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No Flakes
Conversations about the music business with musician Jeff Suburu.
No Flakes
Ep. 9// Danny Gomez (Dirty Boy Pedals, We Will Rock You )
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Welcome Back Folks!
This week we have Danny Gomez calling in from Madrid, Spain. Danny is currently the guitarist for the “We Will Rock You” Queen tribute show .
Danny worked directly with Queen guitarist Brian May on tones, parts and overall direction for this play.
Danny also started his own Effects Pedal company ‘Dirty Boy” pedals. www.dirtyboy.co
Danny has licensed his creations also to other well known companies like Orange Amps.
Hope you all enjoy this episode you can find this on Apple, Spotify and anywhere you get fine podcasts, as well as YouTube.
Hit the link below to find everything related!!!
https://linktr.ee/JeffSuburu
Welcome back to the No Flakes Podcast. My name is Jeff Sabrew. This is episode 9. And this week, I talked to my buddy Danny Gomez. And actually, I'd never met him, I still have never met him in person. He currently lives in Madrid, Spain. He's planning on moving to LA, which you'll hear about. Um, my friend Greco, who I also interviewed on episode six, I believe, he said, Hey, you gotta talk to my buddy Danny. He's an amazing guitar player, he's a guitar effects builder, he owns his company Dirty Boy Guitar Effects, and he's coming to LA, he's done so many crazy things. He's consulted with Brian May from Queen because he works with the We Will Rock You show in Madrid, and Brian May actually talks to Danny, and he's gotten to break down his tones and talk to him one-on-one about how he made those incredible recordings and the parts, the tones, everything. Danny is a super impressive human being, which you're gonna hear about. Um, it just kind of makes you want to do more things in life, which I shared with him. Uh, so I hope you enjoy my convo with Danny Gomez. How are you doing?
SPEAKER_01All good. I mean, I found a bright spot here to have a proper chat.
SPEAKER_02Like relaxing. Perfect. I love it. Uh yeah, I was. You know, with these things, sometimes you just send out the invite and just hope it works out, right?
SPEAKER_01Yeah, well, believe it or not, it's been crazy the latest week with all moving to LA and so on. So I have to use every space I have. So I was uh run, I was running from the gym in gym in my gym clothes, uh, left my youngest kid in in Kempo karate, so it's like, hey, I have these spots. So it's like okay, I'm not I'm not fancy at all.
SPEAKER_02Yeah, hey, obviously, me either, and I appreciate you uh taking the time. I know how that is. Uh my pleasure. I just literally drop my kids off at school, and it's like squeeze in the time. You know how it is. Danny, you know how it is. Yeah, Danny Gomez. So you're moving to LA.
SPEAKER_01That's a long story, but yeah, long story short, we are moving uh to LA from Madrid.
SPEAKER_02From Madrid. That is awesome. I was just, you know, I this is the a first for me as far as talking to someone that I really don't I know enough about you just from reading online. Um and Greco had mentioned Greco's like, you gotta talk to Danny, and I was like, I'm already talking to him, let's set it up. So um this is gonna be fun. I'm gonna absolutely. Um so I'm gonna kind of let you lead us down the road. Um as far as your story. One thing, I was just looking at at Dirty Boy Petals, um, which sound insane. Man, I'm seeing all these things are sold out. Hey, all your pedals, yeah. I mean, that's good that's good news.
SPEAKER_01The thing is that uh we're trying to give them as close to the originals from the 90s as possible, and there being like two or three different things that made them explode. So they are they tend to be all sold out, and they will be probably like that until late June, July. But if you're seeing this and you're and you're what really want on a custom order or whatever, we can run you. If you are seeing this show and you want a custom order, drop us a line because we tend the thing is that we're moving from 100 units to 100 guys in the world to 100 units to one dealer. You know what I mean? Because we when we started, we will go deeper in this, but when we started, it was oh, we saw a pedal, we saw a pedal, we saw it's like 100 pedals one by one to 100 guys in the world, it means 100 shippings and it's it was a nightmare. So we're moving from B to C to B2B, and things are growing. So there's all doubt that if someone is seeing the show and want a custom order, we can manage one custom order.
SPEAKER_02Yes, yes, yeah, it's not it's not this. If someone out there needs one, including myself, we just send a message and they'll make it happen. So, how um at this point, how big of an operation is it for you guys? How many people are part of your team?
SPEAKER_01Well, the thing is that at the core of the company, it's pretty small. I mean, it's me and my wife like running the company like the good old 90s. As the original company was basically Alexa Rasino, Blue Saracino is that. Uh, so true to that spirit, we tend to keep things as let's say less analog as possible. So we have a very small team and we are outsourcing some of the works uh to the best people in the industry to make the thing happen. Uh, but let's say that the core team is Jeffrey Gomez, Danny and Martha, and but we have a guy that assists with uh with some pedal with the pedal making, a couple of guys that help us with the guitars and so on, and we have the merchandise team. So let's say that it's four to five people on a daily basis.
SPEAKER_02Yeah, yeah, more or less. That's so cool. Um, yeah, I've done my share of tinkering on pedals and trying to mod two tube screamers and some successful, some not. Um so how did you get into uh you're a guitar player, and we'll get into that more. In your younger days, you started out, I'm guessing, as a guitar player. Um and so how did you get into just just was it just through wanting to tweak on pedals and mess with stuff that you got into actually building effects? How how did that even come about?
SPEAKER_01That's a good one. I mean, I've been like just a as a player, let's say probably around 30 years, around like touring, working, recording, and so on. Uh, but let's say the last 10, um, I've been involved with companies regarding product, specialist work, um, arctic relations, marketing, sales, and so on. First two years at Fender and seven years at Orange Jams. So um before that, I was like developing my own pedals because of my own necessity. It's like, hey, I need, let's say, uh an analog um emulator for my tours. Because uh in 2009 I was shooting with a major Latin act called La Quinta Stacion, basically in Mexico, like two Grammys. Uh I mean, good stuff. And I was shooting with a box, CC Certi, Brian May, Amplifier, Loud, Big. Uh, and sadly, there were like ramblings and strain sounds and so on. So I had to find an analog solution with my own approach. It went fantastically. Well, we sold hundreds of them. And I kept that idea on top of my mind and started design more stuff. And I came with um the first audio interface pedal that was called the Omek teleport. And we released that, I don't know, probably like eight years ago, something like that. Uh and it was like a small audio interface pedal. Um, there was like audio interface pedal on a mini pedal or on a mini enclosure. So it was to use with your phone or your with your iPad or whatever was big. I licensed that to Orange Jams, and started like working in this industry of the music with music industry, but from the product side of it, in parallel with my tours and so on. And it was great because at the end of the day, it's what saved, let's say, let's save the pandemic. When when all my peeps were working at um in Amazon or delivering or whatever, it's like, hey, I was at home working at Orange, doing uh Instagram lives or bringing more the Latin community on board and so on. Uh, so I really respect that side of my uh my career regarding the product development, regarding the the um consultancy services, like uh that again, sales, marketing, and adding relations. So I brought all that experience of that almost 10 years, and when the opportunity came to uh to run dirty boy pedals, I jumped into the one and it was like, hey, okay, I want that definitely wanting I want the company, I want to manage it.
SPEAKER_02Yeah, I that's so impressive. I I'm starting to see a correlation here on how that you actually work with Brian May because he's somewhat of a genius himself. And so you guys, I feel like you guys have something to talk about. Like, um, I mean that's to me that's insanely impressive, not only being a professional guitar player, but uh being able to handle all these things. And the um this preamp or interface that you mentioned, you licensed that to orange, correct? Correct? Yeah, yeah, yeah. That's pretty cool. So they so what exactly did they how did they implement your product into their do they use it in the amps? I I'm okay.
SPEAKER_01No, that's a good one. Uh I mean, uh two years before that that licensing, my left ear uh lost uh 30 dBs in 1K. So 30 1K, 30 dB because of uh an infection. So uh I hate needles. I al always hate needles. Not for tattooing, but I I hate needles. Uh so when I was at the hospital, I needed to think about other stuff to keep my mind busy. And I came with this idea of being a small pedal with an input, two outputs, USB cable to use with your phone or your laptop or whatever. Now, almost uh it's like eight years later, 10 years later, sounds like something that you can use every day. But 10 years ago was science fiction. I mean, the first time that I showed this technology, it was like, what?
SPEAKER_02Um, so is this sorry to cut sorry to cut you off. Is it is it somewhat like kind of like the iRig? Kind of the little iRig? Is it kind of like that?
SPEAKER_01The iRig, the the original iRig was a mini jack thing that you could connect, and this was the first one to an USB. So I that idea was there around three and lots, like a three-pole mini jack and so on, and it came with a USB approach. Uh, in fact, my first contact to try to license it was IK Multimedia, and they gave me no balls. Okay, no, it looks nice and so on. So, and since I was working at Fender at the moment, I tried with my people at Fender, no, that is very nice. I yeah, yeah, let's keep an eye on that. Uh, so I spent two years trying to get the thing moving because I knew, I mean, I had some experience with my previous technology, and I know that it was different scale. I mean, it was something that I could manage by myself, like 300 units is something that I can manage. Uh, but uh with uh with that audio interface, I knew that uh uh I had to put it together with someone with uh with uh with the manpower. You know what I mean? With with the distribution, with the manufacturing and so on. Exactly. So all started because I was using man song guitars back to that day with all the screens, all that Matt Bellamy thing. And man song guitars uh recognized me at the NAM show the first years I went there, it's like, hey, Jordany Gomez, yeah, we bring a guitar for you. Oh wow, it's great. Well, do you know any any muse songs? It's like hey, well, I I know 25 muse songs now, if you want. Yeah, well, because we don't we we don't have a demonstrator for the new Matt Bellamy guitar that we are uh unveiling with with Court. So if you could do that, is that I can do that if I use my uh that's the one with the chaos pad, right?
SPEAKER_02Yeah, have the chaos pad on. Yeah, that's cool.
SPEAKER_01I used to have that one. Uh, this was the cheap version of this uh built by Court with us. Um so they had no demonstrator, and I wanted to get some num action to my prototype of this audio interface, and I did all the release of that guitar. They love the thing. I love the thing. So they started taking me to uh to all the trade shows around the world. And and I did some in the UK, and long story short, one year after we were in Birmingham, and uh Orange Amplifier Steam loaded some amps uh for the demo at Manson Guitar. So they they came to see the demo. Hey, nice to meet you. We're doing something very nice because you're playing with our amps, but you're not using our pre-amps, you're uh using your backing tract through our amps, and I was doing like wummy things with the with the iPad. I had an iPad on a mixtape, so I was like, down, wee wee, all that kind of crazy stuff on my iPad with a strength pedal. So they say, hey, we want to go more. It's like, hey, if you sign me an NDA on this napkin, I will tell you more. And I have I still have that napkin.
SPEAKER_02Yeah, you're smart.
SPEAKER_01Yeah. So uh it was like, yeah, give us our email. And the week after that, we see a formal email from the orange um president, like Cliff Cooper, the last of the originals. I mean, they these guys like G Marshall or Leo Fender, you know what I mean? The guy that invented all that orange universe. He invited us to Boreham Good. I went with my wife, had a meeting. It's like, hey, if the cop if everyone in the company understands the thing, because it was, again, that new something to use with your phone or your laptop or your iPad or whatever, if everybody understands the thing, you get a deal. And I did a demo. Uh, I mean, 10 years ago, my English was the shadow of what it is now. It's not bad now, but imagine these 10 years ago. Um, so I had to do like a proper demo explaining stuff and clip that is an eagle eye. It was like, okay, everyone understood the thing. And I got a license, and I spent two years with them developing the thing and a five years license. Uh, it was the as far as I know, was the most successful orange arms pedal ever, the Omeg teleport. And we probably sold around 3,600 units. It was like crazy. I mean, Stevie Stevie Wonder had two of them. It's like, what the odds?
SPEAKER_02Oh my gosh, that is so cool. Wow, and so and so orange. Orange, you said they're one of the last, they're like a Marshall, where they're not owned. Because I mean, I feel like everybody now at this point is somehow owned by Fender or Marshall. They're on their own, huh? There's they're still orange by themselves. Yeah, yeah. That's great. Yeah, yeah.
SPEAKER_01And I, as far as I know, that uh there were like negotiations in the past to buy orange, but I think the Cleve, Cooper, again, he he kept the brand as original as it was as possible. I mean, they've never been eaten by a global corporation.
SPEAKER_02Yeah, it's insane how you you see what Fender and Marshall actually owns, and you're like, oh, they own almost everything. Um do you have any i I don't want to go too far into this, but do you have any thoughts on this this lawsuit that's happening with Fender and the S-shaped guitar? Have you have you heard about this?
SPEAKER_01That's a good one. That's a good one. I mean, as a creator with my own ideas and so on, I really respect the work of someone like bringing something new. I respect that.
SPEAKER_04Yeah.
SPEAKER_01Uh after the right amount of money, I'm sorry, the right amount of time. The right amount of time, things are so global that it's hard uh to get the the ownership of the thing. Everybody knows that the offender developed that thing, but now it's popular culture. It's true, it's like trying to keep the royalty for a happy birthday song. You know what I mean?
SPEAKER_04Exactly.
SPEAKER_01Everybody sang that song. It doesn't matter who who wrote it.
SPEAKER_02Yeah. Exactly. Um, and the idea, I think, as far as what I've heard, is there's a difference between Gibson and Fender because Gibson has always been what you say, uh, litigious about the way that they would always go after people for stealing shapes. And they've always done it so it's it's been known that okay, you don't you don't create something that's a Gibson thing because they'll come after you, but Fender never has. And so the fact that they're doing it now seems a little i it's it's rubbing people the wrong way, even though they did create Leo Fender did create it many, you know, a hundred years ago, you know, or eighty years ago, whatever it was. But yeah, it's interesting. I'm seeing a lot of big names coming out, and it's kind of it's uh you know, it's a it's a discussion to be had. It'll be interesting how it all pans out with that.
SPEAKER_01I understand from the point of a big corporation like Spender is right is right now, but uh yeah, I always think about what Leo could think about this situation. You know what I mean? Yes, back in the 50s, he used to I mean chat with with um Les Paul or Wicken Baker, you know what I mean? They were like like asked you know what I mean? Hey, you have a job, you need a sub, you need any help? There was like all that, all that, all that magic, you know what I mean? Now we're running musical instruments companies like if if it was like Disney or Nike, you know what I mean? Yeah, this is not about a corporation, this is about people doing art, and sometimes with big companies, what uh what happens is that they got swamp in their old ideas. I mean, with all love and respect, I've been a fender employee, so I don't want to be taken wrong. But the thing is that you cannot be you cannot be doing the same thing 70 years. You know what I mean? It's like now the new strat relic 50s model is like, hey, innovate. If you wanna if you wanna be the owner of something, innovate. Other than that, tends to be like I don't know that, like a pancake formula. You know what I mean? It's like, hey, right, yeah. You know what I mean? If you want something new, you keep it new, you keep it fresh, and you're the owner. You will be the owner if you keep relevant. Other than that, everything goes with the flow, and suddenly someone does something with different headstock, like for example, PRS, the Silver Sky model, the the John Major one is like it is not offender, it has three single coils, but it's not offender, not the same body shape, not the same headstock, not the same scale, not the same anything, but it revines because they uh they polish it, they brought back to some new players that probably in 20 years could consider the Silver Sky as a standard model. It's like, hey, yeah, this is this is something different.
SPEAKER_02Exactly. Um and I for me I I play sur guitars, like these guys. I love it. Um and and you know, it's and John Sir worked at Fender for many, many years as as a designer, you know. And it's just for me, it's just quality control. I I love those Sur guitars, so I'm just hoping it all works out to where the smaller boutique brands don't get hurt too much by it, and maybe they'll just change their tune as far as going after every everyone. I don't know. That's my only piece. I don't know.
SPEAKER_01I think the first brand that can let's say confront Fender, this Fender Lousy situation, and sets like the bar, it's like, hey, when a judge says the bar says, Hey, this is right, this is wrong, the first time they do it, all the other uh small boutique brands will know what to expect. You know, yes, but there has to be one first, can be sure, can be LSL, can be Thailand, can be whatever, but there will be one that will have the first, like legal situation, like with a follow-up, not just the letter, hey, let's go for you. I will pick you to be the first, and after that, legal situation, there will be a standard, and and brands will know what to expect. Like you mentioned, uh, with the Gibson thing. Hey, yeah, you can get the buddy, but you cannot get the headstock.
SPEAKER_02Exactly. Yeah.
unknownYeah.
SPEAKER_02But now it's always been the head stock because like that's the thing with these SIRs, right? The SIRs have you'll have the S shape or you'll have a telly, but the head stake, the headstock always had to be changed, correct? I agree. Um Yeah, you know, the it'll be interesting how all that pans out. Um so how I I'm curious, uh, I don't want to take up too much of your time, but in your in your younger days, like uh what kind of schooling did you do, or did you do any kind of music school or like I mean you seem I everything you do is so impressive.
SPEAKER_01him is this all just is it all just you just learning how to do stuff on your own basically definitely yeah the thing is that wow that's amazing and and I'm not saying it with any crowd feeling or whatever it was sure what it was like 30 years ago and come coming from a horrible neighborhood in Madrid like horrible horrible I mean uh we had no money for classes no money for instrument no money for nothing and uh we had to figure out the way not just me or all all my my friends around that wanted to play we we tried to find ways i i i couldn't afford a tuner i used to tune with uh with the with the phone i mean it was the the all line phone it was like uh it was an 80 an a in space it was an in spain was an a440 so we that is amazing yeah so you're so your phone if you kept it off the hook that was the the the dial tone the dial tone the dial tone was an a440 in space wow that's cool imagine that so uh definitely i assume that probably my kind of background is different to that the the players that are really loving your show is like wow these guys shooted uh i don't know and the MI or Berkeley or whatever i in my dreams mate I mean yeah we were just playing with each other and trying to get I had my my my shred metal band in my younger days uh in 1999 I went to London because I was a massive queen fan I wanted to be in that city to get infused in the thing and I when it came back was like wow you know what I mean it's not about it was not about shred anymore it's about the songs I went to uh heavy road I went to all the the the small places there I went to run his calls I went to all this when the magic happens you know what uh and I came back like hey I want to be I want to be a session musician I want to work with artists to polish what they do I don't feel the urge uh of telling my story or or be in the poster I want to be in the shadows working with people make things better and I think that spirit is being we we in parallel with my career I mean if I work on a brand I don't need to be in the poster I want to help you that your product goes to as many people as it can or I um or if I provide consultancy services to companies to help that company to grow I don't need a mention I don't need whatever I put what I know from music or from musical instrument industry to serve someone else's dream.
SPEAKER_02Yeah wow that's awesome so and we haven't even got into the the we will rock you uh gig you bet so I and I have a special relationship to um at least right now to Brian May because I I play in a band called Five for Fighting and I I sit in with them and our closer they cover uh Bohemian Rhapsody and so and so I you know I do the whole solo and have to find that tone and um and we we do the whole vocal part in the I'm just uh we we actually do it on guitar and so I play yeah so I play all the I respect I respect that which is the whole thing but just getting that tone and I I've watched some videos of you and you just have it so dialed you have the guitar and he didn't he play with like a coin or something do you do that do you yeah definitely you do it oh my gosh so so how did you get into the um you mentioned you loved Queen um so how did you get in how did this all start with the with the we will rock you well uh as mentioned I've been a huge fan all my life but I never thought that that music was then intended to be played I was a fan I always wanted to listen to that music but never actually tried to play any of that music uh I was professionally touring uh I was in Latin America with a with a band and when I came back my best friend of my neighborhood Roberto I said hey you won't believe this but there's a musical show in London which it was 2002 there's a musical show in London called we were rocking with all music numbers like hey we need to go back to London and see that show it's like hey but you won't believe this they made casting in Spain uh and they got me on board oh wow and you this this goes better you're my subs and I say I'm all in I don't I have no idea about what a subs is but I'm on it it was just it's like I don't know what it is but I'll be the best uh so well that was that uh so uh it was the first rock musical in in Spain so yeah I had no idea about what uh subs in a in a musical theater context uh and saying that I was uh being a bad reader would be a lot to say about my reading capabilities to be honest I mean I'm self-top as self-top can be in everything yeah everything I do uh is is something that I figure out my own way could be right playing the guitar or designing pedals or marketing or English or whatever everything ever all the stuff that I use on a daily basis is something that I figured out one way or another by myself. So I was there suddenly I was there I was uh trying to learn all the all the queen stuff uh in one week 25 songs uh they gave me all the paperwork all the everything is like hey you know what give me a fucking CD I mean yeah it's great but that I I was like trying to to to the decipher all that black dots it was like you know what made oh my god and to and as a guitar as it as a guitar player trying to read like a rock queen solo would be for me that would be just impossible I would never I'm a I'm not a good reader myself at all and the only sort of musical stuff that I've ever got into uh I just basically if I was gonna do it I would I would learn it and then I would have the page just in case I got lost but I would I would not I would not be reading that page I would learn it and memorize it.
SPEAKER_01So well I I learned everything by ear all the tools the show but since they asked hey can you read this yeah definitely so I was in the middle of I was in the middle of a solo and I was watching the bass player turning his pages so I was turning the pages at the same time but but maybe it wasn't the I was playing a kind of magic it was in the middle of whatever if that guy was turning the page I was doing the same thing. Yeah it's in the middle of moving along yeah it went well it ended very well and um and I got hired as a subs and doing more more more more shows um there was a national tour of that we were racky and when the and the show came back to Madrid uh my friend moved to another musical show and received a call hey you want to be the the the the the main chair uh and it was you know what I during that year as I was doing the queen thing with other bands around there was no tribute uh a scene back to that day it was 2005 2006 so there wasn't like tributes uh touring so we we put something together and we were doing like I don't know 60 70 shows a year with no fake moustaches no yellow jackets no whatever just playing the music and it was just playing the music yeah just playing the music with all the details with one of the Galileos of the musical show so we had the the singer that Brian picked we have the guitar player of the show that I was me it was good. So well no I I think that I prefer to keep as a sub and and do both things in parallel so I met Brian in 2003 that was one of the the the best spots of my career I would say so um and since the very beginning he was like hey I know that you're a true fan you're doing you're doing great so he gave me his email we started like emailing each other and like hey I got I got an offer to be uh a surf wow it's great that I welcome on board I got the offer to be the first chair of this but I say that I prefer to stay as a surf well that is nice you're doing uh your or queen music tour that is great and when the musical came back again to Madrid I decided well you know what I will be the first chair for for a while and I did I don't know in in total I did like 1200 shows of the week of you and and yeah and 600 shows in a row it was like crazy geez how many uh shows would you do in one week uh like five like five five yeah yeah wow he's not I mean he's not it's not yeah it's just uh it's a grind um but it's an awesome grind when we're playing music like that um wow that's so cool do you have any interesting or funny Brian May stories like anything that kind of anything that kind of there's a idea that are said well that's a very nice one when he came when we came back to Madrid as for these uh four gear on um in terms of gear things uh changed a lot so he was he was live on Instagram uh and I was around so he saw me invited me to the the Instagram live uh he will start asking me about the what the coming back of the musical show and what gear we will be using.
SPEAKER_02Like hey you won't believe this but instead of using your old box 8030 TBX uh we're using the Quad Cortex so he's like what it was like I have a picture of Ryan looking at my quad cortex like what and it went yeah it was like are you sure don't mess with my tone right exactly and how did he I mean those things are insane like even to the biggest the purest of pure guitar players those quad cortex they sound so good right well they sound so good that uh after testing my own captures uh four or five years that this last run of the musical show the musical continues but I since I moved into LA I left the the musical last season uh after trying that stuff for that many shows like 600 shows in a row um I I received like the the call of beautiful tones that is an Italian company that that develops amazing preset packs and captures and so on and we decided to put together something that is called VT Royal and it's all about that capture that Brian may think with all the trouble boosters capture and it's available for all digital platforms and so on and and you you can be as close as close can be with all that digital stuff uh you you can get it and and Brian stone is not an easy tone as you mentioned it's not an easy tone to get at all it's not it's all the out of face all the out of face thing all the volume work all the little details all the wet dry stuff it has to be work it has to be work it's not an easy tone to get it's not because it's a blend between the amp the pedal and the guitar that um you have to you know with me my guitar doesn't quite quite get there with the out of face sound because I either use a sir I have a Sir like super telly and then I have a Sir Strat that I take on the road with me and neither of those out of phase is quite it doesn't quite have that punch that Brian has um and so I but I I work it out with my tone knobs and then I have a Galileo treble booster that I use just for that one song just because I'm like I'm gonna try my best to get there you know but it's it it's good for the one song but if I was doing something like what you do where you're really doing it I would have to I would have to call you and and ask how to do it.
SPEAKER_01So no but even even with that there are little give mods that really can help with that uh the Galileo was by Kathleen Red right yes yes it's nice it's nice it's more like uh treble booster plus uh AC30 solution is good it's like toe shaper um yeah but they're more uh just triple treble booster solution that can put your rig into more Brian Mae-esque thing uh so yeah anytime uh here to help yeah I'm interested in the uh so you you say you do you use the coin uh what kind of coin do you use uh it's um sixties uh sixpence from from the UK is uh you you can get them uh you you you need to go to uh a shop that sells old coin in the UK I have bags and bags of them uh and the thing the thing is that Brian and his family were so poor that sixpences were cheaper than actual pics so we started using because of that uh but at the end for that particular rig it works amazingly because it's uh it's a coin so there's no there's no any flexible part of it it's like thick boom nope but if you if you angle it just a bit it has a serrated edge so you can get some natural corus from the bottle of the coin that is very nice for under pressure for example right so it's it's all absolutely detailed I mean and Brian got the idea of the ACRD under Dallas Range Master from Rhode Gallagher so basically he got Rhodi Gallagher's tone and put it on guitar and it worked amazingly yeah it's yeah that's so cool I mean um that level of a a mind on a musician is is just so impressive because I know he didn't he build his guitar like out of a coffee table with his dad that wasn't that I mean I mean come on it was crazy well it's just crazy first they were super poor after the war second they were super uh intelligent I mean if you think that Brian is a crazy mind imagine he's dad and that was involved in the ghost lending system of the concoct the guy being his own TV the guy's on radio I mean you know what I mean was the sickness of the of the thing I mean right um yeah yeah so how his dad was a mastermind uh and they were that cool I couldn't get even the the cheap copies of the of the strats that they had in the UK sorry it was like 1963 so they had no option that they needed to be in there took two years of building on the weekend and they were copying things from the neck of his accusing guitar or getting an idea from other images 1963 the guitar with more pickup combinations of that era probably had three it was or a less pole or a strat with a three pickup selection just like the old one or a or a tally you know what I mean we're talking about three pickup combinations these guys have a guitar with 27 pickup combinations man I love that it's I mean I I like to have that many I wish I wish that happened more with guitars is I I'm always like I love a strat it's got a five way selector and I'm like I want I want 25 I want 25 like what you're talking about just because it's so cool to have all the options you know there's something that's all for example book linear Raptor D there's a million every pickup combination everything is like recording different pickup combinations and with a D key and what's a secret for that was amazing Wow man that's so crazy.
SPEAKER_02Yeah um yeah what a what a legend so I don't want to take up too much of your time so what's when you move to LA what is gonna be your main focus because you have many things that you uh are involved in are are you gonna is it gonna be the pedal company or are you gonna try and do more sessions? What's what's your plan when you get to LA?
SPEAKER_01I love that we were watching musical slow and maybe there's some points of show it should be like all the things the ball that you get on these operations would be the Daddy boy thing I mean when we have a company we throw back the colours and we have leaders more white green and there's a couple of places about the software sure on the platform there's a new one to be a reason why so keep your eyes clean because this is gonna be I mean global um so plan is yeah I will tell you later off camera. Yeah uh but the thing is that global level um so uh Verdi Boy is taking more or less more or less out of pilot and taking me out of the operational side of things on a daily basis just for the the important decisions that hey this way or this way this way the red or the yellow the yellow uh this or that or record the demos or whatever so uh taking that out of the equation taking the we will rock you out of the equation will bring me some time back from Danny the the Danny the musician so the plan is to run for some audition for some gigs in the US that I'm really interested in I think they can feed you know what I mean my profile again is yeah I do what I do I think I do it nicely I'm not like a super versatile player and not intended to uh but if you need some brow for your show talking the guy is what I've been doing from here on the show while but being with the action is definitely make a change.
SPEAKER_02Yeah and I'm sure you'll fit in just nice you know and I and you know I'm you have some good friends there. You got Greco that can send you out because at the end of the day people just want nice people to play with that can play. But it's all about just who you are you know and if you're if you're a good guy people want to hang out with you so I'm sure it's gonna it's gonna go just fine.
SPEAKER_01I really I really felt that way and and I think that the the guitar community there is great and uh obviously guys like Draco da people that are open and and you're right I mean you're playing two hours on tour but you're you're living with people all the 22 hours you know what I mean you want people that's right nice that smell good that comes yeah when you're uh let's say four months you need people to to hunt to have fun to enjoy the thing with it it's not about that because it is just to do the job just to do the job just to play the thing I think we all can do that about the mean is it's about tone is about playing with the people it's about the group it's about the that would be more or less in life like the soft skills about something in public be nice be on time it's not just a man being fucking legend Yeah it it's not about that anymore no it really isn't it's uh there's a level you get to and then everyone just kind of assumes that you can do that.
SPEAKER_02And that is you have to keep that level you have to be professional but it is really about just you know can we tell some jokes and hang out and smell good hopefully smell good. Well I don't know if we'll get all those but well hey man I'm gonna let you get back to your workout and enjoy the the kids and definitely let me know when you when you move to LA we're gonna we'll have to all maybe meet up. I'm in Northern California so I'm not in LA but uh I do I'm there a lot so um yeah man mid-July ish I think should be that great yeah sounds good so everybody I I'm gonna do a little post uh if you've listened to this before which I think you have I'll do some posts and have more info on where to find you and um yeah anything else you want to add or share with everybody I definitely I love the format I love the musicians talk to each other share this thing so I'll be happy again with that repeat the next time we touch yeah man thank you and and thanks for for doing this I feel like I feel inspired I need to go do more things with my life right now don't do too many yeah okay alright thanks brother we'll talk soon anytime brother thank you Danny and thank you everyone else for listening to my podcast this has been episode nine and you can find us on Instagram noflakes podcast same thing on YouTube the Noflakes Podcast I hope you're all enjoying this and we will talk soon bye bye