ALBERT FOX: The MIDI grand that I was telling you about. This is basically...

[ALBERT FOX PLAYING A FEW LICKS ON THE PIANO]

...you know, standard piano but has the capability so wonderful things like floppies, you can get Gershwin playing Gershwin on here, so you get to hear “Rhapsody in Blue” played by Gershwin himself, which is really spectacular. It was like the man had like four hands. When you watch him play, it’s just really stunning but it allows you to connect the MIDI cable form that room into here. You plug it into the bottom and then you mic it -- Well, there was a mic around here some where. You get a nice Neumann stereo mic and then record and it’s great. I mean you don’t have to necessarily on a player but it’s not as straightforward as you might think. It’s not just a matter of hitting play and then everything sounds perfect because velocities on sampled pianos are sometimes off so have to adjust some of the velocities to get them to sound natural. But once you do that, it really is a matter of just one person can do it. You just mic it and, you know, hit record, hit play, and over there you have yourself a perfect piano performance [LAUGHING], one of the other benefits of, you know, working here.

BILL HOLLAND: Whose are these? Are these?

ALBERT FOX: These are -- I think it’s a collection, mostly Mark’s I would say for the most part. I think these are all Mark’s. He does like to buy some pretty wacky instruments.

BILL HOLLAND: Mostly this one with the split, well the split pickups over here.

ALBERT FOX: The split. Yeah, I have no idea what that is. I mean I’m not much of a guitar guy. I have learned a fe things here and there just from people that, you know, friends of mine that know everything about guitars. They can tell you, you know, where they were made and, “Look at the back. If the pattern is swirling this way, it’s a ’69 Brazilian Rosewood, and if it goes that way then it’s like I don't know, man. I don't know.” [LAUGHING] So, yeah but Mark collects a bunch of guitars and instruments, and it’s good because if you need a different sound you’re not stuck with, you know, your crappy software emulation. You can actually come and grab a -- you know, if you need a hollow-body, you can come and grab one, or if you needed a vintage anything, you know, it’s we have it. I mean we have issue number 17 of a Fender Twin. It’s a 1959, I think, amp. I think we actually have it around the corner and it’s just amazing. And it’s not necessarily amazing to me because I’m not a guitar player [LAUGHING], but the guitar players I tell always freak out and they just like they can’t believe it and they want to take pictures next to the amp and then doing this next to it, and I’m like, “Okay. That’s cook.” [LAUGHING] So, that’s a big deal to them but so yeah it keeps us, you know, we don’t run out of things to play or instruments to have or if, you know, there’s always inspiration pretty much anywhere. We have instruments scattered through the hallway as I’ll show you in a second, so people always are, you know, running by [PLAYS A GLISSANDO ON THE PIANO], you hear this, that kind of stuff or [PLAYS A FEW NOTES OF THE PIANO], you know, somebody doing like a little pattern as you’re walking by.

[ALBERT FOX PLAYING A RUGRATS-THEME-LIKE PASSAGE ON THE PIANO]

That was almost The Rugrats actually...

[ALBERT FOX PLAYING THE RUGRATS THEME ON THE PIANO]

...written by Mark himself anyway. [LAUGHING]

BILL HOLLAND: All right. Let’s move on.