The Science of Sound with Bart Budwig

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Legendary nice guy and sound engineer Bart Budwig. Lots of laughs in this episode. Enjoy


Learn more about Bart at his WEBSITE.
Listen to Bart on SPOTIFY.

Episode Transcript

Speaker 2 (00:07):
these are stories of outdoor adventure and expert
advice from folks with callousedhands.
I'm james nash and this is thesix ranch podcast In the studio
today Bart Budwig and AdeleSchott.

(00:29):
Bart, you're a mythicalcreature, A man of legend.

Speaker 1 (00:36):
Iconic.

Speaker 3 (00:38):
I don't know about that.

Speaker 2 (00:41):
Yeah, tell me your story.
Where does your story begin?

Speaker 3 (00:45):
That's a question I often ask people, and I'm
curious about their responsesice and um, my mom and dad met

(01:10):
playing horn in the salvationarmy and, uh, my dad worked at
the university there and yeah,so I grew up there.
But I grew up playing uh,trumpet uh, because that's what
my grandpa played since I canremember actually I was maybe, I
don't know I was playing inlike first grade and stuff at
the lionel hampton Jazz Festival.
So I really have been playingtrumpet since I was a little
little kid, but then my mompassed away when I was 12.

(01:35):
And that had a big impact on me.
I don't know, it's hard toexplain exactly how, but
obviously but yeah, I tellpeople when I turned 18-ish, I
started to get sad and then Istarted to write songs and to
deal with instead of playingtrumpet, because then I could

(01:57):
write about my feelings.
But what brought me down herewas Dary Daryl Brand, who, um,
owns the OK Theater.
He was asking me to help runsound um for shows.
I think it was like 2009.
I came down just one.
It was kind of like just onething a year that he wanted to

(02:18):
do just for fun, yeah, and thenhe bought the theater in 2014.
And then he bought the theaterin 2014.
And uh, yeah, I was a healthcareworker in Moscow doing music
stuff as much as I could.
Uh did that for 10 years andthen I got tired of it and I
called Daryl and I was like, hey, I have a piano and an organ
and I don't know where to put it.

(02:38):
Can I put them at the theater?
And then I'm going to go on theroad with this band for a month
running sound.
And then I didn't have anyplans after that and uh, daryl
was like, well, you can, howabout you just move in and run
sound for me and live at thetheater for free in the, in this
apartment to the side, which islike not there anymore.

(02:58):
But anyway, that's what broughtme here from Moscow, idaho,
that's what brought me here fromMoscow, idaho.

Speaker 2 (03:04):
Daryl is a great guy.
I love Daryl a lot and I'veI've had a plan to have him here
on the show maybe with withsome of his kids in the in the
future.
But yeah, he's a he's he's kindof my favorite class of people
which occur with a with a highfrequency in Wallowa County,

(03:27):
which is blue-collar artists.
Right, right, yeah, definitely,they're a very special group of
people.
Yeah, daryl is one of a handfulof guys that I've ever met that
I have no interest in fightingever under any circumstances.
Right, because he has hands likeAndre the Giant Yep, and I
think you know if you could risehim to anger, he would just

(03:49):
smack you down to the groundlike a grizzly bear and it'd be
over with Yep.
But he's a sweetheart, he'sincredibly talented as a
musician and he does good thingsfor people, like he has for you
.
Yeah.

Speaker 3 (04:02):
One time Forrest Van Tile and I were moving a baby
grand piano.
Basically it's on its side onlike a slider piece of wood, and
this isn't a stairway.
that doesn't exist in thetheater anymore, but anyway
everything in the theater haschanged over the years, but we
were like trying to get up thestairs and we were like oh and
like falling.
And then Daryl was at thebottom.
He just was like whoa, he justthrew it up the stairs.

(04:26):
Basically we were just likewhoa, including us.
We were both pushed up thestairs as well.
Anyway, it was pretty funny andepic.

Speaker 2 (04:36):
Yeah, baby, grand pianos aren't light.

Speaker 3 (04:39):
No, Not at all.

Speaker 2 (04:41):
Yeah yeah, he's a legend.
So yeah, daryl, you're gettingput on notice right now here.
The fuse is burning short.
We're going to get you in here,but I I'm looking forward to
that one, because I want to talkabout the whole history and
future of the okay theater.
It's a it's a bad-ass theater.

Speaker 3 (05:02):
Yeah, it's been really fun to be a part of that
and I think this fits in withthe blue collar artist is
there's a lot of people herewhere you just do like you care
about the community and you dowhat you can when you can.
Like the theater has been likelittle things changing over time
where it's getting nicer, or mecollecting sound gear over time

(05:24):
to run sound for bigger shows,but it's been like a a lifetime
process because you got to workand do your thing and then make
enough money to make thecommunity a little better.
Or do you know, like with artor just having a podcast studio
or what like most I don't.
There's hardly anyone that isjust doing one, like I just play

(05:47):
music or I just, you know,podcast or I just right, uh,
that's not, that's not a thinghere just only do outdoor stuff.
Most of the time it's like amix of, yeah, things, which is
really cool yeah, let's talkabout sound a little bit sure.

Speaker 2 (06:05):
Where do you draw the line between sound and music?

Speaker 3 (06:09):
Hmm, interesting, I think.
Yeah, I run sound, I guessmusic is.
I guess the only difference isit's just intention, I suppose,
like a human having intention to, because a lot of music is just

(06:33):
sounds.
And I guess the other questionis why does order in music sound
pleasing to a human?
Like if you take a string andplay it and then you all the
harmonics of that string arelike musical, it's like thirds

(06:54):
and fifths, it like createsarpeggios and that's like
pleasant to us.
But then you get to a certainpoint and you start playing all
the weird notes mixed in and nowthat's like music.
Now, like with jazz and stufflike that, you can play all
sorts of notes that make youfeel like bad, but you like it
kind of, if that makes sense.

(07:16):
I recently listened to MilesDavis Bitches Brew for the first
time, which is like a recordthat everyone has talked about
my whole life, and it's like Ithink it's like two band jazz
bands and then it's like just,it's just wild.
There's a lot of things thatyou wouldn't ever expect.
Uh, and I did have a few drinkstoo, and then I just sat on the

(07:38):
floor.
I was like I'm just gonna dothis, even though I.
This is what all the people injazz school talked about like 20
years ago, but it was.
I love new.
One of my favorite things aboutmusic is like new sounds or

(07:59):
like surprises it's notlistening to the same thing over
and over again which are thereis some music like that, but
that's why I mostly actuallylistened to like dumb, I don't
know humor, podcasts and likeread and listen to books and
music is mostly live for me orkind of like exploring or like
at a friend's house having themshow me something I don't know,

(08:21):
or exploring on like theinternet or Spotify, cause I
liked the unknown elements ofmusic and the surprises.

Speaker 2 (08:29):
I think your experience with with sound is
different from most people's.
Like, when you walked into thestudio here, you immediately
started talking about how thesound uh has high and low tones
in here.
That's something that I don'tunderstand, that I don't
experience at all.

(08:50):
I wouldn't even know reallywhat those words mean.
Yeah.

Speaker 3 (08:54):
I forget that people don't.
I feel like I think more withmy ears than I do with other
parts of my body.
One of my favorite things to dois next time you're by like a
brick wall there's one inportland recently, but or like a
slatted wall is, you just walkby it quickly, like from six
inches away, and go shh and itgoes, and it's like it's a good

(09:20):
example of like how acousticsare, uh, are just, you're always
being informed by like yourears, even subconsciously yeah
like being out there and talkingin your shop, yeah, is it feels
more cozy and comfortable inhere because of the acoustics,

(09:41):
versus like out there, thetalking feels it feels fine, but
it feels less like a livingroom and that's like
subconscious.
You like your brain's tellingyou like I'm in a shop, I'm in a
living room and that's why Isaid it sounded good in here,
because I was like, oh, itsounds like we're in a spot with
couches, with like bookshelves,with like a fire, like it has
all the cozy elements right ofsounds where you and when you're

(10:05):
podcasting you want people tofeel comfortable, so that's the
environment you want it to feellike.

Speaker 2 (10:09):
I guess, yeah, that makes sense what you were
talking about earlier with thethe order of of sounds in a song
.
I I can't even remember whatsong it was, but I do remember
listening to a song where theywere experimenting with a drum
beat and it wasn't in a rhythmLike.

(10:30):
It was chaotic Right thedistance between the notes and
the drum beat were changing andit was awful to listen to.
It was so uncomfortable and Idon't know anything about music,
but that was just a bad humanexperience for me and totally
yeah, yeah I often feel that wayabout jazz, because it feels

(10:52):
like everybody came to bandpractice and they don't know the
song yet right right, it's justlike everybody's kind of.

Speaker 1 (10:58):
They're clearly contributing, but not
necessarily together, to createa peaceful noise.

Speaker 3 (11:06):
Right Is what it sounds like to me, totally.

Speaker 1 (11:09):
Which does bring me stress more than peace.

Speaker 3 (11:12):
Yeah, I think that's really common and it also makes
sense because that's like Iguess what I was saying is like
the natural harmonics of aguitar or something.
Those are more peaceful to ourbrains actually.

Speaker 1 (11:26):
Right.

Speaker 3 (11:26):
And so, like I think, a lot of I definitely am not a
music historian, but definitelyin jazz you know they're
exploring way differentharmonies and notes together
that don't like.
Our brain doesn't tell us thatthey go together.

Speaker 1 (11:40):
Yeah.

Speaker 3 (11:40):
It's more like a surprise, or like a gunshot, or
like somebody yelling andrunning by.
You know it's like which.

Speaker 1 (11:48):
Yeah, for me it's like cooking right.
It's like these flavors havenever gone together before and
maybe they're not supposed to.
But there's only one way tofind out Right and it might be
fun.

Speaker 2 (11:58):
It might be fun, or it might be offensive, you don't
know yet I was waiting for youto to bring it over to cooking.
Like you pull out your spicecabinet and uh, there's uh like
italian seasoning, for exampleright that's like a combination
of of herbs that are going towork together all the time like
right.
They're never going to messwith each other, but you throw

(12:20):
some curveball into it and itcould ruin everything yeah, yeah
.

Speaker 1 (12:24):
You're like why is there a banjo in this punk band?

Speaker 3 (12:27):
It's so uncomfortable .

Speaker 1 (12:28):
But maybe I like it, you know.

Speaker 3 (12:30):
And it might change.
You know, the people doingstuff like that is what changes
food and art and music.
Right, it's like people havingdifferent experiences and trying
things, and then it's like, oh,actually I really like this.

Speaker 1 (12:45):
Yeah.

Speaker 3 (12:46):
Or I got to try it and it was an offensive
memorable experience that Ienjoy.
Like I kind of enjoy offensivememorable experiences, I don't
necessarily want to do themagain.

Speaker 1 (12:57):
Yeah.

Speaker 3 (12:58):
Like wow, that band was terrible.
But it's like I enjoy watchinga band to see if they might be
great or bad or weird, and a lotof times it's like, yeah, I
don't want to see it again, butI enjoy the, the unknown element
, like if I accident, I don'tknow.
If you accidentally makesomething horrible with food,

(13:19):
though, I feel like that'sharder, because then you have to
have a lot of it to eat, right.

Speaker 1 (13:24):
If you make a lot of it to eat, right, if you make a
lot of it, yeah, but you canturn the bad music off or leave
I mean, you can also changewhat's in your mouth, you know
you can erase it to a certainextent, but it's still like,
yeah, I think I've tasted badfood and been like I don't want

(13:45):
to do that again, but I'm notmad that I had the experience of
eating that.
I'm glad I tried, or that theytried, and now I know.

Speaker 3 (13:55):
Have you ever tried something new, when you're
cooking for a bunch of peopleand then really not liked?

Speaker 1 (13:59):
it, yes, all the time .

Speaker 3 (14:00):
What do you do in that scenario?

Speaker 1 (14:02):
You try really hard to fix it, add butter.
Yeah, it's like add fat orsweet or something that's going
to make people happy, eventhough this is not a happy
situation.
A lot of times you can justchange the name depending on how
bad you messed it up Right.

(14:23):
So like brownies are now likebrulee crisps yeah, oh yeah,
clever I'll have to make an.

Speaker 3 (14:32):
I'll try.

Speaker 2 (14:33):
I have to apply that to music somehow is that where
it's raw on the bottom andburned on top?
Yes, okay yeah yeah too much,too many coals, yeah too many
coals on the top of the Dutchoven.
And now we've got to.

Speaker 1 (14:45):
Exactly, or it's like a pudding with a charred top.
You know, you just Yuck.
Okay, I shot my shot there, butlike you, can, you know, come
to the rescue with somepresentation and a change in the
name, which, again, I think youcould do that in music too oh,

(15:07):
yeah, definitely yeah, you'relike oh, I didn't realize the
song was funny.
It was supposed to be reallyheartfelt and sad, but yeah now
it's funny I think a lot of.

Speaker 3 (15:17):
As as far as sound goes, going back to that also,
there's the we're talking aboutlike notes or maybe rhythm, or
like offensive or versussoothing or beautiful
combinations.
But a big part of likerecording is like recording to
cassettes and like tape noiseand like a lot of really artists

(15:38):
that make really beautifulmusic, it's because they're
recording it.
In a way they have just certaintools that they like and they
create.
I guess you could say it's likemore like low fidelity sounds,
but it actually creates warmthand like comfort.
It's more like a living like,like if you record to cassette

(15:59):
it sounds like you're more likeyou're in a living room for some
reason.
So that's another weird partabout sound and recording is a
lot of times because you'reusing technology and if it's old
or new or broken like, a lot ofpeople find that they love a
combination of those things,like, oh, this cassette player
broke, but I really like it forrecording guitar because it's

(16:22):
like, like it for recordingguitar because it's like and so
that's another weird or thingabout sound, especially in the
recording studio, is like you'renot trying to.
A lot of times you're trying torecreate a song and other times
you're trying to just trymaking sounds that sound cool to
you and then combining themwith other things, just through

(16:45):
experimentation and like fun andcreativity.

Speaker 2 (16:49):
Recording sound on its face is a pretty wild
concept and it took a long timebefore anybody figured that out.
Yeah, totally yeah, and I, Idon't know that I would have
ever like if, if I lived in aworld where recording sound
hadn't occurred yet.
I don't think it would everoccur to me that it was

(17:09):
something that should be done orcould be done.
I would think of sound assomething ephemeral, like you
know, water passing you in astream, Like you see it.
Once it's gone forever.
Yeah, so that was a really,really wild concept just to
begin with.
Like let's try and take this,this thing that's so fleeting
and impermanent and record itand then come up with a device

(17:34):
that can replicate it again.
Like that's wild it really is.

Speaker 3 (17:37):
I think, if I remember right, it was magnavox
or something like the earth, thefirst electric like speaker
public address system which Iguess that's what pa is, but uh,
I think it was in the 20s.
Yeah, so it's like ford massproducing cars 1904, right?

(17:58):
yeah and then like I, I'm sureit was in between there, but
like World War II broadcastingand like that was where a lot of
sound like kind of likedeveloped yeah Radio, all that
stuff and that yeah, I guess itis.
It's like after flight.
I don't know when was the firstflight.
Do you know when the WrightBrothers?

Speaker 2 (18:19):
1911?

Speaker 3 (18:23):
Yeah, okay, yeah, so it's probably before the first
like I'm gonna look it up 09 thefirst maybe, like sold electric
PA speaker or whatever, whichto me is kind of it's pretty
wild.

Speaker 1 (18:36):
But yeah, but it wasn't for the sake of art.
Until how much longer afterthat right 1903?

Speaker 2 (18:44):
yeah okay, yeah, but they were recording music to
little.

Speaker 3 (18:46):
Until how much longer after that?
Right 1903.
Yeah, okay, yeah, but they wererecording music to little clay,
whatever you know, like waxcylinders and stuff in the 20s,
which is pretty cool.

Speaker 2 (18:55):
It's wild, it's so wild.
So what's something in ourlives today that is like that,
something that is occurring thatwe're not recording?

Speaker 1 (19:05):
smells maybe yeah, I mean, you can, you know, create
your own essence.

Speaker 2 (19:14):
Right, they are making perfumes and scents from
like specific places andlocations and capturing those
smells I think that it'll besomething that that shows up
with, uh, with vr, virtualreality, yeah, um, to where
it'll be able to, to createthose, those, those molecules.

(19:38):
You know there'll be, you know,sometime, some type of
chemistry so that, adding to thevisual and audio and and
tactile experience that you'llget with virtual reality, um,
it'll add smell to it, butthat's not something like
there's, there's no smellrecorder, um sure, that we have

(19:59):
right now yeah, there'sdefinitely I'm sure that in like
a lab sense, that where theytry to out.

Speaker 3 (20:04):
Yeah, there's definitely I'm sure that in like
a lab sense that where they tryto just figure out the
aromatics to make likeartificial flavors.
I bet that.
I mean, we know we don't havethose, but there would be
something like that where youcould they figure out those.
And then because I do know thatthat's a thing which is pretty
interesting but the idea ofrecreating smells or even tastes

(20:24):
, I guess that's a recipe, acookbook recipe.
That's the best you can do forrecreating a taste, right?

Speaker 1 (20:32):
Yeah, it feels like you could trick your brain into
thinking it's smelling somethingor tasting something easier
than you can hearing or seeingsomething, if that makes sense,
because the smell is connectedto memory and other parts of
your brain and it seems like,with virtual reality and things,
they're going to figure out howto simulate your brain to think

(20:57):
that you're smelling cinnamon.

Speaker 3 (20:59):
Yeah, oh yeah, that's another.

Speaker 1 (21:01):
Versus like actual molecules.

Speaker 3 (21:04):
Like having a little implant that like triggers your
brain, that's like with smellsand tastes or something could be
I don't know it'll.

Speaker 2 (21:14):
It'll be a wild experience when you go to an
imax theater and when there's ajungle scene it smells like a
jungle.

Speaker 1 (21:20):
That would be cool if that happened during the heart
of the sea, I would not not havebeen okay, I was barely okay.

Speaker 2 (21:28):
When they're bucketing out the amber grease
out of the whale's head.
Oh, yeah.
Wait, what is this?

Speaker 1 (21:35):
Where the whale attacks the boats.

Speaker 3 (21:37):
No, I like Moby Dick.
What's the?
Is there a movie so?

Speaker 2 (21:41):
in the Heart of the Sea is a book and a movie is a
book, and a movie but it is thestory that that Herman Melville
heard that made him want towrite Moby Dick, and it was
about a white sperm whale thatstove in a ship and the crews

(22:02):
had to take to their lifeboatsand it didn't go super great for
them, so you didn't want tosmell that movie though.

Speaker 1 (22:09):
I wouldn't have wanted to smell that movie.
It was enough of an experiencewithout any more senses being
assaulted.

Speaker 3 (22:17):
Have you guys both read the book.

Speaker 1 (22:18):
I did read the book.

Speaker 2 (22:19):
Yeah, I have many times.
So I there's only a handful ofbooks that I give away to people
because my educationalbackground is in literature and
writing and there's a bit of acurse that goes with that and it
might happen for you too withsongs where people are like, oh,
have you heard this song?
And oftentimes like, no, Ihaven't actually listened to all

(22:42):
the songs yet.
And people are like, oh, youhaven't read that book.
Like, no, I have not yet readall of the books.
You guys know each other, yeah,however, I'm trying Not actually
trying to read them all, butI'm reading a lot Anyhow.
Because of that, I'm verycautious about the books that I
recommend to people, and when itcomes to leadership situations,

(23:04):
I recommend two books, twobooks only.
One of them is Endurance, byAlfred Lansing, and that's about
Shackleton's voyage and themmaking their way back from this
disaster in Antarctica.
Excellent leadership, fantasticleadership.
So many lessons to be learnedthere.
The next one is anothernautical disaster which is in

(23:26):
the heart of the sea.
Okay, Bad leadership, badoutcome.
Okay, yeah, I think thatthey're great to read back to
back one of them's cold, one ofthem's hot, but both nautical
disasters, both incrediblestories, um, stories that kind
of have it all.
Yeah cool.

Speaker 3 (23:44):
I'll have to read those.
Have you read Astoria by StarkI?
Have Enjoyed that so much theship captain.
That's another good example ofhorrible leadership.

Speaker 2 (23:54):
Yeah, yeah, he was such a fragile little ego that
guy had.
Oh man, yeah, astoria is agreat one and I could do a whole
show easily about that book,but I think that's a story that
we feel like we all know, likewe know that at some point John

(24:19):
Jacob Astor founded Astoria andwas trying to set something up
on the West Coast.
What we don't realize is theimplications that that had it's
been a couple of years since Ichecked this, but a couple of
years ago if you would havetranslated his wealth into
today's currency, adjusted forinflation, he would still be the
wealthiest man in the world.
Oh, like, he owned most ofManhattan Island.

(24:42):
He was the largest fur traderin the world.
At the peak of fur trading, umgot into all of these different
things.
He showed up in the U?
S with like one set of silversilverware and a couple of
musical instruments and soldthose.
And then saw a fur, a furtrader and all these fur buyers

(25:04):
coming in.
It's like, well, this is whereit's at.
And then, based off of thepopularity of a felt beaver hat
in England, he was able tobecome the wealthiest man in the
world.
Crazy, but if he hadn't donethat and it was like just
following the Lewis and Clarkexpedition by a few years, If he

(25:28):
hadn't sent his overlandjourney, which discovered the
Oregon Trail, if he hadn't senthis boat around South America
and founded Astoria on the WestCoast.
I do not think that the UnitedStates west of the Rockies is
the United States.
I think it ends up belonging toRussia or France or Spain or

(25:49):
England.
Um, the war of 1812 came ininto a factor there in Astoria.
But like the implications ofthis little, this little blip in
history and this little townthat people are barely aware of
on the Oregon coast, at themouth of the Columbia, um, it's,
it's just incredible how that'saffected the you know future of
the rest of the world.
Yeah, that's, yeah, that's,it's just incredible how that's
affected the you know future ofthe rest of the world.

(26:09):
Yeah, that's, that'sinteresting.
Astoria Great book.

Speaker 3 (26:13):
Yeah, yeah, it is, it's.
I didn't know a lot of thatstuff when I before I had read
that, that book, that like it,was the, the, and then the war
of 1812 came and it changed toFort George.
Yeah, it was an area that wasbeing pushed at from all
different sides Totally.

Speaker 2 (26:37):
And how important is the Columbia River, the
Mississippi of the West, thelargest river on the West Coast,
and this port that you canaccess the Northwest through
this river Absolutely incrediblein terms of strategic
importance.
Oregon this is an annoying funfact and then I'll stop.
You know what Oregon is namedafter.

Speaker 3 (26:59):
I have no idea.

Speaker 1 (27:01):
Yeah, feels like that's something we should know,
doesn't it?
Yeah, yeah, I grew up in Idaho.
Yeah, fair.

Speaker 3 (27:05):
You should know, I should know, doesn't it?

Speaker 1 (27:06):
Yeah, yeah, I grew up in Idaho.
Yeah, fair, you should know, Ishould know, I don't at all.
Oregon was the name of theriver, which was the Northwest
Passage.
That does not exist.

Speaker 2 (27:20):
Really, oregon is named after a river.
That is not real, oh cool.
Hmm, the expedition I told youI'd quit, but I'm not the
expedition where Captain Cookdied, where the Hawaiians killed
him and ate him after theyfigured out he wasn't a god.
He was trying to find theNorthwest Passage and he'd been

(27:44):
sailing around Alaska trying tofind a way through, kept getting
wintered out with ice and he'slike, well, we're just going to
sail to Russia for the winterand then we'll come back and
keep looking in the spring.
And his crew was like, hey, man, what we could do is just go
back to Hawaii.
That was sweet.
Yeah, there's all these girls.

(28:06):
Fresh fruit, it's warm, there'sfish so much better than Russia
, let's just go back to Hawaii.
It wasn't too bad.
And he overstayed his welcomeand they killed him and ate him
but he was looking for theNorthwest Passage interesting.

Speaker 3 (28:22):
Stan Rogers the Northwest Passage song.
So my mom is buried in NovaScotia, Okay, and I went there
for the first time since I was12 a few years ago and a lot of
my family up there are infishing and stuff like lobster
fishing.
When I was a kid they were gillnetting mackerel.

Speaker 2 (28:43):
What's that?
Or hockey right.

Speaker 3 (28:45):
Yeah, but they all when I went there the only time
as an adult like I have my bigbeard they all thought they love
Stan.
Is it Stan Rogers?
I should know, because if I goback, but he sings this song,
Northwest Passage, and they allthink I look like him.
And everybody was like can yousing this song?

(29:06):
It's like if you sang thiseverybody would sing.
It's like one of their likefolk, traditional songs.
It sounds like like everybodyknows it.
Anyway, it just made me thinkof that when you're coming.

Speaker 1 (29:15):
Did you learn it?

Speaker 3 (29:16):
I haven't learned it, but I haven't gone back yet.
But if I do go back I shouldjust do a cover band, Apparently
like I might become the mostpopular artist in new brunswick
and nova scotia, so that shouldbe my long-term music goal
that's your backup plan.
Yeah, yeah maybe, maybe I'll dothat soon.

(29:38):
Yeah, I'm almost 40.
I could switch to just singingstan rogers it's, it's there,
it's there for the taking andit's like four part harmonies
too.
So nice we.
But I think they said they allknew all, so I could just sing
one part and then, yeah, justlet them go, they could do all
the other parts yeah, yeah, uh,why is live music at restaurants

(30:01):
?
This is a good question.
It's just one of those.
It's just cause it is loud it'sjust cause it is loud, it just
is.
There's some artists if therearen't any, like drums, they can

(30:28):
play really quietly and do agood job, but most people just
Once you have a few people and afew instruments and then
there's speakers on the stage sothey have to hear themselves,
so then those are a certainvolume and so then everything
else gets a little louderbecause but I agree they're loud

(30:53):
, because if you're eating andtalking it's not the same as
listening to a band and I feellike having those things at the
same time they normally make theother thing difficult.
So I like to have shows at likeeight or later, because of Then
people are just drinking.
Right, I mean, it's still hardto talk, yeah not the best
nights to be wait staff.
Yeah, either right, it's hard toto order food and stuff, but I

(31:16):
mean, I love live music, I likehaving noisy rooms and stuff,
yeah, but I do think I also,when people are like this is too
loud, I'm also like, yeah, well, this is, I've just made it as
quiet as I could where it stillsounds good, and so this is like
I don't know what to do atbeyond that.
You know, when you say that youlike noisy rooms.

Speaker 1 (31:38):
I was wondering when you said you grew up with like
horn players yes, and then yousaid you mostly listen to like
comedy, podcasts and things.
Do you always have noise like?
Did you grow up in a house thatwas noisy and do you feel more
comfortable if it's noisy or doyou sit in silence?

Speaker 3 (32:02):
I don't.
I do like silence, but Iwouldn't say I wouldn't.
I don't think I'm good atsitting in silence necessarily.
But what I mean is I like livemusic.
I don't mind the.
I guess I don't like.
I like drinking and wanderingaround and listening to live
music.
I don't normally sit and talkto people during music because

(32:23):
it's not what I Not what you'rethere for.
I normally have a couple shotsof whiskey and then wander
around.
I don't know.
You know, yeah, yeah, yeah, butyeah, no, I don't think I'm.
I do think I am normally,there's normally something going

(32:43):
on, but, like when I'm driving,I do sit without music on or I
listen to books because it ismore calming.
I like really calm environments.
I like living in an enterprise.
It's quiet compared to mostplaces.
I like just laying in bed withno noise, but I don't hunt, I

(33:04):
think being quiet.
I also like to talk a lot.

Speaker 2 (33:08):
Yeah, well, a lot of the hunting that I do uses sound
right, okay, so if I'm, if I'melk hunting, I'm very conscious
about all the sounds that I makeand I I think of my footsteps
as a way to to communicate withelk.
For example, like there's a wayto walk where you sound like an
elk and there's a way to walkwhere um you alert everything.

(33:30):
They can hear how you'rewalking, um the the way branches
move across the fabric of thejacket on your shoulders, like
that.
That sound, um can either bevery natural Um, if you're using
, if you're wearing, somethinglike wool or cotton or a natural
fiber.
If you're wearing somethinglike wool or cotton or a natural
fiber, if you're wearingsomething synthetic, it has a

(33:51):
really high frequency zippysound look, you know about now,
you're now you're speaking mylanguage a little bit, that's
the high sound is it, it goesinstead of like, yeah, exactly,
um.
And then then there's also allthe sounds that I'm making with
calls and trying to vocalizesounds to elk or to ducks or to

(34:12):
geese or to turkeys or whateverit is.
A lot of people really enjoythe types of hunting where they
get to make these sounds and andbe able to communicate with
animals.
We only have a couple, a coupleshoulder mounts in here, but
something that you'll noticeabout every game animal that has
horns or antlers is that theposition of those horns and

(34:36):
antlers to their ears isimportant, and those horns work
as antennas or, in the case of amoose, like a satellite dish to
actually funnel sound intotheir ears.

Speaker 3 (34:49):
Oh cool.
Yeah, I mean, that makes sense.
I had never thought of that,but that's really cool and it
makes a lot of sense.
Just like our ears are weird, Ifeel like human ears are one of
the weirder.
If you just looked at it likethe little it's like what is
this we just like to pretendlike they don't exist.

Speaker 2 (35:06):
We have the goofiest ears in the animal kingdom.

Speaker 1 (35:09):
They're awful.
Yeah, they should beembarrassing, yeah.

Speaker 2 (35:11):
I'm embarrassed.

Speaker 1 (35:12):
You are A little bit.

Speaker 2 (35:14):
I'm not.
I mean, I'm wearing headsetsright now, so you can't tell.

Speaker 3 (35:17):
Yeah, but that's I mean, that's how we know if
something's behind us or infront of us, or, like all of
those, you know subconsciouslythat our ears are but we can't
wiggle our ears around all theseother critters.

Speaker 2 (35:29):
You know they can move their ears.
Yeah, um, to help find theposition of something pretty
cool, a coyote um can, withintwo seconds, locate the source
of a sound within one degree.
Wow, one degree.
How incredible is that?
It's really incredible.
Like if you heard one sound forone or two seconds, how

(35:53):
accurately do you think youcould tell the direction that it
came from?

Speaker 1 (35:57):
Not at all, cause my phone's next to me all the time
and it dings and I look acrossthe room.
Yeah, happens all the time, soHappens all the time With elk
hunting.

Speaker 2 (36:07):
You know a lot of times there's two or three of
you standing there.
I'll call and a few secondslater a bull will bugle back
long ways away through thetimber.
You know all these pitchescoming through and I can't tell
you how many times everybodypoints in a different direction
for where they think that soundcame from.
It's like well, now we have towait five minutes and try again

(36:30):
and everybody really payattention this time and don't be
river dancing on pine cones and, you know, getting wrappers out
of your pocket like we've gotto pay attention, we've got to
figure out where this animal isand if we can get it to within
30 degrees, I'd say we're doingpretty good, huh yeah, that
sounds really fun trying tolisten for that it is, I feel,

(36:51):
like it would, and outside too,because it's different, it's
more, it's a little bit moreaccurate.

Speaker 3 (36:56):
Actually, it's easier to tell if something's coming
from somewhere outside.
Yeah, but it is you also.
You know there's obviouslycanyons and stuff around here.
So that's that can.
I'm sure that can really trickyou sometimes.

Speaker 2 (37:10):
Oh man.

Speaker 3 (37:12):
Like if you're close to a wall.
Sometimes it's like wait, itsounds like it's louder and
coming from right there, butit's like the opposite of like
sounds.

Speaker 2 (37:20):
A lot of people like to call from like the edge of a
clearing, and I think that'stough because you get a lot of
sound bouncing back from thetrees that are right behind you.
That's really tricky.
Another fun fact about soundsin hunting, when you're
spearfishing you can't tellwhere sound comes from at all at

(37:51):
all, because sound travels somuch faster through water that
our our brains can't, can'thandle that distance of like
which ear heard it first?
oh weird.
So when you're underwater youhave absolutely no idea where
sound came from.
It's impossible that isterrifying due to physics yeah,
and it may.

Speaker 3 (38:06):
Like your brain doesn't know, it hasn't been
trained to hear no, like it'strained for air.
So it's like it's giving youall the wrong information, or
whatever.

Speaker 2 (38:16):
But you can hear lots of stuff Like you can hear like
a fish's tail, you can hearwhales from forever away,
totally yeah.
Sometimes, when a whale isclose, you can feel it in your
chest like it's thumping on you.

Speaker 1 (38:29):
I didn't know that you call in fish until we went
to Mexico and you told me aboutthat, that you were underwater
and a fish started to swim away,and then you made and called it
back and I was like what, howdid it?

Speaker 2 (38:46):
work.
Fish make sounds and they'recurious, so you kind of you
intrigued it.
Yeah, but that's a, that's likea standard, a standard sound.
You just kind of grunt withyour throat a little bit and you
can.
It's a sound that you can makewhile holding your breath.
But there's other sounds thatyou can make too.
Like you can scratch on thereef a little bit, you can bop

(39:10):
your hand down and puff up alittle bit of sand.
Like spearfishing is is verymuch a a mechanism of getting
fish to come to you, becausethey can all out swim you right?
Yeah, um, so you've gotta gottaget them to come over to you
and then, yeah, there's ahandful of ways to do that, but
one of them is sound.
Okay, that's cool, and lots offish uh drum, like they make a

(39:34):
drumming sound.
It's a little bit like that.
Yeah, I mean, if you're holdingone of those fish, you can feel
it in your hands.
You can feel it when it'sdrumming.
Were you spearfishing then?

Speaker 1 (39:43):
yeah, we were spearfishing in mexico a little
bit so you've tried it too no,no, I fished from a boat, though
cool yeah, that was awesomevery brave.

Speaker 3 (39:55):
I've never fished, I've never fished in the water,
but yeah, I used to do the.
I would gaff the mackerel withmy relatives when I was a little
kid.
Yeah, when they put we'repulling the nets in and then we
would jig for cod and we woulduse the mackerel, I think, yeah,
they had a bunch of hooks andthen the big hook on the bottom

(40:16):
and then when you pull the codup, a lot of times you would
catch small fish.
Yeah, on the way up On theother hooks.
Yeah, and then we would usethose.

Speaker 1 (40:22):
As bait.

Speaker 3 (40:23):
The bait, but that was super fun.
Jigging for cod, that was more,I think, just like a family.

Speaker 2 (40:28):
Were those hand lines .

Speaker 3 (40:30):
Yeah, they were just like yeah, the hand lines, yeah,
just throw them out and great,really yummy fish.
But that was not their businessfor sure.

Speaker 2 (40:39):
I did a lot of that when I was in Norway.
We did a lot of hand linejigging for mackerel and kind of
whatever we could catch SuperHandline jigging for mackerel
and kind of whatever we couldcatch Super effective and so
simple and fun.
It's like, yeah, this has beengoing on for as long as you know
.
We figured out how to makefishing line out of something.

Speaker 3 (40:57):
Yeah, it is funny Nowadays there's just so many
things that are like I guess,you know, with marketing and
products there's like a millionfancy ways to do things.
Yeah, I remember as a kid wewould catch crab by putting food
on the end of a rod and then mycousin and I would lay over the
dock and then look for thecrabs and then try to move the

(41:18):
food to it and have the crabgrab it and then try to move it
as slowly as possible until itgot to the surface, then fling
it onto the deck and then it'slike or like jigging for cod.
I mean, I'm not saying these arethe most efficient ways to fish
, but it was.
It was very effective and and Ireally enjoyed it too yeah,
that's.

Speaker 2 (41:37):
A lot of people use the use crabs as a metaphor for
like why crabs don't escape abucket, right?
Um, because if one of them getsand they'll like ladder up on
top of each other and as one ofthem gets close to the top,
another one reaches up and grabsit and pulls it back down,
right.
I like this other metaphor thatyou just talked about, which is

(41:58):
that if the crab knew when tolet go, then he'd be all right,
yeah but he doesn't know when tolet go and he ends up, you know
, getting steamed for sixminutes and slathered in some
butter and old bay and down thehatch, yeah yeah, yeah, there
was no reason for it to beholding on to the hook at all
yeah, didn't want to let go,yeah, yeah, I gotta be careful

(42:22):
about those opportunities.
Sometimes it's like it's notworth a piece of chicken, right,
yeah, but these crabs we'retalking about too.
How's that land with you, adele?

Speaker 1 (42:37):
I mean it hits a little close to home, sure, but
yeah, um, I I understand themetaphor, but I think I've, I'm
getting better at letting go ofof the chicken and yeah yeah,
it's not worth it.
Things in life it's.

Speaker 2 (42:59):
It's hard to know, right, because sometimes it's
like, oh, you just needed tohold on a little bit longer and
then you would.

Speaker 1 (43:04):
Yeah, it's really hard to know, especially with
know some of those stories westarted talking about, of you
know you show up with nothingand you take some big risks and
then they like there was a point, I believe, in all those
stories where maybe they weretold to give up or they felt
like they should give up andthey didn't.
They didn't let go and itworked out and they didn't.

(43:27):
They didn't let go and it workedout, and so sometimes I feel
like it's really hard to knownow where that story is.
Harder and harder to come byRight when you start with
nothing and you becomesuccessful, but because we
believe that that's still thepath to success when you're in
those moments where it feelslike everything's kind of
against you, it's hard to knowwhether you let go because

(43:55):
you're about to get cooked orwhether this is the part where
you're supposed to hold on,because the butter is on the
other side.
You know, like you're the onethat gets the feasts, if you
just make it.

Speaker 2 (44:09):
Our optimism gets weaponized against us a lot For
sure.
I was breaking down odds forcraps, which is a funny game and
it's a fun game to play.
But one of the most basic betsthat you can make on a craps
table is the pass or don't passline.

(44:31):
And if you're betting on pass,you're betting that whoever's
rolling the dice is going to win.
If you bet don't pass, you'rebetting that they're going to
lose.
The house advantage for thepass line is 1.4%.
For don't pass it's 1.36.
Right, but more people bet withoptimism even though the numbers

(44:56):
say don't do that sure yeah,and that's why las vegas is the
brightest place on the planetwhen observed from outer space.

Speaker 1 (45:06):
Another very fun fact .
But I imagine, like in themusic game, like when do you
sell out and become a cover bandright?

Speaker 2 (45:20):
Is that a sellout?

Speaker 3 (45:22):
It could be depending on who you ask.
Not in my opinion, but yeah, Imean, I think, as like
songwriters or something, it'slike, oh, I'll just sing other
people's songs instead, orsomething.

Speaker 1 (45:32):
Yeah, I didn't mean to call that out as your sellout
.
If that's your path, we supportyou.

Speaker 3 (45:38):
No, no, I didn't think you did, but it's such a
grind.
Yeah.

Speaker 1 (45:43):
Being a musician is such a grind, but you have all
those stories of the people whodid the grind and then they made
it right, yeah, I think I meanat my at this point.

Speaker 3 (45:56):
For me it's like well , a, with music, you have to do
it a lot to get good at it.
So that's the first kind of Iguess commitment type thing.
Like you're gonna be pretty badand then if you do it for 10
years it makes a huge difference, like so, starting off in like
writing and singing and stuff,you know, it's like there's a

(46:16):
lot of that to work through.
So it's like maybe people werelike you're good or bad, but
it's more about sticking to it,or having people that encourage
you to like stick to it.
Not that you're actually good,good.
It's like when a two-year-olddoes a cartwheel or something
you know, you're like wow, goodjob.
It's like not really like,that's not gonna, you're not
gonna make a living doing thatlike.

(46:37):
But if you encourage them andthey get amazing at gymnastics,
like then they can be an amazingdancer or yeah you know, like
competitor or something.
So it's like like that, that isthe first part that you got to
do in music.
But then the success when, likefor me, it's like I'm old now,
so I'm like I'm like jaded and Idon't really care about the

(46:57):
music industry, like like Idon't want to, I'm like, ah,
whatever, I don't know, it'slike you got to do it.
You might get lucky, you mightnot get lucky.
I just need to do this if Ienjoy it and it's what I want to
do.
So the last couple of yearsI've been doing a balance.
I'm probably still doing 100songs or 100 shows a year, and

(47:19):
then I play with bands some, andthen I run sound, because
running sound it's just easier.
I'm working harder but I'mmaking more money because I'm
writing sound.
I can, it's just easier for likeI'm working harder but I'm
making more money.
So it's like trying to find abalance of all of these things
in music, recording, performing,writing, etc.
Like the balance that is themost enjoyable for me, and then

(47:39):
also it's like not stressful ina travel or like money sense.
So that's kind of like.
But when I was you know, youknow, 10 years ago, or like
trying to navigate selling arecord or releasing a record
that for me is very I have aharder time with that, like I
don't know how to navigate thatstuff very well.
I feel like a lot of artistsdon't?

(48:00):
I think management and havinghaving somebody on your team
that can promote and sell it's,it's a feels like a different
part of your brain and it feelslike a good, a good time to take
on uh support staff yeah, and Ilike it's nice to have other
people say nice things about meI feel weird, like trying to do

(48:24):
self-promotion.
Yeah, I bet I could.
Just I could do, like you know,skinny dipping uh on instagram.
You know, maybe that'll uh.
I like to do stupid or funnythings on my instagram.

Speaker 1 (48:37):
One of my favorite instagram moments of the year
actually this will be a surprise, I believe, to you, james is,
uh, your review of the mc, theMcDonald's steak sandwich from
Texas.

Speaker 3 (48:52):
See, that's how I promote my, not like I'm
promoting, but that's what's funfor me.
It's smarter.
Have you tried?

Speaker 2 (49:00):
the steak sandwich?
No, can you give me a rundown?

Speaker 3 (49:03):
Well, it was better than I expected.
Yeah, yeah, and it had a littleonion, it was a.
It was a.
Was it the bagel one?
Anyway, it was a breakfastsandwich.
Okay, had a steak and it hadlike some onions and it was
pretty like salty, but it had alittle bit more bite than I.
I was expecting kind of a mickrib, yeah, like a gelatinous

(49:25):
kind of a thing.
Sure, anyway, it was fun.

Speaker 2 (49:28):
It was good, so 0 out of 10,.
How would you rate it?

Speaker 3 (49:33):
Okay, I love McDonald's, I love Big Macs,
cheeseburgers, McDoubles,chicken sandwich, McChickens.
So let's see, I'm thinking Imean Egg McMuffin.
Okay, I'm going to give it asix.
I don't remember what I gave itin the review, but I would give
just like the classic one, likea seven the egg and ham one.

(49:57):
That's actually my favoritebreakfast.

Speaker 2 (49:58):
Egg and ham.

Speaker 3 (49:59):
Yeah, that's just the Egg McMuffin.
Yeah, the classic one.
It's a good breakfast sandwich.
Yeah that one is honestly Ijust get that.
Or the Big Mac.
Normally I get the dollar menufor $5.
The spicy McChicken and aMcDouble.

Speaker 2 (50:16):
Okay.

Speaker 3 (50:17):
And a Diet Pepsi, because I don't want it to rot
my teeth out.
My uncle, who's a dentist, saidto that if you drink soda all
day long while you're driving,that the sugar will just destroy
your teeth.

Speaker 1 (50:30):
So what do you think's in diet pepsi?

Speaker 3 (50:32):
it's not sugar, it doesn't taste.
It also doesn't taste as good,but I want, I want to stay awake
and have something bubbly, sosure yeah, what are you gonna?

Speaker 2 (50:40):
do you're on the road ?
It's not easy.

Speaker 1 (50:42):
It's not easy, it is not easy, I will say that, but
um it.
I would highly recommendwatching the review.
It's live and it's passionate.

Speaker 3 (50:53):
I honestly don't remember what I did.

Speaker 1 (50:56):
It was great.

Speaker 2 (50:57):
We'll have to find that it was really good Put a
link in the podcast descriptionhere.
Yeah, the show notes notes, uhin in our lives, bart, we've
seen the, the vehicle that musicis carried on, change probably

(51:17):
more times than it ever will.
So we, we missed eight tracksbut definitely grew up with with
cassette players and you know,am fm radio, uh, from from there
it was cds, which I alwayshated.
I never had a good relationshipwith cds and cd players and

(51:40):
people.
You know younger generationswill never know what it was like
to drive down a bumpy road andtry to listen to a cd.
You know it was awful andthey're constantly scratched up,
as you know, just retrievingthe cd that you wanted to they
took up a ton of space folderbinder.

Speaker 1 (51:59):
I just found mine.

Speaker 3 (52:00):
Did you yesterday, like the windshield visor one
yeah, no, no, this one, this islike a one of the the square
ones, with like one or a fewhundred in it was.

Speaker 2 (52:10):
It was in the okay theater, like dvds.

Speaker 1 (52:13):
Yeah, I was like looking and I was like whoa and
I just got a car with cds, so Iwas like the thing about cds is
they sound really good but, as Ido.

Speaker 3 (52:21):
Yeah, I remember what you're saying.
It's like the they're veryfragile fragile and then until
they had, you know, the sonywalkman with the memory right.
Yeah, it's like skipping allthe time, or you couldn't afford
the one that was actually goodyeah, totally yeah.

Speaker 1 (52:39):
Cds were made for the type a folks and then vinyls,
kind of.

Speaker 3 (52:43):
I mean, people still used some vinyls that wasn't
invented in our time.

Speaker 2 (52:47):
Right.

Speaker 1 (52:48):
Right.

Speaker 2 (52:49):
Yeah, it was definitely.
It's definitely there.
And then along comes the iPodreally Wait.

Speaker 3 (52:58):
do you remember the mini disc?
The mini disc.

Speaker 2 (53:01):
Oh, that was short, it was like a floppy drive.

Speaker 3 (53:04):
I had like an.

Speaker 2 (53:05):
Iowa.

Speaker 3 (53:06):
It had, definitely it had like I feel like a five CD
changer and a mini disc, yeah,anyway, but yeah, and then then
yeah, basically the iPod or theMP3 player, yeah, and then
internet kind of.

Speaker 2 (53:19):
Yeah, yeah.
So now it's a.
It's a very, very digitalexperience.

Speaker 1 (53:26):
Cause we had to steal internet music or pay for it.
It was like a dollar a song.

Speaker 2 (53:32):
Yeah, and it came with computer viruses that shut
everything down Always, yeah.

Speaker 1 (53:38):
You're like I don't know what happened.

Speaker 3 (53:39):
I was always downloading music.

Speaker 1 (53:41):
Yeah, it was fun.
Took up so much space.
It was fun.

Speaker 3 (53:45):
But horrible quality most of the time.

Speaker 1 (53:47):
Most of the time.

Speaker 2 (53:48):
A lot of artists didn't survive those multimedia
changeovers either, and whetherit was music or whether it was
somebody who was filming, huntsright that transition from being
able to sell a CD or a DVD to adigital online marketplace.
A lot of people didn't makethat transition to a digital
online marketplace.

(54:08):
A lot of people didn't makethat transition, and I don't
know if the same thing occurredwith like cassettes to CDs or
whatever, but there was a lot ofmoney that had to be invested
in this actual infrastructureand then, as soon as the next
thing came out, it killed theprevious technology, and then
you would be left over with, youknow, all these boxes and boxes
of of media that nobody wantedbecause it was old news.

Speaker 3 (54:31):
Yeah, which is yeah, definitely.
I mean I still have C.
I mean people still see sellCDs, but it is.
It's kind of like it's retro.
Yeah, it's just not many peoplehave CD players anymore.

Speaker 1 (54:45):
Yeah.

Speaker 3 (54:45):
Like, and it's it's not.
Yeah, it's like not, I'll sellthem live like every once in a
while.
But it's also weird that vinylssell, are selling a little more
now, but even that is stillpretty retro.
It's like someone has todedicate.
Yeah, you'd have to dedicatelike this whole room if you
wanted to listen to vinyl, whichis fun, yeah, but it takes up,

(55:08):
you know.
It's like a thousand pounds ofrecords.

Speaker 1 (55:11):
It's a library and, like the whole stereo I have, I
listen to vinyl Because I reallylike intentionally listening to
an entire album.

Speaker 3 (55:22):
Totally.

Speaker 1 (55:23):
And I miss that experience in Apple Music and
Spotify and these differentplaces where you're just kind of
it's there and you're listeningto it, but a lot of times you
don't know who the artist is,you don't know what year that
came out, you don't know muchabout it, and the artistry of
putting together an album andwanting somebody to have that
experience I appreciate and Ireally miss that part, and so I

(55:48):
still really like puttingdefinitely a whole album on and
listening to it um I think of itlike, like if you like, you
can't invite somebody over tolisten to yes I can apple music
or something like I'm sayinglike it's.

Speaker 3 (56:05):
You can have a party like a wine and vinyl party,
where you just put vinyls on.

Speaker 1 (56:10):
Yes.

Speaker 3 (56:10):
But you can't be like listen to Spotify party.
Like sounds really stupid.

Speaker 1 (56:14):
Right.

Speaker 3 (56:14):
Like nobody's going to.
You have to come up with abetter theme.
But like putting music on inlike a real world form can be a
party Like it can be the thingthat you invite people over.

Speaker 1 (56:25):
There's just so much more intention behind it than
than the I don't know passivelistening, I guess which I still
do.

Speaker 2 (56:34):
And.

Speaker 1 (56:34):
I'm grateful for it, but yeah, I think it's worth it.

Speaker 2 (56:40):
If it weren't for things like Spotify, my the, the
amount of music that I would beexposed to would be so much
less.

Speaker 1 (56:49):
For sure.

Speaker 2 (56:50):
Yeah.

Speaker 1 (56:51):
Yeah, think about us as kids.

Speaker 2 (56:53):
Dude, I thought Garth Brooks was rock and roll.
Yeah, 100%, because the onlymusic I heard was like
traditional cowboy music thatwas getting played around
campfires and stuff like that,which I also thought, our
stepdad wrote all those songsand then whatever was on the

(57:13):
local radio, which was a countrystation.
So I thought that was the fullspectrum of music and I was
aware of some of these differentgenres, but I thought that I
was listening to all the music.
So I was like, okay, well,Garth Brooks, this has got to be
like heavy metal.

Speaker 3 (57:31):
Explosions.
It is very like Lyle.

Speaker 1 (57:34):
Lovett is jazz.

Speaker 2 (57:38):
Don't like that.
Well, we've kind of entered anew phase with the Six Ranch
Podcast, where now every week wehave a custom Spotify playlist
that is being curated by MissAdele over here to go along with

(57:59):
every episode.
And that's kind of fun, I think.

Speaker 1 (58:03):
It's so much fun for me.
I'm very excited about this one, a little nervous actually, but
it's still one of my favoritethings to do.
I mean, making mixtapes andmixed CDs was my love language
Almost as much as food, and somaking Spotify playlists feels

(58:26):
like the new version of that.

Speaker 3 (58:29):
Yeah, right, yeah, mixtapes were the best they were
the best.
I feel like that's the thingwith CDs that's missing more
than anything, like the goodpart of CDs is the being able to
make burn for your friendsRight Mix CD.
Because there's not reallyanything that you can do that
with.
Like the cd was crappy and itwould break eventually, or you

(58:51):
and you'd listen, or there's onethat's your favorite yeah but
it was like that was like one ofthe best ways to like as a gift
or to like tell somebody youhad a crush on them oh right,
like a burn cd from a boy yeahI'm gonna listen to every single
word, right?

Speaker 2 (59:07):
but Right, but this was a problem that I didn't
realize until a lot later inlife, because if a guy makes a
CD, he's like oh, here's a bunchof songs I like.

Speaker 1 (59:17):
Exactly.

Speaker 2 (59:19):
If a gal does the same thing, you need to dissect
those lyrics with full-onliterary theory.
Yeah, yeah.

Speaker 1 (59:28):
Completely, and some of my most embarrassing moments
came from giving boys mixed CDs.
I made a mixed CD for Cor Blundbefore I knew who he really was
or what his musical backgroundand knowledge was.
I was like here's a bunch ofsongs that I think you should
know.

Speaker 3 (59:47):
Well, you just so embarrassing.
I love that so embarrassing.

Speaker 1 (59:54):
I'm sure he's still playing it on the road.

Speaker 3 (59:56):
You might have blown his mind.

Speaker 1 (59:58):
Possibly, but here's a bunch of songs my stepdad
wrote.

Speaker 2 (01:00:06):
Maybe that's why he spends more time in Canada now,
terrified of.

Speaker 1 (01:00:11):
Texas.
But, yeah, the Spotify playlistthat we're making for Six Ranch
Podcast it's so fun to thinkabout.
Here's the guest and somethingthat you said earlier is like
here's how I want you to feel it.
It's more it's not so much thelisten to every word and you'll
understand how I feel about youkind of mixed CD, but it is like

(01:00:35):
.
This is how this episode ofthis podcast feels, and here's
some songs that also feel thatway.
And when you were talking aboutsounds bringing up a feeling, I
wanted to know, when you'redoing sound for other bands, or

(01:00:55):
if they're recording or ifthey're live, do you ask them
how they want it to feel?

Speaker 3 (01:01:01):
I don't, I try to.
I guess I try to.
I mean, sometimes bands willshow me like or ask them to show
me a song if we're recording,maybe, but a lot of times I try
to just create connection andcomfort between the band and
then do the best job possible,like create an environment where

(01:01:22):
the feelings will be made.

Speaker 1 (01:01:24):
Yeah.

Speaker 3 (01:01:25):
I guess it's kind of like a podcast scenario where
you're talking to each other.
If everyone's uncomfortable,it's going to create bad
feelings.

Speaker 1 (01:01:34):
Yeah.

Speaker 3 (01:01:34):
So normally, at least in the studio, it's more about
lamps and everyone being able tosee each other and communicate
with each other and making surepeople we have breaks and make
food and eat and stuff.
Those are normally like thethings I try to curate, okay,
like so that good emotions comefrom it or feelings come out of

(01:01:57):
it.
Um, but I do, I do talk to likethe.
I do talk to bands a lot aboutlike they'll give me examples of
other music, or like talk abouthow they want the song to like
if they want it to feel brash orlike really peaceful, or yeah.

Speaker 1 (01:02:13):
But, yeah all of those things.
So you kind of are curating afeeling, but you're not asking
them outright.

Speaker 3 (01:02:18):
Not necessarily.
I feel like my job, or a lot ofit, is getting people in the
right spot where they can makethe best feelings, if that makes
sense.

Speaker 1 (01:02:30):
Yeah, it does A lot of times if I'm cooking for a
private party.
The question I want to know iswhat do you want this to feel
like?
Not what recipe do you want, orprotein do you think you want,
or you know?
A lot of those questions, Ifeel like, are asking them to be
experts in what I can do.

Speaker 3 (01:02:52):
Right.

Speaker 1 (01:02:52):
But really all I want to know is what do you want
your night to feel like?

Speaker 3 (01:02:56):
Yeah, like, do you want it to be like sexy or like
a fun party or like summery?

Speaker 1 (01:03:01):
or that kind of thing .
Yeah, yeah.

Speaker 2 (01:03:05):
Have we moved out of the phase where, uh, every
cocktail is getting called sexyI?
Think we have I never knew,what that meant but I've seen
you drink a sexy cocktail.

Speaker 1 (01:03:20):
You just didn't know that that's what you were doing.

Speaker 2 (01:03:33):
Doing that, yeah what was it like whiskey?

Speaker 1 (01:03:35):
yeah, I mean when you get an old-fashioned and it's
like smoking.
Or you know it's got some likeextra little little snap and pop
yeah, I mean, I think if youcould drink it in a dark room
with like red velvet things,Whoa.
That makes it a sexy cocktail.

Speaker 2 (01:03:52):
Okay, does that help.
No.

Speaker 1 (01:03:56):
You just want to know we've moved past that.

Speaker 3 (01:03:59):
I'm hoping you know, I didn't even know there were
sexy cocktails.
A lot, of a lot of them hadfoam on them.
Yeah, I do love egg whites.
Yeah, but I don't know if that,yeah, I do love egg whites yeah
.
But I don't know if that's sexy.

Speaker 2 (01:04:11):
I don't know either.

Speaker 3 (01:04:13):
It's a real issue Is a whiskey sour with egg whites
sexy.

Speaker 1 (01:04:18):
I don't think it's sexy.
Okay, I think that's a funthing.
I think egg whites are fun.

Speaker 3 (01:04:24):
Yeah.

Speaker 2 (01:04:27):
I don't know what a blast.

Speaker 3 (01:04:29):
I don't know what a blast.
I agree, right Having a littlebit of.

Speaker 1 (01:04:31):
I'm so glad you're here A little bit of Having
little.

Speaker 3 (01:04:34):
You know, when you drink a beer and you get some
froth in your mustache, that'spretty fun.

Speaker 1 (01:04:38):
Yeah, yeah.

Speaker 2 (01:04:44):
Whiskey sour is underrated, though, if we're
talking cocktails.

Speaker 1 (01:04:47):
I think it is.
I think it's a.
I bet, though, that it comesback as a trendy classic
cocktail like the negroni.
You know, everybody in the lastcouple years is like, oh, have
you had a negroni?

Speaker 3 (01:05:00):
yeah, it's like one of the oldest cocktails right
yeah, yeah, everybody is sayingthat, though it's they are yeah
I'm, I'm there with the sazerak,oh yeah yeah that's a
tremendous cocktail.

Speaker 2 (01:05:12):
It's very old, it's, it's not popular, but it should
be I love it.
I don't know if it'll move outof the south, though really I I
mean maybe brisket came up hereand got us it did, but we don't
do it as well.

Speaker 1 (01:05:29):
That's the risk.

Speaker 3 (01:05:30):
Well, but it's just an old-fashioned with different
ingredients.

Speaker 1 (01:05:34):
But these Northwest bartenders are going to mess
with it.
They're not, you know.

Speaker 2 (01:05:38):
Oh yeah, they're going to be putting flowers and
shit in there.

Speaker 3 (01:05:41):
It's not a hard thing , it's going to be a Doug first
Sazerac.

Speaker 1 (01:05:45):
Oh okay, that's like poutine.

Speaker 3 (01:05:49):
It's like poutine.
My mom worked at a poutinestand in Ontario.
I lived in Ontario for one yearand yeah, Anyway, just every
time I eat poutine I'm like whatthe hell?
There's like parsley on it,yeah.
Or like white gravy instead ofbrown gravy gravy.

Speaker 1 (01:06:08):
And the cheese curds aren't cheese curds and they
aren't melted potatoes, and Ifeel like we just can't help
ourselves.
It's like you have to.

Speaker 3 (01:06:17):
I just don't get it.
It's poutine, like just youcould do something else, you
don't have to call it poutinesee change the name yeah change
the name.

Speaker 2 (01:06:26):
It's because people feel like if they're a cover
band they're a sellout that's.

Speaker 1 (01:06:31):
This is on you yeah, maybe.

Speaker 2 (01:06:33):
Yeah, just making a classic poutine is like, yeah,
it's like being a cover band,but right sometimes that was
what everybody wants somecomfort food exactly, and it's a
model that works right like wewe've this has existed.
I mean that works right, likewe we've this has existed.
I mean george washington drink,old fashions right, that's an
old drink.

(01:06:53):
If you go back a hundred years,an old-fashioned was called an
old-fashioned.
These are drinks that havelasted for a long time.
Sasarac has been around for avery long time.
Yeah, we don't necessarily haveto mess with it, we just have
to get it.
Get it right, like be bebrilliant in the basics, nail
down the fundamentals and you'vegot a good drink yeah, it's a
balancing act.

Speaker 1 (01:07:12):
I mean it goes back to like, I think, where we
started this was enjoyingmessing with the classics, right
?
So I do think you keep them Ididn't, I didn't support that.
You weren't supporting Okay.

Speaker 2 (01:07:30):
Are we going to rewrite Moby Dick here Like no,
We've already got Moby Dick?

Speaker 1 (01:07:36):
We do, but you've got to have spinoffs.
I mean, that's where creativityand growth and movement and
change and all of those dirtywords come from that are so
great and necessary.
So I will always mess with anold-fashioned, but that's
because I know how to make anold-fashioned first.

Speaker 2 (01:07:58):
Right.

Speaker 1 (01:07:59):
And I respect that and I respect the poutine, but
that doesn't mean that I don'twant to try to make it my own
and present it in a differentway yeah, and I I do think
that's almost like.

Speaker 3 (01:08:13):
Everything that we love is stuff that's grown and,
like changed over time like yeah, just like every.
Yeah, not not that we loveeverything, but I just mean
that's is how it, how things uhchange and then then,
old-fashioned is good.
I think if I had four drinks, Ihave one normal drink and then

(01:08:34):
maybe three drinks.
I twist, change up a little bit.
You don't have to changeeverything.

Speaker 2 (01:08:40):
I just feel like.

Speaker 3 (01:08:40):
if I see old-fashioned or poutine on a
menu, I want it to be a certainway.
I don't care if people do allsorts of crazy things with
drinks and food.
Yeah, but I do get confusedwhen it's like something that's
a very basic, standard thing,like biscuits and gravy or
something.

Speaker 1 (01:08:58):
Totally.

Speaker 3 (01:08:59):
It's like I'm not expecting a chicken fried steak.
If I order biscuits and gravy,those are totally different
things.

Speaker 2 (01:09:07):
They are Same part of the menu though, Like the, I'm
going to take a nap after thispart of the menu.

Speaker 3 (01:09:15):
Yeah, I'm going to take a nap after this.

Speaker 2 (01:09:24):
Talk to me a little bit about the blue collar aspect
of what you do, so that theproduct is is something that's
very artistic.
But if you're on tour orsomething like that, there's a
lot of physical work that thatgoes into making all this happen
.
If you're doing audio for, foranother band, there's a lot of a
lot of physical labor andtechnical skill into what you're

(01:09:46):
doing.
So talk me through a little bitabout what you do to make, make
that product happen, wherepeople are are hearing and
enjoying music.

Speaker 3 (01:09:57):
Yeah, well, on the music performing end, I've
always done or most mostlyalways done all my booking and
stuff.
So that's normally like six tofour to six months before shows
happen and then emailing andcommunicating and then like
trying to get posters and getall the dates finished and

(01:10:20):
that's that's kind of the bigwork.
Amount of work for me is thelike months of making sure all
the details are figured out,including lodging.
So I do all of that stuff.
Which is why I decided I kindof want to do like less, like
100 shows a year instead of 200,because so that I have less of
time where my brain's alwayslike thinking about like okay, I

(01:10:42):
have to email this person andplan for a month schedule for
four months in advance.
100 is a lot, yeah, and it'slike I guess I associate that
for me it's kind of like worry,it's like thinking about the
past.
So I haven't been writing asmuch and I was like I think I
need more like brain time wheremy brain's not thinking about

(01:11:04):
how to get make shows happen inthe future.
Yeah, and so that's the bigpart with booking shows and then
with production and live sound.
So the Blind Boys of Alabamajust played at the OK Theater
and they needed a back line,which means I had to provide all
the instruments.
So I got those from a place inBoise so I had to send them like

(01:11:27):
what they needed, and then Ihad.
I drove my van.
Well, in the end it was 16hours before I was there four
hours back and then I workedlike 12 hours for the show day
and then I drove all that gearback and forth and then the show
day was.
There was a play that got doneat like two or 3 PM, which a
community play, which is coolbecause I wanted that to happen

(01:11:48):
because we don't get to havevery many plays out here and
then I had to set up all of thegear for the band and then I had
to run sound and make sure theband was happy with the sound.
So that was a really.
It was basically like 40 hoursof work in like three days.

(01:12:11):
And then when I go on tour witha band to run sound which is
another thing I do, that's morejust testing the gear and making
sure everything works.
But I do like sound in generalbecause it's mostly in the
moment.
So it's going on tour and thenjust I'm kind of like, and you

(01:12:39):
get there and then you just haveto work your butt off for three
or four hours and then the showstarts and ideally everything
sounds good at that point.
But that's one thing.
That's nice about sound is theband is planning all the shows
and stuff, or their managementis.

Speaker 2 (01:12:56):
With a place like the OK Theater?
How does the sound change whenyou're testing versus when it is
filled up with human bodies?

Speaker 3 (01:13:06):
It changes, but it's a pretty not as much as a lot of
places.
Yeah, because it has seats thatare padded, it has carpet,
there is some reflectivesurfaces, but it's not.
This place is like a gym whereit's all reflective.
So if you put a bunch of peoplein your shop, it would change

(01:13:30):
the acoustics a ton.
If you put a bunch of people inhere, it would change the
acoustics a little bit, becausethis is a drier space.
So the theater is kind of nicein that way.
I normally don't.
There's some times when you'rerunning sound it's like super
difficult and then it's likesold out and you're like, oh,
now this is easy and it soundsgood.

(01:13:52):
But the theater it's pretty fun.
It does sound good in there.
Yeah, I like running sound inthere a lot and I think it
sounds good most of the time.
If running sound in there a lotand I think it sounds good most
of the time, if it doesn't,it's my fault.
I recently have a really nicenew center fill speaker.
Okay, I got to check it out.

(01:14:13):
It sounds incredible.
Yeah, it changed everythingReally.
Yeah, I feel like the sound islike really how I want it to be
in there.
Now, what is a center fillspeaker.
It's just a speaker on thecenter of the stage.
I've noticed if you sat in thefront row in the middle, you
couldn't hear any of the vocals,and then the speaker's really

(01:14:33):
expensive.
Yeah, so it's the mostexpensive speaker I've ever had
and it's also in a really goodspot.

Speaker 2 (01:14:43):
If you're sitting front row, you just want it to
be loud.

Speaker 3 (01:14:47):
Yeah, but you couldn't hear the vocals.
And then you know, as the soundperson, it's hard to Because
the band's so gosh darn loud.
It's hard to.
It's like I'm sorry you can'thear the vocals okay, because
you just I can't do anythingabout that.
Yeah, but in this scenario it'sbecause there wasn't a good

(01:15:10):
speaker for that.
But anyway, you get a lot offeedback when people can't hear
the vocals.
Yeah, I mean, I get a lot offeedback from the people
listening, not from the.
Yeah, there's a wrong wordchoice.
Basically Aaron's like I can'thear the vocals.
That's like my dad, I mean.
It's just normal music.
Live music is normally too loudand then the only thing people

(01:15:33):
care about is if they can hearthe vocals or not.
But that's like basically howmost people are.
Those are the main goals is tomake it quieter and have people
hear the vocals if you had toget rid of a mainstream
instrument, what would you getrid of?

Speaker 2 (01:15:50):
oh, you'd make it illegal.
I don't think I.
I you gotta pick one here.

Speaker 3 (01:15:54):
I have to pick one.
Okay, I'm not.
I'm definitely not gonna pickthe banjo, because I feel like
that's picked on a lot.
I love bass and drums.
That's the thing.
I think that drums are the onethat, in the wrong space, make
it hard for a lot of people tohear.

(01:16:15):
But I can't get rid of drumsbecause rhythm is one of my
favorite things.
Yeah, that's the foundation.
Okay, rhythm is like one of myfavorite things.
Yeah, that's the foundation.
Okay, well, we're going to.
I mean, I feel like it needs tobe some sort of a somewhat
popular instrument.
I just can't say a super obscureone.

Speaker 1 (01:16:31):
He did say mainstream .

Speaker 3 (01:16:33):
Yeah.

Speaker 1 (01:16:33):
Okay.

Speaker 3 (01:16:35):
Does harmonica count?
Sure, yeah, I guess harmonica.
I like harmonica, I feel bad.
There's so many harmonicaplayers.
But I like harmonica I feel badthere's so many harmonica
players, but you'd get rid of itor electric guitar.
Those are the two that came tomind of commonly used
instruments which.
I love both of those.

(01:16:55):
What are you going to go withAdele?

Speaker 1 (01:16:58):
Oh, I have to answer two oh yeah.
This is a tough one.
Does the accordion?

Speaker 2 (01:17:08):
count Sure, I might let go of the accordion yeah,
yeah.
I could see that come into yourmind when he said harmonica.

Speaker 1 (01:17:16):
I actually thought of it a little bit before then,
because my friend Sam Plattsalways says a gentleman knows
how to, or a man should know howto play the accordion and a
gentleman never should, orsomething great like that.

Speaker 3 (01:17:28):
Yeah, I have an accordion.
You want to check it out.

Speaker 1 (01:17:31):
I do.
I'd love to play one.
They look fun.

Speaker 3 (01:17:33):
I haven't played it.

Speaker 2 (01:17:34):
They do make me a little uncomfortable.
You'd go accordion overbagpipes?

Speaker 1 (01:17:39):
Yeah, because bagpipes rarely come into my
life, so it feels like I'mtaking that from someone else.

Speaker 2 (01:17:47):
You're not gonna like mine I bet you're.

Speaker 1 (01:17:51):
Is it the bass?

Speaker 2 (01:17:53):
acoustic guitar.
What?
Yeah, yeah, it's, it's chaotic,takes up.

Speaker 1 (01:17:59):
Yeah, do you just want everybody to be a ukulele
player.

Speaker 2 (01:18:06):
No, but I could just do without it.
Guitar strumming just doesn't.
It's not a pleasant sound forme.

Speaker 1 (01:18:14):
Yeah.

Speaker 3 (01:18:15):
Yeah, that makes sense.
I have a lot of friends whokind of feel that Really I feel
like it's the worst soundinglive instrument, like plugged in
acoustic guitar.
I love acoustic guitar and I dolike it in records, like mic'd
yeah, but in the live scenarioit's, I would say, for me the
most frustrating.
Like I play the acoustic guitarand I'm just like I hate this.

(01:18:38):
This does not sound when I playat a live show.
This does not sound when I playat a live show.
It does not sound the way thatI want it, like me sitting in a
room.

Speaker 1 (01:18:47):
It has never been more obvious that you have never
been teenage girls.

Speaker 3 (01:18:54):
But I love it.
I play, I mean I write, I loveit You're like I hate watching
somebody's acoustic guitar.

Speaker 1 (01:18:59):
Yeah Well, I had to be there.
I wish I was watching somebodystrum an acoustic guitar.
Yeah Well, I had to be there.

Speaker 3 (01:19:04):
I wish I was.

Speaker 1 (01:19:08):
I don't know what that meant.

Speaker 2 (01:19:14):
Bart, where can people listen to your music?

Speaker 3 (01:19:17):
Well, I do have it all over the internet on most
places.
I do have it all over theinternet on most places.
I got four albums released likeon Spotify or iTunes or
whatever.
And then I do have a website,bartbudwigcom, which is the best

(01:19:40):
place for like if I have showswhich are normally in like
Western US.
And then I have some like vinyl.
I have vinyl, a few differentrecords on vinyl.

Speaker 2 (01:19:47):
If somebody listens to a bart budwig song on spotify
, do you make any money?

Speaker 3 (01:19:55):
I don't know.
I think I make a little bit,but I'm not.
It's.
Yeah, it's definitely better tolike live, getting tips in live
shows.
People buying music isdefinitely way better than
listening to music, but I also Ilove, like I said, I like more
so than listening to the samething over and over.

(01:20:16):
I like exploring.
So, as far as the internet andmusic, I really actually love
that part of it.

Speaker 1 (01:20:23):
Yeah.

Speaker 3 (01:20:23):
And yeah, it's, it's pretty great.
And it's amazing when people Ifeel like a lot of people
support me.
Like when my car broke down inAustin, I was like, hey, if
anybody wants to give me a tip,you don't have to.
I just posted on Instagram.
I was like I know there'splenty of things to do, but I
got $2,000 in one day, nice,which is like Was that enough to

(01:20:47):
fix your car?
I got a new car for $3,000.
Okay, but I mean it was amazing.
It was just.
I was like you know what?
Most people can listen to mymusic for free.
I should just ask I feelembarrassed about it and feel
embarrassed about it.
And then there's been a couplethings like that and and uh,
anyway, I I feel very supportive, but it is weird to navigate,

(01:21:07):
hard to navigate, um, but I tellpeople, music has been recorded
for like a hundred years.
Like the whole history ofhumanity is just, most musicians
are probably just degenerateswalking around playing music for
people with no recordings, andthat wasn't an option, and they
got a bed and food and somemoney.

(01:21:28):
You know, yeah, like that's thewhole existence of humanity.
It's like just because peoplegot rich for 35 years, it's like
I mean it would be nice to justhave that happen, but that's
not really the story forhumanity and music, so I'm okay
with that.
I guess I love it.

Speaker 2 (01:21:48):
I love it.

Speaker 1 (01:21:49):
That was great.

Speaker 2 (01:21:51):
Okay, last question what advice would you give to
18-year-old Bart Budwig Whoa?

Speaker 3 (01:22:01):
That's a tricky one there.
I you know what.
I don't think I could give my18-year-old self very good
advice.
I feel like my journey thatbrought me down here to
enterprise it was I'm prettythankful for, like I'm really

(01:22:26):
bad at relationships, but Idon't think I could give my 18
year old self any advice thatwould be helpful.
That would be the one thing Iwould want to try to figure out.

Speaker 2 (01:22:39):
That would be like okay because that's a tricky
part of this.
Is it to be useful, it has tobe something that the 18 year
old version of you would bewilling to accept, yeah,
otherwise you're just lecturingand it's useless.

Speaker 3 (01:22:52):
Yeah, yeah, well, yeah, I wish I had a quick
answer on that one, but now Ithink I'm getting a.
I'm, but now I think I'mgetting a, I'm wondering what my
18-year-old self would need toknow.

Speaker 2 (01:23:09):
Yeah, save your money .

Speaker 3 (01:23:12):
Actually.
Yeah, that's actually.
That is a good.
That's a.
I think now now because I've alot of I spend so much money
trying to figure out likeprofessional gear and the things
that I love and want that wouldactually be a really good one.
Just be like this stuff isreally good.

(01:23:33):
You're going to like thisinstrument the best, this cornet
the best, so you don't have toget a cornet every three years
and then find the best one.
I feel like there's a lot ofmost things in my life.
I've stumbled into the onesthat I love, like make sure you
get this eight-track cassetterecorder before you go to
recording school, because you'regoing to love it.

(01:23:56):
Yeah, so I think it would justbe the.

Speaker 1 (01:23:59):
Like a product guide.

Speaker 3 (01:24:00):
Yeah, a product guide so that I could just spend my
money on the products that Iknow I'm already gonna love in
the yeah that, because I lovethem now I'd be like you will
love these.
Future bart.

Speaker 2 (01:24:10):
You're gonna thank me as future bart for letting you
know this center fill speakerdoes not exist yet, but when it
does it's gonna work great inthe theater.

Speaker 3 (01:24:24):
it's gonna solve all of your problems Awesome.

Speaker 2 (01:24:30):
Awesome, Well, thanks a lot and uh, yeah, Bart's in
here, um, today.
Uh, among other reasons, totalk to us about some ways that
we can get even better audio foryou guys in future episodes
that are recorded here in thestudio.
And thank you very much foryour expertise and time and for
the stories and laughs.

(01:24:50):
This is great.
Thanks for having me.
Thanks for having me.
Bye, everybody.
The Six Ranch Podcast isbrought to you by Nick's
Handmade Boots, a family-ownedcompany in Spokane, washington.
For many of my listeners,you've waited and prepared all
year for this.
Whether your pursuit is with arifle or a bow, early or late

(01:25:10):
season, big game or birds,another hunting season is
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Nick's Boots and the Six Ranchwant to wish you luck as you
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This season I'm wearing theNick's Boots Game Breakers
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(01:26:14):
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I just want to take a second andthank everyone who's written a
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Your support is incredible andI also love running into you at
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(01:26:36):
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Art for the Six Ranch Podcastwas created by John Chatelain
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Original music was written andperformed by Justin Hay, and the
Six Ranch Podcast is nowproduced by Six Ranch Media.
Thank you all so much for yourcontinued support of the show

(01:26:58):
and I look forward to next weekwhen we can bring you a brand
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