SR 17 - Viewers Questions Part 1 - HD 1080p
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[00:00:00] Brino: When someone will say, I've only got, yeah, two or 300 pounds, or should I get, I want a basic sound card for doing voiceovers or something like that. Usually that just means I phone Ricket Studio Care and find out what, what, what do you recommend? What's the best deal you can do with, and I just recommend that one to them.
[00:00:15] Jon Con: That's a much better way to do it, right?
[00:00:18] Brino: So what we do, John got today,
[00:00:19] Jon Con: do this session, session record podcast. Let's get out the small talk. What I was thinking of doing today. Is just through Facebook, Instagram, YouTube comments, like personal messages and stuff around like production bits and pieces. Yeah.
[00:00:32] That we've done around, like everything we've talked about for the last, is it 17 episodes
[00:00:37] Brino: now? You say 17 years then John . So long, everything we've talked about generally been talking shape for .
[00:00:43] Jon Con: That's how long it feels. ,
[00:00:45] Brino: how long have you been here now, John? I
[00:00:47] Jon Con: dunno. I dunno. I think we've gone up to 10 years now, Nick.
[00:00:50] Brino: Well, is it right? Okay. We're gonna do a a view his questions, a viewer questions. Yes.
[00:00:55] Jon Con: Yes. Do you want to, before, I'll delete the bit now, but before you wanna just go through the questions and have a look at '
[00:01:00] Brino: em, I think. Or should we do it blind? Oh, let's do it
[00:01:04] Jon Con: blind. What'd you think? Like, I don't, I can't remember what order they're in.
[00:01:07] Do you know the questions? I do. Well, I do know the questions and I've replied to some of the people with it, but then I just thought, well, they're good for other people to kind of look at. Yeah. All right. Let's
[00:01:13] Brino: do that one. Right. Okay. So you know the questions. Yes, John? I don't, I've never seen these. Yes.
[00:01:18] So we're going in blind. I
[00:01:19] Jon Con: think this is two. These are two these, these came in for two questions from two different people. First one was, what sound card are you using for mixing in the box?
[00:01:28] Brino: Well, I am using, I have my Apollo twin with, actually I'm use just using a mag mini at the moment. Sometimes I switch to my HDX system with the AVID interfaces, but generally I'm using my Apollo twin, which is right in front of me now cuz I like to use a lot of the U A D plugins.
[00:01:49] I think it sounds great. We've also take that back and forth, so wherever I mix in, it's portable, can go back to. Leaders veil mix there or wherever. I'm mixing sometimes in a cupboard. From working with Scott from Kitten Pyramid could be anywhere. Yes. So generally that's me. Before I've, I'm, I'm pretty much always used the average stuff or the U or the u a d stuff.
[00:02:10] Really yourself, John, what you want at the moment? Do you know what One of the
[00:02:12] Jon Con: best things I ever did when I was selling my shooting pop call, I was looking at like a pro tool system at the time. It should have been a HD two, I think is all I could afford. And. The 1 92 s and stuff. So I was looking at that and it was coming in at like 10 grand at the time, and I thought, well, that's a lot of money.
[00:02:29] And ended up buying the SSL Alpha Link and the Maddy Extreme card. Yes. And I'm still used, so that's 2009. I'm still using the Alpha link, but they, they've actually held their value. Yeah, the price hasn't gone down at all since I bought it. It's about more or less the same and the only, the only difference is now I've changed the MADI Extreme because on the Mac, the, the cards, I don't think it's no longer supported.
[00:02:52] So I picked up a HD native and a Delta link. And that's, yeah, so I just using that, Martin
[00:02:59] Brino: LeVar is a big fan of the ssl. Yeah,
[00:03:01] Jon Con: he, yeah, he is like a shoot, didn't he like huge, huge shoot for loads of different bits and pieces. Yeah. And he's only just recently changed, isn't he too, is it? Yeah.
[00:03:10] Brino: Cuz he was SSL for years there.
[00:03:11] Jon Con: Yeah, he had like the, he had the Delta link, but hidden by his computer. Yeah. I got like a, I've still got my Mac Pro like. From 2009 as well. I wanted to keep it going. Yeah. This, it's just about, as the plugins are getting faster now and they're getting more like they, they're getting more processor heavy.
[00:03:26] This just about starting to show us h but it's been a
[00:03:28] Brino: really good system. I mean, I love tracking on the HDX with the. You know, the average units. Yeah. So just, you just plug it in, it works. Zero latency, everything. Never any problems. Yeah. That just works. But no, they sound good. They do sound good. But we do love the sound of this the Apollo twin, the heritage.
[00:03:44] Yeah. But sand cards for starting out. Yeah. So this
[00:03:47] SR 17 - Viewers Questions Part 1 - HD 1080p: has
[00:03:47] Jon Con: come from Josh, from Secret Faces. He sent me about a million different links. What about this? What about this? What about this? and what
[00:03:55] Brino: is your, what was your recommendation? What was the budget? Well, the budget is,
[00:03:58] Jon Con: you know, it, it's literally like low, like under 300 quid.
[00:04:03] So you're looking at like the focus, right? Solos, the, the queue based ones. And then, yeah, the, the feedback thing I said to him was like, the sound cards be good enough, like for what you're looking at doing. He just wants to record something, I think for like Instagram or other bits and pieces. So he needs to kind of work with a laptop on his.
[00:04:20] The one thing I was saying to him is like with the bundles, you get like two channel sound guard, like a headphone and a mic, and the mics are usually like an OEM sort of thing. So like focus, right. Do it. I think Universal audio, I'm pretty sure it looks like the same mic. Right. And then the headphones as well.
[00:04:35] And you, I'm just saying it's like for the money. Yeah. I don't know whether it's worth keeping hold of that because what he wants to do, he just wants to record Qatar. You just need a 50. Just where you're starting out. So just saying like, ENT focus, right. SSL now as well, like they've got, like, they've gone into sound cards at the low end and like universal audio.
[00:04:54] You can't really go wrong with any of them. Have you do, do you get this question from people
[00:04:58] Brino: from time to time? Not as part, no, not, not as much. So someone, someone will say, I've only got, yeah, two or 300 pounds, or should I get, I want a basic sound card for doing voiceovers or something like that. Usually that just means I phone Rick at Studio K and find out what, why , what do you recommend?
[00:05:13] That's the best deal you can do with than I just recommend that one to them. .
[00:05:16] Jon Con: That's a much better way
[00:05:17] Brino: you're doing it. Well, Rick could. Rick will tell you straight. He'll tell you now for the money. You should get this one at the moment because we got that one on special. We can do that for you at this price, blah, blah, blah.
[00:05:25] It must be. Yes, they'll get more for their money and he always gives me good feedback anyway. Yeah. But yeah, I do, I had a question of the day about Mike's and interfaces from Andrew, from the band maker. Oh yeah. Cause they're recording guitars and their guitar sounds, you know, really important. They got amazing guitars and amps.
[00:05:44] and it was how much should we spend on mics and things like that. Cause we're gonna be recording something at home in the end. It just ended up, you know, saying, look, if you've got a 57, just use your 57. Yeah. You've got great amps. So we were wondering whether they should buy ribbon mics. Yes. But you know, you could probably spend a bit more money on, on your interface, on your setup there, on your monitoring, things like that.
[00:06:04] And just get, and just use your 57 that you've already got. I can't remember what interface they were using in the end. But yeah. You say SSL entered the market there. Now you can't, you won't go wrong with things like that. The focus right. Set up what you get with everything. Yeah. The, the bundle you get, and then just
[00:06:17] Jon Con: the audience as well.
[00:06:18] There's basically, they just lifted the mic out of the town. They've lifted the mic out of the well, the mic pre out of the desk.
[00:06:24] Brino: Yeah. And we use audio. Mike, please don't really sound great. That's great. Just work
[00:06:27] Jon Con: so well was the other thing he was then gonna go like that was just talk when you were talking about Maker's guitar.
[00:06:32] Josh was then thinking, oh maybe I need, like, maybe I need to get the amplitude one because then I can use like the plugin for the amps and I was thinking you have a pedal board bigger than my bet and you've got like three or four, you're like a matche matches felt head. An orange rock of it as well.
[00:06:45] Like why do you need an amps? ,
[00:06:47] Brino: you've already got everything you need. Yeah. Yeah. It's just, I suppose that they just think it's convenient to just plug straight in and then just use an ammp sim. But maybe, maybe the noise thing, I suppose if you've, if you're recording at home, but just don't worry about the neighbors.
[00:07:01] Just crank it up, get it done in a couple of takes and then move on. Exactly right. Next
[00:07:04] Jon Con: ones, what door would you recommend?
[00:07:08] Brino: Well, for me, really the study Proto Pro Tours, really, I'm actually doing an album. You'll laugh at me, John. I'm actually doing the, the new Kitten Pyramid album on Logic. You're not doing
[00:07:19] Jon Con: it on Logic in the studio, are you?
[00:07:21] Yeah. Because
[00:07:22] Brino: what's that like? Because Scott's upgraded to Logic now, so we, cuz we collaborate a lot, he does a lot of the work at home, then we bring it together and then I add loads of stuff at home and we kind of work on it that way. He doesn't use pro tools. So we're doing lot of logic so that we can, we don't have to redo stuff or he doesn't have to export stuff all the time.
[00:07:39] And we, we can a lot the effects he's got and the sounds he's got, we can just use. So we're gonna collaborate on that. But it's a long time since I did a whole album on logic. I don't, I, I quite like it. I've used it for writing and stuff and it's very convenient and everything you get with it and price wise and all that, but move.
[00:07:56] Grown up with pros and in the studio for recording bands. Yeah. And how easy it's to edit and quick it is to edit. For me, protos is just the best at, at that, you know, for writing for someone like Scott who's creating sounds and writing as he goes along than logic's. Better for that. Yeah. For him, I guess it's whatever you are used to, whatever's fast, whatever, whatever does what you are doing.
[00:08:19] Like some, you know, we know people who would, who would always use cubase and they've always used it. Maybe they're doing a lot. Programming dance. We usually got their senses and they've got it set up to their way of working. So the flow's good and it's good anyway. But for us recording bands, we have to know pro tools.
[00:08:34] Cause if we go to any commercial studio in the world, yeah, it'll be pro Tools. When you walk in, that's what you'd expect to be there. That's what you'll be recording to. So you have to know it inside out. So, I guess that's what we've grown up with. That's what we are used to, and that's the most stable and the best recording bands, I think, anyway, for the editing.
[00:08:51] Yeah,
[00:08:51] Jon Con: no, I, I agree. I was just thinking like, when are you, when you're doing logic in the studio kit and Pyramid, are you still, were you using your own Mac with the, the Universal audio? Because that'll give you more UpToDate one
[00:09:02] Brino: beyond the
[00:09:03] Jon Con: Yeah. My Mac with the, yeah, no, yeah, it's, I'm a similar thing. I was like, I think whatever you are using as long as it works is fine.
[00:09:10] I remember when I started out, I was using Sona and then. It was, as you say about the stability. It was, it was good, but it wasn't quite built for what I was doing. I was always like having loads of crashes and loads of issues with plug-ins. And then I went out on a course and just did the protos one.
[00:09:25] Like a protos one week? No, it was like a, it was a free course put on, like funded by wash government or something, I can't really remember. And I got to go to Newport Uni and I, I basically just got like access to ProTools for a month and I just, this just jumped in on the session, said, I'm just going, I've got the songwriting session count.
[00:09:41] I'm just gonna use ProTools and I. After that week. Yeah. I just didn't go back.
[00:09:45] Brino: Yeah. I just realized and you know, and then you realize whenever you go and work another studio, you have to know protos. It's
[00:09:50] Jon Con: all on pro. Yeah. The other thing as well, it was like as soon as I did that, then like it opened, the studio just opened up for hires.
[00:09:55] Other people could come in, just use pros and it would just work. Yeah. And it was just, you know, that was the other thing as well, mean
[00:10:02] Brino: and I get why people with their personal studios where you don't, you don't try hire it where it's just. , you always working with the bands that come in. I get you. Use whatever you are used to cuz no other producer engineer needs to come in and use it.
[00:10:14] It might be a bit fiddly if bands start bringing in pre-recorded tracks and stuff that they've been doing elsewhere on Pro Tools, but especially if you've built your mix. But you know their studios and they use their, whatever they're used to, repo or whatever. You know, and, but it can cause problems.
[00:10:31] Like if people bring sessions to us that have been recorded in other places, and then they wanna record some more on it, maybe some overdubs or mix it with us, and it's so much easier if they've done it on pros. Just for time of exporting everything with you. I know it's a lot quicker coming back in the day when you couldn't just, you know, export everything with all the effects and run it all off and bounce it quick.
[00:10:50] It was a nightmare. But now it's a lot, lot faster and easier to do that and they can just supply us with waves that are with effects. Without effects. Yeah, it's quite easy. But for me, pros,
[00:11:00] Jon Con: I think that I think what I've tuned to other people, just really quickly you mentioned Reaper. Reaper, you can have like an evaluation license.
[00:11:08] and it's like 50 quid for the full license. And then if money's money's niche, you've got a Mac. Cause she's garage band. Cause I remember Dustin Sessions were really good. Yeah, Dustin Dust was doing like demos and garage band, but you haven't got the mixers. You've gotta go into another inspector view to kind of get to the volume and pan.
[00:11:23] But it does a lot of the stuff that you need. Yeah. It's just like a con. Cheaper version, well condensed version of logic. Hasn't quite, quite as many
[00:11:30] Brino: reaches, but it's still really good. I think Scott described logic cause he's been doing everything on garage bound up until now. He just describes logic as garage bound on steroids.
[00:11:39] Yeah.
[00:11:40] Jon Con: Yeah, which is right. If you wanna do this or we can just skip on. As producers, what do you think, Simon Kawell,
[00:11:48] Brino: ah,
[00:11:53] you've gone, what Mention of Simon Cowell. You've disappeared John.
[00:11:59] He's back. There he is. There he is. So Simon Kawell, he doesn't have these problems, John.
[00:12:05] Jon Con: No. You hate, he just pays . He creates Simon team of people. Did you do a session for Simon Kawell or X-Factor or something? No,
[00:12:14] Brino: but we were at some conference that he was at many years ago.
[00:12:19] Jon Con: It was, I'm sure there was like a, I dunno if it's Simon Cal, but was it the label?
[00:12:24] Yeah, I remember, I vaguely remember some like Pop X Factor Pop Idol session in Rockfield where they both rockfield don't have internet and they had to send a taxi from London to pick up the files. Cause it was getting mixed . Yeah. Yeah. It was
[00:12:43] Brino: getting like someone like Big brothers or something like that.
[00:12:46] I was Big brother. Okay.
[00:12:47] Jon Con: Big brothers.
[00:12:49] Brino: Yeah, maybe they, they were big at the time. Maybe they were on his label. I can't remember who it was. Yeah. But the internet wouldn't do it, so they sent a taxi to take the files. But what do we think? You know, he, he's done amazing things, you know, for, for his label. Made some massive TV shows, done some amazing things for a lot of artists, but also created a very strange industry that we are not really in and don't.
[00:13:17] Really agree with, I guess I see that as the entertainment's business and I'm in the music business, completely different end of the spectrum. You can't deny the, the hi his talent there at spotting artists, developing artists promoting artists, creating these massive TV shows, creating massive superstars.
[00:13:39] So, you know, and his passion and love of music and his talent is there, but, , it's also done a lot of harm to the industry, to grassroots music, to creating a lot of people who think that becoming famous is something that happens overnight without hard work and mm-hmm. you don't really need to be talented, blah, blah, blah.
[00:13:55] But I mean, you can't argue that a lot of the winners of those shows are really, really talented and it's just fast tracked them to superstar. Pretty quickly. Yeah. You vehicle for getting those out there, you know? Yeah.
[00:14:08] Jon Con: You think about in terms of obviously the reach they have on those shows, whether, you know, there's millions of people like tuning in hundreds of thousands of people.
[00:14:15] It does obviously give the exposure much, much quicker. And I think, as you say, entertainment, I think that's the right point kind of point. Because it's almost, it was almost like a shera, basically. I we, it was more or less after, was it after the darkness and mad. For Christmas number one. Yeah. It was more or less, more after that they started doing Pop Idol then yeah, I think something along the lines of that and that basic guarantees a Christmas number one for Simon Cowell every year, more or less every
[00:14:45] Brino: year.
[00:14:45] Yeah. You know, he's ambitious. He wants to be the most successful kind of label bosses, music producers. And that's ambition and there's nothing wrong with that. It's just awkward when you're working with artists day in day out who are just struggling to get by because they get paid, fuck all royalties.
[00:15:08] Don't get a looking cuz the monopoly that. Those companies have on radio play, have on what? Label sign or things like that? Yeah. So it's hard when we are day in, day out, kind of doing proper . No, it's not, can't really describe proper mu, I call it proper music, proper bands, proper artists. But there's nothing wrong with the artists that win these programs.
[00:15:31] They are really good artists, you know, talented people, as a lot of 'em have shown as they've gone on to do their own thing afterwards, you know? So yeah, it's an awkward one that. We gotta take your hat off to him. But also it's left a sour taste in the mouth of a lot of genuine musicians. And it's made it a lot harder, I think, for those musicians to get to, to make a proper wage in the world, which isn't just down to him.
[00:15:55] It's down to rather people behind the scenes, other companies and your, you know, your online platforms and things like that. So I think it's lots of reasons, but you have to admire what he's done and what he's achieved. Haven. Yeah.
[00:16:05] Jon Con: Yeah, you do. I think you've, the other thing as well that you think you touched on was there's this also this thought now in terms of like, oh, I just need to go on this and I'll be an overnight success.
[00:16:15] And not realizing what's like, it's, it's a lot, a lot more difficult than that, I think. Was it Quincy Jones used to say, like, you used to get altitude sickness. People would get like a certain point if they hit, they hit start and they don't realize what's about to. Yeah. In terms of like exposure, in terms of like just being in the public eye that much?
[00:16:32] Yeah.
[00:16:34] Brino: Well, yeah, and it's tough because an overnight success usually takes about 10 years. Yeah. You know, it does. Yeah. Unless you're on one of those shows of which is pretty, you know, it's pretty much overnight and I don't think people are ready for that then, you know, whereas usually a band of grafted, grafted or an artist has grafted, grafted, done the, all the shows, done all the, the small shows.
[00:16:53] Tour, back of a births, worked, worked, worked, written hundreds of songs to get the 10 best ones. Yeah. And then they become successful overnight. But there's 10 years of hard work gone into that. Yeah. Which prepares you for longevity and. . But you know, it depends on how you make music. I think you should just make music you wanna make and because you love making music, cuz that's within you and that's what you wanna do.
[00:17:14] Where as soon as you start just thinking I'm just gonna be this, it's just a different thing. That's the entertainment world and not really, I don't see it as the music business.
[00:17:22] Jon Con: Any genres off limits for mixing anything. You won't touch that.
[00:17:28] Brino: Anything too heavy. Not, you know, I, I kind of enjoy mixing the guitars on really, really heavy records, but oh really?
[00:17:38] If they're good, they're good. You know, , I mean, there's certain stuff people wouldn't send me jazz records to mix, you know, although I could, I could mix it and although I do like some jazz artist, but wouldn't really mix that, I'm not really, I dunno. Bavarian folk music, maybe thought there's anything wrong with that, John?
[00:18:03] No. We've, we've had all sorts, you know, from 80 year Old Valley women doing kind of like 1930 style organ music that was you know, that wasn't off limits and it was enjoyable. And of course I've done a lot of heavy, heavy stuff. No, I guess there's certain stuff that I would just be shocked if it got sent to me.
[00:18:23] I don't know. Maybe. I mean, we're not, we're not gonna start mixing trance records, aren't we, John? Really? But No, probably not, sadly, , you know, although, although we've just spent the last few days listening to some great trance mixes, so a good friend of mine, DJ Paulino, Paul Gainer as he is known.
[00:18:44] Yeah, he sends me his transfixes regularly. They're great. No, for you, for you, is there anything you don't, don't, I think, I mean, there's stuff I don't like doing, but I could, I see it as a challenge there and I just try and, and do a good job of it, obviously.
[00:18:56] Jon Con: I, I think, I think it's a similar thing when you said about, like, I, I'd be surprised if they send it to me.
[00:19:00] I think metal, like if we go like towards like the heavier end Yeah. I think there's better people. Yes. Better than me,
[00:19:07] Brino: I think and, and I would recommend other people Yeah. That I know who do that, you know really well.
[00:19:12] Jon Con: Yeah. Otherwise it's similar sort of thing, I think. I think on the other side, like metal maybe then maybe pop, but then it's just cause I haven't had that much Yeah.
[00:19:19] Experience. I, I've been kind of like realizing I'm probably more into like indie guitars, music
[00:19:23] Brino: kinda book, but kind of the mixing, because it's mixing, you couldn't, you know, it's a bit different to if the question had been, Is there stuff you won't produce? Yeah, because like I wouldn't really produce r and b and hiphop because it's just not, not not what I do.
[00:19:37] And I'd be like, no, you'd be much better off going to abuse someone who does that. Yeah. So whereas mixing, I could mix r and b and hiphop records, you know, I'm kind of down with the kids, John, listen to the radio, know what's happening. And I have my style nice teeth. Yeah. So I could, you know, some mixing, there's not, not really a lot the soft limits because.
[00:19:59] You are being creative and doing your thing, and there's a lot of technical aspects to it as well. But if the question was genres that were off limits, which maybe wouldn't put yourself in that situation and producing stuff that is just not gonna sound right when you put your style to it, you know? So more, more there's styles for that production land that you wouldn't touch rather than mixing.
[00:20:22] Yeah. So any
[00:20:22] Jon Con: good multi-track sources from proving new mixes. This one came up from Craig and the community kind of answered this one already a little bit. This is, I suppose this is for people like look looking sad and obviously don't have a chance to kind of record as much, but still wanna practice mixing.
[00:20:38] Right. What he said to Craig is, is like Cambridge Multitracks, so I think it's Mike Sr. From Sound On Sound. Yeah. And Harriet's been set up is there's loads of people submit tracks for mixing, they can't afford us and there's like, there's a massive library now of tracks there for mixing. And then the other one iss like multi-track competitions and stuff.
[00:20:54] Yeah. Like tele funking are pretty good in terms of doing it from time to time because they see it as like an opportunity to
[00:21:00] Brino: show off their mics. Yeah, yeah. And I guess getting, getting stems of tracks that have been mixed. Released and then having a go mixing it yourself and then comparing your mix to the commercial released mix is a great yeah, it's a great way, great way of finding out your style and how you, you mix rather than just trying to recreate the mix that's been mixed.
[00:21:22] And, you know, you can Kind of honing on a style that you've got, and maybe why is the mix that got released better than yours, or is yours better than that one? And why is that? Or is it just different and maybe getting like maybe not just getting raw files and then seeing the amount of work that's maybe gone into a mix to get it from what was recorded to.
[00:21:45] The commercial release of it, you'll learn so much from doing that on the, you know, you, you won't know the chains that are involved and getting it to that point, but hearing those raw stems and then here in a mix, it's like, right, okay. You know, I now, yeah. Hearing with it all the production stripped back and all the mix strip back, you know, you've been sent, I've been sent raw files, and then I've been sent the rough mix and you're like, wow, the rough mix is really good, but it's nothing like what was recorded because a lot of work has gone into the production and the mix already.
[00:22:13] And sometimes that's where I like to start with my mix is where they're at cuz they've built the track up and that's the sound of the track and that's it. So then I'm just kind of balancing it, maybe adding a few bits of production here and there, but In terms of sourcing? I don't really know. No. The ones you've mentioned really, I don't really know other, any others.
[00:22:30] Jon Con: But you wouldn't, I suppose it's like you wouldn't need to look for it because you're working on enough
[00:22:35] Brino: anyway. I mean, getting feedback, sending mixes to, to us or to other people, you know, and getting feedback on your mixes that's a good way of improving them and sitting in on, on mix sessions. and sitting with the the mix engineer and seeing what he's doing and why, asking him to explain why he's doing it.
[00:22:56] I mean, it might become a bit annoying when someone's trying to be creative, but if you allow plenty of time to do the mix, then you can sit there and watch the mix and watch the chains happening and watch him what's going on. Especially those technical things, you know, like checking all the phase and aligning multiple mics and things like that.
[00:23:13] Those things that need to be done as well. Yeah, there's something that
[00:23:16] Jon Con: people don't realize, I think, in terms of the alignment stuff. . Yeah. I'm, I'm a bit lazy cause I use what? Auto line from Sand Radis. Yeah. Just stick it on, like kind of let it, let it kind of figure it out. But where I learn the most thing is watching other people.
[00:23:29] Hmm. And seeing what they do. Yeah. And I think, I suppose that's one thing that's missing a little bit. People starting out or like just recording themselves or doing stuff at home, you don't get to see or learners quickly because you're not
[00:23:39] Brino: No, I mean, there's great tutorials you can watch on YouTube isn't there?
[00:23:42] But I think. . I think being in the room and being able to say, well stop a minute. Why are you doing that? Or What would you, what would happen if you did this? And then being able to try that and see it in real time firsthand. Yeah. So even though there's great two joys out there, I don't think you can beat shadowing no summer while they produce or mixing.
[00:23:59] Yeah. And that's true. That's
[00:24:00] Jon Con: a very good link in there. Cause we've got that workshop coming up in Indeed as. So if you
[00:24:04] Brino: want to shadow two great producers, engineers and to see how they do it, then come on the the production works, production and mixing workshop as it will never known us John Workshop.
[00:24:19] Yeah, there's still, I'm not sure how many places are left on a couple. There's a couple of places left, I think so. Yeah. Come on that Craig, you asked that question. He's gonna be on, he's gonna be there as well, isn't he? So Yeah,
[00:24:29] Jon Con: it's 11th, so April the 11th to the 13th. Yeah. We'll be doing this in Leaders.
[00:24:34] Well, so it's an opportunity just to record like. Go through like recording processes and also talk about mixing and just like being able to ask these questions in person and watch, like getting feedback, these, these kind of things I really enjoy doing. Yeah,
[00:24:45] Brino: we'll record a song. I think we're gonna get Josh into record a song with Josh.
[00:24:50] Josh is part of the community. So we'll get to. Record him. See how we record him, see how we will build the song and then we'll mix the track. Yeah. But there's lots of things going on over the three days anyway.
[00:25:01] Jon Con: Yeah, so that'll be available. You can find out more [email protected] slash Leaders veil.
[00:25:07] So thanks very much for watching. If you guys have any questions for us, keep please. Just drop us a message, leave us a comment on YouTube or send us an [email protected]. As we said, we've got a guide for bands who are starting out called The Bands Checklist, which is [email protected] slash band checklist.
[00:25:24] And we've already mentioned as well that we've got the. Production workshop happening in April. There's a couple of spaces left on that now as well. Thanks again for listening, for watching, and if you know anyone who'd be interested in, in, do you think they might, this podcast would be useful for them, please share Please like, and please like and subscribe, and we'll see you all again next time.
