Music Production and Mixing Tips for 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, the Inside The Mix is the podcast you can't afford to miss!
Start with this audience-favourite episode: #75: How to Mix Bass Frequencies (PRODUCER KICKSTART: VYLT)
Thanks for listening & happy producing!
Music Production and Mixing Tips for Music Producers and Artists | Inside The Mix
#184: Why Are So Many Songs Just 'Okay'?
What makes a song truly resonate with listeners? In this episode, Marc Matthews and Aisle9 approach this question head-on by exploring a listener's struggle with finishing their song—feeling that while it’s good, it lacks that captivating quality that makes music unforgettable. Their conversation dives deep into understanding song engagement, examining why some tracks may feel uninspired despite being technically complete.
They unpack what makes a song great, breaking down essential ingredients like creating memorable hooks, enhancing emotional connections, and the role of collaboration in music production. Sharing insights from personal experiences, they discuss how feedback from fellow artists is crucial in refining songs to their fullest potential. They also explore determining when a song is finished and tackle the age-old question: How do you know when a song is finished?
With the fast-paced demands of today’s music industry, they address the importance of balancing quality with the need to release music into the world. From embracing risks in songwriting to the nuances of the creative process, this episode provides actionable insights to help you confidently push your music forward.
Links mentioned in this episode:
Got a question? I’d love to hear from you! Submit a question, share your social media handles or website, and get featured in a future episode. Plus, one lucky question will win a Starbucks voucher each month!
Listen to my new single 'Separation'
Follow Marc Matthews' Socials:
Instagram | YouTube | Synth Music Mastering
Thanks for listening!!
But when is a song truly finished? Is a song ever truly finished? Is the question. You're listening to the Inside the Mix podcast with your host, mark Matthews. Welcome to Inside the Mix, your go-to podcast for music creation and production. Whether you're crafting your first track or refining your mixing skills, join me each week for expert interviews, practical tutorials and insights to help you level up your music and smash it in the music industry. Let's dive in. Hey folks, welcome to Inside the Mix. In this episode we're diving into another. Ask Me Anything. I don't know if that's going to be the actual title of this going forward, but I've just put it here in the notes Session, where myself and my co-host here R9, tim Benson, will be answering not asking you questions answering your questions. How are you, tim? How are things?
Aisle9:Yeah, not too bad thanks. Yeah, yeah, a bit tired, but I'm all right. Yeah, yeah, good, we were discussing off air the fact that, um, it is wet and windy, and I'm fairly certain it was the last time we spoke as well, yeah, it always seems to be the way in the southwest yeah, I literally, if you could hear it outside, it sounds like one of those movies where someone's lashed to the mast and, like you know, it's just like the the wind and the rain keep pouring over.
Marc Matthews:Yeah, yeah, it's really buffeted as we say yeah, yeah, indeed. So this is another one of these episodes whereby we're answering your question or questions Before we dive in. If you do have a question, we'd love to hear from you. Click the SpeakPipe link in the episode description to submit your question, share your social media handle or website and get featured on the podcast. All you need to do is click on that link. You don't need a Speakpipe account, you don't need any particular setup. It's just like sending an audio message and just say hey, it's whatever your artist name is. My question for Mark and Tim is you can find me at XYZ and then you get featured on the podcast. Plus, one lucky question will win a coffee voucher on me. I say coffee because I like coffee, and if you don't like the coffee, you can just give it to someone else. If you want to know what this sounds like in practice, check out episode 175 of the podcast.
Marc Matthews:So, moving on to this actual episode, this month's question comes from podcast listener michael, and it's, uh, the one thing a lot of songwriters, artists and producers can relate to, and here's his question. So this is an instance whereby he actually emailed me, so you can email me the question as well. The uh. The link to do that, or rather, you can DM me. You can click on the Instagram link in the episode description. So his question is this I finished a song, but it feels just good rather than truly compelling. I want to create music that takes listeners on a journey they enjoy, rather than one they simply tolerate, with a few interesting moments. I really like that description.
Marc Matthews:Do you have any advice on how to make songs more engaging? Should I stop pushing to finish songs alone and instead collaborate with a producer who can bring out the full potential of the song? So it's a fantastic question, michael. Many of us have been in this position whereby a song feels technically finished I have many times but lacks that special spark. That's something to make it interesting. So today we're going to unpack why some songs feel just good instead of great, the role of collaboration in unlocking a song's potential, and when to refine versus when to let go. So let's dive in with this. So the first topic of conversation I thought would be good why do some songs feel uninspired even though they're finished? So is it a melodic issue? Is it a production issue? Is it an emotional connection? Is it artistic vision. So I've spoken a lot to begin with, so I'll throw this over to you, tim, what are your thoughts?
Aisle9:I was just trying to unpick this one because I think in one sense you can get to that point, can't you, where you've got everything finished and you feel like it's reasonably well produced and you can't find anything more to add or take away to make the song sound better. But it just may not be your greatest song, it may lack some sort of thing, and sometimes I wonder whether we sort of will get a song like that and we know it's good. But we, we are missing that spark and I don't know whether you can always find and add that I sometimes you can always find and add that I, I sometimes you can. But sometimes you're better to move on and write another song, write another piece of music, because sometimes I think it just happens. It literally, it happens that all the ingredients come together, right, um, your emotions are right, your, you, you. You've got something that you're trying to communicate in the track and you've kind of hooked on to that. You know all the production has come together and it works.
Aisle9:I mean, I don't know that you can walk in the studio and write stairway to heaven, or you know, every day you can't just write an absolute classic song. There isn't a formula for it. So I would put that out there. That I mean that doesn't mean that this question isn't valid. But, like you know, I think sometimes maybe retreat and and sort of going well, accepting that not everything is great, that you write is important, and sort of going well, I'll live to fight, another day I'll write track and maybe the next track will be a classic.
Aisle9:But then I mean at the same time, yeah, I think there are things that you can do to your track to make it more engaging, to perhaps add that special, something that really hooks people in, and I think hook is probably the biggest word there. It's like people love things that are hooky, that they remember, that they, you know, they don't just go oh, that was nice, and then there's nothing sticky in their heads. So I think vocal melody or, um, you know, if it's instrumental, instrumental hook is, yeah, that is is, you know, I mean nobody really remembers the track because the drum groove was incredible. If it doesn't have a great, you know, melodic hook or vocal yeah you know.
Aisle9:So that is important.
Marc Matthews:Or lyrical hook as well, maybe yeah, yeah, I would agree with that. And just going back to what you said there about with regards to the song and not every song is going to be Stairway, is it? Ultimately? I think there's a quote by Ed Sheeran. I could be paraphrasing here and I might be totally making this up again, like I did last time. Well, I did make the last one up about Copland and his hi-hat.
Aisle9:I did make that up.
Marc Matthews:No, no, it was reported that that was true.
Aisle9:That was true, yeah, yeah, it was Carl. He was flown in, wasn't he?
Marc Matthews:Yeah, neon Highway. He did back me up on that. So, ed Sheeran, it was something along the lines of like, you write all these songs and you just write a plethora of songs and it's only the small percent that will actually make it the cream of the crop that will rise to the top. And you've got to go through that of just creating and writing and exercising that creative muscle and then eventually it will happen. You'll have that one standout moment, I think.
Marc Matthews:And, um, if I look, I haven't got an extensive back catalog, but I'm certainly, both when I was in the metal band and my solo stuff. There are songs that stand out above others where I thought you know what? I really hit my stride in the groove in that one, uh, air quotes, and. But there are other songs where I'm like it's finished, I'm happy with it, I'm going to release it, but it doesn't stand up against the rest of my catalogue. But I release it anyway because you've gone through that hard work and that process of doing it. You might as well put it out there. But another thing you said there about the hook, one thing I like to think of as well, and I don't know if this transcends all genres because it probably doesn't is to get to the point relatively quick as well. If you want to grab that listener's interest, it's to get to that hook or get to that point pretty quick, because we have very short attention spans. I think I do this when I'm listening to music and releases. What's the playlist on Spotify?
Aisle9:Release Friday whatever it is Release Friday.
Marc Matthews:Yeah, that's it. Yeah, release Friday. I don't know what that is, made that up, but yeah, I mean there are songs in there and for me, again, this is probably an indictment of my attention span. Unless it grabs me pretty quick, I either move on to the next one, or I zone out and then move on to the next one, or I zone out and then it just becomes background music for me, uh, which I don't know. Again, it's an indictment of my attention span. But I think also what you mentioned there about the hook, and I've noticed this when I've submitted songs to submit hub and playlist curators and I fall foul of this, where sometimes the response is the melodic line doesn't grab me and it's something I know I need to work on, and so it echoes what you said there about having that hook, that melodic line, for example in an instrumental that really does grab the listener yeah, because I mean I remember having that on.
Aisle9:Well, I mean, if I look back on my catalog, I mean it's like, it's funny, it's like the very first song I released, miami nights, which seemed to get you know, I it's definitely got a good response from everyone.
Marc Matthews:Very good song.
Aisle9:But it's weird that because I can't write that song every day of the week, I mean I just can't write a song that in some senses is as hooky or as catchy I can't. I don't quite know where that came from. It just sort of happened and came out. It was, you know, and it came out that way and it took a lot of work actually. But I think the basis of the song, which is only a two-chord song there's nothing special about it, but somehow the ingredients of it were hooky enough. But then there were certain elements of it that took a lot of work out, like the kind of melody at the beginning. That wasn't there initially and it was actually my wife, lisa, who sort of helped come up with that and she felt like there needed to be a sort of hook at the beginning. She sort of picked up something in the track and then suddenly, you know, know, that was actually really a good part of the song, and so it's funny that sometimes certain parts of the song you have to work on and get something for.
Aisle9:But the actual core of the song, I think, was there from the word go. But I still didn't really know that it was that like going to be well received or that good a song until I released it. So sometimes you have to just go well, I think this is decent, but I don't know if people like it or not, and release it anyway, and you know, push it anyway, and then you can be surprised. I mean, sometimes the tracks that you don't think are all that special um, you know sort of tracks that you aren't entirely sure you're happy with, even like technically or whatever, get really good responses, maybe better responses than tracks that you thought were brilliant. So you can't be entirely sure. I mean, which is one of the joys of you know writing things and putting them out, you know he's getting the reaction and it's not always the reaction that you thought you'd get. So you know?
Marc Matthews:yeah, most definitely. And I think we are our harshest critics as well as creatives. I think in most creative mediums, people as creators, we're like that. You're always going to be your harshest critic and just I think, just like you say, just release it and see and see what the response is. And going back to what I said just now, I think, like you said there with Miami Nights, it's the case if you just hit your stride with one particular song, you may find it takes longer to put it together and then you might do another one that's really quick and you think actually this might not have legs, but I'll release it anyway. And then I've noticed I've had this happen and then suddenly it just takes off, which?
Aisle9:I think you're right, though, that I mean that kind of grabbing people quickly thing. That is a really good thing, and they say a lot of playlisters and people curators will just go well, if it hasn't grabbed me. I know, when I do my curation it's just like I've got to listen for like 20 seconds, 30 seconds, you know, and if something's grabbing me at that point then I'm probably gonna listen a bit further in. If something's grabbing me at that point, then I'm probably gonna listen a bit further in and then I might add it to the playlist or whatever. But like, if there's just nothing happening, I might skip on to see if anything happens. But you know, it's just like yeah, yeah, make something, something compelling happen sort of fairly early on. Get to to the point, don't just yeah, because our attention span has probably got with streaming and everything else has got shorter and I think as well, before we move on to the next.
Marc Matthews:The next part of this is for me, and I appreciate not everyone's willing to do this, but like I like to just take risks with what I put in a song, whether it's like found sounds, sound effects, um, via instruments themselves, just take risks to make things interesting. Obviously you don't want to go too crazy. Well, I suppose you could go crazy, but I think just sprinkle those little bits in just to make it interesting. I had one song where there's a rainforest in it, another one where there's I mean, it's cliched now but there's like a telephone and then at the end of it the telephone starts to distort and do this otherworldly sort of sound to him. I was thinking you know what? I'm just going to put it in and see what happens and just just experiment as well.
Aisle9:I think is is key, but again, I guess it depends on the, on the vibe of the song, sort of not not lose your genre, not lose the kind of accessibility of your song, but don't make it just sound like a copy of everything else, yes, yeah, yeah.
Aisle9:Because why we're just not interested in just yet another copy. Or maybe we are, but to a lesser extent, and I think that's probably true of the great songs. You know, bohemian Rhapsody, like you know, does not sound like any other song and no A&R man was that keen to put it out. So but like I mean, it does actually grab you as being interesting from the word go and it takes you on a massive journey. And you know, I mean it's sort of excellent in its production, excellent in the way it's put together. Musical content is fantastic, but it is very different, it is not like every other song.
Marc Matthews:It was very different the day.
Aisle9:So, yeah, sometimes being different is a very good thing, yeah.
Marc Matthews:I think this segues nicely onto the next part, which is should you collaborate with a producer to unlock the song's potential? And I think the reason I say it segues quite nicely is having that external set of ears or that possibly objective viewpoint can also help you to identify if you are going to experiment, maybe to help point you in the right direction. However, I appreciate working with a producer finances involved. It's not open to everyone, but I think there are other ways that you can sort of have that producer-esque role in your production, whether that's sort of having a group of producers, artists that you can lean on and then, in turn, they lean on you as well. You share a song. I know we do this share songs back and forth for feedback and whatnot. So, although I appreciate producers, there's going to be a financial outlay. There are other ways that you can get feedback on your music and your creations other than a producer, and at some point I'm sure there will be an AI. Would there be an AI producer? Would I?
Marc Matthews:trust it Not entirely sure, maybe in the future, but that's my. I mean, I'm a huge advocate of just getting a second set of ears, or a fresh set of ears, to listen to a production, a mix for their feedback, because they're going to hear things that you won't hear and, at the same time, if they're listening to it, i're going to hear things that you won't hear and, at the same time, if they're listening to it, I was going to say blind. Then blind ears, whatever it is, they might not hear the problems that you're hearing, which I have found often. You know, specifically like we do, we get hung up on snares and kick drums and it turns out that's not the issue at all, it's the bass or something along those lines.
Aisle9:so, yeah, I don't know what are your thoughts on the whole role of the producer, let's say, for, like, indie artists and artists who maybe don't have that the finances to collaborate with an expensive producer yeah, oh well, I was gonna say I mean, I think I definitely think for, uh, for some artists like I mean, I I found a lot of singer, songwriters who, who I would class them as that that they maybe the production side of it and their skills in the production field it's not their thing, that they find it doesn't come naturally.
Aisle9:Some people are not technical. It doesn't come naturally. Yet they sit down with a guitar and they'll, they'll, you know, piano and write something really good song, wise, um, or or something that's sort of got the bones of being really good, but they don't know how to arrange it, they don't know how to sort of. You know, and it can be really, really useful to sit down with a producer, um, not just an engineer, but a producer, someone who can really help you with the writing of the song, help you with the organisation of it and putting it together from a sound point of view. So it definitely can be good. And not everyone is gifted at that sort of thing and sometimes knowing your limits is actually the way to really make your music better.
Aisle9:But there is an incredible wealth of resources isn't there for all of us now out there and very cheaply or even for free? And there are a lot of other fellow artists who are, you know, trying to do the indie producer thing, who would like to be supported by you and support you in return. So, yeah, I do think those communities of artists are phenomenal for this. I mean, I, I have a, you know, the synthwave fam, which is my sort of chat group on instagram, which has been doing all kinds of things for years now, and, um, it's a really great resource for all of the members of it. And, um, you know, we definitely share a lot about what we do and, you know, we get feedback from everyone. Um and uh, you know, sometimes it's just like easier to send it to. Just, you start to realize, oh, I find it useful when you know these people send me feedback and I don't find it so helpful talking to these people, because not everyone maybe is on the same wavelength or you find there.
Aisle9:So, like I know I send you stuff and like we, we sort of do that because I think we find each other's feedback helpful, um, and sometimes there are some time where you know you're talking to someone and the feedback you have to.
Marc Matthews:I suppose you just have to sort of be cautious, because not all feedback is is helpful but, like you know, but it is is fantastic thing to do and I do it myself yeah, most definitely, and I'm glad you mentioned there about not all feedback can be useful sometimes and I think it's important, like you say, to know that if you've got feedback you don't necessarily always have to action it.
Marc Matthews:It is feedback and it is an opinion and it's a viewpoint. But generally I would say I guess, like if multiple people that you trust and I guess you can curate your own feedback circle, as it were, and have no, you know, you've got people. Okay, I'm having issues with the mix. So I know these people, these, these people here who are established, they're well revered in in mixing, I can send it to them. Or maybe I'm having a problem with this arrangement and the songwriting element. I know these, these guys are really good at songwriting and and actually arranging, so I'll send it to them for feedback and and just curate this, this really supportive network, and do it that way. But at the same time, folks, if you do do that, don't expect feedback like, like straight away.
Aisle9:Everyone's very busy, so uh it's not gonna be a case reminds me I've got to give you some feedback on something I still haven't given it to you. Yeah, I think, I think.
Marc Matthews:I think that makes release the track now I was gonna do that mix today but I got waylaid with recording a podcast episode, so um we do get busy. Yeah, yeah, yeah 100 man and I've listened to that mix now and I've made notes. But yeah, that is that is true, but yeah, that is testament to it. Folks, sometimes you might not get that feedback straight away it does happen, but know your limits. I like what you said there about knowing your limits. You can't be the master of everything, I think.
Marc Matthews:No, you've got to know when it's time to outsource, yeah, and I, when it's time to outsource, yeah, and I think that's just across the board where, if that's like promotion or yeah, just anything along those lines with regards to your music and your creativity, you like, if you try and do everything, I suppose you could, you can do everything, but sometimes not everyone looks good in a track suit dancing yeah exactly, exactly, yeah, uh, not, that's totally throwing me off.
Marc Matthews:Now you can't, you can't do everything, but I suppose you can, or, like you, either invest in outsourcing or you invest in yourself to learn that particular area and there's plenty, plenty of uh resources out there for you to learn a particular.
Marc Matthews:But do you due diligence, do your research. If you're going to invest in a course or something like that, look at the reviews and also chat with people who have done it and, completely, that's a really good idea. Yeah, yeah, always do that, no matter what, even outside of music. I find it's like I've been looking at roofers lately, um, to fix a chimney of mine, and uh, yes, totally off a bit of a tangent, but I've been looking at reviews and also talking to neighbors who have used them as part of my due diligence process yeah, it's the same with mixing or mastering or engineering or production.
Aisle9:Yeah, you're right. Yeah, it's very good idea to do that. Um, yeah, you've got it. I think as well, like, when it comes to those sorts of things, it's not just getting someone who's technical, it's figuring someone who you find you can communicate with well, who communicates well with you and who gets you, gets what your music is about and gets where you're coming from and what you're trying to achieve, because not everybody gets everything. You know, and the it's a big part of being a producer is, I mean, I actually I years ago I used to do, um, all kinds of different bands, live bands and one.
Aisle9:One sort of stuff I did in the studio.
Aisle9:Quite a bit was sort of a lot of metal bands would come in, but not that I don't love some metal, because I do, but I just didn't really click that well with producing that genre. I mean I could do a reasonable job of it because I knew all the stuff, all the engineering, all the mixing, you know, I know it from a technical point of view, but the actual sound and honing the sound that those guys want, I needed to really be, I think, more in that genre myself, more listening to it, constantly, more aware of all of it, and so I actually found that I just thought it was not my best genre to work in and I would often, almost kind of you know, hold back from sort of taking on those projects because I didn't think I was going to do the best job for the client. So you know you do want to find somebody who really knows what you're about and says, yeah, I get that and I can, I can really make this work and here's examples of it, and you know that kind of thing.
Marc Matthews:Yeah, definitely, I think if you are going to outsource, like you say there, it's to have that conversation up front and I think pretty quickly when you're chatting to someone, even before you've spoken about the project itself, you'll be able to get an idea of whether or not is this a person I can work with. Can I talk to this person Just in that initial sort of hi, how are you, how was your day? Whatever it is, when you first meet them you'll get an idea of whether or not it's kind of like a not a job interview. But I guess if you, in a way, you know pretty quick if you're going to hire someone or not, you know, based on that initial interaction, a lot is done in that initial hello and that greeting. So, yeah, most definitely you need to have that rapport with the person you're working with, most definitely. So the final part here is this is quite a tricky one and I don't know if there's a definitive answer to this. But when is a song truly finished? Is a song ever truly finished? Is the question? That is the question Is a song ever truly finished? So, does it serve its purpose and vision? Have you pushed it as far as you can alone, does it connect emotionally with the listeners?
Marc Matthews:Now, this is an interesting one because I have personally, from my own production perspective, I now employ I give myself a timeframe.
Marc Matthews:I'm trying to hit a cadence of releases, so I give myself a timeframe with which I'm going to work within and then so long.
Marc Matthews:Obviously, if it's an absolute dog, then I'm not going to release it and it's probably not going to see the light of day. But if it gets to a certain point in my cadence of releasing, my schedule and I'm thinking you know what this is of releasable quality, that's then when I start going through the process of okay, well, I'm going to mix it and then master it and I'm going to get it uploaded for release and my thought process goes. Thought process goes back to what we're discussing earlier is, if I continue with this cadence and exercising this creative muscle, not every song is going to be a banger, but at some point in theory, the laws of probability, hopefully one of those songs will rise to the top, and that's my thought process and that's what I've been employing lately. So in a year's time, uh, when we get back together, I might be totally different and say that did not work for me and I'm going to do something different, but that's what I'm employing at the moment.
Aisle9:I don't know what your thoughts are yeah, I, I mean, I'm sort of similar. I do have a release schedule these days and try to sort of keep to the release schedule and um, but yeah, I think you've got to allow room for inspiration as well and you've got to allow room to go off at a tangent sometimes and, and you know, sometimes you will start something and not really know you know where it's going and whether it's going to to work um and or and and you sort of create something that's like actually it's funny, like goes to the sea, which I wrote, like it's got like a sort of weird nine inch nails piano thing going on, which was the whole hub of the track, which didn't really have a lot to do with the genre and where I was heading with the whole track. Initially, um didn't even know it was called Ghost of the Sea. But you know, as I was heading to this sort of thing, um and it didn't seem to make sense but it I just liked something about that thing I came up with and eventually that idea found a home and gradually turned into that track and um, you know it was quite a process getting there. But so sometimes I think you can, you can come up with something and you know that that's got a root or a sort of you know a sort of nugget in there that is good, and you go yeah, there's something in this, but you might not be able to finish it straight away, don't give up on it Maybe. Come back to it and just kind of keep knocking away until maybe something will appear out of it.
Aisle9:But there are other times where you do have to give up on something and just go. You know what? I'm on sort of revision 34 of this and it still doesn't really work for me. Times where you do have to give up on something and just go. You know what I keep. You know, I'm sort of revision 34 of this and it still doesn't really work for me. I am going to leave it in the pile but like, uh, yeah, I mean, and sometimes where you sort of know maybe it could have more, you don't know what that thing is, nothing you try is working, but overall it sounds like a decent, a decent release and you just you're going to mix, master it and move on. So yeah, but don't, don't, don't throw away things, sort of. You know you have to like, allow inspiration, you know yes, what you mentioned there is.
Marc Matthews:I think it's really important and it's something that I employ, and I think I took this from an episode I've recorded a couple of years back and I have a folder called WIP, work in Progress, and in there I've got all. I've got about six or seven songs in various stages, with numbers at the beginning, and every now and again, when I finish a song and release it, I'll go back to that Work in Progress folder and each one of them has a bounce a. I'll go back to that work in progress folder and each one of them has a bounce, a render bounce of an MP3 of that track, and then I'll listen to that and then I might reorder it, because at the time when I created it I might be like you say, I might think I'm not sure, but I don't delete it. I then go back and listen to it every time and then I reorder them depending on okay, well, I'm going to tackle this one next, or I'm getting the vibe of this now and that's worked really well for me and I then have another folder which is kind of like a backlog folder, and then, if I really do think this one really does need to go back on the shelf. I then stick that into this backlog folder I've got, which has probably got about 15 projects in, and I do the same again in there, got numbers on them or so, to go through it and then reorder it.
Marc Matthews:But what I find in doing that is I'm not, I'm, I've the way I, the way I think of it is like I created that for a reason. I must have had some sort of inspiration at the time. So I'm not gonna, I'm not gonna bin it, but I'm gonna put it in either the backlog or the work in progress folder and then I'll revisit them every time and just reorder them depending on how I'm feeling. So I'm going through this house phase at the moment. So I'm finding all those particular projects are rising to the top in terms of numbers and I'm just ticking them off, uh, one by one Cause your house moving, that you're going, you know what it might well be.
Marc Matthews:It might well be like this. This whole process Now everything is revolving around houses, fucking roofs getting done, chimneys on the piss, all this sort of stuff. So I could yeah, I could do a whole episode moaning about the whole the conveyancing process in the uk absolute shit show. Um, but yeah, go back that. That, yeah, so it just echoes what I was saying, what you were saying there about, like, don't bin them and then revisit them. Um, because in my head I'm thinking, well, I must have done it for a reason. Uh, yeah, you know, must be there for a reason, but I think I think this, this is great. Uh, this is our third installment of this format. I think it's a brilliant format.
Marc Matthews:Folks, if you like michael want to submit a question? So that was a great question, michael. By the way, I know a lot of artists and producers are feeling the same way, so hopefully there was some nugget of information in there you can take away. If you want to submit a question and get it featured on the podcast, like today, hit that speak pipe link. Record your question, remember? Hey, mark and Tim, it's blah, blah, blah. This is my question. Submit that. Alternatively, just DM me on Instagram. There's a link in the episode show notes notes. Or you can email me, uh, mark, at synth music masteringcom and email me with a question and we'll get it featured. Um tim, it's beena pleasure absolute pleasure as always.
Aisle9:Yeah, always a pleasure, yeah, indeed and um.
Marc Matthews:We'll reconvene in a month, in a month's time, and do it all again, hopefully we're going to.
Aisle9:we're going to bristol for beer and um before then, yeah, we are.
Marc Matthews:That's next weekend, isn't it? Yeah, hopefully it might be more than just me and you Apparently it might In the nicest possible way. Yeah, but cheers, mate, I'll catch up with you soon.
