JOEL WANASEK: How to Mix 500 Songs a Year, The Psychology of Speed, and Client Management Systems

Speaker 1 (00:00:00):

Hey guys, Eyal Levi here, and I just want to open up this episode telling you guys that it is going to be a little bit different if you already own our speed mixing system. There's nothing for you here because that's what we're going to be talking about today. But we've been working on this for well over a year and we truly believe that this is something that can change your audio life, take it to the next level. So if that sounds like something you're interested in, listen in. Welcome

Speaker 2 (00:00:31):

To the Unstoppable Recording Machine Podcast, brought to you by two notes. Audio Engineering two notes is a leader in the market for low box cabinet and mic simulators. Gone are the days of having ISO rooms or having to record an amp at ear bleeding volumes to capture that magic tone. The Torpedo Live reload and studio allow you to crank your amp up as loud as you want, but record silently. Check out www do two-nodes.com for more info. And now your host, Joel Wanasek and

Speaker 1 (00:01:06):

Eyal Levi. Alright, welcome to the Unstoppable Recording Machine Podcast. I am Eyal Levi, and today we're going to do something a little bit different. I am actually going to be interviewing Joel Wanasek, my co-host on the podcast because something special happened at URM, we've released our very first standalone course. Now, you guys were probably thinking you guys released courses all the time, or what are you talking about? But actually it's not true. We've released Nail the Mix for about two years now almost, and URM enhanced Fast track mini courses and a ton of podcasts, but we've never done a standalone course that's almost the length of a school semester with workbooks and assignments and all the above that you would find in an actual school course. So it's our first time and we're here to talk about it. And the reason I'm going to be interviewing Joels because it's his course, so Joel, hello. How you doing? I'm doing all right. I'm ready to talk about this.

Speaker 3 (00:02:19):

What if I want to be the host today and not the interviewee?

Speaker 1 (00:02:22):

Well, your damn course, bro. So you're the most productive person or one of the most productive people I've ever met, and I definitely think that you're wired differently than me and a lot of people, and I definitely think that there's some of that that's just in who you are, but I also think that a ton of it can be trained, and I feel like that's what this course is about. So why don't you introduce it to us and tell us how this is actually the story of your brain.

Speaker 3 (00:03:01):

Well, that's a pretty epic lead up here. So what we're doing is we're coming out with a course, or I should say we just came out with a course do, I mean we're coming out with a course. What kind of podcast is this? We just came out with a course called Speed Mixing, which is really, really exciting for me because it's the entire culmination of my life. So basically, if you guys aren't familiar with this, I mix over 500 songs a year and I've done this many, many times in my career and I mix extremely fast. I'm clear in a mix and 30 to 45 minutes on a slow day when I just don't care and I'm in no hurry or I want to really screw around. I mean, still it's like an hour to an hour and a half maximum. And I've done some pretty crazy Olympian style mixing feats. For example, one time I mixed 18 songs in a single day or one time, I mixed an entire consecutive record in three hours in 30 minutes, went to lunch, came back, did four more singles and was back home by about four in the afternoon for dinner.

Speaker 1 (00:04:00):

And if you guys want proof that he's not full of shit, just watch any nail the mix that Joel actually mixes and cut out all his talking and you'll end up with 30 minutes of actual mix.

Speaker 3 (00:04:16):

I mean, I could actually mix an entire song, I nail the mix, but we'd be done in a half an hour and they wouldn't learn anything. I wouldn't talk. It's be click, click, click, click, click, click, click. So no, no, I'm dead serious. There's no fabrications. This is so legitimate. It's crazy because the only other dude that I know personally that works on this level is Billy Decker and he's insanely savage. And it was really cool going down to Nashville and having a talk with him because it was like speed mixing heaven. We were just sitting there and we're talking about all these little weird tweaks and crazy things that we do to hack our speed and stuff like that. But it's really important, and I want to explain why this is important because I feel like I shouldn't say I feel like I know from doing this podcast and having talked to so many amazing cutting edge people who are just working on the highest levels of this industry as well as over a year and a half of nailed the Mix.

(00:05:08):

I know for a fact that the industry is speeding up, meaning the turnaround times, especially over the last two to three years have increased almost exponentially where it was before, meaning a couple of years ago, a lot of people on the top are mixing a record in two to four weeks on the quick side. And now it's like I'm getting calls to mix records, for example, I just didn't accepted a record to when I get back and it has a 10 day turnaround time to do the entire record. And I mean it's a high budget large artist on a major label in Japan and you know what I mean, it's a serious album, but it's got a 10 day turnaround time. They extended it for me just because I'm going to be gone in Russia and I come back and then I've got 10 days to just plow through the entire record, which would be more than sufficient. But it just goes to show you there's a perfect example of something real world or let's talk about single

Speaker 1 (00:05:57):

Man, when I was mixing full-time and involved in a studio that was mixing all the time, a 10 day turnaround was kind of pushing it as far as speed went. That was the edge of starting to get uncomfortable.

Speaker 3 (00:06:17):

The only way I'm not turning out that entire record in two to three days tops with revisions is if the artist decides to fly out and sit over my shoulder. In that case, because you're doing client entertainment, you're not actually mixing. But I mean, let's talk about singles for a second here, Al. This is something that's really crazy is I'm getting single requests now where people are like, yo, can you kick this out in 12 to 24 hours? I mean, I did some masters, I know this isn't mixing, but I did some masters for the new Christina Grimmy album that just came out and my buddy Seth had done it and literally he was getting songs like the Morning of to Mix and that they were due, and then I would have them by the afternoon and then I would kick out the master in an hour and then it would go to the label and it'd be finalized before it closes at five o'clock in la.

(00:07:02):

You know what I'm saying? So think about how crazy that is. It's like I get the master and I've got an hour to turn it around, or he gets the track that morning and he's got mix it and do an amazing job. And this is major label stuff. This isn't like the local band down the street. There's money behind this stuff. And these are just small examples of some of the crazy things that are happening with the turnaround times. But you know what I mean? This is the new world we live in. This is the reality and we have to work much faster than we've ever before. And I think it's actually a cool opportunity because if you know how to kick ass, and what I mean by kick ass is go in and work really, really fast, okay, budgets are coming down a little bit, but you can make up so much more money on volume.

(00:07:43):

I mean, that's where I've really made a killing. I've never really gotten a ton of stuff. I mean a couple of times I've got like a thousand bucks a track, seven 50 I get often, but sometimes I'll mix stuff as low as even 500 bucks on the low end. But the thing is, when I can do five, 10 songs in a day easily, that adds up really, really fast. And it's kind, it doesn't matter how, what the price is of the mix. If you can clear 10 mixes in a day and then spend two hours the next day doing revisions and you're done, I mean it just adds up.

Speaker 1 (00:08:15):

Even if you charge two 50 a mix, if you can clear 10 of those in a day, I mean,

Speaker 3 (00:08:22):

It's ridiculous. Give

Speaker 1 (00:08:23):

Me a break.

Speaker 3 (00:08:25):

You can fix your rust steel band van and buy a new car like a legitimate one. Well,

Speaker 1 (00:08:32):

The reason I'm saying two 50 a mix is because that's not the kind of price that you get for a major artist. That's like what locals will pay is very normal for a local to pay a local band to pay a local engineer two 50 a track.

Speaker 3 (00:08:52):

Oh yeah, absolutely. And even at two 50 a mix, and I've mixed enough songs at two 50 to fill up an entire masters just drive on my hard drive. So I've definitely mixed in that price range too many times. And like I said, even if you're mixing a hundred bucks a song, I mean, think about it, if you can mix an album in a day, you can make a thousand bucks. And I don't care what level you're at in the industry or what your obligations are, if you can make a thousand bucks a day and do that more than one or two times a week, I mean that's a really damn good living. You know what I mean? So just think about that. That's what I'm saying is the opportunity right now is just making money on volume. And now, okay, I know the instant objection is, oh dude, what if I don't have enough clients to do that, blah, blah, blah.

(00:09:42):

And my answer is, you got to look at it like this. It's not about that. It doesn't matter how many clients you have, it matters how you set your system up to work for you so you can leverage your time and talent and absolutely just be on point all the time. So when you get something, you can turn it around and you can optimize every second of your time and be more efficient and effective. So what ends up happening is you have more time to go out and acquire clients, or you have more time to study and train. You have more time to play with gear or create new templates or, you know what I mean, refine and tweak things because you're spending less time actually mixing because you're more effective. And another clear distinction I feel like I should make kind of going off this tangent is when I'm talking about mixing fast, I feel like a lot of people can misconstrue that as taking shortcuts or half-assing it or loading a template that just makes every and sound the same. And that's absolute horseshit because it's completely wrong.

(00:10:38):

I'm not talking about mixing fast and doing a crappy job that you wouldn't want to put your name in. I'm not talking about mixing bands and making them all identical or anything like that. I'm talking about doing the job that's necessary for the artists so they can fit the market they're in and be competitive. I'm talking about sitting down and mixing and just being ultra efficient and concentrated with zero distractions and just being in the zone and giving your best performance like you're performing on stage for 10,000 people and just getting in there and just crushing it. When you get done, you're just totally going with your gut instinct and you're vibing and you're off it and you're not sitting there overthinking it and you're focusing on what's most important in the mix, and you're making the song come to life. You're not sitting there and dicking around with your snare drum for four hours trying to EQ it. So those are very important distinctions that I think need to be made.

Speaker 1 (00:11:27):

So yeah, in reality by taking on a system like this, you are able to put the majority of your energy into the things that actually matter, the artistic content, like the message of the artist, like the emotional value because you take all the mechanical tasks, all the non-creative tasks, and you systematize them in a way that you just knock them out with brutal savagery.

Speaker 3 (00:11:57):

But it's so much more than even that. I mean, that's definitely a large part of it and I think you really hit it on the head, but it's not just the actual execution of the mix and the preparation. It's like the entire system of client interaction and setting yourself up to, so you can eliminate unnecessary notes and you can have very smooth, clean, proper interactions with clients that are drama free and problem free or you know what I mean? There's just

Speaker 1 (00:12:22):

Basically setting up your whole life for this.

Speaker 3 (00:12:24):

Yes, correct. So when you're in the studio, for example, you're there to work and you're there to kick ass, you're not there to screw around. You're not sitting there checking Facebook, you're not wasting time, you're not texting your brother about the new magic, the gathering card set that you got and how cool it is that you got this plus one manna, whatever, you know what I mean? You're not sitting around wasting time. You sit down and it's like, alright, I'm in the NBA playoff or I'm in the Super Bowl and I'm here to win and I'm going to go give the best effort that I've ever gave in my life and I'm going to sit down and I'm going to crush this song. It's going in with absolute savage confidence and treating it like it's a gladiator dual to the death. And then once you finish the song and you've made your creation and it shines and it pops and it comes out of the speakers and the mix is jelling and the song comes alive, that's what it's all about.

(00:13:10):

So getting yourself into that psychological zone is also just important as the execution is also as important as the systems of interaction and everything else. It's a lot of little teeny things that add up and create a synergy. And this is the thing where again, where I think people have a lot of misconceptions when it comes to workflow hacks. They think like, oh, if I just had this one thing, it's like in mixing, if I just had this new compressor, these new converters, if I just had this new plugin, my mixes would be great. And I remember when I used to think like that in my career, but it's not. It's like a little bit of this, a little bit of that, a little bit of this, a little bit of that, a little bit of tweak here, here, here. And all of a sudden across 20 things, when you add them up, you just have this massive boost in synergistic productivity, in systemized interaction and workflow. And it's just like the synergy of so many tiny little things that you would never really think about, but when you do 'em, it really matters. So it all just adds up and that's the most important thing.

Speaker 1 (00:14:05):

Perfect time for me to tell you what's in this course. Alright, so if you get speed mixing and you go to nail the mix.com/speed mixing, here's what you'll get. You get lifetime access to 70 instructional videos covering mixed techniques, client relations, time management, D optimization, business systems, team building, outsourcing, speed building, EQ training, and Joel's proven method for extreme effectiveness and efficiency. You get a seven week speed mixing bootcamp complete with 30 sets of expertly recorded multi-gen, raw multi-tracks. And these are tracks that I've recorded that Joel's recorded all stuff we've actually worked on. You get those all, and you can actually use them in your portfolios up to 45 seconds. So you get 30 songs that you can add to your portfolios. You get bonus access to our exclusive instructor led speed mixing group. This is where your chance to learn from your peers as well as attend free weekly live chats focused on what's helping you conquer the system.

(00:15:09):

You get 43 pages of hard hitting supplemental materials including step-by-step assignments, trackers, charts, notes, spreadsheets. I mean there's all kinds of stuff. For instance, there's this really badass spreadsheet that does all the math for you on hiring an assistant down to percentage and hours per mix, how many mixes per month? It's some seriously detailed stuff. You get our client acquisition masterclass, and that's because some people might be like, well, how can I mix 500 songs per month if I can't even mix if I don't even have five clients? Well, this is why we have a client acquisition masterclass on top of the client acquisition masterclass and everything I've already said, we've got some more bonuses. You get the speed mixing bundle by JSD, that's gain reduction, deluxe tone, forge, guilty pleasure, Terminator, JST clip and finality. You get all those plugins, you get a one-on-one 15 minute Skype call with Joel where he'll personally help you through any of your speed mixing challenges. And you get a free month of URM enhanced plus a free previous month of nailed the mix and free updates for life, kind of unbeatable. Alright, so now that what's in the course or what comes with it, let's get specific about some actual speed mixing tricks. Now, one thing that you make a big emphasis on, and I've actually made a big emphasis on this before even meeting you, but you take this to a whole other level than me, you're just a fucking efficiency. God,

Speaker 3 (00:16:52):

I don't know about that,

Speaker 1 (00:16:52):

But no, you are, and the whole beginning of this course, you cover everything that you do before you even start mixing. And so it's like the speed mixing begins before the audio even starts playing. Can you talk about some of the things that you do to just get ready, get the tracks ready that

Speaker 3 (00:17:12):

Yeah, sure. In terms of preparation or mindset, because I feel like

Speaker 1 (00:17:16):

In terms of preparation, I think we've covered your mindset quite a bit.

Speaker 3 (00:17:19):

Okay. I was going to say, because both of them are, I feel like equally as important. Okay, so let's just talk about preparation. Preparation is very complicated. There's a lot of things to talk about, but let's start with the DAW, right? Because a lot of people, pretty much almost everybody in the modern world right now that's making music uses a DAW at some point in their chain, even if it's minimally, even if it's just to capture it off the tape machine or something, you know what I mean? The DAW is here to stay. So the thing is, how many times have people sat down and read the bloody manual? I mean, think about that for a second. I mean, I never read it until I sat down and I met Joey, and Joey was like, he read the manual and he showed me some cool tricks.

(00:17:59):

I'm like, damn, I got to read the manual. So then I went and read the manual four or five times, and after I read the manual, then I was like, wow, I didn't know he could do that. I didn't know he could do that, or That makes so much sense. Or Oh my God, that's a way faster way to do that. What the heck was I was thinking. So a lot of people don't sit down, for example, and just learn all of the key commands in the DAW, and that sounds like an obvious simple thing. But for example, in cubase you can assign a key command to literally anything. So I don't like to move my mouse. I have this really ridiculous and hilarious metric called PPMC, price per mouse click. Meaning every time I click my mouse, it costs me money. And if I can lower that value so it costs me less money because clicking the mouse less to get more actions complete with less clicks, then it makes me more efficient and it makes me more money.

(00:18:44):

So if I have to hate having to take the mouse out of the middle of the screen where you have all the tracks and everything, and I want to be able to zoom in with my mouse wheel and the control key, so I don't have to move my mouse anywhere, I don't have to go up to the file menu or the project menu or any of the menus on top or click on any buttons up there, that means I have to take my mouse cursor, move it all the way up, and then move it all the back down. So I macro and I key command literally anything that requires me to move my mouse if I can possibly help it within a reason. So for example, simple things that people don't think of that waste a ton of time, like importing files, importing track archives, which is a system of templates in Cubase, try to think about it.

(00:19:26):

Maybe you've got a base chain or something like that if you want to just fly it in and test it or whatever, where you just move the audio up under the tracks so you can do that in and out. Or different versions of saving, like exporting different things, exporting a mix down or exporting stems or exporting batch or having key commands for all of these little teeny tasks and then memorizing them and then training them to the point where it's subconscious. For example, auto saving will save you a lot of time, but I have trained my brain to literally control S to save literally after every move I make. So if I move and I click on something and I do something, control S. So that way, and this has saved me a million times in my career because the auto save interval is usually a minute or 30 seconds where I'll be going on, I'll be doing some crazy automation or something suddenly boom, I'll do something stupid, the computer will crash, and then I'll open it and I'll literally be exactly where I was before the computer crashed because intrinsically saved it. So just little stupid habits like that, that saves so much time because then you don't have to sometimes rebooting the computer. For example, I know this is not a DW optimization, but getting the fastest computer possible because when you're reboot the computer, and if it takes 10 seconds, that's a lot better than three minutes. And if that happens, go,

Speaker 1 (00:20:37):

Lemme tell you that there was a time period where I had to reboot a lot on pro tools user, and that happens, and I started to do the timing on that. I mean, I started to calculate how much time it was taking, and I figured out that over the course of a year I was losing two weeks of my life to rebooting.

Speaker 3 (00:20:58):

I'll tell you something crazy, I calculated it out. And if you spend 15 minutes a day, assuming a normal week, and you can speed up your workflow by 15 minutes a day, it comes out to something like three weeks of your life. It's ridiculous. That's an entire awesome vacation because you didn't optimize your stuff. And there's a lot of things that can save you 15 minutes a day, you know what I mean? That's not a very lofty goal. Trying to save three hours a day. Now that's impressive, but 15 minutes a day, that's so doable by I feel like anybody, but like I said, that's three extra weeks. How many more songs could you mix in three extra weeks? It's like I can mix 40 or 50 songs in that time. So think about that. It's just ridiculous. So aside from things like DAW optimizations, there's a lot of good things you can do on the client communication side.

(00:21:43):

For example, having a great mix requirements guide, and this is something, I mean, I feel like a lot of these things are obvious, but it's crazy how many times you'll say things and then people have the aha moment. They're like, oh, wow, why didn't I think of that? Or they know better, but they don't do it. Having a great client guide where it says, here's exactly how I want my files. And then putting a line at the end that says, if you don't send 'em this way, guess what? There's going to be upcharges. And you don't send that to just the tracking engineer. You also send that to the band and you say, read the client guide and look at the last line. And they say, okay, I've seen it. I've confirmed, okay, now we know we're not going to have any problems. And I'll tell you, as soon as you put that in, tracking engineer will go to hell and back to make sure that you get your files exactly how they want 'em or else they're going to have a really pissed off client wanting to know why they didn't listen and why the mixer wants to charge 'em X amount of songs because they didn't listen.

(00:22:32):

So just simply simple things like that, setting that up, or let's talk about mixed revisions. This is some nice stuff. For example, having just one person in the band be the contact for mixed revisions will save you an entire lifetime of stress and gray hair and the sleepless nights because how many times al in your career, my God, have the bass player calls you at 11:00 PM He's like, dude, can you turn this part up? And you're like, oh yeah, sure. You just get a note from the bass player, the vocalist, your drummer, and then you turn it up and not even 15 minutes after you send the updated mix, you got the band calling, you swearing it, you're like, dude, we've been fighting about that part for three weeks. Why the hell did you turn that up? Blah, blah, blah, blah. And then all of a sudden you're the bad guy and you're like, hold on. I didn't even know man. The dude just said, turn up the thing. And you're just like,

Speaker 1 (00:23:21):

You're making me think of this hilarious story. I was working with this band that's actually signed band where the singer kind of sucks, and the drummer is a better vocalist than the singer, but they're very, very shy about it to each other. So what they'll do is sometimes have the drummer do backup vocals while the singer's gone, but the backup vocals will be doubling every single line in the song. And so there was this one time where they're having me mix a track and the one guy or the two guys in the band I was talking to, this was before I made the rule of one person. They kept on telling me, turn up the drummer, drummer, vocal up, drummer, vocal up, drummer, vocal up. And then the final day I get an email from the singer, which is like, I'm the lead vocalist. Why are my vocals buried? And suddenly it's like 12 pages of vocal notes because they weren't communicating with him and I didn't communicate in advance that oh my, oh yeah,

Speaker 3 (00:24:26):

I didn't do it. You could avoided all that if you would've just put that one little line in the prep guide or giving the band

Speaker 1 (00:24:31):

A sheet. Yeah, well, I was late with the record and it caused me some problems and it's my fault for not having communicated that in advance. And again, it's super obvious stuff, but you take all these super obvious little things like one little thing here, one little thing there, and it adds up to big.

Speaker 3 (00:24:50):

It's obvious, but it's not because I feel like a lot of these mistakes, a lot of people deal with client interaction basically just on a whatever happens basis, it's not systematized. They sit down and they're like, oh, I'm just going to text this dude and then I'm going to email this guy in the band and I'm going to call the a and r guy, and you know what I mean? Really, it's not systematized, it's just whatever the hell happens and this is what happens. And then you learn a lesson like that and you're like, okay, never again. How can I fix that? Then you learn another one, then you learn another one, then you learn another hard one, and by the end of it you're like, oh, I'm so stupid. Why didn't I do these 15 things before? Another good thing to give in advance, like I said, is just a set of rules for how the session is going to go.

(00:25:31):

For example, the payment terms. Now this is something that I get really pissed about because every time I violated this in my career, I have gotten nailed. I have always gotten my money, but sometimes I've had to wait and fight for nine months to get it. You know what I mean? I'm threatened legal action. And the thing is, if you go to court with somebody, that's it. The relationship is beyond over. But at the same time, if somebody's being a jerk and not paying you for nine months, it's like I feel like you should almost have the right to show up in their office with a broad sword and challenge 'em to a dual. So unfortunately, we have laws that prevent that sort of shenanigans, but I can fantasize. But in the meantime, simply having a line like, Hey, if you don't, you give me 50% down to start the project, and if I will not give you the masters until I have my payment.

(00:26:18):

And then they're like, yeah, yeah, yeah. Then the label's like, hurry up, hurry up, hurry up for anybody client. And then you're just like, okay, well here's the deal. Here's my routing number. I don't see funds in my account. So with the second that shows up in either A, my PayPal, B, my bank account, or I have a physical check in my hand that I know isn't going to bounce that I've deposited in my bank at that point, guess what? Here's a screenshot of the stems. All I need to do is push that, send button, you'll have them in 20 seconds. So in the meantime, go get me that money, but we're in a really hurry. I'm like, I don't care. You know what else? I'm in a hurry. I'm in a hurry to get paid, so get me my money now. And sometimes you got to really assert some backbone, but I'll tell you, man, every time in my career, oh, I've worked with this band five times, it's not going to be a problem.

(00:26:58):

But they got a new manager, boom, now you got a problem. Oh, I've worked with this band a bunch of times. Oh, they're on a new label. Boom. Now you got a problem. Oh, these guys aren't going to screw me over. They're like, my guys, blah, blah, blah, blah. Oh dude quits the band. They got a new guy in the band. Boom, now everything went to hell. Oh, now all of a sudden they can't pay on time. You got to prevent it before it comes in and having really strict terms that you set up front with the artist before they come into the studio. That way when it happens, you can just point and be like, look, you know better. Here's the rules. You agreed to it. It's a contract. Have a nice day, give me my money, and there's no problems.

Speaker 1 (00:27:30):

And you go into this in detail in the course. I know you do. I'm just reaffirming. I mean

Speaker 3 (00:27:34):

On this podcast, we're really just scratching the surface ale. It's kind of like in the course, it's just there's so many more things. But I'm just trying to give people a couple of good points that they can kind of take home to the bank and think about,

Speaker 1 (00:27:47):

And these are typical problems that we know from having thousands of students and being in the industry that these are things that everybody goes through and these are the things that slow you down. So let me give you a recap of what you're going to get. If you get the speed mixing course, you're going to get lifetime access to 70 instructional videos covering mixing techniques, client relations, time management optimization, business systems, team building, outsourcing, speed building, EQ training, and Joel's proven method for extreme effectiveness and efficiency. You're getting a seven week speed mixing bootcamp complete with 30 sets of expertly recorded multi-gen, raw multi-tracks. These are tracks that I've recorded Joel's recorded that we've mixed, that we've actually worked with. These are real bands. They sound good. These are well recorded and you can use them up to 45 seconds in your own portfolios. So for those of you who have no clients, this will actually help you put a portfolio together so you can go get clients, you get bonus access also to our exclusive instructor led speed mixing group, or get a chance to learn from your peers as well as the 10 free weekly live chats.

(00:28:55):

Focus on what is helping you conquer the speed mixing system. You get 43 pages of hard hitting supplemental materials, including step-by-step assignments, trackers, charts, notes, and spreadsheets of all, which will help you build a professional mixing business no matter if you work out of your house or rent a studio space. And when I say step-by-step, I mean every single thing in this course has an assignment on it and we make it real. It's completely practical. We give you the theory, but we also train it. You get,

Speaker 3 (00:29:27):

They don't have to do it. We should say that you don't have to do anything, but the reality of the situation is if you want to be successful, you should do it. It's not mandatory, but it's so recommended that you go through and do the hands-on stuff because that is what's going to really, aside from theory, is it going to really bring this home?

Speaker 1 (00:29:43):

Oh yeah, it'll make it real. Those of you who might be like, well, cool, I'll learn to mix faster, but Joel's talking about having 500 clients or 500 songs a year. I have zero. Well, we're including client acquisition masterclass with this as well.

Speaker 3 (00:30:00):

I got a good rebuttal to that too. Allow me to be rude and interrupt you, but I feel like it's really important for people to understand this clear distinction. It doesn't matter how many clients you have or where you are, if you have a crappy job that you're sitting there and you don't have enough time to mix, you come home and you want to spend all this time doing audio, but there's just not enough time. This will help you speed up and organize your life. So when you get home, you're more effective, you get more stuff done, meaning you can quit your crappy job faster. What a concept.

Speaker 1 (00:30:27):

Yeah, and the other thing is, let's talk about the crappy job situation. When people get home from their crappy job or a job they love, but they want to mix, oftentimes they're tired and they only have two hours. And if they're not super efficient, those two hours, you could either get a lot done in those two hours and actually be building towards a career, or it can just be two kind of somewhat wasted hours dicking around with your hobby. It's all in how you approach them and what you put in. So also we've got an amazing set of bonuses. First one is you get the speed mixing bundle by Joey Sturgis tones five plugins. That's gain reduction, deluxe awesome compressor. That's a tone Forge guilty pleasure, which is an amp sim dominator, which will help you clean up those drum tracks, JST clip and finality. You get a one-on-one 15 minute Skype call with Joel where he will personally help you through any of your speed mixing challenges. Get a free month of URM enhanced plus a free month of nail the mix, your choice of which one you want, and free updates for life because we will keep updating this system for years because times change, rules change, expectations change, and we're going to update this to reflect. Now, let's talk about cold hard execution of speed mixing in the mix itself. We've talked about,

Speaker 3 (00:32:02):

You're going to get me excited talking about that. Well,

Speaker 1 (00:32:04):

We've talked a lot about the philosophy and the preparation, the client interaction. Let's talk about some cold hard mixing.

Speaker 3 (00:32:11):

Oh man, there's a ton to talk about on the mixing side of this. Okay, so let's just start out with the actual training. I think that's a good thing, and I kind of want to roll back. We were talking about the stems, and I don't think people understand how big of a deal this is. So we've sat down and we have made some ridiculous, I have four trainers, but ridiculous trainers that are going to really push your limits as not only a human being, but you're a mixer. Just like it's going to create stress and eustress, positive stress, important stress, stress that will make you perform. And it's going to force you to do things that are going to be really uncomfortable. And what's going to happen through the intervals that we're training them in is it's going to move you right outside air comfort zone.

(00:32:55):

It's going to force you to think in a way that you're probably not used to thinking, and then it's going to make you do it for just enough time to kind of internalize it. And we're going to do it in a bunch of different ways. For example, I have a challenge in there where I'm going to force people to do some EQing and they only have a certain amount of time to EQ each instrument. And when I do it, it's ridiculous on camera. I actually failed on one of them. I missed the timer by a couple of seconds, but when you watch me do it, it's like click, click, click, click, click, next instrument, click, click, click, click, click. So I'm going to train you guys how to get that fast or for example, training to trust your gut instinct and not over do it. I have a trainer in there where you're only allowed one fader move, and there's some really ridiculous constraints that you never have in the real world. But what it does is it forces you to just trust your impulse and be like, that feels right. Stop next. That feels right. Boom. It teaches you how to commit. Or we're going to mix 30 songs in 30 days and we've laid out this epic stems pack like I was just saying, or I should say multi-tracks pack. And what's cool about it is it covers,

Speaker 1 (00:33:53):

Yeah, because they're not actually stems because they're raw.

Speaker 3 (00:33:56):

Yeah, I always say stems, but, and this is going to cover an entire, it's crazy. We go from, we have tons of electronic stuff, we've got alternative stuff, we've got soft stuff, dynamic stuff, ultra synthetic process stuff. We've got heavy stuff, we've got rock stuff, we've got radio stuff. It is just a massive variety of stuff to mix. That's all modern and current. And the cool thing is these are all great songs. These are all really well produced and all of these songs, they've got a nice amount of, they're really good songs, so they're going to be fun to mix, but they all have unique challenges designed to throw you and challenge you and put you out of your comfort zone. So you may be really good at mixing up metal songs, but when I throw you some of the naturalist indie stuff or some of the pop stuff, it's going to really mess up your world or vice versa, you know what I mean?

(00:34:42):

There's stuff in there that's going to really challenge people because it's easy to get comfortable in one genre. Most people can not competently mix more than two genres tops. So this is going to teach you how to just work situations. And not only that, it's like, boom, this song might have fully programmed drums. Now you got to figure out how to deal with that. Or this song may be a hybrid where you're supposed to replace everything because it was recorded in a 10 by 10 basement, AKA, my old setup, and you're supposed to only use the overheads. And then this thing might be a multi-track of just tons of tracks of real drums.

Speaker 1 (00:35:14):

So what you're saying is that all 30 of these songs are completely different situations. They're all real life situations. Yeah, I mean, we didn't create these tracks just for the course. These are tracks that we've actually recorded in real life for clients, and we got releases from the clients to include them in this class. So these are actual real sessions.

Speaker 3 (00:35:36):

Yes. So it's going to go across the gamut. Like I said, you'll have beautifully recorded drums with drum techs, and then some songs will have guitar di, some will have ampt tone, some will have sims. It's just the entire gamut. It's going to force you to not just pigeonhole yourself and go back to your tendencies. You're going to have to move out, and we're going to mix them really fast and under certain constraints, and that'll force you to just do a lot of things. So it's cool because like I said, the entire thing and all of the training section is designed for you to get better and get better, fast, better at EQing, better at hearing, better at committing, better at trusting your gut, better at being confident while you're mixing. Because if you can get through this, and we're all going to go through this as a group, again, not required, but they're mandatory, but highly recommended, it's going to be a lot of fun. We're going to have a blast doing it, and it could definitely make you guys a lot better as mixers.

Speaker 1 (00:36:25):

Just to talk about the confidence thing for a second, you mentioned that last night we had our due date for Nail the Mix this month. For those of you who are unfamiliar with Nail the Mix, it's our subscription program. It's our flagship where every month we release a new set of raw Multitracks, some a popular awesome artist, and at the end of the month we have the guy who mixed it, give a masterclass on it, and sometime during the month, there's a mixed competition every single month. So you guys, the students actually do get to mix great tracks from bands like Shuga or Gaira or a Day to Remember. Anyways, this month was architects and the due date was last night. And there was this one kid who was in the chat maybe 40 minutes before deadline. Mind you sad like three weeks to get this done. And he posted two different versions of the song that were just messed up. And we were like, dude, what are you asking? He's like, which one do I go with? And what we said was, man, they're both messed up. How long have you been mixing? He's like, my ears are so shot. I've been sitting here for six hours. And we're like, man,

Speaker 3 (00:37:45):

Perfect. Perfect example.

Speaker 1 (00:37:47):

Yeah, dude, you're not making things any better. I bet that if you just ditched right now and started from scratch tomorrow, you could get done in 30 minutes what you couldn't get done in six hours tonight. And the problem here really is that he didn't have a system in advance to help him get through this problem. So he went down the mix vortex of hell that all kinds of amateur mixers go into. He didn't get the tracks done, he didn't feel good about himself and ruined his hearing.

Speaker 3 (00:38:18):

I'll tell you a story. This is a perfect example. So when we were doing machine heads, is anybody out there? The first mix I did that, only Rob heard. I spent all this time working on it for two or three days and trying to reinvent it, get fancy, I psyched myself out. I'm like, dude, machine heads work with Colin Richardson. I'm like, holy crap, how am I going to even come close to that? That's one of my idols. There's no way. So I psyched myself out and then it was a shitty mix, and then I came back two or three days later, didn't feel right. I sat down. I'm like, all right, dude, I'm just going to fuck it up. So I loaded some templates and just did what I was going to do. I threw it in my stuff, started tweaking, and boom, I'm 45 minutes.

(00:38:53):

I had the mix. I sent it over. It was 20 times better and we were on our way. So you know what I mean? It just goes to show you that sometimes it's really easy to psych yourself out like, oh man, I got this big band and blah, blah, blah, blah. I'm going to make the best scenario ever. So I got to spend three hours on it. And that's not your best mix. Your best mix is when you sit down and you're like, alright, man, I'm going to kill this. And you're just impulse, impulse, impulse, impulse, impulse, impulse. Oh, we're getting technical and I'm going to stop and turn it in. When you can learn how to do that, that's when you know have the confidence and you instill, and that's the thing that a lot of people don't understand. You can spend four days on a drum sound literally four days.

(00:39:28):

It could be the sickest drum sound you think you've ever done in your life, but if the drummer thinks it sucks, you just wasted four days. I spend 10 minutes on my drum stone, sometimes five, and then I send it to the drummer and either he's like, this is sick, or Dude, it needs some work. And then I'm like, okay, then if it needs some work, it gets some work. But if he thinks it's sick, then I just want to feel it like, what does this need? It feels like it needs that. Boom, awesome. That's it. You got to learn to trust your gut. And so many people just overthink it. It just comes from a lack of confidence.

Speaker 1 (00:40:01):

You actually go into detail on how to develop that confidence so you're not just saying, have confidence. The way that people say, oh, just believe in yourself.

Speaker 3 (00:40:13):

We're going to train it into them one day at a time. It's going to be bloody. But once you get through it, like I said, you're going to come out like, dude, I survive speed mixing. So this local band, no problem. Bring 'em on this mix off. No problem. You know what I mean? Exactly. So it's exciting.

Speaker 1 (00:40:28):

So let's talk real quick about what you get. If you buy the course, you get lifetime access to 70 instructional videos covering mixing techniques, client relations, time management optimization, business systems, team building, outsourcing, speed building, EQ training, and Joel's proven method for extreme effectiveness and efficiency. In the studio, you got a seven week speed mixing bootcamp complete with 30 sets of expertly recorded multi genre of raw multi-tracks. And like we said before, these are tracks that we've actually recorded and mixed. These are real bands. This is not just something that we put together for this course. These are actual clients that we've had. And for those of you who don't have clients, you can use these in your portfolio up to 45 seconds. So that's positive. You get bonus access to our exclusive instructor-led speed mixing group where you'll get a chance to learn from your peers as well as attend free weekly live chats.

(00:41:26):

Focus on what's helping you conquer the speed mixing system. You get 43 pages of hard hitting supplemental materials, including step-by-step assignments, trackers, charts, notes, and spreadsheets, all of which will help you build a professional mixing business. No matter if you work out of your house or rent a studio space, you get a client acquisition masterclass that's 12 videos on how to get clients no matter where you're at in your career, whether you're already mixing some sign bands or starting from the beginning and an awesome set of bonuses, you get the speed mixing bundle by JST, that's five plugins, gain reduction, deluxe tone, forge, guilty pleasure, dominator, clip, and finality. You get a one-on-one 50 minute Skype call with Joel where he will personally help you through any of your speed mixing challenges and a free month of URM enhanced plus a free month of nail the mix any previous month of your choice. And of course, free updates for life. Now, one last thing I want to talk about about this course, and we've barely covered this, but man, you go into a lot of detail on this, which is templates.

Speaker 3 (00:42:37):

Yes,

Speaker 1 (00:42:38):

A lot of people seem to think that templates are bad or evil or they can really take the art out of mixing or make everything sound homogenous, but we feel the exact opposite. And not only I'd like you to address that, but not only do we feel the exact opposite, but I want to clear up that this is not a template course. We don't actually give you any templates in this course. However, we will teach you how to make the most badass templates that work in any genre anytime and cover any situation. So that said, please rant on how,

Speaker 3 (00:43:20):

Oh man, I'm already steaming. Okay, here's the thing. With templates, there's that whole mr. Like, oh, I don't use templates, or, oh, I want to make every band sound unique. And I get that because I'm the guy that hates technically templatizing things. I never want to make one band sound the same as the last band I recorded ever. I hate that. I always try, and I've always tried my entire career to make things sound custom. However, there's a lot of things that have nothing to do with art. For example, having a really tight focused bottom end that's a science thing or a good clean midrange. It has nothing to do with art. And there's a lot of BS tasks like routing, for example. I mean, imagine this. You're sitting there trying to mix and it's like you throw the faders up and you get that initial inspiration, you're just stoked. You're like, hell yeah. And you start going and all of a sudden you're like, oh shit, I got to get a guitar bus. Hold on, add track route, boom. All of a sudden, boom, you just kill the momentum. I

Speaker 1 (00:44:13):

Cannot tell you, even when I was writing all the time, how before I realized I needed to templatize that, how much that would kill my vibe. Just like every single time I want to write a song, I got to load up guitar tracks and I got to link them to the di, and I got to get a good ssim going. It's like, why didn't I just get this all in a template, load it up and fucking hit record?

Speaker 3 (00:44:35):

That's a really good question. And I feel like people that are against that are just stupid. I hate to sound blunt and brutal, but seriously, why the hell would you not templatize dumb tasks like setting up a routing scheme that you can use every time, or even let's skip mixing. Let's talk about tracking. Having a set up where you can just fly in a bunch of tracks and then start cutting vocals, and it's already pre routed with any effects you'll need or prem mixing, so you can kind of hear what it would sound like, and you can easily comp or guitars, or you can cut a DI in an actual amp at the same time. You know what I mean? Setting up templates that allow you just to do everything. So I templatize everything I can, whether it be even stupid things like tones, if I find a six tone or another example is having several tones so I can just drop 'em in a session and be like, all right, I got four guitar tones to work with that are perfect for this genre, and I have no idea how either one of those is going to sound with the di because it's a different guitar, a different player, a different song, a different arrangement, and boom, boom, boom.

(00:45:29):

Oh wow, that one sounds sick. I'm going to use that. Same thing for the bass. Boom. Now let's slip through some different samples. Oh, wow, that sounds sick. A little bit of tweak. A little bit of tweak. Boom. Now we're rocking and rolling. And it's purely creative. The thing that people don't understand is that by not templatizing these things, you're wasting your time by wasting your time. You're not doing the artist service. You're not focusing on what the artist really needs. And that's you to be creative and you to spend the time and energy to give that unique, awesome sound because you're wasting all this time doing stuff that could be templatized and you could just remove all the technical crap from your life, and then you could just sit down and you could focus on creation instead of technique. And it's just such a large distinction that I feel like needs to be made.

(00:46:09):

So by using a lot of templates, I feel like it actually speeds people up so they can be more creative and they can be more artistic because they're not dealing with stuff that slows them down. Like you said, nothing slows you down more than having to route the background vocal group when you're sitting there trying to mix it, and you've got 40 tracks of vocals to go through, and you're just like, damn, man, I got to create 10 groups and route 'em here, and I got to load this stupid plugin. And it's a waste of your time. If you're going to use it and you're going to use it, you might as well at least have it loaded. So then you can go in and you can set it up, and if you got to adjust it, then adjust it. But if you know you're going to put a damn limiter on a vocal, then have a damn limiter on there so you can just open it, slide it, close it, and be done with it, and not have to sit there and be like, okay, find the right limiter in the plugin. Oh wait, I changed the button. My assistant changed the button. Now it's not sorted by vendor and I can't find anything. And oh, you know what I mean? You don't have to waste any of your time with that crap. And it's just little things like that, they really add up.

Speaker 1 (00:47:05):

They're not so little when they add up though. The thing is that when they do start to add up, you end up working yourself into a corner, which has happened to me many times before. I figured out how to speed up my workflow, and it's kind of killed many good songs or sometimes even sessions that were going on. Great until I hit this a wall and my system wasn't efficient enough to help me work my way out of it quickly enough to where I could hang onto the inspiration. And let me give you an example of something that we saw now, the mix, which was the exact opposite of the situation I'm describing. So Billy Decker, who we talked about earlier, star Country Mixer, who is a speed mixer, one of the fastest mixers I've ever seen. Dude,

Speaker 3 (00:47:59):

He's ridiculous. Even I give Billy Decker props.

Speaker 1 (00:48:02):

Yeah, he's a beast. And on one of the songs that he was mixing, there was kind of a transition between two parts that I think was kind of awkward, and he wanted to put some sort of a delay trick to bridge the gap between the two parts. And so he made it, and it sounded kind of lame, and he thought it sounded lame. We all kind of did. It was one of those, he had an idea for something and he went for it, and it kind of wasn't that great, but he then was like, oh, I've got another way to do it. And within five minutes he completely redid the effect, rerouted everything like the way he wanted it, and he had it sounding perfect, like a million bucks. And the only way that he could have taken his idea through a bad iteration of it, and all the way to a successful iteration of it in five minutes flat and not be sidelined by it was because his system of mixing is so damn efficient that he didn't mix himself into a corner. I know a lot of guys who would've kind of done the first version of that delay trick it not work out, and then they just give up because their system is so inefficient that they won't really know how to then change it up quickly enough to where they could still stay in a flow state and get it right, if that makes sense.

Speaker 3 (00:49:35):

I mean, I teach one thing in this course that I think is a great answer to that is anytime you do something cool, save it as a template so you can do it. Cool. Again, anytime. For example, I use color coding to do a lot of things, which I talk about ad nauseum in the course, but I always take something that doesn't fit, it's a weird effect or something, and I always give it red. Then I know it's got a special case. And then the first thing I do when I mix the whole song, usually instrumentally, then fly in the vocals, and then I go through all the red tracks, and when I hit the red tracks, I'm sitting there and I'm like, okay, this is supposed to be some kind of filter effect or something. So I go through my couple of filter templates or you know what I mean?

(00:50:15):

So I have templates for everything, and then I can just go, boom, no, boom, no, boom, that's close. Okay, let's tweak it. And bam, it's so much faster than having to set the damn thing up from scratch every time. And then I'm like, okay, I got some new combination I've never used. Boom, save it. And then it's highly organized, so it's easy to find and you can just be like, oh, I need this. Nope, nope, nope, nope, nope. Oh, that's amazing. That's perfect for this song. A little bit of tweak, boom. Okay, now I'll save that. So if I ever needed it again. Got it.

Speaker 1 (00:50:41):

Yeah, it makes all the difference in the world. And back before you got all speed mixing eyes, did you ever work yourself into corners you couldn't get out of?

Speaker 3 (00:50:56):

Yeah,

Speaker 1 (00:50:57):

It's been a while. I bet

Speaker 3 (00:50:58):

Definitely how this all started for me, really, I would sit there with a band and play around forever, but then I started running more of a commercial studio in terms of, I had clients and the band would come and we got five days, do five songs. They're local bands and they're cheap. And it would always be like Friday morning, and I would have just finished tracking at nine in the morning and I'm like, crap, I got to finish mixing this band by five o'clock and I got to do five songs. So lo and behold, no matter how many songs I had to do, I always hit the dang thing finished at 4 59 in like 23 seconds, and I was printing the master and they were in the car and they were signing off. So it kind of evolved really, you know what I mean? All these workflow habits, it really wasn't until I started dealing with Joey's stuff and we started really teaming up on that, that we started building systems of email interaction and testing that because all my clients came in physically to me, but that's where I really learned how to mix fast and make crazy templates and be able to shotgun hell.

(00:51:57):

I even learned, I even would track into a full mix. So by the time I got to mixing, there was no surprises. You knew what the guitar tone was. So I would record to the point where it was already almost mixed, so there was even that much mixing to do. But really when I started working fully remotely and there were no bands in the studio and it was just hundreds and hundreds and hundreds of songs and mixing, that's when it really evolved into the necessity to make better communication rules or better things like that. So everything evolved organically. But I mean, the thing is, anytime I get into a bind, al, I always sat down. There's something about that performance anxiety, that pressure having the client sitting over the shoulder. I can't tell how many times a bunch of dudes would walk into my studio.

(00:52:41):

They would be like, yo, I got an acoustic guitar and I got four chords and I got some lyrics and I got a song title. Now write me a song that sounds like this. And they would play me something I've never heard in a genre I didn't even know existed, and my eyes would roll in the back of my head. I'm like, okay, confidence. I have to act like I know what the hell I'm doing even though I'm totally lost and I would've to create something out of my head. And you just have to figure it out. And that comes from confidence knowing that you've gone through a bunch of situations. See, this is the thing about mixing. When people only mix one bloody song a month, like nail the mix or sitting there tweaking and tweaking for three weeks, they're not doing it right.

(00:53:16):

When you mix 20 songs in a month or more, you have 20 different sets of problems that you're solving. You're not just learning how to mix one bloody song. You're learning how to mix an array of problems and problem solving. And after you've solved enough problems, you've seen 'em all, you've heard 'em all, and then no matter what problem comes and shows up at your door, you can handle it. And that's what this is about, is about teaching you to solve problems. And like I said, going back to the person who's like, well, I don't have any clients, this is about setting up a system of success that allows you to grow and expand and put you way ahead of the curve because hey, listen, your money, it replenishes every week. You get your paycheck, it comes back. What does not replenish is your time. So are you willing to part with a little bit of your money so you can save yourself a lot of time, a lot of mistakes, expensive mistakes. I mean, to me, it's an absolute no brainer.

Speaker 1 (00:54:02):

And think about how many years you would've saved if someone came along and showed you this at the beginning.

Speaker 3 (00:54:10):

I would've given somebody a $20,000 check. I would've sold a damn kidney to get this information 10 years ago because I can't even imagine where I would be now if I knew this 10 years ago. I wish I knew this back in 2000. I wish I knew this 15 years ago when I was starting to just dabble with recording, oh my, this would've changed my life in ways I cannot even explain. It's stupid for me to think how much better my life would be if I knew this information. It's almost laughable. I'm so mad at myself for not figuring this out. Maybe I feel like an old wise man sitting down telling my younger self scolding, I'm like, you idiot. You better listen, blah, blah, blah, blah. But I really wish I would've known this information. It would've just,

Speaker 1 (00:54:52):

Yeah, I'm thinking back right now, just being, just thinking and being like, man, there's so many situations that I kind of fucked up because I didn't have an efficient enough system that what it turned out

Speaker 3 (00:55:07):

And it turned costs you money. That's the problem. So the thing is, it's like you can figure this stuff out on your own maybe. Then again, I only know I can count on one hand how many dudes I know that can clear over 500 songs a year and do it more than one or two years in a row. So maybe you won't figure it on your own, but in case you're one of those savants who just figures it out somehow,

Speaker 1 (00:55:27):

Good for you.

Speaker 3 (00:55:28):

Yeah, exactly. It's just what is the probability of that? That's not going to be most people. Most people are going to have to learn this stuff very slowly and very much through hard. There's so many bad habits. When I go watch my neighbor across the hall mix, I'm like, why are you comping like that? There's a way better to do that. And he doesn't want to listen to me because he's comfortable doing it the way, but I'm like, yeah, if you would just tweak it like this, you could save all this extra time. And he doesn't want to do it, but it's just like, I'm like, dude, here's 10 things you could add into your workflow immediately. And that would cut down probably an hour to two hours a day of your life, but he doesn't want to listen. So that just goes to show people get bad habits, and just because they're used to them, that doesn't mean that they're the best habits.

(00:56:07):

It's when you sit down and try to break down those habits and say, okay, I'm pretty fast at this, but can I get faster? Am I thinking about this the correct way? What if I try a 180 reversal and try doing it, go around the sides instead of what I would expect to do? Is there a way to come up with a clever creative way to do this? And sometimes I've had really shocking revelations like Joey and I used to really nerd out on this stuff and come up with crazy experiments, and this is where all this stuff came from. It just slowly but surely evolved.

Speaker 1 (00:56:39):

And speaking of habits, we actually have a habit trainer in the course

Speaker 3 (00:56:44):

We do, and that's a very important thing because breaking a bad habit is not easy, hence why most people have bad habits, and we're going to teach you how to do it kind of on a neurological level. We've read some books on neuroscience and human learning and things like that. So a lot of the learning in this course is optimized for human learning to offer different types of learning for different styles of learning learners. So it can be most effective.

Speaker 1 (00:57:09):

Can you say learning one more time?

Speaker 3 (00:57:12):

Learning

Speaker 1 (00:57:13):

Different

Speaker 3 (00:57:13):

Types of learning?

Speaker 1 (00:57:15):

There's so much in the course. Nail the mix.com/speed mixing. So I think you've heard enough for today, we could probably talk about this for about eight more hours. There are about 70 videos in this course, and it did take us over a year to make. So we're going

Speaker 3 (00:57:35):

To 10 years minimum, probably more like 15 years of actual real world, not just me though. There's also other people's time like Joey. So yeah, it's just a lifetime of work. So

Speaker 1 (00:57:46):

One year of working on the course itself though.

Speaker 3 (00:57:49):

Sure, fine, I'll give you that.

Speaker 1 (00:57:51):

Yeah, I mean, that's a long time. So

Speaker 3 (00:57:53):

I just need people to understand that this is not something that just happened.

Speaker 1 (00:57:56):

No, definitely not. Alright, so safe to say that you've heard a lot about speed mixing over the course of this podcast and that we normally don't do sales pitches on the podcast. It's normally been talking to great guests or telling our own stories, answering questions. It's very, very rare that we'll be like, Hey, buy this. But we feel very, very strongly about it. Not only is it something that we have seen in the most successful guests that we've had on, but we've also seen these habits in our most successful students. And as you've heard, we've noticed this in our own lives, that the better you get with your workflow, the more efficient you are from everything from preparation for the session to what happens after the session to your actual audio mixing skills, the better off you'll be. So give it a shot. We've got a 30 day money back guarantee anyways, so if you don't like it, no questions asked, we'll refund you. Go to nail the mix.com/speed mixing And good luck, guys. The Unstoppable Recording

Speaker 2 (00:59:24):

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