Christopher Allis Part 2 Behind the Kit and Beyond

WEBVTT
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Hello and welcome to another episode of Inside the Recording Studio. I am Jody Whitesides and
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I'm doing alright Jody, as always I'm doing pretty good, how about yourself?
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with me as always is Mr. Chris Hellstrom. How are you today, Chris?
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I'm doing good too. Can't complain. I'm not going to say anything further.
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We're good.
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All right. Well, there you go. Awesome.
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So what did you think about our interview with Christopher Ellis last week?
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Yeah, there was a lot of obviously new Chris.
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juicy, like a giant four inch filet mignon.
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We're having talked to him in a minute, but there's there was so much kind of like wisdom that he was spreading around there.
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I thought it was like really, really good and things to think about if you're getting into the session scene.
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but I was really, really taken aback almost
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to try to emotionally connect with a piece of music
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I thought that was really, really both inspiring
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and impressive.
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Yes, I agree. It's the same sort of approach that I take when I'm trying to write with
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We got our kind of thing going here, right?
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a co writer who isn't you because we already have that connection. Yes, we do. Yeah, it's
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With that said, what do you think?
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Should we just go into the part two of the interview
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with Christopher Alice?
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What do you think?
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We kind of are, right?
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It's going to feel like you're diving right into the middle.
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Essentially you are.
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But if you didn't catch part one,
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go back and listen to that one first
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because there's a lot of stuff in there
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and there's gonna be just as much stuff
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in the episode coming up.
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[ Silence ]
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And without further ado, we're jumping back in.
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All right.
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And then going back to the miking here, do you have a particular mic that you're also
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using for the hi-hat or is that caught in the overheads?
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I do have a mic on the hi-hat.
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Right now, it's a Sennheiser 906,
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Mm-hmm.
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Mm-hmm.
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Mm-hmm.
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which is a little square microphone
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Mm-hmm.
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Mm-hmm.
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that they use a lot for guitar cabinets.
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Mm-hmm.
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It's a low profile, which I like.
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[
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Sighs ]
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And one of the studios that I do a lot of work at,
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[
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Sighs ]
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[
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Sighs ]
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[
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Sighs ]
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we were just like--
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[
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Sighs ]
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we were using an SM7, one of the Shure SM7s.
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[
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Sighs ]
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We're just like, we want to try something different.
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I'm not sure what to do. I'm just going to go back to the first one.
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[
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Sighs ]
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What do we have?
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[
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Sighs ]
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[
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Sighs ]
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And I was like, well, let's try the 906.
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[
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Sighs ]
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[
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Sighs ]
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[
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OK.
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Sighs ]
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And again, just kind of set the switch,
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[
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Sighs ]
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[
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Sighs ]
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take out all the low end.
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[
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Sighs ]
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And so you just have this bright kind of crispiness
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Thank you.
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[
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Sighs ]
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that works for the hi-hat.
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Mm hmm.
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But I'm really using very, very little of it.
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Because I tend to use bigger hi-hats.
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I'm using 15 and 16 and sometimes 17 inch hi-hats.
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So yeah, 13 or 14.
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That is large.
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What's the average like 13 or 12?
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13 or 14, yeah.
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since moving out here, my sound concept has changed dramatically.
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Thank you.
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Where when I moved out here, it was very much like that Dave Weckle,
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[ Pause ]
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Vinny Calleuda kind of a lot of splash cymbals and smaller crashes
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and just make a quick statement.
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And, you know, you start playing with singer-songwriters and you want
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to hit something once and just have it ring over the bar line.
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Thank you.
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You know, you want to have your tuning a little bit different.
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So, you know, there feels like there's more breath and more kind of depth
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and distance to the drum kit.
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So, you know, now I can't see myself going back
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to the (imitates drum kit)
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Sure.
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all kind of thing.
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I just wanna, you know, I wanna be able to just hit it once
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and just, you know, just let it go.
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glorious decay. Yeah.
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So, yeah, yeah, very much so.
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I'm running 11 tracks right now.
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So what's the number of tracks that you've got in terms of mics then?
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All right.
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Thank you.
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>> Thank you.
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...
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Kick in, kick out, snare tops, snare bottom,
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Thank you.
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hat, rack floor, floor, overheads, and a mono room.
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you
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you
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you
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[no audio]
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Gotcha.
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And we discussed this a little bit the other day in terms of what is the processing that
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you
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you
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you
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you're using on each of these tracks?
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you
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Is there a lot of processing or is it just a pre kind of thing?
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you
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you
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What's your deal?
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Right now it's just the pre and pretty soon it's going to include some analog EQing as well on
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All right.
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you
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You
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you
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you
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kick ins, snare top, overheads, and all the toms.
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you
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you
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Because you're working within limitations, and one of the limitations is my room,
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you
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than
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the size, and all that. So there are certain things that I want to be able to pull out
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Sure.
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in order to really give as much tone, as much, you know, just solid analog goodness as I can.
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[ Pause ]
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So the EQs are really going to help to take out, like particularly my room,
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or just in general like the 400, you know, for kick and toms,
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you know, just kind of scoop some of that honkiness out.
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The muddiness and the yeah, yeah boxing it. Yeah
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Right. Right.
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Yeah, yeah, the muddiness and the boxiness,
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Hmm
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you know, get rid of that.
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I've been sending people just raw tracks.
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I've not been so ego driven as to want to do mixes
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You
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or whatever, but now that I've gotten some of the stuff back
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You
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You
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that people have sent me of the raw tracks
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you
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that I've sent them, I am starting to think about
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Thank you.
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doing a really, really rough mix
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Thank you.
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and just kind of giving them.
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Thank you.
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It was like, you know, I was thinking something like this
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you
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for this particular drum performance.
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You're not pre-processing your raw track, so to speak.
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you
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That way they have somewhere to go.
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you
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Because again,
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no, no.
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you
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You're actually sending them the actual raw track.
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Hey
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Yeah, yeah, absolutely.
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Group
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I just kind of felt like in all,
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I asked a lot of producers and a lot of engineers,
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No, it's a common thing when people are learning or they don't understand
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drummer friends of mine as well
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that have been doing this for a lot longer than I have.
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To a person, they all said,
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if you're just starting out, just send raw tracks.
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Then if you want to start messing around
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with doing mixing and all that stuff,
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you
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which you probably will,
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(silence)
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because you're gonna start hearing stuff
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and it's gonna be like, well,
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they definitely didn't know how to do that very well,
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(laughs)
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did they?
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(laughing)
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(laughs)
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[laughs]
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[silence]
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Sorry to say.
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And then,
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[silence]
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[silence]
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that they're dealing with the raw track.
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And maybe their room has the exact opposite
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[silence]
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of the issue that you're hearing in your room.
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you
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So they don't hear the same problem as it arises
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you
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you
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because it's being countered out, so to speak.
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you
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Yeah, yeah, that's definitely possible as well.
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Sure.
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you
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The raw track seems to be the best way at this point,
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you
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you
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Sure.
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not only to get the job at hand done,
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you
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you
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But also, it just affords me every opportunity I have to go in and muck around and make noise
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[ Pause ]
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Sure.
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and record stuff.
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You're building incrementally to the skill set that you have.
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And being able to be more effective with troubleshooting when the same boneheaded things that you have
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done the last 10 sessions come up again.
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You're like, "Oh yeah, that's right.
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I forgot to do that, didn't I?"
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So it just, yeah, absolutely.
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Hmm. That's cool. Yeah.
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I'll take a gentle note. (laughs)
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And I've actually got a little checklist.
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(laughs)
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Yeah, I'm just like, did you do this?
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So just to sort of talk about the processing when you're sending the raw tracks, when you're
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Did you do this?
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Did you do this?
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Did you do this?
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And kind of look at it,
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I was like, man, you're such a blockhead.
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But it works.
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Okay, Charlie Brown. (laughs)
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I mean, it definitely works.
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Yeah, totally, totally.
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Thank you.
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Okay.
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tracking not at your place, but if you're going to, you know,
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somebody else's studio or somebody else's room. How
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[silence]
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involved do you find that you get with if at all, with any
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processing that might happen at those tracking sessions? I mean,
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do you find that engineers would like to have perhaps tickling
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Well, yeah, if you don't know what you're doing.
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your drums with slight compression going in? Or is that
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generally a big no-no because I know Jody and I have a pretty strong opinion about that if you don't really know what you're doing.
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But also with obviously with EQ and things because I think overall there's a lot of stuff going on there because I think
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[silence]
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tracking a live drum kit is probably
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[ Pause ]
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one of the most technically challenging things that you can do when it comes to sort of standard recording.
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Yeah it is kind of fraught, yeah.
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Because you're dealing with so many parameters because all that never mind just
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(breathing deeply)
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Yeah.
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(Inaudible)
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Mike it up a guitar cabinets. Okay, put it in front of the board. Sounds good. And you can't really mess up. But with drums, not only do you have the bleed, but you get the phase and you got, you know, how much is the overhead gonna pick up? Are we going to use a room? Like all of these parameters that are, they're moving. So it's a process that is really easy to mess up, I think, you know, so to go back to my original question, with the compression, how much
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[ Pause ]
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- Mm-hmm, yeah.
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When I'm going to somebody else's place,
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[ Pause ]
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processing or going in with somebody when you're going to somebody else's place.
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I have the good fortune of working with people
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that know what they're doing.
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So I'm gonna trust their judgment
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because typically, like if I'm going to Stag Street
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Right.
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or if I'm going to NRG or East West or whatever,
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they know the room.
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So, and they know the gear.
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[ Pause ]
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So if I go in and listen back and I'm like,
00:09:33.180 --> 00:09:37.220
you know, that sounds a little bit boxy or, you know,
00:09:34.960 --> 00:10:02.960
Yeah.
00:09:37.220 --> 00:09:40.180
it feels, you know, I'm not feeling the same thing
00:09:40.180 --> 00:09:41.640
coming through the speakers as I am
00:09:41.640 --> 00:09:43.520
when I'm actually playing the kit.
00:09:43.520 --> 00:09:45.100
It's a little bit of a negotiation,
00:09:45.100 --> 00:09:49.760
but I don't try to insinuate myself too much
00:09:49.300 --> 00:09:51.300
It's that ego thing.
00:09:49.760 --> 00:09:51.760
because ultimately, yeah, I mean,
00:09:51.760 --> 00:09:55.380
if I'm going into somebody else's room,
00:09:52.300 --> 00:10:00.300
[ Pause ]
00:09:55.380 --> 00:09:57.620
the chances are it's either for them
00:09:57.620 --> 00:09:59.480
or it's for an artist that they're producing.
00:09:59.480 --> 00:10:01.740
so they already have their concept.
00:10:00.300 --> 00:10:03.300
Brett.
00:10:01.740 --> 00:10:06.740
So as long as I've got a sound that is relatively close
00:10:02.960 --> 00:10:17.840
Yeah, okay. That's fair enough. Yeah, I mean, there's certainly something to be said for
00:10:03.300 --> 00:10:27.300
[ Silence ]
00:10:06.740 --> 00:10:11.000
to what I'm used to, then I'm like, oh, okay,
00:10:11.000 --> 00:10:12.780
yeah, that's fine, that works.
00:10:12.780 --> 00:10:27.180
Yeah.
00:10:17.840 --> 00:10:22.360
a person that works in that space all the time. We can assume that they know the room
00:10:22.360 --> 00:10:26.880
and they know the benefits and the drawbacks of that room. So this is why they're doing
00:10:26.880 --> 00:10:31.280
certain things. And well, that's good.
00:10:27.800 --> 00:10:45.400
Sometimes they do.
00:10:28.440 --> 00:10:30.520
I do ask a lot of questions.
00:10:30.520 --> 00:10:32.160
I do ask a lot of questions, yeah,
00:10:31.280 --> 00:10:36.880
[BLANK_AUDIO]
00:10:32.160 --> 00:10:33.560
I do ask a lot of questions
00:10:33.560 --> 00:10:35.200
when I go into other people's studios
00:10:35.200 --> 00:10:38.440
and like, well, what kind of compression are you using?
00:10:37.520 --> 00:10:44.240
[BLANK_AUDIO]
00:10:38.440 --> 00:10:40.800
Why are you using that kind of compression?
00:10:40.800 --> 00:10:41.840
Is it based on the room?
00:10:41.840 --> 00:10:43.040
Is it based on the drums?
00:10:43.040 --> 00:10:44.980
Is it based on the song?
00:10:44.240 --> 00:10:54.320
[BLANK_AUDIO]
00:10:44.980 --> 00:10:49.580
Pretty much all the time.
00:10:45.400 --> 00:10:49.320
How often are they giving you answers?
00:10:49.320 --> 00:10:51.320
Right.
00:10:49.580 --> 00:10:51.800
Pretty much all the time.
00:10:51.320 --> 00:11:03.960
Sure.
00:10:51.800 --> 00:10:53.920
I mean, it's not a don't pay no attention
00:10:53.920 --> 00:10:55.280
to the man behind the curtain.
00:10:54.320 --> 00:11:23.320
Yeah.
00:10:55.280 --> 00:10:59.160
I mean, if I wanted to find out what they were doing,
00:10:59.160 --> 00:11:02.520
I could go on the internet and find out like that.
00:11:02.520 --> 00:11:05.300
Why don't I just ask the person who's actually doing it?
00:11:03.960 --> 00:11:13.640
There you go.
00:11:05.300 --> 00:11:08.800
Because I want to be an advocate for them
00:11:08.800 --> 00:11:11.660
just as much as I want them to be an advocate for me.
00:11:11.660 --> 00:11:14.680
So if I'm asking good questions
00:11:14.680 --> 00:11:16.800
and they see that I'm easy to work with,
00:11:16.800 --> 00:11:19.160
if it's the first time that I've worked with them,
00:11:18.280 --> 00:11:20.280
Uh-huh.
00:11:19.160 --> 00:11:21.880
and then they're seeing what kind of performance
00:11:20.280 --> 00:11:32.360
And he's really good.
00:11:21.880 --> 00:11:23.200
they're getting out of me,
00:11:23.320 --> 00:11:24.320
Yeah.
00:11:24.200 --> 00:11:26.940
All of a sudden, I've got another ally in another studio
00:11:24.320 --> 00:11:40.320
Yeah.
00:11:26.940 --> 00:11:27.860
who's gonna be like, you know what?
00:11:27.860 --> 00:11:31.040
I just did this session with this guy, Christopher Alice.
00:11:31.040 --> 00:11:33.980
And he came in his gear, his gear sounded great.
00:11:32.360 --> 00:11:43.560
Win, win, win.
00:11:33.980 --> 00:11:35.940
He was really easy to work with.
00:11:35.940 --> 00:11:38.340
We got finished ahead of time.
00:11:38.340 --> 00:11:39.180
Call him.
00:11:39.180 --> 00:11:41.760
Yay, that's what we want.
00:11:40.320 --> 00:11:42.320
Yeah, yeah.
00:11:41.760 --> 00:11:45.740
Yeah, absolutely, absolutely.
00:11:42.320 --> 00:11:45.320
Yeah.
00:11:43.560 --> 00:11:45.560
[laughter]
00:11:45.320 --> 00:11:51.320
Yeah, this guy, Christopher, he came in and changed all my compression and EQ settings and he played whatever he wanted, right? Yeah.
00:11:45.560 --> 00:11:52.560
[laughter]
00:11:45.740 --> 00:11:53.540
Yeah.
00:11:51.320 --> 00:11:53.320
Don't be that guy, right? Yeah.
00:11:52.560 --> 00:11:54.560
Ahhhhh! Jesus Christ!
00:11:53.320 --> 00:12:03.520
Yeah, but just like you mentioned at the top here, like they tend to perhaps not work all that often.
00:11:53.540 --> 00:11:56.740
Yeah, well we know plenty of guys like that in this town anyway, so.
00:11:54.560 --> 00:12:01.560
Oh yeah.
00:11:56.740 --> 00:12:05.340
Yeah, yeah.
00:12:01.560 --> 00:12:03.740
(silence)
00:12:03.520 --> 00:12:10.400
So, you know, so it is it is a people business definitely. And I yeah, and I'm
00:12:03.740 --> 00:12:31.760
[ Pause ]
00:12:05.340 --> 00:12:09.940
It is.
00:12:09.940 --> 00:12:15.240
she
00:12:10.400 --> 00:12:17.880
constantly reminded of this saying like, well, it's it's not what you do. It's who you know. Well
00:12:15.240 --> 00:12:26.540
Yeah.
00:12:18.520 --> 00:12:22.740
But that's only half true because it is true as it is who you know
00:12:22.740 --> 00:12:25.100
But it's also how you impress who you know
00:12:25.100 --> 00:12:30.700
Because nobody's going to go to bat for you if they know or are unsure if you can deliver or not. So
00:12:26.540 --> 00:12:33.840
Yeah, yeah, enter.
00:12:30.700 --> 00:12:32.700
You
00:12:32.260 --> 00:12:35.780
Well, here's a question for you in regards to something of that nature.
00:12:32.700 --> 00:12:34.700
You
00:12:34.700 --> 00:12:36.760
you
00:12:35.780 --> 00:12:38.340
I'm sure you're familiar with Josh Freese.
00:12:36.760 --> 00:12:38.820
you
00:12:38.340 --> 00:12:42.080
Isn't he? He's a great drummer.
00:12:39.520 --> 00:12:41.580
you
00:12:39.720 --> 00:12:40.720
I love Josh.
00:12:40.720 --> 00:13:02.720
Thank you.
00:12:42.080 --> 00:12:44.340
There is a story that I had heard.
00:12:42.200 --> 00:12:44.240
you
00:12:44.240 --> 00:12:46.300
you
00:12:44.340 --> 00:12:49.220
A friend of mine was helping produce a track for a rather well-known
00:12:46.300 --> 00:12:47.860
ok
00:12:47.860 --> 00:12:51.020
ok
00:12:49.220 --> 00:12:56.220
Japanese artist, and they kept trying to get the proper fill
00:12:51.020 --> 00:12:53.080
you
00:12:53.080 --> 00:12:55.080
You
00:12:55.080 --> 00:12:57.080
You
00:12:56.220 --> 00:13:00.320
for a part in this song, and they brought in multiple drummers
00:12:58.080 --> 00:13:00.080
You
00:13:00.080 --> 00:13:02.080
You
00:13:00.320 --> 00:13:01.720
just for the fill.
00:13:01.720 --> 00:13:07.120
And as the story goes, that was told to me,
00:13:02.080 --> 00:13:04.080
You
00:13:02.720 --> 00:13:23.720
Yeah.
00:13:04.080 --> 00:13:06.080
You
00:13:06.080 --> 00:13:18.080
Thank you.
00:13:07.120 --> 00:13:11.000
Josh comes in, listens to it, hits one tom,
00:13:11.000 --> 00:13:13.040
point, that's it.
00:13:13.040 --> 00:13:15.360
And they're like, "Brilliant, we got it.
00:13:15.360 --> 00:13:17.400
"That's what it needed."
00:13:17.400 --> 00:13:18.240
Kind of thing.
00:13:18.080 --> 00:13:26.080
Thank you.
00:13:18.240 --> 00:13:19.960
And everybody else was coming in apparently
00:13:19.960 --> 00:13:22.800
and just trying to throw the craziest fill possible.
00:13:22.800 --> 00:13:26.380
And Josh is known for being one of those kind of players
00:13:23.720 --> 00:13:24.560
Yeah.
00:13:24.560 --> 00:13:35.280
Well, I mean, he's a perfect example
00:13:26.080 --> 00:13:28.140
you
00:13:26.380 --> 00:13:28.620
as well who can play ridiculous fills,
00:13:28.140 --> 00:13:30.140
aw
00:13:28.620 --> 00:13:31.880
but he just hit a single tom and it was done.
00:13:30.140 --> 00:13:32.200
you
00:13:31.880 --> 00:13:41.880
[BLANK_AUDIO]
00:13:32.200 --> 00:14:01.200
>> Yeah.
00:13:35.280 --> 00:13:40.040
and probably his main mentor, Vinny Kalyuta,
00:13:40.040 --> 00:13:43.840
they are guys that are gonna play
00:13:41.880 --> 00:13:59.680
Sure.
00:13:43.840 --> 00:13:46.080
what is correct for the song.
00:13:46.080 --> 00:13:48.520
You have to be willing to play for the song.
00:13:48.520 --> 00:13:53.360
You have to be willing to listen to what the song needs
00:13:53.360 --> 00:13:55.160
and then execute that.
00:13:55.160 --> 00:13:59.180
And that's a perfect example of Josh being Josh basically.
00:13:59.180 --> 00:14:01.200
Yeah.
00:13:59.680 --> 00:14:09.680
[BLANK_AUDIO]
00:14:01.200 --> 00:14:02.200
Yeah.
00:14:01.200 --> 00:14:03.120
And Vinny could have come in
00:14:02.200 --> 00:14:23.200
>> All right. Yeah.
00:14:03.120 --> 00:14:05.040
and done something completely different
00:14:05.040 --> 00:14:07.680
and it would have been just as appropriate
00:14:07.680 --> 00:14:10.460
because in both instances,
00:14:10.460 --> 00:14:13.080
they're not trying to do the Dig Me Fill.
00:14:13.080 --> 00:14:14.040
They're trying to be like,
00:14:14.040 --> 00:14:17.800
what punctuation mark, i.e. this fill,
00:14:17.800 --> 00:14:19.480
what punctuation mark is gonna get us
00:14:19.480 --> 00:14:21.040
to the next part of the song?
00:14:19.680 --> 00:14:21.680
Right.
00:14:21.680 --> 00:14:22.520
Right.
00:14:22.520 --> 00:14:24.520
(inaudible)
00:14:22.980 --> 00:14:24.080
what's the link?
00:14:23.200 --> 00:14:41.380
How often on that note, I was just thinking of something when you're mentioning that.
00:14:24.080 --> 00:14:26.300
And it could either be a vroom
00:14:24.520 --> 00:14:31.520
[ Pause ]
00:14:26.300 --> 00:14:27.820
or it could be a dugget of vroom
00:14:27.820 --> 00:14:29.900
or whatever the hell it happens to be.
00:14:29.900 --> 00:14:33.320
But you have to be willing to listen to that
00:14:31.520 --> 00:14:37.520
[ Pause ]
00:14:33.320 --> 00:14:34.660
and then make that happen.
00:14:34.660 --> 00:14:36.360
So, yeah.
00:14:36.360 --> 00:15:02.880
[ Pause ]
00:14:37.520 --> 00:15:04.520
[ Pause ]
00:14:41.380 --> 00:14:48.120
How often when you go into track for a song, have you heard either a demo for it or do
00:14:48.120 --> 00:14:51.920
you have the vocal line the way it's going to be or a demo
00:14:51.920 --> 00:14:57.200
vocal there and how often do you sort of adjust your fills or your
00:14:57.200 --> 00:15:02.040
parts depending on a vocal line that you might be cautious to
00:15:02.040 --> 00:15:02.960
step over.
00:15:02.960 --> 00:15:22.240
Mm hmm. We want this kind of vibe type of thing and
00:15:03.380 --> 00:15:10.820
If it's a library kind of track, I very rarely have ever heard the song beforehand.
00:15:04.520 --> 00:15:22.520
[ Pause ]
00:15:10.820 --> 00:15:17.780
And there are times where they'll just kind of play certain reference songs for me and they
00:15:17.780 --> 00:15:23.860
won't even have anything. They'll just be like, we want this kind of vibe and it needs to be
00:15:22.520 --> 00:15:50.520
[ Pause ]
00:15:23.160 --> 00:15:25.720
fumbling
00:15:23.860 --> 00:15:32.180
16 bars for the verse, eight bars for the chorus, repeat that, do something different for a bridge
00:15:25.720 --> 00:15:48.200
right?
00:15:32.180 --> 00:15:40.980
section, drop off for the first half of the last chorus, pick it back up, second end chorus,
00:15:40.980 --> 00:15:49.540
go a little bit crazier, end on the end of 2 bar 17 of that second chorus. Okay, and just
00:15:48.200 --> 00:16:17.640
right. Yeah. Okay. That's really interesting. And I'm going to say, I think I'm going to
00:15:49.540 --> 00:15:55.060
chart it all out, and okay, and then bang, and then they'll write the track around it.
00:15:50.520 --> 00:15:52.520
Noted it. Yep.
00:15:52.520 --> 00:16:18.520
Uh-huh
00:15:55.860 --> 00:16:03.700
If it is a more traditional singer-songwriter kind of session, maybe I'll have a rough demo,
00:16:03.700 --> 00:16:09.940
like a little iPhone recording, and in those instances I'll always ask for the lyric sheet,
00:16:09.940 --> 00:16:17.380
because I need to understand emotionally what's going on within the song. I'm not going to
00:16:17.380 --> 00:16:23.300
necessarily get, I'm not going to get that from a chord chart. I am going to get that from the
00:16:17.640 --> 00:16:19.240
interesting. That's awesome.
00:16:18.520 --> 00:16:40.520
[ Pause ]
00:16:19.240 --> 00:16:22.240
[LAUGHS]
00:16:22.240 --> 00:16:24.240
[AUDIO OUT]
00:16:23.300 --> 00:16:26.620
the lyrics. So if I have a conversation with a songwriter,
00:16:24.240 --> 00:16:27.240
[AUDIO OUT]
00:16:26.620 --> 00:16:29.740
I'm like, who are some of your influences? You know, what were
00:16:27.240 --> 00:16:41.960
and a
00:16:29.740 --> 00:16:33.380
you going for in this song, then I can, I can attempt to put
00:16:33.380 --> 00:16:38.960
myself in the emotional headspace that the song requires,
00:16:38.960 --> 00:16:40.860
and then that informs my drum part.
00:16:40.520 --> 00:16:43.300
When do you think you started asking those questions?
00:16:40.860 --> 00:16:50.860
[BLANK_AUDIO]
00:16:41.960 --> 00:16:44.020
you
00:16:43.300 --> 00:16:44.720
Because that is very interesting.
00:16:44.520 --> 00:16:46.580
you
00:16:44.720 --> 00:16:47.960
And I don't recall you and I in our recording sessions
00:16:46.760 --> 00:16:48.540
you
00:16:47.960 --> 00:16:51.760
that we did really coming across on those kind of questions.
00:16:48.540 --> 00:16:50.600
you
00:16:50.600 --> 00:16:52.660
you
00:16:50.860 --> 00:17:00.060
I mean, it wouldn't have been too long after we worked together in that studio
00:16:51.760 --> 00:16:54.160
So I'm just kind of curious when you pick that up.
00:16:52.660 --> 00:16:54.720
you
00:16:54.160 --> 00:17:12.520
Sure.
00:16:54.720 --> 00:16:56.780
you
00:16:57.180 --> 00:16:59.240
you
00:16:59.240 --> 00:17:01.300
you
00:17:00.060 --> 00:17:05.300
kind of environment because what I found happening was I started getting
00:17:01.300 --> 00:17:03.360
you
00:17:04.080 --> 00:17:06.140
you
00:17:05.300 --> 00:17:09.780
calls from a lot of different female singer songwriters.
00:17:06.480 --> 00:17:17.240
(
00:17:09.780 --> 00:17:12.220
I mean, I think partially it was the time,
00:17:12.220 --> 00:17:16.720
but I also think partially it was because upon meeting me,
00:17:12.520 --> 00:17:19.520
Sure.
00:17:16.720 --> 00:17:19.500
you know, at Gingis Cohen or the Mint or whatever,
00:17:17.240 --> 00:17:19.020
om
00:17:19.020 --> 00:17:21.080
you
00:17:19.500 --> 00:17:23.540
they're like, I don't feel threatened by this person.
00:17:19.520 --> 00:17:26.520
Sure.
00:17:21.080 --> 00:17:23.140
you
00:17:23.140 --> 00:17:25.200
you
00:17:23.540 --> 00:17:25.700
I.e. this is a person that I would potentially
00:17:25.200 --> 00:17:27.260
you
00:17:25.700 --> 00:17:26.900
be willing to work with.
00:17:26.520 --> 00:17:44.520
[Silence]
00:17:26.900 --> 00:17:28.920
I'm gonna sit down with him, talk to him,
00:17:27.260 --> 00:17:29.320
you
00:17:28.920 --> 00:17:30.100
and find out what's going on.
00:17:29.320 --> 00:17:31.380
you
00:17:30.100 --> 00:17:34.460
And then I started developing kind of a list of questions
00:17:31.380 --> 00:17:33.440
you
00:17:33.440 --> 00:17:35.500
you
00:17:34.460 --> 00:17:36.260
that I would ask people.
00:17:35.500 --> 00:17:37.560
you
00:17:36.260 --> 00:17:38.500
Who are some of your influences?
00:17:37.560 --> 00:17:39.620
you
00:17:38.500 --> 00:17:40.600
What have you been listening to lately?
00:17:39.620 --> 00:17:41.680
you
00:17:40.600 --> 00:17:41.900
Just for fun.
00:17:41.680 --> 00:17:43.740
you
00:17:41.900 --> 00:17:46.900
From there, I was able to start to kind of understand
00:17:43.740 --> 00:17:45.820
you
00:17:44.520 --> 00:18:12.520
[ Pause ]
00:17:45.820 --> 00:17:47.900
you
00:17:46.900 --> 00:17:51.500
just how different people related to what they were writing
00:17:47.900 --> 00:18:16.900
>> Thank you.
00:17:51.500 --> 00:17:52.820
and how they related to me
00:17:52.820 --> 00:17:55.380
and how they related to the studio environment
00:17:55.380 --> 00:17:57.940
because it's a very, very daunting thing.
00:17:57.940 --> 00:18:00.980
If you're a songwriter who is stepping foot in a studio
00:18:00.980 --> 00:18:02.620
for the first time,
00:18:02.620 --> 00:18:04.620
you got a lot of things swirling in your head.
00:18:04.620 --> 00:18:07.580
I don't wanna add to that swirling vortex.
00:18:07.580 --> 00:18:10.360
So how can I be as much as I can be?
00:18:10.360 --> 00:18:13.120
How can I be a centering influence for you?
00:18:12.520 --> 00:18:13.520
[ Pause ]
00:18:13.120 --> 00:18:15.440
They're like, okay, I know my drummer is gonna be fine
00:18:13.520 --> 00:18:14.520
[ Silence ]
00:18:14.520 --> 00:18:15.520
[ Laughter ]
00:18:15.440 --> 00:18:16.780
'cause we already talked.
00:18:15.520 --> 00:18:17.520
>> Right.
00:18:16.780 --> 00:18:20.480
So I don't need to worry about them.
00:18:16.900 --> 00:18:17.740
Yeah.
00:18:17.520 --> 00:18:18.520
[ Pause ]
00:18:17.740 --> 00:18:18.740
Yeah.
00:18:18.520 --> 00:18:28.760
>> Mm hmm.
00:18:18.740 --> 00:18:19.740
Yeah.
00:18:19.740 --> 00:18:20.740
Yeah.
00:18:20.480 --> 00:18:23.660
So all I need to worry about is this, this, this, and this.
00:18:20.900 --> 00:18:22.100
Yeah.
00:18:22.100 --> 00:18:24.160
you
00:18:23.660 --> 00:18:25.280
So it's that kind of thing.
00:18:24.160 --> 00:18:26.220
you
00:18:25.280 --> 00:18:28.500
And it's not exclusive, those questions aren't exclusive
00:18:27.200 --> 00:18:29.300
you
00:18:28.500 --> 00:18:31.980
to just working with female songwriters.
00:18:28.760 --> 00:18:33.140
[ Silence ]
00:18:29.980 --> 00:18:32.040
you
00:18:31.980 --> 00:18:34.420
I ask it of anybody that I work with now
00:18:32.040 --> 00:18:34.720
you
00:18:33.140 --> 00:18:52.660
Sure. Right.
00:18:34.920 --> 00:18:36.920
you
00:18:35.320 --> 00:18:39.100
that just allows me to get into the headspace
00:18:37.620 --> 00:18:39.680
you
00:18:39.100 --> 00:18:42.220
of whoever it is that I'm working with.
00:18:40.300 --> 00:18:42.360
you
00:18:42.220 --> 00:18:44.060
Not in a psychoanalysis way,
00:18:42.360 --> 00:18:44.420
you
00:18:44.060 --> 00:18:47.940
but just what do I need to do to emotionally fit
00:18:44.440 --> 00:18:46.480
you
00:18:46.480 --> 00:18:48.540
you
00:18:47.940 --> 00:18:50.760
that particular song or the cycle of songs
00:18:48.540 --> 00:18:50.600
you
00:18:50.760 --> 00:18:51.940
that we're recording?
00:18:51.600 --> 00:18:53.660
you
00:18:51.940 --> 00:19:08.940
[ Pause ]
00:18:52.660 --> 00:18:53.940
That makes good sense.
00:18:53.660 --> 00:18:55.720
you
00:18:53.940 --> 00:18:55.340
And I think probably too,
00:18:55.340 --> 00:18:57.420
it was as I've been told,
00:18:56.000 --> 00:18:58.060
you
00:18:57.420 --> 00:19:00.160
some of the stuff when I had other people recording it at
00:18:58.100 --> 00:19:00.160
you
00:19:00.160 --> 00:19:02.420
the time was technically easier
00:19:01.160 --> 00:19:03.220
you
00:19:02.420 --> 00:19:06.340
because I already had a roadmap oftentimes.
00:19:03.360 --> 00:19:05.420
you
00:19:05.420 --> 00:19:07.480
you
00:19:06.340 --> 00:19:08.900
So it probably made it easier in that regard.
00:19:07.480 --> 00:19:09.540
you
00:19:08.900 --> 00:19:18.300
Right.
00:19:08.940 --> 00:19:14.100
Well, you were also much more able to communicate what it is
00:19:09.540 --> 00:19:38.980
[ Silence ]
00:19:14.100 --> 00:19:16.740
that you were looking for as well because you had more
00:19:16.740 --> 00:19:24.060
of the vision of what it was that you wanted out of the psalm. Not everybody
00:19:18.300 --> 00:19:37.500
Develop the report, ask the questions.
00:19:24.060 --> 00:19:30.540
necessarily has that same understanding of what they want specifically. So as a
00:19:30.540 --> 00:19:40.740
result it takes a little bit of time to... yeah, yeah, exactly.
00:19:37.500 --> 00:19:40.820
Gotcha.
00:19:39.480 --> 00:20:03.480
On the note there with performance and things, and you mentioned Jody having a fairly well-defined view of what he heard for his song, how often, if at all, would you rather go in with your mindset and somewhat of a clean slate when it comes to parts, as opposed to perhaps,
00:19:40.740 --> 00:20:03.720
[ Pause ]
00:19:40.820 --> 00:19:45.820
Good to know.
00:19:45.820 --> 00:19:51.820
[ Pause ]
00:19:51.820 --> 00:19:57.820
[ Pause ]
00:19:57.820 --> 00:20:23.820
[Silence]
00:20:03.480 --> 00:20:08.160
perhaps. Yeah, I have an idea. I want you to go with just a ride
00:20:03.720 --> 00:20:32.720
[ Silence ]
00:20:08.160 --> 00:20:10.880
symbol on this section. I don't want there and then I want like
00:20:10.880 --> 00:20:14.880
a crash ride thing going on or would you prefer to go in? Yeah,
00:20:14.880 --> 00:20:18.400
I kind of know what the gist of the song is, but I kind of want
00:20:18.400 --> 00:20:22.480
to see what a drummer would do here as opposed to let's say my
00:20:22.480 --> 00:20:25.520
case, a guitar player who's programmed apart that I think
00:20:23.820 --> 00:20:26.820
[LAUGHTER]
00:20:25.520 --> 00:20:29.120
sounds cool because you're obviously coming from a much
00:20:27.160 --> 00:20:30.160
[ Sigh ]
00:20:29.120 --> 00:20:32.720
different vocabulary. Is that something that you come across
00:20:30.160 --> 00:20:36.160
[ Pause ]
00:20:32.720 --> 00:20:38.320
all or do you not even think in those terms where it's just like, "Eh, he knows what they want,
00:20:32.720 --> 00:20:42.720
[BLANK_AUDIO]
00:20:36.160 --> 00:21:05.160
[ Pause ]
00:20:38.320 --> 00:20:42.720
I'm gonna give him that," or do you feel like you could better serve the song,
00:20:42.720 --> 00:20:48.640
given their information that you're given, but bring it up or kicking up another couple of notches?
00:20:42.720 --> 00:20:52.240
It really depends on the situation.
00:20:49.440 --> 00:20:53.640
P
00:20:52.240 --> 00:20:57.520
I think that there are times where I think I'm becoming better at being able
00:20:53.640 --> 00:21:00.680
.
00:20:57.520 --> 00:21:05.680
to determine whether or not things are going to stay the way that they were either in a
00:21:00.680 --> 00:21:02.680
You
00:21:02.680 --> 00:21:03.680
Mm.
00:21:03.680 --> 00:21:04.680
Mm.
00:21:05.160 --> 00:21:07.380
(
00:21:05.160 --> 00:21:29.160
[ Pause ]
00:21:05.680 --> 00:21:11.440
pre-production rehearsal or based on the conversation that we had beforehand.
00:21:08.380 --> 00:21:11.740
No audio)
00:21:11.440 --> 00:21:16.960
But there are a lot of times where we'll get in and they'll just start wanting to make
00:21:12.120 --> 00:21:14.480
No audio)
00:21:14.480 --> 00:21:20.480
Mm.
00:21:16.960 --> 00:21:17.960
a million different changes.
00:21:17.960 --> 00:21:20.400
You know, "Oh, you know, this really isn't working now."
00:21:20.400 --> 00:21:24.560
And sometimes that's legitimate.
00:21:20.480 --> 00:21:22.480
Mm.
00:21:22.480 --> 00:21:47.480
Oh.
00:21:24.560 --> 00:21:26.720
And then there are other times where that's just somebody,
00:21:26.720 --> 00:21:28.520
you know, pouncing about really,
00:21:28.520 --> 00:21:33.520
and wanting to, buying into the hype, basically.
00:21:29.160 --> 00:21:31.160
Pawnsing.
00:21:31.160 --> 00:21:33.240
(laughs)
00:21:33.240 --> 00:21:35.320
(laughs)
00:21:33.520 --> 00:21:35.840
It's like, I'm in a big studio now,
00:21:35.320 --> 00:21:37.580
(chuckles)
00:21:35.840 --> 00:21:38.360
and so I'm gonna do this, and I'm gonna do this,
00:21:37.580 --> 00:21:39.840
(chuckles)
00:21:38.360 --> 00:21:39.200
and I'm gonna do this.
00:21:39.200 --> 00:21:40.320
I was like, well, that's not what we talked about,
00:21:39.840 --> 00:21:42.080
(chuckles)
00:21:40.320 --> 00:21:42.960
but, you know, I'm not gonna pick that fight at that point.
00:21:42.080 --> 00:21:45.080
[LAUGHTER]
00:21:42.960 --> 00:21:45.680
I was like, okay, all right, let's give that a shot.
00:21:45.080 --> 00:21:47.160
(laughs)
00:21:45.680 --> 00:21:50.480
And, you know, inevitably, it's gonna go one or two ways.
00:21:47.160 --> 00:22:17.140
[ Pause ]
00:21:47.480 --> 00:22:11.480
[no audio]
00:21:50.480 --> 00:21:52.120
I'm either gonna be like, oh, okay, fair play.
00:21:52.120 --> 00:21:53.600
That was actually a cool idea.
00:21:53.600 --> 00:21:57.420
Or, "Mm, yeah, that really didn't work out all that well,
00:21:57.420 --> 00:21:58.260
did it?
00:21:58.260 --> 00:22:01.000
So let's go back to plan A,
00:22:01.000 --> 00:22:03.160
and let's at least get that down."
00:22:03.160 --> 00:22:05.860
That's usually the way I'll think.
00:22:05.860 --> 00:22:07.760
Let's table this.
00:22:07.760 --> 00:22:09.920
Let's get the original idea down first,
00:22:09.920 --> 00:22:11.820
because that's what we had discussed.
00:22:11.480 --> 00:22:12.320
Yeah.
00:22:11.820 --> 00:22:13.320
And then let's play around a little bit.
00:22:12.320 --> 00:22:26.980
Right.
00:22:13.320 --> 00:22:16.440
Let's utilize our time as wisely as we can.
00:22:16.440 --> 00:22:18.680
So let's get the sure thing that we were talking about,
00:22:17.140 --> 00:22:32.460
Sage advice right there.
00:22:18.680 --> 00:22:20.520
and then let's mess around,
00:22:20.520 --> 00:22:22.320
and see if we can come up with something
00:22:22.320 --> 00:22:26.200
that's different, not necessarily better, but different.
00:22:26.200 --> 00:22:28.160
That's kind of fitting where your head is at.
00:22:26.980 --> 00:22:31.200
Yeah.
00:22:28.160 --> 00:22:32.720
And then you can use either one or use both, whatever.
00:22:31.200 --> 00:22:33.840
Absolute.
00:22:32.460 --> 00:22:34.300
Sage, sage advice.
00:22:33.360 --> 00:22:35.920
Thank you.
00:22:34.300 --> 00:22:37.900
We're going to interrupt this for just a moment to get a word from our sponsors.
00:22:35.920 --> 00:22:59.840
>> K inhale, exhale.
00:22:37.900 --> 00:22:39.420
All right.
00:22:39.420 --> 00:22:42.420
We're back.
00:22:39.720 --> 00:22:44.600
I have one more technique question type of thing that I would like to ask Jody.
00:22:42.420 --> 00:22:46.620
Go ahead.
00:22:44.600 --> 00:22:49.600
I'm not sure if there's too much more, but when we're talking about recording,
00:22:46.620 --> 00:22:48.780
(silence)
00:22:48.780 --> 00:23:16.780
[ Pause ]
00:22:49.600 --> 00:22:55.280
there's a technique I hear a little bit about and it's something that you and
00:22:55.280 --> 00:23:01.520
Jody did kind of sorta back when you're using your V-drum kit and that would be
00:22:59.840 --> 00:23:00.840
Yeah.
00:23:00.840 --> 00:23:24.840
Oh, you know, I've actually, I've, I've done even one better.
00:23:01.520 --> 00:23:09.260
the idea of recording the drums in two different passes where on pass one you
00:23:09.260 --> 00:23:12.260
you record nothing but the shells.
00:23:12.260 --> 00:23:16.660
And then in the second pass, nothing but the symbols, right?
00:23:16.660 --> 00:23:19.420
So you're essentially overheads and all this kind of stuff.
00:23:16.780 --> 00:23:39.780
[silence]
00:23:19.420 --> 00:23:21.540
Is that something that you have done?
00:23:21.540 --> 00:23:24.140
And if so, pros and cons,
00:23:24.140 --> 00:23:26.420
and if you have any feelings about that technique
00:23:24.840 --> 00:23:30.960
Oh, you know, I've actually, I've done even one better as well.
00:23:26.420 --> 00:23:27.260
of doing it.
00:23:30.960 --> 00:23:35.000
So there's a third way of doing it, which is recording each individual piece of the
00:23:35.000 --> 00:23:39.120
drum kit completely separate.
00:23:37.700 --> 00:23:38.980
Oh, Jesus Christ.
00:23:38.980 --> 00:23:45.220
Why not just use a sample library at that point?
00:23:39.120 --> 00:23:41.960
Yeah.
00:23:39.780 --> 00:23:42.780
One drum at a time.
00:23:41.960 --> 00:23:44.440
Yeah.
00:23:42.780 --> 00:24:03.840
[laughs]
00:23:44.440 --> 00:23:52.200
Well, what's interesting about that is, and I asked that same question.
00:23:45.220 --> 00:24:01.500
Oh, okay.
00:23:52.200 --> 00:23:57.920
And so in a situation where I'm having, like, it was, this was forever ago and the person
00:23:57.920 --> 00:24:03.360
only had like one mic pre and it was, you know, kind of, so I was like, okay.
00:24:01.500 --> 00:24:06.100
Yeah.
00:24:03.360 --> 00:24:06.720
So then, yeah, yeah.
00:24:03.840 --> 00:24:15.820
Very limitation!
00:24:06.100 --> 00:24:06.580
Right.
00:24:06.580 --> 00:24:10.640
Does that share her on theGrid?
00:24:06.720 --> 00:24:12.120
But that gear limitation actually provided for a really interesting result because what
00:24:10.640 --> 00:24:13.020
Oh, yeah.
00:24:12.120 --> 00:24:18.480
I would do is I would air drum the other, the hi-hat and the snare drum or whatever,
00:24:13.020 --> 00:24:15.000
Yeah.
00:24:15.000 --> 00:24:17.180
Good last time for this.
00:24:15.820 --> 00:24:39.280
Mmhmm
00:24:17.180 --> 00:24:18.940
There's one right next to that.
00:24:18.480 --> 00:24:21.040
and then just play the kick drum pattern.
00:24:18.940 --> 00:24:27.860
But this was being on thelynn Islamabad tour right?
00:24:21.040 --> 00:24:26.760
So I have that movement in my body like I'm playing the whole kit, even though I don't
00:24:26.760 --> 00:24:29.480
have the actual sound.
00:24:27.860 --> 00:24:29.580
Yeah, yeah.
00:24:29.480 --> 00:24:33.640
So when you put it all together, it still sounds like me.
00:24:29.580 --> 00:24:31.580
It's been having a lot of trouble all the time.
00:24:31.580 --> 00:24:35.900
But gay expression of deserts in language awaits being
00:24:33.640 --> 00:24:36.040
It still feels like me.
00:24:35.900 --> 00:24:36.400
Right.
00:24:36.040 --> 00:24:40.000
But because of the limitation of the gear, we had to do it that way.
00:24:36.400 --> 00:24:42.420
But that's a creative--
00:24:39.280 --> 00:24:40.520
Great.
00:24:40.000 --> 00:24:41.440
That's one way of doing it.
00:24:40.500 --> 00:24:47.500
[Silence]
00:24:41.440 --> 00:24:42.440
I've done pl-
00:24:42.420 --> 00:24:43.820
there's one of those things that you
00:24:42.440 --> 00:24:49.440
Yeah, yeah.
00:24:43.820 --> 00:24:46.380
have the gear limitation force your hand
00:24:46.380 --> 00:24:48.980
to do it in a really creative way.
00:24:47.500 --> 00:25:12.500
[ Pause ]
00:24:48.980 --> 00:24:50.380
So that's interesting.
00:24:49.440 --> 00:24:57.440
Exactly.
00:24:50.380 --> 00:24:53.300
And obviously, the other of separating the kit pieces
00:24:53.300 --> 00:24:57.020
and the overheads would be for control.
00:24:57.020 --> 00:24:58.460
When it comes to the mixing stage,
00:24:57.440 --> 00:25:02.440
Yeah, exactly.
00:24:58.460 --> 00:25:00.340
you have less bleed to worry about,
00:25:00.340 --> 00:25:02.220
and you've got this and that type of thing.
00:25:02.220 --> 00:25:07.620
But you feel-- right.
00:25:02.440 --> 00:25:07.440
But even in that situation, like, I'm still playing along,
00:25:07.440 --> 00:25:12.320
air drumming and then bang and maybe I'll hit the bass drum as well to give a
00:25:07.620 --> 00:25:17.060
Oh, interesting.
00:25:12.320 --> 00:25:16.960
little extra umph when you know when I'm accenting those crashes or whatever but
00:25:12.500 --> 00:25:15.420
(muffled speaking)
00:25:15.420 --> 00:25:18.340
(muffled speaking)
00:25:16.960 --> 00:25:23.000
yeah I'm still so bang bang bang you know whatever and then so you've got a
00:25:17.060 --> 00:25:17.820
Yeah, let's get-- yeah.
00:25:17.820 --> 00:25:22.260
Right.
00:25:18.340 --> 00:25:47.340
[ Pause ]
00:25:22.260 --> 00:25:32.260
[BLANK_AUDIO]
00:25:23.000 --> 00:25:27.360
little extra umph that you can throw into the track when you're mixing it
00:25:27.360 --> 00:25:34.880
because you've essentially got you know another another kick going as well
00:25:32.260 --> 00:25:39.460
Okay, I just wanted to get your opinion on that because I think it's interesting, but
00:25:34.880 --> 00:25:39.040
(silence)
00:25:39.040 --> 00:25:43.200
(silence)
00:25:39.460 --> 00:25:44.820
I would imagine from a drummer perspective that that might take a little bit of
00:25:43.200 --> 00:25:47.360
(silence)
00:25:44.820 --> 00:25:47.300
getting used to for some drummers.
00:25:47.300 --> 00:25:49.380
Cuz it would have to feel a little bit weird, yeah.
00:25:47.340 --> 00:26:10.380
[ Background noise ]
00:25:47.360 --> 00:25:51.520
It does, yeah it does, but
00:25:49.380 --> 00:25:59.380
[BLANK_AUDIO]
00:25:51.520 --> 00:25:55.600
it's like, so let me get this straight.
00:25:55.600 --> 00:25:59.760
You're asking me to do something, I still get to play music, I still get to do this thing that I love.
00:25:59.380 --> 00:26:13.780
Yeah, I mean, yeah, yeah, yeah, excellent advice, man, yeah.
00:25:59.760 --> 00:26:03.920
You're asking me to work outside of my comfort zone.
00:26:03.920 --> 00:26:10.480
learn something. So am I really going to complain about this? No, let's just, let's, let's just
00:26:10.380 --> 00:26:15.180
[ Laughter ]
00:26:10.480 --> 00:26:16.160
frickin, let's just frickin get it, let's just frickin get it done. If I come out of it knowing
00:26:13.780 --> 00:26:15.220
Yeah, yeah.
00:26:15.180 --> 00:26:21.820
And to be fair, oh sorry, and to be fair, when Chris asked the question, we didn't
00:26:15.220 --> 00:26:25.220
[BLANK_AUDIO]
00:26:16.160 --> 00:26:19.360
that I don't, yeah, yeah.
00:26:19.360 --> 00:26:29.360
[BLANK_AUDIO]
00:26:21.820 --> 00:26:26.540
actually track the V-drums and then the cymbals. We actually tracked the cymbals and the V-drums
00:26:25.220 --> 00:26:32.020
Right, but that just triggered my memory there from the concept of doing that.
00:26:26.540 --> 00:26:30.460
at the same time. Sure.
00:26:29.360 --> 00:26:45.760
Pretty much.
00:26:30.460 --> 00:26:50.300
Oh, they left a lot to be desired.
00:26:32.020 --> 00:26:39.220
Cuz that was, if I remember correctly, and I may not, but it was the shells of the v-drum kit
00:26:39.220 --> 00:26:43.300
sounded really good for the time because you could have anything,
00:26:43.300 --> 00:26:47.460
trigger anything but the symbols left a little bit to be desired. So if you
00:26:47.460 --> 00:26:48.300
- Right.
00:26:47.560 --> 00:26:50.740
And still do, and still do to be quite honest.
00:26:48.300 --> 00:26:50.300
Right.
00:26:50.300 --> 00:26:51.140
Right.
00:26:50.300 --> 00:26:54.620
Right.
00:26:50.740 --> 00:26:54.780
I mean, again, you've got such huge sample times
00:26:51.140 --> 00:27:20.120
[ Silence ]
00:26:54.620 --> 00:26:56.620
Right.
00:26:54.780 --> 00:26:57.820
for most symbols that there's just no way
00:26:56.620 --> 00:26:58.620
I'm going to start with the
00:26:57.820 --> 00:27:02.420
that you're gonna be able to have an affordable,
00:26:58.620 --> 00:27:00.620
first one.
00:27:00.620 --> 00:27:02.620
I'm going to start with the
00:27:02.420 --> 00:27:06.380
quote unquote, affordable kit, electronic kit
00:27:02.620 --> 00:27:04.620
first one.
00:27:04.620 --> 00:27:05.620
I'm going to start with the
00:27:05.620 --> 00:27:07.620
first one.
00:27:06.380 --> 00:27:10.380
with the kinds of symbol samples
00:27:07.620 --> 00:27:08.620
I'm going to start with the
00:27:08.620 --> 00:27:10.620
first one.
00:27:10.380 --> 00:27:13.260
that are gonna give you that decay,
00:27:10.620 --> 00:27:11.620
I'm going to start with the
00:27:11.620 --> 00:27:13.620
first one.
00:27:13.260 --> 00:27:14.420
like the processing power.
00:27:13.620 --> 00:27:14.620
I'm going to start with the
00:27:14.420 --> 00:27:16.420
I mean, that's why people are walking around
00:27:14.620 --> 00:27:16.620
first one.
00:27:16.420 --> 00:27:22.020
laptop and using ToonTrack or whatever they happen to be using because at least there
00:27:16.620 --> 00:27:17.620
I'm going to start with the
00:27:17.620 --> 00:27:19.620
first one.
00:27:19.620 --> 00:27:20.620
I'm going to start with the
00:27:20.120 --> 00:27:27.120
Right, yeah.
00:27:20.620 --> 00:27:22.620
first one.
00:27:22.020 --> 00:27:27.780
they are massive sample libraries and you are able to trigger and you know you've got
00:27:22.620 --> 00:27:23.620
I'm going to start with the
00:27:23.620 --> 00:27:25.620
first one.
00:27:25.620 --> 00:27:46.260
Until MIDI 2.0 comes out, which should be soon.
00:27:27.120 --> 00:27:31.120
Yeah.
00:27:27.780 --> 00:27:37.780
you've only got 128 steps of dynamics you know well sure
00:27:31.120 --> 00:27:39.120
But what's your experience with besides Jodi back in the 1700s?
00:27:37.780 --> 00:28:06.340
I'm definitely playing lighter. I don't have to worry about extracting a sound out of the drum,
00:27:39.120 --> 00:27:47.320
experience with besides Jodi, back in the 1700s, are playing
00:27:46.260 --> 00:27:49.260
[LAUGHTER]
00:27:47.320 --> 00:27:51.080
an electronic kit, but using like you said, like superior
00:27:49.260 --> 00:27:55.260
[ Pause ]
00:27:51.080 --> 00:27:54.480
drummer or something like that as your sample source. How does
00:27:54.480 --> 00:27:58.680
that, if at all, change your feel for when you're playing?
00:27:55.260 --> 00:28:24.240
[ Pause ]
00:27:58.680 --> 00:28:01.240
Yeah.
00:28:01.240 --> 00:28:07.200
Right.
00:28:06.340 --> 00:28:11.920
because it's just an impulse. So I can play lighter, you know that helps with
00:28:07.200 --> 00:28:08.800
Yeah.
00:28:08.800 --> 00:28:10.680
Mm hmm.
00:28:10.680 --> 00:28:18.680
Right.
00:28:11.920 --> 00:28:16.400
the way that the samples are actually tracking, so there's no there's no double
00:28:16.400 --> 00:28:20.860
triggering or anything like that. I don't approach any of it too terribly
00:28:18.680 --> 00:28:26.720
Right.
00:28:20.860 --> 00:28:24.320
differently though beyond just playing a little bit lighter because I'm setting
00:28:24.240 --> 00:28:25.240
Sure.
00:28:24.320 --> 00:28:29.520
the kit up exactly as I would my acoustic kit. So it's the same physical
00:28:25.240 --> 00:28:26.240
Man, a steak.
00:28:26.240 --> 00:28:27.240
Yes.
00:28:26.840 --> 00:28:28.840
Right.
00:28:27.240 --> 00:28:28.240
No, I think we should.
00:28:28.240 --> 00:28:30.240
Well, actually, I do want to bring something up.
00:28:28.840 --> 00:28:45.720
Cool awesome Jody you got anything else?
00:28:29.520 --> 00:28:34.800
movement around the kit and everything is in the same relative position it's
00:28:30.240 --> 00:28:33.240
There was an instance where we played a gig.
00:28:33.240 --> 00:28:35.240
And I think we had a gig.
00:28:34.800 --> 00:28:38.240
It's just that the sizes of the targets are a little bit smaller, that's all.
00:28:35.240 --> 00:28:37.240
And I think we had a gig.
00:28:37.240 --> 00:28:39.240
And I think we had a gig.
00:28:38.240 --> 00:28:39.880
And I'm like, "Okay, I can do that."
00:28:39.240 --> 00:28:41.240
And I think we had a gig.
00:28:39.880 --> 00:28:42.000
So it's cool that way.
00:28:41.240 --> 00:28:43.240
And I think we had a gig.
00:28:42.000 --> 00:28:44.000
Thank you.
00:28:43.240 --> 00:28:45.240
And I think we had a gig.
00:28:44.000 --> 00:28:46.000
Thank you.
00:28:45.240 --> 00:28:47.240
And I think we had a gig.
00:28:46.000 --> 00:28:48.000
Thank you.
00:28:46.660 --> 00:28:48.160
Because,
00:28:47.240 --> 00:28:49.240
And I think we had a gig.
00:28:48.000 --> 00:28:50.000
Thank you.
00:28:48.160 --> 00:28:50.160
You
00:28:49.240 --> 00:28:51.240
And I think we had a gig.
00:28:50.000 --> 00:28:52.000
Thank you.
00:28:50.160 --> 00:28:52.160
You
00:28:51.240 --> 00:28:53.240
And I think we had a gig.
00:28:52.000 --> 00:28:54.060
you
00:28:52.160 --> 00:28:54.160
You
00:28:53.240 --> 00:29:03.480
gig, all three of us, at the gig in LA. And it happened to be a gig that I, as a guitar
00:28:54.060 --> 00:28:56.120
you
00:28:54.160 --> 00:28:59.880
Thank you.
00:28:56.120 --> 00:28:58.180
you
00:28:58.180 --> 00:29:27.180
I
00:28:59.880 --> 00:29:05.780
german attendants
00:29:03.480 --> 00:29:07.760
player, you as a guitar player, I don't remember him saying much about the drums on that gig,
00:29:05.780 --> 00:29:22.140
.
00:29:07.760 --> 00:29:12.240
but something very interesting happened with the sound man. And something actually also
00:29:12.240 --> 00:29:17.360
very interesting happened backstage. And the backstage thing was is that I ran into Eric
00:29:17.360 --> 00:29:22.720
Dover. And I don't know if many people out there know who Eric Dover was, but he's one
00:29:22.360 --> 00:29:49.580
Mike
00:29:22.720 --> 00:29:26.920
of my favorite guitar player singers in the world. He's just absolutely astounding. We
00:29:26.920 --> 00:29:35.800
got to chatting. Did you really? You play with him or just you were on the same stage?
00:29:27.180 --> 00:29:30.260
I just did a gig with him this past weekend.
00:29:30.260 --> 00:29:32.380
Oh yeah, we gig all the time actually.
00:29:32.380 --> 00:29:35.460
Yeah.
00:29:35.460 --> 00:29:37.860
Well, I know, I know, we play together, yeah.
00:29:35.800 --> 00:29:41.580
Oh, that's awesome. Because that's the that night was the night I met him for the first
00:29:37.860 --> 00:29:39.860
You
00:29:39.860 --> 00:30:01.540
Now he is good people
00:29:41.580 --> 00:29:48.240
time ever. And because of my fanaticism, so to speak about jellyfish and Imperial drag,
00:29:48.240 --> 00:29:53.880
He stuck around to watch our sound check and then came up to me afterwards and paid us
00:29:49.580 --> 00:29:58.420
,
00:29:53.880 --> 00:29:55.400
a huge compliment.
00:29:55.400 --> 00:30:00.120
So that was like really awesome to me.
00:29:58.420 --> 00:30:00.420
[LAUGHS]
00:30:00.120 --> 00:30:05.080
But oh, and he's an amazing musician to boot as well.
00:30:00.420 --> 00:30:26.180
Thank you.
00:30:01.540 --> 00:30:05.900
Yeah
00:30:05.080 --> 00:30:10.820
But the interesting thing about that and why I bring it up has everything to do with volume.
00:30:05.900 --> 00:30:33.900
[ Pause ]
00:30:10.820 --> 00:30:15.120
And we have talked a little bit about how hard you're hitting and other things.
00:30:15.120 --> 00:30:20.440
We were sound checking and the sound guy was scratching his head and he says to us, "I've
00:30:20.440 --> 00:30:25.420
never said this before, but both of you guitar players can turn up."
00:30:25.420 --> 00:30:31.240
And you, the other day as we were testing this out, mentioned that you have had people
00:30:26.180 --> 00:30:36.180
[BLANK_AUDIO]
00:30:31.240 --> 00:30:34.920
say, "Can you hit harder for a live thing?"
00:30:33.900 --> 00:30:34.740
Yeah.
00:30:34.740 --> 00:30:36.760
Yeah.
00:30:34.920 --> 00:30:41.120
And your response was, "Yeah."
00:30:36.180 --> 00:30:41.980
Yeah.
00:30:36.760 --> 00:30:37.600
Why?
00:30:37.600 --> 00:30:43.820
I mean, basically, it's like turn the gates down
00:30:41.120 --> 00:31:09.120
[ Pause ]
00:30:41.980 --> 00:30:51.980
[BLANK_AUDIO]
00:30:43.820 --> 00:30:46.060
and just let me play the way that I play.
00:30:46.060 --> 00:30:48.260
That is slightly egotistical,
00:30:48.260 --> 00:30:52.360
but I don't want to have to play louder
00:30:51.980 --> 00:30:55.600
No
00:30:52.360 --> 00:30:54.300
because then that's gonna change the way
00:30:54.300 --> 00:30:59.300
that the vocalist is relating to the stage
00:30:55.600 --> 00:31:01.100
fire
00:30:59.300 --> 00:31:02.620
and maybe they're gonna need to have their monitor turned up
00:31:01.100 --> 00:31:07.600
[BLANK_AUDIO]
00:31:02.620 --> 00:31:07.860
more as a result of the fact that you're asking me to play louder, that's going to affect
00:31:07.600 --> 00:31:17.600
[BLANK_AUDIO]
00:31:07.860 --> 00:31:12.740
the way that they are relating to the song, dealing with the song.
00:31:09.120 --> 00:31:10.120
Sure.
00:31:10.120 --> 00:31:35.120
This is a great way to look at it.
00:31:12.740 --> 00:31:18.780
Just turn the gates down and let me do my thing and let that person be comfortable because
00:31:17.600 --> 00:31:30.100
Very cool.
00:31:18.780 --> 00:31:24.860
ultimately it's their song, they're up front, I'm in the back, let them do their thing,
00:31:24.860 --> 00:31:28.340
let them get their point across and let me help them do that.
00:31:28.340 --> 00:31:54.380
(SCATTERING)
00:31:31.600 --> 00:31:39.600
We're going to wrap this up here and we have three questions that we tend to ask here as a standard kind of thing.
00:31:35.120 --> 00:31:45.120
[BLANK_AUDIO]
00:31:39.600 --> 00:31:45.360
So the first one, oh prepare, can we get a drum roll before we get going?
00:31:45.120 --> 00:32:00.400
[LAUGH]
00:31:45.360 --> 00:31:53.840
Alright, so the first question is what's your favorite piece of gear that you can't live without?
00:31:53.840 --> 00:31:58.960
And no, you can't pick two, we need one.
00:31:54.380 --> 00:31:55.800
Oh, oof.
00:31:55.800 --> 00:32:04.100
Okay, I have a 6 1/2 by 14 copper phonic
00:31:58.960 --> 00:32:19.960
Cool.
00:32:00.400 --> 00:32:22.400
[ Pause ]
00:32:04.100 --> 00:32:07.100
Ludwig snare drum.
00:32:07.100 --> 00:32:09.420
Basically, it looks like every other Ludwig snare drum,
00:32:09.420 --> 00:32:13.500
but it's a copper shell, and it's a raw copper shell,
00:32:13.500 --> 00:32:18.500
and there's nothing that that snare drum can't do.
00:32:18.500 --> 00:32:23.260
And I've got a bunch of beautiful black beauties
00:32:19.960 --> 00:32:35.960
Okay.
00:32:22.400 --> 00:32:24.560
(inhales)
00:32:23.260 --> 00:32:25.620
and bronze shell drums and all that stuff.
00:32:24.560 --> 00:32:37.180
This is gonna be a corny question,
00:32:25.620 --> 00:32:28.640
And I will bring them with me to sessions,
00:32:28.640 --> 00:32:31.160
but that copper phonic,
00:32:31.160 --> 00:32:33.600
that's the drum that always gets put up first.
00:32:33.600 --> 00:32:35.060
And usually it stays.
00:32:35.960 --> 00:32:58.520
Great.
00:32:37.180 --> 00:32:39.500
but based on the fact that you've said it's a copper thing,
00:32:39.500 --> 00:32:41.700
you've seen those advertisements for like,
00:32:41.700 --> 00:32:45.540
I wear copper wraps around my shoulders or my knees.
00:32:45.540 --> 00:32:50.000
Does it make you feel calm and less inflamed for playing that?
00:32:50.000 --> 00:33:08.820
Christopher, what is the biggest lesson that you have learned in your career?
00:32:51.980 --> 00:32:53.980
less less inflamed.
00:32:53.980 --> 00:32:58.620
Inflamed.
00:32:58.520 --> 00:33:21.440
Yeah.
00:32:58.620 --> 00:33:06.620
Oh goodness. Listen.
00:33:06.620 --> 00:33:15.100
Listen. Actually, that's great that you said that word, the act of listening. It's active listening,
00:33:08.820 --> 00:33:12.520
The act of listening.
00:33:12.520 --> 00:33:14.520
Mm-hmm.
00:33:14.520 --> 00:33:16.520
Mm-hmm.
00:33:15.100 --> 00:33:17.740
not passive listening, because
00:33:16.520 --> 00:33:17.520
[
00:33:17.520 --> 00:33:18.520
Sighs ]
00:33:18.300 --> 00:33:21.740
there's such a huge difference between hearing and listening.
00:33:18.520 --> 00:33:18.520
[
00:33:18.520 --> 00:33:19.520
Sighs ]
00:33:19.520 --> 00:33:19.520
[
00:33:19.520 --> 00:33:20.520
Sighs ]
00:33:20.520 --> 00:33:20.520
[
00:33:20.520 --> 00:33:21.520
Sighs ]
00:33:21.520 --> 00:33:21.520
[
00:33:21.520 --> 00:33:22.520
Sighs ]
00:33:21.720 --> 00:33:31.100
Want.
00:33:21.740 --> 00:33:23.460
I don't want to just hear music.
00:33:22.520 --> 00:33:22.520
[
00:33:22.520 --> 00:33:25.520
Sighs ]
00:33:23.460 --> 00:33:24.860
I want to listen to music.
00:33:24.860 --> 00:33:27.700
I don't want to just hear the conversation.
00:33:25.520 --> 00:33:26.520
[
00:33:26.520 --> 00:33:27.520
Sighs ]
00:33:27.520 --> 00:33:27.520
[
00:33:27.520 --> 00:33:28.520
Sighs ]
00:33:27.700 --> 00:33:29.900
I want to listen to the conversation.
00:33:28.520 --> 00:33:28.520
[
00:33:28.520 --> 00:33:29.520
Sighs ]
00:33:29.520 --> 00:33:29.520
[
00:33:29.520 --> 00:33:30.520
Sighs ]
00:33:29.900 --> 00:33:34.340
And that was a huge aha moment where I was like, you know what?
00:33:30.520 --> 00:33:30.520
[
00:33:30.520 --> 00:33:31.520
Sighs ]
00:33:31.100 --> 00:33:59.460
Very cool.
00:33:31.520 --> 00:33:31.520
[
00:33:31.520 --> 00:33:32.520
Sighs ]
00:33:32.520 --> 00:33:32.520
[
00:33:32.520 --> 00:33:33.520
Sighs ]
00:33:33.520 --> 00:33:34.520
[
00:33:34.340 --> 00:33:38.940
If I focus just ever so slightly differently,
00:33:34.520 --> 00:33:35.520
Sighs ]
00:33:35.520 --> 00:33:36.520
[
00:33:36.520 --> 00:33:38.520
Sighs ]
00:33:38.520 --> 00:33:39.520
[
00:33:38.940 --> 00:33:44.220
what I gain from that active listening process
00:33:39.520 --> 00:33:41.520
Sighs ]
00:33:41.520 --> 00:33:42.520
[
00:33:42.520 --> 00:33:44.520
Sighs ]
00:33:44.220 --> 00:33:48.420
is exponentially larger than it would be otherwise.
00:33:44.520 --> 00:33:45.520
[
00:33:45.520 --> 00:33:52.520
Okay.
00:33:48.420 --> 00:33:51.600
And it's helped me not only behind the drum kit,
00:33:51.600 --> 00:33:53.620
but certainly it's helped me in front of the drum kit
00:33:52.520 --> 00:33:59.520
Okay.
00:33:53.620 --> 00:33:55.400
in all of my relationships as well.
00:33:55.400 --> 00:33:57.500
So yeah, active listening, absolutely.
00:33:57.500 --> 00:34:14.500
[ Pause ]
00:33:59.460 --> 00:34:04.420
last one and I think you might have already answered this with that previous reply here,
00:33:59.520 --> 00:34:01.940
(whispering)
00:34:01.940 --> 00:34:04.280
(sniffling)
00:34:04.280 --> 00:34:06.620
(sniffling)
00:34:04.420 --> 00:34:09.780
but what's the piece of advice that you universally give to people that might
00:34:06.620 --> 00:34:10.780
(silence)
00:34:09.780 --> 00:34:13.780
ask you questions about your career or they strive to be in your position?
00:34:10.780 --> 00:34:14.960
(silence)
00:34:13.780 --> 00:34:18.020
Okay, so
00:34:14.500 --> 00:34:23.180
Say yes. Because if you say no to stuff, you're cutting out a host
00:34:14.960 --> 00:34:19.140
(silence)
00:34:18.020 --> 00:34:30.980
Thank you.
00:34:19.140 --> 00:34:23.320
(silence)
00:34:23.180 --> 00:34:24.720
of different potential opportunities.
00:34:23.320 --> 00:34:27.460
(silence)
00:34:24.720 --> 00:34:27.400
But if you say yes and you experience it,
00:34:27.400 --> 00:34:28.680
then you can make the decision
00:34:27.460 --> 00:34:31.620
(silence)
00:34:28.680 --> 00:34:30.680
of whether or not you want to do it again.
00:34:30.680 --> 00:34:33.000
But if you say no immediately,
00:34:30.980 --> 00:34:31.820
- Right.
00:34:31.620 --> 00:34:35.780
(silence)
00:34:31.820 --> 00:34:52.820
Right.
00:34:33.000 --> 00:34:35.680
or if you feel like you need to be in a corner office already
00:34:35.680 --> 00:34:38.800
as opposed to doing a coffee run or whatever,
00:34:35.820 --> 00:34:41.820
[ Pause ]
00:34:38.800 --> 00:34:41.560
just say yes to whatever opportunities
00:34:41.560 --> 00:34:44.760
seem potentially reasonable.
00:34:41.820 --> 00:35:08.820
[ Pause ]
00:34:44.760 --> 00:34:47.160
There's that equation that I always go by.
00:34:47.160 --> 00:34:49.560
It's like, you've got three variables,
00:34:49.560 --> 00:34:52.540
the hang, the music, and the money.
00:34:52.540 --> 00:34:55.540
And if any two of those variables are satisfied,
00:34:53.820 --> 00:34:55.820
You
00:34:55.540 --> 00:34:58.780
then it's pretty reasonable that you can say yes
00:34:56.820 --> 00:34:58.820
You
00:34:58.780 --> 00:35:00.040
to whatever it is.
00:34:58.820 --> 00:35:00.820
You
00:35:00.040 --> 00:35:03.420
If all three are satisfied, then you absolutely say yes
00:35:00.820 --> 00:35:02.820
You
00:35:02.820 --> 00:35:04.820
You
00:35:03.420 --> 00:35:06.180
and you hope that you can maintain the gig for a long time.
00:35:04.820 --> 00:35:06.820
You
00:35:06.180 --> 00:35:09.260
If only one variable is satisfied,
00:35:06.820 --> 00:35:35.820
[ Pause ]
00:35:08.820 --> 00:35:36.220
[silence]
00:35:09.260 --> 00:35:12.120
then really the onus is on you to make the decision.
00:35:12.120 --> 00:35:14.340
Do I wanna take a chance and do this?
00:35:14.340 --> 00:35:18.240
Or do I wanna just say no
00:35:18.240 --> 00:35:22.400
and be okay with not experiencing that?
00:35:22.400 --> 00:35:27.400
My advice is, you know, say yes when it seems reasonable and appropriate.
00:35:27.400 --> 00:35:33.520
And then you can make the decision if you want to say yes to that further down the line,
00:35:33.520 --> 00:35:34.980
if and when it comes up again.
00:35:34.980 --> 00:35:50.760
Oh, thanks so much for having me.
00:35:35.820 --> 00:35:36.820
Yeah.
00:35:36.220 --> 00:35:53.860
good bias right there.
00:35:36.820 --> 00:35:39.420
Excellent advice.
00:35:39.420 --> 00:35:41.420
We'll just have to thank Christopher coming on.
00:35:41.420 --> 00:35:43.420
This was really, really cool.
00:35:43.420 --> 00:35:46.420
There's a lot of great advice and there are a lot of great techniques.
00:35:46.420 --> 00:35:48.920
So thank you for doing this, Christopher.
00:35:48.920 --> 00:35:50.120
Really appreciate it.
00:35:50.120 --> 00:36:05.420
I discovered a sample library this week that I thought was really, really cool
00:35:50.760 --> 00:35:52.000
I really, really appreciate it.
00:35:52.000 --> 00:35:52.900
It was a lot of fun.
00:35:53.000 --> 00:35:53.500
Thank you.
00:35:53.860 --> 00:35:58.500
And now it's Friday finds Chris.
00:35:54.500 --> 00:35:55.500
Yes.
00:35:55.500 --> 00:36:20.500
[aaave sound]
00:35:58.500 --> 00:36:01.460
What have you got for us?
00:36:01.460 --> 00:36:27.060
Uh oh. Say that 10 times fast. [laughs]
00:36:05.420 --> 00:36:10.540
sounding. It's from a company called Hav Audio and I'm gonna say this in very
00:36:10.540 --> 00:36:21.020
pronounced Swedish because I can. It's called Nudiskkontrabos and yeah no but
00:36:20.500 --> 00:36:31.500
[aaave sound]
00:36:21.020 --> 00:36:27.940
what it is it's a essentially a stand-up bass a Nordic stand-up bass that has in
00:36:27.060 --> 00:36:52.060
[silence]
00:36:27.940 --> 00:36:34.220
this sample library has this very sort of dark sort of Scandinavian type of cold
00:36:32.500 --> 00:36:34.500
[aaave sound]
00:36:34.220 --> 00:36:40.220
sound to it like you might hear in a lot of the Scandinavian detective dramas or
00:36:35.500 --> 00:36:44.500
[aaave sound]
00:36:40.220 --> 00:36:46.140
anything like that. It was a very very cool sounding sample instrument that I
00:36:44.500 --> 00:37:08.480
[ Silence ]
00:36:46.140 --> 00:36:50.260
thought sounded really really cool and I'm definitely gonna give that a long
00:36:50.260 --> 00:36:57.820
hard look. So have audio Nudiskkontrabos. What about you Jody?
00:36:52.060 --> 00:37:01.660
I'm going to go with the fact that Apple just dropped a couple of song examples from
00:36:57.820 --> 00:37:05.420
[BLANK_AUDIO]
00:37:01.660 --> 00:37:06.220
Dua Lipa and Lady Gaga for GarageBand users.
00:37:05.420 --> 00:37:06.820
Hmm, cool.
00:37:06.220 --> 00:37:09.820
And that will allow you to dig into some of the sounds that they use to create some of
00:37:06.820 --> 00:37:14.820
[BLANK_AUDIO]
00:37:08.480 --> 00:37:37.460
[ Pause ]
00:37:09.820 --> 00:37:11.560
their hits.
00:37:11.560 --> 00:37:18.860
So if you want to explore as a budding producer or recording engineer or sound designer something
00:37:15.020 --> 00:37:24.820
[BLANK_AUDIO]
00:37:18.860 --> 00:37:25.100
that has already been a hit, you can take a look at what Apple has dropped in relation to some
00:37:24.820 --> 00:37:35.520
[BLANK_AUDIO]
00:37:25.100 --> 00:37:31.740
Dua Lipa and Lady Gaga songs. While we've got your attention, we'd like you to go to the website
00:37:31.740 --> 00:37:38.540
at insidetherecordingstudio.com and sign up for our email list. Doing so will get you weekly
00:37:35.520 --> 00:37:45.520
[BLANK_AUDIO]
00:37:37.460 --> 00:37:40.460
[no speech detected]
00:37:38.540 --> 00:37:43.900
reminders about shows as they come out and the Tuesday tips that happen every Tuesday.
00:37:40.460 --> 00:38:02.460
[Silence]
00:37:43.900 --> 00:37:49.420
In addition to that, when we're running a giveaway, you are automatically entered
00:37:45.520 --> 00:38:11.520
[ Pause ]
00:37:49.420 --> 00:37:56.860
to possibly win that giveaway. And we currently have two winners for this week's giveaway.
00:37:56.860 --> 00:38:11.420
We'd like to congratulate our July 2021 winners of the LMC+ SSL Compressor. They are…
00:38:02.460 --> 00:38:12.460
[Silence]
00:38:11.520 --> 00:38:13.520
Dennis Pavlov.
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[Silence]
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and David Fredrickson. Congratulations and thank you for being a loyal listener to the podcast.
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(silence)
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(silence)
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you
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(silence)
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In addition to that, if you send us an email at goldstar@insidetherecordingstudio.com
00:38:20.520 --> 00:38:22.580
you
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[ Silence ]
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[BLANK_AUDIO]
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with the word DRUMMER, you'll get something cool back in your inbox. If you have a topic of
00:38:33.000 --> 00:38:51.160
See you, Jody.
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suggestion for us to explain in a future episode, contact us on our contact page at the website and
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and we'll put it into consideration for a future episode.
00:38:45.140 --> 00:38:50.140
And with that, I'll say, see you next week, Chris.
00:38:50.140 --> 00:38:50.980
Yes.
00:38:50.580 --> 00:38:54.980
Thanks you guys again, I appreciate it greatly.
00:38:50.980 --> 00:39:18.080
Please read and subscribe for more amazing content from the
00:38:51.160 --> 00:38:52.360
Thank you, Christopher.