Get Offset Episode 168: New Life for Ugly Guitars with Philippe of Caroline Guitar Co

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: Let’s get this intro going.

[00:00:15] welcome to the good offset podcast. My name is

[00:00:18] Andrew: Emily and my name is Andrew

[00:00:20] Emily: and we’re here today with a very special guest. You would introduce yourself from Caroline guitar company. If you’ve been watching, listening to this podcast for the past several months, you’ve heard our ad

[00:00:35] Andrew:  spots. I’m proud to sponsor they’ve.

[00:00:40] Emily: They are, they’ve been a little unhinged since the beginning.

[00:00:46] Andrew:  I hope you’re okay with that. Just call me unhinge. I listen to pod save America and their ads for their sponsors are almost like they’re nagging the sponsor the whole time for like a minute and a half. I kind of love it either. Like

[00:01:08] yeah. Simply say for when you’re terrified that people are going to steal all your stuff, you know?

[00:01:18] Yeah. It’s good to see you guys. It’s great to see. Good.

[00:01:25] Emily: Good to see you. Good to be seen. Good to see. I got LASIK on, um, Thursday, I guess it was

[00:01:33] Philippe: bullet play bull play. I know there’s no glasses today. What is it like? Wait, what’s it like waking up in the morning and opening your eyes and being able to see what is that?

[00:01:47] Emily: It’s very odd. I’ve never had that experience except like the one or two times that I’ve maybe broke the rules with contacts, just cause I really wanted to see what it was like to wake up and see things

[00:02:00] Philippe: in your eyes.

[00:02:01] Emily: Bad ideas. Yeah. You have to peel your eyes open. Yeah. That was gross. I think honestly, the weirder thing, cause my vision was so Troche’s that, um, the weird thing is I take a shower last night and then I could see how I could see like the shower I was in it.

[00:02:24] Like I’ve never been able to see like the, the label on the shampoo bottle or like how dirty the

[00:02:29] Philippe: shower. Oh my God. Well, seeing how that might be a reason for me to keep wearing glasses.

[00:02:37] Emily: I know, I know I keep a little like, um, um, like kitchen sink, a kitchen sink brush with a soap in there. And I like scrub, like when I’m like taking my shower, like I just kind of do that normally.

[00:02:52] So it’s not like the worst we look around and you’re like, um, could be cleaner.

[00:03:00] Philippe: Uh, how long were you out for, with the LASIK? You got LASIK, you said this week. Wow. So it is like today is Sunday and already right back in commission and everything.

[00:03:17] Emily: I wasn’t allowed to look at a screen for 24 hours. So that’s why Andrew was allegedly messaging.

[00:03:24] Philippe: I didn’t exactly

[00:03:25] Andrew: reveal that I was the one sending the message. I just thought to myself, what would Emily say? And then I made a joke and then I figured my hand was tipped, but

[00:03:37] Philippe: I didn’t know I’ve at this point. I cannot, I do not assume which of you on speaking to at any time, if I message you, does that make sense?

[00:03:46] I’m just like I’m messaging and one of the two will reply. You know what it is? Let’s say 90%

[00:03:55] Andrew: of the time, it’s probably Emily responding, but 90% of the time I’m also either responding or reading.

[00:04:01] Philippe: So I’m curious

[00:04:03] Emily: if someone responded to you from get off set on Thursday or Friday morning? It was definitely not.

[00:04:09] Philippe: I’m curious

[00:04:09] Andrew: if all, you know what, that, that was my chance.

[00:04:12] Philippe: Wasn’t it to really cause some trouble. Yeah, right. Yup. Oh no missed opportunity. I remember reading these studies where they had like, uh, like they’ve done these studies and experiments where like men took over women’s email accounts and women took over email accounts, you know, these.

[00:04:36] Yeah. And then just get so much pushback and so much asshole behavior that there, you know, I was wondering if you’ve ever had that experience coming in. Hey, could I speak to an expert? I’m sorry. Yeah.

[00:04:57] Is there a manager around.

[00:05:00] Emily: I love the Tia from working class music story about how she was working in the guitar department on the phone. And someone said, can I talk to a man? And she’s like, okay. And then she puts on the Intercom and she says, there’s a call for a man in guitars. Someone says, oh, I got, oh, I got this and just hangs up the phone.

[00:05:24] Philippe: Oh my gosh, can I talk to,

[00:05:30] Emily: uh, man?

[00:05:34] Philippe: Yeah. It’s like the always sunny when they go for the bank loan and all of a sudden there’s the woman loan manager and like real manager. It’s like, oh boy.

[00:05:48] I

[00:05:48] Emily: think my favorite thing about that email study though, is that started as an accident. The guy was like, why, why is everyone suddenly so mean to me? And he realized that his email signature has had switched over to his female

[00:06:00] Philippe: counterpart. Oh my God. He’s like, huh,

[00:06:06] Emily: it’s kind of like a plot shield. And then just walk through life with the plot shield.

[00:06:14] Philippe: I call it. I’m skeptical of this is a bag of worms. I’m skeptical of ever calling anything a privilege because there’s a whole bunch of people. My life sucks. And you call this privilege, you know? So I get that, you know, like, yeah, yeah. A dude, who’s a dude, who’s two Ms. Paychecks away from like total poverty is not going to think of himself as privileged.

[00:06:42] Right. But there is a world of the benefit of doubt that, that a lot of people are extended. That should be extended to everybody. Like that privilege should be, everybody’s like, I should be able to run down the street, wearing a hoodie and nobody thinks I’m getting away with something. You know, nobody tries to walk me, you know, and, uh, just getting away with comfort, it’s getting a little comfort, you know, and.

[00:07:09] I think about these a fair deal of time when like you described like this ass, that asshole behavior, can I speak to an expert? I’m like, man, that benefit of the doubt, you know, extended that benefit of the doubt. You know, nobody like, you know, nobody, nobody ever really has to question so much, you know, it’s funny, challenging, you know,

[00:07:43] Emily: it’s funny in guitar year.

[00:07:45] Cause everyone already does that to everybody in guitar gear. Like nobody gets a bit of a doubt. So everyone thinks that, oh, that’s just, everybody’s an asshole to everybody and guitar gear culture, but they don’t get like women’s still get at worse, man. It’s hard to imagine that women get worse.

[00:08:04] Philippe: Yeah.

[00:08:05] It’s.

[00:08:08] Emily: No, one’s operating to rearrange your pedal board for you at your own show. If you’re a guy, no one does that.

[00:08:14] Philippe: Well, there it happens, but way less off, neither of these privileged position, it’s more like, this is, this is what we should get, and this is shit, and this is extra shit, you know,

[00:08:33] like that’s the extra shit, you know? Like, I mean, I, I remember when I toured in gig, you know, way back when musicians were allowed to make money. Um,

[00:08:49] but, uh, like coworkers like asked me, like, what was it like when record labels gave you money? And I’m like, I always laugh about it. It’s like, it’s, it’s crazy in hindsight. Um, but, uh, I just do remember, even back then, and this was early waves of boutique, like super early waves where like, like, you know, when there was like there’s analog man, there was full tone.

[00:09:15] There was there was prescription and there’s basically not much else, you know, Armadillo, Armadillo might. I don’t even remember Armadillo. I remember Diaz made some stuff. Like you saw a couple of minute tone pedal stuffs. Like Mesa was a boutique amp company at that time. Like that’s how long ago it was.

[00:09:37] And early days though, how times have changed. And I remember I would have dudes come by and like, see my pedal board. And this was like, I had a pedal board. This is crazy, but I had a pedicle before pedal train was out. Right. Like, it’s crazy to me because I liked them. You’d go to a, there was a guy in Richmond who made pedal boards and they were kind of like that pre salvage kind of thing with like a wood case and all this shit.

[00:10:06] And it was heavy as fuck. And it was brutal and you’re like, I’m sitting there, I have six pedals on the thing and the thing weighs like 30 pounds. And it was like, but I would have dudes like come by and like,

[00:10:23] so, you know, you use a fuzz. Hmm. No, all this shit is fucking with your tone. You know, man, there’s always been that guy. There’s always that guy. He’s just like, you have a true bypass. And then three quarters of the way

[00:10:47] Emily: that was, that was way before true bypass Congress.

[00:10:50] Philippe: This was true bypass conversations.

[00:10:52] We had those,

[00:10:55] Emily: oh my God.

[00:10:58] Philippe: I kind of, I kinda, I don’t blame, but the person, I really think, I really think full tone was who put that into like people’s lexicon, you know? So they banged the drum so hard for it, you know? Um, I remember like pool tone, you know, he shot me not be named

[00:11:23] and then you’d have the guy after he scolded your pedal board. And this, this, this is still the guy like. He’s standing three-quarters of the way back in the venue with his arms folded. Hold on. Yep. Yep. See, there’s a, there’s a great joke about like a president of Atlantic records showing up, um, like walking with Chuck Klosterman or someplace somewhere, and there’s a receptionist wearing the lead’s up on t-shirt.

[00:11:48] He’s got like the long hair and the Atlantic records guy turns to the reporter and goes, I went to high school with that guy and like walks past him. But of course he didn’t because the guy at the receptionist, like 20 or 21 and the guy from Atlantic it’s like in his fifties or whatever. And it’s like, I went to school with that guy, you know, like we all went to school with the guy in the led Zepplin shirt.

[00:12:15] Yeah. We drove around in a Monte Carlo or some giant overpowered and we all played the gig dude with his arms folded three quarters of the way back in the venue, shaking his head, the whole.

[00:12:31] Emily: I still think my favorite person is the person who’s trying to talk to you about your set up while you’re trying to set up. Alright, man, just I’m working, trying to do something. Can you just I’m like trying to like, like figure out why I’m not getting a signal pass through or something like I’m flustered or whatever, I guess like, is that a, is that a Halberd?

[00:13:00] Oh, those are cool. What do you think about that? You know, the new one has that tagless you can go between two different dudes, like shut up.

[00:13:07] Philippe: I’m working over here.

[00:13:09] Emily: I’m trying to figure out why I don’t have any reverb right now.

[00:13:15] Philippe: You don’t really need Marcy booster and you’re like, I’m not, it’s not going to happen now.

[00:13:22] Emily: No, I have my germanium booze right there. It’s fine. a double, not this one. Watch my tip. I’ll

[00:13:29] Philippe: fuck off.

[00:13:30] Andrew: You know, what you really need is like a, is a barber effects. Game-changer it’s as if like the gear page manifested itself in the human.

[00:13:39] Emily: I might’ve ordered one of those.

[00:13:41] Philippe: Let me just, let me just open the game portal and pull forward.

[00:13:51] And here it is, there it is. I changed. I changed to satisfy your desires, you know? Yeah. Yeah. There’s always the commentary and yet. Son of, uh, if, if I’m, to be honest, not a hypocrite, let’s be honest. We’ve all judged bands before they even played a note based on sometimes on the gear, like we’ve all done it.

[00:14:18] Like,

[00:14:21] Emily: I, I kind of judge people if they’re like battles falling off of their board and I’m like, try, just try.

[00:14:31] Andrew: And she had an opening act. I can’t remember the name of the act to save my life, but there’s two boards on stage one was this massive rig that looked like it needed like four Zuma’s to power. Um, a hundred pound.

[00:14:45] Pedalboard just absolutely massive. The other one was literally like a chunk of two by four. You could still see that they had like sought off with a hands-off, but never like sanded the edge and like four Beringer pedals. And I’m like,

[00:14:58] Philippe: all

[00:14:58] Andrew: right, this is how are these two guys in the same band? And it just kind of assumed it was going to be garbage.

[00:15:04] They get there, believe it or not, the giant you want to know who had the big pedal board, the bass player and the dude with the four parents, your pedals just fucking ripped. His tone actually sounded decent. He made it work. It wasn’t like a phenomenal, they were playing. I think they were playing at El Corazon.

[00:15:24] So. Small room, awkward, shape, whatever. It’s just

[00:15:27] Philippe: loud, noisy, and

[00:15:30] Andrew: they they’d played a really great set. Um, I wish I could remember the, uh, the band name for the wife. I can’t remember for the life of me anymore. It was just one of those I was full on like, yeah, no, this is going to be, it’s going to be an opening act.

[00:15:42] Maybe we should just go pay $15 for beer and sit in the back.

[00:15:46] Philippe: And yeah, that was good to go. Whenever I see dudes who are too excited about their gear and they’re talking about their gear to people in the front row and they’re pointing at their gear and they’re pointing out, I’m like, whoa boy, no boy like this, you know?

[00:16:03] Cause I don’t know. Like I think at that point, if you’re rehearsed enough and you have chosen your stuff and you’ve like picked it out for this show and you’re right, like you’re almost like if you’re really prepared and you’re not even thinking about the gear anymore, You know, except if it works or not, you know, like it’s like, Ooh, like, like, man, this is just something that makes things repeat.

[00:16:30] And this is just something that makes it noisy, something that just, and this is just something for that chorus. And this is something for that intro of the part. Like, it’s just like, it’s just stuff I have to execute, you know? Whereas like, I don’t know, like super, like check it out. I just got this. Oh, it’s so nice.

[00:16:46] Blah, blah, blah. And they’re showing like they’re showing off their, their new guitar and someone they’re talking about it. And I’m like, man, oh, this is going to be this person’s obviously in the honeymoon period. And this is, this got me nervous. You know, I, uh, I’m, I’m skeptical at that point. Um, and then there’s also all the th the dead giveaways and stuff where you’re like, okay, I know that the style of this band, obviously from the gear.

[00:17:17] You know, I mean, you must see this. I mean, when you go to Nashville, you must see this a ton, Emily, where it’s like someone wrote to me and I was laughing because where I am, this is still kind of like a pretty cool thing to have, but someone wrote this thing and it got a bunch of likes. And I was trying to remember myself, but they said, if I see another butterscotch, Relic, Telecaster in Nashville, I’m going to scream.

[00:17:40] Like,

[00:17:44] Emily: I mean, it’s the guitar, what are you going to do? It’s. Sorry. It’s

[00:17:55] like, damn. It’s like saying

[00:18:00] Philippe: there’s a, there’s a game

[00:18:01] Andrew: I like to play where, uh, I’ll one day I’ll open up. I’ll go to the board of the days page and just go through the pedal boards. I’ll take one, look and decide on the spot. Where are they on a Sunday morning? And then I’ll, that’ll go to the page for whoever owns the board and see if it’s like first Corinthians two 13 or whatever, versus they’ve got a top like, yep.

[00:18:24] Philippe: There we go. That’s a lot of them. I recommend it,

[00:18:28] Andrew: like play the game, like just choose 10, third, like throw it like at a dartboard, choose 10 and see like how many out of 10 you can get? I saw

[00:18:34] Philippe: somebody who’s who on Twitter said somewhere like, sorry, Juliet baker. Your pedalboard is way too Christian. And she was like guilty AAF.

[00:18:48] Emily: I mean, she’s

[00:18:56] Philippe: pretty funny because I’m like, actually hers is her. I think of hers is not particularly Christian. Cause there’s weird. Loopings involved, you know? And there’s like weird routings and there’s stuff to keep track of. And it’s only works if this work, you know, like, like, whoa, that’s a little, that’s a little nuance, you know, like

[00:19:18] Emily: I think it’s hard to come out of Memphis or Nashville and not have like at least some CCS.

[00:19:25] Influences on your pedal board because we had Katie Kirby on the show. It’s not even, and she’s not even like, she’s not religious, but she has very like Sisi and pedal board leanings. She has it. She has a Julia that’s her favorite pen of all time is the walrus Julia.

[00:19:47] Philippe: And it’s cool. I just

[00:19:51] Emily: like, what are some other chorus pedals that were like sell results?

[00:19:55] Philippe: There’s like, there’s not really a ton off the top of my head. Like, I mean, all blood noise does the myriad, which is cool. The myriad note one and I’m blanking on his name. Uh, reflector. Yeah, that’s the myriad because that’s the mode I would use in it all the time. But, um, yeah, there’s just, it’s, it’s a funny thing.

[00:20:14] There’s just not a ton in the Juliet. First time I played the Julian, my, yeah, it was pretty right, dude. Like that’s, that’s a pretty right chorus, you know, but yeah, I was, I was struggling with it. We were laughing about this when we were recording some stuff with some rockers here in Columbia. And I was like, it took me a hard time to wrap my head around sort of the indie rock that comes from the Carolinas and the south, because I was used to a certain kind of indie rock from like Virginia and Maryland on up, which is sort of the Lodestar of that stuff still seems to be Fu Ghazi.

[00:20:50] Right. And it’s sort of like punkish or gnarly and it’s like atonal at times and there’s like this trashy quality to it. And then when I came to the south, I was like, I was like trying to describe it to someone else. Like the thing I couldn’t get past and allowed to indie rock for a long time in the south is the earnestness.

[00:21:14] Right. There’s not that there’s like this earnestness and we’re talking about it. And a lot of it comes from like a lot of indie rockers come from CCM roots, you know, like, and their Lodestars almost more someone like Bazaar or like Pedro, the lion or like me without you are a lot of these bands that sort of, from that kind of like, uh, like we were laughing about, it’s like a little bit the preacher’s son kind of thing.

[00:21:43] Uh, and it’s an earnestness that was really tough for me to wrap my head around because I was used to like this kind of real cynical snark, you know, that, um, that I was that, uh, the worldview of it, you know, it’s different, but also like how melodically constructed. It was like even the indie rock. You know, um, maybe almost more polished and like that sunny day, real estate descent of things, as opposed to like an Al beanie kind of approach.

[00:22:16] Um,

[00:22:20] Emily: you get, you get a lot of that up here too weirdly. Yeah. I think that Mars hill was just so big up here that those influences are still being really felt because a lot of the people who kind of grew up going to live music as like teenagers, that was how they went to live music. It was like Mars hill churches, like even like Jessica Dobson is a great example

[00:22:45] Philippe: of that.

[00:22:51] Andrew: It’s always strange. Cause I work in corporate AVF here, appearance. So talking with other people in the corporate world, even and realizing how many of the people that I work with, like in my network used to work in the Mars hill network. And the stories that I’ve heard are like, whoa. So between them. So my musician, friends, like, wait, you used to play in a Marsal.

[00:23:09] What? I had no idea then just how deep that goes. And the, in this area is, um, really strange for someone who transplanted here shortly after the fall of Marsala.

[00:23:22] Philippe: It’s interesting. Cause I remember when the fallout happened, but at the same E like that, um, Yeah. I remember reading about the different fallout around malt, Mars hill and stuff, but I w I’m fascinating how these things end up seeding a whole bunch of musicians in the ways it’s different than it used to be, where people formed, you know, terrible high school bands, you know, as opposed to through these, uh, you know, through these praise and worship kind of things where there’s a certain,

[00:23:55] I don’t know. So maybe a certain expectation of discipline. You know, I was curious about that. If there’s like more of expectation, like you’re gonna play this and play this. Right, right. Whereas I sort of

[00:24:06] Andrew: larger churches expect you to have your music memorized. And it’s a different

[00:24:09] Philippe: song every week.

[00:24:12] Andrew: Versus, you know, when I was in high school band, we played like five songs and sure we had those memorized, but they’re like three chord songs.

[00:24:19] Philippe: Um,

[00:24:20] Andrew: and then. Just from what I was playing actively, um, for churches, even on a smaller level, having that expectation of you have that music memorized. No, you’re not playing the chord charts. You’re not no reference. No, like you’ve got it down the entire set and the set’s different every week with songs that bleed into each other and coordinating with the, I don’t know that there’s a level of production value that seems to be built into a culture of striving for excellence.

[00:24:48] Um, that I think is interesting. Yeah.

[00:24:51] Philippe: I mean,

[00:24:53] Emily: memorization costs extra when I tell people that

[00:24:59] Philippe: upfront, you know, like, yeah. If there are, if you’re not going to hand me charts, then, you know, in advance, oh yeah. Men it’s fair, but that’s a fair point. Like you’re like if you’re expected to learn this stuff and not

[00:25:14] Emily: memorize it, it’s, it’s, it takes a lot more time.

[00:25:17] Like I can, I can, if I, if I have a chart, I can do it. Figure it out in two hours. But if I don’t have a chart, I have to learn it by ear and that’s a memorize it. Yep. That’s 10, 10, 12, 15, 20 hour. Like it’s a lot of time. It takes me a long time to memorize stuff for a gig I’m only gonna play once.

[00:25:36] Philippe: Yeah, yeah.

[00:25:38] No cost section. Yeah. Make it rain, make it rain on that, you know? Cause I was fascinated. I’m curious if you guys have seen this trend as well, I’ve noticed in Columbia here, there aren’t so many or there are bands, but it’s different. Like I came from this band band background where it’s like, you’re in a band and you’re in that band and that’s the band you’re in.

[00:26:06] And you guys, you put the Batu together and you write songs kind of collaborative. And then you’d fight about who gets credit or whatever, and you kind of succeed and fail as like this entity. Right. And yeah, I was talking about this and this customer of mine who’s in, like, I was like, how are you in like four bands?

[00:26:32] He’s like in four bands. And he’s like, I was describing to him. I was like, we don’t have that. I was describing what I was going through. And he just said, ain’t nobody got time for that anymore. Like, he was shaking his head. I’m like, what? But you’re in four bands. He was like, yeah, but really what it is is he’s in four bands, frequently cheering for a solo project.

[00:26:54] Exactly. They’re sharing a lot of the same members, but this one is this guy’s project where he’s written these songs. And then everybody just has to learn that guy’s songs. And then he plays this, this, and then there’s this girl songs, and everybody learns this girl songs and they’re playing it. It’s like, it was interesting to me, how much of this becomes really leader driven, like really chief driven, as opposed to like, um, everybody collaborating and sorting it out.

[00:27:25] You know, like, as I was describing this, it was funny. He’s just shaking his head. Like you got six hours to sit there and like bash out a bunch of riffs and, and everybody fight about how they fit together. Like, wow. You know, meanwhile, he, so med stuff, recording, you know, like he’s like, blah, blah, blah. And I was like, did you go on, did you guys have pro tools back then?

[00:27:48] I was like, no, we’re lucky to have a four track. He’s like, ah, like he’s sending people like here are my, my logic or garage band demos and learn.

[00:28:01] Emily: Yeah. Yeah. It used to be, you really had to have things ironed out beforehand and now you can experiment a lot more on your own, even send them to everybody and be like, even in garage band, be like, okay, now here’s some just riff that the algorithm enough, or here are some, here’s some royalty-free thing that I got in pretty sodas.

[00:28:22] Did you one do something kind of like that, but different. And, uh, so I played bass in a project called juror if it’s a solar project, but it’s kind of, so the guy, he he’s a great songwriter and he just did everything on his album pretty much except for the drums. So I just went in, I learned the bass parts and, um, I’ll write bass parts for new stuff, a sensibly Sunday crushes, less of a solo project, but it’s still really generous.

[00:28:51] And, um, So we, we do, we’re doing more collaborative writing now, but when I came in, I was just really a hired gun for an album that already been released. So now we’re doing writing together, but it is a lot more time consuming versus if she could just sit with just, if she just sat down and wrote songs and told us to like, come up with some parts and work them together, that would be faster.

[00:29:16] It’d be less fun.

[00:29:17] Philippe: Yeah. And there’s a different kind of fun. A whole bunch of people have a, I think it’s a different kind of fun where a whole bunch of people have a creative stake in it. Um, yep. And I think there’s

[00:29:31] Andrew: people all have to be able to get along with each other and have good communication skills.

[00:29:36] And that’s the, for every member you add the harder is it ensure that a new member will work with everybody else equally?

[00:29:45] Emily: Well, every bad has expended the bombers pretty much except queen

[00:29:52] Philippe: the Beatles thing, I think is fascinating. I’ve been watching people watch get back and they’re just so blown away by how like, um, kind of, even at the end of their ropes, how collaborative they were, you know, and they’re sitting there chatting and just throwing ideas back and forth. And, um, that’s been a fun takeaway for me because watching, like watching us boomers or gen Xers watch it, we’re like, yeah.

[00:30:19] Okay. That’s wow. Like we’re, we’re like we’re seeing the apex version of what we all sometimes have little tastes of. Um, and then watching younger B watch it. They’re just like, yo what? Like, yup. Like it isn’t saying, or there’s like, like I it’s almost like. What would happen now, if McCartney was sitting there working on, get back, like, would he have just garage banded it and like just figured it all?

[00:30:50] Yeah. Yeah.

[00:30:53] Emily: I, well, I don’t know. I’ve probably, I don’t know if they would have done it in the room together like that. I, cause I can’t, it’s hard to imagine other people just sitting there patiently watching him do that.

[00:31:09] And then there’s then those people who thrive in actual like group collaboration. And then there are people who like just thrive in working by themselves, off by themselves for a while doing something and you know, different days sometimes you want to be in a group and sometimes different days, just things come together more organically.

[00:31:31] I like coming in with ideas because. I don’t. Yeah. Then again, like when I think about the things that I’ve done with Sunday crush, I’ve been like best with the band it’s stuff. I came together that came together in the room together with the rest of the band. So, and not the stuff that I brought in necessarily, like that was fun for warmups, but ultimately, you know what I did there in the group with them performed best and resonated best with them probably because they were part of it.

[00:32:02] Philippe: Well, I mean,

[00:32:03] Andrew: I think I could break it down, uh, like to define some terms that there’s two different roles that I’m hearing here. And one is being a musician and one is being an artist. Artist is where you’re contributing a lot more musicians where you’re just there to play the music. I don’t think either of those are inherently bad.

[00:32:19] I think there’s a time and place for both of those in that even one individual shouldn’t shoehorn themselves in just one or the other. Um, I mean like CCM, like era almost always just going to be the musician that shows up in plays exactly how it was on the album. And then you go home and take a very long nap because you were at church at 6:00 AM on the weekend.

[00:32:39] Philippe: So do you find you eat, you guys write drift differently or remember writing differently when there was a drummer present?

[00:32:49] Emily: Yeah. I mean, I’m not used to writing around drones. So when I do it’s, it’s very different. We, we we’ve been writing a lot, just having the drummer start with something

[00:32:59] Philippe: that is a fun thing because we’re so in a pop and a pop history lexicon, we’re so used to like the melodic instruments or whatever are the ones that are setting that definition for us, you know, like start with a riff, right.

[00:33:15] You know, or, um, play a hook. Right. And those things so defined, like your key they’re so defined a lot of rhythmic things. There’s just. You know, they, they sort of, they sort of set the decision tree for what happens melodically. But yeah, I miss, I miss like kicking things off with a drummer, you know,

[00:33:40] Emily: I think, I think that’s fine.

[00:33:41] I think that’s, that’s more and more important in music is the drums. It’s funny to me. When you think about how like music was considered, w like things like, uh, drums were banned at the grand Ole Opry until God, when, when were drums a lot, the grand Ole Opry, they were banned for a long time because it was considered pop music.

[00:34:01] And there’s a lot of old country sounds. It sounds like there’s drums, but there’s not, it’s just like, it’s just the back beat on the, on the bass. And then the, the, the Palm meeting on the guitar. Wow. That’s

[00:34:12] Philippe: wild to think that a trap drummer was so associated as like a, like a kid. So a kid drummer was just like anathema.

[00:34:21] It’s very strange. Yeah. But I am thinking about, and I’m thinking about all those kind of old timey bands where they sit around, like around one microphone. Right. And you’re like, well, well, you know, like that might not have been possible. They might not have even been able to get the volume over a drummer back then.

[00:34:47] Emily: Yeah. Well, if he had a big band, like Bob wills, who was the first person to use the, um, to use a drum set on the Opry in 44, um, I mean, yeah, you definitely had the volume, but yeah. Drummers can play pretty quietly. They had amplification like ample ample amplification. Uh, 67 it looks like is when a full set of drums was used on the Opry for the first time 67, because before then it was, it was considered pop music.

[00:35:16] Philippe: We had amplification made by people who hated rock and roll.

[00:35:27] So it’s funny, you

[00:35:28] Andrew: mentioned, uh, well rhythm as being such an important aspect because one of the things, because I was a drummer first, before I was a guitar player and one of the genres that’s always captivated me on that level has been like hip hop and rap, just, it starts with a B, and then everything else around it revolves around that rhythm.

[00:35:47] And I find that that infuses the music was just a level of energy. There’s, there’s a vibe, there’s an energy. There’s a, this is how things are going now that I don’t necessarily find another music. And one of the things that I love, I want to listen to music is music. That’s quote, unquote energetic. And what always drives me nuts is what, what makes something energetic, uh, as a drummer, because you can play a fast song and it can just feel like.

[00:36:12] And rhythm’s always just going to will always be something that fascinates me to that extent. But if you’re, if you’re trying to write a song without, without a drummer, it totally changes the dynamic for me.

[00:36:24] Philippe: So one of my favorite dramas is, um, this guy named Kevin Murphy. Who’s a Nashville based as well.

[00:36:30] He’s as big right foot as his Instagram. And he’s a hilarious guy. He’s played with a lot of rock bands. He was with tonic for a while. He was with the country artists named Randy Houser for a while. He’s like you played in nineties bands like this nineties man called Egypt for a while on earth to Andy for awhile.

[00:36:47] And he was like, he’s an old school, Virginia nineties guy who went Nashville and rock and does all this stuff. And he’s just like extremely opinionated and funny and difficult to diff difficult to agree with on everything. But he’s. Awesome drummer. He was one of these guys who just destroys kicked pedals and it’s like as ferocious player, but he’s like, when he, when he’s someone you would love chatting with Emily, like, he’s just like, he’s just, uh, also incredibly contrary about a lot of stuff, Nashville, Laskin stuff.

[00:37:23] But he, um, he had a great phrase once I can’t stop thinking about, which is, uh, he said, if it doesn’t make, you want to fight fucker, dance is bad. Drumming

[00:37:42] Emily: sounds like bad music too,

[00:37:44] Philippe: but that’s it like, it was like, he was like, I’m sorry, like somebody who does like, okay, he’s like not a good drummer. It’s like, he’s like Meg white. Look at that audience. Like look at that, look at those white stripes footage and look at that audience. And what’s happened, like, if that’s not good drumming, then how is that audience doing that?

[00:38:14] You know? And like, it’s, it’s almost like, he’s like, it’s just,

[00:38:20] Emily: I want to fight people who save nig. White’s not a good driver here

[00:38:24] Philippe: do, but he just like, he drops it on them. Like, because it’s like, well, what about this? And he’s a guy who used to do marching band stuff and all those exercises he’s used to like, it’s like, you can talk about all the technical who dad’s with me.

[00:38:39] Like he can do it, but if it doesn’t do these three things is bad drumming. And I saw some stuff he did with using pro tools for drum instruction, I thought was brilliant or Murphy would like, multi-track a drum. And they’d be doing shuffles and he could show them like, no, no, no, no, no. Here’s what’s happening.

[00:39:00] Like you need to move this ahead of the beat and this centered on the beat in this, behind the beat, like any show them. And I was like, this is brilliant because so often when we think about DWS and we’re court recording with Ableton and with logic or Oracles and all people kind of tried to lock yep.

[00:39:22] And start to think like they’re doing an Excel spreadsheet or they’re like locking into the cells really. And I’m like, oh my God, I hate this. It’s like, you hear those guys who like quantize van Halen on YouTube and it’s hilarious. And then you’re like, you know, um, and then, uh, But then Murphy. I was like, this is brilliant because he’s like, he can hear, he can hear what the guy’s not doing.

[00:39:53] Right. And then he’s like, hold on, let me put it into a DAW. Let me put it in here. And I can show you against the greeted, like wearing you’re not centered or where you’re doing this or where you’re doing this. How do you need to like roll around the beat? You know, as he’s like right now, it’s like, you’re too stiff here.

[00:40:13] You’re too loose here. Like, it’s like a combination of these things. It’s pretty, pretty Nan. Brilliant. You know,

[00:40:22] Emily: like you do need a bit of a human element in there. Otherwise it could sound sterile. Questlove always said one of the things he loved. One of the things he loved about princess drumming was that prince would slow down and speed up.

[00:40:37] You can’t no, one’s tried to quantize prince strumming, thankfully. Probably not be fun either.

[00:40:44] Philippe: I mean, Tom petty and even with, go on, I’m sorry.

[00:40:49] Andrew: No, you’re, you’re good. Uh, especially with Domingo, it’s not even just about speeding up, slowing down and it’s even just like within a phrase you’re for, uh, within a measure on your back that you have your back beads on, or if it’s slightly behind her or saw that you in front makes a huge difference.

[00:41:07] Even if you’re quote unquote, like if you’re still playing the same speed, just where you’re landing that within the measure makes a world of a difference because you can go eat without having to fully swing a beat or syncopate a song. You can give it a little bit of a swing field by displaying slightly behind the beat.

[00:41:21] And that makes a world of a difference in how a song sounds just by the drummer being slightly behind, but still staying at a steady, steady pace. And that’s one of my favorite things I learned when I did jazz band. And that was one of the things that the, the, uh, the teacher would always yell was like, you’re too fast.

[00:41:41] I’m like, but I’m playing to the Metro. I was like, stay behind the beach, swing it, swing your artists. And that’s

[00:41:47] Philippe: awesome. I can hear

[00:41:50] Emily: a white boy.

[00:41:51] Philippe: I can hear

[00:41:51] Andrew: Mr. P bald white dude in his twenties, just yelling, swing

[00:41:55] Philippe: it harder like across, like,

[00:41:59] Emily: uh, that’s one of the things I liked about the snare trap that ranger FX pedal is you could set it to play behind the beat a little

[00:42:10] Philippe: that’s very clever.

[00:42:12] That’s a good bet. I did jazz improv in high school, and I remember laughing once I got just completely lost from like, I was trying to follow the chord charts. I’m like, oh God see shirts at 13. And I just got lost as hell. Like I was in like, woo, woo. Like the train missed me. Right. And I was doing a lead break and I just started like, ah, fuck it.

[00:42:35] And I just started taking, I started just doing unison Benz of taking a D and bending it to an high III where I’m like on the 12th and 15th. Right. And going out. And I’m like, I’m going to have to do this for the next 16. You know, I’ve got a while to do this.

[00:43:02] And I’m like

[00:43:06] running at the jazz man. Nice tension.

[00:43:17] All I know is I’m going to have to end on a C sharp. Okay. I knew I can see, I can see down the line. I’m going to end on C sharp and we’re going to be good. Yup. Oh yeah. And the golden girl is out. Ooh girl.

[00:43:38] Emily: So this episode of the podcast is sponsored by Caroline guitar company because, so they did me a huge favor.

[00:43:46] He brought. One of the ugliest guitars in America back to life.

[00:43:51] Philippe: Um,

[00:43:52] Andrew: and what a life, that guy, what a life that has look at that.

[00:43:57] Philippe: Oh

[00:43:57] Emily: my God. It’s so beautiful. So if for those who forgot this used to be a Gatlinburg fever, dream of a guitar. If I called it the cloud titty guitar,

[00:44:08] Philippe: this deal keeps getting worse and worse on cloud titty.

[00:44:13] Emily: Wow. Andrew, are you okay? Yeah,

[00:44:16] Philippe: I’m good there, but the props, the Felipe

[00:44:21] Andrew: entered the deal. Pray. I don’t get any

[00:44:22] Philippe: further.

[00:44:27] Emily: So you said this terrible airbrush job on it that had these ladies, these cloud trucker ladies shooting lightening out of their assholes. Uh, but now it is this gorgeous, gorgeous gold. It has to be vendor. I’m so happy with it.

[00:44:50] Philippe: Oh my goodness. It looks fantastic. Mine is at the workspace, but I’m going to send a picture of y’all then sir, here,

[00:45:02] Andrew: just hold up your arms like this.

[00:45:04] And we’ll Photoshop that

[00:45:09] Philippe: boom, BA Ferguson and guitars did the refund work and he did it similar to his flyweights. So it’s sort of a matte finish. I think of it as, almost like it’s almost like a nitro nicer version of the finish use to see fender do on the highway ones in California’s and the early two thousands was like this razor thin.

[00:45:32] Um, yep. Lacquer finish. That’s supposed to wear easier. I’m laughing because I literally, as I’ve set mine down and then accidentally knocked it over, it’s already started to put chips in the corners.

[00:45:46] Emily: Oh yeah. It’s some chips over here already. It’s going to age.

[00:45:55] I’m excited. It’s beautiful. And, uh, we both got gold cause we were talking. I used, cause you saw the picture. I post on Instagram rack Racker I bought it. And you messaged me about how GMLs are great guitars. Like, cause I wasn’t going to buy this until I played the guitar until I plugged it in and it sounded so good.

[00:46:18] Philippe: So good and add that we’d bender and it’s a right kind of Telecaster. And it also had the, maybe the, the scariest guitar finishing I’ve ever seen.

[00:46:32] Emily: It was horrible. It was so bad. And the paint job, even when under the pit guard, which was signed by Brooklyn done, don’t forget about that.

[00:46:43] Philippe: I find tough. It’s also like there’s a certain kind of tastelessness that’s artistic and evocative and this wasn’t it like this,

[00:46:54] Emily: this was just

[00:46:55] Philippe: really tacky and also like kind of an attack.

[00:47:01] Amateurish too. Like, it was, it’s like the Woody Allen quote, like such terrible food and such small portions, you know?

[00:47:16] And I remember booth and I were talking about refinishing, my GNL, which the problem with the problem with a lot of these, like, what is your GNL from, do you, did you get the year on yours?

[00:47:30] Emily: It just said they just said late nineties or early two thousands. I think the vibe was it’s like 16 to 20

[00:47:37] Philippe: years. Yeah.

[00:47:39] Mine is a 96. And they had like this really thick poly finish on it. That mine got beat up and it did not look cool. Like it looked like, like, oh, this just looks like abuse. And the guy was like, I can fix this, but then it’s just going to look like a bird shit on your guitar. And then, then it’s just going to be like these clear drop pills that are clearly not blended in with the rest of right.

[00:48:12] I was like, just strip this down, Buddha done a PRS for me like this. Um, and just strip it down and throw a finish on it. And when you and I are like, let’s do gold. I was like, yeah, we’ll have golden girls, two golden

[00:48:28] Emily: golden girls. And can we hit a timing? God

[00:48:34] Philippe: damn it. Anyway, Brightwood people puts out her 100th birthday, what a gag.

[00:48:46] I looked over a Melissa and I

[00:48:47] Andrew: said, okay, like, I’m not ready to accept that she’s passed. And so for now, I’m just going to hope that she is taking gross advantage of the fact. She’s the only person in the world that could fake her own death. And we could forgive her.

[00:49:01] Philippe: And she’s excited to

[00:49:01] Andrew: walk out into a stage for the screening for a hundredth birthday, just blow everybody’s minds.

[00:49:07] Emily: Like people put out the magazine, hundreds, birthday, it was new year’s Eve. So she’s getting like the most toast of anybody in the world to her that

[00:49:20] Philippe: that’s the world’s best Irish exit ever from a party. You know, you need to rename the Irish eggs. It’s the Betty White.

[00:49:31] If he’s out Toodles.

[00:49:33] Emily: I love everybody doing, I love everybody like doing the math, like, okay. She went, she lived from 24 leap years. So I think we can say that she lived a hundred years cause that’s 24 extra days. And she was 17 days away from being a hundred. She gives a shit. But

[00:49:53] what a legacy though that you live to be 99, you died at 99 and people think you died too soon. Like, wow.

[00:49:59] Philippe: Yeah. That’s, that’s a long full life. And you know, and we got to tell Betty White, we loved her while she was alive, which was awesome. You know, we

[00:50:08] Emily: didn’t have a lot of people get their flowers,

[00:50:11] Philippe: make sure she

[00:50:12] Emily: gets her flowers there.

[00:50:13] We mentioned this episode of the get offset podcast is sponsored by the Carolina guitar company.

[00:50:20] Philippe: Oh, wait a sec. I snuck off. And I’m back. The CC,

[00:50:25] Emily: this episode of the gossip podcast was sponsored by Caroline guitar company. Thanks. This is my second Hawaiian pizza.

[00:50:34] Philippe: Have you compared it to a Hawaiian yet?

[00:50:38] Emily: No, I’ve been a little busy, but hopefully I’ll have some time to play guitar today, depending on when article I have to write is do which I need to check.

[00:50:47] Awesome check. So, uh, hopefully, but, uh, I did them in stereo for that, um, Christmas time is here, which

[00:50:58] Philippe: was really funny thing is so cool.

[00:51:05] Emily: I am so stoked. I got, I got this thing for like a

[00:51:07] Philippe: hundred bucks.

[00:51:09] Emily: It’s a little it’s so grizzled. I do kind of worry about the innards. Just seeing how rusty it is, but it works.

[00:51:19] It works for now.

[00:51:21] Philippe: Oh, it’s a pink label. Look at that. Is that good? I just love me some things Y2K boss. I love it. Andrew Y2K boss. I want a PS three. I want an RV three and a PN two, man. Why two K boss?

[00:51:40] Emily: Oh, Andrew has my LPN too, but I told him, I told him if he sells it, he has to offer it to me first for what I charged him for it, which was not a lot of money.

[00:51:51] Philippe: I think I sold into. I’m pretty

[00:51:55] Emily: sure he’s not allowed to flip it. I’m

[00:51:58] Philippe: pretty sure I sold. Maybe Marina’s wrong either. I sold one or Matt. Yes. Oh my God. I love the solo cup. The top you put on there or just, I feel like I sold it.

[00:52:15] I’m pretty sure I did because I had an extra one and then I put it for sale and Matt, I feel like Matt. Oops. Got it. But I might be remembering it wrong, but yeah, it’s like, yeah. It’s it’s so nineties Y2K, those, those three pedals in my brain. They’re all like that’s. That’s the boss I know, and love is that.

[00:52:38] And then my other fetishes for the line selector, you know, so that’s the other one. I, the LS two brilliant. I mean, it’s basically kind of the root of this. It’s not dissimilar from this thing by old blood noise. This thing is great. I love this thing, the signal I need to get me. One of those things is useful.

[00:52:58] I’m going to do an experiment later today. I’m excited about Paul David on his YouTube channel. Did a thing about the hallelujah guitar sound, how it’s a mixer long reverb. It’s great. It’s a really cool video. And he did it with different apps and multiple things. But what I was tempted to do is put something like a, a supermoon or a dark star and one, and then a Maitri or other, and then do short long Moto with a single blender and see if we can get that same kind of.

[00:53:30] Thing, this thing is great. I got one for a friend of mine, for a bass player for, um, a long time band mate and friend who plays bass. I got one of these for him, for Christmas as well. And this thing, um, it’s just cool. Like, it’s just, doesn’t really well, this is a lot like the LS too, but more because you know, you’re not tied to like the mode switch on the LS two.

[00:53:55] This is, this is like Alice too, but evolved. Um,

[00:54:01] Emily: I have the client bottle and it’s just, it’s it’s a

[00:54:04] Philippe: lot. Yeah.

[00:54:07] Emily: Yeah. It’s maybe a little too much, too much happening. I don’t know what to do with it, but, um, Yes on that note. What else? What’s, what else is coming up with Caroline guitar company that you can tell us?

[00:54:22] Um,

[00:54:24] Philippe: thanks. Uh, the, the big things we are this year we are going to do, there are two things that I’m excited about early for this year. Uh, one is we are going to do a wider release of chrom, which is the, um, the pedal we did. I think you, did you get a crumb? I think

[00:54:46] Emily: it’s over here. I haven’t demoed it yet, but it

[00:54:50] Philippe: intended, it was very intense.

[00:54:52] Um, the story behind that is we got, uh, the long story about that. We got up one of our old Olympia pedals back that was broken. The sky was like, it’s broken. It’s not working. I was like, okay. And I stepped up. And I was like, oh my God, this thing is so broken. And it’s obvious to switch because what would happen is I’d switch it on.

[00:55:13] And it either be like halfway on or nothing, right. Halfway on or nothing halfway on or nothing. So I’m like, okay, it’s a switch and go through a cleanup, a few things. So things are roaring, but used again, you send it back to the guy, nothing. When it comes, it messages us back. And he’s like, what the hell did y’all do to my pedal?

[00:55:34] Like, what are you talking about? I fixed it. Like, you’re welcome. This is awful. And I’m like, what do you mean? He’s like, this thing just sounds like this fuzzy, loud. Like I pedal like what he means, like it was working sometimes and it wasn’t, it hit me. I’m like, oh my God, like the sound he liked. Wasn’t like, we’re broken thing.

[00:56:03] Emily: And

[00:56:03] Philippe: I was like, how are we going to get this back? Well, like, because it was doing like this kind of broke anything and we figured out a way he sent it back, we found a way to get it. And then I was laughing. I was like, okay, we need to be able to get that, that half gained right. Or broke anything and this, and so that’s what Krom is.

[00:56:25] So it’s similar to what the guy had when it was down. And the other mode is opened up. Like the turbo on is basically like a full on, like we are raging and going again. And the, with a tweet amp tone control in the middle of the mountain control kind of helps us do that both too. So then we’ll do chrom as a wider thing.

[00:56:52] We’ve had people ask us for that and I’m pumped about it. I’m a. I’m pleasantly surprised. This is going to sound like a weird pet peeve, pleasantly surprised when we released crumb, how little of the, uh, we didn’t get too many people having to say. And the laminations of the women, you know, like, you know, I was like, we got enough barbarian stuff, but it’s sort of like Conan the barbarian is kind of like spinal tap.

[00:57:29] I’m like, you should know there’s more lines in the movie than these go to 11. If that makes

[00:57:39] Emily: yeah, you should at least know it’s black or this black,

[00:57:43] Philippe: my personal favorite is what’s the difference between golf and mini golf. And the guy goes to the balls are small.

[00:57:53] Emily: Oh, my God. I liked shit sandwich myself.

[00:57:57] Philippe: What’s the it’s like he’s tied up on a cross bed naked with these scantily clad women. Like what’s, what’s more offensive about that. Then smell the glove. You know, duke fat,

[00:58:15] Fred Fred Willard is unequal and out to like the whole, oh, bless his heart. So we’ll, we’ll get you guys on at like 900 hours. Then at 1100 hours, we’ll be done with this

[00:58:39] for 600 hours.

[00:58:45] Emily: It’s a perfect

[00:58:46] Philippe: military

[00:58:52] and also the bad math. Lucky doesn’t do the math right. Or whatever. And like the spinal tap. So Conan has a bunch of stuff we were watching. I was laughing about this Conan, the barbarian. I’ve definitely fallen down a hole with it. Sidebar won’t go too long on this. But, um, as reading something, somebody said where like the, so the Cohen brothers based Walter subtract from real big Lebowski on John.

[00:59:22] the guy who wrote and directed Conan the barbarian, like they basically like point by point. Subject is John nilly is the guy who wrote code in the barbarian. And from what I’ve heard. They and their friends like Bruce Campbell and a lot of those people who have all been friends together, all watched Conan the barbarian and kind of thought like it’s like, they kind of took it the way I might, which is like, this is almost like a parody of like this like mindset, you know?

[00:59:51] Like it’s like, it’s so over kill them. That must kill the snake God and knew all this stuff. And you’re like, you know, the dad points the sword and it’s like, this, this you can trust. You know, it’s just sort of like these, like, it was like it’s. So over the top they thought it was hilarious. I’m like John Milius was like dead serious the whole time.

[01:00:15] Like he’s like, he thought this was like his manifested. Yeah. And so like, they’re like, oh, so when they wrote some jackets, like subject is dead serious about all this stuff. He’s like, say the time about, you know, like just everything. So. But

[01:00:40] Andrew: never underestimated the confidence

[01:00:42] Philippe: of mediocrity of a

[01:00:44] Emily: mediocre white man.

[01:00:45] Oh the Lord. And Tony, Tony, to give me the confidence of a medium, what you want about

[01:00:50] Philippe: the tenants, national socialism. But at least it’s

[01:01:01] Neil is fuck me.

[01:01:09] It’s like, but then we had a customer was like, man, I love the Schwartzenegger kick that you guys have been on with your brand. I’m like, what? And he goes like, yeah, you know, Olympia like Mr. Olympia. And then you have determinate or two quotes on the inside of your megabyte boards and then you have chrom and I’m like, oh yeah, we meant to do that.

[01:01:31] Oh, it’s that

[01:01:33] Andrew: moment where you realized that your hobbies have gotten way too far into

[01:01:36] Philippe: infiltrating. The Schwartzenegger is like there. Um, but the other thing is we’re going to do, we leaked a little video of this, but we’re finally going to do some kind of phase revivi thing. Um, we’ve had our customers ask us for this for years and, um, we’re finally going to do it.

[01:02:00] We’re going to give the people what they want. Um, and we’ll do that later this year. We’ll figure out exactly when, but I’m like I’m 95% in on the prototype. We have like two values to change and I feel really good. And there’s been some hilarious during the development of this. I have to admit something there’ve been some definite like, um, there’s been some definite like files are in the computer zoo Lander moments for me on the engineer.

[01:02:31] Working on this one, like where I’m like, I’m like clearly getting things wrong. Oh yes. Yes. Chris Gardner love it. Love it. Number 16 side on the inside. Yep. It’s still all instilled entirely hand wired on those. Yeah. Uh, and so we’ve been, I’ll feel this as a long journey done, like this is unfinished business, you know, getting the phase-three vibey thing, um, done.

[01:03:05] And I was explaining it to someone like, if people expect it to do like this phase or thing, they’re like, fine. I can sell this thing. They’re probably going to be disappointed because I’m trying to do this with it. And I think this is cool and it does a lot of these things are cool. But if you’re like, I think there’s a struggle.

[01:03:27] A lot of boutique guys struggle with where like, Well, this is, is this going to do my memory, man, Mike? No. Like you have to have a memory, man. You keep that memory that exists, you know? And I think people sometimes getting benchmarked against these things, like I’ve even been guilty of it. Like the first time I played like the diamond memory lane years ago, I was like, well, this doesn’t sound like a memory, man.

[01:03:53] You know? And I’m like, why, why did I expect that? You know, so, well, we will be able to put this out. And I think people will think it’s, I think people will be excited and it’ll be cool. Um, I’m pumped for it because there’s been a lot of times I’ve been playing around with this thing and I’m just like, I can’t believe this happening.

[01:04:14] And I hope people love it as much as I love it.

[01:04:19] Emily: Well, that’s awesome. I’m really excited for that. I hope

[01:04:24] Philippe: you will. And as I, and I’m. That’s if people, if people like it half as much as I like it, then we’re in good shape. You know, that’s the fun of like somersault was that way for me to where I was like, I think I got it on the breadboard.

[01:04:40] And I was like, okay, just don’t fuck this up. Like, you know, like get the potential get. And we had a bunch of variable resistors for me to measure like different things to like, I could measure them to get exactly the value. Right. And I’m like cut power to this thing and don’t touch anything, just get the value so we can send these and get it right.

[01:05:02] And pin it down. Luckily we’re working on it. Um, to the point where like John Cusak, who was doing some of our, who’s done a lot of manufacturing for us on some of the board side was like, are you sure about these values? And I’m like, I am sure I am dead. Sure. You know, but, um, yeah, same kind of thing with this where I’m like, I can’t believe it’s doing this.

[01:05:26] I love it. Let’s just not screw this up. You know? And that’s, that’s, that’s, that’s the real excitement for us, but Emma, like just love it all of a sudden, I don’t know how you’re feeling about 20, 22 already. I’m nervous about, you know, biggest talk lips in the world, but I’m kind of loving playing guitar again.

[01:05:50] And like, um, I’ve gotten, uh, kind of weirdly obsessed with like being able to like between the GNL on my Strat login. The other thing that GMLs in two fantastically, the legacies is if you get that tremolos thing set up in tune, you cannot knock that thing out of tune. It is crazy. Like I’m decking it some shit on those guitars.

[01:06:14] And I’m like, man, I’m just, I was playing around. I took that thing with me. Man, I just need to spend a lot of time learning all the Twain bar tricks that I can think of because I was having just a blast, you know, getting back to using a whammy bar again and having fun with it, you know? Um, and that’s, those are the two big things and more stuff coming, but we’ll hoping to have those by the first half of this year.

[01:06:46] Um, and more cool shit, you know, get into, and we’re moving into a new building. And if you’re in, um, Columbia, South Carolina, we’re moving in, we’re going to be sharing a space with a big recording studio here and a, um, video production team. We are going in and buying a building, which is really exciting over a bunch of square footage and owning a building.

[01:07:11] And that’s its own batch of headaches. And I can’t believe I’m spending this much money and, uh, but it’s going to be. Pretty darn exciting. We’re all, we’re all friends, three companies, your friends, and hopefully we won’t not be friends,

[01:07:32] but I feel it’s really exciting. And there’s some real chances for each of our businesses with this, um, you know, the video production thing, having a real committed space. That’s awesome for them to meet with clients, us having a bigger production area, a recording studio and things at a recording studio.

[01:07:53] That’s going to have a over 2000 square foot live room, like, which is just non-existent.

[01:08:04] Emily: Wow. That’s so that’s, that’s

[01:08:06] Philippe: huge. That’s bigger than my house.

[01:08:09] Emily: That’s bigger than my house.

[01:08:14] Philippe: We’ve been noticing like a lot of places. Even a lot of studios that we like are still tracking drums in rooms that are tiny, you know, they’re like, you’re just stuck. We’re like, imagine the drums and the strings and different stuff you can bring in when you have this big of a live room. And it’s like a toll ceiling FACHE live room, you know, or like son of a, you know, this could be genuinely awesome.

[01:08:44] Um, and you know, more access to guitars and amps and cents and wacky shit than we know what to do with I’m restoring like an old Russian synthesizer that we got that, uh, for the place, you know, I’ll be posting pics of this and thing is crazy. Somebody found it in like an Airbnb or an abandoned house and they’re like, uh, it doesn’t belong to anybody.

[01:09:07] You want it for 70 bucks. And I was like, sure. You know, it’s a project. And so there’s like wacky fun stuff on those fronts and just, and learning to create content. I’m still blown away by how good you guys make stuff, look and sound. I’ve been struggling with that. Like I can’t get audio video synced up very easily.

[01:09:29] It’s.

[01:09:30] Emily: Oh, I can, yeah, you can use premiere pro and then just to use a synchronized.

[01:09:36] Philippe: And I realize I’m going to have to do, I’m going to have to spend some point and do that, you know, but good.

[01:09:45] Emily: Yeah. It’s worth it. It’s worth, it’s really worth it. Yep. Yeah. Cool. Well, um, I actually, I have to go put in some medicated eyes.

[01:09:58] You are awesome. Thank you so much for joining us. This has been a lot of fun. Um, please, everyone. Go check out Caroline guitar company, join their email list. So you can be the first to hear about their new drops. Check out their puddles, yellow sell direct pedal wise, but they do so much.

[01:10:17] Philippe: And we occasionally do directs when they’re the limited runs for charity and stuff like that.

[01:10:21] Like that lo-fi we do direct and we do drops for the special runs for charity and stuff. So, yeah, yeah. Donating a bunch of money to mercy and to the, um, the Western Kentucky, uh, the kitchen fund for, uh, or disaster relief in Western Kentucky, it felt awesome to be able to put, write checks, put your chunk of money towards those things, because we sell pedals.

[01:10:51] It’s amazing like adults and it’s like, it’s pretty great. So I get to do some good shit. So thanks. Thank you guys. Great chat. Thank

[01:11:04] Emily: you. Totally. Yes. Check us out on Patriot on patrion.com/get offset. We have merged like Andrew’s shirt@yellowsetpodcast.com slash. Uh, please like comment, subscribe on YouTube, please.

[01:11:18] Subscribe, review on iTunes and Spotify, blah, blah, blah, blah, blah, blah, blah, blah. Um, until next time. Thanks for watching Andrew. Thanks for listening. Thanks for understanding. Thanks for being a friend.

[01:11:35] My name is Emily. That’s Felipe goodbye.