320. Front Of House Engineer Sage Tichenor

In Episode 320, Sean and Andy talk with Sage Tichenor, best known as front of house engineer for violinist and songwriter Lindsey Stirling, for a wide-ranging chat about all things live audio. Sage talks about migrating and selecting a console platform for her shows, what it’s like mixing a NAMM showcase for a manufacturer, working with a wide range of artists from bluegrass to pop-classical/EDM crossover, and more. Plus plugins, snare sounds that don’t suck, and more…nothing’s off the table!

Sage is a freelance touring FOH engineer and classically trained flautist. In December 2018, she graduated from Middle Tennessee State University with a B.M in Music Industry and a B.S. in Audio Production. While in school, she began working at a major local rehearsal studio, which she continued to pursue following graduation. She started touring as a FOH engineer in the fall of 2021 with country artist Riley Green.

Episode Links:
Lindsey Sterling On YouTube
“Cadillacin'” by The Cadillac Three
Profile: Sage Tichenor
Sage’s SoundGirls Blog
Episode 320 Transcript

Connect with the community on the Signal To Noise Facebook Group and Discord Server. Both are spaces for listeners to create to generate conversations around the people and topics covered in the podcast — we want your questions and comments!

Also please check out and support The Roadie Clinic, Their mission is simple. “We exist to empower & heal roadies and their families by providing resources & services tailored to the struggles of the touring lifestyle.”

The Signal To Noise Podcast on ProSoundWeb is co-hosted by pro audio veterans Andy Leviss and Sean Walker.

Want to be a part of the show? If you have a quick tip to share, or a question for the hosts, past or future guests, or listeners at home, we’d love to include it in a future episode. You can send it to us one of two ways:

1) If you want to send it in as text and have us read it, or record your own short audio file, send it to signal2noise@prosoundweb.com with the subject “Tips” or “Questions”

2) If you want a quick easy way to do a short (90s or less) audio recording, go to https://www.speakpipe.com/S2N and leave us a voicemail there.

Transcript

Signal To Noise, Episode 320: Front Of House Engineer Sage Tichenor

Note: This is an automatically generated transcript, so there might be mistakes--if you have any notes or feedback on it, please send them to us at signal2noise@prosoundweb.com so we can improve the transcripts for those who use them!

Voiceover: You’re listening to Signal to Noise, part of the ProSoundWeb podcast network, proudly brought to you this week by the following sponsors:

Allen & Heath, whose new dLive RackUltra FX upgrade levels up your console with 8 next-generation FX racks – putting powerful tools like vocal tuning, harmonizing, and amp simulation right at your fingertips. Learn more at allen-heath.com 

RCF and TT+ AUDIO.... Delivering premium audio solutions designed for tour sound and music professionals for over 75 years.  Visit RCF at RCF-USA.com for the latest news and product information.

Music: “Break Free” by Mike Green

[00:00:58] Andy Leviss: Hey, welcome to another episode of Signo Denas. I'm your host, Andy Leviss. With me. Zoe The Salt to my Pepa, Mr. Sean Walker. What's up, dude?

[00:01:07] Sean Walker: What's up, dude?

[00:01:08] Andy Leviss: He's like, that was not your worst.

[00:01:09] Sean Walker: No, no, no, that's fine. I was just trying to think about a Salt N Pepa joke and I was like, what a man or Shoop or what? Where am I going with

[00:01:15] Andy Leviss: That's in Vogue.

[00:01:17] Sean Walker: Oh, that's right.

[00:01:18] Andy Leviss: Or wait, no. Or was

[00:01:18] Sean Walker: was Salt N Pepa though.

[00:01:20] Andy Leviss: Yeah. Oh, no. Or was what a man, the one was the one that they did toge. They did one together

[00:01:23] Sean Walker: I don't remember.

[00:01:24] Andy Leviss: yeah. I don't know.

[00:01:25] Sean Walker: I don't remember, but

[00:01:27] Andy Leviss: this is, we're like,

[00:01:28] Sean Walker: are the jam, dude.

[00:01:29] Andy Leviss: Yeah. We're like 30 seconds in and we're off the rails already.

[00:01:32] Sean Walker: Brett. It starts, it starts off the rose. Does it ever get on the

[00:01:34] Andy Leviss: I mean, you know, um, I actually somewhere, I, I actually have the isolated like stems and tracks from, uh, Envogue.

Uh, never gonna get it. They are fucking amazing. Like those, those

[00:01:48] Sean Walker: those girls could sing. Dude.

[00:01:49] Andy Leviss: that, and like the, the effects production on it is just like the BBBB. It's, there's some, there's some really cool ping pong delay in there, which funnily enough is one of a thing I was recently talking about with this week's guest who we should probably just jump in and introduce.

[00:02:04] Sean Walker: of the things before we get to the guest who's super cool, and then you guys can talk some nerd shit about ping pong delays in the Yamaha platform. All those records we were just talking about, Salt N Pepa and the stuff, remember those were all made in analog, dude, that was all made in the fucking nineties on an SSL or something with an analog tape, right?

Or maybe some pro tools, but they didn't have the tools we have now to do all that shit. Like that was extra impressive that it's that cool, right? Like, holy crap.

[00:02:28] Andy Leviss: yeah.

[00:02:28] Sean Walker: All right, well this week's guest, speaking of ping pong delay, you guys got all excited at NAMM? We got to, we got to hang out with her for a few days at NAMM this year, which was sick as always. But one of the things was ping pong delay on the Ravage platform. Right, because you're using that on your current tour.

Sage, what's up dude? How are you?

[00:02:44] Sage Tichenor: What's up? How's it going?

[00:02:46] Sean Walker: We're partying, dude. Just champagne bottles on, bows of boats

[00:02:49] Sage Tichenor: I actually am not using the ping pong delays yet. I am excited to, I haven't been able to get on the platform with a new update yet, so I don't know. I'm curious.

[00:03:00] Sean Walker: I see.

[00:03:01] Sage Tichenor: I am slacking

[00:03:02] Andy Leviss: there's some fun stuff. Well.

[00:03:04] Sage Tichenor: I'm like, not really unemployed, but you know, like just

[00:03:09] Sean Walker: Between tour seasons, right?

[00:03:10] Sage Tichenor: tours.

Yeah, yeah,

[00:03:11] Sean Walker: totally.

[00:03:12] Andy Leviss: Uh, yeah, no, and what we were saying, and it's so funny 'cause like introducing like a new version of a platform at a show like that, it's always real interesting to see who gets excited about which feature and stuff like that. And like, there's some folks that you're like, and we have a ping pong delight.

And folks are like, okay, cool. And like, and like you were, you were like, I've been trying to fucking make one of those like the hard way forever. Thank God

[00:03:36] Sage Tichenor: Uh, yeah. No, I have, um, I, I love like kind of just wacky effects like that and then like, um. There's one song specifically on like the Christmas tour I do, where I kind of want that, that effect, and I haven't been able to recreate it and I always could on like the other platforms, and I haven't been able to get like that vision of that thing, um, with the older, the older version.

So

[00:04:05] Andy Leviss: well hopeful. Hopefully it's easier now.

[00:04:07] Sage Tichenor: excited for that.

[00:04:08] Andy Leviss: Sage, for the, for the folks who who don't already know you, I don't wanna butcher your last name. Can you pronounce your last name for us?

[00:04:15] Sage Tichenor: er,

[00:04:16] Andy Leviss: All right. I was, I was pretty, I would've been pretty close. So I've, I've certainly butchered other names worse.

[00:04:22] Sage Tichenor: I, it wouldn't be the first time really. There's people who don't even know what my last name, even like, they haven't seen it before, ever. So.

[00:04:31] Andy Leviss: Well, so, so we should start. I was, I was saying to you guys before the show, like, I realize we've sort of, in a lot of episodes skipped past the, like, what's your or origin story kind of thing. So why don't we start there? Like, what's, what's your origin stories, Sage?

[00:04:44] Sage Tichenor: Yeah. Um, how far back should we go? Like how did

[00:04:48] Andy Leviss: once upon a time a man and a woman love them

[00:04:50] Sean Walker: Like,

[00:04:51] Andy Leviss: each other very much.

[00:04:52] Sean Walker: relevant. Dude, we don't have to go all the way back. You know? We're not going all the way back in the day. This ain't back to the future.

[00:04:58] Sage Tichenor: is kind of a funny story. Um, so maybe I'll go back a little bit. I'm a loudest. Um, I, I've been, I've been a musician like my whole life, like most people. Um, I played violin and then, which is, um, a little like funny considering my current artist. But, um, I played the flute, which isn't like a really direct path to like, doing this as a career.

Like most people, they're like, I'm a bass player, I'm a drummer. Um, basically it kind of just unfolded because I would be around my dad who was a musician in his musical environments. Um, and they were never like playing on maybe a massive level, but doing like. Live events, and they carried around their own system, their own pa, their own like mixing platform of whatever that was, was in like the 2000, like early two thousands, 2010s.

Um, so I was kind of exposed to it from a young age in that sense. And then it wasn't until like a jazz class in high school, um, they just like, some days would be like, we're gonna play. And then some days they'd be like, y'all can just hang out and do whatever. Like, we're not gonna make you do like, do anything.

Which was always kind of weird. But, um, me and my friends were starting to get

[00:06:14] Andy Leviss: jazz class, doesn't that just mean the teacher was stoned?

[00:06:19] Sage Tichenor: I mean,

[00:06:21] Andy Leviss: Sean's just nodding. He.

[00:06:23] Sage Tichenor: it's jazz. No. Um, but uh, we started getting into production. Like me and my friends, we were talking about like, um, albums and producers and now everything was made and it kind of like. Somehow that just started fueling, like, uh, well that's something I could pursue. Like I don't have to go be a music teacher.

I don't have to play in an orchestra. Like there's a different path here. And so, um, basically I ended up like just talking to people, emailing schools. Like someone got me on the path of school. Um, and I moved to Nashville and I went to MTSU for like, uh, three and a half years, maybe four. Um, and then while I was there I was like pursuing, like had I take this further, like where else can I go?

And I quickly like drifted into like just the live event stuff. Like I was like, this makes sense to me. This is what I'm used to in some context. Um, and really like, I guess me as a mixer, I. Um, kind of like a lot of people I started mixing at a church. Um, this program I was in in college, um, would put on like programs, like, um, concerts for like the students, people in the, like it was people, it was people in the organization or it was like, um, other kids at the school and they would put together, like it was all student ran.

So it's like you had the musicians, you had like a stage manager, a back line person, everybody chipped in and we just like found somebody to host the event. So, um, I was wanting to mix. I knew I wanted to mix and wasn't finding an avenue to do that, and managed to get to do that. So I started mixing front house for that, which turned into like mixing for churches.

And then, um, I was like mixing out bluegrass festivals and like working my way into that kind of stuff. And then, um, eventually landed a job at soundcheck, which put me on like a trajectory more towards like actual professional touring.

[00:08:31] Sean Walker: Totally dude. Soundcheck is awesome. One of the tours I was on, I remember we had like a couple overnights in Nashville and we parked the, the bus at soundcheck and watching like totally off the topic from actually mixing, but like watching those bus drivers with trailers back into soundcheck. Is unbelievable.

They're coming back at like, what seems like 40 miles an hour in reverse with dead straight trailer. Just fucking see it,

[00:08:53] Sage Tichenor: They're just like hauling through this gate

[00:08:56] Sean Walker: Totally.

[00:08:57] Sage Tichenor: they've got their trailer and everything

[00:08:59] Sean Walker: Totally. And here we are, like one mile an hour. Try not to Jack d the trailer dude. They're just like

[00:09:04] Andy Leviss: I'm getting excited. Parallel parking in front of my house. Yeah.

[00:09:08] Sage Tichenor: no, I had a

[00:09:09] Andy Leviss: when I, when I came out to see you, Sean, like we watched that one bus driver like nail that like tight parking lot. That was like just a bunch of jaded, cranky, tired sound folk just looking in.

[00:09:21] Sean Walker: just in awe. Jaw slack jaw the whole time. It

[00:09:23] Andy Leviss: just like round of applause to the

[00:09:24] Sean Walker: yeah, a hundred percent. Those guys are gangster.

[00:09:26] Andy Leviss: like K, turning through a packed parking lot with like a toy.

Yeah.

[00:09:30] Sean Walker: Totally. So what was it like that was the outside, what was it like working inside?

[00:09:36] Sage Tichenor: kind of the same probably.

[00:09:38] Sean Walker: Right. Just a bunch of pros. Rock.

[00:09:41] Sage Tichenor: Yeah. Yeah, it was, it was pretty cool. Um, it was a great, like, definitely a great entry level gig, starter gig, however you wanna phrase it. Um, it deserves a little bit more credit than that. Um, I got to work there while I was in college and then graduated, got a full-time gig and I loved it. I mean, it got me through COVID and then I went on the road after COVID and.

Honestly, like the networking from there, the people skills, like it was a good blend of like, you're thrown in, like you have the gear and you have so many opportunities with that, but then also you're having to like actually interact with people, which when I've gone back to work in the shop, I've missed that connection with people.

Um, so it, it ended up being a good fit for me personally, but it was just cool. Yeah, it was like, and, and you, you guys have been there. Um, Andy, I don't know if you have

[00:10:35] Andy Leviss: I, I have not, but I know of.

[00:10:37] Sage Tichenor: It, it's just like, yeah, it's like rock and roll and like you would walk down the, it closed now 'cause they moved the part of Rock Nashville.

But um, you go in and you're walking down the halls and like everybody's tours are, like, their posters are on the wall and like every single hallway is covered in it. So it's like, it's just like mesmerizing. It's really cool to like be in that environment.

[00:10:59] Sean Walker: Totally dude. And you got like manufacturers hanging out, so you got like Gibson and Fender and a bunch, you know, other things just hanging out so you can like go check out the cool guitars or the whatever and they had rehearsal rooms and pre-pro it was fricking cool. Right?

[00:11:15] Sage Tichenor: it really was. Yeah.

[00:11:15] Sean Walker: Yeah. And I'm sure that, that the, uh, Claire people just turned that shit up to 11 and is probably baller as fuck right now.

I bet. I bet that New Rock Nashville Place is killer. I haven't been, but yeah. Yeah,

[00:11:29] Sage Tichenor: it's the same thing. Um, like you still get all that, like that grandiose thing with the posters and they've transformed like the, uh, the manufacturer like representation space. And it's like there's twice as many people and like, it's like just bigger and like, I don't know. It's like, it's just

[00:11:50] Sean Walker: in the same location? Did they demo, uh, soundcheck and start over, or is it a totally separate location that

[00:11:56] Sage Tichenor: It's a totally separate, yeah. But it's pretty

[00:11:59] Sean Walker: check it out next time I'm there.

[00:12:00] Sage Tichenor: Yeah. You have to,

[00:12:01] Sean Walker: Yeah, it seems like it's super cool. All right, so now what are you doing see, started at soundcheck and then COVID and now what are you up to?

I mean, we know what you're up to, but tell everybody else what you're up to.

[00:12:11] Sage Tichenor: Yeah. Um, most recently I've been mixing for a violinist, um, named Lindsay Sterling. Um, as you guys know, she's like a hybrid. It's like hybrid classical. So she does like, um, EDM, rock pop kind of flavor mixed in with, um, it's like a Cirque de sole show almost. Um, very, just very like visually I guess, capturing, like there's a

[00:12:38] Sean Walker: It's super

[00:12:39] Sage Tichenor: of lights, a lot of, um,

[00:12:44] Andy Leviss: It's a

[00:12:44] Sage Tichenor: know how to Yeah. It's a show. It's like actually genuinely a show.

[00:12:47] Sean Walker: on rock show and, and then also she's playing violin and dancing and singing and

[00:12:53] Sage Tichenor: yeah, exactly. So yeah.

[00:12:56] Andy Leviss: Like I still, I, I need to, I, at, at some point when y'all are out, I gotta come see the show, but I've seen like lots because you, if you hit certain pockets of social media online and you cannot miss videos of like Lindsay shows and stuff, she's like, that's like, she, she and her team have like nailed like social media marketing and that it's, it's kind of, kind of wild and, and impressive.

[00:13:18] Sage Tichenor: Yeah,

[00:13:19] Sean Walker: And are you guys doing all sizes of venues as you're going? 'cause I remember you were doing like arenas and then are you doing theaters and stuff too? Or what? What kind of venues are you guys typically running around at?

[00:13:29] Sage Tichenor: It's a lot. Um, it is exactly that. It's a good variation. Um, like 2024 is a good example. Like we went on an album cycle tour, it was called Duality. Um, it was like theaters, sheds, um, arenas. And then the scope of those, like changes depending on like the region we're in and where we're at. Um, but we did like Red Rocks, we did Royal Albert Hall, we did Radio City, and then we were doing like, um, is it Hayden Homes Amphitheater is the one in Bend.

[00:14:01] Sean Walker: Yeah, dude, that one's cool too. Those are all great venues.

[00:14:04] Sage Tichenor: They're all great. Yeah. And then like, yeah, like, um, that kind of tier of like sheds probably. And then it, it was cool. It was like a lot of variation and um, we did some, like, I think they were kind of like wine sheds, like in California where it's like they're a lot smaller, but like, they're still awesome.

They're beautiful and they all sound really good. Um, but it was cool. Like I remembered my, my systems engineer, um, his name's Nick Turner, he's awesome. He called me like, I didn't know him before the tour. He called and he was like, he was like, we're doing like every possible venue. I feel like, like in the span of like three months, it was like, yeah, yeah, we sure are.

[00:14:47] Sean Walker: Totally that that

[00:14:48] Sage Tichenor: are. Yeah. But it's cool. It keeps you on your toes.

[00:14:53] Sean Walker: Were you carrying PA or just control for that?

[00:14:56] Sage Tichenor: We were caring. Pa Yeah. K one K two Ks 20 eights.

[00:15:01] Sean Walker: Yeah,

[00:15:01] Sage Tichenor: yeah, it was awesome.

[00:15:03] Sean Walker: you had a great pa.

[00:15:04] Sage Tichenor: It was fantastic. So happy with it. Yeah. And he's can't sing like his praises enough. Like he really like dialed that in and was like down for like figuring out the, the musicality and like the intention of everything.

And he was like, yeah, I got it. We had it, we had it figured out by like the third show in and it was like cool.

[00:15:25] Sean Walker: Perfect dude, that's so awesome.

[00:15:27] Sage Tichenor: it's awesome,

[00:15:28] Sean Walker: How cool to like just happen into a rad team member. Like that dude that's now like a homie, not just like, oh yeah, the dude stuck with me at fricking systems, but like

[00:15:37] Sage Tichenor: honestly. Yeah,

[00:15:38] Sean Walker: freaking homie. That's like, dude, we're gonna rock this together. How rad.

[00:15:41] Sage Tichenor: he really is. Yeah. Um, we talk all the time. Like I bring, he's my number one call. I bring him out whenever I get the option to like have that, um. Yeah, he's, he's been there in so many ways. For me, he is like, he brings me snacks during the show too sometimes, which is like,

[00:15:58] Sean Walker: he's hired. He could stay.

[00:15:59] Sage Tichenor: yeah, like, yes.

[00:16:01] Sean Walker: Sold. Oh great. That you're cool. System Junior all. But you brought the snack, so you're hired

[00:16:05] Sage Tichenor: That's the

[00:16:06] Sean Walker: Full stop.

[00:16:07] Sage Tichenor: first priority.

[00:16:08] Sean Walker: Totally.

[00:16:09] Andy Leviss: Dude, you can't, you can't do without the emotional support snacks during a show.

[00:16:12] Sage Tichenor: no, you can't.

[00:16:13] Sean Walker: it, dude. Totally.

[00:16:14] Sage Tichenor: loves it. RLD loves it. The photographer comes back there and he's like, oh, you got this today. All right.

[00:16:20] Sean Walker: Right. It's funny. Where's, where's snack attack hat, dude. Oh, there he is. Great. Perfect. He's all, you know, I do have a name and I do happen to be a ripping technician too. They're like, yeah, cool. Snack, attack. Anyway, so what's up with snacks today?

[00:16:34] Andy Leviss: And now he's got a new nickname.

[00:16:36] Sean Walker: Yeah, right. That's cool.

[00:16:38] Sage Tichenor: his nickname now.

[00:16:39] Sean Walker: A hundred percent. Dude, you could, you could punch me later, bud. Sorry, dog.

[00:16:45] Andy Leviss: So in like,

[00:16:46] Sean Walker: you'll have plenty of work.

[00:16:49] Andy Leviss: so in, in how long, because you, you've been mixing Lindsay for a bunch of years now. Right?

[00:16:53] Sage Tichenor: It has, it's been well, three years. Yeah. Which is, well, wild to think about. Um, it doesn't feel like it, it went by pretty quickly. And then before her, I mixed four. Um, you guys might not know I guess, but Riley Green, he's a country artist. He's kind of Okay. Yeah.

[00:17:11] Sean Walker: I don't know him personally. We're not barbecuing together, but I know who you're talking about.

[00:17:14] Sage Tichenor: Yeah. Um, so I worked for him for a couple years and then there was an overlap between, I was doing both of them, um, for like four or five months, which was, it worked out. I,

[00:17:25] Andy Leviss: Nice.

[00:17:27] Sean Walker: That's awesome, and we were nerding about ping pong delay earlier, but you must have been through a few different platforms, what platform you're on now that you're excited that there's ping pong delay in the new update.

[00:17:37] Sage Tichenor: uh, Yamaha Ravage,

[00:17:39] Sean Walker: Cool. How did you get there? Because I'm sure you started with all the usual suspects, right?

[00:17:43] Sage Tichenor: So I took out DiGiCo with Riley. Of course it was like SD nine, um, SD 12, like pretty budget friendly options. And then when I started with Lindsay, they were like, they were like, you could take out whatever you want, but we use SXL. Like the monitor guy uses SXL. I was like, yeah, that's fine.

I'll stay there. Um, hadn't toured on it, hadn't really had kind of seen it, but just like in the shop, you know? And then it stayed on that for what year was that? That we did? Damn, was that 2024 Probably? I think so,

[00:18:22] Andy Leviss: it wasn't 2025.

[00:18:24] Sage Tichenor: yeah. Um, so I stayed on that up until that year and I actually went to, she performed at NAMM and.

Part of the stipulation with the NAMM NAMM or the Yamaha stage was like using Ravage and like using their products. And so that was my first time seeing the console. Like before that it was like outta reach, it was like Frank Scam Malone from Luke. Bryan uses that. So it was like, that's that tier of like a console.

Like we don't have the budget for that. I'm not even gonna tinker with that idea. And then we went and tried it at the show and I was like, this awesome. It sounds really good. I'm hearing it through like my own mix, my own like fingers and everything. And then I was like, well what are the odds we can squeeze this into the budget?

'cause like when we got down to Showtime, like I just like locked in and I was able to just find like this musical groove and I was like, this is incredible. Like I just, I gotta see if someone like make this happen. And we did. We got to like squeeze it in and take it out. And that year was the first year like just living on that.

And I've been there like pretty much ever since I tried it out with um. One other group, Cadillac three, and

[00:19:37] Sean Walker: Oh my God, I love them. They're like my favorite

[00:19:40] Sage Tichenor: You know who they are.

[00:19:41] Sean Walker: Oh my God. I love them so much.

[00:19:42] Sage Tichenor: That's so fun.

[00:19:43] Andy Leviss: Okay, now I gotta look them up after, 'cause

[00:19:45] Sean Walker: oh my God, dude. They're like the fricking best ever dude. And then, and their, their singer is literally writing all the hits for everybody

[00:19:52] Sage Tichenor: Mm-hmm.

[00:19:53] Sean Walker: Like they're a ripping country trio themselves.

[00:19:56] Sage Tichenor: So it's, yeah, it's just a trio. It's um, uh, Jaron, Neil and Jar, or JI said Jaron already. Kelby. Yeah. Thank you. Um, it's just a trio and they're just loud and it's just a rock band. And they go out there and they just like rip a show and they've been around for forever.

Um,

[00:20:15] Sean Walker: they're hella nice. Like Kelby is hysterical. They, they're so good.

[00:20:19] Sage Tichenor: they, they had a name before they became the Cadillac three. I can't think of it right now, which is awful.

[00:20:26] Sean Walker: you're thinking of that, the song you wanna go listen to Andy is called Cadillac in by the Cadillac three, and you'll just be like, well, shit. Of course. That's what, yeah. Obviously that's, that's what we're doing right now.

[00:20:36] Andy Leviss: All righty. All righty.

[00:20:38] Sean Walker: Totally there's, that's great dude. Like

[00:20:41] Sage Tichenor: It's so

[00:20:41] Sean Walker: artist to fly around with him.

Do like weekends. You like fly in, smash a couple shows at like middle of watershed, but not have to deal with doing PA and get the fuck out and go back home. Like killer

[00:20:51] Sage Tichenor: It was fun. It was like, um, I was out for with them for a little over a month. It was like kind of clubs and then we were touring with another band, so we got some like mid-size sheds in there too. And it was like, I mixed on a Pro two and then the one week, and then it's like an X 32 the next week.

And then it's like the, the people we were touring with, um, like they had the Ravage series, so I got to try that out. And that was between the, the NAMM period and taking it out. And it was just like, yeah. Throw and go, let's go. Like just rip a rock's mix on this console. Like it was just a blast. So fun.

[00:21:29] Sean Walker: Totally. And nothing has ever made you long for a CTI 1500 or DM seven C more in your life than going from Pro two to X 32 to something else and just be like, can I please just have one platform? That's fine. And just go to

[00:21:41] Sage Tichenor: Just one thing. Yeah.

[00:21:42] Sean Walker: totally.

[00:21:44] Sage Tichenor: I mean it's a great skill set. But yeah, there were a few, the biggest thing is like when you walk into a venue and they're like, here's your console, but like, this Fader iss doing this thing and then this knob doesn't work. And then like, yeah, this old button. And I'm like,

[00:21:58] Sean Walker: totally,

[00:21:58] Sage Tichenor: And then like there's more problems they aren't telling you about behind that.

So like mid show, you're like, oh, I didn't know that was, that was gonna be a problem, but

[00:22:07] Andy Leviss: All right. Yeah, that thing I, sorry, man. Totally forgot.

[00:22:10] Sean Walker: Yeah, totally.

[00:22:11] Sage Tichenor: Or

[00:22:12] Andy Leviss: by now.

[00:22:13] Sean Walker: That's

[00:22:13] Sage Tichenor: for me today.

[00:22:14] Andy Leviss: Yeah, it was, it was, it was fine. It was fine last night.

[00:22:17] Sage Tichenor: That's awesome.

[00:22:18] Sean Walker: So I'm gonna, I'm gonna tell a little bit of behind the scenes information that I don't even know if Sage knows that I know. But it's gonna be really helpful to all our listeners to understand how. She connected all those dots and the kind of personality it takes to do that. So when she says she went to NAMM and her artist played and she was on the Ravage platform, uh, and it was cool.

What she left out of that conversation was she flew in days early to Chad shop at Mastermind to learn the system and program and put her show on it and get it smoking before she showed up in front of the entire fucking industry to judge

[00:22:53] Andy Leviss: I, I was gonna ask about that.

[00:22:55] Sean Walker: And then when she showed up to Mix, fucking sorry, we were standing in front of the console, heckling her the entire time, dude.

[00:23:10] Andy Leviss: I was gonna say you and who else?

[00:23:11] Sean Walker: and uh,

[00:23:13] Sage Tichenor: It was a few people.

[00:23:15] Sean Walker: it was, it was a, it was a few I standing there like, not, not really heckling too hard, but like. We were just giving, we were giving her a hard time. 'cause you know, we were kind of hanging out her, but she put the work in beforehand to make it ripping and it sounded fucking awesome when we got there.

[00:23:30] Sage Tichenor: Well, and it, that was a funny, you're right. Like it was, um, it was a little more of a time crunch thing than that. Um, you get like a day on the console. Um, I went home and squeezed in like an extra few hours of programming just to be sure. Um, yeah. And then you show up, you fly in the day before and then you do your sound check and then you do the show.

But the caveat is you are doing your sound check in the middle of the day when everybody is walking around between like whatever booth sessions, panels, like the whole like NAMM thing. So

[00:24:08] Sean Walker: all, all mistakes are found at a hundred fucking db with the industry watching. There's no hiding this

[00:24:14] Sage Tichenor: No, none. None whatsoever. Like it's a fly day. Like we have all, all the back line like stuff we've never, never

[00:24:23] Sean Walker: at your SIR Life on site?

[00:24:24] Sage Tichenor: Yep. Um, so I, I, I was getting heckled all day. It wasn't just you. 'cause my friends at soundcheck go every year for their back line duties there. And they had been heckling me during soundcheck, which it was like the, the scariest moment.

Like, it, it's like when you play, like you guys are musicians, I think. Right. You know, it's like way scarier playing to people, you know, than it is to like a room full of strangers.

[00:24:51] Sean Walker: totally, dude.

[00:24:52] Sage Tichenor: But, and not that I knew all these people, but um, my friends like said something. I didn't know they were there and I turned around to like, I don't know, I was probably gonna like flip 'em off or like have sn some snarky

[00:25:03] Sean Walker: As you do. As you

[00:25:04] Sage Tichenor: as you do, you have to, I turn around and there's like a sea of people and it's like a sea of texts and roadies and like, just like nerds. And I was like, I was like, oh my gosh. Like

[00:25:16] Sean Walker: The whole time Wayne Polly and I are standing in front of house in front of your console heckling you with Brian from Clear Calm and Andy over there heckling from the other side and you're just like, cool as a cucumber. Like Babe Ruth pointing and smashing this mix outta the park. It was fucking awesome dude.

[00:25:30] Sage Tichenor: thanks dude. I

[00:25:31] Sean Walker: Like heckling you in a good way. We weren't really like busting your chops too hard, but like it was fun dude, and you did an awesome job.

[00:25:36] Sage Tichenor: it

[00:25:36] Sean Walker: It was pretty cool to watch,

[00:25:37] Andy Leviss: And so I was in it there. There's two things I've like heard about Sage before I even like met Sage and the, the two things were, everybody at Yamaha is like. She nailed that show and we love, she made us look so good. She made our desk look so good and she like rocked

[00:25:53] Sage Tichenor: nice.

[00:25:54] Andy Leviss: that

[00:25:55] Sean Walker: a challenge on that Pa. Andy, if you're not aware yet, the deployment could use some deploying on that pa.

[00:26:03] Andy Leviss: I, I I got nothing, man.

[00:26:04] Sean Walker: Yeah,

[00:26:07] Andy Leviss: I, I, I was not involved. I have not been involved.

[00:26:09] Sean Walker: we, we, we are at corporate shop. We love Yamaha, but that PA could use some PAing bud, tell the pa tell the powers it be to get somebody to system sit.

[00:26:19] Andy Leviss: Yeah, there's, um,

[00:26:20] Sean Walker: He's all, yeah. Anyway, so

[00:26:22] Sage Tichenor: Anyway.

[00:26:23] Sean Walker: Yeah. Right. Totally,

[00:26:24] Andy Leviss: but the, the other thing I, I hear, and, and this will still pop up, like when your name comes up, like we gotta be once every six months, whether on the Discord or with like other folks just hanging at NAMM is, holy shit, that chick's snare sound. You are like infamous or famous for like nailing your snare.

[00:26:42] Sean Walker: Totally

[00:26:42] Sage Tichenor: That's crazy. I, I used to be. I think I've made improvements. I used to be really bad at like mixing drums, so yes.

[00:26:53] Sean Walker: Yes. Nailed it.

[00:26:54] Sage Tichenor: No, thank you. That, yeah. That's cool. That's awesome. That means a lot that

[00:26:57] Andy Leviss: the, what is the secret?

[00:27:00] Sage Tichenor: uh, good snare drums. Good mics. NAMM especially, it's like, they're like, we have the best snare and the best mic set up.

Yeah. DPA is on everything. It's like, it makes it so much easier and our drummer's awesome. Like it's the source. It helps a lot. Yeah.

[00:27:19] Sean Walker: That's awesome. That's awesome.

[00:27:21] Andy Leviss: can make anything loud, but we can't make it better than it is.

[00:27:24] Sage Tichenor: No, yeah. You definitely can't, like, I

[00:27:29] Sean Walker: Maybe you guys can, I can just make it loud, maybe you guys can make it better. I just make it loud.

[00:27:34] Andy Leviss: Yeah, I've, I've definitely had shows where I'm like, I know you love this drummer. I know he is a cool hang for fuck's sake. Please at least bring in a tech to tune the things before and don't, don't let him tune his own

[00:27:44] Sean Walker: These all sound like Homer buckets from Home Depot, bud. Like what's going on with your life

[00:27:48] Sage Tichenor: That's always, it's the tuning for sure. It goes a long way.

Yeah. You could put,

[00:27:57] Sean Walker: in the last decade would be helpful, pal.

[00:27:59] Sage Tichenor: you could probably put like any mic on a really well tuned drum kit and it's, it'll be fun. Like, I kind of believe that. But yeah, I do love DPAs too, on Mike. So that's kind of, or on, on Mike's, you know, you know what I'm saying, on drums. So it goes a long

[00:28:17] Andy Leviss: on the bangy things.

[00:28:19] Sage Tichenor: Exactly.

[00:28:20] Sean Walker: I mean, DPAs on almost anything is wonderful.

[00:28:23] Andy Leviss: That's a, it's a, I've said it before, the, the 40 99 is my Frank's red hot of microphones. I'll put that shit on anything. Ex Except. Except for a snare drum. Because, because that's gonna get decapitated.

[00:28:38] Sean Walker: I, that's funny.

[00:28:41] Sage Tichenor: No, 50 seven's kind of the move on. That one. There's some other options out there, but that's like a, you know, I

[00:28:47] Sean Walker: It's a good move. It's, it's worked for years. Like, you know, that's definitely one of those, if it ain't broke, don't fix it. Kind of things. You know, I've, I've tried a bunch of different things on snare and I, you know, I like a lot of d other options, but you can always get it done with a 57 always.

[00:29:03] Sage Tichenor: Always.

[00:29:05] Sean Walker: Dude, one of the surprising ones was the Audix D two, the little, like little Tom mic,

[00:29:11] Andy Leviss: Yeah. Yeah.

[00:29:12] Sean Walker: drum, microphone, snare, top smashing. 'cause it's already got the like 5K peak built in and the a hundred hertz low shells boost built in. So the thing just sounds rock and roll right outta the box and you're just like, dude, it's this little freaking box of rock.

It's killer. It is not natural. It's not beautiful. It's like big rock snare. It does only that thing, you know, like all audix mics do.

[00:29:34] Andy Leviss: That's what they're good

[00:29:35] Sean Walker: Yeah, totally. But yeah, always, always with 57 can get it done.

[00:29:42] Andy Leviss: Although in a pinch, I did once mic an accordion with a pair of V drum mics, which was interesting.

[00:29:48] Sean Walker: Sometimes you gotta do what you gotta

[00:29:49] Andy Leviss: kleer. It was unexpected Kleer. We made it work. I was like, well, that's what I've got. So here we go.

[00:29:55] Sean Walker: We'll make sound good talk. We're moving on.

[00:29:57] Sage Tichenor: Accordion. Cool.

[00:29:59] Andy Leviss: Right.

[00:30:01] Sean Walker: Yeah. Welcome to Nont Tour life. Dude. You just get whatever shows up. Is that on the stage play? Oh, no, no. That's old. Fuck

[00:30:07] Andy Leviss: Wait, where'd you get a stage plot from?

[00:30:09] Sean Walker: yeah, right? You lucky son of

[00:30:10] Andy Leviss: We, we don't have a stage plot.

[00:30:14] Sean Walker: totally. Oh man, that's the li that's the life of a fricking regional sound company though. You like stage plot. If you get it as like freaking three generations old, they're like, oh no, no, there's six more saxophones. You're like, there wasn't any saxophones on there before. You're like, great, cool dude, no problem.

Lemme just figure that out real quick.

[00:30:32] Sage Tichenor: Yeah. You're

[00:30:33] Sean Walker: start learning to bring a pretty robust mic package to everything.

[00:30:35] Sage Tichenor: Yeah, just be prepared for literally any, any scenario. Yeah,

[00:30:40] Sean Walker: And prepared for anything but an orchestra basically. You know what I mean?

[00:30:43] Sage Tichenor: yeah.

[00:30:44] Sean Walker: Yeah. What are you working on next? We, we, we don't need to digress into Rando Sound Company shit. What are you working on next?

[00:30:50] Sage Tichenor: Um, I'm going out with a group called Halloween Mixing Monitors, actually for them, which will be really fun, but they're like eighties power metal. You're

[00:30:59] Sean Walker: Oh, hell

[00:31:00] Sage Tichenor: un familiar with that, but

[00:31:02] Sean Walker: I mean, I'm not

[00:31:03] Sage Tichenor: very excited.

[00:31:04] Sean Walker: I'm not sure exactly where it goes from eighties hair metal to eighties power metal, but I'm, I'm into, I'm into it.

[00:31:10] Sage Tichenor: I'm still figuring out that that spectrum also, I'm not like a metal, I don't have that kind of background, so I've been familiarizing myself with that. So I don't have the answer for you.

[00:31:21] Sean Walker: Like, where do I, where do I go from like Scorpions and Motley Crue and Guns N Roses into whatever would be called power metal. Like, you know. Where do you, where do you get in there? Is there more chugging?

[00:31:31] Andy Leviss: I mean, it's the power.

[00:31:33] Sean Walker: the power. It's got more power. Like they just turn that shit up to 11.

[00:31:36] Sage Tichenor: More power.

[00:31:37] Andy Leviss: name, man. It's right on the tin there.

[00:31:39] Sean Walker: Okay. All right. All right. Well that'll be cool. That'll be a fun. Fun thing to do for a while.

[00:31:44] Sage Tichenor: Yeah. I'm excited. It's only like a month, so it's not, um, it's not too crazy, but I'm really looking forward to it. It'll be a little, little

[00:31:52] Sean Walker: That'd be super cool.

[00:31:53] Sage Tichenor: Yeah. It's on PM five, so I'm staying right in. The family will be great.

[00:31:58] Andy Leviss: Nice.

[00:31:58] Sage Tichenor: Yeah.

[00:31:59] Sean Walker: That's awesome. Are you on a PM five at front of house?

[00:32:02] Sage Tichenor: Yes.

[00:32:03] Sean Walker: Yeah. Cool. Yeah. That's Andy's favorite too. He is. He's.

[00:32:07] Andy Leviss: it is, it's, it's, it's the sweet spot. Like I do sometimes miss the extra knobs on the 10, but the screen being right there and being a touch screen, I feel like wins out. Most of the,

[00:32:17] Sage Tichenor: How do you feel about the seven or the three, like versus this seven or the three

[00:32:22] Andy Leviss: uh, the three I really like is a monitor desk, because while only having the one screen is, can be frustrating when you're used to having two or three screens, the 80,000 and a half user defined keys

[00:32:37] Sage Tichenor: Oh my gosh,

[00:32:38] Andy Leviss: Baller for, like, I, yeah, I like the last time I did monitor zone, I think I basically had a, a bank one that was like the bank toggle between two banks and one bank was, you know, sends on Fader and, and q for those mixes.

And the other bank was talk back to each of the mixes. So I could just real quickly talk to whichever combination I needed or flip through. And just having all those user fun keys there is just like, yeah, it's, you, you don't, you don't, you don't have quite as many on, on most of the other desks on the platform.

And then the seven salt, like if, if you can fit within the DSP of it, which is, it's like in a weird in between spot between the DS P Rx and the ex, you know, it's got some of the capacity of the ex, but not all of it. And then it's a PM 10 surface with the DSP just built inside. So like, when you need to save that space, you know, at a mixed position, it's certainly handy.

Um, but yeah, if, if you know a 10, you know, a seven, they're, it's literally the

[00:33:36] Sage Tichenor: It is the same. Yeah. I, uh, I like the layout of the 10. I, I'm a little, my arms are a little too short to like reach across, um, to the screens and into all the controls, so that's

[00:33:52] Andy Leviss: it's a big

[00:33:53] Sage Tichenor: it's a big one. Yeah.

[00:33:55] Andy Leviss: Yeah. And then there and then there, there's the, the rarely cited 10 s, which is the chop one of the bays off it.

[00:34:02] Sage Tichenor: Oh yeah, that's right.

[00:34:03] Andy Leviss: Yeah. So it's a two bay instead of a three bay. It just chops the, the left hand bay off it. And it's, although it's, it's within about three inches of the width of the three, they're like close to size. 'cause the three fits all those bays in by packing the faders together tighter. Um, so it's actually not, I think it's a few inches narrower, you know, and then depth wise it's different.

But I, I compared the size of them when I was trying to figure out if I could fit any surface in. My home office here when I, when I took the gig, which right now I've got a laptop and a DSP and that's it. I don't, I don't have that surface here. 'cause I've got all the small consoles around.

[00:34:41] Sean Walker: it? Where would you put it?

[00:34:43] Andy Leviss: I, I mean, I, I thought about like, do I make, um, uh, why am my blanket on the name?

Like what's the, the bed that folds out of the wall? Yeah. Like, do I figure out a Murphy console mount for, for like a fucking,

[00:34:53] Sage Tichenor: Yeah.

[00:34:54] Sean Walker: Just folds back into the wall. That's pretty cool. I

[00:34:58] Sage Tichenor: that sounds like a great solution. Yeah. You could have so many like, well,

[00:35:04] Andy Leviss: already, like, I've got the, like the little MGX 12 here. That's like my interface for my desk. Behind me is, is a DM seven C and a TF one. Um, yeah, I've, I've, I've got a bunch here and then there's, there will eventually be more coming and I'll figure out how to fit 'em somewhere.

[00:35:22] Sean Walker: Dude, that DM seven C is a little box of rock. What a ton of firepower in an itty bitty little

[00:35:28] Sage Tichenor: Mm-hmm.

[00:35:29] Sean Walker: Really similar to like a CTI 1500 kind of vibe where you just got so much firepower in a little pelican, flyable size console. Like those two consoles are so dope.

[00:35:39] Andy Leviss: Yeah, we gotta, like, we should reach out to, like, we haven't had Leo on since we took over. Like Leo has been on the podcast abundance. I feel like he's the king of like, how do you do a, a big show in a small ass console surface?

[00:35:51] Sean Walker: Oh my god, that would be my favorite dude. Just roll into an arena, flop down a itty bitty little

[00:35:56] Andy Leviss: that's, he's doing Lawrence on like, I, I don't know, I think he's moved to a CTI,

[00:36:00] Sage Tichenor: gonna ask, I was gonna make sure that was this. I was on the same page with you guys.

[00:36:04] Andy Leviss: Yeah, like he, he's doing Lawrence on like, on the Yeah, as far as I know.

[00:36:08] Sage Tichenor: Oh, wow.

[00:36:10] Andy Leviss: and I, I mean, I think it's like lots of like, just like DCA spill and that kind of thing, and just being smart about it. But like, I, I wanna, I want to sync back up with him and try and get him on and pick his brand on

[00:36:19] Sage Tichenor: Yeah, I would love to see that layout. 'cause we, um, I've, I, I mean that's like kind of a saw default for a lot of people's fly dates, um, and traveling and

[00:36:29] Andy Leviss: Well, like, and, and everybody's getting into that size now. Like there's the new Digi code that, you know, they were showing off at NAMM. That's, that's, you know,

[00:36:36] Sean Walker: pretty cool, dude. Honestly, like that was a pretty cool surface. They was well thought out.

[00:36:40] Andy Leviss: yeah. Like we've, we've got the, the seven C um, yeah, there's, there's lots of stuff coming in and that like Yeah. That, like 19 inches ish, 19 I, I can speak real good. The,

[00:36:53] Sean Walker: It'll go on a pelican. It'll fly around the world. Totally.

[00:36:56] Andy Leviss: Yeah. Like, I mean, of those like the seven C is probably the, the biggest heaviest of those.

[00:37:02] Sean Walker: Yeah, totally. The CTI is way lighter.

[00:37:05] Sage Tichenor: Yeah.

[00:37:05] Andy Leviss: Yeah. Well, it's that titanium. Yeah. I mean, you can pop that thing up on your shoulder. I've, I've done it.

[00:37:09] Sean Walker: Yep. That's, that's such a good little platform, dude, that, that CTI 50 a hundred is such a powerful little box of rock to fly around the world in.

[00:37:16] Sage Tichenor: I like that one a lot too. Um, we took that on a Tiffany tour last year and it was like just hauling it around airports, took it to Summer Fest and yeah, I don't know the work, I mean, yeah, you gotta figure out the workflow, but, um, I'm always curious how people pull that off and there's always like, everyone has some like crazy macros or secret like function to get around it and I'm like, oh, cool.

I had no idea.

[00:37:39] Andy Leviss: definitely wanna dig into that. Like, if there's anybody listening to who's like got really cool like tips and tricks or like knows of somebody who's working on like, one of those small surfaces and really making it, you know, putting its money's worth, like reach out. Like I'd love to do it.

Like I said, I'm gonna, I'm gonna try and poke Leo and see what he's up to. 'cause he's the first person I think of with that. But I know there are other folks out

[00:37:57] Sage Tichenor: yeah,

[00:37:59] Sean Walker: Yeah,

[00:37:59] Sage Tichenor: yeah. I'm curious too.

[00:38:01] Sean Walker: I think that was just, that's like the ultimate like mic drop on people when you got like. Rows and rows are huge desks in front of house with outboard racks and all this other stuff and blah, blah, blah. You just flop down your little pelican, one cable smash, a killer show roll out and you're off and they're just like, what the fuck?

[00:38:16] Andy Leviss: yeah, just walking like this dainty, just

[00:38:20] Sage Tichenor: It's

[00:38:20] Sean Walker: Boom.

[00:38:21] Sage Tichenor: I

[00:38:21] Andy Leviss: console down right

[00:38:22] Sean Walker: Rip a sick show and you're out.

[00:38:24] Sage Tichenor: the rack and then it's like they just take off the lid and there's the console, and then end of the show, they just throw the lid back on and just roll away. Yeah. It's like, cool.

[00:38:32] Andy Leviss: just seeing this image in my head of somebody with like one of those, like those waiter, like Silver Dome leads over the console and just

[00:38:37] Sean Walker: Totally. Just like lid comes off, smash show lid goes on. I'm back to the bus. I'm off to catering. See

[00:38:44] Sage Tichenor: yeah.

[00:38:45] Sean Walker: If you need me, I'll be at the bar.

[00:38:46] Andy Leviss: I mean, it goes well with the white gloves if you're doing that, so

[00:38:49] Sean Walker: Right? Yeah. I don't think those people get to wear white gloves, but the people on tours like that are, they're, they're working for a living for

[00:38:56] Andy Leviss: nope. Those are definitely, those are definitely some beat up gloves right there.

[00:38:58] Sean Walker: only you get to, you get to wear the white gloves, Andy. The rest of the people have to work for a living.

[00:39:02] Sage Tichenor: Well, and they're having to push the racks like you're not sending your. Four hands out to grab that thing like,

[00:39:08] Sean Walker: Right.

[00:39:09] Andy Leviss: baby.

[00:39:10] Sage Tichenor: yeah,

[00:39:11] Andy Leviss: Uh, so we were, we were, when we were like catching up about, about setting up this episode, we got into like a weird little, like side tangent on our text thread about tools and we just, and discovered

[00:39:24] Sean Walker: I was sorry. Fucking let it go dude.

[00:39:28] Andy Leviss: But you're our tool and we love you. No, um, well, no, we, so w.

[00:39:33] Sage Tichenor: anything.

[00:39:34] Andy Leviss: Well,

[00:39:34] Sean Walker: Right.

[00:39:36] Andy Leviss: so we discovered that, uh, um, prod com, like the dudes from prod com that Sean and I had on the show. Like what, like a year or so ago, which was like, when they came on, it was an, this is an awesome tool. It does a very simple thing. It does it well.

It's for those who who don't remember, weren't here then it's, they're basically is you feed audio into, into your Mac and it does live transcriptions. You can feed it multi-channels and it'll color code them. It can like split them into separate chat threads. So like you can feed your calm or your radio, or if you're mixing monitors, you can feed all your shout mics into it.

So you can see who was yelling what at you at a ti at one time, or when three people are talking at once, you can see what each of them said and discovered last night. Those boys have been busy adding like cool new shit. First of all, it runs on iOS now too, so if you can get, you can get audio into like, you know, an iPad with like any USB interface or like.

If you're on a DM seven, just stick the USB cable into an iPad to get a few channels in there, like popping an avio into an iPad and you can run it on that.

[00:40:39] Sage Tichenor: Mm-hmm.

[00:40:39] Andy Leviss: But also, they now, in, in addition to doing transcriptions, they're also doing realtime translations.

[00:40:48] Sage Tichenor: Yeah.

[00:40:48] Andy Leviss: This is why I, I was like, I wanna get Sean's reaction.

I didn't tell 'em

[00:40:51] Sean Walker: Whoa, dude, that's sick.

[00:40:52] Sage Tichenor: it's

[00:40:53] Andy Leviss: they're doing shit like they, they can trigger like, all sorts of automations or like even send midi based off of like words.

[00:41:01] Sage Tichenor: which is.

[00:41:02] Sean Walker: every time you drop the F bomb, it'll change something for you. I am in, bro, just standing in front of house, losing your noodle at this thing. And it's just like firing macros and scenes and

[00:41:15] Sage Tichenor: man.

[00:41:16] Sean Walker: sold,

[00:41:16] Sage Tichenor: a great way to mess up. Someone's like file.

[00:41:20] Andy Leviss: auto, get a little automated, like quarter dispenser that like anytime you set in a mini note, we'll just pop a quarter into a jar and then that can be the automated swear jar.

[00:41:29] Sage Tichenor: Oh,

[00:41:30] Sean Walker: Totally. Totally. People are just like, what is going on in front of house? It sounds like slot machines in Vegas. You're like, don't fucking worry about it,

[00:41:37] Andy Leviss: God damn it.

[00:41:40] Sage Tichenor: I got caught.

[00:41:41] Andy Leviss: All right. We're, we're earning that explicit rating today? Uh

[00:41:44] Sean Walker: A hundred percent. Dude.

[00:41:46] Andy Leviss: uh No. Like, I mean, cool. So like you, yeah, and like, you could have it set to like, you know, this show caller, you know, it says like, uh, you know, roll pre-show, it'll send out a mini note and roll your pre-show for you. I was like, that's

[00:41:57] Sean Walker: That's Oscar.

[00:41:58] Sage Tichenor: that must be. I didn't see any time on it or like, uh, when it was released. Um, I haven't yet, but I've talked to a few people about that. 'cause I reached out to you. 'cause the conversation with someone else was like, the apple, like AirPods do translations now. And then it was like, oh, too bad.

Prod com doesn't have that. And then it's like, oh, they do like, so, but I've talked to a lot of people and

[00:42:23] Andy Leviss: were like, oh, do you know if there's anything like prod com that does translations? And I was like, I don't know. Let me. You know, I wonder like what they, and, and holy shit they do translations

[00:42:31] Sage Tichenor: crazy. Yeah. And all of that, but I haven't been using it. Um, a lot of people really love it. But yeah, it was like that's what a crazy piece of technology and kind of smart like for front of house. Like if I could have that versus just, just a shout box, like

[00:42:49] Sean Walker: I should be reading the, the reading Your monitor goes yelling at you like just.

[00:42:53] Andy Leviss: Yeah. Well, and I think we said like, when, when we had a mom, like I had like subbed on a gig with a band that, like, I just, I don't know people's voices yet. So like, you know, and, and they're used to having somebody who's been torn with him for like 2, 2, 3 years. So they can just ask for what they need and, and he knows who's asking for it.

And I'm sitting here like trying to like, watch meters and see like, you know, putting like peak hold on all my, on all my shout mics so I can see which one just got shouted into most recently. So yeah, being able to have that transcription and tell me exactly which channel it came onto is like just fucking brilliant.

[00:43:27] Sean Walker: Totally.

[00:43:29] Andy Leviss: So, I mean that's like, there's so much stuff like that, like cool tools that just like somebody like, I mean that's like, I mean that's kind of where de feedback came from when we were talking to Devon the other week is like, he wanted a thing and was like, this should be a thing. I'm gonna, you know, throw some money in,

[00:43:43] Sean Walker: gonna pour my life savings into figuring out this thing, dude.

[00:43:46] Andy Leviss: yep.

[00:43:48] Sage Tichenor: But I mean, it is working like it's. I, again, like I haven't used that one, but everyone's talking about it and everyone, it has fantastic reviews and I've heard the test, like it's incredible.

[00:44:00] Sean Walker: Yeah, we've got it on our waves. Waves rack. Our waves. Live rack, Dante. And uh, it's, it's unbelievable. Dude. I'll, I'll text you a video. We're at the convention center here in Seattle right now, and it's like the pa deployment's like plus or minus one DB from the front to the back over a ginormous committ to our ballroom.

And Garrett sent me a video of him standing in the back of the ballroom and somebody talking on a lap and you're just getting max cell guide in your fricking chair. It's like huge and clear. And it was, it was unbelievable. I'll send it to you. It's fricking rad, dude.

[00:44:30] Sage Tichenor: Yeah. I'd love to see that.

[00:44:31] Sean Walker: So like, in addition to all the nerd stuff we always do to go make it the best we can, that's like the icing on the cake to just be like, oh my god, dude,

[00:44:39] Sage Tichenor: Yeah.

[00:44:40] Andy Leviss: that's the thing, like everybody like hasn't tried it or heard it is always like, yeah, I just learned to EQ man. Like put a gate on it and it's like, no, it is doing, it is doing shit that like EQ and a gate cannot do. And it is not replacing that. Like you're still gonna EQ and you're still gonna like.

You know, do all the other things you need to.

[00:44:56] Sage Tichenor: Well, yeah, I mean, and I, I see that argument too. I think I tend to fall in that category a lot too, where it's like, well, I, I already have the tools. Like I should just be able to, like, I'm kind of, I sound like a crotchety old sound guy sometimes probably,

[00:45:10] Sean Walker: off my lawn.

[00:45:12] Sage Tichenor: get off my lawn. But yeah, like also finding something that's not totally destructive to your source sometimes can be super difficult.

Like, I don't know, like why not explore options like this that help us achieve like a little bit more? And it has, it's like selective too, in a way. Like you, you're not just running it at like full blast of the, the processing, right? Like, it, it's has a scale on it. Is that right?

[00:45:43] Sean Walker: It does. Yeah, you pretty much just insert it and let it do its thing and it, it does, but you have a, you know, there is a level meter if you want, but you should just leave it at a hundred and let it do its thing, and it works pretty much flawlessly at all times.

[00:45:53] Andy Leviss: I, I feel like for like music situations or like CRI or like broadcasting stuff, I've been hearing more folks dial it down to like seven or 80. Just so like, 'cause if you push it really hard, it can get a little, a little kind of weird.

[00:46:04] Sage Tichenor: Okay. Yeah. But yeah, you can feather that in, make that more natural or more processed, which that's great. Like, I like that you have that option,

[00:46:15] Sean Walker: Totally, dude.

[00:46:16] Sage Tichenor: I don't know. I'd love to hear it. I can, to hope. I, I hope I can get my hands on it and like, give it a shot and at least see it. 'cause I mean, as long as it's not like destroying my source, like I'm in, like I'll, I'll try it.

Yeah.

[00:46:29] Sean Walker: Totally. Yeah. It's freaking, it's pretty sweet. And you know, it's like designed for exactly what we're doing, like corporate audio with labs and headsets, you know what I mean? So I've not tried it in a music scenario, so I don't know how it works there, but when it's just a voice, it's fucking stunning, dude.

It's like everything we wish the 50 45 was, you know what I mean? And that was a killer tool. When we like, when that's all we had, you know?

[00:46:53] Sage Tichenor: It's still a great tool, but that's, yeah, that's the thing is, um, finding a tool, like finding what works for you in your workflow.

[00:47:01] Andy Leviss: I mean, I, I found a tool that works for me and we, we record an episode every week.

[00:47:05] Sean Walker: a hundred percent dude. A hundred percent.

[00:47:08] Andy Leviss: WOR works for, yeah. Not works for me in the, I employ him. Sense. Uh,

[00:47:11] Sean Walker: Yeah. Andy does the work I have the personality and the looks. It works out fine, dude. It's good, dude. Awesome. That's awesome. So after Halloween, what's next back with Lindsay.

[00:47:26] Sage Tichenor: Back with Lindsay. Yeah.

[00:47:27] Sean Walker: Cool. Dude. You guys are off for the off for the cycle this year.

[00:47:31] Sage Tichenor: Um, we have, uh, we have a run later in the summer,

[00:47:36] Sean Walker: Yeah. Cool dude. That'll be awesome.

[00:47:37] Sage Tichenor: It'll be fun. It'll be

[00:47:38] Sean Walker: That'll be super fun.

[00:47:40] Sage Tichenor: Yeah.

[00:47:40] Sean Walker: Get your nerd on. That'll be great.

[00:47:42] Sage Tichenor: am just ready to mix again, you know, like I'm, I'm here for it. Ready to go.

[00:47:47] Andy Leviss: So like, is there, like, we, like speaking of getting our nerd on, like, is, is there, like, do you have any cool, like tips or tricks like you, you're using there that like people would get like, yeah. We, I, I feel like we don't get into those a lot and folks are always like, oh, I want like, the cool, like neat tips and tricks and stuff.

So like what's, is there any like little like, things you like, I know, like I was like, I was looking at your console file a while ago, like when you, when you know, you reached

[00:48:09] Sage Tichenor: yeah. You have

[00:48:09] Andy Leviss: an issue you were having and I know, like I know you've got like some macros and stuff and they're like, what kinda stuff are you doing with that?

[00:48:15] Sage Tichenor: Honestly, I don't have a ton of macros. Um, I don't know if I'm doing anything really out of the, the box or any tips or tricks, I guess, unless you ask me a question. Maybe. Um,

[00:48:30] Andy Leviss: See, had I thought of that, I

[00:48:31] Sage Tichenor: did you see any,

[00:48:32] Andy Leviss: your, in your show file and be like, oh, what the fuck is that?

[00:48:34] Sage Tichenor: maybe you could have prepared a little bit. Did you see any, does, do you recall anything?

[00:48:38] Andy Leviss: Not offhand. Like, I remember seeing like a couple macros that it seemed like fairly straightforward stuff. I'm trying to, I'm trying to think what, um.

[00:48:44] Sage Tichenor: Yeah. I, I'm not a person who's ever really gotten into like, like the macro use your key thing other than just like your expected like management, um, ones, but like I've always just kind of been like, I'm gonna mix the show. Um, there's stuff I've wanted, um, but haven't quite, like, I don't think that's an option on like, um, turning off maybe certain inserts on stuff.

Like I haven't had that option to do that. So that's something I would want.

[00:49:18] Andy Leviss: Gotcha.

[00:49:19] Sage Tichenor: Um,

[00:49:21] Sean Walker: You got group to group now in the new software, right?

[00:49:23] Sage Tichenor: I do have group two group. Yeah,

[00:49:25] Sean Walker: It

[00:49:25] Sage Tichenor: we do. I do.

[00:49:27] Sean Walker: Who's a big boy? Andy. You guys now caught up with everybody else.

[00:49:30] Sage Tichenor: Yeah.

[00:49:31] Andy Leviss: Anyway, that, that was one of the features on my list. My, the last list of feature requests I put in as a user before, before I interviewed for the job. That was one of the ones I a, I was clearly not the only person

[00:49:42] Sean Walker: I was gonna say, wasn't that everybody's top list?

[00:49:45] Andy Leviss: It was up, it was, I,

[00:49:47] Sean Walker: Group to group in ping pong delay. Come on guys, let's do it.

[00:49:51] Andy Leviss: yeah, no, that was, that was a, a long time coming and I'm, I'm, I'm glad, I'm glad the, the, the brilliant nerds over in Japan were able to figure out how to make that work with, it's, you can get really into the weeds of like console, like DSP infrastructure and like, like DSP versus FPGA and how it works and what the trade-offs are.

There's, there's a lot of things that, like other brands of constables can do that, like Yamaha can or can't do the same way because of those trade-offs in like DSP versus FPGA. But that's also what gives certain things like stability and like inconsistent pass through in terms of latency and that kind of thing.

It's, it's really, and like, I don't fully un, I know enough to like sort of vaguely understand the 20,000 foot view of it, but like there's so much that goes into stuff like that and it's like, it's a wild world that we don't think about when we're using them. We're just like, well, they do it. Why can't you?

[00:50:42] Sage Tichenor: Yeah, I don't know. I've gotten pretty comfortable with at this point, like not having the group to group, like on dig. When I used DiGiCo, I was like, like inputs all went to a group and then those went to a group and like those went to another group. And then like it took a while to like take that away and just be like, I have this singular path kind of now.

And I kind of like it. It's kind of forced me to think simpler and I think it's done a lot for me in like my workflow, if that makes sense. Um, yeah.

[00:51:15] Andy Leviss: Yeah. Like are, are you like a, a lots of plugins and inserts kind of, kind of mixer? Are you like Pretty much just like I've got my handful of like, go-to effects and that's it. Or somewhere between.

[00:51:23] Sage Tichenor: It is kind of both. Um, I guess you maybe saw, I do end up using a lot of, um, inserts, but really, I don't know if it's a trick. Maybe it falls into answering your question. I really love like the F six, um, what do they call it on Ravage? I can't think of that. Like the fab filter, the, the dynamic EQ options, but

[00:51:48] Andy Leviss: Yeah. Well there's dynamic EQ and then there's the, like the multi-band comp.

[00:51:52] Sage Tichenor: Um, I love the dynamic EQs and I love being able, like when, when the, like two software versions ago, um, opened up Ravage to be able to like side chain and do like attack and release controls, like I. I love that. That's probably the majority of what I end up using in my show file. Um, just 'cause it carves out space everywhere.

Um, especially in like, in a really dense mix. I, I see it as like I have my, like, lead stuff or maybe like different things. Like I can, I can have those instruments, those like the music, like interact with each other, like differently by like side chaining and like carving out space in the e like across the frequency.

So like I have a lot of those in my show file. Um, side chained from like, like, I guess in Lindsay's case, like lead violin to like different instruments or like even across like different stuff like, um, guitars side chained between each other for different areas. Like I do a lot of that.

[00:53:03] Sean Walker: A hundred percent

[00:53:03] Andy Leviss: Yeah,

[00:53:04] Sage Tichenor: that make

[00:53:04] Andy Leviss: that like, that like

[00:53:05] Sean Walker: or vocals to guitars. So the guitars get a little duller when you have the vocal going and you can understand the vocal better.

[00:53:10] Sage Tichenor: And in the past I did do with the group to group stuff, like I could have the band and then like a vocal group and, and exactly do that. Like vocals may be ducking the band, but as soon as they stop singing, like all that can come back up. So it's not so like, it's not compromising the music of, well, the music, like the lyrics can still be there and then the music can still be there when the guy's not singing and it like just sits in this little pocket of space really nicely.

[00:53:40] Sean Walker: totally.

[00:53:41] Andy Leviss: Yeah, that was the, yeah, I guess it was a couple versions there, like the DQ six, the six band version came that had like that side chain and that also also had the ability to work mid side,

[00:53:53] Sage Tichenor: Yes,

[00:53:53] Andy Leviss: that like,

[00:53:54] Sage Tichenor: what I was gonna say, that I was like, I think that came with that version. Um, love that.

[00:53:59] Andy Leviss: I think V six.

[00:54:00] Sage Tichenor: Yeah, I love all that too. Um, and being able to just attack and release, like, um, it used to be fixed and, um, but yeah, F six and I think it's, it's fab filter, right? They, they both have had that, like that's love that stuff.

[00:54:18] Andy Leviss: that's the, the thing at, at some point I need somebody to like, 'cause there's, there's multi-band compression and then there's dynamic eq. And they're very similar, but they're not the same. And like I can sort of like verbalize how they're different, but I also can't, and like, you know, it's, I mean I know like I tend to go to dynamic EQ rather than, than multi-band compression, which, 'cause I, I, I mean I, I think my impression is it is just a little more precise because it is an EQ curve that's going in.

[00:54:48] Sage Tichenor: So I tried a few years ago to write and, well, if I say it, I don't want people to go look for it. It's not my best work. I tried to like verbalize it and I was like, this is so difficult. 'cause I feel like I do understand it. But then when you're trying to explain, 'cause I always went to, I always went to dynamic EQs and now it's like kind of healthily, both like, um, certain instruments, like on a violin.

Like I use both. Um, I guess the way I see it is like with, with the, the multi-band compressor, like I can smooth out the range of the instrument a little bit better and then I can take care of the more like, nuanced frequencies with the dynamic eq,

[00:55:35] Andy Leviss: Got it. That

[00:55:35] Sage Tichenor: kind of makes sense. Um, but the one has its drawbacks too.

Like I think the multi-band, um, that, that comes with phasing too. Um, but I don't know if you can really hear that. Um, I dunno if it compromises anything that much. Like I, I haven't had problems with it. I dunno. It's like a flavor thing.

[00:55:58] Andy Leviss: yeah, and I mean, for, for those who don't know, it's been like multi-band compressor basically. Usually it's four, although it'll, it'll vary and it, like, it basically band passes just like a crossover wood and then puts a compressor on that. So it's, it's squishing that whole chunk of frequencies down.

Whereas a dynamic EQ has a, a threshold like a compressor would, but then, rather than, and, and a ratio. But rather than it pulling the whole band down, you're setting a queue and a, and a ratio and potentially a range of depth. And it's just like, as the threshold gets pushed past, it's dialing that EQ gain down.

So it's a little, it's a little subtler, a little, a little tight. I mean,

[00:56:37] Sage Tichenor: like only. Like a proximity, like if you had proximity on a vocalist, like you can pull that back, that frequency, but a response to that threshold rather than just killing it completely.

[00:56:51] Andy Leviss: Yeah. Yeah. These are two. It's so funny, I remember like 20 years ago being like, you know, sometimes the shop would have like one of the little, like the bss, you

[00:57:01] Sean Walker: 9 0 1 or whatever the thing was.

[00:57:02] Andy Leviss: Yeah. Or something like that. And it was like, you know, and like two guys knew how to use it and we're like, this thing is magic. And everybody else was like, I don't get it.

And now it's like, yeah, we can have 40 of them on 40 different channels. Just pop it in. It's great.

[00:57:14] Sage Tichenor: yeah. Put it on everything. I don't care. You know, what's a great tool? I wish I had soothe.

[00:57:22] Andy Leviss: yeah.

[00:57:22] Sage Tichenor: dunno. You. Yeah,

[00:57:24] Sean Walker: such a good tool.

[00:57:25] Sage Tichenor: I think it's, yeah.

[00:57:27] Andy Leviss: Yeah. And it's slowly, 'cause they've got the live version now, which is on, um,

[00:57:32] Sage Tichenor: Uh,

[00:57:32] Andy Leviss: desks. And I think now it's on for, for a, uh, like transform engine as well. I'm like, just, just do a VST or au version of the live that like anybody can use in an external host. Come on.

[00:57:45] Sage Tichenor: I, I'm hoping someone Does it 'cause

[00:57:48] Andy Leviss: Yeah. 'cause I feel like, was it,

[00:57:50] Sean Walker: is there not a VST three version of that yet?

[00:57:52] Andy Leviss: well, the, not not of the live, which is the low latency

[00:57:55] Sage Tichenor: yeah, exactly.

[00:57:56] Andy Leviss: Yeah. 'cause the normal version is like something like 30, 40 milliseconds, something like that. I think it's, it's You're not using it live,

[00:58:04] Sage Tichenor: I,

[00:58:04] Sean Walker: know plenty of people using it live, bud.

[00:58:06] Andy Leviss: I mean,

[00:58:06] Sean Walker: on the AVID platform where it's on, where it's on DSP.

[00:58:09] Andy Leviss: that's the live version where it's like, yeah. It's low latency. And I feel like, was it, did Waves come out with like their kind of take, somebody came out with their take on that recently that I'm curious to compare and see because they do have a low latency version of

[00:58:21] Sage Tichenor: who's that? You said someone, someone came out with their version

[00:58:26] Andy Leviss: oh. I, I think, I think Waves did, I'm trying to remember what it's called, but it was, it was definitely one of those things that like, it's, that feels sort of like soothe.

[00:58:35] Sage Tichenor: I think I know what you're talking about.

[00:58:37] Sean Walker: Equator, the EQ equator thing,

[00:58:41] Andy Leviss: Yeah. There's a few, it's, it is that thing that happens in plugins where somebody comes up with a thing and suddenly,

[00:58:45] Sage Tichenor: Someone else is gonna,

[00:58:47] Andy Leviss: got their own take on a thing that you can, you can kind of tell what it's supposed to be, but we don't know exactly what it is.

[00:58:56] Sean Walker: Totally. But everybody's kinda got those same, same kind of things happening right now. There's also a couple of like, really cool, more, more standalone DSP things coming out that, um, we, we can talk about more in the future, but that are gonna be just game changing to you.

[00:59:16] Sage Tichenor: I'm so curious,

[00:59:17] Sean Walker: I know, dude, I wish I, I, I maybe shouldn't have even said that much, but like, DSP platforms are just DSP platforms and being able to like, utilize them is gonna be freaking sick, dude.

[00:59:32] Andy Leviss: Yeah,

[00:59:32] Sean Walker: Like, like the live box or the

[00:59:34] Andy Leviss: yeah, yeah, yeah, yeah.

[00:59:35] Sage Tichenor: Okay. Yeah.

[00:59:37] Sean Walker: It's cool.

[00:59:37] Andy Leviss: gonna know, like, secret squirrel here, we're both like, I don't know what he is

[00:59:40] Sage Tichenor: I know I was reading Andy's face. I was like, uh, what?

[00:59:46] Andy Leviss: It's like half, half of my brain try trying to think what Sean might be talking about. And half of it trying to like, keep an eye on three other

[00:59:52] Sage Tichenor: questions can I ask right now, Benny?

[00:59:55] Andy Leviss: Yeah. Um, I mean, we're getting there. Like I, or is, is there any, I'll, I'll steal the question that, that Sean's lately stolen from, from me, which was the, the, uh, is there, is there anything that you wish we had asked you that we didn't?

[01:00:08] Sage Tichenor: Oh, that's an interesting question. Should I have an answer?

[01:00:15] Sean Walker: What happened in Vegas?

[01:00:16] Sage Tichenor: I'm just enjoying. We said,

[01:00:22] Sean Walker: Yeah, right. Totally.

[01:00:23] Sage Tichenor: we said we were only gonna talk about it, actually, so that didn't happen. So I

[01:00:27] Sean Walker: totally. You know what? Can this whole thing start again? Back to Vegas. All right. So anyway.

[01:00:33] Andy Leviss: Well, you see what happened? What,

[01:00:34] Sean Walker: Right. Totally. Oh my God, that's funny. No, I think,

[01:00:39] Sage Tichenor: enjoying chatting with y'all.

[01:00:41] Sean Walker: right.

[01:00:41] Sage Tichenor: Yeah,

[01:00:42] Andy Leviss: It's good. We haven't done like a good, just like kinda hang episode in a while. I

[01:00:45] Sage Tichenor: no.

[01:00:47] Sean Walker: totally. Well, we're getting to, we're getting to an hour here and we should, we should let these people get on with their day.

[01:00:51] Sage Tichenor: crazy. That's fast.

[01:00:53] Sean Walker: I know. It goes so fast,

[01:00:54] Sage Tichenor: Whoa.

[01:00:55] Sean Walker: Totally. Well,

[01:00:56] Andy Leviss: like, I haven't heard that from a, a, a lady in a long time.

[01:01:00] Sean Walker: wow.

[01:01:01] Andy Leviss: Okay, wait.

[01:01:02] Sean Walker: I always thought I was the one getting us canceled. Now you're the one getting this canceled. You're supposed to be the good one.

80.

[01:01:06] Andy Leviss: so, so BB before Sean goes where he was going, uh, we're, we're coming to, to rock Nashville. Uh, where, where do we go for good food?

[01:01:17] Sage Tichenor: I would say Hawkers, um, but I think they recently had maybe a fire, so I don't know, like if you did that next week, I don't think you could, but Hawkers is like my go-to, um, or. If you like Fa V in, FA in, it's in West, like West Nashville. Awesome. If you want breakfast food, there's this little diner called sidekicks

[01:01:45] Sean Walker: Let's do it.

[01:01:46] Sage Tichenor: yeah,

[01:01:47] Sean Walker: Oh,

[01:01:47] Andy Leviss: a whole,

[01:01:47] Sage Tichenor: I got all

[01:01:48] Andy Leviss: worth of meals plan. I love

[01:01:49] Sage Tichenor: meal is planned for you guys.

I got

[01:01:51] Sean Walker: I love Nashville. I'm coming just to hang out. We're just doing a food tour. Sage, let's just go, dude, let's just

[01:01:55] Andy Leviss: like last time I was there, I was only there for like one overnight, like prepping a corporate thing. So I went, I'm trying to remember, there was a place that, that Denny sent me to that was like, it was like a ramen bar that had like a killer whiskey selection too.

[01:02:07] Sean Walker: Oh, nice.

[01:02:08] Sage Tichenor: probably two 10.

[01:02:09] Andy Leviss: Uh, maybe it was, I know it like, like it was a, in a whole like strip of like kinda cool like stores and stuff.

And then like there would be a, and and there was like a fancy donut place like the next building. Yeah, that was, that was pretty

[01:02:23] Sage Tichenor: there's so much good food

[01:02:24] Sean Walker: So much good food, dude. I was, I'm always surprised when I'm there. It's, there's so much good food. Like the last time I was there, Kelby took us to this best Thai food I've ever had in my fricking life. Dude. I was like, really? In the middle? This is like a little hole in the wall thing. He's like, dude, just, it's good.

[01:02:40] Sage Tichenor: he knows where to find

[01:02:41] Sean Walker: It was so

[01:02:42] Sage Tichenor: good at those.

[01:02:43] Sean Walker: It was so good,

[01:02:44] Sage Tichenor: I believe it.

[01:02:47] Sean Walker: It was, it was like, it was killer. So I'm stoked. Let's do it. Let's do it. Food Tour Nashville. I'm in.

[01:02:52] Sage Tichenor: See there.

[01:02:54] Sean Walker: All right, well thanks Sage for coming and

[01:02:55] Sage Tichenor: you both.

[01:02:56] Sean Walker: Thank you to Allen and Heath and RCF for letting us yap about audio nerd shit for another week.

That's the pod y'all. See you next week.

Music: “Break Free” by Mike Green