Shredding the Boundaries: Guilherme Miranda's Journey from Brazilian Roots to Metal Legend

Welcome, music aficionados and guitar enthusiasts, to the Steve Stine Podcast. In today’s episode, you’re in for a treat as we dive into the world of guitar innovation, music evolution, and the personal journey of one of metal’s passionate craftsmen, Guilherme Miranda. As your host, I couldn't be more thrilled to share this exclusive interview with you.

After months of meticulous work, Guilherme unveils a ground-breaking technology with neuroamp modelers and impulse responses. This incredible innovation mirrors the authenticity of guitar heads, recreating the sounds with an astonishing natural feel. As Guilherme and I dissect the simplicity yet profound effectiveness of this new tool, it’s clear how it's set to revolutionize the way musicians approach their craft.

Not only do we talk tech, but we also step into Guilherme’s world. From the strings of his guitar to the joy of playing FIFA, Guilherme opens up about his life beyond the riffs. Delve deep into the origins of his metal journey, the raw emotion of stepping away from music, and the spontaneous leap into becoming the vocalist for the band Krow. His deep voice and death metal inspirations have left an indelible mark on the genre and continue to drive his current work.

But it's not just about the music; Guilherme's story is one of resilience and versatility. From facing personal challenges to upholding the creative spark during a global pandemic, his narrative is as compelling as the chords he strikes. He shares his experience joining Entombed A.D., his stint with David Ellefson, and his contributions to the metal community that resonate across borders.

We’ll also discuss the appeal of Dean guitars, uncover Guilherme’s arsenal of gear, and discuss the integration of music into every sphere of life. We urge every musician to perfect not just their instrument but the entire spectrum of songwriting, singing, and performing.

As we round out our conversation, Guilherme gives us a glimpse into his musical influences, from jazz to blues, and the dynamic approach to his new band, Dieth. His reflections on songwriting and performance enlighten our understanding of what it takes to be an artist who’s true to their sound while embracing evolution.

So, plug in and tune up for an episode packed with insight, innovation, and inspiration.

Check out Steve's Guitar Membership and Courses: https://bit.ly/3rbZ3He

Check out Dieth: DIETH - Dieth Official
Check out Loudstakk: Guilherme Miranda Tones - NAM Profile Pack (loudstakk.com)

Follow Guilherme:
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Guilherme Miranda (@guilhermemiranda666) • Instagram photos and videos

Transcript

Steve [00:00:00]:
Hey, everybody. Thank you so much for joining me today. I'm thrilled to bring you an interview that I did with the incredible Guilherme Miranda, guitar player and songwriter for the metal band Dieth. Now we explore his fascinating evolution from his early days in death metal to his current role in crafting explosive and dynamic riffs and songs with diath now, Guilherme shares how his passion for music transcends genres. He focuses not only on masterful guitar riffs and solos, but also creating melodies and. And lyrics that tell stories that strike a chord with listeners all over the world. So get ready for some unforgettable stories and profound insights into music, life gear, touring, and the art of being a metal musician. Hey, man, thank you so much for joining me.

Steve [00:00:45]:
This is awesome to have you here, man.

Guilherme [00:00:47]:
Thank you for having me. I followed you for a long time.

Steve [00:00:50]:
Yeah, I know. It's awesome. We've been talking for a while, so it's nice to actually get to hang out a little bit.

Guilherme [00:00:55]:
Where are you at right now, man? Right now I'm in Poland. I'm in Austin, Poland.

Steve [00:00:59]:
Okay.

Guilherme [00:01:00]:
Yeah. So from here, I'm going to Gdansk, and then I'm being around.

Steve [00:01:05]:
Oh, man, that's crazy.

Guilherme [00:01:06]:
Yeah. Yeah.

Steve [00:01:07]:
Do you still live in Brazil? Is that where your home is?

Guilherme [00:01:10]:
No, man. Actually, I've been based in Sweden for a while, and then from there I moved to Portugal. So Portugal is officially my place. Like, my private place, my apartment and stuff. But half of the time I work here in Poland. My band is in Poland. I rehearse a room where our drummer has. Everything is in gdask.

Guilherme [00:01:28]:
So half of the time I'm here in Poland anyway, you know, that's awesome. Back and forth. Yeah.

Steve [00:01:33]:
Cool. Yeah. Well, let's. There's all kinds of things I want to talk about with you today, since I've got you here right now. But I always like to start off by, you know, because most people that listen to this are guitar players, obviously. So it's always nice to start back at the beginning and kind of talk about, like, what first got you excited about playing guitar. Like, what are your first memories of music? Like, where you went, hey, this is something that. That I'd like to explore.

Guilherme [00:02:02]:
Yeah, man. It's. If we go really back in the days, deep in the. In the deepest roots, I think it's, like, from my childhood, of course, my parents were listening a lot of music at home, you know, at parties when your. Your uncles are listening stuff and drinking and so on, and. But what I think there's few episodes that marks few scales. Until I decided to play guitar. Because that was not my intention from the beginning.

Guilherme [00:02:30]:
I think one of them is like, when I was like seven or eight years old, there were some brazilian bands that. They were singing songs with very bad words. They were swearing a lot. And this is in the context of the country reopening after years of dictatorship. The nineties were booming in Brazil in many aspects. It feels like everything was permitted back then, know? And they were. They were playing songs that were swearing a lot, you know? And then as a kid, man, I was learning the bad words. So for me, that was like a free swearing school, you know? And it was wrong.

Guilherme [00:03:04]:
It was rock songs, man. And then the fact that my parents hated that and they didn't want to. They didn't want me to listen to that made me, I think, like, from my childhood, it made me a rocker, you know, because I felt like looking at it nowadays. I think, like that rebellious attitude already got me from my childhood, you know? And then the second moment I think I had that, man, was not much after that. When I had contact first with. When we were on the transition between 99 and the two thousands, you know. Of course, the change of century was 2001, but from 99 to 2000 was the coolest new year Eve, right? It was the coolest thing to celebrate. And there was a.

Guilherme [00:03:50]:
Back then in the. Where is where you buy magazines and newspapers and stuff, there were these CDs that had a compilation. There was like music of the century back in the days, if you would count on dollars, man, it would be like one $2 magazine, you know?

Steve [00:04:04]:
Right.

Guilherme [00:04:04]:
And you could buy that. And it was like, you know, first ten songs were like, you know, some. Some. I don't know, man, some folk songs from the US, folk songs from Brazil. And then the next CD was like Nat King Cole. And then you get some early jazz guys, like, you know, Armstrong, all these guys, Frank Sinatra. And then you got until you had like dire straits, Scorpion. You passed a lot of blues players.

Guilherme [00:04:30]:
And as far as I was going to the. To this store to buy this. These compilations from my father, I entered in touch. And I listen to a lot of music, man. And I never mentioned this. I don't mention this that much on interviews because it's very. It's not even when I started listening to metal, but I think I got in touch with a lot of music, you know. This compilation was called, like, the music of the Century, you know.

Guilherme [00:04:56]:
And I think I learned a lot from that. And I remember the mamas and the papas, man, when I first heard the California dream, man, that stayed with me. Yeah, I still. I still like this song, you know? So then after that, I think that then, you know, man, my whole life changed with Led Zeppelin and Black Sabbath, you know? And then I started to have an ear for guitars, and I was like, man, maybe playing guitar is something cool, you know? How old were you at this point.

Steve [00:05:30]:
When you started thinking about that?

Guilherme [00:05:32]:
I started thinking about it, I don't know, twelve or 13. But I was just thinking, man, because I didn't have the drive, you know, until I really got in touch with. Then Black Sabbath changed everything. Although I started with a really good, really good. A triple combo here that I started with deep purple at Zeppelin and Black Sabbath. And I think that I've. I've built a very good foundation to then listen to heavy music later on, you know? Sure. And I think this was very solid.

Guilherme [00:06:03]:
And then. But then from Black Sabbath, man, when I started to hear heavier and heavier and heavier music, I think that pantera, of course, because they were from my generation, the band that happened, you know.

Steve [00:06:15]:
Yeah.

Guilherme [00:06:16]:
And Megadeth, but they influenced me in two different ways. Like pantera is. Because a friend of mine gave me the vhs from the Pantera videos, I think was number three, or Vulgar Videos. And then when I watched that, man, I was like, okay, so this is being a band. That's what they do the whole time. This is their job. I was like, man, I want to be in a band. So I think prior to thinking about, I'm gonna play guitar and be a musician, I was like, man, I want to be in a band no matter what I'm doing, you know? But then when I heard rest in peace from Megadeth, then I said, like, okay, I want to play guitar, and I want to have a v.

Guilherme [00:06:58]:
A flying v guitar, high gain, you know. I didn't know what was high game back then, but, you know, like, I want to put distortion and. Sure, yeah, I want to play Holy Wars, you know. That was the first go.

Steve [00:07:09]:
Yeah.

Guilherme [00:07:11]:
So then I was 1415.

Steve [00:07:14]:
Okay, so, so, so we've made the transition into you liking metal from. Because that's what I had been reaDean on you, is that you had a pretty vast, diverse style of music when you were younger. Used to listen to all kinds of different things.

Guilherme [00:07:29]:
Yeah, yeah.

Steve [00:07:30]:
Do you still do that? Like, do you still listen to a lot of different things, man?

Guilherme [00:07:35]:
Sometimes, yeah. Sometimes I have to narrow a little bit off what I'm listening, you know? But these days, I was listening to some. I just stopped here and I was like, man, I want to listen to Bach, and sometimes I want to listen to some jazzy stuff. Yesterday, I was listening to opeth the whole night. You know, I really like their clean tones, man. Sometimes I. I have to hear that kind of guitar play. So I have this.

Guilherme [00:07:59]:
But mainly lately I've been listening more to metal and def metal. I've been working a lot with that and stuff. So since last year, I narrowed a lot to metal, but I listened to a lot of stuff, man, a lot of stuff. And it's fun because when I was at the Nam show this year, I really love a blues player from the US called Kirk Fletcher. You know, there's. There's. Man, there's an album of his that I listened to that to, you know, man, until. Until I couldn't anymore, like 200 times a day, and I was at an AM show waiting for a guy there at a guitar stand.

Guilherme [00:08:36]:
Friend of mine, I think we were just beside enki guitars, and he came, like, just beside me, and I was like, man, and then. And then he said hi and stuff. And I didn't know how to put, like, dude, I hear a lot of your albums because I was all dressed like metal head, and I was. I was dressed to go to sound check, actually. So then I was gonna tell him, dude, I think I listened more to his albums than just some metal records for few years, you know? So this kind of thing, I dig. I dig through different stuff, you know?

Steve [00:09:06]:
That's cool. All right, so let's go. Because I. Again, because so many people play guitar that listen to this. This podcast. Anyway, so when you were a kid and you got your first guitar, what was your first guitar, by the way?

Guilherme [00:09:20]:
My first guitar was Alice Poe. Hohner. Hohner was the brand. I don't know if this exists anymore.

Steve [00:09:30]:
I don't know if they do either, but I know exactly what you're talking about.

Guilherme [00:09:34]:
Yeah, Hohner was a German brand or something.

Steve [00:09:36]:
Yeah. They made, like, I know in our country they were really popular for harmonicas and stuff like that.

Guilherme [00:09:43]:
Okay. Yeah, well, I have. I had a Les Paul like theirs. It was like a second hand from a friend of a friend that didn't want to play guitar anymore. And I bought this guitar for almost nothing, man. And then after this guitar, then I got obsessed with Rust in peace from Megadeth, and I was buying some guitar magazines because there was the only source we had before to get some knowledge from what we were seeking, not what people were bringing to us. Right. Like a few years ago before Internet, which sounds like 500 years ago, but it's not that long.

Guilherme [00:10:24]:
And then I was, man, I was completely obsessed with Jackson flying V's, you know, because of the, you know, because of the whole metal look and because of rest in peace and all that thing. So. And I was talking about this constantly, man, like non stop. I think all my friends hated me already in school and, and then I had this honor guitar. And, man, I was talking about this constantly. And I remember it was like a Friday or something. I was heaDean to a music store, talking about Jackson flying v. Jackson flying v.

Guilherme [00:10:56]:
Jackson flying v, man. And a guy passed entering to the store. He crossed me holDean a Jackson flying v. And then I stopped him before he entered the store. And I said, what are you going to do with this guitar? He said, nah, man, I want to stop playing. I just want to get like a cheap Les Paul and I want to pass this guitar because it's just, you know, occupying space at my place. And I said, man, I have a lesbo and I want to have a Jackson. Let's.

Guilherme [00:11:20]:
Yeah, man, let's. Let's fix this. And then the next day, the next Saturday, we've met and I called like a, an older friend of mine and a, one of my cousins to go there and check if it was real. If the guitar was real. It was not something fake. Fake? Yeah. And it was, man. And I think, like, I bought this guitar for like, man, really, uh, not kidDean.

Guilherme [00:11:43]:
If it will be the money from today, I bought it from for $50, man, something like this. Because I gave my guitar plus $50 and the guy was super happy, man. And I stayed for a while just looking at this guitar. I was like, you know, awesome. I didn't want to touch it, to not waste it.

Steve [00:12:03]:
Yeah, that's great.

Guilherme [00:12:04]:
Yeah.

Steve [00:12:05]:
Okay, so if we go back to that, then when you were really getting into practicing, when you were younger, what kind of stuff did you work on? Like, did you take lessons or anything like that? Or did you just kind of learn by ear or. Cause videos hadn't really, you know, like you had just said the Internet wasn't a thing yet, so that hadn't really started, man.

Guilherme [00:12:26]:
I tried to learn by ear and I think that was how I did in the first months, few years. As I'm saying, I wanted to be in a band and to play guitar and to have a Jackson flying v. But back then, man, it was never crossing my mind to say, like, I'm a musician, you know? And when I was learning to play guitar. So I did this stuff by ear. I got some lessons with a friend here and there. There was a friend of mine that helped me a lot with passing me some knowledge, and he and I borrowed from him a magazine. Then I think that this build up the way I study guitar and the way I practice until nowadays, I got these modus operandi from there. It was a guitar player guitar world back then.

Guilherme [00:13:10]:
You know, this magazine where they come, like, you know, 40 killer techniques for you to play guitar. Like.

Steve [00:13:16]:
Yeah.

Guilherme [00:13:17]:
And I don't even remember if it was like four rock. 40 rock or metal techniques was like, just 40 techniques. And I remember, for me, it was pretty easy and straight to the point. It was like the tablatures, you know? So you have. I didn't know the name of the notes, so it took me, man, only when I became professional that I said, like, man, I have to learn all the names from the notes, because this is just like nowhere's land, right? So. But for me, to start with, it was very easy, like, okay, exercise number one. Do this for ten times on this. On this BPM, and it's 1234.

Guilherme [00:13:55]:
And then. And then from there, I was just in my room doing this, and I think that it's. It connected very well with me, you know, I didn't learn, man, I didn't learn much of chords and song notations and stuff. I just got this magazine, and I was like, you know, picking 1234. Picking 1234. What's this? Was that. I didn't know the name of the techniques because I believe that this magazine my friend gave me was even in English okay. Or something, you know? But I was like, okay, man, if I put the pick straight, it's gonna work.

Guilherme [00:14:24]:
If I do, the alternate picking's. gonna work. I was kind of learned by doing, you know?

Steve [00:14:28]:
Sure. So, with that, where then did you start? Because I know one of your earlier bands was. Was called Krow. Is that right?

Guilherme [00:14:38]:
Yeah, yeah.

Steve [00:14:39]:
So kind of where. Where did you transition from practicing and that sort of thing to actually starting to join a band or get a band going?

Guilherme [00:14:50]:
Yeah. Well, then at school, after I got this guitar and everything, I managed to get a man. If I'm not wrong, I got a digitech. Rp Rp ten, RP 100. I don't know the first line. They had remote effect and stuff. And then I changed that for a metal zone, that pedal. Yeah.

Guilherme [00:15:14]:
And I regret a lot that I have no idea where this pedal meant, because today it will be like cult, you know, metals on front 25 years ago, but I got this pedal and I didn't have an amp. I was, like, using the amps from the rehearsal rooms that we were renting and, you know, backlight from wherever we were playing. Then we were starting with some cover songs and stuff. And then from there, we developed to do our own songs. And I've. I've. I was lucky enough to. To be like 1617 and play with a guy that was my age now that he already recorded albums and stuff.

Guilherme [00:15:48]:
And he, you know, he had a lot of problems in his life. He quit his band and he wanted to start a new band, a fresh start. And then he invited me to play guitar, man. And then it was death metal, and I was really into death metal back then, which I'm. I still am, so. Yeah, right, yeah. And then we started to write songs and everything. And I was studying a lot, you know.

Steve [00:16:09]:
Right.

Guilherme [00:16:09]:
But then after that, he quit the band because he had some problems with alcohol, man. And we were. We were still underaged and stuff. And so after he had this problem, we had to stay away from this for a while. It was too heavy for kids that were 1617, right?

Steve [00:16:25]:
Right, yeah.

Guilherme [00:16:27]:
And then from there, I entered university, man. I studied history. And, you know, I took a completely different path. And I kind of put guitar aside. I didn't want to study. I just wanted to play, to have fun. And I had some songs in my drawer that I never put out. And then I decided, like, man, maybe I'm going to join a friend's studio, record all guitars.

Guilherme [00:16:48]:
I had no idea how to do it. Record all guitars. And I have some lyrics and I'm going to sing on my own. And I record bass. I'll borrow a bass. So I just put these songs out and that's how Krow started. And then. And then after that, things started to get a little bit busier.

Guilherme [00:17:06]:
Busier, busier. The plans start to get bigger. And then I decided to go to a more professional way. I thought back then that my soloing was enough for what we were doing. So I was more worried about syncing well and locking in as tight as I could playing and singing and being a good rhythm player.

Steve [00:17:29]:
So that's really interesting because, like, did you just kind of fall into singing then? Was that. I mean, that wasn't something that you had planned on doing and you just kind of. Because I'm telling you, we're gonna get to the new Dieth album, which is just absolutely incredible. So a couple weeks ago, I drove to Minneapolis, which is a four hour drive for me. And I listened to that thing over and over and over again. Oh, God. I was just. It's so good.

Steve [00:17:57]:
I mean, and I'm not just saying that because you're here. It's really, really good. And again, we'll get to that. But I find it interesting because I've, you know, I've known who you are for a while, but I've always thought about, you know, your guitar playing, and I didn't realize that, you know, you've been singing for a long time, too, so.

Guilherme [00:18:16]:
Yeah, no, what happened with. With Krow back then, man, is that it's like, this was a good thing. You know, nowadays I'm learning how to see the. With very good eyes, the bad stuff that happens, you know, because the fact that this friend of mine had a lot of problems with alcohol and we had to dismantle the band before we record our first album, we were signed with Cocomelo Records and also was. It's the same label in Brazil that released, you know, sarcophagus, sepultura, all this first wave of the brazilian extreme metal. And then that thing hit me very hard. That's why I got away from guitar. I entered university, and I thought, like, okay, maybe it was a good run for my teenage years, right? And then when I went to record the scroll songs, because this friend of mine, he played and was singing, I had a lot of great singers that could go there and perform the album, but I was like, man, if I put someone to sing, I'll have to deal with all the stuff that comes with a vocalist.

Guilherme [00:19:14]:
And back then, I didn't have time, neither money nor patience, for sure, for getting someone else to do that, because stuff were a little bit different, a little bit more difficult. Feels like stuff that were very difficult to do back then. Nowadays, with the technology we have, it's very simple. It's great, actually, back then, to bring someone else to a studio, book the hours, teach the song to the guy, and then you have to put him in the mood. And the guy that was in studio with me, he became the first Krow drummer. And he told me, like, man, you have a very deep voice, and if you want to put someone to do, like, you know, guilt row growls and stuff, why don't you do that? And I said, no, man, let's give it a try. Get the lyrics. Let's go, let's go.

Guilherme [00:19:59]:
I want to finish this. And when I record the first song, he said like, man, hell yeah. Hell yeah. Let's. Now let's make one that it's you know, let's. Let's press rec for real. And we recorded the first thing, man. It worked.

Guilherme [00:20:12]:
So it was quite spontaneous, you know?

Steve [00:20:15]:
Right. So when you would come up with back. And again, we'll. We'll keep progressing here. But back in the day, you were writing songs. Like, how. How would you think about riffs? Like, when you were trying to come up with something? What inspired you to try and do that kind of stuff?

Guilherme [00:20:33]:
Man, I. In this. In this Krow case for. Or maybe before Krow, when I had this. When we built this band with this. With this guy, he had an idea of, you know, old school death metal with a lot of. With a lot of different transitions, with a lot of. With a lot of soloing and with a lot of, so to say, man, with fast temples.

Guilherme [00:20:57]:
Let's put it like that. You know, like, lot of blast beats. Because that's what's the thing of the beginning of the two thousands, right. I think it's when this. All these extreme death metal bands really achieved their peak, not only musically, but commercially, and they established a style, you know, that. That became something on its own. So it's the peak of when Chris Yun got big, you know? Nio, all these bands. So playing.

Guilherme [00:21:25]:
Playing that fast, brutal, evil blast beats were something. It still is. But, I mean, like, back then was something very new, very fresh. And we were on this wave, too, you know, like, to be very evil and fast.

Steve [00:21:39]:
Right.

Guilherme [00:21:40]:
So I was. I was inspired by what was happening back then, you know? And one thing. One thing that was funny is that this friend of mine, Rafael, that is, he's an incredible guitarist still. He's a lawyer now, but he still digs guitar a lot, you know, because guitar is like a man. It's something you never get rid of.

Steve [00:21:59]:
That's right.

Guilherme [00:22:00]:
Yeah. Maybe, you know, a guy that. He's not making a living only with guitar, or. Or, you know, he's not playing a band anymore because life changes and you can get different paths, but you call the guy and he's like, no, man. Now I'm a lawyer, and I bought, like, 15 guitars.

Steve [00:22:17]:
Yeah, exactly. He could afford the guitars.

Guilherme [00:22:19]:
Yeah. So instead of stopping and the guy gets, you know, then he builds a bigger studio and stuff. I have many examples of that. So it's like a, you know, drives their wives crazy, all that. All the package, you know?

Steve [00:22:34]:
Yeah, yeah.

Guilherme [00:22:35]:
But, um. But. But this friend of mine, Rafael, he told me. He told me something that I never forgot, man. He said, like, man, your alternate picking is crazy, because back then, people had another way to play it. And because I was listening to a lot of these brutal bands, and then, you know, incluDean Sepultura, Beneath The Remains Arise Schizophrenia. I was always, like, picking a lot, you know? And then he, he said, like, man, this is you. One of your strong.

Guilherme [00:23:03]:
One of your strong points here. And then when I started to do these first songs, I was always benefiting and working on the stuff that I was already good at. And I'm not saying that this is the best way to go, because for many years, I think I was lazy. I could have studied more. I could have been better. And then I entered in some sort of a comfort zone that is not comfortable, but in a way, I worked only on the stuff. I felt I was strong enough, especially in the beginning, you know, so a lot of down picking and a lot of alternate picking as tight, as strong as you can, you know, back then.

Steve [00:23:40]:
You know, I talk to students all the time about exactly what you just said. And that's. That's really the thing, is, there's no one right way to do this because what you developed wasn't just your guitar skill, even though you could have thought about, well, I need to do this faster. I need to learn more scales, or I need to learn more theory or, I mean, there's a million things you could do. You holistically figured out how to become a songwriter, how to sing and play at the same time, performance, you know, connection to the industry, like, all these things that oftentimes, like, a student will be somebody who's learning the guitar, will be so concerned about learning things on the guitar, and you're like, well, that's good, but you got to get out of the studio, too. Like, you got to get out of your basement and go meet people and start playing with other human beings. Otherwise, that part of your life will never. You'll never get to experience the awesomeness of playing with other human beings, you know?

Guilherme [00:24:39]:
Yeah, man. And then, for example, I agree with you 100%. And to agree more, I would say that back then, I had, like, a very clear picture, especially after I got away from guitar for a while. And, you know, in university, I had contact with a lot of stuff. ReaDean, reaDean and understanDean many different things, you know, and being in the university nowadays, I think it's a little bit like, you know, ah, whatever. But for me, I think it's a very important thing in your life, even if you're not going to live by the stuff that you studied. And it's not a waste of time because, for example, at least for where I was from, where I am from in Brazil, public university is somewhere where you meet a lot of people. The persons that are focused on a professional life, they give you a different view of life.

Guilherme [00:25:33]:
And when you're in a public university in Brazil you start to get in contact with a lot of people from outside of the country. So I got my English and my Spanish run from, back then I was going to these congresses and stuff, meeting people from Switzerland, from France, from us, from Portugal, Spain, you know, from Latin America. And then that, that, that starts to, to add to your musical vocabulary and you don't even figure it out in the beginning, right? And when I entered studio with Krow, I was just thinking like, man, being a shredder is gonna take a lot of time, a lot of energy to do something that I don't weird, I don't even want to do with my music, my music. I wanna, yeah, I wanna say something. That's why I decided to sing. I want to say something, I want to write lyrics, I want to write songs, I want to get my band put it on stage, have a structure. I had this in mind and you know, when you have this in mind in your 1718, everybody thinks you're just out of your mind, in you just sound a bit crazy or too, or, you know, you want too much. But that was my thinking.

Guilherme [00:26:34]:
And then I think in the beginning I really found my place, you know, I was like, okay, I can do arpeggios, I can do tapping, I can sound good enough for this music, which I didn't, man, I think I sucked. Sometimes I listen to the albums, I'm like, no, I should have studied a bit more. But nowadays, I mean, peace with it, but it's because I wanted to have a texture to the sound, you know, like the focus was not, you know, I wanted to have like a good guitar sound. I wanted the guitar to play for the music to play for the song to, to have a dialogue with who is listening, you know, not only, not only shredDean, because it was not what I was gonna offer, it was not my intention back then, you know, I will totally release a shredDean solo album one day. I don't, I don't care. But I mean, like when I, when I build my own band, that was not the intention. And I think that I understood that quite, quite in time, you know, because sometimes I hear extremely great guitarists and I remember once in Stockholm, I was with Ule from Entombed which he's like, man, he graduated in Stockholm jazz schools and stuff. He really knows how to play drums in a huge spectrum.

Steve [00:27:49]:
Sure.

Guilherme [00:27:50]:
You know? Yeah. Older than me and stuff. So when I went to entombed, I was still quite young. We were in a metal concert checking a band and stuff, and he told me, like, man, that guitarist, maybe he's too good for this band. You know what I mean?

Steve [00:28:05]:
Yes.

Guilherme [00:28:07]:
It doesn't fit the music sometimes. Yeah. And it's, uh. I'm not saying for you to not study or something, but there is a. There is texture when you're writing music that I think you have to. You have to make the music, the parts have to talk to each other, you know, it's a conversation here and there.

Steve [00:28:27]:
That's right.

Guilherme [00:28:27]:
And not to think only about the guitar, you know?

Steve [00:28:30]:
That's right. That's great that you just mentioned that, because that's, you know, when you've been playing your guitar your whole life, you know, you've gone through these phases where you've worked on different kinds of things and, you know, almost become obsessive about certain things about your playing and. And stuff like that. And it's funny, because of social media and videos and all this kind of stuff, you know, so many of these guitar players become inundated with certain things about playing. And what you just said is exactly right, is ultimately what's most important is you find your path and what works best for you and then start developing what you're going to do as opposed to, you know, whether you want to sound like Eddie Van Halen or something like that, trying to figure out what works best for you. And I've always appreciated people that honed songwriting skills to really try and work on, like you just said, speaking as opposed to just playing.

Guilherme [00:29:28]:
Yeah. And it's like, for example, man, I think that beside all this really heavy music that I listened, I think that one of the things, man, that exploded my brain and, like, melted, and I was, like, completely obsessed. And I still am sometimes. I have my. My months that I only listen to. This was Engv, man, monster, he changed the game. And, like, monster Van Halen, I think they changed the game. And they bring something that it's.

Guilherme [00:29:58]:
It's like these guys, they're like, I don't know, man. They're like Michael Jordan and stuff. You can't discuss how huge they are, you know?

Steve [00:30:07]:
That's right.

Guilherme [00:30:08]:
So. So, of course, at home and sometimes in. I still struggle with this because it's a constant work on yourself the whole time.

Steve [00:30:16]:
Yeah, that's right.

Guilherme [00:30:17]:
I remember that in a not a not long ago, I got a Stratocaster, and I was like, man, I'm going to start playing some engvid. And I was, like, getting songs and learning solos and listening, listening. Completely obsessed with that, man. And then I was going to do a solo for entombed, and I mean, it was like. And then I thought, no, no, no, man. This is completely different. You know, it's like you're arriving in another country and you're gonna talk their language. If I.

Guilherme [00:30:44]:
If I sound like Engvid, playing, like, insanely well on an into different role tone, right, with. Into different role tone. You know, that's arpeggios, new classic and stuff, man. It's just gonna sound. Even if I play better than anyone else, which I don't, but, I mean, like, imagine the scenario. It's not gonna sound good. So I separate that, like, okay, man, I'm a huge engv fan. I love Van Halen, and I try to learn as much as I can, but, you know, I don't know, man.

Guilherme [00:31:15]:
I'm gonna go do, like, an indie rock gig. Someone hires me, I get there, man, I'm gonna play the, you know, I want to play what the music requires. Yeah. Imagine you put, like, you know, diminished inkvie style arpeggios on an indie band, man.

Steve [00:31:31]:
That's right. Yeah, that's right. I mean, you can be. You're. You're inspired and motivated by people and you can study them, but at the end of the day, you're right. It's like, if you're going to do blues, which we've talked a little bit about blues before, but, yeah, do blues, you. There's a. There's a million things you can do, but it still needs to be within that context in some capacity.

Steve [00:31:50]:
Otherwise, it doesn't sound like it fits, you know?

Guilherme [00:31:53]:
Yeah, exactly, exactly. I agree 100%.

Steve [00:31:57]:
Yeah. So, okay, so now, where does the transition come from, you doing what you're doing now to joining in? Tuned.

Guilherme [00:32:07]:
Yeah. I mean, then. Then with Krow, we were doing something like, it was very diy, you know, for. For many reasons. And sometimes I think that the diy thing, it's something that it's. It's gonna stay forever with. With people that want to do stuff, you know, I prefer, like to do stuff than to talk about it, you know? Krowe was very intuitive and stuff, so we were signed with small labels and stuff. Nothing major, but we had the opportunity, and we were lucky enough to tour a lot in Europe when we were younger.

Guilherme [00:32:43]:
I even lived in Romania for a year, man. Oh, wow. Yeah, it was quite crazy to live in Bucharest when I was like 24 years old. Crazy, crazy. Very good experience. And then we had to come back to Brazil and I was, I was living in Sao Paulo and Krow played Bloodstock in, in the UK, you know, and Toont played that fast boy. So I was one of the promoters from, from Latin America that I was working with because I was doing some side jobs as a tour manager, especially in Latin America, because I speak English, Spanish and Portuguese. So, you know, I could communicate with the band, with the promoters and with the local crew.

Guilherme [00:33:23]:
I could be the guy doing this in between these people, right? And this promoter told me, man, and tomb displaying bloodstock as well. Can you talk to the guys? Because I want to bring them to Brazil, you know, bloodstock is huge and I couldn't meet the guys because they played one day before us. And I arrived on this. I arrived at night when they played. But, I mean, until I reached them and my accommodation was too much. So I stayed with this idea in mind. And long story short, this guy ended up hiring entombed and of course he hired me as a tour manager and he wanted me to already talk to the bands, to their manager, to their sound tech, to check the rider for each gig. Because we were flying, we were not renting one backline for everything.

Guilherme [00:34:12]:
So the guy from Uruguay said, ok, man, we don't have this amp, but we have this one. So I had to go through all that details and I just saw that entombed, they were on the transition entombed, entombed ad. And the guitarist that was going to come to Latin America to do the tour, when they sent the passports and we confirmed the flight tickets, I saw there was missing one passport and they didn't answer anything after that. And me and the promoter, we were like, man, it's like half of the tour was paid, boy. Flight tickets bought, gigs booked. And I negotiated with the promoter, like, man, if you want me to work on all the gigs, put Krow to open all the concerts because Krow sound really fit to be with until Donna tour, you know.

Steve [00:34:54]:
Right.

Guilherme [00:34:55]:
And he said, man, but what about this passport? I don't know what to do. We have to fix the details to pick them up in the airport. And, man, I was so, it was so much in my head that I just wrote an email to the guys out of nowhere. I said, like, guys, what's happening with this passport? Because there's, there's no second guitarist coming. And if you guys need two guitars to do the tour, I can play guitar for you guys and tour manage, but just don't cancel anything, because otherwise it's gonna be like, you know, for them, maybe not that. That much damage, but for us, it was gonna be like a big loss. Oh, yeah, yeah, yeah. A lot of things involved and.

Guilherme [00:35:31]:
Yeah. So that was the whole thing. So we started a tour and everything, and one day the guys came to me, like, man, were you the guy that sent us the email that we wanted to play the second guitar? Because I was sound checking every day for Krow and Krow and tung was pretty much the same setup. You know, I was just changing a few cables here and there, and I was putting Niko's splitter because he was using two amps with a splitter. So he had, like, you know, two guitars, like, sounDean like two guitars on stage, but with this splitter. So his splitter was just behind my amp, and we added a pedal. So when I played, I disconnected it when he played, he connected that, so. And I was doing the stage for them before, so everything was, guitar wise was in my hands, and it was my birthday when I picked them up in the airport, so everything was, like, special.

Guilherme [00:36:20]:
And then. Yeah. And then they said, were you the guy that said you could play guitar and tour manager at the same time? I said, yeah, man, it's me. And they were thinking. Thinking, next day, they came to me, like, man, are you up for touring next. Next tour with us? How would you feel about that? Because we have a tour in three weeks. And I said, like, man, let's go. And they said, yeah, but we don't know, really, how do you play? I said, man, my band is opening for you every day.

Guilherme [00:36:45]:
Pay attention to the concerts and check if I play enough for you.

Steve [00:36:49]:
Right?

Guilherme [00:36:50]:
And in one of these after gig concerts, after a concert, like, after a party, whatever we call it at the hotel, me and Nico, we stayed with few extra beers at night. So he. He got one of the set lists, man, that he had in his pocket, like, you know, here, man, learn these songs, and I see you in three weeks. You know, let's talk tomorrow. But here it is. And I still have the setlist at my father's place in Brazil. I just saw it last vacation. Yeah.

Guilherme [00:37:18]:
So I know, I. And then these songs I learned by. You're hearing them, I heard that, like, three weeks in a row the whole time. And I arrived there, played the first concert, and from there, we. We stayed, you know.

Steve [00:37:31]:
So you. You had to learn their whole set list in three weeks?

Guilherme [00:37:35]:
Yeah, it was three, four weeks. Maximum, you know?

Steve [00:37:37]:
Right.

Guilherme [00:37:39]:
It was very cool to do that.

Steve [00:37:41]:
That's awesome.

Guilherme [00:37:42]:
Yeah, I loved the task, man. I loved the task because I was like, man, this is. I thought, like, man, this is the time, you know, this is my chance. If I nail these songs and learn everything and prove, and prove that I, not only that I can play, but I can be in this environment, then I can stay, you know, and it's. It happened in a very positive way. I stayed.

Steve [00:38:02]:
Right. Well, that's great. Obviously there was some tragedy with that band, unfortunately. And so then once, once you were done with, with them, how did the transition then connect from that time to where we are now? Because we want to get to Dieth. I want to make sure everybody and encourage everybody to go listen to this album because it's. We're going to talk about that. But so kind of where. What have you been doing since then up to getting Dieth going?

Guilherme [00:38:38]:
Yeah, man. So from this story of Antoomb, long story short, it's like I stayed one year living in between so Paulo and Stockholm. And of course this. This was not doable anymore because my life, I didn't have a jet lag anymore. My life was a jet lag, you know, I was like the whole time waking up 03:00 a.m. And one and have lunch at seven, arriving there, you know, everything insane. So. So then after everything happened, I moved from Stockholm to Portugal.

Guilherme [00:39:08]:
And, yeah, I mean, this whole pandemic, I think, hit, especially touring musicians, man, I think that hit us in a very bad way. And I started to be very, very depressive. And, you know, playing guitar was bringing me, instead of good memories, bad memories. Because once you. You're so used to playing live, man, you're just playing better place. And, you know, everything was too much. But then I decided to do some collabs on the Internet. So I've done a few songs here and there with very good friends.

Guilherme [00:39:41]:
So I've done one that was super cool with meets from. He used to play medball, New York hardcore, you know. So we've done like. We produced a killer song, man. It's an incredible mix done by Khristian Kohle from Germany. And so I learned a lot about production there and I was getting more and more into recorDeans and guitar sounds and stuff. So I was doing pretty much that, man. Collab, collab, collab, collab.

Guilherme [00:40:08]:
Until I reached the point that I had a few songs that I wanted to do and I was gonna work in Gdansk for MLC amps. I worked as kind of a pr. An r for them for a while, for one and a half, two years or something. It all started, of course, with some, you know, helping them to meet this guitarist here, that artist there. And then at the end of the day, they kinda got me into the company for a while, and it was very good period. And then I got in touch with Miho because he got out of decapitated. I met him in some festivals and stuff, and I had him in mind for a while, I don't know why. So I sent him these songs and we decided to record one of them.

Guilherme [00:40:48]:
And when I was trying to search for a bass player, man, I was lucky enough to call a friend of mine, like, ten minutes before senDean a message to another guy. And I called him and said, man, I have this guy in mind. This guy in mind, this other one, like, very good names at the death metal scene, especially in Scandinavia, where I knew a lot of people and I was sure that they would do a collab, you know. And then my friend said, man, Ellefson just got out of Megadeth, you played a lot of festivals with Megadeth. I'm sure he remembers you. Why don't you drop an email to him? And I thought, like, man, but David Ellefson playing this music. And I thought, yeah, man, David Ellefson played this music. That's gonna be cool.

Guilherme [00:41:32]:
And then we had a friend in common that it's Opus. He's the drummer. now for Chromegs.

Steve [00:41:37]:
Okay.

Guilherme [00:41:38]:
Yeah, yeah, man. Insanely good drummer, that guy. Can play heavy, man. And he connected us via an email. He pretty much, him and Martin from destruction, they were pretty much responsible for connecting us in this professional environment, you know, because I had a connection with Ellefson from the Entombed years, and because we've done some stuff for LG when he was sick. But I didn't want to use this type of connection on this premises, you know, because I was. It was too early what happened. And I prefer to go with these guys in a more, you know, in a different way.

Steve [00:42:13]:
Sure.

Guilherme [00:42:14]:
So we, we've recorded this song, and he said yes to the. To the song. And the only thing that he, he asked that he. And then on this, I really like David on how he does he do things on the bass, because he told me, like, man, make sure that we have the last of, the, last of the last version of the drums. Because I played with the drums. He's very aware of where he's going to put his accents. He listens a lot to the bass drum and so this is the only thing that when we started, he was, like, very on point with us and very straight to the point. He was like, man, don't bother me if you don't have the final version of the drums.

Guilherme [00:42:53]:
He said, I don't even about the click. He didn't care that much. He cares about making the bass and the drums sound like one unit, you know?

Steve [00:43:02]:
Sure.

Guilherme [00:43:03]:
So when we. When we've got this version of the drums, he tracked the bass. And Miho had the idea to mix with Zed, this guy from. From Poland. And I remember that I went on a vacation in Brazil. I was at the car with a friend of mine, and the man, the mix just arrived on the phone, and I said, I mean, I'm not gonna tell that it's my band. I'm just gonna play this as loud as I can. And I told my friend, hey, can I play a song very loud? He said, yeah, man, do it.

Guilherme [00:43:31]:
And when the song started, he was like, what is this, man? What is this? This sounds great. And he was like, fuck, yeah. Which band is this? I said, no, man, this is. This is a song I've done with Miho and Ellefson. I said, man, will you have a band with these guys? I said, no, man. I think I'm just gonna write the guys now so we can do these four square videos for, you know, we're gonna put it on social media, upload it on YouTube, and that's it. And he was like, man, but this is too good and stuff. And I sent it to Ellefson

Guilherme [00:44:02]:
so he had the same reaction and Miho had too. And then at the end of the day, I had a call with David, and he told me, like, man, you know what? Stop talking about this video, because I don't want to do this pandemic stuff. It was on the Omicron transition in 2020. True.

Steve [00:44:19]:
Okay.

Guilherme [00:44:20]:
Because they, at least in Europe, they cancelled everything, and they pushed back until April, may again. So all the tours that were rescheduled and things that were about to happen in the new year, they got pushed four or five months again. And then David said, like, no, man, no, I'm not going to do this square videos. Why don't we get together and record a proper video? And I was going to be in Poland at MLC, and David was going to go to London. He had some recorDeans to do there. And I saw that from London to dance. There were a lot of flights, like, you know, direct flights twice a day because it's not that far. You know, it's 1 hour, 1 hour and a half flight.

Guilherme [00:44:59]:
I told that to David and he said, okay, man, let's meet in Gdansk and we record a video. Once we record the video, we went to have dinner and the guy said, like, man, why don't we become a band instead of just doing a project and putting out a video, you know, let's bring a band. And David had this idea of calling us Dieth. You know, he was reaDean some old british poems like all those shall die and this kind of thing. And he. He got very into this Dieth stuff and he said, like, man, and who, if people don't like us, they, you know, they're gonna call us mega diaths or whatever. So, you know, that's how it started.

Steve [00:45:40]:
So. So were most of those songs then? I mean, because I don't know exactly how the writing for that album went. Was. Was the writing all you on that album?

Guilherme [00:45:51]:
Yeah, mainly, yes, because I had a lot of stuff ready and good to go. So once we've done this, this single, then David told me, like, man, tomorrow. Because we worked like two days in a row a lot and stuff. So he said, like, man, let's have a sleep on this and tomorrow, like the next day, I don't remember. Do you have your computer with you? What do you have with you? And I had my computer and some hard drives and stuff. And I said, man, maybe we should sit on your room, you know, put our headphones and listen to the riffs and you see the direction we can take here because I had a lot of stuff written, and I always like to write, write, write, save, save, save, man. There are some riffs that you think it's never gonna work, and sometimes it clicks for a song, you know, so there's. There's no actually, I mean, there's no very bad idea.

Guilherme [00:46:45]:
There are ideas that didn't connect yet, because sometimes there's a riff that is not that good, actually. But once you put bass, drums and vocals, it's good that this riff is a little bit more laid back. So the voice can do the job, the. The drums can, you know, can have space to breathe, and the bass, you know, is gonna lay on everything. So it's very, I think, was very important to have all these on my hard drive. And I showed David, and he just told me, like, man, you know what you're doing. Just get these songs, start recorDean them, you know, and then we do these procedures. Send me the final drums and I'm gonna track the basses and so on.

Guilherme [00:47:22]:
And then David did the heavy is the Krown song. He did almost all of that, and the lyrics are his. So I put everything together and produced the song. Show me how. Recorded the drums. And then we've laid vocals on that and. Yeah, and that's it pretty much. The rest was done.

Guilherme [00:47:41]:
And David gave me, like, a folder full of his riffs, man, but a lot of them. And I still have a lot of songs that I didn't even touch from that period. So, you know, I think album two, maybe we have half of it in our hard drives, you know?

Steve [00:47:57]:
Right. You know, when I was listening to that album, when I first went into it, you know, I'd heard. I'd heard heavy and I was. I guess I was expecting the album to just be onslaught heavy. And there are parts that are that. But what I love about it is it's dynamic. Like, it's. It's all over the place.

Steve [00:48:20]:
So it's. It's. It almost comes off to me as a concept album, which I doubt it is, but it almost kind of seems that way to me. But that's. The albums that I love are albums that are very dynamic. They have a ton of power and a ton of energy, and then there'll be something that's just completely different and it kind of ebbs and flows and I'm telling you, it is a great, great album, man.

Guilherme [00:48:47]:
Thank you very much. And I really appreciate that thing like that because it's like, some of the reviews that were not so positive about this album, the things that people talked that were the cons for me. They are pros, too.

Steve [00:49:00]:
Yeah.

Guilherme [00:49:00]:
So, for example, I've seen a reveal that a guy said, like, man, there's too many different elements in this album for this band to call itself death trash. And I was like, man, but we never said, like, okay, we're gonna do 15 death trash songs on this temple on this, you know?

Steve [00:49:15]:
Right.

Guilherme [00:49:16]:
And the whole of the idea for dDieth is to not be just that, because that's the biggest advantage of you starting a new. A completely new project for you to have a fresh start because you have the freedom to do all these things, you know? And as far as I love blue so much, man, and I love clean guitar sounds. And sometimes I like a lot of different elements in music and in the songs, man, I like songs that they are brutal, brutal, brutal, you know? And, you know, man, like, highlights from Metallica early albums were the we can't call. I don't know if we can call fate to Black, a ballad that's right. But there were highlights in the album, because then you come, like, you know, battery master of puppets, and then you get the, you know, sanitarium. Then, you know, when you have thing that should not be, of course, that is a slower song. And then you go to sanitarium, ride the lightning. You have.

Guilherme [00:50:11]:
It's brutal, brutal blue. And then from Humdebeltos, you have a. You have an atmosphere there. You know, it's very somber. And then you get fade to black. And after fade to black, the album takes off again. And you have an instrumental song. And I really enjoyed that, you know, and the dynamics and stuff.

Guilherme [00:50:28]:
So the way Miho plays drums is very natural. He. He really can produce drums by himself. And he's very, very focused on microphones. Microphones, microphones, microphones. He doesn't like drum samples. So I thought again, like, when I was a teenager, what's our strong. What's my strong skill? Okay, is the alternate picking.

Guilherme [00:50:51]:
And then with Dieth, I'm like, man, what's our strong skill? It's like our names have been in bands of different styles. We have a very dynamic but super precise drummer. So why not to use this in our favor and do songs that we. That we enjoy listening, you know, and playing. Playing live? So I think that was the whole idea behind that album. And I think that for album two, probably as well, if it happens, you know, I don't wanna. I don't wanna put the clock and say, like, okay, in 2 hours, I have to write a ballad, because we need a ballad.

Steve [00:51:21]:
Right, right.

Guilherme [00:51:22]:
You know?

Steve [00:51:23]:
Right.

Guilherme [00:51:23]:
If it. If it happens, if it's something that we think it's worth it, let's go, you know?

Steve [00:51:28]:
Right.

Guilherme [00:51:28]:
But this blows the elements, man. For me, we should overflow the album with it, you know?

Steve [00:51:34]:
Right. What's interesting, when you mentioned Metallica, because I don't remember the exact quote, but I remember Lars in an interview saying that he never thought of Metallica as being a metal band. He just thought of them as being a rock band. And I always thought that was really interesting, because what you just said is what I've always thought. Like, sometimes when you have to label yourself as a genre or a style, then people expect it to just be that, where you're really just trying to create this interesting thing. And I'm not saying that, you know, having an album that's nothing but intense, or just the opposite. Having an album that's nothing but mellow isn't. Isn't great.

Steve [00:52:13]:
That's wonderful. I just really enjoy if I'm going to listen to eight or ten songs. I need diversity, because if it's just the same thing over and over and over, it's like it just gets to be too much sometimes of any style. So that's one thing that I was really surprised about with that album. That is my favorite part of that is the diversity in the songwriting and the dynamics that are within those songs. I think it's. I think it's incredible.

Guilherme [00:52:41]:
Yeah. And it's funny, like when we. When we played the first concert and David, David, he was really like, okay, man, let's. You know, we're death metal band,, let's do this, let's do that. Let's behave like. Like one, of course, because especially with my background and Mihal's background, he was very confident to go for this brutal tunes, you know?

Steve [00:53:04]:
Sure.

Guilherme [00:53:05]:
And then I remember there on the rehearsals and when we played our first concert, luckily, we had like a best debut gig ever. It was us and testament, you know? So I think we couldn't reach a better place to start. And then we played don't get mad, get even. It was funny because David came backstage and he was like, man, that's a rock song. There's a rock song with, you know, you're growling there, but it's rock. And people, they behave, of course, they are mosh pits and stuff, but you see that they enjoy the party like a rock party. People sing so long and stuff, so. And that happened naturally, you know?

Steve [00:53:41]:
Yeah.

Guilherme [00:53:41]:
And. And that's it, man. Maybe on the next album, if we have ten songs only blast beats, if we. If we feel like, let's go. But if we. Like you said, if you want to have like a full on mellow album as well, why not? I think my main thing is to play for the song. And what's the story I want to tell, you know, because I think once you have him back, one of the things I like is that the lyrics kind of. It's not a conceptual album, but the lyrics, they.

Guilherme [00:54:10]:
They talk to each other on the order of the album, you know.

Steve [00:54:15]:
So what. What kind of gear are you using nowadays? What are you, what kind of endorsements or what kind of gear are you doing? We're gonna going to move into Loudstakk for sure, but I want to talk about just some of the stuff that you're using now.

Guilherme [00:54:27]:
Yeah, man, I've been using. Let me put in order here. I use like, Dean guitars and. Man, like, Dean guitars. I've used Dean guitars like, 1015 years ago. And then I changed for another company. And my contract was over. And then I came back to doing guitars.

Guilherme [00:54:47]:
And luckily, the guy working there is a great friend, and I knew him from before he joined the company after I was with them in that early period. So that was really good that he was. There was great news. And then I remember that I sent him a message, like, man, my contract is going over with the other company. And the point is, it's not that I'm asking here. I want an endorsement or not or stuff. I told him, I'm telling you that the only guitar I'm gonna come back to is to Dean guitars. Why? Because I think maybe.

Guilherme [00:55:22]:
Maybe it's my body. Maybe I'm too tall or something. But the Dean guitars, man, they fit me live especially. And they're very anatomic. I don't know the best term for it. But no matter how I use my guitar strap, the neck stays exactly the position that I don't struggle to play, you know? And with previous guitars, I had previous endorsements. I thank all of them a lot, man. Thank you very much for investing on me.

Guilherme [00:55:50]:
But the problem I always had was like, man, my back. I destroyed my back contour, man, to put this in track was a lot of work. I even had a little surgery once. So then I just communicated to the guy, so, like, man, I'm gonna come back to use Dean guitars. And then he told me, like, hey, I'm restructuring some new models here, so let me come back to you. And I said, okay, man, no matter what, I'm gonna use dean guitars. Just tell me what are gonna be the best conditions, you know? And then in between all these, the Diaf album was gonna go out and stuff, and he loved the songs. And then I became a dean artist full on, you know? And we're promoting these new models that I don't know if people are familiar with them already, but there are new flying versus and through breed that is, or less polish model.

Guilherme [00:56:40]:
There are the two ones that I'm using now. They're absolutely killer, man. If you absolutely killer, do me a.

Steve [00:56:47]:
Favor and send me a link to that, and I'll make sure, and I'll add that on wherever this gets posted so people can check that out for sure.

Guilherme [00:56:54]:
Perfect, man. Perfect. I'll do that.

Steve [00:56:56]:
Cool.

Guilherme [00:56:57]:
And, well, pedals. I use. I use clear tone pedals. It's a brand from Germany. Very cool. I'm using their. I have. I have both of their main distortion pedals that.

Guilherme [00:57:09]:
It's the grindstein. There is even a plugin for the grindstein. So the people that like plugins can go there, because plugins are an addiction, right?

Steve [00:57:17]:
Yes, they sure are, man.

Guilherme [00:57:21]:
These days. These days. I don't know why, man. I downloaded, like, three, four delay plugins. I don't know why. It's just that I was in a page and was like, try this delay. It's free. I said, like, man, I'm not gonna say no to a free plugin.

Guilherme [00:57:32]:
Come on. I didn't find the news for them anymore, but they're there, and I never delete, you know, so. But they have the plugin for a grindstein, and they. And one of the sections of this grindstein pedal, the more the boost pedal with all the chainsaw sound. It's called oh, my goat. And it's very cool pedal. Especially if you want to have, like, a. If you want to compress and saturate your sound with a tube texture, I would highly recommend this pedal.

Guilherme [00:57:58]:
It's very tight, though, especially if you use the game super low and boost the level. And they have an EQ thing there that works pretty well, too. I also use mower audio.

Steve [00:58:11]:
Mm hmm.

Guilherme [00:58:12]:
Yeah, mower, man. They have all these geniuses, intelligent stuff. And this. All the other modelers and things like that. So I use their GE series. I have the 205th 100 and 5250 and the 300. I have. I use them a lot.

Guilherme [00:58:31]:
And it's very curious. I don't know if you're familiar with the little mini pedals. Yeah, the mini pedals from over the preamps and stuff, but it's very small pedals, man. And they're beasts. And they have amp simulation on amp simulation and cab simulation on the stock simulation. So you can just plug it directly to the mixing desk. So I remember that once in Stockholm, I had, like, a. I've done two gigs with a blues trio, you know, was super fun to do, man.

Guilherme [00:59:02]:
Super fun. And then I was like, tired, man, of these cases, turbuzz and stuff. So, man, I got my strat with a bag. What was pretty much a bag, right? And I had the cargo pants, and I put the pedals in one pocket here. And I was like, man, I'm playing just.

Steve [00:59:22]:
So.

Guilherme [00:59:22]:
Man. Dude, no. Free, man. Free as a bird. So I thought, like, man, you can't be more practical than with mower stuff, you know? That was my lesson.

Steve [00:59:32]:
Wow.

Guilherme [00:59:33]:
And what else? I use fat cables. That is a company here from Poland. Super reliable and solid cables. Se electronics, man, for microphones. Se electronics. They have a thing called. They have their guitar booth to record, it's like. It's like a vocal booth, but for guitars.

Guilherme [00:59:54]:
And it has like exactly the right place. It's really easy to place in the. In the speaker there and have the right angle or put it straight without having it messing around. And as electronics. Microphones, man, it's insane. Good quality. So I have. I don't know, man.

Guilherme [01:00:10]:
We have all their microphones or their series because Mihaw uses their own drums. I use that to sing. And I used to record that studio two. For vocals, I'm using the Dino Caster.

Steve [01:00:21]:
Okay.

Guilherme [01:00:22]:
Plus live, I use the. Their v seven. V seven would be like a, you know, a 58 style microphone.

Steve [01:00:30]:
Sure.

Guilherme [01:00:31]:
Yeah. So se. Electronics, man. Hats off to this company. It's. They're. They're the new thing there. And, um.

Guilherme [01:00:40]:
What else? What else? So it's fat cables. I see. Electronics. Yeah. And MLC amps. I worked so for so long with the guys that we became friends, man. So I always mention them because I love to use their, their stuff, especially live. Their amps.

Guilherme [01:00:56]:
They're murderers, you know, like. And they. And the spectrum of sound that you can get with the. With their flagship model, like the MLC one hundred s. Hundred, I think on el thirty four s. I love to have 34s around me. I'm a very Marshall guy.

Steve [01:01:14]:
Right.

Guilherme [01:01:15]:
It's totally worth it, you know. So live, I use. I use MLC for sure, and in studio too. But lately my biggest situations are being live and I'm using MLC almost the whole time. You know, as soon as I can transport it, I bring it.

Steve [01:01:31]:
So that brings us to the studio. So obviously you've got a new amp sim, which is the Loudstakk. And so let's talk about what that is and where that came from and who it's for.

Guilherme [01:01:48]:
Yeah, well, man, a Loudstakk. It's like, again, on this plugin addiction, I've been in touch with a lot of people from companies and, and stuff. And it was pretty funny when I was working at MLC because they were developing what became now these bogren digital plugins that they have the. The 100 and the one knob MLC and so on. So I was very into this world super enthusiast, and I started to do some aggregate stuff. And I. I don't know how we crossed paths, me and Ron, but it was on the Internet, you know, one contact brings to another and people say, use this, use that. Try these midi drums.

Guilherme [01:02:25]:
So I got in touch with Aggretone with their midi drums, and they produced like a lot of killer packs. So that is a very good tip for songwriting, man. I love to. I love to put some drums, man, and put a random tempo there, you know? And sometimes I'm like, I don't want to have any previous idea. I have a riff and then I program and I get a lot of funny drum. Drum loops that they have there because they have some very cool names for their packs. You know, if you check there, they have like a Lars train, whatever. And then you get there and it's like a.

Guilherme [01:02:58]:
Yeah, the way Lars plays, it's very fun stuff. And then I put that, man, of course, that's not going to become the drums of the song, right. But sometimes some. Some ways of hearing the hi hat and some accents they put on the. On the crashes give me a lot of riff ideas.

Steve [01:03:13]:
Sure.

Guilherme [01:03:14]:
So I started to use choose that, and I got in touch with Ron. We became closer and closer, and then they released a behemoth drum sample pack called drums against humanity. And I've done a video for Ron just because, man, I did a video for him just to say thanks for giving me the drum samples, you know, and it really. Inferno recorded it in the best studio in Poland called Taupe in Gdask. I mean. I mean, like, not the best, but one of the most famous studios. I can't say. We can't say best in music, right? It really depends on.

Guilherme [01:03:47]:
On what you're doing. But. But they recorded there, and then it. I found some midi drums. Behemoth Midi drums. And when we recorded, it sounded exactly like behemoth, man. A lot of people were asking me, like, man, how this drum sounds like this. I said, man, his samples with some midi drums I found.

Steve [01:04:04]:
Right.

Guilherme [01:04:05]:
Yeah. And from that, man, one year ago, I think it's just one year ago, it started this new technology called the neural amp modeler, and it's. There's a free plugin. Steve Atkinson plugin. And that became. That's going to become the new fever, let's say. You know? So in one year, this technology has around, like 70,000 users already. Wow, the num.

Guilherme [01:04:31]:
Yeah, because these profiles, it's not camper profiles, and it's not the other tone captures that you can do with your modelers. You know, like modulus. I don't. I don't know the name of this pedal that we capture some, but, like, mower has a very good tone capture on other GE series, and, you know, so does the other brands. And then Ron came to me, man, and he was saying a lot, like, man, I think that this nero amp when it starts and when it's. When it's going to be the new fever. I don't want to be the guy running after the trend. I want to start builDean the trend.

Guilherme [01:05:06]:
I'm gonna. I'm gonna. He want to, let's say, invest on this, you know, he said, I want to. I want to invest on this, on this whole thing. And I have a guy to record in war, so that is the same guy that recorded Inferno with satanic audio, how they're like killer sound engineer, and he understands the style. He understands the language and the accent, everything about this, this world, you know? And then one day I was at home and I just wrote to Ron, like, man, you know what? Let's do this neuroamp modeler thing. What do we need to do? He said, man, you know what? Let's be the first guys to have, like, a signature pack for impulse responses for the neuroamp modeler. And then, of course, there you record the impulse responses because the cabinets that are going to make it work, it's good that we have the IR's from them because then the users can combine the name that works with the speaker that works.

Guilherme [01:06:01]:
We've done a whole package with neuroamp modelers and impulse responses, and I'm working on that since November last year because it's a whole process, you know, and it's pretty much like releasing an album. And it's. It's a lot of. Lot of talks, a lot of artworks, a lot of pictures you have to write, you know, you have to write many things and. And, yeah, but I love it, man. I just got really into this. I think I found myself in a very nice world that I want to be more and more part of.

Steve [01:06:34]:
Right.

Guilherme [01:06:34]:
And then we released this month, we're still getting the feedback, reviews and everything. I'm even overwhelmed with material that I don't even know how to. How and where to start from, you know?

Steve [01:06:45]:
Sure.

Guilherme [01:06:47]:
Yeah. So it's really, really cool stuff. So the neuroamp modeler is this new technology that for me, it's impulse response of the guitar heads. You know, it's like that momentum, that picture you take. So pretty much, man, the sound is going to be dialed the way I dialed on my amp. It's.

Steve [01:07:05]:
Right.

Guilherme [01:07:05]:
It's the same thing. I recorded that sound. So when you use the plugin and stuff, you don't have to tweak eqs and, you know, you don't have to add water pedals and stuff. Of course, only if you want or if you have something mind, you go there and you have this option, right. But it's so practical, man, because it's like one, two clicks. Okay. I want to have like a. And tune sound, right? Boom.

Guilherme [01:07:28]:
Yeah. You achieve that with two clicks. I want to have like, you know, this diet is pretty much Marshall, Marshall 800 sound. Like, you know, sometimes a bit more, sometimes a bit less. And I combine that with different pedals so, you know, two, three clicks and you're there. So that's what we've been doing lately, me and Ron, and we were recorDean a lot of videos, editing and interacting with people on YouTube. It's been like a super cool process, man. I think I'm gonna be the whole year working on this, you know, because it's a new thing, right.

Guilherme [01:08:00]:
And we're the first pack, so probably we're not, we're not a. We're builDean our wave. We're not jumping on. On a wave that is there. And also it's a very. It's a very interesting learning curve as well.

Steve [01:08:11]:
Yeah. I own pretty much every amp sim that has ever been made because I, like you just said, am obsessed with buying these things. And, you know, it's addictive. Oh, it sure is. And yours is awesome. Like, I got the pack and it's what I love about it. Because you had mentioned bagram before, too. I love the one knob stuff.

Steve [01:08:34]:
I've worked with them before, too. And I love the simplicity of being able to just plug in and not have to do much tweaking. You just plug in, you grab a sound, you grab an ir and. And you go. And for those of you that don't know this technology very well, what's great about it is there's the tone, which is already killer. But when you start using it to record and you mix it with another one, that's what it really. And that's what I was noticing with yours as well, is that it really shines when I'm using it in a mix. Like when I'm doing stuff and putting it together.

Steve [01:09:10]:
I don't really have to do any tweaking with eqs and stuff afterwards. It's already just ready to go and.

Guilherme [01:09:17]:
Sounds natural and saves time as well. I really enjoyed how natural it sounds, you know, same with this background digital and everything. I think that for some of these specific sounds, man, you really have to dig and get the plugins that are to be used on that field. So I think that the nero and this one knob and stuff, they are their killer. And I think it's. Then you entered the warm hole, man. Because I didn't even scratch the surface. Because all the tests and everything I'm doing that is taking months and months and months, plus the videos, plus the whole, the whole thing, the whole complete pack of exploring this and releasing this kind of product is that it's like I'm exploring still what we've done in the platform we have on the plugin that we are suggesting for people to use.

Guilherme [01:10:10]:
That is the plugin that everybody uses for neuroamp modelers. So far the most popular, let's say. And it's free. It's a free software. So the whole concept is great. For example, I just did two videos now based on the Diethyridium sound that is on the pack that. Then I got another impulse response loader and then I combined two impulse responses. And then you already open another because then you can combine two plugins, different types of impulse response loaders.

Guilherme [01:10:38]:
And then you can add that show mix, man, and you get you a warm hole you never could get out of there because there's no end. Sometimes, man, I'm just like, I'm not going to even open this because I don't want to start 8 hours later.

Steve [01:10:50]:
And you haven't even touched the guitar yet other than just try to dial it.

Guilherme [01:10:54]:
Yeah, yeah, yeah. So I want to. I want to have like, it gets so we get so paranoid with these plugins, man, because like talking to you now, I'm like, man, what if I'm going to do some tests? Oh, I have that dice that works so I can get a di and open ten channels and try everything. It's insane.

Steve [01:11:14]:
That's great. Yeah, well, I'll make sure and put a link to that as well so people can check that out and, and, and yeah, it's. It's amazing. So I don't want to keep you way too long because I've already kept you up for over an hour. So we're just gonna end with a couple fun things here. Give me the names, if you can, of a couple of guitar players or musicians that you've been, you've been into lately, man.

Guilherme [01:11:39]:
I've been issue up Kirk Fletcher a lot. Nick Johnstone, man.

Steve [01:11:44]:
Oh, yeah. So good. I saw Nick, dude.

Guilherme [01:11:47]:
He's.

Steve [01:11:47]:
He was in the states I saw him play a couple years ago.

Guilherme [01:11:51]:
Oh, man. His melodic sense, it's something else. Of course, he's killer on everything, but his melodic sense is something out of this world. So it's like. I would say that the guys that I'm listening most lately are these two, you know, Kirk Fletcher. And I listen a lot to Nick Johnston. And, man, I dig a lot of the work. The last Opeth works albums.

Guilherme [01:12:19]:
I really like to hear Freddie's playing, you know, it's very, very cool. And yeah, then comes the classic ones that I love. Marty Friedman is one of the main guys too. You know, his solo albums as well are killer, man. I like his signature on guitar, for sure.

Steve [01:12:38]:
Right, okay. And also, what do you like to do when you're not doing music.

Guilherme [01:12:46]:
Man, one of the things I really like to do when I'm not doing music is, dude, I love to play FIFA. Playing football. Playing football on a screen, it just relaxes me and I forget about the world. My godson, man, his brother is really good on FIFA. And last time I was with them, otherwise want to kill us because I was with the kids 4 hours playing and they were like, man, you're supposed to teach the kids to not do this and you're playing with them.

Steve [01:13:18]:
That's a total wormhole right there.

Guilherme [01:13:20]:
Yeah. And then I said like, no, man, but we're in the middle of the championship. Later you said this.

Steve [01:13:27]:
That's awesome. Cool.

Guilherme [01:13:29]:
Yeah. Playing fifth was the main thing.

Steve [01:13:30]:
That's great.

Guilherme [01:13:31]:
And I really like to, you know, exercise to like, you know, go to the gym. Kick boxing. It's another good hobby that I have.

Steve [01:13:38]:
Right. Well, that's great. Well, thank you, man. It was so awesome to hang out with you. I hope to, I was hoping to run into you at Namm and it didn't work, but we'll try again.

Guilherme [01:13:48]:
Yeah, unfortunately.

Steve [01:13:49]:
Yeah.

Guilherme [01:13:49]:
But we will do next year, man. Let's, let's book something. Yeah, it's gonna work for sure. Thank you very much, man.

Steve [01:13:55]:
Oh, yeah.

Guilherme [01:13:55]:
Thank you very much.

Steve [01:13:56]:
Yeah, it was so awesome. And we'll certainly keep in touch and I'll talk to you soon and, yeah, so good luck with everything you got going on and just keep on. Alright, buddy.

Guilherme [01:14:05]:
Thank you, man.

Steve [01:14:06]:
All right, take care. Hey, thanks so much for joining me for this episode with Galerme. If you could do me a huge favor. There's going to be a link in the description that you can check out all of Galera May's stuff and you can certainly check out my guitar lessons and such at GuitarZoom as well.