#39 | Eli Molina and Jacob Xain Sanchez

[00:00:00] Speaker A: What's going on, y'all? Corpus Christi Originals podcast back at it again, coming live from the PRODUCE Streamlabs studio. Join with me, co host Jacob Sanchez, and our guest is Eli Molina. [00:00:12] Speaker B: What's up? [00:00:13] Speaker A: So, yeah, welcome, welcome. Thank you guys so much for joining the podcast. [00:00:18] Speaker B: Cool. [00:00:18] Speaker A: All right, man, how y'all doing? [00:00:20] Speaker B: Pleasure be here. [00:00:21] Speaker A: Yeah, no problem, no problem. We had a spur of the moment. You guys came on out of nowhere. So appreciate you guys coming on. I think I'm scaring people away because we're in the studio now, but anyway. But, yeah, I'm nervous right now. Try not to be, but, yeah. So how are you doing? What's going on? [00:00:37] Speaker C: Good breath. [00:00:38] Speaker B: Doing good, man. I'm glad to be here. I hadn't been here in a while. I was talking to your budy over here. Last time I was here, the studio was on the other side upstairs, and I guess now they changed it. So it's been a minute since I've been here, but I'm glad what they're doing here. It's pretty cool, man. I love what dusty is doing. [00:00:58] Speaker A: Nice. What do you do for a living? So what do you do for a living? [00:01:03] Speaker B: I'm a recording engineer. I work for Freddie Records. Been there six years now, going on seven. So that's my day job. I still play, I still write, produce. Pretty much been in the music world pretty much all my life. [00:01:22] Speaker A: All right. [00:01:23] Speaker B: That's what I've been doing now. [00:01:24] Speaker A: So Freddie records, that's located on. Where's that? Staples and Saratoga. [00:01:30] Speaker B: Staples and Woldridge. [00:01:34] Speaker A: Nice. Yeah, I remember seeing it open up for the first time, and I remember it was somewhere else. I couldn't remember where it was at, but we were talking about where it was. [00:01:41] Speaker B: Yeah, actually that was before I was there, but they had another location on Spid, which was there before this one. And then down chaparral here, down the street, actually, from here, I think, is the original. Original building. [00:01:53] Speaker A: Oh, nice. [00:01:54] Speaker B: Where I think that was probably like, I don't know, 50 years ago. Totally. Yeah. Because they've been around 50, some 52, 53 years now. [00:02:04] Speaker C: Yeah, it might be 60 now. We're in the years. [00:02:10] Speaker A: Okay. [00:02:10] Speaker B: Yeah. So they have a long, long tradition and it's a very cool place to work at, man. Shout out to the Martinez family. It's really a blessing to work there. [00:02:19] Speaker A: Yeah. How did you get into. Well, it seems like you've been doing it for years. Just. [00:02:25] Speaker B: Oh, yeah, dude. I've been doing it pretty much my whole life since as long as I can remember I did the music thing real early on when I was still in high school, then doing the band thing, and then I went to college and I studied music, and I actually had my bachelor's in music, so I did that for a while and then started writing and composing and doing music for film and music for tv, and then now producing there at Freddy's and stuff. [00:02:55] Speaker A: That's amazing. [00:02:57] Speaker B: Had a lot of fun. It's really a great job, and I can't wait, really. I mean, sometimes I'm itching to get there in the morning. [00:03:04] Speaker A: Nice. [00:03:05] Speaker B: I always tell my wife I love Mondays. [00:03:07] Speaker A: Oh, man, that's so awesome, bro. Wow. [00:03:09] Speaker B: I love Mondays because Mondays get to try a new technique or some new thing you've been wanting, you read about or something you saw on YouTube. [00:03:16] Speaker C: Jealous? [00:03:17] Speaker A: Bro? I wish I had a job like that. Golly, man, that's awesome, dude. You've always been in the music industry. Have you ever had just a regular job? [00:03:27] Speaker B: Yeah, as a matter of fact. But it was still music related. Probably where everybody might know me from is guitar center. [00:03:33] Speaker A: Okay. [00:03:33] Speaker B: So I was a pro audio guy there for over a decade. [00:03:38] Speaker C: I think that's where I met you. Yeah, I met you there. [00:03:40] Speaker B: So if you're in corpus or south Texas and you had a studio, the ods are. I probably sold it to you, most likely. So I did get to see a lot of guys start up and become people, become actual producers and stuff and some other guys that just did it, and it wasn't for them. [00:04:01] Speaker A: Did you buy some kind of all. [00:04:02] Speaker C: Kinds of stuff, dude, I think, like, my krks, my m. Audio keyboards. [00:04:08] Speaker B: There you go. [00:04:08] Speaker C: Interfaces, all kinds of stuff. And I would just walk in and talk to him, and he'd be like, hey, check this out. [00:04:13] Speaker A: Today. [00:04:15] Speaker B: Yeah, I mean, that was a great gig, too, dude. And for a while, mean shout out to guitar center and all the crew. Guitar center. They were really cool with me because I was like, hey, dude, I'm going to do this thing at Freddie Records, and that's awesome. They're like, can you still work? And I was like, it's kind of like full time. And they were like, dude, we'll take you anytime you can work. And I was like, maybe Sundays, like after church I can come. They were like, perfect. So for a while there, I was still doing Freddie records and guitar center, but just on Sunday. So my clients knew Sunday was the day and they would all go. And a lot of times it wasn't to sell. It was just like a lot of guys wanted to go. Tell me. Hey, watch out. This is what we did this past week, and we played here. And what you told me about this worked. And this other thing, it didn't work. So we would talk shop a lot, but eventually it got to the point where I just couldn't do it anymore. And I was like, all right, it's one or the other. So I went over there. But I do miss Guitar center. Seeing the new gear come in, that. [00:05:25] Speaker C: Was a big thing, right? Oh, look at this new turntable. Look at this new speakers. Look at these new interfaces. Like, oh, man. [00:05:31] Speaker B: And getting to try it, or you know how it is. You see it in a catalog, and you're like, I can't wait till it shows up. And then it shows up. [00:05:37] Speaker C: You're like, let me set it up. [00:05:44] Speaker B: So I did that, and the rest is history, I guess. [00:05:49] Speaker A: Yeah, that's nice. So, Freddie records, man, it just makes me think about guitar center, because Jacob loves equipment, and y'all study it more than I do because I just plug and play. And you guys seems like you get really into the terminology. Whatever you call. [00:06:08] Speaker C: Yeah, no, I love it, man. I've been around it since I was younger, too, so I started way back in the day. But I think the thing that would drive me to guitar center was Eli, because the only time I would go was to talk to him. [00:06:22] Speaker B: Wow. [00:06:23] Speaker C: Any other time I needed anything else, I'm going to sound vibes, bro. Like, soundvibes is my spot. I need guitar amp, whatever pedals. I'm going to sound vibes. But if I need audio pro audio, I'm going to go talk to Eli. [00:06:36] Speaker B: I had a lot of guys that would just come in just to shoot the shit, and they would bring me a lot of projects, and they would show it to me. Hey, what do you think? And this and that, and we kind of give each other tips and stuff, but it was a lot of that, really. [00:06:52] Speaker A: So it was kind of like helping each other? [00:06:54] Speaker B: Oh, absolutely. All the time. All the time. Or, hey, sometimes it would be, hey, I lost a bass player, bro. Do you know anybody? And I'd be like, well, I heard. Because you hear all the gossip there. I heard. So and so left. Da da da. And so he might be available, so give him a call. [00:07:12] Speaker A: We got Maya back there agreeing to what we're saying, so he knows what's up. That's awesome, man. Yeah. So what was your first piece of equipment you've ever bought? [00:07:23] Speaker B: Well, I guess the first thing I ever got was, like, a piano my parents bought me a piano. I was taking piano lessons. No, like an actual real piano. Okay. Yeah, when I was a kid, yeah. Oh, nice. Because I took piano lessons, so that was my first thing. I would learn piano and stuff, but my very first, I would say my first real thing was I actually got a keyboard that I can sequence on. Okay? And the first one, I borrowed it and it was very like, that's what I cut my teeth on and I figured out how to work it. And so eventually I could afford to buy one and I went and got one and, man, Yamaha financing screwed me. When you're a kid and you're 1819 and any credit you get, a keyboard was like two, three grand. Dude, by the time I was done paying it, I must have paid like ten grand for that thing. I think it took me like ten years to pay it off as a small car, bro. Yeah, I think they charged me like the most. They could legally charge you interest whenever. [00:08:31] Speaker C: They bring up your credit score. They're like, man, he must have bought a car or something. [00:08:36] Speaker B: But that was like my one. And with that, that really got me a lot of work. It's like if you want to be a welder and you finally got a welding machine, or if you wanted to do backhole work and you finally got a backhole machine. So it was like my first legitimate piece of gear. [00:08:52] Speaker A: So it got you a lot of work because you played or because the sequence. [00:08:56] Speaker B: Everything. [00:08:57] Speaker A: Okay. [00:08:57] Speaker B: Everything. So it was like, hey, I have this idea, but I don't have a band and I kind of want to put something together. So on those keyboards you had everything. You had drums, you had basses, you had synths, so you could kind of build it there for them and stuff. So, nope, I would work on it, fall asleep at the keyboard, wake up, keep working, and then from there, when the natural progression, then I got recording gear and mics. [00:09:29] Speaker A: So was it the Hana music or. [00:09:30] Speaker B: What kind of music were you at that point? I was still in college, so I was doing anything, any kind of music. A lot of times it was actually college work. It was like a lot of guys that were like, hey, I need to write a fugue for my five. Dissertation for my five, or whatever. So I'd be like, we'll bring it in, dude, what do you have so far? And he'd show it to me and I'd be able to start sequencing it and we would start sequencing it. Okay, well, this part. And we try to make corrections and whatever, and they pass you some bucks. So whatever it took just to pay the bills. That's cool. But back then, I mean, this is a long time ago. So when I left high school, believe it or not, I bought a little travel trader. That's what I lived in. Actually, the plot where I lived was $85 a month. $85 a month? [00:10:28] Speaker A: A month. [00:10:28] Speaker B: So all I had to do was make $85. [00:10:33] Speaker C: He's like, that's all I need, bro. [00:10:35] Speaker B: That's all I need. It wasn't hundreds and hundreds of dollars worth of rent, so, dude, I would pick up any gig I could. [00:10:42] Speaker C: That's pretty cool. [00:10:43] Speaker B: Yeah. Did what you had to. [00:10:45] Speaker A: So you were dead set on doing music and doing that? [00:10:48] Speaker B: Oh, yeah. Don't get me wrong, it wasn't like, the best strategy. I mean, in hindsight now, when I look back, I was kind of pig headed about it. I really should have given myself a break, but I was like, no, if it's not in music, I'm not going to do it, because this is what I do. And I think it was a lot of needless suffering. [00:11:15] Speaker C: All right, we'll get you in a second. [00:11:18] Speaker B: But, yeah, I wouldn't advise it for anyone to just make it like, just trying to do that one thing that you love is a very hard road. [00:11:31] Speaker C: I wanted to go into it, too. I was, like, 18, just graduated high school, and my mom was like, I want to send you to LA to go do recording professionally. And I was like, man, that's too far away from my girlfriend, so I think I'm going to stay here. Which at the time was my girlfriend, but now she's my wife, and we've been together for, like, almost 20 years. It was kind of the right choice. Three kids later, right? But I do still to this day, I record music. I do all the same stuff, but I don't think I would have been where I'm at today if I would have left to go. Do you? Wouldn't be where you are if you would have been like, hey, I can't make it. I'm going to go be a welder. [00:12:10] Speaker B: Yeah, go work at Walmart. [00:12:14] Speaker A: And a lot of people want your spot, too, you know what I mean? And to be able to have that perspective, like, I'm good where I'm at, you know what I mean? It's pretty cool to see that. You know what I mean? [00:12:25] Speaker B: Yeah. [00:12:25] Speaker A: So that's awesome, man. [00:12:27] Speaker B: But it was a hard road. I want to stress that to anyone who's trying to do what I've done or whatever, or what me and some of my friends have been able to accomplish it was really hard. I mean, now if I could do it all over again, I would have tried to not get my dream to fund everything. That's just too hard, dude. Yeah, it's too hard to try to make your dream happen and then get that to fund everything else in your life. That's too hard. I would have much had rather have gone to, like, a trade school, go make chingles of money in a year or two, and then build that badass studio than to do it the way I did it. But, I mean, back then in the 90s, who knew? 90s. [00:13:08] Speaker A: Wow. [00:13:09] Speaker B: The Internet was just barely starting. It wasn't nothing like it is today. [00:13:13] Speaker C: You had dial up. [00:13:15] Speaker B: Yeah, Alex had. Back in my day. [00:13:18] Speaker A: Back in my day. [00:13:19] Speaker C: No, honestly, even, like, I feel like I'm not very old, but I'm 35 and I still see the kids now, and I'm like, man, you all got it so easy compared to what we had. You know what I mean? [00:13:31] Speaker B: You don't even know. Yeah. [00:13:33] Speaker A: So what are some of the things that you see now compared to what you had to work with as far as. [00:13:39] Speaker B: Oh, man. Just to being able to work with people from all over the world, send files back and forth. The technology now is. Man, it's so awesome. You don't need a badass drummer. You can get superior drummer, easy drummer. Throw down ideas really quick when back in the day, you had to go get a drum kit, mic it, learn how to mic it, buy the mics, get a board and mix it and all kind of stuff, and now you can get to the end result so quickly. It's not like it used to be. [00:14:17] Speaker A: Yeah. [00:14:17] Speaker C: Within a matter of couple of minutes of downloads and a little YouTube tutorial, you could really do a lot. Whereas compared to, let's say, 2030 years ago, it would have been a full session with a full band. You know what I mean? [00:14:32] Speaker B: Yeah. [00:14:32] Speaker C: That's crazy to think about. [00:14:34] Speaker B: Yeah. I remember the very first time I ever got a CD master. Like a CD master. I mean, nowadays you pay cents or you don't even use cds. I remember the first blank. First blank CD I ever bought was $50. Oh, man. For a blank blank CD. For a blank CD that you could record on. [00:14:54] Speaker A: Right? [00:14:54] Speaker B: Yeah, $50. [00:14:57] Speaker C: Yeah, we used to buy them in towers and the tower was like, usually I think like 30, $40. [00:15:01] Speaker A: About that same amount. Yeah. [00:15:03] Speaker C: For one, aggressively, it got fractions of a penny. [00:15:07] Speaker A: Now it's like nobody uses them anymore. [00:15:09] Speaker B: They're pretty much obsolete. [00:15:11] Speaker C: There's no reason to use it. [00:15:13] Speaker B: Reasons. We're just joking about reason from propeller head. [00:15:18] Speaker A: So do you use. [00:15:20] Speaker B: Absolutely. Yeah. You pretty much have to stay up on all the programs if you want to stay in the market working. So yeah, I'm still pro tools and logic and Ableton and reason. You have to really, I mean, if you want to stay busy because not every guy has the same platform and you really shut a lot of doors when you say no, because I don't work on that program. [00:15:46] Speaker C: Yeah, like somebody walks in and they're like, you're not using pro tools and you're going to be like, I don't know how to use that. They're going to look at you like you should. It's the industry standard, you know what I mean? But I guess you could turn away work or people would be unwilling to work with you if you were like, oh, I don't work on that program. [00:16:04] Speaker A: So it's like a tool belt. Like it's a standard tool belt that all engineers should be. [00:16:08] Speaker B: I mean, you try, I know it's almost impossible because it's a little different when you got that guy looking over your shoulder who's paying you a lot of money to do work for him. You also can't be like trying to figure it out, especially if you just jumped into a new program because they're not, and I see it from their side too, because it's money and they save up to this kind of stuff. So sometimes you do have to rely on your main one, but you do have to at least know a little bit from these other programs so you can navigate them, or especially when they say, oh, I did it on this, and just at least still acknowledge, okay, I know how to get into that program, extract the files, get them all out and bring them into my system. And now we can keep working right then instead of saying, oh man, no, I don't know. [00:16:56] Speaker A: If you extract them to put it into a different program, does it always translate easily or you have to make some changes? [00:17:02] Speaker B: Not necessarily. You have to talk to the guy and be like, hey, do you want me to just bring the raw files over and let me work from there on out? Or do you want to keep all the work you've done, all the eqing, all the compression, everything that you've done, I can also bring that over and then we can start from there. Sometimes they'll be like, just take the raw files and I want to hear your sound. So bring the raw files over and then we'll start from there. But sometimes some guys are really good. And I'll tell them, no, dude, what you got there is awesome already. Let's start with that and bring it over, and then we'll start from there and start building. [00:17:39] Speaker A: Wow, that's awesome. So you mix it, or what do you call it? What do you do? [00:17:44] Speaker C: Engineering. [00:17:45] Speaker A: So engineering, like you put together, what is it exactly? [00:17:50] Speaker B: It's a hodgepodge of everything. [00:17:52] Speaker A: Okay. [00:17:53] Speaker B: So some of the bands, now that I've had good relationships with over a lot of years, they do, like, the pre production at home already, so they bring basically an outline or, like, the rough draft, what the album would be. So we start with that. On some of the other ones, the guys just come up with a concept, and then you have to literally start from scratch of. Okay, do you have ten songs? No, I have five. All right. Or let's start with those. Or I tell them, what's our end result? So once we get that and we get kind of our ducks in a row, then we start with the first rough draft of the album. And a lot of times that first rough draft, nothing stays. But it's like when you're building a house, you make that initial blueprint. So you start laying down your drums and your bass and your guitar and all that kind of stuff, and that's where you start figuring out, hey, dude, six minute song ain't going to work. So let's cut this part out, or we're taking too long to get to the hook. Let's move this over here. Or have you considered starting with this and da da da, and you kind of get a good rough draft of what you want to do? Sometimes I even go in there and start time aligning a lot of that stuff, getting it real tight. All right, now let's build the album now that we have it down, and then you start recording real drums, the keepers, the keeper stuff that's going to make it to the final, final album. Record all that, and then you jump back in there. Now you start editing it, editing it, pitch correction, time alignment, phase alignment, and keeps going. [00:19:33] Speaker A: Wow. So it's not. They come in, they have a song, and record the song. Okay. Record the song. You're, like, actually messing with the song. [00:19:41] Speaker B: Oh, yeah. [00:19:42] Speaker A: Okay. [00:19:42] Speaker B: Well, every project is different for some projects. I mean, you're kind of the producer because there's nobody there at the helm, so you kind of have to kind of step in because you also don't want to have them spend all that money and just be like, well, you should have known better. No, you can't be like that either. You have to step in and be like, okay, dude, for what you're trying to do and your budget, that's allowed. The best way to get to the end result is if we do this. [00:20:13] Speaker A: So you got to have a counseling session with a light. [00:20:16] Speaker B: Oh, yeah, dude. [00:20:19] Speaker C: I've recorded people that were not up to snuff, and I'm like, I think you should practice this before we start recording again, just so we don't waste both of our times. But I have also been on the other end where I get somebody that comes in and they get it in, like, one, two takes, and I'm like, wow, that was crazy. Yeah, dude, you got to counsel them through that. [00:20:39] Speaker B: There's a whole lot of counseling. [00:20:41] Speaker A: Okay, I was joking about that. [00:20:44] Speaker B: But you're being. And there's some not necessarily free records, but other studios I've worked at or other people that hire me privately than I work on their albums and stuff. Some of those, it's a head thing, and sometimes you got to talk to them, be like, hey, dude, what are we trying to do here? And some guys don't want hits. They want to leave some kind of legacy behind. So those kind of projects you approach different. Now, I'm not imposing anything now, if it came out a certain way, and I might be like, hey, dude, it's a little loosey goosey in these little sections, and they might not see it like that. They're seeing, no, dude, I was feeling it that way. And they're not trying to make the top of the charts. What they want is a good quality recording that they can show their family members and that they can archive. [00:21:42] Speaker A: Wow. So are these people with labels or their own labels? [00:21:47] Speaker B: No, some of the other guys, like, I don't want to call them my high end clients or high end clients. Some of those guys, and some of them, honestly, are not even musicians sometimes. Some of the work I'm brought into has nothing to do with music. It's other stuff that's outside of the world of music. But what they want is high quality work. So I'll go in, but we still follow the same process of what's the end result? What are we trying to do? Some of the jazz guys especially, there's some couple great jazz musicians here in town, and they have fabulous setups at their house, and I'll go and I engineer there. And there is a different kind of recording because you're there to really, in true essence, record. You're there to preserve these five minutes that are going to happen. And the solo that trumpet player is going to play and the solo that soccer player is going to play and this and that. They're never going to want to go back and overdub that. Whatever happens at that moment is what's going to happen at that moment. And that's what they want. But then there's other projects that are not music, where they just need for it to sound whatever. So they'll hire me for those. And those are like more of the kind of strange events. Sometimes they're political events or sometimes they're like, not recently, maybe about a year or two ago, they changed presidents at the university. And there's like a ceremony that they do and it's like a ceremony. I don't know, it's weird for me who's musician, but they brought me in because they needed for it to sound immaculate. So that's not even recording. I'm there for live and I'm there behind the council making sure that everything flows good and stuff like that. Or I've been to other stuff like dissertations where they're literally recording evidence and they're like, we're going to get one shot at this. The person is going to come in and they're going to say, what happened? Blah, blah, blah. We need to make sure that it gets recorded at a very pristine level. And that has nothing to do with music. They just want high quality. [00:24:16] Speaker A: What do you think about all these? [00:24:17] Speaker C: No, that's pretty crazy. From going from just music to recording to all the way to, like you said, dissertations and legal stuff and political events, just going through that whole spectrum of, I guess, sound and audio engineering. It's not just music to think about it that way. [00:24:36] Speaker A: Nice. [00:24:37] Speaker B: You know, it's a good check. If someone, they make you sign the nondisclosure agreements, right? When you show up, they're like, sign this. I'm like, good payday. This is a good check. Here comes my check. Comes my check. Or I've done some stuff at the bases. Bases are like high security and I walk in and stuff and they'll run the mirrors under your truck and stuff. And I'm like, damn, what's going on here? Who's coming in? [00:25:09] Speaker A: So how do you get those gigs? Like, do they call Freddie record? Do they call. [00:25:13] Speaker B: Oh, no, that's stuff that they just call me directly. [00:25:16] Speaker A: Okay. [00:25:17] Speaker B: Yeah. And they'll tell, hey, we're going to have blah, blah, blah and are you available? And I'll be like, yeah. And once I get there, they kind of tell me what's going on. But even some of those are a little strange because I was working with this one group, and they were all pilots. They were, like, literally all pilots. And they would be like. They would call, hey, okay, we're going to have rehearsal or whatever. I'd be like, cool. Okay, whatever. What time? Whatever. Okay. Yeah, I'll be there. All right, well, I'm going to borrow a jet, and homeboy is going to borrow a jet, and the other homeboy is going to borrow a jet, and we're going to fly in, and we'll meet you there, and then we'll fly back out. And I'm like, for real? Okay. And I'll go in. Yeah. I show up in my truck, and then they sure enough, they'll fly in, and they did, like, a rehearsal, and blah, blah, blah. And then they fly by, and then they'll say stuff like, yeah, we had to burn that gas anyway because the gas goes bad. Me and the bass player from that band we're talking for real, gas goes bad. So what's gas goes bad? You got to burn it up. [00:26:30] Speaker C: With these. [00:26:35] Speaker B: World of audio and stuff, you get all kinds of craziness outside of Freddie records. [00:26:43] Speaker A: Outside of Freddie records. [00:26:44] Speaker B: Wow. [00:26:44] Speaker A: Yeah, man. How did you get into Freddie records? [00:26:50] Speaker B: As a matter of fact, I was at guitar center, and the engineers would always come in, and they would always buy gear from us and stuff. And every now and then they would be like, man, I'm getting kind of tired of this because it's a hard job. You work a lot, a lot of hours. And then another guy would come in and years would go on, and they would always tell me, you should go check it out. And I was like, I don't know. Maybe. Then one day I was, okay. One guy told me, hey, you know Joe Rovelis, great keyboard player. He was like, hey, man, why don't you come on by? I went by and I met him, met the staff, and they were like, hey, man, you want to come on board? I was like, yeah, I'd love to. And then from day one, it was just like, started working nice. And the staff there is awesome. It's Mariano, Reda, Ram, Serna, and myself. We're the three engineers, and we pretty much record everything that goes through there. [00:27:46] Speaker A: Awesome. So it's mostly Guatehano. [00:27:50] Speaker B: Yeah. The main bread and butter of it is mexican regional, but we do get a lot of walk ins, a lot of guys. He was like, what did you do today? And I was like, today it was italian operas. Somebody came in and they needed to, which is weird, because right before that client, I had another client who also had come in to do some operatic stuff. So I don't know if maybe there's a contest about to happen or I don't know what. But yeah. And as a matter of fact, this is the third session with this one artist. Even though I have a background in music, I studied music. I have my degree, I don't know, italian, so it's all italian. So I'm just kind of like, you're going to punch you in where. What word is that word, right? I don't even know if you're saying it right or not. So, yeah, we do get all kinds, and then of course, we do get the non music stuff. We also been doing podcasts. Really? People come in and they want to just rent out the studio for podcasts. [00:28:55] Speaker A: Wow, that's interesting. [00:28:56] Speaker B: And we do the same thing, set up mics like this, except we don't do the video stuff. We just do audio and then turn it in. And some of that stuff, they edit it on themselves. They just really just capture there, like raw audio. We had one recently that the guy was like, I thought it was going to be about kayaks because that's what I understood. He was like, yeah, kayak. That's cool. Kayaks. It was kayak.com. So they were talking about travel, and I was like, these guys never talked about kayaks. [00:29:30] Speaker A: Not one time. [00:29:31] Speaker B: Not one time did they mention kayaks. [00:29:35] Speaker A: Wow. Recording an opera singer, like, the mic had to be far away. [00:29:41] Speaker B: Oh, dude, we tried all. Yeah, I told her, I was like, look, because she showed me some recordings of what she was kind of going for. And I was like, well, a lot of that stuff was probably done at a big amphitheater, and we just don't have 100 seat hall that I can throw them in and we can capture the ambience. So we tried a couple of different mic techniques. We tried one mic here some distance away, and da da da and kind of worked it out to where she was happy with it. We just kept going from there. [00:30:15] Speaker A: So the singer, she had an accompaniment. [00:30:20] Speaker B: She brought it in. [00:30:21] Speaker A: Okay. [00:30:21] Speaker B: Yeah, she brought it in, so gave it to me on thumb drive, popped it in nice. And she sang through. Sounded great. [00:30:28] Speaker A: Yeah, that's awesome. [00:30:29] Speaker C: Was it like hers or was it like an arrangement that was already. [00:30:33] Speaker B: No, one was a handle piece. [00:30:36] Speaker A: Okay. [00:30:37] Speaker B: And the other one was a man. I can't remember the other composer, but they were both classical composers. [00:30:45] Speaker C: I know some of these words classical. [00:30:48] Speaker A: Yeah, definitely. [00:30:49] Speaker B: So it was a lot of fun. And you learn. I mean, I'm all about learning. So every day try to learn something new. And, hey, that was something new. [00:30:56] Speaker A: That's awesome. So how many hours do you work early in the morning to late at night or. [00:31:03] Speaker B: It depends. When we get some bands that come in and they book the week, then I personally try to do like 12 hours and I try to do ten to ten or noon to midnight. And we try to stay on track. Do so many hours, take a break, do so many hours. Take a lunch, do so many hours. Take a dinner break, do so many hours. And then that's 12 hours. [00:31:31] Speaker A: Yeah. [00:31:32] Speaker B: And after that, I have to tell them, okay, dude, go get rest. Don't go to the Makinitas. Don't go party, because tomorrow we're going to hit it hard. And we hit it hard, dude. Poor guys. Some of those bands, we work really hard. I can tell they're tired when they leave. [00:31:54] Speaker A: So were you into that type of music before you were recording? [00:31:57] Speaker B: Oh, absolutely. Yeah. I'm Mexican, bro. [00:32:01] Speaker A: Be surprised. [00:32:03] Speaker B: No, as a matter of fact, when I first got there, one of the things I wanted to see is because there's a lot of classic albums that came out of there. So I was really asking, okay, this particular album, who did it? Oh, so and so, I literally call it, hey, bro, you really did? Yeah, I worked on that album and there's the old actual cover of the album and stuff. You've seen the traditional one, but you never saw the photos that never got used. So sometimes you'll see them thrown around. Hey, dude, I guess this is the one they didn't use. [00:32:41] Speaker A: Yeah, that's cool. [00:32:42] Speaker B: So there's a lot of legacy there that I do enjoy. Talking shop to the old guys there, man. [00:32:48] Speaker A: Yeah. I was going to say, if you're an engineer, do you have to like the music or how do you do it if you don't like the music? [00:32:54] Speaker B: It's rare that I don't like the music. For the most part, I don't think I've had a project that I didn't enjoy. [00:33:03] Speaker C: I mean, honestly, I've talked to you about all kinds of music, from tool to dream theater. And then we go to Dejano and then we'll talk about, I don't know, Primus. [00:33:14] Speaker B: Yeah, Primus. [00:33:15] Speaker C: You know what I mean? So I know you're, like, super eclectic and you like all kinds of music. [00:33:18] Speaker B: Yeah. We were mad at one of the other guys that had never heard about Primus. Come on. [00:33:21] Speaker A: Bro. [00:33:22] Speaker C: Yeah, I was on Jerry. I was a Rick driver. [00:33:24] Speaker B: Les Kpool. You got to know him at least. [00:33:26] Speaker C: Yeah, I believe. [00:33:28] Speaker B: Bass player. [00:33:29] Speaker A: Yeah, my name is Mud. That's how I get introduced. My name is Mutt and think in the popular song. So that's how I heard about him. [00:33:37] Speaker B: Well, now I've been watching the. Was it. Bass players are human, too. That new Getty Lee show. [00:33:42] Speaker A: Oh, really? [00:33:43] Speaker B: I think it's, like, on Paramount or something. So he has, like, a different bass player every week. And week one was Les Claypool, and then I think he had Trujillo and then some other people on there. [00:33:54] Speaker A: Yeah. Who was it? Metallica was saying that he was too good to join their band or something. [00:33:59] Speaker B: Yeah. [00:34:00] Speaker C: He was like, he's a better guitar player than law. And then everybody else in the band. [00:34:05] Speaker A: He's too good. He can join the band. Yeah, Jacob and I were in a few bands. Yeah, we're in a few bands together. I played bass and guitar, guitar mostly, and drum. This dude does it all. I showed him a few chords a while back, and then he just ran with it. Like, got way better than I did at soloing and stuff like that. And I'd like to tell people I know more of the theory aspect of it. Definitely soloing. So I love music theory. And I can just look at a piece and like, oh, I nerd out on it. [00:34:38] Speaker C: Oh, dude, I totally can't do that, dude. I'll be like, what chord are you playing right there? A minor. Got you, bro. [00:34:44] Speaker A: Yeah. [00:34:44] Speaker B: Ace. [00:34:45] Speaker A: Add the 7th if you want a nine. [00:34:49] Speaker C: Once you try to tell me how to read it, I'm like, just play it for me, bro. [00:34:52] Speaker B: Let me hear it. [00:34:54] Speaker C: Let me hear what you're playing, and I'll go off of it. [00:34:56] Speaker A: Do you ever have to read music in those settings? [00:35:00] Speaker B: There's sometimes, especially if I do anything. Like, especially for the universities sometimes when they'll ask me to record something, they're bringing a certain orchestra or whatever, but they'll give you the score. So you put the score on the board and you're, like, following it, and you're like, okay, a flute solo is a flute. [00:35:19] Speaker C: Okay. [00:35:20] Speaker B: You raise it and then you're following it. [00:35:24] Speaker C: I never really thought about it like that. [00:35:25] Speaker A: Yeah. [00:35:25] Speaker B: Or like, jazz ones, because they do a lot of big. Especially, like, a. M. Kingsville. They had hired me there probably for over a decade, doing all their big jazz shows. So there, dude, I got to see, like, if you're into jazz, I got to see and work with, like, from Doc Severinson. To Eric Marinthal, Paquito Rivera, all kinds of. And that's awesome because Doc Severinson, he was ahead of the NBC orchestra for like 30 years. So there's like nobody you can possibly mention that that guy didn't work with personally. And he had so many stories and he was awesome, really. But anyway, they would actually give you the charts. [00:36:07] Speaker A: That's cool. [00:36:08] Speaker B: And you have to follow along because. [00:36:11] Speaker C: He plays for us sometimes. And I'll be like, hey, did you learn that little piano piece in the beginning of that song? And he's like, yeah, I got it written out right here and it sued me on this little. [00:36:19] Speaker B: Yeah, I'll be like, there's no way I'm going to remember it. [00:36:21] Speaker C: I'm too old, but I'll write it down. [00:36:23] Speaker B: I'll write it down. I'll read. [00:36:24] Speaker C: And in me, I can't do that. I got to actually remember it because I'll write it down and I'll be like, dang, what was that? What note is that right there? That's a c sharp. No, not going to go here. [00:36:32] Speaker A: It makes you think of that guy that had brain surgery and he was playing his sax or whatever. [00:36:37] Speaker C: If you were getting brain surgery, you. [00:36:38] Speaker A: Wouldn'T be playing an instrument. [00:36:39] Speaker C: You'd be. [00:36:40] Speaker A: And it. [00:36:40] Speaker B: Write it down. [00:36:41] Speaker C: You all go to the 7th. [00:36:44] Speaker B: Yeah, dude, I love theory. Theory is one of my, it's just like the why of music. And yeah, dude, I love all stuff. I mean, I took formal analysis and all that in college and that was crazy, breaking down big old classical pieces and by the time you were done, it looked like hieroglyphs because you had to literally put every single number underneath every single chord and every single transition and cadences and all kinds of stuff. Yeah, theory is awesome. [00:37:10] Speaker A: Yeah, definitely. [00:37:11] Speaker B: I recommend to everybody do out there, if you really want to get good at this, get into some theory. Really try to understand any instrument you. [00:37:18] Speaker C: Want to learn, learn theory with it. Because probably the biggest hindrance for me was theory was my roadblock. And until I understood it, I never really got past being able to play progressively just on a whim, you know what I mean? Freestyling is way harder when you don't know what you're doing than if you knew the theory behind it. [00:37:40] Speaker A: Yes, I agree. And there are a lot of good musicians that don't know theory. And what I like to tell musicians is it's just going to up your game. I mean, you're already good. It's just going to make you better. [00:37:50] Speaker B: And a lot of times you're not really going to follow the theory because a lot of times you want to learn the theory three so that you can break the theory to be cool. That's the whole reason you learn theory. [00:38:01] Speaker C: Jazz is like, what theory? [00:38:04] Speaker B: Throw everything out the window, be knuckle seven. [00:38:09] Speaker A: Yeah. Jazz theory. Oh, man. It makes me upset because it's not like classical theory at all. It's just totally different. And you got to learn the different keys. I'm like, man, that's. And all I can do is listen to it. I could try to play it, but I just can't follow it. [00:38:24] Speaker C: I can't either. I'm going to borrow this chord from the neighbor that was, like, three houses down, but I'm also going to add the third from the neighbor that was on the other side. And I'm like, no, it's not going. [00:38:32] Speaker A: To work for me. [00:38:33] Speaker B: Get yourself a fake book, like the old jazz fake books, and you want to learn theory. Sink your teeth into one of those, and it's going to have, like, 500, 600 jazz standards. Oh, my God. And really, dude, that's the best way to learn theory, because you're going to see so many songs that you already know. You're going to know the melodies, you're going to know all the old classics of somewhere over the rainbow and all of me and autumn leaves and all that stuff. But once you finally see the theory behind, you're like. And you always have the same result. Once you finally learn, you're like, that's what that was. [00:39:10] Speaker C: Got it. [00:39:11] Speaker A: Nice, man. So, yeah. Freddie records. Wow, that's awesome. So you plan to be there for longer? [00:39:17] Speaker B: Yeah, I mean, I always tell my wife, that's my last job. I'm going to stay mean. I like it. I love mean. It's everything that I wanted as far as getting up. And you enjoy what you're doing? [00:39:31] Speaker A: Yeah, that's awesome. [00:39:32] Speaker B: You love the end result, but the other stuff will always continue, like the writing and the composing. I mean, I've done stuff for tv now for over ten years, and that I'll probably also do for the rest of my life. Just keep writing. [00:39:49] Speaker A: Yeah, that's awesome, man. We're talking about this. It makes me think about the ADAT, whatever it was called. I remember when we did a recording, like, one of my bands a long time ago, we had to get one of those, like, what, $3,000 or something like that. [00:40:03] Speaker B: The machines? Yeah. [00:40:04] Speaker A: You remember that? Yeah. So we had to get that. I'm like, what do we got to get this for? We need this to record. So is that amount of, what do you see there different from having that to what you're using now? [00:40:18] Speaker B: Oh yeah, it's real different. I went through the whole evolution of it. I started off with real to real and then I tried every hybrid in between. And then eventually I went to Adats and I had the black faces and then I went to the type two s and then the DA 88. Then eventually I landed on pro tools around 99, 2000. And once I landed on pro tools, I stayed there. But yeah, man, adats and all that, that was like the standard. I remember I got my first adapt machine and then I got my second one. I was like, dude, 16 tracks and I got my 3rd 124 tracks and I got my fourth one. And then I was learning like, okay, one's my master, the other one's sync up. But my overdose, I was popping tapes out and putting them in and formatting them and all kinds of stuff. I paid thousands of dollars for them. But now you look at them on eBay, they're like $10. [00:41:20] Speaker C: With a lot of old technology though. It's not just recording anything you bought back in the day that was super expensive. Like look at computers back in the late 80s, early 90s, they were super expensive and now they're like junk. [00:41:31] Speaker A: And it's going to keep getting like that. Seems like it, yeah. [00:41:34] Speaker C: So it's like you're always going to buy the new thing no matter what the cost. And then 1020 years later, it's going to be worth nothing. Almost anyways. Unless you got like vintage equipment which like soundboards or what else would it. [00:41:49] Speaker B: Yeah, if you have like a real to real machine and that's what you're actually capturing on and you're not doing high end edits, you're just there to archive 30 minutes of time. Yeah, real to reel is awesome. It's warm and it's just non forgiving though. [00:42:08] Speaker A: Yeah, we were talking about that earlier. [00:42:10] Speaker B: Yeah, with a grease pen and having to slice with an actual razor. You can't mess up there. I mean, you can, but you're fired. But yeah, I wouldn't change for the technology now. It's heaven scent. For real. [00:42:30] Speaker C: Everything's at your fingertips, right? Yeah. Like we were talking about earlier, I was like, you need a bass player, 299. You get a plugin and play bass for you. [00:42:37] Speaker A: Just tap it on the keyboard. [00:42:38] Speaker C: Tap it on the keyboard or even just with your mouse. Just put the midi notes in, you know what I mean? [00:42:43] Speaker B: Then the amount of editing you can do now is unparalleled. I mean, you couldn't do stuff that you can do now 20 years ago. [00:42:51] Speaker C: There's no way. [00:42:53] Speaker A: Wow. So did the artistic company, do they ever put their stuff on their own, like, to distro kit? [00:43:02] Speaker B: Yeah, we get all kinds of clients. So some people just record there and they put it out on their own, and then there's the ones that are in house, that are distributed through the record label. [00:43:13] Speaker A: So say I take a song to you, you're able to mix it. I don't know what that is. So mix and master. [00:43:21] Speaker B: It depends. If you bring me the actual session where everything is separated and I have the ability to raise the drums and lower the drums and stuff, then, yeah, then I can mix it. But if it's like the end product and you bring that to me, there's not really much I can do. Small enhancements, but I can't redo it. I can't unbake the cake. Right. [00:43:44] Speaker A: You mess with, what is it, the Hertz or whatever can go, only you'll go up to. So I'm thinking of that little, like, frequencies and stuff. It's like a frequency. [00:43:54] Speaker C: Are you talking about, like, your compression level? [00:43:56] Speaker A: Yeah, because I was like, I want to send it out myself. You know what I mean? And some places were saying, well, you got to have so much hertz on the entire level and then on each track to make sure that it doesn't go past a certain. I'm not sure what it's called. [00:44:12] Speaker B: Yeah, there's a standard that you want to meet and, yeah, there's debates on that, of where you want to be at, because now it's so different from when you put something on YouTube, when you put something on Spotify, when you put something on Deezer, you put something on all these different distributions. Because I used to just go all the way to zero. Wow. Yeah, just slam it because that's as loud as you can possibly get without distortion. But then certain people or certain places don't take it like that. [00:44:44] Speaker C: I think Spotify is one of the big ones that will not take your submissions. If they're too high, if they're too hot, they have to come. [00:44:52] Speaker A: A and is that what you do? Like, it's part of what you do? [00:44:56] Speaker B: Yeah. [00:44:56] Speaker A: Okay. [00:44:57] Speaker B: At the very end, when you finally finish it and you turn it in, it has to be at a certain level. [00:45:02] Speaker A: Okay. [00:45:04] Speaker B: It changes, though, because we have had it where it was like, okay, from now on out, we're going to do at this level. And it is not a lot. It's just small increments, but we make small adjustments to satisfy pretty much all the pallets as far as the distributions. [00:45:20] Speaker A: Awesome. Yeah, I started getting into that a little bit. I was, like, making beats or whatever, and I was like, man, this is weird. I don't even know what I'm doing. So I'm trying to figure out how to do it and stuff like that. So that's interesting how it changes all the time on you. [00:45:34] Speaker B: Yeah. Even the world of beat making has changed so much, man. It used to be where somebody would hire you to do the beats and you'd make it for them, but now you can just make beads and just put them out. [00:45:45] Speaker A: Yeah, just put them. [00:45:46] Speaker C: That's what I do. I just throw them online. And if somebody buys them, somebody buys them. [00:45:49] Speaker A: If they don't, they, like, if you have content, you can use it on your content, like on Instagram and stuff, too, I think, or even YouTube. It's pretty cool. [00:45:59] Speaker C: I've bought, like, sample packs. That's funny you say that. I've bought in sample packs from somebody before, and it was actually a big name company, and then I made a beat with it and my stuff got copyrighted because that sample had actually been used in somebody else's thing that had been copyrighted. And I was like, well, that's not cool because I paid for the ownership of that. So I was like, well, now I would have to go fight it and be like, these are my credentials. This is where I bought it from. [00:46:23] Speaker A: I was thinking that, too. I was like, well, then at that case, you just have to type out the stuff. [00:46:27] Speaker C: So you were saying, like, you can use your own stuff that you make, which mostly is the case, but I have gotten strikes before because it was like, oh, this is owned by somebody else. [00:46:39] Speaker A: Yeah. Wow. So do you put out your own music? Mainly? [00:46:44] Speaker B: Any efforts that I do now just do the film stuff or tv shows. So it used to be where I would get, like, assignments, but now pretty much anything I write, they'll just take. Which that, within its own, is its own blessing. [00:47:03] Speaker C: Yeah, it is. [00:47:04] Speaker A: Wow, that is awesome, man. So is it like, scores? Is it a full orchestra that you write out, or. [00:47:11] Speaker B: It's everything. Sometimes they'll say specifically, well, at the beginning they say specifically, I need, like, a bluesy thing or I need, like, a hip hop thing. And then I started getting really awkward jobs, like welsh music, which I was like, I didn't know anything about welsh music. I know anything about celtic music. Or anything about russian music. But they would be like, hey, dude, nobody else can do this. Can you write it for us? I need it in 2 hours. [00:47:40] Speaker A: Whoa. [00:47:40] Speaker B: So I'd be like, hold on. And I look it up on YouTube and be like, okay, this kind of does this and does that. All right. [00:47:47] Speaker C: And this is where your theory comes in, right? [00:47:48] Speaker B: Yeah. Okay, let me dish something out real quick, and I'll send it to you. Then you tell me what you think. And so I'd work up something and send it to them, and they'll be like, yeah, I'm going to send it in, blah, blah, blah. And then, boom, check in the mail. And then eventually, now it's gone to the point to where now I just look at my BMI stuff, and I'm like, interesting. [00:48:10] Speaker A: What is that? [00:48:12] Speaker B: That's the people that collect my money for me from all the shows and stuff, but they have to tell you what show is using it. So I'll get american pickers or say yes to the dress or hardcore pond or bait car. Who's using, yeah, all these different tv shows that are using them. And then I just get the check. [00:48:35] Speaker A: Nice. [00:48:36] Speaker B: So honestly, I don't even know how they get them. Recently, I got a WWE one, I got a NASCAR one, and then weird spanish ones, like kids, some Telemundo stuff. [00:48:54] Speaker A: So are you your own label, or how do they pick it up? [00:49:00] Speaker B: Well, that was kind of a long road because I first signed with one music publisher maybe like 20 years ago, prolific arts out of Denton, Texas. And they were like, hey, just send us your catalog. So I sent them my catalog of all stuff I had worked on. And they were getting me small little jobs. Job here on HBO, a job on Showtime or whatever, not really doing much. And then after I finished their contract, I went with another one. I went with Editor's choice music, signed with them for a while. They got me a couple of jobs here and there. But after that, I signed on with this one company called Jingle Punks out of Calabasas. And those guys, dude, boom, they were like, it was like show after show after show after show. I mean, I guess those guys just hustled. And I'm assuming now that those same dudes that got my music, I don't want to say this in a bad way, maybe they were just lazy. But whatever new show they went to go work on, I think they just took the catalog with them. So I'm seeing, like, certain songs that got used over here all of a sudden got used on this other show, and the only thing that I can see that's the bridging point is the producer must have gone from this show to that show and just took them over there with him and used them. And then I just get my royalties. [00:50:29] Speaker A: Come on, guys, we got to work harder. What's going on? We got a lot of musicians out here. [00:50:34] Speaker B: Hey, dude, corpus is awesome for musicians, man. There's a. [00:50:37] Speaker A: A lot. [00:50:37] Speaker B: Lot of guys here that just. Little diamonds in the rough, dude. [00:50:42] Speaker A: That. [00:50:43] Speaker B: I mean, yeah. [00:50:46] Speaker A: So what do those musicians have to do, I guess, to make a living? Well, you know what? [00:50:52] Speaker B: Some of them are very comfortable where they're at, and I have this talk with them and a couple of guys that I'll be like, dude, you deserve an album. I think you really should have something out there. They'll be like, nah, I'm cool with what I'm doing. And they don't really want that. They're very comfortable with where they're at and stuff. And I'm like, okay. I still enjoy watching them, and when I have the time, I'll go out there and I'll see them, and I'll be like, man, you got jobs, dude, and you're really doing something incredible. Why don't you then I don't push the issue. [00:51:29] Speaker A: Another counseling session? [00:51:31] Speaker B: Yeah. Sometimes you want to tell them, and they're like, for what? For what? So I have to take days off work to go do that. I'm like, I get it, dude. I get it. It's not an easy road. [00:51:42] Speaker A: Sometimes you want it for them, but they don't want it for themselves. You just have to come to service with it. [00:51:47] Speaker B: Yeah. Sometimes you make your peace with it. [00:51:50] Speaker A: And. [00:51:53] Speaker B: Move on to the next project. [00:51:55] Speaker A: Do you have any kids? Are they doing what you're doing? [00:51:57] Speaker B: No, just me, my wife, and my little. [00:52:00] Speaker A: Right. [00:52:01] Speaker B: All right. [00:52:01] Speaker A: Oh, chiwini. Is it the same type of dog? Okay. [00:52:04] Speaker C: My wife used to have a chiwini back in the day. He passed away. [00:52:08] Speaker A: He passed away. [00:52:08] Speaker C: But my wife's always been like, I want a new chiwini. I want a new chewini. And I'm like, man, I don't want to put up with another dog right now. [00:52:16] Speaker B: My name Walter. We call him Walter, man. He's a little terror dude. [00:52:20] Speaker A: Well, this dude's got chickens at his. [00:52:23] Speaker C: Yeah, I eat fresh eggs every day. [00:52:26] Speaker A: They're doing it over there, bro. For real. He makes me want to get my own chicken, get my own farm over there at my house. [00:52:31] Speaker C: Yeah. When spring hits, we're going to start probably planting, like, tomatoes and jalapenos. [00:52:38] Speaker B: That's awesome. [00:52:39] Speaker C: We'll have our own fresh vegetable garden. [00:52:42] Speaker B: My dad had a lot of chickens, and he would always complain. He was like, every day I got to give a dozen or two away. Yeah, if you got more than too many. [00:52:50] Speaker C: Yeah, if you got more than, like, I would say like five to ten chickens, you're probably going to be giving a lot of that stuff away. [00:52:54] Speaker A: Now. What did you put that post like, you see, everything has soybean in it. [00:53:00] Speaker C: Oh, yeah. No, everything has sunflower oil in it. You know what I mean? And that's like conspiracy stuff, but I just try to stay away from certain foods. Like, right now I'm all carnivore, so I only eat nothing but meat, eggs, and cheese. [00:53:12] Speaker B: Seriously? [00:53:13] Speaker C: And water. Yeah, I was 315 at my biggest, and I'm already down to like 260. [00:53:21] Speaker A: Congrats. [00:53:21] Speaker C: And that's just staying on carnivore, not eating processed foods. But the biggest thing is high fructose corn syrup, sunflower oil and sugar are like, in everything. [00:53:33] Speaker A: So you say it's a conspiracy. [00:53:36] Speaker C: People will be like, oh, you're not supposed to eat fat. It's bad for you. Whereas some doctors even will say, well, fat is actually really good for you. So people are like, oh, don't follow them. Be a vegan. Be this, be that, be whatever works for you, man. But for me personally, carnivore has worked for me the best. [00:53:53] Speaker A: And you like steaks too, right? [00:53:55] Speaker C: Yeah, I eat like four steaks a week. Shrimp. [00:53:59] Speaker A: You love that diet, bro. [00:54:01] Speaker C: Yeah, no, that's good. [00:54:03] Speaker A: That's cool, man. Yeah, I don't even think I'm in any kind of diet, really. I'm a truck driver. A lot of the food I eat is at truck stops. [00:54:10] Speaker B: Oh, man. [00:54:11] Speaker A: So I try to work out at least once a week, maybe twice a week if I can, or just to get some kind of exercise. Subway is like, probably the best I can get out there. Sometimes it's like the store salad or whatever. [00:54:23] Speaker C: Yeah, you eat what you can, man, when you're on the road. [00:54:26] Speaker A: Yeah. And I guess the traditional way should be better, where you make your own stuff and pack it and take it and stuff like that. [00:54:34] Speaker B: Yeah, that's what I do, dude. When we do shows, I always take my own. [00:54:38] Speaker C: He's always eating something, too. He's like, hey, I got a lemon. Or I'm always like, bro, you're always eating something. [00:54:44] Speaker B: Always eating. [00:54:46] Speaker A: It's just like at the guitar center. Oh, check out this new product. [00:54:48] Speaker C: I got to check out for real. [00:54:52] Speaker A: So you're not going back to guitar center? [00:54:54] Speaker B: No. I mean, I miss it. I miss the customers a lot because I made really good friends with a lot of people there, and I got to see them from when they were still in high school. And I said, hey, dude, don't skip school to come here, bro. [00:55:10] Speaker C: They didn't have nowhere to hang out. [00:55:11] Speaker B: Yeah, bro, we're always going to be here. And then seeing those guys kind of get into music, and some of them pursued it and some of them didn't. [00:55:22] Speaker A: Did some of the guys, like, in the drum department or guitar department ever be like, hey, I want to go over there because it's a lot quieter over there, or how would it. [00:55:30] Speaker B: Well, it changed over the years, so a lot of times we didn't have, like, a drum guy, so you have to be covering different departments and stuff. So you had to know a little bit of this and a little bit of that. But I did see, I mean, everyone, and a lot of times, if any famous band came into town, a lot of times they would go, you know, you come back from lunch, you'd be like, that's Sekio from Mana. What is he doing there? He's like, yeah, he's trying a guitar. [00:55:59] Speaker A: Really? [00:55:59] Speaker B: So you go over there, he'd be like, what are you doing here? He'd be like, oh, yeah, we're playing. I was like, I know, but our guitar center, you think that they would send, like, a tech or something, really? [00:56:14] Speaker A: Right. [00:56:14] Speaker B: But they're not. There's, like, the actual guys there. Yeah. And he was like, he was like, on every single amp, and I was like, dude, we've heard that song, bro. [00:56:28] Speaker A: No, steroid. [00:56:30] Speaker B: He actually had brought in, like, a couple of vintage guitars that he wanted to sell, and we're already getting close to close. I was like, hey, dude, I know you're, like, super famous and stuff, but we want to go home already. That's crazy. So we did get to see a lot of famous people that would come by here and get to ask them questions about their gear and their setup and what are using. And sometimes they were really cool when you could talk to them. What did you use on this album? And they will tell you, hey, I use this pedal into this and blah, blah, blah. [00:57:02] Speaker A: In your experience in getting different jobs and stuff, did you know people to get that stuff or did you work your way into it? [00:57:11] Speaker B: No, all of them were kind of flukes. I went to guitar center one time, and I remember it was like one pro audio guy, and the manager was looking for somebody and he was having trouble with his recording set up, so we were just talking shop, and he was like, I'm having this issue and this and that. And I was like, oh, yeah. I was like, I run to that problem. I was like, try this and this and this. And he was like, okay, next time I saw him, he was like, hey, dude, you need to work here. And I was like, okay. And he was like, can you come in next Saturday? And I was like, I can't. I got a session. And he was like, well, can you come in this? And he was really pushing. And I was like, literally for three or four Saturdays in a row, he would call me until finally I was like, okay, I have this Saturday off. I'll go in. And I went in and we hung out and I liked it. And boom, I stayed there and bought a lot of my gear there. [00:58:10] Speaker A: So you just kind of just happened to know. I'm trying to figure out, because you were in that spot, that position, and that guy just came along, you didn't even know him. You just started talking to him. [00:58:22] Speaker B: Yeah, actually, a lot of stuff like that. I met a lot of reps. The JBL rep would come in, the sure rep would come in, the Kai rep would come in or whatever. And sometimes there were guys just like me and you, and they would always have technical issues because I was in the pro audio department. They would always go back there and be like, hey, dude, have you run into this issue? And I'd be like, what's going on? They'd be like, well, this driver is failing on me or this is not working. And then I help them up, fix it and get it working. And then the next time around they'd be like, hey, bro, check out what I brought you. What did you bring me, dude? And they would always bring me something. They were always really cool with us. So a lot of the gear I got was from reps. They would always take care of me. [00:59:14] Speaker A: Yeah. [00:59:14] Speaker B: And of course, every rep was like, hey, bro, if you're going to sell a mic, make sure you sell our brand. And then the next guy would come in and be like, hey, bro, if you're going to sell a mic, make sure you sell our brand. [00:59:23] Speaker C: You'd be like, I'm going to sell them a sure 57, bro. That's all they're getting. [00:59:29] Speaker A: That's all they're getting, right? [00:59:30] Speaker B: But the other guys were smarter. They'd be like, you know, if you sell that one, you'll make $10 commission. But if you sell ours, you'll make eight. [00:59:39] Speaker C: Have you heard about road Mike? [00:59:41] Speaker A: So did you get a lot of bag of tacos they were bringing? [00:59:44] Speaker B: Oh, yeah, all kinds. And it was different back in the stuff. I'm sorry, not the. When I was there first, because you would have to build displays, which I didn't know anything about, but they'd be like, you get all these new products and can you set up whatever? So you would set up, like, stuff? You would like, you set up your speaker and the setup, and then the rep would come in and see, wow, man, that looks pretty good. And then boom. Visa gift card, American Express. And they will be like, good, dude, $200, 250. [01:00:16] Speaker A: Be like, really care about their product. [01:00:18] Speaker B: Yeah. And you establish that great relationship with those guys. And then they would help you out later on when you had some order and be like, hey, dude, I can't get this one particular piece I got. This one customer really needs it. And sometimes they would even pull from their personal stash. The Bose rep was like, awesome. Mark Shapiro. Shout out to Mark Shapiro. I don't know if he's still out there, but he would do Bose. And I remember I always have some issue with certain Bose products. And he would be like, you know what, dude? I have some at home. I'm going to send it to you from no charge so that I could give it to the customer. [01:00:54] Speaker A: Wow. [01:00:55] Speaker B: So that the customer would stay with their product. [01:00:58] Speaker A: That's so awesome. [01:01:00] Speaker B: Yeah, some of those guys really went out of the way. But unfortunately, as some of these brands got bought out by other brands, it became less and less and less. So, like one rep would be. Now I do this brand, this brand, this brand, this brand, this brand. [01:01:17] Speaker C: There's no more competition because it's the same rep selling everything. [01:01:20] Speaker A: Yeah. [01:01:21] Speaker B: And then it became like, JBL doesn't make JBL anymore. JBL was now made by this other company, and this other company didn't make this anymore. And then some were even broken up. Even weirder where the parts were made by this other company, but it was manufactured by this other one. So it'd be like, okay, I need the part that broke. But you wouldn't order from that company. It would be like the other third company that made the part for the second company that sent it to the third company that built it. Yeah, you got kind of involved. [01:01:55] Speaker C: Not just pro audio that does that, by the way. It's every industry. [01:01:58] Speaker B: Oh, yeah. [01:01:59] Speaker A: So that's what labeled as pro audio. [01:02:02] Speaker C: Yeah, the professional audio. [01:02:04] Speaker B: What would be like, recording and sound and lights and all that kind of stuff. [01:02:09] Speaker A: Okay. I want to say production. Is it production? [01:02:12] Speaker B: Yeah, pretty much. [01:02:13] Speaker A: Okay. Yeah. That's nice, man. So did you have to sell lights, too? [01:02:17] Speaker B: Yeah, lights was never my thing. [01:02:18] Speaker A: Okay. [01:02:19] Speaker B: I used to just turn on the lights around the fog machine and be like, what do you think, bro? What did you want? [01:02:25] Speaker C: That one, they light up, but, like. [01:02:27] Speaker B: Addressing them, because you could control that one and that one and that one and that one. Oh, man. All that was really. I mean, now it's easy with computers, but back then, when it was those old lighting boards. Oh, man, it was program everything. And one bad cable would throw off the whole chain. It was cool. But I never really got into lighting. It was not my thing. [01:02:49] Speaker A: Yeah. Shout out to soundvibes. I don't want you all to think we're just biased against guitars. Soundvibes is out here, too, and anybody. Los music. You remember los music? [01:02:58] Speaker C: Yes. [01:02:59] Speaker A: Oh, my God. I got my first guitar over there. [01:03:00] Speaker B: You remember that? One of my buddies got his airline Patrici there. [01:03:04] Speaker A: Yeah. Okay. [01:03:06] Speaker B: Yeah, he got his John Pachucci there. I remember. [01:03:08] Speaker A: We went with the faces. [01:03:09] Speaker B: Yeah, with the faces. Yeah. Wow. Yeah, he got it there. I think now it's riches, right? [01:03:15] Speaker A: Yeah, something like that. No, riches is a little bit more down, but that one little shot, if it's something, I think it's changed. Is it, Richard? I don't think so. [01:03:23] Speaker C: I don't know if it's the same building, but it's in the same area. [01:03:26] Speaker B: Yeah, it was in the same area. [01:03:27] Speaker A: Yeah. [01:03:27] Speaker C: But, yeah. Sound vibes. For me, like I said, that's where I go. Anytime I bought something, it was always from soundvibes. Unless, specifically, it was, like, pro audio stuff. I would always go to this guy. [01:03:36] Speaker A: Recipes to the owner, right? [01:03:37] Speaker B: He passed away just recently. Well, I would always buy from Soundvibes until I started working at guitar center. [01:03:43] Speaker C: Big discount, right? [01:03:44] Speaker A: Yeah. [01:03:44] Speaker B: And only really, because I got stuff at know. But I would always go there because obviously Papa was there, which is another good friend of mine. So I would always go pick his brain about gear and stuff. And before I ever started working, I would buy my stuff. I mean, really, guitar center didn't even exist back then. No, it was them. There was Clawson's, and that was about it. [01:04:08] Speaker C: There was the one on Galvan. [01:04:11] Speaker B: Yeah, Galvan's. That's true. [01:04:13] Speaker A: It's still there. But I don't think anybody hardly goes in there. [01:04:17] Speaker B: Man, that ballroom there has a lot of legacy, though. [01:04:20] Speaker A: They're still using it. Using it today. Like, a lot of the younger, I. [01:04:25] Speaker B: Used to get calls and they'd be like, hey, we need a sound guy for whatever. And I'd be like, where's it at? Got a von? Hell no. Only because there's no elevator. So everything's up those steps. [01:04:36] Speaker A: Okay. [01:04:37] Speaker B: Magic carry subs and everything up those steps. I'll be like, nah, I don't care how much you're paying, I'm not doing that gig. [01:04:43] Speaker C: No, hire me a. [01:04:48] Speaker B: That was one of those venues where I just never wanted to work. That and kind of like american bank. American bank, too, is even though they have like an awesome loading area. Like, from the loading area, dude, to where you actually get to the exhibition halls. It's like a mile, dude, going through all those tunnels and up and down, left and right, and you're in the air condition. [01:05:10] Speaker C: Just to walk alone. [01:05:11] Speaker B: Just to walk alone. Yeah. [01:05:14] Speaker A: So you play pretty much every venue. Which venues do you like the most? I guess here around corpus. [01:05:23] Speaker B: I like american bank a lot. I mean, even though I complain about the distance only because it's so big, but I've always liked that. As a matter of fact, funny story. When me and my wife got married, I had a rave that night. [01:05:42] Speaker A: Wow. [01:05:42] Speaker B: Shout to skip. Skip entertainment. Skip had hired me and they were doing like, realmscom or Comic Con. And they had a rave that night, and we had our wedding in the morning. And I told my wife, hey, I got this thing today. It's good pay. I'm like, I'm going to do it. And then after that, we'll take off to our honeymoon, but we'll leave with a lot of extra cash to go spend. [01:06:07] Speaker C: Wow. [01:06:07] Speaker B: So literally we got married. We had our reception and did dinner and everything, and we went home and we chilled from, I don't know, maybe seven to like ten. And then we literally went, we drove underneath the Merrick bank, went up the elevator, straight up to the rave, and we were there from midnight to four in the morning doing the rave. I even told my wife, you ain't got to take off your weding dress. Nobody's going to even going to know because everybody's dressed all crazy there a rave, bro? Yeah, dude. We did a rave there till four in the morning, and it was all out and loaded out and packed it all up. [01:06:46] Speaker A: They had a rave at the american bank center? [01:06:48] Speaker C: Yeah, dude, when Comic Con and stuff like that happens there, they do that every year? [01:06:53] Speaker B: Yeah. [01:06:54] Speaker A: Wow. [01:06:54] Speaker B: Well, they switched venues. I don't know who they're doing it now, but back then they used to do it, and they would literally do all the exhibition halls and all the rooms. So they would have different speakers talking about different anime shows or whatever. [01:07:08] Speaker A: So it was part of the. What is it, would you say? [01:07:11] Speaker B: I think it was called Realms Con. [01:07:12] Speaker C: Realms Con? Yeah, that's what it was. It's like a comic con or anime con. [01:07:17] Speaker B: So you'd see Chingos with Dragon Ball Z, guys, one piece and all kinds of people. [01:07:25] Speaker A: What is that? [01:07:26] Speaker C: That's a tv show. [01:07:27] Speaker A: Okay. [01:07:28] Speaker C: It's the goat right here. This is the show. If you want to watch anime, this is the show. [01:07:31] Speaker A: One piece. Okay, so how do you watch anime? [01:07:38] Speaker C: There's websites that you can go to that are not very friendly. [01:07:43] Speaker A: Okay, I got you. All right, no problem. That's cool, man. Yeah. I always see you wearing shirts like that. I'm like, what is that, bro? Yeah. [01:07:52] Speaker C: No, dude, I never got into anime until I got married. My wife was into it, and so I started watching it, like, dragon Ball. I started with, like, dragon Ball and stuff, and I never thought I was going to like it. I was like, I don't want stupid cartoons. [01:08:05] Speaker A: I'm a man. [01:08:07] Speaker C: But then I just started watching it. I fell in love with a couple of animes, and then finally I just got into one piece. And one piece has like 100 episodes and I'm only on like 950 something. I'm not even completely. [01:08:20] Speaker A: Is that the norm for those type of shows to have? [01:08:23] Speaker C: No, not usually. One piece is probably one of the longest running ones next to Dragon Ball. Naruto and bleach, which are the originals. Those were the ones that came to the United States and they're still kind of running today. [01:08:35] Speaker B: Wow. [01:08:35] Speaker C: Everyone has like a couple seasons here and there. Then they kind of fall off or they just end the show. [01:08:40] Speaker A: And is it like. I want to associate it with, like, Chinese, Chinese? [01:08:45] Speaker C: Yeah, Japanese, Korean, Chinese. It's mostly japanese. Like, a lot of it's like Japanese. And then there's the whole sub versus dub argument. [01:08:55] Speaker A: What the heck? [01:08:56] Speaker C: Would you rather watch it in sub or would you rather watch it in dub? I will say that some animes I like in dub. Some animes I like in sub. Some animes I even watch in Spanish. If you ever watch demon slayer in Spanish, that is legit. Yeah, for real. So I don't know, but sub or dub? [01:09:13] Speaker A: What is that? Like, the sound quality? [01:09:15] Speaker C: No, sub. So, like, sub. Are you going to watch it with subtitles, speaking Japanese or are you going to watch it dubbed in English? [01:09:21] Speaker A: Okay, so it's either or. [01:09:23] Speaker C: There's only, like, one of two camps. You're like, I'm either sub or I'm either dubbed. [01:09:29] Speaker A: Wow. One piece. One piece. And your kids like it, too? [01:09:32] Speaker C: Yeah, dude, my son's caught up with me. [01:09:34] Speaker A: Oh, yeah. [01:09:35] Speaker C: My son's only ten years old, and he's watched basically the entirety of one piece. Now. [01:09:40] Speaker A: That dude's awesome. [01:09:42] Speaker C: Yeah. And my daughters, they didn't really get into one piece too much, but they've seen a bunch of animes, too. [01:09:48] Speaker A: That's cool. Sophia likes deftones. [01:09:52] Speaker C: Oh, yeah, dude. My daughter's, like, a total new metalhead. Like, we listen to all kinds of stuff. [01:09:56] Speaker A: Yeah. Dude, I want to ask you, so how do you feel about Pantera doing a reunion without the brothers? [01:10:05] Speaker C: I feel like if you want to see Pantera, you can go see it, but me personally, I'm not going to go see it. Pantera is probably, like, one of my favorite bands of all time, but without diamond Vinny there, I don't want to. [01:10:15] Speaker A: It's not Pantera, bro. Right. I feel the same way, too. Do you like Pantera? [01:10:19] Speaker C: Even though I, like. I'm just. Me, personally, I don't want to pay money to go see that. [01:10:25] Speaker A: Yeah, it's not dime. Like, not dime and Vinny. They're not there. How is it Pantera? [01:10:29] Speaker C: Yeah. [01:10:30] Speaker B: Kind of fun fact. I saw Zach wild here in corpus. [01:10:32] Speaker A: Oh, yeah? [01:10:33] Speaker B: At the concrete. [01:10:34] Speaker C: At the concrete. [01:10:36] Speaker A: The concrete. [01:10:38] Speaker C: That was almost as bad as the reasons. The reasons. [01:10:41] Speaker B: Yeah. [01:10:44] Speaker A: Nice. [01:10:45] Speaker B: Black label society. Yeah. One of the loudest bands, dude, I saw here in Corpus. [01:10:50] Speaker A: No. Wow. [01:10:51] Speaker B: So loud. I literally got up and went to the back. [01:10:54] Speaker A: Do you remember Johnny Land? [01:10:56] Speaker B: Yeah. [01:10:57] Speaker A: Texas sky, right? [01:10:58] Speaker B: Yeah. Actually, we did one show many, many years ago. Yeah. It was a good venue. I don't know what happened to it or what happened. [01:11:07] Speaker A: Do you remember that one? [01:11:08] Speaker C: No, not that one. [01:11:09] Speaker A: I saw Pantera there. They actually played there. I don't remember if it was Johnny Land or Texas guy. It was one of those. [01:11:15] Speaker C: That was before my time. [01:11:16] Speaker A: Lala Palooza actually came. I think it was Lala Palooza. Yeah. [01:11:20] Speaker B: Didn't they do ozfest or one of those there? [01:11:22] Speaker A: I think something like that. [01:11:23] Speaker C: Yeah. Like 2000. Because that was, like, one of my first concerts was Ozfest 2003, I think. [01:11:29] Speaker A: The San Antonio one we went to. No. [01:11:31] Speaker C: Yeah, it was in Salem or Selma. Selma. [01:11:33] Speaker A: Selma. [01:11:34] Speaker C: And that was, like, my first concert, and then I remember everybody was telling me, like, the year before or two years before, they were like, pantera was actually there because I never actually got to see Pantera. [01:11:43] Speaker A: You didn't? [01:11:43] Speaker C: No, I never went. Funny story, he went with my cousins to go see Pantera, and to this day, I will not let my mom live this down. [01:11:52] Speaker A: Oh, man. [01:11:53] Speaker C: They all went. My entire family went, no way, bro. And I didn't get to go because I was only eleven. [01:11:59] Speaker A: I'm sorry, man. [01:12:00] Speaker C: And so I was like, well, whatever, I'll see him, like, in a couple of years, right? Whatever. And when I was, like, 16, he died. And I was like, this is some, I'm sorry, but honestly, I've seen enough videos. And one of my good friends was actually friends with Dime in Dallas. He said he used to go to their bar all the time. Dime was like the most humble person you could ever meet. He was like, he was like, oh, how you feeling today? [01:12:27] Speaker A: You're not feeling? [01:12:27] Speaker C: Here's a shot that'll make you feel way better. You know what mean? I've, I've heard stories, so, I mean, it's cool that I haven't seen him, but that would have been one of the one bands that I did want to see before. [01:12:40] Speaker A: Yeah, and you had him as your number one on your top ten, TikTok. [01:12:45] Speaker C: Oh, yeah, dude. Dime, for me, is the number one guitarist that I'll always follow. To this day, I'm still trying to learn solos and be like, man, what did he do here, and where did it come from? You know what I mean? How did he come up with this combination? Because some of the artists that I listen to, it's very mechanical. The theory behind it is very like, we're going to stay here, we're going to do this, we're going to do that. And for some reason with dime, he's got these bends that come out of nowhere, and I'm like, man, I would have never thought to bend it there. I would have just hit the note straight. So for me, dime is just always going to be like, top here. [01:13:20] Speaker A: Nice. And most of your top ten are metal, right? [01:13:27] Speaker C: Yeah. And most of it's like, prague metal or gent just because that's the style of music I listen to the most. But there are phenomenal guitarists out there that are not in those genres that a lot of people were actually mad at me that I didn't put on my TikTok. They were like, why didn't you put sinister gates on here? And I'm like, dude, avenged Sevenfold is good. I just don't like avenged Sevenfold. [01:13:48] Speaker A: I'm sorry. So you got to like the band in order to like. [01:13:52] Speaker C: Not necessarily. I would say there's a few guitarists that I follow specifically, and I'm not really a big fan of their band. Rabia Masad is one, and he's a youtuber, but he also has a band. I'm not really too into his band, but his solo stuff. His solo stuff is really good. So I follow him more as a Taurus than the band. [01:14:11] Speaker A: Yeah. And then you had to buy. What's his name? [01:14:15] Speaker C: Tosinobasi. [01:14:15] Speaker A: Tosinobasi. Yeah. [01:14:17] Speaker C: That dude's insane. Oh, yeah. [01:14:18] Speaker A: And the theory is crazy, dude. He uses a lot of augmented sounds and really doesn't stick to a certain tonality. He does a lot of augmented stuff, and it's like, oh, man, his band. [01:14:32] Speaker C: It'S literally just two h string guitar players and a drummer. That's it. Two h strings? Yeah. So whenever I listen to them, I'm like, man, everything sounds so good. But it's not just metal for them. It's like they'll go into jazzy stuff, they'll go into other stuff. So it's really prague. But when I think of guitarists that I like, tosin, even his other guitar player, who. I can't think of his name off the top of my. Rivera, I think his name. But, man, he's super good, too. He's, like, just as good as Tosin, if know, right there with. [01:15:04] Speaker A: Use their. They use their fingers mostly. They don't even. [01:15:07] Speaker C: No, a lot of their stuff is picked, but they do have some thumping style stuff, or they'll do some crazy stuff with, like, non pick or just fingers. You want to talk about guitar players that don't use picks or that you do a lot of hybrid picking. I think of Tim Henson. He's like the polyphia guy that everybody's talking about now. He's probably the one that's out there that everybody knows. That video actually got the most views and the most comments on my channel. I saw that, and it's just because everybody was arguing, that's not metal, that's not Rock. That's whatever, bro. He's a great guitarist. What does it matter? [01:15:44] Speaker A: Yeah, exactly. [01:15:46] Speaker C: And it was my list. It was my personal list, so what do you care? [01:15:51] Speaker B: It seems like those eight string guitar players are getting rid of bass players now. [01:15:55] Speaker C: Well, Mashuga still has bass player. [01:16:00] Speaker A: Mashuga is awesome. I like those guys. Yeah. And I've been listening to Spotify, and I'll do similar songs. I like Spotify a lot, and I like to find new stuff. And, man, it's pretty cool and a lot of these bands are from overseas, you know what I mean? And they have stuff that's not. It's different from the stuff we hear here. That's why I like it a lot, because I like stuff that's like, it'll change and it won't go back. Almost like a baroque type style and not classical. Classical reoccurs or whatever. It's almost just. And then it ends. I think that's mainly the reason why I like it, because that's how my brain is. It's not always. [01:16:39] Speaker C: You remember. Remember growing up on the LD 50 album, like, how a lot of it was like that? [01:16:44] Speaker A: Yeah. [01:16:44] Speaker C: Do you remember that? Because a lot of it there was really, like. I mean, some of it had verse, chorus, verse, chorus. [01:16:48] Speaker B: Right. [01:16:48] Speaker C: But a lot of it was like, we're going to go into this and then this, and then we're going to go into this and then this, and we're never going to go back to the original. [01:16:54] Speaker A: Yeah. [01:16:54] Speaker C: It's just going to keep progressing. [01:16:55] Speaker A: And then August Burns red. [01:16:57] Speaker C: Yeah, a lot of their stuff, too. [01:16:59] Speaker A: And they're heavier than. I think they're way heavier than the LD 50, which LD 50 has its due, but, yeah, August Burns Red is like that. I love that, how it just goes and then it doesn't come back. And what woggles me is like, how do they remember all that stuff? [01:17:12] Speaker C: Well, the band that I think that for is between the buried and me. When I think of a band that I don't know how they remember their entire set because you want to talk about a band that doesn't really repeat very often, especially. Well, in their earlier stuff, they didn't really repeat very often. It's just sections on sections. Ten minutes, twelve minute songs of just like, we're going to the next thing. We're going to the next thing. And the drummer is going crazy. The guitarist is going crazy. There's a piano, there's a guitar and the bass player. Everybody's doing something different. And I'm like, dude, how do you all remember all this? [01:17:41] Speaker A: I remember that stuff. [01:17:42] Speaker C: Seriously? [01:17:43] Speaker A: Yeah, man. It's awesome. I think we're coming up in an hour 15. [01:17:47] Speaker B: Yeah, cool. [01:17:48] Speaker A: I usually do, like an hour. So thank you guys for coming out. You have anything else you want to share? [01:17:53] Speaker C: No, I appreciate the time. [01:17:57] Speaker B: Yeah. [01:17:58] Speaker A: Thanks for coming. [01:17:58] Speaker B: I'm getting hungry. [01:17:59] Speaker A: Yeah. All right. [01:18:01] Speaker C: There's a water burger down the street. [01:18:04] Speaker B: As a matter of fact, I stopped by the house to walk my dog real quick before I came over here. I was like, oh, man, it smells good. I was already cooking. I was like, babe, I have to. [01:18:15] Speaker C: Go do this thing. I'll be right back. Well, I do got some pork chops waiting for me. [01:18:20] Speaker A: That's awesome. Yeah. But thank you guys for coming on, for coming on the show, talking about what you've talked about. [01:18:24] Speaker B: Absolutely, man. [01:18:25] Speaker C: Dude, I could talk about music all day. [01:18:26] Speaker B: Oh, yeah, dude. [01:18:27] Speaker A: Yeah. That's awesome. [01:18:29] Speaker B: Well, man, best of luck with your endeavors and hope everything goes awesome. [01:18:33] Speaker A: Likewise, likewise. [01:18:34] Speaker B: Appreciate it if I know any interesting people that I can send this way. I'll try my hardest. [01:18:41] Speaker C: I need you to go out there. [01:18:43] Speaker A: All right. Nothing else. Thank you guys for joining. This is Corpse Christian originals podcast. Have a good one.