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[Music]
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[Music]
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my name is Justin Coletti thank you for
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coming to mix Cohn is anyone here by
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chance here to see Tony Maserati
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all right good for a second there I
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thought all that was for me apparently
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not all right Tony Maserati for those of
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you who don't know who he is for I don't
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know who you are and why you don't know
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who he is but he is a 10 time Grammy
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nominated mixer he really came into
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notoriety working with some of the
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biggest hip-hop artists particularly on
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the East Coast Puff Daddy and Queen
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Latifah notorious b.i.g and all these
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names of East Coast hip-hop he was all
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over that scene and since then he's
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become just as big if not even bigger in
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the world of pop music mixing major
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releases from Beyonce major releases
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from Jason Mraz black eyed peas uh sure
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a I'm gonna leave so many out I'm sure
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I'm super excited to have him on he is
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gonna take us under the hood of some
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real commercial mixes from an artist
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client of his named Debbie Nova so big
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things that Debbie Nova for letting us
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here are some of her tracks can you give
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her a round of applause for her
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for those of you watching on a video
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we'll be sure to link to her stuff if
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you want to hear these songs in full but
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we'll be going under the hood there's
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one last big thing so we have to give
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before we can bring Tony on and that is
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to our sponsor for this presentation
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without whom this event would not be
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free to the public like it is so big
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thanks for making this for you the
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public make DSP thanks to those guys big
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round of applause to make the SP when
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digital audio is new mcdee SP was well
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liked the first brands it actually made
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good sounding plugins before the days of
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McGee SP there were plugins didn't sound
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that great until make DSP came along
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now there's a lot of great plug-in
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companies Soumik DSP is doing something
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else that is extremely unusual
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they have unveiled a box here right
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before we got started called the APB 16
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they actually put a photo of it there
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behind me which is kind of neat it's
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like an all analog compressor that you
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hook up to your computer via Thunderbolt
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and you can use 16 channels of analog
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compression like their plugins in your
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Dalek as if it was a DSP processor if
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it's all analog that's just minor
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bending can we give an applause for how
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mind-bendingly weird and awesome that is
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all right enough of me yakking thanks to
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all those guys thanks to you for coming
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and thanks to Tony Maserati who's gonna
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take it away from here thank you Tony
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I've never been here before so in fact I
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saw the studio for the first time and I
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remember my good friend Jimmy Douglas
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works here all the time I'd never come
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to visit him then again I don't think he
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ever came to visit me either but we
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always see each other at events this is
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an amazing space I appreciate you all
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for coming
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really this is amazing Wow I guess it'd
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be good for me to know a little bit
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about who y'all are so just by show of
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hands engineers in the room engineer
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people okay cool
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producers okay kind of both almost about
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artists Jesus whoa okay you know
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obviously the reason why I asked because
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I want to know how how I what kind of
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language I should and could use you know
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I just released a few records
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does anybody know those records should I
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talk about those records a little bit
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yeah so a little Beyonce stuff the I did
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three tracks on the gift that she just
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released which was always as always
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pretty amazing to work with her and I
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think just today or yesterday an artist
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named Brice behind just dropped his
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album and I had four tracks on that and
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also a new artist
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Carlos Farah just dropped his single and
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I think I had a couple last week as well
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one of the things and the reason why I'm
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talking about this is because you know a
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large part of what I do is paying
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attention to what is released and not
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only what is released what is being
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accepted by an audience right because
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not only do I work for B or Brice or
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Carlos I work for
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the audience the people who are actually
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paying attention to the work that I do
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and in some cases they're paying
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attention more than the executives and
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and that that's how it should be the
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audience is the one who are who are
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really telling me whether or not I'm
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doing a good job they're the ones
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keeping me in the sea I think this is
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one of the things that that whenever I'm
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speaking to an audience of younger
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producer engineers and artists they they
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feel like there's a disconnect you know
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they think that there is some magic wand
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that I'm putting over the music and and
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it becomes this mix and immediately
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people love it I have had lots of flops
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and and I think that the average for any
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professional who has done it as long as
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I have is that is probably either 50/50
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or you know 6040 if you've lasted as
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long as me maybe it there are a lot of
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records that come out that y'all don't
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know anything about and some of them I
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thought were amazing records that I did
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my best work on and and some of them
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some of the biggest hits I've done have
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been records that didn't really think
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we're gonna do anything there is a
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record in particular I don't even
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remember the name of the group but the
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the I can never forget the song and it's
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called candy rain and and Heavy D
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produced it and and he was he's an
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amazing guy he was an amazing guy and
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and I swear he played me that song and I
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was like I hate this song I can do I
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what am I supposed to do with this and
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he's like dude just do your thing and
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I'm like I gotta can I you know so I
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would mix it in pieces and just the keys
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and just the drums and
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and then maybe I'd move on to the
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background vocals and that sort of thing
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but of course it was a gigantic record
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for for Hef and his production company
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and and the band thank you so for real
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that's right yeah and it was and it was
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great and of course I'm happy for them
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I'm happy that I was involved but I'll
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never understand how that record did as
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well as it did so I think it goes both
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ways there are a lot of Records I've
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done that I thought wow this is this
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people are gonna get this you know and
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put my heart and soul into it not that I
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didn't for so for real so I think that
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there is there's a really important
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element here that has has been part of
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my life and that is my my best to pay
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attention to the audience and of course
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I have a lot of help with that the
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producers I'm working with the artists I
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get the ones that I get a chance to to
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be around and and certainly the younger
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members of my my engineering team as
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well and I do my best to stay on top of
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what's being released it's a little
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harder now as you all know it's I mean
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the amount of releases per week is is
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probably 10 times what it was 15 years
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ago 20 years ago back then we knew
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exactly who was being released you know
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three months in advance so releases
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could be scheduled around other artists
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who were competitive and nowadays that
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doesn't happen the B record that we just
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did was released two days maybe even
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hours after I finished and I know the
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Carter's record though that we did last
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year I I think my assistant was
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whispering in my ear you have to print
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you have to print and literally it came
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out that night so things are much
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different nowadays and I think that one
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of the things that I'm
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lucky enough to have is is my clients
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and my my artists believe in the fact
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that I am paying attention to the
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audience and I am also obviously paying
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attention to their creativity I think
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today this is this is kind of what I
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wanted to get into a little bit with
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with some of the demonstration I'll do
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with Debbie's record debbie is as an old
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friend a client an artist she started
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out with doing her own music she was on
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Sony us and she was singing in English
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and she was working with Ricky Martin
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and a variety of other Latin artists
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she's from Costa Rica and I worked on a
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couple records with her and she came to
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me for this new record because we know
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each other and she knows that I still do
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what I do and you know she knew that she
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needed a proper mix I think she had
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mixed it in Mexico and she didn't like
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what what she ended up with I have been
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very lucky in that you know have a lot
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of clients who have been with me for a
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long time and one of the things that
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I'll talk about also quite a lot today
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is the idea of this staying in touch not
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staying in touch with Debbie because I
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hadn't talked to her in three years or
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four years but staying in touch with the
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audience and in some ways it's more
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important for me to do that than it is
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to make sure that that Debbie still has
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my phone number one because it's easy to
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get a hold of me and and social media
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and
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and the digital world has made that easy
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but also because the audience is is
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really who I'm playing to right
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it's who the artist is playing to it's
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who the producer is playing to it's who
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the record company is playing to it
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really is is and especially nowadays is
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everything the audience and the audience
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is fluid right the audience is changing
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at all times what they're interested in
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what they pay attention to it used to be
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that I could get away with using a kick
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drum for six months a particular
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sounding kick drum say or a bank of
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samples that I may have worked on and
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created myself or maybe shared with my
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my producer friends you know that
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doesn't work anymore things move so fast
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now people can tell if it's six weeks
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old
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forget about six months old you know the
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Sonics of music moves extremely fast how
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many I mean I'm assuming all of you you
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know get your get your plugins get your
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software online how often is that stuff
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update it's updated what every couple
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weeks there's a new update of something
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whether it's a whether it's in OS or you
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know you know people are making their
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their software more compatible with with
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the new computers or the new drivers or
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whatever it is but the same goes for
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music right the sound itself is changing
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so that means discovering plugins
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discovering technology now I actually
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have to spend time discovering
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technology which brings me to the point
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I was trying to make which took me so
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long to get there and and that is it's
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studying and practice and I don't know
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I'm assuming a fair bit of this crowd
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is professional and your music is
271
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released raise your hand if you have
272
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your music released okay half I'd say so
273
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your music you create music or you you
274
00:13:49,759 --> 00:13:58,730
engineer music you write music and it
275
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gets released well you the rest of you
276
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are actually all of you including myself
277
00:14:00,769 --> 00:14:07,999
I spend you should spend a lot of time
278
00:14:04,370 --> 00:14:11,990
practicing and a lot of time listening
279
00:14:07,999 --> 00:14:16,040
and a lot of time paying attention to
280
00:14:11,990 --> 00:14:19,370
what new technologies have come out this
281
00:14:16,040 --> 00:14:21,860
I can't tell you how important this is
282
00:14:19,370 --> 00:14:27,139
from the beginning stages of my career
283
00:14:21,860 --> 00:14:30,019
to just afternoon you know and what I
284
00:14:27,139 --> 00:14:35,149
learned talking to Colin upstairs about
285
00:14:30,019 --> 00:14:38,740
the the a PV box you know that that sort
286
00:14:35,149 --> 00:14:43,939
of level of you know curiosity an
287
00:14:38,740 --> 00:14:49,059
interest both in the technology in the
288
00:14:43,939 --> 00:14:53,629
craft itself and and in the musicality
289
00:14:49,059 --> 00:14:56,720
the way that you know what's his name
290
00:14:53,629 --> 00:14:59,509
finneus from Billy eyelash Billy's
291
00:14:56,720 --> 00:15:02,089
brother right the way that we've all
292
00:14:59,509 --> 00:15:05,240
we've all been enthralled with what he
293
00:15:02,089 --> 00:15:07,309
did to the 808 is anybody not know what
294
00:15:05,240 --> 00:15:08,120
I'm talking about you don't know what
295
00:15:07,309 --> 00:15:10,309
I'm talking about
296
00:15:08,120 --> 00:15:13,129
don't know what I'm talking about okay
297
00:15:10,309 --> 00:15:15,920
so you got it you got a check out this
298
00:15:13,129 --> 00:15:17,660
Billy Eilish record of course and and
299
00:15:15,920 --> 00:15:21,920
Phineas her brother was that his name
300
00:15:17,660 --> 00:15:25,579
Phineas right yeah so but what he did to
301
00:15:21,920 --> 00:15:27,740
the 808 just seems to be the thing that
302
00:15:25,579 --> 00:15:28,160
everyone is talking about how did he do
303
00:15:27,740 --> 00:15:30,110
this
304
00:15:28,160 --> 00:15:32,990
what did he do what was the impetus to
305
00:15:30,110 --> 00:15:35,269
this was it a mistake that he then said
306
00:15:32,990 --> 00:15:38,300
oh that's super cool I'm gonna use this
307
00:15:35,269 --> 00:15:41,540
but he completely distorted it but it
308
00:15:38,300 --> 00:15:43,699
doesn't sound unpleasantly distorted it
309
00:15:41,540 --> 00:15:49,129
actually becomes part of the sonic
310
00:15:43,699 --> 00:15:49,779
quality and also part of it part of the
311
00:15:49,129 --> 00:15:52,930
mood of the
312
00:15:49,779 --> 00:15:57,100
song it's which is you know this is
313
00:15:52,930 --> 00:15:59,939
brilliance this is what you know musical
314
00:15:57,100 --> 00:16:03,279
brilliance is all about it's about
315
00:15:59,939 --> 00:16:06,029
experimentation it's about keeping
316
00:16:03,279 --> 00:16:09,970
things interesting in any way possible
317
00:16:06,029 --> 00:16:16,269
you know when I first started we spent a
318
00:16:09,970 --> 00:16:18,610
lot of time learning how to use tape of
319
00:16:16,269 --> 00:16:21,249
course those days are long gone I am
320
00:16:18,610 --> 00:16:23,819
happy that they are long gone because I
321
00:16:21,249 --> 00:16:27,249
will never work on tape again thank you
322
00:16:23,819 --> 00:16:32,350
but I'm certainly enthralled by a box
323
00:16:27,249 --> 00:16:37,350
like this that allows me to have control
324
00:16:32,350 --> 00:16:42,899
over an analog circuit from my DAW
325
00:16:37,350 --> 00:16:45,579
without having hardware IO involved I
326
00:16:42,899 --> 00:16:48,249
don't know if any of you have followed
327
00:16:45,579 --> 00:16:52,149
what I do but I do a thing called hybrid
328
00:16:48,249 --> 00:16:55,509
mixing so which means that I I have a
329
00:16:52,149 --> 00:16:59,170
racks of analog equipment they're hooked
330
00:16:55,509 --> 00:17:03,870
in to my system through an interface
331
00:16:59,170 --> 00:17:07,500
I use an HD IO from avid so I'll grab
332
00:17:03,870 --> 00:17:10,870
33609 Neve compressor analog compressor
333
00:17:07,500 --> 00:17:13,179
through a plug-in insert obviously I
334
00:17:10,870 --> 00:17:16,600
don't have anything I don't have any
335
00:17:13,179 --> 00:17:21,880
analog gear here but does this screen
336
00:17:16,600 --> 00:17:24,970
show up over there so you can see that
337
00:17:21,880 --> 00:17:28,840
one of the things that I have plugged in
338
00:17:24,970 --> 00:17:30,700
here is insert seven and eight and I
339
00:17:28,840 --> 00:17:32,679
also use insert three and four not that
340
00:17:30,700 --> 00:17:37,179
we can use them because they don't exist
341
00:17:32,679 --> 00:17:40,570
here but in my system those are analog
342
00:17:37,179 --> 00:17:44,590
compressors so I can instantiate analog
343
00:17:40,570 --> 00:17:47,500
compression or EQ wherever there's a
344
00:17:44,590 --> 00:17:52,750
plug-in point and then it I've set up my
345
00:17:47,500 --> 00:17:59,980
i/o system so that I have a setup of
346
00:17:52,750 --> 00:18:02,890
hardware inserts in my i/o setup this
347
00:17:59,980 --> 00:18:03,460
allows me to get some analog compression
348
00:18:02,890 --> 00:18:07,140
some
349
00:18:03,460 --> 00:18:10,230
equalization which I really still enjoy
350
00:18:07,140 --> 00:18:13,630
within my the framework of my digital
351
00:18:10,230 --> 00:18:17,230
mixing system right because I still do
352
00:18:13,630 --> 00:18:18,910
all my automation and all my my mixing
353
00:18:17,230 --> 00:18:21,450
within the DAW
354
00:18:18,910 --> 00:18:25,060
although sometimes I actually go
355
00:18:21,450 --> 00:18:30,010
external with the summing and I do that
356
00:18:25,060 --> 00:18:34,720
by way of my auxes so I can essentially
357
00:18:30,010 --> 00:18:39,150
mix in the Box like this and have my
358
00:18:34,720 --> 00:18:42,280
oxes go to what I'm calling mix buss and
359
00:18:39,150 --> 00:18:46,300
that mix bus shows up here as an input
360
00:18:42,280 --> 00:18:51,280
and that's basically my internal mixing
361
00:18:46,300 --> 00:18:56,980
system right but if I want to sum then I
362
00:18:51,280 --> 00:18:59,950
just select my converter my in my case
363
00:18:56,980 --> 00:19:03,090
it's a it's a Lavery I would select that
364
00:18:59,950 --> 00:19:07,570
and then I would send each one of these
365
00:19:03,090 --> 00:19:11,770
two I have a little Neve sidecar
366
00:19:07,570 --> 00:19:18,550
I have an e/m I'm Chandler mini mixer I
367
00:19:11,770 --> 00:19:20,800
have a fulcrum mixer a passive box so my
368
00:19:18,550 --> 00:19:24,430
system is really fluid I can move around
369
00:19:20,800 --> 00:19:27,570
and and if I decide that the mix would
370
00:19:24,430 --> 00:19:29,470
sound better some through an analog
371
00:19:27,570 --> 00:19:31,060
amplifier right because that's what
372
00:19:29,470 --> 00:19:35,230
we're talking about here right
373
00:19:31,060 --> 00:19:38,590
you understand the difference because if
374
00:19:35,230 --> 00:19:41,970
I'm mixing in the Box it's all some
375
00:19:38,590 --> 00:19:45,670
digitally and that's the difference
376
00:19:41,970 --> 00:19:48,310
rather than sending it to my Neve which
377
00:19:45,670 --> 00:19:51,450
of course goes through my converter and
378
00:19:48,310 --> 00:19:54,940
then goes through the st. Ives
379
00:19:51,450 --> 00:19:59,110
transformers to the input of my Neve
380
00:19:54,940 --> 00:20:02,620
console or the transformers that are in
381
00:19:59,110 --> 00:20:05,950
the EMI Chandler mini mixer so I get
382
00:20:02,620 --> 00:20:09,930
that sound and then that is summed and
383
00:20:05,950 --> 00:20:13,600
then sent back digitally via my Lavery
384
00:20:09,930 --> 00:20:15,840
the flexibility that I get from that is
385
00:20:13,600 --> 00:20:18,960
what I really like
386
00:20:15,840 --> 00:20:21,930
my friend Stu white who does most of the
387
00:20:18,960 --> 00:20:24,390
Beyonce stuff I said to him oh man
388
00:20:21,930 --> 00:20:26,370
you've got to check out this APB box and
389
00:20:24,390 --> 00:20:28,620
you know maybe you should we should send
390
00:20:26,370 --> 00:20:31,650
some of your mixes through my analog set
391
00:20:28,620 --> 00:20:34,050
up and check it out and see if it makes
392
00:20:31,650 --> 00:20:37,110
it sound better and he's like no way man
393
00:20:34,050 --> 00:20:40,260
I'm keepin my stuff all in the box you
394
00:20:37,110 --> 00:20:43,790
know if if if Chad Blake can do it I'm
395
00:20:40,260 --> 00:20:45,780
gonna do it and he makes a good point
396
00:20:43,790 --> 00:20:49,140
because Chad Blake
397
00:20:45,780 --> 00:20:53,730
mixes all in the box but Chad Blake is
398
00:20:49,140 --> 00:20:55,590
Chad Blake he's just amazing and yeah he
399
00:20:53,730 --> 00:20:57,300
meant he mixes all in the box and I
400
00:20:55,590 --> 00:20:57,900
don't know how he does it but it sounds
401
00:20:57,300 --> 00:21:02,130
amazing
402
00:20:57,900 --> 00:21:04,590
I mix in the box quite often but a lot
403
00:21:02,130 --> 00:21:07,950
of times what I'll do is I'll mix like
404
00:21:04,590 --> 00:21:10,410
on my laptop in fact this week I'm I'm
405
00:21:07,950 --> 00:21:13,680
gonna be away from my studio so I'll mix
406
00:21:10,410 --> 00:21:18,780
in my laptop and then I'll send my file
407
00:21:13,680 --> 00:21:20,550
back to my assistant in LA you know give
408
00:21:18,780 --> 00:21:22,230
him instruction on where to send things
409
00:21:20,550 --> 00:21:23,820
and he'll put it through the analog gear
410
00:21:22,230 --> 00:21:26,280
and we'll listen to that and see if
411
00:21:23,820 --> 00:21:28,500
that's better or worse and see if it
412
00:21:26,280 --> 00:21:32,760
makes it you know a bit fuller a bit
413
00:21:28,500 --> 00:21:34,850
rounder and I find that quite often the
414
00:21:32,760 --> 00:21:37,620
analog setup really does help with
415
00:21:34,850 --> 00:21:41,580
making it a bit wider giving me a bit
416
00:21:37,620 --> 00:21:47,760
more depth in the mix and I really enjoy
417
00:21:41,580 --> 00:21:52,590
that sonically the B stuff actually you
418
00:21:47,760 --> 00:21:56,610
know her stuff is is really put together
419
00:21:52,590 --> 00:22:01,050
well by Stewart so when he sends me a
420
00:21:56,610 --> 00:22:06,380
file I there isn't a lot I can do to
421
00:22:01,050 --> 00:22:11,280
that file because one B works and does
422
00:22:06,380 --> 00:22:16,710
updates up until minutes before it's
423
00:22:11,280 --> 00:22:20,250
released so I can't really change too
424
00:22:16,710 --> 00:22:23,220
much because stew might need to print
425
00:22:20,250 --> 00:22:26,550
something new and then send that to me
426
00:22:23,220 --> 00:22:27,990
and it goes on like that so it's really
427
00:22:26,550 --> 00:22:29,450
important for me to kind of keep his
428
00:22:27,990 --> 00:22:32,220
construct to get
429
00:22:29,450 --> 00:22:36,000
so I try to retrofit it into my
430
00:22:32,220 --> 00:22:37,680
structure but I can't always do that but
431
00:22:36,000 --> 00:22:41,910
in the case of the new record
432
00:22:37,680 --> 00:22:45,330
I really just chose the points like he
433
00:22:41,910 --> 00:22:47,760
had sort of a vocal and all vocal sub
434
00:22:45,330 --> 00:22:50,010
mix and I said well okay that's not
435
00:22:47,760 --> 00:22:54,210
gonna work for me let me duplicate that
436
00:22:50,010 --> 00:22:57,690
and then send her lead vocals out
437
00:22:54,210 --> 00:22:59,280
through the Chandler mini mixer send the
438
00:22:57,690 --> 00:23:02,190
backgrounds out through the Chandler
439
00:22:59,280 --> 00:23:05,520
mini mixer and then he's got like an all
440
00:23:02,190 --> 00:23:08,120
music sub mix as well okay that's not
441
00:23:05,520 --> 00:23:11,190
going to work let me duplicate that and
442
00:23:08,120 --> 00:23:14,010
then just send the drums to the new one
443
00:23:11,190 --> 00:23:17,190
and send the drums out to the Neve and
444
00:23:14,010 --> 00:23:19,620
you get my point so I'm choosing picking
445
00:23:17,190 --> 00:23:23,790
and choosing the the the points at which
446
00:23:19,620 --> 00:23:27,710
I'm changing his setup and then I'm
447
00:23:23,790 --> 00:23:30,090
sending it to my you know choices and
448
00:23:27,710 --> 00:23:35,640
sometimes those choices are just based
449
00:23:30,090 --> 00:23:39,240
on the Transformers they're not even I'm
450
00:23:35,640 --> 00:23:40,740
not even going to change the EQ I'm just
451
00:23:39,240 --> 00:23:45,060
gonna listen to it through the
452
00:23:40,740 --> 00:23:47,760
Transformers and and then through I've
453
00:23:45,060 --> 00:23:50,820
got a pair of p76
454
00:23:47,760 --> 00:23:53,430
amplifiers which have tubes in them so
455
00:23:50,820 --> 00:23:59,520
I'm going to listen to that so you get
456
00:23:53,430 --> 00:24:03,780
my point that quite often if if y'all
457
00:23:59,520 --> 00:24:08,520
are mixers you'll know you get a file
458
00:24:03,780 --> 00:24:11,730
that the producer has spent days maybe
459
00:24:08,520 --> 00:24:17,730
even months working on and that might be
460
00:24:11,730 --> 00:24:21,810
in what he considers to be a mix so is
461
00:24:17,730 --> 00:24:26,100
it your job to break that down and print
462
00:24:21,810 --> 00:24:29,850
stems and and then mix it or is it your
463
00:24:26,100 --> 00:24:31,650
job to sort of make use of his ideas I
464
00:24:29,850 --> 00:24:35,370
kind of choose the latter
465
00:24:31,650 --> 00:24:38,370
I like doing it that way because then I
466
00:24:35,370 --> 00:24:42,050
get to sort of dissect why and what he
467
00:24:38,370 --> 00:24:45,800
did or she and try to make it
468
00:24:42,050 --> 00:24:49,310
better and I do this quite often
469
00:24:45,800 --> 00:24:57,080
actually I guess that's an interesting
470
00:24:49,310 --> 00:25:00,500
segue in the idea of this APB that Colin
471
00:24:57,080 --> 00:25:02,150
made at McGee SP I have any have have
472
00:25:00,500 --> 00:25:07,070
you guys check this thing out
473
00:25:02,150 --> 00:25:11,690
yeah a couple couple folks so this box
474
00:25:07,070 --> 00:25:14,680
is is this green box here and it's
475
00:25:11,690 --> 00:25:19,640
connected with just Thunderball right
476
00:25:14,680 --> 00:25:22,550
can I can I now save and automate a
477
00:25:19,640 --> 00:25:27,230
piece of analog equipment from within my
478
00:25:22,550 --> 00:25:34,220
DAW now I can and and Colin has made a
479
00:25:27,230 --> 00:25:37,220
box this simple you know 1u box that's
480
00:25:34,220 --> 00:25:43,220
pretty light it's got 16 channels of
481
00:25:37,220 --> 00:25:49,970
hardware compression in it and you know
482
00:25:43,220 --> 00:25:52,400
I think we can possibly get into more
483
00:25:49,970 --> 00:25:54,350
about how that works but I imagine that
484
00:25:52,400 --> 00:25:57,110
Colin's website probably has a lot more
485
00:25:54,350 --> 00:26:00,380
information than I can disseminate right
486
00:25:57,110 --> 00:26:05,300
now but this is the future this is the
487
00:26:00,380 --> 00:26:08,420
way for me again I like that I like the
488
00:26:05,300 --> 00:26:10,510
sound of an analog compressor I'm hoping
489
00:26:08,420 --> 00:26:13,640
that eventually Colin will get into
490
00:26:10,510 --> 00:26:17,060
equalization saturation and a few other
491
00:26:13,640 --> 00:26:20,450
things but right now this is the way you
492
00:26:17,060 --> 00:26:25,280
can control and automate an analog
493
00:26:20,450 --> 00:26:27,770
device within your dog that's not doable
494
00:26:25,280 --> 00:26:30,050
in any other way so how would I
495
00:26:27,770 --> 00:26:32,330
characterize the type of compression in
496
00:26:30,050 --> 00:26:34,970
this box it's actually really
497
00:26:32,330 --> 00:26:37,940
interesting because and you can imagine
498
00:26:34,970 --> 00:26:40,580
this is what's necessary what Colin did
499
00:26:37,940 --> 00:26:44,660
was he made a very very high quality box
500
00:26:40,580 --> 00:26:48,790
so it's got 32 bit conversion internally
501
00:26:44,660 --> 00:26:53,300
32 bit conversion and in high quality
502
00:26:48,790 --> 00:26:54,810
components and then he manipulates them
503
00:26:53,300 --> 00:26:59,430
through software to
504
00:26:54,810 --> 00:27:02,100
things that emulate our favorite
505
00:26:59,430 --> 00:27:04,650
compressors in this case this is
506
00:27:02,100 --> 00:27:07,800
probably emulating something that is
507
00:27:04,650 --> 00:27:10,560
similar to a Fairchild right because of
508
00:27:07,800 --> 00:27:13,680
its name I'm only assuming does it sound
509
00:27:10,560 --> 00:27:15,600
like a Fairchild no he's not suggesting
510
00:27:13,680 --> 00:27:17,490
that it sounds like a Fairchild thus it
511
00:27:15,600 --> 00:27:21,750
doesn't have the exact same logo and
512
00:27:17,490 --> 00:27:26,040
name but he because he's created a
513
00:27:21,750 --> 00:27:27,840
system within the analog circuitry there
514
00:27:26,040 --> 00:27:31,260
are points within that circuitry where
515
00:27:27,840 --> 00:27:35,160
he is calling upon particular bits of
516
00:27:31,260 --> 00:27:38,460
the circuitry to mimic the attack and
517
00:27:35,160 --> 00:27:41,610
release time of a particular kind of
518
00:27:38,460 --> 00:27:44,160
compressor and of course the the sky's
519
00:27:41,610 --> 00:27:48,300
the limit on what other programmers
520
00:27:44,160 --> 00:27:52,320
would do with this type of box so I
521
00:27:48,300 --> 00:27:54,840
think that the future is in what can a
522
00:27:52,320 --> 00:27:57,360
programmer do with this now you know and
523
00:27:54,840 --> 00:27:59,790
that's kind of super interesting to me
524
00:27:57,360 --> 00:28:03,060
because colin has created a really high
525
00:27:59,790 --> 00:28:06,600
quality analog circuitry that is
526
00:28:03,060 --> 00:28:09,110
digitally controlled so so the question
527
00:28:06,600 --> 00:28:12,180
is is there a need for analog equipment
528
00:28:09,110 --> 00:28:15,800
you know what that's a choice it really
529
00:28:12,180 --> 00:28:19,650
is it's it's a taste it's a choice I
530
00:28:15,800 --> 00:28:23,340
believe I work better within the
531
00:28:19,650 --> 00:28:25,350
framework of of what I do and that is
532
00:28:23,340 --> 00:28:27,870
incorporating both the digital and the
533
00:28:25,350 --> 00:28:31,890
analog together as I said before I'm not
534
00:28:27,870 --> 00:28:36,690
interested in in going back to analog
535
00:28:31,890 --> 00:28:44,790
tape that's for damn sure but I do I do
536
00:28:36,690 --> 00:28:47,280
like the sound I mean listen to i mix
537
00:28:44,790 --> 00:28:52,620
three songs today or three songs that
538
00:28:47,280 --> 00:28:55,370
got released for be those three songs I
539
00:28:52,620 --> 00:28:59,970
I can't tell you what the the Chandler
540
00:28:55,370 --> 00:29:03,330
rs.12 for did it made it it made the
541
00:28:59,970 --> 00:29:08,010
sound of her voice it when I listen to
542
00:29:03,330 --> 00:29:11,820
those records I hear that rs.12 four and
543
00:29:08,010 --> 00:29:16,620
I don't know that that is something that
544
00:29:11,820 --> 00:29:18,690
I can get yet from blocks maybe maybe
545
00:29:16,620 --> 00:29:22,380
somebody maybe you know Chandler's gonna
546
00:29:18,690 --> 00:29:27,059
license something and and somebody will
547
00:29:22,380 --> 00:29:29,340
come out with it but I tried trust me
548
00:29:27,059 --> 00:29:33,990
because I only have two and I wish I had
549
00:29:29,340 --> 00:29:36,540
four you know but if I had if I had four
550
00:29:33,990 --> 00:29:38,910
I would use for that's how good the box
551
00:29:36,540 --> 00:29:41,450
is that's what it does for my life so is
552
00:29:38,910 --> 00:29:45,679
that something I can get from a plug-in
553
00:29:41,450 --> 00:29:48,660
maybe if anybody knows Tchad Blake knows
554
00:29:45,679 --> 00:29:49,140
but not me because I haven't found it
555
00:29:48,660 --> 00:29:51,990
yet
556
00:29:49,140 --> 00:29:55,049
I often come to these events without a
557
00:29:51,990 --> 00:29:57,450
clue of what I'm going to do and this
558
00:29:55,049 --> 00:30:00,960
this is no difference because I was
559
00:29:57,450 --> 00:30:03,480
working too in fact I arrived here late
560
00:30:00,960 --> 00:30:06,570
last night and as soon as I got here I
561
00:30:03,480 --> 00:30:08,549
got a message from a producer and and he
562
00:30:06,570 --> 00:30:12,540
said yeah what happened to the panning
563
00:30:08,549 --> 00:30:15,419
on that vocal ad-lib and and of course I
564
00:30:12,540 --> 00:30:18,120
was like what panning and my assistant
565
00:30:15,419 --> 00:30:21,120
had deleted some panning of a particular
566
00:30:18,120 --> 00:30:24,240
vocal ad-lib and and so I was working
567
00:30:21,120 --> 00:30:27,570
until 2:00 a.m. I wasn't saying that as
568
00:30:24,240 --> 00:30:30,900
an excuse that I am I am NOT going to
569
00:30:27,570 --> 00:30:34,380
you know be as impressive with my mixing
570
00:30:30,900 --> 00:30:37,020
today I meant it more to the point of I
571
00:30:34,380 --> 00:30:40,710
think that I'm probably much like y'all
572
00:30:37,020 --> 00:30:45,570
and that is I got my head in this in
573
00:30:40,710 --> 00:30:51,540
this thing every day for 15 hours a day
574
00:30:45,570 --> 00:30:54,860
and as much as possible I try to plan
575
00:30:51,540 --> 00:30:58,770
out moments of where I'm going to
576
00:30:54,860 --> 00:31:02,280
explore new plugins or listen to new
577
00:30:58,770 --> 00:31:08,510
released music or have a discussion with
578
00:31:02,280 --> 00:31:11,580
my my friends about what direction our
579
00:31:08,510 --> 00:31:14,669
engineering industry is going and and
580
00:31:11,580 --> 00:31:17,880
how can I keep up so I think that that
581
00:31:14,669 --> 00:31:19,020
is something that in as much as I can
582
00:31:17,880 --> 00:31:20,780
sit here and trying to demonstrate
583
00:31:19,020 --> 00:31:25,370
things that I do
584
00:31:20,780 --> 00:31:28,040
I think that this is so important
585
00:31:25,370 --> 00:31:30,110
obviously coming here and talking to me
586
00:31:28,040 --> 00:31:34,190
hopefully you're gonna walk away even
587
00:31:30,110 --> 00:31:38,090
with this the smallest tidbit of
588
00:31:34,190 --> 00:31:41,450
information that you can then go home or
589
00:31:38,090 --> 00:31:44,450
to your studio and and try and utilize
590
00:31:41,450 --> 00:31:47,630
and practice it and try to figure out
591
00:31:44,450 --> 00:31:49,610
how can I make use of this info I can't
592
00:31:47,630 --> 00:31:53,240
stress enough how important it is for
593
00:31:49,610 --> 00:31:57,350
you to find and allocate time for
594
00:31:53,240 --> 00:32:00,490
yourself to practice and by practice I
595
00:31:57,350 --> 00:32:04,280
mean practice with your system but also
596
00:32:00,490 --> 00:32:07,400
experiment and listen to music and and
597
00:32:04,280 --> 00:32:10,730
read information about you know your
598
00:32:07,400 --> 00:32:13,130
colleagues and mine as to how they do
599
00:32:10,730 --> 00:32:16,250
things and see if there are ways for you
600
00:32:13,130 --> 00:32:21,260
to incorporate that into your work so
601
00:32:16,250 --> 00:32:23,750
Debbie is an awesome writer and one of
602
00:32:21,260 --> 00:32:26,030
the reasons why I am working with her is
603
00:32:23,750 --> 00:32:30,140
because of that and not only is she an
604
00:32:26,030 --> 00:32:35,210
awesome writer she is an amazing singer
605
00:32:30,140 --> 00:32:39,320
and musician I work on a lot of music
606
00:32:35,210 --> 00:32:41,060
and and I think that one of the reasons
607
00:32:39,320 --> 00:32:44,930
why I wanted to bring Debbie's music in
608
00:32:41,060 --> 00:32:47,870
here to demonstrate is because it came
609
00:32:44,930 --> 00:32:52,640
to me at a place that I felt I really
610
00:32:47,870 --> 00:32:55,460
could do a lot to it to bring out what
611
00:32:52,640 --> 00:32:57,950
what hopefully she was looking for this
612
00:32:55,460 --> 00:33:01,940
record is not out it probably won't come
613
00:32:57,950 --> 00:33:04,850
out for I don't know a few months she
614
00:33:01,940 --> 00:33:08,870
has she's really nice and letting me use
615
00:33:04,850 --> 00:33:11,840
her file she co-produced the record as I
616
00:33:08,870 --> 00:33:14,690
said and performs on it one of the
617
00:33:11,840 --> 00:33:19,090
things that I do immediately when I get
618
00:33:14,690 --> 00:33:24,110
a record is my team they'll basically
619
00:33:19,090 --> 00:33:28,190
get a file from the producer and then
620
00:33:24,110 --> 00:33:32,120
they'll they'll put my template and by
621
00:33:28,190 --> 00:33:36,110
template I mean my IO setup
622
00:33:32,120 --> 00:33:38,270
also a bunch of auxes that I that I keep
623
00:33:36,110 --> 00:33:41,510
in my template and you'll notice down
624
00:33:38,270 --> 00:33:44,720
below here I've got a bunch of auxes
625
00:33:41,510 --> 00:33:47,930
that are inactive and those are part of
626
00:33:44,720 --> 00:33:48,410
my template and so whenever I have an
627
00:33:47,930 --> 00:33:51,860
idea
628
00:33:48,410 --> 00:33:54,890
I grab something on my template and I
629
00:33:51,860 --> 00:33:56,780
turn it on and I use that thing and
630
00:33:54,890 --> 00:34:00,830
sometimes I edit it sometimes I don't
631
00:33:56,780 --> 00:34:03,980
edit it sometimes I have holes in my
632
00:34:00,830 --> 00:34:06,920
template so here you see something
633
00:34:03,980 --> 00:34:08,720
called extra mono delay and that just
634
00:34:06,920 --> 00:34:11,180
means it's blank when I open up my
635
00:34:08,720 --> 00:34:14,930
session and I throw something on there
636
00:34:11,180 --> 00:34:17,540
that I like and I use that and I have
637
00:34:14,930 --> 00:34:20,990
extra delay which is a stereo delay and
638
00:34:17,540 --> 00:34:23,110
I use that extra reverb and basically
639
00:34:20,990 --> 00:34:26,540
there's a bunch of stuff that I use
640
00:34:23,110 --> 00:34:30,170
here's one of that I call extra verb and
641
00:34:26,540 --> 00:34:33,350
I'll just grab something that I like and
642
00:34:30,170 --> 00:34:35,330
I throw that on and and start to work
643
00:34:33,350 --> 00:34:37,340
with that in this case I'm going to put
644
00:34:35,330 --> 00:34:39,710
that guy on how many of you use the
645
00:34:37,340 --> 00:34:42,620
template anybody anybody use the
646
00:34:39,710 --> 00:34:45,410
template okay so you use the template
647
00:34:42,620 --> 00:34:49,040
that's good I find it it allows me to
648
00:34:45,410 --> 00:34:50,780
work fast so generally what I do is I
649
00:34:49,040 --> 00:34:53,450
spend quite a lot of time just listening
650
00:34:50,780 --> 00:34:56,960
to the record and listening to the
651
00:34:53,450 --> 00:35:00,640
tracks I try to spend as little time in
652
00:34:56,960 --> 00:35:00,640
front of the speakers as possible
653
00:35:03,290 --> 00:35:13,550
and then I make mental notes and and
654
00:35:09,290 --> 00:35:19,250
those mental notes can be regarding the
655
00:35:13,550 --> 00:35:23,330
mood that the song puts me in it could
656
00:35:19,250 --> 00:35:26,240
be mental notes about a chain that I
657
00:35:23,330 --> 00:35:30,470
want to create and I want to work out
658
00:35:26,240 --> 00:35:35,090
later but I find that being able to
659
00:35:30,470 --> 00:35:41,320
visualize the sound that I want and by
660
00:35:35,090 --> 00:35:44,780
visualize I mean that could be the room
661
00:35:41,320 --> 00:35:47,300
right so maybe if I'm thinking about
662
00:35:44,780 --> 00:35:50,450
what room do I want that snare drum to
663
00:35:47,300 --> 00:35:53,870
be in I'm thinking about are the walls
664
00:35:50,450 --> 00:35:58,100
made of wood where are the walls made of
665
00:35:53,870 --> 00:36:05,420
plaster is the ceiling high or low is
666
00:35:58,100 --> 00:36:07,160
there wood on the floor right these are
667
00:36:05,420 --> 00:36:13,910
these are the kinds of things that are
668
00:36:07,160 --> 00:36:16,910
that I'm hearing in my head I'm not
669
00:36:13,910 --> 00:36:23,690
thinking about a plug-in right I'm
670
00:36:16,910 --> 00:36:29,960
thinking about what kind of wood and and
671
00:36:23,690 --> 00:36:35,570
I'm also thinking about what is the
672
00:36:29,960 --> 00:36:40,460
finish on the wood right is there any
673
00:36:35,570 --> 00:36:41,990
fabric involved in this room right how
674
00:36:40,460 --> 00:36:44,780
big is the room because that's going to
675
00:36:41,990 --> 00:36:48,170
tell me how my delay is gonna work is
676
00:36:44,780 --> 00:36:51,170
there a delay and then of course I can
677
00:36:48,170 --> 00:36:53,330
start to think about where am I placing
678
00:36:51,170 --> 00:36:56,450
the microphones I'm sure most of you
679
00:36:53,330 --> 00:36:59,440
have tried out the UAD Ocean Way plug-in
680
00:36:56,450 --> 00:37:02,150
where you get to move the microphone
681
00:36:59,440 --> 00:37:04,850
around have you guys seen this plugin
682
00:37:02,150 --> 00:37:07,640
anybody not seen it anybody not seen
683
00:37:04,850 --> 00:37:09,910
this plug-in okay so you gotta you gotta
684
00:37:07,640 --> 00:37:12,339
check it out you probably find a demo on
685
00:37:09,910 --> 00:37:17,170
or whatever but it's a really smart
686
00:37:12,339 --> 00:37:21,309
interesting plugin that is is emulating
687
00:37:17,170 --> 00:37:24,460
this ocean waste space and then moving
688
00:37:21,309 --> 00:37:27,579
allowing you to choose the microphone
689
00:37:24,460 --> 00:37:30,640
and move the microphone within that
690
00:37:27,579 --> 00:37:32,289
space which i think is super cool I
691
00:37:30,640 --> 00:37:35,289
remember when they were developing it
692
00:37:32,289 --> 00:37:39,250
and the engineer was asking me what I
693
00:37:35,289 --> 00:37:42,400
thought might be what what might make it
694
00:37:39,250 --> 00:37:46,539
more interesting and I think they did a
695
00:37:42,400 --> 00:37:48,520
terrific job at creating that but that's
696
00:37:46,539 --> 00:37:51,339
a lot of the process that I'm thinking
697
00:37:48,520 --> 00:37:54,130
so when I'm listening down to the track
698
00:37:51,339 --> 00:37:56,530
over and over again I'm thinking about
699
00:37:54,130 --> 00:38:00,369
those things how do I want this snare to
700
00:37:56,530 --> 00:38:02,470
sound where do I want it to sit or vote
701
00:38:00,369 --> 00:38:03,940
where do I want the vocal to be and then
702
00:38:02,470 --> 00:38:06,240
of course I start to think about the
703
00:38:03,940 --> 00:38:10,780
arrangement as well all right I'm
704
00:38:06,240 --> 00:38:13,210
starting to think you know does does the
705
00:38:10,780 --> 00:38:17,349
vocal need to be dry in the beginning
706
00:38:13,210 --> 00:38:19,480
and then get bigger at the end or you
707
00:38:17,349 --> 00:38:22,210
know do I start her off immediately in a
708
00:38:19,480 --> 00:38:25,119
big room because that changes the mood
709
00:38:22,210 --> 00:38:29,319
immediately right in in the case of this
710
00:38:25,119 --> 00:38:33,430
mix I started off quite dry but I'd like
711
00:38:29,319 --> 00:38:35,710
to actually mess around with okay so we
712
00:38:33,430 --> 00:38:38,319
put that on here should we listen to
713
00:38:35,710 --> 00:38:40,740
this thing because you guys haven't
714
00:38:38,319 --> 00:38:46,619
heard this thing yet right
715
00:38:40,740 --> 00:38:46,619
[Music]
716
00:38:51,090 --> 00:39:09,670
[Music]
717
00:39:01,300 --> 00:39:11,710
oh well okay I don't know if you can
718
00:39:09,670 --> 00:39:23,200
hear put in my headphones I can actually
719
00:39:11,710 --> 00:39:24,610
hear the difference they're kind of
720
00:39:23,200 --> 00:39:27,070
lifts up the low end in a really
721
00:39:24,610 --> 00:39:34,960
interesting way let's throw another one
722
00:39:27,070 --> 00:39:37,360
on just for for the hell of it yeah this
723
00:39:34,960 --> 00:39:40,620
one's kind of interesting I use this one
724
00:39:37,360 --> 00:39:40,620
on vocal all the time actually
725
00:39:40,870 --> 00:39:45,610
[Music]
726
00:39:46,440 --> 00:39:52,119
but why don't we just put it on her
727
00:39:48,460 --> 00:39:54,849
vocal so I've got this guy on her vocal
728
00:39:52,119 --> 00:39:58,150
already cuz that's what I used in the
729
00:39:54,849 --> 00:40:10,109
mix so let's just a B and listen to it a
730
00:39:58,150 --> 00:40:15,630
little bit you know make its container
731
00:40:10,109 --> 00:40:31,060
go get us notice siendo color
732
00:40:15,630 --> 00:40:33,579
swing your guess the weight cattle ahead
733
00:40:31,060 --> 00:40:38,880
look at Auclair head low cattle cleared
734
00:40:33,579 --> 00:40:41,440
lo que estás aquí que estas aqui
735
00:40:38,880 --> 00:40:42,820
it does a nice job I don't know if you
736
00:40:41,440 --> 00:40:52,810
guys can hear it but in my phones I'm
737
00:40:42,820 --> 00:40:56,349
like wow that sounds great but so so I
738
00:40:52,810 --> 00:40:59,079
mean again you got to dig into this this
739
00:40:56,349 --> 00:41:00,520
box yeah I think it's super cool I've
740
00:40:59,079 --> 00:41:05,230
been using it for six weeks
741
00:41:00,520 --> 00:41:07,540
I'm loving it kahlan's little small
742
00:41:05,230 --> 00:41:09,430
session that he did upstairs really kind
743
00:41:07,540 --> 00:41:11,650
of blew my mind I got more information
744
00:41:09,430 --> 00:41:13,990
on it now and know a little bit more
745
00:41:11,650 --> 00:41:15,609
about what it does I also used it on a
746
00:41:13,990 --> 00:41:19,030
mix bus which I thought was really cool
747
00:41:15,609 --> 00:41:20,980
and we can mess with that later but for
748
00:41:19,030 --> 00:41:25,210
now I'm just going to leave this I do
749
00:41:20,980 --> 00:41:28,390
want to mess with the reverb thing that
750
00:41:25,210 --> 00:41:30,579
I put out there and I think I put it on
751
00:41:28,390 --> 00:41:36,190
extra verb I'm going to turn the other
752
00:41:30,579 --> 00:41:40,319
stuff off because as we were as I was
753
00:41:36,190 --> 00:41:44,460
playing the track I realized that that
754
00:41:40,319 --> 00:41:48,609
that one approach that I may have missed
755
00:41:44,460 --> 00:41:52,030
when I mixed this record was there
756
00:41:48,609 --> 00:41:54,839
there's a real sadness that's in the
757
00:41:52,030 --> 00:42:00,239
track that I'm not sure I am
758
00:41:54,839 --> 00:42:02,339
I'm accentuating in her vocal sound of
759
00:42:00,239 --> 00:42:04,559
course this is there are so many
760
00:42:02,339 --> 00:42:05,849
different directions we can go but I
761
00:42:04,559 --> 00:42:09,029
want to I want to try to mess around
762
00:42:05,849 --> 00:42:12,749
with where this goes
763
00:42:09,029 --> 00:42:16,439
if I just mess with this idea that came
764
00:42:12,749 --> 00:42:20,209
in my head whatever that ends up being I
765
00:42:16,439 --> 00:42:24,569
don't know I always start off with a
766
00:42:20,209 --> 00:42:27,539
with a preset because I don't know why I
767
00:42:24,569 --> 00:42:32,390
just like to maybe I like seeing a name
768
00:42:27,539 --> 00:42:32,390
but I'm going to start with this guy
769
00:42:33,650 --> 00:42:55,000
[Music]
770
00:42:56,299 --> 00:43:05,609
again going back to what I was talking
771
00:43:02,219 --> 00:43:09,509
about earlier regarding in my head I'm
772
00:43:05,609 --> 00:43:15,569
visualizing what I want this to sound
773
00:43:09,509 --> 00:43:17,969
like so I'm visualizing space the size
774
00:43:15,569 --> 00:43:20,539
of the space the kinds of floor the
775
00:43:17,969 --> 00:43:23,039
materials involved in that space I
776
00:43:20,539 --> 00:43:24,929
brought up this plugin because I thought
777
00:43:23,039 --> 00:43:29,219
this is a really interesting way that
778
00:43:24,929 --> 00:43:31,289
they've created this plugin by allowing
779
00:43:29,219 --> 00:43:34,859
you to determine what the materials
780
00:43:31,289 --> 00:43:35,729
involved in the space are I just love
781
00:43:34,859 --> 00:43:38,009
that idea
782
00:43:35,729 --> 00:43:39,599
and that kind of works with the way my
783
00:43:38,009 --> 00:43:43,679
brain works when I'm thinking about
784
00:43:39,599 --> 00:43:48,419
space but in this case I want to see if
785
00:43:43,679 --> 00:43:50,640
I can make her sound lonely okay that's
786
00:43:48,419 --> 00:43:54,029
the that's the best way that I can
787
00:43:50,640 --> 00:43:55,710
describe the sound in my head
788
00:43:54,029 --> 00:43:58,380
and
789
00:43:55,710 --> 00:44:00,720
so I don't know if I can do that but uh
790
00:43:58,380 --> 00:44:03,410
you know having a big open space maybe
791
00:44:00,720 --> 00:44:28,970
that's going to help
792
00:44:03,410 --> 00:44:28,970
[Music]
793
00:44:32,270 --> 00:44:40,070
[Music]
794
00:44:43,330 --> 00:44:51,020
[Music]
795
00:44:53,230 --> 00:44:58,880
[Music]
796
00:44:55,190 --> 00:44:58,880
as a key
797
00:45:05,859 --> 00:45:13,270
you know my girl fiercer me but eyes
798
00:45:10,550 --> 00:45:13,270
hold up
799
00:45:20,550 --> 00:45:30,940
you know Meg enough we're sunny but I
800
00:45:24,880 --> 00:45:34,220
told her thing go get some candy
801
00:45:30,940 --> 00:45:37,240
[Music]
802
00:45:34,220 --> 00:45:42,290
so quite often I spend a lot of time
803
00:45:37,240 --> 00:45:45,470
doing what I call a broad strokes and
804
00:45:42,290 --> 00:45:49,790
that's because I'm not trying to succeed
805
00:45:45,470 --> 00:45:55,160
at anything I'm really simply trying to
806
00:45:49,790 --> 00:45:58,850
get the idea in my head out that's it
807
00:45:55,160 --> 00:46:02,420
I'm not trying to finish the whole
808
00:45:58,850 --> 00:46:09,310
detail I'm simply trying to get the idea
809
00:46:02,420 --> 00:46:14,090
out and every stroke that I make is
810
00:46:09,310 --> 00:46:41,800
telling me that's part of the sound that
811
00:46:14,090 --> 00:46:45,440
I'm looking for or not really just like
812
00:46:41,800 --> 00:46:49,160
sending anything in pre it goes against
813
00:46:45,440 --> 00:46:52,540
everything I believe in it also makes
814
00:46:49,160 --> 00:46:52,540
printing stems a real
815
00:46:54,540 --> 00:47:07,100
[Music]
816
00:47:12,650 --> 00:47:55,889
[Music]
817
00:48:03,850 --> 00:48:06,889
[Music]
818
00:48:10,390 --> 00:48:20,080
[Music]
819
00:48:16,390 --> 00:48:20,080
removal Sunday
820
00:48:23,770 --> 00:48:33,790
[Music]
821
00:48:35,450 --> 00:48:53,740
okay so the idea of envisioning the
822
00:48:46,670 --> 00:48:58,010
sound in your head comes from the mood
823
00:48:53,740 --> 00:49:01,040
right it's it's the feeling there was a
824
00:48:58,010 --> 00:49:06,160
record on the carters a song on the
825
00:49:01,040 --> 00:49:06,160
carters record that I did last year and
826
00:49:07,420 --> 00:49:11,990
there was a process involved in this in
827
00:49:10,430 --> 00:49:14,750
the production of that record they were
828
00:49:11,990 --> 00:49:16,970
quite a there's four engineers involved
829
00:49:14,750 --> 00:49:19,460
there's a lot of work that went into
830
00:49:16,970 --> 00:49:22,390
involved in the record in a very short
831
00:49:19,460 --> 00:49:27,290
period of time and we were all in London
832
00:49:22,390 --> 00:49:29,890
guru was mixing a song well then he was
833
00:49:27,290 --> 00:49:34,240
actually recording and mixing a song
834
00:49:29,890 --> 00:49:37,730
that it ended up be had put her her
835
00:49:34,240 --> 00:49:40,760
vocals on late and he had very little
836
00:49:37,730 --> 00:49:44,180
time to to mix it and I had heard the
837
00:49:40,760 --> 00:49:46,040
song early on when I first arrived in
838
00:49:44,180 --> 00:49:47,059
London he had already been working on it
839
00:49:46,040 --> 00:49:50,780
for weeks
840
00:49:47,059 --> 00:49:53,630
recording and and and arranging and
841
00:49:50,780 --> 00:49:57,140
doing all sorts of things guru does
842
00:49:53,630 --> 00:50:00,799
quite a lot for 4j and I had heard the
843
00:49:57,140 --> 00:50:03,170
song and of course I was like oh I want
844
00:50:00,799 --> 00:50:05,299
to mix this song you know but I didn't
845
00:50:03,170 --> 00:50:06,680
say anything and in the end he didn't
846
00:50:05,299 --> 00:50:09,230
have the time to finish it
847
00:50:06,680 --> 00:50:12,770
and but they gave it to me and I only
848
00:50:09,230 --> 00:50:14,740
had like literally four hours I think
849
00:50:12,770 --> 00:50:17,930
for me to do that
850
00:50:14,740 --> 00:50:19,490
but during during the week that I was
851
00:50:17,930 --> 00:50:21,530
there maybe two weeks I don't even
852
00:50:19,490 --> 00:50:25,069
remember how long it was because it's
853
00:50:21,530 --> 00:50:28,599
all a blur but I had mixed the whole
854
00:50:25,069 --> 00:50:34,150
record in my head every sound every
855
00:50:28,599 --> 00:50:37,520
track I had mixed in my head and I
856
00:50:34,150 --> 00:50:40,880
practiced this technique when I was an
857
00:50:37,520 --> 00:50:42,589
assistant engineer I I know that we
858
00:50:40,880 --> 00:50:43,569
don't really have that process anymore
859
00:50:42,589 --> 00:50:47,130
in the business
860
00:50:43,569 --> 00:50:51,849
where there's an assistant and and a
861
00:50:47,130 --> 00:50:56,680
master engineer that you learn from but
862
00:50:51,849 --> 00:50:59,499
that's how I came up and and I'm not
863
00:50:56,680 --> 00:51:02,979
saying that it was a it was a epiphany
864
00:50:59,499 --> 00:51:08,079
or anything I just hated you know I had
865
00:51:02,979 --> 00:51:12,479
to sit in the room and I hated it so I
866
00:51:08,079 --> 00:51:17,589
would just mix in my head so the this
867
00:51:12,479 --> 00:51:20,349
engineer is his name is um his name is
868
00:51:17,589 --> 00:51:25,059
doc Daugherty and he used to smoke
869
00:51:20,349 --> 00:51:28,180
Winston's and drink drink beer while he
870
00:51:25,059 --> 00:51:31,749
while he mixed and so my job was pretty
871
00:51:28,180 --> 00:51:34,150
much just doing patches writing down you
872
00:51:31,749 --> 00:51:36,579
know settings on the equipment and going
873
00:51:34,150 --> 00:51:39,369
out and getting him Winston's and beer
874
00:51:36,579 --> 00:51:42,400
and that was my job so you can imagine
875
00:51:39,369 --> 00:51:45,880
how bored I was every time I had to
876
00:51:42,400 --> 00:51:50,229
assist doc which was all the time and he
877
00:51:45,880 --> 00:51:51,549
was really an amazing mixer I in fact to
878
00:51:50,229 --> 00:51:58,479
this day I don't know how he did what he
879
00:51:51,549 --> 00:52:00,519
did but as it stands I'm not sure I ever
880
00:51:58,479 --> 00:52:01,059
spent the time to figure out how he did
881
00:52:00,519 --> 00:52:04,809
what he did
882
00:52:01,059 --> 00:52:06,849
because I was bored and I would just
883
00:52:04,809 --> 00:52:10,059
spend my time sitting in the back of the
884
00:52:06,849 --> 00:52:12,940
room going okay I'm gonna put the snare
885
00:52:10,059 --> 00:52:15,910
through this reverb and I'm gonna set
886
00:52:12,940 --> 00:52:18,910
this and I'm gonna do that and then I'm
887
00:52:15,910 --> 00:52:23,079
gonna send it through you know this
888
00:52:18,910 --> 00:52:25,749
guitar pedal and it's gonna do this for
889
00:52:23,079 --> 00:52:28,209
this one spot you know what I mean and I
890
00:52:25,749 --> 00:52:29,969
would do that in my head all the time to
891
00:52:28,209 --> 00:52:33,339
the point where I started writing down
892
00:52:29,969 --> 00:52:36,609
what I was going to do and that included
893
00:52:33,339 --> 00:52:40,469
the patching the patch cable the length
894
00:52:36,609 --> 00:52:42,940
of cable the kind of cable balanced
895
00:52:40,469 --> 00:52:46,390
unbalanced everything about it
896
00:52:42,940 --> 00:52:50,529
I would patch it in my head because it
897
00:52:46,390 --> 00:52:53,410
was so boring to sit there and just doc
898
00:52:50,529 --> 00:52:55,900
would work on the snare for two hours
899
00:52:53,410 --> 00:52:58,329
and I just couldn't
900
00:52:55,900 --> 00:53:00,430
standed after a while there was one
901
00:52:58,329 --> 00:53:02,470
point I said the duck are you really
902
00:53:00,430 --> 00:53:05,140
gonna work on that snare some more and
903
00:53:02,470 --> 00:53:12,099
he just said go out and get me a pack of
904
00:53:05,140 --> 00:53:16,210
Winston's I swear to God and and he
905
00:53:12,099 --> 00:53:20,710
didn't say they he was you know this guy
906
00:53:16,210 --> 00:53:23,200
this guy was like um Clint Eastwood that
907
00:53:20,710 --> 00:53:26,319
was his persona but it was really him
908
00:53:23,200 --> 00:53:28,660
you know so he wouldn't say to me shut
909
00:53:26,319 --> 00:53:30,609
up you idiot he would just say go out
910
00:53:28,660 --> 00:53:37,180
and get me another pack of whinnies and
911
00:53:30,609 --> 00:53:41,579
that was means don't be a dumbass but it
912
00:53:37,180 --> 00:53:45,160
really helped me to home that idea of
913
00:53:41,579 --> 00:53:49,510
mixing in my head so as I'm sitting here
914
00:53:45,160 --> 00:53:51,670
and I'm poking away at this at this idea
915
00:53:49,510 --> 00:53:54,309
that I've got in my head about creating
916
00:53:51,670 --> 00:53:56,650
a lonely sound for her I'm realizing
917
00:53:54,309 --> 00:53:58,359
okay great this is going to be good but
918
00:53:56,650 --> 00:54:03,099
it's not going to work for the whole
919
00:53:58,359 --> 00:54:04,900
song of course so how and it's not going
920
00:54:03,099 --> 00:54:07,890
to work with the current arrangement of
921
00:54:04,900 --> 00:54:09,069
the song so then my head starts to go -
922
00:54:07,890 --> 00:54:11,200
okay
923
00:54:09,069 --> 00:54:13,599
do I change the arrangement and just
924
00:54:11,200 --> 00:54:16,869
move it down to like you know section
925
00:54:13,599 --> 00:54:19,539
maybe it's just going to be the roads or
926
00:54:16,869 --> 00:54:24,010
the guitar which I'm going to maybe put
927
00:54:19,539 --> 00:54:28,720
in this the same space as her and then
928
00:54:24,010 --> 00:54:30,190
I'm gonna bring that back okay all of
929
00:54:28,720 --> 00:54:33,640
these details you should be able to do
930
00:54:30,190 --> 00:54:36,309
in your head all the settings that that
931
00:54:33,640 --> 00:54:37,720
you change in the box you should be able
932
00:54:36,309 --> 00:54:40,930
to see them
933
00:54:37,720 --> 00:54:42,190
in your mind you should be able to do
934
00:54:40,930 --> 00:54:45,250
this all in your head
935
00:54:42,190 --> 00:54:48,010
just by coming up with a simple idea a
936
00:54:45,250 --> 00:54:50,079
simple sound you should have all of
937
00:54:48,010 --> 00:54:52,630
these settings and the way to get there
938
00:54:50,079 --> 00:54:56,440
is with practice and that's what I did
939
00:54:52,630 --> 00:54:58,510
so after doc left the studio and he
940
00:54:56,440 --> 00:55:01,529
would say okay make sure the recall is
941
00:54:58,510 --> 00:55:05,920
right then I would stay all night and
942
00:55:01,529 --> 00:55:08,980
get my mix on the board the one that was
943
00:55:05,920 --> 00:55:11,740
in my head that I had written down the
944
00:55:08,980 --> 00:55:16,029
things that I had in my my head and in
945
00:55:11,740 --> 00:55:19,630
my ear I would I would do and try to get
946
00:55:16,029 --> 00:55:22,329
to and that was my practice so it spend
947
00:55:19,630 --> 00:55:26,400
a lot of time practicing and trying to
948
00:55:22,329 --> 00:55:31,900
get those ideas out so I can't really
949
00:55:26,400 --> 00:55:34,930
speak more importantly about about how
950
00:55:31,900 --> 00:55:38,859
practice is really important how
951
00:55:34,930 --> 00:55:44,020
listening to other music and I used to
952
00:55:38,859 --> 00:55:47,170
listen to mixes by whoever you know was
953
00:55:44,020 --> 00:55:50,710
out and my favorite mixers and I would
954
00:55:47,170 --> 00:55:54,400
write down what I thought they did down
955
00:55:50,710 --> 00:55:57,339
to the cable down to the kind of guitar
956
00:55:54,400 --> 00:56:01,900
strings everything I would write down
957
00:55:57,339 --> 00:56:04,839
now none of that was probably true what
958
00:56:01,900 --> 00:56:09,880
I wrote to him but what it did was it
959
00:56:04,839 --> 00:56:12,010
trained my ear to say oh I want the
960
00:56:09,880 --> 00:56:16,660
sound that Bob Claire Mountain got on
961
00:56:12,010 --> 00:56:20,200
this INXS record on the kick drum and
962
00:56:16,660 --> 00:56:24,010
I'm sure Bob didn't do anything that was
963
00:56:20,200 --> 00:56:27,339
in my head I didn't get it right but I
964
00:56:24,010 --> 00:56:30,279
had an idea and that's how those ideas
965
00:56:27,339 --> 00:56:36,220
get created they don't get created by
966
00:56:30,279 --> 00:56:38,260
floundering around on your dog they get
967
00:56:36,220 --> 00:56:41,049
created by coming up with an idea in
968
00:56:38,260 --> 00:56:43,539
your head and that was my original point
969
00:56:41,049 --> 00:56:46,420
when I said I spend a lot of time
970
00:56:43,539 --> 00:56:49,270
listening so I'll sit there and listen
971
00:56:46,420 --> 00:56:50,799
and I'll look at my second and I'll say
972
00:56:49,270 --> 00:56:53,410
what does this remind you of
973
00:56:50,799 --> 00:56:55,210
and then we'll listen to that song and
974
00:56:53,410 --> 00:56:57,490
I'll think what does this remind me of
975
00:56:55,210 --> 00:57:00,819
and I'll listen to that song you know
976
00:56:57,490 --> 00:57:02,770
maybe I'll grab a delay setting from
977
00:57:00,819 --> 00:57:06,700
that song or maybe I'll come up with a
978
00:57:02,770 --> 00:57:09,549
kick drum sound for the bridge that is
979
00:57:06,700 --> 00:57:11,920
similar to this other song or whatever
980
00:57:09,549 --> 00:57:15,460
it is I might utilize those references
981
00:57:11,920 --> 00:57:18,130
in the same way that a poet or a visual
982
00:57:15,460 --> 00:57:20,410
artist will utilize references to
983
00:57:18,130 --> 00:57:23,080
something else right you
984
00:57:20,410 --> 00:57:32,860
understand what I'm going anybody have a
985
00:57:23,080 --> 00:57:35,380
question about that yeah do you not
986
00:57:32,860 --> 00:57:37,450
understand this do you speak Spanish you
987
00:57:35,380 --> 00:57:39,120
speak Spanish how many of you do not
988
00:57:37,450 --> 00:57:42,250
speak Spanish
989
00:57:39,120 --> 00:57:45,850
does anybody unclear about the mood of
990
00:57:42,250 --> 00:57:54,070
this song you're unclear what do you
991
00:57:45,850 --> 00:57:57,750
think the mood of the song is does
992
00:57:54,070 --> 00:58:01,090
everybody else agree we all agree she
993
00:57:57,750 --> 00:58:04,570
sets the mood I don't need to know the
994
00:58:01,090 --> 00:58:11,430
exact lyrics I work on kpop I don't know
995
00:58:04,570 --> 00:58:11,430
what they're saying I don't
996
00:58:12,390 --> 00:58:18,000
I don't I don't need to know exactly
997
00:58:15,900 --> 00:58:20,039
what she's saying and I and I do of
998
00:58:18,000 --> 00:58:22,859
course I asked her what is this song
999
00:58:20,039 --> 00:58:25,349
about and she'll explain to me but in
1000
00:58:22,859 --> 00:58:27,510
the end she only needs to make sure I
1001
00:58:25,349 --> 00:58:30,390
know if I'm going the wrong direction
1002
00:58:27,510 --> 00:58:32,309
right because if I go in the wrong
1003
00:58:30,390 --> 00:58:35,400
direction she'll immediately say what
1004
00:58:32,309 --> 00:58:37,349
the hell are you doing but if I go in
1005
00:58:35,400 --> 00:58:40,859
the right direction she's already told
1006
00:58:37,349 --> 00:58:43,890
me what the direction is I mean we all
1007
00:58:40,859 --> 00:58:45,839
anybody who's worked in music knows you
1008
00:58:43,890 --> 00:58:50,549
listen to the vocalist if she doesn't
1009
00:58:45,839 --> 00:58:52,559
tell you where he in the the way they
1010
00:58:50,549 --> 00:58:55,109
perform it if they don't tell you what
1011
00:58:52,559 --> 00:58:59,130
that song is about then they're just not
1012
00:58:55,109 --> 00:59:01,140
good that's that's it bottom line I mean
1013
00:58:59,130 --> 00:59:03,839
if if we're working on pop music and a
1014
00:59:01,140 --> 00:59:09,809
vocalist doesn't explain by their
1015
00:59:03,839 --> 00:59:15,000
performance what the song is about like
1016
00:59:09,809 --> 00:59:20,039
candy rain I just didn't know what that
1017
00:59:15,000 --> 00:59:24,359
song was about to this day I'm not sure
1018
00:59:20,039 --> 00:59:25,519
I know what that song is about but you
1019
00:59:24,359 --> 00:59:28,519
get my point
1020
00:59:25,519 --> 00:59:28,519
yeah
1021
00:59:30,130 --> 00:59:33,399
[Music]
1022
00:59:41,839 --> 00:59:56,910
to hearing what what's doing you know I
1023
00:59:54,359 --> 00:59:59,609
remember I play guitar and I went to
1024
00:59:56,910 --> 01:00:05,339
Berkeley and the teachers at Berkeley
1025
00:59:59,609 --> 01:00:07,049
were amazing musicians and in those days
1026
01:00:05,339 --> 01:00:08,190
at Berkeley you had to play an
1027
01:00:07,049 --> 01:00:12,720
instrument I don't know if you do
1028
01:00:08,190 --> 01:00:17,039
anymore and I really sucked and the and
1029
01:00:12,720 --> 01:00:19,499
the teachers were really good and I
1030
01:00:17,039 --> 01:00:22,410
remember the teachers saying to me
1031
01:00:19,499 --> 01:00:26,989
why are you playing and I'd be like well
1032
01:00:22,410 --> 01:00:31,289
it's my turn or something it's my spot
1033
01:00:26,989 --> 01:00:34,970
and he's like no you don't have a clue
1034
01:00:31,289 --> 01:00:45,960
what you're doing or why you're doing it
1035
01:00:34,970 --> 01:00:49,349
so to to dissect what you want to do you
1036
01:00:45,960 --> 01:00:51,869
have to train your ear and by training
1037
01:00:49,349 --> 01:00:55,049
your ear as an engineer I mean you have
1038
01:00:51,869 --> 01:01:02,640
to train your ear to know different
1039
01:00:55,049 --> 01:01:06,109
sounds right so if you're a beginner you
1040
01:01:02,640 --> 01:01:09,599
should not be mixing you should be
1041
01:01:06,109 --> 01:01:13,920
training your ear you should be spending
1042
01:01:09,599 --> 01:01:16,499
time with every plug-in you can find
1043
01:01:13,920 --> 01:01:19,200
with every piece of hardware you can
1044
01:01:16,499 --> 01:01:21,319
find that is emulated as a plug-in and
1045
01:01:19,200 --> 01:01:24,539
understand what their differences are
1046
01:01:21,319 --> 01:01:27,749
you should be spending time listening to
1047
01:01:24,539 --> 01:01:31,109
other music can you pick out the
1048
01:01:27,749 --> 01:01:34,109
instruments in a song start from there
1049
01:01:31,109 --> 01:01:38,190
that's ear training can you pick out
1050
01:01:34,109 --> 01:01:41,160
every instrument in a song and then can
1051
01:01:38,190 --> 01:01:43,950
you pick out what box they came from can
1052
01:01:41,160 --> 01:01:48,420
you pick out exactly what soft synth and
1053
01:01:43,950 --> 01:01:51,930
what setting can you do that that's
1054
01:01:48,420 --> 01:01:54,230
training your ear and trust me there's
1055
01:01:51,930 --> 01:02:00,540
people in this room who can do
1056
01:01:54,230 --> 01:02:03,780
right in and of course you know when
1057
01:02:00,540 --> 01:02:06,660
when most music was made by musicians an
1058
01:02:03,780 --> 01:02:09,180
engineer could tell what kind of bass it
1059
01:02:06,660 --> 01:02:12,150
was the exact kind of bass what kind of
1060
01:02:09,180 --> 01:02:15,480
strings were on that bass everything
1061
01:02:12,150 --> 01:02:19,410
about it they could hear if you can't
1062
01:02:15,480 --> 01:02:23,840
hear at that level then how can you come
1063
01:02:19,410 --> 01:02:26,100
up with an idea for a sound of a vocal
1064
01:02:23,840 --> 01:02:28,380
right how can you come up with an idea
1065
01:02:26,100 --> 01:02:32,160
for a sound for a bass so when I'm
1066
01:02:28,380 --> 01:02:35,910
messing with the bass I'm thinking oh I
1067
01:02:32,160 --> 01:02:38,910
want to put old strings on this bass or
1068
01:02:35,910 --> 01:02:42,210
I wanna I wanna I want one of the
1069
01:02:38,910 --> 01:02:45,960
pickups to be up you know like a
1070
01:02:42,210 --> 01:02:48,570
bad chord and that's what I'm thinking
1071
01:02:45,960 --> 01:02:50,040
in my head how can I mess with this in a
1072
01:02:48,570 --> 01:02:53,790
particular way that gives me this
1073
01:02:50,040 --> 01:02:56,400
feeling so you've got to train your ear
1074
01:02:53,790 --> 01:02:59,130
first so that those sounds are all
1075
01:02:56,400 --> 01:03:04,080
logged in there's a big file in there
1076
01:02:59,130 --> 01:03:07,890
going okay bad chord bad pickup old
1077
01:03:04,080 --> 01:03:10,710
strings cheap loop bump and that comes
1078
01:03:07,890 --> 01:03:12,510
out well that's what you hope comes out
1079
01:03:10,710 --> 01:03:13,860
sometimes it doesn't come out and
1080
01:03:12,510 --> 01:03:16,110
something better comes out and you say
1081
01:03:13,860 --> 01:03:18,690
oh that's got brand new strings on
1082
01:03:16,110 --> 01:03:21,660
it but an old you know but one bad
1083
01:03:18,690 --> 01:03:23,490
pickup you know I don't know these are
1084
01:03:21,660 --> 01:03:25,380
the kinds of things that you've got to
1085
01:03:23,490 --> 01:03:27,570
be able to hear in your head so ear
1086
01:03:25,380 --> 01:03:30,710
training is the thing to be doing if
1087
01:03:27,570 --> 01:03:35,180
you're just starting now because
1088
01:03:30,710 --> 01:03:39,330
mastering how to use the gear this stuff
1089
01:03:35,180 --> 01:03:40,950
that's easy that's easy Tony I think
1090
01:03:39,330 --> 01:03:42,630
that was a great answer I think that's
1091
01:03:40,950 --> 01:03:46,940
unfortunately all the time we have left
1092
01:03:42,630 --> 01:03:46,940
so big thank you to Tony Maserati
1093
01:03:47,210 --> 01:03:59,089
I also want if you can give us one more
1094
01:03:57,800 --> 01:04:01,580
round of applause the people who are
1095
01:03:59,089 --> 01:04:02,270
able to sponsor this so it could be free
1096
01:04:01,580 --> 01:04:04,490
to the public
1097
01:04:02,270 --> 01:04:08,800
both in person on video big thank you to
1098
01:04:04,490 --> 01:04:08,800
Mick DSP for bringing Tony here
1099
01:04:10,200 --> 01:04:17,210
[Music]
1100
01:04:19,370 --> 01:04:31,530
[Music]
83456
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