All right, so let me do a quick intro.

This is the get you some productions podcast episode.

Maybe a 90 something, maybe 100 and something.

I'm actually not sure.

We got a bunch in the can.

They have yet to come out.

I would take a guess and make say this is 97, 98.

We're a music production podcast.

We cover everything related to music production, from the first note to the last fan and everything in between.

So we talk about all sorts of music production stuff.

If you want to support the podcast, you can click one of the first links I'm going to put in the show notes is a link to our reverb affiliation.

Reverb is a marketplace for music gear.

So if you want to support the podcast, you can go click the link shop for your whatever gear you want and we get a small commission, no additional cost to you.

That's the first thing.

Now, I have a special guest today, Josh Salon.

So say hi, because I'm not sure this might.

And actually say hello.

Hello.

How's it going?

All right.

So I think we're recording.

So I'm actually.

I've had trouble with Zoom, where it records only who's speaking.

Oh.

But I don't think it's doing that now.

I think it's just recording the way it looks now.

Okay, cool.

So I hope so.

It's not reliable.

It looked fine, and then I looked back at the recording and it didn't do what I wanted it to do.

So I'm not assuming.

Josh, tell people where to find you, your studio and any other projects you want.

I'll put links in as well.

Cool.

Well, if you go on Facebook or Instagram and you look up Salant Sound, S A L A N T sound, or if you go on YouTube and you type in Josh Salant or Salant Sound, you can find the studio, which is located in Canarsie.

And also you can go on Salonsound.com I have a lot of videos on YouTube and I play a lot around town.

You know, sometimes they play out of town, but if you look up bands like the Coffin Daggers or bands like Marzana and the Bandits, or a band called Power Chords or a band called no Call, no Show, these are all some bands I play with.

They play in a couple other ones, too.

All drums, right?

I'm sorry, you.

You play drums in all these bands?

Yeah, yeah, I play drums in this.

In these bands.

And they don't always.

They're not always active at the same time.

But the ones I mentioned, they've been Active a lot last year, you know.

Okay.

So I'm going to put links for Salon Sound and if you want me to put links for it and.

And your YouTube is probably good.

If you want me to put links for any of those bands in, just send them to me and I'll throw them in the show notes.

Okay, cool.

Thanks so much, Keith.

Absolutely.

So today we're going to discuss possibly kind of like a collaboration, an idea for a collaboration that I had.

So.

And it came.

It was stemmed from this book.

Well, actually it stemmed from the fact that this.

This project get you some productions is not actually just a podcast.

We are allegedly a production company.

We haven't produced shit except for this podcast and recordings for all my projects.

I mean, I have a lot of.

We'll call them brands.

I have a lot of YouTube channels.

I have a lot of stuff that I do online, but I haven't made a recording.

We've released.

I shouldn't say we haven't released anything.

We've released jam tracks.

Oh, cool.

Specific jam tracks that go along with a guitar lesson website.

It's called get you some guitar dot com.

Oh, so it's all the same brand.

Right?

Get you some productions.

Get you some guitar.

So I have specific jam tracks we've produced in the past couple years that go along with the, you know, the method that one of the methods we teach in the.

In the guitar lesson website.

But I haven't produced actual.

I haven't produced any original music in a long time.

Yeah, we re released.

We released an album in 2012.

We actually re released.

I shouldn't say re released.

We released a live recording.

Nice.

2022.

Nice.

That was recorded on the anniversary of the concert that happened in 2012.

So cool.

So we haven't released.

But we haven't.

I haven't personally.

That's why I reached out to you in the first place was because I want to start releasing individual.

I want to start releasing original music again.

Yeah.

But my partner Dan and I, who's not available for the call, we want to start doing actual producing, actual being producers on actual records for other people.

So here's my idea.

We set up a page on the get you some productions website that is music production services.

Yeah.

People go in.

There's a questionnaire.

Now the questionnaire actually comes from this book that I'll figure out what it's called and I'll.

I'll send you a copy.

Send me your address.

Cool.

When I figure out what it is.

But anyway, there's a questionnaire that this guy goes through.

And this is actually the.

This is the guy who produced some big records.

I want to say Soundgarden's, like, breakout hit was produced by this guy.

Anyway, he wrote a book.

It's something about creativity.

We thought it was really.

What, Brendan something?

Brendan.

Yeah, maybe I'm blanking on his name.

And I'm blanking on the name of the book.

Yeah, he's got a whole process for producing these great records where he goes through a process with the artist.

The idea is we go through this very exhaustive process with the artist.

It's an intake form.

They fill out a questionnaire, we go through.

We interview them on the podcast.

We maybe help them write songs.

We do consulting on the songwriting.

I have a friend who I co write with.

You can be involved or not to the extent that you want.

And then when they get done with that, I charge them a small bit, probably.

I charge them like, you know, nothing.

Whatever you charge.

I'm thinking maybe I just charge them like 10% or something.

We'll figure it out.

Maybe it'll get more elaborate and maybe I'll start charging a lot more.

And maybe we'll have to work on the pricing a little bit.

But, yeah, then when they're actually ready to record, I send them to you and you get paid.

I think I'll set it up on the website where they have to put it all in.

And then there's even a pay.

A checkout thing where they pay up front and.

And then I take my fee and I send you the balance.

Yeah.

And then, you know, and so it's sort of like that's how it would work.

The reason I want to talk to you is, first of all, you're down with something like this.

That's the first thing.

Sure.

And the second thing is, what would you want me to put on the website for you so that they know what you offer?

And what do you need to know up front before you get involved with someone who wants to make a recording?

And what do they need to know?

Like, do they have to bring the whole band?

Does it cost?

I know you play a lot of instruments, so does it cost more or less if they show up just a singer, songwriter, but you're playing all the instruments?

You know, all that kind of all the logistics stuff that I would put into the questionnaire.

And then we'd both get.

Basically you and I would both get a report from this questionnaire, like an output, you know, that says, this is the person, this is their artistic vision.

This is how many songs they want to do.

Here's.

Maybe we ask for MP3s, like, scratch copies of them up front.

All this stuff.

Yeah.

So anyway, that was the idea.

This is an idea I had years ago, actually, during the Pandemic.

I just never moved on it.

But, you know, better late than never, I guess.

Yeah.

Yeah.

And you know what?

It's.

It's something that actually, it's.

It's good because, you know, a lot of times, you know, like, I'm an engineer, you know, so when.

When bands come, there's usually somebody in the band that's kind of like the producer, you know, Maybe it's a guitar player, a songwriter, maybe it's a singer, maybe it's a drummer, you know.

Yeah.

Somebody has kind of like a vision of what they kind of want to see at the end.

Totally.

And a lot of times, sometimes when you work with young bands or little less experienced bands, they kind of, you know, they kind of don't know.

They bite off a little more than they can chew, you know, so, you know, sometimes it's a matter.

Sometimes people want to get 10 songs down, but they really should try to get one song down first, you know?

Yeah, well, look at me.

I've been in the studio a bunch of times with my prior band.

Yeah.

And then I was in the studio with my own band.

And when I came to you, I was like, dude, let's just do one song.

Let's see if we can do one.

Let's see if we can get one fucking song on tape.

One song can actually kickstart your career.

You know, A lot of artists I work with, you know, they're young.

They.

They don't have anything released.

You know, they haven't released things in a long time, so they kind of forgot the process, you know?

So sometimes if you just have that one song and you focus on it and you get it really tight.

Good.

Then you can use that.

You could, you know, you could shoot a music video maybe, and then that could be like a real stepping stone to, you know, getting a nice gig.

Like, you know, that can make a big difference, as opposed to 10 songs no one's gonna listen to because they're too sloppy.

Right.

I do.

So, yeah, it's good to.

It's.

It's good to, you know, see where people.

Where people are at.

You know, I've been.

Lately, I've been doing this thing, you know, because I don't want people to feel rushed, and I don't want them to feel like they have to cram everything in.

So I just give them, like, a flat rate.

And I say, hey, listen, you know, we have.

We have X amount of time to do this, so let's just do it right, you know, and not worry about trying to get it done super fast and sloppy.

Like, let's just do it till it feels right, you know?

And it's been working.

I feel like artists have much less stress.

Their quality is much better, you know.

You know, they can get the band here in a couple weekends.

It's not a project that is ongoing for six months or a year where the whole personnel lineup has changed, you know, or they're.

You know, it's like, I've done that for so many years, you know, I've, like, worked with bands, and, you know.

All of a sudden you have a new singer.

Yeah.

And then, you know, so I'm like, well, let's release the other tracks.

And they go, oh, no, no, no, no, no, no.

We're not gonna release the tracks that, you know, she.

That she's on or he's on.

I'm like, but you guys spent so much time and effort, like, you don't want to waste it, but, you know, so this way, it's a little more concise and you think about some of our favorite records, you know, like paranoid three days, black savage.

Paranoid three days.

It was 10.

6 on a Friday tracking, 10 to 6 on Saturday tracking, and then 12 to 6 on Sunday mixing.

Yep.

That totally.

And it came out great.

You know what?

I don't know, man.

That's.

That makes me stressed out, actually.

I mean, you know, it's hard when.

It's hard when you're.

You know, when you're.

Matt.

When you're in a band, you're married to four different people, you know, so you got to worry about their schedules.

You got to worry about their.

Their feelings at the time.

If, you know, let's.

You know, their problems, you know, they.

A lot of.

A lot of times people can leave that at the door, but some people can't, you know, so, you know, you really.

So, you know, it's.

It's hard as a band, you know, as a band leader, you know, to hurdle the cats and get them all in, get them on time, get them focused.

Yeah.

Do stuff, you know.

So this way, I feel like with.

If you do think, well, the way I.

I've been doing it with a flat rate, it's been better.

And.

Yeah.

And nobody's been taking advantage of.

No one's been taking advantage of they're not pushing it to a point where we're all exhausted.

They're using the time wisely, which I think is really the whole point of it, you know?

Yeah, that shows a lot, actually.

I think it's a wise thing because you don't want people in there getting stressed out about, you know, the clock is ticking and it's like a meter running.

Yeah.

And that's, you know, that's not good for creativity.

No.

And also, you know, the fact that, you know, they won't go over budget because they know the budget.

They have the budget.

They're not, you know, there's no surprises.

There's no.

Oh, wait, wait.

What's all this?

You know, it's.

Yeah, they know exactly.

They know exactly what they want to spend, and they know exactly, you know, how much time they have, and they have fun with it.

Awesome.

All right, so what do you think?

We should.

So should I.

So what I'm going to do is I'm going to put a questionnaire on.

So actually, part of the way I do things is I do these podcasts and then I have it on tape what I want to do.

Yeah.

And then it.

That helps me just get through shit.

Like, I'm like, oh, and I'm rewatching this later on when it finally comes out in a few, you know, weeks or whatever.

A few months.

I don't know.

Yeah.

Then I look back at it, I'm like, oh, that's right.

This is what I wanted to do.

So I'm going to put a questionnaire on the website.

It's going to say production services here, the rates.

Right.

The rates are going to be whatever your rates are.

And actually, we could discuss this now.

It should be whatever your rate is, plus I'll add on whatever my small fee is.

So if it's 350 for a day, you know, whatever your fee.

And you'll have to update me if you change your rates or whatever, but if it's 350, I'm going to say 400, right?

Yeah.

And I'm going to say, hey, here's what you get from us.

You go through this questionnaire, you answer, you get your artistic vision laid out in a concise way.

That's clear.

We go through it with you in the podcast.

So there's a recording of it.

We talk through everything.

As many shows as it takes.

You're going to get.

We're going to go through all these questions, all your answers.

We're going to talk it through.

So you don't walk into this blind and you feel prepared when you show up on the day of recording.

Yeah.

Then there's going to be a list of asks from Josh, right, that says, hey, I need this and this and this upfront.

You need to show up in this.

Blah, blah, blah, blah, blah.

Like you need to have all this shit in, you know, all your ducks in a row.

And then, then we're off to the races, basically.

There's something like that.

Yeah, I mean, that's like production, you know, production is, is, is a lot more than just the day of the tracking.

You know, there's right, there's, you know, there's got to be a production within the band.

Everybody's rehearsed all the part, you know, everybody's instruments are in decent shape.

Good.

Everything's intonated, everything's in tune.

You know, string changes should be higher too.

Yeah.

You know, a lot of times when I work with younger bands, we always do that first session.

I just do like.

I do like a, like a free pre production session, really, where they come and I go, ah, that guitar man, that pickup is acting up.

So either, you know, take it to the shop and try to get it fixed or use one of my guitars or use another one of your guitars.

But that's gonna.

If it's gonna cause a problem, you know, during tracking, it's gonna slow you down, you know, so I, Yeah, rectify these problems now before, you know, we're actually trying to get stuff done.

So I'm glad we got on the call for this because that's, that's a good point.

Because we could basically put a checklist that says, hey, you know, if you could show up and have done all this.

Yeah.

Then, you know.

Actually this guy from this book says that before he even does it, he shows up to rehearsals.

Yeah, I do that.

Yeah.

So, I mean, and so that's part of it.

I don't think I'm going to be doing something like that.

But if they want to send, you know, if they want to send scratch tracks, I think that might be something because I told you I'm thinking that maybe songwriting consultancy sort of might be part of the thing where like we can get a songwriting consultant on the song if they feel like they need to take another pass at it before they make a.

You know, before they lock themselves in.

Yeah, that idea, man.

Yeah.

You know.

Okay.

That's this great series of books actually, by the same author.

His name is Mixer Man, Eric Serafine.

Nope.

The first book he came out was Zen and the art of.

Of producing.

Yeah.

And he's.

He's.

He's based out of Asheville, North Carolina, now.

Okay.

But he's.

He's been an author for a long time, and he had this book, Zen and the Art of Producing, which spoke just about that, going to rehearsals and seeing where the band's at, seeing the gear, the challenges, stuff like that.

Then he had another book called Zen in the Art of.

Of Mixing, where she.

All the mixing, you know, it was pretty technical book, but also pretty, pretty, you know, like, I guess holistic, you know?

Yes.

You know, like, one of the things he says in the book that really stuck with me was if you think of everything in the studio in terms of.

In terms of musical terms, bars, beats, you know, you know, a chorus, a verse, and you break it down, everything in the studio becomes easy, becomes much easier.

What do you mean?

Like, some people, you know, I.

And you've probably experienced this a lot being.

But some people say, hey, this goes on for four times, and then this goes on for four times.

And this goes on for two and a half times.

And times when people say, oh, this goes on for a certain amount of times.

Guitar players think of things differently than drummers.

Sometimes because the drummer's playing the same.

This.

He might be playing the same beat.

So the times kind of get blurred, you know, so drummers tend to think of things in measures.

Measures.

Yeah, you know, and beats.

Oh, I see what you're doing.

You want me to come in on the pickup on the fourth, and then it's gonna be, you know, that rest is actually going to be three beats long.

And the guitar player goes, what?

You know.

Right.

But at the same time, once it's.

Once everybody's on the same page, you know, I mean, he definitely, you know, he.

He described it a little bit better than I just did.

Yeah, those books are great, man.

They're called Zen in the art.

Zen of the art of producing is that.

In the art of mixing and then the art of recording by.

Sounds like good stuff.

Yeah, yeah.

Mixer man, his name is totally.

Yeah, but if you like books like that.

I do.

They're.

They're.

They're fun.

They're fun reads too, you know?

Yeah, well, we.

But we actually were reading the one that I was talking about on the podcast.

Yeah, we read it chapter by chapter, and me and my friends got on a show and did a review of each chapter, so.

Cool.

Yeah, so we did that a long time ago.

We were doing that during the Pandemic.

But the guy you recommend.

Sounds like the concepts are very similar.

Yeah.

When you're doing this job daily, you see similar problems arise, you know, and that's how, you know, you.

You try your best to mitigate them, you know?

Okay, so I think we're.

I totally.

Yeah.

Because you.

Yeah, you've seen that.

You've seen all the issues.

So here's what I think we should do now.

So I will start this process.

Yeah.

And, you know, and then I'll.

Once I get the website, like the page up and running and the questionnaire and the int.

Form and maybe a checkout link or whatever, I don't know, then I get it rolling.

I'll send you.

I'll send you it and see how you like it.

Sounds good, man.

I'm sort of envisioning that there'll be more than one producer that I'll be working with, you know, I mean, but who knows?

You know, maybe we will.

We'll get zero hits, right?

Or maybe I'll fill your whole schedule.

I don't know.

You know, we'll just hope for the best.

I don't know.

Yeah, but once it gets rolling, you'll believe that I'll be that.

I'll be that.

I'll be, you know, advertising it for sure.

Yeah.

So the thing about studio.

That's cool.

Thing about, you know, being in the studio, too, it's like, you know, like you come in with absolutely nothing.

I mean, you come in with an idea, but you come in with nothing.

And then, you know, when you leave, you have like a tangible thing, you know, like, holy crap.

We laid down all these cool parts and it sounded really good.

And I got some ideas.

I want to do some harmony.

Like, it gets the juices flowing, you know?

I agree.

It's a fun dude.

I miss being in the studio.

I love being in the studio.

Well, that's why.

Yeah, those things.

It's like you come in and the more you do it, the easier it gets.

And, you know, like, when I was a kid, you know, I had started building my studio at like, 14, but I had good mentors over the years that helped me out, and they let me be a studio rat.

They said, hey, man, come in.

Can you, you know, can you, you know, you know, they would tell me, like, I have a little job for you, you know, can you do it?

Yeah, yeah, of course.

And, like, just being in the studio, you learn, you pick up things, you get excited, and then it becomes part of your life, you know?

Like, like, you, man, you're a musician and You're a studio rat too, you know, you just.

I used to be.

Yeah.

I'm gonna put.

I'm coming.

I'm coming to your studio, man.

I'm gonna put my rat suit on and you're a rat out.

I'm always recording bands, so you're always welcome.

Just come by and hang.

You know, bands love it.

I mean, they want to have a party, you know, they want to have fun.

They do.

I know.

So I don't want to take your whole night.

So let's talk about my perspective recording.

So I'm just.

I told you, I want to start with one song.

I have one song that I have written.

So here's how I envision things.

It's actually a real, very simple, stripped down tune.

Hopefully it'll just be me, my friend, who's a bass player.

I'm going to try to get a drummer.

Cool.

If I don't get a drummer for you.

Yeah, if I don't get a drummer, then that's.

That was my first question.

Will you play drums?

Course.

I do it all the time, man.

Yeah.

That would be amazing if you did.

And the second thing is the way I do.

Like I told you, I make jam tracks.

Cool.

So the way I do recordings now is I do the Native American use the whole animal.

Yeah.

Okay.

So my in my vision is once we get the basic thing recorded, I'm gonna want to do a version.

This actual.

This song has two versions.

So I'm not sure this is kind of why I'm bringing it up because I'm not sure if I should try to do both versions in one in one session or if I should just do the one version because it.

So like I told you, I have a lot of brands.

Yeah.

There's a.

Basically like a single version of the song that's shorter.

Yeah.

And then there's kind of like a longer version with a little bit of a weird bridge and then a jammed out section.

Nice.

But they're ultimately the same song, but they're a little different.

And one goes with one band that's just the traditional rock band.

And one goes with kind of like a jam band sort of.

Yeah.

So there's two different versions of the song.

But even still, I want to make sure I have all the raw stems and whatnot.

Because what I'll end up doing is I'm going to have someone basically make loops and do jam tracks based upon the tunes and do them in all 12 keys so that people who want to practice to them.

I like it practice in all 12 keys.

So this is kind of like.

And then even just, maybe even just put the stems with click tracks on the jam track version of the song for this other brand.

So that if someone who plays drums wants to play along with it, there's jam tracks with a click in and then a click track throughout.

I think that's probably the most logical way to do it.

But that's kind of the way.

So it's like once we record it, I'm gonna keep it all, you know, I'm gonna use it to the extent.

Maximal extent I can.

Plus I'm gonna do a single version of both of these versions of these tunes.

So each band is gonna put out a single.

Yeah.

And then I'm going to have like.

I was just talking with a friend of mine who lives in Bay Ridge and he does.

He does orchestral scores.

Nice.

And he can put like an orchestra on the tune if I want.

Beautiful.

So I'll do a single version and then this.

Throughout this whole year, I'm gonna keep coming back doing more and more songs.

And then I'm going to have collaborators come in and add on tracks for an album.

Add on, you know, special, like, fancy shit for the album versions.

And then I'm going to eventually put out an album with all the songs, but they're kind of like souped up versions of the songs.

Nice.

That's kind of the idea.

So at least I'll be releasing something as I'm going along, but then.

And have nice assets for people to use and practice with.

Yeah, exactly.

So that's the idea.

So I don't know.

I mean, maybe I should just.

Probably what I should do is just say, hey, look, I'm coming in.

I'll come in one day.

We'll just.

If we can get one song done.

Yeah.

In one day.

You know, basically recorded and mixed.

Is that possible?

Yeah.

Yeah.

So one song recorded and mixed in a day and you know, and whatever we get done, we get it done.

But hopefully we'll shoot for that.

That's basically the bottom line, right?

Yeah.

Sounds good.

Good.

And then, you know, I can always give you the multi tracks so you can, you can mess with them and you can, you know, you could, you know, if you want, your buddy can add his.

His score or whatever.

Yeah.

Yeah.

Okay.

Yeah, it's fun, man.

Yeah, man.

Cool.

So you use.

Do you use any specific daw or use.

I don't know.

I know.

So likely what's gonna happen is.

I think I would say if I did had anybody Doing overdubbing.

I probably send it to a friend of mine who uses, I think he just uses, you know, Pro Tools.

Oh, cool.

Yeah.

I mean, whatever happened to didn't they didn't it?

Wasn't there like a big thing with one of the Dawes?

Like one of them got canceled or there was a big issue recently or is it not.

Am I imagining that?

Well, you know, a lot of people, they're not crazy about, you know, subscription based AWS where they got to pay every month, you know, so sometimes people opt in for buying like a one time fee.

So Pro Tools and in the video world, Adobe Premiere and the Adobe Suite, they're all monthly subscription, you know, so a lot of people who've been in the business for a long time who've used that stuff.

You know, I used to work at a studio in Manhattan with this band called Shinobi Ninja and they used.

You worked with Shinobi Ninja?

Yeah.

Oh, so you know Dave?

Yeah.

Oh my God, that's hilarious.

And also, you know Alien Lex, he's from Diker, you know, not too far.

You know, I want to show you something funny.

Yeah.

So I don't really.

I mean, I know Dave kind of like.

I know.

What's that?

Yeah, right here.

That's hilarious.

I need to get one of those stickers.

Those are legendary stickers.

Oh yeah.

Well, I could get them from Dave.

You can get it from Dave.

Dave.

I was plenty of them.

I, I don't really.

I know him sort of like as a, as a, as a, like a per piece sort of like.

I don't know how I got to know him.

Yeah, I think maybe he's part of the Bay Ridge musicians page, believe it or not.

Well, he's a Bensonhurst guy.

Yeah.

So I, I was, I would just chat with him and we text back and forth occasionally.

But his, one of my brands is called Mitochondriac.

Nice.

And it's, it's like a, you know, more like a fusiony shred guitar thing.

That's the cell that, that, that's like, that's part of the cell that like splits things up.

Right?

That's the part.

So this guy.

Which you can't really see it.

Yeah.

Oh, you could see that, right?

Yeah.

Dave's nephew designed this guy for me.

That's like my logo for this other brand.

So cool.

Yeah.

So Dave, Dave's nephew designed that for me because I was like.

Because he was posting shit that his nephew designed.

Yeah.

On and I was like, dude, would your nephew design something for me.

And he's like, yeah, yeah, yeah.

Told me in 2009 when I started working with them, you know, because I was you.

I was using.

I was using Cubase, you know?

Yeah, I was gonna ask you about Cubase.

I was running the studio in Cubase.

And he goes, dude, you gotta learn Logic yesterday.

Yeah, no problem.

So I had.

I got a copy of Logic, I started learning it, and I've been using it since.

Yeah, since 2000.

Oh, so do you use Logic now?

Yeah.

Okay, so whatever.

I don't care.

Look, if I have to do overdubs and I have to come back to you, then I'm just coming back to you.

I don't care, my friend.

Can't.

The thing is with.

With.

With audio, it's so easy.

It's just wav files.

So, you know, wave file.

You know, once you.

You can use wav files in any program.

Yeah.

So you're gonna have wav files.

You'll be.

That's universal.

You can throw the GarageBand.

You can throw them into Pro Tools.

Yeah, yeah, really, really, really anything.

You know, video programs, even.

So you'll be able to use them.

They're universal.

All right, so here's what I'm gonna do.

I'm gonna send you.

Before I forget, I'm gonna send you a copy of the song acoustic.

Nice.

That's it.

And you can just listen to it so you have an idea of it, and then I'll let you know if I'm gonna find a drummer or not.

Okay.

It's a super simple song.

And then once.

And then we got to set a date.

That's it.

So this weekend's not going to work?

Well, I don't know.

This weekend's not going to work for me, so.

But I'm going to have some time in the coming.

Not this coming week, but the following weeks, so we'll probably work something out then.

But do you do weekends at all?

I do.

The weekends in January are all booked up fine now, but I got plenty of.

Plenty of weekends available during the week.

It's seven days a week, so any time that works for you.

All right, so we'll work it out.

We'll just text back and forth and work it out.

Yeah, we could always.

We could always.

You know, a lot.

A lot of times I do blocks, too, if it depends on what people want to do, but they want to book a Friday, Saturday, Sunday, and leave their gear and stuff.

People do time.

Yeah, well, like, I'm.

I'm coming in.

The plan is Right now I'm coming in with an acoustic guitar.

Cool.

And we're gonna record like just a bare bones, fairly bare bones, you know, single version of this tune.

Yeah.

And.

And it's gonna be just like a very straight ahead rock song.

I like it.

You know, like rootsy rock song.

I like it.

And you know, if I.

I'll do.

Maybe I could do.

I could do overdubs if, you know, something inspires me.

Yeah.

But.

But more than that, you know, that's it.

It's going to be simple.

It's going to be pretty straightforward.

So I think we can just probably bang it out.

Yeah.

Yeah, It'll be fun, man.

Yeah, be fun.

We just got to get it rolling, man.

That's it.

That's all.

Yeah, we will.

You know, really what it comes down to is the deadlines we all make.

It's just kind of in.

It's just kind of for us, you know, it always.

We could do it and we'll make it happen.

And once you get the ball rolling, once you start recording, you're like, ah, I got the bug, man.

The recording bug.

Yeah, yeah.

I just want to keep recording, you know.

That's it.

Yeah, that's it.

Good, man.

I'm glad we hooked up finally again after all these years and.

Yeah.

Look forward to making shit happen.

Well, Keith, thanks so much for, for having me and it's great to talk to you and great to hang out.

I know you've been a musician a long time, so, you know, I know we've been in, you know, we've been in the same boat, you know, and it's.

Yeah, yeah, good.

And we've been in each other's orbits for a while, so, you know, it's, you know, it's good to actually, like, if I actually get to meet you in person, that's going to be a win.

Yeah, well, you will, man.

You know, I'm not far.

We'll go out for some salty dog.

Oh, Lord.

Buffalo.

You ever had to put some buffalo wings?

Oh, man, no.

Actually they use like basil and oregano in the buffalo sauce or.

Yeah, I'm guessing.

But holy crap, man.

Some of the best wings.

And I, you know, like, I like.

At the Salty dog.

Wrong.

But I'm, I'm, I'm a big fan of.

Of salty dog.

Have a preference to the salty dog weenies.

Yeah, I'm a.

I'm a.

You're gonna hate me because I.

Wings.

I find wings to be so annoying.

They're fucking dirty.

They're hard to Eat.

It's a lot of work for a little bit of meat.

You know, it's like, oh, well, I'm fancy.

I eat my wings with a fork.

And I just.

Is that right?

I do.

I don't blame you for that.

Especially if I'm gonna go over to Status Queue.

I don't want to, you know, get.

The accusal they're covered in with sauce.

It's nasty.

Yeah, but.

Yeah, man, it's.

Yeah, man.

Good to talk to you, man.

I can't wait to.

I can't wait for you to hang and, you know, this studio is going to be your home.

You know, just come by, hang out.

There's always bands recording here, you know.

Awesome.

So we'll always have fun.

There's always.

There's.

There's always time for you to come by and party, my man.

I'm psyched, man.

We're gonna do this.

I love it.

Yeah, I love it too, man.

Cool.

Sounds great.

Great.

All right, Josh.

Thanks, man.

Thank you, man.

It was great talking to you, Keith, as always.

So we'll be partying soon, my dude.

Hell, yeah.

Let's live it up.

Yeah, baby.

Double yeah.

Okay.

I just wanted to ask you before you leave, your main instruments, guitar, or you play bass, too and stuff?

Main instruments, guitar.

I mean, I have a few basses and I play them a little bit, but hardly ever.

Cool.

Yeah.

Nice.

So.

But we'll be.

We'll be partying.

We'll be rocking.

Yeah, it's gonna be a blast.

Yeah, man.

Can't wait.

Cool.

All right, man.

Well, you take care.

Later, man.

Peace.

See.