feel like because we were all you know even zola myself not being directly in the audio world it was like the setup here and like that console specifically you know being used or custom built for michael jackson used by dre eminem all that stuff like we had like a personal attachment i feel like it was like a part of everything that we had started so then to like make the decision of like okay we could work more efficiently and pretty much make more money have more business if we did this it was you know you want to have your toys but then at the end of the day we got to keep the lights on there's when you're making a record there's an efficiency about the console when everything in the way this room was everything was basically patched up there might as well not have been a patchback because everything was made you know we had the gear the outboard gear it was calibrated you just work and when everything's just laid out in front of you you just grab things and you know it's like this the kick and the snare were always on the same fader every time you just grab it and go part of why we kind of reproduce that here but it's just it it was immediate it was like an extension of your body and when you know we'd have people come in and say well man it's just it takes so much longer on a console and i'm like man we we'll do a mix in a couple hours it's really quite quick you know compare i don't have to set up anything i don't have to drag plugins around it's just like if i want to i just hit what i want and you have to make some hard decisions right you're not going to say well i've got the la3as on guitar i know that sound i'm really familiar with it i'm not going to ask to patch around i just want to know is it better or is it not you know did i improve the sound or did i not improve it because in the way i work nothing's going to be better on a guitar than la3a you know or nothing's whatever i put on there right so it really forced you to just make a very quick decisions about just do i like it or not like it instead of saying well how do i want to you know set this plug-in up or anything which i'll just get distracted and become a little nerd boy and sit there for three hours tweaking a plug-in you know and because it's fun it is fun it's very fun but not when you need to deliver something or remain in the objective mood of the you know like i don't want to know this song well enough that it can't objectively say it's a good mix so is is this effectively um set up how you use it meaning um are these compressors already patched in on this bay exactly okay okay yeah yeah so they're all so you know we have um i could tell you know we have our our piano on those last two channels they go down to these pool techie cues that that colin built uh then they go to those apis and then into the neve so when i get a piano sound we put up the mic and it's like instant piano sound which really is like so much of that is how we work so if we have a band in here because it is sort of like almost like a bedroom vibe where you're just like i want to think up this idea i think that's another thing that's come from the home studios where you just i want a piano and then you pull up your piano library and you have an instant piano that wasn't how it used to be in a studio you're like oh i want to do piano all right great so everyone grab a coffee and we'll set up the piano and we'll get it going here if someone wants a piano we put the piano plug it in and you have a piano and it's as if it's almost like a plug-in right so that's how everything's set to work it's like we're ready if someone wants something we it's up or if i come up with some sort of creative idea we've got it so this is your monitoring control then right um that's one heck of a big neve stone yeah how did you end up choosing this as your master control so i knew the brand from the the compressors that i thought were quite good and we saw the original nev2264s out there and and they came out with like a 500 series and i i really liked it i ended up using it on the console for my toms i thought they sounded really great in fact better than the the knees for that particular purpose great um and so i knew of them and we were looking for something that would not only sound really great and i wasn't concerned so much about the digital converters and everything i already had that i just needed to be able to have something that had relays on it so you know you can hear the the click right nice had a nice talkback i wanted a talkback that was integrated into the control like a console i didn't want to have to bolt on something um this one actually is wireless so you can take it with you so there's slight latency on the talkback because it's wireless but we're wired up right now it's charging yeah but it's you know you can take it with you around the room it has a lot of connectivity so when we're recording or we're filming something i can get a feed out to whatever is the film people's recorder plus whatever i'm doing i can slate it so i can choose between uh talking back uh to the queue system or in the mix which you know if you're familiar with the ssl you can choose who you want to speak to you know do you want to speak to the md do you want to speak to the q1 all those features were really useful because sometimes you don't want to talk to everyone or maybe they just the client needs me to slate something on the film side i can just do that without disrupting the musicians by doing it so it had all these features that were i was trying to figure out workarounds with other brands and and there's so many really good contr like sounding units out there it's you know at some point we're at like a pretty high level it you know we're at you know this day of age or whatever sure um but it had everything i needed and we we got it sounds really really great i had worked uh between the time that we didn't have the the ssl on during the whole pandemic thing i got really familiar with just the converters out to the speakers and using like a master fader you know god forbid i ever hit option and then you know it went went all the way up you know but i got really familiar with the sound of the converters and and what they really sounded like and i don't notice anything i don't know i'm not doing that when i'm using it so that was good enough for me to you know i'm sure some tech guy could tell you the specifics of why i'm wrong but for me it sounds great it works really great it provides all the connectivity that we need so if i just always know this is my chain for these things this is what i'm very familiar with and when i'm working with the musicians they don't notice the gears here other than being like oh wow it's you know it's cool it's there's a lot of lights they don't need to worry about the equipment and i don't have to have any downtime and we can just work and work and it's all creative and fun so there's not a lot of uh we're not very serious here you know we're not like it's not you know there's none of that it's just uh we want to keep that vibe very creative playful and i felt like not having a patchbay not having that like period of like okay let's take a break let's just work and do it it just felt sort of like in an odd way how it'd work on the ssl where everything was in front of you and you could just get to work and do it look i mean a wonderful selection of eqs here got the tk stuff which is beautiful a lot of people huge fans of course some original um 550as lux yeah paul worth yeah yeah paul's amazing yeah probably one of the greats stereo poltech here and then tell us a little bit about these because we didn't because you were telling me about this off camera the aml so i really loved the original neve two two six fours on the room mics and so i didn't want to lose that flavor but they wouldn't i wanted i didn't want to have an outboard rack i wanted everything to be in front of me so there had to be some sort of compromise involved right because those are just so big so um colin at aml he can build you this basically this he i think he was originally a neve employee and formed his own things you can get parts from him he's got a really cool store uh in the uk and he built me six of them two of the for the piano and four for the room mic so there's the stereo 49s on one pair and then the rd8 ribbon mic that feeds the other pair and we've done now two recordings with them and i don't miss the neves at all so different than the heritage uh where i don't think that you know they that this actually feels maybe a little bit more closely to what the 32264 does i like the heritage because it's slightly different right so it's it looks like one but it does something slightly different which i actually like for certain applications better than the neve yeah it's incredible i was going to say i feel like if we're going to talk about the desks we got to talk about the the desk the actual it was like a big deal yeah when the console left i was like matt what are you going to put in its place it's obviously not like a small area and i'm like if the gear's going like what are we going to do did you custom make it we did which you could see this is you know kind of the prototype-ness of it you know trying to use the wood petty and fix the mistakes but colin uh in college had a like a mechanical engineering background so he could cat everything up yeah so i kind of forced him i said look colin we're gonna do this he's like i don't know anything about building carpenter i said look if i go we built this whole studio ourselves like we just figured you know we could do it if we really yeah we put our minds to if we read enough and we got like in trial and error we can do got to see the man behind the desk right here here's call so so colin literally built built the whole thing so we sat down for i don't know we did multitudes of designs but we what i wanted was one thing the ssl did do that i didn't like is it would change the frequency response of the speakers quite a bit and i thought you know there's an opportunity for us to fix that so we sort of looked at mastering consoles and what angles they would have right um also the kind of ergonomics of you know how where you could still grab everything very easily and then also like just even moving around the console where you were comfortable and you wouldn't hit your knees on it so we just kept we'd get oh man this is the great really work well for sound and then we'd find it doesn't work well for you having to reach to grab something um just you know i got sort of you know tired the older i if you wanted to reach you know up to the compressors you had to stand up you know so i wanted something where we could just sit here or or you could stand and and just feel comfortable at the desk so we just kept going through designs it took about a month and he would just you know he probably wants to kill me even now because i say and rebuild it i looked at it as kind of i look at maybe like a client when the client asks you to change one thing but it's actually 20 million things because he had to redesign every piece of wood as a scrap piece and then build you know put them together so he yeah again probably it was crazy to just watch you guys do this because like honestly and like no offense i just thought this was going to be rickety i was like how are you guys going to build some nice stuff for all this gear and then i see him there one day and you were on like 18 hours a day for like literally two or three weeks straight yeah and i go back there and i'm like dude that was like this is pretty nice and then they painted it and everything's polished now yeah so much spray paint that's just spray paint it's just great you know it's like we're gonna get this done it needs to be in the room you know like we need to get business back open that was crazy yeah so you you basically had to choose all of the gear in advance and know what you're going to use or else you wouldn't be able to decide colin made a cad makeup right of every piece of equipment he did to make sure that everything would ventilate correctly and connect correctly um yeah so we sort of well you've got some spare room you could you could you can stick another distresser in yeah you got some room down here if you want to get a little carried away there you go there's a fair child pcb in there that's up next yeah that's where the fair child is going in there yeah [Laughter] three million tubes later yeah yeah beautiful well great work thank you excellent yeah yeah got to get on gotta get his time in the light well i mean um let's you're a guitar player so let's talk some guitars sure did you collect these as a guitar player or well i don't know it's really i suppose guitar player slash producer yeah i think i started more because when i you know yeah as you do when you come to la you come with nothing you know i had a 69 beetle you know that was that's what i had you know and oh guitar you know they brought with me what was the guitar uh it was uh it's national tune in the back now but it's just a stratocaster american stratocaster still a great guitar but yeah and we use it for like extra you know natural tuning great you know great use for a strat yeah you know over time you'd get especially when you're uh seeing other producers that are kind of masters of their craft you know like you get to see a lot of stuff and hear things and they're like wow i understand where that tone tone's coming from you start to craft your ear a little bit and then you over time want to get something i'm looking for this sort of tone and you you know you gravitate towards it and you want to try to find out what it is so you know it's a collection of many many many years it's not like you know you could just say oh let's just go get one of these today or whatever some of them you know you know you're looking for and it takes four years later something pops up or someone tells you hey yeah you know this i know this guy i know you're looking for one so you know over time you you get the stuff and you know how it is you cycle through things that you think you're going to like and turns out you don't and then you get you know so stuff you're holding on to is you know how to use it you know well this this also looks pretty custom like you you know it's not like you can guess that these things are going to fit you know you're going to have to we built this here so when we built the console we we built these as well this is a common theme i like you know i like it to fit into a space i grew up my my mother and my grandfather originally started a furniture store my mother took over the store i grew up inside of a furniture store oh nice i i love interior design we're talking about like architectural digest and stuff i'm like that's what you know it's the whole front room like is designed by matt which is like there's a little chic taste there yeah you know so so when i when i see something or the way i want to work i feel good like that i want to build that into you know the flow of the space so you know we we sort of just you know same time we figured this out and this was like we knocked this out in in a day it wasn't really that hard to build compared to the console that was quite difficult but uh we were able to put together and there's uh a gentleman who's a mastering engineer in sweden and i was really starting to play more and more with impulse's responses maybe the past five years used to have all these cabs and there's just a lot of work to get and i you know the first time i started playing with them they were they're pretty good it accurately kind of got the cab but there's some other components missing i didn't get even when something someone would say oh it's reactive a reactive load it wasn't quite doing what i still heard the reaction between the you know the magnet component of the speaker and the you know the amp so as i was you know kind of thinking up more and more i found there's a master engineer in in sweden who was building kind of really are looking at the uh reactants and impedance in a kind of way i was looking at it and so he he built these and actually they were i think uh customs up their bombs they're they're they're point to point so there's no pc board right so kind of like maybe you can like look in here and see oh wow um so basically we knew the sound um you'd think these are knobs but these are you know there's like 1800s technology to get this to work but i basically now have adjustable reactants on the top presence and at the resonant frequency and then uh capacitor bank which is right there controls the frequency in which the bottom kind of resonance will be at so depend on the type of cab and it's like game changer compared to anything else i've used as far as the load box goes and now to me actually feels like a speaker cap so are you using impulse responses with that exactly so we'll take the amps yep there's uh three sort of sections to this wall yeah um this is sort of like an l here where it goes down here and over here and like a reverse of that and then a center one each one of these amps has a controller to it one of these khe boxes where i could just flip through the amp so i can have it up in pro tools and all this again is connected to the console so all i do is literally switch through and i'm instantly hearing each different amp so it simultaneously will route the input signal and the speaker output to its respective load box and then send it through the console into pro tools and in pro tools you just open up an impulse response right then i sort of have my templates of what i would use for each thing and they're there and nice so what a huge selection of amps yeah uh i mean left to right you've got a couple of divided by 13s yeah surprisingly i most guitarists that come in don't know the divided by 13s but i feel like was it like in the 2000s everyone that was what i mean these were the amps to they were on like every record ever you know during that time period yeah brian ray friend of mine from paul mccartney's band he uses them and they're incredible they're on stage yeah this one i've loaned to different friends that have toured around the world with it you know big big pop acts and stuff just you know they they they're they they do what they're supposed to do they last they've none of them have ever had any problems i've had these for many many years um and they're just kind of workhorses and they the sound is incredible from them i've always wanted one to be honest i borrowed one for about a year uh-huh um and it was a good year it was a good year yeah wonderland overdrive sort of like a dumbo thing a play on the john mayer dumble amp you know so wonderland drama you know yeah yeah um another just great guy builds the amps himself and the the clean sound of that is is almost deep like a piano you know it's it's like where you have your fender and you it's like you know if you're running like the fender on the edge of the breakup and it's right here and it'll do that thing that we all know and love this is like the opposite where it's just like you know it's like you could see through the sound you know very deep so you're mainly using that for clean tones exactly clan big you know you plug a strat into that and it's the dumbbell thing and it's just like you know suddenly your strat is 10 000 feet tall on the you know bridge pickup and then of course say fender basement yeah the old basement so i think that's a 63 that's a great amp for guitar and bass really but you can drive it it's almost will drive like a marshall but a gooey ooey marshall you know like it they're you know you can get harmonics to kind of come off of it i experimented with um five eight eight one tubes versus six l six uh and it's like if you put the five eight ones you even get more harmonics look at a little smaller box here but you can get like even more harmonics with it so depending on what i'm doing we put um if an amp doesn't have a bias circuit in it we just install one we just take it to the tech shop and that way we're able to mess with tubes and i just will bias them by ear and double check that i'm in the range i'm not going to blow anything up but you know we'll get everything all these amps basically have the ability to dial into the zone and you know where they should be yeah bad cat yeah that actually talking about the master plan when we first got them i kind of i caught the thing on fire and uh it was the bad cat has a face switch on the back you you know some all the older amps do i don't know why why they thought to include it not a big deal when you have a speaker cab because you'll just literally affect the phase you know it's a push out it'll pull in right but with this the way that um pretty much i think any load box would work is that you end up when you flip it you put uh the signal into ground and so we just i just blew it up the first you know luckily it was just the component that provides the grounding and he sent us some new ones that we soldered oh yeah it wasn't a big deal but you know resistors make a lot of smoke so and that's uh guy from randall matchless isn't it exactly so that's um like one of the earlier iterations um a lot of the stuff you know you just get used you find it and you hear it and you like it you're like oh i you know i didn't think i'd like it you know and and you keep it and that's sort of one of those things i didn't think i'd like that amp uh but it sounds really really great fantastic yeah and then there's a nice selection of marshmallows to say at least what are we looking at six marshalls yeah the this is a 67 plexi beautiful um it does exactly what you think it does you know um actually really everyone you know thinks it's the fenders that have the clean sounds i like to crank the fenders all the way up and the marshals have a really great clean sound in them you know you know yeah yeah definitely especially the the older plexis they're really not as much gain as people would think um 72 50 watt so this one does have quite a bit of fire yeah right lovely um and then uh 64 jtn50 um which also just has a you know i always like to like i'll plug that in and that's an original 64. 64. yeah well yeah and it's um one of those things that it's got you know it's got molar tubes in it they've never been touched in the however many well lots of years i've had the amp and i find with nos tubes they're you know they're getting pricier and pricier but i've never i take that back i had one go bad on me in a 67 one time but otherwise they just last and we've got bias meters in the back and we check them yeah and it's like well yeah i get them pricier but you just don't have to change your tubes right you know maybe my sun will after i'm dead you know but i don't you know we again we check them to make you know but everything runs pretty great you have the nos tubes some of the uh i've really come into like these rft tubes so i think they are made in eastern germany on some of the some of the older equipment but they're a little bit um they're more robust and they're you put them in ohio we actually blowing load boxes uh inside of a high wall because they're just they're really high up hit there's a little more mid-range kind of growl to them so from i like it you know i like i want a little bit of growl so the rfts they're really great tubes i mean i didn't even know you could find a new old stock of uh of mallards you'd be surprised a lot they're unmarked you know so they'll be just like clear gas military spares or whatever um so if you look hard enough you know you can get them and how much are they going for it it's a sliding scale it's one of those things it's like what's the price of gas right now yeah you know it depends how badly do you want them you know so typically we'll wait or i'll try to get where okay i want to outfit a certain amount of amps or something like that um and some of the amps came with the nos tubes in them they were just that you know and they tested good and wow i'm just waiting for them to blow and they don't you know hey what use that jmp this is a 79 so technically this is a would be a jcm800 inside so but what's the what's the difference because i have what's mine is that mark ii i think mine's a mine's either a 78 or 79 vivian campbell's old amp so yeah i mean i'm sure that's an outstanding app so through the years basically so the last year that marshall was on a um hand-wired would have been the 72. yeah then once in 73 having them with the pc boards they started like gradually trying to get more gain yeah um until they came up i want us i could be wrong here it's like 76-77 where they started kind of cascading the circuit right to get even more gain and then from that time on it was sort of like an 800 until marshall had uh his distribution agreement you know he got out of it and then came out with and just rebranded the amp jcm800 but this would have been component for component um kind of like those that first year jc m800 that everyone wants is the same but it's interesting because growing up i didn't like jcm800s yeah it's yeah i mean because like you got to crank them yeah you know you got to be willing to i think it's also the speakers that a lot of people paired them with because well that time they came out right they had like the the 60s and then the 75s what's marshall still puts them in and then when the vintage 30s came out i feel like that was like really where everyone was like wow okay i get you put the jc m800 with vintage 30s which is a relatively new speaker compared to like sure a lot of the other classic models right um so i think like that was one of those things where you paired the jcm100 with vintage 30s and suddenly you're like oh wow that's a kind of metal e-type sound yeah because when i was a kid it was like wow i've got a 300 watt cab i just thought that was so cool yeah it was 300 watts and now those just don't sound good yeah yeah they're not you want them to break up and they just will never break your ears will break up yeah yeah yours will die this is actually uh the same amp as the silver jubilee oh wow yeah so what he did is um so the model number is the same this is just not with the silver faceplate i love that amp yeah my friend but i thought it was a 50w and 100 watts so why is that this has this has the switchable oh it's got the higher switchable yeah exactly but just yeah so i understand yeah it's component for component it's the jubilee it's just every no one knows it without the the silver yeah right i think this one was 89 i think 89 is the year for this yeah those are fantastic yeah crazy good yeah yeah it's like instant lead tone yeah like plug-in it's there yeah yeah really great amp and then the jvm kind of a modern take that's like on um like every mod marshall kind of ever but not like it's kind of maybe a little bit homogenized but there's a certain tone it's a little bit darker than the other one so if it's something like a post grunge sounding or something where it's thicker you see one man's dark is another man's thick right yeah um so it's a little bit pulled back so if you don't want to if you want it to be a little more like you know contemporary you know ac whatever you know like you can use that and get away with a heavier tone without it being like the raw martial you know growl it's a little bit more refined yeah growing up in england we always thought of marshalls as being mid-rangey and aggressive and american rock sound being like more curved and right and get the boogie yeah yeah yeah so this is a little more polite right okay i i don't know if i've tried one of those i'd love to hear it yeah it's it's it's great because every channel on this sounds really great right you know normally you think oh it's a multi-channel what how good is it going to sound but it's got unique eq on every channel um it looks more complex than it is if you just think about each channel as like this yeah but if you just really look at it and then each channel has i think three different switchable modes which change the preamp that's been like the preamp circuit being used so it's it's actually like there's like 16 amps in there um but it's it's pretty good sounding yeah very usable if you need to kind of stick to one thing and get through it let's quickly go to the last marshall down here so the seventh martial yeah that was um there's a ant modern la uh named uh mark cameron and uh when i was a younger guy i used to go to a shop and bring different amps by and we just sit there and and listen to the circuit and modify it that's one of those amps um unfortunately the other ones got stolen um but that's one i still have left from him and he's one of those guys that's like no one knows where he's at and he probably owes like 12 people different amps and they're probably all mad at them but um you know i just used to used to go by there and hang out until four in the morning and he'd modify amps and explain circuits to me and why this does that and why this does that and it was a great time and i still have that amp and it's just it's kind of like it's originally a 76. someone ripped out the pcb board and then point to point wired in a plexi circuit and then he took that and turned it into a whole nother thing so it's an interesting kind of way it got to be how it is oh but it doesn't sound like you think it would it's kind of a modern fire breather type of sound diesel i recognize obviously that yeah yeah that's that's a lot of that's a lot of metal a lot of metal actually more i think everyone associates it as a heavier amp than it actually is because it's very it's got a very strong mid-range it's kind of powers in its mid-range if you think about like you know the boogie or whatever where it might be kind of more body on the bottom and some it's very i like using it on on leads because i can sit it right over like a wall of the soldano where it's you know the seldom is like chaos from top to bottom wall of sound and then you have the vh4 that sits right there and could just be focused tell me about the mojave i don't know this amp at all so there was a gentleman who was modif or not modified sorry restoring vintage plexis right he came it was uh the place was called plexi palace so he was literally taking these these plexis restoring them he's actually um he connected me with the person who had the jtm 45 because he had restored it and said hey this guy's you know whatever and he he was able to get me the stamp he started the mojave and i think unfortunately he only made ants for a little bit of time but it's i think he's sort of reimagined a little bit the way that the the marshall handles its gain um and it's it's just like um like eddie van halen in a box sort of thing right like a soup it's not like a modded high gain marshall but it's got that like almost like stickiness to the strings that you know when you think about like van halen look like this it's like there's something that pops off kind of secondary on the string it sort of does that yeah it gets used quite a bit like if it's if it's as long as it's not too modern of a lead sound like if it's probably that amp if it's like that distorted marshall thing over the the plexis the plexis will get turned on for the plexi thing but really if i want it to like you just plug in yeah and it's incredible sounding i wonder what happened to him i think he's a real estate agent now oh yeah i think he's yeah probably more money in that yeah and then of course a rather beautiful amp the highwall custom 100 yep so that's a 73 so it's got the the four input um same things has the rft tubes in it that make it almost too robust because you know you look inside of a high watt and it it makes the marshals look like a joke because it's so clean and so organized and like it's incredible and and power wise like you know when the marshall like is done the high watt's just getting started you know so it's kind of a scary amp to use because it's it'll blow everything you know but it's it's you know it also has a ton of headroom so you can get a really great it's a great pedal platform you know david gilmore knew that you know and you can get you can plug a fuzz or something into that where it's still relatively clean and you just get a really big big tone out of it where the fuzz sounds great to a marshall you know jimmy knew that but it's you know it's it's a it's a different sort of sound where it's more spongy where with the high wall it's big you know an articulate another wizard because uh um our mutual friend bob marlett really loves those amps there's something as a i grew up and if it wasn't metallica it was not music you know metallic had done a covers album talking about you know love covers right they had done and there's a tone on some of those recordings that i just like i i like when i was a kid i was like damn this is like this is the tone i like right not it wasn't the black album or master of puppets it was like this tone you know i i can't remember who i was speaking to about it who was in the sessions and and said oh yeah it's a wizard i'm like what the hell's a wizard and uh from what i understand it's it was the amp tech from ac dc so bill built this and it makes sense you if you could feel on the side there's like these handles on the side and if you've ever ever like really spent enough time lugging around like a marshall or something that handles a pain in the butt it like shakes your knees you carry this and it's incredibly heavy but like this makes a lot of sense so it makes sense at a tech so that would have to deal with these amps would design so that story kind of adds up um so yeah it's it's a really great really really great rhythm sound that's what i like it for saldana another really really great rhythm sound they're older so you get you pick them up used this particular one this uh had a 1280 7 tube in the phase inverter in the last stage with lower kind of gain than a 12x7 and i thought oh the buyer was telling me i'm like that's going to get replaced you know and i plugged it in i was like wow this is no it's not it's incredible right and so it's just one of those things that like i probably never would have tried something like that you know you get it from somebody and they've got it set up a certain way and it turns out that it's it's really great and unique and a little bit different so um this one yeah has 12 87 on the phase inverter obviously you have a kemper profiler let's just say you get the great sound up are you immediately capturing it going you know what i don't never turned it on oh okay yeah um one of uh my closest friends was introduced to me uh by a guy named matt skaggs who he was the keyboard program a programmer of a record i was an assistant on uh you know stage and sound studios it's gone now right so mark and stephan fantini right when i was a teenager i was an assistant there and there's a band from chicago matt was from chicago and he was brought into to do keyboard programming introduced again years later introduced me to now one of my closest friends a film composer and matt and i are still friends and he he had sent it to jorg the composer who then he's like well i'm gonna send it over to matt i haven't had a chance to even turn it on yet so you know it's kind of there taking up space but not that it's not not great we have a lot of musicians that come in here especially for the film dates that bring the kempers and we could just d-i them and it's incredibly simple so right they're great you know um but i haven't had a chance to mess with that's exactly what i know i want to see if i can't profile the stuff and see how close it comes yeah i'd be intrigued to see what you think yeah okay well the uh the dual rectifier yeah everyone knows that amp that's been you know i think that's a early 2000s or something kind of the model that they sold a million of and it's like uh i remember when i was kind of developing bands in the early 2000s it's like the second they got their deal they got a you know the boogie would send him a rectifier prs would send him a couple guitars for the video was like the the recipe of that 2000s rock sound you know you had to have one if you're making records at that time so that's what i traded an orange amp for that uh one of the musicians i was working with they had one and i that's just been with me probably since i don't know 2004 or something and what's the crank crank was one of the ones we talked about like being in the room and with other musicians and there was a band uh named finch and uh finch yeah and mark trombino was a young kid yeah yep i was equally as young and mark trumbino was producing i had um my manager was a gentleman named freddy piro so i had uh when i was working at o'henry i because i was a young kid i got invited into a lot of sessions that probably normally someone in that you know the the runners weren't getting invited but i was just kind of young hungry and i'd i'd get i'd luck out right so um i kind of got like the things like look you don't if you want to make i'd bring in like demos or whatever say look you don't want to be an engineer you your producer you're like you know doing this or that or the other this is what you need to do you need to go record bands and get those bands somewhere and you'll something okay okay so the night tech at o'henry at the time he like he would get tons i mean when we talk about the gear collection in that studio is is absolutely insane and he basically said look here you can use some of this gear it's still being fixed just get it back then we went to the band's rehearsal studio that band ended up kind of getting a bigger manager or whatnot and and i took it to some of the people that would frequent oh henry and they said hey look this is pretty good i got someone i know i think he'd be interested in meeting you i was like 18. so i went to the ocean in burbank and he you know met with him i got actually the tech kicked me out the door when i first he asked me all these questions that i absolutely didn't know about technical stuff and i was you know it's like just in very harsh words you're nothing you will never be anything leave you know i remember walking down the stairwell and like absolutely like man i'm a loser yeah and someone said hey wait you know freddie wants to speak with you so i came in there and says oh give me your recording and uh within that conversation he called someone else in the room says here give uh you know take matt to mama joe's and give him the keys and from that evening on i had it had a trident console on it you know racks of pull text and everything else and was mine you know just and i you know would mix the records that he needed me to do and then produce stuff on the side at the time at ocean all the rock bands so it was like evanescence fallout boy all these bands were recording there one of them was finch mark trombino i would had worked with him on a band called rival kylie and so i was in the studio then they had brought in these amps i think they must have been from arizona and that's where the crank was from and they said oh these are like these prototypes of this new amp company i was like you know man these sound pretty good a lot of those i think both of these records were what was that first big fall out boy record we were going back and forth in days and i think those two amps are on it because i just said oh yeah you know i was letting them borrow the amps we had set up but all these bands of that time were working all at the same time in the studio talking about a communal experience and i said oh i'd like one of those sounds really good they connected me with the guy that's serial number four um and another amp that i brought to to mark cameron at the kind of same time period early 2000s and he like cleaned it up a little couple things inside point to point at some things and it's just one of those amps that stayed with me for forever and it's kind of cheesy looking um but it what it does it's incredible and what does it do what do you use it for very articulate high gain so where the the soldano is like a wall of chaos like it just eats you know you get the whole wall of sound that's very articulate so very articulate rhythm sound and actually in the last recording we did when we did war pigs we we combined one guitarist with the soldano and the other with the crank and that's the rhythm bed and then we put the mojave and diesel over it as that mid-range so it worked quite well i see you have a svt yep so another one of those things that's kind of built in we we use the di so the the bass player pretty much any time i'm using any guitar setup i go into a sewer buffer box and that gets split out to either like a clean di or wherever else i might be taken into the amp um in this case there's 2d eyes there's an evil twin out there di that i've had forever and the they come into here into that it's another cappy preamp that little the silver one there um which is actually the same preamp as the vp28s we built it's like i think they called the vb28 platinum it's got the the meter on it which is kind of what i needed so i can monitor the the sound coming in at the level and then that goes into one of those heritage compressors and then into the amp so i'm kind of working a chain because i want to keep that amp it's it's the v4b so it's only 100 watts and i want to keep it right on the edge it break up so that way when the bass player is chugging along if like i get just the tone i want and then he kind of nails like the low e i don't end up with a distorted mush so i can keep the soundtrack solid so i just strap that on the front of it with a reamp box you know dave jordan and brian colstrom would do that as well really yeah they would use the um uh summit audio yeah that compressor they would compress the di before they put it into the amp it works and it gives you a really even nice tone yeah yeah so i was just tired of basically bass players it's i mean it's really hard you pick up a bass it's it's a it's a hard instrument to get every note just right in the zone so that was that was solution it works really well well i suppose let's go and check out amps and pedals and all kinds of other fun stuff this is the area where we typically do vocals we'll do you know if anything that sort of needs isolation it's one big space but you'd be surprised how isolated things can be so sometimes when when people are more used to a normal large room let's say a east-west or something like that they're looking for gobos and other sorts of isolation but the way the room has been designed it sort of negates the need for those things which sounds counter-intuitive but it works i will say it's it's not dead in here but it's not overly live right and you'll find that each space kind of has uh you know this is the guitar area this is the drum area it all has a different vibe to it what's your q system i see over here you know it's just a super simple behringer i think they're called power plays and honestly they they're rock solid this everyone seems to know how to work them and we just send like eight apps you know eight out of our interface and into there and everyone can make their own mix and it's super cost effective and easy great i feel like behringer like when 20 years ago you'd look at bearings you're like no one's gonna you know they're just like part of superlatives isn't it yeah now they're quite good like their stuff is you know we get um we've had a couple venues send us live recordings where they have the behringer mixer uh like the it's like the the digital with the mic you know and it's honestly not horrible you know coming from do we walk past the neves you can take a look at them yeah right yeah you know no one cares about those anymore you know oh yes they do yeah yeah rather lovely wow yeah they also the 2264s gorgeous fun times uh what piano you got there so yamaha uh c7 lovely so this was owned by um like an actor passed away they auctioned everything so it's just one owner it's uh from the mid-90s so it was virtually unplayed when we got it i was out of town we were looking for a piano and someone had this next to a steinway b and you know steinway b is that's like the most beautiful piano ever everyone you know you want to record as time would be you're good right maybe a little dark but this was the next one and and uh i think zoma had gone to the the piano you know kind of and i was like man that's just through the iphone that's an incredible sounding piano and i asked yorg who was playing that's like hey how's this thing sounds like it sounds amazing i said okay we'll take a chance on it for the record i'm equally not a musician as well this is uh so that's all she wrote boys it's gorgeous uh you've still got it you've got it so you can move it which is smart that's the thing so we it's it's odd we had uh like to record it in the middle of the room and there was still something missing from the way that the kind of i like pianos or are like instruments in general that react off a wall or a space so we kind of said look this is the the best place for the piano there's something here and we built these diffusers that kind of you know almost like a convection oven it almost like sends to circulate the sound and you could probably maybe hear it a little bit when you stand next to the soundboard like there's some early reflections that are quite pleasing so we like to record it here we for the film sessions they'll take in the middle of the room and it sounds like a different piano it's wild i i played it in the middle the other day and i was like like i've really had an appreciation for this area now it just the sound stays perfectly over here but out here it kind of like you know just distance everywhere yeah it's it's in its box here yeah and obviously with the amount of filming you do you need to have it so it's easy to move yeah otherwise we you'd probably kill the little tiny gold wheels they they give you yeah if even that's even possible yeah unbelievable um well quite nice high ceilings gorgeous i love the the the stop sign is that the stop sign gretch kit is that what they call it's you know the everyone wants to jab i think they're all jaspers up to a certain point it's got you know the the silver paint inside it's good i you know i i'm really even with with the rock guys will come here and they'll see i like i just use ambassador heads so single ply yeah but i like the way they throw into the room so you know they're dead after a session but you know with these shells and and that it's you know you can really get some some of the drums thrown into the room mics rather than just a cymbal wash so the km here km84s right although that'll change depend if i want something meaty it'll be like an m160 or something are those c12is c12as yeah beautiful yes typically yeah those are coals what are those sure sure 181 so i went through i got so tired of the 421 it was so such a look you put on the time it sounds great but it's it's like everyone has that same tom sound and i went through the josephsons and like those were really really good microphones those are really good um and then i landed i i sort of there was something i was still kind of missing from uh the kind of proximity effect that the 421s would give and so these and i think they're made for like live use but they're incredibly good and they they they have kind of the best attributes the very quick transient response of the small diaphragm joseph sends but also a little more like proximity you know what you would think in a live sound mic yeah you know sort of built into them so to me they're the best of the both worlds and when i'm using like those ambassador heads i get a really hard transient on the mic and it throws out into the room where i can get a more darker richer sound so it's kind of they work together to make it happen it's cool just is that a fat 47 fed on the outside and it's just one of the newer akg i think the d12 vr i think is the name on the inside right quite a good mic if it wasn't that'd be a 421 fantastic light mic setup compared to what i saw last week yeah i mean obviously it's just i had everything ripped out i can't i'm so ocd like i wanted to leave it all up because it looks like a battlefield in here just everything kind of yeah all around and match like that i can't do it i like to have a clean you know do the session clean the studio and start from scratch it's probably it's a colin probably hates me the engineer you know because i'm just like start it all over again but i i feel like that's i want to be organized do i assist with you no did you assist did you get a business i started a studio called oh henry so i don't know if you know that studio that was do you remember oh i remember yeah so we did a lot of orchestral dates i was a teenager i couldn't be a runner because i couldn't go get alcohol so i ended up being like the night kind of guy at the desk and then we do the setups because we turn around so you'd have the orchestral sessions in the day and then you'd have the pop sessions at night and everything like when i see kids out of recording school right now and like i was like who taught you guys because when you went there was like a military camp you know we had a night tech and a day tech like it was and you couldn't you couldn't fart without them telling you how to do it properly you know i mean you know it's just like just there was a way to do things you know and that's how it was like it's like beat into your head that that's how you do it and i think i just took that with me that makes it forever i i i just assume when you talked about things being tidy and organized i was like oh he must have come up as an assistant and yeah you've been beaten up yeah especially in a scoring stage you know you don't want somebody to trip or you know sure i remember the the first time i was working on a tape machine and you know you get a little bit of there and they're like man that is that is not okay you know you're like well i'm just making a record it's like that that's not how you make a record this is how you make a record you know what what are your room mics here so i'll typically have um if it's the drums there'll be a set of 49s and then uh like a 47 and an rd8 stereo ribbon um so there's kind of an array and i kind of want to just be able to pull up the room mics and have a balanced kit so i'm not trying to capture one thing or the other i just want balance yeah and then if we're doing guitars uh that same theme of like bouncing things off of walls i'll do um an a an n8 so it's like an active ribbon mic and i'll i like to put guitars here and sort of bounce them off that little kind of diffusion panel sure and i'll put that mic where i'm cancelling out the you know direct sound from the amp and just getting the reflections so so it's how much experimenting and did you have somebody come down and go through this with you for all the diffusion and everything no i mean i did it myself i just been doing it you know long enough and experimented in other locations this actually didn't need a lot i know i knew i had the space the second i threw out oh we're gonna have a lot of sound isolation all that stuff and just thought of this as one big acoustic environment um it became kind of like oh well we can have a 12-foot bass trap without worrying about you know real estate or whatever else and we'll use it as a tech room you know so when you take away those things like that wall needs to be hard you know you can just kind of open yourself up to like this would be magical if i could do these things we sort of did them so i knew if i was going to design uh you know something for the drums what i would do where i'd want the you know reflection where i'd want the absorption so behind all these walls you know they're fabric but then there's different arrays of of uh you know wood and things to sort of hide what's going on in the room but you know if we had a really loud guitar up in here you'd blatantly notice the difference between it being where it was kind of designed to be or somewhere else now the panels that you are floating on the top here right did you make them did you buy them yeah so we we made everything everything we basically uh we went and you know home depot you know you get a uh they get like a remodel like home loan thing right that's what we're like oh yeah great like we get one of those you know and we just the big truck shows up and we just built it all of ourselves it was a dramatic experience yeah like watching i'm obviously on a much different side of the company than the studio but just watching these guys matt i feel like doesn't explain it as dramatic as it was but those were like 18-hour days like everyone just by hand you know you know kind of trial runs on a lot of stuff too it's like you figure out one thing and you're like oh maybe this would be the right way how many panels i mean this is a lot of pounds i don't i can't even yeah the amount of like you know just owens corey and all that there were some near-death experiences putting those ones up this is probably the worst design i have is here because we kept trying to figure out how we're going to hang these panels and it's you know i'm least proud of the way we we did it with the pvc pipes there are such better ways to have done that like you know looking back it's functional it works great you know there's it's it's structurally sound but it was just the wrong way to go about doing it easily what do you think you would do differently you know i think i'd probably just have a run like a steel line and then hung everything from the line because those pipes were so difficult to work with and get the heights correct um looking at them they you wouldn't know but they look fantastic yeah that's an inside secret i suppose yeah but the process took a lot longer than i would have hoped it would and we had to actually take everything down one time so we did it it wasn't happening it was crazy because yeah we were trying to get up for business we had just moved and like you know there was you know a month or two of downtime already so it was all hands on deck trying to get everything back together and then matt through that whole time was like well i want to build like the studio of my dreams and like how i want to work and i'm like well there's a business side you know as well in zoma would chime and it's like little things like the glass and then this and that and it was really just all about kind of building how you wanted to work i just wanted it i say well if i don't do it my way then i'll never request that's what he said he says he's like i'm just gonna go away i'm never gonna record music again i'm like all right dude build whatever studio you want then we'll figure out how to sell it and then sure enough you know you built a big space that everyone loves being and then the film stuff like that that was the big bet and we didn't know if it would work um and i saw you know the church in london they i saw they had a big i was like you know someone was to me this is one big bedroom and we were finding even in the production spaces either when we had our last base someone would want to be in the control room with us working like a vocalist or they'd want to be hidden away in the booth and like don't like turn off the lights so you can't see me through the window right so it's like well this seems to be the way that everyone is getting used to working from being in home studios so much anyway they're not i always hated when you know you'd be putting a food order in right and they think you're saying something about their performance like i just ordered a sandwich like it was you know but everything when that talkback mic is not on you know the musician is you know self-critical and they're thinking what are they talking about i'm not involved in the conversation in this room for better or worse everyone's involved in every conversation but it it's the it's a weird like everything everyone's at ease they just and it's it's a big vibe yeah that's what i've noticed from from these sessions even last week like you know this room's kind of like a whole different vibe when there's so many people in it you know you got drums here like rudy was playing the bass right there and then we had two guitarists basically you know one here one here and they're like wielding solos together yeah yeah and then you have vocals back there and it's like for matt to be able to be right there and just talk with them it's like i couldn't even imagine if there was glass there what how they would feel like you know just the inclusivity of of having a room like this is really like you see the the um the final product and how that there's a teamwork thing that happens rather than a musician verse production staff thing like us versus them it doesn't exist anymore it's more of a teamwork space how are you monitoring you're on headphones or you're just working right yeah and when we're cutting vocals there's plenty enough separation between the spaces where we're just on the speakers so that's not a big deal what it is uh sure i don't know it's like five four they're actually incredible the shure we have sure headphones as well and they're not even they're not the expensive ones or anything but i find them like they're really good they're very comfortable they surprised me super comfortable yeah i was i was surprised because i thought i was like uh let's just see you know and they're like quite good i think we're just gonna have to get the guys to do like a pan over here because we're talking like one two three walls of amps and pedals i mean as it should be as it should be yes well let's go for a couple of highlights so what year is the box 63 vox so this is before the top boost right okay um i love dogs yeah exactly yeah the blue vox this the blue speakers in the back it's they made uh three iterations of that circuit so there was like an ac 30 b n and a t and there's basically a different capacitor configuration as far as like if it was at a base amp kind of normal or treble so that's an n that's the one i like is just crank it up and it's got just great mid-range to it so that's you know pretty much it's always being pulled out because it's the classic stuff you have a treble booster to get your brian may on absolutely yeah yeah they're there there's a couple yeah and it and it sounds great doing it okay divided by 13 yeah that's just the uh other component to the same head that's in there so oh okay also blue's in here oh nice yeah but a different sound right it's just a just a different tone than that yeah vintage kind of new but same realm but a little different that was so many pedals um i mean there's a go-to stuff are you covered are these all pedals you would use yourself are you are you covering bases because you know exactly so these are like sort of the base area and kind of like the more pop stuff that i use so this is kind of like bass and pop and you kind of go to different sections and they're kind of there for those are the pedals i would pull out for that sort of sound so each sort of location has its own thing going on couple things i don't know don't know i don't know this analog man buy buy compressor yeah so it's got the what is it the or it's got the ross and the orange squeeze circuit both in it so you can use either them uniquely or simultaneously very nice yeah so analog man he would go and he was one of the early modders of like the old you know modding this pedal of that pedal or like original chips you know uh just really great sounding i love the nerdiness of that that's fantastic uh mono synth baseballs there's the cliff burton influence you know if you think about the the bass tone and the solo tone you know it's like an envelope filter sort of thing so we use it looks like modern indie like indie type rock bands because it's got a cool envelope with the distortion which is kind of a like mimicking a synth yeah you know you can do that really well with that pedal that's amazing what's this what's the fox rocks och tron 2 i don't know that so it's got a switchable octave up and down so you have like a direct octave up and octave down that you can independently switch in and out of the circuit or globally right depending on your settings and then a level control for the mixer of the octave up the direct and the octave down great yeah tracks really well really cool sound endangered audio research yeah just th this is like if you think like uh radiohead in the pedal oh let's tweak it there's got there's all sorts of like uh different like you know you can connect it to like your synthesizer and do different things with it different it's actually kind of too much effort if you just need a quick sound it's one of those things if you want to waste like you know if you're like matt i i really would like to get away for four hours i'd say take this home and enjoy yourself you know and have a drink you know it's one of those pedals what's this the big that's another english thing right but there's like an el 84 in there so it's basically a guitar amp and uh i'm a huge flood fan oh yeah and um i i they were talking about using these to reamp since right and give a little more and i was like i wonder you know that's kind of cool and i found one and it was like ebay or something right and i was like i'll check that out and it's like really cool and it's got you can plug a guitar into it so that means you can also plug in one of you know the green harmonica mics and throw it in our drum kit and then plug it into this great and it's got like a line out and a speaker out nice but if you plug this into like the divide by 13 it's quite loud for just a single little like it's deceiving like we'll get loud more over here what a lovely collection of amps here i mean you've got some what i would consider like must-haves deluxe we name when we film we named the walls by like this is the black face wall that's the tweed wall right gorgeous this is a must-have amp yeah 60s that one it had the old jbl speakers and talked about like really high output speakers right it was an allen code the original one that everyone wanted i hated the sound it was so sort of like bright and ice picky i was on forums or something and someone was like oh these cannabis rex speakers right i think they're made out of like a cannabis cone incredible in that amp i put that in there you know 10 years ago and it's never come out and everyone that plays that amp is like that's that's the best deluxe the thing is is that because you have that you can really you know you already see the volume set to seven and a half which quite a bit of gain there yeah um and you know we've gone through it and i've every single tube and everything's kind of been tweaked for that you know do what i want it to do and um it gets again another amp that's used all pretty much it's like that deluxe set up next to the vox on a traditional kind of you know rock session i'm gonna go down to the super reverb because that's uh that's a personal favorite of mine there's a you know roy buchanan amp just a great great amp jack douglas talked to me a lot about using uh super reverbs on many of the records he produced i think it's the 10 inch speakers that are a little bit spikier sounding without that ice pick and they're very focused you know but then you get the bigger the 6l6 is just a loud loud amp but it's very i think it's probably the most unique because if you're plugged into the deluxe reverb and you go to the vibralux which also is the 10s and the 26l6s they share a lot in common you feel like you know but on the super it feels like a whole nother thing even though every one of these amps has the exact same preamp circuit like all of that all that error offender it's the same exact amp they just changed the output section to have a different power transformer and output transformer with the for the bigger tubes that's it so this is has the same configuration as the vibrolux just different transformers with different ohms you know for different configuration speakers but they sound completely different you've got um oh what's this one a skin pimp mark three so there's another one of those builders that like it they're forever gone now um kind of on the it's like the collectible indy like you know the underground market where that guy was building i think he was responsible for a lot of the remakes in the same casings those original um like bringing back the old circuits but everything inside of there is the original vintage components nos components and in each of those pedals was only you know he only built a couple wow so fantastic i've got and he's always has very interesting artwork there's some more on the other other wall what is this what's what's the 33 this is uh kind of like the meshuggah okay so what that does it's like we'll take that and put it into the crank and it just tightens up all the lows and it's a very aggressive mid-range so it's kind of like you think about you turn it it's almost like a tilt eq but very you know but not you know but that same kind of concept interesting yeah so many pedals here i don't know where to start animato more fuzzes yeah yeah so this is you know unique i think uh like a japanese i want to say right uh fuzz that you know i think i got from japan i i loved it look at it it's way too tiring it's fantastic yeah i love it i mean there's just like little works of art if nothing else even if they sound beautiful it's still great works of art it's like my biggest fear is is sounding like something else that's been done and so much has already been done with guitar like how do you even attempt to sound unique right i think that's where the petals come in solid gold effects these two here these are yeah basically their variation of a fuzz face so i think i probably have like 20 different petals that are all like a fuzz face thing but they're all completely different this is a fantastic flanger i mean that's yeah yeah everyone is fantastic yeah yeah electric mistress small stone face shifter gorgeous sometimes i i plug in the electric mistress and pretend i'm in the police wonderful uh zvex yeah so it's just got the the pad where if you exactly it's a wall yeah you can make like crazy crazy crazy tones with it amazing yeah what's the difference between a fat rat and what's unique about this they they just this is something new they're making and they've changed around where you can have like the stock or the fat and it's it's sounds like no other rat it's it can be cleaner it can be more kind of like stout and not as loose um and it's you would put that in places where you normally wouldn't put a rat but you want something that your head says i want a rat but a rat is too much right yeah interesting it's too extra well z-vects up there these are like little beautiful works of art the zvex pedals just gorgeous when i first saw these come out and i just like how they're all hand painted yeah i had a really cool old one you know really kind of beat up that was stolen along with some other stuff and i was like that was the one but i was like yeah i wish i still that one sounds exactly the same you know but it's like you get attached to the artwork because those the original ones are so unique everything had its own unique thing and you you more miss the art than than the pedal itself i know people love the earthquaker stuff i know you have quite a lot of that wonderful what's this here that's uh like an octave sort of just do the octave on top sort of like we're talking about the other one just a totally different sound more stringy sounding so if you kind of want to get a you know it's stringies i i don't know how to describe you know use weird descriptions for sound but no i i know you mean i get lost in here the the freedman it's classic could do multiple different wah tones oh i like the action on that yeah so smooth i'd say out of the the new wires that's i'm going to put my phone at everybody sorry oh yeah and it's really it's great to play there's there's multiple different sounds you can get with it it's just a good wall it's just one of those things it's just a tool it's a good good you know foundational thing you need to waton it's great fantastic hyper faz i see a lot of boss stuff yeah um this i was like talking about because one one of my favorite um guitar tones is uh graham coxson uh and i was i was asking on chemical world and i was like what is that that sound you got thinking he was going to tell me that it was some boutique japanese from the 60s yeah he's like bf2 everything in the middle some of the boss stuff is actually incredible everyone wants to go about tiki or whatever but i'd say like the this boss stuff comes out more than any of the other stuff because it just does what it does you know and reliable and works and ce2 is a classic and i have one of these as well i mean it's just this this line here dimension c i mean these are classic yes they do that again you and when you plug them in people oh that's the sound oh i love sso yeah yeah yeah some of these like the vibrato pedal that's like you could plug that in and play like a part with it just turn on to give motion to it without knowing there's a vibrato on it it's you know where if you used it on another vibrato pedal you blatantly hear that vibrato that's like an old you can have it like an always-on thing just to add some drama to a part you know or help out maybe a player that needs it yeah gorgeous uh a couple of ibanez there uh the stereo chorus and the analog delay i remember when i first saw those with the typeface i think that might be the first analog delay pedal yeah i think it was the first one because it doesn't have a lot of time it's very gritty but i think that might have been the first one it's interesting it's the same pretty much the same color as the dm1 though which is the boss one yeah so who copied who more earthquaker gorgeous quantum type i'm not sure if i've heard one of those yet pretty cool it'll re it reacts to the input signal so the harder you hit it the more the it will modulate yeah and i don't want to gloss over the earthquake or if people think i'm moving over quickly this stuff is absolutely fantastic pretty much every guitar player of my rates earthquake pedals pretty pretty darn heavily but do you know where they're made ohio in akron wow akron unique sounding they can definitely do things it's almost scary to pull them out with guitars because they'll get some of them they'll get lost in and they'll just have too much fun and lose track of what we're doing whammy pedal classic yeah definitely uh another analogue man analog man yep and then what's up what's the mf3 oh so yeah it's a ring filter or a ring you know ring modulator so it's kind of weird you know crazy again that john john bryan i'm a huge huge fan and he'll sometimes use that sort of sound and kind of try to mimic it and then there's a whole bunch of pedals here which i almost went past but i do have to go to this the companion you got this from matt hyde i remember when matt was selling a whole bunch of stuff is he going that's probably got that big sale yeah yeah this i don't know it's like the kind of black keys sound oh nice yeah so you can do the tone select and it kind of inverts the sound and gets really mid-range dipped or or reverse you know great pumpkin pie it's sort of like a take on the silicon you know sound that was obviously during the grunge era and billy corgan obviously you know must point out the fact that you actually have the box for the ce1 as well it's important right yeah it was the jhs pedals he's got the box you know i love that show it's great uh ds1 is an original one where the old japanese ones oh yeah there it is this is these are like the magic settings of these old you know it's like gain you drive all the way down everything else all the way up and plug it in and then just watch what it does to the amp yeah because when i when i first heard one of those i was like that's not a very good distortion no i didn't like it turn it off yeah yeah and just use it because it it's an eq is what it is yeah it's an image this on the other hand is it's i i still one of my favorite distortion pedals ever and a classic on a lot of records where it's not amp distortion and it's unique yeah this i think i did see a review on this a couple of years ago where people were arguing it's probably the best distortion pedal ever made answers on a postcard please i'm sure everybody will disagree with that statement but i don't know i mean they probably sold bazillions of the bleeding things uh yeah i mean there's probably more gary moore into a front of the marshal i mean that's a great pedal it works yeah i remember these when they first came out as well that's the radiohead thing right yeah yeah yeah those are in surprisingly that one and there's a governor over there and we we took the governor into the vox and it was like a marshall vox it was so you think it sounds horrible and uh it's one of those things that the guys in radiohead did and it's like well that that makes a whole lot of sense i think wasn't it uh john said we talked to john leckie yesterday and he said on the benz that um that tom was like you know let's get like every guitar and amp and pedal for for johnny to try out so they brought it all in and they said they went through everything and then johnny just went well can i can i just use the blues breaker pedal into my fender twin with my telecaster classic there's a lot more of that on the album than anything right yeah which is which and that's the sound he's ended up using for like ever yeah and it's just phenomenal yeah yeah he's one of the great great great sound meisters or whatever the word would be uh more earthquaker uh what's that that's like the early like the uh kind of early edge sound so boss made a like a fanny pack talking about jhs pedals and you could like wear it as like a booster right with a battery and he recreated it but then you could adjust whether it has the eq right no mids full eq no eq and it's just kind of a different version i think the the model was like it was like boss i'm gonna butcher this like fz1 or something like that but it was green like this and it was like you wore it on your belt and the edge played one it's you kind of plug it in you get the tone you kind of know what it is but it's just a boost units think of like a treble booster yeah but but equable maybe and and some other things but fantastic love this another edge thing yeah that's that's from that uh the preamp of the delay and more earthquake are very very heavily represented so where do we go do we go and look at some some yeah where are we going or do you want to let's go let's go let's go and get the last of our pedal on well now now we're into fuzz face world i see over here yeah this is sort of like the classic rock area for for pedals great yeah 69 the octa fuzz both absolutely fantastic pedals yep um and is this a reissue or were you yeah these are reissues all these the supro these two fenders they're just they're good amps you know it's like we have the vintage stuff and then these keep up with them sure just fine they sound really great i actually tend to like these every time we would work with the original tweed stuff it seemed like there was either too much grunge or like you kind of need to commit to that sort of thing right which i mean you're recording after you do commit but these there just seems to be a little more play if i'm working if it was just if it was just me making my own records you know the vintage stuff it's all fun but when you're dealing with outside players you need maybe a little bit more fine control or it gets it can get squeally too fast or if there's if you're if you're coming out every 30 seconds saying hey let's manipulate the tone it just ruins the vibe so with the tweed stuff i like the sound and it seems like it's it's in there and but it's also usable right great micro synthesizer what's this here uh another wah pedal so this is a recreation so it's made by wilson effects and it's the uh the gray clone the vox from what jimmy page would play so it's got that very unique voicing to it so it's the the jimmy page wah sound wow yeah so the guy you talk to him he again hand builds it and it's got units it's a pretty road worthy like oh yeah yeah it's got some weight to it yeah oh again beautiful action yeah and he builds them and he'll you know it's just they're very unique sounding very unique sounding but has that that thing that that jimmy had on like the first couple records you know amazing um and then dynaranger treble booster another zvx yeah so crackle okay because when you turn it it just everything is cracking the way the circus designed right but it crackles but it's really high talking about impedance really high impedance input so it's like very bright you know and just can really drive into something yeah i don't know what that is what is the badger plex trilogy basically the front end of an echoplex right like ep3 and they've got different versions of like you know the the different preamps fantastic um and this is another one of hand built guide built them and you know i tried all the different ones and that was like the one that's like oh that's that's great it could be like an always-on pedal if you want that sound this is probably one of the most useful pedals ever made ever yeah actually yeah you probably just get away with that you don't need all this other crap yeah because you can just shape any sound you want pretty much it's really just a brilliant brilliant idea because it can be your game boost so there you go you want to drive your amp a bit heavier just use it for that you can just turn up the level you can also crank everything but the fact that you can shape the low end so if you've got like a big floppy low-end you know amp you can just wipe it off there you want to push the mid-range you want to do the opposite you want to scoop it out and yeah really really smart pedal i always just ended up when i was using them just kind of taking images this is all it is it's like you just do that you know like just that and then crank it you know yeah that's it and there you go you turn it on and it's like you're like yeah that's great i'm somehow better now better guitarist now envelope filter another envelope filter so you can have you know just depending on you know the lbh just selects uh you know uh high pass low pass bell nice yeah oc2 yeah old october pedal so freaking awesome phase 90 you know you want your van halen yeah this it's always a pain in the ass because it's the original without the and i'm i like don't i'm like i don't want to be the guy that drills into it right to like but i really want to it's like every time like i just gonna open the thing up open this thing up change the battery yeah it's a pain in the ass i just want to be able to plug it in right but it's it just sounds i'm waiting for them to make one that sounds like the original because there's some pedals that they've really they sound great you know vintage the new ones they sound really great for whatever reason this is just one of them that i have i haven't heard the new one sound like the old ones you know yeah i wonder what it is no clue yeah what's the filter it's like a univibe type of thing i had an old univibe and um there were certain things i liked and i guess i've talked to some guys that said basically it's it's sort of like uh 1176 or something where everyone was slightly different in the way they calibrated it and this is just a great it's another one of those things where you can give to a player i got the power supply it takes a unique supply um and and you can set up a couple controls and give them the control of it and then they'll sit there and it's like they instantly know what to do where like some of the other pedals where it's separate or they don't they they're not really engaged with the pedal and i think with the univibe it's like again the jimmy thing where he was engaging with the pedal and that giving it that sound the full tone seems to bring it out of the musician just because of the form factor so it's uh i feel like we need to come back and and do like a couple of hours and go through pedals and just turn them on just have you set up and record going through yeah and then you could just be like wow he's totally full of it [Laughter] no i mean just let people hear for themselves i love it absolutely love it i think this would be amazing there's the evil twin you were talking about yeah favorite di ever uh what are these down here these are literally just mixers so uh there was a time i was combining like uh monophonic uh moogs and and i can combine them here to create like chords and things so they're just you can blend yeah just little mixers bunch of dis i really like the rupert neve once too yeah we use that on our guitars it's really nice on guitar yeah sure it's nice on everything that's well that's exactly what we use it for we use them after the the sewer split and that's our clean di feed beautiful wow a little summer audio talking stomach we mentioned it earlier great tube di as well yeah yep so if it's not the evil twin it's it's the summit and it's a really really great cigars just in case i'm a huge cigar smoker i'd be smoking one if if you you know probably wouldn't tell me i'm not allowed to but you know every person i that either comes here around enough we start smoking i get them into smoking cigars and i think once they realize it's one of those things that you veg out for an hour and you could really focus yourself and i find it like it helps and you know everyone probably thinks it's absolute you know crazy but it helps me be focused and creative in a certain way no keeps you relaxed that's all that matters yeah yeah i i i believe you uh what's the black sheep we did mention the full tones earlier both fantastic what's the oh black arts tone works yeah so just a f i forget what they've kind of modeled that around but it's very doomy but in a kind of vintage was very you know that what you'd expect it would be with the biker on the front and the bats you know the picture tells you a thousand words more another skin uh skim pimp right that's like a a mark ii fuzz right so it's the same circuit and this would be like a mark one right so tone benders and that's what those are and what's that that's uh sort of like um a muff but but different right so you can go through the different um like either you know germanium or silicon or none and and sort of just get a different variation on that tone i find it works like this with the high watt if you're doing something um gilmorey you know one of this works well this is just absolutely beautiful i saw this from the other side of the room and i was just like it it looks like um it's taking a tone bender or well i should say it's like a color sound against the color driver right and just shrunk it right because mine was like this big exactly and it's just like this little mini right and talk about gilmore that would have been you know another one of those things in his chain god i love it yeah oh it's so smooth and gorgeous who's the company true fi so again another one of those guys that finds the old components and then he's put the volume if you have the original one you probably know how loud they get yeah yeah right so he's amen he's amended it with like a volume control oh it's so good it's so smooth yeah really nice oh i love this it works at 18 volts you know so it's like it's you're still getting the headroom of the original the same guy that made the original pedal these original panels designed oc30 yeah you know classic absolutely classic original uh um no that's actually not that's analog man modded to all the original specs so basically he rips out the guts and he puts in all the original stuff oh wow yeah well that's heavier than the original it's probably it's old right you know i don't know you know it's not like a new but i mean it's not you know the one that everyone pays a billion dollars for the mythical overdrive it's mythical yeah yeah sort of like a take on a combat different it's about to say it it's like a little mini clone he did some he did some you know all these guys the great thing about the independent builders is you can call or email them and say like look i see this is what you do this is what i would like it to do can you make me one that does that and almost every time they're like wow that's really cool let me figure it out and um i've got a switch here where i can can switch to different um the transistors inside and it's just you know i can do what i always wish something would do that's what i like about the smaller guys is that they're just open-minded they tend to be and uh you can be you can have fun with it and then enjoy you know and tweak the toner i don't like it let's mess with it more all right you know just to get where you want where you can pull it off the shelf and it does what you think it's going to do sounds fantastic thunder to mate taxi driver yeah what is this uh another uh basically that would be like the old boss od one sort of thing pdf2 uh i'm using all these bands to describe this stuff but that's that's okay queens of the stone age that sort of thing so almost like a very uh frequency boosted overdrive where you can adjust the frequency and the bandwidth of the boost yeah and then the height right so how much boost you have yeah and then this overall gain level that's pretty cool i always like when they put like switches like i like that too that's pretty rad yeah yeah what's this that's literally just a a mode control pedal for this so you can control what this pedal is doing with an uh uh expression panel and then this another y pedal another one who makes this one that's uh the joe bonamassawa oh yeah cj one of those written on the front yeah very it's very uh cool again vocally just the way it's tuned is just different than the other ones cry baby it's not as extravagant as you know you would think you could just again play a lead with it and someone might not say there's a wall pedal on it right right it's just more uh cello like in sound right then like where like the wilson with the jimmy page thing it's very much like squawk squawk right you know that's more like cello bowie right so it can you can make the dynamic with it so it's just a it's a wah but it's just a totally different sort of thing fuzz faces don't want to ignore them yeah just the basic another bottom also there works really well with humbuckers that's what that one's kind of specialty is um if so if i've got a humbucker guitar that i want to use a fuzz on it's it's going to be that way so we did mention the clone did you ever get one did you ever have one i never yeah you know i didn't get i didn't get the fuss i got like i liked the the way you could do it you know that's that was the draw for that one was that he could make something different i tend to find things if i can get something that i like even better i'll put it against the benchmark and then get rid of the original if it kind of surpasses it sure i'm not to say that surpasses it's just something different because i just didn't get along with it yeah as right yeah yeah see the lights are set up ready to go on the snares it looks pretty uh some extra gretch toms yeah um wow you you've got quite the collection here you've got the the ones i would always hope to have which of course would be super phonic acrylite you always sound like a better engineer when you put these up because they're so easy to just put the mic in front of it and then it's like oh okay that's a snare drum i think for me i can't every time if i go and see a band and i really like the drum set and i'll go up and talk to the drummer afterwards i go i love your snare sound and it's usually always a lard wig and i wonder just is it because we we're so used to hearing ringo and john bonham that we just associate a good snare sound with those two drummers i think it's also just the aluminum shell we there's a certain pop that comes off it it's not too like we had a bell brass in here last week right and it's like it's weighs a thousand pounds anyone's picked up a super phonic knows it's like you could throw it across the room right it's nothing and it's like you've got to hit it the right way you've got to like so it's so particular to make the sound that you associate with like a bell brass right right where like my son can play the super phonic and it sounds like a snare right you know what i mean so i think we've just it's just there's such a wide range of play that almost any drummer can sit down at that and make it sound and then we just associate that with it because it's so easy and user friendly i mean i think i got this acro light for like 100 something bucks yeah you know and it's the you know it's the same shell but then only eight lugs so i always think like i i i think in like chaos like the less lugs the more chaos you know i mean there's more overtones you can't get the eva as much even tuning or whatnot and i put uh the kowskin kind of style head on it kind of kill it down and actually ends up this drum actually probably record more than the superphonic now oh wow and then what's who's this joyful noise so that's an aluminum shell um sort of like the super phonic but quite a bit different it's another eight lug drum but the same kind of depth you'd associate with like a bottom sort of aluminum drum and uh if you think like this is kind of like 70s rock this is modern country oh well yeah so like something like that where you still want like more you know you get like i don't say like bro country but something like that where it has some rock overtones but still more controlled because you're not blaring out jcm800s you know so it's a little more refined but it still has that thing this must be fun for drummers to come in they just kind of you know you know what it's funny because they'll look at it and then they'll kind of like walk away and think just what do i do you know like they don't like maybe that's the drummer thing you know but they don't want to live they don't want to talk guitarists will sit in front and they'll want to pull out all the pedals but the drummers well the good thing for us is guitar players we just plug it in and start playing that's nice they put this up and then they have to start tuning it and yeah yeah yeah it's a little extra work a little extra yeah so like well you do what we need what do we need to do here and get it done so this is the tech shop guitars cables so it's a bit of a mess that's we we basically tech our gear or build our gear here so we have everything we need um when we bring in new interns the first thing we sort of like get them first on is soldering using this stuff i i'd say that probably 90 of the guys when they get brought back here they'll quit um they're just yeah you know it's like this is what it means to be an engineer know how things work you know like just show me where pro tools and the plugins are you know but there's there's a huge amount of uh knowledge when you can figure out oh that's how something works and understanding when you would use it or even as it transfers into to plug and land because you're like oh i get why a pool tech does why it does i've sold it enough in my life to know that i don't want a soldier anymore yeah there you go yeah i've met people that um you sure oh you know yeah eric you want to do some soldering yeah you didn't have to do any of that when you came to came to my studio it was already all done it was all plugged in and soldered and yeah so that's that and then we do guitar setups and stuff here so this is all set you know we have all of our our tools and stuff are you the guitar setup guy who's the you know i like to train new guys and try to do but yeah the gears but i yes drum tuning and everything you know i try to stay away from it as much as possible um because i'll get distracted but what can we cherry pick because i see lots of gorgeous um how about a 55 gibson jr i'd love to see a 55 gibson jr oh yeah look at that ah that's gorgeous well [Music] that's gorgeous i love that guitar yeah this this says rock and roll it's just this it doesn't look like it but you plug that into like the diesel or something and it's it'll rip your head off like how the fact that that was gibson's idea of like a beginner's guitar is like insanity to me well this one is simplicity like one pickup volume tone yeah make it straight forward this one's quite meaty this one's got some weight to it yeah this is like a les paul this feels yeah [Music] [Applause] well i'm a telly guy do you love the telecasters 61 telly yeah oh yeah i see that so this is 61. oh that's gorgeous looking oh look at that [Music] thanks can i just put in the back of the car now and take it yeah take it home and play with it yeah you played it it makes me miss plugging like i was like wait see this is the problem but someone i bring someone back here and then i'm like okay do i i can plug this into that and listen to that and then like we can go like do something with it let's go you know like the kid of me like comes right out like like let's just go do something it's great oh it's such a great feeling neck what what do they call that i mean it's like a is it like a perfect c i don't think it's you know i i i don't really see i don't know or maybe when you say that perfect you know because i have like kind of maybe they'd be modified seeds now but it's actually quite thin where the the junior is really meaty you know the same time period it's almost like that's a more modern like something you'd find a more modern instrument but it's it's very comfortable [Music] and all you know all these old handmade instruments they're all so different you pick up another one the same year same everything and it's somehow completely different guitar yeah it's absolutely gorgeous is this the original case was the later case as far as i know yeah yeah i'm not very up on it but i do have to because i saw it i do have to see if i can would you mind showing me the 335 sure it's right in the corner what is that 335 this is a 1983. so what makes it unique is that gibson was trying to decide what they were going to do with their two factories because they were going to shut one down oh wow and so they put out um a sort of competition and like one from from again what has been explained to me is one because i couldn't figure out why this guitar was so good because it seems like it's not uh yeah uh this this when i in the case yeah i know this i know this guitar because when when i i had a 72 and this kid um that i was jamming with and we were talking when i was 16 years old she had this age and i remember the two the different color body to the neck right and his was just played so well oh yeah so these would have the original tim shaw pickups in them that everyone kind of is looking for and it would have been basically the sister of the sister factory the the uh factory that would have made the heritage 80 series [Music] oh yeah it's just been you know one of those things where i picked it up off the wall and i was like oh this thing sounds great and i just couldn't you'd think from oh 83 gibson there's nothing special about that it's just one of those guitars oh it's absolutely gorgeous yeah it's really nice i had a if you're you know going to be an intern or an assistant in the studio don't do this crack the finish they were using it instead of the 90 angle jack they use a straight one they plugged it in i'm pretty you know if someone wants to come here and they're intern they're into guitars i let them play whatever they want to play yeah and uh unfortunately someone you know stepped on the cable with it in there and oh yeah let's see uh yeah probably shouldn't do that anymore i like you know it it's like i don't like when these instruments aren't played so if someone wants to play them and they're excited about playing them i want them to play them so it's you know that always that middle ground of making sure it's not someone who's gonna you know not appreciate what they are playing i mean yeah i take this off your hands it's absolutely beautiful welcome to borrow whatever you want did you just hear that because that's gorgeous because you have tons of drama heads i mean you've got it covered let's make some extra symbols there so the hi-hats oh yeah some old new beats these are cool these are the original ones they first kind of came out with the different uh weight bottom and top heads you know the new why they call them new beats yeah so these are the original vintage ones and just so awesome you know again one of those symbols that's up on seventy percent of the sessions you know just one they always work they don't look like much but yep they've got the sound well thanks evan so much you're very welcome absolutely amazing i mean this is going to be a long video but god bless it yeah i mean maybe i can get you to answer some questions and when you want to leave any comments or questions please leave them below awesome matt i really appreciate it thank you for coming who gets to come over here thanks ever so much thank you i really appreciate it [Music] [Applause] [Music] you

Channel: Produce Like A Pro

Views: 45,291

Keywords: Warren Huart, Produce Like A Pro, Home studio, Home recording, Recording Audio, Music Production, Record Producer, Recording Studio

Id: Z_6o2h58n04

Length: 104min 5sec (6245 seconds)

Published: Fri Aug 06 2021