WEBVTT - The Roof Comes Off

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<v Speaker 1>Pushkin. This podcast began with me remembering when I had

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<v Speaker 1>Alexis ten years or so ago. I liked it, but

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<v Speaker 1>also thought naively that it was like a German car,

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<v Speaker 1>only from Japan. And then I went to Japan and realized,

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<v Speaker 1>oh no, these cars are Japanese. And once you realize that,

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<v Speaker 1>you can sit in one and be driven in one,

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<v Speaker 1>even blindfolded, and know just where you are, even down

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<v Speaker 1>to the sound system. You know, if I put you,

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<v Speaker 1>if I blindfolded you, and I put you in an

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<v Speaker 1>AA seven series, an S S class and an LS

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<v Speaker 1>and I said, tell me turn on music. I said,

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<v Speaker 1>can you? Can you tell me when you're in the LS?

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<v Speaker 1>Could you? I met Mark levin Sin's operations outside of

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<v Speaker 1>Los Angeles. This is the place where Alexis sound System

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<v Speaker 1>was created. Brett Home is one of the systems designers.

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<v Speaker 1>And just as I thought, he could ide the car blindfolded,

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<v Speaker 1>the LA specifically, guess what would be the cube? In

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<v Speaker 1>other words, what song would he use to be absolutely

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<v Speaker 1>sure he was sitting in Alexis. So I have worked

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<v Speaker 1>with the car for years. Yeah, so when I'm checking,

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<v Speaker 1>like I've listened to probably twenty different cars, I know

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<v Speaker 1>where on certain songs I play things should be I

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<v Speaker 1>know that. Would you priss? You could take one song

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<v Speaker 1>into reach you do all four cars? What's the song

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<v Speaker 1>going to set this up? Now? I'm right? I want

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<v Speaker 1>I want the diagnostic song. So I want what's the

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<v Speaker 1>sign that helps you distinguish between those four systems? The

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<v Speaker 1>best answer actually, yeah, cool, Just the one that will

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<v Speaker 1>help you identify the elis with one hundred percent certainty

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<v Speaker 1>from Alexis and Pushkin Industries. This is go and see

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<v Speaker 1>our podcast about what makes Alexis Alexis. This is our

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<v Speaker 1>final episode, number six out of six. We have explored

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<v Speaker 1>why the windows on the LS slow as they reach

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<v Speaker 1>their apex, why the LC sports car accelerates in perfect intervals,

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<v Speaker 1>what it takes to make an engine sound amazing, and

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<v Speaker 1>countless other things, all in service of something I have

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<v Speaker 1>to admit I did not fully appreciate until I went

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<v Speaker 1>to Japan, which is that behind even the simplest details

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<v Speaker 1>lies a mountain of thought and research and experimentation, expertise

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<v Speaker 1>in service not just of the machine itself, in service

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<v Speaker 1>of the driver. So, in the Sonic Temple of Mark Levinson,

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<v Speaker 1>I asked Brad for his signature song, because by this point,

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<v Speaker 1>at the end of my Lexus immersion, I know he

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<v Speaker 1>has one. Okay, so the song that I would use

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<v Speaker 1>just hit me. It's a recording of Sanctus. I forget

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<v Speaker 1>the composer. I'm sorry. It's classical. There's two choirs. There's

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<v Speaker 1>a female and a male choir on the stage, and

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<v Speaker 1>there's a pipe organ that plays down to twenty eight

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<v Speaker 1>ish hurts. So what's going to exercise low frequency extension

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<v Speaker 1>that has to be even throughout the choirs are separated.

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<v Speaker 1>You still need the reverb. But when you go into

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<v Speaker 1>three D, the roof of that car seems to almost

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<v Speaker 1>kind of disappear a little bit. And that experience was

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<v Speaker 1>phenomenal for me. And so when I go to these

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<v Speaker 1>different manufacturers, ours isn't overdone to be like, look at

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<v Speaker 1>our technology. It's the next level of polish to deliver reference. Yeah,

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<v Speaker 1>so you play that song Sanctus in an LS it

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<v Speaker 1>is qualitatively different from the way it would sounded the

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<v Speaker 1>other automobiles and you would be able to pick it out. Yes,

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<v Speaker 1>trust me, we will play some Sanctus. When we were

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<v Speaker 1>in Japan just a few weeks earlier, my producers Jacob

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<v Speaker 1>Smith and Carlie Migliori went to one of the crown

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<v Speaker 1>jewels of the Lexus operation, the driving simulator, And I

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<v Speaker 1>want to talk about the simulator just for a moment,

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<v Speaker 1>to make a point about perfectionism, about what perfectionism looks like.

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<v Speaker 1>The Higashi facility is high security. You check in in

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<v Speaker 1>an unassuming office building, hand over your phones and computers,

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<v Speaker 1>then take a van up a long and winding road

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<v Speaker 1>past the manufactured strip of ice Toyota uses for bad

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<v Speaker 1>weather testing. You come to a second building in gray glass,

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<v Speaker 1>up a flight of stairs, and then oh wow, this

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<v Speaker 1>is it. I mean it looks like something for like

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<v Speaker 1>spaceflight testing. Personally very comfortable concept. Yes, imagine a white

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<v Speaker 1>dome fifteen to twenty feet high. The floor is a

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<v Speaker 1>massive turntable and in the middle, on a set of

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<v Speaker 1>tracks is a car alexis LS. Of course, when you

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<v Speaker 1>quote unquote drive in this simulator, it's meant to feel

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<v Speaker 1>incredibly real, like you're actually driving down the roads projected

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<v Speaker 1>on the dome. The car can tilt, actually tilt, turn

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<v Speaker 1>speed up. The projector creates a virtual reality version of

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<v Speaker 1>the road and passing scenery. There's road noise. I don't

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<v Speaker 1>even want to know what a gadget like this costs. Basically,

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<v Speaker 1>take the kid who drives those risk car video games

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<v Speaker 1>at the mall, give him a couple hundred million dollars

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<v Speaker 1>when he grows up, and this is what you get. First,

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<v Speaker 1>we're are all going to go into the unit. So

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<v Speaker 1>we're going fifty six kilometers an hour driving straight towards

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<v Speaker 1>Mountain Fuji. We just learned write through a van. The

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<v Speaker 1>point of the simulator is that it records everything the

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<v Speaker 1>driver does in there, every move, every decision, and your

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<v Speaker 1>vital signs too, how fast your heart is racing. Everything

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<v Speaker 1>is all recorded in real time and relayed to the

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<v Speaker 1>control room where teams of engineers sit behind computer screens

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<v Speaker 1>and try to make sense of it. Like your eyes,

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<v Speaker 1>what exactly are you looking at? Yeah, so this white

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<v Speaker 1>circle is tracking my eyeline. What are those multi colors?

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<v Speaker 1>So that's your eye side? Yeah, that's the end. The

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<v Speaker 1>oval is my face. Yes. I have two thoughts about

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<v Speaker 1>the simulator. First, can you build a car without a

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<v Speaker 1>multimillion dollars simulator? Course you can, people did for years.

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<v Speaker 1>The simulator isn't really about the car, It's about the driver,

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<v Speaker 1>or to put it more precisely. It's not really about

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<v Speaker 1>making better cars, it's about making better drivers. This came

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<v Speaker 1>up again and again at our time with Lexus, whether

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<v Speaker 1>we were discussing engines or windows or suspension systems. We

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<v Speaker 1>think of the engineer as someone obsessed with the object,

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<v Speaker 1>with its design and operation and manufacture, and not the

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<v Speaker 1>user of the object. But in so many cases with

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<v Speaker 1>Lexus it was the other way round. I mean, what

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<v Speaker 1>was the point of putting Jacob in that multimillion dollar

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<v Speaker 1>contraption to learn about Jacob? To figure out how can

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<v Speaker 1>we study him under controlled circumstances so the car can

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<v Speaker 1>help make him into a better driver. All right, we

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<v Speaker 1>got a pedestrian. I'm the word. Everyone straight, Let's see

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<v Speaker 1>beautiful lady. Yes for me? Oh, the beautiful lady is

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<v Speaker 1>a distraction. You looked at her. Got to be aware

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<v Speaker 1>of what's around you. You cannot look. Oh, oh my goodness.

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<v Speaker 1>Oh a little kid just fell should I I don't

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<v Speaker 1>trust this person? Yeah? Thank you? Defensive driving, right, So

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<v Speaker 1>I didn't kill anyone, No, almost that little kids that

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<v Speaker 1>I saw that kid coming from. How did you do?

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<v Speaker 1>Was he good? Good driver? Very? Thank you? Ye? Maybe

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<v Speaker 1>some some people, um, HiT's a with the studio. Yeah, well,

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<v Speaker 1>HiT's a bike. Lexus has run thousands of people through

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<v Speaker 1>that simulator, recorded and analyzed oceans of data, created an

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<v Speaker 1>unimaginably finely grained portrait of what drivers do and how

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<v Speaker 1>they behave. Can you make a car without that data? Sure?

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<v Speaker 1>But not, Alexis. This is what perfectionism is, isn't it?

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<v Speaker 1>The ability to focus on more than the object in

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<v Speaker 1>question and the commitment to something beyond what is merely sufficient.

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<v Speaker 1>Which brings us back to Mark Levinson and Brad Hom's

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<v Speaker 1>signature song. What was Brad's motivation? I'm pretty sure that

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<v Speaker 1>at the core he didn't have some elaborate technical agenda. Wait,

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<v Speaker 1>I want to go back to something. Actually, when you're

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<v Speaker 1>talking about that song Sanctis, you were saying, if the

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<v Speaker 1>sensation of the roof being lifted off, what did you

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<v Speaker 1>mean by that? So, if your eyes are closed, yeah,

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<v Speaker 1>and you're in the church that it was recorded in

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<v Speaker 1>and you're just sitting there, you hear the reverb, you

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<v Speaker 1>can tell that this is a huge sense of space

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<v Speaker 1>in a car. You don't get that often because the

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<v Speaker 1>top of the car is sound absorbing. So for us

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<v Speaker 1>to reproduce that it's kind of this concept with your

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<v Speaker 1>eyes closed of no, there's a roof to the car.

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<v Speaker 1>It's right here. I can sense that. And then all

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<v Speaker 1>of a sudden their sound from about me and it's echoing,

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<v Speaker 1>and I've got the sense of space above me. And

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<v Speaker 1>so that's kind of like the tearing the roof off,

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<v Speaker 1>where in a non George Clinton p Fund kind of way,

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<v Speaker 1>what you're doing is feeling that you're getting this extra

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<v Speaker 1>space in a vehicle that's not actually there. Lay see.

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<v Speaker 1>So what the LS manages to do, the reason you

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<v Speaker 1>picked that song is because what the LS has managed

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<v Speaker 1>to do is to give you the sensation of listening

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<v Speaker 1>to it in a church. It gives you where you

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<v Speaker 1>were originally recorded, where that song was. But it also

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<v Speaker 1>tests the four attributes that Jonathan was talking about, spectral

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<v Speaker 1>e going from twenty eight hurts on an organ note

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<v Speaker 1>which is very deep, all the way up to the

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<v Speaker 1>twenty k that we're listening to, from spatial having the

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<v Speaker 1>understanding of where everything is dynamics. It starts off very quiet,

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<v Speaker 1>just choir, but then it moves to the full orchestra

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<v Speaker 1>and that gets builds and builds, and the passion that

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<v Speaker 1>comes out of that. For me, I love getting to this.

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<v Speaker 1>It's a minute and a half clip that I use

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<v Speaker 1>and by the end of it, everybody's in and I'm

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<v Speaker 1>just like, you know, it's an amazing experience when it

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<v Speaker 1>happens correctly. Like I said, we're going to place him Sanctus.

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<v Speaker 1>At the end of our day at Mark Levinson, Jacob,

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<v Speaker 1>Brad and I went into the parking lot. Lexus had

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<v Speaker 1>loaned us an LS for a few days, which we

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<v Speaker 1>had parked outside, and we wanted Brad to explain how

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<v Speaker 1>he solved the problem of its sound system. So right

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<v Speaker 1>off the bat we have you could see this stoor

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<v Speaker 1>speaker here that's going to be our main wolfer and

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<v Speaker 1>that plays a lot of upper base and lower mid

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<v Speaker 1>range for us. We then pair that with a mid range.

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<v Speaker 1>As I explained in the room, you can hear low

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<v Speaker 1>frequency and you can put that almost anywhere in the

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<v Speaker 1>car physically to help out. So in this case we're

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<v Speaker 1>using low frequency in the corners because then we get

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<v Speaker 1>loading in the car, so we can actually maximize the

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<v Speaker 1>output low frequencies. Bass notes can come from virtually anywhere.

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<v Speaker 1>Boom boom. You have a lot of freedom and where

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<v Speaker 1>you put that in a car, but not high frequency sounds.

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<v Speaker 1>Those are directional. If you want to properly hear someone's trends,

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<v Speaker 1>senden soprano, it has to be aimed directly at your ear.

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<v Speaker 1>That's what's so hard about setting up a car stereo.

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<v Speaker 1>You need to tweeter up high. But up high in

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<v Speaker 1>a car is all roof pillars in glass. Then we

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<v Speaker 1>put our mid range in trouble together up across the

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<v Speaker 1>instrument panel, so that we have left, center and right

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<v Speaker 1>in a nice array like you'd see in a room.

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<v Speaker 1>Speakers across the front of the dashboard. Then another set

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<v Speaker 1>in the passenger door. So I'll open the rear door

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<v Speaker 1>and what you'll see is the farthest forward upper corner

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<v Speaker 1>of this door panel. Brad talked us through every speaker

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<v Speaker 1>in the car. Where's the subwoffer? So the subwoffer is

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<v Speaker 1>actually right in the center of the package tray here

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<v Speaker 1>on the rear shelf. Yeah, it's packaged underneath this grow. Yeah.

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<v Speaker 1>And then there's surround speakers that are on either side. Oh,

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<v Speaker 1>so this whole back part here is all speaker here,

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<v Speaker 1>there's five speakers, three locations in the back. Yesd yeah,

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<v Speaker 1>he popped open the trunk or speakers. So this car

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<v Speaker 1>has how many speakers in total? Twenty three? Twenty three?

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<v Speaker 1>Twenty three? Do you really need twenty three? Well, if

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<v Speaker 1>you want the roof to come off while Sanctus is playing, Yes,

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<v Speaker 1>you do, and you need them all in exactly the

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<v Speaker 1>right place, tuned exactly the right way. And in order

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<v Speaker 1>to do that, you have to design the sound system

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<v Speaker 1>at the same time as you design the car itself.

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<v Speaker 1>You can't tack it on afterwards. When did Brad and

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<v Speaker 1>his colleagues start working on the LS stereo five years

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<v Speaker 1>before the car came out? Great, hul we listeners to music? Yeah,

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<v Speaker 1>if you want to jump in the driver's seat. Brad

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<v Speaker 1>sat in the passenger seat and configured the settings on

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<v Speaker 1>the sound system for three D. If it's too loud

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<v Speaker 1>for you, I apologize, okay, So I'll start the track

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<v Speaker 1>over and now we're going to go three D. Before

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<v Speaker 1>you go into that, what does three D mean? So

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<v Speaker 1>it means three dimensional surround sound. So these speakers that

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<v Speaker 1>are above your face in the location, these are going

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<v Speaker 1>to turn on and give you the reverb that that

0:14:13.356 --> 0:14:14.796
<v Speaker 1>room should have. And this is where I was talking

0:14:14.836 --> 0:14:17.756
<v Speaker 1>about the room coming or the roof being peeled off. Yeah,

0:14:17.836 --> 0:14:21.636
<v Speaker 1>this is the technology that allows that. So we got

0:14:21.676 --> 0:14:23.836
<v Speaker 1>a little more that allows you to know with your

0:14:23.876 --> 0:14:27.276
<v Speaker 1>if your eyes would close, it's your nanlos. So let's

0:14:27.276 --> 0:15:15.636
<v Speaker 1>switch over to an so you could tell him that

0:15:15.716 --> 0:15:18.156
<v Speaker 1>dynamics part as it goes from the quiet and the builds,

0:15:19.436 --> 0:15:25.756
<v Speaker 1>say I'm going to car. The roof came off, just

0:15:25.836 --> 0:15:28.836
<v Speaker 1>like Brad said it would. Brad had another meaning to

0:15:28.836 --> 0:15:31.396
<v Speaker 1>go to, but we just wanted to stall him. He

0:15:31.476 --> 0:15:33.596
<v Speaker 1>had a thumb drive in his hand, loaded up with

0:15:33.636 --> 0:15:36.516
<v Speaker 1>a number of songs. It couldn't all be classical, couldn't

0:15:36.836 --> 0:15:39.396
<v Speaker 1>What else could he play for us? We were thinking

0:15:39.676 --> 0:15:41.996
<v Speaker 1>of the long drive back. He wouldn't do to drive

0:15:42.036 --> 0:15:45.796
<v Speaker 1>down Sunset Boulevard blasting a sixteenth century him. I do

0:15:45.916 --> 0:15:47.836
<v Speaker 1>have a polar opposite, I throw on. I kind of

0:15:47.876 --> 0:15:55.596
<v Speaker 1>anticipated such a question, so let's see, I forget. I

0:15:55.676 --> 0:15:57.076
<v Speaker 1>just had a couple of seconds to put on here,

0:15:57.076 --> 0:16:01.956
<v Speaker 1>so instead of hip hop, just something Yeah, so I've

0:16:01.956 --> 0:16:05.076
<v Speaker 1>got heavy metal, Okay, oh yay metal day metal. Absolutely,

0:16:05.356 --> 0:16:08.316
<v Speaker 1>So we talked about dynamics. This piece starts off with

0:16:08.396 --> 0:16:12.676
<v Speaker 1>kind of a electrified flamenco style and then the whole

0:16:12.676 --> 0:16:14.476
<v Speaker 1>band comes in and rips her round off, and if

0:16:14.476 --> 0:16:41.916
<v Speaker 1>you don't jump in your seat, I'll be impressed. Six episodes,

0:16:42.436 --> 0:16:45.636
<v Speaker 1>A long trip to Japan, a simulator, a day at

0:16:45.676 --> 0:16:48.276
<v Speaker 1>the track, deep dives with some of the world's best

0:16:48.356 --> 0:16:51.956
<v Speaker 1>automobile engineers. And there we were at the end listening

0:16:51.956 --> 0:16:54.396
<v Speaker 1>to Lamb of God at very high volume in a

0:16:54.516 --> 0:16:57.676
<v Speaker 1>parking lot in the valley, in order to discover that

0:16:57.836 --> 0:17:02.916
<v Speaker 1>Lexis makes perfect things for everyone, even metal heads. Go

0:17:03.076 --> 0:17:07.276
<v Speaker 1>and See. We went and we saw. Let me point

0:17:07.316 --> 0:17:11.156
<v Speaker 1>this out, even though it's a metal you'll it's far

0:17:11.276 --> 0:17:13.756
<v Speaker 1>pand but then center vocal I'll shut so you can

0:17:13.796 --> 0:17:38.116
<v Speaker 1>hear world. Go and See is produced by Jacob Smith

0:17:38.396 --> 0:17:42.636
<v Speaker 1>with Emily Rosteck and Carl Migliori, edited by Julia Barton.

0:17:42.996 --> 0:17:46.476
<v Speaker 1>Evan Viola composed our theme music and mixed and mastered

0:17:46.476 --> 0:17:51.756
<v Speaker 1>our episodes. Special thanks to Jacob Weisberg, Heather Fame, Paul Williamson,

0:17:51.956 --> 0:17:56.076
<v Speaker 1>the Mark Levinson engineers, and all the Lexus executives, chief

0:17:56.116 --> 0:18:00.516
<v Speaker 1>engineers and designers who participated in our recordings. Also thank

0:18:00.556 --> 0:18:07.036
<v Speaker 1>you too, Jess Merrill, Mary Jane Kroll, Amanda Abrams, Joel Dons, Tyler, dupay,

0:18:07.396 --> 0:18:11.276
<v Speaker 1>Craig Crawford, and Riley Go and See is a production

0:18:11.276 --> 0:18:15.196
<v Speaker 1>of Lexis and Pushkin Industries him Mountain Glaco