Music Production Podcast for DIY Music Producers and Artists | Inside The Mix
If you're searching for answers on topics such as: what is mixing in music, how I can learn to mix music, how to start music production, how can I get better at music production, what is music production, or maybe how to get into the music industry or even just how to release music. Either way, you’re my kind of person and there's something in this podcast for you!
I'm Marc Matthews and I host the Inside The Mix Podcast. It's the ultimate serial podcast for music production and mixing enthusiasts. Say goodbye to generic interviews and tutorials, because I'm taking things to the next level. Join me as I feature listeners in round table music critiques and offer exclusive one-to-one coaching sessions to kickstart your music production and mixing journey. Get ready for cutting-edge music production tutorials and insightful interviews with Grammy Award-winning audio professionals like Dom Morley (Adele) and Mike Exeter (Black Sabbath). If you're passionate about music production and mixing like me, Inside The Mix is the podcast you can't afford to miss!
Start with this audience-favourite episode: #175: What's the Secret to Mixing Without Muddiness? Achieving Clarity and Dynamics in a Mix
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Music Production Podcast for DIY Music Producers and Artists | Inside The Mix
#113: Halloween Special: Exploring Spooky Beats and Music Production Techniques | THE PRODUCER'S PUB
Straight from the spooky heart of the Halloween spirit, we bring you an electrifying episode of Inside the Mix! We've got the incredible Aisle9, Neon Highway, Russell Nash, Sub-Neon, and Pashang joining us for a deep dive into the world of music production. Hear how Neon Highway crafts a beat with Logic's step sequence and drum sounds, and navigate through the technical issues that often plague Russell Nash. The question is, how does a tempo increase affect a track’s vibe? Buckle up and find out!
Our Halloween edition of the Producers Pub takes you behind the scenes into the creation process of Halloween-themed music. Neon Highway shares his process of remixing the iconic Blade movie theme, Russell Nash unveils his unique percussion ideas, and Sub-Neon emphasizes the importance of sound effects and spoken word elements. What does a Halloween-inspired costume look like in the music world? Our crew provides a sneak peek!
As we tread further into the musical unknown, we explore the elements that lend a song its uniqueness. Orchestral hits, metallic percussion, and film sound effects all come into play. How do you record and manipulate unconventional sounds? And how can programmed drums sound more human-like? Delve into the secrets of producing music and glimpse Aisle9's upcoming single "Future No More". This Halloween, we invite you to a thrilling musical ride - if you dare to join us!
Click here, to pre-save Let You Go featuring INDIGO: https://distrokid.com/hyperfollow/marcmatthews1/let-you-go-feat-indigo-2
Click here to follow Russell Nash: https://linktr.ee/russellnashmusic
Click here to follow Aisle9: https://aisle9music.co.uk/
Click here to follow Neon Highway: https://linktr.ee/neonhighway
Click here to follow Sub Neon: https://www.subneon.net/
Click here to follow Pashang: https://linktr.ee/pashangaudio
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You're listening to the Inside the Mix podcast with your host, Mark Matthews.
Speaker 2: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 want to share what I've learned with you. Hello, folks, and welcome back to the Inside the Mix podcast. If you are a new listener, don't forget to hit that follow button on your podcast player of choice and if you are watching this on YouTube, make sure you hit subscribe and the notification bell so you get notified anytime we go live, like we are now in this YouTube special, or there is a new video and this is the Halloween edition of the producers pub. And if you're watching this on YouTube, you can see that I've got some some sort of camo makeup on, but that is. It was actually supposed to be like Frankenstein. I'll actually put it up to the camera here. I was supposed to be like this dude here, but I couldn't do the teeth because I've got a beard and I just ended up. Someone said I like Arnie from Predator Commandos.
Speaker 2:So this episode, we've got R9, we've got Neon Highway, we've got Russell Nash and we've got Sub-Neon. We're supposed to have Pashang, but we think he's fallen asleep. He might join us halfway through, but we do have his music, so we'll play it at the end anyway. He actually sent me two. He sent me two tunes and I could pick from one of them, and two songs and I think he's fallen asleep.
Speaker 2:Anyway, this is the Halloween special. So, going around the room, I know I cannot wait for Matt Sub-Neon to talk because he is gonna bless us with his, his map. I can't wait for that to be recorded. And we got oh no, we've got Tim, we've got some skeleton sat next to him and then Halloween t-shirt on Carl and then I think Russell's just sat in his front room. But it is the Halloween special. So I'm just gonna go over to YouTube, because this is live on YouTube, and just make sure A it's working. And it is. We'll see if anybody dives in. But the first song is from Neon Highway. So what have we got coming up? Neon Highway.
Speaker 4:It's just a bit of experimentation, messing around with some of the stuff and logic. You know the step sequence, which I've never used before or know you've used it in the past, mark. So I started using that just to try and kickstart a bit of creativity because things were running a bit dry recently. So, and this is what kind of come up with in a very quick lunch time. It was supposed to be for next month, but you've strong armed me into appearing in this episode, so it's maybe not as developed as it should be, but I'll let you have a go.
Speaker 2:Cheers, mate, and I appreciate that I did strong arm you into it because I thought you were down for this episode. I basically told everyone you're gonna be on it, so I'm strong up to into it and yeah, okay, so let's give this a go here. We go cool back. What did what? The step sequence did you do? Use the step sequence for the kids? Yeah, yeah, just for the kids.
Speaker 4:It's that drum, synth and logic. So I haven't even selected drum sounds yet. That was just the kind of stock sounds and I thought I just need something to kind of get me going here. You know, stick a beat down and just start playing over it, playing with the arps and things, so. But it kind of came out really well in terms of the beat that's there. As I said, just I think I need to get in there and replace it with some proper kind of big, meaty sounds.
Speaker 2:Yeah, yeah, that's the way I do it as well. When I'm programming actual kit, I go in and I will. I'll replace the sounds later. I think that's the best way to do it. Otherwise you just get hung up on like the perfect sound and then you might not even use it in the end. I reckon it should like kick up in tempo. I think maybe it might be too soon in the progression, but I can hear it going up in tempo.
Speaker 2:Like you got that intro and, for whatever reason, I was like hearing drum and bass, but that might be because I was listening to some podcast episode going into some drum and bass. But I'll pass it over to. I'll know what are your thoughts and I'm just gonna sort out some technical issues for Russell whilst whilst Tim goes through this.
Speaker 5:Russell with technical issues, whatever next. Yeah, I thought I thought it was really nice. I mean, I think you played me. Actually I know what came next, like you've got a little bit where it changes after that, and so, yeah, it's definitely the kind of like it feels like it's a really good start and where is it gonna go, kind of thing, because you know, I think as well, it just needs sort of a little bit of. I think it just feels like it's a bit tentative at the moment. It's just unsure of itself. Do you know what I mean?
Speaker 5:but, I, think it's really good. All the stuff in it really works well. I love the sound of that top synth. I think that's just a gorgeous sound and I think it works really well with the bass as well. That bass works well with that top synth, so I think all the ingredients of it are really nice. So I mean I in general I think like all the sound choices are really working together well. So yeah, I sort of feel like you know, you I'm sure it will just progress. But like, yeah, I don't, don't you drum and bass. No one likes coffee table drum and bass, you know. No, no, no, you know drum and bass, like you know. Yeah, I know what you mean. It feels like some energy or some speed or something. Yeah, you know.
Speaker 2:I think that's why I was thinking of, yeah, like some energy, but I think you probably do that we're just mixing up the, the kit, or like a different height, even just like a different hi-hat. Yeah, I mean, I think it's more more of an intro.
Speaker 4:Really, I think it is very difficult to select the year 30 seconds that you're gonna play on here I kind of cut the first four bars.
Speaker 4:I was like I'll cut them out because they're just repeating. It gives us a bit more at the end, you know. So it is difficult, but I think what was what was good fun about this one was I was just like starting, you know, blank canvas, and I actually started laying down the beats first and I had a lot of kind of sidestick in there and triangles and things, and I didn't take them out as such. I just took the midi and transposed it down into some kind of synth part and then applied an LFO on it and that's where you've got all that kind of background stuff that's kind of shifting around. It's actually starting off as a percussive kind of section, but it's now being moved into the synth instead. You know, one of those happy accidents you're just like I don't like it percussion. Just drag it down on the track there and suddenly becomes this really cool synth sound.
Speaker 5:I think that's a really interesting thing to do as well. Sometimes when you do that, like you, you kind of come up with something and it's not work, is a melodic part, but then, yeah, yeah, you sort of take it down when it works as a percussion. And vice versa, like you know, you take something down that you've kind of come up with a percussion, it's a rhythmic part, but like then you put it on a different type of sound, like a synth sound, and suddenly you know it's really really, really works. So, yeah, I'm a fan of like trying that, like cuz midi's great, like they can just move it around and just drag it mess with it so easily and just shove other sounds on it and you never know.
Speaker 5:But like, yeah, I feel like what you've got the moment's a real solid, solid sounding track and some glassy guitar on it, but you know, I don't know any place that interesting.
Speaker 4:Interesting because I did. I was thinking I wonder if we could get Johnny on this one, because I keep talking to him. He's like where are we gonna do something?
Speaker 4:I'm like just need to write something that's worth it off with me, yeah yeah, I think at the moment where the kind of electric piano is, I think that gets ripped out and placed by guitar. But yeah, it's good feedback that you know it needs a bit of energy, needs a bit of guitar just what had in my mind anyway. So no big surprises, just affirmation that we're moving in the right direction now.
Speaker 2:Gareth, are you gonna do anything similar to what they know, the song you sort of came back with, the one you read? Are you gonna sort of do more in that direction as well? I don't know.
Speaker 4:To be honest, I think, since principal asked this question the other day out to the kind of community you know, what do you intend to do when you start a track? And I never really have any intention. You know, I think you see it in all the releases I've got. It's a different sounds each time, so I don't know that one just worked out nicely. I had a lot of the stuff sort of laid down prior to taking a hiatus and then I came back I was like I've got this track. I was like, boom, finish it off on a lunch time. There we go find it out. It just seemed to work and the reception's been really good on it. So appreciate all the lovely people being there.
Speaker 2:Yeah, it was fantastic mate. Yeah, go around the room. I can't wait for this subnail. What are your thoughts?
Speaker 3:Yeah, I've been really looking forward to talking with these fucking teeth in. I kind of agree with what Tim was saying. I'm taking them out, I can't be asked. I'm sorry I can't talk properly. I really like the progression thus far, but I really feel like that there is like a really hard slapping drum beat that comes in there. Four to the floor would be a waste, I think you know it's something. Have you ever heard of a band called Hybrid? Yes, yeah, I mean, I absolutely fucking love Hybrid and they get some of that. It's not quite drum and bass, but there is a real weight to their drums and I think the contrast between the, the kind of the lightness of what you've created so far with some quite impactful drums, would really work well.
Speaker 6:So it's gonna throw it out there, but I think that you got something that could really really slap.
Speaker 3:Yeah, cool. But the progression you've made so far I really really like, really really like that. You blended the sounds really well and the step sequence that you've used it sounds great. So, yeah, I don't have the benefit of what Tim has heard, what comes afterwards. I'm just like it's gonna kick in right go. Oh, it stopped.
Speaker 4:Yeah, that's a good show and I kind of need to speak back because I've been sitting there with it for a couple of weeks now and being like just don't know what to do next but where do we go. But I think that kind of contrast is a good way of doing it, like getting a real kind of like pounding kind of kit in there because something that's kind of slamming.
Speaker 2:So yeah, Lovely, sorry just reading the chat. Russell, have you had a chance to have a listen?
Speaker 1:Just unmute myself. Yeah, I had a listen. I liked it, man, I liked the chords and I liked the little kind of melodies. The only thing that kind of jumped out to me is, I don't know, I was hearing completely different kind of percussion for it, more kind of, I guess, more kind of fiddly and dynamic kind of percussion, kind of like building it up. I thought like the kind of percussion that you had in there. You know it's fine, it sounds absolutely fine. But yeah, I think if you added in some like cool little kind of hat triplets and stuff like that, like the kind of build yeah, that's a good sound man, I think that would sound really fun.
Speaker 4:It fits in with that kind of theme of sort of playing around and experimenting on this one as well, so I appreciate that, thank you.
Speaker 2:Thanks. Thank you, neon Highway. So before we move on to Matt, I'm just going to go over to YouTube, so just want to say hello to Robin, light and heartbeat hero as well the legend himself. He did ask what the Halloween themes were and he has picked out that obviously we had Matt with his teeth Suddenly. I'll be taking them out. We've got Halloween themed t-shirt, we've got the skeleton next to him, I've gone for a Frankenstein slash, commando look and Russell's in his front room. So those are the Halloween themes we have so far, but the views are up to seven.
Speaker 1:We're at the moment.
Speaker 2:So let's go with Sub-Neon. That qualifies. What have we got coming up?
Speaker 3:I just wanted to point out I've put guyliner on for the first time in my life as well, which is embarrassing enough. But you know, there you go.
Speaker 3:Look at that Maybe it just looks like I appreciate that it looks like a fucking knack of or something. So because this is a Halloween special, I decided to put something together specifically for this show and I didn't want to be as derivative as doing the Halloween theme tune or something like that. But I really love the movie Blade, which came out in the 90s, and I think they're actually remaking it. And there is this iconic scene it's called the theme from Blade where in the intro to the movie, you know, this guy gets taken to a nightclub by this woman and, unbeknownst to him, it is a vampire nightclub and during the course of the events, you know, they walk through the club and then there's this banging, sort of typical 90s acid squelchy kind of tune that became quite iconic at the time. So, and as the scene progresses, blood starts to rain from the ceiling and then all the humans in there get turned into dinner.
Speaker 3:So I thought wouldn't it be an interesting idea to just update that a little bit? It's not techno at all. It's got no chord progression that sounds anything like the original. So it's an absolute reimagining. And so, and you know, if they weren't remaking the movie, I would imagine that watching on YouTube right now there are probably less than one Marvel showrunners that are going to be listening to this track. But yeah, I thought I'd give it a bit of a go as to what I would like if I was hired to become the composer for that movie. What kind of vibe would I want to go for for that particular scene? So I've kind of gone kind of half aggressive, half a bit sexy, and that's what I've tried to come up with anyway. So I've kind of smushed half the track together in into 48 seconds and yeah, see what you think.
Speaker 2:Thanks, buddy. Thanks for the description as well, but that scene I remember watching that with my mates and the song I can hear it in my head. I cannot remember what it's called, but I can hear the synth and I can hear the melody in my head. I can have to. I wish, I wish I could remember what it is. If anybody watching on YouTube can remember the name of the track, please do put it in the chat.
Speaker 3:Unless someone knows, it's actually called Theme from Blade and it's by a guy called Dan Zamani.
Speaker 2:So, and a couple of it's actually just called the Theme from Blade. Maybe I'm thinking of a different song. I won't dwell on it too much now. It's one of those ones, but I'll have a nice night with you. It took him years to come up with that title.
Speaker 5:Yeah, yeah, I'll call this theme for Blade, I know Right.
Speaker 2:Right, let's play it. Let's play it. Here we go, let's play it. Oh you hero, and you put a fade at the end, I always do you legend.
Speaker 3:Thank you very much, I always do.
Speaker 2:Just for you. I know that's so so kind of you to do that, because I always have to add fades. I love that. You know what. I can hear it in that, and this is because I do this a lot on my own music. I like to add like a tonal sounds and just random sound effects and stuff in there.
Speaker 2:But when it breaks out because you're doing it for your scoring for a scene, you kind of want some sort of like like vocal and not singing, but like spoken word in there. I don't know what it could be like, like a really low register voice maybe with some sort of time based processing on it, some modulation, and then for it to kick back in. That's what I would want to hear like on that. Just some random, that sort of low shit like that. Just are you all very good at doing this, because I've heard you do it, so something along those lines. That's what I would want to hear because you're scoring for a scene as well. I think that'd be really cool, but I'll pass it around. I see we'll go with Russell, because he's he's added a hat and some sunglasses to his attire. So what are your thoughts, russell?
Speaker 1:He's lying about. So, like this can do is a makeshift Blues Brothers costume, like no, I really liked it. Like I mean I really like Matt's kind of style. I would probably give some similar feedback to like I gave Carl. I'm all about hats today.
Speaker 1:But yeah, like I would love to hear you do some kind of more kind of interesting stuff with the high hats in the track, like you know. Just some like kind of like open kind of high hat, kind of fills and things and like I fucking love it. Like see, when you've got that kind of beat that you've got where maybe on alternate like high hats, you have like the open high hat going into like the snare on the four, like I think that would sound really cool. I also thought it would be kind of cool to maybe get some pitch bends in there as well, like maybe like pitch bend in the chords, like it's like some point in the tune, or like maybe just having like a big kind of drone in the elite, this, this get like a pitch bend. Like I thought I would be cool, but I really liked it. You know what?
Speaker 3:I has is an area of my kit, and you're hearing you guys talking earlier about designing your drum kit. I have my drum kit, you know, and I've been iterating it over every single release that I've put out, and I'm bugging if I'm changing it. But but actually, the last couple of tracks I've released, I've started to mess around with the high hats and I think you're absolutely right. All I've got is an off beat high hat just going all the way through, and I need to do something a bit more interesting with it. So if you've got any decent samples that you want to check my way, that's going to help me do that. That would be awesome. But but yeah, I totally agree, totally agree.
Speaker 2:Excellent stuff. Let's go round to Neon Highway.
Speaker 4:Yeah, man, it was amazing, like when that first bass comes in that just hooks you in straight away. I think I doesn't know what else is going on the rest of that track. That bass could just keep playing, but you build upon it and you've got that kind of second bass, that really big one. That that line there is amazing and I don't really have any specific feedback to go out. You can make it better by doing what. But I think I'm hearing it in my head the next section, or at least some point in the song, has a kind of rising moment above the chords that you're in and then drops right back down to that bass again. But it's great, yeah, it's fantastic. It's, as Russell Nash says, some high hat playing around with we open high hats and things like that would be amazing.
Speaker 4:What was the other thing? The chords. Interestingly, what Russell Nash was saying about the chords being pitch bend, I never thought of that, but I can hear kind of lost boys cry a little sister pitch bend chords in there occasionally, which would work absolutely amazing, and I loved some of the kind of signature sounds that you've got as well there, matt. You can hear little bits from previous pieces, like Yo-Kai that you'd released. You can hear some of those sounds creeping in there. It's just beautiful. It ties your whole narrative together as an artist. So, yeah, good stuff, matt.
Speaker 3:Thanks, man. Do you know what I thought about the pitch bends? And, interestingly, I didn't want it to sound like Gerard, whatever it is, I didn't want it to sound like crying out to sister, but I'll try it and see how it comes out for sure.
Speaker 4:But yeah, it's a solid start, though, man it's great.
Speaker 3:Oh, thanks man, Thank you.
Speaker 2:And we'll now move over to Watch it and R9, and. Fred.
Speaker 5:Yeah, I mean I really yeah, and Fred, yeah, slim was a bit quiet on that one, but, like you know, no, I honestly think it's just straight away. It just transported me. I think that's the great thing with a lot of your tracks. They just have that ability. You stop going. You know what does this need? In fact, I just lose track of time because I'm just listening to the music and getting carried by the music and I think that's just. I mean that's, if you can bottle that, that is a wonderful thing to have in your music, that it carries people away and that it transports them, and I thought it had that to it.
Speaker 5:I think if there's anything I was going to sort of add or change or whatever I will play around with, try it on it.
Speaker 5:Maybe, like I don't know, I do remember it's a like a really old Gerand Gerand song they did for like View to a Kill. I think it is like something like that, and they've got these kind of like typical sort of 80s kind of orchestral hits and that kind of stuff going on in it and like I suddenly thought, like in films and stuff, obviously that kind of orchestral hits and the kind of like filmic kind of like sort of you know kind of sort of things of big sort of you know sort of impact sounds, you know, and some little sort of part of me was wondering what like either weird metallic percussion or like impact sounds or something that's quite filmic, like in there could be, and not lots of it, but just like moments, maybe something like that could be interesting to sort of you know, give it I suppose as a percussive element, you know, but as a sort of in, as if it was like, you know, as if you were scoring it for a film perhaps. But you know, just a thought.
Speaker 3:That sounds like a great idea.
Speaker 5:To be honest people hurting Simon Le Bon, I mean that would. I don't know if you guys, Simon Le Bon in a liquidizer.
Speaker 3:Wow, that took a turn.
Speaker 5:That was Slim's idea. Sorry, just whispered it to him.
Speaker 3:It was one of those tracks, because I actually started on Monday this week and we're obviously filming this on a Sunday. I don't know about you guys. I've got like 10 tracks that are between 50 and 90% complete, and every so often I get a track that just carries all the way through to the end, and this afternoon I took it to the three and a half minute mark, and so the basic structure is there, but but definitely I, you know, there's those little intricacies that I want to try and weave in there as well. So so, yeah, my sample library is quite, quite light, though, so I'm going to, I'm going to have a bit of a dig around to see, see what, well, if you need sounds, let me know, you know.
Speaker 3:but if you've got, any any of those orchestral hits that you've just referred to, tim, then then fire him over and I will have a little weave them in?
Speaker 5:Yeah, yeah, I love. I love some of those like sounds, like you used to get from the radio phonic workshops like BBC sort of thing where they'd sort of do like you know it was all Foley stuff. So they do like sort of you know someone having their head chopped off and it would literally be a cabbage that they were just like chopping over the Michael you know sort of, and I love that kind of stuff like ways of. So maybe actually you don't need that, you need to just go and record you sort of smacking things with a that I could be down.
Speaker 3:just not, yeah.
Speaker 5:Yeah.
Speaker 2:Yeah, that that's. That's really good fun.
Speaker 1:Like I'll link you later on. There's there's actually a free program I came across recently. This is like samples, like taken from like an old high end, like a synth of just orchestral hits, and it's free. So, like I'll send you a link to that later.
Speaker 4:It's interesting with him saying about you know those types of sounds like just smashing things and recording it, because when the track started I immediately had nine inch nails vibes in my jacket.
Speaker 3:Not so much.
Speaker 4:Nine inch nails but that late 80s industrial where it was proper industrial, you know the Peshmore, hidden pipes and things like that. But yeah, that's the thing, test department, yeah.
Speaker 5:You know, any of that kind of sort of down tuned sort of like, or, you know, slow down sometimes as well, like that can be interesting, or sped up. Like you know, just mank around with sounds or put them on. I don't know what the sample is like in your door, but, like you know, sometimes, just like you get the sound, you just drop it on the sampler track and just have it so that you can hit different keys, and sometimes it was at my end. What are you up to mate? Um, yeah, but yeah, no, it could be. Yeah, that could be really good, that's just the polo guys don't worry.
Speaker 1:Like on Rocket Queen, Axel smashed Stephen Adler's girlfriend on the track. It's a great song.
Speaker 2:It's a great song.
Speaker 3:Yeah, it's underrated. I just had a message from Pashanga, so he just woke up and he slept through his alarm and he will be here momentarily. I think he's trying to get in.
Speaker 2:So yeah, I will try and enter him at the end. I just I don't want to, don't want to alter the podcast mid flow and he's technically late, so let's move on. But thank you everyone, let's move on to our nine. What have we got coming up to him?
Speaker 5:Um, this is a track. I'm not responsible for the music. Chris Kear and I, you may remember, did a release together called Dying Sun and Chris kindly sort of said to me, would you like to do another one? Which surprised me, wanted me back, um, so, and you know, it went really well. We really enjoyed working together doing Dying Sun and he, he wrote the track for this, this um, and just sent it over to me and so I was responsible for coming up with some vocals and lyrics for this and sort of I kind of rearranged the track a little bit like sort of in in terms of structure, um, just to sort of, and this is our kind of monitor mix. So I've sent it all over to Chris who's about to actually do a mix of this. But yeah, it's a song called um uh, future no More or no Future no More. I think it might be called Um and um uh, you know it's um.
Speaker 5:I don't know how I quite got onto it like the subject matter for the song, but I think it was. It was like almost like a sort of tale of like um, people, sort of you know it's escapism really but like thinking about back to sort of you know they've got a dream of what it was like back in the day, um, before they were the age they are now and you know, before they couldn't do the things they could do, uh, back then and, um, it was, yeah. So I guess it's memories of like a past, that, and then sort of almost living, living your life in that escapism, living your life in that imaginary sort of thing. But, like, um, you know, it's a nostalgic, I suppose, but with a slight sort of dark tinge, of course, you know. But there we go.
Speaker 5:It's a very sweet sounding song though. So, you know, that's just a little kind of, you know, kind of just a beautiful. I loved the beat when he sent it to me. It was just really, really nice. The track has just got a lovely sort of, um, sort of, uh, mellow vibe. So I kind of went with that, with my, my vocal, I think. So, you know, um, there we go, lovely.
Speaker 2:Let's give it a go, Thank you. Thank you, Tim. I'm looking forward to hearing this and um, cause I really enjoyed the the choralab you did before, so let's give it a go.
Speaker 4:So good to have" when these dreams, they leave you cold, far from the light and our dreams. We can run Angels in darkness.
Speaker 5:Now we become one Far from the light and our dreams we can sow. Past is behind us. The future no more the future no more.
Speaker 2:The future no more.
Speaker 5:The future, no more.
Speaker 2:The future, no more.
Speaker 5:The future, no more.
Speaker 4:The future, no more. The future no more.
Speaker 5:The future, no more.
Speaker 3:The future, no more.
Speaker 5:The future, no more.
Speaker 1:I'm struggling to pick out anything in particular that I would critique. I think the only thing that I would maybe suggest and again it's not really a critique, to be honest is just something that I might try is maybe a little bit of question and answer. Maybe have a section later on where you're singing the vocal melody and then you've got a counter melody, maybe coming back from one of the synths or a guitar or something like that. I think that would sound quite cool, but other than that I've got nothing. I agree with Mark. It's got a very cinematic vibe. When I'm listening to it I'm picturing myself driving about in an open-top convertible and I've just been dumped by a shelf-hyphen that would be a good one.
Speaker 1:I'm contemplating my life.
Speaker 2:I'm sure it's going to be. She's not busy at the moment.
Speaker 5:She was a bit of a letdown really.
Speaker 2:It could have done. It sat right next to you. That's what she was busy.
Speaker 5:That's what's happened to her.
Speaker 2:She hasn't been about in a while.
Speaker 5:God, she should have fed her more really, yeah, never mind Cool. Thank you very much. Did the lyrical content come over? Just a quick question the vibe comes over in the lyrics, because that's always important. Yeah, yeah.
Speaker 4:I noticed that towards the end of the chorus. I was very aware of it. I'm not a lyrics guy. I've never listened to lyrics. I could listen to all my favourite artists and not know what they've been singing, but I really latched onto those ones. They're really good.
Speaker 1:I have a goldfish. I've already forgotten the lyrics, but I'll go back and listen again later and I'll get back to you on that.
Speaker 2:Yeah, I have to say I'm the same with that. I always listen to the instrumental and then it's sort of like then, on the second or even probably the third passes, when I'll actually I'll hear the melody of the vocal, the actual lyrics themselves. It's usually the second or third pass, but no excellent stuff let's go with. So I'm going to admit Pashang just before we play his track, just to continue the flow. So yeah, he is late as well. So it's like something what's the rest of what we got coming up?
Speaker 1:Yeah, my track is a kind of Halloweeny track. I actually thought that we were all putting in Halloween tracks. But yeah, it's called Graveyard Shift. It's kind of it's not quite finished, it's like kind of most of the way there, like but I've got most of the kind of vibe kind of sketched out. Like I come up with the idea to do like a little demo for Oblivion sound labs. It was just come out with like a new Halloween kind of sound pack called Dark Vision 2. You go a little fucking plug there for you, jonathan. So yeah, I made the demo for that and then I'm going to develop it into like a full track to release for Halloween. So a little bit of inspiration from Thriller from Michael Jackson and a little bit of an inspiration from kind of cheesy old kind of slasher B movies Fantastic mate.
Speaker 2:Yeah, I'm looking forward to this. I love the title Graveyard Shift. Love it, let's do this His. I can definitely hear the dark sort of soundtrack to that, that sort of girthy, gnarly bass you've got going on that. I think that could once. I think that needs to be filled out a bit more like a. It just needs to sound whether or not needs a bit more sub bass or something in there, just to fill that. Once again, we are at the limitations of Riverside, so it could well be there. It just might be because of the platform we're not hearing it.
Speaker 2:But after the, I think it's like a chorus section. Sure, I think it should like. You could like break and then like have a. This sounds really cliched, but you like a scream or something and then for it to kick in rather than go straight into the instrumental afterwards, like something like that might be quite cool that. Those are my initial thoughts, but I can definitely hear the. I love the fact that you've got for the Halloween vibe as well. Man, it's. It's fitting for the, for the episode too. Before we move on to other thoughts, I'm just going to go over to YouTube because we've got Vic West. I just want to say shout out to Vic West, and Pashang is in the chat on YouTube as well so he has joined.
Speaker 2:He's in the chat of over. He's waiting to come in and so I just wanted to. He said that his alarm didn't go off and he says turns out taking heavy-duty sleeping meds and taking a nap for 3am start isn't bad. Yeah, fantastic, so let's go around. Let's go around, uh, carl what are you doing, man?
Speaker 4:it's classic nice. It's just got that sound. You immediately head starts bopping to it. It's, but it has that kind of Danny Elfman, gothic, horror, halloween vibe absolutely nailed, man, it's incredible. Um, I really like that deep bass, that kind of filter, sweet bass, and I love the evolution of it loads towards the end where you start you kind of push it into the offbeat really, so it kept the groove going, man, it's, uh, it's, it would probably. I honestly don't know what I would add to it um, because it just sounded fantastic as it is, mate, you're nailing it just people go around the chat.
Speaker 2:I think there's a dog barking somewhere.
Speaker 5:I'm, you mean I can do it.
Speaker 2:I don't know it is. Oh, is it sorry, that's alright. Cheers, carl. Thanks mate. Um uh, matt subneal the hounds of hell yeah, very apt.
Speaker 3:I mean, you know what I like about about music these days, it's you know how hard can you make that bass hit and everything. And again, the Riverside comments may may well stand, stand true. Um, I reckon that filter sweet bass could really punch through um and um. But but otherwise, I mean, I think the, the melody that you've got an over the over the top of it, I think it works really really well. So, um, this is a long way of saying I wouldn't change anything other than just tweak that bass to make it really just hit, you know, um, uh, but I think it's really solid, really, really solid, really like it hey, um, before we go to our nine, I just want to say uh, synth principle is joined.
Speaker 2:He says he can totally hear a scream working in that track and um Vic West says it's okay, you're at a pub now and can drink it off. He also said he's the designated driver as well, which is, and Pashang says same. I love the fact Pashang's commented in the chat um.
Speaker 5:Tim, what are your thoughts? Yeah, I like it. I mean, I definitely get the Halloween vibes. Obviously it's really strong there.
Speaker 5:Um, I think it's always difficult when you've got that kind of slightly discordant thing going on with the bass, like next to things and you know, and that sound and everything. It's sort of partly you want that, you don't want to change it, because that's partly the kind of essence of the song. I think. Sometimes I sort of get that kind of computer gamey vibe from the sound, the overall sound on that track, and that could be entirely intentional. And if it is, then you're hitting its bottom, um, and don't change a thing. If sometimes I sort of wonder you know a bigger soundscape to these things to make them the drums and the bass and that everything sort of sound less like that, I guess. But then I think that would be out of your style. So I'm not sure that what I'm thinking about is the right thing for you, because you've got a particular sort of style that works in that kind of. Do you know what I mean in that kind of direction. So you know, I think maybe sort of. But then you've got other things. You've got TV things like Miami Vice and all kinds of different like things that I can think of. That you've got like sounds, like you know you're sort of stuff with Jan is it Jan Hammer? Or the other guy, isn't it Harold Fultemar? And stuff like that. You've got all kinds of references in your music that come from those kind of movies and things like that.
Speaker 5:But yeah, I just I guess I wondered if, like, it's too sort of computer gamey and I would try and make it a little bit more, you know, sort of filmic or TV like you know. Maybe for me, just personally, I think I would, and that would be just some changes in the production, the style. But like, overall, I really like the melody, I really like the. I think you're right if you can make it hit home a bit more, but like it's, it is good. Yeah, it's a really good track and it's definitely got that Halloween vibe entirely. So you know, yeah, it's just a matter of style, I guess, and what you like, you know. But it's got energy as well, it's all. I mean. I think all of your tracks have got energy in that. One's definitely got that going on. So it's nice, I like it. Yeah, thumbs up from me. Slim likes it too.
Speaker 1:I had to like the kind of the video gamey comment on a few of my tracks. Um, it's not something that I do intentionally, but it probably. It probably just kind of seeps in from like all the old you know mega drive and super nintendo games I used to play as a kid. Um, it's probably just something that slips into my music kind of subconsciously. Um, yeah, I mean it's. It's um, it's probably not intentional on this track, but I think with this one it's kind of I was probably just kind of shooting for more kind of something fun rather than cinematic. So like I probably I probably wouldn't, I probably wouldn't go in that kind of direction for this particular track, but like I know that my, my evil alter ego is working, also working on a Halloween track and, you know, I think that perhaps the you know his might be a bit more cinematic.
Speaker 4:I was just going to say. I think, when it comes to the mixing stage, it's going to be crucial because there's a lot going on towards the end there, so it's just not getting caught up. You know that everything starts clashing with one another, but I mean your mixes are typically very clear anyway. Man, you do that instrument separation really well. It's just something to bear in mind when you get to mixing up and it just there is quite a lot going on which I think you know it is right for the track. There's a lot of fun stuff, all those kind of great Halloween sounds, but just when you get to mix and it just be that main thing.
Speaker 2:Ace Gents. So here we go. It is, the time is upon us, so the chat on YouTube is the busiest it's ever been, and so I got a shout out to everyone from the synth fam chat who's joined on here. So Ran is involved in here now, oh, the old is involved, and we've got a few others as well. So a big shout out to you all here.
Speaker 2:So what we're going to do now is this we've got a final episode. So I'm going to admit for Shang now, and he is now going to, basically going to dive straight in and talk about his tracks. So let's give this a go, and so I've never admitted someone mid episodes. So where is he? There he is, and I let him in, and here he is. Yes, exactly, pashang, welcome. Better late than never, buddy. Yeah, okay, whilst, he's trying to sort this out. We'll play his song, because I don't want too much dead air. So we'll play his song and hopefully you can sort it out in the meantime. Here we go, so, pashang, and then he can talk about it afterwards, hopefully, and then we can talk about it, and he might not be able to, but we can talk about it.
Speaker 5:Alright, I am guessing he wants to end this now.
Speaker 2:Ace, before I dive in with any comments. Pashank, are you able to talk? Can you say something? Are you there? No, you're not All right. Well, I'll dive straight in once again. You can see why I don't admit people halfway through. That's a really nice bass sound. He's got going on there. That's very full and very round, very, very nice bass sound. Pashank, I'm sure you can hear me, we just can't hear you. That sounds really, and I like the drum fill you've got going on there. My only comment would be about the drum fill. I think it just needs to be a bit more tailored to the wrong word. It sounds a bit, maybe a bit too sporadic in what's going on, but I really like the full bass sort of sounds you've got going on in there. Really really nice track man, and I can say it's kind of Halloween themed as well, which is nice. But I'm assuming you still can't hear me, so I'm going to go around and we'll start with Tim R9,. What are your?
Speaker 5:thoughts. Yeah, I'm just wondering if someone's cut his tongue out. Maybe that's the reason. Oh, no, he's gone. He's gone. Oh, just as I start talking, he's gone Maybe he'll come back yeah.
Speaker 5:No, I just wondered if it was a Korean customer at this time of year or something, something that had his tongue removed. But no, he's okay. Yeah, no, I'm only joking. So yeah, I really like the song Dark and like, yeah, like you know, it's full on sort of what I'd expect from Poshang. Actually it really is. It's good and very Halloween.
Speaker 5:Drumming is excellent. There's lots of cool yeah, yeah, back cool cool fills and stuff. I really really like it.
Speaker 5:I think it's really hard to judge on here, but there's just something about the drum sounds that if I was being super critical, they feel like I know that they're programmed and I sort of don't want to know that. I kind of want them to be entirely believable, like they're a drummer, I think, in terms of sound. And that is hard. I know it's hard, especially when you've got busy tracks and stuff, to manage to get that out. But like I mean don't get me wrong, I really like what's going on with the drums. That's good. But maybe that sporadic thing is right and maybe they just need to sort of feel like the sort of part of the track a bit more.
Speaker 5:But you know, but I love the energy, I love the darkness in it. You know and I've recently become a convert to what you can do with all of that I love the last track that you did on the synth wave fan compilation. Anybody, yeah, yeah, if you haven't listened to it and gone and downloaded it, or just go on to our band camp or whatever and go and download it, fantastic, all for charity. But like Pashang's got a great ending track on there which I really think Pashang around like really sums up that kind of sound which is not my normal sound, that dark sort of synth sound, but I really like it is kind of really sort of and I think this could sort of has got that intensity. Intensity would be my word for this track, really, you know it's good.
Speaker 2:Brilliant. Thanks, tim. And here we go. Folks, here we go. Hold on. I've got a drum roll here before Pashang actually talks, so here we go. So after the drum roll, pashang, you're going to introduce the song retrospectively. Here we go.
Speaker 5:And he's on mute. He's on mute on his mic.
Speaker 2:Unmute yourself, unmute yourself, yeah, unmute yourself.
Speaker 5:This is going well.
Speaker 6:Oh, I ruined my special entrance. I had everything ready to go and I clicked the mute button. Oh, this is why I shouldn't join podcast at three in the morning. I'm so sorry, guys. The song is called Myers and I'm sure you can guess where the name comes from. I cut the demo off right before Rann's Epic Guitar Solo.
Speaker 2:Didn't you do that last time as well? I'm fairly certain you did that last time you were on. You cut it off before the guitar solo.
Speaker 6:Yes, because I know that the guitar solo is perfect. I don't need critique on that part, because Rann never misses and I've got to have something to keep you guys in the loop and excited. But the actual drums it's hard to hear in this mask, I'm sorry. I would say that Ionine's comment on the drums is pretty much exactly what I was looking for in terms of critique, because I really like combining classic sampled kicks and snares with a full kit these days. It's something I've been working on a lot this whole year and trying to get it right. But for whatever reason, this time I can't quite get it to work. And I totally agree with his comment that the kit drum sound very removed from the rest of the track. So I'm actually curious how would you guys go about fixing that?
Speaker 4:I think personally, for me I'm the same as you, shanga, recently, sort of messing about with the kit and things like that, trying to get a bit more of a human feel and programmed, and I think what you could do is look meticulously, if you wanted, at the velocities of the individual things that you're hitting on the velocity or some of the notes that you wanted to hit where it should be hit and drop it down a lot Just to give it that dynamic. Maybe if I'm assuming it's in the grid you've quantized it, introduced a bit of swing on the quantized so that it's not so rigid and robotic. But I think what Mark and Tim have said you know, the drums are the bits in this track that are probably standing out for the wrong reasons and I think once you fix that it will be an excellent track. Sounds like you've been hanging out with Vic Kruger. To be fair, it's intensely evil. I love it.
Speaker 5:What VST? Were you using Peshyang on the drums out of interest?
Speaker 6:So I use Easy Drummer 3, which is an amazing plugin and I discovered recently that they actually have drag and drop MIDI files, which is like a main theme of the thing, but I feel like I'm cheating using them, so I always program it in myself. And Volker X just released his new album, the Loop, and I was talking to him about his drums and it turns out he programmed every single bit himself with his mouse and it sounds incredibly good. So I was kind of going for that vibe, but I clearly am not a drummer because I totally messed it up.
Speaker 5:I think as well like sound wise sometimes when I find like mixing sort of because I've done a lot of mixing for like program drums to make them sound like real drums and like I mean part of it is the playing, obviously in the programming itself definitely.
Speaker 5:But I think sound wise sometimes it's like getting the balance between the room mics, the overhead mics and the close mics, because it's that telltale thing when like a cymbal sounds close mic'd or something like that rather than it being in the overheads. In fact, room mics can be a big thing in metal, particularly like they're a really golden thing that you have to get right when you're doing metal drum production and recording them and getting them to sound right. So yeah, I'm kind of a big fan of room mics and then compressing the hell out of them and sort of putting them on a separate channel and putting a parallel bus like compressor on sort of thing. You know, on the like room mics and stuff like that. You know I could go into it in detail. That's just one of the weirdest drinking experiences, obviously.
Speaker 5:Yeah feed him through a straw. Yeah excellent, there we go.
Speaker 2:But sub neon thoughts.
Speaker 3:I mean I don't have too much to add from what the other guys have said. To be honest, I mean, I think that the progression up until that point is kick ass. You know my, my, my drums. I've spent a lot of time trying to make them sound as natural as possible. The thing that made it really work was like a brute force compression from glue to really make them stick together.
Speaker 3:And again, like Carl was saying, getting the velocity right on those different elements is absolutely critical Otherwise, otherwise you've got a crash or a high hat or a snare or something. It just just sounds out of place. But I guess you know, I think, in the grand scheme of things, that that's a relatively simple thing to fix, that that's just very minor adjustments. More than anything else, I was kind of hoping to hear what comes next, and I know that you said that there's a rand solo coming after that. But I was almost hoping for this like really gnarly cyberpunk, really hard hitting bass that kind of starts slapping in straight after that. Please tell me that that's there, otherwise I'll cry, I mean.
Speaker 6:I did tell you I was doing the track and you were like, oh, you're doing the Halloween cover, that's the latest hit of the universe. And then I got a little sad. I was like, well, you can't put my bass on it anymore. Well, I can't make bass like you made your sub neon, it's in the name.
Speaker 3:I mean no, to be fair, I was like you know, Halloween is a little bit kind of overdone, but what you've done is really interesting and it's different, you know. I mean normally you hear a Halloween cover.
Speaker 6:He said consoling yeah consoling Absolutely.
Speaker 3:I mean nine times out of 10, you'll hear the doodoo doodoo, doodoo doodoo you know the Halloween melody with just a fucking techno kick drum over the top of it. So what you've done is interesting and I'm now regretting my decision. Are you happy now? Well, no no, I just feel guilty for mentioning it.
Speaker 6:But yeah, I'm going to try to get some crazy bass going. I'm actually working on the second half of the track to the point where I didn't want to put it on the show because there's just big chunks of stuff missing. But Rand actually participated in this one more than guitars. He threw in some awesome saw base and some pads and some other stuff that comes in in the second half. The main thing I was having trouble with is the transition, and the track also goes from 5-4 to 4-4, because the Halloween theme was written in 5-4. But good luck writing a danceable track in 5-4. So I switched between signatures, and those transitions are giving me trouble too. So this was the part of the track that I was having the most trouble with at the moment. So I thought it was most relevant to show you guys, and your feedback has been invaluable, as always.
Speaker 2:Just one last piece of feedback, actually from Russell, before we do move on to the ending part of the show. What are your thoughts, Russell?
Speaker 1:Yeah, like you know, I kind of agree with everyone else. I mean the drums they sound fine but yeah, they are a little bit kind of robotic. But I was going to make a different suggestion. Rather than more like a production related suggestion, I was going to maybe give more of a compositional one.
Speaker 1:Something that I used to do when I was trying to get better at drumbeats and stuff like that, especially for the kind of beats that you're aiming for to make it sound more natural is just see, you just slap on a bunch of your favorite records, like your favorite drummers, and just really, really, really listen to the beats and then see, any time you hear like a beat on the record that you really like, jump on the DAW and try and replicate it.
Speaker 1:You try to get it as close as you can, because obviously a big part of sounding like a natural drummer is to play like a natural drummer would, because obviously a lot of the music that we do is meant to sound mechanical, because a lot of electronic music and dance music like that's just part of the style. But if you're trying to get a more kind of natural sound, then you want to be emulating real drummers rather than electronic tracks. So that was my first bit of feedback. My second bit it's not really a feedback, so much as a suggestion. But I would fucking love to hear see some of those drum fills. See, if you synced up the church organ, you've got in there to do a little pedal tone and then it fell along with the drum fill. I think that would sound fucking cool.
Speaker 2:We are approaching the end now, at the end of the podcast. So this is the opportunity now to give yourself a shout out. Whatever it is you've got coming up where the audience can find you the best place to go, etc. So I'll go around what I can see on my screen here. So aisle nine and slim, yeah, yeah, I'm just Anything's coming up.
Speaker 5:Just confiscate this dirty boy. Yeah, I mean what is going on? I have an amazing release coming up with Sleepless Nights and Clinton which is called Lost Go, and pre-save that now. The link is in my bio on Instagram. You'll find me absolutely everywhere on my music, so that's coming up. And then I've got this release, I think, with Chris Kea, which you heard a bit earlier, so that's going to be going out at some point. I haven't got a date for that one yet. And then I am still writing music and got my own stuff coming out at some point. When I write another load of stuff, I've just had two singles out recently, so Hot Copper Sun is doing really well, and I've got Icy Stars on the compilation album that we've all done. So, yeah, it's been quite busy on the music front. And then I'm busy producing and mixing and mastering for loads of people at the moment. So other people.
Speaker 2:And I also want to say, Tim, you have a song on my EP. I'm going to plug myself in on December 10th 8th, rather December 8th, so that's another
Speaker 6:one. So, yeah, yeah, I'm still looking for that one.
Speaker 2:And it's a belter as well. Maya and Neon Highway, you can find me at Neon Highway.
Speaker 4:Syntho and Instagram pretty much links everywhere from there. I don't have anything coming up at all, just messing around in the door at the moment, trying to get some spark back after having a few months off. The only thing I can think of is that I'm going to hook up with Nash at early 2024. I've already sent a little bit of a demo for a new track we're thinking of and think he would work well with his sound, so hopefully we can collaborate on that.
Speaker 2:Marvelous. Look forward to that. That'll be us man. Might as well go straight to Russell Nash.
Speaker 1:Alright, yeah, cool, I've actually got quite a lot of stuff coming up soon. I've got my Halloween track that you've heard a little snippet of hopefully will be coming out at some point in the next week. My evil arch nemesis also has a Halloween track coming out at some point in the next week. After that, I've got a single lined up to come out in November. It's a Robocop themed single, and then, yeah, quite a lot of stuff lined up at the moment, but I'll just leave it at that and more cry, you can find.
Speaker 1:Oh, yeah and that, yeah, that too. I'll get that fucking guitar solo nailed, man. All my fellow guitarists in the chat fucking back me up here. Man, every time I hit record I'll just fuck it up like 37 times in a row I'll play it and then it'll sound not too bad, and then I'll have another couple of playthroughs and it'll sound alright, and then I'll hit record and then I just fuck it up.
Speaker 2:Yep, I've been there about many times, isn't?
Speaker 4:that what editing is for?
Speaker 5:Yeah, I'll get it. Yeah can't ping me, I just do a lot of takes and a lot of editing Thanks.
Speaker 3:Subneon. What's going on? Who knows? Everything you can find about me is at subneonnet. I've just released my most played single called Moonlight Skydrive, which came out within this last month, and in the time that Russell has not finished that track for Pashong, I finished two for his EP called the Exploit and the Evolution Chamber. I'm not bragging or anything. And I do have a single that's with Al9 at the minute that is called Night Runner. He's not listened to it yet. I have listened to it and I don't think it's quite ready for mastering yet. So I think he's just been too nice to be actually replying. He's just been super busy and actually Blood Dance, which I started on Monday, might actually be the next one because it's nearly there. So yeah, some DM'ed that or words close to that, and yeah, thanks very much.
Speaker 2:Thanks, buddy, I'll put a link in the description.
Speaker 6:And the later rival, Pashong Well this Halloween season I have a live show, so anyone out there watching this podcast who happens to live in South Korea with me, please join us at Commune's downtown Degu, starting at 9pm, for Pashong's Vampire Rave Afterparty. I will be wearing vampire teeth and possibly stealing the guy liner thing from our friend Sub-Nion, and definitely not wearing this mask, because this mask is extremely uncomfortable. I do have a single coming out with Raen in the next few weeks, which would have been the demo that we played today if it weren't so chill, but this being a Halloween themed show, it's called Coastline Paradox and it's extremely chilled out, chill synth with a ripping guitar solo at the end, and it actually works together very well. Other than that, I have a million things on my plate and absolutely no time to work on any of them, so we'll just have to see what happens next. There's always something going on, but I never know which bit of it is going to rise to the top first, so I'll keep you posted on Instagram, everybody.
Speaker 2:The constant turmoil over creative. Thank you everyone. Just before we go, a couple of things from me. So the next episode of the producers pub. So we're going to be recording this on the 19th of November and it's going to be the Christmas special, so I'm going to address up my beard with white shit and dress like Santa and stuff for that. So we've got two spaces available for that one. It was one originally but Sub-Nion had booked himself in twice, so we have two spaces available. So if you want to get involved with that, do head over to insidethemixpodcastpodiocom and get involved. Alternatively, just send me a link on Instagram at inside the mix podcast and I can send you the link if you want to join. And also I will put a link to this in the episode show notes.
Speaker 2:But I've got a song out on the November the 10th let you go featuring Indigo. So chuck that a presave. I've been banging on about it on the podcast, in tutorials and stuff for a while now. And yeah, chuck that a presave. It's coming out November the 10th. And then my EP, which I mentioned, does feature Tim R9, comes out on December the 8th. Gents, it's been an absolute pleasure. Halloween special my eyes are beginning to sting because of this black shit around them, so I need to go wipe this off. I could be blinking a lot and Prashank eventually joined us, and before we go, I just want to say a big thank you to everybody who has got involved in the chat on YouTube. It's been the busiest yet, which is amazing and fantastic stuff. Gents, it's been a pleasure and I will catch up with you all soon.
