1 00:00:07,100 --> 00:00:11,800 Welcome to another episode of metal, Mastermind, your host and 2 00:00:11,800 --> 00:00:12,700 co-host. I guess. 3 00:00:12,700 --> 00:00:15,700 I'm both right. Jason Stallworth and also host 4 00:00:15,700 --> 00:00:19,200 and co-host can CD. What's up, dude? 5 00:00:19,200 --> 00:00:21,800 And we have a special guest again today. 6 00:00:22,700 --> 00:00:29,300 A link in here, the clamps. We do staff instead of claps 7 00:00:29,300 --> 00:00:32,100 right there we go. Get away from y'all. 8 00:00:33,000 --> 00:00:34,800 Niggas wit suppose that'd be a good. 9 00:00:34,900 --> 00:00:36,800 Good 80s, ballad can't get away from you. 10 00:00:37,500 --> 00:00:40,600 Yeah awesome. So guys today we got some very 11 00:00:40,600 --> 00:00:43,400 cool discussions coming up. I we're going to talk about from 12 00:00:43,400 --> 00:00:47,100 a vocal perspective and just performing in general live 13 00:00:47,400 --> 00:00:51,000 versus in the studio, right? Because there's two different 14 00:00:51,000 --> 00:00:54,600 things, I mean, those are almost two, completely separate talents 15 00:00:54,600 --> 00:00:57,900 and things you have to work on and then we will wrap it up 16 00:00:57,900 --> 00:01:00,300 going over some of our favorite musicians. 17 00:01:00,300 --> 00:01:03,100 Vocalist/guitarist drummers because you guys know Ken is an 18 00:01:03,100 --> 00:01:04,700 awesome metal drummer back there. 19 00:01:05,200 --> 00:01:07,100 So we're going to talk about that towards the end and you 20 00:01:07,100 --> 00:01:11,000 know what makes them great. So Ellie, you know, we'll just 21 00:01:11,400 --> 00:01:14,700 started out with you just a quick rundown. 22 00:01:14,700 --> 00:01:17,400 Like what are your what are some of the core differences between 23 00:01:17,400 --> 00:01:21,600 singing live with a band or solo act versus being in the studio? 24 00:01:22,900 --> 00:01:26,100 The first thing that comes to mind I would say is the 25 00:01:26,100 --> 00:01:32,300 adrenaline that you get on stage you just get like so much from 26 00:01:32,300 --> 00:01:34,800 the crowd and from your band mates around. 27 00:01:34,900 --> 00:01:40,000 Around you so that energy, I feel like plays a huge part in 28 00:01:40,000 --> 00:01:44,500 your performance overall and then trying to bring that same 29 00:01:44,500 --> 00:01:48,400 energy into the studio and especially as a vocalist you 30 00:01:48,400 --> 00:01:51,600 kind of like confined in this little vocal booth, right? 31 00:01:51,600 --> 00:01:54,800 So sometimes it can be like a little difficult to do that and 32 00:01:54,800 --> 00:01:58,100 you have to kind of figure out tips and tricks and just kind of 33 00:01:58,100 --> 00:02:03,500 like I don't know mental tricks to kind of get yourself into 34 00:02:03,500 --> 00:02:07,200 that element. That makes perfect sense. 35 00:02:07,200 --> 00:02:09,500 Yeah, I get the adrenaline because I'm you guys, know I 36 00:02:09,508 --> 00:02:12,800 sing live Acoustic solo shows, which is little bit different 37 00:02:12,800 --> 00:02:15,200 from being in a full band. There is a different energy with 38 00:02:15,200 --> 00:02:18,200 a full band when people were there to see you versus being a 39 00:02:18,200 --> 00:02:20,800 solo act. Where a lot of times places I 40 00:02:20,800 --> 00:02:24,300 play, I'm kind of back ground music, but still there's that 41 00:02:24,300 --> 00:02:26,700 Adrenaline Rush. Getting ready for the show, you 42 00:02:26,700 --> 00:02:30,400 know, setting up performing and talking to people, you know, 43 00:02:30,400 --> 00:02:32,900 that sort of thing, that's cool. And that's something that's 44 00:02:32,900 --> 00:02:37,000 really hard to replicate. Like you said, in the Udo and 45 00:02:37,000 --> 00:02:39,800 that has a lot to do with your performance to write. 46 00:02:39,800 --> 00:02:42,000 So I mean it would probably benefit you to try to get into 47 00:02:42,000 --> 00:02:44,400 that mindset. Hey, I'm playing live when 48 00:02:44,400 --> 00:02:47,800 you're in the studio so you can deliver that same type of 49 00:02:47,800 --> 00:02:49,500 performance. What are some of the things you 50 00:02:49,500 --> 00:02:53,100 do for that? Like when I'm playing live? 51 00:02:53,700 --> 00:02:57,600 Yeah. Well, I feel like there's like, 52 00:02:57,700 --> 00:03:01,800 I guess different challenges when you're trying to play live 53 00:03:01,800 --> 00:03:04,700 and then when you're in the studio, I feel like maybe 54 00:03:04,700 --> 00:03:09,600 they're Polar Opposites. You know, challenges and some 55 00:03:09,600 --> 00:03:13,900 people feel very natural in one setting versus another or they 56 00:03:13,900 --> 00:03:17,000 feel very comfortable in both, you know, everybody's like 57 00:03:17,000 --> 00:03:19,700 different especially when you're a beginner and you're still 58 00:03:19,700 --> 00:03:24,200 trying to like figure out your stage Persona and maybe the 59 00:03:24,200 --> 00:03:25,700 studio is a little bit more comfortable. 60 00:03:25,700 --> 00:03:29,200 It's a little more intimate kind of reminds you more of, like, 61 00:03:29,200 --> 00:03:32,300 practicing in your bedroom that kind of thing that privacy. 62 00:03:32,500 --> 00:03:37,200 So everyone really is like different or me like growing up 63 00:03:37,200 --> 00:03:40,600 kind of like being on stage quite often. 64 00:03:41,100 --> 00:03:46,200 I found myself like you know, really trying to reach to get 65 00:03:46,200 --> 00:03:52,000 comfortable like in the studio and in my early twenties, like I 66 00:03:52,008 --> 00:03:55,500 just remember like trying to like figure it out and taking a 67 00:03:55,500 --> 00:03:59,000 few like takes and the vocal booth until like I really kind 68 00:03:59,000 --> 00:04:01,600 of got that emotion across in my voice. 69 00:04:01,700 --> 00:04:05,100 And now I feel like I kind of got it down to like, a good. 70 00:04:05,700 --> 00:04:09,700 That works for me and it's something that I share with 71 00:04:09,700 --> 00:04:12,300 other people to just like tips and tricks to feel more 72 00:04:12,300 --> 00:04:16,500 comfortable in the vocal booth. And I have a few of those, for 73 00:04:16,500 --> 00:04:19,300 the stage as well. But yeah, they're both very 74 00:04:19,300 --> 00:04:25,800 different atmospheres. Yeah, I kind of feel like older 75 00:04:25,800 --> 00:04:30,800 records were more like recording live performances in the studio. 76 00:04:30,800 --> 00:04:34,600 Yeah, because everyone was playing at the same time, wasn't 77 00:04:34,600 --> 00:04:39,000 like I did really right and there was like a technological 78 00:04:39,000 --> 00:04:40,600 difference to. It's like if you're going to 79 00:04:40,600 --> 00:04:43,800 record to tape, you know, you kind of have to just get it, 80 00:04:43,800 --> 00:04:48,900 right? So, I feel like with the amount 81 00:04:48,900 --> 00:04:52,400 of limited, you know, chances of doing overdubs and stuff like 82 00:04:52,400 --> 00:04:53,400 that. I mean, like, you were able to 83 00:04:53,400 --> 00:04:57,000 do overdubs, but it's like, you had to be really really careful 84 00:04:57,000 --> 00:05:01,300 about overdubs and made sure that they were in sync with the 85 00:05:01,300 --> 00:05:04,000 previous performances because it's like you can't just like 86 00:05:04,000 --> 00:05:07,800 splice a little Out of tape. You know you have to splice the 87 00:05:07,800 --> 00:05:10,700 whole thing. So totally I feel like we're a 88 00:05:10,700 --> 00:05:14,400 lot more comfortable because of the technology that we have 89 00:05:14,400 --> 00:05:18,000 today, it's so easy to stick another take and you're not 90 00:05:18,000 --> 00:05:23,700 wasting physical material by doing so but still you want to 91 00:05:23,700 --> 00:05:27,800 come to the studio just as prepared as if you only had one 92 00:05:27,800 --> 00:05:31,600 take to get it right? Because there's a so much more 93 00:05:31,600 --> 00:05:37,500 that you need to to add that if you I don't know your parts to 94 00:05:37,500 --> 00:05:39,000 well like the melody or the lyrics. 95 00:05:39,000 --> 00:05:41,900 If you don't really have that like ingrained in your brain, 96 00:05:42,000 --> 00:05:46,700 you won't have the opportunity to add that extra element that 97 00:05:46,700 --> 00:05:51,000 you need to make it sound like a fantastic take, that's cold 98 00:05:51,000 --> 00:05:55,200 right there because you're talking about something that is 99 00:05:55,500 --> 00:06:00,800 sort of this magical element to a performance, which captivates 100 00:06:00,800 --> 00:06:02,800 an audience, right? But that can only ever be 101 00:06:02,800 --> 00:06:05,600 achieved if you are absolutely prepared to die. 102 00:06:05,800 --> 00:06:08,700 Liver. So I yeah, that's a, that's a 103 00:06:08,707 --> 00:06:10,600 fantastic point. And I'm glad you brought that 104 00:06:10,600 --> 00:06:11,500 up. Yeah. 105 00:06:11,500 --> 00:06:14,300 And the other was that excuse is free-style stuff by the way, 106 00:06:14,300 --> 00:06:15,900 because that's it. That's a whole different vibe. 107 00:06:15,900 --> 00:06:17,800 But yeah, you know what I'm saying? 108 00:06:19,300 --> 00:06:21,800 We're seeing what we're saying, guys, is don't write your song 109 00:06:21,800 --> 00:06:23,800 in the studio. If you're going into the studio 110 00:06:23,800 --> 00:06:26,800 to record, be prepared. Don't like get there and say, oh 111 00:06:27,200 --> 00:06:29,600 yeah, I forgot the lyrics are all. 112 00:06:29,600 --> 00:06:31,900 We haven't figured out this guitar part, quite yet, know, 113 00:06:31,900 --> 00:06:34,000 all that stuff. Before you start, it's best. 114 00:06:34,000 --> 00:06:35,800 If you're paying right, if you're going into To 115 00:06:36,500 --> 00:06:38,900 professional studio and you're paying for that when you're home 116 00:06:38,900 --> 00:06:41,700 was a little different. But to your point Ellie and both 117 00:06:42,000 --> 00:06:44,700 can, you know, you want to know the material before you start 118 00:06:44,700 --> 00:06:47,600 recording in your home because you can get into this circle to 119 00:06:47,600 --> 00:06:50,800 where you just you never finish anything. 120 00:06:50,800 --> 00:06:54,100 You're like, well, I don't quite know this yet it could be better 121 00:06:54,100 --> 00:06:56,300 and you just change it and it could be better going to change 122 00:06:56,300 --> 00:06:58,200 it. And then five years goes by 123 00:06:58,200 --> 00:07:00,200 still, no single, no album, no nothing. 124 00:07:00,200 --> 00:07:03,400 So I think you have to be careful with the luxury that we 125 00:07:03,400 --> 00:07:05,600 have, because it's not expensive. 126 00:07:05,700 --> 00:07:08,400 He's got an interface connected to their computer with monitors 127 00:07:08,400 --> 00:07:12,400 and you can just keep recording and tracking as much as you 128 00:07:12,400 --> 00:07:16,000 possibly want, but you can run real fast, but not go anywhere, 129 00:07:16,000 --> 00:07:18,100 right? So, I think it is important to 130 00:07:18,100 --> 00:07:21,300 kneel your song down. Like, this is the song then go 131 00:07:21,300 --> 00:07:24,400 in there and do your best to nail the, the performance, as 132 00:07:24,400 --> 00:07:26,900 well. Well, to be very clear about 133 00:07:26,900 --> 00:07:28,500 something. I think it's important to 134 00:07:28,500 --> 00:07:35,400 distinct about Going to the studio and going to record your 135 00:07:35,400 --> 00:07:38,700 album. Versus being, let's say at your 136 00:07:38,700 --> 00:07:41,700 home studio and composing. Your album, right? 137 00:07:41,700 --> 00:07:44,500 Is those are because those are two different types of like 138 00:07:44,500 --> 00:07:47,500 phases, right? We're talking about okay, like, 139 00:07:47,500 --> 00:07:50,700 you can absolutely be home and, you know, compose on your 140 00:07:50,700 --> 00:07:53,000 record. I think we all do that but when 141 00:07:53,000 --> 00:07:57,900 you're like, okay now it's time to achieve like the quality 142 00:07:57,900 --> 00:08:00,100 sound that I've been looking for for this album. 143 00:08:00,100 --> 00:08:02,700 Like I know I know what the songs are at this point. 144 00:08:02,700 --> 00:08:05,700 They're all written out now. It's time to take it to the next 145 00:08:05,700 --> 00:08:07,400 level. Like for example like right now 146 00:08:07,400 --> 00:08:11,800 like a you I have my drums back here but I don't have any I 147 00:08:11,800 --> 00:08:15,600 don't have any microphones to record them the way I want to 148 00:08:15,600 --> 00:08:17,700 just yet. So I have to still go to another 149 00:08:17,700 --> 00:08:21,400 Studio to even execute that but I can still absolutely right, 150 00:08:21,400 --> 00:08:25,400 you know, and I would rehearse and I would get myself ready and 151 00:08:25,400 --> 00:08:28,800 then take that next step. And that's that step that we're 152 00:08:28,800 --> 00:08:30,200 talking about that we want to say. 153 00:08:30,500 --> 00:08:34,100 A, how you take this live performance aspect of being in 154 00:08:34,100 --> 00:08:38,900 the moment being a captivating performer, all that Juju and 155 00:08:38,900 --> 00:08:43,500 putting that into your music and recording that in capturing that 156 00:08:43,500 --> 00:08:47,100 for, you know, the final. Take anything perfect sense. 157 00:08:47,100 --> 00:08:47,500 Yeah. Yeah, yeah. 158 00:08:47,500 --> 00:08:52,400 Sorry, yeah. Only the only thing to add to 159 00:08:52,400 --> 00:08:55,800 this one more thing is just like I think it's just important to 160 00:08:55,800 --> 00:08:59,800 have a little bit of life experience so that you are you 161 00:08:59,800 --> 00:09:04,500 know, playing at At your Peak. Yeah, I actually wrote a couple 162 00:09:04,600 --> 00:09:08,200 notes on, just some tricks to bring into the studio as a 163 00:09:08,208 --> 00:09:10,000 vocalist. I don't know if you guys want to 164 00:09:10,200 --> 00:09:14,300 hear that Lily. Okay cool. 165 00:09:14,700 --> 00:09:19,800 So yeah just going into the studio and laying down some 166 00:09:19,800 --> 00:09:23,800 vocal tracks, just like a couple tips to kind of bring with you 167 00:09:23,800 --> 00:09:27,400 so that you know, you feel prepared, the first one like I 168 00:09:27,408 --> 00:09:30,400 guess some of them feel a little bit obvious but explain a little 169 00:09:30,400 --> 00:09:31,900 bit More? Why they're important. 170 00:09:31,900 --> 00:09:34,400 But the first one is memorizing. Your lyrics. 171 00:09:35,100 --> 00:09:37,300 But still have those lyrics printed out. 172 00:09:37,300 --> 00:09:39,600 So if you don't know your lyrics to. 173 00:09:39,600 --> 00:09:47,500 Well, you are using brain capacity by reading lyrics and 174 00:09:47,500 --> 00:09:50,100 they won't come off. Like there's always something 175 00:09:50,100 --> 00:09:53,700 that needs to kind of compensate, so if you're too 176 00:09:53,700 --> 00:09:58,000 busy like reading lyrics, then that emotion won't be there, or 177 00:09:58,000 --> 00:10:01,100 those little extra details that you want to add a vocal 178 00:10:01,100 --> 00:10:04,700 technique and often go out the door when you're too focused on 179 00:10:04,700 --> 00:10:08,000 reading lyrics. So that's really important. 180 00:10:08,000 --> 00:10:11,600 Memorize your lyrics but also have them printed out and having 181 00:10:11,600 --> 00:10:15,500 two copies is great, especially if you have a vocal producer or 182 00:10:15,500 --> 00:10:18,800 other bandmates in there with you, like just have somebody 183 00:10:18,800 --> 00:10:23,700 outside of the vocal booth following along with you, so 184 00:10:23,700 --> 00:10:27,500 they know like where you're at, and the song and it's so much 185 00:10:27,500 --> 00:10:30,000 easier to kind of navigate like, hey, let's take it from the top 186 00:10:30,000 --> 00:10:31,800 of this. It's right there and it's all 187 00:10:31,800 --> 00:10:34,900 labeled nicely. It just makes like the workflow, 188 00:10:34,900 --> 00:10:38,700 go more efficiently. My other tip would be for your 189 00:10:38,700 --> 00:10:42,700 copy of the lyrics. I would suggest making a little 190 00:10:42,700 --> 00:10:48,200 symbols and marks to for you. So, you know what, kind of vocal 191 00:10:48,500 --> 00:10:51,600 technique and vocal registers you want to use in certain 192 00:10:51,600 --> 00:10:54,500 parts. So for example if there's like a 193 00:10:54,500 --> 00:10:58,200 line where I'm like I want to sing this softly, I know that 194 00:10:58,200 --> 00:11:01,700 underlining that for me means Let's sing this softly. 195 00:11:01,800 --> 00:11:05,400 So everything that's underlined in my lyrics, I noticing that 196 00:11:05,400 --> 00:11:09,500 softly or I'm growling this part, or I can write 197 00:11:09,500 --> 00:11:13,000 pronounciations, you know, remember to sing this vowel 198 00:11:13,000 --> 00:11:15,900 long. So I'll spell it out like, 199 00:11:15,900 --> 00:11:19,000 phonetically how I want to pronounce it when I sing it. 200 00:11:19,000 --> 00:11:22,900 So that's why those lyrics are important to mark, up your page 201 00:11:22,900 --> 00:11:26,600 and write those notes for you as a guide in the studio booth. 202 00:11:27,600 --> 00:11:32,900 And then my last tip would be To bring that element of 203 00:11:32,900 --> 00:11:36,500 performance into a small confined space like a vocal 204 00:11:36,500 --> 00:11:39,600 booth. So figure out what it is that 205 00:11:39,600 --> 00:11:42,300 you need to do. Take a minute to meditate. 206 00:11:42,300 --> 00:11:45,500 Like, you know, make sure that you eat well in the morning, eat 207 00:11:45,500 --> 00:11:49,200 a nice breakfast and drink, plenty of water, bring some hot 208 00:11:49,200 --> 00:11:52,300 tea with you, do anything? That's like meditative that will 209 00:11:52,300 --> 00:11:54,800 get you into that element so that you can feel very 210 00:11:54,800 --> 00:11:58,600 comfortable in the vocal booth. So those are my three tips 211 00:11:58,600 --> 00:12:00,400 there. Yeah, those are very good. 212 00:12:00,500 --> 00:12:04,200 Good because they help to at least kind of clarify. 213 00:12:04,200 --> 00:12:07,200 Like I can almost see myself be in the studio right there and 214 00:12:07,200 --> 00:12:10,900 then as a vocalist just getting ready to do this performance and 215 00:12:10,900 --> 00:12:13,600 that's a great tip. And it feels very, very 216 00:12:13,600 --> 00:12:17,000 well-structured to me to to kind of think of it in this way. 217 00:12:17,000 --> 00:12:20,200 It's almost like did I did I check this off and my Ready for 218 00:12:20,200 --> 00:12:25,000 today's performance kind of way, because it's easily, you know, 219 00:12:25,000 --> 00:12:28,000 being in the studio the day of can be very, very 220 00:12:28,200 --> 00:12:31,800 anxiety-inducing and Selena. Wrecking wonder, you're just 221 00:12:31,800 --> 00:12:36,300 like, oh my God and lacks a little beforehand, you don't 222 00:12:36,300 --> 00:12:39,400 want to rush, you know or like a date or something. 223 00:12:39,900 --> 00:12:42,000 I'm glad you mentioned like meditation to, because 224 00:12:42,000 --> 00:12:45,800 meditating can be a very good way to just kind of take a step 225 00:12:45,800 --> 00:12:48,800 to, you know, step back and just breathe for a second because 226 00:12:48,800 --> 00:12:51,000 everything's going to be okay, you know. 227 00:12:51,200 --> 00:12:53,600 Oh yeah, I got an audio engineer that told me to run around the 228 00:12:53,600 --> 00:12:57,000 block two times, and then get back in because I just I need 229 00:12:57,000 --> 00:12:59,200 that energy. So, you know, anything that you 230 00:12:59,200 --> 00:13:01,700 can do to get into that. It fits hope, that's cool. 231 00:13:03,000 --> 00:13:04,300 I like that. Oh, that's great. 232 00:13:04,300 --> 00:13:06,200 Yeah, I mean that's that's really I love the fact. 233 00:13:06,200 --> 00:13:08,100 You said yes. Memorize your lyrics. 234 00:13:08,100 --> 00:13:10,800 It's important because you can focus on the performance and 235 00:13:10,800 --> 00:13:14,300 your brain is not focused on crap, was that next line, but 236 00:13:14,300 --> 00:13:16,900 you also said, bring the lyrics with you and make the notes and 237 00:13:16,900 --> 00:13:19,200 all that. That's kind of like your 238 00:13:19,200 --> 00:13:21,200 security blanket. If you want to call it that, 239 00:13:21,200 --> 00:13:24,000 right, when you're in the stable and then goes, like, for you to 240 00:13:24,000 --> 00:13:26,600 mark up the page, like, you know, whatever you need in 241 00:13:26,600 --> 00:13:28,900 there. But yeah, that's cool. 242 00:13:29,400 --> 00:13:32,600 And this is a Also, very interesting too, because I'll 243 00:13:32,600 --> 00:13:34,900 now I'm thinking about it, you know, in the, in the sense of a 244 00:13:34,908 --> 00:13:38,200 live performance to, right? If we're going to go and do 245 00:13:38,200 --> 00:13:42,600 live, one thing that I've noticed is a lot of bands, and I 246 00:13:42,600 --> 00:13:45,700 think mostly because it's easier to do it this way, but most 247 00:13:45,700 --> 00:13:49,600 bands they, when they rehearse a bit of music for a while. 248 00:13:49,600 --> 00:13:52,300 And then when they're, when it's new music, of course and then 249 00:13:52,300 --> 00:13:55,600 they get into a live performance in the like, okay, let's play 250 00:13:55,600 --> 00:13:57,700 for the audience and see how they feel about it. 251 00:13:57,800 --> 00:14:01,100 But I also think, at the same time, it's a Way for them to 252 00:14:01,100 --> 00:14:05,600 kind of test out how the energy from the whole band as a 253 00:14:05,608 --> 00:14:09,600 cohesive whole being on stage with that kind of song that new 254 00:14:09,600 --> 00:14:11,400 song that they just created feels. 255 00:14:11,700 --> 00:14:15,200 And that's a way to pay attention to how that's going to 256 00:14:15,200 --> 00:14:17,400 translate into the record as well. 257 00:14:17,600 --> 00:14:20,700 Because now, you've got, like, this whole big sound system and 258 00:14:20,700 --> 00:14:22,700 it's all out there for the audience to hear. 259 00:14:23,300 --> 00:14:26,700 It's just a thing that I noticed here and I'm wondering what our 260 00:14:26,700 --> 00:14:30,300 kind of some some notes that preparing for. 261 00:14:30,500 --> 00:14:35,400 Live show, how would they be sort of, you know, similar and a 262 00:14:35,408 --> 00:14:38,700 little different to let's say what you were doing in the 263 00:14:38,708 --> 00:14:40,200 studio. Because you mentioned a couple 264 00:14:40,200 --> 00:14:43,500 really good things that I think are also translatable to live, 265 00:14:43,500 --> 00:14:49,900 but I think in some different capacity with the performance, 266 00:14:49,900 --> 00:14:52,400 it's not so much. Bringing lyrics with you and 267 00:14:52,400 --> 00:14:54,800 marking up a page. You don't really have anything 268 00:14:54,800 --> 00:14:57,700 in your hands. You don't want to be like 269 00:14:57,700 --> 00:15:00,300 staring at a set list on the floor that you wrote a small. 270 00:15:00,400 --> 00:15:03,300 Small note on, you don't want to read lyrics off your hand. 271 00:15:03,300 --> 00:15:06,500 I did that once when I was like 19 and then I got really sweaty 272 00:15:06,500 --> 00:15:10,900 on stage because it was hot and all of my lyrics got smeared on 273 00:15:10,900 --> 00:15:13,600 my hand and I could about the words. 274 00:15:14,000 --> 00:15:18,000 So let's bring the same tip over to life before men's memorize 275 00:15:18,000 --> 00:15:20,500 your lyrics. It Was a new song at the time. 276 00:15:20,500 --> 00:15:22,800 So I just remember being like kind of freaked out that I 277 00:15:22,800 --> 00:15:28,300 wouldn't get the verse right? Oh I just realized okay Zoom is 278 00:15:28,300 --> 00:15:30,300 doing weird, things for me. Okay cool. 279 00:15:31,000 --> 00:15:34,700 But yeah like memorizing your lyrics feeling very comfortable. 280 00:15:35,800 --> 00:15:39,200 I would even say like have that conversation if it's an it was a 281 00:15:39,200 --> 00:15:43,300 new song that you just wrote that week or something have that 282 00:15:43,300 --> 00:15:46,100 like serious conversation with your band like is this song 283 00:15:46,100 --> 00:15:49,500 Ready for performance and if it's one of those kind of shows 284 00:15:49,500 --> 00:15:52,600 where it's like more like laid back and fun like that's just do 285 00:15:52,600 --> 00:15:54,200 it. This is a good way to you know 286 00:15:54,200 --> 00:15:57,400 just kind of try it out, then go for it if it's that Vibe. 287 00:15:57,400 --> 00:15:59,600 But if it's something where you really want everything to be 288 00:15:59,600 --> 00:16:02,200 like, Paula, Hushed and ready to go for a show. 289 00:16:02,300 --> 00:16:06,000 Definitely like consider if a song is ready for your life set 290 00:16:06,000 --> 00:16:08,600 because you know there might be some like mistakes or pickups 291 00:16:08,700 --> 00:16:14,200 that you could go over in a few rehearsals right versus on the 292 00:16:14,200 --> 00:16:18,000 stage. So yeah, memorizing your lyrics. 293 00:16:18,500 --> 00:16:19,800 That's yeah. That's actually yeah. 294 00:16:19,800 --> 00:16:22,500 That's a huge one that you just mentioned because it almost I 295 00:16:22,500 --> 00:16:25,600 didn't even think about it this way too but it's like testing 296 00:16:25,600 --> 00:16:29,200 your new song Live is also a great way to see whether or not 297 00:16:29,200 --> 00:16:31,500 it's ready. He recorded two. 298 00:16:31,500 --> 00:16:34,700 Yeah, open mics and stuff. That's like what it's for, you 299 00:16:34,700 --> 00:16:39,000 know, use that utilize that or just like, you know, more local 300 00:16:39,000 --> 00:16:43,500 gigs or smaller gigs or regular. Venues those kind of things 301 00:16:43,500 --> 00:16:47,200 where you can kind of like play a little bit more. 302 00:16:47,200 --> 00:16:50,700 Like those are, you know, good opportunities because even then 303 00:16:50,700 --> 00:16:53,200 there's things that you can cover that you can't really do 304 00:16:53,200 --> 00:16:55,100 in a rehearsal. Space just having that audience 305 00:16:55,100 --> 00:16:58,600 there, that feedback there, it really is up to the band, but 306 00:16:58,600 --> 00:17:00,300 it's good to just have that conversation. 307 00:17:00,400 --> 00:17:06,400 Even when there is a new song that you are performing and I 308 00:17:06,400 --> 00:17:10,400 would say also like bringing that energy to the stage. 309 00:17:10,400 --> 00:17:14,099 I just, you know, everyone's different with how they perform. 310 00:17:14,099 --> 00:17:18,000 Like everyone has a different kind of like stage Persona. 311 00:17:18,000 --> 00:17:21,599 You know, there's people that are a lot more like active and 312 00:17:21,599 --> 00:17:23,900 they really move around, they dance a lot and it's more like 313 00:17:23,900 --> 00:17:28,099 height music and there's like more like slow gloomy kind of 314 00:17:28,099 --> 00:17:31,900 like serious kind of music so it really Hands on that and really 315 00:17:31,900 --> 00:17:35,100 understanding the vibe of your sound, understanding your 316 00:17:35,100 --> 00:17:37,600 audience and like matching that energy. 317 00:17:37,800 --> 00:17:41,700 So I guess I could bring that over from The Studio tips, we're 318 00:17:41,900 --> 00:17:45,200 taking that moment before your show to meditate and really 319 00:17:45,200 --> 00:17:50,600 like, lock in to the, you know, just getting all those elements 320 00:17:50,600 --> 00:17:54,900 in for your performance, it's great Inez. 321 00:17:54,900 --> 00:17:58,200 I like to, I like to, you know, clear the head and those those 322 00:17:58,200 --> 00:18:01,800 of you who were wondering about meditation, Really all were 323 00:18:01,800 --> 00:18:04,400 saying is just clear your mind. Don't let. 324 00:18:04,400 --> 00:18:06,500 Yeah, the stuff come into your head. 325 00:18:06,600 --> 00:18:08,500 Sometimes we can think. Well, I wonder if they're gonna 326 00:18:08,500 --> 00:18:09,800 like me. I wonder if it's going to sound 327 00:18:09,800 --> 00:18:11,300 good. I hope I don't screw up. 328 00:18:11,400 --> 00:18:13,500 You know, I wonder if I'm going to sound as good as so. 329 00:18:13,500 --> 00:18:15,700 And so, whatever. All this stuff we can make up 330 00:18:15,700 --> 00:18:19,000 all kind of garbage in her head to tell ourselves and that will 331 00:18:19,000 --> 00:18:21,500 build a few allow it to. So, you know, meditation and 332 00:18:21,500 --> 00:18:24,400 clearing your head real quick. So I want to just revisit we, 333 00:18:24,400 --> 00:18:27,200 you know, we're talking about the studio here, you know, a lot 334 00:18:27,200 --> 00:18:30,300 of our listeners they're probably not going to 335 00:18:30,500 --> 00:18:33,200 Professional studio to record some of you might but the 336 00:18:33,200 --> 00:18:36,100 majority of you are probably just going to record in your 337 00:18:36,100 --> 00:18:39,500 bedroom where your home studio is and you know, canid mention 338 00:18:39,500 --> 00:18:43,100 there's a big difference between composing and writing verses 339 00:18:43,100 --> 00:18:44,500 because you know, we're doing things. 340 00:18:44,500 --> 00:18:47,000 We're composing the song versus. Okay. 341 00:18:47,000 --> 00:18:50,700 Now I'm ready to record the song and I would venture to say, make 342 00:18:50,700 --> 00:18:54,000 sure those two moments are separate, make sure that when 343 00:18:54,000 --> 00:18:57,200 you're in the composing mode and writing mode that you're in that 344 00:18:57,200 --> 00:19:00,300 mode, but have some kind of stopping point where you say, 345 00:19:00,400 --> 00:19:04,500 Say, okay, this is ready to go. Now, I'm in the recording mode, 346 00:19:04,500 --> 00:19:08,300 I'm not composing anymore and I only say that, guys, because we 347 00:19:08,300 --> 00:19:11,300 can, we can spend that will and just get nowhere. 348 00:19:11,300 --> 00:19:15,000 Really, really fast. So, now, back to the performance 349 00:19:15,000 --> 00:19:17,700 part though, do you have some tips in your home studio? 350 00:19:17,700 --> 00:19:19,900 Elizabeth like is going into the Pro Studio. 351 00:19:19,900 --> 00:19:22,200 We talked about, you know, getting into that mindset and 352 00:19:22,200 --> 00:19:24,500 you would do the same here but it's a little different in your 353 00:19:24,500 --> 00:19:26,500 home studio though. I mean, what are some challenges 354 00:19:26,500 --> 00:19:29,400 there? Oh, I love this question so much 355 00:19:29,400 --> 00:19:33,700 because like Transformation that my home studio went through just 356 00:19:33,700 --> 00:19:38,300 like in the past decade I feel like I've I've been in every 357 00:19:38,300 --> 00:19:41,300 scenario where I've tried to make the space. 358 00:19:41,300 --> 00:19:44,300 That was in work somehow and sound good. 359 00:19:45,200 --> 00:19:49,300 Now, I am fortunate enough to have a really good like ISO box. 360 00:19:49,300 --> 00:19:53,100 Hope will booth and and my studio space is treated but that 361 00:19:53,100 --> 00:19:55,800 didn't happen overnight. That's a years of just being 362 00:19:55,800 --> 00:19:59,000 like, this is what I need is, you know, this is good gear. 363 00:19:59,000 --> 00:20:01,700 This is not good gear. This is what I need to make my 364 00:20:01,700 --> 00:20:05,600 stuff sound good and being able to afford it, saving up. 365 00:20:05,600 --> 00:20:09,700 So I did get to that point and that took a long time to get 366 00:20:09,700 --> 00:20:13,400 there, and I'm really confident in the vocal tracks that I can 367 00:20:13,400 --> 00:20:17,300 do in my home studio, but I just get these flashbacks of, like, 368 00:20:17,600 --> 00:20:22,600 when I first started getting into producing my own music at 369 00:20:22,600 --> 00:20:26,700 home, I would go into the closet because all my clothes were in 370 00:20:26,700 --> 00:20:30,300 there. I would get my sm58. 371 00:20:30,600 --> 00:20:32,900 Microphone because it's like all, you know, it's a good 372 00:20:32,900 --> 00:20:35,200 microphone but it was the only microphone I had and it was 373 00:20:35,200 --> 00:20:39,600 affordable so I can get it and I put that in there with my little 374 00:20:39,600 --> 00:20:43,800 folks, right? And I had this mattress is like 375 00:20:43,800 --> 00:20:45,900 a cot. So it was like a thinner twin 376 00:20:45,900 --> 00:20:49,400 size mattress and I just like shoved it in there with me and I 377 00:20:49,400 --> 00:20:53,200 was like cool vocal booth. You know, so get those 378 00:20:53,200 --> 00:20:56,100 mattresses in your closet and make a vocal booth if you have 379 00:20:56,100 --> 00:21:00,900 nothing, just start there because that creativity Really 380 00:21:00,900 --> 00:21:03,900 comes in handy when it's time for you to really build a 381 00:21:03,900 --> 00:21:07,500 serious face for yourself for yourself because things can get 382 00:21:07,500 --> 00:21:10,800 like expensive to. So if you can get creative, you 383 00:21:10,800 --> 00:21:14,700 know, like making your own bass traps, making your own like, you 384 00:21:14,700 --> 00:21:17,900 know, absorption like all that stuff really does come in handy 385 00:21:17,900 --> 00:21:21,500 when it's time for you to build that serious like Studio space. 386 00:21:22,800 --> 00:21:24,700 But yeah, I hope that answers your question. 387 00:21:24,700 --> 00:21:27,600 There's a lot of can say about all of the different types of 388 00:21:28,000 --> 00:21:30,100 treatment I've tried throughout the years. 389 00:21:30,400 --> 00:21:32,600 I love what you mentioned. You know, guys, in here 390 00:21:32,600 --> 00:21:34,000 everybody. Listening right now. 391 00:21:34,500 --> 00:21:37,200 Don't obsess over what you don't have. 392 00:21:37,200 --> 00:21:39,700 Use what you have right? Yes. 393 00:21:40,100 --> 00:21:44,400 Yeah that's absolutely important because that's that's many times 394 00:21:44,400 --> 00:21:47,000 going to be the limiting factor. It's honestly just yourself. 395 00:21:47,500 --> 00:21:49,200 That's preventing it from moving forward. 396 00:21:49,500 --> 00:21:54,400 So if you have that, just focus of saying, this is what I have 397 00:21:54,400 --> 00:21:57,100 and having that just a little creativity like Elizabeth just 398 00:21:57,100 --> 00:22:00,100 mentioned a little bit of creativity, just to get it done. 399 00:22:00,300 --> 00:22:01,900 Right. Yeah, we have the internet 400 00:22:01,900 --> 00:22:03,400 figure out what people are doing, you know. 401 00:22:03,400 --> 00:22:08,100 Yeah yeah. And I think the same thing as 402 00:22:08,100 --> 00:22:11,700 Jason mentioned before of separating the moment of when 403 00:22:11,700 --> 00:22:14,700 you're saying okay I'm in my writing phase or I'm in my 404 00:22:14,700 --> 00:22:19,000 recording phase, you know, those are actually Paramount for 405 00:22:19,100 --> 00:22:23,400 putting it into your mind that this is going to be the take 406 00:22:23,500 --> 00:22:26,600 that you're going to keep. And you have to commit to 407 00:22:26,600 --> 00:22:32,200 saying, this has to be the final version of Because after a 408 00:22:32,208 --> 00:22:36,200 certain point, right? It kind of all gets a little bit 409 00:22:36,200 --> 00:22:40,100 foggy and, you know, you don't really get, everything's a blur 410 00:22:40,100 --> 00:22:41,600 years. It's like what's, what is this 411 00:22:41,600 --> 00:22:44,100 process? You know, you, you meant meld 412 00:22:44,100 --> 00:22:46,800 everything together and it just becomes unclear and then you 413 00:22:46,800 --> 00:22:48,500 just don't know where you kind of stand. 414 00:22:48,500 --> 00:22:52,000 So, you have to, it takes a little bit of, it's a little bit 415 00:22:52,000 --> 00:22:54,500 fearful though, right? Because when you say that, it's 416 00:22:54,500 --> 00:22:59,200 like, oh man, I have to commit to saying, this is my final take 417 00:22:59,400 --> 00:23:01,000 and it's like, yeah, Yeah, you do. 418 00:23:01,400 --> 00:23:04,900 Because at some point, it's got to exit your bedroom and it's 419 00:23:04,900 --> 00:23:06,300 got to be out there in the world. 420 00:23:06,300 --> 00:23:08,800 Right? So you have to say where is the 421 00:23:08,800 --> 00:23:13,300 moment that you just stop and just let it go. 422 00:23:13,600 --> 00:23:18,000 Yeah, that's a big problem for me and like, you can be like, 423 00:23:18,000 --> 00:23:21,000 yeah, this is great after the first take or you can be like, 424 00:23:21,000 --> 00:23:24,800 no, I need 100 more takes and it's okay to have a hundred 425 00:23:24,800 --> 00:23:27,000 takes. I would recommend knowing how to 426 00:23:27,000 --> 00:23:30,000 organize those takes like understanding, how to use a 427 00:23:30,000 --> 00:23:32,500 play. List and not having 100 tracks 428 00:23:32,500 --> 00:23:35,000 open, that's a whole other thing. 429 00:23:36,000 --> 00:23:39,600 But you know, like I know, for example like Billy eilish like 430 00:23:39,600 --> 00:23:43,800 she has 100 takes of the same like vocal Melody and she'll 431 00:23:43,800 --> 00:23:46,900 like put a bunch of them together or splice from like all 432 00:23:46,900 --> 00:23:51,700 of those takes to make one perfect take so figure out your 433 00:23:51,700 --> 00:23:54,100 formula if you want to do it that way. 434 00:23:54,100 --> 00:23:57,300 There's no wrong way to do it. Figure out what works for you 435 00:23:57,700 --> 00:23:59,800 and then just stick to that formula, you know? 436 00:24:00,900 --> 00:24:02,800 No ma'am, I don't know. Say real quick For You, guitar 437 00:24:02,800 --> 00:24:06,400 players out there is we're writing and the writing phase 438 00:24:06,600 --> 00:24:08,600 and your and your the vocalist as well. 439 00:24:09,100 --> 00:24:11,200 This is a mistake. I made last album. 440 00:24:11,400 --> 00:24:15,000 Make sure you can sing and play your songs at the same time. 441 00:24:15,000 --> 00:24:17,000 If you're going to perform them live and I say that because a 442 00:24:17,000 --> 00:24:20,700 lot of times, you know, because we have this luxury of being in 443 00:24:20,700 --> 00:24:23,000 a studio where we can just track our guitars. 444 00:24:23,300 --> 00:24:26,300 You may write you may write The rhythms first and get that out 445 00:24:26,300 --> 00:24:27,400 there. Get that recorded. 446 00:24:27,400 --> 00:24:30,000 Then you may go back and write lyrics to that. 447 00:24:30,000 --> 00:24:32,800 You're Along with it. And I did this on my last album 448 00:24:32,800 --> 00:24:35,900 Masterpiece and there's there's like two parts into songs where 449 00:24:35,900 --> 00:24:38,400 I'm like, crap I'm having a very hard time singing and playing 450 00:24:38,400 --> 00:24:41,800 the same time. So make sure if you plan to go 451 00:24:41,800 --> 00:24:46,000 live with this, in which we encourage you to write, make 452 00:24:46,000 --> 00:24:48,600 sure you can play it and sing at the same time because you might 453 00:24:48,600 --> 00:24:51,100 have to go back to the drawing board on some things when you 454 00:24:51,100 --> 00:24:52,600 start doing that and you find it. 455 00:24:52,600 --> 00:24:55,300 Certain parts are just kind of too hard for you to sing and 456 00:24:55,300 --> 00:24:58,200 play at the same time. Great Point great point. 457 00:24:58,200 --> 00:25:01,500 Because now you're thinking about Just how your writing 458 00:25:01,500 --> 00:25:06,600 affects the live end of this performance because we have all 459 00:25:06,600 --> 00:25:09,800 this overdubbing technology and we forget that, you know, we 460 00:25:09,800 --> 00:25:11,800 actually have to play this at some point for people. 461 00:25:11,800 --> 00:25:17,400 So, don't let that hold you back, either, because I've seen 462 00:25:17,400 --> 00:25:21,500 some incident, I have some students that say, okay, I do 463 00:25:21,500 --> 00:25:25,700 all these cool effects when I record it, like I can't perform 464 00:25:25,700 --> 00:25:27,600 this live. How do I perform this live? 465 00:25:27,600 --> 00:25:32,100 Or if you're if you're recording sounds, so Different from how it 466 00:25:32,100 --> 00:25:34,200 would sound, if it was just you and your guitar. 467 00:25:34,500 --> 00:25:37,000 That's okay. Don't let that hold you back. 468 00:25:37,000 --> 00:25:39,700 If you could figure out how to get the same sound over to the 469 00:25:39,700 --> 00:25:41,700 stage, go for it, if that's what you want. 470 00:25:41,700 --> 00:25:45,200 But if you want like a an exclusive live acoustic version 471 00:25:45,200 --> 00:25:47,700 of the same song, that's pretty cool too. 472 00:25:47,700 --> 00:25:50,400 Because some people want to go out and see like, oh, let's see 473 00:25:50,400 --> 00:25:53,700 what the live performance of the song sounds like, and it's like, 474 00:25:53,700 --> 00:25:56,100 you know, it's something special because it's exclusive for the 475 00:25:56,100 --> 00:25:58,500 stage. So if you can't get that exact 476 00:25:58,500 --> 00:26:00,100 sound, like don't let that hold you back. 477 00:26:00,200 --> 00:26:03,600 Back like work with it, you know like you would you just 478 00:26:03,600 --> 00:26:06,700 mentioned like the like the next project I work on after I finish 479 00:26:06,700 --> 00:26:11,000 the one I'm working on now is my my goal was to write, you know, 480 00:26:11,000 --> 00:26:13,700 a rock and metal album. But also to write the songs in a 481 00:26:13,708 --> 00:26:17,400 manner that I can easily have an acoustic version of those, like, 482 00:26:17,400 --> 00:26:21,100 some song of songs, I've written is kind of difficult to do that. 483 00:26:21,200 --> 00:26:23,500 So, I kind of want to have, and this is me, personally, I'm not 484 00:26:23,500 --> 00:26:26,300 saying you should or shouldn't do this, but like I want an 485 00:26:26,300 --> 00:26:29,200 album where I've got the album in its metal, but I've got an 486 00:26:29,200 --> 00:26:32,200 acoustic version. Every song on that album or most 487 00:26:32,200 --> 00:26:34,600 of them at least. So it's just so cool. 488 00:26:34,700 --> 00:26:36,600 Yeah. I love that like ever. 489 00:26:36,600 --> 00:26:40,000 See like a like a punk band do like a kind of like a reggae 490 00:26:40,000 --> 00:26:42,800 version of their song. I've seen that a few times every 491 00:26:42,800 --> 00:26:45,800 like I used to go see Misfits and like they like totally slow 492 00:26:45,800 --> 00:26:48,700 down like back in like when they would perform b.b. 493 00:26:48,700 --> 00:26:52,600 King's. I forgot what it was but they 494 00:26:52,600 --> 00:26:55,500 slow down a song completely. And like did look kind of their 495 00:26:55,500 --> 00:26:57,700 reggae version of it. I've never heard it in my life 496 00:26:57,700 --> 00:26:59,900 and I just remember that moment being so special because I'm 497 00:26:59,900 --> 00:27:03,900 just Like this is like exclusive for the audience right now, so 498 00:27:03,900 --> 00:27:06,000 that's super cool. You know it's a good mood. 499 00:27:06,900 --> 00:27:09,300 Yeah a lot of bands. Do that to one of my favorite 500 00:27:09,300 --> 00:27:13,200 bands, ghost did a strip down unplugged version of their set 501 00:27:13,200 --> 00:27:17,100 as well but I think that's like that's a total organic thing 502 00:27:17,100 --> 00:27:21,400 that, you know, I respect for have a lot of respect, for a lot 503 00:27:21,400 --> 00:27:24,900 of bands that do that for a small audience to do like an 504 00:27:24,900 --> 00:27:26,300 unplugged version of their acoustic. 505 00:27:26,300 --> 00:27:28,500 Yeah. And if you're said is something 506 00:27:28,500 --> 00:27:31,900 that's like big a gargantuan. With all these types of sounds, 507 00:27:31,900 --> 00:27:34,600 then you know that takes a little bit more planning to do 508 00:27:34,600 --> 00:27:37,100 and that can be kind of tricky to write because like if we're 509 00:27:37,100 --> 00:27:41,200 talking about the other side of the spectrum getting in like all 510 00:27:41,200 --> 00:27:43,900 your samples. Because let's say you're as like 511 00:27:43,900 --> 00:27:47,400 me and Elizabeth, we actually react, some symphonic metal type 512 00:27:47,400 --> 00:27:50,700 of music. So getting that to be 513 00:27:50,800 --> 00:27:54,600 translatable to the live stage will take a lot more planning 514 00:27:54,600 --> 00:27:57,200 and I think you just have to be a little bit more patient. 515 00:27:57,200 --> 00:27:58,900 You have to be a little bit more methodical. 516 00:27:58,900 --> 00:28:02,000 You have to acquire are certain pieces of gear to make that 517 00:28:02,000 --> 00:28:02,600 happen? Yeah. 518 00:28:02,600 --> 00:28:06,700 Like dolls and synthesizers and yeah, it's got a like yeah, 519 00:28:07,300 --> 00:28:12,100 creative with that 100%. And and that that becomes like 520 00:28:12,100 --> 00:28:16,800 a, an entire technical hurdle that has to be accomplished. 521 00:28:17,200 --> 00:28:20,000 Hmm, I have a question regarding that and you guys are the 522 00:28:20,000 --> 00:28:22,600 perfect ones to answer this because you know how America 523 00:28:22,600 --> 00:28:24,800 symphonic metal and Elizabeth. I know you do a lot of that as 524 00:28:24,800 --> 00:28:27,400 well. Can you get by? 525 00:28:27,400 --> 00:28:30,100 You know, we're talking about, okay, here's what's on the CD. 526 00:28:30,300 --> 00:28:33,400 When I sound old the album because people don't do CD, some 527 00:28:33,400 --> 00:28:36,900 people listen to CDs still, but here's on the album. 528 00:28:37,000 --> 00:28:41,100 Yeah, I do too sometimes. Here's what's on the album, but 529 00:28:41,100 --> 00:28:43,400 we're going to perform the live version of it. 530 00:28:43,400 --> 00:28:45,600 And I always think the live version is going to be a little 531 00:28:45,600 --> 00:28:47,200 different anyway. You're gonna have some nuances 532 00:28:47,200 --> 00:28:50,900 and caveats and things, but can you pull off, symphonic metal? 533 00:28:50,900 --> 00:28:53,900 If you have a keyboard player, connect keyboard player, maybe 534 00:28:53,900 --> 00:28:55,400 with two or three different keyboards. 535 00:28:55,600 --> 00:28:59,100 Pull that off without having to play with any tracks or any 536 00:28:59,100 --> 00:29:01,200 effects. Or sound effects that you would 537 00:29:01,208 --> 00:29:03,300 have to bring in outside of the band. 538 00:29:03,300 --> 00:29:05,100 Is that possible and what it sound good. 539 00:29:06,200 --> 00:29:11,600 Yeah I think I'll go for it. Can I mean my simple answer is 540 00:29:11,600 --> 00:29:14,300 it depends on how the song was written with a keyboardist in 541 00:29:14,300 --> 00:29:18,700 mind. Because if your intention was 542 00:29:18,700 --> 00:29:22,100 that this was going to be played by keyboardist, those symphonic 543 00:29:22,100 --> 00:29:25,200 elements tend to be a little bit more simpler so that in 544 00:29:25,200 --> 00:29:27,000 keyboardist can actually do that. 545 00:29:27,100 --> 00:29:29,700 Like for example Nightwish they do a lot of this stuff. 546 00:29:30,300 --> 00:29:34,100 Where they'll actually do you know kind of segmented orchestra 547 00:29:34,100 --> 00:29:37,400 leader instrumentation where you know, one sections kind of like 548 00:29:37,400 --> 00:29:41,100 highlighting more strings and then maybe two at a time, if 549 00:29:41,100 --> 00:29:42,800 anything? Because you'll have two 550 00:29:42,800 --> 00:29:45,000 different tambor's that you can play with two hands. 551 00:29:45,300 --> 00:29:49,000 You know, ones like brass one strings, or one Squire, one 552 00:29:49,000 --> 00:29:52,200 strings, or something like that. And that can be a way that they 553 00:29:52,200 --> 00:29:54,900 can imbue the to on a live performance. 554 00:29:54,900 --> 00:29:59,000 But bands like, you know, Children of Bodom or more 555 00:29:59,000 --> 00:30:04,300 specifically, Like keyboard Centric type of sounds that 556 00:30:04,700 --> 00:30:09,100 emulate symphonic stuff, but they're not symphonic, like 557 00:30:09,100 --> 00:30:13,500 orchestral Arrangements. Per se a bad like Nightwish is 558 00:30:13,500 --> 00:30:17,800 much more orchestral first and then it's symphonic. 559 00:30:18,100 --> 00:30:21,300 I'm keyboards are kind of secondary to that and most of 560 00:30:21,308 --> 00:30:24,600 the time, the keyboard is playing like an actual piano 561 00:30:24,600 --> 00:30:29,000 sound and an accompaniment to the orchestral, sounds and side 562 00:30:29,000 --> 00:30:31,600 note. I know for a fact night which 563 00:30:31,600 --> 00:30:35,300 does play with playback tracks in order to get those sounds out 564 00:30:35,300 --> 00:30:37,700 on stage, right? And they imbue that with the 565 00:30:37,700 --> 00:30:40,500 keyboard is as they're playing and, you know, they'll do the 566 00:30:40,500 --> 00:30:43,500 things that are live that are like, you know, embellishments 567 00:30:43,500 --> 00:30:46,800 and stuff like that to flavor it up and all that good stuff. 568 00:30:47,600 --> 00:30:51,900 I love my wishes favorite band. So so can do they have like a 569 00:30:51,900 --> 00:30:53,900 click track to start and song because obviously you have to be 570 00:30:53,900 --> 00:30:55,600 in time. Was that track who? 571 00:30:55,600 --> 00:30:57,300 Yes I guess the drummer has a click track in there or the 572 00:30:57,300 --> 00:30:59,300 whole being has it in there in tears or something like that. 573 00:30:59,300 --> 00:31:02,000 Yeah, so yeah. Yeah, at a band like night which 574 00:31:02,000 --> 00:31:04,300 would definitely play Within ears and you'll have their 575 00:31:04,300 --> 00:31:08,200 monitor engineer, be someone separate, and you actually have 576 00:31:08,200 --> 00:31:12,100 a playback technician, who accompanies the monitors, and 577 00:31:12,100 --> 00:31:15,500 the front-of-house purely operates, the DAW. 578 00:31:15,800 --> 00:31:19,700 And basically, it's like, okay, once they receive the signal, 579 00:31:19,700 --> 00:31:22,600 they press the play button and that play button triggers to 580 00:31:22,600 --> 00:31:26,200 click track, that counts them off into the song. 581 00:31:27,100 --> 00:31:30,100 That's interesting, man. This is because again, there's 582 00:31:30,200 --> 00:31:32,200 My favorite bands. I've seen them live several 583 00:31:32,200 --> 00:31:33,800 times. I'm waiting for them to come 584 00:31:33,800 --> 00:31:35,800 back to Tampa Orlando area here soon. 585 00:31:35,800 --> 00:31:37,700 I hope. Anyway, nice, but thanks for 586 00:31:37,700 --> 00:31:39,700 that because that was always wondered about that. 587 00:31:39,700 --> 00:31:43,500 I know there was there were some article or video or whatever. 588 00:31:43,500 --> 00:31:46,600 I don't remember the name of the band, but their laptops went 589 00:31:46,600 --> 00:31:48,100 down. So they couldn't even play the 590 00:31:48,100 --> 00:31:51,100 show, and I'm just wondering what bands would do. 591 00:31:51,100 --> 00:31:53,400 I obviously Nightwish has probably got a backup for 592 00:31:53,400 --> 00:31:54,700 everything. I don't think they would ever 593 00:31:54,700 --> 00:31:57,400 have that issue, but you're a small band, let's say you're a 594 00:31:57,400 --> 00:32:00,400 small symphonic, metal band and you know, you've got to Show. 595 00:32:00,400 --> 00:32:03,300 But all of a sudden. Okay, you're backing traps for 596 00:32:03,300 --> 00:32:05,300 whatever reason. You have, no way to play them. 597 00:32:05,300 --> 00:32:09,500 Your laptop goes down your dog. Dropped in the water dog ate at 598 00:32:09,500 --> 00:32:10,700 something like that. What would you do? 599 00:32:10,900 --> 00:32:16,700 I got a this is a great question because as you know I know you 600 00:32:16,700 --> 00:32:18,700 guys have known but you know, for other people who haven't 601 00:32:18,700 --> 00:32:20,400 heard about my background, I used to work on Good Morning 602 00:32:20,400 --> 00:32:24,700 America which was right all broadcast and we always, always 603 00:32:24,700 --> 00:32:28,400 always had a backup to the artist. 604 00:32:28,400 --> 00:32:32,000 So what they would do is many times the artist would bring 605 00:32:32,000 --> 00:32:35,000 their own laptop, right? And sometimes they were bring 606 00:32:35,000 --> 00:32:40,600 to, but we already know computers are very finicky and 607 00:32:40,600 --> 00:32:43,000 Pro Tools, it's even more finicky. 608 00:32:44,300 --> 00:32:46,800 And that's what that's most of the most of the time, the data 609 00:32:46,800 --> 00:32:51,900 that were using Burleigh show. So what we would also do is, we 610 00:32:51,900 --> 00:32:55,900 would say, okay, that's lovely. We love that you have your own 611 00:32:55,900 --> 00:32:58,800 backing track. We want you to give us a bounce 612 00:32:58,800 --> 00:33:03,000 and give us a copy, so that we have it on our own computer 613 00:33:03,000 --> 00:33:07,200 where we're actually recording it and we're going to have it as 614 00:33:07,200 --> 00:33:11,300 a standby play button. So that if something goes wrong 615 00:33:11,300 --> 00:33:14,000 on your end, we still have a copy that works. 616 00:33:14,000 --> 00:33:17,600 So it's, you know, this can be something that you can do. 617 00:33:17,600 --> 00:33:20,500 Very, very simply. There's a, you know, you have 618 00:33:20,500 --> 00:33:24,500 your, let's say you have your fully fleshed-out version on 619 00:33:24,500 --> 00:33:26,300 your dog that you want to set for your live show. 620 00:33:26,300 --> 00:33:30,200 That's great. Now also have a separate device, 621 00:33:30,200 --> 00:33:33,600 that's not just a computer, but there are actual, you know, just 622 00:33:33,600 --> 00:33:36,800 let's say devices were it's just a playback device. 623 00:33:37,500 --> 00:33:42,600 You put in a little flash drive, it has the track, you know, on 624 00:33:42,600 --> 00:33:46,500 one end in mono and the other side is a click track and so you 625 00:33:46,500 --> 00:33:49,000 have your left and right, right? And you just send that out to 626 00:33:49,000 --> 00:33:51,800 your, to your console as a backup, right? 627 00:33:51,800 --> 00:33:56,000 So if that goes down the main playback track system, you have 628 00:33:56,000 --> 00:33:59,100 another set device. Just says okay no worries, 629 00:33:59,300 --> 00:34:02,300 here's a mono source of just everything that we did because 630 00:34:02,300 --> 00:34:05,100 honestly in live you can get away with mono because 631 00:34:05,100 --> 00:34:08,800 everything has to come out to the speakers in a way that the 632 00:34:08,800 --> 00:34:11,900 entire audience can hear so Manos, a great solution for 633 00:34:11,900 --> 00:34:14,100 them. So you have mono for all your 634 00:34:14,100 --> 00:34:16,100 orchestral stuff. And the other side is just your 635 00:34:16,100 --> 00:34:17,600 Clique, which only goes to the bank. 636 00:34:18,000 --> 00:34:20,100 And then, there you go, you're all set to go. 637 00:34:20,100 --> 00:34:22,100 You're like, no even know hiccup at all. 638 00:34:22,100 --> 00:34:24,500 Yes, you don't have all the intricacies of, you know, 639 00:34:24,500 --> 00:34:27,300 balancing the mix. But would you rather not Have a 640 00:34:27,308 --> 00:34:31,000 show you have that backup down to a science where it's just 641 00:34:31,000 --> 00:34:34,800 like, oh other stuff went down with the fader and it's like 642 00:34:34,800 --> 00:34:39,300 it's smooth right? No freaking out back here you 643 00:34:39,308 --> 00:34:44,000 got you covered. Ya know cuz like love that lives 644 00:34:44,000 --> 00:34:47,000 will live sound is the keyword to life sound has always been 645 00:34:47,000 --> 00:34:52,000 redundancy so and this is like, you know, you can you know put 646 00:34:52,000 --> 00:34:54,500 this into the concept of somebody who's just performing 647 00:34:54,500 --> 00:34:57,100 right redundantly right? Just keep practicing. 648 00:34:57,200 --> 00:34:59,900 I'm practicing until you got to a point, you're so comfortable 649 00:35:00,300 --> 00:35:02,800 that you get to on stage and you can execute. 650 00:35:02,800 --> 00:35:05,200 But you know, if you're going to do something, that is a little 651 00:35:05,200 --> 00:35:08,400 more sophisticated, that needs a more complicated set of because 652 00:35:08,400 --> 00:35:11,300 of the style of music that you're playing, well, you need 653 00:35:11,300 --> 00:35:15,700 to make sure that you have a backup to the backup so that you 654 00:35:15,700 --> 00:35:18,800 can continue to perform the same concept. 655 00:35:18,800 --> 00:35:20,900 But, you know, I play with the wireless and it is just a 656 00:35:20,900 --> 00:35:23,000 simplify everything for everyone listening. 657 00:35:23,000 --> 00:35:26,600 I play with the wireless on stage, but if something were to 658 00:35:26,600 --> 00:35:28,500 happen, And that wireless craps out. 659 00:35:28,500 --> 00:35:31,300 Well, I can reach over my bag and I've got a cable and 660 00:35:31,300 --> 00:35:32,300 actually got more than one cable. 661 00:35:32,300 --> 00:35:37,100 So like I said, back up on top of a backup, guys, I want to 662 00:35:37,100 --> 00:35:42,800 switch gears over to who Elizabeth favorite vocalist is 663 00:35:43,100 --> 00:35:45,300 and why. Okay? 664 00:35:45,600 --> 00:35:47,700 Cool. I have two that come to mind 665 00:35:48,300 --> 00:35:50,400 difficult question obviously because there's so much out 666 00:35:50,400 --> 00:35:57,500 there for different reasons to but Mike Patton and Devin And 667 00:35:57,500 --> 00:35:59,700 have always been two of my favorites. 668 00:36:00,100 --> 00:36:04,700 Nice, those are awesome. What reasons Obadiah? 669 00:36:04,700 --> 00:36:07,600 And I went what gets to you like, you know, in here, in 670 00:36:07,607 --> 00:36:09,800 those, in hearing, their voices, or performance, or whatever. 671 00:36:10,800 --> 00:36:15,100 Thank like, it has to be like the, the first to CDs I ever 672 00:36:15,100 --> 00:36:17,000 bought. When I had my first car, it just 673 00:36:17,000 --> 00:36:20,000 hit me right in the right age the right time that point of 674 00:36:20,000 --> 00:36:25,200 like Freedom you know, my first to CDs was the mr. 675 00:36:25,200 --> 00:36:30,300 Bungle self-titled album. Um, and then Addicted by Devin 676 00:36:30,300 --> 00:36:34,000 Townsend, and I just have it memorized. 677 00:36:34,600 --> 00:36:37,400 And also Mudvayne to that was like a CD that I have that 678 00:36:37,400 --> 00:36:39,700 memorized to those like the three CDs I had. 679 00:36:39,700 --> 00:36:42,800 And I played them on a loop in my, in my little car, back in 680 00:36:42,800 --> 00:36:47,700 the day, and there's a something like, you know, for different 681 00:36:47,700 --> 00:36:51,700 reasons like Mike Patton. I just love like his stage / 682 00:36:52,500 --> 00:36:57,000 Persona so much, and he's just so weird. 683 00:36:57,200 --> 00:37:01,800 And he inspired me to be like, okay, I'm a musician and I like 684 00:37:01,800 --> 00:37:04,800 to try different things. I'm not going to confine myself 685 00:37:04,800 --> 00:37:07,300 to one sound. I feel like doing this kind of 686 00:37:07,300 --> 00:37:10,400 album album, I feel like doing this kind of album, like every 687 00:37:10,400 --> 00:37:14,600 one of his albums could be ever have like a month where you just 688 00:37:14,600 --> 00:37:17,100 go through his whole discography, you're going to. 689 00:37:17,100 --> 00:37:18,800 It's all different types of stuff. 690 00:37:18,800 --> 00:37:21,100 And that's what I really like about it because it inspired me 691 00:37:21,100 --> 00:37:24,200 to be like, oh, I like so many different types of music. 692 00:37:24,200 --> 00:37:27,000 I'm like, a hybrid of many things I can try. 693 00:37:27,100 --> 00:37:30,000 I different things, if I want to, you know, I'm not confined 694 00:37:30,000 --> 00:37:33,600 to just being a part of like one band and only doing this like, 695 00:37:33,600 --> 00:37:37,700 genres for the rest of my life or do what people like expect 696 00:37:37,700 --> 00:37:41,500 from me quote unquote, because that's not real, you know, I can 697 00:37:41,600 --> 00:37:44,500 try different things, so he really inspired me to do that, 698 00:37:44,500 --> 00:37:47,600 and I just always really enjoyed his music so much and his 699 00:37:47,600 --> 00:37:50,000 interviews from the 90s are hilarious. 700 00:37:50,900 --> 00:37:54,800 And then Devin Townsend. Like his stage performance is 701 00:37:54,800 --> 00:37:58,500 just like Dad jokes. And then he just comes out with 702 00:37:58,500 --> 00:38:02,800 these like Godly vocals and crazy guitar riffs, and all of 703 00:38:02,808 --> 00:38:05,800 his music is very just like euphoric and a huge like 704 00:38:05,800 --> 00:38:08,400 inspiration to like the stuff I could post today. 705 00:38:08,700 --> 00:38:11,200 So yeah those are two very important. 706 00:38:11,500 --> 00:38:16,000 People is this shit in my life. Devin Devin is amazing. 707 00:38:16,000 --> 00:38:20,400 He's kind of like you saw in his to like even more and I love 708 00:38:20,400 --> 00:38:24,400 that for him. Yeah, and I feel like he's kind 709 00:38:24,400 --> 00:38:27,000 of if he's kind of he's on the fine. 710 00:38:27,100 --> 00:38:31,100 Kind of signed artist versus Independent Artists on a fine 711 00:38:31,100 --> 00:38:36,200 line there, but he's really at the Pinnacle of what like what 712 00:38:36,200 --> 00:38:39,100 an independent person can really do with their career. 713 00:38:39,100 --> 00:38:45,000 Yeah, you know, and passed with his own label and I just I 714 00:38:45,000 --> 00:38:49,500 really see that like blowing up like in the best way for him. 715 00:38:49,500 --> 00:38:52,400 Like he's kind of like reaching a point that maybe he's always 716 00:38:52,400 --> 00:38:56,900 wanted to reach his music career and yeah it's so cool. 717 00:38:57,100 --> 00:38:59,200 Of that problem too and path. It's so good. 718 00:38:59,200 --> 00:39:01,800 I recommend it. Yeah, yeah. 719 00:39:01,900 --> 00:39:06,000 And Mike Patton is, he's also a record label owner to, right? 720 00:39:06,000 --> 00:39:06,800 Yeah, yeah. Yeah. 721 00:39:06,800 --> 00:39:10,000 He is. He's got a lot of, you know, 722 00:39:10,000 --> 00:39:12,800 kind of a lot of different multifaceted talents around that 723 00:39:12,800 --> 00:39:14,600 guy. He's pretty incredible to a mr. 724 00:39:14,600 --> 00:39:19,700 Buggs, amazing band. Yeah, what about you Jason? 725 00:39:19,700 --> 00:39:20,700 What are you in? Yeah. 726 00:39:20,700 --> 00:39:23,800 What's yours, like the first thing? 727 00:39:23,800 --> 00:39:26,100 Because this changes from day to day, right? 728 00:39:26,100 --> 00:39:27,700 And you're like, I love Of this day. 729 00:39:27,700 --> 00:39:29,900 I love that tomorrow. Of course, I'm a big Nightwish 730 00:39:29,900 --> 00:39:33,600 fan, and I love floor jansen's vocals, but one of my favorite 731 00:39:33,600 --> 00:39:37,200 vocalists, it comes to mind is Tony kakko from Sonata Arctica. 732 00:39:37,800 --> 00:39:39,800 He's just he's all over the place. 733 00:39:39,800 --> 00:39:43,800 I love his vocals, but he also has a lot of personality and 734 00:39:43,800 --> 00:39:45,500 character behind his voice as well. 735 00:39:45,600 --> 00:39:48,500 You know, you've got a lot of phenomenal vocalist out there 736 00:39:48,500 --> 00:39:52,400 and not taking anything away from anyone, but sometimes they 737 00:39:52,400 --> 00:39:54,900 can kind of just sound the same. It's like, okay, you've got a 738 00:39:54,900 --> 00:39:56,900 really amazing high voice. Hi range and all that. 739 00:39:57,600 --> 00:40:02,300 But Tony has this unique sound to his vocals and it's almost 740 00:40:02,300 --> 00:40:05,500 like he's telling you a story but he's he's got the range and 741 00:40:05,500 --> 00:40:08,800 all that good stuff as well and he's got the accent to their 742 00:40:08,800 --> 00:40:11,400 finished band. But yeah I love them and I love 743 00:40:11,400 --> 00:40:15,000 Tom England from Evergreen, he's one of my favorite vocalist as 744 00:40:15,000 --> 00:40:17,700 well. His music is just I don't know. 745 00:40:17,700 --> 00:40:19,700 It's just one of a kind. It's almost like he created his 746 00:40:19,700 --> 00:40:23,100 own genre with Evergreen. Wow. 747 00:40:23,100 --> 00:40:25,900 Those are some of my things give you what I guess. 748 00:40:25,900 --> 00:40:28,800 Like, what age where you at? That when you really got into 749 00:40:28,800 --> 00:40:31,700 them because I feel like that plays like a role in it too. 750 00:40:32,200 --> 00:40:34,400 It does. And you would think that that's 751 00:40:34,400 --> 00:40:37,100 when I got into metal. But remember, guys, I'm older, 752 00:40:37,800 --> 00:40:39,400 I'll be 48 this month by the way. 753 00:40:39,400 --> 00:40:43,700 It is. So like I grew up with the old 754 00:40:43,700 --> 00:40:47,100 Metallica Satriani. Still one of my favorite guitar 755 00:40:47,100 --> 00:40:48,500 players. Of course, I love head feels 756 00:40:48,500 --> 00:40:51,700 voice and you know, Slayer, you know, Dave Mustaine all those 757 00:40:51,700 --> 00:40:54,700 guys, but I got into more of the European metal. 758 00:40:55,200 --> 00:40:59,700 It was probably around. I want to say the mid 2000's, 759 00:41:00,100 --> 00:41:03,300 one of my close friends introduced me to I believe a 760 00:41:03,308 --> 00:41:06,900 snot Arctica and I want to see them live their here in Tampa, 761 00:41:06,900 --> 00:41:09,400 this is yeah. Sometime in the mid 2000s and I 762 00:41:09,400 --> 00:41:13,400 really started getting more into bands like archenemy Amon Amarth 763 00:41:14,100 --> 00:41:16,300 like, said ever grace. Not a night, wish to lay. 764 00:41:16,300 --> 00:41:17,000 Nice. Didn't want us. 765 00:41:17,000 --> 00:41:18,800 All night. Wish I was really hooked. 766 00:41:18,800 --> 00:41:22,800 I'm like, whoa, delaying open up for them and I never heard the 767 00:41:22,800 --> 00:41:25,300 lane before and I'm like, okay, so I started digging into them 768 00:41:25,600 --> 00:41:30,000 and it just opened this This new world of more, the European 769 00:41:30,000 --> 00:41:31,900 metal. Yeah, okay, so it's more 770 00:41:31,900 --> 00:41:34,800 introductory to this new genre, the only reason why I asked 771 00:41:34,800 --> 00:41:38,400 about like the age thing is because, like, I noticed that 772 00:41:38,400 --> 00:41:42,000 the music that you really like binge, like, from like your 773 00:41:42,000 --> 00:41:44,800 early 20s. Like, I guess like those years 774 00:41:44,800 --> 00:41:47,700 and your first like, really, like an adult and you're kind of 775 00:41:47,700 --> 00:41:50,800 more free. They really stick with you or at 776 00:41:50,800 --> 00:41:56,500 least they like, Inspire the music that you, you know, are 777 00:41:56,500 --> 00:41:59,900 into You get older to, it's kind of like the foundation of the 778 00:41:59,900 --> 00:42:04,200 things that you enjoy, you know. That that's why I asked that. 779 00:42:04,200 --> 00:42:07,100 Those are like typical years to really know you're right? 780 00:42:07,100 --> 00:42:10,800 I still love all the time bands, so I was into the Hair Band. 781 00:42:10,800 --> 00:42:13,100 So, you know, the Metallica Slayer but also, you know, 782 00:42:13,100 --> 00:42:15,900 weren't and Def Leppard and all those bands, Bon Jovi. 783 00:42:15,900 --> 00:42:18,000 I love Bon Jovi. I mean, I admit it Angelo. 784 00:42:18,000 --> 00:42:22,400 Yeah, are nostalgic to you. There are, you know, and I get 785 00:42:22,400 --> 00:42:24,800 why some people might say they're cheesy, but I see a 786 00:42:24,808 --> 00:42:27,400 different perspective I guess. And again a lot of It just kind 787 00:42:27,400 --> 00:42:29,100 of like it's what I was rooted in. 788 00:42:29,107 --> 00:42:32,000 So it's funny you ask that though and that's that's great 789 00:42:32,000 --> 00:42:34,500 because I do love all that stuff and I still listen to it this 790 00:42:34,500 --> 00:42:36,200 day. Actually, I cover a lot of hair 791 00:42:36,200 --> 00:42:39,900 band stuff even though I have no here at my live acoustic shows, 792 00:42:39,900 --> 00:42:43,700 I'll do an acoustic version but but the European metal, I find 793 00:42:43,700 --> 00:42:47,300 myself kind of writing. As I as I write music, is more 794 00:42:47,300 --> 00:42:51,000 of a mix between that, and in some of the older stuff as well. 795 00:42:51,000 --> 00:42:53,300 So it's, you know, we talked about this last week when you 796 00:42:53,300 --> 00:42:57,700 were saying how important it is Ellie to, to really Find your 797 00:42:57,700 --> 00:42:59,500 own style and we talked about that. 798 00:42:59,500 --> 00:43:01,800 Can that's what metal Mastermind is all about guys. 799 00:43:01,800 --> 00:43:04,300 We want you, everybody listening to this right now. 800 00:43:04,500 --> 00:43:08,000 We want you to develop your own style and sound, don't chase 801 00:43:08,000 --> 00:43:11,600 someone else's, it's already done, just find your own and 802 00:43:11,600 --> 00:43:14,400 develop your own. So all that said that kind of 803 00:43:14,408 --> 00:43:16,800 comes through the influences that we've had. 804 00:43:16,800 --> 00:43:18,500 Yeah, absolutely. Haven't you can? 805 00:43:19,900 --> 00:43:24,400 Good question. I tend to gravitate towards more 806 00:43:24,400 --> 00:43:26,400 Prague on this side of the spectrum. 807 00:43:26,400 --> 00:43:29,500 When it comes to Vocalist. I think one of my favorite is 808 00:43:29,500 --> 00:43:33,400 Neal Morse to be honest. Yeah, Neal Morse is so good. 809 00:43:33,400 --> 00:43:37,000 I love Neal Morse. Yeah, very, very musical 810 00:43:37,800 --> 00:43:39,900 vocalist. He's got a lot of there's a lot 811 00:43:39,900 --> 00:43:42,400 of Christian rock right. He does do a lot of Christian 812 00:43:42,400 --> 00:43:45,200 rock and I'm not necessarily a hardcore. 813 00:43:45,200 --> 00:43:48,100 Christian at all. I'm more agnostic than anything 814 00:43:48,100 --> 00:43:52,200 else, but it's just, I love the. The tonal tamper in control of 815 00:43:52,200 --> 00:43:54,800 his voice. I think it's a very, he's very 816 00:43:54,800 --> 00:43:56,900 easy to listen to. And, you know, you can kind of 817 00:43:57,000 --> 00:44:00,100 He's kind of swallowed up and is in his technique. 818 00:44:00,400 --> 00:44:04,300 But another person that I like to listen to is also Simone 819 00:44:04,300 --> 00:44:10,200 Simmons from Epica. Jesus very very operatic, you 820 00:44:10,207 --> 00:44:14,600 know sort of like soaring type of vocals and she's got like 821 00:44:15,400 --> 00:44:17,600 perfect technique because she's like an opera singer and all 822 00:44:17,600 --> 00:44:20,100 this kind of stuff. So it's easy to just like be 823 00:44:20,100 --> 00:44:28,800 wowed and yeah I think in terms of You know, even like heavier 824 00:44:28,800 --> 00:44:34,700 type of vocals, I'm a big fan of, I don't know his name off 825 00:44:34,700 --> 00:44:36,900 the top of my head, but I really love the vocalist from 826 00:44:36,900 --> 00:44:39,200 amorphous. Yes. 827 00:44:39,200 --> 00:44:43,400 Dude, he has like this, like really like hard-hitting, like 828 00:44:43,400 --> 00:44:47,000 growl type of vocals that just like, kind of hit you in the 829 00:44:47,000 --> 00:44:49,100 gut. I don't know if it's necessarily 830 00:44:49,100 --> 00:44:51,400 guttural, but it's just like it's very deep. 831 00:44:51,400 --> 00:44:55,200 And it's very, very forward, but very controlled. 832 00:44:55,200 --> 00:44:58,200 It's kind of similar to Singer from OPEC s. 833 00:44:59,000 --> 00:45:02,200 He's also he's another great vocalist who also has like this 834 00:45:02,200 --> 00:45:06,100 Dynamic Talent of being able to growl and also sing like these 835 00:45:06,100 --> 00:45:10,600 beautiful melodic Melodies. That's who is why I love the 836 00:45:10,600 --> 00:45:13,500 workbook in my corset. Like really makes you talk about 837 00:45:13,500 --> 00:45:17,700 the music that like inspires you because its first of all, it's 838 00:45:17,700 --> 00:45:22,100 just so fun to talk about. Like I just saw your eyes light 839 00:45:22,100 --> 00:45:27,100 up when you talk about like you know, the style of vocals You 840 00:45:27,100 --> 00:45:29,400 know it's like a fun conversation you could really 841 00:45:29,400 --> 00:45:32,900 figure out what you like and what makes up the music that you 842 00:45:32,900 --> 00:45:38,100 create from your inspiration. Do you know its own podcast to? 843 00:45:38,100 --> 00:45:40,100 I can go. There's like 10 other musicians 844 00:45:40,100 --> 00:45:44,700 in my head now and I think we can we can do this again as 845 00:45:44,700 --> 00:45:50,100 well. Yeah, your course, I real quick 846 00:45:50,100 --> 00:45:53,600 so metal. Vocal virtuoso, guys, that is on 847 00:45:53,600 --> 00:45:55,500 metal. Mastermind.com go to the 848 00:45:55,500 --> 00:45:59,100 website, middle Mastermind, Come click on courses and you'll see 849 00:45:59,100 --> 00:46:02,800 all over courses, but scroll down and find metal vocal 850 00:46:02,800 --> 00:46:06,500 virtuoso that courses out there. It is help so many other 851 00:46:06,500 --> 00:46:10,100 vocalists, not only get better at singing but really find their 852 00:46:10,100 --> 00:46:12,000 own voice. And, like we said before, guys, 853 00:46:12,000 --> 00:46:14,800 this is what this is all about. It's all about helping you 854 00:46:14,800 --> 00:46:18,000 develop your own style and be your absolute best and Elizabeth 855 00:46:18,000 --> 00:46:21,600 you do a phenomenal job of doing that in that cork you. 856 00:46:22,100 --> 00:46:24,400 So, hung over there and Elizabeth you do coaching on 857 00:46:24,400 --> 00:46:26,700 metal Mastermind as well, so that that's not him. 858 00:46:27,100 --> 00:46:29,700 The coaching goes hand-in-hand with the course I think I really 859 00:46:29,700 --> 00:46:32,900 want to like see you guys get to know you and figure out where 860 00:46:32,900 --> 00:46:35,900 you're at, purchasing purchasing the course. 861 00:46:35,900 --> 00:46:39,400 And you know, just wanna meet you guys and help you out along 862 00:46:39,400 --> 00:46:42,600 the way as much as I can. So the coaching is, were to do 863 00:46:42,600 --> 00:46:44,300 that, for sure. Yeah. 864 00:46:44,300 --> 00:46:47,700 Coaching is very much kind of this ongoing learning. 865 00:46:47,700 --> 00:46:51,500 So if you're like at a point where you've kind of taken the 866 00:46:51,500 --> 00:46:54,600 course, or if you haven't taken the course, but you're like I 867 00:46:54,600 --> 00:46:56,800 still feel like I need something that's a little more. 868 00:46:57,000 --> 00:46:59,300 Or to specifically trying to do that. 869 00:46:59,300 --> 00:47:01,500 I think it makes perfect sense. Yeah. 870 00:47:01,500 --> 00:47:05,600 Anything it definitely makes the whole experience a lot more 871 00:47:05,600 --> 00:47:08,100 one-on-one and personal for sure. 872 00:47:08,800 --> 00:47:12,200 Yeah. So guys head over to Middle 873 00:47:12,200 --> 00:47:16,400 Mastermind.com grab Elizabeth's course middle vocal virtuoso. 874 00:47:16,400 --> 00:47:19,200 And again she also does one-on-one lessons as well. 875 00:47:20,100 --> 00:47:23,800 My personal take I like the idea of getting the course and going 876 00:47:23,800 --> 00:47:26,700 through those Basics and in scheduling a call with a little 877 00:47:26,700 --> 00:47:29,600 bit, With and getting on her calendar because then you've 878 00:47:29,600 --> 00:47:31,200 kind of got some of the foundation. 879 00:47:31,200 --> 00:47:34,000 So when you meet you, maybe you're a little bit further 880 00:47:34,000 --> 00:47:37,500 ahead, right? Yeah, exactly really figure out. 881 00:47:37,500 --> 00:47:40,200 Oh, I need more improvement with this and make a note of it. 882 00:47:40,200 --> 00:47:41,900 And then we can kind of chat about it. 883 00:47:42,000 --> 00:47:45,000 Whatever it is that you think you need, you know, I'm here for 884 00:47:45,000 --> 00:47:48,200 you. That's perfect. 885 00:47:48,300 --> 00:47:50,600 Well, Ellie, thank you so much for being on. 886 00:47:50,600 --> 00:47:52,000 It's always a pleasure to have you on. 887 00:47:52,500 --> 00:47:56,300 Thank you, we appreciate it. And guys, until the next 888 00:47:56,300 --> 00:47:58,500 episode, Thank you, by the way, for being a part of metal 889 00:47:58,500 --> 00:48:00,200 Mastermind. All of you listening right now, 890 00:48:00,200 --> 00:48:03,500 we appreciate that until the next episode, remember to always 891 00:48:03,500 --> 00:48:05,200 create your own sound.