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Transcript

The Science of Sound with Bart Budwig · 6 Ranch Podcast

• 0:07
  Speaker 2: these are stories of outdoor adventure and expert advice from folks with calloused hands.
• 0:13
  Speaker 2: I'm james nash and this is the six ranch podcast In the studio today Bart Budwig and Adele Schott.
• 0:29
  Speaker 2: Bart, you're a mythical creature, A man of legend.
• 0:36
  Speaker 1: Iconic.
• 0:38
  Speaker 3: I don't know about that.
• 0:41
  Speaker 2: Yeah, tell me your story.
• 0:43
  Speaker 2: Where does your story begin?
• 0:45
  Speaker 3: That's a question I often ask people, and I'm curious about their responses ice and um, my mom and dad met playing horn in the salvation army and, uh, my dad worked at the university there and yeah, so I grew up there.
• 1:13
  Speaker 3: But I grew up playing uh, trumpet uh, because that's what my grandpa played since I can remember actually I was maybe, I don't know I was playing in like first grade and stuff at the lionel hampton Jazz Festival.
• 1:23
  Speaker 3: So I really have been playing trumpet since I was a little little kid, but then my mom passed away when I was 12.
• 1:35
  Speaker 3: And that had a big impact on me.
• 1:39
  Speaker 3: I don't know, it's hard to explain exactly how, but obviously but yeah, I tell people when I turned 18-ish, I started to get sad and then I started to write songs and to deal with instead of playing trumpet, because then I could write about my feelings.
• 2:01
  Speaker 3: But what brought me down here was Dary Daryl Brand, who, um, owns the OK Theater.
• 2:07
  Speaker 3: He was asking me to help run sound um for shows.
• 2:11
  Speaker 3: I think it was like 2009.
• 2:13
  Speaker 3: I came down just one.
• 2:15
  Speaker 3: It was kind of like just one thing a year that he wanted to do just for fun, yeah, and then he bought the theater in 2014.
• 2:22
  Speaker 3: And then he bought the theater in 2014.
• 2:28
  Speaker 3: And uh, yeah, I was a healthcare worker in Moscow doing music stuff as much as I could.
• 2:32
  Speaker 3: Uh did that for 10 years and then I got tired of it and I called Daryl and I was like, hey, I have a piano and an organ and I don't know where to put it.
• 2:38
  Speaker 3: Can I put them at the theater?
• 2:40
  Speaker 3: And then I'm going to go on the road with this band for a month running sound.
• 2:44
  Speaker 3: And then I didn't have any plans after that and uh, daryl was like, well, you can, how about you just move in and run sound for me and live at the theater for free in the, in this apartment to the side, which is like not there anymore.
• 2:58
  Speaker 3: But anyway, that's what brought me here from Moscow, idaho, that's what brought me here from Moscow, idaho.
• 3:04
  Speaker 2: Daryl is a great guy.
• 3:05
  Speaker 2: I love Daryl a lot and I've I've had a plan to have him here on the show maybe with with some of his kids in the in the future.
• 3:17
  Speaker 2: But yeah, he's a he's he's kind of my favorite class of people which occur with a with a high frequency in Wallowa County, which is blue-collar artists.
• 3:28
  Speaker 2: Right, right, yeah, definitely, they're a very special group of people.
• 3:33
  Speaker 2: Yeah, daryl is one of a handful of guys that I've ever met that I have no interest in fighting ever under any circumstances.
• 3:41
  Speaker 2: Right, because he has hands like Andre the Giant Yep, and I think you know if you could rise him to anger, he would just smack you down to the ground like a grizzly bear and it'd be over with Yep.
• 3:53
  Speaker 2: But he's a sweetheart, he's incredibly talented as a musician and he does good things for people, like he has for you.
• 4:00
  Speaker 2: Yeah.
• 4:02
  Speaker 3: One time Forrest Van Tile and I were moving a baby grand piano.
• 4:07
  Speaker 3: Basically it's on its side on like a slider piece of wood, and this isn't a stairway.
• 4:12
  Speaker 3: that doesn't exist in the theater anymore, but anyway everything in the theater has changed over the years, but we were like trying to get up the stairs and we were like oh and like falling.
• 4:21
  Speaker 3: And then Daryl was at the bottom.
• 4:22
  Speaker 3: He just was like whoa, he just threw it up the stairs.
• 4:26
  Speaker 3: Basically we were just like whoa, including us.
• 4:29
  Speaker 3: We were both pushed up the stairs as well.
• 4:32
  Speaker 3: Anyway, it was pretty funny and epic.
• 4:36
  Speaker 2: Yeah, baby, grand pianos aren't light.
• 4:39
  Speaker 3: No, Not at all.
• 4:41
  Speaker 2: Yeah yeah, he's a legend.
• 4:44
  Speaker 2: So yeah, daryl, you're getting put on notice right now here.
• 4:48
  Speaker 2: The fuse is burning short.
• 4:50
  Speaker 2: We're going to get you in here, but I I'm looking forward to that one, because I want to talk about the whole history and future of the okay theater.
• 5:00
  Speaker 2: It's a it's a bad-ass theater.
• 5:02
  Speaker 3: Yeah, it's been really fun to be a part of that and I think this fits in with the blue collar artist is there's a lot of people here where you just do like you care about the community and you do what you can when you can.
• 5:16
  Speaker 3: Like the theater has been like little things changing over time where it's getting nicer, or me collecting sound gear over time to run sound for bigger shows, but it's been like a a lifetime process because you got to work and do your thing and then make enough money to make the community a little better.
• 5:35
  Speaker 3: Or do you know, like with art or just having a podcast studio or what like most I don't.
• 5:43
  Speaker 3: There's hardly anyone that is just doing one, like I just play music or I just, you know, podcast or I just right, uh, that's not, that's not a thing here just only do outdoor stuff.
• 5:56
  Speaker 3: Most of the time it's like a mix of, yeah, things, which is really cool yeah, let's talk about sound a little bit sure.
• 6:05
  Speaker 2: Where do you draw the line between sound and music?
• 6:09
  Speaker 3: Hmm, interesting, I think.
• 6:15
  Speaker 3: Yeah, I run sound, I guess music is.
• 6:20
  Speaker 3: I guess the only difference is it's just intention, I suppose, like a human having intention to, because a lot of music is just sounds.
• 6:34
  Speaker 3: And I guess the other question is why does order in music sound pleasing to a human?
• 6:46
  Speaker 3: Like if you take a string and play it and then you all the harmonics of that string are like musical, it's like thirds and fifths, it like creates arpeggios and that's like pleasant to us.
• 6:57
  Speaker 3: But then you get to a certain point and you start playing all the weird notes mixed in and now that's like music.
• 7:05
  Speaker 3: Now, like with jazz and stuff like that, you can play all sorts of notes that make you feel like bad, but you like it kind of, if that makes sense.
• 7:16
  Speaker 3: I recently listened to Miles Davis Bitches Brew for the first time, which is like a record that everyone has talked about my whole life, and it's like I think it's like two band jazz bands and then it's like just, it's just wild.
• 7:31
  Speaker 3: There's a lot of things that you wouldn't ever expect.
• 7:34
  Speaker 3: Uh, and I did have a few drinks too, and then I just sat on the floor.
• 7:38
  Speaker 3: I was like I'm just gonna do this, even though I.
• 7:40
  Speaker 3: This is what all the people in jazz school talked about like 20 years ago, but it was.
• 7:58
  Speaker 3: I love new.
• 7:58
  Speaker 3: One of my favorite things about music is like new sounds or like surprises it's not listening to the same thing over and over again which are there is some music like that, but that's why I mostly actually listened to like dumb, I don't know humor, podcasts and like read and listen to books and music is mostly live for me or kind of like exploring or like at a friend's house having them show me something I don't know, or exploring on like the internet or Spotify, cause I liked the unknown elements of music and the surprises.
• 8:29
  Speaker 2: I think your experience with with sound is different from most people's.
• 8:33
  Speaker 2: Like, when you walked into the studio here, you immediately started talking about how the sound uh has high and low tones in here.
• 8:43
  Speaker 2: That's something that I don't understand, that I don't experience at all.
• 8:50
  Speaker 2: I wouldn't even know really what those words mean.
• 8:52
  Speaker 2: Yeah.
• 8:54
  Speaker 3: I forget that people don't.
• 8:55
  Speaker 3: I feel like I think more with my ears than I do with other parts of my body.
• 9:01
  Speaker 3: One of my favorite things to do is next time you're by like a brick wall there's one in portland recently, but or like a slatted wall is, you just walk by it quickly, like from six inches away, and go shh and it goes, and it's like it's a good example of like how acoustics are, uh, are just, you're always being informed by like your ears, even subconsciously yeah like being out there and talking in your shop, yeah, is it feels more cozy and comfortable in here because of the acoustics, versus like out there, the talking feels it feels fine, but it feels less like a living room and that's like subconscious.
• 9:49
  Speaker 3: You like your brain's telling you like I'm in a shop, I'm in a living room and that's why I said it sounded good in here, because I was like, oh, it sounds like we're in a spot with couches, with like bookshelves, with like a fire, like it has all the cozy elements right of sounds where you and when you're podcasting you want people to feel comfortable, so that's the environment you want it to feel like.
• 10:09
  Speaker 2: I guess, yeah, that makes sense what you were talking about earlier with the the order of of sounds in a song.
• 10:18
  Speaker 2: I I can't even remember what song it was, but I do remember listening to a song where they were experimenting with a drum beat and it wasn't in a rhythm Like.
• 10:30
  Speaker 2: It was chaotic Right the distance between the notes and the drum beat were changing and it was awful to listen to.
• 10:36
  Speaker 2: It was so uncomfortable and I don't know anything about music, but that was just a bad human experience for me and totally yeah, yeah I often feel that way about jazz, because it feels like everybody came to band practice and they don't know the song yet right right, it's just like everybody's kind of.
• 10:58
  Speaker 1: They're clearly contributing, but not necessarily together, to create a peaceful noise.
• 11:06
  Speaker 3: Right Is what it sounds like to me, totally.
• 11:09
  Speaker 1: Which does bring me stress more than peace.
• 11:12
  Speaker 3: Yeah, I think that's really common and it also makes sense because that's like I guess what I was saying is like the natural harmonics of a guitar or something.
• 11:21
  Speaker 3: Those are more peaceful to our brains actually.
• 11:26
  Speaker 1: Right.
• 11:26
  Speaker 3: And so, like I think, a lot of I definitely am not a music historian, but definitely in jazz you know they're exploring way different harmonies and notes together that don't like.
• 11:37
  Speaker 3: Our brain doesn't tell us that they go together.
• 11:40
  Speaker 1: Yeah.
• 11:40
  Speaker 3: It's more like a surprise, or like a gunshot, or like somebody yelling and running by.
• 11:46
  Speaker 3: You know it's like which.
• 11:48
  Speaker 1: Yeah, for me it's like cooking right.
• 11:50
  Speaker 1: It's like these flavors have never gone together before and maybe they're not supposed to.
• 11:55
  Speaker 1: But there's only one way to find out Right and it might be fun.
• 11:58
  Speaker 2: It might be fun, or it might be offensive, you don't know yet I was waiting for you to to bring it over to cooking.
• 12:03
  Speaker 2: Like you pull out your spice cabinet and uh, there's uh like italian seasoning, for example right that's like a combination of of herbs that are going to work together all the time like right.
• 12:18
  Speaker 2: They're never going to mess with each other, but you throw some curveball into it and it could ruin everything yeah, yeah.
• 12:24
  Speaker 1: You're like why is there a banjo in this punk band?
• 12:27
  Speaker 3: It's so uncomfortable.
• 12:28
  Speaker 1: But maybe I like it, you know.
• 12:30
  Speaker 3: And it might change.
• 12:31
  Speaker 3: You know, the people doing stuff like that is what changes food and art and music.
• 12:39
  Speaker 3: Right, it's like people having different experiences and trying things, and then it's like, oh, actually I really like this.
• 12:45
  Speaker 1: Yeah.
• 12:46
  Speaker 3: Or I got to try it and it was an offensive memorable experience that I enjoy.
• 12:52
  Speaker 3: Like I kind of enjoy offensive memorable experiences, I don't necessarily want to do them again.
• 12:57
  Speaker 1: Yeah.
• 12:58
  Speaker 3: Like wow, that band was terrible.
• 12:59
  Speaker 3: But it's like I enjoy watching a band to see if they might be great or bad or weird, and a lot of times it's like, yeah, I don't want to see it again, but I enjoy the, the unknown element, like if I accident, I don't know.
• 13:17
  Speaker 3: If you accidentally make something horrible with food, though, I feel like that's harder, because then you have to have a lot of it to eat, right.
• 13:24
  Speaker 1: If you make a lot of it to eat, right, if you make a lot of it, yeah, but you can turn the bad music off or leave I mean, you can also change what's in your mouth, you know you can erase it to a certain extent, but it's still like, yeah, I think I've tasted bad food and been like I don't want to do that again, but I'm not mad that I had the experience of eating that.
• 13:49
  Speaker 1: I'm glad I tried, or that they tried, and now I know.
• 13:55
  Speaker 3: Have you ever tried something new, when you're cooking for a bunch of people and then really not liked?
• 13:59
  Speaker 1: it, yes, all the time.
• 14:00
  Speaker 3: What do you do in that scenario?
• 14:02
  Speaker 1: You try really hard to fix it, add butter.
• 14:08
  Speaker 1: Yeah, it's like add fat or sweet or something that's going to make people happy, even though this is not a happy situation.
• 14:19
  Speaker 1: A lot of times you can just change the name depending on how bad you messed it up Right.
• 14:23
  Speaker 1: So like brownies are now like brulee crisps yeah, oh yeah, clever I'll have to make an.
• 14:32
  Speaker 3: I'll try.
• 14:33
  Speaker 2: I have to apply that to music somehow is that where it's raw on the bottom and burned on top?
• 14:38
  Speaker 2: Yes, okay yeah yeah too much, too many coals, yeah too many coals on the top of the Dutch oven.
• 14:43
  Speaker 2: And now we've got to.
• 14:45
  Speaker 1: Exactly, or it's like a pudding with a charred top.
• 14:48
  Speaker 1: You know, you just Yuck.
• 14:52
  Speaker 1: Okay, I shot my shot there, but like you, can, you know, come to the rescue with some presentation and a change in the name, which, again, I think you could do that in music too oh, yeah, definitely yeah, you're like oh, I didn't realize the song was funny.
• 15:11
  Speaker 1: It was supposed to be really heartfelt and sad, but yeah now it's funny I think a lot of.
• 15:17
  Speaker 3: As as far as sound goes, going back to that also, there's the we're talking about like notes or maybe rhythm, or like offensive or versus soothing or beautiful combinations.
• 15:28
  Speaker 3: But a big part of like recording is like recording to cassettes and like tape noise and like a lot of really artists that make really beautiful music, it's because they're recording it.
• 15:43
  Speaker 3: In a way they have just certain tools that they like and they create.
• 15:47
  Speaker 3: I guess you could say it's like more like low fidelity sounds, but it actually creates warmth and like comfort.
• 15:56
  Speaker 3: It's more like a living like, like if you record to cassette it sounds like you're more like you're in a living room for some reason.
• 16:04
  Speaker 3: So that's another weird part about sound and recording is a lot of times because you're using technology and if it's old or new or broken like, a lot of people find that they love a combination of those things, like, oh, this cassette player broke, but I really like it for recording guitar because it's like, like it for recording guitar because it's like and so that's another weird or thing about sound, especially in the recording studio, is like you're not trying to.
• 16:34
  Speaker 3: A lot of times you're trying to recreate a song and other times you're trying to just try making sounds that sound cool to you and then combining them with other things, just through experimentation and like fun and creativity.
• 16:49
  Speaker 2: Recording sound on its face is a pretty wild concept and it took a long time before anybody figured that out.
• 16:56
  Speaker 2: Yeah, totally yeah, and I, I don't know that I would have ever like if, if I lived in a world where recording sound hadn't occurred yet.
• 17:07
  Speaker 2: I don't think it would ever occur to me that it was something that should be done or could be done.
• 17:13
  Speaker 2: I would think of sound as something ephemeral, like you know, water passing you in a stream, Like you see it.
• 17:19
  Speaker 2: Once it's gone forever.
• 17:20
  Speaker 2: Yeah, so that was a really, really wild concept just to begin with.
• 17:25
  Speaker 2: Like let's try and take this, this thing that's so fleeting and impermanent and record it and then come up with a device that can replicate it again.
• 17:35
  Speaker 2: Like that's wild it really is.
• 17:37
  Speaker 3: I think, if I remember right, it was magnavox or something like the earth, the first electric like speaker public address system which I guess that's what pa is, but uh, I think it was in the 20s.
• 17:51
  Speaker 3: Yeah, so it's like ford mass producing cars 1904, right?
• 17:58
  Speaker 3: yeah and then like I, I'm sure it was in between there, but like World War II broadcasting and like that was where a lot of sound like kind of like developed yeah Radio, all that stuff and that yeah, I guess it is.
• 18:14
  Speaker 3: It's like after flight.
• 18:16
  Speaker 3: I don't know when was the first flight.
• 18:18
  Speaker 3: Do you know when the Wright Brothers?
• 18:19
  Speaker 2: 1911?
• 18:23
  Speaker 3: Yeah, okay, yeah, so it's probably before the first like I'm gonna look it up 09 the first maybe, like sold electric PA speaker or whatever, which to me is kind of it's pretty wild.
• 18:36
  Speaker 1: But yeah, but it wasn't for the sake of art.
• 18:39
  Speaker 1: Until how much longer after that right 1903?
• 18:44
  Speaker 2: yeah okay, yeah, but they were recording music to little.
• 18:46
  Speaker 3: Until how much longer after that?
• 18:47
  Speaker 3: Right 1903.
• 18:48
  Speaker 3: Yeah, okay, yeah, but they were recording music to little clay, whatever you know, like wax cylinders and stuff in the 20s, which is pretty cool.
• 18:55
  Speaker 2: It's wild, it's so wild.
• 18:57
  Speaker 2: So what's something in our lives today that is like that, something that is occurring that we're not recording?
• 19:05
  Speaker 1: smells maybe yeah, I mean, you can, you know, create your own essence.
• 19:14
  Speaker 2: Right, they are making perfumes and scents from like specific places and locations and capturing those smells I think that it'll be something that that shows up with, uh, with vr, virtual reality, yeah, um, to where it'll be able to, to create those, those, those molecules.
• 19:38
  Speaker 2: You know there'll be, you know, sometime, some type of chemistry so that, adding to the visual and audio and and tactile experience that you'll get with virtual reality, um, it'll add smell to it, but that's not something like there's, there's no smell recorder, um sure, that we have right now yeah, there's definitely I'm sure that in like a lab sense, that where they try to out.
• 20:04
  Speaker 3: Yeah, there's definitely I'm sure that in like a lab sense that where they try to just figure out the aromatics to make like artificial flavors.
• 20:13
  Speaker 3: I bet that.
• 20:13
  Speaker 3: I mean, we know we don't have those, but there would be something like that where you could they figure out those.
• 20:16
  Speaker 3: And then because I do know that that's a thing which is pretty interesting but the idea of recreating smells or even tastes, I guess that's a recipe, a cookbook recipe.
• 20:28
  Speaker 3: That's the best you can do for recreating a taste, right?
• 20:32
  Speaker 1: Yeah, it feels like you could trick your brain into thinking it's smelling something or tasting something easier than you can hearing or seeing something, if that makes sense, because the smell is connected to memory and other parts of your brain and it seems like, with virtual reality and things, they're going to figure out how to simulate your brain to think that you're smelling cinnamon.
• 20:59
  Speaker 3: Yeah, oh yeah, that's another.
• 21:01
  Speaker 1: Versus like actual molecules.
• 21:04
  Speaker 3: Like having a little implant that like triggers your brain, that's like with smells and tastes or something could be I don't know it'll.
• 21:14
  Speaker 2: It'll be a wild experience when you go to an imax theater and when there's a jungle scene it smells like a jungle.
• 21:20
  Speaker 1: That would be cool if that happened during the heart of the sea, I would not not have been okay, I was barely okay.
• 21:28
  Speaker 2: When they're bucketing out the amber grease out of the whale's head.
• 21:31
  Speaker 2: Oh, yeah.
• 21:32
  Speaker 2: Wait, what is this?
• 21:35
  Speaker 1: Where the whale attacks the boats.
• 21:37
  Speaker 3: No, I like Moby Dick.
• 21:38
  Speaker 3: What's the?
• 21:39
  Speaker 3: Is there a movie so?
• 21:41
  Speaker 2: in the Heart of the Sea is a book and a movie is a book, and a movie but it is the story that that Herman Melville heard that made him want to write Moby Dick, and it was about a white sperm whale that stove in a ship and the crews had to take to their lifeboats and it didn't go super great for them, so you didn't want to smell that movie though.
• 22:09
  Speaker 1: I wouldn't have wanted to smell that movie.
• 22:10
  Speaker 1: It was enough of an experience without any more senses being assaulted.
• 22:17
  Speaker 3: Have you guys both read the book.
• 22:18
  Speaker 1: I did read the book.
• 22:19
  Speaker 2: Yeah, I have many times.
• 22:21
  Speaker 2: So I there's only a handful of books that I give away to people because my educational background is in literature and writing and there's a bit of a curse that goes with that and it might happen for you too with songs where people are like, oh, have you heard this song?
• 22:38
  Speaker 2: And oftentimes like, no, I haven't actually listened to all the songs yet.
• 22:43
  Speaker 2: And people are like, oh, you haven't read that book.
• 22:45
  Speaker 2: Like, no, I have not yet read all of the books.
• 22:49
  Speaker 2: You guys know each other, yeah, however, I'm trying Not actually trying to read them all, but I'm reading a lot Anyhow.
• 22:56
  Speaker 2: Because of that, I'm very cautious about the books that I recommend to people, and when it comes to leadership situations, I recommend two books, two books only.
• 23:06
  Speaker 2: One of them is Endurance, by Alfred Lansing, and that's about Shackleton's voyage and them making their way back from this disaster in Antarctica.
• 23:18
  Speaker 2: Excellent leadership, fantastic leadership.
• 23:21
  Speaker 2: So many lessons to be learned there.
• 23:22
  Speaker 2: The next one is another nautical disaster which is in the heart of the sea.
• 23:27
  Speaker 2: Okay, Bad leadership, bad outcome.
• 23:30
  Speaker 2: Okay, yeah, I think that they're great to read back to back one of them's cold, one of them's hot, but both nautical disasters, both incredible stories, um, stories that kind of have it all.
• 23:43
  Speaker 2: Yeah cool.
• 23:44
  Speaker 3: I'll have to read those.
• 23:45
  Speaker 3: Have you read Astoria by Stark I?
• 23:48
  Speaker 3: Have Enjoyed that so much the ship captain.
• 23:51
  Speaker 3: That's another good example of horrible leadership.
• 23:54
  Speaker 2: Yeah, yeah, he was such a fragile little ego that guy had.
• 23:58
  Speaker 2: Oh man, yeah, astoria is a great one and I could do a whole show easily about that book, but I think that's a story that we feel like we all know, like we know that at some point John Jacob Astor founded Astoria and was trying to set something up on the West Coast.
• 24:22
  Speaker 2: What we don't realize is the implications that that had it's been a couple of years since I checked this, but a couple of years ago if you would have translated his wealth into today's currency, adjusted for inflation, he would still be the wealthiest man in the world.
• 24:38
  Speaker 2: Oh, like, he owned most of Manhattan Island.
• 24:42
  Speaker 2: He was the largest fur trader in the world.
• 24:45
  Speaker 2: At the peak of fur trading, um got into all of these different things.
• 24:49
  Speaker 2: He showed up in the U?
• 24:51
  Speaker 2: S with like one set of silver silverware and a couple of musical instruments and sold those.
• 25:00
  Speaker 2: And then saw a fur, a fur trader and all these fur buyers coming in.
• 25:04
  Speaker 2: It's like, well, this is where it's at.
• 25:07
  Speaker 2: And then, based off of the popularity of a felt beaver hat in England, he was able to become the wealthiest man in the world.
• 25:18
  Speaker 2: Crazy, but if he hadn't done that and it was like just following the Lewis and Clark expedition by a few years, If he hadn't sent his overland journey, which discovered the Oregon Trail, if he hadn't sent his boat around South America and founded Astoria on the West Coast.
• 25:37
  Speaker 2: I do not think that the United States west of the Rockies is the United States.
• 25:44
  Speaker 2: I think it ends up belonging to Russia or France or Spain or England.
• 25:49
  Speaker 2: Um, the war of 1812 came in into a factor there in Astoria.
• 25:53
  Speaker 2: But like the implications of this little, this little blip in history and this little town that people are barely aware of on the Oregon coast, at the mouth of the Columbia, um, it's, it's just incredible how that's affected the you know future of the rest of the world.
• 26:07
  Speaker 2: Yeah, that's, yeah, that's, it's just incredible how that's affected the you know future of the rest of the world.
• 26:09
  Speaker 2: Yeah, that's, that's interesting.
• 26:12
  Speaker 2: Astoria Great book.
• 26:13
  Speaker 3: Yeah, yeah, it is, it's.
• 26:16
  Speaker 3: I didn't know a lot of that stuff when I before I had read that, that book, that like it, was the, the, and then the war of 1812 came and it changed to Fort George.
• 26:25
  Speaker 3: Yeah, it was an area that was being pushed at from all different sides Totally.
• 26:37
  Speaker 2: And how important is the Columbia River, the Mississippi of the West, the largest river on the West Coast, and this port that you can access the Northwest through this river Absolutely incredible in terms of strategic importance.
• 26:53
  Speaker 2: Oregon this is an annoying fun fact and then I'll stop.
• 26:56
  Speaker 2: You know what Oregon is named after.
• 26:59
  Speaker 3: I have no idea.
• 27:01
  Speaker 1: Yeah, feels like that's something we should know, doesn't it?
• 27:04
  Speaker 1: Yeah, yeah, I grew up in Idaho.
• 27:05
  Speaker 1: Yeah, fair.
• 27:05
  Speaker 3: You should know, I should know, doesn't it?
• 27:06
  Speaker 1: Yeah, yeah, I grew up in Idaho.
• 27:07
  Speaker 1: Yeah, fair, you should know, I should know, I don't at all.
• 27:11
  Speaker 1: Oregon was the name of the river, which was the Northwest Passage.
• 27:20
  Speaker 1: That does not exist.
• 27:20
  Speaker 2: Really, oregon is named after a river.
• 27:23
  Speaker 2: That is not real, oh cool.
• 27:27
  Speaker 2: Hmm, the expedition I told you I'd quit, but I'm not the expedition where Captain Cook died, where the Hawaiians killed him and ate him after they figured out he wasn't a god.
• 27:38
  Speaker 2: He was trying to find the Northwest Passage and he'd been sailing around Alaska trying to find a way through, kept getting wintered out with ice and he's like, well, we're just going to sail to Russia for the winter and then we'll come back and keep looking in the spring.
• 27:57
  Speaker 2: And his crew was like, hey, man, what we could do is just go back to Hawaii.
• 28:02
  Speaker 2: That was sweet.
• 28:04
  Speaker 2: Yeah, there's all these girls.
• 28:06
  Speaker 2: Fresh fruit, it's warm, there's fish so much better than Russia, let's just go back to Hawaii.
• 28:12
  Speaker 2: It wasn't too bad.
• 28:12
  Speaker 2: And he overstayed his welcome and they killed him and ate him but he was looking for the Northwest Passage interesting.
• 28:22
  Speaker 3: Stan Rogers the Northwest Passage song.
• 28:25
  Speaker 3: So my mom is buried in Nova Scotia, Okay, and I went there for the first time since I was 12 a few years ago and a lot of my family up there are in fishing and stuff like lobster fishing.
• 28:40
  Speaker 3: When I was a kid they were gill netting mackerel.
• 28:43
  Speaker 2: What's that?
• 28:43
  Speaker 2: Or hockey right.
• 28:45
  Speaker 3: Yeah, but they all when I went there the only time as an adult like I have my big beard they all thought they love Stan.
• 28:56
  Speaker 3: Is it Stan Rogers?
• 28:57
  Speaker 3: I should know, because if I go back, but he sings this song, Northwest Passage, and they all think I look like him.
• 29:03
  Speaker 3: And everybody was like can you sing this song?
• 29:06
  Speaker 3: It's like if you sang this everybody would sing.
• 29:08
  Speaker 3: It's like one of their like folk, traditional songs.
• 29:11
  Speaker 3: It sounds like like everybody knows it.
• 29:12
  Speaker 3: Anyway, it just made me think of that when you're coming.
• 29:15
  Speaker 1: Did you learn it?
• 29:16
  Speaker 3: I haven't learned it, but I haven't gone back yet.
• 29:18
  Speaker 3: But if I do go back I should just do a cover band, Apparently like I might become the most popular artist in new brunswick and nova scotia, so that should be my long-term music goal that's your backup plan.
• 29:35
  Speaker 3: Yeah, yeah maybe, maybe I'll do that soon.
• 29:38
  Speaker 3: Yeah, I'm almost 40.
• 29:41
  Speaker 3: I could switch to just singing stan rogers it's, it's there, it's there for the taking and it's like four part harmonies too.
• 29:49
  Speaker 3: So nice we.
• 29:51
  Speaker 3: But I think they said they all knew all, so I could just sing one part and then, yeah, just let them go, they could do all the other parts yeah, yeah, uh, why is live music at restaurants?
• 30:01
  Speaker 3: This is a good question.
• 30:07
  Speaker 3: It's just one of those.
• 30:13
  Speaker 3: It's just cause it is loud it's just cause it is loud, it just is.
• 30:19
  Speaker 3: There's some artists if there aren't any, like drums, they can play really quietly and do a good job, but most people just Once you have a few people and a few instruments and then there's speakers on the stage so they have to hear themselves, so then those are a certain volume and so then everything else gets a little louder because but I agree they're loud, because if you're eating and talking it's not the same as listening to a band and I feel like having those things at the same time they normally make the other thing difficult.
• 30:58
  Speaker 3: So I like to have shows at like eight or later, because of Then people are just drinking.
• 31:07
  Speaker 3: Right, I mean, it's still hard to talk, yeah not the best nights to be wait staff.
• 31:12
  Speaker 3: Yeah, either right, it's hard to to order food and stuff, but I mean, I love live music, I like having noisy rooms and stuff, yeah, but I do think I also, when people are like this is too loud, I'm also like, yeah, well, this is, I've just made it as quiet as I could where it still sounds good, and so this is like I don't know what to do at beyond that.
• 31:35
  Speaker 3: You know, when you say that you like noisy rooms.
• 31:38
  Speaker 1: I was wondering when you said you grew up with like horn players yes, and then you said you mostly listen to like comedy, podcasts and things.
• 31:48
  Speaker 1: Do you always have noise like?
• 31:50
  Speaker 1: Did you grow up in a house that was noisy and do you feel more comfortable if it's noisy or do you sit in silence?
• 32:02
  Speaker 3: I don't.
• 32:03
  Speaker 3: I do like silence, but I wouldn't say I wouldn't.
• 32:05
  Speaker 3: I don't think I'm good at sitting in silence necessarily.
• 32:08
  Speaker 3: But what I mean is I like live music.
• 32:10
  Speaker 3: I don't mind the.
• 32:12
  Speaker 3: I guess I don't like.
• 32:14
  Speaker 3: I like drinking and wandering around and listening to live music.
• 32:19
  Speaker 3: I don't normally sit and talk to people during music because it's not what I Not what you're there for.
• 32:26
  Speaker 3: I normally have a couple shots of whiskey and then wander around.
• 32:30
  Speaker 3: I don't know.
• 32:31
  Speaker 3: You know, yeah, yeah, yeah, but yeah, no, I don't think I'm.
• 32:34
  Speaker 3: I do think I am normally, there's normally something going on, but, like when I'm driving, I do sit without music on or I listen to books because it is more calming.
• 32:53
  Speaker 3: I like really calm environments.
• 32:53
  Speaker 3: I like living in an enterprise.
• 32:54
  Speaker 3: It's quiet compared to most places.
• 32:55
  Speaker 3: I like just laying in bed with no noise, but I don't hunt, I think being quiet.
• 33:05
  Speaker 3: I also like to talk a lot.
• 33:08
  Speaker 2: Yeah, well, a lot of the hunting that I do uses sound right, okay, so if I'm, if I'm elk hunting, I'm very conscious about all the sounds that I make and I I think of my footsteps as a way to to communicate with elk.
• 33:24
  Speaker 2: For example, like there's a way to walk where you sound like an elk and there's a way to walk where um you alert everything.
• 33:30
  Speaker 2: They can hear how you're walking, um the the way branches move across the fabric of the jacket on your shoulders, like that.
• 33:38
  Speaker 2: That sound, um can either be very natural Um, if you're using, if you're wearing, something like wool or cotton or a natural fiber.
• 33:46
  Speaker 2: If you're wearing something like wool or cotton or a natural fiber, if you're wearing something synthetic, it has a really high frequency zippy sound look, you know about now, you're now you're speaking my language a little bit, that's the high sound is it, it goes
• 33:59
  Speaker 2: instead of like, yeah, exactly, um.
• 34:03
  Speaker 2: And then then there's also all the sounds that I'm making with calls and trying to vocalize sounds to elk or to ducks or to geese or to turkeys or whatever it is.
• 34:15
  Speaker 2: A lot of people really enjoy the types of hunting where they get to make these sounds and and be able to communicate with animals.
• 34:22
  Speaker 2: We only have a couple, a couple shoulder mounts in here, but something that you'll notice about every game animal that has horns or antlers is that the position of those horns and antlers to their ears is important, and those horns work as antennas or, in the case of a moose, like a satellite dish to actually funnel sound into their ears.
• 34:49
  Speaker 3: Oh cool.
• 34:49
  Speaker 3: Yeah, I mean, that makes sense.
• 34:51
  Speaker 3: I had never thought of that, but that's really cool and it makes a lot of sense.
• 34:55
  Speaker 3: Just like our ears are weird, I feel like human ears are one of the weirder.
• 34:59
  Speaker 3: If you just looked at it like the little it's like what is this we just like to pretend like they don't exist.
• 35:06
  Speaker 2: We have the goofiest ears in the animal kingdom.
• 35:09
  Speaker 1: They're awful.
• 35:09
  Speaker 1: Yeah, they should be embarrassing, yeah.
• 35:11
  Speaker 2: I'm embarrassed.
• 35:12
  Speaker 1: You are A little bit.
• 35:14
  Speaker 2: I'm not.
• 35:14
  Speaker 2: I mean, I'm wearing headsets right now, so you can't tell.
• 35:17
  Speaker 3: Yeah, but that's I mean, that's how we know if something's behind us or in front of us, or, like all of those, you know subconsciously that our ears are but we can't wiggle our ears around all these other critters.
• 35:29
  Speaker 2: You know they can move their ears.
• 35:30
  Speaker 2: Yeah, um, to help find the position of something pretty cool, a coyote um can, within two seconds, locate the source of a sound within one degree.
• 35:42
  Speaker 2: Wow, one degree.
• 35:44
  Speaker 2: How incredible is that?
• 35:46
  Speaker 2: It's really incredible.
• 35:47
  Speaker 2: Like if you heard one sound for one or two seconds, how accurately do you think you could tell the direction that it came from?
• 35:57
  Speaker 1: Not at all, cause my phone's next to me all the time and it dings and I look across the room.
• 36:01
  Speaker 1: Yeah, happens all the time, so Happens all the time With elk hunting.
• 36:07
  Speaker 2: You know a lot of times there's two or three of you standing there.
• 36:09
  Speaker 2: I'll call and a few seconds later a bull will bugle back long ways away through the timber.
• 36:16
  Speaker 2: You know all these pitches coming through and I can't tell you how many times everybody points in a different direction for where they think that sound came from.
• 36:25
  Speaker 2: It's like well, now we have to wait five minutes and try again and everybody really pay attention this time and don't be river dancing on pine cones and, you know, getting wrappers out of your pocket like we've got to pay attention, we've got to figure out where this animal is and if we can get it to within 30 degrees, I'd say we're doing pretty good, huh yeah, that sounds really fun trying to listen for that it is, I feel, like it would, and outside too, because it's different, it's more, it's a little bit more accurate.
• 36:56
  Speaker 3: Actually, it's easier to tell if something's coming from somewhere outside.
• 37:00
  Speaker 3: Yeah, but it is you also.
• 37:02
  Speaker 3: You know there's obviously canyons and stuff around here.
• 37:05
  Speaker 3: So that's that can.
• 37:08
  Speaker 3: I'm sure that can really trick you sometimes.
• 37:10
  Speaker 2: Oh man.
• 37:12
  Speaker 3: Like if you're close to a wall.
• 37:13
  Speaker 3: Sometimes it's like wait, it sounds like it's louder and coming from right there, but it's like the opposite of like sounds.
• 37:20
  Speaker 2: A lot of people like to call from like the edge of a clearing, and I think that's tough because you get a lot of sound bouncing back from the trees that are right behind you.
• 37:31
  Speaker 2: That's really tricky.
• 37:33
  Speaker 2: Another fun fact about sounds in hunting, when you're spearfishing you can't tell where sound comes from at all at all, because sound travels so much faster through water that our our brains can't, can't handle that distance of like which ear heard it first?
• 37:56
  Speaker 2: oh weird.
• 37:57
  Speaker 2: So when you're underwater you have absolutely no idea where sound came from.
• 38:02
  Speaker 2: It's impossible that is terrifying due to physics yeah, and it may.
• 38:06
  Speaker 3: Like your brain doesn't know, it hasn't been trained to hear no, like it's trained for air.
• 38:12
  Speaker 3: So it's like it's giving you all the wrong information, or whatever.
• 38:16
  Speaker 2: But you can hear lots of stuff Like you can hear like a fish's tail, you can hear whales from forever away, totally yeah.
• 38:23
  Speaker 2: Sometimes, when a whale is close, you can feel it in your chest like it's thumping on you.
• 38:29
  Speaker 1: I didn't know that you call in fish until we went to Mexico and you told me about that, that you were underwater and a fish started to swim away, and then you made and called it back and I was like what, how did it?
• 38:46
  Speaker 2: work.
• 38:46
  Speaker 2: Fish make sounds and they're curious, so you kind of you intrigued it.
• 38:53
  Speaker 2: Yeah, but that's a, that's like a standard, a standard sound.
• 38:56
  Speaker 2: You just kind of grunt with your throat a little bit and you can.
• 39:00
  Speaker 2: It's a sound that you can make while holding your breath.
• 39:03
  Speaker 2: But there's other sounds that you can make too.
• 39:06
  Speaker 2: Like you can scratch on the reef a little bit, you can bop your hand down and puff up a little bit of sand.
• 39:12
  Speaker 2: Like spearfishing is is very much a a mechanism of getting fish to come to you, because they can all out swim you right?
• 39:20
  Speaker 2: Yeah, um, so you've gotta gotta get them to come over to you and then, yeah, there's a handful of ways to do that, but one of them is sound.
• 39:30
  Speaker 2: Okay, that's cool, and lots of fish uh drum, like they make a drumming sound.
• 39:34
  Speaker 2: It's a little bit like that.
• 39:35
  Speaker 2: Yeah, I mean, if you're holding one of those fish, you can feel it in your hands.
• 39:39
  Speaker 2: You can feel it when it's drumming.
• 39:40
  Speaker 2: Were you spearfishing then?
• 39:43
  Speaker 1: yeah, we were spearfishing in mexico a little bit so you've tried it too no, no, I fished from a boat, though cool yeah, that was awesome very brave.
• 39:55
  Speaker 3: I've never fished, I've never fished in the water, but yeah, I used to do the.
• 39:58
  Speaker 3: I would gaff the mackerel with my relatives when I was a little kid.
• 40:03
  Speaker 3: Yeah, when they put we're pulling the nets in and then we would jig for cod and we would use the mackerel, I think, yeah, they had a bunch of hooks and then the big hook on the bottom and then when you pull the cod up, a lot of times you would catch small fish.
• 40:18
  Speaker 3: Yeah, on the way up On the other hooks.
• 40:21
  Speaker 3: Yeah, and then we would use those.
• 40:22
  Speaker 1: As bait.
• 40:23
  Speaker 3: The bait, but that was super fun.
• 40:25
  Speaker 3: Jigging for cod, that was more, I think, just like a family.
• 40:28
  Speaker 2: Were those hand lines.
• 40:30
  Speaker 3: Yeah, they were just like yeah, the hand lines, yeah, just throw them out and great, really yummy fish.
• 40:36
  Speaker 3: But that was not their business for sure.
• 40:39
  Speaker 2: I did a lot of that when I was in Norway.
• 40:41
  Speaker 2: We did a lot of hand line jigging for mackerel and kind of whatever we could catch Super Handline jigging for mackerel and kind of whatever we could catch Super effective and so simple and fun.
• 40:49
  Speaker 2: It's like, yeah, this has been going on for as long as you know.
• 40:54
  Speaker 2: We figured out how to make fishing line out of something.
• 40:57
  Speaker 3: Yeah, it is funny Nowadays there's just so many things that are like I guess, you know, with marketing and products there's like a million fancy ways to do things.
• 41:11
  Speaker 3: Yeah, I remember as a kid we would catch crab by putting food on the end of a rod and then my cousin and I would lay over the dock and then look for the crabs and then try to move the food to it and have the crab grab it and then try to move it as slowly as possible until it got to the surface, then fling it onto the deck and then it's like or like jigging for cod.
• 41:28
  Speaker 3: I mean, I'm not saying these are the most efficient ways to fish, but it was.
• 41:31
  Speaker 3: It was very effective and and I really enjoyed it too yeah, that's.
• 41:37
  Speaker 2: A lot of people use the use crabs as a metaphor for like why crabs don't escape a bucket, right?
• 41:43
  Speaker 2: Um, because if one of them gets and they'll like ladder up on top of each other and as one of them gets close to the top, another one reaches up and grabs it and pulls it back down, right.
• 41:54
  Speaker 2: I like this other metaphor that you just talked about, which is that if the crab knew when to let go, then he'd be all right, yeah but he doesn't know when to let go and he ends up, you know, getting steamed for six minutes and slathered in some butter and old bay and down the hatch, yeah yeah, yeah, there was no reason for it to be holding on to the hook at all yeah, didn't want to let go, yeah, yeah, I gotta be careful about those opportunities.
• 42:23
  Speaker 2: Sometimes it's like it's not worth a piece of chicken, right, yeah, but these crabs we're talking about too.
• 42:31
  Speaker 2: How's that land with you, adele?
• 42:37
  Speaker 1: I mean it hits a little close to home, sure, but yeah, um, I I understand the metaphor, but I think I've, I'm getting better at letting go of of the chicken and yeah yeah, it's not worth it.
• 42:57
  Speaker 1: Things in life it's.
• 42:59
  Speaker 2: It's hard to know, right, because sometimes it's like, oh, you just needed to hold on a little bit longer and then you would.
• 43:04
  Speaker 1: Yeah, it's really hard to know, especially with know some of those stories we started talking about, of you know you show up with nothing and you take some big risks and then they like there was a point, I believe, in all those stories where maybe they were told to give up or they felt like they should give up and they didn't.
• 43:23
  Speaker 1: They didn't let go and it worked out and they didn't.
• 43:27
  Speaker 1: They didn't let go and it worked out, and so sometimes I feel like it's really hard to know now where that story is.
• 43:33
  Speaker 1: Harder and harder to come by Right when you start with nothing and you become successful, but because we believe that that's still the path to success when you're in those moments where it feels like everything's kind of against you, it's hard to know whether you let go because you're about to get cooked or whether this is the part where you're supposed to hold on, because the butter is on the other side.
• 44:06
  Speaker 1: You know, like you're the one that gets the feasts, if you just make it.
• 44:09
  Speaker 2: Our optimism gets weaponized against us a lot For sure.
• 44:14
  Speaker 2: I was breaking down odds for craps, which is a funny game and it's a fun game to play.
• 44:23
  Speaker 2: But one of the most basic bets that you can make on a craps table is the pass or don't pass line.
• 44:31
  Speaker 2: And if you're betting on pass, you're betting that whoever's rolling the dice is going to win.
• 44:35
  Speaker 2: If you bet don't pass, you're betting that they're going to lose.
• 44:43
  Speaker 2: The house advantage for the pass line is 1.4%.
• 44:47
  Speaker 2: For don't pass it's 1.36.
• 44:50
  Speaker 2: Right, but more people bet with optimism even though the numbers say don't do that sure yeah, and that's why las vegas is the brightest place on the planet when observed from outer space.
• 45:06
  Speaker 1: Another very fun fact.
• 45:08
  Speaker 1: But I imagine, like in the music game, like when do you sell out and become a cover band right?
• 45:20
  Speaker 2: Is that a sellout?
• 45:22
  Speaker 3: It could be depending on who you ask.
• 45:24
  Speaker 3: Not in my opinion, but yeah, I mean, I think, as like songwriters or something, it's like, oh, I'll just sing other people's songs instead, or something.
• 45:32
  Speaker 1: Yeah, I didn't mean to call that out as your sellout.
• 45:36
  Speaker 1: If that's your path, we support you.
• 45:38
  Speaker 3: No, no, I didn't think you did, but it's such a grind.
• 45:42
  Speaker 3: Yeah.
• 45:43
  Speaker 1: Being a musician is such a grind, but you have all those stories of the people who did the grind and then they made it right, yeah, I think I mean at my at this point.
• 45:56
  Speaker 3: For me it's like well, a, with music, you have to do it a lot to get good at it.
• 46:01
  Speaker 3: So that's the first kind of I guess commitment type thing.
• 46:05
  Speaker 3: Like you're gonna be pretty bad and then if you do it for 10 years it makes a huge difference, like so, starting off in like writing and singing and stuff, you know, it's like there's a lot of that to work through.
• 46:18
  Speaker 3: So it's like maybe people were like you're good or bad, but it's more about sticking to it, or having people that encourage you to like stick to it.
• 46:24
  Speaker 3: Not that you're actually good, good.
• 46:27
  Speaker 3: It's like when a two-year-old does a cartwheel or something you know, you're like wow, good job.
• 46:32
  Speaker 3: It's like not really like, that's not gonna, you're not gonna make a living doing that like.
• 46:37
  Speaker 3: But if you encourage them and they get amazing at gymnastics, like then they can be an amazing dancer or yeah you know, like competitor or something.
• 46:46
  Speaker 3: So it's like like that, that is the first part that you got to do in music.
• 46:51
  Speaker 3: But then the success when, like for me, it's like I'm old now, so I'm like I'm like jaded and I don't really care about the music industry, like like I don't want to, I'm like, ah, whatever, I don't know, it's like you got to do it.
• 47:03
  Speaker 3: You might get lucky, you might not get lucky.
• 47:05
  Speaker 3: I just need to do this if I enjoy it and it's what I want to do.
• 47:11
  Speaker 3: So the last couple of years I've been doing a balance.
• 47:15
  Speaker 3: I'm probably still doing 100 songs or 100 shows a year, and then I play with bands some, and then I run sound, because running sound it's just easier.
• 47:24
  Speaker 3: I'm working harder but I'm making more money because I'm writing sound.
• 47:27
  Speaker 3: I can, it's just easier for like I'm working harder but I'm making more money.
• 47:29
  Speaker 3: So it's like trying to find a balance of all of these things in music, recording, performing, writing, etc.
• 47:35
  Speaker 3: Like the balance that is the most enjoyable for me, and then also it's like not stressful in a travel or like money sense.
• 47:44
  Speaker 3: So that's kind of like.
• 47:45
  Speaker 3: But when I was you know, you know, 10 years ago, or like trying to navigate selling a record or releasing a record that for me is very I have a harder time with that, like I don't know how to navigate that stuff very well.
• 47:58
  Speaker 3: I feel like a lot of artists don't?
• 48:00
  Speaker 3: I think management and having having somebody on your team that can promote and sell it's, it's a feels like a different part of your brain and it feels like a good, a good time to take on uh support staff yeah, and I like it's nice to have other people say nice things about me I feel weird, like trying to do self-promotion.
• 48:25
  Speaker 3: Yeah, I bet I could.
• 48:27
  Speaker 3: Just I could do, like you know, skinny dipping uh on instagram.
• 48:31
  Speaker 3: You know, maybe that'll uh.
• 48:33
  Speaker 3: I like to do stupid or funny things on my instagram.
• 48:37
  Speaker 1: One of my favorite instagram moments of the year actually this will be a surprise, I believe, to you, james is, uh, your review of the mc, the McDonald's steak sandwich from Texas.
• 48:52
  Speaker 3: See, that's how I promote my, not like I'm promoting, but that's what's fun for me.
• 48:56
  Speaker 3: It's smarter.
• 48:57
  Speaker 3: Have you tried?
• 49:00
  Speaker 2: the steak sandwich?
• 49:01
  Speaker 2: No, can you give me a rundown?
• 49:03
  Speaker 3: Well, it was better than I expected.
• 49:07
  Speaker 3: Yeah, yeah, and it had a little onion, it was a.
• 49:12
  Speaker 3: It was a.
• 49:12
  Speaker 3: Was it the bagel one?
• 49:12
  Speaker 3: Anyway, it was a breakfast sandwich.
• 49:14
  Speaker 3: Okay, had a steak and it had like some onions and it was pretty like salty, but it had a little bit more bite than I.
• 49:21
  Speaker 3: I was expecting kind of a mick rib, yeah, like a gelatinous kind of a thing.
• 49:25
  Speaker 3: Sure, anyway, it was fun.
• 49:28
  Speaker 2: It was good, so 0 out of 10,.
• 49:30
  Speaker 2: How would you rate it?
• 49:33
  Speaker 3: Okay, I love McDonald's, I love Big Macs, cheeseburgers, McDoubles, chicken sandwich, McChickens.
• 49:41
  Speaker 3: So let's see, I'm thinking I mean Egg McMuffin.
• 49:46
  Speaker 3: Okay, I'm going to give it a six.
• 49:48
  Speaker 3: I don't remember what I gave it in the review, but I would give just like the classic one, like a seven the egg and ham one.
• 49:57
  Speaker 3: That's actually my favorite breakfast.
• 49:58
  Speaker 2: Egg and ham.
• 49:59
  Speaker 3: Yeah, that's just the Egg McMuffin.
• 50:02
  Speaker 3: Yeah, the classic one.
• 50:03
  Speaker 3: It's a good breakfast sandwich.
• 50:05
  Speaker 3: Yeah that one is honestly I just get that.
• 50:07
  Speaker 3: Or the Big Mac.
• 50:10
  Speaker 3: Normally I get the dollar menu for $5.
• 50:13
  Speaker 3: The spicy McChicken and a McDouble.
• 50:16
  Speaker 2: Okay.
• 50:17
  Speaker 3: And a Diet Pepsi, because I don't want it to rot my teeth out.
• 50:21
  Speaker 3: My uncle, who's a dentist, said to that if you drink soda all day long while you're driving, that the sugar will just destroy your teeth.
• 50:30
  Speaker 1: So what do you think's in diet pepsi?
• 50:32
  Speaker 3: it's not sugar, it doesn't taste.
• 50:34
  Speaker 3: It also doesn't taste as good, but I want, I want to stay awake and have something bubbly, so sure yeah, what are you gonna?
• 50:40
  Speaker 2: do you're on the road?
• 50:41
  Speaker 2: It's not easy.
• 50:42
  Speaker 1: It's not easy, it is not easy, I will say that, but um it.
• 50:46
  Speaker 1: I would highly recommend watching the review.
• 50:49
  Speaker 1: It's live and it's passionate.
• 50:53
  Speaker 3: I honestly don't remember what I did.
• 50:56
  Speaker 1: It was great.
• 50:57
  Speaker 2: We'll have to find that it was really good Put a link in the podcast description here.
• 51:01
  Speaker 2: Yeah, the show notes notes, uh in in our lives, bart, we've seen the, the vehicle that music is carried on, change probably more times than it ever will.
• 51:18
  Speaker 2: So we, we missed eight tracks but definitely grew up with with cassette players and you know, am fm radio, uh, from from there it was cds, which I always hated.
• 51:33
  Speaker 2: I never had a good relationship with cds and cd players and people.
• 51:40
  Speaker 2: You know younger generations will never know what it was like to drive down a bumpy road and try to listen to a cd.
• 51:49
  Speaker 2: You know it was awful and they're constantly scratched up, as you know, just retrieving the cd that you wanted to they took up a ton of space folder binder.
• 51:59
  Speaker 1: I just found mine.
• 52:00
  Speaker 3: Did you yesterday, like the windshield visor one yeah, no, no, this one, this is like a one of the the square ones, with like one or a few hundred in it was.
• 52:10
  Speaker 2: It was in the okay theater, like dvds.
• 52:13
  Speaker 1: Yeah, I was like looking and I was like whoa and I just got a car with cds, so I was like the thing about cds is they sound really good but, as I do.
• 52:21
  Speaker 3: Yeah, I remember what you're saying.
• 52:23
  Speaker 3: It's like the they're very fragile fragile and then until they had, you know, the sony walkman with the memory right.
• 52:31
  Speaker 3: Yeah, it's like skipping all the time, or you couldn't afford the one that was actually good yeah, totally yeah.
• 52:39
  Speaker 1: Cds were made for the type a folks and then vinyls, kind of.
• 52:43
  Speaker 3: I mean, people still used some vinyls that wasn't invented in our time.
• 52:47
  Speaker 2: Right.
• 52:48
  Speaker 1: Right.
• 52:49
  Speaker 2: Yeah, it was definitely.
• 52:51
  Speaker 2: It's definitely there.
• 52:52
  Speaker 2: And then along comes the iPod really Wait.
• 52:58
  Speaker 3: do you remember the mini disc?
• 52:59
  Speaker 3: The mini disc.
• 53:01
  Speaker 2: Oh, that was short, it was like a floppy drive.
• 53:04
  Speaker 3: I had like an.
• 53:05
  Speaker 2: Iowa.
• 53:06
  Speaker 3: It had, definitely it had like I feel like a five CD changer and a mini disc, yeah, anyway, but yeah, and then then yeah, basically the iPod or the MP3 player, yeah, and then internet kind of.
• 53:19
  Speaker 2: Yeah, yeah.
• 53:21
  Speaker 2: So now it's a.
• 53:22
  Speaker 2: It's a very, very digital experience.
• 53:26
  Speaker 1: Cause we had to steal internet music or pay for it.
• 53:29
  Speaker 1: It was like a dollar a song.
• 53:32
  Speaker 2: Yeah, and it came with computer viruses that shut everything down Always, yeah.
• 53:38
  Speaker 1: You're like I don't know what happened.
• 53:39
  Speaker 3: I was always downloading music.
• 53:41
  Speaker 1: Yeah, it was fun.
• 53:42
  Speaker 1: Took up so much space.
• 53:43
  Speaker 1: It was fun.
• 53:45
  Speaker 3: But horrible quality most of the time.
• 53:47
  Speaker 1: Most of the time.
• 53:48
  Speaker 2: A lot of artists didn't survive those multimedia changeovers either, and whether it was music or whether it was somebody who was filming, hunts right that transition from being able to sell a CD or a DVD to a digital online marketplace.
• 54:05
  Speaker 2: A lot of people didn't make that transition to a digital online marketplace.
• 54:08
  Speaker 2: A lot of people didn't make that transition, and I don't know if the same thing occurred with like cassettes to CDs or whatever, but there was a lot of money that had to be invested in this actual infrastructure and then, as soon as the next thing came out, it killed the previous technology, and then you would be left over with, you know, all these boxes and boxes of of media that nobody wanted because it was old news.
• 54:31
  Speaker 3: Yeah, which is yeah, definitely.
• 54:33
  Speaker 3: I mean I still have C.
• 54:34
  Speaker 3: I mean people still see sell CDs, but it is.
• 54:38
  Speaker 3: It's kind of like it's retro.
• 54:40
  Speaker 3: Yeah, it's just not many people have CD players anymore.
• 54:45
  Speaker 1: Yeah.
• 54:45
  Speaker 3: Like, and it's it's not.
• 54:46
  Speaker 3: Yeah, it's like not, I'll sell them live like every once in a while.
• 54:50
  Speaker 3: But it's also weird that vinyls sell, are selling a little more now, but even that is still pretty retro.
• 54:58
  Speaker 3: It's like someone has to dedicate.
• 54:59
  Speaker 3: Yeah, you'd have to dedicate like this whole room if you wanted to listen to vinyl, which is fun, yeah, but it takes up, you know.
• 55:09
  Speaker 3: It's like a thousand pounds of records.
• 55:11
  Speaker 1: It's a library and, like the whole stereo I have, I listen to vinyl Because I really like intentionally listening to an entire album.
• 55:22
  Speaker 3: Totally.
• 55:23
  Speaker 1: And I miss that experience in Apple Music and Spotify and these different places where you're just kind of it's there and you're listening to it, but a lot of times you don't know who the artist is, you don't know what year that came out, you don't know much about it, and the artistry of putting together an album and wanting somebody to have that experience I appreciate and I really miss that part, and so I still really like putting definitely a whole album on and listening to it um I think of it like, like if you like, you can't invite somebody over to listen to yes I can apple music or something like I'm saying like it's.
• 56:05
  Speaker 3: You can have a party like a wine and vinyl party, where you just put vinyls on.
• 56:10
  Speaker 1: Yes.
• 56:10
  Speaker 3: But you can't be like listen to Spotify party.
• 56:13
  Speaker 3: Like sounds really stupid.
• 56:14
  Speaker 1: Right.
• 56:14
  Speaker 3: Like nobody's going to.
• 56:15
  Speaker 3: You have to come up with a better theme.
• 56:17
  Speaker 3: But like putting music on in like a real world form can be a party Like it can be the thing that you invite people over.
• 56:25
  Speaker 1: There's just so much more intention behind it than than the I don't know passive listening, I guess which I still do.
• 56:34
  Speaker 2: And.
• 56:34
  Speaker 1: I'm grateful for it, but yeah, I think it's worth it.
• 56:40
  Speaker 2: If it weren't for things like Spotify, my the, the amount of music that I would be exposed to would be so much less.
• 56:49
  Speaker 1: For sure.
• 56:50
  Speaker 2: Yeah.
• 56:51
  Speaker 1: Yeah, think about us as kids.
• 56:53
  Speaker 2: Dude, I thought Garth Brooks was rock and roll.
• 56:55
  Speaker 2: Yeah, 100%, because the only music I heard was like traditional cowboy music that was getting played around campfires and stuff like that, which I also thought, our stepdad wrote all those songs and then whatever was on the local radio, which was a country station.
• 57:15
  Speaker 2: So I thought that was the full spectrum of music and I was aware of some of these different genres, but I thought that I was listening to all the music.
• 57:25
  Speaker 2: So I was like, okay, well, Garth Brooks, this has got to be like heavy metal.
• 57:31
  Speaker 3: Explosions.
• 57:32
  Speaker 3: It is very like Lyle.
• 57:34
  Speaker 1: Lovett is jazz.
• 57:38
  Speaker 2: Don't like that.
• 57:39
  Speaker 2: Well, we've kind of entered a new phase with the Six Ranch Podcast, where now every week we have a custom Spotify playlist that is being curated by Miss Adele over here to go along with every episode.
• 58:00
  Speaker 2: And that's kind of fun, I think.
• 58:03
  Speaker 1: It's so much fun for me.
• 58:04
  Speaker 1: I'm very excited about this one, a little nervous actually, but it's still one of my favorite things to do.
• 58:12
  Speaker 1: I mean, making mixtapes and mixed CDs was my love language Almost as much as food, and so making Spotify playlists feels like the new version of that.
• 58:29
  Speaker 3: Yeah, right, yeah, mixtapes were the best they were the best.
• 58:33
  Speaker 3: I feel like that's the thing with CDs that's missing more than anything, like the good part of CDs is the being able to make burn for your friends Right Mix CD.
• 58:45
  Speaker 3: Because there's not really anything that you can do that with.
• 58:49
  Speaker 3: Like the cd was crappy and it would break eventually, or you and you'd listen, or there's one that's your favorite yeah but it was like that was like one of the best ways to like as a gift or to like tell somebody you had a crush on them oh right, like a burn cd from a boy yeah I'm gonna listen to every single word, right?
• 59:07
  Speaker 2: but Right, but this was a problem that I didn't realize until a lot later in life, because if a guy makes a CD, he's like oh, here's a bunch of songs I like.
• 59:17
  Speaker 1: Exactly.
• 59:19
  Speaker 2: If a gal does the same thing, you need to dissect those lyrics with full-on literary theory.
• 59:27
  Speaker 2: Yeah, yeah.
• 59:28
  Speaker 1: Completely, and some of my most embarrassing moments came from giving boys mixed CDs.
• 59:34
  Speaker 1: I made a mixed CD for Cor Blund before I knew who he really was or what his musical background and knowledge was.
• 59:42
  Speaker 1: I was like here's a bunch of songs that I think you should know.
• 59:47
  Speaker 3: Well, you just so embarrassing.
• 59:50
  Speaker 3: I love that so embarrassing.
• 59:54
  Speaker 1: I'm sure he's still playing it on the road.
• 59:56
  Speaker 3: You might have blown his mind.
• 59:58
  Speaker 1: Possibly, but here's a bunch of songs my stepdad wrote.
• 1:00:06
  Speaker 2: Maybe that's why he spends more time in Canada now, terrified of.
• 1:00:11
  Speaker 1: Texas.
• 1:00:12
  Speaker 1: But, yeah, the Spotify playlist that we're making for Six Ranch Podcast it's so fun to think about.
• 1:00:20
  Speaker 1: Here's the guest and something that you said earlier is like here's how I want you to feel it.
• 1:00:26
  Speaker 1: It's more it's not so much the listen to every word and you'll understand how I feel about you kind of mixed CD, but it is like.
• 1:00:35
  Speaker 1: This is how this episode of this podcast feels, and here's some songs that also feel that way.
• 1:00:43
  Speaker 1: And when you were talking about sounds bringing up a feeling, I wanted to know, when you're doing sound for other bands, or if they're recording or if they're live, do you ask them how they want it to feel?
• 1:01:01
  Speaker 3: I don't, I try to.
• 1:01:04
  Speaker 3: I guess I try to.
• 1:01:05
  Speaker 3: I mean, sometimes bands will show me like or ask them to show me a song if we're recording, maybe, but a lot of times I try to just create connection and comfort between the band and then do the best job possible, like create an environment where the feelings will be made.
• 1:01:24
  Speaker 1: Yeah.
• 1:01:25
  Speaker 3: I guess it's kind of like a podcast scenario where you're talking to each other.
• 1:01:29
  Speaker 3: If everyone's uncomfortable, it's going to create bad feelings.
• 1:01:34
  Speaker 1: Yeah.
• 1:01:34
  Speaker 3: So normally, at least in the studio, it's more about lamps and everyone being able to see each other and communicate with each other and making sure people we have breaks and make food and eat and stuff.
• 1:01:47
  Speaker 3: Those are normally like the things I try to curate, okay, like so that good emotions come from it or feelings come out of it.
• 1:01:57
  Speaker 3: Um, but I do, I do talk to like the.
• 1:02:00
  Speaker 3: I do talk to bands a lot about like they'll give me examples of other music, or like talk about how they want the song to like if they want it to feel brash or like really peaceful, or yeah.
• 1:02:13
  Speaker 1: But, yeah all of those things.
• 1:02:15
  Speaker 1: So you kind of are curating a feeling, but you're not asking them outright.
• 1:02:18
  Speaker 3: Not necessarily.
• 1:02:19
  Speaker 3: I feel like my job, or a lot of it, is getting people in the right spot where they can make the best feelings, if that makes sense.
• 1:02:30
  Speaker 1: Yeah, it does A lot of times if I'm cooking for a private party.
• 1:02:36
  Speaker 1: The question I want to know is what do you want this to feel like?
• 1:02:40
  Speaker 1: Not what recipe do you want, or protein do you think you want, or you know?
• 1:02:46
  Speaker 1: A lot of those questions, I feel like, are asking them to be experts in what I can do.
• 1:02:52
  Speaker 3: Right.
• 1:02:52
  Speaker 1: But really all I want to know is what do you want your night to feel like?
• 1:02:56
  Speaker 3: Yeah, like, do you want it to be like sexy or like a fun party or like summery?
• 1:03:01
  Speaker 1: or that kind of thing.
• 1:03:02
  Speaker 1: Yeah, yeah.
• 1:03:05
  Speaker 2: Have we moved out of the phase where, uh, every cocktail is getting called sexy I?
• 1:03:12
  Speaker 2: Think we have I never knew, what that meant but I've seen you drink a sexy cocktail.
• 1:03:20
  Speaker 1: You just didn't know that that's what you were doing.
• 1:03:33
  Speaker 2: Doing that, yeah what was it like whiskey?
• 1:03:35
  Speaker 1: yeah, I mean when you get an old-fashioned and it's like smoking.
• 1:03:37
  Speaker 1: Or you know it's got some like extra little little snap and pop yeah, I mean, I think if you could drink it in a dark room with like red velvet things, Whoa.
• 1:03:50
  Speaker 1: That makes it a sexy cocktail.
• 1:03:52
  Speaker 2: Okay, does that help.
• 1:03:54
  Speaker 2: No.
• 1:03:56
  Speaker 1: You just want to know we've moved past that.
• 1:03:59
  Speaker 3: I'm hoping you know, I didn't even know there were sexy cocktails.
• 1:04:02
  Speaker 3: A lot, of a lot of them had foam on them.
• 1:04:04
  Speaker 3: Yeah, I do love egg whites.
• 1:04:07
  Speaker 3: Yeah, but I don't know if that, yeah, I do love egg whites yeah.
• 1:04:08
  Speaker 3: But I don't know if that's sexy.
• 1:04:11
  Speaker 2: I don't know either.
• 1:04:13
  Speaker 3: It's a real issue Is a whiskey sour with egg whites sexy.
• 1:04:18
  Speaker 1: I don't think it's sexy.
• 1:04:19
  Speaker 1: Okay, I think that's a fun thing.
• 1:04:21
  Speaker 1: I think egg whites are fun.
• 1:04:24
  Speaker 3: Yeah.
• 1:04:27
  Speaker 2: I don't know what a blast.
• 1:04:29
  Speaker 3: I don't know what a blast.
• 1:04:29
  Speaker 3: I agree, right Having a little bit of.
• 1:04:31
  Speaker 1: I'm so glad you're here A little bit of Having little.
• 1:04:34
  Speaker 3: You know, when you drink a beer and you get some froth in your mustache, that's pretty fun.
• 1:04:38
  Speaker 1: Yeah, yeah.
• 1:04:44
  Speaker 2: Whiskey sour is underrated, though, if we're talking cocktails.
• 1:04:47
  Speaker 1: I think it is.
• 1:04:48
  Speaker 1: I think it's a.
• 1:04:49
  Speaker 1: I bet, though, that it comes back as a trendy classic cocktail like the negroni.
• 1:04:56
  Speaker 1: You know, everybody in the last couple years is like, oh, have you had a negroni?
• 1:05:00
  Speaker 3: yeah, it's like one of the oldest cocktails right yeah, yeah, everybody is saying that, though it's they are yeah I'm, I'm there with the sazerak, oh yeah yeah that's a tremendous cocktail.
• 1:05:12
  Speaker 2: It's very old, it's, it's not popular, but it should be I love it.
• 1:05:17
  Speaker 2: I don't know if it'll move out of the south, though really I I mean maybe brisket came up here and got us it did, but we don't do it as well.
• 1:05:29
  Speaker 1: That's the risk.
• 1:05:30
  Speaker 3: Well, but it's just an old-fashioned with different ingredients.
• 1:05:34
  Speaker 1: But these Northwest bartenders are going to mess with it.
• 1:05:37
  Speaker 1: They're not, you know.
• 1:05:38
  Speaker 2: Oh yeah, they're going to be putting flowers and shit in there.
• 1:05:41
  Speaker 3: It's not a hard thing, it's going to be a Doug first Sazerac.
• 1:05:45
  Speaker 1: Oh okay, that's like poutine.
• 1:05:49
  Speaker 3: It's like poutine.
• 1:05:50
  Speaker 3: My mom worked at a poutine stand in Ontario.
• 1:05:54
  Speaker 3: I lived in Ontario for one year and yeah, Anyway, just every time I eat poutine I'm like what the hell?
• 1:06:00
  Speaker 3: There's like parsley on it, yeah.
• 1:06:04
  Speaker 3: Or like white gravy instead of brown gravy gravy.
• 1:06:08
  Speaker 1: And the cheese curds aren't cheese curds and they aren't melted potatoes, and I feel like we just can't help ourselves.
• 1:06:14
  Speaker 1: It's like you have to.
• 1:06:17
  Speaker 3: I just don't get it.
• 1:06:18
  Speaker 3: It's poutine, like just you could do something else, you don't have to call it poutine see change the name yeah change the name.
• 1:06:26
  Speaker 2: It's because people feel like if they're a cover band they're a sellout that's.
• 1:06:31
  Speaker 1: This is on you yeah, maybe.
• 1:06:33
  Speaker 2: Yeah, just making a classic poutine is like, yeah, it's like being a cover band, but right sometimes that was what everybody wants some comfort food exactly, and it's a model that works right like we we've this has existed.
• 1:06:47
  Speaker 2: I mean that works right, like we we've this has existed.
• 1:06:51
  Speaker 2: I mean george washington drink, old fashions right, that's an old drink.
• 1:06:53
  Speaker 2: If you go back a hundred years, an old-fashioned was called an old-fashioned.
• 1:06:57
  Speaker 2: These are drinks that have lasted for a long time.
• 1:06:59
  Speaker 2: Sasarac has been around for a very long time.
• 1:07:02
  Speaker 2: Yeah, we don't necessarily have to mess with it, we just have to get it.
• 1:07:05
  Speaker 2: Get it right, like be be brilliant in the basics, nail down the fundamentals and you've got a good drink yeah, it's a balancing act.
• 1:07:12
  Speaker 1: I mean it goes back to like, I think, where we started this was enjoying messing with the classics, right?
• 1:07:19
  Speaker 1: So I do think you keep them I didn't, I didn't support that.
• 1:07:24
  Speaker 1: You weren't supporting Okay.
• 1:07:30
  Speaker 2: Are we going to rewrite Moby Dick here Like no, We've already got Moby Dick?
• 1:07:36
  Speaker 1: We do, but you've got to have spinoffs.
• 1:07:40
  Speaker 1: I mean, that's where creativity and growth and movement and change and all of those dirty words come from that are so great and necessary.
• 1:07:49
  Speaker 1: So I will always mess with an old-fashioned, but that's because I know how to make an old-fashioned first.
• 1:07:58
  Speaker 2: Right.
• 1:07:59
  Speaker 1: And I respect that and I respect the poutine, but that doesn't mean that I don't want to try to make it my own and present it in a different way yeah, and I I do think that's almost like.
• 1:08:13
  Speaker 3: Everything that we love is stuff that's grown and, like changed over time like yeah, just like every.
• 1:08:18
  Speaker 3: Yeah, not not that we love everything, but I just mean that's is how it, how things uh change and then then, old-fashioned is good.
• 1:08:29
  Speaker 3: I think if I had four drinks, I have one normal drink and then maybe three drinks.
• 1:08:35
  Speaker 3: I twist, change up a little bit.
• 1:08:37
  Speaker 3: You don't have to change everything.
• 1:08:40
  Speaker 2: I just feel like.
• 1:08:40
  Speaker 3: if I see old-fashioned or poutine on a menu, I want it to be a certain way.
• 1:08:44
  Speaker 3: I don't care if people do all sorts of crazy things with drinks and food.
• 1:08:49
  Speaker 3: Yeah, but I do get confused when it's like something that's a very basic, standard thing, like biscuits and gravy or something.
• 1:08:58
  Speaker 1: Totally.
• 1:08:59
  Speaker 3: It's like I'm not expecting a chicken fried steak.
• 1:09:01
  Speaker 3: If I order biscuits and gravy, those are totally different things.
• 1:09:07
  Speaker 2: They are Same part of the menu though, Like the, I'm going to take a nap after this part of the menu.
• 1:09:15
  Speaker 3: Yeah, I'm going to take a nap after this.
• 1:09:24
  Speaker 2: Talk to me a little bit about the blue collar aspect of what you do, so that the product is is something that's very artistic.
• 1:09:33
  Speaker 2: But if you're on tour or something like that, there's a lot of physical work that that goes into making all this happen.
• 1:09:40
  Speaker 2: If you're doing audio for, for another band, there's a lot of a lot of physical labor and technical skill into what you're doing.
• 1:09:47
  Speaker 2: So talk me through a little bit about what you do to make, make that product happen, where people are are hearing and enjoying music.
• 1:09:57
  Speaker 3: Yeah, well, on the music performing end, I've always done or most mostly always done all my booking and stuff.
• 1:10:06
  Speaker 3: So that's normally like six to four to six months before shows happen and then emailing and communicating and then like trying to get posters and get all the dates finished and that's that's kind of the big work.
• 1:10:23
  Speaker 3: Amount of work for me is the like months of making sure all the details are figured out, including lodging.
• 1:10:30
  Speaker 3: So I do all of that stuff.
• 1:10:32
  Speaker 3: Which is why I decided I kind of want to do like less, like 100 shows a year instead of 200, because so that I have less of time where my brain's always like thinking about like okay, I have to email this person and plan for a month schedule for four months in advance.
• 1:10:48
  Speaker 3: 100 is a lot, yeah, and it's like I guess I associate that for me it's kind of like worry, it's like thinking about the past.
• 1:10:56
  Speaker 3: So I haven't been writing as much and I was like I think I need more like brain time where my brain's not thinking about how to get make shows happen in the future.
• 1:11:06
  Speaker 3: Yeah, and so that's the big part with booking shows and then with production and live sound.
• 1:11:13
  Speaker 3: So the Blind Boys of Alabama just played at the OK Theater and they needed a back line, which means I had to provide all the instruments.
• 1:11:21
  Speaker 3: So I got those from a place in Boise so I had to send them like what they needed, and then I had.
• 1:11:28
  Speaker 3: I drove my van.
• 1:11:29
  Speaker 3: Well, in the end it was 16 hours before I was there four hours back and then I worked like 12 hours for the show day and then I drove all that gear back and forth and then the show day was.
• 1:11:42
  Speaker 3: There was a play that got done at like two or 3 PM, which a community play, which is cool because I wanted that to happen because we don't get to have very many plays out here and then I had to set up all of the gear for the band and then I had to run sound and make sure the band was happy with the sound.
• 1:12:02
  Speaker 3: So that was a really.
• 1:12:06
  Speaker 3: It was basically like 40 hours of work in like three days.
• 1:12:11
  Speaker 3: And then when I go on tour with a band to run sound which is another thing I do, that's more just testing the gear and making sure everything works.
• 1:12:24
  Speaker 3: But I do like sound in general because it's mostly in the moment.
• 1:12:31
  Speaker 3: So it's going on tour and then just I'm kind of like, and you get there and then you just have to work your butt off for three or four hours and then the show starts and ideally everything sounds good at that point.
• 1:12:48
  Speaker 3: But that's one thing.
• 1:12:49
  Speaker 3: That's nice about sound is the band is planning all the shows and stuff, or their management is.
• 1:12:56
  Speaker 2: With a place like the OK Theater?
• 1:12:57
  Speaker 2: How does the sound change when you're testing versus when it is filled up with human bodies?
• 1:13:06
  Speaker 3: It changes, but it's a pretty not as much as a lot of places.
• 1:13:12
  Speaker 3: Yeah, because it has seats that are padded, it has carpet, there is some reflective surfaces, but it's not.
• 1:13:22
  Speaker 3: This place is like a gym where it's all reflective.
• 1:13:26
  Speaker 3: So if you put a bunch of people in your shop, it would change the acoustics a ton.
• 1:13:31
  Speaker 3: If you put a bunch of people in here, it would change the acoustics a little bit, because this is a drier space.
• 1:13:39
  Speaker 3: So the theater is kind of nice in that way.
• 1:13:43
  Speaker 3: I normally don't.
• 1:13:44
  Speaker 3: There's some times when you're running sound it's like super difficult and then it's like sold out and you're like, oh, now this is easy and it sounds good.
• 1:13:52
  Speaker 3: But the theater it's pretty fun.
• 1:13:54
  Speaker 3: It does sound good in there.
• 1:13:55
  Speaker 3: Yeah, I like running sound in there a lot and I think it sounds good most of the time.
• 1:14:01
  Speaker 3: If running sound in there a lot and I think it sounds good most of the time, if it doesn't, it's my fault.
• 1:14:08
  Speaker 3: I recently have a really nice new center fill speaker.
• 1:14:11
  Speaker 3: Okay, I got to check it out.
• 1:14:13
  Speaker 3: It sounds incredible.
• 1:14:14
  Speaker 3: Yeah, it changed everything Really.
• 1:14:16
  Speaker 3: Yeah, I feel like the sound is like really how I want it to be in there.
• 1:14:21
  Speaker 3: Now, what is a center fill speaker.
• 1:14:24
  Speaker 3: It's just a speaker on the center of the stage.
• 1:14:26
  Speaker 3: I've noticed if you sat in the front row in the middle, you couldn't hear any of the vocals, and then the speaker's really expensive.
• 1:14:34
  Speaker 3: Yeah, so it's the most expensive speaker I've ever had and it's also in a really good spot.
• 1:14:43
  Speaker 2: If you're sitting front row, you just want it to be loud.
• 1:14:47
  Speaker 3: Yeah, but you couldn't hear the vocals.
• 1:14:48
  Speaker 3: And then you know, as the sound person, it's hard to Because the band's so gosh darn loud.
• 1:14:56
  Speaker 3: It's hard to.
• 1:14:57
  Speaker 3: It's like I'm sorry you can't hear the vocals okay, because you just I can't do anything about that.
• 1:15:04
  Speaker 3: Yeah, but in this scenario it's because there wasn't a good speaker for that.
• 1:15:10
  Speaker 3: But anyway, you get a lot of feedback when people can't hear the vocals.
• 1:15:14
  Speaker 3: Yeah, I mean, I get a lot of feedback from the people listening, not from the.
• 1:15:18
  Speaker 3: Yeah, there's a wrong word choice.
• 1:15:21
  Speaker 3: Basically Aaron's like I can't hear the vocals.
• 1:15:23
  Speaker 3: That's like my dad, I mean.
• 1:15:26
  Speaker 3: It's just normal music.
• 1:15:27
  Speaker 3: Live music is normally too loud and then the only thing people care about is if they can hear the vocals or not.
• 1:15:35
  Speaker 3: But that's like basically how most people are.
• 1:15:38
  Speaker 3: Those are the main goals is to make it quieter and have people hear the vocals if you had to get rid of a mainstream instrument, what would you get rid of?
• 1:15:50
  Speaker 2: oh, you'd make it illegal.
• 1:15:51
  Speaker 2: I don't think I.
• 1:15:52
  Speaker 2: I you gotta pick one here.
• 1:15:54
  Speaker 3: I have to pick one.
• 1:15:55
  Speaker 3: Okay, I'm not.
• 1:15:58
  Speaker 3: I'm definitely not gonna pick the banjo, because I feel like that's picked on a lot.
• 1:16:02
  Speaker 3: I love bass and drums.
• 1:16:04
  Speaker 3: That's the thing.
• 1:16:05
  Speaker 3: I think that drums are the one that, in the wrong space, make it hard for a lot of people to hear.
• 1:16:15
  Speaker 3: But I can't get rid of drums because rhythm is one of my favorite things.
• 1:16:18
  Speaker 3: Yeah, that's the foundation.
• 1:16:18
  Speaker 3: Okay, rhythm is like one of my favorite things.
• 1:16:20
  Speaker 3: Yeah, that's the foundation.
• 1:16:21
  Speaker 3: Okay, well, we're going to.
• 1:16:25
  Speaker 3: I mean, I feel like it needs to be some sort of a somewhat popular instrument.
• 1:16:29
  Speaker 3: I just can't say a super obscure one.
• 1:16:31
  Speaker 1: He did say mainstream.
• 1:16:33
  Speaker 3: Yeah.
• 1:16:33
  Speaker 1: Okay.
• 1:16:35
  Speaker 3: Does harmonica count?
• 1:16:36
  Speaker 3: Sure, yeah, I guess harmonica.
• 1:16:38
  Speaker 3: I like harmonica, I feel bad.
• 1:16:39
  Speaker 3: There's so many harmonica players.
• 1:16:41
  Speaker 3: But I like harmonica I feel bad there's so many harmonica players, but you'd get rid of it or electric guitar.
• 1:16:49
  Speaker 3: Those are the two that came to mind of commonly used instruments which.
• 1:16:54
  Speaker 3: I love both of those.
• 1:16:55
  Speaker 3: What are you going to go with Adele?
• 1:16:58
  Speaker 1: Oh, I have to answer two oh yeah.
• 1:16:59
  Speaker 1: This is a tough one.
• 1:17:04
  Speaker 1: Does the accordion?
• 1:17:08
  Speaker 2: count Sure, I might let go of the accordion yeah, yeah.
• 1:17:10
  Speaker 2: I could see that come into your mind when he said harmonica.
• 1:17:16
  Speaker 1: I actually thought of it a little bit before then, because my friend Sam Platts always says a gentleman knows how to, or a man should know how to play the accordion and a gentleman never should, or something great like that.
• 1:17:28
  Speaker 3: Yeah, I have an accordion.
• 1:17:29
  Speaker 3: You want to check it out.
• 1:17:31
  Speaker 1: I do.
• 1:17:31
  Speaker 1: I'd love to play one.
• 1:17:32
  Speaker 1: They look fun.
• 1:17:33
  Speaker 3: I haven't played it.
• 1:17:34
  Speaker 2: They do make me a little uncomfortable.
• 1:17:35
  Speaker 2: You'd go accordion over bagpipes?
• 1:17:39
  Speaker 1: Yeah, because bagpipes rarely come into my life, so it feels like I'm taking that from someone else.
• 1:17:47
  Speaker 2: You're not gonna like mine I bet you're.
• 1:17:51
  Speaker 1: Is it the bass?
• 1:17:53
  Speaker 2: acoustic guitar.
• 1:17:53
  Speaker 2: What?
• 1:17:55
  Speaker 2: Yeah, yeah, it's, it's chaotic, takes up.
• 1:17:59
  Speaker 1: Yeah, do you just want everybody to be a ukulele player.
• 1:18:06
  Speaker 2: No, but I could just do without it.
• 1:18:09
  Speaker 2: Guitar strumming just doesn't.
• 1:18:12
  Speaker 2: It's not a pleasant sound for me.
• 1:18:14
  Speaker 1: Yeah.
• 1:18:15
  Speaker 3: Yeah, that makes sense.
• 1:18:16
  Speaker 3: I have a lot of friends who kind of feel that Really I feel like it's the worst sounding live instrument, like plugged in acoustic guitar.
• 1:18:24
  Speaker 3: I love acoustic guitar and I do like it in records, like mic'd yeah, but in the live scenario it's, I would say, for me the most frustrating.
• 1:18:34
  Speaker 3: Like I play the acoustic guitar and I'm just like I hate this.
• 1:18:38
  Speaker 3: This does not sound when I play at a live show.
• 1:18:42
  Speaker 3: This does not sound when I play at a live show.
• 1:18:45
  Speaker 3: It does not sound the way that I want it, like me sitting in a room.
• 1:18:47
  Speaker 1: It has never been more obvious that you have never been teenage girls.
• 1:18:54
  Speaker 3: But I love it.
• 1:18:54
  Speaker 3: I play, I mean I write, I love it You're like I hate watching somebody's acoustic guitar.
• 1:18:59
  Speaker 1: Yeah Well, I had to be there.
• 1:19:00
  Speaker 1: I wish I was watching somebody strum an acoustic guitar.
• 1:19:03
  Speaker 1: Yeah Well, I had to be there.
• 1:19:04
  Speaker 3: I wish I was.
• 1:19:08
  Speaker 1: I don't know what that meant.
• 1:19:14
  Speaker 2: Bart, where can people listen to your music?
• 1:19:17
  Speaker 3: Well, I do have it all over the internet on most places.
• 1:19:21
  Speaker 3: I do have it all over the internet on most places.
• 1:19:22
  Speaker 3: I got four albums released like on Spotify or iTunes or whatever.
• 1:19:29
  Speaker 3: And then I do have a website, bartbudwigcom, which is the best place for like if I have shows which are normally in like Western US.
• 1:19:41
  Speaker 3: And then I have some like vinyl.
• 1:19:43
  Speaker 3: I have vinyl, a few different records on vinyl.
• 1:19:47
  Speaker 2: If somebody listens to a bart budwig song on spotify, do you make any money?
• 1:19:55
  Speaker 3: I don't know.
• 1:19:55
  Speaker 3: I think I make a little bit, but I'm not.
• 1:19:57
  Speaker 3: It's.
• 1:19:58
  Speaker 3: Yeah, it's definitely better to like live, getting tips in live shows.
• 1:20:02
  Speaker 3: People buying music is definitely way better than listening to music, but I also I love, like I said, I like more so than listening to the same thing over and over.
• 1:20:16
  Speaker 3: I like exploring.
• 1:20:17
  Speaker 3: So, as far as the internet and music, I really actually love that part of it.
• 1:20:23
  Speaker 1: Yeah.
• 1:20:23
  Speaker 3: And yeah, it's, it's pretty great.
• 1:20:25
  Speaker 3: And it's amazing when people I feel like a lot of people support me.
• 1:20:30
  Speaker 3: Like when my car broke down in Austin, I was like, hey, if anybody wants to give me a tip, you don't have to.
• 1:20:37
  Speaker 3: I just posted on Instagram.
• 1:20:39
  Speaker 3: I was like I know there's plenty of things to do, but I got $2,000 in one day, nice, which is like Was that enough to fix your car?
• 1:20:47
  Speaker 3: I got a new car for $3,000.
• 1:20:50
  Speaker 3: Okay, but I mean it was amazing.
• 1:20:53
  Speaker 3: It was just.
• 1:20:53
  Speaker 3: I was like you know what?
• 1:20:54
  Speaker 3: Most people can listen to my music for free.
• 1:20:57
  Speaker 3: I should just ask I feel embarrassed about it and feel embarrassed about it.
• 1:21:04
  Speaker 3: And then there's been a couple things like that and and uh, anyway, I I feel very supportive, but it is weird to navigate, hard to navigate, um, but I tell people, music has been recorded for like a hundred years.
• 1:21:12
  Speaker 3: Like the whole history of humanity is just, most musicians are probably just degenerates walking around playing music for people with no recordings, and that wasn't an option, and they got a bed and food and some money.
• 1:21:28
  Speaker 3: You know, yeah, like that's the whole existence of humanity.
• 1:21:31
  Speaker 3: It's like just because people got rich for 35 years, it's like I mean it would be nice to just have that happen, but that's not really the story for humanity and music, so I'm okay with that.
• 1:21:46
  Speaker 3: I guess I love it.
• 1:21:48
  Speaker 2: I love it.
• 1:21:49
  Speaker 1: That was great.
• 1:21:51
  Speaker 2: Okay, last question what advice would you give to 18-year-old Bart Budwig Whoa?
• 1:22:01
  Speaker 3: That's a tricky one there.
• 1:22:03
  Speaker 3: I you know what.
• 1:22:08
  Speaker 3: I don't think I could give my 18-year-old self very good advice.
• 1:22:16
  Speaker 3: I feel like my journey that brought me down here to enterprise it was I'm pretty thankful for, like I'm really bad at relationships, but I don't think I could give my 18 year old self any advice that would be helpful.
• 1:22:34
  Speaker 3: That would be the one thing I would want to try to figure out.
• 1:22:39
  Speaker 2: That would be like okay because that's a tricky part of this.
• 1:22:42
  Speaker 2: Is it to be useful, it has to be something that the 18 year old version of you would be willing to accept, yeah, otherwise you're just lecturing and it's useless.
• 1:22:52
  Speaker 3: Yeah, yeah, well, yeah, I wish I had a quick answer on that one, but now I think I'm getting a.
• 1:22:59
  Speaker 3: I'm, but now I think I'm getting a, I'm wondering what my 18-year-old self would need to know.
• 1:23:09
  Speaker 2: Yeah, save your money.
• 1:23:12
  Speaker 3: Actually.
• 1:23:12
  Speaker 3: Yeah, that's actually.
• 1:23:14
  Speaker 3: That is a good.
• 1:23:16
  Speaker 3: That's a.
• 1:23:16
  Speaker 3: I think now now because I've a lot of I spend so much money trying to figure out like professional gear and the things that I love and want that would actually be a really good one.
• 1:23:30
  Speaker 3: Just be like this stuff is really good.
• 1:23:33
  Speaker 3: You're going to like this instrument the best, this cornet the best, so you don't have to get a cornet every three years and then find the best one.
• 1:23:43
  Speaker 3: I feel like there's a lot of most things in my life.
• 1:23:46
  Speaker 3: I've stumbled into the ones that I love, like make sure you get this eight-track cassette recorder before you go to recording school, because you're going to love it.
• 1:23:56
  Speaker 3: Yeah, so I think it would just be the.
• 1:23:59
  Speaker 1: Like a product guide.
• 1:24:00
  Speaker 3: Yeah, a product guide so that I could just spend my money on the products that I know I'm already gonna love in the yeah that, because I love them now I'd be like you will love these.
• 1:24:09
  Speaker 3: Future bart.
• 1:24:10
  Speaker 2: You're gonna thank me as future bart for letting you know this center fill speaker does not exist yet, but when it does it's gonna work great in the theater.
• 1:24:24
  Speaker 3: it's gonna solve all of your problems Awesome.
• 1:24:30
  Speaker 2: Awesome, Well, thanks a lot and uh, yeah, Bart's in here, um, today.
• 1:24:35
  Speaker 2: Uh, among other reasons, to talk to us about some ways that we can get even better audio for you guys in future episodes that are recorded here in the studio.
• 1:24:46
  Speaker 2: And thank you very much for your expertise and time and for the stories and laughs.
• 1:24:50
  Speaker 2: This is great.
• 1:24:51
  Speaker 2: Thanks for having me.
• 1:24:53
  Speaker 2: Thanks for having me.
• 1:24:54
  Speaker 2: Bye, everybody.
• 1:24:54
  Speaker 2: The Six Ranch Podcast is brought to you by Nick's Handmade Boots, a family-owned company in Spokane, washington.
• 1:25:01
  Speaker 2: For many of my listeners, you've waited and prepared all year for this.
• 1:25:06
  Speaker 2: Whether your pursuit is with a rifle or a bow, early or late season, big game or birds, another hunting season is finally upon us.
• 1:25:15
  Speaker 2: Nick's Boots and the Six Ranch want to wish you luck as you head out into the field.
• 1:25:20
  Speaker 2: This season I'm wearing the Nick's Boots Game Breakers beginning with the archery elk season.
• 1:25:26
  Speaker 2: Having worn this boot throughout the summer around the 6th ranch, I continue to be impressed with how quiet the boot is.
• 1:25:31
  Speaker 2: The rough out leather, leather laces and 365 stitch down construction create a simple boot that is supportive, durable, comfortable and, most importantly, quieter than most synthetic hunting boots.
• 1:25:46
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• 1:25:59
  Speaker 2: Visit nixbootscom today to find your next pair of high quality American made work boots.
• 1:26:06
  Speaker 2: Add a pair of boots and a work belt to your cart and use the code six ranch that's the number six and the word ranch to receive the belt for free.
• 1:26:17
  Speaker 2: I just want to take a second and thank everyone who's written a review, who has sent mail, who's sent emails, who's sent messages.
• 1:26:24
  Speaker 2: Your support is incredible and I also love running into you at trade shows and events and just out on the hillside when we're hunting.
• 1:26:32
  Speaker 2: I think that that's fantastic.
• 1:26:33
  Speaker 2: I hope you guys keep adventuring as hard and as often as you can.
• 1:26:37
  Speaker 2: Art for the Six Ranch Podcast was created by John Chatelain and was digitized by Celia Harlander.
• 1:26:45
  Speaker 2: Original music was written and performed by Justin Hay, and the Six Ranch Podcast is now produced by Six Ranch Media.
• 1:26:54
  Speaker 2: Thank you all so much for your continued support of the show and I look forward to next week when we can bring you a brand new episode.