Episode 18 - The Future of This Podcast

0:04 We're filming this intro on the same day as another video we're filming with Ben Travers. You've already seen that video, but Jared needs to change for, you know, different continuity. Give you something fresh. So we're going to put on a Roswell audio shirt for him. The sponsor of the show. Yeah, you know what's kind of stupid is I'm not changing my shirt so. But you look so good, I had to get out of that red flannel dude.

0:25 Free plug for a Roswell Pro Audio sponsor of the show. We use their mics and we love them. So I just want to introduce this episode by saying we don't have anything necessarily new, but it could be new since I don't know if there's anyone out there that's watched every single second of every single episode that we've made.

0:44 But also, there's so much great stuff that I feel like we haven't like dug into from all of these pods. Slipped under your radar. There's a lot going on in the world, and the No Cover Charge podcast is happy to be a little slice of that. So this episode is dedicated to all of the guests who made this show so popular, all of you viewers who made it so welcoming, and a really nice community to engage with. We are so stoked I.

1:12 Just want to say thanks to you, Jared, for pushing me forward this year to start something new and I think it's a testament to our success. The feeling's mutual because I got to say this. Being someone that's spent the past, I don't know, years and years on the road and just touring and doing this, this is such a breath of fresh air and it's so much fun. And I never, ever thought I'd be doing something like this. And I love it.

1:40 And I think that people can agree with us that we're all having so much fun that like, dude, this is a new chapter that's just starting. It's just starting and we have so many cool things planned. Oh, dude, we're planning, man. We really, we got to go. We don't just show up every week and like, what should we do? We got some stuff in the in the pipeline. At first he was like, we should plan episodes. I was like, yeah, that's cool.

2:00 Now we're like, we're we're sinking our teeth in. Yes. And we're excited. We got a lot going on for 2026 starting at the NAMM Show. We can bet that we have some friends and potential guitar players that we didn't even know we would ever meet. Oh yeah. You know, it's it's a really great thing that is going on here.

2:19 So cheers to all you guys. The No Cover Charge podcast. Without further ado, the highlights of the first year. Three months. Yeah, I was. I always do that Albert Collins thing every time I stole. My stuff from this guy, dude. There's always that ticket to, there's always this, always the triplet field.

3:28 Little rips of mine, like if I do this one, like I did a video, all right, just hey, here's a here's a fun little riff of mine and it just and again, who knows why things blow up, but I have this riff where I go. People they go crazy for I don't know why I think it's cool, but I mean it's just one of those things where it's simple, but it sounds Gibbons E but yet it's got that you know that that raised for thing, but it's kind of fun. So people so it kind of blew up and people are like posting their videos of I'm doing your thing, but they don't realize keeping that G going is the.

4:29 Hardest. Oh yeah, I saw like a lot of arching that it's, it would take years for a lot of people to get that ringing out. Rightly. But it's, it's so crazy 'cause it's like that's the thing and I try to like that that has to be going the whole time. So when I was a kid, Greg gave me all of his CDs.

6:12 So I remember hearing that and being like, how is he doing all that that with the E? Yeah, that's what's great. The open string thing, like when you're in that one, when you're in open or you're in the open position in G as I like to say, you know, you're kind of stripping, stripping, skipping string. And then when you're on the D string, you can do the B string. And then when you're on the A string with the pick, you can do the G string.

6:39 And then when you're in the E string, it's these D string. fun. We're playing those fiddle tunes, bluegrass tunes, and they're all real fast, you know, Even the ones that are a light jog, like medium tempo you would say. Oh, that's like on the slower side of medium pie because you're fast stuff is like the Skaggs know, that's like where stuff is like.

8:02 Brother, you're cooking. You're. Burning. Baby cooking some meat, right? Yeah. It isn't so important to figure out what it feels like at top tempo because the motions are so different. Like if I were to play an old fiddle tune like BlackBerry Blossom. There's a lot of swing I'm there's a lot of space in between it. That's like trying to help me, like get that gallop going in it.

8:43 The volume dynamic a little higher on one note than the other. Yeah. Can feel that 24. Everything starts shrinking now. Oh yeah. Even though it's the same thing, it's still down, up, down, up. Everything is just shrinking. I'm I'm just as relaxed, but it's just we're dealing with smaller information now. Most people's right hand is way faster than they give it credit for.

9:19 I think the malfunction with playing fast is hand synchronization. Everybody develops this flam where it's like if I were to exaggerate it. That's the perfect word, Flam. It's like a drum flam, you know? And you get it tighter until it's like, this is the same. There was a yeah, it's like even just then I accidentally hit a flam, right? Because I'm not a drummer, right? Like when you get that thing down. Did you, did you have a big breakthrough or obviously you're doing the mandolin thing, but.

9:50 When that's a good song. Where you like, OK, I already know kind of the the mindset of getting into that playing louder playing or more dynamic and then getting this. Yeah, all that was already there. Yeah, you already had. That, yeah. Because those two, I mean, like when I got to guitar, I've been playing mandolin. For 15 years, it's amazing.

10:06 So it's like everything I wanted to play was up top. That's why Steve Morse was so important, because tunes of his they sounded like fiddle tunes, like Stressfest has got the but I mean, that's a that's a fiddle tune. Yeah. With just distortion. Yeah. Yeah, Yeah. So to me, that was the gateway drug to the rock world.

10:37 But like when I saw Ed, you know, doing, you know, when I saw him doing that and I saw Steve, I like, you know, I was. Just like. Building the tree and like just like he would like just lick his hand and and like you're just. Like I will activate a harmonic with my tongue. Now, yeah. That was me just hitting.

10:59 A. Wall I was like this is witchcraft. This is not that can't be I have 15 years of understanding that there's only one way to to get it out. You see that there's no, there's no compression or legato on a mandolin even just like even just on a clean channel, there's a little bit of legato that can be like that's that's impossible on a mandolin.

11:25 There is none of that. I don't even play the mandolin and I already go that's impossible on a. Mandolin and I had a. PV Bandit and a Boss yellow distortion pedal trying to play Cliffs and Dover. I was like this. Does not sound like that. That's your signature, Bee. Yeah. What year was this? 20.

11:45 Two, what does it feel like to be playing that kind of iconic riff? Think after 50 years they'd get bored playing it. But it's always when you hear that roar. I couldn't imagine playing that in South America or some shit. It's a half step. Down. Do you guys play? Yeah. Yeah, how it goes. Yeah, yeah. I'll put the octave.

12:06 Yeah, which no one cares about but me. No, no, it actually. Thickens it up pretty. Good. It's on the record. There's there's a 11 there, but again, I don't. Think to play though You know, I mean, I'm kind of cheating. Playing like some like power riff like that coming out of the PA and it's blasting.

12:41 We can hear it now with the octave, but sometimes it's just like you're just going to get that the main, you know what I'm trying to say? You're just hearing that projection. And it is big, big and loud. Is the solo in Breaking Law always different or is it just different in the performances that I found?

12:57 Because I'd like to go. It's always we have something. It has to be different these days. Yeah, this is the easy one. it slows down. I don't know what you'd call that. It's not, it's not a ostinato, it's some some other classical music. Turned it starts in the 16th notes. Uh huh. Yeah, 1. Yeah, because it's easier.

13:41 Oh Star. Front is that is that called? Is that called a retard it? Was just a slight retard. Yeah, it's just a slight retard. This this here, right? So why do I do that? Right? Because I can do this. Yeah, boys. You know, in the middle of £9 Hammer, I, I, I do a breakdown and they say take it boys, and now I get.

14:22 So why do I do that? Because no one else does. What went into creating that marking there? Was it the pick? That's how you did it, or did you? Chisel my my wire cutters yeah, I just. In that part there is that a different percussive. That's for this big gnarly pick that I use when I play a drum solo.

14:47 I go like that. And you've never heard that sound come out of guitar. And in the PA it goes like that like a dragon roaring or something. It's like holy hell. And then you've got you've got you can never have too much cowbell. Then you you guys could go Yeah. Cool, Dan. Are you still chasing tones?

15:44 Are you still finding? Are you out finding things where all of a sudden you just do something and you go, how did, where did that come from? And they fall out. That's exactly how I found every sound I make. It's amazing. It's just experimenting. Do you know how I started playing drum solo on an acoustic guitar? Here's Here's a true story.

16:01 My brother Phil and I were playing at a jazz club, which is a good joke in itself. There wasn't any jazz but, but the place was packed with people four nights on the row. And so we're playing Santana's Europa really loud, like as loud as ACDC and this people are digging it. And Phil is got his strap there and he's got a role in space echo and he's got pedals and he's like, you know, I'm really going out and I'm using my old Tacamini with the with the, with the pick up in it. This is like 1981 or 82 or something like that. And, and I'm going and he's going, he's off, he's going and he's doing Wang and Wang, all of a sudden, bang, he breaks, he breaks a string, right?

16:58 And the guitar goes all out of all out of tune, right? A Strat, right, all out of tune. And, and we're building it to the, it's been going for 20 minutes and it's now like at this level where the roof's going to lift off and bang, he breaks a string and he just goes take it and walks off. And I'm that's a panic. So I I'm right now we're down to a guy's strumming. He's So I start and, and it sounded good because we were playing loud.

17:30 So I, I grabbed the the mid range and spiked it out. Yeah, yeah. And then I and I kept going and, and then I started banging on here and it's like, oh, there's a bass drum, you know, And I invented it right then and there. In the. Moment fire heat of the. Moment. Did he fix the string? Did he put it back?

17:47 On he put it on and came back and kept finished this. Little segment here. That's so cool you did homework. I absolutely did. So can you explain what that riff means to you on Let's What Day is Today, October 11th, 2025? Yeah, yeah. Do you? See the riff the same way that I see it as my first question as far as just the the cult thing that it is. The first thing I showed to my son when he finally, finally expressed interest in guitar, I think it was like a ukulele or something.

18:22 Or we had gotten a somebody give me a balalaika somewhere on our tour and he was with me on in Greece or something. Oh yeah, that Greek. Like Buzuki? Yeah. Yeah, exactly the triangular shaped thing. And so I said here play this and, and, and it was it was great to have something that that is rhythmic, but simple enough to play.

18:45 And for me, the, the, the the rift was really hit home. When you add in the bass part is where there's. A band. That's a band right there, right here. No, no, no, I do. OK, because I do. It wrong? Well, no, but you're you were in deep purple, so I think you could do it however you like. Yeah, but I also developed a hatred class of about 30% of the audience.

19:17 Please, if you don't have haters, you're not doing it right. But I also think that. I must have been really good at doing it right. Yes, exactly. But is it controversial to say that I prefer your kind of more fluid, legato, kind of gnarly version? I don't know. Updates it, modernizes it, Steve morsifies it.

19:37 I just I dig it. Cool, thank you. But Dwiesel insists it was done. Is that? Right. So Dwiesel Zappa thinks it's up there. And through his rig, it sounded. Really close. Dead on. Yeah, so I said and and he's he's very discerning guy with his ears and everything. Very, very, very intelligent. I've been through so much. I've been, I've been pummeled from being the guy that replaced Richie Blackmore or the guy that replaced Carrie Libgren and been pummeled with that, you know, and you know, to where I've, I've got no more of a thick exterior callus. That's all over and done with, right? Like at this point, Yeah.

20:25 Yeah. OK, good. How do you feel about when the Levee breaks that song by Led Zeppelin? You know that one. I know the title, I know the all the Led Zeppelin riffs, but which one is that? Yeah, that's cool. You took a different approach for every everyone. That was what they really need. That was so awesome man.

25:44 There's a less paw on the wall and we could do this, you know, we could. We could, we could. We could finally put this to rest. This is a sunburst Les Paul made in the USA factory. Yep, it's like a 2017 or. 2017 And this was a Les Paul Standard sunburst made in Kalamazoo, MI in 1958. Now we'll play a couple of couple of things on both and then we'll see. OK, now 1 is worth a lot of money. Got it.

26:29 Put that there and 1 is worth a couple two $3000. I'll give it to you for 22. 2222. anyway, Zach. Wild was using that one, yeah. Let's I can't get, I can't get his squeal out of it now, OK, since we're three guys talking and I always say when you buy an Epiphone or something like this or R9 or something like that, it, you know, you can rule the world.

27:24 But any of them now, they're all based on what they're, you know, what's this guitar worth? Well, some could say somewhere between 400 and $450,000 based on that top, that wood and the color, OK, and the originality. It's a house in most places in the United States of America, it's. Fucking hot. Oh yeah.

27:48 House guitar. It's a house guitar now. Are you getting $398,000 more in sound? I don't think so. No, you're not. And, and you know, what you do get with these is you get, you get a, a totality of craftsmanship that, that like the pickups and, and the electronics are all from the late 50s and they're all military specs.

28:15 So, so yes, are the potentiometers better on an old guitar? 100% is the taper better? I, I struggle all the time with, with, with the taper of the new pots because it's not Gibson's fault, It's not Fender's fault. It's not anybody's fault. It's not even CTS's fault because if you think about it, the the guitar business really is one of the few businesses where these are still required.

28:37 Yeah, exactly. This cable, this is was 1/4 inch cable was used 100 years ago by operators. Yeah. OK, so we're, we're, we're already out. We're out. I mean, so, so you cannot blame CTS for going, hey, listen, we don't use these these potentiometers and B52 bombers anymore. So we're only making them for Gibson, Fender and a few other people.

29:04 So yeah. Is do they come from China? Is the taper weird? Yes. OK, that's it. That's the it's so and and people go, well, what what kind of pickups are you using? Stock, Right. They sound like humbucking pickups. And you know what? These sound like humbucking pickups. They sound like humbuckers.

29:31 Anyway, I have to split because I have some home stuff to do. Jam really quick, two-minute jam with us. OK, I'll play rhythm. OK, you play Lee J. Oh God, here we go. How about something like this? What the? There was an open mindedness in that. That hair band scene was there. That scene, that term was nowhere to be found at the time.

32:25 There was no such thing as like a hair band scene. We were just, we were the outcasts like we were no was not cool. And the term shred was nowhere around. That became a thing in the 90s is like a derogatory thing like, oh, he's a shredder. Avoid that guy So. Watch out. For the Shredder man yeah, as as a kid in that I could go from listening to Rat to listening to Stanley Jordan to listening to Christopher Parkening. You know, I was taking classical lessons too, even in that time and did then actually did a couple years of school for that. And so studied that and listening to Al Di Meola and, you know, even Joe Pass and things like that was a great era because it was like, look, you know, the cover of Guitar Player at that time was still about

33:12 like those people who were like virtuosos in whatever they were doing, Alan Holdsworth or whatever. Your journey as a sideman or insert whatever word you want there that isn't just. You get 1 gig and then you get another gig and there's no gaps. It didn't end up paying off, man, because when it came time for Night Ranger and it was like, you know, you got to do Jeff Watson's eight finger technique. It was to put some, I guess, rough edges around that kind.

34:30 Of stank on it. Well, I think, yeah. Put some stank on it. Exactly. No rules. Dude, it rules. I think understanding some of that smooth stuff, but still the ability to take a band and go. As a guitar player, oftentimes you're driven by technique and you're not listening for the musical connection part. You know, that's one of the hardest things when you're on stage.

36:56 Like, I actually have a piece of tape on my pedal board. My friend Tim Miller used to do this, too. He told me about it. He says I just put a piece of tape that says listen. Oh, that's great. You know, and The funny thing is, it's a. Constant neon reminder. The funny thing is, as much as it's there, it's really hard to do because you, you mentally you're, you're, you can run your fingers till you hear something that you like, but that's not necessarily going to benefit the music or the audience. Never.

37:27 Really does. And you never leave the the performance feeling fulfilled. Yeah, at least I have. I've been on stage way fewer times than you have, and that's an understatement. But every time I go up there, it's like every 3rd or 4th time I forget to listen and I get off the stage and I'm like, why didn't I have as much?

37:46 I mean, I played well, I think, and it's all good, but. Oh, didn't really like get into that, you know, and with someone more experienced, you still need a piece of tape on there to. Remind you it's very hard and so it it does become the thing where like as when you're playing with people that you're comfortable playing with, you can almost have this mental telepathy, like they kind of know where you like to go and and vice versa. So it's much harder to then play with people you don't know and feel any of that camaraderie.

38:19 And it's, it's harder to just connect in that way. So I totally understand what you're saying because no matter how well you played, if you're not really able to fully connect, it just feels performative in a way like you're like, well, I, I did the job, you know, and but that's The thing is like it, you have to have enough opportunities to develop a vocabulary with the people that you're playing with.

38:46 So that when it does like really kick off and you guys are doing something that's unique to your musicianship, the audience can get into that. They can really feel when it's taking flight and that's the moment that it's the most satisfying. Step on the gas and ride it. That's what my dad was all about with his guitar playing, is he just thought of everything as a spontaneous composition.

39:13 And he he actually saw and he described it as air sculptures he would be playing and he would envision creating something out of the the sound molecules that are moving in the room, you know, so it's a different way. If you think about music that way, you're definitely going to play different, right?

39:32 And he was a drummer to begin with. So he had this internal pulse that was death defying. Like he could play crazy other things against something and always know where he was and the band would have to just hold on tight, you know? And they were the best musicians in the world. I mean, we're talking like Vinnie Caliuta on the drums and those two going off and and doing rhythmic, you know, interplay.

39:58 It's nuts. And is that what the black page? The famous? I'm not a drummer, but this is a percussion sight reading nightmare. Yeah. So the Black Page was a piece of music that was constructed for the drum kit as a a piece of music on its own, a solo drum piece. But it was written for Terry Bozio to try to play when Terry was in my dad's band. And he was 21 at the time, you know, So you got to think about like, a lot of these guys that were in my dad's band, like the drummers especially, all were really young when they got in the band, which is kind of remarkable when they're the person that has to drive the bus for the whole show, you know? So I mean, even Chad Wackerman was really young, probably like 20 years old when he and those

40:43 guys all could read and they could, you know, really internalize these complex rhythms. Because a lot of the stuff in the Black page has like nested tuplets and things where you might have a really slow feel that you have to jam all these notes into it and make sure you lock the downbeat. And so it's drummers lose their mind trying to learn this thing because it's really complex.

41:09 Still is like the most notorious drum piece I can think of. It's yeah, it's up there. But the cool thing is there's a melody to it as well. And so the thing that we were talking about before where we do the whole, like write up melody to the phone number, if you took rhythms first and then wrote a melody to, let's say, the black page, you could attempt to rewrite that melody because it's specific rhythms.

41:36 But I don't think you would ever get a better note choice than the one that my dad settled on. But The thing is, it would be an interesting exercise to try to take those rhythms and create new melodic phrases out of them, because there's so many cool things with it. Can you demonstrate if I play like a Texas shuffle? Demonstrate where you started and then how you incorporate. Things so when I started, my hand was like anchored on the on the guitar like this and Wow man. Dude, that is.

43:49 It's so cool. Instantly recognizable and and you were doing it, you know, to perfection, I think as far as paying homage to that and making it your own in the process. But the open string cascading thing, it's something we saw with Tommy Emmanuel does that so well. He does so much. Like. He does everything so. Easy, guitar players react.

44:11 I'm saying the one thing, like when I was just watching you play now, right away I was like, yeah, Because I felt like I was like Jimmy Vaughn, Stevie Vaughn, all that cool Texas stuff. And then I was like, I started to add a little harmony and then I was like, oh, now it's getting like, interesting. Then when you went like Danny Gatton, it was like, OK, cool. This guy is just like assaulting the fret board, man. It's like, but now it's like a playground, man. Almost felt even though it was technically the most complex, it felt the most musical.

44:36 But it felt like. It's the most me. It's the most view authentic, so that's part of it too. And and it's it felt fresh. Well, I mean, and that was extreme example because I'm doing 123. It's like, let me just it's more of a mix of all of that all the time. You know what? I. Mean, I still think that's an effective demonstration of where you start versus where you can go versus because a lot of people.

45:01 Kind of. Stop in that middle area and then build their voice from there just because of the technical part. Well, the voice was always, I mean, I don't know how you feel about your voice. You know, as an artist, man, I can't just sound like. Stevie Ray. Stevie Ray. Well. Dude, you know. I felt the same way and like probably like yourself.

45:20 It was like there was a moment in time for me that I was like, if I can sound like I didn't care about anyone that didn't sound like Stevie or they didn't bend a certain way like Albert King, if they didn't, I'd go, oh, I don't even care. I'd write it off. Oh dude, I mean, and I love Robin Ford with all my heart, but at 15 I didn't like Robin Ford because it was too slick and he didn't bend enough strings and I wanted Albert King.

45:42 Josh, if I didn't hear someone do that, if I didn't hear that, the microtone that I wanted, yeah, I'm good. I was at a Blues Festival playing with my band and I had my hat on and my Stevie Ray Strat and we played, you know, set. That was probably, you know, 2530% Stevie Ray Vaughan tunes. And I, you know, came off stage.

46:03 That was great. And I'm a kid, you know, with a group of adults playing. And then another band came on on the other stage and it was like 60 year old dudes with a hat and. Stevie Ray Vaughan Strat. Playing Stevie Ray Vaughan note for note and I and that was like, that's it, That's it. Like I is that what I sound like and what I look like? Wait a minute.

46:23 I also, yeah man, that's not. Even that's not even the same kind of pain as just having a bad gig. That's like having a good gig but then your gig meant slightly less to you after seeing cuz you're like, it's not special, it's not unique to you. Yeah, exactly. It's OK if you want to get up there and jam like, well, some cover bands are some of my favorite bands.

46:43 Yeah, it's The Who do it well, but. No, but I. Fulfill us. I was always kind of this, this shit is always been so important to me. I knew we then like, that's it. This is my life. This is all I'm going to do. You're a lifer. So also it was like like, OK, I need to quickly get on to the next step, like it's time to to take the next ladder rung up, you know, like figure out how the how you will start to arrive at not just playing like your heroes, being one of them. If you can, how do you become a guy like that? Dude, I remember too, like I had a similar experience when I was doing the Stevie Thing and one of my friends was like, I was like, how did it sound after like a gig or a jam or whatever, He's like, dude, that one solo

47:25 that sounded so close to like Stevie Ray Vaughan and like, I was like, yeah, OK, cool. And then like afterwards I was like, well, how do I sound like me? Because like, am I just going to try and do that? And it's funny, you see some of these people that were just like us. And I'm not trying to downplay anyone on any level, but you'll see someone and they'll be dressed like someone and they'll be almost like cosplaying another guitar player. And I don't have any hate for that because I, that was me. But you start to say to yourself, you're like, jeez, man, they have a lot of talent and clearly they know what they're doing.

47:56 So hopefully they'll be able to take that. But dude, but that's, I mean, like, like I said, I was wearing the hat and all that. That's part of the reason I stopped, you know, with the I wear a hat now, but not a Stevie. No, you got your own hat. There's a very specific hat that you're not allowed to wear unless you're. One of the biggest reasons I play a Tele style guitar now and not a Strat style guitar because when I still, when I pick up, if I picked up your Strat that was sitting right there, I would instantly play not just Stevie, but it's on my mind When I pick up a Strat, I would think more Stevie, I would think more Hendrix, I would think more Curtis Mayfield. I would think of these certain

48:31 things that I associate with Strats. If I picked up a Les Paul style guitar or a 335 especially, I would play automatically things that I associate with B.B. King or Larry Carlton or Otis Rush. When I play this guitar, I don't think about any of that shit. I just play. So I mean, it's perfectly jazzy enough to play jazz on. And then the middle position, it's a little different than a straight telly, but this is where you of course get all the like teve cropper stuff that's only a telly does that sound, because it's got no middle pickup, so it's just going neck and bridge and that's that sound, you know what I mean?

49:35 And then of course, only In the guitar community these days, if there is even a Nashville scene versus LA versus New York versus not whatever, I think it's all just one scene. Right, it is. It used to be like back I remember in 2007 I was thinking about doing that LA move cuz location. Back then it still sort of mattered, but now it's like the zip code is the Internet, you know, as long as you're living on there, you're all right.

50:14 Like I've seen people in like the most remote places in the world, like have the most amazing careers. Yeah, dude. Like, it's the same thing with me playing with Morris, man. Like watching him improvise, dude, it's like fucking it's, it's just crazy. Because The thing is like, he has to not only improvise you because he has, you know, his arthritis in his hand and stuff like that. But like, that's the thing with him. And it's like, aside from like guitar shit, like his biggest talent in life is adapting adaptation. Like cool.

50:41 Imagine learning how to play guitar, right? And you're playing that way for 40 something years. And then one day you can't, God forbid you wake up tomorrow and you can't play guitar or you can't speak. You lose your voice for some reason. You're not a content creator no more. You're not a musician anymore. What am I?

50:57 You have those moments of like what you are. Guitar and amp storage owner. That's a. Pivot. That's a pivot. I am the guitar shop owner who does not speak or whatever my ailment is, they put me in a glass. Cage. You look at someone, you look at someone, you assess their aura and you point to a guitar and then you pick it up and they walk.

51:19 Away. I'm the sorting hat of guitars. It's just easier to stop and it's easier to just be like, I'm done. This guy, this guys never he's always going to find a way like so we just changed the whole way that you alternate pics like no big deal. Yeah, let me just. If anyone can do it, it's going to be that guy. It is man so like but I but I get that man like not not many people pivot like.

51:40 That well, I was going to ask you what's, you know, we got to get you out of here because you got sound check for Steve Moore's gig. Soon, but. What time is it? I was going to ask you what? Well, it's 4:30. I still have a little bit of time. I don't know how much time you. Have we don't want you to get stuck in this ridiculous traffic that's all of a sudden exists here in this city.

51:57 But the the main take away, I guess that's that's the main philosophy you've taken from Steve. But what's what's one thing that you've learned from him? Just about your guitar upkeep, perhaps? Steve, again, he knows frequencies, he knows tone. He knows how to make certain things happen. Pedants and ohms and stuff like that.

52:17 He taught me as much as I love and I know how important tone is, he taught me that. I have very little interest in learning about that, so I'm going to hire someone to do it. That's so awesome. He taught you what you don't want to know. That's so the next gift recommendation. There's actually 3 and we each have one on our respective pedal boards.

52:42 Jared, I want you to go first because we've already proven that any guitar player who plugs into this is going to have a good time. This is what's happening right now. This pedal has taken the market by storm. And. I learned from the comments of all those clips. It went viral on every single platform.

53:01 Let's go into the C4 synth from Source Audio. Nice. Let's hear this. Yeah, OK. See that's. Why did that kill me? Don't. Don't edit that. That was perfect dude. It was a good laugh. OK, so hold up though. So we're talking about. Yeah, yeah, See what the controls do. Lightening in a bottle. So this came from a song the the most popular comment by far.

54:00 Was. Pony by Genuine Yeah yeah. that song? No, the the way that this pedal works, I know there's a ton of different stuff, but like literally my tone was like