03 - Darkness and Leeders Farm - HD 1080p-Session Recall Podcast Mp3
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[00:00:00] Brino: You know how many bands not got to not make a record on Atlantic. All got dropped because of one man's excess spending, pointless, needless spending on that album.
[00:00:11] Brino: got the call from Roy Thomas Baker and Dan actually from the Darkness to. Would I like to be the engineer on their second album? Obviously they'd gone massive and at the time, biggest rock band in, in, in the World and massive singles. And yeah, it was time for album two, which they decided to use Roy and obviously they, it's well known, they loved Queen and there's a big queen influence on them.
[00:00:32] Brino: So going to Rockfield using the quadrangle where. Queen had recorded nightly opera in s heart attack. That was like massive for them. And then where was like, well, shall I bring my engineering? Dan Dan's two favorite albums recent albums that had been done were pretty sure they were the Teenage Fan Club one.
[00:00:51] Brino: And the beater band. Bizarrely. So, and I'd expecting that. So when he looked at them I'd done both those albums. So he was like, yeah, we should use Nick. He's from Rockfield, we're gonna rockfield, blah, blah, blah. Spoke to Dan, spoke to Roy, met Dan, and when he came to look at the studios and yeah, hit it off straight away.
[00:01:09] Brino: And that was, that was it onto one Way Ticket, the second album. Cause I remember you
[00:01:14] Jon Con: saying like, you, the Darkness was really almost like the last big album. , yeah. Of like the, you know, the old
[00:01:20] Brino: school budgets. Yeah. I mean, it was the first one that had come along for a while at Rockfield of that kind of budget.
[00:01:25] Brino: I mean, they booked the whole place cuz Roy didn't want anyone else around studio. The coach Air Studio was used as like pre-production rehearsals and the quadrangle was used as the main recording studio and then some of the band was staying up in the coach house. Some were staying over in the corner.
[00:01:39] Brino: The whole place was booked. Massive expense. Private chefs brought in. And it went on for 16 weeks, , so we thought it'd be six, but it went on for 16 weeks. Massive, massive expense, and that wasn't the end of it. Then it was 10 weeks in Whitfield Street in London, then it was four weeks in Arizona. So massively massive long album.
[00:02:00] Brino: Massive budgets, higher, higher budgets. Like you not, you haven't seen that since, like the mid to late nineties, really that kind of budget for higher equipment. Mm-hmm. hiring in guitars, hiring an outboard chefs hiring cars. Where did you hire cars? Well, I didn't, obviously Roy did complete waste of money, complete waste of time.
[00:02:19] Brino: That money could have been much better spent, probably invested in some new bands and some new talent developing a, you know, how many bands not got to not make a record on Atlantic. All got dropped because of one man's excess spending. Pointless, needless spending on that album is sickened me at the time actually.
[00:02:40] Brino: So
[00:02:41] Jon Con: was this the, was it the land? No. Was it Land Rover,
[00:02:44] Brino: Mercedes? Big Mercedes. Left running big Mercedes. Oh yeah. Had to be left running. His had to be optimum temperature at all times in case he needed to get in it and go and pick up his phone charger from a house that was about 30 yards away. So I'd offered to go pick up the charger.
[00:02:59] Brino: Why don't you just turn it off, save some fuel, you know, do, do a bit for the environment and save some money and if we could we could run up and get it for you. Yeah, very strange going on. Very strange. But I mean, it was the start of a great relationship with em. For me, you know, it was a tough album to do.
[00:03:15] Brino: The Tough Second album. It was quite difficult to work with. Lots going on behind the scenes on that, on that album. Lots of not, not great things, but ultimately a, an amazing band with amazing songs. Yeah. Amazing players, not great people. Making a great record, you know, and, and for all, for, for what I saw as really negative points with Roy, I did learn a lot of, of him, you know the best, the best use of recording the tape I've ever, I'd ever seen was with Roy.
[00:03:43] Brino: The stuff I learned how to record and the kind of levels he could slam to tape and. All that technical side of it was just in awe of him watching it, his knowledge and his ability to do that. And then loads the other side of producing, I learnt loads like not how not to do shit and how not to be a dick.
[00:04:04] Jon Con: So Did you learn like the, you learned a little bit about the guitar sounds of Queen, would he? Harry got the Queen guitar. Yeah. Is.
[00:04:12] Brino: The queen guitar sign. Yeah. So we'd, you know, luckily they still got the preamps there that he would've used in the seventies, so we could the chain was pretty much the same as it was in the seventies, obviously, slightly different amps, although we got the, the, the boxees in and everything as well.
[00:04:27] Brino: But there was, I mean, it was just excessive. Everything was, why, why are we having one app when we can have seven? You know, there was, there was speakers in the echo chamber running long cable. Up on poles so that cars could still drive under them. They were up on poles, so they were like, it was like a washing line going across the courtyard to a four by 12 in the echo chamber, and then there'd be a a four by 12 in the dead room, a four by 12 in the live room, and these would all be going at the same time.
[00:04:54] Brino: It was quite thorough getting the same, it was two weeks set, set up time for that album before a note, a note was played. So ev we had like lots of, we'd try every four by 12 with every mic combination, every part of the room, and then we'd try different combinations and once we kind of got it, we'd nail it down.
[00:05:11] Brino: Same with the drums, loads of mics moving 'em around. And once we got it, we'd actually had to literally measure the distance between the skin and the mic and the, the side of the drum and the. Take photos of where they were and we'd have to make sure never, ever moved cuz of his O c D I guess he, he could, you know, it always had to be exactly the same.
[00:05:30] Brino: So you come from this approach of working with someone like Owen where a mic's fallen over, ah, first it sounds great, just leave it to , you know, to well has it fallen over? Has it been like that for the last seven takes? I sounds great to someone who would absolutely lose his mind and tear you a, tear you a new asshole.
[00:05:47] Brino: If it, if it had even moved half a centimeter, I suppose. I
[00:05:51] Jon Con: suppose has that come from like the, you know, if he, if he came out from like being traditionally trained in some, like, you know, like the old, you know, like some of the more formal studios, they like Abbey Road or like the Trent stuff where like, you know, that everyone had the white coats and stuff and you had to kind of be very precise and I suppose it's great for the, the the
[00:06:09] Brino: recall.
[00:06:10] Brino: Yeah. So it's like, say you came back to some Yeah. Elements of that is great. Elements of that is great. And I'm sure it comes from, some of it comes from that. Other elements of it come from. , O C D and some just come from pointless because we can and because, yeah. Yeah, let's just and it is, yeah, it's mad.
[00:06:30] Jon Con: Now you think about it, it's like, obviously it's great to have that time for set up and now, like we don't, you don't really get those opportunities anymore. Two, it's more like,
[00:06:38] Brino: okay, can you imagine a day for a setup? Can you imagine a bank? I'm right. We're gonna take two weeks to get the sounds. You'd be like, we've recorded, we, we have like about a week to record a whole album.
[00:06:47] Brino: Now, you know, two weeks to mix it as well. Yeah. Do you know? Yeah. So it was completely excessive, a million quid spent. And I mean, the album could have been made a lot, a lot cheaper than that. You know, it's, they still, at the end of the day, they still made a great album. We had a great time. There was really hard times and difficult times making that album.
[00:07:05] Brino: But the myself and the band and Richie. Dan's tech and well, the band's tech for the whole record. He was there the whole time. We eventually ended up joining The Darkness and then Stone Gods lovely, lovely man. Yeah, it was, we all bonded and we had a great time. That kind, but it was yeah.
[00:07:21] Brino: Difficult album to make as well. Long, arduous process. But you always learn things even in negative situations, you always learn. Yeah. If it's how, if it's not how not to do something or if you can see you. Pick up great tips of someone as legendary as Roy, you know, then. then it's great. But yeah, just I didn't, I didn't like his methods and his processes and his, his treatment of people really, I thought, I felt that was unnecessary and not a, not a world that I come from all came from and was certainly involved in.
[00:07:52] Brino: For the, the first kind of 10 years of my career in through the nineties, working with those kind of guys. Yeah, not really. Not really seen that one or two possibly producers now and again, but that whole, that whole style and you know, when you can say to someone, I've already been paid a few million dollars to work with Axl Rose, and we've not recorded anything yet.
[00:08:11] Brino: You know, that's a completely different world that, you know, he just comes around my house, we just kind of write some lyrics. Then he goes home. We haven't recorded anything yet, but yeah. You know, and it's a couple million dollars in the bank and nothing has been recorded. And we are struggling to make records on shoestring budgets all of a sudden.
[00:08:27] Brino: And bands are trying their best to make records. It's like this's just a world I wasn't, I wasn't in and uncomfortable with Really. Yeah.
[00:08:35] Jon Con: So the album gets finished. The album comes out. And then what will happen. Next thing is Dan, does Dan approach you about leader's
[00:08:44] Brino: farm? Yeah, we stayed, we stayed in touch.
[00:08:46] Brino: Obviously we worked off a long time through that. It was, I mean, you know, me and Dan were there at that computer. Roy didn't, doesn't go near the computer, so we were kind of there the whole time. Me and Dan kind of doing majority of the editing and kind of stuff on that album. You know, Dan was as much as a producer as as Roy really.
[00:09:03] Brino: He's a great engineer and a great producer, actually. Really good mix engineer as well. Dan. It's as is Justin. Justin's really, really good as well. So yeah, it was after we stayed in touch, went to some live shows and then Dan messaged me and said he'd bought this this farmhouse in Norfolk and said he was kind of fed up of like being on.
[00:09:23] Brino: And then having to write a record and then having to go away to rehearsals down to London. You've gotta stay in hotels and you've just got back from staying in hotels for a year, you know, and you wanna spend time with family and with friends. So he was like, I bought this place. I want to want a rehearsal room there so the band can all come here.
[00:09:38] Brino: We can all be together. We don't have to go hotels when we're back off tour. We can got somewhere, we can come and not have to go down to London. So he is like, when you come up and have a look and see, we want to record our rehearsals, maybe you can put a little setup in. . So I went up and he had a bit of few bits of gear and we looked at it and the main barn his dad was working on was gonna be the main live room for the rehearsing.
[00:09:59] Brino: And then there was a separate room and we were like, we're gonna separate this off and we can have a little setup in here so you can record and work in that, you know, work just in that room. Cause it was a massive room as well. So yeah, it was like, I bought a few, few bits of gear. Got my mate's studio came involved and.
[00:10:16] Brino: Started putting a little demo set up together and we actually, while doing it, we recorded a couple of B sides for the darkness with me and Dan producing them. And they, they ended up coming out, coming out really well. And it was just a like little makeshift demo studio at that point. Yeah. And then and then, and then it fell apart for the darkness.
[00:10:34] Brino: And Dan was like, right, well what we gonna do now? We're gonna, we are. Start starting to fall apart from that to that point. And yeah, we'd say, well, we should build a proper studio. We should do our next album here. The next darkness record here. This should be me and you should produce it. He said, we'd do it here.
[00:10:51] Brino: All the money we can save. We'll have a decent budget. We'll all get paid really well. We can take as long as we want, blah, blah, blah. And he really wanted to produce that next album and do it with me. So we started putting a proper studio together. The design the acoustics, the the layout.
[00:11:05] Brino: Everything is done. Was an amazing builder and his uncle's electrician, so between them two and his his other uncle lovely man, he was a proper grafter as well. Uncle, uncle Allen, I think he was yeah, they set about building the studio that we designed. And we built a proper reside studio from scratch sitting up night after night to like studying university papers.
[00:11:27] Brino: What we wanted, talking about all the great studios we'd been to in the past. So it would've elements of Rockfield, Ridge Farm, mono Valley, the Manor, all these great residentials. How can we do this? And just making sure we made. Great use of every little space in the place, but also giving it a vibe and some magic that when you walked in you just went, it was a wow.
[00:11:47] Brino: And we did, and that was LE's Farm was born. How long did the bill process take? Well, we started it in the November, I think we're about 2007, 2006, November, 2006 maybe. And we finished in August the following year. So the following year I got my mate mark Ruby actually came in for like kind of the first session as like a test session came in, we got band in yeah, so through to the following August.
[00:12:13] Brino: I mean, this was an eight bedroom. residential studio with three acres of land football, pitch fruit orchards two little lakes, a little boat on the, on the pond or lake, whatever you wanna call it. Massive live room, vocal booth, separate machine room, amazing size control room. We went to Whitfield Street where obviously we'd spent 10 weeks on the second darkness.
[00:12:34] Brino: and they'd closed down and we went to the auctions and just me and Dan, we'd kind of thought about what we wanted to buy from there. Cuz obviously building a big studio, a lot of this stuff was really useful to us. And we went around and we were talking to people, you know, all the funky junk guys and other people and they were like, there's so much stuff here, we're just gonna wait and see what the first few lots go for and engage the prices.
[00:12:54] Brino: Cuz the, at the beginning it's always too high and then as it tails off and the prices come down, blah, blah, blah. And I just said to. I think we should just steam in, get all the best pieces first, get 'em, get in and get out. And he was like, yeah, definitely. So we did and we ended up getting everything like stupidly, not stupidly cheap, but way cheaper than if we'd have waited.
[00:13:15] Brino: So we got, and we got the pick like we could, you know, the, the best we got, the better tape machines, the better plates we got all the LCAs, we got all the 1176 s, the U 47, the, the mic collection. We just came out of there with like so much stuff. It was amazing. And we. Really reasonable. By the end, people were paying more for an re 20 that you could buy 'em new for, you know, it was just ridiculous.
[00:13:38] Brino: So a truck came and we lo loaded it all back up and that was ready for the in-store cuz the building work was kind of almost done. And I think Island Studios had closed down at that point as well. And they donated, they said to Dan, and we know you're building a studio, and he knew those guys from his days working with em.
[00:13:54] Brino: And they gave him things like the tans the. , the big DM two s I think they were. So we had all of a sudden big monitors for the walls, donated loads of outboard from them, a few mics, and we had all our tape machines from Whitfield. And then the final piece of the puzzle, we bought the car wreck mixing console from to Rag Studios.
[00:14:13] Brino: Oh, is that where it came from? That's what it came through. It'd done the white Stripes record. Yeah. And he was fitting his emmi eventually that he dad sat there for years. Right, okay. Yeah, that was, that was the desk which we overhauled, modded. So when the INTA went in, we got the tech team from Rockfield, which was Richard Griffiths and Gil bell into fit the studio.
[00:14:32] Brino: So between me, Dan, and those two, , we installed the studio and the desk was all modded, we new transformers and we made it direct outs and kind of gave it a full overhaul. It's just sounded so good that desk and because
[00:14:45] Jon Con: Am I right in thinking in Leader's Farm you had that you had a Neve and a Cal Rack?
[00:14:50] Brino: Yep. So Dan had bought the Neve. I think he might have bought it off Toby from Quai, I think. So we had the Neve side car. We had the car wreck console, then we had a control 20. So the Pro Tools was housed off to one side, so I could always be working there. And the desk was kind of all about just working at a desk.
[00:15:09] Brino: Yeah, Bryce announced on the, on the, on the monitors. See, the crazy
[00:15:13] Jon Con: thing now though, like those controlled 24 is you can still work on the Pro Tools now because was it I think it's Nain. They worked because he, they designed the he was working for AVID at the time. Yeah. He's reverse engineered it.
[00:15:24] Jon Con: So work on maci control. Right. Okay. So he could, like, they went, they went like massive bricks and stuff for a bit. So we're signed for like 500 quid. Yeah. And now like you can you, they're still usable now. We left
[00:15:35] Brino: IT channels. We love to not having to use the screen. We would turn the screens off sometimes.
[00:15:40] Brino: Yeah. And just use the control 24. And we add one of the early ones, which I think. The better focus Right. PR in which maybe, oh, so they might have had the isop pr, the isop PR in it, which just sounded great. And we AB tested. Yeah. When we did recorded guitars with Dan, we would always ab test between using the car wreck, using the Neve or using the control 24.
[00:15:58] Brino: And sometimes we would pick like blind tests, so sometimes we would pick the control. 24 of those Iris were, were, were great as. But we had everything, all the gear, the outboard, the mic collection. He bought the 40 sevens that had been used on ac dc records and. F fantastic studio, amazing sounding studio.
[00:16:16] Brino: You know, we could change the, the ambience in the live room with these kind of sales that we'd built on the ceiling and it was really high ceiling. We'd great if you get a chance, look at the pictures online for Anita's farm and a really nice 300 year farmhouse with open fires and grand piano in the lounge and business.
[00:16:33] Brino: Yeah. And it wasn't long before business was already booming and we started to attract really good clients. Yeah, cuz you. it got nominated in it for Studio of the Year. Yeah. Was that early on? Yeah, early on. So maybe not the first year was kind of the rest of that first year was darkness had finished by this point.
[00:16:54] Brino: So Dan was like, right where we go commercial with the studio. So the Stone gods had started. So we are working on a Stone God's record which is a fantastic album that they made, the first album. And few little bits of sessions. A lot of my clients that I'd worked with started. And then a man called we had a phone call from a mutual friend of mine and Dan's Welsh guy.
[00:17:12] Brino: And he was managing a guy called C six Steve, who had nowhere to live and wanted to make an album, and seasick basically came and lived with us for six months. We took him in, he'd bought his van in his porridge, porridge, pot, and that was it. We made an album. Halfway through that album, he signed a big.
[00:17:29] Brino: Big publishing deal, big record deal, and all of a sudden, at the age of 67 or something, he got his first major record deal halfway through making this album. He had some amazing equipment and amazing guy to work with. Yeah, really recording Evident Live. Just him and his drummer really good. And he loved our studio with all the vintage gear and the countryside and all that.
[00:17:48] Brino: It was right up his street. And yeah, it was a great album to be involved in. So cuz that was like the first, and that, that was the first year really. And that brought us clients, like through working with Steve was like Nick Cave and Katie Tunstall. And then it just kind of escalated and, and loads of great bands of that.
[00:18:08] Brino: and just started coming there and we got Studio of the Year in, I think the music Week Studio of the year, whatever it was. Mm-hmm. , yeah. 2009. So yeah, we started builds like 2007. So yeah, 2009 we were Studio of the Year. And that just, it went from strength to strength, you know, bands like the Arctic Monkeys came in.
[00:18:30] Brino: I did all the pre-production with those guys for hum. . And they'd had a big, big break from playing. So they were getting to know each other again, getting to play, and I set 'em up in a circle or live just a few mics, kind of like Rick Ruben would've done something like that. was, was in my head.
[00:18:43] Brino: And yeah, they were amazing. Band blew me away. And So, so with Alex, amazing. Like, so talented and yeah, it was a great session to be involved in. Lots of great bands then just came through and, you know, new and established bands and old bands, Steve Harley, people like that. And it was this new studio that all of a sudden just had all these amazing clients, teenage Fan Club, came back, did a solo album with Jerry from Teenage Fan Club there, an album with Paul Quinn who was in teenage fan club for Primary five there.
[00:19:13] Brino: Load of scotch bands and yeah, me and Dan producing records together cuz Dan had really got into his producing. We did a Stone World record. . We had, yeah, and an amazing part of the world actually. A really, the location, the village, the people we became friends with, the village, the local pub with Tony and in the pub.
[00:19:30] Brino: It just, it, everything just worked and everything fitted. And it was like the ideal studio. Yeah. And we got so busy that we'd had to put a second studio in which we turned, we had some accommodation in like an outbuilding and in the end we were like, we need another studio cause we can't work on our staff.
[00:19:46] Brino: Me and Dan couldn't, cuz the big studio was booked all the time. So we converted the outbuilding into Studio two. Had an old tape machine in there, had an old sand craft console in there. Some great outpours. Is that. Soundcraft 400. It was the, cause I've got the 400. It was the old, an old black one, a 16 channel.
[00:20:07] Brino: I can't remember what model it was there. Okay. I've got the 400 beeps, that corner over there. Yeah, it was great. And we had a good mic collection cause I had a lot of my own stuff. So a lot of that went into studio too. And then that became busy. And we couldn't we couldn't, we were turning people away.
[00:20:21] Brino: But we, the second studio was great cuz it enabled the assistance to be able to record all the local bands and so they, their engineering skills were getting better and better cuz they could go. Local artists and we could do really good rates for local artists cuz we are strong believers in grassroots music and developing bands.
[00:20:36] Brino: Some we've always done so they could go in at this affordable studio. With one of the assistants and make affordable records. And I could use it for mixing, and me and Dan would always be in there doing our Edison and mixing, waiting for a day to become free in the big studio. And yeah, a bit like, you know, one of, one of our claim to fame that Leaders farm was bit like Rockfield turned away.
[00:20:56] Brino: Michael Jackson is we've turned away Ed Sheeran. But on several occasions, , we were so busy, this young kid used to come to the gate, ring our bell all the time. He was a big fan of the darkness and we didn't know who he. Kate always came bringing his guitar, can I come in, can I do some recording? He used to email me, turn up at the gate again, and Dan be like, oh, he's that kid at the gate again.
[00:21:17] Brino: We, we got into his studio time, so I, I'm showing him round, I think the Arctic monkeys were in, and I showing this guy around and he's like, is that the Arctic Monkeys? I'm like, yeah. He's like, right. Of course, at this point, nobody knew who Ed Sheeran was. So, so, and, and I, in the end, he, he was, . Yeah, he was kind of relentless wanting to, wanting to come in and we would love to, but it was so busy.
[00:21:38] Brino: And I just said to him, look, soon as the second studio's empty, you can come in, do some demos, we'll put you in with one of the assistants, whether it's Alex or Owen or Dougle, and they'll make a record with you cuz he was so persistent and his demos he'd sent me were, were really good. And he was always polite when he came to the gate and cuz he was a fan of the darkness and that, so, but we just didn't have any time.
[00:21:56] Brino: And it wasn't until we were. , I'm judging a competition in in Norfolk called the Next Big Thing. I think it was where he, he was on and he, he won that competition the next big thing. And he strangled quite a big competition for that area. So that was the next time we saw him. He was like, that's that guy, that's that guy who turns out at the studio all the time.
[00:22:16] Brino: So yeah, but we never, he never got to come in. And then the rest obviously is history, you know, and it's not there anymore, so we can't come. Suppose he does, .
[00:22:23] Jon Con: It does, it does show you kind of the drive. You have some, some artists where like they're kind of relentless. Yeah. And like how much sometimes you need to work, I guess.
[00:22:31] Jon Con: Yeah. Or.
[00:22:32] Brino: To kind of, yeah. I mean, it was the best studio in area by far. That's, he wanted to be in the best place. He's a fan of the darkness of coming to getting to go and work in the Darkness studio, whatever. That was cool for him, you know? And he just wanted to record, he just wanted to record his tracks.
[00:22:44] Brino: Yeah. You know, he just, him and his acoustics, so, yeah. Sorry, ed . So
[00:22:49] Jon Con: how long did you, how long
[00:22:50] Brino: were you at Leaders Farm for? Five years. So from that 2006 when we started to, in 2011. So the darkness had got back together. that year. Right. And they asked me to produce the album with him. So yeah, everything else was behind him by that point and produced an album.
[00:23:08] Brino: We did Hot Cakes at Leader's Farm and virtually, virtually one of the last records that was done there. I think after that I might have done. One more album with a band called Maker, which I think was possibly the last album. Lovely, lovely guys. Again, loads of great fun because did we finish that album off in Rockville?
[00:23:28] Brino: We did, yeah. Yeah. So we started it in there and then literally many years later, well literally that start, that that studio closed and we had to finish it off at Rockfield. So I think maybe the Burning Crows and Maker were the last two bands there, but we'd done this darkness. and then obviously the darkness were back recording.
[00:23:47] Brino: Obviously finances were tight. And Dan had this property. There, there was this real estate that was worth a lot of money as real estate with the land, with the planning permission to build other houses. And the place was so be, it could, could be converted into two houses. So I tried to buy it and you know, I w.
[00:24:04] Brino: Went with the bank and kind of figured out how much we could borrow and it just wasn't enough compared to what it was worth as an investment, you know, as a developer to a developer. And Dan said, well, if you are not gonna be here running it and take it over, I don't think anybody should. It should live and die with us.
[00:24:19] Brino: Our blood, sweat and tears had gone into it. We'd brought it into one of the best studios in country. Yeah. In a very short space of time. And very sad. Yeah. Very sad to see it go, but it was like he could, it was worth too. The developers and yeah, it got sold off and it's a shame magic place.
[00:24:37] Brino: You sometimes you just create something with a bit of magic that you don't quite know how it got that magic. It just did. You could built lots of other studios and they're great studios, but something about that place just was the perfect setting. , the location, the people around the place, the people we had working there.
[00:24:54] Brino: The just feel of the place, the rooms, the spaces, the sound equipment it just all came together. Couldn't have asked for more without studio really, I
[00:25:02] Jon Con: suppose. Yeah, I think, I think part of it is, I mean, the location is just
[00:25:05] Brino: Norfolk way. Yeah, so we were in Norfolk, little bit is called Spooner Road, just between Windham and.
[00:25:11] Brino: because it is, yeah.
[00:25:12] Jon Con: It's like, I suppose it's really close. It's really close to London, but it's far enough away.
[00:25:15] Brino: Yeah. Easy to get there on the train. Up to knowledge. Yeah, knowledge is a great city as well. Team also, I think the experience you and Dan had as well. Yeah. Oh, we had the time of our lives.
[00:25:24] Brino: Stressful building it as well, but with time at the parties, the kind of that time of our lives, no kids, you know, bit of surplus income studio was doing well, blah, blah. And it's yeah. Yeah. Time of our lives hit it off, you know, it was, Really good friends. I got, I got married at that point and he was the best man at my wedding.
[00:25:42] Brino: Yeah. So happy, happy memories. Yeah.
