0:00

You're listening to the

0:00

inside the mix podcast with

0:03

your host, Mark Matthews.

0:06

Hello and welcome

0:06

to the inside the mix podcast.

0:09

I'm Mark Matthews, your

0:09

host, musician producer, and

0:12

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

0:15

If you wanna know more about

0:15

your favorite synth music,

0:17

artists, music engineering,

0:17

and production songwriting,

0:20

and the music industry. I've been writing, producing,

0:22

mixing, and mastering music for over 15 years.

0:25

And I wanna share what

0:25

I've learned with you.

0:30

So welcome to the

0:30

inside the mix podcast.

0:32

I'm your host Mark Matthews. And this is a, uh, this is

0:34

a first for the podcast.

0:36

So this is a live interview. So I'm not entirely sure

0:37

how this is gonna go,

0:40

but fingers crossed. It will go well. Um, we are at the mercy

0:41

of technology, but

0:44

we'll see how it goes. So yeah, in today's episode,

0:45

I'm joined by Chris Trel

0:48

of tone, fish studios, and

0:48

metal bands Dror and EnCap.

0:52

And, uh, in this episode,

0:52

we'll be discussing Chris's

0:55

current musical projects

0:55

and the designing building,

0:57

and opening of a recording

0:57

studio during a pandemic.

1:00

Hello, Chris, how are you? And thank you for joining me.

1:03

Hello, mark. Yeah, I'm

1:04

very well, thank you. Uh, no problem at all.

1:06

Uh, looking forward to chatting

1:06

about music and the, uh,

1:09

events that have happened

1:09

over the last couple of years.

1:12

Over years. Yeah. Yeah. How are you

1:13

doing? I'm I'm alright, thank you. I'm alright. I'm um, I'm intrigued

1:15

to see how this goes.

1:17

I'm intrigued to see how this goes, as I say is the first live podcast episode.

1:21

So I dunno how many people

1:21

we're gonna have EUS.

1:23

So for the listeners listening

1:23

now on the, uh, podcast

1:26

platforms, retrospectively,

1:26

this was, is recorded live.

1:30

So please do bear with us. so, um, I've got

1:32

your bio here, Chris.

1:35

So tones fair studios

1:35

was designed and built by

1:37

yourself and your brother

1:37

Ben during and just after the

1:41

original lockdown of 2020. Um, it was made primarily

1:43

for the use, uh, for

1:46

existing projects, but also geared towards branching out to the public.

1:50

So we'll come circle back to that. Um, further on the idea was

1:51

to create a dynamic space

1:54

to use for a wide variety of

1:54

projects from recording and

1:57

mix into photography videoing

1:57

and ironically live streaming.

2:01

Um, so yeah, exciting stuff,

2:01

just, um, just for our audience

2:05

listening, where are you

2:05

joining us from today, Chris?

2:08

So I am joining

2:08

you from tots fair studios.

2:11

Uh yeah, we are based,

2:11

uh, around the Toton area.

2:15

So just outside of

2:15

Toton, um, in a, in an

2:17

industrial unit out there. Um, but yes, making use of

2:19

the live streaming part of

2:23

the studio this afternoon,

2:23

this evening, rather.

2:25

Yeah. It's something we'll circle back to you later. Cause I think it's an

2:27

important part of the music condition now in particular

2:29

for, for live events, what

2:31

with what's happened of late. So just to, um, GI give

2:34

the audience a bit of

2:36

background knowledge. Um, so myself and

2:37

Chris, I've known Chris for a very long time.

2:40

We, uh, we were in a band

2:40

many, many moons ago.

2:43

And if you circle back and

2:43

listen to, I think it's episode

2:45

10 or 11 of the podcast,

2:45

there's an interview with

2:48

myself, uh, Chris and our

2:48

other good friend and band

2:51

mate, uh, shout out to Toby. Um, yep.

2:54

And, uh, if you wanna get a

2:54

bit more in depth knowledge

2:57

and just a general laugh I

2:57

strongly suggest going

3:00

back and listening to that

3:00

episode, cuz it is quite good.

3:03

And you get to learn a bit about, a bit about my background as well.

3:05

Mm-hmm as well as, as well as Chris's. So what I'd like to start

3:07

off with Chris is just a bit

3:10

of, for our audience, for you

3:10

to go into your background.

3:13

So your life before tone sphere.

3:15

So tell us a bit about your musical life. I know it's quite extensive.

3:19

Um, so I've been there for

3:19

probably about a third of it.

3:23

Um, yeah, so yeah, your

3:23

musical background, Chris,

3:26

let's start with that one.

3:28

Cool. So, I mean, music's always

3:28

been quite a big part of

3:31

my life to be fair, even,

3:31

uh, from a very young age.

3:34

Um, always used to like

3:34

listen to Beatles records

3:37

and mess around on a piano and stuff like that. Not with much kind of.

3:41

Musical knowledge taught to

3:41

me or anything like that.

3:43

And it was fairly horrific, but

3:43

, it did spark a kind of interest.

3:46

So like ever since then, I've,

3:46

I've always tried to be involved

3:49

in like, uh, mixing kind of

3:49

projects and stuff like that.

3:54

Even from like a secondary

3:54

school kind of level, and

3:57

always used to be in bands,

3:57

you know, like the, what youre

4:00

gonna do at lunchtime, you're gonna go and play on the field. You're gonna go and play in

4:02

a band and, you know, stuff

4:04

like it was that kind of

4:04

all our little 30 wat combos

4:08

sitting up on a table in

4:08

the music room, just, you

4:10

know, making some noise and

4:10

playing Metallica and Slayer

4:13

covers and stuff like that. Yeah. so a lot of it comes from

4:15

just those kind of early days.

4:18

Um, and then kind of jumping

4:18

forward a little bit,

4:22

um, to where I kind of.

4:26

Had to make a choice on

4:26

what kind of instrument

4:28

I wanted to play. I think so I've always been kind

4:28

of split a little bit between,

4:32

uh, like guitar and drums. Um, and there's just always,

4:34

as I'm sure you're aware of

4:37

bigger demand for drummers. Yep. Um, so that was a kind of fell

4:39

into, uh, oh, do you wanna,

4:42

do you wanna join a bank? So we really need a drum. I do. You just wanna give it a go and

4:43

it goes from, oh, you're quite

4:46

good at tapping on a table. Why can't you do that on

4:48

a drum kit kind of thing. And it turns out there's

4:49

quite a big difference between those two, uh, situations.

4:54

But, uh, the first band I ever joined was, uh, was a queen tribute band.

4:59

I did know that yeah, I did

4:59

not know that as a drummer.

5:03

Anyway, it was, it was a friend

5:03

of mine was, uh, was a big

5:06

queen fan and, uh, we possibly

5:06

slightly unimaginatively

5:10

called ourselves king Yeah.

5:16

But, uh, yeah, so I I'd

5:16

never listened to queen.

5:19

Before I joined that had you not, no. So I was just there, you know,

5:22

playing a four beat, just like,

5:25

yeah, this is a queen song. This is great. Like years later of like,

5:27

oh, I was, so that was such a

5:30

wasted kind of like opportunity

5:30

there to, to actually

5:33

learn some queen stuff and

5:33

really get into the music.

5:36

Cuz I really love the band now,

5:36

but yeah, back then it was just

5:39

a, oh, I get to get behind a

5:39

drum kit and play some stuff.

5:42

That's that's really cool. And um, but yeah, from, from

5:43

that, like just a myriad of,

5:46

of bands with, with similar

5:46

groups of friends until I met

5:49

yourself and, and Toby and,

5:49

and the rest of, uh, engraved

5:53

from, uh, the it's original

5:53

incarnation and then got very

5:57

into Def metal and, and you

5:57

know, the drums that, that,

6:01

that go with that essentially. Um, and then, yeah, it just

6:02

kind of snowballed from

6:07

there and, and carried on

6:07

to, to where we are today.

6:10

Really. So that's, you know, we did like

6:10

a, um, College course in music,

6:16

which kind of, I think helped

6:16

get me out of just the I'd

6:21

play thrash metal and nothing

6:21

else kind of mindset, which is,

6:24

uh, always a good thing to do. Mm-hmm , , um, play a bit of

6:25

pop and, you know, get, get

6:30

all the bangers but, uh, yeah.

6:34

Yeah, I think that's, um, circl back to a few things in there.

6:36

So go back to the 30 wa I'm fairly certain. We, we, we, we jammed with

6:39

30 wat amps when we were

6:41

writing a lot of our stuff. I know. Um, I distinctly remember,

6:43

were they even 30?

6:45

I think probably not

6:46

16. I remember playing, we

6:47

play in some sort of like almost abandoned attic

6:49

at the bar at the back of

6:52

your, of your shared house. If I remember rightly um,

6:55

yes. Yeah. We wrote quite a

6:56

few songs in there. Didn't we? We did.

6:58

And we did, we also tried to, to hack a competition so we could play

7:00

with, um, dark tranquility.

7:03

If I remember right. Yes and

7:05

lost. Yeah. I think we

7:06

got bored and ended up going to

7:07

the pub

7:07

quite quickly as well.

7:10

Cuz we had to reset the router

7:10

to get a new IP address.

7:12

Every time we voted. And then like after about

7:14

two hours of just doing

7:17

that and everyone getting really annoyed, we were like should just goes to the pub.

7:21

Yep. Like, yeah, just say

7:21

someone else out hacked us.

7:24

That that sounds about

7:25

right. And it's interesting, you

7:25

mentioned about queen there and not actually, um, listen

7:27

to queen because, uh, for

7:30

those, for the audience

7:30

listening now, um, after,

7:33

uh, a few drinks generally,

7:33

uh, Chris is quite inclined

7:36

to putting on queen , um, in

7:36

the early hours, much to the,

7:40

uh, bereft of his neighbors. Um, but no,

7:44

I had it coming yeah,

7:45

yeah, yeah, they did. I'm not, I'm sure they're

7:46

not listening, but we won't

7:50

go into details on them. No. Um, But, uh, yeah, so quite an

7:51

extensive musical background.

7:55

And just, just for just

7:55

echoing what Chris said then.

7:58

So we were in a band called

7:58

engraved disillusion, which

8:00

was a, which was a heavy

8:00

metal band, uh, turned

8:03

into a metal band, death

8:03

metal at one point, various

8:05

incarnations, probably over

8:05

the course of about 10 years.

8:07

Um, I will put links to that

8:07

in the, in the episode show.

8:10

Actually, you can go and check that out. So I'm sure for the audience

8:11

listening, if you listen to my music, it's quite different

8:13

to, uh, to heavy metal,

8:17

but, um, I think echoing

8:17

what you said there, Chris,

8:20

about coming and having that

8:20

sort of musicianship of, of

8:24

experiencing different genres. I think I dunno about you,

8:25

but I think it does make you

8:28

a more creative individual

8:28

and I think it opens.

8:31

You're more, you're

8:31

more open to, to musical

8:34

stars and musical ideas. And I think it helps

8:35

your songwriting. Yeah.

9:49

That's

9:50

I think that

9:50

openness is what you, if you

9:52

learn nothing else, that's

9:52

probably the most important

9:54

thing from being exposed to

9:54

like, even, you know, some

9:58

of the most generic songs,

9:58

you know, like the Bon Jovi's

10:02

and the Europes and, and the stuff like that, that you inevitably end up playing at

10:03

at college shows sometimes.

10:06

And just kind of makes you

10:06

delve into that world a

10:09

little bit more and, and

10:09

have a bit of appreciation

10:11

to where some of these other,

10:11

other things came from.

10:14

Um, and then yeah, you can

10:14

apply that later on and,

10:17

and you think, wow, what,

10:17

what could I get into the

10:20

music that I currently play to make it sound different or sound, sound better,

10:22

or take it in a different

10:24

direction and stuff like that. So, yeah, that's, that's

10:26

definitely like a, like a

10:28

big part of it, I'd say. Yeah,

10:29

definitely. And I think, um, just before

10:30

I go onto the next point,

10:32

actually, which is quite

10:32

poignant one, um, I just

10:35

wanna delve into the stats

10:35

for this current live episode.

10:38

Um, exciting times we have

10:38

five viewers, um, which is,

10:42

which is five more than I thought we were gonna get Um, which is amazing.

10:46

I've

10:46

I got five screens open on different devices here. Yeah.

10:49

I've got a farm going on.

10:51

yeah. Yeah. Um, farming out IP addresses.

10:54

Um, so I'm just gonna say

10:54

hello to Emily, uh, Lawrence

10:58

rod, and Jamie, thank you

10:58

for, uh, joining us on this

11:01

inaugural, um, inside the

11:01

mix podcast, episode six.

11:05

Um, yeah, that's a number Lawrence. Well done.

11:07

Okay. Um, so my next point was

11:08

gonna be heavy metal.

11:13

Now I had an interview with

11:13

max though, um, which is gonna

11:17

come out in series two mm-hmm

11:17

and I've interviewed countless

11:20

other, um, synth artists.

11:23

Cause I know you are, you are quite into your synth music as well.

11:26

And the amount of musicians

11:26

that come from a metal

11:28

background, including myself

11:28

is, is there seems to be this.

11:32

Weird pull from the synth

11:32

world godfather three esque

11:37

that sort of draws you in. Yeah. Can you think of any reason

11:39

why that might be, why there,

11:41

why there might be a transition

11:41

from metal to synth music?

11:46

So, I mean,

11:46

as I said to you the other

11:48

day, I, I did do a, an inside

11:48

the mixed binge, uh, and

11:51

listen to all of the episodes,

11:51

uh, like in short order.

11:55

yeah. And yeah, the, I did

11:55

pick up that a lot.

11:58

There was a lot of, of people

11:58

from a metal background

12:01

or at least, you know, a

12:01

rock or punk or, or that

12:04

kind of guitar driven music

12:04

background that went into it.

12:07

And I think it's probably

12:07

just because they're so

12:09

compatible, if you think

12:09

about like, you know, the pop

12:14

music and stuff like that. I mean, it's all keyboard based.

12:16

Mm-hmm like a lot of the time

12:16

it's written on piano and then

12:19

it's transposed onto other, uh,

12:19

mediums and stuff like that.

12:22

And I think that it's

12:22

very easy to go from.

12:27

Like piano and guitar are very

12:27

kind of intermingled together,

12:31

like in, in the world of pop

12:31

and in the world of, of metal.

12:35

I mean, you think about

12:35

like how symphonic music

12:39

and metal paired together. So well. Yeah. And, and that's got a very

12:41

big following and like, it's,

12:44

it's almost like a follow

12:44

on from classical music the

12:47

way some of it's composed

12:47

a lot of the time, I think,

12:50

uh, like synth based music

12:50

has done something similar.

12:54

So there's lots and lots of

12:54

bands already in, in like

12:58

the metal genre that, that

12:58

have done it for years.

13:01

Yeah. And, you know, and it's

13:01

becoming a lot more popular now

13:05

obviously with the, how, uh,

13:05

like Sy music is, is starting

13:09

to come like really to the

13:09

forefront of music, again,

13:12

with like bands, you know,

13:12

just, uh, beast in black, uh,

13:16

battle beast, you know, those

13:16

kinds of, you know, metal

13:19

poppy amaranth, like mm-hmm And I think it's, it is just.

13:24

You can take the metal aspects

13:24

of it and you can put them

13:28

onto different instruments. And then all of a sudden

13:30

you're like, oh, we

13:32

can strip back back. And that melody doesn't have to

13:33

be like a big guitar harmony.

13:38

It can be like,

13:38

uh, a synth line.

13:40

That's a lot more chilled out. And I think a lot of it's

13:42

because it's so much easier to

13:47

kind of do on your own as well.

13:49

Yeah. And another thing that was quite

13:50

prevalent throughout the podcast

13:55

was a lot of people kind of

13:55

started doing it over lockdown.

13:58

Yep. Yeah. That is common. And I totally see why,

13:59

because you you've got

14:02

that collaborative kind of

14:02

aspect taken away from you.

14:05

That's out of your control,

14:05

but being like creative

14:09

people, you just want. Carry on doing it and yeah.

14:13

Having access to things like

14:13

Sy and, and DAW programs

14:16

and stuff like that. I mean, I've been lost

14:17

in Sy fly brief for days.

14:20

yeah. You just, you just get

14:21

stuck in and then you

14:24

think, oh, that sounds good. And that sounds good. And right.

14:26

Get some drum loop and put

14:26

behind that and you can totally

14:29

see how that would kind of

14:29

naturally kind of happen in,

14:32

in like a musician's mind. But yeah, again, yeah.

14:35

It's, it's just down to

14:35

that compatibility between

14:37

the two genres, I think. When they do get

14:39

married together, they, they work so well.

14:42

And it's easy to kind of go in

14:42

one side as a metal musician,

14:46

meld it together and then

14:46

come out the other side as

14:48

a synth kind of musician. Yeah. It's I can totally see,

14:50

see that transition.

14:53

Yeah.

14:53

I totally echo what you said there and it makes perfect sense.

14:56

And I think specifically from

14:56

my own perspective, as well,

14:58

when you mentioned there about

14:58

like being the master of your

15:01

own destiny, so you're no

15:01

longer in that there's pros

15:04

and cons to each approach. I mean, you, you're working

15:05

in a solitary environment

15:07

working on your own music,

15:07

which is great, cuz you can

15:10

do it at your own leisure

15:10

unless you've got deadlines

15:12

from a label, et cetera. Well, I suppose on the flip

15:13

side you don't have that input from four other members, but

15:15

then again, you're not having to appease for other people.

15:19

So mm-hmm, , it's quite nice

15:19

and it is, it is, um, a product

15:23

of the pandemic as well and the

15:23

accessibility of technology.

15:26

But I also think as well,

15:26

when you come to like Sonic

15:28

texture, it's textures as well. Cuz I remember being in the

15:30

banded stuff and we're always like, oh man, this, this track's

15:32

gonna be really heavy when

15:34

I'm at as heavy as possible. Alright. Um, And I think the great thing

15:36

about synth music is, and in

15:40

particular is you can take

15:40

your Sonic palette and make

15:43

it wherever you want it to be. And you can emulate those really

15:44

heavy sounds and those heavy,

15:48

heavy textures using synths. And the technology is

15:50

just so accessible. I mean, I've got one keyboard,

15:52

uh, mini extended mini

15:56

keyboard, and the rest of

15:56

it is just total digital.

15:58

And that is the beauty of technology. Um, mm-hmm and it's exciting

16:00

cuz I like every week I'm

16:03

finding more and more Sy

16:03

artists just appear and

16:06

they're putting out some, so

16:06

the music they're putting out

16:08

is amazing and a lot of the

16:08

time they're just starting

16:10

from the ground up mm-hmm and

16:10

it's, it's really interesting.

16:14

And like you say, when you go back through the podcast and you listen to the influences

16:16

and the way people are

16:18

moving over to synth music,

16:18

and I think it's just cuz,

16:21

cuz of its accessibility

16:21

and also the community that

16:23

exists within it as well. It's uh, it's an amazing thing.

16:27

So once again, uh,

16:27

thanks for that, Chris.

16:29

I'm just gonna dive over to the live. Um, no nothing's happened

16:31

that, um, but there you go.

16:34

It's one of those things

16:34

. For the audience listening

16:37

retrospectively once again

16:37

on the podcast, um, this is

16:40

live if you've just joined

16:40

at this point, and it is

16:43

a, it is a new part of the

16:43

podcast that we're gonna be

16:45

doing every now and again. And at the moment we've got

16:46

four viewers, hopefully that

16:48

will, uh, that will improve. So what we're gonna do

16:50

now, Chris, is I gonna give you the opportunity

16:51

just to plug, uh, your two

16:54

bands that you're part of. Um, you can start with either

16:55

one, I don't mind, in fact,

16:57

I'll make that decision for you. It makes it nice and easy that

16:58

way you're not showing bias.

17:01

Yeah. Um, so we'll start with,

17:01

Theora give our, give our

17:04

audience a bit of a description

17:04

of that particular band.

17:08

So Dr. Is band that I joined in

17:09

2018, I think four years.

17:16

yeah. So it's been, it's been a

17:17

little while we've, we've had our, um, ups and downs, just

17:19

the pandemic kind of knocked

17:23

us out a little bit, but

17:23

we're just kind of coming back

17:26

again now with, with stuff. But essentially that, that

17:27

was a kind of like I was

17:31

saying earlier about the symphonic side of things. That was a very much.

17:34

Geared towards being

17:34

like a kind of symphonic,

17:36

but melodic metal band. Um, we wanted to get as much

17:39

kind of strings and symphonic

17:43

backgrounds and stuff like

17:43

that in there as, as possible.

17:46

But interestingly tying

17:46

it in more recently more

17:50

and more synth has started

17:50

to appear in the music.

17:53

More bad thing. Yeah. So we we're definitely towing

17:54

the line between symphonic

17:59

and synthesizers and yeah,

17:59

it, it, it's definitely

18:02

something that just popped

18:02

into our heads as well.

18:06

Like yeah, naturally, like

18:06

there wasn't even much kind

18:09

of outside influence in that

18:09

necessarily, but it was just

18:12

like, Oh, let's, let's make

18:12

this sound like blade runner

18:16

and then the sips come out. definitely.

18:18

So, yeah, that that's a

18:18

local band to, to this area.

18:21

So they, they have a stake

18:21

in the studio as well.

18:23

So they come in and, and we practice here. We record here.

18:26

Uh, we just filmed a live

18:26

stream here, which went

18:29

out on the weekend last.

18:32

Yeah. So we, we did it Thursday last

18:32

Thursday, Thursday the 10th.

18:36

So you can check that out

18:36

on probably Theora page

18:40

and I've shared it to the

18:40

tone sphere page as well.

18:42

So you it's out there and it's

18:42

gonna be going up to YouTube

18:45

as well and stuff like that. So that's like the first of

18:46

a, of a few things that we've

18:51

got like in the pipeline, I

18:51

think, but it was nice to be

18:54

able to fully have control over

18:54

something within the studio.

18:58

So it was all recorded live,

18:58

like it was shot and filmed.

19:02

Live and stuff like that as

19:02

well, and then taken away and

19:05

edited and, and then put out as

19:05

a, as a kind of retrospective

19:08

live stream where we did

19:08

something like this and then

19:10

played the live stream and

19:10

then, and then came back again.

19:13

But yeah, that's, um, Working

19:13

on new material at the moment.

19:16

So that's the kind of, you

19:16

know, you know, the game

19:19

with that it's are I doing,

19:19

it's a long slog trying

19:21

to, trying to get stuff

19:21

that you you're happy with.

19:25

And obviously, like we were talking about with that collaborative process as well,

19:26

something that everyone's

19:29

happy with and yeah, we have

19:29

quite a, a, a collaborative

19:33

approach, everything. So everyone brings something to

19:33

the table and then we mix and

19:37

match it and, and kind of cut

19:37

it together and stuff like that.

19:40

But yeah, so more focused

19:40

locally at the moment

19:44

with, with, with this band. So, um, we play quite

19:45

a lot in the area.

19:48

Um, we did have quite a

19:48

few books, like shows books

19:52

throughout the UK before the

19:52

pandemic, and then all of that

19:55

just disappeared and it's still

19:55

kind of picking up the pieces

19:59

from where it was before, but

19:59

it's uh, yeah, no, it's, it's,

20:02

we've got a lot of exciting

20:02

things going on and nice.

20:05

Um, yeah, really looking

20:05

forward to the future of it.

20:08

No,

20:08

that sounds good, mate. It sounds good. I can't believe

20:09

that's four years. I, I just didn't

20:10

remember joining. Yeah. Four years goes fast, very fast.

20:14

Uh, so for the audience listening, when's Chris is local. That's sort of like, uh,

20:16

taunting and for our, um,

20:19

sort of worldwide audience

20:19

that is in England, um, in

20:23

the Southwest of England. Um, and what I'll do is

20:25

you mentioned the bands,

20:27

et cetera, and the studio,

20:27

and I'll put all the links

20:30

to that in the show notes. So, um, please do go and

20:30

check out, um, the bands at

20:33

preference, Chris references

20:33

and, and the, uh, the studio

20:37

as well, but listen to the

20:37

rest of this episode first and

20:39

then, uh, then go and do that. Um, so endcaps quite

20:41

a new venture for you.

20:44

Um, yes. Tell us a bit more about

20:46

landscape. So that kind of popped

20:47

up out of the blue.

20:50

Um, I know the, the, our

20:50

singer for, for quite some

20:54

time, uh, Carl, uh, he's

20:54

been quite, uh, a well known

20:57

presence in the area of just

20:57

being a fantastic vocalist

21:00

really and, and a great guy.

21:03

Um, and I noticed he, he put

21:03

up something about, uh, his

21:06

band looking for a drummer. Um, and I was like, I'm just,

21:07

I'm just gonna apply straight

21:11

away, uh, and say, yes . Yeah.

21:14

And then I listened to the

21:14

stuff and I was like, actually,

21:16

I really like this, this is,

21:16

this is kind of like really in

21:18

my wheelhouse kind of thing. It's really melodic big

21:19

choruses, you know, a bit

21:24

different drum wise than

21:24

I would normally play.

21:26

And I think I, that was another

21:26

bit that kind of drew me in.

21:29

So it was less

21:29

metal Drummy stuff.

21:34

yeah. Yeah. More kind of along the

21:34

lines of rock and a bit more

21:36

modern, uh, modern rock and

21:36

modern metal kind of stuff.

21:39

And. And that kind of

21:40

really drew me in. Um, and I went for, uh,

21:42

uh, an audition up in

21:46

Birmingham with them. Um, I think they got it down

21:48

between me and one other

21:51

person and, and thankfully

21:51

I got the, the role.

21:54

Yeah. Yeah. Um, and then we, we started

21:55

just jamming and seeing if, you

21:58

know, we all worked as, as a

21:58

unit and stuff like that and,

22:02

you know, took some time to kind

22:02

of get what they wanted from me

22:06

and, uh, and stuff like that. And then after a couple of

22:07

shows, we kind of really kind

22:10

of honed it in and, um, yeah. Things are running really

22:12

well with them, but yeah, it's

22:14

definitely completely different

22:14

kind of band than I'm used to.

22:19

Yeah. Which is really cool. Um, But again, they, they have a

22:20

lot of, uh, like electronic, uh,

22:26

input into that band as well. So there's a lot of, kind of,

22:27

uh, electronic drums that,

22:31

that go in there as well. Um, there's a lot of kind

22:32

of sense style, uh, backings

22:36

and stuff like that, that, that go in with it too. So it's, it's got

22:38

a lot going on.

22:40

It's one of these things that it's quite a lot to take in at once.

22:44

Um, once you kind of dive

22:44

into it, there's, there's

22:46

a lot of layers and

22:46

stuff like that as well.

22:48

So we're just kind of pushing

22:48

out and, and trying to get

22:51

some shows at the moment. We've had some great

22:52

reception from Ang radio.

22:55

I did see that. Yeah. They've been very kind

22:56

to us for some reason. And I was like, that's amazing.

23:00

Wow. Um, and it's, it's hard to

23:01

get that sometimes without

23:04

trying to feel like you're

23:04

pushing, like trying to send

23:07

tracks to all these people. Like, please listen to

23:08

this, please listen to that. It was really cool to have

23:10

someone come to us and be like,

23:12

oh, I've heard your track. This is amazing. Oh, amazing.

23:15

So the rang

23:15

radio, their host or whoever the

23:19

production team approached you. Uh, with a view to

23:21

featuring the endcap music.

23:24

So it was, it

23:24

was passed to them from someone

23:27

else that likes the band. Yeah.

23:29

So they were kind of like, oh, I've, I've listened to your latest single.

23:33

I love it. I'm gonna pass it to my

23:33

friend, uh, Alex Baker

23:36

on, um, Kang radio.

23:38

And then he's just went,

23:38

I love this and this has

23:42

just given us some really good precedence then. So amazing.

23:44

I was just like, that's

23:44

gold dust as, as I'm

23:46

sure everyone knows. Yeah. Um, but yeah, like that,

23:48

that's not local to this area.

23:51

So, um, we usually, uh, focusing

23:51

kind of around the Midlands

23:56

area, but we've got some

23:56

shows, uh, like in Newcastle,

23:59

we've just played down

23:59

locally here in Bridgewater.

24:02

Um, but all, I think

24:02

my cameras just died.

24:05

Uh, the backup camera has kicked in. Oh, dear.

24:11

Am I still there

24:13

you are. So for the, uh, the audience

24:14

listed, there was a slight,

24:17

I told you there'd be

24:17

technical issues, but, um,

24:19

uh, Chris has to, seems to

24:19

have some sort of backup.

24:22

So we, uh, yeah, we're still underway. Chris, carry on.

24:24

I think you were mentioning about

24:25

praying in Bridgewater. Oh, the heady days.

24:29

Maybe that's what,

24:30

maybe that's what stopped the feed from working. I dunno, for those of

24:32

you from, from the area

24:35

who know Bridgewater. So that will make sense. Well,

24:36

I was surprised last time after we mentioned Minehead the stream, didn't

24:38

like completely break down.

24:43

I don't know. We have broadband in mine head. We were on some kind of dial

24:44

up, um, yeah, carry pigeon.

24:48

We have to record this and

24:48

then send it via carrier pitch.

24:51

that? That was mine. Head's a lovely place.

24:54

It's a lovely place. I think that, that was pretty

24:57

much the long and short of,

24:59

of, of it, to be honest. So like, yeah, you could, you

25:00

could check out the NCAP stuff.

25:02

Okay. And, and we go to NCAP. band.com question mark.

25:06

Uh, yeah. Uh, scap band.com. That's got like gigs

25:08

that are coming up.

25:10

It's got links to all our music and stuff like that. So, um, we're working on

25:12

a new single now as well.

25:15

So that's, that's very exciting. I've just heard a, a first mix

25:16

of it and it's oh, it's good.

25:20

Very looking forward to that

25:22

exciting times, mate. Um, looking forward

25:23

to seeing it. And, um, what we'll do is

25:24

depending on when this episode

25:27

comes out, which I believe it

25:27

will be out in March, probably

25:30

the beginning of March. I dunno if you have new music

25:31

then, but we'll, the podcast

25:34

will help promote that release. Okay. As we deal with everyone,

25:35

Let's take a quick break

25:38

from this episode so that

25:38

I can tell you about a free

25:40

resource that I made for you. There's a PDF checklist

25:42

that describes what you

25:44

need to do properly prepare

25:44

a mix for mastering.

25:47

So you've done the hard work

25:47

and you love your mix yet.

25:49

Suitably preparing a mix for

25:49

mastering is often overlooked

25:52

by musicians resulting in

25:52

delayed sessions, excessive

25:55

back and forth conversation

25:55

and frustration on both parts.

25:59

I want to help fix that. So if you want this free

26:00

resource, just go to www dot

26:03

synth music, mastering.com. As this checklist will help

26:05

guide you to make the mastering

26:08

process as smooth, transparent,

26:08

and exciting as possible.

26:11

So again, the URL is www dot

26:11

synth music, mastering.com

26:16

for this free preparing a

26:16

mix for mastering checklist.

26:19

Let's get back to the episode. So tone for, so it's a studio

26:23

we've been through that.

26:27

It does various different things. As I mentioned at the

26:28

beginning there, so we've got live streaming, we've

26:29

got photography, videography,

26:32

um, . So when you sat out

26:32

with your, your brother, Ben,

26:36

uh, what was the initial goal

26:36

for, for tone SP did you have

26:40

a, a vision in mind for it

26:40

or was it sort of like we'll,

26:42

we'll create the studio space

26:44

and see what, um, I think we, we kind of had two separate goals, so like goal

26:45

number one was definitely, I'm

26:50

sick of paying for practices. studios.

26:53

I want somewhere that I could

26:53

leave my pin that was like,

26:57

number one, like that's, that's

26:57

the dream, isn't it being able

26:59

to walk in and, and your stuff's

26:59

there and you don't have to

27:01

book and all that kind of stuff. Um, so we were definitely very

27:03

keen to, to build a kind of HQ

27:08

as it were for, for our bands

27:08

to, to kind of be like where

27:11

we don't have to worry about

27:11

booking in or, or paying for

27:14

studio space somewhere else. We can just go, right.

27:16

We'll just go to the studio. Brilliant. Um, and then idea number two

27:18

was to have a fully fledged

27:22

kind of studio that we can

27:22

get people in to record with.

27:25

I was very keen to get live

27:25

streaming as a part of it.

27:30

Um, cuz during the lockdown,

27:30

um, we were very kind of active

27:34

doing live streams, albeit

27:34

mostly gaming live streams.

27:38

Um, but we did a few, well,

27:38

I should probably say I

27:41

had the studio set up in my

27:41

living room before um, we,

27:44

we moved and built this place. So I remember you'll remember

27:46

from coming over, it was an

27:48

absolute mess mm-hmm um, and

27:48

just had piles and piles of

27:51

gear everywhere and webcams

27:51

and, and all that kind of stuff.

27:55

So it wasn't an ideal situation

27:55

there, but we kind of had the,

28:00

the equipment that we could use

28:00

already, but it was just not

28:04

in a space that was anywhere

28:04

near good enough for, from

28:08

recording or, or using in. So it was, it was definitely

28:10

born out of wanting to make

28:13

our own lives a bit easier

28:13

and, and have a place that we

28:16

can kind of experiment with

28:16

sounds and, um, Just just,

28:21

just to be a way separate

28:21

it from, from home as well.

28:25

Um, but also with the idea

28:25

to kind of get other people

28:28

involved and we, we really

28:28

wanted to, to get people

28:31

in and kind of see what we

28:31

could do with it as well.

28:33

Yeah.

28:34

Exciting stuff, mate. And I know what you, I

28:35

know you kind of want

28:37

that separation don't you,

28:37

because you get you bedroom

28:40

produce a bedroom artist,

28:40

bedroom recorder, cetera.

28:42

Um, but having that separate

28:42

space is that psychologically,

28:46

I dunno for me, it just

28:46

makes it more creative.

28:49

I dunno about you. I just feel like if I, if I'm in

28:50

that zone, I'm in a particular

28:52

place whereby I know this

28:52

is where I go to meet music.

28:55

I just, I just feel more

28:55

creative, whereas like, say

28:58

if you're doing it in your

28:58

front room, , it's kind of

29:01

like, ah, this is my front

29:01

room where I also eat and.

29:05

And I don't know,

29:05

exercise, maybe.

29:07

Yeah. It kind of comes down

29:08

there's ups and downs to

29:10

that because when you're

29:10

done, you can just, aren't

29:12

gonna go, doesn't go to bed. I'm done. Whereas I've got like an hour

29:14

drive home now and I've just

29:17

because it's so closed in.

29:20

Like, it could be any

29:20

time of day right now.

29:22

And I've forgot to look at

29:22

the clock on many occasions

29:25

and it's been like, oh,

29:25

it's one in the morning.

29:29

Oh no, all right. I've got a close down. I've got a buck off. I've gotta drive home.

29:31

So yeah, I mean, but then

29:31

you wouldn't be able to

29:34

do something like that. If you were like renting out

29:35

a normal rehearsal space, you

29:38

know, like, oh, we've got, you

29:38

know, seven until 10 booked

29:41

and then we've got a got

29:41

ship off again kind of thing.

29:43

It's at least we've got

29:43

that fallback of it's.

29:46

Okay. We can, we can crack on and,

29:47

and just, you know, have a,

29:49

have a tide line in the morning.

29:51

Yeah. I remember those when we used

29:51

to practice or rehearse, or

29:54

it was like eight o'clock

29:54

at night and then, um, Where

29:58

do we do it down in talk

29:58

down near Toki or something?

30:01

For those of you who know the

30:01

area of the Southwest coming

30:03

from to, to Toki of an evening

30:03

is probably a good hour.

30:06

That was, um, hour or so and Abbot. And, um, and ITST yeah,

30:08

that was in new Abbot, big

30:10

red studios we used, we used to practice out, which is sadly no longer.

30:13

There no is.

30:16

Its great lot of quite, it

30:16

was part of a, like a charity

30:19

that closed down completely.

30:21

I think so

30:24

shame. Mm. Yeah, we rehearsed in

30:25

quite a few places.

30:27

Mm-hmm and there was

30:27

Exeter and Bridgewater cer

30:30

Bridgewater again, hopefully

30:30

it doesn't break feed again.

30:32

So. So with the guard to create

30:37

in a studio, I'm sure the

30:40

listeners, the audience, um, who

30:40

for this podcast and there's,

30:44

there's probably a number of them who want to, who would like to have their own studio.

30:47

What were the challenges

30:47

you faced when, when

30:49

putting it together? Yeah,

30:50

that's a, that's a good question because there were many, um, the,

30:52

I can imagine biggest of

30:55

which is finding somewhere

30:55

to build it like that kind

30:59

of outweighs everything else. And because it's been something

31:01

I've been thinking of for

31:04

years, the choices are you

31:04

either rent somewhere or you

31:08

ha own a house that has a big

31:08

garden and you build something

31:10

at the bottom of the garden. I dunno a house I don't

31:12

have a garden that was

31:16

like off, straight away. And then the problem comes

31:18

down to, to affordability.

31:20

So, yeah, unless you're gonna be

31:20

running a fully fledged studio,

31:24

that's open all the time. You can't really justify

31:25

unless, you know, you quite

31:29

well off, um, renting like

31:29

an industrial unit, which is

31:32

where you normally find studios

31:32

quite a lot of the time.

31:35

Um, but where I work is in,

31:35

uh, an industrial estate and

31:39

we had an office spare at the

31:39

bottom of our complex that,

31:44

um, couldn't be rented out

31:44

for noise based reasons as

31:48

there's quite a lot of other

31:48

noisy businesses in the area.

31:50

So I had a, just on the

31:50

off chance outta the web

31:53

and my boss at the time. And I was just like, what we

31:54

doing with this office down,

31:57

down at the bottom, it's quite,

31:57

you know, seems quite large.

32:01

And, you know, I could probably do something really cool with it.

32:03

And he was like, oh yeah, no, this is how much I'd rent it out with.

32:06

And it was, it was very

32:06

reasonable and that kind of

32:09

sparked the idea of like, of

32:09

like, so I think me and Ben

32:14

sat down and we were like,

32:14

how much does each of our

32:17

bands spend on practices? Assuming that we

32:19

practice once a week. So we kind of did the

32:20

maths and it was not

32:23

much less than the rent. So we were like, yeah,

32:25

well, there's a no brainer straight away.

32:28

Like if we could just,

32:28

even if it's just in an

32:30

empty office space, It's

32:30

it's our office space.

32:33

We can lock the door, we can leave gear in here and stuff like that.

32:37

And then lockdown happened

32:37

and of course, yep.

32:42

Having a lot of time to think

32:42

about stuff, cuz we were cause

32:45

at the time I was living with

32:45

Toby, our, our old guitarist,

32:48

uh, from engrave disillusion

32:48

and we got to a point where

32:53

drinking wine in the garden

32:53

kind of started to get a bit

32:57

I should probably stop doing

32:57

this like seven days a week.

33:00

Right. Let's try and do something. So we started recording,

33:02

um, and going back and

33:04

picking apart old, like grave

33:04

disillusion songs and, and

33:07

like rerecording some bits

33:07

and having some fun with that.

33:11

And that kind of made me think

33:11

that would be really cool to be

33:15

able to do that properly and,

33:15

and record some drums properly

33:18

and stuff like that as well. Um, and then yeah,

33:20

it, it was kind of a.

33:24

How would we do it? What would it entail?

33:26

Is it affordable? All those kind of questions

33:28

started coming up. But because we had that

33:30

baseline of, we've got a room

33:33

to rent, that's not gonna

33:33

be crazy and is, is gonna

33:36

be there for a long time. Um, we just, you know,

33:39

you, you spend long enough

33:42

thinking about this and no one gives you a reason not to. And you're like, all

33:44

right, let's do it. Yeah, let's do it. and I do have this kind of

33:46

thing where, when I set my

33:48

mind to something, I'm kind of like, well, I'm gonna do it. This is gonna happen.

33:52

It's gonna be horrible sometimes. And I'm gonna stress about

33:53

it, but I've come this far.

33:58

um, so yeah, we started kind

33:58

of looking around the ideas.

34:03

So the first thing I did, uh, a

34:03

friend of mine, uh, Nick built

34:08

a studio, um, and I took quite

34:08

a lot of inspiration from that.

34:14

Um, it's called the kennel studio. So I I'd recommend

34:16

looking that up.

34:19

Um, you can kind of see

34:19

immediately the similarities,

34:21

because this wall here

34:21

is a kind of knock off

34:25

of what their entire

34:25

design kind of looks like.

34:29

Um, and that was for a

34:29

reason obviously, but, um,

34:32

yeah, and he was absolutely

34:32

fantastic and, and talked

34:35

me through the process that

34:35

he went through building it.

34:38

We didn't have a budget or an

34:38

area quite as big as, as he did

34:41

necessarily, but he recommended,

34:41

um, a book to me, which is, uh,

34:48

home recording studio, build

34:48

it like the pros by Roger vez.

34:52

I would highly recommend anyone

34:52

that's thinking about it to, to

34:58

just grab a copy of that book. It goes yeah.

35:02

Beyond in depth. So , it's, you know, as you

35:03

can go as deep as equations

35:08

to like work out sound

35:08

resistance of materials and

35:13

all, all this kind of stuff. Mm-hmm, . And they kind of

35:14

go in saying, this is what

35:18

it could be like, this is how

35:18

like the pros do it, but don't

35:22

worry about it kind of thing. And it will just take you

35:23

through every aspect of how

35:26

to build a studio and you can

35:26

kind of choose whether or not

35:30

you need to apply it, like

35:30

having a big sprung floor

35:33

or having, uh, complicated

35:33

air, air flow systems and

35:38

all that kind of stuff. And I think that was good to

35:39

have as a kind of baseline.

35:42

So we could always refer

35:42

back to this book and be

35:45

like, how would they do it?

35:47

And then we would take

35:47

that away and be like,

35:49

how could we do that? But for less money . Yeah.

35:53

And that's obviously where

35:53

YouTube comes in and mm-hmm

35:56

I watch so many videos,

35:56

like many and a lot of that

36:01

just confused the matter

36:01

a little bit, I think.

36:03

But, um, I think there was

36:03

one and I can't remember.

36:08

Where it was or who made it?

36:11

I, I checked my history earlier

36:11

just to see if I could kind

36:14

of pull up the references for

36:14

this podcast, but it's gone.

36:17

Um, but they mentioned building

36:17

it in kind of like pods.

36:21

So yeah, always at the

36:21

back of my mind is it is

36:26

a rented accommodation. So what happens if they ask

36:27

us to move out and I don't

36:30

wanna have to knock down a

36:30

studio no one does, you know,

36:33

so it, it is kind of built

36:33

in, so we've got two rooms.

36:37

We've got no, we've got

36:37

three rooms technically.

36:39

So we've got like a live

36:39

performance area, which

36:43

is out in the open, in the

36:43

normal kind of office space.

36:46

Then we've got a control room,

36:46

which I'm in at the moment.

36:49

And then we've got like a,

36:49

a, what we call the drum

36:52

room, which is primarily

36:52

designed for recording drum.

36:55

Or anything that needs

36:55

a controlled audio

36:59

environment basically. Um, and it's built in, so the

37:01

walls of the ceiling and the

37:05

floor are all built in three

37:05

to six separate kind of bolted

37:11

together, wooden frames. Um, so that was a kind

37:12

of worst case scenario.

37:16

It will damage it, but we can

37:16

unbolt these frames, pull it

37:19

apart, shift the pods to a

37:19

new place and then fix it up.

37:22

Ah, nice. So I wouldn't want to do it.

37:26

it's but the option, but the option is there. So instead of starting from

37:28

scratch, you've got all of

37:30

these panels that you can then

37:30

kind of put it back together,

37:32

like a jigsaw, whether they'll

37:32

go back together or not , but

37:38

that was the whole kind of

37:38

point of, of that kind of idea.

37:41

So we didn't have the, the

37:41

thousands and thousands that

37:44

it would take to kind of do

37:44

the whole room reposition

37:47

kind of like lighting and

37:47

air conditioning and, and

37:50

all that kind of stuff. So we just kind of

37:50

worked with the space. That we had.

37:54

Um, yeah, and then it was,

37:54

it was very difficult working

37:58

on the budget because there

37:58

was a lot, we, we went

38:02

in having no idea what we were doing basically. So we were learning as we were

38:04

going by referencing people

38:06

that we knew that had done

38:06

it and, uh, and like the book

38:10

and, and stuff like that. So, but it came in less

38:11

than we were expecting.

38:15

So it was kind of like a,

38:15

no, that is actually doable

38:17

if we spread it out over

38:17

some time and we don't like

38:21

brush everything together. And I think a big part

38:22

of it was we had a lot

38:24

of equipment already. So like, we didn't have to go

38:25

out and buy studio monitors

38:28

or a big PC or a mixing

38:28

console or anything like that.

38:31

Cuz we had that

38:31

equipment in the house.

38:34

So it was kind of like, well

38:34

that would just go over there

38:37

and we'll build the room around it kind of thing. So that was that, that wouldn't

38:38

have been the case if we didn't

38:43

have that because we'd just

38:43

been building a room with.

38:47

Not a lot of idea of what we put in it. So yeah, yeah.

38:50

But yeah, I mean, that was the

38:50

initial kind of idea of, of the,

38:53

uh, of the build, basically.

38:57

It's interesting. Um, circling back to what you

38:58

said right at the beginning there about how you got the,

39:00

the, I think it's the same

39:03

with mixing and mastering

39:03

or music production as well.

39:05

There's so many resources online. Like you say, you could watch

39:07

YouTube days, um, and you

39:10

could just get overwhelmed with

39:10

the sources of information,

39:13

telling you how to do X, Y, Z. And I think also circling

39:15

that's what you said about,

39:18

like, you just had a vision in

39:18

mind and you just went for it.

39:21

And I think it's quite

39:21

easy to get put off by,

39:24

am I gonna do it right? Um, is it gonna

39:26

fall within budget?

39:28

Do I know what I'm doing? And I think sometimes you

39:29

just gotta take that risk. Yes. Um, is it, I mean, I'm

39:31

gonna come back to another

39:34

question in, in, in a minute. Is there a risk that

39:36

you would do again?

39:38

Um, I

39:38

think it is like, it,

39:41

it's hard to say that. Considering we have this now.

39:45

yeah. Um, I don't want it anymore.

39:48

I'll give it back done. Yeah. Yeah.

39:51

But yeah, like it depends

39:51

on the situation as well.

39:54

It was the right time

39:54

to do it because like, I

39:57

think we were lucky enough. I mean, I say we, I was lucky

39:59

enough to be on furlough

40:04

at the time, so I wasn't

40:04

stressing about losing a, a

40:08

job or anything like that. So I do count myself very

40:09

lucky to be in that situation,

40:12

over lockdown to not be

40:12

too worried about like

40:14

finances and stuff like that. And my brother had a job that

40:15

was continuing throughout.

40:19

So he was working all the

40:19

way throughout as well,

40:22

but obviously you can't go

40:22

anywhere and do anything so

40:25

spending was coming down. So it was kind of like right

40:27

over these like few months,

40:29

let's put some stuff back,

40:29

let's make some plans and it was

40:33

kind of, I'm not sure if that

40:33

would ever happen again in a,

40:37

in a, like a normal situation. I think we just got

40:38

very lucky with. All the different aspects

40:40

just came together at kind

40:43

of like the right time. And we were like, for the first

40:43

time, in a long time, we're not

40:47

like, oh no, but I have to spend

40:47

this huge thing next month.

40:50

Like, I don't think we had,

40:50

uh, any big like studio.

40:54

We I'd just come out of the

40:54

studio from recording an album,

40:57

um, a few months prior to that

40:57

with a, with a different band.

41:00

And so we didn't have like

41:00

huge expenses coming up and

41:04

I think BES in a similar or,

41:04

or slightly different thing.

41:07

So it wasn't kind of like,

41:07

no, I've paid all this money

41:10

to go into promotion and PR

41:10

and all this kind of stuff.

41:13

It was like, we can't gig. Right.

41:16

Let's let's do something kind of thing.

41:19

Yeah. So it's kind of like,

41:19

it's, it is, it's the old

41:21

saying, isn't it making the

41:21

best of a bad situation?

41:23

It was

41:23

absolutely. Really. Yeah, definitely. Yeah. Yeah.

41:26

And going back to what we said earlier about, um, artists moving

41:27

into the synth side of thing,

41:32

and it's, it's kind of making

41:32

that best of a bad situation

41:34

whereby you're stuck at home. So. You could either sit in

41:36

the garden and drink wine, as you say, uh, which you

41:38

might do anyway, you might do that whilst making music.

41:41

You never know. Um, but it's making that

41:42

best of a bad situation.

41:46

So interestingly, when, uh,

41:46

online, I'm sure if the, the

41:49

audience listening, when you

41:49

scroll through social media,

41:53

you you'll see specifically

41:53

during the pandemic.

41:55

And now, cuz I think we

41:55

are, the pandemic has forced

41:58

change in the industry and

41:58

the way we consume content

42:01

and music specifically online. Um, so with the, with

42:03

the studio itself, you

42:08

mentioned live streams. Is that a case of you

42:09

diversifying sort of like

42:12

trying, trying to bring in

42:12

a, a different audience?

42:14

Is it something you're gonna

42:14

continue doing or do you

42:16

think you're gonna revert

42:16

back to being mix mixing?

42:19

Um, and, uh, like mastering

42:19

recording, or are you gonna

42:22

continue to experiment with these, with these new content ideas and

42:25

platforms? Uh, I definitely continue.

42:27

Yeah, it it's,

42:27

it's a lot of work.

42:30

Um, I, some sometimes you

42:30

don't quite realize how much

42:34

goes on behind the scenes

42:34

in a lot of these, but yep.

42:37

It's, uh, I, we recently

42:37

did, uh, a two day live

42:41

stream for the charity mind,

42:41

which is, uh, like a mental

42:44

health charity in the UK. I dunno if they

42:46

international, but I, I they're definitely in the UK.

42:50

Um, and that was another

42:50

case of me having an idea and

42:55

saying we're doing it with

42:55

not really much else to go

42:59

on . Um, but the way I built

42:59

the studio was to have the

43:06

ability to like send video

43:06

here, there, and everywhere.

43:09

And another key factor was that

43:09

we had a fairly good internet

43:11

connection here, which I think. A lot.

43:14

I mean, maybe it's different

43:14

now, but historically

43:17

that wasn't the case at rehearsal rooms. Like you were lucky if

43:19

you got wifi, let alone.

43:21

Yeah. Real good, reliable wifi.

43:24

So, I mean, I've seen since

43:24

obviously being knowledgeable

43:28

of, of the kind of thing I

43:28

want to do and the, the kind

43:31

of thing that we do here,

43:31

I've seen other studios with

43:33

similar and you know, much

43:33

more extravagant setups.

43:36

Um, but at the time it was

43:36

kind of like, well, I don't

43:39

really see anything similar

43:39

to that around at the moment,

43:42

especially not on like

43:42

a, a fairly small scale.

43:46

Um, but yeah, we just

43:46

kind of jumped into that

43:48

two, two day live stream. We managed to get, uh, seven of

43:49

seven acoustic acts interested.

43:54

Um, Carl, the singer from

43:54

scape being one of them who,

43:57

who very kindly closed the

43:57

entire livestream for us

44:00

with a crazy performance. It was so good.

44:02

It's actually probably. Due to be released very soon

44:05

on the, the tone sphere page.

44:08

If not this evening, I can't remember, but it's coming up soon.

44:12

so definitely check that one out. Uh, as well as the

44:14

historic performances are all up there as well.

44:17

So they're all, um, mm-hmm,

44:17

, they've all been posted and

44:20

stuff as well, but yeah, no,

44:20

that, that went really well

44:23

on, um, a friend of mine, Emily

44:23

helped out as well, who was

44:27

tuned in earlier and we know

44:27

very well, um, and helped post

44:31

it and, and run it and brought

44:31

some of her kind of like really

44:35

cool streaming equipment and her

44:35

knowledge of streaming as well.

44:38

And we really managed to kind

44:38

of knock it out the park as far

44:41

as the stream was concerned. Um, and we are really happy

44:43

with how it went and it was very

44:46

exciting and it felt like it,

44:46

the, that was the weird thing.

44:49

It felt like a show like a,

44:49

an actual kind of live show.

44:52

I mean, I know they. They're not many people.

44:55

I mean, because we had people

44:55

come in to play and there

44:59

was quite a few of them. We had like a green room

44:59

downstairs and there was a

45:02

big screen down there where

45:02

people watching the stream

45:04

live and, you know, having a

45:04

cup of tea and some donuts and

45:07

stuff at the same time as well. But it really felt like there

45:08

was a connection between

45:11

like the people posting in

45:11

the chat and donating to

45:14

charity at the same time and

45:14

the, the people performing.

45:17

And it was just a very odd

45:17

kind of, but good like feeling

45:22

and situation that you don't

45:22

really come across or haven't,

45:25

if you haven't run a live

45:25

stream or performed on one,

45:28

you wouldn't necessarily pick

45:28

up on, um, I suppose watching

45:32

it as well, if you feel that

45:32

that was my whole point of,

45:36

of wanting it to be live. So rather than doing

45:37

pre-records all the time,

45:39

which is fun as well. Cuz you can do more with yeah.

45:42

But. If it is actually live,

45:42

you've got that instant

45:45

kind of feedback from, from

45:45

people that are watching.

45:49

Um, and once you get a bit of

45:49

back and forth on it, I mean,

45:51

that's why TWI stream is a

45:51

massive, it's just that yeah.

45:55

Community, that conversation,

45:55

um, back and forth kind of

45:59

thing that people really enjoy. So it's, it's a nice aspect to

46:01

bring to, um, to music and you,

46:07

you always, we got people tuning

46:07

in from all over the world.

46:09

So there was people's families

46:09

watching from like Canada

46:12

and, uh, there was people from

46:12

America and obviously a lot

46:15

from the UK and stuff as well. So that was like, they're

46:16

never gonna come to your show

46:19

down the local pub or . Yeah.

46:21

You know, but that just lets

46:21

you reach kind of like a

46:24

completely different kind

46:24

of, uh, audience, I think.

46:27

Yeah, I totally agree. And it's, uh, it's a very

46:28

good segue for me to now

46:30

go and check, um, our

46:30

audience of three people now.

46:35

Um, so it has gone down, but you

46:35

are three very valued people.

46:39

Um, so just a

46:39

message from Jamie.

46:41

Yeah. Great charity. It is a fantastic

46:42

charity really is. Um, and Emily as well,

46:44

uh, fun live stream.

46:47

I didn't realize that

46:47

Emily, uh, was involved

46:49

in hosting it as well. That's my bad. Yes.

46:51

She came along

46:52

for day one. Um, and Ben came

46:52

along for day two. Um, so we kind of split

46:55

the, the workload.

46:57

Um, I was obviously there for both days. um, yeah.

47:01

Yes, can't get out of it. yeah, but, uh, no, no, it was

47:03

great to have to have Emily down

47:06

there and, um, yeah, it was, it

47:06

was just a, just a really fun

47:09

weekend and I'm definitely gonna

47:09

be doing a minimum of, of like

47:13

one a year for, for charity. Might do something else again in

47:14

the summer, but it's, it's just

47:18

trying to fit it in and, and

47:18

see if there's a want for it.

47:21

Yeah. And stuff like that. And. I love doing it for

47:23

charity, but you can't do

47:25

it every week for charity. If you see what I mean.

47:27

Yeah. Like I definitely won't do

47:27

like a big charity event

47:29

every year or twice a year. I'm just trying to kind

47:31

of figure out, is there a different way where we can

47:33

get people to be interested

47:36

and donate to like the

47:36

performers and stuff like that?

47:38

It's, it's a tricky

47:38

bridge to cross really.

47:41

It

47:41

is. It is. And I think, um, when it

47:42

comes to these streaming

47:44

situations, I dunno about

47:44

you, but podcasting is, is,

47:47

is kind of similar in a way in

47:47

that you think this is a great

47:50

idea and it is fantastic fun.

47:52

And I, I love podcasting,

47:52

but you don't realize the

47:56

work that goes in, in doing

47:56

it in the admin, you think?

47:58

Ah, it's okay. I I'll just rock up with

47:59

my microphone, interview someone and I'll put it

48:01

online, but there's so much that goes into it.

48:04

Yeah. So, and that's with a podcast. So that's even, I mean, once

48:05

you start introducing other

48:08

artists and then having to

48:08

do all that organization,

48:12

Um, and the logistics are

48:12

unperforming and then you're

48:14

at the mercy of technologies

48:14

we found out earlier, there's

48:17

a massive amount that goes

48:17

into it, so I can totally see

48:19

why you would only, you could

48:19

only do it a certain amount

48:22

of times, but I think having

48:22

seen content and the way

48:25

it's consumed online, I think

48:25

it's a fantastic way to go.

48:28

Um, and I think it is only

48:28

gonna, it is only gonna happen

48:31

more and more my sort of next

48:31

thing, my cuz you mentioned

48:34

there about like the way you

48:34

set up cameras and stuff, and

48:37

it's interesting in terms of

48:37

when you are live and you have

48:41

that instant feedback and you

48:41

have that real time interaction.

48:44

So I suppose my question was

48:44

gonna be, I dunno how verse

48:47

you are with TikTok, but from

48:47

research I've done with content

48:51

and content generation, is

48:51

there less, I dunno if you

48:55

could say it's the same with

48:55

audio, I suppose you want

48:57

it to be a really good audio

48:57

performance audio capture, but

49:01

is there less emphasis now on

49:01

quality in terms of video or

49:05

do they, or are people more

49:05

interested in just seeing

49:07

something that's live and real. does that make sense?

49:09

Yeah, I think it's, it's a

49:11

tough one. So I think it can go both ways.

49:13

So I think people want both

49:13

just quick, like things that are

49:18

throwaway content almost, that's

49:18

just a bit funny or distracting.

49:22

Um, and they also want

49:22

something that's very.

49:25

In depth and meaningful

49:25

or well produced, um,

49:30

it's towing the line. So there's, it seems to

49:31

be anything in between

49:34

gets a bit shunned almost.

49:36

It's kind of like, oh,

49:36

you've tried to put a bit

49:38

of effort into this to, oh,

49:38

what are you doing that for?

49:41

Or, um, you know, oh, you've

49:41

just kind of thrown out this

49:45

music video and it's not

49:45

really got much to do with it.

49:48

What, what are you playing at? There's. Yeah.

49:50

You either kind of go all the way, one, like I'm just going live on my phone and

49:52

oh, oh, everyone loves this.

49:55

This is fantastic. Or I'm gonna spend like six

49:56

months making this piece

49:58

of content, but so if you

49:58

wanna get like likes and

50:02

like responses out of it,

50:02

I mean, yeah, go for like

50:05

the everyday kind of stuff. Like don't hurt all that work.

50:07

I don't think, I think something

50:07

quick and easy, this film

50:10

be your phone is like, fine. It's just hard.

50:13

If, if you're kind of like a

50:13

producer or someone that, that

50:16

performs or something like

50:16

that, you just want it to be

50:19

like, oh, I'm gonna go in and

50:19

I'm gonna like, oh, I'm gonna

50:21

pull my voice out of this video. And I'm gonna like Ize it

50:22

and I'm gonna like put a

50:25

compression on it and oh, it

50:25

sounds so much better now.

50:27

And then no one will care. yeah.

50:30

Yeah. I totally agree. And I, I, I think you're right

50:31

and it I've I've, I've had

50:33

a similar situation myself. So I think when I, when I

50:35

first started doing, um, sort

50:37

of content generation for like

50:37

music production tutorials,

50:40

I think I've put together

50:40

this, this fancy video and

50:43

I stuck up on YouTube and. To be fair.

50:45

I mean, YouTube is what it is. It is, is there's a lot of

50:47

noise on YouTube and trying

50:49

to stand out is, is, is

50:49

tricky and it's hard and

50:52

you gotta play the game. And then I put all this effort

50:53

in all this fancy, what have you

50:57

probably got about six views? Yeah. Um, over the course

50:58

for about a year. And then I think like last

51:00

week or the week before I put

51:03

together a video, which was

51:03

just using my phone of how to

51:05

create, I think it was like

51:05

how to humanize a high hat

51:08

mm-hmm and I had about 300

51:08

views in the space of 24 hours.

51:12

And it was a, it was a 12 second

51:12

video down on my Samson S seven.

51:15

I do need an upgrade um,

51:15

cuz it is bloody terrible.

51:19

Yeah. But yeah, it just goes and

51:20

I think it's also, I think

51:22

you could, you could spend hours talking about content and content generation, what

51:24

works, what doesn't work and,

51:27

and what you need to do and

51:27

stuff mm-hmm and there's no

51:29

set formulas there. It's it's very kind of, you

51:30

can go down a rabbit hole.

51:33

Yeah. Yeah, exactly. I think it's choosing between

51:33

what you're gonna advertise

51:37

and what you're gonna put out. I think if you're gonna

51:38

advertise something, that's

51:40

where you wanna spend the time. Putting in the, like the work

51:42

and the money and stuff, but

51:45

from the day to day, you're

51:45

not gonna be, you know,

51:47

putting out a fully produced,

51:47

edited video every day,

51:50

unless you're like a big time. No, even if you're big

51:51

time, you're probably not.

51:54

no, it's

51:54

bloody hard as well.

51:56

And doing that, like, because

51:56

I, I do my research, I do my

52:00

due diligence and I, I look

52:00

at what other artists and,

52:02

and producers and, and mixed

52:02

engineers as you do, you take

52:05

reference from other people. And I see the content

52:06

they're putting on. They've got X, they've

52:08

got X amount of views. Not that I I'm bothered

52:10

about views and stuff. I'm all about, I just wanna

52:11

help people create music,

52:14

but, and you see the videos and you're like, actually their videos, they've got

52:16

a better phone than me.

52:18

Pretty much. 99% of the world has a

52:19

better phone than me, or maybe not the world.

52:22

That's a sweeping statement. 99% of the UK, um, has

52:23

a better phone than me,

52:26

but you can still do it. But as I say, it's a total, you,

52:28

when it comes to creativity and

52:31

I've had this discussion, as

52:31

well as you, you said you binge

52:34

the podcast and you chat to

52:34

other artists and as a creative,

52:36

as you are as well, you just

52:36

wanna create and you wanna

52:39

make music, uh, or whatever

52:39

it is, your creative fashion.

52:42

And the trying to get your,

52:42

your music, your, your,

52:46

your creativity out there. There is so much you have

52:47

to do behind the scenes.

52:49

Mm-hmm like when we were in

52:49

the band and spending hours

52:55

cutting up business cards. Yeah. Um, and then for no reason,

52:56

I found some the other day

53:00

or cutting up stickers. Yeah. Um, and then just emailing

53:02

people on the off chance that

53:05

they'll play your music stuff. You never thought you'd do.

53:08

And there's so

53:08

like, or you don't, you don't

53:10

see that like being like the big

53:10

bands do and stuff like that.

53:14

They're like, oh, they've probably got someone that they pay to do this.

53:16

And you're like, no, no,

53:16

I'm, I'm gonna sit here.

53:18

And like in like add this

53:18

video to 76 different Facebook

53:23

groups in the hopes that

53:23

three people will like it, or

53:25

I'm gonna email 70 different

53:25

promoters or venues and, and

53:29

try and get like one show. Um, mm-hmm yeah, it's so

53:31

much that goes on behind the

53:36

scenes, if you like, if you're

53:36

inclined to push, um yeah.

53:40

And you can get lost in it. And the, the danger is burning

53:41

yourself out, I think is,

53:45

is a lot of time I've come

53:45

so close to, or like being

53:49

over the line, like several

53:49

times of just kind of like,

53:52

I don't enjoy this anymore. I don't wanna do this anymore.

53:55

And, and you come so close

53:55

to just walking away, but

53:59

the creative, it just always

53:59

kind of overcomes that

54:02

and you're like, right. Okay. I've just gotta kind of take

54:03

a step back and give it a

54:05

couple of days and delegate.

54:08

It's like, if you can,

54:08

if you're in a band.

54:10

Delegate some stuff

54:10

out because it'll make

54:13

your life a lot easier. And like you, you said you

54:14

do with the podcast as well,

54:17

like getting, uh, like editors

54:17

and stuff like that to help.

54:20

And cuz I didn't do that with

54:20

the previous podcast that I did.

54:25

And so I just kind of like, oh I gotta do it. It's fine.

54:28

But it saves you money. Sure. But it's just that workload,

54:29

like something like cutting

54:32

up five different audio inputs

54:32

from a podcast and cleaning

54:36

them up and mm-hmm, mixing

54:36

them and then putting it back

54:38

with a video and everyone

54:38

doing the video and uploading

54:41

the video and scheduling it. And then it's just kind

54:42

of like, this is just for a podcast haven't even

54:44

written any songs yet. Yeah.

54:47

Yeah, exactly. It's crazy. Isn't yeah.

54:50

Yeah. Um, shout to uh, Z

54:51

CF studios as well.

54:53

Who does my podcast editing? I'll put a link in the bio

54:55

he's he is a great guy, Zach.

54:57

Um, very, very good. Can't recommend enough, but

54:58

yeah, it is exactly that.

55:01

And I think I've been in

55:01

that situation whereby you

55:04

do all that stuff behind the scenes and it actually takes the fun out of it.

55:06

Mm-hmm and it turns into like

55:06

a part-time job and you're like,

55:08

actually I don't wanna do it. um, that's

55:11

the thing, like if I, I enjoy mixing as, as I'm sure you do and

55:12

it is kind of like, I want

55:16

to be able to do that in a

55:16

situation where I enjoy it.

55:20

and I think that's the hard

55:20

bit is, is getting that.

55:22

And I think when you get involved in other people's projects, that was kind of a

55:24

big part of wanting to open

55:27

the studio up to other people

55:27

was I love working with my

55:30

bands and I love recording

55:30

the music that we do, but

55:33

sometimes it's nice to have a

55:33

separation from that material.

55:37

So you're like, I haven't

55:37

written this and scrutinized

55:39

it and been over it a hundred

55:39

times and done 70 mixes of it.

55:43

They've come in, they've recorded it. We're gonna do a couple

55:45

of mixes until they're happy with the mix and then

55:46

it's done kind of thing.

55:49

Yeah. Like that. You've got to do that sometimes.

55:52

I think just to kind of be like,

55:52

okay, no, I do still enjoy this.

55:55

This is fine. yeah,

55:56

I totally agree. And I dunno about you, but I

55:57

know for a fact, when I, when

56:00

I'm really, when I'm writing

56:00

and producing my own stuff and

56:02

I'll just dwell on something

56:02

for so long and I'll do,

56:04

I'll do another mix or I'll

56:04

listen to it on my headphones.

56:07

I'll be like, ah, that top end. I just need to bring that down a

56:08

bit, bit a dynamic ECU on there

56:11

and I'll go in and I'll spend

56:11

an hour and I'll just reduce

56:13

it by half a DB for no reason. But when I work, when I work

56:15

on other people's stuff,

56:18

I, I set myself a deadline

56:18

and more often than not,

56:22

what I do for them is better than what I do for myself. Yeah.

56:24

Purely because I'm more focused. It it's really odd.

56:26

And I don't quite, I haven't

56:26

quite got my head around it

56:28

yet and I need to adopt that

56:28

practice in my own style.

56:30

Mm-hmm cause then I get

56:30

frustrated with myself and

56:32

it's a vicious circle anyway. Yeah. But I digress.

56:35

So it's sort of like, just

56:35

to wrap up the interview

56:38

cuz I realize we're coming

56:38

towards, towards an hour now.

56:41

What do you think? This is quite an

56:41

open ended question.

56:44

What do you think is the

56:44

future of recording studios?

56:46

Where do you see them going? Or let's let's let's

56:47

refine that a bit actually.

56:50

So maybe not the Abbey

56:50

roadside studios, but maybe

56:53

like the studios in a similar

56:53

situation to yourself.

56:56

This is a tough

56:57

one. Yeah. It's it's um, it's

56:57

an odd kind of area.

57:01

I think so bands are always

57:01

gonna need, or people in

57:04

general are always gonna need somewhere to practice. Um, so I think the art of like

57:07

a practice room or a practice

57:12

studio, or a studio that

57:12

offices a space to rehearse

57:15

in, isn't gonna go anywhere. Um, just because it's a

57:17

physical place that you

57:21

can make a lot of noise in. And that's it really, um,

57:23

in terms of the studio side

57:26

of it, I think more and more

57:26

people are producing in a

57:32

bedroom, uh, and the tools to

57:32

allow you to do it are, are

57:36

getting better and better. And it like things like, um,

57:37

like drum machine programs,

57:43

uh, like drums, um, et

57:43

cetera are becoming so good.

57:49

And so like widely

57:49

used that people kind

57:52

of are accepting that. Why do you need to

57:54

go and record drums?

57:56

Um, or why do you need to

57:56

go and put a, you know, a

58:01

Messer cab in of room and

58:01

mic it up and record it when

58:03

you've got like a neural D. P kind of plug in that

58:05

kind of does it for you

58:08

and stuff like that. And yeah. Yeah.

58:10

So it it's, it's not necessarily

58:10

a, a growing business.

58:15

I would say it's probably

58:15

kind of struggling more than

58:18

anything, but at the same kind

58:18

of time, if you can get like a,

58:22

a certain like level of quality

58:22

and consistency from a studio

58:26

where you do record things,

58:26

I think there's always gonna

58:30

be that need of people that

58:30

want to come and get that kind

58:35

of level of, you know, be it

58:35

begin a mediocre or excellent

58:39

kind of sound out of it. I mean, we are no, you

58:40

know, middle farm studios

58:44

or Abbey road or anything

58:44

like that here at all, but

58:47

mm-hmm, , it's kind of like

58:47

from what we can get in here,

58:49

we've recorded drums in here. We've, you know, we've

58:50

recorded a full EP in

58:53

here and stuff like that. You kind of know

58:53

it's, it's gonna be. Whether you just use it to

58:56

record in, or, and you get

58:58

a mixed engineering or, you

58:58

know, we do the whole lot.

59:01

Um, it's kind of a thing

59:01

where you can kind of say

59:04

here, you can come and, and

59:04

get this kind of out of it.

59:07

Um, without having to worry

59:07

about going in and mixing it

59:10

all yourself and trying to

59:10

book a one place out to go and

59:14

record, and then sending it

59:14

off to someone else to mix.

59:17

It's kind of a nice kind

59:17

of all kind of in-house

59:20

kind of solution. Um, So, I mean, I don't,

59:22

I don't know where it's

59:24

going in all honesty, but I

59:24

think it's a tough question.

59:27

Yeah. Diversity is, is a huge part

59:28

of it, which is why I want this

59:31

to do the kind of, uh, so we've

59:31

got like a full, like blacked

59:34

out room and stuff where we,

59:34

when we've got lights and stuff.

59:37

So we can do videography

59:37

to a certain extent we

59:39

can do photography, we

59:39

can do live streams.

59:43

Um, we can do mixing, we can do

59:43

mastering, we can do recording.

59:46

You know, it's kind of like

59:46

just a versatile space where we

59:49

can come and create, and I've

59:49

seen other studios adopt that.

59:53

And prior to, to this,

59:53

obviously we weren't a trend

59:56

set up by any, any, any part.

59:59

But, um, I think having more

59:59

to offer out of a space is, is

1:00:03

increasingly more important than

1:00:03

just being like, I'm gonna run a

1:00:05

recording studio and that's it. I don't, I don't think some,

1:00:07

a small time recording studio

1:00:11

is, is gonna be something

1:00:11

that's just there on its own.

1:00:14

Come, you know, 10

1:00:14

years time possibly.

1:00:17

Who knows?

1:00:17

Yeah. I, I think you're right. I think diversifying is, is the

1:00:19

way to sort of be successful

1:00:24

is the wrong word, but

1:00:24

definitely relevant to remain.

1:00:27

Yeah. Relevant. Yeah. Yeah. And diversification.

1:00:30

I think also being, I dunno, I,

1:00:30

myself, I, I like to consider

1:00:34

myself a reasonably early

1:00:34

adopter as well of technology

1:00:37

and embracing that and, and

1:00:37

seeing where you can go with it.

1:00:40

But as you say, it, it, because

1:00:40

of what people were able to

1:00:43

do at home now, it does not

1:00:43

negate the need for a studio,

1:00:47

but I, but on the flip side to

1:00:47

that, you, there is that studio

1:00:50

experience, like, like we've

1:00:50

been in the studio mm-hmm and

1:00:53

having that studio experience

1:00:53

as a band, as a collective or as

1:00:56

an artist as well is something

1:00:56

that you'd pay for just to

1:00:59

have the experience, I think. Yeah. And I think that's for one

1:01:00

of that, for that reason, there will always be music

1:01:02

studio a hundred percent and there will always be, um,

1:01:04

mix master and engineers that

1:01:07

you send music off to because

1:01:07

you want get that particular

1:01:10

sound that you want to get. there is particularly a set of

1:01:11

ears on your work, or you just

1:01:14

wanna have that experience. Yeah. It's

1:01:15

it's about what we were saying earlier as well about the separation as well.

1:01:18

So you've kind of spent all

1:01:18

this time making this, this

1:01:21

music and maybe even doing

1:01:21

pre-production and all that kind

1:01:24

of stuff for it, going into a

1:01:24

room as a collective, knowing

1:01:27

that your only job is to play

1:01:27

that music is very refreshing.

1:01:31

like it's worrying and you're

1:01:31

like stressing about it.

1:01:33

Like going into last

1:01:33

time I was in the studio,

1:01:36

recorded a 13 track album. So I was like, I've gotta

1:01:38

come in and play a lot of drums over the next few days.

1:01:41

And it's just like, oh, am I gonna remember it? Or how am I gonna do it?

1:01:44

Oh, okay. But yeah, going, having that

1:01:46

collaborative experience

1:01:48

in one room with a deadline

1:01:48

is, is something that is,

1:01:51

is definitely worth doing. Um, so yeah, like you say,

1:01:53

I think the, the music

1:01:55

studio will always be there. Um, unless people really

1:01:57

wanna save money or are, you

1:02:00

know, want to do everything

1:02:00

in house and not have,

1:02:03

have stuff like drums. But I think it does sometimes.

1:02:06

I mean, it's down to personal preference, isn't it? But sometimes it does take away

1:02:08

from that experience of, of

1:02:10

being away and booking a studio

1:02:10

and, you know, having a whole,

1:02:14

definitely, it's definitely

1:02:14

something that goes hand in

1:02:17

hand with being in a band. You know, you kind of

1:02:19

like wanna go practice and

1:02:21

then, you know, go out and get drunk and have fun. You wanna record an album

1:02:24

or you wanna go on tour. Those are the kind of big

1:02:25

kind of day, one dreams of

1:02:29

a band, I suppose, from like

1:02:29

a teenager in a garage or

1:02:31

something, you know, . Yeah. Yeah, definitely.

1:02:34

And I think,

1:02:34

um, having done that as, as,

1:02:37

as we did for those those

1:02:37

two weeks, where were we?

1:02:39

Two weeks in? Oh, it was just outside.

1:02:42

I learned it. Wasn't it. I can't remember where. That was it Baral and

1:02:45

we terrorized the whole

1:02:47

campsite for two weeks.

1:02:49

Yeah. Threw someone in the

1:02:50

late, uh, cell tape,

1:02:52

someone to the ceiling

1:02:54

yeah.

1:02:55

Had had a fire, had a few

1:02:56

fires, turns

1:02:56

out you're not allowed fires

1:02:59

on, on the campsite, which I

1:02:59

don't necessarily agree with.

1:03:02

We didn't. Anyway, I'm fairly stone. We were, there was at one point

1:03:03

a sofa was gonna go in the lake.

1:03:07

That

1:03:07

was, yeah, there was a key change in the song. And for some reason we

1:03:09

decided that was a cue to

1:03:11

throw a sofa in the lake.

1:03:14

there is never

1:03:14

a better reason to throw a sofa

1:03:17

in the lake than a key chain

1:03:17

and I'm fairly certain, it was

1:03:20

a Michael Bolton key chain. Yeah. Yeah.

1:03:23

I'm

1:03:23

fairly makes sense. Certain anyway, it probably was.

1:03:25

Yeah,

1:03:27

circling back then. Just before we finish up

1:03:28

now, um, you mentioned about videography in the

1:03:30

black screen and the black,

1:03:32

um, curtain and whatnot. It just reminded me now of,

1:03:33

um, this is for the audience.

1:03:37

Now, if you go check

1:03:37

out engraved disillusion

1:03:40

into oblivion, Um, and it

1:03:40

reminded me of a music video.

1:03:43

We shot in a storage container.

1:03:46

in Western super mayor. Um, yeah, yeah.

1:03:50

Go watch that video. Let us know what you think. It's, uh, it

1:03:53

was an experience. We were very hungover and

1:03:53

interesting fact, the, the

1:03:57

two black pieces of, um,

1:03:57

material I have on my ceiling

1:04:01

are from that very shoot. No way are they really

1:04:03

they've survived this long.

1:04:05

Yeah, absolutely. So I've got like curtains

1:04:06

that go all the way around the side of the room, but I had to

1:04:08

put something across the roof

1:04:10

tiles it's from that video. yeah.

1:04:14

It's uh,

1:04:14

it's an interesting video.

1:04:16

If you do watch that video on

1:04:16

YouTube for those listening.

1:04:19

So that's engraved

1:04:19

disillusion into oblivion.

1:04:21

I'll tell you what, I'm gonna put this in the show notes. I just want you to like, leave

1:04:23

a comment on there saying that

1:04:27

I sent you or Chris and I have

1:04:27

sent you from the inside the mix

1:04:30

podcast, cuz I'll be interested

1:04:30

to see how that translate.

1:04:33

um, so just before we finish

1:04:33

up, I'm gonna just jump over.

1:04:35

Um, so for the audience,

1:04:35

if you've just joined on

1:04:38

your podcast platform of

1:04:38

choice, halfway three,

1:04:41

this is a live podcast. So, um, I'm just gonna go over

1:04:42

Facebook now and see are three

1:04:46

viewers, um, three viewers.

1:04:48

So it's quality over quantity. Might I add?

1:04:51

And I just wanna say a big

1:04:51

thank you to Emily Lawrence,

1:04:54

rod, Jamie Ryan, AKA.

1:04:56

TAGT this Scottish

1:04:56

detective for joining us and

1:05:00

supporting this live stream. And it's, it's been good.

1:05:04

I mean, we had one technical

1:05:04

issue, which we overcame like

1:05:07

absolute troopers Mayad I blame

1:05:07

Bridgewater, but there we go.

1:05:10

So whilst we wrap up

1:05:10

now, so Chris, yeah.

1:05:12

Big. Thank you. So where can our

1:05:12

audience find you online?

1:05:15

So the studio, where

1:05:15

can we find you online?

1:05:17

So

1:05:18

the

1:05:18

studio is tore studios.

1:05:20

So if you type that in,

1:05:20

that should come up on most,

1:05:23

uh, social media platforms. So, uh, yeah.

1:05:26

Facebook is tore studios. Instagram is tone for studios.

1:05:30

Twitter is tone sphere

1:05:30

live, and YouTube is

1:05:33

kind of coming soon cuz I

1:05:33

haven't got quite there yet.

1:05:36

And also we're tone

1:05:36

sphere on Twitch.

1:05:40

So when we do live streams, we

1:05:40

multicast to Facebook, YouTube,

1:05:45

and Twitch at the same time. So you can kind of

1:05:47

catch it wherever. I dunno when the next

1:05:49

one's coming up, but

1:05:51

there will be one um,

1:05:54

ACE. Yeah, what I'll do is I'll put

1:05:54

links as I always do to, to

1:05:58

all these references in the,

1:05:58

in the episode description.

1:06:00

So. Chris a big, thank you

1:06:01

for spending the time with me this afternoon.

1:06:03

It's been great chatting about the studio. I, it's not a conversation

1:06:05

I've had with any other, um, interviewees.

1:06:08

So I think the audience are

1:06:08

gonna get a lot out of this.

1:06:10

And I think the key thing is

1:06:10

there is if you wanna create

1:06:12

a studio, just do it, just

1:06:12

give it a go and see what

1:06:14

happens, but don't come back

1:06:14

to me with a lawsuit saying I

1:06:17

told you to do it all right. If it doesn't work out. Absolutely.

1:06:19

Um, but give it a go, nonetheless. So yeah, really, really good.

1:06:22

I think our audience are gonna

1:06:22

get a lot out of this and yeah.

1:06:24

Big, thank you for joining me today. Yeah.

1:06:26

Nos. Thanks. Thanks for having me. I'm I'm looking forward to, uh,

1:06:27

listening to, to season two.

1:06:30

So , it's good to be part of it. I've got,

1:06:34

I've got some cracking interviews lined up and um, this has been a success.

1:06:38

I I'd like to say others

1:06:38

might say differently,

1:06:41

but I think it's been a. And, um, we'll do some

1:06:42

more live streams as well

1:06:44

of the podcast interviews,

1:06:44

but yeah, Chris I'll, uh,

1:06:47

I'll speak to you soon. Cheers, buddy. Thanks a lot. Cheers.

1:06:52

Thank you so much for listening

1:06:52

to the inside the mix podcast.

1:06:55

Make sure to rate us

1:06:55

everywhere you listen to

1:06:57

podcasts, including Spotify.