WEBVTT
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Alright, we're gonna dive into some Opath.
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Here's Hopelie off the Damnation album.
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And yeah, Stephen Wilson produced it, Stephen Wilson from Borg Pine Tree.
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And I just read that Mikhail Ackerfeld, the From Man of OPED, his grandmother died during the recording of Deliverance and Damnation.
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So he dedicated both of these albums to her.
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And I bring that up because there's so much added in this song.
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And it's called Hope Leaves, right?
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Um let's get into it.
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And there's a lot to say about it.
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I mean, there's pretty much like three intersections and they're all just so beautiful, and that's like why I chose to break this one down.
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So it's on capo two, right?
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So I'm just gonna label everything like E minor, A minor.
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The song is in A minor.
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It's actually in B minor because of Kot 2, but I'm just gonna call it A minor to keep things simple.
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And the riff, the sound of it, look.
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No, it kind of has like a radio-y kind of effect to it.
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And I'm getting this sound, which is similar to the original, by a little bit of reaver, but I'm doing a high pass and a low pass filter.
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So the high pass kills the lows so that the high frequencies pass up, right?
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And then a low pass kills the highs so that the low frequencies shine more.
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So I'm doing both of them, and then when you do both of them, it kind of if you really accentuate it, it sounds like a telephone kind of effect.
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So I'm like moderately accentuating it, nothing too crazy.
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Killing lows, killing highs, letting the mids cut through.
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And that's how you get that kind of radio effect.
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I also have a sansamp plug-in, which is uh kind of like a little bit of saturation, a little bit of distortion.
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Such a gorgeous riff.
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This is uh section one, right?
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We'll call it section A or section one.
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Now, the way I'm playing it is 5x550.
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Okay.
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That's like the main pattern, and then the bass goes and then everything else repeats.
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And then what's going on if we were to just simplify it?
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Well, we're doing A minor, but it's like A minor seven.
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It's actually A minor nine because it has the which is the major ninth or the major second.
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The major ninth is just an octave up.
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Right?
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So it's like an A minor seven chord with the added nine, so it becomes A minor nine.
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And then so that that's very important.
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That's like the other chord here.
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It's essentially just A minor to F, which has the G as the gap.
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Like it like bridges the G kind of bridges both chords.
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So it's like A G E F G A F.
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So it's pretty much A minor to F, right?
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The G and the and that quick E are just acting as like a bridge.
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And anytime you go from A minor to the six, which is F, it just sounds like deep and dark.
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I talk about this chord all the time, and so many of my favorite songs, so many of your favorite songs have the six in it.
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It's a very I I always describe it as deep, dark, it's very emotional, right?
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Look how different it sounds if you just do A minor to G.
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It's very different than that's the sixth chord, okay, in the key of A minor, the sixth chord.
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F.
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Okay, now this song, section one really relies on this chord progression, and Mikhail's vocal melody corner beside a window.
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He's just outlining the key of A minor, um, but it's just so beautiful, right?
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And the corner beside my window hangs a lonely full ground.
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There is no reason I never notice memory that could hold me back.
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I watched here be here comes section B, okay.
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Section two.
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He does like this is Opeth right here, okay.
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Oh like that is Opeth, and that's what he does.
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Like, apparently I've heard comments in my Harvest video that Mikhail doesn't like know a lot about like formal music theory, like education.
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He's not formally educated on music theory, rather.
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And he just kind of explores things with with his fingers and his chords, right?
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And uh I could see that.
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I mean, look at this chord is insane.
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Like those chords are insane, but what you have to know is that in the key of A minor, he's playing F sharp, which is the major six.
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It doesn't belong in the key of A minor, but not only that, he makes it a crazy chord.
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It's like F sharp, right?
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Sus, suspended, with the flat five.
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The flat five is like kind of devilish, it has a tritone in it, right?
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Like look at that.
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And then we go down to F, which is the six, right?
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But he does a crazy chord.
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It's like F major seven with a flat five or a sharp eleven, they're like the same thing essentially.
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This is like the most opet section.
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Pretty much every OPET song has stuff like this, just like outlandish dissonant chords.
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But it's right after that beautiful A section, right?
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So one more time it's like memory that could hold me back.
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And then there is a wound that's always bleeding.
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There is a room that's always walking, and I know.
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Okay, so I love that he's saying there is a wound that's always bleeding, right?
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There is a road I'm always walking.
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It's like it's very tense in this moment.
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I mean like it's like falling down.
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It's like devilish raindrops, right?
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There is a wound that's always bleeding.
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Oh, it's just saying bleeding, it's just like falling down.
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There is a room I'm always walking.
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Okay, now we're gonna break out of this tension, right?
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Watch, it's so beautiful.
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And I know you'll never return to this place.
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This riff is insane.
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This song has always stuck with me in the Damn Nation album.
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I remember when I as I was listening to this album for the first time, I was like, yeah, this song really sticks out as being so beautiful.
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Like I love the mix, like the reverb on his voice, his vocal performance is like insane, right?
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It's so well delivered.
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And I love the tone of the electric guitar.
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And I love the bass too.
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Like, oh, we'll talk about that.
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But the way he gets out of this progression.
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Watch.
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Right?
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And then so now he doesn't do the F sharp anymore, he goes F G, which is like makes a lot of sense to the return to A.
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So just like the A section, the first section one, right?
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That's an A minor, and then section B, the that's like revolves around like a weird F sharp chord and then F.
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Now when we get out of it, we go F G A.
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And it's just like is outlining the key of A minor.
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In a very like clever, like just beautiful way.
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Like that's just one, two, three, four, five, seven.
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Like that's just the A minor scale right there.
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Right?
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And it this is the chorus, and it's lyricless, right?
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He just he just like fades into it.
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You'll never return to this place.
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Okay, now watch this.
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Right here.
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That only happens once that transition.
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He goes.
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Okay, so he's just doing the power chords F, G, and then right here.
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That's the flat second.
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He's outlining B flat.
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He's outlining B flat.
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It's like a Phrygian move.
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Phrygian is a minor mode often used in like flamenco music.
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It's I just love the timing.
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Oh.
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And then the Lee guitar joins in, it's like And then the bass joins watch.
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And as he does that, like he goes, Oh man.
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And then the drums.
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Oh, it's such like a vibe, it's such like a great groove, nice and clean groove.
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And this might be my favorite verse.
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I just love watching this.
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He goes, On for days without talking.
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There is a comfort and silence.
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Oh man.
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There is a comfort and silence.
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Oh.
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Like it's so sad.
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Man, this this was my favorite part growing up.
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So used to lose.
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Right here.
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Whole ambition.
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Like the way he says it, it sounds like he says haul, but he's he's saying so used to losing all ambition.
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But he's like, whole ambition.
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Beautiful words.
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It just like sounds really nice with the melody, and his voice and the mix, like the reverb on it is great.
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Struggling to maintain what's left.
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And then back to the troubling chord, super tense B section.
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There is a one that's always playing.
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There is a road I'm always walking.
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But I know you'll never return to this place.
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And he doesn't do the He doesn't do that, right?
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He goes.
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And then it falls into That's so nice.
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That's like open 225.
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And then we do like the flat five.
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Or the sharp 11, whatever you want to call it, like raise fourth or flatten fifth.
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Really?
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Like OPETH, right?
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Look at this.
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This is OPETH, just dissonance, beautiful dissonance, and then love that.
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I think he does that.
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He goes.
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That's like two, two on the D and G and then two open open.
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Starting on the A, and then that's the six chord, right?
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It like catches you.
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Up to the G.
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Like beautiful movement.
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Like we're late.
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So it's like we're like A.
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So we're like A leading to the F, the six, and then the seven chord.
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And here's the five chord, but like first inversion, like the third is on the bottom.
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Look at that.
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And beautiful.
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And I love this.
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I love.
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He lets all those notes ring.
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And I I think they like tur slowly turn like that amp feedback.
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It's kind of feedback.
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It's like ringing notes.
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It's so beautiful.
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It's like a thick condensed cloud.
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It's like.
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Oh, listen to that moment.
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Like the the the tom fill.
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The moment going into this final verse is beautiful.
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Once and done.
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I always thought he said once I'm done, but he says once undone.
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Once and done.
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There's only smoke burning in my eyes to blow to cover up.
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What really happened?
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Right here.
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Force the darkness unto me.
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Right here.
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There is a road that's always bleathing.
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There is a road I'm always walking.
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And I know you'll never return to this place.
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The gates are opening.
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So just to recap, there's essentially three sections.
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The first section is right.
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Pretty much A minor to F.
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Again, I'm on Cape O two, so it's actually B minor to G.
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But A minor to F, the minor one to the seven, and then the next section, we got this crazy F sharp chord.
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It's just the it's just F sharp O peth, is what it is.
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And then and then F G.
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But it's like an interesting chord, right?
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It's like with the add nine, suspended nine, I guess, suspended two.
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And then the C section, the third section is that like it's so beautiful it didn't need the vocals over it, right?
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Just please.
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Serene.
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Oh, it's so gorgeous.
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Hope you enjoyed that, guys.
00:14:59.519 --> 00:15:01.519
I'm always happy to break down some mo path.
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If you'd like some free ear training, check out my audio practice guide.
00:15:04.559 --> 00:15:07.360
That's at learn.dambericuda.comslash practice.
00:15:07.759 --> 00:15:17.600
And if you're interested in working with me on a production level to bring your songs to life and work with me to really craft out your sound, check out learn.dambaricuda.comslash own your sound.
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Really appreciate you tuning into Barracuda Breakdowns, and I'll see you in the next episode.
00:00:00.160 --> 00:00:02.000
Alright, we're gonna dive into some Opath.
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Here's Hopelie off the Damnation album.
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And yeah, Stephen Wilson produced it, Stephen Wilson from Borg Pine Tree.
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And I just read that Mikhail Ackerfeld, the From Man of OPED, his grandmother died during the recording of Deliverance and Damnation.
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So he dedicated both of these albums to her.
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And I bring that up because there's so much added in this song.
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And it's called Hope Leaves, right?
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Um let's get into it.
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And there's a lot to say about it.
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I mean, there's pretty much like three intersections and they're all just so beautiful, and that's like why I chose to break this one down.
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So it's on capo two, right?
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So I'm just gonna label everything like E minor, A minor.
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The song is in A minor.
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It's actually in B minor because of Kot 2, but I'm just gonna call it A minor to keep things simple.
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And the riff, the sound of it, look.
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No, it kind of has like a radio-y kind of effect to it.
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And I'm getting this sound, which is similar to the original, by a little bit of reaver, but I'm doing a high pass and a low pass filter.
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So the high pass kills the lows so that the high frequencies pass up, right?
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And then a low pass kills the highs so that the low frequencies shine more.
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So I'm doing both of them, and then when you do both of them, it kind of if you really accentuate it, it sounds like a telephone kind of effect.
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So I'm like moderately accentuating it, nothing too crazy.
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Killing lows, killing highs, letting the mids cut through.
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And that's how you get that kind of radio effect.
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I also have a sansamp plug-in, which is uh kind of like a little bit of saturation, a little bit of distortion.
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Such a gorgeous riff.
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This is uh section one, right?
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We'll call it section A or section one.
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Now, the way I'm playing it is 5x550.
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Okay.
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That's like the main pattern, and then the bass goes and then everything else repeats.
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And then what's going on if we were to just simplify it?
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Well, we're doing A minor, but it's like A minor seven.
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It's actually A minor nine because it has the which is the major ninth or the major second.
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The major ninth is just an octave up.
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Right?
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So it's like an A minor seven chord with the added nine, so it becomes A minor nine.
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And then so that that's very important.
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That's like the other chord here.
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It's essentially just A minor to F, which has the G as the gap.
00:02:47.919 --> 00:02:50.879
Like it like bridges the G kind of bridges both chords.
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So it's like A G E F G A F.
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So it's pretty much A minor to F, right?
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The G and the and that quick E are just acting as like a bridge.
00:03:07.520 --> 00:03:12.879
And anytime you go from A minor to the six, which is F, it just sounds like deep and dark.
00:03:12.960 --> 00:03:17.840
I talk about this chord all the time, and so many of my favorite songs, so many of your favorite songs have the six in it.
00:03:18.080 --> 00:03:22.800
It's a very I I always describe it as deep, dark, it's very emotional, right?
00:03:23.120 --> 00:03:25.759
Look how different it sounds if you just do A minor to G.
00:03:32.800 --> 00:03:40.879
It's very different than that's the sixth chord, okay, in the key of A minor, the sixth chord.
00:03:41.680 --> 00:03:42.000
F.
00:03:42.240 --> 00:03:52.800
Okay, now this song, section one really relies on this chord progression, and Mikhail's vocal melody corner beside a window.
00:03:56.960 --> 00:04:01.840
He's just outlining the key of A minor, um, but it's just so beautiful, right?
00:04:02.400 --> 00:04:14.080
And the corner beside my window hangs a lonely full ground.
00:04:16.160 --> 00:04:28.000
There is no reason I never notice memory that could hold me back.
00:04:28.639 --> 00:04:31.839
I watched here be here comes section B, okay.
00:04:32.000 --> 00:04:32.639
Section two.
00:04:33.040 --> 00:04:36.240
He does like this is Opeth right here, okay.
00:04:37.839 --> 00:04:44.959
Oh like that is Opeth, and that's what he does.
00:04:45.040 --> 00:04:52.560
Like, apparently I've heard comments in my Harvest video that Mikhail doesn't like know a lot about like formal music theory, like education.
00:04:52.639 --> 00:04:55.360
He's not formally educated on music theory, rather.
00:04:55.519 --> 00:04:59.040
And he just kind of explores things with with his fingers and his chords, right?
00:04:59.279 --> 00:05:00.720
And uh I could see that.
00:05:00.879 --> 00:05:02.800
I mean, look at this chord is insane.
00:05:04.720 --> 00:05:11.120
Like those chords are insane, but what you have to know is that in the key of A minor, he's playing F sharp, which is the major six.
00:05:11.360 --> 00:05:15.199
It doesn't belong in the key of A minor, but not only that, he makes it a crazy chord.
00:05:15.279 --> 00:05:16.879
It's like F sharp, right?
00:05:17.120 --> 00:05:21.120
Sus, suspended, with the flat five.
00:05:21.680 --> 00:05:26.079
The flat five is like kind of devilish, it has a tritone in it, right?
00:05:27.839 --> 00:05:29.279
Like look at that.
00:05:30.800 --> 00:05:33.519
And then we go down to F, which is the six, right?
00:05:33.600 --> 00:05:35.040
But he does a crazy chord.
00:05:36.480 --> 00:05:42.319
It's like F major seven with a flat five or a sharp eleven, they're like the same thing essentially.
00:05:48.000 --> 00:05:49.920
This is like the most opet section.
00:05:50.000 --> 00:05:56.000
Pretty much every OPET song has stuff like this, just like outlandish dissonant chords.
00:05:56.160 --> 00:05:58.399
But it's right after that beautiful A section, right?
00:05:58.480 --> 00:06:04.639
So one more time it's like memory that could hold me back.
00:06:05.600 --> 00:06:09.600
And then there is a wound that's always bleeding.
00:06:10.000 --> 00:06:14.639
There is a room that's always walking, and I know.
00:06:15.120 --> 00:06:18.560
Okay, so I love that he's saying there is a wound that's always bleeding, right?
00:06:18.639 --> 00:06:20.000
There is a road I'm always walking.
00:06:20.079 --> 00:06:21.920
It's like it's very tense in this moment.
00:06:22.079 --> 00:06:27.360
I mean like it's like falling down.
00:06:28.800 --> 00:06:31.199
It's like devilish raindrops, right?
00:06:31.360 --> 00:06:34.079
There is a wound that's always bleeding.
00:06:34.639 --> 00:06:38.800
Oh, it's just saying bleeding, it's just like falling down.
00:06:38.959 --> 00:06:42.160
There is a room I'm always walking.
00:06:42.399 --> 00:06:44.879
Okay, now we're gonna break out of this tension, right?
00:06:44.959 --> 00:06:46.399
Watch, it's so beautiful.
00:06:46.639 --> 00:06:50.480
And I know you'll never return to this place.
00:06:58.160 --> 00:07:00.079
This riff is insane.
00:07:00.319 --> 00:07:02.800
This song has always stuck with me in the Damn Nation album.
00:07:02.959 --> 00:07:08.319
I remember when I as I was listening to this album for the first time, I was like, yeah, this song really sticks out as being so beautiful.
00:07:08.399 --> 00:07:13.839
Like I love the mix, like the reverb on his voice, his vocal performance is like insane, right?
00:07:13.920 --> 00:07:16.000
It's so well delivered.
00:07:16.240 --> 00:07:18.560
And I love the tone of the electric guitar.
00:07:19.279 --> 00:07:21.120
And I love the bass too.
00:07:21.199 --> 00:07:22.399
Like, oh, we'll talk about that.
00:07:22.560 --> 00:07:24.800
But the way he gets out of this progression.
00:07:25.839 --> 00:07:26.639
Watch.
00:07:28.879 --> 00:07:29.279
Right?
00:07:29.439 --> 00:07:40.000
And then so now he doesn't do the F sharp anymore, he goes F G, which is like makes a lot of sense to the return to A.
00:07:40.399 --> 00:07:45.680
So just like the A section, the first section one, right?
00:07:45.839 --> 00:07:53.040
That's an A minor, and then section B, the that's like revolves around like a weird F sharp chord and then F.
00:07:53.279 --> 00:07:56.639
Now when we get out of it, we go F G A.
00:07:57.519 --> 00:08:00.720
And it's just like is outlining the key of A minor.
00:08:02.319 --> 00:08:05.839
In a very like clever, like just beautiful way.
00:08:07.279 --> 00:08:11.360
Like that's just one, two, three, four, five, seven.
00:08:11.759 --> 00:08:14.319
Like that's just the A minor scale right there.
00:08:17.519 --> 00:08:18.160
Right?
00:08:20.480 --> 00:08:23.920
And it this is the chorus, and it's lyricless, right?
00:08:24.000 --> 00:08:25.680
He just he just like fades into it.
00:08:25.839 --> 00:08:28.480
You'll never return to this place.
00:08:32.879 --> 00:08:34.399
Okay, now watch this.
00:08:38.399 --> 00:08:39.200
Right here.
00:08:43.679 --> 00:08:45.600
That only happens once that transition.
00:08:45.679 --> 00:08:46.320
He goes.
00:08:48.159 --> 00:08:52.399
Okay, so he's just doing the power chords F, G, and then right here.
00:08:53.039 --> 00:08:54.320
That's the flat second.
00:08:54.399 --> 00:08:55.759
He's outlining B flat.
00:08:56.000 --> 00:08:57.440
He's outlining B flat.
00:08:57.600 --> 00:08:58.879
It's like a Phrygian move.
00:08:58.960 --> 00:09:02.559
Phrygian is a minor mode often used in like flamenco music.
00:09:03.360 --> 00:09:05.360
It's I just love the timing.
00:09:09.600 --> 00:09:09.919
Oh.
00:09:12.559 --> 00:09:20.159
And then the Lee guitar joins in, it's like And then the bass joins watch.
00:09:23.600 --> 00:09:28.559
And as he does that, like he goes, Oh man.
00:09:28.720 --> 00:09:29.840
And then the drums.
00:09:33.440 --> 00:09:38.080
Oh, it's such like a vibe, it's such like a great groove, nice and clean groove.
00:09:38.240 --> 00:09:40.080
And this might be my favorite verse.
00:09:40.159 --> 00:09:41.200
I just love watching this.
00:09:41.440 --> 00:09:47.600
He goes, On for days without talking.
00:09:50.320 --> 00:09:54.720
There is a comfort and silence.
00:09:55.120 --> 00:09:55.919
Oh man.
00:09:56.080 --> 00:09:59.840
There is a comfort and silence.
00:10:00.720 --> 00:10:00.879
Oh.
00:10:01.200 --> 00:10:02.480
Like it's so sad.
00:10:03.120 --> 00:10:06.320
Man, this this was my favorite part growing up.
00:10:06.639 --> 00:10:08.639
So used to lose.
00:10:09.360 --> 00:10:10.000
Right here.
00:10:10.320 --> 00:10:11.600
Whole ambition.
00:10:12.559 --> 00:10:17.759
Like the way he says it, it sounds like he says haul, but he's he's saying so used to losing all ambition.
00:10:17.840 --> 00:10:20.000
But he's like, whole ambition.
00:10:21.360 --> 00:10:22.399
Beautiful words.
00:10:22.559 --> 00:10:28.320
It just like sounds really nice with the melody, and his voice and the mix, like the reverb on it is great.
00:10:29.759 --> 00:10:33.759
Struggling to maintain what's left.
00:10:34.639 --> 00:10:38.639
And then back to the troubling chord, super tense B section.
00:10:38.799 --> 00:10:41.679
There is a one that's always playing.
00:10:42.240 --> 00:10:45.600
There is a road I'm always walking.
00:10:46.080 --> 00:10:49.759
But I know you'll never return to this place.
00:11:03.120 --> 00:11:06.559
And he doesn't do the He doesn't do that, right?
00:11:06.639 --> 00:11:07.120
He goes.
00:11:09.919 --> 00:11:14.159
And then it falls into That's so nice.
00:11:14.240 --> 00:11:15.840
That's like open 225.
00:11:16.799 --> 00:11:18.799
And then we do like the flat five.
00:11:18.960 --> 00:11:22.960
Or the sharp 11, whatever you want to call it, like raise fourth or flatten fifth.
00:11:24.080 --> 00:11:24.559
Really?
00:11:24.720 --> 00:11:26.159
Like OPETH, right?
00:11:26.240 --> 00:11:26.960
Look at this.
00:11:27.200 --> 00:11:33.919
This is OPETH, just dissonance, beautiful dissonance, and then love that.
00:11:34.480 --> 00:11:35.440
I think he does that.
00:11:35.600 --> 00:11:36.000
He goes.
00:11:37.200 --> 00:11:40.720
That's like two, two on the D and G and then two open open.
00:11:41.120 --> 00:11:44.399
Starting on the A, and then that's the six chord, right?
00:11:44.480 --> 00:11:45.759
It like catches you.
00:11:48.879 --> 00:11:50.080
Up to the G.
00:11:54.559 --> 00:11:55.840
Like beautiful movement.
00:11:55.919 --> 00:11:56.559
Like we're late.
00:11:56.720 --> 00:11:57.919
So it's like we're like A.
00:11:59.440 --> 00:12:04.639
So we're like A leading to the F, the six, and then the seven chord.
00:12:05.200 --> 00:12:09.120
And here's the five chord, but like first inversion, like the third is on the bottom.
00:12:10.399 --> 00:12:11.440
Look at that.
00:12:12.480 --> 00:12:15.360
And beautiful.
00:12:17.679 --> 00:12:19.600
And I love this.
00:12:20.000 --> 00:12:20.480
I love.
00:12:22.879 --> 00:12:25.120
He lets all those notes ring.
00:12:25.519 --> 00:12:29.200
And I I think they like tur slowly turn like that amp feedback.
00:12:29.279 --> 00:12:29.919
It's kind of feedback.
00:12:30.080 --> 00:12:30.960
It's like ringing notes.
00:12:31.039 --> 00:12:31.679
It's so beautiful.
00:12:31.759 --> 00:12:33.840
It's like a thick condensed cloud.
00:12:34.000 --> 00:12:34.559
It's like.
00:12:38.399 --> 00:12:39.919
Oh, listen to that moment.
00:12:41.919 --> 00:12:43.679
Like the the the tom fill.
00:12:44.080 --> 00:12:47.200
The moment going into this final verse is beautiful.
00:12:47.519 --> 00:12:48.960
Once and done.
00:12:49.759 --> 00:12:54.000
I always thought he said once I'm done, but he says once undone.
00:12:56.159 --> 00:12:57.600
Once and done.
00:12:59.360 --> 00:13:11.600
There's only smoke burning in my eyes to blow to cover up.
00:13:13.600 --> 00:13:15.679
What really happened?
00:13:16.720 --> 00:13:17.360
Right here.
00:13:18.240 --> 00:13:21.759
Force the darkness unto me.
00:13:23.039 --> 00:13:23.519
Right here.
00:13:24.000 --> 00:13:27.039
There is a road that's always bleathing.
00:13:27.600 --> 00:13:30.960
There is a road I'm always walking.
00:13:31.360 --> 00:13:35.039
And I know you'll never return to this place.
00:13:36.399 --> 00:13:37.919
The gates are opening.
00:13:57.039 --> 00:13:59.600
So just to recap, there's essentially three sections.
00:13:59.759 --> 00:14:03.679
The first section is right.
00:14:04.720 --> 00:14:06.399
Pretty much A minor to F.
00:14:06.480 --> 00:14:09.279
Again, I'm on Cape O two, so it's actually B minor to G.
00:14:09.360 --> 00:14:15.919
But A minor to F, the minor one to the seven, and then the next section, we got this crazy F sharp chord.
00:14:16.720 --> 00:14:19.519
It's just the it's just F sharp O peth, is what it is.
00:14:19.679 --> 00:14:30.960
And then and then F G.
00:14:31.679 --> 00:14:33.840
But it's like an interesting chord, right?
00:14:34.240 --> 00:14:38.000
It's like with the add nine, suspended nine, I guess, suspended two.
00:14:39.360 --> 00:14:48.240
And then the C section, the third section is that like it's so beautiful it didn't need the vocals over it, right?
00:14:48.320 --> 00:14:50.399
Just please.
00:14:52.799 --> 00:14:53.840
Serene.
00:14:56.960 --> 00:14:58.159
Oh, it's so gorgeous.
00:14:58.320 --> 00:14:59.440
Hope you enjoyed that, guys.
00:14:59.519 --> 00:15:01.519
I'm always happy to break down some mo path.
00:15:01.840 --> 00:15:04.480
If you'd like some free ear training, check out my audio practice guide.
00:15:04.559 --> 00:15:07.360
That's at learn.dambericuda.comslash practice.
00:15:07.759 --> 00:15:17.600
And if you're interested in working with me on a production level to bring your songs to life and work with me to really craft out your sound, check out learn.dambaricuda.comslash own your sound.
00:15:18.240 --> 00:15:21.759
Really appreciate you tuning into Barracuda Breakdowns, and I'll see you in the next episode.
