Primary Source Interview with Kevin Glendinning on Mixing Sound for Saturday Night Live

Mike Dias (00:00):

Sounds great. And I'm not going to have a live audio feed. I'm going to transcribe it, turn it into an article, send it over for you for your review.

Kevin KG Glendinning  (00:09):

Yeah, whatever. It's you and Paul. You guys are going to make me sound way better than I'm capable of, so it's all good.

Mike Dias (00:17):

And then you saw with Pooch, we're not going to get bogged in the facts of SNL and the technique of it. This really is a leadership piece guised as what you do. And I actually think that's one of the most interesting ways to look at it. And I think I sent you that screenshot from Pooch with Scoville and everybody else hitting him up being like, "Holy shit, that's the most interesting article on the industry I've read so far." That made me feel pretty good. And so to be able to follow up with you and SNL, and then off the books, my next one at NAM, I actually get to interview the CEO of MSI Japan, the whole umbrella. Yeah. It's just like saying I get to interview Sean Claire.

Kevin KG Glendinning  (01:06):

No, no, totally. Wow.

Mike Dias (01:08):

On this. And so it's really starting to get some interesting legs from a very different perspective of all of this. And so to set the stage, tell me about mixing for the musical acts for SNL. Give me the big, big wide picture before we start to narrow in.

Kevin KG Glendinning  (01:25):

Yeah. Yeah, no, all good. So ironically enough, the SNL studios are called 8H. It's in the NBC famous 30 Rock, Rockefeller. That's got all the studios in it and the whole thing. It was the Deftones 2003, November of 03. And we had just finished a long album cycle and we had this one last thing to do in New York, and it's freezing. We all want to go home, yada, yada. Well, tour manager says, "Hey, we're going to do this guy Carson Daily. We're guests on and the whole thing. It's in New York and nothing was said from there." And we're like, "Okay, it's another TV show. We got an extra week. Week of work here before we go home, elongated the tour or whatever." Well, we get sort of the logistics. And mind you, this was 03 before we had all the apps that tell us where we're going.

(02:24):

And we literally worked out of a tour book. Some of the older guys and gals will know what I'm talking about, but the listening and the address came in as Studio 8H, 30 Rockefeller Plaza. And I'm self-admittedly a huge SNL geek from going back in the 80s, watching all of that stuff and Chris Farley going back to Chevy Chase and I mean all the stuff. And some of the first times that I got into live audio was actually watching some of the music that came out. Pearl Jam, I remember being the first rock band to play three songs. Most bands only do two on, I think it was their second album Versus. And just it was a really, really cool way to see new bands because again, this is going back a long time before YouTube and all that. You would actually stay up and dial in to, I lived in Chicago, so it was an hour earlier, 10:30 every night to see what two bands were on and check them out for better or worse.

(03:30):

So seeing that I was actually going to be mixing a show on that stage that I watched on the television for so, so many years with my sister and brother and my folks and the whole thing. And we would actually VHS record and watch stuff back after it. So it was cool. I said, "Well, this is interesting." So many people have said so many times, we walked into Studio 8H, and again, this wasn't SNL, this was the SNL Studios. They were dark. They were on a break, it was off season or whatever, and it was Carson Daly was using their sound stage to film the live performances. So I walked in and Deftones at the time were a five piece rock band and I'm looking around going, "Where the heck are we going to fit everybody?" So this isn't SNL, this massive biggest TV live performance on not only NBC, but arguably the world.

(04:29):

And we rammed the boys in there and did a couple of songs and the whole thing. And it was cool, but it was a little ... It wasn't SNL per se as all the moving parts and all the cool skits and the whole thing. It was your standard TV show. So I thought it was cool and we all went home and the whole thing.That was kind of my first introduction to it. Now having said that, all the walls are decorated with Eddie Murphy and John Candy and Gilda Radner and all the old greats. So again, me being the SNL geek, still thought it was really cool. Did I think I was ever going back there? No. Did I embed myself with the rest of the crew because we're going to have to work together? Nothing like that. Albumoni was the monitor engineer at the time, and it was the first time I'd mixed on a PM1B, the original Yamaha digital surface.

(05:27):

So there was a lot of firsts for me, and it was really, really cool. So that was the first introduction. And again, didn't check that box, put the feather in the cap of, "Hey, I got to do SNL. I just was at the same studio." So that was going back 23 years ago, 22 and a half years ago, whatever it was. So very, very cool experience. But I guess going forward, the next time we would've stepped foot in there, I hope I'm not screwing this up, would've been Chili Peppers in 05 on the Stadium Arcadium tour. And that was the first ... I'm advancing with all the guys at NBC Universal. I'm talking to the guys in the production mixing room. I'm talking to obviously Al, who I'd met before, lovely, lovely guy.

(06:22):

And obviously this huge, huge rock band. Deftones were big back then as well, but Peppers had just launched this massive double album. I forget who was ... I think it might've been Demi Moore who was hosting. I don't remember, but it was definitely a whole different animal of excitement and prestige, I guess would be the word. And where the Deftones Carson Daily shoot maybe had three or four cameras. This one had 13 or 14 with three other stages all moving around. So full on SNL experience. And you do a full ... I don't know if people know this, but you do a Thursday soundcheck where you'll dial up all the ears, get monitors balanced and the whole thing, work on camera blocking. So Thursday is kind of the day. Friday, completely off. Everybody gets some rest day off in the city. And then Saturday is the longest day ever.

(07:21):

You go in midday, you do one more pass, make sure ears are right again, and then you do a full show dress rehearsal, I think at eight o'clock or whatever it is, and then they make their changes and edits and the whole thing. And then from there, you do what's called live to air. And that'll puck you up pretty good.That'll get the heartbeat race in a little bit because there is no ... I think it's a three or four second delay. I could check on that, but it is pretty much downbeat goes out to every living room and everybody watching around the world. So that was pretty interesting, unique feeling. I mean, yes, live shows that I've been doing prior were always live shows, but it's a little different when somebody's taping it. And it's a little different when it's broadcast into your living room.

(08:19):

And every paper Monday morning has a critique on it around the world.

Mike Dias (08:25):

At its peak, what was viewership?

Kevin KG Glendinning  (08:28):

What was viewership?

Mike Dias (08:30):

Yeah.

Kevin KG Glendinning  (08:31):

I don't know. I think probably, I mean, obviously with the advent of cable TV, so it would've been into the '80s and something, but I can check. But I think Saturday night, actual viewership was in, I think maybe a few million, maybe more like six or seven, I think in its peak. But I could definitely

Mike Dias (08:52):

Find that. I'm thinking 20 million, but it doesn't matter. I love the fact that you don't even know. Yeah,

Kevin KG Glendinning  (08:57):

I have no idea. We try not to think about

Mike Dias (08:59):

It. It's more than your biggest stadium. Up until then, you probably played 60,000, 80,000, maybe a South American hundred banger.

Kevin KG Glendinning  (09:08):

Yeah, exactly. But you could probably say in one night, I mean, hell, in two songs, more people are watching that than they did an entire leg of a tour collectively.That would be the balance I say. Say we did two months in, like I said, South America or Europe or something, all of those people watching it once is probably the equivalent of.

Mike Dias (09:31):

And let me just ask some more qualifying questions because I'm fascinated by this. So clearly there's other late night shows like Carson, like Carson Daly. And they're all great. Watching the musical acts on them are all great. Internationally, Jules Holland, I love them all, but they're not SNL. So tell me in your words, both as a fan and now that you have enough experience, what's the difference between SNL versus all the other late night shows and how does that-

Kevin KG Glendinning  (10:04):

No, perfect question

Mike Dias (10:04):

Because

Kevin KG Glendinning  (10:05):

There is a higher octane about it.

Mike Dias (10:08):

And how does the band treat it? How's the management? What is the perception of being invited to SNL? I want to hear all of those bits. Yeah.

Kevin KG Glendinning  (10:20):

So awesome question that, like I was saying, you're on a tour and you get your itinerary and whole thing. A lot of times, and the Pepper's case was this too, because we did it before we did any real air quotes live shows. We were still in promo mode. Back then, yeah, you would get Letterman, you would get the Today Show, you would get Jay Leno, obviously this is going back a while, whole thing. And then boom, hey, we're going to do SNL on March one or whatever it is. That was always one that was like, oh, cool. These are all great. And listen, I'm not going to tell anybody and they don't know in all due respect to my lovely TV friends, but Promo is tedious for live engineers and the band and everyone involved. There's TV's blocking, there's this and that. We're on the road, we're doing our line check into a soundcheck, into a show, boom, next city.

(11:12):

This is much more, we got to do it again. We got to do it again. All right, hang on. We didn't get the camera. The lighting's dim and this, us audio guys in the band, we're all going, "Come on guys." And it's not their fault. They want to get it right. I'm not a single anybody out. It's just a different animal of how they capture their, let's call it a craft.

(11:37):

But getting back to your question, when SNL is on there, everyone is fired up. And yes, there's a little bit more of something, whether it's they bring out somebody buys a special guitar or, "Hey, Kev, can I get some new blinged out ears?" Or, "Let's talk about the mic standalone." Yeah, there's definitely something like that. And again, it ultimately comes down to viewership and the record label who's insisting we do said promo wants their return and obviously wants the client, the product to look good. But yeah, it's definitely a very, very cool one. Getting back to being there just on the Carson thing and then walking into a proper SNL configuration, full production, there is just a buzz. And I don't want to be too corny about it, but from the three stage managers that are moving set pieces around to all the A1s and the electricians and just walking in the control room, I mean, everything about it is special.

(12:41):

They treat you right. They don't make you feel like, "Hey, we do this. You stand over there." They honestly, and whether your hands on the console or whether you're just standing there with an earmix in advising, everybody treats you right. And I've seen some change over there. I've seen some folks come and go and they kind of retain that same ethos.

Mike Dias (13:06):

It

Kevin KG Glendinning  (13:06):

Wasn't like, "Oh man, it was so cool here." And then such and such bailed and I'm getting all this attitude now. It's always kind of been family. It's always kind of been, "Hey, welcome to our show. We're going to have a really fun, very long, three or four days together, but they've always done a really good job of that. And I've done 14 of these, Mike, 14 or, I don't know, maybe 15. I've done a bunch of them, but in different confiderations, whether it was just playback or whether it was Paul Simon with all 15 of his band members crammed into that or Alicia subtly at a piano or whatever, they're always unique experiences and they're always handled really well. I just got to do a thing with Lily Allen last month that was really special. It was a unique setting. On a handful of times, I got to work with a client for the first time.

(14:14):

Noah Con was one of them. Like I said, Lily was one of them. Lizzo was one of them. And it was basically, "Hey, so- and-so, we added this last minute, our engineer's not available. Can you fill in? " Absolutely. Happy to help. And again, it's SNL. It's always a treat. So that's always unique of, A, I'm going into the biggest TV show on the planet, but also I'm mixing a person that I'm not familiar with. More importantly, they're not familiar with me.

(14:42):

And then I've done it where it's just like, oh, it's another frigging show here and we just added one more day to the tours. So each experience has kind of been unique with it.

Mike Dias (14:53):

Well, this is what I want to talk about because you're going to be too modest to see it this way. But actually from my perspective and the bent at this article, this is to me where it gets really interesting. In a way, you're hired ... Again, just to set the stage, the only other people who have played SNL so many times top out at 11, 12. The average engineer, maybe you're doing it a few times if you're crushing it. Playing 14 or 15 of these is not typical. And so- Are

Kevin KG Glendinning  (15:28):

You calling me old?

Mike Dias (15:29):

Yeah. What I'm saying is-

Kevin KG Glendinning  (15:32):

No, but I would say that's about right in a good 20, 30 year career. Yeah, a handful of times is a good fair amount. And I'm not bragging. I'm just saying the phone I just got lucky with, like I said, "Hey, Kev, can you fill in? " Or, "Hey, we just added this or something."

Mike Dias (15:52):

So I don't think it's lucky. I think that you're actually sort of that pinch hitter that people know to call when you're in a can't feel situation. Again, this buzz, this energy, this, oh shit, we're on SNL. We need the best of the best. That's sort of when you get the call, especially when they're people you've never mixed for. So how do you deal with the stress of it?

Kevin KG Glendinning  (16:20):

Yeah, no, and it's not really a stress thing. And again, on some occasions with the air quotes, new clients, or you'll have an offsite in the city or maybe even LA where there's a little bit of a warming up period of I'll get to know meet and greet, if you will, or we'll set up some years. I mean, even Miley's 50th thing, we did an offsite thing and it was just literally Miley and I in a microphone and she played with the house band. So it wasn't a big in- depth thing, but we did do an offsite thing, which was nice because we got to warm up to things. And I think the roots were the backing band. And so those guys get familiar. And Jamie over at NBC, who's, as you know, terrific, was there along for the ride and he was able to get his guys all set and ... Hang on, Mike, I'm so sorry.

(17:29):

Okay. But yeah, so there was a warming up period. And then other times you just go in cold where you walk right in, you're literally shaking hands with the person as you're like, "Oh, and by the way, here are your earpieces. I just got cleaned and checked. Let's get your mixes dialed up." So it's always handled differently. And then heck, I know other folks that have taken a whole week back in LA to get the SNL show rehearsed and then come in. So just depends on the complexity of it, I would think, and depends on is there a bunch of set stuff that Choreo needs to get air quotes right and stuff like that. So

Mike Dias (18:16):

You don't even look at it like stress, it's just one more day on the job.

Kevin KG Glendinning  (18:22):

Yeah, no. And I mean, like I said, it's live, live. You've got spare mics and spare packs literally in your holster ready to go. You've got contingency plans about what happens if this happens, or you run it, you run it, you run it. I'd say that the only thing that holds to this in terms of a high tension, holy cow, we're doing this is the Super Bowl. And I've been fortunate enough to be on a couple of those projects. The difference being one is in a tiny New York studio and the other one is in a giant NHL, or I beg your pardon, NFL stadium. The difference being the Super Bowl, you run, you run, and then you run it again, and then you do dinner, and then you're going to run it a couple more times. So at that point, it's a little bit more muscle memory, whereas SNL has so much other stuff going on in terms of sets in terms of this.

(19:22):

And that includes the monitor engineer. The monitor engineer, like I said, was Al Bamani, and I'll get that spelling for you. And these days as Chris Koz, and I believe Koz has been there 10, 12 years now, old dear friend of mine, great, great human, amazing monitor engineer.

(19:40):

He's mixing the house band, which those are no small potatoes there. Those are some heavy hitters in the SNL band. And then he's also mixing earpieces for various skits going on and the whole thing. And then right Kev, three, two, one, boom. Okay, my ears are on. So the Super Bowl, you're self-contained, you can check your stuff and the whole thing. There's a little bit you can do that with SNL, but there's a lot of trust. I've got artists listening and going, "I've got nothing. I've got nothing." I just say, hang on, they're going to go to commercial. You're going to slowly hear some room mics come in and then the band's going to start tinkling. They're already line checked. They're all good. And honestly, that's not a BS note to an artist. These guys are the best at what they do. They've been doing it for 50 years.

(20:31):

So like I said, it's a big name that pops up on the old schedule, but I always say, "This is my favorite one because I just know that I'm going to have a really fun and laid back 96 hours here at

Mike Dias (20:47):

SNL." Yeah. And so is there anything special you do to prep for it mentally or physically or you just-

Kevin KG Glendinning  (20:54):

No, not so much. It's about, not so much myself personally. There's some advance that happens. And again, every show's a little bit different. Yes, I will say this, you want to get more sleep. The schedules of bananas, like I said, you run basically three times on Sunday. The actual, by the time they go live to air at 11:30, and mind you, that's just skits. Music doesn't really kick till midnight. It's a long night. You're usually loading your show out on a normal tour at 12:00, and here we are just doing song number one. So just try to get a good night's sleep and enjoy the Friday day off in New York. This last Lily Allen thing, I had flown in from Stockholm just finishing up on the Lord stuff, made my connection in London and then got right up to New York, got to the room about 1:00 AM Thursday morning for a 7:00 AM load in for SNL.

(21:51):

So that wasn't too optimum, but we pushed through. And again, I could have easily have said no to it and passed it to an engineer that was local in New York or something, but I really, really wanted to do it. Didn't know much about Lily Allen. I heard great things and had some friends work with them. And in the past, Gerard Aldo, who we all know and love, had recommended me for it. So I wanted to do a good job for my friend. But yeah, it's just knowing that you have long days. And again, the tempo of TV is a lot different than, let's call it rock touring, standard music touring, where you get your gear together, break for lunch, where you do a line check, say hi to the band, get a quick soundcheck going, and then talk about tonight, and then you do your show and you move on to the next city.

(22:45):

This is a lot different. And again, you need to be rehearsed going into SNL. You're not there to figure out your parts. You're not there to have ideas or have the musical director say, "I think we should do this. " You need to come in and be ready. You need to come in and be rehearsed and say, right, this is our two minutes and 49 seconds of song A and boom to boom, we're done. Okay, next. Because they have way too many other things going on, dare I say rude and unprofessional and insulting to them. And Chris, the stage manager who's loveliest of loveliest guys is not going to have it and will not allow it because he has 19 other things all happening at the same time while he says, "All right, Kev, we're good to go. You guys do your thing. I'm going to go over here and deal with my 14 other things.

(23:39):

I'll be back five seconds before you're done." And literally he's tapping me on the shoulder going, "All right, cool. Next guys, let's move this, blah, blah, blah." I mean, it's

Mike Dias (23:48):

Crazy.That's the money clip right there, by the way.

Kevin KG Glendinning  (23:50):

Oh, totally.That's

Mike Dias (23:52):

It. And so it's two different things. When you've been touring with everybody and you know him so well or when you're hired in as a hired gun, how does it feel to bring home a win like that for the whole team?

Kevin KG Glendinning  (24:08):

It is cool. And I will say this, you've hit it on the head. There's a little bit, everybody at the end of the tour, everybody at the end of the Grammys or everybody ... Name your big show, right? VMAs, whatever it is, everybody says this was special or there is absolutely a different holy bleep we did it and so many people just saw that and exhale ... It's over. And again, there's an extra stylist brought in. There's an extra art director and choreographer. And I believe our buddies on share just the week before doubled up on audio. And listen, that's a good thing. I'm certainly not bagging on that. I wish it happened more often because there's a little bit more depth to the team that's assembled for it and there's a little bit more just all around ... Yeah, there's a little bit more intensity about the whole thing.

(25:15):

So just like any other job, any project that you're doing or the fine folks at Headliner, when it's put to bed and you're reading it or you're scrolling through or whatever, yeah, there's a lot of gratification in it, man. And like I said, I've been a long time doing this 25, six years, whatever it's been, from the Super Bowls to the Grammys, to the VMAs, to this. I honestly do think the SNL gratification and project, if you will, overall start to finish is the funnest one. And for the younger guys and gals, phone rings to do that project, whether it's a fill in or something, it's one not to miss. It's really a special thing, feather in the cap for sure.

Mike Dias (25:59):

Oh my God, this is going to be a great article. Okay, last one. How do you think you got the reputation to be the guy to call for SNL?

Kevin KG Glendinning  (26:07):

Oh boy. Oh, honestly, I think a lot of it's luck.

Mike Dias (26:14):

This is a business article. Don't be more honest.

Kevin KG Glendinning  (26:17):

I think maybe just because I've been there a bunch and it's just a trusted thing or whatever, but I'll be shocked. And I've always been shocked at, I should say, that even longtime production managers will come in and they're like, "Hey, well, just be over in this room." "Well, what's that room? "I'm like, " Oh, you know the control room. ""Well, where's that? " I'm like, "Have you not ever been here?" And they said, "No, man, this is my first time." And I'm like, "Wow." And again, certainly not bragging. It's just not everybody gets the opportunity to do it or God forbid more than once. Having said that, I got to fill in on Noah Khan, his production manager, Kyle Ronan, a dear friend, we did a bunch of Miley Cyrus stuff over the years together. His engineer had some PTO. It was a last minute thing.

(27:07):

So Kev's done this before. He'll be fine the whole bit. Others just happened to fit into a schedule. Like I said, I just finished the Lord show, got on a plane, landed in New York, and the next day did Lily's soundcheck that morning. And you know what? Obviously, the caliber of clients that I've had, I've been lucky enough to mix some of these great, great bands and amazing artists at the right time. When I was doing Gwen Stefani, she had just gone solo and was the hottest thing that's ever happened. We had just finished the band, no doubt to her. And man, they threw the kitchen sink in terms of promo at her. We would get on a plane and go to Sydney. We'd get on a plane and go to Milan, back to London, over to LA. SNL was absolutely something that she wanted to be on, or at least the record label wanted her to be on because we were all very tired.

(28:09):

But I was very lucky to be mixing artists and bands that were on SNL's radar. And I'll say that. To answer your question, I think I've been lucky enough to be a part of those projects. And Paul Simon being one of them, Paul happens to be best friends with Lauren Michaels, the executive producer of the show. So I'm pretty sure that was a shoe-in. And Miley, she was asked to do the 50th. I believe there's a very close relationship with her and the NBC family for many years. So she was one of five people that was invited to do SNL 50 last year. And we were rubbing shoulders with Paul Steinman. And listen, Sabrina was there shaking in her boots. And I literally ran into Paul McCartney in a small hallway because we were trying to get Miley A to B, and he was just hanging out because he's Paul McCartney.

(29:14):

And it's something special, man. It really is. The 50th, that was last February, I believe, February of 25, that was definitely ... Even I've been there a bunch of times, that was definitely a pinch me moment. Holy shit, I can't believe all these folks are under one room. And I don't think that's me going back to nerding out from my childhood and being such an SNL geek. I think that was ... I mean, I remember seeing Zach Galafanakis, who is one of the funniest humans breathing air, running to the men's room. And it was just like, "Duh, he's just running through the hallway." And like I said, literally ran into Paul McCar Certainly by mistake, of course, but it was just folks like that. I remember saying something to Miley, I'm a little nervous. I'm like, another day at the office. Just don't look at the front row.

(30:13):

And she wasn't too sure what I meant by that because it was Keith Richards and Chevy Chase and Jack Nicholson. And Meryl Streep. I was like, "That doesn't make you nervous. I don't know what will." But no, it's just, like I said, hammering home, it's a special, special place with really special people involved in the project from the stage managers to team audio. Heck, even the wardrobe and makeup guys and gals are the nicest people you could ever be involved working with.

Mike Dias (30:46):

That's actually the really deep lesson there. It's the institution, not everything else.

Kevin KG Glendinning  (30:52):

Yeah. That's the best definition of it. It's a fricking half century old institution. American Media Powerhouse. It really is.

Mike Dias (31:02):

I love it. Well, actually, this is a phenomenal, phenomenal. I went long because I was just curious. I'll edit it all down. Don't

Kevin KG Glendinning  (31:08):

Even worry about

Mike Dias (31:10):

It. Shoot me pictures that you feel comfortable about running. More is better. Headliners so good with their layouts and this one's real special.

Kevin KG Glendinning  (31:17):

Yeah, no, for sure. I won't have to get anything cleared by NBC directly. I just want to make sure I got names right while ... Are we still recording?

Mike Dias (31:27):

We are, yeah.

Kevin KG Glendinning  (31:28):

Okay. Chris Koz is monitors. Artie is A2, and I'll get all these last names. Jay Vicari and Josiah, I'll get a last name, is broadcast. Jenna and Chris are stage managers. Melody and ... Oh, I'll get her. It's not Liz. There's two artist relation gals. I'll get those. Yeah, please. It really- Yeah, those are the eight people top of my head

Mike Dias (31:58):

That

Kevin KG Glendinning  (31:58):

Just make it happen. So I want to make sure that those names are dropped in there.

Mike Dias (32:02):

Please, because I'm actually going to focus. What I distilled down from hearing this, the business lesson, yes, of course you're the fucking pinch hitter. And you're right. It is luck and the bands you're associated with and all of those other pieces. But really, it's the institution. When something works, your line of just when an artist is freaking out and they can't hear and you're like, "They got this. " They trust them.This

Kevin KG Glendinning  (32:27):

Is really it. Caroline Sanchez is front of house and he's next to Burton. So I think it'd be cool if we got all these folks listed in there or just a listing of-

Mike Dias (32:40):

Yeah, let's do

Kevin KG Glendinning  (32:41):

It. ... of the staff. We don't have to fake enter them. Tina Fernandez is the other one. So I'll get all these, I'll get a list. Tina and Jamie are very close.

Mike Dias (32:50):

Yeah.

Kevin KG Glendinning  (32:50):

So I'll just get one list and I'll email it over, just the whole staff that I'd like to get

Mike Dias (32:54):

Mentioned. This is fantastic. Thank you. Thank you. Thank you.

Kevin KG Glendinning  (32:58):

Well, fresh in the head, I'll email over some photos now and you guys crop them, do whatever you want. I'm not worried about any artists or copyrights or whatever.

Mike Dias (33:08):

Great. Okay. And I'll turn this over to you before I turn it over to Paul and team.

Kevin KG Glendinning  (33:12):

Thank you. Amazing. See you. Have a good one, Mike. It's

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