The Success is in the Tagline with Luis E. Garcia

And those sounds, the voice, it just creates an image in your head. I can visualize the guy opening the can and drinking it or pouring it into the glass. All that adds to the production value and the quality. Go to the online dictionary, whichever you prefer. Click on the sound tab and it'll play that word and it'll give you a clue to how to pronounce it.
(00:25):
Welcome everyone to today's episode of Mission Audition if you're new here. Mission Audition is the voiceover podcast where we listen to real auditions from voices members, and we get to hear feedback from world-class voiceover coaches. My name is Vanessa Community Manager, and I'm joined by my co- host Tara, senior Manager, brand communications.
(00:45):
Hi everyone. Today's topic is Home Studio Essentials with our lovely coach Luis e Garcia. Luis is one of the most sought after Spanish voice actors and a two, two-time winner of the prestigious SOVA Awards for Spanish vo. With 25 plus years of experience, he has been an on-air personality in both TV and radio. He has created recognizable voices for Telemundo, Univision, Toyota, McDonald's, Caltrans, and many others. Welcome, Luis.
(01:18):
Thank you so much, ladies. I'm glad to be here and I'm ready for these auditions. The pressure's on.
(01:25):
Oh, the pressure's so on. It's going to be so great. We're happy to have you.
(01:30):
Thank you. Thank you for having me. Just a little bit about my background, you mentioned already a little bit about what I do. I am a bilingual voice talent. I've been a Voices VO coach for the last 10 years or so and have been associated or affiliated with voices since its inception in the early two thousands, so I'm glad to be with you today discussing these auditions.
(01:58):
That's great. Well, thank you so much for being with us. Let's get into the artistic direction.
(02:03): Sounds good.
(02:04):
This radio ad script is designed to promote bubbly Bev Sparkling water targeting. Health Conscious is looking for a tasty sugar-free alternative to soda. The tone should be refreshing, energetic, and invigorating. So as always, we'll start with audition one and we'll get some feedback from Luis
(02:23):
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Aaron Jackson craving a zestful twist bubbly bev sparkling water zero sugar, full of favor, bubbly Bev brings the purity of natural spring water infused with ever verin bubbles and a hint of natural flavors bubbly bev. Let the bubble set you free craving that Zestful twist, bubbly bev sparkling water, zero sugar, full of flavor, bubbly Bev brings the purity of natural spring water infused with ever verin bubbles and an hint of natural flavors bubbly bev. Let the bubble set you free craving that Zestful twist, bubbly bev sparkling water, zero sugar, full of flavor, bubbly Bev brings a purity of natural spring water infused with ever vetrin bubbles and a hint of natural flavors bubbly bev, let the bubbles set you free.
(03:09):
Okay, well, I got so many things going on here. I don't
(03:15):
Know where to begin. Three different takes for this audition.
(03:19):
So he did three different takes. Yes, I would say unless the directions say, give me three takes. Don't do three takes. Give them one great take at the beginning. Maybe change it up if you want to do a take two. But if it doesn't say in the instructions, the directions to give three takes, there's no need for that. There's just too much. Another thing that wasn't on the directions is slating. So if it doesn't say to slate, don't slate, just avoid that. Just skip that step unless it says specifically to slate, slate your name or slate your name and location maybe. So unless it says specifically in the direction to slate, don't slate. Go right into the audio. The script, he did those three takes and they were all so different. I think I wasn't sure if it was his microphone or what it was, but it sounded very tinny and like he was talking in a aluminum can, but I realized it's not his microphone because on the third take, that's when I hear that quality come through a little bit better.
(04:40):
So the first two are kind of muddled and tinny. I think he's processing the audio file somehow, and you should never do that in auditions either. So just send the cleanest file you can send. Don't process it. Maybe normalize it if you want to do a little bit to it, but that's as far as you go if you start getting into processing and EQing not what they want. And so he's doing a lot of things. He's adding a little bit of music, so it's also interfering with his voice. Some of the things he's doing here can be improved upon a little bit. Also, when he says effervescent, the word just, he kind of runs through it because it's not coming through clearly. And if you don't know how to say a word, go to a reference guide. Go to the miriam webster.com dictionary where it has audio files of every single word.
(05:46):
Now, if you get stuck on something like effervescent, just go online, do your research, play that back, understand how the word is said, and then you can go ahead and record. So there's a few things we can improve upon This audition here, first of all, is the quality. Before the voice seeker even starts tuning into your performance and how you read the script, they're going to hear that quality. And if the quality's not there to begin with, there's no need to continue analyzing the performance of it. So if the quality's not there to begin with, that's the first thing they're going to pick up on, and they're not even going to focus on your performance. So improve the quality, improve the quality, then the performance just kind of falls in place.
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It was almost like echoey the first one, right? Kind of.
(06:43):
Yeah. He had so many sound effects that it was almost like you said, Luis, it took away from his voice. So I was so drawn into the sound effects that I didn't even listen to his voice. I couldn't even really hear it because the sound effects were taking over.
(06:58):
They were really loud. Yeah.
(07:00):
Yes. So you don't want any conflict with your voice in something else, like the sound effects. So I would say focus first on the quality of your audio, and then if you got that down, once you have that down in your booth in your studio and your home recording space, it should be set for the remainder of your auditions that day or that week. You don't have to tweak it every day, hone in on it, get the quality you need, and it should be set and stable.
(07:37):
Yeah, and I think for this talent too, hopefully they attend your webinar. I think it'll be good to get
maybe some new gear or whatever in case they need. Yeah,
(07:47):
Sure. I first thought it was the microphone. Wait, what kind of, he's off mic. He's off axis. But then on that third take, it comes through a little bit clearer. And that's another thing, the quality is a little bit better on the last one than on the first two. So make sure the best quality audio you send, this is right at the top, right at the beginning.
(08:10): Great tips.
(08:12):
Alright. Okay. Definitely some great tips for this audition, and we're only getting started. Louise. Let's
jump into our second audition
(08:19):
Craving a zestful twist, bubbly bev, sparkling water, zero sugar, full of flavor, bubbly Bev brings you the purity of natural spring water infused with effervescent bubbles and a hint of natural flavors, bubbly bev, let the bubbles set you free.
(08:38):
Yeah, I love her personality on this and the directions. If you recap the directions on the script, it says the tone should be refreshing, energetic, and invigorating. That's exactly what she did here, and I love that tagline at the end, the one that says, let the bubble set you free. Now, there's some memorable
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taglines through advertising history. You guys should know the Frosted Flakes with the Tony the Tiger. They're great. Yeah, this is what she's doing here. She's creating a memorable little tagline there at the end. Let the bubble set you free, and it's almost like it could be on its own and it would be a catchphrase for this product. You guys know the tagline for specific chocolate, they melt in your mouth, M not in your hand. Right? M you guys know what that is, right? Because those are catchphrases, little taglines that are always with you.
(09:44):
They kind of stick with you, and I think this is what she's doing here. That little catchphrase at the end, let the bubble set you free. It sounds so bubbly. So her voice is great. She's got a great pitch and tone. The volume was a little bit low to me. I was thinking maybe I adjusted my volume here. But no, it, it's her levels. Her levels are a little bit lower than they should be. So make sure you're writing that VU meter on your recording to minus, minus three DB minus five db, and you have it on all the doss. You see that green line moving right when you're recording the VU meter. If it's peeking into the yellow, you're still okay if it jumps in there, but you should have it around minus three, minus five db. You're in the perfect zone. But this one sounds like she's recording and her average is around minus 10, minus 12 db.
(10:47):
So it's a little bit low. And when somebody's listening to 50 auditions or more, they don't want to be writing that volume knob on their computer or on their speakers. They want all the auditions to be level at the same level. So her volume was a little bit low. That's about the only thing I can say about this one. And she said that word effervescent, it's perfect and jumps out and sticks out. And again, with the directions they're saying refreshing, energetic and invigorating tone of voice. If you notice it's the exact same things as their product. That beverage is invigorating and bubbly. And so you're just becoming a personification of the product you're pushing here. That voice that I'm looking for should be a personification of the product. And if I selling a truck, I want that big voice for the truck commercial, but if I'm selling flowers, I'd want a soft and gentle voice like a flower. So it almost becomes a persona that your voice becomes a persona of that product. And this is what this voice talent did right here, just became an interpretation of the product. So great performance, a little bit higher on the levels, I think for her auditions would be great.
(12:28):
So Luis, if someone doesn't, maybe someone's a little new to voice acting and maybe they don't know what a persona is or they don't know how to, let's say, get into character for what the brand is asking, what do you suggest to them to really put themselves in that mental state, to get into character, to then do a really good read like this? So they are evoking the brand? That's
(12:48):
A good question.
(12:50):
Yes. So I would say before you even jump in the booth, you need to read this out loud to yourself. Read it out loud, look at the words, what are the words trying to convey? And in this case, for instance, they want something. It's a bubbly beverage. They need a bubbly voice. So look at the words are going to give you those clues as to what kind of persona or character you're going to become. Analyze that copy in the directions. There'll also be a demographic for this one. The voice needs to be a young adult, 18 to 35
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is what the directions say. So that's usually going to be your audience. If they're looking for that youthful voice, that's going to be your audience as well. So that kind of gives you clues into what kind of character you need to focus on to do this. Read the clues are in the script.
(13:56):
Yeah, for sure. And when you were talking about the level that she was at, she was a little bit too low.
And that's a common voiceover mistake that comes about.
(14:08):
I think people try too much to bring it down because they don't want to over modulate their audio. They don't want to overpower the audio, but the problem becomes that then they send the files and the levels are too low. Now the producer has to pump up that volume to play it back and pump up that volume if they want to use the audio track. And that's when things start getting a little bit distorted. So just make sure your audio levels are consistent all the way through all the time. And that's a good measure when you're in the green and you can be peeking into the yellow and even a tiny bit into the red once in a while, but stay on top of that green. Your goal is to be at minus three DB all the time. So when you play back, if you see that level that it's under 10 db, your audio file is going to be too low.
(15:07):
And it sounds like you really like this audition other than
(15:10):
I do. I love the tagline. I think it could be, I agree. If you isolate those two last lines of the spot, it could just be bubbly, bev, let the bubbles set you free. It could be just a commercial online, it could be a little tagline. It could live on forever. Some of those other ones that I mentioned to you where they just become memorable.
(15:33):
Yeah, and it's funny, when you were talking, you said the tagline, Terrell was like M and mss, and I was like, yep. And it's stuff like that. I didn't even that have to tell you. Yeah. So that's a really good tip and I, I'm happy that you said that about this audition. Okay, let's move on to audition number three. Are you ready for this
(15:51):
One? Sounds good. Bring it.
(15:53):
Craving a zestful twist, bubbly bev, sparkling water, zero sugar, full of flavor, bubbly Bev brings you the purity of natural spring water infused with effervescent bubbles and a hint of natural flavors, bubbly bev, let the bubbles set you free.
(16:11):
Wow, that was also a great audition.
(16:14):
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(16:16):
Good personality, great read. She pronounced everything correctly. It sounds a little bit less energetic
than the previous one.
(16:28): Agreed. Yeah.
(16:30):
So again, bringing that product or service to life, it means you're going to have to kind of become what that product means and what they're trying to convey. It sounded a little bit less energetic, so just bring up the energy level a little bit more that bubbliness that they're looking for. And I think she would be a good contender.
(16:57):
And it's almost like a even just maybe a quick tip, which maybe she was doing, but just smiling when
you're recording and it's like I almost can feel when someone smiles through their auditions. Yeah,
(17:12):
I got into radio just because I could feel that energy coming from the speaker. And in radio we have to kind of be that energy, get people going with the energy and you're trying to get out of bed in the morning, but you turn on the radio and hey, the guy's bringing you the hits, bringing you all the hits, bringing you the energy.
(17:32): That's so true.
(17:33):
And it kind permeates through the audio you're hearing. So it's the same thing in the advertising and commercials. We have to bring that energy and it has to be contagious. You have to have the people feel that energy and have that need now, Hey, I got to go out and get that bubbly beverage now because it sounds like it tastes great. And you have to just kind of permeate that feeling. So in the performance aspect of it, it's not just that character that you're bringing to the product or service, it's the feeling. It's also an emotion you're trying to convey a hundred percent. It's not just the character I'm becoming, it's also the feelings I'm trying to convey. So she did a great job. The levels are good, the pronunciation's great. I think she would be a good contender there.
(18:37):
Yeah, I think for me this audition was, it fell a little flat. And I am going to put a little caveat with that, because this script had so many good auditions. We had over 50 auditions for this episode, and so many of them, we could have easily chosen 25 of them to shortlist. And a lot of them were really upbeat. They really focused on the artistic direction. So they were bubbly, they were really energetic. And so that's why I'm saying this one fell flat because as I'm going to put my client hat on as I'm listening to all of
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these auditions, they're really high up here and they're really excited and they want to drink the bubbly
water. And then I hear her and it feels a little bit more corporate to me,
(19:19):
Kind of brings you down a little bit. Yeah, I think just paying attention to the direction and the scripts and the director's notes or the producer's notes, just see what they're looking for. What are they trying to convey? So it's also good to know that you were kind of in the runner up stage that you were a contender. That's also good feedback. Any feedback you can get from your auditions, even if it's I'm second in line or third in line to get this audition, that's good feedback. And you can build on that. One of the worst things I feel when they call me and say, we liked your voice. What does your schedule look like for Friday at noon? And you're in line for this production. And then the next day they call and say, oh, you know what? The client went in another direction.
(20:14):
It's heartbreaking. It is.
(20:16):
It's heartbreaking. But I know that gives me some information and feedback to what I did. Like, okay, I
was close, so I did something right, but what is it that I can improve upon to make that audition stand
(20:33):
Right? And I think too, with this voice, she sounds very coachable. So that's something else that we listen for as well. And we've heard many times from clients that if they like the base of the voice, if the voice is there, the is there and there's just maybe a few tweaks that they need to make live directed session is great. They can just jump on a call and say, okay, read this, but with a little more excitement or tone it down a little bit. This sounds like a voice where it's very coachable
(21:04):
And she's got experience. You can tell a lot from the auditions and again, from the quality of the audio, from the read, you can tell kind of what kind of experience they have. From the first audition we listened to, I can tell he's just getting started. He doesn't have a lot of experience, but this lady here, I know she's got experience. I know she's done this before, is just we need a step above on her energy level and to bring it up a little bit.
(21:35):
Perfect. Okay, well that's amazing feedback, but that's what this podcast is all about. Alright, let's move
on to audition number four,
(21:43):
Craving a zestful twist here, bubbly bev, sparkling water, zero sugar, full of flavor, bubbly Bev brings you the purity of natural spring water infused with scent bubbles and a hint of natural flavors, bubbly bev, let the bubbles set you free.
(22:03):
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Okay, so we hear, like I just mentioned, we hear a little bit of her experience or lack thereof in this one, right? Yeah. She might need a little bit more coaching, a little bit more training. I do hear some low rumble hiss on her noise floor, so she's recording maybe with a little bit too much gain on her mic. So I do hear something in the bottom of it. The noise floor, it, it's coming through on the audio. She also mispronounced effervescent.
(22:39):
It's that word, eh? It's a hard one's Hard word. It's a tricky word. It's a tricky, yeah, it's a hard word. It's
very hard. It's, it's an
(22:45):
Ss a t word, but I mentioned go to the online dictionary, whichever you prefer, click on the sound tab and it'll play that word and it'll give you a clue to how to pronounce it. So yeah, she kind of tried to run through the word effervescent and then she highlighted other words, her voice. She's got a great tone, a great timber. The energy level is a little bit low too.
(23:20):
I agree on that.
(23:21): Yeah, for
(23:22):
Sure. But I think with a little bit more experience, she could also be a contender for something like this, so she's got a bubbly voice. We just need to clean up the audio a little bit. We just need to work on the pronunciation, but she's getting there.
(23:40):
Yeah. I liked this audition because I could picture myself on the beach with one of my girlfriends we're just having a girl's day talking and she opens up her cooler and says, here, try this. It was just such a nice soft sell.
(23:56):
Cool, calm and collected is not over the top. I think they want a little bit more energy from what the directions say, but she is cool, calm, and collected while she's doing this read. I don't think like that tagline. It doesn't stand out. It doesn't flash in front of my imagination as something I want to run out and buy because it's just kind of flat. But yeah, her read is good. Just work on a couple of those little things, a little bit of the quality control there. As voice talents, we have to do pretty much everything a big company would have to do. We're not only the talent, but we're also the engineers that we have to do our research and development. And I have to do the janitorial service here in my booth because nobody's going to clean out the wear,
(24:53):
All the different hats,
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The garbage basket here. So you have to also do the quality control. You have to say, is this audio quality the best I can do? Check with a mentor, check with a colleague, check with a friend, talk to somebody who's a little bit more technically inclined or who's an audio producer. Ask them, take a listen to my audition. Here is the quality there. Because if there's any distractions, like we mentioned on the first one, if there's any distractions in the quality of your audio, you're going to be easily discarded. So then they won't even pay attention to the performance or the characters you're bringing. Right? The quality's not there. They're moving on.
(25:41):
Actually, I really enjoyed the start of this audition when she was like here, and I feel like if I was her friend, I would've been like, this is great, but I need a little bit more energy. And I think that's kind of how you have to look at it when you audition, right? You're like, what would my friend think about this? Or how would I talk to my friend? Like, you're not selling it for me.
(26:01):
So she adlib here, you're almost visualizing like here, somebody's handing you the bottle or the can, and so it's good to improvise. I would, I would say save that for a take two, save any improv things you want to do for the next, take whatever's on that script, give it to them on the first take. Do the first take as is on the script. And then if you feel like you might want to improvise or ad-lib a word here or a sound or anything else, or the sound effects like we heard before as well, save it for the second take. Save it for the next one. I want to hear what I wrote on my script. Come through first, and then you can improvise.
(26:51):
What would you say in the sense of a client not even listening to the second take in that case,
(26:57):
If they like it enough, if I like the first take, if I like that voice, it's got to fit three things. The demographic that I want, that youthful, 18 to 35 as it's mentioned here, the quality, if the quality's there, and then if the performance is there. So if those three things are there on the first take, I'll take my time and listen to the next one, especially on something so short as this. If it's a 15 second, 22nd, listen, I'll take the time. But if those three things aren't there from the start, they're just going to move on.
(27:31):
That's really good for voice actors to know.
(27:33): Yeah.
(27:34):
All right. That's amazing. Let's move on to our last audition
(27:40):
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Craving, a zestful twist, bubbly bev, sparkling water, zero sugar, full of flavor, bubbly Bev brings you the purity of natural spring water infused with effervescent bubbles and a hint of natural flavors, bubbly bev, let the bubbles set you free.
(28:00):
Wow. Wow. This guy. Yeah, this guy just went above and beyond,
(28:07):
Above and beyond. That was so good, so good. I
(28:11):
Was dancing. He did the full production, actually, I love it, of course, but I would warn that some people don't want to hear the sound effects or the music behind your audition. Again, you might want to save that for the second take. With that said, though, his voice is great. The tone is great, the performance is great, and I can tell, like I mentioned before, I can tell what kind of experience he has. So he's experienced in post-production. He can also do the post-production, he can build the whole spot. He can add those sound effects like he did at the beginning at the music bed, and he's got good levels on his voice and the music bed, and he did the whole nine yards. So it sounds great. I would just warn against using the sound effects or the music and your first take, I want to hear the voice, make sure the voices there. And then maybe on the second take, I don't mind if I hear those music, the music and the sound effects. If I wanted to use this audition as the completed spot, there might be some copyright issues with the sound effects with the music. So I want to be able to control that as the producer.
(29:35):
Okay, that's a good,
(29:38):
I also want to control his voice, how I process his voice. If I want to add a little bit more base to it or process it or a compression or normalize it, whatever I want to do to the voice in the post-production, I couldn't do with this audition because it's already mixed, so I can't split up those tracks into the voice track, the music track, the sound effects track. I can't do that because he is already mixed it. It sounds wonderful. He pronounced everything correct.
(30:12):
Audio is on point. I would say too,
(30:14):
Audio levels, the audio, his energy. I could visualize myself enjoying this beverage with his read
(30:23):
In a very cool restaurant, eating chips and guac, maybe some tacos, a whole meal.
(30:28):
He sounds very hip and cool, and he could be the voice of this product.
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And I instantly smiled when, I mean, like I said, I was dancing. I was like, yeah,
(30:40):
It was fun. But I completely see what you're saying, Luis, of we got so caught up when listening to it because there were so many extras that again, it sort of happened the same as one of the earlier auditions is we lost the voice a little bit. I did really appreciate the creative direction though, of just the sound effect of opening that can right away. That was so good. That won me over right there.
(31:07):
Well, like I mentioned, the radio is the theater of the mind, and those sounds, the voice, it just creates an image in your head and the sound, I can visualize the guy opening the can and drinking it or pouring it into the glass. So all that adds to the production value and the quality and the post-production. This is not even at production yet. You're at the audition stage. Okay. So make sure you get a good clean read, just your voice. And then if you want to show them that you can do a post-production, that you can add sound effects in music, then go ahead and do that on a second take. But this is a wonderful audition as compared to the first one we played where they also added sound effects and they were distracting. These sound effects compliment his voice.
(32:00):
Very much so.
(32:01):
Yeah. So that's the difference.
(32:04):
For anyone that might be a little newer to voice acting or as we call them, aspiring voice actors, can you just explain how you said post-production, but we're not there yet. We're at audition. Can you just explain those stages for someone that doesn't know?
(32:16):
Yeah, sure. So once you're up at bat to audition, there's already been a pre-production meeting and a few steps before it gets to the audition phase. So somebody had to write that copy, somebody had to evaluate what they were going to put on paper to that commercial. Then it gets to where they're looking for the voice talent. We need a voice that's 18 to 35. It could be male, female. I even see some non- binary voices auditions nowadays. So it could be any kind of voice that they're looking for that's also in pre-production. What kind of voice do we need for this product or service? And then it gets to the production stage. Okay, now let's find that voice. Now let's set up a recording date and record. And then after that, there's still the post-production where they're going to modulate your voice, they're going to compress it, they're going to process it, they're going to EQ it, whatever they need to do, and then they're going to add sound effects.
(33:23):
They're going to add music. If it's a TV spot, then they're going to, that's already been taken care of also
in pre-production where they recorded video, they went out on a shoot somewhere, they shot a video
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of this beverage can or whatever it is, and then they put it all together. That's in post-production. So you're just part of that step ladder, and this is how they're going to find you by auditioning. So you have to be auditioning constantly. Now, this last audition we heard of, he could easily become the permanent voice of this beverage. If it's a new beverage, it might take off and it might become the next big thing. And hey, guess what? This guy, he's going to be our voice. I really like the second audition where she did the tagline. So it might be a draw there.
(34:18): So
(34:20):
We would have to have a meeting of the minds and say, okay, who do we want to be our permanent voice actor for this product? So an audition can lead to something more permanent and bigger down the line.
(34:36):
Do we want to have the meeting right now?
(34:39):
Sure. Let's do it. Let's do
(34:40):
It. Let's have
(34:41):
The meeting. Let's do the meeting. Let's do the meeting. Pick our winner.
(34:45):
That was really good feedback. Thank you for all of that, Luis, and thank you for going through the
stages.
(34:50):
All right, so Louise, after listening to all five of these amazing auditions, who are you choosing to book
this job?
(34:59):
So again, really good reads. The second voice we heard and the fifth voice we heard, I think are contenders. And I want to say that there's a second place kind of. So just so they know that they were in a contender fair. Okay. So second place would be the second audition, but our winner has to be
(35:34):
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MissionAudition_48_LuisGarcia (Completed 09/20/23) Page 12 of 13 Transcript by Rev.com

This transcript was exported on Sep 20, 2023 - view latest version here. (35:54):
Okay, that is a wrap. Thank you all so much for tuning into Mission audition. We hope this episode has really helped you learn valuable voiceover tips from Luis. Luis, how can people get in touch with you?
(36:06):
Go to my website, spanish voice guide.com or vox pros.com. All my social media's on there. I prefer to link with people on LinkedIn. It's a great platform for professionals and people doing what you're doing. So that's how I like to connect. I also appreciate when people just call me up or send me an email asking for advice. So like I mentioned during the show, get somebody who knows the business, get somebody to give you some feedback on your auditions, on your production, on the quality of level you're sending out. So I appreciate when somebody just sends me an email and says, here, take a list. What do you think? How can I improve?
(36:53):
Yeah, that's great. Thank you so much. And for all of our listeners, if you are looking to enhance your skills, we offer a wide range of scripts for you to practice, including today's. They are all [email protected] slash blog. And if you need any more resources or tips, please feel free to reach out to Luis.
(37:11):
Amazing. Thank you so much for tuning into this episode of Mission Audition. I'm Vanessa, and I'm here
with my co-host, Tara. We're wrapping up, but stay tuned for next month's episode.
(37:20):
See you next time. And happy auditioning.
(37:22):
Happy auditioning. Alright, Louis, that was
(37:26):
Amazing, Vanessa. Thank you guys so much. It
(37:28):
Was great. That was so
(37:29):
Fun. That was a lot of fun.