Buzz Kemper

WEBVTT
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Hey commuter, welcome back.
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This is Beyond Artless, the podcast that proves three people with microphones and questionable judgment can in fact start a show.
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And just a quick note to let you know that registration for the 2027 Beyond the Notes Festival is now open.
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We have spots still available for middle school choirs, orchestras, and jazz ensembles at the btnmusicfestival.com to learn more.
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Looking ugly as ever.
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Man.
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Well, thank you.
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You know just what to say.
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Yeah, it's that special kind of ugly that you just want to snuggle up to and give it a virus.
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Oh yeah.
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Super spreader Phil.
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So you've had a little uh MBDA gig with the jazz band since we talked last year.
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I'm telling you, people, I had the best Friday that I've ever had.
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Uh the only person that was more excited was my dad.
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Um so not your son.
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No, no.
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Grandpa was by far, he was like beside himself.
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So, commuter, if you didn't know it, uh my son Elliot was playing in the 910 MBDA uh state honor jazz band, and I was fortunate enough to conduct them with him in it.
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Uh so we had a one-hour sound check, which in which I, you know, ran the band into the ground.
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I just rehearsed for you know 62 minutes straight.
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You're a jerk to the brass players in the middle.
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These guys are strong.
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They came back and played the gig even louder.
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They were good.
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Um, so but my dad had never really seen me run a big band before in rehearsal.
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So my dad was super excited to see me work with a group like that.
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He'd seen me do ban and turmoil cry and that's it.
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He'd never seen that.
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And his grandson was playing.
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My dad was literally sitting almost next to me during both like there, just about four feet away.
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It was beautiful.
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It was beautiful.
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So he was super excited.
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And I think uh Elliot realized how big a deal it was for dad and grandpa, and he was really understanding about it.
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Yeah.
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So that's cool.
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Bless Elliot.
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That was that was my pride.
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I think it was great.
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And special thanks to Reed Wix and Minneapolis Southwest High School for hosting that event uh in the world.
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And Buffalo High School is doing the choirs, and and uh Montecello did the orchestras, and I think St.
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John's did the orchestra.
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Doing uh the great work to support those Allstate groups.
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Man, yeah, it's fabulous.
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And the online uh sessions were great.
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I went and hopped on a few of them and saw yeah, saw a friend of show, Eric Songer, doing his thing, and uh yeah, and a couple other ones that I was just honestly just like super curious about, and they were fabulous.
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So congrats again, MMEA, nice work.
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I was also at the South Dakota Bandmasters Whatever Clinic, which is the same days, um, and got to guest conduct with a former students band, um, Isaac McMahon, which was great.
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And um, yeah, it was nice.
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Did a Viet Quang piece, Heart on Fire, and it was amazing.
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He had he didn't speak, all the kids did all the introductions, and he did a CMP project about Heart on Fire and what what Rich turns your heart on fire, and then they all had to do a project around that, and then some kids got to go up and talk about their projects.
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So, what are you passionate about?
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Some was family and how they helped their family, some was uh pets and adoption.
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So they started volunteering at the adoption place for animals, and others were friends in the community, and then how they were choosing to behave as a leader or differently in their friends in the band program and on their sports teams, and it was I I was weeping openly in the backstage just from all of these students, how they were impacted and connected, what they did in music every day.
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Thank you, Chris Gleason, to to their lives.
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Well, you worked with Isaac on all of this stuff and he uses it every day with those kids, and it's great.
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You're amazing, Christopher.
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I don't care if you like it or not.
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Edit that out.
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So did you of course you added what you were passionate about, which is more like a lot of people.
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I didn't speak.
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I'm not passionate about lots of things.
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I didn't speak, didn't say a word.
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But I saw a bunch of friends there.
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It was nice.
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It was nice.
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It was amazing.
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I didn't speak.
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I walked up.
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They the kids introduced the program, the process, everything.
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They introduced me, said my name wrong, and I walked out and conducted.
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That's good.
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Osterlander.
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And I didn't fall off the stage this time.
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Chris, what'd you do this week?
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Come on, give us something.
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Yeah, you.
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Uh let's see.
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I was out at Bayport High School watching a Eau Claire student teacher today, which was fun.
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Greta.
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Shout out to Gregor.
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Greta.
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Because I'm sure she's listening to this.
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Um that was that was good.
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She did great.
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She did really, really great.
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So that was fun.
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Uh just a ton of stuff.
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Erica Savano's finishing up a commission that we've got her working on right now.
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Um Adrian Sims just wrote a piece for Sunprary Schools, and I'm gonna go see him uh tomorrow night because they're gonna do the world premiere on Thursday.
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We're I'm in Madison tomorrow for a Portuguese graduate meeting.
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So where is Adrian Sims at?
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Sun Purry.
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Sun Purry.
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So great.
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Yeah.
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Yeah.
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I helped provide a commission for Sunprary schools for they've done so much for beyond the notes and everything.
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So and then on Friday, aren't you coming up here to do my taxes too?
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I am coming up to do your taxes on Friday.
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No, actually, Friday, Petrushka.
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Oh, that's right.
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And planning to do Miles.
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Planning to go.
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Excellent.
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Excellent.
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I will avoid you.
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Minnesota Orchestra.
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Minnesota Orchestra.
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And then we found out that Mickey Roblesky uh is gonna be playing Right of Spring with Chicago Symphony next to Gene Picorney uh coming up.
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So we got tickets to that also.
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So Miles and I are gonna head to there to go see Mickey.
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That's I suppose.
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But yeah.
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But you're getting all giddy geeky.
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Good stuff.
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It's all about the tuba people.
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Hey, and speaking of tuba, tonight's guest.
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Oh my god, not another tuba player.
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It's not a tuba.
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Is not another tuba player, but could be.
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I bet he could be an amazing tuba player because once you hear him, you will, oh, this you're gonna be.
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You're like the zodiac, the year of the rabbit, the year of the dragon.
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This has been the year of the tuba for beyond our.
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And I'm I'm here to tell you, you will have to be able to do that.
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It can only get better.
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Yeah, it can only get better.
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This is gonna throw you for such a loop.
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This is a right curveball, some kind of ball scenario thing.
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Okay, you ready?
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Here we go.
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Just keep digging.
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This person has climbed four different routes to the top of Devil's Tower in Wyoming.
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Wow.
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This person once sang a duet with the jazz legend, Ben Sidrin, on live radio.
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Wow.
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This person got an advanced scuba certification to attend his sister's underwater wedding.
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I've got you, I got you intrigued now.
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I got it.
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Okay, hang on, here we go.
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I'm gonna do this in the best announcing voice I possibly can muster.
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Here it is.
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Today's guest is someone whose work you've almost certainly experienced, even if you didn't realize it.
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He's earned endorsements from the legendary Chicago Symphony, collaborated with visionary artists like Roscoe Mitchell, and worked alongside Chuck Leville of the Rolling Stones.
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At just 19 years old, he became technical director of the national program, a Prairie Home Command Companion, a launching point for a career that would span decades and disciplines.
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As a recording engineer, producer, and sound designer, he has worked with organizations such as the Madison Opera, the Minnesota Orchestra, and artists including Annie DeFranco, Mary Chapman Carpenter, and Dar Williams.
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His portfolio even includes a personal letter of praise from cellist Yo-Yo Ma.
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You too wouldn't know that person, but you should look it up on YouTube.
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That's a good thing for you.
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But that's only part of the story.
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That's right.
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As a voice actor, his work has been heard in audiobooks, film narrations, and projects from Time Warner, The Onion, Overture Center, Promega, and the Wisconsin DNR.
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Yes, including the voice of Smokey the Bear.
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He narrated the international award-winning film Descended and has served as live announcer and MC for American Family Insurance in destinations from Hawaii to Banff to the Bahamas.
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And when he's not on a microphone or mixing board, you might find him scaling iconic heights like Devil's Tower in Wyoming, Hack Dome in Yosemite National Park, Mount Quandry in Colorado, and Mount St.
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Helens in Washington.
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Engineer, producer, voice, climber, storyteller.
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Today on Beyond Artless, we're honored to welcome the one and only Buzz Kemper.
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Hey.
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Hi, hello.
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Good to you.
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Wow, you make me sound so amazing.
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You know, I wish I had better lighting.
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I had the camera covered up, so I didn't realize how poor the lighting was.
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But thank you for that very generous introduction.
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All true.
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All true.
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Now, Peter and and Phil, you probably have you heard have you heard about uh Buzzkemper here?
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No, I haven't.
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I've heard about the onion.
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I've heard about Devil's Tower and not a scuba diver.
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But I think I've heard your voice in about a gazillion things.
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That's very yeah, that's probably true.
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I yeah.
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And most people have a chance to get sick of my voice between, you know, I do yeah, I do a lot of you know broadcast stuff, but then also if you go to concerts uh by the chamber orchestra or Madison Ballet, I'm the guy telling you to please turn off your cell phone.
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Please silence your cell phones.
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Yeah, I will overlace some sounds of Buzz speaking here.
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Hello and welcome to the Badger Tox podcast.
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See what I'm doing?
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Because I can do that post edit.
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See, that's fancy terminology.
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Buzz.
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Um okay, so I met Buzz when I was a young lad, and I was at the old Sumperary High School, and Steve's fiam was was recording his group for the Essential Ellington um competition.
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And I walked out into the hallway, and here's this gentleman with all the wires running into the hallway.
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And I'm like, who are you?
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And he's like, Go away, kid.
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No, it was great.
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Then Buzz was teaching me about stuff in the right there.
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He was explaining, he was such a kind gentleman.
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And then I had him out to record my group and stuff for the state convention, and then just year after year after year, just getting to know Buzz and just his amount of information that this man knows about so many different things, um, especially about recording, but just about music.
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He's such a good musician.
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So, Buzz, it's great to have you on the show.
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Oh, it's terrific to be here uh with you guys.
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And uh yeah, thank you for inviting me off.
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Are you in a recording studio right now?
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I am, although what's funny is I and I love this, but we are I thought, oh, since this is we're taping this a little later in the evening, my studio will be available and I'll be able to do it in the control room.
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And behind me would be our awesome speakers, and you know, it'd be really cool.
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But we're there's actually a session in there.
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So I'm I'm in the lobby outside, which is also why the lighting is poor.
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But but I I do want you guys, I do want you guys to uh to just be a little bit nervous because overlooking me here is Charles Mingus.
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You see him up there?
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Yeah, yeah.
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We're hoping he doesn't pull a gun on us.
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Yeah, exactly.
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He he he had a he was known for having a bit of a temper, so yeah.
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How'd you get your start?
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What did were mom and dad involved in music at all?
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Like how'd you get going on this?
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No, my my parents actually um I had the loveliest parents.
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They're both deceased.
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Um, but um my parents were very uh much uh uh supportive of my career goals.
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And my dad was a pharmacist and he owned uh a little pharmacy in Elk River, Minnesota.
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And I know that my mother's dream was that I was going to become a pharmacist and take over the store.
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And uh I said, you know, I'm sorry, but you know, I really have to do something with music, and and they initi they they immediately, you know, adjusted over to that and went, okay, let's let's do that.
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You know, what do you want to do?
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Do you want to go to school?
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Do you want to, you know, do you is there training you can get?
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You know, where do we go from here?
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And uh so I went to a trade school and then I worked for Minnesota Public Radio, and that was the Garrison Keeler era.
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And then I went, uh then I quit all my work and decided I really wanted to get a university degree.
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So I quit everything for four years and just uh got my degree and then got back into public radio here in Madison, and people would hire me to do a recording over here and do another recording over there.
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And pretty soon I was buying equipment and taking out business loans and starting a company, and you know, and now I do this full-time.
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It's it's wonderful.
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So, Buzz, as an engineer, was that more learning on the job, or was that more some of the work in in your university and trade school stuff?
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It was uh it's it's largely learning on the job, but the university um thing, you know, what what a good professor does is doesn't teach you uh the thing, but rather teaches you how to learn the thing.
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So that when you're done, you know how to learn and you know how to research and you know how to recognize good research from poor research and uh and you don't, you know, fall for a bunch of stupid stuff.
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And and I feel like I had that kind of education.
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It was really, really great.
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So I did take some um I took some music history lessons because I wanted to learn about classical music and the different the different um eras.
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And uh I also I ended up becoming a minor in the speech program because this professor named Donna Marie Nudd, who I'm still friends with her uh to this day, but um she was such a great professor that I just kept taking her classes.
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Um, you know, just couldn't get enough of this stuff.
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And pretty soon I had a I had a minor.
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I think the idea of teaching learning instead of the thing to learn is why Phil and I aren't very good at our jobs.
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We don't really do that.
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Right.
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I doubt that.
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I doubt that.
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So I mean, obviously, people uh w want you to work for work for them in a variety of contexts for both your your ears and your voice.
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Does it just flip back and forth between the two?
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And you whatever the whatever the phone rings for, that's what you end up doing.
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It's that's kind of the case.
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Yeah.
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I'm I'm very, very lucky.
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I um tomorrow I'm going to um transfer a bunch of files um that I recorded for Madison Opera so that I can start mixing them.
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And then after that, I've got a meeting about a musical that I'm doing sound design for.
00:15:30.240 --> 00:15:36.000
And then after that, I'm going to be in a two-hour session uh narrating an audio book.
00:15:36.159 --> 00:15:38.399
Uh so I'll be on both sides of the glass.
00:15:38.559 --> 00:15:40.480
And uh and and so I just, yeah.
00:15:40.639 --> 00:15:45.200
I mean, I'm just I'm just the luckiest human, you know, I can imagine.
00:15:45.360 --> 00:15:50.799
I just I feel like everything I've set my sights on has has I've been able to work it out.
00:15:51.360 --> 00:15:58.240
Did did they both come naturally, or is there one you had to work harder at, the ears or the voice, or did it all just sort of just sort of happen?
00:15:59.519 --> 00:16:02.399
You know, you work you work hard at everything.
00:16:02.559 --> 00:16:05.440
Um I can't take credit for my voice.
00:16:05.600 --> 00:16:12.480
I if I have a voice that people f sound find pleasing, that's that's genetics.
00:16:12.559 --> 00:16:14.399
Um, I can't take credit for that.
00:16:14.639 --> 00:16:20.480
Um in terms of learning how to voice act, um, you know, that's a skill that one has to learn.
00:16:20.559 --> 00:16:24.480
And in terms of engineering and producing, that's a skill that one has to learn.
00:16:24.720 --> 00:16:33.919
And in your world, um this this'll fit into what what you guys do, um, which by the way, thank you for what you do.
00:16:34.159 --> 00:16:40.320
Um I very much avoid the word talent when I'm talking about musicians.
00:16:40.559 --> 00:16:44.240
I tend to say you are accomplished, things like that.
00:16:44.559 --> 00:16:49.519
Because I don't I don't like the idea that someone thinks you're just born with this.
00:16:49.679 --> 00:16:53.039
It's like, no, it's thousands of hours of work.
00:16:53.360 --> 00:17:09.599
And um, and so I'm not offended by the word talent, but I think the word um accomplished uh or or um you know well rehearsed or whatever word you want to use, that kind of thing, I think is more is more accurate and gives credit where credit is due.
00:17:09.839 --> 00:17:10.880
Yeah, I love that.
00:17:11.279 --> 00:17:15.359
Um can I ask uh I'm gonna ask a quick question about recording and producing.
00:17:15.599 --> 00:17:18.319
Um do you do both at the same time?
00:17:18.480 --> 00:17:20.960
Do you prefer to only do one or the other?
00:17:21.200 --> 00:17:30.079
Uh I I find I I'm not accomplished as an engineer, but when I'm producing and I'm watching the engineer, I it's enthr I'm intrigued and enthralled.
00:17:30.160 --> 00:17:34.240
But it's a really like two different mindsets going on on that side of the microphone anyway.
00:17:34.559 --> 00:17:35.279
Yeah, it is.
00:17:35.440 --> 00:17:51.119
Um, and what happens most often with mid to low budget projects is that I'm hired as an engineer, but I end up doing some producing things just because there isn't a producer there.
00:17:51.359 --> 00:18:06.160
And if it's a if it's a complex classical music thing, I will tell the artist I am not going to pick out if you played if you played an F, but it should have been a C.
00:18:06.319 --> 00:18:11.200
I mean, if it's not completely foreign note to the key, I'm not gonna catch it.
00:18:11.279 --> 00:18:14.559
So you're gonna want to have somebody with that kind of ear.
00:18:14.799 --> 00:18:23.599
But um, but I'm you know, I in engineering something, I very often found myself saying, you know, um, yeah, let's just let that was that was great.
00:18:23.680 --> 00:18:25.680
Let's do that, do that vocal again.
00:18:25.759 --> 00:18:26.559
Can you try it a little?
00:18:26.799 --> 00:18:28.640
Can you sing it with a smile on your face?
00:18:28.799 --> 00:18:29.359
Try that.
00:18:29.519 --> 00:18:34.720
You know, so you do producing things and um and it's um yeah, it's very gratifying.
00:18:34.880 --> 00:18:41.119
Other times you actually have the title um of producer or engineer or whatever it might be.
00:18:41.279 --> 00:18:44.400
And uh and I'm I'm I'm comfortable with either hat.
00:18:45.119 --> 00:18:48.319
Is it hard to keep up with the technology with everything?
00:18:48.400 --> 00:18:51.759
I mean, I can only imagine when did audio for the arts, when did that start?
00:18:52.079 --> 00:18:55.279
It had a very soft start, um, to use a theater term.
00:18:55.519 --> 00:19:01.200
Um it it sort of rolled slowly into being at around 1995.
00:19:01.680 --> 00:19:06.240
Um, and it was literally just the spare bedroom of a house I was living in.
00:19:06.400 --> 00:19:21.599
And um, and it and then it grew, you know, it's like, oh, I'll buy another microphone, I'll buy this, I'll buy that, and uh and it got to the point where I was working like 70 hours a week because I had a full-time job at Wisconsin Public Radio.
00:19:21.680 --> 00:19:23.599
So I thought, well, something's gotta give.
00:19:23.680 --> 00:19:30.559
And because I'm right, because I'm a genius, I'm gonna give up the job with a reliable paycheck and a healthcare plan.
00:19:31.279 --> 00:19:37.440
And I'm gonna jump, I'm gonna jump into the pool blindfolded and just hope that there's water in there, you know.
00:19:37.680 --> 00:19:38.400
And and there is.
00:19:38.799 --> 00:19:42.400
So over those years, how has sorry, Phil, I I keep stepping on you.
00:19:42.559 --> 00:19:46.640
Um yeah, that that's a term meaning that you started talking.
00:19:46.960 --> 00:19:47.279
Okay, anyway.
00:19:47.599 --> 00:19:47.920
Okay.
00:19:48.559 --> 00:19:54.480
How over since 90s, since the 90s, I mean, it it's changed massively or hasn't it?
00:19:54.640 --> 00:19:57.039
Is it still a a good microphone, still a good microphone?
00:19:57.200 --> 00:19:58.799
It doesn't matter all the AI crap.
00:19:58.880 --> 00:20:00.400
It's like you still gotta have a good microphone.
00:20:00.720 --> 00:20:01.119
Correct.
00:20:01.279 --> 00:20:12.240
Yeah, microphones don't ch well, they change, but they don't they they don't really evolve in the way that you know, um like a computer does.
00:20:12.480 --> 00:20:19.440
Um we have microphones that were built last year, and we have microphones that were built in the 60s.
00:20:19.759 --> 00:20:23.440
And I'll use either one of them, you know, um on a project.
00:20:23.599 --> 00:20:26.000
They, you know, yeah, good good sound is good sound.
00:20:26.079 --> 00:20:28.960
As Duke Ellington said, if it sounds good, it is good.
00:20:29.359 --> 00:20:58.720
Uh but um but the computer technology has changed radically and and it's very convenient, but I have to say, I if I can um if I if I can if I can complain a little bit about something, there is so much technology now to correct mistakes that uh we now occasionally see musicians who don't think that the ability to play their parts correctly is all that important.
00:21:00.640 --> 00:21:02.079
It can all be fixed.
00:21:02.400 --> 00:21:06.400
And uh and and that that concerns me a little bit.
00:21:06.559 --> 00:21:08.319
I not so accomplished, huh?
00:21:08.559 --> 00:21:22.079
Well, some of them some of them, yeah, some of them are, some aren't, some of are accomplished in a way, but they haven't spent enough time learning the material for this project they're working on right now.
00:21:22.400 --> 00:21:33.119
But the attitude, and this is a very, very small minority of people, you know, with whom I, you know, cross paths, but but there is a certain amount of, well, you can just fix that.
00:21:33.359 --> 00:21:35.839
And uh and that that I find sad.
00:21:36.240 --> 00:21:42.880
I hate to bring you all the way back full circle to Minnesota, but I I just have to hear a little bit about Prairie Home and Garrison.
00:21:42.960 --> 00:21:43.119
Yeah.
00:21:43.279 --> 00:21:47.359
I mean, he's notorious for like last minute changing everything.
00:21:47.599 --> 00:21:47.759
Yeah.
00:21:47.920 --> 00:21:51.359
So I'm wondering, like, how in the world you survived that period of time.
00:21:52.480 --> 00:21:54.480
I I was I was 19.
00:21:54.799 --> 00:21:59.759
So first of all, I I'm one of the people that you are gonna find who will not say a negative word.
00:22:00.079 --> 00:22:00.880
About Garrison.
00:22:00.960 --> 00:22:05.920
There are people who worked with him who did not like the experience and do not like him.
00:22:06.240 --> 00:22:15.359
He gave me an opportunity when I was 19 years old, maybe I had just turned 20, I was the lowest man on his program.
00:22:15.839 --> 00:22:20.880
And to slightly correct your intro, uh Chris, it was at that point a statewide program.
00:22:20.960 --> 00:22:28.000
I did engineer the very first national broadcast, but when I took over as technical director, it was still just a statewide show.
00:22:28.160 --> 00:22:35.119
But I was the youngest and least experienced guy on his crew, and he asked me if I wanted to be the technical director.
00:22:35.279 --> 00:22:43.359
And so all of a sudden, I became all these people who were my boss, I became their boss, and they were all very nice about it.
00:22:43.519 --> 00:22:51.279
And and uh Garrison just, you know, believed in me and um and you know, let me kind of have at it and figure it out.
00:22:51.440 --> 00:22:53.200
But yeah, it it's chaotic.
00:22:53.359 --> 00:22:58.720
Um there's you know, this band is gonna come on as a four-piece.
00:22:58.799 --> 00:23:00.960
Um, okay, so I'm prepared for that.
00:23:01.119 --> 00:23:07.359
And then for their last song, they decide the first band, which was a trio, is gonna join them.
00:23:07.519 --> 00:23:12.000
And now I've got a seven-piece that I wasn't expecting and didn't sound check.
00:23:12.160 --> 00:23:14.720
And um and it's live make it work.
00:23:14.880 --> 00:23:15.680
It's live radio.
00:23:16.079 --> 00:23:27.519
So the yeah, so as I told one of my colleagues at the time, I said the biggest lesson in working in this type of environment is the lesson that panicking never makes it better.
00:23:28.240 --> 00:23:34.559
So just uh just just roll with it, you know, and do what you can.
00:23:34.720 --> 00:23:42.559
And no, it's not gonna sound perfect, but it's gonna, we're gonna get a show on the radio that's gonna be really, really enjoyable.
00:23:42.640 --> 00:23:43.359
And we did that.
00:23:43.680 --> 00:23:45.599
So you do, I mean, there you did.
00:23:45.680 --> 00:23:49.839
Have you done live sound besides that, or do you stick mostly to the recording side?
00:23:50.240 --> 00:23:52.799
It's mostly recording, but we do a lot of live streaming stuff.
00:23:52.960 --> 00:23:56.319
We got through the pandemic by buying video gear.
00:23:56.480 --> 00:24:00.880
Um, I happened to see a um, there's a folk artist named Ellis Paul.
00:24:00.960 --> 00:24:08.720
My nephew is a big fan, and he my nephew told me, Oh, Ellis Paul, this was this was just as the pandemic was hitting big.
00:24:08.960 --> 00:24:12.799
And my nephew said, Oh, Ellis Paul made a little video in his living room.
00:24:12.880 --> 00:24:13.680
You should check it out.
00:24:13.759 --> 00:24:14.559
It's kind of fun.
00:24:14.720 --> 00:24:22.480
So he did this little video in his living room, and he said, you know, hey, I can't play in front of people right now, so here's what I'm gonna be doing.
00:24:22.559 --> 00:24:25.119
Um, you know, if you can, send me five bucks.
00:24:25.440 --> 00:24:32.079
And two, three days later, we had a staff meeting, and I said, Here's what we're gonna do.
00:24:32.319 --> 00:24:36.240
We're going to buy, I know we've got no money coming in and no gigs on the calendar.
00:24:36.400 --> 00:24:41.440
We're gonna buy 12 grand worth of audio, I'm sorry, video gear.
00:24:42.240 --> 00:24:46.000
And this is how this is how artists and audiences are gonna connect.
00:24:46.319 --> 00:24:49.519
And our second contract paid for all the gear.
00:24:49.759 --> 00:24:52.400
So it was, yeah, so we really lucked out.
00:24:52.559 --> 00:24:55.839
Yeah, I make a lot of bad decisions, but that was one of the better ones.
00:24:56.079 --> 00:24:59.599
And um so we are now kind of a multimedia company.
00:24:59.759 --> 00:25:05.359
And my young employees, who are brilliant, uh, mostly women, by the way.
00:25:05.440 --> 00:25:08.960
We have four women and two men at the at the brilliant than we are.
00:25:09.039 --> 00:25:09.359
Look at this.
00:25:09.599 --> 00:25:26.880
They are, they are and they went from, and it was partly thanks to my friend Bruce Johnson, who taught them a lot, but they went from looking at a camera and saying, How do you turn this on, to being really good camera operators in like three, four weeks.
00:25:27.119 --> 00:25:29.279
And yeah, it's it's amazing.
00:25:29.680 --> 00:25:30.240
That's awesome.
00:25:30.400 --> 00:25:30.720
Yeah.
00:25:31.039 --> 00:25:46.000
So I mean, uh the the idea of being a uh, you know, venture capitalist with recording and freelancing and uh being a voice actor wasn't sort of uh enough of a thrill-seeking, uh uh dangerous gig for you.
00:25:46.079 --> 00:25:47.599
You have to go ahead and climb mountains too.
00:25:47.920 --> 00:25:48.319
Yeah, right.
00:25:48.799 --> 00:25:50.720
What what and scuba dive.
00:25:50.880 --> 00:25:51.599
And scuba dive.
00:25:51.839 --> 00:25:51.920
Yeah.
00:25:52.240 --> 00:25:54.960
Yeah, I don't do the I don't do that much scuba diving anymore.
00:25:55.039 --> 00:26:10.240
I did the scuba thing because my sister got married in an underwater cave in Waynesville, Missouri, and she gave me the sister doe eyes and said, I really would like it if you'd come in the water and you know, be I said, I'm gonna have to be on shore.
00:26:10.319 --> 00:26:12.799
That's like advanced scuba certification.
00:26:12.960 --> 00:26:15.279
Oh, I'd really like it if you'd go in the water.
00:26:15.359 --> 00:26:16.400
I'm like, okay, fine.
00:26:16.640 --> 00:26:18.880
So I had to get advanced certification.
00:26:18.960 --> 00:26:21.839
The climbing is is a much simpler explanation.
00:26:22.000 --> 00:26:23.519
You will all understand it.
00:26:23.680 --> 00:26:28.000
I was in love with a rock climber, and she wanted me to climb with her.
00:26:28.160 --> 00:26:31.359
And what stupid thing will we not do for love?
00:26:31.440 --> 00:26:31.759
Come on.
00:26:32.000 --> 00:26:34.960
But four different routes to the top of Devil's Tower?
00:26:35.119 --> 00:26:37.039
Yeah, not at the same time.
00:26:37.200 --> 00:26:39.920
But um I did two one day one.
00:26:40.960 --> 00:26:45.119
That's still like four more than Peter's gonna do.
00:26:45.839 --> 00:26:46.640
Four more than I'm gonna do.
00:26:47.119 --> 00:26:55.440
Yeah, it's a thousand vertical feet, and and it's a it's a cool thing because when you get to the top of a mountain, you're on basically what's like a tabletop, right?
00:26:55.519 --> 00:27:00.079
You you can stand there and you know take a picture and you gotta get down because you can't breathe.
00:27:00.240 --> 00:27:03.920
The top of Devil's Tower is about the size of a football field.
00:27:04.000 --> 00:27:06.960
So you can you can hang out up there, you can have a picnic.
00:27:07.279 --> 00:27:12.079
Uh, but it it it was just it's it's it's a terrific sport.
00:27:12.240 --> 00:27:16.799
It involves a lot of um a lot of trust, obviously.
00:27:17.039 --> 00:27:19.680
And um, and and here's an example of that.
00:27:19.759 --> 00:27:23.440
This this actually made me a little teary-eyed when it happened.
00:27:23.519 --> 00:27:30.799
But there's uh there was a young woman climbing Devil's Tower at the same time I was, but she was in a different party.
00:27:31.039 --> 00:27:39.039
And um, and the guide she had hired was being inappropriate, a little creepy.
00:27:39.200 --> 00:27:42.799
And she walked over to me and said, Can I just climb with you?
00:27:42.960 --> 00:27:44.079
I would trust you.
00:27:44.319 --> 00:27:47.279
And I said, Yeah, yeah, I'll climb with you.
00:27:47.519 --> 00:27:54.000
And so, you know, together we did this route that's rated a 10B, which I never thought I could I could do.
00:27:54.160 --> 00:27:58.240
But I just thought, you know, this is, you know, trust on so many levels.
00:27:58.400 --> 00:28:06.079
I mean, first of all, she trusts me not to be creepy, but she's also trusting me with her life because I've got the other end of the rope.
00:28:06.160 --> 00:28:08.079
And if she falls, I'm it, you know.
00:28:08.240 --> 00:28:10.640
And so it was, and I felt the same way about her.
00:28:10.720 --> 00:28:14.720
It's like, yeah, we've known each other 20 seconds, and I'm gonna trust you with my life.
00:28:14.799 --> 00:28:16.319
It's it's yeah, it's an amazing thing.
00:28:16.559 --> 00:28:17.359
It's beautiful sport.
00:28:17.599 --> 00:28:19.279
I don't know if I could say that about Phil.
00:28:19.680 --> 00:28:20.720
I've known him for a while.
00:28:20.960 --> 00:28:24.079
20 seconds the way I I doubt if I doubt if Phil would.
00:28:24.480 --> 00:28:26.160
I'd I don't even want to get in a car with Chris.
00:28:26.640 --> 00:28:27.759
I trust Phil.
00:28:28.079 --> 00:28:29.200
I'd trust you too.
00:28:29.359 --> 00:28:32.160
I wouldn't actually ride climb with you, but I would trust you.
00:28:32.480 --> 00:28:33.119
Okay, there you go.
00:28:33.279 --> 00:28:37.839
I just want you to notice that I have a I have a camera person here too.
00:28:37.920 --> 00:28:38.799
So it follows me.
00:28:38.960 --> 00:28:41.920
Okay, hey, back to some other uh technical things here.
00:28:42.160 --> 00:28:48.480
What's one of the biggest mistakes that music teachers make when they try to do their own recordings?
00:28:48.799 --> 00:28:50.079
Well, that's a great question.
00:28:50.400 --> 00:28:52.000
Yeah, that is a really great question.
00:28:52.160 --> 00:28:54.400
Um I don't know if I can point to one thing.
00:28:55.039 --> 00:28:55.359
Five.
00:28:55.680 --> 00:28:56.319
Okay, five.
00:28:56.559 --> 00:28:57.519
The wrong microphones.
00:28:57.759 --> 00:28:59.359
Yeah, I mean don't hire you.
00:28:59.680 --> 00:29:00.160
Yeah, right.
00:29:00.319 --> 00:29:00.880
They don't hire.
00:29:01.279 --> 00:29:06.240
No, I mean it's it's it's mainly a matter of just listening.
00:29:06.400 --> 00:29:17.920
Sometimes people um just intuitively place a mic too close or too far, or you know, get um, you know, get additional noise.
00:29:18.079 --> 00:29:28.480
Um a real common thing I've noticed when I record choral groups is I've had many choral directors tell me, you're putting your mics, you're putting your mics too close.
00:29:28.640 --> 00:29:32.799
They need to be, they need to be way farther away, or you're gonna pick out individual voices.
00:29:32.880 --> 00:29:39.359
And I tell them, you know, A, like we're in a church and there's gonna be a lot of sound bouncing around.
00:29:39.519 --> 00:29:49.039
And if I put that mic 20 feet back, it's going to sound like they're singing in a well, you know, and you know, microphones don't react the way the way ears do.
00:29:49.200 --> 00:30:01.599
So I don't know if I could really point out specific mistakes, but the thing I will say is that it's like everything in life, you gotta get it right at way upstream because fixing it later.
00:30:02.079 --> 00:30:08.160
I've had so many people do projects where they say, I I did this on the cheap.
00:30:08.400 --> 00:30:09.279
Can you fix it?
00:30:09.440 --> 00:30:14.319
And I say yes, and it's gonna cost you more than if you'd done it right in the first place.
00:30:14.480 --> 00:30:16.480
It's just no, it's yeah.
00:30:16.799 --> 00:30:18.799
That's so uh let me flip that then.
00:30:18.960 --> 00:30:22.960
Have you done recordings where it doesn't need a lot of post-editing?
00:30:23.039 --> 00:30:26.079
Like everything's set up or the group is is that good.
00:30:26.240 --> 00:30:28.640
I mean, does that does that work that way sometimes?
00:30:28.880 --> 00:30:29.759
Yeah, yeah.
00:30:30.000 --> 00:30:31.599
Yeah, especially with jazz.
00:30:31.759 --> 00:30:38.160
I mean, you mentioned Roscoe Mitchell in my um in in your introduction of me, um, your very kind introduction.
00:30:38.319 --> 00:30:44.079
Um, he's a founding member of the Art Ensemble of Chicago, and um he's in his 80s now.
00:30:44.160 --> 00:30:46.000
Um, we've been friends for decades.
00:30:46.079 --> 00:30:48.880
I've been his re recording engineer for decades.
00:30:49.119 --> 00:30:53.119
He is one of the most honest musicians I've ever worked with.
00:30:53.279 --> 00:30:59.440
And I remember we did a piece called Song for My Sister, which is a piece he literally wrote for his sister.
00:30:59.680 --> 00:31:02.000
And um it's a it's a it's a beautiful piece.
00:31:02.079 --> 00:31:07.920
A lot of Roscoe's stuff is very avant-garde and hard on the ear, but this is a very melodic, beautiful piece.
00:31:08.079 --> 00:31:22.079
He was playing um a duet opening, he was playing uh alto sax, and he was playing a duet opening with Corey Wilkes, who was playing trumpet, and Corey had the melody, and then Roscoe was playing this harmony line along with it.
00:31:22.319 --> 00:31:26.240
And Corey, just brilliant player, but you know, he's human.
00:31:26.319 --> 00:31:43.839
He got goofed up and he's and he started to play, he started to play the wrong part of the head out, and so he played like one or two notes, he stopped, waited until the the that part cycled through, and then on the second time he jumped in and he played it perfectly.
00:31:44.000 --> 00:32:03.279
And so I said to Roscoe, I said, you know, I'll have Corey come in tomorrow morning and we can we can punch in that part that he missed, because it's just a few bars, you know, and uh and Roscoe, Roscoe in his in his beautiful mellow way, he goes, Buzz, man, leave it.
00:32:03.440 --> 00:32:05.279
That's how we played it.
00:32:05.519 --> 00:32:07.200
And it's on the record that way.
00:32:08.880 --> 00:32:12.000
And I think, good for you, man, you know, yeah.
00:32:12.480 --> 00:32:15.039
And now a message from our sponsors.
00:32:15.359 --> 00:32:16.240
Concert night.
00:32:16.319 --> 00:32:19.759
You've studied your scores, you've thoughtfully chosen your baton and outfit.
00:32:19.920 --> 00:32:22.480
The value of the instruments on stage is nearly priceless.
00:32:22.640 --> 00:32:25.359
You represent the composer, the musicians, and your institution.
00:32:25.519 --> 00:32:30.960
Behind you in the audience are your peers, proud family members, community, and even potential donors.
00:32:31.200 --> 00:32:39.279
And my question is this: Are you standing on a squeaky, mass-produced podium that was bought long before you arrived?
00:32:39.519 --> 00:32:41.359
I know I've stood on that podium.
00:32:41.599 --> 00:32:44.799
A conductor's foundation should match their artistry.
00:32:45.039 --> 00:32:53.680
Well, I can tell you I'm not on that podium because I have two of these silent stage podiums, which are gracefully designed to complement the instruments but not distract from the music.
00:32:53.839 --> 00:33:04.720
They're built with American oak, elegant brass railings, sound-dampening rubber-backed carpet and velvet red, and steps on both sides, which fold in easily for a smaller footprint when needed.
00:33:04.880 --> 00:33:12.960
Each podium is delivered in a street rolling case for the podium to survive backstage bumps, dust, or even like we take these long ensemble tours.
00:33:13.200 --> 00:33:16.960
Commuter, elevate your presence with Silent Stage Podium.
00:33:17.119 --> 00:33:19.119
Say it with me, Silent Stage Podiums.
00:33:19.359 --> 00:33:22.400
Find out more at Silent Stagepodiums.com.
00:33:22.640 --> 00:33:23.920
Now back to our show.
00:33:24.160 --> 00:33:27.440
So I just want to say something just for for everybody that may not know.
00:33:27.599 --> 00:33:36.160
So uh when when Buzz or other professionals are recording, they're in a room where they can't hear anything except what comes through the microphones, right?
00:33:36.400 --> 00:33:55.519
So the engineer not only knows microphones and placement and all that and and uh reverb and isolation, blah, blah, blah, but then they'll turn on and off different microphones just to get that bass drum mic just right or that that solo mic just right in all of its settings, and they turn different things on and off.
00:33:55.759 --> 00:34:10.719
And I've done it mostly with orchestras, um, some chamber music, uh live jazz, but it's amazing because when I'm I'm in another room and this engineer is like literally making the sound of the orchestra happen, right?
00:34:10.880 --> 00:34:17.119
Because it's their ears that are adjusting to make the strings sound this way or the woodwinds sound that way.
00:34:17.360 --> 00:34:21.679
And when it comes together, it's so amazing to hear that gift.
00:34:22.000 --> 00:34:26.960
Um producing's actually more psychological than than musical.
00:34:27.039 --> 00:34:29.840
I mean, it is musical too, but um, it's more psychological.
00:34:30.000 --> 00:34:40.639
But the engineer's ears, it's not just knowing about the technical stuff, it's about how to build the sound of a big band, how to build the sound of a Garrison Keeler live show.
00:34:40.719 --> 00:34:43.039
So there's, you know, this doesn't bleed and all that stuff.
00:34:43.119 --> 00:34:44.960
It's so amazing.
00:34:45.119 --> 00:34:48.719
It's such a different skill set, um, but totally musical.
00:34:48.800 --> 00:34:54.400
Because otherwise your orchestra sounds like a choir or your choir sounds like a, you know, I don't know.
00:34:54.559 --> 00:34:55.679
So it's really cool.
00:34:55.840 --> 00:34:56.000
Right.
00:34:56.239 --> 00:35:00.400
If you ever get a chance to watch somebody, it's pretty he does that a lot where he'll just ramble like that.
00:35:00.480 --> 00:35:01.920
I'm gonna turn it into a question.
00:35:02.159 --> 00:35:08.480
So, how can students, kids that are interested in this line of work, help to develop their ears or even get involved?
00:35:08.719 --> 00:35:09.440
Nice work, Chris.
00:35:09.599 --> 00:35:09.920
Cool.
00:35:10.000 --> 00:35:12.159
Um no, I appreciate your comment, Peter.
00:35:12.239 --> 00:35:13.760
And uh and Chris, yeah.
00:35:13.840 --> 00:35:16.480
Um, how do they get involved in what I do?
00:35:16.639 --> 00:35:16.800
Yeah.
00:35:17.039 --> 00:35:17.519
Is what you're asking.
00:35:17.760 --> 00:35:21.599
Yeah, or get started in this line of business, you know, in this in this this field.
00:35:21.920 --> 00:35:26.880
Yeah, um, get get, I don't know, get there's a certain amount of luck involved.
00:35:26.960 --> 00:35:29.840
I happen to be able to meet the right people to get in.
00:35:30.000 --> 00:35:37.840
But I the best thing you can do is try to get um find somebody who's willing to be helpful.
00:35:38.000 --> 00:35:41.199
Um, and we often are, we can't always be.
00:35:41.280 --> 00:35:50.320
When I get young people who want to do an internship or just want to shadow us for a day, usually I'm able to accommodate it, sometimes not.
00:35:50.480 --> 00:36:11.199
But um find somebody who is willing to give a little of their time and and let the student work or at least observe and you know, see what other people do, and then eventually do a little get a little hands-on and and um it it's really it's really doing and and listening.
00:36:11.440 --> 00:36:21.519
Um and with an orchestra, uh, you know, or even a big band, it's um it's it's really great to know what you're aiming for.
00:36:21.679 --> 00:36:26.159
And for that, you have to have a really good relationship with the conductor.
00:36:26.320 --> 00:36:32.719
I've worked with John Domain since the day he took the job at so at at uh Madison Symphony.
00:36:32.800 --> 00:36:48.719
So, you know, and before that I'd worked with Stanislavskrovachevsky and I've worked with Baron Boym and I've worked with a bunch of different conductors, and you have to know what they want, um and then sh and then shoot for that in a technical way.
00:36:48.880 --> 00:36:53.760
Um because if um if you're at odds with the conductor, you're automatically wrong.
00:36:54.079 --> 00:36:54.719
Yeah, that's right.
00:36:54.880 --> 00:36:56.800
Yeah, live sound works that way too.
00:36:57.039 --> 00:37:02.320
It's perfect and nobody notices you, and then they forget you, and if it's wrong, it's your fault.
00:37:02.400 --> 00:37:02.559
Yeah.
00:37:03.519 --> 00:37:09.760
Yeah, there there is that kind of running joke we have in audio that people only notice the sound if they don't like it.
00:37:10.079 --> 00:37:14.000
Um, they they don't notice what they do like, although that's not really true.
00:37:14.079 --> 00:37:18.559
I've had many people say nice things about a mix I've done or something I've done.
00:37:18.880 --> 00:37:22.079
So, what is the most unusual voiceover work you've ever done?
00:37:22.400 --> 00:37:22.880
Wow.
00:37:23.119 --> 00:37:26.079
Um, well, Chris mentioned uh Smokey Bear.
00:37:26.159 --> 00:37:31.599
Um so that was um that was unusual just in the sense of its you know its uniqueness.
00:37:32.159 --> 00:37:36.880
Um you know, I've also played, you know, like cartoonish kind of characters.
00:37:37.039 --> 00:37:42.159
There I did one ad where there were talking squirrels, um, so I had to be a talking squirrel.
00:37:42.239 --> 00:37:51.360
And uh so that was easy because you just you just you just speak very articulately and then the engineer speeds it up and and and pitches it up.
00:37:51.599 --> 00:38:00.159
And if you've spoken, if you've spoken with enough articulation, you can still be understood at the higher pitch and the higher speed.
00:38:00.480 --> 00:38:03.039
So that's uh so that's that's pretty good.
00:38:03.199 --> 00:38:14.639
Um yeah, I've done, you know, I did I've done two audiobooks now, which were autobiographies, so that was weird because I was basically pretending to be the author.
00:38:14.880 --> 00:38:16.480
Um so yeah, that's weird.
00:38:16.559 --> 00:38:19.360
The one I'm reading right now is um is that way too.
00:38:19.440 --> 00:38:27.840
It's uh it's a very um a really emotional book um about this guy's tough upbringing and how he overcame it.
00:38:28.159 --> 00:38:36.480
And um and it's there's yeah, there's some wild stuff, you know, that he this poor guy had to live through growing up.
00:38:36.639 --> 00:38:39.039
Um one, I'll just tell you one story.
00:38:39.119 --> 00:38:40.800
I don't think he would mind, it's in the book.
00:38:40.880 --> 00:38:49.760
So uh, but his uh his mother um had an alcohol problem and she would berate him after she had had too much to drink.
00:38:49.920 --> 00:38:54.159
And I came up with what I thought was a really great drunk mom voice.
00:38:54.320 --> 00:39:14.079
And so I had this drunk mom voice, and there's a couple of chapters where she's in there a lot, and I had to take an almost half-hour break after reading that, sitting in the control room with the engineer just drinking tea, because I completely wrecked my voice doing the drunk mom in the office.
00:39:15.440 --> 00:39:20.239
Yeah, so so kids don't try to impersonate drunk people.
00:39:20.320 --> 00:39:20.880
It's bad for you.
00:39:21.599 --> 00:39:22.719
That's not good for your throat.
00:39:25.039 --> 00:39:25.119
Yeah.
00:39:25.760 --> 00:39:29.039
Uh how about the wildest gig you've ever had to do sound for?
00:39:29.199 --> 00:39:29.440
Wow.
00:39:29.599 --> 00:39:30.800
Was it yo-yo ma?
00:39:30.880 --> 00:39:31.679
Was that kind of a wild?
00:39:32.239 --> 00:39:33.440
Yeah, no, he's not wild.
00:39:33.599 --> 00:39:35.679
He's I mean, he's the he's the nicest guy in the world.
00:39:35.840 --> 00:39:37.119
He's the nicest guy in the world.
00:39:37.280 --> 00:39:47.039
There's there's a there's a um there's a young man years ago, he thought I had a more of a of a relationship with Yo-Yo Ma than I do.
00:39:47.119 --> 00:39:51.840
I mean, I've recorded him a few times and we know each other, but it's not like we go have beers, you know.
00:39:52.000 --> 00:39:56.400
But this young man thought, you know, he thought, you know, I want to take a lesson with Yoyo Ma.
00:39:56.559 --> 00:39:59.519
And he asked me if I would write him a recommendation letter.
00:39:59.599 --> 00:40:10.000
And I said, I I will, but I said, trust me, this is this is this is like you might as well get a recommendation letter from the custodian at Walmart because I'm gonna have no influence on this guy.
00:40:10.239 --> 00:40:16.239
And uh I wrote the letter, I gave it to the kid, he somehow got it to Yoyama, and Yoyo Ma gave him the lesson.
00:40:16.400 --> 00:40:18.960
And that kid to this day thinks I'm magic.
00:40:19.119 --> 00:40:22.079
And I said, I said, that's not me, that's him.
00:40:22.239 --> 00:40:22.800
That's him.
00:40:22.880 --> 00:40:25.599
He would have given you that lesson without anyway.
00:40:25.679 --> 00:40:28.559
You asked me a question and I completely forgot to answer it.
00:40:29.119 --> 00:40:31.199
Um Wildest gig.
00:40:31.440 --> 00:40:32.480
Wildest gig.
00:40:32.639 --> 00:40:37.119
Um there have been some, there have been some pretty crazy ones.
00:40:37.360 --> 00:40:42.159
Um I yeah, I I mean Maybe it was so crazy he can't remember.
00:40:42.400 --> 00:40:43.280
Yeah, I can't remember.
00:40:43.360 --> 00:40:44.320
It was too crazy.
00:40:44.400 --> 00:40:52.639
Um I'd I'd say, I mean, for me, the craziest gig I probably done in the last few years was about three years ago, maybe three and a half.
00:40:52.800 --> 00:40:58.559
Um, I got a call from the tour manager for a Frank Zappa tribute band.
00:40:58.719 --> 00:41:02.079
And they're a very high-functioning Frank Zappa tribute band.
00:41:02.159 --> 00:41:09.360
They actually have Frank Zappa's former drummer, Chad Wackerman, playing with them, and the the musicians in this group were amazing.
00:41:09.519 --> 00:41:12.320
And they said, you know, hey, we're doing this East Coast tour.
00:41:12.480 --> 00:41:16.239
Would you um would you be our front of house sound engineer?
00:41:16.400 --> 00:41:18.480
And I said, I said, I'm really flattered.
00:41:18.639 --> 00:41:19.440
Thank you for asking.
00:41:19.519 --> 00:41:20.960
But I said, I'm not a rock guy.
00:41:21.039 --> 00:41:24.880
I do, you know, I do orchestras and I do jazz, you know, blah, blah, blah.
00:41:24.960 --> 00:41:33.519
And they and this guy said, he said, well, we had a band meeting and to discuss it, because our usual we have a guy who normally does it, but he's not available for three weeks.
00:41:33.679 --> 00:41:35.599
Could you, could you, you know, fill in?
00:41:35.840 --> 00:41:37.039
He said, we had a meeting.
00:41:37.199 --> 00:41:38.880
Who do we want to have fill in?
00:41:38.960 --> 00:41:40.320
And the band wants you.
00:41:40.480 --> 00:41:43.840
And I said, Oh, okay, it's hard to say no to that, you know.
00:41:44.000 --> 00:42:00.639
And uh, so I went on tour with this, um, with this Frank Zappa band, and they're really nice people and they're they're really sweet, but boy, I it it soon, you know, it it didn't take long to dawn on me that touring with a rock band is something you should do when you're 25.
00:42:00.800 --> 00:42:03.199
Yeah, not when you're not when you're my age.
00:42:03.360 --> 00:42:04.400
And so, yeah, yeah.
00:42:04.480 --> 00:42:10.159
So I'd be getting to bed at you know three in the morning, and then you get up and you're on the bus and you're off to the next thing.
00:42:10.239 --> 00:42:20.559
And and uh it's it's it's like, yeah, at the end of it, I thought I uh my famous quote uh to my friend Christina was, I'm really glad I did that.
00:42:20.639 --> 00:42:22.800
I'm never doing that again.
00:42:23.119 --> 00:42:23.440
Yep.
00:42:23.840 --> 00:42:24.639
Check that out.
00:42:25.039 --> 00:42:25.440
Cool.
00:42:25.679 --> 00:42:26.159
Awesome.
00:42:26.320 --> 00:42:29.519
Well, hey, uh this would not be complete without a speed run.
00:42:29.920 --> 00:42:31.840
So uh this is the topic for this.
00:42:32.960 --> 00:42:35.280
You don't don't I didn't know I didn't know about this.
00:42:35.519 --> 00:42:36.719
Yep, no thought needed.
00:42:36.800 --> 00:42:37.840
Don't no one ever does.
00:42:38.320 --> 00:42:39.119
Okay, okay, cool.
00:42:39.840 --> 00:42:40.239
All right.
00:42:40.400 --> 00:42:43.599
If uh if if thinking is optional, I'm gonna I'm gonna be great.
00:42:43.920 --> 00:42:44.239
Highly.
00:42:44.559 --> 00:42:45.119
Highly.
00:42:45.280 --> 00:42:46.159
Okay, here we go.
00:42:46.239 --> 00:42:53.920
And each of these I will I will note hits at different aspects of your uh person, of your um things that you do.
00:42:54.000 --> 00:42:58.719
So the first is um analog warmth or digital precision.
00:42:58.960 --> 00:42:59.840
Yes, got it.
00:43:00.559 --> 00:43:08.320
It's um it's it's there are there are huge uh huge advantages and very few disadvantages to either medium.
00:43:08.559 --> 00:43:11.920
Um, you know, um pick pick what you pick what you like.
00:43:12.000 --> 00:43:16.159
To me, it's like saying what's what's better, uh, a a trumpet or a tuba.
00:43:16.480 --> 00:43:18.239
You know, I mean, well, what are you trying to do?
00:43:18.320 --> 00:43:21.519
There it's it's all obvious answer to that, though, by the way.
00:43:21.840 --> 00:43:22.880
There is okay, fair enough.
00:43:24.960 --> 00:43:29.840
Um studio session with unlimited time or a live show with one take.
00:43:30.239 --> 00:43:31.360
Live show with one take.
00:43:31.519 --> 00:43:33.599
Um I love the spontaneity.
00:43:33.840 --> 00:43:42.320
I this is what I love about working with jazz groups is they will they will just they'll all get in a room and they'll play it.
00:43:42.559 --> 00:43:47.920
And if it's if it's if enough mistakes are made, they'll play it again.
00:43:48.239 --> 00:43:58.480
But they very it's very rare that they will go back and say, I'm gonna redo these three notes, I'm gonna punch in this, I'm gonna make this per oh, I was a little out of tune here.
00:43:58.719 --> 00:44:08.239
They're they're like the They're like this was the performance, you know, and uh I yeah, definitely would you rather mix for the Beatles or Duke Ellington?
00:44:08.480 --> 00:44:10.559
Oh you're killing me.
00:44:10.800 --> 00:44:22.880
Um both, both, I mean both, but but I probably I probably would pick Ellington just because my heart is kind of in in jazz, in the jazz world.
00:44:23.119 --> 00:44:23.440
Love it.
00:44:23.599 --> 00:44:23.760
Yeah.
00:44:24.079 --> 00:44:26.480
Commercial spot or animated character?
00:44:26.719 --> 00:44:28.159
Oh, animated character.
00:44:28.400 --> 00:44:30.000
I've always wanted to play one.
00:44:30.159 --> 00:44:35.599
I get I get a lot of commercial work, but doing animated characters, that would be that would be super fun.
00:44:35.920 --> 00:44:38.559
James Earl Jones or Morgan Freeman?
00:44:38.800 --> 00:44:39.360
Ooh.
00:44:39.920 --> 00:44:50.639
Um James Earl Jones, not so much because he's got the deeper voice, but because his dramatic presentation is just a little more to my liking.
00:44:50.800 --> 00:44:58.719
You know, the other person, the other person I would pick for uh dramatic narration who just nails it, it was Orson Wells.
00:44:59.119 --> 00:44:59.360
Really?
00:44:59.760 --> 00:45:03.599
Yeah, he he could yeah, yeah, he could he could nail it.
00:45:03.679 --> 00:45:04.960
Yeah, those guys are all great.
00:45:05.119 --> 00:45:07.440
But I would take I'd take Morgan Friedman too.
00:45:07.599 --> 00:45:09.119
That's uh that'd be good too.
00:45:10.320 --> 00:45:15.519
Um I don't know what this one means because AI came up with it, but lead climbing or bouldering?
00:45:15.760 --> 00:45:17.760
Um lead climbing.
00:45:17.840 --> 00:45:21.679
I I like I I don't know, do all of you know what bouldering is?
00:45:21.840 --> 00:45:24.480
It's um stirring up boulders.
00:45:24.960 --> 00:45:28.559
Yeah, no, no, it's not that um amazingly.
00:45:28.800 --> 00:45:36.719
You you climb up a few feet, three, four, five feet, and then you mainly climb horizontally.
00:45:36.960 --> 00:45:40.159
Um you don't go up high enough that you actually need a rope.
00:45:40.239 --> 00:45:46.159
If you fall, there's usually a pad beneath you, and so you can fall three feet and you're fine.
00:45:46.400 --> 00:45:51.679
Uh lead climbing or or top roping, you're climbing to the summit of something.
00:45:51.840 --> 00:45:53.039
And I I don't know why.
00:45:53.199 --> 00:45:59.039
It's probably just immaturity on my part, but I I need the thrill of actually getting to the top.
00:45:59.360 --> 00:46:03.679
You know, I want to get to the top and and feel like I did something.
00:46:03.840 --> 00:46:05.920
So um so lead climbing, yeah.
00:46:06.400 --> 00:46:08.960
Train strength or train technique?
00:46:09.199 --> 00:46:10.400
Uh technique.
00:46:10.960 --> 00:46:13.440
Um yeah, technique.
00:46:13.679 --> 00:46:17.840
Um in terms of in terms of what what a musician does, yeah.
00:46:18.000 --> 00:46:28.079
I mean, um, but yeah, I mean, but in addition to that, I know I'm cheating on this answer, but technique, but keep in mind the story, and I tell people this all the time.
00:46:28.400 --> 00:46:34.559
You're whether you're singing or playing a saxophone or playing the drums, you're basically telling a story.
00:46:35.119 --> 00:46:43.519
So try to make the story have a beginning and a middle and an end, and and and think about it as a form of communication.
00:46:43.840 --> 00:46:46.639
Alex Honald or Tommy Caldwell?
00:46:47.519 --> 00:47:03.599
Uh Tommy Caldwell, uh, and the reason is I have a lot of respect for Honald, but Honald does a lot of free solo stuff, and um, and I've never maybe Caldwell does too, but I've only seen Caldwell uh roped up.
00:47:03.760 --> 00:47:10.159
And uh a friend of mine many years ago asked me if I ever free solo, and I said no.
00:47:10.320 --> 00:47:11.280
And she said, good.
00:47:11.679 --> 00:47:20.639
She goes, You no one who loves you is ever going to ask you not to rock climb, but we are going to ask you not to die stupidly.
00:47:20.800 --> 00:47:26.079
And I think that that's something that I owe my loved ones is not to die stupidly.
00:47:26.239 --> 00:47:35.360
And when um when Honold does some of this crazy stuff, he's got a wife and kids, and I just think, dude, you owe it to people not to die stupidly.
00:47:35.519 --> 00:47:36.320
So there you go.
00:47:36.559 --> 00:47:40.000
Can you pound a nail with a Sure SN58?
00:47:42.079 --> 00:47:45.679
Um it works better than singing into a hammer.
00:47:51.119 --> 00:47:54.320
You can't use the Sure 58 when you're done, but you can get that nail in.
00:47:54.639 --> 00:47:55.519
You you almost can.
00:47:55.679 --> 00:47:56.480
You know, you almost can.
00:47:56.559 --> 00:47:59.840
The the 58, this is what they're known for, is their durability.
00:47:59.920 --> 00:48:09.760
And you will see if you look at a touring rock band, you will see SM58s where the the uh mouth, the the windscreen on it is just smashed to bit.
00:48:10.000 --> 00:48:14.719
It looks like it's been you know run over by six trucks, but um, but but it still works.
00:48:14.800 --> 00:48:22.639
Uh so I think you probably could pound a nail into wood with a 58 and it would still work, but um, but it is not recommended.
00:48:22.800 --> 00:48:23.119
I love it.
00:48:23.280 --> 00:48:26.079
And then finally, Shostakovich or Mahler?
00:48:26.400 --> 00:48:28.559
I have such love for both.
00:48:28.719 --> 00:49:00.320
Um I I would probably narrowly pick Shostakovich um for not only writing amazing music, as did Mahler, but Shostakovich, one of the things he is known for is he could write music that would basically fool the um the Soviet uh uh government into think because they because under Stalin there were these strict rules about how you know everything has to be uplifting and you know patriotic and blah, blah, blah.
00:49:00.400 --> 00:49:10.880
And and Shostakovich kind of knew how to skirt that and um get around Stalin's uh censors, and uh and so he gets extra credit for that.
00:49:11.599 --> 00:49:12.559
Extra credit.
00:49:12.800 --> 00:49:13.039
Yeah.
00:49:13.920 --> 00:49:15.280
Buzz, this has been great.
00:49:15.599 --> 00:49:20.320
I didn't know you before tonight, but this is amazing, and it's a great voice.
00:49:20.559 --> 00:49:22.000
I could listen to that all day long, too.
00:49:22.400 --> 00:49:22.960
Thank you so much.
00:49:23.119 --> 00:49:24.159
You guys are very kind.
00:49:24.239 --> 00:49:24.960
I appreciate it.
00:49:25.360 --> 00:49:26.880
I'm so sorry you know Chris.
00:49:27.039 --> 00:49:28.079
I forgot to add that in.
00:49:28.559 --> 00:49:34.719
You know, it it it's it's been it's been such a great um relationship and a lot of mutual respect.
00:49:34.800 --> 00:49:39.360
And and and uh Peter and Phil, you guys uh as well, now that I know you.
00:49:39.519 --> 00:49:50.000
Um it's just uh, you know, anybody who is putting more art, helping more art um get into the world, um it you're you're making the world a better place.
00:49:50.159 --> 00:49:51.119
So so thank you.
00:49:51.360 --> 00:49:52.320
Uh right back at you.
00:49:52.400 --> 00:49:54.320
Deep no, Buzz, thank you so much.
00:49:54.400 --> 00:50:01.360
You uh you are uh you're a gem, tell you, from the day I met you, you know, because you bring humanity to this work, you know what I mean?
00:50:01.440 --> 00:50:02.719
It was always about the kids.
00:50:02.800 --> 00:50:05.679
It was always about how can we get the best sound.
00:50:06.159 --> 00:50:08.480
Um it's just your touch that you put on this.
00:50:08.559 --> 00:50:12.239
It's just uh something way beyond knobs and buttons and everything else.
00:50:12.400 --> 00:50:13.440
You're a great human being.
00:50:13.519 --> 00:50:14.559
So thanks for all you do.
00:50:14.800 --> 00:50:16.239
You're very kind, thank you.
00:50:16.800 --> 00:50:17.920
Nice work, buddy.
00:50:18.000 --> 00:50:18.639
That's really cool.
00:50:18.719 --> 00:50:20.480
And not a tuba player.
00:50:20.880 --> 00:50:21.119
Yeah.
00:50:21.360 --> 00:50:22.719
Not a tuba player.
00:50:23.039 --> 00:50:23.360
Nope.
00:50:24.079 --> 00:50:33.360
And to have uh a career that diverse, I mean, you have to be you have to have great musical ears to work with those people and get called back to do it again.
00:50:33.440 --> 00:50:42.400
And I guess that's what I was getting at with that whole monologue there was just a lot of people know what buttons to twist, but they don't know how to make yo-yo ma sound like yo-yo ma.
00:50:43.039 --> 00:50:46.639
Chris, when he recorded your groups, did you did the kids get a chance to meet him?
00:50:46.880 --> 00:50:47.360
Oh, yeah.
00:50:47.519 --> 00:50:47.920
Yeah, yeah.
00:50:48.000 --> 00:50:53.440
You know, he came out and and talked to the kids and man, I remember it like it was yesterday.
00:50:53.599 --> 00:50:54.880
I remember that recording.
00:50:55.039 --> 00:50:58.000
I remember everything about it, and he was so kind.
00:50:58.079 --> 00:51:00.480
I mean, like I had told him, I'm like, I have no money.
00:51:00.960 --> 00:51:10.480
I'm like, I teach at a middle school, but we wanted to play at the state conference, and so really he helped to get that grouped, you know, a good authentic sound, you know.
00:51:10.719 --> 00:51:13.760
Back in, I mean, that was early 2000s.
00:51:13.840 --> 00:51:20.960
I mean, there wasn't much doctoring he was doing to it, but he knew exactly how to get a balanced sound out of a band room, you know what I mean?
00:51:21.199 --> 00:51:23.199
Where the microphones are right up on them.
00:51:23.280 --> 00:51:24.559
So I'm just like, thank you.
00:51:24.800 --> 00:51:26.239
So no, he's a great guy.
00:51:26.480 --> 00:51:40.239
I've had the chance to work with Doug Gueston, who's a great producer and engineer and all that for Westmark Productions and the Twin Cities, and he does live and all that stuff, and he's he's retired now, he's passed on to another great team of people, but Walton Nick and stuff.
00:51:40.400 --> 00:51:47.679
But he's even had my kids just come in and watch as we've done a three-day recording session and teaching them what they're doing.
00:51:47.840 --> 00:51:51.280
It's just I think it's really because I just don't have that.
00:51:51.440 --> 00:51:52.880
I can't right?
00:51:53.039 --> 00:51:54.559
I don't have that, but it's really cool.
00:51:54.800 --> 00:51:55.039
All right.
00:51:55.199 --> 00:51:56.639
So we have a band buzzler.
00:51:56.880 --> 00:52:01.440
Chris, could you maybe hire potentially mix the podcast?
00:52:01.760 --> 00:52:06.000
Maybe get rid of the sound effects or change them or get rid of Benny?
00:52:07.199 --> 00:52:11.679
Well, that was w what could he edit me out?
00:52:12.000 --> 00:52:14.079
Does our does our budget allow for that?
00:52:14.400 --> 00:52:15.360
No, it doesn't.
00:52:16.800 --> 00:52:18.639
I mean, I think we sold a shirt for like$15.
00:52:19.280 --> 00:52:19.840
We sold a shirt.
00:52:20.079 --> 00:52:20.239
We did.
00:52:20.400 --> 00:52:21.119
We sold one shirt.
00:52:21.199 --> 00:52:22.719
That's what we're running off of right now.
00:52:22.880 --> 00:52:25.280
So could you can't you give him a shirt?
00:52:25.360 --> 00:52:26.079
Maybe help us out?
00:52:26.639 --> 00:52:27.280
Anything?
00:52:28.880 --> 00:52:33.679
I was gonna ask him to stay beyond the notes, just so I could do that.
00:52:34.239 --> 00:52:37.039
Beyond notes than you put on the end that's not your voice.
00:52:37.360 --> 00:52:38.960
I I need I would need to pin them.
00:52:39.039 --> 00:52:41.280
Like I would feel bad if I didn't, actually.
00:52:48.800 --> 00:53:00.480
Exciting news, commuter, the Beyond Artless podcast was recently awarded 12th place in a global poll of decisions you might regret in 2026.
00:53:00.800 --> 00:53:06.880
Closely behind was skating lessons with Phil, Tuba lessons with Chris, and snuggling with Peter.
00:53:07.119 --> 00:53:15.840
And in even more exciting news, this week's Buzzler highlights a beautiful grade two work from the pen of a guest of this show.
00:53:16.079 --> 00:53:28.000
The devoted research team behind the band Buzzler unearthed this gem as they strive to bring a variety of grade levels, composers, and musical flavors to you, our devoted listener.
00:53:28.320 --> 00:53:31.360
Best of luck with this episode's Buzzler.
00:53:31.599 --> 00:53:33.039
Happy listening.
00:54:08.719 --> 00:54:09.519
There you have it.
00:54:11.119 --> 00:54:12.000
I don't know the one.
00:54:12.159 --> 00:54:14.079
I'm excited to learn more about it next week.
00:54:14.320 --> 00:54:18.960
I think I know that tune, but it's just that's uh on the tip of my brain.
00:54:19.760 --> 00:54:21.679
Trying to l I'm trying to lose my camera.
00:54:22.000 --> 00:54:22.800
Kind of a fun game.
00:54:23.039 --> 00:54:23.519
Oh, crap.
00:54:23.840 --> 00:54:26.159
Seriously, you have gotta get out of that room more often.
00:54:26.480 --> 00:54:26.880
Uh-huh.
00:54:27.360 --> 00:54:27.760
Buddy.
00:54:28.239 --> 00:54:28.800
Really?
00:54:29.280 --> 00:54:30.639
I don't even want to look at you.
00:54:30.880 --> 00:54:31.840
I'm gonna turn that off.
00:54:32.239 --> 00:54:35.519
You're making me want to turn that off on my uh on my Zoom.
00:54:35.679 --> 00:54:36.239
Look at it.
00:54:36.400 --> 00:54:37.199
You did a good job.
00:54:37.360 --> 00:54:38.320
I'm proud of you, Chris.
00:54:38.480 --> 00:54:39.360
You play the tuba.
00:54:39.920 --> 00:54:40.239
I do.
00:54:40.559 --> 00:54:40.880
Yep.
00:54:41.039 --> 00:54:42.960
That's um that's where I'm at.
00:54:43.199 --> 00:54:43.519
Okay.
00:54:44.079 --> 00:54:45.199
That's all we got.
00:54:46.880 --> 00:54:50.559
Boy, this is one of the finer wrap-ups we've done in quite some time.
00:54:50.960 --> 00:54:52.480
It's been a while since we talked.
00:54:52.960 --> 00:54:53.199
Yeah.
00:54:53.440 --> 00:54:55.280
It's been like almost two weeks, I think.
00:54:55.599 --> 00:54:56.000
Yeah.
00:54:56.320 --> 00:54:58.960
I mean a lot's happened.
00:55:03.760 --> 00:55:05.679
Happy Valentine's Day.
00:55:06.880 --> 00:55:10.800
Beyond Artless is sponsored by Beyond the Notes Music Festival.
00:55:10.960 --> 00:55:17.679
Our mission is to create and provide profound learning and social experiences through music that go beyond the notes.
00:55:17.840 --> 00:55:21.679
Visit BTN Musicfestival.com to learn more.