Get Offset Episode 151 Waiting on Breakfast Burritos with Vanessa Wheeler of Vava

Episode Transcript

Note: a machine made this, so it’s not perfect, but if you’re hearing impaired and have any questions about what we said, please feel free to ask us in the comments or send us an email with the form below. 

[00:00:00] Emily: welcome to the good offset podcast. My name is Emily and my name is Andrew and we’re here this week with Vanessa Wheeler, otherwise known as vulvar.

[00:00:25] Vanessa: Thank you. Thank you. Thanks for her.

[00:00:27] Emily: Okay. We’re really excited to finally get you order a breakfast burrito.

[00:00:32] Andrew: Yes. Breakfast

[00:00:33] Emily: burritos, breakfast bills. So you followed Andrew’s advice.

[00:00:40] Vanessa: Yeah, but I also want them to bring me coffee. So that’s, there’s a limiting factor there. Whereas some people just, you know, they’re, they have the burrito thing, but they’re not doing coffee the end.

[00:00:57] Andrew: Well, I mean, push comes to shove. Breakfast burritos are just the elixir of life.

[00:01:01] Vanessa: So I feel like it’ll wake me up or put me to sleep and either is fine at this

[00:01:07] Andrew: either way is living your best life.

[00:01:08] Yeah,

[00:01:10] Emily: I am certainly going to need to take a, a disco nap at some point today. Um, I’m supposed to be supposed to be fingers crossed. I’ve made myself not get excited. I’m not supposed to, I’m not going to get excited until doors open. I’m supposed to be playing my first live gig in front of other human beings tonight.

[00:01:31] Oh my God. Since, since March 1st, 2020, I feel like I need to point that out. Not ever since March 1st, since COVID okay. Dallas Texas, uh, Sunday crush is playing Connor burn tonight. That’s where we met. Yeah, that is a great little place. So it was, um, you had to bring your proof of vaccination or a negative COVID test from within the past 48 hours and you had to mask up.

[00:02:02] So I have my fun little, I think I, I think I’ll have to put on contacts for this, so that’ll be an interesting one, but it lights. Oh,

[00:02:14] Vanessa: that is, that is for, that is for the stage, my friend.

[00:02:19] Emily: Well done. Thank you. It

[00:02:22] Vanessa: looks very thick though. Are you going to pass out?

[00:02:25] Emily: You know, I might. I might,

[00:02:31] Andrew: it’s worth it for the show.

[00:02:33] The show must go on

[00:02:35] Emily: backup masks. That won’t be as, uh, but, um, you know, I’m excited. I’m well rehearsed and my pedal board ready? Um, what’s on your. On my board. Thank you for asking the nerdy question. I have my, uh, Ernie ball volume pedal tuner, uh, going into Ramirez, Enzo going into my electronic audio experiments, Halbert.

[00:03:02] That’s going into my, uh, dusk by doctor scientist, uh, which is going into my bookworm effects, uh, diving bells. That’s a dual overdrive and store Shan, and that is going into my Carolina effects. Summersault that goes into my album. And that goes into my chorus too. Albi is a multimode modulation pedal. I think I have a two, a re mostly reverb setting with a bit of a, I think it’s got a bit of a chorus and delay light delay on that one too.

[00:03:41] Yeah, it’s a little flavor. Yeah. I’m mostly using it as a bit of a reverb. Yeah. Yeah, so lots of, lots of things in there. Um, it’s the first time I’m using, uh, any sort of envelope filter with a Sunday crush shows, but then

[00:03:59] Vanessa: the envelope filter task.

[00:04:03] Emily: So it’s a multi filter. Yeah,

[00:04:06] Vanessa: that’s exciting. Does it do like sequences?

[00:04:08] Like books, like those little sounds.

[00:04:12] Emily: It can, I’m not, I’m not choosing to do that. Just a pretty straightforward envelope filter, uh, sound going up.

[00:04:21] Vanessa: Lovely. So, yeah, I mean, I wish I could be there.

[00:04:24] Emily: Yeah. The flying. Did you, did you drive for your tour?

[00:04:30] Vanessa: Uh, no. I, I mean, I I’ve done both. But that particular one. I, I, um, I called it the weekend warrior tour because I was just taking the weekends and flying to Portland, San Francisco.

[00:04:43] Um, I did drive it to San Diego and then to Seattle. Yeah. But I tell you what that turbulence, it’s a doozy,

[00:04:57] Emily: you know, I don’t like turbulence either, but, um, turbulence does. Planes fly more efficiently. Oh

[00:05:05] Vanessa: yeah. And that helps me in here when I’m experiencing,

[00:05:09] Emily: sometimes it’s sometimes the things that help you in here, don’t help you in here.

[00:05:12] Yeah.

[00:05:14] Andrew: The way I rationalize it is if I sit in the back of the plane, because when was the last time you heard of the plane backing into a mountain,

[00:05:22] right, right.

[00:05:27] Vanessa: Although you do get a lot of the, uh, the tail movement. Anyway, we won’t go into my fear economics.

[00:05:34] Emily: I will say Andrew. The reason I only sit in the back of the plane is because it’s so much closer to the bathrooms. Just doesn’t smell good back there. I like

[00:05:43] Andrew: personally sitting like nearish to the wings.

[00:05:46] Cause it just, that Instagram shot looks so much better. That way

[00:05:51] Emily: I don’t, I like to sit in the aisle.

[00:05:55] Andrew: Window seat person all the way.

[00:05:57] Emily: I like to stretch my leg out in the aisle. Just the one

[00:06:02] Vanessa: trip people as they’re walking,

[00:06:04] Emily: it wasn’t me. Hey, you know,

[00:06:08] Andrew: I’ll put like my bag underneath my seat. And as long as I’ve got enough, like to scoot you over, I get one leg extended all the way out.

[00:06:13] It’s like that bumper underneath the seat in front of me and that like, I get my knee completely stretched. And then I went flying a little bit and just completely passed out if I was like, literally, if I was one inch tolerated, I don’t think it’d work. Yes.

[00:06:27] Emily: All those, I’m not going to say you’re tight.

[00:06:29] I’m not going to say it.

[00:06:31] Andrew: Five foot, six and a half, five at seven on a good day.

[00:06:34] Vanessa: That’s that’s my, my height as well. I really want to get my leg like up to this pipe. Oh, we are. We should start a band.

[00:06:43] Emily: Yeah. The band called five. Yeah, Andrew on drums me on bass because I’m the least good guitarist. Well,

[00:06:52] Vanessa: I’m the worst basis.

[00:06:53] So yeah, it’s really a tragedy. I love it so much. I wish I was in the studio the other day and the ma the guy whose studio was in, he was like, can you just lay down this bass part? Cause he had his kids in there and I’m like, are you sure you want me to do this?

[00:07:12] Emily: So you playing guitar, it’s just, it’s just

[00:07:15] Andrew: guitar without the bottom two strings.

[00:07:17] It’s the same thing, man.

[00:07:18] Vanessa: It is not turns out. It’s not the same thing that I was talking to. My, my friend, uh, Francisco who’s who plays bass and produces a lot of stuff for me. And he and I were saying like, there’s like a space it’s called the pocket. And it’s like a mile long when you’re trying, when you really get into the base, you realize.

[00:07:40] Where do I you’re like, where do I place this note? And it it’s just like, it feels too big. You know, the possibilities are endless where yeah. You know, that minimalism just really doesn’t compute in my brain

[00:07:55] Emily: or you can just be like Elvis Costello’s basis during the attractions period and just solo the whole fucking time.

[00:08:01] Yeah. Yeah, that just really, is it really pisses me off?

[00:08:07] Andrew: Agreed. No drums is my first instrument. And so like finding a bass player I could, I could vibe with and just sit in that pocket. Just some of the most fun I’ve ever had playing music is just playing the same thing over and over again, but just sitting in the pocket completely vibing.

[00:08:23] Once you’re locked in with a bass player, there, just something in the magic there. I can’t discuss.

[00:08:29] Emily: I always think that’s like to be a good musician, like to be a well-rehearsed musician. You have to be the kind of person who’s, uh, doesn’t get bored, playing the same thing over and over and over and over

[00:08:43] Vanessa: to me,

[00:08:44] Emily: you can play the same thing over and over and over and over again.

[00:08:48] Vanessa: Yeah, it is a, is a major, sorry. The light is so dramatic, right?

[00:08:54] Emily: The window. I feel like you have a quest for us.

[00:08:59] Vanessa: Um, yeah, boredom is, is one of the more difficult things for me. That’s why I think for a long time, I was just writing really intense guitar parts because. I’m trying to write a song. The songs are, you know, I’m trying to be more within the pop structure, but I’m like, man, I can’t, I can’t do this for much longer.

[00:09:21] I feel it just feels not exciting. And part of the process of getting through that is, is just listening to a lot of music and knowing you don’t want to hear a bunch of bullshit, like sometimes you do, but, um, Yeah, but it’s, it is hard for me. And it turns out like playing the simple songs on stage is a lot more fun because you’re not stressed out about what the fuck you’re going to play.

[00:09:50] Emily: Yeah. Yeah. I mean, I’ve been okay, this isn’t, this ain’t no FM radio. We used to believe things because Andrew requested it and then I just stopped doing that because then Andrew kept casting. I’m like, if you’re going to make more work for me than fuck this,

[00:10:07] Andrew: I kept it to one an episode. And we timed.

[00:10:11] Emily: Yeah.

[00:10:12] Most of the time, honestly, when we moved to video, I was like, this is too much work. I should’ve stopped.

[00:10:17] Andrew: Oh, okay. It was fun though. We, we, me out with that or we, I blocked

[00:10:21] Emily: it out with the cat mouse. Hmm, this one while it lasted, but then I just, I didn’t have the time.

[00:10:29] Vanessa: I also like replacing swear words with the word Smurf as it like, or just using it as a euphemism.

[00:10:37] Like I smurfing hate that, or I’m going to Smurf you right now or, you know, whatever. That’s weird and fun.

[00:10:47] Emily: Actually. A good one. Thank you. I think I

[00:10:50] Andrew: hear that’s popular among blues players.

[00:10:53] Emily: Horse Smurf

[00:10:57] Vanessa: Smurf players cause they’re blue anyway. Oh, what would a Smurf pedal sound like

[00:11:08] Andrew: an envelope filter

[00:11:12] Vanessa: with only one mode

[00:11:16] Emily: go down. Bro,

[00:11:18] Vanessa: bro,

[00:11:19] Emily: bro. We’re home.

[00:11:23] Love it. Well, it would be blue. Is that, is that the color that, that, that blue is in your brain would not be chorus?

[00:11:33] Vanessa: Oh yeah. Well, that’s the thing streaming released the, a Zelle. Yep. And it was, it was purple. And I, that to me was like a clear sign that there was going to be something like funky about it.

[00:11:44] Like it’s kind of envelope, filter, meets, um, meets a, uh, you know, since some kind of synth pedal. Um, yeah.

[00:11:54] Emily: I

[00:11:54] Vanessa: it’s like a fancy phaser flange chorus

[00:11:58] Emily: thing. Definitely a

[00:12:02] Andrew: phaser.

[00:12:05] Emily: Yeah. It’s almost the same color as their flanger,

[00:12:10] Andrew: right? The orbit.

[00:12:12] Emily: Yeah. And the same size,

[00:12:16] Andrew: the deeper purple

[00:12:18] Emily: Zelzah was an interesting name choice.

[00:12:21] Vanessa: Do we know where that comes from? No idea.

[00:12:23] Emily: The thing is, I think I kind of Googled the name Zelzah meaning. The biblical name is the meaning and difficult names. The meaning of the names, Elsa is noon.

[00:12:41] Yes. Um, with the

[00:12:44] Vanessa: noontime references,

[00:12:47] Emily: the names Elza only occurs once in the Bible, blah, blah, blah, blah, blah. Uh, the verb be dazzling or sizzling. Ooh, there we go. Hello shade and the heat of the sun. Oh, there you

[00:13:04] Vanessa: go. Shading the heat of the sun shade in the heat of the summer. I got to say from what I’ve heard, I really, I love that depth knob.

[00:13:14] It like changes everything. Yeah. Yeah. Like the widening the stereo field is very sick. Very sexy sound.

[00:13:24] Andrew: I’m a huge fan of stereo that I, I, I, I’m not sure I’m sold just cause I’m, I don’t know. I think phaser, I think of like a phase 91 knob, that’s it? And that’s the sound that I associate with, so I’m sure it’s the sort of thing I would need to sit down with and really dig into to figure out whether or not I gel with it.

[00:13:43] But.

[00:13:45] Emily: I like that. There’s a sweep called the barber sweep and the description is similar to the visual effect of a barber pole continuously rising or falling.

[00:13:55] Vanessa: I, I was hoping that they would say barbershop quartet of barbershop.

[00:14:03] Andrew: My understanding is like, sort of similar to that where it’s like, Multiple frequencies that set Mt.

[00:14:09] Apart from each other that are accentuated. And so as it scales up, they’ll kind of follow each other. And as if like, if it’s an ascending barber pole, as the top ones passes, the 20 K Hertz, um, in disappears, it starts over the bottom. So it sounds like it sounds constantly going up, even though you’re playing the same note.

[00:14:27] Yeah, the ascending accentuation

[00:14:29] Vanessa: survived too. So to speak my favorite orange pedal, that is kind of, kind of a, a phaser, but also please excuse the dust on it. I just, have you seen these enterprise pedals? No, it’s by VFE. They’re no longer a pedal company anymore, but Mike gave me this pedal before he departed, uh, LA Los Angeles.

[00:14:53] And it is. On believable. It does like unified and phase, and it just feels like magical in that way. And it’s the fully analog thing. And I just, I want, I want to do like a comparison between like an orange, you know, phase or the Zelzah I think, I think the psychedelic stuff is definitely coming back and into music.

[00:15:22] Emily: Yeah. Subtly. I think a little psychedelia goes a long way. Yeah,

[00:15:32] Vanessa: definitely like eat up your sound. We

[00:15:34] Emily: can have a little psychedelia as a treat. Not too

[00:15:39] Andrew: much an edible treat I

[00:15:41] Emily: a little salami as a treat.

[00:15:45] Vanessa: I do like salami.

[00:15:46] Andrew: No. I spent a bunch of time last night, a Friday night, get home from the day job and I’m going to go to my room and, uh, it played with the, the EQD period.

[00:15:57] Vanessa: Dope. And it

[00:15:58] Andrew: was insane. Yeah. I’ve got that on my main rig sitting right here behind me. So I just kind of was toying around with that and some sources downs and I went everywhere from shoe gazey stuff to just idled in for like a, I got it sounding actually pretty close to Howard Howard. I remember small clone sounds in my head, so it was like, I haven’t played Nirvana in a while.

[00:16:19] Let’s do that. Um, yeah, I just like a whole range of, and then all the way into kind of hitting, I knew that I had hit psychedelic when the doors start shutting in the house and realized that the door opened at high volume. Um, yeah, no, that, that was fun.

[00:16:37] Vanessa: Yeah. What settings do you normally use on that?

[00:16:41] Andrew: Uh, I really liked the, the, the three zero setting a lot.

[00:16:47] Um, but I also like the, uh, the, the random setting where it’s like that, like, arpeggiator the flame sound.

[00:16:55] Vanessa: That’s just, that was my favorite sound on it. Yeah.

[00:16:57] Andrew: Yeah. Most unique, but I really like using that one, if I’m playing around with ambient sounds and just turn the delay. So I’ve got an apple only trend that sits right after that.

[00:17:06] So two really long delay, uh, uh, like in between, uh, repeats, um, with the on reverse delay and just kind of let that sit quietly in the background, and then I’ll just dial in the random setting just quietly in the background and just adds a really nice sparkle touch to ambient layers. Yeah.

[00:17:28] Vanessa: You put it after,

[00:17:30] Andrew: uh, Flint, I put the flange for, um, and then before that I’ve got the, the organizer.

[00:17:39] Vanessa: Oh, very sparkly. Sparkly. Yeah. I also have one of those around here, but yeah, flanges, uh, is one of those, um, spice spices, right on the flavor of guitar palette.

[00:17:55] Andrew: Uh, it’s one of like, if it’s there, like you don’t always notice that it’s there, but as soon as like you realize that the guitar player is playing with flange, like I’ve been listening, like there’s a band Silverstein that I really like listening to for forever.

[00:18:05] And it finally hit me like, wait a minute, they use a flange on their guitar sound for like, and now I can’t stop hearing it. Now

[00:18:12] Vanessa: what’s the, what’s the feeling it’s kind of like, I want, I want it to be felt not hurt. Yeah. Like, is it a stereo field thing? Is it. Strange. It’s just the color,

[00:18:26] Andrew: the color to it.

[00:18:26] Yeah. It’s like a slight filtering color. That just sounds right.

[00:18:32] Vanessa: I have this a solid gold effects, oblivion that I’ve been reading. I’ve been meaning to do a demo with this for, for ages. Um, me too. And I, you know, I finally quit my job, so I’m like, okay, I’m gonna be. Messing around with this, but I want to re I want to put it on drums.

[00:18:52] She like, that’s, that’ll be an interesting spice to put in a recording.

[00:18:57] Emily: I love phaser on drums. Like I think, yeah. You put a phaser on the drum machine. That’s one of my favorite things to do, like on in the world, I think. Yeah. I love the ghost facts from dwarf craft devices on, on drum machine. I think more than anything in the world.

[00:19:14] So many bleeps and bloops. Yeah.

[00:19:19] Vanessa: I’m going to put that in my notes. Yeah. They actually really liked their pedals a ton. I just haven’t had any.

[00:19:28] Emily: Yeah. I wonder. Is there any on reverb right now? Oh, facts.

[00:19:35] Vanessa: Was there a flange that recently was released or is that the, you were talking about the spaceman.

[00:19:45] And it was some, it wasn’t the Aurora, but the,

[00:19:49] Emily: the Delta Delta two, that was their harmonic. Yeah. So the space man, Delta to

[00:20:03] let’s find their website. Oh gosh. Yeah. Where is there? Oh man. Their website’s pretty far down there in the rankings.

[00:20:14] Vanessa: Um, what was the, what was the pedal you mentioned before? It was a phase where you loved to put on a drum machine.

[00:20:25] Emily: Ghost facts go StorageCraft devices, ghost facts. I got it over here. Oh, Croft.

[00:20:36] Vanessa: You have to say that in the voice of Sean Connery,

[00:20:43] Emily: this is, this is the version I have. There aren’t any on reverb right now, unfortunately, but you can control the polls. Lots of fun controls, secret, secret modes and stuff. Oh yeah. Big fat boys. Nice pause. Oh, assignable expression control. Oh, man,

[00:21:07] Vanessa: this is fun pause or like a ramp feature or something to just kind of like toggle in between two different sounds is it’s actually quite nice for that, for that moment where you just want to split.

[00:21:20] Your

[00:21:21] Emily: spice sprinkle. This spice may be your own little salt bay.

[00:21:29] Yes. You know, pedals with fun ramps holds and have ex uh, this week’s episode of the get all set podcast is sponsored by Caroline, a guitar company. Uh, as I mentioned before, I have the, the somersault, their course of my Brado pedal on my board. One of my secret sauce, parts of my board is the summer salt on our song.

[00:21:56] Good boy. Sunday crush band. Uh, our hit sound good boy. Uh, I really love there. There, I forget what the switch is called on that, but they have a switch on that that will max out a rate and depth. And I really love using that on the course on good boy. So go down.

[00:22:17] oh, it does like a fast, that sounds fun. It’s

[00:22:20] Vanessa: really, does it do it to a particular tempo or just goes nuts?

[00:22:25] Emily: Max. Max. Yeah. So it was just one of those. Yeah. I love

[00:22:32] Vanessa: the look of it. I think he released one in like a lilac color.

[00:22:37] Emily: Yeah. I have the, um, the dark, the, the initial release. So that had like a lilac print and it was a darker color, but.

[00:22:47] Andrew: Great. I know this isn’t like directly re related to like the, the, the pedals themselves. Cause havoc features, uh, such a staple for Carolina in my head. Like I’ve always in the back of my head. Hi. Oh, I’m being brought coffee.

[00:23:04] Emily: Um, oh, lucky man.

[00:23:09] Vanessa: Who’s

[00:23:10] Emily: bringing Vanessa.

[00:23:16] Why don’t we get a coffee?

[00:23:18] Andrew: Um, oh, sorry to it. Train of thought. Uh, you remember it’s one of the car insurance companies that does like the mayhem character. Oh yeah. I think it would be really fun to do like havoc. Like I have a character or for, uh, for a commercial for, for Caroline.

[00:23:35] Emily: That’s a brilliant, uh, funny

[00:23:40] Andrew: with like a bandage around his head or something. I think that would be amazing.

[00:23:45] Emily: That’d be fine. I think he’d be into that for me. Do it. I’ll film

[00:23:49] Vanessa: you. Where do you live? Sleep?

[00:23:52] Emily: Do it, do it, do it,

[00:23:57] Andrew: just like somebody playing their guitar cleanly. And he like comes along and like, um, havoc will never do it have extracts or something.

[00:24:07] Emily: Why don’t you want to be able to control the havoc? Yeah. So check out Caroline guitar company love them. Yeah. Ah, I’ve got to

[00:24:17] Vanessa: buy one. Oh, can we talk about the old blood noise? The newest reverb freezing thing that I think is so lovely. Sunlight. Yes. And also the, did they do like a metallic pink on that?

[00:24:30] Something about the paint. Oh, they

[00:24:34] Emily: did two, two colorways to launch. I think they had like a green.

[00:24:43] Andrew: I just assume they didn’t do it in orange. Cause nobody tagged me in it. Assumption. I just keep getting tagged on Instagram. Like anything that’s orange.

[00:24:53] Emily: Yeah. Uh, you know, it’s, it’s good. It’s you know, the thing about like liking something. In telling people is that then you get tagged in it all the time forever, or people’s just start sending you things.

[00:25:05] Vanessa: That’s why like this orange guitar behind you. Yeah.

[00:25:08] Andrew: I have a slight obsession with the color orange.

[00:25:12] Vanessa: I have, I have a pink and orange guitar. I know. There’s that creature. Yeah. Yeah. She can. You see? She’s not, I don’t think I can.

[00:25:24] Andrew: No, but I love the orange and lays on that. Yeah.

[00:25:26] Vanessa: Isn’t that fun was like, can you just create in lays out of the Picard material?

[00:25:38] Andrew: Sorry. We’re talking about old blood noise. I didn’t mean to completely thrill. That’s fine.

[00:25:42] Emily: So sunlight reverb playing on the relationship between pedal and player input, an output O B N E. Present sunlight dynamically held reverb. Sunlight features three new revert out reverb algorithms. You need to Obie any lineup each with the added ability to freeze the reverb betrayals when the player stops playing.

[00:26:04] So it’s really, really cool.

[00:26:07] Vanessa: Yeah. I feel like it’d be ideal for well, as a lot of synth pedals are coming out or have come out recently for guitar players. That kind of carries the vibe of like playing a pad and a lot, I feel like a lot of times guitar players, especially singer songwriters, they just want to play, not have to struggle and just play changes sometimes.

[00:26:35] Yep.

[00:26:36] Emily: Totally.

[00:26:38] Andrew: I think would be really,

[00:26:39] Vanessa: I got to get this one. Yeah.

[00:26:42] Andrew: I kind of want to do, I like doing like wet, dry mixes on onboard setups. Uh, and I think it’d be really fun to do like an AB switch and struck a chord out with the infinite hold reverb and then hit the AB switch over to the other side and just play something else over the top of it back and forth.

[00:27:03] That’d be a lot of footwork, but I think that could be super fun for sure.

[00:27:07] Vanessa: Yeah. Have you guys messed with, uh, using Ableton to like, do all your middy switching for you? No,

[00:27:14] Emily: I’m, I’m just maybe is.

[00:27:19] Vanessa: Yeah. Yeah. I think I might have to do that for an upcoming tour. Yeah. And so just like, uh, popping that question in there.

[00:27:32] Yeah, because I see these bands and they’re like, they’ve got keys, they’ve got the whole board going and I’m like, you did not step on one pedal. What is happening? Oh, you have something in the background, kind of just running the length of the track, right? Yeah. Next episode.

[00:27:49] Emily: Yeah. That’s I just wish I had the, that I need, I need to make more time if anybody has tips on how to make time.

[00:28:02] I’d love

[00:28:03] Vanessa: to upscale. You have to take yourself seriously enough to schedule in that time in your life and not just stare at the wall because you’re so tired. Cause that’s normally what I end up doing,

[00:28:16] Emily: dude, like honestly, like I got like an email today from someone who like approached me about doing a demo and I sent my rate and then they sent back this long thing.

[00:28:30] About how, like you want to build a relationship, not pay. And I kind of feel bad about saying no, but I’m like, it sounds like you really just don’t value my time. Well,

[00:28:41] Vanessa: that’s what I was going to say,

[00:28:43] Andrew: email, and I’m like, oh, that’s patently offensive. Yeah. Dude.

[00:28:47] Vanessa: Yeah,

[00:28:48] Emily: yeah. Bunny that I like want to support because like, it is a small company, but I’m like, I just kind of want to say, I don’t think that you understand how much work it is to do this kind of video.

[00:29:02] Cause it’s not like it’s not just like in a simple type of pedals, not even a pedal. It’s like something that would involve like an installation and AB so it would be. Filming twice it’d be editing and splicing. It’d be an installation. It’d be like a five to 10 hour process. And, um, for, for, for a product.

[00:29:28] And I,

[00:29:28] Vanessa: yeah, that’s a question that I actually have for you as a, as a creator, which we don’t have to talk about or we can edit out, but should I ask you now? Right. Go

[00:29:37] Andrew: ahead. Ask the question. We can always edit

[00:29:39] Vanessa: out later. Yeah. That’s that’s what I was thinking. Um, you know, like I. I take like demos are like 300 bucks.

[00:29:50] Like that’s the base rate from, for the magazine that I work for. And I, and I ended up, you know, and some people get paid more because they have more followers or whatever, you know, more time, but it’s uh, can you hear me okay. Am I very far away still? Okay. Um, and you know, for approximately. You know, unfortunately I do like a lot of editing.

[00:30:16] It ends up being, creating, creating the pieces of music, getting all the settings, taking those shots. It’s like eight hours for 300 bucks. And I’m like, is that it can be eight hours? Like, is that a price point? That, that is realistic anymore? You know?

[00:30:36] Emily: I mean, that’s a, that’s a question you have to ask yourself.

[00:30:38] Um, is that like what you feel comfortable making it a. Work. And do you see it actually contributing to what you want to build in the future? I want to

[00:30:51] Vanessa: get paid more for it. That’s what I want. So I don’t mind putting in legwork now,

[00:30:56] Emily: yours is a lot more than what I do. You do more work than I do. So I think you should get paid more personally.

[00:31:08] Vanessa: Well, I was going to suggest. Sorry, the light in here is so dramatic. Um, there, I was gonna suggest tiers, like, like, I don’t know if you do that already. I had a, I was thinking like, do I do tears? Where if somebody wants me to just do like my thoughts or like a couple, couple examples versus like putting it on like a whole track, you know?

[00:31:36] Right. And those tears would. Um, and that would be a way to like help out people, even though you didn’t like the way that they talk to you. I got email.

[00:31:47] Emily: Yeah. I mean, and I can’t think as I can’t do that, unless I know. Install the product. I can’t get my thoughts dramatic. Yeah. Like if it was a cause like I don’t, I don’t put things on whole tracks.

[00:32:00] I don’t, I don’t compose pieces. A lot of people do that and it’s like, I’m in all of those of those individuals. I sit down with a product and I walk through the parameters and I do it in a very conversational type of way. And so when I do pedals or when I do guitars, It’s kind of more educational, it’s kind of more conversational.

[00:32:22] It’s like a friend showing you something that they got that they’re excited about. So that’s my, yeah. So, you know, and ultimately part of that is to keep my, um, my, my work time down, my editing time down. And so that I, you know, Don’t spend eight hours on a demo because that’s just not realistic, uh, for me, for what I charge for demos.

[00:32:47] And basically when I, when I ask for something specifically, I don’t charge for it. So when someone approaches me, that’s when, ah, yeah. Typically charge for things to be right. So go ahead. Oh,

[00:33:04] Andrew: I was just going to pitch in my 2 cents. If it’s, if it’s welcomed here by my two sites, I was going to actually refer to an Instagram creator that I’ve been following recently, um, freelance expert.

[00:33:18] And I think a lot of that carries over to I’ve been watching the, he does reels his name’s Jamie Brendel and I’ve been watching his stuff the last month or so. And realizing that there’s a lot that I can learn for how I apply that to Fox Cairo as a separate business entity. Yeah. And, uh, I would say I can send you the link to his right Instagram.

[00:33:42] There’s some really, really great advice in terms of how to set expectations with the clients and different options for pricing structures and how to handle some of those awkward. Awkward customer interactions, um, from someone who’s been doing freelance work, I’m not honestly sure what industry, but I think he tees it up to be very straightforward and universally applicable.

[00:34:04] Vanessa: Um, much as account. Again,

[00:34:07] Andrew: his name is Jamie Brindle. I want to say. And let me double check that. Um, and then he’s got it all, like in reels makes it like 30 seconds of like really solid. The Jamie Brindle business of freelance, he’s got just shy of a hundred K followers. Um, but yeah, I mean, I I’ve, I think some of that customer interaction in terms of raising rates and figuring out what that looks like, I think a lot of those questions, there’s, there’s something at least worth mining in that, in that page.

[00:34:44] Emily: Yeah. Cause I mean, I have to, we have to value our, our time because it’s finite. It

[00:34:49] Vanessa: really is finite.

[00:34:51] Andrew: And for every, for every business that wants the freebie, there’s another business that’s willing to pay.

[00:34:57] Emily: Yeah. And, and I look at things like when we, on weeks where I don’t release a lot of videos, it’s probably because I have a writing assignment.

[00:35:04] I get paid a lot more for those. Yeah. And I can do them a lot faster. So I mean like most people know, well, not a lot of people know I do copy coverings. My full-time job is my day job. And it’s how I pay my bills and it’s in the same space. And, um, I’m a lot fat, I’m pretty fast at it. And, uh, sometimes I get freelance projects that are involved writing too.

[00:35:30] So when I get those, um, I do tend to favor them a little bit. Um, they’re not as exciting always, but they, for the work that they take, you know, They, they paid pretty well. And you’re talking about spending eight hours for $300 doing a video. And I think, you know, I can write an article in that amount of time and get 800 hours.

[00:35:57] Vanessa: Yeah. Yeah. Someone, someone recently, like, I, I posted on Instagram that I, uh, uh, quit my job and I was like, I’m open for work. Um, cause I’m not too proud to beg. And uh, I had a friend actually contact me and they were like, I’ve been paying people a hundred dollars to like, you know, contribute to his record in some way.

[00:36:24] It’s like, well, he asked, would you play us? And sing and I’m like, and I was like kind of offended or a hundred bucks for a hundred bucks.

[00:36:34] Emily: Like, like those things run at all. Yeah.

[00:36:37] Vanessa: Yeah. I was, I was like, that’s,

[00:36:39] Emily: that’s under a scale. Does he know what’s going

[00:36:42] Vanessa: on? I don’t know. I, I told him like, I, I, uh, am not a session musician.

[00:36:50] I put in a lot of time in right. I think it would be appropriate for this piece of music. Um, so I’m not just going to noodle over it, you know? Um, very, very methodical when it comes to recording, I said, I can’t do it for anything less than $300. And he was like, cool. I, and you know, sometimes you just got to ask for what you’re worth and, or even, yeah.

[00:37:20] Emily: Even if someone can say is no.

[00:37:23] Vanessa: Yeah. And then you have more time to do whatever else. Yeah. And, um, that was nice. I also have a friend who works in theater who said, tell them that you charge twice as much as you normally charge and see what happens, you know, in, with the same advice like you can, you can, they can.

[00:37:44] Emily: Yeah. And that’s the worst, that’s the worst thing that can happen. So, and ultimately, I feel like, um, you know, sometimes it is a risk that somebody just says, no, and doesn’t negotiate. That is a risk. And, um, it ultimately comes down to most of my life on reverb. Yeah. Can you afford for somebody to say that.

[00:38:06] Yeah. Um, so like for the premiere guitar stuff, like, can you afford for them to say no and. Like, what was the worst case scenario that they don’t then give you anymore work? And can you afford yeah, uh, just kind of that’s the, that’s the question more than anything I think, um, would be in, in my mind, like if the work stops coming completely, um, and then could you fill it with something else?

[00:38:32] Could you just do it on your own and charge your own rates? Now these own companies come to you because that’s what a lot of other demo people do. And then you can keep

[00:38:41] Vanessa: one day the money. But these guys, like they really are people in general on, on the demo circuit, on YouTube, they really crank. They just crank it out, just shred, tread all over it.

[00:38:56] I like writing music. And so I don’t want to just play chords. That’s just my personal brand or whatever, you know? Yeah. Any hustle. Thank you for entertaining me on that topic. Totally.

[00:39:08] Emily: It’s something that a lot of people talk about and, you know, um, I talk with a lot of other demo people. Every day about these exact kinds of things.

[00:39:17] And, you know, it’s been a weird summer because we were talking before the podcast started. Like there were almost no real releases the summer. And then this week there were like five, there were the harmony, tars, the silhouettes with the bigs B’s harmony amps. If you were a part of, um, through harmony, congratulations, those exciting.

[00:39:38] We’ll talk about those a little bit or how that all came

[00:39:40] Vanessa: together. Yeah, I, uh, I really dig the amps. Um, but aside from, from that, uh, I, I really wanted to try their tiny little, um, the H 66, I think, kind of model that they have. Uh, it’s super small. I forget the exact name I headed in like champagne or the gold color.

[00:40:02] And so I. You know, texted people around in the gear community. I was like, how do, do you know anybody? I could do it. Give me

[00:40:13] Emily: this little baby.

[00:40:16] Vanessa: No, that the guitar it’s the guitar. Yeah.

[00:40:18] Emily: Those things are cool. Yeah. The, they have the

[00:40:22] Vanessa: peanut in it.

[00:40:23] Emily: Yeah. The very, very tiny one. Yeah,

[00:40:26] Vanessa: and I’m obsessed with tiny guitars, very lightweight.

[00:40:30] So that’s how I sort of started the relationship with, with harmony. And then, um, then they contact me to do the, be sort of like their gear person for, for the amp release and like play a couple samples. So, uh, I went over there, uh, to the studio where they were filming or a house actually. Filmed all of that.

[00:40:56] Uh, and they also let me borrow for three of the amps. Well, the three amps, like over a period of like two months, um, just so I could get a flavor for it and kind of speak just on my, of my own. Experience and, uh, yeah, and then I created the, uh, the, the real that they asked me to do, which I was stoked on because that’s the kind of, I love doing that kind of work.

[00:41:22] Um, yeah. And, um, I have the 6 0 5 and it’s again, it’s like low watt smallish amp. It’s actually a good size amp weighs probably like 25 pounds. And, uh, It’s loud. It can be less loud. The attenuator, it, it gets, you know, the higher gain sounds, sound more F more fizzy, like, um, then like full bodied, uh, fuzz.

[00:41:52] And that’s probably my favorite sound is like maxing out the gain and turning it, like using, uh, like I use my torpedo captor X and. Getting this like gravelly fuzz sound and turning the, uh, the tone knob down on my guitar. And it’s just a very subtly like beautiful sound. That’s probably my favorite.

[00:42:15] Yeah. Yeah.

[00:42:18] Emily: Yeah. I, I actually, I’ve watched a couple of the videos. I really like the 6 0 5. Um, I feel like the reverb on the 605 sound a little stronger than the river by Saul. The only other one I watched was on the six 50. Um, that’s a full spring tank. I know, but it didn’t really sound as, um, like it got as wet almost as I would have hoped it would,

[00:42:44] this is a five really like Ryan Berks, especially. Um, he seemed to get it in that territory if anyone could, he could. Right? Yeah. But I liked the 6 0 5. Um, did you get to pick which one you took home? Yeah.

[00:43:00] Vanessa: Yeah. Yeah. I mean the six 50 is a behemoth. Truly. It is absolutely like when they brought it over, I’m like, you need to just bring it inside for me.

[00:43:09] Cause I can’t carry it.

[00:43:11] Emily: So 60, 70 pounds. Yeah. I mean, I remember seeing the specs when I was drafting the first product coffee, wait, one, like a watch. He’s like, yeah, well, they’ve been working on this since like 2019. Right?

[00:43:29] Andrew: A lot of work goes into product releases. It’s lot of people don’t see the behind the scenes

[00:43:35] Emily: on that.

[00:43:35] There’s also product shortages, like component shortages and shipping problems. Like. Apparently one of the big problems is just like empty shipping containers sitting empty because they won’t ship it back empty. So they need to wait for something that they, to be able to put stuff back in it to ship it back.

[00:43:57] Cause they won’t just ship it empty because it’s $25,000 and it used to be $5,000. Yep. Yep. Wow.

[00:44:04] Andrew: No, uh, international shipping costs have gone completely through the roof. I mean the cost per pallet for stuff that I deal with is just. Absurd. Uh, and then bananas, um, chip set shortages has been super huge.

[00:44:18] Um, I know I’ve seen, uh, enclosure shortages for guitar. Pedals has been a thing recently. Um, but I’ve heard on the. On the circuits and yeah, I mean, it’s an absolute mess to be sourcing materials

[00:44:30] Vanessa: right now. Yeah. I wonder how they’re, I wonder how they’re doing it, especially releasing it now. Um, they’re made in China, I believe.

[00:44:38] So they’re able to keep their prices down and still offer quite a lot of bang for your book, which, you know, rubs people the wrong way maybe. But, um, if you really want like a, a loud ass versatile amplify. You can’t really complain from literally like a $600. Totally.

[00:44:58] Emily: Yeah. And then the six is only a thousand dollars.

[00:45:03] Vanessa: Yeah. It’s like 9 99, right.

[00:45:06] Emily: A 50 watt amp with a spring reverb tank, an analog spring road tank. And I think a two driven tremolo.

[00:45:18] Yeah.

[00:45:21] And an attenuator and a direct out. Yeah, that sounds, that’s a pretty, that’s a pretty good deal.

[00:45:28] Andrew: Yeah. Tenure, tenure later and direct. Out’s a huge deal for me living with other people in my living.

[00:45:35] Emily: I think, I think that’s kinda why I’m, I’m surprised it hasn’t had like a little bit more attention because just like that feature set seems pretty.

[00:45:46] Pretty stellar for the price point to me. Oh, absolutely.

[00:45:49] Vanessa: It is. When they told me when they were running me through the amps, I was like shocked, absolutely shocked, but I mean, that is part of what you get by going overseas. Um, yeah. But yeah, I, I don’t, I, why do you think, um, why do you think the, the impressions are maybe haven’t been as, as a.

[00:46:12] Loud as for other things.

[00:46:13] Emily: Yeah. I, you know, I think there’s a couple reasons I was talking with someone else and, you know, I think, again, it’s that, it’s not like, it was surprised that they existed. W they they’ve been saying since 2019, like people knew they were coming since 2019, so it was kind of like, oh yeah, those things finally got released, I guess.

[00:46:33] And another thing, and this is something that, um, I think Lauren from band labs had mentioned to me when the guitar has got released, when I mentioned like, oh, that those prices are really good for guitars. It seemed like that this quality. And she said, yeah, but people think harmony guitar should be $500 or less just regardless of the quality, anything like that, that people just have in their brains that a brand that’s called harmony should be achieved.

[00:46:56] Sears and Roebuck guitar.

[00:47:00] Vanessa: Odd who thinks, thinks that except for like older player, that would be my impression as someone who’s lived during that time. I don’t, yeah, they’re not to offend, but it’s a brand new, it’s a brand new company.

[00:47:18] Emily: Yeah. That’s just the name. It’s just a heritage name.

[00:47:22] Andrew: Yeah. Yeah. I mean, just overcoming the, the historical, like it’s you go into a pawn shop and find a harmony sitting there in the corner for 450 bucks.

[00:47:30] He talk now the 3 25 and walk out the door happy and yeah, that’s because it’s been that way for so long. And, um, I, I, I get that there’s a, a brand association there to get over, but it’s not the same that it was before. So people need to, I dunno. Yeah. I think that’s a unique challenge with taking over a legacy brand.

[00:47:56] That’s been defunct for a while and rebooting it. I think super’s been dealing with the same thing. I’m sure a different degree.

[00:48:03] Vanessa: They just they’ve got, uh, acquired by Dan Angelica.

[00:48:09] Andrew: Supra. Yeah, they were owned by pick tronics before, and I remember they got sold and I don’t remember to who off the top

[00:48:16] Emily: of my head owned by the same company, Dan, uh, Dan Angelica, super open tronics.

[00:48:23] Oh, okay. Okay. They’re all part of the same company. I just don’t know what the exact like tiers of ownership

[00:48:29] Vanessa: are. They stopped making super guitars and now I see them featured alongside. These are weird things that you like picked up

[00:48:36] Emily: on. On audio

[00:48:40] Vanessa: because they need those amazing, uh, 26 and a half scale baritones.

[00:48:45] And I’m like, where’d they go?

[00:48:47] Andrew: Those are cool. I worked at guitar center. I remember getting a whole bunch of vignette, I think. And I remember them being super slick. And I remember the coolest feature I thought, uh, for like a sub thousand dollar guitar was the, uh, the whole body was like high gloss finish, except for the back of the neck.

[00:49:01] They had like a pretty clear cut on the back for a satin finished. It just played so nicely for a painting. Um, yeah,

[00:49:08] Vanessa: that black sat and neck was really nice. Take

[00:49:12] Andrew: note. And then the gold foils. I just thought the gold foil to S on it was a little cheesy, but th they sounded good.

[00:49:19] Vanessa: Yeah, it was, it was too much branding.

[00:49:24] What are you looking at? Oh,

[00:49:28] Emily: I’m just,

[00:49:30] Andrew: it’s like the food industry where like everything’s owned by like three brands.

[00:49:35] Emily: I was just trying to figure out what, like some timeline stuff, but I am unable to apparently, so no big deal. Sorry about that.

[00:49:43] Andrew: No, all good. All good.

[00:49:45] Emily: All good.

[00:49:48] Vanessa: Continue.

[00:49:49] Emily: That’s all. Um, yeah, it’s, it’s always weird when you so many, so many brands owned by brands.

[00:50:01] It’s always kind of weird to, to see that kind of thing.

[00:50:07] Vanessa: Totally. I wonder if it’s like the only way you can stay afloat unless you’re like a solo builder. Yeah.

[00:50:14] Emily: You know, and then in some kind of fly under the radar, like I think a lot of people will forget or don’t realize like, like the walrus is owned by all parts.

[00:50:24] Vanessa: I didn’t know that.

[00:50:25] Emily: Yeah. Um, Obviously harmony Tyszko band labs, uh, mano, um, I think fit, is it vintage guitar also part of that, uh, band labs, technologies, family,

[00:50:45] Vanessa: I don’t know. I think guitar.com is

[00:50:47] Emily: yes. Also that, uh, and yeah, nothing wrong with that. No, it’s just really interesting to see. I mean, As long as it’s good products.

[00:51:01] That’s fine. Yeah. I’m certainly, I don’t particularly care. I don’t have a

[00:51:04] Andrew: problem with the business structure inherently by any stretch of the imagination. Like same thing with fender owns a whole bunch of plans and Jackson. Yep. They do. I think they do a fine job managing all of those brands in tandem.

[00:51:15] Yeah.

[00:51:17] Vanessa: Speaking of them, have you played the new supersonic sparkle blue?

[00:51:22] Emily: No, but I’m supposed to be getting one. I’m playing my old supersonic, the one that fell off the wall at the gig tonight. Oh, fuck.

[00:51:34] Are you saying I’ll fuck. Cause it fell off the wall. Yeah. Yeah. That sucks. It, you know, just got some chips in the paint. That’s fine. I have some Lawler’s um, I think the Imperials in it, so it sounds really good. And I, I switched the, um, I just have a master tone master volume in it and uh, And I have S coil splits.

[00:51:56] So it’s uh, yeah, I saw

[00:51:57] Vanessa: you did. And you, you didn’t need to Sater.

[00:52:01] Emily: Was that your first shot? No, I’ve I’ve soldered for a couple of years. I taught myself on a all watching the Thanksgiving parade one year.

[00:52:10] Vanessa: That’s uh, that’s the right forum for it. Yeah. So soddering freaks me out because of I’m like, what if I burned my fingers?

[00:52:20] Emily: Yeah. I think that every time I think that as long as you, you think I better not burn my fingers, then you

[00:52:27] Vanessa: definitely screw it up.

[00:52:29] Emily: No, no, you’ll just be more careful. And you won’t burn your fingers cause you’ll be cured.

[00:52:34] Vanessa: It’s I feel as though it’s best that I don’t know how to solder, because then I’ll just be messing around with every single piece of gear.

[00:52:43] I have probably ruin it and, uh, buying like too many different kinds of, you know, pots or just to experiment. Yep. That’s what I really love to do. I’m mostly just

[00:52:57] Emily: experiment. Yeah. I mostly say I’ll talk to Sean from Gunn street wiring because I’m probably going to, I always like to upgrade the Squires, so I have the baritone, so I’m, we’re probably gonna talk to Sean from Gunn street and like maybe upgrade the wiring and the switches.

[00:53:15] Um, maybe we’ll find some new, new P90X, uh, for that. Maybe talk to Lawler and see what they can do for me. Or, um, maybe Curtis Lambert. Uh, what was your

[00:53:27] Vanessa: biggest impression with the, uh, I watched your video, but remind me with the baritone. Cause I always thought it sounded good. I think

[00:53:36] Emily: it sounds really good.

[00:53:37] And I think the quality of construction is just fantastic. I also have the Eastwood baritone, the side Jack, um, and what I’ve always fucking hated the neck on that. I think it sounds like fine. No, it’s just like the fretwork on it is shitty. Oh yeah. So it’s like unpolished frets, sharp fried edges. And I’ve always meant to like, kind of like fix it, but I don’t, I don’t play it enough.

[00:54:01] Like I have a couple I’ve I’ve one person that I gig with. Sometimes I obviously I have a gig with in awhile. Um, That I I’ll use I’ll play the baritone with her. Uh, cause she just acoustic guitar me on baritone and a drummer. Cause she, she was more low end, but she doesn’t want to get a basis, but she wants electric guitar, which is one a bassist.

[00:54:24] And I’m like, you need something perfect. Yes. That’s why I thought so. Um, I’ll play this every time I’m playing like these frets suck. Ha fuck. And then I get this thing. I’m like, wow, Robert, this is so much nicer. And it’s like two-thirds of the price of the Eastwood. So never sell a baritone, never sell fender, Swire, baritone.

[00:54:48] Cause then they just go up and put a, but the jacket

[00:54:51] Vanessa: on it was a hundred dollars.

[00:54:52] Emily: Yeah. Some people will complain about the switch and the Jack in it. Uh, I think I’ve talked about this in every episode. People complain about the Jack in it, but that was. Uh, five minutes. Yeah, just replace it with an electrical socket and some basic soldering skills and a screwdriver.

[00:55:11] All right.

[00:55:15] Are you thinking if you’re a slippery slope, you take it to your tech and it’s a bench fee.

[00:55:20] Vanessa: Right. Yeah. I, uh, my, my tech is now in Seattle, so, oh, wow.

[00:55:26] Emily: Um, tech is my tech. Now I know,

[00:55:28] Vanessa: I know lucky duck. Um, I, this is, it’s the same reason why I don’t collect vinyl because I know I would have a problem. Yeah. So I just consciously avoid, so I don’t have to, you know, every time you move and you’ve got hundreds of pounds or vinyl, it’s

[00:55:46] Emily: the worst.

[00:55:48] Vanessa: You guys, my burrito is about two hours.

[00:55:51] Emily: Yes. And I think that’s a great time to stop. Uh, where can people find you?

[00:55:55] Vanessa: Oh, on the internet. On Instagram. I go by Vava and vivo it’s V a V a E N V I V O. And then, uh, yeah. And then on, uh, YouTube I’m vulva has an accent. Um, I only have like one real Gary video on that, but, uh, soon we’ll be populating more since I have more time.

[00:56:20] Yeah. Yeah. Um, thanks for having me. You guys. Well, thanks for

[00:56:25] Emily: joining us, everyone out there. Uh, this has been good offset, please. Like comment, subscribe below. Check us out on patrion.com/get upset. Get us at podcast.com/shop. Thanks for watching. Thanks for listening. Thanks for understanding until next time.

[00:56:38] My name is Emily. My name is Andrew that’s Vanessa. Goodbye.

[00:56:44] Andrew: Bye.