Narrator Jeremy Frazier

Welcome And Meet Jeremy

Welcome everyone. Today I have on the amazing Jeremy Frazier. Jeremy, how are you?

I'm doing great. How are you?

I am fantastic. Now that I am finally having you on, I mean, it only took me a couple of a couple of years.

It's taken a little while, but it's fine. It's fine. I'm happy that I finally got here.

Why don't you um tell everyone a little bit about you, how you got started narrating, and kind of what you do.

Um, I'm Jeremy. I narrate a lot of flit RPG and fantasy and stuff. Um I came from this. I am not a lifelong uh theater kid. I came out of music. Um, so I did actually a whole career as a musical instrument repair technician, uh fixing saxophones and flutes and clarinets and all that kind of stuff. Um and I just I I was driving. Sometimes it was an hour each way to work, sometimes it was up to two and a half or three hours each way to work. So I started listening to a lot of audiobooks, and I just kind of fell in love with doing it, and I wouldn't think a whole lot about it. I would just drive and hear lines sometimes and go, I feel like I would I'd say that a little bit differently. I like I want to give direction, I maybe emphasize that a little bit more and just stuff like that. Um and I just kind of hit a point that I was looking for something else fun to do, um, kind of in my off time, and got encouraged to get into voice work and get into audiobooks, and so I tried out a couple short stories on ACX, little half-hour things, and got to the end of it and went, okay, I actually kind of like this. This is fun.

Nice.

Um and then at that point it was uh end of 2019, so 2020 hit, everything closed down, I started getting paid

From Music Shop To Mic

to sit at home, and I was like, well, might as well make a run at it. And uh just started working hard and see what happens.

That's awesome. So you worked on musical instruments. Do you have a ton of musical instruments all over your house?

Yeah. Yeah, I've got, I don't know, I think I have half a dozen saxophones that are my saxes, and I know if we've got three flutes, a couple piccolos, multiple clarinets, trombones, lots of lots of stuff.

Uh so I was looking over your uh podium bio, and it said that you spent uh many years like on the stage working at Disney.

Uh yeah, I man, I don't know what my podium bio says. I think I have to go look at that just to see what it says. But yeah, I I definitely I'm a performer. I've always been a performer. Um through high school and college and earlier was all um instruments, uh playing saxophone on stage. I like doing that. I did a musical, I did um Little Shop of Horrors.

Oh, fun.

And I played the voice of the Audrey 2 and doing that, like I loved, which I guess was you know the start of voice acting.

Yeah, even then you were doing voices.

Yep. So I loved doing it. I love performing. I I still like performing. I like telling stories, whether it's in a small group, uh elaborate jokes, or um just interesting tales of what's been happening, um, and now reading the books.

How do you think uh that history on the stage lended itself to becoming a voice actor or a narrator?

I mean, a lot of it is the same. It's a lot of acting, uh, and it's a lot of understanding what medium you're using and what muscles you need to be flexing. Uh, I know it's a big thing that big stage musical actors coming into audiobooks have to learn that if you're out here this big, this is way off screen. We can't see this is this is where the camera is, this is where the microphone is, this is where we need to stay. Um and so learning a lot of that stuff between walking around on stage and you know, showing off uh posture and movements versus being in the pit, and it is really just what's happening with my voice that's gonna tell anything. Um, so I l I learned a bit with that kind of stuff.

That is so cool. It's like it was preparing you for now. You were just you were preparing yourself for this point.

Stage Skills That Transfer

Everything, all roads lead here.

There you go. So, in addition to uh musical instrument dynamo, audiobook narrator, stage performer, uh you also are an author.

Uh yeah, yeah. I you know, it's hanging out with all the authors that makes you kind of feel like just everybody's doing it, and so you should too.

I kind of understand that feeling.

Right?

I just haven't gotten to that point yet.

Yeah, I just kind of decided I wanted to. I wanted to see what it was like, and so um I got I had a friend that supported me through it a lot, and it started with just um I didn't even have a plot, like I just started writing, and I wrote like 30,000 words of a story and went, okay, like I get it. Now let me try again, and then I wrote, I think, another 20,000 words on something else, and then I actually plotted out a book and wrote a 5,000, 5,500 word uh book and went, okay. And then went, yeah, I can do this again. And I wrote out a better plot for another one and wrote that. And uh I would love to start doing it, and I'm sitting thinking now, how can I um those ones were both romance, so like I feel like I need to get to where the cool kids are where I'm hanging out and write a lit RPG.

You know, you could do a lit RPG romance. I that's I think that that is gonna be a thing that is going to start happening. Romance is huge, and lit RPG is starting to get big, and you can mash the two together.

That's absolutely what I'm thinking is I want to write right now. I'm thinking about a tower climber that will have a strong uh romance plot.

Ooh, that would be good. There's not enough tower climbers out there either.

That's exciting.

Right. I like them.

Do you think you would narrate your own book?

Probably, but mostly because I think that I probably wouldn't sell enough and make enough money to be able to pay somebody else.

Writing Books After Narrating Them

So I would probably just end up doing it myself.

That's funny. I mean, you know, you're uniquely positioned to adequately narrate your own book.

Yep, yep. It's the cheapest way for me to go.

So you do a lot of litter PG, but you've also done uh romance, you've done erotic fiction. Uh what would you say your favorite of all of the genres is if you had to pick like a favorite child?

I I really like doing a lot of progression fantasy. Um, I have a lot of fun with it. Um I it can definitely be a lot. Like I just did, you know, a 15-hour book and then a 20-hour book. And I'm immediately gonna jump into another 12 or 13 hour book. And like they can be kind of long, and I do kind of like having a little six, seven-hour uh romance just to slip in the middle in between them, just to kind of break things up a little bit of a palette cleanser, a simple story. We know where this is gonna go, we get to the end, they're in love, cool. Yeah, and then jump back into the epic adventure.

When you have these really long books or a really long series, how do you keep those voices kind of consistent throughout the whole thing?

Um, I mean, a lot of it is I have um a project open all the time with just all of the voices for all the different characters and they're all names so that I can go back and listen to them. But I try to have an idea in my head of who the what the you know, little important things about them and who they are and their personality that I can remember. And just having a couple little things like that and um having that voice reference is enough to get things. And really, the all I'm really needing that for is the first time they show up in book three or book

Keeping Voices Consistent In Series

four, because it's been a few months since the last book, and when they first show up, it's remembering who they are, exactly, all the little things happening. But by the middle of the book, I you know, you you remember who they are the character is and what they're doing.

Do you usually have like a pretty good memory when it comes to that stuff? Can you keep it all straight in your head?

So far, so far. I for the most part, there are definitely times where I get a couple characters and you're like, Is this is this the same? Is this that character? What's going on with this? Which leads really I love working with indie authors because I have so many times where I'm like, wait a minute, what is this? And I'll pop on Discord or Facebook and I'll just message you author directly, like, hey, is that this person? Did they do this? Is this going on? And they can give me a quick answer. I'm like, oh, great. There's no delay in recording or anything.

They usually have all those spreadsheets. Some of them do at least. What do you think the hardest accent is for you to narrate?

One of the hardest ones is doing a South African is a really hard accent to do. And I had a character in this book that I was I mean, it's a fantasy book, so it's just more inspired by South African, but trying to play with it and just feeling so much that it drifts into something else. Drifts into maze of more Dutch, or is it more English, or is it more I I don't even know. Uh, it's just hard to to keep track of what exactly is going on with it, I think.

Which is weird because I is that something that happens with accents often is they kind of just become this amalgamation of multiple accents.

The Hardest Accent To Nail

Uh I think I'm pretty good with accents, and usually can get like kind of a generic accent, you know, for the region. Um but I think I'm really good at listening to how you're speaking and listening to the little adjustments that are being made and how and then being able to just kind of slip into those and just do that accent, and it's fine. And I don't know what it is about South African, that it it seems like there's just multiple weird things stuck together, so there isn't a way to just flow into the okay, we just talk this way, it's fine. It's just always weird. But I can do, you know, a general British or Irish or more, you know, the fantasy Irish, a fantasy Scottish. Like those are not difficult to drop into.

What's your favorite accent to do?

Um you're doing kind of the pretty standard stuff, but the English and uh the Scottish is really everyone loves dropping into the Scottish rogue for the dwarves, that kind of thing.

Yeah.

That is probably the most fun things that you're going to do.

So when an author brings you a book and they want you to narrate it, if they don't give you a list of what characters they want to have specific voices, how do you do if they're just like

Picking Voices From Story Context

just have fun, pick what you want, how do you determine which accents or voices a character gets?

Um so I think we have to start with thinking about like what genre it is. So because definitely if we're doing like uh a romance, we're not doing many voices. So, you know that the genre is gonna let me know how big a range we can go with. And then even with the writing style, I I want to know what's happening with the writing style. Um uh Jeff does a lot of all over the place voices for Dungeon Crawler Carl, which fits his writing, but there are other writers that have a bit more of a um realistic uh realism in their writing that just doesn't lend itself too as much to the crazier voices. So we'll start doing that. Um, and then I want to know what kind of story are is this gonna be um an Isekai score story where we grab random people from all over the universe and stuck them in one spot? That then we can kind of go all over the place with anything. Or are we gonna have something like The Wandering Inn? Um that Andy ran into, where it's like, okay, well, we're gonna talk about this whole country here. Okay, well, everybody in that country should be similar accents, should be in the same place. So, how much do I need to sit down and figure out those different characters and different groups of characters and how they speak? Um and then moving it, sometimes it can be just in things that they say, um, which sometimes comes from the authors. Uh, if you're using um if you're using words that are from that have a feel, um have a character that says that talks about their ma and da? Okay, I'm probably not going to be just a generic um American accent on that.

Yeah.

Going to go with more of maybe the Irish accent or something that that feels like it flows right.

Yeah, that make because I don't think I've ever heard anyone say ma and da over here. So that kind of stuff makes sense. Do you so do you read the book before

Prep Work That Prevents Rewrites

you decide on voices and how you want to narrate it?

I will read the beginning um and the end, and then I have everything prepped for me so that I'm getting lists of characters and um any attributes that they are given in the book, and any description about them. Um and then I'm also getting every chapter summary and then a whole book summary, so I'm knowing all of that stuff. Um Yeah. And then if it's a newer author that I haven't worked with, I definitely am reading a lot in the beginning to get a feel for what their writing is. If it's an author that I've worked with a lot, I kind of know what to expect in the way that they write.

So not actually reading the full book um cover to cover for some of them. How often do you get like caught by surprise by a line of dialogue or something that happens that just kind of makes you break character?

Uh sometimes. Sometimes I get little things that I have to kind of rethink of like, what did what did we just what did I just say? Or what did this character just say? I don't get caught too bad because I I do have the book prepped for me. So I am getting um a rundown of all of these characters and their attributes. So the biggest danger for the narrator is recording a 10-hour book, and right at the end, the main character walks up and says something in their Scottish brogue, and that's the first time it's ever been mentioned, and you just go, oh God.

So at that point, you have to just re-record the entire thing.

Realistically, how would you feel about it? Listening to the audiobook and it all just being normal American, and then all of a sudden it says at the end, he says in his Australian accent. And you will all of a sudden, all of a sudden have to go, oh, I was supposed to be listening to this as Australian? Yeah. No, that's why we we don't want to find those mistakes and have to go back and re-record all the dialogue of the book.

Yeah. Oh man, that would be such a pain. And does that has that actually happened to you? Have you had to deal with that?

No. It has not. I've had a couple times where I've started with a voice with a character and done a few pages of it, and then just kind of gone, I just don't think it's working. I don't like this voice for the for the way that he's responding. I want a different attitude in the way that he's talking. And then I will go back and re-record a few pages worth of dialogue to get it right so that it feels right. Yeah. But I have not I've not had an entire book ruined like that.

Do you ever do you ever send samples

Notes, Feedback, And Pickups

of the characters' voices to the authors to like just kind of have them, you know, give you a little check mark?

Yep. Yep. Some authors like being that involved. Some authors have no interest in being that involved. Um, so it really is a case-by-case thing. Uh, in the beginning, especially with Indies, there's a lot more of like, let me send you a bunch of voices and tweaking them. Um, but I think with the publishers, more it's here's the author's notes, use the notes and do your thing. Um, and then I have other authors that just kind of go, no, you I trust you. I'm giving you the book. I gave it to you for the reason. Here are the notes that I have, go for it.

Do you think it's easier to have a ton of notes and feedback or free reign to do whatever you want?

I I think it's kind of nice to have um a lot of notes, to have an idea of what your concept was while you were writing it. What's going on, and even if it is more of like, well, this whole region or these kind of people, and in my mind, they have this kind of accent. So any of the people over here have that kind of accent is great. Um, or getting um comments about who you would cast in your head, this actor, this role, this person, this character, this cartoon, whatever. That's kind of what I was thinking with that is great to play with. So I'm happy to get all of that stuff.

So the more the more details, the better, really.

Yeah, yeah. As long as you don't come to a point of thinking that you can actually cast these people and I'm actually going to be perfectly sounding like all these individual characters. As long as we know it's all inspiration, I love it.

Yeah. Have you had any like big major uh mispronunciations where you just like really butchered someone's name or a city? And the author is like, hey, so it was supposed to be this.

I haven't had it anything like that that I can think of that hit an author. There has been a couple words that I didn't realize I said different, and all of a sudden you get a bunch of pickups where and like you're you're you're saying that wrong. And like just uh groceries and exercising were two that I said groceries and exercising, and those I just kept getting pickups for over and over. I'm like, okay, I have to change how I say that now.

I never thought about groceries. I say groceries.

Yep, yep.

With like an SH.

Right. And I you know it it's tough well when you grew up with that and you kind of want to go, well, well, no, but that's the way it's set.

Yeah.

But it's technically not. So okay, fine. I'll make my corrections.

Uh do you have to be very like very intentional with the way you pronunciate words when you do that? Like, do you just have to just completely forget with the way you pronounced everything growing up?

With some things, but things like uh when I see the word grocery or exercise, now that I've done a bunch of pickups, like it pops out to me as I know that I have to say that a certain way. And so I'm going to have to do that. Um most stuff, most stuff I just can kind of say.

Editors, Engineers, And Pronunciation Wars

But I'll although there are some words that you know when you're using an accent, are words are just said differently. Um H E R B. Uh if you're cooking, yeah, it's an herb. Or it's an herb, or it's a herb, depending on what we're talking about. And I just got a pickup for doing it um in a book in Canada uh and said I said herb, and the pickup was you said herb, it should have been herb. And I'm like, it's Canadian.

So as much as you pronounce the H.

Yeah, and that's what they do in England. They call it herbs.

Huh.

So as much as I think that it sounds wrong, I think it is correct for the book.

Just tell the author, no, you're wrong, sir.

Uh this was telling the editor. Yeah, that that's wrong.

That's funny. I didn't even think about having. Deal with an editor either. Um, that's funny.

Yeah, and the editor sometimes can have their own ideas with stuff. And then even thinking about that sometimes. Um I think I ran into once getting something from an editor, they said, Oh, you mispronounced this. And I'm just looking at it going, I don't think I am, and looking through everything that I can find, only to find that it was the engineer was actually wrong. They are saying that word uh specific to their location. And that I said it the more general concern um accepted version.

Yeah. Oh my gosh. What a pain. What a pain.

It gets to be a lot sometimes.

There's so much more involved in this than just reading a book out loud.

Yeah. And that that is what's fun about hanging out at all these conventions and uh meeting people and talking about all of this stuff

Dual Versus Duet Narration Basics

and learning how much more there is that goes into all these little decisions that people make and how it all works.

Yeah. So how many books have you narrated to this point? Roughly.

Good question. Um I think around 70.

Wow.

Which I feel like isn't very much because a lot of people, even that I started with, are hitting the like 200, 300 mark. Which seems crazy. But then I also have to step back and go, okay, but they are doing a lot of duet narration where they're recording three hours in a book. And my average book length is 13. Yeah.

When you were doing a dual narration, you were only recording your specific lines and character voices. Are you doing the entire thing and then the other person is doing the entire thing, and it just gets meshed together?

Dual narration, we are doing our own chapters. Dual narration, my this is my chapter, I'm doing every single part of that chapter. Duet narration, we're switching lines back and forth forth. I'm gonna do all of Steve's lines, you're gonna do all of Crystal's lines, regardless of whose point of view it is. So yeah, in duet narration, um, I'm recording all of my own stuff and skipping all the female lines, or whatever the split ends up being. Um and I actually have a little dog clicker. And so I'll read, you know, uh he walked into the room. Hey, what do you want to do for dinner? Sounds good to me. That kind of stuff.

So then that's when the person who edits it and engineers it knows to kind of mesh the two together.

Yeah, the dog clicker is really nice because it makes two big spikes as waveforms, and so it becomes this very obvious uh waveform that got added. And so it's easy to just select the next one.

Yeah, so they don't even really have to listen to the whole thing and try to splice it all together like that. They can just look and say, there's spike, there's spike, there's spike.

Yeah, yeah. It makes it a lot faster to shuffle all that stuff in and then go back and go, okay, now let's listen. Let's see where things are.

Do you think it's easier to do uh an entire book by yourself or with a

Why Duet Narration Keeps Growing

duet?

There's definitely um difficulties with both. Um it's easier to do completely solo because I'm just in charge of everything. I know what's happening with everybody. I can go, I can do a scene, a back and forth dialogue with knowing how everyone's feeling and how everyone's going to react. But it is more difficult sometimes if I'm gonna have multiple female characters and I'm trying to voice them slightly differently, and it's just harder for me to come up with female voices than it is male voices. So um, I think I'm enjoying more working on uh the duet stuff. Uh let's see. Yeah, Jessica Threat and I just had um couple series that we're doing together, I think. Uh we're doing more duet, and it's been fun.

I feel like that has also uh picked up a lot more lately is the duet narration. Do you think that's gonna be a trend that continues on?

Yeah. Yeah, especially in other genres as well. Romance. Romance is, I think, the big place that that got started. And I think with romance doing it so much, and with Soundbooth doing it with Dungeon Crawler Carl so much, um, and you're getting so many romance readers finding Dungeon Crawler Carl and entering the space from that, yeah, we're gonna get more and more demand for duet narration. Um, and it that is gonna bleed over into other genres. I know other genres don't do it so much, it's not the expected thing. Um, if you're just listening to a lot of sci-fi or you're just listening to a lot of you know mystery, that's not what you're expecting. So you expect solo narration through the whole thing.

Yeah.

But as this gets bigger, it's gonna keep going.

What uh so of the 70 books that you have narrated, roughly 70 books, are there any tropes or characters that you have always wanted to narrate but haven't had a chance to yet?

Tower Climbers And Dungeon Core Love

Um I have to think. I think I'm just I just finished my first tower climber, and so I was excited to be able to do that. Um yeah, I got started doing dungeon core, and I really like doing dungeon core, so I can't think of anything specifically that I haven't been able to do yet. I know that I'd like to do more Dungeon Core. I wish Dungeon Core would come back.

I also wish Dungeon Core would come back.

It's so much fun.

It really is. It really is. I feel like it's starting to, there are a couple authors now are are trickling a little bit.

Yeah, I wonder how much I wonder how much it's really connecting um for fans, Dungeon Core and Tower Climbers. I feel like there can be a lot of similarity in there because it's really about the building and everything that's happening and being able to change things up a lot.

Yeah.

Um, you know, I just narrated a tower climber, and you should totally pick it up and check it out.

Which one is it? What's the name?

Uh I have it right here. A Titan's Core by uh see that come up. There we go.

Mm-hmm.

Rachel Cooper and uh Eva Y.

Both fantastic people.

Fantastic. I I really enjoyed reading the book, and the way that some plot lines uh started to mix at the end, I uh I think they did a really good job.

Well, I'm gonna check it out.

Good.

And maybe I'll listen to the audio.

Although that's that one will be out in November.

How long how long how long was that when you said it was like 12 or 13 hours?

Uh this one is gonna be um just over 19 hours.

It looks like it's out in physical, so it is. I might just I might have to read it.

That's a good one.

I'm gonna check it out. Uh so audiobook narration is

What Makes LitRPG Narration Different

huge in lit RPG. I think it's like 60% of people who consume lit RPG do it via audiobook. What do you think sets uh lit RPG narrators apart from other forms and other genres?

Um, I think the the big difference is um the range, just getting getting a lot bigger. Um I think I've known narrators that have a tough time trying to get into litter PG because they're still narrating the same way that they would narrate uh a romance or a western or something with just a very narrow range of emotions at I guess emotions, not as um expressiveness. Um they can still have those emotions, they can still be acting really well, but they're still doing it with this smaller bar that's expected in those genres. Uh and I don't know, I think litter PG is kind of a little more similar to the stage acting where it is we getting bigger, but also understanding that that doesn't mean projecting to the back of the house. That means in the way that you're doing it while also keeping your volume down. And honestly, it can be Yeah, it can be tough sometimes to get more expressive, to get louder, to get angrier, to do that without getting too loud because we can't be yelling.

Yeah.

So yeah, I think at one point I had it I can't remember where I was, but I was like, I don't even feel like we should call the lit RPG narrators narrators or or audiobook narrators anymore. It's it is full-on voice acting. They're you you guys are full-on voice actors.

Ten years ago, uh Jeff came out and said, I think that I'm going to do more um voices and I'm gonna do little effects and I'm gonna make these changes to it. And everybody told him that's not what we do. That's not what's supposed to happen. And he just went with it, and it's changing what's happening in the industry.

Yeah. Um it's been a really nice progression to see from your standard audiobook to where we are now.

Yeah. Yeah.

So we're it's a lot of fun.

It's it can be a lot of work to do a lot of that stuff.

I can only imagine.

And so, yeah, it becomes more work as a narrator, not just in the acting, but also making changes. Um swapping around even while I'm recording, having to go to different moving to different tracks because different tracks have different effects and what's going on. And

Dungeons And Deliveries Sneak Peek

so it's just doing that engineering on top of uh doing the acting and the reading.

Hmm. Um, so what are you working on now? Can you tell us? Is it a secret?

Is it um no? So like last week I finished the a Titans Core and then I just did pickups for a really fun book that coming out from podium called Dungeons and Deliveries, uh, which is about um the system dropped on Toronto 20 years ago. But at this point, you know, you're really only an adventurer if you have the money to buy equipment and be able to do stuff. So we're really focusing on just a kid that's you know just trying to make rent. And he gets a job delivering pizzas, but it's a magical pizza shop, and most of his deliveries are running to dungeon bosses. So he's having to speedrun dungeons just to deliver pizza.

That seems really tough.

It was uh it's a lot of fun. Like he gets a lot of extra boosts, he gets some you know backdoor abilities, and he gets some magical powers from the pizza shop that are consumables that go he goes through, but he still has stuff he has to deal with. And uh it ended up being a lot of fun. I found it when it was on Royal Road and started reading it from the beginning, and it was like I I want to be part of this, I want to make this happen. And it's taken a year and a half to finally get the book out on audio. Um, but I recorded it.

That does sound fun. I like the I I like reading about like the the mundane background characters, and I like it when they get the spotlight because it's things that you you know it's not the overpowered MC or yeah, I kind of the chosen one. It's just this guy who's just trying to survive.

And yeah, I I I do kind of like that lower level stuff sometimes. Um the actually the first D camp DD group that I ever played in, I started having trouble with it because the guy running it always wanted it to be like Avengers level threats. And so it was like we make it to level two, and he's like, the god of magic comes down to speak to you. I'm like, I want to play a game that's more like the Defenders, where like we are the superheroes of the city, but outside of this state, nobody's heard of us.

Yeah. Like at level two, you're getting old ladies' cats out of trees.

Yeah, like neighboring villages are asking you to come and take care of goblins. I'm more like, yeah, we'll take, we'll help out.

Yeah. So we'll take out a small, a tiny goblin raiding party, sure.

And that's why I like a lot of the non-overpowered MC where it's just it's just the guy figuring stuff out and slowly working through things.

Nice.

And when is that one supposed to be out? Or is there a release date for yet?

There is. I want to say it's November 5th or the 10th or something.

I'll put those links for the pre-orders in the description of the video.

That'd be great.

Yeah.

Dungeons and Deliveries, both of them are a lot of fun. Um, a lot of kookier characters in Dungeons and Deliveries. And uh Titan Score I really, really enjoyed. Tower climber, kind of a deck builder thing.

Nice.

That's fun.

That's exciting. Yeah. Was there uh that's all of the questions that I had for you. Uh, was there

Where To Find Jeremy

anything that you wanted to bring up or talk about before we tell everyone where they can find you?

Um no, I I think uh I think that sounds good to me. Uh, I'm really excited to be the first person, first narrator on your podcast. I am honored.

Where can everyone find you?

Um over Facebook is where I'm at the most. Um, I think it's just Jeremy Fraser VO there. I try to be Jeremy Fraser VO on all the things, Instagram and I appear on TikTok sometimes. I don't post much on TikTok at all. But uh any of those places or Jeremyfrasier.com is my website.

Awesome. And I'll link to those as well, um, just to make it easier for people to find you. Perfect. All right, that's everything that I had. Jeremy, thank you so much for coming on and being patient with me over the last couple of years. Uh thank you, everybody else, for sticking around and uh keep leveling up.