0:28

You are listening to the

0:28

Inside The Mix podcast with

0:30

your host, Mark Matthews. Hello and welcome to the

0:33

Inside the Mix podcast.

0:35

I'm Mark Matthews, your

0:35

host, musician, producer, and

0:39

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

0:40

if you want to know more about

0:43

your favorite synth music

0:43

artist, music, engineering

0:46

and production, songwriting

0:46

and the music industry.

0:49

I've been writing, producing,

0:49

mixing, and mastering music for

0:51

over 15 years, and I wanna share

0:51

what I've learned with you.

0:56

Hey folks, and welcome back

0:56

to The Inside The Mix podcast.

0:59

If you are a new listener, thank

0:59

you for joining and welcome.

1:02

And do please hit subscribe. If you are a returning

1:03

listener, welcome back.

1:06

And before we get started, I

1:06

just wanna say or give a shout

1:09

out to the two new podcast

1:09

subscribers, uh, ESIA Car.

1:13

And Emma, thank you for supporting. The podcast and all its content.

1:18

So today's episode is another

1:18

episode of the Producer's

1:22

Pub and it's, uh, the

1:22

format is gonna continue.

1:26

The format that we started last

1:26

time, um, albeit we're gonna

1:29

do slightly shorter snippets of tracks this time cause it proved very, very popular.

1:33

Uh, this episode is gonna be,

1:33

uh, well it is live now on

1:36

YouTube, Facebook, and Twitch.

1:39

Uh, how successful it'll be on Twitch. I don't know.

1:41

Cause I literally set it up 15 minutes ago. So we'll see what happens

1:43

episode and nobody knows it's on there.

1:46

So you will for next time. Um, so today joining me,

1:48

I've got five, uh, producers.

1:52

I've got sub Neon, I've got

1:52

Ventura, I've got Liam Leon,

1:56

I've got Carmen Noodles,

1:56

and I've got Russell Nash.

1:59

So you've got some old hats and

1:59

we've got some new bees as well.

2:03

How are we, Jens and happy Easter. It is Easter Sunday today.

2:06

Oh yeah. So has, yeah. Alright.

2:08

Happy Easter. Happy Easter. Fantastic.

2:11

Lovely stuff. What better way to spend an

2:12

Easter, uh, Easter Sunday?

2:14

Um, I say that, I dunno

2:14

if that's true or not.

2:17

We'll see by the end of the episode. So in this episode, what

2:19

we're gonna do is we're gonna

2:21

play a song or a snippet,

2:21

30 to 60 seconds of a track,

2:25

and then we're just going to

2:25

offer feedback on it, what

2:27

we think, and maybe some, um,

2:27

advice or critique, et cetera.

2:33

And, um, Sorry, just

2:33

looking at the chat there.

2:36

And, uh, what, what we're gonna do is we're gonna start first with Liam.

2:40

Liam, uh, so your track,

2:40

can you just give us a bit

2:44

of background on the song

2:44

itself before we play it?

2:47

Uh, yeah, sure. So it's, um, it's

2:48

completely unreleased.

2:51

This is like brand new.

2:53

Um, and it isn't

2:53

actually finished yet.

2:56

I've still got like, quite a lot of work to do on it. Um, and it's gonna be,

2:59

I'm, I'm sort of working

3:01

on like a new album. Um, Very slowly but surely,

3:02

and he's gonna be on that.

3:05

Um, And it's very, the genre,

3:05

maybe like very sim pop.

3:10

I dunno if anyone's heard any

3:10

of my music before, but I do

3:13

put the vocals in them as well. Um, and yeah, the reason why

3:15

I submitted it to, for people

3:19

to listen to is I'm having

3:19

trouble, and I know we can get

3:22

into this like after, after you've actually listened to it. Um, but there is something

3:24

that I'm may be struggling a

3:26

little bit with, with the song. Um, so what I've submitted is

3:28

the chorus and then like the.

3:33

You like when you get a chorus and like the after chorus that sort of like trails off

3:35

before you get to the bridge.

3:38

So it's sort of that section. Um, and I'm really, I'm

3:40

happy with it overall.

3:42

I'm really, really happy with how it's going. I think I'm just struggling.

3:44

I'm, I'm hitting a wall in

3:44

a certain area, but I can

3:46

sort of talk about that

3:46

after you've heard it really?

3:49

So, yeah. But I hope you like it. Ace mate.

3:52

Yeah. Brilliant. Okay, so what's the, have

3:52

you got a title for it yet?

3:56

Uh, losing my Heart,

3:56

I think it is.

3:58

But you'll, you'll, yeah. Cause that's what it's, that's what I'm singing. Yeah. Cool.

4:00

Cool. Okay, let's give it a go. Let you take it

4:09

heart tonight, tonight.

4:23

So, Losing my heart tonight.

4:37

Tonight, tonight. Hey mate, I really like that.

5:03

I think that sounds great. Uh, you can definitely

5:04

hear the synth pop vibes in that Really, really cool.

5:07

That's so odd. I mean, people just listen to

5:08

it while, while I'm sat here.

5:12

That's a really odd experience for you. It is, isn't it?

5:14

It is. I found that when I first

5:15

played music on this last time,

5:17

and when I find that when you

5:17

watch other people listening

5:20

to your music, I almost hear

5:20

it a different way and I start

5:23

to immediately, I get quite

5:23

critical when I see other

5:26

people listening or, yeah, when

5:26

I see other people listening

5:28

to my music are probably

5:28

overly critical again, but I

5:31

think it sounds really good. So the bit you're struggling

5:32

with then is where you're transitioning from.

5:35

Like the end of the chorus

5:35

into the, into the bridge or

5:38

like into the next section? Is that, is that

5:40

what you were saying? Kind, kind of.

5:42

I've kind of got my head around,

5:42

um, the structure of songs.

5:45

Cause that was like a big problem. My intros were way too long.

5:47

My outros were way too long. And I'm trying to sort

5:48

of, I've, I've liked stood it a little bit on that.

5:51

Uh, the problem is, is actually

5:51

on the producing side, it's

5:54

um, it's like what, what

5:54

we call, is it the drop?

5:57

So when it goes from like

5:57

the verse into the chorus

5:59

and it's meant to sound

5:59

like, In like an umph, like

6:01

louder and sort of an impact. Yeah.

6:04

Um, so it's kind of like,

6:04

I, I feel like in my

6:07

head it sounds kind of

6:07

flat as it's going along.

6:10

Do you know what I mean? There's no ups or

6:11

downs or anything. Yeah, yeah. Yeah. Um, I struggle a lot with,

6:13

uh, symbols, like add in

6:17

that sort of crash sound

6:17

when a chorus comes in.

6:20

Um, I rarely hear that problem

6:20

in any anyone else's song,

6:23

but with mine, I just, I

6:23

really struggle with that

6:25

while I'm just trying to, I've

6:25

tried so many different tips.

6:28

Um, one of them was when it came

6:28

to like mastering, reducing.

6:33

The volume of the verses, like

6:33

by one db and then like bringing

6:37

it up again just to how you

6:37

don't really hear it, but it

6:39

kind of makes that change you,

6:39

that makes that little effect.

6:42

But yeah, I just, I feel like

6:42

it just sounds like flat,

6:44

like along all along really.

6:46

So I didn't know. How do people approach that

6:47

when they structure their music?

6:51

Do they take that into

6:51

consideration when going

6:54

from, you know, a verse,

6:54

a bridge into a chorus?

6:57

Do they or do they just sort of. You know, stack

6:59

things up or Yeah. How do people doing really?

7:02

I, I, I was kind of thinking

7:02

like, sorry, I've just

7:04

finished listening to it. Like you wouldn't load. Um, I was thinking the exact

7:06

same thing when, when I was

7:09

listening through it that, um,

7:09

you know, like melodically,

7:12

it's, it's really nice. Like all, all the parts work

7:13

really well together and it's,

7:15

you know, it sounds nice, but it

7:15

was very, it was very much just,

7:19

Like kinda all the way through. But I mean, maybe something

7:20

I, I would do like, like if

7:23

it was my track, like what I

7:23

would maybe do for that little

7:25

post chorus bit is like, uh,

7:25

just kind of dial it down.

7:28

Maybe just have like the base,

7:28

the kick and like the high

7:32

hat supporting the vocals. Like just to kind of take

7:34

it down a notch and then see

7:37

when it goes into the next

7:37

section, then bring, bring

7:39

the cords back in and like

7:39

bring everything else back in.

7:42

Like that's, that's something

7:42

I do sometimes to kind of

7:44

create like ebbs and flows

7:44

in, in, uh, composition.

7:47

Yeah. So like remove elements

7:47

throughout the song Yeah.

7:50

And change. Yeah, just, just to kinda

7:50

take it down a little bit

7:53

and then just bring those elements back in when it goes into the next section.

7:56

Then you get like, you get like that impact. Yeah, that's what I was, I was

7:58

gonna say the exact same thing

8:01

as what Russell said then is um, I remember having this conversation with Tim all nine

8:03

a while back and it was a case

8:05

of sometimes you gotta remove

8:05

rather than add to add impact.

8:09

So you have that mm-hmm. That space. Mm-hmm. Um, that trick, what you

8:11

mentioned about mastering in. Interesting because I, I,

8:13

it's something that I, I've

8:16

done in the past whereby

8:16

you have that verse down

8:18

of 0.5 db, um, and then it

8:18

kicks back into the chorus.

8:22

But I think unless you've got

8:22

that sort of night and day that,

8:25

um, that Russell's described

8:25

previously, I think that's quite

8:28

an impactful way of doing it. It's reducing and then

8:29

adding and then adding to it.

8:31

I dunno if anybody else has got any other ideas. I don't have much experience

8:34

with writing music with vocals,

8:37

but I find that a lot of the

8:37

ways that I add impact between

8:41

sections is I use kind of like

8:41

a, a noise riser between like

8:46

rising up to the next section

8:46

and sometimes even, even with

8:50

my new music, I've been kind of

8:50

just cutting everything out in

8:53

the last bar, or not the last

8:53

bar, but the last pulse of one

8:56

bar and then it like, Really

8:56

adds impact, but I don't know.

9:01

I think we have very different styles of music, so it might work better

9:03

for some versus others.

9:06

Yeah, I'm looking for a one size

9:06

fits all, but I think that's

9:11

the beauty of having different

9:11

producers though from different.

9:14

Genres is that you can

9:14

steal mag pie ideas from,

9:18

because I've listened to

9:18

the Ventura stuff and it is

9:21

different to yourself and also

9:21

different to mine as well.

9:24

It's great, but it is different. And I think if you could like

9:26

mag pie those ideas and then

9:28

put them, then put 'em in your own, I think that's great. And I think that's what I've

9:30

realized off the back of the previous episode when we did

9:32

this, uh, four weeks ago.

9:35

Um, Yeah. Great song though, mate.

9:38

I, I was gonna say, um, that's,

9:38

this is totally off air, but I,

9:41

I'm gonna be in the need for a

9:41

male, another male vocalist at

9:43

some point, so I'll probably

9:43

be, I'll give you a shout.

9:46

Wait, um, keep

9:46

you, keep you busy.

9:48

Cause I got some stuff I'm working on, but Will, well, that's a discussion

9:50

for another, another time.

9:52

Um, yeah. Uh, any other, uh, any

9:54

other comments, uh, sub

9:56

neon or, or carbon noodles? George. Yeah, no, I was, I, I, I think

9:58

I was gonna make the same point

10:00

as Venter actually, as, as

10:00

both, uh, Russell and Venter

10:03

that I think, uh, yeah, you,

10:03

you can maybe add a little bit

10:06

by removing some of the, uh,

10:06

and definitely some risers and

10:10

fallers, uh, always helped to,

10:10

uh, to give it that bit of mph.

10:14

But yeah, great track. I mean, the production

10:15

on it was great. I, I switched to my monitors

10:16

when I've been, uh, listening

10:19

to, uh, yeah, when I'm

10:19

listening to the tracks and

10:22

yeah, it sounded really, really well produced. So, uh, no.

10:25

Sounds amazing. No, no, that, that's,

10:26

that's incredibly helpful.

10:28

Thank you so much. Cause like I say, I'm, I'm

10:28

used to, um, just stacking

10:32

as much as I can really. And then, but I never really

10:33

consider taking things away

10:36

to create that bigger impact

10:36

where I want it to be.

10:39

Um, so yeah, I'll maybe

10:39

I'll take that into

10:42

consideration for sure. And, um, Yeah, I just

10:43

wanted to, I just wanted

10:45

to impact when, when the

10:45

chorus hits just even more.

10:48

I think it's just something that I'm a bit obsessed with at the moment.

10:51

Cause I feel like I can't do it. But that's really

10:51

helpful, so thank you. No, I, I think you're right

10:53

and I think, um, it's something

10:55

that I toy with as, as well. Cause my music's quite

10:57

similar to yours.

11:00

Um, it's in that sort of

11:00

same ballpark and it's

11:02

always something I can, I

11:02

can got, I can craft these

11:04

verses that sound great,

11:04

but then when the chorus

11:07

hits, I'm kind of like, ugh. Like that.

11:09

It's kind of a, I feel let down by the chorus. And, um, yeah, it's, uh, yeah.

11:14

Yeah. So these, this is great

11:14

ideas and fantastic stuff,

11:17

Jens, so I realized I started

11:17

with the wrong person,

11:19

but I made it seamless. Um, so we'll move on

11:21

now to Karma noodles.

11:24

George, what have we got with your one? Um, so, uh, yeah.

11:27

Hi everyone. Uh, I'm gonna share like

11:28

a sort of lofi beat that

11:31

I've been working on. Uh, I, I think I made it

11:32

back in January and it is the

11:36

classic case of a new gear. New gear.

11:40

Um, I'm wanting to put new

11:40

gear on everything cuz I made

11:43

it so I, I basically bought an

11:43

amp simulator for the guitar.

11:46

I originally recorded it on,

11:46

then I eventually purchased a

11:51

an amp and uh, wanted to put

11:51

it on all of my pre-existent

11:54

backlogged songs that I was

11:54

working on to the classic, uh,

11:59

classic audio, uh, pitfall. Mm-hmm.

12:02

But, um, yeah, I didn't really think the lead was working. So sort of, yeah, my, yeah.

12:07

Tips are sort of, yeah. Maybe how to also, similar

12:08

way, it's sort of the

12:10

main hook of the song. It sounds a bit, It's just

12:11

guitar and a light synth at

12:14

the minute, and I'm sort of

12:14

thinking of how can I make

12:17

that sound a bit bigger,

12:17

if you know what I mean?

12:19

So, um, yeah, no, that's sort

12:19

of what I'm, uh, I'm looking at.

12:23

Fantastic. Okay, let's give this a go. Uh, Russell, if you're

12:25

downloading this, this is titled Inside the Mix 30 seconds, and

12:26

that is the final, uh, title.

12:31

Yeah. Creatively titled um, I'm

12:35

just gonna quickly flick over

12:37

to, uh, YouTube and Facebook.

12:40

Uh, we've got some viewers,

12:40

no one's saying anything, but,

12:42

um, that's part of the course. All right, let's do this.

13:21

Hey, mate. I I love that. I love that. Good. That guitar change

13:22

you got Nice said. What I was thinking is at the

13:24

end of those 30 seconds, In

13:26

my head what I, what I kind

13:26

of wanted to hear was like

13:30

some sort of leads, I know you

13:30

were playing, there was lead

13:32

guitar there, but like going

13:32

into like a, a lead se, sex se

13:36

section, if that makes sense. Like a proper, not like

13:38

shredding solar or anything,

13:40

but just like a nice melodic

13:40

lead off the back of that.

13:43

Out of interest, what

13:43

guitar DSP were you using

13:46

before you bought the app? So I was using the, that is,

13:47

um, the, Kori Wong Archetype.

13:53

So they make like a lot

13:53

of, um, they do a lot of

13:56

like amp plugins for mostly

13:56

like met also like Cleany.

14:00

And I'm pretty sure that,

14:00

uh, NLY Get Good has from

14:03

Peripheries got, uh, one,

14:03

but they made a clean one

14:06

based on like a Kori Wong. Uh, he's sort of more of

14:08

a funk guitarist, but it's

14:11

really good for clean tone. It's like my favorite, uh,

14:12

clean tone, uh, amp sim

14:16

that I've found online. But yeah, I bought this,

14:18

um, this victory amp head

14:20

that has like an XLR output

14:20

that you can plug directly

14:23

into your interface. And it has like a built-in

14:24

cab simulator in it, so you

14:26

can Yeah, just, uh, forever.

14:30

Uh, you, you know, you're a guitarist yourself. The hunt for the

14:32

perfect tone is endless.

14:35

Yeah, it is. It is. And it's interesting you

14:37

mentioned the Plenty. It's the neural dsp, isn't it?

14:39

Cause I, yeah, yeah. I downloaded the free trial

14:40

for the Plenty one today and

14:43

I was noodling around with it. And um, I had the

14:44

gnarly one before that.

14:46

The nly one's really good. It's got some really good,

14:48

uh, metal, um, rhythm,

14:52

rhythm tone, driving length. Two minutes. Yeah, no worries mate.

14:54

Uh, metal, uh, metal, uh,

14:54

rhythm tones and lead.

14:59

But what was the, it was Corey, what was the name of the Cleveland?

15:01

Uh, Corey Wong. Corey on. Yeah, because I, I need, I need

15:03

some really good clean tones.

15:06

Yeah. Check it out. It, it does look like a crunch

15:06

as well, really well, as well.

15:10

It's, uh, anything from like

15:10

sort of clean to light gain,

15:12

it does really, really well. Nice. I think it has like three

15:13

amps, a dumble offender and

15:17

then another, I think a jazz

15:17

chorus that it emulates.

15:19

Yeah, I'm not, A hundred

15:19

percent on the, but yeah.

15:22

Nice mate. I was, I've been, I've

15:22

been playing around with the Sisters of Mercy cover

15:24

today, so, um, I'm, I'm

15:26

working my way through that. We'll see how that goes. Uh, but I, I really

15:28

like that, mate. I really like that lo-fi

15:30

and that guitar as well.

15:32

Um, really, really nice. That was my initial thought

15:33

was I was expecting it to go off in a, in a lead

15:35

sort of section after that. But, um, yeah.

15:38

Open up to the forum. What, what do we think guys?

15:40

Yeah. Uh, the first thing I think is

15:43

that you need to speak to our

15:47

mutual friend, uh, Johnny Adams. Mm-hmm.

15:49

Because, uh, I think, I think

15:49

you two guys would make some

15:52

beautiful music together, cuz

15:52

he makes like some of those

15:54

kind of, uh, lofi beats for

15:54

the, like the clean guitar,

15:57

like kinda leads on them. Yeah, absolutely.

16:01

Yeah. No, I, I, I liked it.

16:03

Oh, thank you. I really liked it as well.

16:07

Um, but what, what. Are you looking to

16:08

improve the, the lead?

16:11

Yeah, just generally like the composition of the lead? Yeah.

16:13

Just generally either the lead

16:13

or sort of maybe some, some

16:15

sort of rhythmic, because I

16:15

think in the demo that I've

16:18

currently got, what sort of I'm

16:18

stuck on is I think I loop that

16:22

bit again before like strip

16:22

stripping it back a little bit

16:25

and then going into a verse. So maybe, yeah, something,

16:26

something maybe like what Mark

16:28

suggested of like maybe adding

16:28

a lead or, or just any sort

16:32

of, um, Yeah, like sort of ear

16:32

candy that you can chuck in

16:35

to sort of, uh, make it a bit,

16:35

um, just a little bit sweeter

16:38

and a bit, uh, yeah, add a bit

16:38

of variation and maybe also,

16:42

uh, it sounds to me a little

16:42

bit quite empty at the minute,

16:45

so I'm trying to think of some

16:45

leads or synth pads that I

16:48

can maybe like layer in Okay.

16:50

To make it bigger, if you know what I mean. Yeah.

16:53

I mean, I, I could hear, I could

16:53

hear some bells or something

16:56

after the, after the first loop

16:56

of the lead, I could hear maybe

16:59

some, like some Glock spiel

16:59

bells or something, or I don't

17:03

know, just some percussive

17:03

kind of like high end.

17:06

That's what I, that's what I

17:06

kind of had going on in my mind.

17:09

What could come up next? Um, I've tried writing lofi

17:10

in the past and it hasn't

17:14

really worked, but, so take

17:14

my stuff with a grain of salt.

17:17

I like to add lots of

17:17

layers to my music, but I

17:20

think some layers could do. The song pretty well.

17:23

Yeah. Thank you. That's a really good, uh,

17:23

no, I definitely think I'll,

17:26

uh, I'll give that a go. Uh, cuz I think, yeah, like you

17:27

said, it could just add that

17:29

little bit of variation subtly

17:29

and also layer it up because,

17:34

uh, yeah, no, thank you. That's a really good,

17:35

uh, really good one. It's, it's

17:38

interesting, isn't it? With lo-fi Oh, sorry, mark.

17:41

Oh, I was just gonna say,

17:41

um, I, I'm not familiar.

17:44

I've listened to lo-fi, but I'm not familiar how it's written, so I wouldn't know

17:46

how you would layer lo-fi.

17:49

So it's quite interesting to

17:49

see what people would think.

17:52

What you would add is like, I

17:52

like the idea of the bells and,

17:54

and the percussive elements. Um, cuz I think you could

17:56

quite easily get, um, busy, I

18:00

think with Lofi, couldn't it? If you had too much. So the bells sound good.

18:03

Yeah. And you've always sort of like,

18:03

You know, you have to finally

18:06

balance sort of being too

18:06

repetitive and being mundane,

18:10

but not sticking out because

18:10

obviously the listener sort of

18:14

wants it for more of a chill,

18:14

you know, like while you do,

18:16

you know, it's not grabbing your

18:16

attention as much as maybe, uh,

18:19

other, other kinds of music. So it is a real, like, fine

18:20

line between making it not stick

18:24

out too much, but making it

18:24

stick out just enough that it's

18:26

like, ooh, that's, that's nice. So, uh, yeah, no, something,

18:28

something I thought would be

18:31

nice is, um, See if you do

18:31

like a kinda subtle, kind of

18:35

like, question and answer,

18:35

like, uh, with a, with a

18:38

guitar, even, even maybe. Not even like, like a, not even

18:41

like a really obvious way, but

18:44

like if, if the, the guitar

18:44

plays like a kind of question

18:47

melody, and then there's a

18:47

like a kinda like, almost

18:49

like a kinda echoy like reply

18:49

in, like in the background.

18:53

Like Yeah. That I, I was kinda hearing that in my head. I thought that one

18:55

might be quite nice. That's a really

18:57

good one I think. Yeah. Like, especially cuz you've

18:58

got that sort of, um, low

19:01

end guitar or, or sort of in

19:01

the, it's sitting quite in

19:03

the, like the midrange that, that's sort of doing it. Dun, dun dun.

19:07

I think you could definitely add

19:07

another layer and have that be

19:09

like a column response sort of. Uh, now that's a

19:11

really good one. I like that. I had two suggestions, which

19:13

I think might be, might

19:16

work with well with it from,

19:16

I've, I've listened to a

19:18

fair bit of low fight before. Um, and I know one of them's

19:20

kind of like a bit of a

19:22

cheat really, but the other

19:22

one I'll say that is, um, a

19:25

high pitched, uh, piano, uh,

19:25

melody in the background.

19:28

They work really well, piano

19:28

and guitars, cause it's really

19:30

like Sam's really acoustic,

19:30

like real instruments.

19:32

Um, so adding a piano would

19:32

light blend really well with it.

19:35

Um, so like you could try

19:35

that and then you can mix

19:38

up, um, you can create like

19:38

a really interesting melody

19:41

with pianos cuz it doesn't

19:41

overtake the whole thing.

19:43

It's just like a little

19:43

pluck of a piano, like high.

19:45

Um, and the other one

19:45

was, um, you can add,

19:49

uh, rain, rain effect. Um, but the reason I say

19:51

that is because, um, having

19:54

a rain effect will allow you

19:54

to add, um, more percussions,

19:59

but they'd blend better. They wouldn't stand out as much.

20:01

Cause I know it's meant to be. You know, lofi, you know, so,

20:03

but if you added like, like

20:07

a rain effect or something, you could, you could mess around with more repercussions

20:08

and it'd blend better. Um, cuz it'd match it.

20:11

So, but yeah. But maybe, maybe try

20:13

the piano one as well.

20:16

I mean, that sound pretty good. No, absolutely.

20:19

That sounds, uh, again,

20:19

that's another one.

20:21

I think that could also be like with the sort of Glock and spiel, uh, uh,

20:22

recommendation by Venture.

20:26

I reckon that could be, uh,

20:26

either the piano or the Glo.

20:28

I think I'll have to try

20:28

both and see which, uh,

20:31

if both or one could. Uh, I think that's

20:32

definitely a cool idea.

20:34

And maybe even could incorporate

20:34

that with the call and

20:37

response idea from Russell. I think that's definitely

20:39

a, uh, cool idea.

20:41

No, thank you. That's a really good,

20:41

uh, really good tip. I think it's great ideas.

20:46

You could have like a call and response Glock bill on piano, like left

20:47

and right, just happened.

20:50

Call and response, something along those lines. The Toms are similar

20:51

but different. At the same time.

20:55

Um, and then you can even echo

20:55

like one off of the other.

20:58

So you could have the guitar

20:58

and then you could have the

21:00

piano respond over here. And then you could have

21:02

the Glock and spiel echo the piano over here.

21:05

Ooh, yeah. There we go.

21:08

Here you go. That is a, uh, a vortex

21:09

of sound right there.

21:11

That's like ultimate chill. I was gonna open the floor to

21:14

be like, oh, has anyone got any

21:16

recommendations for piano vsts?

21:18

But I don't think we've got time. Uh, I'm terrible with mine.

21:23

I auto, I, I think the only ones

21:23

I've got, I use the Cog M one.

21:27

I use that way too much. Way too much.

21:29

This is all right for like house and various other bits and pieces.

21:32

Addictive keys is quite good

21:32

and I know Native Instruments

21:36

has some really good stuff

21:36

in the contact library, but

21:38

it's been so long since I've

21:38

got into that, the Air Grande

22:03

piano, um, which is really nice. Um, It's like, I think it's

22:04

like a Hana quit, but like,

22:08

if you wait, like you'll get

22:08

it on sale for like a tenor.

22:11

Keep that one in mind, but, and for a tenor, it's definitely worth it.

22:15

Yeah, absolutely. No, by 88. 88 or something.

22:19

But they, they have a

22:19

good grand piano plugin.

22:21

Who, who is that boy? I think that's called 88.

22:25

88. I'll post it in the producer

22:28

chat later, but there,

22:30

there's, there's a really, really nice free one as well by, uh, I think it's it's key

22:32

zone or something like that.

22:35

It's like, um, it's not

22:35

the absolute nicest one out

22:38

there, but it's free and

22:38

it's, you know, for free.

22:40

It's very, very nice. Oh, it's sonovox.

22:43

That's what it is. There we go.

22:46

Put them in the chat chance cuz um, I'd be interested in those as well.

22:49

Um, I, I definitely need some

22:49

more piano, um, vsts too.

22:53

Lovely stuff. Excellent. So, uh, moving on

22:54

to the next one. Um, thanks, uh, everyone.

22:58

Thank you. Uh, George. Uh, we've got Sub neon.

23:01

Um, a bit about this track buddy. What we got?

23:05

Yeah. Um, so, so this is, uh, a

23:05

continuation of my exploration

23:09

of synth wave style sounds and

23:09

then throwing a bit of nasty

23:14

bass in at the same time. Um, It's, uh, uh, uh, it's

23:16

a, it's 92nd clip that

23:20

I've, I've put together. I've, I've, I've shared

23:21

a little bit of this on,

23:24

on social media and, um,

23:24

that's kind of what I do.

23:27

I kind of build a track

23:27

up and share a little bit

23:29

as it, as it advances, as

23:29

I, as I, as I develop it.

23:31

And I've kind of hit

23:31

a wall a little bit.

23:34

It, the, the clip has got,

23:34

um, It's got a bit of a verse

23:37

and then it moves into, um,

23:37

uh, the, the chorus proper.

23:40

And, um, uh, I, I'm,

23:40

I'm not sure where to

23:44

go next to be honest. I mean, to, to be honest, the,

23:45

the, the majority of my tracks,

23:49

uh, have so much variation. You know, they could be like

23:51

eight or nine different tempo

23:53

changes or, or what have you,

23:53

or, uh, uh, it's completely

23:57

different sections that just

23:57

jump in because I just get

23:59

bored of listening to the same

23:59

thing over and over again.

24:02

Um, and I dunno whether to keep.

24:05

The same kind of level of

24:05

energy that this section has

24:09

got, or whether I should. Changed its dynamic again,

24:12

you know, so I'd be interested

24:15

to hear what people think. So, brilliant. Okay, mate.

24:17

Um, let's, uh, let's give it a go. So, uh, night Runner, is that

24:19

the work in progress name,

24:22

or is that the final name? That's right, yeah. I should, I should have said that, shouldn't I? Yes, night runner.

24:26

No worries, man. Here we go. It's awesome.

25:21

Oh, it's fading out. Ace, ace.

25:23

Brilliant mate. My initial, my, my

25:24

straightaway, my thought

25:26

was around 30 seconds. Cuz you've got

25:28

that, that energy. That energy, that energy.

25:31

I, I, I kind of wanted

25:31

to hear it just drop out.

25:34

Um, and then, Be quite

25:34

sparse and then may, I

25:38

dunno, maybe a slower tempo. Okay. But certainly like the

25:39

energy to drop out and then

25:42

you can build it back up and come back in again. Um, that's my next, because

25:44

that's what I thought was

25:47

gonna happen at 30 seconds. I was waiting for a drop.

25:49

Um, But maybe that's

25:49

a good, I dunno, maybe

25:52

that's a good thing. Maybe you, you're keeping me

25:52

on my, on the edge of my seat.

25:56

See the, the, uh, the, the

25:56

little, um, section that,

26:00

that joins the verse, the

26:00

chorus I only wrote probably

26:04

18 hours ago, so it's Oh, wow.

26:06

It's not hard and fast. Yeah. Um, it, it could

26:08

completely change. I mean, I, I've, um, I quite

26:09

like the idea of dropping,

26:13

dropping out to almost nothing. Mm.

26:15

But it's about what

26:15

do you drop out?

26:19

You know, because I'm, I'm,

26:19

I, I, I suffer from the same

26:23

kind of thing that some of the

26:23

guys have been talking about.

26:25

You know, you keep layering stuff in and you think, I really like that.

26:28

I wanna keep that there and

26:28

I wanna keep this there, and

26:30

wouldn't it be great if I added

26:30

this to compliment that sound?

26:33

Um, and, and so it, it, it

26:33

feels alien to me to take

26:38

something out, you know? So, um, but as, um, Uh,

26:39

Cayman Noodles has, has just

26:47

clearly sort of illustrated

26:47

that the, the, the theuse

26:50

of silence and space is,

26:50

it can be so effective.

26:53

So, so I'm really interested,

26:53

you know, I might, I

26:55

might give that a go. Definitely. Yeah.

26:58

I think what, what you

26:58

could do is, Sorry mate, as

27:01

um, my to just to give it

27:01

a go and see what happens.

27:05

Um, a really quick way of

27:05

seeing if it'll work is just

27:07

to drop everything out, like

27:07

leave in the sub subbase and

27:11

then just have a synth, but

27:11

get a low pass filter and just

27:14

roll off the, with the low

27:14

pass filter some of that top

27:17

end, those top end frequencies. Um, almost creating like a

27:19

band pass on it and just see

27:22

what it sounds like and then

27:22

use that as a building block

27:24

and then build from there. Cause I know what you mean. Sometimes it can be like,

27:25

I've got all this going on. What.

27:28

Do I actually wanna get

27:28

rid of to create the space?

27:31

Um, and sometimes it's not

27:31

necessarily removing in an

27:33

instrument per se, but you

27:33

might just remove frequency

27:36

content to make it different. That's, that's one

27:37

thought anyway. Sorry Russell. Go ahead mate.

27:41

No, I, I, I was just gonna

27:41

say like, uh, what, what I was

27:44

hearing in my head was, uh, just

27:44

dropping it down to the vocoder.

27:47

Like, I think that would

27:47

sound fucking cool if there

27:50

was just like a, like may,

27:50

maybe even just, just like

27:52

a phrase or just a line with

27:52

just the vocoder and then

27:55

everything else comes back in. I think that would

27:56

be fucking cool. There's a vo code in there.

28:00

I I, I mean, do you mean

28:00

like the, the, the base

28:03

noise that, um, on, on

28:03

the beginning of the bar?

28:07

The, the thing that sounds

28:07

like a robo vice to me.

28:09

Oh, really? Me anyway. Okay. That, that's, um, I, I,

28:11

that, that's six layered,

28:14

uh, tracks from a, a synth

28:14

called Halo, which is just

28:17

an insane monster of a synth.

28:19

Um, so, so, yeah, I, I

28:19

see what you mean now.

28:22

Yeah. There, there, there is a, a

28:22

kind of a vocal element to

28:25

one of the sounds in there. Um, okay.

28:28

Yeah. I'll give that a go. That sounds like a good idea.

28:30

I think. I think that would sound cool. Um, that, that's what

28:32

I was thinking anyway.

28:35

Did you say six le

28:35

six layers, mate?

28:39

Six is, I've, I've, I've

28:39

been following Ventura.

28:42

Uh, and, and you know, bass is

28:42

the way forward, I have to say,

28:45

you know, so, so yeah, there's,

28:45

um, that, that little one and

28:49

a half second, uh, sound that

28:49

it makes on the b on the bar.

28:53

Uh, yeah, there's,

28:53

there's six separate

28:56

sounds layered together. To, to make that noise.

28:59

Have you got, have you got six

28:59

separate instrument tracks?

29:01

Are they like in in one? In one? Yeah. Yeah. Yeah.

29:04

I appreciate you taking some

29:04

inspiration, but I don't

29:06

think I've ever layered six

29:06

basses, but it sounds cool.

29:09

I like the way it sounds. Um, what I was gonna say was,

29:11

I mean, first of all, I like

29:14

how groovy it sounds, and

29:14

then on top of that really

29:17

gross like growly bass. Um, I think something that

29:19

I could have heard was when

29:22

you, if you take out the

29:22

chords at the 32nd mark, like

29:25

Mark was saying, you could

29:25

take out those kind of like.

29:29

Uh, I don't know, just the

29:29

chords, the groovy chords,

29:32

and then just have the,

29:32

the percussive base going.

29:34

I think that could, that

29:34

could be a good, I don't know,

29:37

segue into a new section too. Okay.

29:40

Yeah. I like the sound of that

29:40

because it's like a, it's

29:42

a groovy baseline sun, hun. It's, yeah.

29:46

I, yeah, maybe, I mean,

29:46

you have more, more melody

29:49

than cyberpunk, so, uh, I

29:49

think it would sound pretty

29:52

groovy and kind of like, I don't, I don't know, like. Miami Cop movie.

29:57

Nice. Okay. Well that'd be nice.

30:00

You need to, uh, have a

30:00

chat with, uh, Typhon.

30:02

Typhoon's. Uh, I think he's on, he

30:03

might be on the next.

30:05

I know you are, you are on the next one. Uh, Matt.

30:08

Suddenly, and I think Typhoon is as well. Uh, yeah, I I think you are.

30:11

I lose track to be honest. I just keep clicking the button.

30:16

Yeah. As like, as someone sounds, I

30:16

not just me playing my own music

30:19

chatting about it, that'd be

30:19

very, um, self-indulgent of me.

30:23

Um, but yeah, I, I know

30:23

your music, you are,

30:27

you've definitely got

30:27

that like ra, gr it's a

30:29

really bad way of doing it. I saw growly sound

30:32

you got going on. Can I sample that?

30:36

Excellent. I really like the track. Yeah, this sound is really good.

30:40

Yeah. Really, really good stuff. Mate, you, I, I think I

30:42

said this last time, I think

30:44

you're definitely, you've got

30:44

a particular sound and it's

30:47

a really, really good sound because I know you mentioned synth wave just now, but you've,

30:48

you've taken synth wave elements

30:52

and you've sort of created

30:52

your own interpretation of it,

30:54

so it's different, you know? Um, yeah. Yeah.

30:56

It's, I, I, I, I, I've always

30:56

kind of thought the same thing

31:00

as like, uh, I think you've

31:00

got quite a unique way of, uh,

31:02

putting, putting things together

31:02

because it doesn't, it doesn't

31:06

sound like anything else. Like the Dave kind of

31:07

heard in the scene. It's like, uh, you've,

31:09

yeah, you've, you've,

31:12

you've definitely put your own stamp on it. Um, I'm blushing

31:14

a little bit now.

31:18

Yeah, I mean, I mean it's,

31:18

it's, uh, I've got pretty

31:22

strong views about the

31:22

synth wave scene anyway.

31:24

You know, there, there, there are so much sort of cut out on keep.

31:27

The sort of tracks that are out there. I think it's, it's it's high

31:29

time that there's, you know,

31:31

a bit of variation that

31:31

that's added into it and

31:34

a bit of personality, and

31:34

that's what I'm trying to do.

31:37

But, um, I had a, I

31:37

had a question about

31:39

the, the, the melody. I dunno if you guys can

31:40

remember now because it's, it's been a few minutes since

31:42

we've, we've listened to it.

31:44

Um, I, I always struggle with

31:44

delay as well cuz I, I've got

31:48

a couple of sounds that are

31:48

going on in the background

31:50

there, uh, in the, in the

31:50

higher end that I'm not sure

31:53

whether they're fighting. With, with one another.

31:56

You know, there's um, there,

31:56

there's kind of a, a, a kind

31:59

of a main melodic center,

31:59

and then there's this delay

32:01

thing that kind of comes in

32:01

out in the, in the background.

32:04

Do you guys have any tips in

32:04

terms of working with multiple

32:08

layers of delay to make it

32:08

work in a more seamless way?

32:12

I. Are you timing your delay? Are you timing it to your track?

32:16

No, don't be silly. I'm just throwing 'em in

32:16

there and seeing what happens.

32:19

That, that, that, that would

32:19

be my first, uh, bit of

32:22

advice would be, uh, time,

32:22

the delay to the, to the

32:25

track and obviously you can

32:25

tweak it from there and then

32:27

look at the feedback as well. The feedback dos quite powerful

32:29

when it comes to delay, cuz

32:31

that's gonna control how

32:31

much delay feedback you get.

32:35

Um, so that's another one. Another really good cool tip

32:36

as well with delay is this,

32:39

is, this is quite good with

32:39

vocals is when you have like

32:42

a, a, you have two delays. You might have one hard left,

32:43

hard right, A one's quarter

32:46

and one's eighth note delays. That's quite a nice way

32:47

of doing it as well. But definitely start, start

32:49

with timing the delay.

32:52

Look at the timing of it. Um, trying to think of the

32:53

best, most of the most delays

32:57

you can sync to the track. I, because you can either

32:59

see, you can either have

33:01

it loose, so you can do it

33:01

in millisecond or you can

33:03

sync the delay to the track. That would be my first, that

33:05

would be my first bit of advice.

33:07

I dunno what anyone else, anyone else thinks. Yeah, I was gonna agree

33:09

with you, mark on that one. Um, when it comes to, what

33:11

I normally do with the

33:14

majority of my sounds is I,

33:14

when I add a delay is I do,

33:17

is it the ping pong effect? So it goes like left,

33:19

right, left, right. Has its delay in. But what that does is it

33:21

kind of just spreads it out because if I didn't do that,

33:23

it would just remain a stereo.

33:26

And then as it's playing, it would just stack, stack, stack, stack and everything

33:27

would just like, you know,

33:30

it'd cause um, is it fear,

33:30

is that what you call it?

33:33

When it all stacks on top each. So, yeah.

33:35

Um, try widening the di and

33:35

it'll just sort of spread it out

33:39

a little bit, um, in the, yeah.

33:42

Surround. Well, nice one.

33:45

Thank you. A couple of things, couple of

33:45

things that I do is, um, I mean,

33:48

I dunno what delay you use,

33:48

but the delay that I use has,

33:51

uh, has like EQ options on it.

33:53

Um, so like I'll maybe like, uh,

33:53

save, I've got like two parts,

33:57

but um, or maybe have like some

33:57

kind of crossover frequencies.

34:01

Then I'll maybe like, uh,

34:01

high pass out, like some,

34:04

some of the, uh, some of the

34:04

delay from like one of them to

34:06

leave room for the other one. Um, And like, uh, like another

34:08

thing that I'll do, maybe do

34:11

sometimes is I'll actually

34:11

side chain one of the melodies

34:14

into the other melody, just

34:14

to kinda like carve out

34:17

like a little bit of space. Um, like, yeah, I, I don't

34:18

know if you've got like

34:21

a track spacer mm-hmm. But like that, that, that thing

34:23

has been like a godsend for me.

34:26

Um, If, if, if I've maybe got

34:26

like two melodies, like one

34:30

that's in a kinda slightly

34:30

higher register and one

34:32

that's in a slightly just,

34:32

just like a slightly lower

34:35

register, but there's some

34:35

kind of crossover frequencies.

34:37

Mm-hmm. I'll side chain the, the

34:38

lower one into the higher one.

34:42

Um, because like the higher

34:42

one obviously, like when, when

34:45

you do that, you'll still get like a little, little bit of the high like coming through.

34:48

And, but it leaves more space for the, the one that's in the kinda mid,

34:50

mid upper can arrange.

34:53

Yeah. And like that, that's, that's

34:53

something that I do just like

34:56

to get like a little bit of

34:56

separation between the two.

34:59

I really need to figure out

34:59

how to use track spacer.

35:02

It's awesome. But I, I just, I keep dialing

35:02

the knobs too, too far and,

35:06

and then just some weird sounds

35:06

keep coming out the, uh, the,

35:09

the effect that I'm working on. But that's really

35:10

good advice, guys. Thank you very much.

35:12

Really appreciate it. Track spacer.

35:15

I find that it works best

35:15

if you keep it subtle.

35:18

Um, don't dial it in too hard.

35:20

Like, um, I, I usually keep it

35:20

like around kind of 15 to 20%.

35:25

I think if you go like too

35:25

hard with it, then yeah, like,

35:27

it just sounds fucking weird,

35:27

but like, if you keep it nice

35:30

and subtle, um, then I find

35:30

that it's like, it's just

35:33

enough for it to kind of cut

35:33

through without sounding, you

35:37

know, too, too overbearing. Mm-hmm.

35:41

Fantastic. I'm glad you mentioned the

35:42

compression side of things, Russell, cuz I, I was gonna

35:44

say that as well, um, about

35:46

compressing or side chain

35:46

compression going into the,

35:50

um, on the, if you got, if

35:50

you use an auxiliary, uh,

35:53

channel auxiliary channels

35:53

for your delay, um, which

35:56

I highly recommend doing. Um, fantastic.

35:59

Excellent stuff. Love it. Um, so thank you very much.

36:02

AB Neon. So we've now got the

36:03

penultimate, uh, which is.

36:07

Adventurer, uh oh.

36:09

There's no title on it. Um, let's have a, a bit

36:10

about this one, buddy. Yeah.

36:14

So I am currently writing an

36:14

album trying to do something.

36:20

Thematic to Dante's Inferno and

36:20

like the ninth circles of Hell.

36:23

I'm, I write dark synth just

36:23

to preface this, um, it's not

36:27

gonna be like some chill synth

36:27

about the ninth circles of hell,

36:30

but, uh, this is supposed to

36:30

be one of the, the last songs

36:34

in the album, so it's gonna

36:34

be pretty, it's pretty like

36:37

aggressive and kind of intense.

36:39

But right now this is kind of

36:39

like the first drop in really

36:43

crazy section and I'm, I'm

36:43

just kind of curious about

36:45

how I might, how I should. Continue with it because right

36:47

now this is kind of the tail

36:50

end of the section that I've

36:50

written and I'm not really

36:53

sure what to bring in after. Cool.

36:57

Thanks. Space. I did listen to this earlier

36:58

cause I auditioned the tracks to

37:01

make sure there is audio there. Um, and you haven't just

37:03

bounced silence, um,

37:05

which has happened before. Um, and when I heard it

37:06

at the end of it as well,

37:09

immediate being a metalhead,

37:09

it immediately grabbed me.

37:12

I I thought you would like it. Yeah, yeah, yeah. Yeah.

37:15

So, um, let's, uh, let's

37:15

listen to this one.

38:09

Yes, mate, that, that

38:09

ending got me straight away.

38:11

Um, what, what I wanna hear on

38:11

that ending is like a really,

38:14

like, like some, some pig

38:14

squeals on guitars or something.

38:17

So like, so yeah. Actually that's another

38:18

thing I was gonna bring up

38:20

is that pause at the end. I want to put something, some

38:22

like quote or something in, Hmm.

38:25

I, I, in the most recent song that I've released, Two days ago.

38:29

I already have like the

38:29

knife shing, like the Shing.

38:32

Oh yeah. And like a, a woman screaming. So I don't want

38:33

to do that again. But if you guys have any

38:35

suggestions on like, something

38:37

kind of, kind of cheeky

38:37

to, to add right after

38:40

that breakdown, please. Oh, I go Hellraiser route

38:41

or something like that, man.

38:44

Like a proper hell Razr quote. Something like that.

38:47

Like Jesus wept straight

38:47

into the, straight, straight

38:50

into that afterwards. Something like that, man. That would be, um, oh,

38:52

that would be awesome. Yeah. That'd fit.

38:55

Fit right into the theme. Yeah. Yeah.

38:57

That ending is, is wicked though. I really, really like that.

39:00

But I definitely, I know, I know what you mean. You kind of want something

39:01

that really, a really strong quote to go in there.

39:05

Yeah. And then I need to bring it

39:06

back into synth because I mean,

39:08

I, that's just a VST guitar. I can't play guitar, so I,

39:10

I, like, I don't know how

39:14

much I can fake, like how

39:14

long I can fake a guitar,

39:16

you know, in the song. Yeah. Without it sounding

39:18

kind of goofy. You've pretty, pretty

39:20

well so far, I think.

39:22

I think that sounds amazing. Yeah. Yeah. Thank you.

39:25

I think one thing you could

39:25

maybe try, I don't know if you,

39:27

because I think you could either

39:27

go two ways with it, really.

39:29

You could either go really

39:29

into the guitar and go,

39:32

we're gonna go halftime. Slow it down.

39:35

Really brutal. Break down, like really darn.

39:38

Darn don't like, really

39:38

like, yeah, marker.

39:43

It's taken me back to my, uh,

39:43

my beat, my beat down, uh,

39:46

case or, or you could maybe

39:46

like bring in one of the lead

39:50

instruments, the, the sort of

39:50

ape lead thing you've got on

39:54

its own and then build it back

39:54

into the synth bit and then go

39:57

back into, back into the synth. I thought the exact same thing.

40:01

I, I thought it'd be really cool to bring it down to halftime and then I thought

40:03

it, I thought it'd be really

40:05

cool to bring in like a kinda

40:05

elite guitar melody, but like

40:08

a really fucking sinister

40:08

melody like on on lead guitar.

40:11

I thought that would be really cool. Some sweetss actually, earlier

40:13

in that track, I do have

40:15

a, a, a bit of a sinister

40:15

guitar melody, but I had

40:18

to only put in 30 seconds. But these are great ideas.

40:21

I thank you. I, I think I'm gonna, Yeah, I'm thinking when, if

40:25

you were to bring solos into

40:28

it, if you're bringing league guitar into it, you want some really interesting sort of like

40:30

modes to use, like frigid mode

40:33

or something along those lines. This is where you Yeah, like

40:34

if you're not a guitarist, you,

40:37

I, I couldn't even tell you

40:37

what a frigid mode would be.

40:39

I couldn't, I couldn't remember how to play a frigid mode right now, or Mixel, lidian

40:41

or something like that. Some really interesting sound.

40:45

It's gonna like, uh, I wouldn't,

40:45

I wouldn't, I wouldn't, I

40:48

wouldn't use a mix of laine. It's mix of lydian happy.

40:51

Yeah. Mix. Don't go.

40:54

Yeah. Don't go with Mixel

40:54

lidian then, or stick with frigid in that case.

40:58

Exactly. Okay. Yeah, I can play with

40:58

some, some scale modes. That would be fun actually.

41:02

Yeah. Or like some like Black

41:02

Sabbath, like doom, really long.

41:05

Do do doom like diminished?

41:08

Uh, fifth, yeah. Oh, so many options

41:11

for the metal side.

41:16

So many, yeah. Makes go listen to some metal.

41:19

Now I've, uh, I've been on a

41:19

proper, I've been on a proper

41:21

metal binge of late as well. Like initially when I

41:22

first listened to it, the,

41:25

because we haven't really touched on the intro. You kind of got those,

41:26

those haunting vocal

41:29

samples in there as well. Um, quite like crad la filth,

41:31

de muk sort of, sort of

41:34

stuff going on there, which is, which is quite cool. Um, I think it'd be quite

41:36

cool, you could almost

41:39

like develop that a bit

41:39

more, maybe at some point.

41:42

Maybe. Yeah, that's a good idea. I I, I've definitely been

41:44

using a lot of choir in this

41:47

album and I think, yeah, maybe

41:47

I could really just go all

41:50

out and make some crazy choir

41:50

melody that doesn't even,

41:55

yeah, that, that would be cool. That would be cool. You can almost like start the

41:57

track with that, and then it

41:59

just goes really, then you just

41:59

absolutely just rip into it and

42:02

tear it up with like, loads of

42:02

processing and stuff and make

42:04

it totally obscure and stuff. And then end it with it again,

42:06

going back into the choir.

42:09

Yeah, I'll play around with all that stuff. Thank you.

42:13

Did, did you say it was, so

42:13

it's based on D and furo?

42:16

The, the, the album, not the Al.

42:19

Oh yeah. The album is based on loosely,

42:19

you know, I just have like,

42:24

Every song has to do with

42:24

the one circle of hell.

42:26

So I've, that's supposed to be like fraud. Ah, cool.

42:28

I was wondering. Yeah, I, my, my plan is to

42:30

make like a really long, epic

42:34

song for treachery for the

42:34

last song, but I don't know,

42:37

like I, I've tried to write

42:37

really long songs before.

42:39

It's, it's a pretty tough ordeal. Hmm.

42:43

It, I think trying to

42:43

keep them interesting for

42:47

a long amount of time. I remember when I was in the

42:48

band and we write these songs,

42:50

I think we had one song,

42:50

which was about six or seven

42:52

minutes long, and it never

42:52

played the same rift twice.

42:55

Yeah, I mean, that, that was,

42:55

that was gnarly to play live

42:58

and we'd always play it like

42:58

20 BP faster than it should be.

43:02

Um, and it was, it's really

43:02

hard to do to keep that

43:06

listener interest along that

43:06

for that amount of time.

43:08

So, um, yeah, I'm with you on that one. But I love the idea though.

43:11

Dances in fur sounds amazing, man. I think it's an album.

43:14

That'd be wicked. Thank you. Yeah, I, I've got a couple

43:15

songs already released for it.

43:18

Um, but hoping, hoping that

43:18

it'll be finished soon because,

43:23

Yeah, I'm excited about it. Yeah, no, I, I love

43:25

your work, man. Like, fucking, your stuff's like

43:27

kind of top, top notch, dude.

43:30

Thank you. Thank you, thank you.

43:33

I appreciate that a lot, Jen.

43:36

I'm, uh, I'm just, uh, before

43:36

we move on, thank you f very

43:38

much for that brilliant stuff. Uh, before we move on to

43:39

the next one, I'm just on YouTube and someone's,

43:41

but, uh, apologize if I

43:44

pronounce this incorrectly. Canara, you forgot to empty the

43:45

dishwasher before the pod man.

43:49

Um, so some, somebody's,

43:49

somebody's forgot

43:52

to empty the dish. What's his name? What's the name of the

43:53

person who said that? Uh, it's Duncan.

43:56

Oh my god. That's my roommate. Fantastic.

44:01

Um, brilliant. Excellent. Uh, that's the first life that's

44:03

ever happened on the podcast.

44:07

Love it. That's funny. Um, he's lying too.

44:10

Cool. He's lying. Uh, so Russell, tell

44:14

us about your song. Um, this, this, this one was

44:17

just, um, something I was

44:21

kinda messing about with,

44:21

uh, I've been kinda messing

44:23

about with, uh, the, uh, the

44:23

GForce au oddity recently.

44:26

And, um, I don't know, man,

44:26

like, uh, that, that, that

44:30

sense like, seems kinda

44:30

like, kinda synonymous with

44:32

like a lot of kinda sci-fi

44:32

and kind of space, kind of,

44:35

uh, like in a synth music.

44:37

So like, uh, I was just kind of

44:37

trying to write something that

44:39

had like, that kind of vibe to

44:39

it, like, uh, Yeah, just like in

44:44

a spacey, spacey, synthy vibes.

44:48

Um, and I, I, I, there's

44:48

not, it's not really anything

44:52

kinda like specific that I

44:52

was looking for feedback on.

44:55

Just basically just have a

44:55

listen to it and basically if

44:58

you've got any suggestions, then

44:58

you know, I'm, I'm all ears.

45:03

Fantastic Ace. Um, here we go.

45:05

So this is, uh, Russell Nash,

45:05

uh, working title Isolation.

46:09

Cool mate. Um, ACE, my initial thought was

46:09

when it comes, when it comes

46:12

back in, uh, right at the end

46:12

there cuz it, there's like a

46:15

drop and then it comes back

46:15

into the track as you've got

46:18

that lead synth plate again. Yeah. Maybe like a slight variation

46:20

on the actual sound itself,

46:23

like a different Sure. Tomber of the instrument.

46:25

That was my initial thought. Um, okay.

46:27

Yeah. Would be quite cool to do. Um, that, that's what I

46:29

initially, yeah, that's what

46:32

I went with straight away. Dunno what anyone else thinks.

46:35

Yeah, that second lead that

46:35

came in, not the, not the like

46:38

blade runy one that fades in.

46:40

I like that lead a lot, first of all. Um, but the second lead, I,

46:43

I was kind of expecting there

46:46

to be a second phrase, but

46:46

there, it kind of just stopped

46:51

and then it came on again. So maybe, I don't know.

46:54

Try something, try adding

46:54

a little bit if, if you

46:58

think it fits, obviously. Yeah.

47:00

Yeah. No, like, um, like, like,

47:01

like, like I said, it's,

47:03

it's, it's, it's like, it's a work in progress. So, um, I'm, I'm, I'm

47:04

definitely, uh, I'm definitely

47:08

kinda open to like, uh,

47:08

suggestions and like, uh,

47:12

yeah, that's pro probably,

47:12

probably a good idea to kinda

47:15

mix the melody up a bit. It'd be good to include, um, uh,

47:17

another hit hat as it's going.

47:22

Cause all you've got, I think at the moment is obviously you've got the kick the snare.

47:24

Yeah. And then it just sort of

47:25

wears like, like that, like

47:28

behind you just need one in

47:28

the middle just to make the,

47:30

um, it makes it sort of flow a

47:30

little bit better, like sort of

47:34

bounce, you know what I mean? I don't know. Okay. Just grabbing it around.

47:36

But yeah, just like a,

47:36

like a standard hit hat,

47:38

just really quiet in the background and it just sort of like clamps everything

47:40

together as it's playing.

47:43

Um, yeah. I really like the sound of

47:47

that lead there as well. I, I've not been brave

47:49

enough to use a kind of

47:51

a semi detuned lead yet. Um, the, the thing I was hearing

47:53

was, um, just where the, the

47:57

drum fill, uh, brings it back

47:57

into the, into, into the melody.

48:01

Um, I, I dunno if, if, if you

48:01

like this or not, it kind of in

48:06

a lot of space wave stuff, it

48:06

kind of drops out completely.

48:09

Uh, and only has like

48:09

a sousaphone type.

48:12

Base that, that, that is the

48:12

only thing that carries the,

48:17

the melody of the lead through. So that, that's the

48:18

thing I was hearing.

48:20

It was just kind of take

48:20

the energy dry out to then

48:24

bring it back in again. Um, okay. And I think, you know, um, guys

48:26

like Helsinki project do, do,

48:30

do that kind of stuff really, really well and everything. And I think, I think, um,

48:32

yeah, that, that little bit

48:35

of variation there I think

48:35

would be really impactful.

48:39

Yeah, no, like I'm, I'm, I'm open to that. Like, um, I mean, truth, truth

48:41

be told, like that little Phil

48:44

was just gonna, just gonna throw

48:44

throw in there just for Yeah.

48:48

Just, just for the sake of it. But yeah, like, may,

48:49

may, maybe, maybe that would work quite well.

48:51

Just taking it out altogether

48:51

and just having, just, just,

48:54

you know, John Cage in it, you

48:54

know, just, just, just fucking

48:58

silence and then bam back in.

49:00

Yeah. Fantastic.

49:03

There is, there's a comment on

49:03

the YouTube actually from Vic

49:05

West who says, space sci-fi and

49:05

synth are meant to be together.

49:09

Great vibe. So we go, Vic.

49:13

Nice. Good. Yeah, Vic, I, uh, I was

49:14

chatting to Vic earlier.

49:16

I'm trying to get him on the podcast at some point. So, uh, he did say he was

49:18

gonna drop in for the live stream, like fake Vic, like

49:20

Vic, like fucking your music's

49:22

fucking Dino, by the way. Fantastic.

49:28

Agreed. Sorry, I was just looking at the comments again. That, uh, dishwasher one got me.

49:31

Um, ACE.

49:34

Brilliant. Uh, there we go. So now we come to the final one.

49:37

So this is, uh, this

49:37

is, uh, my track.

49:40

So this is one that I, um, I

49:40

started a couple weeks ago.

49:44

Space on it. Um, it's really rough.

49:47

There's some guitar at the end. It is actual, uh, guitar.

49:49

The VSD I've used, I think

49:49

is a logic stock one because,

49:52

uh, my free trial of the, the

49:52

Nly, uh, neural DSP ran out.

49:57

So, uh, uh, yeah, I know. Thumbs down from carbon noodles.

49:59

Yeah, it ran out. So I've got this, this

50:00

heinous logic pro,

50:03

um, guitar tone on it. And I think the lead tone's

50:06

the same aside from the base.

50:08

So any feedback on the bridge

50:08

section, whether it works

50:11

and then going into the

50:11

outro as well would be great.

50:14

Um, so yeah, this is,

50:14

uh, a work in progress.

50:17

It's called, uh, it

50:17

says synth pop, but it's

50:19

not actually synth pop. Uh, it's B flat major

50:20

97 B bpm, um, I dunno

50:24

what you'd call it now. And yeah, the, the, the

50:25

bridge section, it'd be

50:27

interesting to see what people

50:27

think cuz uh, I'm still.

50:30

So I'm shaking my hand for the audience listening. I'm shaking my hand with

50:32

a kind of 50 50 motion.

51:34

There we go. Sorry. Abruptly cuts off

51:35

at the end there. Um, so yeah, any thoughts,

51:36

any interesting example? I wanna put vocals on this

51:38

and I'm an unsure if it's

51:41

gonna be male or female, so it'd be interesting to know what people think with

51:43

regards to, to vocals as well.

51:48

That was so cool. Sorry.

51:52

Yeah. I I, I I ain't got me.

51:54

Yeah, I know what you

51:54

mean by, uh, ope in there.

51:57

I thought that was really cool how it dropped out with the, I'm gonna, I'm gonna do what

51:59

all great, uh, people, uh,

52:03

do, and I'm gonna throw your

52:03

feedback right back at you.

52:07

I think it'd be really cool

52:07

if you could, uh, add like

52:09

a lead, uh, like a guitar

52:09

lead when it kicks back in.

52:12

It depends. It depends on like obviously

52:13

what you're doing with the

52:15

vocal melody and whether

52:15

that leaves the room for it.

52:18

But I think yeah, you could definitely, uh, bring, bring more guitar.

52:23

Yeah, I think it's

52:23

gonna have Lee Guitar.

52:25

I've, I've, I've farmed

52:25

it out to a guitarist

52:27

who's um, hopefully gonna

52:27

get something back to me

52:29

soon, fingers crossed. Um, so yeah, it's gonna come

52:31

in with lead at the end there

52:33

cause it's part of an ep. And the EP is gonna

52:35

have a, a lot of.

52:38

Well, it's gonna have guitar on

52:38

Almo, I think three outta four

52:41

tracks now, I think in total. But yeah.

52:43

Um, I'm glad you mentioned

52:43

that cuz I didn't put that out

52:46

there, so that's good to know. It's good to know that you

52:47

think Guitar Lee Guitar. Fantastic.

52:49

Thank you Mark, for the,

52:49

um, for the bridge, oh,

52:53

sorry, was going, sorry, I,

52:53

I was, I was just gonna say

52:57

is, is anyone else getting

52:57

Metallica one vocals from,

53:01

uh, one Vibes from it? Sorry, I wasn't, but I'm

53:02

gonna have to, I'm gonna

53:05

have to listen like the,

53:05

the Metallica song one.

53:07

Yeah. Yeah. You know what? I've been listening to Injustice

53:09

for all as well for the past

53:12

week or so, so that, that

53:12

might be a part of parcel love.

53:15

You've gotta do something. I've watching Metallica live

53:16

in Seattle 1989, so, uh, Yeah.

53:20

Yeah, it could well be there. Gotta get the breakdown at

53:21

the end in, in there now.

53:24

That's, uh, yeah, that's

53:24

the mo, yeah, just over it.

53:29

Yeah. Yeah. Yeah. I really like that Opeth

53:30

opeth, the, uh, guitar section.

53:33

But I agree, I think with what

53:33

Ka noodles said, um, having

53:37

a lead there would be nice. Um, I, I could only think of.

53:43

Like a Metron lead that

53:43

like, like Opeth uses

53:46

in their new stuff. But I don't know how, I

53:47

don't know how, uh, effective

53:50

that would be in synth. That's more like sixties Prague.

53:54

No, I love the idea of a Metron. Um, I've recorded an album

53:56

a few years back and we had

53:59

a Metron at the end of it. Um, an actual, we were in

54:00

the studio with a Metron,

54:03

so Oh, that's really cool. Yeah. Yeah, it was really cool.

54:05

Really cool. A great, I love that idea instrument. Yeah.

54:08

Yeah, it is. It is. Got a good choice.

54:11

Jim Beam. Um, no, I love that idea.

54:14

I hadn't thought of a Metron

54:14

or some sort of like vintage

54:17

sort of sound like that. Um, no.

54:19

Cool. Thank you. I made a note of that. Um, I was hearing like female

54:22

vocals for some reason.

54:26

I mean, I, I'm kind of contradicting myself, like when I said Metallica and then

54:27

I'm the same female vocals.

54:30

But yeah, like I, I, I

54:30

don't know, like, uh, I, I

54:33

think, um, I'm just kinda

54:33

hearing a, kinda like a, a

54:36

female vocal on top of that. Like I think it

54:38

would sound nice. Cool.

54:42

No, that's great, mate. Um, I think that's the

54:43

way I was leaning as well. So that, that's, once again,

54:44

that's good to, good to know.

54:47

Um, yeah, ACE, ACE should,

54:47

uh, check our, um, uh,

54:52

ch Chelsea Rothchild. That's, that, that's her name.

54:55

Like, uh, she's, she's like

54:55

a, a female singer that's

54:58

kind actively look into. To kinda like, uh, work

55:00

on south wave tracks.

55:03

Like she's, she's like a

55:03

kinda rocked metal singer,

55:05

like, like by kinda trade,

55:05

but like, yeah, she's looking

55:08

to like kinda break into

55:08

the kinda south wave scene.

55:10

So like, I, I think that would

55:10

maybe be maybe something someone

55:15

you should maybe kind consider

55:15

given a yeah, given a shout to.

55:19

I'm assuming we're, we're, we're

55:19

sort of marketing for her now.

55:22

I'm assuming she's on Instagram. I'll, I'll look her

55:23

up on Instagram. I'll, uh, I'll, I'll,

55:25

I'll send, I'll send you a link to her page later.

55:28

But like, I think, um, I,

55:28

I, I think she would work

55:31

quite well with, uh, the,

55:31

the sort of sound you that

55:33

you've got going on there. No, that'd be perfect.

55:36

Thanks mate. Um, if you could do that, that'd be ace. Thank you.

55:38

Can you do pick squeals? Asking for my own music.

55:43

I've got a friend who

55:43

can do that quite well.

55:45

I, I used to be able to

55:45

do pinks, squares, but

55:47

not so much anymore. Yeah. I've got a friend who can do

55:48

it, but no, thank you Jens.

55:51

That's amazing. Um, these are great. I love this.

55:53

It's great getting feedback cuz

55:53

there are so many ideas that you

55:56

can take, not just listening to

55:56

the feedback on my own stuff,

55:59

but the stuff you said about

55:59

other people's music as well

56:02

and taking forward into my own

56:02

productions, which is amazing

56:04

and it's so cool having dif

56:04

such a variety of different

56:07

styles on here as well. And, um, No big thanks for

56:08

joining me on this Easter

56:11

Bank holiday weekend as

56:11

well, um, which is amazing.

56:14

I'm just gonna go over to YouTube. Um, Vic West has been

56:16

on, uh, chat binge.

56:20

He says, I'm old, but

56:20

I'd really love a chug

56:22

achuk before a power cord. I know what he means by that.

56:26

Um, uh, that's a great

56:26

way of describing it.

56:30

Uh, yeah. Fantastic. Thanks Vic.

56:33

Um, Jen, well do now is

56:33

I'll just go round once

56:36

again, a big thank you and. Just articulate where our

56:37

audience can find you online,

56:40

where they can find your music and find yourself. And also if you've got

56:42

any key dates coming up, any releases or gigs or

56:44

anything along those lines. So I'm gonna snake

56:46

my way around. So sub neon, where can

56:48

our audience find you? So, um, I've recently made my

56:51

first website, uh, so all of

56:55

my stuff is now, uh, aggregated

56:55

at, uh, suddenly on.net.

56:59

Um, so I'm, I'm, I'm mainly

56:59

my active on Instagram,

57:02

so, so yeah, th those

57:02

are the two main places.

57:05

The, the key date I've got

57:05

is my, um, self-imposed

57:09

release schedule of releasing

57:09

a track every single month.

57:12

So by the end of April,

57:12

I'm hoping to release my

57:16

sixth track, uh, which

57:16

is called Dark Light.

57:19

Fantastic. I like that deadline.

57:22

I like that deadline. We're gonna keep you

57:23

accountable now as well. Do you realize we're expecting

57:24

to see you one every month?

57:27

Um, fedora. Where can we find you online? Yeah, I'm mostly active on

57:30

Instagram as well at Venter

57:33

synth, V E N T U R E R S

57:33

Y N T H, and I also have

57:38

a link tree, which is just

57:38

the same extension on that.

57:42

I have a song that came

57:42

out today or two days ago.

57:45

Please go check that out

57:45

to anybody listening.

57:49

Uh, hopefully another, another

57:49

song coming out in a month.

57:52

I'm gonna try to follow sub

57:52

neon's schedule of once a

57:55

month, now that I have a couple

57:55

things lined up, but we'll see

57:58

if I can follow that as well. Fantastic. Just for the audience as

58:01

well, what was the name of the song that was released?

58:03

Uh, hostility. Hostility. Fantastic.

58:06

That's for the

58:06

Circle of Hell Wrath.

58:09

Love it. That's such a cool idea. Um, and then down

58:11

to Russell Nash. Oh yeah.

58:14

Uh, Like my, my, my kinda all

58:14

my stuff is on the Bandcamp, uh,

58:19

Russell Nash music.bandcamp.com

58:19

and that's Russell with two Ls.

58:24

Um, you can find the rest of

58:24

my stuff on, um, link tree.com

58:29

um slash Russell Nash music. Um, the last single that I've

58:31

released is, uh, a collaboration

58:35

with, uh, ran, um, it's

58:35

called, uh, galactic Warfare.

58:39

Um, you can find that

58:39

on my, on my bank camp.

58:43

Lovely. That's great as well, man. Um, being in a guitar frame of

58:44

mind at the moment, the league

58:48

guitar on that is wicked. It's, it sounds so

58:49

cool on that track. Um, carbon noodles.

58:56

Yeah, there we go. Apologies. But you can, uh, yeah, if you

59:00

like, uh, the little snippet

59:02

you heard, you can find

59:02

me, uh, on most, uh, if not

59:06

all social media at Cameron

59:06

Noodles, K a m e n, um, noodles.

59:12

And then you can, uh, I've

59:12

got a new single coming out

59:15

next week, but not next week

59:15

when the podcast comes out

59:18

next week as of recording. So that should be out by the

59:19

time this, uh, goes out called.

59:22

Grow out via, uh, cozy Clouds

59:22

music on the 14th of April.

59:27

So, uh, yeah, that'll be out

59:27

and check it out on, uh, any

59:31

major music streaming platform,

59:31

uh, under Cameron Noodles.

59:34

So, yeah. And Liam?

59:39

Uh, yeah, so you can find

59:39

me, um, pretty much on

59:42

any social media platform,

59:42

just under Liam Leon, um,

59:45

Spotify, mainly on Instagram. Um, to connect and I've recently

59:48

joined, uh, TikTok, so I'm sort

59:53

of putting out little covers

59:53

here and there just for like

59:57

a little fun side project. So, um, yeah, check

59:58

them out as well.

1:00:01

Brilliant Jenz. I will put all that in

1:00:02

the, uh, episode notes, all

1:00:05

those links and whatnot. Um, so the audience can go

1:00:06

away and listen to those. And, um, once again, a big

1:00:08

thank you for joining me today

1:00:11

and, uh, it's been a pleasure. And please do, uh, subscribe

1:00:12

or I say subscribe.

1:00:14

Please do book yourself onto another one as well when you've got music that you want to,

1:00:16

um, To share and, uh, get a

1:00:20

bit of feedback on, or even if

1:00:20

you just want to join and then

1:00:23

just criticize other people's

1:00:23

music and then just do that.

1:00:26

Uh, it's all, it's all good fun. Um, but no, once again, a

1:00:28

really, really big thanks and

1:00:31

I'll catch up with you all soon. Cheers guys.