Episode 101: Smoke Clears, Night Sky

Episode Transcript

Note: a machine made this, so it’s not perfect, but if you’re hearing impaired and have any questions about what we said, please feel free to ask us in the comments or send us an email with the form below. 

Emily: [00:00:00] welcome to the get offset podcast. My name is Emily

Andrew: [00:00:15] and my name is Andrew

Emily: [00:00:17] and I am significantly more chipper than Andrew thought. I would be this morning.

Andrew: [00:00:21] You

Emily: [00:00:22] are? Yes. Um, Let’s pour one out for Ruth Bader Ginsburg. Uh, she was a hero of mine growing up and now I am sad and scared, but she wouldn’t want me to be sad and scared.

She would want me to keep fighting.

Andrew: [00:00:38] Absolutely. Um, one of the, uh, the few Patriots left in the U S government, in my opinion, I don’t

Emily: [00:00:49] know. I, I, you know, I think that, um, we just have to keep our hopes up and stay. Stay positive and yet critical and, um, vote as soon as humanly possible

Andrew: [00:01:02] to quote Patagonia, which is the quote that they’re putting on the inside of their jackets now is vote the assholes out.

Emily: [00:01:11] Yes, let’s do that.

Andrew: [00:01:12] So yeah, I can get

Emily: [00:01:15] behind

Andrew: [00:01:15] that. I just, I love the quote by, I also think it’s funny that like it’s now inside of Patagonia jackets.

Emily: [00:01:23] Yeah. You think that they’re just like chill, vibey, hippies, but they are not, they don’t, they don’t,

Andrew: [00:01:30] they’re like slightly less chill, vibey, hippies, just

Emily: [00:01:35] slightly less.

So who, who are the chillest vibey, hippies, like even Ben and Jerry’s is like really political and not all super duper.

Andrew: [00:01:48] I think it’s amazing that hippie, like the chillness of hippies, I dunno, like.

Emily: [00:01:54] They weren’t, they weren’t chill. I think, I think you’re right.

Andrew: [00:01:57] They’re the ones protesting Vietnam. You’re right.

I think there’s a lesson to be learned. There is we can be hippies and it’s just

Emily: [00:02:09] for one day.

Andrew: [00:02:11] Yeah,

Emily: [00:02:14] I just got, I just got a cool notification that. Um, uh, a new pedal from native audio is out for delivery right now to my home.

Andrew: [00:02:23] Ooh, well, that’s pretty exciting.

Emily: [00:02:27] Yes. Yes. I’ll have to, uh, well, I don’t want to spoil any surprises.

Um, so just, uh, subscribe to the demo channel and watch it, I guess when, when I do that, but I have to completely like reformat my demo recording space. Cause. I kind of go, like, if I’m demoing a guitar, then I’m just going to like, do a bunch of guitar videos at once. We don’t want to constantly like, change the camera tripod to be like the overhead view and like just changing things.

So, uh, uh, I have two more, at least two more guitar videos I want to film. And then, um, And then I guess I’ll reset things up for my huddles because I have a lot, I do have quite a lot of new pedals that I’m kind of falling behind. I got four new arcade chips for the Cooper effects, arcades the sense, reverse generation loss and grain.

You can hear them.

Andrew: [00:03:40] Ooh chips. I like chips.

Emily: [00:03:43] Yeah.

Andrew: [00:03:44] Microchips

Emily: [00:03:46] basically. SD cards.

Andrew: [00:03:48] Not small potato chips.

Emily: [00:03:50] No, I’m not. I don’t like potato chips.

I don’t like potato chips. I especially don’t like the flavored potato chips. The smell of them makes me really nauseated.

Andrew: [00:04:06] I suppose that’s not a Hill I’m willing to die on. I’ll find something else to make fun of you for later. I

Emily: [00:04:12] like most crispy potato products, but, um, I don’t know. I just, I don’t like salty snacks in general.

Sometimes I like tortilla chips with salsa or guac, you know, but like, I feel like potato chips with few exceptions, you tend to eat like dry. Yep. Yeah, I guess you could get a dip, but you’d have to have such a robust potato chip

Andrew: [00:04:38] ruffles ruffles have outrageous.

Emily: [00:04:43] Yeah. That’s their advertising slogan. Isn’t it?

Andrew: [00:04:46] That is true. And they’re great for like a sour cream and onion dip. Mm

Emily: [00:04:52] Oh, that’s something else I never really gotten into. You

Andrew: [00:04:55] get like the sour cream and onion, uh, like powdering, like dump that into a tub of sour cream or like, uh, like Lipton onion soup. So you’re

Emily: [00:05:05] literally just eating like flavored sour cream.

Andrew: [00:05:08] That’s a dip

Emily: [00:05:09] man. That’s I am so aggressively Midwestern and I’m like, Hmm, no, thank you.

Andrew: [00:05:20] I’m not sure that has to do with being Midwestern, but

Emily: [00:05:23] Oh man Westerners. Well, if you, if you were a Midwesterner, you would know Midwesterners love their depths. We love them.

Andrew: [00:05:35] So on a brief note, I would like to make this, my formal recommendation that we change a RGB to our BG in graphic design. I think, uh, I don’t see any reason why we couldn’t swap those two letters permanently

Emily: [00:05:53] red, green, blue versus red, blue. Green. Yeah. Yeah,

Andrew: [00:05:58] I think that’s, I think that would be fine. I kind of wish there was a way for me to like, easily change that in Adobe illustrator in

Emily: [00:06:07] your own personal settings.

Yeah. Yeah. I don’t know if there is, um, what’s new with you other than, you know, I guess we can finally breathe the air outside in Seattle. So that feels pretty new. Well,

Andrew: [00:06:21] we can mostly breathe it. The AQI still over a hundred, so

Emily: [00:06:26] no, it’s not

Andrew: [00:06:27] a, it was yesterday in my neighborhood. Oh no,

Emily: [00:06:30] no, no. It’s it’s dipped to like 15 overnight.

Andrew: [00:06:34] Oh, okay. Well I’m checking now. Cause that would be really nice news. Cause I’d like to go for like a very nice walk walk

Emily: [00:06:41] later. Yeah. No, it’s it’s everyone in Seattle is throwing open their windows right now.

Andrew: [00:06:49] Oh, my God. You’re right. I know I’m

Emily: [00:06:51] ready. Don’t act so surprised.

Andrew: [00:06:54] It’s the, uh, the station that I’ve been looking at for, um, the last, uh, last few, um, couple of weeks, um, Peaked out of like some around like right over 500 yesterday was showing like one 30 and now it’s

Emily: [00:07:17] yeah, rain.

Andrew: [00:07:20] I’m throwing the windows open.

I’m I

Emily: [00:07:23] want to go for a run. I haven’t run in like two weeks. Cause it would have been suicide.

Andrew: [00:07:30] Yeah. Oh man. Well, that’s happy news to wake up to. Offset the sadness in life right now.

Emily: [00:07:40] It just didn’t help that. I don’t think people who haven’t like been in environments where their, their, their areas on breathable for multiple days, like quite understand that it triggers within bodies, like almost a fight or flight kind of reaction, because if you around smoke, like.

Your body wants you to leave the smoky area. So it’s really bad for things like general malaise and anxiety. So like I’ve just been on edge for weeks. Like it’s been really miserable and like, you can tell like the cats and the small animals, they, they haven’t been act like Carrie’s not been acting like herself at all.

I

Andrew: [00:08:27] think the weirdest thing for me through all of this, um, Which like, it’s like, I’m not a stranger to smoke and fire. Like I’ve lived in California for over half my life.

Emily: [00:08:40] You live in California. I have never heard you say that.

Andrew: [00:08:43] I know. Um, like when I was in, I remember I was a sophomore in high school and there was a fire that like I was at school and a fire broke out a couple of miles from my house and got within the mile.

Um, before getting contained on one end, it wasn’t anything huge. But I was like, I remember like walking out in between a class Jerry’s I’m like, what is that in the sky? I’m used to like Ash and fire. And that just, that is how it isn’t, but it’s usually only, you don’t even if the fire happens, like in your little city, it’s only the ashes only around for a couple of days.

And then you, you move on two weeks though is very different and yeah. Yeah, but, um, what’s excuse me. Whoo.

Emily: [00:09:31] You gotta get it up. You gotta get it out. You gotta get it out. It’s been in there for a long time.

Andrew: [00:09:35] I know. No, but for, I haven’t coughing up a lot of phlegm last couple, like way more than normal. And I swear my body’s like, Nope.

Get that out of there.

Emily: [00:09:44] Yes. A VACU. Wait,

Andrew: [00:09:47] uh, I just got three volume metals in the mail.

Emily: [00:09:55] I mean, I know why, but that like out of context is like, uh, uh,

Andrew: [00:10:00] yeah, I want to control the volume at eight different points in my signal chain.

Emily: [00:10:05] You know, you have to have one before her and you have to have to one after and you have to have one after your modulation reverb. So you can cut off the reverb trails when you need to.

Andrew: [00:10:14] I think that officially puts me at six volume pedals in house right now. Geez.

Emily: [00:10:21] Seven

Andrew: [00:10:22] that’s seven. I have seven. I just turned around and realized I missed one. I didn’t forget you, baby. Um, so I’ve got seven volume pedals. Now get three of them. Two of them are brand new additions. Like I haven’t had before I saw I’ll be able to support new templates.

And that’s a Goodrich, which is a classic. Yeah, the other one is a blast.  H the third one I got is my second VP jr. And I think the plan for that is to safely remove the electronics and to put a topper on there and put the, uh, put the enclose, the tops enclosure through, uh, some stress tests on camera. Put together a short video to show the, the durability.

Emily: [00:11:20] What are you going to do? Run it over with a car.

Andrew: [00:11:23] No, not going to run it over. Like I want the, I want the pedal back when I’m done with it. Cause I had previously thought about like, maybe I could just throw it in the oven, uh, to simulate, like being in a hot car, but my oven only gets down to 200 and hot cars do not get to 200.

Emily: [00:11:41] Yeah, I think they might.

Andrew: [00:11:44] I think MythBusters did remember MythBusters did something on it, and I think they only clocked like one 30, one 40 zone.

Emily: [00:11:57] Um, I’m just saying a log vehicle. Uh, the dashboard steering wheel or seat can reach 180 to 200 degrees. Um, but the average cabin temperature would be around one 16.

Andrew: [00:12:13] Yeah. Yeah. I mean, I’m just trying to think of, like, from the perspective of what is the reasonable extremes of what you could put your gear through. And, uh, like for instance, that’s one of the things that I, the temple board based the pedal plates, the criticism is that they, uh, they’re fine until they get into a hot trunk and they kinda just get goopy and the pedals slide

Emily: [00:12:36] off.

Andrew: [00:12:39] And that’s why a lot of people I know, and a lot of people, I don’t know, I have opted to go for dual locker Velcro on a temple board, even though it sort of defeats the purpose of the, the original design with the plates and the grid.

Emily: [00:12:54] Yeah.

Andrew: [00:12:56] Uh, yeah. So the plan is I’m going to stress test it and try to show like, this is what you can expect to put this topper through.

Um, I mean, I did. I’ve done some of my own testing in this, obviously before I ever sent this out, it’s not like, I’m like, hi, would this, is this going to work? Okay. I already know that myself. I want to get that on camera. I want to be able to share that. Um, and, uh, yeah, that’ll be a fun project to work on.

Emily: [00:13:24] Yeah.

Andrew: [00:13:26] Yeah.

Emily: [00:13:27] You should try operating it with like golf cleats.

Andrew: [00:13:32] Or

Emily: [00:13:33] track cleats. Those are the really, really like pointy ones, right. Hockey that

Andrew: [00:13:38] would mean getting track cleats. And I don’t have any reason to have those right now.

Emily: [00:13:43] Um, I bet that I bet that one of us somewhere knows somebody with track clicks.

I

Andrew: [00:13:50] think the plan is heat and water are the things that I’m after right now. Guys,

Emily: [00:13:54] skates would be really funny though.

Andrew: [00:13:56] I think what I’m going to do is I’m going to put, um, Put a, fill a cookie sheet up with like a thin layer of water and just flip the pedal over, face down into it and let the topper soak in water after it’s been applied.

And just to show like how, how a little it’s an impacted cause all the materials are waterproof.

Emily: [00:14:16] Well that’s scape 40 stuff, right? Yeah.

Andrew: [00:14:19] Yeah. But I mean, it’s something that I want to show and be like, Hey, like this isn’t going to be an issue. I’m going to. One of the other things I’m thinking about doing is getting a UV light and just kind of throwing it in a box with the UV light under some, um, I don’t know how much I can do there, but like try and force it to fade quickly.

And to simply like, Hey, this is going to simulate. I haven’t done the math on this. I’m definitely spit balling here, but I would love to be able to do is like, Hey, I’m going to simulate what would happen if you left it outside in the sun for a month? And because it’s also UV resistant. So, yeah. Anyways, I’ve been selling these for two coming up on two years since I officially started selling these now.

And I’m still in contact with several of the, the, the original customers, one of them being Scott Hamilton and he gigs on a regular basis in his is still in perfect condition.

Emily: [00:15:15] All right. Well, you know, I also gigged on a regular basis and mine was also in stellar condition.

Andrew: [00:15:20] Yep. That is true

Emily: [00:15:23] for the record.

And people would always laugh when I saw it. Cause it’s cute.

Andrew: [00:15:30] Um, yeah, so that, and then last night I went live with RJ Smith on till I talks. So there is a one hour Instagram live of us, chit chatting.

Emily: [00:15:42] It was fun. That’s always fun. Hanging out with folk

Andrew: [00:15:48] need more of that these days, even if virtually.

Emily: [00:15:52] Vert.

Yeah. You take what you

Andrew: [00:15:53] can get. I’ll take it. He’s nice guy. I enjoyed it. It was a good time. So go check out his channel. Give him a follow if you haven’t already. So, uh, what’s uh, what’s new with you. What’s crackalackin

Emily: [00:16:07] Oh gosh. Um, other than the smoke, just getting to me, I’ve been working on some writing assignments, been filming some demos.

Been doing that kind of thing. Um, but then kind of working with, um, my band Sunday crush, we’re releasing a record later this year. I think we’ve finally set the, uh, the release date, but I don’t think we’re, I don’t know if I’m allowed to talk about it yet. Um, but just kind of working with the band. It’s fine.

It doesn’t matter, but just kind of working with the band to do some things that like. I had done so long ago and just trying to figure out what has changed really. So the big thing was getting the members of my band, who wrote on the record because I joined the band after the record was already in the can getting them set up on a performing rights organizations, um, PRS, uh, which, you know, I’m on, I’m on C-SAT and it’s really apparently a much harder even now to get on C-SAT than it was when I did.

So getting them set up on BMI or ASCAP explaining to them the writers portion versus the publishers portion, um, how to divide songs up in, in those platforms, what they need to do legally, uh, what a stage name is versus the band name? Uh, gosh, there’s a lot of stuff like that. So I finally picked up an updated version of.

All you need to know about the music business by Donald Passman. They just released the 10th edition last year. So I’ve just been kind of flipping through that a bit too. Uh, just to see, just to see what’s like, there’s so much in there. That’s changed since I was in college. I mean, I was in college, uh, 2007 through 2011, studying music business.

So I think we were maybe on like the sixth edition of all you need to know about the music business back then. So, uh, yeah, things like streaming did not really exist. I think that it was my freshman year that like Hulu kind of started being a thing and, uh, Spotify was way far in the future. And, um, I think it was just kinda like iTunes and then, you know, PTP and B2B, um, Kind of stuff taking over the music industry.

So that’s just a whole realm that, uh, I haven’t had to deal with really in so long. So, uh, they were like, they’d be like asking me questions. I’d be like, you know what I feel like, maybe I need to just refresh and not give you all bad advice. So I really recommend that book if you are new, because there’s so many questions I see on.

Musicians forums and stuff like that. It’s a lot of stuff that can really, really be cleared up. If you, if you pick up this book, a lot of it won’t be applicable for folks really before, um, like your sign with a label, uh, or have a lot of music to release, like it’s, but it is still things that you need to understand and know things like.

No, you don’t need to register a copyright to have a copyright, but if you don’t register your copyright, you can’t Sue really for infringement until you register it and you get extra protections, things like you can Sue for damages. So stuff like that, like a lot of questions I see just constantly like, do I need, do I need a P R O and this other, and this other thing I’m like, yeah, Yeah, you need both.

So really just like a lot of, um, a lot of questions that just anybody has kind of trying to figure out, navigate the world of the music business. You got to start with this book. It is still like, I think the best, the best of the books, um, about the music business, uh, And I feel like he really does try to write in a way that doesn’t, it doesn’t feel like jargon, you know?

Andrew: [00:20:27] Sure.

Emily: [00:20:28] Yeah. But for gear, I mean, I have some things that haven’t really been like announced yet, so I can’t really talk about them. I’m looking around like, I just have some like some surprise gifts for full cause I don’t really want to talk about them. Oh. But I did with my band Sunday crush on Wednesday, we went live on our record labels, um, Twitch stream it’s donut sounds.

And uh, so my singer, I told you, she got, I think I mentioned this, that she got a big old pedal board for free. So, um, our label president jr. Right?

Andrew: [00:21:08] I think I missed that.

Emily: [00:21:09] Oh, well she was grabbing, I think a keyboard or something. On the gear swap page. And when she went to pick it up, the person said, do you want this really big puddle board?

It’s like, it’s like the big pedal train classic. And, and she’s like, well, I literally only have two pedals. So I’ve loaned her a bunch of pedals and our label president jr. Also loaned her a bunch of pedals. And she, and Isaac and I, um, have been going live on Twitch and just kind of playing with signal chains, different types of effects, getting, getting her vibe on them, seeing what she likes and what she doesn’t like.

Uh, maybe build her a little board someday. So, uh, that’s something we are doing also. I think we’re pretty like this coming week. So if you’re listening to this on the day, it comes out the. 22nd, it’ll be on the 23rd. We’ll go live on the donut sound stream at a 7:00 PM Pacific time,

Andrew: [00:22:09] red, red.

Emily: [00:22:11] It’ll be a fun one.

I’m going to bring some other things that she hasn’t seen yet.

Yeah. So, um, that’s, that’s, that’s pretty much all I got on the what’s new, um, like it’s re gosh, I just haven’t felt like doing a ton because of the smoke, you know?

Andrew: [00:22:31] Yeah.

Emily: [00:22:32] Yeah. So I think it’s kinda good to, to recharge just Washington, Washington TV and not, not exert yourself too much. Um, but just thinking about a lot of things, a lot in the pipeline that I just don’t feel like I should be announcing.

Right now, like things that you know about.

Andrew: [00:22:53] Yeah. Yeah. I know how that goes.

Emily: [00:22:57] I’m going to wait until they put the graphics together for that. And then I’ll start talking about,

Andrew: [00:23:02] Hmm.

Emily: [00:23:04] Trees really is

Andrew: [00:23:07] speaking of ms. Seriousness and intrigue. We had a massive head of launch day on Thursday with two major companies.

Emily: [00:23:18] Oh, shoot. You’re right. Oh, but can we. Can we thank our sponsors before we get into the

Andrew: [00:23:22] topic?

Emily: [00:23:24] Or is that not, or is that not really the topic? We kind of have a dual topic don’t we?

Andrew: [00:23:28] Sure. Either way is fine with me as

Emily: [00:23:32] well.

Andrew: [00:23:32] Um, I’m excited to talk about all of the above.

Emily: [00:23:38] Well, the first sponsor really kind of ties into everything you need to know about the music business, because a lot of questions tend to arise when people first start putting their music up on the internet.

Um, distro kit makes it so easy to put your music up on line. And it’s also really, really fast. Like I uploaded some music and it was in a bunch of the stores. I think Apple music, like the same day, or if not the next day. And it just was so fast and easy. And it’s only like 20 bucks a year. And if you use our affiliate link in the show notes, you get 7% off your first year with distro kid, but they have a lot of cool stats.

I was looking through it, um, the other day. And like, you can, uh, obviously get verified on Spotify and when you’re verified and once you connect it with Spotify, you can see. Like how, how much your music got streamed the last, over the course of the past year, 60 days, seven days. Like before you even see like the reporting and you can see it, like on a day to day breakdown, like on September 10th, I got 30, I got 30 streams on Spotify, which is really cool.

Um, and normally you either have to log in to Spotify and. I don’t even think Spotify is dashboard. Is that cool or good? And also they have this for iTunes and Amazon and Apple music as well. But normally you have to wait until you’re like quarterly statements to see how many streams you got on Spotify and obviously quarterly.

So it can be like three months before you see any like real indication, hard numbers on your, your streams and from your streams, you can kind of extrapolate like. How much money you’re going to get ballpark it. Um, points 3 cents per stream says dollar sign zero, zero three, a dollar $0 sign, 0.003. Um, it’s really, um, I’m a fan.

I think this is really slick and, uh, it makes it really easy. And also they have that, that team’s feature where if you write a song with other people, You can, uh, do rev like automatic revenue shares, which I think is really cool.

Andrew: [00:26:11] That’s actually super cool. That makes club. I means you don’t have to worry about like, Hey, I’m going to clap with this first.

I really hope they actually pay me the appropriate royalties.

Emily: [00:26:22] Yeah, no, that’s, that’s a real, real concern for folks. And typically you have to do, like, if you work with like your record label, You have to do like quarterly audits to see like, okay, what were my sales? What were my streams? What is my portion of that revenue?

So traditional label, basically all of that funnels to the label then funnels out to you minus, you know, whatever they take.

Andrew: [00:26:50] Right?

Emily: [00:26:50] So if you’re self releasing, you get all of that. But if you work with somebody and they’re like, we cover the song, we each agreed to the split. Where’s my money. Like then you don’t have to screw around with like doing the math and sending someone a, you know, their money via the correct channels or whatever.

It just automates it. And that’s, that’s neat. I like that a lot.

Andrew: [00:27:21] I’m definitely sure.

Emily: [00:27:24] That’s district kit again, sign up via our affiliate link. In the show notes and, uh, we get a portion of that back and you get to save 7% on your first year. It’s a very easy way to support the show and get your music into the world.

Andrew: [00:27:42] And two birds, that’s a

Emily: [00:27:44] park that’s like three birds, three birds once done

Andrew: [00:27:50] those poor birds.

Emily: [00:27:53] Yeah. Well, if they were crows, how would you feel if they were crows

Andrew: [00:27:56] frightened as hell?

Emily: [00:27:58] Because

Andrew: [00:28:00] have you heard stories of what happens when people kill crows?

Emily: [00:28:03] Yes, they hold grudges and they pass grudges on for generations.

Andrew: [00:28:07] They are the mafia of the bird kingdom.

Emily: [00:28:10] They are. I wouldn’t want to piss off a magpie either.

I L I’ve seen videos of magpies, like dive, bombing people who piss them off for like miles. Like they are the killer bees of the aviary world.

Andrew: [00:28:23] Yeah. Uh, I’ve got, I have a pigeon story about that, but anyways, um,

Emily: [00:28:32] uh, well about our second sponsor,

Andrew: [00:28:34] second sponsor last but not least. Earthquaker devices as a listeners of the show know that’s a definitely from day one of the show has been my favorite pedal company. I find their stuff to be inspiring. It it’s none of it. Everything got like it’s so good. Um, It’s like, they’ve got this Mitus touch, but instead of like everything, they touched the turns of gold.

It’s like everything they touch turns into this psychedelic nonstandard kind of red gold that really makes you want to step outside of the box and innovate and create and not just fit into the mold of the sounds of other people gone before us have created. And I just, the whole, the whole. Every time they release something.

I can count on it being usable, but different and unique. And I think that that’s, that’s a really important quality to have in a pedal company.

Emily: [00:29:31] Like the afternoon, like the afternoon V3, they’re new, it, their newest, their newest release.

Andrew: [00:29:36] It’s a great example of just how they take it to a different level of like, Hey, this is still incredibly usable, but you can, you can take it places as well.

That, yeah. Your average verb pedal, isn’t going to do. I

Emily: [00:29:49] feel like that’s so essential for pedals, especially like when there is, there are so many options. I really like, I get so bored. If a pedal doesn’t push it to the limits and the afternoon, like it’s a spooky kind of, would you say it’s like an echo verb?

Um, yeah.

Andrew: [00:30:09] No, it’s like a cave.

Emily: [00:30:11] Yeah. So it’s, it’s just so spooky. Like it is the sound of like being haunted, if you really want it to be that way. And I think it was so cool that they took user feedback on, on selecting different drag moans, because that’s just something that like, like that, that I can’t imagine that was like the easiest thing in the world to do, but I don’t really know.

Um, and it just really makes it so that you can. Mold that pedal exactly the way that you want it. And I, yeah, I just have the most respect for Earthquaker devices. I think they’re such a great pedal company.

Andrew: [00:30:50] Oh, absolutely. So go check them out, give them some love and tell him, I said hi. Hi guys.

Emily: [00:31:00] Hi.

Remember us.

Andrew: [00:31:03] Hey, that was honestly, one of my highlights for man was the Earthquaker party. And I would’ve stayed later if I had known that this year was in front of us.

Emily: [00:31:16] I know man. Like I would have gone because I was very close to going. I, I thought I was going to pick up some work, like some music work that weekend and it didn’t happen.

And I was like, Hmm. I was like, checking last minute flights and the Anaheim.

Andrew: [00:31:32] Yeah, no, I mean, It was a great night. It was a lot of fun, uh, legends. I got to talk, talk and stand next to legends. And, uh, it was fun. It’s a good time.

Emily: [00:31:44] Shoulders of giants,

Andrew: [00:31:46] indeed. I was like, Oh, hi, I’ve been watching your videos my entire life.

Emily: [00:31:51] Oh, hi.

Andrew: [00:31:52] Hi Andy. Hi,

Emily: [00:31:57] Andy Martin.

Andrew: [00:31:58] Yeah, no, I think I talked about this on the episode that are released to kind of recap my experience at Nam, but yeah, it was just like, I was sitting in a circle of folks that think is I was like Sean Pierce Johnson, uh, and John Ross and a couple of other folks. And suddenly like, I turn in like literally standing right next to me is Andy Martin.

He’s like, Hey, what’s up everybody? Like, Oh, Oh, wait, this is real high. My name is Andrew. Nice to meet you.

Emily: [00:32:32] Does he listen to the podcast?

Andrew: [00:32:34] I didn’t want to talk shop with them. We were, we were just hanging out and being people and having a good time.

Emily: [00:32:39] Yeah, always smart

Andrew: [00:32:42] in hand and plenty of pizza down the gullet and pasta.

Cause it was Italian food that night.

Emily: [00:32:51] That sounds so

Andrew: [00:32:52] good. Sounds good.

Emily: [00:32:54] Yeah.

Andrew: [00:32:55] What, uh, at least as far as I can tell what sounds good is the two pedals that got released this week?

Emily: [00:33:03] Well, there were three, but we’re rolling.

Andrew: [00:33:06] There’s two that are here about, um,

Emily: [00:33:10] I care about all three.

Andrew: [00:33:13] It’s not that I have anything against the third one.

It just doesn’t. Do anything for me? I don’t know.

Emily: [00:33:19] No, that’s my, that was my favorite of the reverb algorithms from the age nine. So I get it.

Andrew: [00:33:25] Yeah. I mean, that’s fine. I just, I, I don’t know. I’m not trying to be rude, but just like, if I’m going to sit here and talk about something, I’m just going to talk about

Emily: [00:33:35] the nice guy

Andrew: [00:33:36] we’re talking about the next game.

We’re going to talk about the .

Emily: [00:33:39] I haven’t even watched a single video for the night sky, to be honest,

Andrew: [00:33:43] I, there was two there’s the like 45 minute demo from streaming. Yeah, that was,

Emily: [00:33:49] I just, I haven’t had time to watch it. I really want, I just need to re like, say like, I want to watch it. I will, after this, but I just haven’t had time.

Andrew: [00:33:57] Um, yeah, so I watched the whole thing while I was getting some work done at my desk. And then I watched the Andy Nemo and then there’s another demo. And I can’t remember the artist’s name. Um, There’s someone I hadn’t seen before. And those were the couple of demos that were up Thursday night. So sat down and watched all of those and got to say, I wasn’t planning on selling anything to try and buy one.

I was like, Oh, I’ll just maybe if I get some birthday money or I didn’t, I’m like, Nope, I need this now I need it. I need to order it before it disappears. And bef like before they get back-ordered and, and, uh,

Emily: [00:34:32] all right. So tell me about, tell me about it.

Andrew: [00:34:36] Where to begin. Um, so it’s got three different river modes.

Um, it’s guy modulation with all kinds of modulation modes as well. It’s got a,

Emily: [00:34:47] one of the Reaper modes. How many rebirth most would you say? I’m sorry. I was

Andrew: [00:34:50] three. So it weighs none. No, no. So the shimmers are separate control. You can dial into all three of them. Hold the photo here. Yeah, no shit. The shimmer is entirely independent.

As well as the glimmer. Yeah.

Emily: [00:35:06] I’m sorry. A glimmer

Andrew: [00:35:07] glimmer. Yes, I will get there. I’m just going to pull this up. Let’s try him in night sky there. Let’s just say there’s, there’s so much that’s packed into the sucker.

Emily: [00:35:21] It’s

Andrew: [00:35:24] it’s pretty wild. Um, all right. So. We’ve got the glimmer, which is a button push for a high and low that’s built into the pitch shifting side of things.

There’s also, there’s just so much here. Okay. So the pitch shifting, you can choose what interval you want to pitch shift to. You can decide whether or not you want the shimmer to happen on the input or the region. So the interval is going to change the reverb itself. And then the shimmer is also impacted by that.

Um, A glimmer. I blanking a little bit on what glimmer was. I want to say it was the low end of things. And trying to pull that up here, glimmer glimmer creates an that’s, what it is enhanced harmonic spectrum using an optimally tuned dynamic resonant network. So

Emily: [00:36:18] those are, those are certainly words. Now it’s a really exciting pedal.

Andrew: [00:36:22] It it’s kind of like a tube amp when it gives you that, that resonant. Um, the harmonic resonant kind of just fills out the sound and makes it sound alive. They were showing the difference between the two I’m like, Oh, and what it really reminded me of actually is a feature that I’ve, uh, in, uh, another reverb that Earthquaker devices afternoon, afternoon, um, levitation.

I had that verb for a couple of years. Um, I think I sold it about two years ago now. Honestly, I miss the heck out of it. It really shouldn’t have sold it, but the way that it sounded with how it filled out, kind of the upper levels with that harmonic texture really reminded me of the levitation verb. So I’m like, Oh, well, that’s a feature that I really missed.

And I’ve had a lot I used to have. That would be super cool to have again, the three D uh, reverb textures. So they sound like different algorithms all together. They’ve just got Lester’s texture is sparse dense and diffuse, uh, which they all sounded great, but I really liked diffuse. Um,

Emily: [00:37:32] I like a diffused reverb.

I’ve I’ve played with a few things that, that are that, and I it’s nice.

Andrew: [00:37:40] Um, yeah, it’s got a, uh, um, Could crave yet. There’s just so much I’m admittedly feeling slightly overwhelmed, just looking at this, but like in the good kind of way, there’s just there’s one, two, three, four, five, six, seven, eight, nine, uh, pots on here and then a total of one, two, three, four, wait, eight, nine, 10, 11, 12, 13, 14, 15, 16 buttons.

Not including the foot switches. So there’s three of, so there’s a lot going on here. Um,

Emily: [00:38:17] It’s like a 

Andrew: [00:38:20] Volante,

Emily: [00:38:21] Volante it’s like that, but for reverb, right?

Andrew: [00:38:24] Yeah, exactly. It’s the same size enclosure. There’s so much going on here. It does have an overdrive built into it as well, which is like whites. You can say it’s got like a

Emily: [00:38:35] overdrive after the river.

Andrew: [00:38:37] Yeah. The overdrive is just, you can select it for pre or post or off. It’s also a guy, a filter, so loca, hi cat. Um, and you can tackle, uh, you can have that applied to the reverb, um, itself, or just the, or just as a low pass filter. Um, and then it’s got a sequencer. If this thing was already well enough, it’s got a freaking sequencer that you can, uh, uh, program in with a specific notes on a scale.

And, uh, watching what they’re able to do with that in the demos and made me go, this is, this, is that extra sauce that’s taking me to the next level of, yeah, I, I could put this on my board and I could very happily sit down for the several nights. Like I could, I could just would shed it for a weekend or for a month or maybe six months and still just be like, , this is so much to explore.

Just kind of want to put on the headphones and space out. So anyways, I did a terrible job explaining that, and I’m not sure anyone wanted to hear me explain that, but the point is I’m ex I am excited. Uh, I wasn’t planning on selling anything. I’m now finding myself selling off a handful of things to try and come up with the money for it.

Uh, cause this is the sort of thing that I think I want to explore next and I’m hyped for it.

The other one, do you want to talk

Emily: [00:40:10] about? Um, yeah. So, uh, boss released a new version of their octave pedal. Uh, I think the first one ever was the OSI two, and that was really one of my first pedals was a no C3, but they just released O C five.

Andrew: [00:40:31] Yep, yep. Yep. They did.

Emily: [00:40:34] And man that video, they posted on Instagram about it, freaking killer.

Andrew: [00:40:39] You know, the funny thing is before I, I was literally talking to someone on Thursday and before I had I, before I’d even seen the announcement about the OSI five, I was talking to someone saying like, you know, maybe I’m going to sell a couple of things and I’m going to start looking for a vintage OSI, too.

Uh, just to throw in the bass rig and figured that’d be fine, but I found myself like wanting a different flavor of Octa effects and to have some fun with that,

Emily: [00:41:12] the OCT, the OCT just has, um, three, three controls. It has, you know, volume or direct level and Okta two and an octave one, the OSI three had, I think two or three.

Um, modes and, uh, the  has, uh, the vintage mode, the classic OJI, and then a poly mode. So you can play chords. The tracking seems way improved has direct level, uh, one octave up one octave down and two octaves down. And I really do love playing with an octave pedal. I think it really gives that. Depth here sound.

I like, I love, um, Solo’s high up on the neck that use an octave pedal just to get that lower sound. Um, Prince pretty famously used octave pedals. Uh, I think mostly on the purple rain tour, um, or starting with purple rain because you, you can hear it in, uh, when doves cry and the solo for less go crazy. So the intro for when doves cry in the solo for that, that utilizes an octave pedal.

To get the OT to, to get the octave down. And it just sounds so big and gnarly and, uh, and it looks so handsome. The OSI five does

Andrew: [00:42:37] it, does I, I really liked the mano in the poly switch.

Emily: [00:42:41] Yeah.

Andrew: [00:42:41] I think that’s really slick and

Emily: [00:42:43] yeah, the OCT had like, um, I think the classic mano, a poly and I, I, I might be wrong, but I feel like one of the settings was like adding a distortion to the octave, which is me mostly how I use that particular puddle.

But I don’t remember.

Andrew: [00:43:01] No  was literally just a three nahber or OCT.

Emily: [00:43:07] No, I’m talking about, I’m talking about the OCS.

Andrew: [00:43:09] Oh, okay. Yeah. Um,

Emily: [00:43:12] so it does. Uh, poly Optiv and drive. So it had like a, and that’s how I used it, but it didn’t, I felt like I got on did not always play super well with other drive pedals.

Andrew: [00:43:27] Sure.

Yeah. Well, so I think the huge difference between the two is that I’m seeing right now that’s got me really hyped is a. In terms of what this could do for solo artists, buskers churches who have limited volunteers who are able to play on a Sunday morning, um, is a huge improvement to what they had before, which is, um, In their Paulie mode on the  you can select the range of how much of the polyphonic strip you wanted to cover, and you could set it to just the lower, just the lower notes and you could do a direct out and then your effect output, you could send to a bass amp, but it was so getting like two or three of her lower notes on a guitar.

Um, so it wasn’t like super crisp. Uh, but in, you know, if you needed like a little bit of rumble, the low end, you could dial that in. If your bass player called out for a Sunday morning or whatever, if your ITAs needed to have that extra oomph as a solo player, and didn’t want to play the tracks. I mean, that’s a way to do it, but the OSI five, they’ve got it set to where it’ll pull the lowest note individually and only send that interesting.

Okay. Which that’s, that’s pretty cool. So if you. I’m just thinking about this from the use case of a like busking or a church Sunday morning church, or like a solo, like Looper artist or something like the ability to have like, just literally the base note. And you could send that out to like a separate base board or industry based dire based ampere.

It just have that. It sounds like you’re playing multiple instruments at once. I think that’s, I actually think that’s pretty rad.

Emily: [00:45:05] Yeah. I mean, that’s one of the beauties of having, um, An octave pedal in general. And like I said, and I, you know, I liked the big, low sounds. I think that you need to have that low end.

Like I said, like, I think I just fills out a solo so nicely. I, you, you can see applications for buskers and churches, obviously. It’s a really versatile, neat

Andrew: [00:45:30] pedal. Yep. Yeah. Enough of me. I gassing super hardcore. Um, cause I could talk about here for a long time here. It was one of those weeks from like, I want all the things 

Emily: [00:45:52] and uh, for the record, a boss had an ad that really pass the gear Bechdel test.

Andrew: [00:45:59] Oh, really?

Emily: [00:46:01] You’re saying that Hillary Jones from the midriff podcast, uh, has pioneered and, uh, something that Earthquaker devices publish their blog.

Andrew: [00:46:11] Do tell, do, say, do you tell more words? Yes. I want words on this. Let

Emily: [00:46:20] me just pull up the blog. Um, yeah, but Hillary again, midriff podcast. I was on that podcast.

It was really fun. Um, but the, the music you’re Bechdel test, but do you know firstly, what the Bechdel test is traditionally

Andrew: [00:46:34] a measure of the representation of women in fiction?

Emily: [00:46:40] Vaguely. Yeah. So I’m mostly, it’s used in movies, uh, and it’s not like a perfect thing. It just actually, I think, I think I’m a comic.

Uh, comic book artists and writer, Alison Bechtel. I came up with it in 1985. It became kind of popular the night. I’m just reading from Hillary’s article. It is, but in order to pass the test, uh, a movie must have two women who are named these two women. Must talk to each other about something other than a man, you would be shocked at how few.

Movies past that since he, she says that since the early two thousands, the number of films that pass that test have hovered around 55%. And just again, that’s a very low bar. It doesn’t count for plot line quality or anything else. I mean, it could mean that the women are portrayed in highly stereotypical ways.

It’s just like, it’s a very low bar. It’s like essentially the lowest bar imaginable. Um, It is really kind of a bummer that only 55% of movies pass it, but I digress. So Hillary took the Bechtel test and has pivoted it to a version that kind of is a low bar, low to medium bar on how women are portrayed in gear advertisements, you know, traditionally women and gear ads have just been.

Essentially highly sexualized guitar stands a lot of the time. So, um, if that’s like the better of the case scenarios, but, uh, so there are eight, uh, actually I think seven, um, points in this Bechdel test for, uh, gear ads. One, there is a woman

she has presented as a capable musician. Three. If she is presented with an instrument that has a traditionally feminine aesthetic, like pink with flowers, there is a companion ad featuring a woman with an instrument that is not traditionally feminine and aesthetic for if she is presented sexually as it is on her own terms, there is a companion ad and there’s a companion ad featuring a woman who is not presented sexually five.

If she’s a woman of color, she is not presented using racial stereotypes. Six. If she is a trans woman, her identity and pronouns are respected. Seven, all sexual or offensive social media comments about her are promptly and appropriately addressed or screenshot and deleted. And that’s it. Isn’t it, it shouldn’t be that hard.

Really. It is essentially get a woman in an ad. Who’s a musician. And let her pick the guitar that she wants to have in the ad like that, that really is kind of the gist of it.

Andrew: [00:49:44] That sounds pretty doable.

Emily: [00:49:46] It is doable. And the boss’ OSI five ad, uh, did do that. I just can’t find it right now. Instagram boss.

You’re up. I forget who exactly do you remember who was in that.

Andrew: [00:50:01] No, I don’t remember off the top of my head. I think it’s just listening to you, like kind of rattle those off. I’m just thinking like, is that not already being done? And that just kind of struck me just a little bit. I don’t know.

Emily: [00:50:17] We kind of talked about this before, about a lot of, um, gear ads and demos.

Don’t don’t seem to feature women at all.

Andrew: [00:50:26] Oh yeah. I mean, I’ve definitely noticed that they don’t. So I guess. I guess we’re looking at this as like, I, I imagine that if number one,

Emily: [00:50:38] Sophie Burrell, sorry, Sophie Burrell. Yeah. If number one in the rest, I think you’re right about that.

Andrew: [00:50:44] Um, I think we’ve definitely are, have gotten a lot better about that as an industry.

Uh, I mean, looking back at, uh, how things were before my dad sent me a bunch of, uh, those guitar magazines from the nineties.

Emily: [00:51:00] Yeah,

Andrew: [00:51:02] super wild flipping through them, but there’s been a couple of things I’m like, all right. But they’re, they’re also entirely the male dominated. So I mean the, if one, then the rest statement, I mean, that doesn’t really come to play if there isn’t number one, which is there is a woman.

Emily: [00:51:20] Yeah, that’s true. And you should have women fender obviously kills it in this regard. Earthquaker devices kills it. Um, Yeah, I can think of recent launches that have not at all strive and often does an okay job. I remember when Iridium came out, um, they had a Vanessa Wheeler and a bunch of those, the spots, which was really cool to see.

Um, yeah, but boss went all out with an ad like this really stellar video with Sophie Burrell and the . Damn if it doesn’t pass this, this does, it did a really good job.

Andrew: [00:52:02] Yeah, totally. I can dig that. It’s something

Emily: [00:52:07] that it’s just something to think about. And if you can look at these like, and be like, well, that should be easy.

You should then extrapolate yourself like your thought and be like, well then why isn’t everybody doing this? And they shouldn’t be it’s. Cause because it’s easy.

Andrew: [00:52:23] Yeah. I mean, I. That seems pretty cut and dry. I mean, but yeah, I don’t see. Okay. Well, I don’t know. Number two is seeing that someone has presented as a capable musician.

I think looking outside of the music industry. Like whenever I see like a guitar, like a woman holding a guitar and add whether it be for a clothing ad or a lifestyle, or like, whatever it is. I definitely find myself going okay. Is she going to Fred a quarter? Is she just going to do the thing where she kind of holds all of her fingers evenly spaced at the fifth fret and.

I kind of just get the sense like, Oh, well they clearly just hired Mo hired them all do that. But outside of the music industry, that’s not really an issue because it’s more about the imagery. Not about like, Hey, we brought a musician on.

Emily: [00:53:11] Yeah.

Andrew: [00:53:12] Um, but like in the music industry, like we’re, we’re selling this kind of stuff.

I feel like it’d be pandering not to have someone as a capable musician, especially since there’s so many women that are absolutely killing it in the industry right now.

Emily: [00:53:22] Yeah. I mean, well, previously an ads, most of the women were either. Highly sexualized. Like, like I said, sexy living guitar stand kind of thing, or were like presented as fawning over a guy with a guitar or like in bed with a guy and a guy with a guitar.

Right. And that was, that was really, uh, essentially it. And when you look at those guitar magazines with women, I think that for 35 years, Chrissy Hine was the only woman ever on a cover of guitar world. 35 years, 35.

Andrew: [00:54:02] That’s a lot of years.

Emily: [00:54:04] That’s so many years. And you can just like, kind of like lead a Ford was never on the cover of a guitar world in those 35 years.

Andrew: [00:54:16] If number one, then the rest, I think that’s the, uh, that’s kind of how the guitar world has treated this topic. Yeah. A lot of ways. Um,

Emily: [00:54:27] yeah, yeah, yeah. It’s just, you know, I was in, um, featured in an article this weekend on the band camp blog. And I think the quote that I was actually kinda surprised that they picked was, it was weird to me how people were so surprised by the fender study that said half of new guitars are bought by women because I felt like half the girls, I went to high school with had a guitar in there.

Andrew: [00:54:51] Sure.

Emily: [00:54:52] Actually, I’m not even sure. That’s what I said. It was so long ago that I gave that interview. I might’ve said half the guitarists. I knew were girls, but I, yeah, I don’t, I don’t remember anything from that interview. It’s so weird. How, how, how press works sometimes, like, I think I had turned in an article for a guitar magazine, uh, by.

The new year. So the last December and it still hasn’t come out.

Andrew: [00:55:23] Yeah, sure. I mean editorial calendars and all that. I mean, that’s, I mean, I suppose that’s just kind of how business works.

Emily: [00:55:30] Sometimes it is sometimes things get published the next day. Sometimes they get published before you give them permission to publish your article.

And it’s sometimes a. Sometimes they take a year to come out. Like it’s just a, it happens. And we haven’t even gotten to like what we actually wanted to talk about this episode.

Andrew: [00:55:47] No, no, no, no. I, you know, the funny thing is I knew when we were talking about like, Hey, what do we want to talk about this week?

I was like, there is definitely something that I really, really, really wanted to talk about and I’m blinking so hard.

Emily: [00:55:58] Oh, it was this. Yep.

Andrew: [00:56:01] Yeah. I just pulled it up in my notes on my phone, like in the middle of the episode, I’m like, Oh, that’s what I wanted to talk about. And I was trying to figure out how to transition this and then you brought it up like, yes,

Emily: [00:56:12] actually that was a really good and easy and natural transition.

And that’s the only reason I brought it up was because I was like, Oh yeah. And they did this

Andrew: [00:56:22] for sure. Um, yeah, no, I, I think this is super rad. Um, I. I want to personally thank Hillary for putting this together. This is, you know, you know what I think this is actually really, really neat for, and this might sound a little strange.

So bear with me for a second. When I hear people say like, when people push back against, um, calls for diversity and inclusion, it. Some sometimes what I hear is like, well, if like w we don’t sexualize women, then it always seems to get flipped on its head and people try to call into the definition of like, or calling the question.

Like, what’s the definition of what you’re after you guys just, you want. Inclusion, but you don’t really know what that means. And these are kind of some of the things that I hear in a more conservative environment surrounding the representation of women and minorities is kind of this, like, you don’t really know what you want, and I’m looking at this going like, actually we do,

Emily: [00:57:24] we want, we want to, if we’re going to be portrayed sexually, we want it to be on our terms because it’s, it’s a very different thing for women to own their own sexuality and autonomy.

Versus, um, kind of being pressured into doing it or doing it when it’s not really how you want to do things. I think a good example of that is like the rolling stones, the rolling stone cover with the Go-Go’s the first one where any Leibovitz photograph them in underwear and it wasn’t sexy underwear and that’s, that’s why they agreed to do it.

Cause it was like, they felt like it was a play on that trope of women in their underwear. It’s just like normal Haynes kind of undies. And Roz, and then the headline came out with it and the headline was the Go-Go’s put out, like that’s taking that autonomy away from them because you’re then putting something else onto it, like really, really gross and bad.

But, um, but that’s just, that’s just one example of that happening. And if a woman wants to, you know, feel sexy and wear what she wants on a cover or in an ad. Like it needs to be her decision. It can’t, it can’t be, um, you know, it, it can’t be something that, uh, that they’re asked to do or pressure to do or forced to do in any kind of way.

Um, it just has to, they have to maintain that autonomy. And that’s one of the reasons that I got so mad when. Um, a pedal builder moderators for their group started accusing me of self objectifying with no remorse. Like what? It’s not a thing there’s like, I can’t objectify myself. I can’t treat myself like an object.

And if I could, if I did, that’s cool. Kind of indicative of, uh, Different psychological things happening, but no, I can’t, I can’t treat myself like an object really. And that’s actually, honestly not what I was doing when with, with the thing that they accused me of doing. Like, I was literally having a conversation about my body with another adult and not even, not even in a highly sexualized way and excuse me, self objectify with no remorse.

And you’re there right there. Right. About the no remorse part.

Andrew: [00:59:53] I, and I agree with you. I just, I think this to say it in a very condescending manner, I feel like I could enter a conversation, like was someone complaining about this kind of stuff? And I could be like, let me put this into words. You can understand.

Yeah. Yeah. Not that I would actually want to be overly condescending. I try not to be with people I disagree with, but, um, well

Emily: [01:00:20] sometimes it’s just like, I don’t know. It’s so weird that, um, sometimes people perceive language as being worse than, you know, bad behavior. And that’s always really frustrating like that.

It feels like a bit of a double standard. Well,

Andrew: [01:00:37] your complaint is clearly invalidated because you raised your voice for half a second. Or

Emily: [01:00:44] you said the word, or you said a naughty word,

Andrew: [01:00:46] right? Right. Yeah. I mean, I think that’s, that’s garbage, but I think having seven very clear points. Cause I feel like you could just, you could punch this.

This is, well, this is an algorithm it’s written out in a very readable format, but this is essentially, this is code. This is, this is how computers work. I mean, this is so purely logically. Broken down. Yeah. I don’t think that this is, this should be hard to understand. I think this is a really great format to communicate this sort of stuff with.

And I think this gives a level of, this is a very empowering tool that people see when they’re sorting out, um, pho photography for the cover of a magazine or, uh, how they want their music video to be filmed. And all of that, like having this sort of. Tool in the pocket, I think is really helpful thing to help vocalize what everyone’s kind of thinking in their heads.

Emily: [01:01:47] Yeah.

Andrew: [01:01:48] Make that communication painfully clear for someone who would otherwise take advantage of, of the artist in question.

Emily: [01:01:55] Yeah, no, absolutely. Agent H it’s all about agency in the end. It’s all about agency. Yeah.

Andrew: [01:02:01] So I’m a huge fan of,

Emily: [01:02:02] I like that. Yeah. Yeah, for

Andrew: [01:02:05] sure. So, uh, if the midriff podcast is listening to this.

Huge. Thank you. You guys are right. And

Emily: [01:02:13] everyone said she goes subscribed to them. Yeah.

Andrew: [01:02:15] Yeah, absolutely. Go subscribe, go, listen, go donate, go away. Go support them. They deserve it 100%.

Emily: [01:02:22] Yes. Go Hillary to my episode. That was a good one. That was fun. Well,

Andrew: [01:02:34] could times I don’t, I think that’s. That’s fine.

Emily: [01:02:39] I don’t think we need to.

Yeah, we don’t, we don’t need to talk about, about the other thing really, by just want to say like, so there had been, um, just really quickly a TLDR on it. People had been concerned about Facebook saying that they were. Going to start, um, enforcing a policy about live streaming music experiences. And since a lot of musicians right now are really relying on, on live streaming as their only like live performance.

And then you do that for virtual tipping, like every once in a while. And, uh, so a lot of artists were concerned that what Facebook was saying was that, um, they couldn’t do live streams anymore. But Facebook did come out and clarify that what they were talking about was like live DJ sets with other people’s music.

It wasn’t an issue. Like if you’re, if you own the rights to your music, you can do whatever you want with them. If you’re playing live music covers or originals, that’s, that’s fine. Um, so just like, and I would like to implore people the next time they see something that. Seems really outrageous. So they don’t understand that.

Um, a lot of times people tend to read like announcements in terms of services and, uh, to everyone who got concerned to their credit, uh, it was a very vague statement that Facebook made initially and they did, they did clarify it. So I think it’s good to, you know, put pressure on big statements. To demand clarification, but also the step back panicking is not really going to help anything.

And if it seems like that’s not right, like if it doesn’t really make any sense, um, then, then maybe, you know, just ask for that clarification directly from Facebook versus, you know, uh, panicking about it because I don’t think, you know, a lot of the knee jerk stuff, I don’t think was super helpful. Um, and still it’s, it becomes really hard to stop spreading that knee-jerk stuff once, um, once something gets clarified, like there are still people who don’t realize that Facebook clarify that statement.

So just, yeah. Spread the clarify, spread the clarification as much as you should, as you spread the confusion. That’s that’s, that’s all I ask. And, uh, for everything. Sure.

Andrew: [01:05:06] I think I, well, I was reading through some more literature on it and I was getting a crack out of it is Facebook pretty much said we already settled a whole lot about this back in may.

None of this is new information.

Emily: [01:05:19] It rarely is to be honest,

Andrew: [01:05:21] it’s pretty much the same thing. The same deal as it is for, uh, for YouTube. Uh, so like I get it.

Emily: [01:05:30] Yeah. I mean, and for the record, like if you try to upload a song with a obviously prerecorded audio, Facebook will immediately pull it and then just ask you to confirm they will, they will mute the video.

Andrew: [01:05:42] Facebook and Instagram has always done that. Yeah. They literally

Emily: [01:05:45] have always,

Andrew: [01:05:45] always, but that hasn’t,

Emily: [01:05:49] it happens to me all the time for my own stuff.

Andrew: [01:05:52] Oh, it was funny. So one of the videos I put together, um, The first year we’re doing podcasts where we smashed that mug. Yeah, we, it got flagged, uh, for being part of his Simpsons episode and it wasn’t, there is literally nothing Simpsons in it, but they said, Oh, this is from Simpson’s season nine, episode 15 or whatever it was and saying, yeah, we’re gonna, we’re gonna pull this.

And I had to appeal and get someone to actually sit down and watch my, like my short one minute video.

Emily: [01:06:23] And then it was back up like it’s in three hours or something.

Andrew: [01:06:26] Yeah, yeah, yeah. I got it. Huge. It was really funny.

Emily: [01:06:31] Yeah. That was funny.

Andrew: [01:06:33] But at the same time, like guys like chill.

Emily: [01:06:36] Yeah. Simpsons really? Nah, that’s funny.

Um, no, I’ve gotten that when we’ve gotten permission to use things. And I think that in district kid, let me look at something really quickly. One of the cool things I am pretty sure you can do in this Joe kid. Is you can, um, you, I th I’m pretty sure that you can, um, give people like permission to use your, um, your music.

Uh, God, that sounds, let me see, uh, YouTube allow list. So neat. So, um, that’s something that they have. So if you, if someone uses your song in a YouTube video and an automatically gets pulled because of someone else’s song, uh, you can add them to your YouTube allow lists so that they can still get monetized for that.

Like, I think we had an episode of the podcast where you could hear the pineapple pen song in the background. And it said you either need to meet that or you’re not going to get monetized. So there are a lot of cases with fair use where, so somebody, somebody can play a clip of your music, um, to do criticism about it.

And that can be like a review or it can be like, you could also do like an educational example. Like if you want examples of the major chord going into the minor chord, um, you, you would play some examples of that and YouTube would automatically flag. To not allow for monetization. Um, but you can either protest with YouTube, which will take forever, um, because they get a lot of those.

Or if some, if that music’s on district kid, they can do, they can add you to the YouTube allow list.

Andrew: [01:08:33] Yeah.

Emily: [01:08:34] So you click on the YouTube allow list. It will show it will, uh, When you opt into YouTube money from district K, they automatically detect every video on YouTube. That’s using your music. They claim those videos on your behalf.

They send the ad revenue to you, uh, instead of whoever upload the video, but you can allow them to use your video.

I don’t, I don’t, I’m not entirely sure I’m using this. I’m thinking about this,

Andrew: [01:09:04] right? We’ll sort it out and then we’ll get

Emily: [01:09:09] some, that’s actually really interesting on the other way, huh? Things

Andrew: [01:09:15] are not as they seem. And I think I got a good kick out of people freaking out over a,

Emily: [01:09:21] okay. So I’m sorry. Now I understand.

So, so it gets claimed and then once it’s claimed you can add it to the allow list. And so that’s why, that’s why they’re claiming it in the first place. Cause you can’t preemptively add someone to your allow list. Apparently weird, weird, but I mean, makes sense. I would like to be able to like say the Shanell can always use my stuff, but I get it.

It is what it is.

I need to dig back into that music business book.

Andrew: [01:09:57] I think this has been a good episode of the get upset

Emily: [01:10:00] podcast. Yes. Um, please rate review on iTunes that really helps us subscribe on YouTube and in iTunes and on Spotify and et cetera. Check out, get offset, set.com/shop for Merck. Uh, you can support us on atrium, big ups to Jason, wiser for upping his Patriot and pledge.

Andrew: [01:10:22] Heck yeah.

Emily: [01:10:23] Thanks, Jason. Um, and what else can, how else can people support us? Uh, sign up the district kid using the link in the show notes. Yup. Buy stuff on reverb.com via the link in the show notes

Andrew: [01:10:34] like an afternoon V3. Yes,

Emily: [01:10:37] definitely. Get that. Um, anything then this, anything

Andrew: [01:10:43] by merge? Yes. I’m a fan of merge,

Emily: [01:10:47] which is cool.

You can preorder the Sunday crush record at donut sound

Andrew: [01:10:51] website. Maya Fox Chi Rho pedal topper.

Emily: [01:10:55] Yes, those things. Um, thanks for listening and thanks for understanding until next time. My name is Emily. Yeah.

Andrew: [01:11:01] My name is Andrew

Emily: [01:11:03] goodbye