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Speaker 1: It's camp I Am six forty and you're listening to

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Speaker 1: the Conway Show on demand on the iHeartRadio app.

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Speaker 2: My guest coming up in just a little bit is

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Speaker 2: Howie Weinberg, a mastering engineer who I believe has done

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Speaker 2: more than ten thousand records. I believe that that is

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Speaker 2: the case, and he's won a ton of Grammys, been

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Speaker 2: on some of the biggest hits in music since the

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Speaker 2: nineteen eighties, and he's a good bud. He's stopping by,

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Speaker 2: gonna spend some time with us to talk about just

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Speaker 2: the state of the music industry, how things are going,

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Speaker 2: some new music that he's working on. He did a

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Speaker 2: Sturgel Simpson record, that's cool, and we'll talk about the

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Speaker 2: good old days of Nirvana, Red Hot Chili Peppers, and more.

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Speaker 2: You don't want to miss that. It's coming up in

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Speaker 2: about fifteen minutes or so. I also want to get

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Speaker 2: to some breaking news. We have a barricaded suspect in

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Speaker 2: Panorama City that KTLA's Sky five is heading two. That's

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Speaker 2: kind of interesting, so we'll see if that leads to anything.

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Speaker 2: There currently on air right now and I don't see anything,

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Speaker 2: so we will give you some intel as soon as

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Speaker 2: we get it, of course, Kroje. I don't know if

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Speaker 2: you see anything else happening out there in the south Land.

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Speaker 2: It feels a little I don't want to say the

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Speaker 2: key word, but it feels a little quiet.

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Speaker 3: Yeah, let's put that out there.

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Speaker 2: You know, if you say it, does it make it? So?

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Speaker 2: Is it like that kind of thing?

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Speaker 4: If you acknowledge that it's a bad omen to say it,

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Speaker 4: does that negate it?

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Speaker 2: So? If we so we're in the clear, that's what

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Speaker 2: you're saying. Yeah, okay, Well I do know that a

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Speaker 2: storm is on the way, and so instead of trying

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Speaker 2: to bore you with my inability to correctly read the

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Speaker 2: National Weather Service update, I wanted to include one of

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Speaker 2: my frenemies. I guess you could call her that, my coworker,

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Speaker 2: Casey Montoya joining us now on the phone, calling from

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Speaker 2: the car. I believe is that correct?

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Speaker 5: Frenemies Andy? I was so happy when I just heard.

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Speaker 5: I got in the car. I always listened to Conway

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Speaker 5: on the way home, and I was like, Wow, I

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Speaker 5: heard Krozer and I was like, is that Andy filling

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Speaker 5: in for Tim? Yeah? We have a round of applause

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Speaker 5: for the first time and half of that too loud.

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Speaker 2: That's really quiet. It's actually really it's it's it's really nice.

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Speaker 2: Like you have gloves, yeah, are you wearing driving gloves?

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Speaker 2: Little leather letter wrapped fingers are on those steering wheel fingerless.

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Speaker 5: And is just so soft and supple. It's just I'm

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Speaker 5: just kidding.

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Speaker 2: Oh my god. Well, thank you for listening, and I'm

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Speaker 2: glad that I'm here. It's really cool and feel very

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Speaker 2: honored to be able to hang out with the crew.

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Speaker 2: You know. It's like it's like when you watch your

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Speaker 2: favorite show and then you're like in it, but then

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Speaker 2: you're like, oh god, Tim's not here, so I don't

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Speaker 2: know what I'm doing.

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Speaker 5: But this is exactly how you felt when you got

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Speaker 5: to work with us on the weekend morning show, right.

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Speaker 2: That is one hundred percent what I felt like when

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Speaker 2: I when I stepped onto that set and I saw

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Speaker 2: Casey Montoya, Pedro Rivera, Lynette Romero, and Lauren is that

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Speaker 2: her name? I couldn't. I don't remember, no, But do

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Speaker 2: you guys still do that show on the weekend?

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Speaker 3: Andy, I don't know.

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Speaker 2: I'm Monday through Friday now, I'm not really sure. I don't.

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Speaker 3: I don't.

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Speaker 2: I'm just kidding.

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Speaker 5: No, I miss, did you read the email I sent you?

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Speaker 5: We get a great viewer feedback.

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Speaker 2: Yeah, this is this is a real This is one

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Speaker 2: that you should print out and put up on the

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Speaker 2: cubicle wall because oil boy. So you got an email

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Speaker 2: from somebody about a gift that you gave to Doug. Because,

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Speaker 2: as everybody knows on the Weekend show, you guys are real,

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Speaker 2: real friendly, real familial. You like to, you know, kind

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Speaker 2: of rip each other back and forth. But also you

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Speaker 2: give gifts in the holiday season. And so what did

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Speaker 2: you give Doug?

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Speaker 5: Well? Can you read the email first?

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Speaker 2: Sure? Okay, dug it up to Casey Montoya. I won't

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Speaker 2: say who it's from. Doug. Chris Smith's gift is the subject.

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Speaker 2: That was a distasteful gift you gave him. You would

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Speaker 2: have done better not giving him anything. You really showed

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Speaker 2: how thoughtless you can be. I keep thinking you're going

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Speaker 2: to get but you're not. Because going to get it,

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Speaker 2: but you're not because you don't see anything wrong with

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Speaker 2: your actions. I honestly can say that is why you

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Speaker 2: are not married. Enjoy the rest of your year. WHOA, now,

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Speaker 2: what did you get the coke?

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Speaker 6: Okay?

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Speaker 5: I gave him a rotisserie chicken.

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Speaker 2: And that was so offensive.

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Speaker 5: Why I gave the girls these cute You know how

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Speaker 5: when you go to a stadium you have to take

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Speaker 5: a clear bag. Now, well I got the girls these

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Speaker 5: designer Hammett bags that are really cute, and I gave

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Speaker 5: him a chicken. The thing is, there's a joke. When

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Speaker 5: Doug and I were reporters, like ten years ago, we

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Speaker 5: had this afternoon meeting that started at like three in

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Speaker 5: the afternoon, and he would come in like with chicken

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Speaker 5: in his pockets, like he just always had at three

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Speaker 5: chicken on him for some reason. And so a few

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Speaker 5: years ago I thought it would be funny to give

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Speaker 5: him a chicken as a gift and just kind of

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Speaker 5: stuck and he thought it was funny. But apparently this

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Speaker 5: viewer did not like, not like, and that is why

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Speaker 5: I am not married.

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Speaker 2: Well now, at least, do you have a reason why.

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Speaker 5: I was wondering. I've been talking to my therapist for years.

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Speaker 2: I gotta tell him, you can, hey, for real, though,

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Speaker 2: I think it's a great gift, and I really like

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Speaker 2: what you guys do there, and I think that everybody

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Speaker 2: has such a good time. And I was so thankful

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Speaker 2: to be able to have the opportunity to be on

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Speaker 2: that show. Uh, and I do miss it, and I think,

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Speaker 2: you know, sometimes if you know things, if they if

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Speaker 2: they if they get rid of the weekday show, maybe

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Speaker 2: I'll come back.

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Speaker 5: I'll come back to Hey, I'm gonna hold my breath

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Speaker 5: waiting for that. You want me to talk about the weather, right?

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Speaker 2: Yeah? Are we going to have rain on New Year's Eve?

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Speaker 2: Is what everybody wants to know, because I know there's

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Speaker 2: a lot of people out there who spent some serious

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Speaker 2: some bookoo bucks to have those rooftop dinners, those rooftop

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Speaker 2: of firework watching experience.

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Speaker 5: Is yeah, I think the fireworks might get rained out.

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Speaker 5: I mean yeah, probably. So there's two storms coming in.

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Speaker 5: One is Wednesday night into Thursday morning, and then another

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Speaker 5: one's Friday night into Saturday. And we're not going to

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Speaker 5: get as much rain as we did last time.

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Speaker 2: Can you roll your windows up, Casey?

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Speaker 5: No, my windows are a motorcycle, are very loud cards

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Speaker 5: you're going to pass me. So two storm systems probably

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Speaker 5: going to see totals of one to three inches for

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Speaker 5: the coasts and valleys and then two to five for

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Speaker 5: the mountains and foothills, so not anywhere near what we

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Speaker 5: just had. But I mean, keep in mind, you've been

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Speaker 5: watching the news all day, I'm assuming and prep for

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Speaker 5: the show. How many down trees did we send Sky

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Speaker 5: five to today? So just know the ground is saturated.

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Speaker 5: We've had some gusty winds, We're not done with those.

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Speaker 5: We're going to see more rain, So down trees and

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Speaker 5: downpower lines definitely still a possibility for us. But yeah,

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Speaker 5: I mean, unfortunately, it's likely going to rain during the

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Speaker 5: Rose Parade, could be moderate at times, and it'll be cold,

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Speaker 5: So I don't want people to not go, but just know, like, look,

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Speaker 5: I've gone to a football game before where it's pouring rain,

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Speaker 5: and if you prepare, you know, if you wear your

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Speaker 5: rain shoes and the poncho and you just dress warm,

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Speaker 5: it's not that bad.

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Speaker 2: No, No, we are very dramatic when it comes to

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Speaker 2: dealing with the rain. And it's funny because I have

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Speaker 2: some friends up in San Francisco where it also has

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Speaker 2: been raining like NonStop for six months, and they were like, no,

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Speaker 2: people still do things when it rains. They still go

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Speaker 2: out and do things. They don't they don't hunker down

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Speaker 2: and bundle up and say like, oh, it's gonna be

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Speaker 2: gotta go raid the costco because most people deal with rain.

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Speaker 2: But you know, to be fair, we don't really have

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Speaker 2: to that.

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Speaker 5: Much here, we all, but we do this week. I

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Speaker 5: lived in Portland, Oregon for five years, so I mean

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Speaker 5: I can deal with it, but I became a baby again,

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Speaker 5: you know, being back here for ten twelve years. But

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Speaker 5: just we want people to know, like it's a night

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Speaker 5: where people like to go out. Hopefully you have a

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Speaker 5: designated driver and you're not gonna be drinking and driving.

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Speaker 5: But yeah, it's gonna be raining, and you know, it's

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Speaker 5: a great weekend. Stay in, watch movies, go to the movies,

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Speaker 5: but just be extra careful out there. And I don't

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Speaker 5: want to discourage people from going to the Rose Parade. Honestly,

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Speaker 5: people put in so much work all year for this,

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Speaker 5: so true. It's just it's a shame.

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Speaker 2: You can always buy a poncho. Indeed, you can always,

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Speaker 2: as we say, stay home and watch TV because you

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Speaker 2: can see the Rose Parade on KTLA channel five.

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Speaker 5: Well and KTLA I will tell you it's the only

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Speaker 5: commercial free Rose parade airing in town. And it just

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Speaker 5: gave me a good idea, Andy for like a side hustle.

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Speaker 5: I need to get a permit to go sell ponchos

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Speaker 5: outside the Rose Parade.

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Speaker 2: Now that's why you're not married. I don't know, Maybe

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Speaker 2: you might. I think that these days that the local

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Speaker 2: authorities are preoccupied with more than illegal poncho sales from

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Speaker 2: a local weather person. But I don't know. That's just

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Speaker 2: my own.

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Speaker 5: Anyone knows where I can get a quick permit for that.

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Speaker 5: Let me know.

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Speaker 2: Yeah, give us a call. We'll open up the phone

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Speaker 2: lines and you can call and tell us. Casey, thank

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Speaker 2: you so much for joining us. Be safe out there.

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Speaker 2: I hope you have a nice evening. We'll try to

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Speaker 2: do our best honor in mister Tim Conway Junior here

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Speaker 2: on the show in his absence. I can't make any promises,

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Speaker 2: but we're doing. We're doing, okay. We've at least made

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Speaker 2: it through an hour and fifteen minutes and none of

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Speaker 2: us have been fired yet.

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Speaker 5: Right, all right, there's still time.

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Speaker 2: There's still time. Love it, Casey Montoya, appreciate you.

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Speaker 5: Dosh you say ding dong to you?

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Speaker 2: You can't. I don't think there's a rule, right ding

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Speaker 2: dong ding dong with her?

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Speaker 5: It does doesn't feel right, No, it doesn't feel right.

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Speaker 4: You gotta you didn't. Gotta put something in here by.

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Speaker 2: Yeah, give me a give me a good ding dong,

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Speaker 2: crush ding doll.

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Speaker 4: Yeah, just gotta put something in it.

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Speaker 2: Man, put something in it.

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Speaker 4: It's a holidays. Put something in it.

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Speaker 2: That's why you are married.

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Speaker 6: You're listening to Tim conwayjun you're on demand from KF.

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Speaker 6: I am six forty.

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Speaker 2: Good Monday evening to you just past five nineteen on

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Speaker 2: the dot. You know you don't ever get NewSpace people

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Speaker 2: saying the specific time with a lot of the bottom

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Speaker 2: of the hour, talk a lot on top of the hour.

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Speaker 2: But you got a tune into KFI to get somebody

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Speaker 2: to shout out the actual time, the hour minute. Maybe

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Speaker 2: I'll do second. I don't know. I can't promise the

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Speaker 2: world to you, but we'll do our best. We were

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Speaker 2: listening to Nirvana. Little smells like teen Spirit And there's

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Speaker 2: a good reason because I'm joined in studio right now

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Speaker 2: by Howie Weinberg, who is a mastering engineer, been doing

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Speaker 2: it for thirty years. Going back to Nirvana. That song

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Speaker 2: you heard there, the Clash YouTube Soundgarden, Red Hot Chili Peppers,

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Speaker 2: White Stripes, Killers, Beastie Boys, Run DMC, Deftones, Black Keys,

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Speaker 2: Gary Clark, Junior Madonna, Chryl Crowe, b York, Jeff Buckley.

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Speaker 2: Did I say, Nirvana, thanks for being with me in

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Speaker 2: the studio. It's great to see you, buddy.

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Speaker 3: Thanks Andy m appreciating inviting me out here. You know,

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Speaker 3: it's a beautiful day for an interview.

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Speaker 2: Yeah, exactly, I know there's a.

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Speaker 3: Cloudy, disgusting weather. It's gonna get start at five o'clock.

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Speaker 3: What better place to be than with Andy and and

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Speaker 3: the studio.

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Speaker 2: Well, I so appreciate that, And I thought of that

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Speaker 2: when you were coming up the elevator into the iHeart

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Speaker 2: Burbank studios here into the headquarters on the on in

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Speaker 2: Los Angeles. How many of your songs are being played

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Speaker 2: at all times on iHeartRadio things all across the country.

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Speaker 2: I mean it's thousands.

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Speaker 3: Of them, maybe maybe millions, maybe millions. And actually I

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Speaker 3: did there is one of a very famous sight out

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Speaker 3: there called LUSO, and they got me for one hundred

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Speaker 3: and ninety billions uh streams stream that's crazy, over eight thousand,

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Speaker 3: almost nine thousand recording credits, which I think about it,

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Speaker 3: nine thousand credits.

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Speaker 2: That is crazy. So nine thousand over thirty years. How

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Speaker 2: many is that per day years? Forty years? Okay, I

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Speaker 2: didn't want to You don't seem to be old enough

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Speaker 2: to have been a.

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Speaker 3: Start really really young, but you know, yeah, and you

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Speaker 3: know it was. It was a whole different world in

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Speaker 3: those days.

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Speaker 2: Right, So this you take it back nineteen seventies, New

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Speaker 2: York City. How how Wineberg's just roaming around getting into

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Speaker 2: the music business. How do you become a mastering engineer?

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Speaker 2: And also how do you become like the guy who

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Speaker 2: does basically everything?

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Speaker 3: It was the timing was really important. A good friend

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Speaker 3: of mine, I just kind of gott got involved with

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Speaker 3: this studio that my my mentor Bob Ludwig, who was

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Speaker 3: the god of mastering, started working at. And I had

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Speaker 3: no I had no skills. I thought I could be

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Speaker 3: really good at it. I had absolutely no background in

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Speaker 3: music or recording or anything. But I played around with

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Speaker 3: little tape machines as a kid, and I had absolutely nothing.

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Speaker 3: And they said, okay, well you could, we could use

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Speaker 3: a messenger boy. So I got my foot in the door,

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Speaker 3: Like all.

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Speaker 2: Right, so you did? You would have been at like

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Speaker 2: Sterling Sound and Okay.

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Speaker 3: Yeah, it was, and it was it was I think

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Speaker 3: it was nineteen eighty and I did. I did one

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Speaker 3: year where we had a we had a contract with

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Speaker 3: Polydor Records, which is also a phonogram. They had, so

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Speaker 3: any any projects that were done domestically for Polydor in America,

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Speaker 3: we'd have to make all you know, there was no

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Speaker 3: digital at that time, all tape machines, analog tape, fifteen nips,

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Speaker 3: you know, little tape and all that, and we had

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Speaker 3: to make copies of all of the projects. So my

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Speaker 3: first job was to make copies of whatever domestic records

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Speaker 3: were done internationally, like send out, make ten different copies

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Speaker 3: of just a real, real funny thing.

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Speaker 2: You got it, you got it. Oh damn, no worry,

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Speaker 2: We're live. We found it, we got we can cut

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Speaker 2: it out. So we just jumped ahead.

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Speaker 3: But oh shucks. They hit me four meals and it

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Speaker 3: was Saturday Night Fever Real one, two, three, four Wow

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Speaker 3: double records set of Saturday Night Fever. It just they

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Speaker 3: just finished recording and they mastered it somewhere else. I

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Speaker 3: think it was Capitol Records in New York in La here.

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Speaker 3: They handed me the tapes like there was a courier

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Speaker 3: that came in. We need twenty copies immediately. So I

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Speaker 3: was probably one of the probably was one of the

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Speaker 3: only people outside of the studio to hear that record

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Speaker 3: and hear those songs immediately.

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Speaker 2: And let's go back to then jumping ahead.

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Speaker 3: Because you have braging rights on that time.

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Speaker 2: Well, I know it's pretty cool, but what you definitely

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Speaker 2: have bragging rights for is what we started. The segment

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Speaker 2: with which I want to I want to go back

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Speaker 2: to is Nirvana's never Mind. You mastered that song. This

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Speaker 2: was obviously a very important moment in music. Did you

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Speaker 2: know nobody really knew that. Well, I was gonna ask, like,

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Speaker 2: when you were sitting there, take me back to the

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Speaker 2: time that you first heard that song.

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Speaker 3: This is a this is I guess what. I don't

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Speaker 3: know what year it was, but the day was they

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Speaker 3: booked the session and then usually what happens is everything

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Speaker 3: in those days was a half inch reel to real tape.

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Speaker 3: There's no digital. Then there was digital, but it sounds

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Speaker 3: like crop, so half inch real real tape. They sent

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Speaker 3: me the tapes, they sent the studio the tapes ahead

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Speaker 3: of time, and then you know, I get it. I'm

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Speaker 3: I can try to get everything ready, to get the

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Speaker 3: tones up, get everything all sounding, you know, so when

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Speaker 3: they come in, I can just play it and we

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Speaker 3: can do our thing, you know, go through the songs.

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Speaker 2: So the band was coming in, so Curtsey.

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Speaker 3: Everybody had curt and everybody was booked to come in

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Speaker 3: at like one o'clock, twelve thirty one o'clock. So two

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Speaker 3: o'clock comes, around, three o'clock comes, nobody shows up. Wow,

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Speaker 3: I'm just playing around. I'm like, well, this is good.

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Speaker 3: I got some good sounds here, and I go, wow,

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Speaker 3: this is not bad. And I'm thinking this is for

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Speaker 3: an alternative record. This, you know, there's something good here.

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Speaker 3: I didn't know what the hell I was talking about.

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Speaker 3: But then so then I just got into the record.

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Speaker 3: And by the time they showed up, like I don't know,

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Speaker 3: five thirty six, it was like four or five hours

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Speaker 3: after the scheduled. The scheduled.

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Speaker 2: Yeah, the session was going to start.

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Speaker 3: Yeah, I had everything finished.

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Speaker 2: Wow.

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Speaker 3: The guys walk in and they go, this is this

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Speaker 3: is great. Everything is done. I got it on, I

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Speaker 3: got it, I got all my settings, I got everything

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Speaker 3: ready to go. Just sit down. Okay. So Kurt was there,

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Speaker 3: probably Dave was there. I don't know if the Basebak

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Speaker 3: Kurt Chris was there, but Andy Wallace was there, butch

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Speaker 3: Big was there, their men, everybody showed up. They all

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Speaker 3: sat down. I have the big as speakers and everything.

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Speaker 3: So we just played Saturday and side B and it's

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Speaker 3: like just one and everybody walked out, like at the

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Speaker 3: end of the set, you know, at the end of

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Speaker 3: the playback, WHOA, what's.

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Speaker 6: Going on here?

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Speaker 7: Wow?

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Speaker 2: And you kind of everybody sort of had a sense

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Speaker 2: this is gonna be something.

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Speaker 3: At the moment. At that moment, yeah, And when they

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Speaker 3: walk in and they were a little embarrassed because you know,

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Speaker 3: this was a very very it was polished. It didn't

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Speaker 3: sound like any of their other projects. There are the

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Speaker 3: records which I didn't work on, were grunge records, and they,

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Speaker 3: you know, and they were almost a little embarrassed by

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Speaker 3: this because they hired the big pop producer, uh, a

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Speaker 3: big pop mixer. Butch Vig was the producer. But he

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Speaker 3: wasn't the pop Yeah he was. He was a Smashing

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Speaker 3: Pumpkins guy and uh, you know, a punk rock kid.

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Speaker 2: Yeah.

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Speaker 3: They hired the famous Andy Wallace to mix in and

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Speaker 3: so they got a very polished sound that they were

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Speaker 3: almost embarrassed by.

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Speaker 2: That's so wild because now I think about it and

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Speaker 2: I don't feel that it's amateur at all. But it

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Speaker 2: doesn't sound like slick to me. It sounds still like

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Speaker 2: guys playing in a garage with really loud amplifiers, really

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Speaker 2: loud drums, a really loud kid. I'm assuming that you

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Speaker 2: know you'd already been working a lot by that point,

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Speaker 2: because you had done a lot of the eighties New

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Speaker 2: York scene of hip hop, and that was also a moment,

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Speaker 2: and I imagine that probably opened up other opportunities for

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Speaker 2: you as well.

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Speaker 7: Well.

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Speaker 3: The hip hop actually opened up all the opportunities because

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Speaker 3: I was also like the first first first six months

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Speaker 3: on the on the job where what happened was I

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Speaker 3: was doing the tape copies and the engineer, it was

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Speaker 3: an older guy, had his studio there and somehow it

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Speaker 3: didn't work out. So the owner of the studio says, tomorrow,

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Speaker 3: that's your studio, and I go, okay, I still don't

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Speaker 3: know what I'm doing. Amazing, I have no idea. I

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Speaker 3: can know how to push play and I can.

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Speaker 2: So you were just like a warm body who they

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Speaker 2: were like this guy is sure, let's try him out,

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Speaker 2: and let's see.

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Speaker 3: I figured it out like a for a week or

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Speaker 3: two or three. I figured I wasn't that hard.

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Speaker 2: But that's not true though, because if it was really,

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Speaker 2: I made.

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Speaker 3: A thousand mistakes immediately. But I did have an open mind.

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Speaker 3: So what I did is I practiced a bit and

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Speaker 3: then when the first break came where this record label

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Speaker 3: came up to me and we were doing all the

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Speaker 3: Mercury Records, Polydor Records, and they had a hip hop band.

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Speaker 3: It was cold rap band called Curtis Blow. It's called

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Speaker 3: Christmas Rappin' and next thing I know, I put it on.

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Speaker 3: It was the biggest rap hit. It was the first

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Speaker 3: big rap hit.

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Speaker 5: Wow.

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Speaker 3: And then like a few months later they came out

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Speaker 3: with a song called The Breaks, which was one of

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Speaker 3: the most nominal hip hop records of all time, crazy

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Speaker 3: the first gold or platinum twelve inch single, and from

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Speaker 3: there it was all you know that A client was

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Speaker 3: Russell Simmons, and then it became Rick Rubin and def

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Speaker 3: Sham Records, and there was like a couple of years

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Speaker 3: before def Shams started, and Russell Simmons had every rap

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Speaker 3: artist he had, Joey Simmons was his brother, Run Run DMC,

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Speaker 3: and they had a whole slew of artists. So then

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Speaker 3: I was just the guy. Yeah, I was the guy.

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Speaker 3: They go, yeah, he he's the guy who makes the plates.

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Speaker 2: And now nine thousand, at least thine thousand credits later,

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Speaker 2: we are going to take a break. When we come back,

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Speaker 2: we'll they'll have more with Howie Weinberg. We're going to

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Speaker 2: talk about.

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Speaker 6: You're listening to Tim Conway Junior on demand from KFI

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Speaker 6: AM six forty.

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Speaker 2: The Monday, in the middle of dead week, but I'm

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Speaker 2: feeling alive. Join in studio with my guest, Howie Weinberg,

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Speaker 2: a mastering engineer responsible for so many of the biggest

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Speaker 2: hits of the last Now I understand forty years.

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Speaker 3: Forty years I started when I was nineteen, And how

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Speaker 3: many are you doing a day?

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Speaker 2: These days?

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Speaker 3: I usually can do I don't want to. I usually

428
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Speaker 3: do two hundred and fifty to three hundred projects a year,

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Speaker 3: whether it's EP singles or albums.

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Speaker 2: And I feel like mastering is one of those things

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Speaker 2: that there's very few people who do it because I

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Speaker 2: think there's very few people who understand how it works. Essentially,

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Speaker 2: what happens is the band or the artist will record

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Speaker 2: the song. They'll do it in the studio, record it,

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Speaker 2: then they'll mix it. That's a different person. Generally they'll

436
00:20:50,000 --> 00:20:52,320
Speaker 2: mix it and then the last person is you. It's

437
00:20:52,359 --> 00:20:55,040
Speaker 2: a maxim mastering engineer, and a lot of what you

438
00:20:55,160 --> 00:20:58,200
Speaker 2: do is balance the song in relation to the other

439
00:20:58,240 --> 00:21:01,560
Speaker 2: songs on the album, but also make it loud, make

440
00:21:01,600 --> 00:21:03,760
Speaker 2: it stand up to all the other mixes on the radio,

441
00:21:04,000 --> 00:21:06,720
Speaker 2: make the eq perfect, kind of put that last glossy

442
00:21:06,720 --> 00:21:07,439
Speaker 2: machine on it.

443
00:21:07,440 --> 00:21:10,160
Speaker 3: It's a juju thing, right, Well, that's the thing, and

444
00:21:10,240 --> 00:21:12,280
Speaker 3: you know what it is. It's you can't really you know,

445
00:21:12,320 --> 00:21:13,840
Speaker 3: you could buy a plug in, you could buy an

446
00:21:13,840 --> 00:21:17,000
Speaker 3: app that might might kind of say, oh, we'll give

447
00:21:17,040 --> 00:21:19,720
Speaker 3: you this sound and that sound. But when you when

448
00:21:19,720 --> 00:21:21,399
Speaker 3: I get hired, and I'm not, I'm not out here

449
00:21:21,440 --> 00:21:25,919
Speaker 3: for an advertisement. You're getting forty years of experience. I

450
00:21:25,920 --> 00:21:28,880
Speaker 3: could put a song on it and instantly know it

451
00:21:28,880 --> 00:21:32,320
Speaker 3: needs more bottom, needs more top. It's perfect, Wow you

452
00:21:32,359 --> 00:21:35,399
Speaker 3: need a new mix or yeah, But I you know,

453
00:21:35,480 --> 00:21:38,840
Speaker 3: I'm generally pretty humble about this stuff, so it's not

454
00:21:39,320 --> 00:21:41,399
Speaker 3: you know, it's not my piece of work. I'm just

455
00:21:41,440 --> 00:21:43,760
Speaker 3: taking somebody else's work, and what you try to do

456
00:21:43,880 --> 00:21:45,200
Speaker 3: is just take it to another level.

457
00:21:45,359 --> 00:21:47,320
Speaker 2: Yeah, And I think what's cool is that through the

458
00:21:47,359 --> 00:21:50,960
Speaker 2: process you can discover things and and learn things about

459
00:21:51,000 --> 00:21:53,439
Speaker 2: the song and you impart something to it that is

460
00:21:53,480 --> 00:21:56,600
Speaker 2: an unknowable thing. It's like you said, it's a juju thing.

461
00:21:56,640 --> 00:21:57,800
Speaker 2: It's like unquantifiable.

462
00:21:58,119 --> 00:22:00,760
Speaker 3: And what I like to call it is just the

463
00:22:01,880 --> 00:22:06,240
Speaker 3: I'm basically the last creative guy and the first manufacturing guy,

464
00:22:06,359 --> 00:22:09,479
Speaker 3: the first guy that the public hears. Yeah, so I

465
00:22:09,520 --> 00:22:12,680
Speaker 3: have to be. I'm the guy who I'm the goaltender basically.

466
00:22:12,800 --> 00:22:14,600
Speaker 2: Yeah. And so you do a lot of stuff here

467
00:22:14,640 --> 00:22:16,720
Speaker 2: in LA because you moved out to Los Angeles in

468
00:22:16,760 --> 00:22:17,680
Speaker 2: twenty ten, is that right?

469
00:22:17,840 --> 00:22:18,000
Speaker 5: Ten?

470
00:22:18,160 --> 00:22:19,320
Speaker 2: That's the same year I moved here.

471
00:22:19,680 --> 00:22:22,240
Speaker 3: And I was in New York. I was in New

472
00:22:22,320 --> 00:22:25,680
Speaker 3: York for it was thirty years and less than thirty years.

473
00:22:25,720 --> 00:22:28,680
Speaker 3: And I had this massive to studio and I did

474
00:22:29,040 --> 00:22:32,480
Speaker 3: and Bob Laduga is my was my mentor at New

475
00:22:32,560 --> 00:22:35,399
Speaker 3: York and we just did so many records. And now

476
00:22:35,520 --> 00:22:39,359
Speaker 3: those are the record the vinyl days where you know,

477
00:22:39,880 --> 00:22:42,440
Speaker 3: all the projects were all put together and everything was

478
00:22:42,520 --> 00:22:45,480
Speaker 3: real to real tape and so discuding.

479
00:22:45,000 --> 00:22:47,920
Speaker 2: When you think back to nine thousand, more than nine

480
00:22:47,920 --> 00:22:51,320
Speaker 2: thousand releases, do any of them stick out in your mind?

481
00:22:51,320 --> 00:22:53,439
Speaker 2: I mean, obviously we're playing the Nirvana song, But do

482
00:22:53,480 --> 00:22:56,399
Speaker 2: any of them stick out and and make you that

483
00:22:56,480 --> 00:22:59,440
Speaker 2: you think are like that was a really amazing sounding song.

484
00:22:59,720 --> 00:23:02,199
Speaker 3: Oh, I could go on and on and on. I

485
00:23:02,240 --> 00:23:05,879
Speaker 3: really liked when I first got started, the run DMC stuff,

486
00:23:05,880 --> 00:23:08,880
Speaker 3: the Beastie Boys stuff. I did, all the Metallica records,

487
00:23:08,880 --> 00:23:12,359
Speaker 3: that Deaf def Leppard stuff, the I did a Rush

488
00:23:12,440 --> 00:23:16,520
Speaker 3: album I did, I did two U two albums. I

489
00:23:16,560 --> 00:23:19,800
Speaker 3: did White Zombie album, I did Buckley record I did.

490
00:23:19,880 --> 00:23:21,640
Speaker 2: And I know it's different, but in situations like.

491
00:23:21,640 --> 00:23:23,240
Speaker 3: Chilli Peppers, right Chili Peppers record?

492
00:23:23,400 --> 00:23:25,800
Speaker 2: Right with with with the Chili Peppers or with you two?

493
00:23:26,240 --> 00:23:28,440
Speaker 2: Like does Bono come into the studio and sit there

494
00:23:28,440 --> 00:23:28,760
Speaker 2: with you?

495
00:23:28,840 --> 00:23:31,439
Speaker 3: Absolutely? In those days he was there for We did it.

496
00:23:31,440 --> 00:23:33,440
Speaker 3: We did one project. I thought it was one of

497
00:23:33,480 --> 00:23:35,800
Speaker 3: the best albums. It was called Pop And they had

498
00:23:35,800 --> 00:23:38,600
Speaker 3: worked on this record for over like a year, more

499
00:23:38,640 --> 00:23:41,359
Speaker 3: than a year, and they had a tour plan, so

500
00:23:41,440 --> 00:23:43,960
Speaker 3: they they came into the studio and they were not

501
00:23:44,160 --> 00:23:46,960
Speaker 3: quite finished with everything, but they had to get it

502
00:23:47,080 --> 00:23:50,119
Speaker 3: mastered and finished so the band could go on tour wow.

503
00:23:50,280 --> 00:23:52,840
Speaker 3: And so they had all these tour dates planned exactly

504
00:23:52,920 --> 00:23:55,680
Speaker 3: after the mastering was done. So they we spent two

505
00:23:55,720 --> 00:23:58,720
Speaker 3: weeks together almost every day. We went out, we had

506
00:23:59,080 --> 00:24:01,120
Speaker 3: we went out, had drinks, we partied a bit.

507
00:24:01,119 --> 00:24:03,320
Speaker 2: Were you were you thinking it all starstruck that this

508
00:24:03,400 --> 00:24:04,800
Speaker 2: is Bono or did you just say, like, this is

509
00:24:04,840 --> 00:24:05,680
Speaker 2: a normal guy.

510
00:24:06,040 --> 00:24:08,800
Speaker 3: You know, at the end, I just it's a normal guy.

511
00:24:08,960 --> 00:24:11,920
Speaker 3: I mean, after the after the the gloss of wow,

512
00:24:11,960 --> 00:24:14,800
Speaker 3: he's pretty famous, goes away and you've been spending all

513
00:24:14,800 --> 00:24:17,280
Speaker 3: the time just regular old people, you know, they're not

514
00:24:17,320 --> 00:24:18,359
Speaker 3: more than regular people.

515
00:24:18,640 --> 00:24:19,520
Speaker 2: And yeah, we we.

516
00:24:19,720 --> 00:24:22,199
Speaker 3: It was in New York and they had they rented

517
00:24:22,200 --> 00:24:25,440
Speaker 3: out a big hotel downtown and they would have dinners

518
00:24:25,520 --> 00:24:28,160
Speaker 3: and parties and stuff where everybody was invited. The whole

519
00:24:28,160 --> 00:24:31,520
Speaker 3: crew was there. Producer named Flood was doing it, and

520
00:24:31,560 --> 00:24:33,440
Speaker 3: a bunch of the big Mixture, Spike Stanton and all

521
00:24:33,480 --> 00:24:35,840
Speaker 3: those guys were all showed up and and it was

522
00:24:35,960 --> 00:24:38,119
Speaker 3: it was so much fun, cool, And at the end

523
00:24:38,119 --> 00:24:40,679
Speaker 3: of the week we finished the record, and then a

524
00:24:40,720 --> 00:24:42,280
Speaker 3: week later they were on tour.

525
00:24:42,480 --> 00:24:45,399
Speaker 2: That's unreal World Tour, and then the record is, you know,

526
00:24:45,440 --> 00:24:48,320
Speaker 2: going up the charts, the one you just still did,

527
00:24:48,520 --> 00:24:49,800
Speaker 2: Sergel Simpson, Right.

528
00:24:49,720 --> 00:24:53,200
Speaker 3: I just finished the Surgel Simpson album. Wow. And I didn't.

529
00:24:53,280 --> 00:24:55,280
Speaker 3: I don't even like I didn't. I had no idea

530
00:24:55,320 --> 00:24:56,919
Speaker 3: what it was. I do a lot of work for

531
00:24:56,960 --> 00:25:00,080
Speaker 3: the band Black Keys, so they had they had I

532
00:25:00,080 --> 00:25:01,720
Speaker 3: don't know if they cold produce it or they did

533
00:25:01,760 --> 00:25:03,680
Speaker 3: it at their studio. So they called me and said,

534
00:25:04,000 --> 00:25:06,000
Speaker 3: I got something for you, but we're going to send

535
00:25:06,040 --> 00:25:08,000
Speaker 3: you a bunch of stuff and see if we like it.

536
00:25:08,080 --> 00:25:10,359
Speaker 2: So the process just so that we will wrap this

537
00:25:10,440 --> 00:25:11,520
Speaker 2: up here because I know we got to get to

538
00:25:11,520 --> 00:25:13,359
Speaker 2: a commercial break in a little bit. But you know,

539
00:25:13,600 --> 00:25:16,520
Speaker 2: the morning looks like for Howie, you pop downstairs because

540
00:25:16,520 --> 00:25:18,000
Speaker 2: you work from home. Right, you got a studio and the.

541
00:25:18,400 --> 00:25:21,160
Speaker 3: Yeah, I mean I I got it made.

542
00:25:21,359 --> 00:25:24,520
Speaker 2: Yeah, it's a cool it's a cool compound. But you

543
00:25:24,600 --> 00:25:27,159
Speaker 2: put on some tea. Then you go upstairs to the

544
00:25:27,200 --> 00:25:30,840
Speaker 2: studio express man or have some coffee and you get

545
00:25:31,040 --> 00:25:33,440
Speaker 2: sort of in the zone. You put the song up

546
00:25:33,640 --> 00:25:35,399
Speaker 2: on the computer and then you run it through all

547
00:25:35,480 --> 00:25:38,639
Speaker 2: your your vintage gear and your computer, all the things.

548
00:25:38,960 --> 00:25:40,920
Speaker 2: You try this, you try that, and then you kind

549
00:25:40,920 --> 00:25:43,040
Speaker 2: of get it to a point where it starts to

550
00:25:43,040 --> 00:25:47,560
Speaker 2: feel good exactly, and only you know that, only your

551
00:25:47,600 --> 00:25:51,040
Speaker 2: your ears are able to identify when that is to

552
00:25:51,160 --> 00:25:51,680
Speaker 2: your level.

553
00:25:51,960 --> 00:25:55,919
Speaker 3: Absolutely hit it on the nose, and it's all some

554
00:25:55,960 --> 00:25:58,600
Speaker 3: of the some of the projects really fast. Some you

555
00:25:58,680 --> 00:26:01,360
Speaker 3: have to really have to tune in on some of them.

556
00:26:01,760 --> 00:26:04,240
Speaker 3: Play it right away. Wow, this sounds great. I know

557
00:26:04,280 --> 00:26:07,280
Speaker 3: exactly what knob here this took. I got have five hundred.

558
00:26:07,520 --> 00:26:09,760
Speaker 3: I gotta have a thousand knobs on the desk, but

559
00:26:09,920 --> 00:26:13,880
Speaker 3: only fifty are good. Oh yeah, man, fifty are good

560
00:26:13,880 --> 00:26:15,040
Speaker 3: for the project.

561
00:26:14,560 --> 00:26:16,320
Speaker 2: Exactly because it's all. And then the fact that you've

562
00:26:16,320 --> 00:26:17,920
Speaker 2: done this for so long and you've done so many

563
00:26:18,040 --> 00:26:18,400
Speaker 2: maybe one.

564
00:26:18,359 --> 00:26:22,320
Speaker 3: Hundred work after that, So it's it's a it's really

565
00:26:23,840 --> 00:26:26,520
Speaker 3: I guess it's experience counts.

566
00:26:27,080 --> 00:26:29,120
Speaker 2: Now for people who are making music, maybe more at

567
00:26:29,119 --> 00:26:31,600
Speaker 2: my level, and people who are recording in their houses. Well,

568
00:26:31,640 --> 00:26:33,600
Speaker 2: thank you, but people are recording in their homes.

569
00:26:33,840 --> 00:26:33,959
Speaker 3: Uh.

570
00:26:34,160 --> 00:26:39,320
Speaker 2: There's always the fun of digital plugins, things that you

571
00:26:39,359 --> 00:26:42,199
Speaker 2: can use in your in your recording software, some of

572
00:26:42,200 --> 00:26:45,720
Speaker 2: which now are emulating your process absolutely.

573
00:26:45,800 --> 00:26:48,080
Speaker 3: And I'm glad you said that because at this day

574
00:26:48,119 --> 00:26:51,280
Speaker 3: and age, we're different right now, we're in twenty would

575
00:26:51,280 --> 00:26:55,439
Speaker 3: be twenty twenty six tomorrow. Yeah, unbelievable. I mean, we

576
00:26:55,520 --> 00:26:58,960
Speaker 3: have gone so far in the world of digital. It's

577
00:26:59,160 --> 00:27:02,439
Speaker 3: you know, it's I could when I thought about it,

578
00:27:02,600 --> 00:27:05,560
Speaker 3: when digitally finally really showed up, like twenty five thirty

579
00:27:05,640 --> 00:27:08,280
Speaker 3: years ago, to be where we are today, I'm amazed,

580
00:27:08,840 --> 00:27:11,760
Speaker 3: you could. You know, the analog stuff is really good,

581
00:27:11,760 --> 00:27:14,240
Speaker 3: but the digital stuff emulates all the analog stuff, the

582
00:27:14,280 --> 00:27:19,040
Speaker 3: isotope stuff, all the all the slate plug ins, all

583
00:27:19,080 --> 00:27:23,600
Speaker 3: the plug in alliance. You the plug ins are so

584
00:27:23,800 --> 00:27:28,280
Speaker 3: good now that now that basically anybody it's now it's

585
00:27:28,280 --> 00:27:30,800
Speaker 3: it's a term. It's we've gotten down to skill a

586
00:27:30,840 --> 00:27:31,920
Speaker 3: skill set, right.

587
00:27:31,920 --> 00:27:34,520
Speaker 2: It's taste. Everyone has the ability to have the the

588
00:27:34,880 --> 00:27:37,919
Speaker 2: the equipment right or a version of it on the computer.

589
00:27:38,119 --> 00:27:40,120
Speaker 2: Now it's like how good are your ears? How well

590
00:27:40,160 --> 00:27:40,919
Speaker 2: do you know how to use it?

591
00:27:41,000 --> 00:27:42,800
Speaker 3: Also, had had to make a hit song and how

592
00:27:42,840 --> 00:27:44,800
Speaker 3: to make it sound like a hit and how to

593
00:27:45,600 --> 00:27:47,840
Speaker 3: you know, because budgets are not what they used to be,

594
00:27:47,920 --> 00:27:49,520
Speaker 3: and they're really you know a lot of them are

595
00:27:49,560 --> 00:27:52,080
Speaker 3: really small. So a lot of people are making records

596
00:27:52,119 --> 00:27:54,280
Speaker 3: at home. They're recording them at home, mixing it at home,

597
00:27:54,760 --> 00:27:58,120
Speaker 3: and they're fantastic. Yeah, and I get it, and they

598
00:27:57,920 --> 00:27:59,720
Speaker 3: they they like to hire me at the end because

599
00:27:59,800 --> 00:28:03,199
Speaker 3: I'm I'm the last guy. I'm not crazy expensive. I mean,

600
00:28:03,240 --> 00:28:06,120
Speaker 3: I'm not cheap, but they can harm me. And they

601
00:28:06,240 --> 00:28:09,440
Speaker 3: know after I'm finished mastering that record, that's going to

602
00:28:09,480 --> 00:28:11,919
Speaker 3: be a competitive sounding record.

603
00:28:12,240 --> 00:28:15,320
Speaker 2: Well said, Howie, Thank you for being here. The website

604
00:28:15,440 --> 00:28:18,840
Speaker 2: is Howie Weinberg Mastering dot com. You can find him

605
00:28:18,960 --> 00:28:22,680
Speaker 2: on Instagram, Howie the Master. H O W I E

606
00:28:23,200 --> 00:28:25,439
Speaker 2: Howie H O W I E W E I N

607
00:28:25,560 --> 00:28:28,160
Speaker 2: B E r G mastering dot com. You're the best.

608
00:28:28,200 --> 00:28:30,800
Speaker 2: Thank you so much for being here and and congratulations

609
00:28:30,800 --> 00:28:32,479
Speaker 2: on all the all the cool stuff that you've been

610
00:28:32,480 --> 00:28:32,879
Speaker 2: able to do.

611
00:28:33,040 --> 00:28:33,560
Speaker 3: More to come.

612
00:28:34,000 --> 00:28:34,879
Speaker 2: I love love to.

613
00:28:34,880 --> 00:28:36,800
Speaker 3: Hear it back again. Part one.

614
00:28:37,000 --> 00:28:41,440
Speaker 6: All right, you're listening to Tim Conway Junior on demand

615
00:28:41,680 --> 00:28:43,760
Speaker 6: from kf I A M six forty.

616
00:28:45,240 --> 00:28:47,800
Speaker 2: Andy Reesmeyer here in for Tim Conway Junior on The

617
00:28:47,800 --> 00:28:53,640
Speaker 2: Conway Show alongside FOOJ, Croche, Angel the whole crew except

618
00:28:53,640 --> 00:28:58,000
Speaker 2: for Conway and Bellia. So like a lot of the

619
00:28:58,040 --> 00:29:01,000
Speaker 2: crew is that's a pretty signal part of the crew,

620
00:29:02,120 --> 00:29:02,680
Speaker 2: you know, what I mean.

621
00:29:03,600 --> 00:29:09,000
Speaker 7: Yeah, well, Tim is, let's not get carried away.

622
00:29:09,120 --> 00:29:12,880
Speaker 2: Oh my god, this is fighting words. Angel. You don't

623
00:29:13,320 --> 00:29:16,560
Speaker 2: saying something in such a nice way doesn't make it

624
00:29:16,600 --> 00:29:17,440
Speaker 2: any less mean.

625
00:29:18,320 --> 00:29:21,360
Speaker 7: Oh, come on, that smiles didn't knock some of that town.

626
00:29:21,480 --> 00:29:23,720
Speaker 2: It did. Actually, I'm like, I can't, I no, don't

627
00:29:23,760 --> 00:29:25,600
Speaker 2: know how it is. Hey, how are the roads going

628
00:29:25,600 --> 00:29:28,680
Speaker 2: out on tonight for people who are maybe traveling coming

629
00:29:28,680 --> 00:29:31,600
Speaker 2: home for the Christmas holiday? Or are they done? Is

630
00:29:31,600 --> 00:29:32,000
Speaker 2: it over?

631
00:29:32,680 --> 00:29:35,200
Speaker 7: You know, it's it's kind of it's a little lighter today.

632
00:29:35,200 --> 00:29:39,040
Speaker 7: It's not your usual you know, drive home at night.

633
00:29:39,120 --> 00:29:42,120
Speaker 7: But things are pretty crowded out there. I'm surprised at

634
00:29:42,120 --> 00:29:44,760
Speaker 7: how busy the CA Home Pass has been over this

635
00:29:44,840 --> 00:29:48,240
Speaker 7: past week, like both directions heading into the high Desert

636
00:29:48,240 --> 00:29:50,280
Speaker 7: and coming down from the desert. Guess a lot of

637
00:29:50,280 --> 00:29:53,560
Speaker 7: people probably you know, heading out to Vegas and coming

638
00:29:53,600 --> 00:29:54,320
Speaker 7: back from Vegas.

639
00:29:54,360 --> 00:29:56,800
Speaker 2: I would, ama, Oh, that's a good point. Do you

640
00:29:56,840 --> 00:29:58,920
Speaker 2: think also that there's because there was a lot of

641
00:29:59,320 --> 00:30:03,080
Speaker 2: weather up there, people got out maybe beforehand.

642
00:30:02,600 --> 00:30:06,040
Speaker 7: Or well I would, yeah, I.

643
00:30:06,000 --> 00:30:07,200
Speaker 2: Would, yeah, of course.

644
00:30:08,040 --> 00:30:09,680
Speaker 7: Hey, Anty, I wanted to ask you something.

645
00:30:09,760 --> 00:30:10,200
Speaker 2: What's up?

646
00:30:11,080 --> 00:30:13,440
Speaker 7: Howie mentioned that you make music.

647
00:30:13,720 --> 00:30:17,040
Speaker 2: I do. Let's hear some I do, I I will,

648
00:30:17,200 --> 00:30:19,560
Speaker 2: we'll have we'll have to pull it up. Maybe. I

649
00:30:19,600 --> 00:30:21,640
Speaker 2: was in a band for many years called the Working Hour,

650
00:30:22,080 --> 00:30:24,480
Speaker 2: and then that that didn't work out. I moved to

651
00:30:24,560 --> 00:30:27,840
Speaker 2: La to be in to do music. And my fallback

652
00:30:27,880 --> 00:30:30,800
Speaker 2: career was a couple of hits on television and then

653
00:30:30,800 --> 00:30:32,960
Speaker 2: filling in for radio, and so you know, it worked

654
00:30:32,960 --> 00:30:35,280
Speaker 2: out for me in that way. But I'm in it.

655
00:30:35,320 --> 00:30:36,960
Speaker 2: I do. I do a group called Andy in the

656
00:30:37,040 --> 00:30:39,440
Speaker 2: Valley and we have a couple of songs out and

657
00:30:39,440 --> 00:30:41,320
Speaker 2: and it's fun. It's sort of like for people who

658
00:30:41,400 --> 00:30:45,160
Speaker 2: like Tom Petty's eighties stuff, but it's just not as

659
00:30:45,160 --> 00:30:48,480
Speaker 2: good obviously. But I will pull them up and we'll

660
00:30:48,480 --> 00:30:49,200
Speaker 2: play a little bit later.

661
00:30:49,200 --> 00:30:49,440
Speaker 6: Maybe.

662
00:30:49,560 --> 00:30:50,560
Speaker 7: Yeah, I'd love to hear it.

663
00:30:50,640 --> 00:30:53,520
Speaker 2: Thank you. Wow, that's nice. I have to venmo Angel

664
00:30:53,560 --> 00:30:56,680
Speaker 2: now twenty five dollars for the that's right. Well for them,

665
00:30:56,760 --> 00:30:59,560
Speaker 2: we could no tax, just straight, no tex, just straight okay.

666
00:30:59,600 --> 00:31:01,760
Speaker 2: But because you can't report it's six hundred dollars is

667
00:31:01,800 --> 00:31:02,880
Speaker 2: the limit before you have to report it?

668
00:31:02,960 --> 00:31:03,160
Speaker 6: Right?

669
00:31:04,560 --> 00:31:07,600
Speaker 7: I think so, Well, you can just hit six hundred

670
00:31:07,760 --> 00:31:08,440
Speaker 7: couple of times.

671
00:31:08,600 --> 00:31:10,400
Speaker 2: Oh, just do it separately. Well, also, I could do

672
00:31:10,440 --> 00:31:11,680
Speaker 2: one now and then I have to do it again

673
00:31:11,680 --> 00:31:13,120
Speaker 2: at the beginning of the year, because I think that

674
00:31:13,120 --> 00:31:17,920
Speaker 2: that's those are taxed different different years. Okay, gotcha, Welcome

675
00:31:17,920 --> 00:31:21,200
Speaker 2: back to tax Talk on kfive AM six forty. Usually

676
00:31:21,240 --> 00:31:23,000
Speaker 2: I saved this kind of stuff for the weekend show,

677
00:31:23,040 --> 00:31:25,880
Speaker 2: but no, we're getting into ten ninety nine W Two's

678
00:31:27,440 --> 00:31:29,320
Speaker 2: that's it. I don't know any more than that I

679
00:31:29,680 --> 00:31:32,880
Speaker 2: have not made enough money to have taxes beyond the

680
00:31:32,920 --> 00:31:36,360
Speaker 2: regular world W two. I have a response from Michael Angaro,

681
00:31:36,720 --> 00:31:40,920
Speaker 2: the owner of the San Pedro Fish Market. Remember our question,

682
00:31:42,040 --> 00:31:44,160
Speaker 2: do fish have a smell when they are alive? He

683
00:31:44,240 --> 00:31:47,240
Speaker 2: says not really. The smell is typically because they're no

684
00:31:47,280 --> 00:31:51,600
Speaker 2: longer fresh to eat because they dead too long exclamation point,

685
00:31:51,640 --> 00:31:54,560
Speaker 2: exclamation point. They smell more, right, they smell more like

686
00:31:54,560 --> 00:31:58,080
Speaker 2: the ocean when they're alive. Sorry for the later response

687
00:31:58,280 --> 00:32:02,600
Speaker 2: was driving Michael and Gara San Pedro Fish Market. That's

688
00:32:02,600 --> 00:32:03,760
Speaker 2: close to you, Angel.

689
00:32:05,080 --> 00:32:08,640
Speaker 7: Kind kind of yeah, yeah, close to the Long Beach

690
00:32:08,680 --> 00:32:09,520
Speaker 7: studios for sure.

691
00:32:09,600 --> 00:32:13,680
Speaker 2: Yeah. Closer to you than me than we are, which

692
00:32:13,720 --> 00:32:16,440
Speaker 2: I think is important to say because this whole, this

693
00:32:16,480 --> 00:32:18,600
Speaker 2: whole map here is a is a big distance That

694
00:32:18,680 --> 00:32:21,080
Speaker 2: place is amazing though. I mean they still have two

695
00:32:21,200 --> 00:32:25,200
Speaker 2: hour lines there on the weekend to get a big

696
00:32:25,200 --> 00:32:28,720
Speaker 2: old plate of fish at San Pedro Fish Market. Good

697
00:32:28,840 --> 00:32:29,480
Speaker 2: good stuff.

698
00:32:31,480 --> 00:32:33,200
Speaker 3: It's so much fun there, it is.

699
00:32:33,280 --> 00:32:36,640
Speaker 2: It is really cool. And I I think that that

700
00:32:36,960 --> 00:32:40,240
Speaker 2: even if you get the seasoning, you know they sell

701
00:32:40,280 --> 00:32:43,240
Speaker 2: it now, you can get like the fish rub. Oh wow,

702
00:32:43,600 --> 00:32:45,760
Speaker 2: you got fish smell and fish rub on this show.

703
00:32:46,360 --> 00:32:46,680
Speaker 7: Nice.

704
00:32:46,800 --> 00:32:49,040
Speaker 2: Let me tell you. It is the end of an

705
00:32:49,040 --> 00:32:52,800
Speaker 2: era in New York City. The metro card is done.

706
00:32:53,960 --> 00:32:55,400
Speaker 2: And the reason I wanted to talk about this is

707
00:32:55,440 --> 00:32:58,280
Speaker 2: because obviously it affects us not at all, but I

708
00:32:58,320 --> 00:33:01,080
Speaker 2: think that they have this weird sense of pride in

709
00:33:01,120 --> 00:33:04,520
Speaker 2: New York about their metro cards. There's that Metro Card

710
00:33:04,640 --> 00:33:10,560
Speaker 2: Conversation show on Instagram where this unfortunate comedian, unfortunate looking

711
00:33:10,560 --> 00:33:14,040
Speaker 2: comedian is talking to attractive women on the subway and

712
00:33:14,080 --> 00:33:17,320
Speaker 2: the microphones that they're holding are the little metro cards.

713
00:33:17,360 --> 00:33:19,080
Speaker 2: Do you know what I'm talking about? Have you seen this? Yes,

714
00:33:19,720 --> 00:33:24,400
Speaker 2: it's pretty funny, but they're getting rid of it.

715
00:33:26,360 --> 00:33:28,920
Speaker 4: What the ones I've seen, I think, I like, mostly

716
00:33:28,960 --> 00:33:30,480
Speaker 4: out of New York, but yeah, yeah, no, they're all

717
00:33:30,520 --> 00:33:33,040
Speaker 4: New York ethan Hawk is is it a big one?

718
00:33:33,040 --> 00:33:35,160
Speaker 4: I talks about like the Beatles and the ads. Oh

719
00:33:35,200 --> 00:33:37,320
Speaker 4: that's cool, yeah, yeah, philosophical, awesome stuff.

720
00:33:37,360 --> 00:33:40,280
Speaker 2: It's interviews with people on the subway and they're they're

721
00:33:40,320 --> 00:33:42,360
Speaker 2: talking into the metro cards and it's like metro Card.

722
00:33:42,360 --> 00:33:43,560
Speaker 2: I don't know what the show is called. It's like

723
00:33:43,640 --> 00:33:48,120
Speaker 2: Metro Card Conversations or something like that. Listen. I can't

724
00:33:48,160 --> 00:33:53,200
Speaker 2: know everything. And you know they're going they're going away

725
00:33:53,240 --> 00:33:57,480
Speaker 2: with these cards because obviously the cards degrade over time.

726
00:33:57,520 --> 00:33:59,160
Speaker 2: They have that little metal strip in the back, but

727
00:33:59,200 --> 00:33:59,959
Speaker 2: it doesn't work a lot.

728
00:34:00,680 --> 00:34:01,560
Speaker 3: Subway takes.

729
00:34:02,120 --> 00:34:04,800
Speaker 2: Subway takes. Is that what it's called it? Apparently that's

730
00:34:04,800 --> 00:34:06,520
Speaker 2: a pretty good name. So they're okay, they're in the

731
00:34:06,520 --> 00:34:08,479
Speaker 2: clear because if the metro card goes away, they still

732
00:34:08,480 --> 00:34:09,719
Speaker 2: they don't have to change their branding now.

733
00:34:09,719 --> 00:34:12,279
Speaker 4: At least it's one guy who's who's most famously doing it.

734
00:34:12,320 --> 00:34:14,839
Speaker 2: I think that's the guy that sounds right, and he's

735
00:34:14,840 --> 00:34:17,400
Speaker 2: pretty good. He's got some smart some smart tape. It's

736
00:34:17,400 --> 00:34:18,960
Speaker 2: just a very New York show. And every time I

737
00:34:19,000 --> 00:34:20,920
Speaker 2: see it and everyone, the way they talk and they're

738
00:34:21,000 --> 00:34:22,960
Speaker 2: povs on things, they're just very New York. It's very

739
00:34:23,000 --> 00:34:26,000
Speaker 2: not Los Angeles. You couldn't do that show in LA, yeah,

740
00:34:26,040 --> 00:34:28,600
Speaker 2: because it would be like a zombie apocalypse show. You know.

741
00:34:28,680 --> 00:34:30,680
Speaker 2: You'd have two influencers sitting there on the on the

742
00:34:31,360 --> 00:34:34,759
Speaker 2: on the subway and the Metro, the Red line going

743
00:34:34,840 --> 00:34:37,520
Speaker 2: up through downtown towards the Universal City, and then some

744
00:34:37,600 --> 00:34:40,319
Speaker 2: guy would be coming over who was just like like

745
00:34:40,400 --> 00:34:41,799
Speaker 2: walking and peeing at the same time.

746
00:34:42,000 --> 00:34:45,160
Speaker 4: Yeah, you can't have that that that same social interaction

747
00:34:45,239 --> 00:34:46,799
Speaker 4: here in LA that you can have in New York.

748
00:34:46,880 --> 00:34:47,520
Speaker 2: No, not at all.

749
00:34:47,600 --> 00:34:51,560
Speaker 4: The people on the on the public transit systems here

750
00:34:51,560 --> 00:34:52,640
Speaker 4: in LA, they won't have it.

751
00:34:52,760 --> 00:34:54,399
Speaker 2: No, And there was a lot of time, I think

752
00:34:54,440 --> 00:34:57,000
Speaker 2: in my early LA days. I moved here when I

753
00:34:57,000 --> 00:34:59,160
Speaker 2: was like twenty two, so I know, I know most

754
00:34:59,160 --> 00:35:01,320
Speaker 2: people think I'm only seventeen, but I've been here for

755
00:35:01,360 --> 00:35:05,160
Speaker 2: about fifteen years, and I was thinking about moving to

756
00:35:05,200 --> 00:35:07,360
Speaker 2: New York because things just weren't happening with the band.

757
00:35:07,680 --> 00:35:12,439
Speaker 2: Music wasn't working, and I was feeling good about going there.

758
00:35:12,480 --> 00:35:14,200
Speaker 2: So I went and visited, and I kind of got

759
00:35:14,239 --> 00:35:15,960
Speaker 2: some ideas in my head that I was going to

760
00:35:16,000 --> 00:35:18,080
Speaker 2: be that guy who like moved to New York and

761
00:35:18,160 --> 00:35:21,120
Speaker 2: rode the subway. And so I'm on the train and

762
00:35:21,160 --> 00:35:22,480
Speaker 2: I'm riding up because I want to go to some

763
00:35:22,600 --> 00:35:24,839
Speaker 2: museum or something, and I don't know anything about New York.

764
00:35:24,840 --> 00:35:26,880
Speaker 2: And quickly I realized that I'm maybe in an area

765
00:35:27,120 --> 00:35:29,680
Speaker 2: where I shouldn't have been, because a guy, a fella

766
00:35:29,760 --> 00:35:33,279
Speaker 2: to the next seat over next to me just told me,

767
00:35:33,360 --> 00:35:36,120
Speaker 2: in no uncertain terms, straight to my face that he

768
00:35:36,239 --> 00:35:39,839
Speaker 2: planned on killing me right there to just was gonna

769
00:35:39,920 --> 00:35:43,439
Speaker 2: kill me. And I was like, oh crazy that. Well,

770
00:35:43,560 --> 00:35:45,960
Speaker 2: I was not planning on that for today. And I'm okay,

771
00:35:46,600 --> 00:35:48,480
Speaker 2: I'm all right on the killing for today. So I

772
00:35:49,360 --> 00:35:51,600
Speaker 2: got off at the next stop. I stepped up, got

773
00:35:51,600 --> 00:35:54,160
Speaker 2: off of the next stop, I went out of the

774
00:35:54,880 --> 00:35:59,400
Speaker 2: train station, and I came back in. But I realized

775
00:35:59,440 --> 00:36:01,960
Speaker 2: that everything he's very confusing there, right, especially if you're

776
00:36:02,000 --> 00:36:04,239
Speaker 2: not a local. I came back in and I was

777
00:36:04,280 --> 00:36:06,400
Speaker 2: going the wrong direction, so I was like, oh, I

778
00:36:06,400 --> 00:36:08,640
Speaker 2: got to go back out. So I went scanned back out,

779
00:36:08,840 --> 00:36:10,879
Speaker 2: and I tried to come back in. But the way

780
00:36:10,920 --> 00:36:13,239
Speaker 2: that they have the system, it's like the parking garage here,

781
00:36:13,239 --> 00:36:15,799
Speaker 2: where you can't scan in and out because they know

782
00:36:15,920 --> 00:36:18,880
Speaker 2: that you're trying to basically get back in too quickly

783
00:36:18,920 --> 00:36:21,200
Speaker 2: from when you've scanned out. They think that you're you

784
00:36:21,239 --> 00:36:22,960
Speaker 2: gave it to somebody else, you know, your card to

785
00:36:23,000 --> 00:36:24,920
Speaker 2: somebody else, so they won't let you in. So what

786
00:36:25,000 --> 00:36:29,320
Speaker 2: did I do? I just hopped the turnstyle right. Almost

787
00:36:29,400 --> 00:36:34,680
Speaker 2: immediately a guy in a like a beanie. He looked

788
00:36:34,719 --> 00:36:37,520
Speaker 2: like he was like a a like how on Law

789
00:36:37,560 --> 00:36:40,520
Speaker 2: and Order when someone, uh is dressed up as a

790
00:36:40,520 --> 00:36:43,280
Speaker 2: homeless person, the undercover you know, yeah, he was undercover.

791
00:36:43,640 --> 00:36:45,319
Speaker 2: He's like dressed up like a homeless person. He had

792
00:36:45,360 --> 00:36:49,400
Speaker 2: like fingerless gloves, a beanie. Uh, it's I don't know

793
00:36:49,400 --> 00:36:51,800
Speaker 2: what it was. It was just like it was so silly.

794
00:36:52,239 --> 00:36:54,080
Speaker 2: And he came up to me and he shoved me

795
00:36:54,160 --> 00:36:57,919
Speaker 2: up against the great No and he's like where you going?

796
00:36:58,000 --> 00:36:58,160
Speaker 5: You know?

797
00:36:58,160 --> 00:36:59,400
Speaker 2: It was like like I felt like I was into

798
00:36:59,440 --> 00:37:02,080
Speaker 2: Billy Joel's or something and it was so New York

799
00:37:02,360 --> 00:37:03,120
Speaker 2: and he yelled at.

800
00:37:03,040 --> 00:37:04,879
Speaker 3: Me Billy Joel song.

801
00:37:05,600 --> 00:37:10,239
Speaker 2: Mostly, yeah, everybody knows those Billy Joel songs where all

802
00:37:10,239 --> 00:37:14,680
Speaker 2: those guys are getting shaken down by undercover cops. Listen,

803
00:37:14,719 --> 00:37:18,200
Speaker 2: if you go on the deep cuts, if you go

804
00:37:18,280 --> 00:37:23,960
Speaker 2: glasshouses like the Deluxe Edition Tex song. For some reason,

805
00:37:23,960 --> 00:37:26,040
Speaker 2: That's what I was thinking of. Yeah, the moving Out

806
00:37:26,040 --> 00:37:29,279
Speaker 2: Anthony's song. And and this guy just I mean he

807
00:37:29,360 --> 00:37:32,719
Speaker 2: had to be five five feet tall at five feet

808
00:37:32,760 --> 00:37:35,440
Speaker 2: probably two fifty. He was a big little boy. And

809
00:37:35,680 --> 00:37:37,360
Speaker 2: he had me up against the wall and I was

810
00:37:37,360 --> 00:37:39,920
Speaker 2: like a cartoon where my arms, you know, I was,

811
00:37:40,000 --> 00:37:42,920
Speaker 2: I was up, My feet were like dangling down below him.

812
00:37:43,200 --> 00:37:47,200
Speaker 2: He's like shaking me down for my lunch money. I'm exactly.

813
00:37:47,400 --> 00:37:48,799
Speaker 2: And I was like, he was like, what are you

814
00:37:48,840 --> 00:37:50,799
Speaker 2: doing trying to get I was like, I truly just

815
00:37:50,800 --> 00:37:53,040
Speaker 2: said to him, I don't know what I'm doing. I

816
00:37:53,080 --> 00:37:57,719
Speaker 2: live in Los Angeles, Oh all right? And he let

817
00:37:57,760 --> 00:38:02,960
Speaker 2: me go. It was like get out of here. And

818
00:38:02,960 --> 00:38:06,760
Speaker 2: and I remember getting back to I think the Grand

819
00:38:06,800 --> 00:38:11,840
Speaker 2: Central is that what it's called Grand Central Station? Unions,

820
00:38:11,920 --> 00:38:15,839
Speaker 2: no Penstation, whatever it is, I know, I got it, uh,

821
00:38:15,960 --> 00:38:19,120
Speaker 2: And and just sitting there and just like drinking just

822
00:38:19,160 --> 00:38:20,319
Speaker 2: beer after beer, being like I.

823
00:38:20,239 --> 00:38:20,799
Speaker 3: Can't do it.

824
00:38:21,000 --> 00:38:22,839
Speaker 2: I gotta go back to LA I can't be here.

825
00:38:23,280 --> 00:38:25,319
Speaker 2: And that was the end of my trip to New York.

826
00:38:25,840 --> 00:38:31,040
Speaker 2: It's like a Billy Joel, We've got more hot takes

827
00:38:31,080 --> 00:38:32,719
Speaker 2: like that coming up here on the Conway Show. Any

828
00:38:32,760 --> 00:38:34,360
Speaker 2: Reason My're in for Tim Conway Junior. It's k if

829
00:38:34,400 --> 00:38:37,840
Speaker 2: I AM six forty Live everywhere on the iHeartRadio app.

830
00:38:38,680 --> 00:38:42,719
Speaker 1: Conway Show on demand on the iHeart Radio app. Now

831
00:38:42,760 --> 00:38:44,960
Speaker 1: you can always hear us live on k if I

832
00:38:45,040 --> 00:38:48,360
Speaker 1: AM six forty four to seven pm Monday through Friday,

833
00:38:48,440 --> 00:38:52,600
Speaker 1: and anytime on demand on the iHeart Radio app