The Tone Mob Podcast

Trevor Boone basically grew up inside a guitar shop.

His dad started Emerald City Guitars in Seattle back in the mid-90s with a shoestring business plan, a small loan, and a whole lot of secondhand guitar-store dream dust. Trevor was the kid at the counter, surrounded by musicians, weird old guitars, shop talk, and the kind of musical obsession that tends to permanently rewire a person.

In this episode, we get into Trevor’s journey from pre-eBay guitar hunts with his dad to becoming one of the people collectors call when they are searching for serious vintage pieces. We talk Bursts, Dumbles, Silvertones, funky under-a-thousand-dollar treasures, and the strange balance of loving the oddball stuff while also surviving in the high-end vintage guitar world.

We also dig into how guitar retail has changed, why proper setup and authentication matter more than ever, the pressure of social media, the magic of instruments that simply make you play better, and why the best guitar shops still feel like the barbershops of the music world.

There is also some Boss DM-2 love, Seattle pizza talk, Garth Brooks, Stringjoy Foxwoods, and the usual amount of beautiful guitar nonsense.

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Yvette Young is back on the podcast, which means we are legally required to talk about beautiful guitar parts, creative chaos, and the strange little circus act of trying to be a functioning artist in the modern world.

This time around, Yvette digs into her work on the new Superman soundtrack, including what it was like getting mysterious NDA phone calls, turning around guitar cues on tight deadlines, and then watching the movie wondering which of her parts survived the final cut instead of, you know, simply enjoying the movie like a normal person.

We also get into the deeper stuff: burnout, touring, trying to make time for solo music, learning to serve someone else’s creative vision, and the eternal struggle of doing enough work to survive without accidentally sanding your soul down to a decorative nub.

There’s also talk of signature gear, musician play dates, creative retreats in the woods, and why music should probably be treated less like a sport and more like a weird, beautiful thing humans do because our brains won’t leave us alone.

Yvette is always a delight, and this one gets wonderfully real.

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Buddy Blues joins The Tone Mob for a long-overdue conversation about guitar, YouTube, blues, pedals, and the strange little internet ecosystem where all of those things collide.

Buddy shares his story, from growing up in Beirut playing classical piano, discovering electric guitar through blues and Pink Floyd, moving to Florida as a teenager, gigging heavily, touring with John Mayall, and eventually finding his way into the world of guitar YouTube after the live music world hit a wall in 2020.

Blake and Buddy dig into the grind of making gear content, the difference between demos and entertainment, learning to stop trying to win everybody over, the weirdness of algorithm life, favorite amps, recording setups, Victory amps, Fender Supersonics, the value of bedroom-player opinions, and why guitar culture sometimes takes itself way too seriously.

They also talk about Buddy’s new LSL Instruments signature Satikoy, Stringjoy strings landing in Guitar Center, the Boss DM-101, proper Neapolitan pizza, and why the blues and death metal apparently share custody of Lebanon’s guitar scene.

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Jesse Honig of 29 Pedals finally joins The Tone Mob, and we are digging all the way into the beautifully nerdy machinery of his story.

Before launching 29 Pedals, Jesse spent years inside studios, tape machines, consoles, repair benches, and the general glowing underworld of professional audio. He worked as a roadie as a teenager, became a studio assistant in Philadelphia, built a life as a session player, engineer, and tech, then eventually found himself working with companies like Slate Digital and Manley Labs before deciding it was time to build something of his own.

That something became EUNA, a deceptively “simple” pedal that helped turn the humble buffer into a serious tone tool. Blake and Jesse get into why guitars are terrible at driving cable, why input impedance matters, why pedalboards can be treated like modular studio channel strips, and why 29 Pedals approaches design from a very different angle.

There is also talk of OAMP, fuzzes, overdrives, true bypass, manufacturing headaches, component changes, guitar strings, weird gear obsessions, and the joy of solving problems most people do not even realize they have.

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Ron Jackson has one of those jobs that sounds suspiciously like something a music nerd invented while staring at the ceiling.

As the host and producer of Musora’s Covers On The Spot, Ron brings bands into the studio, hands them an iconic song from somewhere outside their natural habitat, and gives them only a few hours to rebuild it in their own image. The results have included Emily Wolfe dragging Billie Eilish into the smoky riff dungeon of Black Sabbath, Archspire attacking Rosé and Bruno Mars with impossible quantities of technical death metal, and Thursday being forced to figure it all out while Ron quietly watches the pressure gauge climb.

Ron joins me to explain how the show came together, what makes a band right for the challenge, and why convincing touring musicians to spend their day off writing a surprise cover is not always the easiest pitch in the world.

We also get into Musora’s evolution beyond Drumeo, Ron’s former life as an English and musical-theater teacher, the strange experience of working with your musical heroes, and the delicate art of being an enthusiastic fan without becoming what musicians lovingly call “a punisher.”

Naturally, we also discuss Thrice, vintage Gibson Grabbers, the Rusty Box, questionable bass purchases, Boss pedals and a long-lost shrimp pizza that may now exist only in legend.

Check out the INSANE Leperous episode HERE https://www.youtube.com/watch?v=Te2MR6j5Qhg

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