634 - Marcus King melting faces, the great acoustic guitar rabbit hole, and Ola Englund's Pedalhead preview

Brian, Blake, and Richard are back for Episode 634 of the Chasing Tone Podcast - Marcus King melting faces, the great acoustic guitar rabbit hole, and Ola Englund's Pedalhead preview

Brian's hair may have entered a new era, so naturally the guys workshop his new mullet before anyone's allowed near a guitar. Once they get there, Richard is buzzing about Atomic Habitz at the Newport Jazz Festival - how could you not love Marcus King ripping through Funkadelic's "Red Hot Mama?" Turns out the kids really are gonna be alright. 

Then it's down the acoustic rabbit hole: jangly Taylors, warm Gibsons, giant SJ-200s, and why buying an acoustic is a far more personal affair than grabbing a Strat online - though Richard's happy with his Acoustasonic Jazzmaster for now. His new, rockier, punkier band has also left him with an actual blister on his picking finger from blasting Green Day's "Basket Case" at 170-plus BPM, which of course means a proper chat about Helter Skelter, Ringo's blisters, and whether that little band from the UK ever amounted to much.

Gear-wise, Ola Englund's tasty preview of the Pedalhead has everyone chomping at the bit, the new ToneX board gets a bigger screen, and there is Bullshine talk. Richard also somehow bends his high E clean over the pickup, and the eternal "how many guitars do you take to a gig" debate rages on. Brian gives us his signature hotdog eating impersonation. 

The demented Tele, your custard is our pudding, 50p Oreos, Stevie Wonder, Shotguns fired...it's all in this week's Chasing Tone!

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Transcript

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Brian 0:06

Hey there!

Richard 0:07

How's it going here?

Blake 0:09

What?

Richard 0:09

Right here. Why?

Blake 0:11

Not what? Why? Oh, we've been asking ourselves that question for over a decade now.

Richard 0:17

Yep. The most time.

Brian 0:21

Back when I had hair.

Richard 0:23

I don't know if you did back then. Maybe you did. I think you got more hair now, actually.

Blake 0:27

I think you might have some somehow grew more hair.

Brian 0:30

Yeah. I do not. So check out check out the back. You've seen the business up front. Have you seen the party in the back?

Richard 0:37

That's just oh Brian, it's nothing. Honestly, that's a mild comb over and some strong hairspray will fix it.

Brian 0:46

That is that is true. All I need to do is just grow the rest of my hair long and just comb it over.

Richard 0:53

Seriously, Brian, if you mullet it up, no one would ever know.

Blake 0:57

Except I've seen the skulllet too many times. Like at some point, does it become that, or do you have enough hair you think you can just go the whole thing?

Brian 1:07

You know what? I'm gonna work towards that direction.

Richard 1:10

Yeah. It's a popular haircut amongst the youth now. I mean, I've told you about Britain's Yeah. Well, kind of like the skulllet fade. It's like it's short at the front, long at the back, and then they have a fade at the side.

Blake 1:24

Yeah, like a really like a skin fade.

Richard 1:27

Yeah, exactly. Like that. It it literally looks like they're wearing a flattened raccoon on their head.

Brian 1:33

Does this mean that does this mean that before long I can go ahead and get my Michael Jordan logo shaved into my head again? I think you can do that right now. Can I do that right now?

Richard 1:42

I think you can go right ahead and start shaving.

Brian 1:45

I didn't know it was 1988 again, but let's do it.

Blake 1:48

I heard a funny story about a kid on a football team who was he was the big kid, but he was also kind of the slightly less intelligent kid, and he everyone called him dump truck, and uh which makes sense, right? He's running people over, he's a big dude, and so he was so stoked he went to go get it uh shaved in his head, and it said like dumb truck or something like that, and it didn't quite get finished. It's just a good thing it wasn't a tattoo. Let's just put it that way. I don't even remember where I heard the story. I'm repeating something that could be complete nonsense. Oh, what's new? Yeah, this sounds like an urban myth to me. It might be, but I like it, you know. Print the legend sometimes. Why not? Exactly that.

Richard 2:33

Uh speaking of legends, I I saw a band uh on YouTube, and in fact, one of our one-platon groups um kind of regular posters posted up some links, and it was um the band. Well, say it's a band, but it's like a a getting together for the Newport Jazz Festival, and they called themselves Atomic Habits, but it's three fairly well-known musicians. Uh, did you guys check any of this out? No, I don't know anything about this. Okay, so um, firstly, I I may have in the past, bad mouth the bass player, mono neon. Uh what how dare you? Uh well, I mean, only because I was like, who? And I now know who he's uh he's an excellent bass player. Yeah, Marcus King, the guitar player. Um, he's pretty good.

Brian 3:26

I think Marcus is great.

Richard 3:28

Marcus is fantastic. Yeah, and he melted my face live.

Blake 3:33

Insane.

Richard 3:34

Yeah, but but he has a voice like that somebody who can play the guitar that good really shouldn't have. Like uh it's very soulful without trying hard, which is a rare, rare gift. And they covered two of my favourite all-time songs at the Newport Jazz Festival recently. They did Red Hot Mama by Funkadelic. Now, Brian, you will laugh at me when I say this, but if you heard the song, you would go, That actually slaps pretty hard. Uh, it's on my Facebook page, and the other one they did is uh Be Thankful for What You've Got. Uh, I forget who did it originally, but it was covered by Massive Attack. It's a great song, great covers. These guys are amazing. I've forgotten the name of the drummer. Obviously, the uh the the guitar player and the bassist overshadowed a bit, but yeah, I was into it, and you know what? I had that feeling again, the kids are gonna be alright because this guy, Marcus, is like 30, I think.

Blake 4:33

Yeah, something like that. Is Marcus King only 30?

Richard 4:36

Yeah, yeah, he's like a kid compared to us.

Brian 4:40

Everyone's like a kid compared to you, Richard, because you're just dirt.

Blake 4:43

Why why did you have to say Marcus King is indeed 30, born March 11th, 1996? I thought he was about my age, but now I am old. He is my nephew's age.

Richard 4:53

In fact, my nephew's older than him. That's insane. That's bonkered.

Blake 4:57

Well, that means like when I when he blew my mind out, he was like 27. So cool.

Richard 5:04

Okay, I mean, that's not as impressive sounding as I thought it was gonna be. I thought you're gonna be like, he was seven, but uh 27 is still.

Blake 5:13

Well, because when I saw him live for the first time, I was just like, jaw on the floor. The whole band, really, the whole Marcus King band was just like, What is this?

Richard 5:21

I've never seen him play before, and I've seen I have seen him, and he has the look of you know, a blues guitarist, essentially, a a country rock blues guitarist. And like I I'd registered it, but I did not expect that voice to come out of that mouth. I'm not gonna lie. Uh, and I did not expect his guitar playing to actually thrill me in the way it did.

Blake 5:46

Chris Dave is the name of the drummer. I was trying to find that.

Richard 5:50

Well, see, like me, he's got a surname and a first name that can be interchangeable, and that makes you confusing.

Blake 5:57

I know I knew his name. I was trying to remember where I heard that, but he's a he's a little bit older. He's a little bit closer to your age, he's 52. I like him already. Yeah. Yeah, he's a yeah, yeah, yeah, yeah. He's a well known well-known subsession. Yeah, I've seen this guy before. Okay.

Richard 6:12

Brian, you know, if you're like sitting there late at night, um smoking your coffee or whatever it is you do these days.

Brian 6:20

I that's I love I love a great smoked coffee.

Blake 6:24

Yeah, that's gotta be the thing, right? There's roasted coffee, it's gotta be smoked coffee.

Richard 6:28

And if not, it's a never invention. But Brian put me off this idea, but I'm gonna float it past you. Okay. I think we need to make a coffee table book of all of the most stupid inventions we've come up with on this podcast, complete with technical drawings done by hand. Oh, I'll do the technical drawings. Uh I mean, I think we'll all do the technical drawings. Uh it might be a bit tight for this Christmas, but I don't know, listeners, what do you think? Should we make a book of the greatest chasing tone inventions of all time? Bullshine, available at Costco. You know what I'm saying? Oh, your bullshine, your attractable guitar, your robot guitar stand, your self-leveling fret system. I'm sure we've invented at least three foldable guitars.

Blake 7:22

What haven't we invented at this point? Incalculable course businesses.

unknown 7:26

Yeah.

Blake 7:26

How to make porridge.com.

Richard 7:31

I'm registering it right now. Um, good stuff. I think I think I'd enjoy that coffee table book.

Brian 7:38

It's interesting that there's a lot of bullshine products out there.

Richard 7:41

Is there? Are there really?

Brian 7:42

There's bullshine bourbon whiskey. Okay.

Richard 7:46

I need to get some immediately.

Brian 7:47

I've never never knew. Bullshine distillery, there's an Operation Bullshine movie.

Richard 7:59

Oliver Richards.

Blake 8:01

Yeah. Is this is this the same category of mission as like Operation Dumbo Drop? Is it kind of the same thing?

Brian 8:07

I have no idea. I just I if I remember right, we just kind of pulled that out of our hat. Yes.

Richard 8:13

Our large cowboy. This is what I'm saying, Brian. There's got to be a way of monetizing our idiocy. That's that's where I'm at, anyway.

Brian 8:21

Um I think I think uh when we are monetizing our idic, and and folks listening are paying exactly what it's worth right now.

Richard 8:29

Zero. Yeah, yeah. Thank you very much. Well, some fine folk pay uh you know the odd coffee. Yeah, I know. Yeah, the extra. You know what I mean. So Bright Atomic Habits with a Z. An American just for you. Uh, I highly recommend you check out their uh Newport Jazz Festival set if you just want some good music on while you're, I don't know, inventing something new, some software or something. Uh the other uh bit of music I watched this weekend that took me by surprise was there was an Eagles tour from 2018 on it. And as it came on and it was sort of it was obviously um focusing on the kind of main Eagles members, I was like, didn't Vince Gill join the Eagles at some point? Yeah, and I looked it up, and the guy to the very left of the screen was indeed Vince Gill. Uh so I watched him play. Oh my god, what another person who can sing and play too well for for anybody. Vince Gill is an angel. Right? Incredible. So I did text Brian, who who sent me back uh some strange pictures, actually. But that's another story.

Brian 9:41

Oh, that's well you you asked for some stuff and you got it. You know?

Blake 9:46

Didn't ask for that.

Richard 9:48

Nobody asks for that.

Blake 9:49

Yeah, Vince is uh Vince's next level. He's one of those guys just incredible player, incredible songwriter, and uh great voice too. Look at that.

Richard 9:59

Yeah, I I also discovered that I struggle remembering the name of the main guitar player in uh the Eagles. I can always remember Don Felder, and then I'm always like, it's the name of the other guy, the really famous guy, the one who did life's been good for me, and for some reason that name like disappears every single time I try to remember it. It's weird. I think I've got to just remember, just remember Joe and then Walsh. Right? Like it should be, but I almost forget it. It's like, I don't know, it seems like too common a name for too big a star.

Blake 10:32

I gotta send you guys I just before we dive too far into it on this podcast. I just want to send you guys a video of Joe Walsh. Maybe we can discuss it on a later episode, but that reminded me I needed to do that. Well, you guys need to sit down and really absorb this before we decide if we want to talk about it or not.

Richard 10:51

Okay, yeah, that sounds interesting. So yeah, but that was my uh that was well part of my weekend TV watching anyway. Yeah. Okay, all right.

Blake 11:02

No one else? What did I do? Uh that's all Patreon talk. You don't want to hear about any of that on on this episode. But I I have been uh been playing, you know what, guys? Don't kick me off the podcast. I've been playing a fair bit of acoustic guitar. Kick him off now.

Brian 11:23

No, I'm dude, I'm with you. I love playing acoustic, man. Love it.

Blake 11:26

I I I didn't I I've always enjoyed it, but um I think You guys have changed. I think the fact that it's I was talking about this with uh actually with Dylan talks tone on a recent podcast episode we did on Tone Mob. Go check it out. Uh I think it's that electric guitar, while I still love it and get excited about it and is it's wonderful, it's one of my favorite things ever invented. Electric guitar kind of feels like I'm doing something for work, even if I'm not necessarily. It's it's like it started to cross that barrier where it's like, oh, that's a work thing. An acoustic guitar is just different enough that I and I don't usually do acoustic things that are work-related, it's almost always electric. That maybe it's uh kind of taking it back to a more pure place in some ways.

Richard 12:15

I mean, that there is definitely something visceral about connecting with an acoustic guitar. Like it's a different experience. It almost feels as if if the sound is coming from your stomach. Maybe that is coming from my stomach, actually. Maybe maybe that's just a lot of people. Um, but no, I'm with you. Although I am not a good enough acoustic guitar player to justify owning a really expensive acoustic anymore. I I feel my skill is fine with my acoustasonic, which I just use to play songs to myself with, and I don't need anything fancier.

Blake 12:53

It it did take me getting a decent acoustic to really appreciate it, you know.

Brian 12:57

Yeah, I was just gonna say, I don't have to disagree. Great acoustic is man, it's like a whole different instrument. It's it's not better or worse than good than electric, it's just different.

Blake 13:08

Yeah. You know, you play different things on it just like when you grab a less pulver as a telecaster, you start playing different things on it.

Brian 13:14

It's just a different thing, man.

Richard 13:16

Yeah, I I think you underestimate how good my acoustasonic jazz master is, Brian. It is. No, no.

Brian 13:22

I've I've played them, but have you ever played like a really great Gibson or anything like that?

Richard 13:26

I mean, I had a Martin for a while, right? So and it it was a good Martin. It wasn't a great Martin, but it was just too big and bulky for me. So maybe it was the wrong size.

Brian 13:36

And then I had it's there's like this resonation that happens, and just this full frequency sound that you just don't get with an acoustasonic or anything like that.

Blake 13:46

And there's some newer guitars that like I feel like this is cheating a little bit, and I would never want a classic guitar modified with this or anything, but there's some newer guitars that have a port on the top facing you. Yeah, yeah, yeah. And I've played that before, and I'm like, oh, that feels good. It doesn't make any listening.

Richard 14:03

Make some of those, maybe. If I got that right, I don't know.

Blake 14:07

That's not the brand that I played. I'm trying to remember that. Yeah, I know the words you mean. It was like a it wasn't a it wasn't a breed love. Maybe it was. Can't remember off the top of my head, but it was a nice experience. It obviously does nothing for the audience, but it does a lot for the performer.

Richard 14:22

I I do kind of agree with you, bro, that there is something beautiful about a beautiful acoustic guitar, but also they're expensive, and I'm still young enough to play the electric. So I'm gonna just, you know, I'm gonna wait until I retire before I go and splash serious money on an acoustic, I think. But what time do you think you're gonna go for?

Blake 14:41

You know so many nice options out there.

Richard 14:44

Yeah, I the the definite thing I would do if I was ever, because I I made the the mistake with buying an acoustic, which is I read about one in a magazine, went that looks about right, and went to a shop, tried it, could play some things on it, and was like, yeah, it's fine, I'll take it. And then actually, over 20 years of ownership, because it was a dreadnought size guitar, right? I started to think this isn't right and this isn't right. So I would just go to a shop. I have no brand preconception. I would go to a good guitar shop and just be like, I want to buy a nice acoustic guitar, I don't know what size I want, and I don't know what make I want. Please furnish me with the finest wood and cat gut that you've got.

Blake 15:31

That's what my dad did for his 40th. He he kind of knew he wanted a Gibson, but he was open to other options, and he went around to almost every guitar shop in the Portland area before settling on his SJ200, which is enormous, but also one of my favorite sounding acoustic guitars. I totally get why he bought it. It's uh I think that's the move. Go try a bunch of stuff.

Richard 15:55

Yeah. I think much more so. I think you can get away with certain major food type you know group guitars if you buy them online. Like if you're buying a strat or a telly or a jazz master, let's say, you if you buy from a reputable brand, you you're pretty much getting a playable guitar that you could live with. I think with acoustics, it is that little bit more personal. Brian, do you like to stroke your guitars?

Brian 16:24

Only like Billy Squire does, you know. Oh boy.

Blake 16:31

What acoustic do you are you going for, Brian? I don't know if I've ever seen acoustic.

Brian 16:35

I don't have a great acoustic. I have a Taylor. I love playing great acoustics, I just don't have one.

Blake 16:40

Taylor makes some good guitar, really, really nice guitars, but they're they all seem okay. This is me just speaking on the I don't know, 25 or 30 or so Taylors that I've played. I haven't I I haven't played every Taylor in existence, but they definitely are a more jangly sounding acoustic to my ear. Um I'm guessing that's that's pretty consistent, so I'm guessing that has to do with how they're made. I'm not an expert. Probably how the top's priced or something.

Brian 17:07

I don't know much about the acoustic process, so couldn't tell you on that. But yeah, I'd agree with you. There's like this presence to them, sort of. Yeah.

Blake 17:14

Which if you like it, nothing else will will do. But I kind of prefer, like most guitar sounds, a darker, warmer.

Brian 17:21

See, I I mean I like both. I like the I like really high-end Taylor stuff when it sounds, you know, that nice and I want to say crispy, but not in a bad way. It just has, like you said, a jangly sound. Jangly and precise in it. I played other Gibsons that just, you know, it's like start starting a new religion or something. Like it's uh it's a life-altering. Something Brian has quite a lot of experience.

Richard 17:44

I'm not sure. Oh, yeah.

Brian 17:45

I that's I do that, I did that this weekend actually. Yeah, yeah.

Richard 17:49

You can't keep it fresh. Yeah, no, exactly. You should go to cultdesigner levelcourse.com if you uh need to find out more. Uh so here's where I got to with the acoustic guitar, though. I kind of came to the conclusion that I didn't really need uh like a jumbo or a dreadnought size because I was probably never going to play the acoustic guitar in front of many people. And I then spent some time with my cousin, sort of eight years ago, uh, is it that long, out in New Jersey? And he had like a little parlor guitar that was just lying around, and it was actually it was strung with Nile on the strings, if I recall correctly, and it it was just always there, so you could just like pick it up and play it, and it made me think actually, what suits me better acoustically is a smaller guitar. That's why I ended up with the acoustasonic because it was the perfect blend between an electric and an acoustic that I could just pick up and you know noodle away on. And I still think I would quite like a really nice parlor guitar, just something for me to play, because I I don't think I'm ever going to be in a band where I'm gonna be playing an acoustic guitar that can't be emulated by using an acoustic sim on my electric guitar.

Blake 19:09

You might not go, I mean, parlor guitars are cool and and they have a they're especially now, there's some really nice ones out there. But you might you strike me as if you if you don't like the bigger dreadnought style, you might like something like a Martin, like the double O series, like the 0017 or something. Yeah, they're a little smaller. I I didn't think I was gonna like those that well, but we we got my dad a 56017. Uh it was one of those, like, I was like, that looks really interesting, and it's in our price range to get that for him. He'll probably really like that. I picked it up, went, if he doesn't like it, I'm keeping it. It's so good. Like, and so he he obviously did like it, but yeah.

Richard 19:48

Yeah, I I I definitely would entertain this uh this journey uh, you know, when maybe my wallet was a little bit fuller, because I think you could very easily go and drop 5k on an acoustic guitar and still feel you had bought something mid-range, you know what I mean?

Blake 20:06

It's not after coming back from the fretboard summit, I concur. Yeah. So where guys are just walking around with 1932 Martins in their gig bags, which is wild.

Richard 20:16

Yeah, it's yeah, right. So I did uh I did uh have a band practice this uh weekend with uh a little new outfit I'm working with.

Brian 20:26

Um I mean, what are you doing? Are you doing like a dress?

Richard 20:30

Like what are you what are you doing here? I mean, if if you want to know Briar, it's a kind of all-in-one cat suit with uh flared lapels and platform heels. Now that's the way to do it. Yep, that's the way to do it. And uh so we're playing a bit more of a harder, rockier, punkier, alternate edge than the other stuff I was doing, and I love it. And what's really nice about it is when you get together, you get 10% more guitar speed. It's like a magic power. Like when you are together as a band and you start playing, you're like, Yeah, I'm I'm gonna give this some. And and you don't overplay, you definitely don't overplay, but you play as hard as you can, and like you're playing, for example, we do um basket case by Green Day, and that's 170 plus beats per minute. How's it going? It's fast, right? And at the end of the session, and we're probably played like 10 songs one and a half times through, so 15 songs probably. Uh, I looked at my finger, my index finger of my my first finger on my right hand, my my strumming hand, my picking hand, and I had a huge blister on the tip of my finger. Which I've got to do. I've got a blister on my fingers. Okay. All right. I didn't know that was coming. I I didn't know. Where's that from?

Brian 21:50

What? I'm done, guys. I'm out. Well, I gotta go.

Richard 21:56

Where's that from?

Blake 21:57

I've got blisters on my fingers.

Richard 22:00

Oh, yeah, again, no idea.

Brian 22:03

Let me say it again. I've got blisters on my fingers.

Richard 22:07

Again. I mean, is it Johnny Depp in Pirates of the Caribbean? Sure. Yeah. I mean, that's what it sounds like. Yeah, yeah.

Brian 22:17

Have you ever heard the song Helter Skelter? There's this little known band called The Beatles. They're from the UK. Have you heard of that country?

Richard 22:25

Oh, somewhat, yeah. Yeah. Yeah, yeah. Okay. All right. That was that was a Beatles level accent, was it? Okay. All right.

Blake 22:33

Kind of how he sounds on there. I mean, it's it's not that far off.

Brian 22:37

There's the so at the if you listen to that song, and it's a little known song, no one's really heard of that. Yeah, the song that invented heavy metal potential. Yeah, there's a at the end it says uh Ringo says, I've got blisters on me fingers.

Blake 22:51

But he like yells it. But he yells it. Yeah. Can I just say that Ringo is very blisters on me fingers?

Richard 22:58

The Ringo is very underappreciated, by the way. I love Ringo. Yeah, Ring Ringo is.

Brian 23:02

I'm just disappointed that you didn't know what we're talking about.

Richard 23:05

I'm confused, yeah, more than anything. I mean, you're you're British. I've probably heard Hell to Skelter half a dozen times as a song. That's it. And that's just not yeah. I've probably played it 50 times. Yeah, I mean, I I've probably got to get more into that. Uh that song rips.

Blake 23:21

If you have um that's not very many people know, but that's a pretty good song. They're they're a pretty good band, actually.

Richard 23:27

Yeah, they are. Yeah, it's weird. Like, we all have our own kind of Beatles bent in this country. Like, I've been heavily influenced by the Beatles my dad loved, which was more magical mystery tour era stuff. So that's kind of very big in my house. If you'd quoted I am the walrus at me, I would have got you straight away. Exactly that. But uh yeah. I'm an egg man? I miss that. Yeah, you are Brian's looking at us.

Brian 24:00

There's gunshots outside by a barn, and I'm like, this can't be good.

Richard 24:04

Or maybe Brian, maybe it means check the cameras. Yeah. First thing. Uh I don't have a camera that direction. Okay. This is quite worrying, listeners. You're you're joining us in a live situation from the Wumpler control room. I think that's just the Martinsville salute. You've nothing to worry about. You sure that's not one of your cars backfiring? Pretty sure it's not the car backfiring.

Brian 24:28

How many did you hear?

Blake 24:31

Three. Well, then they're definitely the situation's taken care of.

Brian 24:36

Someone might have put down a horse or something. You never know. Oh, well, don't bring us down. I mean, I'm sure like if you're not used to that, that's gonna freak you out. That's not that uncommon here. It's just, but this is like super insulated, this room is. Um so you usually don't hear stuff like that. Okay.

Richard 24:52

Anyway, I've got a blister on my fingers, all right? Oh, that's where we can't that's right.

Blake 24:57

That's where we started with this.

Richard 24:59

It's quite impressive, I thought. Yeah. I mean, I was holding a pick. Like to get a blister from holding a pick means you're playing hard.

Blake 25:09

That's right. You're doing it right. You're doing the right thing. I don't I would always get it like I would always cut my knuckle here. Like this knuckle. Yeah. Because I'm doing this, and then it's hitting the other strings, and it will just eventually open up.

Richard 25:22

I did something else that I've I've not done whilst playing, and that's I pushed my high E string over the pickup and it stuck there, and I couldn't see what happened for ages. How high are your pickups? What? I mean they're normal height, Bri. Three inches. You pushed your high E over the pickup. What do you mean? So I pushed my high E string down and it fell off the neck and got stuck on the pickup.

Blake 25:50

What kind of bend were you doing for that? Right.

Richard 25:53

I mean, never a big old bend. It was a big old bend, that's all I'm saying. Hold on. Oh, it was a Friedman Cali. It was a Friedman Cali deluxe. So it needs to be a super strat. You won't do it with a regular strat, Bri.

Brian 26:08

Well, let me go get my Friedman. Hang on.

Richard 26:10

Oh, okay.

Brian 26:10

Wait, come back. Gotta get to Friedman.

Richard 26:15

This Friedman's a telly, though. Yeah, I can. I'm just kidding, I don't have one. I've never seen it happen before. So I I again it it's a Floyd Rose Tremolo, so I guess I I don't know what I did to it, but I did something and it's stuck there. And I was trying to tune it. I was like, why can't I hit this string? Oh, because it's being held down by the flipping pickup.

Brian 26:34

Around here we use WD, we use WD 40 for problems that we don't know what to do. Yeah. Have you tried putting WD40?

Richard 26:40

Or revolvers by the sounds of it?

Brian 26:43

No, this was a shotgun. It was not a revolver. Okay.

Richard 26:46

Uh no, so you could hear it.

Brian 26:49

That's why you could feel it too.

Richard 26:51

But this was the first time I've ever taken a telecaster into a rehearsal, bro. I took a I took my Friedman and I took my telecaster, which I'm using to play the green day. Um, and uh it's a pretty awesome guitar, I'm not gonna lie. You've never taken a telly to a gig or practice before? So I always take a strap because they're just more flexible. You can get more tones out of one, right? And because I'm probably also using a humbucker. But I need two different tunings for for my practice session, so I'm like, well, I'm taking the telly as well.

Blake 27:23

And uh you got the telly like tuned half a step flat or something? That's it, yeah. The green day method, which is a good method. I like it.

Brian 27:30

Why not just use a drop?

Richard 27:32

Uh across all the strings?

Brian 27:34

No, no, like uh the pedal.

Richard 27:36

Oh, mmm, yeah.

Brian 27:41

I hadn't thought of that actually. That's probably not a bad idea, Bri. Yeah, that's easier than dragging another guitar.

Richard 27:47

If it has the intervals you want. Yeah, I mean it does, right? Because the the version I've got is like the.

Blake 27:55

Well, you're you have one?

Richard 27:56

Yeah. Yeah, I don't know.

Brian 27:58

If you didn't bring it, you brought a new guitar instead of just how the good lord intended it, bro.

Blake 28:04

Are you talking about the you you the way you moved your arm that the listeners couldn't see? Are you talking about the full whammy?

Richard 28:10

Yeah.

Blake 28:10

Okay.

Richard 28:11

Yeah. Yeah. Yeah, not just the drop. No, I've got a whammy. So and I could easily program it, but it's too much hassle, Bri. Just stick another guitar in the back. And anyway, it's an excuse to play my telecommuting. That's crazy. Yeah, anyway.

Brian 28:21

Yeah. So I'm more lazy than that. I would not.

Richard 28:24

Yeah, but okay, let's put it another way. If you're going to uh a gig, how many guitars are you taking as a minimum? Unos. Are you insane, man?

Brian 28:33

You always have to take two, surely. Nope. Nope, because if I take two guitars, then I'll have to carry two guitars and I'll have to pack up two guitars.

Blake 28:42

Yeah, that's how you stay balanced. That's how you throw your back out. Yeah, yeah.

Brian 28:46

No, no, it's um no. One guitar, sometimes two amps if I fill a froggy.

Blake 28:52

But one guitar. Two guitars is ridiculous, but two amps is sometimes acceptable. I like playing in stereo.

Brian 28:57

I do too. That's what you say. And if I'm not playing in stereo, then I'll I'll have like one dirty amp and maybe a clean amp. Or sometimes, depending on the gig, maybe I'll just have two different dirty amps. I actually like playing through tube stuff a lot more than just a clean amp and pedals of usually. Sure. Unless it's like a straight-up country gig, then it's clean.

Richard 29:16

I saw a video once which was called One Guitar Two Amps. I think that's what it was called. Anyway, don't go googling it. Yeah. Yeah, yeah, yeah. You know what would be really good, Bri, if there was some kind of power amp solution that could let you run different sounding amps in stereo. That would be amazing. That would be just next level.

Brian 29:39

It's impossible to do, guys. Don't even think about it. It's impossible to do. It's impossible to do. Is it?

Richard 29:44

Uh speaking of uh completely unrelated things. Did you see uh Ola England got a little uh a little preview of the pedal head, Bri?

Brian 29:54

I have heard such things, I did not see that yet.

Richard 29:58

You're holding out on us. Come on, you know everything, Bri. How many pedal heads have you got at the moment? Zero. Yeah, I know the answer to that. Zero, because the mail screwed up. No, um yeah. It's a it's it's sounding pretty tasty. I'm not gonna lie, Brian.

Brian 30:15

I mean, it's we've done a lot of when we when do we show that? We'd show that now in January, right? And there's been so many updates to it, like it's it's ten times better easily.

Richard 30:27

He he said something along the lines of this really is gonna be a game changer. Let's let's see if he's right.

Blake 30:32

If I remember the video correctly, it was I hate to say that things are a game changer, but this might actually be.

Brian 30:39

I I've heard that from a number of people, like and you know, this is not them, this is just just them talking to me and saying, Hey, I got the pedal. Dude, I gotta say, when Fractal and all that stuff came out, it was game changing. This seems like another era of of ampuse, just like that was back then. So I don't know. I I mean I think it's great. Will it be game changing? I hope so.

Richard 31:05

We'll see.

Brian 31:06

I hope so.

Richard 31:07

I hope so. Let's hope so.

Brian 31:10

Um what else do we have uh this week? The proof is the proof is in the pudding, as they say. I need to try that. Especially if it's butterscotch pudding. That's fantastic.

Blake 31:21

I like butterscotches, it's nice.

Brian 31:22

Butterscotch pudding is great.

Richard 31:24

What is butterscotch pudding in your world? Is it like a kind of pudding flavoured like butterscotch? Yeah, so I I struggle with the American concept of the word pudding. Because over here, pudding is a generic word for dessert, but over there it feels a black pudding, which is a completely different thing. It's also a black pudding and a white pudding, and there's a summer pudding, and there's a you know, we've got all kinds, but when you say pudding, I imagine you mean like a gel gelatinous substance. Kind of, it's more like creamy. Yeah, it's more milky. Yeah. Okay. So like a caramel type thing.

Blake 32:03

Yeah, yeah, yeah. Kind of, but like but but not not as thick as that. It's like you can eat it with a spoon. Yeah, okay. That's what I'm thinking. It's almost like a moose. Have you heard like a chocolate mousse? Pudding's kinda like that, but does it have bubbles in it? No. Then it's not like a moose.

Brian 32:22

How do you guys not have freaking pudding, man? Does it have handlers?

Richard 32:26

I mean, we almost certainly do, but we just call it something different for sure.

Blake 32:30

It is kind of it is like a creamy dessert substance.

Richard 32:34

Yeah, I wonder what it is. Like is it like a panna cotta? Is it like a blamond?

Blake 32:39

It's not a panicotta.

Richard 32:41

Is it like Angel Delight? You probably don't have the delight that is Angel Delight. It is custard.

unknown 32:48

Yes.

Richard 32:48

It is custard. Custard. Okay. It is flavoured custard. Yes.

unknown 32:54

Yeah.

Blake 32:54

But custard tip when we get cuss actual custard here, it's typically a little thicker than what we refer to as pudding. But that's that's the idea.

Richard 33:02

And that's even more confusing. So you eat custard but call it pudding, but your actual custard is smoother than everyone else's custard.

Brian 33:12

Yeah. Yeah. Yes, actually. Yeah. Yeah, yeah. Our custard is not your custard. It's a different custard. Your custard is our pudding. Yes. Good.

Richard 33:24

Can you see why the rest of the world struggles? Uh Stevie Wonder's going on tour. Um, just telling if anyone's got any ticket hookups they want to send my way. I'd love to see Stevie Wonder. Like, he's on my like bucket list of artists to see. You should go to NAM. He's got a NAM.

Brian 33:43

He's a NAM all the time.

Richard 33:44

That's a little bit of a sore sore point with me there, Bri, because I've tried for eight years to go to NAM and somebody uh won't pay for the flights at a five-star hotel.

Brian 33:55

Hold on. So it's not that you haven't, it's not that you're trying to go to NAM. You're trying to get me to pay for you to go to NAM.

Richard 34:02

It doesn't have to be you, but yes, you.

Brian 34:04

Right. So so what other people do when they want to go to NAM, they just go to NAM. Yeah, I was gonna say, Brian, who pays for you to go to NAM?

Richard 34:12

Uh I pay for me to go to NAM. Oh, I pay for me to go to NAM too. Okay, well, if you could both pay for me to go to Nam, we'd be equal. So no problem. Uh what else do we have? Oh, this caught my eye, actually. The um Fender have released a uh a signature Squire Paranormal guitar. Uh, but it was a 12-string telecaster. And it made me think, Bri, have you ever played a 12-string telecaster of late? But Bri is the 10-year-old.

Brian 34:40

I don't think I have.

Blake 34:41

I don't think the only electric 12-strings I've played have been the Rickenbackers. Yeah, so I think Oh no, and the Fender, those Fender with the weird headstock. I've played those two.

Richard 34:50

I mean, this this has also got a weird headstock. Uh, but Bri, I think you should buy one.

Brian 34:55

I'm not a big fan of I I I like it when people play 12 strings, but there's nothing that wouldn't there's nothing I would play on a 12 string. Nothing? No. Interesting. No, it just um loon.

Blake 35:11

Yeah, that's right. I forgot he he did that whole like car thing. Yeah, yeah. Oh no, see that headstock that you're seeing there makes the one I'm thinking of look normal. Oh, hold on.

Richard 35:21

You're thinking of the one that goes round the corner.

Blake 35:24

It looks like it's a demented hockey stick.

Richard 35:26

Yeah, yeah. They should call it that, the demented hockey stick. That would be a good name for a guitar. Sure. Okay, we'll go with that. I think so anyway. Um, did you guys see the new IK multimedia tonics board? I did.

Blake 35:42

And I didn't. I'm confused, I'm not gonna lie. Okay, I didn't um I didn't dive in very far to like figure out what the difference was. Well, it's got a screen. That seems to be the main difference.

Richard 35:53

The other one is screen two, yeah. But this is like a full screen. Okay, the others have like a little diddy screen.

Brian 35:59

Bigger screen.

Richard 36:00

Yeah, but here's my problem. There's so many tone X models now.

Brian 36:05

Like at what point you It's like the Wampler Pinnacle, you know? How many versions are you gonna come out with?

Richard 36:11

All of them. You you shut up there, Bri. You shut up right now.

Blake 36:17

If we're not bringing the pinnacle extreme, this is the pinnacle double double extreme.

Brian 36:23

Or or the plextors, it's the super duper plextors, nope. It's the dual plex torsion, nope, it's the plexi, uh, I forget what all versions are. Plexidrive. Yeah. Yeah. Plexidrive. Nope.

Richard 36:34

Totally different. Just a quick update to anyone that cares. Since my local grocery stores has been selling Oreo cookies for 50 pence a packet instead of £1.50, i.e., a third of the price, I've bought 12 packets of Oreo cookies. I'm gonna get a year supply. That's what I'm saying.

Brian 36:51

Side note all of Richard's exercising, all for nothing now.

Richard 36:57

I'll have you know that I I've had some comments on my fine physique recently, Brian. Ah, well, I give you a few minutes. Mainly from blind people and pensioners, but it's give it a few weeks with the Oreos. Uh, you know. I do like an Oreo cookie though. Do you?

Brian 37:11

Because that's one thing I haven't been able to get into.

Richard 37:13

Yeah, we just do nothing for me. Yeah, they they do everything for me. Even as a kid, I just scrape off the icing.

Brian 37:20

Yeah, yeah.

Richard 37:21

As a kid, you did what?

Brian 37:22

Just scrape off the icing.

Richard 37:24

What was your what was your favorite food as a kid? Oh, hell I don't know. Probably cookie dough.

Blake 37:29

Oh, yeah, cookie dough is a good choice. Yeah, yeah, okay.

Brian 37:34

I would eat bowls of it.

Blake 37:35

Just like it's a hot dog. Yeah, but I remember when my mom learned to make steak, and uh that changed my whole life. I've been uh I've been on that.

Richard 37:48

I had to learn that one. We like we got I got steak maybe once or twice a year growing up. Like Christmas, that would be Christmas Eve, I'd get a little rump steak. So when I had my own money, I spent a lot of it on steak, but it's really expensive now in this country.

Blake 38:04

Oh, it's really expensive. It's well, you gotta get a whole cow and stick it in your freezer, and just that's the that's the movie.

Richard 38:10

Tonight, Mrs. Oliver made vegetable soup by getting a load of fresh vegetables, roasting them, blending them, and mixing them with vegetable stock. Nice. Yeah, no meat for two days, Bri.

Brian 38:22

Oh. That sounds horrible. Yeah, it sounds horrible to say that. So speaking of great things, what uh what's this Ingle thing?

Richard 38:32

Oh, so they've just released two new power supplies. Um there there's an eight and a twelve, but what I like about the twelve, and it's the reason I want to talk about it, is it has 10 500 milliamp outputs on it. So that makes it one of the most flexible pedal boards, uh power supplies out there, I would say.

Brian 38:54

So compare that to a typical power supply. What does this one have that the others don't?

Richard 39:01

Like a typical power supply will have maybe half a dozen 100 milliamp outputs, then maybe three 500 milliamp outputs, and then maybe a few 18 volt outputs. But this just goes, no, you're gonna have 10 500 milliamp outputs. So wow, if you wanted to, and you had the right pedals, you could daisy chain 30 pedals off this sucker without it.

Brian 39:28

But now you're you're getting back into noise problems once you start connecting all those grounds together.

Richard 39:32

Right again, if you did it right, like you did a couple per line, you'd probably be okay. But my other point is this depends on the circuit.

Blake 39:42

To me, though, this just isn't uh great. I thought this is a great solution that I think actually people need these days that we never thought we'd need because people are playing more digital pedals than ever.

Brian 39:52

Yeah, I mean, we need a lot more current than we used to, right?

Richard 39:55

Well, I'll give you a great example, Bri. I struggled with my CS12 to power cleanly uh catacombs, metaverse, and terraform on my board because each of those takes, I think, about 125 milliamps, and my pedal sub board only had like three, I think it's got two 500s, two 250s, and the rest are a hundreds, and like I had some other high like um amp amp requirements, and also with digital modellers, like they need 1.8 milliamps. Yeah, you need one point eight amps, sorry, that sort of level, you know, a full power supply to themselves, which this thing supplies because it has a separate two amp rail, which I thought was really, really nice. 12 volt it looks like two amp output, yeah, which makes sense.

Blake 40:46

That's what most of these are, right? Well, nine to nine to nine. Oh, yeah, this uh this neural DSP one, nine to twelve. Yeah, six hundred milliamps, though.

Richard 40:54

So it's it's a clever power supply for modern boards. Uh so it isn't like it's not tearing up any trees, Bri. It's not, it's not reinventing, it's not wireless power or anything super new. We do we need Bluetooth power. That's what we need. Uh well, I mean, you sort of do have wireless power now. Just everything gets very hot, Bri. Yeah. And uh that's not good. I gotta say, I like your current hairstyle, though. You've you've run your fingers through your hair earlier in this episode, and Brian currently looks a little bit like he's auditioning for a punk rock band.

Brian 41:32

Yeah, a little bit, I think. I do. That's probably because I've been pulling my hair out today.

Richard 41:36

Yeah, well, it looked good, Bri. You should have it spiky at the top. Yeah, I think I I think that's the look for you. This is a good audio format. Oh, yeah. Who does that remind me of? That reminds me of somebody I was trying to think of.

Brian 41:48

Got a little faux hawk action for you.

Richard 41:50

Hold on, hold on. That film, there's something about Mary. That's what I'm thinking about. Very quickly, put it down. How dare you!

Blake 42:01

Um yeah. So I I know we're trying to keep this uh one a little tighter, but I I do want to I do want to make a mention of something that happened. Uh this is a this is uh definitely a leaving on a bummer note thing, but there is a somewhat silver lining to it, I suppose. Um there's a guy that I really looked up to for a long time. He's in one of my favorite bands of all time, uh called Every Time I Die, and he was also a very well-known professional wrestler. That band really did change the uh the hardcore world um by introducing a lot more rock and roll into it. You know, the a lot of the bands were kind of doing these straightforward kind of breakdown things, and this band from Buffalo just completely changed what people thought it could be. And Andy Williams was a big part of that. He was uh uh very well known in the scene, and he's one of those guys that everybody loved. Like you if you go and search anything about this guy, everyone's gonna say how much they loved him and how awesome he was. And uh it's uh some people have said uh he's almost like uh hardcore's version of Dolly Parton. Like everyone loves him. And unfortunately, uh he collapsed at a wrestling event over the weekend and passed away suddenly at 48.

Richard 43:21

So wow.

Blake 43:23

How old is he? 48. Oh, that is well too young. Yep. So it's uh everyone in that world is super, super sad. I I I had a genuine, like rough time with it um the day it was announced. Um, and uh I I know Jordan from that band. Yeah, he's been on the podcast a couple of times, so I texted him a little bit, and he he's he's having a rough go of it too. They were basically brothers for almost 30 years, you know. So um yeah, I just want to say like shout out to his family and all his friends. Like I never got to know him uh the way I would have liked to, but uh by all accounts, seems like a stellar guy. And wrote some absolutely mind-blowingly awesome riffs. So yeah. Rest in peace, Andy Williams.

Richard 44:10

Very sad, man. Very sad, yeah. Um. All right. Well, uh, as you said, we are trying to keep it uh a bit of a tighter episode because Brian's got an appointment with a hairdresser, something about getting a new buffant done, like in the style of the lady from uh the B-52s, I think he said.

Blake 44:30

Oh, now we're talking.

Richard 44:31

I love that. Um so I guess before we go, it's a great song. Don't knock it. Uh we should say a big thank you to all our executive producers.

Blake 44:42

Oh, those people.

Richard 44:43

They're wondiferous people. Whose turn is it this week? I think it's my turn. Then it is your turn, good sir.

Blake 44:49

All right, here we go. Big shout out to Bill Bays, Andrew Adkins, David Tyndall, Dave Trombetti, Eric Wilson, V Dar Frostad, Michael Freer, Sean Arbo of Gunstreet Wiring, Rick Calhoun of Honey Picks, Patrice Fournay's, Dylan Tox Tone. Hey, I just talked to that guy. Missouri Electrical Box Company, Kevin Harrington, Barry from Grez Guitars, Tom Kelly, Jake Young of Man the Helm Podcast, Pigsy, John O'Neill, Robert Carr, Hunter Hudson, Rob Stokes, Nick Spano, Sasha Sir, Jay Stratton, Harry Post, Grumpy Mike, Harvey Pedles, Allison Carroll, Bum Laser, Anthony Stevens, Atta plays guitar, Philip Carter of the 40-Watt Podcast, Christopher Logan, Jason Inglehart, Dylan Lewis of Leeward Sound, Josh, James Thompson, Colin Littlejohn, Machete of Odin, Derek Lyons, Darth Bagel, Dustin Romero, Wizard of Waz, Crappy Tom, Bud Cole's mechanically assisted ponytail. Hmm, it's changed. Well, it's lost its sentience, I guess. Um, DJ Farnes, Calviana, Robert Hahn, John Hill, Nick Call, Kyle Ray, Your Face, Dave Evangelista of the Guitar Dads Podcast, Roxy Gwyn, Derek Howe, Churchill from Cam Girls Plus, Ross Edwards, and William Price.

Brian 45:59

All right. Well, let me leave you with this little parting gift. There's a big old party on the side of the row in the mantis. Something like that. Oh, I forget. I forget that song goes. But that now now that song is stuck in my head, so thanks, Richard. You're welcome, Bri. You're welcome. Have you got a car as big as a whale? That's what it is. Thank you.

Richard 46:25

And it was somewhere in there. Somewhere as big as a whale.

Brian 46:29

It's about to say on the love.

Richard 46:32

You kind of look a bit like him, Bri.

Brian 46:34

Thanks. That's what I was going for. Thanks. Thanks, Dick. All right.

Richard 46:37

Um that's big dig TV.

Brian 46:41

That's that's right. Big Dickie Oliver. All right, I'll see you later. Bye. Thanks for listening to the Chasing Tone Podcast. If you have any comments, questions, or concerns, shoot me an email at podcast at womperpedals.com and I'll personally get your email. You can reach Blake at infotonemob.com. Richard is Richard at WampletPedals.com. If you want to support the show, the easiest and free way is just to share this episode with a friend, leave a rating and review wherever you listen. Helps more than you know. Be sure to check out Blake's other podcast called the Tone Mob for even more guitar talk. If you love pedals, of course, check out wamperpedals.com. If you're curious about designing and building your own guitar pedals, head over to guitarpedalcourse.com for step-by-step courses. And for bonus content, behind the scene discussions, and extra fun, join us on patreon.com slash chasing tone podcast. Thanks again. We'll talk to you next week.