Get Offset Episode 156: Waiting for Feedback

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. 

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

[00:00:18] Emily: My name is Emily, and Andrew’s got a Telecaster in his lap today.

[00:00:24] Andrew: Would it be. An offset podcast without a Telecaster. I mean,

[00:00:28] Emily: yeah, it would, it’d probably be more so, but yeah, I think you knew the answer to that question before you asked it, bud.

[00:00:36] Andrew: Well, now I’m offended deeply.

[00:00:39] Emily: Yeah. Yeah. All right. That’s fine. I just kind of, I think people expect me to be offended. Hey, so offended. I still offended all the time. People think

[00:00:53] Andrew: breaking news, local white liberal woman is offended.

[00:00:56] Emily: No. Oh no, not me. Offended. Not again. I’m all in now was the last time I was like offended. Oh man.

[00:01:12] Tuesday, what? I would have been offended on Tuesday. I don’t see me on

[00:01:18] Andrew: Tuesday. I’m picking a random day of the week arbitrarily for the sake of humor.

[00:01:22] Emily: Oh, I was offended. I was offended when someone’s serving mushrooms. I go, no, I’m fended that you thought I liked mushrooms

[00:01:31] Andrew: already had an appetizer. I don’t have much room for anything.

[00:01:34] Emily: Yeah. Yeah. Well, as this is launched, yesterday was my anniversary seven years married. Congratulations. I still like them a lot. Yay. Yes. Made a good choice. I think so going on that second, third, fourth, fifth, et cetera, dates with that man like that man, that man, regardless of be. Yes. I like, um, it’s a good guy.

[00:02:08] I was going to say he made me this coffee, but actually I made myself this coffee, heated the water though.

[00:02:14] Andrew: I actually haven’t done coffee yet. Just

[00:02:18] Emily: done a it’s 11:00 AM. Shoot.

[00:02:23] Andrew: I’ll probably do a coffee this afternoon. Although, you know, I might make tea. It’s like the perfect time of year to do lop songs.

[00:02:31] Sushant. And, uh, especially since I’ve got the barbecue going right now, think it’s having a smoky tea with smoky meat. I mean, we’ll see, maybe I’ll do both and I just won’t sleep tonight.

[00:02:47] Emily: No cuts. A lot of smoke. Are you, are you sure you don’t want to separate the flavors is good.

[00:02:54] Andrew: I mean, I did tell my doctor that I don’t smoke anymore.

[00:02:57] Um, don’t tell him that I am still smoking the meats,

[00:03:03] Emily: smoking the meats. I think that’s, uh, you know, in moderation, smoked meats are better than smoking cigarettes.

[00:03:11] Andrew: Yes. Although I really ought to start. Like, I should just have like a disposable mask, like. Out there doing work in the smoker. Cause if I go there, tend to fire, like all the smoke out there, like the next day I ended up like sneezing, like a little bit of black set should probably just like disposable max masks

[00:03:32] Emily: mask.

[00:03:32] I mean, it is smoke. So it’s probably a good idea. I think Rick, Rick does that. Honestly, when he, he, he doesn’t like being around smoky smokiness, smoky condition. So he, he already does. He’s going to have it. All of us

[00:03:48] Andrew: should wear like the blue one. And then like, look for like the, the little nostril holes is, as the particulate matter gets stopped,

[00:03:57] Emily: the vents

[00:03:59] Andrew: notice like a, have like a plain surgical mask and then look like, see if any like patterns form from like the intake of the air.

[00:04:08] Emily: Okay. Oh, okay. I think, I think I’m catching that drift. I think I got you. I think I got.

[00:04:15] Andrew: Over the coals. I go, is it going to make like two, like black city sketches?

[00:04:22] Emily: That’s not what you just making fun of me for saying scourge.

[00:04:27] Andrew: We have started finding creative ways to use that in a way that sounds like it might work, but it’s not what it was intended for.

[00:04:33] Emily: No, it’s good. It’s like a bit like you scooch a scourge. You scoot just good. Like you move over a little bit or like you, you, you, you put in like, just as good to rebirth. It was just like a little bit,

[00:04:48] Andrew: I’ll go look at my children. Like you got like a little schedule, like on your forehead light. No,

[00:04:53] Emily: I don’t.

[00:04:54] I don’t even know like what, what, I don’t know how. I don’t know how one has spells, which I don’t know what regions good is. We don’t

[00:05:09] Andrew: know how to smell sky. Well, I’ll start with SKU,

[00:05:14] Emily: DJ BJ, E that’s not right. Good little bit. Uh, is,

[00:05:29] Andrew: oh, probably with a GE makes more sense grammatically, but Jayda sounded like that extra bit of flare of like, this just feels not right.

[00:05:37] Emily: Uh, slang for a little bit. Good judge. I think S S

[00:05:49] Andrew: S C U J

[00:05:51] Emily: S C U G

[00:05:56] Andrew: S C K. Oh, oh, uh,

[00:06:02] Emily: no, it’s good. No.

[00:06:09] I don’t

[00:06:09] Andrew: know. Oh, is it even a real thing? Has this been fabricated

[00:06:16] Emily: in memory?

[00:06:18] Andrew: Is this going to be like the Mandela effect?

[00:06:30] Emily: I just really want somebody to tell me.

[00:06:39] I don’t know.

[00:06:44] I don’t know. No, no, I’m just like, now I’m like getting really confused skosh. Uh, gosh. Oh. Oh. I think I’ve just been saying it wrong.

[00:07:04] Gosh, I think I only get skid. I think it’s a skirmish. S K O S H S. Good-ish a bit let’s let’s let’s go. Shh. It’s a Scotia Scotia. Oh my God. Let’s go. Shh. A Scotia. I, I, uh, okay. If people are, oh, it’s from a Japanese word of Scotia a little bit.

[00:07:36] Andrew: I’ve got S K O O D G E on urban dictionary, scourge verb to use, or take something without permission.

[00:07:46] Example, your parents are out of town. You should just scratch their car for the weekend. They’ll never know.

[00:07:55] Emily: I think it’s Scotia. I think it’s scope.

[00:07:59] Andrew: Do you have any guitar pedals? I could sketch no. Any amps I could scratch? No. You gotta be out of town. Can I, can I scratch that super reverb?

[00:08:12] Emily: I think, I think it’s Scotia. I think, I think I’ve been S I think I’ve just like, it’s one of those things where, you know, You hear a word wrong and maybe just my family picked it up weird and Scotia turned turned into

[00:08:35] Yeah. All right. Well, good is now an Emily ism as many of the things that become Emily isms over the years. And there we go. Whoa, a Navy, maybe one of our, maybe, maybe we’ll make a new shirt that says, uh, turning off a,

[00:08:53] Andrew: just, just a scourge. How, how, how. W we’ll have to ask the patron supporters how we should spell skirts.

[00:09:02] Emily: Yes, of course. On Patriot patrion.com/should get offset at the $5 tier or above to ask for access to our super special discord server. So you can have input on how to spell .

[00:09:15] Andrew: Indeed. We have several tiers of get offset Patrion because we have tiers for fans, not for fears, just for fans,

[00:09:25] Emily: tears before bedtime.

[00:09:28] Yep. Tears of a clown

[00:09:34] tears for food. Tears of a clown is a smokey Robinson, uh, smokey Robinson.

[00:09:42] Andrew: It’s a, it’s a Woking, some very intense imagery in my head now that I don’t think I wanted

[00:09:47] Emily: smokey Robinson, the miracle that’s a miracle song. I think that was smokey Robin.

[00:09:54] Yeah, smokey Robinson, the miracles. You don’t know that song. Tears of a clown. He remember. Can you go to listen to more mode?

[00:10:04] Andrew: There’s a lot that I need to listen to more.

[00:10:07] Emily: I highly recommend Motown. It’s great songs like this really cool thing. One of the reasons they had so many hits is because like they, they had like focus groups.

[00:10:18] Um, so it all listen to, they’re talking about those. They’ll listen to the songs in a room together, a bunch like they’re like ANR people and, uh, they would listen to a new song. And, uh, you know, they’d be like, okay, uh, would you call a radio station to request the song? And if everyone didn’t raise their hands or at least one person didn’t raise their hand, like that would, yeah.

[00:10:37] I would call specifically to request a song if I heard it. Um, they wouldn’t really song. So that’s how that was their like quality control, like, is this hot enough that like, I would actually go out of my way and out of my day to request a song on the radio. So yeah, if they didn’t feel that way. Yeah.

[00:11:00] So yeah. Tears of a clown, um, tears for fears, Patrion, tears for fears. He also likes comments. Subscribe on YouTube, subscribe on iTunes, leave us a review on iTunes. That actually is extremely helpful. I wonder if we’ve done any reviews lately on the,

[00:11:15] Andrew: I haven’t checked yet. I haven’t checked. I haven’t

[00:11:17] Emily: checked.

[00:11:20] Andrew: It’s feels like. Like slight masochism and waiting for like a terrible review to come through, embracing myself for.

[00:11:31] Emily: Well, it’s weird. It says where it says we, we update biweekly, but that ain’t true. I don’t see any recent ones. I said, no stop giving me stop giving me, uh, um, jaws.

[00:11:52] Or I’m going to start giving you,

[00:11:58] Andrew: I can pick an inbound.

[00:12:19] Emily: That was not chicken picking. That was just some good old school. Gene was a bone.

[00:12:26] Andrew: I was expecting the chicken pig. And when I saw the, uh, the tele Strat,

[00:12:29] Emily: oh yeah. I picked up my Nashville player plus Telecaster.

[00:12:33] Andrew: I just like calling it the tele Strat.

[00:12:37] Emily: I don’t know why to Nashville, tele and Howard. He has an name.

[00:12:42] Yeah. It’s already asked him that’s called. Okay. Can I show you what’s new with me though? Let’s do it. Yes. I’ve actually had this for a bit. I’m kinda waiting for, um, some of that come back to me before I put it on my board, but I got the lift from Goodwood audio. There we go. It is a little attachment that goes on your pedal board.

[00:13:04] It rot, it goes up and down, up and down and, uh, you can put your. Um, or what have you underneath it and you can put pedals on top of it. But, um, I was gonna, you know, I’m excited. I can put, um, perhaps my milkman, the amp on top of it and my engine room series. Well, one of my engine room. Power supplies underneath it.

[00:13:27] Cause I have a flat board that I use a Sunday crush and uh, I want to put my power. I got power needs. So, uh, I, I’m excited. I’ll be able to put the, um, the engine room level 12 underneath us. And, uh, it actually looks really nice. I always love the branding on the Goodwood’s.

[00:13:46] Andrew: No, there’s

[00:13:47] Emily: stuff for sure. Grant for sending this to me, it looks beautiful.

[00:13:51] Andrew: Is this the one that’s also got like the hinge, like lift up

[00:13:54] Emily: on it or, yeah, I got those parts right here.

[00:13:58] Andrew: Nice. Yeah.

[00:14:00] Emily: And then the, the other thing, so, uh, yeah, just again, I’m going to have to wait until. Something comes back to me. I’ve got some things loaned out at the moment. Uh, yes. Fair enough. But that’s exciting.

[00:14:19] Yeah. Yeah. I’m always learning shit to people. Uh, so,

[00:14:25] Andrew: uh, sorry, I can’t help it. It’s just truck draft, Robin. Oh, okay.

[00:14:33] Emily: Yeah. And that’s not, that’s not all that’s new with me.

[00:14:36] Andrew: Oh, double trouble.

[00:14:37] Emily: Here we go. I got the, the, the large boy, the H X, X, so big. Thank you to line six. I also have the line six power I have behind me.

[00:14:52] It doesn’t weigh as much as I expected it to. It’s really lightweight. Yeah. So I’m going to, I’m really excited. I get to take that to my next Sunday crush gig on October 14th, the power amp with the pod go.

[00:15:07] Andrew: Nice.

[00:15:08] Emily: Yeah, just, just absolutely thrilled. So I’m very excited.

[00:15:16] Andrew: I’m supposed to be an easy box to open. I promise

[00:15:20] Emily: it looks easy.

[00:15:23] Andrew: Just like that XL bit makes it a little bit more cumbersome to like open all the way. Oh, this is a live unboxing. I decide tape. Get cut.

[00:15:38] Emily: All right. I’m not, Ooh. I thinking all the way out of the box, but in there. It’s

[00:15:43] Andrew: nice. Yeah. This is going to be a good chance to, I dig into more programming for you.

[00:15:52] Emily: I know I’m excited. More instructions, case candy or supply. Always good to have. Oh, it’s not that big. It’s not very big now. Angela Koski got one.

[00:16:08] She made some very cool ambient noises. So I’ll make less ambient noises. I’m sure. But, uh,

[00:16:16] Andrew: I mean, I’ve just been really impressed with the glycine six engines lately. They’ve come a very long way in digital.

[00:16:26] It’s the same. I like black sparkle that they do on the right. It’s a great finish. Ooh,

[00:16:34] Emily: soft. So many.

[00:16:39] Andrew: I mean, just looking at it, I feel like that straight up could be someone’s rig period.

[00:16:48] Volume the ultimate fly rig right there.

[00:16:51] Emily: Expression one, two stereo send left, right? Oh, it’s a stereo send

[00:17:01] Andrew: return. Stereo is always

[00:17:03] Emily: better left, right. Input left. Right. Output headphone and many it’s like they got this, this thing has got everything. Everything. Nice. Yeah. So I’m excited to dig into that, obviously.

[00:17:22] So I’m just all, I’m going to line six out. I’ve got my modeling needs are man. I’m excited for the new, like I know they have some kind of mood esque. Um, Like, um, presets or patches and attractions, um, sounds tone prints, not 10 prints. Some of their calls

[00:17:42] Andrew: heavily they’ve come a long way. Like the pitching stuff in particular.

[00:17:46] I think that the early versions of helix early from where model updates, I was not super impressed, but, and that’s going back, you know, probably three, almost four years. And what I’m thinking about and just trying to get updated updates for, um, just on the pod go that I’ve got over here.

[00:18:04] Emily: If the stuff on the pod go, I don’t have the patience to set pit shifty stuff.

[00:18:11] Particularly. I know that about myself. That’s a personal thing.

[00:18:18] Andrew: Now, you know what they say? Life’s a pitch

[00:18:24] Emily: that wasn’t the worst. You’ve done. That wasn’t the worst. So let me just get my, get some stuff out of my way. I’m

[00:18:32] Andrew: glad I set the bar low. Yes.

[00:18:35] Emily: That bar has been set. Hello? Um, cool. Anything that was you, dude.

[00:18:43] Andrew: Uh, anything new with me? Just continuing to grind out. Uh, can I have some stuff ready for Fox Cairo by, uh, black Friday weekend?

[00:18:53] So keep an eye out on that. I’m excited and just continuing to be blown away by how consistent my orders have been. Um, yeah, no, it it’s been, it’s been super neat to just kind of watch this. Grow. I say, watch, like I’m a bystander, but there’s moments where I feel like it’s not just me. It’s like the entire community coming together and getting excited about a product.

[00:19:19] And th there’s something magical about that. So I would say that’s what my what’s new, the outside of that, just continuing to grind. Cause I’ve gotta be, I’ve gotta beat.

[00:19:30] Emily: Yeah, we talked about that last week. Yeah. I won’t ask you for a progress updates.

[00:19:36] Andrew: Don’t ask for a progress update. That’s all it’s over.

[00:19:39] Emily: Not until the party’s over. Well, I’m not going to lose any pounds this week because tonight I, well, I will, um, I have an anniversary dinner with my husband. Italian food is pre anniversary.

[00:19:59] Andrew: Well, enjoy your Italian food.

[00:20:02] Emily: I just realized, I said, the day this drops is my anniversary. Actually, it’s just the day we’re recording.

[00:20:10] Uh, the day after the day we’re recording. So actually a week ago was my anniversary. The day of the I’m in Cincinnati, which means I also will be losing weight. Cause I’ll be eating skyline, chili pizza, Belgian waffles, Guetta. Great. Probably since. Chile. Definitely. Definitely graters. Yes.

[00:20:31] Andrew: I’ve never even been there.

[00:20:32] I know like what all the cool with all the cool food things are now

[00:20:36] Emily: all the cool Cincinnati foods, lots of this and Midwest centers know how to eat this. This is a true about us. You got some good foods, maybe some Holtman donuts,

[00:20:47] Andrew: but it’d be a Wisconsin here very soon and I’m excited for, uh, for the cheesecake.

[00:20:56] Emily: Kurt them Kurds are good. We don’t have those.

[00:21:00] Andrew: I think I’m going to backslide on any weight loss that I get this month. Well,

[00:21:04] Emily: you better get them five pounds before, so you can get them back goal. Yes. Do it right. Do it. Right.

[00:21:15] Andrew: So, and, and to be clear though, it’s like, not just about like weight as a number, this is just a good, this is a good metric for me to keep an eye on, to motivate me.

[00:21:24] Continue going and getting in shape. Yeah.

[00:21:29] Emily: Understandable, totally understandable.

[00:21:32] Andrew: Age, all this number to me this month. Just not thinking about it too hard.

[00:21:36] Emily: Yeah. You know, it’s about healthiness. I haven’t lost any weight, but I’m definitely eating, generally speaking, eating a lot healthier, a lot more vegetables and a lot less

[00:21:46] Andrew: trash.

[00:21:47] Incredible. How much of a difference it makes and just overall energy and mood.

[00:21:53] Emily: And sleeping a lot better. No, today I did sleep a lot later. This

[00:21:59] Andrew: happens. That’s good for you

[00:22:01] Emily: sometimes. It’s good. Take those days off where we can get them because I worked too much.

[00:22:08] Andrew: Oh, yeah, you

[00:22:10] Emily: do. I do. Alright. Um, cool. Uh, what else are we going to talk about before we talk about our sponsor

[00:22:19] Andrew: sponsor?

[00:22:20] Uh, in terms of other news, I don’t have anything right now. I’m just kind of in the, uh, the mode of gearing up, ramping up, getting exciting down to what? Like a month of black Friday.

[00:22:31] Emily: Yeah. Six weeks. At time

[00:22:35] Andrew: is slipping quick.

[00:22:38] Emily: Oh boy. Yeah. You know, I am going to take the rest of the Sunday and not think about that kind of thing.

[00:22:44] Cause that’s what I think about on my day job. I know lots of companies are getting their releases back up. It was such a slow summer. As far as releases go. And then like, I felt like a bunch of shit dropped kind of all at once. Um, so I think brands are trying to at least get like some sorts of pre-orders going, um, ramping up production so people can get those gifts for themselves.

[00:23:11] And others let’s be real. Like people are adding that, like, you know, the Benson geranium boost to. Like they’re idealists for like their sitting together to get them like, Hey husband, give me, give me that 10 cent germanium fist for my bread for Christmas, you know, like, or they’re buying it for themselves, you know, great stocking stuffer.

[00:23:31] I mean, it would fit in a stocking. It’s so small.

[00:23:36] Andrew: It’s got side jacks, you know, I suppose I I’m starting to grow old enough to get over my childish dislike.

[00:23:47] Emily: I mean, butt plugs have guns. So small, like, like the paint, like even they’ve gotten so small, like

[00:24:00] Andrew: by a bulk pack of the EBS flats.

[00:24:02] Emily: Yeah. Those are those, those even sit on.

[00:24:05] Like the like, cause sometimes like the pancake ones wouldn’t play well, if you will had like the side running into like the top track ones. So that was the problem. So now, like you don’t even have, that’s not an issue, but like if you had them all like all like sandwich together like that sometimes like, especially I imagine this was a bigger problem for guys with bigger feet, especially because even with my small fee.

[00:24:30] I have a say six and a half shoe, and I have trouble like hitting those pedals that are all like next to each other. And people complain all the time. Oh, trace bliss has side jacks. I’m like, well, it has all those dip switches, switches at the top. Like, like you can’t have both. Yeah. Now I, but then it has to have like the, the, the ox switch and the like, like you need some space between that and whenever Pell’s next to it, or you’re not.

[00:24:58] Like you could never operate those with your feet.

[00:25:03] Andrew: You could operate it with your hands though. If you get one of those, I, sorry, collaboration guitars they did with built

[00:25:10] Emily: guitars look so free income as a recording. They haven’t announced more info about those, but I think that at least some of them are going to get auctioned off.

[00:25:21] Andrew: I think those are going to sell for a lot, but I. I think they just look so stinking. Cool. And so the colorways they’ve done, they’re just so freaking gorgeous. It’s just unreal. Yeah. That’s not very often. I look at a guitar go like, whoa, like, oh, I’d spend a month and not get

[00:25:44] Emily: bored. Yes. I mean, Yeah, they work really well.

[00:25:52] Cool. Um, yeah. So this week’s episode of the get offset podcast is sponsored by Caroline guitar company based out of South Carolina, which is where I first heard people use the word Skitch instead of Scotia. They probably said Scotia. I think, I don’t know. I think I just thought sketch Santa funny thing.

[00:26:14] Scope. I that’s probably just completely amazing.

[00:26:20] Andrew: It does sound better as good

[00:26:23] Emily: sketches Scotia. No one’s ever heard acted me.

[00:26:29] Andrew: I mean, it gets the point across like it, if it’s not technically correct, but it communicates the right thing.

[00:26:37] Emily: Yeah. If you like more than a Scotia havoc, you’ll really like the Caroline.

[00:26:45] Uh, pedals they’re having switches are Andrew’s personal favorite thing about the pedals? Yeah.

[00:26:52] Andrew: I like wild and wacky and borderline out of control.

[00:26:57] Emily: Yes. But I like pedals that can. That can do it all. And they have such range is which what I really like about them. Like the they’re like a Wolf in sheep’s clothing in that way.

[00:27:08] Like they can do that. Very nice, normal, sweet, well behaved sound. But you know, you know, that picture of that guy, who’s like, And a nice suit and he’s got like a tie and all that, and you can see in the mirror behind him, he looks like a complete freak. That’s their pedals.

[00:27:27] Andrew: Yeah,

[00:27:27] Emily: exactly. Exactly. Yeah. It’s the good, the pedals are mullets in the best way, you know, business in the front and a party in the back.

[00:27:37] I like that.

[00:27:39] Andrew: Business up front party in the back Carolina effects. I think that should be the new slogan. This is a front party in the havoc. There were go.

[00:27:49] Emily: You want to get weird? We can do that. You want to be nice, normal and sweet. We can do that to give you that too. Well. I remember, I think like one of the weeks after I got the somersault, I was in the studio and.

[00:28:02] The woman I was recording with was so fucking stoked on the somersault and the sounds of made. And unfortunately that track did not make her EAP, but she was just like a psychedelic song. And she was so excited about it at the time. But I think she just, I don’t know, ever whatever happened to that song, sometimes you record things and you’re like, I am excited for this to get released.

[00:28:22] And then you wait two years and then she puts out the EAP and you’re like, this is two acoustic songs. And like one song I worked on two years ago. Well, And then like in sometimes she kinda ratios back out to, you know, like, can you rerecord the guitar part in different key? I’m like, yeah, of course. And then she doesn’t really sell on either.

[00:28:40] I’m like, you paid me three times. You got paid. Yeah, I know. But I’m like, they were nice. So

[00:28:49] Andrew: yeah, maybe those are being, maybe they’re so good. They’re being safe for the full length album later.

[00:28:57] Emily: I hope. I don’t think you delay a day, you know? Yeah. It just, it’s weird. You know, I was watching something, I forget what it was.

[00:29:11] I think it was probably, oh, it was that, uh, the other night, October. Um, I

[00:29:16] Andrew: didn’t even realize it started

[00:29:17] Emily: again. Yeah. Um, it was Owen Wilson and he was talking about how, you know, a live show. You get immediate feedback like a musician does. It’s like you do a movie in a way. You have to wait a year for the feedback.

[00:29:32] Man. Sometimes you’re a musician. You go here for the feedback. You don’t always get it right away. Sometimes, sometimes you record something and you’re like, well, maybe this will get released. Sometimes it won’t like lay their whole, whole albums like that. It just never get released. I think like, remember that band nine days I did that hit song story of a girl.

[00:29:53] Like that song was unavoidable and huge. They had a second album there just got shelved by the label and I don’t think it ever got really. And like, yeah. You know, sometimes you work on stuff that never gets released. And I think that’s a little less common for movies. Like never getting released a major studio movie, because you think about like a budget for a movie, like a city has putting like millions of dollars into a movie, but they’ll shelf like an album.

[00:30:23] They put $35,000 into, you know, I’ll be like APHA. Nine days we’re not releasing it. Yeah. So, I mean, I feel like. I was saying Washington something. And then, and then like, uh, something that I saw on Instagram, I think it was Wendy Melvoin and Lisa Coleman from prince the revolution. And when the Elisa, someone was talking about how they had worked out a record with Wendy and Lisa, it never got released.

[00:30:56] I assumed it got destroyed in that big. There was a big fire and like tons of like Warner universal. I think it was Warner universal. A masters got destroyed, like 20,000 master recordings or something got like this huge loss, huge loss for music historians. And she just thought, like, I thought I’d just got destroyed in that fire.

[00:31:18] Like this is like from the early nineties and is one tape. I think Wendy Melvoin had one tape of it. So, uh, it didn’t completely get the story, but that’s like things just music. Gone forever. So, you know, you know, you don’t always have it. Um, sometimes you do have to wait a very long time for the feedback if it ever happens.

[00:31:38] And I just, I feel like that’s less common for, um, for movies. I mean, obviously there are any films that never December, but,

[00:31:47] Andrew: um, but I think that feedback aspect is very important. I think that’s that ties into the, a necessary human aspect of. Of just being an artist. Is that feedback, that connection to the consumer of your art?

[00:32:05] I think that’s very, very natural.

[00:32:07] Emily: Yeah. And what do you do with the feedback too? You know, uh,

[00:32:12] Andrew: fit

[00:32:14] Emily: well, Owen, uh, Made a joke that he only reads someone told him, like, if you read the bat good reviews, you have to read the bad ones too. And he’s like, the trick is no, you don’t

[00:32:29] and they don’t, you really don’t. It just depends on like where you are and like, is it help? Is it constructive? Cause the thing is. So that was a bad feedback is not a constructive and sometimes it is. And I think that you should try to read the constructive negative stuff. I really do, but I feel like, especially, especially on the.

[00:32:54] A lot of it ain’t and sometimes it’s coming from a place that is, you know, kind of valid, uh, before the episodes started. Andrew and I were talking about something that’s kind of unrelated to any of this, but like it, ultimately it was about someone’s like art or whatever. And, you know, we were never gonna talk to this person about like, what we feel about this person’s art, but, you know, we have opinions about it.

[00:33:19] And if we were to present that person, you know, Maybe you would make this person’s art better, but, uh, in our mind, but with this person care, probably not their guys going to keep doing what they’re doing and a gift for them, whatever. I know. Why should they care? What we think?

[00:33:37] Andrew: You know, music business question for you.

[00:33:41] Is it always an artist’s responsibility to manage the connection to an audience? Or is it some point, is that the artists or the label’s responsibility or someone else to help them curate their audience and help them connect and have

[00:33:56] Emily: direction? I think you need to rephrase that question in a way that makes sense with words.

[00:34:03] What do you mean.

[00:34:05] Andrew: So let’s use own Molson as that example, oh, Molson shows up, he does his job as acting and he goes home and like, to a certain extent, yes. That feedback is important. I’m sure he values it. And it’s very, I’m sure at a human level, it’s very gratifying when a movie does really well and to see the L people love my performance, but it wasn’t his job to write the storyline.

[00:34:24] It wasn’t, his job took like right. The content that was being done. Participating in it. Right? So in that particular instance, while he is an artist, the ultimate responsibility on connecting with the audience is going to fall on the director producer. It’s a. More on that level now, is that similar? All from a music business perspective with musical artists in the way that they relate to the other staff that goes into a successful act and,

[00:34:51] Emily: uh, you know, uh it’s so when you’re looking at something like that, I feel like at some levels, like an actor is, you know, they’re a part of a much larger production and, you know, Owen is at a point where, you know, he can largely pick and choose what he wants to be in.

[00:35:16] Um, he, and I think a lot of people when, when they, when they look at a movie or something, Uh, you see this in reviews a lot, you know, so-and-so did what they could with what they were given. Do you see that a lot in reviews? So sometimes if a movie is bad, but the performance is good, or, you know, if, uh, if an actor is really good, And, you know, her dialogue was pad.

[00:35:43] They’ll say, you know, she kind of did her best with that. Or if the opposite is true and everything else seems to be really good, but the actor is kind of not doing well. And you’re like, she didn’t seem like a good fit for the role. Like you can see, people can pull that apart a little bit better. And I feel like that’s a little bit more akin to.

[00:36:04] Being a drummer on a song where, you know, like, Hey, the song’s kind of a dud, but the drums are fire. You know, the production is really good, but the song is bad or the song is really good, but the. Wax and kind of highest thing. So it is, uh, you know, again kind of like an ecosystem. I’d have no idea what you’re even asking, but so

[00:36:28] Andrew: ecosystem about what makes a great, but like the ecosystem, as it pertains to connecting with the audience, like brand management, customer experience management to use corporate terms,

[00:36:38] Emily: it’s like, oh, and talking to people or like whether or not someone like you can’t control, like.

[00:36:48] If somebody connects with a thing, I literally have no idea what you’re trying to say. That’s fine. I mean, I’m sorry. I’m like, are you talking about like responding to tweets or so

[00:37:02] Andrew: not directly direct response, but more in terms like, does the art. With the audience. And then, so like if you’ve got your first album is really great and you find an audience, they really dig in, in a label, wants to sign you on and then continue to go after that audience.

[00:37:19] Uh, is it up to the band to just kind of do what they did again, uh, bands do often like to change label sometimes like for bands to change and is that B I assumed it would agree. It’s a anticipation of what the audience might want to connect with and wanting to help grow that way. And so. I suppose the answer, this is probably it’s a group effort, but in terms of looking at the, like, who who’s looking at that audience and saying, what are they into, what do they like, what are the, what do they not like?

[00:37:49] How do you, how do you take the feedback from the first album? Kind of boil that down and figure out how that then synthesizes into a second album is this scenario that I’m thinking of.

[00:37:59] Emily: I think it’s generally a mistake for a band or performer to go into the studio and intentionally make like first album part two.

[00:38:09] I think that there needs to be at least some sort of growth in some way, even if it’s not like extreme growth, but I feel like you need to change up something a little bit, or it’s just. Boring. Um, and I think that a lot of bands just kind of have their sound and they just continue to do that. But I think the ones that have a lot of staying power and the ones that have longer careers do tend to change things up at least a little bit between albums.

[00:38:39] Um, the, you, listen, you think about, um, Let’s let’s, let’s do vampire weekend, vampire weekend. You know, they have a lot of growth between albums, uh, their albums. Aren’t like you, you could critique their first album and be like, oh, it’s like Paul Simon’s Graceland. But as their albums progress, you know, they’re different and that’s, what’s made them.

[00:39:02] I think it’s, what’s given them that kind of staying power is what’s made them a bigger band album after album, after album over the past. Like what, 15 years almost. Um, and that’s, what’s, you know, that’s what, um, prince would do for a long time. That’s why he had such a long and illustrious career. And that’s why I think a lot of the bands that have a lot of staying power, um, have in common is that they don’t try to do the same thing over and over, but they, you know, they focus on making sure they’re selling.

[00:39:32] Our quality that they’re not like chasing trends necessarily, but they’re still expressing growth. Um, you know, that, that you’re still writing great smart catchy songs. Um, but that you’re trying something new and sometimes it’s going to work out sometimes it’s not going to work out, but yet you’re taking risks, I think is that I think it w what I think is that, um, you know, trusting your audience to be at least a little bit smart, but not.

[00:40:02] Not treating them like they’re overly smart is kind of the best way I can put it, like giving them some credit, but not over crediting them. I’m not asking too much of them, I think would maybe be the better way to say that. Give them some credit, don’t ask too much of them. And as far as the label goes, you know, set expectations upfront.

[00:40:24] Uh, I think is what you have to do. I think you have to say, like, I’m not going to, I don’t want to do this part too. And if you ask, don’t expect that and don’t ask that. Um, but ultimately, um, if you ask a label for money, they’re going to have input. And if you ever ask anybody for money, that person’s going to want input because they gave you money and there’s a little bit less you can do there.

[00:40:49] So that’s what. Th that’s kind of where that comes into play. And if a label thinks that something as noncommercial, that’s all they have to say. If they’re like, I can’t make money with us, I can’t sell this. That’s all they have to say. And if you don’t have a lot of like, um, um, clout, there’s not a whole hell of a lot, you can do about it.

[00:41:15] That’s what nine days learned. They had a hit song and they had no clout. Um, or what was the band out of Portland and from the movie, uh, the dandy Warhols, you know, they had to go and rerecord a bunch of songs after they signed to a major label because the label deemed them non-commercial and was, you know, probably right.

[00:41:40] They never were a hit band in America. Uh, they had some songs in commercials in Europe, they were successful in Europe. They had, you know, some great sync placements and like, uh, Veronica Mars, uh, in the intro secrets for that TV show that made them a lot of money, but they were never hugely successful commercially in America.

[00:42:00] So as far as that goes, they will, they will.

[00:42:06] Andrew: No, it makes sense. That makes sense. I’m tracking.

[00:42:10] Emily: Yeah. So did that answer, what do you think? Like, I don’t, I don’t know if those are like

[00:42:20] Andrew: sure. So, so what I’m hearing is like, what I’m hearing is an approach to the creative process. That’s more of a stay true to yourself grow.

[00:42:28] And just from a growth perspective, For the band in terms of how the, the next round of content is curated. And I guess in the back of my head, thinking more from like a corporate perspective of like, Y you figure out what your target audience is, you figure out what they like, and then you build products for that target audience kind of.

[00:42:49] Emily: Yeah. I think you got to keep your fans in mind because you know, you don’t want to like leave them in the dust. I mean, in the eighties, prince got a lot of shit from his original fans who were largely black, like you left your black audience behind and that really got to him. So you’ve started trying to release albums to appeal back to them, like.

[00:43:09] And he wrote songs for black radio, um, again, and like adore on-site of the times. Like he like that kind of criticism really got to him. So he tried to get back to it. Um, even if it came at the price of the, you know, mainstream, total success in world domination. Um, so yeah, I, I think that a mistake. Some people make when they get big success.

[00:43:39] And you know, that some people make just in general is asking too much of your audience, um, too quickly and, you know, just expecting them to be with you every step of the way, getting to, you know, in the weeds. Um, You know, these people, they just want to have, they just want, they want, they like your hits.

[00:44:02] They like your songs. They like you, you know that you got to nurture it a little bit for a while. First, before you get too weird and too wild, you know, it’s like, you go on a first date with somebody, you get coffee, kind of like each other. You got, maybe you wait a while you build that. Love you build that trust before you get to weird.

[00:44:22] Andrew: Maybe it’s the process of converting listeners to fans. Well, I mean, that makes total sense. I, so in the back of my brain, the part where I start to wonder, or that I’m not very exposed to, since I’ve never signed to a label and I didn’t go to school for this is, uh, so there’s the gotta to keep the fans in mind more than to use the term of like a target market.

[00:44:49] Um, oh my goodness. I just said a target market, uh, market analysis. Oh, goodness. I feel so corporate. So in the back of my head, like, so, oh, Wilson doesn’t have to do that.

[00:45:03] Emily: Well, no, he’s already asked a bunch of people who will go see him because they like who and Wilson is. I mean, he’s part of it. Like he’s part of the appeal of a lot of the larger product, but you know, people aren’t going to see him, people, most people aren’t going to see a movie just because Owen Wilson is in it, but some people are.

[00:45:20] Andrew: And if they do all I have to say is, wow.

[00:45:26] I I’m just thinking in the back of my head, I imagine labels are gonna want to analyze the target market a little bit deeper and kind of just is this commercial, is this non-commercial and want to have that sway. And so I, I think the answer to the question I’m having a hard time, verbalizing is more along the lines of it is an ecosystem and everybody has to contribute to some, uh, sense or another.

[00:45:52] Uh, but I. I w

[00:45:57] no, I, that that’s, that, that all makes sense. I suppose. That’s incredibly logical.

[00:46:03] Emily: Well, now labels do there, do more research, but like, it didn’t used to do, they used to, and sometimes they still do this man. Like one band hits it big think Nirvana hit bag, and they then major labels were like, oh, bands in Seattle.

[00:46:19] That kind of vaguely sound like those are big. All of the bands and SIA bands, like screaming trees that were nothing like Nirvana had hit, had like major label deal and like really big. Yeah. So like, they, they were just like, I have all these spans kind of throw them at the wall, see what hits in some labels still do this.

[00:46:45] And it’s kind of, it ends up being a little predatory for the bands, because then you’re like, okay, so Mumford and sons had it big. So now let’s sign a bunch of Americana bands and just kind of see. And then you have a major label contract. You don’t have a ton of support. They’re just like trying you in a couple of markets.

[00:47:06] And then there, you have this, you’re going to get dropped and then you’re not going to make any money because you have a bad deal, you know, and it’s, you know, but you’re excited. You can finally tell mom and dad you’re on a major label. It’s all been worth it. And I

[00:47:20] Andrew: finally did it guys. I played boom, clap music now.

[00:47:27] Emily: That’s what it was. Yeah. Stomp clap, stomp clap. No, you know, it’s so, uh, here just be, it’s easy to be like, oh, smiling. Going to be my only chance. And maybe it is maybe you just want to go along for the ride ones. You know, I don’t think that’s the worst idea in the world. It’s good exposure. I mean, it’s a good, it just has the live experience once it’s not the worst thing in the world.

[00:47:55] Um, I can’t say I wouldn’t do it if I could. I remember, I remember, like when I was working at a record label, there was a band that was about the head of veg and they were like, really, like, we need. And this is the band that’s still, that’s still big and sell out like, um, uh, like the like concert halls.

[00:48:19] And, uh, there was one band member who she just, she didn’t want to go. Like she wasn’t as primary songwriter. She wasn’t a primary musician. She was in the band cause she was really good friends with the people in the band. So she was like, she was essentially about to get like a really fun ride. And make money and have to do very little compared to everybody else in the band and she doesn’t want to do it.

[00:48:44] And, uh, she just it’s her prerogative. She didn’t want it. And as the people are looking at her, like you’re about to have the ride of a lifetime. Yeah. And you’re, you’re the right age to do it. She was like 19. She just didn’t wanna do it. And it’s totally fine if that’s not what you want to do all, maybe all she wants to do is, you know, play clubs in her hometown and like sleep in her own bed.

[00:49:06] And that’s absolutely valid. And I was like 20 at the time. I was like, I can’t believe she’s not doing. And now I’m 30 to me. Like yeah. Kind of thing. I still got

[00:49:20] but like 32 year old me is like, yeah, I kind of get it. Like I kind of get it. I still would do. I would think that I would do it, but

[00:49:30] Andrew: I saw the most famous one. Some good. Now to me,

[00:49:34] Emily: you only saw the same as ones. How do you just actually a movie one time

[00:49:37] Andrew: I’ve seen it more than one time, but. No, it’s fine for people to know what they want and to just kind of live their truth.

[00:49:46] I don’t know. Is that too buzzwordy?

[00:49:49] Emily: It’s a little, it’s good to get, to live your truth. Lydia

[00:49:53] Andrew: truth. Some people are making it so to their late twenties and still figuring out what that looks like

[00:50:01] Emily: roof. Oh, we didn’t talk about Mike’s music in Cincinnati, Ohio at all, but maybe I’ll talk about it. When I get back, for instance, an ante,

[00:50:08] Andrew: let’s talk about it and you get back.

[00:50:10] I think talking about. I think talking about connecting with an audience is always going to be a helpful topic to kind of, to flush out and just food for thought for musicians to kind of dig into and think how they do that, how they do that well, and as much as I know. Okay. So I know that I sound really corporate by.

[00:50:31] Emily: Target market. And I don’t want to think about it. You know, the labels think about it as like your target market and you shouldn’t be thinking about your audience as like my target audience. You should be thinking about like my fans, like my music. I think you should be making your music. In terms of what you think sounds good.

[00:50:47] I think that you really should be making music that you think sounds good and that you would listen to. I think that maybe you should be also thinking a little bit about what do you, what, what will other people like what people like that doesn’t really work. And like, I really do think that maybe you should ask other people, like, is this good?

[00:51:04] Do you think this is good? I do kind of think you should be writing for other people a little bit, at least every once in a while, if you want to have a successful career. But I don’t think that you should be thinking about your audience as a target market. I don’t think they should be thinking about them in corporate terms as people that you should be selling to as dollar signs and money and stuff like that.

[00:51:28] I think that you should be thinking of them as people with whom you want to build relationships and, you know, have like a long, because when you build relationships with your fans, that’s, that’s long lasting and that’s going to be more valuable for both of you going forward. You know? And I think that w when I say.

[00:51:48] Exp give them some credit, but don’t ask too much of them, like give them some credit that if you grow a little bit, they’re going to be willing to grow with you. Don’t be too afraid to change because then you’re not giving them any credit that they’re going to be willing to grow with. You don’t dumb it down for them, but also don’t expect them to do a complete 180 with you because that’s, that’s a lot at once.

[00:52:13] And, you know,

[00:52:16] Andrew: That’s how I ended up with the stackup snobs. Like, oh yeah. Like I liked their first album.

[00:52:22] Emily: Uh, I mean, you’re going to get that anyway. And you know what, honestly, if you get that person, if you get those snobs and you have made good for you,

[00:52:34] Andrew: good for you. Well, so I know that I sound super corporate right.

[00:52:37] Using those terms and I have. I’m okay with it. Uh, and the reason why I’m okay with it is I’m discovering like the more I grow my day job career, that this is turning into like a very helpful framework for me to wrap my brain around how things work. And even if it sounds really lame, it just, it helps in my head, like understand how that all kind of, some of those dynamics and how it’s all playing out.

[00:53:00] It’s a good reference point for me. I’m also just getting old and crushed the, I actually posted to my personal Facebook this week. Um, for the first time in forever, I usually,

[00:53:12] Emily: oh, I didn’t see that

[00:53:14] Andrew: it was just along the lines. Like Facebook’s boring. Uh, I I’m on LinkedIn now and for whatever reason and turning to the old crush, any person that is enjoying.

[00:53:24] I I’ve just been, I don’t look at Facebook hardly at all anymore. I’m more likely to go on LinkedIn and look at what people releasing the tech industry or other industries. It just, I kind of just find it fascinating.

[00:53:37] Emily: Oh, I hate LinkedIn so much. Just people trying to like sell my business things. I’m like stop.

[00:53:42] I mean,

[00:53:43] Andrew: so much of it is just like posturing and look at me. I’m cool. Please hire me.

[00:53:50] Emily: Well, or I did this beautiful saying, and I gave somebody a chance. I hired somebody. I worked every day. Sure.

[00:53:59] Andrew: I’m not saying all the contents great. But just in terms of framework for wrapping my brain around things, it’s been an interesting shift as I approached my late twenties.

[00:54:12] Emily: So, yeah, so young. Yes. Well, I guess I’ll talk to you when I get back from Cincinnasty

[00:54:23] Andrew: Cincinnasty

[00:54:24] Emily: nest and since yesterday, so it’s a lot nicer than it used to be. A lot of

[00:54:30] Andrew: places are,

[00:54:32] Emily: well, you know, when, when the millennials moved back to the cities, after our parents’ parents left them,

[00:54:40] Andrew: I am turning into the person that’s like, oh yeah.

[00:54:43] And that over there, that used to be blank.

[00:54:46] Emily: Yeah. Oh gosh. Speaking. I used to be man, the mercy lounge, cannery ballroom, and Hiwatt in Nashville. They’re going to have to move after being in the same place for 20 years. Wow, 20 years and, uh, so sad.

[00:55:04] Andrew: Well, that sounds much sadder than what I discovered yesterday, which is the restaurant where Wilson, I had her wedding.

[00:55:10] Reception is no longer there.

[00:55:14] It was just a McCormick and Schmick’s, it’s not like it was no.

[00:55:20] Emily: Well, Rick and I got married, I think he about a year, almost a year to the day Frick and I got married. Our wedding venue was almost destroyed by.

[00:55:33] Rock you lack a horror. Okay. All right. Well, I’m going to go have my I’m going to go make coffee. All right, well, uh, please check us out on Patrion. Subscribe on YouTube iTunes, Spotify, buy a shirt. Buy shit. Thanks for watching. Thanks for listening. Thanks for understanding until next time. My name is Emily.

[00:56:00] Andrew: And my name is Andrew. Sorry. We’re suppressing burp there.

[00:56:03] Emily: Yeah. Goodbye. Bye.