For some reason, I kinda was like: "ah yeah I want to play guitar, I want to play guitar".
And then my mom...
I remember going to my mom and being like: "I want to play guitar" and she said,
she said: "Okay, well, what could happen is you can either wait 'til Christmas and
get like a half decent one or I can get you like an okay-ish one now"
and I said: "I'll take the okay-ish one now."
So my mom picked up like a squier.
Like a beginner like infinity squier stratocaster which I got like literally like a fortnight
later and started playing.
The whole time I sort of started to become more conscious of guitar music.
So, not just like blink-182 which was a, which was a really cool gateway.
But, you know, your Hendrix's and stuff like that.
A lot of Clapton, John Mayer
A lot of new stuff. Not, not so much kind of the older school stuff but the people who are paving the way
for new guitarists.
And all the while I was listening to a lot of Fall of Troy because I'd say this guy was
like, I idolise this guy just for the way he was able to play guitar and like shout
and like sing and do all these like crazy "hammer-onny/pull-off" stuff at the same time.
So I kept kind of following what, what they were doing as an outfit and then that actually
eventually led me to the purchase of this guitar.
Because the guys name is, his name's Thomas Erak and he plays like a green version of
this, its an Epiphone guitar but he plays a like a green version of the, of the SG.
He plays, obviously, like the higher-end model and I remember the first time I actually got,
I bought this, I bought this guitar.
Twice.
Not this exact guitar but this exact model so this is an Epiphone, this is an SG and
the first version I got had kind of like these golden golden plated kind of pickups and they
were okay but they had this like really old-school voicing to them.
And it's curious because old-school voicing and these are things I didn't really know
how to spot but all these little minutiae that would make a difference to like how your,
you sound.
You know old school stuff sounds, kind of, like you know, a bit kind of not as concise,
very kind of lax.
Whereas a modern kind of tone sounds more focused, more punchy.
And when I ended up buying this guitar a second time, because I sold the previous one, and
then I saw this one this guy down in London and he put this off on eBay and I went to
meet him at a train station in London.
Which I dashed away from my family, while they were in London, for like half an hour
to go meet this guy in like the middle of nowhere at the train station.
Picked up this guitar and I remember when I plugged it in the first time and it just
had this like roar to it.
Because the pickups which are being used in this guitar, so these are modern it's kind
of more modern sounding, more modern voice and they just have this aggressive like growl
to them and now you hear that kind of
that just you hear it's like here it sounds sounds like rock.
And then you start to realize other things, which you know affect how the guitar sounds
- not just the guitar.
not just pickups, even the cable, you know the amp that you plug into.
Every amps got a different voice, you know, the effects you use basically all different
ways of kind of like, you're saying the same thing but saying it a bunch of different ways.
And then that curiosity led, that curiosity actually led me to recording.
And, you know it was,
yeah, it was curious because recording was basically a way of understanding
how people said things in order to convey them accurately to who was listening.
So, you know, for ages I would just have like a basic recording setup, I plugged into
anything into whatever and be just like yeah that's fine let's record and that was it.
Not realising sometimes that, you know, you had to be mindful of what you were recording.
If you're recording rock, you can't just like kind of plug in any guitar and be like okay
that's it.
You have to consider the guitar, there are certain formulas and stuff that worked and
there are certain kind of general rules.
You know these rules aren't, I mean rules are meant to be broken but it was always important
to understand like what was so important.
Like what had gone before.
Basically, there's a reason why, you know, Led Zep and stuff would plug in a Les Paul
into a Marshall stack and get this like or a highward stack and get this amazing roar
out of it.
And I think I became fascinated by that, so just kept going.
I think that as important as passion is I think the technique as well does play a lot
into it.
Because
Again, I will always come back to this analogy of speaking the language.
You know, in order to speak a language, well you need to have the right vocabulary.
And you know that there are certain things which you'll have in your head musically and
need to be able to express them.
You can only express them if you have like technique which will let you express it.
So very often I think that the two kind of will go hand-in-hand.
I don't think you can have, you know either or.
It needs to be both of them.
I think, I think passion is probably more important because you do get a lot of people
with great playing technique who just can't really emote.
And I think again music is a lot about emotion, you have to feel sort of what's being played.
It needs to touch you in some way, touch your soul.
So yeah, I think they're intertwined when it comes to recording.
Again, it's a whole different skill set because I think that like, because you're under the
microscope at that point, so there's a lot of people who you know.
You'll see them on stage and they will absolutely you know they'll... they'll shine on stage
and then you kind of you put them under the spotlight and they kind of struggle because
all of a sudden every aspect of their playing is being scrutinized, you know.
So, they'll sit there and they'll play something which they've played hundreds of times flawlessly
and they'll make minute mistakes just because of that pressure.
So,
conversely you'll get people who, you know.
they'll sit there and you'll just tell them what you want.
I call them "Point and shoot" and they'll sit there and you'll be like: "I want you
to play this at this tempo" or "I want you to dig into the strings this hard" and
they'll sit there and just do it.
And that's it, done.
You know, so yeah separate skills but all kind of important together.
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