Tame Impala FOH & Monitor Engineer Gavin Tempany Interview

Gavin Tempany audio engineer

In this interview with audiotechnology.com.au Gavin Tempany (Tame Impala, Mark Knopfler, Hans Zimmer, Kylie and Eskimo Joe) talks about Mark Knopfler’s amazing ear; working on the SSL L500; and mixing.


0:00:02.5 –>
so gave welcome to our first installment of 80 I so booth do you like that I say there so just to rather than me kind of trying to be the perfect compare and describe your storied career maybe you could just you know give me a little bit of a potted history of last you know a little while of what you being up to last millennium yeah so yeah I’m originally Australian worked for a long time in Australia as a studio and live sound engineer and ended up moving to London about 2007 I think it was so what are we 13 or so years ago and yeah I’ve just been sort of

0:01:01.4 –>
continuing on haven’t been doing as much studio stuff over here but on my care with that been doing lots and lots of live stuff and it’s been it’s been busy it’s been busy and you think oh clients and you know it will all get it all happening Buddhist yeah it’s going from yeah that’s good so we’re giacconi your first break like I guess that’s an interesting story in itself like the the ambitious young audio guy you know making his fortune as it were in the UK have heard you crack that nut actually I didn’t really want to move you I was a girl at the time and she was like ah you know you’re away so much maybe thing move overseas you’ll be home more and I thought okay probably not but there we go and it kind of ended up being true you know and I guess it’s the same with you know everyone know straight I mean I was away oh it’s similar to what I am here I was away about 40 weeks a year you know which is quite a lot and anyway so when

0:02:05.3 –>
I moved to the UK being I was still doing still waiting for mr. mojo at the time and I think the day that I landed John Watson ring mean he said Oh give hey young girl I’ve known him from other bands and he said I hope you’re and um you’re in the UK now anyway yeah yeah like literally just Lannie he said oh look can you get on a plane tomorrow and go to America and start with me and I’m like oh you’re kidding me so it was like yes I can no problems so ended up doing sort of but Miss en esta my gel on and off for quite a while then yep and hence because of that I I really didn’t sort of get immersed into the UK market of you know I’ve been of Engineers and we’ve got a phone call from a mate of mine he’s actually since died actually an Australian guy I’ve got Andrew birch top chap he was working at a company called Britannia row and they were london-based young company and he said are we doing

0:03:02.7 –>
this do this Powderfinger gig at Hammersmith Apollo can you come down and you know help set the monitor monitor rigor is you know has called in sick and I’m not okay no work so end up going down there I met brownie and ended up you know things one thing turned into another and it I think Brandis still working grace to my Joe who’s brilliant and yeah and just so-so because I mean was still all sort of Australian contacts at that point you know and I guess it kind of then you know over time gank no the Yankee no the Britannia row guys and yum down and it sort of kind of took off from there short and I think once once once you I do lots of jobs food those kind of guys and don’t get too many complaints sure yeah yeah good sure and what can you describe the most

0:04:02.2 –>
current gig that you’ve been working on it’s a Mark Knopfler is that my understanding yep yeah yeah so doing Mark Knopfler all last year technically the last gig I did was Kylie in Brazil but but so keeping with the Australian thing yeah Mark Knopfler or last year which is amazing there he’s monitor guy for about 30 years Kerry Lewis was going through some killings last year so was unavailable and Kylie’s production manager Kevin Hopgood I’ve done a year with those guys and he said I gave coming over and needed monitor guide Eliza and then cool and being a massive sigh straights fan it was yeah I couldn’t say no to that one so there was a little bit of fanboy why just going on at the at the very beginning well I think he comes with the

0:05:02.3 –>
reputation of being like a prickly character and it kind of he’s just he’s just unbelievably good like oh like I guess he’s been he’s been on in years since like the 90s you know so right gobby days yeah yeah very exactly very very very very early adopter and hence even though he’s just turned 70 still has a ridiculously good hearing and it is it is both terrifying and also awesome to work for just he’s his he’s brilliant he honestly he’s just so good you know so what do you what do you what’s that forcing you to do I guess as a monitor guy is that just taking another step up to you know bring it bring you Triple A game I guess so I think also it’s just that you know that if you anything you do gets noticed and

0:06:02.8 –>
both good and bad you know no mean so so that’s a good thing I think I mean I never ever thought when I left Australia I really no one would have ever thought that I would even touch him on some enemy but it just happens to be over here I just think I’ve fallen into it a little bit you know still my front-of-house guy no one believes me I really am and is that classic thing enough you know : Ellis wasn’t one of the guys he became front-of-house god I think I need to go the other way around as I go back to do for now yeah so it’s just he um it’s just his sense of tone volume peach and harmony is the best of any one of Italy’s it’s um it’s ridiculously good buddy I mean he can’t say are can you take out you know 550 Hertz or something he just say I that’s not quite right but but when you get it right he knows yep

0:07:00.7 –>
so yeah yeah you were like like where while we’re just discussing Mark Knopfler did you want to just run us through I guess you you know your work place you know what you what gear you using what he’s preferred over the years and I guess sort of what you brought to the gig and and all that cool so basically by the time I came on board the whole thing was boy SPECT because Kari was going to be doing the gig and I thought look I’ll just keep it exactly the same the only thing is I’ve had so many problems with digital consoles that I’m gonna swap it out for my preferred console which is the ssl sir so i did that and so was an ssl l 550 with i think we had a total of five to the step

0:08:01. –>
532 a stage boxes lots of ins and outs I think the thing I did like 30 channels of radio which there was like 22 channels of NES so 20 20 years at twenty twenty something stands of years and you know about ten or so you know radio channels on I did radio on the two as well then I fit my am just a team the two of us so yeah it was I was brilliant and it was it was all sure PS m1 thousands with prospects and I have to say that that was really impressive I think that the saxophone player is a Australian guy actually he’s actually I haven’t this is the studio that I had in London for such a long time was actually with him and this is the first time he ever got to do gigs gigs together which is kind of we rang me up in like the October of like 2018 he’s like ah hey keV I got this gig with Mark Knopfler Mike it’s amazing you

0:09:01.2 –>
can’t tell anyone okay cool and I send you more like you know the links to all the live you know alchemy record station check this out check that out you know and then as it turns out I have arraignment about February moment you’re not gonna believe this but we’re gonna be doing some work together well you see it’s a good anyway yes I was gonna say there but basically the yeah it was all sure stuff really really good he’s saying that like that during during the – Oh between 86 shows and about two or three weeks worth the rehearsals he had one hit on the radio so I mean that’s from what I understand that’s quite a good thing so yeah and he was you know he’s all over the stage the rest of the guys you know they’re all boys they’re just stands still yep you know you being the sax player and being younger kind of you know so that’s kind of it and the vocal mark was a discontinued Audio Technica Mike um

0:10:02.5 –>
that wasn’t my choice but it but I have to say that we the front house guy who is very good excellent he he put me onto that will put us onto that and he said Aisha this I am yep it sounded brilliant you said have a listen to this you know this DPI wants to try this de facto out when I yeah yeah or is it devoted the factor whatever there yep their vocal is and always up for trying stuff and I honestly if the 80 just 80 it was ridiculous I think it’s quarter to 35 but like it was so good I got an ego no I bought one because there were we only had two or three of them you know and as it turned out we you we use that one mark the entire tour right so that’s the head on a shore stranded or is it a wired mic yeah all right the only what the only wireless mics were sax trumpet like a couple of headset mics one heads it might have been yeah it

0:11:02.6 –>
wasn’t very much it really wasn’t like six or so channels of transmit but like 20 something channels of oh sorry six channels of received about 20 20 channel to transmit yep fascinated by the that that my reason is Google got one here is broad here it is a holy enough I found one secondhand on eBay and it was one of the guys from SSE whose the sound supply Ram unison hey if you just bought a mic on ebay no yes is I was the seller well just so they just send it out the next time this instant here and it’s a 40 55 okay that’s gonna

0:12:00.3 –>
focus 50 just yeah yeah yeah doing that blue earring thing off but it just is just it’s just really yeah it’s just a stand on asleep sounded I mean what really really good really really good and the thing is I guess mark would mark would have as much of an opinion about vocal mics as you in front of house so he would what I think he just he just said to me hey make it sound like my expensive German mice yeah it must you it but I’ll probably no he’s got like quite though quite the studio in British Grove and like you know but however long he’s only ever used particularly high quality stuff so he just said a just make it sound expensive in German right okay from a handheld vocal mic give the shot

0:13:00. –>
he said it sounds good now you know I came what you do just just sprinkle some magic dust on it or something and I’m like it’s got a good sense of humor yeah okay so 40 55 yeah this is the the AE 5400 is a similar model but he writes discontinued there you go they’re not a hugely expensive like either I mean I don’t know what it costs Nev it’s secondhand it wasn’t too bad yeah yeah that’s interesting I’d highly recommend trying it I mean we were all in years we had a we had they heard that acoustics Lisa system so like the immersive yep I mean I called it Mona Lisa because everyone who seemed to work on it well it’s French it has all the things you know it’s like

0:14:01.6 –>
you know the South always you like yours there’s so many ways yes just just on that I guess just jump around or like does that you know going with the mercy of like that has it any impact at all on monitors so mark as well as having ridiculously good ears absolutely like a lot of the old boys hates hates blowing like to the point where most bands you work with be like that yeah cool it’s been low-end on stage the front of house was particularly the day they worked really hard on keeping the low-end off the stage where they would have like you know n fire like vertical and fire to kind of like to keep to keep the the low-end off the center vocal position was and it was it was really really good look they didn’t they amazing job so yeah yes I I didn’t really know what to

0:15:01.4 –>
expect Danny behind basically what was there I think it was five five seven adjusted yeah I think seven seven or nine hang of you know PA and it wasn’t it was all k2 it was 5 k2 hangs and to to Cara hangs plus them out so do that k2 does have a lot of low end off the back of it OD to expect but I thought it was really pretty good pretty good if you if you were trying to do a locum I know I think it’s good I don’t I don’t see any I don’t see anything I tried to get in contact ray who does um Lord because I know him through the Dropkick Murphys but I didn’t didn’t end up happening like I was kind of wanted to know exactly the same question but I can tell you that I didn’t find a problem with it

0:16:01.1 –>
I don’t know how many people are going to take it out for logistic and cost reasons but tell me it’s very very good on like all EC right I mean I did David Gilmour for two years and never heard it out front so you know how did it sound I’ve no idea sorry in rehearsals at Mark Knopfler at production rehearsals I walked out the front window and they were doing a virtual soundcheck and and the only instrument I ever heard through it was just a saxophone where where he would have been at that point it sounded like he was there like okay he is coming from the sound is coming from that spot like wow that’s pretty cool was it yeah I don’t think I’ve made on the panning or

0:17:01.6 –>
anything on that but I think I think what they tried to do is make it as look as real but just louder as possible which is that’s what we all trying to do right but yeah but this is just next-level and you said he was basically saying yeah man this thing is it’s it’s it’s a little tricky in it whatever you know bit convoluted not you know it’s not it’s not you know just not gonna walk in and make it happen but given some time for and whatever I think I think he said here everyone’s gonna want to do this coming forward it’s you know and all the reports were did sound fantastic so good so how did you get onto the ssl console ah so Britt ro what though they were they did Peter Gabriel’s sound reinforcement he at the time owned SSL and so suddenly was like oh boys outside

0:18:04.7 –>
okay here do you need to get your gun or anything no they’re the exact thing am i right I know the zombie wilderness yeah drop a lot yes sorry um yeah okay to go did Gabriel owned this at the time and they basically didn’t give the engineers a choice that you know Dickie who’s his guy would have gone for it no problems at all because they’ve got you know he’s basically a studio engineer and then Finley who’s doing sound for in would have gone for it as well also another real-world guy and Dean Miller has just a champion chap you know they had some day they I think at one point with Peter they had try to have my detector late and it crashed and I went back to a p.m. 5d which was sort of home base for D and

0:19:02 –>
then it was like okay we’re going to do this and so because of that bought some of the first ones yep ended up doing were mad festival in there so like in a surround environment with that a couple of times and then Mike lo who’s won the Brit Road directly put me up the Gilmore thing and he said our what console do you want I said well I always have trouble with the digi coast so let’s try this SSL so for day driving monitors I’ve got David Gilmour stand in front of me so that was that was pretty ballsy but I got away with it yeah so the work flows a little bit different or it’s just this and there’s a little bit more kind of roll-your-own with the SSL’s in there yeah the way I think I think all all consoles are very very similar you know that they all they all they all do you know sounding sound out

0:20:03.2 –>
the thing about this one there’s a couple of things that I’ve found that a really good firstly it did the transient response in the console not not the latency which is also ridiculously fast the actual front edge of the waveform is it’s until you’ve heard it you don’t realize what is missing you know the consoles it makes sense it’s it’s just really quick it’s push you know and not quick in a bad way but quickie you know like oh okay it just sounds more real back that through you know that console you know through wedges is wow it’s it’s it’s next level so there’s that yep for me it’s been really reliable I know next time I go out it’ll probably break me but you know it’s been super super reliable their support is it is unbeliev I had I found

0:21:01.5 –>
a bug in the console cheering not and they had it they had a workaround for me in in like an hour and it was it was like a basically don’t try and run 16 of the same reboot at once so protip yeah we’re creatures of habit we all like the same reboot you know just don’t do it 16 times ok yes they found that you know they found that you know the the thing that it exhibited was as I was as I was changing mixes the keyboard player said I can hear every time you hit that yellow button the solid button like yes and I’ve been I have listened to his packing away oh yeah I can so I said the simplest session file off to SSL and actually as it turns out it was actually going to everyone’s mix yeah but yeah but they found the defendant with like really really quick and that’s that’s in comparison to other companies

0:22:00.6 –>
who either a you can’t contact B I’m still waiting since Hans Zimmer for a response from digitized to why the console would push you know random faders in random mixes to +10 you know I said videos are symptom before and after show files you know there was a couple hundred channels and twenty something musicians I was looking out there is not it’s not anything but by the time it’s also not a small thing to have twenty two cars go what’s that [Music] so there’s nothing strange real good support there is a few little workflow changes specifically one of them is stem groups and probably the easiest way to explain that would be that they are ordinarily we when we talk about the the signal flow of a console we you know we go channels to auxiliaries you know onto

0:23:00.2 –>
masters and outputs you know whatever if you’re talking you know front of house wise and channels to took groups or channels towards is you know onto the master and then out to the matrix the stem sit in between the channels and the orders so effectively subgroups for subs they’re not just fruits they are their variable groups so you can create you know sub mixes of things really hand for doing things like orchestral sub mix is if if you’re you know we do lots of these shows where we turn up where a band has been out onto the rage isn’t it oh geez wouldn’t it be great to do our given Orchestra oh yeah that let me add it yeah so funny that the amount of times I’ve done that we had to start the band they got off with God be out of here the orchestra it’s gonna be amazing in the orchestra go oh we’ve got to be able to hear the band yeah

0:24:00.1 –>
yeah I can give it like 20 minutes and they’re both like yeah can you turn the band off can you turn the orchestra off totally here anymore it’s just two disparate things playing it yeah though it’s dambreuse really good for doing things like sub mixes so if you wanted to say say you with the guy doing the orchestral sub mix and monitors says hey man I just want I just want the full orchestra because I don’t have time all of the you know I just I just want I just give me the left right yeah you make a left right but if you wanted to do things like chop it up for broadcasts as they had like you know first violin second violins violas cellos yeah you know and all the separate parts of the you know of the winds and grass and whatever yep it makes stem groups through all those and and send them out and then using those same and but and then then so front of houses look old like you know just I’d like I’d like strings you know brass you know in this percussion whatever you the

0:25:03.8 –>
the one thing that that these have is that these effectively these altars can send back to themselves so you it’s a channel goal I’ve got some good slides that show how this works but it’s hard to kind of explain it over the phone but if you think about it in the fact that you you create a stem of say the first violins yes second violins violas cellos and basses and then you could then feed that at the same level into a subgroup or a stem of strings yes and so in so you’ve got you’ve got all the sections and then everything you mix up into that yes so the faders is all you know if you do a post fade yep it all happens there and it’s just it’s just a neat way of grouping things so that’s kind of like a that’s the so like the theoretical way of doing it but actually it’s really useful for in say someone like myself in monitors I found that was really useful for doing things like with Kylie where

0:26:00. –>
she has like six vocal mics and I’d make I have all the channels and effectively sent them to a post fade subgroup which at that point that has all the processing done up the EQ the compression whatever happens at that point yeah and these just turn on and off but if I need to they forcibly eq’d separately so I’ve got a fault with one mic one day can you know it could be you know more top-end out of there or something and just it’s a really handy way that everyone no one gets the individual mics mm-hmm they get just the stem yes it it makes it so Ken that’s your really yeah it’s really anything I’m talking what it what it means is that when you do automation if you want to do things like you know backing singer says to you after the first rehearsal she’s singing a lot louder today can you turn it down for me yeah no problems at all it’s one fader move mm-hmm it’s one fader we rather than well pull it down by 6 DB trust and then that’s too quiet you know so it’s

0:27:02.5 –>
it just it just it’s just a really quick way of doing anything yeah and that happen so that so stem bridge is super cool yeah it’s good sorry I’ll just bang on about this that’s good okay go with it it’s also got some really really really good automation functions specifically that some of the other consoles have this the abbot has it ichika has it yeah lots of other consoles have this which is what bananaman have the dedicated key for it so for exactly that situation was talking about before our pay today you know the the the low end of the PAS coming back onstage keyboard player says hey Matt can you turn the bass down and you can relatively change through either all the scenes or a group of scenes or or however you want to do it you know levels or anything so anything that can be automated or can be done either absolute which is very common thing but

0:28:00.2 –>
also relatively and and you you just you just go into group mode make the change then store and it’s done and ever into you until you’ve experienced that it’s just one of those things which I’ve hardly without anymore yeah yeah do you do you take much stock in you know having your favorite little signature processor that you’ve got to have and your favorite little list and your favorite Latin you’ve got to have your a third party DSP box to run you know an emulation of yeah URI this you pull tak that or what’s your view on all that oh I absolutely everything in the box yep nothing connected so that if anything fails the only thing I had to swap out the console right right yep and have seen other people go through just

0:29:01.7 –>
trying to set waves up everything Brazil the other day like all front house guys been I don’t know what time we got there we got there at one o’clock on the one 1:00 p.m. when we left at 10 o’clock in the evenings to even have his waves going came back at 7 o’clock in the morning by 3 o’clock in the afternoon I think they’re headed up and going so I’m talking yeah more than 24 hours and supposed to be some sleep between just to get the wave something yeah oh I dearly dearly would love to use the universal audio stuff mmm it’s great I mean it’s exactly one set of plugins I don’t own in the studio but um but yeah it is really really good I remember when it first came out I went to sound craft if my mic done was the product manager for for sound craft at the time and having a bit of a look at it inside I am a young convenient then there they’re no longer linked to it

0:30:00. –>
Universal here taken back but it’s I didn’t hear that that’s a yeah that’s a bit of a bad news for the VI seriously yeah I think I think it’ll still work and still integrated my kind of stuff but I think they’ve now gone to a Thunderbolt 3 interface and yeah check out I think it’s whatever it is you a live or whatever it’s called isn’t isn’t used to be called real-time rack I think now called you a lives and they’ve changed it up a bit and I think I think you a they’ll take that back as one of their own products right being there yep yep exactly yeah so didn’t you question oh I try and do everything as much as I can on on on every console as stock as I can do it only for the fact that having been one of those guys and having also had to set things up for people we’ve I mean I haven’t got my ways I can’t make it happen well actually all you’re doing is this and you know how to do that without using waves like oh and I get it it’s

0:31:01.1 –>
totally cool mmm I also come from the from a perspective of having mixed planet house sound for such a long time that my friend Casey who’s one of the greatest backline men ever describes it as when when people go from wedges to ease they become ear whispers which is that you know they go from you know Charlie changes the way that the artist seems having been on the other end of that when that happens it’s like oh man I would not wish this upon anyone so for me whilst I’m probably fairly technical actually try and keep the signal flow fairly unaltered for a couple of reasons basically so that says if there actually isn’t very much compression on stage in fact I’m not on them was not one compress it engaged it what it is is it doesn’t as soon as you change the dynamic then on stage and if that’s what people

0:32:02.1 –>
are used to hearing then out the front you have to do it twice as much and if got in the game feedback goes and yeah it’s like well yeah it’s just there’s no you can’t have them responding to that compression in their performances of work yeah that’s right yes yes that’s right so yeah so I try and keep it fairly simple as possible which you know it’s not quite like that on other gigs but certainly on that one it was yeah and and so this that is that and just I just yeah but also if you’re a you’re like oh I’ve had the luxury of working with some and with musicians and if you turn up as a session guy and the monitor guy starts changing your sound and a really way that you are that you have another I ask for or be didn’t anticipate then then the bigger picture

0:33:03.2 –>
is that that that session players reputation can be affected so and I mean like oh hey insert random musician here I’ve just I’ve just taken all this top end off your guitar and turn turns turned around says gee you guitars a bit dull time can you turn it up he goes well I haven’t changed it yeah so you know it’s that yeah just messing with his vibes and yeah yeah exactly that’s what he’s trading off yeah and it’s not just it’s not just thank God but it’s nice it’s also all the session guys you know who I’m happy to do anything anyone asks no problems at all button and I’m not gonna be that guy that’s gonna go in and change some very very respected musician sounds yeah obviously there’ll be a discussion hey I can do this you know but I’m not just gonna go what you know yeah it’s good hey I’m into it just

0:34:02.6 –>
to I’m sort of aware that this is being our first ISO booth I I wouldn’t mind covering off a few sort of things that are more pertinent to the here and now like what has the the lockdown meant for you apart from the obvious like you know you can’t go and work but like what does it meant for you what have you been thinking about you know maybe in a few personal reflections as well as a few sort of professional ones yes so I’m not quite sure that situations in Australia but the situation here as of we’re at Wednesday and as of I think Monday oh yes oh yes oh yes oh yes I’m really only early

0:35:01.6 –>
morning minutes as of about 20 28 hours ago we here in UK be advised not to go out basically at all there’s a lockdown SSO no social gatherings of more than two people and can be enforced by the police no you don’t know one to go to work unless it’s absolutely essential so that’s the destination and um to be honest I haven’t really I haven’t done much since there since a couple weeks ago and I’m I don’t mean work why something like anything wrong oh but for me I’m kind of I mean I spent so much time why these last four or five years and I’m quite happy just actually there’s a double concept you know yeah so for myself I’ve been I’ve been out my

0:36:03.2 –>
little back room trying to actually get a surround sound system happening so I’ve always wanted to dabble more at home in 5.1 so finally today actually after a bit of delay or my my speaker’s arrived which is good so what you what did you end up with well do you know what I bought you’re not gonna believe this I sold my expensive LS JBL Elessar speakers which word you know thx approved like kind of stuff and actually bought the cheapest in that range because they sound up the best to me in a shootout I was like okay I’ll believe you know it’s better than Adam I was like you know what whatever man transition yeah there’s a shop in Germany that and I’m sure there’s lots of in Australia I’m sure you know what you’re chocol applause guys I’m sure they’re gonna have you know set up a

0:37:00.9 –>
speaker’s anyway I just beyond daring on to it this is a cumin blue though I liked less than a hundred years of box you know it’s a five inch yellow star 305 they were sure and so anyway I had a stereo set of them for ages and I run speaker management on them anyway I used to I used something similar to sonar works which is is that I came onto media a RC and there which so kind of in a way I would say that you can get away with anything but these sound pretty sound is good yeah and like I have spent like the last however long tryna you know as a professional sound engineer trying to tune PA systems I can’t get into Sam as good as this you know by ear so yeah that’s okay yes I’ve been running so they arrived today and now it’s just

0:38:00.7 –>
sort of building shelving and I’ve got a um I’ve got a couple of 3d printers in a CNC machine so I’ve been trying to come up with a clever way of doing doing that I am I made myself these which are these are like it’s a 35 degree angle yes as I can put that against like the side of the speaker box and get an exact 35 degree later I could have cut it out of paper but there wasn’t gonna be a zone and got the print AMS will do it properly he took an hour to print two of them so that’s some next-level geekery that I was hoping to hear from you keV so what what what are you gonna be using you see insane machine for when you’re you know when when your time rich so I’ve got something I’ve been building

0:39:02.1 –>
stuff I am okay so here’s the deal my dad is possibly the best person at building things out of with limited resources of anyone that I know he’s unbelievable and I think it skips a generation like if you gave me a handsaw I would just like you want a straight line I’d be like you know honestly I’m terrible at it however being able to draw a little bit in CAD and thing outta export to CNC or to 3d printing actually that’s opened up a whole stack of opportunity someone is a unskilled as myself and and yeah Wow actually I should them so Kylie has got like some so I’ll just quickly show you great she uses these Sennheiser 5200 my clips yeah and she carry she’s got like you know gold mic stands silver mines whatever yep yep glow mesh LOM I wouldn’t be nice to print some 3d I

0:40:01.6 –>
printed these out of like so like a flexible material right yeah so that’s sort of a metallic look what yeah just write it yeah it’s actually it’s red underneath get it on I’ll spread it yeah I print them with five eight red and then use a 3/8 threaded adapter innit so because over here and they don’t use 5 8 27 pitch they use 3/8 we worth yep as the as threats okay so our first night at that in it but you can print threads you can do it everyone’s a gold one for a golden – so yeah yeah yeah have you found the boot up discs 4-year old Mac have a family cleanup use my old Mac well I can see you’re blurred out but clearly that’s an old Mac back there isn’t it yeah Oh old Mac yeah oh here we

0:41:04.5 –>
go I have to unblurred this you’re saving oh hello so this is actually oh should we do an old Mac running Reaper yeah running Reaper here we go so yeah I have didn’t need to find the but yeah over I’ve modified it for a modern machine you know every asking for an update actually I have got a bit bored one year and during the last pandemic yes and so I thought I found a an old Mac on eBay for like fifty pounds and he said I didn’t work I thought I was perfect but just have one of these and all ten I’ll turn my Mac Mini into this

0:42:01.8 –>
with a screen and the kind of thing awesome and it turned up and up worked and I was like oh man a moral dilemma just took about ten minutes and I was like yeah okay I have to take it apart so and I literally kept ID soldered I’ve D soldered all the boards kept all the parts so I thought just in case someone ever asks for it so it’s that only lasts about a year in storage I had to do that but anyway the trickiest thing and if you are gonna do this at home really yeah yeah you you do have to make sure that you discharge the CRT right okay what happened what was your experience with the CRT no no no no I knew about that guy always paranoid I tell him to pretend you wrote to Gerry wink who’s like the uber geek in there and he was like I know this is fine he’s getting news anything it cuz it would mean he used to work in a nuclear test facility

0:43:00. –>
so pretty sure that cathode ray tube I get a really scary – yeah and say so that thing I actually have turned up to hide Kylie Kylie had it in had it in rehearsals and she’s a look at that that’s like what I had a school I’m like yeah we turned up to Hyde Park it’s like you’re into the proms at Hyde Park you know massive Keegan business said I’ve got a Lenny Kravitz to set up around I’ve seen all these in other bands and just moving my Mac he’s like you know a G’s Mac sitting on the on the dog box of the of the you know that’s really funny okay draw this one I did print this this is quite cool okay YUM this is like a Maui head thing yeah but it’s actually like a headphone a little headphone that’s cool in a slightly sort of inappropriate culturally

0:44:00.5 –>
misappropriated way but I love it yeah yeah it’s actually printed in four parts all different and I’m sort of sprayed it with this kind of bum what’s it called like a stone finish climbing yeah it’s very creative needed a headphone hang-up said is there any good hey any more Show and Tell before we wind up I’m really interested in in your you know tinkering that yeah so what I have done is I have so as I see in Seema she actually bought this thing I can prove seen you link to it it’s called a shaper origin and it’s like it’s like to remember that remove that drink clayton’s it’s like the scene see without having assumed yes yes it’s an Aussie thing it’s a weird as an acquaintance’s another band back in the day was like the was the like the air

0:45:01.8 –>
like you know the air I have more oh yeah you know like the you know the the air knob or the other Clayton’s knob yep even more game when you never got more game and so anyway so this thing is it is a CNC machine but actually a it looks more like a router you move around and you follow the boring and in Berlin it we’re kind of you know moves that the router the I’ll send you link it’s quite happening and I’ve been interested in it for ages want to buy one when I was in America and they said don’t don’t buy one we’re going to release it in Europe coming up and I think you bought the first one in Europe so don’t know well okay serial number zero zero zero zero one for Europe and and yeah exactly I mean I don’t know about I don’t know

0:46:00.6 –>
people in Australia but certainly over here a lot of the sound companies have a local manufacturing arm and they’ve all got CNC machines and you know kind of thing and so for me this is just to be able to type bits and pieces at home they make some cool shelves and and kind of thing for consoles where they kind of will fold up and yeah probably we try and go into you know I make as Dougal says I’ll make tens of dollars out of it yeah but it’s very very difficult to sell things to to audio engineers and certain yeah and Mike from Australia as well but oh they kind of feel a bit in time gone I worked at the band I should get things for free no not not as an endorsement but it’s like well why would I buy anything sure like well maybe you’re right but it but you know who doesn’t want to have their job and lift that little bit easier like you know for tens of dollars

0:47:05.2 –>
I don’t have any here your own storage but yeah I made um there’s a silk shelves and it’s misty sim ones I’ve got got my 6l ones really goes yeah great and so what is the shelf actually do can you paint a verbal picture yes so basically all all the tops of consoles whilst you have a dog box and you can open up the dog box if you put it the on the dog box then can’t open dog walks therefore you can’t actually fixing problems so I just my intention just to move everything off the dog box and put it on the set of shelves that that was done to the profile of the console job and it’s worked out really really well it makes sense yeah yep so the only way you’re gonna sell them really is that other people look at your setup and go that’s neat where do I get one of those which yeah yeah that’s good hey I think I’ll

0:48:04.7 –>
will wind up that not because we’ve run out of things to say but just because we’ve gone for 48 minutes so um you know I think we should be a little circumspect as to what people can handle on their first installment of ISO booth I’m sorry I’m the first guy I’m really sorry you know I just talked to Christopher now I really appreciate your time and I wish you and yours all the best and yeah yeah happy we all come out the other side with a new skill and and hopefully a slightly different but slightly better world yeah that’s very wise words my man very well yeah good to see you I don’t think long time no it’s been way too long it’s been

0:49:01.9 –>
great to catch up and hopefully talking soon okay see you Matt cheese boss okay bye

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