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Speaker 1: Get in touch with technology with tex Stuff from com

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Speaker 1: Hey there, and welcome to tech Stuff. I'm Jonathan Strickland,

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Speaker 1: and today we're gonna do another behind the scenes here

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Speaker 1: at how stuff works. And of course, since this is

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Speaker 1: tech stuff, we're going to be looking at a technical

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Speaker 1: aspect of it. And to that end, I brought in

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Speaker 1: our super producer, Extraordinar Noel. I Knowel, Jonathan, Thanks for

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Speaker 1: having me. Yeah. Normally you are on the other side

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Speaker 1: of a window in our our podcast to you, where

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Speaker 1: a very fancy microphone hovers above your head, sort of

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Speaker 1: like looking into a terrarium or something. Yeah, and you're

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Speaker 1: wearing at least one set of headphones, if not to uh.

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Speaker 1: And while I lost my earbud, so lately I've been

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Speaker 1: having two full sets of headphones on at once and

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Speaker 1: it looks kind of insane to people walking by. Is

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Speaker 1: a little crazy. And and while an episode recording within

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Speaker 1: these walls, you are typically also editing another episode at

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Speaker 1: the same time. It's true. So before we get too

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Speaker 1: far into this, let our listeners know which shows do

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Speaker 1: you edit and produce? Sure, so I do text stuff

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Speaker 1: your other show Forward Thinking. I do stuff you missed

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Speaker 1: in history class. I do stuff to blow your mind.

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Speaker 1: I do stuff they don't want you to know, and

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Speaker 1: I do car stuff. Am I missing anything? I think

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Speaker 1: that's everything? So so really, stuff you should know is

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Speaker 1: the only one. Excuse me, stuff Mom never told you

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Speaker 1: as well. So stuff you should know is like the

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Speaker 1: only one you don't do, the only one I don't do.

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Speaker 1: So so Jerry the Wonder Producer handle stuff you should know.

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Speaker 1: Nole handles everything I do. Guest on Stuff you should

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Speaker 1: know when Jerry's out though, And that's true, I've gotten

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Speaker 1: some very kind shoutouts from the Stuff you should Know Army.

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Speaker 1: They they are They are nothing if not passionate. You know,

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Speaker 1: they really appreciate the work that goes into these shows,

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Speaker 1: as does the tech stuff. Audience were really appreciative of that. So, uh,

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Speaker 1: why don't you walk us through what it's like to

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Speaker 1: produce an episode on your your side of because I've

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Speaker 1: talked extensively a couple of times about what it takes

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Speaker 1: on my side to create an episode. So, whether it's

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Speaker 1: a tech stuff or stuff Mom never told you or whatever,

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Speaker 1: what are the steps that are involved? I mean, we

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Speaker 1: recently got some pretty great new digs are in our

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Speaker 1: new office at Pont City Market, which you know involves

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Speaker 1: for me a much more soundproof environment. We have like

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Speaker 1: an actual studio space that's treated for sound um, both

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Speaker 1: with acoustic tiles and also like in the construction they

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Speaker 1: actually put in some sound dampening material. UM. So there

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Speaker 1: is a window installed, and I'm on the other side

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Speaker 1: of the window with a talkback mike, so I can

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Speaker 1: communicate with the folks that are doing the show. Um

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Speaker 1: case we need to stop or talk about anything. But

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Speaker 1: the most basic show involves more or less just recording

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Speaker 1: everyone and then I record through UM several SM seven

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Speaker 1: B sure microphones, which are actually the very popular for

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Speaker 1: using in like studio work for recording bands. Michael Jackson

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Speaker 1: used them exclusively on Thriller. It's like a really clean,

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Speaker 1: great mike for recording close up and for getting kind

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Speaker 1: of like a really intimate sound. Um. It's what they

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Speaker 1: call it dynamic microphone, whereas a condenser microphone picks things

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Speaker 1: up much farther away. With the dynamic mic you tend

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Speaker 1: to cut down on a lot of room noise and

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Speaker 1: it's just a lot more of a direct kind of

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Speaker 1: intimate sound. So radio in general tend to use dynamic

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Speaker 1: mix in the SM seven is one of the most

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Speaker 1: popular ones. So, yeah, the dynamic mics, and I've talked

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Speaker 1: about this before and tech stuff as well. It's the

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Speaker 1: type where if you get off track of a mic

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Speaker 1: from too far off in either direction, uh, it no

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Speaker 1: longer picks up your your voice as well. And so

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Speaker 1: so if you ever hear like a dramatic drop in

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Speaker 1: someone's volume in a podcast, well, first of all, that

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Speaker 1: rarely happens because we usually will catch it beforehand. But secondly,

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Speaker 1: if it does happen, it's generally because a person who's

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Speaker 1: talking has somehow like leaned too far over or as

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Speaker 1: otherwise they're no longer addressing the mic directly. Condenser mike's

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Speaker 1: pick up things from all over. Like you were saying,

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Speaker 1: I had um for a long time. I was using

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Speaker 1: a condenser mike at home for whenever I had to

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Speaker 1: record stuff at home. And I remember at the time

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Speaker 1: my dogs, if they were running across the floor, you

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Speaker 1: could hear their their nails, their their claws clear. There

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Speaker 1: are things like the air conditioning, just like room tone

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Speaker 1: is amplified significantly, so with these dynamics, you know, as

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Speaker 1: long as you're kind of up close to the mic,

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Speaker 1: you're not going to get as much of that. And

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Speaker 1: then there's also processing that I do after the fact

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Speaker 1: that kind of cuts down some of that. But right, so,

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Speaker 1: so what are you recording into? What? What is what

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Speaker 1: other equipment are you using the sides of the microphones. Yeah,

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Speaker 1: we just got a kind of a new setup since

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Speaker 1: we moved into this new space, which is great. So

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Speaker 1: all the mics are fed through like a cable snake,

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Speaker 1: which is basically just like kind of a thicker cable

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Speaker 1: that can incorporate several microphone lines into one and so

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Speaker 1: that goes through the wall and then it feeds into

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Speaker 1: an APPA g UM quartet, which is a four input

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Speaker 1: UM what they call an audio interface UM a sound

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Speaker 1: interface by the company APAGE, which has been around for

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Speaker 1: a long time and is really known for having excellent

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Speaker 1: analog to digital converters because that that's what's going on

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Speaker 1: when you're taking an analog signal from a mic and

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Speaker 1: then you're plugging it into one of these devices and

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Speaker 1: recording and digitally, it behooves you to have a really

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Speaker 1: good conversion so that you're not losing anything in the process. UM.

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Speaker 1: Then that is going into we use Adobe Audition, which

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Speaker 1: is just a part of the Adobe Creative Suite UM

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Speaker 1: to record and UM. Every every channel of audio goes

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Speaker 1: on its own independent track. So if we have a

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Speaker 1: show like Foward Thinking, where there are three hosts, there

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Speaker 1: are times where the levels may need to be adjusted

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Speaker 1: independently of one another. So having them on their own

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Speaker 1: separate track makes that possible, whereas if it was all

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Speaker 1: recorded in one thing, then it would all be kind

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Speaker 1: of mixed and you would not be able to actually

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Speaker 1: make it. Ustman. It also means if one of us

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Speaker 1: is making like some weird noise that we don't realize,

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Speaker 1: you could actually mute that on that track. Yeah. Uh.

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Speaker 1: And speaking of weird noises, one of the things that

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Speaker 1: we're gonna treat you guys to a little bit later

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Speaker 1: is something that Noel has creatively done with some of

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Speaker 1: the myriad of weird noises that have been produced into

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Speaker 1: these microphones, uh normally unconsciously. And uh, well we'll get

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Speaker 1: to that a little bit later. All right. So the

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Speaker 1: the microphones you've talked about, you've talked about the the processing,

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Speaker 1: the conversion of that from analog to digital, uh, and

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Speaker 1: using Adobe. So once something is recorded, What is your

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Speaker 1: next step? UM, So I don't actually edit the shows

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Speaker 1: on the machine, the computer that I record them on.

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Speaker 1: So I actually, um have a Dropbox account that I use,

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Speaker 1: and so I take all of the files, the individual files,

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Speaker 1: and then I export them to my drop box and

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Speaker 1: then I can access that on my my laptop that

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Speaker 1: I use, so I can edit when I'm in the

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Speaker 1: officer them out and I bring them back into another

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Speaker 1: another instance of Adobe. But I use several um what

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Speaker 1: they call audio plug ins on each track to kind

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Speaker 1: of process and bring up the levels and normalize the

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Speaker 1: levels so that no one's louder significantly louder than anybody else,

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Speaker 1: and use what's called compression to kind of you set

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Speaker 1: basically a compressor. You you set a threshold and you say, I,

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Speaker 1: once the audio reaches this level, I want it to

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Speaker 1: be reduced a little bit. So that kind of is

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Speaker 1: a good way of like making sure everything is sort

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Speaker 1: of operating on the same volume so that something doesn't

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Speaker 1: just pop out all of a sudden and as much

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Speaker 1: louder than something else. So you kind of have an

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Speaker 1: instance of these compressors on every track, and you set

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Speaker 1: a threshold, which is like the maximum volume, and once

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Speaker 1: the audio reaches that level, it kind of like gently,

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Speaker 1: you know, tones it down a little bit, so that

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Speaker 1: like you kind of have an understanding of what the

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Speaker 1: maximum is for everybody, right, yeah, so, uh that is

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Speaker 1: really important with things like a speech like lots of

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Speaker 1: lots of uh spoken word type stuff where you have

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Speaker 1: multiple users. Obviously, with music, it's one of those things

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Speaker 1: that you try to to use in limited amounts because

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Speaker 1: you don't want to. You don't want to. One of

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Speaker 1: the things compression does is it reduces the distance between

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Speaker 1: the softest and loudest moments. And and the more you compress,

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Speaker 1: the more uh, the more say everything gets. Yeah, it's

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Speaker 1: sort of this thing music, which I mean I also

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Speaker 1: produced a lot of my own music um as well. Uh.

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Speaker 1: It's what they call the loudness wars. So like if

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Speaker 1: you opened up an audio track and like put it

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Speaker 1: into Adobe audition where you can actually see it as

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Speaker 1: a wave form, nine times out of ten you're gonna

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Speaker 1: see you know, a wave form typically has a peak

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Speaker 1: and a valley, so like a maximum volume and a

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Speaker 1: minimum volume. But with modern music these days, you kind

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Speaker 1: of tend to see it all is a big giant

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Speaker 1: block because they've compressed it so much that there is

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Speaker 1: no dynamics, so there's hardly any difference between the quietest

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Speaker 1: parts and the loudest parts. With speech, it's more of

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Speaker 1: like a like a band aid. You're kind of just

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Speaker 1: using it to sort of like make sure nothing is

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Speaker 1: unpleasant for someone who's listening to it on on different system.

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Speaker 1: So it's like now, all of a sudden, someone screaming

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Speaker 1: in their ear. With music, it's obviously a different, different problem, right,

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Speaker 1: So so with those wave forms when you're looking at that,

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Speaker 1: I'm assuming, because I've noticed this with a lot of

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Speaker 1: audio engineers, that you can look at a wave form

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Speaker 1: and kind of get an idea of what was an

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Speaker 1: intentional noise versus something that someone's just done accidentally without

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Speaker 1: even having listened to it. Yet. I imagine that happens

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Speaker 1: fairly frequently, like particularly for small things. I know that

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Speaker 1: I work on a podcast outside of work, and often

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Speaker 1: I will be looking at the wave form and one

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Speaker 1: of the first things I want to do is take

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Speaker 1: out any annoying little things that would be distracting in

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Speaker 1: the middle of someone talking um and like someone clicking

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Speaker 1: on keys or something. And I can almost always tell

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Speaker 1: immediately just by the size of the little blip in

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Speaker 1: the way form that like, Yeah, I think I just

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Speaker 1: need to get rid of that. I don't even need

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Speaker 1: to listen to it, because one, I already know it's

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Speaker 1: to be this this noise, and too it kind of

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Speaker 1: creeps me out. So I'm just gonna take that out. Yeah,

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Speaker 1: I mean, like a lot of times, like a click

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Speaker 1: or like a like a somebody slamming their fist down

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Speaker 1: on a table or something, it just looks different visually

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Speaker 1: than like a natural speech pattern would look. So like

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Speaker 1: us we call it kind of like a spike, so

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Speaker 1: like sort of like a momentary spike in the wave form,

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Speaker 1: which kind of just looks like a straight line, whereas

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Speaker 1: you know, a natural pattern of speech where someone's talking

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Speaker 1: and not really stopping, it looks a lot more rounded

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Speaker 1: and kind of like you know, you can definitely tell

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Speaker 1: the difference between the two for sure. Well, then let

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Speaker 1: me ask you this, Uh do you have anything set

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Speaker 1: so that uh, like, are there any threshold set for

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Speaker 1: for for noise where anything below a certain amount just

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Speaker 1: doesn't even get picked up? Yeah, that's that's called that's

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Speaker 1: called a noise gate um, and it can be tricky,

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Speaker 1: and I don't use it on everything, but on forward

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Speaker 1: thinking where there's three mics, it just tends to um

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Speaker 1: introduce this potential to introduce a lot more noise because

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Speaker 1: you've got three open mics and people talking, there's there

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Speaker 1: tends to be bleed on the other mics with what

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Speaker 1: they call it when you hear the you know, the

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Speaker 1: indirect sound of someone talking on one of the nearby mics,

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Speaker 1: on a mic that's not being used. And once you

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Speaker 1: start getting a lot of that, you start getting issues

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Speaker 1: with phase where you start things kind of start to

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Speaker 1: sound a little swishy and weird kind of. So when

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Speaker 1: you use a noise gate, you set a threshold on

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Speaker 1: the low end um whereas the compression you set it

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Speaker 1: more on the high end. So when something falls below

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Speaker 1: a certain threshold, it just kills the channel, it kills

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Speaker 1: the audio. But there's different like um little adjustments you

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Speaker 1: can do so it's not jarring. There's like an attack

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Speaker 1: and a release. So like, for example, you wouldn't want

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Speaker 1: the noise gate to kick in when I just get

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Speaker 1: a little bit quieter. You would want to and even

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Speaker 1: if it did, you would want it to do so

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Speaker 1: kind of gently and not just be like super jarring

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Speaker 1: and like make everything just dead silent. So there's different

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Speaker 1: little parameters that you can mess with the kind of

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Speaker 1: make it a little more natural. So when you are

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Speaker 1: in the editing mode, uh, typically I assume this involves

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Speaker 1: you not just listening for when we mess up and

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Speaker 1: go back and do something again. So you have to

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Speaker 1: there's there's an art to clipping out anything where where

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Speaker 1: we've made a mistake and we've gone back. Not that

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Speaker 1: I do that on tech stuff, but I've heard and

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Speaker 1: some of the other podcasts that happens occasionally where uh,

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Speaker 1: you have to go and take that part out and

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Speaker 1: then you have to essentially have the bit that came

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Speaker 1: right before and the bit that came after mesh togethers. So,

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Speaker 1: so tell me about that process. Is it Is it easy?

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Speaker 1: Is it is it? Does the software do a lot

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Speaker 1: of the work? Is there any massaging you have to do?

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Speaker 1: It really doesn't do any of the work. Like what

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Speaker 1: I do is so I'm looking at like what's called

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Speaker 1: a multitrack view where you have you know, Jonathan's track here,

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Speaker 1: Lawrence track underneath that, and then Joe's track there, and

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Speaker 1: they're all lined up and so you can see when

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Speaker 1: one person is talking and when another person starts, etcetera. UM,

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Speaker 1: So what you have to do is you end up

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Speaker 1: making like if I'm going to cut out a mistake

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Speaker 1: or even just like a cough for like a sound

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Speaker 1: that happens. Maybe you are saying something and you kind

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Speaker 1: of pause, and then maybe you didn't pick up with

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Speaker 1: the very beginning of what you were saying. You just

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Speaker 1: kind of like pick up with what you would have

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Speaker 1: said next. So what I end up doing is I'll

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Speaker 1: make a mark where I want the beginning of the

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Speaker 1: edit to be. This isn't the software, it's just like

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Speaker 1: a digital kind of a locator. So you make a

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Speaker 1: little point and it shows it to you, so you

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Speaker 1: can go back to that and be exactly on that spot.

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Speaker 1: And then I'll make another mark for the end, and

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Speaker 1: then you just cut out what's in between those. But

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Speaker 1: what I end up having to do is like if

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Speaker 1: there's a sound like an S sound or a c

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Speaker 1: H sound that starts it, to make it more natural,

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Speaker 1: I'll try to keep the original starting sound and then

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Speaker 1: edit that into the pick up. Whereas you might have

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Speaker 1: made that S or c H sound again, I'll use

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Speaker 1: the original one and then kind of like cross fade

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Speaker 1: just slightly, which means you take the two bits and

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Speaker 1: you combine them together, but you make it where the

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Speaker 1: beginning of one fades into the next one, so there's

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Speaker 1: no like audio artifact or glitch sound or anything. So

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Speaker 1: so there's a possibility that if you've listened to enough

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Speaker 1: How Stuff Works episodes, you've heard a word where the

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Speaker 1: beginning pronunciation of that word happened minutes before before the

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Speaker 1: rest of that word is spoken. And it sounds weird,

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Speaker 1: but it really does kind of make it a little

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Speaker 1: more naturally because it's like, you know, folks that do

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Speaker 1: these shows and How Stuff Works, they do so many shows,

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Speaker 1: and it's like I try to do anything that I can.

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Speaker 1: They do so much research, anything that I can to

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Speaker 1: make them not have to repeat themselves too much, you know,

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Speaker 1: so rather than like have people go back and say

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Speaker 1: a whole paragraph for a whole sentence again, I try

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Speaker 1: to just let it ride and do what I can

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Speaker 1: to kind of like join it together and make it work.

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Speaker 1: And sometimes it's hard. Sometimes it's there's it just didn't

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Speaker 1: doesn't line up, and I will maybe have to ask

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Speaker 1: someone to come in and give me another word or

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Speaker 1: something right. But typically people don't make too many mistakes.

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Speaker 1: And you know, it's some shows are different than others,

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Speaker 1: like tech stuff. I mean, very few edits in tech stuff,

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Speaker 1: most of it that's been that's been sort of the

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Speaker 1: history of tech stuff. In fact, way back in the day,

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Speaker 1: when Chris and I were doing shows, very often the

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Speaker 1: show that went up was unedited in the sense that

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Speaker 1: nothing we we never stopped went back and fixed things.

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Speaker 1: If we misstated something or mispronounced something, we corrected it

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Speaker 1: within the context of the show and kept going. But

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Speaker 1: the longer that we've done these, the more of those

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Speaker 1: little bits that we've gone back and fixed. It's funny

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Speaker 1: because having being in the position I'm in where I

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Speaker 1: have guest hosts all the time, I get the chance

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Speaker 1: to see every the way people deal with that. Right.

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Speaker 1: Some people are just like, I'm sorry, hang on a second,

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Speaker 1: and then they'll go back into it. Some people will

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Speaker 1: actually market with a beep. Uh. One person in particular,

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Speaker 1: Mr Mr Mr Ben Bolan, he is like religious about

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Speaker 1: that too. He'll forget to do it and then he'll

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Speaker 1: stop himself and go back and do the beep. And

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Speaker 1: I think that is a legacy stuff. You know, Yeah,

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Speaker 1: Josh does it too. Josh doesn't too. Um yeah, because

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Speaker 1: I've I've had Josh in the studio before and he's

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Speaker 1: done a beep before. Uh Me, I don't make mistakes,

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Speaker 1: so I just keep going, Well, it's fun too, because

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Speaker 1: I mean it's it's it's actually really helpful because the

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Speaker 1: beep not only does it jar you out of your

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Speaker 1: editing stupor where you're like, Okay, here's the thing that

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Speaker 1: I need to listen to, it also visually shows up,

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Speaker 1: like we were talking about earlier, as something that's like

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Speaker 1: sort of an anomaly. You start to recognize the beat

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Speaker 1: because it's usually quiet just before and and then there's

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Speaker 1: a little bit of quiet after it. So you've got

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Speaker 1: this little isolated word and you know, oh there's there's something. Uh,

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Speaker 1: let me go check on the recording real quickly, sure

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Speaker 1: this is this is real time, real time checking. Nol's

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Speaker 1: probably gonna be cutting all this out, but I'm going

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Speaker 1: to just keep on whispering because he's actually checking to

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Speaker 1: make sure it's recording, and I'm guessing it is. Are

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Speaker 1: you good? Probably keep that that that's that just shows

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Speaker 1: you know, like, like, well, is the thing is that

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Speaker 1: we don't have anyone sitting on the other side of

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Speaker 1: the window right now because you're in here. So so

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Speaker 1: we're kind of stuck this way and we could have

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Speaker 1: probably asked somebody, but everybody is super slams Friday. Yeah

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Speaker 1: it's a Friday too. Yeah on Friday. You don't want

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Speaker 1: to ask anyone to do any extra work, right, It's

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Speaker 1: it's tough enough that we're here. So uh, let me

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Speaker 1: ask you this, out of all the ones that you do,

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Speaker 1: uh Like, uh, I don't want to call anyone out,

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Speaker 1: so I'm not going to ask you whose shows need

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Speaker 1: the most edits? But is it generally the same across

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Speaker 1: the boarder? Are some of them a little more heavy

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Speaker 1: than others? You know? It kind of averages out, I think,

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Speaker 1: But yeah, there's definitely a few shows that involve a

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Speaker 1: little bit more massaging, you know, because like I said,

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Speaker 1: I mean, there's a lot of research that goes into

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Speaker 1: this stuff, and you just can't really expect people to

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Speaker 1: get it perfectly the first time. And these aren't people

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Speaker 1: aren't like reading scripts either. They're right, they've got note

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Speaker 1: that they've made and bullet points and stuff. So it's

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Speaker 1: really easy to like realize that you could have said

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Speaker 1: something a little bit better because and and and like

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00:18:08,480 --> 00:18:12,280
Speaker 1: the medium allows that, like you know, you're not you're

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Speaker 1: not live streaming, so you're not held to it, So

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Speaker 1: why not make it the best that it can be?

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Speaker 1: And I don't think there's anything dishonest about that. No,

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Speaker 1: I don't think so either. I think ultimately we're trying

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Speaker 1: to create and entertaining an informative podcasts and in that effort,

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Speaker 1: I think it's perfectly cromulent that we take those measures

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Speaker 1: when you use that word, yeah, well, I you know.

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Speaker 1: And again, it's one of those things where I don't

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Speaker 1: have any problem with that. Whenever I work with anybody

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Speaker 1: who does it in that way, it's actually kind of

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Speaker 1: interesting to think, Oh, I have an opportunity to try

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Speaker 1: and get my point across more succinctly, which is my

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Speaker 1: biggest problem. I'm a wordy guy. Uh And clearly that's

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Speaker 1: another issue I can because by being wordy you over

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Speaker 1: complicate things. Case in point, right now, all right, so

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Speaker 1: we've gotten through the point. You've you've gone through, you've

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Speaker 1: done the edits, you've sage some stuff, you've removed any

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Speaker 1: extraneous noises you've you've taken out any mistakes at that point,

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Speaker 1: typically do you do anything else before you send it

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Speaker 1: on for for the various hosts to QA and episode. Well,

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Speaker 1: I mean in the same way that I have these

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Speaker 1: plug ins on the individual tracks, I also have a

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Speaker 1: with a mastering I guess you could call it a

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Speaker 1: plug in on the main bus, which is the master tracks.

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Speaker 1: So it's like you've got these individual tracks and they're

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Speaker 1: all feeding into another like final master volume. So it's

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Speaker 1: the equivalent of like the one knob on your stereo.

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Speaker 1: You're turning that all the way down. It's turning down

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Speaker 1: everything that's coming in, whether it's coming through your CD

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Speaker 1: or your you know, phono jack or whatever. So that's

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Speaker 1: like a master volume master fader in like audio terms.

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Speaker 1: And so what I have on that is an equalizer,

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Speaker 1: which is you know, it divides um the sound up

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Speaker 1: into different frequencies, and I kind of do what's called

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Speaker 1: a high pass, which is where you take um a

401
00:20:01,840 --> 00:20:04,679
Speaker 1: It's like a filter that's sort of cuts out some

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Speaker 1: of the low low low frequencies up to a certain threshold,

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Speaker 1: and like a lot of times that's where a lot

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Speaker 1: of the noise lives. So to kind of like do

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Speaker 1: that to the final mix. It just sort of gives

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Speaker 1: you a little bit of a cleaner, you know, sound

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Speaker 1: with without anything that you're not gonna hear anyway. We're

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Speaker 1: not doing like drum and bass music or like you know,

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Speaker 1: anything with like super poundy low base. So there's no

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Speaker 1: point in even having it in there because it just

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Speaker 1: kind of muddles things up, especially people listening to it

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Speaker 1: on earbuds and on different different devices in their car

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Speaker 1: and things like that. And then I'll have like what's

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Speaker 1: called up it's called a sonic maximizer, which is sort

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Speaker 1: of like a compressor, but it's a little different. But again,

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Speaker 1: you set a threshold and it's sort of like raises

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Speaker 1: the minimum volume of everything up to a certain point,

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Speaker 1: and if the maximum volume exceeds the threshold that you set,

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Speaker 1: it kind of brings it down. So it really is

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Speaker 1: like a compressor, but it's I've always been a little

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Speaker 1: uncertain about what the difference is because it certainly operates

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Speaker 1: like a compressor. But it's called the sonic maximizer, and

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Speaker 1: it's something that you would put like on a final

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Speaker 1: product for like a song, if you were making it

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Speaker 1: so that it kind of like gets as loud as

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Speaker 1: it can be without being too loud or too quiet, right,

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00:21:10,119 --> 00:21:13,399
Speaker 1: And at that point, uh, you typically send us a

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Speaker 1: notice us being the various hosts where you have stored

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Speaker 1: the the now edited file and give us the opportunity

430
00:21:22,200 --> 00:21:24,560
Speaker 1: to listen to it to make sure there's nothing else

431
00:21:24,600 --> 00:21:27,119
Speaker 1: on there that we might want to have addressed, Like

432
00:21:27,160 --> 00:21:30,280
Speaker 1: maybe there's a point that someone made and we don't

433
00:21:30,320 --> 00:21:32,600
Speaker 1: feel very strongly about it, or maybe once in a

434
00:21:32,640 --> 00:21:34,880
Speaker 1: while we'll have one of those moments where we start

435
00:21:34,920 --> 00:21:37,080
Speaker 1: a sentence, go back and start again, and we have

436
00:21:37,119 --> 00:21:38,320
Speaker 1: to say, oh, well, we just need to get this

437
00:21:38,359 --> 00:21:40,679
Speaker 1: one little bit chopped out. Yeah. I mean, you know,

438
00:21:40,720 --> 00:21:43,400
Speaker 1: I added so many shows, and I, like you say,

439
00:21:43,480 --> 00:21:46,359
Speaker 1: I definitely multitask a lot. And you know I and

440
00:21:46,400 --> 00:21:49,920
Speaker 1: I often edit these shows at double speed just so

441
00:21:50,119 --> 00:21:52,360
Speaker 1: that I can like grind my way through as many

442
00:21:52,359 --> 00:21:55,040
Speaker 1: of them as I possibly can. And you know, if

443
00:21:55,080 --> 00:21:57,560
Speaker 1: if something is said and then said again really fast

444
00:21:57,640 --> 00:21:59,600
Speaker 1: without like leaving a pause where it kind of like

445
00:21:59,640 --> 00:22:02,720
Speaker 1: you know, make you realize, okay, this needs to come out. Yeah,

446
00:22:02,720 --> 00:22:04,479
Speaker 1: I definitely miss things from time to time. But that's

447
00:22:04,520 --> 00:22:06,439
Speaker 1: why we have this q A process and it's always

448
00:22:06,480 --> 00:22:08,600
Speaker 1: been in place before I was even here, because, like

449
00:22:08,600 --> 00:22:10,199
Speaker 1: I said, it's just such a volume of stuff that

450
00:22:10,200 --> 00:22:12,199
Speaker 1: we do. Yeah, and it's you know, it's one of

451
00:22:12,160 --> 00:22:14,240
Speaker 1: those things that's good for all all parts. I mean,

452
00:22:14,640 --> 00:22:16,600
Speaker 1: like you said, you're doing so much. Like so, how

453
00:22:16,640 --> 00:22:21,120
Speaker 1: many uh, on a typical day when you are recording episodes?

454
00:22:21,200 --> 00:22:24,439
Speaker 1: How many different shows are you recording? Usually? Is it

455
00:22:24,480 --> 00:22:29,520
Speaker 1: to the max? No? Like, so record shows Tuesday through Thursday,

456
00:22:29,880 --> 00:22:31,679
Speaker 1: and then we do pick ups kind of on Friday,

457
00:22:32,359 --> 00:22:35,880
Speaker 1: we're doing right, some somebody missed something, and so we

458
00:22:36,800 --> 00:22:41,119
Speaker 1: on Tuesdays I'll do too. On Wednesday's I do too,

459
00:22:41,160 --> 00:22:44,280
Speaker 1: and on Thursday's I do three. And those are those

460
00:22:44,280 --> 00:22:47,960
Speaker 1: are shows within those shows you typically and multiple episodes

461
00:22:48,000 --> 00:22:50,800
Speaker 1: were great? Yeah, two to three Yeah, because tech stuff

462
00:22:50,840 --> 00:22:54,040
Speaker 1: we tend to record too. Sometimes I'll do three if

463
00:22:54,040 --> 00:22:58,000
Speaker 1: I'm feeling mesochistic. And all of our shows except for

464
00:22:58,200 --> 00:23:00,680
Speaker 1: um stuff, they don't want you to know because it's

465
00:23:00,680 --> 00:23:02,840
Speaker 1: sort of paired with the video show that both of

466
00:23:02,880 --> 00:23:04,960
Speaker 1: the hosts are pretty deeply involved with. They only do

467
00:23:05,000 --> 00:23:07,000
Speaker 1: one episode a week, with everybody else does two episodes

468
00:23:07,000 --> 00:23:09,440
Speaker 1: a week. So not only are you recording all these

469
00:23:09,440 --> 00:23:12,640
Speaker 1: but you're also having to listen to them, edit them,

470
00:23:12,680 --> 00:23:15,600
Speaker 1: and then publish them. Um. One thing we haven't really

471
00:23:15,640 --> 00:23:18,520
Speaker 1: talked about that is, you know, I mean I love

472
00:23:18,560 --> 00:23:20,800
Speaker 1: all the shows, and I you know, there's a certain

473
00:23:20,840 --> 00:23:22,840
Speaker 1: tedium that goes into like editing all this stuff. So

474
00:23:23,119 --> 00:23:25,640
Speaker 1: sometimes I need things to kind of break the tedium,

475
00:23:26,240 --> 00:23:28,600
Speaker 1: which is usually comes in the form of like doing

476
00:23:29,119 --> 00:23:32,800
Speaker 1: kind of custom music cues for different shows or like uh,

477
00:23:33,040 --> 00:23:35,359
Speaker 1: like sound effects or like fully kind of work and

478
00:23:35,400 --> 00:23:37,720
Speaker 1: things like that. And so it doesn't happen all the time,

479
00:23:37,760 --> 00:23:40,520
Speaker 1: but when it does, I tend to really like, you know,

480
00:23:40,920 --> 00:23:42,320
Speaker 1: have a good time with it. Yeah, And that's one

481
00:23:42,359 --> 00:23:44,200
Speaker 1: of those things that you know, we used to do

482
00:23:44,240 --> 00:23:46,960
Speaker 1: that fairly frequently on tech stuff. We had a couple

483
00:23:46,960 --> 00:23:49,440
Speaker 1: of different things that we'd like to do, Like back

484
00:23:49,480 --> 00:23:52,280
Speaker 1: in the day when I would yell out listener mail,

485
00:23:52,640 --> 00:23:55,399
Speaker 1: we had a whole sound effect of a classon But

486
00:23:55,600 --> 00:23:58,800
Speaker 1: you know, these were things that were gathered, non produced, right. Uh.

487
00:23:58,840 --> 00:24:02,080
Speaker 1: And whereas you're talking about actually creating things, not just

488
00:24:02,440 --> 00:24:04,840
Speaker 1: curating but actually making them. You know, you're you're a

489
00:24:04,920 --> 00:24:07,080
Speaker 1: musician and an audio engineer, so you tend to make

490
00:24:07,119 --> 00:24:11,880
Speaker 1: these things. I have resisted the temptation to to pepper

491
00:24:12,040 --> 00:24:15,360
Speaker 1: the episodes with such things. But yeah, it's something I'm

492
00:24:15,359 --> 00:24:18,959
Speaker 1: certainly interested in having a little more soundscaping in the

493
00:24:19,000 --> 00:24:21,840
Speaker 1: episodes when when it's warranted, when we've had some fun,

494
00:24:21,960 --> 00:24:24,360
Speaker 1: you know, me and you doing some of these more

495
00:24:24,400 --> 00:24:27,239
Speaker 1: soundscaped episodes. Again, a lot of it has to do

496
00:24:27,280 --> 00:24:29,639
Speaker 1: with just like bandwidth of like what are you capable

497
00:24:29,680 --> 00:24:31,439
Speaker 1: of producing in a week with all the shows that

498
00:24:31,520 --> 00:24:33,280
Speaker 1: you do, all the shows that I do. But like,

499
00:24:33,320 --> 00:24:36,000
Speaker 1: so far we've done two for tech stuff. We've done

500
00:24:36,040 --> 00:24:39,960
Speaker 1: the SMR episode with Heather Feather, which you know was

501
00:24:40,000 --> 00:24:42,119
Speaker 1: a little bit lighter on the sound design, but it

502
00:24:42,160 --> 00:24:44,040
Speaker 1: was a lot of just pulling clips off YouTube and

503
00:24:44,160 --> 00:24:46,159
Speaker 1: kind of like sewing it all together with like a

504
00:24:46,240 --> 00:24:48,440
Speaker 1: narration and then the interview bits, which is really fun.

505
00:24:48,480 --> 00:24:52,320
Speaker 1: But then my favorite one, which is obviously um a

506
00:24:52,359 --> 00:24:54,920
Speaker 1: little heavier on this stuff, is the Negative Land episode

507
00:24:54,920 --> 00:24:57,119
Speaker 1: where we kind of produced it more like a almost

508
00:24:57,119 --> 00:24:59,320
Speaker 1: like a radio ad piece or like an NPR style,

509
00:24:59,560 --> 00:25:01,520
Speaker 1: you know, that really has a kind of a rhythm

510
00:25:01,560 --> 00:25:03,640
Speaker 1: and a flow to it, right, you know, a combination

511
00:25:03,680 --> 00:25:08,040
Speaker 1: of sound effects and music clips and interview clips with

512
00:25:08,040 --> 00:25:10,520
Speaker 1: with Mark Hustler, from Negative Land and a lot of

513
00:25:10,560 --> 00:25:12,959
Speaker 1: his music that all of which he owns and gave us,

514
00:25:13,160 --> 00:25:16,640
Speaker 1: you know, full exclusive rights to use, which is can

515
00:25:16,680 --> 00:25:18,480
Speaker 1: be a problem as well because we obviously have to

516
00:25:18,480 --> 00:25:21,399
Speaker 1: get permission to share stuff. You can't just really nearly

517
00:25:21,520 --> 00:25:23,760
Speaker 1: take whatever we want. Yeah, there's some podcasts out there

518
00:25:23,760 --> 00:25:25,840
Speaker 1: that kind of fly under the radar and they do

519
00:25:25,880 --> 00:25:27,720
Speaker 1: this stuff. But the bigger you get, the more you

520
00:25:27,760 --> 00:25:30,480
Speaker 1: have to be cognizant of that so much so that

521
00:25:30,480 --> 00:25:33,520
Speaker 1: that even when you're you know, we like to be

522
00:25:33,600 --> 00:25:36,200
Speaker 1: extra cautious just to avoid any problems, Like we don't

523
00:25:36,240 --> 00:25:37,920
Speaker 1: want to have an experience where we have to take

524
00:25:37,960 --> 00:25:40,760
Speaker 1: something down. For one thing, it's the Internet. Once it

525
00:25:40,760 --> 00:25:42,800
Speaker 1: goes up, you know, it lives there some so it's

526
00:25:42,840 --> 00:25:45,919
Speaker 1: going to be living someplace forever. Um. So we we

527
00:25:45,960 --> 00:25:48,240
Speaker 1: tend to be very careful about that. And it's it's

528
00:25:48,280 --> 00:25:51,200
Speaker 1: awesome having you know, we have several people in the

529
00:25:51,400 --> 00:25:54,160
Speaker 1: in the office who are musically inclined. They are musicians

530
00:25:54,240 --> 00:25:57,080
Speaker 1: of of some sort or another, and many of them

531
00:25:57,080 --> 00:26:00,600
Speaker 1: write music. So having that kind of opportunity to lean

532
00:26:00,680 --> 00:26:03,280
Speaker 1: on folks and say, you know, I realized this is

533
00:26:03,320 --> 00:26:05,440
Speaker 1: asking a lot, but if we could you know, start

534
00:26:05,520 --> 00:26:11,920
Speaker 1: making something custom for us that is is unique, um,

535
00:26:11,960 --> 00:26:14,119
Speaker 1: as opposed to going out and finding something would that

536
00:26:14,160 --> 00:26:18,120
Speaker 1: be possible? So uh, I would say, don't be surprised

537
00:26:18,240 --> 00:26:22,680
Speaker 1: if a certain show's theme song changes eventually, because we've

538
00:26:22,720 --> 00:26:25,600
Speaker 1: talked about it, um. But I mean, it's obviously a

539
00:26:25,640 --> 00:26:28,879
Speaker 1: matter of time and and and energy as well. But

540
00:26:29,960 --> 00:26:33,000
Speaker 1: one of the things I wanted to mention, um, apart

541
00:26:33,080 --> 00:26:36,040
Speaker 1: from your work here and also that you're a musician,

542
00:26:36,160 --> 00:26:40,200
Speaker 1: is the fact that I alluded to it earlier, you

543
00:26:40,680 --> 00:26:44,800
Speaker 1: found very interesting uses for some of the more quirky

544
00:26:44,880 --> 00:26:48,000
Speaker 1: noises that have popped up in the past. And I

545
00:26:48,080 --> 00:26:52,640
Speaker 1: remember you had a look of intense glee on your

546
00:26:52,680 --> 00:26:56,320
Speaker 1: face when you were first playing for me a track

547
00:26:57,080 --> 00:27:00,320
Speaker 1: that was sort of a percussive track that was comply

548
00:27:00,359 --> 00:27:04,840
Speaker 1: made up of various mouth sounds and other noises that

549
00:27:04,880 --> 00:27:08,359
Speaker 1: you had pulled from episodes, from all the stuff you

550
00:27:08,480 --> 00:27:11,840
Speaker 1: edit and had produced into a music track. Like I said,

551
00:27:11,840 --> 00:27:15,960
Speaker 1: I gotta break up the tediums somehow, so keep myself entertained. Yeah,

552
00:27:16,000 --> 00:27:18,679
Speaker 1: I basically like every time, you know, I don't always

553
00:27:18,680 --> 00:27:21,280
Speaker 1: do it, but you know, if there's like a odd

554
00:27:21,600 --> 00:27:24,120
Speaker 1: vocal tick or like a like a click like kind

555
00:27:24,119 --> 00:27:26,800
Speaker 1: of like a kind of sound which happens when people

556
00:27:26,800 --> 00:27:30,160
Speaker 1: are catching their breath or swallowing or things like that.

557
00:27:30,320 --> 00:27:33,280
Speaker 1: And again, like these mics, people are right up on them.

558
00:27:33,280 --> 00:27:35,960
Speaker 1: So these sounds are really in your face, very like

559
00:27:36,119 --> 00:27:40,479
Speaker 1: clear and from Yeah, probably something that unless you unless

560
00:27:40,520 --> 00:27:43,000
Speaker 1: that's your a s m R trigger, you probably don't

561
00:27:43,040 --> 00:27:45,400
Speaker 1: want to hear it, yeah, exactly. But like from a

562
00:27:45,520 --> 00:27:48,919
Speaker 1: music production standpoint and like us like sampling and like

563
00:27:48,960 --> 00:27:51,119
Speaker 1: electronic music is what I kind of like have been

564
00:27:51,160 --> 00:27:54,800
Speaker 1: into lately. Um, these sounds are so high fi like

565
00:27:54,880 --> 00:27:57,560
Speaker 1: on their own if you just isolate them and you

566
00:27:57,600 --> 00:28:00,200
Speaker 1: don't even think about what the sources like you there

567
00:28:00,200 --> 00:28:02,720
Speaker 1: have been times where someone will bang on the table

568
00:28:03,000 --> 00:28:06,560
Speaker 1: or someone will you know, clear their throat or make

569
00:28:06,600 --> 00:28:09,159
Speaker 1: like one of these little vocal ticks and when you

570
00:28:09,320 --> 00:28:12,479
Speaker 1: when you when I'm editing them before I delete it,

571
00:28:12,760 --> 00:28:16,280
Speaker 1: I will literally highlight it and then export it into

572
00:28:16,359 --> 00:28:19,320
Speaker 1: a folder that I keep on Dropbox that I call blips.

573
00:28:19,800 --> 00:28:22,360
Speaker 1: And it's just I've got like probably sixty or seventy

574
00:28:22,520 --> 00:28:24,720
Speaker 1: files in there now, all of which range in length

575
00:28:24,760 --> 00:28:29,760
Speaker 1: from one second to you know, maybe ten seconds. For

576
00:28:29,840 --> 00:28:32,159
Speaker 1: like an interesting loop that I might make of like

577
00:28:32,240 --> 00:28:35,440
Speaker 1: a good throat clear or something, and then I take

578
00:28:35,480 --> 00:28:38,280
Speaker 1: it into I use Ableton Live, which is a little

579
00:28:38,280 --> 00:28:40,600
Speaker 1: bit more of an in depth program than audition. It's

580
00:28:40,600 --> 00:28:43,360
Speaker 1: more made for like looping and making electronic music and stuff.

581
00:28:43,480 --> 00:28:45,320
Speaker 1: And so I'll bring all these sounds in and put

582
00:28:45,360 --> 00:28:48,800
Speaker 1: them like on a drum machine, uh patch or whatever

583
00:28:48,840 --> 00:28:50,840
Speaker 1: where I can trigger them on like a MIDI keyboard,

584
00:28:51,120 --> 00:28:53,560
Speaker 1: and then I like, so, you know, instead of there

585
00:28:53,560 --> 00:28:56,080
Speaker 1: being a snare sound, it might be someone clearing their throat,

586
00:28:56,160 --> 00:28:57,920
Speaker 1: or instead of a kick drum sound, it might be

587
00:28:58,000 --> 00:29:00,280
Speaker 1: that banging on the table. And then you can actually

588
00:29:00,320 --> 00:29:03,000
Speaker 1: go in and shape them and repitch them and flip

589
00:29:03,040 --> 00:29:05,440
Speaker 1: them backwards. You can do anything you can imagine with them.

590
00:29:05,520 --> 00:29:07,480
Speaker 1: And um, so this is kind of what what was

591
00:29:07,640 --> 00:29:10,200
Speaker 1: created with that. Well, how about we listen to a

592
00:29:10,280 --> 00:29:14,880
Speaker 1: really quick uh comparison. I would like to hear, you know,

593
00:29:14,960 --> 00:29:18,200
Speaker 1: sort of that that early track that you played for

594
00:29:18,240 --> 00:29:21,000
Speaker 1: me way back on me and Lauren and Joe, because

595
00:29:21,000 --> 00:29:22,880
Speaker 1: it was at a forward thinking recording where you played

596
00:29:22,880 --> 00:29:25,240
Speaker 1: it and it might have even been and was that

597
00:29:25,320 --> 00:29:27,960
Speaker 1: the old office? I think, yeah, But why don't we

598
00:29:28,120 --> 00:29:30,240
Speaker 1: listen to that? And then let's listen to something that

599
00:29:30,400 --> 00:29:33,000
Speaker 1: where you've you've gone even a step further and kind

600
00:29:33,000 --> 00:29:36,200
Speaker 1: of made sort of, uh, like a full fully fledged

601
00:29:36,760 --> 00:30:15,920
Speaker 1: song out of something. Yeah. Yeah, yeah. So the first

602
00:30:15,960 --> 00:30:17,719
Speaker 1: one there was, like you said, just sort of when

603
00:30:17,760 --> 00:30:19,760
Speaker 1: I was experimenting with this and this kind of like

604
00:30:20,280 --> 00:30:23,280
Speaker 1: you know, finding different uses for these sounds, because again

605
00:30:23,480 --> 00:30:25,600
Speaker 1: I wasn't trying to make it sound gross or like

606
00:30:25,680 --> 00:30:28,240
Speaker 1: off putting or anything. I literally just was fascinated by

607
00:30:28,520 --> 00:30:30,840
Speaker 1: how cool these sounds could be on their own, and

608
00:30:30,880 --> 00:30:33,560
Speaker 1: then especially when you combine ten or fifteen of them

609
00:30:33,640 --> 00:30:36,920
Speaker 1: and like have them occupied different like rhythmic spaces or whatever.

610
00:30:37,000 --> 00:30:40,440
Speaker 1: But then the second one was a little bump bumper.

611
00:30:40,520 --> 00:30:42,520
Speaker 1: You guys that forward thinking asked me to make where

612
00:30:42,600 --> 00:30:45,280
Speaker 1: you know, you're always saying we'll see this technology in

613
00:30:45,320 --> 00:30:47,520
Speaker 1: twenty to forty years and say it so much that

614
00:30:47,520 --> 00:30:49,360
Speaker 1: it was like, we need a little little theme. So,

615
00:30:49,800 --> 00:30:52,400
Speaker 1: you know, the vocal there is me just talking into

616
00:30:52,480 --> 00:30:54,320
Speaker 1: my computer speakers, and then I made it into like

617
00:30:54,320 --> 00:30:57,280
Speaker 1: a vocode or patch on en ableton. But all of

618
00:30:57,320 --> 00:31:00,640
Speaker 1: the percussion sounds are those mouth sound but again I

619
00:31:00,680 --> 00:31:02,880
Speaker 1: don't feel like they come off that way. I feel

620
00:31:02,880 --> 00:31:04,840
Speaker 1: like it just sounds like kind of like an interesting

621
00:31:05,160 --> 00:31:08,480
Speaker 1: you know, polyrhythmic texture of like writ of sound, rather

622
00:31:08,520 --> 00:31:10,720
Speaker 1: than like, oh, this is a jokey kind of thing.

623
00:31:10,760 --> 00:31:12,280
Speaker 1: I don't think that. That's not what I'm intending to

624
00:31:12,320 --> 00:31:15,400
Speaker 1: do at all, but it comes across as I'm sure

625
00:31:15,440 --> 00:31:17,760
Speaker 1: most people would wonder, like, well, how did he how

626
00:31:17,800 --> 00:31:21,560
Speaker 1: did he make that noise? Like how how did that sound? Well?

627
00:31:21,600 --> 00:31:24,840
Speaker 1: How is that created? And uh, you know it goes.

628
00:31:25,000 --> 00:31:27,560
Speaker 1: It harkens back to our discussion with Hustler over a

629
00:31:27,640 --> 00:31:30,920
Speaker 1: negative land, this idea of found sounds and finding new

630
00:31:30,960 --> 00:31:35,440
Speaker 1: ways to uh to incorporate interesting sounds in into a

631
00:31:35,480 --> 00:31:39,200
Speaker 1: new work of art. Very similar to that, and uh

632
00:31:39,240 --> 00:31:41,160
Speaker 1: and kind of I would I would call it like

633
00:31:41,200 --> 00:31:44,719
Speaker 1: a descendant of that same sort of thing, except instead

634
00:31:44,760 --> 00:31:48,480
Speaker 1: of going for full phrases or even full words, you're

635
00:31:48,600 --> 00:31:52,200
Speaker 1: finding individual elements of sound and putting them together. It's

636
00:31:52,240 --> 00:31:54,280
Speaker 1: much more micro and like what I'm what I'm doing.

637
00:31:54,320 --> 00:31:58,080
Speaker 1: Because I continue to do this, I'm basically developing like

638
00:31:58,160 --> 00:32:00,880
Speaker 1: a palette of these sounds. And it's the more I

639
00:32:00,920 --> 00:32:02,960
Speaker 1: mess with it, you know, I don't try to get

640
00:32:03,000 --> 00:32:04,480
Speaker 1: like a bunch of the same kind of sounds. But

641
00:32:04,520 --> 00:32:06,120
Speaker 1: if something pops out at me and then I'll grab

642
00:32:06,120 --> 00:32:07,480
Speaker 1: it and put it in my folder and then like

643
00:32:07,520 --> 00:32:11,440
Speaker 1: add it to my my sound banks or whatever. And yeah,

644
00:32:11,480 --> 00:32:13,120
Speaker 1: it's a lot of fun. And you know, this is

645
00:32:13,160 --> 00:32:15,400
Speaker 1: one of the rare job where I can like do

646
00:32:15,480 --> 00:32:18,120
Speaker 1: this kind of stuff and you know, have a real

647
00:32:18,240 --> 00:32:20,800
Speaker 1: job where I edit podcasts and you know, get to

648
00:32:20,880 --> 00:32:23,400
Speaker 1: come on and talk on podcasts and make music for

649
00:32:23,480 --> 00:32:25,560
Speaker 1: him and also get to do this fun kind of

650
00:32:25,600 --> 00:32:29,000
Speaker 1: nerdy stuff on the side. So so pretty lucky. Yeah,

651
00:32:29,080 --> 00:32:31,320
Speaker 1: the fact that you've the fact that you've covered so

652
00:32:31,320 --> 00:32:33,840
Speaker 1: many and and granted, I'm sure a lot of the

653
00:32:33,880 --> 00:32:36,479
Speaker 1: time when you're editing what you're specifically listening out for

654
00:32:36,720 --> 00:32:40,560
Speaker 1: our our obvious mistakes, but assuming that, I assume that

655
00:32:40,600 --> 00:32:43,600
Speaker 1: at least occasionally you can actually have a moment to

656
00:32:43,840 --> 00:32:47,760
Speaker 1: enjoy what what the various podcasts are talking about. Are

657
00:32:47,760 --> 00:32:50,520
Speaker 1: there any particular subjects that podcasts have covered that you

658
00:32:50,640 --> 00:32:53,400
Speaker 1: found really interesting and learned a lot? I mean, I

659
00:32:53,400 --> 00:32:55,880
Speaker 1: feel like I learned stuff all the time. Um, It's

660
00:32:55,920 --> 00:32:58,200
Speaker 1: it's just one of these things where it's just so much.

661
00:32:58,240 --> 00:33:01,160
Speaker 1: It's just like this wealth of information, especially when you

662
00:33:01,600 --> 00:33:03,720
Speaker 1: break it out into the different shows and the different

663
00:33:03,720 --> 00:33:07,040
Speaker 1: brands that we do. Um, I think stuff that stuff

664
00:33:07,040 --> 00:33:11,200
Speaker 1: I've never told you always really really interesting topics, and um,

665
00:33:11,600 --> 00:33:13,600
Speaker 1: I feel like, you know, everything that tech stuff covers

666
00:33:13,640 --> 00:33:15,640
Speaker 1: is always really great and gives me kind of like

667
00:33:15,680 --> 00:33:17,760
Speaker 1: a new appreciation for something that maybe I haven't heard of,

668
00:33:17,800 --> 00:33:20,360
Speaker 1: like a new technology, like the power wall, for example.

669
00:33:20,640 --> 00:33:22,520
Speaker 1: That's really well, that was on fourth thing. That was

670
00:33:22,560 --> 00:33:24,680
Speaker 1: fourth Thingking, Yeah, the same same sort of thing. Like, yeah,

671
00:33:24,800 --> 00:33:27,320
Speaker 1: very much like the forward thinking and tech stuff I've argued,

672
00:33:27,320 --> 00:33:31,240
Speaker 1: and quite a bit, especially the podcasts, are are very

673
00:33:31,280 --> 00:33:35,880
Speaker 1: closely related. Forward Thinking obviously in many ways has a

674
00:33:35,920 --> 00:33:40,920
Speaker 1: broader scope because it's anything that's that's future oriented. But

675
00:33:40,960 --> 00:33:42,800
Speaker 1: it's just cool to like pull an item out of

676
00:33:42,840 --> 00:33:44,880
Speaker 1: the news that I'm like interested in, and I you know,

677
00:33:44,920 --> 00:33:47,400
Speaker 1: it's so easy, especially when I'm working on a computer

678
00:33:47,440 --> 00:33:50,960
Speaker 1: all day, to like see headlines on Facebook or whatever

679
00:33:51,040 --> 00:33:53,240
Speaker 1: and then like you know, oh, I'm gonna bookmark that

680
00:33:53,280 --> 00:33:55,480
Speaker 1: maybe I'll read the article eventually, and then I never do,

681
00:33:55,760 --> 00:33:58,320
Speaker 1: but sometimes I don't because I'm already getting this in depth,

682
00:33:58,640 --> 00:34:01,320
Speaker 1: you know, like version and of this headline from so

683
00:34:01,400 --> 00:34:03,200
Speaker 1: many of the podcasts that I added, So you know,

684
00:34:03,200 --> 00:34:06,200
Speaker 1: it's pretty pretty interesting, and then occasionally our podcast will

685
00:34:06,240 --> 00:34:09,880
Speaker 1: all gravitate towards a similar topic. Over over a certain

686
00:34:09,960 --> 00:34:12,399
Speaker 1: span of time, you get to hear the same sort

687
00:34:12,440 --> 00:34:16,480
Speaker 1: of stuff from different perspectives. Actually, today's forward thinking is

688
00:34:16,520 --> 00:34:18,640
Speaker 1: on the M Drive and today's stuff they Don't Want

689
00:34:18,640 --> 00:34:20,440
Speaker 1: you to Know is also on the M Drive And

690
00:34:20,480 --> 00:34:22,799
Speaker 1: I edited both of those, um like in the last

691
00:34:22,840 --> 00:34:24,839
Speaker 1: couple of days. So it's kind of interesting to hear

692
00:34:24,920 --> 00:34:27,400
Speaker 1: two different sides of it, and a kind of conspiracy

693
00:34:27,400 --> 00:34:29,799
Speaker 1: angle in one from more of the pure texts, Yeah,

694
00:34:29,800 --> 00:34:32,360
Speaker 1: exactly does this thing work? And if so, how and

695
00:34:32,440 --> 00:34:36,160
Speaker 1: why doesn't anyone agree on that? Yeah? Uh, In that case,

696
00:34:36,239 --> 00:34:38,520
Speaker 1: it was because the M Drive was in the news,

697
00:34:38,560 --> 00:34:41,400
Speaker 1: and that's what prompted both of those shows too record.

698
00:34:41,440 --> 00:34:43,160
Speaker 1: But that's you know, it's really kind of it is

699
00:34:43,200 --> 00:34:45,560
Speaker 1: funny when that happens. We've also had that happened with

700
00:34:45,600 --> 00:34:49,040
Speaker 1: other stuff like asteroid mining and a couple of other topics,

701
00:34:49,080 --> 00:34:51,800
Speaker 1: where all the different shows, or at least three or

702
00:34:51,840 --> 00:34:54,560
Speaker 1: four of the shows would all kind of cover it

703
00:34:54,760 --> 00:34:57,719
Speaker 1: within the same couple of months. So people listen to

704
00:34:57,760 --> 00:34:59,640
Speaker 1: all the house stuff work shows, they just they probably

705
00:34:59,640 --> 00:35:01,560
Speaker 1: just thought we're all pitching the same ideas in our

706
00:35:01,560 --> 00:35:04,279
Speaker 1: big room. We are all working very independently of each

707
00:35:04,280 --> 00:35:08,359
Speaker 1: other for our various shows. Um, so let me ask

708
00:35:08,400 --> 00:35:12,759
Speaker 1: you this, Uh, you know, do you have any plans

709
00:35:12,960 --> 00:35:15,040
Speaker 1: for any of the shows that are going Like I

710
00:35:15,320 --> 00:35:18,520
Speaker 1: know that you've worked very closely with me to try

711
00:35:18,560 --> 00:35:22,480
Speaker 1: and come up with interesting ways to keep tech stuff relevant,

712
00:35:22,520 --> 00:35:25,600
Speaker 1: to keep finding new fun ways to produce the show.

713
00:35:25,640 --> 00:35:28,040
Speaker 1: Because obviously I I have the only show right now

714
00:35:28,080 --> 00:35:31,400
Speaker 1: there's a single host show. Um, have you worked with

715
00:35:31,440 --> 00:35:34,480
Speaker 1: all the other shows in similar to a similar extent?

716
00:35:34,960 --> 00:35:37,280
Speaker 1: I mean it really just depends. Like sometimes the format

717
00:35:37,360 --> 00:35:40,040
Speaker 1: just really works because I mean a lot of our

718
00:35:40,040 --> 00:35:42,040
Speaker 1: shows are just sort of a traditional it's like a

719
00:35:42,120 --> 00:35:44,600
Speaker 1: couple of people sitting down and having a conversation. It's

720
00:35:44,600 --> 00:35:47,799
Speaker 1: almost like extraneous to like get too crazy with any

721
00:35:47,880 --> 00:35:50,560
Speaker 1: kind of like sound effects and bumper cues and stuff

722
00:35:50,600 --> 00:35:52,520
Speaker 1: like that. But then when you when you're doing more

723
00:35:52,560 --> 00:35:55,719
Speaker 1: of a solo show, there are opportunities where you're like

724
00:35:55,760 --> 00:35:58,239
Speaker 1: bringing an interview subjects where it's fun to kind of

725
00:35:58,280 --> 00:36:01,280
Speaker 1: like bring in different sound and bring in different clips

726
00:36:01,320 --> 00:36:03,400
Speaker 1: and kind of add a little more context beyond just

727
00:36:03,440 --> 00:36:05,759
Speaker 1: a conversation. But these shows have been around for so

728
00:36:05,800 --> 00:36:08,520
Speaker 1: long that there's this like legacy involved of like you know,

729
00:36:08,680 --> 00:36:11,320
Speaker 1: just like let's just have this sit down, no nonsense

730
00:36:11,360 --> 00:36:13,759
Speaker 1: conversation about a topic and let's just like you know,

731
00:36:14,239 --> 00:36:17,759
Speaker 1: unpack it. And so sometimes it's just adding too much,

732
00:36:18,040 --> 00:36:19,800
Speaker 1: too many bells and whistles to it. It It was almost

733
00:36:19,880 --> 00:36:21,920
Speaker 1: almost takes away from the kind of like thing that

734
00:36:21,920 --> 00:36:24,080
Speaker 1: people are used to. And I think that's fine. But

735
00:36:24,120 --> 00:36:26,400
Speaker 1: then there are certain shows that we are talking about

736
00:36:26,640 --> 00:36:28,880
Speaker 1: kind of expanding and doing more of like a news

737
00:36:29,440 --> 00:36:31,960
Speaker 1: almost like an audio magazine kind of version of and

738
00:36:31,960 --> 00:36:33,759
Speaker 1: don't want to give anything away, but like you know,

739
00:36:34,320 --> 00:36:36,480
Speaker 1: not but keeping keep an air out then because that

740
00:36:36,520 --> 00:36:40,600
Speaker 1: sounds really exciting. And uh, also, since you mentioned the

741
00:36:40,600 --> 00:36:42,960
Speaker 1: fact that occasionally I do interviews, I think it might

742
00:36:42,960 --> 00:36:46,000
Speaker 1: be cool to explain to people how things are different

743
00:36:46,080 --> 00:36:50,960
Speaker 1: if we have a remote person recording with us, and

744
00:36:51,560 --> 00:36:54,800
Speaker 1: you know, I've done uh interviews with like Tom Merritt

745
00:36:55,360 --> 00:36:59,440
Speaker 1: or with Heather Feather that sort of stuff, So explain

746
00:36:59,480 --> 00:37:01,920
Speaker 1: how that's a little bit different. Yeah, I mean ideally

747
00:37:02,040 --> 00:37:05,560
Speaker 1: in those situations, um, you do what's called a tape

748
00:37:05,600 --> 00:37:07,759
Speaker 1: sink that's sort of like a news term and what

749
00:37:07,840 --> 00:37:10,360
Speaker 1: that refers to is is like, Okay, so you're on

750
00:37:10,480 --> 00:37:14,200
Speaker 1: your end and maybe you're talking to this person via Skype,

751
00:37:14,280 --> 00:37:16,800
Speaker 1: maybe you're talking to them on the phone. We actually

752
00:37:16,840 --> 00:37:19,360
Speaker 1: have a phone system where you can pipe in phone

753
00:37:19,400 --> 00:37:22,920
Speaker 1: audio to the headphone system here and then whatever Jonathan

754
00:37:22,920 --> 00:37:24,719
Speaker 1: says and Mike goes down the phone line to the

755
00:37:24,719 --> 00:37:27,640
Speaker 1: person that's listening. So I am recording Jonathan's voice on

756
00:37:27,719 --> 00:37:32,080
Speaker 1: this end and getting kind of a crappy sounding phone

757
00:37:32,200 --> 00:37:34,520
Speaker 1: version of the person on the other hand. But ideally

758
00:37:34,560 --> 00:37:37,840
Speaker 1: what they would do is record their end in a

759
00:37:37,920 --> 00:37:40,279
Speaker 1: higher quality set up with a microphone and like they're

760
00:37:40,320 --> 00:37:42,480
Speaker 1: a digital recorder or a computer, and a lot of

761
00:37:42,520 --> 00:37:44,920
Speaker 1: the folks that Jonathan works with our podcasters and so

762
00:37:45,000 --> 00:37:46,719
Speaker 1: they kind of tend to have a little set up

763
00:37:46,719 --> 00:37:49,239
Speaker 1: at home. So what they'll do is they'll record their end.

764
00:37:49,920 --> 00:37:52,600
Speaker 1: I'll record Jonathan's end, and then after the session wraps,

765
00:37:52,640 --> 00:37:56,879
Speaker 1: they will send Jonathan Ormy the higher quality audio file

766
00:37:57,480 --> 00:37:59,400
Speaker 1: and then I will take it into audition and just

767
00:37:59,440 --> 00:38:01,680
Speaker 1: sync up the too. So a lot of times I

768
00:38:01,719 --> 00:38:03,879
Speaker 1: just have to do that by ear um, just kind

769
00:38:03,880 --> 00:38:07,040
Speaker 1: of like move the audio into place until I can

770
00:38:07,080 --> 00:38:09,920
Speaker 1: tell that the timing is right. Um. Sometimes we'll do

771
00:38:10,000 --> 00:38:12,200
Speaker 1: a sync thing where we have them have both sides

772
00:38:12,239 --> 00:38:13,839
Speaker 1: to do a clap or something like that, and then

773
00:38:13,880 --> 00:38:16,840
Speaker 1: you can line up that that sharp line the clap

774
00:38:16,880 --> 00:38:19,160
Speaker 1: makes and then you know that's where it starts, which

775
00:38:19,239 --> 00:38:21,320
Speaker 1: is a technique they use. And you know, doing sound

776
00:38:21,320 --> 00:38:24,920
Speaker 1: sync for for film and video production, sure, where you

777
00:38:24,920 --> 00:38:27,839
Speaker 1: have the clapboard and you say what the scene is,

778
00:38:27,880 --> 00:38:31,560
Speaker 1: you do the clap that allows the uh, the editors

779
00:38:31,600 --> 00:38:35,680
Speaker 1: to match up the the audio track with the video track. Uh. Yeah,

780
00:38:35,880 --> 00:38:37,960
Speaker 1: I've had to do that many times. And I'll tend

781
00:38:37,960 --> 00:38:40,960
Speaker 1: to record whatever the phone or Skype audio is as

782
00:38:41,000 --> 00:38:44,799
Speaker 1: well in case, for whatever reason, the main recording on

783
00:38:44,880 --> 00:38:48,720
Speaker 1: the guests and doesn't work, which we have had happened,

784
00:38:48,719 --> 00:38:50,760
Speaker 1: and then we'll revert back to using the guype audio

785
00:38:50,880 --> 00:38:53,520
Speaker 1: or the phone audio and it's not as great, but

786
00:38:53,560 --> 00:38:55,319
Speaker 1: it still is fine most of the time, you know.

787
00:38:55,680 --> 00:39:02,120
Speaker 1: So now we all know that occasionally technology g goes

788
00:39:02,160 --> 00:39:06,360
Speaker 1: a straight and uh. And it's particularly difficult if you

789
00:39:06,400 --> 00:39:08,960
Speaker 1: are editing one show on one machine and recording a

790
00:39:09,000 --> 00:39:12,239
Speaker 1: show on another machine, uh, to notice if something has

791
00:39:12,280 --> 00:39:15,160
Speaker 1: gone wrong? Have there been I know the answer to this,

792
00:39:15,239 --> 00:39:17,520
Speaker 1: at least for my case. Have there been any cases

793
00:39:17,719 --> 00:39:21,759
Speaker 1: where UH an episode has either like there's been a

794
00:39:21,800 --> 00:39:25,560
Speaker 1: corrupt file or for some reason the things stopped recording

795
00:39:26,560 --> 00:39:29,600
Speaker 1: what happens? Then, yeah, there was, I mean there was

796
00:39:29,719 --> 00:39:32,200
Speaker 1: one occasion I know you're referring to, were like maybe

797
00:39:32,200 --> 00:39:34,719
Speaker 1: like a twelve thirteen minutes of an episode one of

798
00:39:34,719 --> 00:39:36,759
Speaker 1: the mics wasn't recording for four thinking. And that's the

799
00:39:36,800 --> 00:39:40,879
Speaker 1: situation that's pretty specific to that show, because again it's

800
00:39:40,920 --> 00:39:44,040
Speaker 1: like three different mics, and sometimes most of our shows

801
00:39:44,040 --> 00:39:46,000
Speaker 1: we just have the tist have the two mics, And

802
00:39:46,040 --> 00:39:48,799
Speaker 1: so I think what was happened. What happened was one

803
00:39:49,000 --> 00:39:51,640
Speaker 1: the third mic was set to the same input as

804
00:39:51,760 --> 00:39:53,879
Speaker 1: one of the other two mics, and I didn't catch

805
00:39:53,880 --> 00:39:56,479
Speaker 1: it until about ten minutes into the recording. And that's

806
00:39:56,600 --> 00:40:00,759
Speaker 1: obviously my dada. Well yeah, but and and but we

807
00:40:00,880 --> 00:40:03,359
Speaker 1: as podcasters make mistakes too. I'm not trying to call

808
00:40:03,400 --> 00:40:05,000
Speaker 1: you out, no, no, no no, I think I think a

809
00:40:05,040 --> 00:40:09,719
Speaker 1: more interesting example is UM. In our old office, we

810
00:40:09,800 --> 00:40:13,640
Speaker 1: had an issue where we shared a space with UM

811
00:40:13,760 --> 00:40:19,000
Speaker 1: an ad uh AD Agency or add UM department from

812
00:40:19,280 --> 00:40:27,120
Speaker 1: a large multinational UM let's say, UH television network content

813
00:40:27,560 --> 00:40:30,640
Speaker 1: content providers. Sure, and so they were on one side

814
00:40:30,680 --> 00:40:31,839
Speaker 1: of the office and we were on the other side

815
00:40:31,880 --> 00:40:34,480
Speaker 1: of the office. And for whatever reason, the thermostat for

816
00:40:35,000 --> 00:40:38,120
Speaker 1: the audio studio in this kind of makeshift call center

817
00:40:38,200 --> 00:40:40,680
Speaker 1: space that we were crammed into for a while, UM,

818
00:40:40,920 --> 00:40:44,720
Speaker 1: was in somebody's office on the other side of the space,

819
00:40:44,800 --> 00:40:47,000
Speaker 1: and we didn't we didn't have control over it, and

820
00:40:47,040 --> 00:40:49,120
Speaker 1: so what was happening. And it took forever for them

821
00:40:49,120 --> 00:40:51,440
Speaker 1: to even realize this was happening. And and your desk

822
00:40:51,760 --> 00:40:54,520
Speaker 1: was in that particular studient. It was just in that studio.

823
00:40:54,560 --> 00:40:56,239
Speaker 1: So I was just in there all the time. UM.

824
00:40:56,280 --> 00:40:59,600
Speaker 1: So it would get really really hot and really really nasty. UM.

825
00:40:59,640 --> 00:41:03,520
Speaker 1: And it one point the computer that we were recording

826
00:41:03,920 --> 00:41:08,440
Speaker 1: on in there got so hot that it shut itself

827
00:41:08,480 --> 00:41:12,000
Speaker 1: down mid at the very end of a session, and

828
00:41:13,000 --> 00:41:17,400
Speaker 1: the file didn't write whatever data it needed to write

829
00:41:17,400 --> 00:41:20,239
Speaker 1: to the end of that recording to make a complete

830
00:41:20,560 --> 00:41:23,640
Speaker 1: file a package that you can like read on a computer.

831
00:41:24,080 --> 00:41:27,560
Speaker 1: So um, with the help of one of the smartest

832
00:41:27,560 --> 00:41:30,440
Speaker 1: people I know, Casey Pegram, who is a videographer for

833
00:41:30,520 --> 00:41:34,080
Speaker 1: us stuff you should know and brain stuff and what

834
00:41:34,200 --> 00:41:38,520
Speaker 1: the stuff, and it's just an overall genius of a dude. Um.

835
00:41:38,560 --> 00:41:42,200
Speaker 1: He's also he's also taken many of the production photos

836
00:41:42,280 --> 00:41:45,319
Speaker 1: for a lot of our shows. Yeah, really talented, very

837
00:41:45,400 --> 00:41:48,000
Speaker 1: very cool guy. I'm very talented. He figured out how

838
00:41:48,040 --> 00:41:51,000
Speaker 1: to like convert this file into like hex, like you

839
00:41:51,040 --> 00:41:54,160
Speaker 1: take a hex editor, which actually like parses the file

840
00:41:54,640 --> 00:41:57,520
Speaker 1: into visual data, which like if you looked at it

841
00:41:57,520 --> 00:42:00,000
Speaker 1: will make your head spin. It's like if you let's say,

842
00:42:00,000 --> 00:42:01,799
Speaker 1: he took an audio file and dropped it into like

843
00:42:01,800 --> 00:42:04,719
Speaker 1: a word a word processor. That's this is the kind

844
00:42:04,719 --> 00:42:07,040
Speaker 1: of stuff you'd get where it's like, oh, these crazy

845
00:42:07,080 --> 00:42:09,840
Speaker 1: exs and squares and and they're just staring the matrix,

846
00:42:09,880 --> 00:42:12,399
Speaker 1: staring into the matrix. And he figured out like that

847
00:42:12,440 --> 00:42:15,560
Speaker 1: there was this line of code that like was missing

848
00:42:15,719 --> 00:42:17,640
Speaker 1: from the end of the file. That is what it

849
00:42:17,719 --> 00:42:21,560
Speaker 1: needed to like actually like be readable by you know,

850
00:42:21,840 --> 00:42:24,480
Speaker 1: the software that we use. And he figured out some

851
00:42:24,520 --> 00:42:29,000
Speaker 1: program that like kind of reparted the file and added

852
00:42:29,040 --> 00:42:30,880
Speaker 1: that back in and we were able to save it

853
00:42:30,960 --> 00:42:36,160
Speaker 1: after this like disastrous you know shut down from overheating computer. Right. Yeah,

854
00:42:36,200 --> 00:42:39,959
Speaker 1: so once in a while, we you know, technical issues happen. Uh,

855
00:42:40,000 --> 00:42:43,600
Speaker 1: it's rare, it's really really rare. And once in a while,

856
00:42:43,680 --> 00:42:46,520
Speaker 1: there'll be a mistake either. I mean, you know, we

857
00:42:46,680 --> 00:42:49,160
Speaker 1: podcasters have made them. We've I've had to come in

858
00:42:49,280 --> 00:42:51,920
Speaker 1: and re record a segment when we realized that something

859
00:42:51,960 --> 00:42:55,480
Speaker 1: we had said was not um not accurate, or was

860
00:42:55,560 --> 00:42:58,799
Speaker 1: a misrepresentation lot we had. Essentially, what it boils down

861
00:42:58,800 --> 00:43:00,719
Speaker 1: to is, more often than not, it stems from a

862
00:43:00,760 --> 00:43:04,160
Speaker 1: misunderstanding where we think we've got to handle on something,

863
00:43:04,440 --> 00:43:06,360
Speaker 1: and then the more we think about, the more we realize,

864
00:43:06,440 --> 00:43:09,319
Speaker 1: you know, I had assumed something that turns out not

865
00:43:09,400 --> 00:43:12,000
Speaker 1: to be true. So more often than not, I've had

866
00:43:12,040 --> 00:43:15,480
Speaker 1: to rerecord something because of something we podcasters have done.

867
00:43:15,680 --> 00:43:18,319
Speaker 1: It's pretty rare when I have to, Or you'll get

868
00:43:18,320 --> 00:43:20,600
Speaker 1: the q A back in and listening to it with

869
00:43:20,640 --> 00:43:22,840
Speaker 1: a little bit of distance from having done the research

870
00:43:22,880 --> 00:43:24,759
Speaker 1: and having like had to grind it out and come

871
00:43:24,840 --> 00:43:26,759
Speaker 1: right in and record it, you start to realize that

872
00:43:26,800 --> 00:43:28,719
Speaker 1: doesn't sound quite right, and then you kind of like

873
00:43:28,760 --> 00:43:30,880
Speaker 1: go back and check yourself and then oh, and then

874
00:43:30,880 --> 00:43:32,239
Speaker 1: you have to figure out how many times did I

875
00:43:32,320 --> 00:43:35,560
Speaker 1: say this thing? No, there was, yeah, there was one

876
00:43:35,600 --> 00:43:38,200
Speaker 1: point where I remember, and it may have even been

877
00:43:38,239 --> 00:43:40,160
Speaker 1: the one where we had to re record because of

878
00:43:40,239 --> 00:43:43,000
Speaker 1: Joe's mike. But there was one where we realized that

879
00:43:43,040 --> 00:43:45,160
Speaker 1: we didn't want to have to record the whole show again.

880
00:43:45,640 --> 00:43:47,720
Speaker 1: What we wanted to do was record the first half

881
00:43:47,719 --> 00:43:50,760
Speaker 1: of the show and leave the second half alone, because

882
00:43:50,920 --> 00:43:53,560
Speaker 1: it is a lot of work for everybody to come

883
00:43:53,560 --> 00:43:55,400
Speaker 1: in and do the show once, to have to do

884
00:43:55,480 --> 00:43:59,320
Speaker 1: it twice is it's it's tough, right, It's just it.

885
00:43:58,600 --> 00:44:02,880
Speaker 1: It starts to hit on your psyche, right. And I

886
00:44:02,920 --> 00:44:05,160
Speaker 1: remember that we sat down and we were like, Okay,

887
00:44:06,160 --> 00:44:08,319
Speaker 1: did we make any jokes in the second half that

888
00:44:08,520 --> 00:44:11,319
Speaker 1: we have to set up in the first half because

889
00:44:11,360 --> 00:44:14,560
Speaker 1: we do so many callbacks, right, And I'm pretty sure

890
00:44:14,600 --> 00:44:16,600
Speaker 1: that was an episode where we were thinking, all right,

891
00:44:16,600 --> 00:44:18,160
Speaker 1: what was the joke we made in the second half

892
00:44:18,160 --> 00:44:19,640
Speaker 1: where we're going to have to make sure that we

893
00:44:19,680 --> 00:44:21,880
Speaker 1: have the building blocks for that joke in the first half.

894
00:44:21,880 --> 00:44:25,920
Speaker 1: And there's nothing that will kill a joke faster than

895
00:44:26,080 --> 00:44:28,840
Speaker 1: having to recreate it. Yeah, because it was it was

896
00:44:28,880 --> 00:44:32,319
Speaker 1: something that happened organically. We don't write our jokes down

897
00:44:32,480 --> 00:44:34,439
Speaker 1: most of the time. We don't write our jokes down.

898
00:44:34,480 --> 00:44:36,120
Speaker 1: Once a while, our notes will have a joke in

899
00:44:36,200 --> 00:44:37,840
Speaker 1: it and we're like, okay, this is too good to

900
00:44:38,040 --> 00:44:41,919
Speaker 1: not say we gotta we gotta add it. Um, most

901
00:44:41,920 --> 00:44:44,000
Speaker 1: of the time we don't have our jokes written down.

902
00:44:44,000 --> 00:44:46,920
Speaker 1: We just end up spontaneously coming up with it. So

903
00:44:47,000 --> 00:44:50,880
Speaker 1: having to recreate spontaneity in a in a in a

904
00:44:50,960 --> 00:44:55,320
Speaker 1: controlled and planned way is it just does not feel

905
00:44:55,440 --> 00:44:58,759
Speaker 1: right when you're doing what. Yeah, but the cool thing

906
00:44:58,880 --> 00:45:02,879
Speaker 1: Nol is that with your work most I don't think

907
00:45:02,880 --> 00:45:05,080
Speaker 1: people would be able to tell, you know, it's only

908
00:45:05,120 --> 00:45:06,839
Speaker 1: the people who have gone through it that are even

909
00:45:06,880 --> 00:45:09,040
Speaker 1: able to realize it. I try and try to do

910
00:45:09,040 --> 00:45:13,120
Speaker 1: a great job. So Yeah, there's a ton of different

911
00:45:13,160 --> 00:45:17,160
Speaker 1: shows you can listen to that that have Noel's work

912
00:45:17,320 --> 00:45:21,120
Speaker 1: on them. And obviously we're going to continue working on

913
00:45:21,320 --> 00:45:24,600
Speaker 1: new ways to soundscape at and some stuff. Maybe maybe

914
00:45:24,600 --> 00:45:27,800
Speaker 1: come up with a couple of other little clever um

915
00:45:27,840 --> 00:45:32,280
Speaker 1: motifs or whatever things that I'm really looking forward to. Obviously,

916
00:45:32,280 --> 00:45:37,640
Speaker 1: it will be dependent upon Noel's spare time, of which

917
00:45:37,680 --> 00:45:40,160
Speaker 1: there is precious little. But speaking of spare time, before

918
00:45:40,160 --> 00:45:42,239
Speaker 1: we before we wrap up, I just wanted to say, Um,

919
00:45:42,960 --> 00:45:47,200
Speaker 1: you were part of a fun little spare time curricular

920
00:45:47,320 --> 00:45:49,359
Speaker 1: thing that that I did with some of the other

921
00:45:49,400 --> 00:45:53,279
Speaker 1: podcasters here. That's totally How Stuff Works related. But it

922
00:45:53,320 --> 00:45:58,920
Speaker 1: was like a lovecraft Ian radio horror drama. And Jonathan

923
00:45:58,920 --> 00:46:00,760
Speaker 1: got to play a little part. Yeah. It was about

924
00:46:00,800 --> 00:46:03,759
Speaker 1: a waiter who tries to serve some drinks and that's

925
00:46:03,800 --> 00:46:08,200
Speaker 1: the whole, the whole thing that two lines I knew. Yeah,

926
00:46:08,280 --> 00:46:10,279
Speaker 1: but that's an example of like, Okay, so I've got

927
00:46:10,320 --> 00:46:11,960
Speaker 1: all this stuff that I do for work and then

928
00:46:12,000 --> 00:46:15,520
Speaker 1: to like add in another audio project that involved me

929
00:46:15,600 --> 00:46:18,719
Speaker 1: staying up like from like ten pm to like eight

930
00:46:18,760 --> 00:46:21,680
Speaker 1: am on a Sunday to like knock this thing out.

931
00:46:21,719 --> 00:46:24,360
Speaker 1: And I'm super proud of it. And you know, did

932
00:46:24,760 --> 00:46:28,120
Speaker 1: Ben right that wrote it? And Ben wrote it and

933
00:46:28,120 --> 00:46:30,440
Speaker 1: and it started a lot of the people from How

934
00:46:30,480 --> 00:46:33,719
Speaker 1: Stuff Works doing various roles and honestly, like it was something.

935
00:46:33,719 --> 00:46:35,680
Speaker 1: When I heard about it, I thought, oh, it's a

936
00:46:35,719 --> 00:46:37,480
Speaker 1: shame that didn't know about that earlier. That would have

937
00:46:37,480 --> 00:46:39,680
Speaker 1: been fun to be part of that. And then at

938
00:46:39,680 --> 00:46:42,200
Speaker 1: the last minute, I think someone fell through and you

939
00:46:42,239 --> 00:46:44,399
Speaker 1: needed a person to just record a couple of lines.

940
00:46:44,440 --> 00:46:46,000
Speaker 1: I was happy to jump in. Now you have to

941
00:46:46,040 --> 00:46:48,200
Speaker 1: know to like I mean, it was like a deadline

942
00:46:48,320 --> 00:46:50,759
Speaker 1: was approaching. We were just trying to knock this thing

943
00:46:50,800 --> 00:46:53,160
Speaker 1: on everyone even to get it done. It was such

944
00:46:53,160 --> 00:46:55,200
Speaker 1: a stretch for everyone. But I'm not going to name

945
00:46:55,280 --> 00:46:57,600
Speaker 1: drop it too hard. But check out the Atlanta Fringe

946
00:46:57,600 --> 00:47:00,799
Speaker 1: Festival audio components if you guys, they're interested, and you

947
00:47:00,800 --> 00:47:04,200
Speaker 1: can probably figure out which one it is. Yeah, and uh,

948
00:47:04,880 --> 00:47:06,319
Speaker 1: radio drama is one of those things that has a

949
00:47:06,320 --> 00:47:08,360
Speaker 1: special place in my heart. For the long time I was.

950
00:47:08,440 --> 00:47:10,520
Speaker 1: I was a member of the board of the Atlanta

951
00:47:10,600 --> 00:47:13,600
Speaker 1: Radio Theater Company, and I also wrote several pieces and

952
00:47:13,760 --> 00:47:16,839
Speaker 1: performed in several pieces of theirs. So actually, if you go,

953
00:47:17,160 --> 00:47:19,400
Speaker 1: this is a non how stuff works podcast plug. But

954
00:47:19,440 --> 00:47:21,360
Speaker 1: if you go and check out the A r t

955
00:47:21,640 --> 00:47:26,439
Speaker 1: C podcast, that's the Atlanta Radio Theater Company podcast. They

956
00:47:26,640 --> 00:47:31,040
Speaker 1: collect a bunch of their various live performances, uh, and

957
00:47:31,080 --> 00:47:33,520
Speaker 1: they put it out as a podcast. And if you listen,

958
00:47:33,880 --> 00:47:36,000
Speaker 1: if you do a search for my name, you'll see

959
00:47:36,000 --> 00:47:38,439
Speaker 1: that I've done quite a few with them way back

960
00:47:38,480 --> 00:47:40,239
Speaker 1: in the day. I haven't recorded with them for a

961
00:47:40,239 --> 00:47:43,040
Speaker 1: few years now, but some of the stuff I've written

962
00:47:43,080 --> 00:47:46,680
Speaker 1: also shows up there. So yeah, it's pretty pretty funny,

963
00:47:46,719 --> 00:47:49,640
Speaker 1: weird and goofy stuff. So a lot of science fiction,

964
00:47:49,640 --> 00:47:52,120
Speaker 1: fantacy and horror for those guys. Uh and well and

965
00:47:52,200 --> 00:47:54,680
Speaker 1: also you you are you? How many bands do you

966
00:47:54,680 --> 00:47:56,160
Speaker 1: play in right now? Are just one? Or is it

967
00:47:56,239 --> 00:47:58,760
Speaker 1: to um play? Both of them are kind of based

968
00:47:58,760 --> 00:48:01,239
Speaker 1: out of Atlanta and at Georgia. One of us called

969
00:48:01,239 --> 00:48:03,759
Speaker 1: Brothers and the other one is called blue Blood and

970
00:48:03,760 --> 00:48:06,720
Speaker 1: we're actually doing our record release show tonight in Atlanta

971
00:48:06,760 --> 00:48:09,520
Speaker 1: at the earl Um. It's by the time you hear this,

972
00:48:09,600 --> 00:48:11,759
Speaker 1: it is too late, but it would have been you

973
00:48:11,800 --> 00:48:15,319
Speaker 1: would have you would have loved to have been. Yeah,

974
00:48:15,400 --> 00:48:17,080
Speaker 1: but that's awesome, you know, and I love the fact

975
00:48:17,160 --> 00:48:19,319
Speaker 1: that we can kind of get a glimpse into some

976
00:48:19,400 --> 00:48:21,080
Speaker 1: of the stuff that the folks here at how Stuff

977
00:48:21,080 --> 00:48:23,920
Speaker 1: Works are doing outside of their jobs, because you know,

978
00:48:24,000 --> 00:48:26,520
Speaker 1: it's it's it speaks to the sort of people who

979
00:48:26,520 --> 00:48:30,480
Speaker 1: work here that many of us are working in a

980
00:48:30,600 --> 00:48:35,000
Speaker 1: very creative industry and either we are creative in the

981
00:48:35,040 --> 00:48:38,520
Speaker 1: sense that we're the ones writing and then maybe talking

982
00:48:38,600 --> 00:48:43,800
Speaker 1: about whatever content, or we're editing and shaping that content

983
00:48:44,560 --> 00:48:48,480
Speaker 1: producing it as well, because there is I think there

984
00:48:48,520 --> 00:48:51,719
Speaker 1: are very specific duties for an editor versus a producer,

985
00:48:51,840 --> 00:48:54,960
Speaker 1: and you have to do both and a publisher, so

986
00:48:55,040 --> 00:48:58,520
Speaker 1: there's multiple ones there. Uh, you know the fact that

987
00:48:58,560 --> 00:49:01,680
Speaker 1: we all have this as our jobs and then many

988
00:49:01,760 --> 00:49:05,200
Speaker 1: of us outside of work continue to do that stuff

989
00:49:05,440 --> 00:49:07,879
Speaker 1: in other ways. I think it says a lot about

990
00:49:07,920 --> 00:49:10,440
Speaker 1: the type of people who work here, which is pretty awesome.

991
00:49:11,200 --> 00:49:14,560
Speaker 1: And uh and I mean pretty much everybody you've ever

992
00:49:14,600 --> 00:49:17,800
Speaker 1: heard on a podcast it falls into that category somewhere.

993
00:49:18,040 --> 00:49:20,759
Speaker 1: So uh nol, thank you so much for staying down

994
00:49:20,760 --> 00:49:22,799
Speaker 1: and talking with us. Do you have any any for

995
00:49:22,840 --> 00:49:25,879
Speaker 1: people who are maybe trying to go out there and

996
00:49:25,920 --> 00:49:29,400
Speaker 1: do a podcast, you know they're working with whatever software?

997
00:49:29,400 --> 00:49:33,200
Speaker 1: Maybe it's Audacity because it's it's a free piece of software. Man,

998
00:49:33,320 --> 00:49:36,600
Speaker 1: It's it's it's it's easy because there's so many really

999
00:49:36,640 --> 00:49:39,359
Speaker 1: inexpensive little audio interfaces you can get. Or even if

1000
00:49:39,360 --> 00:49:41,040
Speaker 1: you just have a computer that has like an eighth

1001
00:49:41,080 --> 00:49:43,759
Speaker 1: inch microphone jack, you can get a pretty decent minke

1002
00:49:43,800 --> 00:49:47,160
Speaker 1: and just get like a transformer with a turnaround cable.

1003
00:49:47,239 --> 00:49:49,640
Speaker 1: It'll turn your XLR into like the right plug to

1004
00:49:49,640 --> 00:49:52,000
Speaker 1: go into your laptop. But I mean, if you look online,

1005
00:49:52,120 --> 00:49:55,240
Speaker 1: there are so many like between maybe fifty two seventy

1006
00:49:55,239 --> 00:49:59,240
Speaker 1: five dollar audio interfaces that will take an XLR microphone connection,

1007
00:49:59,239 --> 00:50:02,640
Speaker 1: which is what you know, higher pro mis use um.

1008
00:50:02,719 --> 00:50:05,040
Speaker 1: And then yeah, I mean, a garage band works great.

1009
00:50:05,040 --> 00:50:08,360
Speaker 1: A lot of Mark Marin uses garage band to record.

1010
00:50:08,560 --> 00:50:11,240
Speaker 1: The WTF podcast is one of the most popular podcasts

1011
00:50:11,239 --> 00:50:13,600
Speaker 1: on iTunes and tons of people use it. And there's

1012
00:50:13,600 --> 00:50:16,080
Speaker 1: even like a podcast exporting option where you can do

1013
00:50:16,120 --> 00:50:19,080
Speaker 1: all the metadata for the MP three and all that stuff. Um.

1014
00:50:19,280 --> 00:50:22,200
Speaker 1: And then, like you said, Audacity is great. It's totally free,

1015
00:50:22,280 --> 00:50:26,120
Speaker 1: it works fantastic, and it's just there's it's it's it's

1016
00:50:26,160 --> 00:50:28,080
Speaker 1: pretty much wide open. You know, you just just you

1017
00:50:28,120 --> 00:50:32,239
Speaker 1: can get a decent microphone for maybe less than a

1018
00:50:32,320 --> 00:50:35,359
Speaker 1: hundred bucks and then you know, just get started. Yeah,

1019
00:50:35,440 --> 00:50:38,399
Speaker 1: there's there are a ton of hosting sites out there too.

1020
00:50:38,440 --> 00:50:40,759
Speaker 1: I mean, obviously we have the benefit of working with

1021
00:50:40,800 --> 00:50:43,840
Speaker 1: a major company, but SoundCloud, I mean you can just

1022
00:50:43,840 --> 00:50:45,680
Speaker 1: put your all your stuff on SoundCloud. You can do

1023
00:50:45,680 --> 00:50:48,080
Speaker 1: it there. Anybody can contribute something to iTunes. I mean,

1024
00:50:48,120 --> 00:50:52,200
Speaker 1: there's tons of like sledgling podcasts on iTunes. I do

1025
00:50:52,360 --> 00:50:56,239
Speaker 1: uh I use I personally use libs in for one

1026
00:50:56,280 --> 00:50:58,560
Speaker 1: of my podcasts as a hosting service, but you could

1027
00:50:58,560 --> 00:51:00,880
Speaker 1: also use things like archive Done Work. They have a

1028
00:51:01,000 --> 00:51:03,880
Speaker 1: hosting service that's free. So there are a lot of

1029
00:51:04,080 --> 00:51:05,799
Speaker 1: a lot of different places out there if you want

1030
00:51:05,800 --> 00:51:08,399
Speaker 1: to try your hand at this kind of thing, and uh,

1031
00:51:08,480 --> 00:51:11,840
Speaker 1: and kind of get an idea of what what Noel

1032
00:51:11,960 --> 00:51:15,280
Speaker 1: goes through whenever he has to has to fix a podcast.

1033
00:51:15,360 --> 00:51:17,680
Speaker 1: I've I've gotten obsessed when I do mine. I have

1034
00:51:17,760 --> 00:51:19,319
Speaker 1: to have to learn to let go because I get

1035
00:51:19,320 --> 00:51:21,640
Speaker 1: obsessed with things like sure, let me take out all

1036
00:51:21,680 --> 00:51:24,719
Speaker 1: the us. I mean, just just one last thing. The

1037
00:51:24,800 --> 00:51:28,439
Speaker 1: podcasting landscape in general is so wide open right now

1038
00:51:28,520 --> 00:51:30,560
Speaker 1: because I mean, obviously there's a lot of established brands

1039
00:51:30,560 --> 00:51:33,160
Speaker 1: and stuff that people may know about, but in general,

1040
00:51:33,480 --> 00:51:37,240
Speaker 1: people the idea of podcasting is that there's just something

1041
00:51:37,280 --> 00:51:39,799
Speaker 1: for everybody. So it's like, you know, while it may

1042
00:51:39,880 --> 00:51:43,080
Speaker 1: seem like oversaturated, there's always room for some new way

1043
00:51:43,120 --> 00:51:45,160
Speaker 1: to do something or some new way to talk about something.

1044
00:51:45,360 --> 00:51:47,480
Speaker 1: And a big part of what turns people onto podcasts

1045
00:51:47,480 --> 00:51:49,920
Speaker 1: that they can just find random things and just have

1046
00:51:50,000 --> 00:51:52,160
Speaker 1: a good time exploring and finding new things. So I

1047
00:51:52,200 --> 00:51:54,480
Speaker 1: would never be discouraged by like, oh, there's too much

1048
00:51:54,520 --> 00:51:57,239
Speaker 1: stuff out there. It's always I would always encourage people.

1049
00:51:57,280 --> 00:52:01,200
Speaker 1: I'm like, I would say, think about something you are

1050
00:52:01,320 --> 00:52:04,279
Speaker 1: really excited about. Really passionate about, and you'd love to

1051
00:52:04,280 --> 00:52:07,640
Speaker 1: talk about this stuff, whatever that might be. It doesn't

1052
00:52:07,760 --> 00:52:10,600
Speaker 1: doesn't matter what the subject is, but you just really

1053
00:52:10,640 --> 00:52:14,240
Speaker 1: like talking about You could have endless conversations that should

1054
00:52:14,239 --> 00:52:18,680
Speaker 1: be your podcast subject, because chances are there are other

1055
00:52:18,719 --> 00:52:20,680
Speaker 1: people out there in the world who are just as

1056
00:52:20,680 --> 00:52:24,200
Speaker 1: passionate as you are and will find that podcast interesting.

1057
00:52:25,120 --> 00:52:27,799
Speaker 1: The danger, I would say, is trying to figure out

1058
00:52:27,840 --> 00:52:30,440
Speaker 1: where the demand is and then trying to create a

1059
00:52:30,440 --> 00:52:33,120
Speaker 1: podcast to meet that demand, because unless it's something you're

1060
00:52:33,160 --> 00:52:37,400
Speaker 1: already interested in, it turns into real hard work, real fast.

1061
00:52:37,920 --> 00:52:41,759
Speaker 1: So no, thank you again, And guys, if you have

1062
00:52:41,840 --> 00:52:45,320
Speaker 1: any suggestions for future episodes of tech Stuff, whether it

1063
00:52:45,680 --> 00:52:48,320
Speaker 1: is another guest that I should have on the show,

1064
00:52:48,600 --> 00:52:51,520
Speaker 1: a guest host who should sit here and talk with

1065
00:52:51,600 --> 00:52:55,040
Speaker 1: me about something technical, or a subject itself, let me know,

1066
00:52:55,160 --> 00:52:57,560
Speaker 1: Send me an email that addresses tech Stuff at how

1067
00:52:57,600 --> 00:53:01,080
Speaker 1: stuff works dot com, or drop me a line on Facebook, Twitter,

1068
00:53:01,200 --> 00:53:03,560
Speaker 1: or Tumblr. The handle at all three of those is

1069
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Speaker 1: tech Stuff h s W. And I'll talk to you

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Speaker 1: again really soon for more on this and thousands of

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Speaker 1: other topics at how stuff works dot com.