FOH Skills with Daniel Ellis | We The Kingdom Engineer

[00:00:00] Today's podcast features one of the top Christian audio engineers in the nation. We drop in at front of house during a We The Kingdom tour day to talk about how he sets up his console, his approach to mixing, and what it takes to deliver a great experience night after night. Then we take an exclusive tour of Monitor World to see exactly how We The Kingdom handles monitors on the road. Tease alert, you want to hear how they handle their talkback mics.

[00:00:26] This special episode of The Tech Arts Podcast is brought to you by Shure, AC Americas, Digico, Paragon 360, and Resi. If you're passionate about live audio and learning from the best in the business, you don't want to miss this episode of The Tech Arts Podcast, which starts right now. This is The Tech Arts Podcast, where we talk about tech, leadership, and all things that concern church audio, video, and lighting.

[00:00:56] Welcome to The Tech Arts Podcast and The Resi Studios. My name is DL, so glad to have you joining us today. Our next guest has been on tour mixing front of house since 2004, working with bands such as Isley, Copeland, David Crowder Band, Jesus Culture, We The Kingdom, and more. He has experience in just about every size venue, ranging from small clubs to churches, arenas, and stadiums,

[00:01:21] plus a passion for sharing what he has learned from others and helping to teach the next generation of audio engineers. Please welcome to The Tech Arts Podcast, one of the top Christian audio mixers in the nation, Daniel Ellis. Hey, Daniel. Hey, how are you doing? Doing good, man. So you've been on tour since 2004. Feels like you should go home every now and then. Is this your only day off since 2004? I've had one or two. One or two others.

[00:01:49] But it's pretty constant. The tour life. Yeah. Well, we did a thing, man. We went on site at one of your We The Kingdom shows and to see what you did for the audio at those shows. I will warn everyone, sometimes we got a little goofy, so we may have to step in every now and then and explain our actions. Nothing inappropriate. Nothing inappropriate. Just a little goofy.

[00:02:16] I watched through this once and I was hoping to never see it again. I was hoping you lost the footage because I hate how I look and sound. But here we are. Let's see what happens. Yeah, when I talked to Daniel about doing this, he's like, oh, me. He's just, are you sure you want me? I'm like, yes, man. You are a great engineer. Put out some awesome mixes. People look up to you. I don't know if you know that, but a lot of people I come across talk about Daniel's mixes.

[00:02:46] I've had a couple of good mixes, but you don't want to. You don't want to watch me on camera. That's why I stay in the back of the room. All right. Well, let's jump into the recording and see what all, see how good Daniel looks on the recording. Hey, everybody. We're here at Grace Church and we're going to be talking with this guy right here, Daniel Ellis. Like you got to turn around, man. The camera's the other way. Other way. Keep turning. There he is.

[00:03:15] We're going to be talking with Daniel Ellis and going over the tech gear and kind of what they do with their setup and how they use it. So come on, let's go. Hey, everybody. We're with Daniel Ellis here at Front of House for the Tech Arts podcast. We're on site, kind of a cool new thing. And we're going to try to be as awkward as we possibly can, right? That's all I know how to do. Yeah. We know we're back. We know we're back in the studio making fun of ourselves. So it's going to be like Beavis and Butthead, right? Yeah. Yeah. Look what he did.

[00:03:45] He screwed up. Beavis, let's go. All right. I have no explanation for this except that I'm being a bad host. You know, I watched quite a bit of Beavis and Butthead growing up, even though I wasn't allowed to in my home. Yeah, me too. That's got to be the worst impression I've ever seen. I got to say, though, man, I think. Wait a minute. Did you just say I had the worst? I just can't do it.

[00:04:12] Just a horrible, horrible impression. I got to say something, though, man. I think you look better in a ball cap. I think the ball cap, I think, that you're styling. Well, the longer hair, too. I cut my hair. Oh, that's right. You chopped all your. Are you like Samson? Are you super strong when you have long hair? Yeah, my mix sounds better, too. That's true, man. All the guys that have long hair, their mix does sound better. Hold on.

[00:04:41] Here, I'll fix this. Is that better? Oh, there you go. He's got the ball cap. Yeah. Yeah. Instant upgrade right there. All right. Let's jump back into it. So, Daniel, you're a front house engineer for We the Kingdom, right? That's right. You like it? I love it. You like the tour life? Most days. Yeah. Yeah, most days. I love it. I can't. I don't want to be sitting in an office somewhere doing the same thing every day.

[00:05:09] I like how I can wake up in a different city every day. I do the same thing, but it's always 5% different, you know? This is a beautiful facility. This is Grace Church, right? Yeah. Yeah. And who's We the Kingdom touring with this time? Katie Nicole is opening up for us, and that's it. It's just her and us. I remember Daniel and I met at a church in Orlando, Florida, and I remember, I think you

[00:05:38] had mixed We the Kingdom like once or twice or something like that, and I remember us doing Holy Water, which is a We the Kingdom song. And I remember giving him some critiques on how to mix Holy Water. The worship leader's like, I think he knows how to mix this. Yeah. I was like, why does this sound different than normal? No. No. Actually, at the time that I met you was like right when I started with We the Kingdom. So I probably had done just like a small handful of shows at that point.

[00:06:07] Well, we're standing here in front of house. You mix on a Yamaha console. Tell me why Yamaha. It's just my flavor of choice right now. I just switched a couple years ago. Just wanted to try out the Silk preamps and it's got like the Bricasti or Bricasti or however people say that, the reverbs that everybody loves. So we're going to pause the program right now and just let everyone know that the Tech Arts podcast is sponsored by Digico, but we do allow people like Daniel to mix on other consoles.

[00:06:37] We just don't like it. Thanks. Thanks for that. Thanks for allowing that. I love Digico as well, for the record. Yeah, I think you say that a little later on that you love Digico. They're great consoles. Yamaha, Digico. I've seen them both out on tour. They do, you know, they're different, right? But they do some cool things and have their own lanes. And I still don't know if it's Bricasti or Bricasti. Someone should probably let me know how to say that word.

[00:07:07] Yeah, if you know, I don't even know. I don't even know. What'd you say? Preamps? Those are the preamps? That's the reverb. The preamps have a thing called Silk. It's like a saturation overdrive sort of thing. Not really an overdrive. Yeah, saturation. See, the thing is, I don't know what I'm talking about. I just turn knobs until I like it. I'm the host of the show and I got the preamps mixed up with the reverbs. Anyway, let's go back to what we were doing here.

[00:07:37] Just a couple of nice little onboard compressors and things that I wanted to try out. So I switched. I was on Digico forever, which I still love Digico. I think about them about going back actually very often. I'm on the fence right now. But I love this thing. Literally, the Silk preamp does it for me. And if you're not familiar with that, it's this texture button right here. You can turn it on and you got blue and red. Turn it up, down, whatever.

[00:08:07] But that is on the preamp and it's sort of a saturation thing or something. I don't know exactly what it is. What's it bring out for you? What's it do to the... Basically, red is kind of this top-end saturation thing. It gives you some air. It's a little bit of air and I don't know. It just sounds great. Blue is like a low-end thing. It's just kind of like a top-end, low-end thing that without EQ and without... It doesn't add any harshness or anything.

[00:08:37] It's just one of those buttons that just works. Yeah. Yamaha is a great console. You mentioned Digico. I think almost every tour I go out on, I see either Yamaha or Digico. But I'm not as familiar with Yamaha because I see all the plug-ins with Waves and things like that with Digico. So kind of explain your plug-in setup and how you achieve your different compressions and EQs through plug-ins. Yeah.

[00:09:04] So mostly I try to stay in the console as much as possible. I'm like kind of a minimalist or I try to be. I get a little crazy sometimes. But I do most everything in the console. I am running Live Professor over here with a couple of plug-ins in it. But it's literally... I have this because I need tuning. So I got Live Professor over here with Auto-Tune running on some stuff.

[00:09:29] And because I have it and can use it and can use any plug-in I want, any VST plug-in, I got a couple of Universal Audio delays and reverbs of Valhalla Reverb. Sound Toys, Decapitator, just a couple of random things over here. But I'm trying not to go too crazy. Those are specific effects that I use on specific songs. I'm not going to load up a bunch of compressors and things on every channel.

[00:09:57] I just try to keep it all right here. And this console has everything I need. It's got the 1176 and LA-2A plug-ins that everybody wants. Yeah. So I would call you a purist, which is kind of where I come from. I like to use, whether it be waves or whatever the outboard gear is, I kind of like to use it not on every single channel, but when I need it. When it's something that's going to take it to the next level versus trying to layer it on every single channel, on a layer four or five of them.

[00:10:27] So I really like that approach. I think that a lot more engineers should take that approach. But let me ask you this. I like to ask front house engineers this question. Of all these channels, which by the way, how many channels do you run? We have about 80 inputs on our list right now. So just a few. I'm probably mixing 55 or 60 of them, something like that. And it's talkbacks and crowd mics and things. So 80 inputs.

[00:10:55] What is the most important input on the console? Has to work. Vocal. So definitely lead vocal. And for me, I've got, I mean, I have eight vocals, and they're all pretty important in this show. I have kind of two main leads for most songs, and there's a couple other that may lead on one or two songs. Pretty much everybody is lead vocal at some point,

[00:11:21] and so that's by far the number one. Like I could, if nothing else works, for example, a few weeks ago, the power went out, so we lost everything. But it was a small enough room, you could still hear them singing on stage. So I had my vocal and that worked. I didn't do anything with it. They just sang real loud. Well, the reason why I like to ask that question is, I think a lot of, you know, I call them kids, but a lot of front of house audio engineers now, they come in and they spend, you know, illiterate, I'm going to be facetious here,

[00:11:50] but they spend like 15 hours on the kick drum, and they spend like 30 seconds on the vocal. And as I've interviewed, you know, different front of house audio engineers, all of them say the same thing. Vocal's important. Make sure you can hear it, make sure it's clean. What are some of the things you do to your vocal to get it out front and make sure the audience can experience it the way they need to experience it? It's just a blend of the right amount of compression and EQ. Like, I try not to do too much.

[00:12:19] Like, I don't want to compress the crap out of it unless I really need to. So like, so like my main vocal here, I have the, I'll just run down what I've got on this particular one. I've got a primary source enhancer, which is like the, it's like the waves PSE basically. So it's just, it's just ducking it down. Like I've got it set to five dB. Usually I do less than that. Like where if nothing's happening on stage or in the vocal, it just brings the level of the vocal down a tiny bit

[00:12:48] to keep, keep drum noise out. So I've got that into the 1176, the Yamaha version on here. I got a little multi-band compressor, which is like the C4 basically. After that, there's this Neve Rupert EQ 773. It's like, I think it's like a 1073 EQ or something like that. It's barely doing anything.

[00:13:14] I got like a dB out of 360 and then 2 dB up on the high shelf. And then it's got this drive knob that is, again, kind of like the silk thing. It's just like more of a texture, harmonic saturation thing. That, that kind of, that'll kind of bring it out a little bit without doing too much. And there goes the fire alarm. All right. This was awesome.

[00:13:42] I have never had a fire alarm go off in the middle of the interview. Well, you've never been on a church tour, have you? Because it happens fairly often. You get into these churches, which have, they all have these fire alarms that go off with haze. because most of the churches we go to don't haze on Sunday mornings. So when we use haze, it sets off the alarm. But usually you go in and say, Hey, are we good? Can we, can we run this now?

[00:14:12] Yeah. The alarms turned off. The fire department came and turned it off or whatever. And 70% of the time it goes off anyway. Like I don't, I don't know how that happens. Well, here's what I think happened. We, we were actually starting to sound so smart when the fire alarm went off. So I think what happened is somebody went, wait, wait, these guys are making too much sense. Let's pull the fire alarm. I don't know about that. I still think I sound like an idiot.

[00:14:41] You don't sound like an idiot. That's what my voice sounds like. Especially when you put the ball cap on, man. And we, even in this interview, as soon as you put the ball cap on, you sounded great, man. Fixes everything. Fixes it all. All right, let's jump back into it. So Daniel, the Yamaha console doesn't have a lot of faders out here. So how do you lay this out so that you can stay on top of the mix quickly? Well, every, I got three banks of 12 faders.

[00:15:09] Every bank can be set for, you know, one through whatever, just straight through the input list. Or every, every bank has custom layers. And I live on custom layers. It's a hundred percent custom for me. So I just build, like you'll see here, it says drums, guitars, keys, perk. We have a little bluegrass section. That's just a few mics. I just have those all right there for a couple songs in one layer. Just keep it all right in front of you. Yeah, mostly so band.

[00:15:37] And this is kind of how I've done it forever on, on any console that has enough space. I'll, I'll usually do the band over here where I can flip through layers of band vocals over here with effects or effects on another layer if I need to or whatever. And the middle's like kind of master mix section where I have VCA's or groups. And then my matrix stuff on here. And then, you know, when you're touring, you know, somebody sitting at home who does mixes in their church facility,

[00:16:05] they don't have to get up and run in real quick. Everything's kind of the same week in and week out. But for you, you come in and sometimes you're using their PA. Sometimes you're using your PA. What do you use to kind of get it tuned in really quick? Uh, over here on this rack on this other computer, I've got, this is kind of my system processing tuning stuff. Cause we're carrying a DNB PA as well. We're not using it to, we're using the subs today, but the, this church had a, didn't have rigging where we could hang our PA. So we're using theirs,

[00:16:35] but I have, uh, prodigy software over here. Where's my mouse? It's got EQ delay and all that good stuff. Uh, and I'm running smart on this computer where I can look at everything. I got a measurement mic here. I got a couple other mics. I'll move around the room. If it's big enough like this, when I had a mic, I had to move around cause it's, it's a big church. Had to go all of it place. Yeah. But yeah, smart's a great software. And if you don't know what that is, it's essentially a software that a lot of people use for tuning.

[00:17:04] So you can take snapshots of different places in the room and make sure that your delays are correct and things of that nature. It looks like you're recording over here. What are you using to record? Yeah, I'm just going into, uh, Nuendo cause Nuendo. I've never used it before. I was on Yamaha, but it interfaces with the console, like in such a great way. It's, it's, it'd be dumb not to use it. Cause I've got, I've got transport control on my user defined keys. I can stop, play, record, uh,

[00:17:34] every day. I'll just start a new file and it automatically takes all my track names and patch and puts it in here. I don't, I don't have to set anything up. Just click new file and it's done. Uh, and the same thing with virtual sound check. I just hit a button on here to turn it on and play back that. And it's all here. Just patched one to one. So it's just really, really easy to just use for virtual sound check with the Yamaha. So Dan, now what do you use the stream deck for? Since I've got my two systems here, the console and the live professor,

[00:18:05] I've got two different snapshots going on for, for every song. I have a snapshot. Uh, so, so mostly the stream deck just fires one, hit one button and it fires a snapshot in both places. So it kind of stays together. So I've got a button for every song. I've got a button that turns gates on and off for certain songs. I can turn tuning on and off. Um, and then, so I have every song programmed where it's just hit the song name, but if, if something different happens or they throw a wrench in it,

[00:18:34] I've just got every key saved where I can hit like key of C or a flat or whatever. Uh, just got that all programmed in. How many wirelesses are you running? Nine vocals, I think. And four guitars that are wireless on stage. And then all the, all the in-ears like 14 mixes of in-ears or something like that. 14 mixes of in-ears. So is it Yamaha at front of house and at monitors? Uh, we've got a Digico 338. Okay. So how you,

[00:19:04] So how, a Digico 338. Nice. We're going to have to go take a look at that. What's, what's your split? How are you doing this? Uh, there's a, I'll show you in a minute. There's a big rack on stage with, uh, it's got the SD rack, the Yamaha rack and analog splitter and a bunch of wireless stuff. And it's just, just huge rack all patched inside. So it's pretty clean. Wow. We're going to have to go take a look at that. Let's go take a look. Before we go to the stage to talk about the, we, the kingdom monitor mixes, talk back, Mike strategy systems,

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[00:21:02] All right, Daniel, we're at monitors right now. Tell me about this beautiful quantum three, three, eight. Well, this is called a quantum three, three, eight in case you didn't know. I think I just said that anyway. Yeah. We think we're so funny, don't we? We are so hilarious. I don't think that, but trying my best. It's obvious. We're audio guys to not lighting guys.

[00:21:31] Cause you can see how dark it is in this shot. And, you know, let's set up a light everywhere. Maybe it'll look a little bit better. Although it does kind of feature the nice digico colors. That's what it's all about. This is, uh, this is where we run the monitors. We got a whole bunch of PSN one thousands down here, run some ears for the band. It's big, huge rack behind you has our splitter and our, uh, SD rack, Yamaha racks and all that built in. Uh,

[00:22:02] that's about all I know. I don't run monitors here. So I just, I stay out of here as much as possible. I wish you would stay out of here. All right. All right. You should, you should talk about monitors because you, this is, this is Tally. He's actually our monitor engineer. Hey Tally. I don't know anything about this. So I'm going to give him this microphone and let him tell you some things. Give him the mic. You know how to use that? Oh, all right. So we staged this and, uh,

[00:22:31] all I got to say is we're horrible actors that did not go. That did not go as, as planned. Yeah. I think, I think it would have been all right, but Tally, Tally was the worst of the three of us. So he ruined it, but Tally, Tally is actually, was actually the monitor engineer on this tour. So if we want to talk monitors, let's, let's hear it from him. Let's jump back in and see what he's got to say about it. So Tally, man, it's good to meet you by the way. I'm David. Nice to meet you. Tell us a little bit about how we,

[00:23:01] the kingdom runs monitors, how you run monitors. Oh, it's feels like a free for all all day. Um, we've got quite a few inputs, uh, over 80. Um, we're using all the effects processing as far as reverbs were maxed out. And, um, between the band guitar techs, um, um, all the talk backs, radio talk back, everything like that.

[00:23:30] Sometimes it gets a little hectic. Um, but it's pretty fun. All the guys are good. You got a lot of lead changes. It sounds like there's not a lot of changes. I have two snapshots and that's just because there's a pretty significant set change. Not because there's a lot of mixed changes. Um, it just kind of rolls through the night. Not a lot of that going on. So you have a beautiful quantum three, three, eight. Uh, do you use waves up here? I do not use waves.

[00:23:58] So tell me a little bit about what we got going on here. You've got the quantum three, three, eight. Um, what do we have down here? Uh, we have the quantum underneath. We have a sled that has, um, a bunch of PSM one thousands and antenna combiners, um, some drawers that house all the belt packs and handheld, um, and belt pack transmitters over here behind you is our main IO rack. Um, we have,

[00:24:25] this is because you guys have a front of house Yamaha and then you have Digico here. Correct. So that's the reason why you're doing a split. Yes. Uh, uh,

[00:25:03] we have a hard split. legislation that has to audio and monitors, the kind of the two, three console. What is the key to running monitors and not frustrating the talent on the platform? Um, you're not mixing for yourself. you're mixing what they want to hear. You want it to be natural sounding. They want to hear something that sounds good just like you do but they have

[00:25:28] different requirements. So some of the guys on stage, their mixes have a whole lot of reverb and crowd mics things like that. Things that you wouldn't necessarily suspect would be in there and they're very high in the mix. So we have front of house talk backs. All this stuff can either go to techs or to the full band. My monitor talk back which I can send to several places. Well I can send to

[00:25:57] anybody individually or I can send it to front of house only or all the techs or to the band or just the band. There's backline tech talk backs and then there's stage talk backs and all that stuff is routed different ways whether it be just internally on the tech side of things or if it's going out to the band. And then we have our radios routed into the console so that if somebody's not

[00:26:24] close to a talk back as far as on the tech side of things they can just use a radio and it comes right in especially to my ears. So kind of explain talk back when people are saying I'll give the 10 second talk back explanation. So in my world in the church world talk back is a way to be able to communicate either with the with other members of the band or front of house exactly where you're going next in worship or where you're going next in in the set. What do you guys use talk backs

[00:26:52] for? We we use talk backs mainly as communication as far as people are having trouble with things or they need changes or... Do they have like a pedal or something? So on the stage talk backs there's a push to unmute non latching pedal that the people on stage can use to talk to us and then the drummer has an optical gate on his talk

[00:27:18] back and then the tech guys back here just have mics with switches. My talk back is a mic with a switch and... So it sounds like instead of using heavy like clear comm you know and things of that nature you guys are using talk backs to do more of your communication. Yeah we don't have we don't carry any comm it's all talk backs and radios as far as the crew is concerned. Yeah that's awesome. Alright

[00:27:43] Daniel tell me what's going on here with these two drum kits. That is Katie Nicole's drum kit it's the opener this is We The Kingdom and over there way over there we got some perk for We The Kingdom. I can see why you have a lot of inputs. Yeah a lot of area mics. How do you keep control that without it feeding back? I don't

[00:28:07] usually. Tons of feedback during the show. That is not true I attended the show and even during the acapella segment no feedback but here you go slamming yourself you're a better engineer than that you know that. Yeah I'm I'm real good at slamming myself. It's a it's a problem I have I've been working on it for years. We've actually worked together

[00:28:32] on many many shows and I've never heard any feedback on your shows. Well that's good to know. It's honestly it doesn't happen that often but we do have a part in the show where they gather around one microphone do this kind of bluegrass thing. I think they did it that night that you were there probably and uh if there's if we're in an arena and there's like a long thrust

[00:29:01] or whatever they want to be out as far into the arena as possible so it's out in front of all the speakers that can be a difficult moment but uh I've done it a lot so I've gotten pretty good at it I think. Yeah how do you do it you just push the mic up and ring it out? Yeah that's in uh even if the band doesn't sound check which they usually they usually don't during the day I always will put that mic out and just turn it up or have have a tech guy talk into it and

[00:29:31] you know talk into it like this and then talk talk to me from six feet away so I can turn it up and make sure I can still hear it and get everything and just just ring it out like that. I think you talk a little bit here in the video about the PA and the placement so let's let's listen in on that. Well here's the thing when we when we hang our DNB PA it's pretty easy but random church PAs that are usually 100 feet in the air pointing straight down at the stage it's you got to watch it pretty

[00:29:59] difficult because like these two mics here they put them way down there and they do this bluegrass thing around it where five people are trying to sing in those mics it's not easy. So soundcheck's important on these show dates? Yeah for me soundcheck is put that mic at the front and turn it up as loud as it goes and try to ring it out and and even then it's like some days it's just not good. It's just tough. Yeah. Well Daniel I only intended to stay for the first few minutes of the show and I ended up staying for the

[00:30:27] entire show it was such a great show and an excellent mix. Thank you very much. Yeah we the kingdom is a very good band. great musicians great songs and they they make my job easier for sure having having people up there like really professional knowing what they're doing on the instruments like they're all songwriters and

[00:30:56] producers so like it's it's really cool working with them because we get to collaborate a lot like they they actually care a lot and know a lot about sound in the mix so they'll they'll come out to front of house often and we'll play stuff back and just just dig in on the details of like let's do this reverb here you know turn this guitar up here so it's been it's been cool getting to do that with those guys.

[00:31:23] Yeah a lot of sound techs don't like that a lot of you know church especially church sound techs they don't like the band coming out and listening to the mix and kind of giving them pointers. I always loved it though I thought it really helped take my neck mix to the next level helped me understand where they were coming from helped me get it the way they want it because if they can get it the way they want it and they feel right on the platform it helps them engage the audience quite a bit more is that how you feel about it?

[00:31:51] Yeah 100% I think it's even if you disagree on you know how loud this or that should be or or whatever something in the mix it's to hear their opinion is helpful I mean there's been times I mean there's been a couple years with We The Kingdom where they they wanted a certain way and I like they they like

[00:32:16] more reverb on things than what I want to be specific and so we we kind of go back and forth about that but like because of that because of listening to them and in hearing why and all this I've actually adapted some of what I do to make it work for them and I ended up liking it better that way now so yeah I think you always need to listen to what the people on stage are saying they want in a certain way that

[00:32:41] especially they wrote the songs they know how it's supposed to sound and um you you may know more about sound than them but you're ultimately working for the band well at church it may be a little different but you're not the top dog at the church you're you're you're reporting to someone and you need to do do what they want you to do unless they want it to be 120 db then you should go find another job

[00:33:09] and save your ears I think that's such a good lesson for engineers to learn it's not your mix don't guard it like you own it be open-handed about it listen to the band they will take you to the next level they will help you out in what they're doing and how they're communicating with you so Daniel thanks for taking a few minutes to show us what was going on with everything at the We The

[00:33:31] Kingdom uh concert tour and uh and how you guys handle it I'm glad you got to come out and see a show that was a good time yeah if people want to find out more about We The Kingdom tour dates where do they go I believe you can just go to wethekingdom.com check out their website they'll have all their dates on there yeah if you go to wethekingdom.com there's a little tour tab

[00:33:58] uh there that you can click on and if someone wants to get in touch with you and have you come out and mix for them how do they go about doing that uh you could find me on instagram I think my name is daniel ellis f-o-h uh and my your name is daniel ellis well I think that's my instagram name daniel ellis f-o-h uh look me up send me a message I don't post all that often but I'm there if you send me a message

[00:34:27] I'll see it so to repeat that for everyone listening and writing it down to get in touch with daniel go to at daniel ellis f-o-h that's daniel d-a-n-i-e-l-e-l-l-i-s-f-o-h on instagram or you can email him at daniel ellis f-o-h at gmail.com it's the same as the instagram handle

[00:34:51] just at gmail.com daniel thanks for coming on and talking to us about the we the kingdom tour anytime let's do it again well that wraps things up for today's episode I can't wait to talk to you on the next tech arts podcast until then I'm David Loishner signing off by wishing you a great day and praying God blesses every moment of your week see you soon you have been listening to the tech

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