Godsmack: Smack This!

Godsmack has become one of the most successful rock bands of the past few years, and their latest release was one of the most anticipated of 2003. Well Faceless is finally here and the Boston-based quartet is on the road once again, after taking nearly a year off.

Guitar.com has spoken with guitarist Tony Rombola a couple of times before. In this new, highly-detailed interview, Tony fills us in on the band's five-month working vacation in South Florida, his and vocalist Sully Erna's growing Les Paul collections, and why struggling musicians should keep their eye on the prize for at least a few more years.

Guitar.com: Tony, tell us about the new album, Faceless. Where did you record this time around, New York?

Rombola: No, down in Miami at Criteria.

Guitar.com: Oh. Been there a few times. It's a historic studio.

Rombola: Yeah, it was cool. We actually rented a house down there for like five months. We spent like two and a half months just going to a rehearsal room and just jamming, writing songs. And the last six weeks we recorded.

Guitar.com: Criteria is actually called something else now, isn't it?

Rombola: The Hit Factory.

Guitar.com: Yeah.

Rombola: Lot of hip-hop bands there.

Guitar.com: Oh really?

Rombola: We were hearing the low bass coming through the walls half the time.

Guitar.com: I did an interview down there one time with Tom Dowd, the guy who produced all the Allman Brothers and Lynyrd Skynyrd CDs, and Derek and the Dominos.

Rombola: Wow.

Guitar.com: And he got out the piano and was letting me mess around with it, and he was playing it. He was a really good piano player. And he was playing "Layla" on the piano it was actually recorded on.

Rombola: Oh wow.

Guitar.com: It was pretty cool.

Rombola: There's a lot of history down there.

Guitar.com: So you guys got to take a good amount of time with this one. That's cool.

Rombola: Oh yeah. It's the first time we've ever been able to do this, really. The first record we wrote as'we didn't expect to go on tour. We weren't thinking we were going to make it like. That was years of songwriting accumulated for that record. The second one was like, we were on tour the whole time, and we had to write out of soundchecks and dressing rooms, so it kind of felt like really pushed, like under a lot of pressure. We had to play all these shows, the thing was growing so fast, there was so much going on, that it seemed like it took away from the songwriting time that we would normally have. Where we didn't have that problem with this record. We really had like more than enough time.

Guitar.com: That's cool. Did you do anything unusual with this record, especially with the guitar tracks?

Rombola: Not too unusual. We were pretty standard with the basic heavy sound that we had. We did it pretty much the same way with two, we'd both play a track of the rhythm track with our Mesa's, and then I did one more track, with like a different tone - like something real mid-rangey, to kind of fill in where the other ones were, with what frequencies the other one's didn't have. There's only three tracks, really, on almost all the tracks. All our records have been like that. And we did a few different things. We actually had acoustic on a couple songs, that we used, which is different for us in the studio. We've never recorded with acoustics before. So that was new too.

Guitar.com: What kind of acoustics were you using?

Rombola: We had some Ovations that they sent us. They were really great. I don't even know the actual model, but it was a six- and a 12-string. They sounded really great. I'm lovin' em now.

Guitar.com: Are these still the guitars with the plastic backs?

Rombola: Yeah. Yep. The round backs on 'em. They sounded great. One of 'em doesn't even feel like it's wood. It's like this other kind of material. I don't even know what it is, but it sounded great and it tracked great, it recorded well.

Guitar.com: Do they still slide off your lap when you're sitting down with them?

Rombola: (laughs) A little bit. A little bit. You're right. I did notice that. See I never had played one before but like I was really impressed with how they sounded. But I did feel that when I was playing it. I had to keep my leg up real high to keep it tight to my body.

Guitar.com: I haven't played one in years, but they should put some sort of edge or angle there.

Rombola: Or some grip material. Sandpaper.

Guitar.com: Yeah, there you go. So what kind of Mesa/Boogie amps are you using?

Rombola: I use the same ones I used on the second record, Triple Rectifiers. They're the two-channel ones.

Guitar.com: Then you must have effects for distortion and stuff?

Rombola: Uh, no, no. I just crank up the pre-amp, and that's it. And we used the recording pre-amp for that nasally tone.

Guitar.com: So you're just straight into the amp?

Rombola: Yeah.

Guitar.com: Even live?

Rombola: Live I go through a noise gate, a little Boss noise gate. And then into an Ashly EQ, just to get rid of this - when I play in big rooms a lot and it's loud, I get this low-end feedback I have to kind of contain. So I use a parametric EQ for that. But that's it, you know, I mean the effects I use live, I run them through a switching system, a GCX.

Guitar.com: Ground Control?

Rombola: Yeah, exactly. And so it's a pretty straight-forward signal, for the most part, until I kick in an effect, and then it just re-routes it to that.

Guitar.com: So you've got all the tone you need right out of the amp?

Rombola: Yeah definitely. I never use any kind of overdrive with the amp. It has plenty of gain by itself, I think.

Guitar.com: Do you pull back on the volume on the guitar when you're playing rhythm?

Rombola: No, I have the gain all the way cranked up, and I leave my volume all the way cranked up on my guitar. That's how we've always done it.

Guitar.com: And then there's probably a lot of right-hand muting in there.

Rombola: Oh yeah. In the studio it wasn't as bad 'cause I wasn't near the cabinet, but live I have to have a noise gate, just to quiet it down, 'cause it's so much louder too. I didn't play as loud as I would live.

Guitar.com: So when do you hit the road, do you know?

Rombola: It'll probably be right after the record comes out, so right around the same time.

Guitar.com: Late-April?

Rombola: I think May is when we're gonna start touring, some time in April is when the record's coming out. I should know this. This is terrible.

Guitar.com: Especially if you've been doing three days of press. (laughs)

Rombola: Well you know Sully usually does most of the talking.

Guitar.com: Oh. But don't you talk to the guitar magazines?

Rombola: Actually both of us did.

Guitar.com: But you can't get in a word with him around, right?

Rombola: He loves to talk. They asked me like the technical stuff 'cause Sully doesn't give a s--t about guitar. He only uses it to write songs, you know? He doesn't care about any scales or any kind of technique kind of thing. But he's gotten great on the guitar. Since I started this band, he barely could play, when I first started it. He plays live on a few songs, he plays great rhythms, he writes great riffs. I'm impressed that he's come as far as he has on the instrument.

Guitar.com: Well, touring doesn't hurt, does it?

Rombola: No. No, playing all the time like that. He doesn't play all night, he'll play like two songs a night. He has a guitar in his dressing room. He picks it up. Like I said, he uses it to write with. You'll never catch him playing any kind of scales or any kind of old songs or anything. He strictly uses it to write with.

Guitar.com: Do you write some riffs too?

Rombola: Yeah. Yep.

Guitar.com: You kind of fit things together?

Rombola: Yeah, sometimes. He's really the king at that - the arrangement thing. If anything, I'll have a riff, or even a couple riffs, and he'll arrange it, 'cause he knows drums really well. Sometimes he'll have a song without a B section, and I'll have something that will go with it musically, if it's the right tempo and the right groove. A lot of times we put stuff together like that.

Guitar.com: Do you? I'm sorry, I'm being distracted. I'm watching your DVD here on one of my computers at the same time.

Rombola: Is it the live show?

Guitar.com: It's the 'Smack This' home video. It's all the stuff, I guess, right?

Rombola: Is it us f--kin' around?

Guitar.com: Yeah, a lot of that, and a lot of live stuff.

Rombola: Oh all right. I haven't seen that one yet.

Guitar.com: It's pretty cool. Lot of chicks, man.

Rombola: Yeah, yeah, I know. It's crazy. And I'm married. Figure that out. (laughs).

Guitar.com: Oh well. So what kind of tunings are you using? Are you using standard or open?

Rombola: No, open tunings, but it's just the low string. It's Drop D, and what I would call Drop C.

Guitar.com: The whole guitar is down a step to D standard, and then the low string is down a step below that to C.

Rombola: Right. Exactly.

Guitar.com: And then does Sully do the same with his guitars?

Rombola: Yeah, that's the whole reason we use this tuning, because of Sully's being a rookie on the guitar when I joined the band, he couldn't really play any kind of bar chords for the most part. So he did that because he could play it that way. And it just turned out to be an easy way to do a lot of percussive riffs. I found out right away that you could pull off chords and hammer on chords instead of having too', y'know what I mean? It opened up a whole new way of playing, really, for me, where I'd never used that tuning before I joined Godsmack. And I saw how easy it was to pull off strings and hammer on chords, like I said. It opened a whole new room for me, like, "Wow, look how easy this is!"

Guitar.com: (laughing) I'm watching your DVD and Sully is shaving the back of one of your crew members?

Rombola: (laughs) Oh yeah', oh yeah'

Guitar.com: I've got to turn this off dude, hold on?

Rombola: Yeah, there's some stuff on there.(laughs)

Guitar.com: Anyway, pretty crazy. So you guys obviously have a lot of fun out there on the road.

Rombola: Yeah, we do. We do have fun.

Guitar.com: Did you do any shows when you were down in Miami and doing the studio thing?

Rombola: We did one show after, New Years, in Orlando at the Hard Rock. And it was great.

Guitar.com: Yeah, that's a great venue, holds about 1,500 or so, right' But otherwise, you've been off since last spring, right?

Rombola: Yeah.

Guitar.com: A well-deserved rest I suppose.

Rombola: Too much, really. We're really itching, we were itching to get the hell out of here. But it takes time. Everything takes so long, you know, to record the record, now they have to mix it, then master it, then all the artwork has to be put together. It's just everything takes time. Then they'll set it up at radio. It'll come out on radio for about a month before. Y'know, it's a big operation they got planned for us. (laughs)

Guitar.com: Why don't you just hit the road in the meantime?

Rombola: Because they think it's better to time it with the record. They think it will be a bigger impact, and it will be a bigger deal.

Guitar.com: Couldn't you be doing Europe in the meantime?

Rombola: Yeah, we will go to Europe. Probably only for a couple weeks though. We've been there three times and we're still not doing s--t over there.

Guitar.com: Well, it just takes work, huh?

Rombola: Yeah it does. You've gotta keep going back and prove yourselves.

Guitar.com: But summertime is the time.

Rombola: Yeah, I've heard. We've actually gone, one summer we did a tour with Limp Bizkit over there, and that was the most people we've played to [in Europe] on a regular basis. But then Fred (Durst) decided to quit the tour. He had enough of it. It kind of sucked for us because we were really starting to reach some people, and they canceled the last week and a half.

Guitar.com: Oh that sucks.

Rombola: But oh well. I guess he couldn't sing, or some s--t.

Guitar.com: I guess he does whatever he's gonna do, huh?

Rombola: Yeah. I think he was probably homesick.

Guitar.com: So what are you guys gonna do in the meantime, until the record comes out?

Rombola: We have to design the stage, we'll do rehearsals for the Europe thing. And then I know we're going to have to do a video for our first single that's coming out. We have a couple weeks off in there. And then probably start rehearsals, I'm sure, a few weeks before we go on tour. So, it seems like we have a lot of time left, but there'll be stuff to do. They'll figure something out for us.

Guitar.com: What kind of rehearsal routine do you go through before a tour?

Rombola: Typically the band will play together well, it's been different at different times. But if we've been off this long, we'll probably want to get in a room and just jam for a week or so straight, and then maybe go in for the full rehearsals for probably two days or something. That usually is enough to whip us into shape. But the show in Orlando we did, we only rehearsed for two days in the studio, then we had one day at the venue. So it was only three days that we rehearsed for that, and everything worked out great. Y'know, you don't forget, really. You play that stuff so much on stage it just gets to be like a routine in a way. And the songs, to me, aren't that hard to play.

Guitar.com: So you got a couple Grammy nominations huh?

Rombola: Yeah, for "I Stand Alone."

Guitar.com: Is that cool?

Rombola: Yeah, that's very cool. I mean, who woulda known, y'know?

Guitar.com: That's pretty prestigious stuff, man.

Rombola: Yeah I know, for a song that was a joke in a way. Not the song is a joke, but Sully came up with that y'know the opening riff?

Guitar.com: Uh-huh.

Rombola: He came up with that, we were playing at a gig in the daytime, we were doing our soundcheck, and he's f--kin' around way up high on the E string, and he didn't have that riff yet, but he was just bouncing off notes and stuff, and he was like, "How come no one ever plays up here" And I go, "I don't know, 'cause it's hard to reach." And he ended up coming up with that riff just like that from f--kin' around. It started as a joke but it turned into one of our biggest songs.

That's how he is, he'll come across something. And being a rookie on the guitar is probably a good thing for creativity, y'know, 'cause you bump into stuff and find stuff that someone else would go, "Oh, that doesn't work, you're not supposed to do that." All the sudden you have rules and have limitations on yourself because you start knowing stuff.

Guitar.com: Did you end up interacting with any of the people from the movie, "The Scorpion King"?

Rombola: Hardly. We did the video and The Rock showed up, and that Kelly Hu girl. But that was it. They were there for a few hours and they left. But we got to meet 'em.

Guitar.com: What did you think of the movie?

Rombola: I didn't even see it. I haven't even seen it. I heard it wasn't that good. I mean, I love "The Mummy," but I heard this wasn't even close.

Guitar.com: Well sometimes they get a hold of a person they think they can make a star out of, and they throw a bunch of effects at it, and they don't pay as much attention to making the movie be a good story.

Rombola: I just saw a movie like that, that "XXX" movie, the other day. I finally saw it 'cause my wife got the video, and I watched it. I thought it was the same thing. I thought it was good special effects, he seemed like a cool character, but the story sucked. I didn't like the lines he was saying. He sounded stupid.

Guitar.com: Well, y'know, there's creative people, and then there's people who just have the ability to get the stuff done, without the creativity.

Rombola: I liked the special effects.

Guitar.com: Yeah, those were killer.

Rombola: That was about all there was too it, though.

Guitar.com: So what are you doing about a drummer?

Rombola: We have a drummer. We've had one since June or so.

Guitar.com: Oh, OK. It doesn't say anything about that on your website, it just says that Tommy left the band.

Rombola: It should say something. It really doesn't say anything? We have a video on there you can click on, we played a show in July with Shannon, and it actually shows on one of the songs, "I Stand Alone," he's playing on there. It should be on there anyway.

Guitar.com: Well I was looking in the news section and there's the announcement that Tommy had left, from June of last year, but there wasn't anything since then about it.

Rombola: Oh yeah, we definitely have a drummer, we've had one for awhile.

Guitar.com: What's his name?

Rombola: Shannon Larkin. He used to play for a band called Amen.

Guitar.com: How did you hook up with him?

Rombola: Sully has known him from before this band even started. He's a drum buddy of Sully's, really. And we got in touch with him and made this switch.

Guitar.com: Was that band from Boston?

Rombola: No, I think they were from somewhere out in L.A., I believe. It was kind of a punk band, and they played around. They've been to Europe, and they do all right. But that came to an end and it just happened at the right time when we were looking for somebody.

Guitar.com: Sully started as a drummer, right?

Rombola: Yeah. Sully is a total drummer. He's a great drummer. He's better than just about anyone I've played with.

Guitar.com: Oh really?

Rombola: Oh yeah. He played on the first two records. That's him playing the drums.

Guitar.com: All the drum tracks?

Rombola: Oh yeah. He did everything. And he would have done the drum tracks on this one too, but Shannon's one of his heroes. He's right there writing the drum tracks. He wrote drum tracks for the most part, but Shannon played them all on the record.

Guitar.com: So how has Shannon changed the sound of the band?

Rombola: You know, he plays more like Sully does. We were pretty fortunate when we had Tommy, who is a great drummer. And we had Sully, who is a great drummer. But before Tommy, for probably two and a half or three years, we played as a band with another drummer, this kid Joe, who wasn't that good. And right before we got signed, Sully called Tommy, who was another drum buddy of Sully's, and Tommy came in right before we got signed to a major label.

So, at the time, I remember Sully was trying to get Shannon, but Shannon had just joined Amen. Sully wanted Shannon because Shannon plays like Sully, because he was Sully's idol as a kid. Sully incorporated Shannon's stye into his own. And that's why he knew that Shannon would be perfect for this band, because he already had the same style, the Godsmack style. So it's been a perfect marriage as far as styles go. And he's a great guy to boot. So it's been great.

Guitar.com: That's cool. So what are you going to do between now and the tour? Are you going to get any new guitars or anything?

Rombola: Yeah, I do want to. I might paint some more of my own, or I might get in touch with Gibson and have something made. I was thinking about a few different things, but I'm not sold on anything yet. I did have an idea for Gibson. I want to have a Les Paul, kind of a customized one for myself, but I'm not really done designing it. Me and my guitar tech have been working on it. We're trying to pick all the best things that would look cool and sound great. We're still thinking about it. But it is something I've been thinking about, 'cause I have a few months now to get ready for the tour. And we'll be going for a couple years, so it'll be worth it.

Guitar.com: Are Les Pauls all you take with you?

Rombola: So far, yeah. Sully got an Explorer and I kinda thought it was a pretty nice feeling guitar, so I might end up getting' a couple of those for the next tour, just for a change. But when I started this band, I'd never played a Les Paul before, and I got one 'cause Sully, he was all about the Les Paul. So I was like, "Yeah, I'll get one and try it out." And I ended up falling in love with it, so that's all I've been using since.

Guitar.com: What were you playing before?

Rombola: Strat-style, like I had a G&L Strat. I had an Ibanez RG550, kind of a Strat style. That was the stuff I was playing before this band. With a whammy bar. (laughs) I haven't seen a whammy bar since Godsmack.

Guitar.com: And what kind of strings do you use?

Rombola: GHS. I use .010s on the standard tuned guitar, and .011s on the C, with a bigger E string that would come with elevens.

Guitar.com: What is it?

Rombola: You know, I don't even know. My guitar tech takes care of that for me. He makes custom sets for me. I know it's bigger cause it was too floppy with a regular .011 low string tuned down two whole steps.

Guitar.com: What do you use the standard tuned guitar on?

Rombola: Well, not standard. What I mean by standard is that the A through the E are all standard, it's just the low string down to D. So they're .010s on that guitar.

Guitar.com: So that one is a Drop D? And the other guitar is a Drop C, more or less?

Rombola: Right, exactly.

Guitar.com: So which songs do you use the Drop D on?

Rombola: Uh, "Faceless" is Drop D. I don't even remember right now. What we do is, it kind of more or less to facilitate Sully's vocals. If he has a song that he's singing and he's having trouble, and the chorus is a little bit too high, we'll play the C guitar, and vice versa. We can kind of mess around, have our options vocally. That's ultimately what is the most important thing. We've got to have the melody and the vocals in the right register for his voice.

Guitar.com: OK. But Sully's playing open tuning?

Rombola: No, Sully is doing the same thing I am.

Guitar.com: Oh ok. Did he used to play open tuning?

Rombola: No, it's always been just a drop tuning, with the low string. The rest of the strings are standard in relation to each other.

Guitar.com: When you were talking about pull-offs and stuff, you're just talking about the pull off to the sixth string.

Rombola: On the low strings, the first three strings. When you have a chord and you can pull stuff off. Almost all our songs have that kind of thing.

Guitar.com: And what amps is he using on tour?

Rombola: Same thing, the Mesa Triple Rectifier.

Guitar.com: And straight into the amp?

Rombola: Yep. A noise gate, Ashly EQ, and then the amp. We're wireless too. I think it's a Shure wireless.

Guitar.com: Which one?

Rombola: (laughs) I don't know. I haven't seen my rig in a year. I took the amps when I was in the studio, but I didn't take my wireless.

Guitar.com: What did you take to Florida, just a couple of guitars?

Rombola: I took a bunch of guitars; like a bunch of (Les Paul) Standards, a couple (Les Paul) Studios, and some (Les Paul) Customs. And we took four heads, one had 6L6 (power tubes), the other ones had all EL34s (power tubes). We made that switch in the studio, when we were rehearsing, we had a rehearsal room. And Mesa had spent a bunch of tubes to us and we loaded one of them with EL34s, something we never did before. I always had 6L6s. And we were A/B-ing them and digging the way the EL34s sounded, so we were sticking with those.

Guitar.com: Did you do any gear shopping while you were down there?

Rombola: No, not really. I went to a guitar store and just picked out a bunch of effects that (I thought) I might use in the studio, which a lot of them I didn't even ended up using. But I did shop around for some stuff as far as effects. But not really guitars or amps. I'm pretty happy with the tone we were getting. It's about as good as we can get it.

Guitar.com: Do you collect vintage gear or anything like that?

Rombola: No. No.

Guitar.com: You don't even look into it?

Rombola: You know what? I probably would. I never had money for that s*%t. And so far it's been that we're endorsed by Gibson, and they can't send us vintage guitars. So I haven't spent any of my own dough yet on guitars. I guess if I end up a millionaire, or having a few million bucks I would probably consider it. But right now I'm still saving my money.

Guitar.com: Well that's wise.

Rombola: I know it's an investment too, but right now I have so many new Les Pauls around that I haven't really had the desire to collect old ones.

Guitar.com: How many do you have?

Rombola: I probably have like 15 now.

Guitar.com: Wow. Cool.

Rombola: Sully has even more than that because he smashed about 20 of them. (laughs) And he has 15 or 20 himself.

Guitar.com: And how many do you actually bring on the road with you?

Rombola: I take like five.

Guitar.com: Mostly as backups, just in case?

Rombola: Actually it's probably six, because I take one just to take to hotel rooms. I can always swap it out with one of my road ones if I want.

Guitar.com: Do you bring an amp to the hotel?

Rombola: Yeah. I have a little Fender Bullet.

Guitar.com: Really?

Rombola: Yeah. I don't even know why. I was in a town one day and I tried that out, I thought it was cool for a little amp, and that's what I've been using.

Guitar.com: I'm surprised you're not using a Pod, or something like that.

Rombola: I have a Pod, but I don't like'I have to powered monitors to hear it, you know. I've played it through an amp but I don't like the way it sounds. I mean it's all right, but I'd just as soon go through a straight amp. It's just for noodling around. I do have a Pod. On tour I have a little case that you open up, it's got a little powered monitor, a Pod, a drum machine. So I can't sit there when I'm in my dressing room and play my guitar. That's where I use that. But when I go to a hotel room I don't play as much. I just have it there in case I want to noodle around.

Guitar.com: So you must have kids coming up to you asking you how you play things, or how you got where you are now. What do you tell people?

Rombola: You know what, it doesn't happen a whole lot. A few times here and there I've had kids that play in a band or play guitar that ask me, "What do you got to do to make it?" And all I can really tell them is don't give up. Keep trying. Give 100 percent. That's what we did. I think I was 32 when I first joined Godsmack. Or 31. And I thought at that time that I had been trying for years to make something happen with music. And I would have never expected it to go this far in the past six years.

Guitar.com: That's another thing. Life itself throws so many things at you in your late 20s and early 30s, but a lot of people might think, "If I don't make it by the time I'm 24 I might as well give up."

Rombola: Yeah, that's way wrong! And, who knows. Your dream might turn into something different too. You might think you want to be in a rock band, playing onstage to people. But it might turn into being a studio guy, or something in the business that's still really cool, and you love to do, but you might not even have pictured. But because you stayed pretty true to your passion, you'll make it happen.

Guitar.com: It does get frustrating, working regular day jobs, trying to play music, watching the years go by. But I definitely think people should always stick to it.

Rombola: Yeah. The worst-case scenario is, if nothing happens, at least you were doing what you like to do.

Guitar.com: So when you're out on the road what do you do to keep your chops up?

Rombola: In the dressing room. I always have my guitar right there, and like I said I have a couple powered monitors in this case so it's there every day. For any minute that I get I can just sit down and noodle around. Plus I've been playing for 25 years or something now. I don't really have to play all the time. I used to pursue trying to play like Yngvie, or trying to play like Steve Vai. I used to have that in me to try to get better and learn this and that. But after years of that I think it's better to just try to create your own identity and your own sound, 'cause you end up just sounding like someone else, and not even as good of a version of it. To me, you should just do your own thing, and try to be yourself, create a voice.

Guitar.com: Well you guys have done that. You've done that, the band has done that.

Rombola: I think so. I think we have a distinct sound. I think Sully's voice is really recognizable'And we still play solos God damn it!

Guitar.com: Yeah. I know last time you and I spoke we spoke about solos. You got a few on the new album?

Rombola: Yeah. It's like half, probably. But that's a rock thing to us. We're into Aerosmith and Sabbath and Zeppelin and stuff, so that's just normal. Not every song should have one. And it's not like it used to be where it's this over the top thing. But it's still got attitude and people can still hear some solo in there.

Guitar.com: When you get into solos do you get into any weird scales or anything, or do you keep it pretty straight?

Rombola: Well, I usually mix'I was always into blues so I usually mix the blues scale with diminished and some chromatic stuff. But for the most part I just do stuff with attitude. I try to get a good attitude on there. Sully has always said that from the beginning: He always wants us to play with attitude more than play flashy. And that's kind of the formula we've always gone with.

Guitar.com: Well it works.

Rombola: Yeah.

Guitar.com: All right dude. Thank you for your time. I'll let you get going, I'm sure you've got others to do.

Rombola: Yeah, we've been pretty busy, but it's all part of the job now.

Guitar.com: That's all right though, it's not a bad job is it?

Rombola: No, it ain't. It's a great job!

About the Author
Adam St. James joined Guitar.com shortly after the website launched in the summer of 1999 and has been the site's Editor for several years. Adam is the author of several guitar instructional books, including "101 Guitar Tips: Stuff All the Pros Know and Use" (published by Hal Leonard). He fronts blues and rock bands in the Chicago area. See www.adamstjames.com for info on all Adam's books, bands, and barstool banter.

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