Episode 99: Big Mistake. Huge.

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. 

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welcome to the get off set podcast. My name is Emily

Andrew: [00:01:33] and my name is

Emily: [00:01:34] Andrew and I’m not popping.

Andrew: [00:01:38] Pop,

Emily: [00:01:38] pop, pop. I have my pop filter. I better not be popping. If I’m in the popping and posts, I’m going to be pissed.

Andrew: [00:01:47] Did you, uh, have you seen community?

Emily: [00:01:49] Of course I’ve seen community. That’s how I got pop pop from

Andrew: [00:01:53] magnitude

Emily: [00:01:54] magnitude.

Oh, that episode where, where the news didn’t wants to steal the pop pop. No, that’s my thing that made me so sad.

Andrew: [00:02:05] Oh, that’s I think that’s ahead of where I’m at right now in the seasons thing. I’m on season three right now.

Emily: [00:02:12] Oh, the, um, the gas leak

Andrew: [00:02:14] season. Yeah, yeah, yeah,

Emily: [00:02:17] yeah. That is, uh, that is what that’s called

Andrew: [00:02:22] for gastric season though.

I’m on season three out. I think I’m about to get to the point where I stopped watching the last time I watched it, I was watching it back in like 2004, I think. And I think it was probably through the end of season three. It was like, cool. Let’s watch the next year. It’s like, go. Nope. I think I see, I think it was like, it was on Hulu and then Netflix bought the rights or something like that, but it like changed ownership and there wasn’t a new season yet.

So I found that all uploaded to Netflix and I’m like, are like, I can roll with that then.

Emily: [00:03:00] Cool. I think I watched live until, and I had forgotten so many of the episodes, so I must not have watched it as religiously, but it was when it was coming out because I think it was part of the, the Thursday nights with 30 rock and parks and rec and community, which was, you know, a lot of fun stuff.

Um,

Andrew: [00:03:17] and then.

Emily: [00:03:19] Yeah, seriously. Um, but then, um, I don’t, I just don’t really know what happened. I think there was other stuff, like I just kinda stopped watching as much TV, but it was around the time Donald Glover left the show.

Andrew: [00:03:33] For sure. For sure.

Emily: [00:03:34] Yeah. I liked him a lot. He used to write for 30 rock.

Andrew: [00:03:38] He’s one of the most talented people on the planet.

Hands down.

Emily: [00:03:43] Yeah, he’s up there. I respect him for not showing up to the Grammy’s when he last year, when he won all the Grammys,

Andrew: [00:03:52] why

Emily: [00:03:55] a lot of people don’t care about award shows. And I think that’s admirable to not hear about award shows. Cause I think secretly, secretly a lot of people want to win when the awards that are nominated for even if they don’t want to it.

And that it is just, I think most people are intrinsically a little, at least a little bit competitive. Well, sure. I will think

Andrew: [00:04:13] that’s a bad thing.

Emily: [00:04:14] I don’t think it’s a bad thing either. I just, I just, I find it Admiral when people give so few males, I don’t have a meal in my soundboard right now.

Andrew: [00:04:28] Yeah, for sure. I mean, I sort of get that at the same time. I don’t know.

Emily: [00:04:33] I

Andrew: [00:04:34] don’t know why I’m bothering to defend a worksheets out reading, like in that much.

Emily: [00:04:38] And I watched the Grammys every single year. I actually really like watching award shows. I think they’re funny.

Andrew: [00:04:43] I think they’re

Emily: [00:04:43] boring. Yeah. I, you know, they are boring, but I just really like watching them.

And I think it keeps me kind of in tune with, you know, how the rest of the industry sees things. And I like the green, I like the Grammys because. Uh, I liked the Grammy foundation, um, and, uh, they’re the reason MusiCares exists. And I know, I know personally people who have, uh, survived some health things because of music cares.

So, um, that’s, that’s, that’s a big part of the Grammy’s and that’s a big thing that I like about them and why I think the whole Grammy ideas is, you know, tolerable at least, and also, uh, full disclosure. I’ve. I’ve never been a voting Grammy member, but I, I, it is a goal of mine because I’ve been like a, a Grammy member for working in the, in the industry, but I’ve never been an actual, like, eligible to vote in the Grammys Grammy member.

And I really that’s. That’s that isn’t, that is, uh, my dumbest goal. My dumbest goal is that I want to be even at the very bottom. Of voting Grammy member,

Andrew: [00:05:52] you know, as dumb as that is, I support you. Thank

Emily: [00:05:55] you. Goodbye. That’s pretty dumb. So I’m Andrew with no with you.

Andrew: [00:06:02] Oh my goodness. Uh, what’s new with me.

I’ve got a couple of things on the table. First off, slightly less consequential, but also super exciting is let me pull the picture here. My dad found a guitar magazine from the nineties. Um, that he’s, he just sent me a photo of and said, Hey, this is in the mail, headed your way. Um, it’s guitar world presents Nirvana and the Seattle sound.

So I’ll be getting that in the mail sometime this week. And there’s

Emily: [00:06:32] no, no, no. It doesn’t say grunge. It says Seattle sound, which is also dumb. Cause those bands didn’t really sound that much alike 

Andrew: [00:06:43] yeah, sure. So

Emily: [00:06:45] I’ll be getting dash shut up. Emily

Andrew: [00:06:47] there’s some interviews and some tabs sheets and some other cool stuff.

That’s a Relic of the, uh, about the time I was born. So.

Emily: [00:06:58] Yeah,

Andrew: [00:07:00] I’m excited. Yeah.

Emily: [00:07:02] Yeah. You know, I played, I’m a little rough of a smells like teen spirit and my bread bred Guyagus demo. I was like, where did that? Like, wow. That came way out of the cobwebs to find that,

Andrew: [00:07:17] well, it did it though. Isn’t that?

Something like, everybody knows how to play.

Emily: [00:07:24] Yeah. Probably man are y’all making coffee. It sounds like it.

Andrew: [00:07:30] I think that is what’s happening in the background.

Emily: [00:07:35] So I’m actually going to have to edit this episode a little bit more than usual it happens. Um, yeah. So, uh,

Andrew: [00:07:45] item number one, I don’t remember too, is sort of planned and sort of was not planned. Um, so I’ve been planning on migrating the Fox Cairo website. And just as like a little window into how in the world, I’m trying to keep this a little business running.

And so I’ve been running the, the website off of Squarespace. The reason why I did that is Squarespace was really dead, simple for me to use. Uh, and that made up for the ridiculous price tag that was attached to it. So that helped me get the first Roundup, helped me get through the idea of like, how to.

How the website works and, you know, just absolute website builder for, for dummies. But as I started digging into a little bit more and I want my website to be able to do more, they’re like, okay, cool. We need like another $10 a month. I’m like, no, it was already pushing the level of what was

Emily: [00:08:43] acceptable

Andrew: [00:08:45] for, for a monthly payment.

And, um, yeah, so I was like, something’s gotta change. Let me look at other options. And you suggested. Moving over to wordpress.org. Okay.

Emily: [00:08:57] Yes. not.com, not.com. We’re big mistake. Big mistake. Yes. the.org.

Andrew: [00:09:05] Tremendous.

Emily: [00:09:06] Um, tremendous.

Andrew: [00:09:08] And, uh, yeah, so I was planning on migrating the website and I was doing it a little trick at the time.

And, um, I was planning on taking some time throughout this week to, um, rebuild a website. Of course I didn’t. Wasn’t able to do that completely by myself. See previous statement about being a noob. So I actually convinced you to help me and I thousand percent appreciate it.

Emily: [00:09:32] Well, it was a nice way to repay you for literally saving my whole damn computer the weekend before, which is something that Andrew did.

Yeah.

Andrew: [00:09:42] The tech support in exchange for a website support. I think it’s a

Emily: [00:09:46] fair,

Andrew: [00:09:47] it sounds fair. I like that. So it was a

Emily: [00:09:52] planned. Does Carrie want a cookie?

Okay. Did you get that?

Andrew: [00:10:00] I did get that. That was cute.

Emily: [00:10:03] Just the proof that she knows that trick.

Andrew: [00:10:08] There we go.

Emily: [00:10:08] Sorry. She was really bothering me so now she’ll know. Wow.

Andrew: [00:10:13] Yeah, no worries. So anyways, all of that to say this was planned and the plan was to do this as seamlessly as possible with like, Five minutes of downtime, drop one site into the other boom, bada Bing, bada boom done.

And Wednesday night I was in the middle of playing age of empires. As I do every Wednesday night with a buddy of mine, I got an email saying, cool, your domain, Getty, yada yada, yada. I’m like, wait a minute. And I went to go look at the website and it was totally showing website coming soon. I’m like no downtime.

And I don’t have time to the website. Wasn’t finished. Was it built yet all the way. It wasn’t ready for publishing it. I

Emily: [00:10:54] know. Well, it was just on like the default 2019 theme that WordPress comes with. And it was like on a staging server and we hadn’t yet added the images, adjusted the fonts, or even pick the theme or a template.

But

Andrew: [00:11:08] I know some of those words. So anyways, Thursday ended up being this Epic wild tale of trying to get the website back up and Friday, um, Thursday night at midnight, I’m like, all right, we’re almost there. I’m just cleaning some fonts and some colors and it disappeared. The entire website disappeared. It was like a little bit after midnight and I’m just staring at the computer going now.

No. Oh, no, no, no, no,

Emily: [00:11:39] no,

Andrew: [00:11:41] no. I’m

Emily: [00:11:42] sorry. But it would have literally taken me an hour to rebuild everything. So I was, I was, I was like a different level of melon and I’m like, you just got to talk to the blue host support team. Cause I am like, this is, this is fast. My favorite.

Andrew: [00:11:56] Yeah. So I thought I had a panic attack.

I called Bluehost, got it all sorted out, um, for in the morning and at lunch Friday morning. And I was AI. I was pretty happy. That was a little bit frightening for a couple of days there, but it’s all sorted out. Now the website is up, it’s looking only slightly different than it did before with some definite improvements.

And there’s a lot more flexibility with what I’m going to be able to do in the future.

Emily: [00:12:24] Yeah, I mean, but you would never guess that the Fox Cairo website and get offset podcasts.com are hosted. It’s literally the same theme. Yeah. And so, and so is the tuna tone website. I’ve I made that one too. I liked that Sydney theme because it’s just so customizable and it’s, it has that it has the free level, which is key.

And then it uses the element or page builder, which I like a lot,

Andrew: [00:12:48] again, some of those words I know. So, and it was all that to say, thank you so much for you helping me out with that. And I thank you so much before anybody who tried to, uh, To access the website on Thursday and decided to not send me angry, hateful messages.

Like they, like some people have sent to other companies we talked about last week.

Emily: [00:13:13] Yeah. People, people, you know, tend to get grumpy when websites go down. But yeah, I’m,

Andrew: [00:13:20] I’m small potatoes, not a big deal. There’s usually not a popular day for the website. So

Emily: [00:13:26] downtimes happen. I actually, I, uh, I’ve been annoyed with I’ve like, it’s like you had a good experience with blue host this week and I kind of got annoyed with them, um, on about something.

But now I have a downtime monitor on the good offs@podcast.com website. Um, and cause I was just like, I feel like the websites, it was having server issues on Friday and I’m like, well today I have time. So I was talking to them on. On support for quite a while and was getting kind of annoyed and I’m sure that they were like, we can’t help.

We can’t, I don’t know what to tell you, but, um, yeah, I have that. Let’s not get into that too much. Um,

Andrew: [00:14:09] well

Emily: [00:14:11] kind of a fun, uh, Turns of tabled sort of moment. Uh, it’s the table that has the tables have turned that’s I was doing a new thing. Yeah. So the, the, the tables turned a little bit. Um, so I think I’ve mentioned before that the first guitar I haven’t really played in my first lessons were from my mom cue stick Epiphone.

Um, when I was growing, hang up and that was really the guitar. I first SuperDuper learn how to play on. Um, well, my mom in quarantine, she’s been, you know, talking about, uh, like we don’t do a lot right now. There’s not like normally they would go golfing and log and go on the beach. And my mom’s always been very active in her community and now like, they just really can’t do a lot of that stuff.

Um, so I’m like, why don’t I put fresh guitars on strings on that guitar? Last time I was in town, like. You should, you should pick guitar back up. And I was very, I was kind of surprised when she was like, I’ve been playing an hour every day and she got the ultimate guitar app and she’s like, tabs are cool.

I’ve been learning how to read tabs and chord charts and just like having fun and playing along with music on my phone really quietly. And she really wanted to upgrade through electric guitar. My mother has never had an electric guitar, so we talked a love, went back and forth. I was kind of showing her pictures of things.

So we get her, we’re getting her, the, she she’s ordered the surf green fender player series, do a Sonic because it was a good price point. And she’s getting a little fender Mustang and a one, a little modeling. And I added some other stuff to the cart. And, uh, I only show it to this podcast before she gets it in the mail, but she was like, just throw it.

She was like, I’ll pay you back. Just tell me what I owe ya. And, um, just add anything else that you think I needed. So I had a little, a little guitar stand, a little gig bag, uh, cables, straps, uh, spectra strings, and I vendor has this sticker, this bumper sticker that says my kid rocks. So I added that

Andrew: [00:16:24] wow.

Emily: [00:16:25] To the order,

Andrew: [00:16:27] forcing your mom to be a proud mom.

Emily: [00:16:31] Yeah. So, um, she’s should be getting most of that in Tuesday. Um, so that’s good. And, uh, so that was exciting. Another exciting thing is, remember Lance from dog man devices.

Andrew: [00:16:45] Yeah.

Emily: [00:16:48] Yeah. I like that guy. Well, he sent me, uh, just to borrow. His new overdrive pedal the earth overdrive.

And it’s, I was just like listening through the audio. It’s it’s cool, dude. It, I I’m, if you, if you’re listening to this, uh, I’m really seeing that demo. I released it yesterday. If you’re listening to this on Tuesday. Uh, so it’s already out, but it goes from nice, like a really subtle overdrive to like fuzz territory almost.

It’s very wild and I really dig it and it seems very Lance. Um, and it’s just a volume and a gain now there’s no tone of, so you just kind of, you have what you have and I really, I do like that in pedals, um, like dialed back controls, uh, just cause I think it’s so easy to get such option paralysis and constantly try to be tweaking things.

But like, if you, if you, if you’re limited by, I feel like limitations can really force creativity. In ways that, um, having too many options can sometimes stifle it just by the option paralysis. Uh, so I really liked that as a concept. I think it’s a really cool pedal and I know he’s still doing the hand, the hand drilled hand, uh, in a grave.

I think he’s just hand engraving. And we said it’s taken him for, for forever to do these. So I don’t, I don’t think it’s, I don’t think it’s a dremmel might be. It’s definitely by hand, however he’s doing it and it takes a long time. But, um, I think he’s still trying to get some, um, like screen-printed enclosures, maybe.

I don’t know. I’ve been talking to him a little bit. I don’t want to talk about his plans too much, but he’s got a lot of cool stuff in the works, so it’s always nice to, it was really, I was glad to finally be able to get my hands on the, the earth overdrive. Yeah. Yeah,

Andrew: [00:18:42] for sure. I’m, I’m looking, I mean, we’re recording this before that a demo comes up.

I’m going to have to watch that tomorrow.

Emily: [00:18:49] You’re going to have to actually watch it.

Andrew: [00:18:51] I know.

Emily: [00:18:52] Wow.

Andrew: [00:18:55] You have my intrigue

Emily: [00:18:57] untrue. I just got 2,500 subs on YouTube.

Andrew: [00:19:02] What, what pop, pop,

Emily: [00:19:04] pop up. Very exciting things.

Andrew: [00:19:06] You know what I shouldn’t say, pop, pop that’s magnitudes. I’m going to say what, what

Emily: [00:19:10] say what. Yeah, so

Andrew: [00:19:12] those are totally original.

Emily: [00:19:14] Yeah. So that’s, those are the big things with me, obviously, band stuff, going around, have the band come in, uh, to have a little band meeting, uh, this afternoon just to get there’s a lot of stuff happening at once. And that’s a good thing for the band. So

Andrew: [00:19:32] sweet, Carla. Well, Shall we do spawn sores.

Emily: [00:19:40] Oh, first of all, I forgot.

I, um, when I put in my mom’s fender order, I actually put in an order for myself for that, um, RDS, that RD style body that, um, that I got from parts, caster concierge. So I got some, I got the Shabak or one of the Shaw Bucher two for that guitar. And I got a Strat knack. Um, And, uh, so I now have the body, the neck, um, most of the hardware, mostly electronics.

Uh, I think I’m probably just going to need to reach out to Sean at Gunn street wiring, um, to get like a wiring kit for, for this, um, for this guitar. And then the, the thing that I really need to do, and I’ve just been having a hell of a time finding it. I’m trying to find like a Rose colored wood stain.

Um, I know Minwax has them, but it’s hard to find like that color in stores. So I think I’m just gonna need to go down to like the true value or Greenwood hardware and see if they can make a custom color for me. Cause I, what I want to do is I want to do like a pink finish, a pink stain on it, and then like a dog hair or the roost, a finish on it.

Like your, like your, um, like your Jennings. Because I still have all of the tools. Like I still have the copper bristle brush or the BR whichever brass, maybe bristled brush. I think I still have the, uh, the right grit, sanding paper. I would just need to do a refresher for myself on, on how exactly I accomplished that.

Um, but I’m excited for that. And to finally get rolling some more on this guitar. So I really want the next video. All of it. I make to be of the. Uh, staining and finishing process, uh, which so I think that’ll, that’ll, that’ll hopefully be sooner rather than later, it really is just a matter of, um, getting the, uh, the stain color.

Right. Oh,

Andrew: [00:21:47] for sure. I’m trying to think. I’ve always seen like custom, like paint. I’m not sure I’ve ever seen like custom. Stain colors, like

Emily: [00:21:56] can do that. Yeah, they have that. I’ve confirmed it. Basically. They start for the, think they need to start from like the white base and then they add the colors from there.

And last time I went, they didn’t, they didn’t have the white base. So I need to either, um, Get it somewhere else and bring it to them or wait to see if they get more of that. Are they a

Andrew: [00:22:16] politician not having a white base? Come on.

Emily: [00:22:21] They’re my neighborhood’s friendly women owned hardware store.

Andrew: [00:22:25] Oh yes.

Emily: [00:22:27] They exist.

Andrew: [00:22:29] That sounds friendly.

Emily: [00:22:31] Actually. It is friendly. It’s actually a lot better since I’m the woman who had worked there for so long, became the owner, to be honest.

I feel like she, yeah, she may changes. I feel like we’re very positive assessing the hardware store when I saw Ken Jennings though.

Andrew: [00:22:51] Oh

Emily: [00:22:53] yeah. I’m going to start a rumor. Ken Jennings supports women. This, this is the best rumors. Aren’t they?

Andrew: [00:22:58] I think that’s a good rumor.

Emily: [00:23:01] I like that we should do more positive

Andrew: [00:23:03] rumors is a good rumor.

Emily: [00:23:07] I don’t know what is a good rumor. I’m sorry. Was that a joke?

Andrew: [00:23:10] So jeopardy.

Emily: [00:23:11] Okay. Oh, see, I knew there was a joke in there somewhere,

Andrew: [00:23:16] but is a

Emily: [00:23:17] joke. What is a joke?

Andrew: [00:23:21] I go over my head 4,000 Alex.

Emily: [00:23:26] Yeah. That’s prime. It sounds about right. Um, yeah, the sponsor is you want to dive in on the sponsor.

Okay. I’ll do it. That’s fine. I’m happy to do that. I’m happy. I’m happy to talk about distro King.

Andrew: [00:23:45] Sorry. That wasn’t meant to sound like AI. Like I don’t want to talk about this joke.

Emily: [00:23:52] Oh, that’s gosh, we’re off to a bang and start this week’s episode of the get all set podcast is sponsored by distro kid. Uh, as you might guess from the name, distro kid is a place you can go to, you pay 20 bucks a year and you get to distribute your music to places like I tunes Apple music, Spotify title.

You can YouTube. You can even like I found, I realized that when I put my music on district kid, It put it in like instance Instagram stories, or you can add music. I could pick my own damn music and I got to add it. Yeah. Isn’t that funny? Oh,

Andrew: [00:24:31] you’re making me want to just start making music so I can start plugging my own stuff on Instagram.

Emily: [00:24:36] It’s not, that’s funny. Right?

Andrew: [00:24:38] That’s actually. That’s really cool. Every time we talk about this, it gets cooler and cooler. Doesn’t it?

Emily: [00:24:44] Yeah, it really does. So I did a whole video on YouTube about how to add your music to this Joe kid. So I took, uh, this, this sort of collection of demos I’ve recorded. Uh, I just had it on band camp for a long time.

And then I, uh, so I go through and I show you how to add it on a, this joke kid. Um, Well, so it was just, it was super, it’s really very easy. It’s only 20 bucks a year. I’d been paying like 40 bucks a year for tune core. And, uh, yeah, that was just too much money. It’s way too much money, I think. Um, so I’m canceling my tune corn.

I’m gonna move everything over to district two because it’s only, it’s only 20 bucks a year and you can pay an extra fee. A onetime fee. I confirm this so that your music is on there, um, for perpetuity and you don’t have to pay that the year after year. But I mean, if you’re releasing music every, every couple of years, which I feel like having a district kid account that you’re paying for might encourage you to create more.

I I’m, I’m a big believer that like, Getting a gym membership or paying for a gym membership will make me go to the gym because I’m paying for it. Meanwhile, I’m not gonna, I’m probably not going to lift weights in my own home.

Andrew: [00:25:59] Sure, sure.

Emily: [00:26:00] I feel like it’s kind of in that thing. Yeah.

Andrew: [00:26:03] Well, okay. So I just looked up your profile on Spotify.

Emily: [00:26:08] I haven’t been check

Andrew: [00:26:09] Mark. There. There is a blue check Mark.

Emily: [00:26:11] Yes.

Andrew: [00:26:12] Verified artist.

Yeah. Another, another, a perk of having district kid, which I, last week I said that was the coolest part of having a district kid account.

Emily: [00:26:26] Oh, there’s way more cool parts.

Andrew: [00:26:28] But yeah, but I like having like really bold, like this is the coolest thing ever kind of statements.

Emily: [00:26:34] And I got to say

Andrew: [00:26:36] being able to put my own music on my Instagram stories.

I think that might, that might want of the check Mark. I dunno.

Emily: [00:26:43] That’s so vain and funny. It’s so vain and funny. I

Andrew: [00:26:49] don’t know. It doesn’t have to be vain. It’s just like, Hey, I did something cool. I’m excited about it.

Emily: [00:26:53] Yeah. I think, yeah, I’m just, I’m Midwestern. So it’s a little, it can be hard to do. I really, yeah.

Sometimes that’s a struggle. I publicist will be so mad to hear that.

Andrew: [00:27:07] Probably.

Emily: [00:27:09] The publicist. Like I, one thing I love about being in Sunday crashes that like, I don’t have, I don’t have to be at the center of anything. It’s fantastic.

Andrew: [00:27:21] Well, congratulations on the, uh, the blue check Mark it’s

Emily: [00:27:26] long overdue maybe.

And, uh, I still get, I think the other month I got like a hundred. I think I have like 200 listeners a month on Spotify, which always surprised

Andrew: [00:27:39] I’ve got right here. It says 202 listeners a month with your most listened song coming as across the line at 11,117 on Spotify.

Emily: [00:27:51] I love that song, but I wish I had told the producer very specifically what I wanted the intro of that song to be.

And he just didn’t do it in a kind

Andrew: [00:27:58] of, huh.

Emily: [00:28:01] Yeah, I had in my mind, I feel like I explained it well and he just didn’t do it. And that was kind of a drag, but it happens to be chaos, but maybe I’ll rerecord it

Andrew: [00:28:15] someday. Maybe we’ll

Emily: [00:28:17] redo the bridge. I was never really happy with that bridge.

Andrew: [00:28:22] Or you could write new music.

Emily: [00:28:24] I cannot new music, but sometimes you want to take the things that you didn’t get right. The first time and make them right.

Andrew: [00:28:30] Or you could I do

Emily: [00:28:33] that? I suppose I did tell you, I have ’em on September 18. Uh, I’m going to be on that compilation that is being released. I’ll put links to it.

Andrew: [00:28:44] Yeah. Yeah. You did mention

Emily: [00:28:45] that.

Yeah. So that, that’s a new song of new words and I’m supposed to be doing, um, a emphasis to add lyrics and words to a song, um, that, uh, Justin Wood from he’s the guy who makes up loom and fade pedal. Remember that one? I’m

Andrew: [00:29:04] trying to think here. bloomin’ Facebook.

Emily: [00:29:06] It’s just, it’s a single foot switch. It’s like a volume swells.

So you, you hold the button down and it cuts the volume. Yeah, it’s really cool. Yeah. Yeah. No. So he’s the guy who does that and he has a couple of their pedals. Um, and then I had told him like a year ago, like, Oh yeah, that sounds fun. I’ll do it. And then like, I think I accidentally snoozed that email for a year when I meant to snooze it for like two weeks and I forgot about it and I emailed him the other week.

I’m like, do you still, I assume you don’t want this anymore. And he’s like, yeah, I’m game. If you are like, all right, I guess I got to do this.

Andrew: [00:29:44] Nice. Nice.

Emily: [00:29:45] Yeah. Yeah. Uh, so yeah, district is the sponsor, uh, of this episode. And, uh, I really like their, I like their product.

Andrew: [00:29:58] I really do see why I can see why. Yeah.

It’s

Emily: [00:30:01] nice to have sponsors. Oh yes. Also this, uh, as you, you probably heard this episode had a pre-roll ad for society socks. Um, Just a reminder to myself to add that to this episodes beginning, they paid us money for an intro role. Yeah. And they sent me a pair of socks. I have to do an hon boxing video of the socks.

Socks

Andrew: [00:30:28] are always cool.

Emily: [00:30:29] Her, the tenants of our agreement. Yeah. Cool. So, um, I think that’s it for sponsors this week.

Andrew: [00:30:41] Well, shall we, uh, shall we dig into the, uh, the sewed?

Emily: [00:30:46] Yeah. So I, I pose this idea to you. Not quite sure how, how you’d respond to it, but just it’s been on my mind because I just submitted an article for reverb.com about this subject.

And I don’t want to just like, say everything that’s going to be in the article. But, um, it, it was really interesting to me. And there was more in the world. Of of the songs, um, that I chose. So the article is going to be about studio mistakes that turned out to be like for the best or made the song better, or became kind of iconic parts of the song for some reason or another.

Uh, and that was just such a fun, fun, little piece to research. Um, it’s a different kind of research that I’d done for some of their previous articles and it felt like it just, it just, yeah, it was just really fun to. Uh, look up these stories about, um, things that happened in studio or studio mistakes that were really cool discoveries.

And like I thought I would just talk about a couple of those stories with you. Some that made the article and some dead-end, and maybe we can talk a little bit about, um, the importance that, that leads to experimenting in the studio. And sort of how, how it can really be beneficial for musicians to get out of that mindset that the take has to be perfect.

And that any mistake is going to be detrimental because sometimes mistakes are additive.

Andrew: [00:32:13] For sure. So two things that I like to point out right in this moment is one, I agree with what you’re saying right now, which is why I was giving you a hard time about recording new music, just like three minutes ago.

So just wanted to point that out. B B that, but, uh, into, I actually really like the idea of this topic, because it kinda challenges this idea of like, um, a famous studio story that I grew up in kind of just holding onto was like, wow. That’s like, if I ever go into the studio to record an album, I want to do it.

Like they did. And that’s the story of how Nirvana recorded their first album bleach for like 600 bucks and went to the studio, recorded all, takes a one day and then back out they’d rehearsed everything, every part. And they just went in, they did it and they bounced the hanging out of the studio and, and trying to experiment and dig into that and just see what happens.

Just, I’m not opposed to it whatsoever, but it’s. It just definitely strikes in contrast to that story of the Seattle grunge scene. That really stuck in my mind as a kid.

Emily: [00:33:24] It cause it’s it contrasts that I’m sure there’s a ton of mistakes on that record.

Andrew: [00:33:32] Um, not terribly. I don’t know. That’s a great record.

That’s pretty well done. Honestly. I think it’s, in my opinion, I think it’s the best record that Nirvana did. That’s my favorite record at least.

Emily: [00:33:44] Wow. Okay. I

Andrew: [00:33:46] know, I know that that might be a bold statement, but it is my personal favorite. There’s just something visceral about the way that it comes across in a way that the other albums don’t.

And I don’t know. I mean, we could, we could talk about how Turkey Bain didn’t like it, how polished things started to get as the band progressed through the, uh, through that world. But anyways, Yeah. So that’s a, that’s a pretty, that’s feels like a really strong contrast in concept for what the purpose of a studio is.

I’m really curious to hear what you’ve got here.

Emily: [00:34:23] Yeah. It’s just that there are a lot of serial mistakes that ended up becoming so iconic and then that people later tried to and did, in fact replicate them. There’s three really famous examples of this happening and, um, And they’re the things that kind of inspired me to write this article and find other things.

Um, but so, uh, the one I think you’d be most interested in, uh, is the invention of gated reverb being a studio accident. Did you know that?

Andrew: [00:35:03] I did not know there was a studio accident,

but

Andrew: [00:35:07] I do really like that effect.

Emily: [00:35:09] Yeah, it was like, I think you could call it an accidental discovery. Um, more so than an actual, like some of the other things on that list, but basically it was for Peter Gabriel’s third solo album and Phil Collins was laying down the drums and there was the, the talkback mic, um, in the, in the overhead mic, uh, in the actual city room.

And, uh, it was very compressed and it was being fed into a gate. And, uh, they heard the drums over the, the talkback mic basically. And it was, it was this, it was literally exactly the sound of gated reverb and they liked it a lot. So they put it on the record and Phil Collins most famously used it and the drum solo for in the air tonight.

And it, it pretty much. Yeah, it became the sound of the eighties. Prince was putting his Linn drum machine through a gated reverb. And you still hear it in music today. Lord uses it. Um, that was the example I used in the article. Um, and then like reverb, multi reverbs coming with a gated sound. Uh, like the doctor scientist atmosphere has a gated reverb setting.

Uh, and so it’s a solid, never really went away. Another thing that never really went away. That was discovered in sun’s studios during the recording of the song, rocket 88. Uh, so the band showed up and one of their speakers and one of their amps had gotten busted. So they try to fix it with some newspaper because you know, it’s a paper speaker, why the hell not?

And they get the sound that we now would call distortion. And that we, as a guitarist, spend a lot of money. Trying to get the sound that is literally the sound of something broken and they just loved it and they kept it instead of like being like, Oh shoot, we need to go get, we need to actually get, get a new, a new cab or new speaker.

Andrew: [00:37:14] Is that how distortion was like created?

Emily: [00:37:17] Yeah,

Andrew: [00:37:18] I feel like I’ve heard like eight different stories on how, like how distortion was created and popularized.

Emily: [00:37:23] That’s how sun studios tells it.

Andrew: [00:37:27] All right. All right. I’ll believe you for now. I feel like that’s gotta be like a hotly contested life. How was that?

No, I created it. No, I created it.

Emily: [00:37:37] I mean, the literal Wikipedia article says in the mid fifties guitar distortion sound started to evolve based on, sounds created earlier in the decade by accidental damage to amps, such as in the popular early recording of the 1951 Ike Turner and the Kings of rhythm song rocket 88.

Andrew: [00:37:58] And you could very well be correct.

Emily: [00:38:01] I said, I’m pretty sure I’m right, but. And if we want to like jump forward about nine years from that, um, do you know who Marty Robbins is or was, I guess

Andrew: [00:38:16] I, that that’s ringing a bell, but I’m coming up

Emily: [00:38:20] blank. Did you watch breaking bad?

Andrew: [00:38:24] Yes, I did.

Emily: [00:38:25] Uh, you know, the song, uh, the El Paso that’s used in that.

Yeah. The last season. That’s Marty Robbins.

Andrew: [00:38:33] Okay. Yeah. Yeah.

Emily: [00:38:34] So he was a country crooner, real cowboy kind of guy. And he was recording, um, a song I think called don’t worry about me. And, uh, his guitarist slash bass is playing a six string bass and he was plugged into a console, a port in the console. It didn’t realize that channel was busted.

So he goes in to do this bass solo and it’s just this. Fuzzy kind of broken sound don’t  and the guitarist hated it. Marty didn’t give it hoot, but the producer was like, that’s a cool sound for the solo and, uh, subsequently left it in the song, left it in the recording and that people went so crazy over this song.

The sound that it is the first fuzz and popular song. And one of the first fuzz pedals is that sound reverse engineered. It was really spy by Gibson. You know what I’m talking about?

Andrew: [00:39:40] I’m also coming up on a blank.

Emily: [00:39:44] You don’t know what fuzz pedal that was.

Andrew: [00:39:47] I I’m trying to think because Gibson typifies what it was. Wasn’t under the Gibson name,

right?

Emily: [00:39:54] Let me, it was the ma the Maestro, a FC one fuzz town.

Andrew: [00:39:59] Yeah. I’m thinking of my, my escrow. Okay. There we go. My

Emily: [00:40:03] Astro. Yeah. That looks like how that would be pronounced.

Um,

Andrew: [00:40:07] so it was,

Emily: [00:40:09] yeah, well, they’ve reissued it in the nineties really high. I didn’t know that. Um, but it was a used in satisfaction by Keith Richards, so,

Andrew: [00:40:20] well, yeah, I mean, that was a, it was really popular. Uh, instill is a very classic physique.

Emily: [00:40:25] Yeah. But, um, yeah, it was a faulty preamp that, that caused that, uh, early fuzz sound.

So those are three studio mistakes that didn’t just affect the songs that they were in for the better, but completely inspired uses for, for decades. I mean, distortion, like 70 years later, Is such an art that people are paying 750 bucks for the chase bliss, a automaton preempt Mark too. And they

Andrew: [00:40:53] can’t make them fast enough to before they roll off the

Emily: [00:40:56] shelves.

Literally can’t make them fast enough right now. Yeah, seriously. And then, you know, every guitarist, I think most guitarists are first pedals, either distortion, pedal, or a Wawa. That’s when I was, at least I was growing up.

Andrew: [00:41:10] I had a Digitech grunge.

Emily: [00:41:14] This is one

Andrew: [00:41:14] and it SD boss.  my first two petals.

Emily: [00:41:19] Gosh, I, uh, you don’t still have that grunge to you.

Cause I feel like sometimes people spend stupid money on those.

Andrew: [00:41:27] Some people do, but it’s typically, um, some of the older versions.

Emily: [00:41:32] Yeah. Oh, you had a newer version. Yeah,

Andrew: [00:41:34] I think it was like my, my dad bought it new for musician’s friend in like 2005. Um, and it was, it was my brothers for, for the long time, until he gave up on guitar.

He just gave me all of this stuff.

Emily: [00:41:49] Nice. They’re last year game.

Andrew: [00:41:53] Yep.

Emily: [00:41:55] Love when that happens.

Andrew: [00:41:57] I think I sold it for $20 on Craigslist. When I was in college.

Emily: [00:42:04] You must’ve really needed that 20 bucks. I

Andrew: [00:42:07] was so broken college. It wasn’t even funny.

Emily: [00:42:11] Yeah, no, I think a lot of people can relate.

Andrew: [00:42:16] No. Okay. So an example of how broke I was in college is I had to sign this school assignment where I had to go to the mall and like, you know, people watch and it was one of those, like, we’re going to talk about like the social engineering of moles or whatever it was.

I forget what class it was for. And I remember going, like, I’m really hungry. I think I’ve got a dollar on my debit card. I might be able to get a hotdog for Wienerschnitzel. And I’m like, well, I’m trying to think here. I know I’ve got close to a dollar one and about a dollar and the other, and wonder if they could do a split payment for like a dollar 50 for a hot dog and tried to get it sorted out.

The dude just looked at me and he’s like, hang on a second. Then he looked over like did the whole like look around, like, here’s my manager here. And he’s like, alright. And he punched in a couple of numbers. And then the receipt came out zero, zero, and he just said, Oh, don’t, don’t tell, don’t tell anyone. I said, I gave this to you and I’m just sitting here going, like, I just got a free hotdog because I’m so broke.

Emily: [00:43:15] Yeah, no, that’s a,

Andrew: [00:43:18] it was like a Tuesday and I didn’t get paid til Friday kind of thing, but I survived.

Emily: [00:43:26] Yeah. You’re here. You’re here. Nice.

Andrew: [00:43:29] Slight tangent.

Emily: [00:43:32] Yeah, there’s, there’s a lot fun, um, studio or recording mistakes. And some of them, some of them turn out to be like huge or the most memorable part of a song like that.

Fuzz solo. And don’t worry is maybe the thing that people most remember that song for. I mean, it was a big hit, it was a big crossover hit at the time. Um, but historically speaking, that’s what made it like important. Uh, same with rocket, ADA, those kind of what made those things important. Um, and the gated sound that just a whole decade of music is basically like if somebody wants to make the sound eighties, the first thing you need to do is put gated, reverb on a drum, but there are other

Andrew: [00:44:18] flange,

Emily: [00:44:20] lots of flats.

Um, but there are other city of mistakes that are. Memorable that don’t even involve like music you’re going awry. Sometimes it’s just a, like in the master of puppets, when Kirk Hammett, he was playing the last solo and he goes to bed. I don’t, his finger falls off the, uh, pulls the string off the fret board, the high off the front board.

And he creates his high pitch whine. And he’s been trying his. The rest of his career to recreate that sound so varying levels of success, but that was an act that was an accident. It’s the dopest part of that solo.

Andrew: [00:45:02] I can believe that, uh, some of his best work was an accent.

Emily: [00:45:06] Yeah. Another, another really cool.

Another really cool memorable. There’s so many, it’s

Andrew: [00:45:14] still better than the snaring sin. Anger.

Emily: [00:45:18] Yeah,

Andrew: [00:45:18] here’s running for precedent. There was like a hard times article or something.

Emily: [00:45:23] It’s got my vote. Um, but, uh, there, there are so many instances of like, uh, telephones ringing doors, slamming people laughing in the back.

Um, you can hear the drummer yelling, the F word and the Kings men’s hit Louie Louie. Uh, for some reason, the FBI is the FBI investigated the lyrics in that song for 31 months. And they found that it was unintelligible. They couldn’t figure out what the guy was saying so that like, maybe it’s not propane.

But they didn’t catch the drummer dropping an F bomb.

Andrew: [00:46:03] You know what that sounds like to me is like a government official being like, alright, we need funding. We need a really good excuse to get. Like, things are kind of slow right now. We need just need something so we can get our funding approved. So we all have paychecks and don’t get furloughed.

Emily: [00:46:18] No dude, no. That’s like, this is the sixties. They were busy. Like. Trying to do terrible things to Martin Luther King jr. Like they were, they were Bethy I was busy.

Andrew: [00:46:34] I mean, yeah.

Emily: [00:46:36] I mean, sure. We’re still putting like their friggin energy into this.

Andrew: [00:46:40] I don’t know that that’s the sort of project I grant that it was a different time, but I’m just looking at this as someone who’s worked for the government going, I feel like that’s something, someone.

Like a BS, excuse to like put down a project on paper for like an annual review or something. Oh yeah. Like I totally like we did this and we saved America. You

Emily: [00:47:01] know, that was it. That was always a big embarrassment to the FBI. To be honest,

Andrew: [00:47:06] if it looks good on paper, people are going to do it, but it doesn’t mean it’s necessarily legitimate in any way.

Emily: [00:47:13] Well, I mean, it wasn’t legitimate, but the FBI didn’t use to be a very, like, even until recently, like, You can cuss on TV at all. And do you couldn’t cuss in radio songs and there’s always been a lot of stuff with profanity I in column proves, but I mean, I do think that parents have the right to know what their kids are listening to.

Oh, I agree to

Andrew: [00:47:35] that. Absolutely.

Emily: [00:47:36] Yeah.

Andrew: [00:47:37] Pleads absolute plates.

Emily: [00:47:41] Okay.

Andrew: [00:47:44] All

Emily: [00:47:44] right.

Andrew: [00:47:46] I think it is admittedly difficult to, uh, to govern that, um, in a way that’s family friendly for all, both. So allowing for that kind of content to be available for those who are of age of wish to indulge in it.

Emily: [00:48:01] Yeah. I just think, you know, it’s I don’t like, um, uh, God, why am I blanking on the word?

Andrew: [00:48:09] Censorship.

Emily: [00:48:10] Yeah. I disliked censorship a lot. Um, I think that parents should be able to send soar a little, at least a little bit with their children are consuming. Um, but that’s, that’s very different than, you know, standard censorship, you know? I mean, cause you know, sometimes art’s not created for kids and uh, you should probably make sure like it’s, I think it’s your job as a parent should try to make sure that your kids are not consuming that at least, you know, whatever, that’s a tangent, but I’m one.

I want it, I want to talk about one more. Other kind of like studio mistake that I don’t think is very common anywhere. And um, it’s the idea is kind of came from. Uh, this was more common and a lot of like old soul music, old RNB, because a lot of these singers grew up in the church. And if you forget the words in the church, what do you do?

You ad-lib? So I think the

Andrew: [00:49:09] most,

Emily: [00:49:11] yeah, the most famous example of this, um, I, well, my favorite example of this, I should say is, uh, bill Withers in the song. Ain’t no sunshine. Do you know that song?

Andrew: [00:49:23] I do. I do.

Emily: [00:49:24] Do you know the, the words, the second verse?

Andrew: [00:49:28] No, I just know that

Emily: [00:49:30] he literally just goes, I know what, no, no, no.

I know. I know. No, no, no, no, no. Yes. Cause he forgot the words and he, he just did that and it’s so effective because he kind of, he leaned into it so hard. You can hear his voice kind of breaking and it feels very emotional and. And it’s just, it feels very real and you don’t miss the lyrics, the actual lyrics at all.

And he just jumps back in very seamlessly when he gets to a place that, you know, makes sense to connect what he remembers with the eye nose. And that’s always, you know, one of his biggest hits. This is man. I had a lot of hits for sure, but it’s, it’s from an accident. And it’s like, they just kept rolling.

He didn’t get flustered. He didn’t say like, stop the tape. I forgot. And I think that’s just such a key part. And in the recording process, especially when you have the budget, especially when you have the time, especially if you’re already doing multiple takes like the, just sometimes, sometimes when there’s a mistake you want to just stop.

And I implore you as musicians who are probably a lot of you are probably getting into home recording for the first time. Don’t get this mindset that every single take has to be, has to be perfect. If you have, uh, a doll like studio one or logic or anything where you can do like a ton of tracks and maybe complim together, I really implore you to do that.

to make mistakes and keep. Keep the mistakes. Um, at least for a while, because sometimes the mistakes serve the purpose of the song. And sometimes they just are, they’re more like happy accidents. Some of my favorite moments and songs that I’ve recorded are like, I meant to go to this chord, uh, two weeks later, but I went early and sometimes a little mistakes like that.

They just, they just turn out so, so beautifully there. I can’t think of any specific examples, but, um, my AP self objectification with no remorse, there are, there’s a part in that where for some reason, the audio from my guitar, like completely drops for a moment and then comes back in. It’s my favorite part of that song by far, it just sounds so real and raw and.

Um, I think fits the mood really well. So sometimes these things are just going to happen and, you know, getting mad isn’t really going or getting upset that you made a mistake or signed it and go, right? Like that’s, that’s not gonna help anything. Like you can’t always control that you’re going to hit a bum note or that your voice is going to crack in a weird place or that the equipment’s not going to fail in some weird kind of way.

You can control how you react to that. And if you just can roll with it, I think you’re gonna have a lot more fun. You’re gonna have a lot more fun

Andrew: [00:52:35] for sure. For sure. For sure. I mean, look, not, not all accidents are necessarily bad. Take me for example, uh,

Emily: [00:52:47] when there,

Andrew: [00:52:49] so no, but absolutely. I, I, 100% agree that I think that’s just. I think that’s just a better way to live in general. Um, even outside of the studio and just kind of just roll with it and accept what’s within your control. And you know, when life gives you lemons, you make a killer record, you know what I’m saying?

Emily: [00:53:10] Yeah. So that’s how that, that’s how that goes. Yeah. You mean you can just like have fun

Andrew: [00:53:15] that Kurt Cobain said that once.

Emily: [00:53:17] Yes. Obviously Kurt Cobain said that that sounds exactly like something Kurt Cobain would say. Yeah, the guy, the guy who literally scrapped an entire record after he heard someone else to record.

Sure,

Andrew: [00:53:33] sure. I’m not.

Emily: [00:53:35] And he didn’t didn’t they record all of in utero twice. That happens too. And sometimes it’s for the best we had Charlie bliss on the show back in January. And their debut record was called Guppy and they, they completely rerecorded GFI, like new songs, a lot of them, because they had thought that the thing was you, once you write 10 songs, time to record them, and then they realize, well, maybe you should write 20 songs, pick the best 10 and record the record.

Nope. Maybe pick the best 15 record the 15 songs. And then you have like these sort of leftover. Tracks you pick the best ones of the 15 and then the other five can be used as like NEP down the road or limited release, um, something to make a radio station feel special, or make us a B side and unreleased B side.

I’ll make somebody want to buy the ACE side that they already have. And, and things like that. I mean, that’s more strategy, but, um, If you go into the studio with 10 songs and you’re like, these are the only 10 songs I want to record is the only 10 songs I have and they have to be perfect. Oh, that’s that?

That’s sometimes that works. And sometimes it’s a recipe for extreme disappointment.

Andrew: [00:54:52] Oh, for sure. I mean, yeah. I think if you go in and say, if it’s not perfect, it’s trash, you know, in, in a science lab. Sure. That that’s understandable.

Emily: [00:55:03] This is,

Andrew: [00:55:03] this is not. That kind of a world though. And these have your expectations set that way.

I just don’t see how you’re ever going to find yourself satisfied. And I think you’re going to constantly find yourself disappointed. And I think more importantly, you’re going to find yourself missing out on the best parts of what it’s like to be a musician.

Emily: [00:55:24] So that’s

Andrew: [00:55:25] my pithy quote, philosophical philosophy.

Emily: [00:55:29] I mean, going off the cuff and just kind of, um, Improvising, I guess has maybe as one way to say that, but sometimes you have to improvise, but like playing live, like there’s going to be mistakes in your live performances. And, um, and if you just really aim for that perfection too much, uh, what you are eventually going to see as the result is stripping away, the feeling.

Of being in, of having a group of people interacting yeah. With each other. Cause in the studio, sometimes people still like lay down, live band stuff. Uh, I think it’s more common for like every, like everything to be isolated when it’s recorded the last time. I think sometimes you’ll have like the drum and bass get a quick recording so that the guitarist and the singer have something that they’re used to recording underneath.

And then doing the guitar and doing the drums and the bass isolated afterwards for like the final, the final product. But if you, you can still like, have a lot of that feeling. Um, if you aren’t like over rehearsing, if you’re not recording at 500 times and like comping together, the best takes like. I don’t know, I just really appreciate a live performance, even if it has or something that feels live, sing, that feels emotional, even if it’s not like a perfect,

Andrew: [00:56:54] sure, sure.

So I started off by talking about kind of have always, really loved the idea of what Nirvana did with their first record and. I still stand by my statement that it’s my favorite record. I think in my opinion, that it’s their best record. And I, I do love the way that it turned out and how visceral it is.

But talking through this a little bit more as kind of led me to, uh, to and romanticize that a little bit until you come to the conclusion that maybe that’s not, that might not necessarily be the best way to do it. And that’s. Certainly not necessarily a fair expectation to have of yourself to just jump into the studio, do it in bounce and have one of the best records of the decade.

So

Emily: [00:57:40] one of the things you like about that record is that it’s for all right.

Andrew: [00:57:44] Oh, it’s absolutely. It’s super raw. And it’s just got this visceral nature that just, it connects on some sort of a deep level for me.

Emily: [00:57:55] Yeah, well, that’s not perfection. That’s, you know, real that’s realness. I promise you there’s there’s stuff on that record.

That’s not perfect or it wasn’t, or wasn’t intended. And now sync,

Andrew: [00:58:07] sync and metronome at the beginning of each song and just listen for how far off they get every single song on that record. And I think that that works really, really well for that sound. I don’t think that’s remotely a bad thing.

Emily: [00:58:23] No, I don’t.

I think that you don’t really need a click track as much if you’re doing like the live, the live band thing. Uh, that being said, I’ve had to do some, uh, remote recording now. And then once I got something I’m like, so what’s the click track set to, and she’s like, I don’t have a click track. I’m like, Oh geez.

It was everything I had was so sparse I’m like, I don’t know how I want to time this. Like, this is going to be extremely hard to do some of the timing. Cause it was like, uh, on like upbeats and stuff. And I’m like, I, gosh, I really wish you had recorded this hook, like track. Oh my God.

Andrew: [00:59:04] Sure, sure, sure. So anyways, that’s just my takeaway in terms of, uh, what I w came into the episode, kind of holding up as an ideal, um, Yeah, I think it’s a really good conversation.

Certainly a lot of, lot of things worth considering. So

Emily: [00:59:20] thank you for sharing. Thanks for your research. Thanks. Those were just a few of the examples in my article. In fact, some of those did not even make it into the article. Um, so check out the whole article when it comes out on reverb.com either this month or next I’ll I’ll post links and I’ll give it another shout out, uh, speaking of shout outs.

So I want to shout out our Patrion, Joe Bragga. So I had a situation where this video editing program I’ve been using for the past year called pinnacle. Um, it’s just, I got an upgraded version. It was trash, it wasn’t working and I very quickly had to turn around some other videos. So she helped me with a Adobe premiere and walked, like did a video.

We did a screen share. I kind of walked her through like, Here are the parts of my, my videos, my demos. And here’s how I’ve like, here’s my process. And pinnacle how’s. Can I translate these processes to premiere? Uh, so thank you so much show that was so damn helpful about as helpful as anyone could have been.

Um, yeah, so big ups.

Andrew: [01:00:30] Woo.

Emily: [01:00:32] Also shout out if you want to join our Patrion program and be half as cool as Joe, um, patrion.com/get offsets. Actually let me log in and we have some people with new patrons, including some, uh, dollar dollar bill patrons,

Andrew: [01:00:49] dollar dollar bills. Y’all

Emily: [01:00:51] yes, let’s see. Let’s see. And shout out on the show gear Ingle $1 a month.

Thank you so much. Gair Paul Heisenberg, $5 a month. Thanks Paul Damien Martinez. Thank you. Thank you. Thank you, Patrick pine. Thank you. Thank you. Thank you. Thank you. Conscious hell. Thank you. Thank you, David Mulvaney. Thank you. And Adriana on Trump’s Archie’s Andrea K. Thank you. You are at the $10 level and please respond to my message so I can get you some swag.

Cause you get swag at the $10 level.

Andrew: [01:01:44] Swag is always a good choice. I’m a fan.

Emily: [01:01:48] Yes I am too. Oh, we also have some thank you cards. Do. Uh, but we don’t have addresses for, for, uh, Andrea. So we need, that’s another reason we need that.

Andrew: [01:02:01] We want to thank all of you for supporting the show. You help us be able to do this and that support it.

I can’t begin to express how much that means to us and how important that is to keep us alive, especially in the world these days. I think something that really struck me this week is I got, um, I’m an amplifier for KEXP. And I got an email from them this week, uh, from their CEO saying that they have to let go like 20% of the studio staff

Emily: [01:02:29] people.

Andrew: [01:02:30] Oh, I don’t. I was half awake when I read it and just went. Wow.

Emily: [01:02:36] It was, it was, it was painful, but it wasn’t, um, it wasn’t as many people as you just said.

Andrew: [01:02:43] Um, it it’s painful and it’s part of just the world that we live in, in like my point in sharing that is, uh, that your support, especially with everything going on right now, is that much more meaningful.

And we really appreciate that.

Emily: [01:02:57] Yeah. I just want to confirm it was eight people and 7% of their full time equivalent staff.

Andrew: [01:03:02] So 20 was a bit of a jump.

Emily: [01:03:04] My apologies. Yeah. So it’s mostly guest services, business support, executive leadership engagement, and software teams. It’s very sad and upsetting, but at least they get to keep their health benefits through the end of the year.

Andrew: [01:03:15] Yeah, they did offer a proper severance package, which is important, I think,

Emily: [01:03:19] and hard, hard to do often. So often hard to offer that kind of thing in this, uh, climate.

Andrew: [01:03:28] So I’m not trying to be a Debbie downer. I’m just really trying to, to drive home the point that your support.

Emily: [01:03:36] Yeah. And if you don’t like the ongoing, the Patrion thing, we have merchant get I’ll set podcast.com/shop.

Um, we also have, uh, no, that’s the best part about it. Um, but you can join our Facebook group is to get all set podcast, Facebook group. Um, you can also rate review as podcasts on iTunes, which is which we really, really, really appreciate. Um, if you haven’t done that already, it helps us, uh, increase our reach quite a bit.

You can also subscribe to our YouTube channel, which I personally appreciate a lot, a lot, a lot

Andrew: [01:04:13] for show, for show, for show.

Emily: [01:04:15] Yes. So, uh, that’s, that’s everything I’ve got. Do you have anything else? Uh, Andrew,

Andrew: [01:04:20] uh, the one last thing we’d like to leave off on is y’all are rad and

Emily: [01:04:27] got it. That’s why we’ve been able to do this for 99 episodes

Andrew: [01:04:30] 99.

I

Emily: [01:04:33] mean, it’s next week 99.

I like the, a mashup of 99 left balloons and 99 problems.

My favorite mashup.

Andrew: [01:04:55] Wait. No,

Emily: [01:04:57] it’s real. It’s real. We’ll listen to it. After we record,

Andrew: [01:05:02] I would love with the concept already. Okay. Okay. Okay. Let’s wrap up this episode. I need to go listen to that right now.

Emily: [01:05:09] All right. Thanks for listening. Thanks for understanding until next time. My name is Emily.

Andrew: [01:05:15] My name is Andrew