Strippers, Cocaine, & Parties

WEBVTT

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I had one actor who could not say birthday, he

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would say birthday. And you don't want to call

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somebody out and, you know, make them feel stupid

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or whatever, but I was like, okay, can we try

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birthday again? And he'd go, yeah, okay, so we

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were talking, and it happened to be my birthday,

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and I'm like, what the fuck is wrong with you?

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I'm Jake Jacobs, and you're listening to What

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The Fuck. My special guest today, Rob, was the

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head of the audio department at the Art Institute

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in Nashville. And I met Rob not as a 18 -year

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-old, 19 -year -old student, but as a 45 -year

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-old man going back to school for the first time

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in a long time. Rob was very influential on my

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career in the audio industry. Not in a way that

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you might think, though, because the one class...

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that Rob taught that I was able to attend dealing

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with dialogue and editing dialogue and cleaning

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it up. I learned a lot from that. And a couple

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of years after I graduated, after not really

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making it with the music stuff, now I'm doing

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podcasts and I'm editing audio the way Rob taught

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me how to do it. That's awesome. A big what the

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fuck welcome to my friend and mentor, Rob. How

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the hell are you, sir? I'm awesome, Jake. Thank

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you. Thanks for having me. Oh, you're welcome.

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And thank you for those nice words. To be honest,

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it was a class about audio post -production,

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which involved sound for film and commercials.

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Yeah. And then audio books, too, because a lot

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of people didn't realize that that's actually

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a career. Yes. Editing audio books. And then

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podcasting wasn't really a big thing at that

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point. Nah. But the whole technique of editing

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dialogue, making sure the dialogue is clear,

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pacing it the right way, all that stuff, that

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all applies across the board to all the post

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-production. work i used to get a lot of really

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amazing what the fuck blank stares in my class

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because a lot of the students were like i don't

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want to know about i don't care about this i

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want to make some beats and whatever yeah i can't

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tell you how gratifying it is to hear you say

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that you got something out of the class like

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that because as a teacher, you try and do a good

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job and reach people and you know you're not

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going to get to most people. But I think it was

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because you were older and you actually had a

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little bit more of an open mind than some of

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the younger students and more life experience.

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You were one of the few people that you could

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tell the light kind of went on in your head a

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little bit. It was like, yeah, I'll pay attention

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to this. Maybe this might be helpful sometime.

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I wasn't sitting there on my phone playing Farmville

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on Facebook. It was an interesting time. The

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three years that I was there learned a lot. I

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want to go back a little further because before

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the Art Institute, you did some really cool stuff.

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And one of the things I wanted to touch on was

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your involvement with Warner Brothers and archiving

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some of the iconic audio from the Bugs Bunny

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era and that kind of thing. What can you tell

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us? Well, I was living in Los Angeles. A friend

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of mine had called and said, hey, I have this.

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friend in Chicago who's moving to LA. He's a

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new film composer and he just got a gig recreating

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some of the cartoons for like Daffy Duck, some

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of the older Daffy Duck cartoons and stuff. And

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he needs somebody to come over and set up his

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studio. Would you be able to go and do that?

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I had a lot of experience with synchronization.

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And at the time we were using video machines

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and at the beginning of starting to use computers

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for sequencing and that kind of thing and analog.

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tape machines so i was really good at synchronizing

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all those things together so you know they all

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were running at the right time and blah blah

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blah blah so i got him set up got his whole studio

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rigged up and he goes hey have you ever done

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sound effects for cartoons before and this was

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a what the fuck moment i paused a second i said

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oh yeah sure i had complete lie i had watched

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Warner Brothers cartoons since I was a little

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kid, and I loved them, especially Roadrunner

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stuff and everything. Oh, yeah. And he goes,

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oh, cool. I'm supposed to recreate the music,

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but we also need to recreate the sound effects

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for all this. And I was like, oh, cool. Okay,

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yeah. And so he goes, when can you start? Can

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you start next week? And I'm like, yeah, sure.

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So I went home over the weekend and sweated.

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Dragged out all my VHS tapes of Warner Brothers

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cartoons and started watching everything and

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really, really paying attention to the sound

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effects and the whoop and the blang and all that

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kind of stuff. I understood the recording process.

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I understood how to create, record stuff. But

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the challenge was to try and get these sound

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effects to sound like the original ones. Yeah.

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And they were recorded in a certain way in a

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certain space where it was hard to recreate that.

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Just even the sound of the room, like the reverb

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tail you hear on certain things. Yeah. It was

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hard to recreate that kind of thing. So we started

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working on it, and I'm kind of stumbling through.

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trying to get some stuff, and there was just

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a few things I couldn't get together. They had

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arranged to meet with one of the guys who had

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been doing sound effects for Warner Brothers

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for like 30 years or whatever. He wasn't the

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original person. The original person that did

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a lot of that was a guy by the name of Treg Brown,

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who is credited as an editor, but he did the

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majority of all the sound effects and stuff and

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created all that. But this other guy, Frank,

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had been there working, and he... He kind of

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took over from Treg initially and had built this

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huge library. And all the sounds were on film

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mag, mag stock. Okay. Right? Like thick film.

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Yeah. That you have to put through either a projector

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or through a flatbed, which is what you edit

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film on. And so they brought me over and they

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show me this little closet on the Warner Brothers

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lot and said, here are all the sound effects.

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that Frank has curated over the past whatever

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years. And it's all these little reels of film,

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all kind of loosely cataloged, kind of like here's

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some whoops, here's a boings, here's a flip -flop,

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here's a zippity -out and zippity -in, all these

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things. I'm like, cool, because now I understand

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the vocabulary here. Because the names of the

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things sounded like the sound. What is it, onomatopoeia,

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right? They said, well, what we want you to do

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is... We'd like you to listen to these, obviously,

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but we want you to transfer all this stuff to

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digital tape. At the time, it was a DAT tape.

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DAT, yeah. And they said, you can come in every

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day for however long you need, and you'll be

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in this little room. So I was locked in this

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tiny little room. Not locked, but stuck in this

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little room and transferred all of these different

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takes and different versions of sound effects

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onto digital tape. At the time, we didn't really

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have a lot of noise reduction stuff, so it still

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had that. gritty sound a bit to it yeah some

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distortion in it some noise from the film stock

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but i was able to just get everything digitally

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transferred and then we were going to figure

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out how we could clean that stuff up after that

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so that took me i think i did that for three

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weeks It was like seven or eight hours a day.

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The last day I was there was the day that the

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riots broke out in Los Angeles after Rodney King.

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So that gives you an idea how long ago that was.

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I was about to leave and they said, well, you

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know what? We're going to close up the studio

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for the rest of the week. And that was the last

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time I was there. But anyway. I got all that

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stuff transferred. Eventually, it ended up going

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to a sound effects library called, I think it

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was Sound Ideas. They make sound effects libraries

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that you can buy. And they took all that stuff

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and cleaned up some of it and just cataloged

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it and whatever and released them. But there

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are a lot of sound effects that Warner Brothers

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wouldn't let them have that were real iconic

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sounds, like the Roadrunners. That sound? Yeah.

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They said, nope, that doesn't go anywhere. The

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carrot crunch from Bugs Bunny. Wow. That doesn't

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go anywhere. And there's a couple other sounds

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like that. And they said, the only person that's

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going to be allowed to use these is you and any

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of our other editors. And you can only use this

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on Warner Brothers. sanctioned or whatever projects.

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Right. They made me sign a contract and all this

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stuff. So I was walking, I had at home in my

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studio, I had all these tapes of all this stuff.

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I'm like, whoa! But I couldn't do anything with

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it unless they called up and said, hey, we need

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you to work, do some sound for a commercial or

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whatever. That was pretty weird. And that was

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an amazing learning experience because I got

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to hear not only just the sound effect, but what

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they would do to prep before it and after it.

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Oh, that's cool. Where you could hear where they

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would move a mic around a little bit to adjust

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what they were doing. And you could hear how

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the room would change and the reverb of the room

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would change. That's how I got my start doing

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all this stuff. And I eventually went on to work

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with Chuck Jones, who was the original Warner

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Brothers animation directors, who did Roadrunner

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and Bugs Bunny and Foghorn Leghorn. And so I

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got to work on a bunch of projects for him for

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like 10 years until he passed away. Was Mel Blanc

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already gone by then? Mel Blanc passed away the

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month after I started working for this composer

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guy. And what was weird is that his son, Noel,

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was starting to try and take over for him. And

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he had most of the voices nailed. But the big

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complaint about him was that he didn't have the

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acting down that Mel had. Mel could just rip

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back and forth between different characters and

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just get into that character or whatever. Yeah.

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Where anyone else trying to replace him kind

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of struggled with it. And they finally, I worked

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on a couple of things that Noel had done some

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voices for. And then they started using a couple

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other people. Joe Alasky was another person who

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started doing Bugs Bunny's voices. But yeah,

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it was interesting. I never got a chance to work

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with Mel Blanc, though. That would have been

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cool because he was just, you know, you go back.

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I can watch some of the interviews and stuff

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with him and it's pretty amazing. You know the

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sound of when the coyote falls off a cliff and

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you hear that whistle? Yeah. That whistle is

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actually, he recorded a, I don't know if it was

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a bomber, some sort of a bomber. Okay. And that's

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the sound. And he had that whole, you could hear

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the plane fly over and then you hear the. And

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so parts of it, you're like, what the heck is

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that? And then you realize as it gets closer

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that that's the sound that he used for him falling

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off the cliff. It was just the way he edited

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it, you know, and made it fit. It was cool. Rob

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is the person that introduced me. To the Wilhelm

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scream. Now, people probably don't know what

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the heck that is. But it is on two commercials

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right now. You probably know a little bit more

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about the origin. I only know the lore. Like,

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the only thing that I know is they were trying

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to figure out for sure who voiced it. And the

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last I heard, it was, I can't remember his name,

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but he was from Sam the Shaman, the Pharaohs,

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the singer. Am I correct in that? I believe so.

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The Wilhelm scream. It started out, and I always

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use this as an example in class, where... If

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one person has a sound effect and they use it,

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and then another person gets that same sound

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effect and they use it, and then that person

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and another person, you start hearing the same

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door close over and over again. You start hearing

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the same car start over and over again. There

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it is in its glory. So the deal was, I think

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the first time it was used was in a Western.

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I don't know the name of the Western. If you

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go on Wikipedia, there's a whole thing about

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the history of it where this guy on the horse

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gets shot and they wanted to put some sort of

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a sound of him falling off his horse and dying.

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And so they found this scream and put it in.

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And then that ended up starting to populate.

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I mean, it started going on everything where

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anyone was flying away or got blown up and they

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flew away or got shot. And you start hearing

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it all over the place. And it became the de facto

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I'm dying scream. Yes. Right. Yep. So years passed

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and eventually people kind of got away from it

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because they're like, yeah, yeah. OK, we've heard

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that we can make new one, different stuff now,

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blah, blah, blah. You know, obviously. as the

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recording process and technology moved ahead.

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But a number of sound editors, and I think it

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kind of started with people at Skywalker Sound

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when they were working on Raiders of the Lost

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Ark and Star Wars. They started putting that

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scream in in various places where you may not

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necessarily hear it or notice it, but it was

00:13:00.740 --> 00:13:03.909
put in as a joke. Yeah. That kind of caught on,

00:13:03.950 --> 00:13:08.110
and every audio engineer doing anything was starting

00:13:08.110 --> 00:13:11.809
to put it in everywhere. And it's still, to this

00:13:11.809 --> 00:13:15.149
day, it shows up in movies. It shows up in movie

00:13:15.149 --> 00:13:18.750
trailers, commercials. I think most people don't

00:13:18.750 --> 00:13:20.529
have a clue what the hell it is. They've heard

00:13:20.529 --> 00:13:22.509
it before, and they think, oh, that's silly.

00:13:22.669 --> 00:13:25.169
But they really don't know where it came from.

00:13:25.330 --> 00:13:26.950
We would have projects that we would have to

00:13:26.950 --> 00:13:28.690
do. Sometimes it would be a musical project.

00:13:28.809 --> 00:13:30.490
Sometimes it would be like a podcast type of

00:13:30.490 --> 00:13:32.799
thing. It was my mission. When I did it and I

00:13:32.799 --> 00:13:34.759
was successful at it. I remember. I put in the

00:13:34.759 --> 00:13:37.259
Wilhelm scream on every single project. And sometimes

00:13:37.259 --> 00:13:39.259
it was super subtle. You'd really have to listen

00:13:39.259 --> 00:13:41.139
for it. Other times I just put it in your face.

00:13:41.240 --> 00:13:43.179
Oh, yeah. But anytime I did that, I would let

00:13:43.179 --> 00:13:45.480
Rob hear it. And Rob's like, okay, where's the

00:13:45.480 --> 00:13:46.919
Wilhelm scream? I know it's in there somewhere.

00:13:48.679 --> 00:13:53.519
I remember that very well. Sometimes audio editing

00:13:53.519 --> 00:13:56.220
and doing sound for certain things can get kind

00:13:56.220 --> 00:13:59.379
of tedious. Oh, yeah. How many times do I have

00:13:59.379 --> 00:14:02.799
to hear somebody get punched? And sometimes you

00:14:02.799 --> 00:14:04.960
just got to stick something in there that people

00:14:04.960 --> 00:14:08.159
may not notice, but you know it's there. Oh,

00:14:08.159 --> 00:14:10.019
yeah. And it just kind of makes you smile a little

00:14:10.019 --> 00:14:12.340
bit every time you hear it. Yeah. Yeah. It's

00:14:12.340 --> 00:14:14.759
pretty crazy. Pretty fun. Something else I wanted

00:14:14.759 --> 00:14:17.919
to talk to you about. Rob, you are a very talented

00:14:17.919 --> 00:14:20.679
drummer. And I knew that. Used to be. Talented

00:14:20.679 --> 00:14:23.440
enough to where you actually went on tour with

00:14:23.440 --> 00:14:25.500
Bobby Goldsboro for a little bit. Yes, I did

00:14:25.500 --> 00:14:29.340
for almost 10 years. That was after the Art Institute,

00:14:29.500 --> 00:14:32.259
correct? It was during. We usually went out over

00:14:32.259 --> 00:14:35.379
the weekends. Older artists will tend to do that,

00:14:35.440 --> 00:14:37.059
you know, especially if they're getting up in

00:14:37.059 --> 00:14:39.399
age. And that was cool because, you know, I could

00:14:39.399 --> 00:14:42.000
leave on a Friday. We'd do a show maybe Friday

00:14:42.000 --> 00:14:44.899
night or do a show Saturday and then get home

00:14:44.899 --> 00:14:47.850
by Sunday. And so. When I was still teaching

00:14:47.850 --> 00:14:50.450
at the Art Institute, I was able to leave and

00:14:50.450 --> 00:14:52.870
go and do that kind of thing. We did a number

00:14:52.870 --> 00:14:57.330
of shows in Vegas and Laughlin and Reno, you

00:14:57.330 --> 00:14:59.970
know, all of those hot spots. Plus then we would

00:14:59.970 --> 00:15:03.509
hit the Florida circuit and all over the place.

00:15:03.610 --> 00:15:06.389
Yeah, it was fun. I got the gig from a mutual

00:15:06.389 --> 00:15:08.929
friend of mine, Michael Stanton, who's a pedal

00:15:08.929 --> 00:15:11.210
steel guitar player, but he's also a keyboard

00:15:11.210 --> 00:15:14.429
player. He had worked for Bobby for 40 years.

00:15:14.649 --> 00:15:18.279
He originally helped Bob. score the show Evening

00:15:18.279 --> 00:15:21.779
Shade with Burt Reynolds. Remember that? Yeah,

00:15:21.860 --> 00:15:23.460
I remember that. Bobby did all the music for

00:15:23.460 --> 00:15:25.500
that. And so Michael worked with him on that

00:15:25.500 --> 00:15:27.820
and a whole bunch of other stuff. When their

00:15:27.820 --> 00:15:30.820
original drummer decided to retire, they asked

00:15:30.820 --> 00:15:33.320
if I would be interested. And I said, yeah, you

00:15:33.320 --> 00:15:35.679
know, it was the kind of gig where I was like,

00:15:35.759 --> 00:15:38.620
I can still play, but I don't have to deal with

00:15:38.620 --> 00:15:41.980
sitting on a bus. You know, I don't have to do

00:15:41.980 --> 00:15:44.340
all that kind of thing. Right. What was nice

00:15:44.340 --> 00:15:46.820
is I always used. backline gear meaning that

00:15:46.820 --> 00:15:49.399
i didn't have to cart my drums around with me

00:15:49.399 --> 00:15:52.320
so i was able to use you know they always were

00:15:52.320 --> 00:15:54.899
able to rent good equipment for that and so that

00:15:54.899 --> 00:15:57.879
was cool it was kind of a low stress gig and

00:15:57.879 --> 00:16:01.769
it was it was fun it was an older audience Here's

00:16:01.769 --> 00:16:04.049
a good what the fuck. We were playing in the

00:16:04.049 --> 00:16:07.649
Villages in Florida, which is a huge retirement

00:16:07.649 --> 00:16:10.610
community. They have their own theater and they

00:16:10.610 --> 00:16:13.929
would bring in Bobby and other groups like Tommy

00:16:13.929 --> 00:16:17.029
James and Hermits Hermits and all of the nostalgia

00:16:17.029 --> 00:16:19.730
kind of things. And so we came in to do a show

00:16:19.730 --> 00:16:22.509
there. We're driving into the main entrance and

00:16:22.509 --> 00:16:26.559
I see like six. ambulances in the front of the

00:16:26.559 --> 00:16:29.019
building in the parking lot. Okay. I'm like,

00:16:29.159 --> 00:16:32.779
what the hell's going on? What's going on here?

00:16:33.000 --> 00:16:35.820
So we go into the stage door and I see the stage

00:16:35.820 --> 00:16:37.740
manager go, hey, man, what's the deal with all

00:16:37.740 --> 00:16:40.919
the ambulances out front? And he goes, oh, don't

00:16:40.919 --> 00:16:43.860
worry. It's just there for emergencies. He goes,

00:16:43.879 --> 00:16:45.899
you do understand this is a really old crowd,

00:16:46.100 --> 00:16:51.059
right? And I'm like, yeah, but what? What the

00:16:51.059 --> 00:16:54.539
fuck? You mean these people are going to be dropping

00:16:54.539 --> 00:16:58.200
dead? What's going on here? Oh, my God. What

00:16:58.200 --> 00:17:01.080
kind of audience is this? Wow. There were times

00:17:01.080 --> 00:17:03.779
where we'd have to hold the show for 10 minutes

00:17:03.779 --> 00:17:06.000
because they were still bringing people in in

00:17:06.000 --> 00:17:10.079
wheelchairs and walkers and like, okay, I guess

00:17:10.079 --> 00:17:12.599
that's cool. Whatever. Still a good crowd. They

00:17:12.599 --> 00:17:15.380
enjoyed hearing Bobby, and it was fun. You're

00:17:15.380 --> 00:17:17.500
like, Rob, no Ronnie -style stuff on the drums

00:17:17.500 --> 00:17:18.880
tonight. We don't need anybody having a heart

00:17:18.880 --> 00:17:21.420
attack. Yeah, basically, yeah. Rob, let's cut

00:17:21.420 --> 00:17:28.299
that drum solo. Yeah, yeah. The front row is

00:17:28.299 --> 00:17:31.019
full of 80 plus, and I don't think it's going

00:17:31.019 --> 00:17:33.000
to go over well. One of the things I noticed

00:17:33.000 --> 00:17:34.900
when I first moved to Nashville was the amount

00:17:34.900 --> 00:17:40.000
of celebrities that lived in this area that you

00:17:40.000 --> 00:17:43.700
would accidentally bump into, like at the grocery

00:17:43.700 --> 00:17:46.940
store or Starbucks. Coming from L .A., was it

00:17:46.940 --> 00:17:49.339
a little bit different? When I first moved to

00:17:49.339 --> 00:17:51.569
Nashville, people were like... And I moved here

00:17:51.569 --> 00:17:55.490
in 1995 from Los Angeles. So I had this jaded

00:17:55.490 --> 00:17:58.769
L .A. view of anybody that you see famous, you

00:17:58.769 --> 00:18:00.910
know, stay away from them. They're going to be

00:18:00.910 --> 00:18:04.490
assholes to you or whatever. And when we got

00:18:04.490 --> 00:18:07.089
here, I have a number of what the fuck moments

00:18:07.089 --> 00:18:10.460
I can talk about of people I've met here. By

00:18:10.460 --> 00:18:13.079
accident, most of the people that live around

00:18:13.079 --> 00:18:16.460
us here in Nashville that are famous, there's

00:18:16.460 --> 00:18:18.900
no problem in them going out and being normal

00:18:18.900 --> 00:18:21.339
folks like they really are. And a lot of them

00:18:21.339 --> 00:18:23.819
are happy to talk to people and just say, if

00:18:23.819 --> 00:18:26.339
you go up and say, I'm a huge fan. Now, if you

00:18:26.339 --> 00:18:28.480
act like a complete asshole or you're losing

00:18:28.480 --> 00:18:33.839
your mind. Yeah. In fact, here's a great story.

00:18:33.940 --> 00:18:36.779
I was in Walgreens up the street from me in the

00:18:36.779 --> 00:18:40.039
checkout line. Luke Bryant walks in with a friend

00:18:40.039 --> 00:18:43.599
of his. And this woman dressed in orange and

00:18:43.599 --> 00:18:46.759
white Tennessee volunteer outfit walks in. And

00:18:46.759 --> 00:18:48.740
right in the middle of the store, she goes, oh,

00:18:48.900 --> 00:18:53.170
my God. you're luke bryant oh i love you and

00:18:53.170 --> 00:18:55.650
she's screaming it and everyone's around there

00:18:55.650 --> 00:18:58.450
looking around he just stops dead cold in his

00:18:58.450 --> 00:19:00.490
tracks he's like oh and you could look on his

00:19:00.490 --> 00:19:04.210
face he's like oh shit but he was cool he turned

00:19:04.210 --> 00:19:06.849
around and she ran up and wanted to give him

00:19:06.849 --> 00:19:09.250
a hug and it's like he was really cool about

00:19:09.250 --> 00:19:12.190
it and i just i was you know and then he's walking

00:19:12.190 --> 00:19:17.450
by and i'm like yeah i wasn't gonna go oh my

00:19:17.450 --> 00:19:20.720
god Yeah, look, Brian, if you're cool, everybody's

00:19:20.720 --> 00:19:23.079
cool. You know, it's just that's the way it is.

00:19:23.339 --> 00:19:25.140
One of the things that draws people to Nashville

00:19:25.140 --> 00:19:27.480
is everyone wants to be a songwriter. Apart from

00:19:27.480 --> 00:19:29.940
doing the sound effects for Warner Brothers and

00:19:29.940 --> 00:19:32.359
playing drums for Bobby Goldsboro. Did you ever

00:19:32.359 --> 00:19:34.900
get into any of the other sides of the music

00:19:34.900 --> 00:19:39.220
business? My first foray into starting my own

00:19:39.220 --> 00:19:42.680
business when I was still in Los Angeles, a friend

00:19:42.680 --> 00:19:44.900
of mine and I decided we were going to start.

00:19:45.339 --> 00:19:48.960
We wanted to write music for sports programming

00:19:48.960 --> 00:19:51.680
and news themes and stuff. Oh, cool. I've never

00:19:51.680 --> 00:19:53.740
been a songwriter. I've never been able to sit

00:19:53.740 --> 00:19:56.920
down and write a four -minute song with the lyrics

00:19:56.920 --> 00:19:59.099
and all that stuff. I never just could do that.

00:19:59.200 --> 00:20:02.460
But if I have a picture in front of me or moving

00:20:02.460 --> 00:20:05.420
image or whatever, for some reason, I can write

00:20:05.420 --> 00:20:07.279
to that. That's interesting. It's weird. And

00:20:07.279 --> 00:20:09.480
I've tried. I've really tried to sit here and

00:20:09.480 --> 00:20:11.059
I'm like, I'm going to write a song. And I'm

00:20:11.059 --> 00:20:15.460
like, forget it. This sucks. I get real focused

00:20:15.460 --> 00:20:18.660
on trying to do stuff to images and everything.

00:20:18.920 --> 00:20:21.940
And so we were like, okay, let's try this out.

00:20:22.059 --> 00:20:24.400
And so he and I, he was a keyboard player and

00:20:24.400 --> 00:20:26.359
good at programming and all that stuff. And I

00:20:26.359 --> 00:20:29.819
was playing drums and a little bass here and

00:20:29.819 --> 00:20:33.200
there. And so we... We wrote a couple of sports

00:20:33.200 --> 00:20:37.960
kind of themes, like energy pumped up. With lyrics

00:20:37.960 --> 00:20:39.839
or just the music? Just the music. Just kind

00:20:39.839 --> 00:20:42.680
of to be like intro music or play underneath,

00:20:42.819 --> 00:20:44.359
you know, one of the announcers or whatever.

00:20:44.960 --> 00:20:47.619
A mutual friend said, hey, I got a guy who works

00:20:47.619 --> 00:20:50.279
for this brand new cable company called the Z

00:20:50.279 --> 00:20:53.440
Channel in Los Angeles. And they just got the

00:20:53.440 --> 00:20:56.480
contract to broadcast all the Dodger games. And

00:20:56.480 --> 00:20:59.859
I think they're looking for music for their opening

00:20:59.859 --> 00:21:01.599
and for all that. that kind of stuff. And I'm

00:21:01.599 --> 00:21:04.839
like, no shit. Okay. So we contacted this guy

00:21:04.839 --> 00:21:07.660
and he came over and we had this tiny little

00:21:07.660 --> 00:21:11.819
studio in my apartment. With him, we worked on

00:21:11.819 --> 00:21:14.059
some stuff. He gave us specific, I wanted to

00:21:14.059 --> 00:21:16.400
build up here for the first 10 seconds and then

00:21:16.400 --> 00:21:18.079
we want to cut down there and blah, blah, blah.

00:21:18.220 --> 00:21:20.720
So he guided us through all that. We recorded

00:21:20.720 --> 00:21:23.480
a bunch of stuff, gave him big mistake. First

00:21:23.480 --> 00:21:27.259
dumb ass mistake I ever made was gave him a DAT

00:21:27.259 --> 00:21:30.980
tape with all of our music mix. on it he walked

00:21:30.980 --> 00:21:34.660
out and didn't hear from him like two weeks he

00:21:34.660 --> 00:21:36.599
was like oh yeah they're gonna love this this

00:21:36.599 --> 00:21:38.980
is the fact that i'm working on it with you we're

00:21:38.980 --> 00:21:40.900
getting it tailored to what i think they want

00:21:40.900 --> 00:21:45.000
two weeks go by I don't hear back. You know,

00:21:45.039 --> 00:21:47.180
what's the deal? And it's starting to get closer

00:21:47.180 --> 00:21:50.059
to opening day for the Dodgers, right? And I

00:21:50.059 --> 00:21:52.180
would call the guy, finally got a hold of me.

00:21:52.180 --> 00:21:53.779
He goes, oh, well, you know what happened? They

00:21:53.779 --> 00:21:55.319
decided they were going to go with something

00:21:55.319 --> 00:21:59.200
else. And I'm like, oh, well, okay. Thanks. Thanks

00:21:59.200 --> 00:22:02.000
for giving it a shot with us. That's cool. I

00:22:02.000 --> 00:22:03.680
hung up the phone. I was just like, okay, well,

00:22:03.819 --> 00:22:05.980
whatever. We'll try to, you know, keep going.

00:22:06.339 --> 00:22:08.900
You don't let one door close and keep finding

00:22:08.900 --> 00:22:11.890
the right door. I'm a baseball fan, so. Opening

00:22:11.890 --> 00:22:14.069
day, I decide, okay, I'm going to watch the Dodger

00:22:14.069 --> 00:22:16.650
game. I'm not a Dodger fan. I'm a Cubs fan, but

00:22:16.650 --> 00:22:19.630
I'll watch the Dodger game. Sitting there. And

00:22:19.630 --> 00:22:22.069
guess what comes on? Oh, my God. I was afraid

00:22:22.069 --> 00:22:23.970
you were going to say that. And I said, what

00:22:23.970 --> 00:22:27.069
the fuck? That's our music they're playing. That

00:22:27.069 --> 00:22:30.089
is bullshit. I got up. I'm running around the

00:22:30.089 --> 00:22:32.470
apartment. I'm looking for a baseball bat. I'm

00:22:32.470 --> 00:22:34.390
going to get in my car and I'm going to go find

00:22:34.390 --> 00:22:37.849
this asshole and beat the shit out of him. And

00:22:37.849 --> 00:22:40.450
my friend's like, no, let's not do that. You

00:22:40.450 --> 00:22:42.789
know, I think you need to maybe get a lawyer,

00:22:42.970 --> 00:22:45.990
find out what the deal is. So I called my dad.

00:22:46.130 --> 00:22:48.630
I was hoping he had a good suggestion for me.

00:22:48.839 --> 00:22:51.880
He goes, well, only thing I can ask is did you

00:22:51.880 --> 00:22:55.700
copyright the music yourself? Even if his name's

00:22:55.700 --> 00:22:58.019
on it, if your name's still also on it. I said,

00:22:58.019 --> 00:23:02.500
no, we just gave him the music. And he goes,

00:23:02.599 --> 00:23:06.099
well, I would suggest calling an attorney and

00:23:06.099 --> 00:23:08.559
see what the deal is. And I did that. And the

00:23:08.559 --> 00:23:10.700
attorney said, do you have a way to prove that

00:23:10.700 --> 00:23:12.900
you did this? You know, you hold the copyright

00:23:12.900 --> 00:23:15.460
or part of it. And I'm like, well, I have the

00:23:15.460 --> 00:23:18.400
sequence and stuff, but I don't have the master

00:23:18.400 --> 00:23:21.720
tape of it. I have a cassette of it. And he was

00:23:21.720 --> 00:23:23.660
like, the amount of money you'll get out of them

00:23:23.660 --> 00:23:26.599
is not. The same amount that I'm going to be

00:23:26.599 --> 00:23:29.059
charging you to do this. Right. And he goes,

00:23:29.160 --> 00:23:32.039
I would just chalk this up to don't do that,

00:23:32.099 --> 00:23:34.240
you stupid idiot. A learning experience, yes.

00:23:34.980 --> 00:23:37.680
Exactly. That's unfortunate. And so I never saw,

00:23:37.799 --> 00:23:40.099
never heard from that guy ever again. But man,

00:23:40.240 --> 00:23:42.400
I was just like. Did they continue to use that

00:23:42.400 --> 00:23:45.579
fucking music? Oh, yeah. Wow. But the saving

00:23:45.579 --> 00:23:48.079
grace is there's even a documentary about this.

00:23:48.140 --> 00:23:51.220
A year later, I think the owner of this cable

00:23:51.220 --> 00:23:55.039
company was indicted or whatever for mishandling

00:23:55.039 --> 00:23:57.880
funds or I don't know, something like that. And

00:23:57.880 --> 00:24:00.700
the place was shuttered. So I was like, OK, fuck

00:24:00.700 --> 00:24:06.000
you. Good luck. Here's a weather -related what

00:24:06.000 --> 00:24:07.559
the fuck, and this ties in with the Art Institute

00:24:07.559 --> 00:24:10.400
while I was attending the flood of 2010. Oh,

00:24:10.400 --> 00:24:11.700
yeah. I'm trying to think of who the teacher

00:24:11.700 --> 00:24:13.700
was. It might have been Seth. Seth, okay. But

00:24:13.700 --> 00:24:17.859
we had a project due that day. And I lived in

00:24:17.859 --> 00:24:19.559
Jolton, so I lived at the top of a mountain,

00:24:19.619 --> 00:24:21.500
so I wasn't seeing any of this. And I just happened

00:24:21.500 --> 00:24:23.819
to turn on the news, and I'm watching. The next

00:24:23.819 --> 00:24:26.220
thing I see, I see this house floating down Interstate

00:24:26.220 --> 00:24:29.099
40. Like, what the fuck is going on? This is

00:24:29.099 --> 00:24:30.980
a little bit more serious than I thought it was.

00:24:31.160 --> 00:24:33.000
And I'm like, Art Institute, they had to cancel,

00:24:33.099 --> 00:24:34.900
right? So I turn on the radio. and everything's

00:24:34.900 --> 00:24:36.599
fucking canceling. Not hearing anything about

00:24:36.599 --> 00:24:38.460
the Art Institute. I'm like, what the fuck? I

00:24:38.460 --> 00:24:40.119
know they don't expect us to try to drive to

00:24:40.119 --> 00:24:42.539
school. So I reached out to Seth. He didn't even

00:24:42.539 --> 00:24:44.539
know what was going on. Oh, really? He didn't

00:24:44.539 --> 00:24:46.279
know how serious it was. I'm like, do we have

00:24:46.279 --> 00:24:49.099
school today? He's like, let me find out. So

00:24:49.099 --> 00:24:51.180
Seth had to actually go and talk to one of y

00:24:51.180 --> 00:24:52.920
'all to see what the hell was going on or to

00:24:52.920 --> 00:24:54.519
see what he could find out. And finally, he called

00:24:54.519 --> 00:24:56.380
me back. He's like, yeah, don't even worry about

00:24:56.380 --> 00:24:58.400
school today. We're not. Yeah, because the whole,

00:24:58.519 --> 00:25:01.140
there was that stream that was by the entrance

00:25:01.140 --> 00:25:04.220
of the school, I think. Yeah. And that overflowed.

00:25:04.220 --> 00:25:06.880
It took out half of the asphalt and stuff down

00:25:06.880 --> 00:25:08.720
the street a bit. Yeah. You couldn't even get

00:25:08.720 --> 00:25:11.619
in there anyway. Yeah. Lucky for me because the

00:25:11.619 --> 00:25:13.480
project that was due that day, mine wasn't done.

00:25:13.599 --> 00:25:18.000
But he never knew that. No, he doesn't know.

00:25:18.180 --> 00:25:20.380
He doesn't need to know that. It's a weather

00:25:20.380 --> 00:25:22.819
-related incident. That was my problem. Yeah,

00:25:22.819 --> 00:25:24.849
yeah, yeah. When you've grown up and you've gone

00:25:24.849 --> 00:25:26.750
away from home, you always go back and you tell

00:25:26.750 --> 00:25:28.589
your parents, you know, all the bad shit that

00:25:28.589 --> 00:25:30.170
you did now that they can't punish you. Right.

00:25:30.230 --> 00:25:31.990
So Rob was the head of the audio department.

00:25:32.089 --> 00:25:34.670
And every semester we would get like a set number

00:25:34.670 --> 00:25:37.089
of studio hours that we could go into the studio

00:25:37.089 --> 00:25:40.109
and use it for projects and whatever. Toward

00:25:40.109 --> 00:25:41.789
the end there when it was apparent that I was

00:25:41.789 --> 00:25:46.480
actually going to graduate. I had all my projects

00:25:46.480 --> 00:25:48.779
done. I was booking studio time for the Kentucky

00:25:48.779 --> 00:25:50.519
linemen, and there were some nights where we

00:25:50.519 --> 00:25:52.619
were there all fucking night from like 10 o 'clock

00:25:52.619 --> 00:25:54.480
to like 6 o 'clock in the morning. And I can't

00:25:54.480 --> 00:25:56.380
tell you how much Jack Daniels was drinking that

00:25:56.380 --> 00:26:00.940
fucking controller. Yeah. There's a number of

00:26:00.940 --> 00:26:08.180
projects that that occurred in, and I knew some

00:26:08.180 --> 00:26:11.140
of it was going on, so I was the kind of person

00:26:11.140 --> 00:26:12.819
that was kind of like, uh -huh. That's good.

00:26:12.900 --> 00:26:15.400
Yeah. Okay. Sounds really good, guy. Keep going.

00:26:16.380 --> 00:26:20.279
Because, you know, that is part of working in

00:26:20.279 --> 00:26:24.380
a studio situation with creative people. And

00:26:24.380 --> 00:26:27.420
that's part of the job. And if you don't know.

00:26:28.190 --> 00:26:30.789
How to handle that. You're going to suck at doing

00:26:30.789 --> 00:26:32.769
this. We started loading in and then somebody

00:26:32.769 --> 00:26:34.509
walked in with a bottle of Jack and then somebody

00:26:34.509 --> 00:26:36.150
else walked in with another bottle of Jack. And

00:26:36.150 --> 00:26:38.509
I'm like, at some point, so wait, this is a school.

00:26:38.589 --> 00:26:40.230
Are we allowed to do this? And I'm like, I'm

00:26:40.230 --> 00:26:42.150
not going to say shit. We just got to be cool

00:26:42.150 --> 00:26:44.009
about it. I don't know. There was one night where

00:26:44.009 --> 00:26:46.369
we, it was an all nighter at five o 'clock in

00:26:46.369 --> 00:26:48.049
the morning. We're all like, and we had the studio

00:26:48.049 --> 00:26:50.789
until eight. Right. So we're all like burnout

00:26:50.789 --> 00:26:52.450
by this time at five o 'clock in the morning.

00:26:52.490 --> 00:26:57.560
We're like, let's do a Tammy Wynette cover. So

00:26:57.560 --> 00:26:59.920
we're there, and we pull up YouTube, and we're

00:26:59.920 --> 00:27:01.440
listening to the song, and the song was Till

00:27:01.440 --> 00:27:03.220
I Can Make It On My Own. It's a ballad. Oh, yeah.

00:27:03.680 --> 00:27:06.140
Yeah. And we laid down the bass and the drums

00:27:06.140 --> 00:27:08.740
and the rhythm guitar. And Mitchell, he was tired

00:27:08.740 --> 00:27:11.519
and his voice was cracking. And obviously, he's

00:27:11.519 --> 00:27:13.319
a male. Tammy went at his feet. So he wasn't

00:27:13.319 --> 00:27:14.619
trying to sound like Tammy went at it. Right,

00:27:14.660 --> 00:27:16.400
right, right. But he did this scratch vocal that

00:27:16.400 --> 00:27:17.799
we were just going to, you know, just a scratch

00:27:17.799 --> 00:27:19.039
vocal. It's going to be thrown away. We'll do

00:27:19.039 --> 00:27:21.200
the master vocal later, right? So we did that.

00:27:21.480 --> 00:27:23.500
And then, you know, we cleaned the studio. No

00:27:23.500 --> 00:27:25.759
one ever knew. I mean, no one ever said anything

00:27:25.759 --> 00:27:27.579
to me. Like, you guys fucking trashed the place.

00:27:27.619 --> 00:27:29.259
I was like, no, we left it clean. Drank a lot

00:27:29.259 --> 00:27:30.660
of Jack, but we left it clean. Well, that's,

00:27:30.660 --> 00:27:33.970
you know, that's... To me, that was part of the

00:27:33.970 --> 00:27:36.589
gig. That's part of the, you know. And you would

00:27:36.589 --> 00:27:38.650
do that if you were working in another studio.

00:27:38.769 --> 00:27:42.630
You can't trash the place. I mean, I guess. There's

00:27:42.630 --> 00:27:44.329
some people who probably can get away with it.

00:27:44.390 --> 00:27:46.950
But most of the time, you're in there, and if

00:27:46.950 --> 00:27:48.910
you're the engineer, you're kind of supposed

00:27:48.910 --> 00:27:51.529
to be the grown -up, so to speak, in the room.

00:27:51.910 --> 00:27:54.450
And so, you know, it's kind of your deal. You

00:27:54.450 --> 00:27:56.910
make sure people aren't trashing shit up, and

00:27:56.910 --> 00:27:59.490
you clean up after everybody's done, and that's

00:27:59.490 --> 00:28:03.559
the way it is. I knew certain things, certain

00:28:03.559 --> 00:28:06.039
people were doing stuff, but I wasn't going to.

00:28:06.460 --> 00:28:07.839
Rob's like, you're not telling me anything I

00:28:07.839 --> 00:28:09.500
didn't fucking know, Jake. Come on now. Yeah.

00:28:09.940 --> 00:28:12.819
Yeah. I wasn't going to. I was not going to.

00:28:13.240 --> 00:28:15.799
be that guy, you know? I was like, hey, wait

00:28:15.799 --> 00:28:18.039
a second. The funny thing is, a couple months

00:28:18.039 --> 00:28:20.240
later, we actually went back and Mitchell was

00:28:20.240 --> 00:28:22.420
trying to do a master vocal for that track. He

00:28:22.420 --> 00:28:24.759
listened to that scratch vocal and he did a couple

00:28:24.759 --> 00:28:26.700
takes and I'm in there trying to comp the vocal

00:28:26.700 --> 00:28:28.920
and Mitchell's listening to it. He's like, play

00:28:28.920 --> 00:28:31.160
that scratch vocal back. And he's like, I don't

00:28:31.160 --> 00:28:33.000
know what it is. In a scratch vocal, he sang

00:28:33.000 --> 00:28:35.279
through an SM58, so we didn't even care what

00:28:35.279 --> 00:28:37.059
microphone it was because it was just a scratch

00:28:37.059 --> 00:28:40.039
vocal. Mitchell's like, I cannot get that level

00:28:40.039 --> 00:28:43.349
of pain in the way that I... He said, I can't

00:28:43.349 --> 00:28:45.930
do it. Like, it was 5 o 'clock in the morning.

00:28:45.990 --> 00:28:48.170
So we ended up using the scratch vocal as the

00:28:48.170 --> 00:28:50.289
lead vocal for the track. And then we just kind

00:28:50.289 --> 00:28:52.049
of built it around that. Part of your job as

00:28:52.049 --> 00:28:54.789
the engineer is to capture whatever is happening

00:28:54.789 --> 00:28:57.829
in the moment. And if you had not hit record

00:28:57.829 --> 00:29:00.750
on that scratch vocal, you would have been bummed.

00:29:00.849 --> 00:29:03.450
Yeah. I've learned real quick since that day,

00:29:03.549 --> 00:29:05.569
probably. I hit the record button. Even if they

00:29:05.569 --> 00:29:07.309
ask me, hey, are you recording this? No, no,

00:29:07.329 --> 00:29:09.529
don't worry about it. Absolutely. Yeah, you never

00:29:09.529 --> 00:29:12.309
let somebody know you're in record. chord just

00:29:12.309 --> 00:29:14.569
make sure you are rolling all the time because

00:29:14.569 --> 00:29:16.650
you never know what's going to come out of somebody's

00:29:16.650 --> 00:29:18.869
mouth or what some lick someone's going to play

00:29:18.869 --> 00:29:21.490
or some cool drum fill or oh my god you hear

00:29:21.490 --> 00:29:23.509
about omni studios they fucking tore omni down

00:29:23.509 --> 00:29:27.380
yeah i know absolute Decimation of Music Row.

00:29:27.619 --> 00:29:29.940
I had a critical listening class, or it was an

00:29:29.940 --> 00:29:31.920
assignment or something, and we had to pick between

00:29:31.920 --> 00:29:34.700
three songs, and one of the songs was a Vince

00:29:34.700 --> 00:29:36.720
Gill song, and we had to book the studio time

00:29:36.720 --> 00:29:39.579
and listen to the song through the control room,

00:29:39.640 --> 00:29:41.440
through the speakers. We had to draw out the

00:29:41.440 --> 00:29:43.180
sound field and what you're hearing. It was a

00:29:43.180 --> 00:29:45.220
really cool project. So I had the studio booked

00:29:45.220 --> 00:29:48.099
for like two hours. A half hour before my studio

00:29:48.099 --> 00:29:50.180
time was up, this older gentleman comes walking

00:29:50.180 --> 00:29:52.200
in, and I had no idea who it was. Not a clue.

00:29:52.319 --> 00:29:53.720
So I'm sitting there, and he's like, oh, that's

00:29:53.720 --> 00:29:56.390
a great Vince Gill song. And I'm thinking to

00:29:56.390 --> 00:29:57.849
myself, who the fuck is this guy encroaching

00:29:57.849 --> 00:29:59.809
on my studio time? I had no idea who he was.

00:29:59.890 --> 00:30:01.650
And I wasn't being a shithead to him, but I wasn't

00:30:01.650 --> 00:30:03.829
being as cordial as I could have been had I known

00:30:03.829 --> 00:30:06.289
who he was. It was Bob Bullock. And he had the

00:30:06.289 --> 00:30:07.930
studio booked for 8 o 'clock, so he was just

00:30:07.930 --> 00:30:11.089
there a little early, right? So I had no idea.

00:30:12.400 --> 00:30:14.619
I did my thing and I left and I turned a project

00:30:14.619 --> 00:30:16.480
in, you know, and I didn't think about it again

00:30:16.480 --> 00:30:19.140
until a couple of years later. I booked a mixing

00:30:19.140 --> 00:30:22.000
class and I see this name, Bob Bullock. And then

00:30:22.000 --> 00:30:23.539
I looked at him up like, holy crap, this guy's

00:30:23.539 --> 00:30:25.519
done some stuff. Like he's worked on some stuff.

00:30:25.660 --> 00:30:27.660
One of the sweetest and nicest people you'll

00:30:27.660 --> 00:30:30.589
ever meet too. Oh yeah. Yeah. I walked into his

00:30:30.589 --> 00:30:32.450
class and it was at Omni Studios. That's where

00:30:32.450 --> 00:30:34.410
we had the class. I remember. I'm like, okay,

00:30:34.609 --> 00:30:36.410
I'm going to fail this class just because, no,

00:30:36.509 --> 00:30:38.849
he was super cool. And we were in one of his

00:30:38.849 --> 00:30:41.450
classes and he was telling this story. He was

00:30:41.450 --> 00:30:44.490
doing this part spoken word, part music project

00:30:44.490 --> 00:30:47.309
with Waylon Jennings. Oh. It was basically Waylon

00:30:47.309 --> 00:30:49.410
songs and there was talking in between. And I

00:30:49.410 --> 00:30:50.869
don't know if it was recorded at Omni, but it

00:30:50.869 --> 00:30:53.309
was being mixed there. Yeah. Bob was doing something

00:30:53.309 --> 00:30:55.849
with Waylon at Omni Studios. Okay. So Waylon

00:30:55.849 --> 00:30:57.769
was back in the vocal booth and I think he was

00:30:57.769 --> 00:31:00.000
doing a spoken dialogue part. Bob kept hearing

00:31:00.000 --> 00:31:01.900
this crinkling coming through the mic, and he

00:31:01.900 --> 00:31:03.599
couldn't figure out what it was. So Waylon's

00:31:03.599 --> 00:31:04.859
just sitting there, and they're trying to figure

00:31:04.859 --> 00:31:06.720
it out, and the engineers are trying to figure

00:31:06.720 --> 00:31:08.599
it out. They're swapping out XLR cables, and

00:31:08.599 --> 00:31:10.380
they're swapping out mics, and they'd get everything

00:31:10.380 --> 00:31:12.299
hooked back up and hit record again, and the

00:31:12.299 --> 00:31:14.200
crinkling is still there. Come to find out it

00:31:14.200 --> 00:31:17.039
was Waylon fucking with him. Waylon had a cigarette

00:31:17.039 --> 00:31:19.519
pack and was fucking with the cellophane, and

00:31:19.519 --> 00:31:20.779
every time they would get everything straight,

00:31:20.859 --> 00:31:23.000
oh, let's try it now, Waylon, he would just crinkle

00:31:23.000 --> 00:31:27.480
that fucking cellophane. That's awesome! Bob

00:31:27.480 --> 00:31:29.579
said, I don't know how long that went on until

00:31:29.579 --> 00:31:31.480
they figured out what it was. But finally, he

00:31:31.480 --> 00:31:32.900
said, wait, I said, all right, guys, this is

00:31:32.900 --> 00:31:35.420
this is me messing with you. That's awesome.

00:31:37.389 --> 00:31:40.109
You still are the first person I've ever met

00:31:40.109 --> 00:31:43.289
that was a fan of Kiss and Waylon Jennings at

00:31:43.289 --> 00:31:45.930
the same time. Oh, of course. Yeah. I was impressed

00:31:45.930 --> 00:31:48.589
with the spectrum. We had a studio project and

00:31:48.589 --> 00:31:50.789
this wasn't even mine. This was for a classmate

00:31:50.789 --> 00:31:53.309
and they had hired Cowboy Eddie Long to come

00:31:53.309 --> 00:31:54.950
in and play pedal steel on it. And I had never

00:31:54.950 --> 00:31:57.150
met him. Cowboy comes walking in when I said,

00:31:57.190 --> 00:32:00.289
Cowboy, when I was 18 years old, my dad took

00:32:00.289 --> 00:32:03.170
me to see Hank Williams Jr. in Stabler Arena

00:32:03.170 --> 00:32:05.890
in Bethlehem, Pennsylvania. And I said, you were

00:32:05.890 --> 00:32:07.609
the steel player. at that time he's like yes

00:32:07.609 --> 00:32:10.230
i was wow he's like i probably couldn't tell

00:32:10.230 --> 00:32:11.809
you much about that show he said because i was

00:32:11.809 --> 00:32:16.750
drinking a lot back then but uh we became friends

00:32:16.750 --> 00:32:19.069
we became really still are really good friends

00:32:19.069 --> 00:32:21.869
and after i graduated from school cowboy called

00:32:21.869 --> 00:32:23.750
me up one day he goes uh you're done with school

00:32:23.750 --> 00:32:26.180
right i'm like yeah he goes uh hmm Are you able

00:32:26.180 --> 00:32:28.839
to do overdubs? Like if I brought my pedal steel

00:32:28.839 --> 00:32:30.759
to your house, if we had a track for me to play

00:32:30.759 --> 00:32:33.019
to, could you record me? I'm like, yeah. When

00:32:33.019 --> 00:32:35.460
he's not on the road, people will hire him to

00:32:35.460 --> 00:32:37.759
play steel on their records. And I'm usually

00:32:37.759 --> 00:32:39.640
the one doing it. That's awesome. That's great.

00:32:39.839 --> 00:32:41.500
There's a band called Whiskey Myers. I don't

00:32:41.500 --> 00:32:42.140
know if you've ever heard of them. Yeah, I've

00:32:42.140 --> 00:32:45.380
heard of them. We did their White Album. Cowboy

00:32:45.380 --> 00:32:47.269
called me up and he said to, hey. have you heard

00:32:47.269 --> 00:32:48.990
Whiskey Myers? And I was like, yeah. He goes,

00:32:49.069 --> 00:32:51.490
we have eight songs that they want me to do for

00:32:51.490 --> 00:32:53.750
their record. And he said, it's legit. There's

00:32:53.750 --> 00:32:55.349
money involved, you know, the whole nine yards.

00:32:55.509 --> 00:32:57.410
He said, but can we do it in two days? I'm like,

00:32:57.490 --> 00:33:00.470
you bet your ass we can. And we did. To hear

00:33:00.470 --> 00:33:03.589
that you were happy with things and you got information

00:33:03.589 --> 00:33:06.490
out of it that you still use to this day, that's

00:33:06.490 --> 00:33:09.589
the biggest compliment that I could ever get,

00:33:09.730 --> 00:33:12.450
really. Anybody that is involved in teaching

00:33:12.450 --> 00:33:15.349
like that. One of the very first audio classes,

00:33:15.630 --> 00:33:18.380
John and was teaching and this was very early

00:33:18.380 --> 00:33:21.259
on and we had a huge class where they hadn't

00:33:21.259 --> 00:33:24.940
started weeding people out yet right one of the

00:33:24.940 --> 00:33:27.700
classmates in the middle of learning the science

00:33:27.700 --> 00:33:30.339
behind audio he asked when do we see the strippers

00:33:30.339 --> 00:33:32.779
and cocaine and the parties and john's like he

00:33:32.779 --> 00:33:34.859
didn't say it but the look on his face like what

00:33:34.859 --> 00:33:34.980
the