SPEAKER_05 1:45

Welcome to another episode of the Hilltop Globe Podcast. Today we have the pleasure of speaking with Scott Slagle, a returning guest. Scott is a Charlotte, North Carolina-based audio engineer, record producer, and entrepreneur. Scott is a 30-plus-year veteran of the Carolinas music scene. He has worked as a free playlist reporting and engineer subproducer at the basement, DD, the Hit Factory, Hush Studios, and Reflection Sound Studios. In 1998, Scott opened the doors of Asylum Digital Recording and Mixing in Charlotte and has worked extensively with Indian major label acts of all genres. Yeah, that's the truth. Yeah, that's what I told you. All this stuff's the truth. I know, man. That's a blessing.

SPEAKER_02 2:24

It feels a lot longer.

SPEAKER_05 2:26

That's where this is where we're at today. Yeah, this is where we're at today. He is a founding member of Electric Mountain Music and Art, a collective artist expanding consciousness through art and music. Also wearing many hats. Scott is also a member of the Super 8 fans. Yeah, Bucket Hats hats specific bucket hats. He's also in the Audio Engineering Society and an overall dope guy, known for his distinctive choice and hats.

SPEAKER_04 2:51

Oh my hat.

SPEAKER_05 2:52

How you doing today?

SPEAKER_04 2:53

Yeah, let's go. Welcome, guys.

SPEAKER_05 2:55

Hey, excellent, man. Excellent, man.

SPEAKER_04 2:57

Yeah, man. We love having a lot of people. How long have you been?

unknown 3:00

A year?

SPEAKER_04 3:01

No, no, it wasn't half a studio, it was a year before.

SPEAKER_05 3:03

A year and a half. Two years two years. As a matter of fact, it was two seasons.

SPEAKER_04 3:07

Yeah, phone.

SPEAKER_02 3:08

You're one of our original phone Pierre back before we started doing them live. And now here we are in your studio. Thanks for hosting us.

SPEAKER_05 3:18

That was a long time. We had a long conversation too. That was long. I think about two hours.

SPEAKER_04 3:22

You couldn't listen to it. I can't. I can't. I never listened to it. I liked it.

SPEAKER_05 3:33

Yeah, so that's literally two. Goodness gracious. My lord, time flying. There we go. Well, man, we always like that on the ability to do recurring guests. Because what it allows us to do is build on and show the change through the years. Specifically the fact that we built a really good working relationship with you coming here and actually doing our podcast in the studio, having folks come in and see your studios. And then from there they actually get to say, hey, this place exists. That's what we were just talking about with Carolina X. He's like, hey man, I'm like the colour and come speak to Scott. We're like, yeah, man, why don't we speak to Scott, man? It's easy to put you in here too. Yeah. It is not bad. It's a table. Yeah. Oh, can I say that? They say this too, man. And I'm the lighting in here immaculate when it comes to post-production. Really? Yes.

SPEAKER_02 4:24

I think intelligent lights you have here. Yeah. Puts like a really warm glow on everything.

SPEAKER_05 4:28

Yeah, but look like it's look like look like bottles. Oh, nice. Yeah.

SPEAKER_04 4:32

I don't look ashy. You have that. Sure. But we match that to these.

SPEAKER_05 4:37

Yeah. Literally. It's beautiful in here, man. And then all of the equipment stuff puts you in the aesthetic of being in a catch you in front of drum kit.

SPEAKER_04 4:45

Yeah, man.

SPEAKER_05 4:46

Come on, yo, real time. So I was there when Tupac got shot. Oh, Cassadi was there. I was there and dying. Yeah, man. I don't think I always think about it. And Keefy D. Yeah, Keefe D has all he has all the secrets. That's why I got locked up. That's why he got locked up. He kept going on the game. He kept telling the story. And they were actually piecing it together. Yeah. That's an open case. Yeah, and it wasn't like Vlad was setting him up. It was just his whole thing. It's like if somebody doesn't climb, I'm like, oh yeah, when these people, yeah, when they live such and such, yeah, I was around the corner looking, seeing who was walking walking at it outside the building. And next time it's like, oh, when I was inside the building, I noticed that there was a there was, you know, it was a safe with safe wide open with money.

SPEAKER_04 5:36

So I guess the biggest thing is he makes people comfortable.

SPEAKER_05 5:38

Yeah, they become so comfortable they get. They get real comfortable. Yes. Yeah. And they forget the cameras are there, I think. Yeah.

unknown 5:44

Wow.

SPEAKER_05 5:45

Yeah. I'm telling you, I don't know what he hasn't that studio. But that's it. Is it the food? It got water in there, must have a really good green. That's just like with jeans. Same deal, yeah.

SPEAKER_04 5:55

You could kind of imagine that on like Dori's day.

SPEAKER_05 5:57

Yeah, because he's really putting you in a position. I mean, they're drinking. Yeah. She's been the one who gives them that left what is cognac. Yeah, it's cognac. They've been drinking it. And they start getting real relaxed.

SPEAKER_04 6:07

That's what it is.

SPEAKER_05 6:07

And they start talking. You see, that's why we got water. We want you to. Yeah, we ain't trying to get you with no outside.

SPEAKER_02 6:16

Anything they want. Yeah, yeah. Some of these podcasts are like, oh yeah, we always do this. Yeah, we know we don't do that. We hang out and talk about it.

SPEAKER_05 6:24

The only one I like, that's why the thing is I do like Nori. Like Nori's one of my favorites. Because I like the like I said, I like the culture side of the details. Yeah.

SPEAKER_04 6:31

It's kind of cool because you kind of got a second life.

SPEAKER_05 6:33

You're right.

SPEAKER_04 6:34

It's a good second life.

SPEAKER_05 6:35

You're right. It's the right type of, it's the correct second life. Yeah. From hustling on the streets.

SPEAKER_04 6:39

Well, no, but I mean, even from the rap career.

SPEAKER_05 6:42

Yeah, that's my point. It's been a long time.

SPEAKER_04 6:44

I mean, it's been a long time since Superthoff.

SPEAKER_05 6:46

Stop. Scott, you feel old. I was there, that's the point. That's why I say it's making me feel old.

SPEAKER_02 6:54

Well, I think I think part of it is like we're basing this off of when we were growing up that the 60s, 70s, and 80s was old. When really that was just right around the way. And now we're like, oh, the night is so no, it's it's always the same way. Yeah, it's just when you're young, you think everything's gotta be brand spanking new. Yeah.

SPEAKER_05 7:17

We learned this with with Uncle Luke because we're talking about this freak nick documentary. Did you watch it? Yeah.

SPEAKER_04 7:22

What'd you think?

SPEAKER_05 7:23

It was interesting. I'll tell you like this. I actually it was very informative.

SPEAKER_04 7:27

I like the origin part.

SPEAKER_05 7:29

Me too. That's my favorite part. It was really interesting. It's my favorite part. And then it kind of devolved into madness. Yeah. Well, can we say that's what we're trying to play the part? Preach. Preach. I was preach. Preach. This is what I'm about to say about that. Luke was born in the 60s. Or 96. Luke's same age as our dad. Yeah. So we ready? He was there's supposed to be college students there, right? 93.

unknown 7:56

Yeah.

SPEAKER_05 7:56

He was 33 years old. Yeah. He was older than that. He can be 40 and still be in the end of Hennessy. See, this is what I'm wondering. I wonder if that's even the right age. You see what I'm saying? Because he may give you an eight. They get, you know, you put whatever birthday you up there. Because my thing is what they say.

SPEAKER_04 8:10

I mean he looked pretty old. That's my point.

SPEAKER_05 8:13

So you remember in the document. You probably cocaine. You're probably right. Because they talk about it in a documentary. They were like, yo, you start having people, 30, 40, or 50-year-old men showing up to 19-year-old girls from college at the It was bad. It was bad.

SPEAKER_02 8:27

And Luke was the one who trained the But I mean, this is the same thing like when we used to watch, I don't know, like MTV spring break when they, you know, and when that stuff devolved into debauchery, you look at it, and it is. It's all old ass men sitting around the thing, like, like, yeah, what are you doing here? Yeah, yeah. Yeah. I mean, what you doing here?

SPEAKER_05 8:45

The origin part. Yeah, but that's what the origin was cool.

SPEAKER_04 8:48

The way he put the they wanted to put freak and everything. Yeah.

SPEAKER_05 8:51

Freak Friday.

SPEAKER_04 8:52

Yeah, they just put it with the picnic.

SPEAKER_05 8:54

Yeah. Freaky.

SPEAKER_04 8:56

It was so much. Yeah.

SPEAKER_05 8:59

It was very, what's the word? Genuine. It was not meant to be, yeah, so pure. So it's just a freak event. Yeah, that's it. It's just a freak event. It's just freaks. It's fine.

SPEAKER_02 9:10

That's what it's come to Atlanta and get freaky. Nothing wrong with it at all.

SPEAKER_05 9:15

Oh, that was another weird thing. That was yeah. And that's what I always thought. The traffic.

SPEAKER_01 9:20

There ain't no way I could have gone free.

SPEAKER_05 9:21

No, there was they did it on purpose. But we'd hear from the stuff. That's another thing that's a lot of people. But before that, I was just trying to because again, when they talk about this, not like anybody was renting at hotels. They were talking about people just cars, staying in the cars. Wherever they were at in the car, that's where they're at. If they were in the street that day, they were in the street. Find a house party.

SPEAKER_02 9:42

Find somewhere to crash.

SPEAKER_05 9:43

Yeah, they had people in regular grills out here making food. That was because there was no real organization once it left the park. Because when it was in Piedmont in the park, there's organization. Once it left the park, yeah, that's where the event after that. Yeah, that was just the influence. It was like being on the block. Yeah, but I watched it yesterday. I told my wife I watched it. She said, wait, you watched it in Albies? He said, You know, watch them again. Yeah, I want to see the freaks. I said, okay.

SPEAKER_02 10:10

But these videos have all been out for decades on YouTube and all the debates on Hot Man, on Pornhub. Like they're all over the place. They owned it. No, I mean I'm just saying, this is like this is where they scoured and found some of this stuff. Everybody's, you know, like it's it's been out in the domain.

SPEAKER_05 10:28

I guess it's just a compilation of it. Which you know is why y'all said about Lou. So you know, at breakfast, you know he was on Breakfast Club, yeah, talking about the guess what he admitted to. What's that? He said it was his fault.

SPEAKER_04 10:39

Well, he said that in the documentary.

SPEAKER_05 10:40

Yeah, he said it was his fault. Yeah. He turned it up too much. Yeah, that's the situation. He bought Miami to college area in Atlanta.

SPEAKER_04 10:49

Or like no, it wasn't just Miami. He brought it, he brought the loop.

SPEAKER_05 10:53

You know what I mean by this is what I mean by Miami. I'll put it like this. But that's what I was about to say, the the music style. Because you had the the Atlanta hip hop community and stuff, but they weren't doing it like how he was doing it. Like Outcast is not loot.

SPEAKER_04 11:07

But out they tell that part of the story too. Yeah. Like out, I mean, like early 90s Freaknik is how Atlanta Hip Hop became Atlanta.

SPEAKER_00 11:16

Yeah.

SPEAKER_04 11:17

That's where they had all those captive people. Right.

SPEAKER_05 11:19

That's where they were promo and getting those discount. The cassette tape thing was cool. Almost forgot about those.

SPEAKER_04 11:25

Yeah.

SPEAKER_05 11:26

We had the cassette tapes with the samples on those.

SPEAKER_04 11:30

But they had all those people captive.

SPEAKER_05 11:31

Yeah.

SPEAKER_04 11:32

Right there in a small area. So I mean, yeah, that that part of it was dope.

SPEAKER_05 11:37

Yeah, man. But yeah, we just had to touch on that part because it was just something interesting to happen this week. I had to see how they I mean, and plus, I mean, we got a guy here that we should speak about that stuff with. So yeah, it makes sense.

SPEAKER_04 11:47

How far out are these as far as air?

SPEAKER_05 11:49

So it depends on two months.

SPEAKER_04 11:52

Oh, so many old ass mentioned.

SPEAKER_05 11:54

You ready? No, but here's the freak DJ. Yeah, they'd be like, what? But here's the thing, it depends. Because we have we have the ability to alter time. We are like thanos. We can come in. I mean, time is a relative punch. People are still in the question of Dr. So we had to do that. We had to do that with a recent episode because it was very relevant for us to get the information out quicker so we skip and jumped over other episodes. And besides, you already got artwork done. Yeah, you already got artwork. We don't have to wait for the artwork. That's the main reason for the dynamics. Yeah, so you're ready to rock. So we have to wait for the pictures to go. Yeah, we can wait for pictures to come out.

SPEAKER_04 12:27

Oh, yeah, the little animation.

SPEAKER_05 12:29

We don't have to wait for yours. We already have your sources. So this can go out next. Who does this? We can't say. We can't say. Yeah, we can't give up our source on this. It's not that we want that we don't have to. So we don't really know who that we've just been weird.

SPEAKER_02 12:58

I learned how to do those shits like 20 years ago. Twenty years ago now I learned how to do those shits an illustrator, and it's not hard. And uh, but I can't do it like the amount of time it takes me to do it.

SPEAKER_04 13:11

How much do y'all pay the illustrator? Right.

SPEAKER_05 13:16

No, this is what the map was this is what the map is for 12 o'clock. Like I'm serious. Like yeah, like like we're gonna do it. Yeah, but we just have to wait. The only thing we the balance is the time. So we don't get it as quick as we but twelve dollars, shoot, right? Can't beat that.

SPEAKER_02 13:31

And if it's if I gotta sit down and like if I was really pushing, I could I could do it in an hour, but I'd be a perfectionist about it, and it would take me two to get it done.

SPEAKER_05 13:42

And we already have things in the can, so we're just waiting when we get it.

SPEAKER_04 13:45

And how long does it normally take them to get them to you?

SPEAKER_05 13:47

Well, it's not six days. Yeah, yeah. That's awesome.

SPEAKER_04 13:49

Isn't that awesome? 12 bucks?

SPEAKER_02 13:51

It killed a lot of freelance graphic design, to be honest.

SPEAKER_05 13:53

Yeah. Yeah. Oh, yeah, we're part of that issue. Yeah, yeah.

SPEAKER_02 13:57

Well, it's it's like I was designing it that would have been freelance before, so I'm killing myself.

SPEAKER_05 14:01

I mean I've top myself in the foot.

SPEAKER_02 14:03

That's just a tool.

SPEAKER_05 14:05

It's a tool, and the thing is what it does is allows us to not have to then worry about that little piece. You know, we we actually are helping some kind of economy. What about Columbia or Ecuador? Yeah, yeah, like like when we need some exchange right there. Yeah, so twelve US dollars is amazing. What is it? What's the look it up a little bit? What is the exchange? What what's their what's their money? Do they do dollars?

SPEAKER_02 14:30

No, they probably do something like Colombian pesos. I know they have a little we're looking real ignorant. We are sorry.

SPEAKER_05 14:39

Okay.

SPEAKER_02 14:40

This is why we got this thing. Oh, they're probably getting banked. Honestly, probably not, but probably enough to make it comparable for any other kind of job that you got.

SPEAKER_05 14:51

Right, so you're ready one peso is point zero zero six US dollars. So if we go ahead and we flip this, it would cost a living on a peso zero. But you're relative, yeah. Right.

SPEAKER_02 15:09

But they probably just lock the zeros off, which is what a lot of places do. Yeah, because once you get up to that high number of inflation lock. Yeah. Honestly, right? That is that's what inflation looks like when it's run away.

SPEAKER_05 15:21

Yeah, you have to do it just because the numbers just look crazy. They're astronomical. Like Nigerian, they're oh good lord, the exchange rate over there is wild. So they just literally, yeah, they just chop off what's in. I remember talking with Odie about that. Oh, yeah about how the money, like, yeah, they got all these bills. He's like, Man, he said, yeah, we got a million dollar bill. I said, What? He's like, Yeah.

SPEAKER_02 15:38

What is his name? There's a piece that Robert has at his house that's done by his name is eluding me right now, but it's and basically there's a roll of like ten thousand dollar bills that are just like screwed to this plate because it's like five bucks worth of bills. But that's wild.

SPEAKER_04 15:55

Have y'all been messing with AI?

SPEAKER_05 15:56

No, I don't mess with AI. My wife I have a wife. Like scripts and stuff. Oh, yeah. Scripts, proper all kinds of things as a script. Yeah, you still gotta do what you're talking about. Yeah, yes.

SPEAKER_02 16:10

Yeah, I use it as a professional, man. If you would give an intern the job of writing the first draft and then come back and review, you can give an AI that job. Yeah, because then you're gonna review it anyway. You still gotta review it. You still gotta change it, you still gotta make it right. But save yourself that initial draft, which is the hardest part.

SPEAKER_05 16:27

Could you start it? Yeah. Because here's the thing, a cool thing with the AI nowadays is that it's it literally isn't just it's just an assistant right now. I know they they released something from the from our Department of Defense, but they were stating that AI it has to be monitored because it is going to be an existential threat to civilization. Yeah. Once it gets to consciousness, we know. You ready? So but they gotta put out a report so it's official, right? So that the doc the president can read it and then Congress can actually put it in as official. I don't think until we have D-Wave computers sitting out here in different organizations with AI that we really gotta worry about it because technically it's just based on our it's it's not gonna be AI taking over everything.

SPEAKER_02 17:11

It's literally gonna be us trusting AI and us listening to dumb ass decisions. Following the decisions like little mice.

SPEAKER_05 17:19

Yes. Yeah, that's what I think is just like how we're using it as a guardrails up there. There you go. Yeah, you can't let AI decide whether or not this baby needs to go with that mom or that dad. You gotta have a human in there. Like, imagine going to child support court and the AI sitting up there, and the aim judge all the things in the balance of the city. Hey, everybody, you deserve to pay her 15 grand a month. And the man's only making $300 a week. Like, come on, I can't wait to see W2 response videos. Yes. Do you see what the jump you see what the legal system is doing? That's father's. Yep, exactly what they're doing now. They're using AI to take our money. That's the point. That's what I would be worried about.

SPEAKER_02 17:55

Well, you got doctors, the idea of using AI as a surgical, as like a diagnostic tool. Like basically troubleshooting this problem. I'll give you all the stats and then let the AI figure it out. But then you're trusting a logic-based determination rather than like, I don't know, like actually practicing medicine and noticing minor things. Again, that's why you know your skin's a little bit.

SPEAKER_05 18:18

Yeah, I can touch you and feel, yeah, because those are some of the things you have to do as a doctors. You have to actually have tactile understanding of what's going on. Like, how's the skin feel? Is it rigid? Should yeah, all that stuff. You can't put that to AI, so I'm not afraid of part. As long as it doesn't do the RoboCop to us. I think the biggest thing you gotta be worried about. You know that scene in Robocop? Wait a minute, it just goes off.

SPEAKER_04 18:37

You can't stop it, and it kills the man in the beginning of RoboCop is still moving. I mean it like fucked me up. Yeah, man. We shouldn't have been watching that.

SPEAKER_02 18:54

Oh facing all the hours.

SPEAKER_05 18:57

We should have been watching that again, man. We were playing Robocop games and everything. I'm thinking about thinking about it. I'm like, you know what? We shouldn't have had that. You know what's funny about it? Y'all remember hot shots? You remember the school movies, hot shots, yeah. They had the one thing, the rainbow scene, you were talking about it did the kill count.

SPEAKER_00 19:18

Yeah.

SPEAKER_05 19:22

And it kept both hot. Yeah. Yo, I'm telling you, we yeah, they messed us up. 90s was the longest time. Is that the 90s? That's the 80s. Late 80s. That's the late 80s. Yeah. Because the thing is we had an old and Kevin maybe remember this when we were in, I think it was New Haven. That was New Haven. Not New Haven. Remember the RoboCop coin-operated video game machine when we were kids? We used to play baby games. Yeah, North Carolina. Yeah, you ready? We shouldn't have been playing that game violent. We were playing that game and watching the movies, and we like, what's for it? Come on. And putting the the broken class on his joint. And we were little kids, like, yeah, we're gonna go do that. Watching faces of death. Faces of death. Oh my lord. VHS tape. VHS.

SPEAKER_04 20:08

No one we weren't supposed to write that.

SPEAKER_05 20:09

Nah, how were they giving that to me? How'd we get that?

SPEAKER_04 20:13

How'd we get that? We were getting that shit at the Kroger down the street from us. That's where we got it from. Kroger. And all those like. Nah, you remember all those like they were bad. But like I spit on your grave. That was really hard.

SPEAKER_05 20:29

I heard these. Yo, the B the B-rated movies. The B-rated Horizon movies.

SPEAKER_04 20:33

Oh, they were C and D movies.

SPEAKER_05 20:35

You know the movie that scared me the most? What? Do you remember Hellraiser 2? Yeah. Oh yeah. It was the sex scene. I can't go to the screen. I couldn't go to sleep too. I couldn't go to sleep. It had like appeared out of nowhere. And like I guess the couple when they were doing it, seeing them in shot ripped the flesh off of both of them.

SPEAKER_00 20:53

Yeah. Yeah. Yeah.

SPEAKER_05 20:54

That I that I did not sleep for a couple of days.

SPEAKER_04 20:58

Wait, needles. The hooks and needles and pins.

SPEAKER_05 21:01

Ah, I don't do needles. I don't do injections and blood drawing. Well, I get clammy and um, yeah, man.

SPEAKER_01 21:07

Systematic works in the medical field.

SPEAKER_05 21:09

No, this is that's what's crazy. Because you'll come around the corner and they'll be getting stuff right surrender. Shh go the other way. I ain't messing with y'all today. I ain't never had to worry about no no drug addictions with no needles. You don't worry about me doing that. You won't see me swabbing nothing up and hit my arm. Because I ain't got time for that, man. That's why they didn't have fentanyl.

SPEAKER_02 21:25

Yep, see? Yeah. To try to catch them people. Yeah. Can't get everybody because you gotta have a needle, so we gotta come up one and don't take a needle.

SPEAKER_04 21:30

Yeah. I used to be really scared of needles. Me too. But I was um dead over my heart situation. I had to go, like, they took so much blood.

SPEAKER_03 21:38

Yeah.

SPEAKER_04 21:38

Like constantly. So I gotta can't look anymore.

SPEAKER_05 21:42

Just do it and I'm not here. That's what I did.

SPEAKER_04 21:44

But I mean there was no way around it. It was just like, ah, this is the blood, take blood, take blood.

SPEAKER_05 21:48

I remember when we were kids, there's just something else that made me afraid. You might remember this, Kevin. Is that when we went to school, we lived in Connecticut. They told us, uh, so there was this fear around. You remember like they used to put people used to put certain drugs on the telephones, right? LSD on the phone. What a waste of lack acid. Is that really a thing? Is that like her? That's what they we were told this as kids, so we know it's evil. That's that was the one that got me. There were point slots with the needles in them.

SPEAKER_02 22:19

Yes. Yeah.

SPEAKER_05 22:20

So you would go. Oh my lord, these people were, they were evil. This was herbal extension. Yes. This was herbal extension. Had me afraid, man. Had me afraid. But see, that's the thing. Yeah, I really was afraid.

SPEAKER_02 22:32

And you know what? I was afraid I was afraid to thriller though, so. You gotta understand the dope fiend mentality is not gonna be that proactive. You know what I'm saying? That's not a fiend doing that. That's some teenage kid trying to be a dick.

SPEAKER_00 22:45

Yes.

SPEAKER_02 22:45

If there ever was a story, and I don't think there was ever like a giant movement.

SPEAKER_03 22:49

You remember how there might have been like one random mechanic. But they said it never happened.

SPEAKER_02 22:53

Yeah, I I found that out too.

SPEAKER_04 22:55

No razor blades. There was no razor blades. And they went listening to number.

SPEAKER_02 22:59

See? Now there was arsenic in the damn aspirins or Tylenol. Is it Tylenol? Yes. Yeah, but that's how that's when they put the And that was an employee at the factory, so that cap wouldn't even help.

SPEAKER_04 23:08

I remember that's how old I'm I remember when that happened. What's weird?

SPEAKER_05 23:14

Well, you didn't want to touch any aspirin.

SPEAKER_04 23:16

Well, I was a kid. I remember it being on the news. People were like, Yeah.

SPEAKER_02 23:20

I mean, that's an act of random terror.

SPEAKER_05 23:22

Yeah.

SPEAKER_02 23:23

Like before we were really talking about life.

SPEAKER_05 23:24

Is that why Goody's powder blew up? BC Powder? You can't put that in BC powder.

SPEAKER_02 23:29

Oh, no, that happened because they started a NASCAR sponsorship. Oh that's probably true. That's literally what's his name? Petty.

SPEAKER_05 23:36

Richard Petty. Richard Petty. I'm about to mess with Tom Petty though. Fastest Richard. Richard Petty and that's Kyle Petty. That's racist. That's NASCAR. You gotta do your NASCAR. Carolinas.

SPEAKER_02 23:47

I rode Thunder Road at Carolyn's.

SPEAKER_05 23:51

I can go to the NASCAR on what's in coming out to get the cool stuff up there and the fun stuff to do. I may do that next weekend. It'll be my birthday next weekend. Really? Yeah, the first. Supposed to be I'll be 37. It's supposed to be on a thank you. It's supposed to be on a supposed to be an Easter birthday. Cause I always get an Easter birthday. But the what's name messed it up? The leap. Took my birthday. I took my Sunday. Because I always tell people I like watching Ten Commandments on my birthday week. Nice and scared, so I don't go out there and do nothing bad. I don't want to stand because then God will come and give me plagues and person and bad things. Yeah, man. You know what it is. You know how we yeah, we said that church. Wow. Yeah, man. Church is scary. Yeah. My fault, but we got a little on the card. Yeah, we got all of them.

SPEAKER_02 24:30

I mean we got to recognize some of the more than yeah, yes, let's make some sense. How'd you get started in this recording music industry business?

SPEAKER_04 24:36

I've always messed around when I was really young, like 11, 12, kind of got into DJing. And like it was, you know, early hip hop. Right. So it's when the records first started existing. So it's like everything after like Sugill. So it's like, you know, because it was slightly too early for me. I was still too young. But like once you got into the early 80s, so you get into like Houdini and Run DMC and Flash and LL. Yeah, all that shit.

SPEAKER_00 25:09

They all had dope hats. They did, though. That's the story. That's how you make sense.

SPEAKER_05 25:13

Breakthrough. They all had dope hats. They have dope hats. The gear, man. Yeah, man, come on.

SPEAKER_04 25:20

Yeah, I think you just found that. I never thought about that.

SPEAKER_00 25:23

Yeah.

SPEAKER_04 25:23

Yeah, I can't wait. But it was really perfect timing as far as my age, you know, and I didn't really hear any sounds. It was like a brand new sound. You know, it's kind of like, I guess, the way people look at like uh Tribe and Nas.

SPEAKER_00 25:42

Yeah.

SPEAKER_04 25:43

You know, as being like the golden era, yeah, you know, and just like that '93, 93. But it's like, so all that was brand new at that time. But it's like, you know, it exists, you know, before 10, 12 years before that, yeah, is when we s really started hearing these sounds. Like, you know, you never really heard anything quite like any of this. No. It was all brand new every time.

SPEAKER_05 26:05

Yeah.

SPEAKER_04 26:05

Like, every time.

SPEAKER_05 26:06

That's an interesting point. You know, I wanted to see if you can speak out a little bit more on that brand newness of it. Because I know now with the amount of music that we have out and the fact that hip hop has now existed at least long enough to go through multiple generations. It's like, have you seen like the creativity diminish? I gotta ask. Why are you doing this? I gotta ask you.

SPEAKER_04 26:28

You're gonna get me in trouble, man.

SPEAKER_05 26:29

No, I ain't trying to get in trouble. You're trying to get me in trouble.

SPEAKER_00 26:31

You love you, Scott. We love you.

SPEAKER_04 26:34

It's weird. Like, technology is adversely affecting that's a good answer.

SPEAKER_05 26:40

Yes. That's a good answer.

SPEAKER_04 26:42

Right? I mean, it has to be.

SPEAKER_05 26:44

I mean, nothing technically happened to humans. We're still the same human like no, I mean, look how look seriously.

SPEAKER_04 26:50

Look how much we did with like very limited technology. Yes. Like, if if you think about like bomb squad, I mean vaccination, you know, and any of that. But again, none of this existed before chopping this stuff up like that. I said it was layers and layers, multiple machines hooked up together, you know, doing four to a four and make it work, yeah. And but I mean, we have all this technology now, all this computer power.

SPEAKER_03 27:19

Yeah, like amazing amounts of computer power.

SPEAKER_04 27:22

Yeah, right, and like, you know, we're pretty much like four-bar loops now.

SPEAKER_05 27:28

Crazy.

SPEAKER_04 27:29

Yeah, isn't it crazy that yeah and like shit trying to figure out a way to say this without really getting myself in trouble? But be nice. No, I gotta be nice, but like, you know, even the profili the proliferation of like sample packs.

SPEAKER_00 27:45

Yeah, yeah, yeah.

SPEAKER_04 27:46

And the way people are using them versus like actually doing anything with them.

SPEAKER_00 27:51

Yeah.

SPEAKER_04 27:52

Just taking the sound. Like not curating other sounds. Not curating shit.

SPEAKER_02 27:58

No, when you buy one of those packs, we bought packs. No, no, no, no.

SPEAKER_04 28:02

The packs come into things like it's basically a there's like a demo song.

SPEAKER_02 28:06

Yeah, right.

SPEAKER_04 28:07

And like it's of course it's slamming.

SPEAKER_00 28:10

Yeah, right.

SPEAKER_04 28:11

Of course, it's a good song, it's a good beat.

SPEAKER_00 28:13

Yeah, right.

SPEAKER_04 28:13

Right. And then the the pack is all the elements broken down of what made that demo song.

SPEAKER_01 28:19

Right. Usually like a few different loops.

SPEAKER_04 28:21

So if you really didn't even want to track it out, you could just Yeah, well, those loops are those respond to like the chorus section or the verse section. Right, right, right. Exactly. Right? You know, and the thing to do would be like, okay, if you like these sounds, you know, you take them and you make something.

SPEAKER_02 28:36

You got your pieces, put it on the keyboard, you do something to them.

SPEAKER_04 28:39

Unfortunately, we're just recreating the demo song.

SPEAKER_02 28:43

So that's a good way to put it. No, it's not even a demo, I agree.

SPEAKER_04 28:47

It's not even a remixing that's generous. And it's disheartening there's a guy, I mean, fantastic artist that we poured like sweat into the record. You know, we we crafted it. You know, he got the beats from somebody, you know what I'm saying? We spent a lot of time just like mixing it, getting everything the way he wanted it, vocally, musically, everything, and then shazammed it. And it pulls up a whole bunch of other shit. And then, like, I mean, I'm not gonna do this, but I mean, I I see I I'll do it off camera. Dang, but there's uh a very good beat maker friend of mine was doing his thing, and he was put out a beat record, and he was just jamming on the thing, right? And this was like three weeks ago on on IG Live, you know what I'm saying? And I'm listening, I'm like, oh, same song. I'm like, well, why? I mean, like, what are you even doing? What's all this shit?

SPEAKER_05 29:45

Oh my lord. I will say this, and I gotta agree with you, like the so biting has become something that it's a dirty word to say, which is interesting, especially in something, yeah, especially in something as competitive as what hip hop was made to be. Or is authentic as a supposed to be. Biting is you now cannot tell somebody that they are biting. Like I remember the the issue, and I think love to death, but I think this is part of one of the issues that we're dealing with. This is certain artists, certain large mainstream artists take a lot of things from smaller artists, and due to that, they tell you this I don't care if I'm biting, etc. I'm making money. And so the idea of you making economy and money off of what you're what you're doing kind of outshines the cultural sanctity of the product. You making sure that, hey, yes, I know I took this snare off this album, but I'm gonna stretch it, I'm gonna put some effects on it, I'm gonna do something to make this my snare.

SPEAKER_04 30:44

Oh, but that's that's so different.

SPEAKER_02 30:46

Yeah, yes, because that's that is that's the original argument of hip-hop sampling and changing.

SPEAKER_04 30:50

Yeah, it's collage art. Yeah, and so you're taking something and recontextualizing it into something new, but that's not what we're doing.

SPEAKER_05 30:56

No, we are no longer. We're not being honest. We're still by numbers. Yes.

SPEAKER_04 30:59

And we're not even being honest about it.

SPEAKER_05 31:01

We're saying that we're making it from yeah, you know, and there was a discussion, one of the South Carolina people.

SPEAKER_04 31:07

And then like, you know, I was I was like, you know, you know, all the way being straight up. Yeah, and it's like your old head. That's my point. If you that's the argument you will get every time. The truth is that the market's gonna fix that for you. Yeah, whether you like it or not, because once you try to upload your song, I see what you're saying, it already exists.

SPEAKER_05 31:34

Yeah, you can't you aren't gonna be able to do anything with it.

SPEAKER_04 31:36

You can't you already can't do anything. Yeah, and like how useful is it if your song, if you play your song and chuzam it, and you're pulling up no like a multiple.

SPEAKER_02 31:46

Yeah, yeah. Yeah, but even if you get airplay, then they can't even find it.

SPEAKER_05 31:49

They can't find you, they can't even and that's when the the um situation I know this is a good question for you too, just like with the change in technology with music is you have folks who want to be artists, want to make music, they want to make a mark, but they don't realize in order to do that, you have to actually create something new to do it. And so you have this huge this and this is like what you said, the proliferation of the of technology. You can have 250 songs dropped on a Monday in one area. Yes, and every so how's every so everybody then has specific beats to what they did or songs made specific to what they did. You tell me no one's taking a shortcut, everybody's doing the work hard way. So obviously, and I know we've dealt with this before with this issue with people selling the same beat to 25 different guys on the same block. Every person on that block paid 150 for that beat. Yeah, lease them, yeah. They'll leave that they do. I mean, the leases but they're all trying to put out the songs on the same beat.

SPEAKER_04 32:55

See, then even again, the leases, man, like they're serious and there's not serious.

SPEAKER_05 33:02

What do you mean by yeah?

SPEAKER_04 33:02

I'm gonna I mean if you just lease in all your beats for 10 bucks, yeah, which is pretty much what it is now, 10 to 25 bucks. Yeah, right? Yeah, I mean, you already know that a whole bunch of other people have used them. It's a leash.

SPEAKER_05 33:15

You should let them buy it.

SPEAKER_04 33:16

Right, right. You should, if you if you care at all, you wouldn't do it. Yeah, but the truth is is that it doesn't matter.

SPEAKER_05 33:22

That's the problem.

SPEAKER_04 33:22

Because you're only gonna you because you're only doing it to entertain yourself.

SPEAKER_02 33:25

Gotcha. You're not doing it. Yeah, that's a good point. You are proof of consumption, it's a hobby, not a hobby.

SPEAKER_04 33:30

You're not trying to be, you're not really trying to do it. That's true.

SPEAKER_02 33:33

Right. If you can send if you can send out a link to 20 friends and then go, oh, that's dope, you on the Benjamin's beat. Because we used to do this with mixtapes. That's what it was. You weren't gonna sell it.

SPEAKER_05 33:42

Yeah. But you weren't looking to make any money off.

SPEAKER_04 33:45

But you can't.

SPEAKER_05 33:45

Yeah. These some of these kids, they're looking to make money off that stuff.

SPEAKER_04 33:48

Yeah.

SPEAKER_05 33:48

I mean, but they shouldn't.

SPEAKER_04 33:50

That's the but I mean they they there's a whole bunch of other stuff in the world. I'm saying, like, you know.

SPEAKER_05 33:55

But that's that's interesting because that's the world we're living in right now. I know there's this gentleman he was talking about. I'm gonna mess the guy's name up. He got big off of TikTok and put his little song out, but he was um I think it's R me. Yeah, this is R meach manager. This is the reason why, because he performed on New Year's Eve on ABC when this nobody even heard the whole song yet. It was only a 20-second snippet. He didn't perform the whole song until he was on the darn show. It was the first time I can't remember his name.

SPEAKER_02 34:23

All the decision makers the whole time, they just they only got time for a snippet, and they're like, yeah, it's good.

SPEAKER_05 34:28

And when they heard that snippet, the reaction was the reaction. It's the file, it's the uh follow, so whatever the source like. So stream and like if whatever's viral, whatever's trending. Yeah, so he got a deal like that. Yeah, yeah. Weird at the beginning. He didn't have he didn't have a whole it wasn't even like with Drake when Drake came out and he had a you know a little mixed tape in there running it.

SPEAKER_04 34:45

Yeah, but I don't believe that either.

SPEAKER_05 34:47

It had to be before he did this. He literally just had people follow that TikTok, use the music in there, it was from that. Almost like with the musically apps and stuff like that. It was given so much traction that they said, hey.

SPEAKER_04 35:00

You said Drake, right?

SPEAKER_05 35:02

No, but this is not that artist, this is a different art. Drake, in my opinion, was still on the old way of doing things.

SPEAKER_04 35:07

Yeah, but I think he was so much on the old way that they pretended he wasn't. But we knew he was because you can't have this much movement behind you.

SPEAKER_02 35:17

No, we know that. We know that. That's why I said machine behind the street. He was in a lot of movies before he was famous.

SPEAKER_04 35:24

Like we know, he was on like the MTV awards before he was signed. Come on, man.

SPEAKER_05 35:29

We knew that was set up. That was an album. That was an album.

SPEAKER_04 35:33

That's why I hate when people say it was no, it's a promotion was to make it look like he was of the people. Yeah, like the people did this. Right. That was the promotion.

SPEAKER_05 35:41

But we knew it wasn't. And that's the thing that I think is interesting. Now you're doing that for people who don't even have bodies of work. That's what's getting me, not like a full album. Literally, it'll be one song, I'll get that song out, and then we'll move from there and see how it works. Matter of fact, because like you have folks like Ice Spice, that's her thing. Okay, I got two songs out right now. I'm gonna go perform these three songs that I have, two of the songs that are out, one song they don't know about in the club. You're gonna pay me 30 grand to come do it at that show. I'm gonna restructure all my other shows that I have for six grand because at that time I wasn't getting paid 30 grand because now I got this song's hitting. And so what they'll I this is weird, the different business. I mean, I literally she went back, they canceled all the old shows where she was listed for six grand to produce to actually go and perform and raise the market value because of course.

SPEAKER_04 36:26

Yeah. That's what she's supposed to do, though. That's what everybody does. You ready?

SPEAKER_05 36:30

Because today's price price is pricey, and it's quicker than it used to be back in the day. It's just quicker. It's like fast fashion, it's like faster how you look at fast fashion. It's just fast music. Yeah.

SPEAKER_04 36:41

Because now, but you're only seeing the front side of it though.

SPEAKER_05 36:44

Yeah. That's a good point. That's a good point. That's a very good point. You know what I'm saying?

SPEAKER_04 36:48

Like, like, like just three years ago.

unknown 36:51

Three years, I think.

SPEAKER_04 36:52

Two or three two or three years. The whole thing about Megan Austallion was her that original messed up deal she had and how she was trying to get out of it because it was predatory.

SPEAKER_00 37:04

Yeah.

SPEAKER_04 37:04

And this was like, this was the stuff that led up to the startup.

SPEAKER_00 37:08

Yeah.

SPEAKER_04 37:08

Right? And so you have a whole career of growth and issues and problems that get you to that thing. And it's like, oh, success. No, it wasn't. It was ten years of being beat.

SPEAKER_02 37:21

Yeah. Seriously. Right, right. Yeah. Yeah. Having the industry kick your ass all over the place. Yeah, yeah.

SPEAKER_04 37:27

But this is. Well, you literally was, you know, you literally did a lawsuit that just happened to be at the same moment when like she was crossing that that threshold and then you just get to see that part of the thing. That's all we all got to see.

SPEAKER_05 37:41

Yeah.

SPEAKER_04 37:41

Like, I mean, yeah, they have like sexy brand has to have been doing something.

SPEAKER_05 37:46

Oh, well, sexy brand was doing something. Yeah, she was in the thing.

SPEAKER_04 37:49

Like, I'm and I'm not necessarily familiar. And she was doing hair.

SPEAKER_05 37:52

Yeah.

unknown 37:52

Yeah.

SPEAKER_05 37:53

She was working.

SPEAKER_04 37:54

I mean, like Carnaby.

SPEAKER_05 37:55

Yeah.

SPEAKER_02 37:55

Obviously.

SPEAKER_04 37:57

She was working very hard.

SPEAKER_02 37:58

I mean, there is a huge dynamic shift that we're talking about, essentially. And it used to be famous. I needed to get my music on radio or TV because they had the audience. And now we're talking about major national network having an artist because of their audience. There it is. That's yeah. Because the artist now brings the audience and not the network.

SPEAKER_04 38:21

Yeah, it's interesting. When we're talking to clients about like promotion, like I can't even imagine really putting the effort and time to do a video now.

SPEAKER_03 38:34

That's a good point. Like a music video?

SPEAKER_04 38:37

Yeah.

SPEAKER_02 38:37

Like for why?

SPEAKER_03 38:38

And where are you going to do it?

SPEAKER_02 38:41

For the gram.

SPEAKER_04 38:42

Yeah, but like a vertical video. Right.

SPEAKER_05 38:45

That's what it's gonna be. It's vertical. It's gonna be much better. Yeah. Full out production.

SPEAKER_04 38:50

Yeah, because you can do it quicker and it's gonna algorithm higher. Yeah. Because you're playing, you know, inside the content they want.

SPEAKER_05 38:58

Playing the thing. Yeah, you're in the box.

SPEAKER_04 39:01

I mean, you can have a video and put it up on YouTube, but them shit's got less than a hundred plays.

SPEAKER_05 39:05

Yeah, that's true. And there'll be a full well done 4K video. No. Yeah, no. That's what I'm about. I'm sorry. You know, that's what I'm doing this afternoon. Yeah. So I'm not trying to poo-poo your stuff.

SPEAKER_02 39:17

It's literally MTV turned into not music television. And then, like, I still love the art form of a music video. And I think that's why artists still.

SPEAKER_04 39:27

Yeah, but we but yeah, but like, how old are you? About to be 40.

SPEAKER_05 39:30

See? Yeah. It's different. Them young kids. The kids don't care. They don't care at all. They don't care about the production quality. Like at all. The worst the better. Yeah. The worse the better. I told you last year.

SPEAKER_02 39:39

If you want to feel like you can make it, and this person is just like me. They just got this random like lottery ticket of a deal that made their life.

SPEAKER_04 39:46

See, I don't, but it's weird because it's not real. It's strange, man, because that is true and so untrue at the same time. I just think they're like, because you know, they're not caring about the production quality.

SPEAKER_05 39:59

Yeah, right.

SPEAKER_04 39:59

But the consumers do.

SPEAKER_05 40:01

Because do they actually consume it? This is my thing. You see what I'm saying?

SPEAKER_04 40:04

No, because think about what really gets consumed. Right? Think about the biggest shit out. Uh-huh. Right? It's the money stuff. The real money stuff. It's real production. It is.

SPEAKER_05 40:14

Always. All of it.

SPEAKER_04 40:16

Into like, I mean, if you if you I mean like Adele, Taylor Swift.

SPEAKER_05 40:21

Big production.

SPEAKER_04 40:22

But real product. I mean, Adele is really only I mean, come on, man. That's RB music.

SPEAKER_05 40:27

It is.

SPEAKER_04 40:29

It's just RB songs. That's it. But like nobody can get that quality of writing except for her.

SPEAKER_05 40:36

Oh, yeah.

SPEAKER_04 40:38

So you got like all these amazing RB singers, but it got shitty material. Yeah. Right? Yeah. Not getting that level of material.

SPEAKER_02 40:45

Yeah, somebody got to put it in the craft somewhere. Yeah. But then they also know she's a budget, though. You got the budget for it.

SPEAKER_05 40:52

Because a lot of these arts have the budget that Adele has. Right.

SPEAKER_04 40:55

Yeah, but I mean, you know, there's it scales down too.

SPEAKER_05 40:59

But do you still, but you would still, and this is I think it goes to like the way you go about doing the work because you would still have groups of artists that work together.

SPEAKER_03 41:07

Not because I'm just still thinking about what you're saying, right? Like Usher is huge. Yeah.

SPEAKER_04 41:14

You know what I'm saying? But he doesn't have good material, he doesn't have that level of material anymore.

SPEAKER_05 41:18

Oh, that's a good thing. Oh, I like that. I like that you said that. I like that you said I know what you mean. Do you know what's going on? I know what you're saying. I know what you're saying. Like that was the right thing. I'm talking about like actual full-on, like you're talking about joints doing you're ready doing James Bond soundtrack, yeah, as opposed to I mean, yeah, like like that's some Adele stuff. That's production.

SPEAKER_04 41:41

You know, um Billy Ibish.

SPEAKER_05 41:42

Yeah.

SPEAKER_04 41:43

She did the I mean, she did uh James Bond.

SPEAKER_02 41:45

James soundtrack off of one album in their house.

SPEAKER_04 41:50

And that was done really early on. Yeah.

SPEAKER_02 41:52

But the production was tight.

SPEAKER_04 41:54

Her production has always been tight.

SPEAKER_02 41:55

Her brother does. Her brother does, yeah. That's what I'm saying. It's not like they went out and got a shitload of money to do this.

SPEAKER_04 42:02

No, it was effort.

SPEAKER_05 42:03

Yes. They paid that's old, but that's the old school way of doing it, is the effort. So there's still people that are doing it. There's artists and there's entertainers. And I was about to say, I think we're dealing with a lot of dealing with a lot of opportunists in the music industry instead of actual artists. They're just looking at the opportunity to hit a quick lick and or find some kind of stardom or fame as opposed to actually being somebody there to do the work. That's it. That's all it is. Like, so for instance, if I can make money selling peanuts, then I'm not even gonna be rapping no more. Peanuts becomes better than making I'm gonna sell peanuts. Right? Yeah, it's just that right now, you remember because it was we were on fire, man. Hip hop has been on fire for the last 30 years.

SPEAKER_04 42:44

Yeah, I heard this the other day in the car. I tried Shazam, and it was so new that it didn't come up. But it was on it was on serious, it was on shaky, right? So this is Babytron.

SPEAKER_05 43:03

We'll leave all these out.

SPEAKER_04 43:04

Yeah, Babytron, certified trapper, and BLP kosher. Oh no, that ain't fire.

SPEAKER_05 43:10

Straight up cut it.

SPEAKER_04 43:11

No, this is sound, I mean, like No, you ready? I mean it's so bad. I don't know how it's gonna play on my butt, but this is the worst.

SPEAKER_05 43:19

No, I know, I know this is about to be. I already know what's about to happen.

SPEAKER_04 43:24

Like basic bedroom production. Like it had no like it shouldn't have been where it was being, right?

SPEAKER_05 43:34

And it was on seriously. No need to do it again. I never got it. Whoa, broke up. Everything broke up.

SPEAKER_04 43:50

Yeah, no, it's just like how many how many players are we?

SPEAKER_02 43:53

So let me let me let me devil's advocate it a little bit here too. I want to see the play.

SPEAKER_04 43:57

It's been out for four weeks and it's got up to uh 90,000.

SPEAKER_05 44:01

That's my point.

SPEAKER_04 44:02

Right?

SPEAKER_05 44:03

That's my point. They really don't care.

SPEAKER_04 44:07

Oh, and they love it.

SPEAKER_05 44:08

Yep. Fire. See? Transitions to the class is crazy. Certified transitions, the goaded duo. Then the goaded duo? That's how it got to sit. Kevin, if it wasn't for those, it would not be on serious.

SPEAKER_02 44:24

It gets forced into the y'all know how social media farms work. And we're talking about AI is writing shit. It is a whole lot easier to have an AI go and make a comment on shit. Yeah. And like it is not hard to have a 90,000. So do we know if that's real or not? Well, we know it happened in the political campaign. Why the hell would you not do it in the music industry? Good point.

SPEAKER_04 44:45

But it did get it is getting plays.

SPEAKER_02 44:47

Yeah, yeah.

SPEAKER_04 44:49

So the chances are it's real.

SPEAKER_05 44:51

That's what I'm wondering. Yeah. But you can stimulate real by to a degree. Yeah. Because I will say that I was going to mention it. So shout out to this podcast, Liscontack Ritter, because he actually talks a lot about this. Curtis Kent, you're on the Curtis King. Yeah, I know Curtis Kent. Yeah. He talks about all this a lot, especially when it comes to things like streaming.

SPEAKER_03 45:07

Yeah.

SPEAKER_05 45:08

Because he was sharing about an interview that Ross did a couple weeks ago. And how Ross was speaking with some folks who do programming on how to do all growing line scenes at Spotify. And when it comes down to their business model, of course, their thing is about getting streams, right?

SPEAKER_04 45:25

The Spotify thing is a true.

SPEAKER_05 45:27

Yeah, and so that's bad. And essentially, they said that you can purchase as many streams as you want. Their red flag doesn't go off until you approach ninety percent of suspected um purchase streams.

SPEAKER_04 45:43

I mean, I don't see how. I don't see how purchasing streams is beneficial to anybody though.

SPEAKER_02 45:49

It's like paying radio stations to play your shit. No, it's not.

SPEAKER_04 45:52

No, because paying radio stations is broadcast. Okay. Spotify is not. Spotify is. Yeah. Spotify is like it requires you to go and select.

SPEAKER_02 46:04

Unless I do the radio. And then I would assume that the same way that the Google algorithm will throw in search results or whatever, it just here's two songs that are actually related. Here's another one.

SPEAKER_04 46:15

Yeah. But I mean same kind of thing with the fee thing. We're saying they go raise it up. Okay, so if they raise it up to a penny or more, right? I mean, where does that penny come from?

SPEAKER_02 46:30

It comes from selling your data to the political campaigns that are using the farms.

SPEAKER_04 46:36

Yeah, but it's not gonna go up to a penny. Because that's gonna be a penny. You can't because it's gonna it's gonna require that they raise the monthly subscription cost.

SPEAKER_05 46:46

And that's where they're pulling.

SPEAKER_04 46:47

And and so, like, you know, it's very easy to get people to pay $9.99 or $12.99 a month, right? Uh to stream outlet of music. But if we go up to 30, shh shit. That ain't gonna happen. No, no, yeah, it's gonna fall way back down. Yeah, right?

SPEAKER_02 47:03

Well, you just have another streaming service that pops up and goes back to the radio model.

SPEAKER_05 47:07

Puts more ads on it. That's what's gonna have to happen.

SPEAKER_02 47:10

Yeah, yeah, it took so to break that that barrier in industry to where everybody was just like, yeah, I'm still gonna check on streaming, so fuck it.

SPEAKER_04 47:18

But like Yeah, but it's kind of close to public performance. It's you know, if it doesn't replace sales.

SPEAKER_05 47:26

Sales are still real.

SPEAKER_04 47:28

Yeah, like like, you know, if you have a thousand copies of an album like pre, you know, in Columbia, pressed like 250 copies of a record, sold all of them within three weeks. Yeah, right. Then did cassettes, yeah, same amount thing, and then sold all of those within two, three weeks.

SPEAKER_05 47:46

Yeah, that won't work.

SPEAKER_04 47:47

And so there's there's scarcity that you know he didn't repress them, so if like you don't if you don't buy it, yeah, you you have a fear of missing out. Yeah, yeah. You know what I'm saying? But forever, it's just gonna be there. And like I mean, I just I just don't know how I don't know how you you know, like the uh as far as broadcasts, you know, you get paid on like the average of listeners at a given time of day. Like drive time is higher, you know, and just like ad dollars. Yeah, you know, and so Spotify and streaming plays into that. They don't really it doesn't really correspond to sales at all. You know, so everybody's talking about, well, it's a quarter of a penny, a half a penny. Yeah, but that's not leading to real you know, and like a million plays is not the same thing as a million sales.

SPEAKER_05 48:41

No, it's not. And to be at a real level, you're talking billions of shit.

SPEAKER_02 48:46

Yeah, well, yeah. And I got nobody actually has your stuff.

SPEAKER_05 48:49

Yeah, yeah.

SPEAKER_02 48:50

There's no product.

SPEAKER_05 48:51

There's no actual product. You can't sell people virtual crack. The real rock. The thing that's crazy. So that's what they're doing though. They're selling that's what they're selling, right? But it doesn't have what I'm saying, it doesn't have the same impact. Like, you know, it's different when it's actually in your hands. Uh yeah. So that's what we're talking about. We're just looking, I'm just looking at it. It's there. Did you do anything with it? No. Do you own it? No. It might come back in the next five minutes. Specifically, you don't own a subscription. You can't even choose what you're playing. You see what I'm saying? So you're like beholden to what's going on with it. But I mean, with us saying that, man, I gotta ask you this question before we wrap up, because this is always important. I want you to make sure you get your information in on this. As the owner as as the owner of a silent digital recording and mixing, can you tell us the difference between a commercial recording studio and a like I said, a regular recording studio?

SPEAKER_04 49:38

What do you mean by regular?

SPEAKER_05 49:39

Home. Home recording studio?

SPEAKER_02 49:41

Is that a regular now?

SPEAKER_05 49:43

Yeah.

SPEAKER_04 49:43

Oh yeah.

SPEAKER_03 49:44

Yeah, that's a yeah.

SPEAKER_04 49:46

When I saw the question, I was thinking about it. I was like, what do you mean by that? Um I I guess commercial recording studio is a term that you know it dates back a little bit. So it's as opposed to like a production, like you know, a personal production studio. Yeah, you know. I think maybe the biggest differences would be the ability to do multiple different kinds of things, you know, just set up one particular way, you know, which works for a lot of people. But it doesn't always work when you have to do something different in the thing. Like so if you have like one, it could be a good microphone, it could be a bad microphone, and it could work on your voice, but it might not work with somebody else. So having choices is good. You know, that's what's good. Yeah, just choices. Different toys, you know, you can get into different things really easily, you know, ability of the two it's replicatable over and over again. So it's not like you got lucky with something. I don't know what happened. Oh, it just it sounds really good today. Perfect, it's really good today, you know, just being able to consistently deliver, you know, and I guess the service aspect of it is different.

SPEAKER_05 51:01

That's what I was yeah, obviously. Yeah, service And that's something we were talking about when we were talking about your studio, man, is just the service and how you actually run and operate the studio. And I know you have different studios, people do things differently, but the environment between like being in a commercial studio that's ran properly as opposed to a home studio, it makes you want to work. It's different.

SPEAKER_04 51:22

Yeah, yeah, it's definitely different. Yeah, it's different. And I'm like, I've been around for a long time. So it's like I started this part of my career like in the early 90s. So it was very different environment. Yeah. As far as recording, as far as studios, as far as capabilities, it was very different. So like I mean, it was all the way analog when I started. Like you know, so it was and like early digital was like really a trick. Wow. No, the first Pro Tool was counter. You couldn't multi-track record, you could only stereo record. So it could dump something in there to do a fade. Yeah, you could draw the fade and hit enter or render. And power was so slow. No, it would take like half an hour to render the crossfade? Like, or you know, there was this thing that I can't remember what the it was, but uh basically clean the static. So it was like an early version of like cedar we use now. Yeah, you know, but it would take like 45 minutes to render it.

SPEAKER_05 52:43

And if it wasn't right, if it wasn't right, 45 minute undo that's why that song sounds like that, because we kids ain't got time for that no more. Well, you know, yeah, but yeah, but you don't have that now. You ready? But what I'm saying is I think funny that you say that because I really think it's about moving as quickly as possible. Yeah.

SPEAKER_04 53:02

But there's value in that too, but I mean, damn, it's gotta be good. Right. But there's nothing wrong with speed, but it's got like speed is incredible, right? But you gotta reach a you gotta really be a certain thing. And like, you know, like there's been a lot of talk this year. It was the first year and how long where like was not 1998.

SPEAKER_05 53:26

You know what I'm talking about. What was it?

SPEAKER_04 53:27

What was it number five? It was um, but we're doing this.

SPEAKER_02 53:32

Well, and number one doesn't mean what it is anymore because the market is segmented all over the place. Exactly.

SPEAKER_05 53:37

You gotta have one song is always based off of quality.

SPEAKER_04 53:40

It is. Oh, yeah, you know what I mean. No, because I had it was a trip, man. Like when it really started getting different, and it it was crushing. Two number ones in a row, about one knocked the other one out. I mean, they were both of them, like neither one of them sold more than 40,000 units. It was like 40,000 units, 41,000 units on the first one for the album, and the second one was like 47,000. I mean, that's and that was n and that made it number one. That was during an era, yeah. So this is before this is before streaming was weighted into the equation. Yeah. So it was just sales. Streaming existed. Yeah. And iTunes existed, but they weren't counting it. They weren't counting it like they're counting it now. You know what I'm saying? So you won't even know what those numbers are, you never know. I mean, those numbers are so skewed. But my point is, is like number one album two times in a row, and it was only like less than 50,000 copies. Nothing. I mean, you could do that. You're talking about you could feasibly do that in Sharp. Yeah, by yourself if you really pushed.

SPEAKER_02 54:48

Well, I mean, think about it. People saw Shakespeare a lot of it.

SPEAKER_05 54:51

Yep. I gotta get us because I know we've running time. We had a good time today. We always enjoy coming here and speaking with Scott about these types of things. I do want to go ahead and wrap up before we get too far. But before we do, can you just tell folks where to find you at? How they can get in contact with you if they're interested in having some services or working here at Silent Discord.

SPEAKER_04 55:12

Yeah, you can find this through the website.

SPEAKER_05 55:14

We got it. Yeah, talk. Yeah, this is where you want to talk about. Yeah, that's you.

SPEAKER_04 55:18

Okay. So overheat. Do they still overheat? Is it a mirror?

SPEAKER_02 55:23

What's this? The recorder underheat directly in the battery. Oh, because it's fine in this battery. It's fine. Yeah.

SPEAKER_05 55:31

Angry at us right now. Oh, that's right. It's running S.

SPEAKER_04 55:34

What do y'all have? What are y'all using?

SPEAKER_05 55:35

So these are ninjas. These are the ninjas right here that are hooked up into. They run SSDs and then so they record directly to it. So it allows you to record for more than 30 minutes at a time. So you have to continue to go and hit the code.

SPEAKER_02 55:47

So that's the way around because technically the camera's not recording. That's recording. The camera's gonna be how big is your main drive? About half. This is halfway to our main storage. We've been discussing it. Yeah. Did y'all do a raid yet? No, we were talking about it. But you know, this is another thing about like technology making shit terrible. Like when I first started working with big files and all of this stuff, like it's always storage space is always an issue. So you just remove it and then you archive and then you permanent store. It's like I think now we're in an age where it's like, well, we're not gonna do that. Everything's gonna live on the cloud and I'll pay every month. Why? You don't need a limited storage. And I've been this is me arguing with Gen Zs that I work with about like, no, you don't need an eight terabyte hard drive.

SPEAKER_00 56:38

Yeah.

SPEAKER_02 56:38

You just need a bunch of two terabyte storage people.

SPEAKER_05 56:43

Everything on one depends on what you need.

SPEAKER_02 56:45

Yeah, depends on how but you know, a client where once that's done, archive and then move on to the next one. Yeah, right. And then, you know, if they ever need all that shit, you can do it anymore. But yeah, but think about RAID.

SPEAKER_04 57:00

I'm you know, I'm lazy. You're lazy. So it's kind of idiot proof for me. You can't mess it up. You can't do that. Because mine is like it's going to two places. Oh, yeah, like two remote locations. Yeah, I mean as far as the two drives.

SPEAKER_02 57:15

Oh, okay. You know what I'm saying? The first time I saw that, I was working at a healthcare facility or a bomb, right? And I was in there watching them do it just like to show you this. It just starts pulling hard drives out of the server as it's running. It's raining. Right. It's like it's running stuff and it's just like and it was like you could get half a map before you even had an issue. Move. It's better than better than that.

SPEAKER_05 57:47

Alright, that's fine. We'll hit our quick edit because this is our last question anyway, so we'll hit our we'll hit our hard edit. Did we hit on the question? No, we didn't have to. Oh no, we didn't get that. We didn't have to though. Yeah, we know each other already. Yeah. I honestly I think these conversations are more interesting. Yeah, they're more interesting. The stuff that we didn't talk about or discuss before, we get to make sure we go back and get to it. So the alright, so yeah. So we're right so we can do our wrap-up, but what I did want you to do why this camera's looking at you for this, is to make sure that you drop in what you have going on and let folks know how they can get in contact with you if they're interested in easing your services.

SPEAKER_04 58:21

As far as I mean, you can find me on the web. Website is.com and I'm on Instagram under my name, Slagle. You can find me on Instagram, Facebook, find it.

SPEAKER_05 58:33

It's not hard. Yeah, it ain't hard. You know how to get in contact with it.

SPEAKER_04 58:36

I guess y'all will put the links in the description. Yeah, you know, we can have a website. Y'all got a website now?

SPEAKER_02 58:42

No, you know, we have a website, but we've got a updated about two seasons.

SPEAKER_05 58:45

Yeah, we're gonna have our opening show to find this.

SPEAKER_04 58:47

Yeah, but I'm saying it's a trip. Like, I made adjustments after I saw a question. Yeah. And like the bio. I'm like, oh shit. Yeah, like I almost resent you another one, but it's totally updated now.

SPEAKER_05 59:05

Always good speaking with you. We appreciate you allowing us to come to your studio and use the space. We definitely want to be back in season five. Definitely gonna talk more to the music industry, yeah, make stuff. That's what I like because, like, not not just because we already know you now, so we can delve into some of this other stuff because it's cool for the folks that do listen to our podcast that are into this industry to get to hear actual information from people who live in, as opposed to just like I'm right now.

SPEAKER_02 59:33

I feel like anybody is trying to do any kind of content creation. We need all of the information that we can about what's actually happening because everything's bullshit. Yeah, and you know, having this conversation today, I've learned a lot about the way that should be.

SPEAKER_04 59:48

Content creation, right? Well, trap. I hate the phrase content creator. I hate your sounds weird.

SPEAKER_05 59:53

I hate creator too. Yeah, okay. You don't like a creator either? What do you like?

SPEAKER_04 59:57

What do you like? What do you like? I don't know what bothers me though.

SPEAKER_02 1:00:00

You know what I'm saying? I don't know what I like better, yeah, but it bothers me. You end up not wanting to be boxed into nothing. I don't yeah, I don't want to make art. I don't want to make music. I want to do all of it. Yeah, yeah. But then what do you call it?

SPEAKER_04 1:00:13

I know I'm a musician. Yeah, musician. I don't want to pretend to be something I'm not.

SPEAKER_05 1:00:18

Yeah.

SPEAKER_04 1:00:19

I don't want to be an influencer.

SPEAKER_05 1:00:20

You ready? You're from that era where you can't be faking the community. You're gonna smoke it.

SPEAKER_04 1:00:27

Okay. So we were I play vinyl with him at this venue called vinyl. Um, third Wednesday. And I mean we were talking to somebody, man, and she was like, So are you like influencer?

SPEAKER_05 1:00:50

It's cringe, man. It's cringe. I see what you mean. I see what you mean now. I see what you mean. But I'm not a hater. I'm not hating on nobody.

SPEAKER_04 1:00:57

I don't, you know, I gotta the thing I was saying about the production. I'm not hating on the producers. Yeah. I'm saying try hard. But we should do want to do better. Yeah, yes, yeah. You know what I'm saying? Because a lot of things, it's not necessarily about you, it's about getting sellable products into the marketplace. That's what it really is. And like if you're not doing that and you're shortcutting, and the artist doesn't understand that, yeah. Like you're not you're not winning. You nobody's winning.

SPEAKER_05 1:01:22

Yeah. Everybody lost. You're hurting the art form.

SPEAKER_04 1:01:24

And you're hurting, but you're hurting the artist who just paid a lot of money, something done.

SPEAKER_02 1:01:30

That like Well, if we ever episode it comes up, it's networking and communication in the industry, getting your contacts up, not making money on this deal, but making money later. If you're fucking everybody over, how's that gonna work? It's very short-sighted.

SPEAKER_04 1:01:45

It is, and like this whole thing is about relationships, yeah, and like good. Just doing good work. I mean, one of the qu one of the things you were talking about earlier is like what's the difference? It's like the service part. Yeah, like you know, just knowing what to do, how to listen to the stuff.

SPEAKER_05 1:02:05

But I think sometimes though, um creatives like people who identify themselves as creatives, as creatives are creators, right? Um, I think people who identify themselves using those terms, it's mutually exclusive from professionalism.

SPEAKER_02 1:02:20

Oh, think about it. Like I'm the rock star of this shit because I'm doing the weird shit. Yeah, because I'm doing the cool thing. I don't gotta be nice to people.

SPEAKER_05 1:02:30

I don't gotta be on time. I have to be a professional. I mean, what you're doing. See, that's what I think. Like, we're just it's not that they're crazy, they're missing the whole story. Like you said, you won't get hired.

SPEAKER_04 1:02:46

You won't. Well, see, I don't know.

SPEAKER_02 1:02:47

The other thing is the industry loves, not music industry, yeah, corporate industry loves to be like, you're so creative, you're one of those creative people. You can do this stuff that we can. And so, like, that's what that box starts, is it's like you want these people that can do these warning stuff. The warner innovative situation. You know, and so then it's like, well, now, yeah, I do gotta play up the rock star shit again. Because if I come in as a graphic designer and I'm wearing a suit and tie every day, like that's not a creative person. If I come in looking weird and funky, a week the mic a little bit, you know. Like, I don't have to say I don't have a great paying job, but I have turned down a lot of jobs that I didn't want to pursue because I'm at that point now too.

SPEAKER_04 1:03:34

I'll turn things down about that.

SPEAKER_05 1:03:35

I know I don't want to hold you too long, I know we gotta wrap up, but because we're talking about like have you ever had anybody come to your studio with music that they want to record? Yeah. How do you do it? How do you tell me?

SPEAKER_04 1:03:45

Well, no, I mean, like, if I don't want to do something, I don't want to do it.

SPEAKER_05 1:03:49

Like if they showed up and they're like, hey, we want to record our next track and we got somewhere to make it.

SPEAKER_04 1:03:52

I would I would but I would pass before they got here.

SPEAKER_02 1:03:55

Yeah, yeah, I got you.

SPEAKER_04 1:03:56

No, I mean like seriously. How you can pass before they get here. Because like, qualify the situation before.

SPEAKER_05 1:04:03

Thank you. That's what I want people to hear. That because it's not that you're being like mean or asshole about it. We're gonna get qualified before they get here. Yeah, because not let them just walk in and not everyone in the spot. I mean, I've done a lot of records.

SPEAKER_04 1:04:17

Good because I did a lot. And so I got fast, I got good workflows, you know, I got a good overall perspective on things. So I wouldn't trade it ever. Right? But where I'm at right now, I don't have to. You know what I'm saying? So most of my work is not necessarily like very little of my work is somebody whole calling me. Gotcha. That's what I was wondering. It's almost 100 somebody's heard something or they know somebody, and it's like I like what he does. I like the way he hears, I like what he did. Uh it was a good experience recording there or whatever. And that's how I don't get worked.

SPEAKER_05 1:04:59

Good. Yeah, yeah. On that note, we're gonna we're gonna wrap up, man, and like we always like to say thank you so much.

SPEAKER_00 1:05:07

Oh, very good.

SPEAKER_05 1:05:09

We greatly appreciate you. Hill Talk Glove podcast, man. We'll be back here, hopefully for season five. Come see again some more interesting folks if it's all right with you.

SPEAKER_04 1:05:17

We got some very interesting things about to happen. You might have to be back fast.

SPEAKER_05 1:05:21

Oh, that's all I think that's all we need. Like, really, I mean we're gonna have to be a good thing. Yep. But signing off, this is DJ and what and in the background, producing and like I always like to say, tell somebody that next to him that you love him, that you appreciate them. And we will see you on the next episode.