1 00:00:07,080 --> 00:00:09,040 Hi everybody and welcome to another episode of Metal 2 00:00:09,040 --> 00:00:12,080 Mastermind. I am your host Ken Candelas and 3 00:00:12,080 --> 00:00:13,920 I have with me of course my Co host. 4 00:00:14,000 --> 00:00:16,720 Elizabeth Candelas. And this is beautiful. 5 00:00:16,720 --> 00:00:23,080 I love doing a podcast with you. So for you guys who are watching 6 00:00:23,080 --> 00:00:28,680 on a stream here with Spotify or if you are a member of our 7 00:00:28,680 --> 00:00:31,920 YouTube platform form, you'll get actually exclusive access to 8 00:00:31,920 --> 00:00:35,800 seeing videos of the podcast. We are here to talk with 9 00:00:35,800 --> 00:00:37,240 Elizabeth today. A little bit more on the 10 00:00:37,240 --> 00:00:40,320 personal side because I feel like this would be a very, very 11 00:00:40,320 --> 00:00:45,680 relevant thing for you as the listener and for those of you 12 00:00:45,680 --> 00:00:47,480 who are especially creating music. 13 00:00:48,440 --> 00:00:52,680 This is something that I feel is important to share. 14 00:00:53,160 --> 00:00:57,480 Sometimes when it comes to music creation, we always see like 15 00:00:57,480 --> 00:01:02,560 what's on the final product. We don't see what went on behind 16 00:01:02,560 --> 00:01:04,720 the scenes. For those of you who have been 17 00:01:04,720 --> 00:01:07,120 following me for a while, you guys know that I've been working 18 00:01:07,120 --> 00:01:11,640 on Home Eric for 10 years to get it to the point of release. 19 00:01:11,640 --> 00:01:13,560 And that's a lot of work to do that. 20 00:01:13,920 --> 00:01:17,320 But Ellie has actually been working on her project for 21 00:01:17,320 --> 00:01:19,200 longer than I have been working on Home Eric. 22 00:01:19,560 --> 00:01:23,400 And I wanted to ask Ellie a little bit of that side of her 23 00:01:23,640 --> 00:01:27,560 just to sort of help you guys with a little bit of context, 24 00:01:27,560 --> 00:01:30,680 but also to understand that this is a journey, right? 25 00:01:30,720 --> 00:01:33,720 Making your own music, creating your own sound. 26 00:01:33,720 --> 00:01:36,560 The things that we talked about, a lot of Metal Mastermind, these 27 00:01:36,560 --> 00:01:40,560 are things that take a lot of time, take a lot of effort, and 28 00:01:40,600 --> 00:01:43,240 Elizabeth is a great person to talk to about that. 29 00:01:43,320 --> 00:01:46,840 I mean, she's my wife. I married her for a reason and 30 00:01:47,320 --> 00:01:50,760 mainly because I want her to share her story and what it's 31 00:01:50,760 --> 00:01:54,280 like for her going through and creating her project. 32 00:01:54,280 --> 00:01:56,880 Daoza. So I want to start off with the 33 00:01:56,880 --> 00:02:01,760 name Daoza. Can you explain to me what Daoza 34 00:02:01,760 --> 00:02:07,800 is and what it means to you? Yeah, so my, my last name is D 35 00:02:07,800 --> 00:02:12,080 Deos. And it's kind of like funny, but 36 00:02:12,080 --> 00:02:15,320 it's like when I married you, I knew right away that I wanted 37 00:02:15,320 --> 00:02:18,240 your last name because as much as I do love my last name, you 38 00:02:18,240 --> 00:02:20,880 know, it's it's my father is Brazilian. 39 00:02:20,880 --> 00:02:23,480 It means of God. It's a beautiful last name. 40 00:02:23,840 --> 00:02:28,240 But like spelling it on the phone, like dispelling, like 41 00:02:28,240 --> 00:02:33,160 DEDE, every letter rhymes with a different letter, you know, And 42 00:02:33,160 --> 00:02:34,920 it's just like impossible to spell. 43 00:02:34,920 --> 00:02:38,680 There's a space in between it. It's just, it's, it's difficult. 44 00:02:38,840 --> 00:02:41,720 No one could pronounce it. I've gotten a lot of different 45 00:02:41,720 --> 00:02:43,120 pronunciations. They're pretty fun. 46 00:02:43,120 --> 00:02:44,880 Well. It's pretty beautiful. 47 00:02:44,880 --> 00:02:47,680 It's a beautiful last name. About both of our last names, 48 00:02:47,680 --> 00:02:50,600 actually, right. My candelas means light of the 49 00:02:50,600 --> 00:02:51,840 candle. Yeah. 50 00:02:52,080 --> 00:02:54,080 So it's kind of like. Candles of God. 51 00:02:54,080 --> 00:02:56,920 Candle of God. Right, more metal than that. 52 00:02:57,680 --> 00:03:02,640 Yeah, but I do love the last name and, you know, I love the 53 00:03:02,640 --> 00:03:08,040 origin of it, but Candelas is just easy to spell and it's also 54 00:03:08,040 --> 00:03:11,520 a beautiful last name. So I I decided to go with 55 00:03:11,520 --> 00:03:14,720 Elizabeth Candelas, but then Deoza. 56 00:03:14,720 --> 00:03:18,800 I love the sound of it means Goddess and it had it's like 57 00:03:18,800 --> 00:03:22,320 kind of like a play on my last name. 58 00:03:22,320 --> 00:03:26,920 So it kind of like gives it like its special place, you know. 59 00:03:27,400 --> 00:03:31,440 So that was like the the real T behind it and I just loved how 60 00:03:31,440 --> 00:03:33,800 it sounded. I just knew whatever the the 61 00:03:33,800 --> 00:03:36,880 band name was going to be, it was going to look good in like 62 00:03:36,880 --> 00:03:40,560 metal old English font. Well, you know, I think in in 63 00:03:40,560 --> 00:03:41,600 other ways. In this. 64 00:03:41,720 --> 00:03:45,320 Part of how I interpret Daoza too, is that you mentioning it 65 00:03:45,320 --> 00:03:48,440 like a goddess is, is very interesting because your your 66 00:03:48,440 --> 00:03:51,920 entire project is very much about dreams and you are such a 67 00:03:52,440 --> 00:03:55,360 creative force in that that it's like you are creating that 68 00:03:55,360 --> 00:03:57,560 world. So it's very fitting. 69 00:03:57,920 --> 00:03:58,760 Thank you. Yeah. 70 00:03:58,760 --> 00:04:01,280 And I just think it sounds beautiful, like it's, it's such 71 00:04:01,280 --> 00:04:03,560 a cool name. Yeah, that's where that came 72 00:04:03,560 --> 00:04:08,440 from. Yeah, so now Daoza has been in 73 00:04:08,440 --> 00:04:11,000 the works since how long now? OK. 74 00:04:11,000 --> 00:04:13,480 So yeah, I did want to like touch on this because it's 75 00:04:13,480 --> 00:04:18,519 important to to like further explain how, yes, it over 10 76 00:04:18,519 --> 00:04:24,200 years is correct. But it wasn't like, you know, 77 00:04:24,600 --> 00:04:28,120 over 10 years ago I woke up and said I'm gonna start making this 78 00:04:28,120 --> 00:04:29,920 album. And then I just opened up Pro 79 00:04:29,920 --> 00:04:33,200 Tools and went to town, right. Because that didn't take over 10 80 00:04:33,200 --> 00:04:35,760 years. No, no, But the journey was it 81 00:04:35,760 --> 00:04:39,160 was a long journey. So yes, over 10 years ago, I 82 00:04:39,160 --> 00:04:44,800 thought of the concept, you know, and like just the idea of 83 00:04:44,800 --> 00:04:46,880 it. And I always had like melodies 84 00:04:46,880 --> 00:04:49,320 in my head and like music in my head. 85 00:04:49,320 --> 00:04:52,480 I wrote like, you know, a couple little songs when I was like a 86 00:04:52,480 --> 00:04:55,640 teenager that I liked but never did anything with it. 87 00:04:55,880 --> 00:04:59,080 So it started like accumulating over 10 years ago. 88 00:04:59,080 --> 00:05:02,440 I've definitely been talking about the idea of like having 89 00:05:02,440 --> 00:05:05,760 this album with this concept about dreams and nightmares. 90 00:05:05,760 --> 00:05:09,720 Like, you know, that was always like the storyline. 91 00:05:10,800 --> 00:05:13,920 And I got to tell you when I was like, you know, in my early 20s, 92 00:05:13,920 --> 00:05:16,360 a Hostess in a restaurant, like, I would. 93 00:05:16,520 --> 00:05:18,280 It was slow. Like I would write on receipt 94 00:05:18,280 --> 00:05:21,280 paper, just write notes about this concept. 95 00:05:21,280 --> 00:05:22,760 So very. JK Rowling. 96 00:05:22,760 --> 00:05:23,320 Yeah. Yeah. 97 00:05:23,320 --> 00:05:25,280 Oh, my God, Totally. So it was always like a 98 00:05:25,280 --> 00:05:28,720 developing concept that I had. It wasn't until I went to 99 00:05:28,720 --> 00:05:32,280 college where I was where it really started composing the 100 00:05:32,280 --> 00:05:35,520 album, you know. So I want to say like that was 101 00:05:35,520 --> 00:05:39,000 like a good five years or so. Well, that's it's important to 102 00:05:39,000 --> 00:05:42,080 say because people forget like some of these ideas that we 103 00:05:42,080 --> 00:05:49,840 create, they have their roots in a long like time ago, but we 104 00:05:49,880 --> 00:05:53,480 don't realize their tangibility until later in life. 105 00:05:53,480 --> 00:05:55,760 Because you know, you like, this is one of those things where 106 00:05:55,760 --> 00:05:59,040 it's like, don't delete your old, you know, voice memos of 107 00:05:59,040 --> 00:06:02,440 like your ideas like you never know when they become very 108 00:06:02,440 --> 00:06:04,800 useful. Yeah, make an archive folder and 109 00:06:04,800 --> 00:06:06,600 just stick it all in there. Yeah, actually now. 110 00:06:06,640 --> 00:06:09,840 That you mention it, I actually included in in Homeric stuff 111 00:06:09,840 --> 00:06:11,800 that when I was 16 years old too. 112 00:06:12,120 --> 00:06:14,800 Yeah, it's like you you get these projects and you shelf 113 00:06:14,800 --> 00:06:16,680 them. Yeah, little melodic ideas, 114 00:06:16,680 --> 00:06:18,320 whatever. But then, you know, 115 00:06:18,320 --> 00:06:21,800 conceptually, you know, for me, it was my, my thing came in like 116 00:06:21,800 --> 00:06:24,360 when I was, you know, 10 years ago when I wanted to do the 117 00:06:24,360 --> 00:06:27,760 Dante's infernal thing. But you had melodies and ideas 118 00:06:27,760 --> 00:06:30,240 and but then you had this concept that you wanted to do 119 00:06:30,240 --> 00:06:32,520 this about dreams. And it took, it took time to 120 00:06:32,520 --> 00:06:37,800 develop that process, right. So, and production wise, you 121 00:06:37,800 --> 00:06:41,600 know, you, when you start the journey of saying, OK, now we're 122 00:06:41,920 --> 00:06:44,920 recording or we're now we're writing these things down into 123 00:06:44,920 --> 00:06:48,760 MIDI and you're producing this stuff, you know, that's another 124 00:06:48,760 --> 00:06:51,520 leg to the entire experiment, right? 125 00:06:51,520 --> 00:06:53,720 So I find that really fascinating. 126 00:06:54,080 --> 00:06:58,920 I also think it's again, for for all of you listening, we live in 127 00:06:59,040 --> 00:07:04,920 a new world of, of making music. It's very accessible to make 128 00:07:04,920 --> 00:07:07,320 music. Not to say that it's not 129 00:07:07,320 --> 00:07:12,560 expensive like Elon Musk said, which is completely out of 130 00:07:12,560 --> 00:07:14,800 touch. But when we are talking about 131 00:07:15,280 --> 00:07:18,600 making music and high quality music like these things in the 132 00:07:18,600 --> 00:07:20,200 modern age, they take a lot of time. 133 00:07:20,200 --> 00:07:22,320 They take a lot of effort. They still take a lot of 134 00:07:22,320 --> 00:07:26,480 knowledge to do on your own especially, but as you're 135 00:07:26,480 --> 00:07:31,680 creating this stuff, like don't feel like if your music is 136 00:07:31,680 --> 00:07:36,040 taking a long time to make that it's not worth anything, right? 137 00:07:36,040 --> 00:07:37,440 Because this is still your journey. 138 00:07:37,440 --> 00:07:39,480 It was Elizabeth's journey, it was my journey. 139 00:07:40,240 --> 00:07:44,600 We now have to do things very much in ways independently. 140 00:07:44,960 --> 00:07:47,080 And I feel like that's also a beautiful thing, right? 141 00:07:47,080 --> 00:07:49,880 Because now you are unrestricted in the way that you want to 142 00:07:50,240 --> 00:07:52,240 create the story that you want to tell. 143 00:07:52,640 --> 00:07:56,600 And you can do it on your terms. You can keep all the ownership 144 00:07:56,600 --> 00:07:58,920 of it, right? Yeah, I just think that your 145 00:07:58,920 --> 00:08:02,160 journey is your journey. And there are musicians out 146 00:08:02,160 --> 00:08:04,920 there that do knockout songs fairly quickly. 147 00:08:05,680 --> 00:08:08,600 You know, different genres, different styles, different 148 00:08:08,600 --> 00:08:11,000 skills, like produce different things. 149 00:08:11,000 --> 00:08:14,320 So it's like, you know, I, I knew my music was going to take 150 00:08:14,320 --> 00:08:16,000 a long time. It's super proggy. 151 00:08:16,000 --> 00:08:21,240 And like a lot of it, like I do rely on like intuition to 152 00:08:21,400 --> 00:08:25,600 compose it. There's a certain like vibe I 153 00:08:25,600 --> 00:08:33,400 need to like really like, you know, build onto this album and 154 00:08:33,400 --> 00:08:36,039 this is the what I choose for for my music. 155 00:08:36,039 --> 00:08:41,280 I, I like that approach to it because like, you know, whenever 156 00:08:41,280 --> 00:08:44,960 I compose in that way, it's like a, it's a good quality in my 157 00:08:44,960 --> 00:08:46,640 opinion. I was like, oh, this is like 158 00:08:46,640 --> 00:08:49,400 longevity. So it's why I want to do it this 159 00:08:49,400 --> 00:08:51,680 way. But there's a lot of people that 160 00:08:51,680 --> 00:08:54,160 don't have that process and they can knockout songs really 161 00:08:54,160 --> 00:08:57,240 quickly. My point is here, don't let them 162 00:08:57,240 --> 00:09:00,720 judge you. Like, open the conversation. 163 00:09:00,720 --> 00:09:04,720 If someone says like, oh, it takes you so long, why is that? 164 00:09:05,120 --> 00:09:06,680 And explain your process to them. 165 00:09:06,680 --> 00:09:09,200 Maybe it's a new process that they've never even heard of, you 166 00:09:09,200 --> 00:09:11,360 know, and and you know, ask them about theirs. 167 00:09:11,360 --> 00:09:14,400 Like, how do you compose music? But if it comes from like a 168 00:09:14,400 --> 00:09:17,080 hasty kind of place where it's just like, oh, you're never 169 00:09:17,080 --> 00:09:19,840 going to come out with your album, it takes you so long. 170 00:09:19,840 --> 00:09:23,200 Or if they do it in a judgy way, you can always tell. 171 00:09:24,040 --> 00:09:26,680 And that's not your people. There's some feelings there. 172 00:09:27,440 --> 00:09:29,800 No, well, it's just, it's just real life, you know? 173 00:09:29,920 --> 00:09:31,120 Totally. I've experienced it. 174 00:09:31,120 --> 00:09:33,400 You've experienced it our listeners probably. 175 00:09:33,720 --> 00:09:37,600 And, you know, it's like writing your music is a very personal 176 00:09:37,600 --> 00:09:41,720 thing and like the it's easy to like be hard on yourself. 177 00:09:41,800 --> 00:09:43,680 Yeah, yeah. And that will, you know, delay 178 00:09:43,680 --> 00:09:45,360 you from finishing your projects. 179 00:09:45,360 --> 00:09:49,040 So take away those things that delay you or affect you even, 180 00:09:49,040 --> 00:09:52,120 like, you know, in that way. And like just keep focusing on 181 00:09:52,120 --> 00:09:55,360 the on the prize. And yeah, like when when people 182 00:09:55,360 --> 00:09:58,120 want to like pass judgment, like they're not in your element, you 183 00:09:58,120 --> 00:10:01,320 know, So that's just something I wanted to add in there. 184 00:10:01,440 --> 00:10:06,000 Absolutely, and I feel like the journey of a solo artist versus 185 00:10:06,000 --> 00:10:08,200 like a band is a very different one too. 186 00:10:08,200 --> 00:10:11,720 So nowadays, like we have a lot of people who are able to do 187 00:10:11,720 --> 00:10:13,600 these things on their own. So they have a lot of solo 188 00:10:13,600 --> 00:10:15,440 artists out there. Actually, one of the things that 189 00:10:15,440 --> 00:10:21,080 I noticed on I think it was the top Billboard or it was a top 190 00:10:21,080 --> 00:10:24,920 Spotify artists, only like 1 of them. 191 00:10:26,120 --> 00:10:28,080 It was like a band out of like the top 50. 192 00:10:28,520 --> 00:10:29,600 Yeah, is that? Interesting. 193 00:10:30,000 --> 00:10:31,400 I do find that interesting. Yeah. 194 00:10:31,400 --> 00:10:33,240 So I'm. Wondering if it's like, because 195 00:10:33,240 --> 00:10:36,520 when it comes to solo artists and I, I don't know if this is 196 00:10:36,520 --> 00:10:39,600 the case for most solo artists, but I feel like maybe this is 197 00:10:39,600 --> 00:10:42,200 just our personal experience that we're more conceptual. 198 00:10:42,680 --> 00:10:47,000 So we have like a very, you know, specific vision that maybe 199 00:10:47,000 --> 00:10:50,120 represents something. But like, I feel like bands in 200 00:10:50,120 --> 00:10:54,080 many ways, when they create music, it's trying to capture 201 00:10:54,080 --> 00:10:56,720 what happens in the moment between the players. 202 00:10:56,760 --> 00:11:00,400 Well, it's collaborative and and typically collaboration is 203 00:11:00,400 --> 00:11:03,440 something that happens like when you're jamming and stuff, unless 204 00:11:03,440 --> 00:11:08,200 you guys have like a system in place to, you know, build on a 205 00:11:08,200 --> 00:11:10,640 song with all your like, you know, parts. 206 00:11:10,640 --> 00:11:15,160 But I think it's just simply like, getting four to five 207 00:11:15,160 --> 00:11:18,800 people, like, in a band to agree on one thing, right? 208 00:11:18,880 --> 00:11:21,320 Like, it just takes longer. Sometimes it doesn't work out 209 00:11:21,320 --> 00:11:23,600 when it's one person. They can just, like, spew out 210 00:11:23,600 --> 00:11:27,120 their vision and make it happen. And then, you know, just find 211 00:11:27,120 --> 00:11:29,400 the musicians to fulfill it. Yeah, I've been in both 212 00:11:29,400 --> 00:11:31,720 positions. I've been in bands, and now I'm 213 00:11:31,720 --> 00:11:35,960 focusing on this solo project. 2 very different vibes. 214 00:11:36,160 --> 00:11:37,640 Yeah. Completely very intentional 215 00:11:37,800 --> 00:11:39,320 about what it is that you want right. 216 00:11:39,360 --> 00:11:41,920 So that's that's a very important part of this and 217 00:11:42,520 --> 00:11:47,040 something that you you're doing, which I find really exciting is 218 00:11:47,040 --> 00:11:50,640 that you've, you've written everything down, but you are 219 00:11:50,640 --> 00:11:57,040 aiming to mostly record everybody in a very similar time 220 00:11:57,040 --> 00:12:02,000 frame, which is interesting because I haven't done that with 221 00:12:02,000 --> 00:12:05,880 home Eric, or at least I did at one point, but then the band 222 00:12:05,880 --> 00:12:09,360 collapsed. So, but at those moments like 223 00:12:09,360 --> 00:12:13,080 building on after, let's say, like the drum session, like now 224 00:12:13,080 --> 00:12:17,920 we're going to have things like keyboards, guitars, bass, and, 225 00:12:17,920 --> 00:12:21,120 you know, that's all going to be recorded pretty much in a very 226 00:12:21,120 --> 00:12:23,200 similar time frame, if not at the same time. 227 00:12:24,280 --> 00:12:26,520 At least that's what I find that we're shooting for, which is 228 00:12:26,520 --> 00:12:28,560 amazing. So can you tell me about like 229 00:12:28,560 --> 00:12:32,480 how you integrate your musicians into your process? 230 00:12:32,480 --> 00:12:35,680 What are you looking for? Maybe because like somebody here 231 00:12:35,680 --> 00:12:39,000 on the other side might be at a point where they're like, OK, I 232 00:12:39,000 --> 00:12:43,640 have my compositions down, I want to record them, but I don't 233 00:12:43,640 --> 00:12:46,520 know whether or not I should get a band or if I should just do 234 00:12:46,520 --> 00:12:49,880 it, you know, 1 by 1, hiring people, overdubbing. 235 00:12:49,880 --> 00:12:52,280 What do you think about that and how would you answer that 236 00:12:52,280 --> 00:12:56,440 question for somebody? I love that question because I 237 00:12:56,440 --> 00:13:00,040 feel like being in my position, you know, somebody that has 238 00:13:00,440 --> 00:13:05,080 composed a whole album and now, you know, working with musicians 239 00:13:05,080 --> 00:13:08,520 to learn my songs. Essentially, you know, I just 240 00:13:09,680 --> 00:13:14,000 did a long audition process with a bunch of lead guitarists and 241 00:13:14,000 --> 00:13:18,840 stuff. And in my position, I find that 242 00:13:18,960 --> 00:13:22,480 you have to like have like a checklist of things or like, you 243 00:13:22,480 --> 00:13:26,200 know, just A to do list or like goals, you know, happening in 244 00:13:26,200 --> 00:13:28,040 like the next few months. Like first we're going to do 245 00:13:28,040 --> 00:13:30,000 this first, we're going to then we're going to do that. 246 00:13:30,280 --> 00:13:32,920 You need to have that organization, but you also have 247 00:13:32,920 --> 00:13:36,760 to like be aware that it's constantly going to be changing. 248 00:13:37,000 --> 00:13:40,400 So anytime there's like a new thing, you have to kind of just 249 00:13:40,400 --> 00:13:45,720 revisit that list, you know? So it's like, like, I had like 250 00:13:45,720 --> 00:13:48,800 this good process going. You know, we're working on like 251 00:13:48,800 --> 00:13:51,240 a live set. So right now I have musicians 252 00:13:51,240 --> 00:13:54,720 learning the songs and, you know, my scores weren't up to 253 00:13:54,720 --> 00:13:57,000 date. So I was like, cool, they need 254 00:13:57,000 --> 00:13:59,800 better scores. So I collaborated with somebody 255 00:13:59,800 --> 00:14:02,800 who does scores for a living just to make sure that they were 256 00:14:02,800 --> 00:14:06,360 like top quality. And that helped a lot. 257 00:14:06,360 --> 00:14:08,320 And I was like, cool, scores are done. 258 00:14:08,560 --> 00:14:10,760 And then one musician was like struggling a bit. 259 00:14:10,760 --> 00:14:13,360 So I was like, all right, we need to like add an additional 260 00:14:13,360 --> 00:14:17,400 guitarist. So, you know, I made my posts 261 00:14:17,400 --> 00:14:20,600 and I had people submit their video auditions and I found a 262 00:14:20,600 --> 00:14:23,200 great guitarist and I was like, cool, that's all set. 263 00:14:23,440 --> 00:14:26,280 There's constantly things like happening, especially when 264 00:14:26,280 --> 00:14:29,200 you're working with like, musicians that are just down a 265 00:14:29,200 --> 00:14:31,360 play and they believe in the project. 266 00:14:31,640 --> 00:14:34,040 You know, you got to show them that love and respect, respect 267 00:14:34,040 --> 00:14:36,160 their time. So you got to make sure that you 268 00:14:36,160 --> 00:14:39,440 have all these things, like, checked off the list and that 269 00:14:39,440 --> 00:14:42,960 you're constantly looking out for, you know, the quality of 270 00:14:42,960 --> 00:14:46,080 the project. So yeah, that I would be like my 271 00:14:46,080 --> 00:14:50,080 my main advice with that is to roll with the punches and 272 00:14:50,080 --> 00:14:53,200 revisit that To Do List as often as you need to. 273 00:14:53,680 --> 00:14:55,360 Staying organized is a big part of it. 274 00:14:56,280 --> 00:15:01,080 Yeah, if you want to essentially achieve the highest quality that 275 00:15:01,080 --> 00:15:03,400 you can afford, it comes with a lot of preparation. 276 00:15:03,720 --> 00:15:06,440 And this is, you know, even if you were just a band, when 277 00:15:06,440 --> 00:15:09,080 you're going to go into the studio, right, you want a lot of 278 00:15:09,080 --> 00:15:10,800 pre production for that. You want to rehearse a lot. 279 00:15:10,800 --> 00:15:13,520 You want to make sure that when you go into the studio, it's as 280 00:15:13,520 --> 00:15:15,680 tight as possible as you think you can make it. 281 00:15:16,720 --> 00:15:18,840 And then that's when you create your best work. 282 00:15:19,880 --> 00:15:22,440 So I I totally agree with that. And I think that's a very, 283 00:15:22,800 --> 00:15:27,120 that's very good advice as to not to let yourself be held back 284 00:15:27,120 --> 00:15:29,480 by the things that you need to do, do right, Roll with the 285 00:15:29,480 --> 00:15:32,640 punches, like keep moving forward, keep moving the needle 286 00:15:32,640 --> 00:15:35,920 a little bit more. But to also do it in a way where 287 00:15:35,920 --> 00:15:39,880 you have, you know, very clear goals, very clear, you know, to 288 00:15:39,880 --> 00:15:43,840 do lists on what's important priorities in the music. 289 00:15:45,160 --> 00:15:48,120 And also what I find interesting about having musicians, 290 00:15:48,120 --> 00:15:53,800 especially when you have like a score, is that the music is 291 00:15:54,120 --> 00:15:56,640 very, very written in an intentional way. 292 00:15:57,240 --> 00:16:02,680 So when a musician interprets the music and they add certain 293 00:16:02,680 --> 00:16:05,440 things like embellishments, this also reminds me of a lot of the 294 00:16:05,480 --> 00:16:10,240 old classical composers, where classical composers would also 295 00:16:10,240 --> 00:16:14,840 expect that musicians would apply their own color, right? 296 00:16:15,520 --> 00:16:19,240 Even in the case of chromaticism, right, chroma, 297 00:16:19,240 --> 00:16:23,560 meaning literally color. So there is a lot of that that 298 00:16:23,560 --> 00:16:26,840 happens in the moment. And so when you create, you 299 00:16:26,840 --> 00:16:29,840 know, something that's not, let's say for example, MIDI, and 300 00:16:29,840 --> 00:16:33,280 you actually hire a band, those are some of the things that make 301 00:16:33,280 --> 00:16:37,400 the music feel lively, right? Because it literally comes to 302 00:16:37,400 --> 00:16:39,080 life when somebody interprets the music. 303 00:16:39,080 --> 00:16:41,320 They play the music and they're really good at their instrument 304 00:16:41,680 --> 00:16:45,400 and they know how to read. These are all things that I feel 305 00:16:45,400 --> 00:16:49,280 add just a level of integrity and quality to the thing that 306 00:16:49,280 --> 00:16:51,600 you're creating. I think it's really, really 307 00:16:51,600 --> 00:16:55,040 beautiful what you're doing. And Elizabeth's music is very 308 00:16:55,040 --> 00:17:00,720 progressive too, so it's got a lot of long form songwriting in 309 00:17:00,720 --> 00:17:02,760 there. There's also these interwoven 310 00:17:02,760 --> 00:17:05,760 melodies, and you're a vocalist, which means that your focus on 311 00:17:05,760 --> 00:17:08,119 harmony is like through the roof. 312 00:17:08,119 --> 00:17:12,440 Count the counterpoints are almost, it's almost like if you, 313 00:17:12,440 --> 00:17:15,560 if you take a section of the song and just like look at it 314 00:17:15,560 --> 00:17:17,040 for what it is like break it down. 315 00:17:17,680 --> 00:17:20,960 The counterpoints that I, I added, they're almost like 316 00:17:21,400 --> 00:17:25,680 different songs that just work together when you like lay them 317 00:17:25,680 --> 00:17:28,240 on top of each other. And it was funny that we 318 00:17:28,240 --> 00:17:30,880 mentioned like, you know, shelfing a project, having that 319 00:17:30,880 --> 00:17:34,480 archive folder because like, sometimes I would find like an 320 00:17:34,480 --> 00:17:37,280 area of the song that needed like more layers. 321 00:17:37,280 --> 00:17:41,280 It was too like plain, you know, it just needed like more to, to 322 00:17:41,960 --> 00:17:44,720 more texture. I would visit that archive 323 00:17:44,720 --> 00:17:48,320 folder and I would like find like old composition that was 324 00:17:48,320 --> 00:17:49,920 like, oh, this is like in the same key. 325 00:17:50,160 --> 00:17:53,160 Let me just slap it on top of it and see if it works. 326 00:17:53,480 --> 00:17:55,440 A little bit of like just polishing. 327 00:17:55,440 --> 00:17:59,400 And I was like, wow, OK. Like, you know, it wasn't enough 328 00:17:59,400 --> 00:18:02,240 for it to be a song on its own and made it like years ago. 329 00:18:02,240 --> 00:18:06,120 But like, I just like, stuck it there and it felt like it was 330 00:18:06,120 --> 00:18:09,360 always meant to be there. It was a very intuitive kind of 331 00:18:09,360 --> 00:18:12,120 thing. And like, that's like, it's like 332 00:18:12,120 --> 00:18:14,280 the best feeling in the songwriting process when you 333 00:18:14,280 --> 00:18:16,720 have those moments, it's like, yeah, that works. 334 00:18:16,720 --> 00:18:19,280 And it's like it was always supposed to be there, you know? 335 00:18:19,680 --> 00:18:23,720 Yeah, I love that feeling too. And I always felt that in my 336 00:18:24,080 --> 00:18:28,000 experience, a lot of my ideas have always been like these 337 00:18:28,240 --> 00:18:31,960 short motifs, and then I would just integrate them. 338 00:18:31,960 --> 00:18:34,440 And my job was to be like, how do I make the coolest transition 339 00:18:34,440 --> 00:18:37,320 possible between these ideas, right? 340 00:18:37,320 --> 00:18:40,440 And I feel in some ways like you've done that in your music 341 00:18:40,440 --> 00:18:42,760 as well. Yeah, You have to really trust 342 00:18:42,760 --> 00:18:46,360 your process because like, like I said, like I've had this idea, 343 00:18:46,360 --> 00:18:48,800 this concept, it's like I would, you know, I've been working on 344 00:18:48,800 --> 00:18:52,360 this for a long time. Most of it was just like 345 00:18:52,440 --> 00:18:57,080 figuring out my flow and how to actually truly execute the 346 00:18:57,080 --> 00:19:00,480 vision I had in my head. That meant going back to school 347 00:19:00,480 --> 00:19:03,600 and like learning how to use like, you know, audio and like 348 00:19:03,600 --> 00:19:05,320 Daws and stuff. Like I had to like learn how to 349 00:19:05,320 --> 00:19:09,040 do that because I was like, this is what I need in order to, you 350 00:19:09,040 --> 00:19:13,520 know, compose the sounds I have in my head and stuff. 351 00:19:14,480 --> 00:19:18,080 And yeah, no, I, I made sure to do that because it was important 352 00:19:18,080 --> 00:19:19,680 to me. Like this album was very 353 00:19:19,680 --> 00:19:22,120 important to me. But like, throughout that 354 00:19:22,120 --> 00:19:24,840 process, you know, I've had musicians just be like, well, 355 00:19:24,840 --> 00:19:26,160 no, that's not how you write a song. 356 00:19:26,160 --> 00:19:29,040 You're supposed to start with the drums or like, oh, there's 357 00:19:29,080 --> 00:19:30,520 it needs to have a song structure. 358 00:19:30,520 --> 00:19:32,840 There's no song structure. Like you have verse, chorus, 359 00:19:32,840 --> 00:19:35,360 verse, chorus. And obviously maybe they've 360 00:19:35,360 --> 00:19:38,320 never really like messed with progressive metal before. 361 00:19:38,320 --> 00:19:41,800 So it like, you know, when you have a lot of different people 362 00:19:41,800 --> 00:19:45,800 telling you what you're supposed to do, you really have to like 363 00:19:45,800 --> 00:19:49,120 TuneIn to your intuition being like, I, I hear you. 364 00:19:49,520 --> 00:19:52,880 I observe what you're saying but like this is the process I want 365 00:19:52,880 --> 00:19:56,320 to do because this is my my vision and you have to just go 366 00:19:56,320 --> 00:19:57,440 for it. Yeah. 367 00:19:57,440 --> 00:20:00,960 And actually, you know, we just published a very recent video 368 00:20:00,960 --> 00:20:04,280 about metal songwriting, which I think it's very. 369 00:20:04,400 --> 00:20:06,880 Relevant in this situation because it's like explores like 370 00:20:06,880 --> 00:20:09,840 the the forms of what like might be typical in metal. 371 00:20:10,600 --> 00:20:12,920 But some of the things that I like to point out when I talk 372 00:20:12,920 --> 00:20:16,360 about these things is that these are just things that can help 373 00:20:16,400 --> 00:20:21,040 give you more clarity or guide you in your creation. 374 00:20:21,040 --> 00:20:24,760 But they're not rules. You don't have to always do, you 375 00:20:24,760 --> 00:20:26,760 know, first chorus, first chorus, bridge, chorus, 376 00:20:26,760 --> 00:20:29,800 whatever, you know, that's a very, you know, typical type of 377 00:20:29,800 --> 00:20:31,720 song form. And there's a formula and it 378 00:20:31,720 --> 00:20:36,480 works in most cases. But you can absolutely explore 379 00:20:36,560 --> 00:20:39,760 other opportunities in your songwriting to make something 380 00:20:39,760 --> 00:20:42,320 that's different, make something that feels refreshing, even 381 00:20:42,320 --> 00:20:45,400 something that feels like it goes on a journey that's 382 00:20:45,400 --> 00:20:49,680 actually, you know, if you want to go back again to these ideas 383 00:20:49,680 --> 00:20:53,400 of classical composers like sonatas have, have you explored 384 00:20:53,400 --> 00:20:54,840 writing a Sonata? Right. 385 00:20:54,880 --> 00:20:57,360 You know, there's only three forms in the Sonata. 386 00:20:57,360 --> 00:21:00,720 You got your your exposition, which is your development of 387 00:21:00,720 --> 00:21:02,080 your idea. And then of course, the 388 00:21:02,080 --> 00:21:05,000 development which takes it to a different realm. 389 00:21:05,040 --> 00:21:08,600 And then you come back to your recap, your recapitulation, take 390 00:21:08,600 --> 00:21:10,920 that idea, try to see if you can make a song out of that, right. 391 00:21:10,920 --> 00:21:14,080 These are just like old types of forms, but also there are very 392 00:21:14,080 --> 00:21:16,840 new types of forms. And sometimes you're just very 393 00:21:16,840 --> 00:21:18,560 free form. In many cases. 394 00:21:18,840 --> 00:21:22,520 I feel like with film scoring, that's a very good example 395 00:21:22,560 --> 00:21:25,640 because when you write to film, it's, it's all program music. 396 00:21:25,640 --> 00:21:30,640 It's not absolute music, which you could define it as. 397 00:21:30,640 --> 00:21:34,600 Absolute music is sort of like what's purely just coming from 398 00:21:34,600 --> 00:21:36,680 your head. It doesn't have to be 399 00:21:36,680 --> 00:21:40,320 necessarily related to anything, but program music means that 400 00:21:40,320 --> 00:21:42,520 you're writing for something, right? 401 00:21:42,520 --> 00:21:44,760 Like a visual or something of that sort. 402 00:21:45,200 --> 00:21:49,520 But when you take that kind of form, I'm looking at it as 403 00:21:49,800 --> 00:21:53,160 you're taking absolute music and you have like this program 404 00:21:53,160 --> 00:21:56,320 music, like this idea in your head and you sort of fit it 405 00:21:56,320 --> 00:21:58,560 along with like this journey that you're creating. 406 00:21:58,760 --> 00:22:00,080 I think that's really interesting. 407 00:22:01,080 --> 00:22:03,840 I feel like we share a lot of those qualities when we write 408 00:22:03,840 --> 00:22:08,320 our own music. So going around and writing 409 00:22:08,320 --> 00:22:13,680 music in that way, I feel like those little ideas, those motifs 410 00:22:13,680 --> 00:22:17,240 that we were talking about become even more important 411 00:22:17,640 --> 00:22:20,440 because those motifs can represent, you know, events in 412 00:22:20,440 --> 00:22:23,760 your story or if they open up, you know what it who is this 413 00:22:23,760 --> 00:22:28,240 character maybe in the story or even just overarching themes 414 00:22:28,240 --> 00:22:31,120 about maybe where they are in the story, right? 415 00:22:31,120 --> 00:22:34,920 So I always look at writing songs as very much storytelling, 416 00:22:34,960 --> 00:22:36,840 obviously, in a very musical sense. 417 00:22:37,640 --> 00:22:42,440 But if you look at your song as writing a story, what makes a 418 00:22:42,440 --> 00:22:45,280 good story, right? And you can sort of use that in 419 00:22:45,280 --> 00:22:51,680 a way into making music and you do it very successfully. 420 00:22:51,920 --> 00:22:57,360 I think it's very, very cool. And yeah, so when we come around 421 00:22:57,360 --> 00:23:02,160 to now the idea of like creating this world, I know you want to 422 00:23:02,160 --> 00:23:06,280 do this in Dolby Atmos and you want to go into immersive audio. 423 00:23:06,640 --> 00:23:11,440 Have you always, like envisioned doing this in Atmos or were was 424 00:23:11,440 --> 00:23:14,000 it that kind of a later thing that revealed itself to you? 425 00:23:14,000 --> 00:23:19,240 What did you think? Well, OK, so the Dolby Atmos 426 00:23:19,320 --> 00:23:24,120 aspect of it, it was when I was in college, you know, I was 427 00:23:24,120 --> 00:23:26,840 taking audio engineering music production. 428 00:23:28,520 --> 00:23:33,640 I was very fortunate because my, my college, they, they just 429 00:23:33,640 --> 00:23:37,920 installed like their Atmos system like. 430 00:23:37,920 --> 00:23:39,600 Installed it by the way. He installed it. 431 00:23:39,600 --> 00:23:41,000 Yeah. He used to be a tech at my 432 00:23:41,000 --> 00:23:44,000 school back at back then can installed it. 433 00:23:44,000 --> 00:23:49,640 But I was lucky that I was, you know, taking courses at that 434 00:23:49,640 --> 00:23:53,360 time when when we had that, because when, you know, came to 435 00:23:53,440 --> 00:23:57,320 the time where our teacher was giving us the demo of it, I was 436 00:23:57,320 --> 00:24:00,400 just like, Oh my God, this is like what I need. 437 00:24:01,760 --> 00:24:05,320 So it's like, throughout my journey in college, it was like 438 00:24:05,320 --> 00:24:08,480 there was things that I needed to learn, you know, because you 439 00:24:08,480 --> 00:24:11,680 need certain classes in order to get the degree, right? 440 00:24:12,320 --> 00:24:15,280 And there was things that I was like, OK, this is awesome. 441 00:24:15,280 --> 00:24:18,240 This is what I need. Or I can like, turn this into 442 00:24:18,240 --> 00:24:22,000 this in order for me to, you know, implement it in my album. 443 00:24:22,200 --> 00:24:25,160 My goal and my vision throughout my time in college was this 444 00:24:25,160 --> 00:24:28,120 like, what do I need from my album, you know? 445 00:24:28,520 --> 00:24:32,160 And yeah, with Atmos, I just remembered to standing in the 446 00:24:32,160 --> 00:24:34,800 middle of the thing and just, I felt like I was levitating. 447 00:24:34,800 --> 00:24:39,000 I was like, this is great. Like I was just, I got so hyped. 448 00:24:39,720 --> 00:24:41,600 I loved it. I loved the idea of it. 449 00:24:41,600 --> 00:24:43,680 I love the idea of like, you know, all the harmonies. 450 00:24:43,680 --> 00:24:46,120 I always do a lot of harmony. It's like, oh, what if they just 451 00:24:46,120 --> 00:24:48,920 circled around you? And I was like, yeah, that's 452 00:24:48,920 --> 00:24:50,760 what it needs. Or else it just gets lost. 453 00:24:51,000 --> 00:24:53,080 All those little details, those counterpoints. 454 00:24:53,080 --> 00:24:55,480 So it's like songs that I stacked on top of each other 455 00:24:55,480 --> 00:24:58,840 from the archive folder. There will be space for all of 456 00:24:58,840 --> 00:25:00,480 it. And it could actually just be 457 00:25:00,480 --> 00:25:02,800 like, you know, heard all at once. 458 00:25:02,800 --> 00:25:06,840 And I got really excited. Those things that make you like 459 00:25:06,840 --> 00:25:09,160 hyped like that, it's a good sign. 460 00:25:09,160 --> 00:25:14,200 Listen to that feeling. But I wanted to also mention 461 00:25:14,760 --> 00:25:18,800 that I'm very lucky that I got to go. 462 00:25:18,880 --> 00:25:23,680 You know, that music theory was a requirement in order for me to 463 00:25:23,680 --> 00:25:25,920 like graduate and get the degree. 464 00:25:26,680 --> 00:25:31,920 I had to take music theory, and I've been writing songs all my 465 00:25:31,920 --> 00:25:34,240 life without really knowing too much music theory. 466 00:25:34,240 --> 00:25:37,800 But once I started taking that in school, I really got to 467 00:25:37,800 --> 00:25:41,680 understand why my ideas were working and, you know, 468 00:25:41,680 --> 00:25:46,360 understanding why song structure is the way it is, you know, And 469 00:25:46,360 --> 00:25:50,440 in order for me to, you know, successfully compose progressive 470 00:25:50,640 --> 00:25:55,440 metal where it has all these crazy changes, even like genre 471 00:25:55,440 --> 00:25:59,000 changes sometimes, you know, just like crazy changes, I had 472 00:25:59,000 --> 00:26:02,800 to understand why my song structure works so that I could 473 00:26:02,800 --> 00:26:06,120 break it, you know, because the balance of song structure is 474 00:26:06,120 --> 00:26:08,680 there for a reason. You know, you go through the the 475 00:26:08,680 --> 00:26:11,800 changes when you listen to a song and it and it's pleasant, 476 00:26:11,800 --> 00:26:15,880 you know, but with progressive metal, you are rearranging it, 477 00:26:15,880 --> 00:26:18,320 you're adding 10 minutes to your extending it. 478 00:26:18,320 --> 00:26:21,120 You're you're just doing all types of different things that 479 00:26:21,120 --> 00:26:24,640 is outside of the song structure, but the balance and 480 00:26:24,640 --> 00:26:28,640 that like pleasant change changes that you go through when 481 00:26:28,640 --> 00:26:32,280 you listen to a song that still needs to be there, you know, 482 00:26:32,280 --> 00:26:34,640 when you're breaking the song structure. 483 00:26:34,760 --> 00:26:36,880 Yeah. So it's good to understand what 484 00:26:37,000 --> 00:26:39,720 what it is that you're breaking essentially. 485 00:26:39,720 --> 00:26:42,280 Now what about sound design? Like sound design? 486 00:26:42,280 --> 00:26:45,640 What about it? Well, you like incorporate a bit 487 00:26:45,640 --> 00:26:49,680 of sound design in your music making you want to elaborate. 488 00:26:49,680 --> 00:26:52,160 Like how do you go about doing that? 489 00:26:52,160 --> 00:26:53,360 Like what do you experiment with? 490 00:26:53,960 --> 00:26:59,560 OK, well there is a little bit of sound design so far and it's 491 00:26:59,560 --> 00:27:05,320 just it in some of the songs it's kind of gives me like the 492 00:27:05,320 --> 00:27:09,000 backrooms kind of vibes, like a old faded doorbell. 493 00:27:09,000 --> 00:27:11,520 Like I'll hear it. Like there's like a sound sample 494 00:27:11,520 --> 00:27:14,920 that I hear and as soon as I listen to it, I'm like, this is 495 00:27:14,920 --> 00:27:19,960 definitely like a doorbell from like a 90s toy and it's faded 496 00:27:19,960 --> 00:27:23,440 and it's like all like tinny. It sounds like it's playing on a 497 00:27:23,880 --> 00:27:26,560 on a old vinyl. Like this is giving me some 498 00:27:26,680 --> 00:27:30,880 eerie viby. Like I don't know shit, sorry. 499 00:27:31,600 --> 00:27:34,240 Can I hear something? Yeah, it's just like eerie viby 500 00:27:34,240 --> 00:27:35,760 shit. And I'm like, this needs to go 501 00:27:35,760 --> 00:27:38,120 somewhere. I need to like put it like I 502 00:27:38,120 --> 00:27:42,080 need to like comp it somehow. So that's how I've been with 503 00:27:42,240 --> 00:27:49,240 sound design, but I want to add more of it once I have the, the 504 00:27:49,240 --> 00:27:51,680 visuals complete. Yeah. 505 00:27:51,680 --> 00:27:55,000 And my, my pianist, he's so good at sound design. 506 00:27:55,000 --> 00:27:57,720 So I'm going to like, work with him a little bit to like, get 507 00:27:57,720 --> 00:27:59,760 that down. There's also like, you know, 508 00:27:59,760 --> 00:28:02,400 like a heartbeat, you know, stuff like that to like kind of 509 00:28:02,400 --> 00:28:06,120 bring you back to this is a story, this is a concept. 510 00:28:06,120 --> 00:28:08,800 So what is your process with sound design? 511 00:28:08,800 --> 00:28:12,920 Because I know that you've done sound design for movies and one 512 00:28:12,920 --> 00:28:17,640 of the requirements, you know, of taking sound design seriously 513 00:28:17,640 --> 00:28:22,160 where you're looking for jobs in that field is, you know, have 514 00:28:22,200 --> 00:28:26,440 like accumulating a library, you know, so like walking around 515 00:28:26,440 --> 00:28:30,040 with like a task Cam recorder. And if you like hear a crookedy 516 00:28:30,040 --> 00:28:34,240 fence or like, you know, like a bird or something, like anything 517 00:28:34,240 --> 00:28:37,960 that sounds usable or interesting, you want to record 518 00:28:37,960 --> 00:28:40,440 it. And I know Ken has like a whole 519 00:28:40,440 --> 00:28:43,360 library of things that he's accumulated over the years and 520 00:28:43,360 --> 00:28:48,480 he uses it for, you know, sound design for movies and also for 521 00:28:48,480 --> 00:28:51,160 your music, right. So tell me about your experience 522 00:28:51,160 --> 00:28:53,640 using it in your in your album. Well, it was. 523 00:28:53,640 --> 00:28:57,680 It was a lot of fun. I find that sound design in many 524 00:28:57,680 --> 00:29:02,120 ways are like accents in, in, in music. 525 00:29:02,680 --> 00:29:06,520 So when you're using sound design in the context of a 526 00:29:06,520 --> 00:29:11,200 composition, you have to be very aware of just like the Sonic 527 00:29:11,200 --> 00:29:14,400 palette that it accumulates because it could be very like 528 00:29:14,400 --> 00:29:16,960 broadband, for example, like a lot of frequencies, a lot of 529 00:29:16,960 --> 00:29:19,200 this sort of stuff. So in the mix you might, you 530 00:29:19,200 --> 00:29:22,200 might have to do a little bit more tailoring to that, but it's 531 00:29:22,240 --> 00:29:26,400 very effective for making sure. For example, here's a very good 532 00:29:26,400 --> 00:29:30,200 compositional example. And Mahler would do this. 533 00:29:30,600 --> 00:29:35,200 You know, the old composer, he would have anvils like little 534 00:29:35,200 --> 00:29:38,920 like legit blacksmith anvils with the hammer. 535 00:29:38,920 --> 00:29:39,800 That's so. Gangster. 536 00:29:39,840 --> 00:29:41,920 And he would use that for accents. 537 00:29:42,520 --> 00:29:46,400 And a lot of composers would do this kind of stuff too, where 538 00:29:46,400 --> 00:29:48,880 they would make it essentially sort of like a percussion. 539 00:29:49,680 --> 00:29:54,440 Even the very famous, you know, again with Mahler, he had an 540 00:29:54,440 --> 00:29:57,880 entire thing called the Mahler Hammer, which was like a big 541 00:29:57,880 --> 00:30:01,600 wooden box and you would just basically smack it, go to town 542 00:30:01,600 --> 00:30:07,320 at a certain point, which I find is like a really good starting 543 00:30:07,320 --> 00:30:11,040 point for exploring sound design in your music. 544 00:30:11,040 --> 00:30:14,520 So old composers have always been trying to figure out how to 545 00:30:14,520 --> 00:30:16,760 create really interesting sounds. 546 00:30:16,760 --> 00:30:19,720 And you know, you have, that's why I like in the percussion 547 00:30:19,720 --> 00:30:24,200 world, there's so many different like types of, you know, gadgets 548 00:30:24,200 --> 00:30:25,640 and stuff like that you can just play with. 549 00:30:27,400 --> 00:30:31,800 So in the modern sense, a lot of that to me feels like movie 550 00:30:31,800 --> 00:30:34,520 sounds right. Things that you'd go and hear in 551 00:30:34,520 --> 00:30:37,080 a theater. I love cinematic stuff. 552 00:30:37,160 --> 00:30:38,880 I mean, I grew up with movies all my life. 553 00:30:38,880 --> 00:30:44,480 So having a little bit of experience with doing some 554 00:30:44,480 --> 00:30:47,920 movies helped to actually make my music sound more cinematic 555 00:30:47,920 --> 00:30:50,600 that way. And I'm just a fan of the tone, 556 00:30:50,600 --> 00:30:52,320 so. But yeah, we're gonna be 557 00:30:52,320 --> 00:30:54,520 exploring more of these kinds of things with your project too, 558 00:30:54,520 --> 00:30:56,080 which I think is gonna be super fun. 559 00:30:56,080 --> 00:30:58,520 What is the? It's called Mickey Mouse thing, 560 00:30:59,560 --> 00:31:01,640 right? I don't know, It's stuck to me 561 00:31:01,640 --> 00:31:03,440 because it's Mickey Mouse and that's adorable. 562 00:31:03,440 --> 00:31:05,000 But being. Like Tom and Jerry or. 563 00:31:05,000 --> 00:31:09,480 Well, Mickey Mouse saying that's something that I see me doing 564 00:31:09,680 --> 00:31:12,240 like my process would sound designed for my album. 565 00:31:12,240 --> 00:31:16,320 Because right now I am in the process of getting my visuals 566 00:31:16,320 --> 00:31:19,120 done. I want to have visuals on on for 567 00:31:19,120 --> 00:31:21,720 my live performances, like the way that like Opeth or Dream 568 00:31:21,720 --> 00:31:25,120 Theater, they have like those like visuals on stage, right? 569 00:31:25,560 --> 00:31:28,080 It's like beautiful artwork that's like just changing and 570 00:31:28,080 --> 00:31:31,760 vibe. So I want to add sound design 571 00:31:31,760 --> 00:31:35,840 that goes along with that. And yeah, I think the concept of 572 00:31:35,840 --> 00:31:38,880 that is Mickey mousing when you're going along with a visual 573 00:31:38,880 --> 00:31:40,960 and then and working in that order. 574 00:31:40,960 --> 00:31:42,640 Is that correct? Is that they say it right? 575 00:31:42,640 --> 00:31:43,440 OK. Yeah, yeah. 576 00:31:43,440 --> 00:31:47,720 And you know, that also begs a question for, you know, during 577 00:31:47,720 --> 00:31:51,320 the mixing process, like are we going to mix, you know, with the 578 00:31:51,320 --> 00:31:53,560 visual in front of us? Like that could be a very cool 579 00:31:53,560 --> 00:31:56,200 way to create immersive content. So it's like almost like we're 580 00:31:56,200 --> 00:31:59,680 mixing a movie. These are just like some things 581 00:31:59,680 --> 00:32:03,760 that with, you know, the power of immersive or the power of 582 00:32:03,760 --> 00:32:06,840 just your creativity. Like you could don't have to do 583 00:32:06,840 --> 00:32:08,720 everything the same way how it's always been done. 584 00:32:08,720 --> 00:32:10,360 You can always find new ways to do it. 585 00:32:10,360 --> 00:32:13,680 We, like I said earlier in our conversation, we have, you know, 586 00:32:13,680 --> 00:32:17,800 a new world of just creative, you know, intent out there now 587 00:32:18,080 --> 00:32:21,040 because of the technologies that we have, the more knowledgeable 588 00:32:21,040 --> 00:32:25,000 that you become, the more you're able to essentially create 589 00:32:25,000 --> 00:32:27,960 without resistance, right? And that's one of the biggest 590 00:32:27,960 --> 00:32:31,480 takeaways that I feel like being on your own as a composer and a 591 00:32:31,480 --> 00:32:33,760 producer can really unlock for you. 592 00:32:33,760 --> 00:32:35,480 But you have to be patient with the process. 593 00:32:35,480 --> 00:32:37,240 It's not you. Have to be patient with the 594 00:32:37,240 --> 00:32:39,800 process. And The thing is, I feel like 595 00:32:39,800 --> 00:32:43,120 it's a lot more it's, it's easy to be overwhelmed. 596 00:32:43,520 --> 00:32:46,360 There's like a lot of things that can delay your process. 597 00:32:46,720 --> 00:32:51,360 And I think one of them is maybe like social media, right? 598 00:32:51,360 --> 00:32:54,680 So feeling like you need to keep up with social media in order to 599 00:32:54,680 --> 00:32:56,920 be a musician. This is true. 600 00:32:56,920 --> 00:32:59,960 And just keep in mind that, you know, the musicians that you see 601 00:32:59,960 --> 00:33:05,080 on social media, they have their project done already and now 602 00:33:05,080 --> 00:33:07,640 they're at that point where they can just share, share, share. 603 00:33:08,040 --> 00:33:10,640 And if you're not at that point yet, if you're still working on 604 00:33:10,640 --> 00:33:14,320 your music or you know, like if it's not quite finished yet, 605 00:33:14,720 --> 00:33:17,640 that's the first step. Step number one is having a high 606 00:33:17,640 --> 00:33:19,720 quality product. Thank you. 607 00:33:19,800 --> 00:33:22,200 You know, totally. It's the most fun part too. 608 00:33:22,200 --> 00:33:25,880 So just really enjoy that process, the intuitive process 609 00:33:26,160 --> 00:33:29,400 that the music is still yours at that point, it's still your 610 00:33:29,400 --> 00:33:32,000 project, it's still yours, it's still like your baby. 611 00:33:32,280 --> 00:33:35,320 Once that's like done, then you give it away. 612 00:33:35,480 --> 00:33:38,240 You know, that's when you post share and you'll know what it 613 00:33:38,240 --> 00:33:40,600 looks like, you'll know how to market it because it'll be done. 614 00:33:40,600 --> 00:33:43,880 You'll understand the vibe, the, you know, if you do some live 615 00:33:43,880 --> 00:33:46,800 shows first, you'll know the kind of people that really like, 616 00:33:46,800 --> 00:33:50,760 you know, resonate with it. So that was just something I 617 00:33:50,760 --> 00:33:54,640 wanted to add because social media is just like you're seeing 618 00:33:54,640 --> 00:33:57,160 people that are at that point where they're done with their 619 00:33:57,160 --> 00:33:59,120 project and now they're showing it to the world. 620 00:33:59,480 --> 00:34:03,560 And you'll get there too, when that time comes, and enjoy that 621 00:34:03,920 --> 00:34:08,360 that the moment where the the album is still yours and only 622 00:34:08,360 --> 00:34:09,400 yours. Right. 623 00:34:09,480 --> 00:34:12,760 And yeah, that's a such a great point. 624 00:34:13,199 --> 00:34:17,840 And you guys really shouldn't feel like if you don't have 625 00:34:17,840 --> 00:34:20,880 anything out there that you have to rush to make it out there, 626 00:34:21,360 --> 00:34:26,080 right? Like while things are still 627 00:34:26,560 --> 00:34:29,120 relatively, you know, yours and unknown. 628 00:34:29,400 --> 00:34:31,080 That's a beautiful part of the process. 629 00:34:31,080 --> 00:34:34,679 Don't negate the fact that people necessarily know who you 630 00:34:34,679 --> 00:34:38,159 are, because that means that you don't have that kind of pressure 631 00:34:38,639 --> 00:34:42,800 to create something that maybe you're not that into, right? 632 00:34:42,800 --> 00:34:45,440 Because you want to make sure that what you create is 633 00:34:45,600 --> 00:34:47,960 authentically yours. It's the thing that you've 634 00:34:47,960 --> 00:34:51,880 always been dreaming of making. And I'll say it again, we live 635 00:34:51,880 --> 00:34:54,719 in that time, right? You can really focus on what it 636 00:34:54,719 --> 00:34:57,520 is that you want to create. So create your own sound. 637 00:34:57,640 --> 00:34:59,840 All the things that we talked about here on Middle Mastermind, 638 00:34:59,840 --> 00:35:04,440 it's, it's all relative to the individual independent 639 00:35:04,440 --> 00:35:06,160 songwriter. And that's one of the things 640 00:35:06,160 --> 00:35:09,440 that we really highlight here at Metal Mastermind. 641 00:35:09,440 --> 00:35:14,720 This is to explore like opening that creativity for you so that 642 00:35:14,720 --> 00:35:18,960 you have tools at your disposal that you know how to use, but 643 00:35:18,960 --> 00:35:21,920 you're unrestricted in the way that you want to use them. 644 00:35:23,080 --> 00:35:25,160 And so that process is a beautiful process. 645 00:35:25,160 --> 00:35:27,680 Sometimes it feels frustrating when you know you're working on 646 00:35:27,680 --> 00:35:29,360 things for a long time. You're like, is this ever going 647 00:35:29,360 --> 00:35:31,600 to be a thing? But know that that's a natural 648 00:35:31,600 --> 00:35:34,200 part of the process. Like you're never going to not 649 00:35:34,200 --> 00:35:37,120 have that feeling. So just give yourself some 650 00:35:37,120 --> 00:35:39,680 grace. And sometimes, you know, we need 651 00:35:39,680 --> 00:35:41,680 to hear it ourselves when we talk to each other too. 652 00:35:41,680 --> 00:35:44,760 It's just like, you know, we'll have our feelings of doubt or 653 00:35:44,760 --> 00:35:48,880 whatever, but Ellie and I, what makes us such a great couple is 654 00:35:48,880 --> 00:35:53,240 that we really just work on making sure that each other is, 655 00:35:53,600 --> 00:35:57,200 you know, content and knowing that they have support that 656 00:35:57,240 --> 00:36:00,680 there's not ever going to be a point where they're alone in 657 00:36:00,680 --> 00:36:02,680 that process. And we we help each other out. 658 00:36:02,680 --> 00:36:06,360 So sometimes if you're. Yeah, we get in our own way 659 00:36:06,360 --> 00:36:10,200 sometimes and yeah, it's, we don't realize it, you know, like 660 00:36:10,200 --> 00:36:12,360 we just we're hard on ourselves or whatever. 661 00:36:12,600 --> 00:36:15,200 Or we say, like, oh, we can't do this or this is not going to 662 00:36:15,200 --> 00:36:16,880 work. Or like maybe it's just not good 663 00:36:16,880 --> 00:36:19,320 enough. It's just like, you know, you 664 00:36:19,320 --> 00:36:22,960 getting in your own way. And that's like something that I 665 00:36:22,960 --> 00:36:26,360 do enjoy people that are taking our courses. 666 00:36:27,120 --> 00:36:32,320 Like when I have students reach out and say the struggles that 667 00:36:32,320 --> 00:36:36,280 they're having, it usually has to do with it just kind of like 668 00:36:36,280 --> 00:36:40,240 inner work, like just being like, oh, I just can't get 669 00:36:40,240 --> 00:36:43,160 through this part. Like, you know, and I'm just 670 00:36:43,160 --> 00:36:48,280 having someone that's been there and understands and just the 671 00:36:48,320 --> 00:36:53,120 this effect that you're worried about something like that, like, 672 00:36:53,120 --> 00:36:55,880 you know, any delays in your process and the fact that you 673 00:36:55,880 --> 00:36:59,680 reached out for help at all. Like it really says a lot. 674 00:37:00,440 --> 00:37:03,840 And like I'm always going to be the first person to be like you 675 00:37:03,840 --> 00:37:05,440 are exactly where you need to be. 676 00:37:05,920 --> 00:37:09,680 And you know, let's try this, this and that and let's touch 677 00:37:09,680 --> 00:37:11,760 base after a couple weeks to see where you're at. 678 00:37:11,760 --> 00:37:14,760 After you do that, you know, it's just you just got to keep 679 00:37:14,760 --> 00:37:16,440 going. You always got to revisit that 680 00:37:16,440 --> 00:37:18,560 To Do List. Yeah, one of the most beautiful 681 00:37:18,560 --> 00:37:20,880 things you actually said to me was something very similar to 682 00:37:20,880 --> 00:37:22,080 that. What did I say? 683 00:37:22,080 --> 00:37:26,440 Which was that you know where you are is exactly where you 684 00:37:26,440 --> 00:37:29,960 need to be. Because what you're creating 685 00:37:30,040 --> 00:37:33,240 isn't isn't necessarily up to you. 686 00:37:33,600 --> 00:37:38,440 It's the universe in a sense, making it ready for it to be 687 00:37:38,440 --> 00:37:40,120 accepted. Yeah, I do. 688 00:37:40,120 --> 00:37:43,960 I do get very, you know, like spiritual in my process and. 689 00:37:44,640 --> 00:37:47,800 No sharing that was very. Do yeah, I know I, I, I, I do 690 00:37:47,800 --> 00:37:51,600 believe in when I say, when I do say, like the universe has its 691 00:37:51,600 --> 00:37:54,280 plan. And I do want to put this into 692 00:37:54,280 --> 00:37:56,760 terms that everyone can understand because maybe some of 693 00:37:56,760 --> 00:37:59,760 our listeners don't like tap into that in the same way. 694 00:38:00,080 --> 00:38:02,640 But it all does boil down to to the same thing where it's like 695 00:38:02,640 --> 00:38:05,120 when you're writing a song, when you're writing your own original 696 00:38:05,120 --> 00:38:09,000 stuff from your own creative brain, Like you have that moment 697 00:38:09,000 --> 00:38:11,680 where you're like, this is right, and this is how it was 698 00:38:11,760 --> 00:38:14,360 always supposed to be. So it's as if the song is 699 00:38:14,360 --> 00:38:16,560 already written and you're just trying to uncover it. 700 00:38:16,560 --> 00:38:18,760 Because when you know it's right, you know it's right 701 00:38:18,760 --> 00:38:21,680 because the song is already, like, created. 702 00:38:21,680 --> 00:38:23,280 You already have the vision for it. 703 00:38:23,520 --> 00:38:24,960 Yeah. You're just picking away at the 704 00:38:24,960 --> 00:38:27,480 rock to to find the sculpture underneath. 705 00:38:28,440 --> 00:38:32,080 So that's a good mentality And you know, whatever higher power 706 00:38:32,080 --> 00:38:34,880 you believe in, whether the universe already has its plan 707 00:38:34,880 --> 00:38:39,680 for you or, or God or what have you like, it's just a very 708 00:38:39,680 --> 00:38:43,520 insightful way to go about it. And I think it leads to a much 709 00:38:43,520 --> 00:38:47,240 more enjoyable experience. Well, one one part of that that 710 00:38:47,320 --> 00:38:51,160 I took as a big take away was that my music was essentially 711 00:38:51,160 --> 00:38:54,160 another entity. It wasn't basically just me. 712 00:38:54,200 --> 00:38:59,080 It was separate from me in a way that allowed me to uncover this 713 00:38:59,080 --> 00:39:02,880 in a natural way. So I really did appreciate when 714 00:39:02,880 --> 00:39:04,960 you said that to me. I felt like it was very, very 715 00:39:04,960 --> 00:39:07,240 helpful for me to put things in perspective. 716 00:39:08,880 --> 00:39:14,880 I've also always felt in my heart that what I do is very 717 00:39:14,880 --> 00:39:21,160 much like I am a vessel. I'm just, you know, essentially 718 00:39:21,160 --> 00:39:26,360 going to the muses and and the hearing from them what I'm 719 00:39:26,360 --> 00:39:30,040 supposed to be putting down onto tangible form. 720 00:39:30,360 --> 00:39:35,200 And that allowed me to at least visualize a little bit more in 721 00:39:36,200 --> 00:39:42,200 AI guess in a very, yes, spiritual way, but also in a 722 00:39:42,200 --> 00:39:46,680 just, I guess a little bit more of a detached way where I didn't 723 00:39:46,680 --> 00:39:50,520 have to feel like it was all me. It wasn't my ego. 724 00:39:50,520 --> 00:39:56,120 It was its own entity, like I mentioned, you know, So that's 725 00:39:56,120 --> 00:39:59,440 very powerful. And I think the way how you, you 726 00:39:59,440 --> 00:40:02,440 know, give yourself grace for your music is to allow yourself 727 00:40:02,440 --> 00:40:05,960 to also believe that your music is a living thing. 728 00:40:06,680 --> 00:40:11,000 It has its ups and downs. It will reveal itself in time to 729 00:40:11,000 --> 00:40:13,160 you. You have to get to know it 730 00:40:13,160 --> 00:40:15,760 right? So the more time you invest in 731 00:40:15,760 --> 00:40:19,240 your music and the way that you create your music, treat it like 732 00:40:19,240 --> 00:40:22,400 a relationship with your music that you want to foster 733 00:40:23,000 --> 00:40:27,440 healthily, and you are not putting the kind of pressure on 734 00:40:27,440 --> 00:40:30,040 your music or yourself to make it a certain way. 735 00:40:30,040 --> 00:40:32,240 When you start forcing things, then things don't turn out the 736 00:40:32,240 --> 00:40:33,800 way that you want them to. Totally. 737 00:40:33,800 --> 00:40:38,240 If you start forcing a person, they will retaliate or whatever. 738 00:40:38,440 --> 00:40:39,640 Yeah, retaliate. I don't know. 739 00:40:39,640 --> 00:40:41,200 That's the best word to use. They will attack. 740 00:40:41,800 --> 00:40:45,040 But yeah, no, it's like it is like a really relationship where 741 00:40:45,040 --> 00:40:48,840 it's like, you know, you find areas that need improvement and 742 00:40:48,840 --> 00:40:52,400 you want to put in the work and the detail. 743 00:40:52,400 --> 00:40:54,640 You don't want to just like ship something out that's like, it's 744 00:40:54,640 --> 00:40:57,720 fine, it's good enough. You do that, that's fine. 745 00:40:57,720 --> 00:41:01,040 Maybe it's a great song. But like when, when you really 746 00:41:01,040 --> 00:41:04,360 want to get it, like quote UN quote, perfect, you know, the 747 00:41:04,360 --> 00:41:08,400 areas that need improvement, you know, schedule that time to just 748 00:41:08,400 --> 00:41:12,680 like focus on it and put in that little bit of work and you know, 749 00:41:12,680 --> 00:41:17,280 find that balance to to, you know, make that song, that 750 00:41:17,280 --> 00:41:19,920 entity what it always was supposed to be. 751 00:41:20,280 --> 00:41:24,400 I do want to like also talk about like refining your 752 00:41:24,400 --> 00:41:26,520 process. Do you want to add something 753 00:41:26,520 --> 00:41:32,320 before I like head over there. I think refining your process 754 00:41:32,320 --> 00:41:37,840 just takes time. It really is about, in a sense, 755 00:41:37,840 --> 00:41:42,760 trimming some of the fat of what doesn't work and discovering 756 00:41:42,760 --> 00:41:44,960 what works for you and what keeps you motivated to keep 757 00:41:44,960 --> 00:41:45,800 going. Yes. 758 00:41:45,800 --> 00:41:49,160 And I do want, yeah, what works for you is important because, 759 00:41:49,560 --> 00:41:53,240 you know, Ken and I, we relate on a lot of levels with our 760 00:41:53,240 --> 00:41:57,120 music process. It's how we, you know, our 761 00:41:57,120 --> 00:41:58,880 friendship began, you know what I mean? 762 00:41:58,880 --> 00:42:01,520 Our relationship began. It's like what we have in common 763 00:42:01,520 --> 00:42:04,320 to the core, but that's our process. 764 00:42:04,320 --> 00:42:07,120 You know, we are very like intuitive with the process. 765 00:42:07,120 --> 00:42:12,080 And you know, we see our our music as its own like entity. 766 00:42:12,080 --> 00:42:17,040 But like what's so fun about music and what's so creative 767 00:42:17,040 --> 00:42:20,720 about it is that everyone has like a different way of, you 768 00:42:20,720 --> 00:42:25,160 know, making music. So it's like if you have like a 769 00:42:25,160 --> 00:42:28,760 band that likes to just drink beers and like jam, you know, 770 00:42:29,440 --> 00:42:31,800 that's great. You know, it works for you. 771 00:42:31,880 --> 00:42:35,800 So it's like figuring out what works for you and then refining 772 00:42:35,800 --> 00:42:37,880 the process. You know, how do you get 773 00:42:38,240 --> 00:42:41,440 productive when that's your process, when you want to just 774 00:42:41,440 --> 00:42:45,240 like jam and drink some beers and like see what happens? 775 00:42:46,040 --> 00:42:47,800 Record it. That's all you got to do. 776 00:42:47,800 --> 00:42:49,440 Make sure you set up that recording. 777 00:42:49,440 --> 00:42:50,880 So it's like, all right, this works. 778 00:42:50,880 --> 00:42:53,760 We love that, but let's make sure that we record it so that, 779 00:42:53,760 --> 00:42:59,560 you know, we can like maybe chop it up like in logic or in Pro 780 00:42:59,560 --> 00:43:03,280 Tools and find the parts that we like and, and work off of that. 781 00:43:03,280 --> 00:43:07,480 And that's how you can use the process you enjoy feels organic 782 00:43:07,480 --> 00:43:10,680 to you, but also be like productive with it. 783 00:43:10,720 --> 00:43:13,400 So whatever your process is, some people just need to be like 784 00:43:13,400 --> 00:43:15,640 super sad to write music. You know what I mean? 785 00:43:15,720 --> 00:43:18,760 How, how do you refine that process, you know, journaling, 786 00:43:18,760 --> 00:43:22,680 getting, getting yourself like in that headspace to write music 787 00:43:22,680 --> 00:43:26,120 that could be like a way so that you can be productive with the 788 00:43:26,120 --> 00:43:27,800 process that works best for you and. 789 00:43:28,080 --> 00:43:32,520 We're as it's all fine finding a balance, yeah, you know, if 790 00:43:32,520 --> 00:43:36,520 something's not working, don't let it trail on, you know, for 791 00:43:36,600 --> 00:43:39,560 unnecessary amounts of time. Otherwise, those problems just 792 00:43:39,560 --> 00:43:45,200 build and then working through what feels natural versus what 793 00:43:45,800 --> 00:43:49,080 helps to push you just a little bit more, right? 794 00:43:49,080 --> 00:43:50,400 Because we don't want to just settle. 795 00:43:50,400 --> 00:43:53,280 We don't want to just, you know, get into a position where we're 796 00:43:53,280 --> 00:43:55,360 just like, kind of like, all right, whatever works, it's 797 00:43:55,360 --> 00:43:57,160 fine. But it's like, no, if you want 798 00:43:57,160 --> 00:44:01,720 like to get like really great, great stuff, then you have to 799 00:44:01,720 --> 00:44:05,440 have just a little bit of that, just pushing into a little bit 800 00:44:05,440 --> 00:44:11,240 of uncomfortable space for you to help make something new come 801 00:44:11,240 --> 00:44:14,200 along that you're supposed to receive in that moment, right? 802 00:44:14,200 --> 00:44:19,320 So a balance is super key. And so for those of you who are 803 00:44:19,320 --> 00:44:22,280 interested in, you know, learning more about this kind of 804 00:44:22,280 --> 00:44:25,600 stuff, right, Metal Mastermind, we have resources for you. 805 00:44:26,160 --> 00:44:28,600 We also have a community. If you don't know, we have a 806 00:44:28,600 --> 00:44:31,640 community on Discord. It's about 600 people on Discord 807 00:44:31,640 --> 00:44:33,160 right now. We just, I'd love that. 808 00:44:33,160 --> 00:44:37,520 I love seeing how people just communicate in our community to 809 00:44:37,520 --> 00:44:38,800 each other. They're very supportive. 810 00:44:38,800 --> 00:44:41,640 People share their ideas all the time and they get feedback. 811 00:44:42,640 --> 00:44:46,800 And in our platform, Mental Mastermind, we've been teaching 812 00:44:47,280 --> 00:44:51,640 since 2020, as officially 2021 when it came to the business. 813 00:44:51,640 --> 00:44:56,360 But the entire journey of Metal Mastermind was all about 814 00:44:56,360 --> 00:44:58,040 empowering independent musicians. 815 00:44:58,040 --> 00:45:03,560 So if you're going to go and you know, start to explore some of 816 00:45:03,560 --> 00:45:07,000 these aspects of yourself, you know, we can help you. 817 00:45:07,000 --> 00:45:08,800 Metal Mastermind is here to do that. 818 00:45:08,880 --> 00:45:11,880 And so check it out, see what fits for you. 819 00:45:12,440 --> 00:45:17,960 We do have songwriting, music theory, we have studio design, 820 00:45:17,960 --> 00:45:22,760 we have vocals, we have bass guitar. 821 00:45:22,800 --> 00:45:25,480 I mean, like we really got pretty much everything you need 822 00:45:27,040 --> 00:45:29,600 and we're still adding more. So more to come this year. 823 00:45:29,600 --> 00:45:33,360 We're, we're currently working on some really exciting stuff, 824 00:45:33,640 --> 00:45:37,880 including also like Adobe Atmos course that I'm, I'm putting 825 00:45:37,880 --> 00:45:40,080 together. We're working on some more 826 00:45:40,080 --> 00:45:42,040 production stuff with the studio. 827 00:45:42,560 --> 00:45:44,800 It's very exciting times here at Metal Masterminds. 828 00:45:44,800 --> 00:45:48,160 So just stay tuned. And of course, you know, as you 829 00:45:48,160 --> 00:45:51,640 go through your journey, don't don't forget, you know, create 830 00:45:51,640 --> 00:45:54,200 your own sound. That is always the thing that we 831 00:45:54,200 --> 00:45:57,400 want to leave you with because we truly believe that while you 832 00:45:57,400 --> 00:46:00,800 go through this process of being a musician, don't forget that 833 00:46:00,800 --> 00:46:03,440 it's your sound that you are after. 834 00:46:03,440 --> 00:46:05,800 So always create your own sound.