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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) And welcome to another Pro Audio Suite, thanks to Austrian Audio, Making Passion Heard,
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and Tribooth, the booth on the move. Speaking of Tribooth, I've often wondered,
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because I've seen other bits and pieces floating around on the interweb,
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what was the reason for the design or the launch of Tribooth, George?
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Five, four, three, two, one. Let's go.
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Welcome. Hi. Hi. Hi. Hello, everyone.
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To the Pro Audio Suite. These guys are professional, they're motivated.
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With Tech the VO Stars, George Wittum, founder of Source Elements, Robert Marshall,
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international audio engineer, Darren Robbo Robertson, and global voice, Andrew Peters.
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Thanks to Tribooth, Austrian Audio, Making Passion Heard, Source Elements,
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George the Tech Wittum, and Robbo and AP's international demos.
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To find out more about us, check the ProAudioSuite.com.
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Yes. Well, the Tribooth was designed because there's so many products that were already out
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there marketing to this idea of a portable studio. So when Tribooth was developed,
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it wasn't like nobody else had come up with the idea of having a collapsible,
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mail it over UPS kind of a booth. It had been done. And that's kind of the reason why Tribooth
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came along because the other ones were so terrible. They were either much too bulky.
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I mean, frankly, they were just not very good. They had a lot of issues in terms of weight,
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in terms of the size of the packaging. We really wanted it to be something that could travel well.
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And for a while there, Rick actually was using another product. And the smallest we got it to
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fit was into a golf bag portage case, like a hard shell case that you put your golf bag in.
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And portable-ish, right? But you still had to check it as a oversized bag, as a sports thing,
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which depending on the airline could be a bit more expensive or a lot more expensive.
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And so it never met that need of fitting it into a standardized 23 kilogram luggage.
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So that's why we invented it.
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So it was the Tribooth to actually just save weight because you only needed three legs
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instead of four, or is there some acoustic value to having three corners, just having a triangle?
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Excellent question. The acoustic side of it is hard to... It's dubious. And the reason why I say
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that is the booth, the way it works, being this blanket for it really, is it's not a chamber,
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right? It's not like your ISO booth, like the booth behind me or any of the booths that you
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think of. Those are chambers. And then what you're trying to do is eliminate the sound that's
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bouncing around inside said chamber. In fact, I got to see Robert's chamber,
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Robert built a booth in his studio and it's a work in progress, but he had it very well padded
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and it was a very unique shape, right? It was. It's in a corner.
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Yeah, it's in a corner. It's the more unique the shape is and the more
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unusual or odd the shape is with fewer parallel surfaces, the better off you are.
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So anyway, with the TriBooth, what's really happening is it's more like an acoustical
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filter, right? So it's designed to not trap sound inside like a chamber or a box. It's designed to
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actually allow the sound to pass through it, right? So that's what's really happening. So
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it's passing through and a lot of the energy is dissipated as it passes out into the room,
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whatever reflects around the room and comes back in, passes back through the sound panels
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and back in, you know, hopefully most of it doesn't return, you know? And that's the concept
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and that's what makes it different. It's kind of hard to quantify. So it doesn't really matter
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whether it's a square or a rectangle or a triangle or a Pentagon or a circle. And I don't believe
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that it really actually does. I don't have the acoustical measurements and the science to back
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that up because I haven't really been able to find it. You know, I can't really find the data,
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like saying, this is what's going to happen to a sound wave when it's dampened from three
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non-parallel surfaces or one circular surface, right? Because it's not designed to be reflective.
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Maybe I'm over-complicating the explanation, but it doesn't seem to matter. It's really
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a practical thing. We wanted it to be as light as we could get it. And that was something that
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Rick came up with. One day, I'll never forget it. He had a straw, a drinking straw mock-up of it
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with the triangle floor plan, you know, and he stuck it. He's like, what do you think of this?
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And I was like, yeah, that's great. I think you got something there, right? Because the
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thing about the triangle shape is, think about just envision yourself inside a small booth,
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right? What is the least necessary part of said booth in terms of space, right? It's not the area
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next to you, right? You need to be able to move your arms. You need to be able to do this. It's
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really the area up in the front is mostly wasted space on either side of the mic, right? And so
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that's how we started to realize like, wow, we can really save space. We can make better use of the
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space that we have, thereby using less materials, less blankets, less frames, less weight, on and
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on and on and on. And that really was one of the main things that got us the design patent was the
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fact that it was a triangle. Yeah. It also allowed you, because I know with my tri booth, like all of
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them, you've got that portion from the top sort of down to waist height, roughly, of a double layer.
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Right. Yes. Whereas you being square, you couldn't have done that because that would have been
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all the weight without the double layer. Yeah. So that was another just experimental thing. So
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we first, of course, did the conventional thing, which was to take the entire sound blanket,
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hang it from the top and have it go to the floor, right? That's conventional. That's what everybody
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else does, right? And then we started experimenting with adding layers and we're like, what's the
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diminishing returns of adding more and more layers of blankets? Well, you could double up the layers
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and that does damp more sound, but it gets heavier very, very quickly. And all of a sudden,
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we couldn't pack it into a suitcase, right? So then we're like, well, how do we continue to
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maximize the performance of the materials that we can transport? We pretty much figured out the
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maximum amount of stuff where we can fit in the suitcase with the frames and with all the other
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accessories and still have it be at that critical under 50 pound or 23 kilogram weight limit.
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And once we were there, you know, we're like, okay, do we fold it in half? Do we have a third?
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So what happens is really about a third of the blanket is folded over the top, creating that
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double thick layer that's closest to the microphone. And then you have another portion that hangs down
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below, and then you have the space open at the bottom. And that is another one of those things
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that makes it unusual and kind of messes with your head because you're thinking, wait a minute,
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how can this thing be any good? There's a huge, huge open space underneath. How can that work, right?
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So that was something that we just learned through testing. I mean, let's, I'll be honest, it's been,
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it was a lot of just trial and error. It wasn't like a ton of mathematic calculations and acoustics
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and physics. It was just practical things and experimenting to see what worked. So once we got
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that double layer at the top third of the height of the booth, then we realized how important that
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same double layer was on the ceiling. Because we, when we first set up the booth in his one,
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one of Rick's houses, when he, where he was living at the time, we had this unusual room that had
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hardwood floors and a lowish, kind of a low flat ceiling. It was very Spartan, which was actually
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the perfect place to test it. It was very reverberant. And when we only had one layer of
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blanket on the roof, it was still kind of reverberant in there. It was not doing an awesome
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job, but when we threw another layer on the roof, it dropped down the echo quite a bit. It was like
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really a big difference. And we were like, man, we have to put another layer of blanket material
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on the roof. And so that was just another thing out of pure testing. I would go over to Rick's
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place every couple of weeks or so, and we would just test things and experiment, you know, and
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that's what we, how we came up with what you're, you're essentially what you're getting today, five
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years later. You know, the funny thing is when, when you did the tri-booth as an experiment,
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I decided I was going to make my own.
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Oh, I was privy to that. That was interesting. Pictures or it didn't happen?
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It, no, no, it happened. Yeah, it happened.
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I'm there going, Andrew, should you be doing this?
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Yeah, yeah. So I put, I built one. It was actually square.
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And I actually calculated how much it cost me in materials. Because I was thinking,
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oh, this thing can't be that expensive, surely. I think my materials ended up costing me about
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$600 or something from memory.
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Those blankets can't be cheap.
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It was just all the, you know, the bungee, the hooks, the...
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The cheap part was the PVC, probably.
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Yeah, yeah.
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But then you need the know-how and then you need the, you know, the wherewithal and the tools.
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If you use the PVC that you buy at the hardware store, it's going to be standard plumbing
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material. And it's functional, it works, right? But, you know, what we're using is a, what they
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call a furniture grade PVC. So it's a good deal more expensive and it looks way better, right?
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And then...
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Doesn't have like all the purple writing on it.
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Exactly.
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You should just drip the glue. You know how when they're done installing this stuff,
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they just like, they're like...
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Yeah, there's glue and they just like shove it together.
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With a little ball sponge and they just go...
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Yeah, exactly. You should just have that purple shit all over it.
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Well, you know, some of that glue or type of glue is used in the assembly in specific joints that
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we do not want to have come apart. But, you know, again, Rick is doing all that assembly by hand,
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booth by booth. And he's very particular about how it looks. He's like, really cares a lot about
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how the fit and finish looks and that there's no glue and there's no... Things are aligned and
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things are consistent.
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How many are out there? If I may ask.
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We've well past the 300 mark. So we're in the 320, something like that mark.
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Which is pretty good.
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And, you know, considering again, a boutique product that's being made by hand,
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it's pretty amazing. And it's five years later, the thing is still completely irrelevant.
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Five years later, there's still not something that's on the market that's a direct replica.
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Whether they would do it, you know, I don't trust China to respect a patent.
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They could care. They could care less. So nobody's come out of China yet with a knock off of it.
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Right. So either they don't see the value, they don't understand it, or they just simply
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don't want to make one. I don't know, because they knock off everything.
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The TiMu Tri booth.
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Well, you know, so one of the parts that makes the booth hard to replicate...
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The TriMu.
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TriMu.
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The TriMu.
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The TiMu TriMu.
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One of the things that makes the booth relatively expensive and hard to replicate are the corner
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pieces that give it the triangle shape. You know, they're adjustable angle pieces.
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Those were hard to find, and they're kind of expensive.
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In a perfect world, we would have those blow molded or injection molded and
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made custom for us. We would have to buy like a couple of thousand of those things, you know?
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So scaling was impossible, right?
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Again, if a company saw real value in knocking this thing off, that had the scalability, which
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is obviously some factory in China, they could do it, you know? And it just hasn't happened yet.
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I don't know if it ever will. And whatever the case is, I mean, we've come up with something
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that those that get it, get it. And those that use it tend to love it. The only thing people
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ever complain about is just that it's, it is pretty bulky, you know, in terms of something
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that's portable, it's still pretty bulky to travel with. And there are a lot of cases where people
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will opt to not bring it because they just don't quite want to lug it along for a weekend long
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trip. Andrew, you've had that situation, haven't you? Where you've just done the booth umbrella
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instead? Yes. I have. And look, if I'm going somewhere where it's a hot climate and I don't
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need much luggage, perfect. If I'm going somewhere that's winter and I need a suitcase,
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then it gets tricky because all of a sudden I'm trying to find someone to share a suitcase with.
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You know, the other half prefers that I don't have my clothes in her over full suitcase.
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She doesn't want your grungy jocks in her suitcase. I can imagine.
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No, she just doesn't have room because she takes pretty well everything she owns in the suitcase.
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Well, the other one that we've talked about, you and I, AP, with the Tribooth is if you
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were sort of plane hopping, if you were doing one of those holidays where you're going from here to
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there to the next spot, it's going to be pretty difficult too, right? But you know, I think you
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took it up the coast though once, I remember. I've taken it to quite a few places. It's been
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Sydney, Byron, Adelaide. Byron's the one I was thinking of, yeah.
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Yeah. George, how about this for a business? You ready?
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Like Rick stocks, 50 booths and he ships them and the person pays shipping and a weekly fee
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and it's just shows up at their hotel and when they're done, they box it up and Rick's
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got a return label and that's all part of it. Yep. That was a day. That was year one.
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We talked about that. That was the bookable part, wasn't it?
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Isn't that what to where Tribooth bookable came from?
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No, actually bookable is Rick's own coaching business.
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I always thought bookable was like you could book one and I thought that was the eventual
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plan that you'd be able to book one and have it just wherever you turned up. There you go. So,
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I've learned something new from this episode. There you go.
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But Andrew, would that be worth like what? A hundred bucks, a hundred dollars a week plus
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like shipping? If it was, well, you'd have to have the stock
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because the shipping from the States to Australia would be hundreds.
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Well, Rick will send you a few and you'll get a small commission for shipping them out.
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No, renting the booth has been something we've tried to figure out a model around
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and it's come up a couple of times and I think there may be a case where we've actually done it
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or Rick actually did something like that. But we actually, we had a case where we
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tried to ship one to New Zealand and to get there on time for a production and it just didn't get
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there on time for the production. So, then it kind of blew the whole thing.
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Yeah. So, the just-in-time part of it can be tricky. You definitely have to have them locally
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available at least in the country where they need to be. And so, we've looked at rental houses here
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in Los Angeles and it's a tough sell and I think it's because of its size. They could have a lot of
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microphones sitting in the same place as one of these things and it just takes up a lot of space.
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So, I don't know. I would love to do it. I think there's a lot of good reasons for it. We would
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love to not have to have everybody buy it when they know they only want to use it once a year.
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You know, it just, we haven't quite been able to, again, it's scaling it, it's the funding of it,
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it's the storage and the logistics, all those things. If we could get a rental company that
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does pro audio rental to buy them and rent them, we would fully encourage doing that.
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Just a thought, what about, like, we have staging connections here that do all the big gigs and all
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that sort of stuff that hire out, you know, PAs and all that sort of gear. You must have,
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there must be companies like that all around the world. Would they be interested?
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With the rental companies and stuff.
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Yeah, we just haven't had the right, the silver bullet in terms of what they want and what we,
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and what they, we just haven't found the right connections yet. They're out there,
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we just haven't beat the ground yet. I think we literally have to just do the calls, you know.
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Do you know who you should talk to? You should talk to U2's management, because when
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U2 were out here on the Zoo TV tour, you know, had the big TV displays on the stage and all that
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sort of stuff. One of the breakfast jocks who I worked with, a guy called Rob Duckworth, he's
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really good mates with the band, and he actually got me and a couple of other guys underneath the
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stage where they had like video editing going on and all sorts of shit. They had two voice booths
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in the corner, two like little portable voice booths over in the corner where they were doing
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voiceovers and Bono would record McPhisto and all that sort of stuff. It was really cool.
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Were they like wooden with carpet on them?
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They were something they'd cobbled together themselves. It wasn't anything that I'd ever
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seen. I was just like, holy crap, that's so cool. I mean, we're talking, what, 94, 93?
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It was 94.
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When it's a touring show, they've got riggers, they've got hundreds and hundreds of yards of
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heavy velvet blankets, I mean, quilted curtains. They essentially have the raw building blocks,
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you know, and the riggers and the swing crew and the grips and all that, they're pretty
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resourceful, you know, they'll make that stuff on the spot. So it's still like this niche thing
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where it's for somebody who doesn't have access to those resources, you know, but would still
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would like to have something like this. We'll find that audience yet, we're going to find them,
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you know, it's just, we haven't been as ambitious as to wanting to scale it yet.
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We would like to, but we haven't taken a big step yet.
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Yeah, we want to nail down the product first, right, and then worry about that sort of stuff.
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Yeah.
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Here's an idea, how about if you do rent it, you rent it with a passport VO.
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Yeah.
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And an Austrian audio microphone.
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Austrian audio microphone and headphones.
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And a Source Connect license.
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Oh, no, no, no, no.
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And a Source Connect license.
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Or a temporary Source Connect license.
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Yeah, all you have to do is bring your laptop, that's all you need.
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Yeah, well, I mean, yeah, packages are clearly another way of doing it. Like,
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you know, I think for those that don't travel often, that would be awesome, right? A lot of
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my voice clients that would buy this thing, they travel quite a lot, so they have their travel kit,
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you know, so it's still like a niche thing for that guy who travels really once a year with the
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family, does the big vacation and wants to have a whole turnkey set up, literally sitting in the
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hotel when he arrives, and that is another niche clientele, you know, that we haven't really
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serviced.
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How often when you're in a hotel is outside noise the issue? Like, I know the hotel room doesn't
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sound good, but the tri-booth should kind of take care of deadening up the return off the walls.
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Yeah, I mean, it's outside noise and it's inside noise. So some of the outside noise is the obvious
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stuff, right? Traffic or a busy street. The inside noise is like the HVAC system, the vacuuming
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upstairs, the people running around upstairs, the, you know, the fridge.
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The couple having sex next door.
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The occasional couple having sex, which pretty rarely happens during the day.
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You don't want people having sex in your bedroom.
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Mom, dad, shut up!
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Oh, that's what it's like when she tries to do a voiceover session.
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Oh my God. I don't know.
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Could you like have a little, like, like just like the breaths are a little bit too much.
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Yeah, exactly.
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You know what? Some of my clients have told me, like, I didn't expect it to be soundproof because
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we don't, we know it can't be soundproof, but we had a few people tell us like it was soundproof
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enough. Like it knocked down enough ambient noise to make a noticeable difference.
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And how to quantify that? Like, you know, we don't, you'll notice we don't have a spec that says
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row reduced noise by X, because it depends on the sound, depends on the intensity,
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depends on the microphone you're using, depends on so many factors.
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We just don't want to throw out numbers that can't be verified and backed up.
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We just, that's why it can be a little hard to sell to numbers people who want to see specs.
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I want to see stats. I want to see, you know, NRC and all this stuff.
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And it's like, you know, someday maybe we'll get it to a river bank labs and they'll do
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the NRC readings on the materials and it would be cool to do that.
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But more practical would be to just simply set the mic up in there,
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play a noise outside and then take the blanket down and play the same noise.
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And then what's the difference? Figure it out.
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But what, I mean, what you're essentially doing is what we always talk about is doing
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the most you can before you have to return to plugins and all that sort of stuff.
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You're doing everything you can in a situation where you're not in control of a lot of stuff.
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You're doing everything you can before you hit it with noise reduction,
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before you hit it with de-reverb, before you blah, blah, blah, blah, blah.
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You know, to me that makes complete sense.
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I do everything I can.
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You do, you work hard. I mean, you sweat over this stuff at night.
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I'm recording tomorrow. What can I do for Robbo to make his life easier?
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Let me think about, hang on, I know what I'll do.
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I'll wear two microphones.
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In fact, what I'll do is I'll send him both on the one track.
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Exactly, yeah, yeah.
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But I actually use my Tribooth in a couple of really pretty trying environments.
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And one was in Byron, and we were literally on the beach.
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So it was constant, you know, ocean noises, waves and stuff.
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And the other one was in a hotel, but it was, I was in the sort of lounge area,
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but it was the partition between the bedroom and that was glass.
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Oh, wow.
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And that was the only place I could put it was next to the glass.
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Super echoey.
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Oh, it should have been awful. It worked.
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Yeah, right. Oh, really? Yeah.
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And then like, in terms of what you can put in the booth,
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this is right off the website, you know?
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So like, we just did a few.
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What headphones have big red, what is that?
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Audio Technica ATH-M50s.
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They have make all kinds of custom ear pads, all kinds of stuff.
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Does it come with a water bottle too, does it? That's cool.
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Yeah, we just did a few pictures for people that are not as imaginative,
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you know, like, what do I put in the booth?
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What could it look like?
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Yeah, so this first one is just the most basic version, which actually,
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in this case, the universal audio interface is outside the booth.
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So, you know, sometimes having less stuff in the booth is the way to go, you know,
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and just have it sitting outside on a desk and just have a less cluttered environment, right?
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So in this case, there's nothing in the booth except mic, headphones, and a script, you know?
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This is, in this case, the script is on an iPad, right?
00:24:02
I think that's a pretty ideal setup.
00:24:04
It's less, the less is more approach, less gear, less stuff in the way.
00:24:08
If you really want to have the DAW in front of you, then there's your typical
00:24:13
MacBook sitting on the copy holder shelf,
00:24:15
and the copy holder shelf is strong enough to hold the weight of most modern Macs.
00:24:20
It might be a little bit...
00:24:20
That's like what, like a Yamaha mixer on the shelf board?
00:24:23
Yeah, that's an AGO-3, actually, in that picture.
00:24:26
And these pictures are pretty old.
00:24:28
In fact, they're so old,
00:24:29
where these are the original blankets that had a blue border on them.
00:24:32
So these are pretty old pictures now.
00:24:35
And then, yeah, so...
00:24:37
Glass of wine, too.
00:24:37
Nice.
00:24:38
Exactly, glass of wine.
00:24:39
Good eye, good eye.
00:24:41
That gets the reads going smoothly.
00:24:44
That's right.
00:24:45
And then an iPhone for timing at the bottom there.
00:24:48
Was I there that day when you were doing...
00:24:50
Yeah.
00:24:52
You never finished that glass.
00:24:54
Exactly.
00:24:55
And then this was just the super light version,
00:24:59
which is an iPad with an Apogee mic,
00:25:01
which actually I recorded somebody at Wovocon,
00:25:04
where it was just...
00:25:05
She had a Yeti Junior, or the Yeti...
00:25:07
Whatever, the little tiny...
00:25:08
They made a worse Yeti than the Yeti?
00:25:10
They really do.
00:25:11
They get smaller and worse.
00:25:12
That's not bad enough.
00:25:14
And we used it, and, you know, it wasn't amazing sounding,
00:25:17
but it was quite usable.
00:25:18
She was happy.
00:25:20
So, yeah, you can just throw that up in there with your iPad, go for it.
00:25:24
And then this is just like an example of just using the booth
00:25:28
for doing like an appearance or a meeting or something.
00:25:31
I thought it meant it came with George the Tech on call.
00:25:34
It's like, George, what the fuck's going on?
00:25:35
It can.
00:25:36
I can't get it to work.
00:25:37
For the right price.
00:25:39
I can't get Poll A to go into Poll B.
00:25:41
What the fuck's going on?
00:25:43
Yeah, and in this case, he's got a lav microphone on in this shot.
00:25:46
But I mean, these are just a few examples of what you could do with the setup.
00:25:51
I like that light.
00:25:53
I like the light and the way it's...
00:25:54
How does that connect to the blanket?
00:25:58
It's got like elastic straps up there.
00:26:01
Yeah, there are some straps pre-sewed into the roof.
00:26:04
The roof of the booth is the most complex single fabricated thing in the whole product
00:26:09
because it's a triangle.
00:26:11
So making it, it's a little bit more complicated.
00:26:13
It has a piece that has to be sewn in for the second layer.
00:26:16
That's actually not that easy to sew.
00:26:18
And then you have the loops, the little straps for the light.
00:26:22
There's a lot that goes into making that.
00:26:24
How do you sew a moving blanket?
00:26:25
Jesus, the sewing machine must be industrial.
00:26:27
Well, I'll tell you for a very long time, it was just Rick's wife using essentially consumer grade,
00:26:34
you know, high quality, but the machines would occasionally just fail.
00:26:39
You know, they would break down.
00:26:40
Imagine, pull a sewing machine and be like, fuck.
00:26:44
It was too much for the machine.
00:26:46
Yeah, yeah.
00:26:47
So he's finally found someone to help do the sewing, like a professional sewing service
00:26:52
with the better machines.
00:26:54
It took a long time though.
00:26:55
He was very picky.
00:26:56
We tried a few companies.
00:26:57
But then he had to order them in bulk.
00:26:59
And that's where it's like that whole thing of like, how many do you order?
00:27:01
Because if he, enough of that, he's making his own corner pieces out of PVC.
00:27:05
Right, when these are made in batches of 10.
00:27:07
So that's how it goes.
00:27:10
And getting all the different pieces in time and on a fair price.
00:27:15
The thing is that we haven't raised the price because, well, we're idiots.
00:27:19
So the profit margin has shrunk over the years because everything is more expensive.
00:27:24
Everything is going up.
00:27:25
Yeah.
00:27:25
Everything.
00:27:26
So as you said, Andrew, when you added up the price and what it costs you down there,
00:27:31
yeah, it's essentially costing us 500 plus dollars in just raw materials, just all the bits and
00:27:37
pieces.
00:27:38
And it's kind of where we're at, you know, and the rest of it is time.
00:27:42
It's time, labor and overhead and all that.
00:27:45
So, and then it's also me, because every time you buy a booth, it includes me setting up
00:27:49
processing or doing a consult with you to get everything fine tuned.
00:27:54
So that's also part of it.
00:27:55
How much, how much are they?
00:27:57
1500 U.S.
00:27:58
And that's, I think that believe that's still including shipping to the lower 48 states of
00:28:04
the U.S.
00:28:05
Including shipping.
00:28:06
And Andrew, you said that, so in Australian, that'd be a million.
00:28:10
What would that be?
00:28:11
Yes, about 2.5, I think.
00:28:14
Something like that.
00:28:14
2.5 million pesos or something.
00:28:17
Australian pesos.
00:28:18
Yeah.
00:28:18
And a couple of cans of Foster's apparently.
00:28:23
I think it's about a bit over two grand.
00:28:27
No, it's about 2200, I think.
00:28:30
So you figure at least, at least a quarter of that, more like two thirds of that or a
00:28:35
third of that is just materials, not including how much time did it take you to put it all
00:28:40
together, Andrew?
00:28:41
Oh, God.
00:28:42
And it was shit, to be quite honest.
00:28:44
Right.
00:28:45
And then it still doesn't even look good.
00:28:46
It took me a long time to make a shit product.
00:28:48
I did.
00:28:48
I'm looking at our own website, which I have not looked at in some time.
00:28:52
And apparently there's a rentals request.
00:28:54
Well, there you go.
00:28:55
We just spoke about it.
00:28:55
Oh, there is.
00:28:56
So, yeah.
00:28:57
One stand.
00:28:58
We do have an individual expo rental.
00:28:59
Well, that's how Cookie works.
00:29:00
He just heard me suggest it and he's like, I'll do that.
00:29:04
Yeah.
00:29:04
Yeah.
00:29:05
By the time Andrew spends 10 hours doing this, you know, and anybody values their time.
00:29:09
Rick's been watching this episode swearing, continually going, George, for fuck's sake,
00:29:14
we do rentals.
00:29:15
Sorry, Rick.
00:29:16
I should probably know our own product, huh?
00:29:20
Now Robbo's going to have to edit out half of the episode.
00:29:23
Yeah.
00:29:24
Exactly.
00:29:25
Just scroll back down for me, George.
00:29:27
What's it say down the bottom there?
00:29:28
You provide what?
00:29:30
You...
00:29:31
There is a security deposit.
00:29:34
Yeah.
00:29:34
You provide the, hang on, dry booth is ideal for recording artists who find themselves
00:29:38
needing an affordable.
00:29:39
You provide the mic, interface, computer, and the talent.
00:29:41
Well, there'll be plenty of people, a few people out there who probably can't supply
00:29:44
that part.
00:29:46
You provide the rest, the entire unit.
00:29:49
Yeah.
00:29:50
Instead of having to make, require people to have insurance and all that stuff, which
00:29:54
most pro-rental houses in Hollywood, you cannot rent a damn thing.