December 23, 2023 • 20 mins
One Hour To Doors host Jon Stone reviews the inaugural season of this podcast. From fostering understanding of human gatherings and the event industry's role in ensuring safety, to sharing his recent experiments with field recording that transformed into this podcast during a global hiatus, it's been an incredible ride. We have been truly humbled by the time and wisdom shared by our cherished guests and you, our loyal listeners, who've contributed to making our discussions engaging and insightful.
As we celebrate the successes from our first season, it's important to acknowledge the dedicated team of volunteers that made it all possible. Their tireless efforts and the memorable moments we've created together form the backbone of our success. Reflecting on lessons we've learned – particularly the significance of transparency in our work – sets the stage for more riveting content in the pipeline. The horizon of the next season looks exciting, with topics like sponsorship, marketing, and production trades in the queue. We invite you to be a part of this ongoing dialogue and share your thoughts for future episodes on our social media. Together, let's gear up for the next leg of the journey in season two.
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Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Jon (00:00):
This is Jon Stone and you're listening to One Hour To
Tours.
Hello friends, you're pal JonStone, here solo today.
We have now completed theplanned 12 episode pilot season
(00:21):
of One Hour To Doors.
I thought it would be nice tospend a little time with you
directly today and recap theseason and my experience.
Words cannot express howgrateful I am for the gift of
time from all of the season oneguests and to you for listening.
A funny thing happened to me afew weeks ago.
I ran into a friend that Ihaven't seen in a couple of
(00:45):
years, Scott Plusquellec, withthe city of Seattle's office of
nightlife business.
I was excitedly telling himabout the podcast and after he
heard me out, he asked me aquestion that caught me off
guard.
He said "why are you doing that?
It was a very good questionindeed, and I've reflected on
this query for the last coupleof weeks.
(01:07):
I've got a solid answer nowthat I want to share with you.
But first let's start with afoundational premise.
I believe that human beingsneed to come together from time
to time in person in commoncause.
I believe to do so is essentialto what it means to even be
human In these days.
(01:29):
I can cite the miseries we allexperienced during the pandemic
shut down as proof of my belief.
Celebrations, sports, music,special interests, even the act
of mourning, the cause is notimportant, it's the physical
connectedness that matters sodearly.
Human gatherings, even massgatherings, are as old as
(01:52):
humanity itself, but in ourlifetime, the stakes, the
implications, they've changed.
Today, as participants in thebusiness of bringing people
together, we have become theresponsible party charged with
making gatherings remainpossible by making them safe,
and that is a paradigm shift.
We collectively, as an industry, now bear an enormous
(02:17):
responsibility ofprofessionalism that simply
hasn't existed in the past.
None of us are exempt from this, regardless of scale or scope
or role.
So why am I doing this podcast?
I have a few motivations.
First, from day one, I havealways been fascinated by the
people that the magic of ourindustry happen.
(02:44):
We all, tend to be asinteresting and colorful as the
events that we produce.
You may not be everyone's cupof tea, but you are my people.
But the nature of our workdictates that most of us remain
perfectly invisible to theoutside world and, to an extent,
invisible even amongst eachother.
(03:05):
I've decided as of late that Idon't like that and it occurs to
me that this podcast could be ameans to share all of you
beautiful animated characterswith the rest of the world.
I suppose in a sense thispodcast could be construed as an
open love letter to my industry.
(03:27):
Second, I see an opportunity forlearning here.
I figured out long ago thateveryone I ever meet has
something that they can teach me, often when and where I least
expect it.
All I have to do is listenclosely.
I see to it that every one ofthese episodes has at least a
(03:47):
handful of really importantinformation and insight.
Some of its role specific, alot of it is a little more
universal in nature, some of itis overt, some of it is nestled
between the lines.
But there is invaluableinformation for everyone here,
free of charge.
All you have to do is listenclosely.
(04:11):
Lastly, playing on theaforementioned invisibility
problem, I see an opportunity topromote more common
understanding among us.
That might look like a betterunderstanding of the particular
roles that we all play.
That might look like a betterunderstanding of how our roles
mesh together to createsomething larger than any one of
(04:33):
us, and ideally that might looklike a better understanding of
who each of us are as humanbeings.
I think nothing but good cancome of that, so I'm compelled
to at least try.
If I could use one word todescribe all of my motivations
in summation, I think it wouldbe perspective.
(04:55):
So what caused me to actuallystart this podcast?
Happenstance, really.
I have to look back at theonset of the pandemic and the
global shutdown of our industry.
I found myself with some extratime on my hands and, as I talk
about in a couple of theepisodes, I eventually found
(05:16):
myself in a bit of an identitycrisis, not being able to do
what I do and with no clue as towhen or if I would be able to
do that again.
It made me reflect on the sumof my career to date and ponder
what my new, highest and bestuse might be in the future.
I used some of that time toexplore a hobby that I've been
(05:36):
curious about for a long timecalled field recording.
In a nutshell, that means theact of making audio recordings
in nature.
It could be actual naturesounds, or recording things for
motion picture, live action,that kind of stuff.
I have a background in studiorecording and I have a
(05:58):
background in live audio.
But field recording is anentirely different craft because
one has virtually zero controlover the recording environment
and the subjects.
It demands a different skillset, a different mindset and
different specialized equipment.
I took to it pretty quickly andI enjoyed it, and I'm still
(06:19):
enjoying it to this day and,most importantly, it
reacquainted me with my love ofall things audio.
Who knows, maybe the aspect ofconfronting that which I cannot
control was exactly what Ineeded to do at the time.
Here I'll show you some examplesof my recordings.
This is a recording of athunderstorm from my patio.
(06:41):
One day I was searching YouTubefor field recording videos and
(07:18):
the thought crossed my mind tolook up some behind the scenes
videos about festivals andevents and whatnot, and I was
surprised to find that therejust isn't that much content out
there like that, and a lot ofwhat was out there at that time
was a pretty low quality in oneway or another and that just
irritated me.
So I could see a topic that Iknew people were interested in,
(07:40):
but there was a lack of qualitycontent available.
That planted another seed in myhead.
That realization eventuallymerged in my brain with my
newfound live remote recordingskills and ideas started to
percolate that eventually becamethe concept for this podcast.
This is a recording of waterdripping into a bucket from a
(08:06):
roof during a rainstorm.
I know that inevitably there'sgoing to be a lot of gear heads
listening to this, so let's justtalk for a few minutes about
the technical side of how I'mdoing this.
I thought about all of this fortoo long and then at some point
(08:30):
I just started doing it,determined to figure the rest
out as I go.
To date, all of the episodes ofrecorded live in person, face
to face.
Sometimes I travel to get thesessions that I want, but that's
okay.
I do realize I could do thisover video chat or whatnot, but
I prefer in person conversations.
(08:50):
I just think that they feelbetter.
I multi-track the sessions andthen take them home and edit
them later.
And again for you gear headsout there, my mobile rig is
simply SM58s straight into aZoom H8 at 24-bit, 48K, with the
built-in limiter engaged justas a precaution.
I simultaneously run RodeWireless Go 2 lav mics as
(09:14):
backups, again straight into theH8.
Back home I dump the tracksinto Logic and I process
everything in the box.
On the voice tracks I typicallydo a high pass using the
StockLogic EQ, then into a UA610preamp, then into the
StockLogic LA2A compressor clone, then into the Izotope RX10
(09:39):
D-click and D-ess modules.
On my voice specifically, Ialso use the UA Pultec MEQ-5
just for a little dip at 200Hertz, which clears up a lot of
the mud in my voice.
Sometimes for a female voiceI'll use different preamps, it
just depends on what sounds good.
(10:00):
The theme music and the radiocall tracks just have the same
high-pass filters and a kiss ofthe Logic stock platinum
compressor.
And then the stereo bus chainis the stock Logic SSL G Bus
clone, the UA Pultec MEQ5, theUA Pultec HLF3C, I believe, with
(10:23):
no settings, just running itthrough for the color and if
needed, I'll add anotherinstantiation of D-Click and or
D-ess.
And finally I meter using theincredible Izotope Insight
plugin.
I target my levels not atvolume but at loudness, with a
target of negative 16 integratedIn editing.
(10:45):
I chop out a lot of uhmms andahh's, a lot of dead space, a
lot of false starts and so forth, but I try to leave the
conversations as intact aspossible.
I give my guests 100% reviewand approval authority and
here's why I do that.
I do not script theseconversations and I never will.
I do my research.
I have ideas about what I wantto talk about, but what I want
(11:10):
most is real, open, honestconversation.
I don't want guests holdingback.
I don't want guests beingcareful with their words.
I want the straight up.
So my promise is that, as aguest, you can speak freely
without fear, knowing that atthe end of the day, I will never
publish something that you wishyou wouldn't have said.
(11:30):
That said, to date, no one hascome back at me and asked me to
remove anything, not a singleword.
I do chop out the occasionalcurse word.
I want to maintain afamily-friendly rating on the
internet, but the finishedconversations that you hear,
those are 99.9% of what reallyhappened.
(11:51):
At the end of the day, thispodcast is about building and
celebrating and educating ourcommunity.
If you want scandal and dramaand tension and all that heck,
just go to work for the day, orthe internet's full of that
stuff too.
It doesn't need one hour at thedoors to add to it.
I put a lot of time into eachepisode about 20 hours all told.
(12:14):
I'm trying to get faster and Iam in time, but presently I am
essentially a one-personoperation and I'm still learning
as I go.
This is the field recordingthat I'm most proud of to date.
It's a recording of the boilingmud pots at Yellowstone
(12:35):
National Park.
It was recorded at dawnactually just before dawn so you
can hear the amazing birdchorus in the background as well
.
I love the boiling mud pots.
(13:32):
I do have some specialtyassistants that I need to
acknowledge.
First, I am so grateful to mytest listeners.
These are people who have beenlistening to every episode in
draft form and advising me oneverything from content to flow
to tonality and levels.
Now, with a dozen episodesunder my belt, I'm beginning to
(13:52):
wean myself off of theirvolunteer services as I get more
confident in my work.
A round of applause to mytesters.
In Manzanita, Oregon, my brotherfrom another mother and one of
the strangest cats you willnever meet because he's a
recluse, but I love him anyway,Mr PJ Newman.
(14:12):
From the city-state of DesMoines, Washington, my most
trusted colleague and soundingboard of all time.
Ms Susan Den.
And the most important opinionof them all, located in the
(14:43):
foothills of the CascadeMountains near Monroe,
Washington, my mom, Joanne Stone.
Thanks, mom.
And I also want to articulate mydeep appreciation for someone
(15:06):
who has been teaching me what Ineed to know about the social
media aspects of this show.
Naomi Morgan is the CEO of NMEntertainment, which is a
rapidly growing company thatproduces live entertainment for
a variety of specialty markets.
Naomi is super savvy with thesocials and with branding in
(15:27):
general.
All of the Facebook and Instaposts that accompany each
episode, Naomi designed all ofthat.
She designed the whole strategy, the format, the scheduling,
and she had the patience toteach me how to do all of it
myself, something which I really, truly, sincerely don't want to
do.
But hey, here I am, so there Igo.
(15:48):
Naomi, thank you.
Let's see, lessons learned andfavorite moments from season one
.
By far the most interestingthing that I've learned, and
(16:08):
often the most frustrating thingthat I have to deal with, is
that, with rare exception, allof us have all sorts of quirks
and anomalies about our speechpatterns that we just don't
notice when we're talking witheach other in live conversation,
but when you listen back to therecordings, all of these flaws
jump out.
It is the strangest thing.
(16:29):
For example, before I starteddoing this, I had no idea how
many really long pauses that Iregularly insert into my
sentences.
I presume that's just my brainsearching for words.
Why does it take my brainlonger to search for words than
other people?
I have no idea.
I've had guests who often starta sentence and then they pause
(16:52):
mid-sentence and then maybethey'll start a new thought and
they'll pause again and thenjump back to the original
thought, and so forth.
I never have noticed all of thatwhile recording or in real life
conversation, but on playbackit just jumps out and it can be
really distracting.
So that's a good amount of theediting work that I do.
I chop around the edges hereand there to make us all,
(17:14):
especially me, sound like weknow how to talk and are having
a cohesive conversation.
I do the tedious work so thatyou only have to listen to the
important words.
That's how I think about it.
Anyway, I have learned one thingthat really seems to be a
hallmark of people in our lineof business, and that is that,
(17:34):
generally speaking, we neverhesitate to say I don't know,
and I think that is just aboutas sexy as can be.
I think it's a reflection ofthe problem-solving skills that
are a requisite in our industry,especially in the field.
We can't afford to fake it.
We are open and honest and wecheck our egos at the door on
this line of work.
(17:54):
I love that In the same vein,in almost every episode I have
the random questions segment.
You know what you never hear inthose segments.
You never hear the guests beinguncomfortable or hesitant in
diving right into thosequestions and to me that speaks
about an intense sense ofcuriosity and, again, an absence
(18:16):
of fear of the unknown thattends to be very common in all
aspects of our craft.
That's a beautiful thing.
I don't think I can call out anyone favorite moment from the
episode so far.
I mean, just having the excuseto spend quality time with so
many beautiful souls is a joyfor me.
I do love some of the twistsand turns that come out of the
(18:39):
random questions segments.
I loved the moment that ChrisWeber and I revisited one of his
arts programming stunts from along time ago, when we both came
to the same conclusion thatthat stunt was at once the best
idea and the worst idea he'dever had.
I loved the moment in my chatwith Riley Stockton where I
realized that he was in fact thehometown kid who had gone away
(19:03):
and then returned home andrealized his childhood dream of
being the executive director ofSpokane Hoop Fest.
That felt really, really good.
Anyway, looking forward andwrapping things up, again, I
want to express my deepestgratitude to you.
Thank you for listening.
I mean that.
(19:24):
The response to the pilotseason of One Hour to Doors has
well exceeded my expectations.
Thank you, thank you, thank you.
By the time this episode airs, Iwill have already recorded at
least the first two episodes ofseason two, and let's just say I
intend to come out of the gateat full throttle.
(19:44):
We will have episodes onsponsorship, on marketing.
We're going to look at variousproduction and operation trades.
We will talk with leadership atsome of the cities and venues
that we heard such great thingsabout in season one.
We're going to test new waterswith some issue specific
(20:05):
episodes, and we're even goingto take our first steps to visit
events outside of the state ofWashington.
All sorts of good stuff is inthe queue, as always.
Please subscribe or follow thepodcast on your player of choice
and follow us on Facebook andInsta.
Use the socials to throwcomments and questions at me or
(20:27):
at the guests.
Let me know what you would liketo hear in terms of future
episodes.
This podcast is for all of us.
Don't be shy, use it.
That's all for now and untilnext time.
Thank you for being here.
All call
This is Jon Stone and you're listening to One Hour To
Tours.
Hello friends, you're pal JonStone, here solo today.
We have now completed theplanned 12 episode pilot season
(00:21):
of One Hour To Doors.
I thought it would be nice tospend a little time with you
directly today and recap theseason and my experience.
Words cannot express howgrateful I am for the gift of
time from all of the season oneguests and to you for listening.
A funny thing happened to me afew weeks ago.
I ran into a friend that Ihaven't seen in a couple of
(00:45):
years, Scott Plusquellec, withthe city of Seattle's office of
nightlife business.
I was excitedly telling himabout the podcast and after he
heard me out, he asked me aquestion that caught me off
guard.
He said "why are you doing that?
It was a very good questionindeed, and I've reflected on
this query for the last coupleof weeks.
(01:07):
I've got a solid answer nowthat I want to share with you.
But first let's start with afoundational premise.
I believe that human beingsneed to come together from time
to time in person in commoncause.
I believe to do so is essentialto what it means to even be
human In these days.
(01:29):
I can cite the miseries we allexperienced during the pandemic
shut down as proof of my belief.
Celebrations, sports, music,special interests, even the act
of mourning, the cause is notimportant, it's the physical
connectedness that matters sodearly.
Human gatherings, even massgatherings, are as old as
(01:52):
humanity itself, but in ourlifetime, the stakes, the
implications, they've changed.
Today, as participants in thebusiness of bringing people
together, we have become theresponsible party charged with
making gatherings remainpossible by making them safe,
and that is a paradigm shift.
We collectively, as an industry, now bear an enormous
(02:17):
responsibility ofprofessionalism that simply
hasn't existed in the past.
None of us are exempt from this, regardless of scale or scope
or role.
So why am I doing this podcast?
I have a few motivations.
First, from day one, I havealways been fascinated by the
people that the magic of ourindustry happen.
(02:44):
We all, tend to be asinteresting and colorful as the
events that we produce.
You may not be everyone's cupof tea, but you are my people.
But the nature of our workdictates that most of us remain
perfectly invisible to theoutside world and, to an extent,
invisible even amongst eachother.
(03:05):
I've decided as of late that Idon't like that and it occurs to
me that this podcast could be ameans to share all of you
beautiful animated characterswith the rest of the world.
I suppose in a sense thispodcast could be construed as an
open love letter to my industry.
(03:27):
Second, I see an opportunity forlearning here.
I figured out long ago thateveryone I ever meet has
something that they can teach me, often when and where I least
expect it.
All I have to do is listenclosely.
I see to it that every one ofthese episodes has at least a
(03:47):
handful of really importantinformation and insight.
Some of its role specific, alot of it is a little more
universal in nature, some of itis overt, some of it is nestled
between the lines.
But there is invaluableinformation for everyone here,
free of charge.
All you have to do is listenclosely.
(04:11):
Lastly, playing on theaforementioned invisibility
problem, I see an opportunity topromote more common
understanding among us.
That might look like a betterunderstanding of the particular
roles that we all play.
That might look like a betterunderstanding of how our roles
mesh together to createsomething larger than any one of
(04:33):
us, and ideally that might looklike a better understanding of
who each of us are as humanbeings.
I think nothing but good cancome of that, so I'm compelled
to at least try.
If I could use one word todescribe all of my motivations
in summation, I think it wouldbe perspective.
(04:55):
So what caused me to actuallystart this podcast?
Happenstance, really.
I have to look back at theonset of the pandemic and the
global shutdown of our industry.
I found myself with some extratime on my hands and, as I talk
about in a couple of theepisodes, I eventually found
(05:16):
myself in a bit of an identitycrisis, not being able to do
what I do and with no clue as towhen or if I would be able to
do that again.
It made me reflect on the sumof my career to date and ponder
what my new, highest and bestuse might be in the future.
I used some of that time toexplore a hobby that I've been
(05:36):
curious about for a long timecalled field recording.
In a nutshell, that means theact of making audio recordings
in nature.
It could be actual naturesounds, or recording things for
motion picture, live action,that kind of stuff.
I have a background in studiorecording and I have a
(05:58):
background in live audio.
But field recording is anentirely different craft because
one has virtually zero controlover the recording environment
and the subjects.
It demands a different skillset, a different mindset and
different specialized equipment.
I took to it pretty quickly andI enjoyed it, and I'm still
(06:19):
enjoying it to this day and,most importantly, it
reacquainted me with my love ofall things audio.
Who knows, maybe the aspect ofconfronting that which I cannot
control was exactly what Ineeded to do at the time.
Here I'll show you some examplesof my recordings.
This is a recording of athunderstorm from my patio.
(06:41):
One day I was searching YouTubefor field recording videos and
(07:18):
the thought crossed my mind tolook up some behind the scenes
videos about festivals andevents and whatnot, and I was
surprised to find that therejust isn't that much content out
there like that, and a lot ofwhat was out there at that time
was a pretty low quality in oneway or another and that just
irritated me.
So I could see a topic that Iknew people were interested in,
(07:40):
but there was a lack of qualitycontent available.
That planted another seed in myhead.
That realization eventuallymerged in my brain with my
newfound live remote recordingskills and ideas started to
percolate that eventually becamethe concept for this podcast.
This is a recording of waterdripping into a bucket from a
(08:06):
roof during a rainstorm.
I know that inevitably there'sgoing to be a lot of gear heads
listening to this, so let's justtalk for a few minutes about
the technical side of how I'mdoing this.
I thought about all of this fortoo long and then at some point
(08:30):
I just started doing it,determined to figure the rest
out as I go.
To date, all of the episodes ofrecorded live in person, face
to face.
Sometimes I travel to get thesessions that I want, but that's
okay.
I do realize I could do thisover video chat or whatnot, but
I prefer in person conversations.
(08:50):
I just think that they feelbetter.
I multi-track the sessions andthen take them home and edit
them later.
And again for you gear headsout there, my mobile rig is
simply SM58s straight into aZoom H8 at 24-bit, 48K, with the
built-in limiter engaged justas a precaution.
I simultaneously run RodeWireless Go 2 lav mics as
(09:14):
backups, again straight into theH8.
Back home I dump the tracksinto Logic and I process
everything in the box.
On the voice tracks I typicallydo a high pass using the
StockLogic EQ, then into a UA610preamp, then into the
StockLogic LA2A compressor clone, then into the Izotope RX10
(09:39):
D-click and D-ess modules.
On my voice specifically, Ialso use the UA Pultec MEQ-5
just for a little dip at 200Hertz, which clears up a lot of
the mud in my voice.
Sometimes for a female voiceI'll use different preamps, it
just depends on what sounds good.
(10:00):
The theme music and the radiocall tracks just have the same
high-pass filters and a kiss ofthe Logic stock platinum
compressor.
And then the stereo bus chainis the stock Logic SSL G Bus
clone, the UA Pultec MEQ5, theUA Pultec HLF3C, I believe, with
(10:23):
no settings, just running itthrough for the color and if
needed, I'll add anotherinstantiation of D-Click and or
D-ess.
And finally I meter using theincredible Izotope Insight
plugin.
I target my levels not atvolume but at loudness, with a
target of negative 16 integratedIn editing.
(10:45):
I chop out a lot of uhmms andahh's, a lot of dead space, a
lot of false starts and so forth, but I try to leave the
conversations as intact aspossible.
I give my guests 100% reviewand approval authority and
here's why I do that.
I do not script theseconversations and I never will.
I do my research.
I have ideas about what I wantto talk about, but what I want
(11:10):
most is real, open, honestconversation.
I don't want guests holdingback.
I don't want guests beingcareful with their words.
I want the straight up.
So my promise is that, as aguest, you can speak freely
without fear, knowing that atthe end of the day, I will never
publish something that you wishyou wouldn't have said.
(11:30):
That said, to date, no one hascome back at me and asked me to
remove anything, not a singleword.
I do chop out the occasionalcurse word.
I want to maintain afamily-friendly rating on the
internet, but the finishedconversations that you hear,
those are 99.9% of what reallyhappened.
(11:51):
At the end of the day, thispodcast is about building and
celebrating and educating ourcommunity.
If you want scandal and dramaand tension and all that heck,
just go to work for the day, orthe internet's full of that
stuff too.
It doesn't need one hour at thedoors to add to it.
I put a lot of time into eachepisode about 20 hours all told.
(12:14):
I'm trying to get faster and Iam in time, but presently I am
essentially a one-personoperation and I'm still learning
as I go.
This is the field recordingthat I'm most proud of to date.
It's a recording of the boilingmud pots at Yellowstone
(12:35):
National Park.
It was recorded at dawnactually just before dawn so you
can hear the amazing birdchorus in the background as well
.
I love the boiling mud pots.
(13:32):
I do have some specialtyassistants that I need to
acknowledge.
First, I am so grateful to mytest listeners.
These are people who have beenlistening to every episode in
draft form and advising me oneverything from content to flow
to tonality and levels.
Now, with a dozen episodesunder my belt, I'm beginning to
(13:52):
wean myself off of theirvolunteer services as I get more
confident in my work.
A round of applause to mytesters.
In Manzanita, Oregon, my brotherfrom another mother and one of
the strangest cats you willnever meet because he's a
recluse, but I love him anyway,Mr PJ Newman.
(14:12):
From the city-state of DesMoines, Washington, my most
trusted colleague and soundingboard of all time.
Ms Susan Den.
And the most important opinionof them all, located in the
(14:43):
foothills of the CascadeMountains near Monroe,
Washington, my mom, Joanne Stone.
Thanks, mom.
And I also want to articulate mydeep appreciation for someone
(15:06):
who has been teaching me what Ineed to know about the social
media aspects of this show.
Naomi Morgan is the CEO of NMEntertainment, which is a
rapidly growing company thatproduces live entertainment for
a variety of specialty markets.
Naomi is super savvy with thesocials and with branding in
(15:27):
general.
All of the Facebook and Instaposts that accompany each
episode, Naomi designed all ofthat.
She designed the whole strategy, the format, the scheduling,
and she had the patience toteach me how to do all of it
myself, something which I really, truly, sincerely don't want to
do.
But hey, here I am, so there Igo.
(15:48):
Naomi, thank you.
Let's see, lessons learned andfavorite moments from season one
.
By far the most interestingthing that I've learned, and
(16:08):
often the most frustrating thingthat I have to deal with, is
that, with rare exception, allof us have all sorts of quirks
and anomalies about our speechpatterns that we just don't
notice when we're talking witheach other in live conversation,
but when you listen back to therecordings, all of these flaws
jump out.
It is the strangest thing.
(16:29):
For example, before I starteddoing this, I had no idea how
many really long pauses that Iregularly insert into my
sentences.
I presume that's just my brainsearching for words.
Why does it take my brainlonger to search for words than
other people?
I have no idea.
I've had guests who often starta sentence and then they pause
(16:52):
mid-sentence and then maybethey'll start a new thought and
they'll pause again and thenjump back to the original
thought, and so forth.
I never have noticed all of thatwhile recording or in real life
conversation, but on playbackit just jumps out and it can be
really distracting.
So that's a good amount of theediting work that I do.
I chop around the edges hereand there to make us all,
(17:14):
especially me, sound like weknow how to talk and are having
a cohesive conversation.
I do the tedious work so thatyou only have to listen to the
important words.
That's how I think about it.
Anyway, I have learned one thingthat really seems to be a
hallmark of people in our lineof business, and that is that,
(17:34):
generally speaking, we neverhesitate to say I don't know,
and I think that is just aboutas sexy as can be.
I think it's a reflection ofthe problem-solving skills that
are a requisite in our industry,especially in the field.
We can't afford to fake it.
We are open and honest and wecheck our egos at the door on
this line of work.
(17:54):
I love that In the same vein,in almost every episode I have
the random questions segment.
You know what you never hear inthose segments.
You never hear the guests beinguncomfortable or hesitant in
diving right into thosequestions and to me that speaks
about an intense sense ofcuriosity and, again, an absence
(18:16):
of fear of the unknown thattends to be very common in all
aspects of our craft.
That's a beautiful thing.
I don't think I can call out anyone favorite moment from the
episode so far.
I mean, just having the excuseto spend quality time with so
many beautiful souls is a joyfor me.
I do love some of the twistsand turns that come out of the
(18:39):
random questions segments.
I loved the moment that ChrisWeber and I revisited one of his
arts programming stunts from along time ago, when we both came
to the same conclusion thatthat stunt was at once the best
idea and the worst idea he'dever had.
I loved the moment in my chatwith Riley Stockton where I
realized that he was in fact thehometown kid who had gone away
(19:03):
and then returned home andrealized his childhood dream of
being the executive director ofSpokane Hoop Fest.
That felt really, really good.
Anyway, looking forward andwrapping things up, again, I
want to express my deepestgratitude to you.
Thank you for listening.
I mean that.
(19:24):
The response to the pilotseason of One Hour to Doors has
well exceeded my expectations.
Thank you, thank you, thank you.
By the time this episode airs, Iwill have already recorded at
least the first two episodes ofseason two, and let's just say I
intend to come out of the gateat full throttle.
(19:44):
We will have episodes onsponsorship, on marketing.
We're going to look at variousproduction and operation trades.
We will talk with leadership atsome of the cities and venues
that we heard such great thingsabout in season one.
We're going to test new waterswith some issue specific
(20:05):
episodes, and we're even goingto take our first steps to visit
events outside of the state ofWashington.
All sorts of good stuff is inthe queue, as always.
Please subscribe or follow thepodcast on your player of choice
and follow us on Facebook andInsta.
Use the socials to throwcomments and questions at me or
(20:27):
at the guests.
Let me know what you would liketo hear in terms of future
episodes.
This podcast is for all of us.
Don't be shy, use it.
That's all for now and untilnext time.
Thank you for being here.
All call
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