[00:00:06] [SPEAKER_00]: This is The Tech Arts Podcast where we talk about tech, leadership and all things that
[00:00:12] [SPEAKER_00]: concern church audio, video and lighting.
[00:00:16] [SPEAKER_02]: Welcome to The Tech Arts Podcast and the Earthworks Audio Studios.
[00:00:20] [SPEAKER_02]: My name is DL.
[00:00:21] [SPEAKER_02]: So glad to have you joining us today.
[00:00:24] [SPEAKER_02]: Today's podcast is jam-packed with great information and content.
[00:00:28] [SPEAKER_02]: Joining us for today's interview is the legend and Parnelli award-winning audio engineer Buford
[00:00:33] [SPEAKER_02]: Jones.
[00:00:34] [SPEAKER_02]: In this conversation you will get to hear from one of the greatest audio engineers of all
[00:00:38] [SPEAKER_02]: time, a man who mixed for David Bowie, Faith Hill, Pink Floyd and many more.
[00:00:45] [SPEAKER_02]: He pioneered immersive sound mixing and brings a unique perspective to how you should
[00:00:50] [SPEAKER_02]: approach an immersive mix.
[00:00:53] [SPEAKER_02]: This is not the first time we've talked to Buford.
[00:00:55] [SPEAKER_02]: Matter of fact, today is part 2 of our conversation.
[00:00:59] [SPEAKER_02]: If you did not listen to or watch part 1, you need to go back and check out that episode.
[00:01:05] [SPEAKER_02]: You can do that by going to TechArtsPodcast.com.
[00:01:11] [SPEAKER_02]: In part 1 we not only talked to Buford but we also got into the details of the Capture
[00:01:16] [SPEAKER_02]: Summit.
[00:01:17] [SPEAKER_02]: James Harding who is the president of Metro Media and Communications shares all the
[00:01:22] [SPEAKER_02]: details of this powerful summit.
[00:01:24] [SPEAKER_02]: If you have not signed up for it today, you can do so by going to CaptureSummit.com.
[00:01:32] [SPEAKER_02]: Our tech tip for that episode was the sound wire.
[00:01:35] [SPEAKER_02]: If you have not heard of this product, be sure to go back and listen to episode 46 which
[00:01:40] [SPEAKER_02]: is part 1 of our convo with Buford.
[00:01:43] [SPEAKER_02]: The sound wire is an amazing invention that will change how you connect your computer
[00:01:48] [SPEAKER_02]: to your sound console.
[00:01:50] [SPEAKER_02]: To listen or watch any of that content, go to TechArtsPodcast.com.
[00:01:57] [SPEAKER_02]: Special thanks to all our sponsors, especially Digico, Earthworks Audio, Sonic and WorshipFacility.com.
[00:02:06] [SPEAKER_02]: Without them this podcast would not be possible.
[00:02:09] [SPEAKER_02]: Okay let's jump right into part 2 of our conversation with Buford.
[00:02:13] [SPEAKER_02]: When we left off, Buford was talking about a controversial subject that helped him throughout
[00:02:18] [SPEAKER_02]: his career.
[00:02:20] [SPEAKER_02]: Let's listen in.
[00:02:21] [SPEAKER_03]: And I listened to those tapes and another very controversial subject which helped me tremendously
[00:02:27] [SPEAKER_03]: throughout my career.
[00:02:28] [SPEAKER_03]: You have to understand audio I think pretty well to be able to accomplish making the
[00:02:39] [SPEAKER_03]: highest possible accuracy of a live recording and then your real show.
[00:02:46] [SPEAKER_03]: And of course your real show is what's the priority getting to the audience but I felt
[00:02:51] [SPEAKER_03]: that there was some sort of commonality here that wasn't being exercised and I wanted
[00:02:57] [SPEAKER_03]: to use show tapes and I was not embarrassed to do it or what somebody else had.
[00:03:03] [SPEAKER_03]: Well people over there came here with those people here and that's bull in my book.
[00:03:07] [SPEAKER_03]: I can explain that in depth but yeah my first time to ever listen to a show tape would have
[00:03:13] [SPEAKER_03]: been about 1978 with Linda Ronstadt and I remember the night where we finished the
[00:03:23] [SPEAKER_03]: show it was my own calling.
[00:03:25] [SPEAKER_03]: I told them I was recording tonight's show of course for permission for the reason
[00:03:29] [SPEAKER_03]: of improving the show.
[00:03:31] [SPEAKER_03]: Let's go sit on the bus and listen to this.
[00:03:33] [SPEAKER_03]: Well it's the only night the entire band did it but if you can imagine the horseshoe
[00:03:39] [SPEAKER_03]: in the back of the bus lounge and I'm sitting in the middle Linda Ronstadt sitting
[00:03:45] [SPEAKER_03]: here and her producer Peter Asher was sitting here and the rest of the band
[00:03:52] [SPEAKER_03]: was around that.
[00:03:53] [SPEAKER_03]: No pressure no pressure.
[00:03:54] [SPEAKER_03]: No pressure at all.
[00:03:57] [SPEAKER_03]: I was wow and then once I hit play I'm even hearing myself oh man I should have had to
[00:04:04] [SPEAKER_03]: get taller than that I should have had this little.
[00:04:09] [SPEAKER_02]: Critiqueing yourself while you're playing it.
[00:04:11] [SPEAKER_03]: Yeah she was very polite but she said where's the guitar?
[00:04:18] [SPEAKER_03]: Well I don't hear it I know why I don't hear it because he was playing through amps
[00:04:23] [SPEAKER_03]: that were directly pointed at me and I think he's in the PA when he's really not.
[00:04:30] [SPEAKER_03]: So this helps on the equation well Mark can jump off in that too.
[00:04:36] [SPEAKER_03]: Let's just say that when we listened to that tape the things that they brought up
[00:04:41] [SPEAKER_03]: was just like a stamp it's like I didn't have to write it down and I didn't have to try to remember it.
[00:04:47] [SPEAKER_03]: It was fascinating me to go to the console the next day at Sunshine and try these things that they pointed out in the recording.
[00:04:56] [SPEAKER_02]: Yeah it helped you help you tweak your mix a little bit when you got in there mixing live again.
[00:05:02] [SPEAKER_03]: Exactly and you want to make sure that the hook is right and the instruments that make up that hook
[00:05:10] [SPEAKER_03]: or the lyrics however it is that you call the hook whatever you remember the song by
[00:05:16] [SPEAKER_03]: we get those elements out and then you know Peter Asher would sit with me at the console
[00:05:23] [SPEAKER_03]: but he had let me turn everything and very seldom would he say very much you know
[00:05:29] [SPEAKER_03]: and we just talked about the compression of her voice we did not want to put compression on Linda's voice
[00:05:35] [SPEAKER_03]: even though she's very different mic technique than most gifted artists and she's gifted
[00:05:44] [SPEAKER_03]: but she stays right on the mic she doesn't move it she holds the stand and stays right on it.
[00:05:50] [SPEAKER_03]: In fact she was nervous and I didn't realize that or pick up on that and I'm asking her
[00:05:58] [SPEAKER_03]: one night after the show back in the dressing room I says could you please stop holding the stand
[00:06:03] [SPEAKER_03]: because you're rattling it you know I'm hearing the tube and it's just rattling in there
[00:06:10] [SPEAKER_03]: she said oh please don't ask me to do that please don't ask me to do that I need that to hold on to
[00:06:15] [SPEAKER_03]: and I said okay okay fine I'll deal with it but this is where I established with that band
[00:06:23] [SPEAKER_03]: a real close relationship with the band and I just in my mind I don't say I can be done any differently
[00:06:31] [SPEAKER_03]: I don't know and the majority of it is where the sound company or the engineer travels with
[00:06:40] [SPEAKER_03]: the crew comes in with the crew works all day long you know some of them get there very early
[00:06:47] [SPEAKER_03]: in the morning they work the entire day and then they set out at eight o'clock that night to mix
[00:06:52] [SPEAKER_03]: a very important show that show is important for several reasons I mean not only that we're
[00:06:58] [SPEAKER_03]: entertaining people but we're a business and we're selling records if we impress our audience
[00:07:04] [SPEAKER_03]: with the quality of sound if they haven't already bought the album now there's chances they're gonna
[00:07:10] [SPEAKER_03]: go buy the album and because they had a great experience when they saw them live yeah I gotta
[00:07:16] [SPEAKER_03]: get that record sometimes it works the other way around but it's it's definitely you know albums were
[00:07:24] [SPEAKER_03]: when they're worked on by whatever artists especially the LA group but I think worldwide
[00:07:29] [SPEAKER_03]: it's typically a month two months some take much longer but after they've finished that record
[00:07:36] [SPEAKER_03]: they hit the road with it so as to promote it and to me I just saw the value in that in my early
[00:07:43] [SPEAKER_03]: time without anybody explaining it to me what we're out here doing and if we do a good job
[00:07:49] [SPEAKER_03]: we're proud of that job if we do a good job they sell more records this artist
[00:07:56] [SPEAKER_03]: sustains their career better and therefore there'll be another tour two years from now you know that
[00:08:03] [SPEAKER_03]: used to be a rough average but every two years or a little bit more all these lawyers record a new
[00:08:09] [SPEAKER_03]: record so that kind of made the cycle and things fall in place and for me I didn't have a resume
[00:08:16] [SPEAKER_03]: when I walked in the show go and I didn't have a resume until just a few years ago when I
[00:08:21] [SPEAKER_03]: moved to Nashville and I don't know the phone just kept ringing but I think that fact that spread
[00:08:28] [SPEAKER_03]: of word and of course Linda one Ron step was very big in LA and that area and a lot of other people
[00:08:35] [SPEAKER_03]: are Jackson Browns and James Taylor I think other than Ben and Martha's Vineyard was in LA a lot
[00:08:41] [SPEAKER_03]: so they talk among themselves and here I found myself meeting a lot more of these people
[00:08:46] [SPEAKER_03]: and just the phone started ringing so I'd go out with them I can't name one tour and even Pink Floyd
[00:08:54] [SPEAKER_03]: I did not call them they called me I didn't know that a Pink Floyd tour was coming up and out
[00:09:00] [SPEAKER_02]: well Buford let me ask you this question you've mentioned a lot of artists there what was your
[00:09:05] [SPEAKER_02]: favorite artist to work with and why I'll get that question probably more than any
[00:09:10] [SPEAKER_03]: um again just blessed with some of the greatest music on the planet and uh it's uh
[00:09:19] [SPEAKER_03]: because you said you worked with 32 artists right uh huh I had a list I could have sent you and I'm sorry
[00:09:27] [SPEAKER_03]: it's all right 32 artists which which one was your favorite
[00:09:32] [SPEAKER_03]: well Pink Floyd was definitely the biggest and uh you know it's just a whole different ball game
[00:09:39] [SPEAKER_03]: I mean it was uh to have that freedom to have the tools that you need you just speak up and get
[00:09:50] [SPEAKER_03]: the tools that you need they expect the highest performance possible uh from from their sound
[00:09:58] [SPEAKER_03]: from their cruise and so um that one was quite a challenge which I enjoyed that
[00:10:05] [SPEAKER_03]: challenge but I love the music I love Pink Floyd's music but I probably couldn't have named you the band
[00:10:12] [SPEAKER_03]: when I was um hard to go out with them now David Gilmore did interview me and Beverly Hills as this
[00:10:19] [SPEAKER_03]: finished it up the record and we just had a great little talk it wasn't so much about what I've
[00:10:25] [SPEAKER_03]: done and who I've done and what I can do we were talking about Macintoshes and Macintoshes
[00:10:31] [SPEAKER_03]: were fairly new around 72 and uh he was telling me yeah we used the Mac and Sequencer on the latest
[00:10:37] [SPEAKER_03]: album and we were you know doing this and that's cool yeah I do some of that stuff too but not to
[00:10:43] [SPEAKER_03]: the quality that you're doing it but I play with that so we just had that kind of chatter
[00:10:48] [SPEAKER_03]: you know just like what fascinates us in the business and I think he picked up from that
[00:10:53] [SPEAKER_02]: uh I was told for them you mixed essentially immersive you mix surround sound for them right
[00:11:00] [SPEAKER_03]: yes it was an interesting setup I jokingly call it the Floyd point one the Floyd system but not quite
[00:11:10] [SPEAKER_03]: you just didn't have a center channel uh what it was you had the main left and right PA and that's
[00:11:16] [SPEAKER_03]: channels one and two and then directly off to my left 90 degrees would be a PA cluster
[00:11:23] [SPEAKER_03]: up in the stadium one up there in the stadium and then one behind me so there you got five points
[00:11:33] [SPEAKER_03]: by it's a triangle I can explain it more on I know it's a square really in a way and
[00:11:43] [SPEAKER_03]: by positioning uh pan pots the primary course was the main mix and I do that in stereo
[00:11:51] [SPEAKER_03]: and then I'd use the quad or surround as effects I learned that on David Bowie when I tried it on him
[00:11:59] [SPEAKER_03]: in young Americans and uh Shoko had just built a console of parametric EQ my first time to get
[00:12:08] [SPEAKER_03]: on parametric EQ and on that console the four outputs that it had and I found that trying
[00:12:15] [SPEAKER_03]: to put instruments in the rear channels just does not work it just does not work uh it's the
[00:12:22] [SPEAKER_03]: illusion that you're hearing the guitar from behind you and you're seeing it in front of you and it
[00:12:26] [SPEAKER_03]: just your brain is not going to accept it and kind of feel that something's going on here that's
[00:12:32] [SPEAKER_03]: not quite right so I learned to use it sporadically the speakers are not on all the time
[00:12:38] [SPEAKER_03]: like in a typical surround sound situation especially if you listen to surround sound on
[00:12:44] [SPEAKER_03]: broadcast television broadcast there's something in the channels at all times but you don't
[00:12:50] [SPEAKER_03]: necessarily have that visual element so with the visual element is up there and I got the band
[00:12:55] [SPEAKER_03]: keeping stereo but every once while as solo for instance on David's guitar I could take that solo
[00:13:02] [SPEAKER_03]: build it up in the PA and then turn on a echo that echoes through the rear of the stadium
[00:13:09] [SPEAKER_03]: you just actually kind of hear it move over your head and I think that's I think that's really good
[00:13:17] [SPEAKER_02]: advice even for today's youngsters that are mixing on surround and immersive I go you know it
[00:13:24] [SPEAKER_02]: it's so easy to do nowadays as opposed to back then it was a little bit more difficult and my
[00:13:30] [SPEAKER_02]: or sound has you know their surround system dmb l acoustics they all have a surround system
[00:13:36] [SPEAKER_02]: now an immersive system as they're calling it and I've gone and attended some of these immersive
[00:13:42] [SPEAKER_02]: environments and they're trying to put instruments and do different things around me and it's just
[00:13:48] [SPEAKER_02]: doesn't sound right and I think what you're speaking to is something that even to this day
[00:13:54] [SPEAKER_02]: the immersive thing it is not the same as broadcast it's it's effects it's some of
[00:14:01] [SPEAKER_02]: peripheral things unless you're doing something specific like you're trying to move a train or
[00:14:06] [SPEAKER_02]: your you know the artist is out in the audience a little bit to the right and you want to make them
[00:14:12] [SPEAKER_02]: a point source over there but but speak to that a little bit more because I think that applies
[00:14:17] [SPEAKER_02]: to today's mixing when it comes to immersive and what you should put behind the person
[00:14:22] [SPEAKER_02]: or around the person as opposed to what as opposed to what you should put in front of them
[00:14:27] [SPEAKER_03]: well I think the you're making that surround dynamic and not not static and again we don't
[00:14:34] [SPEAKER_03]: put instruments in the rear channel and leave them there uh if something as I said effects echoes
[00:14:41] [SPEAKER_03]: reverbs would lend itself I had a lexicon 224 XL that all four of its outputs was assigned to the
[00:14:51] [SPEAKER_03]: quad station so again on the guitar solo you turn this on and wow it just opens it up it makes
[00:14:58] [SPEAKER_03]: you pay attention but it doesn't bring you out of the time zone in the time alignment and it just
[00:15:04] [SPEAKER_03]: sounds like the guitar is coming from everywhere uh and then it's gone that's what's nice about
[00:15:10] [SPEAKER_03]: it I think the first time that I saw Pink Floyd was the wall in LA and I set kind of towards
[00:15:17] [SPEAKER_03]: the rear and off to one side on the floor of the state of the arena and I noticed that too I'm just
[00:15:25] [SPEAKER_03]: I'm pulled away from time to time but only momentarily you know it's not that I'm just hearing an
[00:15:33] [SPEAKER_03]: instrument just continue blasting over here that's out of time with everybody else and so but I
[00:15:39] [SPEAKER_03]: thought they did that real tastefully but as I said I had actually experimented with that long
[00:15:44] [SPEAKER_03]: before I saw Pink Floyd with David Bowie and that was the same thing I tried uh stereo to stereo to
[00:15:50] [SPEAKER_03]: the back uh same thing left right left right then I tried to cross stereo I said what what what will
[00:15:57] [SPEAKER_03]: that do Bowie was very open he just said let's do it in quad he's you're gonna do whatever you're
[00:16:03] [SPEAKER_03]: gonna do let's just do it in quad okay great and uh so for the first three or four days
[00:16:09] [SPEAKER_03]: that's what I was trying was the configurations and uh I liked a lot of things I was doing then I
[00:16:16] [SPEAKER_03]: realized some of this is just simply not going to work and then it came to me this is a an effect I
[00:16:23] [SPEAKER_03]: need to use this as an effect when it's effective so you got to kind of dissect the music but I
[00:16:29] [SPEAKER_03]: think to the listener in a mercish situation that's what's wonderful about it is when it's
[00:16:34] [SPEAKER_03]: momentary and uh wow that was cool and then another effect that we used uh at that time we didn't have
[00:16:44] [SPEAKER_03]: quad panners or four channel panners with up joysticks but I'm talking about uh to be able to
[00:16:55] [SPEAKER_03]: what we did auto panners so I David had told me about this he that he tried it and I said yeah
[00:17:04] [SPEAKER_03]: well let's do that too so we got the old spx 90 if you remember the Yamaha spx 90 got two of them
[00:17:14] [SPEAKER_03]: and one of their programs is an auto panner okay just a certain auto pans is all it does
[00:17:20] [SPEAKER_03]: and then uh so I got two of them and I took the output of one and made it pan left to right
[00:17:28] [SPEAKER_03]: in the stadium or arena the other one a hardwired front to rear the front is actually a virtual
[00:17:36] [SPEAKER_03]: front it's mono in the front and it would pan this way now you why their inputs together
[00:17:43] [SPEAKER_03]: and bring them off one send and I could take the girls voices is where I really love doing that
[00:17:52] [SPEAKER_03]: I could take the girls voices get them well in the stereo but at the same time I turn on that
[00:17:59] [SPEAKER_03]: sin and the effect to me is just like they were flying around you yeah like they were
[00:18:06] [SPEAKER_03]: moving and you know I was interesting whenever we'd go say from a stadium to an arena uh
[00:18:14] [SPEAKER_03]: we would just change the frequency of that pan you know if there's a much wider
[00:18:20] [SPEAKER_03]: place in the day before uh Steve had worked it out my engineer to to uh give me the same
[00:18:27] [SPEAKER_03]: length where I sat regardless of how far the systems were because that varied a little bit
[00:18:33] [SPEAKER_03]: each day so that's we just vary the frequency so to me it would always sound pretty much the same
[00:18:39] [SPEAKER_03]: and uh it's just awesome I don't know what else to say uh you're only going to get this
[00:18:45] [SPEAKER_03]: effect in the center of the room all from the sides I'm not sure but I only think they never
[00:18:52] [SPEAKER_03]: said it to me but I think that Pete Floyd realized that the surround or immersive experience at that
[00:18:59] [SPEAKER_03]: time was well worth the prime real estate on the lower level and I agree with that they were
[00:19:06] [SPEAKER_03]: in line first they paid the most money to see the show everybody deserves the best show you
[00:19:12] [SPEAKER_03]: can give them but you know you just don't let these people suffer here when you're trying to cover
[00:19:18] [SPEAKER_03]: or something way up here you know hey uh I don't know this is once again they took the time to
[00:19:27] [SPEAKER_03]: well we're trying to get that prime real estate VIP seats had a great experience
[00:19:32] [SPEAKER_02]: it's not that the others didn't have a good experience but uh it sounds like for especially
[00:19:38] [SPEAKER_02]: for the time and the year that you guys were doing it was definitely an innovative thing which
[00:19:43] [SPEAKER_02]: speaking of which at the beginning of the podcast you mentioned the Parnelli Audio Innovator
[00:19:48] [SPEAKER_02]: Award that you won congrats on that by the way but tell me a little bit on what that award means
[00:19:55] [SPEAKER_03]: to you wow it means that I finally did something right in my life I guess
[00:20:04] [SPEAKER_01]: you got a trophy to say I did something right I did it I won
[00:20:09] [SPEAKER_02]: kind of so to speak well I know I know Helen Meyer presented that award to you and um just
[00:20:17] [SPEAKER_02]: just talk a little bit about that I when I watched the video you got very emotional
[00:20:21] [SPEAKER_02]: and um you know you've meant a lot to a lot of people but having her up on the platform
[00:20:27] [SPEAKER_02]: with you just talk a little bit about that unpack that experience for us
[00:20:31] [SPEAKER_03]: well they had told me the staff at Parnelli that I could choose who I wanted to actually hand me the
[00:20:37] [SPEAKER_03]: award and as Helen Meyer came to first like that I mean I guess I could call Jackson Brown see if
[00:20:43] [SPEAKER_03]: he was often he had done it or Clint Black or somebody like that that I still know how to get
[00:20:48] [SPEAKER_03]: in touch with um but it's just Helen came right I respect her so much and I worked with her
[00:20:56] [SPEAKER_03]: for 15 years and they were just 15 incredibly amazing years that's where I learned so much about sound
[00:21:05] [SPEAKER_03]: other than what I learned on the road it really well rounded me I think and you know we just got
[00:21:12] [SPEAKER_03]: to the point in those 15 years where I felt I was really ready to roll now I've got I've got
[00:21:20] [SPEAKER_03]: the understanding of all of this it's seeming like I was well respected by others and and uh
[00:21:26] [SPEAKER_03]: you know so she asked her to do that and she seemed very honored very pleased and happy to do it
[00:21:32] [SPEAKER_03]: and then so that's what she did and that's what I got emotional because I stood up I have no
[00:21:39] [SPEAKER_03]: problem speaking in front of people it took me a while to get over that but in fact when I
[00:21:44] [SPEAKER_03]: started Myer Sound I had not done any public speaking and terrified to do so and then I got into
[00:21:51] [SPEAKER_03]: the education department and then Gavin Canaan at Myer Sound would book us around the world on that
[00:21:57] [SPEAKER_03]: staff which is about six or seven guys and so mine was a mixing class and it was fun that uh
[00:22:04] [SPEAKER_03]: I'm getting back to Helen in the show but uh it was fun that I could tell them what to do with
[00:22:11] [SPEAKER_03]: newly tuned PA now what are you going to do with it now when the lights are down so that was my portion
[00:22:17] [SPEAKER_03]: of the education thing but Helen and the way that she run the company where all the people
[00:22:22] [SPEAKER_03]: respected her just made you proud to work there and want to do a good job and I'll give her that
[00:22:30] [SPEAKER_03]: credit um didn't even spend the time that I wanted to with John but we did we did several
[00:22:36] [SPEAKER_03]: occasions to get together and I think he and I have met in the early 70s with a rock we're just
[00:22:42] [SPEAKER_03]: simply rocked I believe in his philosophy equal amplitude response that gets in the making
[00:22:49] [SPEAKER_03]: show tapes but anyway let's get back here and John and he wasn't able to make it because he had
[00:22:55] [SPEAKER_03]: an earache that he thought that the pressure on the airplane would really be of of harm and so
[00:23:02] [SPEAKER_03]: he he wasn't able to make it but however she just did such a wonderful job and I was standing on the edge
[00:23:10] [SPEAKER_03]: ready to go and then I just kept listening to her to I whoa and I is just and I'm looking around at
[00:23:16] [SPEAKER_03]: 700 people and uh that are all you know high-end official people uh cost enough to get in there
[00:23:25] [SPEAKER_03]: that I think most of us road dogs couldn't afford it but uh no it was industry uh manufacturers all that
[00:23:34] [SPEAKER_03]: and um it was just nice to see them standing up when I walked up there and that took me away
[00:23:41] [SPEAKER_03]: too I could tell that the whole room was standing and uh same on the finish and it just got to me so
[00:23:48] [SPEAKER_03]: I was if you look on the video and I'm looking at my jacket for a Kleenex you know I'm just
[00:23:55] [SPEAKER_03]: trying to try to get all the tears out yeah and I couldn't I couldn't see the stairs I thought I was
[00:24:00] [SPEAKER_03]: gonna trip because my eyes just running water and then and then I get up there and I had a couple
[00:24:07] [SPEAKER_03]: words with her and then uh and then I couldn't see my phone and I just wrote down some bullet
[00:24:12] [SPEAKER_03]: points as all I did and I couldn't see that so I just sat it down and and went with it uh maybe the
[00:24:19] [SPEAKER_03]: order that I thanked people I would have changed a little bit but I'm not disappointed with it I got
[00:24:24] [SPEAKER_03]: so many compliments they just said you did it from the heart you know you you did it from the
[00:24:29] [SPEAKER_02]: heart and and that's who you are Buford I mean we know when I watched it I thought man
[00:24:34] [SPEAKER_02]: that just came from the heart and uh it was cool to see Helen up there giving you the award
[00:24:40] [SPEAKER_02]: and it's very very well deserved you are an audio innovator and so I was I was proud for you
[00:24:47] [SPEAKER_02]: to see you getting that award but I know you have another honor um so this podcast is sponsored by
[00:24:53] [SPEAKER_02]: Earthworks, Earthworks Audio you can go to the website earthworksaudio.com and you're
[00:24:59] [SPEAKER_02]: talking on the Earthworks mic right now but I think they sent you a special one didn't they?
[00:25:04] [SPEAKER_03]: Yes I'm so thrilled with that um it's got my picture on it um what they did was I sent some
[00:25:14] [SPEAKER_03]: actual photographs of uh just some shots over the years David Bowie was in there at the LA
[00:25:21] [SPEAKER_03]: amphitheater then Pink Floyd over Venice several different things and then I was saying about
[00:25:28] [SPEAKER_03]: uh uh cab driver who picked me up in New York roughly in 77 and I think that's what Mike
[00:25:34] [SPEAKER_03]: Dez really liked about it as the cab driver picked me up and asked me what I was doing in New York
[00:25:40] [SPEAKER_03]: City and I said I mixed uh live concerts and he said who do you mix? I said Linda Rostad and
[00:25:46] [SPEAKER_03]: he goes oh mama bakes the cake and you serve it well put this guy's hip and that'll be the
[00:25:55] [SPEAKER_03]: name of my book they bake the cake and I serve it and I think that's the way it should be looked at
[00:26:00] [SPEAKER_03]: you know uh I don't think an engineer can take credit for what it sounds like you know he's
[00:26:06] [SPEAKER_03]: delivering it it's created on the stage it just has to pass through our hands to get to
[00:26:12] [SPEAKER_03]: its final destination and we just don't want to destroy it or diminish it uh coming down to us
[00:26:19] [SPEAKER_03]: so I took that pleasure in realizing I have nothing to find musicians here to work with
[00:26:25] [SPEAKER_03]: and uh I can let them do their work I mean and then at the same time I'll learn their work
[00:26:31] [SPEAKER_03]: and then if I can embellish it I'm bellish it but anyway yeah um that was quite an award and
[00:26:38] [SPEAKER_03]: and it just makes me feel real good after all these years which microphone did they send you?
[00:26:44] [SPEAKER_03]: It's it's the ethos it's laser etched and so they got me standing there with a cake
[00:26:52] [SPEAKER_03]: they bake the cake and I serve it from the taxi driver and they have that even Bowie on it they
[00:26:58] [SPEAKER_03]: have pink Floyd on it they have um I don't have my glasses so I can't focus on it
[00:27:07] [SPEAKER_03]: three or four of the artists that I work for and they're on there too
[00:27:11] [SPEAKER_03]: but you see me with long hair is actually on a David Bowie tour and I uh they got they super
[00:27:19] [SPEAKER_03]: imposed a birthday cake and it's really really cool and I was amazed when I got this and they
[00:27:27] [SPEAKER_03]: they thought of that plus it's just a very quality microphone yours it sounded outstanding to me
[00:27:33] [SPEAKER_03]: right now and I hope this one is too if I stay on it but I would have had to mount it a
[00:27:39] [SPEAKER_03]: different way but I'm very pleased with that and I have a couple of different models of theirs
[00:27:44] [SPEAKER_03]: I've always admired earthworks and their commitment to quality audio and I trust these completely and
[00:27:53] [SPEAKER_03]: I'm finding they're fun to record with feeling that I'm getting the natural sound of the instrument
[00:28:00] [SPEAKER_02]: we're going to stop right there on this episode but you don't want to miss the next one we
[00:28:04] [SPEAKER_02]: talked to Buford about mic technique including how he miked up Eric Clapton for MTV's unplugged episode
[00:28:14] [SPEAKER_02]: Buford actually grabs a guitar and shows us this technique it will change how you think
[00:28:20] [SPEAKER_02]: about miking instruments well that wraps things up for today's episode I can't wait to talk
[00:28:25] [SPEAKER_02]: to you on the next Tech Arts podcast until then I'm David Loisner signing off by wishing
[00:28:29] [SPEAKER_02]: you a great day and praying god blesses every moment of your week see you soon you have been
[00:28:35] [SPEAKER_00]: listening to the Tech Arts podcast presented by digital great commission ministries DGCM is a 501
[00:28:43] [SPEAKER_00]: C3 nonprofit that was started to help churches with all things technical whether you need help
[00:28:48] [SPEAKER_00]: building a team finding the right gear or just a better understanding of the church tech world
[00:28:54] [SPEAKER_00]: DGCM is here for you find out more about our free on-site visits reports and consulting by going
[00:29:00] [SPEAKER_00]: to audiofidiolighting.com digital great commission ministries will help you run your church service
[00:29:07] [SPEAKER_00]: like a pro find out more at audiofidiolighting.com