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Bobby Jennery: Have you ever recorded a solo and nailed it on the first take, but no matter how much you try to better it, the first time was still the best?
“Yep. Absolutely. Actually, a long time ago, I decided that whenever I recorded anything, I was always going to do it on production tape. I never make what you would call a ‘demo’ and then go back and try to reproduce it in the studio. I always do all of my work on production tape, so if I get something on the first take, I keep it – it’s going on the record, no matter what.
“One solo that comes to mind was when I was working on a crude start of the song Amanda. I think all that I had were some drums and some rhythm guitar that I played with an electric guitar instead of the acoustic, just to get through the chord changes and to see how it went. I played that little lead electric part after the second chorus, doing it in a hurry as I was running by, and I decided that it was exactly the way I wanted it. I then had to go back and play all of the other parts and keep everything in exactly the same place to match up with that one track that was not going to change.”
Dallas Moore: Can you please explain how you created your Warp Drive Pedal and how it functions?
“He must have the more advanced version of my pedal, because I just call it the Space Echo pedal. Star Trek was around the same time as I had my Space Echo pedal – I should’ve called it a Warp Drive. [Laughs] With this pedal, it was another case where necessity drove invention. I needed to be able to get this effect where I could sustain a note indefinitely and change the pitch, so that’s what drove me to create it.
"Once I got the device that could do that, I found out it could do all sorts of other wild things, and that’s when I really started to have fun. There are only two of them in existence – I built them both. They’re very difficult to keep running and working correctly; they need constant attention. I think that’s the reason why nobody else does it.”