Recording Myths About Sample Rate and EQ

WEBVTT
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Hello!
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And welcome to Inside Recording Studio.
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Oh wow, that was long.
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Hi, I'm Jody Whitesides and with me is Mr. Chris Halstrom.
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And welcome to another episode of Inside the Recording Studio because I just said that
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and let's go Chris.
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Say something.
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You must be a little dizzy after that long intro there, right?
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Yes, as I was sitting there doing it, I was trying to act like the gopher from Caddyshack.
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A little fuzzy headed.
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Yeah, okay.
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And I kind of took it a little too long.
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Well, you know, here we are.
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I am.
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Now we're ready for another episode.
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Yeah, it's it's going to be a fun filled.
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So how's it going?
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How's your week been?
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You've been busy, I think.
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(mysterious music)
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Oh.
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Well, I don't know if it's fun filled, but it's definitely a packed filled week.
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And it's not.
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It's music related for the most part, but it's also congressional related.
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I'm meeting with two new congressional members of Congress this week for the recording academy,
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Mm-hmm
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which is always interesting. It's fun to do that. And yeah, so it's, it's definitely a packed week
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You're gonna be very official this week, which is good. Yeah good for you
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in terms of things of that nature. I am I am I am I'm helping other musicians and music creators
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That would be wonderful wouldn't it?
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alike by getting legislation passed to hopefully help us in the future.
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It would and it has happened in the past.
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Yeah, actually have some it has yeah, so yeah, we'll keep our fingers crossed for that
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Yes, sir.
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That's something positive would come out of this as well
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Yes, sir.
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Yeah, so should we just dive in I think we should just dive in
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Yes, sir.
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All right.
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Yeah, and some of these we have sort of tackled before in previous episodes
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We're going for the deep end already.
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It's common recording myths.
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so if you want a little bit more of a
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deeper thing on some of these. Just go back and listen to the episode. But one thing that we talked
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Yes.
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about relatively recently, and this is the first on our list here, and always record at higher sample
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rates. Something like that, right? Yeah, two, three weeks ago. Yeah, so it's fresh in our memory here.
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That was just like two weeks ago, wasn't it?
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Yeah.
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Yeah.
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Yay.
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So should we? You're a big proponent of 96k. Is it always better to record at higher sample rates?
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I am.
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No.
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No? All right. Point number two. Yeah. Yeah. Mm hmm.
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I just say that right off the bat.
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No.
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No.
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So we did kind of do a real kind of deeper discussion about it a couple of weeks ago
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on the sample rate episode that we just put out.
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But the funny thing about that is a discussion came up with a fellow producer literally a
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couple of days ago about this.
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Okay. Yeah.
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And he has a setup that isn't quite capable of doing 96K.
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So it gets him kind of clicks and pops burps and farts, that kind of thing, which tends
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Okay
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Yeah
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to happen if your machine isn't quite up to powerful enough to run multiple multiples
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of tracks at higher sample rates.
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What does it really make sense to record at that rate?
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No, technically it doesn't because you really don't want those clicks and pops.
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Yeah
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However, he chose to sample rate that we discussed
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Yeah.
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Yeah.
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that we were like, nobody records at that sample rate.
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And I think that's, that's a good point.
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So we got into that little discussion
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of nobody records at that.
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And he started to like question it.
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And I said, you're the only person I've ever met or know
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Yeah.
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that actually is trying to choose to record at 88.2.
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And he wanted to know kind of the theory behind that.
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Yeah.
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And I get where he's coming from for doing it.
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And I'd said, you know, if you feel inclined,
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go ahead, do it.
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I mean, I'm not saying you shouldn't.
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And I look at it from the standpoint of like,
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for me, the way I'm choosing the sample rate
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has more to do with what is the end result of the product
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and what is the archival life of that product.
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Because if it's something that's like kind of
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[birds chirping]
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toss away music, so to speak, that is done as background,
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incidental background music in a reality TV show.
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[birds chirping]
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The archival purposes of that is practically nil.
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[birds chirping]
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It's like you do it, you throw it out, you do it.
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[laughs]
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And they wanted it 48K, which is still higher than 44.1,
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[birds chirping]
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but it's not 96, it's not 192, it's not 174.4,
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[birds chirping]
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is that what it is or something like that?
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[birds chirping]
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And it's not 88.2, it's specifically 48K.
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Yeah.
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So I don't record anything at 44.1 unless it's a request.
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So that's something I don't do,
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Mm-hmm.
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but it's not a bad sample rate to technically record at.
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[birds chirping]
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It's just not great also for archival purposes.
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Yeah.
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So yeah, we do a big discussion on that
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a couple of weeks ago.
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So I don't know if you want to add any more to that,
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Yeah, no, my point of view is that it's, you know, you have to look at your system, right?
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but that was just an interesting conversation
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that just kind of popped up and I was like, yeah,
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I get it if it's archival worthy to go higher.
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Yeah, no, that's a big deal.
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Just like we said in that episode.
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And if you're struggling to perform at a certain sample rate, the benefits of doing that are
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Yes.
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sort of outweighed by all the problems you're having.
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So I think if you are, if you have a system that struggles to do 96, I don't do 96.
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Yes.
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I tend to stay at like 48.
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Mm hmm. Yes, myth number two. This is one of my favorite argument points, I think in
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I'm like, yeah, never had an issue with anything.
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And also it's a little bit dependent on what I do, type of music that I do, that type of
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thing.
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But is it always better?
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No, it's not always better.
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So there we go.
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myth number one yeah yeah yeah this yeah the beat the beat was recorded on four
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with people that are claiming to be purists about recording and they always love to bring up this
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specific band when it comes up and that is the Beatles. Yeah man the Beatles wouldn't have done
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that or the Beatles only did this and it's like no kind of not exactly. No not at all.
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track. Yeah, but did they did they only use four tracks though?
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You know, no, it's no, this is another one that you know, it
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Sure.
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just drives me up the wall when I hear people say that. With all
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Mm-hmm.
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Mm-hmm.
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the tools that we have today, you know, to somehow equate that
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Mm-hmm.
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that's bad because the technology didn't exist in 66.
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Sure.
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You know, but also completely disregarding that all the boundaries that the Beatles pushed with the technology they had, you know, and overdub upon overdub upon overdub, you know.
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Weren't they also one of the, I think they were one of the very first bands to record
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a track.
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If I'm not mistaken.
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Cause like they strung several machines together to get extra tracks.
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If I'm not mistaken.
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Oh, I mean...
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that's George Martin like really pushed the envelope with those guys. So not only that,
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Oh, yeah.
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[silence]
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it's like when you think about certain things, it's like, oh, the Beatles played it and it was pure.
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And it's like, yeah, well, what about the times when they would slow down tape to play things they
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couldn't play at the tempo they wanted to play them at. So they would slow the tape down in order
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in order to be able to perform a particular part,
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of course that required also retuning an instrument
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Sure.
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to be tuned to the appropriate whatever tempo
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the tape was slowed down to,
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[silence]
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so that when it was sped back up,
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it would be able to be in tune.
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Be in tune, yeah.
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So they used tape speed and slowed it down
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[silence]
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in order to play stuff they couldn't physically play
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at the tempo that they wanted the recording to be at.
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That is a huge use of technology right there
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[silence]
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when you think about it,
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because it was easier to do that then
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than it is to do now.
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'Cause if you slow down a recording in digital
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and you speed it back up,
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you're not getting the full picture.
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You're getting slices of the picture you recorded,
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if that makes sense,
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because they're taking, remove samples.
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You don't speed up samples.
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It removes samples to get to the faster tempo, right?
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Yeah, I mean, I think that yeah, I don't think that's necessarily the whole picture.
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Am I wrong about that?
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I don't think I am.
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Sure.
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But I mean, I think that technology exists today.
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I mean, there's you can do that, you know, I'm sure in any dog, but there's like very speed and logic where you can do that.
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Right.
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But but there might be artifacts and stuff.
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But but you're right in that we don't have to deal with the tuning thing. Right.
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But yeah, in the same way.
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In the same way.
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[BLANK_AUDIO]
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But the idea here is the thing that really gets me,
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never mind a performance aspect of the Beatles,
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Yeah.
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if it was a part perhaps,
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but just how they used the studio as a creative tool
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and really pushed it to the limits.
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[BLANK_AUDIO]
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I mean, especially, you start getting into,
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Sergeant Pepper or any of that,
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(
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post touring kind of Arab Beatles, right? And you see just,
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audio cuts out)
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yeah, so the whole thing. Yeah, yeah. Yeah, it bright. Yeah, and
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edited two different takes of a song together to make a complete take because maybe something
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went wrong in another take.
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That is technically overdubbing and splicing and doing all kinds of crazy things to get
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the complete picture of the song the way they envisioned it.
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That's using the technology to its fullest at the time that they had it.
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Well, they didn't use auto tune.
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I think a lot of that was just, you know, dumped in. Yeah, they
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Well, yeah, auto tune didn't exist.
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But if they had, I bet they would have used it.
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might have, maybe, maybe. But it's, I think that the whole
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argument is that, like you mentioned, you said the word
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Yeah.
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purest, in the beginning there. And I think that is something
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Okay.
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that happens a lot. And I will probably make the same point
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Sure.
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Yes.
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later down than another point that we're going to talk about
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today. But it's the conflation of sort of like that purest
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Okay.
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Huh?
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mentality that that somehow makes the song better. Because
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Okay.
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that's really the end of the line. It doesn't really matter
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Sure.
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how you arrive at, you know, the final product, it's the song that
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Yeah.
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matters, right? A song can sound great on, let's say four tracks,
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Yes.
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right? And it can sound like shit if you have 150 tracks in your DAW, you know, it's the
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song that matters, right? So how you get to the point of completion is almost irrelevant,
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but to think that you can do just because the Beatles did it on four tracks, which they didn't,
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but you know, that somehow makes your song better is crazy to me.
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(laughs)
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Yeah, don't ever compare yourselves to the Beatles,
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[BLANK_AUDIO]
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especially in a public forum where it might be broadcast
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over airways of radio or television or cable or whatever.
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It usually doesn't end well.
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The moment you tend to do that, your career will tank.
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(laughs)
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Just as the way it goes.
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The most famous, yeah, it doesn't end well.
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[BLANK_AUDIO]
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And I think the most famous case of that
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Was it Jesus and Mary chain?
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Was that the band that came out and said
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I don't know, I don't know.
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- Well, there's one way to get yourself talked about, right?
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that they wrote songs better than the Beatles?
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And shortly thereafter, they disappeared.
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(laughs)
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But you better back it up.
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Sure, makes you sound stupid.
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And I mean, I've heard other stories and stuff.
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Yeah, it's a good thing to do.
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I mean, if you have that as a benchmark when you're writing,
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but that's great, but you might wanna keep those opinions
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to yourself and you know, so no, this, I think, yeah, go ahead.
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It happened to me actually on a radio interview.
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Yeah.
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somebody said that I had done something, quote unquote,
00:12:47.260 --> 00:12:48.480
better than the Beatles.
00:12:48.480 --> 00:12:51.680
And I immediately spoke right up and said,
00:12:51.540 --> 00:12:58.540
Yeah.
00:12:51.680 --> 00:12:52.760
I did not say that.
00:12:52.760 --> 00:12:56.080
I have no, I don't even wanna make that comparison.
00:12:56.080 --> 00:12:58.720
'Cause it's like, I don't even wanna go there.
00:12:58.720 --> 00:13:02.520
And yeah, that was one of the most like frightening moments
00:13:02.520 --> 00:13:07.240
in my career when that went out on a national radio station.
00:13:07.240 --> 00:13:09.440
And it was just kinda like, yeah, I don't wanna say
00:13:09.440 --> 00:13:12.800
that I did anything better than the Beatles in that regard.
00:13:13.540 --> 00:13:15.540
Yeah.
00:13:14.040 --> 00:13:23.540
However, interestingly though, last week we had mentioned a band and then I mentioned someone's name who had played uncredited for that band.
00:13:15.540 --> 00:13:17.540
Mm-hmm.
00:13:17.540 --> 00:13:30.540
Mm-hmm.
00:13:23.540 --> 00:13:28.640
And I had a moment of conversation with said guitar player.
00:13:28.640 --> 00:13:30.640
Steve Wamet.
00:13:30.540 --> 00:13:36.540
Okay.
00:13:30.640 --> 00:13:34.640
He still talks to Eric Valentine.
00:13:36.140 --> 00:13:41.140
and had made a comment about his early recording days
00:13:36.540 --> 00:13:38.540
Okay.
00:13:38.540 --> 00:13:50.540
Right.
00:13:41.140 --> 00:13:45.060
and wanting to get the Tascam 688
00:13:45.060 --> 00:13:47.740
when you were recording eight tracks on a cassette tape.
00:13:47.740 --> 00:13:52.300
And Eric gave him a bunch of shit about it, apparently.
00:13:50.540 --> 00:13:53.540
Really?
00:13:52.300 --> 00:13:54.180
Yes, so I thought that was interesting.
00:13:54.180 --> 00:13:58.080
And Eric's theory on it was is that four tracks on a cassette
00:13:58.080 --> 00:14:01.780
is already bad enough with how little tape you get.
00:14:01.780 --> 00:14:03.660
And now you're cutting that in half
00:14:04.540 --> 00:14:32.540
Yeah. Yeah. Yeah.
00:14:04.560 --> 00:14:06.200
for the amount of tape that you're getting
00:14:06.200 --> 00:14:07.500
for each eight track thing,
00:14:07.500 --> 00:14:08.480
which I thought was interesting
00:14:08.480 --> 00:14:10.840
'cause then I brought up Jeff Soto
00:14:10.840 --> 00:14:14.080
who recorded his first solo record, "Love Parade"
00:14:14.080 --> 00:14:16.040
on a Tascam 688.
00:14:16.040 --> 00:14:18.360
And that thing actually sounds quite good.
00:14:18.360 --> 00:14:21.520
So, but Jeff really knew what he was doing.
00:14:21.520 --> 00:14:23.980
And I'm sure Steve knows, really knows what he's doing.
00:14:23.980 --> 00:14:26.360
But it was just an interesting conversation to have
00:14:26.360 --> 00:14:28.580
after last week's episode with the guy
00:14:28.580 --> 00:14:30.960
and talking about Eric Valentine and all that
00:14:30.960 --> 00:14:34.000
in relation to, you know, how many tracks do you need
00:14:33.540 --> 00:14:52.540
Yeah.
00:14:34.000 --> 00:14:36.360
and what quality of those tracks need to be.
00:14:36.360 --> 00:14:41.280
So Eric's point about a 688
00:14:41.280 --> 00:14:43.720
and eight tracks on a cassette tape is valid.
00:14:43.720 --> 00:14:45.560
There's no question that it's not valid,
00:14:45.560 --> 00:14:48.640
but it's also interesting that you can do quality recording
00:14:48.640 --> 00:14:50.200
based on the gear that you have.
00:14:50.200 --> 00:14:52.800
So we'll get to that more of that later.
00:14:52.540 --> 00:15:14.540
Yeah.
00:14:52.800 --> 00:14:54.640
But yeah, that all kind of relates back
00:14:54.640 --> 00:14:55.720
to the Beatles doing things
00:14:55.720 --> 00:14:58.240
and using the technical prowess of everything they had.
00:14:58.240 --> 00:15:00.660
Plus they had George Martin in the studio with them,
00:15:00.660 --> 00:15:03.760
who was a technical guru on top of all of that,
00:15:03.760 --> 00:15:07.020
who helped twist and bend and do all of this stuff for them.
00:15:07.020 --> 00:15:10.820
So to say that the Beatles wouldn't use today's technology
00:15:10.820 --> 00:15:13.780
is just asinine, don't even go there.
00:15:13.780 --> 00:15:16.680
It's just, they'll use any, they would have used anything
00:15:14.540 --> 00:15:24.540
[BLANK_AUDIO]
00:15:16.680 --> 00:15:18.140
and everything they could get their hands on
00:15:18.140 --> 00:15:21.980
to get the song to the final point of where it needed to be.
00:15:21.980 --> 00:15:24.940
And yeah, and I think I've mentioned CJ Vanston
00:15:24.540 --> 00:15:41.820
It is, and that's the always use subtractive EQ.
00:15:24.940 --> 00:15:27.980
on this before, he and I had a discussion about it
00:15:27.980 --> 00:15:30.500
in relation to something we'll talk about
00:15:30.500 --> 00:15:31.980
further down the line in this episode.
00:15:31.980 --> 00:15:36.060
So let's move on to our next point, which is one I know is a real sticking point for
00:15:36.060 --> 00:15:37.220
you.
00:15:37.220 --> 00:15:38.220
Yes.
00:15:38.220 --> 00:15:39.220
Yes.
00:15:39.220 --> 00:15:40.220
Yes.
00:15:40.220 --> 00:15:41.220
Mm hmm.
00:15:41.220 --> 00:15:42.220
Okay.
00:15:41.820 --> 00:15:48.060
absolute nonsense in my opinion. And here's why. Yeah, we, I
00:15:42.220 --> 00:16:05.900
Yes. Yes, I've heard of that concept. I don't follow it, but I've heard of it.
00:15:48.060 --> 00:15:51.760
mean, we've talked about EQ and EQ techniques in things in the
00:15:51.760 --> 00:15:55.980
past. Now, there are certain, you know, certain people that
00:15:55.980 --> 00:15:59.940
adhere to this, right, as opposed to boosting only cutting.
00:15:59.940 --> 00:16:08.100
I think that's, yeah, right. And I'm sure that can work for some
00:16:05.900 --> 00:16:29.580
Sure. Yeah.
00:16:08.100 --> 00:16:15.300
I'm sure that can work for some people, but my thought of it is that, well, you use
00:16:15.300 --> 00:16:20.820
subtractive EQ when you need to subtract something out of the curve, right?
00:16:20.820 --> 00:16:22.460
You subtract it there.
00:16:22.460 --> 00:16:27.420
The idea that you shouldn't be boosting anything, I think, is I think you're really shooting
00:16:27.420 --> 00:16:33.460
yourself in the foot, because let's say that or anything, right?
00:16:29.580 --> 00:16:56.340
the face. Hmm. Yeah, that'd be kind of silly, wouldn't it?
00:16:33.460 --> 00:16:39.380
But it's, you know, let's take the concept to an extreme, right?
00:16:39.380 --> 00:16:43.500
It's like, okay, well, I want more 10K in this.
00:16:43.500 --> 00:16:44.580
Okay.
00:16:44.580 --> 00:16:50.700
So in order to get more 10K, you would subtract everything under 10K to get the same result
00:16:50.700 --> 00:16:53.980
that, you know, that's sort of like the math.
00:16:53.980 --> 00:16:58.620
Well, to me, and then I think that's in a nutshell.
00:16:56.340 --> 00:17:13.320
Yes.
00:16:58.620 --> 00:17:02.980
Now the same could be said, of course, if you're only boosting, right?
00:17:02.980 --> 00:17:07.820
if you say, well, I want, there's too much low end in this.
00:17:07.820 --> 00:17:10.620
So I'm gonna boost everything over a hundred.
00:17:10.620 --> 00:17:12.620
Well, that sounds just as silly, doesn't it?
00:17:12.620 --> 00:17:14.640
So you subtract,
00:17:13.320 --> 00:17:16.280
It sounds silly, but it could be done.
00:17:14.640 --> 00:17:18.020
well, of course everything,
00:17:16.280 --> 00:17:18.900
But it's just, it makes your work harder.
00:17:18.020 --> 00:17:24.380
well, yeah, I think when you have all of these sort of hard
00:17:18.900 --> 00:17:19.900
That's the real problem.
00:17:19.900 --> 00:17:21.160
makes work harder.
00:17:21.160 --> 00:17:30.200
Yes.
00:17:24.380 --> 00:17:27.620
and fast rules, you end up painting yourself in a corner
00:17:27.620 --> 00:17:29.940
that is completely unnecessary.
00:17:29.940 --> 00:17:34.060
So you use subtractive EQ when you need to take something out
00:17:30.200 --> 00:17:46.380
It is utter nonsense.
00:17:34.060 --> 00:17:37.420
and you use additive EQ when you need to boost something.
00:17:37.420 --> 00:17:38.660
It's as simple as that to me.
00:17:38.660 --> 00:17:43.660
So I think to only do one thing, nah, nonsense, I think.
00:17:43.660 --> 00:17:48.620
Yeah, you agree with me on that?
00:17:46.380 --> 00:17:48.960
Always use subtractive EQ.
00:17:48.620 --> 00:17:53.940
Yeah.
00:17:48.960 --> 00:17:52.700
Use whatever EQ you need, right?
00:17:52.700 --> 00:17:55.740
To make it sound awesome.
00:17:53.940 --> 00:17:59.660
Yeah, 'cause no, yeah, no, it's the last thing I said
00:17:55.740 --> 00:17:57.980
And with that, we're gonna, we'll go ahead.
00:17:57.980 --> 00:18:09.700
(laughing)
00:17:59.660 --> 00:18:03.740
before we go to break here is nobody's ever listened to a mix
00:18:03.740 --> 00:18:07.260
and gone like, oh, he should have used more subtractive EQ on
00:18:07.260 --> 00:18:11.900
the kick. You know, it's like, nobody cares, you know, if
00:18:09.700 --> 00:18:13.640
That could very well be, you know what, I agree with you.
00:18:11.900 --> 00:18:24.460
yeah, or just like, yeah, I can totally hear that he didn't
00:18:13.640 --> 00:18:15.640
I'm not listening to a Max and going,
00:18:15.640 --> 00:18:20.480
Damn, he should have just used a lot more subtractive EQ in the 3K range.
00:18:20.480 --> 00:18:21.240
Huh?
00:18:21.240 --> 00:18:29.640
Silly.
00:18:24.460 --> 00:18:27.500
adhere to using I think he boosted something in there. It's
00:18:27.500 --> 00:18:30.340
like, yeah, okay, whatever.
00:18:29.640 --> 00:18:31.040
All right.
00:18:30.340 --> 00:18:48.020
Yeah, you're not a real guitar player
00:18:31.040 --> 00:18:36.440
And with that silliness, we're going to take a quick word break from our sponsor.
00:18:36.440 --> 00:18:39.440
All right.
00:18:39.440 --> 00:18:44.240
And we're back and we're talking about never using absims.
00:18:44.240 --> 00:19:02.360
Yeah, of course.
00:18:48.020 --> 00:18:49.380
if you use Ampsims, right?
00:18:49.380 --> 00:18:50.740
Isn't that the thing?
00:18:50.740 --> 00:18:54.900
And it has to have the, you gotta have a giant tube stack
00:18:54.900 --> 00:18:57.840
and you gotta do all that kind of stuff.
00:18:57.840 --> 00:19:00.560
That's something that you adhere to loyally, right?
00:19:00.560 --> 00:19:02.900
Yeah.
00:19:02.360 --> 00:19:08.520
Why else would I be doing this if I wasn't using my giant Marshall stack with 18 cabinets?
00:19:02.900 --> 00:19:10.140
Mm-hmm.
00:19:08.520 --> 00:19:09.520
Right?
00:19:09.520 --> 00:19:14.000
Yeah, we've talked about that one kind of ad nauseam in several episodes.
00:19:10.140 --> 00:19:35.140
Yeah.
00:19:14.000 --> 00:19:20.240
about recording guitars. And yeah, no, maybe and maybe not, I
00:19:20.240 --> 00:19:25.740
have talked about this little anecdotal story, where I had an
00:19:25.740 --> 00:19:30.440
artist that I was going to be co writing an entire CD of music
00:19:30.440 --> 00:19:34.980
with and he wanted to bring in his stack to the studio. And I
00:19:34.980 --> 00:19:40.720
said, you can bring it in, but we're not going to use it. He
00:19:35.140 --> 00:19:44.260
That's a real popular statement. Unless you know the guy really
00:19:40.720 --> 00:19:41.880
He kind of looked at me.
00:19:41.880 --> 00:19:46.880
Yeah, no, and I knew him,
00:19:44.260 --> 00:19:45.640
well, you might not want to say that.
00:19:45.640 --> 00:19:47.720
(laughs)
00:19:46.880 --> 00:19:48.000
but it was just kind of funny
00:19:47.720 --> 00:19:48.560
- Yeah.
00:19:48.000 --> 00:19:50.080
because he was like all gung ho about it.
00:19:48.560 --> 00:20:09.160
- Sure.
00:19:50.080 --> 00:19:51.520
And then he's like questioning it.
00:19:51.520 --> 00:19:54.600
So I plugged him in and I said, what sound do you want?
00:19:54.600 --> 00:19:57.720
And then I dialed it in within a matter of, you know,
00:19:57.720 --> 00:20:00.440
30 seconds to a minute and a half and he got to play it.
00:20:00.440 --> 00:20:02.720
And then he then made another comment.
00:20:02.720 --> 00:20:04.680
I'm like, well, what happens if I roll off the volume
00:20:04.680 --> 00:20:05.520
on my guitar?
00:20:05.520 --> 00:20:07.840
Because obviously amps react differently
00:20:07.840 --> 00:20:10.080
based on how you roll off volume
00:20:09.160 --> 00:20:14.560
- Mm-hmm.
00:20:10.080 --> 00:20:13.500
coming from your guitar because it changes the input value
00:20:13.500 --> 00:20:15.860
of what you're coming into the amp with.
00:20:14.560 --> 00:20:43.720
Yeah, but in all fairness to that, to play devil's advocate, early amp sims didn't necessarily
00:20:15.860 --> 00:20:19.580
And I said, well, why don't you try it out
00:20:19.580 --> 00:20:22.520
and find out what you think?
00:20:22.520 --> 00:20:24.700
So he certainly does it.
00:20:24.700 --> 00:20:27.540
And as he's doing it, he's like,
00:20:27.540 --> 00:20:29.080
jaw starts hitting the floor.
00:20:29.080 --> 00:20:31.560
He's like, it's reacting just like a real amp.
00:20:31.560 --> 00:20:33.200
And I said, duh.
00:20:33.200 --> 00:20:34.620
(laughs)
00:20:34.620 --> 00:20:36.000
So there was that.
00:20:36.000 --> 00:20:45.360
No, that's true.
00:20:43.720 --> 00:20:50.680
do that. They didn't, you know, write so that they actually react differently and not just
00:20:45.360 --> 00:20:50.240
It could take a while to get there.
00:20:50.240 --> 00:20:56.160
Yeah, it's a bizarre.
00:20:50.680 --> 00:20:57.160
make the signal lower. They actually reacted, you know, not the way, but today.
00:20:56.160 --> 00:20:58.700
It's a bizarre myth in today's today's world.
00:20:57.160 --> 00:21:07.000
Sure.
00:20:58.700 --> 00:21:00.720
It's a bizarre myth to hold on to that.
00:21:00.720 --> 00:21:04.840
And it's it same would hold true for bass Sims two.
00:21:04.840 --> 00:21:08.920
It's when you're doing the guitar amp or the bass amp thing,
00:21:07.000 --> 00:21:22.960
Yeah, no, I think we've talked about this again a lot, but I think it is a big mentality
00:21:08.920 --> 00:21:13.920
the whole concept of like don't use Sims is completely dumb.
00:21:13.920 --> 00:21:15.980
Asinine, silly.
00:21:15.980 --> 00:21:20.520
Quite a bit, yeah, we don't need to go into it.
00:21:20.520 --> 00:21:21.600
Made me something.
00:21:21.600 --> 00:21:44.860
(laughing)
00:21:22.960 --> 00:21:28.480
thing and it's a very guitar player type of a thing as well, I think.
00:21:28.480 --> 00:21:33.400
But yeah, I would say again, we can probably dispel that method.
00:21:33.400 --> 00:21:39.640
at least yeah not not carry that much weight with that I'm I use them all the
00:21:39.640 --> 00:21:43.800
time on all you do and yeah we've probably already said too much but there
00:21:43.800 --> 00:21:57.560
we go so this it point next is you need great gear to make something cool oh yeah
00:21:44.860 --> 00:21:45.880
So, let's move on.
00:21:45.880 --> 00:21:46.720
Point next.
00:21:46.720 --> 00:21:47.800
Point next is,
00:21:47.800 --> 00:21:58.640
I know I do.
00:21:57.560 --> 00:22:06.560
Yeah, I think we can sometimes let the gear holders back when we do things.
00:21:58.640 --> 00:22:08.640
[BLANK_AUDIO]
00:22:06.560 --> 00:22:13.560
And what I mean by that is, oh, I could do this if I only had this piece of gear.
00:22:08.640 --> 00:22:27.120
Yeah, it goes back to the couple of episodes that we've done,
00:22:13.560 --> 00:22:18.560
I could do this if I only had this microphone, if I only had this interface,
00:22:18.560 --> 00:22:23.560
and if I only had these monitors, and if I only had this, this, and that.
00:22:23.560 --> 00:22:53.440
and that becomes... yeah... gear acquisition syndrome. Yeah, yeah, we need to know that guy. I think, yes, of course, we need to have a
00:22:27.120 --> 00:22:29.000
like the very first one, know your gear.
00:22:29.000 --> 00:22:32.040
And then there was another one where we were talking about
00:22:32.040 --> 00:22:35.920
in terms of the gear acquisition,
00:22:35.920 --> 00:22:39.120
which also came the term of GDS,
00:22:39.120 --> 00:22:41.180
which was gear derangement syndrome.
00:22:41.180 --> 00:22:45.080
It's like Jack and the code stock, man,
00:22:45.080 --> 00:22:46.760
if I just had this.
00:22:46.760 --> 00:23:12.360
A microphone. Yes.
00:22:53.440 --> 00:22:57.680
certain amount of gear if we're doing something. We need to have an interface
00:22:57.680 --> 00:23:04.400
and we need to have whatever. But again, yeah, but this comes back to what I'm
00:23:04.400 --> 00:23:09.680
kind of hinting at there with the Beatles, right? That ultimately it is this
00:23:09.680 --> 00:23:18.480
song that matters and no matter of gear is going to rescue a song that's not
00:23:12.360 --> 00:23:14.440
(laughs)
00:23:14.440 --> 00:23:37.020
Yes.
00:23:18.480 --> 00:23:25.260
very good. You know, so I think it's something that we use to,
00:23:25.260 --> 00:23:29.560
you know, fantasize about if I only and we do this in software
00:23:29.560 --> 00:23:33.800
all the time, if I only had a better orchestral string library,
00:23:33.800 --> 00:23:38.440
if I only had that I would get more placements, you know, no,
00:23:37.020 --> 00:23:41.420
It's the concept of polishing a turd
00:23:38.440 --> 00:23:42.200
it's your composition. Yeah.
00:23:41.420 --> 00:23:43.600
when it comes to needing great gear.
00:23:42.200 --> 00:24:04.040
Yeah. Oh, do they yeah, yeah.
00:23:43.600 --> 00:23:48.600
And if we go a step beyond the actual show Myth Busters,
00:23:48.600 --> 00:23:51.800
they actually did polish a turd.
00:23:51.800 --> 00:23:54.380
Yeah, they did.
00:23:54.380 --> 00:23:57.260
They actually did an episode about polishing turds.
00:23:57.260 --> 00:24:00.100
So it can be done that doesn't make it better
00:24:00.100 --> 00:24:02.900
than what the original thing is.
00:24:02.900 --> 00:24:06.900
There's a movie a couple of years ago
00:24:04.420 --> 00:24:18.260
Yeah.
00:24:06.900 --> 00:24:10.520
and I don't remember the title of it off the top of my head
00:24:10.520 --> 00:24:12.380
but I do remember sitting through the credits
00:24:12.380 --> 00:24:16.980
as I am want to do when I actually see movies in a theater.
00:24:16.980 --> 00:24:18.940
I'm one of those weird guys that sits all the way
00:24:18.260 --> 00:24:24.520
Yeah.
00:24:18.940 --> 00:24:21.780
to the very end of the credits until they're done.
00:24:21.780 --> 00:24:24.580
And you can hear like music that either is
00:24:24.480 --> 00:24:25.480
Yeah.
00:24:24.580 --> 00:24:26.420
from the movie itself or going to be
00:24:25.480 --> 00:24:32.480
Yeah.
00:24:26.420 --> 00:24:27.780
on the soundtrack of the movie.
00:24:27.780 --> 00:24:31.000
And they had this song by a guy
00:24:31.000 --> 00:24:35.220
that was literally recorded on a boom box.
00:24:32.480 --> 00:24:39.480
Yeah.
00:24:35.220 --> 00:24:39.220
And it fits so perfectly for what the movie was
00:24:39.220 --> 00:24:43.520
for what the sound of what was needed for that movie.
00:24:39.480 --> 00:25:08.480
[ Pause ]
00:24:43.520 --> 00:24:45.420
And it fit perfectly.
00:24:45.420 --> 00:24:46.220
So there you go.
00:24:46.220 --> 00:24:51.780
You got a guy singing and playing guitar into a boom box.
00:24:51.780 --> 00:24:56.880
Now, I'm quite sure that it went to a mixing guy to kind of tweak
00:24:56.880 --> 00:24:59.540
a little bit of the EQ and then it went to a mastering guy
00:24:59.540 --> 00:25:01.420
to kind of finalize all that.
00:25:01.420 --> 00:25:03.480
But there was no separation.
00:25:03.480 --> 00:25:06.140
It was a boom box recording.
00:25:06.140 --> 00:25:07.280
That was it.
00:25:07.280 --> 00:25:09.280
and it worked perfectly for the situation.
00:25:08.480 --> 00:25:37.800
Yeah.
00:25:09.280 --> 00:25:14.280
So that's where it becomes that thing of like the gear,
00:25:14.280 --> 00:25:18.220
you don't need technically great gear,
00:25:18.220 --> 00:25:19.580
but what you need is great song,
00:25:19.580 --> 00:25:21.380
and then you need the wherewithal
00:25:21.380 --> 00:25:24.660
to get the right sound for that song.
00:25:24.660 --> 00:25:29.660
So would something like an Ariana Grande pop song
00:25:29.660 --> 00:25:34.920
sound awesome on a Boombox mono recording?
00:25:34.920 --> 00:25:36.940
Who knows?
00:25:36.940 --> 00:25:38.260
Could she pull it off?
00:25:37.800 --> 00:25:44.800
Yeah.
00:25:38.260 --> 00:25:39.340
I bet she could.
00:25:39.340 --> 00:25:42.380
However, that doesn't mean everybody else could.
00:25:42.380 --> 00:25:46.580
It really comes down to the players you got playing
00:25:44.800 --> 00:25:53.960
Yeah.
00:25:46.580 --> 00:25:48.860
and how you're manipulating that playing
00:25:48.860 --> 00:25:53.220
once it's going down into some sort of tangible form.
00:25:53.220 --> 00:25:56.780
And I've made this discussion before with somebody
00:25:53.960 --> 00:26:06.940
[ Silence ]
00:25:56.780 --> 00:26:00.920
where they wanted like all the plugins in the world
00:26:00.920 --> 00:26:03.700
and the greatest DAW and everything else
00:26:03.700 --> 00:26:05.780
and the one to like go up against
00:26:05.780 --> 00:26:09.020
maybe someone like you or I recording in GarageBand
00:26:06.940 --> 00:26:08.940
* *
00:26:08.940 --> 00:26:10.940
*
00:26:09.020 --> 00:26:11.460
with the standard plugins that come in it.
00:26:10.940 --> 00:26:12.940
*
00:26:11.460 --> 00:26:15.660
And I guarantee that people that know what they're doing
00:26:12.940 --> 00:26:14.940
*
00:26:14.940 --> 00:26:16.940
*
00:26:15.660 --> 00:26:19.040
can take that and still make an awesome song
00:26:16.940 --> 00:26:18.940
*
00:26:18.940 --> 00:26:20.940
*
00:26:19.040 --> 00:26:22.060
compared to somebody that has like the greatest gear
00:26:20.940 --> 00:26:22.940
*
00:26:22.060 --> 00:26:25.480
in the world and has no idea what they're doing.
00:26:22.940 --> 00:26:24.940
*
00:26:24.940 --> 00:26:26.940
*
00:26:25.480 --> 00:26:30.380
It's like trying to polish a turd, so to speak,
00:26:26.940 --> 00:26:28.940
Oh sure, yeah.
00:26:28.940 --> 00:26:30.940
*
00:26:30.380 --> 00:26:33.740
but at the same time, if you have like all the greatest gear
00:26:30.940 --> 00:26:32.940
*
00:26:32.940 --> 00:26:34.940
*
00:26:33.740 --> 00:26:36.220
but have no clue of what you're doing to use it,
00:26:34.940 --> 00:26:47.020
Yeah, yeah. You have to know the gear that you're using, why you're using it and how
00:26:36.220 --> 00:26:38.460
it does not mean what you're going to churn out
00:26:38.460 --> 00:26:39.660
is going to be great.
00:26:39.660 --> 00:26:52.020
Mm-hmm.
00:26:47.020 --> 00:26:54.120
to use it. Now, when you mention the boom box thing there and, you know, let's say you
00:26:54.120 --> 00:27:01.340
used Ariana Grande because she pulled it off, probably. But then we're getting into artistic
00:27:01.340 --> 00:27:06.460
choices here. And sometimes you can pull that off and it can
00:27:02.780 --> 00:27:03.620
- Right.
00:27:03.620 --> 00:27:28.780
(laughs)
00:27:06.460 --> 00:27:10.380
have sort of like a low fight charm about it and it can have
00:27:10.380 --> 00:27:13.380
a certain sound that can be appropriate in many situations.
00:27:13.380 --> 00:27:18.860
However, if you are John Williams and you're doing, you
00:27:18.860 --> 00:27:23.140
know, Star Wars soundtrack, it's like no, it's fine. We'll just
00:27:23.140 --> 00:27:25.860
have a couple of players come to John's house and we'll just have
00:27:25.860 --> 00:27:28.820
his boombox. Well, that's obviously not going to work,
00:27:28.780 --> 00:27:29.620
Sure.
00:27:28.820 --> 00:27:35.180
right? So, but those are you can make it happen. So the idea
00:27:29.620 --> 00:27:36.620
Yep.
00:27:35.180 --> 00:27:38.900
that I think both of us are kind of getting to here is, you
00:27:36.620 --> 00:27:43.620
Yep.
00:27:38.900 --> 00:27:42.120
know, even with big proponents like learn to use your stock
00:27:42.120 --> 00:27:47.160
plugins, how does the compressor work? How does an EQ work? Or
00:27:47.160 --> 00:27:53.160
how what kind of reverb do you like? Just because you have 10
00:27:53.160 --> 00:28:01.080
reverb plugins or 10 hardware boxes of reverb, that's not going to make or break your song.
00:28:01.080 --> 00:28:05.640
It's just going to give you more confusing palette to play with. So does the gear matter?
00:28:01.620 --> 00:28:02.460
Sure.
00:28:02.460 --> 00:28:15.880
Sure.
00:28:05.640 --> 00:28:12.360
Yeah, it needs to have a certain standard, but the good thing is that today it's like so much stuff
00:28:12.360 --> 00:28:14.840
is great. Even cheap stuff is great.
00:28:14.840 --> 00:28:16.840
You know, so...
00:28:15.880 --> 00:28:21.300
I would say this in terms of trying to blow that myth
00:28:16.840 --> 00:28:26.840
Do it.
00:28:21.300 --> 00:28:25.120
out of the water in terms of needing the great gear.
00:28:25.120 --> 00:28:28.900
Great gear can help, but it doesn't help
00:28:26.840 --> 00:28:50.840
[silence]
00:28:28.900 --> 00:28:30.300
unless you know how to use it.
00:28:30.300 --> 00:28:33.900
And to top it off in terms of like a secret
00:28:33.900 --> 00:28:37.500
for great producing or great mixing,
00:28:37.500 --> 00:28:40.820
I would think that the producer and the artist
00:28:40.820 --> 00:28:45.820
needs to think about what is the final product
00:28:45.820 --> 00:28:52.260
supposed to sound like and work backwards from there
00:28:50.840 --> 00:29:17.840
Mm-hmm.
00:28:52.260 --> 00:28:56.380
to understand what items you need
00:28:56.380 --> 00:28:58.380
to get to that final product.
00:28:58.380 --> 00:29:00.020
Because if you start off with no clue
00:29:00.020 --> 00:29:02.700
of where you're going, it's not going to help
00:29:02.700 --> 00:29:05.080
not knowing what you need to get there.
00:29:05.080 --> 00:29:07.860
So you kind of need to know what the end result
00:29:07.860 --> 00:29:11.340
is supposed to be in order to work your way
00:29:11.340 --> 00:29:12.300
to getting there.
00:29:12.300 --> 00:29:15.320
And then that will help determine what gear do you need
00:29:15.320 --> 00:29:17.000
in order to make that happen.
00:29:17.840 --> 00:29:21.780
- Yeah, no, that's a very, very good point.
00:29:21.780 --> 00:29:26.680
I heard, I think it was in one of Pensado places,
00:29:26.680 --> 00:29:29.320
Dave Pensado was talking about,
00:29:27.300 --> 00:29:29.940
Mm, yes, very knowledgeable man.
00:29:29.320 --> 00:29:32.520
and he did the analogy with cooking.
00:29:29.940 --> 00:29:33.140
Mm-hmm.
00:29:32.520 --> 00:29:36.460
He's like, you need to know what you're gonna do with audio
00:29:33.140 --> 00:29:48.000
(laughing)
00:29:36.460 --> 00:29:37.300
when it comes in.
00:29:37.300 --> 00:29:40.600
He said, you don't just go into a kitchen
00:29:40.600 --> 00:29:43.240
and not have any idea what it is that you're gonna make
00:29:43.240 --> 00:29:46.100
and just start throwing shit into the frying pan.
00:29:46.100 --> 00:29:49.920
You have an idea that, well, I'm going to make this dish
00:29:48.000 --> 00:29:50.620
Yes.
00:29:49.920 --> 00:29:52.280
and then you choose the appropriate ingredients.
00:29:52.280 --> 00:29:55.180
It's kind, it sounds like a dumb analogy,
00:29:55.180 --> 00:29:56.840
but it really, really works
00:29:55.700 --> 00:29:57.820
No, it's a, it does.
00:29:56.840 --> 00:29:59.340
because if we take that mindset, right?
00:29:57.820 --> 00:30:17.120
Well, are you gonna get a singer
00:29:59.340 --> 00:30:04.080
If, yeah, I'm gonna do a modern production
00:30:04.080 --> 00:30:06.080
of a black metal album, right?
00:30:06.080 --> 00:30:11.080
Okay, so I'm gonna go and get some telly guitars.
00:30:11.080 --> 00:30:13.460
I'm gonna go get some synths.
00:30:13.460 --> 00:30:14.620
No, no, you're not.
00:30:14.620 --> 00:30:15.960
You're not gonna get any of that.
00:30:15.960 --> 00:30:17.240
You need some...
00:30:17.120 --> 00:30:18.740
that sounds like Tom Jones too?
00:30:17.240 --> 00:30:21.160
Yeah, exactly.
00:30:18.740 --> 00:30:21.400
That'll really make the mark.
00:30:21.160 --> 00:30:25.720
Yeah, so, you know, the gear and in that case,
00:30:21.400 --> 00:30:23.660
(chuckles)
00:30:23.660 --> 00:30:49.460
Or a power ballad for that matter.
00:30:25.720 --> 00:30:28.720
you need, you know, make sure they have
00:30:28.720 --> 00:30:30.160
like super high gain guitars,
00:30:30.160 --> 00:30:32.960
you get to tune your drums up and all this kind of stuff.
00:30:32.960 --> 00:30:36.360
You might need triggers and a good drum library, whatever.
00:30:36.360 --> 00:30:37.200
Right?
00:30:37.200 --> 00:30:38.040
But you have to choose that.
00:30:38.040 --> 00:30:41.080
That's a different tool set than if you're making
00:30:43.760 --> 00:30:48.080
modern pop track right yeah those different tools so you need to know what
00:30:48.080 --> 00:30:55.880
you have right yeah anything right but to sit and worry about oh I don't have
00:30:49.460 --> 00:31:03.300
Wait a minute.
00:30:55.880 --> 00:31:08.300
the latest LSL console plugins who cares you know it doesn't matter yeah right
00:31:03.300 --> 00:31:04.500
What are you talking to console plug-in?
00:31:04.500 --> 00:31:08.100
I don't have the latest SSL, damn it.
00:31:08.100 --> 00:31:15.100
And I need it.
00:31:08.300 --> 00:31:20.300
I don't know. I can't. Yeah, it really, really confused. I understand it, but it blows me away the argument you see this on like forums all the time.
00:31:15.100 --> 00:31:18.100
(scissors snipping)
00:31:18.100 --> 00:31:28.100
[BLANK_AUDIO]
00:31:20.300 --> 00:31:34.300
So, well, does this console emulation sound better than another company's console emulation? Does that sound more like an SSL? Does this sound more like an 1176?
00:31:28.100 --> 00:31:46.920
Yes.
00:31:34.300 --> 00:31:40.900
It's like, well, who cares? Really? Like, does it sound good to you? Do you know how to use it? That's all that really matters.
00:31:40.900 --> 00:31:47.300
So the other stuff, that's for the marketing department. Let them work with that, how to sell their gear.
00:31:46.920 --> 00:31:54.740
Go back to episode one and check that episode out.
00:31:47.300 --> 00:31:51.300
But know the gear that you have and...
00:31:51.300 --> 00:31:55.300
Yeah, exactly. Yeah.
00:31:54.740 --> 00:31:59.580
We talked about it out at Infinitum and I'm going to like snip you in the bud right now.
00:31:55.300 --> 00:31:56.140
Yeah.
00:31:56.140 --> 00:32:06.860
Woo hoo.
00:31:59.580 --> 00:32:05.660
So let's move on to Friday Vines.
00:32:05.660 --> 00:32:07.460
What do you got for us, Chris?
00:32:06.860 --> 00:32:12.720
I have been really, really busy with a lot of tracking,
00:32:07.460 --> 00:32:17.460
[BLANK_AUDIO]
00:32:12.720 --> 00:32:16.680
but I did come across a really fun,
00:32:16.680 --> 00:32:20.200
now keyword there is fun, an esoteric plugin
00:32:17.460 --> 00:32:27.920
Wires and what does wires do?
00:32:20.200 --> 00:32:23.340
from a company called Audio Thing,
00:32:23.340 --> 00:32:27.100
and they have a plugin called Wires.
00:32:27.100 --> 00:32:32.100
So Wires is actually an emulation of sorts
00:32:27.920 --> 00:32:35.920
[BLANK_AUDIO]
00:32:32.100 --> 00:32:38.740
of Cold War era Soviet spy recording technology.
00:32:35.920 --> 00:32:36.920
What?
00:32:36.920 --> 00:32:42.920
Can I do that again?
00:32:38.740 --> 00:32:45.380
So yeah, they have many, say what?
00:32:42.920 --> 00:32:43.920
What?
00:32:43.920 --> 00:32:44.920
Okay.
00:32:44.920 --> 00:33:11.160
Okay.
00:32:45.380 --> 00:32:51.620
Yeah, it emulates that sound that spies would use
00:32:51.620 --> 00:32:55.260
to record meetings and audio and all this kind of stuff.
00:32:55.260 --> 00:33:00.260
So it has this wonderful sort of lo-fi sound going to.
00:33:00.260 --> 00:33:02.620
So it's very much like an effect.
00:33:02.620 --> 00:33:07.620
It has degradation of audio and delays and things.
00:33:07.620 --> 00:33:11.260
It's a really, really fun, cool tool.
00:33:11.160 --> 00:33:13.600
Does it do dropouts as well?
00:33:11.260 --> 00:33:13.580
Is it something that you can...
00:33:13.580 --> 00:33:15.300
Yeah, yeah, yeah, yeah.
00:33:13.600 --> 00:33:14.600
Really?
00:33:14.600 --> 00:33:36.160
Really? Wow. All right. I am going with the playback functionality of life at this point
00:33:15.300 --> 00:33:16.420
All that kind of stuff.
00:33:16.420 --> 00:33:18.060
Yeah, so it's...
00:33:18.060 --> 00:33:19.020
Go check it out.
00:33:19.020 --> 00:33:20.660
Audio thing, they have a functioning demo.
00:33:20.660 --> 00:33:25.300
It's fun. Is it something that you're going to use in every mix? No, but it is really,
00:33:25.300 --> 00:33:40.260
really cool. And if you, yeah, wires, audio thing, what do you, what do you got for us?
00:33:36.160 --> 00:33:42.920
and it is not a mixing tool. It is Spotify has just announced that they're doing a high
00:33:40.260 --> 00:33:57.200
Do you want to pick up a one each?
00:33:42.920 --> 00:33:48.320
high-fi tier, which means that they will be streaming lossless versions of files.
00:33:48.320 --> 00:33:55.200
They call it as title used to think of saying we are CD quality audio kind of thing.
00:33:55.200 --> 00:33:58.320
Well, Spotify has announced they're getting into that game.
00:33:57.200 --> 00:34:00.760
A one?
00:33:58.320 --> 00:34:00.700
They're going to create a high-fi tier.
00:34:00.700 --> 00:34:07.840
It will cost $14.99, which means it's $5 more than the standard $9.99 for your regular premium
00:34:00.760 --> 00:34:08.740
[ Silence ]
00:34:07.840 --> 00:34:10.000
account.
00:34:08.740 --> 00:34:13.740
[ Silence ]
00:34:10.000 --> 00:34:13.900
Does that mean it's translating to artists getting paid more for a stream?
00:34:13.900 --> 00:34:14.900
I have no idea.
00:34:14.740 --> 00:34:19.740
[ Silence ]
00:34:14.900 --> 00:34:15.900
They haven't announced it.
00:34:15.900 --> 00:34:17.580
And I realized there's a lot of people out there.
00:34:17.580 --> 00:34:21.180
Spotify's a double, but I'm not one of those people.
00:34:19.740 --> 00:34:46.380
>> Cool.
00:34:21.180 --> 00:34:22.900
I think Spotify is great.
00:34:22.900 --> 00:34:24.100
I think Apple Music's great.
00:34:24.100 --> 00:34:25.100
I think titles great.
00:34:25.100 --> 00:34:26.100
I think Deezer's great.
00:34:26.100 --> 00:34:28.100
I think they're all great.
00:34:28.100 --> 00:34:36.540
You're able to play a plethora of music for one monthly fee, usually around $9.99 unless
00:34:36.540 --> 00:34:38.540
you're going for the high audio tier.
00:34:38.540 --> 00:34:44.860
So welcome to the club with Spotify for their HiFi tier that's coming soon.
00:34:44.860 --> 00:34:48.900
I guess they joined the ranks of title and Amazon music because I think Amazon does that
00:34:46.380 --> 00:35:04.540
All right. Yeah.
00:34:48.900 --> 00:34:50.820
as well.
00:34:50.820 --> 00:34:58.860
So and you know, the probably the now defunct Pono system from Neil Young because he was
00:34:58.860 --> 00:35:05.220
trying to go for the whole high, high definition audio thing with his little player.
00:35:04.540 --> 00:35:14.540
[BLANK_AUDIO]
00:35:05.220 --> 00:35:09.580
But yeah, so Spotify is jumping in with the Hi-Fi audio tier, which is cool.
00:35:09.580 --> 00:35:16.620
I'm hopeful that it means that it's as simple as flipping a switch with them.
00:35:14.540 --> 00:35:33.980
Yeah, we're gonna need those in the, yeah, we're gonna need the 192.
00:35:16.620 --> 00:35:21.900
And it's not a matter of distributors having to re send audio files to Spotify
00:35:21.900 --> 00:35:25.180
because boy, I send them 96 K files.
00:35:25.180 --> 00:35:28.540
So I'm hoping 96 kilohertz files.
00:35:28.540 --> 00:35:31.300
So I'm hoping I don't need to re upload those kind of things.
00:35:31.300 --> 00:35:34.380
So that the but yeah.
00:35:33.980 --> 00:35:40.460
Yeah. Yeah. Right. There you go. Yeah.
00:35:34.620 --> 00:35:36.220
Yeah, right.
00:35:36.220 --> 00:35:38.300
So we can get down to CD quality audio.
00:35:38.300 --> 00:35:41.260
But it's a nice step forward
00:35:40.460 --> 00:36:01.500
We'll see. Yeah. I mean, that's another point where it's, you know,
00:35:41.260 --> 00:35:43.740
because I would imagine in five to 10 years from now
00:35:43.740 --> 00:35:46.860
or maybe less, who knows,
00:35:46.860 --> 00:35:51.540
when broadband speeds and mobile speeds get even faster
00:35:51.540 --> 00:35:52.980
and faster and faster, who knows?
00:35:52.980 --> 00:35:56.020
Maybe it will push the market to get to that level,
00:35:56.020 --> 00:35:58.460
but for a while, I don't think.
00:35:58.460 --> 00:35:59.860
But yeah, it's cool.
00:35:59.860 --> 00:36:09.840
Yeah, that's that's the tough part.
00:36:01.500 --> 00:36:07.100
Ultimately, we'll find out if the average consumer really cares.
00:36:07.100 --> 00:36:09.100
And hopefully, we'd like to think so.
00:36:09.100 --> 00:36:10.940
Yeah, but anyway, yeah, that's cool.
00:36:09.840 --> 00:36:11.840
We'd like to think they do, but who knows.
00:36:10.940 --> 00:36:12.760
Cool. Yeah.
00:36:11.840 --> 00:36:12.840
So I can.
00:36:12.760 --> 00:36:14.760
(sighs)
00:36:12.840 --> 00:36:13.840
Yeah.
00:36:13.840 --> 00:36:18.600
So while we're still here and we've got your attention, attention, please go to the website
00:36:15.560 --> 00:36:15.880
you
00:36:15.880 --> 00:36:17.940
you
00:36:17.940 --> 00:36:20.000
you
00:36:18.600 --> 00:36:24.160
inside the recording studio.com forward slash reviews so you can leave us a review because
00:36:20.000 --> 00:36:22.060
you
00:36:22.060 --> 00:36:24.120
you
00:36:24.120 --> 00:36:26.180
you
00:36:24.160 --> 00:36:28.360
it does actually help us to get reviews on the podcast.
00:36:26.180 --> 00:36:28.240
you
00:36:28.300 --> 00:36:30.360
you
00:36:28.360 --> 00:36:30.660
We certainly hope that since you're listening this long,
00:36:30.360 --> 00:36:32.420
you
00:36:30.660 --> 00:36:32.280
you would do that for us.
00:36:32.280 --> 00:36:37.080
You can also go to inside the recording studio.com/gift
00:36:32.420 --> 00:36:34.480
you
00:36:34.480 --> 00:36:36.540
you
00:36:36.540 --> 00:36:38.600
you
00:36:37.080 --> 00:36:40.440
or any, particularly any page on the website
00:36:38.600 --> 00:36:40.660
you
00:36:40.440 --> 00:36:43.480
and you can get signed up for our email list
00:36:40.660 --> 00:36:42.720
you
00:36:42.720 --> 00:36:44.820
you
00:36:43.480 --> 00:36:46.040
and you will get something in return for doing so,
00:36:45.640 --> 00:36:47.700
you
00:36:46.040 --> 00:36:47.940
which is some plugin presets
00:36:47.700 --> 00:36:49.760
you
00:36:47.940 --> 00:36:50.520
from the Slate Company plugins
00:36:50.320 --> 00:36:52.380
you
00:36:50.520 --> 00:36:53.240
and some from the Universal Audio plugins.
00:36:52.380 --> 00:36:54.440
you
00:36:53.240 --> 00:36:54.360
Thanks to Chris and I
00:36:54.360 --> 00:36:56.800
because we love doing those kinds of things for you.
00:36:54.440 --> 00:36:56.500
you
00:36:56.660 --> 00:36:58.720
you
00:36:58.200 --> 00:37:04.920
And you'll also get weekly reminders of what episodes and Tuesday tips have just happened in
00:36:58.720 --> 00:37:00.780
you
00:37:00.780 --> 00:37:02.780
you
00:37:03.580 --> 00:37:05.640
you
00:37:04.920 --> 00:37:12.600
the past week to keep you up to date so that you don't miss future episodes of ITRS. In addition
00:37:06.640 --> 00:37:08.720
you
00:37:08.720 --> 00:37:10.780
you
00:37:10.780 --> 00:37:12.840
you
00:37:12.600 --> 00:37:22.600
to that, send us an email to Goldstar, G-O-L-D-S-T-A-R at Inside the Recording Studio with the word
00:37:12.840 --> 00:37:14.900
you
00:37:14.900 --> 00:37:42.900
[ Pause ]
00:37:23.640 --> 00:37:31.000
myth and you get some fun back in your inbox this week. Plus, if you have a topic that you would
00:37:31.000 --> 00:37:42.760
like Chris and I to pontificate upon, send us a... Well, you go to our contact page, essentially,
00:37:42.760 --> 00:37:48.680
on the website and fill out the form and we'll take it into consideration to put it into rotation
00:37:43.400 --> 00:37:45.660
(laughing)
00:37:45.660 --> 00:37:59.680
- Happy good one, thanks for listening.
00:37:48.680 --> 00:37:55.800
for a future episode. And with that, I'm going to say thank you for listening. We're going
00:37:55.800 --> 00:38:00.040
to say, see ya. Bye bye.
00:37:59.680 --> 00:38:00.680
Happy good one, Jody.
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Thank you.
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air