Butch Walker is a very rare animal in the musical world; a multi-instrumentalist with his own expansive discography of solo albums and a production plus co-writing resume that includes some of the biggest pop stars in the world right now and a host of rock names. He's unique, and he knows a lot of about getting results with musicians – especially when tracking guitars.
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TechTranscript
00:00yeah so I suppose like the first obvious question is like what's your sort of go-to
00:11most simple setup for kind of being able to mic a guitar kind of well that first of all
00:19there's really no rules in recording guitars whatever sounds good I mean sometimes you know
00:26I'll start with a 57 or even like a like an Audix i5 I use on guitars which is basically a 57
00:36and then sometimes add in a you know I've got a setup I've really enjoyed using for a long time
00:42which is either that and a ribbon or like a Royer or whatever or a ribbon and and like a large
00:51diaphragm condenser like a even just a cheap mic like a Rode NT2 uh that kind of does similar to
00:59what an 87 or something would do and it's like like a like a you know U87 or something but um
01:04they just they handle a lot of SPL which is good and so that's if I'm doing like big guitars or
01:09whatever but um but even if I'm just recording like a a Princeton or anything like that just
01:14I'm not that picky about it I'd you know a 57 does the job uh uh or or a ribbon mic but um
01:23lately I've been really getting into using the aux by universal audio which is you know funny I'm
01:30standing here underneath their signs so it's not this is not a uh shameless plug it's actually just
01:36been my go-to uh guitar sound for all my amp heads all of my amplifiers uh you know it's a
01:44it's a it's a load box obviously first and foremost but then it's also a cabinet
01:48simulator basically so it like you can plug any of your combo amps or heads or anything into it
01:55select whatever speakers mics room sounds um there's uafx in it um it's pretty incredible and
02:02it's hard to convince anyone that it's not a that it's not an amp they they people think it's an amp
02:07they're just like okay they're if they don't ask I don't tell but I have a lot of control with it
02:13and I I gotta say the last year I've used it probably 85 percent of the time in the studio
02:19as opposed to even turning on a turning on a mic on a cabinet but I do have two 212 um cabinets in
02:26an iso box that uh Todd who engineers for me uh he built it and basically we put um a 2 to a 212
02:34cabinet that's got v30s in it and then a 212 cabinet that has uh silver bell um uh ac30 speakers
02:41from the 60s they're 1967 actually and um I've got both of those mic'd up in there and then we can
02:48just patch our amps accordingly uh and or I'll go through the aux either way uh and then coming out
02:54of that uh usually the as far as the the preamps like the the mic pre's that I use going into the
03:00front end um I'm a really big fan of um of the Chandler stuff and like the Chandler uh TG2
03:07is probably one of my favorite not so secret weapons for recording guitars they um they have
03:13a um you know ohm selector um you can run di straight into the front and they sound amazing
03:20or you know out through the back and there's a there's a there's a preamp gain and a master trim
03:25so you can really like get the distortion you can you can really get the harmonic distortion you want
03:30and I find those great for rock guitars they just have a mid-range two of them that sound
03:34amazing plus my board I have a 1972 quad 8 uh which is an old uh old console that was uh famously at
03:42village recorder in Santa Monica uh about a mile from where it was first installed is where it is
03:49now at my studio back in the 70s and it was the um it was the board on the back of countdown to
03:54ecstasy by steely dan that was that was the one in their room that they used to record that record and
03:59countless others and um so that one sounds incredible the preamps in that sound amazing
04:05uh on guitars as well so I usually do that I don't compress the guitars uh hardly at all uh going in
04:12a matter of fact I don't think I use any compressors going in to to to tape so to speak uh but after the
04:19fact I'll uh one thing I'll do is uh I'm probably answering a lot of your questions for you just trying
04:25to give you an easy job yeah no that's fine I'll come back to some stuff but uh when I after the
04:30guitars get recorded into whatever DAW which you know let's say it's pro tools or whatever um I have
04:36uh a couple of things I like to put on them afterwards uh plug-in wise and I use the naive uh 1073
04:43uh channel strip that UA makes and that usually is always first in the chain in on the on the plug-in
04:50insert and I'll do that so I can crank up the uh preamp gain on it even more and even get more
04:55harmonic distortion that I want and then trim the fader back and then also the EQ and that I'll
05:00I'll use the high pass to like you know roll it off at like 80 if I need to to get rid of any rumble
05:06or anything like that clear up the mud that all those catchphrases that we use and uh and the magic
05:13knob on that is the mid-range like at like one one to two k is like my favorite area on a knee for
05:21guitars just to accentuate it even more I'll goose that up even more and sometimes add the 10k
05:26fixed at the top just to like just to brighten it up if I need to uh but those those to me just are
05:32the sound of rock and roll guitars you know those the old neve channel strips and so I use the plug-in
05:37version it sounds great so using that in like unison mode as well or are you putting that on within
05:42no it's in line mode after after everything like after I've recorded the guitars in and everything I
05:48don't uh use it on the channel going in so to speak um but everything does go through the what
05:53what UA has this thing called the virtual console that I use for my front end uh because I'm on all
05:59UA converters and I don't necessarily use them in unison mode but I'll use them because I'm because I'm
06:04using real mic trees on the front end so I'll just use that I'll put one on their channel strip in
06:09there sometimes as a line level uh to use the EQ and the preamp for that but yeah but I usually
06:18on the 1073 um emulation that you can still in line mode you can still run the track through the
06:23transformer yeah yeah it distorts nice yeah it's great and I love harmonic distortion and
06:28in analog gear so they've they've emulated it pretty well with that stuff so so it's a combination of
06:34like front end real analog stuff gaining it up and using it and then also doing more of it after
06:39the guitars are recorded yeah so earlier on when you were talking about micing um obviously this is
06:45this is going to be presented to people who may or may not have UAD gear but the your simplest kind
06:51of go-to thing is to get a 57 more you know equivalent yeah dynamic mic and place it in front
06:58of the cat nice and simple how would you kind of recommend to people who want to start doing that
07:01like you know where to put the microphone where to place it where's your go-to I start starting point
07:07my go-to starting point is usually just uh just right off the cone right off the center uh diaphragm
07:14I'll I'll sometimes just go where the right where the the outline is on the on the diaphragm I'll go
07:20right for the outline of it so it's like equidistant between the center of the diaphragm and the edge of
07:26the cone and um it that's usually a good starting point sometimes it's a little too harsh if you're
07:31right in the middle and if you know but I mean just like anything you can eq it you can eq the
07:37guitar just by moving the mic around so and a lot of people swear by that like Eric Valentine is a
07:41friend of mine who's mixed records for me and he's an incredible psycho wizard unicorn in the studio and
07:47he's he's got like robots with mics on them that like move around and stuff it's insane and he'll like
07:53move them even like six feet back from the cabinet to get more uh you know more room or whatever and
07:59I'll do that too if we want to but uh you you know one of the things about like you know doing
08:06using the aux is like you can you can make the mics off center inside the the software or or direct on
08:13you can high pass low pass them you can add in a room room mic stereo ribbon whatever you can choose
08:19the microphones buyer m160s r121 royers um pretty much everything uh and and being that we have
08:29everything in a pretty small room the iso booth for the the the iso box for the guitar cabinets
08:33there's not a lot of room for movement so we set it and forget it in there usually but I can usually
08:39eq stuff after once you get it placed in the right spot there's a lot you can do with it after
08:43you also talked about um kind of using a ribbon a mixture of a ribbon and a large diaphragm do you do you
08:51set those like in that within a kind of like blue line thing or how do you have them
08:56I'm not real technical with it I mean I know that um even in the aux I use a the same similar setup I
09:04use a I use an r121 Royer or an m160 uh mic emulation and I use a uh u87 uh as my like whatever
09:14but the as the high the high low mic and then the mid range is coming from the uh ribbons and usually
09:19we just put them side by side you know and sometimes I'll do the off axis just to get it
09:25a mellower tone but on the on the iso box we have where we have all the uh where we have the cabinets
09:30um we have the same thing we just have the we literally have the um the large diaphragm condenser
09:37and the and the small uh dynamic uh side by side so that they're phase you know coherent and those are
09:45those are right next to each other so that it's like so the correlation is good
09:49phasing and that's kind of like a thing that a lot of people run into and it's tricky to understand and
09:56that kind of thing so do you have any tips for people who are wanting to try and experiment with
10:00different mic placements I mean you were saying there's no right or wrong there's no right or wrong
10:04and some people like to use out of phase sounds on that but you can usually flip guitars like that
10:09later if you record the mics on different tracks and and have that committed inside the the you know
10:14whatever recording medium you're working on um I don't usually mess with that that much but it can
10:19be done uh easily but you know for checking phase it's pretty simple it's just if you get the mics as
10:25close to the same distance if you want not I mean you might be wanting to use a close mic and a far mic
10:31but you still want to check your phase and that's literally just flipping the phase button when you're
10:34listening and I just always try to get it to where when you flip the phase that the sound almost goes
10:40away that's when it's as close as in phase as you can get it when you pop it back in you know
10:45but if you pop it out a phase and it's like and the sound just shrinks to almost nothing then you know
10:51I'm not a technical wizard but I just know that that's when I usually get the most uh the fattest
10:56guitar sound out of a multi-mic setup cool yeah so having access to um UA stuff um I'm guessing
11:05you spoke about using the ops do you use a lot of kind of emulated stuff within like from the UA
11:12plug-in sort of world for guitar stuff I do I do all the time uh I mean I find myself more and more
11:18relying more on that than I do external hardware because this day and age everybody's moving way
11:24too fast and wanting too many changes and recalls and everything and it's like I don't know you don't
11:28have time to patch in an analog like a tape echo plex and re get and get the sound back and
11:33it's just a it's a fucking nightmare so I love the the emulations like especially the UA ones
11:41UA and and sound toys are like my go-to for all of their like I use like sound toys I use echo boy
11:47and their echo plex and I use their decapitator for more grit and dirt on the guitars a lot but then
11:54the UA stuff I use their tape echo their the space echo is great obviously their verbs are all amazing
12:02so yeah if I want to get like a really big awesome plate you know verb on there I'll throw an EMT
12:08you know 250 on there or something like that and or 140 um but it's pretty uh there's no rules you
12:16know I just like to make it I like to make it sound good and I like to make it easy where if I need to
12:21pull it back up I don't have to fight to get it back to where it was the first time
12:23cool man but for people um that may not have done too much of this stuff before earlier on you're
12:29talking about kind of using high pass filters on guitars that's a fairly common practice yes do you
12:35mind just kind of like talking through that a little bit and then you know you presumably do that on
12:40every track to carve out space for the other instruments yeah I do that a lot uh and and quite
12:46honestly with guitars I have a history of doing you know bigger you know rock guitar sounds on a lot
12:53of records and that's something that you don't have to dump a whole lot out because they need to
12:57they're the they're the meat of the music in the mix so uh needless to say I'd say you know if I'm
13:03high passing it's like usually 80 to 100 you know 100 or 80 and below I take it out immediately
13:11uh the top can be anywhere from I'll leave it in all the way up to 10k or sometimes I'll take it
13:16all the way down to 5k uh to roll it off from the high end if I need it to like you know not get in
13:23the way of sharper instruments like keyboards or vocals or whatever but um that's pretty much my
13:29that's my window you know for guitars uh and you know and or if I'm going for an effect you know
13:35obviously I'll shrink it away in and have like a you know if you're looking for that am radio effect or
13:40whatever then that's just rolling everything off until the middle uh but yeah I just it's kind of
13:45all across the board I usually without fail will dump everything from 100 or 80 down just because
13:51I don't want any weird low rumble that might get in the mix that you can't hear but you can feel it
13:56and it doesn't feel right when you're listening to a track back when there's some mucky you know
14:02that you can't get rid of and you don't know where it's coming from
14:05that's cool um and when you when you're sort of um doing kind of big stacks of the same part
14:13and building stuff is that do you do a lot of that and if so do you have a people get people get bummed
14:19at me a lot of times because I'm not a big fan of like stacking I did it back in the day years ago
14:25in the 90s it was a big thing you know to like double and quadruple your guitar parts and uh
14:30I think it's all people go through phases of how they do it over the years of being recording
14:35guitarists or producers where it's like you know I like the four guitars doing the same thing
14:40really loud you know stereo panned and you know even like doing the new green day record I you know I
14:46had to like you know even with Billy he was used to like stacking like quadrupling even like guitars
14:52sometimes and that's cool but I would notice like even in the mix some guys they get the mix the
14:57mixers would get the tracks and then they would take two of them and only use that and it's like
15:02hey if it's if they're placed right EQ'd right set right in the mix they can sound just as big if not
15:09bigger you know I don't like losing the articulation and the dynamics of a lot of guitar parts that come
15:15from one big guitar sound and sometimes I will double it even no matter what I'll do I'll do a double
15:23sometimes if I want the line to be big and prominent and it stand out especially if it's a
15:28melodic line um and as far as for like like heavier rock stuff I almost always double and pan at old
15:36school uh but quadrupling it's a rarity that I do that unless this artist is convincing me to do it
15:43for them because they're used to it so but um I tend to like you know and this I know this sounds
15:50cliche but like I just love the way like a Stones record sounds where you have Ron on one side and
15:56Keith on the other playing two different parts working off each other and that creates a big
16:00sound of its own because there's a syncopation and a push and a pull happening and and you're
16:06leaving a lot more room for other sounds to poke out of the mix which from other instruments if you
16:10do that it's hard to make a drum sound be huge and present with big walls of guitars and it's I mean
16:17it can be done it's not my forte but I know people can do it but people often say it's like it's the
16:23differences in those parts that create the the hugeness rather than having loads of identical
16:28yeah and there's I mean it sounds amazing like stacking multiple of the same part it always does
16:35sounds cool up to me but uh but I just don't find it always works you know when you when you um do
16:42just a straight double do you tend to kind of adjust the tone settings on either side or do you keep it
16:49going on it used to be it used to be uh it was like okay new amp new guitar everything different
16:57cabinet whatever for the doubles um maybe I've gotten lazy over the years and and if I do it I
17:04double it and if it sounds right then it sounds right sometimes you can tell if it's like canceling
17:08itself out and making itself too small we'll throw a different guitar on uh or or a different amp head
17:14but usually we change different amps just for different parts but for for doubles and stuff I
17:20usually stick to the almost the same formula as the first track and if we just talk a little bit
17:26about acoustic guitars like your approach to kind of micing up and acoustic and how do you feel about
17:31constant learning uh experience for me and constant like frustration as well because
17:38I'll listen to other people's records and go fuck that's a great acoustic sound how do you how'd you
17:43get that you know and then the whole 57 on a hundred dollar guitar I'm like okay well you know but then
17:50you have other people with like you know stereo room mics uh and stereo you know 67s you know forty
17:58thousand dollars with the microphones on one acoustic guitar I there's no rules again but um
18:04one one thing I try to always go for which I think a lot of people probably have already said
18:08is um great guitar great player um depends on picking versus finger picking a pick can ruin
18:18everything in an acoustic guitar and actually make it really muddy if it's the wrong attack and even the
18:23wrong pick I've found uh that some people will just or they play too close over the hole or
18:28too far back it's like it's it's a drastic tonal change on like on an on an acoustic no matter how
18:34you hold it swivel it play it pick it strum it um and one thing I do is like I said I think a lot of
18:45people will say the same thing uh you don't put the mic right over the sound hole cardinal sin I mean
18:50it's just like a whole wolf and air and you got to filter it out and there's proximity effect
18:55everything so a lot of times the neck and the heel where the where the neck you know heel is on the
19:00guitar which is usually right around the 12th fret uh on an acoustic I'll usually have one about
19:06anywhere from it can be anywhere from three inches to to a foot and a half back depending on the sound
19:14I'm looking for and usually I use a um uh one of my favorite mics I have that I use uh for acoustics
19:21these days is my uh it's a mic by a Russian company called Soyuz which I love and they make
19:27this small diaphragm condenser mic that I've yet to find a better acoustic sound with uh for personally
19:34and I love it and it's uh it's it's called the O11 and the O13 they also have that as well um
19:41but those are just amazing it's sort of like a KM
19:44uh 84 or a uh 250 not a 251 but a uh uh shit sorry doesn't matter um it's a small mic pencil mic
19:55and uh I'll use that or sometimes I'll use my uh Chandler Red 47 which is like a basically a
20:01U47 with a built-in TG Red mic pre and that's a great acoustic mic um and I'll put that like I said
20:10right there where the heel meets the where the neck heel is and I can pretty much get a pretty
20:16good full-bodied sound dialed in right then and there with that rarely do I add a second mic ever
20:21sometimes I'll use a second mic as a room mic if I want to make it just sound like for some reason
20:26it's distant you know or in a room I'll do that but um usually I find I can do it with with one mic
20:35and be okay and then as far as doubling it same thing there's no rules there sometimes it sounds
20:40incredible using the same guitar just go ahead and record it on another track double it and pan it
20:45um almost always I pan them because otherwise one guitar up the middle playing the same part just
20:52sounds like a guitar with no with without good definition and articulation um
20:58and I'll also pan them right uh far left and right and use uh a different guitar sometimes on
21:05the right or a different whatever it just it just depends you know my favorite thing to do is not
21:11to double it with the same thing but to double it with a different guitar acoustically that's like in
21:16a different tuning or a capo or even a Nashville tuning all high string guitar and do a counterpart to
21:23it and even then you don't have to pan those far right and left either you can kind of get those
21:27closer to the middle and they end up doing this choral beautiful thing that you're like wow
21:33what is that instrument you know so that's that's fun too
21:36do you um kind of process acoustics a little more on the way in or are you
21:42I'm a big fan of processing everything on the way in except for usually effects I usually don't print
21:48if I don't have to I will print like amplifier reverb or like if there's a delay effect it needs
21:53to be printed but for the most part on acoustics and electrics it's mostly EQ and compression I print
21:59going in and I do I do EQ and compress the acoustic guitars going in I don't go overboard with it
22:06because I'm gonna I'm gonna add maybe more later of EQ and compression but um yeah usually just to like
22:14get the mud out and if I need some more sparkle on the top or some mid-range or whatever we'll get
22:20surgical with it every now and again but for the most part you know just having a good good good
22:27mic good guitar good hands and a good mic pre and then the rest is just making sure you you that's
22:34the right choice for that song you know compression is something else people sometimes struggle to
22:39kind of get their heads particularly when you know like guitar players choosing a studio compressor
22:45and it's like five times as many controls yeah a lot of stuff in comparison to a pedal so do you
22:51have a go-to kind of compressor for acoustic guitars from the UA suite that you use or yeah actually
22:58from the UA ones I love using the I love the LA-2 and I use the LA-2 and I'll use the the brown
23:04one or the gray one they both sound great but I usually have that already set up in my template
23:10you know with a either a Helios 69 or a Neve 1073 channel strip for EQ and preamp gain and then I'll
23:22use a LA-2 on the acoustics almost always I just like the it's I like the slow release of that for
23:29acoustics and it doesn't seem to make it go too crazy pumping and I don't necessarily want that
23:35effect on acoustic guitars a lot so but those are usually my go-to yeah yeah yeah and if I need to
23:46just make it sound a little bigger you know like if I wanted it sometimes we'll give it a little bit
23:50more body and roundness and be a little more robust is probably the right word you know would you be
23:55able to very simply explain just quickly like kind of how you can use compression on an acoustic guitar
24:04to affect things sort of like picking attack versus you know they might want it to not have too much
24:09sustain or maybe even boost the sustain that they get off with that I mean going in I suppose if you're
24:16treating it while you're doing the song that's probably the best way to do that and see see how
24:21the player is if it's not me playing it if it's somebody else see how they're responding to how
24:25it's sounding and how they're playing when they're doing it I try to look for that too especially if
24:30they're like a ham-handed heavy pick heavy strummer or if they're really delicate you know that's going
24:36to change the landscape going in as far as what the what the blueprint is going in
24:41and do you have a kind of a favorite guitar tone that you've recorded one that you've created like
24:48if there's one that you stands out as being kind of like a proudest tone wow
24:53I don't know yeah I mean I'm trying to think I mean I love
25:07trying to think of what I what I would what I would think there's a record I did for a band years
25:16ago that actually kind of flies under the radar now but it was one of the first records I ever got
25:21to do on a on a like major label and you know and somehow convinced them to let me produce it and
25:28it was for a hard rock band called it Injected and they were out of Atlanta which is where I'm from
25:34and so um that record still to this day when when I put it on the guitar sounds or for hard rock are
25:40monstrous and I would get calls like from people asking about what I did to do the guitars on that
25:47record same thing like I mean I remember Reinhold Bogner was like freaking out over the guitar sounds
25:53I use and I was like that's your amp I'm using for one so I used a Bogner on that on that record and
25:58he was tripping on that uh because they loved that record and they loved the guitar sounds and um
26:04again the two guys that were in that band were great players great hands and same thing great guitar
26:13into a great amp that was I believe the same setup it was a Royer 121 with a Rode NT2
26:20uh maybe going through a Neve channel strip or or a TG but yeah same thing uh and still to this day
26:30I love listening to the guitars on that record they're so giant it's really fun yeah um do you
26:38have do you have any kind of like unorthodox recording techniques that you use on guitars or
26:42guitar amps or anything is it like is there any kind of ego I'm so boring I wish I could say like oh
26:48yeah we swing mics from the rafters and like you know record it well I'm like fuck all that I don't
26:53do any of that shit but like I love I love interesting sounds and I think I find myself
26:58more of a tweaker afterwards after getting a good performance which to me is the most important thing
27:03I can't spend two hours messing with sounds when the players are like ready to be creative and like
27:12people are inspired to do the song it's gluttonous and
27:18and not it's never it's counterproductive because it just makes everybody by the end of it they're
27:27just like okay I don't really care about doing the song now I don't care about playing music I'm
27:32burned out because we spent seven hours on a kick drum sound or like I tend to have everything already
27:37set up in my studio where it's already mic'd up and we change out things accordingly so we can change
27:42an amp out we can change a cabinet out but for the most part if you come in plug in start from there
27:47if they're like no that's not it then we build from there but I find it works quicker that way
27:52and then afterwards I like to get in the room uh as my friend says get in the pain cave and just sit
27:59there and like just dissect the song and go crazy and start adding if I want to add cool shit or crazy
28:05effects or panning or stuff and automate things like that I do a lot of that after the song is recorded
28:10and that's where you can get some of the excitement and the production you know but for the most part
28:16I'm pretty bare bones and old-fashioned when it comes to the front end of recording
28:19that's cool for people who are recording at home and maybe in like less than ideal kind of acoustic
28:25environments do you have any sort of quick tips on how they can control that within their room or
28:32would you suggest leaning towards something like the ox or modeling I would absolutely say modeling or
28:38yeah the ox for sure hands down if you have an amp that you love and if you're if you're really into
28:42your amplifiers and that means a lot to you ox hands down hands down as far as um modelers they're so
28:50good now I've used a I've used a line six helix on records left and right and nobody has ever said
28:57is that not a real amp not once no one's ever been like they've just been like dude that sounds cool
29:03or that part's great or whatever there's no rules so I found it's a treasure trove for players this day
29:09and age coming up it wasn't so much it was hard you know when all we had was a rock man you know and
29:16that was the only way we could avoid like you know loud guitar amps mic'd up was like plugging in a
29:20practice headphone amp that sounded like instant danger zone you know and it was it was awesome
29:27but like now it's just like you can you can get almost any guitar sound and believable and it's
29:34it's wonderful I love that part of technology I'm still romantic at heart and I still love plugging
29:39my amps in but I've also you know married that with modern technology like things like the ox you
29:46know I would say that's a hands down for for someone in their bedroom wanting to get great sounds
29:52helix kemper aux with your own amp yeah go for it you're no one's ever gonna turn their nose up at
30:00those guitar sounds that those things make and how much importance would you put into like the actual
30:06instrument in the amp and kind of I think that's often overlooked by players that it's like my
30:10intonation is out or whatever you know before people record I think it just depends on the it depends
30:16on the song it depends on the band or the artist it depends on the approach to whatever you're doing I
30:21mean sometimes picking up the first guitar in the room and it's a little out of tune and
30:25plays like shit and whatever but it sounds really cool and it's and all of a sudden this person
30:30plays it and the way they play it actually works in the track in a you know I'm doing my hips like
30:35like like like Keith Richards because that's who I'm thinking of is like it's like I don't envision
30:40that guy tuning much or like intonating but he's probably he's got a guy doing it for him but still
30:46those records sounded great when they were were the guitars were a little out and they were
30:51imperfect and you know they might have been laying on their back on a couch playing it or something
30:55where it's not like where it's definitely going to like you know pull out of tune a little bit but
30:59I don't think that stuff matters as much to me it only matters when it gets to the point where
31:04it's like making it impossible to sound good when making a recording and it's like okay I can't do
31:10this guitar anymore this thing is like everything else that I'm playing along to sounds out of tune
31:16because of this guitar it's the guilty culprit then we'll we'll we'll treat we'll treat it we'll
31:21fix it we'll send it away or Todd will go in the other room and work his magic on it but um I don't
31:27have time for it and I don't care for it I'm like I just want to pick up a guitar and record it you
31:33know I'll tune it real quick sometimes just by a year and and just start hitting record if it sounds
31:37wrong okay tune it for real but there's no rules and I just don't think that that stuff like I said
31:44that stuff just gets in the way of the time the valuable time window you have of recording
31:51someone or yourself where the where there's artistic uh you know juices flowing you know
31:58performance is keep you know getting yeah yeah totally and it takes care of itself
32:02you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you know you