Systyr Skin-nerd

Be irreverent, entertaining, cool, good with me to ever talk radio. And your mistake, Jeff, all of now guitar with Jeff Holdo! Holy fuck, they'll talk for you! Guitar, an amazing instrument.

It has developed into an incredible voice in today's music. So many types of guitars, so many styles of playing, with all sorts of gear. How does one make their voice be heard as a guitarist? My name is Jeff Floro and welcome to All About Guitar, where we talk tone, we talk technique, we talk gear.

Where we discover how we can become better musicians in a world of constantly changing technologies, where we take a good look at everything guitar, and sometimes not exactly guitar, but just as important. So we can be more successful as a musician in today's music scene. So sit back and relax, and let's explore All About Guitar. Good evening everybody, welcome to All About Guitar.

It's Ladies Night here, All About Guitar. We have a full house. I want to welcome back, actually this is your second time you're a sister skintered. It's great to have everybody here, I'm going to go around and introduce, we also have a hidden guest.

It's hiding in the back. And Andreia Lisa came down and decided to hang with us. So it's a bunch of guitarists, keyboardists and drummers. So my dear friend, Kathy Lauer, who's been a friend for, well it's been about three years, four years now, it's been a little while.

And she built my pedal board for me, and we're going to talk about their pedal boards in a minute. She's here, Deanna. She's good. Look at this beautiful guitar.

I'm jealous, I want that guitar. And Maria's here, and she's the third guitarist. So they have three guitars, and I'll take that one too. And on keyboards, Leah Finkenstein, it's great to have you on the show.

It's great to be had. And on drums, Shannon, Jen Mallard. And of course, Andrea. So welcome you guys, it's really great to have you guys on the show.

Thank you. We have a lot to talk about, because you guys have been pretty busy. You were in Europe, we're going to talk about that in a minute. And you got some upcoming gigs.

And talking to Kathy, I did get to go and see them rehearse, and I shot some pictures for Kathy. And there's some new equipment that I noticed, especially Kathy with a new speaker cabinet. We're going to talk about that too. But anyway, let me start out real quick, and I'm going to play a clip.

This was live at, I forget, it was in April, if I'm correct. Did you guys play in April? It's February. Time flies.

It seemed like April. Anyway, it's like St. Rock. They were playing at St.

Rock. And so I'm going to play this clip, and I think we'll go ahead. This is Saturday Night Special. This is a little clips again, idea of their sound.

So that'll give you a little bit of the energy and the shredding that's going on in this band. And so anyway, let's start out real quick and talk a little bit first about that show. What you were doing there, what you were using, we'll go through some of the equipment. Then I'm going to get into, I'm going to take a little tangent and talk a little bit with Shannon and Leah about the keyboards and drums.

But first, let's talk a little bit about what you guys are using on that show, so people get an idea of where you're getting that tone. Well, we didn't have a whole hell of a lot of room on that show. We were opening, which the next time we're going to be there. We're going to be doing the same thing.

So I was using my Fender Tone Master with a 212 cabinet and Old Trusty here. And I think I brought a strap with me that night. But I was just running pretty much straight in and boosting a little bit off my pedalboard. And that was my tone.

Which pedal were you, in that lead, you were doing the lead in that clip, what pedal were using to boost it to get that kind of... I was using my travel pedalboard again because of space. And I was using the exotic SL drive. I turned the gain all the way off of it.

So it was no distortion from the pedal. It was just the volume from the pedal boosting the signal. So you're basically just putting signal and over driving the input. I just little boosted the tone up a little bit to cut through.

And that amp is... how much is that 100 watt? I was running it at 60. It runs 30, 60, and 100 watts.

But no, I take that back. I was running it at 100 watts. Because that has a great sound check when she was opening it up a little bit. It's just amazing.

Is that 6L6 in there? 6L6 is. It's kind of Fender released the Tone Master concurrently with what we know as the vibroking out there. They're the one with 310s.

They still make the 310 vibroking, but they've long since they'll make the Tone Master, I think, in the beginning of 2000. They stop making the Tone Master. It's kind of like for certain guitar players out there, Nancy Wilson. I heard even Jimmy Page of Albert Lee who comes in and uses them.

It's like a... It's like a twin on steroids. It's own little animal. Seriously.

And it is an animal. Yeah. No, it gets a great sound. Now, before we move on, I want to talk about what are you going to use?

You're using a different cabinet now for this. I mean, use the same hat the Tone Master, except now I'm going to... I've been using a vintage Marshall 410 cabinet from the 80s. I think it's a 1965 B.

So it's a straight cap. The speakers are stocking it. They're GE1035. She had that at the rehearsal and it sounds nice.

How do you like the 10s? I love them because it helps me cut through. Because we have Maria over there. She's using Marshall 12s with her Les Paul.

And then of course, Deanna is using her Mesa Boogie, which is kind of Fenderie sound too. And she uses her strats. So I fit nicely in the middle of the two, which is what we're going for. Yeah, because there's a couple of things where you and Maria do double leads.

And there's with the three guitars, yeah. You need to be able to hear the different guitars that they do definitely sound different. So now, let's talk about you were using at the St. Rocky.

You're using a Strata. Yes. It's a 76 reissue, I think. Okay.

Yeah. And then I can use my travel pedal board as well. Yeah. Yeah.

Which it was small. I was using the bad ass for the distortion. I like my angry Charlie better. It's on the board here, the bigger board.

Yeah, they brought their pedal boards. We're going to take a look at those. Yeah. And I love the Lone Star.

It's the Lone Star. So it's 10, 50, and 100. I think I have it on 50. 50?

Yeah. Yeah. Really nice. But now is the amp primarily clean and then you use the pedals to dirty it up?

Actually, we kind of reset that just recently. Because it has a great clean sound, but I also have a, you know, a. Yeah, because the Lone Star has a great overdrive. It's the D.I.

And then pushes it over the top of the pedals. With the pedals. Honestly, God, he sounds really good. Yeah.

Well, she is the Lone Star have channel switching. Yes. Okay. So you have a dirty and a clean channel.

Oh, very cool. Yeah. So, and we were just kind of, we were, I was until recently using more of the pedal, but we went more into the amp to give it that sort of in between, not too dirty. Right.

You know, so that it still has a strat sound because with all the, you know, the gift. Right. Now you're going to be using this guitar for the, you know, I'm deciding I might use it on a song or two. It just depends.

But locally, yeah, we usually will try and maybe switch some guitars, but it just depends on, on. And space wise, because especially the first gig again, we're going to be in front of another, a whole other setup and it's just, it's hard to, to the more guitars that are on stage. But the road should work out. The road should work out.

On stage. Yeah. In fact, I think we're going to have a grand piano for our Billy. Yeah.

Billy. That's right. That'll be really fun. I hope that works out.

Yeah. Are you going to be able to practice on a grand piano to build your hands up? You know what? That's actually a good idea.

I'm going to lie down. No. Okay. I know that from, that'll help.

I mean, like if it's like a Steinway, that action's hard. You got to build your hands up and it takes a while. And with electronic keyboards, you're using electric piano. You don't have to play so hard.

That's right. Is it harder than your upright? Is the grand piano right in the upright? My upright is a little harder than the keyboard that I'm using.

So it actually is good to practice on that because it, you know, it's like practicing on a acoustic and then you're on an electric and you're like, whoo. I'm not my acoustic. Right. But yeah, no, it's, my upright is a little bit harder.

But I've played on concerts, Steinways, when I was starting to college. They're not easy to play. They're not, you know, it's a good thing. This is probably the most muscular part of my body.

But I mean, if you haven't been playing, you've been playing electronic keyboards and you go to piano. There's a mention to people out there too. You can damage your hands. You can really strain them.

You really can't. As a matter of fact, that's why I know we're going to jump in the gun here. Sorry. But I use the elises for this band because the action is a little lighter and really Powell, such a, you know, he just slams this, you know, and it's a lot of, that's a honky-dong, very fast, playing.

I also have a Yamaha that I use for other gigs. I like the tone of the Yamaha better and the action is more like a real piano, but they will destroy my hands if I try to do it. Yeah, that weighted keyboard is hard. But the weighted keyboard to me isn't like a, it doesn't, it's heavy, but it doesn't have that feel of like a grand action.

Right. Right. But I have to have a weighted, you know, there's a grade of weighted, you know, so the only system is like building your hands. But she's doing like these trills and she's like doing this kind of stuff.

And also when your hand becomes a claw and then oh god, it's a player. Yeah. But I mean, it takes, it takes a lot out of, it's strenuous. Yeah.

And I'll do that on a real piano. It takes some doing. So that should be fun. That'll be great.

A real grand piano. That'd be super fun. I'm going to go to white jacket to go on. Okay.

Now Maria, you use the, this guitar on the, on that St. Rock recording. It's this, this last ball. Yeah.

And the, you, you're using a Marshall with the 212. Yeah, the JC-900. What is that? A 50 or 100 water?

50. 50 watts. Yeah. So that's a nice tone.

That's like, it's still loud. Oh, everything's loud. No, that's true. But it worked really well.

The blend was pretty well. It was a pretty good studio. And we were opening it up. It, it really worked.

It worked really fine. Now let me ask you guys quickly and we'll get to the, I want to get to the keyboards and drums. When you worked in Europe where you had Backline. Did you, was the approach more, keep the amps clean, and use the pedals to dirty up your sound.

All three of you pitching. And how did you approach that? And what were you feeling about the back line? Did it work for you?

Was it a problem? How did you guys deal with it? Well, I kept mine pretty clean for every amp I used and used my pedals until I didn't have my pedals anymore. That was in Belgium.

It just blew up. It just blew up. And then I was plugging straight in and getting the amp down. Now, the reason that it had blown up was basically, there was some, they didn't have.

Let's just say human error. Not yours, but not mine. But, yeah, someone unplugged it. And you know, if you don't look carefully and you plug something American into those two holes in a European without really looking carefully, it could, at first glance, it looks like it's a regular plug.

Yeah, because we're used to 110 here and it's 220 in. That's what we're talking about a lot. It made two points of contact and gone. Yeah.

But fortunately, it was only the power supply. The pedals actually were spared. So it probably just completely fried. Well, the power supply probably acted as a buffer.

It blew up the power supply so your pedals were spared. Yeah. Now, the new pedal boards that you're using will take a look at those in a minute. Are those set up for multi-voltage?

Mine one is set up for multi-voltage. So you just can switch it yourself. You don't have to worry about an adapter. And I'm going to make sure.

You were going to switch mine out. I'm going to switch the antennas out. To make it also. And when we finally corralled, wrangled, strangled, and put Marie in a corner, get a rebuttal.

I'm going to make sure to. I have pedals. She has pedals. I have pedals.

I'll play. I just want to have the correct one. She has a pedal here. Pedal.

We don't know if they're not correct. We just have to listen to them. But we're going to get Marie's situation. She's a healthy oracle.

Well, you didn't use pedals on the tour. No, I went direct. So you always crank the amp up? Pretty much.

Also, I used my list called Special, which was a reissue. It was a 2007 reissue of 50s with a TV yellow. It's basically a plank. This is active electronics.

What amp primarily did they give you a Marshall? Different ones. I had Marshall. She plays pretty dirty.

From what I heard on the... Nope. I don't know. I don't even know.

I didn't know it. You should rule with her too. But I mean, you play with a lot of distortion. So the amps were able to give you that.

Yeah. We would be happy with that. Whatever is on that side of the back one, I would usually defer, and let Marie take the stuff with the more gain in it. And I played the cleaner amp because I could use my pedal board.

So we just work it out that it's and it's a world so you and diana would use the pedals to Okay, so that was interesting. Yeah, that's cool. No, we were pretty lucky. We had good we had good Backline the only time we ever really had an issue was in solid and with this is not we're not making this up either We were playing that smell and there was a that smell We were all like what's burning something something sound like was on fire and what is that smell was on its way to blow it up?

It was a marshal a new marshal What about the backline for the drums wasn't it a weird snare or something? No, not there. I wasn't there That was at the 66 oh, yeah Like this thick Original sheep skin A little bit yeah, it's cool. They have a lot of gear there.

Yeah, it's like he has a lot of equipment You go to 54 that was primarily marshals that they would give you right He had marks, but you know he had a lot of fender stuff there, too Oh, yeah, and he had a lot of PA gear and you know different bass ants and stuff. I mean he's used to doing this But yeah, a lot of you remember what I played out of in the spirit of 66 I don't even remember what am I played out at I know I think but Maria was out of offender You were using a fender because I almost use my son now let Maria because I had my pedal board and then I didn't have my pedal board But you had something with gain in it. You had a marshal. I think because at one point you offered your pedal board to me Oh, yeah, and that's right.

I was gonna go straight through because it was fried Yeah, and I had like a vintage JCM 800 and even on the low input setting if I would have split every once the years open to try to get any gang out of it It was just way too loud So there was just no way I could turn that out up and without like oh, you know the audience in there so well Let me ask you then overall in terms of being a tribute band where you're basically recreating that sound that they it's a pretty iconic sound How hard is that to do because you're not using their vintage amps you're using a lot of different amps and a lot of pedals and similar guitars But sometimes not how difficult is it and that's gonna lead up to it I'm gonna lead up a question for Shannon on her set on her kit But how is it hard to do that to get that sound? It's it takes some Decisive planning to do it it is difficult because modern equipment their sound came from turning it up Because in those days in that in the seven to get turned up in in in the 70s They were playing huge stadiums huge halls that required the back line to turn it up because not everything was always miked so In order to sort of recreate that clean type of even though you're using distortion It's clean and I know that's kind of sounds like an oxymoron there, but the the gain is articulate. It is not Fizzy fuzzy There every note is heard even though there is overdrive going on from the amplifier So we have to try to recreate that with modern equipment and that means Diling it back and looking for a cohesive blend with whatever guitar is going in and you know We like to do side bars where we take our back line with us and actually rehearse Two or three hours turning it up to see if that blend sounds like we'll actually go rent time to do that aside from the regular band Just the guitar player so we can work those tones out. So when we get there we get a little bit closer We're all it's always a work process.

Yeah I mean considering Kathy spent you know, our whole life perfecting this and knows so much about all of their sound We just defer to Kathy the Oracle The last guitar rehearsal we had which was like a couple weeks ago. Yeah, I mean the guitars were so we really Real tone was just I mean you could hear her really well Deanna with the strap we just made adjustments there she was popping out and the three just really blend together Which is really what the really that's what you're playing that blown out in your three of you it gets full real fast And then you and then you still have keyboards now. I'll be it your way up there on the tingles That's right. Yeah, I got it.

I got a the tingles cut through. Yeah Well, let me I'm gonna play an edited clip so you guys are gonna go Hey, I don't remember the song playing like I put together two parts of where you guys are doing the leads and And then we're gonna talk a little bit about the the tone because again On this one to besides listening all the guitar parts which are amazing Check out the drums on this and then we're gonna talk to Shannon a little bit about her drums So here's this is a give me three steps and this is an edit of two parts Okay, that was too fast Now and also the drum sound was amazing did they mic you on that gig they did yeah It was kind of those tongs and that snare and kick drum are just in your face He did a great job on my can the whole thing? Yeah, and actually Mike the cymbals from underneath like we were kind of worried that You know wait a minute. No cymbal mics and we realized he actually might come underneath which is actually good because that's actually projects down Yeah, so the hard part is don't put him to the side of him because they're vibrating so much a phase lot No, it sounded good now.

Let me ask you You're using first of all tell us what your kid is because that's a cool kid Well, you saw the kid at the rehearsal which is a DW collector set which is an ash burl set that I just got this past year And it's just beautiful and I use Evan heads on the top and bottom EC2's on the top and the e2 on the bottom resident heads and But an outlaw snare drum which the outlaw snare drum is at me out of reclaimed wood and it's just like the reclaimed wood is from like old barns Old homes on churches that they tore down in the south years ago And they've made these drums that are just like you know, it's very very heavy drum. I actually ever so that's a wood snare It's a wood snare and I don't carry that and that's a snare on this this tape here I carry that snare locally. I don't care it to your because it weighs too much, right? But I mean it sounded almost like a brass snare was really cut.

Yeah, no, it's eight and a half inch all the way Yeah, it's a big snare and it's deep. Yeah. Now let's talk a little bit about in terms of Leonard Skinner What did he use and is there anything you're doing particularly get the his sound because he was using you mentioned Well, actually I do have a grudge set he's currently using well Artemis is currently using a grudge set and on that set I use vintage heads Evans also makes a vintage head which is like a thick pie But on the DW the Evans EC2's which are kind of like an hydraulic head Give it more of a deep resonant to mimic the 70 sounds Oh, okay That really deep tone and you know that over tone that just lasts just enough because on his leg wicks that he didn't use bottom heads Most of the time right most people didn't yeah back then but that tone you can't control as much today with the type of heads that they offer So having that you know east e2 on the bottom really gives a definite tone and then with the DW said it has his true tone Lugs that are just way too long to like manually turn on use like a drill bit almost like to get it halfway down Then you do it finger the rest of the way, but it's just so you have the bottom on your heads What's the we used to record a lot night? I had an old Ludwig set and we used to take the bottoms off because it would you know They would stick the mics up there Yeah, but do you find that with the bottom head does it ring more?

It gives a little bit more tone because the hydraulic on the top is a little bit more deadening So you actually bring a lot more the tone from tuning the bottom head So I spent a lot of work dealing with the bottom heads on a regular basis and then also the top and then with a DW kit That they currently have with a special collectors kit the true tone. I guess the rods They're like 50 threads so they're substantially longer than a normal lug so it takes longer to one to change ahead It's like a whole day process to change your your drum heads Just because it's just so long. Yeah, turn turn turn turn turn turn. Oh down to the finger point You know so it really takes a long time, but they stay in tune because of that so it kids that you know The longer love net gives you more stability right because it's fine.

So it doesn't twist as much now in how you approach is How would you describe his playing and how in terms of? You're emulating what he's doing you're trying to get his tone you're trying to get his sound and and also his groove to keep them going so Yeah, you know I would classify his left foot as loose He's got a loose foot if you listen to his hi-hat normally a player will you know open it on his distinct note He just kind of keeps it loose every time he hits it You know it's like you know one four three, you know Just it's kind of swish kind of sloppy left foot which is his style and so I try to emulate that because it's just you know It's random, but it's very specific because now that because we play the same set with regards to one more from the road For the most part, I know exactly where he's got that loose left foot and so putting that in there along with his You know he does it a lot of thirty second notes on his fills randomly with his sixteenth and eight note fill So he just like fills it in once you get that with that loose foot. It just kind of gives his flavor The now also to the your kick drum is real solid was he a pretty heavy foot for that? He wasn't and you also play double bass drum even though there's very few songs you're actually here playing double bass except for the very ends So I use a double D.

W. 900 series double bass pedal and I use it constantly on every end of every song But then also on crossroads. There's a one specific part that's just double bass now Would he sync a lot with the bass or does he just kind of do his thing? He also plays a lot on the guitars so he's got it's not a pattern that is meshed with the bass player Which is kind of actually my style So I also listened to the guitar player because in a band that I started years ago with it was just guitar player and I so that was my focus And then it's like oh whatever But You know The accents and so forth go you know you play the track with the bass and then you accent with the guitar player and then the whole band Try to mesh it all together.

Yeah, I also on the bass drum my front head is so loose that I don't know if you guys notice that rehearsal It's kind of gone where the headliners up top. It's like move to the side So it gives it you know and claim with a you know solid mallet on the bass pedals gives it that just you know deep thump That just comes out on the other side So the loose front line how tight is the the back one well that the batter head is really loose and then the front head is tighter Actually then the batter head. Oh really so you're using a very loose batter head on yeah It's interesting because you're still getting a pretty tight syndrome. That's because of the resident head.

Oh, okay That's really tight. I've played with drummers using the loose head to get that like bottom Yeah, we get that kind of ringy type of bass Sign up the resident head and you know do a patting inside Yeah, that will get up to I have to to Lisa's credit to it you can hear it in the song and I've worked with her before she's such a She's so tight and she's just solidifies it. So she was kind of working I think I would suspect she's not here to answer but I suspect she's listening what you're doing because she really Followed you a lot. Yeah, there's so much that has to be right on between her and I and then we actually complement what's going on with the guitars Also the rhythm guitar too.

I'm hooked in a lot to Lisa and I hook in a lot Yes, some of it on a lot of stuff. Yeah, it was interesting because when I saw you guys at the rehearsal Lisa was there It's just the guitars. Yeah, and it was pretty full and pretty tight It was I was amazed I thought I would be hearing a big hole and it wasn't that it was pretty full Which is a compliment to what you guys are doing. We've had to rehearse with missing players sometimes with seven people So now Leah let's talk a little bit about your rig.

Oh, thank you my rig I have a and a Lisa's QS 8.1. Okay, and it's a little old I bought her in Boston and she is just a good she's a good Roadhog, you know, she's just a good Comfy playing you know did you take that with you to Europe? I'm a newbie you're new. I'm the newbieist is the Alisa's that big honking Yeah, would you take or would you Know What keyboards they have over there, but there is a big difference.

I mean that's not easy Yeah, I mean I I should let that thing over snowbanks and Boston when I was playing gigs I mean that thing just it's been with me for a while, but I also have a Yamaha which is heavier So we won't take that either, but I was actually looking at some some smaller You know, but did you like a lighter action for this particular band? Because of the way Billy Powell plays which is very fast because of Hangei Talk we were saying and if it's a stiff action, I'm a mess, you know, well the Alisa's has the top in that's another thing I don't have that frequency response. Yeah, the real expensive ones do but yeah, the samples are just not there So when you get up to the top keys, it doesn't cut it's true. It's true and so and it has a decent piano sound It's got a good ham and sound so there are a couple of you know for What's the song with the ham and then sample a man?

So you know, but it's got a really decent sound for that so it so it's it's helpful Does it allow you on the the keyboard? Do you are you able to do the Leslie games where you do the fast Leslie? So Leslie is it we yeah, I think there's a there's a knob where you can kind of do that Did he play with the Leslie's or did he? He did play with the Leslie's because that's a key part of that sound is the fast road Yeah, so And I don't it just sort of played it the not yet, but I think that there's a way to do that so um Between that and getting the mood using the sounds I need to work on but I'm so used to climb up as been a piano player And I have not played a whole lot of organ, but you know setting the way he did it because he switched back and forth all the time Um, so it's been it's been good.

It's been good to learn. Yeah, but I mean it's I don't know I know a lot of it is in the background there the keyboards are behind all the guitars on the times So you're you're almost doing pads sometimes Whereas the piano he's playing more yeah, that's more involved. It depends on the song like the poison whiskey That's huge, but yeah, the organ is really prominent because he does these sweet and wicks and we got to hear them That's doozy and songs of doozy So it's I mean honestly I've been you know I've been playing with piano for a long time and being in this group has made me a better piano player in a short amount of time You know learning the way he particularly plays which is just different and I've played these songs in bands before But in cover bands where you're not doing an actual tribute. So, you know, you're kind of lose It is not it's lose, you know, you're playing it like that's you know, sweet home I played sweet home Alabama a million times, but I've never played it note for note and then when you go to play it note for you're like, oh, that's Oh, I've been playing that wrong for 20 years We're 10 years But You know, so it's it's been interesting to unpack these songs and really learn just specific ways that he you know He would solo and rhythmically he does very interesting with um What's the other one that that's um I need to one way.

I need the one is another one and then they call me the breeze. I can't think of anything tonight apparently But uh the common teas tea for texas Uh they call me the breeze was a really it was one of the first ones that I unpacked and I've played that a million times before but never His solo note for note and that's your audition tape with us actually. Yeah. Yeah.

Um You can get it right. Okay. Yeah, you know what I thought I just nude un-noodled the way I noodled and I soloed the way I solo and then when you have to do it note for note No for note the way he did it and the different rhythmic rhythmic structure that he puts into his solos I'm like well, I've just never my hand has never done that before. Let's give this a try Um and it's been awesome.

It's been such a great way to get my chops up and to learn a different way in a different style And we need her do the light version too, which is the harder, you know, it's fast. It's fast It's fast. So it's a good thing I have to use his own a b3 He was using a b3 was he basically a clean sound or did he dirt it up? Yeah, it's clean.

So that makes a little easier. Yeah, it's hard to get that dirty b3 sound without That's our job. Yeah You're the you're the dirt patrol But uh, no, that's interesting. So and then you just run in direct and you have a monitor amp a little I have a monitor Yeah, I have an old fender Of keyboard monitor that I use um that I bought in the Caribbean randomly and it's just stayed with me Wow, this girl buys international So yeah, so I was playing some gigs there and I was like any little amp and those vendors they last forever, you know, and it just does Can you get a p i thought you had a pv?

I did it is a pv I said, you have to give anything tonight. It's a pv. That's right. So I get the pv In that's what I've been using for the the keyboard.

Yeah, so yeah, and everything else is in the keyboard You don't have any other effects or you're not using anything. No, no, I was looking for some different sound cards But it's an older elisa so it's been a little harder to get my hand. She needs to try the electro harmonics the georgel the Leslie Lester. That's it.

The Lester. See, I can't remember you The Lester is cool. It's really cool. Oh, that'd be fun.

It's a Leslie stereo Leslie. You need two cabinets But that's not great. You can do the trick with them. See that's fun We got your budget spent Let's think about guitar players.

We know how to spend your money So all right, well listen, we're almost out of time But I want to let's pop up the the pedal boards real quick And I want to kind of talk a little bit about what you did here. I'll hold your guitar and basically put this forever Okay, this is a nice neck. You told him a story about the pick-up I told the story before You're doing it while we're setting up. You can tell the story My god, it's so dusty It's all Okay, I'll tell the story A few years ago we had a fan and we were We've done a CD and they wanted to copy the CD and they wanted to teach her and they wanted some swag and stuff And this guy says well, I'll tell you what I'll do I'll give you a pair of pickups from Gary Rosington's Les Paul And in exchange for the the shirt and the CD and I said all right So I didn't know if I was going to get the pickups.

I didn't know if this guy was for real or what Lo and behold here comes a package with a couple of pickups yanked out of a A Gibson guitar because they are Gibson 490s um I put them in there and they are not stock 490s. They are definitely hotter They've got more gain than a typical Gibson 490 Are they really Gary's? I don't know but I choose to believe He goes on the level They were definitely yanked out of something That's the sound that you're hearing on those clips that I play you are definitely hearing that guitar on those clips Um this guitar has traveled all over the country and all over the world with time It's I had a heart attack. Why don't you don't she took this on the plane in the luggage?

Now she has a good case for it, but still like It's in 1986. Gibson's like a 62-week issue as she standard and I think for It works really well for this band because I can still do humbuckers, but because you don't have the mass of a less ball Um, you get a little bit thinner. Well, it's a mug. It's all my mug.

It's a slab of wood and you get a little bit of You know, but this neck is nice. It's like an old 60s neck gets rounded and thin and all that wear on there folks That's all me. Yeah, there's there's Considerable Blackshot, there's grunge on it. Yeah I was thinking we called that mocho Yeah, but When I'm like I noticed I'm like a tars when I would do it like it's hard to lose Unless you slick that guitar slick whatever I don't know, but this is a great it sounds great Alright, let's talk about I think we're gonna give I think we're gonna give for guitar spa day I'm gonna sit here and nurture this I feel like steam okay, do me a favor and kind of pop these up so they can see what you're using the cameras there Alright, so here actually you want me to hold that I'll switch with you Guitar right here first Alright Okay, so this is Uh, Kathy's so tell me what's new and improved um, well, uh, I paired my big a pedal board down Um because I had some bigger larger pedals on there.

I actually to be honest with you I built the anas pedal board here. I got extremely jealous and had to have the same thing It is it's a total green within me. Um, but no, I really I like the size of the anas when I built it and I go I really like to do that too. So I decided what I absolutely need and put it on there and Um, wah, even though we only use the wah for one song, which is she's a good one player too.

Um, it's a Buddha Which I modified to pauli tune to uh, poly tune to yeah, because it's you have a mobius mobius strum And a strum in el cas I use this for like, um Call me the breeze of a shifter sound and like part of um, I don't even know if the band's noticed lately But I've been using the chorus like when we get to that smell like um, and they call you prince charming part They actually use the chorus on the record. So I'm you I'm just using I kick it in right there So it has that tonal quality of that and then I just said like a really quick quick slap on my Um, el cap. Okay, I'm standing. Okay, stand.

Sometimes I'll kick that off for free bird. It'll fatten it up This is this is a really if you want to get close to an echo plex This thing that's really cool about is you can make it warble and you can basically dial in how degraded the tape head is So it sounds like an old echo plex this thing is it's used a lot of people been used though. There's newer delays now that have this in it That strumming makes but this thing if you like an echo plex that's the closest I'm seeing and this pedal here is the um This is called an archer by j rocket. It's a clon a clone of a clon.

I have a real clon I had a real clon on my bigger board, but it just I just retired it It's you know, I think it's too expensive to take out anymore And then I use an overdrive for when we have clean amps, you know And this is a boost pedal I use just that has a buffer and I leave it on all the time with the buffer This is for using two different amps that where your hand is is a looper I built this looper right here. This is just a bypass looper for the ticks The wall in and out and this is just a I built this pedal too. This is just a channel switch my toenaster That's my billboard. That's pretty cool.

It is very cool. Isn't it and it's so lovely She did so this is this way you'll take on the road to Europe, too, right? I can take it and it actually will fit in an overhead compartment now So and this will and it's European friendly for the dual voltage and I'm gonna flip it around so you can see tones on LA is efficient use of That Okay So she I have it's mine is very basic. Um, well, you got the same angry Charlie.

Yeah, that's it. This is a That's an angry Charlie. This is an extreme Charlie is pissed Yeah, so yeah, so basically, you know, I'll kind of pop that on when I want to like there's certain times when I just want to punch Through like for the harmonics and needle needle in the spoon and but still have it be a little dirty and then You know tea for Texas a couple of those little leads Just so that it pops through a little bit more and then I've got the wampler little mini boost That's got a buffer on it as well Phase 90. Yeah, and then the tremolo and then this is a foot switch for the mason.

Yeah, yeah Yeah, my tuner and but mine is not set up for dual voltage yet. We're gonna we're gonna convert her You would use this if you went back to Europe actually I think Your power supply actually could convert automatically to 220. I'll have to check but yours that power supply actually me convert to 220 Right here. Yeah, so yours is yours is already So That goes from 115 to I think 220.

Oh cool. My nails are not big enough to Yeah, so yeah, and again, it's I you know, I don't know if I would take that now We're saying well, I don't know because now we have all different ideas of how we're gonna pack to travel to Europe I think we might take apart Kathy was talking about like taking apart the guitars Well, yeah, she had told me that one guy actually what he does is he takes like a strat and takes the neck off and puts the guitar So that can go into the case it's a little bit for economical ways to travel It's like you kill you. Yeah, I know if you're if you're using amps that you don't know and you can get all your tone out of this To me, it's like invaluable on it fits up in the Yeah, for sure. I the thing is is that my mini one has because honestly what's the difference in the mini?

Well, I don't have the face 90. Yeah, I don't have the face 90 I don't have the I don't have and I wouldn't need that because I'm playing on somebody else's back line It's just and then I've got a mini tuner and then a different I wish I would have just gotten another JHS pet Okay, the bad ass is okay. We could be smaller face 90 I don't really use it as much cat. I don't use it But and I'm not really using my tremolo because we don't really need it because we don't really do That's really coming home is really mostly what I use that for and we don't really we haven't done that on the road Not very much not yet.

It's just it. Yeah, it's a yeah, the smaller ones are like nanos. It's that size And there's really cool things I want to show because These are locking so when you put your guitar in if somebody kicks or pulls your core steps on it won't come out. They're locking Yeah, that's smart.

Yeah, and her's I think has a lamp in it right with a battery power it lights up Oh, this does yeah, this has a for the two foot switches right there Okay for the wall and this it has I just put these on a separate battery and not in so they don't pop Okay, we can turn them on because all the yours we can things on and off. We're out of time Can you believe it? Oh my god? I just got over the pedals.

That's okay. Anyway, tell us real quick where you guys are playing what's going on how to get info on you The website all that's a seven Friday May 17th. We will be in her most of each at Saint Rock We are Doors open at six tickets are eighteen dollars. You can get them on Saint Rock com on their website and we're also we're playing we're playing with rumors which is a fleet with Max So it's a great night of 70s music and then in Sunday night We're in the Rose we are the Rose we are aligning that at the Rose on the doors open at six at six Together $25, but you can save service fees by buying them on our website which is dinner calm SKIN and ERD No, SKI S Y S T Y R S K I and hyphen Yeah, but even if you put if you just put it SKI and then ERD Skinner calm yeah, but it's true.

You gotta put the hyphen in there You can find them and find us and we'd love to have you. Yeah. Yeah. Thank you guys so much I'm jealous.

I want these pedal boards Andrea. Are you getting ideas now to build your pedal board? You gotta build Really clean there you got to see your drum set and her keywords to anyway, thank you guys so much I'm gonna take us out with a clip from call me the breeze and I did an edit on this one too So you're the ending is a little different than what you had planned But everybody have a great week and hopefully I'll be at the I'm planning going to the Rose So if you see anyone in around with my sister's gonna share come and say hi and Everybody else have a great week and we will see you next week. Thank you again girls.

It's so great to have you here Here we go. Here's call me the breeze