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Group Call #33 - October 29, 2026 — Transcript

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0:00recorded.
0:02So, welcome to another weekly live
0:05workshop call in our community. It's
0:08great to see you all. Um, nice uh nice
0:12going to be nice to catch up. Um, have
0:15you all had a good week?
0:18>> Yeah. Yeah. Yeah. I got to I got to play
0:21at Machine Elves last Saturday.
0:23>> Oh, cool.
0:23>> Yeah. Yeah. I saw that you're playing, I
0:25think, the psychedelic rave.
0:27>> Yeah,
0:28>> that's right. Why are you living over in
0:29Holland, are you?
0:30>> No, no, I was at the Amsterdam dance
0:31event and um I I I mentioned this to
0:34Richard, so he invited me to to go and
0:36play. It was awesome.
0:38>> Oh, that's lovely. Cool.
0:40>> It was a great night. Yeah.
0:41>> Nice. Nice guy, Richard. Yeah, I'll be
0:43there um this month, november.
0:46>> Yeah, I think it'll be a big one. The
0:47psychedelic rave
0:49>> they usually s I don't think they've
0:51ever made one that wasn't sold out. So,
0:53it's a quite it's a good brand. I think
0:56doesn't really matter who play. They
0:58always have kind of pretty decent
0:59lineup. But um it's it's one of those
1:01things people just go and
1:03>> they have a good time.
1:04>> Yeah. Can we say
1:05>> we're going to
1:08see you there, mate? Yeah.
1:10>> Yeah. Sam's going to come. Yeah.
1:14Yeah. That's going to be great. Yeah. Is
1:16it in the same venue, do you think, as
1:18the previous ones?
1:20>> Um Oh, the psychedelic rave. I don't
1:23know. It's in Rotterdam, isn't it? I say
1:24it'll be the same place. Yes, it's big
1:26industrial kind of Rotterdam.
1:30Yeah, it was in Rotterdam last time I
1:32played. Played a few different venues of
1:35theirs, but yeah, Rotterdam was um was
1:37the last one. It was very good, so I
1:40look forward to that.
1:41>> How was Machine Elves then? Small, big,
1:43medium?
1:45>> Um,
1:45>> good vibes.
1:46>> Medium. Oh, the it was it was fantastic.
1:49I mean, um yeah, I'm I was amazed how
1:52many people stay to the end, you know.
1:53It's it's it's just such a good vibe.
1:56>> That's amazing. What is that? Is that in
1:57Rotterdam as well?
1:59>> No, no, that's in a a placeh called N.
2:03Not sure exactly how you pronounce it,
2:05but it's um it's about an hour and a
2:07half uh from Amsterdam basically. So,
2:10it's much smaller place than Rotterdam.
2:13>> Right. Okay.
2:16>> Yeah. Um Yeah, man. It's always good
2:18going to Holland. Um they do they always
2:21like to party properly you know it's a
2:23good crowd not so many side trance
2:25events there I mean I used to go there
2:27relatively frequently but I mean now
2:29it's like you know it's a it's a rare
2:31occasion to play in Netherlands.
2:34>> Yeah. So I don't know what happened
2:35there. Just well techno I mean techno
2:38house all the
2:40>> rules and restrictions as well mate.
2:42Like I've got a couple of friends that
2:44um that are from Holland that come to
2:47psychedelic experience and Indian spirit
2:49every year and they said
2:50>> that um it was because of the rules
2:52changing and too strict because it's
2:55getting stricter for loads of trans
2:56stuff over there as well.
2:58festival was constructed and
3:00>> the thing is Holland's got the arguably
3:02I think one of the most amount of
3:04parties out of any country in the world
3:06for every other [clears throat] genre.
3:07why there's nothing really much for
3:09sits, but thank God for uh um the one
3:13I'm playing at uh because that is the
3:15one the only one that seems and then
3:18there's of course the um Solstice
3:20Festival which is in uh Gord which is
3:24like a squat community which has been
3:26going for 20 years or something now and
3:29the place has been going even longer.
3:31Like Rick Tam GMS was telling me last
3:33time we were there, he was telling me
3:34they've got this church and he said his
3:36mom was there. She was one of the first
3:37people to bring Iawaska over.
3:39>> Oh wow.
3:40>> Oh yeah. Yeah. So it's got real
3:42heritage. And I I played at that party.
3:44It's called Solstice Festival Amsterdam,
3:46but the the the it's like a squat little
3:49village that's been squatted since the
3:5160s called Raord. It's about 20 minutes
3:54from Amsterdam. Um, and I it was my
3:58first ever show outside of the UK um, in
4:022008
4:03[clears throat] and um, and it was it
4:06was quite small and it was, you know, it
4:08was just incredible. It still goes down
4:10as one of my favorite gigs. Um, but I
4:14went back I've been back a couple of
4:15times, but the most notably I went back
4:17last summer and it was massive, but it
4:19was still just exactly the same. Such a
4:22good vibe. just totally non-commercial
4:25but killer stage, great sound, great,
4:29you know, I mean, everything was
4:30fantastic, but just really not in a
4:32commercial direction at all, which of
4:34course is is kind of great really.
4:37>> Um, so yeah, so you got that and and
4:39Psychedelic Rave and I don't know what
4:41else. Machine elves by by the sounds of
4:43it sounds fantastic. Did you see um I
4:47forget the name of my friend who's who's
4:49involved with that. Anyway, that will
4:51come to me. So, um, all right then. Um,
4:55what have we got on for today? Let's
4:57see. Um, where's the chat? The chat. The
5:00chat. Chat.
5:03Uh, uh, uh, uh, uh, oh, Sam, quickly.
5:06Yeah, you just made a post about
5:08transcribing the calls and putting it
5:10into AI. Let me just repeat what what I
5:13think you're saying. Um,
5:15>> and you can just correct me if I've got
5:17it right right or wrong. Um, so Sam just
5:20did a post and he was talking about, you
5:22know, the idea of being able to search
5:24more efficiently in those long calls,
5:26the recordings of these calls because we
5:29go through a lot of topics and
5:30sometimes, you know, if you want to find
5:32something specifically, it can be
5:33difficult if there's a hours of a call.
5:36Um, so um, is there no timestamps on
5:39these calls?
5:43>> Not that I Oh, there's timestamps at the
5:45in the transcripts like but then again,
5:47you would have to remember what exact
5:49moment you spoke that exact word on.
5:51>> Well, we've got a YouTube channel now,
5:52so let's see if there's
5:55>> The description's just got nothing in
5:57it.
5:58>> Right. Well, it's all very new that
6:00they're putting it onto the YouTube
6:01channel. Let's see. Um, so you're saying
6:05um transcribe it with the YouTube
6:07transcribe and
6:09>> yeah, you can you can do it multiple
6:10ways, but that's a fast that's that's a
6:12that's a free way of doing it. There's
6:14other extensions that will do it for
6:16you. Um, but if you if you transcribe it
6:19in and then see like I just paste it
6:21into my Gemini, a thread in my Gemini
6:23and then what it does is you ask it to
6:25just summarize whatever or or or go over
6:28the topics, ignore all the fluff and
6:31just log loads of stuff. I've I've
6:33uploaded about seven or eight so far and
6:35then you can just search in and it's
6:37starting to learn you. It's starting to
6:39learn like way Joe does stuff. So Joe
6:41mentions this and such and such. If I
6:42ask like
6:43>> I'm wanting to do this specific thing,
6:46it will give me tips. Oh, or what about
6:48my low end?
6:49>> Sorry, you're putting the transcription
6:50into chat GPT
6:52>> in the Gemini.
6:53>> Gemini. Okay.
6:54>> So, so that's what I was going to say. I
6:56mean, you know, you could Google LM
6:58Sheets is the best one for this. You
7:00just stick a link to a YouTube video and
7:02it'll just tell you whatever you want to
7:03know and you can talk to it. You can
7:05actually talk to it live in a podcast
7:07where it's talking about the video and
7:09then you can jump in as a caller and
7:11they'll be like, "We've just got a call
7:13from Sam." And then you can join the
7:15conversation. It's two people having a
7:17conversation and you can jump in and you
7:19can ask,
7:20>> you could try I would recommend trying
7:22that as well because that would be a way
7:24of just literally just saying, "I wanted
7:26to know about the bit where he was
7:27talking about X Y and Zed."
7:29Um, but yeah, you're saying that you put
7:32the transcription into Gemini or chat
7:34GBT or whatever.
7:35>> Yeah. And create your own assistant.
7:36Like, so I've been I've been doing it
7:38for a while. Um, just I've just had the
7:40idea for yours because I just seen yours
7:42went on YouTube recently cuz I I I you
7:45know how like you save all these little
7:46reels and these little tips and tricks
7:48and all that into your 2026 production
7:50folder on YouTube and then watch none of
7:52them.
7:52>> You know what I mean? You'll watch like
7:55>> 15 of them or something. So, I just went
7:56through each and every single one of
7:58them, um, copied and pasted the
8:00transcripts into a text document, just a
8:03txt document, and then uploaded that
8:05into there. And I've been using that for
8:07ages. So, like if there's something
8:09something that's just like a wacky sound
8:11design trick, you can just ask it, "What
8:12sound design techniques can can you can
8:14you can you um I'm looking for this
8:16specific sound?" And then it'll just you
8:18just talk with it's just an assistant.
8:19It's quite clever how how you can do
8:22that.
8:22>> Yeah. I mean, you can do it with I mean,
8:24I've got ones on Tibetan Buddhism. I've
8:26got ones on all sorts of different stuff
8:28as well, like that kind of technique. I
8:30was going to actually create a virtual
8:32assistant to for you guys to maybe be
8:35able to use, but I haven't done it yet
8:38because um yeah, it's a bit of a
8:40>> That could be a good That could be a
8:41good way of doing it. That's what I was
8:42thinking.
8:42>> It it could it could, but then then
8:44there's less.
8:46>> Yeah. But then if you've got if if
8:47there's that, is there really any point
8:49doing any of these? I mean, I'm not
8:50going to keep doing weekly week weekly
8:53calls if we can just get it get it all
8:55from from there's no point doing the
8:56weekly calls. We've got it then. I'm
8:58just going over the similar kind of
9:00stuff just to get it into your
9:02>> into your head. So, that's why I didn't
9:04jump to do that yet. I also want to
9:06create a system where you can search um
9:10you can kind of what I wanted to do was
9:12like cut all of these videos into
9:14keywords or so or cut them into all of
9:16the different techniques and then have a
9:19way that you can type in kick bass
9:21something like that.
9:23>> But but what's happening now is they're
9:25cutting them into clips and putting them
9:27on YouTube. So he started my my business
9:29partner just wrote to me today and he
9:31said I'm starting some automatic uh
9:34cutting of the of the videos now. So I'm
9:36going to talk to him see what's what.
9:38But um definitely moving in that
9:40direction you know if it if it all uh if
9:43it all continues and people want you
9:45know to to for the community to continue
9:48and all the rest of it then it's all
9:50stuff that can be done you know. Um
9:54so we'll have to see what the future
9:55holds for that. For the moment, we're
9:57just I'm just doing the weekly calls,
9:59doing the tracks, and um you know, we'll
10:03uh we'll we'll keep developing it as and
10:05when the uh the interest is there. So,
10:08um that's that's a great technique. Um
10:10yeah, you can just create your own
10:12language models around these videos. I
10:14mean, amazing, right? You could do it
10:16with anyone for that matter. You could
10:18take a load of asterisk tracks, put it
10:20into um put it into um the AI and just
10:25have it describe. You know, people do it
10:27with the AI now as well. They they put a
10:29track into chat GPT, ask for the the
10:32chat GBT to create a prompt for the AI
10:36based around the track. And you know,
10:38you can do all sorts of interesting
10:40stuff like that. For those of you
10:41>> even even you can connect it with
10:43Ableton and it will build up the whole
10:45session literally. I just seen videos.
10:48It's [ __ ] up, man.
10:49>> Watch out GPT will.
10:51>> Yeah. Or
10:52>> you can move blocks around and all the
10:54rest of it. I mean, to be fair,
10:56>> but then but then
10:58>> we might as well just stay in bed all
11:00day. I mean look if moving blocks around
11:02the screen is difficult then people need
11:04to you know get an idea of you know just
11:07being a bit more focused because I don't
11:10think you know to create you know I mean
11:13it's it's not a long process to move the
11:15boxes around and put them in the right
11:17place that's that's the quick that's the
11:19quickest I mean I do that in 30 seconds
11:22you then it's deciding on where to keep
11:25them that's the difficult thing so the
11:27AI can put it there immediately and I
11:29think that is cool But it it can't make
11:31the again it's like it's the reason we
11:33have this community. One of the reasons
11:35is because it's it's very difficult to
11:37make that final decision that's going to
11:39create that ultimate track that you
11:41want. That's the, you know, we can know
11:44the kick and bass, we can know the
11:45thing, we can, you know, but whether you
11:49end up with a a really really iconic
11:51track that catches people's imagination,
11:53that's the kind of that's what people
11:56are after or just a track that you love
11:58that other people hopefully like as
12:01well. And that's yeah, that's a
12:03difficult thing for the AI to do just
12:05yet. Um, but it can create quite
12:08compelling tracks on its own. I mean,
12:10has anyone tried Sunno?
12:12>> Yeah. Yeah.
12:13>> I I I today, this is the fun what I
12:15brought today. If you don't mind, guys,
12:19it's completely Sununo track. That's why
12:22I brought it into just listen how
12:24creative and how [ __ ] up is.
12:26[clears throat]
12:27>> Yeah. I mean, I Yeah, I'm familiar with
12:29with what what Sunno can do. It's quite
12:32incredible really.
12:33>> Although it's not that good with the
12:35side chance.
12:38>> It's pretty good. It is pretty. It's
12:40pretty good if you put the prompt in.
12:41Right.
12:42>> Really? I always thought the kick and
12:43bass was a little bit problematic.
12:45>> You can't use it, but I mean, you can't
12:46you couldn't you you could you could
12:48take stems and use stems.
12:50>> You could take vocals and use vocals.
12:52You wouldn't want to make a track and
12:54and release it. It's not on that level
12:56yet,
12:58>> but [laughter] it it may it may well get
12:59there. But the way it Anyway, Benedict,
13:01we'll listen to your one. That's going
13:02to be interesting cuz it's it's doing it
13:05really like the the way it pumps the
13:08bass. Yeah. final quality might not be
13:09there but the way it does it is
13:12professional.
13:13>> Yeah,
13:14>> it's quite uh it's quite incredible.
13:16Quite
13:17>> only thing with Suno, it cannot hold the
13:18BPM.
13:20>> So never never trust in the BPM if even
13:23if you type it in the prompt 145 or so,
13:27it won't keep it up and the kick and the
13:29bass will always be [ __ ] up.
13:31>> Yeah.
13:31>> At some point.
13:33>> So don't trust on that one. But for
13:35samples, it's brilliant.
13:38>> Yeah. And it's
13:38>> I can even even send some samples for
13:40David today because he was struggling
13:42with vocals and stuff like that. And I
13:44just created some stuff via Sunno and
13:46chopped it together to have it in time.
13:49So later maybe he will bring it in.
13:51>> I spotted something on Sunno the other
13:52day that was a like make individual
13:55sounds.
13:56>> Yes. Now it can make speeches,
13:58individual sounds, samples, everything.
14:01And even you can separate there is three
14:04algorithms now how it can separate the
14:06sound. One is a vocal and 12 more
14:08channels. The other one is stemming from
14:11mix and the new one is it completely
14:12drops into the studio version of this
14:14stuff.
14:17>> Yeah, it's always always changing. Um I
14:20got this um I bought this yesterday. I'm
14:23still not sure if it was a good
14:24purchase, but it it's a
14:27it's a thing called Fraction, which is a
14:30a synth created from
14:33analog recordings of of synths. Where is
14:36it? Fraction.
14:39[cough]
14:39>> Is it by glitch machines?
14:41>> No, no, no.
14:43>> Go to the portal. I love this. You can't
14:45even You just bought their synth and you
14:48can't even click on it. [ __ ] hell.
14:51Here we go. So, it's it's it's Yeah, the
14:55textures were really like I was taken
14:57aback by the textures. Um, see if I can
15:01find something for you.
15:04>> [bell]
15:06>> Very very very atmospheric
15:12[music]
15:20[music]
15:25different stuff. You're not going to get
15:26that out of Serum. Um, that said, I
15:30opened it up and downloaded all the
15:32banks and it is it's it's got a good
15:35tone, but it's some of the sounds
15:38they're lacking a bit of attack. I think
15:40it's designed maybe more for atmospheric
15:42stuff, but I'll let [clears throat] you
15:44know and if it's something I keep, then
15:46I'll uh I'll make a post about it
15:48because completely unique uh sounds that
15:50coming out of that.
15:52>> I keep seeing it pop up on my Instagram,
15:55>> right? So if I must have got I just got
15:57caught on Instagram probably I think
15:58with that and and it does sound good but
16:00is it is it also kind of stopping the is
16:04the sound's stopping a little bit? I
16:05don't know if it was just the first time
16:07I used it. I'm going to have to see.
16:08Gal, please.
16:10>> Did you hear about the scene called the
16:11traveler?
16:13>> No. No the
16:15>> it's also I've been looking at it. It
16:18seemed to be very atmospheric and
16:19cinematic.
16:20>> Key sounds traveler.
16:22>> Yeah.
16:22>> Hybrid synthesizer.
16:28Endless destinations. Okay. All right.
16:31It got us anywhere we can hear it.
16:34>> Should be demos there.
16:35>> Yeah.
16:37Here we go. Hi, I'm Mike Martin.
16:43Polyonic LFOsizer
16:45are the a stereo stack them
16:49and spread.
16:52Nice. [music]
16:57Wow, that sounds pretty uh analogy.
17:01>> Yeah, I didn't see anything special, but
17:03the sounds like sweet spots. Everything
17:05is sounds amazing.
17:08>> Okay. Yeah,
17:08>> it's like a Juno on turbo boost.
17:14>> Free the other day, which is
17:16>> people are saying that's amazing.
17:18>> It is very nice. I mean, it's got like
17:2040,000 presets, so I'm still going
17:22through it. But for kind of sweeping
17:25stuff, it's um it's really good. The
17:27sound is just you just play the
17:30standalone. You can just sit there
17:31twiddling around for hours. It's it's
17:33got such a really nice sound.
17:35>> What's that called?
17:37>> Omnosphere 3.
17:38>> Oh, yeah. Sorry. Yeah,
17:41>> it's quite expensive. It's about 300
17:43quid, but I thought, you know what? [ __ ]
17:45it. Let's treat myself. I don't need
17:46another VST, but why not? But that's
17:48half the price it used to be.
17:50>> Yeah.
17:51>> Yeah. Half the price. Davey, sorry. Go
17:52on.
17:55>> What about Massive XL? Does anybody use
17:57that or have thoughts on that? What's
18:00that,
18:00>> mate? Play instrument. Massive XL.
18:03>> Yeah. Yeah. Yes. A friend of mine just
18:05sent me this yesterday. The the creating
18:07of a of a patch from an audio.
18:11>> Yeah, that also looks good as well.
18:13>> Yeah, I just I just spotted that. I just
18:15spotted that. Yeah, I haven't tried it
18:17yet. I was meant to try that today and I
18:19completely forgot.
18:20>> I downloaded the demo and it only had
18:22one preset. It was very limited on what
18:25you could do
18:26>> the demo of of this
18:27>> mass massive XL.
18:29>> Oh, you did, right? Okay.
18:30>> Yeah, but it's it's half price at the
18:33moment as well till 30th of November.
18:38>> Right. Massive exon. This has got this
18:40clone uh where
18:43>> you drag a sample in, it will create a
18:44patch from it or something. I mean that
18:46is of course the the the ultimate the
18:48ultimate when they get that right. I
18:51mean it's game over really isn't it?
18:53>> I think the best part about that is that
18:55you can randomize keep getting different
18:58iterations of new patches for that same
19:01sound so you find one that you like.
19:03>> Yeah. Yeah. Yeah. Absolutely. I mean Sin
19:06Plant was doing that. Everyone remember
19:08Sin Plant?
19:09>> I do.
19:11Yeah.
19:12>> Yeah. Sam you were saying sorry. Yeah.
19:13Go on. I was No, that's what I was
19:15literally just a way to say you beat me
19:16tip.
19:17>> Yes. Simplant. Yeah. So they
19:19>> Simplant two.
19:20>> I think it was Simplant 2. Yeah,
19:21exactly. And And they were doing that.
19:23>> Yeah. They That That's okay. Yeah. I
19:26didn't get loads of like It was It was
19:28kind of It worked. And it was incredible
19:30because you put a sample in there and it
19:32gives you There's like a million
19:34different uh controls. Like it's given
19:36you like
19:37>> a complex synth patch. Yeah, it doesn't
19:40sound exactly the same, but I mean it's
19:42quite incredible to have that and then
19:44be able to have it as a synth. Did you
19:47get any uh great results from that, Sam?
19:50I was Yeah, actually like I mean I
19:52didn't I didn't I haven't released
19:53anything with it in it yet, but um it
19:55was more for it was more for like
19:58capturing old sort of hard house sounds
20:01and old sounds and stuff like you know
20:04the the sort of the sort of sounds that
20:06are in old music that probably was won't
20:08exist on hard drives or anymore.
20:10>> Yeah. Right.
20:11taking stuff like that, cutting them
20:12out, cleaning them up, and then sticking
20:14them through Simplant was giving me like
20:16the squeaks and the
20:17>> Okay, music.
20:19>> Great.
20:20>> Just haven't played much with Yeah. You
20:22know, you you'll know everybody will be
20:23the same. You buy all this [ __ ] you
20:25just [laughter]
20:27find
20:29>> Well, the thing is I think when when you
20:31buy when it's that good, Yeah. you'll be
20:34using it every time. when it's like okay
20:35and you know I tried Simplant 2 and it
20:37was quite good but it wasn't you know it
20:40wasn't bang on. Um but I should probably
20:42try it again. They're probably making it
20:43better each time. Um but this
20:45>> also there is a good one which is kind
20:47of like that. It's called Biotech from
20:49Traction.
20:50>> It's it's now it's version three but it
20:53always worked for me for many textures
20:55and stuff like that.
20:57>> Biotech. Is it that for spinal
21:00decompression?
21:02[laughter]
21:04>> Um, there was a there was a another
21:06plugin that that was for turning audio
21:09into sounds and I got it. A friend of
21:11mine showed it to me. I can't remember
21:12the name. Wasn't very good. What's this?
21:17[clears throat] Biotech 3 simplified
21:20overview. True evolution of our deepest,
21:22most creative synthesizer to date.
21:25Right. Okay. What does it do? All right.
21:29Effortless performance. All right. Well,
21:30you've said nothing about it so far. All
21:32right. What does it do, Benedict?
21:35>> It's very good for textures and and it's
21:37like simplant when you just move things
21:39around inside.
21:41>> Then it it gets a really good texture
21:43for many many things like for
21:45backgrounds or psychedelic things. It's
21:47really good.
21:48>> So atmospherics then probably would be
21:50>> also but for glitches also like uh let's
21:54say it's filtering in and filtering out
21:56things. Meanwhile, you just turn the
21:58knobs, but it moves the whole preset
22:01around.
22:05[music]
22:05>> Nice visualizer.
22:10>> I mean, that already sounds great.
22:16[music]
22:18Just need just needs a freak echo on it.
22:21[music]
22:30Right. So, this is is all about this XY
22:33axis. Okay. Okay. Looks looks great. I
22:36must try this. I must try it. Dave, you
22:38raised a hand. Or or is that the old
22:41hand?
22:44Oh,
22:45>> shutter hand from the Navy.
22:47[laughter]
22:51>> Were you in the Navy, Davey?
22:59It's a It's a bad line actually. Davey,
23:02>> it's under water.
23:04>> You're in the sub. [laughter]
23:07>> Yeah.
23:14>> Okay. So, um, so yeah. So, so, so some
23:18interesting synths coming. And again, I
23:20mean, has anyone tried that that one I
23:22posted with the it's called multi-stage
23:26something multi-
23:29what's it called? It was the it was the
23:30auto um autophase alignment that could
23:34that could stay in time live. I've been
23:37using that multi-stage
23:39um
23:41>> working for you
23:42>> working great.
23:44>> I bought the um I bought the other one
23:45that you recommended.
23:47>> Yeah. Faze Faze Artist. Yeah.
23:49>> Yeah. I'm not going to buy another one.
23:52>> Well, I mean, they're I mean, this one's
23:54$33. It's really, you know, it's like
23:56nothing. But, um, you can just get the
23:59demo and try it if it's something you're
24:00interested in. It's called um
24:04I mean, what's good about this one that
24:06the other one is is doesn't seem to do
24:08yet is that this actually moves the
24:11phase live with your bass when your bass
24:13changes notes.
24:15There were another one that popped up
24:16for me, Sidekick. You know, I think it's
24:19the same mechas as kick three, kick two,
24:22and they've got moving phase alignment
24:24as well now.
24:25>> Sorry, Sidekick have
24:27>> Yeah, Sidekick. Yeah. So, there were a
24:29video that popped up on Instagram just
24:31showing you that particular aspect of
24:33it. It looks really good. It show
24:35literally shows your old phase aligning
24:37together.
24:39>> Okay, let's have a look at that now.
24:40Sorry, I just wanted to tell you the
24:41name of this this one first. Mult artist
24:44one does you can set it up to move live
24:47I think
24:47>> can you
24:48>> yeah so so see when you know how you're
24:51you what you recommend is you recommend
24:53doing one one beat like the repeat the
24:57picking the three notes constantly to
24:59get the RMS yeah
25:01>> that's that's that um standard comes as
25:03the quarter
25:05>> view quarter note view but you can
25:07extend the view to bar to
25:10>> you can have it listen to like a whole
25:12section
25:13>> and It will move the face.
25:14>> It'll move it live.
25:17>> I haven't tried it to do that yet, but
25:19it was moving it. It was moving it um on
25:21its own when I was playing about with
25:23it. So, it must be able to do it.
25:27>> Here we go. Well, let's just have a
25:28Sonic Academy of
25:31>> Let's see cuz that's great. I mean,
25:33>> we're asking to see the
25:34>> It's all coming now. I mean, with the
25:36It's just going to get better and
25:37better. All of this stuff really
25:38>> phasine working with like a a moving or
25:41a walking baseline. So, I've set up
25:44here.
25:45First one here. [music]
25:47>> So, if I turn that on, you can [singing]
25:49see there's like phasing issues here
25:51with the kick and the bass where they're
25:54out of phase. [music]
25:56Uh, if we turn on the auto,
26:01you see that shifts them all [music]
26:03into phase for you. Okay. So, our second
26:07example, I'll take over again. And we've
26:09got [music] a moving one. So this one
26:11moves out of phase and then back into
26:15phase. So it needs to cope [music] with
26:17that. So we turn it on.
26:21So you can see phase moves. [music]
26:23>> Yeah. Right. So Sidekick's doing it.
26:25I'll have to get that as well. I don't
26:27care how many of these they make. I'm
26:28going to buy every single one of them.
26:31Just I think they're so good.
26:33>> Does it look better than what you're
26:34using at the moment, Joe?
26:35>> What's that?
26:36>> The sidekick.
26:37>> Is it better? I mean, no. I think
26:39they're all pretty much of a muchness. I
26:42mean, Side Sonic Academy, Sidekick, a
26:44built-in phase alignment. I mean,
26:46they're all kind of doing the same
26:47thing. I think um looks like it.
26:50Sidekick is a bit more of a name that we
26:51know from the past, isn't it?
26:54>> And it's only $26.
26:56>> Well, that's a good We're saving
27:00>> $27.
27:02>> Yeah.
27:03>> Sadly, Sonic Academy Sidekick.
27:07>> Well, that's nice. We'll get that as
27:09well. I've probably got it actually.
27:11>> 1991 19.96 20% off introductory price.
27:16>> But if you go for the newsletter, 10
27:18more% off. So, [laughter]
27:22>> I mean, I've just suddenly realized I
27:23can start messaging these companies and
27:25saying, "Would you mind um would you
27:27mind if I um give me a bit of a discount
27:30for the community?" Which I did
27:32>> for Faze Align for Faze Artists. And he
27:35gave me a little discount code. He gave
27:37me one for for myself. I can't what's
27:40that 50% I think. And he gave me one for
27:42the community which was 10%. Um
27:46so um that's nice. Uh but when it's 20
27:48quid I just buy it because I can't be
27:50bothered to go through the process of
27:51having to uh talk to anyone.
27:53>> You know there's two more. One is free
27:55by own plugins.
27:58>> Ran this keeps popping up. This ran ran
28:01VST.
28:02>> Yeah. I got the stock.
28:04>> Yeah. Great. actually quite good. Yeah,
28:07cuz it actually goes up and rises and
28:09then you can turn the mix off and then
28:11you can bring the rise in with the the
28:13sim still going.
28:14>> Well, is this another phase alignment
28:15thing?
28:16>> No, this is No, this is Go on. Go on,
28:18Sam.
28:20>> It's just playing with the frequencies
28:21in the whatever your sound is. It's hard
28:23to explain. It's like a tape delay rise
28:25thing and then but you can
28:27>> the blue one ran stucker, not stutter.
28:30>> Yeah.
28:31>> Oh, sorry. Stucker.
28:32>> It's excellent. I was working with the
28:34um the developer the other day about it
28:36and and getting him to add some features
28:38for us.
28:40>> I was just emailing with him and
28:42literally within 10 minutes he was
28:43going, "Right, that features done for
28:45you."
28:45>> What?
28:46>> That's cool.
28:47>> I was getting him to allow you to turn
28:49it on via MIDI, turn it off via MIDI,
28:52add some extra because it started off
28:54with half a bar, one bar, and two bars.
28:56So, I got him to add the quarter bar um
28:59and the eighth and everything.
29:00Wow,
29:02>> what a great a great
29:04>> knob. Grabs whatever is playing and
29:06rolls it up tighter and tighter until it
29:08screams.
29:08>> Okay,
29:10>> there goes the Ableton arpeggiator that
29:12we were doing last week.
29:15>> Then it lets go right on the beat.
29:18>> In this video, I'll your audio path the
29:20loop read.
29:21>> Is that Is that what it does? does it
29:25d
29:25>> but it does other stuff as well like you
29:27can turn when you turn it when you like
29:29change the mix from 100% to like 98 it
29:32plays the sound as well as the
29:35>> Okay, so that's quite cool then as an
29:37effect
29:39>> right I'm just buying plugins at the
29:41moment I'm just feeling li liberal about
29:44that one I bought yesterday was €150 I'm
29:47like
29:48>> well the other one
29:51is really good for making for making um
29:55like drum rolls and stuff. the yellow
29:57one. Um,
29:59that's really really good for Yeah. the
30:02stutter
30:04>> and just making drum builds
30:06>> in this
30:0816th note
30:11>> roll it turn one bar from your DA.
30:14>> What you want is you want all um
30:16randomize functions on some of these.
30:18That's quite fun.
30:21>> Speed up. All right.
30:25Okay.
30:26>> With ramp to the down to 25 for after
30:29the hit.
30:30>> Okay. Interesting. That's good. That's
30:33that's that's going to be handy for
30:34those little synth endings,
30:36>> little drum endings.
30:38>> Really cool.
30:38>> What do you What do you think about all
30:40these AI plugins that coming popping out
30:42all the time?
30:44>> AI plugins.
30:45>> Yeah. Well, I mean
30:47>> like what? Give me an example.
30:49>> This one one plugins. It's AI.
30:53>> Oh, you mean AI produced? You mean?
30:55>> Yeah.
30:55>> I could give you more.
30:56>> Why you get so much?
30:58>> Well, can you have too many?
31:00>> Well, the thing is, um, what do I think
31:03about them so far? Okay. But, you know,
31:06like that I forget if it was Phase
31:07Artist or the next one I got, one of
31:09them doesn't turn off when you click it.
31:11Yeah. So, that I think with the AI
31:13plugins, you've got to sometimes they're
31:16not exactly perfect. It's not like
31:18buying an SSL plugin or something. Um,
31:21but but it's it's getting really good as
31:24we can see. You know, they're work they
31:25work. They're great. You know, my my
31:27friend Alex just used AI to to create a
31:30new plug-in for Futuronic. Um, which is
31:33incredible. So, I don't have a problem
31:35with with that. Um, what I will say is
31:39that a year or two ago, a couple of
31:42years ago, a few years ago, there was a
31:45a wave of AI like compressors, AI
31:48limiters, right? And this was from
31:51companies like Sonel, companies like
31:54Isotope, Neutron, all of these things,
31:57you know, um,
32:05you know,
32:08come on
32:15things like this, you know, you learn
32:18they all They learn your sound and then
32:21they apply the compression or they apply
32:24the phase. And I I got into that for a
32:26while, especially with the compression
32:28and stuff because it was a lot of nice
32:30settings as well, you know, EDM settings
32:32or powerful settings. You can just kind
32:34of click and it learns your sound and
32:36then just seem to magically kind of
32:39compress it in just the right way. I
32:41don't know how much of it was absolutely
32:43incredible or maybe I was just it was a
32:46lot louder and more rich and I thought
32:47it was really good. So I it's not
32:49something that I haven't continued using
32:51a lot of them uh at the moment. But I I
32:54think it's I think it's going to be
32:55good. I mean AI is going to be coming
32:57into every aspect of our lives, you
32:59know, probably. So it's something that
33:02um we'll just have to see how it goes,
33:04but I think making music is going to
33:06become a little bit easier and easier.
33:10um it's going to be more about your
33:12creative thinking, but again, you're
33:13still going to have to make decisions
33:15regarding taste, you know, and I think
33:18that that's kind of the you that's
33:20really the artistic thing. The rest is
33:22engineering and understanding how to
33:24speak the language of of producing
33:26music, but then having that sixth sense
33:30as to what's going to be something that
33:33really people connect with and you know,
33:35even even deciding that for yourself,
33:37what do you want to make? you know, that
33:39can be a uh quite a task uh for some
33:42people sometimes. So, I think that's
33:44where it's going. Yeah, it's going to be
33:46you're going to be able to click one
33:47button and have a great beat at some
33:50point, you know. So,
33:52>> it seems that as the technical aspect
33:53gets easier that it it's going to give
33:55you more time to focus on the creative
33:57part and then also raise the bar to make
34:00yourself stand out.
34:02>> Yeah, that's right. And everyone will be
34:04standing out. So, I don't know how
34:05there's going to be an industry left for
34:07people to to actually do anything
34:10because at the moment it's there's so
34:12many artists now. It's just I mean
34:16I think if there's more and more and
34:18more it's there's not going to be room
34:19for everyone. So, but that's just the
34:21way that's just the way it goes. The
34:23easier things get. I mean it happens
34:24with technology. It used to be that you
34:26needed all the analog gear. The good
34:28side of that is of course the world has
34:31an abundance of uh music and art you
34:34know um I mean what it's done in the art
34:37space you know like that is insane you
34:40know we haven't experienced 1% of that
34:42in the music space yet I mean for
34:44artists it is the whole game has changed
34:48so I don't know if it's going to be
34:50quite like that for music but we'll have
34:51to see I think
34:52>> well Beatport already made some moves
34:55and they are not releasing any music
34:57that is made with AI.
35:00>> Yeah. I mean I Yeah. Okay. Interesting.
35:02Very interesting. I also heard that they
35:05they've got algorithms for the streaming
35:07services to see if you've got AI content
35:10in your track because things like Sunno
35:13leave a watermark on your track. Um
35:18>> and then they're not going to pay
35:19royalties for things that have got too
35:21much AI. So, I think that's a bit
35:22[ __ ] because, you know, you can't
35:25just keep our money just because we've
35:27used some AI tools that you've create,
35:29people have created for us to use and
35:32then now you're going to keep our
35:33royalties. That's not fair at all. Um,
35:37but that's what's happening. Um, so
35:40yeah, it's going to be an interesting uh
35:42journey into all of that. I mean, that
35:44track by Hugal, the dancing to the
35:49[ __ ] hell, I can't sing it. the the
35:51Hugal track that's the number one in the
35:53US charts at the moment um was I mean
35:57from what I gather that was that was ao
36:01that was ao vocal I mean it sounds like
36:03half the [ __ ] I generated something on
36:05the other day that sounded pretty
36:07similar to that
36:09uh Hugle I mean everyone loves this
36:12track and he did a little video about it
36:14and I think he was pretty much saying it
36:16was was AI but then they got someone to
36:19reing
36:25>> [music]
36:32>> Um, apparently that was out of AI. Um,
36:34doesn't surprise me because I've heard a
36:36million things like that being being
36:37created by Sunseo. So, fair play. He's
36:40got to the number one.
36:41>> Voice component's crazy now. Like I've
36:43been playing with that voice. I've got
36:45one I don't use online because that's
36:48always comes with restrictions and
36:49stuff. So just have it all running
36:51locally. Anything I use AI wise that's
36:53good. I'll try and find something open
36:55source that runs off my graphics cards
36:58so that you don't have to worry about
36:59subscriptions and h time limits and
37:02whatnot.
37:03>> Um but I just I recently was I read a
37:06book last year. It was how to talk to
37:07yourself. It's about self motivation
37:09being
37:11sticks better than external motivation.
37:12like motivation for someone else like
37:14makes you feel good but then doesn't
37:15stick around and people procrastinate.
37:17So, uh I have trouble like speaking in a
37:21camera or something like I think we all
37:23do like to start with. So, I just cloned
37:26my own voice.
37:28>> Um and I made mistakes doing it but that
37:30was fine and cloned my own voice and
37:32then got it to write out
37:33>> like the AI to JBT to write out like
37:36affirmations but like in the specific
37:38terms of the book the way the book does
37:40it.
37:40>> Great. That's amazing.
37:42>> It wrote it wrote scripts. I put it into
37:45that and then I listen to them every
37:46morning. It sounds like me.
37:47>> You're right. So to to how how
37:49convincing. I mean, first of all, I
37:50loved this affirmations in your own
37:52voice. That was something I was actually
37:54advised to do and I did create a whole
37:56affirmation with someone and I was
37:58saying it to myself, but I didn't ever
38:00get round to recording it and listening
38:01to it. But I think it's super powerful.
38:04How convincing is the voice clone of
38:06yourself?
38:07>> It's You know what? like what I think
38:10the I think the juice where I went right
38:12was I programmed a thread on AI with the
38:16specific instructions and the way the
38:18guy speaks in the book.
38:19>> So it's if you if you were to just if
38:23you were to just ask CharbT for gen
38:25general um affirmations, they get
38:27boring. They don't sound real. They
38:29don't sound like you either because you
38:31have to be be able to believe them
38:33yourself. Do you know what I mean? So,
38:35no, totally.
38:36>> I add it tailored to what I want, like
38:38my my my my
38:41future or things I struggle with. And
38:44you you can edit it and work with it
38:46until you're happy with the script. And
38:47it's just 15 lines of of something. And
38:51it's it's better than generic because
38:53it's been programmed the idea in the
38:54book.
38:55>> But does it sound like you? Does the
38:57voice sound like you? Cuz I've tried
38:59cloning my own voice and it didn't sound
39:01good enough to use. That's what I'm
39:02asking.
39:03>> It's It's crazy. Like
39:04>> it does sound like you.
39:06>> Yeah. Yeah. Yeah.
39:07>> Would you be happy for that to be
39:08speaking on the internet on your behalf?
39:10Is it that good?
39:12>> I I think with a lot of work. Yeah. Like
39:14it depends. I think it depends on what
39:16you put in. So I'm playing about with it
39:18just now about uh speaking different
39:20syllables, different words and stuff.
39:23And once it if it has more information,
39:25it will not make mistakes
39:28that way because it's only made a couple
39:29of mistakes on on the ones I recorded.
39:31That was the first time, but that was
39:33[clears throat] I hadn't given it much
39:34more than 30 seconds in my voice.
39:36>> I mean, it's incredible. You can you can
39:38do obviously they've got the the AI twin
39:40that you can actually have yourself on
39:42camera speaking, you know.
39:43>> Yeah, that's
39:44>> that and that's clo that's close, but
39:46it's not quite good enough. Um, but it
39:48it's not going to be long before that
39:51is. Um, and then
39:52>> good good enough to use for yourself for
39:54your personal stuff. Like I I've been
39:56putting off that motivation stuff for
39:58about eight months. like, "Oh, I can't
40:00be bored writing all these things down
40:02and then speaking into a microphone for
40:0315 minutes. I'll just make loads of
40:05mistakes." But then that's just that
40:07took me an hour or so, hour and a half.
40:09>> Yeah. I mean, this is the this is the
40:12good thing of one of the amazing things
40:14about AI is the fact that it can help us
40:16to get really good uh things into our
40:20life in a in a way that we can actually
40:22work with them, you know, rather than
40:24being It's tricky. It's funny, isn't it?
40:26cuz we're like overwhelmed with the with
40:28so much information now. Good stuff, a
40:30lot of good stuff as well. But how do
40:32you how do you get it into your life? I
40:34think AI is helping with that in a in
40:37the modern day, you know, when you get
40:38so many things on Instagram. So many
40:40there's only so much you can take in, of
40:43course, isn't there? Before you have to
40:44decide what you're going to what are you
40:46going to do, what information you going
40:48to follow. There's always someone's got
40:49a different [ __ ] morning routine,
40:51isn't there? [laughter]
40:54We're going to drink lemon juice. One
40:55minute I'm drinking [ __ ] a pint of
40:57lemon juice, then I'm drinking this,
40:59then I'm doing then I'm not having
41:00anything, then we're going for a walk
41:02first. I've just settled on get out the
41:05house, go for a coffee and a quason, and
41:07then just walk down the beach. That
41:10works for me.
41:11>> Well, that sounds really nice.
41:13>> Yeah, [laughter] that that does the job
41:14for me.
41:17>> I wish I could do that in in Cambridge.
41:20>> There's no beach.
41:22No, that's that's tricky in if you're
41:24not by the beach. Um,
41:25>> it [clears throat] sounds amazing.
41:26>> So, that's that's a nice little one. I
41:28think it's it's important to have a good
41:30start to the day. Actually, recent since
41:31I did that meditation course, I've been
41:33meditating in the morning in my bed, but
41:36sitting up cross-legged, but
41:38>> that's been happening before I've really
41:40kind of I think I get up Yeah. make a
41:42couple of coffees and then put them to
41:45the side and then meditate in my bedroom
41:47is I've only been doing that for the
41:49last week, but that's been a game
41:50changer just getting that done. Um,
41:53>> how long do you do it for?
41:54>> An hour approximately.
41:56>> You meditate for an hour? Wow. Well, at
41:58the moment I'm doing an hour in the
41:59morning through throughout the day here
42:01and there, especially if I'm in the
42:02sauna or something, and then an hour at
42:04night. So, I've gone completely kind of
42:07into it. I just can't get enough of it.
42:09It's I've never had that with um I've
42:11studied Tai Chi, Chiong, that kind of
42:13stuff for many years, but the
42:15meditation's just been on and off casual
42:17here and there, but
42:18>> now for some reason, I've just I found a
42:20style that I just um absolutely want to
42:24do. like it's it's like the opposite of
42:27being a drag. Like I can't wait to do
42:29it. It's um
42:31>> very very fortunate. I don't know. The
42:32stars have aligned for me to do that.
42:34And uh the effects on my kind of um
42:38inner voice, should we say have been
42:40extremely positive, you know, that
42:43running I don't we've probably all got a
42:44bit of a running commentary, you know,
42:46and sometimes sometimes it can be
42:49>> just a little bit too much. Sometimes
42:50there's too many me too much of it and
42:52sometimes it can also be negative and
42:55>> that that's now been turned down to
42:57level one and it's and it's under
43:00control and it's not giving me any
43:02grief.
43:03>> Um kind of so that's that's quite
43:06extraordinary. I've not experienced that
43:08before and I don't
43:10>> what's that
43:10>> you use guided meditation or
43:12>> no it's not it's a method of meditation
43:14called zogchen meditation which is uh
43:16traditionally um known as something
43:19within Tibetan Buddhism um although it
43:22does predate Tibetan Buddhism but it was
43:25brought to Tibet anyway from India and
43:28uh in the time that Buddhism was
43:30developing in Tibet so it was worked
43:31into that system anyway but basically
43:33it's it's kind of you know
43:36you you're not you're sitting there you
43:39you're letting your thoughts come.
43:41you're not attaching to them and
43:43eventually your thoughts kind of start
43:45to calm um and there's a lot of space in
43:48between your thoughts and then you start
43:50to and I'm just at the beginning of this
43:52right so you have guidance from a
43:55teacher who is legit in this but you
43:58start to put your attention on the space
44:02between the thoughts and you start to
44:04sink deeper into that emptiness and so
44:08they say you know we're keying keying
44:10into that is keying into you know
44:14basically the unchanging kind of all and
44:17everything where you know the only thing
44:20that's not impermanent okay Buddhists
44:22are all about non-attachment
44:24impermanence everything's changing you
44:26know so this zchen meditation is kind of
44:29at the heart of where all those Buddhist
44:31paths lead but the zogchen meditation
44:33just goes directly for it they show it
44:35to you they tell you how to get there
44:37and it's a case of you sitting there and
44:39trying to kind of perceive this this
44:42other dimension, this kind of stillness,
44:46but they describe it as an a stillness,
44:48like a not a void, like a an emptiness
44:51which is alive with luminosity. So, the
44:54dancing emptiness, I mean, the poetic
44:57ways they're describing this is just
44:59it's incredible. Even just hearing them
45:01talking about it is just I've got so
45:03many samples for tracks, so many titles
45:07of tracks. Um, but yeah, it's all in
45:10there somehow. So, you connect with the
45:12Boom Festival slogan, we are one. This
45:15is the actual way, one of the actual
45:18ways you can connect with that if you
45:20can figure it out inside your own head.
45:22But the side effects of that have just
45:24been an extremely calm mind and um,
45:28yeah,
45:29>> cool. Did you say
45:30>> logen D O C H E N? Worth a look. For
45:36sure. worth a look. If you like Star
45:38Wars and Lord of the Rings and you like
45:40the idea of the Yodas and the the
45:42Obi-Wan Kenobis, then then I mean you
45:45just you have to check out Zogchen.
45:49>> Is it something like Vipasa?
45:51>> Well, I mean Vipassner is in that
45:53system. Yeah, Vipassner is and I haven't
45:55done a Vipasna, but Vipassner's
45:58part of that, but Zogchen is is just the
46:03direct into the emptiness. um proper I
46:07believe they're focusing a lot on the
46:08breath and it's a lot of the scanning
46:11taking the mind up and down the body you
46:13know again incredible um so uh it's
46:17worth looking into I recommend it um I
46:19know a lot of uh friends of mine have
46:21got you know busy minds you know
46:23creative people on the spectrum a lot of
46:26us undiagnosed you know certainly
46:29extraordinary characters and um
46:31definitely not normal most of my friends
46:33that's why I thought I that's what
46:35[laughter] I didn't realize how not
46:38normal I was cuz all of the people I've
46:40been surrounded by my whole life are
46:41also special. Um, and
46:45>> I think there's more special people than
46:47there are what we class as normal these
46:48days.
46:49>> I think you might be right. I think you
46:51might be right. And it's about making
46:53that work for you, you know. And
46:54sometimes for me my mind would be, you
46:57know, just way just too much, you know.
46:59I love myself and I love the way I am
47:01and I have a great time. But there were
47:03points in the last few years where it
47:05was just getting too intense. You know,
47:07I I wasn't able to kind of keep it calm
47:10and thankfully that's that's under
47:12control at the moment. And um that
47:15meditation has been a big key to that. A
47:18big key also just less partying and all
47:22the rest of it. I don't I don't drink. I
47:23don't do any of that anymore. So that
47:26was stage one. Now it's meditation and a
47:29couple of other bits, you know, but I
47:31tell you the workflow, the the way I can
47:33work, the lucidity, remembering what I'm
47:36supposed to be doing, not being
47:37distracted, that's been really
47:39improving. And, you know, to to be able
47:41to make music is what I set out to do.
47:44So, you know, all of these little
47:46upgrades help with that, you know. Um,
47:50so yeah, that's definitely definitely
47:51something I'd recommend you if you're
47:53anything like me. that that will be a a
47:55nice bit of a nice slice of of peace,
47:58you know. Um definitely check it out. Um
48:02so
48:02>> Joe, this is Dong Jen, the great
48:04perfection.
48:05>> That's right.
48:07>> Okay. Thanks.
48:07>> That's right. That's right.
48:08>> That's interesting.
48:09>> That's right. Yeah. No, I find it
48:10fascinating. Um
48:13>> anyway, no, it's it's Yeah, it's um it's
48:17just have a have a read about that. I
48:19mean, it's that's cool.
48:22Um so and also you know if you I get
48:26results from that in one sitting you
48:29know if I when I used when I remember
48:32the last time I felt really not very
48:33good in my head I just sat down didn't
48:3640 minutes meditation and I was back you
48:40yeah back to feeling good okay it's a
48:42challenging situation but I'm okay to to
48:46take on the challenge and you I'm happy
48:48to be here that was the the flip it gave
48:50me you know in one session. So, I think
48:53there's there's got to be something
48:54worth checking out there for sure. Um,
48:56anything that's been around for thou,
48:57you know, thousands and thousands of
48:59years, undiluted is probably worth
49:02checking out. You know, not everything,
49:04but that is um Okay. So, [clears throat]
49:08who have we got for Nick? Is this yours?
49:11>> It is. Yes. I um you remember you worked
49:14on it a few weeks ago, so I've done more
49:15work on it. Yeah.
49:17>> Yes. Yes. Only one vibration.
49:20Only one. Yes. None of them.
49:22>> Which one is it? [laughter]
49:24>> The first one. The first one.
49:26>> Right. So, the the word of God.
49:29>> That's right. [laughter] If you want to
49:31take it to that. Yeah.
49:33>> All right. Is it 142? Am I remembering
49:36that right?
49:36>> Uh, it's 142. Yes.
49:39>> 142. And, uh, in the key of F.
49:41>> F.
49:42>> At least I believe so. I think I
49:45>> Yeah, it's two weeks since I worked on
49:46it. Few weeks since I worked on it.
49:48>> Good. Good. Good. Good. Good. Good. Did
49:50you play this in um Machine Elves?
49:53>> No, cuz they wanted um a full-on set and
49:56it's not really full on.
49:57>> Okay.
49:58>> Just pitch it up. No, you can't
50:00[laughter]
50:03>> speed up a bit.
50:05[laughter]
50:08Oh dear.
50:11Um
50:17right.
50:20>> [singing]
50:24>> Good.
50:27>> Wow.
50:35[music]
50:38>> Only this vibration.
50:42>> Oh yeah.
50:45Heat. Heat. [music]
50:51[music]
51:12>> [music]
51:12>> Nothing else exists.
51:16No past,
51:19no future. [music]
51:25[music]
51:25What a great sample.
51:29Heat. Heat.
51:33[music]
51:40[music]
51:47[music]
51:52>> [music]
52:01[music]
52:06[music]
52:12[music]
52:17[music]
52:19>> You see this? That's the lead. So, it's
52:21it's just it wants to be about here. So,
52:23that's a little bit loud. Um, maybe it's
52:26the resonance of the filter or
52:27something. High hats could come up a
52:29bit, but aside from that, sounding
52:31sounding great. [music]
52:41Heat.
52:44[music]
52:50[music]
52:57[music]
52:58Heat.
53:04[music]
53:15Oh,
53:16no. I
53:18g [music]
53:23[music]
53:28[music]
53:29I mean, that's that's decent.
53:33Oh,
53:39she
53:41[music]
53:47[music]
53:55[music]
54:00>> [music]
54:05>> It's a good one. [music] Sorry. A good
54:08one.
54:13[music]
54:19[music]
54:26>> [music]
54:31[music]
54:34>> Great great groove there. Really bouncy
54:37[music]
54:38offbeat.
54:42[music]
54:43>> I mean, with a good with a good old mix
54:46session on this, you're going to have a
54:47really fat track on your hands, mate.
54:51[music]
55:01>> [music]
55:11[singing]
55:11>> Time
55:13ends here.
55:16Reality
55:18slips [music]
55:22and all that remains
55:25is this moment.
55:29>> I mean, that's [ __ ] massive, right?
55:31This all that remains is this moment.
55:33>> Yeah, that's a really nice sample.
55:35>> That's amazing. Um,
55:38>> vocal. What moment are we talking about
55:39anyway?
55:40>> Oh, the one vibration. Oh, the one vi
55:43sorry [laughter]
55:46>> this moment.
55:48>> There's one vibration, one moment,
55:50>> right? One this moment. Clean. Yeah, I
55:53reckon it wants to be like a bit clean
55:55when it says this moment. One vibration
55:57this moment. Do we hear one vibration
55:59again?
56:00>> Uh I think at the end,
56:02>> right?
56:04>> No pass.
56:08And all that remains
56:10[music]
56:11is this moment.
56:16>> So I would say this moment cleaned
56:17without all the stuff in the back.
56:19>> Yeah. I wouldn't have a kick there for
56:20example. I wouldn't have that reverb
56:22kick. I just this moment you it needs to
56:25be Yeah. The less things you have on
56:28that, the more it's going to be
56:31>> okay.
56:31>> You're going to just let it resonate
56:33out. Sorry, like reverb out this moment.
56:35Well, let's see what it does. And all
56:38that remains
56:41is this.
56:42>> It's dramatic when things are clean and
56:45simple. It's super dramatic when it's on
56:47a big [music]
56:48>> Is this wrong?
56:52>> It's pretty much there. Just lose the
56:53kick. I think
56:56[music]
57:00that's good there.
57:03[music]
57:10>> [music]
57:13>> Only this vibration.
57:17[music]
57:26[music]
57:28Heat
57:37[music]
57:44[music]
57:45up
57:49here.
57:53Heat. [music]
57:56Heat.
58:06Heat.
58:07[music]
58:18[music]
58:26Heat.
58:28[music]
58:31Heat.
58:36[music]
58:40Heat.
58:46[music]
58:50Heat up
58:51>> [music]
58:57[music]
59:09>> here. [music]
59:17>> [music]
59:20>> Okay. So, that's cool. And then you and
59:23then back. [music]
59:27>> I mean, you've almost you've almost got
59:29more stuff than you need there to for it
59:31to be a a kind of, you know, track with
59:33all those iconic vocals. And [music]
59:38you got that
59:44Right, let's just go through again
59:46because we just want to make sure.
59:50>> I like that. And rolling at the end.
59:52It's It's a nice way I've I've done
59:53tracks like that, different baselines,
59:55and then at the end it's rolling. I
59:57personally think that's a great move.
1:00:01Kind of keeps the rolling fresh.
1:00:02Sometimes a rolling track all the way
1:00:04through can be a bit sy unless it's, you
1:00:07know, done really well. Um,
1:00:11so you got this. [music]
1:00:13Brilliant.
1:00:21[music]
1:00:22>> Yeah, I don't think you Yeah, that's
1:00:23fine. Bring it in at the end. That's
1:00:24great. Um,
1:00:27so, um, I mean, most of this is just mix
1:00:30for you really. I mean, I can see
1:00:31there's just a little bit of volume
1:00:34stuff. Are you using the analyzer much?
1:00:37a little bit but not much. I mean, how
1:00:39would you what would you do to the mix?
1:00:42>> Well, just get the volumes of things
1:00:44right really. Um, I [music] would
1:00:48high hats are too quiet, sounds are too
1:00:51loud, first of all.
1:00:53>> Okay.
1:00:53>> Yeah. Um, but you can understand it
1:00:56really simply if you pick an analyzer
1:00:58that is uh good that you that has a good
1:01:00response that you just look at, you
1:01:03know, other people's tracks that you
1:01:04like and you just say, "Okay, there's
1:01:07the there's the level of the high hats,
1:01:09there's and you just match it." That's
1:01:11the simplest way to do it. And, you
1:01:13know, most of the most of the mix is is
1:01:17getting the volume right. And I know
1:01:18that sounds ridiculously simple, but
1:01:21you'd be surprised how many people are
1:01:23already, you know, sidechaining the Fab
1:01:26Filter dynamic EQ to this and that and
1:01:28the other when they haven't actually got
1:01:30the volume of the sound at the right
1:01:32level. So, um, first things first, yes,
1:01:36just go through and just, you know, I
1:01:38mean, I use this because when I look at
1:01:40my analyzer here, I make sure when the
1:01:42kicks at the top, I know that the high
1:01:44hats are there, the sounds don't go
1:01:46above this line, generally speaking, and
1:01:48the snare's about there. So, I've got a
1:01:50visual. I just I can put things at the
1:01:52the right volume very quickly. Um,
1:01:55>> you have a system like you do for the
1:01:57kick. You say the kick is 12 RMS and the
1:02:00bass should be 14. So, what about the
1:02:01high hats? Do you have a
1:02:03>> No, I don't measure it because I don't
1:02:04need to. I just look at the
1:02:06>> Yeah, but I just look because the thing
1:02:08is with with the high hats and
1:02:09everything, it's depending on how much
1:02:12I've squashed them or how much peaks
1:02:14they've got, they're going to Yeah, I
1:02:16could measure the RMS. You're right. I
1:02:17could do that. I haven't done it because
1:02:20I don't feel that I need to even know
1:02:22the RMS because I just open the analyzer
1:02:24and I put it to the right volume. Um,
1:02:27>> yeah. But for a novice like me, would
1:02:29you be able to have a quick look just to
1:02:31give us a
1:02:31>> Yeah. a quick a quick estimate just
1:02:35because obviously I'm quite quite new to
1:02:36this. So,
1:02:37>> well, I mean, I don't I think being new
1:02:39to it, I mean, the best thing you can do
1:02:41is to use an analyzer. I mean, that's
1:02:44the thing. There's no I mean, you can
1:02:46measure things till the cows come home,
1:02:47but there's nothing superior to having
1:02:49an analyzer and looking at to see where
1:02:52your where your where your things are.
1:02:55Um, I mean, if I if it was going to
1:02:59if the kick's minus 12, then where would
1:03:02the high hat be?
1:03:04>> Uh, kick kick kick.
1:03:09Let me do that after. Can you hold that
1:03:10thought and I'll do it while Oh, yeah,
1:03:12of course. Suggestion while I was
1:03:14thinking of it as well.
1:03:15>> Yeah, I'll do it. I'll do it after I've
1:03:17done um Nick's track and then uh we can
1:03:20we can just have a test of it. But I
1:03:24think generally speaking, it's just it's
1:03:26good to look at an analyzer because
1:03:27otherwise you'll never understand where
1:03:30things are supposed to be.
1:03:31>> If you're always measuring, you could
1:03:33measure it, I suppose, but I think it's
1:03:35good to
1:03:36>> to to get into the habit of having a
1:03:38glance at an analog
1:03:40>> because then it's then it's just quick.
1:03:42It's easy. It's quick. You don't need to
1:03:44measure, you know.
1:03:45>> Um it's quicker than measuring. That's
1:03:47why I do it and that's why I didn't go
1:03:49to the extent of high hats minus 12 high
1:03:51hats, you know.
1:03:53>> Um, but I I totally could and because I
1:03:55always choose to have my kick at minus
1:03:5712 RMS, I totally could could do that.
1:03:59Um, I just didn't need to. That was
1:04:01nothing more complicated than that. So,
1:04:04aside from having a mix, uh, having a
1:04:07good old mix
1:04:13>> I mean, I thought the height there used
1:04:14to be I'll show you the the kind of
1:04:16level I'm talking about with a with a
1:04:18hat hat.
1:04:20Um, because I thought they needed to be
1:04:22a bit of a pickup here with a with a
1:04:25hat. A little bit quicker. Hats hat.
1:04:31[clears throat]
1:04:38>> But let's clean it up. You measure it
1:04:40before any mastering chain and anything.
1:04:42So, it's the raw production.
1:04:44>> Well, my well, look, my my measuring
1:04:48devices would be up here. Um, and all
1:04:51the mastering stuff would be down there.
1:04:52So yeah, I always I always would
1:04:55whenever I'm looking at analyzers and
1:04:57all that, it's all it's all before any
1:04:59of the mastering stuff has kicked in. Is
1:05:01that what you mean, Ben?
1:05:03>> Yes. Yes. Yes. Because if many people do
1:05:05it after, it's not the same result.
1:05:07>> No, exactly. It's not the same result.
1:05:10>> Just to be aware everybody that don't do
1:05:12it after the limiter doing everything
1:05:14before in the beginning in the master
1:05:16channel.
1:05:16>> But can you then compare it to master
1:05:18tracks?
1:05:20Uh, can you then compare it to mastered
1:05:22tracks? The thing is you're you are
1:05:24comparing it to mastered tracks. Um,
1:05:26>> yeah, I guess so. The
1:05:27>> it's a good question what you ask. Um,
1:05:30because essentially when you're looking
1:05:32at a mastered track through an analyzer,
1:05:35it's been mastered, so it's not the
1:05:37same. So, you know, my mastering chain
1:05:40does have another analyzer at the end
1:05:42after the mastering,
1:05:44>> but that said, it's not the primary one
1:05:48that I look at when I'm getting the mix
1:05:49right. And it seems it seems to work. It
1:05:53seems to work despite those tracks being
1:05:55mastered. It does it does seem to work.
1:05:58So, that's my you know, that's my uh
1:06:03experience of it so far. Um, and people
1:06:06don't people don't sell their
1:06:07premasters. It's not a thing yet.
1:06:09[laughter]
1:06:10>> No,
1:06:11>> you could have one from me if you wanted
1:06:13to check it. I don't mind.
1:06:16[music]
1:06:26>> Yeah, [music]
1:06:27this was all a bit long for me without
1:06:29much energy. That was my first thing.
1:06:31So, I wanted more.
1:06:34like 16 bars is quite a long time today
1:06:37and 32 bars is even longer. So
1:06:42[music]
1:06:50[music]
1:06:58the hell's going on with that?
1:07:02I don't want [music] to hear anything.
1:07:10I don't know what's going on with um
1:07:13Oh, I put it on a channel. That's the
1:07:16filter. Sorry.
1:07:20Yeah.
1:07:24[music]
1:07:29[music]
1:07:37>> [music]
1:07:37>> It's going to be something more like
1:07:38that
1:07:44>> as opposed to that.
1:07:45>> Yeah.
1:07:48>> An offbeat one. It
1:07:50>> Oh, someone's who's who's am I echoing
1:07:52with? Hello. Oh, it's gone. Um, an
1:07:55offbeat hat would just give you that. It
1:07:57will just anchor the track, you know.
1:07:59Yeah.
1:08:00>> Um, and it was just it just like you
1:08:02just needed a little you need somewhere
1:08:03between the energy of not any percussion
1:08:06and the full percussion. I just wanted
1:08:08that that that step up because you kind
1:08:10of need it to keep just to keep it
1:08:12moving.
1:08:13>> Yeah.
1:08:16[music]
1:08:23[music]
1:08:30>> [music]
1:08:35>> What [music] have we got there?
1:08:41[music]
1:08:42Okay.
1:08:44So, you had then you have the open high
1:08:46hats. Yeah. [music]
1:08:49So, for me, excuse me, this I mean,
1:08:53we've gone on for quite a bit. So, it's
1:08:56like this is, let's just say this is
1:08:58the, you know, the explosive energy
1:09:01moment of section one. Yeah.
1:09:04>> Excuse me. We've been building up to
1:09:05that for quite a while. This is quite,
1:09:07you know, 32 bars is quite a while to
1:09:09build up. It's look, it's a perfect
1:09:11amount of time if I'm honest. You can do
1:09:1224 32. Great. Um, what's missing is a
1:09:16little bit of a kind of crescendo,
1:09:19>> you know? So, filter, kick, and bass,
1:09:21all the usual stuff. Um,
1:09:23>> yeah.
1:09:24I don't know what's going on with that.
1:09:28[music]
1:09:37>> [music]
1:09:42>> um would be something like this.
1:09:45>> Get some, you know, white noise classic
1:09:47for this, you know, make a moment of it
1:09:50just to just to anchor it because it
1:09:51really does
1:09:52>> it really does establish the track. I
1:09:54like to do it every time at the moment.
1:09:56It's like, okay, we've got the intro,
1:09:58then we've got the first kick and bass
1:09:59with the high hats coming in, bit of
1:10:01play around, and okay, good, good, good.
1:10:03Then we're going up, up, up. D and then
1:10:07bang, we're in. And it's like really
1:10:09obviously
1:10:10banging, you know, and there's an
1:10:13obvious difference between the bit that
1:10:15was leading into the banging bit and the
1:10:17banging bit. And there's a fantastic
1:10:19sort of high energy transition that
1:10:22takes you there. Then you grab people
1:10:25and then you're like, "This is where we
1:10:27are. Let's have it." Yeah.
1:10:29>> Um, and it will just it will just make a
1:10:32bit more power out of that first bit of
1:10:34the track. Um, a white noise there.
1:10:40>> Wow.
1:10:41>> What's that?
1:10:42>> That's a really big white noise, isn't
1:10:44it?
1:10:44>> It is. It is. I'm proud of that.
1:10:47>> How many bars is it?
1:10:49>> It's infinite. Um, six. [laughter]
1:10:5216.
1:10:54>> Oh, wow.
1:10:55>> Um, yeah. Yeah. Well, I've got a little
1:10:56folder of white noise uh that I've put
1:10:59together, but I should update these
1:11:01folders. But always handy to get
1:11:03yourself something quick to to go to
1:11:06like this. I always like to do a little
1:11:08bit of um LFO on this [music]
1:11:21>> and um
1:11:23a little bit of filter. You can high
1:11:25[music]
1:11:34[music]
1:11:37for example um
1:11:45[music]
1:11:49and then
1:11:52needs to do something.
1:11:54um kind of thing. So, this is where I
1:11:57would say a little, you know, a little
1:11:59drum fill or something. Maybe one of
1:12:02those Viking slams. Just a little stop.
1:12:06A little stop. Uh
1:12:10little stop, little drum fill. Maybe we
1:12:12can take a sound from later in your
1:12:14track potentially
1:12:16um and and have it here. You got, and
1:12:18this is the thing, you've got such good
1:12:21vocals um here that
1:12:24>> this is an opportunity then to use one
1:12:26of those vocals is going to come later
1:12:28to start seeding the thing because,
1:12:32>> you know, to to to make it into that
1:12:34track that everyone's just like, "Yes, I
1:12:35want that track. I want that track."
1:12:37It's a case of, you know, strategically
1:12:39having vocals in places that's going to
1:12:41keep refreshing people's mind and
1:12:43building towards the point where you
1:12:45reveal the the the main vocal or, you
1:12:48know, maybe you've got a phrase that's
1:12:50your favorite one and you kind of would
1:12:51use it here in the drum fill, you know,
1:12:54potentially one vibration
1:12:56and then you're in, you know, it's that
1:12:58calling card of the track, you know,
1:13:00let's say.
1:13:01>> Yeah. Yeah. Um,
1:13:16[music]
1:13:21>> white noise. White noise. White noise.
1:13:24Um,
1:13:25oh, hang on. We didn't bleed and save
1:13:28it.
1:13:30[snorts]
1:13:37I would say a little um a little drum uh
1:13:41a little snare build. Nothing too
1:13:44hectic, but just a little
1:13:49a little snare build would be nice, you
1:13:51know. Again, I mean, I'm using stuff
1:13:54that I've found on Splice mostly for for
1:13:56these kind of um the mechanic the the
1:13:59utility things, should we say. Um where
1:14:04this one that was good,
1:14:13someone's having a good time over there.
1:14:16>> Sorry.
1:14:17>> Someone's having a great little party in
1:14:19the back.
1:14:20>> Oh, no. That's Sorry, that's my son.
1:14:21He's uh he's also he's also a music
1:14:23producer,
1:14:24>> is he?
1:14:25>> Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.
1:14:26>> What kind of music does he make?
1:14:28>> Well, he does it professionally. So, he
1:14:29he originally was doing rap and afro
1:14:31beats and now he's got into house music.
1:14:33So, we just got back from AD. So, he's
1:14:36being very inspired and
1:14:37>> Oh my god. What does he do then? He
1:14:39makes music for himself or he makes
1:14:41>> No, he produces and he DJs. So, he's a
1:14:42he's he D I mean I'm a hobbyist. He DJs
1:14:45every weekend.
1:14:46>> Wow.
1:14:47>> Yeah. Yeah. Yeah.
1:14:48>> So, he DJing out his own music? Uh,
1:14:51partly. Yeah. Yeah. Partly.
1:14:52>> That's amazing.
1:14:53>> Yeah.
1:14:54>> Good for him. Bloody hell.
1:14:56>> Yeah. So, it's a very loud house.
1:14:57[laughter]
1:14:58>> That's How old is your son?
1:15:00>> He's 23.
1:15:01>> Wow.
1:15:02>> Yeah. So, he he he gets up quite late
1:15:05and then produces quite late and then me
1:15:08it's during the day sometimes. So, yeah.
1:15:10>> You need a pair of earplugs. [laughter]
1:15:13>> A lot of a lot of noise in the house. I
1:15:16sleep with earplugs every every night
1:15:18and it's it's it's a piece that I've
1:15:20I've would never known until I tried I
1:15:23was forced to do it because my neighbors
1:15:24had uh a continued succession of new
1:15:28children for about five years. obviously
1:15:31and you know just when you thought it
1:15:32had calmed down you suddenly hear a baby
1:15:34and you're like don't don't tell me they
1:15:37they have had another [laughter]
1:15:40they've moved out um now so but the
1:15:43earplugs have remained so I've got like
1:15:45double silence now it's incredible
1:15:54what is going on with
1:15:59Okay.
1:16:04[music]
1:16:11[music]
1:16:18>> Do you hear that sort of thing I'm
1:16:20talking about?
1:16:20>> Yeah. Yeah. It sounds awesome.
1:16:25>> [music]
1:16:30[music]
1:16:36>> I mean, I would even maybe maybe it's
1:16:38the kick that needs to be there, but for
1:16:40now, we've got that and a and a little
1:16:43and a little drum fill. And so, this is,
1:16:45you know, it's like again, you've got
1:16:47all the elements here for, you know,
1:16:49massive massive track. And it is a
1:16:50massive track. um this kind of
1:16:53punctuation and this is punctuation.
1:16:56It's just about presenting things with
1:16:58uh the push and pull of of something. If
1:17:01it's so continuous, then it's great, but
1:17:04it sometimes it's good to give them
1:17:06those moments. It's it's you know the D
1:17:09they're dancing, they're dancing, but
1:17:10they need these key moments as you've
1:17:12got many of them, but this this I
1:17:15thought section one was missing the we
1:17:17have arrived moment.
1:17:19>> Yeah. Um, it's an easy thing to get in
1:17:21the habit of doing, but I I really
1:17:23reckon it makes tracks land so
1:17:25powerfully. It's a brilliant place for
1:17:27the DJ to be mixing in. I personally
1:17:30like mixing in in these bits. You know,
1:17:32you know where you are. It's like,
1:17:34"Right, here we go. Here we go. Here we
1:17:35go." And people start to hear it when
1:17:37they're like, "Oh, here we go. Here we
1:17:38go." And then it drops and they're like,
1:17:40"Right, we're in."
1:17:42>> Yeah. You know,
1:17:42>> it's like make it easy for them to have
1:17:44a great time kind of thing. Um,
1:17:48>> [clears throat]
1:17:50>> Drum fill.
1:17:53Drum fill.
1:17:55Drum fill. Oh, there was some ones in
1:17:58there.
1:18:01Oh, short fills.
1:18:09[music]
1:18:15Mhm. M
1:18:17>> do you ever slice your uh fills um if
1:18:20they're
1:18:21>> all the time?
1:18:22>> No, I mean if they're if they're not in
1:18:24the right um BPM and you know
1:18:27>> Yeah. Do I do that? Um yeah, sometimes.
1:18:30Yeah, a lot of the time cuz this has
1:18:31just got better and better. A lot of the
1:18:33time I'm just doing it like that. But if
1:18:35I hear that I'm hearing I don't like the
1:18:37sound of it, I'll just chop it manually
1:18:39and do that. I was a stickler for always
1:18:41doing that. But this has got to the
1:18:43point now where it's kind of it's okay.
1:18:4670% of the time. I not every time.
1:18:50>> Yeah.
1:18:50>> But it is generally getting Yeah. pretty
1:18:54pretty impressive,
1:18:58[music]
1:18:59>> you know. I mean, you wouldn't want
1:19:01>> You got two drum fields on top of each
1:19:02other.
1:19:03>> Just playing around.
1:19:08[music]
1:19:09>> No, not too bad. But, you know, you get
1:19:11the idea. Some something there. Um,
1:19:14I mean, we could just put one of the
1:19:16older
1:19:22Sonic.
1:19:30Make that one.
1:19:32[music]
1:19:38>> [music]
1:19:44[music]
1:19:51[music]
1:19:59[music]
1:20:06[music]
1:20:07>> There's something there. Now, when it
1:20:09comes in um you've got this do happening
1:20:14before, right? And then on the drop.
1:20:17Now, if you're going to do this, what I
1:20:19recommend is that when it drops in with
1:20:21all the percussion, you're not going to
1:20:23have that lead immediately. You're going
1:20:26to let it go without and then you're
1:20:29going to bring it in
1:20:30>> again. Yeah.
1:20:31>> Yeah. You're going to bring Yeah. So,
1:20:32you're sort of building within [music]
1:20:41>> [music]
1:20:42>> Yeah,
1:20:44let's see if we can find a bit. [music]
1:20:54[music]
1:20:59[music]
1:21:11>> [music]
1:21:12>> difficult difficult to simulate it, but
1:21:15it's
1:21:15>> Yeah, I know what you mean.
1:21:16>> Yeah, essentially like oh
1:21:20it's a it's a case of not having it
1:21:21immediately because otherwise it sort of
1:21:23just sounds like it's just not as
1:21:25powerful. That's all there is. That's
1:21:26all there is to it. It can work, but
1:21:29what would be better is if you were to
1:21:30have that maybe filtering in over the
1:21:32eight bars or something so you get this
1:21:35clean drop with the percussion because
1:21:37also your percussion and everything's
1:21:39going to be like at the right volume.
1:21:40So, it's going to be driving the track.
1:21:42[music]
1:21:49[music]
1:21:58Um, and you know,
1:22:00one thing that you can do is um is just
1:22:05get get on to um Splice or wherever uh
1:22:08to get some, you know, high hat loops,
1:22:12offbeat hats, just to kind of um
1:22:17uh make it a bit more interesting, the
1:22:19open high hats like I've got. Is it that
1:22:21one
1:22:23now? What is wrong with these channels?
1:22:28It's the wrong one.
1:22:31Like for example, like open high hat
1:22:33loops that pan a little bit that have a
1:22:34bit of texture that are just a bit
1:22:36different to uh what you've got um to
1:22:40layer on top of your open hat to make it
1:22:42just that little bit more um
1:22:47you know uh different dimension to it.
1:22:49You know, bit more space, all the rest
1:22:51of it.
1:22:53For Christ's sake. It's easy easy thing
1:22:56to do if you can find Oh god. Here we
1:22:59go.
1:23:02I don't know why that's not
1:23:05[clears throat]
1:23:06I mean look I'll demonstrate it. Um just
1:23:09get on splice. You are you a splice man,
1:23:12Nick?
1:23:13>> I am now. Yeah.
1:23:14>> Yeah.
1:23:18Splice.
1:23:20And then um where are we here? One, two,
1:23:24three, four.
1:23:30Get out. Zoom. Get out of the way.
1:23:34Splice.
1:23:37Oh, it's updating.
1:23:45Right.
1:23:50Browse. Instruments. Drums. hats
1:23:56genres as techno. They just have the
1:23:58most amount of samples and they're also
1:24:00interesting. They're more interesting
1:24:03than the side trans ones by a long way.
1:24:06More textures, all sorts of stuff like
1:24:08that. Um, open. Here we go. Oh, open
1:24:14and open. Here we go.
1:24:19[music]
1:24:21immediately.
1:24:26[music]
1:24:31[music]
1:24:33You hear that? Yeah.
1:24:44[music]
1:24:51>> [music]
1:24:57[music]
1:25:04[music]
1:25:04>> Great. Great.
1:25:12[music]
1:25:14Nice.
1:25:18But you could go you could go on all day
1:25:19with that. But you know, like my idea is
1:25:22to first of all get stuff that
1:25:25reinforces maybe the ones that you've
1:25:26got a little bit like maybe tighter ones
1:25:28like this
1:25:32[music]
1:25:36just quietly,
1:25:39[music]
1:25:42you know. And then and then
1:25:45>> open open tight.
1:25:48And then to get one that actually create
1:25:51something interesting around the hats.
1:25:53So like like the one we had before that
1:25:55was more of a shimmer.
1:25:58[music]
1:26:04[music]
1:26:06That kind of thing.
1:26:11>> [music]
1:26:16[music]
1:26:23>> All of a sudden, you've got an open high
1:26:25hat that's kind of got width, depth, you
1:26:27know, different reverbs. It's got like a
1:26:30dimensionality around it. You know, it's
1:26:32taking up more space. Um, and then it's
1:26:36really driving the track in a really
1:26:38interesting way. You won't have open
1:26:40high hats like that in most side charts
1:26:42tracks because people just get a normal
1:26:44open high hat and try and do this and
1:26:46you know it can end up sounding quite
1:26:47sy. But you know at your fingertips
1:26:49you've got access to all of these
1:26:51different high hats from different
1:26:53genres that that cross over with ours
1:26:56very nicely like techno. I think it's uh
1:26:59silly not to uh at least audition some
1:27:02uh to give that is so quick and easy.
1:27:06[music]
1:27:13>> [music]
1:27:20>> So now I'm going to go back to the
1:27:21analyzer and just double check where
1:27:24things are. Okay,
1:27:26[music]
1:27:27that's about right. Yeah. So maybe maybe
1:27:29I could turn them down just one, but
1:27:31it's it's about the right level there.
1:27:35Heat. Heat. [music]
1:27:44[music]
1:27:54>> [music]
1:27:58>> I mean, the snare could come up a a
1:28:00little bit as well, for sure. That's
1:28:02that would be nice. A little bit more
1:28:04snare. Um, so it's a bit a little bit
1:28:07more like um,
1:28:18snare. Is that
1:28:22[music]
1:28:42I feel [music]
1:28:50[music]
1:28:56stereo out there.
1:29:00Right. [music]
1:29:08[music]
1:29:12Way too loud.
1:29:15I want it to be around this line here.
1:29:21[music]
1:29:26It's going to sound just a little bit
1:29:28more like that
1:29:31[music]
1:29:34as opposed to that.
1:29:37Just just a little little bit more
1:29:38volume, a little bit more, you know. Um,
1:29:41and then it's going to drive it
1:29:42properly, which is going to be great. A
1:29:44nice thing you can try is introducing
1:29:47the snare with a volume fade over the
1:29:49buildup. I like to do that quite a lot.
1:29:52It kind of you don't have it here, but
1:29:54then you hear it as the kick and bass is
1:29:56filtering out for that mini buildup. The
1:29:58snare comes in. [music]
1:30:09[music]
1:30:15[music] That's much more driving.
1:30:23>> [music]
1:30:31[music]
1:30:35>> Okay, nice.
1:30:39I like that. I like that. So, this gives
1:30:42you an idea what we were talking about
1:30:44when with regards to percussion and
1:30:46stuff. Um, now what else do we have
1:30:49here? Vocal clean. Yeah, this [music]
1:31:05I'd be tempted to let the phrase play um
1:31:08for for one cycle before you start
1:31:11chopping it just to kind of establish
1:31:13it. Oh, is it's got more than that,
1:31:15hasn't it? Oh, no.
1:31:18>> Has it got a second bit?
1:31:20>> It does. Yeah.
1:31:21>> How does the second bit go? Can you
1:31:22remember it?
1:31:23>> Um, pretty similar to the first bit. I
1:31:26>> I would [laughter] I would
1:31:28>> I'm not going to sing it. I'm not very
1:31:29good at that.
1:31:32Um,
1:31:33let's just
1:31:34>> It goes and then
1:31:37it goes up a bit.
1:31:38>> Okay. Okay. All right. I would kind of
1:31:40just try and see if we can
1:31:46>> And then it's going to do it again. Oh,
1:31:50that's it, isn't it?
1:31:51>> Yeah. Yeah.
1:31:51>> I've heard it somewhere.
1:31:53>> Yeah. G [music]
1:31:55G
1:31:58now my uh [music] G
1:32:04>> basically all that's good with the G G
1:32:06and all that but you want to just let it
1:32:09do one cycle of its proper
1:32:12>> two phrases.
1:32:14>> Yeah.
1:32:14>> Um filtering the kick and bass in a
1:32:16little bit slower. Right.
1:32:20And then the space. Yeah. With the
1:32:22reverb. Oh maya
1:32:28and then come in that that would be for
1:32:30me that would be it. And if you can fit
1:32:32some of those chops in brilliant but I
1:32:34don't think the chops are doing too much
1:32:36for us there. I think the main thing
1:32:38here is going to be the full two
1:32:41versions of the vocal filter kick bass
1:32:43drum fill come in. You know, you don't
1:32:45need
1:32:48if you can fit them into a little build,
1:32:50then great. But otherwise, don't worry
1:32:52too much about those chops. I just two
1:32:55cycles. You You don't need to add any
1:32:58time. Two cycles of that with a drum
1:32:59fill at the end and you're laughing, I
1:33:01think.
1:33:03[music]
1:33:06>> But it just needs more time because you
1:33:07see the filter kick bass starts here,
1:33:09but it's too much. This is a brilliant
1:33:12moment. Just space Yeah. Oh,
1:33:15>> and that for a lot of people that will
1:33:16be the main hook of the track, right? So
1:33:19that that does need to be heard in its
1:33:21entirety for just one cycle, but it
1:33:23doesn't need to be more than that.
1:33:25>> And then it's going to come over
1:33:27obviously come in with the key
1:33:31[music] G.
1:33:38[music]
1:33:39>> It comes in. Obviously, it's not going
1:33:40to come in there, but you're going to
1:33:42have to open that up. I can't do that
1:33:43for you because I don't have access to
1:33:45that second bit of the vocal. Okay,
1:33:49>> what I can tell you is it's going to
1:33:51happen
1:33:53there because that
1:33:56is there and then
1:34:02so it's going to be eight bars.
1:34:06It's an eight bar thing. That's how it's
1:34:08going to go. And
1:34:09>> and you don't put you don't put the
1:34:10vocal over the drum fill. You just put
1:34:11the drum fill.
1:34:13>> Um, you could have the tail of the vocal
1:34:15over it. Um, not the vocal that you had.
1:34:17Let's see.
1:34:21>> Um, look, you can totally have the the
1:34:23end of the vocal over the drum for. I
1:34:25wouldn't particularly have that bit
1:34:27myself um because I'd want this to
1:34:30really be um happening strongly when it
1:34:34comes in again.
1:34:36>> Yeah. So,
1:34:43are you you mean you've got multiple
1:34:45options with that?
1:34:46>> What I wouldn't do is like do an edit of
1:34:48something which is about to play
1:34:50>> on the kick and bass entry point.
1:34:53>> Mhm.
1:34:54>> I wouldn't, you know, the problem I've
1:34:55got with this little bit,
1:34:58>> it kind of it almost says this before it
1:35:01says it. That's I see.
1:35:02>> That's why uh that's why I muted it.
1:35:05What is what's going
1:35:09>> That was all.
1:35:10That was all. Um vocal clean. Yeah. And
1:35:13when it comes in
1:35:20[music]
1:35:22>> I I mean I love all those atmospherics.
1:35:24I would just just try and just try out a
1:35:27little bit clean as well. Just free of
1:35:30any sounds apart from the vocal and the
1:35:31kick and the bass. So, not like because
1:35:34there's the male vocal, then they've got
1:35:36the female vocal coming in. So, maybe
1:35:38just the male one.
1:35:39>> Just try the male one. No pads, nothing.
1:35:42Just vocal, kick, and bass.
1:35:44>> Try that.
1:35:49>> That's that the atmosphere, whatever it
1:35:51is in the background. Maybe it's just
1:35:52the sound of the vocal actually sounds
1:35:54does sound good.
1:35:57>> Yeah.
1:36:00[music]
1:36:04I'd wait for that female vocal. I
1:36:05wouldn't have it playing there because
1:36:06it's just getting over the top of the of
1:36:10the main one. Just let let it be heard
1:36:12once so they can dance to it like an
1:36:14It's just tempting. [music]
1:36:16>> Yeah. Yeah. No, I get it. You can have
1:36:17it eight bars later.
1:36:21>> It's It's good. [music] I just want you
1:36:23to try it without
1:36:26That's okay.
1:36:30>> [music]
1:36:31>> So I'd repeat the phrase again there.
1:36:36[music]
1:36:43[music]
1:36:48[music]
1:36:51Okay. Got it. Got it. If I was you, I
1:36:54would be keeping the same vocal and then
1:36:56just doing a little wind up with it. Um,
1:37:01rather than change to that other part of
1:37:04the vocal.
1:37:05>> Yeah, I would just choose to reinforce
1:37:06the one that we've got kind of thing.
1:37:10>> And I would turn this into a bit of an
1:37:11energy moment
1:37:13um with a little fill.
1:37:16And um and then we're going to kick off
1:37:18with all the percussion again.
1:37:21Heat.
1:37:29[music]
1:37:36Heat.
1:37:41[music]
1:37:48>> [music]
1:37:53[music]
1:37:56>> Yeah. And then mute the vocal there. So
1:37:58don't come in with it there. Then then
1:38:00it's gone, I think, for that for that
1:38:02moment.
1:38:08[music]
1:38:18Um, and then you're back in
1:38:19>> that little chip tunes riff actually.
1:38:21It's great.
1:38:22>> I like that as well.
1:38:24>> Yeah, it's brilliant. It's like like an
1:38:26arcade game theme.
1:38:28>> No, I like that as well. Absolutely.
1:38:32>> Oh, no, no, no, no, no, no. Uh, of
1:38:35course you're missing the big crash.
1:38:36Where's your crashes, Nick?
1:38:39Um,
1:38:41a good point.
1:38:44>> Um,
1:38:45you just want a crash course.
1:38:48A crash of course, not a crash course,
1:38:51but this is a crash course in crashes of
1:38:54course.
1:38:55>> I thought they were I thought I had put
1:38:56crashes in there with little um,
1:38:58>> you have probably, but they're probably
1:38:59just a bit probably just a bit quiet.
1:39:02I'm just going to reinforce them with
1:39:03that. just again just to
1:39:10cuz all my stuff needs to be turned up
1:39:1210 dB cuz it's master track. Here we go.
1:39:17[music]
1:39:21No, they're not coming out. It's that
1:39:23thing where you're tweaking something
1:39:24and it's actually never been coming out
1:39:27at all and you're still tweaking it
1:39:28going, "God, that's subtle.
1:39:38>> [music]
1:39:48[music]
1:39:54>> Yeah. And if you mute that vocal there,
1:39:56then it's going to really feel like it's
1:39:59arrived at this section with the chip
1:40:01lead and all the rest of it. Having a
1:40:02bit of the hangover of the vocal. It
1:40:04kind of just keeps us meandering in the
1:40:06bit before. You want to deliver that bit
1:40:09strongly, proudly, build it up, drop,
1:40:12drum, fill, then we're coming in with
1:40:14the chip lead. And that we've arrived at
1:40:16that point.
1:40:17>> Yeah. Okay.
1:40:18>> That would be my advice.
1:40:22[music]
1:40:30>> [music]
1:40:36[music]
1:40:39>> I like your midbase there. It's sounding
1:40:41great.
1:40:47>> [music]
1:40:52>> Okay. Yeah. And they're just my thoughts
1:40:53about this moment where
1:40:55>> and all that remains.
1:41:00[music]
1:41:03>> Yeah. Just just clean that up as much as
1:41:05you can. I think just this moment. No
1:41:07kick. Um let it ring out and then
1:41:18That's cool.
1:41:21[singing]
1:41:21>> Times [music]
1:41:24here.
1:41:26Reality [music] slips.
1:41:32And all that remains
1:41:34[music]
1:41:35is this. See, for me, what I would do,
1:41:38how much of that um atmospheric stuff is
1:41:41actually baked into the vocal and how
1:41:43much
1:41:43>> None of it.
1:41:44>> None of it. Great.
1:41:45>> No, no, it's for me. Yeah.
1:41:46>> So, so, so what what would be really
1:41:49dramatic and cool is if you were to
1:41:51Yeah. atmospheric atmosphere
1:41:54>> and all that,
1:41:55>> all that remains
1:41:56>> all that remains
1:41:59[music]
1:42:00is this
1:42:01>> is this moment or something, you know?
1:42:04All that remains and then all the
1:42:05atmosphere stop for a second and then
1:42:08without anything else is this moment,
1:42:11you know,
1:42:12>> then you've created an iconic moment and
1:42:14the vocals saying it as well.
1:42:17>> Yeah.
1:42:18>> But it really needs to be this moment,
1:42:20you know, if especially if it's it's
1:42:21going to say that. So you could just
1:42:23just bring those atmospheres down to
1:42:25silence for a second and just go is this
1:42:27moment. It's going to be like people
1:42:30have that beautiful thing and all the
1:42:31dance. Oh my god, amazing. And then it
1:42:33will it will be trippy when it comes to
1:42:35to silence and then it will just I do it
1:42:38all the time my tracks. You see it on it
1:42:40goes to silence and people are like
1:42:42>> and then you have a vocal and they're
1:42:44like oh my god they can eat every it's
1:42:48so funny we've spent bloody 25 years
1:42:51>> layering more and more sounds. Actually
1:42:53what's works better is if you take them
1:42:55away. It turns out [laughter]
1:42:59>> when unproducing
1:43:02should be a course in in deleting [ __ ]
1:43:05[laughter]
1:43:07>> It's true.
1:43:07>> I swear to God
1:43:09>> that's probably how Richie Horton ended
1:43:10up in Minimal Techno. You just keep
1:43:13taking until you're just like
1:43:17[laughter]
1:43:18>> But but he's probably the only person
1:43:20that understand. I don't even understand
1:43:22it. That's how sophisticated it is.
1:43:24>> [laughter]
1:43:25>> I don't even understand it. He did a
1:43:28minimal techno thing the other night in
1:43:29Lisbon that my friend went to and it was
1:43:32minimal techno mixed with sushi and sake
1:43:35in his sake bar cuz he lives above his
1:43:39uh his own sake bar and there was a
1:43:41sushi sake minimal techno and my my
1:43:44friend was
1:43:45>> well my friend was he was saying I don't
1:43:47know if the the music was supposed to be
1:43:50mixing with the the food and the you
1:43:52know we'll never know will we either the
1:43:55most sophisticated thing that's ever
1:43:56happened [laughter] in in in you know
1:43:58meeting of worlds of culinary and music
1:44:01or it was just someone playing a few
1:44:03tracks while people were eating sushi. I
1:44:05mean we'll never know or was it both.
1:44:08[laughter]
1:44:08>> Um so but anyway I think you've got a
1:44:10really good potential here for this
1:44:12moment to be
1:44:13>> thank you
1:44:13>> big one. All right so
1:44:16[music]
1:44:21um so all of this was good. Um the the
1:44:24final thing I want to say to you is that
1:44:28um [clears throat]
1:44:29I wanted there just to be a bit more
1:44:31variations on the synth at the end.
1:44:33Yeah.
1:44:36[music]
1:44:42>> Great riff. Excuse me. Oh my god. Great
1:44:46riff. Um, but it just goes on for long
1:44:48enough that the second half of it just
1:44:50needs a bit just needs a bit of
1:44:52tweaking. Have you been following when
1:44:53we've been using the um
1:44:56>> freak echo? You familiar with that?
1:44:58>> Uh, yes. You showed it last time, but I
1:45:00haven't used it
1:45:01>> that that just something like that easy
1:45:03one or you know where we can get the
1:45:06serum effects out. Oh, serum 2 effects.
1:45:10I don't want to crash the computer. We
1:45:11know serum 2 is
1:45:14[snorts]
1:45:14a little bit sketchy.
1:45:18Oh, here we go. Where's Where's the Oh,
1:45:23there. there. Thank god. Been using
1:45:25serum for a decade a good decade and
1:45:28suddenly it's all different. [music]
1:45:37[music]
1:45:46>> [music]
1:45:47>> I mean, obviously that sounds weird. I'm
1:45:50just thinking of things you can do on
1:45:51that lead.
1:45:53Just get creative, you know? Just open
1:45:55it, duplicate it, put one of these
1:45:58effects on on 100%.
1:46:02And just start messing with it, you
1:46:04know.
1:46:06[music]
1:46:11>> [screaming]
1:46:12>> So yeah, you can just just have a play
1:46:14around with it. It won't be difficult.
1:46:16Yeah, you just just make it evolve a
1:46:19little bit and you just fade in that
1:46:21that evolved channel. Just fade it in on
1:46:24the second half and have it coming as a
1:46:26background texture or maybe even taking
1:46:29over completely as you do the the end of
1:46:31the section. But
1:46:33>> I have to say, Nick, I'm impressed.
1:46:35>> That's a fantastic track. Um, it's got a
1:46:38lot of potential and uh, you've got all
1:46:40the makings of a hit track there. I
1:46:42mean, you've got two hit vocals, the
1:46:44spoken, I mean, that is the the the
1:46:46great formula. You've got the spoken and
1:46:49you've got the singing. I mean, that
1:46:50that's it. And you've got some nice
1:46:52synth hooks and all the rest of it. So,
1:46:54from now it's just just tweaking the
1:46:56execution.
1:46:57>> Yeah. Yeah. Great. Thank you very much.
1:46:59That's what it is.
1:47:00>> Do you want me to give you a bounce of
1:47:02this or?
1:47:02>> Yes, please. Yeah. Yeah. Yeah. If you
1:47:03got time, that' be great. Yeah. Heat.
1:47:05Heat.
1:47:07[music]
1:47:23[music]
1:47:29[music]
1:47:35>> [music]
1:47:35>> Well, you'll get the idea. You'll hear a
1:47:38on top of yours. Um, Nick one vibration
1:47:42sounds like a Raster track. Nice.
1:47:45>> Yeah, it's
1:47:46>> No, the vocals are great. I can't
1:47:48remember what sample pack I got them
1:47:49from,
1:47:49>> man. They're killer.
1:47:50>> I can't remember. I got them from a
1:47:51sample pack and I was like, "Oh my god,
1:47:53this just sounds amazing."
1:47:55>> Good. Good. But but then I I tried to
1:47:57make it more complicated by putting the
1:47:59female vocal on top and all that because
1:48:01sometimes when you just put in something
1:48:02and it sounds great, you feel a bit like
1:48:04you're cheating. You feel like you
1:48:05should be fiddling around with it and
1:48:07something to kind of make it better. But
1:48:08you're absolutely right. Sometimes it's
1:48:10just good as it is, you know?
1:48:11>> Exactly. Exactly. And that sometimes it
1:48:13is and it's knowing when to leave it
1:48:15alone.
1:48:16>> Yeah. Yeah.
1:48:16>> That's that's the thing that no one
1:48:19teaches. They teach you how to do stuff,
1:48:21but when to not do something is is
1:48:24equally important.
1:48:26>> Yeah.
1:48:26>> Just as much as the space between the
1:48:28sounds is as important as the sounds. Of
1:48:31course.
1:48:31>> Yes. Yeah. Yeah. It goes back to dog.
1:48:33Dog dogchen.
1:48:34>> Goes back to Zogchen.
1:48:36>> Zchen.
1:48:37[laughter]
1:48:47>> [laughter]
1:48:50>> Um, what what sequencer are you using?
1:48:53>> Uh, Ableton.
1:48:54>> Okay. So, there's no use to you having
1:48:56this project. Do you want this project?
1:48:58>> Uh, yeah, if you can send it, too. I've
1:48:59also got Qbase. I mean, I have Qbase.
1:49:01>> Okay, good. There's loads of stuff in
1:49:03here, so
1:49:04>> you may as well
1:49:07the desktop.
1:49:11>> One vibration.
1:49:14um
1:49:15Qbase project
1:49:19I've also um
1:49:25another good development was that I've
1:49:27had I've had pain in my hips and legs
1:49:29for my whole life that I can remember
1:49:32and I just since I've been meditating
1:49:33I've thought to myself just try and push
1:49:36through and sit because you don't have
1:49:37to sit cross-legged but it's the done
1:49:39thing that
1:49:40>> the yogis and everything are sitting
1:49:42cross-legged
1:49:43And it was so painful. I thought just
1:49:45just push through it and try and just
1:49:48see if you can extend the couple of
1:49:50minutes that you can do without being in
1:49:52pain. And somehow I'm able in the last
1:49:55week and a half I've pushed through and
1:49:57I can sit for an hour, sometimes a bit
1:50:00less, but I can sit for an hour
1:50:03>> without being in pain. And what's
1:50:04happened is that
1:50:06>> what's happened is that my pain is now
1:50:09gone. And I think maybe I just literally
1:50:11had tight
1:50:12hips or something. Really tight hips and
1:50:15they've been stretched and now this
1:50:17lifelong pain that I've had is now just
1:50:19not really there. It's It's incredible.
1:50:21Another nice little side effect.
1:50:23>> Wow.
1:50:24>> Um Dropbox. It's so How many things are
1:50:28so maybe a simple fix that we just
1:50:30didn't
1:50:30>> Yeah. that we just
1:50:31>> I had doctors look at I mean I had all I
1:50:33thought I had a some disease, you know,
1:50:36why am I in pain all the time? Might
1:50:38just be you've got tight hips for
1:50:40Christ's sake. just sit cross-legged.
1:50:42It's It seems to be okay. So, um All
1:50:45right. Nick, Nick, Nick, Nick, Nick. Um
1:50:48>> there it is. Well, I mean, I can't point
1:50:50to it, but um
1:50:51>> there's the um that's what they say in
1:50:52the Zogchin.
1:50:54>> What? You can't
1:50:55>> No, cuz you're trying to find an
1:50:56internal space. [laughter]
1:50:59>> They say there's no direction.
1:51:01>> What's that?
1:51:02>> It's above the two yellow things. Nick
1:51:04one and Nick one vibration. There you
1:51:06go.
1:51:06>> Oh, there we go. That's a good way of
1:51:07explaining it. I'm just trying to get
1:51:09get the folder to uh let me Yeah, here
1:51:12we go. Nick one.
1:51:17>> There we go. That's that. And then
1:51:20that's the project. Good. Compress.
1:51:25>> Right.
1:51:34There we go.
1:51:38>> [snorts]
1:51:43>> Yeah, they say it's a it's it's a
1:51:44different direct. It's a new direction.
1:51:46It's not up, down, left, or right. It's
1:51:49another direction
1:51:51>> to find that in some internal direction.
1:51:53It's still quite mind-boggling. Nickon
1:51:57vibration. There we go.
1:52:01[clears throat]
1:52:05who's messaging me.
1:52:09>> Oh, great.
1:52:10>> There you go. Let's see if there you go.
1:52:12Right.
1:52:12>> Thank you. Thank you.
1:52:13>> No problem, mate. Sounded great.
1:52:15>> Sounded great. Um, all right. So, on to
1:52:18the next. David,
1:52:22>> are we still there?
1:52:25Time lock. Lock.
1:52:27>> What exactly are you locking with your
1:52:28sigh?
1:52:31>> The sounds inside my soul.
1:52:33>> Oh, right. Ah, I like it. Origin story.
1:52:41Um, where are you? Where are you? Okay,
1:52:44got that. Um, Psylo. There we go. Right.
1:52:56Was this the one from last week, David?
1:52:59>> Yeah.
1:53:00>> Nice.
1:53:00>> I changed the the second
1:53:05And yeah, I did everything. So,
1:53:07>> yeah. Okay,
1:53:10let's have a look.
1:53:13Let's have a look.
1:53:16I like that. I like that. I've never
1:53:17heard a track start with that. Boom.
1:53:25Oh, yeah. Oh, yeah. That's
1:53:29steady.
1:53:33>> [music]
1:53:37>> Nice.
1:53:46Send your mind to the beam. Feel the
1:53:50pass. [music]
1:53:51Move your feet. Lose yourself in the
1:53:54sound. Let the rhythm pull you down.
1:53:58[music]
1:53:59Push your fire. Break the line. Feel the
1:54:04alive
1:54:05through the rhythm we ascend. [music]
1:54:09Transcendence
1:54:10never ends.
1:54:16[music]
1:54:17>> And we all
1:54:23hello. What's going on, David?
1:54:30Oh, zoom out of the [ __ ] way.
1:54:34[clears throat]
1:54:38[music]
1:54:38Get out.
1:54:50[music]
1:54:54>> I just wanted to see because it looks
1:54:55like the bass is quite loud.
1:54:58>> Yeah. [music]
1:54:59Anyway, let's not get into the mix and
1:55:01it sounds good for now.
1:55:06[music]
1:55:10>> What the [ __ ]
1:55:13[music]
1:55:23[music]
1:55:26Heat.
1:55:46Heat. [music]
1:55:58I I can hear you've made that the main
1:56:00sound now, right?
1:56:04>> Like we spoke about.
1:56:12>> Yeah. [music] Yeah, that's better.
1:56:23>> [music]
1:56:30[music]
1:56:37>> There it is.
1:56:42[music]
1:56:47>> [music]
1:56:57[music]
1:56:59>> Right. Right. I like the way that ended.
1:57:16The stabs here are going.
1:57:19[music]
1:57:20>> Have those stabs been going the whole
1:57:22time?
1:57:23>> No, I removed them from 65 to 90
1:57:26seconds.
1:57:26>> Oh, that that's really tight.
1:57:39Heat. Heat. [music]
1:57:52down. [music]
1:58:01>> Are you going to keep Are you going to
1:58:02move these uh bases that you've got in
1:58:05the gaps to happen here as well?
1:58:09>> I think it's nicer though. I tried both.
1:58:12>> You You like it with the gaps?
1:58:14>> Yeah.
1:58:14>> Yeah.
1:58:18Lose yourself in the sound. Let the
1:58:22rhythm pull you down. Push your fire.
1:58:26Break the line.
1:58:28The energy [music] align
1:58:31through the rhythm we ascend.
1:58:34Transcendence
1:58:36never end. Never never never never
1:58:39never.
1:58:46Hang on. Those asterisks just turned up.
1:58:56I still think that could could just um
1:58:59just have a little bit more on the
1:59:00lowass filter, but
1:59:02>> Yeah. Okay.
1:59:03>> Yeah, cuz I can hear it twinkling coming
1:59:05in there.
1:59:06>> Mhm. Anyway,
1:59:08that's just a personal preference. It's
1:59:09not a big deal. Just long.
1:59:29[music]
1:59:32Oh god, this one. This is the big one.
1:59:50>> [music]
1:59:52>> You put kick and back. You put rolling
1:59:54with some gaps.
1:59:55>> Yeah. Yeah. I made a new patch. And I
1:59:58>> I like that a lot. I like it.
2:00:15Heat up here.
2:00:27Heat. [music]
2:00:39[music]
2:00:41Heat.
2:00:49Heat.
2:00:59[music]
2:01:04[music]
2:01:06Heat.
2:01:17>> [music]
2:01:20>> Heat. Heat.
2:01:24[music]
2:01:30>> [music]
2:01:44>> Heat up
2:01:50here.
2:01:59>> [music]
2:02:02>> Okay. Um, well, look, I mean, it's it's
2:02:06not that much uh that I would change
2:02:08about it to be honest. A few things like
2:02:11this
2:02:13that lead I would just have it filtering
2:02:15in a little bit. Just a bit because we
2:02:17just had the big lead there. Just maybe
2:02:19maybe just a just a little bit high pass
2:02:21and the low pass just so it comes in a
2:02:24little bit.
2:02:27>> [music]
2:02:28>> just a little bit and have it come down
2:02:30there. Um, the main thing I wanted was
2:02:33just a little bit more steady modulation
2:02:35on this lead when it drops in here.
2:02:39Th this sort of um modulation amount
2:02:42like the speed of the you freak echo is
2:02:45it or
2:02:47>> I can't remember but I think I have.
2:02:49Yeah.
2:02:50>> Okay.
2:02:54that fl sorry the flanger the speed of
2:02:56that flanger is great there
2:03:02but that's the sort of speed that I want
2:03:04to hear when it comes in it goes a
2:03:06little bit fast for me here look
2:03:13it's already gone you know the tuning's
2:03:15already gone
2:03:16>> a bar or two
2:03:18>> well just just no yeah keep it I would
2:03:20literally just this that that that
2:03:23flanger amount here. Don't or just don't
2:03:26don't automate it too much. Let it kind
2:03:28of have its moment on top of the kick
2:03:31and bass before you change it, you know.
2:03:34Um just let the flanger do its thing for
2:03:36four bars or something.
2:03:39But that's a massive drop though.
2:03:41Massive drop.
2:03:45>> And we are all connected. [music]
2:03:49>> Yeah. I don't want to hear it de being
2:03:50d-tuned so quickly. It needs to sit
2:03:52there. Like if you imagine this without
2:03:54the kick,
2:03:59you could take that exact bit and just
2:04:00move it back kind of thing.
2:04:04Um, where do you feel that this track is
2:04:06at?
2:04:08>> Nearly done.
2:04:09>> Yeah.
2:04:11>> Mixing wise is nothing being done
2:04:13really.
2:04:16So yeah, engineering views.
2:04:20>> I Yeah, I don't think it's I don't think
2:04:22it's far off.
2:04:33Everything's in the ballpark place.
2:04:35Yeah, you've got the That's the
2:04:37beautiful thing is you get the
2:04:38percussion right and you kind of know
2:04:40where you're you know where you're
2:04:42sitting. You got your high hats, the
2:04:44sounds, and it's like you're laughing.
2:04:47Are you finding it easier now that
2:04:49you've kind of established where to put
2:04:50the high hats and stuff, David? Like to
2:04:53have the to have the frame?
2:04:55>> I mean,
2:04:57yeah.
2:04:58Come. Yeah. Yeah. Yeah. Everything is so
2:05:01much easier that way that you have and
2:05:05decision wise if it mess with the drums
2:05:08just don't need to be in there, you
2:05:10know, cuz bass and kick and drums first
2:05:14and then your syn sounds.
2:05:16>> Yeah. Exactly.
2:05:18>> Priority, right?
2:05:19>> Yeah. Yeah. Exactly.
2:05:20>> Messing with the kick or the bass or
2:05:22with the drums is just have no space in
2:05:24the track.
2:05:25>> Exactly. Right. It's kind of the way I
2:05:28think about it is like the the kick and
2:05:30well certainly when I'm looking at that
2:05:32analyzer it's like the kick the the all
2:05:35the hats and the snare. It's like the
2:05:37kind of four walls of a house even
2:05:39though it's three but you know you kind
2:05:41of when you've got those things don't
2:05:43build a house with three walls ladies
2:05:46and gentle is not what I recommended. Um
2:05:49>> my
2:05:50>> unless you want to live in a triangle.
2:05:53Um
2:05:54but um [laughter]
2:05:57I looked at a place like that when I was
2:05:59looking for an apartment here and I
2:06:00found one that was in a weird shape. It
2:06:02wasn't very nice. Um
2:06:05but um
2:06:05>> making music the reflection.
2:06:07>> Oh my god. It was It was hard to even be
2:06:10in the room, let alone make music in.
2:06:11[laughter] Yeah. Christ, it was in a
2:06:14circular building. Um
2:06:17I've completely lost track. Yeah. So,
2:06:18it's it's when you get the high hat, the
2:06:20snare, the kick, it's it's the
2:06:22framework. Then you put the sounds in
2:06:25and it's it all makes a lot more sense.
2:06:28Um,
2:06:36[music]
2:06:39I like that we've got
2:06:43[music]
2:06:46See, the thing is about this is that
2:06:47riff only plays there, doesn't it? Does
2:06:50it ever play again?
2:06:51>> I tried to make a line out of it, but I
2:06:55didn't like it. I bring it back in the
2:06:57outro.
2:06:58>> You do? Okay.
2:07:01[music]
2:07:03>> From the
2:07:03>> Sorry, mate. Go on.
2:07:06>> At the very end.
2:07:07>> All right.
2:07:07>> From
2:07:12>> I would, you know, if it I I personally
2:07:15think that's a fantastic sound you can
2:07:17just take into your next track maybe
2:07:20>> because
2:07:20>> Yeah, that's what I think because
2:07:22there's just no space in this one
2:07:24anymore. Also, it's got a slightly
2:07:26different vibe to it, that one. It's
2:07:28It's a slightly more uplifting. This is
2:07:30a little bit more
2:07:32>> serious, I think. But it's a really nice
2:07:34sound. I think it might almost be a
2:07:36shame to have it being used where it's
2:07:39just
2:07:41>> I layered your I think Flow Rider book
2:07:44with one of mine.
2:07:45>> Yeah,
2:07:46>> that's what it is. Yeah,
2:07:48>> the flow rider.
2:07:49>> You giving us some uh preset.
2:07:52>> Yeah. Yeah. Oh, that that the the serum
2:07:54patch that I used for Flow Rider.
2:07:56>> Yeah. Yeah. Yeah.
2:07:58>> Yeah. Okay.
2:07:59>> I just put a D on like a
2:08:04>> some D tune. So,
2:08:06>> it's a nice s I mean it's a nice synth
2:08:08patch.
2:08:11>> Um I think it would be
2:08:14I don't think it's doing anything for
2:08:16this track. And the thing is it's nice.
2:08:17So you could actually have it doing
2:08:19something in a in a more established way
2:08:22in another track. I think just to have
2:08:24it here, the the reason I'm saying it is
2:08:26because the the overall feeling that I'm
2:08:30getting, as much as I love the track, is
2:08:33that it's a it's very much a track of
2:08:35two halves, you know, in terms of the
2:08:38vibe because you've got, of course, this
2:08:41riff, this kind of more bouncy stuff
2:08:45here, and then of course the more head
2:08:46down, this drop and everything that
2:08:49comes after. That's why I didn't want
2:08:50that to change to rolling bass. But
2:08:54>> no, I I get that. I get that. But just
2:08:56even whether you've got rolling bass or
2:08:58not, it's the sounds whether they're
2:09:01being used, you know, one like that that
2:09:03sound being used one.
2:09:05>> Yeah. I'm just thinking like what way
2:09:08can we start tying this track together?
2:09:11That's all. It's not that you can't ever
2:09:14have a track that has a a a different
2:09:16baseline at the end. You've still got to
2:09:18be able to tie the track together as one
2:09:21piece of music. So, for example, how can
2:09:24we
2:09:30like that?
2:09:33O L O that lead there. That could come
2:09:36back somewhere here.
2:09:37>> That is in there.
2:09:38>> Oh, is it? It's just
2:09:43>> like those that
2:09:43>> sounds different now cuz it's I made it
2:09:46to something else but the source is that
2:09:49you know.
2:09:50>> Okay, good. Well, I would I would go for
2:09:52like maybe more. What [clears throat]
2:09:54can we bring back? Because the end is
2:09:56also really cool. What could we bring
2:09:58bring back bring bling? What could we
2:10:02bring back from the end to here?
2:10:06>> Yeah. Yeah, that that that would be a
2:10:08good way to approach it and that's
2:10:10normally how I approach it. And it would
2:10:12be like for example this
2:10:15[music]
2:10:20immediately like
2:10:23immediately that would be
2:10:26>> Yeah. Yeah. That's what I was going to
2:10:27tell you. If you can move it to the
2:10:30front.
2:10:31>> Yeah. So I can
2:10:34>> let's just try. [music]
2:10:40>> Yeah. Okay. It's a wrong It's a
2:10:42different baseline, but you can see what
2:10:44I'm talking about. You're just one of
2:10:45those, you know, one of those with
2:10:47delay, you know. So we establish that
2:10:49because it's a great sound, you know.
2:10:51I'd sooner have Oh, I'd sooner have that
2:10:57instead of that other riff, you know.
2:11:04bring something from the end.
2:11:05>> That's right. Cuz that thing just only
2:11:07happening once really no point for it to
2:11:10be there.
2:11:11>> That's right.
2:11:11>> Think of something else. Yeah.
2:11:13>> Yeah.
2:11:14>> There's really no like any road to it.
2:11:17It's just there.
2:11:19>> Well, yeah. You don't Yeah. And you
2:11:21don't need to think of something else
2:11:22cuz you've got all these amazing sounds
2:11:24in the second half that can be used.
2:11:29Um, [music]
2:11:31that's what I'm saying. Gizer,
2:11:38[music]
2:11:40like this
2:11:42this
2:11:48obviously you can't do that
2:11:51unless you want to learn my secret dance
2:11:53move solutions. That's a different
2:11:55that's a different community. teaches
2:11:57you how to how to trick people into
2:11:59thinking that you didn't just get the
2:12:01whole track wrong because you thought it
2:12:03was going to drop and then it didn't
2:12:05drop and but you somehow Correct.
2:12:08Exactly.
2:12:11[laughter]
2:12:12I always find if I'm like that and it
2:12:15just drops, I just keep my hands in the
2:12:17air and then bring them down slowly
2:12:20and it it kind of seems to do the job.
2:12:22Although I haven't had to do that for a
2:12:23while, thank God. But she it's quite a
2:12:26nice
2:12:27>> pretty good DJ. So I would
2:12:30>> it's not that it's when you're playing
2:12:32tracks that you don't know so well or my
2:12:34back to back with GMS his tracks are you
2:12:36know there was a couple of times when
2:12:38we're both like that you know and it's
2:12:40you think it's going to I can't know.
2:12:44>> Yeah. No, of course there was. Look, I
2:12:46say 70 80% of the set we got it somehow
2:12:50completely bang on. But of course there
2:12:52was a couple of moments that weren't
2:12:54quite. But you just got to, you know,
2:12:57you got to [laughter] got to black it.
2:13:00>> I just got to watch the video back now.
2:13:03[laughter]
2:13:03>> I didn't listen to I didn't listen to
2:13:05his tracks before. I I te we I text him
2:13:08and we we exchanged one text before that
2:13:11back to back
2:13:13>> and then turned your start. I said you
2:13:14you can start. Okay, great. That was it.
2:13:1720,000 people were on stage playing
2:13:19together.
2:13:22>> It was funny. Some pe some people would
2:13:24be like [ __ ] calling me, you know,
2:13:26weeks before that. What are we going to
2:13:28play? Look at this lady got so casual
2:13:31with him. But we are good friends and we
2:13:32do, you know, we got a good vibes. So it
2:13:35did maybe it didn't need to, but super
2:13:38casual and it was really good fun.
2:13:39Something like this. [music]
2:13:44Oh, sorry.
2:13:48[music]
2:13:51Sorry. Do it. We We did it again. This
2:13:55is what I'm trying to say.
2:14:01>> You know, if you could have a little gap
2:14:03and then and then come in. Okay. Yeah.
2:14:15>> [music]
2:14:18>> I don't know. But you know, something
2:14:20some little gated bit from the end of
2:14:22the track here. Then again, then you've
2:14:25established that first moment
2:14:28and then we're in. You know, it's
2:14:29already some little glitched grid fill
2:14:33of things that are going to happen
2:14:34later. I mean, for example, this
2:14:39That lead is just begging to be um
2:14:43infiltrator
2:14:45have some glitches. I mean that that
2:14:47would be the one for me. I would just
2:14:48get some glitches of that.
2:14:52>> Glitch that and put that in in this fill
2:14:56here probably with a bit of delay or
2:14:58something. And then already we started
2:15:00tying the track together.
2:15:02>> Okay.
2:15:04>> Um
2:15:05>> the main drop scene.
2:15:06>> Yeah. Oh, just just some stuff from
2:15:08here. What else?
2:15:12[music] Oh, I hear it now. Sorry. That's
2:15:14killer, mate. That sounds
2:15:17That's That's really working really
2:15:19nicely. And I'm happy you did a rolling
2:15:22bass. It's given it a new lease of life
2:15:25for the end. I think it was a good move.
2:15:29[music]
2:15:34Yeah, [clears throat] because some of
2:15:35these grids and some of these sounds to
2:15:38hear them over an offbeat, more of an
2:15:40offbeat type of baseline will give it a
2:15:42different perspective. So, I think it
2:15:44can work. Um,
2:15:55[music]
2:16:03and not the
2:16:06We're not going to have that one. But
2:16:08that's okay cuz you may as well have
2:16:09that in a track that's going to really
2:16:11have its moment, you know.
2:16:15Um,
2:16:16right. What do we got?
2:16:23[music]
2:16:24>> What was he saying again? The answer is
2:16:27>> living mind.
2:16:28>> Living mind.
2:16:30>> Yeah.
2:16:32>> Right. It's quite cool, isn't it?
2:16:38What else could we do with this?
2:16:44[music]
2:16:49>> [music]
2:16:55[music]
2:16:59>> Align
2:17:00through the rhythm we ascend. [music]
2:17:04Transcendence
2:17:06never ends.
2:17:08>> You can hear the D now. Yeah.
2:17:10>> Sorry.
2:17:11>> We don't ascend. We ascend now.
2:17:14>> Now. Oh, yeah. Right. Do you you got
2:17:16>> I fixed that
2:17:18>> actually was there. I just had to turn
2:17:20it up.
2:17:21>> Oh, good. Okay. Okay. Did you have to
2:17:23chop that last syllable?
2:17:25>> Yeah. Yeah. Yeah.
2:17:26>> But it's a good little trick, isn't it?
2:17:29>> Okay. It's I mean, it's quite simple,
2:17:31but you know, for anyone that wasn't
2:17:32there last week, it was the
2:17:34transcendence.
2:17:36We were missing some of the the
2:17:38sibilance, so you couldn't really or
2:17:42there was some of the syllables that
2:17:43were missing from the word. not quite
2:17:45loud enough. So, you didn't hear the end
2:17:47of the word. So, Davey's just gone in
2:17:49and and chopped the t and those bits and
2:17:53turned it up so the the word is being
2:17:57pronounced with the, you know, powerful
2:17:59intonation. So, you can actually hear
2:18:00more what it's saying
2:18:02>> through the rhythm. We ascend.
2:18:05>> Ascend. Yeah, I hear that now.
2:18:08>> We ascend.
2:18:09Transcendence
2:18:11never ends.
2:18:15Pushing fire. Break the line. [music]
2:18:18Feel the energy align.
2:18:22Through the rhythm we ascend.
2:18:25Transcendence
2:18:27never end.
2:18:31>> That's a nice little bit of effects
2:18:33you've done there. Do do.
2:18:36What was
2:18:37>> delay time?
2:18:39>> So you were automating the delay time.
2:18:41>> Zero. Yeah. Yeah. We one is zero
2:18:43millisecond. The left is like slowing
2:18:46down.
2:18:46>> Brilliant. Brilliant. I think that's a
2:18:48great effect
2:18:50and it's a simple thing to do and it's
2:18:52really really amazing. I've seen um
2:18:55friend of mine, Chel Earthling,
2:18:57incredible producer, um sound designer.
2:19:01Um he's got a um he's got a video
2:19:05actually. He's got a master class that I
2:19:07should make a post about that actually.
2:19:09He's got a master class that's worth
2:19:11watching.
2:19:12uh
2:19:16master class.
2:19:18>> Yeah, I love synthesis and
2:19:22>> yeah, I love to fiddle with presets and
2:19:26creating my own
2:19:27>> Yeah.
2:19:29>> stuff like
2:19:31>> he um
2:19:32>> is it on YouTube or
2:19:34>> it's it's No, it's not. It's it's it's
2:19:36something you have to pay for it looks
2:19:37like. Um but [clears throat]
2:19:39um he
2:19:41>> maybe you can get us some discount.
2:19:43>> Yeah, I'll ask him. [laughter]
2:19:45He messaged me yesterday. I I'll ask
2:19:47him.
2:19:50Um
2:19:50>> what business? What business?
2:19:53>> I I I I think it's going to be done by a
2:19:55third party company. So I'm not I
2:19:57wouldn't hold out too much hope, but
2:19:59I'll ask him. Um, but he when I've
2:20:02produced with him, he has made some of
2:20:04the most mindbending synth sounds I've
2:20:07ever heard in my life. And the way he
2:20:08was, one of the ways he was doing it was
2:20:11he just finds the he gets delays and
2:20:14he's just he's somehow finding sweet
2:20:17spots on delays
2:20:19until
2:20:20>> somehow working. But I mean
2:20:23>> behind it is that the rhythm also like
2:20:2718 dot at 1 they also happening in time.
2:20:30So milliseconds sometimes it just lines
2:20:33up with rhythms.
2:20:34>> Yeah. Exactly. And yeah exactly.
2:20:36>> Yeah. Yeah. I I know what he's doing.
2:20:38>> You know what I'm talking about. It was
2:20:40it's not something I've really mastered
2:20:41myself. But he's like he can take take
2:20:44any plugin whether it's you know a
2:20:46flanger or a delay and like H delay
2:20:49waves H delay you know he just f he just
2:20:52gets it to the point where it's just
2:20:54absolutely mindbending. It's like really
2:20:57fine increments
2:20:59and he just gets it and tweaks it into
2:21:02this spot that I've never been actually
2:21:04been able to quite find myself. But
2:21:08that's worth trying with, you know, like
2:21:09like you're doing a little bit there
2:21:11with the delay time off. No, not not
2:21:14synced. How can we, you know,
2:21:21>> very psychedelic. I'm always blown away
2:21:24with what he's doing.
2:21:26>> Through the rhythm, we ascend
2:21:32>> and we are all connected.
2:21:36>> Yeah. just just that really that that
2:21:37that is the big moment that I think
2:21:40needs the work and it just needs to have
2:21:42a really less modulation in the first
2:21:45bit bit of it.
2:21:48That's really it. Um what else?
2:21:51Oh yeah, we're filtering this in a
2:21:53little bit, but that's that's it. I mean
2:21:55the track's good.
2:22:01That grid's great. I would almost just
2:22:03take the sounds of that grid and just
2:22:05kind of
2:22:06>> make a new track.
2:22:08>> Well, [laughter] yeah, you could.
2:22:12Yeah, you could. Why not? I mean, what I
2:22:14was going to say was take them back and
2:22:17use some of them here, you know. [music]
2:22:25[music]
2:22:30You have got some
2:22:32Chops.
2:22:34>> Say it again.
2:22:35>> Just little chops of those grids.
2:22:38>> Yeah. Little chops of those grids.
2:22:39>> Then something like that.
2:22:41>> Yeah. Yeah.
2:22:43>> Yeah. Exactly. Just a couple of the
2:22:45little chops and the stabs. Mix it in
2:22:47with the front grid and it will start,
2:22:49you know, the the track's going to start
2:22:52coming together. It's already together,
2:22:54but you know what I'm talking about.
2:22:56just to have that first half with with a
2:23:00one one glimpse, one eye on, you know,
2:23:03what's going to happen later just so
2:23:05it's kind of in this in the, you know,
2:23:09in the the the the ballpark of of that.
2:23:12So, it's got some of that vibe because
2:23:14it get also gets is nice at the end as
2:23:16well. I think it would be nice to hear a
2:23:18little bit of that vibe earlier on. And
2:23:21uh certainly we've we've figured out
2:23:23that taking out that that melody sound
2:23:26and putting in one of the other ones for
2:23:29later in the track would be good. But
2:23:31other than that, I mean, yes, it's it's
2:23:32it's close. I
2:23:35>> I don't really feel the
2:23:36>> move on. Can I just ask you to listen to
2:23:38the last section? Yeah.
2:23:41>> Because from 209. Yeah. I'm
2:23:44>> Yeah.
2:23:44>> I'm not very convinced.
2:23:47>> Not convinced.
2:23:49>> 25.
2:23:50>> Yeah. Let's go from here.
2:23:56[music]
2:24:02[music]
2:24:10Careful with those whacka whacka. I
2:24:12mean, a couple of them's all right. I
2:24:14wouldn't have them every time.
2:24:17[music]
2:24:25>> [music]
2:24:30[music]
2:24:30>> Okay, the first thing I'm hearing is the
2:24:32whack wagger. I think maybe they need to
2:24:34stop
2:24:35>> cuz then it's going to feel like a next
2:24:36section. [music]
2:24:53Is that lead only happening here?
2:24:57>> Yeah.
2:24:58>> Yeah. Okay. I is that leads the part
2:25:00that's not convincing me?
2:25:03Mhm.
2:25:04>> Really, if I'm honest, um,
2:25:11>> it's just a little bit kind of sy, you
2:25:13know.
2:25:16Um, also it's not resolving so much
2:25:19because it's going down.
2:25:25>> It's just two or one step.
2:25:27>> It's on the minus two. It's focused on
2:25:29the minus two, isn't it? Yeah.
2:25:32>> Um,
2:25:33I mean, what could you do instead?
2:25:35That's the question. Let's see what
2:25:37we've got back here.
2:25:41[music]
2:25:42>> Ding, ding, ding, ding, ding, ding. What
2:25:44about this lead here?
2:25:48>> That lead actually,
2:25:50>> how about that lead replacing this lead?
2:25:53>> Mhm.
2:25:55>> Let's see.
2:26:07I mean, the thing is really is this is
2:26:09the monster here.
2:26:12That's massive.
2:26:15That's massive.
2:26:16>> So simple. Like
2:26:20>> Yeah. I mean, well, that's probably why
2:26:21it's sounding powerful, isn't it?
2:26:23>> Yeah. [laughter]
2:26:25That's like best sound I ever made.
2:26:28Crank up the [ __ ] resonance.
2:26:31Distorted D.
2:26:33>> Yeah. Funny, [laughter] isn't it?
2:26:36I mean, um I suppose it's it's probably
2:26:40because it's loud. You can hear it. It's
2:26:42there. It's not, you know, the other
2:26:44one's a bit more backgroundy, so it's
2:26:46not so easy to But it's also This is
2:26:48working
2:26:51works really good.
2:27:01I think what's going on with this ending
2:27:03is that [clears throat]
2:27:06this is all very well and good. You've
2:27:07got 24 bars of the drop.
2:27:11It's not quite flowing with this. This
2:27:13lead is great. This is all great, but
2:27:15it's almost in the wrong order.
2:27:19>> Mhm. possibly because the peak of this
2:27:22end bit should be this.
2:27:25>> All right. That's where that's that
2:27:27should be the end game. Yeah. Oh,
2:27:31that should be the end game. Um, so I
2:27:34would say something like this
2:27:37might be the one. [music]
2:27:46[music]
2:27:54>> [music]
2:28:05>> You know, you could
2:28:08you could fade that in.
2:28:13>> [music]
2:28:26>> D and then come in with
2:28:30that would be kind of how I would do it
2:28:33if it was me. I would have eight or 16
2:28:35here.
2:28:37Like that's a classic way to do it. So,
2:28:39you've got your drop um moment with that
2:28:42lead, and then you build up a little
2:28:45bit, build up, and then you explode with
2:28:49the percussion. You explode, maybe some
2:28:51stabs. Hello, Stefan, by the way. How
2:28:53you doing?
2:28:55>> Welcome back, my my friend.
2:28:58>> Um,
2:28:58>> sorry,
2:28:59>> I said welcome back.
2:29:01>> My friend,
2:29:03>> you speak German now?
2:29:04>> Oh, well, I speak a few languages.
2:29:08[laughter]
2:29:08I don't really know. I forgot I forgot
2:29:12>> I forgot German. I did study in school.
2:29:14My dad's fluent German and French, but
2:29:17um but I don't I didn't fall uh into
2:29:20that naturally, unfortunately. But um
2:29:22there's still time. Anyway, um the
2:29:24classic way to do this would be explode
2:29:27with percussion 16 bars, the second half
2:29:30of which we're introducing the lead,
2:29:33then explode with the lead.
2:29:36>> Mhm.
2:29:37>> And then go into the afterthought, which
2:29:41would be the grid, which then that that
2:29:43would be, I think, a better
2:29:47flow of events.
2:29:49>> Yeah, I think so. Because otherwise
2:29:50we're getting the
2:29:52>> we got the lead and then
2:29:53>> we're going to start again on something
2:29:56instead of going.
2:29:58>> So how do you mean
2:30:00>> like like there is like no end beat?
2:30:04That's what I mean.
2:30:07>> There's no end bites the the story as
2:30:10the
2:30:11>> the resolve of the look for me the res
2:30:14this is the the end. This is the best of
2:30:17the best grid and that's the end.
2:30:19Mhm.
2:30:20>> So, we've got drop because because
2:30:22otherwise we had,
2:30:24you know, we had this lead
2:30:28and then it was going and then it was
2:30:30stopping. Well, no, we still got that
2:30:32bit after that. We've just introduced
2:30:35this bit before. It was a bit sudden
2:30:37basically. Oh, Gilmo is coming back. It
2:30:39was a bit sudden going from that
2:30:42straight into another lead.
2:30:44>> Oh, okay. Yeah. Yeah,
2:30:45>> that was kind of it. It was a pallet
2:30:47cleansing explosive eight or 16 bars to
2:30:52to explode here and let people groove a
2:30:55bit after that cuz don't forget this is
2:30:57not full percussion. This is pushing
2:30:59with the
2:31:01this is pushing with the high hats in
2:31:03that sort of technoy kind of cool way.
2:31:06And then to bring it in here, it does
2:31:08need a bit of space before the lead.
2:31:10Look.
2:31:23I mean, look, it does it's it also works
2:31:26is my is just it's a it's a choice thing
2:31:29I think to be honest when you've had
2:31:31that
2:31:32>> better this way cuz
2:31:36>> what I've been seeing I went to this a
2:31:39few warehouse parties Oh yeah.
2:31:43>> When the FM starts, people just [ __ ]
2:31:46go crazy. You know those FM lines?
2:31:51>> Well, okay. Right.
2:31:52>> Yeah, that's that's that's a better
2:31:54moment for them to kick off.
2:31:57>> Okay. Well, then you can have the FM
2:31:58sort of in the in the a little f FM and
2:32:02then you're in and so people are
2:32:04exploding to the FMs and then they
2:32:06immediately you hear the lead coming in.
2:32:09>> The FMs are going. you hear the lead
2:32:11coming in. Um, and I think that would,
2:32:15you know, that that would be a more
2:32:18I don't know. It would be I think that
2:32:19would be a better flow, you know.
2:32:21>> Yeah. Yeah. Yeah. Yeah. Okay.
2:32:23>> I think it would be a better flow. Um,
2:32:25that would be personally how I would do
2:32:27it. That's interesting you say you've
2:32:28just seen people on the think format.
2:32:32You've seen people on the dance floors
2:32:34um enjoying that those FMs. Yeah, I bet
2:32:37guess they do. That's when the the [ __ ]
2:32:40goes down.
2:32:41>> That's when this
2:32:44[laughter]
2:32:46>> That's good to know, isn't it? No wonder
2:32:48everyone puts FMs in their tracks.
2:32:51>> Yeah. Yeah. It's like always peak on the
2:32:54down floor.
2:32:56>> There you go then. So, you know, you can
2:32:57peak this with the FMs and then we have
2:33:00the lead rising out of it.
2:33:04And then basically th this
2:33:08that lead you're going to mute.
2:33:10>> Uhhuh.
2:33:11>> Yeah. I don't think it's it's nothing
2:33:12special. So, just get rid of it.
2:33:15>> Yeah. And then, you know, you can look
2:33:18at
2:33:20putting this one. This one,
2:33:25this one, [music]
2:33:27that one is fine. That ding ding ding
2:33:29ding ding. All you want is something
2:33:31rising to the end of the track. It
2:33:34doesn't sound like you you don't want
2:33:36another lead as the feature lead. You
2:33:38just want something that's kind of
2:33:39taking us up because you've already got
2:33:42enough leads in the track. So, you don't
2:33:44it's not like you need to create another
2:33:45amazing lead for this 16 bar at the end
2:33:48of the track. You just need what that
2:33:50that first lead is perfect because it's
2:33:52just, you know, ring modulating us up
2:33:55towards the end of the track. That that
2:33:57will be I think that will be pretty spot
2:34:00on. And then for this
2:34:04>> [music]
2:34:04>> Yeah, for this careful with the whack
2:34:06whack whack. Um, and then just just the
2:34:09best of the best sounds you got. It's
2:34:10it's kind of like that already. But if
2:34:13you ended up with some of this stuff uh
2:34:16glitched and and taken back there, then
2:34:19you can always mix a bit of that in.
2:34:22Do you know what I mean? This one.
2:34:24>> Yeah.
2:34:25If if you've ended up with some cool
2:34:27chops of that, no harm bringing it in
2:34:29there and just letting it have it a
2:34:31little moment in that last grid. But I
2:34:33think this is this is
2:34:40[music]
2:34:49[music]
2:34:54going to be killer when you get that
2:34:56going properly.
2:34:58See that suits it better to come in with
2:35:00FM there for me personally than the
2:35:02whole line.
2:35:06[music]
2:35:11[music]
2:35:16>> Do you feel a bit better about that flow
2:35:18at the end?
2:35:19>> Yeah. Yeah. I think this is complete
2:35:22now. I just have to make
2:35:23>> I think that's kind of I think that was
2:35:25what it was.
2:35:25>> Yeah.
2:35:27Yeah, just mix it properly. It's not far
2:35:30off, but
2:35:30>> it's not far off.
2:35:32>> You said the the sound that needs to be
2:35:35careful.
2:35:38>> What sound needs to be careful?
2:35:41>> You said at the end,
2:35:42>> what the whack whack whack?
2:35:44>> Yeah. Yeah.
2:35:44>> Well, just fil Yeah. Just like, you
2:35:46know, filter some of them or to do a bit
2:35:48of um freak echo or something just to
2:35:50give them a bit of variation.
2:35:52>> Mhm. Um, and have it as a supporting
2:35:55have it support the other ones. Don't
2:35:57have it so much. Just have it there, you
2:36:01know, but but don't have it like as
2:36:04>> I will move them to the background time.
2:36:06>> Yeah, exactly. Perfect for the
2:36:08background. Yeah,
2:36:08>> it just goes
2:36:11something like that.
2:36:12>> Yeah, I think perfect for for just
2:36:14bubbling in the background that that
2:36:18I think so.
2:36:19>> All right.
2:36:20>> Yeah. So, so, so, so pretty, pretty
2:36:22close, I would say. Pretty close. So, we
2:36:25don't I know we haven't chopped it up
2:36:26and hacked it up, but um that's a good
2:36:30thing as well. We've made some quite
2:36:34important structural things we've
2:36:36discussed.
2:36:38>> Yeah. What I needed you, you gave me.
2:36:40So,
2:36:41>> yeah.
2:36:42>> Not always necessary.
2:36:44>> No. Well, in a way it's kind of nice if
2:36:46we don't, but we have there are some
2:36:48pretty major changes that are going to
2:36:49have to happen by swapping this around.
2:36:52Um, how are you going to remember all of
2:36:54this? Are you going to watch the video
2:36:55back or
2:36:59>> this?
2:37:01>> Oh, bloody hell.
2:37:03>> I always make notes like
2:37:04>> amazing.
2:37:06Let let me show you my my notes
2:37:10and my [laughter] ideas for vocas and
2:37:14stuff like that.
2:37:15>> Oh, great.
2:37:16>> When it's done, I cross it off and I got
2:37:19a new paper and yeah, some things that I
2:37:23learn like composition wise, I just keep
2:37:25it in one pile and sometimes I read
2:37:28through it.
2:37:30>> Fantastic. Fantastic. I think it's it's
2:37:32it's also nice to have I use a lot of
2:37:34lists myself. if I do it on the phone,
2:37:36but when I'm finishing tracks, like
2:37:39writing down everything. I know I've
2:37:40said this, but I'll say it again.
2:37:42Writing down.
2:37:43>> Yeah. Writing down all the things that
2:37:45>> journal sort of thing. Yeah,
2:37:47>> the journal is a separate thing. And
2:37:48I've got a couple of different journals
2:37:50for like things going on in my life. But
2:37:53just the track having its own notes and
2:37:55I just write down when I'm listening to
2:37:57it at home. This drum fill needs to be
2:38:00fixed. 5 minutes 67 not flowing leaders
2:38:04on the wrong you know and I just come
2:38:05into the studio the next day and I go
2:38:06through each of the notes and I execute
2:38:09tick it off do you know and then carry
2:38:12on finishing the track take it home
2:38:14again that night listen to it make a
2:38:16load of notes come in the day after do
2:38:19all of the notes continue working and
2:38:22then keep doing that and it might be a
2:38:25week or two weeks of doing that every
2:38:28night and then the track will eventually
2:38:30get finished because eventually there
2:38:33will be no more notes because I've been
2:38:36doing the notes and making more notes
2:38:38and eventually I am satisfied and it's
2:38:41just a case of me repeating that process
2:38:44until I'm satisfied that the track is is
2:38:47sounding good and and I'm happy to let
2:38:49it out the door. That's really the the
2:38:51secret for how I do it. It's not a
2:38:53secret, but it's that that's the then
2:38:57it's a case of just really knowing what
2:39:00you're happy with and having confidence
2:39:02in your own standard. You've got to
2:39:05create your own gold standard. And
2:39:08you've just got to keep making those
2:39:10iterations until your track reaches that
2:39:13level that you have set for yourself.
2:39:16And only you can do that. You know, some
2:39:18people's um level is this, some people's
2:39:21levels that. you know, you've got some
2:39:23artists that take years, you know, to to
2:39:25write tracks. So, you know, there's no
2:39:27no nothing there's no right or wrong.
2:39:29It's you've got to be happy with it
2:39:31because when it's out there, it's out
2:39:33there. And I don't want you looking back
2:39:35and going, "Oh god, I don't that track
2:39:37makes me cringe."
2:39:39>> You know, we've all got tracks like
2:39:41that, but you know, it's good to keep
2:39:42that to a minimum.
2:39:44>> What's even weirder is when someone
2:39:46says, "Oh my god, that's my favorite
2:39:48track."
2:39:51you know, or or you see it's blown up on
2:39:52the streaming. It's like got 10 times
2:39:54more streams than any of your other
2:39:55tracks. I'm like, how the [ __ ]
2:39:57[laughter]
2:39:59you just can't you just who knows what
2:40:01to do with that? Um, mate, great work.
2:40:05Great work. Would you like me to do a
2:40:06bounce of it or
2:40:08>> Yeah, I should do, shouldn't I? Yeah,
2:40:10>> do. All right.
2:40:11>> Jeez,
2:40:12>> Sonic bounce. It's getting there, mate.
2:40:14You're going to have
2:40:17what? You're going to have two on your
2:40:19hands now with this. There was a third
2:40:21one, wasn't there?
2:40:22>> Yeah.
2:40:23>> Yeah. You're going to have
2:40:24>> You're coming back next week.
2:40:25>> Good. The older one.
2:40:27>> Yeah.
2:40:28>> Yeah.
2:40:30Yeah. Good. Good. You're going to you're
2:40:32going to be building a set of them soon.
2:40:36Um
2:40:36>> Yeah. I'm going to have to finish that
2:40:38one so you can hear the fresh ones. The
2:40:40fresh ones are like really
2:40:44>> What? The fresh ones that you're working
2:40:45on in the background. Yeah.
2:40:48>> Oh, cool. Well, let's get these out the
2:40:50way so you can bring the new ones.
2:40:52>> Yeah. Yeah. Yeah.
2:40:56>> Yeah. I look forward to hearing the new
2:40:58ones.
2:41:02>> Oh, yes. Save. Yes. Save.
2:41:07Right. Right. Right. Right. R David,
2:41:09here we are.
2:41:11David transcendence. Amazing.
2:41:14No, that's the that's not the right one.
2:41:19Um,
2:41:22come on, Zoom. [ __ ] get out of the
2:41:24way.
2:41:28Oh, that was Sorry, that was the right
2:41:30one. Yeah,
2:41:36that link worked. I saw you commented
2:41:38that there was a link that wasn't
2:41:39working, but it worked in the end,
2:41:40didn't it, David?
2:41:42>> Uh, about the video. Yeah. Yeah. Yeah.
2:41:44What happened? I clicked on it a couple
2:41:46of times and it was like four or four
2:41:48error
2:41:49>> and then your partner like what's
2:41:52>> he did something to it? Yeah.
2:41:54>> Yeah. Yeah. And then it was all cool.
2:41:57>> Yeah. Okay. Cool. I mean Beatport wasn't
2:42:00downloading for me earlier again. Crazy.
2:42:03>> It's like some glitch. I don't I don't
2:42:08understand websites and how they work.
2:42:12>> Here we are.
2:42:14Thank you.
2:42:15>> Fantastic. Let's just double check that
2:42:17was we know what I'm like with these
2:42:19links.
2:42:21>> That that is that is that that is that
2:42:24is the correct one. Um all right, mate.
2:42:27Sounding great. Keep it going. Keep it
2:42:30bloody going.
2:42:33>> Thank you very much.
2:42:34>> My pleasure. Always a pleasure. Um okay,
2:42:38now we have Sam Dunigan. Ultra Instinct
2:42:44pyramid of I love the names you guys are
2:42:46coming up with. Pyramid of
2:42:48consciousness. Is it a pyramid scheme
2:42:50consciousness? I don't know. I suppose
2:42:52I'll find out in the Zogen meditation
2:42:53when I tap into the all and everything.
2:42:55I hope it's not a pyramid scheme.
2:43:00Um, right. How do we tell?
2:43:01>> Yeah, you gave me notes with this one. I
2:43:04went through most of them, but there was
2:43:05just two things I think I had written
2:43:06down to ask you when we go.
2:43:07>> Yeah. Yeah, sure. Let's have a
2:43:09>> to elaborate. Let's have a gander.
2:43:14Right.
2:43:19All right.
2:43:21Okie dokie. We'll save that.
2:43:24Save that. We save it. We save it.
2:43:29Sorry to hear about your uh your um
2:43:32furry friend. So,
2:43:33>> yeah. I appreciate that. Yes.
2:43:35>> Was it a cat? Was it your cat or a dog?
2:43:37>> No, dog. Yeah,
2:43:39>> that's tough.
2:43:40>> Had it for 14 years.
2:43:42>> Oh my god.
2:43:45[ __ ]
2:43:46>> Yeah, it was a tough time. But I think
2:43:48I'm getting better now because I did a
2:43:49couple of weeks off. I just wasn't
2:43:51feeling it,
2:43:52>> mate. I mean, 14 years is a long time.
2:43:54Um
2:43:55>> Yeah, we lost two of them. There was one
2:43:57one last year, then one this year. It
2:43:59was all all from my They're my mom's
2:44:00dogs. So, um I I've been looking after
2:44:03them for like seven years.
2:44:05>> Bloody hell. Was it just old age? it was
2:44:07this the time to go.
2:44:08>> H the two of them kept getting tumors.
2:44:11It was just
2:44:13>> don't think they were they weren't fed
2:44:15right or that when I was younger and um
2:44:17my mom got ill when when they first got
2:44:19them so they didn't get trained properly
2:44:20or anything else. I just don't think
2:44:21they they were happy though. Spoiled.
2:44:25[laughter]
2:44:26>> But you think the diet wasn't agreeing
2:44:28with them?
2:44:28>> Yeah, I changed I changed the diet
2:44:30recently and they were much it was much
2:44:32better but obviously too late.
2:44:35Look, I'm sure they're in a good place
2:44:36now.
2:44:37>> Oh, they were happy. Like
2:44:39>> they had a good They had a good I'm sure
2:44:41they got I'm sure they had a good dog's
2:44:42life.
2:44:46>> Right. Tell me this is 142, isn't it?
2:44:49>> Uh 143.
2:44:50>> 143,
2:44:54right? Pyramid of consciousness
2:44:57>> changed a few things. Um, like you said,
2:44:59I think you said there's need more
2:45:00needing to be done between 41 and 48,
2:45:03just something before the high hat comes
2:45:05in.
2:45:05>> Oh, yes, that was right.
2:45:07>> to come in dry as well with the keep the
2:45:10kick and bass minimal. It took a bit of
2:45:12fiddling because some of the sounds were
2:45:14overlapping, but then taking more away,
2:45:15taking more away like you said, and it
2:45:16just
2:45:18>> it worked better.
2:45:19>> Okay, good.
2:45:20>> I think it was I think it was to do with
2:45:23um Well, we'll probably get to that that
2:45:26part anyway.
2:45:26>> Yeah, we will. We will. Let me just uh
2:45:28let me just get a glass of uh milk or
2:45:30water or something. Well, give me one
2:45:31second.
2:46:29Finally, we've got it's cool in the
2:46:31night time.
2:46:36So,
2:46:38[clears throat]
2:46:41right,
2:46:43here we go.
2:46:52M. Oh yeah, that goes well with a glass
2:46:55of milk. But frankly,
2:47:04[singing]
2:47:10the infinite depth of the soul within.
2:47:12[music]
2:47:14You you you created these vocals
2:47:17yourself, didn't you? You can't just for
2:47:19everyone just it's quite cool. Um
2:47:23>> Sam cloned made a voice clone of Alan
2:47:26Watts, who's a very famous philosopher.
2:47:28You can correct me if I'm wrong. So,
2:47:30this is how I remember it.
2:47:31>> He made a voice clone using 11 Labs. Was
2:47:34it or
2:47:35>> No, I can't remember what it was. I
2:47:37think
2:47:37>> something on Git GitHub or was it?
2:47:39>> It was online somewhere. Yeah.
2:47:40>> Right. voice cloned of Alan Watts who's
2:47:43got this really iconic voice and then he
2:47:46wrote his own whatever he wanted Alan
2:47:48Watts to say and I think that's
2:47:50brilliant. Um I did something similar in
2:47:53a track I did with Cali earlier this
2:47:55year. Is it even this year? Who knows
2:47:57what year is it? It's Yeah, I think it
2:47:59is this year. Yeah, know it is. [ __ ] A
2:48:02lot of shit's happened this year. That's
2:48:06cool. That's very cool.
2:48:11because then you can have people saying
2:48:13whatever you want and you can really put
2:48:15the message that you want into your
2:48:18tracks. If you've got something you feel
2:48:20is the is is something you'd like to
2:48:22share with the audience, you know, me
2:48:24personally, I like to try and look for
2:48:27if it's a spoken vocal, something that's
2:48:29leaning towards like, you know, like
2:48:32like Sam's done, something helping
2:48:34people, some positive manifestation,
2:48:36some, you know, something spiritual that
2:48:38for sure there's going to be some
2:48:39Zogchen
2:48:41messages in some of my tracks now, you
2:48:43know, and having the ability to type and
2:48:46have an iconic voice that you've cloned
2:48:49speaking it is just like wow amazing
2:48:54technology.
2:48:56[music] Oh [ __ ] Sorry.
2:49:15[music]
2:49:15Oh, love the reverb kicks. The hard
2:49:18house days was all about the reverb
2:49:19kicks, wasn't it?
2:49:23[music]
2:49:28[music]
2:49:37Oh yeah, [music]
2:49:39nice.
2:49:43There we go. Here [music]
2:49:45we go. Level one landed.
2:49:52[music]
2:49:59[music]
2:50:08[music]
2:50:10Oh yeah, that kicks off really nicely.
2:50:17That was a nice little turn around.
2:50:22[music]
2:50:23>> Yeah.
2:50:27>> Right. I'm going to Do you mind if I do?
2:50:29Go on.
2:50:30>> Yeah. Sorry. You said to clean up the
2:50:33delays and the reverbs there.
2:50:35>> Yeah.
2:50:36>> It did make a difference. But what I was
2:50:37wanting to ask you was that
2:50:39>> Yeah.
2:50:39>> Just I think it was just on that
2:50:41specific point. Is it when is are you
2:50:43talking about the tails of everything?
2:50:46Clean up.
2:50:46>> What I was about to What? What? What was
2:50:48I about to say? You mean
2:50:50>> No, that's that's what I was going to
2:50:51ask because
2:50:53>> that's in your notes from Yeah.
2:50:55>> Yeah. the other last week when you sent
2:50:56me them. It was just to clean up clean
2:50:58up the
2:50:59>> You would know.
2:51:02>> You You would know because you've
2:51:03transcribed them.
2:51:06>> [laughter]
2:51:07>> I don't think it's that good at at
2:51:08finding
2:51:10>> like you have to go looking for it. You
2:51:12have to know what you're looking for.
2:51:13But what I mean is it's like when you
2:51:14transcribe them all in, it's got all the
2:51:16information there about your RMS, all
2:51:18your little things that you can just
2:51:21create checklists on or
2:51:24this and you know.
2:51:25>> Amazing. Look, at some point maybe we'll
2:51:27transcribe all of them and just put a
2:51:29summary on the in the page in the
2:51:32community.
2:51:32>> That's kind of the idea. Yeah, I think
2:51:35it's a good it's a great idea.
2:51:38It's a great idea. Um, now you've
2:51:41cleaned it up. That's why I'm smiling
2:51:43when I'm hearing that drop because it's
2:51:44clean and it's nice. Now, to take that
2:51:46to the next level, you just need to
2:51:49maintain that space because there's a
2:51:51couple of sounds. It starts well and
2:51:54then it already just gets covered up a
2:51:56little bit too many sounds too quickly.
2:51:57And I'll show you what I mean. [music]
2:52:01Great.
2:52:05there. Right there. There was two.
2:52:07>> I see what you mean.
2:52:08>> There was like three things at the same
2:52:09time.
2:52:11>> Just needs to be one.
2:52:12>> Okay.
2:52:13>> It's too confusing. The first two bars
2:52:17[music]
2:52:22[music]
2:52:24right here. That vocal doesn't need to
2:52:26be there. First of all,
2:52:29that's just confusing everything. Let's
2:52:31keep it synthy.
2:52:36[music]
2:52:39>> Oh, what is that? What's is that a wind
2:52:41instrument or is that the It's a flute
2:52:43and the vocal separate, right?
2:52:45>> Yeah.
2:52:46>> Right. The flute's great. Lose the
2:52:48vocal, I think.
2:52:50>> And then you're going to be laughing.
2:52:51This this amount of space that you've
2:52:53got here is spot on for this section.
2:52:59>> [music]
2:53:02>> that you can maintain that
2:53:06that's the the level you want for this
2:53:08bit and then up towards at the end.
2:53:10Okay. Anyway, we'll get we'll get on
2:53:12with it. But that's sounding fantastic,
2:53:13mate. Just just before I forget, um one
2:53:17thing I did on on um one of my tracks
2:53:21this year called Tweak It. Um and I like
2:53:24to do this sometimes is this bit here
2:53:27before as it's building up to the
2:53:29explosion, I like to use one of the
2:53:31leads or the melodies, right? And in
2:53:33your case, that Zen Mechanicsy one would
2:53:36be perfect here. Where is [music] it?
2:53:41>> But not just put it here. Where is it?
2:53:44Where is it? I thought I heard it.
2:53:46>> It was
2:53:48>> um
2:53:49>> Where's it gone?
2:53:49>> There was a preview of it just just
2:53:51before the high hat comes in,
2:53:53>> right?
2:53:53>> But it's done.
2:53:55[music]
2:54:01>> It's going to be perfect for a build up
2:54:03here. Look. Okay.
2:54:07>> 97.
2:54:08>> Tell me.
2:54:10>> 97.
2:54:11>> 97.
2:54:17>> [music]
2:54:27[music]
2:54:30>> That sounded great. Um,
2:54:36[music]
2:54:49>> [music]
2:54:52>> Oh. Oh, why didn't that
2:54:55[music]
2:55:01[music]
2:55:12>> [music]
2:55:17>> Sorry, you can't see it. I've got
2:55:19[ __ ] zoom just right in the middle of
2:55:21the screen. Is there no way to get rid
2:55:23of this [ __ ]
2:55:27>> So irritating.
2:55:28Here we go. [music]
2:55:32Heat. Heat.
2:55:42[music]
2:55:48[music]
2:55:54>> [music]
2:56:02>> Sorry, I'm going to have to just figure
2:56:03out how to get this this zoom off the
2:56:05screen here because this is really
2:56:09really
2:56:10annoying.
2:56:13It just doesn't it doesn't even collapse
2:56:16itself.
2:56:18>> I can still see your keybase screen. I
2:56:19can't see zoom.
2:56:20>> No, none of you can see zoom. It it has
2:56:23the it has the intelligence to not show
2:56:25you the fact that I've got a zoom panel
2:56:28in the middle of the screen. Thank god
2:56:30[laughter]
2:56:32you can hear how that's how that can
2:56:36to me that sounds [music]
2:56:38to me that sorry to me that sounds like
2:56:40a natural thing to have that lead here
2:56:43in this buildup. I don't know.
2:56:45>> Is it okay to have this three times
2:56:48going? cuz this I tried it here and then
2:56:50I just thought it was maybe going too
2:56:52many times in the track the same.
2:56:54>> Well, um I haven't heard the other two.
2:56:56I haven't refreshed my mind on the other
2:56:58two. So, let's let's get to that. And
2:57:00>> it's an option.
2:57:03[music]
2:57:12[music]
2:57:18>> [music]
2:57:25[music]
2:57:31[music]
2:57:39[music]
2:57:40>> I see you opened that up a bit at the
2:57:42end.
2:57:43>> Mhm.
2:57:44>> That was a bit better. I still think
2:57:45maybe it could even become more open or
2:57:48or a bit bigger, but it's [music]
2:57:59[music]
2:58:08that I think you could almost filter it
2:58:10out a bit there so it's not so audible
2:58:12in the fill. the the lead from this 16
2:58:14bars, the 303.
2:58:17>> Yeah. Yeah.
2:58:18>> By that point, I'd almost be I'd almost
2:58:20be having that as the last time it plays
2:58:22and then having a delay and it just sort
2:58:25of
2:58:25>> ping pong delays over the fill.
2:58:28>> Yeah.
2:58:35[music]
2:58:39Heat.
2:58:44[music]
2:58:50Heat. [music]
2:59:04>> [music]
2:59:07>> That needs to just have an end to it,
2:59:09that lead somehow, you know, filter it
2:59:11out. Um, freak echo something because it
2:59:14just stops abruptly there. Okay. [music]
2:59:20And the beat carries on. It would be
2:59:22different if the beat stopped as well.
2:59:25Then that
2:59:29because the beat carries on and the lead
2:59:31stops, it sounds weird. [music]
2:59:37So just just filter it out or something.
2:59:39So it's a smooth ending to that. [music]
2:59:52>> [music]
2:59:53>> I mean, you could always choose to do
2:59:55something
2:59:57weird and glitchy here, you know, like
2:59:59which could things like that can just,
3:00:03you know, just mix it up, you know? I
3:00:06had to tell myself this. I think I said
3:00:07this on one of the last uh calls was
3:00:10just reminding myself to insert moments
3:00:14of like glitchy psychedelicness, you
3:00:16know, so it's not just straight drum fil
3:00:19because most of the time when I'm
3:00:20showing you guys it's like, you know,
3:00:22it's quite structured because we're
3:00:23teaching the language of, you know, that
3:00:26type of side transit, I suppose, where
3:00:28to how to get everything in the right
3:00:30place. But of course, when you know all
3:00:32of that and you've got the ability to
3:00:34put together a track with all the things
3:00:36in the right place, then it's important
3:00:39to put them in a way in the wrong place
3:00:41and start messing with, you know,
3:00:44messing with it and, you know, making it
3:00:47different and making it psychedelic in
3:00:50all sorts of ways. And little moments
3:00:53like that can do [music]
3:00:56Yeah.
3:00:58Heat.
3:01:07[music]
3:01:08Beautiful.
3:01:14[music]
3:01:24[music]
3:01:30[music]
3:01:31I'd be tempted to lose the the the
3:01:34reverb from that.
3:01:37>> [music]
3:01:42[music]
3:01:43>> It's just a s ample of a reverb just at
3:01:46that start bit. Um
3:01:47>> I think I think you could do worse than
3:01:49just kick.
3:01:51>> Yeah, because stopping things dead
3:01:54sometimes and having a fill back, you
3:01:56know, again, it's a refreshing moment.
3:02:01[music]
3:02:06palette cleanser. You know, [music]
3:02:16[music]
3:02:16you stand between two infinites.
3:02:21the infinite expansion of the cosmos
3:02:23[music] above
3:02:26and the infinite depth of the soul
3:02:28within the infinite [music] expansion of
3:02:30the cosmos above
3:02:33and
3:02:33>> that that flute that finishes there. If
3:02:35you're going to have that though, you
3:02:36might want to just delay the end of it
3:02:38just a little bit. Just just just a
3:02:41little bit. Ends a bit abruptly.
3:02:43[music]
3:02:43>> Bit of reverb maybe
3:02:45>> and the infinite depth of the soul
3:02:47within
3:02:53That's a be that is a beautiful vocal
3:02:55right there.
3:02:57Shamanic.
3:03:05[music]
3:03:07>> Don't rush these Don't rush these
3:03:09moments though. That was almost a little
3:03:12bit soon. I could I could have heard
3:03:13that in a depth of the soul within.
3:03:26It absolutely works like that. But what
3:03:29would it be like if it was just
3:03:37infinite depth of the soul within
3:03:48>> [singing]
3:03:51>> It's it's hard for me to
3:03:54>> No, I get you.
3:03:58>> It's hard for me to put into words how
3:04:00much that vocal means to me.
3:04:04No, I'm joking. Um
3:04:08I think you just Yeah, just a little
3:04:11little Where's the sub drops, people?
3:04:14Sub drop.
3:04:25>> [music]
3:04:34[music]
3:04:37>> I want a long one cuz we're masking the
3:04:39fact that I've just hacked your tractor
3:04:40to pieces like a butcher. Like Sweeney
3:04:43Todd Saitrance Syrance's answer to Jack
3:04:47the Ripper, Jack the Tripper.
3:04:52[laughter]
3:04:53That was I can't take credit for that.
3:04:55My friend Patrick came up with that one.
3:04:58It did crack me up.
3:04:59>> Edward hand,
3:05:01>> mate. That's a Hey,
3:05:03>> Edward Sitron hands.
3:05:04>> Edward, [laughter]
3:05:08did you just come up with that?
3:05:10>> Yeah,
3:05:10>> that's [ __ ] that is genius. So, we've
3:05:13got Let's start that as a dark side duo.
3:05:16Jack the Tripper backto back Edward Side
3:05:19Trance hands. [laughter]
3:05:24I will join in with my new name,
3:05:25Margaret Thresher. You know
3:05:28>> Margaret Thrasher. Margaret Thrasher.
3:05:31>> Yeah.
3:05:31>> I love it. I love it.
3:05:34So funny.
3:05:37Oh my god. So, let's see if this Let's
3:05:40see if this
3:05:41>> and the infinite depth of the soul
3:05:43within.
3:05:48>> Oh god, why?
3:05:51Sorry, my sub drop seems to not
3:05:57Oh, it's the wrong
3:06:01[music]
3:06:05I just give I just want something long
3:06:06just to
3:06:09not that long.
3:06:26>> [singing]
3:06:27>> Anyway,
3:06:29>> I think just a bit more space because
3:06:30it's just
3:06:31>> Yeah.
3:06:31>> Yeah. That's what I'm saying. You know
3:06:33what I'm saying?
3:06:34>> Yeah.
3:06:36[singing]
3:06:39>> And have that fading. Have that
3:06:42filtering more. So, we want to just
3:06:44start hearing a tickle of it. not not as
3:06:47much
3:06:47>> because that that vocal Yeah. Just just
3:06:49I want that vocal to have its moment
3:06:51because it's beautiful.
3:06:53>> Um and just have that fading in those
3:06:56moments are those blissful moments that
3:06:58you want on the dance floor. So, you
3:07:00know, there's there's no and again it's
3:07:02it's all about execution. You know, you
3:07:04can have the best vocal and the best
3:07:06lead and all the rest of it and you
3:07:08know, if it's all rushed and it's not
3:07:10not I'm not saying it all is, but you
3:07:11know what I mean.
3:07:13that this is where one bar, two bars,
3:07:16four bars, edits and moving things
3:07:19around, you know, really is worth um
3:07:23playing around with till you have the
3:07:25right space, you know.
3:07:34[music]
3:07:47>> [music]
3:07:53>> Oh, bloody hell. It's pitching.
3:08:00[music]
3:08:03This is the pyramid of consciousness.
3:08:07That's great. You got the vocal there.
3:08:08Was that vocal always there?
3:08:10>> No, I put it in a couple of times ago.
3:08:13>> Oh,
3:08:17>> this is the pyramid of consciousness.
3:08:20[music]
3:08:26>> This is the pyramid of [music]
3:08:27consciousness.
3:08:32It's the pyramid of consciousness.
3:09:06consciousness
3:09:18consciousness.
3:09:23Pyramid of consciousness. This is what I
3:09:26love about Qbase. Just bounce it, drag
3:09:27it, drop it, fade it, turn it down a
3:09:31bit,
3:09:32curve it.
3:09:34I know you can do that in all the other
3:09:36in all the other doors, but it it's
3:09:38never as quick as what I've just done.
3:09:41Not that I've not that I see. It's
3:09:42always a few
3:09:44>> studios gotten that good now.
3:09:45>> Has it used to be able to do it at all?
3:09:50>> Okay. Well, that's
3:09:53like on the now now they've got it. So,
3:09:55like it's the same as Qbase. Like each
3:09:57an individual slice is moved
3:09:59independently. Before if you chopped up
3:10:03>> Yeah.
3:10:03>> If you Well, if you chopped up the sound
3:10:05and you turned the volume down on the
3:10:07actual on one of these squares, it would
3:10:09turn them down on all of them.
3:10:10>> Ah, yeah. Right. Okay.
3:10:12>> But now it's all separate.
3:10:14>> Yeah. Good, good, good.
3:10:15>> It's the same as this. It's basically
3:10:16just the same as this now.
3:10:17>> Yeah. Amazing. That's what it needs to
3:10:19be.
3:10:20[music]
3:10:22Well,
3:10:22>> I can't hear that anymore.
3:10:27So, is this like a tom fill or
3:10:29something?
3:10:31>> Yeah, it's just one of my fills. Yeah. I
3:10:34just wanted to What I was trying to do
3:10:36was just give you a bit of an extra
3:10:39layer for that cuz I thought it was just
3:10:41a little bit
3:10:43[music]
3:10:46just wanted something a bit meteor. That
3:10:48was all just to just to back it up.
3:10:52Heat. [music]
3:11:02Heat.
3:11:05[music]
3:11:11[music]
3:11:19>> [music]
3:11:26[music]
3:11:29>> Heat. Heat.
3:11:32[music]
3:11:35Heat.
3:11:38[music]
3:11:45[music]
3:11:54Heat.
3:11:56[music]
3:11:59Heat up
3:12:11here.
3:12:22[music]
3:12:30>> [music]
3:12:39[music]
3:12:39>> Heat. Heat.
3:12:46[music]
3:12:51Okay. [music]
3:12:57[music]
3:13:06Heat.
3:13:14[music]
3:13:21See this? See the thing is this needs to
3:13:24be more like that.
3:13:29>> This is the
3:13:30>> This is good. And I I like the fact that
3:13:34there's a lot of space, but there's just
3:13:36it's it needs a little bit more. Just a
3:13:39little bit more.
3:13:40>> This is the pyramid [music] of
3:13:42consciousness.
3:13:47>> [music]
3:13:49>> You could be fading these days.
3:13:53Yeah. Yeah.
3:13:56[music]
3:14:04[music]
3:14:11Heat. [music]
3:14:15[music]
3:14:21[music]
3:14:28Heat.
3:14:31[music]
3:14:44>> [music]
3:14:50[music]
3:14:57>> But yeah, more of those sounds from like
3:14:59whether it is the time it happens in the
3:15:01beginning or the time it happens at the
3:15:02end. Little bit more there. A little bit
3:15:05more cuz we're a bit a bit bit more
3:15:06lively. And then
3:15:09[music]
3:15:11killer lead by the way. I like that. Um
3:15:16[music]
3:15:16I could almost hear chops of that around
3:15:20earlier in the track. Maybe could be
3:15:22good. Some glitch on that.
3:15:27[music]
3:15:44Heat. [music] Heat.
3:15:55>> [music]
3:16:04[music]
3:16:08>> I mean that lead needs to highass in
3:16:11kind of thing. It comes in.
3:16:12>> It was before. I don't know what's
3:16:13happened. I noticed that when you were
3:16:14listening to it there. Um I think I was
3:16:17um glitching it um bits of it and I
3:16:20don't think I've turned the high pass
3:16:21back on.
3:16:22>> No, just a little bit. Exactly. They see
3:16:24you had it how it was. [music]
3:16:38[music]
3:16:39So anyway, in light of that lead and can
3:16:42it play three times? Um I think here as
3:16:45long as you do it in a way that's
3:16:48but [music]
3:16:49yeah you just do it lead build again
3:16:52just get chop it make it into a buildup
3:16:55you know have the essence of it but then
3:16:59do something [music] freaky with
3:17:05>> [music]
3:17:12[music]
3:17:22>> I can't hear any of this bloody channel.
3:17:26[music]
3:17:33>> [music]
3:17:37>> you know, just do something like that to
3:17:39it so you have a taste of it and then it
3:17:42turns into a full-on windup,
3:17:46you know, or get the, you know, get the
3:17:48pitch effects on it. You could
3:17:52you could get um
3:17:55you know any one of these on it and
3:17:56start turning it into a
3:18:03so whatever you need to do to make it
3:18:05interesting and and to to go up
3:18:08basically. Um quick one for that is um
3:18:13I can't demonstrate it very well because
3:18:15obviously the lead's not separate but
3:18:17this is quite good.
3:18:22>> [music]
3:18:31>> kind of turns things into an instant.
3:18:32It's a bit of a one trick.
3:18:34>> I've got that.
3:18:34>> Yeah, I used that. I've used that
3:18:36before.
3:18:36>> Wonder.
3:18:37>> Keep forgetting. I've got it.
3:18:38>> I know. I just pulled it out last week.
3:18:40I was or this week I was
3:18:41>> good on the like in breakdowns. See if
3:18:44you put it on actually on the master
3:18:46channel and
3:18:47>> Yeah. Right. Wow. Perfect.
3:18:49>> End of the breakdown, you can have all
3:18:50the sounds just going up.
3:18:52>> Yeah. Brilliant. I love that. And a
3:18:54master edits, you know, like they can be
3:18:56really cool. [music]
3:19:00>> Yeah. Delay.
3:19:04[music]
3:19:11The first one is the best for me.
3:19:15So basically, yeah, you can have that
3:19:17lead there, but it just does need to
3:19:18turn into a buildup.
3:19:20>> Um, and and along that along the same
3:19:23lines, um, when it does happen here,
3:19:30[music]
3:19:30yeah,
3:19:32it needs to kind of be layered with
3:19:34something or something because it's
3:19:35starting to sound, you know, like the
3:19:37same as the one before. And it's okay,
3:19:39but where it's a repetitive lead line,
3:19:42which is fine. and they they need to be
3:19:44repetitive. It almost just needs another
3:19:46layer or something to make it a bit more
3:19:48interesting, you know, especially that
3:19:50second time round. So, again, duplicate
3:19:53the synth, pull out some other patches
3:19:55on some different cell on Serum or
3:19:57whatever, and um just start layering it
3:20:00with something. Get a flange layer, you
3:20:02know, get a layer with this um,
3:20:09you know, like we we talked about, get a
3:20:11layer with this, you know, that
3:20:17that will bring some space to it.
3:20:20That'll bring some dimensionality to it.
3:20:22It's just a bit one-dimensional. So, you
3:20:25know, at least for that second time,
3:20:28we need to hear it [ __ ] up a little
3:20:30bit.
3:20:31>> Okay.
3:20:31>> Um,
3:20:33and that that would be that'd be good.
3:20:35Just punk it up a little bit. We don't
3:20:36we don't want it to be clean exactly
3:20:38clean like the first time. It can start
3:20:40to evolve. Maybe add a distortion layer.
3:20:43Yeah. Let's make it a bit gritty or, you
3:20:46know,
3:20:46>> see these things. Do you mean subtly or
3:20:48do you mean
3:20:49>> No, I mean quite Yeah, quite um
3:20:53noticeably,
3:20:55>> right?
3:20:55>> Yeah, because
3:20:56>> I'm struggling.
3:20:57>> Oh, sorry. Yeah. So, I can answer that
3:21:00question exactly because I heard what
3:21:02you did with um with the acid line in
3:21:06response to me asking you to make it
3:21:07evolve right here.
3:21:11>> What you did there was more on the
3:21:12subtle side. I'm talking a bit more
3:21:15obvious,
3:21:16>> right?
3:21:17>> Yeah. So, like we're hearing it dog.
3:21:24Like there's no not subtle like I want
3:21:28to hear the sound being twisted out of
3:21:30out of it shape kind of thing
3:21:33a little bit more because then it
3:21:35changes it. Then it gives us we're going
3:21:38somewhere. As soon as you take a sound
3:21:41and you start to twist it out of shape,
3:21:44it immediately
3:21:47makes us feel like we're going
3:21:49somewhere, especially with a lead. If
3:21:51it's,
3:21:56[music]
3:22:05you know, you start doing that kind of
3:22:06stuff to a lead, it's like, whoa, we're
3:22:09going somewhere. We're going on a
3:22:11journey. We're definitely not staying in
3:22:14the same place. And that's the effect.
3:22:16When I'm asking you to mess up one of
3:22:19your lead lines, it's because of that.
3:22:20is because it's it's keeping us in the
3:22:23same moment for that slightly too long.
3:22:26>> Yeah.
3:22:26>> Where people need to be
3:22:27>> also meet them all as well or just the
3:22:29ones in certain places.
3:22:31>> Just in certain places. It really it
3:22:33really depends on the lead. But look, I
3:22:36think it's very
3:22:38>> that one there that sorry that one there
3:22:40is meant it's meant it's not a lead line
3:22:42at all. It's in that workshop I done
3:22:44with e-clipip. They're called He calls
3:22:47them tension boosters.
3:22:48>> Yeah. little background lead risers.
3:22:51Yeah, lead risers to keep the track sort
3:22:53of tens rising up tension and rising
3:22:55back.
3:22:56>> That's great. That's great. And I like
3:22:57it as that. Um I just think it it still
3:23:00needs to evolve
3:23:02>> do more. Right. Okay.
3:23:03>> Just still needs to do more. Even if
3:23:04it's a background thing, it doesn't mean
3:23:06that we can just, you know, otherwise
3:23:08your track will be full of background
3:23:09things that are staying on the same, you
3:23:11know,
3:23:12>> it's not
3:23:14it's not it can't go on.
3:23:16>> It goes at like different parts of the
3:23:18track. So, what I'm asking is, do you
3:23:21have a sort of way of having them all
3:23:25different or
3:23:27>> Yeah, I just would I would just I would
3:23:29just duplicate it here. Get a get a
3:23:32flanger out, introduce a flanging layer
3:23:35to it as it goes along the 16 bars, you
3:23:38know, introduce a serum layer, and then
3:23:40I would do it at the end. I would
3:23:42duplicate it, do it with the freak echo
3:23:44or something like that. Simple as that.
3:23:47>> Okay. it just just duplicate it and have
3:23:49a full effected version underneath and
3:23:51bring it in. Literally just fade it in.
3:23:55>> You know, that can be as simple as that.
3:23:57And you know what Eclipse talking about
3:23:59is is spot on. I mean, definitely like
3:24:01something I've learned, you know, more
3:24:03in the last few years is to have like I
3:24:05spoke about this a couple of weeks ago
3:24:07is to have, you know, leads sometimes I
3:24:09create just for a buildup, you know, in
3:24:12a way, not a lead. And so I I get what
3:24:14you're saying and and that's fine, but
3:24:17just to me it just needed to just have a
3:24:19little tweak. That's what Scitrance is.
3:24:22One of the things it's it's it is about
3:24:25it's it's just subtly bending and stuff
3:24:28in the background and it kind of just
3:24:30gives it this kind of morphing kind of
3:24:33feel. It might only be subtle, but it's
3:24:35just just enough to just, you know, to
3:24:38give it that ear candy. That's all I'm
3:24:40saying.
3:24:41>> Yeah. It doesn't need to be a
3:24:42complicated process by the way.
3:24:45>> No, I think that's what I'm doing
3:24:46because it's way harder for me for some
3:24:48reason than what you're explaining.
3:24:49[laughter]
3:24:50>> I think I'm over complicating it. That's
3:24:52all. I've always I know what I've gone
3:24:55wrong. Like
3:24:55>> most of the time we do over complicate
3:24:58things. I don't know why I'm not doing
3:24:59half the stuff that I used to do. I
3:25:02wasn't doing it then because it's it's
3:25:05simp. I feel like it's all so simple now
3:25:08>> and it was all so complicated before.
3:25:10I'm getting a bit like that as well. I'm
3:25:12moving away from all the complicated
3:25:13stuff because it just [ __ ] melts your
3:25:15head. You're eight hour session and your
3:25:17head's melted after it and then you go
3:25:19back and listen to it. You're like, "No,
3:25:20that's any good." Yeah, deleted.
3:25:21>> That that that's the big shift for me
3:25:23has been established that I like the
3:25:26piece of music before I then go and do
3:25:28all of the
3:25:29>> the the stuff to really put the hours
3:25:31into.
3:25:33>> Yeah, that that's that's just one of
3:25:34those things you'll get you'll get
3:25:36better at over time. You'll start liking
3:25:38your own music more. But yeah,
3:25:40>> I think it's because you fall out with
3:25:41the process. That's when you find the
3:25:44right process.
3:25:46>> Absolutely.
3:25:47>> You're falling out with kind of like,
3:25:48you know, you're you're sitting because
3:25:50you're in it's it's not a quick thing.
3:25:52It's like see people there is genres of
3:25:55music where you can just go in and they
3:25:56can learn it from someone in six months
3:25:57and just make top 10 beats. But not with
3:26:00this kind of music. It's there's much
3:26:02more thought goes into it. And it's you
3:26:04you could be learning for five years
3:26:06before you find fall out with that
3:26:08process and go okay that's a bit simpler
3:26:10that's you you've got once you've got a
3:26:12couple of tracks as well that have
3:26:14you've got like mixed sounds you can
3:26:16just drag and drop them in and swap them
3:26:18later. It just everything starts getting
3:26:19easier.
3:26:20>> Exactly. Exactly. You build on your past
3:26:22successes and then then it gets to the
3:26:24point where it can be quick because all
3:26:25you have to do essentially is open a
3:26:27synth patch and and play a melody and
3:26:30have a bass pad and do a snare roll and
3:26:32then it's like do I like that moment?
3:26:35That could be done in a few seconds, you
3:26:36know. Um and you can go it is that the
3:26:40moment that's how I write bit more how I
3:26:41write music. I just come in with what is
3:26:44the moment that is going to be make this
3:26:46track so amazing. What what is that? And
3:26:49if I can come up with that, then let's
3:26:52write a track. If I can't come up with
3:26:54that, I'll go to down to the spa and sit
3:26:56in the sauna or something, you know,
3:26:57because there's no I'm not going to piss
3:26:59about
3:27:01spending ages on a track that hasn't got
3:27:03something about it that I think is
3:27:05really compelling.
3:27:06>> Yeah.
3:27:07>> You know, that's that's it. It's just
3:27:08been a shift because the thing is, if
3:27:10you can create a compelling moment, then
3:27:13you can do it again. You can manipulate
3:27:16it, put it in the intro, do the main
3:27:18break, and then connect it up. Few
3:27:20stabs, few bounces, few glitches, and
3:27:22you've got a track on your hands. It's
3:27:23that it's that essence of the track.
3:27:26That's what needs to be captured, you
3:27:29know, and you need to be like, "Yeah,
3:27:31I'm into this." You know, the concept,
3:27:33the theme, what is it? you know,
3:27:36otherwise it just turns into lots of
3:27:38stabs, lots of leads, lots of, you know,
3:27:40and where's this thing that where's this
3:27:42X factor that's you, you know, so so
3:27:45that's something definitely for for all
3:27:47of you to try at some point is just just
3:27:49go in without any kick and bass and
3:27:51without any of that and just just start
3:27:53in the main drop. Get some pads going,
3:27:56get on splice if you want, get some
3:27:58atmospheres. I do that a lot. I just go,
3:28:00"Okay, we're doing a track in D for I
3:28:03I'll decide on the the track a key." And
3:28:07then I'll just go and gather some
3:28:08atmospherics and I'll start building a
3:28:10bit of a texture to get myself in the
3:28:12mood and I'll just lay a few sounds out
3:28:15like almost like I'm writing an ambient
3:28:17track, but I'm writing essentially the
3:28:19intro or the main break or it's probably
3:28:21going to end up both pretty similar. And
3:28:24then play with the bass pads. Oh, that's
3:28:26a nice atmosphere.
3:28:28that will give me some vibe and I'll be
3:28:31like, "Okay, yeah." I'll start playing
3:28:33around on the synth, you know, and you
3:28:35start to put a picture together of of
3:28:38how the um the you know, how the
3:28:41ambiance of the track is is developing.
3:28:43But, you know, you need to set the scene
3:28:46for that. You can't walk in with a blank
3:28:48screen, open a serum, and expect to come
3:28:51out with the best music of your life.
3:28:52There's a you've got to you got to coax
3:28:55it out of yourself by doing nice things,
3:28:58you know, having a nice place to work,
3:29:01having some nice textures, some nice
3:29:03atmospheres, getting a bass pad, getting
3:29:06some nice patches, getting getting your
3:29:09getting some nice synth patches, get the
3:29:11portimento out, start playing some
3:29:12notes, you know, and and then that then
3:29:16it will start to flow and then you can
3:29:18start creating these moments, you know,
3:29:19and play with space, play with one thing
3:29:22that I do now that I didn't do, I don't
3:29:24even do it enough, is the gaps between
3:29:27stuff, man. The big the biggest artists,
3:29:29they've just got these big gaps between
3:29:32sounds in the breaks.
3:29:40you know, it's like really much more
3:29:43space than I ever used to use, and I'm
3:29:46starting to get it now, but it's it's
3:29:50Yeah, simplicity and space is a is a
3:29:52good one for that. Um, that all of that
3:29:55said, this is sounding really good.
3:29:57Yeah, this is not far off at all. I want
3:29:59to just see if we can upgrade some.
3:30:02Let's go and just let's go and just grab
3:30:05a little um little some high hat layers
3:30:08from splice because I think it it could
3:30:09do with just you know taking those high
3:30:13hats up to a
3:30:16lex level where it's just just a tad
3:30:18more um varied on top. Right. I know the
3:30:23bloody hat loop I want and I don't know
3:30:26why I can't find it.
3:30:31>> Now, do you just mean on this section or
3:30:33the whole thing?
3:30:34>> No, I mean on the whole thing. Looks
3:30:36like
3:30:38>> um
3:30:50Why did my hats dis
3:30:55This This This should have it.
3:31:06There. There it is. Finally, I bloody
3:31:07got the thing.
3:31:14So, I'm a big fan of just getting on
3:31:17there and just layering
3:31:20quieter loops on top of your high hats
3:31:22just to make them more interesting.
3:31:24Otherwise, it just can get a bit again
3:31:26get a bit sy trance the high hats. Okay,
3:31:29here we go.
3:31:32>> [music]
3:31:37>> Yeah. Immediately
3:31:41[music]
3:31:46that means it's got a bit of pan. It's
3:31:47got a bit of space, you know.
3:31:54Now, let's get on the
3:31:57immediately.
3:32:00[music]
3:32:10[music]
3:32:17[music]
3:32:18You know what I mean? Now that's really
3:32:20[ __ ]
3:32:29>> [music]
3:32:31>> So we take one like that.
3:32:56>> [music]
3:33:05>> You know, like this for example,
3:33:10might need to flip the phase. Flip the
3:33:12phase on that one. It sounded a bit like
3:33:14it was see like if if you layer too many
3:33:17of them sometimes flipping the phase on
3:33:18one of them can
3:33:20>> absolutely. Let's try that.
3:33:26>> Yeah. But just taking the high hat out
3:33:27for example,
3:33:29>> right? [music]
3:33:44Let's try flipping the phase.
3:33:59They both kind of sound similar, but
3:34:02you can see just
3:34:11It it was a five minute job and we've
3:34:14just taken your high hats from one sort
3:34:16of normal high hat into a little bit
3:34:18more something which is a bit deeper bit
3:34:21more space. This is the thing like in
3:34:24the 3D sound spectrum there is as much
3:34:28space or as much lack of space as you
3:34:32choose to open up. So if you have
3:34:35everything kind of in one sort of line
3:34:38of the, you know, like dryness and
3:34:41volume and stuff like that, you won't
3:34:43ever open up those depths of the sound.
3:34:47Um, but if you choose to put things a
3:34:50little bit in the foreground and in the
3:34:52background by having some things, the
3:34:55the classic thing is everything's got a
3:34:57bit of delay and everything's got a bit
3:34:58of reverb. You know, that's going to put
3:35:00everything and everything's kind of the
3:35:02same volume. that's going to if someone
3:35:04does that that's going to put everything
3:35:06kind of at the same level like in terms
3:35:09of the 3D sound um
3:35:12>> which is going to be like okay well
3:35:14we're in a space we're dancing all the
3:35:15rest of it but it's not going to have
3:35:17that drastic difference between having
3:35:20something that's super dry and something
3:35:22that's really wet. Yeah. What that does
3:35:24super dry and up front if you if you
3:35:28make something more dry of course it
3:35:29brings it to the front of the mix. If
3:35:31you put something really wet, it moves
3:35:33it back. Likewise, if you take some of
3:35:35the high frequencies away and the low
3:35:36frequencies away, it's going to move it
3:35:38to the back. Um,
3:35:41and um, that having something at the
3:35:44back and something at the front, guess
3:35:47what that does? It opens up all the
3:35:49space in the middle, you can suddenly
3:35:50hear the depth. It's like walking into
3:35:53an empty room compared to walking into a
3:35:56room that already has the TV, the sofa,
3:35:58the plants at the back. You can see the
3:36:01space. Like when I got my apartment
3:36:03here, I didn't think it was big enough.
3:36:05And then I've told this story before,
3:36:06had nothing inside of it. Now I've
3:36:09filled it up with stuff and now I can
3:36:10see it's [ __ ] it's it's great. It's a
3:36:12great size apartment. It's absolutely
3:36:14big enough for me because I can see the
3:36:16depth of it all. If you've got nothing
3:36:18there, you can't see it. So important to
3:36:21do things like this because what this
3:36:23does is it it opens up space around the
3:36:25high hats. then you all of a sudden you
3:36:27end up with a high hat area in your
3:36:29track that wasn't there before, you
3:36:32know. So, just a little thought in that
3:36:35direction.
3:36:43[music]
3:36:52>> [music]
3:36:56>> All right. So, what have we got? The
3:36:57lead. We got Was that Was that Was there
3:36:59anything else sound with this before I
3:37:00sort of start looking to to move on to
3:37:02the next track? And we've talked about
3:37:04that sub drop. Yeah, we put a bit of gap
3:37:06in here. That was I think that was worth
3:37:09playing with.
3:37:10>> Yeah,
3:37:10>> the lead at the front we opened up. We
3:37:14wanted to open up a bit of space here in
3:37:16the grids.
3:37:18>> Yeah, that was going to be
3:37:20>> You said in your notes that um where
3:37:23were we? I think it was
3:37:26>> I think it was about the tension booster
3:37:28that I'm talking about. It was playing
3:37:29the same time as uh as another lead and
3:37:32you were saying that there was too much
3:37:33leads going on.
3:37:36>> I didn't really understand
3:37:40>> here. It would have been here cuz that's
3:37:42Well, unless it was the tension booster
3:37:44at the end.
3:37:47>> It was about It was When was it? Hold on
3:37:50two sec cuz I've got it up on
3:37:52>> Okay. Yeah,
3:37:53>> I did have
3:38:01>> here. Yeah. Uh bar 65 to 113,
3:38:06you have three leads. [music]
3:38:10Well, you don't have you don't have
3:38:13three leads anymore.
3:38:16You've got a couple of stabs and you've
3:38:18got the uh the energy boosting lead, but
3:38:22I think it's all right for now.
3:38:26[music]
3:38:27>> I would just open maybe open up the
3:38:29filter a bit earlier
3:38:31[clears throat]
3:38:31>> and just do a little thing like we said,
3:38:33you know, get a serum effects on there.
3:38:34Just turn up something to make it a bit
3:38:36more wet towards the end. That's all.
3:38:39>> Mhm.
3:38:39>> Um because it has to The thing is
3:38:42another reason why you kind of have to
3:38:44consider doing stuff like that is
3:38:45because otherwise
3:38:47the boost to lead is there and then it
3:38:50stops.
3:38:52[music]
3:38:53So we don't want to feel like we've lost
3:38:55something either. So twisting it up a
3:38:57bit at the end takes us on that journey
3:39:00to where it's going to transition into
3:39:02the next bit. It just makes it flow
3:39:04better. It makes it it will make it make
3:39:06more sense.
3:39:09[music]
3:39:11We're just talking here. Just that
3:39:15just something there.
3:39:17>> But those little details, that's what's
3:39:19going to make a worldass track,
3:39:22you know. Yeah, you could stop it and
3:39:24leave it like that, but you know, if we
3:39:26seeing as we set up a community to talk
3:39:29about this, then sure, let's let's go to
3:39:32the trouble of having those little
3:39:34details and making it that extra special
3:39:36track that that it can be, you know,
3:39:38seeing as it's not um rocket science.
3:39:40It's just thinking of it and then doing
3:39:43it, you know.
3:39:44>> Yeah.
3:39:45>> Um
3:39:47so, we've got that. What do we do here?
3:39:50Yeah, we we said it might be nice to
3:39:52stop
3:39:55pallet cleanser.
3:39:57>> Mhm.
3:39:57>> I still like that. [music]
3:39:59>> We added the soul within.
3:40:07>> Yes.
3:40:10>> Yeah. That that's definitely I mean I
3:40:12for me definitely
3:40:14>> there. Yeah.
3:40:15>> Just Yeah. All it is was just it was two
3:40:17bars.
3:40:18>> Yeah.
3:40:19>> It was two bars and then we were going
3:40:21to filter in this lead. We spoke about
3:40:23this lead filtering in
3:40:25>> just a little bit more just on a low
3:40:27pass, you know, high pass and low pass
3:40:29together. You could.
3:40:31>> And do you want me to bounce you these
3:40:32these high hat loops or do you want to
3:40:34go do you want to go and have a go at
3:40:35that yourself?
3:40:36>> Yeah, I'll be fine. I've got I've got so
3:40:39many of them. Yeah.
3:40:40>> Okay. Okay. Okay. Good. Good. Good. The
3:40:41particularly the textural ones are
3:40:43normally on in the techno.
3:40:46>> Yeah, I've got loads of loads of
3:40:47technical and tech house stuff as well.
3:40:48I've got
3:40:49>> Oh, great. Oh, great. So, you're ready
3:40:51to uh you're ready to roll. What What
3:40:54was there any other points in my notes
3:40:55from last time that were that we haven't
3:40:57touched on that you were kind of
3:40:59wondering?
3:40:59>> I think I don't know. I think I I think
3:41:01I I think I changed everything else. I
3:41:03made it drier at that point where it
3:41:05just comes in with the kick and bass
3:41:06before the breakdown. Um
3:41:07>> Yeah. So, we talked about that that we
3:41:09said it might be nice to have a bit more
3:41:11sounds from the first explosion.
3:41:14>> Yeah.
3:41:17[music]
3:41:17>> Yeah. We just Yeah. I think.
3:41:21>> Sorry, guy.
3:41:22>> I think we're good. Yeah.
3:41:24>> Yeah. Well, it's very close, mate. Very
3:41:27close. Um,
3:41:28>> but this is I mean, these last details
3:41:31are
3:41:33Yeah. the these are this is the really
3:41:35important stuff. Yeah. Because a lot of
3:41:37people can take the tracks to the point
3:41:40that we're getting to. Yeah. the taking
3:41:42it from here to
3:41:45the top. That's what we're That's what,
3:41:48you know, that's kind of why 2%, isn't
3:41:50it?
3:41:51>> That's why I set this place up. Yeah.
3:41:52Cuz, you know, we've got samples, we've
3:41:54got kicks, we got bases, we've got
3:41:55presets, you know, I mean, it's not
3:41:57rocket science anymore to to get a track
3:41:59together, but getting a track together
3:42:01that goes to that place that we really
3:42:03want it to go to, that is a bit extra
3:42:07work. Um, and it but it's not it doesn't
3:42:10have to be a mystery. It's it's usually
3:42:12just
3:42:14listening, thinking, is it is my track
3:42:17really doing it? It's again, it's
3:42:18finding that standard for yourself and
3:42:21really studying the tracks that you love
3:42:23a little bit more and going, you know,
3:42:26is is my track really delivering on that
3:42:28level of slickness? You know, is often
3:42:31it's it's the execution what separates
3:42:34um, you know, the our favorite artists
3:42:37from us. Sometimes it's it's the
3:42:40execution. It's how they bring the
3:42:42sounds, when they bring the sounds, how
3:42:44they just go out into that drum fill
3:42:46into that. It's the flow, isn't it? You
3:42:48can have all the same sounds, but just,
3:42:50you know, Liquid Soul, he's just going
3:42:52to know exactly where to put them. Um,
3:42:56so this is this is important, this
3:42:57stuff. I don't want you to to think that
3:42:59this is um, you know, something to just
3:43:03be kind of rushed over at the end. This
3:43:05is, you know, and and in time you'll see
3:43:07that this becomes the fun part, the
3:43:10really fun part when you've already got
3:43:12a track that's banging and you're you're
3:43:15then you know it and now you're like
3:43:18right now I'm just going to enjoy taking
3:43:20this to that that that extra special
3:43:24place.
3:43:25>> And the more effort you put into that,
3:43:29the you're going to see the bigger it
3:43:31has an effect on people. I know if I sit
3:43:34here for two weeks longer, it's just the
3:43:35track's going to have touch more people.
3:43:39Uh usually, you know, if you if you're
3:43:41working on the right detail, at some
3:43:42point you have to stop, of course, but
3:43:45um you can hear it when you've got, you
3:43:49know, when someone's gone that extra
3:43:50mile. Um and it could just be a simple
3:43:53case of just make just how could it be
3:43:55better? You could take it home tonight
3:43:57or you're at home.
3:43:58>> You have to go drive to the garage and
3:44:00then take it home. Um, but you could
3:44:02take it and just make notes. How could
3:44:04it be better? Even if you're happy with
3:44:05it, how could it be, you know, what
3:44:07would be extra special? How could, you
3:44:09know, and just really try and try and
3:44:11push it. You know,
3:44:12>> we're talking about the top 1%. You It's
3:44:14like being an athlete. You know, you
3:44:16think about those documentaries you
3:44:17watch on Netflix of the athletes in the
3:44:21top 10 people of the sport. They don't
3:44:25[ __ ] about. Do you know what I mean?
3:44:26It's like it's serious business. So to
3:44:28take it into that top level of the of
3:44:31the side trance, it ju it takes that
3:44:33extra bit of, you know, desire to do it.
3:44:37Persistence and uh a bit of thought and
3:44:39and all of the rest of it, but it's not
3:44:42impossible. And uh we're all doing it
3:44:44slowly, slowly. Um anyway, progress, not
3:44:47perfection. And this is sounding
3:44:48fantastic, mate. Absolutely loving it.
3:44:50Loving it. Cheers.
3:44:52>> No, my pleasure. Shall I do you a
3:44:53bounce?
3:44:54>> Yeah, please.
3:44:55>> Sonic bounce. Okay, cool. Keep bringing
3:44:58that back if you want because I'd like
3:44:59to hear that. Just just I'd like to get
3:45:02it wrapped up with you.
3:45:04>> Okay.
3:45:05>> Get it wrapped up. Uh um
3:45:09so you changed back to Dunigan then.
3:45:13>> No, that's what
3:45:14>> that's your the old one. Yeah,
3:45:15>> that's my mom's maiden name. Um so it's
3:45:19complicated. My mom and dad chose my
3:45:21dad's middle name as their as their as
3:45:24our surname, but he's not been around
3:45:27when my mom passed and stuff. So, I I
3:45:29wanted to change it back cuz that's
3:45:31that's more heritage in in that name
3:45:33than than the other one. The other one's
3:45:34just a middle name.
3:45:37>> Yeah, I'm with you. I'm with you. Nice
3:45:39nice freshen things up.
3:45:41>> Yeah, I thought it was going to be uh a
3:45:44bit easier than this though, cuz I'm so
3:45:46used to the one right now. I haven't
3:45:48changed my IDs yet and I've still got
3:45:50loads of time to wait on my passport. So
3:45:52I need to be careful that I don't book
3:45:54anything that I need to use ID with done
3:45:57because
3:45:58>> and then so I've started changing some
3:46:00stuff and then I can't change the
3:46:02important stuff. So I'm [ __ ] stuck in
3:46:03the middle of
3:46:05>> so yeah, it's it's a transition period,
3:46:07isn't it? It's going to take time. I've
3:46:09got I've got a few friends that have
3:46:10changed their name on quite a few
3:46:13occasions and I don't know how they've
3:46:15got round that.
3:46:17>> Once it's it's once I get a new driving
3:46:19license and once my passport runs out um
3:46:23that'll be when it all proper goes
3:46:24properly, but it's it's too much money
3:46:27for to change all that at one go.
3:46:30>> Yeah, fair enough. I mean, it's quite a
3:46:32process, isn't it? Bloody hell. Quite a
3:46:35process indeed. Yeah. You don't want to
3:46:36turn up for a flight and you've got the
3:46:38right suddenly. Sorry, sir.
3:46:39>> I know you
3:46:41>> like like me. Sorry, sir. Where's your
3:46:42visa? So, I don't have it. Okay, that's
3:46:45that weekend [ __ ]
3:46:48There goes another five grand. Um
3:46:53[laughter]
3:46:54[gasps]
3:46:54Um Yeah. Good. All right. Well, look,
3:46:56look, keep on keep on with it, mate,
3:46:58because this is Yeah, this is um this is
3:47:00sounding [ __ ] good. Um
3:47:02>> yeah, appreciate it. And um all that
3:47:05emotion you're feeling as well can go
3:47:07straight into the music.
3:47:08>> Yeah. No, it has it has been actually.
3:47:11It's been
3:47:12>> uh good
3:47:12>> good things been going on. And one of my
3:47:14friends said it to me the other week
3:47:15there. He says, "You know what, mate?
3:47:17Like all the stuff you've been going
3:47:18through this year." He's like, "I can't
3:47:19wait to hear your music because every
3:47:20time something happens, you
3:47:23>> you get better, put more emotion."
3:47:25>> There you go. Look, I mean, it's it's
3:47:27true. Why do you think the music?
3:47:28>> But hey, you just that's all I do is
3:47:30just just spend time on on the computer
3:47:32making music and studying it. It's just
3:47:34all I do. That's what I do most of.
3:47:37>> So, it goes straight into it. Um, you
3:47:39know, it's painful all this stuff, but
3:47:41it does go into the art and it can
3:47:43produce fantastic results and
3:47:46developments in your art. So, I look
3:47:47forward to hearing your next tracks once
3:47:49we got this one wrapped up.
3:47:51>> Yeah.
3:47:52>> Um, okay. Right. Good. Good. Sam, nice
3:47:56one. I'm going to move on to the next.
3:47:57I've just um I just put it in your chat,
3:47:59okay? And I've just messaged you. No
3:48:01worries.
3:48:02>> Um now,
3:48:05who have we got next? Benedict, you've
3:48:08decided to come in before the end of the
3:48:09call.
3:48:14>> Sure. Sure.
3:48:16It's just a
3:48:17>> disrupting the balance of eh [laughter]
3:48:24>> disrupting the natural order of things,
3:48:27right?
3:48:28>> Big time. Usually I have some time, you
3:48:30know, work. Meanwhile, we have the call
3:48:32>> and that's I usually do because that's
3:48:34my creative time most likely.
3:48:36>> Oh, right. Okay, I'm with you.
3:48:38>> So that that's why I usually drop it at
3:48:39the end like okay, now I I got some
3:48:42process again. Let's have it. Listen,
3:48:44not by just me.
3:48:46>> I'm with you. Okay. You're actually
3:48:48working on the first bits of the call.
3:48:51>> Yeah. Yeah.
3:48:52>> Is that when your kids have gone to bed
3:48:54then kind of thing?
3:48:56>> Yeah, absolutely.
3:48:59>> Um, okay. Here we go.
3:49:01>> So, this is some fun what I just brought
3:49:03today. It's it's to laugh together.
3:49:06>> All right.
3:49:11[ __ ] hell. What is going on here?
3:49:12Come on. Thank you.
3:49:14>> Don't ask for the BPM. I have no clue.
3:49:18>> That's all right. I'll telepathically
3:49:20tell you what it is without ever
3:49:21knowing.
3:49:36160. No.
3:49:38I mean, do you remember? Or was it a Was
3:49:40it a slow one or was it
3:49:42>> It's a mid-tempo.
3:49:44It's like 130 140 something I think.
3:49:48>> Oh, 130.
3:49:51>> It's made by So, so this is a fun
3:49:53project.
3:49:54>> It's made by [ __ ] It's made Jesus
3:49:56Christ. I'm trying to get the beep. It's
3:49:57not going to be in the BPM.
3:49:59>> That's That's why I'm saying I have no
3:50:01clue. [music]
3:50:02>> All right. Okay. Let's hear what So can
3:50:04do.
3:50:07How how am I going to give feed I I
3:50:09can't be giving feedback on something
3:50:11that's
3:50:11>> No, it's just for having ideas. It's for
3:50:14the community like idea sharing. If you
3:50:16need some good instruments or need a
3:50:18hook or a buildup or something, you can
3:50:21dig into Sunu and have some ideas.
3:50:23That's the whole point.
3:50:24>> It's it's it's 100% true as well.
3:50:29[music]
3:50:31>> Yeah. I mean, look, Suno just knocks
3:50:33stuff like that out. just it just spits
3:50:36it out a million times a second. These
3:50:38these guitar rifts, it's it's quite
3:50:41incredible.
3:50:42[music]
3:50:49>> And it turns the guitar into a syn.
3:50:52[music]
3:51:00[music]
3:51:01>> It turns it into a mouth.
3:51:06into a bell.
3:51:14It's incredible.
3:51:16[music]
3:51:18Incredible.
3:51:27[music]
3:51:31Oh, lovely. [music]
3:51:39David just
3:51:41dropped. [music]
3:51:49No one.
3:51:53[music]
3:51:56>> Can you get MIDI from Suno? Um,
3:51:59>> no.
3:52:00>> Not yet, apparently.
3:52:02>> Yes. Not yet.
3:52:04[music]
3:52:07>> But Dave,
3:52:09oh one second because Davey, you can uh
3:52:13you can get MIDI from Ableton and Logic
3:52:16and uh Qbase with the function that you
3:52:20extract MIDI. So Ableton is really easy.
3:52:24You just right click on the uh audio and
3:52:27you just say extract medi MIDI melody, I
3:52:30think it is.
3:52:34>> [music]
3:52:38>> I love it.
3:52:41So good.
3:52:52We're all going to be out. We're all
3:52:53[music] be listening to AI.
3:53:19What was the prompt then kind of thing
3:53:22so people can see what you've t
3:53:23>> I will share I will share the prompt
3:53:25later on. It's
3:53:29You put you put country and western side
3:53:31trance or something, did you?
3:53:32>> Yeah. Yeah. Yeah. I I experiencing
3:53:35stuffs like that. So
3:53:36>> the point is I I want to make some fun.
3:53:39Like literally the the idea with this
3:53:41track is having some [ __ ] out of Suno,
3:53:44>> then rebuild some part which [snorts] is
3:53:46good properly. Yeah.
3:53:48>> And send it to Charlotte David to play
3:53:49it at Texas or somewhere, you know, like
3:53:51to to
3:53:54that's a great idea.
3:53:58in [music] Texas one.
3:54:00>> Well, you can have you want the SAB
3:54:02pyramids moment, but in your version in
3:54:04Texas. Yeah.
3:54:10[music]
3:54:17[music]
3:54:21Well, hang on. You land amazing
3:54:24in on [music] the ground. Heat
3:54:31>> [music]
3:54:40[music]
3:54:41>> up
3:54:45Heat.
3:54:48[music]
3:54:58Heat.
3:55:22Yeah.
3:55:26>> So, you get the idea. It can make
3:55:28incredible p finished pieces of music.
3:55:30Um,
3:55:32>> is this [ __ ] free? Um you there's
3:55:36different levels of subscription for it.
3:55:38Um, you can
3:55:39>> with the free you cannot use the sounds.
3:55:40>> The free one.
3:55:42>> I don't think you can download the
3:55:44sounds the stems. You see on the paid
3:55:45one you can download stems
3:55:48>> and you right. That's the point. Like
3:55:50with the free [ __ ] you cannot use any of
3:55:52the sounds.
3:55:52>> Yeah.
3:55:53>> Because they will [ __ ] you up, man.
3:55:56>> What's that?
3:55:56>> Record. If you if you just re-record the
3:56:00recording royalties are yours, you know.
3:56:04>> Yeah, you could you could do that. You
3:56:06can try it. Yeah,
3:56:08>> you could do that. I think the trick is
3:56:10going to be now is is,
3:56:13you know, integrating bits of that
3:56:15without it sounding like you've
3:56:16integrated. Like I said, I hear tracks
3:56:18on Beatport without naming any names.
3:56:20You [clears throat] suddenly hear
3:56:21someone's got the elaborate, you know,
3:56:24all this stuff. I'm like, well, that,
3:56:25you know, it's just you've gone from
3:56:27here to now suddenly you're a master at,
3:56:30you know, creating all this like it's a
3:56:32pseudo job. You know what I mean? You
3:56:34can I can hear it. Maybe maybe not many
3:56:36people can um but it's about being
3:56:38tasteful with with it is my advice.
3:56:42>> You can use this for your vocab or
3:56:44something that
3:56:46>> you can use it for things. You you can
3:56:48use it man you can use it for many
3:56:50things and I have myself as well
3:56:53>> like the light bulb just light up
3:56:56>> and also the paid subscription is 14
3:56:58quid or something. It's not a big you
3:57:00know like peanuts.
3:57:02>> Yeah. and you have 2,500 credits and you
3:57:05can
3:57:06>> read 500 songs, you know, like
3:57:09>> in no problem, you know, and it
3:57:12separates in stems. So the point is like
3:57:15if you can't play guitar, what I do
3:57:18usually if I need something and this is
3:57:20like a trick or tip to you guys that you
3:57:24bounce your music in or out from the
3:57:26door, you put it into suno some part
3:57:29what you want to let's say upgrade or or
3:57:32do whatever you want and then you just
3:57:34type some prompt like I want a melody
3:57:37guitar thingy inside and you set the key
3:57:40or whatever what you want and you set
3:57:42the full audio. influence to 100 and
3:57:45then it creates the things what you
3:57:47need. Maybe you just export it in stems
3:57:50and you can use it and then you upgraded
3:57:52your music nicely.
3:57:56>> Yeah, that's that's that's cool.
3:58:00>> Yeah, it's a it's a good it's a again
3:58:02just great tools that we've got today.
3:58:05>> You know, the the session musicians are
3:58:08[ __ ] now
3:58:09>> big time [laughter]
3:58:11>> [ __ ]
3:58:13I mean I mean this one a banjo turns
3:58:15into a Jaws harp then it turns into a
3:58:18synth and a drop man. It's
3:58:21you can have to sit 20 hours at least to
3:58:24rebuild the [ __ ] if you want to do
3:58:26>> it's it's but it's it's pretty bonkers.
3:58:29It's pretty bonkers. Um so again, yeah,
3:58:33when the quality keeps going up. Um
3:58:36yeah, there's a lot of usable stuff
3:58:38there as it is, you know. Um,
3:58:41definitely worth a look 100%.
3:58:45>> Also, one tip for the week, there is a
3:58:48free free AI made, I guess, bundle from
3:58:51Scuzzy, a plug-in bundle, which is
3:58:53[ __ ] good, man. So, everybody try to
3:58:56download it.
3:58:57>> He's a I mean, he is a great producer.
3:59:04>> Oh, right. Five days ago. What is this
3:59:06then?
3:59:08Yeah, like all the sites tools you need
3:59:10is basically inside. It's crazy.
3:59:16>> Oh, I know. This this did come up and I
3:59:18closed it immediately cuz I thought I
3:59:20was looking at something that I didn't
3:59:23want. Wow. Free. What? What is he What
3:59:26is this?
3:59:26>> And the shitload stuff is inside. Like a
3:59:28303
3:59:30filter bank is Man, I just tried it 5
3:59:33minutes ago and it's [ __ ] brilliant.
3:59:36Scarazzi bundle 18 plugins phase safe
3:59:40stereo imager
3:59:43what's this then MIDI god roll base
3:59:45sidebased techno baselines around the
3:59:49right
3:59:51scar acid acid baseline synth four band
3:59:54f what is going on right now
3:59:58>> even have you seen a release the
3:59:59shitload of plugins
4:00:01>> oh yeah a's created something incredible
4:00:03I'll make a post about that soon it's
4:00:05he's created did one. It's called Aason
4:00:07Sonic, isn't it? I I saw a email to
4:00:11myself and I thought he's written Aason
4:00:12Sonic cuz he's writing to me. I was
4:00:14like, "No, he's named the company Aason
4:00:16Sonic." Um, and um, you can't go around
4:00:22the world stopping everyone using the
4:00:23word Sonic. It's just not realistic. I
4:00:25just don't have the the lawyers to make
4:00:26that happen. Um, no, he um [laughter]
4:00:31was creating Sonic the Hedgehog would be
4:00:33the last one on that list.
4:00:35>> [laughter]
4:00:37>> you um
4:00:40>> you need a blue hair then you're good.
4:00:42>> Yeah, I used to have a pink Mo actually.
4:00:46Um but um AJ's done something which is
4:00:48which you can Oh god, I'm getting hot
4:00:50again. Which you can um feed multiple
4:00:53synths into and create grids from all
4:00:56these different synths all inside one
4:00:58plugin. That is absolute gold and I
4:01:01haven't had a chance to get into it yet.
4:01:04We've got a gold. We've got Alex story.
4:01:06Future phonic has created the the
4:01:08container that contains the the
4:01:11rhythmizer that now is all in one unit.
4:01:15You don't need to do any rooting or
4:01:16anything. Yeah, that's so that's now
4:01:18sorted. And then now we've got this
4:01:20scarazzy stuff. What's next
4:01:23cube? Anyway, so I get I've just
4:01:25downloaded that. Thanks for pointing
4:01:26that out. Also, sometimes you should not
4:01:30I'm not saying to join the live co-op
4:01:32because they are streaming for 12 hours.
4:01:34The simatic guys,
4:01:37who's
4:01:39>> they are rapper guys, but they made a
4:01:41shitload of plugins like literally they
4:01:43made a plugin when you're just pinching
4:01:45with your hand via your iPhone or
4:01:47whatever in the camera and this works
4:01:49like a filter
4:01:50>> and crazy crazy AI [ __ ] they made. So
4:01:53the point is why they have the free co
4:01:55uh the live co-op. They're releasing the
4:01:58their plugins for free most of the
4:02:00times.
4:02:00>> So the point is you get the download
4:02:02link and you just refresh every 5 10
4:02:04seconds and downloading the plugins. You
4:02:06don't have to watch the live stream.
4:02:08That's the whole point
4:02:09>> and and then you get the shitload of
4:02:11free unlimited packages for sample packs
4:02:15since shitload of stuff.
4:02:16>> Okay. Okay. Great. I thought it was just
4:02:18a weekly monthly resource share from me.
4:02:23>> Oh, did you did you make did you make a
4:02:25post about that?
4:02:26>> I will. I will.
4:02:27>> That's that's a that would be great.
4:02:28Yeah, do do that because there's a lot
4:02:30of people in the community that, you
4:02:32know, don't necessarily aren't in a
4:02:33position to spend hundreds of euros on,
4:02:36you know, um all these all this stuff,
4:02:39you know. So, that's going to be
4:02:41fantastic, you know. Anything free like
4:02:43that. This scarazzy thing, I mean,
4:02:44[ __ ] incredible. I don't even know
4:02:46what to make of that. Is it all in one
4:02:48big box? I mean, who knows? We'll see.
4:02:51>> No, it is different plugins,
4:02:52>> right? It's different plugins. Okay.
4:02:54Okay. Well, he is I can say he is an
4:02:57absolutely worldclass producer. So, um
4:03:01I'm sure it's going to be good if it's
4:03:03come from him. Um Okay, great. So, the
4:03:06power of Sunno, eh?
4:03:08>> Yeah.
4:03:09>> The power of Sunno. And it's it's
4:03:11incredible.
4:03:12Incredible. Yeah. So, that's why I say
4:03:14make the most of writing music. the the
4:03:17period of time in which you're actually
4:03:19learning how to write music because the
4:03:21kids of the next generation are going to
4:03:23be clicking one button probably.
4:03:27[clears throat] And um well, we all know
4:03:29the most successful people in the world
4:03:31aren't the ones that really make the
4:03:32music anymore. That's that's now where
4:03:34it's going, isn't it? It's more the
4:03:36influence more how how many people you
4:03:38can get to create your music for you.
4:03:40That's the that's already where the game
4:03:42has gone. you know, the the real [ __ ]
4:03:45hot producers are not often the ones
4:03:47that you see standing on the stages in
4:03:50getting the attention. It's the people
4:03:52they're making the music for. So, that's
4:03:54where it's already going. And then, of
4:03:56course, with AI and all the rest of it,
4:03:58the game is always changing. So, let's
4:04:00let's enjoy the um let's enjoy the
4:04:02craftsmanship while it's still something
4:04:05to be um really valued.
4:04:09Um [snorts] okay. So, thank you for
4:04:11that, Ben. You're welcome.
4:04:14>> Now, this timeless belongs to
4:04:19Was it Darren or Davey?
4:04:21>> Darren.
4:04:21>> Darren, you old dog. You're back then.
4:04:25>> Yeah. So, this is something you
4:04:26suggested a while ago. It's basically I
4:04:28took a Morsy track called Timeless, put
4:04:32it into Qbase, and basically copied the
4:04:35structure and basically copied
4:04:37everything about it using my own sounds.
4:04:39>> Fantastic. What a great way to learn.
4:04:43using also the kick and bass technique
4:04:46that you showed me.
4:04:47>> Great. Okay, perfect. We on the call.
4:04:50>> We did that on our oneto one. Yeah,
4:04:52>> that's right. And that was that was
4:04:53good. Okay, good, good, good. So happy
4:04:55the one to one went to to some use. Um,
4:04:58and
4:04:59>> now there's sub after that there's two
4:05:00plugins that have come out which negated
4:05:02all that, isn't there? [laughter]
4:05:04>> Oh my god.
4:05:06>> But hey ho, don't matter. I've still got
4:05:08I've still got the notes. I've still got
4:05:10the video to watch.
4:05:11>> H They did come out afterwards, didn't
4:05:14they? Yeah.
4:05:14>> Yeah. Literally a month after. But hey
4:05:16ho, M. It's all good.
4:05:17>> To be honest, I still think it's I still
4:05:19think it's worthwhile knowing.
4:05:22>> Yeah,
4:05:22>> I still think it's worthwhile knowing
4:05:24because otherwise it's just, you know,
4:05:25you need to understand what it is, you
4:05:28know, because th those plugins, you
4:05:30know, those plugins are putting it to
4:05:32the ultimate phase, but the thing is
4:05:34it's creating a huge bump. And sometimes
4:05:36you don't necessarily want it to be so
4:05:38in phase it's creating the huge bump.
4:05:41And in that case
4:05:42>> it doesn't resolve the volume bit
4:05:43either, does it?
4:05:44>> No, it doesn't resolve the volume.
4:05:46>> The phase.
4:05:47>> It resolves the phase, but it puts it so
4:05:49in phase that it adds up exactly to
4:05:52double the volume. So I've seen a lot of
4:05:55professional tracks, they don't have it
4:05:57as inphase as that. They choose to have
4:06:00it at the amount where they're happy
4:06:02with the bump and it sounds good. not
4:06:05those plugins are putting it to 100%.
4:06:07It's not necessarily the exact best
4:06:09place for it to be. We're going to have
4:06:11to see. It's such new technology. We're
4:06:13on the cutting edge of life and it's so
4:06:17exciting.
4:06:18Keep me posted. Good night.
4:06:21>> I know. We're doing the track. What's
4:06:23the name of the track? Timeless.
4:06:25>> Timeless. Yeah. I didn't name it. It's
4:06:27Morsy named it. [laughter]
4:06:28>> Oh, you copied the name as well.
4:06:30>> Oh, yeah. Of course.
4:06:33No point in [ __ ] around.
4:06:34>> I love that. I love that. That's great.
4:06:36>> It's 145.
4:06:38>> 145. [clears throat] Right. Got it
4:06:39>> in G.
4:06:40>> G. Okay.
4:06:43Right.
4:06:46[music]
4:06:54We've
4:06:55[music]
4:06:59got the BTM 144 by the way.
4:07:03>> Thank you.
4:07:08[music]
4:07:15[music]
4:07:23>> [music]
4:07:41>> Oh, that's a nice little fault. [music]
4:07:49>> [music]
4:07:50>> Oh,
4:07:52I feel like there was just some kind of
4:07:55seismic uh movement under the earth.
4:07:58There we go. [music]
4:08:05There you go. High hat straight away.
4:08:07[music]
4:08:10No messing around. High hat after eight
4:08:11bars of kicking face, as I keep saying.
4:08:14[music]
4:08:20>> [music]
4:08:26>> Good job, boy. [music]
4:08:36[music]
4:08:42[music]
4:08:50>> [music]
4:08:54[music]
4:09:02[music]
4:09:07[music]
4:09:10>> See, you've already got it's got a Great
4:09:13momentum and it's stopping for moments
4:09:15like that. Do you feel like you're
4:09:16learning a lot with this?
4:09:18>> Oh, big time. Yeah. I mean, from from
4:09:20watching you on these calls, it's like
4:09:23fill fill, stop, fill, you know, it's
4:09:26all those kind of things. So, yeah, it's
4:09:28great. I love it.
4:09:29>> Yeah. I mean that that just right there
4:09:31you you're going to you already have
4:09:33experienced that your music's just going
4:09:35to from doing this exercise of copying
4:09:38this track you are you've just taken
4:09:40yourself into the next dimension of of
4:09:44understanding structure understanding
4:09:45momentum fills all of that can be done
4:09:49by doing exactly what you've just done
4:09:51uh so congratulations
4:09:54[music]
4:09:56Nice.
4:09:59[music]
4:10:06[music]
4:10:15>> [music]
4:10:23[music]
4:10:25>> Oh, cheeky little extra bar. Hello,
4:10:31mate. Your fills are getting really
4:10:32good, Darren.
4:10:33>> Thank you.
4:10:33>> This has gone up a whole level.
4:10:38[music]
4:10:40Look at
4:10:40>> that. Straight into the kick and bass.
4:10:42really good fun to do as well. Actually,
4:10:43I love doing the fills.
4:10:45>> Oh, good. It's good. This is that's, you
4:10:47know, you start to enjoy that, mate.
4:10:50Those details you that is what's going
4:10:53to really really take those tracks up to
4:10:56the top level. If you can start enjoying
4:10:58all that stuff, you're on you're on the
4:11:01home screen. [music]
4:11:07makes such a difference, doesn't it, to
4:11:09have punctuation like that in between
4:11:12the sections.
4:11:13>> Yes. [music]
4:11:19[music]
4:11:27[music]
4:11:31>> What were we using to glitch the sounds
4:11:33here?
4:11:34Um, Infiltrator, Fectrix. I mean, I've
4:11:38got
4:11:39>> Yeah, there's a good one called Mantra
4:11:41as well.
4:11:42>> Mantra. I've heard of Tantra.
4:11:44>> It's on Plug-in Boutique.
4:11:46>> Mantra.
4:11:49Hang on a second. Governor, this
4:11:54Mantra neural DSP. No, that's not it.
4:11:57Are you talking about Tantra?
4:11:59>> Tantra? No, Mantra, I think. Um,
4:12:04let me fire up Qbase and find out who
4:12:05it's from.
4:12:06>> Hang on.
4:12:08>> I'll ping it to you.
4:12:09>> Tantra.
4:12:10>> Is it this one? Look, it's this Tantra.
4:12:14It's Tantra. This one.
4:12:17>> No, it's the one to the right. Tantra 2.
4:12:19>> Tantra 2. Okay.
4:12:20>> Yeah, that's it. Yeah, that's it. It's
4:12:21excellent.
4:12:22>> Nice
4:12:24[music]
4:12:25two.
4:12:30>> [music]
4:12:39[music]
4:12:40>> Heat.
4:12:42Heat.
4:12:45[music]
4:12:55>> [music]
4:13:07[music]
4:13:13[music]
4:13:14>> Look at that.
4:13:16Hey, killer. Amazing. [music] [ __ ]
4:13:19hell. This is good.
4:13:27[music]
4:13:36[music]
4:13:42Heat. Heat.
4:13:48[music]
4:14:02>> [music]
4:14:15[music]
4:14:18>> a great fill again. You got you got a
4:14:21lot of good fills in this track. Your
4:14:22fill game has just gone up a serious
4:14:24level.
4:14:26Thank you. [music]
4:14:41[music]
4:14:48Hey
4:14:51Heat. Heat. N.
4:15:13Heat. Heat.
4:15:23Heat. Heat.
4:15:33Heat.
4:15:37[music]
4:15:50[music]
4:15:53Hey, heat. Hey, heat.
4:16:01>> [music]
4:16:05>> But yeah, even the ending, a nice little
4:16:08lead out for the ending. So, I think the
4:16:10one thing we can say about this is that
4:16:13it's punctuation. It's quick evolving
4:16:17sections. Never gets boring.
4:16:21>> Thank you. I mean, I'd like to take
4:16:22credit, but you can you can credit Mos
4:16:24for it, but you know.
4:16:25>> Yeah. Yeah. [laughter] No, no, totally.
4:16:27Um, but his, you know, there isn't a
4:16:29main break, but somehow it keeps keeps
4:16:32interesting the whole time because it
4:16:34keeps changing. So, you know,
4:16:35>> yeah, I mean, there's not a melody as
4:16:36such. It's not my kind of tune I would
4:16:38normally listen to because there's no
4:16:40real melody. There's no real hook. It's
4:16:42like lots of chaotic sounds, you know,
4:16:45but
4:16:46>> it's quite fast and furious. I quite
4:16:48like it. Um,
4:16:49>> and the thing is, look, what you're
4:16:51looking to do is to
4:16:53bring in elements of the things that you
4:16:55like from, you know, so, okay, so if it
4:16:57was your ultimate track, probably have a
4:17:00an iconic melody, might have one break
4:17:03with a buildup or something, you know.
4:17:06Um, but you can take what you're
4:17:08learning from this and you can make all
4:17:11that height, you know, all that flow and
4:17:13energy and then you can add to that at
4:17:16some point. you know, you can add your
4:17:18melody to it, but it's still a good
4:17:19exercise to learn how people do stuff,
4:17:21you know, like
4:17:22>> Yeah, it's it's really good. It was
4:17:24really good fun. I'm halfway through a
4:17:25second one of his tunes called
4:17:27Transformation, which has got a load of
4:17:29um a load of samples from EART toy in
4:17:33it, which I've also downloaded some
4:17:35Echart Tully stuff and stuck in there
4:17:38and I'll be finishing that in the next
4:17:39couple of weeks. Um, and then once I've
4:17:41done those two, I will kind of look to
4:17:43do kind of more my own stuff, but use
4:17:46the similar structure because I'm more
4:17:48into kind of like the astral projection
4:17:50kind of Israeli kind of trance. Yeah.
4:17:52>> You know, big big keyboard stabs and
4:17:55melodies and stuff, you know, the kind
4:17:56of Middle Eastern stuff.
4:17:58>> Yeah. Yeah. Yeah. I'm with you. I'm with
4:17:59you. Well, look, the thing is, you're
4:18:01going to want to adapt the structures.
4:18:03what what this exercise does and I've
4:18:05done it myself
4:18:07years ago was when I you know and I
4:18:10still I still reference people's tracks
4:18:12if I want to understand how someone is
4:18:14fitting a certain amount of energy in a
4:18:16section I I'll listen to the track and
4:18:18I'll bring it into Qbase still today if
4:18:20I want to know that if I want to teach
4:18:22myself on a different style of side
4:18:24trials that I'm not so familiar with
4:18:26which I do regularly do um the first
4:18:29time I took a track and looked at the
4:18:31structure in in like you've done was a
4:18:33wreck machines track a long time ago and
4:18:35immediately it just gave me that op
4:18:38those options. So when you go to write
4:18:40your music now, you're going to see that
4:18:42you understand, right? Okay, I can do
4:18:44this, I can do that. You know, maybe
4:18:46there needs to be a turnaround here.
4:18:47Maybe there needs to be a fill. Doesn't
4:18:49have to be as fast moving as this, but
4:18:52you will absorb these things into your
4:18:54playbook.
4:18:55>> Mhm.
4:18:56>> You know, what I would recommend is that
4:18:58you do a couple of tracks from him,
4:18:59couple of tracks from a completely
4:19:01different artist. you know, in artists
4:19:03that have something that you like and
4:19:06then slowly all of that will filter into
4:19:09your own music. It's just great. You
4:19:11know, when you learn any kind of
4:19:13>> fun.
4:19:14>> Yeah. I mean, people do that when you
4:19:15learn, you know, if you're studying
4:19:18philosophy or anthropology, you know,
4:19:20the first you have to learn all of the
4:19:23people that have created the genre of
4:19:27academia and you have to be able to
4:19:29regurgitate them. It's it's boring
4:19:31frankly, but you that's what they class
4:19:34as you understanding the context of the
4:19:37thing that you're studying, you know,
4:19:40and then you can have your own voice
4:19:42later. So, I know we don't do that in
4:19:44music, but learning how people do stuff.
4:19:46Matt, what a direct great way to uh to
4:19:49get your tracks, you know, having more
4:19:51options really. And it it is just about
4:19:54knowing options and having options.
4:19:56>> Yeah.
4:19:57>> What do you want to do with this? Do you
4:19:58want me to give you feedback on this or
4:19:59are you happy with it and you're going
4:20:01to kind of move on to to doing
4:20:02>> Well, I was going to ask you about cuz
4:20:04obviously the the last couple of tracks
4:20:06of the fellas you played, you were
4:20:08talking about you've added some extra
4:20:10high hats. So, Oh, yes.
4:20:12>> Is there any of that kind of need to
4:20:14happen?
4:20:15>> 100%. It could we could definitely get
4:20:17some interesting high hat layers here.
4:20:20Let's have a little go [music]
4:20:25because you got it's quite quite an open
4:20:28open and and I think so let's let's try
4:20:30and get something with that that's got a
4:20:33bit of extra dimensionality.
4:20:37Um yeah, the panning one I think was
4:20:40quite good. Let's take that.
4:20:43Let's take that. Um,
4:20:50is it that you take them to start off
4:20:54with
4:21:05[music]
4:21:20>> [music]
4:21:21>> I don't know why that's not working
4:21:23anyway. I'll have to do that by hand.
4:21:41Yeah, there's always room for a little
4:21:43bit of extra kind of
4:21:47extra dimensions on the high hats in my
4:21:49opinion. Just subtly. I'm not advocating
4:21:53sticking um you know, just throwing
4:21:56loops on top of loops. That's not how
4:21:57I'm producing, but tastefully getting
4:22:01one loop or two subtle loops to bring
4:22:05your high hats to life in an interesting
4:22:083D way.
4:22:09>> Yeah.
4:22:09>> 100 100%.
4:22:12[music]
4:22:13>> There you go. That's it. Job done. I'm
4:22:16joking. It's the wrong BPM.
4:22:20Here we go. [music]
4:22:22>> You said it was 145. Yeah.
4:22:26>> 145. Yeah.
4:22:27>> Right. It's It's not in time. That's why
4:22:29something weird is happening.
4:22:33>> What is going on here then?
4:22:55What? What sequencer are you on?
4:22:58>> Q base.
4:23:00>> Why is it not in time then? It's
4:23:02strange.
4:23:05That is strange.
4:23:07You see that?
4:23:10Anyway, I shall be it in time.
4:23:30How strange that that was.
4:23:42That should do the trick. But still
4:23:46so strange.
4:23:52[music]
4:23:58Yeah. So that's already already quite
4:24:00nice.
4:24:02[music]
4:24:11[music]
4:24:13often
4:24:22um just just doing a high hat where you
4:24:24can take a lot of the low off and just
4:24:27leave this kind of shimmering high um
4:24:32high noise
4:24:34[music]
4:24:36>> like you filtered the the high hat for
4:24:38the for the last track and you just left
4:24:40it kind
4:24:43Yeah, asterisk does a lot of that.
4:24:46[music]
4:24:51Quite nice.
4:24:53Let's um have a quick flick through
4:24:55splice
4:24:57and see if we can find anything
4:25:00suit.
4:25:03[music]
4:25:05Heat. Heat.
4:25:12[music]
4:25:20[music]
4:25:25[music]
4:25:32>> [music]
4:25:40>> That's [music] got one one hit that I
4:25:43quite like.
4:25:44I'll take that as an option.
4:25:47>> [music]
4:25:48>> Sorry, that's
4:25:52where was that there.
4:26:06[music]
4:26:13[music]
4:26:16See that? That was an interesting one
4:26:17for this cuz it was mid. You see this
4:26:19high your high hats, your open high hats
4:26:21are quite high, [music]
4:26:24but that was quite a thick one.
4:26:28Do you know what I [music] mean?
4:26:32Sometimes it's good to thicken it up a
4:26:34little bit.
4:26:35[music]
4:26:40[music]
4:26:46>> [music]
4:26:52[music]
4:27:01>> Interesting. [music]
4:27:03Interesting.
4:27:08So, [music]
4:27:12one of the reasons I like doing this is
4:27:14because if you find something like the
4:27:15one we just found, it's like it's got a
4:27:17real character. It can bring suddenly
4:27:20your high hats are now something that
4:27:23people are going to want to listen to in
4:27:25their own right.
4:27:28>> Do you know what I mean? There's a
4:27:29difference between the high hats that do
4:27:30the job and the high hats that someone
4:27:32like me sits there and goes, "Fuck,
4:27:34that's a [ __ ] nice high hat." you
4:27:37know, a musical. It's got identity.
4:27:40That's what you That's what you want
4:27:42ideally.
4:27:46That's [music] killer.
4:27:57[music]
4:28:04>> [music]
4:28:08>> So
4:28:08>> you can go
4:28:10>> obviously you go into the the closed hat
4:28:12loops and everything. You can upgrade
4:28:13all of your percussion like this.
4:28:15>> Yeah.
4:28:17[music]
4:28:25[music]
4:28:35Heat. Heat.
4:28:39[music]
4:28:52>> [music]
4:28:58[music]
4:29:02>> Yeah, it's important to just give some
4:29:04texture and give some some weight
4:29:05sometimes to the hats. Otherwise, they
4:29:07can you can cut them, they can get a bit
4:29:10it's good to bring them back with the
4:29:12bit of thickness. I mean they are they
4:29:14[music] are a bit sy and they they are a
4:29:16bit sy in the original tracks but this
4:29:19if I if I kind of give give the track a
4:29:22bit of a smattering of these in after
4:29:24the drops or after the break give a bit
4:29:27more interest to the track.
4:29:28>> Exactly. Exactly. Exactly. And you know
4:29:30what can you do to make it better?
4:29:32That's the beauty of you're doing this
4:29:34exercise. You've already now got the
4:29:36kind of track that that you've copied.
4:29:38So um how can it then be upgraded, you
4:29:41know?
4:29:43>> [music]
4:29:44>> That's killer.
4:29:50Yes.
4:29:52[music]
4:29:55Okay. Okay, that's good.
4:29:58[music]
4:30:06[music]
4:30:07Heat. Heat.
4:30:15[music]
4:30:21[music]
4:30:29Heat. Heat.
4:30:42[music]
4:30:46Heat. Heat.
4:30:50[music]
4:30:57[music]
4:31:08>> [music]
4:31:14[music]
4:31:22[music]
4:31:29[music]
4:31:34>> They go nicely together cuz that's got
4:31:35the mid. And that's got the high, you
4:31:37see, [music]
4:31:45[music]
4:31:51[music]
4:31:53but ultimately those were better.
4:32:01And then this one just had one hit that
4:32:03I quite liked.
4:32:07Which was
4:32:10that?
4:32:30[music]
4:32:38>> [music]
4:32:44[music]
4:32:48>> You could stop. Yeah, you could even pan
4:32:50some of these a little bit, you know.
4:32:52That's going to really create a bit of
4:32:53width, you know. So that left, maybe
4:32:57this one could be right a little bit.
4:33:01>> [music]
4:33:02>> All of a sudden, you've got massive high
4:33:04hats. You know, I won't what? Oh, I'm
4:33:08going to give you the project so you can
4:33:10play around with all that.
4:33:14I mean, look compared [music] to the
4:33:15difference.
4:33:20>> [music]
4:33:21>> Massive
4:33:28[music]
4:33:35[music]
4:33:45and I would definitely suggest you to
4:33:47have a look at that for for the 16 hats
4:33:49as well.
4:33:50>> Yeah,
4:33:51>> just little just little ones to layer
4:33:53on, you know, strip all the sound. I
4:33:55mean, I know you're not maybe going to
4:33:56go to the extent of mixing this to a
4:33:58finished level or whatever, but when
4:33:59you're if you are when you're doing your
4:34:01tracks, strip everything away and just
4:34:03just get back to the high hats and look
4:34:05for those loops to just accentuate the
4:34:08the high hat the the closed hats that
4:34:10you're working with, you know, without
4:34:13any sounds on there and then put the
4:34:15sounds back and um it's really worth it.
4:34:18It's so simple really with um all the
4:34:21loops that are available at the moment.
4:34:24>> Well, the other couple of questions I
4:34:25was going to ask is there in the overall
4:34:28mix um are there any glaring
4:34:32>> Yeah. Right. obvious mistakes regarding
4:34:35the kick and the bass and also regarding
4:34:38the synths generally. You know,
4:34:44[music]
4:34:48>> there's a few things that are a bit
4:34:49loud.
4:34:50>> Yeah.
4:34:51>> I'd say the kick and bass is a little
4:34:52bit going to the back of the track.
4:34:55>> Mhm.
4:34:55>> Because some of the sounds are a bit too
4:34:57loud. A lot of the sounds are not too
4:34:59loud. So, you've got a lot of them at
4:35:02quite a good volume. Um,
4:35:09the high hat the high hats are kind of,
4:35:11it's funny, they don't sound as loud as
4:35:13they look,
4:35:14>> right?
4:35:15>> So, that's something to to
4:35:19you need to
4:35:19>> maybe some of the other sounds of using
4:35:22maybe stealing their frequencies or
4:35:24something.
4:35:24>> Yeah, may I mean
4:35:29>> [music]
4:35:35>> Yeah, there might be a bit of that. But
4:35:36look, that crash was a bit too loud. You
4:35:39just got to just,
4:35:41you know, really go go and do some
4:35:44layering and all that and then measure
4:35:46the the sum of the layers, you know.
4:35:49>> Yeah. What I what I what it sounds like
4:35:51to me is that the high hats that you've
4:35:54got going on uh they've been cut quite a
4:35:57bit. So, they've been left with a lot of
4:35:59this high frequency,
4:36:01but they haven't got so much in. They've
4:36:04got a lot here, but they're missing a
4:36:06lot of this,
4:36:09>> right?
4:36:10>> And so they they've ended up they've
4:36:12ended up sounding a little bit thin and
4:36:14they've needed to be maybe a bit louder.
4:36:20See, because that's way too loud when
4:36:22when we've put all my loops on, it's
4:36:23just gone completely OTT. So, that all
4:36:27needs to be gone back to the drawing
4:36:28board. Um,
4:36:30it sounds [music]
4:36:36[music] like those sounds, they're fine,
4:36:38for example. Um,
4:36:39>> so just Okay. So, this basically use my
4:36:41ears and turn some of the synths down,
4:36:43right?
4:36:44>> Yeah. Yeah. basically at this point
4:36:47because you've got as many that are
4:36:48slightly too loud as as you got as many
4:36:50that are also perfectly fine.
4:36:54>> So, it's really at this point it's a
4:36:56case of listening [music] and really
4:36:59trying to make sure that musically
4:37:01speaking your kick and bass is driving
4:37:04all the time and we're not getting lost
4:37:06in a in a um a tapestry of amazing
4:37:10sounds that eventually can overpower the
4:37:13kick and the bass. That's not what we
4:37:15want. We want to listen to it and go,
4:37:17are they supporting? Are they grooving
4:37:20with? Are they working with? Now, the
4:37:21first thing I would s suggest you
4:37:23because there's a lot of gated stuff in
4:37:24this track is um there's a lot of 16
4:37:28stuff is to employ the LFO for side
4:37:31chaining. So things start pumping with
4:37:33the kick in the bass a bit.
4:37:35>> Okay.
4:37:35>> Just a little bit subtly. And if you
4:37:37want it even more subtle, then you go to
4:37:41put on the multiband setting down here.
4:37:44Remember?
4:37:45>> Mhm.
4:37:46>> And you go 300 and you just you duck
4:37:49everything below 300.
4:37:51>> Yeah.
4:37:52>> You don't have to duck it down here. You
4:37:53can duck it here. But wherever you duck
4:37:56it, it's going to get rid of the bits
4:37:57that are [ __ ] the kick and the bass.
4:37:59Okay.
4:38:00>> Okay. And I think as a as a matter of
4:38:02course I think on my synth channels I
4:38:04have basically just used frequency EQ
4:38:07and cut a 96 96 decibel like sharp curve
4:38:11sorry sharp cut off from 150 lower but
4:38:15maybe I need to do a bit more.
4:38:17>> Well look no 150 is normally a good
4:38:19place to start. Um you can you can look
4:38:22at the you can look at this chart and go
4:38:25okay it's in G. So, we've got 200 is is
4:38:30a harmonic that's important,
4:38:32>> right?
4:38:33>> 98 is a harmonic that's important. So,
4:38:36in G
4:38:38150, you can afford to probably cut a
4:38:41little bit higher because you're trying
4:38:42to preserve this 196,
4:38:46>> right?
4:38:47>> Got you. Okay. Yeah.
4:38:48>> 196 hertz in G is is a moment that is
4:38:52you're going to is going to give you
4:38:54that G tone.
4:38:56>> Okay. Right. So, you can afford to cut a
4:38:59lot closer to 196 in this case.
4:39:03>> Yeah.
4:39:03>> But if it sounds thin, of course, you
4:39:05have to back it off. Okay. So, always
4:39:07you've always have to listen first.
4:39:09>> Yeah. Cool.
4:39:10>> Um,
4:39:12if you were to go above 196, I'd say
4:39:14that's a no no because you're losing the
4:39:16richness of the sound then. But,
4:39:18>> you know, try and push it as close to
4:39:20196 as you can get. But I I'm not
4:39:22listening to the synths thinking they've
4:39:25got too much bass.
4:39:27>> I'm not listening to They sound like
4:39:28they've been cut quite well. What I'm
4:39:30hearing is there's just quite a lot of
4:39:32sounds that all together can get over
4:39:34the top of the the the kick and the
4:39:37bass. That's all. It's
4:39:42not a million miles off at all.
4:39:52>> [music]
4:39:54>> Just a little, just a little bit. A
4:39:56little bit. But
4:39:59>> what? Why the kick in the bass is
4:40:01getting masked a little bit is because
4:40:02that's not got any side chaining.
4:40:07>> Yeah.
4:40:07>> If that side chaining below 300,
4:40:13it all starts to pulse.
4:40:15>> Right. Okay.
4:40:16>> Atomic pulse. side chain it from the
4:40:17kick or side chain it from the bass.
4:40:19>> Just you don't need to side chain it
4:40:20from anything. You just need to open an
4:40:22LFO tool.
4:40:23>> Oh, okay.
4:40:24>> And it it gives you automatically.
4:40:26There's the kick, there's the B, you
4:40:27know, so it automatically gives it to
4:40:29you. You don't need to set it up or
4:40:31anything.
4:40:32>> It's the beauty of these uh side the
4:40:34side chain curve, right? Yeah.
4:40:36>> Yeah. Just just
4:40:37>> just like that.
4:40:39>> Here or here, you know? But I mean, it's
4:40:43it's definitely all going in the right
4:40:44direction with this, mate. I mean, you
4:40:47can hear it's just gone up levels from
4:40:49from from doing that exercise.
4:40:52>> Yes.
4:40:53>> Um, what's your next steps?
4:40:56>> My next steps is to take what you've
4:40:57given me and and muck around with the
4:40:59the high hats. Um, also
4:41:02>> the the synths and whatever. Have a bit
4:41:04of a bit of a twiddle around with the
4:41:06volumes of the synths.
4:41:07>> Yeah. Good.
4:41:07>> And finish off my my second track which
4:41:10I've copied. And uh I'll bring that to
4:41:12here and see see what you think. And
4:41:15then um and then I'll I'll start I'll
4:41:18keep the structure of a song that I
4:41:20like. I'll steal the structure and then
4:41:22just
4:41:23>> use my own sounds and and um ideas and
4:41:27melody
4:41:28>> and see what happens. That's how it all
4:41:30falls apart. [laughter]
4:41:31>> Look, because imagine you've got all
4:41:33these cool synths from Morsy, the the
4:41:35drum fills, the the the quick moving
4:41:37stuff. Then you put in your melody and
4:41:39you just use a little bit of this vibe.
4:41:41You know, you're balancing it then like
4:41:43a good chef. a little bit of basil, a
4:41:45little bit of this, you know. Um, the
4:41:47the other thing I wanted to say was just
4:41:49intro could have
4:41:52[music]
4:41:53bit of kicking bass.
4:42:00[music]
4:42:03It just I just felt like it [music]
4:42:06Why can we not hear the bloody kick in
4:42:07the bass? I felt like it needed to be
4:42:10something.
4:42:19It's a bit of filtered kick and bass
4:42:21[music] like this.
4:42:28[music]
4:42:34>> Yeah, just a bit of filtered kick in the
4:42:37[music]
4:42:46>> [music]
4:42:54[music]
4:42:59[music]
4:43:00>> Just something to give it uh the
4:43:02direction because the cinematic things
4:43:05are great, but they need to be anchored
4:43:07around a bit of a structure. Yeah,
4:43:09>> that's all. And and otherwise we're
4:43:11getting lost with 35. So it's, you know,
4:43:14it's like 9
4:43:1617 25
4:43:19and you got an extra bar. So, you know,
4:43:22you'd be bringing this in here
4:43:25and then you'd be going up to the extra
4:43:27bar.
4:43:29You know, easy way to do this, make a
4:43:31little bit of a
4:43:33Oh, or you could just press Z.
4:43:37Make everything turn tiny. The logic.
4:43:39There you go.
4:43:44Oh my god.
4:43:46Do a little drum. You know, you could uh
4:43:50[clears throat]
4:43:53Oh,
4:43:58[music]
4:43:59of course it's not in time, is it?
4:44:04somehow.
4:44:10Right. Get this.
4:44:17Get out there.
4:44:26[music]
4:44:34>> [music]
4:44:43>> Oh god.
4:45:06You know, I'm suggesting you just do a
4:45:08little
4:45:11little kick roll
4:45:14just to give it some momentum towards
4:45:16the the final resting place of the
4:45:20intro.
4:45:22Okay.
4:45:54Because what's happening is it doesn't
4:45:55sound not like there's any structure to
4:45:56it. So you you know you need people need
4:45:59to know where they're going when they're
4:46:01listening to
4:46:03you know an intro or whatever it is.
4:46:06So it all needs to be going towards a
4:46:08point
4:46:24>> [music]
4:46:29[music]
4:46:33>> And the I don't think these are in time.
4:46:35That's that's what's going on here. It's
4:46:37gone weird because this is all out of
4:46:38time. But, you know, some kind of
4:46:40buildup there is what I'm trying to get
4:46:43get at.
4:46:49Or we could put potentially
4:46:52one of the slams
4:46:57something to just give us that
4:46:59punctuation in the intro because the
4:47:00rest of the track is very well
4:47:01punctuated. So I think the intro
4:47:04is just needs to come up to that level
4:47:06of punctuation, you know.
4:47:15[music]
4:47:20It's going to be something like that,
4:47:21you know.
4:47:27[music] I would almost do a pallet
4:47:29cleanser, you know.
4:47:32[music]
4:47:37Yeah, that that would be
4:47:39for me would be better.
4:47:44[music]
4:47:48because this is all kind of happening at
4:47:49random places here. I don't know what's
4:47:51going on with that. You check the timing
4:47:53of that. Anyway, when you go back,
4:47:54Derek, just some of that intro stuff.
4:48:00You could also get a bit of white noise.
4:48:06Bit of white noise.
4:48:18Get out.
4:48:25[music]
4:48:33[music]
4:48:40[music]
4:48:48>> [music]
4:48:50>> So, just building towards a point.
4:48:52That's kind of what I'm getting at.
4:48:57[music]
4:49:01I'd mute that.
4:49:05[music]
4:49:11there. It's starting to to Do you see
4:49:13what I mean? So, he's got a really sort
4:49:15of pointed direction.
4:49:21Oh, Darren's gone.
4:49:25Okay, I'll turn to one. Darren, you
4:49:27back?
4:49:35>> Sorry. My computer decided to do a
4:49:37[ __ ] update. Um, just help.
4:49:42>> No worries, mate. I'm going to uh wrap
4:49:45this project up for you. Okay.
4:49:47>> Thank you so much, man.
4:49:49>> No worries. I'm going to do a bounce and
4:49:51I'm going to give you the project.
4:49:56Sonic bounce desktop. Yes. Timeless.
4:50:01Yeah. Keep doing what you're doing,
4:50:02mate. This is this is good
4:50:03reconnaissance to see what people do,
4:50:06how they do it. Look at the There's a
4:50:08big difference between listening to
4:50:09someone's track and go, "Oh, I like
4:50:10that. I'd like to maybe try a bit of
4:50:13that or seeing it in your screen,
4:50:16copying the structure, going, "Oh, [ __ ]
4:50:18That's what the that's what it actually
4:50:20looks like in the sequencer." And that's
4:50:24that's when the penny starts dropping. I
4:50:27still do it to this day with with things
4:50:29if I need to learn how to do something.
4:50:31So it is something that it's just called
4:50:34learning from things that you like, you
4:50:37know.
4:50:38>> Yeah. I mean, it was a proper eye opener
4:50:39compared to uh to compared to how I used
4:50:41to do it. I used to get [ __ ] up and
4:50:43sit there in front of a computer and go,
4:50:45"Right, let's do this bit and then see
4:50:46where it went and, you know, it's uh
4:50:50it's it's much better to do it in a in a
4:50:53structured way."
4:50:56>> 100%. Um, you know, I think once you've
4:50:59got um, you know, once you've got all
4:51:03this vocabulary, let's call it, and you
4:51:05can really speak the language of
4:51:07professional kind of side trance, then
4:51:09then it's a case of sitting down, oh,
4:51:11what do we want to do? But to put that
4:51:14to get to that moment, it's nice to
4:51:16have, you know, have a few things up
4:51:18your sleeve that you you can do. you
4:51:20can, you know, so you can express
4:51:21yourself properly with the, you know,
4:51:24the the language skills that, you know,
4:51:26it's like it's like they're learning
4:51:27anything. It's it would be the same if
4:51:29you were learning French, you know.
4:51:30>> Well, I kind of liken it to cooking in a
4:51:32way because you're learning all these
4:51:34different techniques and you just kind
4:51:36of put them together,
4:51:38>> you know. It's
4:51:39>> Yeah, I like that. I use that analogy a
4:51:41lot.
4:51:43>> And I love cooking as well. So,
4:51:45>> do you What's your favorite dish to
4:51:46cook? Um, anything Indian.
4:51:49>> I was I was about to say Jazy. That's so
4:51:51funny.
4:51:52>> Yeah, anything Indian. Um, yeah,
4:51:57>> I love it. I love Indian. Had a great
4:51:59Indian the other day.
4:52:02Um, where the [ __ ] it gone?
4:52:06There,
4:52:09Darren. there.
4:52:20There we are. Here we are.
4:52:26I've never got uh I've never gone deep
4:52:28into cooking Indian and um I'd love to
4:52:31at some point.
4:52:32>> I will send you a link to the my
4:52:34favorite cookbook. It's so so good. It's
4:52:38proper Indian food, not English Indian,
4:52:40which I also love, but it's proper
4:52:42Indian food.
4:52:43>> Amazing.
4:52:44>> It's an amazing cookbook. 50 Great
4:52:46Curries of India. You'll love it.
4:52:47>> Oh man,
4:52:50Darren, Darren, Darren, there you go. I
4:52:52would I'd love to hear that. I'd love to
4:52:54grab that off you. Thank you, mate. No,
4:52:56sounding great. Keep on doing what
4:52:57you're doing. Keep learning from the
4:52:59people you love and um and it will come
4:53:02together piece by piece. I was just
4:53:05looking at looking at the screen then
4:53:07going who's that moving their mouse
4:53:09around. Of course it was me.
4:53:13Um
4:53:14>> thank you Joe. I much appreciate.
4:53:16>> My pleasure Darren. My pleasure. Great
4:53:17to have you back mate.
4:53:20Great to have you back. Now we come to
4:53:22the final.
4:53:26I don't know how I managed to do these
4:53:27make these calls last for so long.
4:53:31Let's have a look. Davey, you still
4:53:34there mate? We got Davies next. And this
4:53:37is going to be the final.
4:53:38>> Yeah, I'm here.
4:53:39>> Great.
4:53:40>> No, no,
4:53:42>> this is going to be the final one
4:53:44because it's 1:00 in the morning and I'm
4:53:46not going to be in bed till 2:00 in the
4:53:48morning at this. So, this will be it.
4:53:52Battlecry. Great. Great. Great. Great.
4:53:55Well, this was you got you got this well
4:53:57sorted with the kick and bass phase last
4:53:59time, Davey. I remember.
4:54:06>> Yeah, I added some u some vocals to it.
4:54:08Um and then uh Benedict also uh sent me
4:54:12some stuff uh that he was able to pull
4:54:14up. So I may see how I can incorporate
4:54:16that this week.
4:54:17>> Oh, cool.
4:54:19Very nice. Benedict
4:54:22Santa Claus Benedict.
4:54:25Santa Claus of the community.
4:54:28Here
4:54:30we go. Okay. And it was this is a 143,
4:54:34was it? Or
4:54:36>> uh 142.
4:54:37>> 142. Okay, that's it.
4:54:40Here we go.
4:54:49[music]
4:54:56>> [music]
4:55:02[music]
4:55:04>> Oh, you changed the intro.
4:55:07>> Just just added the vocal to it.
4:55:09>> Yeah,
4:55:11I like it. [music]
4:55:17[music]
4:55:22>> [music]
4:55:32>> Heat. Heat.
4:55:34[music]
4:55:47That's all getting really smooth. I will
4:55:49say that. Um the thing that I'm missing
4:55:52a little bit in this uh sorry to just
4:55:55jump straight in, but I just um
4:55:57>> I think it's the most direct direct way
4:55:59to do it. um is that when I get when the
4:56:02baseline comes it's almost quite sudden
4:56:06like I would have maybe wanted to hear
4:56:08it in the filter
4:56:10that might help.
4:56:13Okay, just a little bit
4:56:21just just a little bit just so we kind
4:56:23of we're primed, you know.
4:56:25>> Okay.
4:56:34>> [music]
4:56:41[music]
4:56:43>> You see what I mean? Yeah.
4:56:47[music]
4:56:54[music]
4:56:59>> [music]
4:57:05[music]
4:57:09[music]
4:57:15>> I mean, it's rough, but you get you get
4:57:17what I'm saying, right?
4:57:18>> Yeah.
4:57:21>> Cuz anyone that happens here is going to
4:57:22make more sense.
4:57:24Would you take it all the way through or
4:57:26just do that section just like you did
4:57:27there?
4:57:28>> I would just do it here because here it
4:57:30turns into the kick roll.
4:57:32>> Gotcha.
4:57:32>> This is perfect.
4:57:42>> Yeah. Already sounds like it's going to
4:57:43make more [music] sense.
4:57:49[music]
4:57:51Look at that.
4:57:53Here
4:57:55[music]
4:57:59we go.
4:58:03[music]
4:58:08That that white noise that you've got
4:58:10there.
4:58:11>> Uh-huh.
4:58:12>> Yeah. We want to start hearing it
4:58:14already here. Like this all needs to be
4:58:17white noise. [music]
4:58:19Make it more
4:58:24So starting here or starting here and
4:58:26and
4:58:33[music]
4:58:39[music]
4:58:44>> is that is that a little American badge
4:58:46on your arm?
4:58:48Yeah, it's my uh work uh work shirt.
4:58:51>> This is for the fire. This is for the
4:58:52fire service.
4:58:54>> Yeah, man.
4:58:55>> Amazing. I love it. Love it. [music]
4:59:09>> [music]
4:59:17[music]
4:59:22[music]
4:59:30[music]
4:59:30>> Heat. Heat.
4:59:34Heat. Heat.
4:59:36[music]
4:59:46[music]
4:59:56>> [music]
4:59:57>> Heat. Heat.
5:00:19>> [music]
5:00:20>> But I will say you can afford to push
5:00:23your high hats up a tiny bit to get to
5:00:25here.
5:00:26>> Okay,
5:00:27>> it might only be a might only be two
5:00:29decibels, but it it's still you've got a
5:00:31bit more volume to open up there. And
5:00:35that'll be good because again like I was
5:00:37saying about depth in the track. You
5:00:38know if things aren't at the correct
5:00:40volume, it's like you your ceiling's not
5:00:43as high as it could be.
5:00:45>> Think of it like we're sitting in a room
5:00:47and you know if if the walls been put
5:00:50there then you know actually the the
5:00:52room is quite big. If we can see the
5:00:55proper space between the the walls and
5:00:58the ceiling etc etc. So that's why it's
5:01:01important you I could just say I'll
5:01:02leave it. It's fine. And it sound cuz it
5:01:04sounds good. But the point is it's not
5:01:07about that. It's it's actually about
5:01:09opening up all the necessary space for
5:01:12your track to fill the space. You know,
5:01:15>> makes sense.
5:01:16>> Scientific way, I suppose.
5:01:19>> I'm not going to put my lab coat on, but
5:01:21you know,
5:01:24[music]
5:01:25>> it's Halloween. I'm playing a Halloween
5:01:27gig on the weekend. I really like
5:01:31[music]
5:01:32I'm not one for fancy bread. I'm really
5:01:34not expecting
5:01:36[music]
5:01:41the these baseline changes are so like I
5:01:44don't know unique. I really I really
5:01:46enjoy what you're doing there.
5:01:52[music]
5:01:58>> [music]
5:01:59>> Yeah,
5:02:03just before we go on, um,
5:02:07what this will benefit from is just a
5:02:09little bit more in the way of open open
5:02:11high hats.
5:02:13So, sorry, I've been on I'm like a
5:02:15broken record. I've been talk doing open
5:02:17high hats on everyone's tracks all
5:02:19night. Sorry, guys. Tonight is just open
5:02:21high hat night.
5:02:23Um,
5:02:25yeah. I wanted
5:02:26>> I think I've got two two layered
5:02:28together. Which like part of the
5:02:30frequency spectrum do you think it it
5:02:32needs? You think it needs something on
5:02:33more on the crisp side, something more
5:02:35on the airy side?
5:02:35>> Well, I was actually
5:02:38when I said open hats, I meant to say 16
5:02:41hats is what I was after. But now we're
5:02:44talking about open hats.
5:02:47>> Now we're talking about open hats.
5:02:51There could be one to definitively kind
5:02:53of give We've got a nice shaker. We've
5:02:55got a bit of width. It might be good to
5:02:58have one in the middle. Let's Let's see.
5:03:01Let's see. And now I'm going to go to
5:03:05I'm going to go to the Antinomi pack.
5:03:07First of all,
5:03:10I'm going to go to the Antonyomi sample
5:03:12pack volume two because it's really good
5:03:16and I want to show you things that are
5:03:19easy to get hold of that have good
5:03:22things in it. Most of, as you've seen
5:03:24over the the weeks and months, most of
5:03:27my stuff comes from in terms of high
5:03:30hats like this in most of it I'm getting
5:03:32it from splice because it's just such a
5:03:34wide variety.
5:03:36particularly for side tracks. These
5:03:37these there's some quite good ones in
5:03:39here.
5:03:41Drums
5:03:43close high hat loops.
5:03:53[music]
5:04:01[music]
5:04:02We could try that.
5:04:05We could try.
5:04:06>> I've got some close hats in there. Maybe
5:04:08they're just too quiet. I need to turn
5:04:10them up.
5:04:11>> Yep. Yep. Could be.
5:04:19That's not really the type of ones I
5:04:21wanted. Um
5:04:26[music]
5:04:38I just want that room.
5:04:42[music]
5:04:54[music]
5:05:01You see? [music] Do you see what that is
5:05:03giving a bit more of a dancing around
5:05:05kind of feeling?
5:05:12[music]
5:05:17I would have a look at splice for this
5:05:19just to just to see just just a little
5:05:21bit. Um it's a little bit more groove it
5:05:24will give us um
5:05:29splice bridge.
5:05:31Yeah.
5:05:37Splice bridge.
5:05:39Splice. Hello.
5:05:43Yeah. Closed.
5:05:55>> [music]
5:05:58>> There we go.
5:06:07[music]
5:06:23>> [music]
5:06:29[music]
5:06:30>> just just a little bit to dance around.
5:06:39You see what I [music] mean?
5:06:42Yeah.
5:06:45>> [music]
5:06:50>> The two of them together are not bad, I
5:06:52must say.
5:06:54[music]
5:07:01>> [music]
5:07:02>> You definitely want, even if it's not uh
5:07:04loud loud, you definitely want a
5:07:06component of your drums that is doing
5:07:09that 16 because it gives it a certain
5:07:12momentum that I think in this section
5:07:14you're going to need. [music]
5:07:26Here [music]
5:07:34we go. That was quite good that one.
5:07:52>> [music]
5:07:59[music]
5:08:00>> Heat. Heat.
5:08:04[music]
5:08:15[music]
5:08:23>> [music]
5:08:29[music]
5:08:35[music]
5:08:40[music]
5:08:44>> or
5:08:48you
5:08:52Heat.
5:08:55Heat.
5:09:05Heat. Heat.
5:09:19>> [music]
5:09:25[music]
5:09:40>> the new vocal.
5:09:42Oh yeah. [music]
5:09:51>> [music]
5:09:56>> I think look, if you're going to have
5:09:58that vocal, then put it put it loud is
5:10:02what I'm thinking. You know,
5:10:06[music]
5:10:07>> no harm in that. Just turn it up a bit
5:10:09and and bring the filter up a bit as
5:10:11well. Let it play.
5:10:17I I could re sing it for you. I'd only
5:10:20charge $5,000
5:10:26cuz that's that's nice. You just you did
5:10:29the right thing to put that there cuz
5:10:31you just had the kick and bass filter
5:10:32which was good, but this is now making
5:10:35it into a really cool moment that kind
5:10:38of has people like they need something
5:10:40these days. You know, two years ago it
5:10:42was they were fine with the kick and
5:10:43bass filter. Now there's been so many
5:10:46vocal tracks now it's like people almost
5:10:48aren't satisfied unless you give them,
5:10:50>> you know, uh some kind of like thing
5:10:52they can really get their their teeth
5:10:54into, you know, in a in a kind of,
5:10:58you know, vocally.
5:11:00I don't advocate doing that all the time
5:11:02because otherwise people will just
5:11:04expect it all the time. But it's just
5:11:05the trend that's happening at the
5:11:07moment. But I think this really this
5:11:09really works what you've uh what
5:11:16[music]
5:11:17>> and again
5:11:21[music]
5:11:26because what you got the option of doing
5:11:28there is coming in with the vocal
5:11:34over the kick and bass which would be an
5:11:36uh you Not a bad thing.
5:11:40[music]
5:11:45[music]
5:11:52[music]
5:11:55If you were to do that, um, let's just
5:11:58say you did that, you would just insert
5:12:01eight bars or something with the vocal
5:12:03there over the kick and bass. I I can
5:12:05drop the the sample in the chat.
5:12:09>> Well, do that then.
5:12:12>> Do that then.
5:12:15[music]
5:12:16>> I don't I don't I need a section.
5:12:22[music]
5:12:25>> Is it the same baseline as that?
5:12:29>> Oh, yeah. Um, I I haven't changed
5:12:31anything with the bass and stuff,
5:12:33>> but it's the same baseline as the intro,
5:12:35is it?
5:12:37>> Uh, no. It's It's a little It's
5:12:39different.
5:12:39>> Well, we'll have to just imagine that it
5:12:42is.
5:12:43>> Oh, no. No, it's just the pure vocal.
5:12:46>> No, but I'm just saying I'm going to
5:12:47have to replace I'm gonna have to
5:12:48because I can't put it on top of the
5:12:50lead.
5:12:52>> I'm talking about creating a new
5:12:54section. Um
5:12:55>> Oh, gotcha. Okay, I see what you're
5:12:58saying.
5:13:02It's um
5:13:06um so where is this um in the chat? Did
5:13:09you put it there already?
5:13:10>> Oh, I I'll drop it right now.
5:13:14>> Oh, Stefan's posted a picture of me at
5:13:17VV. That's me at V. Is it? Don't look
5:13:20too bad.
5:13:22Don't look too bad. Who says I'm getting
5:13:24older?
5:13:26getting younger.
5:13:30[laughter]
5:13:32There it is. There it is.
5:13:33>> That should be the right one.
5:13:34>> Yeah. Yeah. Got it.
5:13:39Okay, cool. I like this cash move pack.
5:13:42Yeah. Um,
5:13:46see that's got in my head that,
5:13:50which is not a bad thing.
5:13:52>> That's a good thing. Yeah.
5:13:53>> Yeah. Yeah. It's got that kind of Middle
5:13:55Eastern vibe that I really love.
5:13:56Actually,
5:13:58>> it's a really, really good hook.
5:14:00>> Come on. Why is this not letting me
5:14:02bring this damn vocal into the uh
5:14:05project? Come on, please. Yeah.
5:14:11[music]
5:14:13>> But you've um
5:14:15>> it's the second half of it. It's the
5:14:16male voice. So, starts female, first
5:14:18half, second half.
5:14:19>> Got it. Got it. Got it. Okay. I was
5:14:21gonna say you've done some quite some
5:14:23processing there. [laughter]
5:14:32[music]
5:14:37>> What key is you all trying?
5:14:39>> Uh, it's in uh D minor.
5:14:44Yeah, I think I just
5:14:53So it would be like this sort of thing.
5:14:55[music]
5:15:06I mean, you know, it's pretty pretty
5:15:08damn,
5:15:09you know, pretty damn iconic, if I don't
5:15:12say so myself. Um, audio audio
5:15:24Come on. [snorts]
5:15:35And there you create another
5:15:39iconic moment
5:15:42in Syrance.
5:15:44Just like just like Kaiser so
5:15:58well that that in in that case that
5:16:00would be a lowass one because we don't
5:16:02want that to take away from
5:16:12>> [music]
5:16:19[music]
5:16:22>> Okay. So,
5:16:23>> oh, okay.
5:16:24>> You see what I mean? But it it would be
5:16:26more
5:16:26>> Yeah.
5:16:27>> We wouldn't necessarily have the lead.
5:16:29Okay.
5:16:30>> Right.
5:16:31>> Probably wouldn't have the lead. We'd
5:16:33probably have the lead coming here like
5:16:36this. Something like that.
5:16:41I put eight bars. Yeah, normally it
5:16:43would you'd probably do it for 16, but
5:16:45let's see.
5:16:55[music]
5:16:57>> Beautiful,
5:16:59man. That's massive.
5:17:02[music]
5:17:06Huge.
5:17:07>> I like that. Yeah.
5:17:10>> [music]
5:17:15[music]
5:17:19>> straight in there. I don't see any
5:17:21reason not to. I think that was enough.
5:17:24Yeah, that's the people will be dancing
5:17:26to that and you go straight back into
5:17:28your lead.
5:17:30[music]
5:17:32There we go.
5:17:39>> [music]
5:17:43[music]
5:17:51[music]
5:17:52>> What's happened with the high hat is
5:17:54that it's it's it's it's all panning,
5:17:58but there's nothing in the middle for
5:17:59some reason.
5:18:02Let's um let's get you a middle high hat
5:18:05here.
5:18:10>> I think it's got a ping pong on it.
5:18:12That's why,
5:18:14>> right? That would be the reason.
5:18:27>> [music]
5:18:37[music]
5:18:41[music]
5:18:46>> Is it It's important that we have one in
5:18:48the middle as well.
5:18:50>> Okay.
5:18:53[music]
5:18:54>> Here. Sorry.
5:19:01>> [music]
5:19:26[music]
5:19:31[music]
5:19:34>> Heat.
5:19:36Heat.
5:19:40[music]
5:19:48>> [music]
5:19:55[music]
5:20:05[music]
5:20:10>> Just something to stabilize it. That's
5:20:12all. Makes
5:20:13>> sense.
5:20:15>> [music]
5:20:20[music]
5:20:27[music]
5:20:32[music]
5:20:37>> He changed the baseline for that.
5:20:41>> [music]
5:20:42>> Uh, it's been it's been the same for a
5:20:44while,
5:20:44>> but you're not changing it for that. I I
5:20:46see. I personally think you should
5:20:47change the note to match the melody when
5:20:50it changes. So, you've got the root note
5:20:54[music]
5:21:00up one
5:21:02>> because it's just a that's just the
5:21:03octave change. I just think that for
5:21:05those I just went up one octave for the
5:21:07melody.
5:21:09[music]
5:21:14>> [music]
5:21:20[music]
5:21:25>> Maybe it's an audio illusion then.
5:21:35[music]
5:21:37Lovely film.
5:21:44>> [music]
5:21:53[music]
5:21:59[music]
5:22:04>> Oh, lovely end.
5:22:07Beautiful.
5:22:10[music]
5:22:14I love that. Nice.
5:22:22What a vocal. Come on. Is that new?
5:22:26Yeah.
5:22:27>> If you could, if you could maybe bit of
5:22:29overdrive or something to get that that
5:22:32vocal just a bit more texture, you know?
5:22:34Um
5:22:35>> Okay. bit of bit of something to make it
5:22:37strong, you know.
5:22:39>> Okay. Yeah, because in the intro it's
5:22:41the female vocal and the male vocal and
5:22:43then I felt like the male vocal matched
5:22:45the second drop really well and the
5:22:47female vocal matched the third the third
5:22:49drop really well.
5:22:49>> Yeah.
5:22:50>> Because of the the vibe that was going
5:22:52on.
5:22:52>> Well, that's great. You've used
5:22:58>> you see how that makes the vocal
5:23:06>> [music]
5:23:09>> That's a distortion plugin on overdrive,
5:23:11you know, just
5:23:13>> and you would automate that or just
5:23:14leave it leave it.
5:23:15>> No, I would just I would just get it how
5:23:17you want it and just leave it there.
5:23:18Yeah.
5:23:20>> That said, if you wanted to do something
5:23:21cool, you could turn up the filth as as
5:23:24it were. Um, but no, get it get it
5:23:27[laughter]
5:23:28>> get it dial in the filth. Get it how you
5:23:30want it. But that could just say the
5:23:32vocals strong and powerful cuz at the
5:23:35moment it's a bit ghostly
5:23:38be though
5:23:46man. Massive. [music]
5:23:53[music]
5:24:25This bit sounds great.
5:24:28The mix has come together so much here.
5:24:30Like compared to how it first was when
5:24:32you brought this track. I mean, this is
5:24:34sounding really tight.
5:24:58>> [music]
5:25:07>> There you go. There you go. I think the
5:25:09most cool thing we did was this really
5:25:22>> [music]
5:25:31>> Yeah, that's cool. [clears throat]
5:25:32That's massive. That's really cool. You
5:25:35going to be okay to reconstruct that?
5:25:38>> Yeah. Um, does that work okay musically
5:25:41having that that first section of the
5:25:43drop being only eight bars before it
5:25:44kind of leads into the
5:25:46or
5:25:47>> No, I mean it does work does work
5:25:48musically. I mean, as I said, a lot of
5:25:51the time it would be 16, but I mean if
5:25:53you do 16, which you could
5:25:56>> then um well, you can try try eight and
5:25:5916. This is one of the two. If you do
5:26:0216, what's going to happen is
5:26:09I suppose we can do that.
5:26:17If you do 16, you're going to just need
5:26:19to make make it more of a transition.
5:26:20You're going to need to do something to
5:26:22change that.
5:26:24[music]
5:26:32>> [music]
5:26:40[music]
5:26:44>> you know, just something to I don't
5:26:46know, make it change.
5:26:48>> I think I like the eight better.
5:26:50>> You like the eight? Yeah, exactly. The
5:26:52eight's just quick and short and sweet
5:26:54and we've had it here. So in in the end
5:26:57you've heard it for 16.
5:26:59>> Yeah.
5:27:00>> You know
5:27:01>> it gives you that moment but then you
5:27:03get you get into the that's the thing
5:27:05the big acid line.
5:27:06>> That's it. Yeah. Cuz it was like and in
5:27:08a way I mean if you did have the acid
5:27:10line there maybe it makes sense coming
5:27:12in quickly because we left it there. I
5:27:14mean that's something for you to just
5:27:16have in your mind. It would be
5:27:18unorthodox, I think, for me to have that
5:27:20there, but considering actually that
5:27:23flows quite nicely. Maybe it is. You
5:27:26have the acid line there, tease it by
5:27:29having it stop just for eight bars and
5:27:31then have it fading in and coming
5:27:33straight back in. I mean,
5:27:35>> it does work.
5:27:43[music]
5:27:44>> It works.
5:27:46Try both.
5:27:48>> Okay. [music]
5:27:52>> I mean, look, if you're going to have it
5:27:54there, though, I would I would have a
5:27:55fill without it, probably.
5:27:58>> Okay.
5:27:59>> Yeah.
5:28:03But massive,
5:28:04[music]
5:28:07>> you definitely can't have it in the fill
5:28:09because it's going to then sound empty.
5:28:11Why is it not there when it's coming?
5:28:14[music]
5:28:23>> [music]
5:28:27>> How perfect like that.
5:28:29>> Yeah, that's that's just fresh. It just
5:28:33it it's not doing it's delivered the
5:28:35payload and it's now off off and on to
5:28:39the next thing which is a great acid
5:28:41line. So, I don't think there's any need
5:28:43for any more time there.
5:28:46>> Keep it keep it moving, I think.
5:28:49>> How How am I going to kind of wrap this
5:28:51up for you? Because you're on Ableton,
5:28:53aren't you? Let me
5:28:54>> Yeah.
5:28:55>> You want these or these hat loops and
5:28:57[ __ ]
5:28:59>> Uh, sure. Yeah, I can uh I can add them
5:29:01because I I think I've already bounced
5:29:02my my open hats to audio. So, the the
5:29:05the ping pong delays baked into them.
5:29:09So, I probably just have to add one
5:29:10that's in the center just to give it
5:29:12that center presence.
5:29:16>> But, do you want me to bounce these or
5:29:17do you want to do it your
5:29:19>> uh please? Yeah.
5:29:20>> Yeah. Yeah. Yeah. That's fine. Davey.
5:29:25Davey.
5:29:35>> What's the name of the track? D my
5:29:37brain. Uh, battlecry. Battlecry.
5:29:41Battle of Cry.
5:29:48Right.
5:29:52Battle croy. Battle croy.
5:29:56Uh, 161.
5:30:14David, that's
5:30:17David.
5:30:32I should put the the track over some
5:30:34Braveheart clips and
5:30:36>> Absolutely.
5:30:38I mean, come on. It's perfect for that,
5:30:41isn't it? Bring back Braveheart. My god.
5:30:46Well, I mean, yeah, that um Lord of the
5:30:49Rings has some great sequences like
5:30:51that.
5:30:52>> I posted one of my tracks on top of Lord
5:30:54of the Rings because I just that's I
5:30:56made it for that Helm's dope kind of
5:30:58vibe.
5:31:00>> Yeah, I've heard that one. It's It's
5:31:01good. I like it.
5:31:02>> Oh, yeah.
5:31:04>> Yeah. [music]
5:31:05>> Sorry, that was that was um I labeled
5:31:08that wrong. That was hat 162
5:31:12too.
5:31:14>> Plus the the the singer on in there. I
5:31:17What's her name? Enya, I think she's
5:31:19amazing.
5:31:20>> The singer on Lord of the Rings.
5:31:22>> Yeah. That does a lot of the Lord of the
5:31:23Rings.
5:31:25Oh,
5:31:25>> incred incredible Enya. Yeah, exactly.
5:31:28>> Yeah, she's got a great voice.
5:31:29>> Incredible singer. Oh my god. Yeah.
5:31:32Incredible.
5:31:35I mean, that's really At one point I I
5:31:37just I wanted to make just cinematic
5:31:41side trance that was like you're
5:31:42watching a Hollywood movie, but it was
5:31:44side trance
5:31:45>> with all that vocals and stuff. I kind
5:31:47of got sidetracked with
5:31:50doing other things. Um
5:31:54>> the holy woody.
5:31:56>> The holy what?
5:31:57>> The holy woody.
5:31:59The holy hoodie.
5:32:01>> Voodoo. Hoodie. The voody. Yeah.
5:32:04>> Holy voody.
5:32:06Holy voody. Sorry. Yeah.
5:32:09>> Oh dear. Um
5:32:11>> Dave, are you in the 2448?
5:32:15>> Uh we do uh 48.96. So uh we work two
5:32:18days and then you get four days off
5:32:20typically, but I'm on a 4 day stretch
5:32:23right now.
5:32:24>> Jesus. [clears throat]
5:32:27It's uh pretty common for people and
5:32:30firefighters to work a lot of overtime.
5:32:31Like I usually work a thousand hours of
5:32:33overtime a year.
5:32:35>> Jesus Christ.
5:32:37They are lucky with you guys.
5:32:40[laughter]
5:32:40>> Yeah.
5:32:41>> Big up.
5:32:42>> You say they wouldn't get that much
5:32:43overtime in Hungary, would they?
5:32:46>> Well, it depends on the job. You can
5:32:49have 4,000 hours a two years to
5:32:52>> afford to live in California. You have
5:32:54to
5:32:55>> Yeah. Right. Right.
5:32:57Yeah.
5:33:00>> Right. So, it was it was actually in
5:33:02terms of the things that needed to be
5:33:04bounced, it wasn't much. It was the two
5:33:06hats, the hat offbeat and just that
5:33:08Viking sound that I put in.
5:33:09>> So, that that was good. Now, I'm going
5:33:11to bounce the track.
5:33:18>> Can you believe that? O another month.
5:33:21Another month is coming to an end. Just
5:33:25like that, isn't it? It's been It's a
5:33:27good one though, this month. I really do
5:33:29like this.
5:33:30>> Yeah,
5:33:31>> I've had a good time. Um,
5:33:35>> yeah, thank you so much, Joe. All the
5:33:36suggestions you've had are have really
5:33:38I'm learning a lot in a very short
5:33:40period of time and really happy with the
5:33:43direction that everything's going and
5:33:45and the community and and these guys in
5:33:47here are great. Everybody's great,
5:33:50>> mate. Thank you so much.
5:33:51>> You're building something very valuable.
5:33:53That's so great to hear that. That's um
5:33:55that's really music to my ears. If it's
5:33:58if you're enjoying it, you're enjoying
5:34:00your process. That's what I want for
5:34:02people to enjoy their process and to be
5:34:05able to,
5:34:06>> you know, push their music and make make
5:34:08the music they've got in their heads,
5:34:10>> you know? So, if that's happening in
5:34:11some small way, then that's fantastic,
5:34:13mate. I'm super happy to hear that. I
5:34:16can't believe you do it at the price
5:34:17that you do too because you could
5:34:18probably charge 10 times what you do and
5:34:20still
5:34:21>> well I mean no one's no one's particular
5:34:23I don't no one's particularly joining
5:34:25much so I don't you know I don't know if
5:34:27it's maybe underpriced I mean we had
5:34:31Shah Hin talking about
5:34:33>> um [snorts] Morsy was he was giving him
5:34:35100 a month last year but I can't
5:34:37imagine he's getting
5:34:39>> what we're doing here that kind of level
5:34:41of personal attention on the track
5:34:43writing the track with the you know So
5:34:45>> yeah,
5:34:45>> I don't know what's not connecting with
5:34:48the with the people cuz my friend is
5:34:50running like mega. I mean the amount of
5:34:53ads I'm recording it's, you know, it's
5:34:55there's a lot like there's a lot of ads
5:34:57going out. Thank god I don't see them,
5:34:59but I mean I'm recording all content for
5:35:01them all the time. But
5:35:02>> yeah,
5:35:03>> the numbers don't seem to be going they
5:35:05seem to be they've actually gone down.
5:35:07Um, so I don't know what is um,
5:35:11>> we should make some testimonials
5:35:13>> that that he did ask me actually if I
5:35:15could ask
5:35:16>> a good idea. He asked me if I could ask
5:35:18a couple of you to do a video
5:35:19testimonial just just something short
5:35:22and honest because he said that would
5:35:25help because what what he has been what
5:35:27my partner's been doing also is that
5:35:29blueprint document
5:35:31he's been also he's been selling that as
5:35:35a way of getting people into the
5:35:37ecosystem so that they can come into the
5:35:39community and get exposed to it like
5:35:40later
5:35:42>> um because they can get an email about
5:35:44it. Um, so I'd like to start, you know,
5:35:48seeing if some of those people that are
5:35:50already kind of in the ecosystem because
5:35:52they bought the blueprint would like to
5:35:54join the community. And he said a good
5:35:55way to do that would be we can email
5:35:58them a little testimonial video. He just
5:36:00said that would that would be a real
5:36:01help. But I didn't actually ask anyone
5:36:04yet. But if any of you would be kind
5:36:06enough to do a short little video, it
5:36:09would help because, you know, I need it
5:36:11to not go keep going down, you know,
5:36:14because
5:36:15>> yeah,
5:36:16>> um it has it has to sustain itself, you
5:36:19know, we're kind of on the edge at the
5:36:20moment. If it it was going up and up and
5:36:22up and that was great, but it's going
5:36:24down and down and down. [laughter] I
5:36:25don't know why, but we're having a great
5:36:27time. I think honestly if people could
5:36:30get a a glimpse of what we're doing in
5:36:32here. I mean everyone that's in here is
5:36:34having a great time. We we're all having
5:36:36a good time and I think you know you've
5:36:38what you've just said Davey is you've
5:36:40had some good progress happening and um
5:36:43I don't think you're the
5:36:44>> Do you have do you have a Facebook page
5:36:47for the mentorship or just the community
5:36:50in Facebook?
5:36:52I mean,
5:36:53>> I think we just have I don't I don't
5:36:55think I don't think we have a Facebook
5:36:57page as such
5:36:59>> or an Instagram page.
5:37:01>> I don't [ __ ] up the call with this one,
5:37:02but let's talk tomorrow about this. I
5:37:05can help you out with many things.
5:37:07>> Yeah. Okay. Let's uh let's
5:37:09>> Currently, I'm doing all these things
5:37:11for my clients from the beginning to the
5:37:14end, you know, like from building up a
5:37:16website till the whole social media and
5:37:18doing podcasts and everything for them.
5:37:20So
5:37:21>> yeah. Yeah. Okay. Well, let's have a
5:37:23chat about it. Let's have a chat. I
5:37:24mean, my my my my desire is that it can
5:37:27it can, you know, benefit a lot of
5:37:29people. But we'll just have to see if
5:37:30it's not something people want at the
5:37:32moment, then that's fine. But anyway,
5:37:34I'm really happy that we're making
5:37:35progress. That's the important thing. It
5:37:37doesn't to me, it doesn't matter how
5:37:38many people are in really. I like, you
5:37:40know, some of the perfect amount for me
5:37:42at the moment, but to keep the thing
5:37:44going, it just kind of can't just go
5:37:46down and down and down. But anyway,
5:37:48we're we're good for now. Let's keep
5:37:50going with this. Um, the battle cry.
5:37:52Okay, we've done it. You're
5:37:54>> I hope he will like the vocals daily
5:37:57what I sent today.
5:37:58>> Thank you.
5:37:58>> Oh, so you sent him some
5:38:01>> Yeah. Yeah. Yeah. Yeah. Yeah. I sent him
5:38:03a
5:38:05upload with this version.
5:38:07>> Amazing.
5:38:08Oh, you did some vocals for it.
5:38:11>> Yeah. Yeah. Yeah. But it's like like an
5:38:13old chant, you know? [laughter]
5:38:16>> It's it's really good,
5:38:18>> dude. I mean, I'd be pretty excited if I
5:38:20were you, David. That that sounds like
5:38:22it could be something quite juicy. Um,
5:38:25okay. So, I've put the um But you're an
5:38:27Ableton man, aren't you? So, you don't
5:38:28want the project doesn't have any use
5:38:30for you, does it, Dave?
5:38:32>> Right. Yeah.
5:38:33>> No worries. Dave Battlecry, two high
5:38:36hats, three high hats, the slam. So,
5:38:38really the the juice for you, apart from
5:38:40just obviously those little hats, is all
5:38:42those changes that we've done, isn't it?
5:38:45>> Yes.
5:38:46>> And that's really it. But you're going
5:38:47to refer back to the call, I suppose.
5:38:49And
5:38:50>> yeah,
5:38:51>> you'll hear it in the in the bounce, of
5:38:53course. Let's just check that. Here we
5:38:56go.
5:38:59[music]
5:39:06>> Yeah. Yeah. We got it. We got it. We got
5:39:08it.
5:39:09>> These are the goose fatty acids.
5:39:13>> Excuse me. [laughter] Fatty acids.

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