0:00

Okay , folks , welcome back to the

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Inside the Mix podcast

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. If you are a new listener or viewer

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new episode or we are live

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, as we are right now on YouTube

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. And also if you're a returning listener , a big

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welcome back , as always

0:24

. So today , this episode

0:26

, rather , is an episode of the producers

0:28

pub , so we have returned after

0:31

a summer break

0:33

. If you're unfamiliar with this format , basically

0:35

I have some guests artists , producers

0:37

with me today and we are going to

0:40

play a 30 second snippet

0:42

of a piece of work of theirs and then

0:44

just talk about it afterwards Before we

0:46

dive into that . If you would like to

0:48

join me and my fellow

0:50

guests if they return , which I hope they

0:52

will on an episode of the producers

0:54

pub , you can click on the link in the episode description

0:57

and sign up . Alternatively , you can head over

0:59

to insidethemixpodcastpodiacom

1:02

or insidethemixpodcast and you can

1:04

get signed up there . So , without

1:06

further ado , I'm just going to check YouTube and

1:09

there's no one there at the moment . That's usually how it starts , but

1:11

hopefully it will increase . We are

1:14

going to start with our first

1:16

song and we actually have a

1:18

joining us from two separate locations

1:20

, but we have both members of Beat

1:22

Bakery and that is our first song

1:24

for today , so take

1:27

it away , mike . Well , what can we expect

1:29

?

1:31

Hi , I'm Classic Mike from Beat Bakery with my co-producer

1:33

and co-founder , hypnotist . Thanks for having us on

1:35

the show . So today we

1:37

have sent you our track boxes featuring

1:40

Michelle , suzanne , and . It's your typical

1:42

house piano , house club banger to

1:45

get everybody up on the dance floor and get everybody raving

1:47

.

1:48

And the song itself is about when

1:50

someone meets . When you meet someone who

1:52

ticks all of the boxes that you

1:55

are seeking in a relationship .

1:58

Very cool , very cool guys . I love the description

2:00

of a club banger . That's always good . Now

2:03

, just for the audience listening . I don't listen to

2:05

these songs . Well , I listened just to the

2:07

beginning , just so I know there's actually audio

2:09

there . So this is always new to me as well . So I haven't

2:11

heard these either . So here , make

2:13

sure I play the right one as well . That would help .

2:15

Here we go ś Open

2:17

my eyes and check my

2:19

phone ś ś

2:22

I can't wait to see your message

2:24

ś ś Every reply

2:26

just goes to show ś ś

2:29

.

2:29

You're not trying to keep me guessing

2:31

. Ś ś . I fell

2:33

so jaded by the games

2:36

ś ś People play . Ś ś

2:38

, oh , oh , oh

2:40

, ś ś . You came along to make me

2:42

feel ś . Some time away

2:45

, you're taking all my boxes

2:48

.

2:48

Taking all my boxes . Where have you been hiding

2:52

all my life ? I'm thinking that

2:54

I got this . Didn't see this plot twist

2:56

. You met me on

2:59

my level . Now I

3:01

can't get you off my mind

3:03

. Get you off my mind

3:05

, my mind Now

3:08

. In the I I . It was a bit longer there , folks

3:10

, than 30 seconds , because I wanted it to get to the

3:12

chorus . I didn't want to stop it abruptly because

3:14

obviously it's that's what we want

3:16

to hear . I could definitely hear the house vibes

3:19

going on in there . You've got that classic house

3:21

bass going on , with that sort of bass

3:23

sound which you'd find on like a Korg M1 , and

3:26

also with the piano as well . You've got those stab

3:28

, stab chords going on there . Really , really

3:30

cool . How did you find your vocalist

3:33

, by the way ? Is that someone that you knew Very

3:35

good vocalist ? Is that someone that you sort of

3:37

? Is that a top liner that you commissioned , maybe on something

3:39

like Vocalizer or something

3:41

?

3:42

No , we're actually good friends with Michelle

3:44

. We met her through a networking event

3:46

in 2020 and we

3:48

talked a lot about collaborating

3:51

and then , finally , two years later

3:53

, after the madness in the world had

3:55

finished , we decided to actually create

3:57

something , and this was the first one

3:59

we finished .

4:01

Amazing and just out of interest , those

4:03

I mentioned , the bass sound and

4:05

the piano . What VSTs

4:08

are you using for those , or is it the same one ? I mentioned

4:10

the Korg M1 . That's the one I use for that sort of sound

4:12

.

4:12

Yeah , we actually use the Korg M1 for

4:15

the pianos and I have a few

4:17

pads from that Korg M1 as well

4:19

and then I use Serum , or we use

4:21

Serum , sorry for the bass sound Very

4:24

cool , just

4:26

so that we could give it a little bit more automation

4:29

and modulation movement than the M1

4:31

allows .

4:32

Yeah . So , whilst I've got both of you

4:34

here because you're joining

4:36

me from different locations . How , just

4:39

really sort of briefly , how do you go about the

4:41

creative process of songwriting

4:43

? Does one of you take the lead and then send

4:45

it to the other one , or is it a case of like use of back and forth

4:48

ideas ?

4:50

So usually I'll start out

4:52

with a rough basic idea . So

4:54

normally I'll come up with maybe a chord progression

4:56

or I'll come up with the concept for the song

4:58

idea , potentially , and I'll

5:01

then pass it over to Hypnotist to

5:03

just to

5:05

work on it a little bit more and we'll bounce

5:07

ideas back and forth until we get

5:09

it right . I mean , we often go , we often

5:11

sit down and work over FaceTime or we'll

5:14

meet up at our studio down in South London and

5:16

just go from there . But we

5:18

always combine and bounce off each ideas off each other

5:21

and we tend to think along the same composition

5:23

style . We both

5:25

have similar influences and

5:28

we both play all our

5:30

instruments as well . So , hypnotist of Ray Tarranty , pianist

5:33

, I play drums and guitar and

5:36

I love drumming house tracks just because it's so

5:38

fun .

5:39

Amazing . You're quite blessed , then . Really , you've got sort

5:41

of like this melting pot of different musicians

5:44

, which is always nice to have , and

5:46

being close to each other is quite helpful

5:48

as well in the big smoke of

5:50

South London and being there in a while

5:52

. To be fair , I will sort

5:54

of spread it around . Eric

5:56

Dream Commander , what are your thoughts ? Do you have any

5:58

thoughts ?

5:59

Yeah , first

6:01

of all , let me get my mic up here . I

6:04

just wanted to say that if

6:06

you're going for like a high energy

6:08

kind of feel , you've definitely

6:11

nailed it on this one , and

6:13

I'm not really that

6:15

much of an expert on the genre

6:17

of house music , but it sounds

6:20

like it's . It sounds like you guys

6:22

know what you're doing and it's pretty

6:24

solid , I'd say , for the production

6:26

side . As

6:29

far as like a creative kind

6:31

of input . I don't know if you want it or

6:33

need it , but it might sound

6:36

cool if you added a little , maybe

6:39

more pad in the chorus section to kind

6:41

of like open up the vibe , or

6:43

maybe you could do that in like a future chorus

6:45

to kind of build on top of what you already

6:47

have . But

6:49

yeah , other than that , I'd say you guys are

6:51

really doing well with that track in

6:53

particular . And what part

6:55

of the UK are you from ? We're

6:59

both in London .

7:00

Oh , nice , awesome

7:02

. I'm actually Irish , but I live in London .

7:05

Right on , man , right on . Yeah

7:07

, it sounds really cool , thank

7:11

you .

7:14

Brilliant . Thank you , eric . Yes , london

7:16

is about two , two and a half three

7:18

hours , I think , from where

7:20

I am . Well , I would you a visit . Yeah

7:23

, yeah , as always , I'll probably be

7:25

dragged there at Christmas . To be honest

7:27

, christmas shopping , that's generally

7:29

what happens . I was there recently , actually for

7:31

a podcast festival . It was quite interesting . Actually , I

7:34

tell a lie , I might be there in London . I think

7:36

I was planning on going there next month to the Dusk

7:38

Wave Synth Fest in London

7:40

.

7:41

Oh , that sounds interesting .

7:44

Yeah , I'm going to slap myself

7:46

on the wrist now because I cannot remember the day . I think

7:49

it's the 14th . I'll put it in the chat , actually

7:51

after the episode . But

7:53

if you guys are available strongly

7:55

and if you've got any up as well , thomas

7:58

, what are your thoughts ?

8:01

Yo hi , yeah

8:03

, I think Sonnet is very well

8:06

produced and it's

8:08

really some Kegas style

8:10

, is the forward

8:14

sounding folded

8:17

baseline . You know the

8:19

synth and I think

8:21

this can be a good club song

8:24

for playing in club music . I

8:26

think those songs are written

8:29

for club

8:31

music , like playing in the club , for dance

8:33

floors , and I work as DJ too

8:36

, so sometimes I

8:38

play such music , although it's

8:40

not my personal sound or

8:42

like listening to in my

8:45

private scene . But I think this production

8:47

could work on the dance floor

8:49

, definitely For

8:51

my years . For us we're well produced

8:53

, very clean , and this

8:56

is a mastern that's drawn , definitely

8:58

. So I think it was

9:00

quite good . I wanted to pass

9:03

to this folded synth

9:06

sound he used at the end

9:09

of this snippet came in , like

9:11

when the main bass like how do

9:13

you do that ? Because I tried

9:15

to get those sounds in my track sometimes

9:18

too . But

9:20

yeah , which which plug in you use for

9:22

that ?

9:24

do you mean the main bass sound ?

9:26

it's not , not the kick drum that the synth

9:32

yeah , maybe

9:35

we can hear you in the last 10 seconds .

9:37

Again , I can show you whether it's possible

9:41

, join me to play the last 10 seconds again . I can quickly do

9:43

it . So we get a bit of context . Here we go first .

9:45

I'll play the last , thank you yeah , yeah , of course I'll play

9:47

.

9:47

I'll play it from about 40 seconds okay

9:55

, yeah , I mean

9:57

, I mean the bass synth sound

9:59

, not the kick drum okay

10:01

the years

10:03

in the upper frequencies , just

10:05

those forward light distorted , we

10:08

say in Germany we say we say

10:10

Knot to that and I

10:12

know that what the English translation is

10:16

for that ?

10:17

yeah , we're actually using so

10:19

that's the serum synth

10:21

and then I have a chorus on it and

10:23

I'm distorting the chorus

10:25

, which is probably what you're picking up

10:27

on . You use a chorus

10:30

effect . Yeah , I'm using a

10:32

chorus on a it's kind

10:34

of like a classic house bass , as Mark

10:36

pointed out earlier , with a bit of FM oscillation

10:39

, and then I'm using a distorted

10:42

chorus , layering it on top of

10:44

the bass to make it super wide , because

10:46

we really love Joel Corey and

10:49

he has that kind of sound okay

10:52

, that's interesting cool excellent

10:56

, I will try it next time . I highly

10:59

recommend it yes

11:01

, a new technique .

11:02

Never heard about it great , fantastic

11:04

.

11:05

That's the . That's the benefit of this particular format

11:07

, of this particular show is that you can like magpie

11:10

, if I do it all the time . This is the benefit of me hosting

11:12

this every sort of month is I can still

11:14

idea some other people and it's great , you

11:16

know , and it's a really , really good because

11:20

you're always learning with music production , which is the great

11:22

thing about it , but be bakery

11:24

fantastic . So we'll now

11:26

move on to our next singer

11:30

. I'm just gonna say singer , then I think this

11:32

week I , if you could just mute your microphone's

11:34

voice , I can hear someone sort of furiously typing

11:36

. It's okay

11:38

, so we'll move on to the next one

11:41

, which is dream commander Eric

11:43

. What have we got coming up ?

11:44

yes , hey , how's it going ? Well

11:48

? This song , it's called actual

11:50

malice and it's part of

11:52

a EP . I've been working on

11:55

that . I hope to finish soon

11:57

in the near future . So

12:00

my , my brand of music is kind of more

12:03

instrumental , focused

12:05

, more kind of mood driven

12:07

and almost kind of soundtrack

12:10

. He and this

12:12

song in particular , I think I was kind

12:14

of inspired by like

12:17

Harold Falter , meyer and

12:19

the kind of 80s stuff like Fletch

12:21

. That soundtrack Axel

12:25

F is kind of like the one that everyone knows

12:27

, but I'm kind of a big fan

12:29

of like the Fletch theme , so

12:32

that kind of that , and kind

12:34

of like a mystery detective

12:37

kind of vibe influence

12:39

this track . But then I kind of have my

12:42

. It kind of goes into another

12:44

section . That's kind of a little more of

12:46

my standard sound . But yeah

12:48

, I don't know , it was pretty fun to make and

12:50

it was like kind of focused heavy on

12:52

drum programming , which

12:54

is not really a lot of my tracks

12:56

don't really focus that heavily on drum

12:59

stuff , but I am a drummer

13:01

so I should probably maybe

13:03

go that direction . Anyways

13:05

, I'll let you guys check it out fantastic

13:09

.

13:09

Thank you , eric , and you're in good company

13:11

. There's been a number of producers on here who

13:13

echoed the Harold Falter Meyer , notably

13:16

Russell Nash , who I

13:18

know is a massive fan , has a lot of them are

13:20

anyway , so let's give it a go . I

13:55

can immediately hear the the Harold

13:58

Falter Meyer in that in the beginning . You know , I listened

14:00

to it and I can . I could picture it

14:02

being played in

14:04

one of the in , like I filmed , akin

14:06

to Beverly Hills Cop , which is obviously Harold Falter

14:08

Meyer , but you can definitely hear that and you've

14:11

got this quite interesting sort of almost

14:13

jazz , this jazz-esque

14:15

sort of composition going on there . It's quite quite

14:17

yeah , an interesting sort

14:20

of choice of sounds

14:22

and how they're into playing

14:24

. It's really , really cool . What ? How

14:26

are you going to take that forward ? Is that something that

14:28

? Is that how this whole song is going to progress

14:30

, or is it going to be a bit more uniform ?

14:32

yes , so that's a that's

14:35

a good question . So I actually did have the finished

14:37

track kind of completed and

14:40

it kind of goes in a lot of different

14:42

directions . To be honest , it kind of bounces

14:46

around and kind of ends off in a weird place

14:48

. But I think , yeah , there's definitely like

14:50

a jazz influence in that the

14:53

form is kind of open and not necessarily

14:55

too too strict to

14:58

any kind of formula , just kind

15:00

of feeling based on what this

15:02

part sounds like . Maybe

15:04

try to build off of that to another vibe

15:06

. But I don't know , I kind of mess around with

15:08

different approaches for each song . So

15:11

, but thanks for your feedback .

15:13

No , I think that's the best way to

15:15

do it , and it's kind of like , the

15:17

more I get it playing around in my head , I can

15:19

picture it . You know those movie scenes

15:21

where there's like the the cop who

15:23

is like doing a stakeout or

15:25

like breaking in somewhere . You've got that

15:27

quite weird sort of not jazz

15:30

again , but jazz , that sort of sound and like

15:32

composition going on . It's quite

15:34

like an unnerving sort of sound . I think it sounds

15:36

really cool and it's different

15:39

to what I've heard from your other stuff , which is which is great

15:41

as well thanks , yeah , I'm always trying to kind of stretch

15:43

out and do different things .

15:44

But yeah , like heart , like

15:47

harkening , what to what you're saying about the jazz

15:49

, whatever you call it influence , I think

15:51

there was like a fusion movement in the

15:53

80s that was kind of , you

15:57

know , influencing a lot of the score

16:00

composers and they were

16:02

trying to kind of push the boundaries of like

16:04

melody and all that you know

16:06

with their own stuff . I think that kind of started

16:08

in the 70s and kind of pushed into the 80s

16:10

with , like I don't know , jazz

16:13

fusion .

16:14

That's just my opinion yeah

16:16

, I roll with it , man . I think it sounds great and

16:18

, like , like I said , I think stretching yourself

16:20

and what you're able to do is a great thing

16:23

when it comes to songwriting and sort of like pushing

16:25

the boundaries and even though they're

16:27

the expression of like doing something that makes you not

16:29

necessarily feel uncomfortable but it takes you out your

16:31

comfort zone , I think , in terms of composition

16:33

, since it's only gonna be good , you know , but

16:35

I love it . I think it sounds great . It's a really , really fun

16:38

piece of music , but I'll pass

16:40

it around , so let's go to Brody hypnotist

16:42

. What are your thoughts ?

17:58

Hey , I thought that was really cool as well

18:00

. I thought instantly the vibe was there

18:02

and I also thought it was quite fusion-y

18:04

, because I like a lot of fusion music . I

18:08

think you've done a great job of production . The

18:10

first thing I thought was that the sounds are massive

18:12

. I love your bass drum . Is that from

18:14

a kick or is it from drum machine ? Sorry ?

18:18

Yeah , that's a good question . Like , I

18:21

think that's a mix of

18:23

two drum samples . One is like

18:25

an 808 kick and then I just

18:27

kind of have like a release that I

18:29

tied to it to make it I

18:31

don't know , I have a lot of problem with the 808

18:34

release for some reason being consistent

18:36

. So I kind of like mix the two

18:38

together so it would be like very

18:40

, you

18:42

know , reliable sounding and

18:45

then the kick in the second section

18:47

is just like another sample . That's kind of different

18:49

. But thanks , yeah , for asking and

18:52

thanks for your feedback .

18:53

Yeah , I thought it was really nice , very

18:55

, very lush sounding .

18:57

Fantastic , we'll go to the next

18:59

beat , bakery Mike . What are your thoughts ?

19:02

Hey guys , I'm a massive 80s fan

19:04

and I definitely love the vibe

19:06

on that , definitely , like you're saying , sound like a bit of a cop

19:08

show . So I'm a very Beverly Hills kind of cop kind

19:10

of vibe and I love , just love the

19:12

soundscape on it . It's just , it's just so massively

19:14

wide and I really like that

19:16

. I love the bass sound when it first came in Awesome

19:20

. Thank you , thank you .

19:21

I actually like took

19:23

one sound and kind of made

19:25

an octave up from that , so they're just

19:27

kind of in unison on an

19:30

octave away from each other to get that sound

19:32

. It's like a fake chorus effect maybe

19:34

.

19:35

Yeah , I think that's a really good thing to do . With basses

19:37

, I think I've said on the podcast before with bass

19:39

sounds in particular , and

19:41

I think I did a tutorial episode where I had

19:43

like an actual bass guitar bass

19:46

guitar is playing bass and then I had another synth

19:48

laid on top of that which was providing

19:50

a different texture , sonic texture , so

19:52

they weren't like competing in the frequency

19:54

realm , but it's a great thing to do . And

19:57

layering , since I used to

19:59

do , I went , I deviate

20:01

, I said deviated . I went down the path of too

20:03

much layering at one point and I had to rain it in . But

20:06

that was you always got to be careful about that , I find

20:08

, thomas , what are your thoughts ? Laser

20:10

cop .

20:14

As Mike just said , it's this

20:16

Beverly Hills sound . But

20:18

the little cop saw laser cop and Beverly Hills

20:20

the same thing . I

20:23

directly started having this 80s

20:25

movie sound

20:27

feeling on in

20:29

my head and the

20:32

first thing I was like I was

20:34

a little bit so okay , what

20:37

is this right now ? Because I didn't get the

20:39

beat at the beginning . But when the beats

20:41

got open up a little

20:43

bit , they were starting with the chords in the back side . Yeah

20:45

, that's cool . Right now . That part

20:47

is cool . This is the one I like

20:50

. I personally

20:53

do not like the

20:55

slushy snare sounds

20:58

. In my person view , I

21:00

generally don't like those kind of snare

21:02

sounds , even pop music or other

21:05

music styles . I never use such these

21:07

sounds . But this is the choice of

21:09

the producer . It's your personal

21:11

favorite to say you want to do this . It's

21:13

okay for me . But it was

21:15

interesting . It's a specific

21:18

kind of music . I've never heard this

21:20

before in that kind of somebody

21:22

doing it today . So

21:25

I will definitely have a listen

21:27

when it's come out hopefully

21:29

soon , and we'll check the whole why

21:31

. Because it sounded good , but

21:34

it was interesting . Also , I had this

21:36

a little bit of a

21:38

crock-rock music at the beginning

21:40

, with those not fitting like just

21:43

four on the floor beat or something , and

21:47

so , as a musician , I need to listen

21:49

to it sometimes again

21:52

and again to check those

21:55

points . That's making it interesting , because

21:57

if you understand

21:59

the music in a billion seconds and say

22:01

, okay , I got everything from that song , this

22:04

is the song , it's like , yeah , it's

22:08

too easy , then yeah , no , I agree 100%

22:11

.

22:12

What was the adjective you used

22:14

to describe the snare ? Again , it was

22:16

slushy or something .

22:19

Yeah , I just said that it's like this sound

22:22

you use . It's not my personal

22:25

point . I don't like these

22:27

snare sounds in general , so

22:29

but if this is your choice , it's

22:31

your choice and it's okay for you

22:33

, because you have to produce of

22:35

that track .

22:35

Yeah , no , I appreciate that , but I'm just curious

22:38

how would you improve it if

22:40

you were in my shoes ?

22:44

What snare I would use . Yeah

22:47

, I would try to use

22:49

classic

22:52

rock snare , like in the 70s

22:55

it's been used could fit the sound

22:57

. Also , modern

22:59

rock snare would be too . Yeah

23:01

, it's not . This would be destroying the

23:04

sound wipe you want to get . So

23:06

just try . Yeah

23:09

, like 70s rock snares , like Led

23:11

Zeppelin , john Bonham style or something

23:13

like this .

23:14

Very cool .

23:14

Maybe that could fit also .

23:17

Very cool . Maybe I'll give that a try

23:19

, because I didn't think of

23:21

that .

23:22

John Bonham's sounding snare would sound really cool , man . He

23:24

got that sort of like big , big room . I'm trying

23:26

to remember how they recorded their snare . I'm fairly

23:28

certain they actually had just a huge

23:31

room . It might have been Led

23:33

Zeppelin , it might have been another band along

23:35

those lines . That I can't remember now .

23:38

I think you're right , Mark .

23:40

I'm absolutely not a Led Zeppelin fan

23:42

, but I like the drum . I think you're also a monster

23:44

, definitely , so I've seen videos of that guy

23:46

. That's cool . So use

23:49

any kind of analog recorded

23:52

snare sounds from the earlier

23:54

times , just a classic halts

23:56

, not too very

23:58

too much compressed or

24:00

something just rough like

24:03

the guys did in the old times .

24:05

Yeah , there is like a couple different sounds

24:08

, snare sounds from that era , so there is like

24:10

a more muted , dead , dry sound

24:12

. And then the Bonham drum sound is

24:14

a little more open and kind of reverby

24:17

. But yeah

24:19

, I'll give that a try . John

24:22

Bonham is like one of my personal favorite drummers , so

24:25

excellent , very good , very

24:27

good .

24:27

I'm fairly certain I'm thinking about it now that

24:29

they had the drums and then they maybe

24:31

mic'd it . At the end of a corridor or it might

24:33

have been a big stairwell

24:36

and they had a mic , they were doing all

24:38

sorts of really crazy stuff on the kit . That was the great thing

24:40

about . Well , you can still do it now , but , like

24:42

a lot of the recording techniques and I

24:45

went to Hansa Studios in Germany and they

24:47

went through how they would just play out the sound

24:50

into the room , then record it , just the room

24:52

itself , with the music being piped out into the room to

24:54

capture the room's ambience . It'd be great

24:56

. I mean , it's all well and good if you have that access

24:58

to those big studios . But the

25:01

thing is now , like Thomas says , you can just

25:03

find a nice analog recorded snare

25:05

with that nice open sound

25:07

, which will be really , really nice

25:09

. Excellent stuff , folks . So

25:12

now we move on to the

25:14

final one , thomas Laser

25:17

Cop . What bit of a description

25:19

about your song that we've got coming up .

25:21

Yeah , it's

25:24

the latest song I'm working on . Last

25:26

year I released my full length

25:28

record and then I just concentrated

25:30

more to DJing around a little bit

25:32

in synthwave music . So now I just

25:35

started like , okay , we need to do a

25:37

new song and just play that little

25:39

single and this is the right

25:42

now the production stage . So

25:44

just a little bit mixing so that

25:46

sounds okay . There's not final mix

25:48

, there's no mastering on it completely

25:50

. So this is pretty rough . And the

25:53

song is called Invaders and

25:55

this show show

25:57

some this typical 80s movie

26:00

, alien invasion , threatening

26:02

things . You know from action movies from that

26:05

time and

26:08

I've seen this . There was a movie

26:10

from 1990

26:13

with Stolf Langgren and the main role , with

26:16

this becoming piece I

26:22

can't get the title at this moment right

26:24

now and I

26:26

think Angel Cop . I think Angel Cop

26:28

was a typical massive

26:30

bullshit action movie exploding

26:33

cars , alien invaders shooting people with

26:35

city guns and it's like it

26:37

was a pretty weird thing . But

26:39

I really loved this trash kind of movie and

26:42

this one inspired me to say , hey , that style loves

26:44

it and let's do a song pretty

26:46

much forward . So

26:50

, yeah , so that's synthwave

26:52

music I'm totally into . And

26:55

laser crop is like my personal synthwave

26:58

music project . I'm

27:02

used to playing death metal bands normally

27:04

, but the thing is you can do this on your own , so

27:07

I do . Synthwave music , yeah , excellent

27:10

.

27:12

Death metal all the way . Thomas , I did the same

27:14

. I was playing in a death metal band , as the audience

27:17

well knows , and I made the move over to electronic

27:19

and synth based music purely so I could do it

27:21

on my own . So keep some years open .

27:24

We released our record in , I think , january

27:27

with a new band , nice

27:29

. Classic

27:31

old school death metal from Sweden style .

27:36

Oh , are we talking Melo death ? Are we talking like car

27:38

?

27:38

It's like old school and two

27:40

ancient tube Boss

27:43

metal music like

27:46

. I will show you some for later

27:48

. I got the masters from the

27:51

studio there . I can

27:53

say yes , please do .

27:55

Yeah , I'll be very interested

27:57

by that Nice bit of entombed . I haven't listened

27:59

to entombed for ages . Anyway , I

28:01

digress . Thank you , thomas , just play

28:03

this right . So this is invaders . Very

28:54

cool , I like the little sound bite you've got going on in there

28:56

. That's really nice . What are you using

28:58

for your sort of base up ? What patch

29:00

or VST synth are you

29:03

using ?

29:04

I mostly use SynthMaster

29:06

1 , RST plug-in . It's

29:09

from the Turkish producer KVT

29:11

production . I think I

29:14

really love that thing . Although

29:16

they got the SynthMaster 2 out , I

29:19

prefer the first one , and

29:22

also I use

29:24

Omnisphere , Like

29:27

the most of you guys hopefully do . And

29:32

yeah , I like working most with the

29:35

SynthMaster 1 all

29:37

around SynthKid

29:39

. That's a pretty good synthesizer with

29:41

cool presets . You don't have to

29:43

search very long for an

29:45

inspiration and then just

29:48

easy some clicks and

29:50

you can change and adapt like you want

29:52

. Yes , definitely .

29:54

So , with regards to the composition itself because

29:57

it's very sort of that fast-paced

29:59

up tempo sort of song as it is

30:01

how is the whole composition

30:04

going to play out ? Is it going to drop

30:06

in tempo ? Are instruments going to drop out , or

30:08

is it going to be continuous ? Is it going to be at that

30:10

fast pace ?

30:12

Yeah , it stays on that tempo . I

30:15

do not do any breakdowns

30:17

in tempo . I shoot

30:19

some breaks . Later there will be an instrumental

30:22

solo coming in . So

30:25

my ongoing workflow

30:28

is to adapt rock songs

30:30

arrangements . So

30:33

I describe this

30:35

music sometimes I made like their

30:38

rock songs don't play with guitars , so

30:42

that's another way I have . Typically I

30:44

have in verses , I have in refer , I

30:46

have another second verse , second

30:49

verse on the C part , outro on the front

30:51

. So I use always those structures

30:53

. So

30:56

the song will be around four

30:58

minutes and that would be

31:01

good for me because usually when

31:03

I will come to an end

31:05

, like wow , then they can put in

31:07

this part in this part . That would be cool . Like

31:09

the end of the part is six minutes , like oh no , it's

31:11

too long , it's long , you know .

31:13

And so for me .

31:14

My focus for the next composition

31:16

will be to not

31:19

stay longer than four minutes on the tracks

31:21

. And yeah , that's

31:23

the point Very

31:25

good .

31:26

I like what you said about their sort of like breaking down rock

31:28

tracks and sort of like recreating them

31:30

, which I really , really like . I could definitely hear , like you

31:32

could . I don't know if there's space for it , potentially

31:35

, but like actual guitars , like distorted

31:38

guitars on it , but

31:40

that's . Yeah , I don't know . I

31:42

think you may need to make space , but

31:45

it's hard to say without hearing the whole track . I'll

31:47

pass it around the room , Eric . What

31:49

are your thoughts ? Dream commander .

31:51

Yeah . So first of all

31:53

, I really like the track . It sounds really

31:55

cool . I can kind of hear

31:57

the dark influence , the metal

32:00

a little bit in the bass , kind of that , like pulsating

32:03

, almost double kick kind of feeling , like kind

32:07

of fun , kind

32:09

of vibe . And I

32:12

kind of agree with what you're saying too about trying

32:15

to give yourself a little bit of a boundary on

32:17

the length of composition , because

32:20

I kind of struggle with that

32:22

as well . So yeah

32:26

, I just think that's a really positive way to look

32:28

at it . As far

32:30

as like the track itself

32:33

goes , like I could kind of see it going

32:36

into so many different directions , like I

32:38

can hear like drum

32:40

breaks , like one or two bar drum

32:42

breaks , where it just kind of deviates

32:44

from the main groove , and there's just like a little kind

32:46

of do-da-do-do-do-do-do-do-do-do-do-do , you

32:48

know , like kind of a almost like a mini

32:50

drum solo . I

32:53

can also hear like more like a string

32:55

pad maybe like

32:59

a high string pad , kind

33:02

of permeating above everything

33:04

, just kind of coming in

33:06

at some point to

33:09

provide sort of like a more of a texture

33:11

in the higher

33:13

end . I'm

33:16

not sure if you do vocals much , but I

33:18

mean that could go either way probably

33:21

in my opinion , but I think you

33:23

have a really solid like foundation

33:26

for whatever the track is going to be . Obviously

33:29

you probably know , but we can only hear a few seconds

33:32

, so

33:34

yeah , thank you for your

33:36

comments .

33:38

Yeah , first of all , another vocalist and

33:41

so absolutely have no skills in singing

33:44

and I would

33:46

always be . I

33:49

always need a singer or a singer for that

33:51

. And this time I just said

33:53

, no , I don't want to plan

33:56

vocals in it , I just kind

33:59

of some film samples

34:01

that you couldn't hear at this

34:03

point . I will show up in the beginning . I got

34:05

some samples like from Terminator movies

34:08

or something . At the end I

34:10

will have some more movie samples

34:12

to do to give the

34:15

song the face . You know whether

34:18

like connected to the title and radar . So

34:20

this is all kind of from

34:22

movies with alien radars inside

34:25

or some 14 things you know

34:27

. And so with

34:30

the strings you said , yeah

34:32

, this is the beginning of

34:34

the song , this is quite from the

34:36

first minute of the track , so it's the

34:38

opening part of the track . You

34:40

heard and

34:42

you said strings

34:45

. I always use chorus , like

34:47

you maybe heard at the end of the

34:49

snippet . You have that core flow

34:51

because I love that . But

34:57

yes , as I said , it's production stage . The

34:59

song is not final written yet , so

35:01

I have all chances

35:04

to change different things

35:06

and turn around . And , yeah , usually

35:08

I use all some synth pads

35:10

, strings for

35:13

like outro parts . More

35:15

, at the beginning I mostly

35:17

start rough , like straight going

35:20

forward , and then I just took hey , now

35:22

we got some melodies , we got like opening

35:24

up and get slowed down for a moment . So

35:28

, with the boundaries about

35:30

the songs arrangement , yeah

35:33

, this is not 100% , must

35:36

I've said it's like

35:38

just a plan and that's all

35:40

a little bit of my style . I just used

35:42

to do that in that way . And

35:44

so because I'm

35:46

a great friend of

35:48

pop music structures , because

35:51

easy , it's ongoing and I know that's

35:53

part of my DJing , so

35:57

it's one of my main jobs and I do

35:59

DJs in Clubsie and Frankfurt and

36:02

I'm used to that . The people

36:04

are suited

36:07

to those kinds of arrangements . Everything

36:09

else is some interesting

36:12

, so you know . So

36:16

I just took over as , like , even

36:19

in metal music we have some pop

36:21

structures in the tracks

36:23

. So most of them I

36:26

said , yeah , it's cool , I like that , you know

36:28

. So why do changing Music

36:31

?

36:34

No , it's brilliant , Thomas , I'm with you

36:37

on that . I tell you , when it comes to songwriting

36:39

and arrangement , I'm very influenced by pop

36:41

arrangement , now

36:43

more so when I was in the metal band man

36:46

, we used to do crazy arrangements . I

36:48

remember we had one song and then we didn't repeat a

36:50

riff throughout . It was

36:52

. It wasn't quite prog , but it was good

36:54

fun . Playing it live , on the other hand , was a

36:56

challenge remembering all the riffs . But

36:58

hey , hey , but no , I'm with you there with the , with

37:00

the structure as well , and I think with

37:03

pop structures as well . You inherently are

37:06

. The songs are inherently shorter . Pop

37:08

songs generally are the ones that specifically played on the

37:10

radio , being sort of anywhere

37:12

between sort of two and a half to three and a half minutes .

37:14

Yeah , at the end it's not my intention that that song shall

37:17

be played on the radio , Like I

37:19

absolutely do not expect any

37:22

commercial success with

37:24

that kind of music . So just because

37:26

this is a very niche music . And

37:28

the

37:30

other thing is the most people I've

37:32

met from the scene are ex band members

37:34

of metal bands , that's quite yeah

37:36

. Yeah , that's quite funny . And

37:39

there was one . One point I've seen is

37:41

in this very huge Sundway

37:44

Facebook group . There was a guy

37:46

, one guy , complaining like

37:49

yeah , I've put

37:51

so much effort in my new record I

37:53

posted the link here on . Nobody's seen

37:55

it or comment that that's bullshit , shitty

37:57

guys or all that stuff . I

38:00

said , yeah , the point is everybody

38:03

I just wrote in as a comment on the point

38:05

is yeah , as you can remember

38:08

, everybody here is an ex metal band

38:10

member because

38:13

his band split up because nobody listened to their

38:15

music at in earlier times . So

38:18

exactly those guys are waiting here for

38:20

your new record not to be

38:22

heard . It's

38:24

the same shit , you know . That's why

38:27

I do it for my own pretty

38:29

much . I think usually

38:32

the most musicians say , ah , if

38:36

you listen to your own music , this

38:38

is a little bit like it's

38:41

not not well seen . I like my music

38:43

because that's the way I want to

38:45

listen to music . So I listen to

38:47

produce music

38:50

I don't like . You know . You

38:53

know what I'm trying to say .

38:54

Yeah , yeah , it makes perfect sense .

38:56

Yeah , and I think that's the song

38:58

I like , so let me do this

39:00

. I can't do tracks I don't

39:02

like .

39:04

Yeah , and it's . I had this conversation

39:06

with Pasha on the on the producers podcast

39:09

a few months ago and he said the

39:11

same . He's like I think you do . I

39:13

think more specifically , when you are writing

39:16

music as an individual or

39:18

even as a duo , you I

39:20

listen to my own stuff . Admittedly , there are times

39:22

when I stop because I've probably over listened to

39:24

it , but I think I create

39:26

it because I like it , so I create stuff I

39:28

want to listen to . It makes perfect sense .

39:32

I have absolutely props to commercial

39:34

music producers who

39:37

do commercial music because

39:39

they know they're going to be a commercial banger

39:41

, although they don't like that kind of music

39:43

, you know . So they can break

39:45

down their own . Yeah

39:49

, I hear a sense of music like so

39:51

Can

39:53

you imagine that doing like so

39:55

we got here in Germany . We got the Schlager

39:58

pop , called like folks

40:00

music or something . It's totally

40:02

huge

40:05

. Playing shows in front of 80,000

40:08

people like this is like small

40:11

cheesy

40:13

electronic shit music with

40:15

bullshit lyrics . I

40:18

hate it as hell , you know . So

40:20

they got producers in the background . They've been

40:22

paid for the songs you know and those

40:25

guys are metalheads . They

40:28

sit there like they are in

40:30

the position to produce music for

40:32

this girl like Helena Fisher and maybe

40:35

you heard about her and

40:38

I can't do that . I never can do that

40:40

. I have an idea I commercial very

40:43

successful Schlager song . I said

40:45

, dude , I can't program that . Yeah

40:47

, it's not . Probably like . This is like sit

40:49

at home and do this like no chance . It's

40:52

not because it is heavy to produce or

40:55

difficult or you need some . It's

40:57

your mind , you're just selling it . I

41:00

can't release that . It's

41:02

not possible .

41:05

Yeah , I think it's artist

41:07

integrity as well , I think , comes into play

41:09

there .

41:11

Yeah , integrity , yeah , yeah .

41:13

In the interest of time , I'm just going to pass it around

41:15

the room here . So , mike

41:17

B bakery , what are your thoughts on

41:19

laser cup invaders ?

41:21

I really liked the separation of sounds you

41:23

had there . I definitely could see it

41:25

going like a Genesis type way

41:27

, like that confusion era , that kind of drum

41:30

sound . I really like it and

41:33

that . But now I totally get what you're saying . If you're

41:35

not like happy

41:37

to produce in that style , then they don't . I

41:39

mean , I played a metal bands for the best part

41:41

of 10 years growing up , switch to hip

41:43

hop , then transition to dance music and house

41:45

and EDM and that . But yeah , but

41:48

I just feel that all of that gave me the skill to produce

41:51

the dance music and that it

41:53

all into Twins at the end of the day , because you

41:55

know , you've got the heavy hitting kicks from metal music that come

41:58

into it , You've got the heavy bass sound that

42:00

comes from hip hop and it all into Twins . But I

42:02

really like , I really like what you've done with the track . I like to

42:04

see where it goes and where it ends up . So

42:06

you've got really , really great 80 sounding stuff

42:08

there .

42:12

Yeah , it's kind of like the sum of your parts

42:14

on you . It's great that you , like you mentioned there about

42:16

hip hop , you got you've got metal and

42:18

you've got these different genres and you've got the EDM sort of

42:20

influence coming in . You can sort of take bits from each

42:22

different genre and then create

42:25

your own identity , your

42:27

own sound . Yeah

42:30

, I think that's the best thing to do . But going

42:32

back to what Thomas said earlier about sort of like

42:34

almost ghost producers writing

42:37

songs who are metalheads

42:39

for pop music it's

42:41

, I could see why they would do it . I mean , it's a lucrative

42:44

business , but I guess it depends on sort of what

42:46

your yeah . Yeah , exactly , it depends on

42:48

what you want to get out of the industry , isn't it ? I mean , if

42:52

someone wanted to buy a song off me

42:54

for an X amount of money , yeah

42:57

, I don't know , it's an interesting one , isn't it ?

43:00

Yeah , I accept that , that people are

43:02

doing that because I run a club

43:04

in the Indian frag for the small one

43:06

which do pop music , parties

43:08

like 90s party to current

43:10

chart parties , hip or parties

43:13

, you know , and everybody working

43:15

in the club is a metalhead . That's so

43:17

funny . So

43:20

we're under the money with that because the people come

43:22

inside , drink beer , pay an entrance , and

43:24

so I started doing DJ for

43:26

that . Because , yeah , why shall I pay someone

43:29

500 years for having playing

43:31

the songs I know from Viva television

43:33

, music from earlier times also

43:37

, and so the skills to switch

43:40

the tracks or just made up this was

43:42

very easy in my opinion . And

43:45

so , yeah

43:47

, it's a dream to

43:49

work

43:51

for that . You earn

43:53

money with the music you really love , you

43:55

know . So I earn money with

43:57

music . That's a dream I always

44:00

had , but it's not the music

44:02

I love . But I

44:04

can't do the music I love with the

44:06

money I've earned with the music . I'm not laughing .

44:08

So yeah , nearly the same . Yeah

44:12

, you're still in the music industry , aren't you ? That's the

44:14

key Hypnosis

44:16

. So find a bit of sort of feedback . Brody

44:19

, what are your thoughts ?

44:20

I thought that sounded really nice straight

44:23

away . Good vibe again . I

44:25

also particularly noted the separation between

44:27

the kick and the bass . I presume you're

44:29

side chaining somehow with

44:32

that and

44:34

I kind of thought it sounded a bit like not

44:37

exactly like but you draw an influence

44:39

from Depeche Mode , who I really love , and

44:42

it sounded really kind of like upbeat

44:44

and like it was about to launch into

44:46

a Depeche Mode song .

44:50

Okay , good , yes

44:52

, I used some plug-in

44:55

called wait

44:58

a second Time Space Time

45:00

Space .

45:01

Oh , Track Spacer .

45:02

Track Spacer . Yeah , thanks Track Spacer . Yeah , this

45:04

is a very great

45:07

plug-in to do side compression

45:10

, side chaining . I

45:14

love that tool so easy as I

45:16

saw the commercial about that . It's

45:18

one of the guys who produced that . He

45:21

just said that , hey , I bought it for 49

45:24

Euros . He

45:28

said this is the best 49 Euros I

45:30

ever can invest in music production . I said , definitely

45:32

. So just put in on

45:35

the track , just

45:38

for the instrument , just put it in like this

45:40

point . You

45:43

put it so much side

45:46

chaining on like one loop , putting

45:49

like okay , it's cool , sounds great , it's

45:51

amazing . I really loved it . You

45:54

can use a multi-bank compression for separating

45:57

whole frequency phrases

45:59

. That's okay , but for every

46:02

single track

46:04

layer in my productions I

46:06

always use the Track Spacer . That's

46:09

the most important , not

46:12

sounding VST plug-in . I

46:14

got this .

46:16

Fantastic . Thank you , Thomas . Track Spacer I've heard

46:18

that mentioned a few times . I know there's

46:20

a number of producers I'm aware of that are using it . I

46:22

haven't used it myself , but I'm well

46:24

aware that it's used in a lot of productions . Gents

46:27

, it's been a pleasure , but we're

46:29

coming to the end now , so what I'm going to do is I'm going to give you

46:31

the opportunity to go around and

46:33

describe where our audience

46:35

could find you online and if you've got any key

46:38

dates of anything coming up . So

46:40

, if we start with Beat Bakery , where can our audience find

46:42

you online and have you got any key dates

46:44

or releases ?

46:46

coming up so we can find us

46:48

across all the socials at Beat Bakery

46:50

UK . And important

46:52

dates we've got coming up the 6th of October our

46:54

brand new single , One More Time , featuring

46:57

George Bone on V Records , is

46:59

being released , and

47:02

we're also playing a gig in Box Park on the

47:04

6th as a little launch like

47:06

little launch for the single when it comes out as well

47:08

.

47:09

Fantastic , excellent stuff , and

47:12

we'll go with Dream Commander

47:14

. Eric , where can we find you online ? Have

47:16

you got any releases imminent ?

47:19

But yeah , you can check out all my old releases over

47:21

on the usual platforms . And

47:24

I have a cool , important

47:26

date coming up live

47:28

performance October 7th in Portland

47:31

at no Fun it's if we have any

47:33

listeners in that area of the world and

47:36

I'll be playing October 13th

47:39

in Seattle with

47:41

this guy , tommy Capello

47:44

, who was in the Lost Boys this

47:46

movie , so he's like a saxophone

47:48

guy and yeah , that's

47:50

about it .

47:54

Thanks for having me Fantastic Eric Hold on a minute . Is

47:57

that Tim Capello or Tom Capello ?

47:59

Sorry , yeah , sorry about that . Yeah , Tim Capello

48:01

.

48:02

You're playing a gig with Tim Capello of Lost Boys

48:04

fame .

48:05

Yes , exactly .

48:06

Amazing Fair play . I'm

48:09

a fan of Gunship and he's done a few tracks

48:11

with Gunship , notably one of their recent

48:14

releases . That's going to be amazing

48:16

. Make sure you get some video footage of that and

48:18

get yourself a picture with them as well . Absolutely

48:21

.

48:21

I'll invite him out .

48:23

Yeah , have a chat with him . Get him to feature on one of your songs

48:25

as well while you're there . That'd

48:27

be a good little win if you can get it Sounds

48:30

good , amazing . If

48:33

I were in Portland Oregon , I'd tell you we'd go to that

48:35

. It's a bit of a track for me in

48:37

such a short space of time . That's brilliant

48:40

. Finally , laser

48:42

cop Thomas , where can we find you online and what

48:44

? Have you got ? Any key dates ?

48:46

First of all , thanks for having me on that nice

48:48

round here . You

48:51

can find me on Spotify , on Bandcamp

48:53

, just typical things . I

48:56

would much more prefer if you found

48:58

me on YouTube because from

49:01

my first record , my first RCTP we

49:04

were made at , handcrafted an

49:06

anime movie . My good

49:08

friend David made it by

49:10

hand like five minutes with laser

49:13

cop doing an old fashioned

49:15

action movie . This

49:18

was a shit load of work and this

49:20

shall be a little bit more seen

49:22

as well . I got

49:24

there one hour DJ

49:27

set , filmed with some more cameras

49:29

and nice cutting and producing where

49:31

you can meet suit with music

49:33

. I will play as a DJ

49:35

on the party if it's possible

49:38

, and

49:40

as well we got some more tracks on there . It

49:44

would be cool if you just go

49:46

around on the YouTube channel of laser

49:48

crop .

49:49

Brilliant , excellent stuff . Gents , I will

49:52

put all of that information in the episode

49:54

description as well , so our audience can go away and

49:56

listen to that off the back of listening

49:58

to this episode and before we go . If

50:00

you would like to join myself

50:02

and my friends here , who hopefully will

50:04

come back at some point on an episode

50:07

of the producers pub here , the inside the mix podcast

50:09

, please do head over to inside the mix

50:11

podcast , dot podia dot com or inside

50:13

the mix podcast . Alternatively , nice

50:15

and easy , click on the link in the episode description

50:18

and get signed up and join us discussing

50:21

your music , play some of your music you've got coming

50:23

out and also get to chat

50:25

and meet other producers . Gents

50:27

, folks , it's been an absolute pleasure . It

50:29

is a Sunday evening , so I'm going to sign off and

50:32

I will speak to you all again very soon

50:34

.