0:22

You're listening to the Inside the Mix podcast

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with your host , Mark Matthews .

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Hello and welcome to the Inside the Mix podcast

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. I'm Mark Matthews , your host , musician

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, producer and mix and mastering engineer

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. You've come to the right place if you want to know

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more about your favorite synth music artists

0:38

, music engineering and production , songwriting

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and the music industry . I've

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been writing , producing , mixing and mastering music for

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over 15 years and I want to share what

0:47

I've learned with you . Hello

0:49

, folks , and welcome back to the Inside

0:52

the Mix podcast . If you are a new

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listener , don't forget to hit that follow

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button on your podcast player of choice and

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if you are watching this on YouTube , make sure you hit

1:00

subscribe and the notification bell so you get notified

1:03

anytime we go live , like we are now in this YouTube

1:05

special , or there is a new video

1:07

and this is the Halloween edition of the producers

1:09

pub . And if you're watching this on YouTube , you can see that

1:12

I've got some some sort of camo makeup on

1:14

, but that is . It was actually supposed to be like Frankenstein

1:16

. I'll actually put it up to the camera here . I was supposed

1:18

to be like this dude here , but

1:21

I couldn't do the teeth because I've got a beard

1:23

and I just ended up . Someone said I

1:25

like Arnie from Predator Commandos . So

1:27

this episode , we've got R9 , we've

1:29

got Neon Highway , we've got Russell Nash and we've

1:31

got Sub-Neon . We're supposed to have Pashang , but

1:33

we think he's fallen asleep . He might join us

1:35

halfway through , but we do have his music

1:38

, so we'll play it at the end anyway . He

1:40

actually sent me two . He sent me two tunes and I could

1:42

pick from one of them , and two

1:44

songs and I think he's fallen asleep

1:46

. Anyway , this is the Halloween special

1:49

. So , going around the room , I know I cannot

1:51

wait for Matt Sub-Neon to talk

1:53

because he is gonna bless us with

1:55

his , his map . I

1:57

can't wait for that to be recorded . And

2:00

we got oh no , we've got Tim , we've got

2:02

some skeleton sat next to him and

2:04

then Halloween t-shirt on

2:06

Carl and then I think Russell's just

2:08

sat in his front room . But it is the Halloween

2:10

special . So

2:13

I'm just gonna go over to YouTube , because this is live on

2:15

YouTube , and just make sure A it's working

2:17

. And it is . We'll see

2:19

if anybody dives in . But the first song

2:22

is from Neon

2:24

Highway . So what have

2:26

we got coming up ? Neon Highway

2:29

.

2:30

It's just a bit of experimentation

2:33

, messing around with some of the stuff

2:36

and logic . You know the

2:38

step sequence , which I've never used before or

2:40

know you've used it in the past , mark . So I

2:42

started using that just to try and kickstart

2:44

a bit of creativity because things were

2:46

running a bit dry recently . So , and

2:49

this is what kind of come up with in

2:51

a very quick lunch time

2:53

. It was supposed to be for next month , but

2:55

you've strong armed me into appearing in this

2:57

episode , so it's maybe

3:00

not as developed as it should be , but I'll

3:02

let you have a go .

3:05

Cheers , mate , and I appreciate that I did

3:07

strong arm you into it because I thought you were down for

3:09

this episode . I basically told everyone you're gonna be on it

3:11

, so I'm

3:13

strong up to into it and yeah

3:16

, okay , so let's give this a go here . We go cool

3:48

back . What did what ? The step sequence did you do

3:51

? Use the step sequence for the kids ? Yeah , yeah , just for

3:53

the kids .

3:54

It's that drum , synth and logic . So I haven't

3:56

even selected drum sounds yet . That was

3:59

just the kind of stock sounds and I thought I

4:01

just need something to kind of get me going here

4:03

. You know , stick a beat down and just

4:05

start playing over it , playing with the arps and

4:08

things , so . But it kind

4:10

of came out really well in terms of the beat that's

4:12

there . As I said , just I think

4:14

I need to get in there and replace it with some proper

4:16

kind of big , meaty sounds .

4:19

Yeah , yeah , that's the way I do it as well . When I'm programming

4:22

actual kit , I go

4:24

in and I will . I'll

4:26

replace the sounds later . I think that's the best way to do it

4:28

. Otherwise you just get hung up on like the

4:30

perfect sound and then you might not even use it in the end . I

4:32

reckon it should like kick up in tempo . I think maybe

4:35

it might be too soon in the progression , but I can hear it

4:37

going up in tempo . Like you got that intro

4:39

and , for whatever reason , I was like hearing

4:41

drum and bass , but that might be because I was listening to

4:43

some podcast episode

4:45

going into some drum and bass . But

4:48

I'll pass it over to . I'll know what are your

4:50

thoughts and I'm just gonna sort out some technical

4:52

issues for Russell whilst whilst Tim

4:54

goes through this .

4:55

Russell with technical issues , whatever next

4:57

. Yeah , I thought

5:01

I thought it was really nice . I mean , I think you

5:03

played me . Actually I know what came

5:05

next , like you've got a little bit

5:07

where it changes after that , and so , yeah

5:09

, it's definitely the kind of like it feels like

5:11

it's a really good start and where is it gonna

5:13

go , kind of thing , because you know

5:15

, I think as

5:17

well , it just needs sort of a little bit of . I

5:20

think it just feels like

5:22

it's a bit tentative at the moment

5:24

. It's just unsure of itself . Do you

5:26

know what I mean ? but , I , think it's really

5:29

good . All the stuff in it really works

5:31

well . I love the sound of that top synth

5:33

. I think that's just a gorgeous sound

5:35

and I think it works really well

5:37

with the bass as well . That bass works

5:39

well with that top synth , so I think all the

5:41

ingredients of it are really nice

5:44

. So I mean I in

5:46

general I think like all the sound choices

5:48

are really working together well . So yeah

5:50

, I sort of feel like you know , you

5:53

I'm sure it will just progress . But like

5:55

, yeah , I don't , don't

5:57

you drum and bass . No

5:59

one likes coffee table drum and bass , you

6:01

know . No , no

6:04

, no , you know drum and bass , like

6:06

you know . Yeah , I know what you mean . It feels like some

6:08

energy or some speed or something . Yeah

6:10

, you know .

6:12

I think that's why I was thinking

6:14

of , yeah , like some energy , but I think you

6:16

probably do that we're just mixing

6:19

up the , the kit , or like a different

6:21

height , even just like a different hi-hat . Yeah

6:23

, I mean , I think it's more more of an

6:26

intro .

6:26

Really , I think it is very difficult to select

6:28

the year 30 seconds that you're gonna play on here

6:31

I kind of cut the first four bars . I was like I'll

6:33

cut them out because they're just repeating . It gives us a bit

6:36

more at the end , you know . So it is

6:38

difficult , but I think what was what was good fun

6:40

about this one was I was just like starting

6:42

, you know , blank canvas , and I actually

6:44

started laying down the beats first and I had

6:46

a lot of kind of sidestick in there

6:48

and triangles and things , and I didn't

6:51

take them out as such . I just took the midi

6:53

and transposed it down

6:55

into some kind of synth part

6:57

and then applied an LFO on it

6:59

and that's where you've got all that kind of background stuff

7:01

that's kind of shifting around . It's actually starting

7:04

off as a percussive kind

7:06

of section , but it's now being moved

7:08

into the synth instead . You know , one of those happy accidents

7:11

you're just like I don't like it percussion . Just

7:13

drag it down on the track there and suddenly

7:16

becomes this really cool synth sound .

7:19

I think that's a really interesting thing to do as

7:21

well . Sometimes when you do that , like you , you

7:23

kind of come up with something and it's not work , is

7:25

a melodic part , but then , yeah , yeah , you

7:27

sort of take it down when it works as a percussion . And vice

7:30

versa , like you know , you take something down that

7:33

you've kind of come up with a percussion , it's a rhythmic

7:35

part , but like then you put it on a different

7:38

type of sound , like a synth sound , and suddenly

7:40

you know it's really really

7:42

, really works . So , yeah , I'm a fan of like

7:45

trying that , like cuz midi's

7:47

great , like they can just move it around and

7:49

just drag it mess with it so easily

7:52

and just shove other sounds on it and

7:54

you never know . But like , yeah , I feel like

7:56

what you've got the moment's a real solid , solid

7:58

sounding track and some glassy

8:00

guitar on it , but you know , I don't know any

8:03

place that interesting

8:05

.

8:06

Interesting because I did . I

8:08

was thinking I wonder if we could get Johnny on this one

8:10

, because I keep talking to him

8:12

. He's like where are we gonna do something ? I'm

8:14

like just need to write something that's worth

8:46

it off with me , yeah yeah

8:48

, I think at the moment where the kind of electric piano

8:50

is , I think that gets ripped out

8:53

and placed by guitar . But yeah , it's

8:55

good feedback that you know it needs a bit of energy

8:57

, needs a bit of guitar just what had in my mind

8:59

anyway . So no big surprises , just affirmation

9:01

that we're moving in the right direction

9:03

now .

9:06

Gareth , are you gonna do anything similar to what they

9:08

know , the song you sort of came back with , the one

9:10

you read ? Are you gonna sort of do

9:12

more in that direction as

9:15

well ? I don't know .

9:16

To be honest , I think , since principal asked this question

9:19

the other day out to the kind of community

9:21

you know , what do you intend to do when

9:23

you start a track ? And I never really

9:25

have any intention . You know , I think

9:27

you see it in all the releases I've got . It's

9:30

a different sounds each time , so

9:33

I don't know that one just

9:35

worked out nicely . I had

9:37

a lot of the stuff sort

9:39

of laid down prior to taking

9:42

a hiatus and then I came back I was like I've got this

9:44

track . I was like , boom , finish it off on a

9:46

lunch time . There we go find it out . It

9:48

just seemed to work and the reception's been really good on it

9:50

. So appreciate all the lovely people

9:52

being there .

9:53

Yeah , it was fantastic mate . Yeah , go

9:56

around the room . I can't wait for this subnail

9:58

. What are your thoughts ?

9:59

Yeah , I've been really looking

10:01

forward to talking with these fucking teeth

10:03

in . I

10:06

kind of agree with what Tim was saying . I'm

10:10

taking them out , I can't be asked . I'm sorry I

10:13

can't talk properly . I

10:16

really like the progression thus far , but

10:18

I really feel like that there

10:21

is like a really hard slapping

10:23

drum beat that comes in there . Four to

10:25

the floor would be a waste

10:27

, I think you know it's something

10:30

. Have you ever heard of a band called Hybrid ? Yes

10:33

, yeah , I mean , I absolutely fucking

10:35

love Hybrid and

10:37

they get some of that . It's not quite drum and bass

10:39

, but there is a real weight

10:42

to their drums and I think the

10:45

contrast between the , the

10:49

kind of the lightness of what you've created so

10:51

far with some quite

10:53

impactful drums , would really work

10:55

well .

10:56

So it's gonna throw it out there , but

10:58

I think that you got something that could

11:00

really really slap .

11:03

Yeah , cool . But the progression you've made so far

11:05

I really really like , really really like that . You

11:07

blended the sounds really well and

11:10

the step sequence that you've used

11:12

it sounds great . So , yeah , I don't

11:14

have

11:16

the benefit of what Tim has heard

11:18

, what comes afterwards . I'm just like it's gonna

11:20

kick in right go . Oh , it stopped

11:24

.

11:24

Yeah , that's a good show and I kind of

11:26

need to speak back because I've been sitting there with

11:28

it for a couple of weeks now and being like just

11:30

don't know what to do next but where do we go . But

11:33

I think that kind of contrast

11:35

is a good way of doing it , like getting a

11:37

real kind of like pounding kind

11:39

of kit in there because something that's kind of

11:41

slamming .

11:42

So yeah , Lovely

11:44

, sorry just reading the chat . Russell

11:46

, have you had a chance to have a listen ?

11:50

Just unmute myself . Yeah , I had a listen

11:53

. I liked it , man , I

11:55

liked the chords and I liked the

11:57

little kind of melodies . The only

11:59

thing that kind of jumped out to me is , I don't

12:02

know , I was hearing completely different kind

12:04

of percussion for it , more

12:07

kind of , I guess

12:10

, more kind of fiddly and dynamic

12:12

kind of percussion , kind of like building

12:15

it up . I thought like the kind

12:17

of percussion that you had in there . You know it's fine

12:20

, it sounds absolutely fine . But yeah

12:24

, I think if you added in some like cool little kind

12:26

of hat triplets and stuff like

12:29

that , like the kind of build yeah , that's a good sound man

12:31

, I think that would sound really fun .

12:32

It fits in with that kind of theme of sort of

12:34

playing around and experimenting on this one as well

12:37

, so I appreciate that , thank you

12:39

.

12:41

Thanks . Thank you , neon Highway

12:44

. So before we move on to Matt

12:47

, I'm just going to go over to YouTube , so just

12:49

want to say hello to Robin , light and

12:51

heartbeat hero as well the

12:54

legend himself . He

12:56

did ask what the Halloween themes were and

12:58

he has picked out that obviously we had Matt

13:01

with his teeth Suddenly . I'll be taking them

13:03

out . We've got Halloween themed t-shirt

13:05

, we've got the skeleton next to him , I've gone for a

13:07

Frankenstein slash , commando look

13:10

and Russell's in his front room . So those

13:13

are the Halloween themes we have

13:15

so far , but the views

13:17

are up to seven .

13:20

We're at the moment .

13:21

So let's go with Sub-Neon

13:24

. That qualifies . What have we got

13:26

coming up ?

13:27

I just wanted to point out I've put guyliner

13:29

on for the first time in my life as well , which

13:32

is embarrassing enough . But you

13:34

know , there you go . Look at that

13:37

Maybe it just looks

13:39

like I appreciate that it looks like a fucking knack of or something

13:41

. So because

13:45

this is a Halloween special , I decided

13:48

to put something together specifically

13:50

for this show

13:52

and I

13:55

didn't want to be as derivative

13:57

as doing the Halloween theme tune

13:59

or something like that . But I really

14:02

love the movie Blade , which

14:05

came out in the 90s , and I

14:10

think they're actually remaking it . And

14:12

there is this iconic scene it's called the

14:15

theme from Blade where in the

14:17

intro to the movie

14:19

, you know , this guy gets

14:21

taken to a nightclub by

14:23

this woman and

14:26

, unbeknownst to

14:28

him , it is a vampire nightclub and

14:30

during the course of the events

14:32

, you know , they walk through the club and

14:34

then there's this banging , sort of typical

14:37

90s acid squelchy

14:39

kind of tune

14:41

that became quite iconic at the time . So

14:46

, and

14:49

as the scene progresses , blood

14:51

starts to rain from the ceiling

14:53

and then all the humans in there get

14:56

turned into dinner . So I

14:59

thought wouldn't it be an interesting idea

15:01

to just update that a little bit

15:03

? It's not techno

15:05

at all . It's got no chord progression

15:08

that sounds anything like the

15:10

original . So it's

15:12

an absolute reimagining . And

15:15

so , and you know

15:17

, if they weren't remaking the movie , I

15:19

would imagine that watching on YouTube right

15:22

now there are probably less than one

15:24

Marvel showrunners that

15:26

are going to

15:28

be listening to

15:30

this track . But yeah , I

15:33

thought I'd give it a bit of a go as

15:36

to what I would like if I was hired

15:40

to become the composer

15:42

for that movie

15:44

. What kind of vibe would I want to go

15:46

for for that particular scene ? So

15:49

I've kind of gone kind of half aggressive

15:53

, half a bit sexy , and

15:56

that's what I've tried to come up with anyway

15:58

. So I've kind of smushed half the track

16:00

together in into

16:02

48 seconds and yeah

16:05

, see what you think .

16:09

Thanks , buddy . Thanks for the description as well , but that

16:11

scene I remember watching that with

16:13

my mates and the song I can hear

16:15

it in my head . I cannot remember what it's called

16:17

, but I can hear the synth and

16:20

I can hear the melody in my head . I can have

16:22

to . I wish , I wish I could remember what it is

16:24

. If anybody watching on YouTube can remember

16:26

the name of the track , please do put it in the chat .

16:28

Unless someone knows , it's actually called Theme from Blade

16:30

and it's by a guy called Dan Zamani .

16:32

So , and a couple of it's

16:35

actually just called the Theme from

16:38

Blade . Maybe I'm thinking of a different song . I

16:40

won't dwell on it too much now . It's one of those ones , but I'll have

16:42

a nice night with you . It took him years to come up with that title .

16:44

Yeah , yeah , I'll

16:48

call this theme for Blade , I

16:50

know Right .

16:55

Right , let's play it . Let's play it

16:57

. Here we go , let's

17:05

play it . Oh

17:45

you hero , and you put a fade at the end , I always

17:47

do you legend .

17:48

Thank you very much , I always do .

17:49

Just for you . I know that's so

17:51

so kind of you

17:53

to do that , because I always have to add fades . I love that

17:55

. You know what . I can hear it in that , and this is because

17:57

I do this a lot on my own music . I like to add like

17:59

a tonal sounds and just random sound effects

18:02

and stuff in there . But when it breaks out because you're

18:04

doing it for your scoring for a scene , you

18:06

kind of want some sort of like like

18:09

vocal and not singing , but like spoken

18:11

word in there . I don't know what it could

18:13

be like , like a really low register

18:15

voice maybe with some sort of time

18:18

based processing on it , some modulation , and

18:20

then for it to kick back in . That's what I would

18:22

want to hear like on that . Just some random

18:25

, that sort of low shit

18:27

like that

18:31

. Just are you all very good at doing this , because I've heard you do

18:33

it , so something along those lines . That's what I

18:35

would want to hear because you're scoring for a scene

18:37

as well . I think that'd be really cool , but I'll

18:39

pass it around . I see we'll go with Russell

18:41

, because he's he's added a hat and some sunglasses

18:44

to his attire . So what

18:46

are your thoughts , russell ?

18:50

He's lying about . So , like this can do is a

18:52

makeshift Blues Brothers costume , like

18:55

no , I really

18:57

liked it . Like I mean I really

18:59

like Matt's kind of style . I

19:03

would probably give some similar feedback to like

19:05

I gave Carl . I'm all

19:08

about hats today . But

19:10

yeah , like I

19:13

would love to hear you do some kind of more kind of interesting

19:15

stuff with the high hats in the track

19:17

, like you know . Just some like kind of like open kind

19:19

of high hat , kind of fills and things and like

19:23

I fucking love it . Like see , when

19:25

you've got that kind of beat that you've got where

19:28

maybe on alternate like high hats

19:30

, you have like the open high hat going

19:32

into like the snare

19:34

on the four , like I think

19:36

that would sound really cool . I

19:39

also thought it would be kind of cool to maybe get some

19:41

pitch bends

19:44

in there as well , like

19:47

maybe like pitch bend in the chords , like it's

19:49

like some point in the tune , or like maybe just

19:51

having like a big kind of drone in the elite

19:53

, this , this get like a pitch

19:55

bend . Like I thought I would be cool , but

19:58

I really liked it . You know what

20:00

?

20:00

I has is an area of my

20:02

kit , and you're hearing you guys talking

20:04

earlier about designing

20:07

your drum kit . I have my

20:09

drum kit , you know , and I've been iterating

20:12

it over every single release that I've put

20:14

out , and I'm bugging

20:16

if I'm changing it . But but actually

20:20

, the last couple of tracks I've released , I've started

20:23

to mess around with the high hats and I think you're

20:25

absolutely right . All I've got is an off beat high

20:27

hat just going all the way through

20:29

, and I need to do something

20:31

a bit more interesting with it . So if you've got any

20:33

decent samples that you want to check my

20:36

way , that's going to help me do that . That would be

20:38

awesome . But but

20:40

yeah , I totally agree , totally agree .

20:43

Excellent stuff . Let's go round

20:45

to Neon Highway .

20:47

Yeah , man , it was amazing , like when that first bass

20:49

comes in that just hooks you

20:51

in straight away . I think I doesn't know

20:53

what else is going on the rest of that track . That bass

20:55

could just keep playing , but you build upon

20:58

it and you've got that kind of second bass

21:00

, that really big one

21:03

. That that line there is

21:05

amazing and I don't

21:07

really have any specific feedback to go out

21:09

. You can make it better by doing what

21:11

. But I think I'm

21:13

hearing it in my head the next section , or at least

21:16

some point in the song , has a kind of rising

21:18

moment above the chords that you're in

21:20

and then drops right back down to that bass

21:22

again . But it's great

21:24

, yeah , it's fantastic . It's , as Russell

21:26

Nash says , some high

21:28

hat playing around with we open high hats

21:30

and things like that would be amazing . What

21:34

was the other thing ? The chords . Interestingly

21:36

, what Russell Nash was saying about the chords being pitch

21:38

bend , I never thought of that , but I can

21:40

hear kind of lost boys cry a little sister

21:43

pitch bend chords in there occasionally

21:45

, which would work absolutely amazing

21:47

, and I loved some of the kind of signature

21:49

sounds that you've got as well there , matt . You can hear little bits

21:51

from previous pieces , like Yo-Kai

21:54

that you'd released . You can hear some of those sounds

21:56

creeping in there . It's just beautiful . It ties

21:59

your whole narrative together as an artist . So

22:01

, yeah , good stuff , matt .

22:03

Thanks , man . Do you know what

22:05

I thought about the pitch bends ? And

22:07

, interestingly , I

22:10

didn't want it to sound like Gerard

22:13

, whatever it is , I didn't

22:15

want it to sound like crying out to

22:17

sister , but

22:20

I'll try it and see how it comes out

22:22

for sure .

22:23

But yeah , it's

22:25

a solid start , though , man it's great

22:27

.

22:28

Oh , thanks man , Thank you .

22:32

And we'll now move over to

22:34

Watch it and R9 , and

22:36

. Fred .

22:38

Yeah , I mean I really

22:41

yeah , and Fred , yeah

22:43

, slim was a bit quiet on that one , but

22:45

, like you know , no , I

22:48

honestly think it's

22:50

just straight away . It

22:52

just transported me . I think that's

22:54

the great thing with a lot of your tracks . They

22:56

just have that ability . You

22:59

stop going . You

23:01

know what does this need ? In fact , I just lose track

23:04

of time because I'm just listening

23:06

to the music and getting carried by the music and

23:08

I think that's just . I mean

23:10

that's , if you can bottle that , that

23:12

is a wonderful thing to have

23:14

in your music , that it carries people away and that it

23:16

transports them , and

23:18

I thought it had that to it . I

23:20

think if there's anything I was

23:22

going to sort of add or change or whatever I will

23:25

play around with , try it on it . Maybe

23:27

, like I don't know , I do

23:29

remember it's a like a really old Gerand

23:32

Gerand song they did for like View

23:34

to a Kill . I think it is like something like that , and

23:36

they've got these kind of like typical sort of

23:38

80s kind of orchestral hits

23:40

and that kind of stuff going

23:42

on in it and like I suddenly thought

23:44

, like in films and stuff , obviously

23:46

that kind of orchestral hits and the kind

23:48

of like filmic kind of like sort of you

23:51

know kind of sort of things of big sort

23:54

of you know sort of impact

23:57

sounds , you know , and some

23:59

little sort of part of me was

24:01

wondering what like either weird

24:03

metallic percussion or like impact

24:05

sounds or something that's quite filmic

24:08

, like in there could be

24:10

, and not lots of it , but just like moments

24:13

, maybe something like that could be interesting

24:15

to sort of you know , give it

24:18

I suppose as a percussive element , you

24:20

know , but as a sort of in , as if

24:22

it was like , you know , as if you were scoring

24:24

it for a film perhaps . But you know

24:26

, just a thought .

24:28

That sounds like a great idea .

24:30

To be honest people hurting Simon

24:33

Le Bon , I mean that would . I

24:38

don't know if you guys , Simon Le Bon in a liquidizer

24:41

.

24:41

Wow , that

24:43

took a turn

24:47

.

24:47

That was Slim's idea . Sorry , just whispered it

24:49

to him .

24:51

It was one of those tracks , because I actually started

24:53

on Monday this week and we're obviously

24:55

filming this on a Sunday . I

24:59

don't know about you guys . I've got like 10 tracks

25:01

that are between 50 and 90%

25:03

complete , and every

25:05

so often I get a track that just carries all

25:08

the way through to the end , and this

25:10

afternoon I took it to the three and a

25:12

half minute mark , and

25:14

so the basic structure is there

25:16

, but but definitely I

25:18

, you know , there's those little intricacies that

25:20

I want to try and weave in there as

25:23

well . So so

25:25

, yeah , my sample library is

25:27

quite , quite light , though , so

25:30

I'm going to , I'm going to have a bit of a dig around

25:33

to see , see what , well

25:35

, if you need sounds , let me know , you

25:37

know . but if you've got , any any of those

25:39

orchestral hits that you've just referred

25:41

to , tim , then then fire him over

25:44

and I will have a little weave them in

25:46

?

25:47

Yeah , yeah , I love . I love

25:49

some of those like sounds , like you used

25:51

to get from the radio phonic workshops like BBC

25:54

sort of thing where they'd sort of do like you

25:56

know it was all Foley stuff . So they do

25:58

like sort of you know someone having their head chopped

26:00

off and it would literally be a cabbage that

26:02

they were just like chopping over the Michael

26:05

you know sort of , and I

26:07

love that kind of stuff like ways of . So

26:09

maybe actually you don't need

26:11

that , you need to just go and record

26:14

you sort of smacking

26:16

things with a that

26:22

I could be down .

26:22

just not , yeah .

26:24

Yeah .

26:25

Yeah , that that's . That's

26:27

really good fun .

26:29

Like I'll link

26:31

you later on . There's there's

26:33

actually a free program I came across recently

26:36

. This is like

26:38

samples , like taken from like an old

26:40

high end , like a synth of

26:43

just orchestral hits , and it's free . So

26:45

, like I'll send you a link to that later .

26:47

It's interesting with him saying about you know those types

26:50

of sounds like just smashing things and recording

26:52

it , because when the track started I

26:54

immediately had nine inch nails vibes in

26:56

my jacket .

26:57

Not so much .

26:57

Nine inch nails but that late 80s

27:00

industrial where it was proper industrial

27:02

, you know the Peshmore , hidden pipes

27:05

and things like that . But yeah , that's the

27:07

thing , test department , yeah .

27:09

You know , any of that kind of sort of down tuned

27:11

sort of like , or , you

27:13

know , slow down sometimes as

27:15

well , like that can be interesting , or sped up . Like

27:18

you know , just mank around with sounds

27:20

or put them on . I don't know what the sample

27:22

is like in your door

27:24

, but , like you know , sometimes , just like you

27:26

get the sound , you just drop it on the sampler track

27:28

and just have it so that you can hit

27:31

different keys , and sometimes it was at my

27:33

end . What are you up to mate ? Um , yeah

27:36

, but yeah , no , it could be . Yeah

27:38

, that could be really good , that's just the polo guys

27:40

don't worry .

27:42

Like on Rocket Queen , Axel

27:44

smashed Stephen Adler's girlfriend

27:46

on the track . It's a great song

27:48

.

27:49

It's a great song .

27:50

Yeah , it's underrated . I just had a message

27:52

from Pashanga , so he just woke up

27:54

and he slept through his alarm and

27:57

he will be here momentarily . I think

27:59

he's trying to get in .

28:00

So yeah , I will try and

28:02

enter him at the end . I just I don't want

28:04

to , don't want to alter the podcast mid flow

28:07

and he's technically late

28:09

, so let's move on . But

28:11

thank you everyone , let's move on to our

28:14

nine . What have we got coming up to him ?

28:16

Um , this is a track . I'm

28:19

not responsible for the music . Chris Kear

28:21

and I , you may remember

28:23

, did a release together

28:26

called Dying Sun

28:28

and Chris kindly sort of said to

28:30

me , would you like to do another one ? Which surprised me

28:32

, wanted me back , um , so , and

28:34

you know , it went really well . We really enjoyed

28:37

working together doing Dying Sun

28:39

and he , he wrote the track for

28:41

this , this um , and

28:43

just sent it over to me and so I was

28:45

responsible for coming up with

28:47

some vocals and

28:49

lyrics for this and sort of I

28:51

kind of rearranged the track a little bit like sort

28:54

of in in terms of structure , um

28:56

, just to sort of , and this is our kind

28:58

of monitor mix . So I've sent it all over to Chris

29:00

who's about to actually do a mix

29:02

of this . But yeah , it's a song called um

29:04

uh , future

29:07

no More or no Future

29:09

no More . I think it might be called Um

29:11

and um uh , you know

29:13

it's um . I

29:15

don't know how I quite got onto it like

29:18

the subject matter for the song , but I think it was . It

29:20

was like almost like a sort of tale

29:23

of like um , people , sort

29:26

of you know it's escapism

29:28

really but like thinking about back

29:30

to sort of you know they've

29:32

got a dream of what it was like back

29:34

in the day , um , before

29:37

they were the age they are now and

29:39

you know , before they couldn't

29:41

do the things they could do , uh , back

29:43

then and , um , it was , yeah . So I

29:45

guess it's memories of like a past

29:47

, that , and then sort of almost

29:50

living , living your life in that escapism

29:52

, living your life in that imaginary sort of

29:54

thing . But , like , um , you know

29:57

, it's a nostalgic , I suppose

29:59

, but with a slight sort of dark

30:01

tinge , of course , you know

30:03

. But there we go . It's a very sweet sounding

30:05

song though . So , you know , that's just a little

30:07

kind of , you know , kind of just a beautiful

30:10

. I loved the beat when he sent it to me

30:12

. It was just really , really nice . The

30:14

track has just got a lovely sort of , um

30:16

, sort of , uh , mellow

30:18

vibe . So I kind of went with that , with my , my

30:20

vocal , I think . So , you know

30:22

, um , there we go

30:24

, lovely .

30:27

Let's give it a go , Thank you . Thank you , Tim . I'm

30:29

looking forward to hearing this and um , cause I

30:31

really enjoyed the the choralab you did before

30:33

, so let's give it a go .

31:12

So good to have" when

31:15

these

31:17

dreams , they leave

31:20

you cold , far

31:23

from the light and our

31:25

dreams . We can run Angels

31:29

in darkness .

31:31

Now we become one Far

31:35

from the light and our

31:37

dreams we can sow . Past

31:41

is behind us . The

31:43

future no more

31:45

the future no more

31:47

.

32:18

The future no more .

32:42

The future , no more .

33:23

The future , no more .

33:52

The future , no more .

34:29

The future , no more . The

34:33

future no more .

35:07

The future , no more .

35:33

The future , no more .

36:12

The future , no more .

36:22

I'm struggling to pick out anything

36:24

in particular that I would critique

36:26

. I think the only thing

36:28

that I would maybe suggest and

36:31

again it's not really a critique , to be honest is

36:33

just something that I might try is

36:36

maybe a little bit of question and answer . Maybe

36:41

have a section later on where you're singing the

36:43

vocal melody and then you've

36:45

got a counter melody , maybe

36:47

coming back from one of the synths or a guitar

36:49

or something like that . I

36:52

think that would sound quite cool , but other than that

36:55

I've got nothing . I

37:00

agree with Mark . It's got a very cinematic

37:03

vibe . When I'm listening to

37:05

it I'm picturing myself driving

37:07

about in an open-top convertible and

37:10

I've just been dumped by a shelf-hyphen that would be a

37:12

good one . I'm contemplating my life .

37:14

I'm sure it's going to be . She's not busy at the moment .

37:18

She was a bit of a letdown really .

37:24

It could have done . It sat right next to you . That's what she

37:26

was busy .

37:26

That's what's happened to her .

37:27

She hasn't been about in a while .

37:28

God , she

37:31

should have fed her more really , yeah

37:33

, never mind Cool . Thank

37:39

you very much . Did

37:43

the lyrical content come over ? Just a

37:45

quick question the

37:47

vibe comes over in the lyrics , because that's always

37:49

important . Yeah , yeah .

37:51

I noticed that towards the end of the chorus

37:53

. I was very aware of it . I'm not a

37:55

lyrics guy . I've never listened to lyrics . I

37:58

could listen to all my favourite artists and not know what they've

38:00

been singing , but I really latched

38:02

onto those ones . They're really good .

38:06

I have a goldfish . I've already forgotten the lyrics

38:08

, but

38:10

I'll go back and listen again later and I'll get

38:12

back to you on that .

38:13

Yeah , I have to say I'm the same with that . I always listen

38:15

to the instrumental and then it's sort

38:17

of like then , on the second or even

38:20

probably the third passes , when I'll actually

38:22

I'll hear the melody of the vocal , the

38:24

actual lyrics themselves . It's

38:27

usually the second or third pass , but no

38:29

excellent stuff let's go

38:32

with . So I'm going to admit Pashang just before we

38:34

play his track , just to continue

38:36

the flow . So yeah

38:38

, he is late as well . So it's like something

38:41

what's the rest of what we got coming up ?

38:46

Yeah , my track is a kind of

38:48

Halloweeny track . I actually

38:50

thought that we were all putting in Halloween tracks

38:52

. But yeah

38:54

, it's called Graveyard Shift . It's

38:56

kind of it's not quite finished , it's

38:59

like kind of most of the way there

39:01

, like but I've got most of the

39:03

kind of vibe kind of sketched out . Like I

39:06

come up with the idea to do like

39:08

a little demo for Oblivion sound

39:10

labs . It was just come out

39:12

with like a new Halloween kind of sound pack

39:15

called Dark Vision 2 . You go

39:17

a little fucking plug there for you , jonathan . So

39:20

yeah , I made the demo for that and

39:22

then I'm going to develop it into like a full

39:24

track to release for Halloween . So

39:27

a little bit of inspiration from Thriller

39:30

from Michael Jackson and a little

39:33

bit of an inspiration from kind of cheesy

39:35

old kind of slasher B movies Fantastic

39:38

mate .

39:38

Yeah , I'm looking forward to this . I love the title

39:40

Graveyard Shift . Love it , let's

39:42

do this His

39:46

. I

40:38

can definitely hear the dark

40:40

sort of soundtrack to that , that sort of girthy

40:43

, gnarly bass you've got going

40:45

on that . I think that could once . I think that needs

40:47

to be filled out a bit more like a . It

40:49

just needs to sound whether or not needs

40:51

a bit more sub bass or something in there , just

40:53

to fill that . Once again , we are at the limitations

40:56

of Riverside , so it could well be there . It

40:58

just might be because of the platform we're not hearing it

41:00

. But after the , I think it's like a chorus

41:02

section . Sure , I think it should like . You could

41:04

like break and then like have a . This

41:06

sounds really cliched , but you like a scream

41:09

or something and then for it to kick in rather

41:11

than go straight into the instrumental afterwards

41:13

, like something like that might be quite cool

41:16

that . Those are my initial thoughts , but I can definitely

41:18

hear the . I love the fact that you've got for

41:20

the Halloween vibe as well . Man , it's . It's fitting

41:22

for the , for the episode too . Before

41:24

we move on to other thoughts , I'm just going to go over to YouTube

41:28

because we've got Vic West . I just want to say

41:30

shout out to Vic West , and Pashang is in the chat

41:32

on YouTube as well

41:35

so he has joined . He's in the chat of over

41:37

. He's waiting to come in and so

41:39

I just wanted to . He said that his

41:41

alarm didn't go off and

41:44

he says turns out taking heavy-duty

41:46

sleeping meds and taking a nap for 3am start

41:48

isn't bad . Yeah

41:50

, fantastic , so let's go

41:52

around . Let's go around , uh , carl

41:55

what are you doing , man ?

41:56

it's classic nice . It's just got

41:58

that sound . You immediately head starts bopping

42:00

to it . It's , but it has that kind of Danny

42:02

Elfman , gothic , horror , halloween vibe

42:04

absolutely nailed , man , it's

42:06

incredible . Um , I

42:09

really like that deep bass , that kind

42:11

of filter , sweet bass , and I love the evolution

42:13

of it loads towards the end where you start

42:15

you kind of push it into the offbeat

42:17

really , so it kept the groove going , man , it's

42:20

, uh , it's , it would probably . I

42:22

honestly don't know what I would add to it

42:25

um , because it just sounded fantastic as it is

42:27

, mate , you're nailing it just

42:29

people go around the chat .

42:31

I think there's a dog barking somewhere .

42:33

I'm , you mean I can do it .

42:34

I don't know it is . Oh , is

42:36

it sorry , that's alright . Cheers , carl . Thanks mate . Um

42:40

uh , matt subneal

42:42

the hounds of

42:44

hell yeah

42:48

, very apt .

42:50

I mean , you know what I like about about music

42:52

these days , it's you know how hard can

42:55

you make that bass hit and everything . And again

42:57

, the Riverside comments may may well

42:59

stand , stand true . Um , I

43:01

reckon that filter sweet bass could really

43:04

punch through um and

43:06

um . But

43:09

but otherwise , I mean , I think the

43:11

, the melody that you've got an over the over the top

43:13

of it , I think it works really really well . So

43:16

, um , this is a long way of

43:18

saying I wouldn't change anything other than

43:20

just tweak that bass to make it

43:22

really just hit , you

43:24

know , um , uh

43:26

, but I think it's really solid

43:28

, really , really solid , really like it hey

43:33

, um , before we go to our nine

43:35

, I just want to say uh , synth principle

43:37

is joined .

43:38

He says he can totally hear a scream working in

43:40

that track and um

43:42

Vic West says it's okay , you're at a pub

43:44

now and can drink it off . He also said he's the designated

43:47

driver as well , which is , and

43:49

Pashang says same . I love the fact

43:51

Pashang's commented in the chat um

43:53

.

43:54

Tim , what are your thoughts ? Yeah , I like

43:56

it . I mean , I definitely get the Halloween vibes

43:59

. Obviously it's really strong there . Um , I

44:02

think it's always difficult when you've

44:05

got that kind of slightly discordant thing

44:07

going on with the bass , like next to things and

44:09

you know , and that sound

44:12

and everything . It's sort of partly

44:14

you want that , you don't want to change it , because

44:16

that's partly the kind of essence

44:19

of the song . I think . Sometimes

44:21

I sort of get that kind of computer

44:23

gamey vibe from the sound

44:26

, the overall sound on that track , and

44:28

that could be entirely intentional

44:30

. And if it is , then you're hitting its bottom

44:32

, um , and don't change a thing . If

44:35

sometimes I sort of wonder

44:37

you know a bigger soundscape

44:39

to these things to make them the

44:41

drums and the bass and that everything sort of sound

44:44

less like that , I guess . But then

44:46

I think that would be out of your style

44:48

. So I'm not sure that what I'm thinking

44:50

about is the right thing for you , because you've

44:52

got a particular sort of style that

44:54

works in that kind of . Do you know what I mean

44:57

in that kind of direction

44:59

. So you know , I think maybe sort of . But

45:01

then you've got other things . You've got

45:03

TV things like Miami Vice

45:05

and all kinds of different like things that I can think

45:07

of . That you've got like sounds , like

45:09

you know you're sort of stuff with Jan

45:11

is it Jan Hammer ? Or the other

45:14

guy , isn't it Harold Fultemar

45:16

? And stuff like that . You've got all kinds of references

45:18

in your music that come from those kind of

45:20

movies and things like that . But yeah , I just

45:23

I guess I wondered if , like , it's

45:25

too sort of computer

45:28

gamey and I would try and make it a

45:30

little bit more , you know , sort

45:32

of filmic or TV like

45:34

you know . Maybe for me , just personally

45:37

, I think I would , and that would be just some changes

45:39

in the production , the style . But like , overall

45:41

, I really like the melody , I really like the . I

45:44

think you're right if you can make it hit home

45:46

a bit more , but like it's , it is good

45:48

. Yeah , it's a really good track and it's definitely

45:50

got that Halloween vibe entirely

45:52

. So you know , yeah , it's just

45:54

a matter of style , I guess , and

45:56

what you like , you know . But

45:58

it's got energy as well , it's all . I

46:01

mean . I think all of your tracks have got energy in that . One's

46:03

definitely got that going on . So

46:05

it's nice , I like it . Yeah , thumbs

46:08

up from me . Slim

46:11

likes it too .

46:15

I had to like the kind of the video gamey comment

46:17

on a few of my tracks . Um , it's

46:19

not something that I do intentionally , but it

46:22

probably . It probably just kind of seeps in

46:24

from like all the old you know mega drive

46:26

and super nintendo games I used to play as a kid

46:28

. Um , it's probably just something that

46:30

slips into my music kind of subconsciously

46:32

. Um , yeah

46:35

, I mean it's . It's

46:37

um , it's probably not intentional on this track

46:39

, but I think with this one it's kind of I

46:42

was probably just kind of shooting for more kind of

46:44

something fun rather than cinematic

46:47

. So like I probably I probably wouldn't , I

46:50

probably wouldn't go in that kind of direction for this particular

46:52

track , but like

46:56

I know that my , my evil alter

46:58

ego is working , also working on a Halloween

47:01

track and , you know , I think that perhaps

47:03

the you know his might be a bit more cinematic .

47:06

I was just going to say . I think , when it comes to the mixing

47:08

stage , it's going to be crucial because there's a lot

47:10

going on towards the end there , so it's just

47:12

not getting caught up . You know that everything starts

47:15

clashing with one another , but I mean

47:17

your mixes are typically very

47:19

clear anyway . Man , you do that instrument

47:21

separation really well

47:24

. It's just

47:26

something to bear in mind when you get to mixing up

47:28

and it just there is quite a lot going on which

47:30

I think you know it is right for the track

47:32

. There's a lot of fun stuff , all those kind

47:34

of great Halloween sounds , but

47:36

just when you get to mix and it just

47:38

be that main thing .

47:40

Ace Gents . So here we go . It

47:42

is , the time is upon us , so the chat

47:44

on YouTube is the busiest it's ever been , and

47:46

so I got a shout out to everyone from the synth fam chat

47:48

who's joined on here . So Ran is involved

47:51

in here now , oh , the old is involved

47:53

, and we've got a few

47:55

others as well . So a big shout out to you all

47:57

here . So what we're going to do now is this we've

47:59

got a final episode . So I'm going to admit for Shang

48:01

now , and he is

48:03

now going to , basically going to dive straight in

48:06

and talk about his tracks . So let's give

48:08

this a go , and

48:10

so I've never admitted someone mid episodes

48:12

. So where is he ? There he is

48:14

, and I let him in , and

48:18

here he is . Yes , exactly

48:20

, pashang , welcome . Better

48:23

late than never , buddy . Yeah

48:25

, okay , whilst , he's

48:27

trying to sort this out . We'll play his song , because

48:30

I don't want too much dead air . So we'll

48:32

play his song and hopefully you can sort it out in the meantime . Here

48:34

we go , so , pashang , and then he can talk about it afterwards

48:36

, hopefully , and then we can talk about it , and he

48:38

might not be able to , but we can talk about it .

49:06

Alright , I am guessing he wants

49:09

to end this now .

49:37

Ace , before I dive in with any comments . Pashank

49:40

, are you able to talk ? Can you say something

49:42

? Are you there ? No , you're not All

49:44

right . Well , I'll dive straight in

49:46

once again . You can see why I don't admit people halfway

49:48

through . That's

49:51

a really nice bass sound . He's got going on there . That's very

49:53

full and very round , very , very nice

49:55

bass sound . Pashank , I'm sure you can hear me , we just can't hear

49:57

you . That sounds really

49:59

, and I like the drum fill you've

50:01

got going on there . My only comment would

50:03

be about the drum fill . I think it just needs to be

50:05

a bit more tailored

50:08

to the wrong word . It sounds a bit , maybe a bit too

50:10

sporadic in what's going on , but I

50:12

really like the full bass sort of sounds

50:14

you've got going on in there . Really

50:16

really nice track man , and I

50:18

can say it's kind of Halloween themed as well

50:20

, which is nice . But I'm

50:22

assuming you still can't hear me , so I'm going to go around and

50:25

we'll start with Tim R9, . What are your ?

50:27

thoughts . Yeah , I'm just wondering if someone's cut his tongue

50:29

out . Maybe that's the reason . Oh , no

50:31

, he's gone . He's gone . Oh , just as I start

50:34

talking , he's gone Maybe he'll come back yeah . No

50:36

, I just wondered if it was a Korean customer

50:38

at this time of year or something , something that had

50:40

his tongue removed . But no , he's okay

50:43

. Yeah , no , I'm only joking

50:46

. So yeah , I really

50:48

like the song Dark and like , yeah , like

50:50

you know , it's full

50:52

on sort of what I'd expect from Poshang

50:54

. Actually it really is . It's good and

50:58

very Halloween . Drumming

51:00

is excellent . There's lots

51:02

of cool yeah , yeah

51:05

, back cool cool

51:07

fills and stuff . I really really

51:10

like it . I think it's really hard to judge

51:12

on here , but there's just something about

51:14

the drum sounds that if I was

51:16

being super critical , they feel

51:18

like I know that they're programmed

51:21

and I sort of don't want to know that . I kind

51:23

of want them to be entirely believable

51:25

, like they're a drummer , I think , in terms

51:27

of sound . And that is hard

51:29

. I know it's hard , especially when you've got busy tracks

51:32

and stuff , to manage to get that out . But

51:34

like I mean don't get me wrong , I really like

51:36

what's going on with the drums . That's good

51:38

. But maybe that sporadic

51:40

thing is right and maybe they just need to sort of feel

51:43

like the sort of part of the track

51:45

a bit more . But you know , but I love

51:47

the energy , I love the darkness

51:49

in it . You know and I've recently

51:52

become a convert to what you can

51:54

do with all of that I love the last track

51:56

that you did on the synth

51:58

wave fan compilation

52:01

. Anybody , yeah , yeah , if you haven't listened

52:03

to it and gone and downloaded it , or

52:05

just go on to our band camp or

52:07

whatever and go and download it , fantastic

52:09

, all for charity . But like Pashang's

52:11

got a great ending track on there which I really

52:14

think Pashang around like

52:16

really sums up that kind of sound

52:18

which is not my normal sound , that dark

52:21

sort of synth

52:23

sound , but I really like it is kind

52:25

of really sort of and I think this could sort

52:27

of has got that intensity . Intensity

52:30

would be my word for this track , really , you

52:32

know it's good .

52:36

Brilliant . Thanks , tim . And here we go . Folks , here

52:38

we go . Hold on . I've got a drum roll here before

52:40

Pashang actually talks , so here we go . So

52:43

after the drum roll , pashang , you're going to introduce the

52:45

song retrospectively . Here we go .

52:54

And he's on mute . He's on mute on his mic

52:57

.

52:57

Unmute yourself , unmute yourself , yeah

52:59

, unmute yourself .

53:01

This is going well .

53:02

Oh , I ruined my special entrance

53:05

. I had everything ready to go and

53:07

I clicked the mute button . Oh

53:11

, this is why I shouldn't join podcast

53:13

at three in the morning . I'm so sorry , guys . The song

53:16

is called Myers

53:18

and I'm sure you can guess where

53:21

the name comes from . I

53:23

cut the demo off

53:25

right before Rann's

53:28

Epic Guitar Solo .

53:32

Didn't you do that last time as well

53:34

? I'm fairly certain you did that last time you were on . You

53:36

cut it off before the guitar solo .

53:37

Yes , because I know that the guitar

53:40

solo is perfect . I don't need critique on that

53:42

part , because Rann never misses and

53:44

I've got to have something to keep you guys

53:46

in the loop

53:49

and excited . But the actual

53:51

drums it's hard to hear in

53:53

this mask , I'm sorry . I

53:57

would say that

54:01

Ionine's comment on

54:03

the drums is pretty much

54:05

exactly what I was looking for in terms of

54:07

critique , because I really

54:09

like combining classic

54:12

sampled kicks and snares with

54:15

a full kit these days . It's something

54:17

I've been working on a lot this whole year

54:19

and trying to get it right . But

54:21

for whatever reason , this time I can't

54:23

quite get it to work . And I totally

54:25

agree with his comment that

54:28

the kit drum sound

54:30

very removed

54:32

from the rest of the track . So I'm actually curious

54:35

how would you guys go about fixing

54:37

that ?

54:38

I think personally , for me I'm

54:40

the same as you , shanga , recently , sort

54:42

of messing about with the kit and things like that , trying

54:45

to get a bit more of a human feel and programmed

54:47

, and I think what you could do is look

54:50

meticulously , if you wanted , at the

54:52

velocities of the individual

54:54

things that you're hitting on

54:58

the velocity or some of the notes that you wanted

55:00

to hit where it should be hit and drop it

55:02

down a lot Just to give it that dynamic . Maybe

55:04

if I'm assuming it's in the grid you've

55:08

quantized it , introduced a bit of swing on

55:10

the quantized so that it's not so rigid

55:12

and robotic . But

55:16

I think what Mark and Tim have said you know

55:18

, the drums are the bits in this

55:20

track that are probably standing

55:22

out for the wrong reasons and

55:24

I think once you fix that it will be an

55:27

excellent track . Sounds like you've been hanging out with Vic Kruger

55:29

. To be fair , it's intensely evil

55:31

. I love it .

55:34

What VST ? Were you using Peshyang

55:37

on the drums out of interest ?

55:40

So I use Easy Drummer

55:42

3 , which is an amazing

55:45

plugin and

55:47

I discovered recently that they actually

55:50

have drag and drop MIDI files

55:52

, which is like a main theme

55:54

of the thing , but

55:57

I feel like I'm cheating using them , so I always

55:59

program it in myself . And

56:02

Volker X just released his new album

56:04

, the Loop , and I was talking to him about

56:06

his drums and it turns out he programmed every

56:08

single bit

56:10

himself with his mouse and

56:13

it sounds incredibly good . So

56:16

I was kind of going for that

56:18

vibe , but I clearly

56:20

am not a drummer because I totally

56:22

messed it up .

56:24

I think as well like sound wise sometimes when

56:26

I find like mixing sort of because I've done a lot

56:28

of mixing for like program drums to make them sound

56:31

like real drums and like I mean part

56:33

of it is the playing , obviously in the programming itself

56:35

definitely . But I think

56:37

sound wise sometimes it's like getting the

56:39

balance between the room mics , the

56:42

overhead mics and the close

56:44

mics , because

56:47

it's that telltale thing when like a cymbal

56:49

sounds close mic'd or something

56:51

like that rather than it being in the overheads

56:53

. In fact , room mics

56:55

can be a big thing in metal , particularly

56:58

like they're a really golden thing

57:00

that you have to get right when you're doing metal

57:02

drum production and recording them and getting them to sound

57:04

right . So yeah , I'm kind of a big fan

57:06

of room mics and then compressing the hell

57:08

out of them and sort of putting them on

57:10

a separate channel and putting a parallel

57:12

bus like compressor

57:15

on sort of thing . You know , on the

57:17

like room mics and stuff like that . You know

57:19

I could go into it in detail . That's just

57:22

one of the weirdest drinking experiences

57:24

, obviously . Yeah feed

57:26

him through a straw . Yeah

57:28

excellent , there we go .

57:32

But sub neon thoughts

57:35

.

57:35

I mean I don't have too much to add

57:37

from what the other guys have said . To be

57:39

honest , I mean , I think that the

57:41

progression up until that point is

57:44

kick ass . You

57:46

know my , my , my drums

57:48

. I've spent a lot of time

57:50

trying to make them sound as natural as possible

57:52

. The thing that

57:54

made it really work was like

57:56

a brute force compression from

57:58

glue to really

58:01

make them stick together . And

58:05

again , like Carl was saying

58:07

, getting the velocity right on those different

58:09

elements is absolutely critical

58:11

Otherwise , otherwise you've got a crash

58:13

or a high hat or a

58:16

snare or something . It just just sounds

58:18

out of place . But

58:20

I guess you know

58:22

, I think , in the grand

58:24

scheme of things , that that's a relatively simple

58:26

thing to fix , that that's just very

58:28

minor adjustments . More than anything else , I

58:31

was kind of hoping to hear what comes

58:33

next , and I know that you said that there's a rand

58:35

solo coming after that . But

58:38

I was almost hoping for

58:40

this like really gnarly

58:42

cyberpunk , really

58:44

hard hitting bass that kind of starts

58:47

slapping in straight after that . Please

58:49

tell me that that's there , otherwise I'll cry

58:51

, I mean .

58:52

I did tell you I was

58:54

doing the track and you were

58:56

like , oh , you're doing

58:59

the Halloween cover , that's

59:01

the latest hit of the universe . And then I

59:03

got a little sad . I was like , well , you can't put my

59:05

bass on it anymore . Well , I

59:07

can't make bass like you made your sub

59:09

neon , it's in the name

59:11

.

59:13

I mean no , to be fair , I

59:15

was like you know , Halloween

59:18

is a little bit kind of overdone

59:21

, but what you've done is

59:24

really interesting and it's different , you

59:26

know . I mean normally you

59:28

hear a Halloween cover .

59:30

He said consoling yeah consoling Absolutely

59:32

.

59:32

I mean nine times out of 10

59:34

, you'll hear the doodoo doodoo

59:37

, doodoo doodoo you know the Halloween melody

59:39

with just a fucking techno

59:41

kick drum over the top of it . So

59:44

what you've done is interesting and

59:47

I'm now regretting my decision . Are you happy now

59:49

? Well

59:52

, no no , I just feel guilty for mentioning it .

59:57

But yeah , I'm going to try to get some crazy bass

59:59

going . I'm actually working on the second half of the track

1:00:01

to the point where I didn't want to put it

1:00:03

on the show because there's just

1:00:05

big chunks of stuff missing . But Rand

1:00:09

actually participated in this one more than

1:00:11

guitars . He threw in some awesome

1:00:13

saw base and some

1:00:15

pads and some other stuff that comes in in the second

1:00:18

half . The main thing I

1:00:20

was having trouble with is the transition , and

1:00:22

the track also goes from 5-4 to 4-4

1:00:25

, because the Halloween theme

1:00:27

was written in 5-4 . But

1:00:29

good luck writing a danceable track

1:00:31

in 5-4 . So I

1:00:34

switched between signatures , and those

1:00:36

transitions are giving me

1:00:38

trouble too . So this was the part

1:00:40

of the track that I was having the most trouble with at the moment

1:00:42

. So I thought it was most relevant to show you guys , and

1:00:45

your feedback has been invaluable , as

1:00:47

always .

1:00:49

Just one last piece of feedback , actually from Russell , before

1:00:52

we do move on to the ending part of

1:00:54

the show . What are your thoughts , Russell ?

1:00:56

Yeah , like you

1:00:58

know , I kind of agree with everyone

1:01:00

else . I mean the drums

1:01:02

they sound fine but yeah

1:01:04

, they are a

1:01:06

little bit kind of robotic

1:01:09

. But

1:01:11

I was going to make a different suggestion . Rather

1:01:15

than more like a production related

1:01:19

suggestion , I was going to maybe give more

1:01:21

of a compositional one . Something

1:01:24

that I used to do when I was trying to get better

1:01:26

at drumbeats and stuff like that

1:01:29

, especially for the

1:01:31

kind of beats that you're aiming for to

1:01:33

make it sound more natural is just see

1:01:36

, you just slap on a bunch of your favorite records

1:01:38

, like your favorite drummers , and

1:01:40

just really , really , really listen to the

1:01:42

beats and then see , any time you hear

1:01:44

like a beat on the record that you really

1:01:46

like , jump

1:01:48

on the DAW and try and replicate it . You

1:01:50

try to get it as close as you can , because

1:01:55

obviously a big part of sounding

1:01:57

like a natural drummer is to

1:01:59

play like a natural drummer would , because obviously

1:02:02

a lot of the music that we do is

1:02:05

meant to sound mechanical , because

1:02:09

a lot of electronic music and dance music like

1:02:11

that's just part of the style . But if you're trying

1:02:13

to get a more kind of natural sound , then

1:02:16

you want to be emulating real

1:02:18

drummers rather than electronic

1:02:21

tracks . So that was my

1:02:23

first bit of feedback . My

1:02:25

second bit it's not really a feedback

1:02:27

, so much as a suggestion . But I would fucking

1:02:29

love to hear see some of those drum

1:02:32

fills . See , if you synced

1:02:34

up the church organ , you've got in there

1:02:36

to do a little pedal tone and

1:02:40

then it fell along with the drum fill . I think that would sound

1:02:42

fucking cool .

1:02:44

We are approaching the end now , at the

1:02:46

end of the podcast . So this is the opportunity now to

1:02:48

give yourself a shout out . Whatever

1:02:50

it is you've got coming up where the audience can

1:02:52

find you the best place to go , etc . So I'll

1:02:55

go around what I can see on my screen here . So aisle

1:02:57

nine and slim , yeah

1:02:59

, yeah , I'm just Anything's coming up .

1:03:01

Just confiscate this dirty boy . Yeah

1:03:05

, I mean what is going on ? I

1:03:08

have an amazing release coming up

1:03:11

with Sleepless Nights and Clinton

1:03:13

which is

1:03:15

called Lost

1:03:17

Go , and pre-save that now . The link

1:03:19

is in my bio on Instagram . You'll

1:03:21

find me absolutely everywhere on my music

1:03:24

, so that's coming up . And

1:03:26

then I've got this release

1:03:28

, I think , with Chris Kea , which

1:03:30

you heard a bit earlier , so that's going to be

1:03:32

going out at some point . I haven't got a date for

1:03:34

that one yet . And

1:03:37

then I am still writing music

1:03:39

and got my own stuff coming out at

1:03:42

some point . When I write another load

1:03:44

of stuff , I've just had two

1:03:46

singles out recently , so

1:03:49

Hot Copper Sun is doing really

1:03:51

well , and I've got Icy

1:03:53

Stars on the compilation album that we've

1:03:55

all done . So , yeah , it's been quite busy

1:03:57

on the music front . And then I'm busy producing

1:04:00

and mixing and mastering for loads of people

1:04:02

at the moment . So other

1:04:04

people .

1:04:05

And I also want to say , Tim , you

1:04:07

have a song on my EP . I'm going to plug

1:04:09

myself in on December 10th 8th

1:04:12

, rather December 8th , so that's another

1:04:14

one . So , yeah , yeah , I'm still looking

1:04:16

for that one .

1:04:20

And it's a belter as well . Maya and

1:04:22

Neon Highway , you can find me at Neon Highway .

1:04:24

Syntho and Instagram pretty much links

1:04:26

everywhere from there . I don't have anything

1:04:28

coming up at all , just messing

1:04:31

around in the door at the moment , trying to

1:04:34

get some spark back after having a few months

1:04:36

off . The only thing I can think of is

1:04:38

that I'm going to hook up with Nash at early

1:04:40

2024 . I've already sent a

1:04:43

little bit of a demo for a new track we're

1:04:45

thinking of and think he would work well

1:04:47

with his sound , so hopefully

1:04:49

we can collaborate on that .

1:04:53

Marvelous . Look forward to that

1:04:56

. That'll be us man . Might

1:04:59

as well go straight to Russell Nash .

1:05:03

Alright , yeah , cool , I've actually

1:05:05

got quite a lot of stuff coming up soon

1:05:08

. I've got my Halloween

1:05:10

track that you've heard a little snippet of hopefully

1:05:12

will be coming out at some point in the next week

1:05:15

. My evil arch nemesis also

1:05:17

has a Halloween track coming out at

1:05:19

some point in the next week . After

1:05:22

that , I've got a single

1:05:24

lined up to come out in November

1:05:26

. It's a Robocop themed single

1:05:29

, and then

1:05:31

, yeah , quite

1:05:34

a lot of stuff lined up at the moment , but

1:05:36

I'll just leave it at that and more cry

1:05:38

, you can find . Oh

1:05:42

, yeah and that , yeah , that too . I'll

1:05:46

get that fucking guitar solo nailed , man

1:05:50

. All my fellow guitarists

1:05:52

in the chat fucking back

1:05:54

me up here . Man , every time I hit

1:05:56

record I'll just fuck it up like 37 times

1:05:58

in a row I'll play

1:06:00

it and then it'll sound not too bad , and then

1:06:02

I'll have another couple of playthroughs and it'll sound

1:06:05

alright , and then I'll hit record and then I just fuck

1:06:07

it up .

1:06:07

Yep , I've been there about many times , isn't

1:06:09

?

1:06:09

that what editing is for ?

1:06:11

Yeah , I'll get it . Yeah can't

1:06:13

ping me , I just do a lot of takes and

1:06:15

a lot of editing Thanks

1:06:20

.

1:06:20

Subneon . What's going on ? Who knows ? Everything

1:06:23

you can find about me is at

1:06:28

subneonnet . I've

1:06:30

just released my most

1:06:33

played single

1:06:36

called Moonlight Skydrive , which

1:06:38

came out within this

1:06:40

last month , and

1:06:43

in the time that Russell has not finished

1:06:45

that track for Pashong

1:06:47

, I finished two for his EP

1:06:50

called the Exploit and

1:06:52

the Evolution Chamber . I'm not bragging

1:06:54

or anything . And

1:06:56

I do have a single

1:06:59

that's with Al9 at the minute that

1:07:01

is called Night Runner . He's

1:07:03

not listened to it yet . I have listened to

1:07:06

it and I don't think it's quite ready for mastering

1:07:08

yet . So I think he's just been too

1:07:10

nice to be actually replying . He's

1:07:15

just been super busy and

1:07:18

actually Blood Dance , which I

1:07:20

started on Monday , might actually

1:07:22

be the next one because

1:07:24

it's nearly there . So

1:07:26

yeah , some DM'ed that or words close

1:07:29

to that , and

1:07:31

yeah , thanks very much .

1:07:37

Thanks , buddy , I'll put a link in the description .

1:07:39

And the later rival , Pashong

1:07:42

Well this

1:07:45

Halloween season I have

1:07:47

a live show , so

1:07:49

anyone out there watching this podcast who

1:07:51

happens to live in South Korea with me

1:07:54

, please join us at Commune's

1:07:56

downtown Degu , starting

1:07:59

at 9pm , for Pashong's Vampire

1:08:02

Rave Afterparty . I

1:08:04

will be wearing vampire teeth and

1:08:06

possibly stealing the guy liner thing

1:08:09

from our friend Sub-Nion , and

1:08:11

definitely not wearing this mask , because this

1:08:13

mask is extremely uncomfortable . I

1:08:18

do have a single coming out with

1:08:20

Raen in the next few

1:08:22

weeks , which would have

1:08:24

been the demo that we played today

1:08:26

if it weren't so chill , but this

1:08:29

being a Halloween themed show

1:08:31

, it's called Coastline

1:08:33

Paradox and it's extremely chilled

1:08:35

out , chill synth with a

1:08:37

ripping guitar solo at the end

1:08:39

, and it actually works together very well

1:08:41

. Other

1:08:43

than that , I have a million things on my

1:08:45

plate and absolutely no time to work

1:08:48

on any of them , so we'll just have to see what happens

1:08:50

next . There's always

1:08:52

something going on , but I never know which bit

1:08:54

of it is going to rise to the top first , so

1:08:57

I'll keep you posted on Instagram

1:08:59

, everybody .

1:09:02

The constant turmoil over creative

1:09:04

. Thank you everyone . Just before we go , a couple

1:09:06

of things from me . So the next episode

1:09:08

of the producers pub . So we're going to be recording this on the

1:09:11

19th of November and it's going to be the Christmas

1:09:13

special , so I'm going

1:09:15

to address up my beard with white shit

1:09:17

and dress like Santa and stuff for that . So

1:09:19

we've got two spaces available for that

1:09:21

one . It was one

1:09:23

originally but Sub-Nion had booked himself in

1:09:27

twice , so we have two spaces

1:09:29

available . So if you want to get involved with that , do

1:09:31

head over to insidethemixpodcastpodiocom

1:09:34

and get involved . Alternatively

1:09:37

, just send me a link on Instagram at

1:09:39

inside the mix podcast and I can send you the link if you want

1:09:41

to join . And also I

1:09:43

will put a link to this in the episode show notes

1:09:45

. But I've got a song out on the

1:09:47

November the 10th let you go featuring Indigo

1:09:50

. So chuck that a presave . I've

1:09:52

been banging on about it on the podcast , in tutorials

1:09:54

and stuff for a while now . And yeah

1:09:57

, chuck that a presave . It's coming out November the 10th . And

1:09:59

then my EP , which I mentioned , does

1:10:01

feature Tim R9 , comes

1:10:04

out on December the 8th . Gents

1:10:06

, it's been an absolute pleasure . Halloween special

1:10:08

my eyes are beginning to sting because of this black

1:10:10

shit around them , so I need

1:10:13

to go wipe this off . I could be blinking

1:10:15

a lot and Prashank eventually joined

1:10:17

us , and before we go , I just want to say a big thank you

1:10:19

to everybody who has got involved

1:10:21

in the chat on YouTube . It's been the busiest yet , which

1:10:23

is amazing and fantastic

1:10:26

stuff . Gents , it's been a pleasure and

1:10:28

I will catch up with you all soon .