Booming Sounds with Dolby Atmos's Tim Pryde

Dolby Atmos Music head of business strategy Tim Pryde joins the podcast to talk about the past, present and future of sound.

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Episode Transcript

Speaker 1 (00:02):
Bloomberg Audio Studios, podcasts, radio news. I'm Matt Miller and
I'm Hannah Elliott, and this is Hot Pursuit.

Speaker 2 (00:20):
All right, we have today an interview that touches my heart.

Speaker 1 (00:26):
Actually, yeah, we're talking with Tim Pride, who is the
head of business for Dolby at Most Music and a
great musician in his own right. I think he's being
way too modest when he says he's sort of so so, but.

Speaker 2 (00:37):
I definitely want to get his new record.

Speaker 1 (00:40):
He refused to tell us. I just remembered he refused
to tell us. I was sort of furiously googling trying
to find it and I couldn't find the name.

Speaker 2 (00:48):
So, by the way, you've talked about this before because
I think it was part of your Cadillac Escalade IQ experience.
But tell us again how you got these guys.

Speaker 1 (01:01):
Yeah, well, it's really interesting. I went up to San
Francisco for to drive the Escalade IQ, which is the
electric version of the Escalade, and the driver was great,
but we sort of had this like forced march to
Dolby HQ one evening and I went in thinking, this
is ridiculous. Why are we here? This is supposed to

(01:23):
be a car launch. We don't need to go to
some press junket at Dolby. And Jamie, the pr for Dolby,
came up and was so friendly and just completely disarmed me,
and it was like, you know, come sit in the car.
Let's sit in there. There was a Cadillac Optic, I think,
so he was like, come on, come on and join
me and sit in the car and we can listen

(01:43):
to Chaka Khan and Tim Pride, our guest today, was
also in the car, and these two completely flipped my
opinion about why I was there and really made me
evangelist for an evangelist for what Dolby is doing in
atmost and for car sound in general. And we just
sat in this car for like thirty minutes and listened

(02:04):
to music and talked about their technology. It was awesome,
And I really didn't know anything about Dolby before then,
but that is how I first met Tim. And then
of course when I wrote this piece on sort of
automaker's embracing sound in cars and it becomes really a
status symbol in luxury cars, then of course I went
back and interviewed Tim for that story too. So it's

(02:27):
been great knowing them, I've learned a ton.

Speaker 2 (02:30):
Well, I obviously care a lot about music and cars
as well. Let's get straight to it. Here's Tim Pride.
I think that automotive I think that audio is one
of the most important and least discussed areas of car

(02:50):
lover sort of universe, right, I mean, like in road
and Track and car and Driver on any of the
websites in pursuits even when we're writing and reading about cars.
When we're talking about cars, almost no one ever mentions
the stereo and listening to music in a car is

(03:12):
one of the best things you can possibly That's like
what a car is for after driving, right, Yes.

Speaker 3 (03:18):
It's the number one place people listen to music.

Speaker 2 (03:20):
So what's the deal? How come no one ever? I
guess Tim, you're in a different kind of industry, so
you probably talk about it all the time. But do
you notice that when people review cars, nobody other than
like Savage Geese ever talks about the stereo system.

Speaker 4 (03:38):
Yeah, the audio system has not been one that's discussed
or talked about much. It's nowadays becoming something that is
advertised or at least they'll be a mention of it
by a lot of car partners. And auto manufacturers. But
it is incredible given how many people I talk to
who are music lovers saying I discovered music riding in

(04:01):
my car, you know, when I was in high school,
or talking to artists who are always saying, you know,
I always listen to my music in my car after
a mix because that's where I trust the audio system.
I mean, it is It is incredible that it isn't
talked about more, but maybe it's because there hasn't been
a lot to talk about in the last you know,
a couple decades.

Speaker 1 (04:22):
Can we go back to the very beginning of this,
tim because I'm very interested in the history of Dolby
and which started out as a sound canceling technology. Is
that that's correct, right? And this will come back to
cars because sound canceling seems to be a building block
to creating a great environment for listening to audio. Can

(04:45):
you just sort of walk us through the development and
the history of Dolby from where it started to where
we are now with atmost and then explain what atmost
is because when I met you, I didn't know what
atmost meant, so we need some magic here.

Speaker 4 (05:01):
Sure, Dolby has an amazing story behind it. We actually
are celebrating our sixty years this year. And Ray Dolby,
the founder, was a big believer in how technology can
unleash a creative's abilities, how a creative, an artist, an

(05:22):
engineer can do more with technology as it pertains to
their craft. So where he started was really getting to
understand in a music space what challenges musicians in the
sixties were having when it came to recording audio. And
what he noticed was as you would record a let's

(05:45):
say a three piece jazz band, if you needed to
add an additional track, like say a vocalist, there would
be noise that would be introduced. And so what happened
is you'd get this layering of noise on top of
every track once you record worded it. So most recordings
up until the sixties were done live in a studio

(06:07):
with everybody having to nail their take, and the idea
of multitrack recording, which was around, wasn't really adopted because
of the noise problems. So what he introduced was noise
reduction technology, and that paved the way for multi track recording.
That is one of the absolute critical points in audio

(06:31):
history that changed the way that musicians and artists created music,
which was, hey, we can actually layer more instruments vocals
on top of tracks, and that is how today everybody
does it now. And so we got started in noise
reduction technologies and through the sixties and seventies, if you

(06:52):
look at a lot of vinyl records or in the
eighties cassette tapes, if you look on the packaging, you
actually see recorded in Dolby.

Speaker 3 (07:00):
Or cars stereo, right yeah, And.

Speaker 4 (07:03):
A lot of that was because of this technology and
products that the company was building was integrated into the
recording studios. The interesting thing about that is that Ray
and team was not just thinking about the creatives as well.
They were also thinking about the consumers, the people who
would be hearing this stuff, and so they needed to
create technologies for the playback environments. If we use the

(07:27):
car as a great example, which a lot of people
of maybe my generation or older remember, is you'd sit
in your car and there would be on the stereo
system a Dolby button or a Dolby NR noise reduction button.
Well that was the put it simply the consumer side
or the endpoint to get the most out of the

(07:49):
Dolby technologies that were being made for creatives in the
studio and for the consumer sitting in the car. So
Dolby has a legacy in working with creatives, understanding the
challenges that they have, using technology and engineering to solve
those challenges and problems, and then most importantly, ensuring that

(08:10):
the creatives and the artists, all of the things that
they come up with are being able to be heard
seen by the consumer. And so Automotive for us has
got We're steeped in history there because we did so
much of it and so many people know us from
the Dolby NR, Dolby Button days of the seventies and

(08:31):
eighties and nineties.

Speaker 3 (08:33):
So now you.

Speaker 4 (08:33):
Fast forward to today and you asked about Dolby atmost.
Dolby ATMOS is the evolution of what Dolby started in
the seventies, which was immersive audio. In the seventies there
was a little film, an indie film that came out.
It was called Star Wars, and Ray Dolby and George
Lucas got together and George said, I really want to

(08:54):
do something different when it comes to the storytelling element
of sound, and so I'm doing that with the music
which on Williams scoring.

Speaker 3 (09:00):
This amazing score for that movie.

Speaker 4 (09:02):
I'm doing it with the visuals that are going to
be seen that's never been seen, but the audio experience
must be something unique, and so they set out to
create the first truly immersive audio experience in cinema, which
was with the debut of the original Star Wars movie
in seventy seven, and that was Dolby Surround. So Dolby
Surround has then evolved over decades to where the idea

(09:24):
that you can place and put audio in different parts
of room, whether it be in a cinema or in
a home through headphones and now in cars, is one
that we've been really at the very beginning of Dolby
Atmost is our latest greatest immersive spatial technology that creatives

(09:46):
can create in. So I'm a musician, I'm a sound
designer on a dub stage at a Hollywood movie. I'm
a podcaster trying to create some type of immersive audio
experience for my listeners. I'm a game developer, whatever genre
of content. Dolby Atmost is the engine, is the tools

(10:07):
and the playback products that allow for this immersive experience,
and automotive is really where we're very excited about because
to Matt's point, we do so much listening of music
and audio, and now podcasts and audiobooks and even av
is starting to come audio video experiences where being immersed

(10:29):
in a set cabin where you have you're not moving,
you are sitting there somewhat like a movie theater. It's
a lot of fun for the creatives to know, Hey,
if I place an instrument here or there behind somebody
or in front of them, they're going to experience that
in their car, and they might be experiencing it for
a significant amount of time if they're taking a long

(10:50):
drive somewhere down to San Diego, right, Matt.

Speaker 2 (10:52):
Yes, from San Francisco down to San Diego. By the way,
the first movie wasn't wasn't the first movie Clockwork Orange,
the first Dolby movie.

Speaker 4 (11:01):
Well, Star Wars was the one that really got it
on the map as far as Dolby being the thing
that really showed through as like, oh this is Star
Wars presented in Dolby. So yes, Clockwork Orange was working
with Ray and how they developed the sound design. But
Star Wars was the thing that when we look back
in time and people look at like win did the

(11:23):
mass become aware of what Dolby was doing, it was
Star Wars.

Speaker 2 (11:26):
In terms of the bands, do you know who some
of the first bands were that recorded with the technology.

Speaker 4 (11:33):
So what Ray was working on initially was a lot
of jazz and classical artists because they were the ones
that were starting to try to figure out, hey, instead
of a live environment, can we do things where we're
adding multi track. That technology then got adopted by say
like Capital Records, and then Capitol Records started incorporating it

(11:55):
into their studios, and so you'd have artists of all
from now they'd be classic rock, but you could have
folks like Elton John or led Zeppelin or folks like
that who are leveraging the technology back then. And ironically,
Elton John is one of the artists we worked with
as we started to do stuff in Dolby atmost.

Speaker 1 (12:16):
I mean he's eternal. I mean he's timeless. Yeah, not surprised.

Speaker 2 (12:21):
So what I'm wondering what I always wonder when I'm
listening to music in Dolby, you know, or I guess
now in at moost is does it have to be
recorded with that technology to sound perfect with that technology?
Or you know, if I'm listening to an old record

(12:41):
by the Pink Floyd or the Dead, like, can I
use Delby to enhance it even if it wasn't recorded
with Dolby.

Speaker 3 (12:48):
That's a great question.

Speaker 4 (12:49):
So Dolby Atmost is not something you necessarily record with.
You stilled all the same recording techniques and technologies, microphones,
multi channel, all that still remains the same dolbiy atmos
for the creatives in this case, a mixing engineer is
something they used to mix in. So think of it
as an environment that we're providing them that gives them

(13:10):
the sense of space around them to place instruments anywhere
they want in the room, whether they want them to
be sitting static or they want them to be moving.

Speaker 3 (13:19):
This can be.

Speaker 4 (13:19):
Applied to any music, any multi channel music.

Speaker 3 (13:23):
So you use the example of Pink Floyd.

Speaker 4 (13:25):
Last year there was a release fiftieth of that with
Dolby Atmost.

Speaker 3 (13:30):
Incredible incredible.

Speaker 4 (13:32):
I mean, it's incredible record, but it's also an incredible
mix to where they had all the original multi track tapes.
They then brought it into an atmost work environment, which
just you know, at most work environments are a part
of almost every sound design environment today. Because we've integrated
our tools into all the most common digital audio workstations.

(13:54):
So the stuff that your team is probably using to
mix you today right now most likely has Dolby autmost
too already.

Speaker 3 (14:00):
Integrated into help.

Speaker 4 (14:02):
So that makes it easier for creatives that way, they're
not even a second guess.

Speaker 3 (14:06):
So then you take Pink Floyd.

Speaker 4 (14:08):
You've got a mixing engineer that's working on that, and
they would say, okay, in the case of an album
like Pink Floyd, which has been listened to billions of
times over the last fifty years, you're.

Speaker 2 (14:18):
Talking about Dark Side of the Moon, by the way,
and I get when I think of Dark Side of
the Moon without even listening to it, I get goosebumps
already just thinking up like all the clocks going off
all around the room or us in them, and like
you know, money with the cash register, Like what an
incredible what an unbelievably great record.

Speaker 4 (14:39):
It's a great record, And how you take that record
and do something even more immersive without changing it too
much where people are now saying, well, this sounds different,
and that's that's where they are terrifying it is, and
that's where the creatives artistry and their skills come in
like we purely are building the tools based on their feedback.

(15:00):
But then they're the ones who have to say, Okay,
I'm going to take David Gilmore's guitar and I'm going
to move it to the right because if I listen
to the original stereo, that's what they wanted. But now
I'm going to do it a little bit more. I'm
just going to you know, move and so subtlety when
it comes to things like catalog music is often applied.
What's exciting for new music is when it's never been

(15:21):
heard before. So I'm an artist that's creating a brand
new album and I'm loving what I'm what atmost can do.
Let's do the whole new album in ATMOS and get
really extreme with where I place things, how it sits,
how I can use it.

Speaker 3 (15:37):
That's where it really gets exciting.

Speaker 2 (15:38):
Hannah, Can I just a quick comment as almost a
public service announcement to our listeners before before you ask
your next question, and unrelated, anyone who likes or anyone
who loves Dark Side of the Moon should check out
if you haven't already, an album by a band called
The Easy Star All Star Dumb Side of the Moon,

(16:02):
which is like reggae. It's like a reggae version of
Dark Side. It is also amazing.

Speaker 4 (16:10):
Yeah, it's a it's a wonderful Uh, it's like a
reimagination of it in a way.

Speaker 3 (16:17):
Yeah, it's cool. I'm familiar.

Speaker 1 (16:19):
I was going to say, to finish your sentence, if
you love Dark Side of the Moon, the completion of
that sentence is you are a man because I am
not the target audience for Okay, well maybe it's a
generational thing, but I mean, I have you ever had

(16:42):
an artist or a band that were very hesitant and
reticent to go back in and start changing things on
their masterpiece? I mean that seems very fraught emotionally and technically.
How do you talk to them about Yeah.

Speaker 4 (17:01):
So there's those two buckets I think are important, the
emotional side and the technical side. So yes, there are
artists that are like, look, I never want to I
don't want to open that Pandora's box again. That was
a difficult time for me when I was writing that record,
recording that record. For me to go and now dig
up into that, that's hard. The technical side of it

(17:21):
is relatively easy as long as as long as the
creative team, an engineering team has access to the multi track,
so the original multi tracks. In some cases they might
not exist. In other cases they have to go and
find them. They're in some locked up cave somewhere. They
need to restore them. So some can be more technically

(17:42):
difficult than others.

Speaker 2 (17:43):
What we have.

Speaker 4 (17:44):
Found for a lot of again what we call catalog,
which is really music that's two three years plus older.
But when you think of like music from the seventies, eighties, nineties,
where artists are going back in and reimagining the music
and delby at most, it's oftentimes done with the trusted
artists engineer. So like the mix engineer that the artists

(18:06):
spent time with, you know, for decades. They trust them.
They know that they're going to be able to take
what atmost can do to their original vision and then
do something new with it.

Speaker 3 (18:16):
So it is a it's a it's not a one
answer to all of it.

Speaker 4 (18:19):
But you're right, it's emotional, there's technical, there's operational, there's
if the artist isn't around anymore, there's going to be
a pro mixes. Yeah, like is it one person?

Speaker 3 (18:31):
Is it?

Speaker 1 (18:31):
You know?

Speaker 4 (18:32):
I mean they're you know, Miles Davis Prince. All these
artists have got like multiple people who need to approve
those reimagination and that that sometimes can take time.

Speaker 1 (18:44):
Tim Before we get into car talk, can you tell
us just about your journey you. I know that you're
a very accomplished musician in your own right, and I
also think are you a voting member of the Grand.

Speaker 3 (19:01):
Yes?

Speaker 1 (19:02):
Yeah, so that's fascinating to me as well. Can you
just tell us a little bit more about your journey
and how you ended up at Dolby where you are
now basically the boss.

Speaker 4 (19:13):
I I was eight years old and I I took
karate lessons and I had a guitar, and I had
to make a quick decision on which one I wanted
to go and spend more time on. I could either
do more karate or I could take more guitar lessons,
and I was not very good at karate. So I

(19:34):
quickly got the bug for music and started taking more
lessons on guitar.

Speaker 3 (19:37):
And so, like a lot of kids, I just it
grabbed me. I got the bug. I loved it.

Speaker 4 (19:43):
I was decent at it. But what I really loved
about music was the ability to.

Speaker 3 (19:50):
Play with other players.

Speaker 4 (19:51):
And learn what it was like to be on you know,
in a team, in this case a band. So by
the time I was thirteen, I was already playing musician
with other music, playing music with other musicians, and I
learned quickly I'm not a very good guitar player. I'm
not going to be the next Eddy van Halen. But
the people that I'm surrounding myself with were really good,
really good drummers, really good guitar players, and so they

(20:13):
made me better. And that set me on a path
to where, Okay, if I surround myself people were better
at what they do than I am, I can be successful,
which sounds like something out of like a business book
or something, but like it was true. And then the
next kind of big thing that happened to me was
my very first job. My very first job, when I

(20:35):
was fourteen fifteen years old, was working at a music.

Speaker 3 (20:37):
Store in Chicago.

Speaker 1 (20:38):
Chicago, Okay, yeah, Sugar.

Speaker 4 (20:40):
Just right outside the city, and it was a mom
and pop store. They had a couple of locations teach,
you know, they taught, They had teachers sheet music, which
for younger people listening. Sheet music was a piece of
paper that had notes on it that you would put
in front of you and then read.

Speaker 3 (20:58):
Yes, very analog.

Speaker 4 (20:59):
We had lots of that and guitars and amps, and
so very early on I learned, if you're going to
spend time doing something, do it in an environment that
you love. Like I was taking out the trash, cleaning toilets,
mopping the floors literally, but at least I was around
other musicians, and I very quickly learned about the industry,
instrument industry teachers. I went to school and got an

(21:20):
undergrad in both business and music and where you just
started working Illinois State University, and it was a great experience.

Speaker 3 (21:29):
It was one of them.

Speaker 4 (21:30):
It was a great experience of just kind of that
marriage between like music, creative and then also business acumen.
And that was really the merger of the two things
that I always really enjoyed, which is I love business
business strategy, but I also loved music and creative and
I love being around creatives and musicians. And so fortunately,
throughout my entire life, I've been able to write and
record and perform music at a I wouldn't say professional

(21:53):
level where I was like out touring all over the place,
but like I did enough of it to where I
still love it. I didn't get burnt on it, you know,
like a like a chef might get burnt where they
like cook all day and the last thing they want
to do is cook at home. I was able to
always have music part of my career. I was fortunate
to work at a company called Monster Cable. I was
there the inception of Beats by Dre and got to

(22:15):
experience that whole, that whole how that was born, what
happened there, what we did when we brought that to market.
And I've had lots of really great successes along the
way when working with companies like Jawbone and the Jam Box,
and now at Dolby, where I've been brought on to
head up the business and business strategy as it pertains
to how we bring Dolby at most music to musicians,

(22:39):
to streaming services, to partners, automotive partners, TV partners, et cetera.
So I've had a I mean, it sounds like it
has been I mean, I'll admit it, it hasn't been easy.
But the thing that has always been true is my
love of music, my love of creativity, my love of
being around creative people, but also understanding that the business

(22:59):
side of things and the strategy that goes behind it
is so to me fascinating and also a creative path.
And so where I am today is really an ideal
situation where I get to be in an environment around
people that are better at doing the things they do
than I am, who push me in a business place,
but also still have the ability to be creative. I

(23:20):
still write music, I still work on music. I just
released an album of my own, indul the atmost.

Speaker 3 (23:24):
That again, what's it called. I'm not here to promote it,
so I'm.

Speaker 1 (23:27):
Not promoted promoted.

Speaker 3 (23:30):
But I use that.

Speaker 4 (23:31):
I use that as a vehicle for my creative outlet.
But then I also like believe in what we do,
and so I use our own tools for my own creativity.
I get to hear it in a car yet, because
it just released, so I got to hear in a
car soon. But uh yeah, So that's that's been my journey,
and it's been a it's been a great, great journey.

Speaker 2 (23:48):
Panna. Do you know why Tim's eight year old decision
reminds me a lot of Ralph maccio?

Speaker 1 (23:55):
No, please please educate me.

Speaker 2 (23:58):
Well, I am imagine you've seen the Karate Kid, you know,
wax on, wax off, yes, and then Ralph Maccio was
in I think a much better movie a couple of
years later called Crossroads.

Speaker 4 (24:09):
Oh that movie was that was one of those that
and Back to the Future as a kid when you
watch that, I mean those were like guitar amazing, just
incredible adventures. And yeah, the Crossroads movie for people who
don't know it, it's basically the story of it.

Speaker 3 (24:25):
It's a retelling.

Speaker 4 (24:26):
Of of how a famous blues artist had gone down
to the crossroads and made, you know, a deal with
the devil, did become this amazing artist. And Ralph Macchio
plays this like kind of young kid, kind of on
the same path, and he has to compete with the devil,
who's played by Steve I who's an incredible guitar player.

Speaker 2 (24:45):
And Robert Johnson, right is I mean think the idea is.

Speaker 4 (24:48):
To be Robert Johnson, that he's that his his mentor
in it.

Speaker 2 (24:52):
But of sorts, so many great musicians have made deals
with the devil. It could have been Zeppelin as well,
or you know. Oh yeah, so that is such a
cool story. And let's get to cars now. I mean
everyone has had experiences with music in cars, right.

Speaker 1 (25:07):
It's yeah, but car companies haven't realized that.

Speaker 2 (25:11):
Well, I just wonder can you tell us tim about
the history of audio and cars, because when I was
a kid, I didn't notice that my car stereo kind
of sucked, you know, And it wasn't until I was
older that I realized you've got to dump thousands and
thousands and thousands of dollars into a car to make
sonically sound. How does that worked out.

Speaker 3 (25:34):
Over the last few decades.

Speaker 4 (25:35):
I think there's been a lot of improvements to what
kind of comes standard in cars versus say in the
sixties and seventies, where an eighties where they wouldn't put
a lot of investment, time or effort into.

Speaker 3 (25:46):
The car system.

Speaker 4 (25:49):
You know, you had eight tracks, those didn't sound all
that great, and there was a huge industry that was
born out of it. I mean I mentioned that I
worked for Monster call a huge part of Monsters history,
especially in the nineties, was in car audio products and
accessories because there was such a huge market for third

(26:10):
party folks going in and you know, souping up their system,
even if it's some inexpensive car. They almost put just
as much money into the system itself.

Speaker 2 (26:22):
But then over tie there used to be a store
at every mall right, you'd go and put a pile
driver in your Nissan Sentra so you could have as
much base as possible. Yeah, A kicker.

Speaker 4 (26:33):
Yeah, those retailers back in the I mean if you
think of like retail consumerlatronics, retail back in like Circuit City,
best By days, all those they had huge sections of
the stores that were dedicated to car audio, right. I
mean that was where guys would come in and get
their Bazuka subs and huge.

Speaker 2 (26:54):
Women right, or women might want to put a Bazuka
sub in her in her car.

Speaker 1 (26:57):
I mean I'd like to meet that one.

Speaker 3 (27:00):
Yeah.

Speaker 4 (27:01):
So I think what's happened now is that in the
last few decades, I think auto partners are you know,
auto manufacturers are looking at like, hey, we can improve
the sound quality. We could add more speakers, we could
And part of that is because the source material was
getting better. I mean, when CDs were introduced, you now

(27:23):
had a more consistent, you know, i'll say, higher quality
audio experience that was available to consumer that they could
take with them versus say a terrestrial versus or a cassette,
where those weren't always consistent in the playback experience, CD
introduction really gave way to where people were like, Hey,
I can have a pretty killer audio experience in my
car because this source material is already starting at a

(27:46):
pretty good place, which is a good, you know, high quality,
fairly high resolution, shiny disc. And so with that, let's
build systems around that. Nowadays, with most people streaming to
their cars or using some type of connection to their

(28:07):
phone device, they're also finding like, yeah, the audience is
fairly decent, and I want to improve system is sound
in my automobile?

Speaker 3 (28:16):
What can we do there?

Speaker 4 (28:17):
And so we've noticed that in the last few years,
and as atmost was starting to gain a lot of momentum.
The big question we got from all the artists was, hey,
when is this coming to the cars? Because I use
my car to check my mixes. And for those of
you who don't know what I'm talking about, when an
artist is doing a mix in a studio, nine point

(28:41):
nine times out of ten they will want to rip
a CD, a cassette, a USB stick, whatever a decade
you're in and bring it into their car and listen
to it because their car is the most trusted environment
to them. It's the system they listen to the most so,
even if the artist car is just some middle of

(29:02):
the road basic sound system, they will still bring their
mix into that, listen to it as a reference and say,
oh wow, the vocals are definitely too quiet, because I
know what vocals sound like my car, and they're typically louder.
So go back into my million dollar studio or multi
hundred thousand dollars studio, but then still come into my like,

(29:25):
you know, forty thousand dollars car and make my mixing decisions.
It's just another reference point. But that's starting to be
you know, that has always been a part of a
workflow for a creative and now they want to see
autmost as a part of those workflows in these cars.

Speaker 1 (29:46):
I have to imagine too, that some of the hesitancy,
I mean, until recent years with automakers has been the
weight issue. I mean when you're adding like when you're
adding in sound ending and you're adding in speakers and
whatever else. Yeah, yeah, you just that's like the opposite
of what you want to do for most.

Speaker 2 (30:06):
Cars and cost right yeah.

Speaker 1 (30:09):
Yeah, But obviously now we're really in an advanced stage
where those aren't as much of a factor.

Speaker 2 (30:15):
By the way, Tim what was the uh, you know,
when I was a kid, my first car was a
nineteen eighty four baby blue Volvo station Wagon, and I
had two cassettes. I had a record by Lard which
was like Jello Biopera and Ministry doing a And I
had a King Missile record with the detachable penis single.

(30:35):
And those are the only tapes I had for like
a year and a half or something. Did you do
you have a memorable tim like car soundtrack from your youth?

Speaker 4 (30:49):
So my first car was a nineteen eighty eight four
Bronco two, absolutely lovely car, and same thing. It came
with a stock stereo system set deck, and I was
one of many who then ran out to the local
store and bought an Alpine removable face system and a
six disc CD changer that was mounted to the back

(31:09):
and all that.

Speaker 3 (31:13):
I think.

Speaker 4 (31:16):
It was the It was the music that I'd be
sharing with friends in the car were the ones that
had the most memories with were suddenly you'd be listening
to a song together with you know, a buddy, like
let's say it's you know, my friends and I were
really into a lot of progressive music, so we put
on something like, you know, King Crimson, or Pink Floyd,

(31:42):
and you'd all start cruising around cranking up the music
and it was like, wow, this is this is awesome
to be cruising around with the music cranked. Rush was
probably one of the ones that we did the most
of where it's just like, okay, throw on Tom Sawyer,
whose system can handle that first big bass hit? And
we literally like my body had had a big old
station Wagon. The drummer because he needed station way. Another

(32:03):
friend of mine had a jeep which was a pos
but like because it was just a basic, basic and
the sound system was terrible because it was a canvas
top jeep and it just sounded terrible. And another friend
of mine had like a Forerunner and we would all
like what sounds best in here?

Speaker 3 (32:18):
And yeah it was. It was great.

Speaker 2 (32:19):
Did you smoke cigarettes in the car back then? Of course, yeah,
people used to smoke in cars.

Speaker 4 (32:26):
Now, this is in the Midwest where would be freezing
and you'd have your window.

Speaker 2 (32:29):
If I see somebody smoking in the car, I just
can't imagine how bad their car smells. But back then
it was like a normal Hannah, what about you, Did
you have a car music member?

Speaker 1 (32:38):
No, I mean I had an old Skylark, like a
seventy one bog Skylark that I shared with my sister
that we bought for two hundred dollars from a little
old lady who went to our church, literally, who drove
it to church on Sundays. And it was a great car.
But I don't even remember. I honestly don't even remember
if the radio worked. It must have, but you know
I do not. I don't have any recollection of that

(33:00):
car because I was so embarrassed of it. I sold
my half of it to my sister as quick as
I could. No, I mean, drive me around. It's very
cool now. It was all of like this, all of
green color. It was super cool. But yeah, I mean
the radio was like an insert, you know, it was.
It was forgettable.

Speaker 2 (33:18):
Looking at I'm looking at Buick Skylarks like sixty nine. Yeah,
so cool.

Speaker 1 (33:23):
They're very cool. They're very It was a great condition
to all.

Speaker 2 (33:26):
Right, So how about Tim? My question is how good
can automotive audio be? Because I hear from a lot
of people that it's just not the right environment for
a high fidelity sound experience. Interesting, I don't know if
that's true or not. That's just what I kind of hear.
But I do know that even expensive luxury cars, even

(33:49):
those that have like you know, Macintosh branded stereo systems
or like you know, top of the line stuff, it
just doesn't sound that good. Like it disc can't handle
the bass, or I'm not getting the mid range that
I want, or I don't know why. It just isn't
as good as it is in like the sound studio

(34:10):
down on housed in a Broadway, you know, right, Yeah, part.

Speaker 4 (34:14):
Of that is a lot of people listen to a
lot of different genres of music, right, so that those
genres can have different mixes, different timbre, different soundic qualities.
And a great serio system is one that knows what
to do with all that. A great atmost system is
really meant to be recreating what the artists intended when

(34:35):
they created their mix and autmost and because the nature
of ATMOS is immersive, meaning there can be sounds literally
placed around you, it gives more room and gives you
more perceived fidelity. You can hear more nuanced and more
detail in the music and at most than you can

(34:55):
with stereo, simply because you're no longer fighting for space.
So if I'm doing a stereo mix, which I love.
Stereostereia is a wonderful thing. There are things as a
mix engineer that you do to compensate for the fact
that you're going to be going through two speakers or
two channels, even if there's multiple speakers attached to those
two channels. In at Most and Hannah, you heard this
when we were giving you some most.

Speaker 3 (35:16):
You're even saying like, I've never heard the guitar do
that before. I didn't know.

Speaker 4 (35:20):
Which keyboard was doing this choca thing in the background. Yeah,
like it's always been there, but at moost is allowing
people to now hear more of that. So to your
question matter around the fidelity, we have seen a huge
shift in mentality, especially with our auto OM partners who
are there's now twenty five of them that have totally

(35:41):
gotten on board with this, Like Wow, this experience is
something that is truly unique to where I am getting
that almost high five audio file studio file studio like
experience within the car because it's a controlled environment. It's
a cabin that meaning within the cabin itself for sound.

(36:04):
It's something that a lot of the audio engineers that
these companies are really geeking out on because it's like, oh,
now I can finally really push the limits of what
audio can sound like in a car, because yes, the
materials can be expensive, but they're also getting more affordable.
I know what I can do with DSP and how
to place speakers around inside of a car, and what

(36:27):
to do with them to tune them to have the
best experience. And so now when people here don't be
at MOST in any of our car partner's cars, it
is always and I'm not it is always a oh
my god, this I've never heard music like this before.

Speaker 3 (36:43):
We hear that all the time Transcend.

Speaker 2 (36:47):
I mean, you have multiple partners, so I'm sure you
want to be fairly brand diagnostic. But can you name
a few examples of some amazing car stereo systems you've heard? Like,
have you heard one? And it just blows your mind?

Speaker 3 (37:02):
So we were yes.

Speaker 4 (37:04):
And what's fun too, is that they continue to tweak
and adjust and improve on them because they can't the
through the beauty of software. The recent launch we did
with Cadillac, their entire EV line is now going to
be supporting if it doesn't already.

Speaker 3 (37:19):
Dolby Utmost was really incredible and the.

Speaker 4 (37:23):
Reason why they're one of the more recent ones that
have come to market is that they spent time with
the artists, with musicians in their studios, listening to what
it sounds like in a studio, and they said, how
do we make the studio come to the car. That
was their mentality, and that mentality is really what drove
that team to take the time.

Speaker 3 (37:44):
It was a couple of.

Speaker 4 (37:45):
Years before they brought it to market because they wanted
to get it quote unquote right, and right meant an
artist could sit in their car and go, wow, this
this does sound a lot like what I experienced in
the studio. So the Cadillac, the work that Cadillac has
done has been great. I've heard a majority of them,

(38:08):
not all of them, but a majority of them, and
they all sound great for different reasons, depending on the
placement of the seats, the speakers, et cetera. The Polestars
are really cool because they've got speakers that are in
the headrest, so that gives them more ability to adjust
what they do there and how they render the audio
within the car. And we work with all these partners

(38:28):
to help them in tuning their cars.

Speaker 1 (38:30):
Is an ev intrinsically better for sound than a combustion
engine vehicle just because it's quiet.

Speaker 4 (38:38):
That's an interesting question there. I mean, we had gotten
a question once from somebody saying, so it's Dold the
utmost only for evs, because the trend had been almost
all the cars that were coming to market with THELD
the utmost for evs. And the answer was it just
so happened to be a coincidence because those were the newest.

Speaker 3 (38:56):
Cars coming to market for many of these partners.

Speaker 4 (38:59):
It wasn't that it has to be an EV, but
a majority of them more because that's where they were
putting most of their R and D and promotion and
marketing and et cetera.

Speaker 3 (39:09):
There is an.

Speaker 4 (39:10):
Advantage to an EV from yes, the engine noise is
you know, next there's next to nothing, and they're they're
incorporating noise into the car so that people can hear it.
So the cabinets tend to be a little bit quieter
when it comes to that. But then at the same time,
every OEM is doing something different and auto partner is
doing something different when it comes to inside car I

(39:31):
sound isolation.

Speaker 3 (39:32):
You know, some are.

Speaker 4 (39:33):
Really deadening the sound inside, some are not as much.
It just depends on what they're doing there. That's all
part of the system. When you think of the system,
car partners think of the system as also incorporating the
sounds of the car itself.

Speaker 2 (39:47):
Or I'm driving this right now. I'm test driving this
Mustang GT which is a convertible, so obviously it's got
that high fidelity downside, but I also the speaker, the
stereo is quite good. It's a banging all of some setup.
And I've been listening to a lot of metal in there. Earthless.
Earthless is this trio from San Diego that I recommend.

(40:08):
It's like, oh, okay, metal jam band. But what I've noticed,
or what I suspect is because it's a Mustang GTE
and they want you to feel like a hooligan, and
kind of the exhaust is you can change the volume
of it. I think they're also playing the exhaust through
the audio system or just to make it, yeah, to

(40:30):
make it sound like you're the V eight really is kicking,
and it is. I mean, it is a fun car
to drive, but I keep trying to turn off the
exhaust so I can just hear Earthless and Dude, all
of the high end audio systems that I've played with
in cars and even at my at my in my
house have these equalizers that are either just as simple

(40:52):
as treble and bass or treble mid and base, or
they're like you know, I, as a person who has
no expertise or experience with sound engineering, I never know
how to set those Is there a proper way over?
Is it different for every genre?

Speaker 1 (41:09):
Like?

Speaker 2 (41:10):
Can we get an AI to set it up for me? Like?
What's what's the deal with those equalizers? Is if I
leave it on zero zero zero, because I feel like
Pink Floyd and you guys have done all the work,
Why would I want to change it?

Speaker 3 (41:22):
Right?

Speaker 4 (41:23):
You know, I always think of EQ as more preference.
And if you go into it with that mindset versus
how do I tune this? Am I doing it right
or wrong?

Speaker 3 (41:33):
You could?

Speaker 4 (41:34):
It gets real dangerous. And the reason why a lot
of AV systems, whether whether it's an AN a VR
in somebody's home theater system or the audio system in
a car, give consumers limited access to that you have
to actually go deep into a menu with TV, like

(41:55):
you have to go deep into the menu if you
really want to adjust the picture.

Speaker 3 (41:58):
Is that you could really screw it up very quickly.
Especially if you don't know what you're doing.

Speaker 4 (42:02):
And so I always think about things like EQ and
a car like Based mid Trouble as a preference, and
usually it's a set it and forget it. You know,
you kind of get it. It's like, Okay, I mostly
listened to the genre music. It's a little bass heavy,
so I'll turn the bass down just a little bit.
Or I listened to one genre and it's maybe he
needs a little more base. I find that happy medium,
and then I set it and forget it. What we've

(42:25):
done with Dolbiatmoson when we work with our partners is
they are trying to find ways to make the system
work the best it can for any genre, and their
goal is really to represent what the creative was doing
in the studio. And so, like Hannah, when we were
sitting in the car, we listened to Sha Ka Khan
right yea, and then we listened to I think we

(42:48):
listened to some Marvin Gaye, Yes, John Prince, we listened
some more some newer music in there.

Speaker 3 (42:57):
We were kind of going, we were kind of going across.

Speaker 4 (43:00):
And at no point did you ever at least you
didn't say anything to me about oh turn the volume up,
turn it down, turn the base up, Like no, that
kind of goes away. And so I think Matt for
you is just like if you're somebody likes a little
bit more base, then just turn the base up and
know that everything you're gonna plays got a little Or
somebody who's like, I want a little bit more high
end because my ears are getting older and I need

(43:22):
it's rolled off a little bit, Like, yes.

Speaker 3 (43:24):
That's it's just preference.

Speaker 1 (43:26):
What is that speaking of? Like equalizing things? Is AI
becoming a factor in the work that you do? And
what is the future of sound for Dolby in the
next five ten years.

Speaker 4 (43:42):
So AI is really exciting when it comes to how
it can really improve and enhance creativity in general. For Dolby,
we always start with the creative because they are the
humans who are the human creative and all the products.

(44:03):
Even at the top of the hour, when I talked
about how Ray started with sitting side by side with
a mixed engineer trying to understand what is the problem
they're having and them saying, oh, there's all this noise
getting introduced that you know fit Sixty years later, it's
still true to where we sit side by side with
the creatives and try to understand, Okay, what is getting

(44:25):
in your way of being more creative? Is it workflows
that could become more efficient? Is it setting up your
system faster? And those are the things we we learned from,
right and so we've we definitely AI is not news
to us. We've used it in a lot of our
research and technology as we build products for creatives and
build products for consumers.

Speaker 1 (44:47):
And it's not a scary thing. It's what I hear.
It's a tool. It's a tool.

Speaker 4 (44:52):
It is a Yeah, we think of it as a tool,
and AI is something that should be and is being
embraced by lots of people for ways to become more efficient,
more effective. So if you think of AI as like, hey,
could I use this as something that inspires me? Could
I use this as something that helps get the work
out of the way so that I can just work. So,

(45:12):
for example, if I'm a mixing engineer, you know, really
good mixing engineers are ones who have already kind of
got their system up and ring, and they know how
to just get started thinking about it.

Speaker 3 (45:21):
If you're a chef.

Speaker 4 (45:22):
If you're a chef, you know where all your knives
are you know where all your utensils are, You know
where you're like, how you're going to work, where you're
going to move throughout your kitchen. But if you throw
that chef into a new kitchen, okay, now they have
to readjust themselves. So now they, you know, think of
a mixing engineer as Okay, I've got my kitchen, I
know everything I need to do, But if I get
thrown into a new situation, could AI help make my

(45:44):
workflow faster so that can get comfortable right away, so
that can be started working.

Speaker 3 (45:48):
That's the idea.

Speaker 4 (45:49):
That's one very simple example of that, And so we
look at things like that like where does AI help
a creative become more creative?

Speaker 3 (45:57):
And because we have such a deep history.

Speaker 4 (46:00):
And and really relationship with so many of creatives in
all industries, that's what we hear from them too, like
we're still going to be turning knobs making decisions, making
creative decisions because it's the creatives who are finding that
tapping into that emotional point within their artwork, whether it

(46:20):
is a movie or a sound design for a movie,
or sound design for a game, or a mix for
a song.

Speaker 3 (46:27):
That's the human element.

Speaker 4 (46:28):
AI should just help get It's just like any good
technology for a creative, the technology should get out of
the way, right, it shouldn't be the thing holding them up.
And technology has been I mean as long. I mean
from the very beginning of recorded music, photography to phono records,
like that's all technology that help push creatives along. Of like, oh,

(46:48):
I can now do something that I couldn't do before.
But if the technology gets too clunky or it's too slow,
why would I. I mean, you can all relate this
to anything in your life, like, oh it's too clunky,
too slow, why am I going to use it?

Speaker 1 (47:01):
Right? Right?

Speaker 2 (47:02):
Dude? You remember when Sim's Dream came out?

Speaker 1 (47:06):
Yeah, what an insane I don't even know what that is.

Speaker 2 (47:11):
The Smashing Pumpkins second record, And you're from Chicago.

Speaker 4 (47:13):
So yeah, my cousin went to school with Billy and
he was telling me about them before they hit and
it was funny. I had a quick story on on
the Pumpkins the music store we were at.

Speaker 3 (47:25):
We ended up doing work.

Speaker 4 (47:26):
With them on the Melancholy record, doing a lot of
guitar tech and stuff, guitar teching for them and like
working on their guitars and so I got.

Speaker 3 (47:34):
I had a chance to.

Speaker 4 (47:35):
Meet them and go to the quote unquote Pumpkin Patch
and all that back in the early nineties and meet
those folks.

Speaker 3 (47:41):
Really interesting.

Speaker 1 (47:42):
What was the vibe?

Speaker 3 (47:45):
Super creative.

Speaker 4 (47:48):
Gear everywhere, super rock and roll as in, like you know,
everybody had it. This was ninety three ninety four, so
they had hit big. We're working on the Melancholy the
double record, and you walk into this place and it
was just like guitars everywhere, amps everywhere, two mixing rooms,

(48:09):
Billy had like a couple of different vocal booth like
but it was beautiful because it was a creative den.
I mean, it was them working on what some consider
their masterpiece record of just total like everything and anything
technology analog.

Speaker 2 (48:26):
We never understood that Melancholy as a master like to me,
when Gish first came out, that was an awakening year
like to me came out almost the same time as
Pearl Jam ten and nine Inch Nails almost.

Speaker 3 (48:42):
Got lumped into grunge, but it wasn't quite Yeah.

Speaker 2 (48:45):
And then with Simon's Dream, the reason I thinking about
it not only because you're from Chicago, but because he
was overdubbing so much that it was like it's an
element of the it's an instrument on the record and
all of sound. Yeah, and uh, I just think like
that's one of the greatest rock and roll American rock

(49:07):
and roll records of all time. It's just unbelieve.

Speaker 3 (49:10):
He's got a podcast now. I don't know if you
checked it out, really he he.

Speaker 4 (49:15):
He interviews lots of his friends, and there are all
these different types of artists, so it's him interviewing Zach
Wild to Corey Feldman to Bill Burt.

Speaker 2 (49:24):
I think he has Bill Burr on there.

Speaker 4 (49:26):
Bhil Bert, Like it's pretty interesting. You know, he's quite
the intellectual. His interviews are. His interviews are interesting.

Speaker 3 (49:33):
For sure, very much.

Speaker 2 (49:35):
Tim. It's been so much fun talking to you. I
hope we can actually have you on again if you're
ever in New York, come by my studio and.

Speaker 3 (49:43):
Matt we got to get you listening to this stuff
and atmost more.

Speaker 4 (49:45):
I mean, I would love for you to hear I
assume you're big into like metal rock.

Speaker 3 (49:49):
It's kind of your vibe.

Speaker 2 (49:51):
Yeah, I mean, I like a lot of music, but
I listened to a lot of Dead a lot of
obviously that in early nineties kind of grunged up a
lot of progressive rock I love to so much. Yeah
at a record store too, Yeah, for years, years and years.

Speaker 4 (50:04):
A couple a couple of records you should check out
that just came out that are in Atmost where you say,
where we have creatives because metal and rock have always
been a little bit more difficult when it comes to
immersive because so much of the sound is based on
a crushing stereo field. But they're getting you know, engineers
are getting more and more educated on how to really
create that big wall of sound. Judas priests last record

(50:25):
is in Dolby Utmost and it is a monster of
a record, as in just both the songs, but the song,
the songs and the sound that Natmost is pretty awesome.
The number one rock record right now is by a
band called Ghost. They're actually one of the first bands
to hit Billboard Top one hundred period in the last
five years. I mean it's been mostly solo acts. Their
new record is in Dolby Utmost. They're kind of like

(50:47):
a like a i'd say metal versus meets eighties rock
with a little bit of Queen thrown in there.

Speaker 2 (50:57):
Is all you have to say. I think, Yeah, I.

Speaker 4 (51:00):
Would check them out. I think that's a good one
for you. And and again in at most uh, those are
good ones. And then Devin Townsend if you haven't gotten
into him yet, check out Devin towns And he's kind
of like the modern day i'd say almost modern day
Bowie as far as just every record sounds different. It's
extremely emotional. He loves Autmost his songs are all over

(51:22):
the place, you know, from real heavy to real folky.

Speaker 3 (51:25):
He does it all. But man, I think he dig those.

Speaker 4 (51:28):
And again they yeah, so respect he's crazy.

Speaker 2 (51:34):
The Brotherhood of the Musician and Billy you know.

Speaker 4 (51:41):
Well and Rob Halford from Priest. There you go, they go,
thank you so much, guys, it's been fun. Thanks again
for the time.

Speaker 1 (51:50):
You Know. What I love about Tim is I kind
of empathize with him because he makes the point that
he wasn't the best guitar player or the best singer
or musician or whatever, but he wanted to be around
creative people. And that is really how I feel. I
don't consider myself an artist, but I love being a

(52:11):
round artist and around creative people, and I love trying
to facilitate them as much as I can. And it
seems like that's kind of what he loves too, So
it was really cool.

Speaker 2 (52:23):
You know, it's funny because I actually think of you
as one of the best journalists that I know.

Speaker 1 (52:28):
I mean you, well, could I just set you up
for that?

Speaker 2 (52:32):
No, No, I just think you know, when someone talks
about journalistic integrity, I think of you.

Speaker 1 (52:37):
So that's very kind.

Speaker 2 (52:39):
We have obviously many really talented journalists here, and also
you can be a talented journalist in a number of
different ways, right, but I think you are being quite
modest in the world that Tim was obviously being very
modest as well. I'm sure when I find out what
his record is, I'm going to listen to it, and
I'm sure it's amazing.

Speaker 1 (52:59):
Yeah. I he has I think, according to Google, like
fifteen albums out, so he's really accomplished. I can't find
the current album.

Speaker 2 (53:07):
But well, yeah, I have to say, I think that's
one of the to me, that's one of the most
important conversations we've had on this podcast, and we've been
to over a year.

Speaker 1 (53:15):
Really yeah, yeah, Oh, I'm glad you think. Really, yeah,
it's informative.

Speaker 2 (53:21):
I would I would put him up there.

Speaker 1 (53:24):
We need to stay in touch, we need to stay
in touch with these guys.

Speaker 2 (53:26):
What have you got going on? I know you had
a number of luxury cars. I just want to quickly
ask what is on your docket?

Speaker 1 (53:34):
Well, this week I'm driving the my Bock GLS Night
Series Edition, which is the one that's two tone with
wheels that look like discs with the my Bock logo
repeated all over them in black plastic. Yeah, and the

(53:54):
inside is white with lots of pillows, lots of suede
pillows thrown around in pinstre It's funny.

Speaker 2 (54:00):
You'll be driving basically the rich person, the sort of
loud rich person version of my family car, because we have.

Speaker 1 (54:11):
A gas You're right, and we need to discuss it
at length when I finish this. I've had the car
for half a week.

Speaker 2 (54:19):
Yeah, I'm going to actually get on Thursday. At least
I think I am gonna get. The press guy is
like calling me right now nine to eleven gts the
hybrid car that you drove in Spain.

Speaker 1 (54:32):
Yes, oh good, okay, I can't wait to compare notes.

Speaker 2 (54:35):
I'm very excited. It's obviously not a stick which I
keep getting these cars that are like vehicles you should
only buy with the manual transmission. I keep getting the
non stick version of these. It happened with the BMWM two.
It happened with the Ford Mustang GT, and those two

(54:56):
actually come with a manual transmission. This GTS is the
first generation that doesn't. But I'm being assured that I
will not miss it. What do you think?

Speaker 1 (55:06):
This could be some sort of universe evolution like consciousness
raising for you, Matt, And yes, I've been in LA
too long, but this could be the universe telling you
your consciousness is being elevated into a post manual environment.

Speaker 2 (55:26):
Most importantly, you and I are going to fly off
in separate planes to Paris next week. Yes, and then
we'll get on likely separate trains and meet in Lamont,
where they do not wait twenty four hour race. I
can't wait either. This came together so well, don't you think?

Speaker 1 (55:45):
I believe it? At this meeting that we just had
before recording this podcast, Cas got me really excited because
we have very good guests. There are a lot of
people working on it. I also just got off a
call with Portia right before we spoke, Matt to update
you on some nice things about from our friends at Porsche.

Speaker 2 (56:03):
That reminds me that I need to put Steiner. I
need to guess the time slotted in for Steiner.

Speaker 1 (56:10):
We've got some things to do. It's going to be awesome.

Speaker 2 (56:14):
Yeah, I'm very much looking forward to it. I've never
been to any kind of twenty four hour race before,
so this will be my first time.

Speaker 1 (56:21):
I've never been to Laman. I'm really my first time
at Laman the race. So yeah, I can't wait.

Speaker 2 (56:27):
All right, we'll do a special edition of our podcast
from there. Yeah, and we're going to have so many
amazing guests that I don't know how we'll choose, but
we're going to be tired.

Speaker 1 (56:40):
Also, I think it's going to be grueling for anybody listening.
This is not a glamour This is not a glamour race. Well,
I mean, I'm sure our listeners already know that, but
you know, I have been to the twenty four hours
at Daytona and it is grueling. This is not some
fluff fluff piece, you know, Indy five hundreds.

Speaker 2 (56:57):
I'm also going this race.

Speaker 3 (57:00):
Yeah.

Speaker 2 (57:00):
I'd love to hear what other people, what listeners think
about this, And you can email us, by the way
at Hot Pursuit at Bloomberg dot Net. I'm getting the
sense that, you know, there was a time, obviously when
the twenty four hour race at Lamon was the proving
ground for your car. I'm getting the sense that it
is once again an incredibly important venue. It's like the

(57:23):
Davos of car makers, because all of the CEOs are
all the companies.

Speaker 1 (57:27):
Yeah, completely, so completely, Yeah, switching gears, no pun intended.
Real quick. You know what documentary I started last night,
Dale Earnhardt. Amazon? Have you seen it? Have you seen it?

Speaker 2 (57:41):
No?

Speaker 1 (57:42):
It's kind of great. The mustaches alone make it worth it.
It's on Amazon Prime. It's a four part documentary series.
I'm I'm I've seen the first episode. It's kind of great.
The accents, the mustaches, the racing suits.

Speaker 2 (57:57):
Good plug.

Speaker 1 (57:58):
I'm into it.

Speaker 2 (57:59):
I'm definitely going to watch that one again.

Speaker 1 (58:01):
It's really good. It's great, all.

Speaker 2 (58:03):
Right, very cool mustache goals, Dale Earnhart. He's right up
there with Tom Selleck in terms of that. Yeah. All right,
Well that's all we have time for this week. We'll
see you back here in a different time, in a
different place next week. At the same time.

Speaker 1 (58:18):
Speaking French.

Speaker 2 (58:19):
Yes, I'm Matt Miller and I'm

Speaker 1 (58:21):
Hannah Elliott, and this is Bloomberg.