1
00:00:30,000 --> 00:00:35,600
Hey everybody.

2
00:00:35,600 --> 00:00:36,600
Welcome to Beering Gear.

3
00:00:36,600 --> 00:00:39,600
Yes sir.

4
00:00:39,600 --> 00:00:41,920
Glad to be actually face to face this time.

5
00:00:41,920 --> 00:00:42,920
Yes, it's good.

6
00:00:42,920 --> 00:00:44,120
We haven't done this since the first episode.

7
00:00:44,120 --> 00:00:50,560
Yeah and honestly we don't get to be face to face near as much as I would like to.

8
00:00:50,560 --> 00:00:51,560
Sure friend.

9
00:00:51,560 --> 00:00:52,560
Yes.

10
00:00:52,560 --> 00:00:56,320
Why don't you tell everybody what we're drinking?

11
00:00:56,320 --> 00:01:03,720
Yes, we have, so I'll try to say it right, Chamei Bleu Grand Reserve.

12
00:01:03,720 --> 00:01:04,720
Bleu?

13
00:01:04,720 --> 00:01:05,840
Yeah, bleu.

14
00:01:05,840 --> 00:01:06,840
Even though it's from Belgium.

15
00:01:06,840 --> 00:01:09,840
Even though it's from Belgium, it's called bleu.

16
00:01:09,840 --> 00:01:10,840
Bleu, yeah.

17
00:01:10,840 --> 00:01:14,160
So this is a Trappist beer.

18
00:01:14,160 --> 00:01:17,400
What that means is it's actually brewed in a monastery.

19
00:01:17,400 --> 00:01:18,400
Yes.

20
00:01:18,400 --> 00:01:24,080
And to qualify as a Trappist beer, it has to either be directly brewed or monitored

21
00:01:24,080 --> 00:01:26,640
by the monks.

22
00:01:26,640 --> 00:01:28,800
Brewing cannot be their primary function.

23
00:01:28,800 --> 00:01:31,880
They actually still need to be a monk.

24
00:01:31,880 --> 00:01:38,840
They can use the income from it for the upkeep of the monastery, but the vast majority of

25
00:01:38,840 --> 00:01:42,280
the money is actually donated and given away.

26
00:01:42,280 --> 00:01:45,040
So this is like for tax purposes?

27
00:01:45,040 --> 00:01:48,000
How about that?

28
00:01:48,000 --> 00:01:53,040
So what it's done for me that sent me on a spiral going, well if they're giving the money

29
00:01:53,040 --> 00:01:59,160
away to people in need, should I exclusively be drinking Trappist beer?

30
00:01:59,160 --> 00:02:01,880
I mean, I feel like that's the way to go.

31
00:02:01,880 --> 00:02:04,920
By, I mean, I get the beer that I want to drink.

32
00:02:04,920 --> 00:02:05,960
We're about to find out.

33
00:02:05,960 --> 00:02:06,960
And we're helping people out.

34
00:02:06,960 --> 00:02:07,960
Yeah, right.

35
00:02:07,960 --> 00:02:08,960
I mean, it's a win-win.

36
00:02:08,960 --> 00:02:09,960
Win-win.

37
00:02:09,960 --> 00:02:14,120
Also, if I'm in need, will they just give me the beer?

38
00:02:14,120 --> 00:02:15,120
That would be nice.

39
00:02:15,120 --> 00:02:22,400
Now what you can do is you can actually, if you go to Belgium, there are a ton of these

40
00:02:22,400 --> 00:02:26,520
and you can actually go up to the Abbey and ring the bell and wait for somebody to come

41
00:02:26,520 --> 00:02:28,160
to the gate and let you in.

42
00:02:28,160 --> 00:02:29,160
Yeah.

43
00:02:29,160 --> 00:02:34,460
And you can actually go in and partake there locally.

44
00:02:34,460 --> 00:02:38,040
And some of them even produce cheese and other things.

45
00:02:38,040 --> 00:02:39,040
Oh man.

46
00:02:39,040 --> 00:02:41,200
So that's so good.

47
00:02:41,200 --> 00:02:47,580
And the ones that do cheese, they'll take the basically the mash or whatever's left

48
00:02:47,580 --> 00:02:50,200
and feed that to the cows.

49
00:02:50,200 --> 00:02:51,200
Of course.

50
00:02:51,200 --> 00:02:52,200
Yeah.

51
00:02:52,200 --> 00:02:53,200
And then they keep going.

52
00:02:53,200 --> 00:02:54,200
Now you got beer butter.

53
00:02:54,200 --> 00:02:55,200
Yes, beer butter.

54
00:02:55,200 --> 00:02:56,200
There you go.

55
00:02:56,200 --> 00:02:58,720
So, oh my gosh.

56
00:02:58,720 --> 00:03:02,160
I was introduced to this by Jason Cork, our friend.

57
00:03:02,160 --> 00:03:06,000
He had it when he was on a trip in Boston.

58
00:03:06,000 --> 00:03:07,640
And so he recommended it.

59
00:03:07,640 --> 00:03:08,640
So we're giving it a go.

60
00:03:08,640 --> 00:03:09,640
All right.

61
00:03:09,640 --> 00:03:11,380
Let's find out what we're in for here.

62
00:03:11,380 --> 00:03:12,380
This is a first.

63
00:03:12,380 --> 00:03:13,380
Cheers.

64
00:03:13,380 --> 00:03:14,380
Cheers.

65
00:03:14,380 --> 00:03:19,160
That's not bad at all.

66
00:03:19,160 --> 00:03:20,160
That's good.

67
00:03:20,160 --> 00:03:21,160
Yeah.

68
00:03:21,160 --> 00:03:24,160
That's a lot.

69
00:03:24,160 --> 00:03:25,960
I'd call it a brown ale.

70
00:03:25,960 --> 00:03:28,080
Yeah, brown ale.

71
00:03:28,080 --> 00:03:30,800
But that is not bad at all.

72
00:03:30,800 --> 00:03:32,600
There's some...

73
00:03:32,600 --> 00:03:34,040
There's some residual floating in there.

74
00:03:34,040 --> 00:03:35,960
There's some floating.

75
00:03:35,960 --> 00:03:42,040
That makes me think of going and getting a Guinness actually on tap in England.

76
00:03:42,040 --> 00:03:43,040
Oh, wow.

77
00:03:43,040 --> 00:03:44,560
No, I haven't done that.

78
00:03:44,560 --> 00:03:47,520
You get that, some of that residual.

79
00:03:47,520 --> 00:03:48,520
When were you in England?

80
00:03:48,520 --> 00:03:49,520
Well, I've never been.

81
00:03:49,520 --> 00:03:50,520
Oh, okay.

82
00:03:50,520 --> 00:03:54,880
I mean, I speak like I've been there, but I always hear all the stories of going and

83
00:03:54,880 --> 00:03:57,920
getting it on tap in the pub.

84
00:03:57,920 --> 00:04:02,960
And you see all the little sediment residual that's in it.

85
00:04:02,960 --> 00:04:04,760
And that's really good.

86
00:04:04,760 --> 00:04:05,760
That tastes great.

87
00:04:05,760 --> 00:04:06,760
Thank you, man.

88
00:04:06,760 --> 00:04:07,760
That's a treasure right there.

89
00:04:07,760 --> 00:04:08,760
Yeah.

90
00:04:08,760 --> 00:04:09,760
Thank you, World Market.

91
00:04:09,760 --> 00:04:10,760
Well done.

92
00:04:10,760 --> 00:04:15,720
Only place around that has it.

93
00:04:15,720 --> 00:04:17,240
And do they just have the blue?

94
00:04:17,240 --> 00:04:21,600
No, they have the red, which is the premier.

95
00:04:21,600 --> 00:04:25,240
And then they have the little gift pack, if you will.

96
00:04:25,240 --> 00:04:28,720
It comes with an official Chamay goblet.

97
00:04:28,720 --> 00:04:29,720
A goblet?

98
00:04:29,720 --> 00:04:30,720
A goblet, yes.

99
00:04:30,720 --> 00:04:31,720
Okay.

100
00:04:31,720 --> 00:04:32,960
Well, if the monks are drinking out of a goblet...

101
00:04:32,960 --> 00:04:33,960
Yeah, we need a goblet.

102
00:04:33,960 --> 00:04:35,520
And we need a goblet.

103
00:04:35,520 --> 00:04:40,400
And so then it comes with all four beers that they produce.

104
00:04:40,400 --> 00:04:44,360
This is actually was originally a Christmas beer.

105
00:04:44,360 --> 00:04:46,840
And people liked it so much, they just had to keep making it.

106
00:04:46,840 --> 00:04:51,320
That's a little bit weird that the blue one is the Christmas beer.

107
00:04:51,320 --> 00:04:53,640
It feels like it should be the green one or the red one.

108
00:04:53,640 --> 00:04:54,640
Yes.

109
00:04:54,640 --> 00:04:55,640
Come on, guys.

110
00:04:55,640 --> 00:04:56,640
Yeah.

111
00:04:56,640 --> 00:04:59,680
So you've got the red in there.

112
00:04:59,680 --> 00:05:00,680
You've got...

113
00:05:00,680 --> 00:05:03,520
Is it the green or the gold?

114
00:05:03,520 --> 00:05:04,520
Let me see.

115
00:05:04,520 --> 00:05:07,200
What is this?

116
00:05:07,200 --> 00:05:08,200
Johnny Walker?

117
00:05:08,200 --> 00:05:11,080
There we go.

118
00:05:11,080 --> 00:05:12,820
So you get...

119
00:05:12,820 --> 00:05:18,680
So you've got the gold, and the gold, if I remember correctly, is the actual house beer,

120
00:05:18,680 --> 00:05:20,600
if you will, for these monks.

121
00:05:20,600 --> 00:05:22,600
That's what they actually drink.

122
00:05:22,600 --> 00:05:29,880
It's more of a golden beer, around 5%, where this is 9%.

123
00:05:29,880 --> 00:05:30,880
Oh my.

124
00:05:30,880 --> 00:05:31,880
Yes.

125
00:05:31,880 --> 00:05:32,880
And then the other...

126
00:05:32,880 --> 00:05:33,880
Where is it at?

127
00:05:33,880 --> 00:05:37,880
So I can try to pronounce it.

128
00:05:37,880 --> 00:05:43,640
It's Sink Scents, which is 150.

129
00:05:43,640 --> 00:05:45,120
That is a...

130
00:05:45,120 --> 00:05:46,720
Especially when they do...

131
00:05:46,720 --> 00:05:47,720
That one's 8%.

132
00:05:47,720 --> 00:05:50,240
What do you mean 150?

133
00:05:50,240 --> 00:05:51,920
Well that's what the Sink Scent means.

134
00:05:51,920 --> 00:05:52,920
Oh.

135
00:05:52,920 --> 00:05:53,920
It's 150.

136
00:05:53,920 --> 00:05:54,920
It means 150.

137
00:05:54,920 --> 00:05:55,920
It means 150.

138
00:05:55,920 --> 00:05:56,920
Okay.

139
00:05:56,920 --> 00:06:00,160
So it's like, if it's $150, I'm not drinking that beer.

140
00:06:00,160 --> 00:06:01,160
No, no, no, no.

141
00:06:01,160 --> 00:06:03,800
So that one was brewed in 1966.

142
00:06:03,800 --> 00:06:06,800
The Premier, do they indicate here?

143
00:06:06,800 --> 00:06:12,520
I don't, I think that's the one that goes back to the beginning, along with...

144
00:06:12,520 --> 00:06:16,880
No, the Grand Reserve was in 1948.

145
00:06:16,880 --> 00:06:17,880
So.

146
00:06:17,880 --> 00:06:23,280
But you get all four of those, plus the little Chamei Chalice.

147
00:06:23,280 --> 00:06:25,240
So these are actually in smaller bottles.

148
00:06:25,240 --> 00:06:26,240
Oh, okay.

149
00:06:26,240 --> 00:06:28,840
So the bottle fits perfectly in the Chalice.

150
00:06:28,840 --> 00:06:29,840
The Chalice needs...

151
00:06:29,840 --> 00:06:31,840
Or the goblet, whatever you want to call it.

152
00:06:31,840 --> 00:06:33,520
I mean, Chalice is pretty cool.

153
00:06:33,520 --> 00:06:34,520
Yeah, it is.

154
00:06:34,520 --> 00:06:37,400
Makes me think of Indiana Jones.

155
00:06:37,400 --> 00:06:38,880
So there you can see the picture.

156
00:06:38,880 --> 00:06:39,880
Not too shabby.

157
00:06:39,880 --> 00:06:41,800
Yeah, yeah, yeah, yeah.

158
00:06:41,800 --> 00:06:46,880
So they have, they actually have that, not that cheap though, but they have that set

159
00:06:46,880 --> 00:06:47,880
there.

160
00:06:47,880 --> 00:06:48,880
I saw it.

161
00:06:48,880 --> 00:06:53,120
$31, get you the four beers plus your goblet slash Chalice.

162
00:06:53,120 --> 00:06:54,120
Wow.

163
00:06:54,120 --> 00:06:55,120
Yeah.

164
00:06:55,120 --> 00:06:56,120
No, that doesn't sound...

165
00:06:56,120 --> 00:06:57,120
Four beers?

166
00:06:57,120 --> 00:06:58,120
Four beers.

167
00:06:58,120 --> 00:06:59,120
Plus the cup.

168
00:06:59,120 --> 00:07:00,120
This one was...

169
00:07:00,120 --> 00:07:03,000
That's a lot for four beers, but glass is also really expensive now.

170
00:07:03,000 --> 00:07:04,000
Correct.

171
00:07:04,000 --> 00:07:05,000
This one was $19.99.

172
00:07:05,000 --> 00:07:06,000
It's not bad.

173
00:07:06,000 --> 00:07:10,480
For $750 milliliter, it looks like a wine bottle.

174
00:07:10,480 --> 00:07:15,480
The Reserve was $17.99, same size, $750.

175
00:07:15,480 --> 00:07:17,520
Yeah, that's not bad at all.

176
00:07:17,520 --> 00:07:19,280
It's not bad at all.

177
00:07:19,280 --> 00:07:21,440
Yeah, we may be...

178
00:07:21,440 --> 00:07:26,600
This is my number one reason to become a monk all of a sudden.

179
00:07:26,600 --> 00:07:28,760
Yes, I went to brew beer.

180
00:07:28,760 --> 00:07:34,060
I'm in for making the beer and drinking the beer, and if we can get some bread and cheese

181
00:07:34,060 --> 00:07:36,160
involved with that, I'm set.

182
00:07:36,160 --> 00:07:37,160
Absolutely.

183
00:07:37,160 --> 00:07:39,160
Maybe some sausage.

184
00:07:39,160 --> 00:07:46,480
Yeah, so I actually have a couple other Trappist beers at home that I'm going to partake in.

185
00:07:46,480 --> 00:07:47,480
Try them out.

186
00:07:47,480 --> 00:07:49,840
Yes, and we'll see how those go.

187
00:07:49,840 --> 00:07:51,600
Those may be on future shows.

188
00:07:51,600 --> 00:07:55,200
Is Francis Conner a Trappist?

189
00:07:55,200 --> 00:07:56,200
Because it's...

190
00:07:56,200 --> 00:07:58,560
I mean, it's got the monk on the label.

191
00:07:58,560 --> 00:08:01,720
I mean, it may have started that way and maybe it's not anymore.

192
00:08:01,720 --> 00:08:03,280
I don't know, but like...

193
00:08:03,280 --> 00:08:05,880
Dad, I can't speak to you.

194
00:08:05,880 --> 00:08:11,280
I would be interested to know if anybody knows, you can just tell us while you're...

195
00:08:11,280 --> 00:08:14,520
Just scream at the podcast while you're listening to it.

196
00:08:14,520 --> 00:08:18,440
I found that that's the best way to converse with other podcasters.

197
00:08:18,440 --> 00:08:19,440
Send us a boost.

198
00:08:19,440 --> 00:08:20,440
You can give us a message.

199
00:08:20,440 --> 00:08:21,440
There you go.

200
00:08:21,440 --> 00:08:23,760
Yeah, so I have Orval at home.

201
00:08:23,760 --> 00:08:28,760
I have the Rochefort 10 and then I have the...

202
00:08:28,760 --> 00:08:31,120
I'm probably butchering some of these names.

203
00:08:31,120 --> 00:08:33,400
The Westmel Trappel.

204
00:08:33,400 --> 00:08:36,040
That's what I have.

205
00:08:36,040 --> 00:08:37,960
So we'll see how those go.

206
00:08:37,960 --> 00:08:38,960
Not too shabby.

207
00:08:38,960 --> 00:08:43,960
You're going to try them out and tell me how you like them.

208
00:08:43,960 --> 00:08:47,320
This Chimay is fantastic.

209
00:08:47,320 --> 00:08:48,320
It's good.

210
00:08:48,320 --> 00:08:49,320
I do have a...

211
00:08:49,320 --> 00:08:50,320
Recommend.

212
00:08:50,320 --> 00:08:52,160
Let me pull this up real quick.

213
00:08:52,160 --> 00:08:54,920
I do have a PSA for people on beer.

214
00:08:54,920 --> 00:08:55,920
A PSA?

215
00:08:55,920 --> 00:08:56,920
A PSA, yes.

216
00:08:56,920 --> 00:08:57,920
It's going to be great.

217
00:08:57,920 --> 00:08:58,920
Where's that at?

218
00:08:58,920 --> 00:09:01,920
Is that the PSA noise?

219
00:09:01,920 --> 00:09:06,000
Yes, the official PSA noise of the podcast.

220
00:09:06,000 --> 00:09:08,520
Here we go.

221
00:09:08,520 --> 00:09:16,120
So in the vein of your bad experience in the last show, I tried what was the one that I

222
00:09:16,120 --> 00:09:18,840
thought Drake had recommended to me.

223
00:09:18,840 --> 00:09:22,360
The Samuel Smith's organic chocolate stout.

224
00:09:22,360 --> 00:09:25,480
And it was like, okay, let's give it a shot.

225
00:09:25,480 --> 00:09:28,040
It was horrible.

226
00:09:28,040 --> 00:09:31,480
It wasn't like they brew chocolate into the beer.

227
00:09:31,480 --> 00:09:35,120
It was literally chocolate flavored beer.

228
00:09:35,120 --> 00:09:36,800
It was horrible.

229
00:09:36,800 --> 00:09:44,520
And again, like I've had stouts that tasted like you could like catch a hint of chocolate.

230
00:09:44,520 --> 00:09:46,120
It's like there's this aftertaste.

231
00:09:46,120 --> 00:09:48,040
It's like, oh, that's chocolate.

232
00:09:48,040 --> 00:09:52,320
The like very forward chocolate taste with beer.

233
00:09:52,320 --> 00:09:55,360
It's like, what is happening right now?

234
00:09:55,360 --> 00:09:56,360
Yes.

235
00:09:56,360 --> 00:10:01,240
So this literally tastes like they poured milk chocolate directly into the beer.

236
00:10:01,240 --> 00:10:02,840
Man, that's not good.

237
00:10:02,840 --> 00:10:06,240
And the aftertaste was just rough.

238
00:10:06,240 --> 00:10:10,760
So my PSA, my warning, don't do it.

239
00:10:10,760 --> 00:10:11,760
Don't do it.

240
00:10:11,760 --> 00:10:15,840
The one that he actually recommended is the nut brown L. So I will have to try to track

241
00:10:15,840 --> 00:10:18,280
that one down and try it.

242
00:10:18,280 --> 00:10:24,600
Yeah, I think, you know, that nutty flavor, that's not too bad.

243
00:10:24,600 --> 00:10:25,600
Not too bad at all.

244
00:10:25,600 --> 00:10:27,080
You can get away with more of that.

245
00:10:27,080 --> 00:10:29,680
I feel like in beer than you can chocolate.

246
00:10:29,680 --> 00:10:34,280
Yeah, not good.

247
00:10:34,280 --> 00:10:35,280
Don't do it.

248
00:10:35,280 --> 00:10:36,280
Don't do it.

249
00:10:36,280 --> 00:10:37,360
All right.

250
00:10:37,360 --> 00:10:47,320
So jumping back into compression, yes, some of these.

251
00:10:47,320 --> 00:10:49,000
It's like we're going to talk about compression.

252
00:10:49,000 --> 00:10:50,440
We're going to talk about EQ.

253
00:10:50,440 --> 00:10:51,440
We're going to talk about limiting.

254
00:10:51,440 --> 00:10:53,800
We're going to talk about normalization.

255
00:10:53,800 --> 00:10:58,120
I feel like there was another one somewhere in the middle of that.

256
00:10:58,120 --> 00:10:59,360
I can't remember.

257
00:10:59,360 --> 00:11:09,040
But this is this concept of how do I make, you know, I think we I think we mentioned

258
00:11:09,040 --> 00:11:18,480
earlier the general rule of any sound reinforcement, any sound reinforcement system or, you know,

259
00:11:18,480 --> 00:11:23,520
when you're recording somebody is you want that person to sound like themselves or you

260
00:11:23,520 --> 00:11:25,760
want that instrument to sound like itself.

261
00:11:25,760 --> 00:11:26,760
Yeah.

262
00:11:26,760 --> 00:11:35,880
Now, you get a little bit of you get a little bit away from that in some of the newer versions

263
00:11:35,880 --> 00:11:43,640
of things like when sometimes new sound, whatever, when you talk about synthesis, when you talk

264
00:11:43,640 --> 00:11:49,480
about trying to synthesize a sound, when you talk about electric guitars in any kind of

265
00:11:49,480 --> 00:11:57,120
distorted or I don't know even what I'm trying to say here, there are sounds that you are

266
00:11:57,120 --> 00:12:01,480
trying to warp them in order to make a certain sound.

267
00:12:01,480 --> 00:12:08,320
But that's kind of the point of those is that you are still like usually musically.

268
00:12:08,320 --> 00:12:09,600
You're thinking of overdrive?

269
00:12:09,600 --> 00:12:20,120
Like overdrive, fuzz, even, you know, hard like wah or reverb or, you know, some of the

270
00:12:20,120 --> 00:12:22,920
spacey reverbs and stuff like that.

271
00:12:22,920 --> 00:12:28,720
You're trying to introduce or introduce you're trying to.

272
00:12:28,720 --> 00:12:38,920
What's the word you're trying to manipulate the sound in such a way that makes it.

273
00:12:38,920 --> 00:12:40,800
I would hope more musical.

274
00:12:40,800 --> 00:12:45,400
I mean, that you're trying to, you know, create a feel.

275
00:12:45,400 --> 00:12:51,400
I love that about like overdrive and stuff like that is that like crunchiness.

276
00:12:51,400 --> 00:12:56,200
The reason that that came about is, you know, you had these guitars and originally they

277
00:12:56,200 --> 00:12:58,320
were all acoustic guitars.

278
00:12:58,320 --> 00:13:03,240
And then they're like, how do I compete with a band while I'm playing a guitar that, you

279
00:13:03,240 --> 00:13:06,760
know, only has enough sound for really me and the person sitting in front of me to hear

280
00:13:06,760 --> 00:13:07,760
it?

281
00:13:07,760 --> 00:13:13,320
Let's plug it in, let's put this, you know, pickup inside of this or microphone in front

282
00:13:13,320 --> 00:13:15,280
of it or something like that.

283
00:13:15,280 --> 00:13:19,000
They tried a bunch of different ways of doing it with transducers and all these different

284
00:13:19,000 --> 00:13:20,000
things.

285
00:13:20,000 --> 00:13:25,440
And so they, they come up with this, well, I'm going to put it on this or coming out

286
00:13:25,440 --> 00:13:26,880
of this speaker for itself.

287
00:13:26,880 --> 00:13:30,080
Like the whole band isn't coming through speakers.

288
00:13:30,080 --> 00:13:34,200
They're just playing their brass and, you know, woodwind and it's louder and it kind

289
00:13:34,200 --> 00:13:35,200
of cuts through everything.

290
00:13:35,200 --> 00:13:41,400
And the guitar is chunking back here, but it's, it's not as big as a piano to be able

291
00:13:41,400 --> 00:13:49,280
to really push sound or even the bass guitars or bass guitars, the basses that they used

292
00:13:49,280 --> 00:13:51,040
to use those stand up basses.

293
00:13:51,040 --> 00:13:56,400
That's a huge, like that's a furniture, a piece of furniture that's, you know, emanating

294
00:13:56,400 --> 00:13:58,980
the sound and you really need that for that low end.

295
00:13:58,980 --> 00:14:07,040
But guitars, they were trying to push them with these speakers and originally, you know,

296
00:14:07,040 --> 00:14:12,640
they tried to get these big speakers that would push that sound really with, I guess,

297
00:14:12,640 --> 00:14:15,800
closer fidelity to what they were hearing.

298
00:14:15,800 --> 00:14:21,620
And then this thing happens where they, they get a smaller speaker and they push it harder

299
00:14:21,620 --> 00:14:22,620
than they should.

300
00:14:22,620 --> 00:14:26,120
And what you hear is this distortion in the sound.

301
00:14:26,120 --> 00:14:31,320
You start to hear this, the beginnings of the electric guitar, like crunch, the electric

302
00:14:31,320 --> 00:14:39,080
guitar rasp, whatever sound you want to, you know, equate that to, but it's the first distortion

303
00:14:39,080 --> 00:14:42,480
and it's called overdrive because you are overdriving the speaker.

304
00:14:42,480 --> 00:14:45,640
You are trying to push it harder than it should.

305
00:14:45,640 --> 00:14:50,160
And you've all heard this one, a speaker like blows, or I don't know if you have or not,

306
00:14:50,160 --> 00:14:55,160
but when a speaker blows, you hear distortion all the time because the speaker is not reproducing

307
00:14:55,160 --> 00:14:56,800
the sound the way that it's supposed to.

308
00:14:56,800 --> 00:15:06,120
But before that happens, there's this sound that's introduced to the original sound that

309
00:15:06,120 --> 00:15:07,640
makes it sound a certain way.

310
00:15:07,640 --> 00:15:13,600
So like all the way down that path to talk about like, yes, there are some ways that

311
00:15:13,600 --> 00:15:16,000
we're not trying to produce the original sound.

312
00:15:16,000 --> 00:15:20,880
We're trying to force it to sound different in one way or another.

313
00:15:20,880 --> 00:15:27,440
But for the huge majority of things, and especially when it comes to speaking and most singing

314
00:15:27,440 --> 00:15:33,160
and stuff like that, you're trying to be as true to the sound as you can.

315
00:15:33,160 --> 00:15:41,960
How do you have that fidelity of sound when you got all these different sources and you're

316
00:15:41,960 --> 00:15:45,680
trying to hear certain things inside of you?

317
00:15:45,680 --> 00:15:52,520
I meant to say this on the first show.

318
00:15:52,520 --> 00:15:58,400
It's like when you're watching something on an actual stage and you're like, what am I

319
00:15:58,400 --> 00:15:59,680
supposed to be looking at?

320
00:15:59,680 --> 00:16:03,560
And then somebody shines a spotlight on the person that you're supposed to be looking

321
00:16:03,560 --> 00:16:04,560
at.

322
00:16:04,560 --> 00:16:11,840
There's light all around the stage, but there's a person who is obviously the center of attention

323
00:16:11,840 --> 00:16:15,200
and they usually shine a spotlight on that person.

324
00:16:15,200 --> 00:16:18,200
And that's kind of what compression does audiologically.

325
00:16:18,200 --> 00:16:19,560
Audiologically?

326
00:16:19,560 --> 00:16:21,000
Audio-wise.

327
00:16:21,000 --> 00:16:28,120
Take a brief pause.

328
00:16:28,120 --> 00:16:33,360
But you're trying to come up with a way to...

329
00:16:33,360 --> 00:16:35,360
Now I have lost it.

330
00:16:35,360 --> 00:16:36,360
Audiologically.

331
00:16:36,360 --> 00:16:37,360
Audiologically.

332
00:16:37,360 --> 00:16:39,520
Yeah, but what...

333
00:16:39,520 --> 00:16:48,040
You just referenced being on stage in the spotlight.

334
00:16:48,040 --> 00:16:55,160
So in the same way that you would shine a spotlight on a stage to show, then you're

335
00:16:55,160 --> 00:16:59,560
going to shine a spotlight on the sound with compression.

336
00:16:59,560 --> 00:17:00,560
Yes.

337
00:17:00,560 --> 00:17:04,680
All right, here's where we can start.

338
00:17:04,680 --> 00:17:12,400
So you've got this idea that you have all of these different things to look at or hear,

339
00:17:12,400 --> 00:17:16,360
and there's certain things that you want to pay closer attention to.

340
00:17:16,360 --> 00:17:23,120
Now if you really want...

341
00:17:23,120 --> 00:17:36,640
I'm trying to think of like in a photo, you really want to pull a subject out of a photo,

342
00:17:36,640 --> 00:17:37,640
right?

343
00:17:37,640 --> 00:17:41,280
So one of the things that camera people...

344
00:17:41,280 --> 00:17:42,280
Photographers...

345
00:17:42,280 --> 00:17:43,840
There you go.

346
00:17:43,840 --> 00:17:52,920
Photographers will do is use a long lens, something with a long focal length or whatever

347
00:17:52,920 --> 00:17:53,920
that's called.

348
00:17:53,920 --> 00:18:06,520
They're going to use a long lens and they're going to use a really fast aperture, and they're

349
00:18:06,520 --> 00:18:14,640
going to try to get separation between the background of the image and the foreground.

350
00:18:14,640 --> 00:18:22,900
So they're going to bring into focus the subject of the image, and they are going to let every

351
00:18:22,900 --> 00:18:26,400
thing else kind of fuzz.

352
00:18:26,400 --> 00:18:31,360
And so that's kind of the idea inside of compression.

353
00:18:31,360 --> 00:18:36,680
That's kind of the idea inside of EQ as well.

354
00:18:36,680 --> 00:18:43,440
So compression and EQ work hand in hand.

355
00:18:43,440 --> 00:18:53,960
Compression works across the entire band of frequency range of the sound that you're replicating.

356
00:18:53,960 --> 00:18:57,200
EQs are specific.

357
00:18:57,200 --> 00:18:59,560
EQs you may have seen like...

358
00:18:59,560 --> 00:19:04,480
Or you have seen probably like on a pretty old...

359
00:19:04,480 --> 00:19:10,640
I mean they're all old now, but like the analog mixers that we used to have would have generally

360
00:19:10,640 --> 00:19:12,600
a three band EQ on them.

361
00:19:12,600 --> 00:19:17,280
Yes, you would have a high range or a high EQ.

362
00:19:17,280 --> 00:19:20,920
You would have a middle and you would have a low.

363
00:19:20,920 --> 00:19:30,440
And basically if you take the spectrum of the whole spectrum of what you're hearing,

364
00:19:30,440 --> 00:19:31,600
which is somewhere in the range...

365
00:19:31,600 --> 00:19:34,640
I mean I think they go lower.

366
00:19:34,640 --> 00:19:39,000
The EQs usually are like zero to like 25 or something like that.

367
00:19:39,000 --> 00:19:43,920
You're really only hearing 20 to 20 if you've got good hearing.

368
00:19:43,920 --> 00:19:49,480
Normal hearing, 20 Hz to 20 kHz.

369
00:19:49,480 --> 00:19:55,120
So you take that entire range and if you split it into thirds, you got that low end, you

370
00:19:55,120 --> 00:20:00,800
got the middle end and you got the high end.

371
00:20:00,800 --> 00:20:08,800
And so what those knobs would do is you can increase the volume of each of those sections.

372
00:20:08,800 --> 00:20:14,640
But now if you add in to the middle range usually is where they would start adding this,

373
00:20:14,640 --> 00:20:17,360
they would add a sweep knob.

374
00:20:17,360 --> 00:20:22,400
And what that does is it allows you to more dial in where in that middle range you're

375
00:20:22,400 --> 00:20:24,080
adjusting the volume.

376
00:20:24,080 --> 00:20:25,600
That makes sense.

377
00:20:25,600 --> 00:20:29,480
All the way up to like each...

378
00:20:29,480 --> 00:20:40,680
You got some of these big old EQs that have a massive number, 20 band EQ that has 20 different

379
00:20:40,680 --> 00:20:53,840
sections, 20 different frequencies that you are either pushing the volume on or pulling

380
00:20:53,840 --> 00:20:54,840
it back.

381
00:20:54,840 --> 00:20:56,640
Now why is this important?

382
00:20:56,640 --> 00:21:09,400
When you are taking the signal that's being sent to you and you're trying to make it clearer

383
00:21:09,400 --> 00:21:16,040
because what we're hearing in our headphones, through the microphone, all of these, through

384
00:21:16,040 --> 00:21:24,040
the preamp, through all of this different processing that's going on is a manipulated

385
00:21:24,040 --> 00:21:25,040
sound.

386
00:21:25,040 --> 00:21:29,240
You don't need to get it back to zero what it sounds like when I'm just talking to you

387
00:21:29,240 --> 00:21:30,720
in front of me.

388
00:21:30,720 --> 00:21:36,640
Or even better than that, if I can make it a little more clear, if I can make it a little

389
00:21:36,640 --> 00:21:44,520
more clear, I am manipulating the EQ in order to bring certain ranges down.

390
00:21:44,520 --> 00:21:53,560
Now you can hear like when I say certain, there's a sharpness to those aspirations or

391
00:21:53,560 --> 00:21:57,000
sibilance, is the other word for it.

392
00:21:57,000 --> 00:21:58,240
You can really hear it.

393
00:21:58,240 --> 00:22:00,240
I got it right that time.

394
00:22:00,240 --> 00:22:01,240
Sibilance.

395
00:22:01,240 --> 00:22:02,240
Yes.

396
00:22:02,240 --> 00:22:07,080
And you can hear like as I'm really hissing into this microphone, almost whistling into

397
00:22:07,080 --> 00:22:10,880
the microphone, you can hear like that sharpness inside of it.

398
00:22:10,880 --> 00:22:15,620
Well, that's unpleasant for a long period of time to keep hearing that over and over

399
00:22:15,620 --> 00:22:16,620
and over again.

400
00:22:16,620 --> 00:22:23,040
So what you would do is you would take, you would find that frequency on the high end

401
00:22:23,040 --> 00:22:27,200
of your spectrum and you would locate that and you would bring it down just a little

402
00:22:27,200 --> 00:22:30,560
bit because that's a little too sharp.

403
00:22:30,560 --> 00:22:34,720
So some of that is just, you know, when someone talks into a microphone, you're judging how

404
00:22:34,720 --> 00:22:40,040
far away you should be from the microphone based on what you're hearing in your ears.

405
00:22:40,040 --> 00:22:42,880
But say they're not listening, they're just talking.

406
00:22:42,880 --> 00:22:47,240
That's all the audio engineer is doing is listening to it and trying to make it sound

407
00:22:47,240 --> 00:22:48,400
better.

408
00:22:48,400 --> 00:22:55,160
The other side of that spectrum, the low end and a lot of times radio broadcasters really

409
00:22:55,160 --> 00:22:56,880
like to have that low end.

410
00:22:56,880 --> 00:22:58,880
Yeah, get up there.

411
00:22:58,880 --> 00:23:01,320
The ladies, man.

412
00:23:01,320 --> 00:23:05,980
But that if you get closer to the microphone, you're going to hear some of that on a lot

413
00:23:05,980 --> 00:23:06,980
of mics.

414
00:23:06,980 --> 00:23:11,840
I think this RE 320 that we have over here next to us, it doesn't have as much of that

415
00:23:11,840 --> 00:23:13,200
proximity effect.

416
00:23:13,200 --> 00:23:19,800
That's that is something to play with, well then also on the EQ, you can decide whether

417
00:23:19,800 --> 00:23:24,480
or not that low end is going to be present or not.

418
00:23:24,480 --> 00:23:28,700
Well, just like on the high end, you want some of that.

419
00:23:28,700 --> 00:23:35,040
You want some of that high end, some of that brilliance or clarity is sometimes what it's

420
00:23:35,040 --> 00:23:36,040
called.

421
00:23:36,040 --> 00:23:37,040
I mean, there's there's different words.

422
00:23:37,040 --> 00:23:40,800
And it's so funny, like all of these words have nothing to do with sound, but they like

423
00:23:40,800 --> 00:23:41,800
muddy.

424
00:23:41,800 --> 00:23:44,120
I've heard it referred to as crisp.

425
00:23:44,120 --> 00:23:45,260
Crisp.

426
00:23:45,260 --> 00:23:48,520
It's almost like you can take the sound and break it like a cracker.

427
00:23:48,520 --> 00:23:49,520
Yes.

428
00:23:49,520 --> 00:23:57,280
So that that that sound like it's really nice because it really helps you understand the

429
00:23:57,280 --> 00:24:00,880
beginning and the end of a sound.

430
00:24:00,880 --> 00:24:03,320
That crispness helps there to be separation.

431
00:24:03,320 --> 00:24:04,320
Yes.

432
00:24:04,320 --> 00:24:09,040
Between things on the low end, you can see that it's kind of flubby and feels muddy,

433
00:24:09,040 --> 00:24:11,960
round and bouncy.

434
00:24:11,960 --> 00:24:17,200
And I mean, bouncing may not be the right word for it, but like real flowy and like

435
00:24:17,200 --> 00:24:20,640
there isn't a separation because it kind of goes in and out.

436
00:24:20,640 --> 00:24:21,640
Yes.

437
00:24:21,640 --> 00:24:24,800
But it helps with with gravity.

438
00:24:24,800 --> 00:24:25,800
And it helps with that.

439
00:24:25,800 --> 00:24:29,240
Like like this is this is a thing.

440
00:24:29,240 --> 00:24:30,240
Gravitas.

441
00:24:30,240 --> 00:24:32,920
I almost feel like I could hold this sound in my hands.

442
00:24:32,920 --> 00:24:33,920
Yeah.

443
00:24:33,920 --> 00:24:44,320
But the the problem with the bottom end is a lot of lower plosives like that.

444
00:24:44,320 --> 00:24:49,160
Actually I've got a lot of it cut out so you can't even like that's not a that if I didn't

445
00:24:49,160 --> 00:24:54,520
have this EQed right, then that would sound horrible what I just did into the microphone.

446
00:24:54,520 --> 00:25:02,820
But that that same like low end can be really hard to listen to as well.

447
00:25:02,820 --> 00:25:06,520
So you've got to find those in equalization.

448
00:25:06,520 --> 00:25:13,520
What you're doing is finding those bands of sound and you're tweaking them each individually

449
00:25:13,520 --> 00:25:17,640
and saying I need this a little bit up and I need this a little bit down.

450
00:25:17,640 --> 00:25:22,800
Now we've all been the guy in the I don't know, this doesn't seem to be a thing anymore.

451
00:25:22,800 --> 00:25:28,680
But you remember the old the old days with the old cassette players.

452
00:25:28,680 --> 00:25:29,680
Yeah.

453
00:25:29,680 --> 00:25:33,400
And one of them would have the EQ kind of in the middle and it's like a five band.

454
00:25:33,400 --> 00:25:36,400
Yeah, it was four or five band and you would make the little smile.

455
00:25:36,400 --> 00:25:38,400
Oh, I almost knocked over my beer.

456
00:25:38,400 --> 00:25:39,760
You would make the little smiley face.

457
00:25:39,760 --> 00:25:40,760
Yes, you would.

458
00:25:40,760 --> 00:25:45,120
Or you would raise the low end a little bit to get that thump and then you would raise

459
00:25:45,120 --> 00:25:49,360
the high end a little bit to get that presence and then you would push down on the middle.

460
00:25:49,360 --> 00:25:51,320
So it'd be like this smiley face.

461
00:25:51,320 --> 00:25:52,320
Yeah.

462
00:25:52,320 --> 00:25:58,520
And what you're doing is a mid cut, which is pretty normal actually, because our ears

463
00:25:58,520 --> 00:26:01,280
hear mid range really well.

464
00:26:01,280 --> 00:26:07,360
That's that's the last part of your range to go in your hearing is you'll lose some

465
00:26:07,360 --> 00:26:13,200
of the low end, you'll lose a lot of the high end, especially if you have earwax build up.

466
00:26:13,200 --> 00:26:14,680
So watch out for that.

467
00:26:14,680 --> 00:26:15,680
Yes.

468
00:26:15,680 --> 00:26:18,900
But that mid range kind of stays there and that makes it really muddy.

469
00:26:18,900 --> 00:26:25,000
What happens when it's really muddy, the sound is really muddy is you have the you can't

470
00:26:25,000 --> 00:26:30,520
you don't hear definition and you actually lose a lot of the volume as well.

471
00:26:30,520 --> 00:26:38,200
So it just sounds like I mean, you know, like you're not you're not hearing anything very

472
00:26:38,200 --> 00:26:39,720
well.

473
00:26:39,720 --> 00:26:46,080
So because that's part of our ears that we can we can actually hear really well in, it

474
00:26:46,080 --> 00:26:50,560
makes it hard to understand if that's all you're hearing.

475
00:26:50,560 --> 00:26:52,700
Correct.

476
00:26:52,700 --> 00:26:55,840
So what's the difference then?

477
00:26:55,840 --> 00:27:02,880
The difference between like limiting and compression and EQ is that EQ is taking individual sections

478
00:27:02,880 --> 00:27:06,640
of the sound and making them higher or lower.

479
00:27:06,640 --> 00:27:16,160
EQ and limiting, those are taking the entire band and saying this needs to be less dynamic

480
00:27:16,160 --> 00:27:22,320
or this just needs to be capped on in the case of limiting this needs to be capped and

481
00:27:22,320 --> 00:27:26,400
we don't need to go as as loud as this was before.

482
00:27:26,400 --> 00:27:34,320
In either case, they're they're limiting the dynamic range of the entire band of sound.

483
00:27:34,320 --> 00:27:35,320
Correct.

484
00:27:35,320 --> 00:27:40,960
Yes, that was a lot.

485
00:27:40,960 --> 00:27:41,960
Do you have any questions?

486
00:27:41,960 --> 00:27:46,800
This is my way of taking a breath.

487
00:27:46,800 --> 00:27:56,000
So tell us what the actual differences between what compression is doing and what normalization

488
00:27:56,000 --> 00:28:00,600
is doing because there are actually two two different things and then a second question

489
00:28:00,600 --> 00:28:06,240
would be, should I normalize first or should I compress first?

490
00:28:06,240 --> 00:28:09,000
Or do I even need normalization at all?

491
00:28:09,000 --> 00:28:10,000
That's good.

492
00:28:10,000 --> 00:28:15,440
I would I would say okay, so first the difference between the two normalization, audio normalization

493
00:28:15,440 --> 00:28:26,200
is when you you bring the high the you bring the gain of the entire sound.

494
00:28:26,200 --> 00:28:28,560
Again, this is this is the entire spectrum.

495
00:28:28,560 --> 00:28:29,840
This is an EQ.

496
00:28:29,840 --> 00:28:34,240
The entire spectrum you're bringing the entire the the gain of the end by gain.

497
00:28:34,240 --> 00:28:42,400
I mean like raw volume of the entire sound up to or down to the level that you want it

498
00:28:42,400 --> 00:28:44,080
to be.

499
00:28:44,080 --> 00:28:48,480
Now you got to be careful with normalization because you're not taking the like it's not

500
00:28:48,480 --> 00:28:58,000
compression normalization is is taking like the the amplitude of the entire recording

501
00:28:58,000 --> 00:29:03,120
to a level that you have said this is what I want it to be.

502
00:29:03,120 --> 00:29:07,080
Now we were talking about this before so I already have this ready.

503
00:29:07,080 --> 00:29:11,940
There's a thing called there's a unit of measurement.

504
00:29:11,940 --> 00:29:15,800
We've talked about decibels already.

505
00:29:15,800 --> 00:29:24,400
There's a unit of measurement that is a perceived loudness measurement and that's called luffs.

506
00:29:24,400 --> 00:29:31,320
And usually like if you're if you're putting a podcast out you're aiming for around negative

507
00:29:31,320 --> 00:29:35,640
20 to negative 16 luffs.

508
00:29:35,640 --> 00:29:41,560
And again now that's that's a perceived sound but it's a loudness measurement that you really

509
00:29:41,560 --> 00:29:51,880
want to ensure that that that is the that's going to put you in the same range as everybody

510
00:29:51,880 --> 00:29:54,120
else I guess.

511
00:29:54,120 --> 00:30:01,860
But you can tell like and and I would say like on a in in decibels like we're we're

512
00:30:01,860 --> 00:30:10,920
talking about like zero and just below unity and just below is probably the the area that

513
00:30:10,920 --> 00:30:12,080
would you would want to be in.

514
00:30:12,080 --> 00:30:16,720
I would say I would probably say negative negative five to zero.

515
00:30:16,720 --> 00:30:24,680
Now every this is a little bit weird because every three decibel change is like a is like

516
00:30:24,680 --> 00:30:26,560
a doubling the volume.

517
00:30:26,560 --> 00:30:30,320
So that's not a small like range.

518
00:30:30,320 --> 00:30:31,560
Correct.

519
00:30:31,560 --> 00:30:35,680
It sounds like a small range because you talk about going all the way to negative infinity

520
00:30:35,680 --> 00:30:41,240
which is nothing up to you know plus 20.

521
00:30:41,240 --> 00:30:44,840
That's that's a huge range of decibels.

522
00:30:44,840 --> 00:30:50,700
But every time you increase the decibels by about three dB you're doubling the sound every

523
00:30:50,700 --> 00:30:55,200
when you step if you've got a speaker that's 50 feet away from you when you step up to

524
00:30:55,200 --> 00:31:00,440
25 feet from it you're going to be about three dB louder louder.

525
00:31:00,440 --> 00:31:02,080
So that's a little bit strange.

526
00:31:02,080 --> 00:31:07,320
It's not I don't I wouldn't say that that's like that makes sense to our brains.

527
00:31:07,320 --> 00:31:12,760
When you're talking about normalization you're trying to take the overall sound and bring

528
00:31:12,760 --> 00:31:14,360
it to a certain level.

529
00:31:14,360 --> 00:31:20,200
Now the reason that I would do compression before normalization is because compression

530
00:31:20,200 --> 00:31:25,760
is going to make things sound louder.

531
00:31:25,760 --> 00:31:30,880
Compression is going to and again this kind of in that perceived range when you when you

532
00:31:30,880 --> 00:31:40,440
compress a sound you're you're not you're not actually making the the high end the amplitude

533
00:31:40,440 --> 00:31:50,440
of of your most your loudest rank or your loudest loudest peak peak or anything like

534
00:31:50,440 --> 00:31:54,400
you're not making that louder necessarily.

535
00:31:54,400 --> 00:32:02,600
You are bringing the high end and the or the highest part and the lowest part closer together.

536
00:32:02,600 --> 00:32:08,400
And when you do that everything sounds louder because again you're you if we're just out

537
00:32:08,400 --> 00:32:15,920
in you know the middle of you know the woods or I'm trying to think let's let's go to

538
00:32:15,920 --> 00:32:19,720
the city in our minds right.

539
00:32:19,720 --> 00:32:24,560
You're in the city and you're hearing cars you know drive by you you're you may be hearing

540
00:32:24,560 --> 00:32:30,440
a jackhammer or some sort of construction sound or some beeping of like a trash truck

541
00:32:30,440 --> 00:32:35,120
backing up or whatever your brain is still able to hear the person standing next to you

542
00:32:35,120 --> 00:32:45,240
talking in the midst of all of that different sound and your brain is making sense of that.

543
00:32:45,240 --> 00:32:52,000
Sound is helping to make sense of the thing that you are supposed to be hearing in a mix.

544
00:32:52,000 --> 00:32:57,200
It's it's helping to bring that into a in an into an area that you're you can really

545
00:32:57,200 --> 00:33:01,240
hear the difference between the highs and the lows.

546
00:33:01,240 --> 00:33:11,160
And so if you bring that that spotlight on to the sound and then you normalize it then

547
00:33:11,160 --> 00:33:17,280
you push it to the you're not only pushing the high end anymore to where you want it

548
00:33:17,280 --> 00:33:20,640
to be you're also bringing up the low end.

549
00:33:20,640 --> 00:33:24,360
So a lot of compressors will actually have this they'll have like an output gain or something

550
00:33:24,360 --> 00:33:29,280
like that where they they will say like you want compression but then you want it to be

551
00:33:29,280 --> 00:33:33,300
pushed a little bit harder after it's been compressed.

552
00:33:33,300 --> 00:33:37,120
And so that that type of gain on the back end does help with that.

553
00:33:37,120 --> 00:33:49,200
But normalization is different than compression in that in that way.

554
00:33:49,200 --> 00:33:50,640
How it's manipulating the sound.

555
00:33:50,640 --> 00:33:52,800
How it's manipulating the sound.

556
00:33:52,800 --> 00:34:02,640
It's not normalization is almost like the I would put it at the very end of everything.

557
00:34:02,640 --> 00:34:09,760
Like you you want to you want to limit I would put limiting man that's OK.

558
00:34:09,760 --> 00:34:14,520
So compression and EQ let's talk about that real quick when it comes to like order of

559
00:34:14,520 --> 00:34:16,880
things.

560
00:34:16,880 --> 00:34:29,440
If you are trying to get like a warmer sound then you should if you're trying to get like

561
00:34:29,440 --> 00:34:33,080
a warmer sound then I would you would EQ first.

562
00:34:33,080 --> 00:34:38,160
Is that right?

563
00:34:38,160 --> 00:34:44,840
Yeah if you're trying to get like a warmer sound then I would then I would EQ first and

564
00:34:44,840 --> 00:34:47,640
then compress.

565
00:34:47,640 --> 00:34:54,920
And then if you want to get like super clear clean sound then I would compress and then

566
00:34:54,920 --> 00:34:58,440
EQ.

567
00:34:58,440 --> 00:35:03,320
Yeah that's I'm trying to get it right in my head because it's one of those like it's

568
00:35:03,320 --> 00:35:06,200
really easy to say this the wrong way.

569
00:35:06,200 --> 00:35:10,600
So there's there's a reason to do each one of those I think first.

570
00:35:10,600 --> 00:35:15,440
But again that has to do with are you trying to get like you get the sound the way that

571
00:35:15,440 --> 00:35:21,040
you want it and then you compress everything or do you compress everything and then manipulate

572
00:35:21,040 --> 00:35:22,500
the way that it sounds.

573
00:35:22,500 --> 00:35:27,000
And you can really if you if you compress everything first and then manipulate the way

574
00:35:27,000 --> 00:35:35,160
that it sounds you can really bring out more of a difference between like certain areas

575
00:35:35,160 --> 00:35:38,240
of of the sound.

576
00:35:38,240 --> 00:35:45,920
And then after or I would actually probably limit unless you really want like some like

577
00:35:45,920 --> 00:35:50,400
if there's there's like a distorted like gritty sound that you're going after I would limit

578
00:35:50,400 --> 00:35:51,880
before those.

579
00:35:51,880 --> 00:35:54,440
Okay.

580
00:35:54,440 --> 00:35:58,880
You can limit at the very end if you want like you want some of that break up or some

581
00:35:58,880 --> 00:36:04,680
of that gravelly sound inside of it that makes it it sounds real.

582
00:36:04,680 --> 00:36:09,200
I would say when things kind of distort a little bit when when you hear somebody's voice

583
00:36:09,200 --> 00:36:15,160
start to get a little raspy that sounds more real than like the angel clarity thing that's

584
00:36:15,160 --> 00:36:16,160
going on.

585
00:36:16,160 --> 00:36:17,160
Sure.

586
00:36:17,160 --> 00:36:21,440
So again there's there's a lot of tastes involved with this but then if you're if you do all

587
00:36:21,440 --> 00:36:26,240
of that if you if you shape that sound and then you make it and then you limit it or

588
00:36:26,240 --> 00:36:34,240
limit it and then normalize it like you're you're you're taking all of that overall processing

589
00:36:34,240 --> 00:36:35,240
after the fact.

590
00:36:35,240 --> 00:36:37,960
Man that was a lot.

591
00:36:37,960 --> 00:36:38,960
Yeah.

592
00:36:38,960 --> 00:36:45,000
See I would have thought so tired EQ first to get the frequencies where you want.

593
00:36:45,000 --> 00:36:49,880
Then compress and I would have just thought that would have just been a natural order.

594
00:36:49,880 --> 00:36:55,880
Yeah because I want to manipulate the real sound of what I'm hearing.

595
00:36:55,880 --> 00:37:00,240
So like you talked about if you want to get those S's out pull those S's out.

596
00:37:00,240 --> 00:37:01,240
Yeah.

597
00:37:01,240 --> 00:37:08,520
If that if you've got somebody that's got a ton of low then high pass filter right bass

598
00:37:08,520 --> 00:37:09,520
roll off.

599
00:37:09,520 --> 00:37:10,520
Yeah.

600
00:37:10,520 --> 00:37:15,120
So you would essentially pass filter allows the high in that you got to there's low cut

601
00:37:15,120 --> 00:37:16,120
and high pass.

602
00:37:16,120 --> 00:37:17,120
Same thing.

603
00:37:17,120 --> 00:37:23,320
So high pass is letting the highs pass through the low cut is cutting the lows out.

604
00:37:23,320 --> 00:37:26,040
Same thing with high cut and low pass.

605
00:37:26,040 --> 00:37:27,040
Correct.

606
00:37:27,040 --> 00:37:32,880
So if you had somebody with a really bassy voice you want to start rolling away some

607
00:37:32,880 --> 00:37:40,360
of those lower frequencies to remove some of that muddiness and then once you had that

608
00:37:40,360 --> 00:37:46,800
then I would have thought okay now let's compress to get the highest in the lows together but

609
00:37:46,800 --> 00:37:53,080
you just gave examples there of why you would compress first and then do the EQ.

610
00:37:53,080 --> 00:37:59,640
Yeah I would say you it's which one this may not be the right way to say it so please forgive

611
00:37:59,640 --> 00:38:07,280
me but I would say which one of these do you want to hear the biggest change from.

612
00:38:07,280 --> 00:38:10,080
That's the one that I'm going to put actually second.

613
00:38:10,080 --> 00:38:11,240
Okay.

614
00:38:11,240 --> 00:38:17,680
Because if you if you use the EQ first and then you compress everything you're actually

615
00:38:17,680 --> 00:38:22,800
taking away some of the work that you just did in in that and that's where I would say

616
00:38:22,800 --> 00:38:27,520
it makes it warmer because it brings that compression is then bringing everything closer

617
00:38:27,520 --> 00:38:29,960
together.

618
00:38:29,960 --> 00:38:35,440
The the the difference between everything is getting squished and so you you have this

619
00:38:35,440 --> 00:38:41,080
again because our ears I would say because our ears naturally hear that mid-range better

620
00:38:41,080 --> 00:38:45,880
if you compress everything after you've already EQ'd it then you are naturally going to hear

621
00:38:45,880 --> 00:38:51,400
that mid-range a little bit louder than if you had left it without compression.

622
00:38:51,400 --> 00:38:52,400
Fair enough.

623
00:38:52,400 --> 00:38:57,200
Whereas if you compress it first you bring everything close together and then you EQ

624
00:38:57,200 --> 00:39:02,720
it and say like I'm gonna spike here a little bit to to really get some clarity.

625
00:39:02,720 --> 00:39:06,680
I mean you could you could compress everything and then you could boost the mid-range and

626
00:39:06,680 --> 00:39:14,320
then it would just sound terrible but it would be like super warm I guess but all you're

627
00:39:14,320 --> 00:39:19,800
gonna hear is mud at that point or you could boost the low end harder afterwards or you

628
00:39:19,800 --> 00:39:25,360
but most of the time when people are going to compress first and then EQ they're really

629
00:39:25,360 --> 00:39:34,160
looking to dial in that clarity they're trying to like push those those areas outside of

630
00:39:34,160 --> 00:39:42,120
the rest of the range and again again to use the spotlight idea really let your brain focus

631
00:39:42,120 --> 00:39:49,840
on those peak areas that they're they're pushing or parts that aren't being cut.

632
00:39:49,840 --> 00:39:57,200
I think we I don't remember if we talked about when you are EQing as well the general rule

633
00:39:57,200 --> 00:40:03,720
is to cut narrow and then gain wide.

634
00:40:03,720 --> 00:40:10,000
Now I don't actually know all of the reason why that's the case but when I say narrow

635
00:40:10,000 --> 00:40:18,280
and wide I'm talking about the span of frequencies that you are cutting or gaining so that that's

636
00:40:18,280 --> 00:40:19,280
usually called Q.

637
00:40:19,280 --> 00:40:27,560
I'm trying to think if there's another word for it that I've seen I'm sure that there

638
00:40:27,560 --> 00:40:41,440
is but the Q of an EQ is is how how wide the like if you if you picture that smiley face

639
00:40:41,440 --> 00:40:48,480
like how how wide is that dip yeah you can make it super narrow like where it's only

640
00:40:48,480 --> 00:40:55,280
a few frequencies or you can make it really wide.

641
00:40:55,280 --> 00:41:00,640
Now the danger of cutting really wide is you cut out a lot of things that you don't want

642
00:41:00,640 --> 00:41:01,640
to cut.

643
00:41:01,640 --> 00:41:08,560
I know that correct I don't I don't fully understand why when you when you boost you

644
00:41:08,560 --> 00:41:17,120
want to boost wide I think it's probably because it's more forgiving and generally makes it

645
00:41:17,120 --> 00:41:25,600
sound more natural because you don't usually see like those huge like when you when your

646
00:41:25,600 --> 00:41:31,600
ear hears something a certain range like spike that's usually like when you're like ow I

647
00:41:31,600 --> 00:41:39,120
don't like that so that's probably probably the reason but I can't say that for sure.

648
00:41:39,120 --> 00:41:48,400
And we're all learning this as we go right yep but the other part of it that I would

649
00:41:48,400 --> 00:41:54,000
say is a general rule when EQing is to cut before you boost and that has to do more with

650
00:41:54,000 --> 00:42:02,480
you want to actually show people again naturally what is actually there as opposed to adding

651
00:42:02,480 --> 00:42:09,600
something boosting is adding free frequency amplitude to something that's not actually

652
00:42:09,600 --> 00:42:10,600
there.

653
00:42:10,600 --> 00:42:16,840
So cut first then boost cut narrow and boost wide.

654
00:42:16,840 --> 00:42:26,560
Yeah okay that's I mean that's a lot that's a lot of of I guess and and this is really

655
00:42:26,560 --> 00:42:35,920
the work that I would say most sound engineers are are you know it there's an element of

656
00:42:35,920 --> 00:42:44,560
this being super basic what we're talking about and there's an element of it's so foundational

657
00:42:44,560 --> 00:42:54,160
like you you have to be able to hear and then do this if you want to be able to have a sound

658
00:42:54,160 --> 00:42:57,600
that people are going to want to listen to.

659
00:42:57,600 --> 00:43:03,840
But it's also I mean we as we talked about before at the very beginning manipulating

660
00:43:03,840 --> 00:43:08,120
that sound and making it sound different is also one of the things I mean you know it's

661
00:43:08,120 --> 00:43:16,440
like Picasso nobody looks at Picasso and is like you know what I bet that the dude he

662
00:43:16,440 --> 00:43:25,520
was drawing had a nose on the side of his head or two eyes that were I mean nobody looks

663
00:43:25,520 --> 00:43:29,240
at that and goes yeah that's that's exactly what that sounded like.

664
00:43:29,240 --> 00:43:34,680
That's a lot with with sound if somebody is manipulating the sound if somebody is is really

665
00:43:34,680 --> 00:43:40,920
pushing or driving or making there be distortion or or doing this they're trying to evoke some

666
00:43:40,920 --> 00:43:52,440
sort of feeling inside of it and like I always laugh when I talk to Chad our friend Chad

667
00:43:52,440 --> 00:43:57,520
he he really likes like when he listens to music by himself he wants the volume all the

668
00:43:57,520 --> 00:44:09,380
way up to where it's like hurting his jaw like his he wants to feel it yeah and like

669
00:44:09,380 --> 00:44:13,800
you think about the ways that people like to listen to music whether it's really loud

670
00:44:13,800 --> 00:44:20,440
or really soft or really warm or really like sharp or you know I really like rock music

671
00:44:20,440 --> 00:44:24,400
because of that distortion and you know usually those are the angry people right.

672
00:44:24,400 --> 00:44:26,440
Are you saying I'm angry?

673
00:44:26,440 --> 00:44:31,440
I'm not saying you're angry I'm saying you've got some repressed feelings over there but

674
00:44:31,440 --> 00:44:35,360
it's that like you you kind of hear inside of the music that people are listening to

675
00:44:35,360 --> 00:44:44,080
those those you understand I think pretty naturally what that music is trying to convey

676
00:44:44,080 --> 00:44:50,800
yes and sometimes people do it against itself in order to make a point and some people most

677
00:44:50,800 --> 00:44:57,480
of the time people are doing it like with that what that sound means in order to encourage

678
00:44:57,480 --> 00:45:03,480
that point in order to make that more pointed I guess.

679
00:45:03,480 --> 00:45:06,640
Anyway there's a lot.

680
00:45:06,640 --> 00:45:08,640
It is good stuff though.

681
00:45:08,640 --> 00:45:17,200
You got any other questions?

682
00:45:17,200 --> 00:45:23,960
I think we kind of covered a lot more in depth in what those pieces are and in the last show

683
00:45:23,960 --> 00:45:30,240
we kind of talked about what the compressor is actually the the various functions that

684
00:45:30,240 --> 00:45:37,040
it's doing how it's compressing at the ratio the threshold that it would have to hit in

685
00:45:37,040 --> 00:45:38,880
order to do that.

686
00:45:38,880 --> 00:45:44,760
There is some of the makeup gain in there as well I think we hit that pretty good.

687
00:45:44,760 --> 00:45:48,520
I guess the biggest thing that I'm hearing is I've got some adjustments that I need to

688
00:45:48,520 --> 00:45:54,940
make when I'm producing the audio of the show because it sounds like I'm doing some things

689
00:45:54,940 --> 00:45:56,360
in reverse order.

690
00:45:56,360 --> 00:45:57,360
Well not necessarily.

691
00:45:57,360 --> 00:46:01,880
So I should try tweaking it.

692
00:46:01,880 --> 00:46:08,360
You know it's one of those things that you got to know I guess the other part is to know

693
00:46:08,360 --> 00:46:12,200
your signal path.

694
00:46:12,200 --> 00:46:16,460
Know where these tools lie inside of your signal path.

695
00:46:16,460 --> 00:46:24,440
So on a soundboard it is mostly for a soundboard it is decided for you what's going to come

696
00:46:24,440 --> 00:46:26,840
first.

697
00:46:26,840 --> 00:46:31,880
You know you have gain at the very top of that.

698
00:46:31,880 --> 00:46:36,680
And then EQ is going to be actually further down the list and compression is going to

699
00:46:36,680 --> 00:46:44,240
be higher up on the list or higher up on the more primary in the chain.

700
00:46:44,240 --> 00:46:49,020
I say higher up because that's the way that the soundboard works so please forgive me.

701
00:46:49,020 --> 00:46:54,320
But from top to bottom you're like you know you've got gain and you've got compression

702
00:46:54,320 --> 00:47:02,640
and you've got EQ and sometimes if you've got some flip inside of that if you're able

703
00:47:02,640 --> 00:47:09,000
to change those you know it may that's one of the things that you want to know why you're

704
00:47:09,000 --> 00:47:10,480
doing that.

705
00:47:10,480 --> 00:47:12,920
I guess is the best way I can do it.

706
00:47:12,920 --> 00:47:19,520
Really small book by Nathan Nyquist that I would recommend to everybody is just the EQ

707
00:47:19,520 --> 00:47:21,600
and compression formula.

708
00:47:21,600 --> 00:47:27,440
I've got a copy of this that you can take with you.

709
00:47:27,440 --> 00:47:32,600
But I would recommend it to anybody that's just wanting to understand all of this better.

710
00:47:32,600 --> 00:47:36,640
It's a really small book it doesn't take long to read and I think he breaks down everything

711
00:47:36,640 --> 00:47:38,480
really well.

712
00:47:38,480 --> 00:47:45,040
He's got like that's part of a whole like series of books that he's written that I think

713
00:47:45,040 --> 00:47:53,960
do a great job of explaining you know what compression bus compression is and mastering

714
00:47:53,960 --> 00:48:01,320
and I don't remember what all the other books are in that series.

715
00:48:01,320 --> 00:48:06,840
He's got the three delay framework, three delay, the bus compression framework, three

716
00:48:06,840 --> 00:48:12,720
space reverb framework, mastering multi band compression and then the EQ and compression

717
00:48:12,720 --> 00:48:13,720
formula.

718
00:48:13,720 --> 00:48:17,840
So I would say definitely read the EQ and compression formula if you want to get further

719
00:48:17,840 --> 00:48:25,000
into some of these other ones that I think there's he does a good job I would say.

720
00:48:25,000 --> 00:48:29,840
Other books that I've read that have been really helpful Yamaha has an old book that

721
00:48:29,840 --> 00:48:39,200
it was actually the first sound book that I read was the sound reinforcement handbook

722
00:48:39,200 --> 00:48:48,560
which is awesome but that's produced by Yamaha.

723
00:48:48,560 --> 00:48:53,800
There's another one I can't remember off the top of my head what it was but there's a lot

724
00:48:53,800 --> 00:49:00,120
of good books out there and it's kind of funny to be recommending almost like a textbook

725
00:49:00,120 --> 00:49:03,680
to somebody but that's kind of what we're talking about here.

726
00:49:03,680 --> 00:49:10,320
So I guess one other question asking for a friend.

727
00:49:10,320 --> 00:49:13,000
There's this guy I know.

728
00:49:13,000 --> 00:49:14,920
There's this guy I know that doesn't know audio.

729
00:49:14,920 --> 00:49:18,400
He's got a weird spot on his arm.

730
00:49:18,400 --> 00:49:20,640
You're talking about the luffs.

731
00:49:20,640 --> 00:49:27,920
So the RODECaster gives you the ability to pick that when you're exporting your show

732
00:49:27,920 --> 00:49:29,760
or your recording.

733
00:49:29,760 --> 00:49:37,800
Would you recommend hitting that in that frequency and then bringing it in and doing EQ compression

734
00:49:37,800 --> 00:49:44,960
or do you think leave it alone let it export as is then manipulate the EQ and the compression

735
00:49:44,960 --> 00:49:47,120
and the other pieces?

736
00:49:47,120 --> 00:49:55,840
What I would say is if you don't feel confident with your so the RODECaster when it's giving

737
00:49:55,840 --> 00:50:01,920
you that normalization option at the end it is assuming that you've already done all the

738
00:50:01,920 --> 00:50:08,000
EQing on each individual channel all the compression that you want.

739
00:50:08,000 --> 00:50:11,560
It's assuming and that's one of the great things I would say about the RODECaster is

740
00:50:11,560 --> 00:50:22,640
that it gives you so much the ability to dial in so much before you even record and that's

741
00:50:22,640 --> 00:50:29,280
a really cool thing that they've done with this product.

742
00:50:29,280 --> 00:50:34,480
They're saying at the end of that if you just want to take it off of this and immediately

743
00:50:34,480 --> 00:50:39,560
drop it into your podcast you can set the luffs right now.

744
00:50:39,560 --> 00:50:44,840
I would not set the luff or normalize it.

745
00:50:44,840 --> 00:50:50,640
I would not normalize it and then go back and EQ everything.

746
00:50:50,640 --> 00:50:57,760
I think that you'll lose like you lose it's like I will equate this again to use a photography

747
00:50:57,760 --> 00:50:58,760
analogy.

748
00:50:58,760 --> 00:51:05,660
I would equate this to doing like trying to if you take instead of taking the raw image

749
00:51:05,660 --> 00:51:15,080
from a digital camera and then EQ or not EQing it but doing all of your color grading and

750
00:51:15,080 --> 00:51:20,920
all of that stuff all of that stuff afterward this would be more like taking a JPEG out

751
00:51:20,920 --> 00:51:23,000
of the camera and then trying to do it.

752
00:51:23,000 --> 00:51:26,740
It's not that you can't do anything with a JPEG it's not like you couldn't manipulate

753
00:51:26,740 --> 00:51:33,420
a JPEG to look a different way after you have you know exported it but there's a level of

754
00:51:33,420 --> 00:51:39,900
compression that's happening inside of that image to make it a smaller file size that

755
00:51:39,900 --> 00:51:48,240
you lose some of the ability to do that more dialed in version of editing after you've

756
00:51:48,240 --> 00:51:49,800
already done normalization.

757
00:51:49,800 --> 00:51:54,000
So I would wait on normalization again until the end of the process.

758
00:51:54,000 --> 00:51:55,000
Okay.

759
00:51:55,000 --> 00:51:56,000
Yeah.

760
00:51:56,000 --> 00:51:57,000
Good.

761
00:51:57,000 --> 00:52:01,320
Well my friend has at least been doing that part right.

762
00:52:01,320 --> 00:52:02,320
I love it.

763
00:52:02,320 --> 00:52:03,320
Yes.

764
00:52:03,320 --> 00:52:04,320
Did I just snort?

765
00:52:04,320 --> 00:52:05,320
I think I snorted.

766
00:52:05,320 --> 00:52:06,320
That's okay.

767
00:52:06,320 --> 00:52:07,320
Man this beer was good.

768
00:52:07,320 --> 00:52:08,320
It was.

769
00:52:08,320 --> 00:52:09,320
Thank you Chris.

770
00:52:09,320 --> 00:52:14,880
Well I guess if that's all we've got then we do have a Boostergram.

771
00:52:14,880 --> 00:52:15,880
Oh Boostergram.

772
00:52:15,880 --> 00:52:17,880
Yeah we do.

773
00:52:17,880 --> 00:52:18,880
Boostergram.

774
00:52:18,880 --> 00:52:21,640
Again from our friend Jason.

775
00:52:21,640 --> 00:52:22,640
Jason.

776
00:52:22,640 --> 00:52:23,640
Yes.

777
00:52:23,640 --> 00:52:27,240
The original was Row of Ducks 2222.

778
00:52:27,240 --> 00:52:28,240
2222.

779
00:52:28,240 --> 00:52:29,240
Yes.

780
00:52:29,240 --> 00:52:31,240
Row of Ducks.

781
00:52:31,240 --> 00:52:33,440
Numerology.

782
00:52:33,440 --> 00:52:40,240
So he I forget which episode he I guess it was from Ann We're Back.

783
00:52:40,240 --> 00:52:41,240
Okay.

784
00:52:41,240 --> 00:52:44,360
And he gave me a little feedback on that jingle.

785
00:52:44,360 --> 00:52:46,760
I guess it hit a little bit harder than I expected.

786
00:52:46,760 --> 00:52:47,760
Oh gosh.

787
00:52:47,760 --> 00:52:51,840
So I was going for shock and awe if you will.

788
00:52:51,840 --> 00:52:53,120
Did it knock him out of his seat?

789
00:52:53,120 --> 00:52:55,560
Yeah he wasn't quite prepared for it.

790
00:52:55,560 --> 00:52:56,560
Nice.

791
00:52:56,560 --> 00:53:04,120
So I guess we had mentioned some oh yeah because we gave the or I gave the lead in to like

792
00:53:04,120 --> 00:53:09,280
hey people that I work with I'm gonna be sharing some stuff I'm not talking about you.

793
00:53:09,280 --> 00:53:10,280
You're all good people.

794
00:53:10,280 --> 00:53:11,280
Right.

795
00:53:11,280 --> 00:53:12,920
Don't be offended.

796
00:53:12,920 --> 00:53:18,160
So his comment was I'm offended but only because you asked me to be.

797
00:53:18,160 --> 00:53:20,200
T-file.

798
00:53:20,200 --> 00:53:21,840
Only because you asked me not to be?

799
00:53:21,840 --> 00:53:22,840
Not I'm sorry.

800
00:53:22,840 --> 00:53:25,360
Yeah he says to be but no he isn't right.

801
00:53:25,360 --> 00:53:26,360
Not to be.

802
00:53:26,360 --> 00:53:27,360
Right.

803
00:53:27,360 --> 00:53:28,360
So that was funny.

804
00:53:28,360 --> 00:53:29,360
Nice.

805
00:53:29,360 --> 00:53:30,360
Yes.

806
00:53:30,360 --> 00:53:31,360
Thank you Jason.

807
00:53:31,360 --> 00:53:33,080
Yeah thank you man.

808
00:53:33,080 --> 00:53:36,080
You're at least the one person for sure that we know that's listening.

809
00:53:36,080 --> 00:53:37,080
Yeah right.

810
00:53:37,080 --> 00:53:40,320
Everybody else is a bot.

811
00:53:40,320 --> 00:53:43,400
Until you boost a grandma so I'm just assuming you're a bot.

812
00:53:43,400 --> 00:53:48,000
Yeah boost or it didn't happen.

813
00:53:48,000 --> 00:53:51,580
So a couple other quick things to throw out.

814
00:53:51,580 --> 00:53:54,320
This is a kind of a big deal if you will.

815
00:53:54,320 --> 00:53:55,320
Yeah.

816
00:53:55,320 --> 00:53:57,880
This is episode number 10.

817
00:53:57,880 --> 00:53:58,880
Episode 10.

818
00:53:58,880 --> 00:54:01,080
We made it to the double digits.

819
00:54:01,080 --> 00:54:08,640
There are a ton of podcasts out there that have one maybe three and if you go out to

820
00:54:08,640 --> 00:54:14,320
podcastindex.org and start poking around at some of those those single episodes are somebody

821
00:54:14,320 --> 00:54:19,440
going poop fart fizzle.

822
00:54:19,440 --> 00:54:20,800
That's all it is.

823
00:54:20,800 --> 00:54:24,600
It's like three minutes of them just saying stuff and giggling.

824
00:54:24,600 --> 00:54:25,600
Yeah that's not OK.

825
00:54:25,600 --> 00:54:28,000
Yeah that's not a podcast.

826
00:54:28,000 --> 00:54:33,800
But to kind of put some perspective there they do have four million ninety three thousand

827
00:54:33,800 --> 00:54:36,320
different podcasts in the index.

828
00:54:36,320 --> 00:54:37,820
That's a lot of shows.

829
00:54:37,820 --> 00:54:42,640
A lot of different poop shows.

830
00:54:42,640 --> 00:54:43,640
Yes.

831
00:54:43,640 --> 00:54:49,280
So but with that just to kind of put some perspective in the last 90 days four hundred

832
00:54:49,280 --> 00:54:55,280
and forty nine thousand of those are the ones that have actually posted a new show.

833
00:54:55,280 --> 00:54:59,200
So we've had two or three in that range.

834
00:54:59,200 --> 00:55:00,200
Yeah.

835
00:55:00,200 --> 00:55:02,680
So that puts us in some fairly rarefied air.

836
00:55:02,680 --> 00:55:03,680
Far as I'm concerned.

837
00:55:03,680 --> 00:55:04,680
Yeah I like it.

838
00:55:04,680 --> 00:55:08,000
We're in there with the big guys.

839
00:55:08,000 --> 00:55:09,040
So not bad.

840
00:55:09,040 --> 00:55:10,040
Post and stuff.

841
00:55:10,040 --> 00:55:11,040
Post and stuff.

842
00:55:11,040 --> 00:55:12,040
That's right.

843
00:55:12,040 --> 00:55:13,040
Post and stuff.

844
00:55:13,040 --> 00:55:14,040
That's right.

845
00:55:14,040 --> 00:55:17,960
And we also passed our major 300th download.

846
00:55:17,960 --> 00:55:19,560
300th download.

847
00:55:19,560 --> 00:55:24,720
There you go.

848
00:55:24,720 --> 00:55:26,040
But we still need an Aussie.

849
00:55:26,040 --> 00:55:28,560
There's got to be an Aussie out there somewhere.

850
00:55:28,560 --> 00:55:31,880
That's the only continent we don't have that they track.

851
00:55:31,880 --> 00:55:37,360
We really would like for one of you you know or maybe a Kiwi just somebody.

852
00:55:37,360 --> 00:55:38,360
I take it.

853
00:55:38,360 --> 00:55:39,360
That's close enough.

854
00:55:39,360 --> 00:55:40,360
That's close enough.

855
00:55:40,360 --> 00:55:43,320
Somebody over there just download.

856
00:55:43,320 --> 00:55:44,540
One download.

857
00:55:44,540 --> 00:55:45,540
Just one.

858
00:55:45,540 --> 00:55:46,540
That's all we need.

859
00:55:46,540 --> 00:55:48,240
You know like 10 minutes it's fine.

860
00:55:48,240 --> 00:55:49,720
You don't even have to listen just download.

861
00:55:49,720 --> 00:55:51,040
I just need the download.

862
00:55:51,040 --> 00:55:52,180
I just need the download.

863
00:55:52,180 --> 00:55:54,200
I'm trying to complete my bingo.

864
00:55:54,200 --> 00:55:56,040
Yeah I'm trying to complete the set.

865
00:55:56,040 --> 00:55:59,200
Give me a download and we've got every continent.

866
00:55:59,200 --> 00:56:00,200
I love it.

867
00:56:00,200 --> 00:56:04,880
So there's just some fun stuff that's out there.

868
00:56:04,880 --> 00:56:06,280
So I think it was a good show.

869
00:56:06,280 --> 00:56:10,160
Yeah always good to hang out with you brother and thanks for bringing me here.

870
00:56:10,160 --> 00:56:11,160
Absolutely yes.

871
00:56:11,160 --> 00:56:14,520
Yeah we'll have to try some more of the Chamei.

872
00:56:14,520 --> 00:56:15,520
Yeah man.

873
00:56:15,520 --> 00:56:16,520
They're really good.

874
00:56:16,520 --> 00:56:17,520
Yes.

875
00:56:17,520 --> 00:56:18,520
I'm gonna remember that.

876
00:56:18,520 --> 00:56:21,040
Maybe next time we'll get the reserve.

877
00:56:21,040 --> 00:56:22,040
Yeah.

878
00:56:22,040 --> 00:56:28,080
Give that a go and then I'll see how some of these other Trappist beers that I have.

879
00:56:28,080 --> 00:56:29,080
Taste.

880
00:56:29,080 --> 00:56:32,280
Yeah taste and potentially bring some of those back for the show.

881
00:56:32,280 --> 00:56:33,760
I'm all about it.

882
00:56:33,760 --> 00:56:34,760
Let's try them out.

883
00:56:34,760 --> 00:56:38,000
So all right well thank you everybody.

884
00:56:38,000 --> 00:56:39,000
Yeah thanks for listening.

885
00:56:39,000 --> 00:56:40,000
We appreciate you.

886
00:56:40,000 --> 00:56:48,000
Yep.

887
00:56:48,000 --> 00:57:01,600
Hey everybody.

888
00:57:01,600 --> 00:57:04,160
Beer and Gear is a value for value podcast.

889
00:57:04,160 --> 00:57:08,440
If you made it this far then I would like to think you found some value from the show.

890
00:57:08,440 --> 00:57:13,520
If so send us a boost with your Modern Podcast app like Fountain or Podfence.

891
00:57:13,520 --> 00:57:19,240
You can find Modern Podcast apps for Apple and Android at ModernPodcastApps.com.

892
00:57:19,240 --> 00:57:23,200
When you send a boost make sure to include a note that we can read on the show.

893
00:57:23,200 --> 00:57:24,200
We just need cash.

894
00:57:24,200 --> 00:57:28,040
I know a lot of people want to send blankets or water.

895
00:57:28,040 --> 00:57:39,560
Just send your cash.