Latest / TechtalkRadio / Do You Really Own It? Japan, AI & The Digital Dilemma | EP 484

Transcript

Do You Really Own It? Japan, AI & The Digital Dilemma | EP 484 · TechtalkRadio

• 0:00
  Speaker 1: The following program is produced by the tech Talk Radio Network.
• 0:04
  Speaker 2: It's another episode of tech Talk Radio.
• 0:06
  Speaker 3: I'm Andy Taylor, I'm Sean de Weird, and I'm Justin Lemey.
• 0:10
  Speaker 1: It is so good to see Justin back bultimate that
• 0:14
  Speaker 1: it's gon a while.
• 0:15
  Speaker 2: Yeah, well over a month. Hasn't it been a month?
• 0:18
  Speaker 4: Yeah?
• 0:18
  Speaker 3: Actually I think it has. Yeah, a couple of weeks
• 0:20
  Speaker 3: before I was just I was just so busy with
• 0:22
  Speaker 3: things getting ready for the trip to Japan. And then yeah,
• 0:25
  Speaker 3: and then I was in Japan for two and a
• 0:26
  Speaker 3: half weeks, and then it took me a couple of
• 0:28
  Speaker 3: weeks to get back off a jet lag. And yeah,
• 0:30
  Speaker 3: here I am.
• 0:31
  Speaker 1: We definitely want to find out about your your excursion,
• 0:34
  Speaker 1: your travels, how is technology in Japan when you got there, Like,
• 0:40
  Speaker 1: were there any big surprises?
• 0:42
  Speaker 2: And of course did you buy it?
• 0:45
  Speaker 3: Oh yeah, no, I I yeah, everything was amazing. I
• 0:48
  Speaker 3: mean it's been it's been four years since I've been
• 0:51
  Speaker 3: back to Japan, so going back, you know, the older
• 0:56
  Speaker 3: I get, the harder it is to do those long
• 0:58
  Speaker 3: haul flights.
• 0:59
  Speaker 2: Yea, yeah, how long is that flight to Japan.
• 1:01
  Speaker 3: Well, it's a direct flight from Denver to Tokyo and Arita.
• 1:05
  Speaker 3: So that's twelve hours there. Right on the way back
• 1:08
  Speaker 3: it's like ten hours because you know, when you go there,
• 1:11
  Speaker 3: you're avoiding the jet stream, but on the way back
• 1:14
  Speaker 3: you're riding the jet stream, so you lose those extra
• 1:17
  Speaker 3: two hours.
• 1:18
  Speaker 1: So one of those trips, though, I have to, I
• 1:20
  Speaker 1: have to bring this up, and one of the trips
• 1:23
  Speaker 1: that you had been back.
• 1:24
  Speaker 2: To Japan, didn't they didn't they have a terrible earthquake.
• 1:29
  Speaker 3: Yeah, happy, I was in the Yeah, one of the
• 1:32
  Speaker 3: biggest earthquakes recorded history. It was twenty eleven. It was
• 1:37
  Speaker 3: the Fukushima earthquake, the one that that destroyed the nuclear
• 1:42
  Speaker 3: power plant, caused the meltdown. It was up in Sendai,
• 1:46
  Speaker 3: north of Tokyo. Yeah, I was there for that one. Yeah,
• 1:49
  Speaker 3: that was nine point zero.
• 1:51
  Speaker 1: And on this trip you land and you had what
• 1:53
  Speaker 1: a typhoon coming your way? What was the with that?
• 1:57
  Speaker 3: Yeah, well, I mean, I guess you could tell call
• 2:00
  Speaker 3: it a typhoon. No, it was like it when we
• 2:03
  Speaker 3: first got there. The first day or actually first two
• 2:07
  Speaker 3: days were just really really hot and muggy. So, I
• 2:11
  Speaker 3: mean the temperature was you know, probably like eighty five
• 2:14
  Speaker 3: ninety degrees, but then you're talking about sixty five seventy
• 2:17
  Speaker 3: five percent of humidity, so it was it was disgusting
• 2:21
  Speaker 3: the first couple of days, and then and then the
• 2:22
  Speaker 3: typhoon got rolls in. This was a very weak typhoon
• 2:26
  Speaker 3: at the time, so it was just cloudy and rainy.
• 2:31
  Speaker 3: But it did cool down. It cooled down into like
• 2:33
  Speaker 3: the mid sixties, so actually it wasn't too it wasn't
• 2:36
  Speaker 3: too bad. I kind of enjoyed it, to be honest,
• 2:38
  Speaker 3: to have that nice little break. And then after that
• 2:40
  Speaker 3: it cooled down from there. It was like upper seventies maybe,
• 2:44
  Speaker 3: you know, low eighties for the most part. But you know, yeah,
• 2:49
  Speaker 3: we we had a lot of fun during that trip.
• 2:53
  Speaker 3: Like you mentioned, you know, the biggest I guess the
• 2:55
  Speaker 3: biggest shock for me going back was the the price
• 3:00
  Speaker 3: of the of yen, which is, you know, the Japanese
• 3:03
  Speaker 3: monetary system, the yen is so cheap to the dollar
• 3:06
  Speaker 3: right now, I mean, Japan's economy is not doing that great,
• 3:11
  Speaker 3: so I think it was at the time it was
• 3:13
  Speaker 3: about one hundred and sixty yen to the US dollar.
• 3:17
  Speaker 3: Normally it should be one hundred yen to the US dollars,
• 3:20
  Speaker 3: so it's one for one.
• 3:22
  Speaker 2: Wow.
• 3:22
  Speaker 3: But so you're basically getting a little bit, you know,
• 3:25
  Speaker 3: one point six times your money's worth. But also with
• 3:27
  Speaker 3: that being said too, there's just so much technology in Japan,
• 3:30
  Speaker 3: and you know, not a lot of people are buying it,
• 3:32
  Speaker 3: so the technology is on sale half the time. So
• 3:37
  Speaker 3: I found it the best time to buy something big.
• 3:40
  Speaker 3: And I wanted to buy something big. And you know,
• 3:44
  Speaker 3: I got the new Sony camera that I'm using here.
• 3:46
  Speaker 3: You know, the Sony A seven Mark four is the
• 3:51
  Speaker 3: camera that I'm using to record this and that's my
• 3:53
  Speaker 3: daily you know, go to camera. I wanted a better
• 3:55
  Speaker 3: lens for it. I wanted a lens that it could
• 3:59
  Speaker 3: be my daily driver, if you if you will, yeah,
• 4:02
  Speaker 3: so I don't have to keep swapping lenses in and out.
• 4:04
  Speaker 3: And I discussed this in length with a couple different
• 4:07
  Speaker 3: people here in Denver who are professional photographers, and you know,
• 4:11
  Speaker 3: I said, hey, what about this one or what about
• 4:13
  Speaker 3: that one? And we kind of all all three of
• 4:15
  Speaker 3: us kind of just settled on one particular lens and it,
• 4:19
  Speaker 3: you know, I went to I went to Japan, and
• 4:22
  Speaker 3: I think it was like the third it was like
• 4:25
  Speaker 3: the third or fourth day I think actually was thenable
• 4:28
  Speaker 3: right before the typhoon hit. So yeah, third day, we
• 4:30
  Speaker 3: uh we took a trip to Yodabashi Camera, right, which
• 4:34
  Speaker 3: is kind of like it's it's kind of like Japanese
• 4:38
  Speaker 3: best Buy, but like way bigger. I mean we're talking
• 4:42
  Speaker 3: about eight floors of technology. Oh wow, probably one hundred
• 4:48
  Speaker 3: thousand square feet. I mean, I mean these things are
• 4:51
  Speaker 3: just massive and you can buy anything there, like home appliances, computers. Yes,
• 4:56
  Speaker 3: they do sell cameras. I mean it's called a camera store,
• 4:58
  Speaker 3: but they sell every video games, personal fan devices, and
• 5:04
  Speaker 3: I mean just everything.
• 5:05
  Speaker 1: You can imagine you find any gear like you have
• 5:08
  Speaker 1: not seen here in the US that were actually and.
• 5:11
  Speaker 3: I bought a little personal fan. And what's interesting about
• 5:14
  Speaker 3: this fan is it actually has it's handheld, but it
• 5:18
  Speaker 3: has a portable air conditioner built into it. So when
• 5:22
  Speaker 3: you press the button to turn it on, this centerpiece
• 5:25
  Speaker 3: of the fan gets really really cold and it starts
• 5:29
  Speaker 3: blowing more cold air at you, even if the surrounding
• 5:32
  Speaker 3: air is warm. Right. So and that was like thirty bucks. Wow,
• 5:37
  Speaker 3: I was just I was amazed. I bought a new
• 5:40
  Speaker 3: pair of air Force Nike air Force ones like Legit
• 5:43
  Speaker 3: air Force ones. It cost me eighty bucks normally, and
• 5:47
  Speaker 3: here in America they're almost two hundred. Yeah, but the
• 5:50
  Speaker 3: big thing, going back to the big thing I want
• 5:52
  Speaker 3: to show you guys, So this, this lens is the
• 5:57
  Speaker 3: lens that comes with the Sony A seven mark four.
• 6:02
  Speaker 3: This lens is a it's a three point five fe
• 6:08
  Speaker 3: so it's a twenty eight to seventy milimeters twenty eight
• 6:10
  Speaker 3: to seventy So it does zoom out just a little bit, right,
• 6:14
  Speaker 3: but it's not really that good. And it's a kit lens,
• 6:18
  Speaker 3: so it doesn't really do that great of photos. I
• 6:21
  Speaker 3: want to show you what I bought, so again, the
• 6:25
  Speaker 3: lens that comes with it. This is the lens that
• 6:29
  Speaker 3: I bought.
• 6:30
  Speaker 2: Wow, that's pretty big.
• 6:32
  Speaker 3: I'm gonna put this one down because this one I'm
• 6:34
  Speaker 3: holding in my hand is very beefy. It is extremely expensive.
• 6:39
  Speaker 3: It is a Tamron, which makes lenses. It's not a
• 6:43
  Speaker 3: Sony lens, but it's a Tamron. This lens is an
• 6:48
  Speaker 3: F two and for aperture size, and it's a thirty
• 6:51
  Speaker 3: five to one fifty. So now if I were to
• 6:55
  Speaker 3: show you the zoom on this, I mean back up
• 6:57
  Speaker 3: a little bit.
• 6:58
  Speaker 2: Here, Oh, Oh wow.
• 7:02
  Speaker 3: The zoom is way way bigger. Right, look at the size.
• 7:07
  Speaker 3: I mean, it's it's it's more than double the size
• 7:11
  Speaker 3: of the kit lens. So this is the lens that
• 7:14
  Speaker 3: I bought. And it is just so heavy that I
• 7:18
  Speaker 3: actually had to get a shoulder strap for the camera
• 7:20
  Speaker 3: because I couldn't use my hand strap that I would take.
• 7:24
  Speaker 3: I would just have my hand on the camera and
• 7:26
  Speaker 3: I would take it around and i'd take pictures. It
• 7:28
  Speaker 3: was too heavy for that. I can't use the next
• 7:30
  Speaker 3: strap because it puts too much next strain on my neck.
• 7:33
  Speaker 3: So I had to get a shoulder strap for this.
• 7:35
  Speaker 3: But this thing, this is probably about ten pounds right
• 7:38
  Speaker 3: here just holding it. But I wanted to share just
• 7:42
  Speaker 3: a couple photos that we took, and these these are
• 7:45
  Speaker 3: So what we did is the big trip that we
• 7:47
  Speaker 3: took while we're in Japan is we went to Osaka.
• 7:52
  Speaker 3: We took the shinkansen, which is the bullet train. We
• 7:54
  Speaker 3: took those shinkansen to Osaka, and then we went to
• 7:58
  Speaker 3: Hiroshima because I really wanted to see Hiroshima. And during
• 8:03
  Speaker 3: the trip to Hiroshima, we went to Miyajima Island, which
• 8:06
  Speaker 3: is just right around the Hiroshima area, and I didn't
• 8:10
  Speaker 3: know this, but it is the site of one of
• 8:11
  Speaker 3: the World Heritage sites. The Miyajima Shrine is there, and
• 8:18
  Speaker 3: I'm gonna share this. So if you're watching the stream,
• 8:22
  Speaker 3: this is probably the best photo I've ever taken in
• 8:24
  Speaker 3: my entire life.
• 8:26
  Speaker 1: For those that are listening, you need to watch the video.
• 8:29
  Speaker 1: Subscribe to us on YouTube. You can watch it there.
• 8:32
  Speaker 1: It is an amazing photo. It really is great.
• 8:35
  Speaker 3: Yeah, So I just saw this this this scene. Eric
• 8:41
  Speaker 3: was squatting down looking at some deer. And there's deer
• 8:44
  Speaker 3: everywhere in mia GiMA. They're they're very friendly. You can
• 8:47
  Speaker 3: walk up, you can pet the deer, you can. You know,
• 8:49
  Speaker 3: they say don't feed them, obviously, but they're very docile.
• 8:53
  Speaker 3: And he was just looking at this deer and I
• 8:56
  Speaker 3: saw the Miyajima Shrine in the background. I thought this
• 9:00
  Speaker 3: to be a perfect photo, and so I hurried up
• 9:03
  Speaker 3: and I got my camera ready and I adjusted the
• 9:05
  Speaker 3: aperture to make the background a little blurry because I
• 9:08
  Speaker 3: wanted the background. I wanted that Boca effect. Yeah, and
• 9:11
  Speaker 3: I made this photo and so that was probably the
• 9:15
  Speaker 3: best photo I've ever taken in my life. Right there a.
• 9:18
  Speaker 1: Great composition, but that lens really picked it up. It
• 9:21
  Speaker 1: gives that everything has a layer. It's just like absolutely, absolutely.
• 9:25
  Speaker 1: And then there's another picture of the Mea Jima Shrine
• 9:28
  Speaker 1: that I took with that same.
• 9:29
  Speaker 3: Lens, and this is the ending of the sky too. Yeah. Now,
• 9:34
  Speaker 3: I did use light room to kind of bring out
• 9:36
  Speaker 3: because I shoot raw, which is the best quality you
• 9:40
  Speaker 3: can do, and I use light room to kind of
• 9:42
  Speaker 3: bring out some of those extra details in the photos.
• 9:44
  Speaker 3: And I've gotten really good at using light room and
• 9:47
  Speaker 3: it makes a big difference. I never really was a
• 9:49
  Speaker 3: believer in light room until I got this lens and
• 9:52
  Speaker 3: I started messing around with it, and I'm like, wow,
• 9:54
  Speaker 3: especially so much with data and the raw.
• 9:57
  Speaker 1: When you're working with raw, that's the uncompressed yes image,
• 10:01
  Speaker 1: you know, you send it down to JPEG, it compresses it,
• 10:04
  Speaker 1: and yeah, you lose some stuff when you're working with
• 10:06
  Speaker 1: really can't have everything pop.
• 10:09
  Speaker 3: I mean absolutely. And so this one, now, this one,
• 10:11
  Speaker 3: I didn't realize this is until after the fact, but
• 10:14
  Speaker 3: I had it was raining earlier in the day and
• 10:17
  Speaker 3: I got some water spots on the lens, so that
• 10:19
  Speaker 3: kind of ruined us. I had to use light room
• 10:21
  Speaker 3: to edit some of them, but I still need to
• 10:22
  Speaker 3: go back and edit some more. So you can see
• 10:24
  Speaker 3: some water spots on here. But this is Osaka castle, right,
• 10:27
  Speaker 3: one of the most famous in another World Heritage site,
• 10:31
  Speaker 3: very famous castle. At the very top is like observation deck.
• 10:34
  Speaker 3: You can walk around up there. Inside is pretty much
• 10:37
  Speaker 3: just like a museum. It's not really a castle anymore.
• 10:40
  Speaker 3: It's you know, there's not like a dining room and
• 10:42
  Speaker 3: things like that. It's just a big museum inside. Amazing
• 10:45
  Speaker 3: folk approaching the castle there the castle gates. Uh, these
• 10:49
  Speaker 3: are all original stones, laid back, you know, hundreds of
• 10:53
  Speaker 3: years ago. Oh some ramen that we had at the store.
• 10:59
  Speaker 3: I just thought that was kind of cool.
• 11:00
  Speaker 5: I would have.
• 11:00
  Speaker 1: Thought ramen could make a great photo, but it really does.
• 11:03
  Speaker 6: It makes make me hungry.
• 11:05
  Speaker 3: Yeah yeah right. And then this one, this one was interesting.
• 11:09
  Speaker 3: Well actually I'm sorry this is this is another shot
• 11:11
  Speaker 3: of the Mea Gema shrine. But now the thing about
• 11:13
  Speaker 3: the Mea Gemma shrine is at low tide, you can
• 11:16
  Speaker 3: actually walk right up to the shrine.
• 11:18
  Speaker 2: Wow.
• 11:19
  Speaker 3: And so when they built it they did that for
• 11:21
  Speaker 3: a reason. So, uh, this was a photo of me.
• 11:24
  Speaker 3: I was approximately sixty yards away from it, but that's
• 11:28
  Speaker 3: as far as I could get at that time. I
• 11:29
  Speaker 3: didn't want to wait for the tide to go out
• 11:30
  Speaker 3: the rest of the way. And then this photo was
• 11:34
  Speaker 3: probably one of my my better photos. This was the
• 11:38
  Speaker 3: A Bomb Dome. So this is the famous Hiroshima atomic
• 11:43
  Speaker 3: bomb dome where the atomic bomb exploded. About one hundred
• 11:48
  Speaker 3: yards to the southeast of this dome was the standing building.
• 11:53
  Speaker 1: Keeping that photo in black and white too, or you know,
• 11:56
  Speaker 1: doing it a black and white I think that that
• 11:58
  Speaker 1: really makes it sin too.
• 12:01
  Speaker 3: Yeah, so I it was was interesting about this particular place.
• 12:05
  Speaker 3: We went to the you know, the A Bomb memorial site,
• 12:09
  Speaker 3: and there were hundreds of people around. Yeah, not a
• 12:13
  Speaker 3: single word was said. It was so somber, so quiet.
• 12:19
  Speaker 3: All you could hear was birds turping and the shuffling
• 12:22
  Speaker 3: of feet, but nobody said a word. Yeah, and that's
• 12:25
  Speaker 3: the way it probably should be, you know, even after
• 12:29
  Speaker 3: all this time, that site just brings out raw emotion
• 12:34
  Speaker 3: in people, and it was amazing to be able to
• 12:37
  Speaker 3: see that first person. We did try to go to
• 12:42
  Speaker 3: the museum itself, but the museum had a lot of
• 12:48
  Speaker 3: pictures that weren't really appropriate for children, and Eric just
• 12:53
  Speaker 3: he couldn't handle it, and so we got out of
• 12:56
  Speaker 3: there right away. But the museum was a I'd like
• 13:00
  Speaker 3: to go back again, maybe later when he gets older
• 13:02
  Speaker 3: and visit it again. But the site itself was very somber,
• 13:08
  Speaker 3: but was the most interesting fact I think about this,
• 13:10
  Speaker 3: the Hiroshima area was you know, this is what people
• 13:14
  Speaker 3: think of when they think of Hiroshima. When I think
• 13:16
  Speaker 3: of the atomic bomb, they think of this building. Yeah,
• 13:19
  Speaker 3: the bomb didn't destruct right there at the building. First
• 13:23
  Speaker 3: off it it destructed about six hundred meters in the air,
• 13:27
  Speaker 3: so it was an air blast, and it was about
• 13:30
  Speaker 3: one hundred meters southeast of it. And so if you
• 13:34
  Speaker 3: actually walk to the exact site where the bomb detonated,
• 13:38
  Speaker 3: it's actually a seven eleven, And they have a plaque
• 13:43
  Speaker 3: right outside the wall of the seven eleven that says,
• 13:47
  Speaker 3: this is the actual site that the A bomb detonated
• 13:50
  Speaker 3: over about six hundred meters right above you.
• 13:54
  Speaker 2: Wow, I think.
• 13:56
  Speaker 1: An important one to send me that you were able
• 13:59
  Speaker 1: to go there with Eric. It's part of is you know,
• 14:01
  Speaker 1: generational history. And your captures really came out good, they
• 14:06
  Speaker 1: really Yeah. Yeah, and I want to mention that so
• 14:09
  Speaker 1: again the price this lens. Yeah, in the US, this
• 14:13
  Speaker 1: lens would have been a brown just shy of two
• 14:16
  Speaker 1: thousand dollars. Wow, I got it for thirteen hundred.
• 14:20
  Speaker 2: That's really good. Yeah, that's good.
• 14:22
  Speaker 1: I think I've got a one thirty five that I
• 14:24
  Speaker 1: use on my cannon and I haven't used it in
• 14:28
  Speaker 1: a long time. But that Tameron, I've heard really good
• 14:31
  Speaker 1: things about their lenses. The only problem is, you know,
• 14:34
  Speaker 1: what do you do if you have a little issue
• 14:35
  Speaker 1: with it?
• 14:36
  Speaker 2: Now? You got to take it back. You get to
• 14:38
  Speaker 2: go all the way back to Japan.
• 14:39
  Speaker 3: Oh no, no, no, no, no, I can send it. I
• 14:41
  Speaker 3: can send it right into Tamaron. I can if I
• 14:43
  Speaker 3: have an issue with it. Yeah, I got support. I
• 14:45
  Speaker 3: kept all the manuals, so yeah, no you can. You
• 14:48
  Speaker 3: can absolutely do that funny thing about you know, you know,
• 14:52
  Speaker 3: buying something in Japan and then taking it out. You know,
• 14:55
  Speaker 3: Eric wanted to buy some Nintendo Switch games because he's
• 14:59
  Speaker 3: got the Switch.
• 14:59
  Speaker 5: To right now.
• 15:01
  Speaker 3: Nintendo is a Japanese product, but we have the US version.
• 15:05
  Speaker 3: We would go to a store and because I was
• 15:08
  Speaker 3: with Eric, you know, he'd pick out a game and
• 15:11
  Speaker 3: he'd go up to the counter and want to buy it,
• 15:13
  Speaker 3: and they would tell him, no, you can't buy this
• 15:15
  Speaker 3: because this is this is Japanese only and and and
• 15:19
  Speaker 3: this would only work on a Japanese switch. Really, And
• 15:23
  Speaker 3: I was, you know, I had I had cell phone
• 15:26
  Speaker 3: service there, so I quickly opened up AI and I
• 15:28
  Speaker 3: was like, is it true that Japanese games for Nintendo
• 15:31
  Speaker 3: will only work in Japan? Or is the Nintendo region free?
• 15:36
  Speaker 3: And of course that it was like, yeah, of course
• 15:38
  Speaker 3: the switch is region free. And so I would try
• 15:41
  Speaker 3: to say that to the salesperson and they'd be like,
• 15:45
  Speaker 3: you know, they like they'd understand. So I would take
• 15:47
  Speaker 3: the response and I would put it into Google Translate
• 15:51
  Speaker 3: and then I would show them on the screen and
• 15:53
  Speaker 3: they'd be like, oh, okay, well you know they would
• 15:57
  Speaker 3: still be like I don't believe you, but okay, if
• 16:00
  Speaker 3: you want to buy, you can buy it. And they
• 16:02
  Speaker 3: all work just fine. Perfect.
• 16:05
  Speaker 1: That's it Google Translate. The translation features are great if
• 16:08
  Speaker 1: you're traveling, that's awesome.
• 16:09
  Speaker 3: Absolutely. What I love about Google Translate now too is
• 16:12
  Speaker 3: they have the live translation, so I can basically put
• 16:16
  Speaker 3: an earbud in my ear right, put the phone onto
• 16:19
  Speaker 3: Live Translation, and just set it right in front of
• 16:21
  Speaker 3: my family members, they're speaking Japanese and it will translate
• 16:26
  Speaker 3: for me, and it actually changes voices based on who's speaking.
• 16:30
  Speaker 3: Oh so, if there's a man speaking, it'll give me
• 16:32
  Speaker 3: an English translation in a man's voice. If it's a
• 16:36
  Speaker 3: female speaking, it'll give me a female's translation, and if
• 16:39
  Speaker 3: it's a different female, it'll give me a different female translation.
• 16:43
  Speaker 3: So I can tell the difference between who's talking, and
• 16:46
  Speaker 3: it keeps up with the whole conversation. It's amazing and
• 16:50
  Speaker 3: not confusing. It.
• 16:50
  Speaker 2: I didn't confuse you at all.
• 16:52
  Speaker 3: I mean I have time to time time to time,
• 16:54
  Speaker 3: especially if they're if they're speaking really fast and they're
• 16:57
  Speaker 3: like oh.
• 16:57
  Speaker 2: Yeah yeah yeah, oh yeah, okay yeah yah yeah, oh
• 16:59
  Speaker 2: yeah yeah.
• 17:00
  Speaker 3: I think yeah yah yah yeah bah bay blah, it
• 17:02
  Speaker 3: would get confused and it would just keep saying yes, yes, yes, yes, yes, yes, yes, yes,
• 17:08
  Speaker 3: yes yes yes, that's awesome.
• 17:14
  Speaker 1: What about the technology of computers. Were you able to
• 17:16
  Speaker 1: use your laptop while you were there and had no
• 17:19
  Speaker 1: problems with the internet.
• 17:20
  Speaker 3: I brought my laptop. The only thing I had to
• 17:22
  Speaker 3: do is I just had to buy a two pronged
• 17:25
  Speaker 3: to three prong converter. So because my laptop is three pronged,
• 17:28
  Speaker 3: just is most you know, most things in the US
• 17:30
  Speaker 3: are in Japan, they don't have three prong they don't
• 17:33
  Speaker 3: have the grounding plug. So I just bought a little
• 17:37
  Speaker 3: converter and I was able to bring my computer with
• 17:40
  Speaker 3: me and play games and browse the Internet and do
• 17:42
  Speaker 3: whatever I wanted to do.
• 17:44
  Speaker 1: Now, do you had did you have to pay a
• 17:46
  Speaker 1: duty bring in that lens back?
• 17:49
  Speaker 3: Or is that no? No, there was no duty involved
• 17:53
  Speaker 3: in anything like that. Duty's was only applied to like
• 17:56
  Speaker 3: consumable items, certain consumable items if we bought them at
• 18:00
  Speaker 3: a store in Japan. There were certain there were certain things,
• 18:06
  Speaker 3: there were certain places that we could go that would
• 18:07
  Speaker 3: actually have tax free So if if we bought some
• 18:11
  Speaker 3: and I bought this tax free, so they were like, well,
• 18:14
  Speaker 3: you know it's tax free, you're not supposed to use
• 18:17
  Speaker 3: it in Japan, And I'm like, okay, Well I pulled
• 18:20
  Speaker 3: up the regulations and it's like that only applies to
• 18:22
  Speaker 3: food and stuff, like if I have a lens, I
• 18:24
  Speaker 3: can use it. And they're like, oh, okay, whatever. But
• 18:27
  Speaker 3: if we if we bought some food in Japan that
• 18:29
  Speaker 3: we wanted to take back, we got a tax free
• 18:31
  Speaker 3: we would just have to you know, scouts on her,
• 18:34
  Speaker 3: just you know, keep it wrapped up. But you know,
• 18:36
  Speaker 3: we ate it.
• 18:37
  Speaker 2: Okay, I'm wonder too.
• 18:39
  Speaker 1: It's one of those things you travel to a foreign
• 18:41
  Speaker 1: country and here in the US you can watch programming
• 18:46
  Speaker 1: that has the Japanese language for your wife and she
• 18:49
  Speaker 1: can absorb that and you can too. And what about
• 18:52
  Speaker 1: when you're in Japan? Are there English programs there that
• 18:55
  Speaker 1: are native you know, English language or you have to
• 18:58
  Speaker 1: select that or no, no, not really. You know, her parents,
• 19:02
  Speaker 1: her parents will only have just.
• 19:04
  Speaker 3: You know, basic cable TV whatever, so they don't have
• 19:08
  Speaker 3: like Netflix and things like that. So no, there wasn't
• 19:10
  Speaker 3: really a lot of options when it came. It was
• 19:12
  Speaker 3: pretty much just watching like Japanese cable TV. When we
• 19:16
  Speaker 3: would pull up Netflix, obviously, Netflix would run me through
• 19:19
  Speaker 3: a couple of different verification checks like hey, are you
• 19:22
  Speaker 3: you're really in Japan right now, like you know, you're
• 19:25
  Speaker 3: a US based customer, and I'm like, yes, I'm truly here,
• 19:28
  Speaker 3: and it's like okay, but then yeah, so you know
• 19:32
  Speaker 3: that was that was fine, But no, there's really not
• 19:36
  Speaker 3: like English program There are some of the cable stations
• 19:40
  Speaker 3: that do have English programming, and they just have Japanese
• 19:42
  Speaker 3: subtitles at the bottom, but for the most part it
• 19:45
  Speaker 3: was just Japanese programming.
• 19:46
  Speaker 1: Well, we're glad you're back, like back safely and of
• 19:50
  Speaker 1: course a good trip.
• 19:51
  Speaker 2: We have to take a quick break.
• 19:53
  Speaker 1: But when we come back, there's been some other big
• 19:56
  Speaker 1: tech stuff that has happened. Sony has made something that
• 20:00
  Speaker 1: has done something that made people really upset. So and
• 20:04
  Speaker 1: it hearkens to Sean with Sean saying own your media.
• 20:09
  Speaker 1: So we'll do that when we come back with tech
• 20:12
  Speaker 1: Talk Radio. I'm Andy Taylor, I'm Sean de Weird, and
• 20:14
  Speaker 1: I'm justin.
• 20:15
  Speaker 3: Let me find us on the web at tech talk
• 20:17
  Speaker 3: radio dot com. We'll be right back.
• 20:19
  Speaker 2: Now, back to tech talk Radio.
• 20:23
  Speaker 6: How many episodes of tech talk have we discussed ownership
• 20:28
  Speaker 6: of content?
• 20:29
  Speaker 2: Ownership of content?
• 20:31
  Speaker 3: Too many? Too many?
• 20:32
  Speaker 1: Yeah, a lot, a lot of this one. You joined
• 20:35
  Speaker 1: the show yeah years ago.
• 20:36
  Speaker 6: Yeah, this this one irks me because it's I think
• 20:41
  Speaker 6: I actually need to turn my PlayStation four on and
• 20:43
  Speaker 6: find out if I have a couple of these movies
• 20:45
  Speaker 6: that I'd bought from when I maybe my PlayStation three.
• 20:47
  Speaker 5: Even Sony decided to just drop a bomb.
• 20:50
  Speaker 6: On people and say, come September one, five hundred and
• 20:54
  Speaker 6: fifty one movies from Studio Canal, which is a publisher,
• 20:57
  Speaker 6: aren't going to be available to you anymore on your place.
• 21:00
  Speaker 5: What's it's gone done? See?
• 21:02
  Speaker 1: Okay, so these are these are movies that somebody has bought, bought,
• 21:06
  Speaker 1: purchase and they have money on their devices.
• 21:08
  Speaker 2: Right, Yes, they are.
• 21:09
  Speaker 6: On your device. You can watch it now, but come
• 21:11
  Speaker 6: September one, gonna be gone. No workaround, no side loading,
• 21:15
  Speaker 6: No you can't get it off there nothing. So this
• 21:17
  Speaker 6: is actually in the UK, which is in the UK, right,
• 21:20
  Speaker 6: But the UK is primarily known the European Union, somebody
• 21:24
  Speaker 6: is primarily known for user advocation, right, so I'm to
• 21:28
  Speaker 6: be surprised that the government doesn't get involved. But yeah,
• 21:33
  Speaker 6: so five hundred and fifty one Studio Canal movies will
• 21:35
  Speaker 6: disappear from their library September one because of the licensing agreement.
• 21:39
  Speaker 6: Because that if you didn't really pay for it, you
• 21:41
  Speaker 6: didn't really buy the movie. You're paying you just watch
• 21:46
  Speaker 6: the file to break the DRM. But also there's no
• 21:49
  Speaker 6: way for you to download it to keep personally, so
• 21:52
  Speaker 6: you're just.
• 21:52
  Speaker 1: That hearkens though to the idea though about owning your content.
• 21:57
  Speaker 2: Now, while this is going to be affecting UK users, tell.
• 22:00
  Speaker 3: Me if I'm wrong here. But this sounds to me
• 22:05
  Speaker 3: like if you're gonna tell me that I'm paying for
• 22:08
  Speaker 3: a license when I think I'm just owning the content
• 22:12
  Speaker 3: and I'm paying for a license and you can take
• 22:13
  Speaker 3: it away from me. That to me tells me then
• 22:18
  Speaker 3: if so facto piracy is completely legitimate.
• 22:21
  Speaker 6: There is a great quote that says if purchase isn't ownership,
• 22:26
  Speaker 6: then piracy isn't theft.
• 22:27
  Speaker 1: Yeah, everybody's been saying, oh it's okay, I can download
• 22:31
  Speaker 1: it and own it in my library. Now we see
• 22:35
  Speaker 1: that this isn't the case. You don't own it, right,
• 22:38
  Speaker 1: So it's broken down.
• 22:38
  Speaker 6: But it's broken so when people quick to buy for
• 22:41
  Speaker 6: these movies, you bought a license to view the content
• 22:44
  Speaker 6: through the Sony service subject to ongoing licensing agreements. So
• 22:49
  Speaker 6: Sony lost the license agreements for those movies, so they
• 22:51
  Speaker 6: had to pull it. So it's not like it. This
• 22:54
  Speaker 6: was not all a DRM version. You couldn't just download
• 22:57
  Speaker 6: it and have the DRM you know, but this so
• 23:00
  Speaker 6: you just don't You just done no more.
• 23:02
  Speaker 2: But you still paid for it. That's the whole thing.
• 23:04
  Speaker 1: Yeah, and they're saying there it's not going to say, oh, okay,
• 23:08
  Speaker 1: we got to take get rid of Rambo. Here's seventeen
• 23:10
  Speaker 1: dollars that you paid for it.
• 23:12
  Speaker 2: You know.
• 23:13
  Speaker 3: This is why I never buy content on Xbox or
• 23:15
  Speaker 3: PlayStation or Apple or whatever like any Google like oh,
• 23:21
  Speaker 3: rent or buy, and I'm like, no, I'll just stream it.
• 23:24
  Speaker 3: I watch it once, and if I ever watched it again,
• 23:26
  Speaker 3: I'll want to again.
• 23:27
  Speaker 6: It's just a weird time in the digital world where
• 23:29
  Speaker 6: it's like you just don't own anything anymore.
• 23:32
  Speaker 1: Some of the comments that I saw on read It,
• 23:35
  Speaker 1: you know, where they were talking about this story that
• 23:38
  Speaker 1: that they one guy said, well, here I am sitting
• 23:41
  Speaker 1: back looking at my my Blu Ray version of Terminator
• 23:45
  Speaker 1: to Judgment Day, you know, and smiling because he owns it.
• 23:50
  Speaker 1: And that's the thing. You know, people own it. But
• 23:52
  Speaker 1: then people say, oh, it takes up too much space
• 23:53
  Speaker 1: and whatnot. Then do what we talked about a couple
• 23:56
  Speaker 1: of weeks ago. If you've bought it, digitize it, rip them.
• 24:00
  Speaker 3: We know. Okay, somewhere, let let's let's let's take this
• 24:03
  Speaker 3: to the next level. Okay, coming out what November nineteenth
• 24:07
  Speaker 3: is Grand Theft Autos six. Yep. Okay, people have been
• 24:10
  Speaker 3: waiting thirteen thirteen years for this game to come out.
• 24:14
  Speaker 3: But they're not going to release any physical copies.
• 24:16
  Speaker 5: Except you can buy a physical copy.
• 24:18
  Speaker 3: No, you cannot. The thing is is when you buy
• 24:20
  Speaker 3: the physical copy, all you're buying is a physical disc
• 24:23
  Speaker 3: with a license to download it. Correct, it is not
• 24:27
  Speaker 3: on the disc.
• 24:28
  Speaker 6: But they're still calling it physical physical edition.
• 24:31
  Speaker 1: Hollywood Reporter said that it will be a digital only game.
• 24:35
  Speaker 1: While some have hoped for a disc based version, this
• 24:38
  Speaker 1: report that they had said says it will not have
• 24:41
  Speaker 1: a disc based version at launch or even months after.
• 24:45
  Speaker 3: It never will never. First off, it's not going to
• 24:47
  Speaker 3: fit on a Blu Ray. It's gonna be like Final
• 24:49
  Speaker 3: Fantasy seven. It's going to be like three Blu rays. Yeah. Yeah.
• 24:54
  Speaker 1: Eighty bucks for the Standard edition, one hundred dollars for
• 24:57
  Speaker 1: the Ultimate Edition. Again all digital and what what does
• 25:00
  Speaker 1: this tell you? This tells you it could go away.
• 25:03
  Speaker 6: But the Ultimate Edition also comes with If you buy
• 25:06
  Speaker 6: the Ultimate Edition, you get signed up for a month
• 25:09
  Speaker 6: of free Grand Theft Dottal Plus or whatever their subscription is.
• 25:14
  Speaker 3: Well, not even that you can't even play the entire
• 25:17
  Speaker 3: full base game unless you have the Ultimate Edition. They're
• 25:21
  Speaker 3: they're locking a bunch of these stores that you can
• 25:24
  Speaker 3: walk into, and a bunch of the cars and the
• 25:27
  Speaker 3: outfits are all behind a paywall. So like, for instance,
• 25:32
  Speaker 3: you might be walking down the streets of Vice City
• 25:34
  Speaker 3: and Grand Theft Dottal six and you're like, you know what,
• 25:36
  Speaker 3: I want to get a haircut and you walk into
• 25:38
  Speaker 3: you like, hey, there's a barber shop. I'm gonna walk in. Nope,
• 25:41
  Speaker 3: you go up to that door, it's gonna say you
• 25:43
  Speaker 3: need to pay an extra twenty bucks to unlock this content.
• 25:46
  Speaker 1: Oh my gosh, I'm not getting it.
• 25:48
  Speaker 5: I refuse to play this.
• 25:50
  Speaker 6: To play this, A bunch of my friends are like
• 25:52
  Speaker 6: super excited about it.
• 25:54
  Speaker 3: Here's the downside is this rock Star when they release
• 25:58
  Speaker 3: a game, they set the press for games to cut.
• 26:02
  Speaker 3: And so when Rockstar does this, the rest of the
• 26:06
  Speaker 3: industry is gonna follow suit.
• 26:08
  Speaker 5: Yep.
• 26:09
  Speaker 1: Yeah, Well that's why we see so many subscriptions right now.
• 26:12
  Speaker 1: We see so many companies that have said yeah, no,
• 26:15
  Speaker 1: selling the box to version that somebody could hold on
• 26:18
  Speaker 1: to for three four years. That doesn't make a city money.
• 26:21
  Speaker 1: Subscriptions is where it's at yep, and that's uh, you know,
• 26:25
  Speaker 1: we've we just recently found out Topaz, which I have
• 26:29
  Speaker 1: been using and I have been loving the Topaz video
• 26:33
  Speaker 1: they just got bought. Sean told me the story and
• 26:36
  Speaker 1: I was, I couldn't believe it this time.
• 26:38
  Speaker 3: I was.
• 26:38
  Speaker 5: I came across my in an email.
• 26:41
  Speaker 6: I follow a company called red Shark News. They're all
• 26:44
  Speaker 6: technology media related and it's an Adobe has acquired Topaz.
• 26:50
  Speaker 6: I was like, wait, Topez, isn't.
• 26:51
  Speaker 3: It the thing Adi not Adobe?
• 26:54
  Speaker 6: So Adobe has announced it acquired Topaz Labs, whose AI
• 26:57
  Speaker 6: tools cover upscaling, noise removal stables in footage restorization. It
• 27:02
  Speaker 6: will remain its own standalone product, right but it will
• 27:05
  Speaker 6: be integrated into Firefly Premiere, et cetera, et cetera. And
• 27:09
  Speaker 6: then they also have they also are continuing their what
• 27:13
  Speaker 6: they call their near neurostream Tech, which is a it's
• 27:17
  Speaker 6: a v RAM optimization technology that will optimize your VRAM
• 27:21
  Speaker 6: to work with AI tools.
• 27:23
  Speaker 5: So if you have your own if you're running your.
• 27:24
  Speaker 6: Own AI model on your machine, this is an optimization
• 27:28
  Speaker 6: tool to help your machine run it more efficiently.
• 27:30
  Speaker 1: So I use the creative Cloud. I mean, I use Photoshop,
• 27:34
  Speaker 1: light Room Premiere. I do, and I have been getting
• 27:37
  Speaker 1: back into it. I've been having some fun learning some
• 27:40
  Speaker 1: new tricks, you know, since I use the original you know,
• 27:43
  Speaker 1: master suites. Uh, and I like it. But now it
• 27:47
  Speaker 1: just makes me wonder, are we going to see the
• 27:49
  Speaker 1: cost of our you know, subscriptions.
• 27:51
  Speaker 3: Of course we are.
• 27:52
  Speaker 1: You want Topaz? Is that going to go up significantly?
• 27:56
  Speaker 6: Well, it's just like what Apple did with the Studio
• 27:58
  Speaker 6: Creator content for Final Cut. I bought Final Cut back
• 28:02
  Speaker 6: in twenty twelve for three hundred and nine and bucks.
• 28:05
  Speaker 6: I own it, right, No you don't, Well I don't
• 28:08
  Speaker 6: anymore because now there's tools that I don't have access
• 28:12
  Speaker 6: to that costs me a subscription fee now because I'm
• 28:17
  Speaker 6: not gonna use them anyways. But it's just annoying because
• 28:21
  Speaker 6: I'm not gonna be able to get them in a
• 28:22
  Speaker 6: future update less I pay.
• 28:24
  Speaker 3: What's it going to take for this to not be
• 28:29
  Speaker 3: a thing anymore?
• 28:30
  Speaker 6: The Internet to go away for like six months.
• 28:32
  Speaker 1: The fact is people that are coming into it that
• 28:35
  Speaker 1: are sitting all I want to create content. You know,
• 28:37
  Speaker 1: there are other models that are out there, There's other
• 28:40
  Speaker 1: companies that are creating a da Vinci has been getting
• 28:43
  Speaker 1: into their version of a light room that maybe people
• 28:47
  Speaker 1: will gravitate too. But now suddenly people will wait a minute,
• 28:49
  Speaker 1: while I like Topaz.
• 28:51
  Speaker 2: They go back to Adobe.
• 28:52
  Speaker 5: So on.
• 28:53
  Speaker 1: For the business sense of Adobe, yes it makes sense,
• 28:57
  Speaker 1: but people are now wondering, how's that going to affect me?
• 29:00
  Speaker 1: If you know I originally own Topaz, if I you know,
• 29:04
  Speaker 1: and now I want to get a license.
• 29:06
  Speaker 6: But all this is doing is telling other creators that
• 29:10
  Speaker 6: if I just create something, it's just gonna get brought up.
• 29:12
  Speaker 6: So there's no incentive to create something new unless you
• 29:14
  Speaker 6: think you can create the next new big thing that'll
• 29:17
  Speaker 6: get eaten up by a conglomerate like Adobe. Right, So
• 29:20
  Speaker 6: there's no competition. Now, they're just buying the competition. There's
• 29:23
  Speaker 6: no incentive incentive. They're not incentivized to go against the void,
• 29:29
  Speaker 6: right because if they do, and they do something great,
• 29:34
  Speaker 6: Adobe just sucks them up and that takes away the
• 29:35
  Speaker 6: great thing because they don't want that direction like they're
• 29:37
  Speaker 6: they're they're buying up the direction of the way.
• 29:40
  Speaker 5: They want the content the market to go.
• 29:42
  Speaker 1: This is expected to close the second half of this year.
• 29:47
  Speaker 1: The deal was just announced Sean again, the one that
• 29:49
  Speaker 1: told me about it, and I couldn't believe it two
• 29:51
  Speaker 1: days ago. Yeah, Topaz will still be available as a
• 29:55
  Speaker 1: standalone offering. So I don't know what that will mean.
• 29:57
  Speaker 1: I know that they have cloud generations. You can purchase
• 30:00
  Speaker 1: cloud generations or purchase on your local machine if you want.
• 30:03
  Speaker 1: It'll tie up your machine depending on the project you're
• 30:06
  Speaker 1: working on. But it is one of the finer products
• 30:08
  Speaker 1: out there compared with Premiere. It could be good. We'll
• 30:11
  Speaker 1: just have to see how Adobe handles it. That would
• 30:14
  Speaker 1: be kind of interesting. I was wondering can we fit
• 30:16
  Speaker 1: in one of these questions on our show. It's from
• 30:21
  Speaker 1: Vicky in Phoenix. It says, hey, guys, I listen to
• 30:24
  Speaker 1: your show online and I watched the videos and wondering
• 30:27
  Speaker 1: if you might know on this one. I recently purchased
• 30:30
  Speaker 1: a laptop that I will able to be able to
• 30:32
  Speaker 1: use on vacation. They go justin as my employer wants
• 30:35
  Speaker 1: me to check in. Wait, you're going on your boss
• 30:40
  Speaker 1: wants you to check in. No, and do some light
• 30:44
  Speaker 1: work while there, and yes, oh yes, they are compensating me. Okay,
• 30:48
  Speaker 1: it's nice to make money on vacation. So I got
• 30:50
  Speaker 1: a great deal. And when I asked the specs, they
• 30:53
  Speaker 1: never said I would need Windows eleven Pro. Since I
• 30:57
  Speaker 1: will connect via a tunnel VPN, I need Windows eleven Pro.
• 31:01
  Speaker 1: They can upgrade my personal laptop at a cost of
• 31:04
  Speaker 1: one hundred and ten bucks to PRO. But wondering if
• 31:08
  Speaker 1: this is something I could do for myself or cheaper.
• 31:10
  Speaker 3: Wait, wait, why a tunnel VPN you need Pro? No,
• 31:14
  Speaker 3: you don't. There you can get the VPN software.
• 31:18
  Speaker 2: Hold on, so.
• 31:20
  Speaker 6: Unless it's so, unless it's Microsoft Remote Desktop, which doesn't
• 31:24
  Speaker 6: come with Windows eleven.
• 31:25
  Speaker 3: Pay, it's remote desktop that is not VPN, right, And
• 31:29
  Speaker 3: maybe maybe she misunderstood the question right, Maybe she can
• 31:32
  Speaker 3: catches the VPN and then uses remote desktop to control
• 31:34
  Speaker 3: a host machine on the other end.
• 31:36
  Speaker 6: Could be the VPN will likely work, but remote desktop
• 31:39
  Speaker 6: will not, so pro let's pro. So I don't know
• 31:43
  Speaker 6: if you can upgrade laterally. I don't know if you can.
• 31:47
  Speaker 5: You can go.
• 31:48
  Speaker 3: You can go from home to pro. It's just a license, CAE.
• 31:50
  Speaker 3: We do it all the time, am I where I work? No,
• 31:54
  Speaker 3: I would not let them do that. That is your
• 31:56
  Speaker 3: personal laptop. The moment that you let them pay for
• 31:59
  Speaker 3: the subscription into pro. They now own that laptop. Oh
• 32:02
  Speaker 3: that's right. Well now, and if you quit the company
• 32:07
  Speaker 3: or get fired or something like that, they can revoke
• 32:09
  Speaker 3: that license and now your computer doesn't work anymore.
• 32:12
  Speaker 4: All right.
• 32:12
  Speaker 2: This is Vicky in Phoenix via email. So thank you, Vicky.
• 32:15
  Speaker 1: But all right, so this is something she could probably
• 32:18
  Speaker 1: do an in place upgrade.
• 32:20
  Speaker 3: She can do an in place upgrade. But I would
• 32:22
  Speaker 3: do it myself if that was the case. But right again,
• 32:25
  Speaker 3: you'd have to really be compensated otherwise, Honestly, Vicky, I
• 32:29
  Speaker 3: would say, fine, you want me to work when I'm
• 32:31
  Speaker 3: on vacation, give me a computer.
• 32:33
  Speaker 1: Or get Yeah, or instead of her using her own laptop,
• 32:36
  Speaker 1: they could give her one and then that don't do.
• 32:38
  Speaker 3: It to your own. Yeah, you're not mixed personal with business.
• 32:42
  Speaker 4: There you go.
• 32:42
  Speaker 2: That makes sense.
• 32:43
  Speaker 5: All right.
• 32:44
  Speaker 1: We got to take a quick break coming up. We've
• 32:46
  Speaker 1: talked about this before, Sean and justin we've talked about SUNO.
• 32:52
  Speaker 1: I know that we've both had some fun with s O. Sean,
• 32:54
  Speaker 1: you've played around with it too. But more and more
• 32:58
  Speaker 1: people are finding out that hey, wait a minute, that
• 33:00
  Speaker 1: song sounds like this, or that song.
• 33:02
  Speaker 2: Sounds like that.
• 33:04
  Speaker 1: And more and more creators and publishers are saying, wait
• 33:07
  Speaker 1: a minute, that's our song. Sooner may have been used
• 33:11
  Speaker 1: to train off songs that were already online on YouTube
• 33:16
  Speaker 1: or other places, so now there's concern. And Rex Struther
• 33:20
  Speaker 1: is a publisher and owner of low Lights Publishing who
• 33:25
  Speaker 1: actually went to high school with I haven't seen Rex
• 33:28
  Speaker 1: in like forty six years world, So we're going to
• 33:31
  Speaker 1: talk about music publishing, his aunts, music with the Bell Sisters,
• 33:35
  Speaker 1: and really how this applies to artists out there that
• 33:39
  Speaker 1: have music that has been put out and now finding
• 33:42
  Speaker 1: copyright violations will do that. When we come back with
• 33:44
  Speaker 1: tech Talk Radio, I'm Andy Taylor.
• 33:46
  Speaker 5: I'm Sean de Weird, and I'm justin.
• 33:48
  Speaker 3: Let me send us a tweet at tech talk Radio.
• 33:51
  Speaker 3: We'll be right back.
• 33:52
  Speaker 2: And now back to tech talk Radio.
• 33:55
  Speaker 3: This is Alice Cooper, the original tech Note Todd.
• 33:58
  Speaker 1: And you're listening to tech Talk Radio. You know, we've
• 34:02
  Speaker 1: talked a lot on the show about AI. We see
• 34:05
  Speaker 1: some AI that has certainly been a benefit. You've got
• 34:08
  Speaker 1: a photo going back to the fifties sixties. You're thinking,
• 34:11
  Speaker 1: I want to clean that up a bit. And some
• 34:13
  Speaker 1: of the AI models that are out there are really
• 34:15
  Speaker 1: good at getting it done, and we've seen it get
• 34:17
  Speaker 1: better over the last couple of years. But the problem
• 34:20
  Speaker 1: with AI. You talk to anybody there, say the problem
• 34:24
  Speaker 1: with AI. It does infringe on many different things. You know,
• 34:29
  Speaker 1: when Seedance came out with their video stuff, people said, wait,
• 34:31
  Speaker 1: wait a minute, wait a minute, you can't be doing this.
• 34:34
  Speaker 1: You're using this without people's permission. And that's something that
• 34:37
  Speaker 1: is happening quite often now in.
• 34:39
  Speaker 2: The world of music.
• 34:40
  Speaker 1: And while we did a segment on Suno and you know,
• 34:44
  Speaker 1: we created a song, part of that song may have
• 34:46
  Speaker 1: come from another artist, and I wanted to get Rex
• 34:49
  Speaker 1: Struther on the line, who is the owner of low
• 34:52
  Speaker 1: Lights Publishing, to talk a little bit about how that's
• 34:55
  Speaker 1: affecting that space. Rex and I actually went to the
• 34:58
  Speaker 1: same high school. And it's great to see you. It's
• 35:01
  Speaker 1: been forty six years. But you know, Rex, tell us
• 35:04
  Speaker 1: a little bit about low Light's publishing and how did
• 35:07
  Speaker 1: you get into all of this.
• 35:08
  Speaker 4: I got into music publishing quite by accident back in
• 35:11
  Speaker 4: about two thousand. My aunts Cynthia and k Strawther also
• 35:15
  Speaker 4: attended the same high school. By the way, they were
• 35:19
  Speaker 4: singers who got picked up by RCA and having written
• 35:24
  Speaker 4: an original song. They were just discovered on actually on
• 35:30
  Speaker 4: Halloween Night nineteen fifty one, so this is their seventy
• 35:34
  Speaker 4: fifth anniversary, coming up singing an original song that my
• 35:37
  Speaker 4: aunt Cynthia had written called Bermuda. The next morning they
• 35:40
  Speaker 4: got a phone call after being on this local TV
• 35:42
  Speaker 4: show out of KTLA, and they got invited to come
• 35:46
  Speaker 4: up to RCA and record the song. For about five years,
• 35:49
  Speaker 4: they had a wonderful singing career. They got to tour
• 35:53
  Speaker 4: Korea with the USO. They got to be on the
• 35:56
  Speaker 4: Bob Hope and being Crosby Show radio shows back then,
• 36:00
  Speaker 4: to be on television with Frank Sinatra and Donna Shore.
• 36:03
  Speaker 4: They made a couple of movies. They had a brief
• 36:07
  Speaker 4: but interesting career, recorded a bunch of songs far as CAA.
• 36:10
  Speaker 4: Because my aunt had written an original song. I was
• 36:13
  Speaker 4: doing some research on it and discovered that the publisher
• 36:17
  Speaker 4: was no longer paying her. Nothing very sinister going on,
• 36:21
  Speaker 4: just mostly the wife of the man who had run
• 36:24
  Speaker 4: the company didn't know how to run the company once
• 36:27
  Speaker 4: he passed, and so she just was cashing the checks
• 36:30
  Speaker 4: and keeping the money instead of passing along to the artists,
• 36:34
  Speaker 4: and most of these artists their heyday was in the past,
• 36:38
  Speaker 4: so that we're not talking huge money. When I approached
• 36:41
  Speaker 4: the publisher, she said, would you guys like the song?
• 36:43
  Speaker 4: And I was like, I guess And my aunt said,
• 36:47
  Speaker 4: I don't want to be a music publisher. Do you
• 36:49
  Speaker 4: want to do it? And I said, I guess, And
• 36:52
  Speaker 4: so I became a music publisher in two thousand and
• 36:54
  Speaker 4: with one song, which was my aunt's. I kept researching
• 36:58
  Speaker 4: their career and I met other songs writers of the
• 37:00
  Speaker 4: same time and period and inherited the rest of the
• 37:05
  Speaker 4: songs that my aunt wrote because she wrote other songs,
• 37:07
  Speaker 4: and some songs written by another songwriter out of la
• 37:10
  Speaker 4: named Alhazan, who I inherited his catalog of songs because
• 37:15
  Speaker 4: we became good, really good friends, and I had helped
• 37:17
  Speaker 4: promote his music. So now I have thousands of songs,
• 37:21
  Speaker 4: mostly a vintage catalog of older song songs before nineteen
• 37:25
  Speaker 4: ninety for example.
• 37:26
  Speaker 1: Right, But you find a lot and especially in the
• 37:29
  Speaker 1: world we're in now that people are producing shows and
• 37:33
  Speaker 1: films that are featured from that time period, they want
• 37:37
  Speaker 1: to have songs that if people are in that time period.
• 37:39
  Speaker 3: That's what they were listening to and the Bell Sisters.
• 37:42
  Speaker 1: Of course al Hasan that might have been some of
• 37:44
  Speaker 1: the tracks that they had, So they have to license
• 37:47
  Speaker 1: those to be able to use it.
• 37:48
  Speaker 3: They have to license them.
• 37:49
  Speaker 4: And that's one thing that's so different with the AI
• 37:52
  Speaker 4: discussion is that if somebody comes to me and says,
• 37:55
  Speaker 4: I would love an Alazon song in my TV show,
• 37:58
  Speaker 4: and he's been used in May fifty sixties, how many
• 38:01
  Speaker 4: different shows they license it. They reach out and they say,
• 38:04
  Speaker 4: we'd like to license it. What's the fee, We work
• 38:07
  Speaker 4: out a fee, we all agree, and we just make
• 38:10
  Speaker 4: it happen and it generates royalties. It's great, it's very reasonable.
• 38:14
  Speaker 4: He didn't write hit songs, so he doesn't get the
• 38:17
  Speaker 4: queen money, he doesn't get the Mick Jagger money. Yeah,
• 38:21
  Speaker 4: but the sounds of those days are baked into those
• 38:24
  Speaker 4: recordings of those days. If you want a song on
• 38:26
  Speaker 4: the jukebox, it sounds like the fifties. Amazon wrote great
• 38:30
  Speaker 4: songs that sound like the fifties. But this whole discussion
• 38:33
  Speaker 4: of like Suno and the other the data sets that
• 38:37
  Speaker 4: they're pulling from, they just went out onto YouTube or
• 38:40
  Speaker 4: wherever they went and pulled down every song available and
• 38:44
  Speaker 4: said we'll take these. They didn't reach out to the
• 38:47
  Speaker 4: different parties and say can we use your songs for training?
• 38:53
  Speaker 4: And now all these artists, thanks to a recent The
• 38:56
  Speaker 4: Atlantic article which got a copy of the databases, were
• 39:00
  Speaker 4: pulled down for these various training modules, finding out that
• 39:04
  Speaker 4: they just took one hundred songs from the Bell Sisters
• 39:08
  Speaker 4: and forty songs from Alhazon. I just took them, and
• 39:13
  Speaker 4: I mean they sliced and diced them. I suppose, no compensation,
• 39:17
  Speaker 4: no attribution. They don't say, hey, this song is three
• 39:21
  Speaker 4: percent Johnny be Good and five percent Amazon's is of
• 39:25
  Speaker 4: the sin Like you would think that it's that they
• 39:28
  Speaker 4: would do. And you know they know what songs they
• 39:31
  Speaker 4: took because the data sets exist.
• 39:34
  Speaker 1: The AI is different in Suno and Udio and sound drap,
• 39:37
  Speaker 1: but the AI is different when you're taking something like
• 39:41
  Speaker 1: I've been using Topaz to take video that was shot
• 39:45
  Speaker 1: in you know, early two thousand that was low quality
• 39:48
  Speaker 1: and spicing it up. I'm not violating a copyright. That's
• 39:52
  Speaker 1: stuff that I own. But if they're taking something and
• 39:56
  Speaker 1: training for music, you can hear it in songs now.
• 40:00
  Speaker 1: I mean I'm on the Sudo platform I've I've used it.
• 40:03
  Speaker 2: We had to have fun with it.
• 40:05
  Speaker 1: You shared a video Luis lo Rocha with me Johnny
• 40:10
  Speaker 1: be Good, for example, and Luis was was like, I
• 40:14
  Speaker 1: don't know how soon I was doing this, And they
• 40:16
  Speaker 1: took Johnny Begod and shared that and then had Soono
• 40:20
  Speaker 1: generate a song and it was the same. He didn't
• 40:24
  Speaker 1: upload that song. He said, this is what I want
• 40:27
  Speaker 1: and pretty much the same. What safeguards are happening? If
• 40:31
  Speaker 1: any to get artists? I know title is is just
• 40:34
  Speaker 1: this week announced that we're gonna be doing some things.
• 40:37
  Speaker 1: But what safeguards is soon? O got to stop this
• 40:41
  Speaker 1: from happening? And how do you find out about it?
• 40:43
  Speaker 4: It was just sort of done to everybody. And it
• 40:47
  Speaker 4: turns out we didn't even know they were scraping it
• 40:49
  Speaker 4: because because again they didn't reach out license anything. And
• 40:52
  Speaker 4: I'm sure that goes for every artist. In fact, I've
• 40:55
  Speaker 4: watched on Facebook and multiple artists have done searches and
• 40:59
  Speaker 4: sharing up found their songs were part of the training modules.
• 41:03
  Speaker 4: That video of Lewis's was particularly good because he used
• 41:09
  Speaker 4: a very simple generic prompt. He didn't say, here's the song,
• 41:13
  Speaker 4: Johnny be Good, make me a big band cover version
• 41:17
  Speaker 4: or make me an indie rock version. It's not a cover.
• 41:21
  Speaker 4: It's he wrote, you know, nineteen fifties rockabilly song with
• 41:26
  Speaker 4: energetic male vocalist, and it generated a song with the
• 41:32
  Speaker 4: lyrics of Johnny be good, whole sale, whole cloth. And
• 41:37
  Speaker 4: that's evidently that's an aspect of it. You think that
• 41:40
  Speaker 4: they've just sliced and diced it and that it's a
• 41:43
  Speaker 4: microplagiarism if you want to call it something. You know
• 41:46
  Speaker 4: that it's made up of millions of songs. It's not
• 41:50
  Speaker 4: because there's evidently this sort of memorization. It does go
• 41:54
  Speaker 4: back sometimes and just grab whole chunks of existing songs.
• 41:58
  Speaker 4: And so there's no say guard that says you can
• 42:01
  Speaker 4: only use you know, two words in a row from
• 42:04
  Speaker 4: an existing copyrighted lyric. There is plenty of public domain material,
• 42:08
  Speaker 4: but that's all nineteen twenty five and before.
• 42:11
  Speaker 1: You know, what is the like the legal landscape for
• 42:14
  Speaker 1: a publisher now rex that says, wait a minute, you
• 42:18
  Speaker 1: know this is really my song? Are there is there
• 42:21
  Speaker 1: anything that you can do as a publisher to protect
• 42:24
  Speaker 1: yourself or the artists.
• 42:26
  Speaker 2: That you're representing right now?
• 42:27
  Speaker 4: I mean personally, there is. Of course, the big labels
• 42:32
  Speaker 4: started their own class action suit against the major AI
• 42:36
  Speaker 4: generating software, and that's because of the fact that they
• 42:40
  Speaker 4: were able to produce whole cloth versions of songs which
• 42:44
  Speaker 4: the software claimed it couldn't do or shouldn't do. There
• 42:48
  Speaker 4: is a class action suit for independent artists. There's a
• 42:53
  Speaker 4: Instagram handle top music attorney. I wish I knew her
• 42:57
  Speaker 4: name off the top of my head. I don't. I
• 42:59
  Speaker 4: did join her class section suit and indicate the artists
• 43:02
  Speaker 4: that I found in the AI training modules, because at
• 43:07
  Speaker 4: the very least, and I suspect this will be the
• 43:10
  Speaker 4: end result, is that they will end up licensing. They'll say, hey,
• 43:13
  Speaker 4: we should have licensed this. Much like people, it's sampling
• 43:16
  Speaker 4: all over again. People just thought, oh, I can take
• 43:19
  Speaker 4: you know this drum roll, I can take this vocal riff.
• 43:24
  Speaker 4: I could dig this guitar patch and use it in
• 43:26
  Speaker 4: my hip hop song. And so we had the nineties,
• 43:30
  Speaker 4: and the hip hop became a whole mindfield of samples
• 43:34
  Speaker 4: and interpolation, and eventually there was an economic model built
• 43:38
  Speaker 4: around sampling. And I suspect this is like going to
• 43:43
  Speaker 4: be like that, only it's not going to be. Their
• 43:44
  Speaker 4: ideas that we don't use whole bars and chord progressions.
• 43:48
  Speaker 4: We're gonna or you know, or drum rits, we're gonna
• 43:51
  Speaker 4: we've sliced it and diced it more. Or they're going
• 43:54
  Speaker 4: to put their own guardrails on so that nothing identifiable
• 43:57
  Speaker 4: comes back out again.
• 43:58
  Speaker 1: When something comes to you, you you know, Rex, and
• 44:01
  Speaker 1: you say, wait a minute, that's Al Hasan's song. What
• 44:04
  Speaker 1: steps do you have to take as a publisher to say,
• 44:08
  Speaker 1: you know, this is intellectual property that you can't be
• 44:11
  Speaker 1: using it, that can take down, notices be given or are
• 44:15
  Speaker 1: they just ignored because they got more lawyers.
• 44:17
  Speaker 4: Yeah, I mean absolutely, that's exactly what you can do.
• 44:20
  Speaker 4: I mean I've chosen to do that with some of
• 44:22
  Speaker 4: the other songs I've had because they were released on vinyl.
• 44:24
  Speaker 4: Somebody puts needle drops of the songs on YouTube videos. Again,
• 44:30
  Speaker 4: nothing malicious, nothing sinister intended. They just found this old
• 44:34
  Speaker 4: record and they thought it was cool and they put
• 44:35
  Speaker 4: on the radio and sometimes they the needle drop just
• 44:38
  Speaker 4: doesn't sound particularly good or it's at the wrong speed,
• 44:42
  Speaker 4: and I reach out and I say, hey, you've got
• 44:44
  Speaker 4: you know I go with the seven Day, Hey, please
• 44:47
  Speaker 4: take that down before it has to be struck. And
• 44:50
  Speaker 4: then occasionally I've had you know, I've had people post
• 44:52
  Speaker 4: my songs. I'm like, it was one of the musicians
• 44:56
  Speaker 4: on the session and he's like, oh man, I played
• 44:58
  Speaker 4: you know, based on this, and so I'm and I'm like,
• 45:01
  Speaker 4: that's cool, that's history. I'm not going to touch that.
• 45:03
  Speaker 4: If I've heard a song that I thought, oh my gosh,
• 45:06
  Speaker 4: that is eighty percent or some large percent enough to
• 45:09
  Speaker 4: say that's not inspired by that's you know, stolen from,
• 45:14
  Speaker 4: I would pull out the copyrights and say, hey man,
• 45:18
  Speaker 4: that's not right.
• 45:19
  Speaker 3: It's not good.
• 45:20
  Speaker 4: It happens by accident too. But I mean, it seems
• 45:24
  Speaker 4: that the whole concept of AI was just the old like,
• 45:27
  Speaker 4: you know, we're gonna apologize and we're not going to
• 45:30
  Speaker 4: ask permission in advance. We're gonna we're just gonna steal
• 45:32
  Speaker 4: it all and then see if somebody complains. And now
• 45:35
  Speaker 4: nobody's complaining me.
• 45:37
  Speaker 1: Do you think the future of music is is there?
• 45:40
  Speaker 2: Is it bright?
• 45:42
  Speaker 1: Or are we going to just get a lot of
• 45:44
  Speaker 1: AI slop?
• 45:45
  Speaker 5: I don't know.
• 45:45
  Speaker 4: I tend to think two ways. I Mean, everyone says
• 45:49
  Speaker 4: AI is inevitable, it's the future. They've said that many times.
• 45:53
  Speaker 4: You know there we once thought Sears was inevitable and
• 45:57
  Speaker 4: Sears has gone right. I mean, for those of us
• 45:59
  Speaker 4: who are old, Howard Johnson's Kodak, these were huge companies,
• 46:04
  Speaker 4: huge industries. You think film cameras, you know, you think
• 46:10
  Speaker 4: you the film and movie making those you know, the
• 46:13
  Speaker 4: giant reels, and now it's all digital and it'll change.
• 46:19
  Speaker 4: I would think the ideal situation to say, like what
• 46:22
  Speaker 4: title said, absolutely, if you want to use it to
• 46:26
  Speaker 4: make AI music, go for it. Just make sure you
• 46:30
  Speaker 4: clearly label it as AI music. I have a friend
• 46:35
  Speaker 4: who's used Suno, who does guitar and vocal demos of
• 46:38
  Speaker 4: his songs, his lyrics, his melody. He sings it, he
• 46:42
  Speaker 4: drops it into Suno and says, follow my melody, follow
• 46:47
  Speaker 4: my lyric, but give me a full arrangement, and the
• 46:50
  Speaker 4: song produces a full band arrangement and it sounds great.
• 46:54
  Speaker 4: It's not really him singing anymore. It's an amalgamation of
• 46:59
  Speaker 4: multiple country type artists.
• 47:02
  Speaker 2: But it's his song.
• 47:03
  Speaker 4: I mean, I heard the demo, I heard the final
• 47:06
  Speaker 4: it's it's definitely his song. It didn't go off on
• 47:08
  Speaker 4: its own, so I guess technically he still owns the
• 47:14
  Speaker 4: underlying composition that he created to the extent, but unfortunately,
• 47:20
  Speaker 4: copyright law right now says you have to have human authorship,
• 47:23
  Speaker 4: and so a band production created by Suno is not copyrightable.
• 47:27
  Speaker 4: So I could literally grab his cover version of his
• 47:31
  Speaker 4: own song and post it again, and he could say, hey,
• 47:34
  Speaker 4: that's mine. I'm like, hey man, I'd have to pay him,
• 47:37
  Speaker 4: just like if I did any cover song.
• 47:40
  Speaker 1: It's an interesting it's a mess.
• 47:43
  Speaker 4: Technology got ahead of us.
• 47:44
  Speaker 1: Again, Yeah, exactly as soon as is a tool. It's
• 47:47
  Speaker 1: a pretty powerful tool for somebody that is doing their
• 47:51
  Speaker 1: own thing. But again it's still maybe pulling, so again
• 47:54
  Speaker 1: you have to be really careful about how you're using that,
• 47:57
  Speaker 1: as well as some of the video generation platforms or
• 48:00
  Speaker 1: even if you're creating a full graph. The problem is graphics,
• 48:03
  Speaker 1: and I'm worried about music. If you try and pull
• 48:05
  Speaker 1: a graphic from AI right now, they all look the same.
• 48:08
  Speaker 1: Every restaurant ads, every promotional ad, they all have a
• 48:12
  Speaker 1: little boxes and the whole. But I'm wondering music. Is
• 48:16
  Speaker 1: music gonna end up being the same thing? And I
• 48:17
  Speaker 1: hope not, because you know you like music? Yeah, I
• 48:20
  Speaker 1: love music, And there are definitely kinds of music where
• 48:25
  Speaker 1: somebody was going like, oh it taste all the heart
• 48:27
  Speaker 1: out of it.
• 48:28
  Speaker 4: But you know, those kinds of music that I listened
• 48:30
  Speaker 4: to and I think was there a lot of heart
• 48:32
  Speaker 4: in that dance track, you know, that EDM track. I mean,
• 48:35
  Speaker 4: I'm sure the DM artists would disagree with me, and
• 48:37
  Speaker 4: I'm not trying to say anything that we get them going.
• 48:40
  Speaker 4: But there are some kinds of like just you know,
• 48:43
  Speaker 4: certain disco songs where I thought, you know, there's not
• 48:46
  Speaker 4: a huge emotional pull on that particular song. Maybe that
• 48:51
  Speaker 4: was pretty I mean, there might be, there might be.
• 48:53
  Speaker 4: I could be completely wrong about that. So I think
• 48:57
  Speaker 4: we're gonna, you know, plus the cost of licensing songs
• 49:01
  Speaker 4: for TV shows and films and advertising, it costs them money.
• 49:05
  Speaker 4: And if they can, for you know, twenty five bucks
• 49:08
  Speaker 4: a month have SUNO steal one hundred ideas and distill
• 49:11
  Speaker 4: it into a single idea, I'm sure they're going to
• 49:13
  Speaker 4: go that way. I have musician friends who absolutely will
• 49:17
  Speaker 4: not use so Know, don't want to use so Know,
• 49:20
  Speaker 4: partly because everything they know, everything they upload there is
• 49:23
  Speaker 4: probably being used to train it further. Yes, I've heard
• 49:27
  Speaker 4: of people uploading to Suno Underslop in hopes of sort
• 49:32
  Speaker 4: of d learning the program and causing it to which
• 49:36
  Speaker 4: I don't know how smart they are about that. But
• 49:39
  Speaker 4: at the same time, those same people I know are
• 49:42
  Speaker 4: posting AI generated posters for their upcoming shows. Yeah, exactly,
• 49:47
  Speaker 4: And you have to recognize that, the fact that it's
• 49:50
  Speaker 4: not your art being stolen, but those those posters that
• 49:53
  Speaker 4: are cute and make you look like an avatar or
• 49:56
  Speaker 4: where those studio gebli ghibli. I don't know how to
• 49:58
  Speaker 4: say that way, Gidley, make yourself a studio ghibli avatar,
• 50:03
  Speaker 4: make yourself you know, a Homer Simpson, a Simpsons character.
• 50:09
  Speaker 2: Those are stealing someone's art too. Where do you go
• 50:11
  Speaker 2: from here?
• 50:12
  Speaker 3: Rex?
• 50:12
  Speaker 1: I mean you continue this journey, you know, managing the
• 50:15
  Speaker 1: music when you get these things in and you say, hey,
• 50:18
  Speaker 1: wait a minute, that's ours. Are you Are you looking
• 50:20
  Speaker 1: at taking new artists if you know there's a new
• 50:23
  Speaker 1: artist that says, you know, I want to be representative?
• 50:26
  Speaker 1: Is that stuff you do? Or you're looking mainly at
• 50:28
  Speaker 1: what you have in your library now? I see, Yeah, No,
• 50:30
  Speaker 1: the nice nice part of the library. The best sisters
• 50:33
  Speaker 1: in the Alvazon and another couple of artists are so
• 50:37
  Speaker 1: are earning, let's put it that way, so they generate
• 50:40
  Speaker 1: a regular income. That's been very been wonderful and successful financially,
• 50:46
  Speaker 1: so I have.
• 50:47
  Speaker 4: Sort of extra money in the kiddy. If someone comes
• 50:50
  Speaker 4: along and says, oh, I have an old tape sitting
• 50:53
  Speaker 4: in my drawer, I my ears perk up instantly, you know,
• 50:57
  Speaker 4: when I hear that sort of thing. I was talking
• 51:00
  Speaker 4: talking to a gentleman in La and he dug out
• 51:03
  Speaker 4: some tapes from nineteen seventy and we just had them
• 51:07
  Speaker 4: digitally transferred. And the amazing thing is those old tapes
• 51:10
  Speaker 4: sound so good when they are properly digitally transferred, whether
• 51:15
  Speaker 4: it's a whatever multi track, whether it's a stereo master,
• 51:18
  Speaker 4: the quarter inch, half inch, four track, eight track, sixteen track,
• 51:22
  Speaker 4: twenty four multi tracks. When you hear that and you
• 51:26
  Speaker 4: can solo just the percussion track or the backing vocalist,
• 51:30
  Speaker 4: it is so much fun. There's so much music. There's
• 51:34
  Speaker 4: been so much music. I think that's the thing that
• 51:36
  Speaker 4: I've really learned over the last twenty five years is
• 51:39
  Speaker 4: there's so many great so much great music written by
• 51:42
  Speaker 4: people who were wonderful songwriters who just didn't get the break.
• 51:46
  Speaker 1: Yeah, if our listeners want to find out more about
• 51:47
  Speaker 1: the Bell Sisters, they could jump on YouTube. They could
• 51:50
  Speaker 1: listen to tracks there. They're on Spotify some of their.
• 51:55
  Speaker 4: Yeah, all their recordings are on Spotify.
• 51:57
  Speaker 2: Very cool. It's great to get with you again.
• 52:01
  Speaker 1: Great and you know, maybe in another year or two
• 52:03
  Speaker 1: we'll look and see where is Ai gone in the
• 52:06
  Speaker 1: year because we've jumped leaps and bounds in the last
• 52:08
  Speaker 1: three years.
• 52:09
  Speaker 4: I'll be using a studio Ghiblie Avatar for that for
• 52:13
  Speaker 4: that video.
• 52:13
  Speaker 2: Call Hey, right, Rex is Ai.
• 52:18
  Speaker 3: That's awesome. I gave up.
• 52:20
  Speaker 4: I'm all in.
• 52:22
  Speaker 2: Thanks for coming on tech Talk Radio. We'll be back
• 52:25
  Speaker 2: with more.
• 52:25
  Speaker 4: You are listening to tech Talk Radio.
• 52:28
  Speaker 6: So we answered a question through the last time. This
• 52:30
  Speaker 6: is one of my favorite parts of the show is
• 52:32
  Speaker 6: answering these questions. And Rick from Green Valley centers a question.
• 52:35
  Speaker 6: He wants to know, why did you get your thoughts
• 52:38
  Speaker 6: on online selling? I used to have an eBay account
• 52:41
  Speaker 6: and recently decided to part with some stuff that has
• 52:43
  Speaker 6: been clustering my cluttering my garage. Is eBay still a thing?
• 52:47
  Speaker 6: And I see Facebook marketplace as another But is Facebook
• 52:50
  Speaker 6: Marketplace safe?
• 52:52
  Speaker 2: Hmm hmm.
• 52:54
  Speaker 3: Well, Facebook Marketplace to me is it's a lot like Craigslist.
• 52:58
  Speaker 5: It is, it is.
• 53:00
  Speaker 3: I must know what you're gonna get. Yeah, I mean
• 53:04
  Speaker 3: you're probably gonna reach a little bit wider of an
• 53:05
  Speaker 3: audience maybe with Facebook Marketplace, but you're gonna get some
• 53:10
  Speaker 3: weirdoh's even at least you get that sellar protection and
• 53:13
  Speaker 3: you just put it in the mail and say goodbye.
• 53:15
  Speaker 1: Right, But the Facebook marketplaces is centralized. So if you
• 53:21
  Speaker 1: live in Green Valley as Rick does, or you live
• 53:24
  Speaker 1: in Tucson or whatever, you want to reach a buyer
• 53:27
  Speaker 1: that hey, they wanted to, they wanted today, you want
• 53:29
  Speaker 1: to look. Yeah, but you gotta be really careful about
• 53:32
  Speaker 1: how you do that. And you know, again remember to
• 53:36
  Speaker 1: be said. I sold something once. I might have been
• 53:40
  Speaker 1: on marketplace. It was a jacket. I used to ride motorcycles,
• 53:44
  Speaker 1: so I had a motorcycle jacket and I want to
• 53:47
  Speaker 1: and it was agreed. So I met the person at
• 53:49
  Speaker 1: the Walgreens and I was selling it for one twenty five.
• 53:53
  Speaker 1: Of course they showed up. All I got is seventy
• 53:56
  Speaker 1: five on me.
• 53:57
  Speaker 3: Yeah.
• 53:58
  Speaker 6: Yeah, see, yeah, you're gonna you're gonna deal with people
• 54:00
  Speaker 6: that are looking to scam you. Looking to you know,
• 54:03
  Speaker 6: oh I only got fifty bucks and you wanted one hundreds.
• 54:08
  Speaker 3: Yeah, you gotta know when to walk away from they
• 54:10
  Speaker 3: show up with a knife and they're like, give me it,
• 54:11
  Speaker 3: give me it now.
• 54:12
  Speaker 1: Yeah, it'd be very very very very careful, Rick, if
• 54:16
  Speaker 1: you're doing that. We're not saying it's it's totally bad.
• 54:19
  Speaker 5: I know.
• 54:19
  Speaker 2: Next Stor is doing that kind of thing as well.
• 54:22
  Speaker 3: Think something.
• 54:24
  Speaker 6: There's a handful of other apps sell it now, easy Up,
• 54:27
  Speaker 6: a couple other apps that you can do it too.
• 54:31
  Speaker 5: eBay is a little bit more streamlined.
• 54:35
  Speaker 3: Yeah, still a thing, is still a thing.
• 54:39
  Speaker 5: It's still very much a thing.
• 54:40
  Speaker 6: It's full of resellers and scalp scalpers and stuff, but
• 54:44
  Speaker 6: it's the most streamlined. You're protected a little bit more,
• 54:47
  Speaker 6: but it takes a little bit to get used to you.
• 54:48
  Speaker 6: They take a pretty large fee, they do, so you
• 54:51
  Speaker 6: got to take that into account to all right, eBay
• 54:55
  Speaker 6: or take take your chance with Facebook marketplace.
• 54:58
  Speaker 1: But yeah, all right, and you could read you can actually,
• 55:01
  Speaker 1: I'm sure you could read reviews of the buyer. You know,
• 55:04
  Speaker 1: there's probably something there where it ranks or rates the buyer,
• 55:07
  Speaker 1: so be careful of that. Just do your research first.
• 55:10
  Speaker 1: All right, that's it for this week show. Welcome back Justin. Well,
• 55:13
  Speaker 1: I'll be back next week with more of tech Talk Radio.
• 55:16
  Speaker 1: I'm Andy Taylor, I'm Sean de Weird, and I'm Justin.
• 55:19
  Speaker 2: Let me again.
• 55:19
  Speaker 3: Find us on the web at tech talk radio dot com.
• 55:22
  Speaker 3: Have yourselves great week.