[Music] heat heat heat [Music] in 1995 the debut self-titled Foo Fighters record was released 30 years later this album still frequently tops the list for fans as the best work Dave Gro has ever produced this is an important record it marks Dave’s return to creating music after the sudden and tragic end of Nirvana and has led to a decadesl long career fronting one of the largest mainstream rock bands of the 21st century the story of this first album has been told countless times but to an extent its production remains shrouded in mystery hardly any media from this recording session exists and as such the identity of the equipment and the process for achieving the uniquely raw and unfiltered sound of this record has been long debated among fans at the center of it all a mysterious little amplifier has piqued our interest for years the amp responsible for the fuzzy gritty sound heard on iconic songs like Beanie Beanie and Exhausted in this video we’re going to take a deep dive into the secret weapon used to record the Foo Fighters self-titled debut album this is the [Music] can i finally found one the can what the hell is this thing okay so we’re coming up on the 30-year anniversary of the debut Foo Fighters self-titled record i’ve been obsessed with this album for a while admittedly when I first started getting into Foo Fighters it took me a while to make my way to the debut album but when I finally did I was just blown away by the vibe and that’s the best way I can describe it this album has a vibe it’s the vibe something about the songwriting and the production itself is different than any other Foo Fighters record and I absolutely love it it just sounds so spurof the- moment and it sounds kind of lowfi but none of the music suffers because of that i’ve been obsessed with this album ever since I really gave it a good listen and since then I’ve also been obsessed with the gear that was used to achieve these sounds most notably the guitar equipment because guitar player over the years I’ve been researching what kind of guitars were used what kind of amps were used and throughout my studies I’ve been hearing these whispers and rumors of this mythical gas can amp people talk about this in forums all the time it’s been mentioned in interviews from Dave himself as well as the producer Barrett Jones but the story has never quite been straight it’s changed over the years from a gas can to an oil can to a microphone placed inside of a metal gas can to achieve the sound but I don’t think anyone really knew what it was that was making that sound that I was hearing a couple years ago Barrett Jones the producer of the first Foo Fighters album did an ask me anything live stream on his YouTube channel and I happened to stumble across it one of the first questions I asked him when I jumped in was "Oh my god you have to show me the can what What is the can do you still have it?" Ah the can it’s right over here the can and that’s when I first laid my eyes on one of these so immediately I got to work i was like I got to have one i mean that’s so cool it’s literally an amp built into a gas can unfortunately these are really really really hard to find i’ve been searching on Reverb and eBay and just about everywhere else for months and months and months trying to come across one of these and they just don’t show up i’ve done a little bit of digging into the history of this and like who made it and everything and we will definitely dive into that just know that it’s absolutely crazy that I stumbled on this the story is wild and I’m so thankful I have one and what a cool little piece of gear so let’s get started let’s talk about the can all right saddle up cuz it’s time for a history lesson so in the 70s a musical instrument manufacturer and distributor called St louis Music started getting into the amp building game they wanted to make and sell their own guitar and bass amps so they partnered with a local electronic technician and established SLM Electronics which was their division to start designing these amps this would go on to eventually become the brand known as Crate Amplifiers in the 80s they also acquired the bass amp manufacturer Ampeg where they reintroduce the famous SVT tube amp line so in 1985 SLM Electronics designed this small portable batterypowered amp meant to be used by buskers called the can the amp’s controls and 5-in speaker were mounted inside what resembled a red plastic jerry can used to hold gasoline approximately 10,000 of these amps were made and they were distributed in the 80s from the crate amp factory eventually one of these amps made its way into the hands of Seattle musician and producer Barrett Jones jones was living with and working on music with Dave Gro around this time and the two experimented with the fizzy buzzing distortion that the can amp produced this led to the recording of the famous pocket watch cassette demo tape released under the pseudonym Late in October of 1994 Dave and Barrett booked six days at Robert Lang Studios in Seattle the resulting 15 tracks recorded during this time would become the first Foo Fighters album okay so by this point I had the who the what the when and the where figured out about these amps right the hardest part was the how how am I going to get my hands on one of these because like I said before I had been searching everywhere reverb eBay Guitar Center anywhere that sold used music gear I was searching for it i was scrubbing every different version of a Google search you could make for a gas can amplifier i got so desperate that I tracked down a guy on Instagram who had posted a video of himself playing through one of these 12 years ago and asked him if he would sell it to me and he wouldn’t do it eventually I enlisted the help of a friend of mine who runs a vintage collectible store and he goes and finds weird oddball collectibles for people and I put him on the hunt i said "Dude if you find one of these let me know i will buy it." I mean much respect to him he did his due diligence like he went out and tried to find one of these scanned all across the country went through every contact he knew just couldn’t find one i was about to give up he sat me down and he was like "Look dude this is what I do for a living i don’t think you’re going to come across one of these i can’t find one anywhere they’re just too weird and uncommon they’re probably all sitting in a pawn shop somewhere and I I don’t know if you’re ever going to find one maybe you will." At that moment as he’s telling me that I just casually happen to open up my Facebook Marketplace feed and what do I see but the can was one state over as I’m talking to him like I’m in the process of giving up and there it is for a hundred bucks so I freaked out a little bit and I messaged the guy right away and I was like "You don’t understand i need this." Okay he was very cool but I’m sure as you all know doing any kind of business on Facebook Marketplace is sketchy at best so I was very worried that something was going to happen and I wasn’t going to be able to get this amp somebody was going to snake it out from under me and then what were we going to do because they just don’t show up thankfully I’m able to put my fears to rest because the amp did eventually arrive and now I’m going to kick it to Past Gege for a little unboxing video what’s up future Ge it’s past Ge okay wow i can’t believe I actually found this i’m really excited to open this up let’s get our handy dandy box cutter here i’m doing my best to not show you my address and dox myself come on oh wow what the heck is going on here this is quite the uh quite the box job but we sure do appreciate all the [Music] effort my god no way the can okay i just I have to know this could literally work as like a gas can i mean I think that’s actually what it is i mean duh but like open vent before pouring okay so here’s what I don’t understand because like it actually has like gas can like level fill warning stuff on it it has like a safe level thing but also it is stamped with the can like it’s actually stamped with the manufacturer and like amp stuff dude this is wild so where’s the power button does it just turn on when you plug it in let’s see what else we got oh nice cord inserted into input turns on like guitar pedal that’s helpful and we even have our AC power cord dude this is nuts the can oh I can’t wait to plug this in and hear how it sounds crazy heat up here [Music] this video is giving me the unique opportunity to make a point that I’ve wanted to make for a long time bad guitar tone doesn’t exist what does exist are guitar players who just don’t know how to utilize it in the proper context i mean people have been doing this for years for example Sympathy for the Devil by Rolling Stones objectively that is a terrible guitar tone but could you imagine it sounding like anything else take a look at modern day guys like Jack White and Josh Hammy remember the PV decade thing this is a PV decade this thing is incredible i mean that’s a crappy little 10 watt amp and once he revealed that’s the secret sauce to the tone [Music] you know there it is what I’m getting at here is everybody has an idea in their head of what good guitar tone is right a less Paul through a Marshall or a Mesa rectifier or something this huge wall of sound and it’s true a lot of amazing music has been built on that platform but what I found throughout my years of experimenting with creating my own music is sometimes the most memorable guitar moments are those that are unique and don’t sound like every other wall of Marshall stacks and that’s where you start to delve into these weird little crummy objectively bad sounding pieces of gear that produce shocking results in the context of a mix on its own this thing sounds like a plastic can full of bees right it’s it’s bad it’s a bad sound but it’s also a great sound and that’s what I’m getting at is in your own music don’t be afraid to make it sound weird or really push the limits of what the guitar should or could sound like you’ll end up with much more memorable guitar sounds in your music i think this is a perfect example of that the reason I wanted this one specifically is just because I’m influenced by the music that this was used to create but it doesn’t have to be this amp i mean you can achieve this effect with any number of batterypowered crummy little amps whether it’s a pignose or one of the little batterypowered Marshall stacks they’ll all get you close but it’s more about using something unconventional to create interesting spots in your music so we finally managed to get our hands on uh the can mission accomplished right well not exactly i still wanted to get a firstirhand account of how and why this little amp was used on the first Foo Fighters record unfortunately attempts to reach out to Mr gro himself have been difficult hey it’s Dr g leave a message unless it’s G stop calling me so I thought who better to reach out to than the producer of the album and the owner of the exact amp we’re documenting himself Mr barrett [Music] Jones here we go barrett Jones thank you so much for joining i really appreciate you taking the time i’m super excited to kind of geek out about gear and stuff with you um before we really dive in if you could just kind of give me a little background on how you got into recording and producing and stuff cuz I have a feeling that you and I maybe shared the same experience cuz I know you’re a guitarist and a songwriter too and maybe in some of your bands you were kind of relegated to the guy who knew how to record things so how did you get into that yeah so I was in a band when I was 15 called the Survivors we were a cover band in the ashes of that band breaking up i found in my house a um little Radio Shack if you know who Radio Shack is a little Radio Shack mixer which was basically four volume knobs mhm with quarter inch inputs and it had like one RCA uh output my mom had this little handheld cassette recorder that she used for she was a psychologist i I put like four mics or whatever I could find from you know the little square mics that came with recording with cassette recorders and stuff like that i put them around a drum kit and I recorded that into her little thing and just made a drum track this this all happened literally in one day i found the mixer thing i found it’s you know I figured out like let’s try this and then I recorded a drum track and then I took that cassette of the drum track put it back into the mixer and recorded some guitars and then recorded a bass and then recorded vocals and recorded a song so did you know that was the process of how that was done or was this all just trial and error like no i mean I just I just seemed logical in my head thought I’d try it and then that day I recorded like two songs so talk to me then about how you know how does that evolve then you start like acquiring different gear i mean what’s the research process like i probably got a stereo reel to reel at some point but fairly soon after like within by I think by the time I was 17 I got a four track a task cam 34 at that point I then started recording my friend’s band did you I mean did you ever fall down the rabbit hole back then of like experimenting with different microphones different mic techniques i mean obviously back then it was probably whatever you could get your hands on yeah I it was just whatever I had i don’t I don’t think I owned a condenser mic until I don’t even remember the first condenser mic I got it was like 10 years later or something like that it was all 57s and some I had some weird uh EV mics that I still have that I never use they’re just like all mid-range they’re probably meant for broadcast or something like that well it’s funny you mentioned that because you know I feel like a lot of this gear you see all these little niche pockets of indie producers who are discovering this gear which probably wasn’t originally used for its intended purpose like you say these microphones used for broadcast i mean you hear about guys who are taking you know video projector sound amplifiers and turning them into guitar amps and stuff right and I guess specifically with the can that’s a great segue is like this gear that on its own objectively is not that great of a sound but it it led to you know these really iconic sounds that that everyone now tries to achieve on their own which maybe sounds silly to you i don’t know what’s what’s your thoughts on that i I was all about that just experimenting with whatever was around i’ve always been the person who doesn’t have everything that I want and I will just make whatever is available sound as good as it can all right well let’s let’s pivot a little bit to the can the first time I even heard about this amp was yours look so new oh my god yeah I I lucked out with this big time but the first time I ever saw one of these was in the Ask Me Anything live stream that you did I think 2022 i I was the one that was just pestering you with all those questions i was like I gotta see because before that I had seen interviews that you had given and I’d read interviews and I’m like "What is that sound?" Like that’s the stuff that I just totally nerd out about and I had read all these interviews with both you and Dave where you guys are like "Yeah it’s this little gas can thing." And then like I’d read on these forums and people would be like "Yeah I’m pretty sure they placed a microphone inside an oil can in front of an amp and that’s how they got it." and like just totally you know the game of telephone where they’re they’re turning it into something it’s not the thing I worry about is that the details about this amp are going to get out and people are going to know that this is what was used on that record and it’s going to turn into the the PV decade thing do you know about this like with the Josh yeah I I do know i mean it’s funny i I’ve used that amp on way more than just that record probably like 20 records i’ve used that amp on almost every amp every record I produced back in the ‘9s and early 2000s I would take that amp with me and put it on somewhere so where did you where did you find it was it just like in a music store somewhere that you came across it i was in London actually it was 1988 and I was in London and I found it at like a pawn shop and I just I was just looking for a batterypowered amp that I could play so you weren’t looking for an amp for any recording purposes you could plug in and jam exactly it was like 30 lb or something like that and it was you know it had nothing to do with the sound or anything like that it was Oh no no no not at all when was the first time you thought to stick a mic in front of it and try recording something with it oh I mean probably almost immediately after I started I don’t know was it like a big light bulb moment you were like "This is so grungy and awesome." Or were you just like "No no no i I don’t know." I mean it’s funny because there’s only like one setting on it that’s good and that’s everything all the way up and it doesn’t sound good by it by itself like you don’t want to use that by itself it’s only good as like texture on top of other guitars absolutely it’s also good for leads right yeah i’ve been playing around with it a little bit and it just sits so well in a mix yeah because it’s small you know that’s that’s the whole thing is like Yeah so I was going to ask do you have any go-to settings like it’s some kind of special thing but there’s only one all the way up all the way up well and what really surprised me about it too is it there’s no power button you just you plug it in it goes that’s the onoff is by plugging it in so you don’t want to run your batteries down there’s six D cell batteries which is crazy to me that’s so much battery power so did you did you always run it with batteries or did you have the little adapter for it yeah I mean I have adapter any any computer uh you know adapter will work well I just I I know because there’s going to be some nerd that claims that it’s the battery has to be sagged to like 60% to get the tone or whatever so just to clear that up that does make a difference there’s nothing better than a power starved amp sound yeah exactly what kind of guitar do you think sounds the best through it do you tend to run things with humuckers single coils yeah the more the more output on the guitar the better really yeah what about mics i know you said you’re a big 57 guy do you ever use any other mics on it or is it just a 57 no just a 57 it’s such a teeny you know what is that a 6 in speaker yeah something like five or six I think uh do you do you tend to just like put it right on the front on the center of the cone or do you do any sort of angle micing or anything like that uh straight at it but between the cone and the and the outside okay that’s how I mic every guitar cabinet yeah and is it right up on it or do you back it off a couple inches uh pretty much right up on it you know you don’t want it touching but you know half an inch away yeah well especially with this cuz it vibrates so much i mean it you get it all the way up and it’s just rattling all over the place you don’t want to bump into your mic you run vocals through it too right uh yeah we did one of the weeny beanies i think we did on with that i think the recording we I ran it through the Marshall but I think for the demo of Weeny Beanie I ran it through that amp okay whose idea was it to run a microphone through that just like another you know sonic pallet thing to try out or did you know you wanted that really gnarly sound it was just easy because you could hold it like a megaphone that’s great you know is there any sort of post-processing treatment that you use on this amp like any EQ tricks or compression or anything like that no definitely not um I can’t remember specifically ever doing anything to the sound i maybe try to tame some of this the grit on it but point made like as soon as I plugged it in the first time I plugged it in I was like well there it is that’s the sound yeah that’s the sound don’t really need anything else so let me ask you a couple questions about the the Foo Fighters album now cuz we’re coming up on 30 years of that first record this is this is the year you know it’s funny to me how many people cite that record as their their favorite the best work that has ever come out of not just Foo Fighters but Dave Gro what can you tell me about what you remember from from that session and everything that you I guess that you haven’t already told over and over again i mean I’ve told this story many times but um as I’ve said before about you know we had recorded 90% of those songs already right in my studio on the eight track so I think there were maybe two of those songs that hadn’t been recorded yet plus you know we had a routine of recording very set and it was kind of like almost a game about how quick it could be so we basically like go in for the first day i mic everything get all the sounds for everything that’s the drums the bass guitar amps they’re all ready to go that took you know maybe three hours to get all the sounds in that room that was my second time ever in a 24 track studio like a real studio so I was like "Wow look at all this stuff that room is insane." I don’t know have you ever seen any I’ve Yeah well I’ve seen the the documentary and all the photos so getting into the the 24 track studio I mean was it just I’m going to throw up as many mics as I can or were you still working kind of within the same yeah no it would it was still sort of the same i didn’t go crazy uh because all it meant was I could you know instead of recording drums to two tracks in a stereo mix I could actually separate everything and do what nine tracks of drums or something right so once everything was set up then he would just go in record the drums no clicks no nothing he would just go in there and like in parts where there were no drums there were not going to be any drums he would just keep time with this high hat so he’d do a drum take usually the very first take just singing the song you know hearing the song in his head then he’d come in he didn’t use a scratch track or reference track no no no no no no nothing at all just in his head and then he would come in and record a guitar part and then he would double that and then he would put a bass on it and then maybe a lead thing or something like that and then we’d move on to the next song and all the vocals were done at the at the end and he was still writing some lyrics too at the very end that’s crazy and they were all like double triple tracked kind of thing but see the thing about him is he’s just so good for one he’s like got perfect time like his tempo is just perfect and knows how to play exactly with with himself he knows exactly what to play there’s never any oh maybe I should try it like this or maybe I should play it like that it’s it’s like he just there’s one way to play it and he just plays it so I wanted to ask you though about uh guitar stuff specifically was there much of a conversation when it came to guitar tone between you and him cuz I mean the vibe I get from you know reading interviews with him is that he doesn’t pay too much attention to like the sound of the equipment and I know with you being a guitarist I mean were you kind of helping him achieve some of those sounds was there any discussion at all on like here’s the amps or was it all just like here’s what we got let’s plug it in and turn it all the way up basically I mean we we were we both liked the same sort of guitar sounds we you know it’s it was mostly my Marshall JMC 800 or JCM whatever the [ __ ] I always get backwards i’m dyslexic by the way um but yeah it’s just just that i mean I and you know hardly any pedals um right i think I’ve heard there was like a rat pedal floating around yeah there’s a rat there was a rat pedal it was probably this one there’s the rat pedal so and and to clear it up because that’s another question it was a JCM 800 that you guys used in that studio or was it a 900 800 never 900 no no no no okay we don’t like the 900 no it was mine and I bought it brand new in 1986 and it was I still have it it’s the best sounding amp you know and it gets that Marshall sound it’s like that’s the sound that was all you guys just took all that gear over to to Robert Lang Studios right did you use any of the gear they had in there for guitar stuff no I don’t think so unless maybe maybe there was a twin in there that we used for like the clean stuff i mean I I always like to use twins on clean and so guitars too i know this is something we all everybody kind of goes back and forth on because I know you’ve said it was a it was a less Paul that was used for most of it do you recall the trinity being used at all for that session much i really don’t I don’t I know and I I know we had I I don’t remember he having the trinity yet i think he had a a less Paul we had my guitars which I’m sure got used just for you know whenever you make doubles it’s good to use a different guitar just for different a little bit of different sound and I think he only had that I don’t know if he had the trini yet or if he used it i think he had that sort of uh the brown tobacco sunburst less Paul the one that you see in that um the velvet Elvis yes the pictures from like their first gigs and stuff yeah yep uh I also when I bought that Marshall I had this which is a Melody Maker reissue that I got at the exact same time this guitar is [ __ ] awesome this is like I swear it’s just play it’s really light it plays like a dream i’m pretty sure that got used a lot too okay and and just to kind of contrast with the Yeah the other Les Paul I seem to remember there was some conversation about a third amp like there was the Marshall there was the gas can and then there was another amp maybe Dave had mentioned it in one of the the Sonic Highways out takes that was like something on the verge of blowing up was he talking about the gas can or there was that is probably the story from the amp that was used on the demo version of Exhausted if you if you go look at that Sonic Highways outtake of Exhausted we talk about it we talk about that there so I had this weird head i don’t even know what it was it was just totally dying and it got the coolest guitar tone out of it you know we probably put even more distortion into it it was just like breaking up and falling apart and and that amp did eventually die like soon after that that’s awesome the the sound on the album version of Exhausted is not quite as cool or the same as the demo version [Music] [Music] and so when you guys went to to Robert Lang I guess I probably should have cleared this up earlier when you did the actual album session it was the can used on that right oh yeah not not Well I mean it was over top of the regular guitars um it’s there but it’s not it’s not the main guitar by by any chance it doesn’t have any body that thing so it’s just sort of a a textural thing that’s laid on top and so when I listen to when I listen to the intro of Exhausted specifically that to me is where I can hear that amp the can the most is because it’s just the solo guitar by itself and it’s really fuzzed out was would that be only the can or do you think you blended that with anything else i’m going to have to I’m going to have to look i’m hope I’m I’m crossing my fingers that I’m going to get a chance to listen to those multitracks for the first time in 30 years soon so Oh wow that’s awesome that’s amazing so you you don’t have access to those files oh wow no I have not heard the multittrack since we mixed the record oh my gosh that’s going to be that’s going to be something else well hopefully you get to do something with those do do you was was there many notes that were taken like during the recording i mean were you guys doing studio notes like I’m the worst at notes no I don’t so you didn’t with all your your microphone settings and everything no you know this was back way before you had any access to that stuff and I just you know I was much more in the moment i don’t I’ve always had issues with writing things down anyway so So any other songs like I said I mean you know Exhausted and Weeny Beanie are the two ones that stood out to me but you’re saying I mean was it was the can just kind of peppered in throughout the album as like little Maybe there’s some accents i I don’t recall off the off the top of my head where else it was used it’s possible it got used for textural stuff on choruses as I said it’s that’s usually how it was used and not like spotlighted yeah I feel like there’s a couple other places I can hear it maybe in like uh Good Grief there’s a a spot where there’s it’s in Good Grief which is great i really love that song i mean is there a specific song on the Foo Fighters album that you think best demonstrates the tone of the can um probably Weeny Beanie overexed yeah I’d have to go back and listen it’s been a while since I’ve listened to it um yeah it does kind of sound like the can doesn’t it i mean it it sure sounded like it to me i I threw a 57 on there but um I don’t know if it was if it’s blended on top of anything or if that’s just the can by itself i mean it might have just been the uh Wow yeah i mean I have not listened to this stuff forever so it’s funny i usually listen to the demos oh yeah weenie beanie for sure I think we beanie probably overexhausted yeah all the Yeah that’s all that’s all the can you saw the short that I did with the can right i did yeah and everyone was like well there it is so and if we if we play our cards right here I genuinely think the value of these is going to we’re going to have another PV decade situation i mean they’re hard to find it’s funny because it’s made by the [ __ ] company that makes sand pegs so I mean you could probably uh build your own circuit pretty easily if you reverse engineer that thing there’s not a lot on there there’s not much going on no you open the back panel and then it’s just the the thing so the can amp there it is the can amp the can well Barrett thank you so much for taking the time uh it was a pleasure talking with you and pleasure talking with you i genuinely hope someday I’m able to make it out there and and book some kind of session and and do some music with you because I’d love to come out and see the studio sometime but uh yeah that’d be cool anyway thank you again for taking the time Barrett and uh be in touch take it easy all right see you wow that was incredible a tremendous thank you to Barrett Jones for being so generous with his time and agreeing to do that interview with me that was so cool to hear about the story of that album from somebody who experienced it firsthand unfortunately that interview is a shortened version of the full conversation we had and I do intend on releasing a longer version where we go a lot more in depth into some different topics on my channel later but I wanted to keep it a little bit shorter for this video fascinating conversation with him though after we got done talking I actually went back and listened to the entire album again and I was really surprised because to my ears I can suddenly hear the can all over this album i didn’t get an official confirmation from him i don’t know if Barrett himself would remember exactly what it was used on but to me I can hear this on This Is a Call i can definitely hear it on Good Grief now i think I can hear it in some of the bridge sections on Alone and Easy Target i think it’s the amp that was used for the intro of Watershed i definitely still hear it in Exhausted and of course Weeny Beanie which as Barrett said is probably the best example of this amp used throughout the album but that was super cool thanks again Barrett and I’m so glad we had a chance to talk but we’re not done here yet so for some reason it just wasn’t enough for me to get the amp do this whole video interview Barrett Jones and do all this stuff i wanted to do more i wanted to make this tone available to anyone watching recently I’ve fallen down the rabbit hole of the dark art known as amp capturing for those of you unaware of the technology this has been popularized a few years back from the Quad Cortex and the Keer amp profiling systems and basically what we’re doing is using machine learning to take a recorded audio signal of a guitar amp or a speaker and turn it into a patch or a guitar amp sim that you can then use to play your own instrument through and get that exact tone recently I’ve stumbled across this website called Tone 3000 which used to be called Tone Hunt it’s an open source community of guitar players who are uploading these patches of their own guitar gear and you can download these and use them with a free plugin called Neural Amp Modeler so if you have a recording software at home and you’re familiar with using Ampsim plugins it works exactly like that and you can go on this database and download for free whatever amp you can find on there and guys have uploaded some really awesome sounding rigs i wanted to create my own capture of the can so if anyone was interested in using this tone they would be able to download that patch and use it with the neural amp modeler now I’m not going to tell you that the patch that I created sounds exactly like this amp in the room and in a minute we’re going to do a side-by-side test and you can kind of hear for yourself there’s a few little variations but for a free software that anyone can contribute to I think it sounds pretty great and especially for the use case that we discussed with Barrett earlier if you’re just looking for that gritty fizzy little guitar sound to poke through the mix and really grunge it up I think this patch will sound really good so let’s take a listen and in the description of this video I’m going to leave a download link where you can get your own patch of the can off of Tone 3000 so let’s check it out [Music] [Music] heat up here [Music] heat up here [Music] heat up here [Music] okay so we know this thing does the Foo Fighter sound right i’ve been playing Foo Fighters riffs for the last 40 minutes but one of the things I really like to do in these videos where I’m reviewing a new piece of gear is to write my own original song to hear what it sounds like in the context of my music and I always find it a fun little challenge to try and write a song that’s related to the subject of the video so I put together this little song obviously very Foo Fighters inspired but there’s some neat little Easter eggs in the lyrics and uh I’m using the can for it so take a listen [Music] [Music] to me if you only see what I [Music] [Music] I got a sunburn in my head and I’m exhausted on this if you had all my batteries and die Heat heat all right I think that’s going to do it man what a super fun video couple of shout outs first of all again a huge thank you to Barrett Jones for taking the time really appreciate him sitting down and having that interview with me that was super awesome big thanks to my buddy Ron at Studio 81 for allowing me to come into the space and get that beautiful B-roll footage at the beginning that was a lot of fun as well if any of you guys are in the Midwest and you’re looking for video production of any kind make sure you check out Studio 81 i’ll leave a link to them in the description as well if you’d like to support me directly the best thing you can do is subscribe if you are really loving this content I’m also going to leave a couple links where you can support me directly just know if you decide to contribute to either of those links that all of that money will just be going right back into the channel to make some more cool content which I can promise you there is more coming on the horizon if you like this make sure to like subscribe comment i’ve been reading super nice comments from everybody on my last few videos i feel like I’ve been doing so much Foo Fighters content lately like I’ve been starting to meet more and more people within the Foo Fighters not just the fan community but like in the Foo Fighters camp which is cool someday it’s going to happen someday we’ll wrangle up Gro for an interview i don’t know when i don’t know how he keeps a low profile these days but we’re going to make it happen maybe we’ll talk about the can all right we’ll see you in the next one thanks for watching [Music] [Music] heat heat [Music]
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