There's different levels of where we do well throughout Europe. Fortunately, for us, it's pretty great all throughout it.

If you bring somebody into the band you are going to be with them a lot whether it's in the studio, on the tour bus, or at dinner every night; you want somebody you enjoy being around. You don't want an annoying guy .

I think it's a good way to sort of build your career and even when I was a young kid, I did the same thing, I looked at these guitar players, like ...I was a big fan of Steve Vai, and Al DiMeola, and said "What do those guys do?" and I found out that they went to Berkelee College of music, so I was like "Well, I'm going to go to Berkelee College of Music", and you try to, like, learn from those things, so... It's important.

The good thing about playing this style that we play, you know, the progressive element of it, is that we can add in different elements of different styles. And that creates a more interesting overall sound.

Personality wise, we are all kindred spirits. I've said this before; if we [with Mike Mangini ] ever went to high school together we would have been friends. He is just one of us! We felt that immediate connect.

I do a lot of the stuff that I started out doing that I think any guitar player that's concerned about the craft needs to do. It's basic practicing of the basic elements. I try to practice like a well rounded regiment of things where I can kind of do whatever I wanna do and I also have to practice the actual songs to keep that under my fingers as well.

Instead of buying a guitar for $2,000 or $2,500 - I'm not sure how much these are going for - but it's maybe $300 or something like that. It's more for beginners and stuff like that. Obviously it's not hitting the pros. And you can't get the Piezo pickup and the color-changing paint and the inlays and all the fancy things that my signature guitars offer, but you can get the general feel of the guitar - and the body style. It's cool.