The Captain Meets Yvette Young

[Music] hey guys welcome to another episode of Anderson's TV my very special guest today is if it young all the way from California spending a few days in the UK and Europe touring doing some clinics and you probably just heard some of you know your kind of unique playing style tapping different time signatures some pretty complex stuff and I'm intrigued to know how I know a little bit about you in terms of your final graduate piano player came to the guitar after the piano and I think I can definitely hear kind of how that's influenced you but tell us tell us about how you you know what was it about music when you were growing up that made you want to you know take up the piano that's actually a funny question cuz um I grew up playing classical music and I played piano and violin played in a couple orchestras and I was a competitive pianist farewell sounds really funny because I don't think music should be a competition but I guess to my point I I actually really hated music it was kind of like I was like push on me by my parents in retrospect now I'm super grateful because it's given me a lot of skills like my ear and like finger dexterity but back then as a kid I just I just wanted to play video games or I just wanted to go out and like young were you when you first started playing piano I was four yeah so it was really intense I would have to practice for like four hours every day on top perform work and stuff so um there was my childhood how were your parents pushing you or that LA musicians or they just I might've kind of nature or something my my mom and my dad actually both played accordion my dad still plays accordion my dad composes music and he worked as a piano salesman piano technician and I think everyone in my family like my cousins and stuff they're all like really amazing kind of player ISM my cousin Clara rule she's like now she's a piano teacher at UNC but yeah I guess I was just to follow in the footsteps of everyone and I really didn't like I guess playing music under pressure even an orchestra I think I didn't I didn't really even derive joy from playing other people's music like having someone tell you how a piece should be interpreted like for instance Baroque music there's all these rules like you have to play it very stoic ly no emotion no petal like for me that was always kind of a huge bummer cuz I wanted to like put emotion in a box but uh yeah I guess like it wasn't really fun and it actually made me sick for a bit um just from all the pressure of having to compete and having to like you know just live up to this high standard and when I was in the hospital I actually taught myself how to play guitar and it was like a really fun way to see you talk you're talking really just a mental breakdown kind of thing was about the amount of pressure on you to to to get to a certain level of PAMP yeah yeah it was I feel like it was a lot of internalized perfectionism I'm growing up like I had to get like really perfect grades as well so there's just a lot of pressure for a little kid and um I I had an eating disorder so that's actually what and ended up putting me in the hospital because my heart stopped working and yeah it was when I was in the hospital I I already listened to a lot of bands like I really liked radio heads back then and then I liked a lot of folk music like Cat Stevens and Sufjan Stevens all the Stevens huh should I consume enough and I I kind of just started like learning stuff by ear in the hospital and then I'm like wait a minute I can I can do this myself so I started writing music just using my ear just using like things I learned from other people's songs and that proved to be a really great source of therapy for me and I think I rediscovered my passion for music just by teaching myself guitar and like learning music on my own terms mm-hmm and then for me even to this day like I just really detest Competitiveness I think it kills like the fun for doing something I think it it makes you kind of put a boundary on yourself so yeah this is like are you still internally competitive I know I know what you mean about the not sure if competitive is quite the correct kind of you know what would III I totally agree that I'm talking about this guitar player is being better than that guitar player yeah I hate all that as well yeah but I think there's an internal sort of you want to get better yeah right so this I'm competitive myself like I know that I have like really high standards for myself and um I think everyone's different also some people maybe my benefit from like having you know like a fire under their ass but for me I think like whenever I started just comparing myself to other people would just kind of bring back my traumatic childhood and also just make it so that I'm not focused on myself and like well I'm not appreciative of like what what I can do already so it's like my role is like always grow always develop always challenge yourself but um don't make it about anyone else like music is something that I just do for myself so when you've started to teach yourself to play the guitar did you go through a conventional you know you learn an E chord and a chord and you started putting them together or did you were you immediately trying to sort of transpose what you could hear in your head on the keyboard of what you could play on the keyboard onto the guitar so I think that's where my ear training really helped me and benefited me so one thing that I did do as a classical musician was I learned music theory um but it's funny when I write I actually don't really think about theory at all I don't count I don't like think oh like this chord will go well with this chord like I just barely use my ear and I sing a lot of my melodies I think ear training helps me be able to translate an idea in my head maybe sometimes like I'll see it with my voice first and I'll be able to like write relatively immediately play it which is definitely something your training will help you with cuz it'll help you recognize intervals and the distance you travel and also hearing harmonies in like polyphony I've like that's something that is playing a baroque music especially helped me because there's so much counterpoint so many voices going on and I definitely feel like when I'm playing there the reason I can write stuff with multiple voices just because I have that already internalized yeah so yeah I guess like when I sit down I just kind of like hum and sing a bunch of stuff and find the notes yeah painstakingly yeah well than that because that I I was saying before the before we started one of the when I got three Govan was on the show but a few years ago now and he was saying again when you look at the chords that you typically play our piano you can play two notes side-by-side if you want to on a piano you know just to say in Tonopah or and of course on a guitar if you're just gonna play with one hand that's next to impossible unless you've got a like a you know 10 inch stretch from you know from one end to the other but that's why you've gone I'm getting is that why you think you were drawn to sort of to sort of use this double handed tapping technique so that you could play those intervals and chords that you can hear on the piano yeah I definitely think um I started out writing music just as less solo guitar player just in my bedroom actually um and I didn't have a band at the time so I had to think about how do I sound as full as possible is just like one person how do I give the illusion that there's like a bass part going on like an implied built-in bass line for all these melodies and tapping is a really great way to achieve that and furthermore we can we talked about it a bit earlier about open tunings like they really make certain shapes more convenient so I have some tunings where I literally have an octave so I can like do slides of the same note and it sounds like fuller pedals will so help like I have a bass octave pedal in my on my home board and its really great for widening the sound I I loved your approach to tunings because for me I think of open tunings and I think of traditional you know dadgad or open G or whatever and I think of a tuning that might work for slide or something like that but you your approach to tuning is to just tune it to whatever you want it to be to make the the chord or that the the intervals that you want you know cuz i even said you so what what do you call that tuning it's like i don't know it's just these are the six notes I've tuned it to to get to get the sound that I want so was that something did that did you just do that without even thinking about it or was that you know did you follow another guitar player that maybe you know had an approach like that so um I started out playing standard and then I listened to a lot of music back then namely like bands like American football or this Japanese band called Toth and they those bands are the ones that introduced me to open tunings some of which I used today still like fa c gb e or f icgc ii like those two tunings are some of my favorites and i guess once i learned their music about tuning i was like wait a minute i can write stuff like this as well and nowadays i actually have a bunch of different tunings i work in but one thing i do is if i ever get in a rut like i feel like i just some playing the same sounding thing over and over again if i'm just too comfortable with certain shapes in a tuning i'll just change one of the strings and i'll make it so that i can't depend on what's comfortable anymore and i'll actually still have to use my ear to find what i actually want to play like when i write i never want to make it something where it's like I'm only writing what's convenient I always want to push myself to write what I actually want to hear and then even if it's impossible I feel like anything's possible it's muscle memory if you do it a thousand times you'll get it I think it's just a refreshing approach to and I've never I'd never even really thought about just the idea of changing the tuning I've someone said to me once you know just if you're playing licks and stuff you know absolutely don't get stuck in that rut change a note at the end of each lick do something to just change but yeah just changing the tuning and stuff and and then you does that does that background in you know sort of the music theory do you know you sort of able to go you know what I'm gonna change the tuning to this or is it very experimental it's it just like I'll just see what happens if I make two Channing's I think it's like half and half because I know what sounds good I know like you know what's in a certain scale and what will sound good sometimes all purpose we throw in like a diminished interval or something just because it's like if I write something that's like always too happy and major throwing in that weird string for some reason just makes me write stuff that's moodier and they go a little bit like I guess like in a minor key so sometimes it's weird like just like effects I feel like certain to knees can like color what you write I always explain it to people like when you have a nice open tuning like you know it's kind of like you're having a pre worked canvas yeah like there's already a little bit of color there so whatever you write is going to be based off of the pre-existing color even that strum that you did there it evokes a feeling as soon as you is like oh you know like whereas I think standard tuning you strum it it just sounds like a guitar that isn't the chord you know it's just like it's just it doesn't really make any it doesn't make me feel a certain way but I can see what you I can see where you're going with that we were talking a little bit I'm kind of fascinated by how you're this really interesting melting pot of obviously a you know highly educated pianist fine art graduate as well so you're obviously it's not just your ears it's your eyes as well that's you know stimulated by seeing things and then you've kind of somehow managed to sort of mash all this together in the guitar and using effects as well to just sort of create soundscape sitting in a way that we were talking about you know the bit of King King Crimson and stuff and the way Robert Fripp talks about creating sound scapes and I'm just interested like in your brain what's got you know a you saw like hearing colors or whatever they talk about you know you know and you with that I can't remember that synesthesia that's the word yes is that is that is that's what's going on in in your brain when when you're writing and playing I don't think I have synesthesia but okay it's funny because one of the reasons I got into songwriting was because I really enjoy telling stories with sound you know like my goal as a songwriter is to evoke emotion an emotion or a mood or like my favorite compliment to get shows is when someone says hey that second song where it made me feel really like you know ambivalent it made me feel uneasy and like kind of like I was going crazy and like good that's like what I wanted like you know so in my purpose aligns with like what people actually hear I really enjoy that and I guess the way I view effects I write everything completely dry like when I when I am writing a song I don't even go through compression because I don't want to like coast on compression too much I kind of want to be able to play it without any effects cuz sometimes live you'll end up having to do that anyway if you're bored crops out and then once I have the melody I'll kind of decide like it's like for me that's like a black and white drawing like that's like the liner of something and then you go in to enhance whatever the melody is with effects like they're like colors that you strategically imply apply in certain areas to enhance the overall picture you're trying to paint so you know like if I write something I'm like this sounds very ethereal I'll slap on some modulated reverb or like you know if I want something to sound kind of like dated I'll throw a really like nice spring reverb and then like a chorus on it you know it's kind of just like I started out doing it trial and error and seemed like what effects sounded good and I kind of have my my sonic palette going now so when I'm at home it's really fun to go go through and like figure out what I want for each section of the song that's good you are you like I don't know if you did you ever see that movie it might get loud with the age and Jack White and Jimmy Page in it you seen that one yeah anyway there in the edges studio and it's like every effect ever in the you know and he's just like yeah and he's I've got a I have a sound in my head of what it is yeah and and I kind of I know that I know it could be very simple like just three notes that are in that sound and then and then I have to go and find the effect to make that sound is that is that the journey that you kind of you take that bear song and you should go yeah these are the these are the notes but it's not the soundscape that I want to create and then it's off you go on that journey yeah it's a lot of swapping out different effects to see like even like something as simple as it overdrive like sometimes you get ones that are like a little bit growly or you know like so it's like finding the right tone that you want for this section it's it's difficult because like as a songwriter I can't really translate these things with words I feel like it's all in my head so I have to be the one going through my arsenal of effects to figure out which one is the most appropriate I'm sure I know we're gonna nerd out on on effects and stuff and I was going to do that towards the end but I I quite now seems like an appropriate time for me it would seem like if you had a digital multi effects unit you know helix or fractal or whatever you'd have tons and tons of stuff in there to go and experiment with but do you need that much more tactile do you just need to be able to go no I want the knobs on the chorus pedal and if I've got to go through menus to find it it sort of spoils the experience of finding the tone I mean I'm just wondering why you've kind of stuck with pedals as opposed to GaN going digital I think like I've always a lot of the bands I listen to or just like fully analog people and then I just started collecting pedals and I was in college and it's just something that's familiar and kind of fun for me like I do like being a little turning knob I love tapping in tempos it's kind of like dancing like for me that's part of the fun like when you're on a stage you're a performer so I like having everyone see that these things are things that I have to like manually manipulate to achieve it's not something that's like program yeah I think on a certain level it's really useful to have things our program especially if you have to engage like three effects at once like yeah you know other than growing a radioactive third leg that's going to be really difficult so maybe technology in the future how's that for now I kind of like um you know just even like sometimes and I'm playing live I like twisting table with my foot like I'll do like a live loop and then I'll fade it out with like my foot and it's just it's just fun you know and it's people in the crowd are usually like whoa that's crazy you should go and look at a guy website of a product called gig rig because he's he's kind of he does stuff switching resolutions and stuff yeah and I know he had a he invented a like a mechanical thing that would go over the top of a knob of a pedal and then you could press a button and it would and and it would mechanically adjust the knob one when you press a button and it would mechanically adjust it the other way as I'm supercool I'm here living in prehistoric times and realized such technology was available it's very very cold we we talked as well about you changing as a songwriter from your initial initially what you were writing was perhaps written for its complexity and its difficulty and how as time goes by you're moving towards things that perhaps evoke emotions through melody rather than through complexity it's a fair to say I mean how how is that can you talk a little bit about about that yeah I can definitely I think I can trace it to two main reasons why I used to be more concerned with technique is I think when I burst on the scene I felt like I was like you know the newbie and I felt like I had something to prove or something so I was like chickened out like you have a guy I felt like especially I guess um I don't know like I don't want to talk about gender too much but like even as a girl some of those people assume that like you know you're just gonna play like a couple of chords and like sing a song or write there's nothing wrong with that also but I felt like just like as a guitarist I was like oh man I gotta like flex right now so I started playing stuff that was really technical and intricate it's also just how my brain works is like I'm super detail-oriented so I always wanted to have like a billion built in parts and harmonies and as I mentioned earlier I was just a solo guitarist so sometimes a necessity I had to write something really complex because I don't have a band with me it's just like me and my guitar you know um and then I think something really changed when they started playing in a band and then when I started playing live is I realized I just I don't enjoy I don't enjoy having to concentrate the whole time onstage like when you're touring for a month and a half and every night you're sweating bullets like hot better nail that run if I don't nail that run I'm at I'm a failure like you know it's just it's not funny anymore in and again part of being a performer isn't just standing there it really static playing it's like feeling the music you know it's one if that's a youtube transition into playing life you know where you've got the sort of comfort on YouTube just go I can make this as complicated as possible shoot it a hundred times before I put a video up and then but live it's like I've got one chance to get this right so that you just sort of consciously going I need to move away from making everything as difficult as it could possibly be that and like it's just fun to rock out and just play some like Cordy section sometimes I feel like also one thing about technicality and intricacy is it loses its effect after a while I feel like it's most effective when you contrast it with sections that are like more open or like more ambient and that's something I really admire about like I don't know like just in good songwriting it's like you don't just have one texture you have like a bunch of different textures and they all like accentuate each other in addition to that like I purposely in my song started leaving the sections out that are like I guess like started leaving more open sections so that my bass player could play something more melodic and my drummer could do like a solo so I started thinking about me and my bandmates as it as a cohesive unit and we fill in each other's blanks I think that's way more gratifying than okay you guys follow my every 16th note you know what I mean like I think it's it's more fun that seems to be something I think in all songwriters that as they get older their approach becomes about less not more yeah you know it's like it's like a like a Benjamin Button effect isn't it it's like if it's that it's like when they've knew it's everything's more and then it's like they're kind of the more mature they get as a songwriter it becomes yeah more about less if that's even a yeah even a word how I like to explain technique and my viewpoint about like why technique is valuable and important is it's like as an artist I'm gonna talk about being a visual artist yeah it's my mother tongue but um you want to have like a big tool kit right so technique is like basically your arsenal of tools and I feel like as an artist you want the biggest toolkit possible so that you can translate all your ideas most effectively so like you know if sweeping tapping like you know doing bends like all of these things are things you can use to write a song but you don't want to use all your tools at once in the song because that can sound kind of cluttered so it's like for me technique it's only as valuable as how much it serves what you're trying to convey so it's like if I need to do like a crazy tap run I'll do it because that's what I wanted for that section that's the only way I can play what I hear in my head but it's not like I'm gonna go and like I don't know known as I feel like when people start out tapping they'll like do something that absolutely doesn't need to be tapped like you can easily just pick it so it's and but there's also sometimes tapping is like more percussive in staccato which is nice so if you're considering Tambor I think that's also a valid argument anyways tangent aside for me I think technique is is valuable because it's like then you have like a wider language dude sure yeah who do you who do you look to now as a songwriter or maybe just more as a songwriter rather than a guitar player and again we could go back hundreds of years into classical origins or we could stay contemporary but who do you look to and just go they they had something special about the whorehouse think special about and they nail what you would consider to be the ultimate song I actually listen to a lot of movie soundtrack artists I love dynamics I just love like anything that can make you that's the emotive you like motive I love it I'm just an emo girl at heart I really enjoy all foreign alls I think everything he ranges is just so like heart wrenching I enjoy that um and a pianist I really like he's also a composer beuchi's Sakamoto he is so good at like tension like he will introduce dissonance in a really uncomfortable way I think I but he like just like resolves it eventually but it like really like makes you feel uneasy um and I think I don't know I really admire that because I am uncomfortable with dissonance sometimes and I'm uncomfortable with that tension and for me he's someone who like in his songwriting his compositions like pushes it and like lets it sit there for a really long time and that's something I wanted to attempt one day yeah it's interesting isn't it we again we talked about before though we were rolling about just analogies between music and food and just like you know pop music being hamburgers and certain pieces of music being terribly complex and dishes with hundreds of herbs and spices and stuff in there I mean that and you made it you made it an interesting point that that's fine you know it's fine to have hamburgers one day and it's fine to have a complex meal the next but your your worry is that large parts of society nowadays will only ever eat hamburger which is probably true yeah we're in food as well as which is just as bad but tell us a bit about how you you know what where do you go you know if you if you if somebody just stumbles across this video and maybe the car cuz I like what she's got to say well how do you break out of just listening to mainstream where do you where do you go where do you find it so I think when I was in college I used to procrastinate just by going on music forums and looking at new bands and that was kind of like I don't know I was somewhat obsessed so the idea one day I just woke up as like there are so many bands out there there's so much music and I'm not gonna be able to hear all of it so I just like for some reason I became fixated on that and I was just like I want to know all the Vans like right so I went and like actively sought that out but I think I think it's like a lot of your average listener I mean I don't want to generalize I'm not an expert on this but I feel like most people I meet you aren't musicians tend to listen to things quite passively and they don't tend to go seek out new music it's like more like what's already available what's like with ins arm within arm's reach figuratively and I think a lot of you know a lot of people just turn on the radio and they drive and then what you hear on the radio is like for the most part like you know it's written by the same like for Swedish producers and it's like you know like for for like the same formulaic chords and I think people can get really accustomed to hearing that and then when they hear something that's like out of that it's like very startling and and maybe they don't like it at first because it's new like an example of that is microtonal music like in our culture I don't think we really have as much of it going on but like if you go to the Middle East something like it's everywhere so people are super accustomed to hearing microtonal scale like you know like it's it's really interesting so I feel like one it's not the primary reason I write but one thing I really enjoy doing is like always tell people I like to sneak in like compound meters and like um Matthew stuff like vegetables to people so I want them to listen to it be able to dance and think it's catchy and then not realize that they're listening to something that's like alternating 5 and 7 or something like I kind of like just sneaking in there and then later when you really reverse-engineer it you realize that it's quite complicated as a bunch of different leaders you oh you were saying again before that you're not even particularly aware of the time signature that you're that you've written a song in until one of the other members of the band or the drummer you've asked to play on it kind of goes you know this is like kind of bit and the movement isn't in this so how do you I mean if it's not if it's not conscious how do you kind of just remember how to play it the same every time you know I really do think that um I guess my point is exposure when I was little as exposed to a lot of different kinds of music right um some classical like contemporary music like Shostakovich like his stuff is insane it's just like all over the place disjointed like there's no flow I grew up like having to learn music like that so and I grew up listening to a lot of prog a lot of like math rock a lot of just stuff that was already allowed meters for me it was already a part of my lexicon like when I uh when I started out playing and I think when I started writing music in my own I was already really comfortable with those time signature shifts and and stuff like that so when I write I just sing stuff I like things to be like a sentence you know and I think sentences are aren't always like this they don't always like you know they kind of have a flow to it so I kind of want my melodies to do the same thing wax and wane like human speech and then uh yeah later when I bring it to my band sometimes I'm like I'm pretty sure this is in four and then my general plays like nah this is nothing like a musical stephen hawkings it's it's slightly freaking me out a bit here just like how much musical encyclopedic knowledge is obviously gone into your brain and I know you know there's a I have that I have a real I think you the way your parents pushed you to learn has made you what you you are ultimately and and I have this real uncomfortable because I don't like hearing about I don't know you know I don't like hearing about you know kids that have been really pushed hard it whatever that whether it's music or dance or sport yeah but anything like that because it does I think you know there's something it does take away something maybe magical about childhood that you should you know should be there for all children but what it does produce at the end of it are just unbelievably talented people within that field you know so it's a bit kind of can't really have one without the other you know it sort of fit but it is a bit so it's kind of scary we should I think we'll just go on to way more superficial stuff like how cool your sparkly green guitar works I will say on that now I want to I really want to drive home I think my story is a really happy story because um I mean I don't mind getting personal I should it's important I think if I should learn that like there are their favourite artists or um you know people that they hear both their struggles as well yeah like my hospitalization I think it did really great things for me it improved my relationships with my family because we all realized what was important and then also in music because I took up guitar and I taught myself something I I felt I developed new confidence because I taught myself a new skill and then also I fell back in love with it and now I love piano and I love violin and I'm so so so grateful for I guess how rigorous my upbringing was with the classical classical music cuz I think you know now I can write a song and if I need violin I can just play myself any piano just display myself you know and it also gave me the discipline to write like really complex music and practice it like I can sit there for five hours and just do the same thing right which is how I used to learn cruncher toes that were like thirty minutes long I just play the same thing forever so I think that discipline I'm really grateful for for sure as an adult it's kind of hard to like I mean you kind of seem not know I've only known you for like half an hour a thing but you seem to be a pretty cool well-rounded person which is which is great but yeah I don't know whether it's you know I guess who knows whether it's the right journey for everyone to take but you know it's it's certainly I would love to hear I know we kind of chucked a piano to the side of you I've seen some video of you playing piano and you're a beautiful piano player was there is there any chance we could just I don't know just like get her yeah 60 second just something is it's and we're not do piano stuff in guitar videos very often here then I hold that can I can I ask for the session if I'm s as many times you like absolutely so I'm like one really rested like you don't understand how his damn [Music] ah man that's great honestly it's beautiful it's it honestly is I think the piano is I think it's the greatest human invention of everything I'm gonna go on camera saying this I think piano is the best instrument yeah I think as a songwriting tool it kicks guitars ask no offense guitar but I think it's just the fact that it's linear it makes like polyphony so much like it makes it make way more sense like you have like your lower actually think view the fretboard the same way as I view piano um like the Lower Keys I like your left hand so like your accompaniment and then like you your right hand is generally like the lead melody yeah but you can obviously switch and flip and do crazy crossover stuff but I think like yeah it just makes it way more easier to write full parts I'm I think that the only thing I think guitar completely wins is you look so much cooler when you're playing not just you just guitar players to you know the my I think one thing that I've always struggled to really like wanna be a piano player is when you see someone and they and they're they're basically have to sit down to play or even if they you know do a bit Jerry Lee Lewis kind of stuff I still kind of I still think you know the guitar is just it's got so much more visually interesting in the fact you can kind of run around with it and you can't make crazy faces and do big string bends and stuff like that that's why we made the keytar yeah that's the least cool thing of really using these like 80s New Romantic bands aren't you playing your keytar you know looks cool playing piano is Hiromi I think right I am not familiar with that oh she's got this like cool hair and she's just like super Indiana like if check out who I don't know how to pronounce your last name girl me who heart O Hara she's Chinese she's amazing oh we will we will find out anyway look let's talk about gear let's know now I'm gas I think we've gone deep enough with music and by all means if you're if you've got timing stay for lunch and we'll go even deeper about music but for this particular video on our highly superficial YouTube channel let's just talk about now that I vanished almond which for reasons I don't even know why presumably a lack of popularity is currently not in the Ibanez electric guitar catalog you can only get that as an acoustic or isn't a bass and yet you've got this badass looking best color guitar I think we've seen all year how did you come to start playing that the Tollman well um my relationship with Ibanez began I'm trying to think how did I even start playing him I guess no they wanted to get in touch so they my my artist rep guy Mike he he suggested for me to try out at alman because I started out playing Telly's and then actually the first time and I got was it was at La Salle yeah I've seen sit slightly different bridge in just the to pick up yeah cool and I really I like those pickups so much from my telly that I I cannibalize them and I put them in the new Tom and that's my pink sparkle and if you ever seen that I'm not saying that but it's I can imagine yeah it's it's a beautiful guitar and then what really I've played like fenders before and they're great guitars like classic but what really really made me fall in love with the diamond is Tommen is the wizard next set like I've been as house they're just so thin and flat and it makes like playing technical things wage yeah easier like I feel like I fly on these necks and on a Fender neck it feels a little bit more cumbersome yeah in addition to that um I have a broken finger Oh did you do that I tripped and the story behind that is it didn't heal right because I had to do a piano competition the next week so I still practiced and did it with a broken finger and yeah it's disgusting it makes a clicking sound it if you want to like Mike died like broken bone ASMR I'm just kidding I'm just rosy but the good thing is it's it's bent the right way hasn't it cause if it has bent the wrong way you've now got like an extra sort of each on the region yeah so you know if you're looking for more each just snap that sucker I'm just kidding don't don't do that kids that idea um no it's actually quite annoying cuz it'll lock up live and I'll have to sometimes like unclick it sorry it's disgusting no it's fine I'm pretty queasy at the best of times anyway this guy yeah but I guess you know it makes it like having a thin neck is much gentler on ya broken freak and so um yeah I guess that's why I really like Tommy and then I got acquainted with Seymour Duncan yep and I remember I started playing there this is a 5-2 set this is not configuration one and I I had to borrow a guitar at NAMM so I went to Ibanez was like I need a guitar and they're like okay you got you one and give me this beautiful sunburst fun with these pickups in it and then I played it and then I really enjoyed it and then Mike was like why don't you just keep it so I've brought a home and I just started writing so much music on it and it was uh this crazy just like song after song after song and I realized that the tone was just really inspiring I I think it I mean it's funny cuz I don't I can't really decide what it is that would make it you know that I guess maybe Ivan is a not synonymous with guitars that have a kind of a 60s vintage kind of vibe to them and this is definitely going after that sort of Jaguar Jazz Master he comes over yeah so I kind of get that maybe it's just right guitar wrong brand name or something for some people but I think it's called the color wicked huh I've shown you the pictures of those green sparkly straps that we had over the summer but this is better this is a better green Sparkle I'm definitely we're gonna use this video to try and reproduce this color on some other guitar see let's cool yeah but I mean without you know giving too much away is there potentially we might see something maybe a tie-up with you and Ibanez in the future who knows maybe giving me that kind of like might have to edit this bit out the video look at solid you'd have to wipe your memory and everyone who watches this yeah that's me well who knows I think it's cool I mean if it helps Ibanez I think you should do it you're saying that's cool I love this color I feel like on one of the complaints I remember that reading from a lot of people is that they just thought that Tommen wasn't available and an interesting enough color I think they just have a solid white like when I go on reverb I see like mostly it's like you know that the cream-colored one maybe that's the issue maybe it's just they've got to go look it's a Fender II kind of vibe shape the colors just depart don't do like old school colors from the 60s you know yeah there was some cool fender colors then as well I don't know yeah I think I think oh people do care about aesthetics at the end of the day especially if they're performing live and I don't know having something nice to look at when you play is helpful to I will say these Sparkle ones photograph amazingly on stage I bet it I bet it looks great in the video is the pink sparkle you say it's a Tele is it the pink yes Kelly in it is the same kind of multicolored pink as all its I think one type of pink but the the spark with the actual glitter size is bigger right it's like a chunkier flaky yeah yeah it's like you see like the layers it has dimension dimensionality is our word dimensionality it isn't feel like that's like a general yeah that's a you periphery outlet dimensionality yeah awesome so again that this is such a sort of a I don't know like I just the position for the sort of style of music and everything why why would you use an AC 15 and it's not why cuz it's a great sounding ham but it's like I don't know it's I'm loving the blend of things old and things new and stuff so tell us about how you how you started using Vox amps well I started playing on deluxe reverb which is cool but I think it at the time lacked some Headroom I needed um so then I bought a Vox an and I also just really okay so my first amp ever is an AC for okay tiny yeah but it's a tube and so I got spoiled like immediately I just really enjoy the interaction between these pickups in particular and a tube so I can get such nice break up on a clean tone just from like um if I dig in a little more I can get it to break up but if I like lay back that's why I also love playing with my finger is this cuz like I feel like I have more control over tone which is something that I take from my piano days as well but yeah I just I really I really like how you can get really nice try me cleans but then like if I like want to do like a heavy section even if I have a like sometimes I'll have like a gain pedal a little slap on you like pushes it even more so it's just this is nice it's a great time and then finally then pedals wise and we got a love pedal so how many petals have you got you said you had a big collection of pedals at home I don't even know I don't what if we took him that big you over a hundred or something I don't want to like I'm not trying to like brag reflects like I certainly don't think like I don't know I I got a lot of them because I do demo sometimes so people will show me things to demo and um I still have a few I have to get around to it's just I'm never home so it's really difficult but I have quite a few petals I have like a shelf I'm great and I really enjoy organizing the Shelf by type of pedal it's nice OCD but I'm not even know CD I just like I think I like like if I need something about if I in the moment I'm writing a song and like this needs a chorus Roboto I don't want to have to like look for hours from I want to just know which shells you if you if you really makes you you can sort our pedal display out because it's totally random at the moment so if it would make you feel happy by all means you know put them into some sort of order but so what we've got here we've got to drive pedal a compressor a delay and some modulation and some and some reverb and delay I guess here so there's sorry some some reverb what's the what's the absolute kind of Desert Island pedal board for you uh well I guess I haven't tried everything so I I don't I don't know yeah this just the pedal market is so crazy saturated like I feel like there's just like so many of the same type of pedal but the ones that I have that I love and reward I love that Julia that's what I meant rather than the specific pedal what they you know it's you know could you just not live without modulation or not live without reverb or which one would be their dad Julia um of course we brought oh it makes me just right yeah like really I don't know it sounds like the pulley so I just write it like super Indy sounding things on it and then um I guess I really like the fathom but my say my favorite reverb is a mercury 7 by Maris oh yeah well I wish I brought it with me so I could demonstrate it um every drive I I do like the zvex Bach Bach Ciroc okay fussy isn't it yeah folks right yeah I like that I like that but it's easily you can like customize how much you want I like the longsword electronic audio experience is my friends yeah we should give him a shout-out and we'll put links this is not one that handed themselves both sounds cool looks cool yeah it's great it's got builded an EQ so it's great um let me think for delays I have an avalanche shrine that I love cool it's got the swell setting which is nice because in it delaying the tack it's like beautiful for like just single note things are just like really delicate I got the Carbon Copy deluxe which I love and I use on a lot of my songs um I used to have a super piss but unfortunately a white huge yeah yeah I really like that one as well but unfortunately it broke have you tried we may probably haven't got time in this video sis have you tried the walrus I'm gonna say slow and it's not the correct pronunciation because there's like an boom laughs or whatever you call it across there sure or something I think is that people know because it's his more his language than mine but that's the heavy reverb with sort of modulation within it and it's again it's another one of those Oh super inspiring you have God I feel silly now cuz I did a demo for it but I just don't I don't own one but I would own one if I uh if I could um yeah I love that pedal another one that I just thought of is the Caroline audio somersault I saw that was on your rig rundown with premier guitar what every setting on that thing is great there's some pedals where I feel like I mean there's some pedals where I feel like certain settings are melodic settings and other settings are just if you want to generate noise and so if you boil it down there's really only two like usable settings we're like writing a song but like it's it's all cool but I feel like that Caroline and audio somersault one every setting is just like perfect like beautiful well I must admit I enjoyed nerding out with pedals with you because not everyone's pedal nerd but I do like it when we get a pedal note on the show I don't even think I'm an expert like a lot of how I approach pedals always admittedly intimidated at first cuz I'm like all these buttons and knobs like what do I do but I think the way I work is there's some pedals that are like you have to read the manual to figure out kind of like they're like Rubik's cubes like you press two buttons and in walks the secret setting and then it opens up and then it transports you to another dimension like you know that's like crazy but some pedals are more like straightforward like yeah I even have a fuzz pedal it's a germanium fuzz and it's just one knob and it's sick yeah I feel like when I think about pedals uh well first of all going back to my main point was that I just learned a lot of it by trial and error playing something maxing out the knobs seeing with that knob does like really using my ear - yeah so figure it out um I think that's where old style pedals like this adjust I've got the edge over digital because the idea of going into a menu and just being confronted with four words like pre-delay I don't know I can't even think of did like different parameter names that in isolation just don't mean anything and they can't you know you just I'm with you you just want to plug the thing in and just go what does it do if I just okay there's a sound I like that sound and that's it's so much easier to do it with you know analog style pedal or not and because they're not all analog but just like all D fashioned you know just knobs and switches yeah I have different boy it's like I have a live board which is stuff that doesn't require so much coordination and like fine tuning and like the secret setting stuff you need also presets which was save my up first and stuff but um yeah for I have a live board where it's like more straightforward just like I can tweak a knob if I need to while I'm playing and it's wrong um and then I have a studio board which is the more nitty-gritty stuff like um what's that does accompany the one that makes the work final chase bliss chase bliss they have a lot of really yes they did amazing stuff and I think that great suit even the Maris stuff like I have an auto bit genius we are the worst Anderson's it's officially the worst YouTube channel ever going chase bliss demos because we do we plug the things in a go right what does this do and it's like you they're not going I don't even think we've scratched the surface here and then you look you read the manual like what can do yeah just go oh my God we're never gonna get through all that so yeah it's it's that's for proper shoegaze II kind of it's great studio tool cuz like if you don't have the time to do that live like if you really want to sculpt your tone like in in a studio and really fine tune into what you want like I think that sort of stuff is really useful so I have a whole set before that I use just for like when I'm recording this is awesome this is an awesome awesome conversation which I feel bad about feeling like I'm gonna have to wrap it up but I am unfortunately well we will will carry on afters but so what what's happening in 2020 well actually right now you're just in Europe doing some clinics I don't think we'll have this video live by the time your clinics in before they're finished so great if you've managed to see a bit on what well right now but assuming this video goes live I guess sort of you know in December sometime what can people expect from you over the next few months ah well we're heading to the studio my schedule is pretty crazy I'm doing these clinics and I fly straight to Long Island I recorded with studio called voodoo studios sir um and we're gonna be there for like a month and then I go to NAMM for a few days and then I go back to the studio and then I immediately go on tour so it's a periphery and plenty I think Oh wicked just in the States are you going elsewhere in the states right love the perfect guys they're really cool um but yeah it's it's basically studio time for me it's funny because I literally finish it's I think it's gonna be 11 songs I finished up the songs right before I left for this clinic and then uh all the guitar parts are done I sent it to my band and they're currently writing their parts we're not gonna hear what it sounds like until we reconvene at the studio and jam it out no it's a bit tense but I have faith in my guys oh look if you've not heard any of it stuff again I'll put a link in the description below there's some beautiful music there's there's a piano album this guitar music and stuff I mean it's it's very very cool very very cool and it was great to meet you thank you very much for taking the time to come in you've done an amazing job of getting through an hour despite the fact that you're jet-lagged to pieces copy copy but yeah thanks a lot it's really really cool to be coming in so there you go everybody it's a bit young inserted canned applause see you next time [Music] you [Music] [Music] [Music] [Applause] [Music] you you

Channel: Andertons Music Co

Views: 277,216

Keywords: Yvette Young, math rock, covet, Andertons, Andertons Music, Andertons TV, The captain meets, Best female guitarist, Andertons interviews, Covet, Yvette Young Andertons, The captain meets Yvette Young, Female Guitar players

Id: jSxL7zOzY30

Length: 54min 58sec (3298 seconds)

Published: Sun Dec 15 2019