Inside The Mix | Music Production and Mixing Tips for Music Producers and Artists

#31: How to Release a Debut Synthwave Album | Russell Nash

June 14, 2022 Russell Nash Season 2 Episode 8
Inside The Mix | Music Production and Mixing Tips for Music Producers and Artists
#31: How to Release a Debut Synthwave Album | Russell Nash
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Show Notes Transcript

Russell Nash is a Synthwave/Retrowave artist hailing from the Highlands of Scotland. His style exudes 80s excess, bringing the sounds of yesteryear to contemporary audiences.

Russell took up guitar at age 13 and quickly became immersed in the realms of Hard Rock and Heavy Metal - going on to play in bands for many years. A lifelong devotee of the decade of decadence; Russell's love for 80s film and music eventually spilt over into his compositions when he discovered Synthwave in late 2020. His debut Synth album, "Do Or Die", was released in March 2022.

To follow Russell Nash on social media, visit: https://linktr.ee/russellnashmusic
To follow Russell Nash on Bandcamp, visit: https://russellnashmusic.bandcamp.com/

Join the brilliant Synthwave Surfers Facebook community here: https://www.facebook.com/groups/355915399326452

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Acacia Carr:

Hey inside the mix podcast fans, it's a Keisha car from the mythic rhythmic blog and creative studio. Check out my latest album. The pretty key now available on Spotify and major music platforms worldwide. Follow me on Instagram at Akeisha car AC AC I C I a C a R R to stay up to date with my music and art visit mythic rhythm. On mythic, rhythmic.com and discover new indie electronic artists from Berlin to India, to California. In my monthly blog, you are listening to the inside the mix podcast. Here's your host, Mark Matthews.

Marc Matthews:

Hello, and welcome to the inside the mix podcast. I'm Mark Matthews, your host, musician producer, and mix and mastering engineer you've come to the right place. If you want to know more about your favorite symp music, artists, music engineering, and production songwriting, and the music industry. I've been writing, producing, mixing, and mastering music for over 15 years. And I wanna share what I've learned with you. Hey folks, and welcome back to the inside the mix podcast. And in this episode, I am very excited to welcome our guest today. Russell Nash. He is a synth wave retro wave artist hailing from the Highlands of Scotland, his style exudes eighties, excess bringing the sound of yes year to contemporary audiences. And he's gonna share with us his musical back. Influences thoughts on Sy scene and the creative process behind the album do all die. Hi Russell. Thanks for joining me. And how are you? I'm not bad. Mark yourself. I'm good. Thanks mate. I'm good. I've um, I've gotten you on the podcast today from the Highlands of Scotland. So I thought I'd indulge in a, in a whiskey whilst we're talking um, and I'm gonna, can't actually remember what whiskey it is that I've got. That's really bad. just went in the cover to pick one out. Um, yeah, big, thanks for joining me today. So, uh, for the audience listening, I've been chatting to Russell for a while about music on off, um, and, um, for the audience listening again, if you are well entrenched in the scene, you'll probably see Russell's name crop up a lot in synth wave surfers, a really, really good Facebook community group that I am an advocate of. And I think you should go and join, cuz it's very supportive and a fantastic group and we're gonna chat. That in a bit. Sure. But what I'd like to sort of start off with Russell is just a bit about your musical background. So can you tell the audience a bit how it all started? What inspired you to start writing and creating music? When did it all begin? Um, I, I,

Russell Nash:

I would say, well, there's the, there's probably two there's two beginnings. Um, yeah, originally, originally began, um, when I was at school, um, I, I took up the violin when I was seven, but, uh, I was absolutely gash at it. Um, I, I was waffle, um, I think my, my music teacher said that I was a walking disaster. inspirational. and, um, he, he kinda more or less like kind of implied that I should just, I should just kind give up on music. Um, so I ended up, I, I chucked the violin and then I kinda, I kinda ditched the whole music idea for, until I was, uh, I think it was third 30 13 coming up for 14. Um, and then when I was at, um, when I was at high school, There was, uh, this guy that kinda joined, um, joined my year and he played guitar and me and him kinda get friendly and he showed me a few cards and it just, it just kinda went from there. Um, I, I, I, I guess, like, I, I had this mindset before that I don't know that, that there were, that not everybody could do music that, you know, you had to, you had to be Mozart. Yeah. You had to just, you know what I mean? Mm-hmm just like sit down at a piano, like for the first time and play a concert tour or something. Um, and I, I guess like meeting this guy was just like the first time that just just an ordinary bloke was, was pretty good at music. And it kinda just, it kinda gave me a bit of encouragement, um, to, to, to take up the guitar and kind of get into music. And it kinda showed me that like, you know, anyone can do it. If you basically just put the work. So like that, that, that was where I got started. Um, and I mean, I have to admit like part of the motivation as well was, you know, I was, I was a horny teenager and like, I, I wanted to score some chicks, so , you know, like chicks, chicks, love guitars. Yeah.

Marc Matthews:

Didn't think about the bass then. No, no, no, no, no, not, not the bass, not on knocking bases out there. They are very, very good and needed. Um, now it's interesting. You mentioned that because I had a similar experience when I was at school. Cause I, I remember way back when, and um, I wanted to, I didn't, they didn't actually let me play the instrument. I, I put myself forward or rather I sort of signed up and I wanted to play the saxophone and they just categorically like brick ward me and said, no. So I didn't even get the chance, like you were the violin. So that, that I then picked up the guitar off the back of that. Cause I had a neighbor who, um, played guitar. And I remember playing for you about a year without of June before I realized that you needed to tune it. yeah. Really, really bad, but it's good. Isn't it? When you realize actually you don't need to be an expert to actually start writing and creating music cuz. I don't think, I dunno, correct me if I'm wrong, but I don't think anyone's particularly nailed it and I don't think you ever do. I dunno what you think. Um, I mean, in, in,

Russell Nash:

in my opinion, I think that, I think there's certain people have more of a kind of innate can enact for it than others, but, but I would say that anybody can do it. I think there's just different ways to approach it. Um, I mean, like I, I've got a cousin who's to deaf, um, but he's the, the way his mind works is very kinda mathematical. So he's kinda, he's went away and went, you know, he's went balls deep into all the theory and yeah. You know, I mean, he, he, he could probably tell you, you know, off the top of it off the top of his head, how to create a, I don't know, a diminished seven, a nine plus 11 cord or some, yeah. Shout like that. Like I just made that up. I don't, I don't even know if that's a real chord, but, um, but he's, he's, he's heavy, all that kinda stuff. Um, and you know, he's, he's. Pretty pretty competent musician, whether as, I guess I was more of a, just kinda wing it kinda guy and like just kinda suck it and see cuz like, I, I didn't actually learn music theory until, until later on I was, I was 28 before. Um, I, I kinda get into the theory side of things. I mean I knew a little bit, you know, I, I knew that I knew the very, very basics. Um, but I didn't know. You know, when, when, when you said that somebody knows music theory, you know, like, mm um, I, I, I didn't know music theory. I, I, I'd always just kinda just kinda winged it and just a, it sounded good. It was good. Yeah.

Marc Matthews:

Yeah. I'm with you on that one. And it's kind of in a way, I think it also lends that sort of thought process lends itself quite well to like production and producing. Like I often I've said it to, to, to many people sort of like, if it sounds good, it is good. Like, um, when it comes to production, cuz you can binge binge produce, you can binge edit. And then I think also I very much like yourself when it came to playing guitar. I, I didn't start learning theory well into probably my sixth or seventh year of playing guitar. And even then I probably don't use a great deal of it. Now, maybe the odd sort of like circle of fifth I might dive into when I'm songwriting, but that's about as far as it goes, you know, but it's interesting. You mentioned about, was it your cousin you say and yeah. Being able to structure all that. So it's probably one of those individuals that could without actually listening, create a piece of music. Yeah. And it sound correct in theory wise without actually having listen to the music itself, which is, which is an insane skill one I'd love to have, but probably one I never will. yeah.

Russell Nash:

I mean like I, I used to teach guitar a little bit. Um, I, I don't really have time to do it anymore, but um, I, I had a few students like, you know, going gone back quite a bit now it was maybe, maybe like eight, 10 years ago and I. I dunno, I would, I would always kinda say to them, because like, you know, they, they would kinda come to me with the same kinda the same kind thoughts that I had when I, when I was a lot younger. And I would always just kinda say to people that, you know, there's, what's it, Steve Davis used to say, you know, there's more than one way to kinda snow sticker table, you know? Um, there's, you know, there's, there's, there's different angles that you can come at it from, you know, if you don't have a particular good ear for it. And like, you know, cuz I mean some, some people are, you know, exceptional at, you know, they can just pick out a melody and then, you know, they can, they can pick everything out by ear and um, they're just very kind of tuned into it. Um, and then there's other people that don't, don't quite quite have that, um, that, that skill, that kind of innate skill, but it's, it's something you can get better at. You know what I mean? You can train your years and like you can, you can go, you can go down the, the, the learning, the theory route. So like that, that, that was something I kinda, I I've kinda tried to kinda drill into anybody who's maybe a bit apprehensive or, you know, kinda maybe a bit down in themselves and go like, you know, I like, I just, I'm just not a musical person. I can't do it. I mean, I, I think just about anybody could do music, really. They really wanted to, I mean, there's just different roots and some people might find it a little bit easier than, than others, but I, I think, I think anyone can get there if they put, if they put the work in.

Marc Matthews:

Yeah, I totally agree. Totally agree, mate. And, um, I'm probably one of those individuals who find it slightly more difficult than others. It was one of, one of the things I really had to work at, um, and work hard at to, to, um, to succeed specifically playing guitar to the extent that I could be confident enough to perform live and actually record. Um, yeah. And it was tricky. I spent a lot of hours in, I probably should put more hours in still, but I, I totally agree. I think music is accessible to anyone and I think with technology now as well, which will come onto a bit later with the lastly album as well. Technology makes it even more accessible. The fact that you can have a whole studio set up, um, has a lot of the audience probably know and already have a studio setup in a, in a 13 inch sort of laptop and, and produce some amazing, amazing music without actually touching any hardware, which is, which is incredible. But there are pros and cons to that. Um, and it's one of those you can probably dedicate a whole podcast series to the, to the digital, digital versus analog comparison. But what I wanna move on next Russell is, um, sort of like your, your musical influences you touched on there, you played a bit of violin, played some guitar, your yeah. Your musical influences growing up. Was there a song artist, um, or album that had a really sort of poignant effect and inspired you to write music?

Russell Nash:

Um, I mean, I think the first, I think the first, like kind of the album that really, really. Resonated with, with me was, um, it, it was, it was a greatest hits cassette, um, by buddy Holly that I found in my mom's car. Um, I had no idea why he looked like, you know, what, what gear he was from. I, I, I just found the cassette and I just, I just, I just flung it on and I, I loved it. Um, and that, that was kinda, I'm trying to think. I think I was maybe about seven, seven or something like that. Um, you know, I mean, I'd listened to music before that, but obviously, but that was the first time I'd I'd, um, I'd listened to something and it just, you know, it really, really struck a chord for me. Um, so like after, after that, like, you know, again, I'm not, I'm not so sure if, if, if that inspired me, like, you know, got me really fired up to like start creating my own music at that point. But that was the kinda point where like, I really took, took a big interest in music, um, that definitely, you know, kinda a lot more so than before that. um, then I would've said that it was prob probably probably a little bit later when yeah. When I got into my teams, my early teams, um, I started listening to a lot of, um, like pop punk bands. Oh yeah. Um, I, I think that was my, kinda my kind of gateway into, to kind rock music. And like, it was, uh, it was a PlayStation game. I dunno if you remember MTV, snowboarding.

Marc Matthews:

Oh, uh, did I play MTV, snowboarding? I, I played, I played 10 80 snowboarding, but I don't think I played MTV.

Russell Nash:

It's it's basically just, it was like Tony Hawk, but with, uh, with snowboards and this, the soundtrack was just like all artists from, from kind MTV at the time. Um, and there was like a bunch of stuff on there. Like I think no FX and blink 180 2 and oh yeah. All, all that kinda stuff. And, um, there, there was this one song by blink 180 2. That was, um, That don't leave me by blank 1 8, 2. That's what it was. Um, and I just, I really loved that song. And like I said, I was kinda getting into playing a guitar at the time. And then yeah, that, that, that kind of encouraged me to, to kinda pick up and, you know, start, um, start, kinda try to write my own stuff. Um, and then I, I, I guess my tastes kind of, kind of evolved throughout my teens. Yeah. Um, like there was one period where I got like really, really into heavy metal mm-hmm um, like I, I was listening to like, you know, mega death and Metallica and maiden and like all those kind of bands. And, um, I, I became one of those least pricks, but, um, you know, like if it wasn't heavy metal, then it was shit. Like, I didn't want to know. Yeah. Um, but like, I, I kinda, I kinda grow out of it. Um, And then it was maybe when I get into my kinda mid to late teams that I really started getting into like all the kinda classic hard rock stuff. Oh yeah. And like guns and roses and, uh, mayor Smith and Al Cooper and all that kind of stuff. And I, I would say that it was around that time that like my, my tastes kind of cemented a bit, um, because like that that's, that's probably even, even now, I mean, that's probably still my, my favorite kind of music that, that, that that's kinda, that's my jam. Like the, the kinda classic rock stuff and eighties kinda hard rock stuff. Um, I think, I, I think synth wave is, is probably the first genre that I've come across in probably 20 years. That's came close to, you know, not knocking, knocking that off its perch. Oh, wow. Um, but uh, yeah, like that, that, those were all my kind of influences, like from kind of growing up and throughout my teens and.

Marc Matthews:

Yeah, it's, it is interesting. Once again, it's a, it's a common theme and I've seen it now mentioned a few times in, in Facebook groups. And so my, I think my, my experience was slightly around the other way and that I, I had the hard rock and then I went to heavy metal. Um, yeah. And then I'd probably come back to hard rock again. So all the bands you mentioned then are well into it, still listened to now, but then you, you trans transition as it were maybe not transition, but then you sort of move over or pivot into synth wave. Then there's so many artists that go down that route, whether it's from hard rock metal or punk or hardcore, some, some form of hardcore or something along those lines. Yeah. Um, and then they find themselves in the synth scene, which is, which is incredible. And I still, I, I always ask the question to, to interviewees, like why they think it is. Um, and I don't, I dunno if there is a particular reason, there must be something musically. I suppose you can get quite a heavy element can't you in, in synth wave, depending on, depending on your writing style. Yeah. Um, but why do you think there is, uh, like that, that nice sort of pivot from rock metal to synth inspired music? Um, I,

Russell Nash:

I, I'm not really sure. Um, and a bit I do, I do agree that it seems to be kind phenomenon mm-hmm because I, I know a lot of people that, um, have kinda made that same transition. I mean, like some, some of my friends, um, in the community on Bon hands mm-hmm and, um, distant reality, like, uh, these, these guys are like kind of big, kind hard rock, heavy metal kind of guys. Um, and they've, they've kinda made the transition over as well. I I'm, I'm really not too sure. I mean, for me personally, I've always been a big eighties guy, like on, I mean, on top of all the kinda eighties hard rock stuff that, you know, that I listened to, I've always just been a fan of the, like the eighties in general. Like I loved like old, um, all the old action movies and I loved. Harold Harold Al Myers music. Mm-hmm I mean like the Beverly Hills cop soundtrack. I mean, I, I just remember, like, see if you take away that soundtrack, that, that is just an average buddy cop film I

Marc Matthews:

agree. Yeah.

Russell Nash:

But with that soundtrack, it is just, is fucking iconic. It's just, it, it, it just lifts it, like out of the kinda realms of mediocrity, um, into, into like stone cold classic kind territory. So like, I, I always loved, loved that to begin with. And I suppose as well, I mean, you know, I mean, I, I, I love bands like Dan ha and Europe, and, you know, I mean, like, they, they, they used like overheim and Junos and things like that in their music. So I, I suppose it wasn't that, that big a jump for me. Like when, when, when I look at a lot of the stuff, I listen to even like some contemporary bands that are kinda emulating those eighties hard rock bands, like, um, I dunno if you've ever heard of the brother fire. No,

Marc Matthews:

I can't

Russell Nash:

say I have I'm I'm I'm gonna take a shot in the dark and guess that, you know, the band night wish I do. Yep. The, the guitar player from night wish, and I think it might be the drummer, the drummer from night wish they, they have a, a band that they do on the side. Okay. That is basically like a contemporary Europe slash 1984 van Halen can sense. Oh, wow.

Marc Matthews:

That that's a, that sounds like something I need to find. I need to go and check out. I'll I'll

Russell Nash:

I'll send you some links later. Yeah. But, uh, yeah, it's, it's, it's absolutely fantastic, but like, again, like they, you know, they they're, they're using like all these kinda retro senses and stuff like that and their music. So, so yeah, I suppose for me it wasn't that big a jump. Um, and I suppose as well, you know, I mean music aside, um, I love the whole aesthetic of it. Um, there was, there was just something about the eighties that, um, I don't know. It just seems like a better time to be perfectly honest. I mean, I, I know a lot of people look back we're rose, tinted glasses and, you know, We yearn for, for, for, um, you know, a bygone era that fuck all to do with us, but yeah,

Marc Matthews:

it's quite true. Isn't it? When you put it that way? I was, I think I had, I was, I was born in 86, so I had four years in the eighties at which I could remember none of it, but yeah, I'd still say, um, like it's an era that I would love to live in. And, um, I think I pretty much echo what you said there, when now you mention it about bands using mm-hmm like synthesizers, like jump, um, van Haing when you got that, the, um, the ment with Eddie van, Haing playing it in there, for example. And now, now you mention it. I can, you can kind of see and hear how it's quite an easy transition to go between the two. Yeah. Um, and yeah, and the aesthetics as well, obviously. I mean, there's, there's something about the eighties aesthetics that I've always liked in. It's always alerted me and, and, and the movies as well. I always go back. But if I ever need a film to watch, generally it ends up being something of that era.

Russell Nash:

Oh, absolutely. I mean, I dunno, you know, do you know what I think, I think it is. Um, and I mean, this, this, this will sound like a really, really strange criticism to have of modern cinema, but it's too good. Um, I like every everything's so perfect. Like, you know, but I don't know. I, I, I just think it lacks a bit of character. I, I, I mean, like, you know, the acting's amazing, like, you know, they've all got these like amazing, you know, or orchestra kinda scores, but I, I, I don't know. I mean, I, I'm not saying that there's not good movies. I mean, I still think there's a lot of good movies coming out, but I dunno, those, those older films, I think they had to really, because of the limitations with like the technology, like I think they had to kinda try harder to like, you know, be like a kind of presence on the screen and. I mean, you know, there was, there was lots of, there was lots of folk back then that were just, they were just entertaining to watch. I mean, they, they weren't particularly good actors. I mean, yeah, yeah. I mean, like Schwartzenegger, I mean, you know, I mean, every film was just, ah, that

Marc Matthews:

that's the, the ne the very name. I mean, I'm a massive a fan. And as soon as you mentioned, that is the first, the first name that Springs to mind is Arnie and like do rim as well. Who not particularly the best actor. No, they're fucking

Russell Nash:

atrocious. But, um, but, but, but they were entertaining to watch and, and like Sean Connery, I mean, he's, he's a prime example. I mean, , yeah. I mean, the hunt for red October, I mean, that, that was, have you seen that film a very,

Marc Matthews:

very, like it's, uh, it's a, you, is it a you boat or is it submarine?

Russell Nash:

Yeah, he was a Soviet submarine, um, commander, but you know, he just, he just plays Sean Connery in it. He like, yeah. My name is Markish Reish. Yeah, I'd love to

Marc Matthews:

hear short, Cy, do it, do a

Russell Nash:

Russian accent. Well, he, he doesn't

Marc Matthews:

oh, that'd be so good. I, I need to go back and watch that film though. It's been years since I've seen it. Um, I'd love to hear that

Russell Nash:

you should watch it. It's pretty fucking funny.

Marc Matthews:

but it's interesting. You mentioned that about the eighties films, because I know for a fact, um, every time I watch like a remake, I watched the remake of the thing. This was a few years back now and I love the original. Yeah. And what I love most about the original and other films like this. I like the prosthetics and the animatronics that they use, whereas the new ones, um, they're like, like you mentioned, then they're, they're almost like two polished in the way that they use technology to create all these special effects. And I'm just like, ah, I'd rather it go back to the way. And people start, go back to using like the, an animatronics and the prosthetics that they used way back when they might look a bit, bit corny every now and again. But like you said that, I just think it's better. I just, I just prefer it. And I think, um, hopefully. All what goes around, comes around, you know, and then start, start going down that route again. But I don't know who knows. I'm not in the film

Russell Nash:

industry. Yeah. I mean, I, I mean, I, I guess, I guess you've get like characters, like Dwayne Johnson and stuff like that that are kind of been cropping up in the past kind of 10 years and kind of filling that void at least a little bit. Yeah. Um, because I mean, the, Rock's a shit actor, but I mean, but he's, he's fun to watch. Yeah. You know, and like, I, I think, I think that's what missing from a lot of films as well. Like, I mean, a lot of the films in the east, they were just fun. Mm-hmm they didn't, they didn't take themselves too seriously, whereas like a lot, a lot of the movies that are coming out now, like, um, you know, like the departed and inception.

Marc Matthews:

Oh

Russell Nash:

yeah. Oh God. Yeah, yeah. Yeah. I mean, I mean, I mean, don't, don't get me wrong. They have their place. And I mean, I, you know, I, I really, I really enjoyed that film, but I don't know. Some, sometimes you just want to like kick back and eat some pizza and, you know, Just watch a film with absolutely no plot and you know, a lot of murder and like yeah,

Marc Matthews:

yeah. Stick on. Um, what was I thinking of then commando? That'd be a good one. Yeah. Yeah, exactly. Commando or time cop with Vanda. That's that's, that's more nineties, but still time cop is, uh, is one film. I need to watch that again. I watch that in years.

Russell Nash:

No, I do. You know, it's funny you bring that up because I was, I was actually pondering whether to watch that recently, um, because I was kind going through like my little list of, of, uh, kinda old school films that I've not watched for a while. And that was one of the ones I was thinking of watching. So like maybe I'll need to do that.

Marc Matthews:

Yeah. Yeah. Band. I had to sort of like a small and then there was hard target as well. Oh man. I love hard target. That's a great film once go in the night. Still another van down was another one of those films, like blood sport. Oh, night times I've seen blood sport. I've lost count. And kickboxer

Russell Nash:

what, what was the one that he played his twin, like double, um, double impact. Was that what it was? Yeah. Was that with Dennis rod? No, there was, I'll always get these mixed up. I can't remember. I think there was, there was one that was, uh, I think it was double team. And then there one that was double impact. Yeah. Yeah. One of them was with Dennis Rodman and the other one was he, he played the role of himself and his twin. So like he. Marc Matthews: Yeah. I need to go back and watch that again. The idea of van dam acting to himself, um, and demo demolition, Matt. Oh, is that still? No, it is demolition, man. I'm thinking no universal soldier. That's what I'm thinking of. Yeah, yeah, yeah, yeah. Yeah. Universal soldier. Oh man. Oh, I've totally digressing. Now I do this. I can go. I can talk about those films for days. Um, but what I wanna do now, um, cause I'm aware of time. I don't wanna keep you too long is move on to like your, your sort of music now. Sure. So you're releasing synth wave synth inspired music. Yeah. Um, so we've gone down the journey of, of rock metal punk. Um, yeah. And we've sort of spoken about the eighties influence, but was there like a pivotal moment where you'd thought, you know what, I'm gonna give this synth synth music, a try. Now, what, what sort of tipped you over the edge to, to move into that era? Not era genre rather. Um, it's probably like a kind of two-tiered answer. Um, I, I was, I was in a band, um, uh, maybe eight years ago now. Like, was it, it was a little while ago, seven or eight years ago. And, um, the bass player, like in the band was like a kinda fellow kinda eighties kinda fishing adult. Um, and after, after that band split up, he went on and he started a little kinda syn wave project. Um, it's called cage cage with a K. Um, you should check his stuff out. It's pretty, it's pretty good. I'll make note. Um, but yeah, anyway, like, um, I, I, I remember him sending me his album and I thought, oh, this, this is kind of cool. Like, um, I, I think, I think before that point. It hadn't even occurred to me that I could make music that sounded like old eighties films on, you know, on, on my laptop. Like the thought hadn't, I guess it just never crossed my mind. Um, so like that, that was, I think, what kind of got like the, you know, the cogs turning. Um, and then I would say maybe about a year after that, um, I had a little bash at a, an eighties track. Um, it it's still online actually. Um, it's, it's, it's like UN under my real name. Um, and Andy MC Taggart. Um, it's still, I think it's still on should, should still be on SoundCloud, but, um, yeah, so like, I, I kind threw together a track. Um, it's, uh, awful. Well, the, the, the mix is terrible. Like, cuz I didn't know anything. I didn't know anything about production when it, when I made that, I just kind of threw it all together and. I think, I think the only thing I knew was what high pass filter was and yeah, that's, that's basically all the, uh, all the mixing that's, that's on it, a few, a few balanced levels and a few high pass filters and that's it. But, um, yeah, I made that track and then I just kinda, that was it. You know, I didn't, I didn't really give it much, much thought again for like another year or two. And it wasn't until I was, I was over at my brother's night. Um, and my brother has a, a channel on YouTube. It's called neon ether. Um, and it's, uh, yeah, it's, it's a Sy wave of YouTube channel and I was over at his one night and, um, we were just kinda having a couple of beers and, you know, we, we would usually put some music on and he just fired on like a couple of tunes. And then I was just like, what the fuck is this? This is, this is like the best, uh I've I've heard in years. Um, and it was, uh, I'm trying to think. I think it was meteors fun, parallel life. That's it me, uh, parallel life album. and, um, Paladin matter. And I just, I absolutely fucking loved it. Um, and then I'm trying to think. Yeah. Robert Parker, um, Mike, Michael Weber, mm-hmm , you know, we, we ended up like going through like all, all these albums and I, I just absolutely loved it. Like, uh, you know, I was, I don't, I don't think I'd, I'd ever been like captivated like that. Like since, since like, you know, the first time I heard appetite for destruction or something like that. Yeah. And, you know, you know, I mean, you know, I've heard some albums over the years that I thought, you know, this, this, this is a pretty cool album. And, you know, I, you know, like, I'll check that out. But like that, I think this was the first time in a long time that I was kinda got that feeling like, um, I dunno if you can relate to this, but when I was in my teens, like every new album I heard was just like the best shit I ever heard mm-hmm but then you just kinda reach a point that you've heard at all. And yeah. You know, some, someone will send you a new album and you go like, yes. You know, it's good. But like, I don't, I don't really give a shit. And. Um, you just kinda get to that point. And I think that, that, that was literally the first time in about, probably about 15 years that I'd heard something new that got me really, really kinda hyped up and excited. So I kinda, I think that was the kinda point for me where I was just like, you know, I wanna give this a bash. Like, I really want to give this a go and like, see, see if I can maybe put together a put together like a few tunes like this. And I think it was a bit a month after that, that I wrote the first track for the, the album, which was, uh, Phoenix. Yeah.

Marc Matthews:

It's amazing. Isn't it? It's um, I, I very much went through so thing and I suppose, I suppose a lot of artists do as well, actually thinking back to it now, whereby you're around your mates and they're playing a few beer playing a few BES by playing beer pong. I do it every now and again. but you're, you are what you are, um, playing some music and then they play you something. And I, cuz I had that similar thing, a friend of mine, um, were having some drinks and whatnot and he's like, um, and he knew I was into. Uh, obviously he was in methed and whatnot, and he was an old band mate and he, and he knew I was into sort of synthesize the stuff, but I hadn't really done anything with it. Sure. And then he played me, uh, played me a gunship track. And then, um, I think it was like techno or something like that. It sounds all quite clean shade. Now, when you mentioned gunship, gunship are amazing, but, and I remember listening to it and I was thinking actually like, like you, I was like, um, I've got a laptop and I've got all this, this, all this music's accessible to me, so, well, why don't just give it a go. And I think echoing what you said there about being, I mean, I was li I was buying new albums or probably at this point actually streaming new albums and nothing was really, I was kind of listening to them going, uh, kind of like that sort of it is good. It's great. And I love listening to it, but it's not, it's not breaking the mold. Yeah. And then it's when I found that synth element, I was just like, you know what, I'm just gonna move into that. And I think. It'd be interesting to know whether maybe I'll start a poll or something online and see how many people followed that similar suit, where they just got bored of what they were listening to. And then they just found, you know, what synth way and synth music. I think I, this is a conversation I had a while back with Herman from the future kids. And you mentioned about all, it's like the trife you've got all these, you've got the, I can't remember what the third one is now. You've got the music, you've got the aesthetics and there's one more. And I can't remember what he said it was, but it all comes together and it melds quite nicely and it just attracts so many people in and yeah, the community's amazing as well, which is sort of what I wanted to touch on next. So like for the audience listening, if you are, if, once again, going back to what I said at the beginning, if you're well entrenched in the synth wave community, you'll know Russell's name, cause it pops up a lot and you're a strong supporter and advocate of the, of the synth wave scene, which is amazing. You like you are, you are ever present online and it's incredible. And you've got this really great group synth wave surface. So I'm gonna put a link to it in the, in the podcast notes. So I strongly advise that the audience listening to go and join that group, cuz there's some incredible musicians and artists in there and join that group and check out the music. Let's take a quick break from this episode. So

Russell Nash:

I can tell you about free resource that I made for you. It's a PDF

Marc Matthews:

checklist that describes what you need to do to

Russell Nash:

properly prepare a mix

Marc Matthews:

for mastering. So you've done the hard work and you love your mix yet. Suitably preparing a mix for mastering is often overlooked by musicians resulting in delayed sessions, excessive back and forth conversation and frustration on both parts. I want to help fix that. So if you want this free resource, just go to www dot synth music, mastering.com. As this checklist will help and guide you to make the mastering process as smooth, transparent, and exciting as possible. So again, the URL. Is www.sy music, mastering.com for this free preparing a mix for mastering checklist. Let's get back to the

Russell Nash:

episode,

Marc Matthews:

but what are your thoughts on the scene? How, what, in comparison to the one that you were in previously? So you mentioned you were in a band, are there sort of like parallels between the, the rock and metal scene and the Sy wave scene? Or what differences do you think there are? Um, I mean,

Russell Nash:

one, one thing that, I've one thing that I've personally found and I, I don't know if it's something to do with like the different kind of demographics, because I know that obviously most of the people that are kinda like caught up in the sense we've seen are usually at least in their thirties, um, or maybe even a little bit older. Um, you know, cause I'm, I'm, I'm 35 myself. Um, you know, I'm getting, getting on a bit. Yeah. Great hair yeah. Yeah.

Marc Matthews:

But.

Russell Nash:

I don't know, I, for me, I mean, I mean, don't get me wrong. I mean, like, I, I had some great times like giggling and, and, and being a part of like picking a rock and metal community and, you know, I made some great friends and, you know, I, I, I, I, you know, you know, uh, connected with a lot, really, really great people. Um, but I don't know for, for me, I, I, I found that the same place communities more, what's the right word for it. It's more, um,

Marc Matthews:

I think it's more welcoming just to jump in. Yeah. One thing I would say is having come from a live scene, live music is I know what it's like when you're gigging. And I, I think the, the,

Russell Nash:

the rock and metal scene, I think is more tribal. Yeah. Um, whereas yeah, like, I mean, I think, yeah, welcome probably is, is, is, uh, pretty good. Uh, a pretty good word for it. Um, cuz I, you know, I, I, I immediately kind of found the, um, you know, when I joined this, I mean, I mean like, you know, I mean, you remember obviously when. I'm trying to think it was maybe what about eight, nine months ago that I started talking to you and yeah, about that

Marc Matthews:

pre Christmas, wasn't it?

Russell Nash:

I think, I think it was, it was something like that. Um, and you know, like I knew fuck all back then. like, because I mean, yeah, because you know, for me, I mean, like, I've, I've, I've been a mu musician for a long time and I've been a musician for 21 years. But, um, you know, I, I, I, I literally, as, as, as a producer, um, I, I started from scratch about roughly about this time last year. Um, you know, I mean, like, uh, before, you know, I mean, before I kind started on this journey, I mean, like, like I said, I knew, I knew how to high pass in a, I knew how to pan things in balance levels and that was it. Like, I didn't, I, I didn't know anything else, like, so I, I was, I was kinda starting from like, you know, ground zero. Um, and yeah, like, so there was a lot of folk like yourself and, and just, you know, grips and stuff like that. And, you know, I. I was that annoying guy asking all, all the, all the questions that everybody's been asked like a, a million times. And, you know, everybody was really patient and everybody, you know, was really, was really, uh, really supportive and, you know, um, really, really kinda encouraging and stuff. So I mean, that, that was definitely kind different. Um, and I don't know, like, I, I mean, obviously there is a little bit of, you know, like toxicity and, you know, there's a little bit of tribalism, but I think to much lesser extent because I mean, I used to be in a lot of like, you know, hard met, you know, hard, hard rock in metal groups, but, you know, I ended up leaving a lot of them because I just get so fucking fed up because they would spend more time talking about the band and why, why Justin Bieber was a prick mm-hmm than, you know, actually just talking about, you know, The bands that they enjoyed mm-hmm, you know, I mean, I remember it being in this one group. I don't even remember what it was called, but I actually just made it my mission to just troll them. Um, every time they put up like a, you know, like a, a poster, but Justin Bieber, I, I would just, you know, imply that, you know, they must be fucking wet for him because that's all they fucking talk about. And then they really upset with me.

Marc Matthews:

yeah, I know what you mean, though. It does make sense. Like if you, if you talk about them that much, there must be some sort of like Freudian, um, something Freudian going on there, you know? So, um,

Russell Nash:

yeah, like, and, and, and, and, and there was very, very much this kinda, I don't know, like, you know, metallic is the best band of all time, and if you disagree and fuck you, or like, yeah, iron made is the greatest band of all time. And if you disagree, fuck you. And, you know, like, I don't know. I just, I just can't be bothered with that. And definitely seems to be less of that in the sense of community, like people seem to be, I don't know, people seem to kinda like cheer you on more. People are able to kinda, you know, for, for the most part, from who I've seen anyway, like, you know, they can post it about their favorite bands without, without that same kinda, that same kinda tribalism. Mm. Um, that, that that's been my experience anyway.

Marc Matthews:

Yeah. I would agree. I think the support is, is amazing. Like yourself, um, like, sorry, like you said there, if, if you started like your production journey sort of nine months ago, I think the support that you get from other artists is amazing. Like, and just bouncing ideas back and forth. I do it all the time. There's like a select, I say a select few. This is someone new, I think every month I talk to and I end up bouncing a track to them and saying, Hey, what'd you think of this? And it's amazing, you know? And it helps you progress as an artist and as a creative. And I think particularly as well at the cuz you've got your big players in the synth Sy scene, and everybody knows who the, who the big players are and stuff. Yeah. Um, and obviously the, I think the bigger you are, the more. I dunno, maybe the more your work is analyzed and criticized for one of a better way of putting it, I guess. Yeah. And you, you're there to be for people to, to write and talk about. But I think at the, at the more independent level, the support is amazing. I've never known cuz I was in a band for years and I've never known a, um, a scene whereby I've got so many people sharing my music and like vice versa as well. I've never known anything like it. Like you put a song out and it's just shared by so many different people and so many people, more people commenting on it and I've never known anything like it. It's amazing. It's um, Testament to, to the artists and the support that you get, incredible stuff. And um, thirdly, enjoyable as well. And I've dunno about you, but I find it like new artists every week, someone, some, some new song artists will pop up on a Sy on like a playlist on Spotify or just in a group. And I'm just like, where is this? Come from? This is insanely good. This is amazing. Which is great thing.

Russell Nash:

Yeah, no, no, absolutely. Man. I mean like, um, I, I think I'm gonna end up fucking bankrupted. Um, you know, if, if I, if I keep finding new artists on bank camp, mm-hmm I had to really restrain myself on Friday. Cause I'm a broadcast bitch at the moment. Um, I tried to at least get a couple couple in. Marc Matthews: Yeah, good They're brilliant. Aren't they? Yeah, I dunno. Was, was that the last one? Like, uh, I, I can't seem to get any kind of concrete kinda confirmation on that,

Marc Matthews:

but really, I don't know. I hadn't heard of, it was gonna be the last one what this year

Russell Nash:

or I, I don't know because, uh, on the, the bank camp, like the blog post about it, like they said that they were doing it up to that. They were definitely doing it up till the 6th of May, but they never actually clarified whether interesting. They were gonna do one in

Marc Matthews:

June. It's been, it was bought wasn't it. Who, who bought bank app?

Russell Nash:

Uh, it was epic, epic bottom epic games.

Marc Matthews:

Yeah. Something like, I'm not saying the two, there's a correlation between the two there, but interesting. No, I wasn't aware of that. That'd be a real shame if they got rid of that. Yeah. Real

Russell Nash:

shame. Yeah. No, absolutely. Um, but yeah, no, I, I definitely, um, I'm stumbling car, um, stumbling across new stuff all the time. SoundCloud I find is, uh, a really, really good place to find artists I've found so many, like really, really fantastic artists on SoundCloud. Um,

Marc Matthews:

yeah, I don't give it, I need to give SoundCloud more time. I put demos up on there, but, um, sorry, go

Russell Nash:

on mate. I was just gonna say it's it's it's dry. I was just gonna say is, is, is dreadful for, you know, making any money off, off of your stuff? Mm. Um, I just get my, uh, I just get my first, uh, payout, um, five, $5. five, $5. You I'm just gonna do, do my, my little fucking flex now. Yeah. Yeah.$5 for 11,000 stream. Oh, it's

Marc Matthews:

hideous.

Russell Nash:

Isn't it? Um, so yeah, I, I, I, I don't think I can recommend it, um, as, as, as an artist, um, for somewhere to kinda actually make any money off your music, but, um, it's, uh, no, it's, it's a good place to kinda put tracks up and just kind, I guess, kind get the word out and for having, having a little brow and, you know, finding new artists to listen to, cuz usually what I'll do is if, if I find a new artist that I like on SoundCloud, I'll usually go and then find a bank camp and add it to my wishlist or whatever mm-hmm um, so I, I, I guess I kind of use, I kind use, uh, SoundCloud the same thing that I use. Hm. V I used HMV. Um, I got, yeah, I got to HMV to find, uh, find CDs that I want to buy online. Yeah.

Marc Matthews:

Yeah. I can't remember the last time I bought a CD. I bought a vinyl recently, but I cannot remember the last time I bought CD, man. Must be years ago. Are you into cassettes? Do you buy cassette?

Russell Nash:

No. Um, I think I, I know that's blast this, this service.

Marc Matthews:

No, I haven't bought any either. So I'm, I'm I'm I'm the same.

Russell Nash:

No, it's it's, I mean, don't get me wrong. It's it's, it's kind of neat. Um, like I, I understand the appeal, but, um, for me personally, like, um, fuck. Nah, it's just, it's just not for me. I'm, I'm happy enough with the, with my, with my digital, uh, collection.

Marc Matthews:

Yeah. Yeah. I, I contemplated it. I got a, I got a cassette D somewhere and I need to fix it, but, um, yeah, I think I, yeah, I contemplated it and then I thought actually, I mean, I know I'll do I'll buy loads and then they'll just get, put, put in a box and put in the attic, but more for everybody who buys them and who loves them. It's great. But, um, yeah, I'm sort of with you on that one. So, um, and what I wear of time here, I'm digressing is usual. Um, what I wanna touch on that is your, your debut album. Sure. So do or die. Can you tell us, tell our audience a bit about the release itself? Thank you for the credit as well. I was throwing bank camp. You, you gave me a shout, which is, which is, uh, most appreciated. Thanks, man.

Russell Nash:

No, I mean, absolutely man. I mean like, uh, anyone that, you know was patient enough to like fucking up with like me asking a million questions, like, uh, thought, I thought it was only fair to get a shout out.

Marc Matthews:

No, it's the only way to learn though. Isn't it? I mean, asking questions, you know, and, uh, it's the way forward. So what, what can our audience sort of expect from do or die? Um, give us like a, a summary of the, of the album itself. What can they expect? Um,

Russell Nash:

I'm trying to remember like, uh, some, someone else asked that a while ago and I think the, lemme try to remember what it was. I said, I think it's like, it's like Harold Almi German with Europe in the eighties.. Marc Matthews: Um, that's good. If that's not enough to draw you in, I, I suggest you go and listen. Um, at the end of this episode, obviously I'll put, I'll put links to that, um, to your bank and whatnot in the show notes. So, uh, do go and check it out and then it'd be interesting comment on comment somewhere, Instagram, wherever it may be and see if you agree with that description, uh, or I'll come up with a description yourself as well, but yeah, carry on, man. I interrupted you though. no, no, it's alright. It's alright. Yeah, so like, I, I, I, I guess, you know, I tried to pull in a little bit of like making a hard rock influences and I think, um, I, I think that's where my kind of drum sound comes from because I mean, I I'll, I'll, I'll be, I'll be perfectly honest with you. And I like a hand in my heart, like genuinely, um, before I really standing my tracks, I thought my drums were pretty mediocre. Um, but just kinda, you know, par for the course, but like, I, I, I get questions about it all the time. Um, but it's genuinely just, it's just like in a hard rock beats, but with. You know, hard rock beats and fills, but with like retro, uh, drum machines, that's, that's, that's basically, that's, that's the big secret like him. It's um, that's all it is really. Um, so I, I, I guess I've kinda incorporated a little bit of that and into my sound, you know, obviously through, through like a few guitars in there as well, and then I suppose I've kinda, you know, channeled my, my inner Almi over, over, over the, uh, over the top of that. And that's, that's kinda, I think that's a, a reasonably good description of, uh, the kinda the sound that I've kind put together. No,

Marc Matthews:

that sounds really good, mate. I think your drums are, your drums are banging on there as well. So it drums like particularly I had this conversation with Tim aisle nine, um, a few weeks back, and it's the classic like snare and Toms, um, that are the, the, the, this, I have to go into like the minuteness detail with those. And I just get hung up on 'em for ages. So anybody who nails the sound of drums. um, hats off to you, man. Cuz it's something I sit there and it's probably what holds my releases up the most. Um, so it kind of leads on nicely to my next question, which is about your songwriting and like compositional process. Sure. When you are in the, in the creative zone, how does that start? How do you start a track? I mean, is it the same every time or does it, does it like when inspiration strikes you just, it go with whatever, you know? Yeah.

Russell Nash:

Like, you know, it, it kinda, it kinda varies. Um, I'm, I'm kinda, I'm having a bit of a drought at the moment. Um, like, I mean, I know I really stuff you tracks yesterday, but um, I had to really, really grind to get those done because I've just not been in that, you know, head space recently. Um, but I mean some sometimes like I, you know, inspirational to strike. I mean, like, I mean like, like my, probably my, my most popular, uh, track, um, last chance, I mean, I got the idea for that. Like when I, when I was in the middle of a piss, um, like not, not, not a word of a lie, like like, you know, I, I, I just, the idea of just like having this, like driving baseline and, and like yeah. You know, like a hard hitting drums, like start the track, like just, just popped into my head. And I just, you know, just had to quickly kinda shake myself off and, you know, make a Bline for the, for, for the PC to, to get the idea down before I forgot it. And I

Marc Matthews:

was gonna ask then, was it like, it is probably quite crude for the audience listening now. I thought it was like, you're taking a piss. And it was the sound of that was like influencing the baseline of it, like hitting the, to hitting theam of the toilet. No, no, no, I like it. Right. That'd be creative man. Sample that and then get it in as a baseline. That'd be insane.

Russell Nash:

No, just like, um, ideas just pop into my head sometimes. And. I guess some tracks just kinda write themselves. And, and then just like, like I said, other times, um, other times I I'll get like a, like a drought and, um, I just won't be in that head space and like, you know, I'll have to really kinda grind it out. But, um, no, it, it varies, man. I mean, like some, sometimes I'll start with, you know, with a, a drum beat. Sometimes it'll be a baseline. Sometimes it'll be a chord progression. Sometimes it'll be, you know, a melody, like it genuinely does seem to, to kinda vary. I think, I think recently I've noticed that like, yeah, probably probably more so than, than the others. Like a lot of the time it seems to start with a baseline mm-hmm like, I I'll, I'll, I'll kinda him up with a, like a, a fun, a funky little baseline, and then can build the track around that.

Marc Matthews:

That's interesting. When you say baseline, do you mean like, um, like a synth base on an actual bass guitar?

Russell Nash:

Um, no, just, just. They'll just pop into my head and cause like, I, I, I don't, I don't know if I'm the only person, the crazy person that does this, but some, sometimes an idea pop into my head and I'll just like whip my phone out and I'll just like, hum, like I'll just record. And like hum hum. Like the melody or like the baseline or like the drum pattern, like in, in my phone just so I don't forget it. And then I'll come back to it later. Um,

Marc Matthews:

and then like, no, I was gonna say I do that. I do that. I've probably got a catalog of random shits on my phone. Doesn't really like really offkey ramblings. But to me it makes sense somewhere. You know, it's interesting. I think when it comes to inspiration, cause I'm very much the same. I go through peaks and troughs when it comes to writing and um, I often find that to get inspiration. Sometimes I have to. I dunno. Do, do you sample libraries at all in your stuff kinda delve into that realm? Some yeah. Yeah. So sometimes I, I might listen. I use splice. If I ever go into that, I was looking, I was digging around there the other day for some, some car sounds. Um, and I noticed on your, you released the track yesterday, didn't you speed demon. And I heard some, uh, ACE track by the way. And I heard some, um, some pretty cool sort of like Dtic sort of car sounds in there, man. Yeah, yeah. But yeah, sometimes I get influenced just by, I have to find like a loop or something and then just doctor it slightly. And I go from there. But what I've noticed of latest as well on incentivized surface, you post a lot about, um, plugins and you're finding all these, uh, these free plugins. Where, where, where do you find all these got I've got ask. Is that just you just digging around the internet or you' got another source,

Russell Nash:

you know, like I'm Scottish. So I mean, you know, we, we like a bargain. no, like, um, when I, when I, when I started out, um, I didn't, I didn't really have a lot of money to spend on plugins, like right back at the beginning and. Plus, like, you know, I didn't really wanna spend a fortune if I didn't really know if I was going, you know, get balls deep into this. Yeah. So, um, I think, I think for a good, like two months, like I think I scoured like every corner of the internet to, to find all the, the best kind free plugins and all the, the best kind plugin deal sites. And I signed up for like multiple, uh, newsletters from, you know, like, you know, like audio plugin deals and the plugin guy and like, you know, all that kind stuff. So, um, and I joined a few like bargain groups on Facebook, uh, Facebook as well. So yeah, like a lot of the time I'm just gonna get hit with, uh, like, you know, emails about like, you know, various deals or notifications or whatever. Um, but yeah, and I mean, sometimes, you know, I, I, I do regularly just like, you know, make, make the rounds, um, and, and like check. Check check back to a lot of these sites just to see if they've get anything good going on. Um, and then, you know, if I see something that I think that, you know, other people might get might get some use set off, I usually just kinda slap it in the grip. Um,

Marc Matthews:

because, so my sorry, but my question to you though, would be what is the, like the best or the most used, maybe, maybe a better way of putting it free plugin that you have in your arsenal? The most used

Russell Nash:

one. That's a good question.

Marc Matthews:

Um, yeah. Sorry. I'll put you on the spot there a bit, mate. I should have warned you about that one.

Russell Nash:

there's a there's Alin plugin that I use quite a lot. Um, I think it's a, I think it's called the JM one.

Marc Matthews:

Um, the JM one gonna make a note of this.

Russell Nash:

I think I, I think, I think it's called that like, um, it's, uh, it is quite, it's quite an old plugin now, but it's it's, um, it's got some really, really nice sounds in it. Um, so like, I, I use that for like all my, like my cowbells and my claps and stuff like that. Like, um, I I've yet to find anything, you know, that sounds nice in, in my opinion, that, that, that sounds nicer for that, like yeah. That old kinda like Al Tomy kinda like eighties kinda eighties kinda sound. So yeah, that, that, that one gets a lot of use. So tower it's, it's another one that I use quite a lot. That's uh, so like plug in where you can like load in your samples.

Marc Matthews:

Okay. Well, like a sample. Is it a sample editor then? Um, yeah, you can, you can,

Russell Nash:

you can edit that a little bit, but it's, um, I'll, I'll use that for a lot of my drum sounds like, um, so that I can kind of put them all one place. Yeah. Um, and the, uh, in terms of sense, probably the PGA X, I, I use that one a lot. PGA

Marc Matthews:

X. Yeah.

Russell Nash:

That one's, that one's really nice to, to, to be perfectly honest with you, like yeah. That one's probably probably as good as some, some, you know, plugin staff, you know, paid a decent amount of money for. I think, I think the guy developed that's pretty generous giving that away for nothing.

Marc Matthews:

It's amazing. Isn't it? Some of the freebies, the free software that's out there, what you can do with it. Yeah. And stock plugins as well. Um, I'm, I'm a big advocate of, I dunno what DW used, but I use, uh, logic. I used to use pro tools, but when I moved away from the recording side of things, more into production, I moved into logic. But even like logic, some of the stock stuff, some of the stock plugins, you get logic. Yeah. Um, are amazing. And I know occasionally I'll come across someone who will turn their nose up a bit about using stock plugins, but I don't think there's anything wrong with it in the sliders. You know, I've had conversations with individuals who still produce, and actually there was one interview. I did, I can't remember the producer and he produces all his track using an iPad and they sound amazing. And I think I what's the classic analogy. It's a Workman and tools. Isn't it? It's, it's how you use the tool rather than the tool itself. But some of the free stuff is amazing and yeah, no, very much like yourself. I try and. Try and keep my costs down, but at the same time, not to negate the quality and I think there's so much, so, so many good things out there. But my, my next question to you is gonna be about sort of like your synth sound itself. Do you, so this is paid, um, or free. What, what is your go to sort synthesizer your go to VST, um, when it comes to your songwriting? Um,

Russell Nash:

see, like AF AF after, after I decided that I was in this for the long haul, like, I, I, I bought quite a lot of stuff over like a kinda six month period. So like my plugin folders pretty, pretty bursting, but I think I've kind like I've, I've, whitled it down to like a, kind of like a kind of core, like kind five or six plugins that I use in most tracks. And then I've got like a bunch of other kind, like senses that I like to call, like my, my spice.

Marc Matthews:

Um, , that's a great way of putting

Russell Nash:

it like that. So, so yeah, like, um, SOS and by tu mm-hmm, like, that's, uh, that's one that I use on almost every track and that, that, that's like a really nice kinda, I guess it's like a cost effective alternative to diva and it's like half the price, but it's, um, really, really fucking good. Um, like, you know, the sound quality's probably, probably just about on a par. Yeah. Um, so I, I use that for like a lot of kind like pad sounds and stuff, and like bell sounds and I used it for like the delete, the deletenth on, uh, the title track do or die. Um, I, I used it on that. Um, so I, I use that one a lot. Um, I use Anna too, a lot for, uh, base.

Marc Matthews:

Yeah, I'm a big, big fan of Anna two. I use that as well.

Russell Nash:

I think, I think, yeah, I think Anna two is, I mean, it's good for everything, but I think it's especially good for, um, for base sounds. Um, the, uh, the DCO, uh, one oh, DCO 1 0 6 by cherry audio. Um, I use that for quite a lot of stuff. Um, I know that there's more accurate formulations out there, um, you know, for, for, uh, for jus, but I don't know. There's just something about that one. I, I just find it really, really quick and easy to get a nice sound out of it and to just kinda to get going, um, because I I've I've, I eventually picked up the model 84 in a, a sale and I mean, don't get me wrong. It's it's um, it's, it's, it's a really nice plugin. Um, I mean the inter interface is beautiful. Um, and I mean, the, the sounds are, are, are incredible, but. I don't know, I, I find it less kind of user friendly. And for that reason, I, I find myself gravitating towards the, the cherry one more. Um, just, just, just because it is like so easy to get like a nice sound out of it, like really quickly. And then that just kinda gets the ideas flowing. And I don't know. I mean, I know a lot of people will probably, probably, uh, bely disagree with me, but I think, I think that once it's all like mixed and it's like sitting in the track, like, um, it's quite difficult to tell the difference anyway, like at the end of the day, I think you can get very similar results with just, just, just about any, um, just at any plugin, if you, if, if you mix it well.

Marc Matthews:

Yeah, I would, I would, I would tend to agree on that. I think going back to what you said there about emulations, I think there are because you could have your classic synthesizers, um, and then you could have emulation after emulation, after emulation of that synth. And I think. There there's an argument maybe to say that an emulation might not be entirely, uh, verbatim correct to what it's trying to emulate, but it might bring its own characteristics to actually, you know what, I quite like the fact that it's not quite right. Yeah. Yeah. And it brings its own Sonic palette to your mixing. Yeah. I think you're right there as well. And when you say about using different synthesizers in that, when it comes to actual mixdown and everything's sort of when it comes out in the wash, um, could you, can you, can, you can, you can tweak these sounds and stuff in electronic music, and like you said, that, I mean, probably gonna echo what you said there is. I'll probably be corrected when I say this, but I mean, can you really tell what VST someone's used on a track? Someone's probably gonna correct me now somewhere, but I, I wouldn't have said

Russell Nash:

so. I mean, I, I, I, I can't say I've ever listened to a track and, you know, immediately thought, right. That's that VST, um,

Marc Matthews:

I know individuals who think they might, I say, think, think might be the wrong word, but they can pick out which D a w someone's used, like I had that conversation with. Yeah. I know. I've had that conversation before they'll be listening to, oh, that was, that was produced and mixed in logic or that thats proto or I dunno, that's Reaper that's Ableton. Um, I'm like, just, just enjoy it. Don't try and like pick apart. like what DAW they've used, you know, just enjoy the track of what it is. Yeah. But maybe that's why I'm different to different to others maybe, but for, I realized I've kept you on it for quite a while. And now, so what I wanna move on to next is like, just ask the questions. Like, what does the future hold for, for Russell Nash and, uh, and your musical adventure? Um,

Russell Nash:

I mean, I'm, I'm, I'm, I'm kind wanting to go Phil, Phil steam ahead. Um, because I mean, before, before coming into this, I I'd actually stopped doing music for, for a long time. Um, like, uh, I'd I I'd, I'd actually give, I stopped in music for about five, five or six years. Um, you know, I mean, I would pick my guitar up from time to time and have a little strong bit, like, you know, you, you're talking about a handful of times a year, so I don't know, like, I guess I just kind of fell out a love with music for a while. Um, there was just kind of a lot of other stuff going on in my life. Um, and I just kinda drifted away from it. But coming, coming back to this it's, it is kinda, it, it's just really, really reignited the, the, you know, the passion for me. It's like, it's gonna let that fire under my ass again. And, um, yeah, like, I, I I'd really like to make something of it because like, I, I kind of feel like, um, a lot of the projects I was involved with before always kinda, they, they, they never, they never reached their potential. Like, um, cuz I was, I was in the, I was in like a glam punk band, like uh, Like a, a long time ago. And, um, you know, we, we started doing right. Like we, we, we were actually starting to get some pretty good gigs. I, I, I got to support like a few bands that like, you know, that, that, that enjoyed like, um, I dunno, do you know the band faster? Pissy cat?

Marc Matthews:

Yes. Yeah. Yep.

Russell Nash:

Um, I, I got to support them, which for me was amazing because like, I mean, I can remember it being, you know, 17, 18 and like, yeah. I, I, I used to like, uh, I used to like learn all their rifts, like just like playing along with the records and stuff like that. And like that, that was probably a big part of my, like my, uh, guitar sound, because like, you know, a lot of the kinda rifts and stuff that I, that I used to write for, like, you know, the, the hard rock bands that I was in were quite kind of bluesy. And a lot of that came from that influence. So, so for me, that, that, that was amazing. Getting to support like a band like that. Um, and trying to think tough. Um, I supported them as well. And, um, love. And then I was supposed to support, um, was supposed to be done a gig with gun that unfortunately, that, that, that one fell through. But I lost my train of thought. Now, I can't even remember where I was going with this.

Marc Matthews:

I think talking about how, uh, musical, uh, musical projects were reading that potential. That was it. Yeah, that,

Russell Nash:

that was it. So like, um, a lot of these bands that like, you know, that, that I used to play and like, it always seemed to be when we were just starting to get somewhere that, that, that was when it fizzled out because, um, it, it was actually when I played the, the gig with the supporting, um, tough, we, we played support slots for tough and Glasgow and Edinburgh. And, um, the, uh, they're the manager of the other support band is also the manager for, I think Lordy and hardcore superstar. And, and he saw us and like, he, he, he really liked us. And so he, he gave us his card then asked him, asked us to, to send him a, a demo. And, you know, that, that, that could have been a big break. Um, and then like, I think if it, like about six months later, like we we'd recorded an EP and we're all set to like, you know, um, to try and make something of that. And, and then yeah, our singer get jailed for fucking beat up his girlfriends and the band split up. Oh, wow. So that, that was the end of that. Um, yeah. Yeah. It's, it's nice to say I don't, I don't speak to him anymore. Um, and yeah, like the same kind of thing happened with the band I was in after that, like yeah. That kind of fizzled out when we were starting to get somewhere as well. So when I, I, I guess I really just wanted for me, I really just want kinda make something of this project. Um, yeah. I I'd really like to take this as far as it can go. I mean, after no delusions of, of, uh, of grantor, I mean, like, you know, we're. Randy genre as it is. So, I mean, like, even, even the superstars of, of our genre are still, uh, still, uh, making champ change compared to like, you know, the big, the big hitters in the industry.

Marc Matthews:

Yeah. Yeah.

Russell Nash:

But yeah, like, I mean, it would, I, I definitely plan to, to, to just keep the, keep thes coming and just like, see, see where it takes me. Um, I'm no promises, but like I'm, I'm aiming to get another, uh, to get a Russell Nash EP out by the end of the summer. Oh, wow. That'd be good. So like, uh, like definitely an EP this time, because like do or die, started off as an but, um, I just kept on, you know, getting those moments of inspiration and I would write a new track and I would go like, right. Okay. I'll add this one and then that's it no more. And then I would write another one and go like, ah, kinda like that as well. So write, I'll add that one then. That's it done? I'll just release it and then I'll, I'd write another one and then write. Okay. That's how it can end up being an album in the end. But, um, no, this one will definitely just be an EP because, um, yeah. Getting, getting, getting those, uh, getting those tracks over the line for the release. Just that fucking killed me.

Marc Matthews:

I think, yeah, I know. I know. I share your sentiment on that. I, I struggle to get tracks over the line for an EP, to be honest, I keep I write something and I'm like, oh, it doesn't fit my EP there. So I just release it as a single and I keep releasing singles thinking, right. I'll start the EP. And I just keep, keep knocking out singles rather than in an EP. And I really just need to like put myself away for like a month and just finish. Well, pretty much. Yeah. Finish. Yeah. Finish be the right word. Finish an EP. But no, that's exciting mate. To get another EP out. That'd be good going. I mean, if you get another EP out before the summer, that's, that's pretty good. The amount of music you've put hours in the last sort of like eight or nine months or mentioned, I think it's, I think it's the most I've ever been. It's impressive, man.

Russell Nash:

Um, but, uh, yeah, that, that that's the plan anyway. I'll probably just be three or four tracks. Like, um, I, I don't, I don't think I can stomach an another album yet. Like, yeah. May, maybe, maybe early next year. I'll I'll, I'll kind of go again. I'll maybe try and get another album out, but, um, no, I'm, I'm really, really disorganized that I think, I think on release day for the album, I think I rendered the

final master at 11, 11:

00 PM. Wow. it's like, it's just like, it was like, uh, you know, like one of those, like Raiders of the lost art films, you know, when, when Indy kinda rolls under like the, the cave that were coming down. Yeah. Just enough time to grab his hat. Um, I, I think that was me, like, just, just getting it out, like the last, like half an hour of the release went up. Um, wow.

Marc Matthews:

It's it's impressive though. That's so you, you do the, you do you're all in house then mix and mastery. Yeah. Yeah. Fair play, man. It's good. It's good. That's the beauty of it. Isn't it with technology, the accessibility of it, as I mentioned earlier, the fact you can do everything. Everything at one. Yeah, no, I

Russell Nash:

mean, but like, no, like, like I said though, I mean like people like yourself and, and Tim like, um, Derek from midnight fury, like, I mean, if you, if you listen to like the mixes that I was doing before you guys gave, you know, give me all, all those like tips and pointers, like I, the difference is night and day. Um, so like you, you guys were definitely a big, big, big part in me getting it over the line.

Marc Matthews:

No, it's, it's great to hear, man. It's my pleasure to help out. And it's, it's cool to hear it. Cause it's, it's a quality release. It's really, really good stuff, man. And like the, the release power yesterday is really, really good and excited to hear what the EP sounds like.

Russell Nash:

I'm think I'm, I'm thinking, I'm thinking the EP I'm gonna go for more of a kinda. More like in a funky sound.

Marc Matthews:

Yes. That sounds good. I think it's always nice where you have like synth wave and then you sort of like bring in a slightly you pivot slightly and you bring in maybe a bit of funk or maybe you go down there slightly darker route. You might bring in sort of like, I dunno, heavier guitars or yeah. Or, or just something slightly, a subtle difference. Um, so now I look forward to hearing that I'm well aware of the time now, mate, and I don't wanna keep you for too much longer, but what I wanna ask now is, um, where can our audience find you online? Um, where are the best places to find you and your music and

Russell Nash:

well band? Camp's probably the best place. Um, all, all my stuff, some band camp, I've get my stuff on SoundCloud as well. Get my music video is on YouTube. And like, I've been saying this for months, but I will do it like, yeah, I dunno why I keep putting it off. I, I really should do it, but like I am planning to put the whole catalog on Spotify as well, and I should really get on that. So, yeah. Um, yeah, I'm on all of those platforms. Yeah. I'm, I'm, I'm on all of those platforms and if you want. You know, if you, if, if you want to follow me on Twitter for some, you know, in, in ban then,

Marc Matthews:

because, uh, yeah, what I'll do is I'll put links to all those in the show notes. So, um, whatever platforms and whatnot, I strongly encourage, if you haven't listened already is to go and listen to the back catalog on, on bag cab and support, and also on SoundCloud as well. But now Russell, mate, thanks for spending the time here today. It's been, it's been great at pick your brains and, and learn a bit about your journey from, from where it all began into where you are now and hear that progression and, and what the future holds mate. So progress like the releases are, are fantastic. So just keep, just keep doing what you're doing, mate. Just keep, keep knocking out the tunes and making great music, mate. It's um, and a big thank you for spending the time with me today. No, it's cool, man. My. Hey mate. All right, mate, I'll let you go. And, um, I'll speak to you soon. Cool,

Russell Nash:

man. I'll catch you later.

Marc Matthews:

Thank you so much for listening to the inside the mix podcast. Make sure to rate us everywhere you listen to podcasts, including Spotify.

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