David Gnozzi stands between two major fires in the current apocalyptic scenario of Los Angeles. Ken inquires about the status of the city while David expresses his desire to relocate. Their discussion revolves around the difficult truth of the state of the music industry and its now severed attachment to Los Angeles. A new chapter in the music world has unfolded...
Donate to the music industry to help give relief to the many that were affected during this difficult time: https://www.musicares.org/donations
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Episode Transcript
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(00:07):
Hi everybody, and welcome to another episode of Metal
Mastermind. And today we have a return
guest. And of course, hopefully next
time we ever do something like this, it'll be under better
circumstances. But we have David Notesy from
Mid Plus TV. David, say hi.
Hello. Hello, I thank you for having
(00:28):
me. Thank you everybody who's
listening. Oh my gosh, this week was
definitely apocalyptic, to say the least.
If you're watching this, this isJanuary 11th.
We're on Saturday, and it was just pretty much shortly after
all the fire started to happen here in LA.
(00:48):
And you know, David, why, why don't you talk a little bit
about your current situation? How How has it affected you?
How has it affected people around you?
Let's start there. Yeah, I think everything started
something like 3 days ago I think.
And immediately, you know, the whole city realized that it
(01:11):
would this was going to be bad. The first fire started in the
Palisades, I think, and after a few hours went from the size of
a car, of the size of a footballfield and the winds we got an
alert for, for high winds. And that's where, you know,
(01:32):
everything, everything went downand in just few hours, you know,
huge spaces and huge portions ofland were on fire.
And then, you know, there was nostopping it.
And I, I unfortunately a lot of a lot of my friends both in and
(01:52):
out of the industry lost their house.
There are some illustrious nameswho lost their houses, not, you
know, for me to divulge. Some are public, some are not.
And we will see in the next days.
A lot of studios are gone here in LA and it was bad me.
I'm a I'm a condo, one of the lucky people.
(02:13):
Although we are an alert, I am in between 2 fires.
So from my roof, I can see them both and you would expect after
three days that they were contained and they're not.
And then that's, that's a prettyscary situation because we are,
you know, considering what are we doing?
(02:35):
Like we're packing or, you know,it's, it's a scary thought.
It's definitely a scary thought.And yeah, I mean, for now, I'm
lucky for now, I'm far enough from the fires.
But we're definitely keeping an eye on on both.
Yeah, You know, these, these things I my under my
(02:58):
understanding in LALA is pretty dry, is it not?
Right. You know, there's not a not a
lot of water reservoirs nearby. So and even the water supply has
been sort of drained trying to put these fires out.
Yeah. I mean, I don't want to get
political on this, but there arefacts that are out there that
(03:21):
are in dispute of in LA. Unfortunately there have been
huge budget cuts for for the fire department.
As far as I know. The recent one was about 20 mil
which is no joke. And the chief of the fire
department was just now fired bythe mayor of LA simply because
(03:46):
she said yes. They failed me because my guys
were going to the hydrants and there were no water in the
hydrants. The Palizad reservoir of water,
which is 117,000,000 gallons of water was empty and broken and
has never been fixed. So there's, of course, you know,
there are, there are things likeyou can't stop wild winds,
(04:09):
right? But also, there are definitely
human errors in this and the whole thing could have been
handled much better. And will Will, I think, I think
people here, I think people thatare not from LA don't really
understand the extent. Just to give you an idea,
(04:29):
Malibu's gone. Palisades are gone.
Like, no, it's not like a coupleof dozens places.
It's like 1000 buildings here and there.
Like it's, it's my friend Howie Weinberg, you know, multi
awarded master engineers. We are very, very close.
(04:51):
And he lives in Loral Canyon, which is not far from me.
He had to evacuate to last night.
He sent me a text and he had to leave his house hoping for the
best, you know, and, but also his studio with all the plaques
and, you know, historical records there and everything.
And he'll say, like, I don't know if I'm going to go back to
(05:13):
the house or not, if he's going to be there when I go back.
And so fortunately it did. Fortunately, you know, the these
areas being hasn't been affectedwas just a warning to evacuate
just in case. And he went to the palaces and
he called me yesterday, said, like, you don't understand,
Like, it looks like they droppedan atomic bomb.
(05:36):
That's how it looks. There's nothing left.
So it definitely. Yeah, yeah, yeah.
I mean, yeah, some of the some of the folks that I understand
that I know or know through friends of mine too, you know,
Bob Clear Mountain, he he lost his his entire studio.
(05:58):
I mean, that's, that's already such a loss on its own.
You know, Rich Mouser also, there's there's, there's a ton
like you mentioned, there's many, many studios.
And this is in a way, it's, it'sirreparable damage because it's,
it's not just real estate, it's also memories and records,
(06:20):
historical data that, you know, I mean, Los Angeles is not like
a Joe Schmo place. It's, it's, it's a Mecca.
So, you know, you talk about destroying an entire city.
I mean, this is one way to bringit to its knees.
And it's it's horrible. I am so so sorry.
You know, we've had in New York our, our own version of that
(06:44):
when it came to like Hurricane Sandy.
And we saw one of our own studios as well, like completely
irreparable. And it had a focus, right.
ISA, these sorts of things. It's, I can't even like
comprehend the amount of loss, especially like as a music
producer too, losing your, your,your studio is, is your line of
(07:09):
work. It's also your, your sanctuary
where you can, you know, heal from anything going on in the
world. And it's, it's such a Oh my God,
that's, that's horrible. Yeah.
For many of us, it's not even just a job.
It's just it's our temple. It's our, you know, it's our
same place. It's everything.
(07:29):
It's it is heartbreaking. And then like you said, many of
these places have, I think Bob said that, you know, when they
left, they thought they would goback after a few days.
So they grabbed a few things here and there.
He can mention he grabbed something that Bruce Woodin gave
him. So like you need to, you need to
just think about like, I know atleast 5 studios here are gone
(07:54):
without naming names and the amount of like again, memories
and and you know, priceless thing at this point that they
could have been there. It's it's crazy.
But you know, at the end of the day, we I think we got to look
at the positive, which is something like this could have
been a lot worse as head counts.And although there have been,
(08:19):
you know, unfortunately, that's if you look at how the scenario,
how the, the, how the city looksright now, you would, you would
think this was a bombing becauseit's so crazy.
You see smoke sky high. You don't see the end of it.
From where I am, I can see both,you know, these two fires and
(08:40):
you, you just don't see the end of them.
You see the curve of the freaking planet and yet you
don't see the end of the fire. It's absolutely insane.
At at this time are are are planes still not flying out to
LA? The the water planes?
You mean the firefighters planes?
(09:00):
No commercial planes. I'm not aware of that.
I, I don't know. I think I've seen a couple of
news footage and you could see plane fly.
So I'm pretty sure some of them might have been cancelled.
But as far as I can tell, the air traffic is it's going.
You can see planes in the in theair here.
(09:23):
So have they been and then when it came to water planes, have
they just been flying water in to try and smoke out some of the
things? Yes, yes, there's, there's
planes that as helicopters and thank God, these guys are out
there busting their ass. And and I think, you know, the
whole city needs to be grateful for these for the firefighters
(09:43):
because they're really, you know, I've seen some absolute
precision water dropping that islike impressive.
Like, you know, so these guys need the race for sure.
The thing is, for some reason, and I'm and I might need wrong,
so don't quote me on that. There was some kind of problem
again, whether it's bureaucraticor not.
(10:06):
As As for why the planes were not flying the first day and
they were not dropping water, which of course you can imagine
with super strong winds, you know, it made the fires so much
worse the first 48 hours where the, the, the, the greatest
destruction was. And yeah, the I think the plane
(10:29):
started flying and dropping water the second day.
Wow, I mean it it, it got so badto a point where when people
started to evacuate they abandoned their cars.
Huh. Yeah, that is, yeah, that's
that's crazy, absolutely crazy. So because of traffic and
another thing that is very mismanaged in LA and yeah, and
(10:55):
there's so many people, you know.
And so when of course, I understand on one hand, like I
understand like if I had to evacuate, I would you are,
you're just, you want to evacuate when that's the last
option, right? So you would wait as long as you
can to try to save, to try to grab the more stuff that you
(11:17):
can. And I think, you know, that's
what happened. And when the fire was so big
that basically the entire blocksof people started evacuating at
the same time. And what happened is there was
gridlock, traffic was not going.And you know, the fire started
caught in catching up to cars, which got on fire.
(11:40):
So the firefighters were tellingpeople you need to abandon your
car and go. And of course, what happened
that's that's such a crazy chainreaction, right?
What happened is now the highways was really not going
anywhere because all the cars were abandoned.
And so they had to come in with bulldozers and bulldoze the cars
(12:02):
away. So you lost your house, you lost
your car. Like it's, it's, it's absolutely
crazy. And it looked like a scene from
those movies, you know, for it, it looked like the scene that
the scenes from the movies that we all saw and never want to be
in, you know, and it's absolutely was absolutely
(12:26):
insane. And they're still doing it and
still going on. Oh my God.
Yeah. I can I like New York City is,
is such a populated place and I can only imagine if something
like that were to happen in Manhattan, that would be like
totally end of the world apocalyptic too.
(12:48):
The, I mean, like LA, when I went to LA, you know, in the
past, it's it's always been, youknow, very congested.
But you know, they're always kind of felt like, you know, I
didn't really think it's maybe earthquakes, but like fires.
(13:09):
I didn't really think it would come to LA like that.
I thought that was more of a problem in Northern California,
not necessarily in Southern California, but I mean, like
Hollywood Hills. Like, I remember walking around
Hollywood Hills while I was there and I was, you know, given
the tar, went to the observatoryand it's like, Oh my gosh.
(13:31):
Like the Hollywood signs on fire.
Yeah, yeah, The Hollywood Hills are on fire.
There was a new one starting this morning, actually.
Yeah. And the and the Getty Museum as
well. The Getty Museum had fire on the
side of the hills yesterday. They were trying to stop it and
it is Sunset. There was a fire on Sunset.
(13:51):
Really. Like literally you could see it
from Hollywood Blvd., which is from the closer to me Studio
City. I had, you know, my friend Asuf
from Polyverse. We were together couple like
well, two Saturdays ago, last Saturday before the the Saturday
(14:12):
before the fires, we were together in you know, we went to
infected mushrooms were playing here.
They invited us. And two days after he calls me
like we are evacuating. He was in Studio City.
That was day two or three of thefire and another fire starter in
Studio City, which is is in the city like you.
(14:34):
You would never imagine that it will get this close and and talk
about like fires in Hollywood Blvd. and the the Hollywood
Hills. It's it's absolutely crazy.
Yeah, that that's that's not like even a fog, like, no, no.
Oh, my God. You, you know, I know you, you
(14:56):
own also Bunker Studios. Is Bunker Studios OK?
Yes, yes, we are still in a pretty much the, the bunker is
about 15 minutes from me. So we are kind of in the same
situation. We are in between the two fires
and it's it's tense because again, I'm probably more tense
(15:21):
now than I was 2-3 days ago because I see that you would,
you would think you see the firethat is far away from you and
say like, oh, we have, they havetime to stop it, but they're not
stopping it. And so as the day go by, you go
like, damn, this thing is getting closer and closer and it
doesn't seem to stop. So we're still far enough and
(15:42):
you know, my other studio is still far enough from it, but
we're definitely like constantlychecking live updates on YouTube
or whatever we can get them to see, to see, you know, how close
is. It's what's happening.
Yeah, My, my heart goes out to you, man.
I, I don't know what I would do.I mean, I, I, I guess you just
(16:06):
really start really thinking about what's, what's the most
important stuff that you want topreserve, because that's all you
really can do, you know? It is.
And the most important thing is people, because you know, thing
can burn away, history can go away, but you know, people are
are we're we're living creaturesand we have to, we have to be
(16:29):
there for each other. So I'm glad to hear that you and
Bella are are OK And I, I hope that that continues to stay the
case and like I will stay in touch with you.
I please like I want to know. I will.
(16:49):
I will like. I I, I'm, I'm like kind of
already like getting chalked up about this because this is kind
of like intense just to hear it.Oh yeah, yeah, I imagine.
Yeah, it it that's, that's not, it's not fair.
It's absolutely not fair. That's, that's got to be one of
the, the most horrific things I've seen.
(17:09):
I mean, like 2025, we were all like so excited.
We're like quarter of the century into the 2000s.
And it's like, no, this is starting off like crap.
Yeah, it started. It started a little a little
off, Yeah, for sure, especially here.
Now not to mention that even like in the beginning of January
(17:30):
on another year we had another like total rack sacking of the
of Congress. So it's like January doesn't
seem to be a very good month at all.
No, no, definitely, definitely and.
Then my. Gosh, it's funny and I say it's
funny in an ironic way, but the the first day of the fire I was
here mixing and we had a 3.1 earthquake with the fire.
(17:55):
So it was like, you know, this is this might be the sign to
leave LA, you know, to be honest.
David, well, David, you, you keep making great music so it's
literally shaking and burning the world.
So all jokes aside, no, that's, yeah, that's, that's horrific.
And I'm, I'm so sorry to hear all of that.
(18:16):
I I actually to everybody watching, we were, we were
planning on talking about studioconstruction today.
And then all of this kind of happened.
And yeah, I mean, geez, imagine like having a, a multi
$1,000,000 studio, like someone like Bob Clear Mountain and then
(18:36):
just completely losing it all. I mean, like, yeah, what do you
do after that? I mean, like does I can only
like if I were Bob, I'd probablybe like, maybe this is like a, a
sign for me to retire, you know,because like it's like so
devastating of a loss that I would probably just be like, why
even try again, you know? Yeah, I think, I think I read
(18:58):
something, a statement that Bob released and I got to say the
man has class because of course he was thinking more about other
people that are are not as well off as he is in his own words.
And he said like I, I can survive, I'm good, I'm doing
(19:20):
good. I'm worried for the other people
that have studios like me and they can't reveal that they
don't have, you know, savings and you know, those people, we
need to try to help them and stuff.
So Bob is, is an amazing, you know, human being besides me.
He's an amazing engineer. And he showed it even in a
situation like this where he lost the house he embedded and
(19:41):
it was awful. And yet still, you know, he was
so graceful in his statement. I just read it this morning and
and it's true. There's a lot of there's a lot
of people who really lost any, everything.
And we all know how there's already articles and articles
and a lot of reports about this,how the insurances here in
California are an absolute freaking travesty.
(20:04):
And. Many insurances has been
cancelled that we were talking about 75,000 insurances.
It was like cancelled. They're not going to pay.
Of course they're not going to pay.
This is a multi billion dollar disaster.
I would not be surprised one bitif the insurance companies find
a way to, you know, get out of it without paying or paying a
(20:29):
10th of what probably they should, which is which is awful.
Well, you know, it, it, it, it'sa systemic issue we have not
only is it insurance, but it, it's like you were mentioning
too, it's also governmental. So the, the combination was that
(20:49):
I heard, you know, back in Marchlast year that there was an
insurance company that canceled policies because exactly of the
risk of what just happened now. And so people who didn't, you
know, get the chance to, I mean,people, how would, how could
they get the chance? I was like, you know, like, who
are you going to go to, to, to, to be able to do something like
(21:13):
cover the losses of this? And then there's another couple
1000 people who lost their homesas well.
Who's going to get it first? Who's going to get this, you
know, last? And it's like, is it going to be
even enough to cover everybody? Because we all know companies
like insurance companies, they're they're, they're for
profit. So do they have all that money
(21:33):
in the bank? Probably.
I don't think so. No, no, if you look at the
palace as now, if you look at the palace as alone or Malibu
alone, you realize they they don't even have that kind of
money. You know, they that's that is
like one of those worst case scenario, then you just hope you
as insurance, you just hope it never happens.
But then it happened. Now it now.
(21:55):
Now it's the time, unfortunately.
Yeah. Exactly So and there's another
problem, like even I was talkingto some of my friends that lost
basically everything they were saying like even if even if
let's say I have the money to rebuild between when they gave
me the permit digital, they werethey were talking about taking
(22:17):
one year just to get the permit to clean up.
And then you got the you've got to get the permit to rebuild.
And then there's the investigation.
So like they were looking at four years where you own a piece
of land, which is now ashes. And even if you do have the
(22:38):
money to rebuild, you can't for the next few years.
Now multiply this for 10,000 buildings.
Just you know that that we on that we know of that have been
burned. This is like, I think we're
going to really realize the extent of the devastation of
these fire in about two weeks orso.
(22:58):
And like, hopefully they will begone and, and, and we'll have an
estimate and it's going to be, Ithink, mind blowing.
I, I, I wouldn't put it past it.I, it, it could be even in in to
the point where like it's, it can't be a place for creatives.
(23:21):
It's. You can say, yeah, because I
thought it, too. It could be kind of the end of a
life. It could be, yeah.
It it, it, it, it very much feels that way because if you're
if, if, if even like movie studios and all this kind of
stuff that that burn to the ground, like how are you going
to be able to have like you're talking about the end of an
(23:44):
industry in that area for exactly what you're saying.
I mean, with having like 4 yearsto have to basically get back on
your feet, like how do you even earn income 1?
You know, it's like that's already the biggest problem.
And then of course, these permits and then restructuring
and the cost into all of that. Yeah, that's, that's kind that's
(24:09):
insane. Jeez.
So I want to say. Something just for if there are
musicians or studio owners that are looking for it that they
could use this information. I don't have it in my profile
but I know that Damn Korn's guitarist had posted on his
(24:35):
Instagram profile so that's the easiest one to find that I can
think of. So guitars from Korn he posed
and many others posted. There's an association here in
LA that is giving. I.
Might be, Yeah, that is giving like AIDS to musicians.
There are, you know, they have lost everything.
(24:56):
There's food stamps. There's some sort of monthly
cash, you know, that is given. So people who, you know, it's
good to to share this and for people who, who, who needs it,
you know, Yeah, we're going to. We're going to put a link in the
description below regarding that.
I believe the Reporting Academy is also involved in making this
(25:17):
happen. Yeah, Which is?
Commendable because you know, weknow that us in the musician, in
the music community, in the music industry, we we don't have
an union, we don't we're fucked.We don't have like pensions, we
don't have a, we only have each other, you know, and so, you
know, when something like this happens, it coming together as
(25:39):
much as we can is positive. I'm lucky enough again to be OK
and, you know, to be on my feet.But I know that others probably,
you know, are not in the same, in the same situation.
So definitely, let's put links around and absolutely.
And. Yeah.
And help we can. Yeah, we.
We by, you know, spreading the word and and and and and being
(26:02):
able to even if you have only a dollar man, like just like put
something in because this is, this goes to like an entire
force of, of people that have been, you know, involved in
making great art throughout, youknow, decades.
I mean, like, Los Angeles has been the home of creatives for a
(26:26):
very long time. This is this is the foundation
of a lot of America's entertainment here.
Yeah. It it.
Always being the capital of the entertainment with music and
movies. Absolutely.
And you know, I was I was talking with with friends and we
were really thinking like this time around hit celebrities.
(26:50):
I don't know if it's true, but they say that Steven Spielberg
house for if that's true, that'slike, I don't even know how many
priceless props from you know, movies historical that are
there. But this is to say if I was in
that situation and I've been considering moving out of LA for
(27:11):
a little bit right now. If that wasn't if I was in that
situation that my house burned down and had to rebuild.
And I'm not sure that I would doit here.
And so if you again, you multiply this for all the people
in the industry, both, you know,movies and music that that this
affected, this might be the end of LA as we know it.
(27:34):
You know, where a lot of these people are probably going to say
fuck this shit. I'm out between, you know, yeah,
I mean, between earthquakes and mismanagement.
And we still have again, the, the higher, the highest taxes
that is in the in, in the nation, the highest gas as
grocery as everything. I don't even know how many tax
(27:57):
extra taxes I pay on my car alone for being here with this
car. You know, it's like kind of
crazy. So if you put 2, two and two
together, I what I'm saying is Ihear a lot of malcontent.
You know, while before when I moved here, you wanted to be in
LALA was the place to be. It was, you know, it was like
couldn't weigh in everything. And now in the past five years
(28:19):
or something, it kind of became I want to get out, you know, So
if you were. Where do you think you would go?
I'm actually. I have been considering we have
been looking around because I was just looking to buy a
property, a house and again, I'mnot sure if I want to do it here
(28:40):
for this these reasons. It would probably be either
Florida because there I have a lot of friends and there's also
colleagues and a lot of a healthy music community and a
music business and or national. Yeah, yeah, my, my, my parents
(29:00):
live in Florida and yeah, they're, they're kind of used to
the whole hurricane thing, but I'm not going to lie, it gets
worse. It seems to be getting worse
over time. They're they're just stronger
storms. And I mean, yeah, we're already
(29:21):
talking about politics, so I'll just even say it.
Yeah, I know. It's if you can't, you can't
talk about this without talking about politics either.
But it's, I mean, like I climatechange is a real thing and it's
an X Factor to this stuff. It's it's not the full on
reason, but it is definitely, you know, it doesn't help.
(29:42):
So no, he doesn't. You're, you're you, you know, it
comes down to again, mismanagement and, and
governmental officials that haveprioritized different things
over the needs of the people and, and emergency situations
and being able to like you, you,you have to be, if you're going
to have a city, you have to be able to make sure that that city
can stand on its two feet and not take the gamble that there's
(30:05):
going to be an event that puts it to its knees like this.
That's just in my mind, that common sense.
But yeah, I know I. Think everybody's my and also
especially when you know, that is a high probability that it
will happen because it happened before to, you know, lesser
extent, yeah. I mean, I, I mean, if I were, if
(30:25):
it were me, I probably would choose Nashville.
Yeah, that. Looks actually the, the, the,
the best choice also, because atthe end of the day, it, it's
more of a, you know, it's most like I can do my job pretty
much, you know, at this point, especially, you know, I have my
(30:45):
clients, I have my connections, I have my everything.
And so it's, it's more like for Bella where she likes it to be
when she wants to be. And of course, we were mostly
thinking about like having, you know, a little bit of land with
animals and whatever. I have like, you know, a
different type of lifestyle thanthe city even because we don't
really use the city as other would.
(31:08):
You know, we're not party people.
We don't go out, we don't drink,we don't go clubbing.
We don't, you know, yeah, sure you're going to lose a couple of
events, but also nothing stops me from being here for months, a
year. And you know, that's easy.
That's very easy. So, yeah, but you know, go going
back to what you said, I think we are in a, in a time in which
(31:33):
I know we in the music business,we tend to the smart people at
least not to go into politics. But I think we are at a time in
which you can't, we can't not talk about it at all because
these things effects our life, like our everyday life.
It's not a matter of being like how it was some time ago.
You hear it on the TV, but at the end of the day, your life
(31:56):
was the same, right? Today it's it's so, it's so
directly affects us every singleday.
That you know, it doesn't matter.
What's up? We we talk about music, we talk
talk about cars, we can talk about anything else Is
everything is so directly linkedto politics because it affects
(32:17):
so directly the decisions they are making.
Our lives I want. To I want to put it out there,
David, that if you, if you end up relocating and you are
rebuilding a studio, feel free to call me.
I'll, I'll come out and I'll help you.
Thank you, appreciate. It.
(32:40):
Because I understand that even adecision like that now is more
it's like, it's like not the decision you want to be making
right now. Yeah, it is.
It is on the map now. It's on the table.
And I, I see it as if I don't dothis now kind of thing, it's
(33:01):
like, you know, when, when mightI get the next opportunity to be
able to still stay safe and thenstill have everything to move
forward. So it's like you're, you're
making a, you're stuck between arock and a hard place here.
It, it, it's like you're OK, butit's like, what the chances of
(33:22):
this happening again, You know, you can't afford it.
You can't afford it. It quite simply unacceptable.
So being being in LA is just, it's just a giant risk now.
And it is. Basically.
Announced to the world that thisis this is not where you really
(33:44):
want to spend your, your, your, your, your 50 years, you know,
moving forward. Yeah.
Because that's what people did. They had their entire
livelihoods. Now it's.
It's all gone in a blink of an eye.
Yeah. And it, it really just shows us,
you know, like Mother Nature, just it, it, it's a force to be
reckoned with. And you, you just can't.
(34:05):
It, it, it's that arc above us that it's like we can't control
it and it will come and it will destroy and renew again.
It, you know, nature is beautiful, but nature is also
very ugly sometimes. And this is just one of those
examples of that. And yeah, I think human.
(34:27):
Beings make the mistake of thinking either oh, that's not
going to happen to me or we are above that or we can control it.
We can't control it. You know, if something this
these are the kind of events that I think should put us in
perspective and say, you know, we should be a little more
careful. We do.
And and yeah, we handle things. Yeah, I mean.
(34:51):
We work really hard with with most of us not a lot of a safety
net because everything we put into our career is, you know,
it's our equipment, it's what weuse to create and it's the tools
that we have. And you know, luckily, like as
creatives, you know, if, if we're still around to tell the
(35:13):
tale, we we always have our creativity.
We always have ourselves to be able to to conjure up something
new out of nothing. That's what beautiful about
being creative. But you know, if you were to,
you know, I mean, if you did this to da Vinci, you know too,
I'm sure he would be very demotivated and he would have he
(35:37):
would have questioned continuingdoing what he did, you know, So
at the end of the. Day, you know, many of us, and
this is not just in our businesses everywhere, it takes
so long to build and so little to destroy.
And this is exactly what we faced here in LA these days.
You know, I also have people whobought a condo and they would
been working on it for two yearsand they were about to be ready
(36:01):
finally to rent it and it burnedout.
So imagine like there are also like situations like this.
So it's absolutely crazy. You know it's it's.
It's. Really awful and but yeah, you
said it. Like for us, we still have our
brain and our creativity. But many of us, me included, I
(36:22):
took years and years and years to build my collection.
If I was to lose it, it was it would have, it would be like a
big hit, you know? And yeah, this definitely puts
thing in perspective. Yeah.
You know it's not. And for those people who say,
you know, this is, I'm sure a very small minority of people,
(36:43):
but you know, you have headphones and you have a
laptop, Well, it's not the same.It's not, yeah, you might, you
might be able to get stuff done in, in, in a pinch, But it's,
it's really it all that comes around with being in a, in an
environment. I mean, it's the.
Difference, it's always the difference between, you know,
(37:06):
doing this professionally and and doing this, you know, for
your own music only, which you can probably get away with your
laptop and your headphones because you have no deadlines,
you have no limits of time and most important, you don't have
anybody else other than yourselfto approve it, right?
This is one part and everybody will bring the example that at
(37:30):
this point we all heard. Oh, and Andrew Steps, which is a
friend of mine, by the way, it was the what?
He was on my channel a couple ofweeks ago, 3 weeks ago, he did
it and he explained to Until Blue in the face what he meant
and how he did it. Because of course he said that
he did. Yeah.
(37:50):
Because at the beginning, when you start your career, you're
probably not going to have a room like this.
You're not going to have like 10s of thousands of dollar
speakers and a room that is tuned, built, isolated and all
that. So between your crappy speakers
and, you know, in a scrappy roomand headphones with the
technology that we have today, you might be better off in it.
(38:11):
When you do this professionally,it's a whole different ball
game. Like we have the the artist that
has to approve the A&R, the girlfriend, the grandmother, the
dog of the girlfriend. They have to approve.
Like it's a whole different ballgame doing this professionally.
And besides the fact that we have our things and our routines
(38:32):
and and our way to do to do things.
Yes, of course. Could I mix in a different
studio? Yeah, I will be slower, probably
a little worse, you know, and you will be taking more
revisions, more tweaking. And it would be different.
But a lot of my clients come to me for a specific sound, and my
(38:54):
specific sound involves this, all the iron there is in this
room. And.
You know, could I do it without?I don't think so.
I. Don't think so, but let's assume
it would be theoretical theoretically possible.
It would take me so long to recreate even just one chain
(39:18):
that I have right now and all I have to do is just click the
button and run a track through it.
And so at this point, like, you know, the the business is not
going to work anymore because I give you an example, I was
December is always a busy monster and I was caught up with
all the mixes and all the masters.
(39:38):
Like December 23rd. I was like, hey, Bella, we're
going to have like, you know, a few days for holidays.
We're doing this night on the 23rd.
A client of mine, a big band, industrial band, they're called
Blitz Union, which they are friends also.
They were like, Hey, David, we have the song to meet mixed.
We need it for December 31st. It's for Eurovision.
(40:01):
Please, please, please, please do it for us.
And I was like, well, OK, of course I'm going to because this
is our business, right? We don't have a nine to five,
but also we cannot plan things because shit like this happens.
And, you know, and, and it, thatturned out to be a 241 tracks
mix and I had five days to do it, you know, and, and so you
(40:28):
realize that if, if something delays my process, that deal
would have been gone and the next one too, and the next one
too. So, you know, until you actually
do it this professionally day inand out, you don't understand
the minutiae of, you know, things that for other people
(40:48):
might seem a detail like, well, it takes you an hour longer,
takes me an hour longer. You know how destructive that is
for us doing, you know, this, it's crazy.
It's it's absolutely crazy. Yeah, every.
Every second really does count It, it, it, it, it, it's the
efficiency of your workflow. You're when you are talking
(41:11):
about this stuff. The, the biggest thing I see
about it is the, the eliminationto resistance in that.
And when you have, you know, high quality gear in your studio
like you do, it makes your job alittle easier because you don't
have to do as much in order to get a better sound.
(41:31):
So it's, and you know your toolsvery well, right.
So it's not just, it's not just the sound and it's, it's also
how you configured it. It's how you've decided to use
it in a chain. So it's a lot of that.
And that minutia you're mentioning is, is evident in
that. So I mean, that's why you, you,
you get the work that you do on a consistent basis because they
(41:55):
know not only is it that, yeah, you're bringing to them a sound
that they might be looking for, but it's also that they trust
you that David will get it done and you'll get it done in a very
reasonable amount of time. That works for people's
timelines, right? So absolutely it's.
Some there's something that I always say as an advice to a
(42:17):
common engineer. I always tell them like try to
deliver more than what you're asked to and if you can deliver
more, deliver it faster yeah. And that will that alone will
make a world of difference come,you know, against your
competition. So to.
Speak right my speaking. Of which like one of my, I don't
(42:39):
know if you followed it by one of my latest thing that I got
here in the studio is the pro patch from Wolf Audio.
And this thing is, I mean, of course it's not cheap.
This is not for home studio people.
They have like 2-3 pieces of gears and you know, it's, it's
expensive in in a way, but at the same and in the same the
(43:02):
same time is a bargain because of what he does and what he
offers. And, and I understand that for
people that are not in so in thebusiness talking about a $9000
patch Bay, it's crazy, but it's not because if it was 15,000, I
(43:23):
would buy anyway because of how much time it saves me and how
much better is my workflow with that alone.
And it's a freaking touch Bay, you know, and it's crazy how I,
I remember a wolf on their IG because mine is the first one
that was in LA and I'm helping them with the software making it
(43:44):
better. So we're, we're always talking
and, and they were saying they, they posted something saying,
oh, you know what this patch does?
And I said, yeah, it makes life better.
That's later. What it does for me.
I don't even think about it as aoh, it does this like the
technicality of it. I just think of the result of
(44:04):
having it just, you know, I can go to dinner tonight instead of
like, you know, staying here another 4 hours.
It's. That it's that price versus cost
argument, you know, you know, like, yeah, high price, but what
is it saving you in the long runrun, right?
So I mean, now, now think about it this way, right?
The the people who have worked alife of trying to optimize their
(44:28):
cost and now it's gone and it's gone.
For forever. That is, that is complete, utter
destruction of of of of an entire career.
You know, 'cause you know, when you get to that point and your,
your, your, your, your tolerancefor, for risk becomes, you know,
(44:52):
lower. Because, you know, when you're
starting off, I mean, yeah, you might start with the laptop and
some headphones and an interface, you know, and it
might be low price, but it's, it's kind of high cost because
you have to spend more time. But you're learning, you still
have, you know, time to, to workon your skills, right?
When you're, when you get to a, to a level like, like yourself
(45:14):
or God forbid, like Bob Clear Mountain, like you, you have no
tolerance for wasting time because the, the, the kind of
clientele that you, you bring inhave a certain standard, a
certain demand for that. And they they're, they're
willing to pay a pretty penny for it because they know what it
(45:37):
means for them in their way of looking at costs right there,
your price versus the cost of what it took to get a, a
fantastic sounding record. Or, you know, even something
like this, like Hans Zimmer, like you were saying about
giving more a good friend of mine, he used to work at, you
know, with relationships to HansZimmer too.
(45:57):
And he said that they would takethe dialogue of whatever their
buddies film was and they would actually mix the dialogue while
adding the film score and give it back to the, the, the, the
director and they would love it and they would usually always
get the gig right. So it's like overing delivery.
It's like part of this, exactly what you're saying an analog is
(46:23):
it's, it's very unique because like everything is always just a
little bit different And it's, it's in the moment and you can
actually perform like the 5th member of the band, so to speak.
And absolutely that's sort of that man.
Dudes like that's irreplaceable man.
Because again, again, it's just that is your, your value that
(46:47):
you're adding on top of all the,the things that you've just
said. So yeah.
It's funny because many of my clients, especially for rock,
metal, industrial and stuff likethat, I, I always, if you
notice, I almost never call myself a producer.
(47:08):
I'm a mixer master engineer, right?
Because I have the utmost respect for the word producer
and producer for me is the guy that makes it happen, that make
the, the, the, the decision. What direction are we going?
It's not it's not the beat makerright now.
There's there's this debate today.
(47:31):
It's not a debate. It's a misuse of the word, the
call beat maker, producer without without offending
anybody. But it's just the truth.
But that's that's most of the time what I do at the end of the
day, maybe I do just additional production.
But that's even just with the mix that I just told you about.
Like with with Blitz Union, the bass players are like, hey, you
(47:55):
know, this part, it's kind of thin.
We feel it's kind of empty. We know you're going to take
care of it. And that's not with the mix.
It's like, all right, you know, let's add this kind of synth.
Let's change the snare. That's what I did so many times.
I find myself into this this position and of course there are
projects in which I will 100% call myself a producer, whether
(48:17):
it's like, for example, Bella stuff or right now I'm doing
Monty Pitman album. So Ministry guitarist,
previously Madonna's guitarist and I'm doing everything for
him. So in this case, yeah, I have no
problem calling myself a producer because, you know,
Monty drops the demos and then from there on out it's just me.
(48:39):
You know, I do everything from deciding the drum pattern and
rearranging everything and and deciding where do we record what
to record how we recorded and all that.
So yeah, definitely. But yeah, I mean, again,
efficiency in this case is even more important than ever, so.
(49:03):
Yeah, you, you, you grow as as aengineer or a producer and you
find out what works for you. A lot of a lot of people when I,
when I teach on the subject, they, they, they always look for
like some sort of silver bullet to these things and it and it,
it's hard to give them a straightforward answer because
(49:23):
every studio is custom. It's there isn't like, hey,
just, you know, copy this and paste and this will work for
you. And it's like, it never works
out that way. Every room has a different
dimension and there's like so many factors to the things that
matter in a studio and you really just have to prioritize
(49:46):
like what works for you? What it, what it, what is the
intention of what it is that you're trying to create and on a
consistent basis and then formulate like what your
equipment serves in its rightfulplace.
So you're, you're absolutely right.
And you know when it when again,my heart goes really out to
(50:10):
everybody that's in Los Angeles and.
I. I, I know what it's like to also
own a studio, you know, what it's like to own a studio that
these things are irreplaceable. If, if my studio in my, in my
city, probably more risk to something like flooding because
(50:31):
of, you know, the Atlantic is right there.
So with if, if, if New York doesn't handle its own issues in
that sense, you know, I, my, my studio would be, would be the
first to, to go in those situations.
So we, we, we, we, we pray that the city is handling what it's
(50:54):
supposed to. And I hope that other cities
look at Los Angeles and say, maybe we shouldn't take certain
things for granted and maybe we should actually prioritize
infrastructure because otherwise, like you, you just
quite literally took a Mecca out.
And that is that happened in a week, a week.
(51:17):
And like we'll probably see to the extent the damages.
And it's going to be colossal. I just know it, it's going to be
colossal. And it's going to make people
really, I think, hopefully pay attention to what they should,
hopefully for real. Because this, this wasn't, you
know, it wasn't because one thing was missing or there was a
(51:43):
switch that was off. This was a mismanagement for
years and years and years and, you know, leaving things behind
and not repairing and not, you know, cutting here hoping that
will never happen again. And then it happens and you're
completely, totally orderly, areunprepared for it.
(52:04):
And this is what happened, you know.
So hopefully. At least it will help you know
other people making I want to remind people.
To, you know, look into music hairs.
The link will be in the description below and donate
whatever you can, you know, justto help each other because like
(52:26):
David said, the music industry is, is there there's no, there's
no unions, there's no pensions, nothing like that in our
industry. So we really only have each
other to lean on and in hopefully maybe people will be
more organized about stuff like this because this is a huge loss
(52:51):
to the entire industry. And I, I, I really do hope the
best for you, David. I, I, I pray for you, you know,
every single second to make surethat you know, you and Bella
don't have to experience that kind of loss.
And like I said also, you know, if you're relocating, you know,
(53:13):
after this is over, I will definitely.
Take you off on that on that offer, then you will regret
saying it. I will, I, I, I promise you I'll
enjoy it. Pay me and beer and we'll find
nice. Nice.
Will do. Will do well.
Thank you. Everybody and David, of course,
thank you so much for the time spent.
(53:34):
I, I, I, I hopefully, you know, again, let's pray for the best.
We'll keep in touch. Yes.
We will surely will thank you for having.
Me. Thank you for everybody
listening to the podcast and again, thank you for having me
again. Please, let's do it anytime you
want. Sure thing.
I look forward to it. All right, have a good one.
Have a good one everybody. Bye bye.
Hi everybody, and welcome to another episode of Metal
Mastermind. And today we have a return
guest. And of course, hopefully next
time we ever do something like this, it'll be under better
circumstances. But we have David Notesy from
Mid Plus TV. David, say hi.
Hello. Hello, I thank you for having
(00:28):
me. Thank you everybody who's
listening. Oh my gosh, this week was
definitely apocalyptic, to say the least.
If you're watching this, this isJanuary 11th.
We're on Saturday, and it was just pretty much shortly after
all the fire started to happen here in LA.
(00:48):
And you know, David, why, why don't you talk a little bit
about your current situation? How How has it affected you?
How has it affected people around you?
Let's start there. Yeah, I think everything started
something like 3 days ago I think.
And immediately, you know, the whole city realized that it
(01:11):
would this was going to be bad. The first fire started in the
Palisades, I think, and after a few hours went from the size of
a car, of the size of a footballfield and the winds we got an
alert for, for high winds. And that's where, you know,
(01:32):
everything, everything went downand in just few hours, you know,
huge spaces and huge portions ofland were on fire.
And then, you know, there was nostopping it.
And I, I unfortunately a lot of a lot of my friends both in and
(01:52):
out of the industry lost their house.
There are some illustrious nameswho lost their houses, not, you
know, for me to divulge. Some are public, some are not.
And we will see in the next days.
A lot of studios are gone here in LA and it was bad me.
I'm a I'm a condo, one of the lucky people.
(02:13):
Although we are an alert, I am in between 2 fires.
So from my roof, I can see them both and you would expect after
three days that they were contained and they're not.
And then that's, that's a prettyscary situation because we are,
you know, considering what are we doing?
(02:35):
Like we're packing or, you know,it's, it's a scary thought.
It's definitely a scary thought.And yeah, I mean, for now, I'm
lucky for now, I'm far enough from the fires.
But we're definitely keeping an eye on on both.
Yeah, You know, these, these things I my under my
(02:58):
understanding in LALA is pretty dry, is it not?
Right. You know, there's not a not a
lot of water reservoirs nearby. So and even the water supply has
been sort of drained trying to put these fires out.
Yeah. I mean, I don't want to get
political on this, but there arefacts that are out there that
(03:21):
are in dispute of in LA. Unfortunately there have been
huge budget cuts for for the fire department.
As far as I know. The recent one was about 20 mil
which is no joke. And the chief of the fire
department was just now fired bythe mayor of LA simply because
(03:46):
she said yes. They failed me because my guys
were going to the hydrants and there were no water in the
hydrants. The Palizad reservoir of water,
which is 117,000,000 gallons of water was empty and broken and
has never been fixed. So there's, of course, you know,
there are, there are things likeyou can't stop wild winds,
(04:09):
right? But also, there are definitely
human errors in this and the whole thing could have been
handled much better. And will Will, I think, I think
people here, I think people thatare not from LA don't really
understand the extent. Just to give you an idea,
(04:29):
Malibu's gone. Palisades are gone.
Like, no, it's not like a coupleof dozens places.
It's like 1000 buildings here and there.
Like it's, it's my friend Howie Weinberg, you know, multi
awarded master engineers. We are very, very close.
(04:51):
And he lives in Loral Canyon, which is not far from me.
He had to evacuate to last night.
He sent me a text and he had to leave his house hoping for the
best, you know, and, but also his studio with all the plaques
and, you know, historical records there and everything.
And he'll say, like, I don't know if I'm going to go back to
(05:13):
the house or not, if he's going to be there when I go back.
And so fortunately it did. Fortunately, you know, the these
areas being hasn't been affectedwas just a warning to evacuate
just in case. And he went to the palaces and
he called me yesterday, said, like, you don't understand,
Like, it looks like they droppedan atomic bomb.
(05:36):
That's how it looks. There's nothing left.
So it definitely. Yeah, yeah, yeah.
I mean, yeah, some of the some of the folks that I understand
that I know or know through friends of mine too, you know,
Bob Clear Mountain, he he lost his his entire studio.
(05:58):
I mean, that's, that's already such a loss on its own.
You know, Rich Mouser also, there's there's, there's a ton
like you mentioned, there's many, many studios.
And this is in a way, it's, it'sirreparable damage because it's,
it's not just real estate, it's also memories and records,
(06:20):
historical data that, you know, I mean, Los Angeles is not like
a Joe Schmo place. It's, it's, it's a Mecca.
So, you know, you talk about destroying an entire city.
I mean, this is one way to bringit to its knees.
And it's it's horrible. I am so so sorry.
You know, we've had in New York our, our own version of that
(06:44):
when it came to like Hurricane Sandy.
And we saw one of our own studios as well, like completely
irreparable. And it had a focus, right.
ISA, these sorts of things. It's, I can't even like
comprehend the amount of loss, especially like as a music
producer too, losing your, your,your studio is, is your line of
(07:09):
work. It's also your, your sanctuary
where you can, you know, heal from anything going on in the
world. And it's, it's such a Oh my God,
that's, that's horrible. Yeah.
For many of us, it's not even just a job.
It's just it's our temple. It's our, you know, it's our
same place. It's everything.
(07:29):
It's it is heartbreaking. And then like you said, many of
these places have, I think Bob said that, you know, when they
left, they thought they would goback after a few days.
So they grabbed a few things here and there.
He can mention he grabbed something that Bruce Woodin gave
him. So like you need to, you need to
just think about like, I know atleast 5 studios here are gone
(07:54):
without naming names and the amount of like again, memories
and and you know, priceless thing at this point that they
could have been there. It's it's crazy.
But you know, at the end of the day, we I think we got to look
at the positive, which is something like this could have
been a lot worse as head counts.And although there have been,
(08:19):
you know, unfortunately, that's if you look at how the scenario,
how the, the, how the city looksright now, you would, you would
think this was a bombing becauseit's so crazy.
You see smoke sky high. You don't see the end of it.
From where I am, I can see both,you know, these two fires and
(08:40):
you, you just don't see the end of them.
You see the curve of the freaking planet and yet you
don't see the end of the fire. It's absolutely insane.
At at this time are are are planes still not flying out to
LA? The the water planes?
You mean the firefighters planes?
(09:00):
No commercial planes. I'm not aware of that.
I, I don't know. I think I've seen a couple of
news footage and you could see plane fly.
So I'm pretty sure some of them might have been cancelled.
But as far as I can tell, the air traffic is it's going.
You can see planes in the in theair here.
(09:23):
So have they been and then when it came to water planes, have
they just been flying water in to try and smoke out some of the
things? Yes, yes, there's, there's
planes that as helicopters and thank God, these guys are out
there busting their ass. And and I think, you know, the
whole city needs to be grateful for these for the firefighters
(09:43):
because they're really, you know, I've seen some absolute
precision water dropping that islike impressive.
Like, you know, so these guys need the race for sure.
The thing is, for some reason, and I'm and I might need wrong,
so don't quote me on that. There was some kind of problem
again, whether it's bureaucraticor not.
(10:06):
As As for why the planes were not flying the first day and
they were not dropping water, which of course you can imagine
with super strong winds, you know, it made the fires so much
worse the first 48 hours where the, the, the, the greatest
destruction was. And yeah, the I think the plane
(10:29):
started flying and dropping water the second day.
Wow, I mean it it, it got so badto a point where when people
started to evacuate they abandoned their cars.
Huh. Yeah, that is, yeah, that's
that's crazy, absolutely crazy. So because of traffic and
another thing that is very mismanaged in LA and yeah, and
(10:55):
there's so many people, you know.
And so when of course, I understand on one hand, like I
understand like if I had to evacuate, I would you are,
you're just, you want to evacuate when that's the last
option, right? So you would wait as long as you
can to try to save, to try to grab the more stuff that you
(11:17):
can. And I think, you know, that's
what happened. And when the fire was so big
that basically the entire blocksof people started evacuating at
the same time. And what happened is there was
gridlock, traffic was not going.And you know, the fire started
caught in catching up to cars, which got on fire.
(11:40):
So the firefighters were tellingpeople you need to abandon your
car and go. And of course, what happened
that's that's such a crazy chainreaction, right?
What happened is now the highways was really not going
anywhere because all the cars were abandoned.
And so they had to come in with bulldozers and bulldoze the cars
(12:02):
away. So you lost your house, you lost
your car. Like it's, it's, it's absolutely
crazy. And it looked like a scene from
those movies, you know, for it, it looked like the scene that
the scenes from the movies that we all saw and never want to be
in, you know, and it's absolutely was absolutely
(12:26):
insane. And they're still doing it and
still going on. Oh my God.
Yeah. I can I like New York City is,
is such a populated place and I can only imagine if something
like that were to happen in Manhattan, that would be like
totally end of the world apocalyptic too.
(12:48):
The, I mean, like LA, when I went to LA, you know, in the
past, it's it's always been, youknow, very congested.
But you know, they're always kind of felt like, you know, I
didn't really think it's maybe earthquakes, but like fires.
(13:09):
I didn't really think it would come to LA like that.
I thought that was more of a problem in Northern California,
not necessarily in Southern California, but I mean, like
Hollywood Hills. Like, I remember walking around
Hollywood Hills while I was there and I was, you know, given
the tar, went to the observatoryand it's like, Oh my gosh.
(13:31):
Like the Hollywood signs on fire.
Yeah, yeah, The Hollywood Hills are on fire.
There was a new one starting this morning, actually.
Yeah. And the and the Getty Museum as
well. The Getty Museum had fire on the
side of the hills yesterday. They were trying to stop it and
it is Sunset. There was a fire on Sunset.
(13:51):
Really. Like literally you could see it
from Hollywood Blvd., which is from the closer to me Studio
City. I had, you know, my friend Asuf
from Polyverse. We were together couple like
well, two Saturdays ago, last Saturday before the the Saturday
(14:12):
before the fires, we were together in you know, we went to
infected mushrooms were playing here.
They invited us. And two days after he calls me
like we are evacuating. He was in Studio City.
That was day two or three of thefire and another fire starter in
Studio City, which is is in the city like you.
(14:34):
You would never imagine that it will get this close and and talk
about like fires in Hollywood Blvd. and the the Hollywood
Hills. It's it's absolutely crazy.
Yeah, that that's that's not like even a fog, like, no, no.
Oh, my God. You, you know, I know you, you
(14:56):
own also Bunker Studios. Is Bunker Studios OK?
Yes, yes, we are still in a pretty much the, the bunker is
about 15 minutes from me. So we are kind of in the same
situation. We are in between the two fires
and it's it's tense because again, I'm probably more tense
(15:21):
now than I was 2-3 days ago because I see that you would,
you would think you see the firethat is far away from you and
say like, oh, we have, they havetime to stop it, but they're not
stopping it. And so as the day go by, you go
like, damn, this thing is getting closer and closer and it
doesn't seem to stop. So we're still far enough and
(15:42):
you know, my other studio is still far enough from it, but
we're definitely like constantlychecking live updates on YouTube
or whatever we can get them to see, to see, you know, how close
is. It's what's happening.
Yeah, My, my heart goes out to you, man.
I, I don't know what I would do.I mean, I, I, I guess you just
(16:06):
really start really thinking about what's, what's the most
important stuff that you want topreserve, because that's all you
really can do, you know? It is.
And the most important thing is people, because you know, thing
can burn away, history can go away, but you know, people are
are we're we're living creaturesand we have to, we have to be
(16:29):
there for each other. So I'm glad to hear that you and
Bella are are OK And I, I hope that that continues to stay the
case and like I will stay in touch with you.
I please like I want to know. I will.
(16:49):
I will like. I I, I'm, I'm like kind of
already like getting chalked up about this because this is kind
of like intense just to hear it.Oh yeah, yeah, I imagine.
Yeah, it it that's, that's not, it's not fair.
It's absolutely not fair. That's, that's got to be one of
the, the most horrific things I've seen.
(17:09):
I mean, like 2025, we were all like so excited.
We're like quarter of the century into the 2000s.
And it's like, no, this is starting off like crap.
Yeah, it started. It started a little a little
off, Yeah, for sure, especially here.
Now not to mention that even like in the beginning of January
(17:30):
on another year we had another like total rack sacking of the
of Congress. So it's like January doesn't
seem to be a very good month at all.
No, no, definitely, definitely and.
Then my. Gosh, it's funny and I say it's
funny in an ironic way, but the the first day of the fire I was
here mixing and we had a 3.1 earthquake with the fire.
(17:55):
So it was like, you know, this is this might be the sign to
leave LA, you know, to be honest.
David, well, David, you, you keep making great music so it's
literally shaking and burning the world.
So all jokes aside, no, that's, yeah, that's, that's horrific.
And I'm, I'm so sorry to hear all of that.
(18:16):
I I actually to everybody watching, we were, we were
planning on talking about studioconstruction today.
And then all of this kind of happened.
And yeah, I mean, geez, imagine like having a, a multi
$1,000,000 studio, like someone like Bob Clear Mountain and then
(18:36):
just completely losing it all. I mean, like, yeah, what do you
do after that? I mean, like does I can only
like if I were Bob, I'd probablybe like, maybe this is like a, a
sign for me to retire, you know,because like it's like so
devastating of a loss that I would probably just be like, why
even try again, you know? Yeah, I think, I think I read
(18:58):
something, a statement that Bob released and I got to say the
man has class because of course he was thinking more about other
people that are are not as well off as he is in his own words.
And he said like I, I can survive, I'm good, I'm doing
(19:20):
good. I'm worried for the other people
that have studios like me and they can't reveal that they
don't have, you know, savings and you know, those people, we
need to try to help them and stuff.
So Bob is, is an amazing, you know, human being besides me.
He's an amazing engineer. And he showed it even in a
situation like this where he lost the house he embedded and
(19:41):
it was awful. And yet still, you know, he was
so graceful in his statement. I just read it this morning and
and it's true. There's a lot of there's a lot
of people who really lost any, everything.
And we all know how there's already articles and articles
and a lot of reports about this,how the insurances here in
California are an absolute freaking travesty.
(20:04):
And. Many insurances has been
cancelled that we were talking about 75,000 insurances.
It was like cancelled. They're not going to pay.
Of course they're not going to pay.
This is a multi billion dollar disaster.
I would not be surprised one bitif the insurance companies find
a way to, you know, get out of it without paying or paying a
(20:29):
10th of what probably they should, which is which is awful.
Well, you know, it, it, it, it'sa systemic issue we have not
only is it insurance, but it, it's like you were mentioning
too, it's also governmental. So the, the combination was that
(20:49):
I heard, you know, back in Marchlast year that there was an
insurance company that canceled policies because exactly of the
risk of what just happened now. And so people who didn't, you
know, get the chance to, I mean,people, how would, how could
they get the chance? I was like, you know, like, who
are you going to go to, to, to, to be able to do something like
(21:13):
cover the losses of this? And then there's another couple
1000 people who lost their homesas well.
Who's going to get it first? Who's going to get this, you
know, last? And it's like, is it going to be
even enough to cover everybody? Because we all know companies
like insurance companies, they're they're, they're for
profit. So do they have all that money
(21:33):
in the bank? Probably.
I don't think so. No, no, if you look at the
palace as now, if you look at the palace as alone or Malibu
alone, you realize they they don't even have that kind of
money. You know, they that's that is
like one of those worst case scenario, then you just hope you
as insurance, you just hope it never happens.
But then it happened. Now it now.
(21:55):
Now it's the time, unfortunately.
Yeah. Exactly So and there's another
problem, like even I was talkingto some of my friends that lost
basically everything they were saying like even if even if
let's say I have the money to rebuild between when they gave
me the permit digital, they werethey were talking about taking
(22:17):
one year just to get the permit to clean up.
And then you got the you've got to get the permit to rebuild.
And then there's the investigation.
So like they were looking at four years where you own a piece
of land, which is now ashes. And even if you do have the
(22:38):
money to rebuild, you can't for the next few years.
Now multiply this for 10,000 buildings.
Just you know that that we on that we know of that have been
burned. This is like, I think we're
going to really realize the extent of the devastation of
these fire in about two weeks orso.
(22:58):
And like, hopefully they will begone and, and, and we'll have an
estimate and it's going to be, Ithink, mind blowing.
I, I, I wouldn't put it past it.I, it, it could be even in in to
the point where like it's, it can't be a place for creatives.
(23:21):
It's. You can say, yeah, because I
thought it, too. It could be kind of the end of a
life. It could be, yeah.
It it, it, it, it very much feels that way because if you're
if, if, if even like movie studios and all this kind of
stuff that that burn to the ground, like how are you going
to be able to have like you're talking about the end of an
(23:44):
industry in that area for exactly what you're saying.
I mean, with having like 4 yearsto have to basically get back on
your feet, like how do you even earn income 1?
You know, it's like that's already the biggest problem.
And then of course, these permits and then restructuring
and the cost into all of that. Yeah, that's, that's kind that's
(24:09):
insane. Jeez.
So I want to say. Something just for if there are
musicians or studio owners that are looking for it that they
could use this information. I don't have it in my profile
but I know that Damn Korn's guitarist had posted on his
(24:35):
Instagram profile so that's the easiest one to find that I can
think of. So guitars from Korn he posed
and many others posted. There's an association here in
LA that is giving. I.
Might be, Yeah, that is giving like AIDS to musicians.
There are, you know, they have lost everything.
(24:56):
There's food stamps. There's some sort of monthly
cash, you know, that is given. So people who, you know, it's
good to to share this and for people who, who, who needs it,
you know, Yeah, we're going to. We're going to put a link in the
description below regarding that.
I believe the Reporting Academy is also involved in making this
(25:17):
happen. Yeah, Which is?
Commendable because you know, weknow that us in the musician, in
the music community, in the music industry, we we don't have
an union, we don't we're fucked.We don't have like pensions, we
don't have a, we only have each other, you know, and so, you
know, when something like this happens, it coming together as
(25:39):
much as we can is positive. I'm lucky enough again to be OK
and, you know, to be on my feet.But I know that others probably,
you know, are not in the same, in the same situation.
So definitely, let's put links around and absolutely.
And. Yeah.
And help we can. Yeah, we.
We by, you know, spreading the word and and and and and being
(26:02):
able to even if you have only a dollar man, like just like put
something in because this is, this goes to like an entire
force of, of people that have been, you know, involved in
making great art throughout, youknow, decades.
I mean, like, Los Angeles has been the home of creatives for a
(26:26):
very long time. This is this is the foundation
of a lot of America's entertainment here.
Yeah. It it.
Always being the capital of the entertainment with music and
movies. Absolutely.
And you know, I was I was talking with with friends and we
were really thinking like this time around hit celebrities.
(26:50):
I don't know if it's true, but they say that Steven Spielberg
house for if that's true, that'slike, I don't even know how many
priceless props from you know, movies historical that are
there. But this is to say if I was in
that situation and I've been considering moving out of LA for
(27:11):
a little bit right now. If that wasn't if I was in that
situation that my house burned down and had to rebuild.
And I'm not sure that I would doit here.
And so if you again, you multiply this for all the people
in the industry, both, you know,movies and music that that this
affected, this might be the end of LA as we know it.
(27:34):
You know, where a lot of these people are probably going to say
fuck this shit. I'm out between, you know, yeah,
I mean, between earthquakes and mismanagement.
And we still have again, the, the higher, the highest taxes
that is in the in, in the nation, the highest gas as
grocery as everything. I don't even know how many tax
(27:57):
extra taxes I pay on my car alone for being here with this
car. You know, it's like kind of
crazy. So if you put 2, two and two
together, I what I'm saying is Ihear a lot of malcontent.
You know, while before when I moved here, you wanted to be in
LALA was the place to be. It was, you know, it was like
couldn't weigh in everything. And now in the past five years
(28:19):
or something, it kind of became I want to get out, you know, So
if you were. Where do you think you would go?
I'm actually. I have been considering we have
been looking around because I was just looking to buy a
property, a house and again, I'mnot sure if I want to do it here
(28:40):
for this these reasons. It would probably be either
Florida because there I have a lot of friends and there's also
colleagues and a lot of a healthy music community and a
music business and or national. Yeah, yeah, my, my, my parents
(29:00):
live in Florida and yeah, they're, they're kind of used to
the whole hurricane thing, but I'm not going to lie, it gets
worse. It seems to be getting worse
over time. They're they're just stronger
storms. And I mean, yeah, we're already
(29:21):
talking about politics, so I'll just even say it.
Yeah, I know. It's if you can't, you can't
talk about this without talking about politics either.
But it's, I mean, like I climatechange is a real thing and it's
an X Factor to this stuff. It's it's not the full on
reason, but it is definitely, you know, it doesn't help.
(29:42):
So no, he doesn't. You're, you're you, you know, it
comes down to again, mismanagement and, and
governmental officials that haveprioritized different things
over the needs of the people and, and emergency situations
and being able to like you, you,you have to be, if you're going
to have a city, you have to be able to make sure that that city
can stand on its two feet and not take the gamble that there's
(30:05):
going to be an event that puts it to its knees like this.
That's just in my mind, that common sense.
But yeah, I know I. Think everybody's my and also
especially when you know, that is a high probability that it
will happen because it happened before to, you know, lesser
extent, yeah. I mean, I, I mean, if I were, if
(30:25):
it were me, I probably would choose Nashville.
Yeah, that. Looks actually the, the, the,
the best choice also, because atthe end of the day, it, it's
more of a, you know, it's most like I can do my job pretty
much, you know, at this point, especially, you know, I have my
(30:45):
clients, I have my connections, I have my everything.
And so it's, it's more like for Bella where she likes it to be
when she wants to be. And of course, we were mostly
thinking about like having, you know, a little bit of land with
animals and whatever. I have like, you know, a
different type of lifestyle thanthe city even because we don't
really use the city as other would.
(31:08):
You know, we're not party people.
We don't go out, we don't drink,we don't go clubbing.
We don't, you know, yeah, sure you're going to lose a couple of
events, but also nothing stops me from being here for months, a
year. And you know, that's easy.
That's very easy. So, yeah, but you know, go going
back to what you said, I think we are in a, in a time in which
(31:33):
I know we in the music business,we tend to the smart people at
least not to go into politics. But I think we are at a time in
which you can't, we can't not talk about it at all because
these things effects our life, like our everyday life.
It's not a matter of being like how it was some time ago.
You hear it on the TV, but at the end of the day, your life
(31:56):
was the same, right? Today it's it's so, it's so
directly affects us every singleday.
That you know, it doesn't matter.
What's up? We we talk about music, we talk
talk about cars, we can talk about anything else Is
everything is so directly linkedto politics because it affects
(32:17):
so directly the decisions they are making.
Our lives I want. To I want to put it out there,
David, that if you, if you end up relocating and you are
rebuilding a studio, feel free to call me.
I'll, I'll come out and I'll help you.
Thank you, appreciate. It.
(32:40):
Because I understand that even adecision like that now is more
it's like, it's like not the decision you want to be making
right now. Yeah, it is.
It is on the map now. It's on the table.
And I, I see it as if I don't dothis now kind of thing, it's
(33:01):
like, you know, when, when mightI get the next opportunity to be
able to still stay safe and thenstill have everything to move
forward. So it's like you're, you're
making a, you're stuck between arock and a hard place here.
It, it, it's like you're OK, butit's like, what the chances of
(33:22):
this happening again, You know, you can't afford it.
You can't afford it. It quite simply unacceptable.
So being being in LA is just, it's just a giant risk now.
And it is. Basically.
Announced to the world that thisis this is not where you really
(33:44):
want to spend your, your, your, your, your 50 years, you know,
moving forward. Yeah.
Because that's what people did. They had their entire
livelihoods. Now it's.
It's all gone in a blink of an eye.
Yeah. And it, it really just shows us,
you know, like Mother Nature, just it, it, it's a force to be
reckoned with. And you, you just can't.
(34:05):
It, it, it's that arc above us that it's like we can't control
it and it will come and it will destroy and renew again.
It, you know, nature is beautiful, but nature is also
very ugly sometimes. And this is just one of those
examples of that. And yeah, I think human.
(34:27):
Beings make the mistake of thinking either oh, that's not
going to happen to me or we are above that or we can control it.
We can't control it. You know, if something this
these are the kind of events that I think should put us in
perspective and say, you know, we should be a little more
careful. We do.
And and yeah, we handle things. Yeah, I mean.
(34:51):
We work really hard with with most of us not a lot of a safety
net because everything we put into our career is, you know,
it's our equipment, it's what weuse to create and it's the tools
that we have. And you know, luckily, like as
creatives, you know, if, if we're still around to tell the
(35:13):
tale, we we always have our creativity.
We always have ourselves to be able to to conjure up something
new out of nothing. That's what beautiful about
being creative. But you know, if you were to,
you know, I mean, if you did this to da Vinci, you know too,
I'm sure he would be very demotivated and he would have he
(35:37):
would have questioned continuingdoing what he did, you know, So
at the end of the. Day, you know, many of us, and
this is not just in our businesses everywhere, it takes
so long to build and so little to destroy.
And this is exactly what we faced here in LA these days.
You know, I also have people whobought a condo and they would
been working on it for two yearsand they were about to be ready
(36:01):
finally to rent it and it burnedout.
So imagine like there are also like situations like this.
So it's absolutely crazy. You know it's it's.
It's. Really awful and but yeah, you
said it. Like for us, we still have our
brain and our creativity. But many of us, me included, I
(36:22):
took years and years and years to build my collection.
If I was to lose it, it was it would have, it would be like a
big hit, you know? And yeah, this definitely puts
thing in perspective. Yeah.
You know it's not. And for those people who say,
you know, this is, I'm sure a very small minority of people,
(36:43):
but you know, you have headphones and you have a
laptop, Well, it's not the same.It's not, yeah, you might, you
might be able to get stuff done in, in, in a pinch, But it's,
it's really it all that comes around with being in a, in an
environment. I mean, it's the.
Difference, it's always the difference between, you know,
(37:06):
doing this professionally and and doing this, you know, for
your own music only, which you can probably get away with your
laptop and your headphones because you have no deadlines,
you have no limits of time and most important, you don't have
anybody else other than yourselfto approve it, right?
This is one part and everybody will bring the example that at
(37:30):
this point we all heard. Oh, and Andrew Steps, which is a
friend of mine, by the way, it was the what?
He was on my channel a couple ofweeks ago, 3 weeks ago, he did
it and he explained to Until Blue in the face what he meant
and how he did it. Because of course he said that
he did. Yeah.
(37:50):
Because at the beginning, when you start your career, you're
probably not going to have a room like this.
You're not going to have like 10s of thousands of dollar
speakers and a room that is tuned, built, isolated and all
that. So between your crappy speakers
and, you know, in a scrappy roomand headphones with the
technology that we have today, you might be better off in it.
(38:11):
When you do this professionally,it's a whole different ball
game. Like we have the the artist that
has to approve the A&R, the girlfriend, the grandmother, the
dog of the girlfriend. They have to approve.
Like it's a whole different ballgame doing this professionally.
And besides the fact that we have our things and our routines
(38:32):
and and our way to do to do things.
Yes, of course. Could I mix in a different
studio? Yeah, I will be slower, probably
a little worse, you know, and you will be taking more
revisions, more tweaking. And it would be different.
But a lot of my clients come to me for a specific sound, and my
(38:54):
specific sound involves this, all the iron there is in this
room. And.
You know, could I do it without?I don't think so.
I. Don't think so, but let's assume
it would be theoretical theoretically possible.
It would take me so long to recreate even just one chain
(39:18):
that I have right now and all I have to do is just click the
button and run a track through it.
And so at this point, like, you know, the the business is not
going to work anymore because I give you an example, I was
December is always a busy monster and I was caught up with
all the mixes and all the masters.
(39:38):
Like December 23rd. I was like, hey, Bella, we're
going to have like, you know, a few days for holidays.
We're doing this night on the 23rd.
A client of mine, a big band, industrial band, they're called
Blitz Union, which they are friends also.
They were like, Hey, David, we have the song to meet mixed.
We need it for December 31st. It's for Eurovision.
(40:01):
Please, please, please, please do it for us.
And I was like, well, OK, of course I'm going to because this
is our business, right? We don't have a nine to five,
but also we cannot plan things because shit like this happens.
And, you know, and, and it, thatturned out to be a 241 tracks
mix and I had five days to do it, you know, and, and so you
(40:28):
realize that if, if something delays my process, that deal
would have been gone and the next one too, and the next one
too. So, you know, until you actually
do it this professionally day inand out, you don't understand
the minutiae of, you know, things that for other people
(40:48):
might seem a detail like, well, it takes you an hour longer,
takes me an hour longer. You know how destructive that is
for us doing, you know, this, it's crazy.
It's it's absolutely crazy. Yeah, every.
Every second really does count It, it, it, it, it, it's the
efficiency of your workflow. You're when you are talking
(41:11):
about this stuff. The, the biggest thing I see
about it is the, the eliminationto resistance in that.
And when you have, you know, high quality gear in your studio
like you do, it makes your job alittle easier because you don't
have to do as much in order to get a better sound.
(41:31):
So it's, and you know your toolsvery well, right.
So it's not just, it's not just the sound and it's, it's also
how you configured it. It's how you've decided to use
it in a chain. So it's a lot of that.
And that minutia you're mentioning is, is evident in
that. So I mean, that's why you, you,
you get the work that you do on a consistent basis because they
(41:55):
know not only is it that, yeah, you're bringing to them a sound
that they might be looking for, but it's also that they trust
you that David will get it done and you'll get it done in a very
reasonable amount of time. That works for people's
timelines, right? So absolutely it's.
Some there's something that I always say as an advice to a
(42:17):
common engineer. I always tell them like try to
deliver more than what you're asked to and if you can deliver
more, deliver it faster yeah. And that will that alone will
make a world of difference come,you know, against your
competition. So to.
Speak right my speaking. Of which like one of my, I don't
(42:39):
know if you followed it by one of my latest thing that I got
here in the studio is the pro patch from Wolf Audio.
And this thing is, I mean, of course it's not cheap.
This is not for home studio people.
They have like 2-3 pieces of gears and you know, it's, it's
expensive in in a way, but at the same and in the same the
(43:02):
same time is a bargain because of what he does and what he
offers. And, and I understand that for
people that are not in so in thebusiness talking about a $9000
patch Bay, it's crazy, but it's not because if it was 15,000, I
(43:23):
would buy anyway because of how much time it saves me and how
much better is my workflow with that alone.
And it's a freaking touch Bay, you know, and it's crazy how I,
I remember a wolf on their IG because mine is the first one
that was in LA and I'm helping them with the software making it
(43:44):
better. So we're, we're always talking
and, and they were saying they, they posted something saying,
oh, you know what this patch does?
And I said, yeah, it makes life better.
That's later. What it does for me.
I don't even think about it as aoh, it does this like the
technicality of it. I just think of the result of
(44:04):
having it just, you know, I can go to dinner tonight instead of
like, you know, staying here another 4 hours.
It's. That it's that price versus cost
argument, you know, you know, like, yeah, high price, but what
is it saving you in the long runrun, right?
So I mean, now, now think about it this way, right?
The the people who have worked alife of trying to optimize their
(44:28):
cost and now it's gone and it's gone.
For forever. That is, that is complete, utter
destruction of of of of an entire career.
You know, 'cause you know, when you get to that point and your,
your, your, your, your tolerancefor, for risk becomes, you know,
(44:52):
lower. Because, you know, when you're
starting off, I mean, yeah, you might start with the laptop and
some headphones and an interface, you know, and it
might be low price, but it's, it's kind of high cost because
you have to spend more time. But you're learning, you still
have, you know, time to, to workon your skills, right?
When you're, when you get to a, to a level like, like yourself
(45:14):
or God forbid, like Bob Clear Mountain, like you, you have no
tolerance for wasting time because the, the, the kind of
clientele that you, you bring inhave a certain standard, a
certain demand for that. And they they're, they're
willing to pay a pretty penny for it because they know what it
(45:37):
means for them in their way of looking at costs right there,
your price versus the cost of what it took to get a, a
fantastic sounding record. Or, you know, even something
like this, like Hans Zimmer, like you were saying about
giving more a good friend of mine, he used to work at, you
know, with relationships to HansZimmer too.
(45:57):
And he said that they would takethe dialogue of whatever their
buddies film was and they would actually mix the dialogue while
adding the film score and give it back to the, the, the, the
director and they would love it and they would usually always
get the gig right. So it's like overing delivery.
It's like part of this, exactly what you're saying an analog is
(46:23):
it's, it's very unique because like everything is always just a
little bit different And it's, it's in the moment and you can
actually perform like the 5th member of the band, so to speak.
And absolutely that's sort of that man.
Dudes like that's irreplaceable man.
Because again, again, it's just that is your, your value that
(46:47):
you're adding on top of all the,the things that you've just
said. So yeah.
It's funny because many of my clients, especially for rock,
metal, industrial and stuff likethat, I, I always, if you
notice, I almost never call myself a producer.
(47:08):
I'm a mixer master engineer, right?
Because I have the utmost respect for the word producer
and producer for me is the guy that makes it happen, that make
the, the, the, the decision. What direction are we going?
It's not it's not the beat makerright now.
There's there's this debate today.
(47:31):
It's not a debate. It's a misuse of the word, the
call beat maker, producer without without offending
anybody. But it's just the truth.
But that's that's most of the time what I do at the end of the
day, maybe I do just additional production.
But that's even just with the mix that I just told you about.
Like with with Blitz Union, the bass players are like, hey, you
(47:55):
know, this part, it's kind of thin.
We feel it's kind of empty. We know you're going to take
care of it. And that's not with the mix.
It's like, all right, you know, let's add this kind of synth.
Let's change the snare. That's what I did so many times.
I find myself into this this position and of course there are
projects in which I will 100% call myself a producer, whether
(48:17):
it's like, for example, Bella stuff or right now I'm doing
Monty Pitman album. So Ministry guitarist,
previously Madonna's guitarist and I'm doing everything for
him. So in this case, yeah, I have no
problem calling myself a producer because, you know,
Monty drops the demos and then from there on out it's just me.
(48:39):
You know, I do everything from deciding the drum pattern and
rearranging everything and and deciding where do we record what
to record how we recorded and all that.
So yeah, definitely. But yeah, I mean, again,
efficiency in this case is even more important than ever, so.
(49:03):
Yeah, you, you, you grow as as aengineer or a producer and you
find out what works for you. A lot of a lot of people when I,
when I teach on the subject, they, they, they always look for
like some sort of silver bullet to these things and it and it,
it's hard to give them a straightforward answer because
(49:23):
every studio is custom. It's there isn't like, hey,
just, you know, copy this and paste and this will work for
you. And it's like, it never works
out that way. Every room has a different
dimension and there's like so many factors to the things that
matter in a studio and you really just have to prioritize
(49:46):
like what works for you? What it, what it, what is the
intention of what it is that you're trying to create and on a
consistent basis and then formulate like what your
equipment serves in its rightfulplace.
So you're, you're absolutely right.
And you know when it when again,my heart goes really out to
(50:10):
everybody that's in Los Angeles and.
I. I, I know what it's like to also
own a studio, you know, what it's like to own a studio that
these things are irreplaceable. If, if my studio in my, in my
city, probably more risk to something like flooding because
(50:31):
of, you know, the Atlantic is right there.
So with if, if, if New York doesn't handle its own issues in
that sense, you know, I, my, my studio would be, would be the
first to, to go in those situations.
So we, we, we, we, we pray that the city is handling what it's
(50:54):
supposed to. And I hope that other cities
look at Los Angeles and say, maybe we shouldn't take certain
things for granted and maybe we should actually prioritize
infrastructure because otherwise, like you, you just
quite literally took a Mecca out.
And that is that happened in a week, a week.
(51:17):
And like we'll probably see to the extent the damages.
And it's going to be colossal. I just know it, it's going to be
colossal. And it's going to make people
really, I think, hopefully pay attention to what they should,
hopefully for real. Because this, this wasn't, you
know, it wasn't because one thing was missing or there was a
(51:43):
switch that was off. This was a mismanagement for
years and years and years and, you know, leaving things behind
and not repairing and not, you know, cutting here hoping that
will never happen again. And then it happens and you're
completely, totally orderly, areunprepared for it.
(52:04):
And this is what happened, you know.
So hopefully. At least it will help you know
other people making I want to remind people.
To, you know, look into music hairs.
The link will be in the description below and donate
whatever you can, you know, justto help each other because like
(52:26):
David said, the music industry is, is there there's no, there's
no unions, there's no pensions, nothing like that in our
industry. So we really only have each
other to lean on and in hopefully maybe people will be
more organized about stuff like this because this is a huge loss
(52:51):
to the entire industry. And I, I, I really do hope the
best for you, David. I, I, I pray for you, you know,
every single second to make surethat you know, you and Bella
don't have to experience that kind of loss.
And like I said also, you know, if you're relocating, you know,
(53:13):
after this is over, I will definitely.
Take you off on that on that offer, then you will regret
saying it. I will, I, I, I promise you I'll
enjoy it. Pay me and beer and we'll find
nice. Nice.
Will do. Will do well.
Thank you. Everybody and David, of course,
thank you so much for the time spent.
(53:34):
I, I, I, I hopefully, you know, again, let's pray for the best.
We'll keep in touch. Yes.
We will surely will thank you for having.
Me. Thank you for everybody
listening to the podcast and again, thank you for having me
again. Please, let's do it anytime you
want. Sure thing.
I look forward to it. All right, have a good one.
Have a good one everybody. Bye bye.
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