#76: Essential Music Production Tips | THE PRODUCER'S PUB

Welcome back to another exciting episode of the Inside The Mix podcast! In episode 76, we head back to the Producer's Pub to explore some valuable songwriting tips and music production tips that can help take your music to the next level.

Join us as we listen to and analyze some incredible music from talented artists such as Neon Highway, Aisle9, Tim Woodruff, Russell Nash, Typherion, and even our very own host. With our expert critique, you'll gain valuable insights into what makes these tracks stand out and how you can apply these techniques to your music.

Whether you're a seasoned producer or just starting, you won't want to miss this insightful and inspiring episode. So grab your headphones and tune in now to take your music production skills to new heights!

CLICK HERE, to follow Aisle9: https://aisle9music.co.uk/
CLICK HERE, to follow Neon Highway: https://linktr.ee/neonhighway
CLICK HERE, to follow Tim Woodruff: https://timwoodruff.bandcamp.com
CLICK HERE, to follow Russell Nash: https://linktr.ee/russellnashmusic
CLICK HERE, to follow Typherion: https://typherion.bandcamp.com/

CLICK HERE, to listen to Neon Highway 'Deckard's Pursuit': https://open.spotify.com/track/2jxia4YXvtBMU9Rjwp3HPM?si=6ad33d30b6b143c4

Transcript

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You are 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 synth music artist, 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 learnt with you. Okay folks, welcome back to the Inside The Mix podcast. As always, if you are a returning listener, thank you for coming and joining us again. And if you are a new listener, don't forget to hit that subscribe button. So this is an episode of The Producer's Pub. This is like the third or maybe fourth iteration of title change for this. And I think I've set it on the producer's part now cause it's shorter and it makes more sense really. Um, in, in, in general. And whilst I'm on the topic of changing titles, the actual podcast is gonna slightly change in its title as well. So if you see it'll still be inside the mix, but it's gonna be a bit longer. Um, it's basically seo, making sure it goes out to the correct people. Anyway, by the way, so this is an episode of The Producer's Pub and I've got, uh, five producers with me today. So I've got Russell Ash, I've got Tim Woodruff, I've got R nine, I've got Serian, and I've got Neon Highway. Jenz, thank you for joining me today. How are we all. Yeah. Good. Yeah, we're good. Lovely stuff. Doing good. Excellent. So the way this episode's gonna work is it's slightly different to, uh, previous episodes in that we've actually got music for from each producer who is, uh, present today. And we're gonna listen to it and then we are just gonna offer some feedback. And, um, if there's anything in particular that you want feedback on, um, Maybe state it before the track is played. So I'll give you an opportunity just to give a bit, uh, the, the audience a bit of information about the song itself and what they can expect. Now, these aren't just for the audience listening. Again, these aren't necessarily finished articles. These are works in progress or song starts that we're looking at today. So if you yourself wanna come on to, if this goes well, cause this is the first time we're doing it, if you wanna come onto the podcast and feature a work in progress and get some feedback from your peers, hit that, uh, that button, I say that button go on the, uh, podcast website inside the mix podcast dot pod podium.com/free and signup. And I'll do that again at the end. So the first one we're gonna go with today is from Tyrian. Sorry. If you can just give us a bit of information about this particular track before I play it. Yeah, sure thing, man. Um, so the song is called Cyborg Sightings, but I've, uh, I don't know. It's, uh, it's spelled s i g h and I was just like, I don't, I, I didn't know what to call it, so I just figured I'd just, uh, have a little fun with the naming. But, um, it's essentially like, um, like a heavier cyberpunk track. And, uh, I was trying to like, keep, like the hooks, um, throughout the song, but also keep it a little interesting. There's some drops. Um, yeah, I don't know. It, it kind of just, it was a very easy song to write and, uh, it takes a lot of inspiration from Dead Life, who's another cyberpunk producer. So, yeah. Fantastic. All right. I'm hoping this will work now. I've had issues with this before, so I'm gonna press play and, uh, let's see. And hope that it. A man, I let that die out. Fantastic. Yeah, I really like that track, man. And just, um, whilst we are going through that, um, on YouTube per Pang, I think that's how you pronounce it. Shout out for joining us on YouTube. Uh, he says he loves the track, in particular, this snare. Uh, he says, yeah, drums are on point. Even the snare unheard of, he says. So yeah, there we go. We've got some actual feedback on YouTube. Amazing. Love it. We've got more, more, uh, viewers than last time. We've got three. Look at that. Three viewers. Fantastic. Yeah, mate, I love that. It's great. It's, um, what, what synths are you using for the lead up in that? Um, analog lab, I believe. Oratoria Analog Lab. Lab. Yeah. Yeah, yeah. Yeah. It sounds, sounds really nice. What do you use for your, sort of your drum programming? Do you, are you one, do you, uh, draw the notes in or do you like trigger them uh, with a. Uh, I draw them in. I don't know how to trigger stuff. Yeah. Yeah. I, they're all, uh, drawn in from scratch. Um, yeah, I, I actually don't spend too much time on my drums though. Like most of the time I spend it on the arps, the drums is like, ah, maybe I'll just do kick snare, kick snare in this one. And then some other times I'll be like, all right, let me add like a couple more kicks in for variety as opposed to just doing like the kick snare kicks SRE thing. Yeah. Are you using sort of audio samples for those, just sort of one shot samples per kick and snare, or are you Yeah, yeah. Just one shot samples. Then I, yeah, I just, uh, yeah, I just put into midi. Yeah. So Typh, and you usually write on guitar, don't you? And then you, you ose it until like sense and stuff. Did you do that with that track? What, what parts? The kind of main part you started on guitar then? Yeah, the um, the first, uh, Kind of the, kind of the main hook of the, of the song. That part is written on guitar. Yeah. Like that ape is written on guitar, which I then Yeah. That's cool. Then I, uh, converted that to mid, but like the, uh, the chorus Arp where it's just like three notes, those kinda arps are pretty easy to write. Yeah. Just through programming, programming them. I don't need to do that on guitar, but anything that's a bit more complex. Yeah. Yeah. I gotta like, figure it out on the guitar and then, uh, translate it over. Yeah. No, it's really cool, man. I, I remember you saying that last time. It's such an interesting process. It's brewing. I really like the breakdown in that one. I thought the breakdown was really good and like, and you know, the change there. If there was anything I would say, and it's probably genre, like, sort of, of the genre in a way not to do a lot of this is. I sort of felt like the arps are sort of the main melody a lot of the time, rather than a melody. Mm-hmm. You know, that sort of, you know, goes across the bar lines or whatever. So sometimes I just felt like, you know, maybe a melody to break things up would be good, but there again, I know that the kind of energy of it is in having it the way you've got it. So, you know, it might, might, might not work in the genre, but, you know, you mean like a, like a lead synth sort of almost, yeah. Like a lead synth through a lead. Yeah. Yeah. Probably a lead synth or lead guitar. Yeah. Yeah. Absolutely. Yeah, yeah, yeah. For sure. Yeah. Sort of le Yeah. Yeah, I think on, but it's hard because it's very quick, so for sure. Yeah. Yeah. There's not a lot of space for anything. I think, uh, for the drop sections, at least, like, what I find interesting with songwriting is like if I can incorporate some kind of poly rhythm where I have like, Rhythms that are not derived from the same source. Like with that drop, that's where I kind of had that. And that to me, that's a bit more interesting than just having like something a, a, uh, I don't know, for, for lack of a better word, basic, I guess. But there's nothing wrong with being basic. Yeah, I, I really did like that drop when it came in. It was just like, it kind of get the final kick. Awesome. So while he's lit, while, uh, Russell's listening to that, I'm hoping it works, can be shot if it doesn't. Um, in terms of length of the track, is that the standard length for like a cyber track, uh, cyber track in cyber, punk track? Well, is there like a set length or is it just like, I don't, don't really think about that kind of stuff? Yeah, I don't know. I, when I started producing or just like doing songwriting stuff, I'm like, oh, I gotta make it four minutes long. But I don't know. Nowadays I'm just kind of like, uh, when the song ends, it ends. Um, I have a song on my upcoming, like on my upcoming ep, that might be like three minutes, maybe two minutes, 45 seconds. So, yeah, I don't know. It just depends on what the song requires, I guess. Yeah, my, my, my initial thoughts were obviously even four and a half minutes long, how you could potentially make, so make it in terms of compositionally slightly different for the listener. So there's like subtle nuances that make it slightly different throughout, cuz four and a half minutes, I mean, there is no like hard and fast rule when it comes to like, length of track. Yeah. Um, but that, that was my thought maybe towards the end, but then it gets easy for me to say that without actually coming up with an idea of what you could do. Uh, for sure. Sure. Yeah. Yeah. It's interesting I guess like if it's a shorter song, I wonder if you need to be more impactful immediately. Yeah. Typhoon, I, I, the one thing I was wondering is like maybe like maybe a minute or two into that maybe you could put in like a, a b section that just sort of like shakes it up just for a second and then when it drops it back into maybe that drop, it's maybe even more impactful. Mm-hmm. I think in terms of a section B section, C-section, a lot, because I don't, I've always worried about my listener getting bored, so I probably am a little bit. Two all over the place with my arrangement sometimes, but that's, that's kind of where my brain always goes, is what second section can I make? Yeah. Is there a slightly different chord progression or something? So, right. That's a great point. And I think I struggle with that sometimes too, where, um, the thing is, as producers, we're constantly listening to our own song over and over again. And so that creates like this weird discrepancy between what the actual listener will hear versus what we're hearing. Right. Because we're gonna hear it over and over again. Yeah. And so it might, we might get bored of it quicker. Right. Yeah. Um, but yeah, that's a great point. I, yeah, I think like there's, I think this song could use a bit more variation for sure. Well, like you're saying, I feel like it's, I mean, we can get very No, I was gonna say, like you're saying, I actually, that is the hardest thing for me too, because like, what do I put there? Because then you start matching things up and you're like, that doesn't really work. So Yeah. Yeah. You can go overboard. I had a song where I had like a ton of like, Just, it was a bit too wild and chaotic and, uh, it was just like a bunch of riffs just jammed. You could, you could basically just call it like rif compilation volume one. That's basically what it was. And then, and, uh, yeah, it just didn't make sense in terms of a songwriting process. Sorry, go ahead. Eyeline. Go ahead. I, I, I think what can happen as well is like when you're writing and mixing and whatever, you, you can get very centered on certain things in your track. Like, you know, whether it's the, like the snare drums we said earlier or like, you know, or your interesting sort of, you know, poly rhythm or whatever it might be that you are getting really hooked on and wanting to get right. And that's the thing that's, you are, you kind of feel like the track is all about. And then you realize that, that to a listener, they're not even really hooking onto that. They may be hooking onto something else or you know, they just, you know, or you know, so it's very hard for us to be, you know, sort of in the position of the listener cuz we are inside the track and not, not outside it. So, yeah. You know, I find that I get really hyper-focused on something and then go, I've spent hours on a kick drum instead of the fact that the track isn't actually working or isn't, you know, really communicating. Yeah. It's like, I really hope they care that I made a boost in the 400 hertz range. It's like, okay, that's, yeah, yeah, yeah, yeah. Exactly. Yeah. That kind of thing. I just had a blast with it now. Um, yeah, I, I think, I think I agree with Tim. Um, like the beat's really nice and like, you know, the, the, the arrangement is, is, is excellent. Um, but yeah, like I, I, I reckon. My ear kept like waiting for like a, like a lead melody to come in or like, you know, a guitar part or something just to take over from the art. But, um, but, but overall, yeah, it's, it's fucking cool. Awesome. It was mad man because like, I, I was, I couldn't quite happily listened to that three times a length just doing what it did. I wouldn't need anything else. Like, I could imagine it like in a club or something. It was absolutely banging man to, all my focus was on that baseline, the entire race. Incredible. Yeah, the baseline was cool, but I also, I like that what Tim was saying, I think what Tim was saying, like having that slight change up, like I think you listened to a sort of riff or an a going and you think, when's it gonna change? And I go, right, it's not changing. You get drawn into it and it becomes hypnotic to the point that you almost get used to it. And if you had that little change, even just for the second, just to kinda throw you off and straight back into it, then that, that's how I personally would approach it for Yeah. Yeah. We're all sort of throwing different ideas here. Yeah. It's a bit of a bouncing act. You make a really good. You make a really good point though, um, Carl, because like you're saying, it depends on the place you're listening to it in as well. Cuz if you're listening to that in a club situation or in a game or something, it's gonna be different than if you are sitting there sort of. You know, it's not coffee table cyberpunk, maybe, you know, it's not the kind of thing you would sit and just listen to. Yeah. I might have just come up with a new genre there, you know? Um, but it's, it's sort of, um, but that doesn't mean it's not really good because it's like, depends on the situation. You're listening to it and, uh, I know I can sort of write stuff and think, oh, that'd be quite good in a club. And then I actually think, oh God, actually it's not nearly got that, it's not driving enough. It's not hard enough, it's not repetitive enough in a way. And I've actually made it way too musical and fast around with stuff. And then it doesn't work. In that sense, it doesn't work well. So it does depend on the situation, doesn't it? Yeah, definitely. Jens, um, this the fantastic feedback. I'm, I'm glad that we managed to, uh, to get the audio working now. This is great. This is what, this is what I wanted. Uh, this is what this melting pot of ideas. And it's great that, um, like there's a juxtaposition of ideas as well, which is, which is brilliant, I hope it is, of use of in some way. So what we're gonna do now is we're gonna move on to Neon Highway. So Deckards Pursuit. So you're gonna need to find that one in the Dropbox folder there, Russell, when I play it in a minute. Um, so this is Deckards Pursuit, pursuit, uh, neon Highway. Maybe a tiny bit of context. Yeah. Uh, I mean any feedback's welcome, but it's too late at this point. It's already uploaded and going off to Spotify. Um, but this is essentially another one of my sort of wanderings into the. Blade Runner Worlds. Um, this is the first track I've ever written in my life. I wrote this about four years ago and then I wrote another track, Speedway. And Speedway was my debut, kinda release from Neon Highway. So this is the first track I've ever written. It's uh, it's never had a release, but uh, people have heard snippet seed and I listened to it back and I thought, you know what? This is pretty good actually. It just needs a bit of a remaster. So remaster it up through some extra bass in there. And off we go. It's coming out in a couple weeks. Fantastic. Right. Let's play this. Excellent. I'll be looking forward to it. Yeah. Here we go. Now. Let's go. Nice mate. Uh, my, my first thoughts on that is I, I like the, the dark sound to it. It's definitely got that sort of darker, especially when the, I think it's like the second or third note came in and I was like, oh yeah, this is moving into like metal te territory here. So that probably appealed to me. But then you, I noticed with the high hat, you've got the high hat progression there. That's alright mate. You've got the high hat progression. Um, that's almost like trap at the end. You've got that. Uh, like it's not sick Think note. Is it? It's like 32nd note or whatever it may be. Uh, it's 32. 32. Yeah. Yeah, yeah, yeah. Very nice man. And that was the first one you ever made. See that? Low Octa piano Now like I fucking makes it. Do you know what these are all the bits. Someone was writing it. These are the bits that made it for me. I was like, fuck yeah. I was like, I want that in there. I want that piano. I want that little 32nd tie. So the fact that that's the initial feedback, it that's great. It's like when I'm playing it to somebody and I haven't told them about the track and I just watched their, the kind of micro facial expressions and you just see a kind of twitching, the mouth of the line. You're like, ah, that's it. I've had it. That's the bit of it's going for. So yeah. That's cool. Cheers. Appreciate that. Nice. Yeah, it's great man. It's, um, yeah. Yeah. The um, I guess that 30 seconds. No, that that's, I know exactly where it's from. It's from a new order track that, um, came out in the 19 89, 19 90 album tech technique. Um, and I just always loved that. It was the first time I encountered it and I just, I've always loved that throwing in there. It just mixes up a bit. And that low piano note that Russell mentioned, that's directly influenced by one of the guys that used to be in Depeche mode, went off and did his, did his own sound, uh, side project. Um, and he always had this really impactful thumb right down at the lower end of the piano. Just a single bass, no, like smack. Right. And there, you know, not really any other piano parts. And it was like, oh. I was like, that's good. So it's, I guess it's like what we always do, we, we draw in our influences and we all know these little nuances from various points in musical yesterday, and we're just bringing it into what we're doing just now. What's the first part of that track that you wrote? Like where, where did you start on that? Um, I think it was the bit Mark was talking about. It was that kinda, if I'm right, mark that kinda unexpected kind of note. Mm-hmm. It just sent out a little bit darker. It's like you, you, you're not expecting it. It's, it goes down some kinda, I don't know, it's some, some kind of really sort of dark kind pathway that I guess that was the first bit that was writing. Um, and unusually I think because usually I, I sort of have a track name in place and write the track from there. But I think when I finished that, when I was like, right, this one's deck's pursuit, it felt like something that Harrison Ford's character was doing. A Blade Runner where chasing down. So that's exactly the vibe that I got. Yeah. Like a big chase. Cool, cool, cool. Yeah. Totally gone. Excellent. Cheers guys. Let's definitely get that vibe. Yeah. Yeah. How do you think you are building it going forward? What, what, what do you think you'll work on next? Oh no, it's finished isn't it? What do you mean? I'm talking about Yeah, cuz. Sorry mate. Yeah. What do you mean the secret? Yeah. Um, I just realized you sent 30 seconds and I thought, oh, there's another like two, three minutes to go. Like, what's he gonna do for the remainder of it? But yeah, just, just realized it's a full track. Try so you off. I was waiting for the rest of it, so yeah, I mean, uh, my plans are basically to get out there marking. It's already with the, with the guys at Spotify, so it'll be, they'll be coming out in a couple of weeks. Yeah. Ahs been a long day. What was it like I visiting? Sorry. No, no, I, I was just gonna say, where did I go from there? It's, you know, it's, it's just, when I'm lacking inspiration, it's always been Blade Runner. I think I've said this before, like, you know, it's, and it's not always musically because of Vanis Vanis, however you pronounce it. It's a fantastic soundtrack, but it's more sort of visual. It's like immersing yourself in that dark world. Um, it's, it's very good for an inspiration. Yeah. Defaulting back to Blade Runner, I was just wondering mm-hmm. Yeah. Hmm. Sorry. I was wondering what it felt like coming back to the track. Like did you, because obviously you are probably much, you, you moved on in your production techniques and abilities since you first wrote it. What was it like coming back to it? I mean, I always fear that sometimes when I come back to things, I just want to change everything or, and then I kind of lose the essential bit of it. But equally, sometimes I sort of, um, you know, can come back and just, you can just, like, you can automatically see the things that, you know, maybe you couldn't before. So, you know, I was interested. Yeah, I think, um, Russell's been doing a bit of this recently with his own track spelling. When you revisit it, you've got that opportunity to beef up sections like the base. You could really make it sort of punch a bit harder than it did when you were, you know, when it was the first ever track that you ever wrote in this synthesiser. So there, there is that, um, there's also an interesting kinda point where you listen to it and you go, you recognize that, you know, I, I've had said 20 odd releases since then, but there's definitely a neon highway. Kind of vibe in each of those releases. And even going back to that first one that I wrote, I'm like, a lot of the stuff that right now still has elements off it back then. So it's like you're, you're locked in, in your style. Um, and I think Mark, when you did the, the interview with one, is it one equal tour? Yes. Is that his name? Yes. Yeah, yeah, yeah. He was saying we're all the summer for one musical influences. So your own style is the sum of everything you listen to. You know, whether it's, whether it's Pink Floyd meets craft work, meets the cure, meets whatever. Then ultimately throughout all those releases, revisiting it and seeing that virtually, she can sort of draw that, sort of, that timeline from that point. Um, what was interesting was when I wrote it, I didn't have a door, I didn't have any synthesizers really. I didn't have any, did you just come in through the window? So, I used the Cork Gadget, uh, app on the iPhone, uh, which is a fantastic app and like if you're sitting on a train and you haven't got anything around you and you've got that app, I've written a few tracks on that thing and you can export all the mid. So I just wrote on that like four or five years ago. Um, exported the mid out into Logic now and then applied some instruments to it and sort of tweaked it. Um, and I've got a story to post up on social media in a couple of weeks time when it's released, which is a video capture off the Core Gadget app version off the track. And then it kinda segues into the, the mastered version that we've got this time. That's cool Mate. It's funny you should say that cuz I wrote, I wrote a Track Groovy Dinner, which has been released ages ago, like, um, on my band camp, but not on Spotify. Um, and I think I originally, it's not that I didn't have a D A W I did, but like, um, I basically just. Wrote it on a phone, like on the sort of d a w version on the phone. It was terrible. Like, you know, but I did do exactly that, sort of exported it and then started, you know, completing it on, on, on. Well, it didn't take a lot actually, to complete it on the computer. Yeah, it was weird. Yeah. Yeah. Very simple track. But, you know, um, yeah, it can work, can't it? So, composing on a phone, when, when are we getting there? When am we getting the sequel? A funky breakfast. Oh, funky breakfast. Yeah. That's, that's, well, yeah. Yeah. My breakfast are always a bit funky. You know what's interesting about revisiting, maybe an old project that you get stuck on is like, you go back and you're, you've got experience doing other stuff. And I feel like sometimes when you come back to that old track, you're like, oh, okay, I kind of know what to do with this now. And it's like, it's almost like you had to leave it for your future self to go find it. Yeah, that's so true. Like you, you don't have that knowledge yet to complete it. How the hell am I gonna do this? But yeah, that's absolutely true, Tim. I tried doing that recently actually, but it, like, there was just so many mistakes in the old truck. Like I didn't game stage it, like I didn't do anything. It was just like, just a mess that I was like, you know what? I don't, I don't want to anymore. I'm just gonna write this stuff. It's not always a good idea. Yeah, sometimes it works, sometimes it's bad. Jens, uh, they, well, fantastic. Thanks, uh, Leon. H Thanks Carl for sharing that, man. It's, uh, it's great to hear that, uh, story. And, uh, we'll move on now to R nine. So this is, uh, I, I'm assuming, is, is this the work entitled Tim? Is this off the wall? Oh, it sounds very sort of end sync. Well, I mean, new kids on the block. Oh yeah, yeah, yeah. That's a very working title. I mean, it's actually taken from the name of the very first time I created a studio, had a studio, it was in the basement of a house. Um, and I call it Off the Wall. Um, so, you know, so for some reason I was just literally, I was about to call it new Project one this afternoon or something stupid, and I was. I'll just call it something. So I call it off the wall. Um, I mean that is a Michael Jackson track, isn't it? Off the wall, but, um, or the album or something. So, but it's definitely not gonna be called Off the Wall. But, um, uh, yeah, I mean this is so raw. This really is. Cuz I literally have been so busy this week. I just finished producing something for someone else but just Scott. Um, and um, I could have played that really. But like, um, cuz I spent all week on that and I spent about 10 minutes on this. But, you know, um, basically I sort of had a little bit of time this afternoon, so I just thought, I'm really looking forward to writing something new. So I, I just thought I would start with something, but like, um, yeah, it's, it's pretty much a sort of eight bar masterpiece, so, you know, just like, but it'd be interesting to see where the people feel it might go or anybody's ideas, but that'd be interesting. But I don't think you can judge it in any, any further way than that probably. But there we go. I, I think this is great though. I think it's great coming with. Even if it's just like 16 bars to see what other people think. Yeah. Because I get stuck sometimes. I'm thinking this, there's 16 bars, this, this shit, should I continue? And it's quite useful to have that, that input, you know? Yeah. But um, here we go. This is off the wool. Yeah. Thanks David. I, I, I, yeah, you've probably heard it though. Yeah, I, I realized it was six. I looked at it and saw six minutes or so. I run out of ideas about that. That's an incredible 16 bar loo. Um, there's, yeah, I was just like, literally my wife phoned up as I was exporting it, and I was just like, all right. I was just copy loads of this bit and export and then I looked at it, it was like six minutes long. Yeah, so you've, you've got the, there's a note in there where, I dunno, it's hard to describe it. It's not like 43, but it goes, it's a very odd, it's not quite a dissonant note, but it sounded really good. Do you know which one I'm talking about diminished? Yeah, yeah. Yeah. That sounded really cool. Yeah. Like it sort of came outta nowhere cuz it doesn't, yeah, you don't think it's coming cuz of the progression you've used before it, my thought are, my thoughts are that maybe it could be, it almost leans into cyber punk. I could be wrong. I mean, I'm not a proficient in the cyber punk realm, but, Ooh. I think if it was a bit faster, I could certainly hear it going in that way. I dunno why. Anyone, anyone else thinks, ah, Yeah, cuz it's quite slow at the moment. 85. I can hear just in my head like a, like a faint reverb guitar lead kind of slowly coming in and out. Yeah, yeah. Throughout the track. Um, I like that idea a lot. Yeah. Mm-hmm. I definitely was hearing guitar on it. Yes. Yeah. Like I, I, I was, I was getting kinda like, uh, David Gilmore kind of a guitar kind of vibes coming in and out. That's kind of, I think, something that I might be able to achieve. Yeah. I, I believe, was it Mark who called movie David Gilmore? Watch Dave Gilmore of Watch It. Yes. Yeah. Thank you. Yeah. Um, some sets Aren said to David Gilmore, but Yeah, yeah, yeah. It's got a very craftwork vape. MAD's the Persh mode vape on it. Yeah. It's good. I've got, man, it's cool. Interest more actually. Yeah. Um, sorry. Um, there was bits where the connection wasn't quite right and so it was catching up and it went at a faster speed and actually thought, oh, right. It would be great if it, if it continued to accelerate and that speed up to a ridiculous level Oh, to a break, you know, break and then comes back in. But I sort of sped up and then break down. Yeah. Gradually sort of building up to a point where it's just unmanageable to play and, and then drawn back in. But yeah, that's, maybe that was just the connection, intubation on the baseline there. The, the, just the boom boom. Sorry, what was that? The syncopation on the baseline was pretty awesome. Yeah, I like that kind of a, yeah. Do you know that that was something I was really. That was probably, like we say, you get focused on something. That was probably the thing that started me off was I was just thinking a of the core progression, as Mark said, I was sort of trying to come up with something interesting on the core progression as it changed from sort of A to B section sort of thing. And c i, I really wanted to not go and do a synth wave baseline that just sort of, you know, plunks along on the eighths or 16th or whatever. So I was really thinking about the incubation on that, kind of keeping a simple drum pattern, but like working on syncopation on the bass. So yeah, that was definitely a thought in the, you know, Jen, there's um, that works. There's, there's some feedback here from YouTube. This is from Pang who says, uh, you could totally hear a crisp, funky lead with vibrato going on there and says 10 B bpm up, and bit more distortion on the bass and it's dark synth, so it's quite cool. Got some feedback there from YouTube. Yeah. Pang is always so good. Yeah. Yeah. Wait. Cheers bash. He's pretty talented himself. Yeah. I mean, it, it was of course very quiet because like, it's just like exported. So yeah, it could definitely be louder. Yeah. There you go, bash. You should join us on the next one. Uh, the next one of these. All that Definitely, um, like in my opinion, some, some of the best space wave out there. It's quite cool that there's a, there's a range of different styles of synth music present today, as, as we're gonna hear, which is, which is great. Um, and, um, everyone with different styles. Yeah. Yeah. Really, really cool. Lovely stuff. Thanks Tim. Uh, Russell, what we got? No worries. Alright. Uh, yeah, this, this, this is, uh, a track from, um, like, uh, an EP that I've been working on kinda on and off in the background since last summer. Um, it's, uh, The track's called Hustle, and it's basically the, the vibe of this track and the, the vibe of, uh, all the other tracks is kind of, um, basically just mid, mid eighties Eddie Murphy movies where he's basically up to no good and, you know, shit's gone down. Um, so like that, that, that's kind of the vibe I was going for. And, um, that, that, that's kind of the vibe of the most of the tracks on, on, on the ep, which I'm, I'm hoping I'll be ready by the summer. Fantastic. Brilliant. I love that shit's going down with Eddie Murphy, man, that's fantastic. Right. Let's give this a go hustle. Nice mate, you immediately got me with the found sounds at the beginning. Anytime I hear anyone chuck in some actual sounds, um, dietetic sounds, I'm all over that. I love it and I I can certainly hear the influence in it as well, man. And the, the, your use percussion as well is really cool. All those little subtle nuances of percussion you've got going on in there. Really, really cool stuff mate. I can, I can definitely hear Eddie Murphy getting up to shit. Yeah. Is this instantly just reminder the axle? Yeah, it's amazing. That was awesome. Excellent. Yeah, there's Harold Fulmar all over it, isn't there? Yeah. Like Fulay is like a massive, massive influence on me. Like, um, mm. I mean, like Beverly Hills Cop is probably my all-time favorite film. And, um, yeah, like that, that, that, that, you know, that shit definitely has, uh, like a huge influence in a lot of my tracks, so, yeah. Yeah. I love the way the bass works with the drums, man. That's so good. Um, I, I got like Jerry Seinfeld vibes, like the, I really like that. I think see towards the end, like you, you've got the base, it kind of cycles around a couple of times and I, I think the last sort of two, the last eight bars or so, I think it is enemy. I think it would be good if the base had like some kind of cool effect on it, like a subtle kind of like flange effect or distortion back crush or something. It just, it's like you're listening to not you, you definitely don't get bored with it because I think you could listen at a baseline going around for hours. It's amazing. Totally hook you in from the start. It just, I think at the end, that's the way I would go with it. Just on that last eight bars off it, just to spice up a bit. Yeah. Yeah. It might be the mix that we are, we are listening to across, you know, streaming, but the thing I'd say is, I mean, it's that thing we were saying earlier where you kind of focus on something That base is obviously very important in the whole track, and you're probably focusing on that quite a bit. I think it could sit, yeah, quite a lot lower in the mix and other elements could be louder because it will still hook you in and you will still listen to it. It doesn't need to be kind of quite as present, I think, because it, it's what it does that hooks you in. And in fact, it might be more addictive if it sat a little bit lower. I think so. Yeah. But I really love it. Yeah, I mean, like, I love, love the bass thing. The, it's great. The, the, the mix, the mix isn't really done. It's, it is, uh, no, like it is just like a, a work in progress, but like, yeah, just a work. I'll take that. I'll, I'll keep that in mind though, like when I'm kind doing like kinda final mix. So I'll, I'll maybe like take, take it down a little bit. I can definitely hear like a, well maybe it'd be quite interesting to, sorry, go ahead man. Go ahead. No, finish your dust. Okay. No, go for it. Yeah, just it'd be quite interesting to like, you know, like those act sort of Harold Tomar tracks, actually listen and sort of listen to where the base sits in them. Actually it'd be quite interesting to see like, you know, the kind of reference track some of the things you were thinking of. I always find a really good idea is to get the track sort of pretty much finished and then to turn it down as low as you can go, just turn it down really, really low. And sit and see what pokes out. And like you'll find, like if, if the base is just like poking out all over the place when everything else has disappeared, then it's definitely too loud. Whereas if you kind of, you know, you'll get that nice sort of level, but like turning it down is definitely the way to find that. But I find that's, um, that's a great piece of advice too. I, I do the exact same, um, more so with vocals I and snare, I always turn it right down and that way I can tell whether the vocals too loud or not loud enough and whether the snare, cuz snares often bang, will poke through a lot. So that's a great piece of advice. Yeah. But you know what, like, um, you, you gave me that piece of advice, uh, like, uh, a month or two ago, Tim. And like I, I've actually, I've actually implemented that in my, my, my last couple of release. Yeah. Like I've, I've, I've, yeah, I've, uh, I've kind of done that, like, uh, like I've, I've turned it right down just to see what's, what's sticking out and, and what's, uh, what's, what's, what's gonna not like audible. Yeah. Um, and yeah, like I, I, I think that, I think that's a really good piece of advice. I, I think it's, it's really helped with my last couple of mixes. Cool. I really like those strings. Cool. Come in and I almost want to hear more of those. Cause I was like, Ooh, that's, that's tasty. Yeah. I love, they're lovely, aren't they? They, they're amazing. The, the other bit that seals the deal or that Eddie Murphy sound, you can just, you know, you can see Eddie Murphy cutting out or it's just amazing when they, they come in b there's loads of cool, like loads of cool little in, in your baseline as well, man. Like, um, towards the last couple of seconds of, of, of like your middle eight section. Um, you've got that potent, don't don, but then you have to that That's amazing, man. Just hooks you right back into listening. It's all over again. Right. Back into that verse. Ty. Yeah. Cheer. Ty Farian. You, you had a point about bass, I believe. Yes. Get a bass solo in there. I think. I think like, and I seriously, I think like, because you coming so strong with the bass, but then you can have the other string and orchestral elements throughout the song. But then you have this period where you just bring that bass back in a bit harder and just have like a, just a, a nuanced solo and then go back into the main melody after that. I think that'd be pretty cool. And you can, yeah, that's, I think as well, that's a cool idea. I might, I might, I might try that. Yeah. That's, that's cool, man. I love that idea. It's nothing, it's not interesting as well to try some God, man. I was gonna say, it's not, it's not something that you, we hear much of in our sort of realm, I think Bases, yeah. And like, not even like a slap based solo, like an actual, like synth wave base where it's like a duh, like that kind of solo, but actually make it like a solo. Yeah, yeah, yeah, yeah. Like that's when you've got enough time. I'll have to Cool. Base idea. I'm gonna, I'm gonna try that. Do you know I'm, I'm gonna try that. I think like a little bit of pitch bend and modulation as well at times cuz like that sort of classic thing of almost like a sort of like, you know, a fretless base or something like where they slides and you know, some of that kind of into the mid would really work as well. You know, people don't use pitch bender modulation and things enough in midi I think. But that doesn't mean using it lots, it just means using it in the right places, you know, and it's just those subtle little bits of it can really sort of make, give life to a baseline like that, which is already caught a lot of life but you know, really. Yeah, could be good. Brilliant. Um, thanks Russell. Yeah, fantastic stuff. Um, I'm looking forward to hearing it bass solo now I wanna hear that. Uh, Tim, next one. So Tim Woodruff. So Pan ultimate track. Uh, bit of contacts please, buddy. Yeah, well, I actually came up with this when I was working on my Ambient album, and I was like, well, that doesn't belong. And so I've been hanging onto it for like six months and I kind of want to move more in sort of a, a more darker kind of synth wave slash outrun feel. Sorry, I muted myself. Um, I, I, I've listened to a lot of, uh, the Mitch murder stuff where he, you know, especially like the, the darker stuff like from Hum Fury and so forth. And, uh, that's a pretty big inspiration. And even some of like, the stuff off of, um, off of, uh, nocturnal from Midnight. It was pretty cool. So I wanna do a little bit of that. I, I kind of bounce around a little bit different, uh, versions of things, but it's just basically the sound selection changes. But this is called On the Run, so Ace, without further ado, then let's play it on the run. Thanks. Cool. Thanks Tim. Um, immediately when it started, it's sort of gave me sort of, it had sort of like a, like an eastern vibe to it in terms of like the, um, it's a really weird, I don't dunno if anyone else agrees when you hear that little motif at the beginning, it's kind of got like an Eastern vibe to it. Do you know what Mo? That's it. Cool. Yeah. Yeah, that, that, that's a good question. I, I'd have to go back and look cuz it's been, it's been a minute since I've touched this one, so, yeah. Mm-hmm. And there's a, uh, there's, there's a, there's a slight lead synth section in it and it kind of echoes what Tim said just now about like using modulation and the mod wheel and stuff. And I'd wanna hear more of that. There's, uh, I think it's quite short and I think, I think the track could do with more of that as well. Um, I dunno what minute I should have made a note. What minute it came in? I think it was about halfway through. Yeah. I kind definitely kind of help but want to hear like the filters, the filters may be coming in on that, on that lead sort of, you know, the, on the RPE that starts from the beginning and pretty much carries the whole way through the kind of very insistent arpeggio, which it, I think is kind of great cuz it kind of carries you through the whole track and it's there that energy all the way through. But I think, um, maybe changing the sort of tamra of it as it goes along so that, you know, using some, a filter or something could be quite interesting. Like, it doesn't have to be dramatic, but it could just give it some motion, you know, so that through the track that might be quite interesting. Yeah. Um, there's an interesting chord on the intro. The, I think it's the fourth chord was, was I was just like, what the hell was that? Yep. There was just like an odd chord, whether it, I, I thought it was odd in a good way. I'm not entirely sure, but it was odd. I thought it was odd in a good way. I really liked that chord. Yeah. No, I, that's it. I concise, but yeah, I really did too. Yeah, there's a lot, a lot going on in it. For me, I would, I'd be probably looking to put like a section out that arp, you know, where it kind of drops down, gives you a bit of a breather. Yeah. And then for it kicks in again. That would be the only obvious thing that I would probably change about it. Yeah. For the base. Yeah. No, I, I, I agree with that. For the base tone, what do you, um, is there like a phaser effect on the base on that? May just be the sound coming across here, maybe on it. Oh, okay. Uh, there is, it did sound a bit phy. There's a chorus on it, and there's actually like a blues driver distortion on it. Gotcha. Okay. Cool, cool, cool. Um, this is just, yeah, there, there's a, uh, there's, there's two bases and the second one does have like a, like a small stone on it. Gotcha. Okay. In relation to that, the drum have a sort of almost small, no, sorry. Yeah. Okay. So basically what I was gonna say is, um, I think like, This is just my own personal preference, uh, with base stuff. And so I, and this is probably just coming from like cyberpunk stuff. I like having like, like a sub-base that's like keeping the sub frequencies together a little bit where it's a little bit hum and then there's like a top base on top of that that's a bit more like the transients hit a little hard, um, on that one. Yeah. How about, um, so it's like maybe you can add that, I'll do that as well just to give the base a bit more thickness. That's kind of what I would recommend. Yeah, that's, that's a good idea. Uh, I, I, I have done that some, but I don't think I see one in this particular track, so I'll, I'll check that one out. Well, out of interest on the drum sale. Sorry, I, I was just about to get to that. Yeah. Yeah, on the drum sounds. What were you using? Drum sound was, because it's got more of a, a live drum sound sound and even groove to it than it has like an electronical synth wave kind of, or, you know, um, type sort of sound to it, you know, I felt like, which, which could be intentional, you know? Yeah. I was just interested to see what you, you know, your thoughts were on that. Yeah, it's, it's a live sample kit and, um, I, it is, it is programmed, but I, I tried to program it like, I would have done more like a, an actual drum, um, rhythm on like a drum set. Yeah. And, uh, even some of the, the fills and stuff, I tried to, to change them up every time, so they were a little bit different. Because that's an interesting kind of, you know, it's, it's not kind of very in genre, if you know what I mean. So, I mean, that's not necessarily a criticism, but it's an observation. Um, so I mean, personally, I would've probably been going for more electronic drum sounds, you know, to fit in with the, the music. And I think they would've. But then you would've, again, those kind of grooves and the fills and all the stuff you're programming wouldn't have fitted with those sounds. Yeah. So you've obviously made that because you want the fills, you want a busier sort of, you know, um, maybe with the live drum kit sound, if you're going for the live drum kit sound, you could augment it with some electronic sounds like on kick or something. Or you could like maybe go for a slightly roomier sound on the drums so you've got a bit more room sound. Like, a bit like you add that kind of like a, you know, cuz a lot of, uh, more midy drum sounds, you know, live kit sounds just don't sound really like a live drummer and some things like addictive drums and, you know, some of the easy drummer and some give you more options to mix in and get real live drummer sound out of it. And I, I always think like the one thing you don't want to end up with, I think you can end up with electronic sounds and they can work really well or you can end up with a really live sounding drummer. The thing in between sounds a bit like, you know, it, it, it, it doesn't sort of fulfill either. It sounds a little bit like a pastiche of what a real drummer sounds like. Sounds a bit general, mid ish. And that's something to maybe I sort of think like, you know, sort of more, it is just a sort of style thing, but, you know, it's just what I was thinking, you know, sort of make it either really live drum sound or like sort of really believably live drum sound or make it more electronic was I guess what I was hearing in my head, you know? Yeah. That's a, that's a good thought. Um, Janssen, interesting. God, go on Russell. Sorry. Like I, I I was just gonna say like, I was, I was having kinda similar thoughts that, um, the, uh, the track was very, was very like, kind of like a kind like kind kinda car chase, kinda like vibe or, or, or something like that. Mm-hmm. Which I really, really liked. And I mean the, the, the drums, I thought it would, uh, suited the track better to have like a big kind gated snare and, and to have more of a, kinda like a ease kinda sound to it. Um, I I thought that would've complimented the track more, but I mean, like, I mean, it still, it still sounds nice. I, I, I still think it sounds really nice Yeah. As it is, but, um, but yeah, like, I, I was gonna thinking along the same, the same lines as Tim, that like, uh, if, if you had like that big can, big can gate snare and like, I'm, I'm working like a, a electronic kinda sand to it. Like it would, it would kinda compliment, compliment like the, the composition better. Yeah. And that's a, I haven't released this on, on Spotify or anything yet, so I mean, I could always go back and do some tweaking on it and such, because those are definitely some good things to consider. Yeah. But like I really, it's a great track. I really like the composition though. Composition. Mm. Okay. So it's a really position in the interest of time. Jens, I think we um, thanks guys. Uh, cuz we're almost at the hour mark. Um, so we're gonna have to, uh, press onto the last one, but before we do, uh, Pang as well has given us some useful feedback. So he says the breakdown with that vibey lead might work well. Bigger punch layer on that snare with a hint of reverb tail on some beef. Uh, he uses Easy Drummer a lot these days and augments with bits, and he says that him and Aai are telepathically linked. Um, and he's also, whilst we've been recording this episode, he's signed up for the June version, um, which is cool. So he's now okay on the, uh, producer's pub in June, which is great. Um, so James, this is the first time I've played anything on here and, um, it's, it's probably, yeah, it's probably a world away from, um, anything that's been. From you guys, uh, in terms of sort of like genre direction. And I know Tim and Karl have heard this. Um, I dunno if I'm gonna play it all the way through, I'll probably pay up to a point cuz then it just repeats. So rather than play it all the way, uh, there is, I, I cracked out the guitar this week and there is a bum note in it and it's slightly ropey playing because my fingers are, uh, the fingers of someone who doesn't do a great deal in terms of manual labor. So I don't have callouses on the ends of them anymore. It was one of my highlights of the week though. Your bum note thing on, uh, blue post when I lit, when I posted it and I lit and I, I had the video and I was just like, oh, I couldn't go, I couldn't be bothered to go back and change it. I was just like, I've done my hands hurt too much myself. That's what very audio is for. Yeah. Great. Cubo, it's fairy audio is for bum notes. All right. Yeah. When I heard it I was like, uh, well, oh well I'm leaving it in now. I'll replace it further down the. Um, but I'm hoping it works. And, um, so yeah, this is a song. It's gonna come off an EP of mine. This is the third out of four songs. So I'm struggling along quite, quite nicely. So I started this not la uh, beginning of last week, maybe the end of the week before. And it's gonna have vocals on it. Uh, I haven't decided what sort of vocals yet. And, um, yeah, see if you could pick up, there's a, I know, um, with regards to the streaming quality of this, it is lossy audio, so you might not pick it out, but there's a, there's a nice little soundscape I've put in the second verse. I'd be interested to know if anyone could pick it out. So, uh, there's no name for this yet. It's just called D Miner 1 0 5. Um, here we go. And it goes on from there. Um, it's interesting listening back to it now. This audio quality is, is quite diminished, but my immediate thoughts are, it goes on for too long in the verse, but, um, yeah, I'd be interested to know what you guys think. Vocals for sure, I can definitely hear vocals, but also the, uh, the guitar. What, uh, VST are you using for that? Oh, good question. Uh, that is plugin alliance, rocker verb. It's, um, one that I've had lying around. Okay. I might, I might end up recording di and then reaming it. Um, possibly. Possibly. Gotcha. Okay. Cool. That's, um, yeah, it's not the final tone, it was just, uh, like the scratch and, um, it will be replaced. Yeah. Yeah. It's a bit wasp in a jaw. Yeah. Yeah. Oh, a hundred percent. Yeah. Yeah, yeah. Yeah. Lovely track. I, I actually hear, I lovely. Mm, I hear like, uh, in my head to hear like a telecaster playing away in the verses in the background. Mm-hmm. I, I don't, I dunno if there's something there already, but it's just right here. Like, but it's, it's very cool man. De definitely needs vocals. Yeah, it does, because I feel it drags a bit, um, in the verse I thought when I was listening to it. Um, it's weird when you listen to a song with other people. Uh, you, I, I dunno. I hear it differently and now I've heard it with other people. I can hear that. It does. There needs variation. It does drag a bit. So was that not intentional to leave a bed for a vocals? Like, that's good because that I I I interpreted it as that you were leaving it space for a vocalist, but did, did you not? Yeah, that's correct. Yeah. Okay. Yeah. I think leading into the guitar solo, what you can do is, um, just from a songwriting perspective, you can add like, um, like a squeal or something from the guitar or like a harmonic that's like rising into it. Um, or Yeah. That's cool. What, like that. Or even like a, like power chords that are kind of chugging slowly. You can hear them and you can put like a filter, sweep on them, and then that kind of leads into that. And you can have like a, an impact hit and then it starts the guitar solo. You can try something. Yeah. I like that idea. I like that. I did one, I was toying around with, um, some like muted chords, but I think it's because. The plug-in's not great. And I was playing them and I'm really picky with, like, I, I should've kept, kept my guitar set up, but I sold it and I'm really picky with the guitar sound, so I wiped it. But yeah, I like the idea, man. I like the idea of the harmonic as well. Mm-hmm. Or the squeal. Maybe like a dive bomb. I'll, yeah. Yeah. If you got like a whammy bar, just go crazy. Yeah, yeah, yeah. Just go nuts. I go Dimebag star, like Yeah. Yeah. Some something I was gonna at caution. Yeah. Yeah. Like some, something I was kinda thinking about when I was listening to is, um, like the, there's some sections where the, like Yeah. Like, The core progression's, like really nice, but like, uh, like it's the, the kind of rhythm of the core progression's quite simple. Yeah. So like, uh, like personally, like if, if it was my track, like what I would be doing is we're we're the, the core progression's simple. I would be adding in some nice, nice little bass runs, some, some, some little bass fills in, in, in, in those, those kind of sex sections just to add a bit of like, dynamics to the track. Mm-hmm. Um, cuz like that, that, that's something that I'm, that I'm always kind of trying to do. Like if, if the chords are busy, like if, if, if it's like quite a kind of dynamic chord section, I keep the base like really simple. But then if, if the chord sections really simple, then I try to add in like, some little base, like in a scale, kinda like, uh, like runs and yeah, some little fills and things. So like, I think that would sound really nice in some of the parts of the track where it's just, it's just like really kinda simple, kinda straight chords. I, I think if you kinda like mixed up like the, the base in those sections, that would sound really nice. Yeah, I really like that idea. Um, I'm gonna have. A friend of mine, uh, who's a bassist, I was in a b with, he's gonna come in and lay bass down for all my tracks. So I'll definitely do that. I'm gonna say to him like, mate, during these quieter, these sort of simpler sections, I want you to just, some sort of runs on the bass bit, a bit of ad lib. So yeah, thanks man. Definitely gonna do that. You, you could, I mean, the other thing is to sort of, you know, add a little bit more extension onto the chords. You know, think, you know, if you are in a C minor, a C minor nine, C minus seven, you know, whatever, like, you know, um, sort of some crushing, some sort of sus twos and suss fours and things and you know, taking out the, you know, that's always an interesting thing to do and stuff like work out a simple chord progression, but then just. Actually, you know, it's CF and g, but like, maybe I don't need the thirds and I just like, you know, whatever. But I mean, I I, I could really hear though that once you've got the vocal melody over the top, I think it really worked. The bit I really like is the cross stick, the kind of, um, on the, um, the verse, the kind of ring shot, whatever. Yeah. Yeah. That really, really works for me. And it's really nice change actually. Um, uh, it's, um, I think there's a lot of nice, the groove is really strong in the song. I think the whole groove from the work minute, it starts off, you're kind of into that groove and, uh, I think, you know, that's a bit that sort of, um, drags me through really, you know, kind of hooks me in sort of thing to the whole track really. So, you know, I'm, I'm a. No thanks. Thanks, Jack. See, I've, I've started mayhem on the chat. Yeah, yeah. That's not for the audience's eyes. Uh, yeah. Thanks for that. Yeah, definitely's. Um, I think it's, it's tricky when you, when you're doing a song with vocals, cuz you obviously you gotta leave space for it, but everything you, you guys have said I'm gonna do like from the guitar, the bass, the chords, everything. So, yeah. And, um, yeah. Yeah. Big thanks on that big Thank you Jen. That is the end of this episode. Um, it's been good. I've enjoyed this listening to people's tracks and feeding back. Um, so what I'll do is now, uh, as I always do, is the opportunity just to, Let the audience know where they can find your music online. Um, the, like, the main place to find it. Obviously you've got Spotify, maybe actually where they can find you online. Where's the best place to like get in contact with you may might be the better one. So if we go around, uh, we'll start with Tim, uh, Woodruff. Where, where's the best place for audience to find you? Oh, I'm pretty active on Twitter at Tim Woodruff underscore msc, which is just music cuz it's not long enough. So. And then, uh, tim woodruff.bandcamp.com has all my links to other things. Uh, Spotify, Instagram, Facebook. So you can pretty much search my name. I'm pretty SEO friendly by birth for some reason, so Brilliant. Uh, oh, online, Tim, other Tim? Yeah, just, I mean, you can find me anywhere at, at all nine music, but like, particularly on Instagram, you'll find me. Um, and on Twitter you need to show at R nine Synth Wave. Um, is is my best Twitter account, but yeah. Brilliant. Talk YouTube, all the rest of them. Yeah, to, um, I've been playing around with that. That's there's way some stupid stuff, man. Uh, Tyrian, uh, yeah, you can find me on Instagram. It's tyrian dot exc, I think Twitter as well. Um, it's tyrian dot exc as well, I think. And then, uh, yeah, tyrian.bandcamp.com. Spotify geezer title, you name it. Fantastic. And Neon Highway. Yep. Just find us on Instagram at Neon Highway synth. And there's a link treat to everything else, but mainly Spotify, all usual platforms. Fantastic. And Russell Nash. The same man, like, yeah, the Link Tree's probably the best one. Like, uh, link tr ee slash Russell Nash music. Um, or like, if, if, if you wanna go on my Twitter, it's uh, at R Nash music. Brilliant. Thanks mate. Thanks Jenz. And just for the audience. So if you wanna be part of the Producer's pub as, uh, Pang has done, who's joined while this has been live, which is amazing. It's the first time anyone's done that, which is great. Um, and also look out for the next one. So it happens every fourth Sunday. So the next one is in April. That's Fall Mayor's Full. Uh, June is the next one with Available Seat. So if you wanna be part of this, head over to inside the Mix podcast podium.com/free, or head over to the podcast Instagram and click on the link, uh, for the Instagram bio and you'll be able to sign up and, um, come on here, share your tunes, get some feedback, and, um, basically do what we did today. James, thank you for joining me on this and I will catch up with you all soon. Cheers.