1 00:00:04,440 --> 00:00:12,280 Speaker 1: Welcome to tech Stuff, a production from iHeartRadio. Be there 2 00:00:12,320 --> 00:00:15,640 Speaker 1: and welcome to tech Stuff. I'm your host, Jonathan Strickland. 3 00:00:15,640 --> 00:00:19,159 Speaker 1: I'm an executive producer with iHeart Podcasts and How the 4 00:00:19,239 --> 00:00:24,160 Speaker 1: Tech are You? So I'm working on an episode about 5 00:00:24,760 --> 00:00:29,760 Speaker 1: stage lighting systems, specifically systems designed to move lights around 6 00:00:29,760 --> 00:00:34,360 Speaker 1: in specific ways, because I went to a rock and 7 00:00:34,720 --> 00:00:38,519 Speaker 1: or Roll show last night and was thinking about that 8 00:00:38,600 --> 00:00:41,599 Speaker 1: as I was watching the show. However, this is a 9 00:00:41,680 --> 00:00:45,680 Speaker 1: topic that is fairly complicated and complex. It's got a 10 00:00:45,680 --> 00:00:48,879 Speaker 1: lot of moving parts, as it turns out. So I 11 00:00:48,960 --> 00:00:52,240 Speaker 1: am still working on that, and I hope to bring 12 00:00:52,280 --> 00:00:54,880 Speaker 1: you that show on Wednesday, but I still owe you 13 00:00:54,920 --> 00:00:57,560 Speaker 1: a show today, and I've been spending all my time 14 00:00:57,600 --> 00:01:00,480 Speaker 1: working on this other show that's not ready. So instead 15 00:01:00,480 --> 00:01:04,000 Speaker 1: we're gonna listen to a very much classic episode of 16 00:01:04,000 --> 00:01:08,639 Speaker 1: tech Stuff. This episode originally came out September twenty first, 17 00:01:08,800 --> 00:01:12,160 Speaker 1: two thousand and nine. It also relates to rock and 18 00:01:12,480 --> 00:01:15,520 Speaker 1: or Roll because the title of the show is tech 19 00:01:15,600 --> 00:01:18,520 Speaker 1: Stuff Shreds on the Electric Guitar. So you're gonna hear 20 00:01:18,560 --> 00:01:22,160 Speaker 1: me and my co host at the time and my 21 00:01:22,400 --> 00:01:24,920 Speaker 1: editor at the time over at house. Stuff works because 22 00:01:24,920 --> 00:01:27,880 Speaker 1: that's back in the house. Stuff works days, Chris Pollette. 23 00:01:27,959 --> 00:01:30,720 Speaker 1: So Chris Pollette and I sat down to talk about 24 00:01:31,040 --> 00:01:35,800 Speaker 1: the history and the operation of electric guitars. I listened 25 00:01:35,800 --> 00:01:38,280 Speaker 1: back to this episode and it was so nice to 26 00:01:38,319 --> 00:01:42,080 Speaker 1: go down memory lane and to listen to the chemistry 27 00:01:42,080 --> 00:01:44,920 Speaker 1: between me and Chris. I loved him as a co 28 00:01:44,959 --> 00:01:48,080 Speaker 1: host and editor. As a person, I also loved him. 29 00:01:48,080 --> 00:01:49,960 Speaker 1: He's a great guy. Like I wish I could really 30 00:01:50,000 --> 00:01:53,280 Speaker 1: talk smack about Chris, but I can't because he's super cool. 31 00:01:53,560 --> 00:01:56,920 Speaker 1: So anyway, I thought it'd be nice to bring back 32 00:01:57,000 --> 00:02:00,760 Speaker 1: this blast from the past while we are waiting for 33 00:02:00,960 --> 00:02:05,000 Speaker 1: my episode about stage lighting, which I know doesn't sound 34 00:02:05,040 --> 00:02:07,480 Speaker 1: like it's super interesting, But if you go to one 35 00:02:07,520 --> 00:02:09,840 Speaker 1: of these shows and you see like all these lights 36 00:02:10,240 --> 00:02:14,800 Speaker 1: that end up really elevating the experience, you know it's 37 00:02:14,800 --> 00:02:18,960 Speaker 1: more than just highlighting the performers themselves. Literally, it's all 38 00:02:19,000 --> 00:02:22,320 Speaker 1: about evoking a mood. Right Like at a particular part 39 00:02:22,320 --> 00:02:25,960 Speaker 1: of a song, there might suddenly be an incredible moment 40 00:02:26,000 --> 00:02:28,640 Speaker 1: where all the lights sweep out over the audience just 41 00:02:28,680 --> 00:02:31,360 Speaker 1: as the music is crescendoing. So how does that work? 42 00:02:31,560 --> 00:02:33,839 Speaker 1: That's what I'm working on now and what I will 43 00:02:33,840 --> 00:02:36,359 Speaker 1: bring to you on Wednesday, But for the moment, let's 44 00:02:36,400 --> 00:02:39,720 Speaker 1: go back and listen to this very much classic episode 45 00:02:39,720 --> 00:02:44,400 Speaker 1: of tech Stuff from two thousand and nine, and I 46 00:02:44,440 --> 00:02:50,120 Speaker 1: hope you enjoy. The world lost a great inventor, Les Paul, 47 00:02:50,840 --> 00:02:54,760 Speaker 1: who was one of the people instrumental to use a 48 00:02:54,760 --> 00:02:58,400 Speaker 1: pun in creating the electric guitar. He was not the 49 00:02:58,400 --> 00:03:03,040 Speaker 1: first person to combine electricity with guitars, but we'll get 50 00:03:03,040 --> 00:03:10,080 Speaker 1: to his contribution shortly. So why would you want to 51 00:03:10,120 --> 00:03:11,760 Speaker 1: create an electric guitar in the first place. 52 00:03:12,360 --> 00:03:15,640 Speaker 2: There are a couple of reasons, the most I would say, 53 00:03:15,840 --> 00:03:18,680 Speaker 2: in my opinion, obvious of which is that if you 54 00:03:18,720 --> 00:03:21,200 Speaker 2: want your guitar to be heard by people more than 55 00:03:21,200 --> 00:03:23,680 Speaker 2: a few feet away, you're going to need to find 56 00:03:23,680 --> 00:03:26,960 Speaker 2: some way to amplify it. That's a good point, and 57 00:03:27,000 --> 00:03:29,000 Speaker 2: so you would want to be able to plug it 58 00:03:29,000 --> 00:03:31,880 Speaker 2: into an amplifier so that the amplifier would project the 59 00:03:31,919 --> 00:03:34,920 Speaker 2: sound farther. That's a good point too, which is you 60 00:03:34,960 --> 00:03:37,320 Speaker 2: know why you have those giant speaker cabinets on the 61 00:03:37,360 --> 00:03:39,760 Speaker 2: side of rock stages. 62 00:03:39,520 --> 00:03:43,600 Speaker 1: Right, because the only real alternative, if we're talking about 63 00:03:43,640 --> 00:03:47,120 Speaker 1: the earlier stages, is to put a microphone directly in 64 00:03:47,200 --> 00:03:49,680 Speaker 1: front of the guitar and hopefully pick up the sound 65 00:03:49,720 --> 00:03:52,960 Speaker 1: and transmit it that way, which is not the best 66 00:03:53,040 --> 00:03:56,080 Speaker 1: way to get a clean sound out of your guitar. 67 00:03:56,240 --> 00:04:00,600 Speaker 2: It's inefficient, right to be honest, because the the sound 68 00:04:00,720 --> 00:04:03,920 Speaker 2: is not the sound waves are traveling from the guitar 69 00:04:04,080 --> 00:04:07,360 Speaker 2: to the microphone. And of course, anytime sound travels through 70 00:04:07,360 --> 00:04:10,600 Speaker 2: the air, there is the possibility that will become distorted. 71 00:04:10,440 --> 00:04:13,400 Speaker 1: Yes, which sometimes is something you want, but you want 72 00:04:13,400 --> 00:04:16,360 Speaker 1: to be able to control it. You don't want uncontrolled distortion. 73 00:04:17,000 --> 00:04:20,479 Speaker 1: Although uncontrolled distortion a would be an awesome name for 74 00:04:20,520 --> 00:04:23,120 Speaker 1: a rock band, it probably is one already could be 75 00:04:23,480 --> 00:04:25,120 Speaker 1: if not patent pending. 76 00:04:25,279 --> 00:04:29,520 Speaker 2: Okay, so uh, let's file for these patents. Yeah, I guess, 77 00:04:29,720 --> 00:04:30,160 Speaker 2: I guess we do. 78 00:04:30,279 --> 00:04:32,200 Speaker 1: We have a whole bunch of them pending, now, don't 79 00:04:32,200 --> 00:04:37,400 Speaker 1: we at least three? So the way sound works, you've 80 00:04:37,440 --> 00:04:42,800 Speaker 1: got something vibrating, right, and then that causes other molecules 81 00:04:42,800 --> 00:04:47,360 Speaker 1: to vibrate. Eventually, these vibrating molecules hit our ears, causing 82 00:04:47,360 --> 00:04:50,520 Speaker 1: little hairs to vibrate, sends little vibrations down to our 83 00:04:50,880 --> 00:04:53,600 Speaker 1: ear drums, and that's what we interpret as sound. 84 00:04:54,000 --> 00:04:55,240 Speaker 2: Excellent. You've got to have. 85 00:04:55,279 --> 00:04:58,880 Speaker 1: Some sort of molecules in the in the environment in 86 00:04:58,960 --> 00:05:00,680 Speaker 1: order to be able to hear, which is why if 87 00:05:00,720 --> 00:05:03,600 Speaker 1: you're in outer space, you're not likely to hear anything 88 00:05:03,640 --> 00:05:07,160 Speaker 1: because the molecules are spread out so far apart that 89 00:05:07,240 --> 00:05:09,719 Speaker 1: there's not much chance of one bumping into another. 90 00:05:10,440 --> 00:05:12,320 Speaker 2: That would be the whole vacuum thing. 91 00:05:12,520 --> 00:05:15,760 Speaker 1: That would be, yes, the vacuum thing. Yeah, yes, it's 92 00:05:15,800 --> 00:05:19,120 Speaker 1: the hoover element of the equation. As I like to say. 93 00:05:19,320 --> 00:05:21,880 Speaker 2: Yeah, I'm going to leave the science stuff to other folks. 94 00:05:21,960 --> 00:05:24,920 Speaker 1: All right, Well, I of course wrote an article about 95 00:05:25,000 --> 00:05:29,480 Speaker 1: can humans here in space? Spoiler alert they can't. So 96 00:05:31,640 --> 00:05:34,440 Speaker 1: the idea behind a regular guitar, I mean, the reason 97 00:05:34,480 --> 00:05:37,440 Speaker 1: why guitars have a hollow body, why many stringed instruments 98 00:05:37,520 --> 00:05:40,240 Speaker 1: have a hollowed body, is so that creates a natural 99 00:05:40,279 --> 00:05:45,080 Speaker 1: amplification chamber. Yeah, without it, you wouldn't hear very much. 100 00:05:45,800 --> 00:05:49,640 Speaker 2: And the size and shape of that chamber, you know, 101 00:05:49,720 --> 00:05:52,320 Speaker 2: has a lot of effect on the way a guitar sounds. Right, 102 00:05:52,400 --> 00:05:56,120 Speaker 2: That's why some electric guitars maintain the hollow body while 103 00:05:56,120 --> 00:05:59,600 Speaker 2: others go for a solid body. Right, So you know, 104 00:05:59,640 --> 00:06:02,800 Speaker 2: they both have their own merits and yeah. 105 00:06:02,360 --> 00:06:09,680 Speaker 1: And early on in the experiments in electrifying guitars, many 106 00:06:09,720 --> 00:06:14,200 Speaker 1: of the innovators tried to alter existing guitars, like hollow 107 00:06:14,240 --> 00:06:17,000 Speaker 1: body guitars, but there was a problem with that in 108 00:06:17,040 --> 00:06:20,880 Speaker 1: that you would often get distortion based upon the natural 109 00:06:20,880 --> 00:06:24,120 Speaker 1: amplification from the hollow body and the electrical implication you're 110 00:06:24,279 --> 00:06:25,799 Speaker 1: getting from the electric guitar. 111 00:06:26,720 --> 00:06:32,200 Speaker 2: What also depends on how you are trying to electrify 112 00:06:32,240 --> 00:06:34,320 Speaker 2: your guitar too, because. 113 00:06:34,279 --> 00:06:36,760 Speaker 1: If you're just hugging up a couple of jumper cables 114 00:06:36,760 --> 00:06:38,640 Speaker 1: to your guitar, that's probably not the best way. 115 00:06:39,640 --> 00:06:41,919 Speaker 2: Not quite what I meant. Oh, okay, because I know 116 00:06:41,960 --> 00:06:47,320 Speaker 2: that in early, early electric guitars, they didn't always plug 117 00:06:47,360 --> 00:06:49,440 Speaker 2: in in the same place, and they didn't always try 118 00:06:49,440 --> 00:06:51,440 Speaker 2: to pick up the sound from the same place. 119 00:06:51,680 --> 00:06:54,880 Speaker 1: Wait, you used a word there, pick up. Oh. 120 00:06:54,920 --> 00:06:57,640 Speaker 2: Yes, it's not just a truck. 121 00:06:57,880 --> 00:07:00,599 Speaker 1: No, it's not. It's an important part of the electric guitar. 122 00:07:01,480 --> 00:07:04,520 Speaker 2: Yes, because in early guitars they tried to pick up 123 00:07:04,560 --> 00:07:09,480 Speaker 2: the vibrations, the the sound vibrations up of you know, upwards, 124 00:07:09,680 --> 00:07:12,200 Speaker 2: away from the guitar body and toward the neck right 125 00:07:12,280 --> 00:07:13,520 Speaker 2: and even at the end of the guitar. 126 00:07:13,640 --> 00:07:16,559 Speaker 1: Yes, and now it's at the other end, the bass 127 00:07:16,560 --> 00:07:18,920 Speaker 1: of the guitar. That's where you're gonna find the pickups. 128 00:07:18,960 --> 00:07:22,960 Speaker 1: Now a pickup here, we've better explain, I guess the 129 00:07:23,000 --> 00:07:25,960 Speaker 1: basis of an electric guitar, Like, what makes the electric 130 00:07:25,960 --> 00:07:26,960 Speaker 1: guitar work? 131 00:07:27,440 --> 00:07:30,239 Speaker 2: I'd like to point out that electric guitars aren't, well, 132 00:07:30,360 --> 00:07:33,040 Speaker 2: at least not in most cases themselves electric. 133 00:07:33,400 --> 00:07:38,440 Speaker 1: They're passive exactly. We're getting back to our old friend, 134 00:07:38,520 --> 00:07:39,840 Speaker 1: the electro magnet here. 135 00:07:40,320 --> 00:07:43,680 Speaker 2: Yes, I remember our old friend, the electromagnet Yese it 136 00:07:43,760 --> 00:07:45,680 Speaker 2: got up and left the other day? Does I had 137 00:07:45,680 --> 00:07:48,760 Speaker 2: to pay for lunch? Never rights, I know what a jerk. 138 00:07:49,400 --> 00:07:53,280 Speaker 1: But electromagnets. You may recall from our previous episodes that 139 00:07:53,520 --> 00:07:56,880 Speaker 1: if you have a if you run an electric current 140 00:07:57,080 --> 00:08:01,800 Speaker 1: through a coiled copper wire usually coiled around an iron core. 141 00:08:02,040 --> 00:08:05,000 Speaker 1: Not necessarily, but it can be, that can create a 142 00:08:05,000 --> 00:08:09,040 Speaker 1: magnetic field. So electricity congenerate a magnetic field, and if 143 00:08:09,080 --> 00:08:13,960 Speaker 1: you alter a magnetic field, you can induce electricity. Chris 144 00:08:14,000 --> 00:08:16,680 Speaker 1: and I will be back to talk more about electric 145 00:08:16,720 --> 00:08:31,880 Speaker 1: guitars after this quick break. So, with an electric guitar, 146 00:08:32,040 --> 00:08:35,480 Speaker 1: you have a pickup at the base usually of the guitar, 147 00:08:36,440 --> 00:08:39,960 Speaker 1: that is a magnet that has a coil around the magnet, 148 00:08:40,160 --> 00:08:43,720 Speaker 1: and that means there's a magnetic field magnet. That's what 149 00:08:43,800 --> 00:08:47,880 Speaker 1: magnets produce, right, So when you strum a string, the 150 00:08:47,960 --> 00:08:52,960 Speaker 1: frequency the vibration of that that string create distorts the 151 00:08:53,000 --> 00:08:57,120 Speaker 1: magnetic field by destroying the magnetic field, oscillating it. Essentially, 152 00:08:57,440 --> 00:09:00,960 Speaker 1: you create an electric current. The electric current runs through 153 00:09:01,000 --> 00:09:04,880 Speaker 1: the little coil that's around the magnet. And then if 154 00:09:04,880 --> 00:09:07,160 Speaker 1: you don't have your guitar plugged into anything, it doesn't 155 00:09:07,160 --> 00:09:11,120 Speaker 1: go anywhere, right, and you won't really hear anything if 156 00:09:11,160 --> 00:09:14,800 Speaker 1: it's a solid body electric guitar anyway, but. 157 00:09:14,920 --> 00:09:17,160 Speaker 2: You will, but you'd have to be very very close 158 00:09:17,200 --> 00:09:18,360 Speaker 2: to it. You won't hear much. 159 00:09:18,440 --> 00:09:22,080 Speaker 1: Yeah, it'll sound pretty weak, and because there's nothing to 160 00:09:22,360 --> 00:09:25,160 Speaker 1: really amplify the sound. Now, if you have it plugged 161 00:09:25,160 --> 00:09:28,840 Speaker 1: into an amp, that little electric signal will go to 162 00:09:28,920 --> 00:09:31,720 Speaker 1: the amp which has a couple of different elements to 163 00:09:31,800 --> 00:09:34,400 Speaker 1: it that can boost the signal and then convert it 164 00:09:34,480 --> 00:09:37,559 Speaker 1: back into sound. And that's the sound you hear when 165 00:09:37,600 --> 00:09:39,400 Speaker 1: you strum the strings on electric guitar. 166 00:09:40,880 --> 00:09:44,600 Speaker 2: Now, for an electric guitar too, I mean assuming that 167 00:09:44,640 --> 00:09:48,840 Speaker 2: we're not talking about an acoustic electric guitar in which 168 00:09:48,880 --> 00:09:52,480 Speaker 2: you're basically attempting to amplify the sound from the electric guitar. 169 00:09:52,480 --> 00:09:55,600 Speaker 2: If you're talking about an electric guitar like, for example, 170 00:09:56,080 --> 00:10:01,400 Speaker 2: a Lass Paul, then the pick are directly underneath the 171 00:10:01,440 --> 00:10:04,600 Speaker 2: strings where you actually play, where you actually strum or 172 00:10:04,640 --> 00:10:09,080 Speaker 2: pick the strings, and that enables them to be very 173 00:10:09,080 --> 00:10:12,839 Speaker 2: close to the original vibration. And in some cases the 174 00:10:12,880 --> 00:10:17,319 Speaker 2: pickups are designed to move closer to or farther away 175 00:10:17,360 --> 00:10:20,440 Speaker 2: from the string as you need to adjust them so 176 00:10:20,480 --> 00:10:24,760 Speaker 2: that you can, pardon the pun for once fine tune 177 00:10:25,120 --> 00:10:28,920 Speaker 2: your sound, you can sort of modify things to as 178 00:10:28,960 --> 00:10:30,559 Speaker 2: you need to to get the sound you're trying to 179 00:10:30,600 --> 00:10:32,760 Speaker 2: get right. No, that's not always the case. I mean, 180 00:10:32,760 --> 00:10:34,599 Speaker 2: some of them are very very simple, where there is 181 00:10:34,640 --> 00:10:39,000 Speaker 2: a single bar magnet that is used as a pickup. 182 00:10:39,559 --> 00:10:42,160 Speaker 2: But you'll notice too that some guitars use one set 183 00:10:42,200 --> 00:10:46,640 Speaker 2: of pickups while other guitars use several different sets of pickups. 184 00:10:46,640 --> 00:10:49,000 Speaker 2: And you can actually you'll see switches on the guitar 185 00:10:49,040 --> 00:10:52,760 Speaker 2: body that you know enables you to turn one set 186 00:10:52,840 --> 00:10:55,680 Speaker 2: on or one set off, or modify the sound to 187 00:10:55,679 --> 00:10:58,640 Speaker 2: to you know, make changes to your sound without having 188 00:10:58,679 --> 00:11:01,840 Speaker 2: to sit there and you know, rewire the whole darn thing. 189 00:11:02,200 --> 00:11:05,120 Speaker 1: Yeah. Essentially, you have controls that allow you to filter 190 00:11:05,200 --> 00:11:09,120 Speaker 1: out certain frequencies, and so by choosing which frequencies you 191 00:11:09,160 --> 00:11:11,760 Speaker 1: want and which ones you don't want, you can have 192 00:11:11,840 --> 00:11:14,920 Speaker 1: your guitar sound in you know, many different ways. You 193 00:11:14,960 --> 00:11:18,120 Speaker 1: can have that really you know, kind of crunchy rock 194 00:11:18,280 --> 00:11:21,440 Speaker 1: sound that you hear from alternative rock bands, or you 195 00:11:21,440 --> 00:11:24,920 Speaker 1: can have that more sort of twangy sound from you know, 196 00:11:24,960 --> 00:11:27,320 Speaker 1: a country western or even like the sort of the 197 00:11:27,480 --> 00:11:30,320 Speaker 1: surf rock sound of a guitar. A lot of that 198 00:11:30,520 --> 00:11:34,280 Speaker 1: is just through filtering out which frequencies you want to 199 00:11:34,960 --> 00:11:37,600 Speaker 1: go to the app and which ones you don't. So 200 00:11:37,960 --> 00:11:40,480 Speaker 1: it's kind of cool that with one instrument you can 201 00:11:40,520 --> 00:11:43,160 Speaker 1: get so many different sounds out of, you know, just 202 00:11:43,200 --> 00:11:44,920 Speaker 1: by tweaking a knob or two. 203 00:11:45,559 --> 00:11:49,880 Speaker 2: Yeah. And one of the really cool things about an 204 00:11:49,960 --> 00:11:52,640 Speaker 2: electric guitar, as far as I mean just from a 205 00:11:52,679 --> 00:11:55,560 Speaker 2: scientific standpoint, although apparently I'm not leaving the science to 206 00:11:55,600 --> 00:11:59,280 Speaker 2: other people, is that you can make so many modifications. 207 00:11:59,320 --> 00:12:01,640 Speaker 2: I mean, the having it wired like that gives you 208 00:12:01,920 --> 00:12:04,880 Speaker 2: a lot of control over the sound, and it actually 209 00:12:05,240 --> 00:12:09,079 Speaker 2: enables you to share the sound and control of your 210 00:12:09,120 --> 00:12:13,480 Speaker 2: sound with another piece of your instrument puzzle, which is 211 00:12:13,520 --> 00:12:16,880 Speaker 2: the amplifier, because once you plug it in, the amplifier 212 00:12:16,880 --> 00:12:20,440 Speaker 2: becomes part of the electric guitar as the entire instrument. 213 00:12:21,200 --> 00:12:24,200 Speaker 2: In some cases, you're it's just simply going to amplify, 214 00:12:24,280 --> 00:12:27,199 Speaker 2: But in a lot of cases, especially for rock musicians, 215 00:12:28,000 --> 00:12:31,520 Speaker 2: there are amplifiers you can buy that have a lot 216 00:12:31,520 --> 00:12:33,960 Speaker 2: of the equipment built in that allows you to modify 217 00:12:33,960 --> 00:12:39,120 Speaker 2: the sound. You can add reverberation, for example, or distortion, 218 00:12:39,440 --> 00:12:41,319 Speaker 2: which is very very popular depending on the kind of 219 00:12:41,400 --> 00:12:45,240 Speaker 2: music you're playing. And then of course there are effects pedals, 220 00:12:45,920 --> 00:12:49,760 Speaker 2: some of which actually I know some people who have 221 00:12:49,920 --> 00:12:53,319 Speaker 2: quite a few effects pedals, and basically what these are 222 00:12:53,360 --> 00:12:57,840 Speaker 2: doing enables they enable you to make slight changes to 223 00:12:58,000 --> 00:13:03,720 Speaker 2: the way those vibrations are are distributed across the electrical 224 00:13:04,320 --> 00:13:08,240 Speaker 2: current from between the guitar and the amplifier, and then 225 00:13:08,400 --> 00:13:11,240 Speaker 2: you know, from there to whatever else I guess technically 226 00:13:11,280 --> 00:13:14,440 Speaker 2: the speaker, but if you are in some cases playing 227 00:13:14,600 --> 00:13:17,760 Speaker 2: say an arena show, you might have a microphone stuck 228 00:13:17,840 --> 00:13:20,079 Speaker 2: up next to your actual guitar amp and then from 229 00:13:20,120 --> 00:13:22,520 Speaker 2: there it just going through the PA system out to 230 00:13:22,559 --> 00:13:26,319 Speaker 2: the crowd. So there's a lot of wiring and. 231 00:13:26,600 --> 00:13:29,400 Speaker 1: You rockstars live lives I can only dream of. 232 00:13:29,960 --> 00:13:31,560 Speaker 2: Yeah, I've had to haul around a lot of that 233 00:13:31,600 --> 00:13:34,439 Speaker 2: gear so thankfully not usually the PA, but. 234 00:13:34,679 --> 00:13:37,680 Speaker 1: I've just looked at that gear. Yeah, it's heavy, a 235 00:13:37,679 --> 00:13:39,600 Speaker 1: lot of it. What I think is cool about electric 236 00:13:39,640 --> 00:13:41,760 Speaker 1: guitars is it does allow you to do things like 237 00:13:41,840 --> 00:13:44,800 Speaker 1: have a guitar that has a solid body. I mean again, 238 00:13:44,880 --> 00:13:48,040 Speaker 1: if it weren't for the electrical amplification, then a solid 239 00:13:48,040 --> 00:13:50,760 Speaker 1: body guitar would be pretty much useless because you would 240 00:13:50,800 --> 00:13:52,720 Speaker 1: have to be sitting just a couple inches away to 241 00:13:52,720 --> 00:13:54,360 Speaker 1: be able to hear anything that was coming out of 242 00:13:54,360 --> 00:13:59,320 Speaker 1: it in the first place. And Les Paul's is widely 243 00:13:59,320 --> 00:14:03,400 Speaker 1: credited with creating the first real solid body electric guitar, 244 00:14:04,120 --> 00:14:08,959 Speaker 1: which he called the log It was It is it is. 245 00:14:09,040 --> 00:14:13,000 Speaker 1: It was made by made out of a slab of wood, 246 00:14:13,000 --> 00:14:18,400 Speaker 1: a solid block, and it actually could come apart in pieces. 247 00:14:18,679 --> 00:14:22,160 Speaker 1: I've seen pictures of it. It was pretty impressive. And 248 00:14:22,640 --> 00:14:26,040 Speaker 1: granted he refined that design slightly, that was not the 249 00:14:26,080 --> 00:14:29,240 Speaker 1: design that Gibson picked up when they started to market 250 00:14:29,280 --> 00:14:34,080 Speaker 1: the guitars. Later on. Yeah, and the electric guitar has 251 00:14:34,160 --> 00:14:39,240 Speaker 1: really revolutionized music. I mean that's not an exaggeration by 252 00:14:39,240 --> 00:14:42,360 Speaker 1: any stretch of the imagination. By pairing an electric guitar 253 00:14:42,440 --> 00:14:46,320 Speaker 1: with an amp and playing a note, it's possible for 254 00:14:46,400 --> 00:14:51,040 Speaker 1: you to get a vibration off the speaker that continues 255 00:14:51,080 --> 00:14:53,880 Speaker 1: to vibrate the string, and you get a perpetual note, 256 00:14:54,440 --> 00:14:58,440 Speaker 1: a note that will last forever, or until the power 257 00:14:58,480 --> 00:15:00,360 Speaker 1: runs out, or until the power runs out, until your 258 00:15:00,400 --> 00:15:02,760 Speaker 1: audience decides they've had enough of this and they're gonna 259 00:15:02,800 --> 00:15:03,120 Speaker 1: go home. 260 00:15:03,280 --> 00:15:05,600 Speaker 2: He just gonna play that one note right time. 261 00:15:05,840 --> 00:15:08,560 Speaker 1: This is like the most boring, grateful dead concert ever. 262 00:15:08,960 --> 00:15:11,840 Speaker 1: He's jamming on one note and that's it. 263 00:15:13,040 --> 00:15:15,200 Speaker 2: Well, you know whatever, float trippoot. Yeah, I think I 264 00:15:15,200 --> 00:15:18,200 Speaker 2: could have managed that. I bet there's a one. 265 00:15:18,160 --> 00:15:21,080 Speaker 1: Performance artist out there somewhere who's done this, and oh 266 00:15:21,080 --> 00:15:22,640 Speaker 1: sure that. I'm sure there's more than one. 267 00:15:22,720 --> 00:15:24,680 Speaker 2: But yes, yes, I'm pretty sure. 268 00:15:26,240 --> 00:15:28,520 Speaker 1: You know. More power to you if that brings the 269 00:15:28,560 --> 00:15:30,960 Speaker 1: grant money in good luck. 270 00:15:32,240 --> 00:15:35,840 Speaker 2: But if you've wondered, if you've watched a rock band 271 00:15:35,920 --> 00:15:38,280 Speaker 2: play and then watched another rock band right after them, 272 00:15:38,320 --> 00:15:40,880 Speaker 2: you go, why, you know, why does it matter? What? 273 00:15:41,280 --> 00:15:44,200 Speaker 2: Guitars they're using, you know, other than maybe a six 274 00:15:44,280 --> 00:15:47,560 Speaker 2: swing string versus a twelve string, or you know, a 275 00:15:49,400 --> 00:15:55,040 Speaker 2: regular guitar versus saan alto or a bass guitar I'm sorry, 276 00:15:55,160 --> 00:15:57,440 Speaker 2: tenor versus a bass guitar. You might go, okay, well, 277 00:15:57,440 --> 00:15:58,800 Speaker 2: I get it. One's a little bigger than the other. 278 00:15:58,880 --> 00:16:01,400 Speaker 2: One has a couple more strings, So you know, why 279 00:16:01,480 --> 00:16:03,680 Speaker 2: are there you know, what's the difference in a stratocaster 280 00:16:03,880 --> 00:16:06,400 Speaker 2: versus a last Paul? Well, it all, it sort of 281 00:16:06,480 --> 00:16:09,360 Speaker 2: all comes down to the things we were talking about before, 282 00:16:09,400 --> 00:16:11,520 Speaker 2: the number of pickups, what kinds of pickups there are 283 00:16:11,560 --> 00:16:14,320 Speaker 2: on it, whether or not it's a hollow or solid body, 284 00:16:14,360 --> 00:16:16,040 Speaker 2: the kind of wood it's made out of, or other 285 00:16:16,120 --> 00:16:18,960 Speaker 2: material that it may be made out of. And you know, 286 00:16:19,040 --> 00:16:21,360 Speaker 2: even Gibson changed things a couple of years ago when 287 00:16:21,400 --> 00:16:25,160 Speaker 2: it offered an Ethernet guitar because suddenly the connection is 288 00:16:25,200 --> 00:16:28,040 Speaker 2: no longer analog, which is basically it's a you know, 289 00:16:28,120 --> 00:16:31,640 Speaker 2: one quarter inch phono plug on either end. You plug 290 00:16:31,760 --> 00:16:33,840 Speaker 2: one side in your guitar, one side in your end. Well, 291 00:16:34,600 --> 00:16:38,280 Speaker 2: Gibson changed that by incorporating an Ethernet connection. Well, that 292 00:16:38,400 --> 00:16:41,480 Speaker 2: changes the sound even more, it gives you an opportunity 293 00:16:41,520 --> 00:16:44,880 Speaker 2: to play a really clean digital signal, which a lot 294 00:16:44,880 --> 00:16:48,560 Speaker 2: of purists really don't like the idea of, you know, 295 00:16:48,640 --> 00:16:52,000 Speaker 2: everything adds a little bit of change to it. So 296 00:16:52,520 --> 00:16:55,120 Speaker 2: and that's why some people prefer vintage guitars over brand 297 00:16:55,160 --> 00:16:57,200 Speaker 2: new guitars. They say, well, you know, that was made 298 00:16:57,200 --> 00:16:59,640 Speaker 2: out of this kind of wood back in sixty five. 299 00:17:00,000 --> 00:17:01,760 Speaker 2: It's made out this kind of would. Now it's just 300 00:17:01,760 --> 00:17:04,000 Speaker 2: not the same. And they may look the same to 301 00:17:04,160 --> 00:17:06,080 Speaker 2: you or me, but that's not the same. 302 00:17:06,119 --> 00:17:08,800 Speaker 1: And you saw one of those digital guitars over at 303 00:17:08,800 --> 00:17:09,919 Speaker 1: CES one year, didn't you. 304 00:17:10,040 --> 00:17:14,400 Speaker 2: Yes, I did. I thought it was a little weird, 305 00:17:14,560 --> 00:17:17,200 Speaker 2: not because there's anything necessarily wrong with it, but I thought, well, 306 00:17:17,240 --> 00:17:18,600 Speaker 2: you know, I wonder if this is the kind of 307 00:17:18,600 --> 00:17:23,159 Speaker 2: thing that's going to change the way people play guitar. 308 00:17:23,480 --> 00:17:26,240 Speaker 2: And I don't know that it has significantly. I haven't 309 00:17:26,240 --> 00:17:27,959 Speaker 2: seen a lot of people with them. As a matter 310 00:17:28,000 --> 00:17:31,840 Speaker 2: of fact, I've seen nobody in person with them. But 311 00:17:32,160 --> 00:17:33,720 Speaker 2: it was sort of the same kind of thing that 312 00:17:33,800 --> 00:17:36,560 Speaker 2: you saw in the nineteen eighties with electronic drums. They 313 00:17:36,560 --> 00:17:38,359 Speaker 2: were all the rage back in the day because you 314 00:17:38,359 --> 00:17:40,800 Speaker 2: could play all kinds of sounds on them. And now 315 00:17:41,160 --> 00:17:44,120 Speaker 2: the purists I think have sort of maybe not one 316 00:17:44,160 --> 00:17:47,399 Speaker 2: out because they still make electronic drums, but they have 317 00:17:47,840 --> 00:17:52,760 Speaker 2: certainly taken the electronic drum market back. And I think 318 00:17:52,840 --> 00:17:58,800 Speaker 2: that acoustic are not acoustic, but analog guitars. Electric guitars 319 00:17:59,040 --> 00:18:01,800 Speaker 2: are still predominantly the most popular. 320 00:18:02,119 --> 00:18:04,960 Speaker 1: Yeah, I'm just waiting for the key tar to really 321 00:18:05,119 --> 00:18:09,119 Speaker 1: really make an impact, right, Chris Pollett and I have 322 00:18:09,160 --> 00:18:11,040 Speaker 1: a little bit more to say about electric guitars, but 323 00:18:11,080 --> 00:18:14,040 Speaker 1: before we can continue shredding, let's take a quick break 324 00:18:14,080 --> 00:18:15,719 Speaker 1: to thank our sponsors. 325 00:18:25,400 --> 00:18:30,679 Speaker 2: There was a guitar website called guitar geek dot com 326 00:18:31,119 --> 00:18:35,040 Speaker 2: and basically it hasn't been updated in a while, but 327 00:18:35,160 --> 00:18:37,399 Speaker 2: it allows you to look at the rigs that everybody 328 00:18:37,480 --> 00:18:39,280 Speaker 2: has set ups. You can see what kind of guitar 329 00:18:39,520 --> 00:18:42,679 Speaker 2: that famous artist plays, along with the effects pedals they 330 00:18:42,760 --> 00:18:47,160 Speaker 2: might use and what kind of amplifier they might use. 331 00:18:47,240 --> 00:18:49,760 Speaker 2: And it's really kind of cool because you learn things 332 00:18:49,800 --> 00:18:53,480 Speaker 2: about certain guitar players like Dave Davies of The Kinks, 333 00:18:53,480 --> 00:18:59,439 Speaker 2: who liked to slit his speaker in his amplifier cabinet 334 00:18:59,480 --> 00:19:01,840 Speaker 2: so that it provide just the right distortion sound and 335 00:19:01,960 --> 00:19:05,960 Speaker 2: suddenly it's no longer about the guitar or the effects pedals, 336 00:19:05,960 --> 00:19:09,199 Speaker 2: but whether or not the speaker as a hole in it. 337 00:19:10,040 --> 00:19:13,320 Speaker 1: Nice. Yeah, I'd like to see how how Queen got 338 00:19:13,320 --> 00:19:16,600 Speaker 1: that amazing sound at the end with the guitar solo 339 00:19:16,680 --> 00:19:20,359 Speaker 1: of We Will Rock You, because that's still, to this 340 00:19:20,480 --> 00:19:23,600 Speaker 1: day my favorite guitar solo ever. Oh really, yeah, no serious, 341 00:19:23,640 --> 00:19:26,440 Speaker 1: it really is. So here's a little trivia for you guys. 342 00:19:26,960 --> 00:19:30,280 Speaker 1: We were talking about the oscillations of the string causing 343 00:19:30,320 --> 00:19:33,040 Speaker 1: a change in the magnetic field, and that is what 344 00:19:33,160 --> 00:19:40,800 Speaker 1: creates the electrical current that is based off of Faraday's law. Oh, 345 00:19:40,840 --> 00:19:43,919 Speaker 1: so there you go. If you ever are watching a 346 00:19:44,040 --> 00:19:48,000 Speaker 1: musician rock out on stage, you can turn to the 347 00:19:48,000 --> 00:19:50,680 Speaker 1: person next to you and say, this is an excellent 348 00:19:50,920 --> 00:19:54,960 Speaker 1: demonstration of Faraday's law, which is guaranteed to get you 349 00:19:55,040 --> 00:19:55,640 Speaker 1: the ladies. 350 00:19:57,320 --> 00:20:03,920 Speaker 2: Yeah. Yeah, not actually guaranteed. Your may some restrictions apply. 351 00:20:04,040 --> 00:20:08,360 Speaker 1: Yeah, it worked on my wife, but she's taken so. 352 00:20:09,840 --> 00:20:13,360 Speaker 2: Okay, then, well are you are you all rocked out? Yeah? 353 00:20:13,359 --> 00:20:14,560 Speaker 2: I'm kind of rocked out for the moment. 354 00:20:14,640 --> 00:20:17,560 Speaker 1: Well, then I guess that takes us straight to a 355 00:20:17,680 --> 00:20:25,040 Speaker 1: listener mail. Oh yeah, rock on this listener. Mail comes 356 00:20:25,040 --> 00:20:28,720 Speaker 1: from Louis and or Lewis. Louis or Lewis, I don't 357 00:20:28,760 --> 00:20:31,360 Speaker 1: know an email. You can write me and let me know. 358 00:20:31,760 --> 00:20:35,320 Speaker 1: Tell hey me again? So you think I know how 359 00:20:35,320 --> 00:20:38,040 Speaker 1: to pronounce his name by now finally got my modem 360 00:20:38,080 --> 00:20:40,680 Speaker 1: working again, so time to email you. In the video 361 00:20:40,720 --> 00:20:43,520 Speaker 1: game podcast The New One, you said that the PS 362 00:20:43,600 --> 00:20:46,240 Speaker 1: three had a cell based processor. What does this mean? 363 00:20:46,640 --> 00:20:48,560 Speaker 1: Also from what you were saying, it seemed that in 364 00:20:48,600 --> 00:20:51,520 Speaker 1: the US Xbox three sixties are more expensive than the Wii. 365 00:20:52,000 --> 00:20:52,600 Speaker 1: Is this true? 366 00:20:52,840 --> 00:20:53,000 Speaker 2: Here? 367 00:20:53,000 --> 00:20:55,960 Speaker 1: In New Zealand, a twenty gigabyte Xbox three sixties three 368 00:20:56,000 --> 00:20:59,119 Speaker 1: hundred dollars, whereas a Wii costs almost four hundred and fifty. 369 00:20:59,400 --> 00:21:03,040 Speaker 1: And I'm a bit confused. Well, Louis, let's talk a 370 00:21:03,040 --> 00:21:07,200 Speaker 1: little bit about the cell based processor. It's a specific 371 00:21:07,280 --> 00:21:10,800 Speaker 1: kind of microprocessor architecture, right, It's based off of the 372 00:21:10,920 --> 00:21:16,080 Speaker 1: cell broadband engine architecture. It's just SELL for short. And 373 00:21:16,160 --> 00:21:20,119 Speaker 1: the idea here is that each cell can handle a 374 00:21:20,160 --> 00:21:26,960 Speaker 1: certain amount of calculations per second, and the PS three 375 00:21:27,080 --> 00:21:31,240 Speaker 1: has I believe seven of these cells, so each cell 376 00:21:31,400 --> 00:21:34,840 Speaker 1: is capable of handling a massive amount of information. The 377 00:21:34,880 --> 00:21:37,440 Speaker 1: problem is you have to be able to design games 378 00:21:37,440 --> 00:21:40,639 Speaker 1: that take advantage of this. They're very good at handling 379 00:21:40,720 --> 00:21:44,960 Speaker 1: parallel problems. So in other words, you've got a you know, 380 00:21:45,040 --> 00:21:48,120 Speaker 1: one of them's handling graphics, another might be handling physics engine, 381 00:21:48,119 --> 00:21:52,080 Speaker 1: another might be handling sound something like that, as opposed 382 00:21:52,119 --> 00:21:56,320 Speaker 1: to all of them working together on one big problem. 383 00:21:56,760 --> 00:21:58,760 Speaker 1: So if you can divide it up, if you can 384 00:21:58,840 --> 00:22:03,280 Speaker 1: divide up duties for each cell, it really takes advantage 385 00:22:03,280 --> 00:22:07,080 Speaker 1: of the hardware. Otherwise you've just got a massively powerful 386 00:22:07,119 --> 00:22:11,679 Speaker 1: machine that you can't really take advantage of. But you know, 387 00:22:11,760 --> 00:22:14,160 Speaker 1: if you designed the game the right way, that makes 388 00:22:14,240 --> 00:22:17,280 Speaker 1: that system one the most powerful system on the market 389 00:22:17,320 --> 00:22:20,360 Speaker 1: right now, bar none, PS three would be the most powerful. 390 00:22:21,040 --> 00:22:24,200 Speaker 1: But again you have to design the software to match 391 00:22:24,280 --> 00:22:29,640 Speaker 1: the hardware's capabilities. Now, as for the pricing, well back 392 00:22:29,680 --> 00:22:32,160 Speaker 1: when the game consoles first came out and they didn't 393 00:22:32,200 --> 00:22:34,520 Speaker 1: all come out at the same time, we should we 394 00:22:34,560 --> 00:22:38,240 Speaker 1: should make that point. But the core system, the Xbox 395 00:22:38,280 --> 00:22:41,160 Speaker 1: three sixty core system was two hundred ninety nine dollars 396 00:22:41,440 --> 00:22:44,919 Speaker 1: and the Xbox three sixty the main system. Because the 397 00:22:44,920 --> 00:22:47,879 Speaker 1: core system was the no frills version the main system 398 00:22:48,000 --> 00:22:51,280 Speaker 1: was three ninety nine. PS three came out with two 399 00:22:51,280 --> 00:22:53,320 Speaker 1: different models as well. At that time, there was a 400 00:22:53,320 --> 00:22:56,400 Speaker 1: twenty gigabyte version and that was four hundred and ninety 401 00:22:56,440 --> 00:22:59,879 Speaker 1: nine dollars, but then there was the sixty gigabyte version 402 00:23:00,880 --> 00:23:04,639 Speaker 1: that was five hundred and ninety nine dollars ouch pretty 403 00:23:04,680 --> 00:23:07,320 Speaker 1: expensive Nial states right in the US, and the Wii 404 00:23:07,359 --> 00:23:09,320 Speaker 1: when it came out two hundred and forty nine dollars, 405 00:23:09,359 --> 00:23:12,679 Speaker 1: so it was cheaper by fifty bucks than the next 406 00:23:13,359 --> 00:23:17,639 Speaker 1: least expensive console. I should also add many people have 407 00:23:17,680 --> 00:23:19,600 Speaker 1: written in to point this out, and I think we 408 00:23:19,720 --> 00:23:23,119 Speaker 1: mentioned it in an earlier podcast as well, but those 409 00:23:23,160 --> 00:23:27,160 Speaker 1: first PS three models were backwards compatible. You could play 410 00:23:27,200 --> 00:23:30,240 Speaker 1: PS two games on them. It was only after they 411 00:23:30,280 --> 00:23:33,840 Speaker 1: moved to the PS three eighty gigabyte version, and even 412 00:23:33,880 --> 00:23:36,639 Speaker 1: some of the early ones of those were backwards compatible, 413 00:23:36,680 --> 00:23:40,560 Speaker 1: but eventually they took that compatibility out of the PS 414 00:23:40,600 --> 00:23:43,520 Speaker 1: three and since then it has not been there. 415 00:23:43,960 --> 00:23:47,240 Speaker 2: Yeah, and some of those older models are are much 416 00:23:47,280 --> 00:23:52,280 Speaker 2: more prized by PS three fans than the newer models, 417 00:23:52,400 --> 00:23:54,040 Speaker 2: right because of that backwards compatibility. 418 00:23:54,119 --> 00:23:55,840 Speaker 1: Yeah, because it means one less machine that you have 419 00:23:55,920 --> 00:23:57,800 Speaker 1: to have hooked up to your system if you want 420 00:23:57,840 --> 00:24:02,200 Speaker 1: to play all your games. And when we were recording 421 00:24:02,200 --> 00:24:04,720 Speaker 1: that podcast, we were really concentrating on the systems that 422 00:24:04,760 --> 00:24:08,359 Speaker 1: were available on the market as of the recording of 423 00:24:08,400 --> 00:24:11,879 Speaker 1: that podcast, right. And while you can find the sixty 424 00:24:11,880 --> 00:24:14,600 Speaker 1: gigabyte PS three's and you know, things like Craigslist or 425 00:24:14,640 --> 00:24:19,080 Speaker 1: eBay or whatever, in general, your local game store, unless 426 00:24:19,080 --> 00:24:22,600 Speaker 1: they're selling used consoles, they're not going to have one 427 00:24:22,640 --> 00:24:26,439 Speaker 1: of those in stock because they've been out for a while. 428 00:24:27,480 --> 00:24:29,879 Speaker 1: So that's really why we weren't talking about those and 429 00:24:29,880 --> 00:24:32,480 Speaker 1: why we said that the PS three was not backwards compatible. 430 00:24:32,480 --> 00:24:34,560 Speaker 1: It wasn't because we didn't know about these earlier models. 431 00:24:34,560 --> 00:24:38,159 Speaker 1: It's because you can't really get those in your average store. 432 00:24:39,480 --> 00:24:43,119 Speaker 1: I hope you enjoyed that classic episode of Tech Stuff 433 00:24:43,119 --> 00:24:48,160 Speaker 1: Tech Stuff Shreds on the Electric Guitar Man. It sure 434 00:24:48,280 --> 00:24:51,960 Speaker 1: was nice hearing Chris Bollhead's voice again. I really enjoyed 435 00:24:52,040 --> 00:24:54,800 Speaker 1: having someone to chat with because we would do our 436 00:24:54,800 --> 00:24:57,520 Speaker 1: research independently. I don't know how many people know this, 437 00:24:57,640 --> 00:24:59,720 Speaker 1: but Chris and I would go off on our a 438 00:25:00,000 --> 00:25:03,840 Speaker 1: own little way and research a topic and have a 439 00:25:03,840 --> 00:25:07,399 Speaker 1: lot to talk about. We wouldn't even necessarily have a 440 00:25:07,440 --> 00:25:10,240 Speaker 1: real outline. We might have a personal outline for ourselves, 441 00:25:10,240 --> 00:25:12,680 Speaker 1: but it would just be a conversation and we would 442 00:25:12,680 --> 00:25:15,560 Speaker 1: have our talk about the topic kind of unfold. That 443 00:25:15,600 --> 00:25:19,359 Speaker 1: way probably wasn't the most efficient way. It certainly didn't 444 00:25:19,359 --> 00:25:22,080 Speaker 1: stop us from going off on tangents, but it was 445 00:25:22,119 --> 00:25:26,960 Speaker 1: a great approach to having a natural conversation about a topic. 446 00:25:27,280 --> 00:25:30,600 Speaker 1: And it sure is a very different thing than for 447 00:25:30,720 --> 00:25:33,840 Speaker 1: me to prepare an episode to present to y'all on 448 00:25:33,880 --> 00:25:36,879 Speaker 1: my own, because it's just me right there makes no 449 00:25:36,920 --> 00:25:39,880 Speaker 1: sense for me to be super extemporaneous. If I were, 450 00:25:40,280 --> 00:25:42,560 Speaker 1: episodes would never end kind of like this one. This 451 00:25:42,720 --> 00:25:44,280 Speaker 1: is going on a lot longer than it needs to, 452 00:25:44,520 --> 00:25:46,680 Speaker 1: So we're gonna wrap this up. Like I said, later 453 00:25:46,760 --> 00:25:49,399 Speaker 1: this week, we'll have an episode about stage lighting that 454 00:25:49,440 --> 00:25:52,040 Speaker 1: I'm still working on now. I'm looking forward to getting 455 00:25:52,040 --> 00:25:55,359 Speaker 1: that to you on Wednesday. I hope you are all well, 456 00:25:55,760 --> 00:26:04,960 Speaker 1: and I will talk to you again really soon. Tech 457 00:26:05,040 --> 00:26:09,440 Speaker 1: Stuff is an iHeartRadio production. For more podcasts from iHeartRadio, 458 00:26:09,760 --> 00:26:13,480 Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen 459 00:26:13,520 --> 00:26:14,600 Speaker 1: to your favorite shows.