So you know, like the most shocking thing to me was the channels of bass.

Like how many there were?

Like nine channels of bass.

Actually, it was, that wasn't the most shocking thing.

The most shocking thing.

I retract that shocking statement.

The most shocking thing was actually how geeky they'd gone down the rabbit hole with all of the bass

gear with all of the bases with all of the bass amps like the whole thing like how far down

that rabbit hole they'd gone to recreate the different sounds on the album i think it was just

yeah shockingly good i was also not expecting that level of depth in, in like, gear world. Yeah, it's like, and, you know, I'll just point out as well, I'm not normally in them situations as well. So maybe it's normal. Maybe I don't know. Like, I'm not, every week I don't get to sort of like, you know, swan around. Actually, I wasn't swanning around.

We were lurking around.

We were, we were lurking around backstage at the sphere.

And if you have no idea what we were talking about or what we are talking about right now, basically, just over a week ago, Ian and I, we were invited out to hang out with, well, at U2's penultimate concert of their stint at the sphere.

Adam Clayton and his base tech, Stuart Morgan, shout to them both.

They're friends of SBL, and they reached out.

We got invited over, and it was just outrageous.

It was outrageous.

Yeah.

Yeah.

Stuart brought us back.

We got to see the whole sphere from, I mean, from like sort of all angles, right?

We got to go backstage.

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