What's Wrong With My Bass?

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Transcript

SPEAKER_04 0:07

Hello again and welcome to Making Vinyl at MasterDisc. I'm Scott Hull, Chief Engineer and owner of Master Disc in New York. And I'm here today with KJ of the Odyssey.

SPEAKER_00 0:17

Hello, hello.

SPEAKER_04 0:18

Amen. Welcome back. And uh we're gonna bring you another podcast about uh about uh making of vinyl and all the things related to music and engineering and um musicians and uh how we listen. We did uh an episode recently that uh you'll get to hear soon. Hopefully you've already heard it by the time you hear this, but we're talking about uh how we hear and what we hear, and it's all kind of cool. So anything's open for conversation.

SPEAKER_00 0:45

Yeah, I mean it's all it's all music, right? You know, it's it's funny the title of this podcast is you know making vinyl at master disc, but it sort of transcends the boundaries of that. Um, you know, probably because of your you know, your sort of wide base of knowledge. You know, I mean there's there's more to music and and you know, our listeners have questions.

SPEAKER_04 1:05

Well, that's cool, and um that's what we do.

SPEAKER_00 1:08

Exactly. And today's question comes from KJ of the Odyssey. Well, seriously, I mean, you know, so here we are stuck inside. Um, you know, I've been in uh you know, been in the apartment with my wife and my two cats for the better part of two months now, and um I've got some projects going so that we don't go completely nuts. Um and there's um there's two in particular that I wanted to get your take on because I I had an experience the other day. So I'm doing this uh doing this sort of talk show. Um it's called the quarantine show, uh, and it stars my good friend Otto Asando and uh my wife Cora, and we have guests on and you know just sort of shoot the shit and and you know, we we get dressed up and get a little loopy and and you know, and invite on an artist friend to, you know, to interview and and talk about you know what's going on in these days. So it's taken on this kind of I don't know, um this sort of variety show feel. Like we're it's like a send up, like you know, Monty Python doing a talk show. Um and uh and so I've been doing some composing for this thing. I put together there was a there was like a fashion show segment that that Otto wanted to edit in. So I wrote some house music, you know, and um, and then we did this sort of send-up of a game show. And so I wrote a game show theme, you know, horns and and walk a walk a guitars, like you know, this 70s, 80s game show thing. So anyway, um I send it to uh it is, it's it's it's hysterical. And you can find it on, you know, on I'm at the Royal KJ, um, of course, at the Odyssey, at Otto Asando, you know, all all all of our social media accounts um fine uh have this thing. And the first episode came out a couple weeks ago, and the next episode's coming out in a in a f you know in a few days. Anyway, so Otto's like, you know, oh we need I need this house track, or oh, I need this um this game show theme. And so I spent I sit here and spend hours, you know, composing this thing with you know uh uh intricate parts and you know horns, and you know, uh I'm I'm proud of the mix I did for my kick and all that kind of stuff. And then he's like, I he's all excited, and he sends an edit and I set up my iPad so that I can, you know, experience this thing like people are gonna experience. And my my wonderful hours-long composition comes out of my tiny little iPad speakers, and I'm I want to cry. It's just it's tiny, and you can't hear my awesome kick, and you can't hear the little the cool little bass thing I did, you know, that I spent hours recording because like I have nothing better to do. And so I wanted to get your opinion on you know, I'm some people will listen to this thing with headphones, and you know, God bless their little hearts for you know taking in my you know my my kick drum mix. Um, but a lot of people are just gonna are just gonna turn the sound on on Instagram or Facebook and and look at this thing, listen to it over their their cell phone. How what do I do here, you know, to sort of say the things that I want to say through those tiny little speakers?

SPEAKER_04 4:08

Well, it's a it's a classic engineering problem. Um you've you've got to know what your uh delivery format, what your final production master is going to be, what kind of shape it's gotta be in. Uh you you kind of have to figure that out, or you have to have some awareness of what that is before you even start. Um very cool analogy, I think, in in in light of uh this podcast is prior to the digital era uh of music, engineers and producers um knew what knew what the the positive attributes of analog tape and knew what vinyl sounded like, um, because they'd grown up listening to it and they, you know, just loved they just they were embraced the whole thing. So when when composing for that format, you you knew what worked and what sounded good and what didn't sound good, and it helped guide your production. Um the same thing kind of applies here. Um I'll have a couple questions that'll hopefully um you know get you to a solution. Um when you listen to other people's music where you haven't heard the full bandwidth, the whole enchilada. Like if you listen to something else that's uh off of YouTube and you hear their track um on your iPad, how does it hit you?

SPEAKER_00 5:19

Oh, that's a really good question. I I'm I like talking to you about this stuff because it makes me investigate these things in a way I haven't before. So the answer to your question is that it hits me totally normally. I never actually I never actually thought about it. I just sort of accept it as it is.

SPEAKER_04 5:34

A lot of people um that come to the engineering part of making music without formal education or without tutoring to being being mentored by someone, make the kind of common mistake or common misconception that everything that plays back music um you know plays back full frequency response and plays back flat. And uh nothing is more untrue. Um every single playback of every single device, even different versions of the same speaker with the same amplifier in a slightly different room, or with uh the same room with a different amplifier, and like everything changes everything.

SPEAKER_00 6:16

So which must make your job as a mastering engineer mind-numbingly difficult.

SPEAKER_04 6:22

Yeah, well, uh it it it is on the surface, and uh the only part of it that makes that's easy is once you realize um there is a realization that makes it um not easy, but makes it um you understand what you need to do. You have to solve the problem and figure out how to create a mix that translates onto your speakers. There's a couple ways to get started with that. Uh one is to take a full res version, but say say somebody used a piece of um modern hip-hop track or rock track or something or jazz track and put it on their YouTube video. Um you thought, oh, that's kind of cool. Let me go listen to it in HD or in full resolution. So you might start by listening to how did their mix translate. What's very interesting from my perspective, because I work with you know hundreds and thousands of musicians over the course of many years, they'll have really much this the same reaction. It's like just like yours, was like, oh my god, it's devastated. It doesn't sound anything like what I put all this work into it, and it said, but everyone else has got that same problem. But somehow, yeah, we all make music, and the ops the observers, the consumers of the music, are absolutely fine because they never heard the the version that you fell in love with.

SPEAKER_02 7:35

Right.

SPEAKER_04 7:36

Now, there are a few workarounds and there are some tricks, and one of the biggest ones is is how to deal with bass when it's coming out of small speakers or coming out of a compromised um playback situation like um an iPad or a or a desktop speakers or hooked up to your computer.

SPEAKER_00 7:53

Is this as a bass player gonna make me cringe?

SPEAKER_04 7:56

Well, there's certainly um frequencies that aren't going to be well represented on the small speaker. It's just obvious. There's the the the small speaker's not gonna play back the the fundamental frequency of your lowest string of your bass. If the important part of your production is down really deep, then yeah, it's gonna be missed and it's gonna be lost. So what you have to do is compose for the environment that you're that you're it's gonna be played back in. You've got to move that bass line, that dope bass line, up out of the basement and into the lower you know into the lower mid and upper base so that it'll so that'll translate.

SPEAKER_00 8:31

You're talking EQ-wise when I'm mixing, add in some what, low mids?

SPEAKER_04 8:36

Well, you know, you might actually want to start by cutting the super low base in your mix so that it forces you to find another solution.

SPEAKER_00 8:45

I see.

SPEAKER_04 8:46

Because if you're playing it back in full res, but you're composing for a limited frequency response environment like the iPad, you probably never get it right. So there's there's two ways to look at it. One is repetition. Uh as I said it, I realized there's three ways. One is repetition, where you do something and then you play it back and you analyze it, and you take note the next time you'll do something, try something else, analyze it, and make notes, and continue. The repetition leads you to a solution. And one of the uh the things about mastering that's that's interesting is I almost always have a client, a person who is expecting uh remarkable results, and if they don't get it, they complain. Um those complaints um don't just represent extra work for me. They're they're actually the guardrails along of this road of my career keeps me from from going too far into one direction or another. Um so you have to be your own client, is what I'm trying to say. So you have to, you know, insist that you find a solution. The sort of the third way is to actually monitor, if you can, through the device. And this goes back, uh this has been used over and over and over again on professional recording situations, taking your mix out of the pro studio and putting it in your car, or taking it out of the pro studio and playing it back on a boombox in the um in the lounge, or even moving it from the small speakers that are at the console to the big monster speakers that are mounted in the wall that cost tens of thousands of dollars that never really quite sound good, but they're impressive. But so I l I love the this the saying, you know, if you have more than one watch, you never know what time it is. And I I think that's kind of um the case with having more than one speaker.

SPEAKER_00 10:34

But in this particular instance, you have to um well are you talking about finding a happy medium between these mediums, you know, like uh something that sounds, you know, basically good on the ten thousand dollar speakers mounted in the wall and basically good coming out of the iPhone?

SPEAKER_04 10:50

Yeah, but yes and no. I mean, I think one of the prerequisites is really deep bass is not gonna translate particularly well. Um there's always a yin to this. Um yang, you know, beats headphones are are gonna increase the low end dramatically. So um maybe there's some rationale to that if you're if you're composing for a sort of portable phone iPad sort of medium. Um, but then if somebody plugs in headphones, they like automatically you know have a six dB base rise built into them. Right. Um that kind of that kind of works out. Maybe it's even intentional, maybe, maybe it's even um uh done on purpose.

SPEAKER_00 11:32

Yeah, that's interesting.

SPEAKER_04 11:33

So um back to the original question I asked you. I think I think you can find a solution by listening to what what your peers are doing, the people that you admire, and how they're making their music translate, stuff that you feel sounds like I'm listening on this iPad and it's got this kick-ass bass. Well, take that same file and play it back in your studio monitors and see what it sounds like.

SPEAKER_00 11:58

I see what you're saying. Yeah.

SPEAKER_04 12:00

So that's that's more of your target. That's that's how you need to craft your bottom end, you know how you have to craft your balances. Um, you asked me before about whether or not that you should um it's it's in the EQ. It may also be in the tone. You know, you you can't always generate tone with just an equalizer. You sometimes have to generate it with an overdrive or with a distortion or or with some type of an effect. Some effects translate really well into this sort of monolithic environment where it's not quite stereo but it's not quite mono. Um and other effects are just completely whitewashed, you don't hear them at all. So it's I think I think it's understanding what uh what will work. You know, if you were doing uh art in uh a medium, a particular medium, it would have its uh limitations. There's certain things you could do in clay that you just can't do in paper and that you just can't do in metal. Um but if you're gonna um if you're going to create in one of those environments, you you have to modify your source and you have to modify your expectations to coincide. There's quite a bit of parallel to television um theme music. In the example that you were asked me about, this is you know sort of theme show music. Um until home theater with subwoofers, um, you know, TV sound was very mid-rangey. It just mimicked the um the human voice. Uh that was that was that was the part of the transmission that broadcasters knew they could use and could get across. And if you think of about a Barney Miller theme with a with a low bass, well, that's not a down in the sub basement kind of bass. That's a kind of growly up on the neck kind of bass sound. And um uh taxi, um uh Fender Roads. That's not a a dark and heavy sort of sound. That's a sound that's you know moved up into um uh into the you know the mid or lower mid-range for sure.

SPEAKER_00 13:51

I'm dating myself seriously with my TV show themes there, but um I know I was gonna comment like I saw these things when I was a kid, but yeah, sorry folks.

SPEAKER_04 14:01

Uh I am just a function of who I am. At least I didn't quote the Flintstones this time.

SPEAKER_00 14:07

Oh well, we would have been on the same page then. I love the Flintstones, although I was kind of more partial to the Jetsons.

SPEAKER_04 14:13

Oh, yeah. There are so many parallels. Did I say this before? Just how how how absolutely hilarious it is that the Flintstones were just the honeymooners. I never really thought it was the same, it was all the same plots and all the same hijinks, the the overweight guy with the big mouth and the skinny wife, and uh guy the neighbor who talks kind of funny, and and uh it's it's it's the same freaking show, just just done as a cartoon. Fascinating.

SPEAKER_00 14:42

Well, you know, as they say, good artists borrow, great artists steal. So good for them.

SPEAKER_04 14:48

Uh just I have to mention the Funstones at least once in a while.

SPEAKER_00 14:51

Exactly. So um so the the basically if I'm if I'm hearing what you're saying, you know, the this you at least one facet of of the solution that you're offering is to sort of um have your have the end result in mind and write for it. Yes, that's an important one. Yeah, okay. All right. So then let me throw a the a curveball that um you know perhaps there's a a full spectrum piece of music that I want to, you know, use in one of these projects and it's already recorded. I'm not I'm not composing for it. I just want to include it and I know it's gonna come out of small speakers. What would you do to deal with it then?

SPEAKER_04 15:32

Well, the interesting point there is that uh well typically I I think we can almost always we can almost all agree that a well-mastered, a well-balanced and well-mastered track sounds pretty good on these other environments. Um sounds pretty good on crappy little earbuds or on really good earbuds, it sounds better. On good headphones, it sounds great, and on cheap headphones, it sounds passable. But we're we're talking about um bringing making sure the audio sort of meets good technical standards and is well balanced. Um and that's that's really easy to say and it's very, very hard to prove. Um, but as a mastery engineer, I can tell when something's been mastered by somebody who knows what they're doing because it sounds a particular way. And oftentimes clients will say to me, Um, I love the results, it sounds like a record. And I've always thought that was kind of interesting that they made the comparison. But what they mean is that it's it's it sounds finished, it sounds refined and balanced, but not hyped, you know, not taken, not turned into something new. Um I I apologize if I've said this before, but one of the highest well, one of my goals as a master engineer is to make it appear as if I was never there.

SPEAKER_02 16:48

Right. Mm-hmm.

SPEAKER_04 16:49

It's that's it's a little hard uh to um make yourself famous uh for not being there, but that's your job. Your job is to be invisible and to to just portray the music in its best possible light and um not distract from the the important elements. So okay, so how I would approach your problem Well, I'd I'd probably really start by listening to it back on on the device um that we're with in question, because it's it's only gonna get worse um by the time it goes through editing and by the time it gets uh encoded into the video and gets uh down converted um and can get you know the data compressed, um, it's only gonna get worse from that point. So if you've got a problem with the original mix playing back on your on your device, then you're uh it's like I said, it's only gonna get worse. So uh for your for production flow, I would think you or would want to check your mixes on a small device before you send it out. Well, and even while you're composing. Um, and you'll it'll probably put the five string away and realize that you're only gonna be able to play with the uh with the notes that work uh in that environment.

SPEAKER_00 18:12

Absolutely. But I noticed that um on the on the on the one of the things that I was doing, I you know, I just sort of fell into this sort of um rear pickup Jocco Pastorius kind of, you know, um, you know, roll off, roll off the high end, but play back by the bridge. So it's very sort of forceful, and then this it's got this inherent mid-rangey punch. And that comes flying out of those little speakers. Whereas this this house track that I did with the blah blah blah blah thing that was so cool and rhythmic at the bottom, that's one of the things I'm like, oh god, I spent so long on this, and like it's nowhere, it disappeared. So I guess from a practical standpoint, I take your I, you know, I'm uh if I'm to take your advice, it's at the point where I'm composing to think, well, this awesome ass like house, you know, sub-bass part that I'm it's it's it's not even gonna fall on deaf ears. It's just gonna be, it's just gonna be silent. So leave it out.

SPEAKER_04 19:10

Yeah. Well, for that particular thing, you the way you sang it back was it was not, you know, this this low frequency thing. You you kind of mimicked it by going, wah, wah, wah, wah, which is all mid-range energy. Oh, that's that would be a good point. That would translate just fine. So um what I find is, I mean, okay, so as engineers, we don't really talk about musical octaves, but in fact, it's all one and the same. Frequency is just the same, you know, an A440 is 440 hertz. Well, if you put an EQ in on four four four hundred and forty hertz and and cut, well, you'll be reducing the fundamental of of A and and and similar harmonics of A.

SPEAKER_02 19:51

Right.

SPEAKER_04 19:52

So um the bottom octave, which we basically think of as the lowest octave on the piano, is going to be reduced on on these playback devices, regardless. So you you don't have to ditch the idea altogether. You just got to move it up an octave.

SPEAKER_02 20:10

Right.

SPEAKER_04 20:11

Or you got to move some of the energy up to into that range so that you have both going on. So you can have that bass, you can have your your bass and eat it too.

SPEAKER_00 20:23

Thank you for that.

SPEAKER_04 20:25

You can have the bass going womp, womp, womp, womp down really low, but you have to have that that filter extend up high enough so it also speaks on the on the smaller speakers.

SPEAKER_00 20:35

Yeah, I see what you're saying. It's not what you say, it's how you say it.

SPEAKER_04 20:38

You know, I yeah, yeah, no, and and and uh uh uh this this comes up in mastering all the time. Uh radio and uh uh small speaker playback and stuff is is is uh important for certain genres, um, you know, more so than others. But it's sort of a natural feeling for me when I feel the bass is hanging out too low. My speakers represent well will play it back just fine. It sounds awesome in my room, but I know it's not going to translate um on the radio. It's not gonna it might translate in a car because the low low-end response in a car is can be pretty awesome. Right. Um, but it's not gonna translate um onto cheap headphones or on on a uh computer speakers. I sort of instinctively roll off this super low bass and I add some energy back in, and it's typically around uh around 80 to 120 Hertz is the sort of magic range that's sort of the top of the bottom octave.

SPEAKER_00 21:32

I see what you're saying.

SPEAKER_04 21:34

So it's the bottom of the second octave of mu of music with with respect to the piano. And that's where it starts to speak. Like recall many experiences where clients have called back and it's like, man, what we heard in your room was great, but when we got it home, like the bass wasn't there, and that's exactly what it was, is that bass was subsonic or too low to go on the small speakers.

SPEAKER_00 21:58

Yep, yep, that makes perfect sense. Although I'm surprised I'm I'm interested to hear that it's 80 to 100 is is the energy that you that you want to emphasize. It still sound seems so low to me, but um I'm I'm glad you said that. I'm gonna try it out.

SPEAKER_04 22:11

Yeah, you try it out, and um it depends on the instrument. I mean, if if you're only creating fundamental, you know, like a pure bass tone, you know, not the way you described the Jocko sound, but um but a more round tone that's more of just fun low fundamental, that might still be a little too low. But if you've got some second harmonic of a fundamental at 100 is 200, and that's going to come through the speakers pretty well.

SPEAKER_00 22:36

Yeah. Well, I mean, I think regardless of the frequency range, I think you're I think what you're saying is there's there's a uh a theory about you know, this is this is a practice, take out the take out the super low and replace it with energy from the not as super low in order to you know creep out through those, you know, less less awesome speakers.

SPEAKER_04 22:56

Yeah, and but here's the catch.

SPEAKER_00 22:57

Which makes sense to me.

SPEAKER_04 22:58

Yeah, it does. But here's the catch. You you've got to have speakers that will play you back that super low so that you know you've got this issue going on in the first place. Your production environment has to be capable, but then you have to have like an alternate way of listening. Some people, I don't really recommend it, but some people make it work, but some people will um uh turn off their subwoofer if they've got a subwoofer system. And uh and then if the bass completely disappears on them, then they know that it's there's too much low end low energy. They need to have more low mid low energy.

SPEAKER_00 23:30

Mm-hmm. Fair enough. Fair enough. So I wanted to ask a question, and it's sort of uh it's it's odd territory um to discuss with a mastering engineer. Um I'll I'll start out by saying that for listeners who don't know, you know, Scott and I have known each other for you know half a lifetime, and every piece of music I've ever put out with any of my projects, Scott has you know mastered, and sometimes he's mixed it, and sometimes he's um he you know he does these mix evaluations, so give, you know, give me advice, or you know, me and my me and my band and my engineer. And then obviously it goes to MasterDisc and Scott always has his hands on it for mastering. So with that caveat, with that disclaimer, um you you know, you talked about you know mastering, and and I thought, oh that this is a solution, I I guess. Um but of course I'm not gonna send you my silly little game show theme. It's not worth your time, you know. So is there something that I should be doing at home, you know, for the you know, to to give it a touch of that without well it's it's it's not mastering as what we've come what the community, audio community has come to like talk about as mastering.

SPEAKER_04 24:41

Uh let's just completely say that what we're talking about here as far as mastering is not about making it loud and it's not about making it bright, it's not about making it competitive, it's about balance. And so that's a different target, um, and it's a different skill set. To do that, um, you have to become uh a master of your own speakers. You have to understand what your home what your listening system really is and how it translates. Uh the only way a mastering engineer does that is by doing it every day. Uh here I go with a you know uh another shitty analogy, but somebody that cuts hair all day doesn't feel comfortable just picking up anybody's shears and and doing the work. It's a particular feel. They they may even have 12 different sets of cutters for different purposes.

SPEAKER_02 25:30

Right.

SPEAKER_04 25:30

But they know what each one of those things is gonna do. Like your hair type's a little thick or wiry. I'm not even gonna try to cut it with this. I know I'm gonna need the garden hedge clippers.

SPEAKER_02 25:41

Right.

SPEAKER_04 25:41

It's the same thing. You have to know, you have to work it every day and keep working the problems every day. If you've got a good intent, uh you don't necessarily need a um a how-to. You just have to keep trying. You just have to keep doing it, and it and it literally you'll get better at it. Um it's it's always the hardest hardest part point having this conversation with a young engineer when you kind of reveal uh of course my mind just snap back to the wax on, wax off um scene in Karate Kid. Um and it's it's exactly that. You know, it can't possibly be this stupid this simple. You you're just making me paint the fence here, and you know, you know, you're not teaching me anything. And it's it it's not realized, it's not understood until you actually get there that the tools that you needed were exactly what he was showing you. Um you just in this case just have to be a good you just have to be a critical client for yourself. So every time you play back something on this in this compromised format and you you you don't like the way it sounds, um you have to take that information back and try to come up with a solution. Um the you know a mastering engineer will probably get to a quicker solution because of the experience and because of the tools, but mostly um it's yeah, uh there's there's another factor here which um makes it uh uh a reason why people still use uh mastering for for these purposes. It's the objectivity uh helps quite a bit in getting you to a quick solution. Uh uh you even just said it yourself. You had so much time and emotion invested into this thing. Um if it came into my room and that bass was too low and it wasn't gonna speak, I would just rip it off. And I it I it wouldn't mean anything to me personally, it was just the right thing to do. Right. Yep, that's true. You have learned boatloads from this already. Um what you what you've got to figure out is you know how to compose to make a compelling track that's got the impression of subsonics, but doesn't necessarily rely on the subsonics to get it across.

unknown 27:48

Yep.

SPEAKER_00 27:49

Yep, absolutely. But you also raised a really interesting point here, which was there's uh there's like a in a psychological game to this, an inner game of of mixing, because you know, you know, kill your babies, you know, that that editing process where this thing is near and dear to your heart. But if it's not going to serve the greater whole, then it's a pointless attachment that you have to it. You have to bring a sort of objectivity to it and and maybe play the part of the objective mixer or mastering engineer and say, you know, this you know, it's a great bass part, fine, but it's just not right for this.

SPEAKER_04 28:24

Yeah. No, well that's I I don't think there's a um a movie producer or a director out there that that it doesn't, you know, ha won't say something like that, you know, on a master class. It's uh you you you don't really know why um at the time, but this just doesn't feel right. It's it's gotta go. It's in the way. It's blocking me from getting to where I want to be, even though I'm in love with it. Uh I wish I could remember who who who said this, but um they um were talking about songwriting. It might have been Hans Zimmer because I was watching his mastering class, but it was a while ago. But um but it was either him or some um someone else like that, a score a score producer, that it was was really making the same point. Um that you know you may have created the most amazing thing, but if it doesn't support the scene, it's not amazing. It's there's nothing amazing about it. So what he said for his own sanity is he catalogs them and puts them aside and comes back to them later and tries and and to see if there's something about that that still is exciting, and then maybe where it would fit or what it was, you know, might use it later for something. So it's uh you you kind of uh uh do justice to the inspiration, but politely explain to the to the creation that it's not your time yet.

SPEAKER_00 29:37

Right, right, exactly. Right, right. Yeah. Yeah, the recondo thing.

SPEAKER_03 29:42

It doesn't spark joy, so it has to exactly what was where I was going with that.

SPEAKER_00 29:48

Fair enough. All right, good. Well, I mean, you know, you definitely you definitely answered my question. Um and uh, you know, I'm gonna, you know, I have some I have some work, you know, to do on this project later today for the next episode that's coming out, so uh I'll come at it with with a new with a new mindset. I'm kind of excited.

SPEAKER_04 30:04

Yeah. You don't have to throw away it's like you know, throwing out the bass with the bathwater. You you really can and and I encourage you to browse through other people's creations and find ones that do sound really great, and then take them over to your workstation speakers, your studio monitors, and listen so and try to do an analysis on it and figure out what you're not gonna get an answer by doing that twice or three times, but you'll you'll start to see some patterns.

SPEAKER_00 30:31

Oh, I have a Scott Hull-esque pun. One would backwards engineer it. Yes. Thank you. Yes. If there were a live studio audience, I would demand that they applaud right there. Yes, thank you very much. Thank you. And on that note, I'll thank you for answering my question selfishly and um invite um everybody else to you know send in their questions as usual. We have a stack of them to get to, but you know, please do send yours in because um, you know, it's not necessarily first come, first serve. We take what's relevant um, you know, for the time, um, or we just throw them out and I push in with my own damn questions.

SPEAKER_04 31:08

Yeah, well, whatever, whatever we want to talk about. But that's that's the part about this. We never know what we're what we're gonna be talking about.

SPEAKER_00 31:15

Exactly. But if you do have um thoughts, comments, criticisms, or bunt cake recipes, um hit up uh Scott and um the MasterDisc team um on Instagram, Twitter, Facebook, or go to masterdisc.com and um and also by the way, uh you know, leave a review um, you know, wherever you get this podcast from. Um comments are always welcome. And uh, you know, it helps people find uh it helps people find the podcast who are who are looking for this kind of thing.

SPEAKER_04 31:45

Yeah, that does help quite a lot. Um I will send a shout out to um my uh 175 friends in in Denmark. Um we I've got a notification this week that our podcast uh made the top 200 in Denmark. So um yeah, that and um thanks for the Danes. But I know a lot of you are listening, and uh we've we've heard from a lot of you that you like the content, so we'll keep doing it because um we like to hear ourselves talk.

SPEAKER_00 32:09

Yep, and in celebration, I'm gonna go eat a Danish right now.

SPEAKER_04 32:13

That sounds good. All right, folks, signing off. This has been making master disc at vinyl. I knew I was gonna do that again. This is making vinyl at master disc, and uh, I'm Scott Hall with AJ of Yadys. Goodbye, goodbye. See you next time. Bye.