Ford Van
Banned
So, there is a real chance that somewhere, between the input of the Brick, and the input of the Behringer DI, something happened to the signal. Extra cable length, bad cable, a possible bad connection within the Brick. Etc....
Ford Van
Banned
Try that same test, but run the bass to the Behringer first, and it's LINK jack to the Brick. See what happens.
E
easychair
New member
Ford Van said:
I don't think that will make any difference, but I agree, Scrub's test methodology has flaws.
Ford Van
Banned
We shall see. I am not seeing a 30dB roll off between 20Hz and 50Hz on a bass track I ran directly to a Behringer DI.
E
easychair
New member
Ford Van said:
My point was that if hooking them up one way had some effect, hooking them up the other way will too, and neither way will be a good indicator of how they compare.
scrubs
Not of sound mind
easychair said:
To be fair, it wasn't designed as a test. It was just a sample of a track I had recorded. It is representative of my experiences with both the DI100 and GI100 boxes, though, regardless of the signal path. I'm not really interested in designing any sort of scientific protocol to test out these pieces of gear. I know which unit I prefer for recording my bass. For live recording, like the ones Ed posted, the Behringer did a fine job. It's also cheaper and more portable for live work, which is a plus. Peace.
E
easychair
New member
scrubs said:
And that, really, is all you need to know, if you ask me.
Ford Van
Banned
easychair said:
Based on experience, I would be very interested in seeing the results hooked up the other way. It may not change. But, there is as good of a chance that it will too.
Next. Scrubs, I won't debate which unit you prefer. I am only saying that I have posted bass guitar tracks recorded via a DI 100 that sound full and rich, and, that I have not noted there being a huge roll off below 50Hz on the tracks I have used it on. Not sure WHY yours did, but none of mine have done that.
E
easychair
New member
Ford Van said:
So would I, as well as seeing both not connected at all.
But it doesn't seem like scrubs wants to go through the effort, and I don't blame him.
And I ain't buyin' no brick, I've used my DI budget for the year.
BigRay
New member
Ford,,,,do you use Behringer because with the amount of gear you have to haul around(you are a pro, right>?) it is the most cost effective...or do you just prefer behringer?
Is all your gear behri stuff?
Is all your gear behri stuff?
LemonTree
Suck 'em and see!
I'm glad I started this thread...... Never said i never liked Ford Van although he's an arsehole to the core, but an ok one at that. I still think behringer sucks on their QC, even though I have three pieces of their gear in my rack. We live, we learn...and a few of us have the ears to tell the difference 
Ford Van
Banned
BigRay said:
Good question!
It is mostly economics and reputation.
The kind of live sound budgets I have dealt with don't allow me to purchase top end compressors. I could NEVER make the money back on a $2000 doing live work on a local level! Even doing local gigs for national bands, the local promoters just don't want to pay much for live sound.
Thus, I am forced to find places where I can get away with budget gear. The sound company I still do work for, the owner and I have been tight since before he started the company. I was very involved with the gear purchases. We decided that amps and speakers are NOT a place we can compromise, because of the sheer abuse they take! We agreed that crossovers and eq's could be mid level. We felt that for mixing boards, Allen and Heath was about as cheap as we could go and still get a feature set that fullfills the gig requirements (Generally, 32+ channels and 10 aux sends).
When it came to dynamics, we just didn't feel that $1000 boxes would provide anything special. When we started looking at the lower end dynamic boxes, not only did Behringer provide the best feature sets, but it was gear that we have seen in BIG TIME sound company racks. I haven't seen Alesis/Samson/Nady dynamics in big time sound company racks, but DID see Behringer.
There was no doubt that we needed LOT of channel of compression, but it wasn't worth $5000 to 10 channels of Drawmers, when Behringer had aj product that sounded just as good and wouldn't scare off clients. We could get those Behringers for $500!
With that saved $4500, we could get another Crown MacroTech 5002!
THAT makes a huge difference in how well we can present sound at a gig!You ask most soundmen if they would rather have an extra 5000 watts of sub, or a named brand compressor for a festival, I can assure you that 99 out of 100 would pick the extra 5000 watts of sub!
Let's just say that Behringer is the "cheap" brand that I "prefer".
The DI 100 was impressive in that, no other DI box under $100 had it's feature set at all! Up to 40dB of pads, ground lift, active, XLR in! WOW!!! We had been paying around $50 for Whirlwind and ProCo DI's, and frankly, they don't sound any better, and had less features. No brainer there!
As to Behringer mixers? Well, I have mixed on a few for live sound. I didn't think the sound was any worse to deal with than ANY Mackie I have mixed on. So, sound wise, while I don't particularly LIKE their sound, I don't care for the sound of ANY low end mixer! Soundcraft Folio's, Mackies, Yamaha, any of that crap. So, the Behringers are no worse really. I haven't found that they break down at all either. No more than any other cheap mixer does.
I bought a UB802 for home use between my soundcard and power amp. I needed a way to monitor my JStation while recording guitar, and a way to adjust volume coming from the soundcard. This little guy does all that GREAT, and at $45 that I paid for it, was cheap as hell! Had it for about a year and a half where it has been on 24/7, and have not had a single problem with it at all.
If money were no object, you can bet that I would buy more expensive gear! But, money IS an object, and I need stuff that works and has a good reputation for working. I know of MANY local soundmen and sound companies that have a LOT of Behringer gear, and all are very happy with it's performance. We all would like "better" stuff, but on our budgets, the Behringer stuff works very well, and we can afford enough of it to get the job done!
I don't read thread after thread where beginners have huge expectations of their home recording studios. Many just want to achieve some kind of decent sound, and don't want to go broke trying to get it. Behringer gear is a great fit for this kind of user. I have shown you that the gear is QUITE capable of achieving professional sounding results! Much of the work I have posted has exceeded the expectations people have of their own work, thus, they can easily be happy with Behringer gear! Since I don't see many companies offering anything close to the same feature vs price ratio of Behringer, I continue to endorse their gear.
Ford Van
Banned
If most of you spent as much time actually mixing music as you do Behringer bashing, you would get good enough to where you agree with me.
I can say that I have heard plenty of crappy sounding productions come from guys with WAY better gear than mine!
If you you have the money to blow on great gear, by all means, go for it. But, don't expect that JUST because you have a 1176 that you can make your whole production rock! You still need to know WHEN AND HOW to use that puppy.
I could play you crappy demo after crappy demo that was mixed on Neve consoles.
People RAVE about Nuemann U87's around here I noticed. What is funny is that almost every professional studio engineer I know agree's that they find more uses for a AT 4050 or 4033 than a stock U87! I actually think the stock U87 is a VERY marginal mic! Now, I know people with modified U87's, and these sound KILLER! But, they spent about as much on the mod as they did for the mic. I ain't got $5000 for a mic, so I will stick with a AT 4050 at about 1/5th the price as a stock U87!
Just because something is cheaper in price doesn't mean that it isn't QUITE usable gear. And just because something is expensive doesn't mean that it is all that great.
I can say that I have heard plenty of crappy sounding productions come from guys with WAY better gear than mine!
If you you have the money to blow on great gear, by all means, go for it. But, don't expect that JUST because you have a 1176 that you can make your whole production rock! You still need to know WHEN AND HOW to use that puppy.
I could play you crappy demo after crappy demo that was mixed on Neve consoles.
People RAVE about Nuemann U87's around here I noticed. What is funny is that almost every professional studio engineer I know agree's that they find more uses for a AT 4050 or 4033 than a stock U87! I actually think the stock U87 is a VERY marginal mic! Now, I know people with modified U87's, and these sound KILLER! But, they spent about as much on the mod as they did for the mic. I ain't got $5000 for a mic, so I will stick with a AT 4050 at about 1/5th the price as a stock U87!
Just because something is cheaper in price doesn't mean that it isn't QUITE usable gear. And just because something is expensive doesn't mean that it is all that great.
Ford Van
Banned
And cheap or expensive, you STILL have to have a clue about how to make something sound good!
BigRay
New member
Thanks for the answers bud! I was just curious.
Yep, the u87 mod is about 1800 PER mic from Klaus Heyne..and I think around the same price from SPAudio.
Yep, the u87 mod is about 1800 PER mic from Klaus Heyne..and I think around the same price from SPAudio.
Ford Van said:If most of you spent as much time actually mixing music as you do Behringer bashing, you would get good enough to where you agree with me.
I can say that I have heard plenty of crappy sounding productions come from guys with WAY better gear than mine!
If you you have the money to blow on great gear, by all means, go for it. But, don't expect that JUST because you have a 1176 that you can make your whole production rock! You still need to know WHEN AND HOW to use that puppy.
I could play you crappy demo after crappy demo that was mixed on Neve consoles.
People RAVE about Nuemann U87's around here I noticed. What is funny is that almost every professional studio engineer I know agree's that they find more uses for a AT 4050 or 4033 than a stock U87! I actually think the stock U87 is a VERY marginal mic! Now, I know people with modified U87's, and these sound KILLER! But, they spent about as much on the mod as they did for the mic. I ain't got $5000 for a mic, so I will stick with a AT 4050 at about 1/5th the price as a stock U87!
Just because something is cheaper in price doesn't mean that it isn't QUITE usable gear. And just because something is expensive doesn't mean that it is all that great.
Purge
Traitorous Usurper
Alright Ed, I'll bite. Your last couple of posts are the kind of things I remember enjoying reading from you, rather than your usual "gee, my dick is only three inches long, but I sure know how to use it!!" crap. I'd be interested in seeing a good list of all your favorite budget gear. More importantly, I'd also like to know which budget stuff that you would say "Avoid like the plague."
You're still a dillhole, though.
You're still a dillhole, though.
MISTERQCUE
Not Just Anutha Brutha
Ford Van said:Good question!
It is mostly economics and reputation.
The kind of live sound budgets I have dealt with don't allow me to purchase top end compressors. I could NEVER make the money back on a $2000 doing live work on a local level! Even doing local gigs for national bands, the local promoters just don't want to pay much for live sound.
Thus, I am forced to find places where I can get away with budget gear. The sound company I still do work for, the owner and I have been tight since before he started the company. I was very involved with the gear purchases. We decided that amps and speakers are NOT a place we can compromise, because of the sheer abuse they take! We agreed that crossovers and eq's could be mid level. We felt that for mixing boards, Allen and Heath was about as cheap as we could go and still get a feature set that fullfills the gig requirements (Generally, 32+ channels and 10 aux sends).
When it came to dynamics, we just didn't feel that $1000 boxes would provide anything special. When we started looking at the lower end dynamic boxes, not only did Behringer provide the best feature sets, but it was gear that we have seen in BIG TIME sound company racks. I haven't seen Alesis/Samson/Nady dynamics in big time sound company racks, but DID see Behringer.
There was no doubt that we needed LOT of channel of compression, but it wasn't worth $5000 to 10 channels of Drawmers, when Behringer had aj product that sounded just as good and wouldn't scare off clients. We could get those Behringers for $500!
With that saved $4500, we could get another Crown MacroTech 5002!
You ask most soundmen if they would rather have an extra 5000 watts of sub, or a named brand compressor for a festival, I can assure you that 99 out of 100 would pick the extra 5000 watts of sub!
Let's just say that Behringer is the "cheap" brand that I "prefer".
The DI 100 was impressive in that, no other DI box under $100 had it's feature set at all! Up to 40dB of pads, ground lift, active, XLR in! WOW!!! We had been paying around $50 for Whirlwind and ProCo DI's, and frankly, they don't sound any better, and had less features. No brainer there!
As to Behringer mixers? Well, I have mixed on a few for live sound. I didn't think the sound was any worse to deal with than ANY Mackie I have mixed on. So, sound wise, while I don't particularly LIKE their sound, I don't care for the sound of ANY low end mixer! Soundcraft Folio's, Mackies, Yamaha, any of that crap. So, the Behringers are no worse really. I haven't found that they break down at all either. No more than any other cheap mixer does.
I bought a UB802 for home use between my soundcard and power amp. I needed a way to monitor my JStation while recording guitar, and a way to adjust volume coming from the soundcard. This little guy does all that GREAT, and at $45 that I paid for it, was cheap as hell! Had it for about a year and a half where it has been on 24/7, and have not had a single problem with it at all.
If money were no object, you can bet that I would buy more expensive gear! But, money IS an object, and I need stuff that works and has a good reputation for working. I know of MANY local soundmen and sound companies that have a LOT of Behringer gear, and all are very happy with it's performance. We all would like "better" stuff, but on our budgets, the Behringer stuff works very well, and we can afford enough of it to get the job done!
I don't read thread after thread where beginners have huge expectations of their home recording studios. Many just want to achieve some kind of decent sound, and don't want to go broke trying to get it. Behringer gear is a great fit for this kind of user. I have shown you that the gear is QUITE capable of achieving professional sounding results! Much of the work I have posted has exceeded the expectations people have of their own work, thus, they can easily be happy with Behringer gear! Since I don't see many companies offering anything close to the same feature vs price ratio of Behringer, I continue to endorse their gear.
Ok Ed, you know I got nuttin' but luv and respect for you as well as being grateful for the NUMEROUS tips, hints, advice & help you have provided myself & others over the years however I must confront you on several statements that are contradictory to what I know you have stated in the past. Mind you that due to Dragonian Dave's action against you, your past posts/comments cannot be accessed therefore I'll use what recollections I have to indicate your contradictions here (in no specific order).
***Bear with me and my memory as I'm presently enjoying a bottle of Absolut!
***1st off Ed, you were head-eng'neer for ECHO-STAR Mobile Recording where I believe you stated that the main-board used was a Ghost. You praised it's adequate head-room, clean & uncolored pre's, lack of signal degradation during bounce/buss,supreme AFL/PFL monitoring & perf,Aux flexibility etc.,etc., etc.,...Around that same time ('bout 6yrs ago), I pr'cshd a MX2624 brand-spanking new along with the DSP Pro1000 for under 4 bills since I wasn't blessed with Ghost-type money. Starting a thread in the "Rack" forum (& also @ ProRec) about my "shiny & new" Beh mixer, YOU, (along with Cuzzin' Brucie & ProRec's Bill Park & BManning) told me in a most polite way so as not to hurt my "feelings" about:
A)-Mackie's lawsuit vs Beh
B)-Beh mixers unreliabilty & instability
C)-Beh mixers hi-noise ratio.
A week 1/2 later, my shiny new Beh mixer burned out! It wasn't until a year later here that I fin'ly admitted that I got screwed by Beh where you simply stated somewhat to the effect that "U live & U learn"(even though I know U really wanted to say "I told you so @ss-hole
).Contradicting Point- sonusman:"Beh mixers are no worse than the others....I haven't found that the breakdown either!" C'mon Brutha' Ed!!!
2nd...A thread wayyy back in late 2000 in the "Rack" forum was started
by a member (I think Cooperman) where an A/B comparison between a Mackie & a Beh board to reflect which would yield a hi'er input sensitivity perf when using hi-quality condensor's mic'ing kits or acoustics connected to each boards pre's. In case you forgot, this comparison/test was done by Weston Ray(?)- AKA "Recording Engineer". Not only did he conclude
that the Mackie surpassed Beh's hi-sens perf by at least +5/6dbu's, an apparent "hiss-slizzle" sound had accompanied Beh's (MX8000) translation of a C-3000B mic'd Martin with you, sonusman, stating s/n prob'ly due to Beh's
large transformer(an ensuing flame-argument ensued later bet Rec'ding Engineer and some dude who considered himself a Pro Eng'neer who swore by Behringer where you eventually 'Net bee-otch-slapped him to reality)!
Contradicting Point...- Another instance where you disputed Behringer's claim to fame!
Ed, U know I luv ya' man, but I can post several other contradictory statements you have made here against what you have stated in the past.
Such as:
I]>My thread concerning famed jazz git'ist Earl Klugh and his dissatisfaction with his soundman who blamed the FOH mix on the MX9000 and what you replied on same.
II]>That infamous burning speed thread started by tdukex which lead to one of the most famous BBS audiophile battles ever Pitting the late,great Stephen Paul & you (sonusman) featuring Harv Gerst, Fletcher, Alan Hyatt,G Massenburg and a few others I can't recall,(that mofo was a classic & shoulda' been a perm sticky) myself & others was busy learning some deep-ass rec'ding knowledge! I bring that up due to several disparaging posts you made against Behringer (but d@mn home-boy, you straight-up held your ground in that thread>>>>gotta' give U madddd props!).
My EARS!!!
In addition, remember those "GEAR" hearing threads? One of which Grammy-winner & studio builder John Sayers posted. A grand piano mic'd with an AT4050 & a SM-ack 57 where folks was to guess which was the 57 & the 4050. 60-70 replies and YOURS TRULY... YOUR BRUTHA' FROM ANUTHA' MUTHA' was the ONLY 1 who got it RIGHT!!! Thinking it a fluke, you tried to test me to see if I can hear the diff bet, an A-3630, a DBX and a Crane. I ROCKED THAT TOO!!
Point being, I may not possess great rec'ding skillz or blessed with top-o'-'da-line gear, but by listening to the many talented folks here & elsewhere with thier describing the gear & techniques they used to create thier jammies along with noticing the differences and subtle nuances/audio signature their gear emits, it has provided me with the chance to train my ears to the point where sometimes I can guess what is being used in the entire signal chain & what instrument.
Peep this Ed............ experience, you (and few others) and eventually my ears showed me what was hip & what was not! Don't flip the script tryin' to BS us with the "Behringer may be cheap but it's better than the heap"!
You're wayyyyyyy better than that even if YOU yourself is on a budget!
Peace
Aaron
Ford Van
Banned
MISTERQCUE said:Ok Ed, you know I got nuttin' but luv and respect for you as well as being grateful for the NUMEROUS tips, hints, advice & help you have provided myself & others over the years however I must confront you on several statements that are contradictory to what I know you have stated in the past. Mind you that due to Dragonian Dave's action against you, your past posts/comments cannot be accessed therefore I'll use what recollections I have to indicate your contradictions here (in no specific order).
***Bear with me and my memory as I'm presently enjoying a bottle of Absolut!
1st off Ed, you were head-eng'neer for ECHO-STAR Mobile Recording where I believe you stated that the main-board used was a Ghost. You praised it's adequate head-room, clean & uncolored pre's, lack of signal degradation during bounce/buss,supreme AFL/PFL monitoring & perf,Aux flexibility etc.,etc., etc.,...Around that same time ('bout 6yrs ago), I pr'cshd a MX2624 brand-spanking new along with the DSP Pro1000 for under 4 bills since I wasn't blessed with Ghost-type money. Starting a thread in the "Rack" forum (& also @ ProRec) about my "shiny & new" Beh mixer, YOU, (along with Cuzzin' Brucie & ProRec's Bill Park & BManning) told me in a most polite way so as not to hurt my "feelings" about:
A)-Mackie's lawsuit vs Beh
B)-Beh mixers unreliabilty & instability
C)-Beh mixers hi-noise ratio.
A week 1/2 later, my shiny new Beh mixer burned out! It wasn't until a year later here that I fin'ly admitted that I got screwed by Beh where you simply stated somewhat to the effect that "U live & U learn"(even though I know U really wanted to say "I told you so @ss-hole
Contradicting Point- sonusman:"Beh mixers are no worse than the others....I haven't found that the breakdown either!" C'mon Brutha' Ed!!!
You have a VERY different recollection of what I said. Too bad the posts are not here anymore for me to prove I am right, but I have NEVER argued not using Behringer mixers based upon build quality, IF you were comparing against a Mackie, or any other cheapo mixer. I used to argue about how Behringer more or less stole designs, but NEVER have I argued about build quality WHEN it was compared to other cheap ass boards.
You lost me on this one man! Have another beer!
No, you DEFINATELY remembered this wrong, because I never did post a comparison of the same track running through all three of those compressors. I never got around to it.
Yes, I remember you were the only guy that "guessed" right. Beginners luck!
Point being, I may not possess great rec'ding skillz or blessed with top-o'-'da-line gear, but by listening to the many talented folks here & elsewhere with thier describing the gear & techniques they used to create thier jammies along with noticing the differences and subtle nuances/audio signature their gear emits, it has provided me with the chance to train my ears to the point where sometimes I can guess what is being used in the entire signal chain & what instrument.
Peep this Ed............ experience, you (and few others) and eventually my ears showed me what was hip & what was not! Don't flip the script tryin' to BS us with the "Behringer may be cheap but it's better than the heap"!
You're wayyyyyyy better than that even if YOU yourself is on a budget!
Peace
Aaron
Well, way back when, there wasn't much "heap". There is sure a LOT of "heap" now though!
I have ALWAYS said that Behringer makes some very good peices of gear. I am not changing my tune by a long shot!
I will admit that I have lost a lot of the pomp about everybody should drop a mint on GREAT gear to do home recordings with. What never got through my head in the old days that was most people REALLY DO NOT CARE that they are not getting the greatest sound. They just mainly want something that sounds decent.
Too many gear snob monsters have been created on this website. WAY too many guys with marginal recording skills throwing around opinions about gear, when they have little to no experience using the best shit to actuall compare it all to. WAY too many guys who don't know how to share anything other than "you need better gear to get good results". That is just pure RUBBISH!
I don't care WHAT you give me to record with, I am going to get a usable sound out of it! I WILL produce a product, given enough time, that will sound very good!
Too many just take the easy road out and say that you need a $1000 preamp, or a $500 compressor, or a $2000 mic! Bullshit!
All you need is some patience, and a willness to try different approaches, and a unwaveringly will to get a good sound.
Most modern gear is QUITE capable of producing very good sound. It really is. Most of you young dorks weren't around 15-20 ago when I was making a start. There wasn't SHIT in the "low end" of gear. Back then, you couldn't buy a compressor for under $1000 that sounded anywhere close to as good as a Behringer! You could touch a 24 channel mixing board that passed clean signal for under around $2000! (but usually more!)
Indeed, when you start paying more money for gear, you can expect possibly a better built product. You can sometimes even expect to get a little better sound out of it.
But I keep posting song after song of stuff I did with what many here call "crappy" gear, but, I get PM after PM from people saying how good they think this audio sounds in SPITE of the shitty gear that was used to produce it!
Figure it out man! Aaron, you share almost NOTHING here in the form of advice on HOW to use equipment. I mostly just see you bashing Behringer gear. Wupup wit dat bro? That ain't the spirit of HR.com at all!!!
MISTERQCUE
Not Just Anutha Brutha
Ford Van said:Yes, I remember you were the only guy that "guessed" right. Beginners luck!
Beginners Luck!!?? Brutha' I got over 68 years of experience! I was the one who changed Dianna Rosenbiegler-Lipshitz name to "Diana Ross"!!!
I WHOLEHEARTEDLY agree!!
Again, I must agree with you on this point! Check it out Ed, 2 of Beh's dyn'mc proc'sr's- The AutoComm and the Composer Pro (older models)-both requiring hi'er settings (for ex gates/ thresh-ratio)than what w/b norm'ly used in say an RNC, still provides acceptable dynamic's control if dialed in right! I still have the Composer but gave my son last week the AutoComm. Ed, I had a ton of Beh gear! Cheap & cosmetically appealing, my basement stoo-dee-o was lookin' great, but sounding shitty! I had numerous Beh proce'sors:
1)The UltraBass
2)The Edison
3)Multi Com
4)Auto Com
5)Composer Pro
6)Patchbay 2000
7)DSP Pro1000
8)Intelligate
not forgetting the:
8)MX2624
9)H. Gerst recommended ECM8000.
........
Presently I still have the Compsr Pro, ECM8000 (rare occasion for backing Gospel vocs), Intelligate (hi/lo filters come in handy "killing" my "canned drums" hissssss) and Edison (got it hooked to the wide screen TV & 5.0 stereo for greater spacial efx
) that's it! Ev'ry thing else was garbage and given away for $2.00 and a ham& cheese samich!............."gear snob masters"...........a title I never was or will be!
Deja-vu times 3 my brutha'!!
You have stated this same comment in triplicate and I've always stated the same answer, right or wrong! 83.9% of the questions asked here of the opinionated kind such as "Best Pre for $200", "Best starter bass/git", "Tannoy's, Event's, Wharfs or Yorkville's", "B-1 or Sp1" "Which soundcard", etc.etc.! Sometimes a tech, operational procedure or "how to"
answer is posted and if I know I'll post. Brutha', there's many peeps here that are so quick to spew answers be it right or wrong that it's mind boggling!
I rather sit back & learn and when it's needed, I'll post whatever knowledge I have to help some-1!
As far you thinking that I'm not following the "SPIRIT OF HR.COM AT ALL!!!"....
how wrong can some-1 like you be.............!
ever hear of...................JAMFEST'S!!.................
Myself and others have successfully created to the nth degree, a way for any HR member to further extend a web-based friendship with another by meeting, greeting,jamming and cold-chilling with each other! JAMFEST Ed, an event your sweet-@ss should attend in 2006!
Holla' at your brutha'-from-anutha'-mutha!
Ford Van
Banned
Do feel free to buy my plane ticket Mr.RichWallStreetBoi!