Hey, Chris, how you doing? Good. How you doing,
John? I'm doing great. We are trying the remote
show. Yes, we are. So this could get dicey. Yes.
You know, warning everybody, if this is a short
show, you know what happened. Yeah, blame it
on the T -Mobile. Blame it on the T. Chris is
in South Central Texas. No, I'm actually in Toccoa,
Georgia. Oh, you're in Georgia. Georgia. Yeah.
Okay. Sorry. That's my bad. I don't think I'd
put that together. I was like, that doesn't look
like a room in the camp that I know. This is
a very different thing that you're doing now
as a camp. Yeah. Seems like. I believe. Hey,
that happened. You couldn't see my face, could
you? I just saw you turn around. It was like
stuck with you, like pointing your finger. Okay.
My son decided to come in while we were recording
and leave the door open so I could hear everyone
in the house talking to each other. So that's
fun. We'll cut it out in post. We're not, you
know, it's just life. Yeah. Just leave it in.
So you're in Georgia. I'm in Georgia. All the
way in Georgia. Yes, we are two hours northeast
of Atlanta. Okay. Earlier today, we were in Athens,
Georgia, which is about an hour and 20 minutes
away. That's where the regional office is out
here. Yeah. Yeah, that's kind of funny that we,
I mean, Athens, Georgia being close to the regional
office. Yep. Athens, Texas being close to the
regional offices. Tyler is kind of, that's funny.
Anyway. Maybe it's not funny. Maybe that's just
funny to me. Yeah, the office here is. Probably
about the same distance. Pretty close, yeah.
Yeah, the office here is almost a stone's throw
away from the university. Wow. Yep. That's why
they chose it. I mean, yeah, they got to get
their people somewhere. Yep. From somewhere.
Hey, this is a funny question for today. What
are you drinking? Well, since this is the near
beer or maybe the non -alcoholic edition, I am
drinking my favorite coffee in the world, Dr.
Pepper. That is admirable right there. Favorite
coffee, Dr. Pepper. Yep. I have switched. My
favorite coffee now has coffee in it, but it's
still mostly chocolate milk. So I don't feel
bad about that. Um, but I'm right there with
you. It doesn't taste like Dr. Pepper. Why are
we trying to drink something else here? Um, but
I grew up, uh, drinking Coke cause my, um, my
mom's dad, um, in Nacogdoches, Texas worked for
the. At least for a while, worked for the Coke
bottling plant in Nacogdoches. But my dad's,
my dad's dad's bakery was right next to the Dr.
Pepper distribution office or whatever in Mount
Pleasant. So they had Dr. Pepper and mom had
Coke. And when mom and dad got married, guess
who won? Coca -Cola. I grew up drinking Coke
more than Dr. Pepper, but I've since evened it
out pretty good. Today, it's Coke. I do have
this, though, for the show. You can actually
pop the top. Oh, that was a good one. Mine is
already iced. Pre -opened. There you go. Cheers.
It's the good stuff. Dang, that's good. Sugary.
23 flavors. No blurb. No blurb. If you don't
know about it, I'm sorry. I do have a bonus,
though. What is that? Swiss cake. Is that a little
Debbie? Swiss cake roll. Oh, Swiss cake roll.
That's right. Well done. Something you probably
shouldn't eat if you're drinking a beer. Well,
yeah. Yeah, because chocolate and beer sometimes.
It's weird, man. No, but Dr. Pepper and chocolate
is just fine. Yes. Diabetes, here we come. Yes.
It is a little bit funny that you're in Georgia
drinking Dr. Pepper and I'm in Texas drinking
Coke. Yeah, Dr. Pepper is not as popular. No,
Coke is from Georgia and Dr. Pepper is from Texas.
For those of you that care, and most of you don't,
I guess. But, hey, this is us talking more about
the beverages. It is. We are expanding the beverage
portion of the show. Perfect. Yeah. That's absolutely
right. Did you want to go and do the boost, or
did you want to wait for that? We'll catch it
at the end. That way we... Okay. We got to make
sure that we do it. I have them pulled up. I
have both. Okay. So, yeah, we'll keep the same
flow of the show. Okay. Today you had an interesting
idea, I thought. We're going to talk about digital
mixers. Yes. Was there something that brought
this up to you or you just wanted to talk about?
Well, it's one of those kind of going, you know,
it's getting kind of close to the show. We haven't
really locked down an idea. So what could we
talk about? And it just came to mind. We haven't
done an AV show in a while. So let's mix it up.
And that is an easy one to discuss. I thought
maybe we could talk about some of the reasons
why it went away from the analog boards and talk
about what some of the advantages are of a digital
board. Yeah. No, that's fantastic. I feel like
I'm one of the lucky ones, and I feel like I
can say that because I value. um the history
of all of this so much that um that i i actually
didn't start mixing until early 2000s um i didn't
start really in honest or in honest in earnest
learning too much about it until probably 2010
um but you know growing up as a musician And
then, um, being in bands and not just concert
band, which is what I started in, but like actual,
um, you know, them new fangled musics, um, started
being around, um, sound systems and microphones
and XLRs and quarter inches and didn't know much
about it and rolled my fair share of badly rolled,
uh, cables. Um, but I really valued music, and
I valued listening to music, and I valued other
people being able to listen to music. And that's
really where these PAs come in, right? Every
sound amplification solution. is just about being
able to hear the music or the message or whatever
it is that's trying to be conveyed. And you want
it to be as, the way that I was taught, you want
it to be as true to the source as possible. That's
changed a little bit over time. But the initial
idea was to have the, whatever instrument it
is, whether it's your voice or, you know, an
actual or not an actual because your voice is
an instrument. But whatever source you had that
you needed to amplify, you wanted it to sound
like that whenever it came across. And so there's
a bunch of different ways to do that. And you
start to, you know, get these really ingenious
people who can turn a sound wave. which is not
just a pressure wave, even though that's how
our ears receive it. It's also a kinetic movement
of particles. Pretty crazy when you actually
start studying this stuff. But you got these
guys who could then figure out how to turn that
into an electrical signal. that could be passed
through cables and then could be, um, run into
a, um, an amplifier and then could be then put
out using transducers to, um, um, a bigger audience
than what you could hear, um, initially at least.
And, um, and all kinds of stuff like it, I have
to start there in my mind because I have to remember
that. A lot of the technologies that are new
now, a lot of the stuff that we talk about, that
we'll talk about, I think, in this show, I mean,
it seems like such a crazy jump when we went
from analog to digital boards. But, I mean, we
can't forget that it was a big jump before. At
the very beginning, it was a big jump that we
had this. And we talk about the difference between
analog and digital, and there's an element of
like, yes, electricity passing through a cable.
There's analog involved in that, but it's not
quite as analog as your voice actually making
a noise, like wind blowing across the reeds of
our vocal cords. Kind of crazy how all that works.
And if you ever get a chance to look at that,
like that's a different level of. You know. Yeah.
Nerd hood. Yeah. But all that to say. You know,
somewhere in the. I tried to look this up and
I don't I don't feel like I got a good. even
answer uh to this but it was it was before it
had to be before 2004 i think like um the first
one had to come out you were looking for like
the first digital board yeah oh man this is 1987
So I don't know, but that'd be a fascinating,
some historian out there, I'd love to sit down
with somebody who knows actually the history
of all this and when things actually started
and when they did this and that. But basically
what you started with in analog boards were a
whole bunch of channels. So you had, you had,
you didn't just want to be able to have one microphone
and, and have that thing be amplified, but you
wanted to take all of these inputs and mix them
together. That's how I get the mixing board.
You wanted to be able to mix those inputs together
and then output a mix of these inputs. Yep. And
so the, you know, basic form of that would have,
Where we started, you would have the microphone
input, and then you would have, again, an attenuation
of sorts. You may have some control over the
tone of it in one way or another, but then pretty
quickly you're moving straight out to the faders,
which were the actual control against controlling
how... how loud one source was compared to another
um inside of it and then that that mix from the
faders would then be sent to the main out and
and you would have that going to the speakers
and or amplifiers and speakers and all of that
so a whole bunch of different versions of that
concept all came out a bunch of people got really
rich yeah making different uh um forms of that
Um, and they got more complicated, you know,
you got to, you were able to not only just do,
um, like the gain and the, um, um, basic, uh,
tone. You could also, like you would have, you
know, a three band EQ and you could do, um, the.
treble the mids and the lows on that and then
they came out with a sweepable mid and then they
came out with oh well you don't just want to
output to the mains you also want to stereo bus
these and you want to pull these across this
and you want to be able to pan and you want to
be able to mute and you want to be able to insert
and you'd have the sends and returns then going
into it to be able to send a a signal into an
effects processor of some kind, whether it was
an actual, like what we think of as an effects
processor processor or the analog version of
that, that came before, which was like a tape
deck or a, um, a spring, like actual spring.
Like there's a box, there's a spring that you're
running the signal through. to make like this
warbly sound. Like these things were massive
and heavy and that's why not a lot of people
had them. But then quickly they started to try
to figure out a way to make this reproducible.
Um, because even, you know, your tape deck would,
the tape that you would use would then affect
the sound on how, how many times it had been
used or how worn it was. then people started
to really like a certain tone but then that tone
would change in these mixing recordings and and
so really it came down to we want to be able
to reproduce it exactly the way that we can imagine
it in our heads and so that's when you started
to get digital effects and digital effects kind
of gives rise to this idea that that i need to
be able to manipulate the sound Um, that's coming
in, but in a reproducible way in a, uh, not,
not just reproducible in, um, what's the word
I'm looking for? Uh, it, it, you would, you would,
uh, affect the sound in a, um, controlled. Reproducible
way is what I would think of. Yeah. I mean, it's
a, it's, you know, you, you knew what you were
getting every single time. And you knew if you
tweaked this, then it would sound a little more
like this. And so everybody talks about wanting
to go analog. This is what always cracks me up
about, especially electric guitarists now, because
they're still the ones, more than any other instrumentalist
that I know of at least, that are holding on
to their amps and saying that it sounds better
coming from an amp. And I always just kind of
laugh because half of them are using digital,
um, or I don't know how to say it. Um, they're
not using tube amps. They're using solid state,
um, solid state amps, which are reproducing a
sound based on a digital algorithm, not based
on an analog. So there's, there's kind of a funniness
about it, but guys that like will hold to their
tube amps, um, And say that there's nothing better
than that. I get it. I hear what you're saying
until something changes with the tube amp. And
you're like, oh, that's not exactly the sound
that I had before. It's worn out. Oh, I need
a different power tube. I need a different...
you know, whatever tube I need to replace this
or that or whatever. And it's like, okay, so
now you're starting to see like over time, these
things change. If it's analog, it is going to
change. Your guitar strings are going to need
to be changed. Um, and I get it like that interaction
with something that is analog. It feels really
good. It feels more manipulatable. And I love
the idea of a musician listening so intently
that they can hear the difference in the tone
inside of that. And those are exactly the musicians
that we need to get on board with a lot of digital
stuff now to be able to express the difference
that they hear. Like if you're listening that
closely, I need your ear to tell everybody else
what sounds different. Because we'll be able
to. And if we don't, if we can't like figure
out how to reproduce all this stuff digitally,
then I mean, there's going to be a moment where
we lose some of it because of that. But that's
just kind of the nature of how all this goes.
We don't have, most guys don't have an actual
tape reverb. uh tape delay sorry um on their
uh board like they don't actually have a spring
reverb on their board they have a digital representation
of that yeah and they love it they think it's
amazing um it's really funny to talk about these
things back to back and not feel the weirdness
of it but all this manipulation then um gives
rise to the idea that like uh What if we, what
if we put all these tools into the mixer? Like
what if we, what if I was able to manipulate
more in the mixer than before? And you got the
guy who, you know, in recording studios, it's
called the producer. Um, it's funny to not, not,
you don't hear that in the live space. They're
not, they're not called the, they're not called
producers generally. They're called audio techs
or audio engineers or something like that. Or
just the sound guy. That's my favorite. But you
got this guy who's actually taking all of the
work that other people are doing and trying to
create something out of it. You know, there's
the. I think it was a lot of different people
who've said it, but the one that's coming to
my head is popping into my head is the, there
was a Steve jobs movie with Michael Fassbender.
And I know that this is just eating you up, Chris,
but it doesn't have anything really to do with
Steve jobs. Okay. Other than it fits with his
just really arrogant personality. Um, but he's
talking to Wozniak, um, in, uh, before one of
the Apple events. This is a movie, so whatever.
I don't know if it actually happened or not or
happened like this, but Jobs is talking to Wozniak
about what he does, what his job is, because
Wozniak's a genius. And Steve doesn't actually
do any of the coding. Yeah, he's not in the hardware.
Yeah, he's not doing any of the, either the coding
or the, you know, soldering. Yep. Figuring out
how to make this, you know, microchip, whatever.
So he's asking, Wozniak is actually asking Jobs
what he actually does. And they happen to be
in the orchestra pit of this place where they're
going to have this release. jobs is like you
sit here and you're you're like really good you're
you're the best in your row it's fantastic you
you are so good at what you do but i stand here
and he stood in the conductor spot and i play
all of it and there's part of me that um just
is like are you yep Okay. I know you really,
that's a, that's a thing. But there is some arrogance
to being the sound guy sometimes. Yeah. And you
look at where the digital mixers are now and
it's like, it's legit. I don't think I ever felt
it as a sound guy, but I've watched some of these
guys who actually know what they're doing, mixing
things. And I'm like, they're no longer constrained
by how it sounds. at the source that's the best
way i can describe it they are making music out
of what is being given to them that is not necessarily
dependent on what they're being given now they're
making it sound the way they want it to sound
and and that's what everybody wants to hear and
that's i mean it's crazy um It seems like we
should be getting to the place where you don't
go to a this or that concert anymore. You go
to this producer's concert. You go to this mixer's
concert. And maybe that's all that DJs are, are
just guys that got sick of having to try to make
it sound good out of other people's. stuff and
they like the which i don't i don't but that's
fine like it's not a whatever so i look at these
digital mixing consoles and you no longer just
have um a gain um a three band eq five band eq
if you get crazy and you know whatever on the
analog boards i remember seeing some of them
that were just massive lines of um knobs that
all had to do with their submixes and their EQ
and the send and return and all of that. It all
lined up. And what they decided to do with digital
boards is they decided, hey, if we can take the
same footprint of an analog board and instead
of requiring all of that space for this line,
if we put all that on a screen, Or maybe in one
place that could be controllable. What we really
need to do, though, is we need all of that processing
to happen on a chip. And that chip is really
going to be where the power of this board comes
in, because then we can give the mixer the mix.
I almost said mixologist. It fits the show. It
fits the show. So the mixologist can look at
more information at any given time, like he was
on one of the big boards, the 128 channel monsters
that you got to walk from one end to the other.
Yeah. And they can see all of that in a 12 to
24 fader sized. Console. Yep. I'll fill the air
time. You were talking before about the mixologist
creating the sound that he wants. I would love
to see the conversation between the edge. and
the guy running audio at the show. Because I've
seen what The Edge does with his own personal
rig to create the sounds that he wants. And then
to hear him talking to the audio engineer, whoever
it is, and he's hearing it in the show, and I
just imagine him having a talkback mic and go,
stop changing my sound. Yeah, I think there has
to be a real trust there. And a lot of these
big bands that are really particular about the
way that they sound, that really have a specific
ear to it, they don't trust just anybody to mix
them because they're going to mess it up. And
there's too many things that can be messed up
inside of that now from these big boards that
have all of this stuff. You can add all kinds
of reverbs and all kinds of compression and all
kinds of... delays and you know pitching and
different uh tremolo i mean all of these digital
um effects can then be brought in on the board
side um and so there you know there's a respect
for what the artist is what the musician the
artist the whatever um that they're they're trying
to do um from their end. And then there's the
respect that has to be given the opposite direction
of the guy who has to hear all of the things
and make them sound the way that is pleasing.
Um, and they, they have to, they have to respect
each other. They also have to be on the same
page. Um, or somebody is probably going to be
disappointed with that. Um, I've, I've been in
both situations where I've seen a guy or I've,
I've been the musician that, was being mixed
by somebody who did not know as much as me. And
I have been the musician who is being mixed by
someone who knew a lot more than me. I've been
the mixer who knew a lot more than the musicians.
And I've been the mixer who was being, uh, schooled
by the musicians. I will never forget. Um, those
of you that know who Shane and Shane are, uh,
they're Texas boys. And, um, Christian worship
leaders and artists. And, um, uh, Shane Bernard
is usually the one who's, um, singing the lead
and playing the guitar and he'll, uh, he, you
know, I think most people know his face better.
Um, partially because Shane Everett also just
kind of stands with his hat, like tucked around
his eyes and he's singing like really high. But
he's not playing an instrument. He's just hanging
out until it's time for him to sing. And then
he just destroys it. I mean, it's fantastic to
listen to. But what I didn't know about him is
he's got a fantastic ear. And when I was mixing
Shane and Shane one time, Shane Everett walks
out into the room while... everybody's playing
like the band's playing shane bernard is singing
and everything and he listens for a second then
he turns around to me and say okay i need you
to bump shane's voice at this frequency you know
by six decibels or something like that i mean
it wasn't insignificant like it was he was telling
me what to do and i was like okay so i you know
did the thing i was like oh gosh that sounds
a lot better Um, and like he, he walked me through
a few tweaks that he wanted and then he walked
back and started singing his like himself. And
I was like, that doesn't happen very often. Like
I'm not, I'm not a rock star, um, sound engineer
or anything like that, but where somebody just
knows exactly where they need something to be.
That's a, that's a pretty great ear. Um, and,
and it, it reminds you, I think sometimes as
a. sound engineer that like they there are other
people that know what they're talking about um
and they're professional musicians or they're
professional mixers and we all need to approach
all of this with some humility sure so um but
all that to say um digital mixing console uh
one of the things or some of the things that
it brought in whenever they started doing digital
mixing consoles started becoming popular. One
of them was just the size of a rig. Could be
a lot smaller. Absolutely. Like I talked about,
because you have pages, you know, you press the
button and all the, what everybody wants to see
is you press the page button and all the faders
slide. Yeah. Or whatever. Everybody loves that.
It's magic. That was magic. I agree. It was fantastic
when you had the motorized faders that would
move to where they're supposed to be. That actually
happened before what we now consider really digital
mixers, really high -end analog mixers would
have that ability because they would want presets
for different things. You'd see it in studios
where they would be able to press a button and
the faders would move. within a given time in
order to be able to switch a sound, like to be
able to have a different sound for a different
part of a song. And so that wasn't as new as
everybody said, but like widespread, it wasn't
on most boards. And then... What that allowed
then is for us to put more inputs on a smaller
footprint. Also, like I said, having the manipulatives
of the signal chain. Wow, that was a thing. I
did not rehearse that. But having all of the
different knobs and all the different controls
for each input being kind of shared. in one space
made, um, uh, some of that real estate, got some
of that back. Um, and, and then they really needed
at that point to have a, um, uh, some sort of
large interface that, uh, they could see everything
that was being manipulated, um, in any given
area. Um, and so, uh, and to really help you
navigate what you were doing. Man, that was one
of the hardest things for me to learn going from
analog to digital. So many times on an analog
board, you would know which channel you were
working on and then you would reach up and grab
that fader and you would listen and then move
the knob in whichever direction you needed to.
And then you could kind of feel on the board.
where to be next without looking at the board.
And with digital, it became very much a, okay,
I need you to stop and I need you to look down
and I need you to press the button for the channel
that you want to manipulate and then start changing
stuff. Because if you do that without looking,
you're going to end up changing a lot of settings
on a channel that you didn't mean to. And then
you're going to have no idea. what you messed
with you're gonna end up you got really it got
really tricky there at the beginning you don't
want to end up an invalid memory yeah i mean
right oh my gosh it crowd yeah buddy yeah yeah
talk about uh the big thing for me is going away
from an analog snake to the digital snake and
how that really changed things So, for those
of you that weren't here for it, there used to
be a day where you had to wind a stage snake.
There's probably not a lot of people who are
going to know what a pool vacuum hose feels like.
But these massive... massive things of copper
that would be you know half inch or bigger um
in dynamic diameter and just a a lot of copper
packed into a single run and on one end you know
if it was attached you know you could you'd have
a big box um that would have the inputs and outputs
all on the same box and you would run that up
to the stage and you would plug everything into
that and then you'd have to run the other end
usually underneath chairs because that's how
we do things way to get something kicked and
be in trouble um but like all the way to the
mixer and the mixer has to be in a good spot
in the room because you really don't want the
mixer to have to stand in the room and then run
over to try to change something and then come
back he needs to be able to hear what he needs
to change from his mixing position became such
an important thing and so you have these big
long snakes that would be huge and have to travel
in their own trunk and then you got the big ones
that had the like the pins on them that would
give you an anxiety attack just trying to plug
in because if you bend one of those pins you
are in trouble yeah um it would like slide that
sucker in and then spin the collar on it to make
sure that it stayed put um and you know if you're
really fancy that may be going into a split snake
where you had the um the sins from the or the
inputs from the stage going to that. And then
it would break out and you would have one set
going to the monitors and one set going to the
front of house. And man, that, that was, it was
such like, you had to be some kind of strong.
Like, I'm not saying you gotta be most of us.
I'm not going to say most of us. I don't, I don't
know that. But there's quite a few of us in the
sound mixing world that are not. slim trim and
whatever but you still had to be able to lift
some weight because that's all those cables were
was weight yep um and i remember the first day
that somebody handed me a network cable and said
you know it was a big it was a big wad of network
cable like that thing was it was a roll and it
was you know 250 feet maybe And they were like,
plug this in over there and plug the other end
into this. And I was like, what? So there's a
box on stage. There's a computer on stage I'm
going to plug this into. And then I'm going to
plug this into the back of the mixer. And that's
the only cable I need. That's what you're telling
me right now. What about the outputs? Everything's
on a network cable. I was like, guys, you don't
need to tell me anything else. At this point,
I would like to go full digital. Yeah. All it
takes is once. Yeah. I mean, you would think
about it like we had to, like not only were those
other cables so heavy and so cumbersome and so
hard to work with and so they were so expensive.
Oh, yeah. And if you mess something up, you messed
it up. And you had to buy a new one. Yeah, and
you could lose a channel in that copper run.
And that was it, depending on where the break
was at. Well, we're not using that channel anymore.
You can drill into that thing and do surgery
and take it apart. So there was a lot of improvements
that were very easy to see, I think, on the surface.
And the last improvement that I would say kind
of along these lines is that All of a sudden,
you could get a lot of functionality at not a
lot of money. Yeah. And this is where, you know,
when it first came out, or when the first ones
came out, I think all of them were still prohibitive
digital mixers. But a little company that was
not taken very seriously. A little company. Yeah,
a little company. It wasn't taken very seriously
by a lot of the audio world at the time called
Behringer. Came out with a box or a mixer that
they called the X32. And the X32 had a few wrinkles
in what was formerly pretty dismissible being
Behringer. I don't know if they had already been,
Music Tribe had already purchased Behringer and
Midas. I think so when the X32 came out. But
it was still very much a Behringer experience.
But there was something different about it. It
was like, oh, this seems to be holding up better.
This seems to work more. And I know that there's
a bunch of people that disagree about Music Tribe
and stuff like that. But here's what I would
say. All of a sudden, for $3 ,000, I could get
a digital mixer that had a lot of functionality.
And that opened up a lot of people to being able
to move from analog into digital. Yep, it's disruptive.
It was disruptive. And I really do think that
board was disruptive. It's not like there weren't
other mixers that were trying to be everything
that it was trying to be. I'm not saying that
there weren't a lot of boards that did parts
of it better. All of a sudden you have Midas
designed preamps on a Behringer board. You have...
um, all of the pluses of a digital console with
only a few of the little quirks that you were
like, how does, how is that supposed to? Oh,
okay. And by the like second firmware update,
third firmware update, something like that, it
was very usable. Yep. Now you're always going
to have like the digicos and the, um, Gosh, the
Soundcraft. Allen and Heath. Solid State Logic.
These guys that are going to kind of... Yeah,
Allen and Heath that are going to kind of own
certain areas. Midas, I remember, used to be
considered that. I think that something happened
whenever Midas and... Behringer became a music
tribe that I don't know if it was all customer
service or if it was just the how it was difficult
to find answers to some questions but some people
really like latched onto it and grew with what
they were doing and so some of the things made
sense and some people didn't and so I would say
that there for a while, I would much rather have
mixed on an X -32 than a lot of the budget stuff
that like Allen and Heath came out with. Now
it seems like it's flipped pretty hard. Not flipped
pretty hard, but it seems like everybody wants
to be Allen and Heath. If you're in that mid
-tier, you know, I don't hear a lot of people.
um, screaming to get the, uh, Midas heritage,
um, HD, whatever it is. Um, um, I, I thought
it was a pretty good looking board to be honest
with you. Um, but I didn't actually like the
way that the Midas pros looked. So that's kind
of a funny thing about all that. Um, but then
quietly again, Behringer came out with, um, the
wing, which, we'll talk about here in a minute
like that again that kind of changed things um
for a lot of us um and we i think we were able
to do some things that we weren't expecting to
be able to do even with some of these high -end
consoles now when you get into higher -end consoles
then you are getting into like these frame rates
and every frame rates is that the right refresh
rates um right anyway I'm not using the right
words. I'm getting everything getting muddled
up in my head. Where you get higher digital fidelity,
the faster the speed is with these things. You
have to respect that. You have to learn how to
read in between the lines. Once we went from
Class A amplification to D and all these others,
what you're hearing in a sound wave is no longer
a curve. It's more a really small stair step
up and down. And you don't really realize that
that's what you're hearing when you're hearing
it because it's hard to notice the difference.
But the smaller that, the finer that stair step
gets, the more indiscernible it is. And so you
got all these boards then pushing the boundaries
of what is possible. And, you know, one day we'll
look at. 48 kilohertz or whatever as, um, barbaric.
Like, why did, why did we ever think that was
okay? Um, but you know, right now it's hard for
a lot of people to tell the difference. Um, and
then you got people who were like, well, if you're
not mixing at 96 and what are you even doing?
And it's, you know, there's always going to be
stuff like that. Um, but just the ability, um,
the, the digital boards, um, brought for lower
budget venues and lower budget, um, artists,
um, to be able to step in to these spaces and
be able to, um, really keep up with a lot of
things that were happening was, um, I think it's,
that's a game changer. What made the wing so
important to us, um, are on our end. or me, I
guess on my end, was I have a lot of, I have
to have a lot of flexibility or had to have a
lot of flexibility. And when you have to be really
flexible, one of the things that you don't want
to have to do is reconfigure the entire board
based on, you know, where somebody's standing.
on a given sunday or day whatever it is weekend
we call it a weekend on any given weekend um
but uh the what the what the wing did was one
of the things that the wing did was it made sure
that your um you can be separated um you can
separate your source from your channel so there's
certain things that the sources um carry with
them biggest one of those is gain and everybody
who's plugged into a different you know input
and then had to realize oh i have to change the
gain structure here again like that or oh i i've
lost where that input is and what is i mean it
was i think it was in 18 but now it's in five
like what um yeah what was that again and you
know you can name things based on where the source
is or what the source is and then you can do
your gain structure and you can do different
you can do mute groups inside of the source and
not just at the channel level like you can do
different routing you know from from that the
the tap point being at the source is really handy
to make sure that you've got the unmanipulated
sound that you're starting with on some of these
things and um all of that means that you you
have to it made sense i guess in my mind and
maybe for some people it didn't but it made sense
in my mind to make sure that the source is what's
carrying that and the channel can be independent
of that yeah like we're we're gonna make sure
that this channel is used for this thing and
i if i move him over here he just goes into that
whoa I don't know how I did that. But something
tells me it had something to do with the way
that I was doing my fingers. Y 'all can't see
that, but there were balloons all of a sudden
on my screen. I didn't do any. I don't know what
I did. I don't know. I can't do it. I don't know.
I lost mine. I'm jealous. But anyway, there's
a lot of different things about this. I feel
like I. babbled a lot and didn't really say that
much. Jason's probably shaking his head or screaming
at the podcast by now that I'm not talking about
something or that I said something stupid. Well,
see, that's the beauty of it. He'll just have
to send a boost. That's right. He can pay us
to correct us. Speaking of boosts and Jason.
Yes, we can transition to that as we're getting
towards the end of the show. So this. First boost
actually came in for episode, let me confirm,
yeah, episode 28, the AI edition. And he sent
us, let's see, how many sets? I hate that they
break this apart the way they do. So he sent
333 sets. We got to keep 313 once it made it
through all the channels. 313? Yeah. With the
comment, it would have been more, but there was
way too many oh wows in the AI episode. I too
have laughed at VR face after coming out from
under the hood. Yeah. So that was in reference
to you talking about your boys. Kind of having
a little fun with you at your expense when you
took yours off. Um, man. So, and then he hit
us again for episode. Where'd it go? Episode
29 altered reality with beer donations. Hmm.
Who's coming up with these names? Um, that's
you. Yeah. He sent us 1 ,234. And yeah, that's
a, that's a big boost. That's a baller boost.
And he says, one, two, three, four, because it's
the pin on my JumpCloud password vault. I mean,
oops, ignore that. Just for posterity, did my
333 come through from March 11th? Yes, it did,
Jason. Sorry we didn't mention it before. But
one, two, three, four. Remind me to change the
combination on my luggage. What's the code? How
did they say that in Space Bulls? Yeah. That's
the kind of code that an idiot would have on
his luggage. What kind of an idiot would use
that for their code? One, two, three, four. That's
the code to my luggage. Remind me to change the
code on my luggage when we get back. Yes. And
then shortly after that is when Space Pulse shifted
into the maid. Yeah. And you get the iconic line,
suck, suck, suck, suck, suck. Oh, thank you,
Mel Brooks. Thank you, thank you, thank you.
All the movies that would not exist if he was
born today. Don't get me started on Blazing Saddles.
Oh, man. There's no way you're pulling that off
now. I don't care if it is him doing it again.
I mean. The people that you would have to even
attempt to get buy -in from to do that movie
now, I mean, one of the nicer ones is, oh, boys,
look what I got here. Where the white women at?
Where the white women at? And it just goes way
off from there. I mean, I think we still could
get away with the... Classic. Laurie's dad's
favorite scene for Blazing Saddles is still the
campfire scene where they're all eating beans.
Yes. That's probably still fine. Yeah. But not
much else. Yeah. Solid as a rock. Yeah, but that's
my shooting hand. Yeah. Shakey shake. Yeah. Yeah.
All right. Hey. Glad we get to talk, man. Yeah,
it was good. Connection stayed once I moved the
radio. Yeah, into your fancy dorm. Oh, yeah.
Yeah, this is one of three houses that are on
this property. I think in summer, this is going
to be the men's director. Yeah, I think this
is the men's director and his wife. Next over
will be the women's director and her husband.
And then way over yonder is a gigantic house
that could hold probably three families. That's
where the director will probably be. With his
three families? Well, no, we're not going old
school, Old Testament here. But I'm just saying
there's enough between the upstairs and the downstairs.
Oh, yeah. You could put multiple families. Easy.
Y 'all keep making it happen. Yep. Yep. There's
a, there's a lot going on here. So, well, I enjoyed
it. Uh, definitely, definitely different without
a beer. Yep. Dr. Pepper's great, but it's not
beer. Nope. So we'll be back at it next time.
Absolutely. Yes. Uh, I think next time I either
want to try to get us, um, a growler of sanctimonium
from true vine. Or I'd like to get a growler
of the one at BJ's. They've got the one you had
at that time. It was the bourbon barrel age.
I haven't had that one yet. Yeah, no, it's really
good. I liked it. I don't know. Speaking of,
did you get your studio moved? Uh, not quite
yet. We got most of it moved. We, we could have,
uh, recorded there if you were here, but, um,
we've, we've still got quite a few things that
need to move over because Holy cow. When you
start tearing that stuff apart, you're like,
Oh, we've been here for a while. Um, but we're,
we're mostly moved into our house. Um, and the
good news is we won't have to use the internet
too much over there because right now it's terrible.
I need your help anyway. Um, so your little solution
is not working. It's fine. It's just not. It's
no 500 up, 500 down, Chris. No, it's not. We
can still look to see if it's possible to make
a bridge between there. Yep. So, you know, maybe
we'll be able to talk about that one of these
days. Okay. Sounds good. Well, have a good rest
of your trip. Yep. Thank you, man. Get back here
safe. Absolutely. I'll talk to you later. See
you. Great show, boys. 10 out of 10, perfection.