August 25, 2023 • 26 mins
Ready for an auditory exploration? Welcome to the inaugural episode of Sound Sagas, where we're sharing our boundless love for music, and inviting you to join us in this shared discovery. We're venturing into the transformative world of musical styles, promising you an invigorating journey where we unlock the thrill of discovering new artists and appreciating the bounty of music the internet has to offer. We'll walk you through this ever-changing musical landscape, stepping out of our comfort zones, and immersing ourselves in the harmony of new sounds. Plus, we'll be sharing stories, inviting guests, and allowing our strong Chicago roots to resonate throughout our journey.
But our sonic saga doesn't end there. We also delve into the complex intricacies of decision-making, talking through illusions and reality. As we navigate the rhythm and flow of our work, we'll explore how checklists and redundancies can enhance your process, bringing harmony to your workspace. Ever heard of Maslow's Hammer? Well, we're going to discuss its relevance and how we can avoid falling into it's trap. There's a symphony of tools out there; we just need to reach out and use them. So, put on your headphones, and let's spin the record on a new episode that's all about the poetry of sound, the art of decision-making, and the shared love of music. Tune in to Sound Sagas now!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Will Bristol (00:21):
Sound Sagas what do we want it to be?
I kind of had this idea in myhead for a while of doing a
podcast format, which I'm happyis kind of evolved into like
this video hybrid thingthankfully with your help, I
mean and Andrew, I know you'vebeen interested in something
like this too yeah, both fromthe video filming production
(00:42):
aspect of it, because daytimecareer or, I guess, nighttime as
well as photographer,videographer, I have the ability
but had no channel or venue toreally launch something like
this.
But it's interesting that we'redoing a podcast that's sort of
like a YouTube channel first,right, yeah, and I like that
multi-channel, multi-format idea, but to use this as a venue for
(01:06):
community based around our lovefor music, our appreciation of
it and trying to learn moreabout it from other people.
Want to get guests, want to getyou know as much kind of input
from audiences we can making itinto something that kind of
lives, as a living, breathingdocument for you know what's
(01:26):
going on music and what we thinkabout it based on our context,
based on our histories.
There's just a lot of coolstuff we can kind of throw into
this music soup that we're goingto make and.
Andrew Rothmund (01:40):
I'm kind of excited to see where it goes.
Yeah, I've always been like so.
I've always been so likenon-discriminately interested in
music, like there's so fewthings that I just don't really
like.
I mean, like when I got intomusic journalism I think I was
interested in journalism becauseof how broad you could apply
(02:01):
your taste to your interest, toit.
Right, the headroom's almostunlimited.
Like, whatever your tastes are,whatever you can be an expert
in, you can go that far andwrite and share opinion and
discuss and be involved at thatlevel, at a deep level, in a
wide gammon of things.
Now, to be like fair, like Ilisten to mostly heavy metal,
(02:21):
like that.
I'm a metalhead, there's no wayaround that.
I'm not as in tune with popculture, indie rock, other stuff
, a lot of electronic music I dodabble in electronic.
I do like singer-songwriter alot.
I have various other tasteinterests.
You see a Tom Waits record upthere, like.
But at the same time, you know,living in the metal world, I
kind of compartmentalized.
(02:42):
But the place goes so deep andyou've probably noticed this too
in your spaces like you cankeep digging forever.
Will Bristol (02:48):
Yeah, and we have a lot we can learn about too.
Like I plan on doing theresearch I know you do, yeah,
there will be plenty of thingsto deep dive into that we know
nothing about, which is excitingon its own, yeah, and like just
to foreshadow we can foreshadowthe next episode.
Andrew Rothmund (03:05):
You know we both selected a band that is
formative to us but also wethink is is a showcase of a
style that anyone could sort ofwith context and joy, and like
check something new out.
Yeah, the funny thing isthey're very different, very
different styles of music, but Ithink that contrast is very
interesting, right.
Will Bristol (03:24):
And the through lines are definitely there for,
yes, having them both beaccessible in their own ways so,
and their impacts, and we'lltalk more about it, but both
have great stories as well.
Andrew Rothmund (03:35):
Yeah, great stories, great kind of
backgrounds and with sagas inthe name, right Like stories are
kind of narrative, is sort of abedrock, right.
Right, this is how weexperience music is what we,
when we socialize with our musicfriends and folks, we are
telling stories.
Yeah, all day.
That's how it works.
Will Bristol (03:55):
There's definitely gonna be sagas to be told, yeah
, and I'm looking forward tokind of uncovering some we don't
know about, or probably a lotwe don't know about, and that
means putting you knowindividuals like between us,
like physically here in thestudio, and talking to them and
figuring out more and askinggood questions right Like that's
part of it.
Yeah, definitely so.
(04:16):
A lot, of, a lot of this willbe based on our experience, but
a lot of it will be based onother people's experience.
Again, a lot of it should bebased on comments.
We get stuff, we get submitted.
We'll be keeping alongalongside this, you know,
supplemental stuff, socials,blogs.
There's just a lot coming and,frankly, kind of too much to
(04:37):
talk about in one episode, buthopefully this is a good
launchpad for you know, gettingyou all kind of turned on or
turned off to the concept.
Andrew Rothmund (04:47):
And I think quality being like like that's
what we shoot for.
Will Bristol (04:52):
Definitely.
Andrew Rothmund (04:52):
I think I think the best channels, the best,
the ones that you always go backto I'm sure everyone has their
list of YouTube channels.
They kind of go back to it,right, and discussion spaces and
stuff, and the ones that you goback to, the ones that proceed,
you perceive as like being thehighest quality.
They might not be the biggestones, but you just like they,
they go that level, they go thatfar Totally.
(05:14):
We definitely want to do that.
Will Bristol (05:15):
And we want to try this.
It'll be on a schedule I think.
I don't know if we're decidedon biweekly yet, but we'll
figure it out somewhere.
Andrew Rothmund (05:21):
We'll have some cadence so you can be clear on
expectations on when you'regoing to get new content, stuff
like that.
Will Bristol (05:27):
Yeah, and it'll always be kind of fresh and
different.
Andrew Rothmund (05:29):
Yeah, yeah, we'll take the show on the road
Once we get that figured out.
Like technology wise, we havethe, we have the tools, but we
just got to get crazy enough anddo it.
Will Bristol (05:39):
No, we're excited to explore all avenues of that
as well.
Yeah, I mean we're based inChicago too, so there's plenty
of venues to go to stuff to seeoutside.
Hopefully that becomes a bigpart of it.
I think so.
Andrew Rothmund (05:51):
I want to mention, like you heard earlier
in the episode, that we're, thisshow is based in Chicago, we
live in Chicago, we want, wewant an element of locality to
the to sound sagas, right Like.
We are from this place, we'reof this place and we will, we
will showcase this place.
Right Right, this is not awe're not limited to Chicago in
(06:11):
any measure, right Like.
Will Bristol (06:12):
No, and you're from Ohio, I'm from Florida,
exactly.
We're not even from Chicago.
Andrew Rothmund (06:16):
Yeah, exactly, we was left here long enough to
be like I consider myself alittle bit we're a little bit.
We're a little bit, we'll putit that way, but I think I could
not describe my experience withmusic fully enough if I did not
consider how much Chicagomattered to that.
Will Bristol (06:37):
Oh, absolutely, yeah, I mean that's imperative.
Andrew Rothmund (06:39):
It is that we mentioned and talked about it
because, yeah, it's been such ahuge influence on both of our
experiences and you canextrapolate, like every city has
an identity, every, every placehas a vibe, Absolutely Music
wise, and you can tap into itand I like I don't like
compartmentalizing my, mylibrary or my bands based on
(07:00):
where people are from, but likeyou can sort of like understand
a New York black metal scene orthe West Coast black metal scene
, for instance, as differentstylistically Totally and that's
, that's some future episodesright there Exactly.
Will Bristol (07:15):
I mean I mentioned to you before but you know, all
the bands in New York in theearly 2000s was a huge part of
what I listened to for a longtime and everyone kind of builds
their little scene and then itsounds.
The sounds that come out ofthat are contextual.
So yeah, there's a lot of kindof exploring to do with that
sort of concept.
Andrew Rothmund (07:33):
I think peeling the layers is a big concept
that plays into how we're goingto kind of explore sound sagas
right.
Will Bristol (07:40):
Yes, the onion of music Yep.
Andrew Rothmund (07:42):
Yep, the onion of music.
It does make you cry sometimes,doesn't it Makes you cry?
Will Bristol (07:45):
makes you scream?
Yeah, makes you stink.
Andrew Rothmund (07:50):
That's true.
As a metalhead, I can tell youthat there is a stench involved
in the experience sometimes.
Yeah.
Will Bristol (07:55):
I mean a bunch of people in a small room.
It's going to do it.
Andrew Rothmund (07:58):
Not all the time, though.
The stereotype is quarter true,maybe quarter true, but this is
like when you get a bunch ofpeople in a room, it's just
gonna stay.
You know any genre, so it goes.
It all comes back to the onionof music.
It does Absolutely.
It's part of the experience andI think, I think experience is
like that's, that's the onlything that's ever going to
(08:20):
change you, and that's the onlything that's ever going to let
your taste in music evolve so togive you guys a new experience,
like, for instance, seeing twodudes with completely opposite
tastes kind of break things downand we both at the same time
experiencing new things right infront of you, as we myself and
Will share music.
(08:40):
But also just to be able to likediscover new stuff.
Like you got all your venues,you got Bandcamp, you can find
stuff on, you getrecommendations on Google and
Spotify.
If this is your first foray andyou're getting a more curated
sort of selection of music, thenwelcome.
But it's always nice to have acouple like lower-key channels,
right?
Not?
Will Bristol (08:59):
just the big feeds there's no shortage of ways to
find music out there andhopefully this is just a way to
what Sound Sog is does for youis a way to either find
community or find some directionon stuff you really want to
look for, places you really wantto look, because we've been
through that so many times oftrying to find those people,
(09:20):
find those bands, and I mean alot of times it just happens to
you.
I mean, I know there's a guy onTikTok or Instagram and his
whole thing is like this band'sgonna have 500,000 Spotify
subscribers next year.
Then throws up the five or sixbands he's found.
So hopefully it's a moreunpacked version of that sort of
thing, but across bands, genres, labels, things like that.
Andrew Rothmund (09:45):
Yeah, I think having like a.
I think what I always say islike put effort into listening
to music.
But that effort means like,like things that you don't
initially like or think you'lllike.
I think that's the hardestthing to do, but the best thing
you can do and that's what I'vebeen trying to work on my whole
life is like that's when I puteffort into appreciating music.
(10:05):
It's when I'm listening tosomething that I don't think
I'll enjoy or just don't knowmuch about, and trying to like,
get into it and build into itright and turns out most times.
Will Bristol (10:17):
Trying something once is always is usually worth
it it is yeah, because then youknow.
You know, and most times it'sprobably fine and enjoyable.
Yeah, it's never gonna hurt.
Yeah, no.
Andrew Rothmund (10:27):
Yeah, I might pull out some scary looking
albums on this show, but don'tworry, then nothing's gonna hurt
.
Yeah, there's no, like there'snot actually a pit of corpses or
anything like that you're gonnawant to yeah, not here.
Who knows on this floor?
No, I think the expressivenessof music matters a lot.
(10:48):
You know, like, like, howvisceral it is, at least in my
case.
Will Bristol (10:55):
Yeah, it kind of defines what some people think
about the world and, like you,know what expression means to
them, right.
Andrew Rothmund (11:05):
I wonder how much we measure music on like
just how visceral it is, like.
Will Bristol (11:09):
I mean that's a hard yeah measurements to take,
but like how, how intense it is.
Andrew Rothmund (11:15):
Maybe these are like, yeah, very like soft
words right to define, butanother part of you know,
exploring on Sound Saga's islike understanding how people
consume and enjoy music.
Will Bristol (11:28):
Yeah trying to get our thumb on the pulse.
Yeah what matters.
Andrew Rothmund (11:32):
Yeah, like there's a technical way of
describing it, like people useSpotify or the Google Play or
whatever they use.
And then there's more of likethe sociological way of saying,
like are people what's word ofmouth mean now, like right, for
instance, for me, like my, if Ihave people like you included,
if they send me an album, itgoes to the top of the queue
like I listened to it right away.
(11:53):
Yeah, yep, like I because thoseare always the best
recommendations is from someoneyou very much know and so
hopefully, by getting to know usa little bit, you'll exactly
Follow that kind of yeah, yeah.
Will Bristol (12:04):
But it is interesting, though, like what
is gorilla marketing now isdifferent than what it was right
ten years ago, five years ago.
I mean it does feel like somebands try to market to you as if
you're like their friend andyou can kind of get into a pair
of social relationships andstuff than to to bring it to a
sociological standpoint.
Yeah, it's always, it isinteresting and yeah, I mean,
(12:26):
same goes.
If you recommend something tome, it's usually fire.
So yeah, that goes to the topand yeah, I mean there's.
I'm sure you all have friendsin your lives like that, but
there's no shortage of music outthere and no shortage of new
stuff that's still catching upon old stuff.
Andrew Rothmund (12:43):
Yeah, we didn't necessarily grow up in a
situation where we could getaccess to anything we wanted at
any time it was.
I mean, it wasn't the hardestcompared to how hard it may have
been before our time, butdefinitely easy now.
Like the situation is, whateveryou want to hear, you can hear
it.
Well, it has just a differentproblem of overabundance,
(13:06):
exactly and you know all yourinputs.
Will Bristol (13:10):
Where do I go?
What do I?
Andrew Rothmund (13:11):
listen to.
Will Bristol (13:11):
what do I do?
I mean, we were on the cusp ofhaving that with the internet
and I was lucky to have somelocal stores and stuff near me.
Right record, shopping was bigfor you.
Andrew Rothmund (13:24):
Yes, yeah.
Will Bristol (13:25):
So it was less hard met what could have been
right.
Andrew Rothmund (13:30):
Definitely a lot to uncover there.
Yeah, I mean, like as you can,as you guys can, as you guys are
kind of picking up, like we are, we're trying to like take
sound sluggers as an extensionof our, our personal like love
and interest in music.
I think it's the only way tomake it really survive.
If we try to build to this someartificial like machine to
generate content, we're notreally in it getting the meat of
(13:54):
it.
Yeah, exactly, it's anappreciation, labor of love type
thing for sure yeah.
And that, that that has to bebuilt in, and I think it is.
Will Bristol (14:01):
Yeah, yeah, let's, let's do the thing Change gears
.
Andrew Rothmund (14:04):
Yeah, let's do something fun so we have a box
on the table.
Will Bristol (14:08):
I've had this game from company.
It's called the unstuck unstuckbox.
I think the company's calledcalled unstuck.
But yeah, it's like cool kindof strategies and businessy
ideas.
Andrew Rothmund (14:24):
Basically like concepts.
Will Bristol (14:26):
Yeah, so we can kind of take these cards and
apply one to something to dowith music or to what we want
out of sound sockets.
We're gonna riff.
We're gonna riff off the thingsI'll do.
The first one, actually Sweet.
See what we did?
Random pick.
Yeah, that's a good one, let'sdo it.
Illusion of control oh boy,they put this in the leadership
(14:48):
category.
Yeah, we all overestimate ourability to control events.
I mean yeah we deal with a lot,and I'm sure everyone does, yep,
the illusion of control occursbecause we all seek to exert
control over our lives.
Andrew Rothmund (15:06):
Yeah, that's, true, this Alright this card
game is like well, it's notreally a game, but like that's,
you picked a good one becausethat's a big big thing, yeah, so
much.
Will Bristol (15:18):
I mean a huge exercise Anyone can do, and I
know I've done a lot.
It's just like remain calm.
Yes, try to appreciate thatthings are gonna happen.
You'll duck and roll and you'llhave to be done with them and
let them go.
Andrew Rothmund (15:37):
There is a not in not all situations, but in
some there is a forgiveness,there is a buffer where you can
let go and the situation willstill turn out right.
You can let go of some of the Imean I would say nine times out
of 10.
Will Bristol (15:54):
At least you know how to let go.
Andrew Rothmund (15:56):
Yeah, it will turn out fine, Absolutely.
The control element is hard,though, because when you get
artistically involved insomething, in especially if you
have a vision, you know that'shard because you it is want to
achieve that vision.
Will Bristol (16:08):
But I know many more horror stories of artists
being overbearing rather thanartists being accommodating.
Right in this regard, yeah, ifsomething goes wrong with their
vision, exactly.
Andrew Rothmund (16:20):
I think I Try to think of it as like, let's
say, I was writing an album orhelping create music.
I think of like my input or myartistic vision.
I am only Massaging the finalproduct.
I am only like helping thefinal product become a certain
way.
I'm assisting in that process.
Will Bristol (16:37):
I'm not creating the specific Idea of my vision
although I mean, I'll take thatand up the ante.
If it's your project and youwant to have control of it, you
just have to recognize theirlimits and and Just coming to
terms with what you're willingto Kind of be okay with.
And then where you want to drawsome lines and even those lines
(16:59):
are lines in the sand yeah, soyou have to be ready to move
them.
Andrew Rothmund (17:03):
Hopefully it's not as hardcore as the one that
you Snatched out of here totallyrandom.
Oh, checklists, yes, that'simportant to us too.
I like a good checklist.
Let's see what's on here.
Checklists can help us toorganize, manage and complete
tasks.
I mean now it's talking aboutlike pilots have checklists
(17:24):
right, for Obvious reasons andwe've had that conversation
about redundancies built intoplanes.
Will Bristol (17:29):
Absolutely.
Andrew Rothmund (17:29):
We did enough.
In a Earlier iteration of this,of this episode, we had a
discussion regarding why planesmight have two or three of the
same instrument right in thecockpit.
It's because, like build-inredundancy to your process, like
this means, if you're recordingguitar in your bedroom, like Do
two inputs, like record into arecorder, record to your
computer, just in case your PCyeah, I mean if you have two
(17:53):
cables and two inputs.
Will Bristol (17:54):
Yeah, why?
Andrew Rothmund (17:54):
not back it up.
Back it up like it'll save you,because you'll be writing the
greatest riff of all time.
Will Bristol (17:59):
Yeah, and you will lose it because your computer
right exactly, and so manyhorror stories of lost audio
video.
Andrew Rothmund (18:06):
I mean things like that.
They don't stop you fromachieving your dream.
They just make it harder andmake it more frustrating, and
checklists Help reduce thefrustration of like the process
Definitely together, go together.
Yeah, absolutely, man kismet,take the honor.
(18:29):
Probably, take a card, any card, it's gonna be like the middle
Maslow's hammer problem solving.
Will Bristol (18:43):
It is tempting, if you only if the only tool you
have is a hammer to treateverything as if it were a nail.
Good one, yeah, so Maslow'shammers with that concepts
called.
I didn't know that once we havefound a tool that works, we
tend to stick with it.
The cognitive, cognitive biascoined by Abraham Maslow is also
known as the law of theinstrument.
So, over reliance on a singletool, yeah, I mean Tools of the
(19:06):
trade.
You know we're using particularmics here.
On a tour, people useparticular guitars, particular
cables.
You just need to kind of haveyour tool set and If they aren't
, if they aren't meant for thatuse, find these they're meant
for right.
There isn't a flipped coin sideof this too, which, like the
(19:29):
chef, alton Brown uses where youwant to have multi-taskers
exactly.
But Like the, like, theprinciple says you never want to
be using a hammer to Screw in ascrew.
Yeah or the hammer a screw.
Andrew Rothmund (19:43):
Yeah, you want to use a screwdriver.
Yeah, um, basically, it's likeyou know, you don't.
Don't get so convinced thateverything that you have to do,
what you are doing artistically,is everything you might need,
or the right tools.
Will Bristol (19:57):
Right, right.
We're sticking with a processthat clearly is frustrating,
exactly Hard to work with.
Andrew Rothmund (20:01):
Yeah, but if you're trying to hammer in a
screw and anything going in likeyou got to, you got to change
up right.
Yeah, you got to take somethingthat you might be comfortable
with and undo it when I'mdefinitely guilty of this too.
Yeah, we are yeah.
Will Bristol (20:13):
Like in the past, I used to think I could do
everything myself for creativeprocesses and it definitely
hindered me on some projectswhere, like I was like I'll just
do it all myself, right, it'llbe free, it'll be cheap, or
it'll be free and cheap, butit'll just be like better, but
it wasn't.
It wasn't.
I mean, I should have justfound the right person for the
(20:34):
job, gotten it done, knocked itout.
So yeah, I mean another kind oflesson like concept no when.
Andrew Rothmund (20:42):
no, when something's worth having someone
else do right Now.
Your situation might differbased on money and abilities and
resources, but if you have thecapability and it just makes
sense to have someone help, youdo something like you're not
spoiling I don't think in mostcases any artistic vision,
you're just totally you're.
It all comes down to time.
Will Bristol (21:03):
And I was going to say when the busier you get and
the more successful andwhatever creative things you
find yourself doing you get,time becomes your hottest
commodity Absolutely, and likeus sitting here is literally a,
a illustration, an illustrationof like we wouldn't be sitting
here if we weren't going tocommit the time or the effort
(21:26):
that it took, right Like right.
Andrew Rothmund (21:28):
You know it was enough effort just to get to
this point to like to like.
You know exactly, and I thinkthat the big lesson is like,
when you do something, like, doit full right, do it as best you
can, it means getting help ifyou need it.
It means making checklist.
That means like doing doing thework involved.
Will Bristol (21:45):
It can be a pain in the ass, but well and you're
bleeding into another conceptwhich I also like, Ron Swanson,
as a quote whole last one thing.
Don't half-ass two things.
Andrew Rothmund (21:55):
That's perfect yeah.
Will Bristol (21:57):
So that's that goes hand in hand a little bit,
I think.
So I think you're ready foranother concept.
Andrew Rothmund (22:00):
Let's do a final card here and see what it
says Hopefully somethingexplosive.
We are looking at the Paretoprinciple.
It says for many outcomes, 80%of the consequences come from
20% of the causes.
I need to think about that one.
Yep, so for many outcomes, 80%of the consequences come from
(22:23):
20% of the causes.
Okay, so identify where yourweak points are, exactly All
your inputs, just a few of them,are going to cause most of the
problems, and we've experiencedthis in studio building and you
experienced this in musicwriting, in any field.
Like, it's very rare that everysingle thing goes wrong, and
it's usually Everything is notequally guilty.
(22:45):
It's usually like a bigdisaster, but it comes down to
some one or two things.
Will Bristol (22:51):
Yeah, and that goes back to a process to like
Checklist.
If something checklists as well, if something is like clearly
causing a lot of problems andyou just have it because you
feel like you have to.
Andrew Rothmund (23:02):
Maybe it's worth losing.
Exactly.
This can even be applied tolike hey, I'm trying to arrange
a song with a bunch of riffs andyou just can't get that one
riff to plug into the spot.
Maybe you're maybe it's aroundpeg in a square or vice versa.
I don't know which one is, butyeah but like exactly, you got
to come to that conclusion anddecide and save yourself time
(23:22):
and that actually touches on.
Will Bristol (23:25):
my friend sent me a song or track they're working
on yesterday and I had somenotes for it, although it was
nitpicky notes like none of itwas like it sounded good, but I
was like the drums, all soundsseparate, like they don't sound
like they're mixed properly.
If I had to guess they werefake.
And she was like yeah.
They're fake.
(23:46):
No, and she was like we wereworking on it.
No, it's like well, just washit out Like it was a really
bright recording, just like washit out, try to blend it and
lose some of them.
Like simplify, not that I'mlike the fixer now.
But you gave like generalpoints that yeah, but it seemed
like that was a good thing thatshe was already having problems.
Yeah that they already knewabout and I was like, well, lose
(24:07):
it, yeah.
So I mean that concept canapply to really anything.
Yeah, like a lot of these can.
Andrew Rothmund (24:14):
But, yeah, real-life example there, yeah,
and it comes down to like whenyou're creating and writing, I
think, just just make as muchstuff as you can and then apply
that process, apply that filter,apply that yes, no, yes, no,
and you will.
You'll buy nature of sievingdown.
You're all of your content,some of which is not gonna be
(24:34):
good.
Not everything everyone does isamazing, of course, but you'll
filter down, you'll.
You'll relapse with the fewthings that are very good.
Will Bristol (24:40):
And I do find it is always easier to edit than it
is to add.
Yes, that's advice.
I give people a lot to alwaystry, try doing more and then
taking away, rather than Doingless and then adding to it.
Andrew Rothmund (24:54):
And how much was this?
Will Bristol (24:55):
like couple 15, 20 bucks, something like that save
your life wasn't expensive.
Yeah, yeah, it's a goodinvestment.
Andrew Rothmund (25:00):
You just sit there and read these, and you'll
leave a much much more yeah.
Definitely.
Well, let's wrap up with that.
Like wanted to say thank youfor making this far.
Yeah, making this far in theSound Sagas.
Hopefully, we're gonna needsome context on who we are, what
we want to do with the show andwhat is gonna be coming.
Our next episode will be a deepdive into two bands, like we
(25:22):
mentioned, very different, butwe'll get in some contrast and
some style and talk out ourexperiences.
Will Bristol (25:29):
Yeah, so smash that like and subscribe.
We have other channels.
Follow us on YouTube atSoundSagas TV, the website Sound
Sagas com, facebook, and atSound Sagas, so we'll see you
out there.
Andrew Rothmund (25:45):
See you in the next one.
Thanks guys.
Sound Sagas what do we want it to be?
I kind of had this idea in myhead for a while of doing a
podcast format, which I'm happyis kind of evolved into like
this video hybrid thingthankfully with your help, I
mean and Andrew, I know you'vebeen interested in something
like this too yeah, both fromthe video filming production
(00:42):
aspect of it, because daytimecareer or, I guess, nighttime as
well as photographer,videographer, I have the ability
but had no channel or venue toreally launch something like
this.
But it's interesting that we'redoing a podcast that's sort of
like a YouTube channel first,right, yeah, and I like that
multi-channel, multi-format idea, but to use this as a venue for
(01:06):
community based around our lovefor music, our appreciation of
it and trying to learn moreabout it from other people.
Want to get guests, want to getyou know as much kind of input
from audiences we can making itinto something that kind of
lives, as a living, breathingdocument for you know what's
(01:26):
going on music and what we thinkabout it based on our context,
based on our histories.
There's just a lot of coolstuff we can kind of throw into
this music soup that we're goingto make and.
Andrew Rothmund (01:40):
I'm kind of excited to see where it goes.
Yeah, I've always been like so.
I've always been so likenon-discriminately interested in
music, like there's so fewthings that I just don't really
like.
I mean, like when I got intomusic journalism I think I was
interested in journalism becauseof how broad you could apply
(02:01):
your taste to your interest, toit.
Right, the headroom's almostunlimited.
Like, whatever your tastes are,whatever you can be an expert
in, you can go that far andwrite and share opinion and
discuss and be involved at thatlevel, at a deep level, in a
wide gammon of things.
Now, to be like fair, like Ilisten to mostly heavy metal,
(02:21):
like that.
I'm a metalhead, there's no wayaround that.
I'm not as in tune with popculture, indie rock, other stuff
, a lot of electronic music I dodabble in electronic.
I do like singer-songwriter alot.
I have various other tasteinterests.
You see a Tom Waits record upthere, like.
But at the same time, you know,living in the metal world, I
kind of compartmentalized.
(02:42):
But the place goes so deep andyou've probably noticed this too
in your spaces like you cankeep digging forever.
Will Bristol (02:48):
Yeah, and we have a lot we can learn about too.
Like I plan on doing theresearch I know you do, yeah,
there will be plenty of thingsto deep dive into that we know
nothing about, which is excitingon its own, yeah, and like just
to foreshadow we can foreshadowthe next episode.
Andrew Rothmund (03:05):
You know we both selected a band that is
formative to us but also wethink is is a showcase of a
style that anyone could sort ofwith context and joy, and like
check something new out.
Yeah, the funny thing isthey're very different, very
different styles of music, but Ithink that contrast is very
interesting, right.
Will Bristol (03:24):
And the through lines are definitely there for,
yes, having them both beaccessible in their own ways so,
and their impacts, and we'lltalk more about it, but both
have great stories as well.
Andrew Rothmund (03:35):
Yeah, great stories, great kind of
backgrounds and with sagas inthe name, right Like stories are
kind of narrative, is sort of abedrock, right.
Right, this is how weexperience music is what we,
when we socialize with our musicfriends and folks, we are
telling stories.
Yeah, all day.
That's how it works.
Will Bristol (03:55):
There's definitely gonna be sagas to be told, yeah
, and I'm looking forward tokind of uncovering some we don't
know about, or probably a lotwe don't know about, and that
means putting you knowindividuals like between us,
like physically here in thestudio, and talking to them and
figuring out more and askinggood questions right Like that's
part of it.
Yeah, definitely so.
(04:16):
A lot, of, a lot of this willbe based on our experience, but
a lot of it will be based onother people's experience.
Again, a lot of it should bebased on comments.
We get stuff, we get submitted.
We'll be keeping alongalongside this, you know,
supplemental stuff, socials,blogs.
There's just a lot coming and,frankly, kind of too much to
(04:37):
talk about in one episode, buthopefully this is a good
launchpad for you know, gettingyou all kind of turned on or
turned off to the concept.
Andrew Rothmund (04:47):
And I think quality being like like that's
what we shoot for.
Will Bristol (04:52):
Definitely.
Andrew Rothmund (04:52):
I think I think the best channels, the best,
the ones that you always go backto I'm sure everyone has their
list of YouTube channels.
They kind of go back to it,right, and discussion spaces and
stuff, and the ones that you goback to, the ones that proceed,
you perceive as like being thehighest quality.
They might not be the biggestones, but you just like they,
they go that level, they go thatfar Totally.
(05:14):
We definitely want to do that.
Will Bristol (05:15):
And we want to try this.
It'll be on a schedule I think.
I don't know if we're decidedon biweekly yet, but we'll
figure it out somewhere.
Andrew Rothmund (05:21):
We'll have some cadence so you can be clear on
expectations on when you'regoing to get new content, stuff
like that.
Will Bristol (05:27):
Yeah, and it'll always be kind of fresh and
different.
Andrew Rothmund (05:29):
Yeah, yeah, we'll take the show on the road
Once we get that figured out.
Like technology wise, we havethe, we have the tools, but we
just got to get crazy enough anddo it.
Will Bristol (05:39):
No, we're excited to explore all avenues of that
as well.
Yeah, I mean we're based inChicago too, so there's plenty
of venues to go to stuff to seeoutside.
Hopefully that becomes a bigpart of it.
I think so.
Andrew Rothmund (05:51):
I want to mention, like you heard earlier
in the episode, that we're, thisshow is based in Chicago, we
live in Chicago, we want, wewant an element of locality to
the to sound sagas, right Like.
We are from this place, we'reof this place and we will, we
will showcase this place.
Right Right, this is not awe're not limited to Chicago in
(06:11):
any measure, right Like.
Will Bristol (06:12):
No, and you're from Ohio, I'm from Florida,
exactly.
We're not even from Chicago.
Andrew Rothmund (06:16):
Yeah, exactly, we was left here long enough to
be like I consider myself alittle bit we're a little bit.
We're a little bit, we'll putit that way, but I think I could
not describe my experience withmusic fully enough if I did not
consider how much Chicagomattered to that.
Will Bristol (06:37):
Oh, absolutely, yeah, I mean that's imperative.
Andrew Rothmund (06:39):
It is that we mentioned and talked about it
because, yeah, it's been such ahuge influence on both of our
experiences and you canextrapolate, like every city has
an identity, every, every placehas a vibe, Absolutely Music
wise, and you can tap into itand I like I don't like
compartmentalizing my, mylibrary or my bands based on
(07:00):
where people are from, but likeyou can sort of like understand
a New York black metal scene orthe West Coast black metal scene
, for instance, as differentstylistically Totally and that's
, that's some future episodesright there Exactly.
Will Bristol (07:15):
I mean I mentioned to you before but you know, all
the bands in New York in theearly 2000s was a huge part of
what I listened to for a longtime and everyone kind of builds
their little scene and then itsounds.
The sounds that come out ofthat are contextual.
So yeah, there's a lot of kindof exploring to do with that
sort of concept.
Andrew Rothmund (07:33):
I think peeling the layers is a big concept
that plays into how we're goingto kind of explore sound sagas
right.
Will Bristol (07:40):
Yes, the onion of music Yep.
Andrew Rothmund (07:42):
Yep, the onion of music.
It does make you cry sometimes,doesn't it Makes you cry?
Will Bristol (07:45):
makes you scream?
Yeah, makes you stink.
Andrew Rothmund (07:50):
That's true.
As a metalhead, I can tell youthat there is a stench involved
in the experience sometimes.
Yeah.
Will Bristol (07:55):
I mean a bunch of people in a small room.
It's going to do it.
Andrew Rothmund (07:58):
Not all the time, though.
The stereotype is quarter true,maybe quarter true, but this is
like when you get a bunch ofpeople in a room, it's just
gonna stay.
You know any genre, so it goes.
It all comes back to the onionof music.
It does Absolutely.
It's part of the experience andI think, I think experience is
like that's, that's the onlything that's ever going to
(08:20):
change you, and that's the onlything that's ever going to let
your taste in music evolve so togive you guys a new experience,
like, for instance, seeing twodudes with completely opposite
tastes kind of break things downand we both at the same time
experiencing new things right infront of you, as we myself and
Will share music.
(08:40):
But also just to be able to likediscover new stuff.
Like you got all your venues,you got Bandcamp, you can find
stuff on, you getrecommendations on Google and
Spotify.
If this is your first foray andyou're getting a more curated
sort of selection of music, thenwelcome.
But it's always nice to have acouple like lower-key channels,
right?
Not?
Will Bristol (08:59):
just the big feeds there's no shortage of ways to
find music out there andhopefully this is just a way to
what Sound Sog is does for youis a way to either find
community or find some directionon stuff you really want to
look for, places you really wantto look, because we've been
through that so many times oftrying to find those people,
(09:20):
find those bands, and I mean alot of times it just happens to
you.
I mean, I know there's a guy onTikTok or Instagram and his
whole thing is like this band'sgonna have 500,000 Spotify
subscribers next year.
Then throws up the five or sixbands he's found.
So hopefully it's a moreunpacked version of that sort of
thing, but across bands, genres, labels, things like that.
Andrew Rothmund (09:45):
Yeah, I think having like a.
I think what I always say islike put effort into listening
to music.
But that effort means like,like things that you don't
initially like or think you'lllike.
I think that's the hardestthing to do, but the best thing
you can do and that's what I'vebeen trying to work on my whole
life is like that's when I puteffort into appreciating music.
(10:05):
It's when I'm listening tosomething that I don't think
I'll enjoy or just don't knowmuch about, and trying to like,
get into it and build into itright and turns out most times.
Will Bristol (10:17):
Trying something once is always is usually worth
it it is yeah, because then youknow.
You know, and most times it'sprobably fine and enjoyable.
Yeah, it's never gonna hurt.
Yeah, no.
Andrew Rothmund (10:27):
Yeah, I might pull out some scary looking
albums on this show, but don'tworry, then nothing's gonna hurt
.
Yeah, there's no, like there'snot actually a pit of corpses or
anything like that you're gonnawant to yeah, not here.
Who knows on this floor?
No, I think the expressivenessof music matters a lot.
(10:48):
You know, like, like, howvisceral it is, at least in my
case.
Will Bristol (10:55):
Yeah, it kind of defines what some people think
about the world and, like you,know what expression means to
them, right.
Andrew Rothmund (11:05):
I wonder how much we measure music on like
just how visceral it is, like.
Will Bristol (11:09):
I mean that's a hard yeah measurements to take,
but like how, how intense it is.
Andrew Rothmund (11:15):
Maybe these are like, yeah, very like soft
words right to define, butanother part of you know,
exploring on Sound Saga's islike understanding how people
consume and enjoy music.
Will Bristol (11:28):
Yeah trying to get our thumb on the pulse.
Yeah what matters.
Andrew Rothmund (11:32):
Yeah, like there's a technical way of
describing it, like people useSpotify or the Google Play or
whatever they use.
And then there's more of likethe sociological way of saying,
like are people what's word ofmouth mean now, like right, for
instance, for me, like my, if Ihave people like you included,
if they send me an album, itgoes to the top of the queue
like I listened to it right away.
(11:53):
Yeah, yep, like I because thoseare always the best
recommendations is from someoneyou very much know and so
hopefully, by getting to know usa little bit, you'll exactly
Follow that kind of yeah, yeah.
Will Bristol (12:04):
But it is interesting, though, like what
is gorilla marketing now isdifferent than what it was right
ten years ago, five years ago.
I mean it does feel like somebands try to market to you as if
you're like their friend andyou can kind of get into a pair
of social relationships andstuff than to to bring it to a
sociological standpoint.
Yeah, it's always, it isinteresting and yeah, I mean,
(12:26):
same goes.
If you recommend something tome, it's usually fire.
So yeah, that goes to the topand yeah, I mean there's.
I'm sure you all have friendsin your lives like that, but
there's no shortage of music outthere and no shortage of new
stuff that's still catching upon old stuff.
Andrew Rothmund (12:43):
Yeah, we didn't necessarily grow up in a
situation where we could getaccess to anything we wanted at
any time it was.
I mean, it wasn't the hardestcompared to how hard it may have
been before our time, butdefinitely easy now.
Like the situation is, whateveryou want to hear, you can hear
it.
Well, it has just a differentproblem of overabundance,
(13:06):
exactly and you know all yourinputs.
Will Bristol (13:10):
Where do I go?
What do I?
Andrew Rothmund (13:11):
listen to.
Will Bristol (13:11):
what do I do?
I mean, we were on the cusp ofhaving that with the internet
and I was lucky to have somelocal stores and stuff near me.
Right record, shopping was bigfor you.
Andrew Rothmund (13:24):
Yes, yeah.
Will Bristol (13:25):
So it was less hard met what could have been
right.
Andrew Rothmund (13:30):
Definitely a lot to uncover there.
Yeah, I mean, like as you can,as you guys can, as you guys are
kind of picking up, like we are, we're trying to like take
sound sluggers as an extensionof our, our personal like love
and interest in music.
I think it's the only way tomake it really survive.
If we try to build to this someartificial like machine to
generate content, we're notreally in it getting the meat of
(13:54):
it.
Yeah, exactly, it's anappreciation, labor of love type
thing for sure yeah.
And that, that that has to bebuilt in, and I think it is.
Will Bristol (14:01):
Yeah, yeah, let's, let's do the thing Change gears
.
Andrew Rothmund (14:04):
Yeah, let's do something fun so we have a box
on the table.
Will Bristol (14:08):
I've had this game from company.
It's called the unstuck unstuckbox.
I think the company's calledcalled unstuck.
But yeah, it's like cool kindof strategies and businessy
ideas.
Andrew Rothmund (14:24):
Basically like concepts.
Will Bristol (14:26):
Yeah, so we can kind of take these cards and
apply one to something to dowith music or to what we want
out of sound sockets.
We're gonna riff.
We're gonna riff off the thingsI'll do.
The first one, actually Sweet.
See what we did?
Random pick.
Yeah, that's a good one, let'sdo it.
Illusion of control oh boy,they put this in the leadership
(14:48):
category.
Yeah, we all overestimate ourability to control events.
I mean yeah we deal with a lot,and I'm sure everyone does, yep,
the illusion of control occursbecause we all seek to exert
control over our lives.
Andrew Rothmund (15:06):
Yeah, that's, true, this Alright this card
game is like well, it's notreally a game, but like that's,
you picked a good one becausethat's a big big thing, yeah, so
much.
Will Bristol (15:18):
I mean a huge exercise Anyone can do, and I
know I've done a lot.
It's just like remain calm.
Yes, try to appreciate thatthings are gonna happen.
You'll duck and roll and you'llhave to be done with them and
let them go.
Andrew Rothmund (15:37):
There is a not in not all situations, but in
some there is a forgiveness,there is a buffer where you can
let go and the situation willstill turn out right.
You can let go of some of the Imean I would say nine times out
of 10.
Will Bristol (15:54):
At least you know how to let go.
Andrew Rothmund (15:56):
Yeah, it will turn out fine, Absolutely.
The control element is hard,though, because when you get
artistically involved insomething, in especially if you
have a vision, you know that'shard because you it is want to
achieve that vision.
Will Bristol (16:08):
But I know many more horror stories of artists
being overbearing rather thanartists being accommodating.
Right in this regard, yeah, ifsomething goes wrong with their
vision, exactly.
Andrew Rothmund (16:20):
I think I Try to think of it as like, let's
say, I was writing an album orhelping create music.
I think of like my input or myartistic vision.
I am only Massaging the finalproduct.
I am only like helping thefinal product become a certain
way.
I'm assisting in that process.
Will Bristol (16:37):
I'm not creating the specific Idea of my vision
although I mean, I'll take thatand up the ante.
If it's your project and youwant to have control of it, you
just have to recognize theirlimits and and Just coming to
terms with what you're willingto Kind of be okay with.
And then where you want to drawsome lines and even those lines
(16:59):
are lines in the sand yeah, soyou have to be ready to move
them.
Andrew Rothmund (17:03):
Hopefully it's not as hardcore as the one that
you Snatched out of here totallyrandom.
Oh, checklists, yes, that'simportant to us too.
I like a good checklist.
Let's see what's on here.
Checklists can help us toorganize, manage and complete
tasks.
I mean now it's talking aboutlike pilots have checklists
(17:24):
right, for Obvious reasons andwe've had that conversation
about redundancies built intoplanes.
Will Bristol (17:29):
Absolutely.
Andrew Rothmund (17:29):
We did enough.
In a Earlier iteration of this,of this episode, we had a
discussion regarding why planesmight have two or three of the
same instrument right in thecockpit.
It's because, like build-inredundancy to your process, like
this means, if you're recordingguitar in your bedroom, like Do
two inputs, like record into arecorder, record to your
computer, just in case your PCyeah, I mean if you have two
(17:53):
cables and two inputs.
Will Bristol (17:54):
Yeah, why?
Andrew Rothmund (17:54):
not back it up.
Back it up like it'll save you,because you'll be writing the
greatest riff of all time.
Will Bristol (17:59):
Yeah, and you will lose it because your computer
right exactly, and so manyhorror stories of lost audio
video.
Andrew Rothmund (18:06):
I mean things like that.
They don't stop you fromachieving your dream.
They just make it harder andmake it more frustrating, and
checklists Help reduce thefrustration of like the process
Definitely together, go together.
Yeah, absolutely, man kismet,take the honor.
(18:29):
Probably, take a card, any card, it's gonna be like the middle
Maslow's hammer problem solving.
Will Bristol (18:43):
It is tempting, if you only if the only tool you
have is a hammer to treateverything as if it were a nail.
Good one, yeah, so Maslow'shammers with that concepts
called.
I didn't know that once we havefound a tool that works, we
tend to stick with it.
The cognitive, cognitive biascoined by Abraham Maslow is also
known as the law of theinstrument.
So, over reliance on a singletool, yeah, I mean Tools of the
(19:06):
trade.
You know we're using particularmics here.
On a tour, people useparticular guitars, particular
cables.
You just need to kind of haveyour tool set and If they aren't
, if they aren't meant for thatuse, find these they're meant
for right.
There isn't a flipped coin sideof this too, which, like the
(19:29):
chef, alton Brown uses where youwant to have multi-taskers
exactly.
But Like the, like, theprinciple says you never want to
be using a hammer to Screw in ascrew.
Yeah or the hammer a screw.
Andrew Rothmund (19:43):
Yeah, you want to use a screwdriver.
Yeah, um, basically, it's likeyou know, you don't.
Don't get so convinced thateverything that you have to do,
what you are doing artistically,is everything you might need,
or the right tools.
Will Bristol (19:57):
Right, right.
We're sticking with a processthat clearly is frustrating,
exactly Hard to work with.
Andrew Rothmund (20:01):
Yeah, but if you're trying to hammer in a
screw and anything going in likeyou got to, you got to change
up right.
Yeah, you got to take somethingthat you might be comfortable
with and undo it when I'mdefinitely guilty of this too.
Yeah, we are yeah.
Will Bristol (20:13):
Like in the past, I used to think I could do
everything myself for creativeprocesses and it definitely
hindered me on some projectswhere, like I was like I'll just
do it all myself, right, it'llbe free, it'll be cheap, or
it'll be free and cheap, butit'll just be like better, but
it wasn't.
It wasn't.
I mean, I should have justfound the right person for the
(20:34):
job, gotten it done, knocked itout.
So yeah, I mean another kind oflesson like concept no when.
Andrew Rothmund (20:42):
no, when something's worth having someone
else do right Now.
Your situation might differbased on money and abilities and
resources, but if you have thecapability and it just makes
sense to have someone help, youdo something like you're not
spoiling I don't think in mostcases any artistic vision,
you're just totally you're.
It all comes down to time.
Will Bristol (21:03):
And I was going to say when the busier you get and
the more successful andwhatever creative things you
find yourself doing you get,time becomes your hottest
commodity Absolutely, and likeus sitting here is literally a,
a illustration, an illustrationof like we wouldn't be sitting
here if we weren't going tocommit the time or the effort
(21:26):
that it took, right Like right.
Andrew Rothmund (21:28):
You know it was enough effort just to get to
this point to like to like.
You know exactly, and I thinkthat the big lesson is like,
when you do something, like, doit full right, do it as best you
can, it means getting help ifyou need it.
It means making checklist.
That means like doing doing thework involved.
Will Bristol (21:45):
It can be a pain in the ass, but well and you're
bleeding into another conceptwhich I also like, Ron Swanson,
as a quote whole last one thing.
Don't half-ass two things.
Andrew Rothmund (21:55):
That's perfect yeah.
Will Bristol (21:57):
So that's that goes hand in hand a little bit,
I think.
So I think you're ready foranother concept.
Andrew Rothmund (22:00):
Let's do a final card here and see what it
says Hopefully somethingexplosive.
We are looking at the Paretoprinciple.
It says for many outcomes, 80%of the consequences come from
20% of the causes.
I need to think about that one.
Yep, so for many outcomes, 80%of the consequences come from
(22:23):
20% of the causes.
Okay, so identify where yourweak points are, exactly All
your inputs, just a few of them,are going to cause most of the
problems, and we've experiencedthis in studio building and you
experienced this in musicwriting, in any field.
Like, it's very rare that everysingle thing goes wrong, and
it's usually Everything is notequally guilty.
(22:45):
It's usually like a bigdisaster, but it comes down to
some one or two things.
Will Bristol (22:51):
Yeah, and that goes back to a process to like
Checklist.
If something checklists as well, if something is like clearly
causing a lot of problems andyou just have it because you
feel like you have to.
Andrew Rothmund (23:02):
Maybe it's worth losing.
Exactly.
This can even be applied tolike hey, I'm trying to arrange
a song with a bunch of riffs andyou just can't get that one
riff to plug into the spot.
Maybe you're maybe it's aroundpeg in a square or vice versa.
I don't know which one is, butyeah but like exactly, you got
to come to that conclusion anddecide and save yourself time
(23:22):
and that actually touches on.
Will Bristol (23:25):
my friend sent me a song or track they're working
on yesterday and I had somenotes for it, although it was
nitpicky notes like none of itwas like it sounded good, but I
was like the drums, all soundsseparate, like they don't sound
like they're mixed properly.
If I had to guess they werefake.
And she was like yeah.
They're fake.
(23:46):
No, and she was like we wereworking on it.
No, it's like well, just washit out Like it was a really
bright recording, just like washit out, try to blend it and
lose some of them.
Like simplify, not that I'mlike the fixer now.
But you gave like generalpoints that yeah, but it seemed
like that was a good thing thatshe was already having problems.
Yeah that they already knewabout and I was like, well, lose
(24:07):
it, yeah.
So I mean that concept canapply to really anything.
Yeah, like a lot of these can.
Andrew Rothmund (24:14):
But, yeah, real-life example there, yeah,
and it comes down to like whenyou're creating and writing, I
think, just just make as muchstuff as you can and then apply
that process, apply that filter,apply that yes, no, yes, no,
and you will.
You'll buy nature of sievingdown.
You're all of your content,some of which is not gonna be
(24:34):
good.
Not everything everyone does isamazing, of course, but you'll
filter down, you'll.
You'll relapse with the fewthings that are very good.
Will Bristol (24:40):
And I do find it is always easier to edit than it
is to add.
Yes, that's advice.
I give people a lot to alwaystry, try doing more and then
taking away, rather than Doingless and then adding to it.
Andrew Rothmund (24:54):
And how much was this?
Will Bristol (24:55):
like couple 15, 20 bucks, something like that save
your life wasn't expensive.
Yeah, yeah, it's a goodinvestment.
Andrew Rothmund (25:00):
You just sit there and read these, and you'll
leave a much much more yeah.
Definitely.
Well, let's wrap up with that.
Like wanted to say thank youfor making this far.
Yeah, making this far in theSound Sagas.
Hopefully, we're gonna needsome context on who we are, what
we want to do with the show andwhat is gonna be coming.
Our next episode will be a deepdive into two bands, like we
(25:22):
mentioned, very different, butwe'll get in some contrast and
some style and talk out ourexperiences.
Will Bristol (25:29):
Yeah, so smash that like and subscribe.
We have other channels.
Follow us on YouTube atSoundSagas TV, the website Sound
Sagas com, facebook, and atSound Sagas, so we'll see you
out there.
Andrew Rothmund (25:45):
See you in the next one.
Thanks guys.
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