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

#89: Music Production & Songwriting Tips | THE PRODUCER'S PUB

May 30, 2023 Various Season 3 Episode 89
Inside The Mix | Music Production and Mixing Tips for Synthpop Producers
#89: Music Production & Songwriting Tips | THE PRODUCER'S PUB
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Welcome to another episode of Inside The Mix podcast, where we delve deep into the world of music production and songwriting. In this episode, we have a special treat for you as we gather some of the most talented and up-and-coming artists in the industry. Joining us at the Producer's Pub are Aisle9, Ghost Georgie, Sub Neon, THALREX and Blockhaus.

Together, we listen to and critique music from each artist, providing insightful feedback and valuable tips on how to take their productions to the next level. Whether you're a seasoned producer or just starting out, you're sure to pick up some useful advice that you can apply to your own music.

So grab a drink and join us at the Producer's Pub for an unforgettable evening of music and insights. Don't forget to like and subscribe to our channel for more episodes like this one!

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Hey, inside the Mix podcast fans, it's the Martin Brothers. Find out more on Martin Brothers You are listening to the Inside The Mix podcast, and this shit is about to go down 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 artists, music, engineering and production, songwriting, and the music industry. I've been writing, producing, mixing, and mastering music for over 15 years, and I wanna share what I've learned with you. Hello folks, and welcome back to The Inside the Mix podcast. If you are a new listener, thank you for joining and make sure you hit that subscribe button and if you are a returning listener. Welcome back. Now in this episode, it is an episode of The Producer's Pub. I wish I had some sort of fanfare, what I do with Riverside, but it's a bit of a faf to get it going. Right. There we go. Thank you, Tim. So, um, maybe next time we'll just do like an all of us do at the same time, like a flash mob sort of thing. Anyway, um, so it's an episode of the Producer's Pub. So if you are a new listener, you're unfamiliar with the concept, basically each artist, so of which there are six, including myself, will play 30 seconds of a work in progress. And then we just basically talk about it, offer any advice or any thoughts on that particular song. So the artist I got with me today, I've got I nine, I've got Sub Neon, I've got Blockhouse, thorax, and Ghost. Georgie, if you're watching this on YouTube, you'll see them waving. Uh, this is live on YouTube. It is live, yeah. I'm just checking now. And it should be live in Facebook or rather on Facebook as well. Although that one doesn't go automatic. Its a bit of a pain. There we go. So, um, yeah, these do go live. Last episode, I, I did say Twitch, but, um, I, I, I sit in the past four weeks, I've done nothing with Twitch, so I haven't bothered to, to run it on this one. Anyway, I digress. So the first music we have up today is Sub Neon. So Sub Neon. Do you wanna give us a quick run through of what we're gonna be listening to today? Yeah, absolutely. Um, so this is, uh, either gonna be my seventh or eighth release. I haven't quite decided yet. It depends how much I can get done to finish it, to be honest. Um, it's called Phoenix, um, and it's kind of my, a continuation of my one man mission to make an absolute mess of synth wave waves, a genre. Um, and, um, the, the, the sequence is, it, it's essentially a, a kind of a change in the second verse leading into a kind of a chorus. So, um, so yeah, I'd be interested to hear what people think. Excellent. Okay. Without further adju, let's give it a go. Very nice school mate. My initial thoughts are when it goes into that breakdown, uh, I, I want it, I want to hear like, less going on. Cuz for me it's kind of like if you imagine a, a graph, it's kind of going like that all the way across. Maybe it could go like that and then duck out. Some instruments come out and then come back in again. Just have a bit of night and day. That's my initial thought when it comes to that. I dunno what anyone else thinks. Yeah, I think I would agree with that. It feels like there's lots of really excellent things going on in it, but it needs sort of, you know, some light and shade, some sort of, so that bit, it feels like it wants to open up and have more space perhaps, you know, um, especially with the sort of halftime sort of feel or whatever, and then go, yeah. But I really like it. I, I'd agree with that as well. Just a little bit less in there. What, what I did like, just, just towards the end of that, except there, I thought it was about to kick in, but I think the breakdown was actually gonna keep going for a little bit longer. So that took me by surprise. I was like, all right, it's not coming back in yet. And yeah, I thought that was cool. I liked it. But yeah, it's, it's, it's something I've been, I've been struggling with, um, I've been obviously working with a lot of bass. Um, not obviously, cuz I've only met some of you for the first time today. Um, I work with a lot of bass and, um, uh, starting off with one layer, then another layer, then another layer, and then you squeeze that down with a bit of compression, then put some saturation in, and then you get this wall of sound and then you, then I think, wow, I need a, I need some, some sense and some pads and something in there as well. And then all of a sudden it's just so may maybe, um, I, I could drop some stuff out there. It's alien to me. I've said that before in this podcast. Can't take things out, just keep putting stuff in. Um, so, so, yeah, uh, I've, I've, I've got an idea of what I can take out there. Yeah. So maybe return track. Do you think return, return track might help to, uh, to dial down some of the effects? Do you think? Time-based stuff on sends already. No. You're not using them on. No, it's all, it's all pl. I'm giving the same response as the last uh, uh, podcast. Don't be silly. I'm not doing any kind of forensics. You know the answer. Don't here. Yeah, I do. I do. But it's easier to just leave them on the synths and carry on to the next. Yeah. But the thing that you don't get then is the ability to sort of, when you've got everything on sort of, well time based stuff like delay and reverb on sends and returns, then you can EQ those returns a little bit. You can do stuff to the returns and also you tend to end up with less. Sort of multiple, sort of, sort of slightly variant reverbs on the track. Mm-hmm. Um, you know, let's say you've got two or three reverbs, a couple of delays. Mm-hmm. Does a track need more than that? And actually when you end up, like putting it on every single channel or whatever mm-hmm. I think you tend to get a lot more of a smearing kind of effect of just like different sort of, um, you know, well, unless you copy exactly the same thing, I'll do everything. But, you know, it's, it's a lot easier to also, I find it a lot easier to go like, oh, do you know what, maybe this track is just a little bit too wet and just dropping it a fraction and all you need to do is drop the return rather than go through every single thing. So it's, it gives you a lot more, you can add compression, you can add saturation to the like, um, the return. You can do a lot on the to, which can be really good actually. So, I'm a fan. Yeah. Although I do do it, I do put them on inserts too, so there we go. I do do it. Sometimes I just get lazy, you know? Well, that's exactly what it is, you know? I mean, now, now I know how to use return, uh, channels. I, I, I do need to have the discipline to be able to, to, to set that up in the first instance. But, you know, when you, when you're in composition mode, you're just throwing stuff in and seeing what works. But, uh, yeah. I smack my hand. I thought it was, I thought it was great to hear the sample of your track. Um, I, I really like the cinematic feel, um, and, uh, y you know, and I agree with, with i l nine, it's, it's kind of varying those little things track to track, like in the EQ kind of playing with some stuff. So to, to get a little bit more of a spread with, you know, when there's frequencies that are similar among, among the different, uh, synth groups. And, um, and yeah, just playing with blends, like not overlapping so much the same, um, kind of echo what you were saying, um, aisle L nine, the, the, the verbs kind of just the, those slight tweaks can create more separation. And I run into that a lot too. It's like when you're just inspired and you're in the zone, you're throwing it down. Cuz like on my track, it's, it's kind of the same. You just kind of go with what inspires you, but then honing that in, I think it's gonna give more separation. But I think it's, it's great so far. Awesome. Thank you. Here's, here's a quick thought, um, quick thought, uh, sub neon, when you, when you set up your songwriting, do, do you work from a template? Do you have like, Your instruments set up and then your auxiliary sends already there and then dive in? Or do you, are you just literally a blank canvas and then you start writing? You would be surprised to learn? The answer is no. Um, so, uh, I'm bit, I'm getting there. I'm building it slowly. Um, so, you know, I've, I've kind of got there with my drum rack, so, so that is kind of a template now. Um, uh, I've just got there with, um, some, some, some of the bases that I use, uh, on a, on a, on a consistent basis. So I've got my utility and gain knobs and things like that in there. Um, but not the return tracks, you know, so that's definitely something I need to look at. Yeah. What I would do next time is next time you, your songwriting is, before you do anything, just set up, uh, a short, medium, long reverb and one delay, and then just use those. Um, you might not even need all three reverbs, but I, I totally echo what R nine and, and coach Georgie said there, with, with those buildup of reverbs is you just almost, you can imagine a mushroom cloud of just like that. Um, over time, how many, how many base uh, layers have you got going on in that one? How many do you think I'm, I'm gonna say you're, I'm gonna say you're gonna be more conservative this time. I'm gonna say five. Okay. Um, so I've got two in the, in the first sequence with, because this, in that breakdown, is there more stabby base in the, in the, and I've got three in the second. In the second in the, in the halftime section. Yeah. So that's good. Um, I found the right combination of presets that, that created the sound I wanted instead of just piling all on top of each other. Like normally, are these the same line but spread across different patches? Are they playing the same line? Yeah. Yeah. Yeah, that's it. Mostly. Sometimes it's an Octa up or sometimes there's, there's a little bit of variation, you know, it depends on, on the combination, you know? Yeah. Yeah. That's interesting. Excellent. I, I, I really liked it. Uh, got, got your signature sound and, uh, you know, you know what I think about it. So, uh, uh, big fan, really excited to see, uh, see how it, uh, sounds, uh, when you, when it's done. That's all I can see. Yeah. I think your, your output is, is, um, something to behold the, the, the amount you're putting out, sort of like that, how you're doing it. It's, uh, it's brilliant. And your, and your social media posts as well, and the effort you're putting in there. Um, your, your caps, your actual videos are, are amazing. How long does it take you to put those videos together? Uh, it depends really. Um, if it's, if it's, uh, I, I mean, I put a, a quick sample of a track out yesterday it took 20 minutes, dragging some, um, some videos down from Pexels or Pi Bay and then throwing them into Premier Rush, ch chuck the track in and away you go. If it's a release, then it'll take a little bit longer, but, um, yeah. Thank you. No, I've, I've, I've got, um, a, a bit of a work ethic at the minute. I've set myself a challenge, I think I've mentioned before, to try and get one track a month out. I'm not sure I'm gonna be able to sustain it for the full year, but we'll see how it goes. Burnout before I, uh, I hit that, I reckon, but I'll keep trying. Ah, it's brilliant. It's brilliant. Um, I'm, I'm not the only one who uses Pexels. I, I rinse that for posts and for images. Yeah, absolutely rinse it. And Unsplash as well. Um, thank you very much. Sub Neon. So next is Blockhouse. If you could give us a quick, uh, run through of what we, what we can expect. Yeah, so this is a track called Sleepless in Glasgow. Um, inspired by some of the sort of ambient, uh, Alex Par orb type stuff that I used to listen to, um, back in my student days in our Glasgow Flat where I couldn't get to sleep. So, um, if this clip sends you to sleep, then the track is doing its job. Um, it's far more minimal than suddenly UN's effort. So, uh, I might, uh, have some advice to chuck some stuff in here cause there's gone through a really minimal sort of ambient techno type feel. But, uh, yeah. Fantastic. Um, just before we play it, uh, neon Highway, Carl is in the YouTube chat. He says, sub Neon has carved out a signature sound, inspiring baselines. Um, so shout out to Carl. He is back on the podcast in July. Love you, Carl. Five is in the post. I'm looking. Um, anyway, let's, fantastic. Let's, uh, play this one by. Yes. Yeah, indeed. Yeah. He's, he's gonna be a welcome addition when he comes back in July. It's been a while. Uh, so here we go. Uh, this is Blockhouse. Cool, mate. Uh, my, my, fantastic Thank you. My initial thoughts were, um, in a minute I'll get back to this bit, um, with your pads in the kick. For me, and this, this comes from like the, the EDM side of things. Maybe some side chaining with a pad. Just add a bit of movement there. But that tail on that kick, what sample are you using for that kick drum? That's quite an interesting, it's got like a sort of sound after it that's really badly done. You, you know what, it's just one of the, the garage band basic drum kits. Is it? That's all it is. Yeah. Yeah, that's, yeah. It's completely created from garage band stuff. Oh, solely and Garage band. Yeah. Ah, fair play. Fair play. I think Garage Band's a powerful d w um, oh yeah. Obviously Logic is the, the bigger brother. But it's a fantastic, fantastic door. I've heard some great things come out that, um, no, brilliant. That that was minus your thought was just a bit of movement on the pads with some, with some side chaining. Um, but I'll open it up to the, open it up to the floor as it were. I assume base appears at some point. Does it? Cuz not, not in the bit we were listening to. Uh, yeah, it, it will do. Um, I, I'm going to come up with some sort of form, a baseline, but, uh, again, nothing too sub neon style. Yeah. Cuz it kind of, we've gone from sub neon three baseline, five baselines, whatever, two no baseline. It's kind of like, you know. Yeah. And, and, and I know some of that orb stuff cuz I, I loved it a lot. I listened to a lot of that kind of sort of thing. Um, it was a kind of big, sort of influence the nineties stuff for me when I first really got listening to, um, you know, electronic music in many ways. But like, um, and, uh, you know, I mean they often do sort of hold back on those kind of things and it's very minimal, but then some ambient sounds as well, often like, you know, like found sounds and speech and, you know, all kinds of other things come in and, uh, yeah, it's, it's kind of really hard to do that minimal thing and not to end up with n not enough interest. In something and to find that it's, it's just come a bit dull. Oh, here comes our dog. Hello. Um, uh, but like, um, yeah, so, um, I, I, I think at the end of the day, you know, um, just like with a few editions, um, like that, it's that sort of special little moments like little sounds come in or just a, you know, uh, just like an effect or something or regenerative delay on a sound or something, which is probably a bit hard in GarageBand, but you know, um, that sort of thing can be what they use a lot. You know, they would play around with that kind of like, you know, like TAs of Dublin, all that kind of sort of stuff, like amazing sort of stuff the orb would do where they just play around with the sounds. They've got quite a minimal palette, but they'd make light and shade and colors out of it. And I think it needs that to sort of take it to another level perhaps. Cuz it sounded good in I think. Yeah. Cool. Thanks man. Ideas good. You know, Yeah, I, I agree with, uh, with, uh, mark. Uh, it's, it's a, it's a nice foundation, but, but, uh, I think it, uh, it'll need some, uh, side chain compression to, to bring out the, the pad and, um, yeah. But I, I really like what I heard. Uh, perhaps some, uh, I think what, what could be nice would be throwing on some, uh, some, uh, high hats to Yeah, yeah, kinda, I'm not that familiar with, uh, with this kinda kind of genre, but, uh, I think it could, uh, sound great with some high hats playing on the offbeat or something. It's got a really cool vibe, um, so far. And, um, you know, it'll be really cool to hear, uh, if you get like a, a, maybe a hard lead on there over top and have some kind of groove going, or maybe some arpeggiations, um, even to kind of, um, uh, have some, some brightness kind of on top of some of those softer, those softer sounds that you have going in those, um, You know, those layers that you have, uh, currently at the forefront. Um, so looking forward to hearing more. I haven't got too much more to add the, the, what everyone else has said, to be honest. I really like the vibe of it. I think. I think that I like the tension that sits behind it. Um, what, what are your plans for, uh, or have you got any idea as to how you would see it evolve? Um, as it progresses? Yes. So, yeah, so, uh, I've played about with, so, so that initial sort of like lead sense I've played about with repeating that, but with a couple of different patches and I, I haven't found the, the right sound for it yet. I did have a sort of choir sample going on, but that didn't work really well. So I, I wanted to get something I can build. I didn't find that a good sort of like ambient bass sound as well to get a baseline in there and just, I never wanted to really hit a proper crescendo. I wanted it to stay minimal and laid back, but I do want it to build, I think it'll probably end up being quite a long track. Sort of like build gradually over the course of it. Um, cause end up with a 10 minute epic, you know, it's, it's got kind of a, it reminds me a little bit of Satan by Orbital a little bit. Um, and ah, I mean that starts off really slow. And then, then it's got this really, um, rhythmic repeating baseline that, that kind of sucks you in. And then, you know, they, they do an awful lot, um, in, in terms of, you know, bringing effects in and, and taking 'em out again and then bringing something else in, just as our outline was saying, just to keep that energy and keep the interest going. Um, but I really like the foundations of what you've done so far. Good job. Yeah. Next one. Thanks. Brilliant. Thanks everyone. Yeah. I think if you are, if you're gonna do a long song, like you say with four, four minutes plus, then you're definitely gonna need to do. Something along the lines of what? Like Neon Highway. Neon Highway. That's cuz I was just in the YouTube sub neon and, um, and R nine was saying. But, um, no. Brilliant stuff. I'd love. Thank you. That's great advice. Thanks guys. Using Garage band as well. I I love that. It's, I like hearing when people are creating. I remember, uh, there was a podcast episode I did probably much like right back near the beginning and I was chatting to an artist and they did it. They created all their music on an iPad and you would never know. It was quite impressive. So it's always interesting, um, to hear these stories. Thank you very much. Blockhouse, uh, thorax. What have we got coming up? Well, so, uh, this, uh, result of, uh, just another Saturday drinking thing. It doesn't sound like you, so, so I, I, I don't really know how to describe this thing. Uh, it is kind of like, uh, Uh, a disco sin wave fusion. Uh, it's, uh, the, the project file is, is, is just called uh, uh, disco 150 W W tf. Um, brilliant. I'd say now you've mentioned disco and synth wave. You've, uh, you've picked my interest. I think you should keep the title. I think that that should be the title here. Go. I tell you what you've got like snares and kick drums down. Uh, I gotta say that is there's a lot of, there's a lot of punch, there's a lot of presence and a lot of power there. My initial thought was as it kicked in, I think this is, this is my unconscious bias. When you said disco, I'd love to hear vocals on that. Like boney m or like something like that. Like I, I think like, uh, something along those that's easier said than done. It's a lot easy. It is easier, easy for me to say, go and find a singer similar to that of, of Boney m or Earth Windom Fire. Um, but I would love to hear some vocal on that. I like that. On that. That would be amazing. Can you do Absolutely amazing? Can I, can I, uh, I, I don't think I can. Yeah, I, I'm tempted with trying vocals at some point. I could do like a power metal screen. That's about as far as I can get. Yeah, I don't think that's, I dunno how I can do that, but I can do it. No, no. I dunno. There's couldn't be anying combo. Yeah. Maybe a little Barry. That was my thought, my initial thoughts. Yeah. I really loved it. I really loved it actually, I, uh, because it just got my head bouncing. I got a groove straight away and that groove di you know, I'm just starting to hear what's coming next because the groove is carrying me along and it's, it's sparse, but it's got a, it's slightly sort of, almost, yeah, it's got disco, it's got almost got a new artery kind of thing as well with the percussion and stuff. Like, reminds me of some of that 80 sort of percussion kind of thing. Um, but like, you know, um, yeah, I, I, yeah, I hadn't thought of boney m but like, I, I could hear like sort of, you know, you know, maybe slightly more new wavy kind of vocals as well on it. But I don't know that it needs vocals. It could just have. You know, great hooky melody lines as well, but like, you know, I mean, yeah, sort of slightly, that sort of a blue Monday thing, although it's much more positive and happy, it's much more up, you know? Um, but it's, it's still got that kind of thing that those tracks have. So yeah, I'm a bit, it is got a bit of a synth pop disco vibe, but I, I'm, I'm a fan. Yeah. I like it. Mm-hmm. Thank you. Yeah, as soon as I heard the bass line, I just like sat up and took it. I was like, oh yes, I'm liking this. I felt like I was playing a computer game, like maybe I was like a Robert, I was like on, on the run from somebody, you know, I got an impression like, let, let's got the computer game character running down the street and yeah, you've got like little bits of cowbell coming, like what, what of different stuff going on. But yeah, I was disappointed that there was only 30 seconds cause I was like, I wanna hear more, you know? So. Yeah. Yeah. Looking forward to hearing the finished article, man. Yeah. Thank you. Yeah, it was super rad. Um, definitely really grooving and, and, and like I nine said, gets you like bopping your head, you know? Um, I'd, I'd love to hear just a little more beef on the low end, like boost up that base baseline and stuff. And, you know, and it, it's always, it's all these things. It's, it's obviously in, it's, it's in production, it's in its progress stage, so, but I I'm sure it's gonna, you're, you're gonna make a lot of adjustments as time goes on. But yeah, I think we're off to a great start. So it's really fun track. I think you thought it, this really, there's a YouTube comment on this, uh, thorax, and this is from Midnight Void, who says big fan of laser sounds. It was a bop bop. Yeah, that's the right word. Yeah. It was a B it was a bop. I, I, I thought it was awesome. I mean, I think you sent this to me a little while ago, thre, and it's, uh, it's one of those, those tracks that you just can't not smile at when it starts playing. Um, mm-hmm. I, I, I, I'd agree with all the, the comments. I wonder whether where you got that kind of brassy sense that comes in, maybe you could stretch it out a little bit longer before that comes in. I dunno. It, it, it, it, it feels like it gets to that crescendo a little bit too quickly. Um, but I, I, I would really like vocals on that. I, I, I could, I can definitely hear that. Um, I imagined, um, rather than it being like a rubber running down the street, it was in the eighties, double breasted suit with one of those big goddamn phones, uh, strutting down to go and go have a meeting and, and close a deal kind of thing. It was just like, yeah. I like, I like the energy a lot. I can't wait to hear what it, what it, what it ends up like. Thank you. Fantastic. Thank you Thre. Yeah, I'm definitely looking forward to hearing more from that one. It's um, it's, uh, I know you posted that video and uh, I didn't respond in the Facebook community group, but it is a polar opposite to that other project that you're working on. I dunno if anyone has, has seen that. If you go into the Facebook group for the podcast, you'll see, uh, thorax has posted a work in progress in there and the two, it's so cool to see such a. Uh, a, a, a broad, a wide variety of sort of music that you're putting out and yeah, it's, it's a lot different, man. I like that other one. Uh, it's like, yeah, it's, uh, I won't spoil it. Go have a listen folks. Um, thank you very much. Thank you, thorax. So next up is Ghost. Georgie, what can we expect? Uh, yeah, so this is just a short clip from my upcoming record that I'm working on. I haven't, um, uh, I just. Finished another release that came out the other day. But as far as the stuff that I have, uh, in, in progress, it's, I haven't recorded any of the drum tracks yet, so keep that in mind. It's, it's really just backing synths and vocals. It's, it's kind of dreamy, drippy kind of stuff. Very, um, heavy, uh, on the vocals, um, and kind of like dreamy synth sounds. But, uh, you know, I'm gonna get, uh, when I get the drums tracked and I'm gonna do a combo of, um, pads and live drums, um, it's, it's gonna be totally different. So, you know, just keep in mind that it's a, it's very early in the process, so like vocal, dream synth, pop. Fantastic. Here we go. Let's give it a go. Cool. Cool. Fantastic. Thank you. Yeah, I, I can see what you mean by the, the drums and percussion element of it, uh, needing to come in. My initial thought was, I can't remember. Actually, listen, I know it was only 30 seconds ago. It says not about my memory. Um, but at the beginning, um, with those synth pads, my initial, I, I mean, this is what I generally do, and it's not necessarily the right, right way to do it, but maybe like filter automation. Mm-hmm. So you could have like the, I always get it around the wrong way. It's the high, the low pass, or was it the low low pass opening up? Shut off a bit and open it up. Yeah, yeah, yeah, yeah, exactly that. Yeah. I can always get it wrong way, but, and then just gradually open up as it comes in. That was my initial thought. And obviously, yeah. You mentioned about the percussion and, and whatnot. Yeah. Um, thoughts folks? Nice piano, love the, uh, the processing on the vocal. Yeah. I, I'm sorry, I didn't mean to interrupt though. It's, yeah. I like, I like the, um, Like the piano. The piano is, uh, um, I mean there's some lovely chords and sort of, you know, AEDs and things that you were playing like as well, you know, sort of, um, it, it, it very musical sounding. I think it's that, that would be my only sort of wonder is like, you know, electronic music. It's kind of that difference between, and I suppose it's the pop element, you know, whether you go more pop on it and head that to sort of more sort of, you know, ballady pop kind of vibe or whether you kind of make it a little bit more alternative and electronic and like synthetic sounding. And the piano's obviously got that kind of acoustic piano kind of vibe. And then you've got the synths and the vocals, but the vocals have got a lovely dreamy effect on them. So I kind of wondered where it was going cuz like, although they do work together, I'm just sort of like, you know, um, it, uh, it will change with the percussion. I mean there are many tracks that sort of synth tracks that do have kind of all. Acoustic kind of sounding piano on them, but I wondered if, like, you might change that a little bit when you put the whole thing together. Yeah. But you know, um, yeah, definitely. Um, you know, like there's more tracks that I run record and my goal is to kind of, um, you know, mesh those elements together, like have some acoustic, uh, elements. Like, uh, there's a nice piano that I got to track on at my, uh, buddy's studio that I, I just, I really love the sound of, it's a Mason and Hamlin and so I wanna have that kind in the background, but I want to create some, uh, you know, I wanna use some pads and stuff to put that more in the background. And so like the, the whole kind of feel of the track is gonna change when I have, uh, the rest of the synth, uh, groups recorded and the, and the drums, um, to kind of, yeah, bring it, like you were saying a little bit more in an, in an alternative kind of, you know, direction. I j I just kind of wanted to mesh some of those Yeah. Those genre elements. You gonna put acoustic sounding drums, live drums on it? Is that the vibe did you say? Or electronic? Yeah. I wanna, I wanna get la. Um, I'm, I'm gonna do some electronic produ, uh, percussion and then, uh, also get Yeah, a drummer to do some live stuff. Yeah. Okay. Yeah. Just, uh, a quick one, folks. There's another comment this time on, on, on YouTube. I say this time it was, it was last time. Um, this is from, uh, neon Highway who says, love that descending phrase that repeats with everything swirling above it. There we go. Bit of feedback there from the on highway. Fantastic. Um, any other thought? Any other thoughts, folks? Yeah, I, I, I really liked the, sorry, the musicality off that, the song, it's, I, I think the, I, I really enjoyed the piano and I think it would work well if at least some of the track didn't have any percussion. Um, just lets the, the piano sort of like stand by itself. It could feel, so, I, I dunno which part of the song this is, this is gonna be, but I could feel it. Yeah, it would work if like the percussion does come in. Then maybe even if you've got a sort of towards the end, it kind of goes solo again. Cause, but yeah, I, I, I think that that was probably my, my favorite part of the song, so I'd like to hear that sort of being allowed to stand out. Right on. Thanks man. Is it gonna have like, um, sort of verse in, sorry, sorry. Is it gonna have a verse and chorus kind of vocal type thing on it as well? Um, like, you know, or rather is it gonna be more sort of embedded vocals? Like it is like almost instruments of the way that the vocals being used? Um, it has, it has a refrain. Yeah. Yeah, it has a refrain. It'll kind of, um, that it'll kind of repeat too. Like this particular section was actually from like the very end of the, the, the track. So yeah, it'll have kind of like a, a verse refrain kind of style. Kind of stole my question there, actually. Um, so, yeah, I, sorry, man. Sorry. I've got, I've gotta think of another one really quickly then. Um, I, I mean, I really love what you've done with the vocals. I mean, I mean, I'm in awe. I'm, I'm trying to, um, earn some stripes recording and mixing vocals. I'm failing miserably at the minute. Um, it'd be really interesting to know what, what, what your vocal chain looks like to, to get that kind of really nice blend that you've got going on there. Yeah. So, um, You know, with the harmonies, like, I, I, you know, I start with, so with my eq I just, I have the, I, I run everything through Pro Tools, so I just, I use like the seven band, um, EQ and Pro Tools and I just kind of go through and I try to find, you know, uh, bring, bring some air in life to the tracks and, and kind of vary it, um, um, a little bit. And then I, and then I go through and there's some automation on the, um, you know, like on the volume cuz there's some parts where I like, want it to swell a little bit more with the harmonies than others. And so I go through and I just, you know, and I go through the automation and I also, um, you know, in clips I'll bring the gain up and down just to kind of like keep that blend going. And I just by ear kind of bring the, the blend together. And then I take some, uh, I, I use D Verb usually just for the. The lead vocal, and then I'll use Studio Verb. Also just another built into Pro Tools plugin, um, for some of the background vocals. But I like to vary the, uh, the verbs on there to give it like a little bit more texture. And obviously it's still super early, so I'm, I'm kind of honing it in like it's, it's super rough mix. But, um, you know, that's kind of, I I I usually just have, yeah, I've got verb, a little bit of delay I've got, and I've got the EQ running. Um, and that's at, at the moment. And then, you know, later I'm gonna come in and, um, you know, add more plugins. But that's all I've got at the moment in there. Well, what have you done? It sounds awesome so far. Thanks. Fantastic. Brilliant stuff. Thank you guys. Georgie, fantastic. It's, it's, uh, it's so great as always, is I find with the producers, uh, pub. I was gonna call it the Producers podcast, then I re rebranding it again. Uh, it's always fantastic music and it's, it's great. So, uh, penultimate, uh, aisle nine, uh, what have we got coming up? Uh, right. I think we've got a track that I've been umming and awing about the title, but it's subtly gone to Eternal Overdrive is what it's called. Um, and, um, uh, it's, yeah, it's a fairly sort of, Synth wave kind of track, I guess, um, instrumental at the moment, I don't plan on putting vocals on this one. Um, and, um, uh, I can hear the visible sigh of relief. No. Um, and uh, it's, um, it is got like, um, uh, it's got a sort of, kind of, you know, three parts to it, I think maybe. But like the, the, there's, there's definite halftime going on over the chorus bit, which has got this sort of synth line, which is kind of quite, you know, important to the track and which is sort of, but it's actually a synth line that with distortion on it. So it's, you know, hence the overdrive kind of concept. And it's, it sort of sounds like kind of, kind of a guitary sort of line in a way. But, um, actually now, um, you won't hear it in this excerpt, but like at the end of the track, There is a lot of guitar that suddenly appeared it was not on there. Neon, uh, sudden Neon on Neon Highway. Heard of Urchin earlier this week, um, which had no guitar on it, but there may may be a bit of a sort of, um, a large solo appearing at the end of the track. But like, you know, up until that point it's all, you know, fairly sort of synth wave. But, you know, um, yeah. Yeah, it's, um, it's just one of those tracks that happened quite quickly as well. But like, um, it's, it's, I dunno, I did a really nice, kind of quite clean sort of mix the other day then I've added some ideas today. Um, I don't think the mix is sounding as clean as it was cuz a lot, a bit like, you know, sudden Neon said when you, you're kind of working quickly and just adding things. You're not thinking so much about the mixing, you're just being creative. So, uh, I think there's probably some mixing to go, but, you know, it's, it's, it's, uh, interesting I think. Yeah. Fantastic. Um, I'm, I'm all about guitar at the moment, so I'm, I'm, I know you've sent me the full, the full wax so I can have a listen later. I'm looking forward to hearing the guitar. Yeah. Um, for the audience listening, uh, Tim's actually done guitar on one of my songs that I could be releasing and, um, yeah, the Dave Gilmore of Watch. It is, uh, fantastic stuff, man. Fantastic. Absolutely brilliant. Um, let's go, uh, so it's from 18 seconds, isn't it? I've gotta make sure. Oh, somewhere around there. So, yeah, it's not precise. I'm gonna, I'm gonna, I'm gonna do 18 on here because, and then try and see that, right. I'm dragging it. I'm dragging it. Cool mate. I totally lost track of, um, time then. So I think it went, I think it went over 30 seconds. Mm-hmm. Um, I really like that man. I love that intro part. My initial, my initial thoughts were, you've got those, I'm actually kind of glad I played it for a bit longer, but there are some bells towards the end there and my, my initial thoughts are, I'm not entirely sure the bells fit. They, they kind of got like a bit of a Christmas vibe to them. I thought bells like the, I dunno what anyone else is, are you thinking the sort of, the kind of the, I dunno, the percussion or the Yeah, the slay bells. Right. Okay. Yeah. Probably percussion. Yeah. Yeah. Okay. That, that was my initial. I love it though. I think, I think the intro sounds really, really cool. It's got like, I can hear where the guitar, I dunno what the guitar's gonna sound like at the end cause I haven't heard it yet, but I can hear how guitar could fit on it. Um, but I think it sounds really good, mate. That was my initial thought with just the, just the sleigh bells. I'm not Yeah, I definitely not meant to be sleigh bells. Yeah, yeah, yeah, yeah. Yeah. It might be, well a, it might be levels and b it might be sort of um, yeah. Sound choices or whatever on the percussion. Yeah. Something. Yeah, I know what you mean. Like cowbells and all kinds of things can start to sound, you know, you can put it up into the higher sort of things that got some hats doing some, some interesting stuff as well, which were, it can all start to end up to that kind of over overly tinkly layer of the top, can't it? Yeah. Yeah. The percussion in the first sort from 18 seconds was, was really, really cool. Really cool is when it goes into the next stuff. I think Thorax was gonna, yeah. Yeah. Yeah, I really like those, uh, kind of metallic percussion sounds you had in the, in intro. I don't know what, uh, what kind of instrument is that, but, uh, it sounds really good. Yeah, all kinds of weird things ended up in there, cuz like, there is, there is actually a kick drum that's been really heavily filtered and like, um, sort of like kind of delayed and stuff, which has turned into a, like a slightly resonant percussion instrument in there. So it, it doesn't sound like a kick drum anymore, but like, which is weird. But yeah, that just happened. It got pitched as well. Sounds really cool. Yeah, yeah, yeah, it sounds super rad. Um, and I, I, I liked those, uh, uh, kind of shimmery, um, Metallic percussion sounds too, including in the beginning. Um, you know, it's always interesting what pulls, uh, everybody's ear, different stuff. Um, but yeah, it's, it's, it's really grooving. I kind of lost track of time too, uh, listening to it. Um, you know, so I'm looking forward to hearing, uh, what other elements, uh, you're gonna add. What, what, what do you kind of think is the next thing that you're gonna lay down for this track? Yeah, I mean, it's pretty much scaps out really as a whole track, so I think I've got the whole track. It kind of ebbs and flows between the different parts and, you know, parts are coming in and out. And then as a guitar bit, that's now at the end. I think there may be a little bit of guitar needing to come in, in a few earlier parts of the track to sort of balance up the guitar coming in at the end. But I'm on that point as well where I think I could overdo the track. And I don't want to do that. And I'm worried that I might do, um, a few other little bits that are in there. Like there's some Tom fills in there at the moment, like with, again, with filtering on them so that the, the filter changes as the tom fill goes. So they sound from, like, they, they kind of can sound like, well, you might sound like sleigh bells cuz like when they're, the filters out, they've got no bass in them, so they just sound like kind of a percussive instrument. And then as they filter down, you know, you actually hear the bass in the Tom. So that kind of thing. I'm gonna play with a little bit more in there, I think. And, um, I, I'll de Christmas it, I think I couldn't hear any Christmas in that. I'll tell you why. Really? But we, we've talked about it before, but I, I, I love it. I mean, I, the, the, the, the low end is just so solid. Um, and we, we, we also talked about, I'll look at my mixing desk over there. Sorry. Um, uh, the, um, the pads and there, there's various deg degree of sort of side chain going on in there. Have you, have you had any thoughts about Yeah. What, what, what your, uh, your end results gonna look like with that? Yeah, I've actually just today gone through all the pads. Cause I think Neon Highway mentioned some stuff about the pads and that was a comment that I think they got. Like, cuz there's already some sort of pumping going on in the pads. The side chaining, although it's not actually done by side chain, it's done by a plugin, but like, you know, a sort of envelope sort of plugin. But like, um, I think later on in the track, um, it, it was getting a bit irritating. It kind of was too much. The pads were interfering a bit too much. So I've kind of gone through the whole track putting in. More sort of filtering on the pads so that they kind of, and volume filtering ch the re filtering and the resonance and the volume. And also, uh, adjusting that, the depth of that side chaining thing, whether it's on or it's off or how much you hear of it. Um, but I have wondered in one section of changing the speed of that as well. Cuz we were saying about sort of more offbeat, you kind of feel, so it's on one pattern at the moment, but it might be interesting to try it on another pattern at another point. So that kind of thing, like, so there's subtle changes, but just to make sure when you've got like base kick, you know, percussion. Yeah, yeah. And you don't want to have like, you know, the pads sort of getting in the way and just becoming annoying, you know, kind of thing. So it's trying to, but equally they give a lot of vibes, you know, I find like if you take your pads out, it's just like, Oh, yes. It's quite dull, isn't it? So you don't really want to do that, but, you know, but it's controlling them, I guess. Controlling them in the mix, making them interesting without being irritating, you know? Yeah. That's my main mission in life. Being interesting without being irritated. There's, uh, a couple comments on YouTube. So Neon Highway says R nine's. Demos always sound better than my finished masters. Um, and then Midnight Void says Neon Highway. Same. Um, so there we go. Brilliant. Thank you. Yeah, that, that was a comment I was gonna make actually. I was sitting there thinking like, God, how, how does it sound that good already, you know, if this is a demo. Wow. So, yeah, your, your production skills are obviously on point there. Um, also, I really liked this, the descending chord pattern at the start. That, that was really cool. It's like in nicely, uh, I was like, yeah, you know, this is gonna go somewhere. And then the, the beat kicked in a bit further, so, Yeah, I, I'm liking the sound of it so far. Thank you. Can't you see where it goes? Mm-hmm. Yeah, I think I always try and work with, I mean, I think you are quite similar, aren't you, mark? I think from what we've said, but like, I dunno, um, I, I dunno what everyone else would say, but I, I tend to sort of try not to end up with an enormous mixing job at the other end, but sort of work as I go so that I'm making sure that the mix is constantly, you know, in reasonable balance as it goes along. And so, hopefully at the end of it all, it's not like right now I'm gonna do the mix with all these sounds that don't work and all these things that are difficult and all, you know, but like the mix is gonna be just finessing some bits. Having said that, you know, it can still go wrong at that point. That's the trouble. And then I can end up bizarrely enough doing 25 mixes when I just, and returning back sometimes to mix. That I just ran off like two or three before I started featuring and making it good. And like, then I was like, oh, why did I bother doing that? It was fine. I should have just left it so I can overwork things and then can have to go back. But, you know. Yeah. But hopefully not. Fingers crossed. Yeah, I, I know what you mean. I think, I mean, I don't, I don't sort of, I've, I've, I've moved away from mixing as I go. I kind of, I ha, I hate to say it cause I think it's a term that's thrown around way too much and game stage. I think it's thrown around a lot and it's used in various different contexts where it's not necessarily game staging is what's happening, but I just much like you, I make sure there's like a balance. I think that's a better way of putting it. Yeah. As I'm, as I'm creating, I try and get a balance. And that way then when it comes to actually mixing the rough balance is there, and then it's a case of just subtle, subtle tweaks. So yeah, totally man. Um, it just makes it, and you get an idea then, like you say, of whether it's gonna work with the sounds that you have, whether they make sense or not. Um, but no, as always mate, um, I'd love listening to you and you track when they come out. Oh, thank you. When you send me across demos, uh, when I, when, when I eventually get round to it. Um, yeah. Oh, course. I love it. I can't wait to listen to the guitar as well. Yeah. Yeah. Busy times. Yeah, busy times. Um, folks, this is, uh, thank you, Tim. This is No worries. This is moving on to mine now. So this is, um, something that I, I quickly ran off about 20 minutes before I came online here. And it's something, something that I started this week and I'm not entirely sure where it's gonna go or whether or not I'm gonna use it. And it's, it's probably about an hour's worth of work. And, um, it's, I will preface this with, it's got a, a horrible snare in, in the buildup. And just before this episode I was, I was going through samples. I was like, I've gotta get rid of it, gotta get rid of it. And then I'll just like, ah, saw it. I'll just chuck it in there. Is this your son? Um, when you listen to it, you'll, you'll, you'll see what I mean it for me. It's a place, yeah. Biscuit team. It's, uh, it's a placeholder. Is what, is what I'm going with. It's a placeholder. And, um, this is, it's kind of like a, a house. Ish type of track cuz the EP that I'm working on is primarily sort of synth pop with the darker edge with some guitars and stuff. And this is a move, I'm moving away from it with this song. And then I've got another song as well, which I'm working with, with, uh, Kira Waves actually he's doing vocals for, which is a, um, which is, uh, trap wave I guess we call it, which is gonna be really interesting. Yeah. Uh, the demos he sent across to me, he's gone wild. That dude goes wild with vocals, man. It sounds awesome. Um, But yeah, wait till you hear it. It, it sounds great. But anyway, I digress. So I'm gonna play this and there's a really weird vocal sample at the end, which I forgot to get rid of, but I'm gonna, I'm gonna play it anyway. Here we go. That, that's it. And there we are. Yeah, that, that is it. Um, Yeah. Thoughts folks? Um, should I continue with it? What, where should I go with it? It's basically, I think it's the, the number one is, is it worth continuing with? Um, cuz it was kind of like two hours, an hour's worth of work. Um, I, I really liked it. Really liked it. Uh, I can see cuz see a lot of cool directions you could go with the sound. Uh, like, uh, maybe, maybe just dropping out everything. Just keeping the base and playing it, expanding the, uh, the filter, making it wide and then back to the beat, you know, that kind of vibe. I think you just want to get a massive sound system go on top of a hill. Blast it out all night, you know, and just take a lot of ecstasy really. It's got that, it's got that vibe. It has. It's just Rx mentioned that one, you know, because yeah, there's a section before that where it all drops out and it is just base. Yeah. Um, and I was choosing which part to put in, so that's great that you mentioned that. Cuz there is a section where it does that beforehand and it's got like a just, and then it comes in with just a kick drum and then drops out again and, and various bits and pieces. But yeah, totally Tim, it's, it's got that, um, yeah. Nineties grass thing, you know, dropping Yeah. Gonna be making shapes aren't you or something. Big house, little house, carpet box. You know, it's, but I, I love it. I mean, I, I was kind of a big fan of that sort of stuff, so Yeah. I like it. I like it. I, I love the sped up vocal, like, you know, sort of thing, like that kind of vocal sample thing. Like you could, you could go a bit more, like, you could go a bit more like, um, Uh, oh, who is it? Did the smart E and that kind of stuff. Jerry Bell train and like this kind of like, sort of more like, kind of really sped up kind of, sort of stuff like that they'd put in there and, and like, you know, they'd do kind of some really low fi sample bits in there would be quite interesting. Do you know what I mean? Like sort of sample sort ofs and things like that. Or were, were a real nineties thing, orchestral stabs or like things that were just sampled in that kind of way and then just played on a key. So yeah, I, I think you could kind of make it kind of quite cool but, and bring it a little bit up to date, but at the same time throwing a lot of that nineties sort of like flavor and it'd be cool. Yeah. Yeah. I like the orchestral stabs. I li I, I like that. And the, the lo-fi sounds, I think, I think that's when I was. Thinking about it, I was like, where shall I take this? And I was kind of like, I was listening to modern music and modern pop music and, and like house and stuff, and I was thinking, trying to take influence from that, but I hadn't thought about going further back. So That's cool. That's great. Thank you Hoovers. Yeah. You've got a good house baseline there. Mm-hmm. So, um, I, I would definitely stick with that and build with it. I think I, I'm a big fan of, of like nineties dance music as well. Uh, I I think that would sound great with that big sort of like rave diva vocal over it. Mm. You know? Mm. Yeah. Yeah. I agree. Oh yes. Yeah. Some, a vocal would be cool. It's, it's, I think it's definitely worth continuing with. Um, I like the vocal sample. I thought that was fun. Um, it'd be cool to hear maybe like a dirty roads with some distortion on it or something at some point. It because yeah, it's, it's, it's, um, it's definitely got like a funky feel. Um, so you can like, you know, explore that and yeah. Seconded. And Thirded perhaps on the, on, on the vocals would be cool to hear. Some, some, some interesting vocalization. She's like, ah, you know, just some spread out stuff that comes in and out, like nothing the whole time. Um, you have a willing vocal, we're moving pieces. Sure. Georgie, I think you just volunteered. Good. Give a vocalist. Why not? I'll, I'll send you the demo. I think I've got the demo. I think there is one. Mm-hmm. Right on. Yeah. Yeah, yeah. I like that Dirty roads idea. That's good. Here's a question for you, mark, but what do, what do you think, I mean, it doesn't really matter what anyone else thinks. Is it, is it something that you want to continue with? Do you like the vibe of it? Uh, it, it. Yeah. Yeah, I think when I was making it, when I first started it, I was kind of laughing when I was making it, um, because it was kind of like a, it was, it was almost like a parody when I was making it of, if that makes sense. And then the more I made it, I was like, and then I'll do this thing where I bounce it and render it, and then I'll, I'll go to the toilet and then I'll come back and then I'll listen to it. And then when I did that, I was like, actually, it sounds all right. It sounds pretty good. And there's a couple other songs that I've got that are leaning in that direction. Um, I can't remember, I don't think I've played any of them on here from, no, I don't think I have. There's a couple other songs that are leaning in that direction, so I might just put together like a four track EP after the one I'm doing now, um, of, of like this sort of music. And then, yeah, I, I think it's one of those ones where I think it could be quite enjoyable to make, cuz I can just throw various bits and pieces in there like you guys have mentioned. Um, but yeah, I didn't know, for me it was a case of, am I laughing at it because it's. Probably not worth pursuing cuz it's a bit weird and it's not weird, but it's not quite. But no, this is great affirmation that it's, it's something worth pursuing. So yeah. Thank you. That's a very long winded answer to your question. Make, make an EP out of it and then we can have you on the cover in a capa tracksuit. Uh, and it'll be absolutely amazing added ass poppers mate, not krai, ADI das poppers. Yeah. And a big, uh, well, the bomber jacket as well. I think that thing with that weird sort of stuff when you. When you go off like on one of these things and you go like, is this a good idea or not? Is is, I think it's always like, you know, do you take it the whole hog and like make it almost like a parody and do that kind of thing and like a mu and make it just like, you know, or, or do you somehow take that kind of thing and bring it into now and make it cool, you know, and it's, and that's a challenge isn't it? Cuz you know, it's a challenge to sort of, you know, but I dunno, maybe just get the track suit. Yeah. What I'll do is every time I I'm writing, when I'm writing it, I'll make sure I'm wearing a track suit as I do it. Uh, and then, yeah, and then I'll have some like strobe lights and then some glow sticks and I'll just be chewing my face off as I do it. And then just see what I come up with. Uh, disclaimer, audience listing. Uh, I don't condone you drugs and neither do I do them. So I'm just, I'm just gonna throw that out there cuz it's a varied audience. Um, um, but yeah, no thank you everyone. That's brilliant. Thank you very much. Um, so that we've come towards, we're coming toward the end. I'm just gonna quickly check Uchi to see if there's anything on there. Um, so Neon Highway says Mr. He says Ol Zo in there. I dunno if he means o o l z o. Is anyone that you mean Mr. Awaso? I think he might mean, I think, I think he might mean Mr. Wazo. Yeah, the dude, the, the, the, the puppet that just ba bangs its head. Well, yeah, that one. Yeah. Yes, that's the one. Yeah. Yeah. Fantastic. Yes, he's, he's corrected it now and said Wazo, when he said, I thought we said Mr. Oslo, I thought he was referring to Thal Racks, but Mr. Oslo Dunno, have a Mr. Oslo competition, right? Oh, oh, it's got me going. Right. So now it's the opportunity folks. I'll go around and I'll give you the opportunity just to um, tell the audience where they can find you online and if you have any key dates or any releases coming up, mention those as well. Cause that's always useful. So I'm gonna snake my way around, so I'll start with yourself. Uh, Tim, I nine. Yeah. Um, right. So at I nine Music on Instagram and, you know, um, at R nine Synth Wave on Twitter and then basically everywhere else it's at R nine Music. Um, I'm mainly on Instagram. I'm a bit of, um, uh, an Instagram person, but like, um, you will also find all my music on Spotify and all the usual channels in band camp. Um, and, uh, I. Hoping that this track, I will probably get out in the next sort of two to three weeks. So I think this one's gonna be finished in and that'll be out. So look out for eternal overdrive coming to you soon. Brilliant. I love the fact that when you mentioned that to him, I think there's a seagull. Yeah. At the same time, as you mentioned, did I heard squawking in the background. That was, that was perfect time. It's almost like he was backing, I trained it all week. Yeah. I said just at the end of my coming, he's right on cue. Yeah. I've got our symp tea Seagul actually, he's literally synced with mini time code, you know. Oh my. Uh, suddenly on, uh, uh, yeah, I'm, um, available at my website. I'm available. You can find me at my website, which is suddenly Um, and all of the Instagram and tos and band camps and stuff are, are all on there. Um, I don't really have any key dates apart from the end of the month. I'm supposed to be release releasing a track, which, which is my own self-imposed, uh, uh, timeline, uh, and, and release schedule. So, um, so I'm hoping a track called Night Runner will be released, uh, on or before the 31st of the month. So, uh, check it out. It's on Spotify. It will be on Spotify. Brilliant. That's what we want. That's it. It's the, uh, the growth mindset there suddenly on. Brilliant, excellent stuff. Um, I just wanna do a shout out to Cyber. Do, uh, who has, uh, left a comment. It's, it's emojis, but, uh, I'll give them, uh, uh, a shout out. Anyway. Fantastic. Uh, Blockhouse, uh, where can we find you? Yeah, um, I'm Blockhouse Music on Twitter and Instagram. It's spelled B l o c k h a U S. Um, I've also got a Link Trees, which is just blockhouse. Uh, so I've got links to Sync Cloud and Bank Camp, uh, on there. Uh, I, I've got no releases planned at, at the moment. I've got various things, sort of like on the go, but nothing's in our states released in the next couple of months. Um, but inspired by our, our discussion this evening. I'm gonna get cracking on, uh, sleepless in Glasgow. And, uh, if we can get that together, that'll be my next release. Fantastic. Excellent stuff. Look forward to it. Uh, thorax. Yeah, so, uh, you can find all my music on Spotify. Of course, I know all the other streaming platforms. Uh, I'm mostly on the Instagram myself, uh, at, uh, Tex Music and uh, uh, kind of on Facebook. Uh, I don't have, I don't, I don't have anything in the pipeline just yet, but, uh, uh, like any con concrete dates. But, uh, I have, I have around six tracks lined up. Uh, that's not yet, uh, uh, fi finished, so, uh, hopefully soon. Brilliant. I was gonna say, you've released some fantastic stuff of late, so you probably overdue a bit of a, um, bit of a break. Put your feet up for a bit though. Re give us, give us a chance to, um, to really sum well, you, you're too kind mate. Fantastic. And Ghost Georgie. Um, yeah, so I'm on Instagram at Ghost. Uh, same with Twitter. Um, I've got a link tree, um, on my Instagram that's got the links to my band camp, Spotify, and every, pretty much everything's just at Ghost Orgy. Um, my, I'm working on a record, a 10 song record, um, but that's not gonna be coming out until like, probably the end of the year. Um, I did have a song release on the fifth, so just the other day. Uh, that's on band camp. It's a band camp exclusive and it's a, uh, kinda like a post punk goth rock alternative kind of song. Um mm. So that's kinda what I got cooking. Cool. Fantastic. As a, uh, as a typo negative fan, I'm a huge typo negative fan. So as soon as someone says Goth Rock or anything like that, I'm immediately like, I need to go. Yeah, it's a collab with Miro Hayes. Cool. I've never heard of Miro Hayes, but um, I'll go check it out folks. I will put all those links in the episode descriptions as I always do. And, um, I can't remember if we said this on air or off air, but we mentioned about YouTube and views and hopefully we'll break double figures. And just during this part we've got to 10, we've broken double figures, so, uh, Thank you, Jesus. I just realized that that cheering goes on for quite a while. If I hadn't stopped it, I just sit there in the, in my own adulation. Um, fantastic. Everyone, thank you very much. Uh, it's been a pleasure. Um, so folks listening, watching, uh, whatever it is you're doing, if you want to be part of the Producer's Pub, uh, probably the easiest way to do it would be to find the Instagram for the podcast inside the Mix podcast and click on the link in the description and then it will take you to the links where you can sign up for the Producers Pub. And come on here and share your music. Give yourself a shout out as well, and, uh, meet some other fantastic artists as uh, get the pleasure to do every four weeks. So fantastic. Everyone, thank you very much and I'll leave you now to enjoy the rest of your Sunday. Thank you.

Music production and songwriting tips
Sub Neon 'Pheonix'
Blockhaus 'Sleepless in Glasgow'
THALREX 'Untitled'
Ghost Georgie 'Untitled'
Aisle9 'Eternal Overdrive'
Marc Matthews 'Untitled'