The FUTURE of Modern Guitar w/ Aaron Marshall

hey everybody i've got aaron marshall here aaron is from the band intervals he's been on my channel before a very dear friend of mine he is touring through atlanta he's got a bunch of new gear from the last time he was here every time aaron comes here he brings something new yeah i love this kind of stuff because i love gear and i love people that know how to use it and can really demo it so i'm really looking forward to this sweet aaron i'm going to do that yeah tell me about the guitar first yeah so everything uh since i've been here last is is completely different but that's i'd say i'd say i'd say that's that's the most on brand i could be that's totally on brand new show with everything different so um over the course of uh our time off yeah um some some opportunities have presented themselves and one of them uh is sitting right here and this is what's come to fruition um mainly over the last year but um adam at schecter approached me at the beginning of 2021 to talk about the prospect of fully realizing uh a model that could be uh something reliable and consistent for me and available for everybody so this is really exciting we're not uh reinventing the wheel here so to speak but the idea for the the inaugural release of this instrument was to do something that is attainable i think a lot of the time with with you know signature products or things they you know it's like a lamborghini or something and it's not for everybody so we wanted to start with something that you could you could drive off the lot you know what i mean basswood body wenge neck ebony fingerboard a real goto 510 japanese go to five time with a steel block and right real hip shot hardware so the the hardware was was non-negotiable um i think that in 2021 or even in the last three four years import guitars have become amazing absolutely no question about it people honestly no people don't even really think about that anymore i don't think i don't think so either and we were in la last week and tosin came to check the guitars out and stuff we were hanging out in the green room and that was basically the comment that he made was like just hand me a guitar like right doesn't really matter anymore it does to an extent but some of the things that that that mattered the most to me when it comes to an instrument like this are the points of contact and the things that you interface with the most so the trem is where you know i needed to not only function not that i use it like crazy and we do go for a vintage two-point style um it's not like i'm doing like dime bag style dive bombs or anything but i needed to be reliable i needed to flutter the way i want to and i needed to feel confident in the hand the bar size needs to be correct the ability to adjust the bar needs to be correct so no imitation hardware this is a real goto 510 which has been one of the most consistent things that i've used on six string guitars in the last you know five six seven years and um other than that these are shaktar usa custom shot pickups okay it's been trial by fire because i started the tour with different guitars um you know there's some delays and things happening on planet earth and these were supposed to be ready before we left and in true intervals fashion everything's happening all at the same time okay so stainless steel frets right yeah stainless steel frets also a non-negotiable um tall jumbo stainless steel frets yeah so it gives you that framework looks great on it perfect gives you that premium feel to it and again this is where you're going to be deceived with it being uh an import guitar is you know it's a quarter-sawn wenge neck yeah you know there's no you know multi-lamb or anything like that and it just feels really you know really stable and rugged it's also got uh carbon fiber reinforcement um you know because we are used to touring with guitars that have like roasted maple necks and there's something tonally about wenge and the feel that i really enjoy but i wanted the stability i love the feel of the neck so i like that i like the feel of that me too it's got that like it starts off feeling kind of open and porous and like you're your natural kind of hand oils will kind of make it feel really plain and it's already happening the guitar also comes with lumen lay which again was sort of a non-negotiable in the sense that we play on stage with an insane light production and we've got the craziest one out on the road with us right now right and uh i can get thrown for a loop if i can't look down and see what's going on and there's one guitar in my current live stable that i'm i'm pulling from that doesn't have lumen lay and if i don't give myself a point of reference before i approach banter on the mic yeah i'm hosed for the downbeat okay okay so what about though the front markers so you're just using the top ones right yeah i could go without we did this because i think out of courtesy for it's nice for educational that's the thing is when i am looking at videos and there's no fret markers and stuff it's tough it's not it's not uh it's not fun i like a clean neck i think it aesthetically is pleasing but i wanted to do something like this and i am a fan of these hollow circles they they do this often i think it's cool the only tweak we did is usually shocked we'll do three here and i asked for two i just for some reason i just like the the symmetry here yeah so yeah so we did just the offset they're aluminum so they'll react to the light talk about the about the truss rod too because that's great yes um this is one of my favorite features and i think you know i'd like to see it on more modern guitars you see it on totally people associate this with like music man i think is one of the best companies yeah it's a great great feature it's it's very smart and it keeps the headstock clean the last thing i'll say about the pickups is that we're trying a set here this is a set from the schecter usa custom shop called the pasadena plus they're the closest thing spec wise to like what i enjoy about a passive pickup so we decided to try them there's a 7-string version it's an alternate finish and it's 26.5 with a fixed bridge anatomically it's the same guitar though and just to get ahead of any any potential questions there will be a usa model um we i just wanted to start with this which is the reverse of how most artists will do it usually you'll see the expensive model and then it's sort of like a as an accommodation to everybody else you'll see the other one and i wanted to start here because personally i want to be able to travel and pick this up in a music store and now that i've got my gear yep i also want everyone to have one i can't give any officials on like price point or anything just yet all that information is coming i've been sort of cryptic with this on on my socials and people are i think even getting a little annoyed because i haven't given the goods but truth be told i was kind of waiting for this so uh and here we are so um that's the most info anyone will have now we can link to the to this video uh but it's all coming and uh we'll make everything like clear as day for everybody's coming soon they know what to expect okay so let's hear some sounds yeah so um i'll just start with maybe just clean so you can just kind of hear and tell me what you're playing through so people know yes we'll talk about this too for sure i've got the neural dsp quad cortex yeah dsp have been you know kind enough to sponsor intervals on this tour we're all using them including base we're driving cabinets on stage stereo in the front of house stereo on stage too we have pairs of cabinets for every guy now that's new for us yeah symmetrical image on the stage i'm working it pretty hard in fact what we should probably do is i'll start did you have single cabinets last time because i when we came when i went to your sound check yeah so only i'd be on one side that's right travis would be on the other side right yeah and what we've done is something we've wanted to do for a long time is stereo pairs so that they represent the image in the house right and you get guitar from every person no matter where you are in the house now are they getting the delays and stereos actually in stereo yes okay and modulation okay so when i go and your and your in-ears are giving it to you in stereo anyway so it doesn't matter where you are including the drum image we have 32 inputs of stereo so but anybody that's in the front row is actually hearing amp sounds they're not just hearing a dead stage with a drummer right yes and if you go to youtube and you watch any of the live videos from this tour that's the thing that you're going to notice the most and when we're listening back for cell phone audio we're we're really curious my friend house engineer is always asking he'll hear a video and he'll go where are they standing and we'll take a look and it's like you know oh they're right up against like the box on the front of the like the left side of the stage or something and you hear every last bit of instrumentation right which is something that we've not had the luxury of ford takes a lot of cabling to do that right but we're doing it i want people to see this routing because this is something that gets uh i get questions about this often how is it possible to run um this is just so i'm speaking specifically to neural dsp users but people want to know how do you run stereo in the house yeah and stereo to the cabinets yeah so this layout is kind of nuts um i'm i'm doing something unorthodox here to where my delays are separate from the line where my reverbs are and this is for dsp management okay so the way the quad cortex works is you've got four rows the first two share a brain and the second two share a brain okay so managing your dsp is a is a balancing act what i've done is i've i've come up with a with a process with with francesco at neural to where i can run stereo delay and stereo reverb and you can see here output three and four this is driving the cabinets on stage in stereo and then this is driving the front of house and the cabinet is only going to one side so when i'm playing like a dry rhythm which is just a friedman yup a bit very basic friedman 100 rhythm with a little tube screamer in front when i'm playing that it's just coming out dual mono as soon as i put a lead on it [Music] you'll hear that image yeah yeah yeah and that's because the wet effects are are after the ir in stereo and i'm using modulation you feel all this on the stage and in the house switches which is excellent the overview on this rig is basically i wanted to have the quad cortex and all the things that it can do and i'm working it pretty hard i'm i'm only using captures on the seven string songs everything else is native to the unit a lot of people ask about what do you mean by captures what is that so the the unit has the ability to capture if you guys are familiar with the kemper yeah it has like capture like an eq profile or whatever essentially a snapshot of an amp or a given rig printed down into like a i don't want to say two dimensional but a flatter format that allows you to yeah right so the the difference with the neural stuff is that it is reactive to impedance so it definitely is sensitive it's amazing even on the capture yeah pretty amazing yeah and um yeah it allows you to basically take a combination like an aggregate of gear and and capture it or capture the individual elements yeah the amp capture you know on overdrive or whatever so we're using a capture for the seven strings have to get a very specific tight sound here though i need flexibility on all these sounds and the way that i do my show is i have one program per song and eight scenes per song okay per program and there's a step through to go to each song and then you have and then you can change the sounds you need for that so i can bank up and down through the show and i can see here i just visually give myself gaps for the stuff that i don't need to know about however i'm not concerned with any of this during the show because it's all midi automated from like it was before yeah so this thing's okay so so aaron has got he's one of really the first people that i've seen that really had this together so his midi is controlled everything is controlled via midi and does all the scene changes for the whole set all the do you have to do anything when it goes into a solo does it does it know how to do that does it change everything is completely set up so we're so the show i believe that you sit around and program i mean it's painstaking you're you're you're pretty obsessive compulsive about this oh i sure am i sure am yeah so so so a lot of the moves are preset maybe there's one or two moments throughout the show where i have to call an audible on it yeah but it's for the most part we are recreating albums live if you're calling an audible though if you change something right yeah what what then you're just relying on the next midi message to take you to where you need to go from there got it so i've only got a small gap to work with right for example tom from from thank you scientist is joining us on stage during epiphany every night and uh until we got tom on stage at pre-production and tried it out i was taking a solo there and i didn't tweak the midi so it's the one part in the show where every night when he starts i just walk over and hit rhythm rhythm's always top left i can do it with my eyes closed and that defeats whatever is programmed and until the next song comes up and sends midi at the unit i'm safe to live there okay so so i can i can do some stuff like that on the fly but the next midi message will kick me over to where i need to go which means i can stand on the kick drum or i can go somewhere in the show is going to keep going no it's great it is great so this is gig view um you know the cool thing about the quad cortex is the haptics and the and and the behaviors are very apple-esque yeah i don't know if i could say that but like you know what i mean right it's like it's very much like you know with swipe gestures and things of that nature it's amazing and this is what we see on stage i don't need to see my layout i just want to know that i can see the leds moving and i can see things bouncing around and i know where i'm at this is in scene view you can have stop view or preset view but we just do it in scenes program changes take you to the next song continuous controllers take you to the scenes within each program so that's that's the workflow and then also you'll notice if i reload this preset for example you'll see the microcosms actually talking as well so i'm sending outbound midi per scene so that has a midi so you have midi going into that okay and it's the only one that i'm sending midi to but what it allows me to do is load various algorithms from microcosm so i'm gonna we'll start to head in that direction now basically the hologram microcosm is an is a granular micro looper so it's not like people see it next to like a big sky or a or a timeline and they think oh it's just another one of these multi-effects gizmos this is a very uh very unique unit you have these different sections micro loop glitch granule multi-delay and then inside them are the different algorithms in each one i love the way this unit behaves by the way the the lights tell you where you are also if i push the if i push the encoder it tells me whether or not that algorithm plays forwards or backwards wow so you have 88 different algorithms because there's 44 forwards and then another 44 backwards okay so i'll give you an example of how i'm using it at the beginning of uh the song lunatic i'm not sending it tempo information so i tap tempo in uh what i needed for the groove okay and it's all saved down in the preset but when the song starts there's sort of this lo-fi thing that i'm doing and i've got it set to interrupt you can kind of hear the noises doing something yeah so if i play the part it's just freaking out and glitching and every night it's completely different okay so that's really cool and nathan's playing this little rim click groove and there's some synths happening and the whole thing is like i've got it kind of like tucked into a little you know we're using some lo-fi filtering and i've got that going that's one way of using it another way of using it is probably a little bit more uh in a traditional sense okay this this preset's called haze which just gives us like a cloud right and it's and it's different though than a regular reverb there is some reverb on there as well but you can sort of feel all right i've also got this expression pedal tied to the filter so there's none that's just my reverb okay and then wow and this is a subtle moment i've actually got this going well there's a saxophone solo happening so i'm trying to stay out of the way a little bit all right that's sort of how i'm using it and i'm basically grossly under utilizing this for the show okay but i i wanted it on the board because it takes a unit like the quad cortex and allows me to go in numerous directions if i put this on mosaic which is how the unit boots up and i just play a few lines now this is with the mix completely on full you're not hearing my guitar you're hearing what the unit is producing if i bring in some mix and at any point oh that sounds great we can loop yeah and because it's granular looping and i have reverb going here i can play with ambience beautiful mind of its own and i have the ability to filter it too and i can pull it out maybe play some phrases do something else and at will we can bring that back as well it's pretty nice yeah so really enjoying that and that's uh yeah there's hours of demos on this we're not going to take up all the time you talk about the microcosm but it's um it's an invaluable tool for creating things i think that where this unit really shines and i intend to use it is for long format recordings in studio 10 15 minutes of just tracking like you are now yeah and then harvesting things textures well i want to hear you just kind of jam with this though oh absolutely so let me find something else that's a little bit more um interactive um and i'll keep it on this like my favorite part is when you actually jam over this haha okay okay let's see what i can do [Music] nice [Music] kind of nice right and that's with a little bit of my dry signal in if i go full um [Applause] [Music] it's amazing what it's doing beautiful and of course at any point then if i bring some dry signal back in and pull a little bit of filter out [Music] [Music] kind of cool right and it's basically grabbing pieces of audio and just you know applying like multi-plug-in process yes to each you know individual uh piece of granular audio that it's capturing so yeah it's hard to get your head around okay well give me an example of something that you'll play like a tune that you'll use that you'll use these on um yeah so in the show i'm like i said i'm grossly underutilizing this um like i like i said i've got this going for during a sack solo so [Music] i'm able to gain here and this is just set up to be like i said it's like a haze so it's just gonna give me a pad beautiful [Music] but the quad cortex is nice [Music] it's beautiful and really at the end of the day what you're hearing here the majority of this other than that little pad uh is all happening here and i'd actually it's a good moment to sing the praises of of the neural dsp have you spent much time with yours of course yeah yeah it's it's it's incredible i've used other models for a decade yeah and there's a lot going on here that i really really appreciate you were using other modelers last time you're here yeah absolutely i mean and that was you know the other modeler that i was using and no shade to any other companies everybody makes great gear um this is just something new that we're trying and i will say that you know the workflow is different but i really appreciate a lot of the um you know the ability to do uh to to interface with the front of the amp in a way that's true to the real world version like when i play that jc m800 or that bogner like i've had the luxury of playing those amps i know that it feels pretty accurate right i want to show you something else that is really amazing um and you can and you can wholeheartedly say that but the um something like the poly octaver [Music] yeah i'm really enjoying using these types of sounds that's just poly octaver into a tube screamer into the freedmen [Music] and it will go it sounds pretty cool right sounds great kind of synthetic i'm also at times using some fuzz yeah as well let's find that fuzz [Music] so yeah we've been trying lots of new things out and a ton of modulation i'm really enjoying being wide in the house which is something that uh i don't know maybe it's me just trying to like take a dip a toe with the van halen vibe or something like that now were you doing that before last time that you were here were you uh did you have were you running in stereo in front of house stereo yes but i was only ever using modulation like maybe a slow phaser in front of the amp to give me a little bit of this just a little mouth on the front yeah um but uh we're we've taken some some liberties here with things like uh this is how the show starts i'll show you how the show starts so we we we have this lo-fi sound with a stereo flanger and this is i'm directly recreating the album here [Music] [Applause] [Music] so it's got that trashy short plate and and that slow phase on the back end and you can see it here it's on the cabinets and in the house and then we kick right over into this like modulated [Music] yeah so processing is pretty minimal other than a lot of the stuff that's going on with the you know modulation and effects um the majority of the show for distorted sounds is a tube screamer dimed into a frayed man okay and i use it jc m800 with a compressor as a clean boost for some of the twangier stuff cleans our other bogner if i need some some bounce and if i want like more of just like a stylized clean roll and jazz chorus okay yeah and and uh um a friend of ours that's on the tour mike from the band cryptadera is traveling with a real jazz chorus right now which is kind of an interesting thing that's that's 5150 in a jazz class with an a b selector nice cool rig it's like cool old opeth that's like old school yeah super cool so i'm kind of utilizing uh some of that ethos and a few of these sounds like for a really stylized clean i'll go for that but yeah this is pretty much like the the the core tones are quite simple it's just all the moves with different amounts of modulation and for the most part it's a stereotype delay and how how integrated is your midi programming with the light show it's time code this the laptop control you gotta come see it tonight it's insane of course so everything is always oh yeah aaron how long do you spend getting all this stuff well i didn't i didn't do the light party well with all the scene changes for everything you did all that right yeah so tour started in november you run just a like a brand new macbook brand new mac m1 max yeah which they're incredible and what are you are you running do you have pro tools center or logic logic okay yeah yeah use logic and um we worked that session pretty hard i had 222 live audio channels with plugins and okay wait so when you're doing your when you're doing the changes so you'll have a click right and you'll have um set you have to figure out what the sections are right do you have them mapped in logic so there's a really easy process for this i've been doing it for a long time and i've got it down to where i'm uh trying to annoy myself the least by doing this it's very tedious yeah but what i do is when i build the show yeah i build the set with mp3s of the i just use the okay so you'll put the mp3s in logic yeah and just make it easy then that makes it so much easier then you know where the sections are because you open yeah so what you do is you open the event list on the side yeah and then what you do is you just set it to um whatever it is that you're trying to do program change or cc yeah and then as the playhead lands on that spot of the grid that doesn't matter do you need to be in a tempo or no if you're doing it that way i'm pretty ocd so of course she doesn't matter and i love to see hard down beats where they need to be so i just i do time signature adjustments to make sure that the downbeat is of course you do always wear once again of course uh tempo and time signature is all adjusted so that everything visually does not throw me for a loop when i need to make a decision yeah i want to know do you do uh do you do color differences in the different sections of course you do i'll show you the regulator yeah yeah so so basically what i do is i open the event list as the playhead hits a moment or i'm anticipating a moment i stop it dead tracks okay and you'll go back a 16th note before a sound change there's no compensation happening in this show okay wow i don't know how i'm able to do that amazing i i for the most part i'm hitting everything dead on the money okay if i feel like i need to i will i will scooch it ahead just a little if i feel like i need to but for the most part midi is midi is firing really reliable so so there's there's a couple reasons for that the new m1 macs are fast yes these new computers are no joke yeah and we're spoiled to have them yeah um two we upgraded our um live infrastructure to an eye connectivity rig which is the i believe the the gold standard for playback now i have a half rack audio interface that connects ethernet to a midi interface they're networked to to be connected with one cable to the laptop sends audio and midi uh down that connection so they're not separate from each other they're in the same universe and then what we do is midi cables long midi runs will have latency yes so what we do is we have midi to xlr adapters that hang out of either side one hangs out of this side of the rig the other hangs out of the midi interface and we just use xlr cables and for some reason you don't get loss yeah more latency with an xlr yeah um a lot of guys say hey you can't send midi down xlr but you can because only three of the pins in the five pin midi are what it's actually applicable that's right anything i'm sending yeah so you can literally sever a midi cable and solder it to the to the end of an xlr and or and to create these adapters and when we travel internationally i don't have to have 50 feet of cable in the same case i just asked the house for an xlr so that's what we're doing is we just loom it down that way and everything everything works works perfectly on that front and yeah lights are set up to time code we hit the space bar and the whole rig goes and that's it goes through the set yeah and we can pause it too and we have scenes set up to who's doing who's who's controlling it my lord and savior john jonathan rexsteiner who is my my uh guitar tech stage manager overall just guru he has to really be paying attention though yeah john's very switched on he's uh not only cleaning and preparing guitars for guitar change he's monitoring the laptop and he's got an ipad going monitoring our ears listening for anything and if anyone gets belligerent in the house he's also the guy to take care of it because uh security's been a little lacks on this tour so if we got a crowd surfer coming like last night in tampa well crossover came on stage oh we had multiple oh my god inbound towards the rigs and john's got a you know or we had a guy pull the xlr out of front of travis's rig in minneapolis and when john went to go fix it that guy gave john a shove and then john had to deal with him and you know we could stay yeah stuff is going on people are rowdy to be back at shows and it feels really good and that's you know we've been having the best time on this tour honestly like charisma is at an all-time high um within our camp and within the house so you know it feels really good to to be back and to be doing it um in true intervals fashion i threw the crew for a loop and changed every facet of the rig so brand new rig here brand new rigs here uh but um things feel the most consistent and like dialed in now we're halfway through this tour now and things feel good so cool yeah i like that you're able to bring this i mean with your old rig you couldn't really it was racked it was wrecked you couldn't bring it around this here um i can fly this rig uh to asia you know where i can bring it here and have it be traveling in a nice big pelican protected in the trailer and it comes out clean like this every day i should also take the opportunity to thank cass bittner at temple audio in saskatchewan their canadian company they make these boards okay which a lot of people i'm sure a lot of your viewers know about temple audio they have a system for mounting pedals to these boards they make these boards great cass built the rig for me i was in a really tight time frame he rigged it up with these nice ebs cables also a big shout out to um kurt at red panda for sending the tensor over um we haven't talked about that yet but i can i can show it off in a second and uh the freakout i already had this is just like a little live trick that i use for feedback [Music] which is just a you know it's a cheap way to do that it's a must-have though for that big epic epic moment okay do the tensor let's see that so the tensor the way i'm using it is this is a dangerous pedal and it's actually a liability on stage because if i hit it and don't disengage it this is what you get so it's a tape machine that's latching and i can play you know i can play larger selections of things so it's just like a small little mini looper it does a lot more than that if i glitch out so the idea there was to be able to have a noisemaker and and i am using it throughout the show like if the band goes in for a pick scrape yeah i'll just kick that thing on and right at the front of a of a pick scrape right so then wow and then stereo in the house it sounds like chaos yeah especially with the moments that is it is chaos and it's a liability because if i don't get it on and off fast enough we've had a few moments that i'm stuck there and i'm like trying to get it off so it's it's interesting and it's something that you know this could this area of the board could be like the audition section okay we try different treats and things for for various tours but the microcosm with the quad cortex is absolutely it's a very simple setup honestly with a ton a ton a ton of options that i can i can go through the last thing that i will mention because people ask about this and the thing that i learned with two years away from the stage and trying to you know get better with dialing in tones that the most important part and this goes for real life it also goes with the modeler is the impulse response yeah speaker is everything and i used to take that for granted i used to spend time prioritizing which amp and which pedals i'm using and just kind of like choose an ir but for kind of no reason it's like oh i think i like this one getting to know speakers is probably one of the best favors that you can do for yourself as a guitar player and uh everyone just thinks the v30 is the only thing and it's not however right it's you know but they're probably the majority of those things probably have v30s maybe some greenbacks i've got tons of greenbacks so i've i've i've i have a good collection so i got everything of course you do and a lot of the problems the vintage 30s i finished 30s in in a mesa cabinet in an orange cabinet and a marshall and they all sound totally different of course they do because of the cabinet construction cabinet construction and the era of the speaker this is the rabbit hole with things like this like is it a uk v30 is it a chinese v30 what area is always a uk v30 yes so so the thing is they're all old v3 i mean a lot of these cabinets i've had forever so yeah yeah so so ggd uh which is get good drums yeah it's our it's ali is an expert at uh at impulse responses yeah for a long time and his cali oversized suite with this is a brand new plug-in from from ggd is i'd say you know his crown jewel nollie actually mixed the very first intervals ep like 11 years ago 10 11 years ago and i've you know i sing his praises forever he's one of you know my favorite sort of you know pioneers in in our space yeah and um when they came up with the zilla cab suite i thought that was really cool because we you know we we tend to especially on stage v30s and cream backs live as a combination is the sound for getting that good bottom end and top end but filling in the mid-range and should we ever drop a mic on something we have options or because we're prioritizing some stage volume i want a balanced sound right right so so that's what we do live and that's what's in that plug-in so for me i really like that but they went to another level with the cali oversized it's the it's it's basically the entire lineage of the v30 and the best mesa enclosures from like the you know i don't know maybe like 90s all the way through into modern modern speakers now so what i did was i exported the sweet spot of a 57 on every speaker type from the plug-in and created a mini library of irs here where i know which v30 on which speaker i'm getting and i know that it's the 57 on the suites you are a well i you know i love that yeah i think it's important especially if guitar is the absolutely the crown jewel of our entire production you know when nollie was getting into it i talked to him when he first started getting into irs and i thought that's a good idea it's an amazing idea and what it allows me to do is have all these different colors of the v30 and and to my knowledge he used the same enclosure top left on a slant cab unless unless almost specified i believe there were maybe some some straight caps but i listened to uh to him talk about um the ethos and the approach behind this plug-in and it made so much sense to me because you know when you start clicking around through folders of impulse responses you don't know what's what after you listen to the second one that's right so because the eq curves are so drastic being able to select like very purpose-built irs um and i love the way he even named them because it allows me to think like so my rhythms are all the upfront which is to my knowledge it's like the most mid-balanced one top left in a slanted cab gives you a really true read on what that speaker is kicking out it's sweet to the year the mids are balanced but then there's thick and detailed and guttural and all these things where i know what i'm getting from it and i can feel the response so there's some that sound good with the jcm800 there's some that sound more balanced and thick and full response with the friedman so i just you know gave myself like five to choose from without going down the rabbit hole i know that i'm going to like all of them you pretty much can't mess this up right especially if you're working with you've not always done the work for us right so you know i really appreciate the ability to take that export them and bring them into this world at the same time i love all the other plug companies that make irs i have a bunch of the ml sound labs ones yeah and there are different combinations of various speakers and things and while i love a 160 blend with a 57 it gets in the way live i think a 57 in the sweet spot on the right speaker is your front of house stream you know the engineer eats his dream to just have a good true read on a speaker and i'm not muddy downstairs or anything i'm out of the way the kicker i'm out of the way of the base i'm doing i'm sitting where i'm supposed to sit and i get what i want from them so this is this rig is a is sort of a collaborative endeavor between what neural's doing and bringing in a little the ggd world and then you know i started working on the show in june tour started in november so you were asking how long it takes but also that was from you know to shake a little of the nerves off from 23 months of no live music yeah and the impending anxiety that came from that and um muscle memory and getting it all back because i'll be honest i didn't maintain back catalog songs throughout the pandemic but you did play though right you probably did a ton of playing you made a record you made a record that it made a record and to me it's always about application i need a reason to do the thing i i have a hard time just sitting and playing and practicing like in the abstract yeah um there was definitely a lot of time for that and i did go down the rabbit hole with some stuff but i need a reason to do the thing so making the record gave me that focus and um it's nice to just emerge i think we're exactly two years from the last time i was here yeah yeah so it's it feels kind of like a dream sequence to to emerge from we escaped canada we made it to america we're on the road we're doing the thing shows are at an all-time high everything's at an all-time high we came back with our biggest production today and i feel pretty good about it and we're really applying these these these tools in a way that uh they're built to be applied you know i see a lot of chatter online in forums and stuff and a lot of people like to nitpick these things and i don't see enough music made there you go and i'm sure you're with me on that i'm totally with you on that yeah so aaron yeah pleasure to have you here appreciate it dude thank you very much we could do this for a very long time but uh hopefully that's a good little tidbit of everything for everyone and yeah for sure and uh hopefully you enjoy the show later well thanks for having me awesome appreciate it good to see you thank you too thank you man that's all for now don't forget to subscribe ring the bell and leave a comment check out my new quick lessons pro guitar course that just came out also the biato book if you want to learn about music theory that's how you do it and check out my biato ear training course at beautiertraining.com and don't forget if you want to support the channel even more think about becoming a member of the biato club thanks so much for watching [Music] you

Channel: Rick Beato

Views: 167,355

Keywords: rick beato, beato, music, music theory, music production, education, aaron marshall, animals as leaders, heavy metal, shred guitar, aaron marshall intervals, progressive metal, intervals band, misha mansoor, electric guitar, instrumental guitar, aaron marshall rick beato, Plini, tosin abasi, tim henson, neural dsp quad cortex, Darkglass, modern guitar riffs, periphery, schecter guitars, Get good drums, nolly getgood, Ichika Nito, Ichika Mo, Simon Grove, Guitar solo, Djent

Id: FqBs23FS6go

Length: 39min 5sec (2345 seconds)

Published: Wed Dec 15 2021