Loving The Happy Little Accidents - Interview with Virtual Miracle

I had a great conversation with Ambient producer; Virtual Miracle.

IG: https://www.instagram.com/virtualmiracle?utm_source=qr

Apple: https://music.apple.com/us/artist/virtual-miracle/1494751115

Spotify: https://open.spotify.com/artist/3d1HtxNUP7hEJSWCbePSpk?si=4NjetvHGSbeZbCi9Wgpiig&nd=1&dlsi=b04ae248f5834ca6

Bandcamp: https://virtualmiraclemusic.bandcamp.com/

For info on sponsoring or being a guest on the show send a message to swishermedia@gmail.com

Transcript

SPEAKER_00 0:19

Welcome to the producer chair. Thank you for listening. I'm your host, Steve Swisher. On the show, we interview people making music in their bedrooms, basements, and home studios. We're going to talk about hardware, software, tips and tricks, everything that goes into their creative process. Our special guest today is Virtual Miracle. We're going to listen to a couple of his songs and talk with him about his life as a producer. So here's Virtual Miracle with his track Dust to Dust.

Interview Part 1

SPEAKER_00 5:15

How are you doing today, sir?

SPEAKER_02 5:16

I'm doing pretty good, Steve. Thank you so much for having me on. You bet. This is a pretty cool opportunity.

SPEAKER_00 5:21

Absolutely, dude. I'm I'm having a blast with it so far. We got a lot of lot of fun interviews to be doing over the next few months, and uh hopefully other people enjoy this too. So any any cool story behind the name, Virtual Miracle?

SPEAKER_02 5:32

Yeah, I think it's probably one of the weirder names, ways that I found it. And that's because I saw that childish Gambino, he got his name from a um Wu-Tang name generator. And I thought it would be funny to also do the same thing and not do it in like a serious light. But then once it actually generated the name Virtual Miracle, I was like, huh, you know, that actually is not a bad idea. So it's just a funny way to kind of make a name, you know? Yeah. And I'm sure there's probably a lot of artists that come up with their name and then they come up with a cool story behind it, but it's probably something that's very similar to.

SPEAKER_00 6:06

Sure. Well, uh, how long have you been producing? What made you get into it?

SPEAKER_02 6:11

Uh, so I'll kind of start with my first portion of musical journey. That's gonna be when I started uh as a drummer at 11 years old. Um, got my first drum kit. Uh parents bought that for me. So I'm very thankful for the um, you know, just getting started when it comes to music and especially as drums. Um, every parents probably worse nightmares their their kid wanted to be in the drums because it's the loudest thing possible. Um, but I'm very thankful that they they were very supportive of that. I played drums for like four or five years and I was in metal bands all the way up through high school, after high school, got into some more metal bands. But the reason that I actually started producing and messing with synthesizers and uh Daws and all that kind of stuff is because I had a neighbor that would call the cops on me all the time. My my dad was super sick of the cops coming to my house and knocking on our door saying that you're gonna go to jail if you don't stop playing drums. And he was like, you know, I'm sorry, you just can't play drums here anymore, even though we did everything possible to make it as quiet for the neighbor, but he was gonna get us. So uh, but that's kind of the start of me getting into production at that point. It was just I have a set of speakers that I can turn down, or I have a set of headphones, and it's still some form of noise that I can make. And that's pretty much been my whole entire life. It's just like I need to be making some kind of noise.

SPEAKER_00 7:28

Right on. Yeah, I started off with an old uh Yamaha PSR that I could plug headphones to, which I'm I'm sure my neighbors and parents were very thankful.

SPEAKER_02 7:35

Yeah. No, the neighbors and the parents are usually the most thankful when it's like, okay, just put him in the corner. He's got a set of headphones, he can be quiet. When it's drums, it's like, uh, you can't really do anything about that.

SPEAKER_00 7:46

So let's let's talk about that track we just heard, Dust to Dust. Uh, how long did it take you to make that track?

SPEAKER_02 7:50

Uh to be completely honest with you, I think it probably took me total, maybe like 30 or 40 minutes, give or take. And to go into how it was made like that, I realistically just started slapping down a bunch of tracks, pretty much just a bunch of omnisphere and contact tracks that are separated. And I just send them to a return track, which is pretty much just a bunch of effects. Realistically, it's like saturators, a bunch of reverb, uh, portal, if you're familiar with that plugin uh by output. Um, pretty much just a bunch of smearing and glitching going on through there. And there's like, I think there's about five or six tracks specifically that are all going into that return track. And I have LFOs that are pretty much modulating the send volume to the return. And it's a bunch of different patterns that are going into that return track to pretty much create the washed-out kind of noise and glitch for the song itself. I was kind of planning on trying to make it into a sample and put some type of drums into it because I've been trying to get more into drums lately. But realistically, it took me about maybe 35 to 40-ish minutes to just make up the whole thing because I was just trying to make it pretty quick. Um, but then once I was kind of jamming on it and listening to it, I was like, this is actually kind of cool by itself, which a lot of my music, I feel like that's kind of how it comes up, where I feel like I want to make some big arrangements or some big drum portion with it or something like that. But I tend to gear more towards just the drony and like atmospheric and cinematic type of stuff. You know, it's definitely pretty easy to experiment when it comes to that kind of production.

SPEAKER_00 9:33

Sure. What genre would you would your music fall into? Is it, you know, ambient soundscape? What do you call that?

SPEAKER_02 9:39

Um, I mean, I just kind of give it a basic ambient, you know. I mean, if you want to get into like the nitty-gritty of like the subgenres and that kind of stuff, you could probably call it soundscape or something along the lines of like cinematic quotations, that type of vibe. I, to be honest with you, don't really sit and think about the subgenres. I kind of just call it an overgeneralization of just ambient music.

SPEAKER_00 10:04

Okay. And do you normally stick with that kind of music or do you experiment with different stuff too?

SPEAKER_02 10:08

I typically do stick with ambient, but I think the main reason is because that's just what I like to listen to more than anything. Sure. And I like other styles of music, like I like like more bo B-oriented electronic music, like Tipper or Boards of Canada, and then you know, Skrillix is pretty cool and that kind of stuff. I don't really resonate with that type of stuff when I'm creating. And I think it might be just because I don't know if this is a bad thing to say, but I think I'm kind of lazy when it comes to the arrangement portion of music. And a lot of that style of music is very arrangement heavy. So you got, you know, your intros of four bars, you got choruses, verses, drops, all that kind of stuff. I don't really have much interest in creating that kind of stuff. I feel like I'm more I like to be a little more hands-on when it comes to the creation, and that's kind of one of the reasons why I do a lot of hardware-based stuff. It's kind of harder to do transitions when it comes to chorus to verse when it comes to hardware. There's obviously a way to do it. I just don't really have much interest in figuring out how to do that. So typically just ambient when it comes to the genres.

SPEAKER_00 11:17

Sure. And you you kind of already touched on this, but when you start making a track, you just you like to drop in a bunch of your go-to sense and start experimenting with sounds.

SPEAKER_02 11:25

Correct. Yeah. So I'll kind of just give like a basic like overview of how my process is. I do like to use a lot of hardware, and I was a huge proponent of gas gear acquisition syndrome for a lot of years. But one thing that it did benefit is you quickly figure out what you like and you don't like. So for me specifically, that came down to I know I needed some way to sequence something uh on an external level. I know that I needed sound sources on the external level, and I know that I wanted to have some basic form of effects for those sound sources. And the rig that I have right now took me about six years to build. And the main reason for it is, you know, experimentation with equipment, um, experimentation and thought on how to put it all together so that the pieces would be able to fit without me having to unplug and plug in cables every single time I want to use it. And that kind of came down to me using a huge Trio 43 uh temple audio pedal board, which, if you know anything about those pedal boards, they're plate to board. So you don't have to use Velcro to put on the pieces of gear. Everything's just stuck on the back of the equipment, and then you screw it onto the bottom of the board. So that's really, really handy to keep things nice and clean and also organized. But the nice thing too is that the pedal board itself, you can swap the cabling underneath the board so that everything is pretty much hidden, which is another one of my goals because I wanted it to look pretty once it was finished. But the pedal board itself, it is composed of um an electron digitac two, an electron digitone too. Those are two pretty much the brains of the operation. I do have a sequential Profit 12 desktop unit that I can fit on the pedal board. I love analog sense, but the nice thing about the Profit 12 is that it's digital, so you don't have to sit here and worry about detuning. It's a beautiful sound for detuning when that's what you're going for, but sometimes you need something that's a little bit more consistent. And that's one of the main reasons why I love the Profit 12. And another reason why I love the Profit 12 is strictly because it's a bi-temporal synthesizer. So you can pretty much have two synthesizer sounds coming out of the box at once, and they can also be played by different MIDI channels. Um, so essentially you can have two different MIDI channels and tracks on the brain of the operation, which is by Digitone 2, uh, telling the synthesizer, hey, this sense sound plays this pattern, this sense sound plays this pattern, and then, you know, they can kind of take off and do what they need to do. And then those two routings go into uh two effects chains. One is going to be a microcosm on the left and a uh hologram electronics microcosm on the right as well. And the reason why I use those two boxes is because they're the perfect ambient machine when it comes to effects that can do a bunch of different things. They kind of glue everything together, at least when it comes to that one synthesizer. And then I have the left uh going into a Maris Mercury X reverb pedal, and then the right goes into a Maris LVX delay pedal, just so that I can have one of the sense sounds have a more reverb-oriented sound, and then the right sound of that synthesizer is going to be more delay-oriented of that sound, and then those both come back into both of the electron boxes because technically speaking, they can be utilized as an interface. Kind of that's just a basic overview of most of my hardware. What I like to do is I just like to start by creating with a basic patch on the Profit 12, creating a little melody, and then changing sounds based off of you know where I'm feeling on this. A lot of the times it's going to be heavily based off of LFOs and movement. You can have a drone sound and it could go for 15 minutes. Um, but one of the cool things about this genre that I really like is it's not so much about the major changes of the track. It's more so about the subtle nuances that you get and the subtle changes over time that you're going to hear. The shape of the waveforms over that time, where you could have the change of the filters over time. You're playing the same exact melody, but by the time you go from minute one to minute seven, it's a completely different sonic kind of platform.

SPEAKER_00 15:33

So you're primarily an out-of-the-box guy using a lot of hardware. Do you still bring everything into a DAW for mixing?

SPEAKER_02 15:38

You are correct that I am a lot of the times out of the box. But the beautiful thing too is that I do like it to be a hybrid setup. Uh so I'm using Ableton Live as my main base on my computer. The nice thing about this setup is I've literally made it to where all I have to do when I pull this pedalboard out of the box or out of the bags is plug in the IEC power cable, turn everything on, plug a USB cable from my pedal board, literally on the pedal board to the computer, and that's all I have to do at that point. All my audio is streaming through that USB cable because it's the easiest way to also record and get all of your sound to a wave file, but it also is the best that I've found way to do a performance with a DAW live as well.

SPEAKER_00 16:25

Very cool. What's the most recent piece of hardware or software you bought?

SPEAKER_02 16:28

Uh, most recent versus hardware that I bought was an electron tonevert. And the main reason for that is they just did an update to introduce wave tables on the synth. It's very, very good at doing that with also the all of the electron stuff that goes with it, too.

SPEAKER_00 16:46

Sure. What's your dream piece of hardware that you don't have?

SPEAKER_02 16:49

Probably the MOOC one.

SPEAKER_00 16:50

Okay.

SPEAKER_02 16:51

It's not because I feel like I'm missing anything. It seems like it's just a really fun synthesizer, to be honest with you.

SPEAKER_00 16:57

There's a little bit of collector in all of us, I think.

SPEAKER_02 16:59

There's always a little bit of collector in all of us. And I think when whenever there's like somebody who goes through gas in their life and then they feel like they're done with gas, there's always gonna be that one piece that you're like, oh, if I had $15,000, that's what I would get, you know? Right. And I think that's probably the MOOC one. But I will say I would get the eight voice because I'm trying to limit myself.

SPEAKER_00 17:23

Is there any upcoming products that you're excited about?

SPEAKER_02 17:26

Uh, to be honest with you, I don't really think so. And I think the main reason why is because I I started to get out of like the new product space more so because I think I found everything that I really like. So it might be kind of a boring answer for that question.

SPEAKER_00 17:42

No, that's that's all right. Uh look if your house is on fire, you have time to grab one thing, one you know, a sampler, a synth, uh, an acoustic instrument. What are you grabbing to run out the door with?

SPEAKER_02 17:52

Um, profit 12. Easy.

SPEAKER_00 17:54

Okay.

SPEAKER_02 17:55

Easily the profit 12. And that's kind of gonna be hard because it's literally attached to my pedal board, so I can't really say it's probably heavy, too. It is a little bit heavy, it's like 45 35 pounds. Yeah. I love it. And uh the specific unit that I have right now, it's got all the patches that I've created, and I don't really want to get rid of those patches or ever lose those patches. I know you can sys dump files to be able to save those kinds of things, which that's a good reminder to that I probably should do that. Um, but that synthesizer easily is desert island house on fire stuff that I'm grabbing before I leave.

SPEAKER_00 18:34

Okay, yeah. Being a producer, we spend a lot of our money, our uh expendable income on this hobby. So sometimes you gotta find things on a budget or uh used. What's something that you found that's kind of a low-cost item that you feel is really underrated?

SPEAKER_02 18:48

Um this is from a synthesizer person. It's probably my temple audio pedal board, to be completely honest with you. And the main reason why I say that is because I see so many people that have these awesome synth rigs and they have the coolest gear, but they don't have an easy way to set up and tear down. And for me specifically, that was like the reason why I was going on my six-year journey is because I wanted to find a way to be able to easily pull my stuff out without having to unplug and plug in and then unplug again when I have to leave somewhere to be able to get everything set up. And also the beautiful thing about it too is once it's set up, it's set up. All you have to do is unzip the bag, put it on the table, and then plug in two things to be able to get everything to sound good.

SPEAKER_00 19:38

Yeah. All right, look, let's flip that question. And what's the hardware piece that you either own or that you just know the other producers own that you feel is overrated?

SPEAKER_02 19:48

I think in this, this is specifically a piece of gear that I have owned before that I just didn't resonate with that I know a lot of people use, was the Neural DSP quad cortex. If you're familiar with that piece, I'm not.

SPEAKER_00 20:00

What is that?

SPEAKER_02 20:00

It's pretty much an amp modeler for guitar players, but it was also advertised to be used for like extra effects chains for vocal chains, or if you're a synthesizer user. I was really trying to use it in my pedal board space because of my Profit 12 being bitemporal. The only problem that I had with it is that the inputs for the quad vortex are not TRS. So you can't have stereo out going to stereo in into the pedal board to have two of the inputs. And also one thing that I kind of didn't really like about the unit is that the sounds were not as up to par as I would have liked. And for a guitar player, it may be more than perfectly fine. But for synthesis, I want something that's going to be more wacky and weird. I understand completely why people use them. They're awesome pieces of gear, just not for what I was trying to do.

SPEAKER_00 20:52

Okay. And if there's a hardware engineer listening right now, what's a piece of hardware that doesn't exist yet that you want to see or that does exist, but you want to see a reiteration of it? What would you want them to create?

SPEAKER_02 21:03

That's a really good question. I would probably say I want a smaller battery that can power everything portably.

SPEAKER_00 21:10

Okay. Yeah.

SPEAKER_02 21:11

That's probably something that I would want to use. I have a goal zero 500-watt battery, and it's really awesome to power like individual units or on my computer and like my small speakers. But when it comes to doing something maybe a little bit bigger, like needing to power my full pedal board, I don't think it would be able to handle it.

SPEAKER_00 21:29

Sure.

SPEAKER_02 21:29

Um, but a smaller, better battery to be able to power all of the extracurricular gear so that people don't fear that their stuff's gonna get hit with a power surge would be nice.

SPEAKER_00 21:42

Okay. Let's take a listen to your second track here, and then we'll talk a little bit more about this stuff.

SPEAKER_02 21:46

Awesome. Sounds good.

Interview Part 2

SPEAKER_00 28:54

All right, that was Hottie Cloud, and we are back with Ryan, aka Virtual Miracle. Oh, that was another another really interesting track. I like that. Do you consider yourself a hobbyist or a professional? What what do you consider yourself as a producer?

SPEAKER_02 29:09

Uh definitely a hobbyist. I have made a little bit of money off of my music, and that's different because I've been trying to get into performing live or yoga classes more than anything, which I thought would be a fun thing to kind of challenge myself for.

SPEAKER_01 29:23

Yeah.

SPEAKER_02 29:23

Um, but definitely a hobbyist. If there's a way to be able to kind of do it professionally, then that would be awesome. But I like to make music for myself, first and foremost.

SPEAKER_00 29:32

Sure. Yeah, and that that was my next question is you know, what's the long-term goal for you? Is it just you know pure enjoyment of the creation process? Or would you like to do this professionally?

SPEAKER_02 29:40

If I could do it professionally, that'd be awesome. You know, making money off of your art, that's like the dream for every single artist.

SPEAKER_00 29:47

Absolutely.

SPEAKER_02 29:47

But I like to make songs and tracks and music for myself to be able to listen to. And if anybody else wants to listen to them, that's just a plus. Sure. You know, I put them on the internet and I put them on streaming services and van camping.

SPEAKER_00 30:02

Awesome. Well, yeah, we'll and we'll get those links out to everybody here at the end of the show. What's your favorite part of the creation process?

SPEAKER_02 30:09

Uh, to be completely honest with you, it's probably the boring stuff. Sometimes I would wake up at like two or three in the morning and I would I greatly enjoyed creating Ableton templates and creating patches. I really, really enjoyed the kind of dive into the weeds of the programs and the boxes and figure out the small little idiosyncrasies, if that's the right word, of you know how you can make them work with other stuff.

SPEAKER_00 30:34

Yeah. What is your least favorite part, you think?

SPEAKER_02 30:38

Probably the publication stuff. I'm not very good at finding artwork and I'm not very good at naming tracks. So that's something that I delegate to my fiance and who's done a really good job of that kind of stuff. But she has a she has a much better eye when it comes to like photography and artwork and track names. And sometimes she'll look at like the track name that I made the project under, and she's like, that's so stupid.

SPEAKER_00 31:03

What what specific thing do you feel like you spend the most time on when while creating a new track?

SPEAKER_02 31:08

Probably patches more than anything. Just finding the right sound design. Yeah, and you know, and like I was saying before, when it comes to ambient music, it's a lot of it can be the same stuff over and over again, like melodically, but where you get the differences in the track or the three to 15 minute song is the sound and that design evolving over time. And that's what I really, really like to dive into. And that's probably one of the reasons why I like Ableton so much is because of the capabilities of being able to modulate almost everything. Sure.

SPEAKER_00 31:45

Is there anything special that you do that you think that separates your music from someone else that's making ambient?

SPEAKER_02 31:51

I don't really think so. And the reason why I say that is because I like to take a lot of things that I see from other artists that I get inspiration from. So a lot of the times I'll see like one of my favorite artists, he creates very simple melodies, but he'll change the pattern from being a 16-step pattern to a 13-step pattern. So over time that can kind of change how the melody plays over a four-four sequence. That's something that's kind of cool. I don't really think that there's too much of an original idea when it comes to the creation process for myself. I think it's more of just taking and utilizing things that other people have done and just going further with them in my own process. So Okay.

SPEAKER_00 32:33

Yeah. Do you have a secret trick that you use to get your sound?

SPEAKER_02 32:36

Use as many LFOs as you possibly can. Okay. For me in ambient music, I love to use as many LFOs as I possibly can just to be able to make the sound change as much as possible.

SPEAKER_00 32:48

Yeah, get the parameters moving.

SPEAKER_02 32:49

Yeah, exactly. You get the parameters moving. I mean, you can turn those things by knobs and you can create automation, but I'd much rather it be more of like a like a self-generative type of thing where I don't really know where it's gonna go.

SPEAKER_01 33:02

Yeah.

SPEAKER_02 33:02

So definitely utilize LFOs and modulation uh as much as possible.

SPEAKER_00 33:07

Yeah, a lot of times the most interesting sounding things come from just experimenting and it ends up being something totally different by the time you've resampled a few times, or LFOs have changed enough parameters that the sounds are just interacting in a totally different way now.

SPEAKER_02 33:20

Exactly. And like Bob Ross said, there's there's all kinds of happy little accidents.

SPEAKER_00 33:24

Happy little accidents, yeah. What's the weirdest thing you do in your process?

SPEAKER_02 33:28

Um, I mean, I don't really think that there's too much weird stuff that I do. I like to let things go for hours. That's probably something that some people maybe think is weird. I guess that's probably something that people outside of the music community think is weird just because they're gonna get sick of a certain sound for an extended period of time. Sure.

SPEAKER_00 33:48

Okay. Uh do you get writer's block? And if so, how do you get past it?

SPEAKER_02 33:52

Absolutely. And the way that I like to get past it is get up and go do something else.

unknown 33:56

Good.

SPEAKER_02 33:57

Get up and go outside, get some sun, or go read a book, or take in some other form of art, you know, like paintings or movies or other people's music. It's always good to kind of change up your flow and kind of do something different every once in a while.

SPEAKER_00 34:12

Yeah, absolutely. Do you struggle calling a product finished and just being done with it and ready to put it out there for people to listen to?

SPEAKER_02 34:19

I do. And I think the main reason is because I wish it could be longer, but a lot of people can't really sit down and just put on a 45-minute song.

SPEAKER_01 34:29

Right.

SPEAKER_02 34:30

And I think in ambient music, it's so easy to sit here with just one piece that plays the same thing over and over again. But sometimes when you're putting things on band camp or streaming services, people want something that's a little bit shorter. So I compromise and I I go for the seven to nine minute songs. Sure. Um, so I'd say yes, I do sometimes struggle with calling something different.

SPEAKER_00 34:52

Sure. What are your biggest influences on your music?

SPEAKER_02 34:55

When it comes to artists, I really enjoy jogging house or Benny, right? But definitely a lot of those older style um and older pioneers of electronic music like craft work and the elementary orchestra, strictly because of the it's just so impressive, you know.

SPEAKER_00 35:14

If you if you meet someone that's interested in getting into music production, what's the one little piece of advice that you would give them?

SPEAKER_02 35:20

Experiment and be as weird as you possibly can.

SPEAKER_00 35:24

Okay, yeah, that's great advice.

SPEAKER_02 35:26

You can slap, like I said before, like seven LFOs on a synthesizer enabled and just to see what it sounds like. But if you don't do that, you're never gonna know what it sounds like to have seven LFOs on a on a synthesizer.

SPEAKER_00 35:38

Yeah.

SPEAKER_02 35:39

Just get really weird and see what you can create, you know?

SPEAKER_00 35:42

Absolutely. I love weird. If you can have a creative session with any other producer in the world, who would it be?

SPEAKER_02 35:48

Probably Hans Zimmer.

SPEAKER_00 35:49

Okay, yeah, that'd be fun.

SPEAKER_02 35:51

That would be a lot of fun, and it's not only because of uh his experience in film and I do want to play with his toys. Um, I saw them live when he came to Denver for his performance, like with his whole band. And he had a huge moog uh modular wall uh just in the back. And yeah, once I saw that, I looked over at my friend and he was like, Man, that's probably like a hundred thousand dollars right there of synthesizer. But not only that and deployment is toys, but just to pick his brain and be like, what is going on in your head when you made you know the interstellar soundtrack or inception and all that kind of stuff? Like I watched some of the documentaries on that, but I feel like you can only get so much from a documentary if you sit down with somebody you just get the full effect of you know their personality and their workflow.

SPEAKER_00 36:42

Oh yeah, that's a that's a great answer. Well, Hans Nimmer, hopefully you're listening and you guys can link up at some point. Okay, the show's called Producer's Chair. So what kind of chair do you sit in to produce?

SPEAKER_02 36:52

There's a cheap uh Amazon chair, and the only reason why I got this is because I had a footrest. Um so sometimes I can lean back when it comes to that.

SPEAKER_00 37:02

Nice. Where can our listeners connect with you online and hear more of your music?

SPEAKER_02 37:06

I do have an Instagram. I'm not as active on there. Um, but every once in a while I will post little videos of gear for something that I'm kind of messing with that day, or just little experiments. I kind of try and use it as like a sketchboard. Uh, you can check it out on Instagram. I did uh just upload an EP on Bandcamp. So that one is up there right now, but it's also on an Apple Music Spotify all the streaming services.

SPEAKER_00 37:30

So Okay, yeah, virtual miracle. Um will and we'll get the links up for everybody so you can so they can check it out. Hey, I mean uh Ryan, I really appreciate you being here with us today. I'm excited to get this episode out and let our listeners hear your music and uh get to know you a little bit. Yeah, thanks for coming on the show, man. Absolutely. Thank you so much, Steve. I'll remember. Thank you for listening. If you're interested in becoming a sponsor or a guest on the show, use the provided email and follow me on social media for more updates. We have a lot more interviews coming up, so until then, I'm Steve Swisher, and you've been listening to the producer's chair.