- Packing everything into a Pelican 1510 (laptop, interface, mic, stand, boom)
- Primary vs backup: PortCaster with onboard record + laptop DAW
- Why the NTG-4 worked (once the low-cut was off) and when the NTG-5 is nicer
- Quiet-room scouting at talent’s home (carpet, bookshelves, sofa placement)
- Redundancy paranoia that saves the day (and the gig)
- Old-school sync and remote workflows: clapper slates, Boom Recorder, Reaper, DA-88s, DAT, Ramza/Fostex rigs
Pelican 1510, Sentrance MicPort Pro, PortCaster, RØDE NTG-4/NTG-5, Grace Lunatec V2, Sony & Tascam DAT, Boom Recorder, Reaper, DA-88, Fostex 9624, Ramza 8-bus. Sponsors:
TRI-BOOTH — use code TRIPAP200 for $200 off your Tri-Booth.
Austrian Audio — Making Passion Heard. Credits:
Recorded via Source-Connect. Edited by Andrew Peters. Mixed by Robbo. Tech support from George “The Tech” Whittam. Got an audio issue? JustAskRobbo.com
00:00:00
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
00:00:01
Get started.
00:00:01
Welcome.
00:00:02
Hi.
00:00:02
Hi.
00:00:03
Hi.
00:00:03
Hello everyone.
00:00:05
To the Pro Audio Suite.
00:00:06
These guys are professional.
00:00:08
They're motivated.
00:00:08
With Tech the VO stars.
00:00:10
George Whitten, founder of Source Elements.
00:00:12
Robert Marshall, international audio engineer.
00:00:14
Darren Robbo Robertson, and Global Voice.
00:00:16
Andrew Peters, thanks to Triboo.
00:00:18
Austrian Audio, making passion heard.
00:00:20
Source Elements, George the Tech Whitten, and Robbo
00:00:23
and AP's international demos.
00:00:25
To find out more about us, check theproaudiosuite
00:00:27
.com.
00:00:32
And welcome to another Pro Audio Suite.
00:00:34
Thanks to Austrian Audio, making passion heard.
00:00:37
And Tribooth.
00:00:38
Don't forget the code.
00:00:39
T-R-I-P-A-P-200.
00:00:41
That will get you $200 off your Tribooth.
00:00:44
And don't forget the Tribooth memo.
00:00:46
Now, you've gone back to your roots, George,
00:00:50
doing a job that you haven't done for
00:00:52
many years.
00:00:53
Yeah, well at least one set of roots.
00:00:56
I'm a weird looking tree, dude.
00:00:57
I got roots.
00:00:57
I got roots poking out all over the
00:01:00
place.
00:01:01
But yeah, so a client of mine, Arianna
00:01:04
Ratner, daughter of Bill Ratner.
00:01:07
As you'll see, yeah.
00:01:09
Her husband's a director or DP or something,
00:01:11
and they worked on this PSA, and there
00:01:16
was a rewrite, and so they had to
00:01:17
record a bunch of VO lines, wild lines,
00:01:20
of the lead actor, who does a lot
00:01:22
of it on camera and then a lot
00:01:23
in voiceover.
00:01:24
He's on both.
00:01:25
It's both.
00:01:26
It's sort of like the vein of a
00:01:27
David Attenborough nature show, except it's about the
00:01:31
dangers of e-bikes and the fast high
00:01:34
-speed motorcycles we have now riding on the
00:01:36
bike paths in Santa Monica and Orange County
00:01:39
and Venice.
00:01:40
I mean, these things are doing 40 to
00:01:42
50 miles an hour on walking paths.
00:01:44
Yeah, some of them don't even have pedals,
00:01:46
I think, and then they're starting to blur
00:01:48
the line between a motorcycle, yeah.
00:01:50
Right.
00:01:50
So they hired this great, interesting actor I'd
00:01:54
met, but it's because his life isn't really
00:01:57
been about in front of the camera, more
00:01:59
about writing, named Gavin Scott, and he was
00:02:01
a really interesting fellow.
00:02:02
And if I've said his name wrong, I
00:02:04
apologize, Gavin.
00:02:06
But anyway, the actor was a really interesting
00:02:08
fellow, and he lives really close by, and
00:02:09
I went to his house to record wild
00:02:12
lines, pickup lines, and at first I was
00:02:16
like, I don't do this anymore, and oh,
00:02:18
this is not my rate, and they were
00:02:21
like, oh, yeah, I can't pay you that
00:02:22
technician's rate that you charge, and I was
00:02:25
like, how about we come up with a
00:02:27
rate?
00:02:27
Why not?
00:02:27
Let's do it.
00:02:28
Because I didn't, I wouldn't, it was the
00:02:29
day, you know, if they needed it the
00:02:31
next day, it was time-sensitive, it was
00:02:34
a PSA.
00:02:35
It's nice to have some variety of work,
00:02:38
too.
00:02:39
Yeah, it was cool to actually put, I
00:02:42
literally had to put together a kit.
00:02:43
I threw up a little video on my
00:02:44
Instagram on George the Tech, and you'll see
00:02:46
it if you want to see it, but
00:02:48
I had to build a kit, you know,
00:02:50
it was either that or show up with
00:02:51
like five tote bags of crap, which would
00:02:55
have felt really, really, really unprofessional.
00:02:58
So I had a Pelican 1510, which is
00:03:01
like the classic carry-on-sized Pelican case
00:03:05
with the handle that pops out and the
00:03:06
wheels, and I've had this case forever and
00:03:09
ever, and I just dumped everything out of
00:03:11
it.
00:03:11
I had stuff all over the floor, and
00:03:13
I just started putting pieces in.
00:03:15
So I managed to fit literally everything I
00:03:18
needed into that case, including my MacBook Pro,
00:03:21
audio interface, microphone, mic stand, mic boom, everything
00:03:24
I was able to fit into that case,
00:03:25
which I was kind of proud of.
00:03:27
I thought that was pretty cool.
00:03:30
And anyway, I packed along a Sentrance Mic
00:03:33
Port Pro as a backup recorder, but my
00:03:37
primary ended up actually bringing was the Portcaster,
00:03:40
not the Passport.
00:03:42
And the reason was, was I wanted to
00:03:44
have that onboard recorder for this particular use
00:03:47
case because I'm out of practice at doing
00:03:50
this stuff, right?
00:03:51
And the last thing I wanted to have
00:03:53
happen was to botch it, really ruin the
00:03:55
recording, do something wrong, lose a file, God
00:03:59
knows what, you know?
00:04:00
So being able to just hit the little
00:04:02
tiny record button and the little red light
00:04:04
turns on and that's just rolling.
00:04:07
And meanwhile, I'm on my laptop sitting right
00:04:08
next to them, like the director is sitting
00:04:11
between me and the actor, the actor is
00:04:13
sitting on his couch.
00:04:14
We found the quietest room in the house
00:04:16
and it was perfect, plush carpeting, bookshelves.
00:04:20
It was really ideal, you know?
00:04:22
If I may ask, it was a voiceover
00:04:25
gig, right?
00:04:26
Well, yeah.
00:04:26
So it was pick up wild lines for
00:04:28
a voiceover of a PSA where the actor
00:04:32
is also on camera, both.
00:04:34
But, so the actor's on camera and now
00:04:37
you're recording them in a different environment than
00:04:39
the original.
00:04:41
Right, because the film is a cut, it's
00:04:43
cut together between voiceover and on-camera lines.
00:04:47
So now it's on camera, voiceover in a
00:04:51
voiceover booth and off camera in a different
00:04:54
room?
00:04:55
I don't know if they recorded his voiceovers
00:04:57
in a voiceover booth.
00:04:58
I don't know if they recorded them location,
00:05:00
I don't know anything about how they recorded
00:05:02
I'm just curious why you didn't say, hey,
00:05:05
I got a frickin' brick over here, a
00:05:09
voice brick.
00:05:10
Well, that's another part of the equation.
00:05:11
The gentleman had just broken his leg and
00:05:13
was recovering from surgery and he really didn't
00:05:16
want to leave his house.
00:05:17
Gotcha.
00:05:18
If he didn't have to.
00:05:20
So he was doing pretty well, apparently, he
00:05:22
was getting around, you know, he was walking
00:05:24
and he was actually in pretty fair shape.
00:05:26
But that was the parameters, you know, so
00:05:29
they were like, this is the reason why
00:05:30
we want to have someone come to his
00:05:32
house.
00:05:33
It's not a job you're going to get
00:05:35
falling in your lap every day, it's rare,
00:05:37
you know, these kinds of scenarios come up,
00:05:39
but it was fun to do it.
00:05:41
I had my Rode NTG-4, that's what
00:05:43
I ended up bringing, and it worked great.
00:05:46
Once I turned off the low-cut filter,
00:05:48
because it's much too aggressive, it really takes
00:05:51
out too much.
00:05:51
Why not the 5, out of curiosity?
00:05:53
I couldn't find it on the clutch, I
00:05:57
have too many cases of things, I couldn't
00:05:59
find the 5.
00:06:00
I think the 5 sounds noticeably better than
00:06:04
the 4, I do think.
00:06:05
Yeah, I think so.
00:06:06
I even had a 4-16 sitting in
00:06:08
this booth in here, but the 4 was
00:06:10
right above me on my boom over my
00:06:12
desk, I was like, click, just took it
00:06:14
off the ceiling, you know?
00:06:16
And I took the boom that was up
00:06:18
there too and brought that with me.
00:06:20
So I really had to cobble it together,
00:06:21
because I don't have a proper boom arm
00:06:23
anymore for doing location record.
00:06:26
I don't have a C-stand, I don't
00:06:29
have a nice mic studio boom, I don't
00:06:30
have any of that stuff.
00:06:31
So I really cobbled together this kind of
00:06:34
ragtag setup, but really did feel like I
00:06:36
was going back to my roots, because when
00:06:39
I first started production mixing in Hollywood, literally
00:06:42
21 years ago, my boom pole was a
00:06:44
paint pole from the hardware store that I
00:06:46
spray-painted black.
00:06:48
Oh, really?
00:06:49
And then you just like somehow rigged a
00:06:51
mic clip on the end of it?
00:06:53
Yeah.
00:06:54
I rigged like a 5-8s threaded thing
00:06:57
that, you ever seen those metal brackets that
00:07:00
let you add a second mic to a
00:07:02
mic clip for like stereo pair?
00:07:05
I just clamped that onto the end of
00:07:07
the paint pole and boom, now I had
00:07:09
a mic boom, you know?
00:07:10
And the people that were hiring me at
00:07:12
that stage of the game were low-budget
00:07:14
film, really low-budget student, and they didn't
00:07:17
care, they didn't know anything.
00:07:19
They just knew that I was going to
00:07:20
show up with a mic with a boom,
00:07:21
you know?
00:07:21
What was your recorder?
00:07:23
Or were you recording straight into a camera?
00:07:25
In that era?
00:07:27
I will tell you, my very, very first
00:07:28
kit working in the field was a Grace
00:07:32
Audio Designs V...
00:07:35
It was called the...
00:07:36
What the heck was that preamp called?
00:07:39
Geez.
00:07:39
The Lunatec?
00:07:40
The Lunatec.
00:07:41
The Lunatec.
00:07:42
Yeah.
00:07:42
So I had a Lunatec V2 mic pre,
00:07:45
which had the distinction of also being 12
00:07:48
-volt powered, because it was a really popular
00:07:50
field pre for dat heads.
00:07:54
And dat heads were the guys that recorded
00:07:56
all the Grateful Dead shows.
00:07:58
Have you ever seen a picture of a
00:07:59
Dead show?
00:08:00
I know, all the microphones.
00:08:02
Yeah.
00:08:02
There'll be a sea of mics by the
00:08:03
front of the house?
00:08:04
It looks like an oil field from the
00:08:07
20s.
00:08:08
Right.
00:08:09
And so they're all out there recording, you
00:08:11
know, they were probably on nagras, then cassettes,
00:08:14
and then obviously dats.
00:08:16
So they were called dat heads.
00:08:17
And so I had this preamp that my
00:08:20
friend, not my friend, but my cousin, Jake,
00:08:23
had actually hand-assembled at Grace when he
00:08:25
worked there.
00:08:26
So that was my bag mixer, quote-unquote,
00:08:29
just a preamp.
00:08:31
And then I had a Sony dat recorder
00:08:33
that I had bought from a local guy
00:08:35
that...
00:08:35
Like the Walkman-sized dat recorder?
00:08:38
Or the...
00:08:38
It was like a D3 or something like
00:08:40
this, you know?
00:08:41
DT7 or something.
00:08:42
Yeah.
00:08:43
Yeah.
00:08:43
It was a miracle it worked.
00:08:44
I had a Tascam DAP-1, that was
00:08:48
like the...
00:08:49
Mm-hmm.
00:08:50
This thing was small.
00:08:51
I mean, this is really consumer-sized.
00:08:53
Yeah, yours was like a Walkman-sized one,
00:08:55
yeah.
00:08:55
It was like that big.
00:08:56
It was really small.
00:08:57
It was unbalanced, yeah.
00:08:57
And all that was like in some bags
00:08:59
that I cobbled.
00:09:00
I mean, it was a cobbled kit.
00:09:02
That Sony dat player wouldn't have had timecode
00:09:04
then.
00:09:04
How did they deal with that?
00:09:06
No, no timecode.
00:09:07
No, you had to spend big money for
00:09:09
timecode dats back in the day.
00:09:10
The only affordable timecode dat was a Fostex.
00:09:13
And that was like a $5.
00:09:15
So what did you do to sync?
00:09:17
You'd have to rely on the slate.
00:09:19
It's all slate.
00:09:20
It's all clapper slate.
00:09:20
Yeah, short takes.
00:09:22
Yeah.
00:09:23
Well, and ironically, that's still how they do
00:09:25
it.
00:09:25
Yeah.
00:09:26
Like on the budget end of things, if
00:09:28
there's no timecode, a lot of the stuff
00:09:30
where they're recording with like a Rode wireless
00:09:32
mic and then they're shooting video on like
00:09:34
a Sony camera or something, they still rely
00:09:36
on just the click or the slack, you
00:09:38
know, clapper.
00:09:39
You couldn't scratch on the camera and then
00:09:41
you sync it and when it falls out
00:09:43
of sync, you put a cut and you...
00:09:45
Right.
00:09:46
Yeah.
00:09:46
Yeah.
00:09:47
The cameras all had sound because we're all
00:09:48
using, you know, we're using mini DV cameras,
00:09:52
right?
00:09:52
We're using video cameras.
00:09:54
The Canon was the big mini DV.
00:09:56
Yeah.
00:09:56
The Canon or the Sony.
00:09:59
Panasonic actually has a really popular one at
00:10:01
the time.
00:10:02
So, yeah.
00:10:03
So that's what we were doing for...
00:10:04
That was my little window into productions mixing
00:10:07
for a while.
00:10:07
And I did have these three or so
00:10:10
Rackspace Fostex timecodes.
00:10:13
a cart that I hauled on location with
00:10:18
a giant marine deep cycle battery and a
00:10:22
huge inverter.
00:10:23
I mean, between the three of those, it
00:10:26
weighed like 120 pounds.
00:10:28
I mean, and it was hauling that on
00:10:30
set, you know, dragging it around.
00:10:32
It was a miserable thing to use, but
00:10:35
it worked.
00:10:36
Yeah.
00:10:36
Yeah.
00:10:36
I used to do interviews, oh, this would
00:10:40
be 20 years ago now when I was
00:10:41
doing a syndicated radio show.
00:10:43
And I'd go out and do interviews and
00:10:45
I used a Sony minidisc.
00:10:47
That was my interview kit.
00:10:48
Yeah.
00:10:49
Yeah.
00:10:49
The minidiscs were really popular in radio because
00:10:51
they, and also for like theatrical production because
00:10:55
unlike CDs, they had instant start.
00:10:58
If you queued a minidisc up and you
00:11:00
hit play, it played immediately.
00:11:03
So you could just boom.
00:11:04
And they were popular for that reason.
00:11:06
Yeah.
00:11:07
Probably because you had less traveling time because
00:11:08
it was so small.
00:11:09
Yeah.
00:11:09
I don't know.
00:11:10
I don't know.
00:11:10
Yeah.
00:11:11
It was fun though, having a laptop there
00:11:13
to record live.
00:11:14
So I could like, you know, mark, log
00:11:16
shots, name files, and just sort of keep
00:11:18
up.
00:11:19
The big app was Boom Recorder was a
00:11:21
really great app on the Mac.
00:11:22
I used Boom Recorder for a while.
00:11:24
Yeah.
00:11:24
I mean, that thing is so stable.
00:11:27
It was amazing.
00:11:28
I'd record- I used Reaper too, actually.
00:11:30
Yeah.
00:11:31
Reaper is extremely stable.
00:11:32
I would, I mean, I'd use Reaper on
00:11:34
the road, like live before I'd use Pro
00:11:36
Tools live.
00:11:37
Yeah.
00:11:38
I record live bands.
00:11:39
One band, they had a Mac-y mixer
00:11:42
with a Firewire port on it and I
00:11:44
was like, oh, that thing records 16 tracks.
00:11:47
Yeah.
00:11:47
I plugged it right into my laptop.
00:11:49
I've done that one too.
00:11:49
Loaded Reaper and recorded right off the board
00:11:51
in 2005 or whatever it was, you know?
00:11:55
But that's where I, that is my roots.
00:11:57
My roots is live recording and remote recording.
00:12:00
It always has been.
00:12:01
It just, I've never had a proper studio
00:12:04
and I've always just made it work, you
00:12:06
know?
00:12:06
And so it was just fun getting to
00:12:08
do it all these years later and deliver
00:12:10
the product.
00:12:10
And then I just got the, I just
00:12:12
got paid.
00:12:12
I just saw the email.
00:12:14
Nice.
00:12:14
That's always the pile.
00:12:15
Nice.
00:12:16
Full circle.
00:12:17
That's the best.
00:12:17
We both started out doing kind of live
00:12:19
stuff.
00:12:19
I used to have my whole studio on
00:12:22
a table.
00:12:24
I don't know if you, did I ever
00:12:25
tell you about this?
00:12:26
Mm-hmm.
00:12:26
Yeah.
00:12:27
Yeah.
00:12:27
You used to slide it into the back
00:12:28
of the station wagon.
00:12:29
Yeah, exactly.
00:12:29
Yep.
00:12:29
It was like, so I'd bring that thing
00:12:31
around.
00:12:31
It was like, cause I got so sick.
00:12:33
On a table?
00:12:34
Was it like kind of bolted down to
00:12:37
a table?
00:12:37
So here's exactly how it went.
00:12:39
I used to, in high school, I was
00:12:42
recording bands on my four track and then
00:12:44
I got an eight track at the end
00:12:45
of high school.
00:12:46
So I was, and I'd go over to
00:12:47
a band's practice place and it'd be the
00:12:49
eight track and all the cables and the
00:12:51
effects boxes and the compressors, and he'd spend
00:12:53
half the day plugging everything back in.
00:12:56
And I got sick of it.
00:12:57
And I drew, I was with a friend
00:12:59
at like McDonald's and I drew this thing.
00:13:01
I'm like, I'm just going to set this
00:13:02
all up.
00:13:02
And I drew a big cartoon single plug,
00:13:05
like one fucking outlet.
00:13:07
That's it.
00:13:07
Yeah.
00:13:08
And he thought I was joking.
00:13:09
And by the end of the summer, what
00:13:10
I did is, it wasn't a door, but
00:13:13
like this frame I built about the size
00:13:15
of a door and I put the Tascam
00:13:17
eight track smack in the middle of it.
00:13:19
It had the mixer in the eight track
00:13:20
and imagine two slanted racks on either side
00:13:23
of it with one rack hovering over the
00:13:24
middle and a TT patch bay on one
00:13:27
side of it.
00:13:29
And I mean, it was DAT recorder, all
00:13:32
the compressors, everything, and, and then a mic
00:13:35
panel on the back of it with a
00:13:38
bunch of multi-cable, you were doing live
00:13:40
to two track then?
00:13:41
No, this is eight track.
00:13:43
Oh, it was eight track.
00:13:44
Yeah.
00:13:44
Yeah.
00:13:44
Yeah.
00:13:44
This is eight track.
00:13:45
And then took two people, like three people
00:13:48
to carry this thing.
00:13:49
I mean, I remember one time we're trying
00:13:51
to carry it into a house.
00:13:51
We just dumped the whole thing in the
00:13:53
snow.
00:13:53
Like, I was like, oh, but, but I
00:13:58
mean, you just haul it in there and
00:14:00
you, and you plop it down.
00:14:01
You're like, give me an extension cable and
00:14:03
let's start plugging mics in.
00:14:05
And that's like a one rack space box
00:14:07
and a laptop.
00:14:08
So when I was in college, my friend
00:14:10
had a Tascam eight bus, 24 or 32
00:14:14
channel mixer.
00:14:15
Yeah.
00:14:15
Yeah.
00:14:15
The 26.
00:14:17
Maybe.
00:14:18
Yeah.
00:14:18
In a rat, in a road case.
00:14:20
So all, you know, it was a chunky
00:14:22
thing.
00:14:22
Right.
00:14:23
And then he also had the eight track
00:14:25
reel to reel, but I eventually convinced my
00:14:27
professor at Virginia Tech to let me take
00:14:29
two DA88s out of the studio to do
00:14:32
remotes, which still to this day, I can't
00:14:34
believe you let me do that.
00:14:36
This things were like 10 grand a piece
00:14:37
back then.
00:14:39
And I would do remotes, but the things
00:14:41
I had a Ford Taurus.
00:14:42
And the DA88s were the machine to use
00:14:45
because unlike the ADATs, they had 120 minute
00:14:47
record time and the ADATs only had 40
00:14:49
minutes.
00:14:50
Oh, that's right.
00:14:51
I remember changing tapes at a live show.
00:14:53
It was a nightmare.
00:14:54
And anyway, where did that rack, where did
00:14:57
the mixer go?
00:14:58
It went on my roof rack.
00:15:00
So it took three or four of us
00:15:02
to lift that console, not the, yeah, the
00:15:04
console onto the roof rack of my car,
00:15:07
which I would lash to the roof and
00:15:09
then drive to the club, you know, and
00:15:11
then take it all apart, dig, take it
00:15:13
into the club, plug it in, you know,
00:15:15
it was so crazy.
00:15:17
I did a live album with a Ramza
00:15:19
8 bus board and two DA88s.
00:15:21
Oh yeah, those were nice.
00:15:22
And I was like, those were really good
00:15:24
sounding ones.
00:15:24
That was Panasonic's Pro line.
00:15:27
Those things were sleepers.
00:15:28
Actually, that's what Nirvana recorded Bleach on.
00:15:31
No way.
00:15:32
Yeah, those Ramza.
00:15:33
Oh my God, the stories will never end.
00:15:36
We have got so many because it was
00:15:38
so much more interesting than just having a
00:15:42
static location.
00:15:43
You know, and given, if I had the
00:15:45
space time budget, I would have, but we
00:15:48
used the resources we had.
00:15:49
It wasn't going to stop us from recording.
00:15:51
We're just going to make it work.
00:15:53
It was, but also one thing I'll always
00:15:55
say, especially when you recorded live shows, because
00:15:59
like for instance, I still have my rig
00:16:00
now, which is like three, eight channel preamps,
00:16:03
a Fostex 9624 recorder that goes light pipe
00:16:07
out into like a M audio box that
00:16:10
then feeds into a computer.
00:16:11
So you get your redundant record and that's
00:16:13
like, you know, 24, 32 channel set up
00:16:15
depending on how you do it.
00:16:17
But you record a band live and screw
00:16:21
ups, mess ups, and all the energy is
00:16:23
always better than what they end up doing
00:16:25
in the studio.
00:16:26
Yeah.
00:16:26
Yeah.
00:16:27
In the case of a gospel gig once,
00:16:28
I remember we went back into the studio,
00:16:30
had everybody come back in and do overdubs
00:16:33
or not double overdubs really, but like just
00:16:36
layers.
00:16:37
Yeah.
00:16:37
Yeah.
00:16:37
Yeah.
00:16:37
Yeah.
00:16:38
Or, or, or fix it or fixing stuff.
00:16:40
Yeah.
00:16:40
I've done live recordings and fix them like,
00:16:42
like overdub the vocal and then the background
00:16:44
of the PA becomes a little bit of
00:16:46
extra reverb for a moment.
00:16:47
Cause it's not quite.
00:16:49
Yeah.
00:16:49
We did all that stuff.
00:16:51
It was fun.
00:16:52
But anyway, yeah.
00:16:52
It just, yeah.
00:16:53
Coming back to the roots was, was a
00:16:55
blast.
00:16:55
And I have to, I think I'll open
00:16:58
myself up to those chance encounters from time
00:17:01
to time instead of being, nah, I don't
00:17:03
do that anymore because it was, it was
00:17:05
fun.
00:17:05
And just having a safety net of a
00:17:07
secondary recorder, I could have done it with
00:17:09
a passport and just, again, plugged it into
00:17:11
my phone and had that be the backup.
00:17:14
But I happen to have the podcast.
00:17:15
Always use what's best.
00:17:16
Yeah.
00:17:17
Exactly.
00:17:17
I don't think I'll ever go back to
00:17:19
my roots.
00:17:19
I could never, ever.
00:17:21
Do that much cocaine ever again?
00:17:23
Probably not either.
00:17:26
I'd be dead, far out, you'd be burying
00:17:29
me.
00:17:29
Just quickly before we go, AP, talking about
00:17:32
cocaine and the old days, did you see
00:17:34
on Facebook there's a photo of the old
00:17:37
console out of SAFM.
00:17:39
They've put it in some museum, something or
00:17:41
somewhere.
00:17:42
And my comment on the post was, if
00:17:44
only that console could talk.
00:17:46
Yeah.
00:17:46
Thank God it can't talk.
00:17:48
That console was always high.
00:17:50
Yeah.
00:17:51
Probably still is, mate.
00:17:52
It would have gone down there.
00:17:54
You need a high pass filter on that
00:17:56
one, that's for sure.
00:17:59
Well, that was fun.
00:18:00
Is it over?
00:18:02
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00:18:03
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