0:01

Hello inside

0:01

the Mix podcast fans.

0:03

This is Brian Hazard

0:03

of Color Theory.

0:06

I'm a synth pop slash synth

0:06

wave producer from la.

0:10

If you'd like to get to know me a little better, subscribe to email

0:11

[email protected] and I'll

0:15

send you five among best songs. And with that, you're listening

0:17

to the Inside The Mix podcast,

0:20

and here's your host, Mark Matthews.

0:23

Hello and welcome

0:23

to the Inside the Mix podcast.

0:26

I'm Mark Matthews, your

0:26

host, musician, producer, and

0:29

mix and mastering engineer. You've come to the right place

0:31

if you want to know more about

0:33

your favorite synth music

0:33

artists, music, engineering

0:36

and production, songwriting,

0:36

and the music industry.

0:39

I've been writing, producing, mixing, and mastering music for over 15 years.

0:43

And I wanna share what I've learnt with you. Hey folks, and welcome back

0:47

to The Inside The Mix podcast.

0:50

Now, this is the Synth Pals Pub.

0:54

Um, if you are new inside

0:54

the Mix podcast listener,

0:57

welcome and don't forget to

0:57

hit that subscribe button.

0:59

And if you're a returning

0:59

listener, welcome back in

1:02

this Synth Pals Pub episode. I am very excited.

1:06

I say this every time and I do mean it. I'm excited to be joined

1:08

on my guests today.

1:10

We've got Legacy fm, we've

1:10

got I L nine and we've got Sub

1:15

Neon, and we've got Arrow Wolff.

1:18

If you want to join me at

1:18

the synth powers virtual

1:21

pub and feature on the

1:21

podcast, just go to inside

1:24

the mix podcast.podium.com. As this a great opportunity

1:26

to expand your network and

1:29

learn from your peers, this

1:29

is what we're gonna do today.

1:31

And as you can see, if you

1:31

are wish, uh, watching this

1:34

or listening is bonus, every

1:34

session gets Ed as an episode

1:38

of The Inside The Mix podcast. You get more exposure

1:40

for your music. So today we're gonna discuss

1:42

the one thing about music

1:45

production, you know, now that

1:45

you wish you'd know when you

1:47

started out collaboration.

1:52

And we're also gonna look at

1:52

how to grow your audience.

1:55

Okay? And then we're gonna play

1:56

three songs from three of the artists who've joined me today.

1:59

Gentlemen, thank you for joining me today. And how are you all?

2:04

Yeah,

2:04

I'm good. Good. Very

2:06

well, thank you.

2:08

Hopefully not too loud. Good stuff. Awesome.

2:10

I keep my meters

2:14

No, no. You're okay. Tim. I was just gonna say this, um,

2:15

is actually going live in the

2:19

Facebook community group, so I'm

2:19

just seeing if that's happened.

2:23

Um, and it doesn't look,

2:23

no, I think it has.

2:27

I think it has what you

2:28

mean. Facebook's actually working. Wow.

2:32

Well, it's certainly working on YouTube. Excellent.

2:34

Uh, but whether it's working

2:34

in the Facebook community

2:38

group is a different thing. It's, uh, sorry folks,

2:41

I'm just gonna see this.

2:44

This is, this is why

2:44

you, you, you should plan

2:46

these things properly. Start test.

2:48

My video is starting. Let's see if that works. Oh, not gonna spend

2:51

too much time on that. So. Questions.

2:55

The first question for today's

2:55

episode is this, and this comes

2:59

from community group member

2:59

Nick Plain, aka Blockhouse.

3:04

And he asks, what is the

3:04

one thing about music

3:07

production, you know, now

3:07

that you wish you'd known

3:11

when you started out? So I'm gonna repeat the

3:13

question just to give you a

3:15

bit of time to think again. What is the one thing about

3:16

music production, you know,

3:19

now that you'd wished you'd

3:19

known when you started out?

3:23

Um, let's go, Tim, do you wanna

3:23

take the, uh, take this one

3:26

first? I can try. Yeah. Um, uh, I th God this is, this

3:28

is a bit legacy really, cuz

3:34

like, um, I, I, I'm going back

3:34

to when I first started doing

3:39

music production, the one thing

3:39

I wish I'd known was that ADATs

3:43

were absolutely shit and that

3:43

no one should ever buy them

3:47

and that computers were gonna

3:47

become, As amazing as they are

3:51

at doing audio, cuz I bought

3:51

tons of like AAP machines, if

3:56

you know what an AAP machine is,

3:56

sort of eight tracks of digital

3:59

audio in the sort of, you know,

3:59

you can just pile them up so you

4:03

could get 24 track, 32 track,

4:03

like, you know, digital audio.

4:06

And I was running a studio at

4:06

the time and I spent tons of

4:09

money on AAP machines because I

4:09

was convinced the computers were

4:13

still too dicey to do the job. And within about six months,

4:16

half the AAP machines

4:19

had gone wrong and were costing me a fortune. And then I'd had to go

4:21

and buy new light computer

4:26

and all the rest of it. And you know, gradually I

4:26

got rid of all the a DAP

4:28

machines and they just cost

4:28

me an absolute fortune.

4:31

So I think it sort of might

4:31

seem un not very up to date,

4:36

but I think it's that thing

4:36

as sort of like sometimes

4:39

being like sort of, you

4:39

don't want to necessarily

4:42

go with the trends always. It's like, you know, I've got

4:44

a microphone in front of me

4:46

that was an annoyment tlm. Which I've been using

4:48

for the last 20 years,

4:50

30 years or whatever. And it's a great mic and it's

4:51

gonna continue to be a great

4:53

mic, but like it's that sort

4:53

of thing of you never quite

4:56

know when you're about to

4:56

go and waste your money on

4:59

something completely useless.

5:01

Like I bought a Ovation, sort

5:01

of like supernova at one point

5:05

in my life and now I've probably

5:05

got plugins that do the job just

5:08

as well and probably better. And it's, it's

5:10

that sort of thing. You can't really, I don't

5:11

think you can kind of know it.

5:14

It's in retrospect that you

5:14

kind of see it, but like, you

5:18

know, to go like, no, that's

5:18

not a good road to go down.

5:20

That's gonna cost me a fortune. And really actually

5:22

I need to just. Use the tools that I've got and

5:24

learn how to use the tools that

5:28

I've got really, really well. So I think that's really

5:29

the point I'm making.

5:33

Uh, but like, that was an

5:33

example of it, but, you know,

5:35

was the, you, you can't, you're

5:35

bound to make mistakes as well.

5:39

But like, I think that you

5:39

have to kind of, maybe that's

5:41

part of it, is accepting

5:41

that you do make mistakes and

5:44

that's fine and you move on,

5:44

you spend thousands of pounds

5:48

on something utterly useless

5:48

that becomes a sort of, you

5:51

know, stops the fridge dooring. But, you know, it's, um, it's,

5:53

it is, it's one of those sort

5:56

of things like you, you can't

5:56

always get it right in music,

5:59

but like, yeah, I think sort

5:59

of learning to use the tools

6:02

that I've got in front of me

6:02

really well is, is the thing I

6:05

wish I'd kind of cottoned onto

6:05

maybe, uh, some points when

6:09

I was still gear hunting and

6:09

thinking if I have this preamp,

6:13

if I have that, if I have this. And I think that was

6:14

never the answer.

6:16

So there we go.

6:20

Yeah. Nice. Thank you Tim. Yeah, kind of, um, Kind of

6:22

explains or, or it's that idea

6:27

of like, if trying to accumulate

6:27

gear to make something better

6:31

when you haven't really mastered

6:31

what you have in front of

6:33

you, you know, and thinking,

6:33

oh, I can't get this right.

6:36

I'm gonna go and buy something else. Yeah. And I'm gotta buy

6:38

something else, you know? Um, until, until you,

6:40

until you can get it right.

6:44

Um, which doesn't really work. Ada is that light pipe,

6:45

if I remember rightly, is that the small

6:47

Yeah. You now have That's

6:48

quite, very thin. Yeah, that's right.

6:50

Ada Optical comes off in, in

6:50

light pipe and that's still

6:54

used now a lot for, to sort of,

6:54

well, has been used, but like,

6:58

um, you know, just transferring,

6:58

uh, sort of, uh, digital audio.

7:03

Yeah. But like, you know,

7:03

a adapt machines were

7:05

actually VHS style. Um, in fact, you could actually

7:07

use a vhs, but like, and put

7:12

the tape in and it was like a

7:12

sort of eight track DT machine.

7:16

It recorded. Eight tracks of audio on

7:17

a, um, on a, on a tape,

7:22

on a VHS style tape. But you could hook lots

7:23

of machines together.

7:26

So you could have, like, they

7:26

were modulars, so they'd all

7:28

sync with each other, but

7:28

they had like complicated

7:32

transports and things, and

7:32

they would just go wrong.

7:35

, like really easily. And they didn't sound

7:36

that great either. So, you know, and you didn't

7:37

have all the joys of like

7:40

hard disk where you can

7:40

just hop all over the place.

7:43

You know, you, you

7:43

were still on a rewind.

7:46

Fast forward, put

7:46

a locator in play.

7:48

But, so it was, it was, it was a

7:48

long winded job, but I was just

7:52

at that cusp when analog was

7:52

dying and digital was coming in.

7:56

So it was that kind of thing

7:56

where I think people, computers

8:00

weren't quite up to it, that

8:00

sat in the middle, but, you

8:03

know, um, but now thank God we

8:03

don't have to worry about that

8:07

We can do it all on an

8:07

Apple M one or something.

8:10

Yeah. Well you can, you, you have one?

8:12

Yeah. A nice shiny one. . I

8:15

do, I do. It's bigger than you think as.

8:18

I thought it was gonna be quite small. It, it doesn't sound

8:20

are we're still talking about the computer here.

8:22

It's, um, . I was gonna say,

8:22

that could sound quite weird

8:25

cause if you took out a context,

8:29

,

8:29

Legacy FM: so I, I have a follow

8:32

Would you, um, opus, would

8:32

you say that it's a lot easier

8:35

now for just anybody to pick

8:35

up and start making music and

8:38

producing and mixing and all

8:38

that compared to, you know,

8:42

prior to the digital transition? Yeah,

8:44

I, I, I think so. I mean, . I think other

8:45

things are complicated now.

8:49

Like, you know, I mean there

8:49

is a, like, you know, the

8:52

level to which you're expected

8:52

to be able to grasp software

8:55

and grasp all these different

8:55

things and they keep changing

8:57

and you've got a new thing. It's, it is quite

8:59

a speed, isn't it?

9:01

And like new things to be able

9:01

to upload to this and all the,

9:05

all the kind of social media

9:05

and all the kind of things

9:07

that you are expected to be

9:07

able to do has mushroomed,

9:11

you know, all you had to do

9:11

was get something down on

9:13

a tape and go, there we go. You know, sort of thing.

9:15

It was, it was sort of simpler

9:15

at one point in one way, but I

9:19

do think the route in is easier.

9:21

Yeah. Yeah. A lot easier. You know, you can have a laptop

9:22

interface, headphones, bit of

9:27

software and be making music. Yeah. So I guess it is easier.

9:31

Yeah. Making good. Music's never easy though.

9:34

Is it Really?

9:38

Now that's a great question. Uh, great question Mark.

9:42

So it is one I always ask

9:42

when I talk to engineers on

9:45

the podcast who've been in

9:45

the game for quite a while.

9:48

For example, today I was talking

9:48

to, um, Mike Exeter, uh, black

9:51

Sabbath and, and Judas Priest. So he's been, he's been around

9:53

in the industry for a long,

9:55

long time, and I asked him the

9:55

same question about how he got

10:00

into the music industry and

10:00

how he found his feet and cut

10:03

his teeth, and how different

10:03

it is today to do that.

10:07

And it is so, so, so different. I mean, I, I don't have

10:09

the experience of of

10:12

entering the music industry

10:12

back in the nineties, but

10:15

it's so accessible now. But light Tim said there

10:17

is very accessible, but actually creating something

10:19

decent and, uh, that, that,

10:22

that's the, that's the key. That's the key. You can have all the

10:24

technology in front of you.

10:27

You've, you've gotta break through. Yeah. Go on. Tim.

10:29

I guess a lot of other

10:29

people making music at,

10:32

you know, you've gotta

10:32

be at a level or doing

10:34

something better than that. And the level's

10:35

quite high, isn't it?

10:37

People expect quite a lot, I

10:37

suppose, you know, so, um, so

10:41

that's hard as well, you know? Um, but friends

10:45

in high places

10:46

goes a long way. Ah, well, yeah. Yeah.

10:48

That's always helped. Yeah. . , yeah.

10:52

There's

10:53

a lot of, uh, pretty average music out there that gets pretty popular, like, okay.

10:57

Y yeah. Yeah. Not, not to throw

10:58

shade on anybody

10:59

else, but No, that,

10:59

that's always true, isn't it?

11:02

That there's, there's, yeah, and

11:02

there's, there's always people

11:05

that sort of seem to do very

11:05

well and you go like, really?

11:08

Is it because your music's that great? Or is just, yeah, you knew the

11:10

right people and had the right

11:14

connections in the first place. So

11:17

yeah, it does vary. and a, and a fair bit

11:18

of financial backing.

11:21

Mm-hmm. Um, it doesn't, uh,

11:23

it doesn't go miss, it doesn't

11:24

go miss either. I bet you we all had

11:25

unlimited resources.

11:27

We'd all have multiple

11:27

albums out there of

11:30

them. Oh yeah. . Yeah.

11:31

Yeah, exactly. Yep. Yeah. Yeah. Although well, yeah.

11:35

Although you could say in

11:35

argument devil's advocate

11:38

today, if you had all that money, go back to what you said earlier, Timmy, in that

11:40

you'd have all that cash and

11:42

you just end up spending it. Yeah. Spending and

11:43

spending it on shit.

11:46

Shit you don't need. And you just end up with a load

11:47

of stuff on, um, ST's boat.

11:51

I think ST's having a bit of connection. I'll just buy your, hopefully

11:52

you can make it back.

11:55

.

11:55

Tim Benson: I don't even

11:58

Interesting studio. Yeah. Yeah. I think someone's

11:59

done that before. A yacht studio. Yeah.

12:02

Ah, have they? Yeah.

12:04

Well there's, there's a, uh,

12:04

there's a boat in Bristol

12:07

that's been turned into a

12:07

venue, which is uh Oh really?

12:09

The ler. Mm-hmm. Dunno if any of the UK

12:11

contingent here have

12:13

ever been to, uh, What

12:13

have you been to Bristol?

12:16

Uh, yeah. Look at the fact I've,

12:16

I've, I've went, I've been

12:18

there for a couple gigs. Mm-hmm. , it's when you've

12:20

had a few beers. It's quite disorientating, , uh,

12:21

cause it's not quite even.

12:25

And, um, yeah, but good,

12:25

good fun, nonetheless.

12:28

Of course. Great stuff. Uh, thank you. Thanks Tim.

12:30

Go, go on

12:31

Tim. No, I was just gonna say,

12:31

Floyd of course had a, had a barge, didn't they?

12:34

So, um, Dave Gilmore's studio. On On the Thames.

12:37

Yeah. So, yeah, boats. Boats can be a thing.

12:40

Does that still exist? I don't know that honest answer.

12:44

I don't know if he, he still

12:44

does records there or not.

12:46

Yeah. I thought

12:48

about a canal boat. Um, but then again, too narrow.

12:51

I think you end up with

12:51

a lot of, um, standing

12:53

waves and stuff. I think in the canal

12:54

boat. Yeah. It couldn't even put your, not

12:55

wide enough for your speakers.

12:58

Really Narrow stereo image.

13:00

No, no.

13:02

I did toy with the idea. This was when I was, um, when

13:04

I was, when I was at university

13:07

and I said, you're right. Let's think of an inventive

13:08

ways that I could get

13:10

into the industry. Cuz you wanna be, do

13:11

something different. I toyed with a caravan for

13:12

a while and I thought about

13:15

having a caravan studio and

13:15

just like going around as a

13:18

mobile service and I was just

13:18

like all the, like the gear

13:21

I've got in, in a caravan, I,

13:21

I dunno how safe it would be.

13:24

I mean, you could punch a

13:24

hole through a caravan wall.

13:27

So not that I've done that,

13:27

but I'm sure you can.

13:30

Yes, I'm sure you can. . Um, . There you go.

13:34

All the answers. Wanted to test that. Actually no, don't do that.

13:37

then that I'll come back on me. If you did

13:40

that, I could question Random a hole for a car.

13:42

Caravan, musicians

13:42

running around, punching

13:45

holes through caravans. Right?

13:47

Okay. Hmm. Yeah. Is that a facts of the day?

13:50

Yeah. Yeah. ,

13:52

Marc Matthews: you're You can't punch a

13:53

hole for a caravan. . Um, right.

13:59

Uh, go back to the question. Um, cuz I realized we're

14:00

already already caught of

14:02

an hour in this is what I was saying off there is the fact we probably have one

14:05

question. Don't, don't ask me anything. It just takes too long.

14:11

Um, so going

14:11

back to, just to readdress

14:13

what it was, what is the one thing about music production, you know, now that you'd wish

14:15

you'd known when you started?

14:18

And I don't think it really matters how long you've been producing cuz

14:19

we're always learning.

14:22

Um, so let's go what, what about

14:22

yourself, sub Neon, one thing

14:26

about music production, you know, now that you'd wish you'd known right at the beginning.

14:52

Well, right at

14:52

the beginning isn't too

14:54

far , uh, uh, ago in terms

14:54

of, uh, electronic music.

14:59

I started in August.

15:02

Last year, um, I was

15:02

in bands prior to that.

15:05

And I guess, um, one of the

15:05

things that I was, uh, ha

15:09

having to, to teach myself

15:09

is, is patience, really.

15:12

Um, you know, when you, when

15:12

you're singing in a live

15:14

band, it's all really instant. You know, you, you set up, uh,

15:16

and, and you play, you break

15:19

it all down and you go onto

15:19

the next gig and everything.

15:22

Um, but, uh, now, you

15:22

know, I, and I put a lot

15:27

of pressure on myself when

15:27

I'm, when I'm producing.

15:29

Um, and the, the, the first

15:29

couple of mixes that I ever

15:33

produced were dreadful,

15:33

you know, and this is

15:35

before, um, uh, uh, I,

15:35

I've started using Ableton.

15:40

I started using a, a, a

15:40

platform called Acid Pro, uh,

15:44

which is, um, uh, just loops.

15:47

And, uh, I, I hadn't heard

15:47

of an eq, didn't use an

15:50

eq, and it was all just a

15:50

wall to wall mud, you know?

15:53

So, and, and I'd get really

15:53

frustrated about it, but

15:56

actually through the, the

15:56

community that I've, I've,

15:59

um, uh, you know, which is

15:59

one of the best things about

16:02

producing music in, in, in, in

16:02

this time is that, you know,

16:06

you can build friendships and

16:06

critical, critical friends

16:09

more than anything else. I think that, that will give

16:10

you the advice that you need.

16:13

But I'd give myself a real

16:13

kicking, you know, this is

16:16

rubbish, and I, I want it to, I

16:16

know what I, what I, what I want

16:19

it to sound like, but it's just

16:19

not getting there, you know?

16:22

So, um, o over time and over

16:22

many, many, banging my head on,

16:28

on the keyboard thinking, how

16:28

can I get that base to work with

16:31

this other sort of EF effect?

16:33

Um, I've, I've just started to

16:33

give myself a little bit more,

16:38

Breathing space, you know, if

16:38

it's not working now, leave it

16:41

for a bit, come back to it and,

16:41

and, you know, you've got a good

16:44

chance of it, um, with a fresh

16:44

pair of eyes or a fresh pair

16:46

of beers, more importantly, um,

16:46

to, to make it glue together,

16:50

you know, so that, that

16:50

would be my lesson to myself.

16:54

Just, just chill out a bit and,

16:54

and have a better patience.

16:58

You'll get there. Yeah. , Marc Matthews: yeah. Words.

17:00

Words. I think that's exactly that. And I think it's something

17:01

that, yeah, exactly.

17:03

It's something that we've,

17:03

um, mentioned many times

17:06

on the podcast in, in about

17:06

like having, taking time and

17:09

stepping away from a production

17:09

if you, if you're struggling

17:11

with it, and also just not

17:11

being too hard on yourself

17:15

and thinking you've gotta have

17:15

the, the final product there.

17:17

And then, you know, it's,

17:17

um, and as you mentioned

17:20

there, it's, it is great

17:20

that there is such a wealth

17:22

of support and information. So my, uh, the sort of a follow

17:24

up question to what you've

17:26

mentioned there is what, so

17:26

you've, you've started, uh,

17:29

producing sort of last year. You were in a band before.

17:31

Is there a single sort of

17:31

resource or, or something

17:34

that has really helped. Spearhead your

17:36

production process?

17:40

In terms of, in terms

17:40

of quality output, you mean?

17:43

Yeah. I mean, it's really bouncing

17:43

snippets of tracks to people

17:48

that I've, I've made a friendship with, you know? Yeah.

17:51

And, and they, you know, you

17:51

listen to their stuff, you know,

17:53

I'm talking about, um, you know,

17:53

Helsinki, project Clinton, um,

17:58

Russell Nash, you know, the,

17:58

all these guys, they're, they're

18:01

not only are producing first

18:01

rate music, but it's also, um,

18:05

you know, they're more than

18:05

willing to, to pay it forward,

18:08

you know, and, and, and take

18:08

you through some ideas as to

18:12

what you could do to make that

18:12

sound pop a little bit more.

18:15

Russell Nash has spent hours

18:15

with me, uh, bouncing messages

18:19

to and fro saying, reduce that

18:19

that sounds down by two db, and

18:23

see what that does, you know? , have you, have you thought

18:26

about doing some mid side, uh, EQ in there?

18:29

Uh, and at that point I was

18:29

like, what's mid side EQing?

18:32

You know? Uh, so, uh, all the way

18:33

through the process, I've been

18:35

just picking up little bits

18:36

and things. Wonder where Russell got that from? Uh, I,

18:41

I do wonder where he got that. Yes. . It's, it's, it's . It's

18:44

brilliant that you mentioned

18:48

that suddenly on because,

18:48

um, it's great to hear

18:50

you mention those names. Like you got Russell

18:51

Nash, you've got Clint Tone, Helsinki project.

18:54

Uh, I've been trying to

18:54

get Clinton to on this

18:56

show, um, and Helsinki

18:56

project for a, for a while.

18:59

Um, I Lovelin tone stuff and Helsinki Project and Russell's as well.

19:02

Russell, for the audience listening has been on the podcast.

19:04

Good. Tell you what number, but he's been on it. If you wanna have a

19:06

listen to that episode. Um, I'm gonna say

19:08

he's in the twenties.

19:14

. But yeah, it's kind of, it is

19:14

cool to hear that Russell's

19:16

giving yourself advice. Cuz I think, I, I think you

19:17

can attest to this, Tim.

19:20

Yeah. I remember when Russell

19:20

started producing and I

19:22

remember bouncing back and forth with Russell. Yeah.

19:25

And listening to mixes and, and

19:25

offering feedback and stuff.

19:27

So it is really cool that

19:27

he's got on, I mean, he's,

19:30

he's, he, he releases a lot

19:30

of music and he's done a lot.

19:33

So it's really cool to hear that. Dunno

19:35

what you think too. Yeah. No Greek. Yeah. Cuz Russell was, um, Well,

19:37

Russell and I still talk

19:40

quite a lot, um, but like,

19:40

you know, he'll, he'll sort

19:43

of in when he was beginning to

19:43

sort of, I, a sort of similar

19:47

time to me I guess, but like

19:47

in terms of releasing, but

19:50

obviously I've been doing music

19:50

production since the nineties.

19:53

so quite a long time. But like, um, but yeah, no,

19:55

Russell was just spinning

19:58

things back and forth with

19:58

me all the time and like,

20:00

you know, and it's great. I love that. I love that in the community.

20:02

Full stop. I, I spin things back. I'm regularly sending you

20:05

stuff Mark and talking and you

20:08

know, like other producers and

20:08

I mean, yeah, it's a really

20:12

great side of it, isn't it? And being able to do that,

20:13

because we are in the kind

20:16

of point in time where we've

20:16

all into connected all across

20:19

the world is, is crazy. You know, I, I sat on,

20:21

um, uh, what was it on?

20:26

Oh, not on Twitch, on, um,

20:26

oh, that other thing that I

20:30

continually forget about, um,

20:30

that everyone's on, um, Discord.

20:34

Yes. That's the one. Um, yeah, I was on Discord.

20:37

Yeah. Um, with, um, uh, FEX in an

20:37

actual like sort of room where

20:42

he was busy, sort of as it were,

20:42

mixing his stuff and creating

20:46

something, and we were just like

20:46

chatting through it and making

20:48

suggestions and he was changing

20:48

the arrangement as we went.

20:51

And I was like, this is crazy. This could have never happened,

20:53

but like now we can just like,

20:57

have this rapport, you know? It is great.

20:59

So fantastic thing. Mm-hmm.

21:02

It's like being in the studio, being over to look over somebody's

21:04

shoulder and be like, oh,

21:06

that's how you do that, or

21:06

that's how you use that.

21:08

Yeah, that's, yeah. It's,

21:09

it's a wonderful tool. It is wonderful, isn't it? Yeah.

21:14

I, I did, no, you could do that in Discord. I'm gonna have to

21:15

look into that. I didn't realize that

21:17

was a thing. That's basically

21:17

how Legacy FM works. It's one other person and, uh,

21:19

yeah, we're, we're cutting a

21:23

lot of our stuff in Discord. Then we send the files back

21:24

and forth to each other.

21:27

Um, yeah. One of us ends up with all the.

21:29

The stems and does the

21:29

mixing and stuff, but Right.

21:32

Yeah. Almost exclusively

21:33

done in Discord.

21:34

Right. Fantastic. Just for the Audi audience

21:36

listening, thre will be

21:39

on the next synth Powell's

21:39

pub, uh, in February.

21:43

I just like plugged that. Awesome. As would Neon Highway.

21:45

He's gonna be making his way back. Yeah.

21:47

Carl, yes. He's been doing his will tour.

21:50

He's, uh, off on his Jollies. . Yes, he has indeed.

21:56

I

21:56

can't wait to hear the story. Not a musical tour, but it's a,

21:57

you know, , he has been, been,

22:02

been having an amazing journey.

22:06

Yeah, it certainly sounds like it. I think he's, I think

22:07

it's well overdue for him. Any anywho.

22:10

Um, let's move on. So, yeah, just to readjust

22:12

the question again, one thing

22:15

about music production, you know, now that you wish, you know, when you started.

22:18

Uh, what about yourself? Uh, we've got air.

22:21

Ferol Stu.

22:24

Yeah, I think, uh,

22:24

yeah, apologies, uh, for my,

22:27

uh, technology's I had to

22:27

do the quick That's alright.

22:29

Switch on the laptop. So this one seems to be doing better. Uh, yeah, rilliant.

22:33

Yeah. I think similar to Sub Neon,

22:33

I think with, with me, I

22:35

think it's the mixing, um,

22:35

which, which is something

22:38

that I would've liked with known when I first started, you know, using production

22:41

back in 2020 properly.

22:43

Um, seriously. But, uh, yeah, it's, it's like

22:44

using compressors, EQs, uh,

22:49

various different types of EQs. Um, and, and also music theory.

22:54

I think if I went back in

22:54

time, I'd say I give another

22:56

slack and just say, you know,

22:56

brush up on music theory.

22:59

Um, cuz I think that

22:59

helps tremendously.

23:02

You know, you're always referring to things when I'm, um, producing, uh, mixing stuff.

23:06

So, um, yeah, I think

23:06

those have been the two

23:08

main things, mark, to be

23:10

honest with you. Fantastic. Yeah.

23:13

Um, I, I totally agree with that. And I think it's, It's, I,

23:14

what, what I find is, and I've

23:18

had this conversation with

23:18

a few, um, audio engineers

23:22

as well and there's a lot of information out there with regards to mixing and mastering

23:24

and it's trying to find the

23:27

ones or the, what suits you.

23:30

Cuz there's a lot of different flavors with regards to it. And there's more and more

23:32

I find, I dunno about you

23:34

guys when you go on social

23:34

media, there's a lot of, I

23:37

mean, I'm guilty of doing it. I know I put posts out there

23:38

with various production bits

23:40

and pieces, but it's kind of

23:40

like there, there's a wealth

23:43

of information out there. But I think you just, at times

23:44

you need to be a bit careful.

23:47

I think. I don't, are any of you

23:48

on TikTok by any chance?

23:50

I know tit. , uh, we've got a

23:53

few nodding heads. Yeah. Mark.

23:55

I use now one

23:56

thing all the

23:56

time, but Do you ? Yeah.

23:58

And, and Otherly producers. There's like London

23:59

noise or something.

24:02

I don't know. For some reason I'm

24:02

in this UK group. Uh, I can't seem to find any

24:04

American synth way of ours.

24:07

Wow. But go where the quality

24:08

is . I do follow a lot of

24:12

those tips and that's kind

24:12

of how I'm learning just

24:14

on the fly as I'm mixing. And it's, it's been tremendous.

24:17

I really appreciate it.

24:18

Yeah. Yeah. There's, there's a lot of, um,

24:20

cuz I kind of flick between

24:23

Instagram and TikTok, but what

24:23

I'm noticing a lot on TikTok

24:25

now is there's a, there's

24:25

a, you probably, you could

24:27

probably find it, there's a thing where there's like an incoming stitch and it's just

24:29

audio engineers calling each

24:32

other out and everything. It's nuts if you, if

24:33

you go, if you dig far

24:36

enough, you'll see it and. , they're stitching cuz you can

24:38

stitch other videos and then

24:40

they'll just call each other out

24:40

and say, no, that's not right.

24:42

And it, it's getting a bit wild west out. Right.

24:44

It's, I'm waiting

24:44

for someone to Yeah.

24:47

I'm waiting for someone to,

24:47

uh, find one of my old ones and

24:50

be like, no, that's not right. Well, yeah.

24:52

Um, but I think that goes back

24:52

to what I said earlier about

24:55

like, finding information

24:55

with regards to mixing

24:57

production and stuff online. Um,

25:00

yeah, I, I go

25:00

out and seek information on

25:02

specific topics usually on

25:02

YouTube or, or like a forum.

25:06

But then I love the ones

25:06

that just hit me in my

25:09

feed on Instagram where

25:09

it's not something I'm

25:11

looking for, but then I go

25:11

try it and like, oh wow.

25:13

And then you just go

25:13

down a rabbit hole.

25:15

You're trying new things. Yeah. And kind of changes

25:16

your game up. So sometimes it's the info

25:18

you're not even looking for that, that stands.

25:23

, Marc Matthews: do you have, got like a saved folder and

25:24

it's just full of music,

25:27

production tech that I

25:27

should really go through.

25:30

Um, and I will at some

25:30

point by like, like you,

25:34

it'll just come up and I'll be like, oh, I like that. I like that, I like that.

25:37

And then at some point I

25:37

should really go through it.

25:39

Um, I'm probably not the

25:39

only person who does that.

25:41

It's got a whole saved fold of

25:41

music production techniques.

25:45

I was

25:45

thinking it's, it's also sometimes it's the simple stuff like, uh,

25:46

grouping tracks, you know,

25:50

and, and, and things like that. That's, I mean, I think, um,

25:50

uh, you had, you had a guest

25:54

on one of your, your podcast

25:54

Mark, and he, he was suggested

25:57

in really simple things. Um, my favorite thing

25:58

tracks and things like that.

26:00

Oh,

26:00

yes. Yeah. Yeah. It's, it's some of that

26:02

stuff that, uh, I

26:02

think is useful to the, uh, to

26:05

the body. You music producer. Yeah, most definitely.

26:09

Just look because it just

26:09

makes your work a lot easier.

26:11

I think going back to whats Neon

26:11

said earlier about how, um, your

26:16

first few productions you can

26:16

get, You can almost get deterred

26:20

by the quality, but you've

26:20

got persevere beyond that.

26:23

But if you've got things in

26:23

place to make it easier for you,

26:25

like favoring your favorite use,

26:25

favorite a lot there, starring

26:30

your favorite patches, or

26:30

creating those templates just to

26:33

kickstart your songwriting, it

26:33

just, it removes those barriers

26:37

that would otherwise potentially

26:37

stop you from doing it and,

26:40

and kill that motivation. Fantastic stuff.

26:42

Well, how were we now? Whoa, 25 minutes. Um, this is it all

26:44

on one question. Uh, let's go with Legacy

26:46

fm then Final one.

26:49

Uh, what is the one thing about

26:49

music production, you know,

26:51

now that you wished you'd know

26:51

when you started Legacy fm?

26:55

Don't

26:55

pay for AI Mastering.

26:59

Aye. Aye. Yay. Um, , I, I dare you

27:00

mentioned the platform.

27:04

Oh gosh, what was it called? I can't remember.

27:08

No, it just turned

27:08

out like crap.

27:11

and I, I hit my wasted like 80

27:11

bucks and then I just did my

27:14

own Dirty Master and put it out

27:16

anyways. 80 pounds, what?

27:18

80 pounds for an online master? That's, that's for

27:20

like three or four. Oh, okay.

27:23

Okay. Yeah, it's uh, it's interesting

27:24

you mentioned that cuz uh, as

27:27

I mentioned off air, I do block

27:27

bookings and I was talking to a

27:29

mastering engineer on, on the,

27:29

on the podcast earlier that's

27:32

gonna come out in a few weeks. And he mentioned AI

27:33

mastering off air.

27:35

We forgot, we didn't get

27:35

round to mention it in the

27:38

actual episode, but he said

27:38

that he's, like, one of his

27:40

things he said was, um, tips

27:40

is stay away from AI Mastery.

27:44

I'm sure you can get some good results from it. This is, but um,

27:46

yeah, yeah, you can,

27:48

that'd be interesting. You have to have a good mix

27:49

and a good reference tracks

27:53

and good, there's a way to

27:53

do it, but I'm not trying

27:56

to learn how to do the AI

27:57

mastery. Yeah. Are you, I was gonna play

27:57

devil's advocate there and

28:00

say, has anyone experienced

28:00

a, a good how to Good.

28:02

Had a good experience? Well,

28:03

I use Cloud Bounds, John, Tim. Um, I don't, uh, I mean,

28:05

I've sort of got Ozone 10.

28:08

I do all my own mastering a

28:08

lot of the time, but say I

28:11

just sort of wanted to sort of

28:11

put something out quickly or

28:13

whatever, like just, um, you

28:13

know, I've just finished a mix.

28:16

I just want to kind of

28:16

just like, sort of send

28:19

it over or something. I, I find. Cloud bounce is quite

28:20

useful, but I actually used it for Miami Nights.

28:23

My, my debut track cuz I was

28:23

trying some different things

28:27

and I had, I've got the kind of,

28:27

um, version on my desktop where

28:31

I can use it as much as I want. It doesn't cost me anything.

28:33

I kind have got that on some

28:33

plugin boutique deal for

28:37

some stupid amount of money

28:37

for a lifetime membership

28:40

for $60 or something. So I don't, it never

28:42

costs me to use it at all.

28:44

And so I can try as many

28:44

things as I want on as

28:47

many variants and changes. So in that sense, uh, you

28:49

know, I can give it different

28:53

references, all the rest of it. So I've got nothing to lose.

28:56

If I o put a track in there and

28:56

I try these things out, if it

28:59

comes out good, then it comes

28:59

out good cuz good is good as far

29:02

as, it doesn't matter whether it

29:02

went through AI or it went to.

29:06

A guy like Abbey Road, if it

29:06

sounds good, it sounds good.

29:09

So, um, but like, you know,

29:09

I mean, I've been loving

29:13

Ozone 10 recently, which

29:13

I've been using a lot.

29:15

Um, I used to do a lot of

29:15

mastering, like a lot of

29:18

mastering of albums and all

29:18

kinds of things using all of the

29:20

individual stuff from my studio. But the end of the day,

29:22

sometimes I find that one of

29:26

the things that's great with

29:26

potentially using AI or Ozone or

29:29

something like that, something

29:29

al like a in the box solution,

29:32

sort of one, one kind of,

29:32

uh, you know, sort of plugin

29:37

solution or something like

29:37

that is that you do actually

29:40

hear the results and then you

29:40

go back and tweak the mix.

29:43

And I think the mix is where

29:43

it all really, really lies.

29:46

As you, you said, legacy,

29:46

if you get a really good

29:50

mix, . But then if you put

29:50

it through your mastering and

29:53

it's not coming out right,

29:53

you can go back to your mix,

29:56

change your mix, adapt it. But if you were paying for that

29:57

on every single one, that would

30:00

start to notch up very quickly.

30:03

And so I can see that's

30:03

really where, and a mastering

30:07

engineer's gonna be a lot more

30:07

useful in that, that scenario.

30:10

I mean, um, but getting

30:10

your mix right is definitely

30:14

number one to getting a good,

30:14

good, good result anyway.

30:17

But, you know, I mean, we

30:17

all know that, but it's,

30:19

um, it, it's hard, isn't it?

30:22

I have yet to figure

30:22

out how to get the mix right.

30:24

So I'm, I'm still working on

30:26

that. Well, you know, it's fun though.

30:28

Yeah. I

30:30

getting a mix right is key as you mentioned that.

30:32

And I think. Those platforms.

30:35

I used them in a similar

30:35

way to what Tim said there.

30:37

Um, not the paid ones. Like if you've got an ai, um,

30:38

ozone had one for a while.

30:42

It was like a beta program

30:42

whereby you could upload and

30:44

it would do a master for you. And I was using that just

30:45

to, to put demos out or just

30:49

to get an idea of what it

30:49

might sound like mastered or

30:51

what I'm, what aiming for. Yeah, yeah.

30:54

Something like that, you

30:54

know, and that I would

30:56

use it in that respect. My, my a question off

30:57

the back of mastering.

30:59

This is an, an interesting one. Do you all do now?

31:02

I do. Do you all do separate sessions

31:03

for your mastering or do you

31:06

do it on your master bus?

31:10

Ooh, I don't know what that means. Oh, that's an interesting

31:13

master master

31:13

bus . You've got master bus.

31:17

Mm. Uh, so basically, um, yeah,

31:17

I, I use the master bus.

31:20

Master bus. So basically it is, it is

31:21

rendering or bouncing a mix and

31:24

then importing it into another

31:24

d a w or the same one, but a

31:27

separate session to master it. Yeah. Rather than doing it in

31:29

the same mix session.

31:32

I got a sort of

31:32

in between answer to that.

31:34

Yeah. Because I u I use a lot of

31:36

like, um, you know, stuff

31:41

on my own master bus anyway. Um, I mean, I essentially could

31:43

just lobb it out and go there.

31:47

It's mastered, but I tend to have everything sort of on there.

31:50

Then I'll actually get to the

31:50

final stage and output a mix

31:53

at minus 60 B and take it in

31:53

and master it before I, so I

31:58

do have a separate mastering

31:58

stage, but it's almost like I'm

32:01

listening through, you know, a

32:01

a, um, an SSL bus compressor,

32:05

which I know you use Mark. And then I'll have an L three

32:06

on the end and I'll have all

32:10

of these things together. So I've got a pretty

32:12

close to master kind of

32:16

level that I'm listening

32:16

to at the end of it all.

32:19

But then I'll drop it down by

32:19

60 B, output it, take off the

32:23

limit, drop it down to 60 B,

32:23

output it, and then master it.

32:27

So, yeah. Yeah.

32:30

I do do a sep

32:30

So are you mix, you're mixing

32:33

into your sort of mixing

32:33

into the mastering chain now?

32:36

Yeah, I am. Yeah. Sort of. Yeah. Sort of. Yeah.

32:38

Yeah. But the, the, the limiter

32:38

isn't really pushed, it's

32:41

just like sort of catching

32:41

anything at the top, you know?

32:45

Yeah. But I

32:46

am, it's interesting that you mentioned waves there.

32:48

Um, I, I, I dunno if

32:48

you're all Waves user.

32:51

I know you are Tim, but I've

32:51

upgraded and I have to, this,

32:54

this is going off topic now and

32:54

this is, uh, a bug bear of mine.

32:57

But now because I've upgraded, I've gotta go to version 14 with my plug-ins.

33:01

I have to pay again to do it.

33:04

And that, uh, that is not right.

33:07

Horrible. I'm not taking out a Waves update plan. This is my, this is my grip.

33:11

I'm gonna do this on air

33:11

now with waves, right?

33:13

That I've paid for these plugins. I've gotta pay again.

33:17

whereas every other platform

33:17

I I upgraded pigments, no,

33:21

no additional payment or

33:21

anything along those lines

33:23

with Arturia Slate Digital,

33:23

nothing with those plug-in

33:25

Alliance, but waves, I've

33:25

gotta pay 70 old quid to have

33:29

them my upgraded plug-ins

33:29

just so I can use them again.

33:31

Yeah. And unfortunately the, the SSL

33:32

bus compressor is my go-to,

33:35

so I'm gonna have to do it. The only

33:36

thing I'll say in their have a grumble lot and their defense

33:38

is that the plug-ins

33:41

are really, really good. A lot of them, not all of

33:42

them, some of them I really

33:44

don't like, but a lot of

33:44

them are really good for the

33:47

money in the first place. I think when you get them

33:49

on their sales or whatever,

33:52

which they've always got on,

33:52

they're like one of these

33:54

places that has always got

33:54

a sale on, aren't they?

33:56

But like, you know, but for

33:56

$30 or 30 quid or whatever,

34:01

I think that a lot of the

34:01

gear they sell is very good.

34:04

So if you did have to pay

34:04

again, it's not too terrible.

34:08

But whereas like U A D for

34:08

instance, who I use a lot,

34:11

like, you know, just one of

34:11

their plugins will cost you two,

34:14

300 quid for a compressor or

34:14

something, and you'd be like,

34:18

is that really justifiable? You know, I mean, it's a

34:19

little bit of code, you know,

34:23

but that's what they charge. So, What can you say?

34:27

If you get sucked into

34:27

it, you get sucked into.

34:29

They are great plug-ins. Yeah,

34:31

but did anyone pick up the freebie before Christmas?

34:34

I think it's called Little Little tube. Little tube saturation.

34:37

Plug-in. No, that's pretty good. I don't, I don't think

34:38

it's free anymore. Um, well there you go.

34:41

It's very good. I, I recently got the

34:42

Renaissance compressor,

34:44

which is very good. Very good. Very. Yeah. Um, I used that on

34:46

the track recently. It's a very good compressor.

34:49

The Renaissance compressor. I got it. Once again, it was just

34:51

shaded under 30 quid wherever.

34:53

I don't, I'm not sure that is dollars. Um, but that, that's very good.

34:57

I use that on bass and

34:57

vocals, if I remember rightly.

34:59

Yeah, I think there's an

34:59

actual specific one for vocals.

35:02

Here's, here's a, this isn't,

35:02

I'm not trying to sell Wave.

35:04

No, just dog book book. Um, a little known PL plugin

35:05

that nobody seems to really

35:09

like to choose DBX compressor.

35:11

Uh, if you, if you've ever seen

35:11

a bass, bass players used to

35:15

love playing through DBX one

35:15

60 compressors and you see them

35:19

in studios, DBX one 60 s, um,

35:19

and they just became this sort

35:23

of thing that just disappeared

35:23

as all software turns up.

35:26

And nobody, you wouldn't

35:26

see a DBX and then like

35:29

Waves made a version of it. Um, and U a D have made an even

35:31

better version, but I don't

35:35

think they're very popular. I don't think everyone

35:36

goes like, I must have a DBX try it on base.

35:40

Just absolutely magic. It does magic things on base and

35:41

like, um, you know, if you're

35:45

compressing your baseline, try

35:45

DBX one 60 and there's a waves

35:48

version, which is why I say

35:48

it, like, there's only a few

35:51

people that make 'em, but just

35:51

one of those compressors nobody

35:54

thinks you're using, but I don't

35:54

know why, but they do something

35:56

really lovely on a base. So there we go. Yeah.

36:00

Yeah, they're very good compressors. I, uh, I, I went, I had

36:01

a brief time in a studio

36:04

called Modern World in Teri,

36:04

just outside of Bristol.

36:07

And, um, it's for sale

36:07

if anyone's got 500

36:09

grand or it was for sale. And they, uh, they had d yeah,

36:11

they had DBX compressors.

36:15

They had distressors, they had the lot, man. Um, it, it was, it was

36:17

very nice at the time.

36:20

I didn't really know what I was

36:20

doing, so I didn't make, didn't

36:23

really use to their ad to my

36:23

advantage, but there you go.

36:26

Really. Um, so we've got ran, so,

36:28

no, it's a really quick one. This, but that's

36:29

right mate, go ahead. You mentioned that, um, it

36:31

is like, I was like literally

36:34

on online the other day. And some, I was recounting

36:36

the fact that at one point

36:39

I did a session at Genesis's

36:39

Studio for a whole weekend.

36:43

Um, so, um, I was producing

36:43

this guy and I got use of

36:48

Genesis's Studio, the farm

36:48

in, which was amazing.

36:51

So ridiculous, uh, scenario. I was stuck in front of this

36:53

enormous SSL mixing desk.

36:55

We are talking like, I

36:55

think 72 input or something.

36:58

It's absolutely crazy. And, um, uh, uh, halfway

37:00

through the sort of morning,

37:03

the, uh, head engineer who'd

37:03

been sort of there for me

37:05

suddenly went like, Oh, you

37:05

are all right, aren't you?

37:08

You know what you're doing. And just fucked off and left

37:08

me with this sort of enormous

37:12

sort of thing, . And I was

37:12

like, what the hell am I doing?

37:14

But I had to continue

37:14

this session as if I knew,

37:17

and it was quite crazy. But anyway, that was a weekend

37:19

spent there, but I was trying

37:21

to explain to someone what this desk looked like and what the place looked like.

37:25

And so I just looked it up

37:25

online and it turned up on

37:27

eBay because they're literally

37:27

selling the desk and like

37:31

you were saying, like with

37:31

Bristol and the selling.

37:33

Oh wow. Yeah. And I was just like, it was

37:34

just like some crazy amount

37:37

of money, like, you know, I

37:37

dunno, 150, 200,000, you know,

37:41

whatever it was for the desk. And I was just like, yeah,

37:42

I'm not gonna buy that just

37:44

for the kicks and giggles,

37:44

just because I remember it.

37:47

But like, you know, it

37:47

would've been great.

37:49

I, I dunno, I don't think

37:49

it would've fitted in our

37:51

garage somehow, but, you know. Um, but no.

37:54

Yeah. So there we go. It was on eBay

37:56

still is, I think. Hmm.

38:00

. Marc Matthews: Yeah, that's of money to spend on.

38:03

Yeah, that's what I was thinking. Who just goes on

38:04

and go buy it now? . Hundred grand . Yeah.

38:10

Yeah. I might, I might place a

38:10

bid, which will be a lot

38:13

lower than 250 grand. Let's see if you get it for $20.

38:17

Yeah. So

38:19

what I'm gonna do, so with regards to that question, what is the one

38:21

thing about music production? So mine, um, I, I thought

38:23

I'd leave mine till last,

38:26

is, um, you know, now that

38:26

you wish, you know, when you

38:28

started and that is balance. Um, I was toying with

38:30

balance and gain staging

38:34

and I went with balance. So when I first started

38:35

out mixing, um, or pro

38:38

well producing and then

38:38

mixing, I would mix as I

38:42

went along, which is fine. And I'd probably do that

38:43

still to some extent.

38:45

But what I do now and what I

38:45

adopted, um, is balance, is

38:49

getting the mix balanced and

38:49

then going in and doing my

38:52

EQ compression, whatever it

38:52

is I may be doing after that.

38:55

He's getting balanced

38:55

first in the mix.

38:58

Um, because I remember when

38:58

I first started mixing and,

39:02

and producing and whatnot, and

39:02

I'd be forever and I'd look at

39:05

toying with the, with the faders

39:05

and I'd look at the faders and

39:08

they'd be all over the shop. And then it would just get

39:09

to the point where it just became unmanageable and wily.

39:13

And then I'd get into binge

39:13

editing and binge binge mixing

39:16

. So for me, the one thing I'd

39:16

wish I'd know more of, and I

39:18

wish somebody had said to me at

39:18

the beginning was, get a balance

39:22

first, get a balanced mix and

39:22

then work off the back of that.

39:25

So that would be, mine

39:25

would be getting balanced.

39:27

And that's include, that includes panning as well? Panning is, well actually,

39:29

and another one, mixing

39:32

in mono, mixing in mono. Now I do a lot of

39:34

my mixing in mono. Ah, that's a good idea.

39:38

Yeah. . Here we go.

39:40

Tim, what, what are your thoughts

39:42

in mono? No, people swear by it. Yeah, yeah, yeah, yeah, yeah.

39:46

Yeah. I've not really done it, got

39:46

into it myself, but a lot

39:48

of people do swear by it.

39:51

Hmm. Yeah,

39:53

I do

39:53

listen to the track

39:53

in, um, in mono, but just

39:56

before I start mastering it, so

39:56

listen to it on, on the site.

39:58

On site and also at

39:58

mono, uh, just to listen

40:02

to the frequencies. But yeah, I don't, I've

40:03

not tried it in the mix

40:04

yet, but it's a good idea. Yeah.

40:07

The, the reason I do it in the

40:07

mix is for me is the easiest way

40:11

that I can find, uh, figure out

40:11

when frequencies are clashing

40:15

and instruments are clashing. Cuz if it's in mono, I mean you

40:16

could do it in stereo as well.

40:19

Um, but I just find for my

40:19

workplace so much easier.

40:22

I probably should have said

40:22

this as my answer to be honest.

40:24

When it's in mono, I can hear

40:24

those conflicting frequencies

40:27

and I can get a better balance. And, um, and also another one

40:28

as well, which I'd known and

40:32

right at the beginning, I'm

40:32

gonna do three now, was, um, not

40:35

to mi to mix at lower volume. Thumbs.

40:38

Yeah. And not because everything

40:38

sounds better when it's loud.

40:41

Mm. mix it lower volume.

40:43

I

40:43

did spend the first 20 years of my life completely disregarding that

40:45

in every way, shape or form.

40:49

That's why I'm partly deaf. I think I just like

40:50

Absolutely blew the, yeah.

40:53

Speakers through the roof. It was great having a studio

40:55

where you could just turn it

40:58

up until four in the morning. Nobody gave a fuck.

41:00

I loved it. Yeah. . Yeah.

41:04

Sorry.

41:05

It's easily done. Yeah, it doesn't,

41:06

doesn't produce that. That dog could slow, slowly

41:07

produce creep doesn't mixes.

41:09

It doesn't. No. I think it's good

41:12

for tracking though. Yeah. I will say that.

41:16

I will say a bit of volume can

41:16

be really good for tracking.

41:19

Hmm.

41:20

Yeah. I think it helps with the vibe. Yeah. I think if you've got

41:21

musicians in the room and it's a quiet track, quietly

41:23

tracking from my experience

41:27

when I've been recording,

41:27

uh, I've had, I've been the

41:30

artist being recorded if it's

41:32

quiet. Yeah. You want to get enough

41:33

to go vibe, don't you?

41:35

Going back to. . Yeah, yeah, yeah, yeah.

41:38

Exactly. And going back to doing it at

41:39

a lower level as well, if you

41:41

are mixing it a lower level, I

41:41

think it, it translate trans,

41:45

obviously, you're gonna, you're gonna, you're gonna pump it at some point to see

41:47

what it sounds like loud, but

41:49

I think it translate better. It translates better, sorry,

41:50

on streaming platforms, if

41:53

you've done it at a lower level. Yeah. Because, um, inherently

41:54

streaming platforms will do

41:59

that to it if it's mastered

41:59

at, to a high level anyway.

42:02

And then if they've done that and your mix doesn't sound good at a low level,

42:04

then your mix is, is done.

42:07

Although that you really, that,

42:07

I mean, this is going down the

42:10

intricacies of mastering names. You pick up that during

42:11

the mastering process. But gentlemen, I realize

42:13

40 minutes in now and we've

42:16

got some music to play, so

42:16

I don't wanna lose time.

42:19

Um, so we're gonna, we're gonna, uh, we're gonna play some music now.

42:22

This is, this is a new

42:22

feature I brought in at the,

42:25

uh, the, the 12 days of sys.

42:27

And, uh, it went quite well. One, one thing we did realize

42:30

is that when the music's

42:33

playing, it's quite awkward. Everyone's just sat

42:34

looking at the screen. Um, which is, which is quite

42:36

odd, but Yeah, yeah, exactly.

42:39

No one really knew what to do. We can dance. Yeah, you can do Feel free,

42:42

if you're watching this on YouTube, you, um, you might

42:44

see some individuals dancing.

42:47

You'll also, I, I forgot to mention this, but Sub Neon has, is, uh, it has a

42:49

t-shirt that says Sub Neon.

42:51

Yeah, it's great. I'm, I liking the, a

42:52

lot bit of promo there.

42:55

It's a great idea. , it's

42:57

a great idea. It's a, it's a, it's

42:58

a world exclusive. Yeah. There, there is literally

43:00

only one in existence and,

43:02

um, I can't imagine any,

43:02

anyone would wanna buy one.

43:06

People are buying R nine T-shirts. I've sold about.

43:09

I've sold. Yeah, I've seen now.

43:12

Yeah. Yeah. I don't own one myself yet.

43:15

I'm too skin , but yeah.

43:18

I must buy one . Mm mm.

43:21

So Tim, are you doing it? Um, by to order them?

43:25

Yeah. Yeah. Uh, so you, because I was

43:25

gonna say, are you gonna bring some to the gig in February?

43:28

I probably will, I'm

43:29

assuming I'll buy some myself actually and bring them to the gig.

43:31

Yeah, yeah, yeah. We'll order some.

43:35

Yeah, yeah, yeah, yeah. I'm looking forward to that. Yeah.

43:37

My might selly one. So, uh, you uk

43:42

UK audience, uh,

43:42

what, what is the date of that?

43:44

It's 25th of February. I'm gonna, I'm gonna be

43:46

popping along to that. Excellent, excellent.

43:50

And it is, it's in

43:50

Bristol Bristol, isn't it?

43:53

It's, yeah. 2020 fifth of 25th of February.

43:56

Yeah. It's gonna be a really good

43:56

day I think, cuz it's, you

43:59

know, that in the, that in

43:59

the afternoon and then it's

44:02

going on to Sunset Boulevard

44:02

at, um, in the evening.

44:06

So it's gonna be, um, yeah,

44:06

no dusk waves followed by

44:10

Sunset Boulevard loads and

44:10

loads of different synth

44:13

wave acts all live good. Yeah.

44:17

At the, at the, yeah, that's, it makes Bristol sound very nice.

44:21

Um, sunset

44:22

Boulevard. Yeah, yeah, yeah. I mean, Bristol and Sunset

44:23

Boulevard aren't really

44:25

connected, are they? Other than that, you know, ,

44:30

Marc Matthews: but yeah, I, I

44:32

It's a fantastic city. Um, but yeah, sunset

44:34

Boulevard, . Um, so let's go

44:38

with, uh, sub, and if we play

44:38

yours first, , just describe

44:41

me that I love Bristol. I'm not, I'm not, I'm not

44:42

Slack enough Bristol there.

44:45

Uh, I was born

44:45

there, , uh, sub neon.

44:47

If you, uh, do you wanna

44:47

give us a quick run through

44:49

of your, uh, your tracks? We've got 30 seconds.

44:52

Give a bit bit of background on this track.

44:55

Yeah, well, okay. It's, uh, it's the fourth

44:56

track that I've produced,

44:58

uh, under, under Sub now. And, um, it, it's, it kind

45:00

of follow onto my previous

45:05

release, which was, uh,

45:05

called Step Up, which, um, is

45:09

moving away from what I, I I

45:09

wanted to achieve from, from

45:11

suddenly on to a degree, but I

45:11

quite liked it, so a bit more

45:14

upbeat than my, than I would

45:14

generally, uh, put out there.

45:18

But, um, no, it, it.

45:21

Uh, the, the tracks that I

45:21

produce are very much reflective

45:23

of the mood that I have at, at

45:23

that particular moment in time.

45:26

So, um, you know, uh, after

45:26

coming out of some pretty tough

45:30

times, things were looking up

45:30

with new jobs and, and, you

45:33

know, family stuff getting

45:33

resolved and all the rest of it.

45:36

So I, I wanted to produce

45:36

something that, um, would

45:40

get, give me a sort of a

45:40

thumping beat and a fat base

45:44

and something to nod along

45:44

to as I drive down the road.

45:47

So, um, uh, and I, I put the,

45:47

uh, a snippet of the track

45:52

out on Instagram, cause I

45:52

couldn't think of a name.

45:55

Uh, and half a dozen

45:55

to a dozen people just,

45:57

uh, uh, picked glow. Uh, so, and, and it seemed

45:59

to fit quite nicely with the,

46:02

with the vibe of the track. So, so yeah, I'm really

46:03

pleased with this one.

46:07

Yeah. Brilliant stuff. Have you got a release

46:08

date for it yet?

46:11

Uh, it will be when

46:11

you finish mastering it, mark

46:15

, Tim Benson: that Yeah.

46:20

. Yeah.

46:20

Fantastic stuff, right? . Let's play, let's play.

46:23

Uh, so this is Glow Fantastic stuff.

46:56

I like that you had a little fade there at the end. That was, that was great.

46:59

That reminds me, um, of um, a

46:59

lot of, of clin tone actually.

47:03

Yeah. It's interesting you mentioned that you've been bouncing ideas back and forth with clin tone.

47:06

Yeah, cuz um, it reminds me of,

47:06

of, um, there's, I can hear the,

47:10

the subtleties of clin tone in

47:10

there and I see Tim nodding lot.

47:13

Tim,

47:14

I quite like that

47:14

sort of thing cuz it's got that.

47:17

Uh, well a bit like C clone,

47:17

the sort of like, and when

47:19

you mention it, it's, it's

47:19

sort of synth wave vibe, but

47:23

a sort of slightly more club

47:23

EDM kind of tinge to it.

47:28

Mm-hmm. But it's not that, it's

47:28

not straightforward, you

47:30

know, I mean, and I'd say

47:30

the same with clin tone.

47:33

It's definitely sort

47:33

of synth wave retro

47:36

kind of vibe in there. But, uh, but at the same, a more

47:37

dance sort of floor version of

47:41

it, which gives quite a lot of

47:41

stuff that I like that really

47:44

sits in that sort of mold. I think. So. Nice.

47:47

Really melodic and, but

47:47

got a good, really as

47:49

you say, thumping groove

47:49

in there, which is good.

47:53

Yeah.

47:55

Yeah. Have a thumping

47:56

groove and I appreciate everyone nodding along and dancing.

47:59

I think I was the only one that wasn't

48:00

so, uh, . It was

48:04

critic. Same song 500 times.

48:06

Mm-hmm. . Yeah, that's, that's exactly it.

48:09

Legacy. But yeah. When you've heard the

48:10

same song so many times. Yeah.

48:12

When somebody plays the music,

48:12

my own music back to me, I'm

48:15

like, no, I don't wanna hear it. Right. Don't wanna hear it. . Yeah.

48:17

Yeah. Um, which probably shouldn't

48:18

do that to be honest. Um, there you go.

48:21

Um, so whil some whilst

48:21

we're talking to yourself

48:23

there, legacy, do you want to give us a bit of a run through of the, the track

48:25

you've, you've sent across?

48:28

Oh, shit. Okay. So this one's called Desire.

48:30

We just put out an album and then I'm just already like, trying to

48:32

do something different. I just got tired of

48:34

hearing those old songs from, uh, dystopian.

48:37

But, uh, yeah,

48:37

different kind of vibe.

48:39

I, I'm into like genre blending,

48:39

so it's a little bit more

48:44

of like a new wave post punk

48:44

mixed with some, some trap

48:47

and, uh, some synthy bass and

48:47

other synth sounds, but yeah.

48:53

Uh, cars, girls, and

48:53

not about sums it up.

48:57

fantastic. Don't

48:58

get wrong trap. . Uh, I'm, I'm sure . Yeah.

49:02

. Trap Wave. Trap Wave, man. Yeah.

49:04

Uh, I, I've been, I've. Uh, who's, somebody sent me a

49:06

song to listen to earlier today.

49:09

I can't remember who it was. Um, but there were elements

49:10

of it in there as well

49:12

with the high hats. And I can certainly hear, I

49:13

haven't, I haven't listened to

49:16

this all the way through, but

49:16

I'm sure there's gonna be more

49:18

and more of that coming through. But let's give it a

49:19

listen before I was, stop me waffling on.

50:02

Speed. She knows what she wants.

50:05

She tastes what she needs. Pulling out the knife.

50:09

Just watch me.

50:12

So that was a bit longer than 30 seconds. I didn't wanna cut it

50:13

halfway through the, uh, the phrasing there.

50:16

So yeah, it's

50:16

definitely like a two different

50:18

songs mashed into one. So there's a, it goes into a

50:20

breakdown where the vibe just

50:22

completely changes and then

50:22

it Oh, circles back to that.

50:26

That

50:26

kind of feel fantastic. Yeah, that's fine. Mm-hmm.

50:29

The vocals, um, is that yourself

50:29

or your, um, collaborator?

50:33

Nope,

50:34

just me trying to figure it out.

50:36

I like that. Yeah. I like Excellent.

50:38

Really good. Any the new wave

50:39

thing you mentioned? Yeah, I can definitely

50:41

hear that in the Yeah.

50:44

Bushes. Nice. So yeah, I really

50:45

like that song.

50:48

Yeah. Very good. Yeah, OHK.

50:51

Your vocal processing. What, what are you, what are

50:52

you, you don't wanna know,

50:54

dude, it's bad . Alright,

50:54

let's, let's go with like

50:57

the, the, the, the, there's

50:57

some sort of, um, modulation

51:00

or something going on there

51:00

is, correct me if I'm wrong.

51:03

I

51:03

mean the, it's

51:03

uh, two maybe, yeah, three or

51:07

four different vocal tracks. So there's some harmonies,

51:08

but yeah, just a little bit of

51:11

reverb and um, I don't know,

51:11

some vocal chain I just found

51:16

on a YouTube video and it's all

51:16

built in, uh, to Ableton, so

51:20

I didn't have to get any extra

51:20

plugins or anything for it.

51:24

So, I don't know. Microphone helps,

51:25

I guess , I have no

51:28

idea. Yeah.

51:31

Yeah, you don't get far without

51:31

one in the vocal department.

51:35

Yeah. Yeah.

51:37

You can have all the equipment you want, but if you haven't got

51:39

a microphone, you're not gonna lay down any vocal.

51:42

Well, well, unless you've got a phone,

51:43

you still I wish I had a better answer. I really have no idea how

51:46

I did it, to be honest. No, that's fine man. That's fine.

51:48

It's, um, I just wing it. It's just intrigued cuz

51:50

it's, it's got an, it kind of, it sits really well

51:51

there because of the, the

51:54

processing that's done on it. It just, it kind of

51:55

suits the aesthetic sound of the song Cool.

51:59

All the

51:59

time. I love it. I didn't hear the trap as

52:00

much as I was thinking. Have you got release date

52:02

or was it already out?

52:04

Eh, it's

52:05

later on. Uh, no, I might just do

52:07

this one as a single.

52:10

Uh, we've got like four or

52:10

five other tracks going for

52:13

a new album, but we started

52:13

off doing two albums without

52:17

really a singles and uh, kind

52:17

of against the flow of what

52:20

people say you should do. Just punch out a bunch

52:22

of singles and promote

52:24

each one of 'em. Uh, but I still don't

52:26

have time for all that.

52:28

So two albums put 'em out and

52:28

I think now we're gonna go this

52:31

single route and maybe do a. .

52:34

Marc Matthews: Cool. I'm just gonna skip on a minute. I kind of wanna hear this trap.

52:37

Um, this goes against my 32nd

52:37

rule that I had, but I, I'm

52:41

intrigued by the, the trap now. I'm

52:48

assuming this is the bit, this is the bit love

53:00

I've seen trap straight.

53:15

Yeah. Are you perform trap.

53:17

When you are creating those,

53:17

those patterns, are you using

53:20

a, um, a sequencer or are

53:20

you triggering them with a,

53:25

with a controller or are you

53:25

drawing them in with a mouse?

53:27

A

53:28

Kai m PK mini

53:28

two or I'll use a, I

53:30

got a roll in drum set. , so Nice.

53:33

Been doing a lot of, uh,

53:33

sound design and, and getting

53:36

kits actually, you know,

53:36

poured it over to that.

53:39

Um, or I'll just draw 'em in. I usually start off playing.

53:43

either on pads or on the on the kit. And then I'll fix it

53:45

up and add more to it.

53:47

It's funny

53:48

cuz I've been

53:48

busy, like love the act guy.

53:50

I've been busy all week,

53:50

like doing the sort of

53:52

opposite, which is translating

53:52

all my tracks that I've

53:55

done for this live show. So I'm busy converting every

53:57

single like sample I've created

54:02

for my drummer who's firing

54:02

them all off off of Roland.

54:05

He's, he's got a sample pad,

54:05

one of their s Spx sample pad

54:09

things, and then he's like sort

54:09

of, so he's loading them all in.

54:13

So it's gonna be exactly, he's

54:13

gonna be playing the tr the,

54:16

the samples from my tracks. But you know, he's actually

54:17

firing them and playing them

54:20

live and it's really weird. I heard the first video

54:21

back, them playing it. He's really great drummer,

54:23

but it's just like, Different

54:27

hearing a real drummer sort of

54:27

playing what you've programmed.

54:30

You know, it's kind of weird, but Yeah. It sounded good. So, yeah.

54:33

But I, I'm so bored of

54:33

exporting drum sounds, . I

54:37

didn't realize I made that

54:37

many drum sounds and like

54:40

all the aeq and a compression

54:40

and effects and then you, you

54:44

want to get them all right. So Yeah, it takes ages.

54:47

Mm-hmm. , it's gotta be a challenge.

54:50

Yeah. Yeah. It's gonna be fun.

54:52

Yeah. I'm looking forward to it, to,

54:52

it's, it's gonna be uh, nice for

54:56

me to, to be the one observing,

54:56

cuz I remember being in a band

54:59

and being the one that was

54:59

almost not looking at me, but

55:02

looking at the band, you know? Yeah. So it's gonna be nice

55:03

to be in the crowd. Well,

55:05

hopefully. So. Yes. And see this, it'll all be fine

55:07

unless some, something horribly

55:12

goes wrong with the technology. I think that's the one

55:13

thing I've always done. Band stuff.

55:16

You know, I haven't really

55:16

had to worry on tech.

55:18

The most that might go wrong

55:18

might be like, you know,

55:21

the drummer had fall off his

55:21

stool or like, you know, at

55:24

the back or like the, you

55:24

know, you break a string

55:26

or like the, the keyboard

55:26

players might have to restart

55:31

his keyboard or something. But, you know, I mean, it was,

55:32

there wasn't all that much to

55:35

go wrong technically speaking,

55:35

but like, this is a trouble when

55:39

you're doing stuff with track. I mean, your, your computer

55:41

goes, damn, something happens like that.

55:43

It's just done, isn't it? It's just like suddenly all your

55:45

music stops and you, you, you're

55:49

left there with someone hitting

55:49

some pads and I'm like a guitar.

55:53

So it could be, it could be

55:53

quite bad news if it goes wrong.

55:57

So yeah, it'd be interesting. Mm-hmm.

56:00

. Yeah. Mic up those

56:02

pants. Yeah. Yeah. Get a 4 21 mic on the pad.

56:05

Yeah.

56:05

Just have the, I'm

56:05

putting my entire trust as a

56:07

backup on the 2012 MacBook. There we go.

56:10

Yeah. That's pretty seat of the pants.

56:15

Good luck. My, I don't have enough

56:16

money for it at all.

56:19

Yeah, I had one of those. Yeah.

56:22

It's got an SSD in it. Mine

56:23

was running on Steam, I think when I got rid of it.

56:25

How? How It, oh, well that was better than mine. Mine didn't have an

56:28

sds

56:28

SD in eight gig in it, so, you know. Yeah. Mm.

56:33

But it still has, um,

56:39

Um, so final,

56:39

final trackers from Aero Wolf.

56:42

Um, do you wanna give us just a bit of a background on this track for us?

56:47

Yeah, sure. Mark. Yeah. Th this was, um, this was a

56:48

track one of, kind of one of

56:50

my earlier, um, tunes called,

56:50

um, photons is the name of it.

56:54

Uh, and, uh, it was a

56:54

collaboration with an

56:57

Italian singer, uh, who, uh,

56:57

funny enough who I met on

56:59

Instagram, um, Anton Martin.

57:02

Um, and, uh, he's kind of

57:02

got that, um, ki kind of

57:07

baritone voice that, uh, is

57:07

kind of synonymous with kind

57:10

of early eighties music. I think it sounds

57:11

quite similar to that. Anyway, so this, this is, it's

57:12

all similar to what Legacy

57:15

was described of his track. It's quite a new wave.

57:18

Um, that was the main inspiration. So kind of mid eighties,

57:20

I think, uh, rather

57:22

than earlier eighties. But, uh, I wanted to do a bit

57:23

of a remix of it, um, just

57:27

putting my producer skills

57:27

to, uh, to good use over the

57:31

sort of two or three years

57:31

of, um, since I first started.

57:34

So, wanted to give it a

57:34

bit of, uh, bit of a oomph,

57:37

uh, bit of punch, and this

57:37

is the kind of result.

57:40

So, um, I'm, I'm quite

57:40

pleased with the outcome.

57:44

Excellent stuff. Right? Without further ado,

58:16

Oh, it reminds me of a band and

58:16

I cannot think of who it is from

58:20

the Yeah, I'm, I'm really loving

58:22

stuff like that right now.

58:23

Yeah. I wanted to make it kind

58:25

of live sounding

58:25

as well, so hopefully it

58:27

comes across like bit. Yeah. And then he, it just

58:29

kicks into with the kind

58:32

of main lead melody after

58:32

that's, that's the chorus.

58:35

But, uh, yeah. I'm quite pleased with

58:36

the outcome with the result, it's come out,

58:39

come out quite well. Mm-hmm. . Yeah.

58:41

I'm trying to think of the band. It, it's certainly got like

58:42

a, a synth eighties synth pop.

58:46

Sort of sound to it,

58:46

uh, which I, I love.

58:49

I could listen to that sort of stuff all day. It's really, really cool.

58:52

Um, how did you, I'm always

58:52

intrigued by vocals because

58:56

I find that vocal mixing is,

58:56

is probably one of the most

58:59

challenging aspects of, of a mix

58:59

and getting the vocals right.

59:02

What have you used to, um, not

59:02

necessarily EQ compression,

59:06

but like create that sort of

59:06

etherealness of the vocal?

59:10

I think I used quite

59:10

a few different, um, elements,

59:13

um, on, on his vocals because

59:13

his vocals were quite raw.

59:17

Um, so I used quite

59:17

a few different, um,

59:20

effects, um, from memory. I mean, I did use a vo

59:21

coder on one of the, um,

59:25

layers of the vocals. Um, as well as o obviously

59:26

the dsr, I use that.

59:31

Um, I use a CLA 76 compressor on

59:31

the vocals and then pan panned,

59:38

you know, one left, one right as

59:38

you, as you would normally do.

59:41

I think I've got that tip from you, mark, maybe one of your videos.

59:43

But, uh, . Yeah. Tried to, tried to make

59:44

it sound a bit, uh, a bit

59:47

more depth to the vocals. Um, I think there were some

59:49

Ableton plugins I used as well.

59:53

Um, I'm trying to think what, which ones are used. Uh, but there, there was a

59:55

few I used, you know, stock

59:57

plugins, um, on the vocals

59:57

just to, just to give it a bit

1:00:01

more room. But, uh, yeah.

1:00:05

So we've got, um, two,

1:00:05

two Ableton users.

1:00:07

Legacy f you said Ableton Sub

1:00:07

Neon are using Ableton as well.

1:00:11

Wow. That's the first time

1:00:12

we've ever been out Guns. Yeah. It's 11.

1:00:14

Yeah. Yeah. Three Ableton users.

1:00:17

I It's Save

1:00:17

Your Cubase. Yeah. I use the only door

1:00:18

worth fusing here. Yeah.

1:00:21

I'm Logic .

1:00:25

Marc Matthews: Oh, yeah, yeah, yeah.

1:00:27

No.

1:00:28

Yeah. Although you use main stage. I know we're having

1:00:29

a chat out main

1:00:31

stage. Yeah, I was trying main

1:00:31

stage, gave up with it.

1:00:33

Gone back to Cubas. Hm. .

1:00:37

Marc Matthews: Yep. But ableton's good

1:00:38

for live, isn't it?

1:00:40

Mm-hmm. , I mean, uh, I dunno if you

1:00:40

guys Ableton use it, if

1:00:42

you've ever used it live or

1:00:42

considered using it live.

1:00:46

Um, I dabbled briefly

1:00:48

got, I've gotta learn how to use it in a studio environment first.

1:00:53

I don't, I don't think

1:00:53

it's gonna work, uh,

1:00:55

taking it out on the road, ,

1:00:57

Tim Benson: to be honest. I goes back to what

1:00:57

SIM says, right? Yeah.

1:01:00

I ended up going back to having,

1:01:00

I tried main stage and I tried,

1:01:04

um, Ableton, uh, like thinking

1:01:04

that I would try those for my

1:01:09

live show, but, I've ended up

1:01:09

going back to Cubase and making

1:01:12

it work for what I want to do

1:01:12

because I know it inside outs

1:01:15

and it's, it's what I know. Yeah.

1:01:17

Stick with what you know and

1:01:17

learn it Well, and, and then

1:01:19

I've worked out ways that I

1:01:19

can do what I want to do in it.

1:01:22

I mean, if you were doing

1:01:22

loop based stuff, like a

1:01:24

lot of people do on Ableton,

1:01:24

it, it wouldn't work.

1:01:27

Really work. It's not really designed for

1:01:28

that, but like, you know, the,

1:01:31

what I'm doing, it's gonna work. So should be all right.

1:01:34

Yeah. Fingers crossed. . Yeah.

1:01:38

. Yeah.

1:01:39

Jens, uh, we, we've come to the hour mark now, so I get we're gonna,

1:01:41

we're gonna wrap it up. It's been great.

1:01:43

So what we're gonna do is I'll, I'll go around to easy of you if you can just, um,

1:01:45

tell our audience where they

1:01:48

can find you online and, um,

1:01:48

I'll put all those links in

1:01:51

the show notes for the episode

1:01:51

so they can, they can find

1:01:54

you and find your music. So I'll, I'll go around

1:01:55

on the screen here. So legacy fm, where can the

1:01:57

audience find you online?

1:02:00

I'm all over the internet. Can't miss me. Uh, no.

1:02:03

So, uh, ,

1:02:04

Marc Matthews: I'll just

1:02:06

the socials. Of course, I usually

1:02:07

only focus on Instagram.

1:02:10

Um, music's on Spotify,

1:02:10

apple Music, all the, all

1:02:14

the streaming services. But yeah.

1:02:16

Yeah, just hit me up on ig. I'm down to collab, whatever.

1:02:21

Fantastic. Excellent. Thank you very much. Uh, sub Neon, uh,

1:02:23

where can we find you? Uh, it's

1:02:27

same as Legacy. I'm on every, every single,

1:02:27

uh, , uh, social media outlet.

1:02:31

There. There is, uh, uh, Spotify

1:02:31

is is my primary, uh, route

1:02:35

to, to the audience I guess. And, uh, Instagram

1:02:37

for, for social media.

1:02:39

So just search

1:02:39

sub neon subor ne.

1:02:42

You'll be about to find it.

1:02:44

Yeah.

1:02:44

Can I can add Legacy

1:02:44

FM vibes is my IG legacy.

1:02:49

FM vibes. Legacy

1:02:49

Fmm. Legacy FM vibes. I assume

1:02:52

we're following each other. Uh, arrow Wolf.

1:02:55

I was about, say, I gave, I gave everyone a follow. Um, today, I think

1:02:57

I was listening to Legacy FM's, um, album.

1:03:00

Very, very good actually. And I like your bio on Spotify.

1:03:03

I might, uh, might think it's two one .

1:03:05

Legacy FM: Nobody's It's a little Easter egg.

1:03:08

Don't, don't ruin it here

1:03:08

though.

1:03:10

Oh, I'm gonna have to let this up. .

1:03:12

Aerowolf: Yeah. Say some of me, all the

1:03:12

usual or the usual places.

1:03:15

If you search up Air

1:03:15

Wolff, uh, music or Air

1:03:18

Wolff, not to be confused

1:03:18

with the gaming, um, aol.

1:03:22

Um, but, uh, yeah. Bang Camp, usual place.

1:03:26

A Wolff music.

1:03:27

Yeah. Pretty much everywhere. . Fantastic.

1:03:31

Thank you very much. E Wolff, uh, legacy. I, I've just, I'm

1:03:33

not gonna spoil it. I just looked it up. It's very good.

1:03:35

I like that. Um, , that's really

1:03:36

good audience listening.

1:03:39

Uh, go check out Legacy

1:03:39

A CFF on Spotify.

1:03:41

Oh, I'm gonna do that. And look at the. and, uh, respond to it.

1:03:44

Mm-hmm. respond to it as well. Let's do it.

1:03:47

And Tim, where, where

1:03:48

can the audience find you? Yeah, online music, um, on

1:03:49

ig, TikTok, uh, YouTube, um,

1:03:54

Facebook, all the rest of it. I'm, I'm an IG person really,

1:03:55

so you're gonna find me there.

1:03:58

And I agree. Spotify's probably my

1:03:59

main sort of streaming

1:04:01

platform and Absolutely.

1:04:03

Um, uh, I just R nine, just

1:04:03

search R nine on Bandcamp, um,

1:04:08

on, um, Twitter, I'm pretty

1:04:08

active, but as well, but like,

1:04:13

um, like, uh, you, you'll find

1:04:13

me, uh, I l nine synth wave.

1:04:18

Actually, I'm, I'm also R

1:04:18

nine Music, but my R nine

1:04:21

synth wave account is much

1:04:21

bigger, so, you know, but

1:04:24

like, essentially, yeah, hit

1:04:24

me up on ig, whatever you want.

1:04:27

I am there probably,

1:04:32

Brilliant. Thank you very much. And as I mentioned at the

1:04:33

beginning, or rather at the beginning of this, this

1:04:35

section, I'll, I'll pull the links in the show notes.

1:04:38

So folks, uh, audience

1:04:38

listening, if you wanna

1:04:40

join myself and others

1:04:40

at the synth Palace Pub,

1:04:43

don't forget and, uh, and

1:04:43

you wanna feature on this,

1:04:45

don't forget, you can go to

1:04:45

www.insidethemixpodcast.podiumpodia.com.

1:04:51

As, um, as you can li

1:04:51

listen from this episode.

1:04:54

It's just a great way to network

1:04:54

chat, to chat to your peers

1:04:56

and learn and share ideas. And every episode gets published

1:04:58

on air, so if you wanna feature

1:05:01

a snippet of a track and we

1:05:01

can have a quick chat about

1:05:04

it on air, if you've got something coming up or you need help with a particular

1:05:06

bit, you can get that featured

1:05:08

in the episode as well. Gentlemen, thank you

1:05:10

very much for this today. It's been great.

1:05:12

It's been a great start to

1:05:12

2023 in the synth Powells

1:05:14

pub and reopening the doors. And, um, thank you very much.

1:05:18

Hi, this is George,

1:05:18

aka Common Noodles.

1:05:21

I'm one of my favorite

1:05:21

episodes of The Inside The

1:05:23

Mix Podcast is episode 42,

1:05:23

featuring year of the fall.

1:05:27

It is amazing to hear about their workflow and how they deal with the

1:05:29

challenge of collaborating in different time zones.

1:05:32

Keep up the amazing work, mark.