#37: How to Improve as a Music Producer and Perform Synthwave Live | The Future Kids

The Future Kids is a Belgian producer that takes you on a journey through dreamy and nostalgic soundscapes. With a focus solely on instrumental synthesizer atmosphere and sound aesthetics to try and bring a true Dreamwave experience. Roots in hip-hop and the French touch movement, bring a fresh twist to synthwave.

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Transcript

Marc Matthews: 0:00

You're listening to the inside the mix podcast with your host, Mark 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 want to share what I've learned with you. Hey. And welcome back to the insider mix podcast. And in this episode, I'm very excited to welcome our guests today. Herman Maxima. He is a Belgian producer with a focus on instrumental synthesizer atmosphere and sound aesthetics that evoke a true dream wave of experience. He's gonna share with us his story behind the future kids, sophomore release, eighties dreams out now via Outland records. Do check that out. I highly recommend, uh, so yeah. Hi Herman. Thanks for joining me today. And how are you? Hi. I'm I'm. I'm good. How are you? Yeah, I've spent the, uh, in the UK, we have things called, uh, car boot cells, which is basically where a load of people get together in a field and sell stuff out the back of their car. So I spent the morning doing that, looking for vinyl, um, which was, uh, which was interesting. Do you get, do you have those sorts of things

Herman Maximus: 1:12

where, where you are? Um, not, not really. No, not really. No. I, I, I don't know. I don't think so. to be, to be honest, I, I haven't, no, I haven't seen any vinyls in, in, in 20 years probably. So, uh, yeah. No. Oh,

Marc Matthews: 1:30

wow, man. So, um, yeah. Yeah. It's, it's, it's, uh, quite a, a UK, maybe it's a UK centric thing then where we spend our, our weekends going through other people's junk, trying, trying to find vinyl at the back of their cars. Um, So for the audience listening, um, Herman was actually, uh, interviewed on episode seven of the podcast, uh, where we discussed, uh, various things. So like if we, uh, we came up didn't coin the term, but discussed the three pillars of hip hop and it's linked to synth wave and why synth wave will never die. Uh, which, uh, feedback from that episode, a lot of people have mentioned that and found that really interesting. And the release of your debut album last summer, um, which is, it was a fantastic. So, if you wanna learn more about Hermann's actual background and that release do go back after this episode and, uh, check out episode seven. So Hermann, what I wanna sort of start off with is, um, Sort of chapter one, as it were, is taking future kids to the state. So I saw on your Instagram that you are, uh, gonna be appearing at the, I think I pronounced this correctly, the owner Electrica electronic, sorry, synth way Fest in September in Barcelona. How did you, um, come across that opportunity? Were you approached, did you approach, um, the organizers?

Herman Maximus: 2:42

Well, as you know, um, uh, the last Concord is also on Outland recordings. Um, and, um, we, we were sort of the two discovery artists, uh, that, that were introduced by Outland, uh, almost, um, together, instantaneously. So I think we were two weeks apart or something, and we kind of made a connection from there and, uh, because they are organizing the unai electronic sent. Uh, I, I, I think it's just maybe natural that they, uh, that they ask me as

Marc Matthews: 3:17

well. Oh, amazing. There's there's some fantastic artists performing on that. Um, so obviously you mentioned the last called, uh, Concord. Um, great guys. Uh, so I have 'em on the podcast. I think it was a couple episodes after yourself, um, and their releases are awesome, man. Um, so you're gonna be showing the stage with the last call Concord and sort of Marvel 83. Is there any artists in particular that you can be playing with that you're sort of most excited to share the stage with?

Herman Maximus: 3:40

Yeah, I, I think all of them really. Um, but, but one, I think specifically, I think Marvel 83, uh, he was a huge influence, uh, for my, for my first album. Um, I, I, I think, you know, I. I'm always listening to time cop and, and Marvel, but, but I, I really think he had the, probably the most influence on my, on my earliest sound and yeah, of course, I'm really excited to see him and, and, and see him see how he brings his music, uh, to life. On

Marc Matthews: 4:14

stage. Yeah, I can imagine, man. Um, I'd love, it's gonna be great, like performing and then being able to watch those artists sort of, once you're done and dusted I'm envious and also in what will essentially be the Barcelona sun as well. So, um, yeah. Yeah. Very envious if you there. So what my next question is, you mentioned there about the artists taking the, um, taking their music to this stage. So can you tell our audience a bit about how you envisage sort of like what you plan to do to. Future kids to the stage and what that might look like and what challenges you think there might be. Yeah.

Herman Maximus: 4:46

Uh, I I'm initially, I, I, I think I had two options in my, in my mind. One was, uh, a sort of, uh, uh, more like a musical performance, um, more, more like a stage band, uh, with various team members. But, but of course you have the, the practical problems. Uh, you need to have, uh, more, more than one band member of course. And, um, yeah, it needs to be in sync, which is for electronic music. Like not, not really, uh, an easy thing to do. Um, I, I, I did some experiments with electronic, with electronic drum kit. Um, but, but I, I think it's just too hard to, to bring that to a, a stage and, um, like in, um, a premature, uh, premature, um, like, uh, for, for your first performances. So, uh, after that, I, I was exploring, uh, more like an EDM kind of approach. Uh, not really a D I wouldn't say a DGA, uh, set, but, but something that, that was more, um, electronically orientated. Uh, so, so more, um, more like, um, I think you could compare to DPU a little, you know, how they approach their life. Like it's, it's pre it's pre-organized, but still you have some room for experiments. Um, so I'm re basically I'm rearranging all my songs into one life. Um, and I, I, and I'm adding, um, different elements to it. I'm, I'm changing the structure. So, you know, it's not like I'm, uh, just playing my songs from, from the album. So I'm, I'm reworking them. I'm, I'm adding a new layers. I'm I'm, uh, I I'm making sure I can tweak, uh, things live on stage, so that that's basically where I'm, uh, where I'm at at the.

Marc Matthews: 6:57

Amazing. Yeah, I was gonna say it would be, I think that's the way to go. Isn't it is not to just play your album cuz you could just stick on a CD essentially couldn't you a CD or you could stream it. Um, so to make, to make those changes, um, have you performed before, um, under the future kids? Um, or, or at all? Have you, have you got like a history of performance? Yeah, I,

Herman Maximus: 7:17

um, yeah, actually I do, uh, because I, I think I mentioned this before I was a saxophone player. And I played in a funeral band, so, uh, I I've got some experience there. Um, but, uh, also I did some life, uh, shows I hope it's not a, I hope it's not like a funeral this time, but, um, I don't think so. Um, no, I'm sure it won't. I, uh, No, no. Um, I, I actually, when I, uh, did music 20 years ago, I made it like a, a demo album and I did some life performances, um, like that. I, I, I played with a guitar on stage. So I I've got, and I put a hammer on, but I was suffocating because in, in that time, people could still smoke in the, in the venue. So I was kind of suffocating in my helmet. I, I didn't really calculate that. And, um, so yeah, I do have some experience and, and things that can go wrong. So, uh, always make sure you have a backup. So yeah, I, I think, I think I'm ready. I'm older now.

Marc Matthews: 8:33

So I, I remember you saying about the saxophone now that, that, that, that, that twigs my, um, my memory. Um, but yeah, the keys are with their helmet's great, man. I couldn't

Herman Maximus: 8:44

see my keys.

Marc Matthews: 8:47

I think the smoking band came in before I started performing over here in the UK. So I never had that pleasure of performing in a room full of smoke. Although you got like smoke machines, but I suppose it's, it's a bit different. No, that's cool, man. Now I'm gonna keep an eye for that. And. And I'll plug, I'll plug the, uh, the festival as well. Um, cause I think it's gonna be great. Do you know if they're gonna be doing any live streams of it? I suppose that's down to the organizer. Isn't, it'd be great to be able to, if you could see it online for those who can't get to Barcelona.

Herman Maximus: 9:13

Uh, yeah, I think that's a good, uh, I, I also have some fresh ideas and, and that's also a really good idea. Yeah. I think, I think, um, I think that's a, a good idea for people who don't have the opportunity to come and see. Because, you know, uh, a lot of listeners are, uh, outside of Europe. Um, and even if you're inside of Europe, you know, it's still, yeah. It can still be a long trip to, uh, to do, but, you know, I also think it's, uh, maybe, maybe it's the only time I I'll do a life performance and, um, well you never know.

Marc Matthews: 9:52

Yeah. Yeah. Uh, I think, um, as the, as the country's open up now, it's, um, bar Australia a place I want to visit bit drip, but not, not Barcelona. So what I'd like to move on to next, uh, Herman is the, um, the story sort of behind your, the, the album that you've recent released. So eighties dreams. Um, so can you tell our audience a bit about. The story behind the album and what they can expect. Um, does it follow on from last summer?

Herman Maximus: 10:17

Uh, yeah, I, I, I think it does, uh, because initially I was, uh, writing new songs and I wanted to stay in sort of the same atmosphere. Uh, but at the same time, you know, it's, it's not easy to, um, It's not really easy to, to make the, the, the same sort of songs, uh, over and over again, you know, and even if you could, um, I, I don't think it's, uh, I don't think it's a very good idea to do at the same time. Um, I, I remember when, when I had my favorite bands, I, I didn't really like them to change their sound like, uh, a lot. Uh, so I, I try to stay in the same atmosphere, but at the same time, cha change it a little to evolve. Um, and, and I think I managed to do that, um, a as for the inspiration, um, I, I think to me it was clear from the start. Like I wanted to do something like extremely nostalgic. If, if you can say that, um, even more than, than the first album, Uh, so, so I wanted to tap into that. And, um, when I was making the demos, um, uh, at, at one point I put one of the demos onto an, um, montage of eighties, uh, uh, videos, uh, video fragments. And, and from there it just clicked and, um, I, I, I kept, I kept writing and, and it all sort of glued together. So I, yeah, I was really happy to, uh, to, to have found, um, to have found a concept that, that worked for me. So you

Marc Matthews: 12:00

mentioned there about making the songs, making sure they sound different. Um, so did you have an idea in mind of how you were gonna start out that process? Cause like I say, you didn't wanna sort of carry on, um, and follow. Because you could just make last summer again, essentially, but I mean, what was your first step to make sure it sounded different?

Herman Maximus: 13:33

Yeah. Uh, yeah, that's easy to answer because I, I sort of wanted to step away from the basic drum programming of last summer. Uh, be because it was, uh, I wouldn't say simple, but, but maybe, uh, more simplified and, um, I, I started gathering more, uh, ideas from, from maybe others genres, uh, because I'm, I'm really a big French house, uh, fan. Um, and, and I tried to, I tried to get loops and, and samples from, from, from that genre. And try to see how, how I could fit them into, into my new songs. And also there, there was just like an, an immediate connection I found between the, the sounds I found and, and the music and the sounds I was working on.

Marc Matthews: 14:29

So you mentioned then about, uh, you didn't wanna program the same drum. So how did you approach that differently?

Herman Maximus: 14:34

Um, well, I'm. I sort of, uh, used more layering techniques. Like I, I, I, um, like I layer to base drums, I layer to snare sounds. Um, I, I, I used more percussion loops, um, because you know, it's, I think. That's that's um, to me I'm not a real, really good drum programmer. Uh, so I, I tend to use, uh, percussion loops now and, and I think they work really well for me. Um, I, I tweak them a little, I, I change them. I cut them up and I, I sort of make them swing in, in the way I want to. Uh, but, but I think that was the really big change from, from the first

Marc Matthews: 15:22

album. Drum programming is a tricky one. I find that as well. I often, uh, find myself sort of resorting to finding loops. And then as you say, sort of like manipulating them time, stretching, cutting them up and then augmenting them with other samples because, um, I know you get some people and you've got trigger pads and there, um, and, and triggering in these great drum beats and stuff, but, um, or electronic drum kits. But I dunno, it's a skill that I could probably learn, but I dunno if I necessarily wanna end invest the time. Maybe I. Um, but no, I definitely follow a SIM similar pattern. So what I wanna sort of dive into more about is, um, can you tell our audience about the songwriting and composition of the third song? BMX chase. So how did you start writing BMX chase and how did you come? How did the composition come together?

Herman Maximus: 16:09

Um, actually BMX chase was, was one of the first songs I wrote when I started producing music. Again, that was before last summer. Um, and, and I, I knew it was a, yeah, I knew it was a, a good composition, but, but when I, when I initially made it, uh, I, I sort of felt like, uh, I didn't have the, the techniques maybe to, to make it into the song I wanted it to be. Um, and I just, I just, um, kept working on it and, um, when I, when I was doing the second album, um, I, um, I picked it up again and, and I tried to use some of the techniques I, I had been using on, on some of the other songs. And, uh, and it worked really well. Um, and, and also the, the atmosphere and the, the, the court structure maybe. And, um, The melody also fit the team of the, of the, a songs. Um, and, and I just went from there and, uh, yeah, that's how, how I got that together.

Marc Matthews: 17:26

Cool. But my next question is then, so you mentioned there about techniques the other time. You didn't have the techniques to sort of push the song. To where you wanted it to go. Are you, are you able to sort of disclose what those techniques were and how you sort of overcame that over time?

Herman Maximus: 17:42

Yeah, sure. Um, well maybe as you know, I did, um, I did a release, uh, a release stream for my second album. Um, and I, I, um, I showed some of the song templates in the, in the livestream. Uh, and BMX chase was, was one of them. So I, I have no problem disclosing, uh, disclosing that. Um, well I think the , I think the, the thing I learned the most is, uh, to kind of glue together drums and, and bass and, and, and the, the whole song. Um, and, and make it sound organic, maybe, uh, if you know what I mean, um, And, and like I said, I, I was moving more towards, um, towards, towards samples from a more EDM orientated, um, uh, direction. Um, and yeah, all, all the things I, I learned while doing the other songs, uh, like using more, um, more compression, uh, using more side chain. Um, get getting it to sound, um, flowing maybe, uh, that that really helped me to, to finish

Marc Matthews: 19:02

that song. That's cool. So it's sort of, um, reiterates, I guess the mantra of like the more you do it is sort of the more songs and the more song writing you do, the more production you do, the you progress and you learn. And then I think it's quite cool. I I've done that myself whereby I've written. Produced them. And then gone back to older projects, knowing that I can make that then make them better based on the experience I've had. Um, which is a great thing to do.

Herman Maximus: 19:28

Yeah. It's, it's, it's hard, uh, to kind of anticipate to what, what your listening audience is, is going to think of, of like your new style. And, um, you know, I, I was really happy with how the album came, came together and, and how it was released. Like I said, the, the, the live stream I did, I, I was really, really happy with that because last time I, I, I felt like, you know, I, I put so much time and effort into making this album. And then, you know, you just go to bed and, and then at, at, at midnight, your, your songs go online and, and basically that's it. So I was really happy to do that and, and see, sort of see the reaction from everyone. Um, and it was a great live stream. But, you know, like I said, you, you, you don't really know how people are going to react to, to the new, uh, tracks. And, you know, I've, I've been fortunate to, to have a few, uh, loyal listeners and, um, you know, people, people who I connected with. Um, um, but I, I sort of have the feeling my second album was maybe, uh, less, uh, appreciated than, than the first. Um, yeah, it's, it's hard to put your finger on it.

Marc Matthews: 20:50

Yeah. Sorry. Sorry. I think the internet had the connection cuts out a bit there. Um, but yeah, I think the live, stream's a great idea to release, uh, to release a single, um, is that something you'll do going forward then? Do you think with your next release, will you do a live stream again? Yeah.

Herman Maximus: 21:03

Yeah, for sure. I, I, um, I think it's a great idea. And, um, you know, we had, we had Adrian from, at 1980 as our guests, as my. Um, and he also really liked the idea. May, maybe he'll do it as well. Uh, so yeah, I think there's definitely something there, uh, to, to make it more, to, to make the, the release, uh, something you can enjoy yourself. Um, and, and connect with people.

Marc Matthews: 21:33

Yeah. I think it's a great idea doing the live streams. I do. I do like live streaming. I've taken on to, um, doing live streams of pod, some podcast interviews as well, um, slightly different, but I think that interactivity is great. And I think the more you do it, the more of an audience you build up as well. Um, and it's just that interaction. It's quite cool as well, I guess like when you do release it, like you say, Set your song to be released at midnight on a, on a given date. Um, but actually being sort awake and live streaming as it's released in getting that a real time feedback is really, really cool. Really cool. Um, so I'll keep an eye for the next one. So go going back to the album. Um, so how do you, uh, how do you sort of go about piecing the track order together? Cause that's always something I'm really interested in, cause I've done album ones in the past in different genre. And I always find it tricky to order an album. Um, where do you start? Where do you start when it comes to putting your tracks in order for an album?

Herman Maximus: 22:32

Um, uh, I take a piece of paper and I, I start writing, uh, like, like, uh, sort of what I have in my mind now. It really works like that. I just take a piece of paper and I, I just start, uh, uh, putting arrows and, and changing the number, the, the, the song numbers. Uh, the song order and, um, and, and that's how I work. Um, I, I, I try to, uh, change, switch it up, uh, uh, do slow songs or, or, uh, or ambient songs, and then maybe, uh, a little bit of a faster track and try to change the pace of the album. So you, you don't have like one part of the album, uh, very slow and, and the other part, very. Uh, so that that's basically how, how, how I approach it.

Marc Matthews: 23:25

Oh, I like that. It's kinda like, um, like a juxtaposition, as we say, um, uh, of the songs then, so slow, fast songs to slow an album down. You can control the tempo, I guess, of how the listeners listening to the album. Um, so I always find it interesting to find out how people do it, cuz so like I say, it's always something that I've, um, I probably spend way too much time psychoanalyzing how it's gonna sound. Um, rather than. Just going with my, with my gut. Um, so what, what I'd like to talk about next is ask you a question is actually having listened to the album is a bit about the sound design. So in a few of the tracks you've got, um, so these really nice sort of like lush pad sounds. How do you create the pad sounds? How do you design those sounds, um, and sort of what, what VSTS or audio units are you using to create your pads?

Herman Maximus: 24:14

Yeah, that's also something I addressed in. In the live stream? Uh, basically I, uh, I think I said that last time, uh, I'm I'm using a lot of free, uh, free virtual synthesizers. Uh, so the scent one, uh, I think I mentioned that as well. The scent one, uh, has a, has a really warm, nice sound that, that I, that I like. And, um, for the last album, I, I use a lot of the PGA eight X. Uh, synthesizer, which has the, the Roland, uh, a sound. And, um, tho those two are really my, my go to, uh, synthesizers to, to get the, the pad and the, and the chord sounds. And, um, and the, and the. The sounds for the patches for the main melodies and, and really in sense, wave, you know, it's not complicated. Most patches are, are pretty simple. Uh, what, what I did do is, uh, put a little more, detune like, uh, I, I, I was using, uh, isotope veal, uh, to sort of get, get a pitch warp on the sound. Yeah. Which I think, um, sort of, um, Sort of made, made the sound as, as, as it is. Um, I, I, I that's really specific, so I, I really liked how that, how that sounded and, um, yeah, that's in a nutshell, that's how I, how I approached that.. Yeah,

Marc Matthews: 25:49

I remember you saying now about using the free, um, software since, and I've, I've done a few interviews now for episode, for series two. Um, whereby uh, a lot of, a lot of artists now are sort of saying that the, the, the free, the free as it were, um, software since are, are brilliant. And I need to do more investigating into them, myself, um, cuz from what I can see, there's some fantastic ones out there. My next question, going off on a slight tangent here is you mentioned there about creating pad sounds are, are quite, quite, they're quite relatively easy to find. What do you think is the hardest sound to create in sort of like the synth wave sound scape? What do you think is the hardest sound?

Herman Maximus: 26:30

Yeah, I, I always struggle with, uh, the, the BA more FM, uh, bowel sounds because you know, of course frequently, uh, frequency modulation sounds are, you know, very hard to make. And I, I really have no idea how to, how to make a patch with frequency modulation. So, uh, I, I have a lot of, uh, I have a lot of experience with subtractive sentences. Uh, but, but, you know, FM sounds are really not my cup of tea. Uh, I, I always worked with, you know, the, the, the moves and the Rolands and, you know, the, the, the stuff I, the stuff I had when, when I started making music. And, and that's why, uh, probably I, I go back to those because I, I remember them from, from, uh, from when I had the actual hardware sense, because, you know, I, I know how they are rooted and, and where the buttons are and the sliders are. So I, I kind of go back to those more simpler, uh, simpler synthesis, uh, roots.

Marc Matthews: 28:06

Yeah, I think, um, I'm probably with you there. Subtracted synthesis is certainly an additive synthesis, certainly easier forms of synthesis than, um, FM cuz the DX seven, if I remember rightly is an FM synthesizer, FM synthesis, and I think years ago I had, I used to noodle around with reactor and I create, tried to, I say, I tried to create an FM synth in reactor. Can't remember if I did or not, but it is a lot, there are so many macros involved with FM synthesis and you can just get lost on a rabbit hole. Um, But subtracted synthesis certainly is probably my, my go to one as well. It's probably the one I go to straight away really, um, when it comes to sound zone, but, uh, that's cool. Thanks for sharing that. Um, so another song I wanna sort of like, uh, have a bit of a chat to you about is, is young hearts. Can you tell our audience about how this song came together and, um, sort of like the composition behind that? So that's young hearts.

Herman Maximus: 28:59

Yeah. Uh, that was the, the first melody I composed for a new album. Um, and I think it sort of, uh, shaped, um, the rest of my ideas for the, for the album. Um, I, I, I just started playing my keyboards and, um, that, that's how I usually compose my songs. I just take the, the patch from cent one. I always use and I, I just start. Uh, and, and you know, why I just, I, I just found, uh, the melody, uh, straight away. Um, but, but it took me a long, a long time to evolve into a song. Uh, because at that time I didn't have the, the drum sounds, I, I, I came to use later. Um, so I revisited that song at the end of the. At the end of the process of writing the album. Um, and I just found a few new melody lines and, and, and I got the song after that. I, I finished it, you know, within, uh, a few hours, a few hours,

Marc Matthews: 30:05

half fair play, man. I, uh, I often find it tastes me it ages to, uh, to finish songs. That's great. Um, which kind of leads me onto another question now, actually. So when it comes to writing your music, do you set yourself deadlines? I always ask this question cause I'm intrigued to know how people. If they, if they're like me and they just keep editing and mixing and mixing, or do you think, right. You know what, at the end of Tuesday, the end of today, whatever Sunday today, but at the end, say like Tuesday, I'm gonna have this song finished and then I'm gonna move on. Do you set yourself sort of hard deadlines or do you just it's it's finished when it's finished. Yeah, I,

Herman Maximus: 30:35

I know now after 25 years of making music, that if, if I can't finish a song in, in one or two days, you know, I'm, I'm not ever, ever going to. To be able to do it, you know? Um, and, um, yeah, I, I, I just know it, so, um, whenever I have a really good idea, you know, the, the, the songwriting just start, starts flowing. Uh, I always tell my wife, it's coming, it's coming. I feel it coming. And, um, and, and I just start and I, and I know where I'll finish it, you know, it is just something you can feel, I guess. Uh, because, you know, in an, in an album, there are only eight, two, maybe 12 songs. Um, and you know, that's, if you work, uh, one year on the album, that's one song every month. So, you know, it's something special. Um, I, I feel it's something special and, um, I, I can, I can just feel it. So, yeah, it's more of a, more of a gut feeling and I'm never wrong. So. I feel I'm never wrong about that. And, um, maybe the, the, the, the good thing, uh, I, I, I signed with outline recordings for, uh, for two albums and basically the albums had to be done within the, within the timeframe that was in the contract. And looking back, I, I think that helped me to focus and, um, and, um, and you know, not, not overly try to. Try to worry about details and, and, and, and change a whole lot of things. Uh, so I think that was useful for me to have that deadline.

Marc Matthews: 32:26

Mm. Yeah. I agree. I think working to deadlines is good. Cuz as you say, it does focus, you and I like, I really like your conviction then of when you say you're never wrong, that's. That's great. That's a great line to take away from the, from the podcast. I like that. I love it. Um, but no, I, um, I think deadlines are great to, to focus you. Um, and it's something I need to instill more of. So for the audience listening deadlines, if you're struggling to finish a track, look at, uh, look at your time management. So. Moving on next is, uh, I just wanna say congratulations. So I checked out on band camp on selling out eighties dreams and lost summer. So you have a CD bundle. Um, I have a question off the back of that, um, which is why. Um, did you, was there any particular reason why you opted to release the album on CD and cassette?

Herman Maximus: 33:11

Yeah, that's, uh, that's a, a label decision, you know, of course we, we go back and forth about it. But I think, uh, originally, uh, outlaw was, was mainly releasing cassettes, uh, because CDs were, were less, less selling. Uh, but, but as interest in Sy wave started growing, I think we, we saw different formatting formats, uh, get getting more attention like mini disk and, and C. Uh, so, uh, seeing the success of, uh, last summer on CD as well, we, we decided to release it on, on cassette and CD at the same time.

Marc Matthews: 33:53

Ah, cool. Uh, yeah, so I guess it was a, a historic sort of labeled decision then I just, it's intrigue. It's intriguing to see the success of cassettes. Um, and I see many, many artists now releasing on cassette, which is great. Um, and once again, it's probably something I. I I'd like to look into myself. I've got an old tape deck that I need to fix. And, um, it's great. I'd think I'd like to start collecting cassette. Um, CD's less. So I recently started collecting vinyl going back to the story right at the beginning of the episode, but I've only got about two so far. Yeah.

Herman Maximus: 34:24

I have a, I wouldn't recommend having a large, uh, ven collection because I have one, you know, it's, it's, it's such a, a large volume to. To, uh, to keep and, and, you know, uh, you know, it's nice to collect, uh, Al but, but, uh, yeah, it's just, uh, it takes up a lot of space. Do you ever listen to them? No, uh, I don't anymore, actually they're somewhere, uh, in my brother's basement or something. I don't know. I don't know where they. There are

Marc Matthews: 34:58

somewhere I have that. I have, uh, boxes in my attic space, my loft space full of, um, just random bits of audio equipment and like CD. I think there's probably maybe some DVDs in there as well. I thought I got rid of all those, but I probably still have 'em somewhere. Let's take a quick break from this episode so that I can tell you about free resource that I made for you. It's a PDF checklist that describes what you need to do to properly prepare a mix 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. 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 episode. My next question is, is kind of moving on from away from the album. And this is more to do with sort of like being a recording artist. So there's a couple questions and I, and the first one is, uh, I'd just like to get, so it's been about, it's been over a year since we've had a chat. So how, how do you feel about being a recording artist in the current music business? Um, Yeah. How and how has that sort of changed if it has over the last 12 months?

Herman Maximus: 36:22

Uh, yeah, it's, uh, it's um, it's a good question. And, and probably the, the answer is, is, uh, not so easy to give, uh, because, um, you know, uh, I, I I'm really happy with, with how my, how my music has been received. And, um, you know, if you, if you, if you were, um, If you were a producer 20 years ago, you know, this, this would be a dream, you know, uh, because basically if you didn't have a, a label, I mean, I mean a label, like not a label, like, you know them now just doing, uh, just doing, um, just doing streams, just, just uploading to platforms. I mean, a real label. Uh, if you have a real label, your music, wasn't going to be listened by, by, by anyone. Um, so, so in, in that retrospect, you know, the, the, the way sense wave, uh, the sent wave community is, you know, it's, it's great. You know, you have people listening to your music, you, you have a lot of support. So for that, I'm really, I'm really grateful and happy. Um, but at the same time, I feel like, you know, there's a lot of talk like we discussed last time that sent wave, uh, is dead. And, and, and then you had some, some, uh, some talk about people copying other artists and, and that, you know, the genre is very limiting. Um, and, and, you know, fresh, you know, maybe we are running, running out of fresh ideas, which I, which I don't agree with, but, uh, that, that was, uh, one part of the, of the discussion. And, you know, I, I think the, probably the, the main, my main concern as a, as a, as a producer now is that, you know, our, uh, uh, social media platforms or channels are being flooded, uh, by, by the same people, all the. Um, and there, there really, there are really no, uh, breakthrough artists, uh, who are, who, who started, you know, in, within the last, I think two to three years there have there has there hasn't been a, uh, uh, um, how, how, how, how could I, uh, there hasn't been a really breakthrough artist, like, like, you know, you had in the, in the beginning of Sy wave the, the first five years. Um, and I think, you know, it's, it's just very saturated and, um, it's really hard to, to, to get through the static. And, and that's probably my biggest frustration that, that, you know, always the same acts are being, being, uh, promoted and, and, and being pushed. Um, and you know, other other. Beginning artists, uh, don't really get, get the, that platform.

Marc Matthews: 39:33

No, it's really interesting. I think, um, I've had the same similar conversations with other, um, artists as well, notably about the static, um, or noise as you would call it when there's so much being released, being able to stand out through that static through that noise is tricky. And especially when you say, um, the same artists are being promoted and pushed. Can you think of any way that that could change? What, what could, what could we do to shake up the genre for that to change? Do you think?

Herman Maximus: 40:02

Well, I, I think it's hard to, to solve because, uh, I think the, the listeners from, from the main acts really are not interested to, to listen, to, uh, to listen to anything else. Um, so, so how, how do you solve it? Uh, you know, it's, it's very hard. uh, I think probably, um, it, I, you know, I think it's, it's, it will be a great idea if the, the bigger names would, would, uh, maybe maybe get involved into, uh, pushing some of the more underground artists, uh, you know, they, maybe they don't have a responsibility to do it, but you know, it will be, it will probably be nice. Um, and I think also, um, something that. Keeps us all going, is, is people who, who share, who, who, who, who like your work, if you like someone's work, you know, share it. I think that that's probably the, the biggest way to, to change it. And I think people underestimate their, their potential to. To, uh, to help other people. Uh, and that's something I always try to do if I'm really passionate or, or excited about, uh, uh, a particular song or band. I, I always try to share it. So I think that that's a good way to start. Yeah.

Marc Matthews: 41:26

I, I agree. And I think, um, I dunno if it was yourself, maybe we chat about this last time. Um, or it might been in another interview about the big names pushing artists. Um, and it would be great if you did see that. Um, cuz I remember having this conversation and it is something that you just don't see enough of and it, like I said, I guess they're not obligated to do. But I think it would certainly help if every so often you just saw a really big name, actually just pushing, um, like a, a breakthrough artist and artists who come out with a great song that deserves that wider audience. Um, which would be great to see, as you say, um, I've got a quick question about what you mentioned earlier about ideas, cuz you said about, I think right at the beginning, when I asked you the first question you mentioned about, um, how synth wave you're. It's some, some would say that that it's potentially running out of ideas, but you said it's not. Why do you think it's not running out of ideas?

Herman Maximus: 42:16

Yeah, because, uh, you know, everyone is different and, um, I, I, I know people are saying, you know, the influx from new producers is bad and, and it's, it's watering out Sy wave. I think it's the opposite. Uh, you get, you get new, fresh fuse on, on Sy wave. You know, I, I have a different background than you and, and another producer has a completely different musical background than you. And, and, and so we. Can we can keep going. And, and in my particular case, you know, I'm influenced a lot by, by French house and hip hop and, and you know, it's not like I'm, I'm trying to copy, uh, uh, the main acts of sys wave. Uh, I, I try to do what, what I like to listen to outside of Sy wave and, and infuse that into my sound and, and create what I have in my mind, what, what I like to listen to, um, So, you know, no, I, I don't think since wave, you know, pop music is not dead, you know, techno is not dead. I, I, since wave will, will always, I think have its place in the, in the musical, um, in the musical tree.

Marc Matthews: 43:27

Yeah. I remember us having this conversation last time about that. Say, cuz I remember you saying that synth wave will never die. Um, and that, that was gonna be my, my sort of next question. Um, do you, do you still follow that, that ideology? And I think judge about what you said then that, that, that you do that synth way will never die. Um, and I think it's for that reason that you said there about artists coming from all these different genres and bringing in their own, uh, influences. Um, and I think that's key. I think that's key for most, most musical genres really to keep it fresh and exciting is to experiment and bring in different elements from different genres and, and different influences. And I hear it all the time. I think when, when I'm listening to new artists, um, when I'm digging around on band camp or, or in Spotify or somewhere around there. Um, and then, yeah, so to echo what you said then I, I totally agree. And I think off the back of that conversation, I think the big thing is, is going back to what you said earlier about, um, just now, rather about sharing and sharing. If you like a song, if you like what an artist has done, it's just share it. It doesn't take it. Doesn't take much to. To share a song from Spotify on a, on an Instagram story or on or on Twitter, et cetera, you know? Um, so whilst touching on social media, then I think if I remember rightly we had a conversation about social media and I, I think that you, you weren't the biggest fan. Do you find yourself using social media more now, or you still trying to not use it? As sort of like too much as it were.

Herman Maximus: 44:56

Yeah. I'm, I'm not really a fan of, of social media. And, and, uh, before, before last summer, I, I didn't have any social media accounts. I, I just had my SoundCloud and, and to be honest, uh, my, my view really hasn't changed. Um, but what, what, maybe what's nice. Uh, maybe what's nice about, about the social media channels is to discover other artists, but, you know, as a means of promoting myself, I, I really load it. And, and I, I really don't like to like to do it, but you know, at the same time I try to be myself and, and not, not be, and try to be real and, and authentic when, when I communicate. Um, and, and not, not overly push myself onto people. Um, and that's really how, how I, how I approach it now. Uh, I I've been taking it a little bit easier now as well. Uh, because I, I felt I, I needed that time to step back and, you know, uh, uh, uh, do some, do some other things and, and spend some more time with my family. And I have also sort of neglected my, my day job a little. So I, I needed to catch up on that. Uh, and I think, you know, social media is really low on my. On my priority list. I,

Marc Matthews: 46:16

um, it is a, is a time suck. Isn't it? Social media, you can just get lost in it. Um, and I, I very much agree with you. I mean, I, I try, I, I use it as much as possible to, for promotional purposes, but I try and dedicate like, um, if I'm gonna use it like a period of time a day, and then I stick to it and I. If I, I just don't want to get in that habit of just scrolling through social media now it's, um, total times I can, like you say, you can find yourself neglecting other important activities.

Herman Maximus: 46:44

I, I, uh, I even deleted, uh, all the social media from my phone, so I only have access to them from my, from my music, desktop, uh, which really allows me to focus on, on, on what I need to. Um, and, and like you say, not, not, not use it as a, as a distraction, uh, because you know, maybe I'm an old fashioned guy, but, but seeing people, uh, scroll through their phones when they're with their family, I, I think that's horrible. And, uh, maybe people don't realize it now, but, but the, the way, the way they, they are neglecting, uh, their, their families and, and friends. You know, it's, it's taken a toll on, on society in general. And, um, and, and you have to also be careful with, with, I think the youth, because that's what they're used to now. And I, I, you know, you, you obviously notice, uh, that in society, things are, are changing and people are getting more frustrated and, um, and you know, their, their general attitude is, is not really, really great, probably.

Marc Matthews: 47:55

Mm. Yeah. And it's interesting. I find with specifically with, cause I've delved into this, the algorithms of these social media platforms and the way they are designed, just to keep you on their platform and scrolling by throwing content at you, that the algorithm has decided that you are interested in based on your previous. Search and scrolling history, um, which is quite a scary thought really when something's designed to grab your attention and just have you sort of mindlessly might be the wrong word, but just scrolling, you know, and it's designed just to keep you on its platform and keep you engaged and absorbing and consuming this content. Which ultimately doesn't really fuel any purpose other than sort of the, uh, the coffers of possibly Martin Zuckerberg and Facebook and Instagram. Um,

Herman Maximus: 48:39

yeah, I think, I think the same thing, the same thing probably happened, uh, with, with TV, because I also don't don't watch TV. Um, I I've I've, haven't watched TV probably in, in, in, in 30 years or something, or 25 years. Um, and, and you know what, it just makes people a brain dad and, and it's just, uh, the same thing. Uh, but, but, but worse, even worse. And, uh, like you said, if you have, if you, if you think for yourself, uh, you, you can just see it's not healthy. What, what, what these companies are doing and, and you are, you are the product. So why, why, why on, on earth would you, would you want to be a

Marc Matthews: 49:22

product? Yeah, exactly. And it's in. I, I totally agree. Um, and it's quite a nice segue that we've come up with there, which is health. Um, and what I wanna move on to next is, um, is I remember at the end of last episode afterwards, we spoke about, um, being plant based and veganism. And we said that next time we have a chat, we'll have a quick chat about, about being vegan. Um, so for the audience listening, I haven't mentioned this yet, but I'm, I'm a vegan myself and I am three years. I think it is. Now, how long have you been, um, how long have you been

Herman Maximus: 49:54

vegan? I, I think it's been a, a year now that we're fully, fully vegan. Um, but we're not just vegan. We're, we're a whole food plant based vegans, uh, so that, and not non gluten organic. So, um, so it's quite complicated, uh, to, uh, to get, to get our, to get our stuff. Uh, but, but we've, we've been sort of, uh flexitarians for, uh, for a long time. My, my wife and I, and even before that, I, I was not really, really into, into eating meat. Uh, but, but we sort of, we saw a documentary on Netflix, uh, about, about how they were, um, how they were treating animals and, um, And, you know, we, we, from, from, from that day on, we just threw away everything we had in our, in our fridge and in our cupboards. And we, we dove into, you know, what, what veganism is and well, it turns out to be not, not what, not what society, uh, is telling you what it is because. You know, in school, you are learning about the food pyramid, but, but that that's just rubbish, you know, that point of view because, um, when, when man, uh, man in history, uh, it, it was impossible to, to, uh, to, to get a lot of meat. So, uh, we, we are plant eaters. Uh, we we've always been plant eaters and we were never meant to consume. Uh, meats or, or dairy, you know, we, we are not, we are not, you know, if you look at our teeth, we, we are plant plant eaters. Uh, you know, people who are saying we have, we have tea to, to eat, uh, to eat meat. You, you, you try to, you try my friend to shoot, to shoot an animal and eat it with your teeth. I, I will show a lot of luck.

Marc Matthews: 52:00

Yeah. I, I, I agree. Um, And you, you it's exactly right. Isn't it? Because I always say this. Um, cuz I, I had a, I went down the similar route, which was, I was, I was, I was eating meat and then I was, I went sort of vegetarian. Um, when I was just, I stopped. Eating, um, probably actually pescatarian. So I was eating fish and then I was like, well, I, I think I probably watched the same documentary. Um, I watched one called Cal conspiracy if I remember rightly um, on Netflix and there was another one I watched as well on Netflix. And, um, and then I thought to myself, you know what? And then I saw the health benefits as well. Yeah, and I thought, I'll give this a go. And then, but going back to what you said there about shooting and then eating it with your teeth is not gonna happen. It's it's I have the same discussion with a lot of people when they talk about milk and dairy. And I always say to 'em, I was like, it is like milk from a cow is designed to get a calf and turn it into a two. Rather a one time cow, um, as quickly as possible. It's not, it's not designed for us as humans to consume.

Herman Maximus: 53:01

You should ask them, are you going to drink milk from your cow, uh, from your cat or from your dog? Are you going to drink milk from a monkey? You know why it's just the same, like you say, it's, it is designed to, to, to, to, um, to breathe a Cal and, and to, to make it as, as big and strong. Uh, in a, in a short period of time. So, uh, every, everything that's in there is designed to do that. So why, why as a, as a human being, would you, would you drink that? And, um, you know, it's funny that we, that we got into veganism in a similar way. Um, and actually I think like, like I mentioned TV earlier, Uh, that, that they are basically brainwashing people to, uh, to, um, you know, with the news and, and it's always the same. And, uh, they are trying to push, uh, push political agendas and, and, and, and certain lobbies are very strong. Uh, lo like the supermarket lobbies. Uh, if you look at a, at a supermarket, basically it's the most unhealthy place on the, on the planet. And, um, you know, tho those lobbies of, of dairy and meat are very, very strong. And I think probably, and, and NA, uh, uh, uh, companies like, like Netflix, you know, they are of course multinational companies, uh, but at the same time, The, the information you are, you are able to, uh, to get from, from them is more objective than, than anything you can see on TV.

Marc Matthews: 54:40

Yeah. Yeah. It's I, I would agree. It's very, it's very, very interesting. Um, and that there's a lot of material out there now with regards to, to that, and sort of backing up what you're saying there. Um, and yeah, I personally, I mean, like, so I've done it for three years now and I do, I do feel better in myself for having done it. And not that I'd want to, but I would, I would struggle to go back it's it's so sort of entrenched in me in terms of routine as well now, and habit, the way I shop and the way I eat and the way I just live my life daily. Um, do, do you feel any different having done it? Like, do you feel the health benefits?

Herman Maximus: 55:18

Yeah, for sure. I, I, I don't get anymore afternoon dip. Uh, which is caused, uh, which was probably caused by, by, uh, by gluten and, um, and probably, uh, the, the processed, processed, processed, uh, foods. Um, so we, we try to avoid, uh, processed foods altogether. Um, that, that's why I'm saying where, where whole foods, organic, uh, vegans. Um, and yeah, it, it changed it probably. I, I, I was, I was already before that, uh, very conscious about, uh, animal, uh, animal, um, How you, how you say animal pain and, and animal suffering. Um, and it's, it's probably, I probably even more sensitive now, uh, about the topic, um, because you know, it hurts me to see how society is arranged to, to hurt. To, to exploit, uh, animals. And I, I don't think we have a right to do it because, uh, they are, they are also, uh, beings that natural beings and, um, yeah, it really hurts me to see. and, and I don't blame people, you know, I'm, I'm not, I'm not going to attack anyone eating meat. Uh, you know, most people don't have an, an informed, um, don't have an informed, um, standpoint on it because they, they just don't know better. They, they think they're doing the right thing because on TV, they tell you it's healthy to eat. To get your irons to get your vitamin B and, and, you know, it's just not true. It's it's um, and that's, that's probably very frustrating and, and why it's good, I think, to, to talk about it and, and why I occasionally post about it on my, on my social media to, to get more people informed on it, because, you know, um, I I've said this to other people, they say, you know, are aren't you missing vitamins and aren't you missing? But, but look at what you're eating, you're eating the, the same thing all the time. You're eating meat and, and, and potatoes. And you know, where, where is your variation in, in your food? You're eating white bread. You're eating white rice. You're eating white pasta all the time. So where, where is your variation? You know, you are the one who should be getting checked up on.

Marc Matthews: 57:53

Yeah. Um, I, I often hear that as well. Um, I remember when I told my family that I was doing it and the first thing they said was like, I think the, the exact words were someone along the lines of why what's wrong. and I was like, well, nothing's wrong with me? Um, but then they, then, then there was the question of, well, about what about protein? What about your vitamins and stuff? And I was like, it's, it's not that's it's like you say, isn't it. I think as a, as a. Yeah. As a society, we've just been told, oh, to get your eye and to get your calcium drink milk.

Herman Maximus: 58:22

And I think the media and schools and, and, and education, uh, there is, there is an influence behind that, that that is making, making fun of, uh, veganism or, or, or, uh, painting it, painting out to be something extremist, uh, by, by purpose, because. You know, the less people that know the truth, you know, the more they can sell. And, um, you know, like I said, the food pyramid, why, why is it still in, in, uh, school books? Why, why are we still using it? You know, there should be scrapped. Um, meat should be scrapped. That, that, that's just, uh, yeah, that's crazy that, that they are still teaching children. They need to eat meat. No,

Marc Matthews: 59:08

it's, it's great to, um, it's great to have this chat with you. Hu. Cause I remember like, like I said, last time we said we were gonna discuss it. And um, I think it's the first time on the podcast I've ever had a discussion about nutrition, um, which is great. I'm all for, um, diversification diversifying the podcast and now it's brilliant. Thank you. Thanks for sharing your thoughts on that. It's it's really interesting to hear that you you've followed a very similar. Pathway to my own, albeit um, not the, not the gluten aspect. So I realized we're coming up to an hour now. Um, so what I'd like to do is just, just wrap things up, uh, nicely. So, I mean, where can our audience find you online? Where can they find the future kids online?

Herman Maximus: 59:42

Well, I think primarily, um, I'm on Twitter a lot. Uh, because I, I, I feel it's the most direct way to, to, uh, keep in touch with people. Uh, and of course my music, you can find, uh, you can find my music on band camp and, and all the streaming platforms. Uh, but, but I, myself, I'm a big band camp here, so, uh, I generally refer people to band camp. Um, so yeah, that's, that's where you can find me.

Marc Matthews: 1:00:09

Hey, and, um, as like last time, um, for the audience listening, I put all those links in the, in the show notes as. Um, so yeah, Herman big. Thank you again for spending the time with me today. It's great to, to put your brains on, well, to hear about the exciting gig that's coming up and also put your brains on the, the story behind, um, your latest release eighties dreams. And once again, I I'll put a link to that, the bank and link to that in the show notes. And also just to talk about, um, the, the recording industry and veganism as well. So. Big. Thank you for joining me today. It's great to great

Herman Maximus: 1:00:38

chat. Yeah. Thank you, mark. For having me. Yeah. Yeah. It's been great. Yeah. Thanks for, uh, picking my brain.

Marc Matthews: 1:00:45

yeah, I'm thinking, I've been saying that now after people for the past, like, so what was, it's the episode 31. I probably need to come up with a different phrase at the end. Um, There you go. This is leap four. Anyway. I'll um, I'll speak to you soon, Herman. Yeah.

Herman Maximus: 1:00:58

Thanks. Thanks a lot. Bye bye.

Marc Matthews: 1:01:02

Thank you for listening to our show. If you like what you're hearing, make sure to rate our show on apple podcasts.