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Speaker 1: Bloomberg Audio Studios, podcasts, radio news. I'm Matt Miller and

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Speaker 1: I'm Hannah Elliott, and this is Hot Pursuit.

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Speaker 2: All right, we have today an interview that touches my heart.

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Speaker 1: Actually, yeah, we're talking with Tim Pride, who is the

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Speaker 1: head of business for Dolby at Most Music and a

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Speaker 1: great musician in his own right. I think he's being

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Speaker 1: way too modest when he says he's sort of so so, but.

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Speaker 2: I definitely want to get his new record.

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Speaker 1: He refused to tell us. I just remembered he refused

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Speaker 1: to tell us. I was sort of furiously googling trying

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Speaker 1: to find it and I couldn't find the name.

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Speaker 2: So, by the way, you've talked about this before because

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Speaker 2: I think it was part of your Cadillac Escalade IQ experience.

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Speaker 2: But tell us again how you got these guys.

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Speaker 1: Yeah, well, it's really interesting. I went up to San

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Speaker 1: Francisco for to drive the Escalade IQ, which is the

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Speaker 1: electric version of the Escalade, and the driver was great,

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Speaker 1: but we sort of had this like forced march to

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Speaker 1: Dolby HQ one evening and I went in thinking, this

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Speaker 1: is ridiculous. Why are we here? This is supposed to

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Speaker 1: be a car launch. We don't need to go to

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Speaker 1: some press junket at Dolby. And Jamie, the pr for Dolby,

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Speaker 1: came up and was so friendly and just completely disarmed me,

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Speaker 1: and it was like, you know, come sit in the car.

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Speaker 1: Let's sit in there. There was a Cadillac Optic, I think,

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Speaker 1: so he was like, come on, come on and join

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Speaker 1: me and sit in the car and we can listen

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Speaker 1: to Chaka Khan and Tim Pride, our guest today, was

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Speaker 1: also in the car, and these two completely flipped my

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Speaker 1: opinion about why I was there and really made me

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Speaker 1: evangelist for an evangelist for what Dolby is doing in

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Speaker 1: atmost and for car sound in general. And we just

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Speaker 1: sat in this car for like thirty minutes and listened

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Speaker 1: to music and talked about their technology. It was awesome,

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Speaker 1: And I really didn't know anything about Dolby before then,

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Speaker 1: but that is how I first met Tim. And then

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Speaker 1: of course when I wrote this piece on sort of

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Speaker 1: automaker's embracing sound in cars and it becomes really a

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Speaker 1: status symbol in luxury cars, then of course I went

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Speaker 1: back and interviewed Tim for that story too. So it's

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Speaker 1: been great knowing them, I've learned a ton.

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Speaker 2: Well, I obviously care a lot about music and cars

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Speaker 2: as well. Let's get straight to it. Here's Tim Pride.

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Speaker 2: I think that automotive I think that audio is one

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Speaker 2: of the most important and least discussed areas of car

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Speaker 2: lover sort of universe, right, I mean, like in road

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Speaker 2: and Track and car and Driver on any of the

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Speaker 2: websites in pursuits even when we're writing and reading about cars.

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Speaker 2: When we're talking about cars, almost no one ever mentions

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Speaker 2: the stereo and listening to music in a car is

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Speaker 2: one of the best things you can possibly That's like

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Speaker 2: what a car is for after driving, right, Yes.

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Speaker 3: It's the number one place people listen to music.

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Speaker 2: So what's the deal? How come no one ever? I

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Speaker 2: guess Tim, you're in a different kind of industry, so

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Speaker 2: you probably talk about it all the time. But do

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Speaker 2: you notice that when people review cars, nobody other than

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Speaker 2: like Savage Geese ever talks about the stereo system.

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Speaker 4: Yeah, the audio system has not been one that's discussed

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Speaker 4: or talked about much. It's nowadays becoming something that is

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Speaker 4: advertised or at least they'll be a mention of it

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Speaker 4: by a lot of car partners. And auto manufacturers. But

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Speaker 4: it is incredible given how many people I talk to

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Speaker 4: who are music lovers saying I discovered music riding in

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Speaker 4: my car, you know, when I was in high school,

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Speaker 4: or talking to artists who are always saying, you know,

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Speaker 4: I always listen to my music in my car after

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Speaker 4: a mix because that's where I trust the audio system.

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Speaker 4: I mean, it is It is incredible that it isn't

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Speaker 4: talked about more, but maybe it's because there hasn't been

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Speaker 4: a lot to talk about in the last you know,

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Speaker 4: a couple decades.

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Speaker 1: Can we go back to the very beginning of this,

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Speaker 1: tim because I'm very interested in the history of Dolby

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Speaker 1: and which started out as a sound canceling technology. Is

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Speaker 1: that that's correct, right? And this will come back to

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Speaker 1: cars because sound canceling seems to be a building block

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Speaker 1: to creating a great environment for listening to audio. Can

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Speaker 1: you just sort of walk us through the development and

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Speaker 1: the history of Dolby from where it started to where

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Speaker 1: we are now with atmost and then explain what atmost

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Speaker 1: is because when I met you, I didn't know what

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Speaker 1: atmost meant, so we need some magic here.

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Speaker 4: Sure, Dolby has an amazing story behind it. We actually

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Speaker 4: are celebrating our sixty years this year. And Ray Dolby,

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Speaker 4: the founder, was a big believer in how technology can

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Speaker 4: unleash a creative's abilities, how a creative, an artist, an

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Speaker 4: engineer can do more with technology as it pertains to

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Speaker 4: their craft. So where he started was really getting to

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Speaker 4: understand in a music space what challenges musicians in the

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Speaker 4: sixties were having when it came to recording audio. And

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Speaker 4: what he noticed was as you would record a let's

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Speaker 4: say a three piece jazz band, if you needed to

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Speaker 4: add an additional track, like say a vocalist, there would

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Speaker 4: be noise that would be introduced. And so what happened

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Speaker 4: is you'd get this layering of noise on top of

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Speaker 4: every track once you record worded it. So most recordings

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Speaker 4: up until the sixties were done live in a studio

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Speaker 4: with everybody having to nail their take, and the idea

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Speaker 4: of multitrack recording, which was around, wasn't really adopted because

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Speaker 4: of the noise problems. So what he introduced was noise

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Speaker 4: reduction technology, and that paved the way for multi track recording.

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Speaker 4: That is one of the absolute critical points in audio

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Speaker 4: history that changed the way that musicians and artists created music,

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Speaker 4: which was, hey, we can actually layer more instruments vocals

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Speaker 4: on top of tracks, and that is how today everybody

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Speaker 4: does it now. And so we got started in noise

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Speaker 4: reduction technologies and through the sixties and seventies, if you

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Speaker 4: look at a lot of vinyl records or in the

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Speaker 4: eighties cassette tapes, if you look on the packaging, you

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Speaker 4: actually see recorded in Dolby.

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Speaker 3: Or cars stereo, right yeah, And.

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Speaker 4: A lot of that was because of this technology and

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Speaker 4: products that the company was building was integrated into the

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Speaker 4: recording studios. The interesting thing about that is that Ray

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Speaker 4: and team was not just thinking about the creatives as well.

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Speaker 4: They were also thinking about the consumers, the people who

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Speaker 4: would be hearing this stuff, and so they needed to

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Speaker 4: create technologies for the playback environments. If we use the

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Speaker 4: car as a great example, which a lot of people

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Speaker 4: of maybe my generation or older remember, is you'd sit

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Speaker 4: in your car and there would be on the stereo

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Speaker 4: system a Dolby button or a Dolby NR noise reduction button.

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Speaker 4: Well that was the put it simply the consumer side

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Speaker 4: or the endpoint to get the most out of the

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Speaker 4: Dolby technologies that were being made for creatives in the

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Speaker 4: studio and for the consumer sitting in the car. So

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Speaker 4: Dolby has a legacy in working with creatives, understanding the

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Speaker 4: challenges that they have, using technology and engineering to solve

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Speaker 4: those challenges and problems, and then most importantly, ensuring that

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Speaker 4: the creatives and the artists, all of the things that

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Speaker 4: they come up with are being able to be heard

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Speaker 4: seen by the consumer. And so Automotive for us has

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Speaker 4: got We're steeped in history there because we did so

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Speaker 4: much of it and so many people know us from

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Speaker 4: the Dolby NR, Dolby Button days of the seventies and

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Speaker 4: eighties and nineties.

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Speaker 3: So now you.

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Speaker 4: Fast forward to today and you asked about Dolby atmost.

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Speaker 4: Dolby ATMOS is the evolution of what Dolby started in

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Speaker 4: the seventies, which was immersive audio. In the seventies there

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Speaker 4: was a little film, an indie film that came out.

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Speaker 4: It was called Star Wars, and Ray Dolby and George

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Speaker 4: Lucas got together and George said, I really want to

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Speaker 4: do something different when it comes to the storytelling element

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Speaker 4: of sound, and so I'm doing that with the music

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Speaker 4: which on Williams scoring.

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Speaker 3: This amazing score for that movie.

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Speaker 4: I'm doing it with the visuals that are going to

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Speaker 4: be seen that's never been seen, but the audio experience

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Speaker 4: must be something unique, and so they set out to

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Speaker 4: create the first truly immersive audio experience in cinema, which

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Speaker 4: was with the debut of the original Star Wars movie

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Speaker 4: in seventy seven, and that was Dolby Surround. So Dolby

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Speaker 4: Surround has then evolved over decades to where the idea

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Speaker 4: that you can place and put audio in different parts

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Speaker 4: of room, whether it be in a cinema or in

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Speaker 4: a home through headphones and now in cars, is one

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Speaker 4: that we've been really at the very beginning of Dolby

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Speaker 4: Atmost is our latest greatest immersive spatial technology that creatives

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Speaker 4: can create in. So I'm a musician, I'm a sound

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Speaker 4: designer on a dub stage at a Hollywood movie. I'm

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Speaker 4: a podcaster trying to create some type of immersive audio

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Speaker 4: experience for my listeners. I'm a game developer, whatever genre

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Speaker 4: of content. Dolby Atmost is the engine, is the tools

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Speaker 4: and the playback products that allow for this immersive experience,

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Speaker 4: and automotive is really where we're very excited about because

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Speaker 4: to Matt's point, we do so much listening of music

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Speaker 4: and audio, and now podcasts and audiobooks and even av

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Speaker 4: is starting to come audio video experiences where being immersed

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Speaker 4: in a set cabin where you have you're not moving,

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Speaker 4: you are sitting there somewhat like a movie theater. It's

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Speaker 4: a lot of fun for the creatives to know, Hey,

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Speaker 4: if I place an instrument here or there behind somebody

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Speaker 4: or in front of them, they're going to experience that

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Speaker 4: in their car, and they might be experiencing it for

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Speaker 4: a significant amount of time if they're taking a long

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Speaker 4: drive somewhere down to San Diego, right, Matt.

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Speaker 2: Yes, from San Francisco down to San Diego. By the way,

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Speaker 2: the first movie wasn't wasn't the first movie Clockwork Orange,

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Speaker 2: the first Dolby movie.

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Speaker 4: Well, Star Wars was the one that really got it

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Speaker 4: on the map as far as Dolby being the thing

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Speaker 4: that really showed through as like, oh this is Star

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Speaker 4: Wars presented in Dolby. So yes, Clockwork Orange was working

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Speaker 4: with Ray and how they developed the sound design. But

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Speaker 4: Star Wars was the thing that when we look back

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Speaker 4: in time and people look at like win did the

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Speaker 4: mass become aware of what Dolby was doing, it was

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Speaker 4: Star Wars.

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Speaker 2: In terms of the bands, do you know who some

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Speaker 2: of the first bands were that recorded with the technology.

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Speaker 4: So what Ray was working on initially was a lot

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Speaker 4: of jazz and classical artists because they were the ones

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Speaker 4: that were starting to try to figure out, hey, instead

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Speaker 4: of a live environment, can we do things where we're

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Speaker 4: adding multi track. That technology then got adopted by say

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Speaker 4: like Capital Records, and then Capitol Records started incorporating it

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Speaker 4: into their studios, and so you'd have artists of all

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Speaker 4: from now they'd be classic rock, but you could have

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Speaker 4: folks like Elton John or led Zeppelin or folks like

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Speaker 4: that who are leveraging the technology back then. And ironically,

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Speaker 4: Elton John is one of the artists we worked with

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Speaker 4: as we started to do stuff in Dolby atmost.

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Speaker 1: I mean he's eternal. I mean he's timeless. Yeah, not surprised.

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Speaker 2: So what I'm wondering what I always wonder when I'm

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Speaker 2: listening to music in Dolby, you know, or I guess

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Speaker 2: now in at moost is does it have to be

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Speaker 2: recorded with that technology to sound perfect with that technology?

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Speaker 2: Or you know, if I'm listening to an old record

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Speaker 2: by the Pink Floyd or the Dead, like, can I

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Speaker 2: use Delby to enhance it even if it wasn't recorded

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Speaker 2: with Dolby.

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Speaker 3: That's a great question.

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Speaker 4: So Dolby Atmost is not something you necessarily record with.

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Speaker 4: You stilled all the same recording techniques and technologies, microphones,

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Speaker 4: multi channel, all that still remains the same dolbiy atmos

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Speaker 4: for the creatives in this case, a mixing engineer is

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Speaker 4: something they used to mix in. So think of it

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Speaker 4: as an environment that we're providing them that gives them

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Speaker 4: the sense of space around them to place instruments anywhere

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Speaker 4: they want in the room, whether they want them to

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Speaker 4: be sitting static or they want them to be moving.

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Speaker 3: This can be.

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Speaker 4: Applied to any music, any multi channel music.

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Speaker 3: So you use the example of Pink Floyd.

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Speaker 4: Last year there was a release fiftieth of that with

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Speaker 4: Dolby Atmost.

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Speaker 3: Incredible incredible.

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Speaker 4: I mean, it's incredible record, but it's also an incredible

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Speaker 4: mix to where they had all the original multi track tapes.

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Speaker 4: They then brought it into an atmost work environment, which

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Speaker 4: just you know, at most work environments are a part

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Speaker 4: of almost every sound design environment today. Because we've integrated

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Speaker 4: our tools into all the most common digital audio workstations.

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Speaker 4: So the stuff that your team is probably using to

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Speaker 4: mix you today right now most likely has Dolby autmost

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Speaker 4: too already.

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Speaker 3: Integrated into help.

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Speaker 4: So that makes it easier for creatives that way, they're

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Speaker 4: not even a second guess.

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Speaker 3: So then you take Pink Floyd.

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Speaker 4: You've got a mixing engineer that's working on that, and

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Speaker 4: they would say, okay, in the case of an album

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Speaker 4: like Pink Floyd, which has been listened to billions of

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Speaker 4: times over the last fifty years, you're.

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Speaker 2: Talking about Dark Side of the Moon, by the way,

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Speaker 2: and I get when I think of Dark Side of

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Speaker 2: the Moon without even listening to it, I get goosebumps

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Speaker 2: already just thinking up like all the clocks going off

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Speaker 2: all around the room or us in them, and like

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Speaker 2: you know, money with the cash register, Like what an

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Speaker 2: incredible what an unbelievably great record.

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Speaker 4: It's a great record, And how you take that record

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Speaker 4: and do something even more immersive without changing it too

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Speaker 4: much where people are now saying, well, this sounds different,

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Speaker 4: and that's that's where they are terrifying it is, and

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Speaker 4: that's where the creatives artistry and their skills come in

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Speaker 4: like we purely are building the tools based on their feedback.

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Speaker 4: But then they're the ones who have to say, Okay,

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Speaker 4: I'm going to take David Gilmore's guitar and I'm going

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Speaker 4: to move it to the right because if I listen

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Speaker 4: to the original stereo, that's what they wanted. But now

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Speaker 4: I'm going to do it a little bit more. I'm

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Speaker 4: just going to you know, move and so subtlety when

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Speaker 4: it comes to things like catalog music is often applied.

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Speaker 4: What's exciting for new music is when it's never been

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Speaker 4: heard before. So I'm an artist that's creating a brand

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Speaker 4: new album and I'm loving what I'm what atmost can do.

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Speaker 4: Let's do the whole new album in ATMOS and get

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Speaker 4: really extreme with where I place things, how it sits,

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Speaker 4: how I can use it.

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Speaker 3: That's where it really gets exciting.

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Speaker 2: Hannah, Can I just a quick comment as almost a

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Speaker 2: public service announcement to our listeners before before you ask

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Speaker 2: your next question, and unrelated, anyone who likes or anyone

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Speaker 2: who loves Dark Side of the Moon should check out

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Speaker 2: if you haven't already, an album by a band called

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Speaker 2: The Easy Star All Star Dumb Side of the Moon,

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Speaker 2: which is like reggae. It's like a reggae version of

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Speaker 2: Dark Side. It is also amazing.

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Speaker 4: Yeah, it's a it's a wonderful Uh, it's like a

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Speaker 4: reimagination of it in a way.

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Speaker 3: Yeah, it's cool. I'm familiar.

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Speaker 1: I was going to say, to finish your sentence, if

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Speaker 1: you love Dark Side of the Moon, the completion of

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Speaker 1: that sentence is you are a man because I am

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Speaker 1: not the target audience for Okay, well maybe it's a

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Speaker 1: generational thing, but I mean, I have you ever had

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Speaker 1: an artist or a band that were very hesitant and

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Speaker 1: reticent to go back in and start changing things on

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Speaker 1: their masterpiece? I mean that seems very fraught emotionally and technically.

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Speaker 1: How do you talk to them about Yeah.

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Speaker 4: So there's those two buckets I think are important, the

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Speaker 4: emotional side and the technical side. So yes, there are

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Speaker 4: artists that are like, look, I never want to I

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Speaker 4: don't want to open that Pandora's box again. That was

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Speaker 4: a difficult time for me when I was writing that record,

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Speaker 4: recording that record. For me to go and now dig

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Speaker 4: up into that, that's hard. The technical side of it

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Speaker 4: is relatively easy as long as as long as the

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Speaker 4: creative team, an engineering team has access to the multi track,

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Speaker 4: so the original multi tracks. In some cases they might

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Speaker 4: not exist. In other cases they have to go and

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Speaker 4: find them. They're in some locked up cave somewhere. They

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Speaker 4: need to restore them. So some can be more technically

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Speaker 4: difficult than others.

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Speaker 2: What we have.

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Speaker 4: Found for a lot of again what we call catalog,

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Speaker 4: which is really music that's two three years plus older.

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Speaker 4: But when you think of like music from the seventies, eighties, nineties,

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Speaker 4: where artists are going back in and reimagining the music

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Speaker 4: and delby at most, it's oftentimes done with the trusted

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Speaker 4: artists engineer. So like the mix engineer that the artists

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Speaker 4: spent time with, you know, for decades. They trust them.

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Speaker 4: They know that they're going to be able to take

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Speaker 4: what atmost can do to their original vision and then

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Speaker 4: do something new with it.

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Speaker 3: So it is a it's a it's not a one

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Speaker 3: answer to all of it.

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Speaker 4: But you're right, it's emotional, there's technical, there's operational, there's

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Speaker 4: if the artist isn't around anymore, there's going to be

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Speaker 4: a pro mixes. Yeah, like is it one person?

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Speaker 3: Is it?

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Speaker 1: You know?

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Speaker 4: I mean they're you know, Miles Davis Prince. All these

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Speaker 4: artists have got like multiple people who need to approve

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Speaker 4: those reimagination and that that sometimes can take time.

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Speaker 1: Tim Before we get into car talk, can you tell

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Speaker 1: us just about your journey you. I know that you're

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Speaker 1: a very accomplished musician in your own right, and I

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Speaker 1: also think are you a voting member of the Grand.

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Speaker 3: Yes?

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Speaker 1: Yeah, so that's fascinating to me as well. Can you

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Speaker 1: just tell us a little bit more about your journey

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Speaker 1: and how you ended up at Dolby where you are

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Speaker 1: now basically the boss.

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Speaker 4: I I was eight years old and I I took

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Speaker 4: karate lessons and I had a guitar, and I had

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Speaker 4: to make a quick decision on which one I wanted

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Speaker 4: to go and spend more time on. I could either

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Speaker 4: do more karate or I could take more guitar lessons,

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Speaker 4: and I was not very good at karate. So I

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Speaker 4: quickly got the bug for music and started taking more

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Speaker 4: lessons on guitar.

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Speaker 3: And so, like a lot of kids, I just it

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Speaker 3: grabbed me. I got the bug. I loved it.

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Speaker 4: I was decent at it. But what I really loved

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Speaker 4: about music was the ability to.

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Speaker 3: Play with other players.

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Speaker 4: And learn what it was like to be on you know,

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Speaker 4: in a team, in this case a band. So by

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Speaker 4: the time I was thirteen, I was already playing musician

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Speaker 4: with other music, playing music with other musicians, and I

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Speaker 4: learned quickly I'm not a very good guitar player. I'm

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Speaker 4: not going to be the next Eddy van Halen. But

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Speaker 4: the people that I'm surrounding myself with were really good,

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Speaker 4: really good drummers, really good guitar players, and so they

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Speaker 4: made me better. And that set me on a path

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Speaker 4: to where, Okay, if I surround myself people were better

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Speaker 4: at what they do than I am, I can be successful,

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Speaker 4: which sounds like something out of like a business book

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Speaker 4: or something, but like it was true. And then the

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Speaker 4: next kind of big thing that happened to me was

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Speaker 4: my very first job. My very first job, when I

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Speaker 4: was fourteen fifteen years old, was working at a music.

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Speaker 3: Store in Chicago.

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Speaker 1: Chicago, Okay, yeah, Sugar.

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Speaker 4: Just right outside the city, and it was a mom

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Speaker 4: and pop store. They had a couple of locations teach,

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Speaker 4: you know, they taught, They had teachers sheet music, which

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Speaker 4: for younger people listening. Sheet music was a piece of

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Speaker 4: paper that had notes on it that you would put

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Speaker 4: in front of you and then read.

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Speaker 3: Yes, very analog.

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Speaker 4: We had lots of that and guitars and amps, and

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Speaker 4: so very early on I learned, if you're going to

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Speaker 4: spend time doing something, do it in an environment that

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Speaker 4: you love. Like I was taking out the trash, cleaning toilets,

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Speaker 4: mopping the floors literally, but at least I was around

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Speaker 4: other musicians, and I very quickly learned about the industry,

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Speaker 4: instrument industry teachers. I went to school and got an

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Speaker 4: undergrad in both business and music and where you just

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Speaker 4: started working Illinois State University, and it was a great experience.

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Speaker 3: It was one of them.

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Speaker 4: It was a great experience of just kind of that

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Speaker 4: marriage between like music, creative and then also business acumen.

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Speaker 4: And that was really the merger of the two things

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Speaker 4: that I always really enjoyed, which is I love business

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Speaker 4: business strategy, but I also loved music and creative and

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Speaker 4: I love being around creatives and musicians. And so fortunately,

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Speaker 4: throughout my entire life, I've been able to write and

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Speaker 4: record and perform music at a I wouldn't say professional

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Speaker 4: level where I was like out touring all over the place,

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Speaker 4: but like I did enough of it to where I

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Speaker 4: still love it. I didn't get burnt on it, you know,

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Speaker 4: like a like a chef might get burnt where they

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Speaker 4: like cook all day and the last thing they want

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Speaker 4: to do is cook at home. I was able to

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Speaker 4: always have music part of my career. I was fortunate

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Speaker 4: to work at a company called Monster Cable. I was

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Speaker 4: there the inception of Beats by Dre and got to

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Speaker 4: experience that whole, that whole how that was born, what

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Speaker 4: happened there, what we did when we brought that to market.

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Speaker 4: And I've had lots of really great successes along the

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Speaker 4: way when working with companies like Jawbone and the Jam Box,

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Speaker 4: and now at Dolby, where I've been brought on to

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Speaker 4: head up the business and business strategy as it pertains

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Speaker 4: to how we bring Dolby at most music to musicians,

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Speaker 4: to streaming services, to partners, automotive partners, TV partners, et cetera.

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Speaker 4: So I've had a I mean, it sounds like it

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Speaker 4: has been I mean, I'll admit it, it hasn't been easy.

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Speaker 4: But the thing that has always been true is my

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Speaker 4: love of music, my love of creativity, my love of

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Speaker 4: being around creative people, but also understanding that the business

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Speaker 4: side of things and the strategy that goes behind it

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Speaker 4: is so to me fascinating and also a creative path.

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Speaker 4: And so where I am today is really an ideal

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Speaker 4: situation where I get to be in an environment around

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Speaker 4: people that are better at doing the things they do

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Speaker 4: than I am, who push me in a business place,

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Speaker 4: but also still have the ability to be creative. I

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Speaker 4: still write music, I still work on music. I just

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Speaker 4: released an album of my own, indul the atmost.

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Speaker 3: That again, what's it called. I'm not here to promote it,

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Speaker 3: so I'm.

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Speaker 1: Not promoted promoted.

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Speaker 3: But I use that.

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Speaker 4: I use that as a vehicle for my creative outlet.

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Speaker 4: But then I also like believe in what we do,

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Speaker 4: and so I use our own tools for my own creativity.

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Speaker 4: I get to hear it in a car yet, because

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Speaker 4: it just released, so I got to hear in a

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Speaker 4: car soon. But uh yeah, So that's that's been my journey,

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Speaker 4: and it's been a it's been a great, great journey.

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Speaker 2: Panna. Do you know why Tim's eight year old decision

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Speaker 2: reminds me a lot of Ralph maccio?

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Speaker 1: No, please please educate me.

439
00:23:58,600 --> 00:24:01,879
Speaker 2: Well, I am imagine you've seen the Karate Kid, you know,

440
00:24:01,960 --> 00:24:05,560
Speaker 2: wax on, wax off, yes, and then Ralph Maccio was

441
00:24:05,600 --> 00:24:07,760
Speaker 2: in I think a much better movie a couple of

442
00:24:07,840 --> 00:24:09,400
Speaker 2: years later called Crossroads.

443
00:24:09,680 --> 00:24:12,440
Speaker 4: Oh that movie was that was one of those that

444
00:24:12,600 --> 00:24:15,399
Speaker 4: and Back to the Future as a kid when you

445
00:24:15,440 --> 00:24:19,760
Speaker 4: watch that, I mean those were like guitar amazing, just

446
00:24:19,880 --> 00:24:23,040
Speaker 4: incredible adventures. And yeah, the Crossroads movie for people who

447
00:24:23,040 --> 00:24:25,119
Speaker 4: don't know it, it's basically the story of it.

448
00:24:25,440 --> 00:24:26,640
Speaker 3: It's a retelling.

449
00:24:26,240 --> 00:24:30,600
Speaker 4: Of of how a famous blues artist had gone down

450
00:24:30,600 --> 00:24:32,879
Speaker 4: to the crossroads and made, you know, a deal with

451
00:24:32,920 --> 00:24:37,080
Speaker 4: the devil, did become this amazing artist. And Ralph Macchio

452
00:24:37,119 --> 00:24:40,119
Speaker 4: plays this like kind of young kid, kind of on

453
00:24:40,160 --> 00:24:42,359
Speaker 4: the same path, and he has to compete with the devil,

454
00:24:42,400 --> 00:24:45,640
Speaker 4: who's played by Steve I who's an incredible guitar player.

455
00:24:45,320 --> 00:24:48,679
Speaker 2: And Robert Johnson, right is I mean think the idea is.

456
00:24:48,680 --> 00:24:52,120
Speaker 4: To be Robert Johnson, that he's that his his mentor

457
00:24:52,200 --> 00:24:52,520
Speaker 4: in it.

458
00:24:52,600 --> 00:24:55,440
Speaker 2: But of sorts, so many great musicians have made deals

459
00:24:55,480 --> 00:24:57,680
Speaker 2: with the devil. It could have been Zeppelin as well,

460
00:24:57,800 --> 00:25:00,960
Speaker 2: or you know. Oh yeah, so that is such a

461
00:25:01,000 --> 00:25:04,720
Speaker 2: cool story. And let's get to cars now. I mean

462
00:25:04,760 --> 00:25:07,800
Speaker 2: everyone has had experiences with music in cars, right.

463
00:25:07,720 --> 00:25:11,280
Speaker 1: It's yeah, but car companies haven't realized that.

464
00:25:11,880 --> 00:25:15,000
Speaker 2: Well, I just wonder can you tell us tim about

465
00:25:15,000 --> 00:25:18,359
Speaker 2: the history of audio and cars, because when I was

466
00:25:18,400 --> 00:25:22,120
Speaker 2: a kid, I didn't notice that my car stereo kind

467
00:25:22,160 --> 00:25:26,359
Speaker 2: of sucked, you know, And it wasn't until I was

468
00:25:26,440 --> 00:25:28,680
Speaker 2: older that I realized you've got to dump thousands and

469
00:25:28,720 --> 00:25:31,119
Speaker 2: thousands and thousands of dollars into a car to make

470
00:25:31,359 --> 00:25:34,400
Speaker 2: sonically sound. How does that worked out.

471
00:25:34,600 --> 00:25:35,800
Speaker 3: Over the last few decades.

472
00:25:35,800 --> 00:25:38,080
Speaker 4: I think there's been a lot of improvements to what

473
00:25:38,359 --> 00:25:41,080
Speaker 4: kind of comes standard in cars versus say in the

474
00:25:41,119 --> 00:25:44,600
Speaker 4: sixties and seventies, where an eighties where they wouldn't put

475
00:25:44,600 --> 00:25:47,040
Speaker 4: a lot of investment, time or effort into.

476
00:25:46,800 --> 00:25:48,760
Speaker 3: The car system.

477
00:25:49,600 --> 00:25:52,439
Speaker 4: You know, you had eight tracks, those didn't sound all

478
00:25:52,440 --> 00:25:57,199
Speaker 4: that great, and there was a huge industry that was

479
00:25:57,240 --> 00:25:59,159
Speaker 4: born out of it. I mean I mentioned that I

480
00:25:59,160 --> 00:26:03,159
Speaker 4: worked for Monster call a huge part of Monsters history,

481
00:26:03,240 --> 00:26:06,919
Speaker 4: especially in the nineties, was in car audio products and

482
00:26:06,960 --> 00:26:10,399
Speaker 4: accessories because there was such a huge market for third

483
00:26:10,440 --> 00:26:15,480
Speaker 4: party folks going in and you know, souping up their system,

484
00:26:15,760 --> 00:26:20,199
Speaker 4: even if it's some inexpensive car. They almost put just

485
00:26:20,240 --> 00:26:22,359
Speaker 4: as much money into the system itself.

486
00:26:22,840 --> 00:26:24,400
Speaker 2: But then over tie there used to be a store

487
00:26:24,400 --> 00:26:27,960
Speaker 2: at every mall right, you'd go and put a pile

488
00:26:28,080 --> 00:26:31,800
Speaker 2: driver in your Nissan Sentra so you could have as

489
00:26:31,880 --> 00:26:33,760
Speaker 2: much base as possible. Yeah, A kicker.

490
00:26:33,880 --> 00:26:36,280
Speaker 4: Yeah, those retailers back in the I mean if you

491
00:26:36,280 --> 00:26:40,520
Speaker 4: think of like retail consumerlatronics, retail back in like Circuit City,

492
00:26:40,680 --> 00:26:46,840
Speaker 4: best By days, all those they had huge sections of

493
00:26:46,880 --> 00:26:49,159
Speaker 4: the stores that were dedicated to car audio, right. I

494
00:26:49,160 --> 00:26:51,240
Speaker 4: mean that was where guys would come in and get

495
00:26:51,240 --> 00:26:54,000
Speaker 4: their Bazuka subs and huge.

496
00:26:54,240 --> 00:26:56,640
Speaker 2: Women right, or women might want to put a Bazuka

497
00:26:56,680 --> 00:26:57,879
Speaker 2: sub in her in her car.

498
00:26:57,960 --> 00:26:59,399
Speaker 1: I mean I'd like to meet that one.

499
00:27:00,080 --> 00:27:01,159
Speaker 3: Yeah.

500
00:27:01,760 --> 00:27:04,200
Speaker 4: So I think what's happened now is that in the

501
00:27:04,280 --> 00:27:09,199
Speaker 4: last few decades, I think auto partners are you know,

502
00:27:09,240 --> 00:27:12,360
Speaker 4: auto manufacturers are looking at like, hey, we can improve

503
00:27:12,400 --> 00:27:16,440
Speaker 4: the sound quality. We could add more speakers, we could

504
00:27:16,800 --> 00:27:20,159
Speaker 4: And part of that is because the source material was

505
00:27:20,200 --> 00:27:22,960
Speaker 4: getting better. I mean, when CDs were introduced, you now

506
00:27:23,040 --> 00:27:26,680
Speaker 4: had a more consistent, you know, i'll say, higher quality

507
00:27:26,680 --> 00:27:29,360
Speaker 4: audio experience that was available to consumer that they could

508
00:27:29,359 --> 00:27:32,840
Speaker 4: take with them versus say a terrestrial versus or a cassette,

509
00:27:32,880 --> 00:27:36,760
Speaker 4: where those weren't always consistent in the playback experience, CD

510
00:27:36,920 --> 00:27:39,240
Speaker 4: introduction really gave way to where people were like, Hey,

511
00:27:40,280 --> 00:27:42,560
Speaker 4: I can have a pretty killer audio experience in my

512
00:27:42,600 --> 00:27:46,159
Speaker 4: car because this source material is already starting at a

513
00:27:46,160 --> 00:27:51,000
Speaker 4: pretty good place, which is a good, you know, high quality,

514
00:27:51,400 --> 00:27:55,600
Speaker 4: fairly high resolution, shiny disc. And so with that, let's

515
00:27:55,680 --> 00:28:02,199
Speaker 4: build systems around that. Nowadays, with most people streaming to

516
00:28:02,240 --> 00:28:06,959
Speaker 4: their cars or using some type of connection to their

517
00:28:07,000 --> 00:28:11,280
Speaker 4: phone device, they're also finding like, yeah, the audience is

518
00:28:11,320 --> 00:28:14,840
Speaker 4: fairly decent, and I want to improve system is sound

519
00:28:14,880 --> 00:28:16,120
Speaker 4: in my automobile?

520
00:28:16,760 --> 00:28:17,680
Speaker 3: What can we do there?

521
00:28:17,840 --> 00:28:21,639
Speaker 4: And so we've noticed that in the last few years,

522
00:28:21,640 --> 00:28:26,720
Speaker 4: and as atmost was starting to gain a lot of momentum.

523
00:28:27,200 --> 00:28:29,800
Speaker 4: The big question we got from all the artists was, hey,

524
00:28:29,840 --> 00:28:31,840
Speaker 4: when is this coming to the cars? Because I use

525
00:28:31,920 --> 00:28:34,960
Speaker 4: my car to check my mixes. And for those of

526
00:28:35,000 --> 00:28:36,840
Speaker 4: you who don't know what I'm talking about, when an

527
00:28:36,920 --> 00:28:41,400
Speaker 4: artist is doing a mix in a studio, nine point

528
00:28:41,480 --> 00:28:46,000
Speaker 4: nine times out of ten they will want to rip

529
00:28:46,000 --> 00:28:49,280
Speaker 4: a CD, a cassette, a USB stick, whatever a decade

530
00:28:49,320 --> 00:28:52,440
Speaker 4: you're in and bring it into their car and listen

531
00:28:52,480 --> 00:28:55,680
Speaker 4: to it because their car is the most trusted environment

532
00:28:55,760 --> 00:28:59,280
Speaker 4: to them. It's the system they listen to the most so,

533
00:28:59,480 --> 00:29:02,040
Speaker 4: even if the artist car is just some middle of

534
00:29:02,080 --> 00:29:07,080
Speaker 4: the road basic sound system, they will still bring their

535
00:29:07,120 --> 00:29:10,520
Speaker 4: mix into that, listen to it as a reference and say,

536
00:29:10,600 --> 00:29:14,200
Speaker 4: oh wow, the vocals are definitely too quiet, because I

537
00:29:14,280 --> 00:29:18,040
Speaker 4: know what vocals sound like my car, and they're typically louder.

538
00:29:18,440 --> 00:29:21,880
Speaker 4: So go back into my million dollar studio or multi

539
00:29:22,000 --> 00:29:25,280
Speaker 4: hundred thousand dollars studio, but then still come into my like,

540
00:29:25,400 --> 00:29:29,560
Speaker 4: you know, forty thousand dollars car and make my mixing decisions.

541
00:29:29,680 --> 00:29:32,320
Speaker 4: It's just another reference point. But that's starting to be

542
00:29:32,440 --> 00:29:34,960
Speaker 4: you know, that has always been a part of a

543
00:29:35,000 --> 00:29:38,520
Speaker 4: workflow for a creative and now they want to see

544
00:29:38,520 --> 00:29:40,520
Speaker 4: autmost as a part of those workflows in these cars.

545
00:29:46,720 --> 00:29:49,440
Speaker 1: I have to imagine too, that some of the hesitancy,

546
00:29:49,480 --> 00:29:52,560
Speaker 1: I mean, until recent years with automakers has been the

547
00:29:53,160 --> 00:29:55,920
Speaker 1: weight issue. I mean when you're adding like when you're

548
00:29:55,960 --> 00:30:01,240
Speaker 1: adding in sound ending and you're adding in speakers and

549
00:30:01,320 --> 00:30:04,840
Speaker 1: whatever else. Yeah, yeah, you just that's like the opposite

550
00:30:04,840 --> 00:30:06,280
Speaker 1: of what you want to do for most.

551
00:30:06,080 --> 00:30:08,360
Speaker 2: Cars and cost right yeah.

552
00:30:09,000 --> 00:30:12,720
Speaker 1: Yeah, But obviously now we're really in an advanced stage

553
00:30:12,760 --> 00:30:14,840
Speaker 1: where those aren't as much of a factor.

554
00:30:15,000 --> 00:30:17,680
Speaker 2: By the way, Tim what was the uh, you know,

555
00:30:17,720 --> 00:30:19,960
Speaker 2: when I was a kid, my first car was a

556
00:30:20,160 --> 00:30:23,560
Speaker 2: nineteen eighty four baby blue Volvo station Wagon, and I

557
00:30:23,600 --> 00:30:27,600
Speaker 2: had two cassettes. I had a record by Lard which

558
00:30:27,680 --> 00:30:31,160
Speaker 2: was like Jello Biopera and Ministry doing a And I

559
00:30:31,240 --> 00:30:35,040
Speaker 2: had a King Missile record with the detachable penis single.

560
00:30:35,400 --> 00:30:37,720
Speaker 2: And those are the only tapes I had for like

561
00:30:38,400 --> 00:30:41,520
Speaker 2: a year and a half or something. Did you do

562
00:30:41,600 --> 00:30:47,720
Speaker 2: you have a memorable tim like car soundtrack from your youth?

563
00:30:49,480 --> 00:30:52,160
Speaker 4: So my first car was a nineteen eighty eight four

564
00:30:52,280 --> 00:30:57,120
Speaker 4: Bronco two, absolutely lovely car, and same thing. It came

565
00:30:57,160 --> 00:31:00,120
Speaker 4: with a stock stereo system set deck, and I was

566
00:31:00,240 --> 00:31:02,200
Speaker 4: one of many who then ran out to the local

567
00:31:02,360 --> 00:31:05,960
Speaker 4: store and bought an Alpine removable face system and a

568
00:31:06,000 --> 00:31:09,560
Speaker 4: six disc CD changer that was mounted to the back

569
00:31:09,600 --> 00:31:10,080
Speaker 4: and all that.

570
00:31:13,440 --> 00:31:14,160
Speaker 3: I think.

571
00:31:16,320 --> 00:31:18,240
Speaker 4: It was the It was the music that I'd be

572
00:31:18,280 --> 00:31:19,880
Speaker 4: sharing with friends in the car were the ones that

573
00:31:19,960 --> 00:31:22,719
Speaker 4: had the most memories with were suddenly you'd be listening

574
00:31:22,720 --> 00:31:25,840
Speaker 4: to a song together with you know, a buddy, like

575
00:31:27,120 --> 00:31:31,280
Speaker 4: let's say it's you know, my friends and I were

576
00:31:31,360 --> 00:31:36,320
Speaker 4: really into a lot of progressive music, so we put

577
00:31:36,320 --> 00:31:42,000
Speaker 4: on something like, you know, King Crimson, or Pink Floyd,

578
00:31:42,280 --> 00:31:44,720
Speaker 4: and you'd all start cruising around cranking up the music

579
00:31:44,800 --> 00:31:47,200
Speaker 4: and it was like, wow, this is this is awesome

580
00:31:47,360 --> 00:31:50,440
Speaker 4: to be cruising around with the music cranked. Rush was

581
00:31:50,480 --> 00:31:52,240
Speaker 4: probably one of the ones that we did the most

582
00:31:52,240 --> 00:31:55,520
Speaker 4: of where it's just like, okay, throw on Tom Sawyer,

583
00:31:55,880 --> 00:31:59,080
Speaker 4: whose system can handle that first big bass hit? And

584
00:31:59,120 --> 00:32:01,640
Speaker 4: we literally like my body had had a big old

585
00:32:01,680 --> 00:32:03,800
Speaker 4: station Wagon. The drummer because he needed station way. Another

586
00:32:03,800 --> 00:32:06,640
Speaker 4: friend of mine had a jeep which was a pos

587
00:32:06,720 --> 00:32:08,720
Speaker 4: but like because it was just a basic, basic and

588
00:32:08,760 --> 00:32:11,200
Speaker 4: the sound system was terrible because it was a canvas

589
00:32:11,240 --> 00:32:14,320
Speaker 4: top jeep and it just sounded terrible. And another friend

590
00:32:14,320 --> 00:32:15,920
Speaker 4: of mine had like a Forerunner and we would all

591
00:32:15,960 --> 00:32:18,200
Speaker 4: like what sounds best in here?

592
00:32:18,240 --> 00:32:19,840
Speaker 3: And yeah it was. It was great.

593
00:32:19,880 --> 00:32:24,120
Speaker 2: Did you smoke cigarettes in the car back then? Of course, yeah,

594
00:32:24,320 --> 00:32:25,880
Speaker 2: people used to smoke in cars.

595
00:32:26,200 --> 00:32:28,479
Speaker 4: Now, this is in the Midwest where would be freezing

596
00:32:28,520 --> 00:32:29,280
Speaker 4: and you'd have your window.

597
00:32:29,400 --> 00:32:31,240
Speaker 2: If I see somebody smoking in the car, I just

598
00:32:31,280 --> 00:32:34,280
Speaker 2: can't imagine how bad their car smells. But back then

599
00:32:34,480 --> 00:32:36,280
Speaker 2: it was like a normal Hannah, what about you, Did

600
00:32:36,280 --> 00:32:37,960
Speaker 2: you have a car music member?

601
00:32:38,000 --> 00:32:40,000
Speaker 1: No, I mean I had an old Skylark, like a

602
00:32:40,000 --> 00:32:42,560
Speaker 1: seventy one bog Skylark that I shared with my sister

603
00:32:42,720 --> 00:32:45,080
Speaker 1: that we bought for two hundred dollars from a little

604
00:32:45,120 --> 00:32:48,040
Speaker 1: old lady who went to our church, literally, who drove

605
00:32:48,080 --> 00:32:50,240
Speaker 1: it to church on Sundays. And it was a great car.

606
00:32:50,280 --> 00:32:53,600
Speaker 1: But I don't even remember. I honestly don't even remember

607
00:32:53,640 --> 00:32:57,200
Speaker 1: if the radio worked. It must have, but you know

608
00:32:57,360 --> 00:33:00,200
Speaker 1: I do not. I don't have any recollection of that

609
00:33:00,280 --> 00:33:02,960
Speaker 1: car because I was so embarrassed of it. I sold

610
00:33:02,960 --> 00:33:04,920
Speaker 1: my half of it to my sister as quick as

611
00:33:04,920 --> 00:33:10,080
Speaker 1: I could. No, I mean, drive me around. It's very

612
00:33:10,120 --> 00:33:11,920
Speaker 1: cool now. It was all of like this, all of

613
00:33:11,960 --> 00:33:13,840
Speaker 1: green color. It was super cool. But yeah, I mean

614
00:33:13,880 --> 00:33:16,200
Speaker 1: the radio was like an insert, you know, it was.

615
00:33:16,600 --> 00:33:17,920
Speaker 1: It was forgettable.

616
00:33:18,840 --> 00:33:22,680
Speaker 2: Looking at I'm looking at Buick Skylarks like sixty nine. Yeah,

617
00:33:22,680 --> 00:33:23,160
Speaker 2: so cool.

618
00:33:23,200 --> 00:33:25,600
Speaker 1: They're very cool. They're very It was a great condition

619
00:33:25,680 --> 00:33:26,480
Speaker 1: to all.

620
00:33:26,440 --> 00:33:30,280
Speaker 2: Right, So how about Tim? My question is how good

621
00:33:30,720 --> 00:33:34,320
Speaker 2: can automotive audio be? Because I hear from a lot

622
00:33:34,360 --> 00:33:37,640
Speaker 2: of people that it's just not the right environment for

623
00:33:38,320 --> 00:33:42,720
Speaker 2: a high fidelity sound experience. Interesting, I don't know if

624
00:33:42,720 --> 00:33:44,680
Speaker 2: that's true or not. That's just what I kind of hear.

625
00:33:44,720 --> 00:33:49,440
Speaker 2: But I do know that even expensive luxury cars, even

626
00:33:49,520 --> 00:33:54,720
Speaker 2: those that have like you know, Macintosh branded stereo systems

627
00:33:54,800 --> 00:33:57,320
Speaker 2: or like you know, top of the line stuff, it

628
00:33:57,480 --> 00:34:01,640
Speaker 2: just doesn't sound that good. Like it disc can't handle

629
00:34:01,720 --> 00:34:04,680
Speaker 2: the bass, or I'm not getting the mid range that

630
00:34:04,760 --> 00:34:07,040
Speaker 2: I want, or I don't know why. It just isn't

631
00:34:07,160 --> 00:34:09,960
Speaker 2: as good as it is in like the sound studio

632
00:34:10,239 --> 00:34:14,960
Speaker 2: down on housed in a Broadway, you know, right, Yeah, part.

633
00:34:14,800 --> 00:34:16,920
Speaker 4: Of that is a lot of people listen to a

634
00:34:16,920 --> 00:34:20,640
Speaker 4: lot of different genres of music, right, so that those

635
00:34:20,680 --> 00:34:24,799
Speaker 4: genres can have different mixes, different timbre, different soundic qualities.

636
00:34:25,320 --> 00:34:28,440
Speaker 4: And a great serio system is one that knows what

637
00:34:28,560 --> 00:34:31,319
Speaker 4: to do with all that. A great atmost system is

638
00:34:31,400 --> 00:34:35,000
Speaker 4: really meant to be recreating what the artists intended when

639
00:34:35,040 --> 00:34:38,320
Speaker 4: they created their mix and autmost and because the nature

640
00:34:38,360 --> 00:34:43,760
Speaker 4: of ATMOS is immersive, meaning there can be sounds literally

641
00:34:43,800 --> 00:34:48,319
Speaker 4: placed around you, it gives more room and gives you

642
00:34:48,360 --> 00:34:52,080
Speaker 4: more perceived fidelity. You can hear more nuanced and more

643
00:34:52,680 --> 00:34:55,359
Speaker 4: detail in the music and at most than you can

644
00:34:55,400 --> 00:34:59,320
Speaker 4: with stereo, simply because you're no longer fighting for space.

645
00:34:59,360 --> 00:35:01,440
Speaker 4: So if I'm doing a stereo mix, which I love.

646
00:35:01,440 --> 00:35:04,200
Speaker 4: Stereostereia is a wonderful thing. There are things as a

647
00:35:04,239 --> 00:35:06,439
Speaker 4: mix engineer that you do to compensate for the fact

648
00:35:06,440 --> 00:35:08,040
Speaker 4: that you're going to be going through two speakers or

649
00:35:08,080 --> 00:35:10,759
Speaker 4: two channels, even if there's multiple speakers attached to those

650
00:35:10,760 --> 00:35:14,120
Speaker 4: two channels. In at Most and Hannah, you heard this

651
00:35:14,160 --> 00:35:16,120
Speaker 4: when we were giving you some most.

652
00:35:16,520 --> 00:35:19,120
Speaker 3: You're even saying like, I've never heard the guitar do

653
00:35:19,239 --> 00:35:20,440
Speaker 3: that before. I didn't know.

654
00:35:20,440 --> 00:35:24,520
Speaker 4: Which keyboard was doing this choca thing in the background. Yeah,

655
00:35:24,560 --> 00:35:28,000
Speaker 4: like it's always been there, but at moost is allowing

656
00:35:28,040 --> 00:35:30,520
Speaker 4: people to now hear more of that. So to your

657
00:35:30,600 --> 00:35:35,040
Speaker 4: question matter around the fidelity, we have seen a huge

658
00:35:35,080 --> 00:35:39,600
Speaker 4: shift in mentality, especially with our auto OM partners who

659
00:35:39,640 --> 00:35:41,960
Speaker 4: are there's now twenty five of them that have totally

660
00:35:41,960 --> 00:35:46,120
Speaker 4: gotten on board with this, Like Wow, this experience is

661
00:35:46,160 --> 00:35:49,720
Speaker 4: something that is truly unique to where I am getting

662
00:35:49,719 --> 00:35:54,560
Speaker 4: that almost high five audio file studio file studio like

663
00:35:54,719 --> 00:35:59,839
Speaker 4: experience within the car because it's a controlled environment. It's

664
00:35:59,840 --> 00:36:03,560
Speaker 4: a cabin that meaning within the cabin itself for sound.

665
00:36:04,280 --> 00:36:07,200
Speaker 4: It's something that a lot of the audio engineers that

666
00:36:07,280 --> 00:36:09,520
Speaker 4: these companies are really geeking out on because it's like, oh,

667
00:36:09,520 --> 00:36:12,839
Speaker 4: now I can finally really push the limits of what

668
00:36:13,840 --> 00:36:16,600
Speaker 4: audio can sound like in a car, because yes, the

669
00:36:16,640 --> 00:36:19,239
Speaker 4: materials can be expensive, but they're also getting more affordable.

670
00:36:19,840 --> 00:36:23,040
Speaker 4: I know what I can do with DSP and how

671
00:36:23,080 --> 00:36:27,400
Speaker 4: to place speakers around inside of a car, and what

672
00:36:27,480 --> 00:36:29,440
Speaker 4: to do with them to tune them to have the

673
00:36:29,480 --> 00:36:33,279
Speaker 4: best experience. And so now when people here don't be

674
00:36:33,320 --> 00:36:36,680
Speaker 4: at MOST in any of our car partner's cars, it

675
00:36:37,600 --> 00:36:40,759
Speaker 4: is always and I'm not it is always a oh

676
00:36:40,800 --> 00:36:43,480
Speaker 4: my god, this I've never heard music like this before.

677
00:36:43,640 --> 00:36:47,400
Speaker 3: We hear that all the time Transcend.

678
00:36:47,719 --> 00:36:50,080
Speaker 2: I mean, you have multiple partners, so I'm sure you

679
00:36:50,160 --> 00:36:54,439
Speaker 2: want to be fairly brand diagnostic. But can you name

680
00:36:54,640 --> 00:36:59,160
Speaker 2: a few examples of some amazing car stereo systems you've heard? Like,

681
00:36:59,200 --> 00:37:01,680
Speaker 2: have you heard one? And it just blows your mind?

682
00:37:02,120 --> 00:37:04,160
Speaker 3: So we were yes.

683
00:37:04,239 --> 00:37:07,000
Speaker 4: And what's fun too, is that they continue to tweak

684
00:37:07,000 --> 00:37:10,400
Speaker 4: and adjust and improve on them because they can't the

685
00:37:10,560 --> 00:37:14,120
Speaker 4: through the beauty of software. The recent launch we did

686
00:37:14,120 --> 00:37:18,200
Speaker 4: with Cadillac, their entire EV line is now going to

687
00:37:18,200 --> 00:37:19,600
Speaker 4: be supporting if it doesn't already.

688
00:37:19,920 --> 00:37:23,879
Speaker 3: Dolby Utmost was really incredible and the.

689
00:37:23,880 --> 00:37:26,440
Speaker 4: Reason why they're one of the more recent ones that

690
00:37:26,520 --> 00:37:28,520
Speaker 4: have come to market is that they spent time with

691
00:37:28,640 --> 00:37:31,400
Speaker 4: the artists, with musicians in their studios, listening to what

692
00:37:31,440 --> 00:37:34,080
Speaker 4: it sounds like in a studio, and they said, how

693
00:37:34,120 --> 00:37:36,680
Speaker 4: do we make the studio come to the car. That

694
00:37:36,840 --> 00:37:42,200
Speaker 4: was their mentality, and that mentality is really what drove

695
00:37:42,320 --> 00:37:44,600
Speaker 4: that team to take the time.

696
00:37:44,719 --> 00:37:45,719
Speaker 3: It was a couple of.

697
00:37:45,800 --> 00:37:48,240
Speaker 4: Years before they brought it to market because they wanted

698
00:37:48,239 --> 00:37:52,359
Speaker 4: to get it quote unquote right, and right meant an

699
00:37:52,440 --> 00:37:56,239
Speaker 4: artist could sit in their car and go, wow, this

700
00:37:56,760 --> 00:38:00,080
Speaker 4: this does sound a lot like what I experienced in

701
00:38:00,120 --> 00:38:04,520
Speaker 4: the studio. So the Cadillac, the work that Cadillac has

702
00:38:04,520 --> 00:38:08,279
Speaker 4: done has been great. I've heard a majority of them,

703
00:38:08,280 --> 00:38:09,759
Speaker 4: not all of them, but a majority of them, and

704
00:38:09,800 --> 00:38:13,040
Speaker 4: they all sound great for different reasons, depending on the

705
00:38:13,080 --> 00:38:16,600
Speaker 4: placement of the seats, the speakers, et cetera. The Polestars

706
00:38:16,600 --> 00:38:19,080
Speaker 4: are really cool because they've got speakers that are in

707
00:38:19,080 --> 00:38:23,360
Speaker 4: the headrest, so that gives them more ability to adjust

708
00:38:23,360 --> 00:38:25,480
Speaker 4: what they do there and how they render the audio

709
00:38:25,520 --> 00:38:28,680
Speaker 4: within the car. And we work with all these partners

710
00:38:28,719 --> 00:38:30,160
Speaker 4: to help them in tuning their cars.

711
00:38:30,360 --> 00:38:34,440
Speaker 1: Is an ev intrinsically better for sound than a combustion

712
00:38:34,520 --> 00:38:36,560
Speaker 1: engine vehicle just because it's quiet.

713
00:38:38,080 --> 00:38:42,080
Speaker 4: That's an interesting question there. I mean, we had gotten

714
00:38:42,080 --> 00:38:44,840
Speaker 4: a question once from somebody saying, so it's Dold the

715
00:38:44,960 --> 00:38:49,000
Speaker 4: utmost only for evs, because the trend had been almost

716
00:38:49,080 --> 00:38:50,919
Speaker 4: all the cars that were coming to market with THELD

717
00:38:50,920 --> 00:38:53,719
Speaker 4: the utmost for evs. And the answer was it just

718
00:38:53,760 --> 00:38:56,920
Speaker 4: so happened to be a coincidence because those were the newest.

719
00:38:56,600 --> 00:38:59,280
Speaker 3: Cars coming to market for many of these partners.

720
00:38:59,320 --> 00:39:03,000
Speaker 4: It wasn't that it has to be an EV, but

721
00:39:03,080 --> 00:39:04,799
Speaker 4: a majority of them more because that's where they were

722
00:39:04,800 --> 00:39:07,600
Speaker 4: putting most of their R and D and promotion and

723
00:39:07,680 --> 00:39:09,240
Speaker 4: marketing and et cetera.

724
00:39:09,719 --> 00:39:10,239
Speaker 3: There is an.

725
00:39:10,120 --> 00:39:13,319
Speaker 4: Advantage to an EV from yes, the engine noise is

726
00:39:14,640 --> 00:39:16,719
Speaker 4: you know, next there's next to nothing, and they're they're

727
00:39:16,760 --> 00:39:19,360
Speaker 4: incorporating noise into the car so that people can hear it.

728
00:39:20,160 --> 00:39:22,400
Speaker 4: So the cabinets tend to be a little bit quieter

729
00:39:22,400 --> 00:39:25,040
Speaker 4: when it comes to that. But then at the same time,

730
00:39:25,960 --> 00:39:28,560
Speaker 4: every OEM is doing something different and auto partner is

731
00:39:28,600 --> 00:39:31,319
Speaker 4: doing something different when it comes to inside car I

732
00:39:31,520 --> 00:39:32,320
Speaker 4: sound isolation.

733
00:39:32,840 --> 00:39:33,600
Speaker 3: You know, some are.

734
00:39:33,520 --> 00:39:36,439
Speaker 4: Really deadening the sound inside, some are not as much.

735
00:39:37,000 --> 00:39:39,480
Speaker 4: It just depends on what they're doing there. That's all

736
00:39:39,600 --> 00:39:42,680
Speaker 4: part of the system. When you think of the system,

737
00:39:43,160 --> 00:39:45,719
Speaker 4: car partners think of the system as also incorporating the

738
00:39:45,760 --> 00:39:46,920
Speaker 4: sounds of the car itself.

739
00:39:47,080 --> 00:39:49,319
Speaker 2: Or I'm driving this right now. I'm test driving this

740
00:39:49,440 --> 00:39:53,560
Speaker 2: Mustang GT which is a convertible, so obviously it's got

741
00:39:53,640 --> 00:39:59,400
Speaker 2: that high fidelity downside, but I also the speaker, the

742
00:39:59,400 --> 00:40:01,840
Speaker 2: stereo is quite good. It's a banging all of some setup.

743
00:40:02,480 --> 00:40:05,640
Speaker 2: And I've been listening to a lot of metal in there. Earthless.

744
00:40:05,920 --> 00:40:08,640
Speaker 2: Earthless is this trio from San Diego that I recommend.

745
00:40:08,640 --> 00:40:13,880
Speaker 2: It's like, oh, okay, metal jam band. But what I've noticed,

746
00:40:13,960 --> 00:40:17,080
Speaker 2: or what I suspect is because it's a Mustang GTE

747
00:40:17,239 --> 00:40:19,239
Speaker 2: and they want you to feel like a hooligan, and

748
00:40:19,320 --> 00:40:22,520
Speaker 2: kind of the exhaust is you can change the volume

749
00:40:22,560 --> 00:40:25,120
Speaker 2: of it. I think they're also playing the exhaust through

750
00:40:25,239 --> 00:40:30,319
Speaker 2: the audio system or just to make it, yeah, to

751
00:40:30,320 --> 00:40:33,000
Speaker 2: make it sound like you're the V eight really is kicking,

752
00:40:33,080 --> 00:40:34,759
Speaker 2: and it is. I mean, it is a fun car

753
00:40:34,800 --> 00:40:37,040
Speaker 2: to drive, but I keep trying to turn off the

754
00:40:37,080 --> 00:40:41,719
Speaker 2: exhaust so I can just hear Earthless and Dude, all

755
00:40:41,760 --> 00:40:45,120
Speaker 2: of the high end audio systems that I've played with

756
00:40:45,160 --> 00:40:47,799
Speaker 2: in cars and even at my at my in my

757
00:40:47,880 --> 00:40:52,440
Speaker 2: house have these equalizers that are either just as simple

758
00:40:52,480 --> 00:40:55,000
Speaker 2: as treble and bass or treble mid and base, or

759
00:40:55,040 --> 00:40:58,279
Speaker 2: they're like you know, I, as a person who has

760
00:40:58,320 --> 00:41:02,880
Speaker 2: no expertise or experience with sound engineering, I never know

761
00:41:02,960 --> 00:41:06,680
Speaker 2: how to set those Is there a proper way over?

762
00:41:07,120 --> 00:41:08,920
Speaker 2: Is it different for every genre?

763
00:41:09,640 --> 00:41:09,759
Speaker 1: Like?

764
00:41:10,120 --> 00:41:12,839
Speaker 2: Can we get an AI to set it up for me? Like?

765
00:41:12,920 --> 00:41:16,560
Speaker 2: What's what's the deal with those equalizers? Is if I

766
00:41:16,600 --> 00:41:18,560
Speaker 2: leave it on zero zero zero, because I feel like

767
00:41:18,600 --> 00:41:20,919
Speaker 2: Pink Floyd and you guys have done all the work,

768
00:41:20,960 --> 00:41:22,160
Speaker 2: Why would I want to change it?

769
00:41:22,760 --> 00:41:22,920
Speaker 3: Right?

770
00:41:23,239 --> 00:41:25,760
Speaker 4: You know, I always think of EQ as more preference.

771
00:41:26,800 --> 00:41:29,040
Speaker 4: And if you go into it with that mindset versus

772
00:41:29,800 --> 00:41:31,640
Speaker 4: how do I tune this? Am I doing it right

773
00:41:31,719 --> 00:41:32,040
Speaker 4: or wrong?

774
00:41:33,600 --> 00:41:33,919
Speaker 3: You could?

775
00:41:34,040 --> 00:41:37,200
Speaker 4: It gets real dangerous. And the reason why a lot

776
00:41:37,200 --> 00:41:43,680
Speaker 4: of AV systems, whether whether it's an AN a VR

777
00:41:43,719 --> 00:41:46,960
Speaker 4: in somebody's home theater system or the audio system in

778
00:41:47,000 --> 00:41:52,080
Speaker 4: a car, give consumers limited access to that you have

779
00:41:52,120 --> 00:41:55,120
Speaker 4: to actually go deep into a menu with TV, like

780
00:41:55,120 --> 00:41:56,719
Speaker 4: you have to go deep into the menu if you

781
00:41:56,760 --> 00:41:57,960
Speaker 4: really want to adjust the picture.

782
00:41:58,840 --> 00:42:00,600
Speaker 3: Is that you could really screw it up very quickly.

783
00:42:00,719 --> 00:42:02,000
Speaker 3: Especially if you don't know what you're doing.

784
00:42:02,320 --> 00:42:04,360
Speaker 4: And so I always think about things like EQ and

785
00:42:04,440 --> 00:42:08,239
Speaker 4: a car like Based mid Trouble as a preference, and

786
00:42:08,360 --> 00:42:11,319
Speaker 4: usually it's a set it and forget it. You know,

787
00:42:11,400 --> 00:42:13,400
Speaker 4: you kind of get it. It's like, Okay, I mostly

788
00:42:13,440 --> 00:42:16,080
Speaker 4: listened to the genre music. It's a little bass heavy,

789
00:42:16,200 --> 00:42:18,080
Speaker 4: so I'll turn the bass down just a little bit.

790
00:42:18,160 --> 00:42:19,719
Speaker 4: Or I listened to one genre and it's maybe he

791
00:42:19,800 --> 00:42:22,120
Speaker 4: needs a little more base. I find that happy medium,

792
00:42:22,120 --> 00:42:25,000
Speaker 4: and then I set it and forget it. What we've

793
00:42:25,000 --> 00:42:28,000
Speaker 4: done with Dolbiatmoson when we work with our partners is

794
00:42:28,000 --> 00:42:30,720
Speaker 4: they are trying to find ways to make the system

795
00:42:31,320 --> 00:42:36,080
Speaker 4: work the best it can for any genre, and their

796
00:42:36,160 --> 00:42:39,440
Speaker 4: goal is really to represent what the creative was doing

797
00:42:39,520 --> 00:42:41,600
Speaker 4: in the studio. And so, like Hannah, when we were

798
00:42:41,600 --> 00:42:44,399
Speaker 4: sitting in the car, we listened to Sha Ka Khan

799
00:42:44,719 --> 00:42:48,759
Speaker 4: right yea, and then we listened to I think we

800
00:42:48,800 --> 00:42:55,000
Speaker 4: listened to some Marvin Gaye, Yes, John Prince, we listened

801
00:42:55,080 --> 00:42:57,520
Speaker 4: some more some newer music in there.

802
00:42:57,560 --> 00:42:59,360
Speaker 3: We were kind of going, we were kind of going across.

803
00:43:00,040 --> 00:43:02,120
Speaker 4: And at no point did you ever at least you

804
00:43:02,160 --> 00:43:04,359
Speaker 4: didn't say anything to me about oh turn the volume up,

805
00:43:04,360 --> 00:43:07,640
Speaker 4: turn it down, turn the base up, Like no, that

806
00:43:07,719 --> 00:43:11,319
Speaker 4: kind of goes away. And so I think Matt for

807
00:43:11,360 --> 00:43:13,759
Speaker 4: you is just like if you're somebody likes a little

808
00:43:13,800 --> 00:43:15,640
Speaker 4: bit more base, then just turn the base up and

809
00:43:15,719 --> 00:43:17,560
Speaker 4: know that everything you're gonna plays got a little Or

810
00:43:17,600 --> 00:43:19,520
Speaker 4: somebody who's like, I want a little bit more high

811
00:43:19,600 --> 00:43:22,399
Speaker 4: end because my ears are getting older and I need

812
00:43:22,400 --> 00:43:24,480
Speaker 4: it's rolled off a little bit, Like, yes.

813
00:43:24,280 --> 00:43:25,400
Speaker 3: That's it's just preference.

814
00:43:26,480 --> 00:43:32,920
Speaker 1: What is that speaking of? Like equalizing things? Is AI

815
00:43:33,120 --> 00:43:36,200
Speaker 1: becoming a factor in the work that you do? And

816
00:43:36,239 --> 00:43:40,000
Speaker 1: what is the future of sound for Dolby in the

817
00:43:40,040 --> 00:43:41,480
Speaker 1: next five ten years.

818
00:43:42,560 --> 00:43:47,160
Speaker 4: So AI is really exciting when it comes to how

819
00:43:47,200 --> 00:43:54,280
Speaker 4: it can really improve and enhance creativity in general. For Dolby,

820
00:43:54,800 --> 00:43:59,319
Speaker 4: we always start with the creative because they are the

821
00:43:59,440 --> 00:44:03,840
Speaker 4: humans who are the human creative and all the products.

822
00:44:03,880 --> 00:44:05,480
Speaker 4: Even at the top of the hour, when I talked

823
00:44:05,520 --> 00:44:08,960
Speaker 4: about how Ray started with sitting side by side with

824
00:44:09,000 --> 00:44:11,520
Speaker 4: a mixed engineer trying to understand what is the problem

825
00:44:11,560 --> 00:44:14,800
Speaker 4: they're having and them saying, oh, there's all this noise

826
00:44:14,880 --> 00:44:20,120
Speaker 4: getting introduced that you know fit Sixty years later, it's

827
00:44:20,160 --> 00:44:22,680
Speaker 4: still true to where we sit side by side with

828
00:44:22,719 --> 00:44:25,000
Speaker 4: the creatives and try to understand, Okay, what is getting

829
00:44:25,000 --> 00:44:29,040
Speaker 4: in your way of being more creative? Is it workflows

830
00:44:29,040 --> 00:44:32,480
Speaker 4: that could become more efficient? Is it setting up your

831
00:44:32,520 --> 00:44:37,040
Speaker 4: system faster? And those are the things we we learned from,

832
00:44:37,120 --> 00:44:40,880
Speaker 4: right and so we've we definitely AI is not news

833
00:44:40,880 --> 00:44:42,279
Speaker 4: to us. We've used it in a lot of our

834
00:44:42,320 --> 00:44:44,960
Speaker 4: research and technology as we build products for creatives and

835
00:44:44,960 --> 00:44:46,480
Speaker 4: build products for consumers.

836
00:44:47,040 --> 00:44:50,600
Speaker 1: And it's not a scary thing. It's what I hear.

837
00:44:50,840 --> 00:44:52,480
Speaker 1: It's a tool. It's a tool.

838
00:44:52,600 --> 00:44:56,080
Speaker 4: It is a Yeah, we think of it as a tool,

839
00:44:56,120 --> 00:44:58,400
Speaker 4: and AI is something that should be and is being

840
00:44:58,480 --> 00:45:03,040
Speaker 4: embraced by lots of people for ways to become more efficient,

841
00:45:03,080 --> 00:45:06,080
Speaker 4: more effective. So if you think of AI as like, hey,

842
00:45:06,080 --> 00:45:09,040
Speaker 4: could I use this as something that inspires me? Could

843
00:45:09,080 --> 00:45:11,359
Speaker 4: I use this as something that helps get the work

844
00:45:11,360 --> 00:45:12,759
Speaker 4: out of the way so that I can just work. So,

845
00:45:12,800 --> 00:45:16,239
Speaker 4: for example, if I'm a mixing engineer, you know, really

846
00:45:16,239 --> 00:45:18,400
Speaker 4: good mixing engineers are ones who have already kind of

847
00:45:18,600 --> 00:45:20,200
Speaker 4: got their system up and ring, and they know how

848
00:45:20,200 --> 00:45:21,600
Speaker 4: to just get started thinking about it.

849
00:45:21,840 --> 00:45:22,600
Speaker 3: If you're a chef.

850
00:45:22,920 --> 00:45:25,040
Speaker 4: If you're a chef, you know where all your knives

851
00:45:25,040 --> 00:45:27,080
Speaker 4: are you know where all your utensils are, You know

852
00:45:27,239 --> 00:45:29,040
Speaker 4: where you're like, how you're going to work, where you're

853
00:45:29,040 --> 00:45:31,200
Speaker 4: going to move throughout your kitchen. But if you throw

854
00:45:31,239 --> 00:45:34,040
Speaker 4: that chef into a new kitchen, okay, now they have

855
00:45:34,120 --> 00:45:37,200
Speaker 4: to readjust themselves. So now they, you know, think of

856
00:45:37,480 --> 00:45:39,880
Speaker 4: a mixing engineer as Okay, I've got my kitchen, I

857
00:45:39,920 --> 00:45:41,279
Speaker 4: know everything I need to do, But if I get

858
00:45:41,280 --> 00:45:44,440
Speaker 4: thrown into a new situation, could AI help make my

859
00:45:44,480 --> 00:45:47,000
Speaker 4: workflow faster so that can get comfortable right away, so

860
00:45:47,040 --> 00:45:48,120
Speaker 4: that can be started working.

861
00:45:48,400 --> 00:45:49,080
Speaker 3: That's the idea.

862
00:45:49,280 --> 00:45:52,680
Speaker 4: That's one very simple example of that, And so we

863
00:45:52,680 --> 00:45:55,480
Speaker 4: look at things like that like where does AI help

864
00:45:55,480 --> 00:45:56,920
Speaker 4: a creative become more creative?

865
00:45:57,560 --> 00:46:01,080
Speaker 3: And because we have such a deep history.

866
00:46:00,800 --> 00:46:06,000
Speaker 4: And and really relationship with so many of creatives in

867
00:46:06,040 --> 00:46:09,600
Speaker 4: all industries, that's what we hear from them too, like

868
00:46:10,880 --> 00:46:13,719
Speaker 4: we're still going to be turning knobs making decisions, making

869
00:46:13,760 --> 00:46:17,040
Speaker 4: creative decisions because it's the creatives who are finding that

870
00:46:17,080 --> 00:46:20,840
Speaker 4: tapping into that emotional point within their artwork, whether it

871
00:46:20,960 --> 00:46:23,120
Speaker 4: is a movie or a sound design for a movie,

872
00:46:23,160 --> 00:46:25,520
Speaker 4: or sound design for a game, or a mix for

873
00:46:25,560 --> 00:46:26,000
Speaker 4: a song.

874
00:46:27,080 --> 00:46:28,120
Speaker 3: That's the human element.

875
00:46:28,360 --> 00:46:30,399
Speaker 4: AI should just help get It's just like any good

876
00:46:30,400 --> 00:46:33,560
Speaker 4: technology for a creative, the technology should get out of

877
00:46:33,560 --> 00:46:36,920
Speaker 4: the way, right, it shouldn't be the thing holding them up.

878
00:46:37,080 --> 00:46:40,200
Speaker 4: And technology has been I mean as long. I mean

879
00:46:40,239 --> 00:46:45,320
Speaker 4: from the very beginning of recorded music, photography to phono records,

880
00:46:45,360 --> 00:46:48,600
Speaker 4: like that's all technology that help push creatives along. Of like, oh,

881
00:46:48,640 --> 00:46:51,400
Speaker 4: I can now do something that I couldn't do before.

882
00:46:51,960 --> 00:46:54,680
Speaker 4: But if the technology gets too clunky or it's too slow,

883
00:46:55,960 --> 00:46:57,840
Speaker 4: why would I. I mean, you can all relate this

884
00:46:57,880 --> 00:46:59,920
Speaker 4: to anything in your life, like, oh it's too clunky,

885
00:47:00,120 --> 00:47:01,520
Speaker 4: too slow, why am I going to use it?

886
00:47:01,719 --> 00:47:02,480
Speaker 1: Right? Right?

887
00:47:02,560 --> 00:47:05,480
Speaker 2: Dude? You remember when Sim's Dream came out?

888
00:47:06,360 --> 00:47:09,040
Speaker 1: Yeah, what an insane I don't even know what that is.

889
00:47:11,040 --> 00:47:14,240
Speaker 2: The Smashing Pumpkins second record, And you're from Chicago.

890
00:47:13,880 --> 00:47:17,319
Speaker 4: So yeah, my cousin went to school with Billy and

891
00:47:17,360 --> 00:47:19,600
Speaker 4: he was telling me about them before they hit and

892
00:47:19,680 --> 00:47:21,719
Speaker 4: it was funny. I had a quick story on on

893
00:47:21,760 --> 00:47:24,399
Speaker 4: the Pumpkins the music store we were at.

894
00:47:25,719 --> 00:47:26,920
Speaker 3: We ended up doing work.

895
00:47:26,760 --> 00:47:29,960
Speaker 4: With them on the Melancholy record, doing a lot of

896
00:47:29,960 --> 00:47:32,719
Speaker 4: guitar tech and stuff, guitar teching for them and like

897
00:47:33,200 --> 00:47:34,719
Speaker 4: working on their guitars and so I got.

898
00:47:34,719 --> 00:47:35,680
Speaker 3: I had a chance to.

899
00:47:35,600 --> 00:47:37,880
Speaker 4: Meet them and go to the quote unquote Pumpkin Patch

900
00:47:37,960 --> 00:47:40,719
Speaker 4: and all that back in the early nineties and meet

901
00:47:40,760 --> 00:47:41,560
Speaker 4: those folks.

902
00:47:41,600 --> 00:47:42,320
Speaker 3: Really interesting.

903
00:47:42,520 --> 00:47:43,440
Speaker 1: What was the vibe?

904
00:47:45,560 --> 00:47:46,960
Speaker 3: Super creative.

905
00:47:48,280 --> 00:47:53,239
Speaker 4: Gear everywhere, super rock and roll as in, like you know,

906
00:47:53,560 --> 00:47:56,799
Speaker 4: everybody had it. This was ninety three ninety four, so

907
00:47:56,840 --> 00:47:59,279
Speaker 4: they had hit big. We're working on the Melancholy the

908
00:47:59,280 --> 00:48:04,080
Speaker 4: double record, and you walk into this place and it

909
00:48:04,160 --> 00:48:08,360
Speaker 4: was just like guitars everywhere, amps everywhere, two mixing rooms,

910
00:48:09,760 --> 00:48:11,960
Speaker 4: Billy had like a couple of different vocal booth like

911
00:48:12,840 --> 00:48:15,760
Speaker 4: but it was beautiful because it was a creative den.

912
00:48:15,920 --> 00:48:19,040
Speaker 4: I mean, it was them working on what some consider

913
00:48:19,120 --> 00:48:23,800
Speaker 4: their masterpiece record of just total like everything and anything

914
00:48:23,880 --> 00:48:25,200
Speaker 4: technology analog.

915
00:48:26,400 --> 00:48:30,319
Speaker 2: We never understood that Melancholy as a master like to me,

916
00:48:30,600 --> 00:48:34,040
Speaker 2: when Gish first came out, that was an awakening year

917
00:48:34,200 --> 00:48:37,840
Speaker 2: like to me came out almost the same time as

918
00:48:38,960 --> 00:48:42,520
Speaker 2: Pearl Jam ten and nine Inch Nails almost.

919
00:48:42,239 --> 00:48:44,919
Speaker 3: Got lumped into grunge, but it wasn't quite Yeah.

920
00:48:45,120 --> 00:48:48,319
Speaker 2: And then with Simon's Dream, the reason I thinking about

921
00:48:48,320 --> 00:48:51,080
Speaker 2: it not only because you're from Chicago, but because he

922
00:48:51,360 --> 00:48:56,359
Speaker 2: was overdubbing so much that it was like it's an

923
00:48:56,360 --> 00:48:59,360
Speaker 2: element of the it's an instrument on the record and

924
00:49:00,040 --> 00:49:03,560
Speaker 2: all of sound. Yeah, and uh, I just think like

925
00:49:03,680 --> 00:49:07,000
Speaker 2: that's one of the greatest rock and roll American rock

926
00:49:07,040 --> 00:49:10,080
Speaker 2: and roll records of all time. It's just unbelieve.

927
00:49:10,200 --> 00:49:11,759
Speaker 3: He's got a podcast now. I don't know if you

928
00:49:11,880 --> 00:49:15,480
Speaker 3: checked it out, really he he.

929
00:49:15,480 --> 00:49:17,680
Speaker 4: He interviews lots of his friends, and there are all

930
00:49:17,680 --> 00:49:20,719
Speaker 4: these different types of artists, so it's him interviewing Zach

931
00:49:20,800 --> 00:49:24,560
Speaker 4: Wild to Corey Feldman to Bill Burt.

932
00:49:24,840 --> 00:49:26,120
Speaker 2: I think he has Bill Burr on there.

933
00:49:26,160 --> 00:49:28,960
Speaker 4: Bhil Bert, Like it's pretty interesting. You know, he's quite

934
00:49:29,000 --> 00:49:32,799
Speaker 4: the intellectual. His interviews are. His interviews are interesting.

935
00:49:33,800 --> 00:49:34,799
Speaker 3: For sure, very much.

936
00:49:35,000 --> 00:49:38,319
Speaker 2: Tim. It's been so much fun talking to you. I

937
00:49:38,320 --> 00:49:40,200
Speaker 2: hope we can actually have you on again if you're

938
00:49:40,239 --> 00:49:43,040
Speaker 2: ever in New York, come by my studio and.

939
00:49:43,040 --> 00:49:45,240
Speaker 3: Matt we got to get you listening to this stuff

940
00:49:45,239 --> 00:49:45,839
Speaker 3: and atmost more.

941
00:49:45,880 --> 00:49:47,560
Speaker 4: I mean, I would love for you to hear I

942
00:49:47,600 --> 00:49:49,439
Speaker 4: assume you're big into like metal rock.

943
00:49:49,600 --> 00:49:50,960
Speaker 3: It's kind of your vibe.

944
00:49:51,239 --> 00:49:54,200
Speaker 2: Yeah, I mean, I like a lot of music, but

945
00:49:54,400 --> 00:49:56,360
Speaker 2: I listened to a lot of Dead a lot of

946
00:49:56,440 --> 00:49:58,480
Speaker 2: obviously that in early nineties kind of grunged up a

947
00:49:58,480 --> 00:50:01,839
Speaker 2: lot of progressive rock I love to so much. Yeah

948
00:50:02,480 --> 00:50:04,920
Speaker 2: at a record store too, Yeah, for years, years and years.

949
00:50:04,920 --> 00:50:06,680
Speaker 4: A couple a couple of records you should check out

950
00:50:06,719 --> 00:50:08,640
Speaker 4: that just came out that are in Atmost where you say,

951
00:50:08,640 --> 00:50:11,560
Speaker 4: where we have creatives because metal and rock have always

952
00:50:11,600 --> 00:50:13,360
Speaker 4: been a little bit more difficult when it comes to

953
00:50:13,360 --> 00:50:15,480
Speaker 4: immersive because so much of the sound is based on

954
00:50:15,520 --> 00:50:18,760
Speaker 4: a crushing stereo field. But they're getting you know, engineers

955
00:50:18,800 --> 00:50:21,520
Speaker 4: are getting more and more educated on how to really

956
00:50:21,560 --> 00:50:25,360
Speaker 4: create that big wall of sound. Judas priests last record

957
00:50:25,840 --> 00:50:27,960
Speaker 4: is in Dolby Utmost and it is a monster of

958
00:50:27,960 --> 00:50:30,200
Speaker 4: a record, as in just both the songs, but the song,

959
00:50:30,320 --> 00:50:34,240
Speaker 4: the songs and the sound that Natmost is pretty awesome.

960
00:50:35,040 --> 00:50:36,799
Speaker 4: The number one rock record right now is by a

961
00:50:36,800 --> 00:50:39,600
Speaker 4: band called Ghost. They're actually one of the first bands

962
00:50:39,600 --> 00:50:42,600
Speaker 4: to hit Billboard Top one hundred period in the last

963
00:50:42,600 --> 00:50:45,600
Speaker 4: five years. I mean it's been mostly solo acts. Their

964
00:50:45,640 --> 00:50:47,840
Speaker 4: new record is in Dolby Utmost. They're kind of like

965
00:50:47,880 --> 00:50:54,319
Speaker 4: a like a i'd say metal versus meets eighties rock

966
00:50:54,800 --> 00:50:56,440
Speaker 4: with a little bit of Queen thrown in there.

967
00:50:57,640 --> 00:51:00,239
Speaker 2: Is all you have to say. I think, Yeah, I.

968
00:51:00,200 --> 00:51:01,920
Speaker 4: Would check them out. I think that's a good one

969
00:51:01,960 --> 00:51:04,680
Speaker 4: for you. And and again in at most uh, those are

970
00:51:04,719 --> 00:51:06,960
Speaker 4: good ones. And then Devin Townsend if you haven't gotten

971
00:51:06,960 --> 00:51:09,919
Speaker 4: into him yet, check out Devin towns And he's kind

972
00:51:09,920 --> 00:51:14,520
Speaker 4: of like the modern day i'd say almost modern day

973
00:51:14,560 --> 00:51:17,680
Speaker 4: Bowie as far as just every record sounds different. It's

974
00:51:17,719 --> 00:51:22,160
Speaker 4: extremely emotional. He loves Autmost his songs are all over

975
00:51:22,200 --> 00:51:25,200
Speaker 4: the place, you know, from real heavy to real folky.

976
00:51:25,520 --> 00:51:28,160
Speaker 3: He does it all. But man, I think he dig those.

977
00:51:28,200 --> 00:51:34,520
Speaker 4: And again they yeah, so respect he's crazy.

978
00:51:34,840 --> 00:51:38,839
Speaker 2: The Brotherhood of the Musician and Billy you know.

979
00:51:41,000 --> 00:51:43,520
Speaker 4: Well and Rob Halford from Priest. There you go, they go,

980
00:51:44,400 --> 00:51:49,240
Speaker 4: thank you so much, guys, it's been fun. Thanks again

981
00:51:49,280 --> 00:51:50,160
Speaker 4: for the time.

982
00:51:50,840 --> 00:51:54,759
Speaker 1: You Know. What I love about Tim is I kind

983
00:51:54,760 --> 00:51:58,400
Speaker 1: of empathize with him because he makes the point that

984
00:51:59,080 --> 00:52:02,960
Speaker 1: he wasn't the best guitar player or the best singer

985
00:52:03,040 --> 00:52:05,160
Speaker 1: or musician or whatever, but he wanted to be around

986
00:52:05,200 --> 00:52:08,880
Speaker 1: creative people. And that is really how I feel. I

987
00:52:08,960 --> 00:52:11,480
Speaker 1: don't consider myself an artist, but I love being a

988
00:52:11,560 --> 00:52:16,560
Speaker 1: round artist and around creative people, and I love trying

989
00:52:16,600 --> 00:52:19,400
Speaker 1: to facilitate them as much as I can. And it

990
00:52:19,440 --> 00:52:22,640
Speaker 1: seems like that's kind of what he loves too, So

991
00:52:22,680 --> 00:52:23,440
Speaker 1: it was really cool.

992
00:52:23,760 --> 00:52:26,000
Speaker 2: You know, it's funny because I actually think of you

993
00:52:26,040 --> 00:52:27,839
Speaker 2: as one of the best journalists that I know.

994
00:52:28,000 --> 00:52:31,600
Speaker 1: I mean you, well, could I just set you up

995
00:52:31,600 --> 00:52:31,799
Speaker 1: for that?

996
00:52:32,000 --> 00:52:35,200
Speaker 2: No, No, I just think you know, when someone talks

997
00:52:35,239 --> 00:52:37,440
Speaker 2: about journalistic integrity, I think of you.

998
00:52:37,719 --> 00:52:38,919
Speaker 1: So that's very kind.

999
00:52:39,560 --> 00:52:44,520
Speaker 2: We have obviously many really talented journalists here, and also

1000
00:52:44,560 --> 00:52:46,600
Speaker 2: you can be a talented journalist in a number of

1001
00:52:46,640 --> 00:52:51,520
Speaker 2: different ways, right, but I think you are being quite

1002
00:52:51,520 --> 00:52:54,759
Speaker 2: modest in the world that Tim was obviously being very

1003
00:52:54,760 --> 00:52:56,759
Speaker 2: modest as well. I'm sure when I find out what

1004
00:52:56,760 --> 00:52:58,080
Speaker 2: his record is, I'm going to listen to it, and

1005
00:52:58,080 --> 00:52:58,960
Speaker 2: I'm sure it's amazing.

1006
00:52:59,440 --> 00:53:03,040
Speaker 1: Yeah. I he has I think, according to Google, like

1007
00:53:03,160 --> 00:53:06,759
Speaker 1: fifteen albums out, so he's really accomplished. I can't find

1008
00:53:06,800 --> 00:53:07,799
Speaker 1: the current album.

1009
00:53:07,520 --> 00:53:09,959
Speaker 2: But well, yeah, I have to say, I think that's

1010
00:53:10,000 --> 00:53:11,480
Speaker 2: one of the to me, that's one of the most

1011
00:53:11,480 --> 00:53:14,040
Speaker 2: important conversations we've had on this podcast, and we've been

1012
00:53:14,080 --> 00:53:15,160
Speaker 2: to over a year.

1013
00:53:15,600 --> 00:53:19,080
Speaker 1: Really yeah, yeah, Oh, I'm glad you think. Really, yeah,

1014
00:53:19,440 --> 00:53:20,520
Speaker 1: it's informative.

1015
00:53:21,000 --> 00:53:23,200
Speaker 2: I would I would put him up there.

1016
00:53:24,200 --> 00:53:25,919
Speaker 1: We need to stay in touch, we need to stay

1017
00:53:25,920 --> 00:53:26,840
Speaker 1: in touch with these guys.

1018
00:53:26,880 --> 00:53:28,680
Speaker 2: What have you got going on? I know you had

1019
00:53:28,719 --> 00:53:30,880
Speaker 2: a number of luxury cars. I just want to quickly

1020
00:53:31,320 --> 00:53:33,800
Speaker 2: ask what is on your docket?

1021
00:53:34,600 --> 00:53:38,120
Speaker 1: Well, this week I'm driving the my Bock GLS Night

1022
00:53:38,280 --> 00:53:43,879
Speaker 1: Series Edition, which is the one that's two tone with

1023
00:53:44,800 --> 00:53:48,520
Speaker 1: wheels that look like discs with the my Bock logo

1024
00:53:49,840 --> 00:53:54,880
Speaker 1: repeated all over them in black plastic. Yeah, and the

1025
00:53:54,960 --> 00:53:58,320
Speaker 1: inside is white with lots of pillows, lots of suede

1026
00:53:58,320 --> 00:54:00,880
Speaker 1: pillows thrown around in pinstre It's funny.

1027
00:54:00,920 --> 00:54:06,360
Speaker 2: You'll be driving basically the rich person, the sort of

1028
00:54:06,480 --> 00:54:11,799
Speaker 2: loud rich person version of my family car, because we have.

1029
00:54:11,760 --> 00:54:14,440
Speaker 1: A gas You're right, and we need to discuss it

1030
00:54:14,520 --> 00:54:17,359
Speaker 1: at length when I finish this. I've had the car

1031
00:54:17,400 --> 00:54:18,080
Speaker 1: for half a week.

1032
00:54:19,600 --> 00:54:23,640
Speaker 2: Yeah, I'm going to actually get on Thursday. At least

1033
00:54:23,680 --> 00:54:27,160
Speaker 2: I think I am gonna get. The press guy is

1034
00:54:27,160 --> 00:54:30,480
Speaker 2: like calling me right now nine to eleven gts the

1035
00:54:30,560 --> 00:54:32,520
Speaker 2: hybrid car that you drove in Spain.

1036
00:54:32,719 --> 00:54:35,360
Speaker 1: Yes, oh good, okay, I can't wait to compare notes.

1037
00:54:35,520 --> 00:54:38,759
Speaker 2: I'm very excited. It's obviously not a stick which I

1038
00:54:38,840 --> 00:54:43,760
Speaker 2: keep getting these cars that are like vehicles you should

1039
00:54:43,760 --> 00:54:48,120
Speaker 2: only buy with the manual transmission. I keep getting the

1040
00:54:48,160 --> 00:54:51,520
Speaker 2: non stick version of these. It happened with the BMWM two.

1041
00:54:52,200 --> 00:54:56,239
Speaker 2: It happened with the Ford Mustang GT, and those two

1042
00:54:56,239 --> 00:54:59,400
Speaker 2: actually come with a manual transmission. This GTS is the

1043
00:54:59,440 --> 00:55:03,319
Speaker 2: first generation that doesn't. But I'm being assured that I

1044
00:55:03,360 --> 00:55:05,239
Speaker 2: will not miss it. What do you think?

1045
00:55:06,320 --> 00:55:12,839
Speaker 1: This could be some sort of universe evolution like consciousness

1046
00:55:12,920 --> 00:55:16,279
Speaker 1: raising for you, Matt, And yes, I've been in LA

1047
00:55:16,360 --> 00:55:20,040
Speaker 1: too long, but this could be the universe telling you

1048
00:55:20,040 --> 00:55:26,320
Speaker 1: your consciousness is being elevated into a post manual environment.

1049
00:55:26,480 --> 00:55:30,040
Speaker 2: Most importantly, you and I are going to fly off

1050
00:55:30,120 --> 00:55:35,160
Speaker 2: in separate planes to Paris next week. Yes, and then

1051
00:55:35,680 --> 00:55:39,880
Speaker 2: we'll get on likely separate trains and meet in Lamont,

1052
00:55:40,040 --> 00:55:43,000
Speaker 2: where they do not wait twenty four hour race. I

1053
00:55:43,040 --> 00:55:45,839
Speaker 2: can't wait either. This came together so well, don't you think?

1054
00:55:45,960 --> 00:55:47,839
Speaker 1: I believe it? At this meeting that we just had

1055
00:55:47,880 --> 00:55:51,200
Speaker 1: before recording this podcast, Cas got me really excited because

1056
00:55:51,200 --> 00:55:54,319
Speaker 1: we have very good guests. There are a lot of

1057
00:55:54,360 --> 00:55:56,680
Speaker 1: people working on it. I also just got off a

1058
00:55:56,680 --> 00:56:00,640
Speaker 1: call with Portia right before we spoke, Matt to update

1059
00:56:00,640 --> 00:56:03,920
Speaker 1: you on some nice things about from our friends at Porsche.

1060
00:56:03,719 --> 00:56:05,960
Speaker 2: That reminds me that I need to put Steiner. I

1061
00:56:06,000 --> 00:56:10,440
Speaker 2: need to guess the time slotted in for Steiner.

1062
00:56:10,800 --> 00:56:14,240
Speaker 1: We've got some things to do. It's going to be awesome.

1063
00:56:14,800 --> 00:56:17,040
Speaker 2: Yeah, I'm very much looking forward to it. I've never

1064
00:56:17,080 --> 00:56:19,240
Speaker 2: been to any kind of twenty four hour race before,

1065
00:56:19,480 --> 00:56:20,799
Speaker 2: so this will be my first time.

1066
00:56:21,600 --> 00:56:24,319
Speaker 1: I've never been to Laman. I'm really my first time

1067
00:56:24,360 --> 00:56:27,040
Speaker 1: at Laman the race. So yeah, I can't wait.

1068
00:56:27,040 --> 00:56:30,160
Speaker 2: All right, we'll do a special edition of our podcast

1069
00:56:30,320 --> 00:56:33,520
Speaker 2: from there. Yeah, and we're going to have so many

1070
00:56:33,920 --> 00:56:37,360
Speaker 2: amazing guests that I don't know how we'll choose, but

1071
00:56:39,160 --> 00:56:40,080
Speaker 2: we're going to be tired.

1072
00:56:40,120 --> 00:56:43,360
Speaker 1: Also, I think it's going to be grueling for anybody listening.

1073
00:56:43,400 --> 00:56:46,200
Speaker 1: This is not a glamour This is not a glamour race. Well,

1074
00:56:46,280 --> 00:56:48,879
Speaker 1: I mean, I'm sure our listeners already know that, but

1075
00:56:49,360 --> 00:56:51,040
Speaker 1: you know, I have been to the twenty four hours

1076
00:56:51,040 --> 00:56:54,520
Speaker 1: at Daytona and it is grueling. This is not some

1077
00:56:54,719 --> 00:56:57,880
Speaker 1: fluff fluff piece, you know, Indy five hundreds.

1078
00:56:57,960 --> 00:56:59,439
Speaker 2: I'm also going this race.

1079
00:57:00,120 --> 00:57:00,279
Speaker 3: Yeah.

1080
00:57:00,400 --> 00:57:03,440
Speaker 2: I'd love to hear what other people, what listeners think

1081
00:57:03,440 --> 00:57:05,200
Speaker 2: about this, And you can email us, by the way

1082
00:57:06,160 --> 00:57:10,719
Speaker 2: at Hot Pursuit at Bloomberg dot Net. I'm getting the

1083
00:57:10,800 --> 00:57:12,920
Speaker 2: sense that, you know, there was a time, obviously when

1084
00:57:12,960 --> 00:57:15,640
Speaker 2: the twenty four hour race at Lamon was the proving

1085
00:57:15,680 --> 00:57:18,200
Speaker 2: ground for your car. I'm getting the sense that it

1086
00:57:18,280 --> 00:57:22,840
Speaker 2: is once again an incredibly important venue. It's like the

1087
00:57:23,000 --> 00:57:27,000
Speaker 2: Davos of car makers, because all of the CEOs are

1088
00:57:27,040 --> 00:57:27,680
Speaker 2: all the companies.

1089
00:57:27,840 --> 00:57:33,360
Speaker 1: Yeah, completely, so completely, Yeah, switching gears, no pun intended.

1090
00:57:33,600 --> 00:57:36,400
Speaker 1: Real quick. You know what documentary I started last night,

1091
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Speaker 1: Dale Earnhardt. Amazon? Have you seen it? Have you seen it?

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Speaker 2: No?

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00:57:42,160 --> 00:57:46,280
Speaker 1: It's kind of great. The mustaches alone make it worth it.

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Speaker 1: It's on Amazon Prime. It's a four part documentary series.

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Speaker 1: I'm I'm I've seen the first episode. It's kind of great.

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Speaker 1: The accents, the mustaches, the racing suits.

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Speaker 2: Good plug.

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00:57:58,720 --> 00:57:59,680
Speaker 1: I'm into it.

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00:57:59,760 --> 00:58:01,479
Speaker 2: I'm definitely going to watch that one again.

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Speaker 1: It's really good. It's great, all.

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Speaker 2: Right, very cool mustache goals, Dale Earnhart. He's right up

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Speaker 2: there with Tom Selleck in terms of that. Yeah. All right,

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00:58:11,200 --> 00:58:13,720
Speaker 2: Well that's all we have time for this week. We'll

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Speaker 2: see you back here in a different time, in a

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Speaker 2: different place next week. At the same time.

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Speaker 1: Speaking French.

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Speaker 2: Yes, I'm Matt Miller and I'm

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Speaker 1: Hannah Elliott, and this is Bloomberg.