I'll start writing songs in a Bolton. We'll take him to the boys, will write other parts around it and then either recorded in one instrument at a time or sometimes going in live, recorded and just, like, play over the track and record our parts. And then I'll rebuild the track around what we've recorded. But we go in and do that in pro tools. So that's all in like an analog studio out by Red Rocks, which Josh runs called Scan Hope Sound. And it's Yeah, it's kind of It's where the Fusion style comes in. It's like this old school recording technique and like very rock based kind of stuff, meeting with throwing it back in a Bolton, and then we layer in synthesizers that, like you can't replicate any other way like digital sound has come so far. But it's like just use all the tools that are at your disposal. Um, but it's It's a Hamilton is primarily like I've messed with logic a little bit, but it's like I just understand it with insulin that works for me. I feel like people use different ones like, um, using logic to produce and then playing live with a Bolton or some people use FL Studio Man. You know, it's like, whatever, really, whatever tools work best for you to get what's in your head out, you know, onto paper, so to speak, on onto tape, you know, Then that's what you should use. You know what I mean? But for me, it's like I got able 10, 5 years ago. I was like, This is the coolest thing ever. Like I can play like 10 instruments at once. It's amazing, you know? So that's what works for me. Now, Now, when you're shaping the sound of your guitar, you're using a lot of pedals. Correct? Yeah, that is sort of on, like a general basis is pretty minimal. Pedal setup. I just use one digital foot pedal that has several effects in it, and normally you would have, like, maybe 10 or 20 different effects laid out, Um, only like an analog pedal board, which is like a lot of people use. But for me, I just again like the tools that you use are really less important than what you're using them for, And if you're able to get your voice through them and Grant gives me shit about it all the time. He's like you're still using the junkie ass pedal. I'm like, it sounds good, man, and I know how to use it, You know what I mean? I know how to make it do what I want to do, So it works really good for me. I have thought about upgrading a lot, but it's actually like four effects that I use on my guitar throughout the whole side. It's like a harmonizer, a little bit of compression, little distortion when you need it, usually not, and then reverb slash delay, right? It's very simple. It's I like it that way because I'm doing a lot with my hands, too, and kind of like semiconducting at the same time. And, uh, it's good to keep it simple and again, it's like whatever you use, you know the same way I would imagine like a photographer. People use different types of lenses. People prefer different types of cameras or film etcetera because that's how they can get it to look or sound. How they wanted to. Absolutely So I know people get particular about it. I I used to be a total gear nerd. But then I kind of got tired of talking to those guys because they just never shut up about how many petals they have. Etcetera. Does that really make you a better player, though? Does that really make you better at playing? Does that really make you feel like you can do what you're trying to do better? Just because you have the newest, nicest thing or this one particular kind of like, this is what everybody uses. So I have to use a lot of limitations, really Had two, uh, final results. I have always been, like, talk like that again, going back to like my teacher in jazz music classes, more and sometimes really simplifying things can open up more channels creatively, like you actually come up with something a lot more justifiable than what you're thinking than just like doing the craziest lick that you can play. You know what I mean? I do that all the time. I was writing these songs this week for myself, for casual Commander and my friend Melissa Peterson, playing violin with me. And we're like writing melody lines over this track, and I'm, you know, and come up with some crazy thing. I'm like, Yeah, that's really fun to play, But do I even want to listen to that? After I like, recorded it back, I was like, Let's take, like, 12 notes out of it. She's like, You always want to chop it down and simplified. I'm like, Yeah, because this isn't like a shred metal song, like like if you keep it, you know, but and again it's just situational. Sometimes you do want to go off the deep end. Sometimes you do want to play all the notes or make it complex, but yeah.