Pat Metheny Rig Rundown Guitar Gear Tour for Dream Box Album

the Dario wow it seems like your engineers are always figuring out new Alloys and new types of strings it's a company that folds in environmentalism and recycled packaging and all of that feels good but at the bottom line the strings are [Music] [Music] great [Music] hey this is John Binger with Premier Guitar we're at the historic Ryman theater in nationville Tennessee and I'm with Andre Chumley who is Pat Math's Tech hey Andre thanks so much for joining us today and honor John great I watch RR all the time yeah great great well well thank you man well okay I got to hear about this guitar wow well it's uh it's one of the ianz pateni models you know the PM yeah um which at this point he came out with that signature gosh it's got to be like 35 I was going to say I was going to say 30ish but yeah you're probably right like maybe longer been around a while so there's been a bunch of them and there's a bunch of different shapes different colors but this is kind of his number one it's got a Charlie Christian pickup in it how cool and uh just an amazing sound um you know what else is unique about he calls it the 175 we all call it the 175 sure that's where it all started that's where it all started and and you know the family of Gibson guitars he loves and he's got a lot of old Gibsons um and uh yeah just a really great um it's a beautiful Jazz box it what can we say okay tell me about that that low strength what is that before I forget too the Charlie Christ pickup it's also got a microphone in there right yeah all his guitars have uh just about all of them have two signals and we got XLR and a quarter inch he's got a microphone in there to get that beautiful sound of the body of a guitar right and that's especially uh significant on the acoustic guitars sure incredible thing so something um uh people should check out uh so the strings on here um it's uh this low string he wanted to do some baselines this year so we experimented with like a 68 a 74 and finally we got to 80 and he said yeah that's that's the gauge how did you deal with that I mean like how did you how a lot a lot of a lot of just trial and error yeah what what tune to we we work with DAR Dario who who's great and takes care of us and you guys too and um so I kept calling Andy and Steve hey send me some 78 so we we kept trying and maxed out what the tuning machine could fit and then Mike and the good people at Iz sent me a custom tuning machine they drilled it out so that's an 80 I think I can maybe get like an 82 or something in there and then you could you got to yank it through but it's an 80 flat wound wow and it sounds great what's it tuned to what do you it's an octave down e wow so otherwise standard tuning um crazy yeah usually he's got like a 52 two in the bottom huh but um yeah so that's uh really cool and the ball end you know it's yeah it's right there and and the nut the nut behaves I didn't have to do anything with the nut it hangs in there Pat's always experimenting with with gauges you know um he'll just say you know as a lot of guitarists do but he especially does it because he's looking at the tone he's looking at how things ring on the uh the um Picasso which we'll take a look at yeah he's done a lot of changes on that on the low strings to get it where it is so great but yeah this is H oh yeah one more thing too we were talking about before this thing right here it's got a little piece of rubber to protect people have seen um early pictures of Pat with uh a toothbrush there right or a pencil people ask me all the time yeah this is I don't have a cable right here but this is to hang the cable off that's I'm glad you cleared up that mystery great so it doesn't yeah cuz I never knew what that toothbrush on that one none of us did I went for years like why does he have a toothbrush yeah but um yeah so there we go oh that's great okay an excellent start let's look at more all right um well if there ever was a signature sound you know yeah and uh you know for all the guitars he's changed in and out of his uh Arsenal and his his paint you know his toolbox of of guitars wow this has really been around uh 198 to and and the big mintini fans will know uh the offramp album sure and that album opens up with this incredible sounding guitar um and you know uh a few people played these role in since over the years but Pat has kept it as part of the the pallet right I mean it's really just and I'm always as a fan you put on a new Pat album and you're listening and it's going in this direction that that direction and and there it is that sound and sometimes you don't expect it it's like right after a uh you know a Michael Breer sack Solo or right after a beautiful piano solo and you go all right got me again so so it's it's just as valid of a voice in my opinion to his nylon strings to his Jazz guitars and so this is one of them he's got a number of them um of the guitar controller this is the Roland uh gr303 and the synth itself is the 300 uh and um it's an anal synth wow it's a polyphonic analog synth uh so I have to tune it every day like a mini MOG wow yeah and um so it's just a beautiful synth this is a hex pickup so it's got six little pickups all six strings go into the guitar there's actually into the synth there's actually switches you could turn off any of the strings if you want so you can really control what's happening um otherwise you got controls on here typical synth controls for controlling LFO and vibr depth and whether there's fuzz or not and a filter sweep uh so a lot of the typical things on any synth and then you could blend guitar and synth 50% 100% he leaves it on 100% leaves the filter kind of open and uh plays it as a guitar too it's a pretty nice guitar yeah yeah you know okay so this is 40-year-old technology where do you get parts they don't I mean like it's got to be it's got It's a road warrior so it takes hits absolutely well the good news is I mean just like there's fenders and different things that the parts are still pretty good this is even newer so knock on wood uh everything's pretty robust there are some people who work on them yeah um there's a guy named Wayne Jones that we got to give a shout out to Wayne Jones uh his website is jones.com with two s's he is the genius on this whole world of stuff so he does repairs he's got Parts he knows who has Parts yeah I talk to him all the time he will tell you oh there's this company in Japan that makes the exact replacement for um and he he's he's on your favorite list speed dial he's speed dial and I've studied his stuff for years because just working for other artists too you know working for um Adrian beloo or Steve how that Al demola used the vg88 oh and and I used to go to this guy's website to get manuals and info so he's been a longtime resource for me yeah and he's really the biggest nerd all this stuff my my kind of guy that's great but these are you know there there's people who repair them and there are Parts out there so uh oh that's good okay I love that the pickup leftt are long since off and he leave it there this stuff too like these are glued down CU he wants them off okay and that too so he gets the sound he wants and then does the rest of it on the box yeah okay so all right well let's look at yeah okay tell me about this we have one of our what we kind of call our Amplified electrics Amplified Acoustics cuz it's acoustic guitar and note the bizarre tuning but it's it's a beautiful I love Taylor Guitars they're really kind of a Darkhorse um but it's a tailor eight string you know the middle the the middle two strings are double course strings okay and um so those are in okay those are octave octave off octave off yep and and we initially tune it in baritone tuning so a d g CA but he's done a custom tuning on it um yeah hearing that open I couldn't even guess yeah what's going on there he'll often do it for the piece he's working on or the you know just where he wants to take things sure once again you notice there's a mic in there like all the guitars again uh balanced pickup balanced output for the mic and a regular pickup um the other thing that's unique about this in the show is it goes through the keer oh really yeah so he's he's he's dialed up a patch for the keer that really sounds great and he does he does a piece every night and now that the tour is on these are not spoilers but he does a piece every night that he he kind of nods to his zero tolerance for silence album right which uh is controversial record controversial record uh I loved it I I was I was you know and still I was a big fan of you know uh Derek Bailey and yeah kind of Henry Kaiser and Elliot sharp all those kind of weirdos meaning that in a good way yeah and so when this album came out I was like wow that's cool and Pat had hinted at little strange moments in solos and things so that's a great record and there's another record the sign of four that people yeah it's a very it came out on Knitting Factory records so it was very low print uh numbers two drummers two guitarists so Pat Derek Bailey uh Paul wordo who was in the group for many years and Greg bendian who's a great drummer percussionist played with um Cecil Taylor for years and uh a lot of his own I'm not familiar with him yeah a lot of Nels Klein albums he's got a lot of lot of work with Nel's Klein anyway this quartet parked at the Knitting Factory for two or three nights and two guitars two drums just this incredible wall of kind of avant guard sound paintings and and strangeness so anyone that likes that kind of stuff dig that up um okay you can probably find that but I I love when Pat goes off-road yeah I love you know all this material it's one of the reasons I got here probably but I um I really love when he takes it out to other regions cuz I really think that informs your melodic stuff you know one of the things with the Beatles Revolution number nine yeah the fact that they knew how to go that far out right I think it's just my opinion that hones your skill writing beautiful Melodies yeah I just think then you have the whole so that's what this guitar does every night a lot of looping and weird stuff love it and uh there we go love it man yeah okay very cool let's see more so this one here this is one of the gems uh and there's about 25 of them uh meaning guitars that Linda manzer has made for Pat she's the great luer from Toronto based um so um you can find Linda manzer on on on the web of course manzer guitars on on social media and all that so she's made guitars for Pat for decades now uh 30 years at least and this is uh with the Linda 6 just a steel string you know like one of your basic kind of acoustic designs but it is so good it sounds so great you heard a little bit of the soundtrack before sure just uh not much to say other than one of the best made steel strings i' I've played beautiful really has a classic a classical look to it looks looks nylon but yeah it does right she the cut of that and kind of the the color of the wood and she does a bunch of nylons for him but she's made a lot of different guitars so that's the Linda 6 okay the steel string he's got a he's got two of these at least yep beautiful wow the Picasso folks um spelt with a k um also known as the 42 string guitar um once again Linda manzer and um you know as Pat jokes in the show every night he she's one of the few people he can go to and say hey I wonder if we could uh you know what would happen if you built XYZ and she doesn't run out of the room and he he kind of Drew this on a like the classic on a napkin you know on a piece of paper kind of mapped it out and said could this happen and she she did it um it's about 1,000 lb of pressure wow I bet yeah it's how does it just not explode right it's really incredible work and you know what I'll also say people ask all the time about the tuning in a hurry I can do it in just under 10 minutes now which is but I like I like 20 if I can 25 but but you know 15 20 minutes you need five necks this is pretty standard tuning with the middle two an octave up and the low string pretty standard as an e a d GB yeah standard in standard guitar standard guitar with with the low strings those are flat wounds yeah so those are I think I've got an 80 and a 90 on there right now wow man we've changing around so much 90 or 100 I got it written down somewhere oh and then you've got kind of a D minor scale there d e f uh G there's a no sharps in there but just yeah a lot of D's and D minor and then this one's wow shinsky on a harp or something and you can hear all the sympathetic you know over now man a lot of just a lot of c d g there's a c in there so and this one's like a harp kind of a thing a lot of half [Music] steps wow haven't tuned it today folks but that's pretty that's ballpark hey man yeah so was that's what I was going to say about it before that if the temperature and humidity is consistent I take this out and it's just about in tune sometimes wow which blows my mind I mean and sometimes there's a period of time if it's in a stable storage in our warehouse I'm a couple weeks you go back and some of the necks are just just a couple cents out which is crazy yeah that's I mean uh but it's very susceptible to temperature when we're on tour in the winter you come in hits the heat oh sure or in the summer AC comes on right the pit changes all those finish cracks you can see it's had some the weather's done some stuff it's it's time to take it in and do some stuff on the Cracks yeah beautiful look at these controls so you got five I'm sorry four um volume wow and then you got a master volume and a master tone and you got switches to turn each one on and off so you can kill switch any of these it actually has the hex pickup in there oh so you could do um you could send out uh pitch to a VG 99 or any of those gp10 boss unit any of that stuff um wow so that's the um okay that's that's incredible man the Picasso yeah thank you Linda manzer for you know taking Pat to the to the Spheres with this yeah brilliant so uh another pamini Model A few years older this one of course with the single humbucker um they all have the mic in there says the mic Mount yeah pretty straightforward um what what strings okay so this is in standard tuning standard tuning so this is of all the contrs you see this is the first like standard just standard guitar well and then it's got the the strap holder thing there the um the cable holder um standard for Pat yeah it's uh there's so many string gauges in my brain I've got a chart actually I'll send you guys the turn uh this is probably 11 to 52 like 11:15 30 38 uh diod darios yeah the did their they're great we love the nyxl's I mean that really was man they cracked the code on that one you know there's hype in every string company says oh we and when I first tried those I was like these feel different and then they last a long time yeah he loves them because they break in and then they they they kind of hit a plateau where they're really great for a long time um how long does he like to to run on a set of strengths you know he leans towards it's kind of a jazz guy kind of a blues guy thing like leave him on there you know leave a little sweat so um I I kind of Balan that line you know they sound great when they're fresh right so I'll talk to them about it and some guitars he wants changed a little quicker so like when you feel like some tuning issues you change that's pretty much the line that's when I say hey you know on that one or this one and uh he's like yeah fine you know whatever of course like anyone that plays nylon s we leave those just season and age well but um but the main guitar the Jazz we we we change them pretty regularly yeah um especially with the trio when we're on the road yeah and playing pretty long sets um those get changed every couple days um the Rolland maybe once a week cuz that's sure maybe every 10 days sometimes he'll play that I don't know why they even make difference on that well yeah you know they're regular guitar Str and and again whenever we're using it in the trio he plays as regular guitar briefly in in the piece usually and then cranks up the synth yeah it's actually a really good guitar it's like a a mid-70s Yamaha with a double cut away that kind of heavy wood sure it's less polish a little bit little lighter it's it's a nice guitar as just a guitar so um we keep those fresh but and then the Acoustics let those go a little longer too he likes those kind of beat up and and uh sounding warm but um yeah another pinii model and this one's on a stand we use these K&M stands that are great you know they're they make an electric and a stand because he's moving on this show yeah jumping between all of them all these different guitars as he sets up his uh midi clips and midi Loops in or audio Loops in Ableton so he's moving from instrument to instrument um and um this is just one of them so so he can have one on his back or run over to it real quick w wild yeah okay great so this is another famous guitar this is the a guild D40 and it's um we're in Nashville so it's in Nashville tuning so oh there we go yeah great we tuned it special for yeah but but no this guitar though people look um there was an old Guild ad if you just look for it old magazine ad and Pat's playing this so this is on a lot of those early records and uh Pena group very early records that Acoustic sound uh faas dance and a lot of those songs um just a really great guitar he used it in one piece in the show um there's been some mods of course like some of the KN that's a different pickup tuner into pickup yeah and that's what's great too he he's happy to customize guitars there's no kind of right like keeping it you know 175 like he he took that put that hole I mean he he put that pickup in the bridge himself when he back in the day yeah yeah no there's yeah Fearless not shy at all but just it's about their tools you know so make them you know do what you can um do what you like and and make them you know operational but really great guitar all I can say is uh piece of History this is yeah the oldest one actually is older than the Roland oh wow that we have on the road right now right very cool yeah okay well looks one more Yep this one's uh Barone one of the three barones we have on the road another beautiful Linda manzer guitar wow you can see it's kind of a long scale thing with fan Frets yeah so uh we got that going on um as always it's got the mic in there by the way the mics are um AMT applied microphone technology I don't know that company on some kind of shock mount yeah so we can move it around you can just shift the angle and kind of get it you know oh wow XLR out um the um tuning on this is uh Baron tuning a d g CA okay um so same relationship actually as a you know standard tune guitar um interval wise um what what else is in here this uh a fisherman pickup transducer pickup okay and he likes to put an onoff switch in all his guitars which is great because you can set the volume perfectly yeah and then just flip it on what a great idea um uh yeah and he's not afraid to put holes in guitar yeah exactly yeah not at all and um this is another thing you might have seen on guitars uh you can grab you can grab a pick real quick oh that one's a little too stuck in there but you can grab a pick okay what pcks does does he normally use little sidebar one of my jobs is to make sure and check the picks and get them all in there and you have to be able to go like that okay cuz they can stick so you have to right but yeah uh what a great idea again too cuz again he's about uh uh get getting to the goal which is you need to pick really fast and there's so many so many other ways people do picks on tables on the pick how great of an idea is it's right there very utilitarian yeah yeah and I've seen people put those little pick dispensers back here but even that you got to kind of yeah um what kind of picks these are I don't know the millimeter but pretty thin uh de diarias we use those yeah on his strumming axes he uses those pretty thin ones and then uh this I don't know it's like a 50 or something 50 60 okay yeah again di yeah di Dario does custom picks for him um and that's the pick he uses on a lot of the Acoustics too oh okay so you know pretty rigid pick but still you know flexible sure um so yeah that's another manzer we use uh on all our guitars we use uh tuners U we we use uh some didario tuners and we use these we love these the TC Electronics the uh the polytune ones where he Tunes the whole all six strings at once you probably saw them they're on all the guitars and that's another thing too uh there's always a tuner right and uh you know I know there's a big debate with guitarists on clip tuners we love them CU there's always one there sure and um you know and I I love the TC tuners actually and i' I've got a Peterson I've I've used the core rackmounts I've used all the boss ones yeah uh there's another brand I'm forgetting um TC man they're new ones yeah especially so spoton and and I I use them in conjunction with other ones sometimes right so they're really C fast yeah exactly you know and they're really sensitive what I do a lot too is tune with the clip on and with the tuner and what you can see there is if you're starting to head towards some ination stuff or that's another little thing where um it it should be in tune yeah both the Resonance of the guitar and the electronics right but if it's not you know sometimes something's up yeah but um a lot of very precise tuning on this tour oh I mean Pat's ears are you know um but I'm lucky I worked for Steve how right before this and he's another player where wow I mean everyone wants to be in tune sure you have to be but I've been lucky that the past couple people I've work for have been just tuning uh uh Jedi yeah so yeah you really got to be honest so the pressure is on the pressure is on an need the Franco tour with her last year her ears are wow oh that's great wow you know um and I'll say real quick since we're doing some anecdotes too the that tour was one of the toughest tours I ever did she's she's amazing to work for but uh it's not a butt but also think it' be really chill well it's chill the Hang is Chill her crew she's amazing but every song is a different alternate tuning oh wow so you're you're switching guitars and sometimes the song The Guitar and song one yeah has a different tuning on song four ooh and they're all custom tunings so you might have a a a 50-year-old guitar on the second song you've got to retune it for song five with a capo oh yeah and that's the whole night so I had a lot of fun on her cuz it was super challenged super Challen I mean this is really challenging oh my God but uh but but Anie was amazing to work for and and amazing guitarist a lot of people don't realize how good she is right but um you know little detraction there just talking about tuning well and yeah this has been great now I want to see the madness going on on stage on the on the rest of the rim Okay so we've covered guitars and now we're uh kind of in the mothership right that's control center yeah good word for it Andrey this this is you know every talk every Tech I've talked to I can't imagine anybody having a more complex job than you I mean look at this man how does it give us a quick run there sure sure well I I'll I always say in this tour there's two layers there's software and there's hardware and um I don't do a lot with the software layer which is the orchestra on which we we've talked about um but the hardware layer is complicated yeah um uh basically it starts with his three main guitar signals which is the guitar syn his signature pinii ianz sure and the third slot is either his Taylor eight string or his baritone nylon those three are selected by a leele box Lele 3 to one yeah and then it hits the um Game Changer uh plus pedal the sustain pedal right so all of those could sustain yeah uh that sends to our Leslie so you can get that nice Leslie thing little guitar thing and the signal then goes to the keer and in the keer we pick a patch based on which one of those four or five guitars we're using so that's like the the basic skeleton of the whole thing um and then from there those how he's listening to those signals one thing about Pat and uh you know I know there's some some nerds whove followed his systems for years he he always has a surround thing if you go back to his very earliest systems there's always and speakers around him and so that's been fascinating to learn that from him and to to keep moving forward with that so when he plays any of the above he's hearing it in these Yamaha uh powered you know yeah powered speakers there uh he's got it there he's got it in the 4x10 okay and some of it he gets in these Bose l1s so he's got a real surround sound oh yeah yeah some of his internal uh all the guitars have internal mics you've noticed all the guitars I'm plugging two things in right right uh there's a quarter inch with your regular pickup and every guitar outside of the Roland has a mic inside yeah so so that mic is often in the l1's in this tour we haven't really experimented that much with that but with the trio and other groups he always has the internal guitar there the point is when you play you're hearing it all around yeah and it's really I I suggest try that out guitarist I wonder I I remember seeing him back like in the in the things it seems like those guys are always playing so close kind of like it kind of in the round like that like yeah maybe that's what he's that's where it started expanded that that's a great point that kind of jazz thing of just turn down get close yeah get close list yeah he always stands near the drummer and so he always is really keyed into the rhythmic thing right um right well he's definitely near the drums on exactly um other stuff in Hardware so all of the all the electric uh guitars I just said they can go into the keer he can Loop them he's got a uh electr harmonics 95,000 Looper okay so what's all on the ground first the the sustain so sustain okay so for the electric signal quote unquote he can Loop anything he wants with the ehx 95,000 uh and that's it's a great Looper it's a six track Looper we're only using two tracks and this have been a while right yeah those have been you know I'm not sure half a dozen years or something yeah yeah they're very he also side chain controls it with some other midi commands from that soulman that's a that's from um source audio right and we have a couple of those around and that's just so that there's some extra commands he can throw in there um okay reverse and stuff like that right um and then the infinity Looper which is a great Looper that's Pig Tronics that's amazing the sound Fidelity in that is really incredible um 48k wow and uh we're using that on one of those beautiful baritone guitars yeah so he does a just a tiny bit looping on that and it sounds fantastic um so that's most of the pedals this guy here is that is a That's a classic you know he's had that for 40 years and he's one of the first people to use the Roland guitar synth and it's one of those things that's on just about every Pat album I mean I haven't really gone one by one I know most of his records but pretty sure it's on every record I mean that maybe there's two three that are are with an orchestra or something right but um right I I saw him almost 40 years ago and had that guitar yeah yeah that's it's CRA it's a signature yeah yeah that in the the 175 absolutely so but as far as like like traditional guitar effects there's not really not that much and you know Pat sound uh again the historian historian people watching this know he's always had a pretty simple sound yeah uh and that's why the roling is such a departure in a way yeah I mean and in another way it's part of his normal hey brush right so so but yeah departure from the quote unquote you know Straight Ahead jazz player or whatever which you know he never has been as you know yeah um I think though uh being with him almost two years now and listening closely now uh after listening as a fan for 40 years the sound of the guitar itself is what you know any really great player obviously but for past especially the sound of that a jazz guitar the the Resonance of it's a hollow guitar it's got so he really goes to that natural sound hence the microphone inside right you know that's a big part of getting that and then getting back to your question there's not many effects he would ever put on he just raises the volume little Reverb how often does he Engage The Lesar so the Leslie on this tour is is just like a fun effect uh handful of times night he does a a really um quote unquote experimental looping moment and the nickname for it on the set list is zero tolins for silence which that's his record of uh very extreme kind of two-dimensional music as he called it a lot of people thought what is this some people took it back to the record store so I loved it it was this noise side of Pat that you hear Snippets of otherwise so he does a piece in this show that's just extreme swirling Loops of of the uh oddly tuned E string Taylor on that he hits the sustained uh the the plus pedal a bunch of times and you get this beautiful ringing thing with the eight strings he also does it on some of his solo 175 um pieces we call it the 175 that's the patthi jazz guitar we call it that ianz obviously ianz yeah cuz he loves that that history the Gibson history um so he uses it quite a bit on that yeah and and it it really it's cool it get like an organ tone a little pedal tone once in a while sure yeah but the but for the most part this whole kind of thing is about loops the rolling and then running into the keer and then and then and then the pretty elaborate monitoring system yeah yeah again the outer monitors are the electric that's Keers feeding those directly yeah and the Meyers in in the middle there are more the acoustic monitoring um he can put anything in there but typically it's the nylon the barones um what's with this mysterious orb over there so the orb gets into the the software half of the equation it's like a yin-yang thing uh that uh there's a couple times he's playing to a rhythm track that he's made before yeah um um he does both things in this show he creates tracks live yeah in front of the audience uh that's that's so scary is there everever sideways you're out on a limb so exactly what that is good for is it's a metronome so it blinks red is one so red 2 four red 2 3 4 or whatever the time might be 7 3 whatever so we use that with the trio and with the trio all three people have to kind of glance over and see yeah where the one is it's like having a conductor it's like having a conductor so that's what that one is the other one's a record light so when he hits record he can be in on stage and know all right I've made contact with Ableton and um so so the software half of this show um that's the other mid midi pedals too any any of the midi pedals really are for stopping and starting and recording yeah in Ableton come man it is all so complex just just just that part is so complex then what he's playing is just exactly uh it's right it's it's complex music on top of it but um I wonder if it's got to be so hard to just let go of that anxiety and tension of the technical thing and just like flow because he man when he plays he just got such a flow to it you know he he's he's great at that I think let's remember he's one of the people that embraced technology early on late 70s he was already you know they had obim forvo synth they had little sequencers and things and as soon as the sin clavier was available he's one the early adopters uh lexicon all the early stuff so he really uh always tried technology right right and D want I mean it's it's funny because back then there was that kind of a blowback from jazzers about that stff absolutely although miles you know went very weird that's true he loved always loved Wawas and Pete cozy in the 70s that's a good comparison um so I think yeah he's very comfortable um I I will say too that um again I have very little to do with the software side the only my only involvement I think was uh uh suggesting the the Looper from Ableton CU I used to use that with Adrian Belo oh yeah and uh and what we did was take and our our production manager Zach Rosenberg who's a great programmer and um Ableton guy he took the um the old version of the Ableton program added some stuff in we had some other Max for live things and people help us put some patches in there but that Ableton program interesting cuz it's it's he's been using that since the early days and we kind of took the the the live set as it's called from years ago and you know morphed it into this year's version with a bunch of you know um midi clips being recorded and different uh uh uh moves inside Ableton um but again he he goes over the computer and edits stuff and he's written a lot of these programs from scratch a lot of these patches in the program wow I mean he used digital performer 1.0 so so so you raised a great point he's very comfortable when there's a problem he's really great with giving us ideas of what it might be and uh you know I imagine with the complexity of this rig there are problems you know well it's funny today was an interesting day John because it we did some changes that we've been trying to do for several days and today kind of had some extra time ran into a little bit of here and there and plus we had some repairs cuz we're in Nashville great Lu so kind of all this stuff collided plus we're in this beautiful Museum setting which limited our time so you kind of saw like some tech yeah I loved it you are the hardest working man in Show Business you know I well I thank you some of my some of my heroes like Thomas norde you know him that's you know he's the one the hard working or Frank Robbins who who's with Mo and whole not but but but I appreciate that I try to work hard and I look up to these incredible texts um I also want to give a shout out because she's never done one of these interviews but Carolyn croan who was I don't know yeah she's Pat's he's only had two Techs in 40 years wow so Carolyn was his Tech from about '84 till 2002 wow you know and I it's funny cuz before I even met her I'd go to his shows and she's like this Jedi quietly moving around grabbing guitars never said a word kind of expressionless just and I was just in awe of how hard this woman worked and to become a a close friend and she's a mentor and she's taught me so much so um but she never did stuff like this and she's no social media all that nobody does but talk about hardest working you know she did this stuff with no cell phone no GPS you couldn't look up manuals online so I always honor her and I try to really raise the bar right for her and and uh cuz she is one of the backbones of Decades of all those shows we went to yeah uh and and um so I look up to her and I look up to again all these other texts but um thank you I do work hard and and um I I haven't haven't seen you guys since I don't know six or seven years ago with with Adrian we did right right and that that's a crazy rig too so yeah yeah right I like the crazy rigs yeah yeah well Andre it's such a pleasure meeting you thanks for taking us through this absolutely great to meet travels yeah see you all down the road thanks folks guitar tour find me there yeah you'll put all the links and stuff I'm sure yeah

Channel: Premier Guitar

Views: 166,981

Keywords: guitar, guitars, guitarist, demo, guitar player, tone, electric guitar, fender, fender guitar, gibson, gibson guitar, gibson les paul, rig, guitar gear, pedalboard, pedals, guitar effects, guitar pedals, premier guitar, rig rundown, rig rundowns, pat metheny, ibanez, ibanez guitars, pikasso, pikasso guitar, harp guitar, 42-string guitar, jazz, jazz guitar, jaco, Jaco Pastorius, linda manzer, manzer guitars, acoustic guitar, acoustic, pat metheny gear, pat metheny guitar, guitar rig

Id: eIILHmcVc2Y

Length: 40min 34sec (2434 seconds)

Published: Wed Nov 22 2023