MATTHEW WEISS: Working to Get Work, Mixing Massive Low End, and Getting Rap Vocals to Sit

Speaker 1 (00:00:00):

Welcome to the Unstoppable Recording Machine Podcast, brought to you by Drum Forge. Drum Forge is a forward-thinking developer of audio tools and software for musicians and producers alike. Founded on the idea that great drum sounds should be obtainable for everyone, we focus on your originality, drum forge, it's your sound. And now your host,

Speaker 2 (00:00:21):

Eyal Levi. Welcome to the Unstoppable Recording Machine podcast. My name is Eyal Levi, and with me is the Grammy nominated Felman Award-winning educator engineer Renaissance man. Well-known Facebook recording guru, Mr. Matthew Weiss.

Speaker 3 (00:00:46):

Hi. Hi. I am well known for recording Facebook. It's true.

Speaker 2 (00:00:51):

You do a good job of recording Facebook.

Speaker 3 (00:00:52):

Yeah, screenshots everywhere.

Speaker 2 (00:00:55):

You know that I actually have folders and folders of screenshots. If someone were to come and during my computer, they'd get really annoyed trying to find anything because of the amount of screenshots I take. I believe that. And it's all kinds of dumb shit too. Sometimes I'll get excited, I'll be like, I really need to show this to somebody and screenshot five different versions of something really dumb. Forget about it completely. And then when I'm going back through my own files and trying to find something, it's like, man, why do I do this to myself?

Speaker 3 (00:01:31):

Okay, I was joking.

Speaker 2 (00:01:34):

I was not joking. I don't joke. I don't have that chip. Anyways, I'm going to keep on talking about you.

Speaker 3 (00:01:43):

Yes.

Speaker 2 (00:01:44):

Yeah, if you guys haven't heard of him, he's worked with artists such as Snoop Dogg, done a ton of major label stuff. You would know him from the Pro audio files. He runs weiss sound.com. Some main contributor at mixing with EQ has done lots of speaking engagements at Cornell University Pro Studio Live. So by Southwest the Boy has been around. And thank you for being here.

Speaker 3 (00:02:14):

Hey, my

Speaker 2 (00:02:15):

Pleasure. So I have a question. I'm wondering, have you always wanted to be one of those dudes who has a lot going on, meaning doesn't just engineer, but also educates and is involved in a million different things? Or did that happen by accident? Or was that kind of by

Speaker 3 (00:02:37):

Design? Both. When I was younger, I changed my career goals a thousand times, and it's because I've always wanted to have my hands in a lot of things. I like it when interesting and new things are happening. So if I was just doing one thing, I get bored. What happens when you get bored? I mean, obviously copious amounts of drug use violence. No, I mean that would be interesting, wouldn't it? No, nothing happens when I get bored. When I get bored, I get sad and I get lonely and I get tired and yeah, I hate being bored.

Speaker 2 (00:03:16):

I mean that's pretty much why I failed in school was boredom. Boredom is the enemy to me. So when someone tells me that they need to do a lot of stuff, they get bored. I'm always curious what it entails. I also do know some people whose boredom does equal copious amounts of drug use and violence and things like that.

Speaker 3 (00:03:39):

For the record, that was a joke on my part.

Speaker 2 (00:03:43):

I knew a kid who couldn't handle the boredom and he tried to burn his school down back when I was in high school. So different people deal with it in different ways, but for me personally, I kind of get depressed and I get super anxious and I started doing badly at my work when I got bored. So I figured that I needed to just always keep it interesting. Sounds like it's a very similar thing for you.

Speaker 3 (00:04:09):

Yeah. Well also, whatever I'm mainly focused on tends to, I get worse at it because I start, the imagination starts to go a little too crazy, whereas if I'm divided between a few things, I actually get everything done and I get it all done faster, which is weird, but that's how it works for me at least. So how many different things do you normally have going at once? Usually it's a revolution between four different things. In this case it's like five. So I'll be doing my regular engineering work, then I'll be doing my semi-regular educational work, and then I take on what I consider like high risk, high reward, vanity project type stuff where I just really love the music and I want to be involved and I'll be involved in that on a creative level. And then right now I'm also doing some fiction writing just for fun. And I'm also doing a lot of boxing. And then also I spent a lot of time with my wife.

Speaker 2 (00:05:10):

Would the boxing part be the high risk?

Speaker 3 (00:05:14):

No, because I don't do a lot of actual fighting. I do a little bit of actual fighting, but mostly it's just training to be in shape and to have fun.

Speaker 2 (00:05:25):

Man, boxing is crazy. The level of shape that you have to be in to be a good boxer is unbelievable. I have a brother that is a semipro, MMA guy, and even boxers kick his ass.

Speaker 3 (00:05:41):

Well, yeah, I mean if he's boxing, I'm sure MMA is a little bit different. I've done a little bit of MMA and that's no joke either that ground and pound stuff is tiring.

Speaker 2 (00:05:56):

Yeah, not for me. So when you say high risk, what did you mean? In all seriousness,

Speaker 3 (00:06:02):

What I mean is that I'll take on one or two projects a year where I don't really expect to ever see any money from it because it's such a long shot to do it. But I take it on because I love the actual music. And sometimes I guess the only real risk is sometimes I get overly involved in those projects and I have to kind of check myself a little bit because they're the ones that I want to be doing. You know what I mean?

Speaker 2 (00:06:33):

So the risk is to your time basically.

Speaker 3 (00:06:35):

Yeah. What I'm saying, high risk, I mean, well, it's also monetary investment. I have a studio overhead and I dedicate some of my studio time to that, and so that costs me money out of pocket. And sometimes also I will take on the financial burden of producing the record. So I mean, there's actual legitimate risk, but it's never anything that's crazy.

Speaker 2 (00:06:56):

I used to do projects like those how often they broke my heart too many times. That's why I stopped. So you just keep taking them despite the heartbreak though?

Speaker 3 (00:07:10):

Well, I find that if I get overly involved in the entire scope of things, if I end up taking on more than maybe one song at a time, then no, I can't do that. I did that. I made that mistake actually a few months ago and really regretted it. But now what I'm doing with an artist is just one song and after this song is done, maybe I'll do another, maybe I won't and I'll just leave it at that. But yeah, as long as I'm not overly involved, then it's not a bad thing.

Speaker 2 (00:07:41):

How do you gauge if you're going to go further?

Speaker 3 (00:07:44):

I just feel it out.

Speaker 2 (00:07:46):

Fair enough. And what are you hoping will happen in the majority of these projects, like major label or some sort of career development?

Speaker 3 (00:07:55):

Well, I try not to hope for anything in specific because I think that's where the heartbreak will come from if you put too much expectation on it. So for me, it's like I started the basis of if I put this up on my reel, is this something that I'm going to be really proud of? And if I can say yes to that, then at the end of the day I don't really feel like I'm ever taking a serious loss. And then I ask myself, is this a person that I really enjoy working with? Is this somebody I'm going to want to work with 10 years from now? And if the answer to that is yes, then I don't feel like I can really lose out. Ideally, what I'll be able to do is pull some of my contacts. I have some contacts in the publishing world and some contacts in the a and r world and that kind of stuff. And hopefully I'll be able to make something happen. Hopefully the artists who I try and work with, artists who have something going, it's not the absolute most important, but just something on their own as well. Otherwise it's like, you know what I mean? I would just end up working with everybody all the time.

(00:08:55):

But hopefully some of those connections can be used to propagate the record. But yeah, I don't try and set the bar too high.

Speaker 2 (00:09:07):

Now. Do you think that because you are, let's just say established and stable in your career and you have so many things going on that it can afford you the peace of mind to do these risky projects without getting too involved because your life doesn't depend on it. If the project fails, that's not the end of you as an engineer or musician?

Speaker 3 (00:09:35):

Absolutely. If I wasn't stable with work, then I would have to be spending my time and sometimes I have to do this because it's not like there's always ups and downs. It's always a rollercoaster when you're self-employed. So sometimes I have to take a step aside from everything and I have to focus. I have to work on getting work. That's part of my job. But yeah, I mean right now I'm steady, so that's good. And I can afford the time to dedicate a few hours a week.

Speaker 2 (00:10:06):

Let's talk a little bit about working on getting work because I think that a lot of artsy people, let's just call them artsy, even though the term is creative. So a lot of creatives don't see that as part of their jobs. I always have, and I've been supporting myself through my music or some offshoot of music for years now because I always saw getting work as part of the job. You can't distance them or you're fucking yourself. Just like I've always seen marketing as just as important as the music itself and whether my artistic side, my integrity side might not like it, but my living in the real world side tells my artistic side to shut the hell up. I'm just wondering, how do you approach working on getting work? What's your take on it?

Speaker 3 (00:11:08):

Working on getting work is 50% of my job. So if I want however much work I want or whatever kind of price tag I want to bring in, half of what goes into that is going to be my other job effectively. So if I want to work 40 hours a week, I'm going to have to spend 40 hours a week doing it to get that work, which it seems like a lot, but it's kind of true and it's not all at the same time, but it's basically like if I mix maybe two or three records a week, songs, single songs, if I'm not doing an album project, then that gives me three days to four days of the week to focus on making sure that the following week or the following month really or the following two months from now, I'm going to have the work lined up.

(00:11:57):

So it's a long game. That's one of the things that's really important to recognize. You don't scrounge for work for the next day, you scrounge for work for the next three months to a year from now. And that's why I think people hit a lot of walls starting out because they don't realize that the first couple of years that you're starting out, your primary focus is not on doing work. It's on getting work. For me, the actual on the ground side of it, I try and do it more through word of mouth and through face-to-face interaction. I know a lot of people spend a lot of time online trying to get work. I'm like an E list online celebrity. I get a lot of inquiries online and almost none of them are worth it.

Speaker 2 (00:12:39):

Well, you are well known through the educational stuff you do, but does that ever result in actual studio work for you?

Speaker 3 (00:12:47):

Very rarely because most of the time people are coming to me with budgets that are not even enough for my assistant.

Speaker 2 (00:12:53):

Yeah, I was going to say that The budgets that have come to me through nail the mix, every once in a while you'll get a student who wants me to mix and the budgets are nowhere near anything that I would take seriously.

Speaker 3 (00:13:09):

Well, yeah, I understand where people are coming from and I try and take everything because my assistant is very good and I have an intern who I'm training and I supervise the intern's work. So for people who want to get me the cheap way, you go through one of my assistants and I'm involved, I make sure that everything that leaves the studio still suits my standards, but the budget has to cover my studio overhead, otherwise I can do a million other things with it. I can do an educational project with the money that I spend on my studio overhead and make more. So it doesn't make any sense monetarily. I'm just not incentivized to do it.

Speaker 2 (00:13:54):

Yeah, for sure. Okay, so when it comes to actually working on getting work, you live in la. Does that help?

Speaker 3 (00:14:01):

Yes. I

Speaker 2 (00:14:02):

Specifically for the in-person part.

Speaker 3 (00:14:04):

Yeah, that's why I moved out to la. There's a saying, if you want to be a fisherman and you live in Arizona, it's time to move to Alaska.

Speaker 2 (00:14:15):

Yeah, absolutely. Well, I mean, one thing I've always wondered about LA, and I love it there, and I find myself going there once every couple months for work is how anyone gets anything done with the intense social schedules that you guys have. Like holy shit, you guys go out every goddamn night.

Speaker 3 (00:14:36):

I don't.

Speaker 2 (00:14:37):

Okay, good.

Speaker 3 (00:14:38):

Yeah, no, I don't do that shit. I'm not that kind of person. What makes it hard for me to get stuff done is that it's

Speaker 2 (00:14:44):

You did laugh though. You know what I'm talking about?

Speaker 3 (00:14:46):

Oh yeah, I know what you, I went to the a ES after party and they had burlesque dancers. Dude,

Speaker 2 (00:14:52):

Wow. That's not something you see in the studio every day.

Speaker 3 (00:14:55):

That's not something you say when they do a ES in New York afterwards, it's a bunch of people with something that's a cross between the friar tuck, a rat tail and a ponytail lined up in a bar. You know what I mean? It's a completely different world, but I don't do that shit. But I do go out sometimes and more than that, it can be distracting because the weather's so nice here all the time. And so I could have Ubered back today, for example, I was downtown, but instead I just walked halfway. It was like three miles walking. But it was just so nice that I was like, I'm just going to go a little later tonight and I'm going to walk. It

Speaker 2 (00:15:38):

Really is nice out there. I'm jealous of you guys for that.

Speaker 3 (00:15:42):

You should be jealous.

Speaker 2 (00:15:44):

Well, I am. That's good. I definitely am. I just wonder how disciplined you need to be though to get work done. Tell

Speaker 3 (00:15:54):

Me. More disciplined than me. Tell me Dan. Dan's still waiting on a couple of things. My bad. Sorry, Dan. Sorry Dan.

Speaker 2 (00:16:05):

Well, I mean, so for someone coming up, they're hearing this and they're like, alright, so you need to spend just as much time trying to book yourself as actually doing the booked work. And real quick, let me say that I completely agree. For instance, with nail the mix right now, I just booked out the entire rest of the year. We're in June right now, and it was giving me anxiety not to have the rest of 2017 booked out, which it is now booked out, and I can rest easy until July, at which point I'm going to start losing sleep over January through June. And I've lived my entire life that way. And I can also say that my dad being a symphony conductor who still does gigs for a living, he gets the same way. If he's not booked out for a year or two, the stress comes in and he works his ass off getting those gigs years in advance. So you take someone coming up who has a day job, how do they balance the time spent on the day job plus the time trying to book their studio, plus the time actually working at recording?

Speaker 3 (00:17:26):

For me, it was a transitional thing. I went from day job to part-time job to holy crap, I am poor making my money off of music. And by that time I was an in-house engineer and then building up my career from there. So it's 2017 when I started doing this, it was like 2006. So I think we're in different worlds and really I had started even before then because even when I was in school, I was already kind of heading in that direction and talking to people and knew a lot of musicians and everything like that. So I mean, I kind of feel like I started very early, usually in the music business. I think you need about a solid 10 years on this side of it to really have a career going. I kind of got mine together in about five. So I think that my process was shortchanged in terms of time.

Speaker 2 (00:18:26):

What do you attribute that to?

Speaker 3 (00:18:28):

I attribute that to the fact that I started in that world. Before I started in that world, I was already making music for people When I was in high school. I got a rolling in three oh five for my birthday when I was 14 years old, and it was a rap from there. It was already happening and I was making music and I was meeting musicians and I was already interested in a certain capacity at that point. So getting that heads up on things, I mean, the guy I cooperate the studio with was working with Kanye when he was like 21. Sometimes people are just, they fall into those kinds of circumstances. But then you've got guys like Athens who masters the Vegas records in the world, and he didn't even really start until he was 32. So everyone's got different circumstances. It's so hard for me to prescribe one way of doing it, but you have to do it.

(00:19:29):

The big thing I would say, if you are working a day job and you're trying to transition into the world of music, if you are not prepared to put in the effort on all fronts, then you don't really want to do music as a career. You want to do it for fun and you want to get paid for fun and everybody wants to get paid to have fun. But there is a humongous difference because if you want to get paid for music as a career, you will learn an instrument. You'll take the time to learn an instrument. You will go out and make sure that you are meeting people in your local music community all the time as a patron, as somebody working a soundboard, as whatever you can take to be surrounded by those things. And you'll have a lot of late nights. And if you don't do that, you're just not really, that's not you, and that's okay, but be honest with yourself or you're going to be disappointed down the road.

Speaker 2 (00:20:21):

Yeah, I think you're absolutely right. The ones who turned it into something real basically immersed themselves in it. And thinking back to my formative years, yeah, I mean guitar was my primary instrument, but I also learned drums. I learned vocals, learned some keyboards. I went to local studios to try to help out some. I did a little bit of live sound. I sponsored live shows. My band would go on little tours hoping to get signed eventually. And I was in it to win it all times, always trying to meet musicians, always trying to make new music, always trying to find some opportunity. And that lasted for years.

Speaker 3 (00:21:11):

And the important thing to point out after all of those things being said, playing four instruments that I think you listed, being, touring, doing the sound work and all that kind of stuff, that's what got you started.

Speaker 2 (00:21:24):

Yes.

Speaker 3 (00:21:25):

Right. So just so that nobody has any illusions, I mean, I'm not a good instrumentalist, but I've been practicing my piano again, I played for about three years and now I'm practicing again. I've got my guitar right next to me here. I'm learning my chords, getting the bass down under my fingers. It's not because I ever think that I'm going to be the instrumentalist on a record, although it has happened. It's because I live, eat, sleep, and breathe music, and it really is my calling that how can I not learn it? You know what I mean?

Speaker 2 (00:21:53):

Yeah. For me, it was a matter of how am I going to create this stuff or communicate this stuff without having it in my DNA sum, I guess in my subconscious, how can I really communicate with a drummer if I don't even understand how their limbs move? That's

Speaker 3 (00:22:16):

Right.

Speaker 2 (00:22:17):

So it's not like I was ever a good drummer, but that kind of education paid off in so many multiples. Years later, years later when I'm working on tons of metal records where the drummers can't play worth of shit, and my engineer and myself, I mean we're talking 10 years later, my engineer and myself are trying to figure out ways to get around this without having to program drums. And we figured out, okay, why don't we put trigger pads on the kick snare and Toms and then one of us will physically play the symbols, and that way we can use MIDI for the shells. Those are easy to fake and then have real symbols, and that'll be the closest we can get to something that sounds real and salvage this bad situation. And the ability to do things like that was a direct result of those eight months of drum lessons I took 10 years before that. I wouldn't have evolved to the point of being able to do that sort of thing without that. And I definitely wasn't thinking that far ahead when I took the lessons, I was just thinking, I need to just get an understanding for music. I just need to do this for whatever reason. I need to understand how drums work.

Speaker 4 (00:23:42):

Yes.

Speaker 2 (00:23:42):

Yeah. Alright. Right. Cool. It's been nice talking to you.

Speaker 3 (00:23:46):

That was a great interview, man. It

Speaker 2 (00:23:47):

Was wonderful. Yeah, thanks. No, so I have a few more questions for you actually. You definitely do a lot of work on a very different end of the musical spectrum than what the listeners of this podcast typically listen to, which is metal, and that's why I'm excited to have you on here.

Speaker 3 (00:24:11):

For the metal folks who are on here, my most recent project has been working with Cisco,

Speaker 2 (00:24:17):

Which is

Speaker 3 (00:24:18):

Badass. Damn right. It is.

Speaker 2 (00:24:20):

Yeah. Oh no. Yeah, it's great. So I want to ask you about some mixed techniques, if that's okay.

Speaker 3 (00:24:29):

I don't know any.

Speaker 2 (00:24:30):

Yeah, I'm sure. I'm sure you don't know any. So you work in genres that are fairly rhythm intensive. What's your signal chain like for mixing kick drums? If you had to think of one right off the top of your head,

Speaker 3 (00:24:43):

Are we talking acoustic or program

Speaker 2 (00:24:46):

Either?

Speaker 3 (00:24:47):

So the Fader is my best friend on program kick. I'll try and get away with just pushing the fader up, especially if it's an EDM record, because usually the kick is very deliberate and very processed. If it's a hip hop record, then usually what I'm doing is some kind of reinforcement. My go-to is usually to tuck a sign or to use an 8 0 8 or add a click at the front, like trigger a click because again, the character of the kick is probably pretty deliberate. If I'm processing, it really just depends on why I am processing it and that's going to change my signal chain. I know that's sort of a non-answer, but it's kind of the only answer really for acoustic tend, it depends on how it sounds to begin with, but I tend to filter things out a little bit in the bleed because you usually want a slightly cleaner sound for a lot of the stuff that I'm doing. So I use sound rads drum leveler right at the front to get rid of some of the, it's like a gate, but it does it with sample detection instead of envelope detection.

Speaker 2 (00:25:50):

That's a cool company.

Speaker 3 (00:25:51):

Yeah, sound Rads is amazing and their drum leveler is brilliant. Once I've done that, the reason I'm doing that to kind of minimize that bleed is not because I'm such an enemy of bleed, but because I'm usually about to get pretty aggressive on my kicks with my compression because a lot of the times I want my live kicks to kind of act like a sample kick. So my chain will usually be my Filltech EQ or one of my ecs and then going into a compressor, A DBX one 60 SL, and I'll use both stages. I'll use a little bit of the compression stage and then I'll use the limiting stage as well. And sometimes what I do, my DBX is actually broken purposefully. It's a little mod where you can take the bypass circuit out, and so if you bypass the limiter and you turn the threshold down, you end up starving the headroom. So it becomes a soft clipper. And a lot of the times I'll use that because it's a little bit more in your face, it changes the color, but we're doing that anyway.

Speaker 2 (00:26:54):

Nice. I love the DBX one sixties.

Speaker 3 (00:26:56):

Yeah, they're great

Speaker 2 (00:26:57):

On drums. Yeah, I've got two of 'em. So how do you deal with snare drums in a mix?

Speaker 3 (00:27:04):

I mean,

Speaker 2 (00:27:06):

I know I'm asking you some very broad questions, but the reason is that you're coming from such a different world than what we're used to of it here that I'm kind of looking for. Anything goes, whatever comes to your mind, and I'm also curious to see if the first thing that comes to mind is very similar to something that you would hear on this podcast on a regular basis.

Speaker 3 (00:27:29):

Okay. Well, with

Speaker 2 (00:27:30):

Wrote, so I know I'm asking you very open-ended questions.

Speaker 3 (00:27:33):

Okay. Well, I mean I'll try my best then with program snares, again, if we're talking like r and b, hip hop, EDM, particularly EDM, again, I tend to leave it more or less alone because those things are super processed and if I can get away with it, sometimes the EDM ones are a little bit light in the ass, so I might add a little bit of base to them. I find myself doing that reasonably often. When you add base

Speaker 2 (00:27:55):

To a snare, how

Speaker 3 (00:27:57):

Do you go about

Speaker 2 (00:27:57):

It?

Speaker 3 (00:27:58):

Usually the Hoser XT by David Beeth through Boz Digital. That little plugin has a really nice low end. Nice. What

Speaker 2 (00:28:08):

Range do you normally tweak?

Speaker 3 (00:28:10):

I usually do it from a shelf if I'm just trying to add general weight, and I'll usually start at around 150 somewhere in there, unless I'm going for that very fundamental resonance of the snare. Most of the snares in the EED M are never based on acoustic snares to begin with, so that's why I'm doing the shelf. But if it is based on an acoustic sounding snare and I'm trying to add a little weight to it, I'm going to try and find that core weight resonant point that's somewhere between 100 at the deepest to maybe two 50 for a piccolo kind of a thing. And find that sweet spot. As soon as you do it, your meter jumps and it goes right in your face except for an octave lower than what I just did. And then I'll do, I'll slightly broaden out the queue and just find the point where it still feels like a natural snare, but just has the weight that it was missing. So

Speaker 2 (00:29:00):

Low end plays a huge part in the genres that you work in.

Speaker 4 (00:29:04):

Yes.

Speaker 2 (00:29:04):

And probably most exaggerated in EDM music. Do you take lots of steps to control the EQ or do you do things like We do where we split the base into multiple tracks and treat them differently? One track of processing for the sub, one for the lows and one for the low mids. Do you use things like multi-band on the sub end of things? How do you approach the ultra low end?

Speaker 3 (00:29:34):

I do use multi-band with EDM stuff in particular, I get very micro managerial because your low end space, it can be deceptive because EDM in particular, actually metal, you probably run into this very similarly. The expectation is for the record to be loud. And I'm not talking about loud, like a hip hop record is loud. I'm talking about like, fuck that is loud.

Speaker 2 (00:29:59):

Yeah, it's supposed to be violent,

Speaker 3 (00:30:01):

Right?

Speaker 2 (00:30:01):

Violently loud.

Speaker 3 (00:30:02):

That's right. Violently loud. That's a good way of putting it. And for EDM, the purpose though is a little different. For metal, it's to convey a sense of anger or intensity. But for EDM, it's because when you play it back in a club, you have no control over the volume knob and you want that shit to bang as loud as possible. And the audience is in an environment where they can't appreciate nuance really. Anyway. So in a way, the loudness thing kind of makes sense for EDM, even though people crap on it. But when you're doing that, you run the biggest thing that's going to get in your face. If you manage everything and you're not really worried about distortion, the biggest problem you're going to run into is the low end starts to smear very badly. So you really do need to, if your kick duration is only supposed to be a quarter node in length and you've got sub that's tailing off of your kick for half a bar or something like that, you got to chop it or it's going to end up sounding really weird once you smash it through that limiter.

(00:31:03):

It might sound okay before then, but it's going to sound weird later. So yes, I get pretty micro managerial. A lot of the producers I work with kind of are savvy about that stuff, so I don't always have to get too nuanced, but if I'm working with somebody who's just getting into what they're doing, then yeah, multi-band gating actually pretty often.

Speaker 2 (00:31:26):

Do you ever use the transient designer to control the length of the low end?

Speaker 3 (00:31:31):

It's sort of the same thing. It's same idea, same concept. Yeah. I use transient designers for program material. I use transient designers a little differently than I think they translate to metal records or to rock records. I use transient designers to, I push them into limiters and create my own sort of sculpted attack where the attack is almost a different signal in a way than the actual root drum. That makes sense.

Speaker 2 (00:32:01):

Oh, we actually do that sometimes too.

Speaker 3 (00:32:03):

No, you don't. Yeah, I promise. Okay, fine. I believe you. I promise.

Speaker 2 (00:32:09):

I

Speaker 3 (00:32:09):

Promise, bro. What can I say on the inside? I'm very metal.

Speaker 2 (00:32:14):

Well, I think lots of these techniques are kind of similar, but the size of the low end that you deal with is just another order of magnitude. If you tried to get that kind of low end on a metal record, it would just sound

Speaker 3 (00:32:31):

Like

Speaker 2 (00:32:31):

A fabulous fart.

Speaker 3 (00:32:33):

Yeah, sound like crap. But I mean, you deal with low end in a different sense because a lot of the times you have to balance what I go through with kick and bass on an EDM record is probably very similar to what you go through with guitar and bass on a metal record

Speaker 2 (00:32:49):

With a metal. It's like this delicate balancing act between the low end of the kick, the bass and the guitar, and it's like fitting a puzzle together. And once you get it and it locks, it's just perfect. But until you get to that point, it can be quite a disaster. And that's kind of what sets the men from the boys in metal is being able to do that. That low end control is everything. But what's funny to me, man, is put up a metal record that you think sounds huge next to an r and b or hip hop or EDM record and just cry. The low end is so much bigger on everything else. Metal sounds so tiny compared to that, but it is more about, I guess the power and the punch. Well,

Speaker 3 (00:33:43):

It's mostly about what you want your audience to get. When you're playing a lot of hip hop and club music and things like that, you're in an environment where the pace of the dancing is usually more controlled. You don't really have a lot of changing time signatures in those genres. The dancing is meant to be very simplified and very controlled, and the organization of that low end, that's the actual physical push that moves your body physically. It's like this is what helps white people dance. So with metal, it's like

Speaker 2 (00:34:23):

You need something too.

Speaker 3 (00:34:24):

Metal is more about rocking out, in which case whether or not you're on beat while you're rocking out. It is fairly moot point, I think.

Speaker 2 (00:34:32):

Yeah, the jury is out as to whether or not it matters,

Speaker 3 (00:34:37):

Right? Because a different vibe. It's a different movement.

Speaker 2 (00:34:43):

There are some bands much more modern who have figured out how to incorporate real grooves in with the metal, and they tend to do really, really well.

Speaker 4 (00:34:56):

Like

Speaker 2 (00:34:57):

Danceable grooves, you could hear it at a hip hop show or something. They tend to do very, very well. And

Speaker 3 (00:35:07):

We're not talking new metal here, right?

Speaker 2 (00:35:09):

No, no, no. We're talking bands like issue. We're talking bands like issues or something. No, we're definitely not talking cornrows and new metal though. New metal did do very well at the time.

Speaker 3 (00:35:26):

I'm a Lincoln Park fan, I'm not going to lie. I know that half of your audience just completely shut off this interview, this very second.

Speaker 2 (00:35:33):

No, I think lots of them love Lincoln Park. I mean, they wrote great songs.

Speaker 3 (00:35:38):

I mean, as long as we're not lying to ourselves, it's pop music, but I love pop music and there's an art to pop music.

Speaker 2 (00:35:49):

I don't think anyone in the audience is going to bag on Lincoln Park. Maybe they don't like the new stuff so much. But

Speaker 3 (00:35:55):

Yeah, I was involved in that.

Speaker 2 (00:36:00):

We've had Josh Newell on who's worked with them a lot too. He worked on the new stuff as well, and he's aware that a lot of people don't like a lot of the new stuff, but I heard it. It just sounded like pop to me.

Speaker 3 (00:36:16):

That's right. In the grand scheme of things, when you're, what 10 albums deep, something like that. The Room for Experimentation is there, and we see this with Kanye West all the time, where Kanye West is one of these guys who he takes a lot of chances with his music. So when he fails, he fails hard. And when he succeeds, he succeeds on levels that other people don't even know how to succeed because he's willing to take those risks. And I think the same is true for where Lincoln Park is at in their career. They wanted to do something that was more mainstream pop, and so they took that risk. Now, whether or not that turns out to be successful at the end of the day, time will tell. It's not my favorite album for sure, but it came in at one, number one. I mean, in a way for Lincoln Park, that's not necessarily a beacon of success enough. Fair enough. There's such a big band. I mean, it's like a, number one is not even really an accomplishment for those guys anymore. They're huge.

Speaker 2 (00:37:21):

I remember when they were the biggest band in the world and literally the biggest band in the world, and I know that they haven't decreased in size too much from that point. So I heard the new stuff and while I realized what a lot of the metal fans were complaining about, all I was thinking was I'm sure that there's a bunch of other people who couldn't care less about the metal stuff, who might actually like this.

Speaker 3 (00:37:47):

Right. Well, and the thing is that they've never really been a metal band and they never were never a hip hop band. They were never a metal band. They were never a pop group. They were never an emo bands. They were sort of a smash of all of those things kind of put together in an accessible way. And so they've never been any of those things. So anybody who's a purist of a genre is not going to like them.

Speaker 2 (00:38:12):

Fuck purists anyways,

Speaker 3 (00:38:14):

I mean, yeah, that too,

Speaker 2 (00:38:16):

As far as I'm concerned. So let's talk about the Pro audio files some. How did that come about for you and what led you to want to do that?

Speaker 3 (00:38:29):

Well, not to be shallow, but money. I was writing posts on Gear sluts and

Speaker 2 (00:38:36):

Hey man, these lights don't pay for themselves. So

Speaker 3 (00:38:39):

I'm working on a device to make that happen, but one day,

Speaker 2 (00:38:44):

Yeah, well, let me know when you figure it out, please.

Speaker 3 (00:38:47):

I'll be sure. Actually, I have a friend in Texas who came pretty close to doing it, but anyway, neither here nor there, so I was

Speaker 2 (00:38:57):

He disappeared by the government?

Speaker 3 (00:38:59):

No, he was having trouble getting investors. He figured out a material for solar panels that charged much more effectively than the silicon that's being used right now. And by a substantial amount, it was charging, it could store more and took up less space and charged faster

Speaker 2 (00:39:21):

Before he met his untimely demise.

Speaker 3 (00:39:23):

Right. No, he's still in Texas. He's working on other endeavors because just he's having trouble getting the funding to actually construct a significant prototype. We are way off track here though. Holy moly. Yes. But hopefully I'll get rich enough where I can invest in this company, you know what I mean? Anyway, alright, so Pro Audio Files. So I was posting on Gear Sluts, I guess I joined Gear Sluts around maybe 2009, eight, something like that. Sounds

Speaker 2 (00:39:56):

About right.

Speaker 3 (00:39:58):

And Dan, who was starting up the blog, he was reading Gear Sluts and things like that, trolling around, and he was reading the stuff that I was writing and was like, you're a good writer. You should write for my blog. And I was like, okay. And then he offered me 35 bucks an article and I said yes. And that's how we started working together,

Speaker 2 (00:40:18):

Man. So you guys are one of the OGs when it comes to the online educational space.

Speaker 3 (00:40:23):

We are. One of the OGs at the time that Pro Audio Files came out, Satos Place had not come out yet. Audio School Online had not come out yet. Nothing from the Nail, the Mix stuff was out yet. Pure Mix was not out yet, and we might have been, well, pure Mix was just coming out, so maybe my timeline's off on that, but because they were one of the first two, I think Groove Three was the only one that was out at the time. And so we were referring to things like Mix It like a record by Charles Dye. That's what we had to go off of. I don't even know what that is. That was the first audio educational VHS or DVD at a time where you could purchase both, either the VHS or the DVD. So I guess around 2002, that's what was out. And then most of it was books, actually. What the famous mastering book by the guy who's famous, I guess from Bobcat Katz, yeah, yeah, yeah, yeah. I dunno. Yeah, so that was what was out and Mixing with Your Mind was an amazing book that had come out maybe about a year prior. So we were in the genre of literature at the point in which the pro audio files came up. And how did that transition

Speaker 2 (00:41:52):

To video?

Speaker 3 (00:41:53):

It transitioned to video. Well, the plan was to do video from an early point, but I didn't want to do it because I was afraid of this old adage that said, those who can't do teach. And then Dave Sato started doing his video stuff and Ken Lewis started doing his video stuff, and that sort of in my mind gave me the realization that in 2000, what was it, 13 or 12, something like that in 2012, that's not really true anymore. People teach while their careers are still growing and while they're still very active in the subject that they are teaching. And so that gave me sort of the confidence to say, I can do both of these things.

Speaker 2 (00:42:39):

Yeah, I think that that old adage or whatever is

Speaker 3 (00:42:46):

That old,

Speaker 2 (00:42:48):

Yeah, that old adagio, it's fairly cliche and I agree that it's from more of an older time. I definitely do think that the world has changed while there are is a lot of bullshit online. I will say that

Speaker 3 (00:43:09):

A lot of you don't say

Speaker 2 (00:43:11):

Yeah, a lot of bad info.

Speaker 3 (00:43:15):

I think there's a difference though in what that expression meant. Well, I believe when that expression was coined, what it meant is that teaching is what people did when they retired from the career path that they had been doing for a long time in order to then pass the torch, so to speak,

Speaker 2 (00:43:30):

Thought, oh, I thought it meant that they suck at what they do, so they're then going to teach.

Speaker 3 (00:43:36):

Well, I think it kind of transformed into that because now we have the opposite problem where there's a lot of people who see the YouTube thing as a means of getting business, and so they teach what they're doing and while that on a superficial level, it makes sense, those who never did are even a step below those who can't. Do you know what I mean?

Speaker 2 (00:44:04):

Absolutely.

Speaker 3 (00:44:05):

It's one thing for somebody who's struggling with their career but actually knows what they're doing. It's another thing for somebody who's never really even done it. I think there's a lot of that.

Speaker 2 (00:44:16):

There is a lot of that, and I feel bad for the kids coming up who have to sift through that, but I do think that companies like yours or mine are doing a big service and helping at least provide some guiding light out there in a sea of bad information.

Speaker 3 (00:44:39):

Well, one of the markers is if the company that you are interested in, the people who are putting out the content, if they're putting out legitimate information about career development, that's one very positive sign. The other thing too is that I remember a moment ago I said that on a superficial level, it made sense. I don't think people are that dumb. I think that people can recognize bullshit pretty quickly. And so if you don't really know what you're doing and you go out there trying to explain to the world how to do it when you yourself don't really know what you're doing, I think that it backfires. I think people see that, and you become branded as an idiot. It doesn't help your career, it hurts it.

Speaker 2 (00:45:21):

I've definitely seen that happen to a few people seeing it happen to where there's a few people who get very, very high and mighty and very preachy with how to do things and their opinions on how to mix, and then they post one of their own mixes and it's just

Speaker 3 (00:45:43):

Terrible.

Speaker 2 (00:45:43):

God awful.

Speaker 3 (00:45:44):

It's fucking awful. Yeah,

Speaker 2 (00:45:46):

It's, and I know that in our community at least people call that shit out. They don't tolerate that. So

Speaker 3 (00:45:57):

I mean, I have the opposite side of it where I kind of encourage people and like, yo, go check out my portfolio. Please. If you don't like the way I mix, do not take my advice. I am not going to be mad, but I feel like putting my music out there is the best way in which I get people involved in what I'm doing with the education stuff. Yeah, no, I mean, it is exactly that. It's a very superficial thing where it's like, wait a minute, you're supposed to be the guy who's taking the lessons. Give it a few years, then start teaching them. You'll be all right. Trust me.

Speaker 2 (00:46:39):

Besides money, of course, I know that's what you said as a joke, but what do you get out of teaching?

Speaker 3 (00:46:47):

Well, at the beginning when Dan approached me, it literally was just money because I wasn't thinking of it. I was already just writing stuff on gear slots as responses to questions and things like that, and just sharing for the fun of it. And when he said, I'm going to give you 35 bucks an article, I was like, okay, that sounds like a good way to make 35 bucks. It wasn't until I started delving more into it where people started giving me this feedback, saying What you're saying is really helping, genuinely helping. Where I started saying, well, maybe this is more than just a $35 an article thing. Maybe there's something really real here. And what I found is that we all want to feel like we're making a difference. I think that's innate to most people. And what I found through the educational stuff is that I think because there is so much bs that by coming through and just being honest and trying to help genuinely, it really has resonated with people.

(00:47:44):

And they start telling me, you've made a difference in my life. You've made a difference in my music production. I was able to land a publishing deal because I was able to get my own mixes and recordings up to snuff, thanks to your videos. And seeing that kind of stuff sort of opened my eyes and it was like, well, what am I? That's great. Yeah. I mean, what am I even doing when I'm engineering? I'm taking somebody else's thing and I'm making it better. That's all that I'm doing as an engineer. And so when I'm doing that, it's no different with education. I'm taking somebody else's thing and just making it better. It's almost exactly the same. It's the same reason why I love both.

Speaker 2 (00:48:20):

Yeah, man, it's a great feeling watching someone who learned from you actually make their dreams into a reality.

Speaker 3 (00:48:29):

It's the most amazing feeling in the world.

Speaker 2 (00:48:31):

Yeah, it's really, really cool. And for me, it was interesting. Metal is a very, let's say, vocal community. It's a very active and very vocal community, and so you can really get a sense for it if you just get online and talk to people. And there was a while when I was working on lots of really big metal records or a smaller metal records, but a lot of sign bands of different sizes, and I was just seeing this kind of decline in quality in the players and also online. I was just starting to see this decline and also this decline in understanding of what it takes to be good. And it started to really mess with my head because I come from raised by a classical musician. I come from a school where you fucking work your ass off to get great, and you use technology as a tool and not as a crutch and all these things, but it was starting to really bum me out, and I felt like I needed to draw the line in the sand, put the sword down and do something to try and steer the ship, at least help some people get their shit together so that next generation of metal makers have some good sounding music.

(00:50:03):

And whether or not I can affect the entire generation or not, that's neither here nor there, but the fact that I have been able to help some people get their shit together and get careers, quit their jobs, finish their first album, all the way to get signed bands or do work for majors, all that stuff. That's fantastic. I love it. I actually get more out of it than working with bands.

Speaker 3 (00:50:32):

It's funny. Sometimes I do as well. Actually. It's part of the reason why I allow myself to indulge in the vanity projects from time to time because that developmental side of it is so surprisingly rewarding. Although I guess it shouldn't be surprising in retrospect, it makes perfect sense. But I mean, it was so surprisingly rewarding that it was like, man, if I could just be doing this for people, I feel like my life would be, I've got my wife and I've got, and I'm giving people inspiration and tools to achieve their dreams. What else do I need? So hopefully one day, once every piece of the puzzle has come together, I'll be basically like a stay at home dad who mainly focuses on the educational thing and then just works with a few select clients and maybe a couple of random one-offs that pique my interest to me in a way that would be living the dream. Sounds great. You know what I'm saying?

Speaker 2 (00:51:39):

Yeah, absolutely. Well, right now I'm a hundred percent on the educational side. I haven't taken a client in besides one. I took one this year. I've been nail the mix. And URM Academy are full-time for me. I love it.

Speaker 3 (00:51:55):

Cool.

Speaker 2 (00:51:56):

Yeah. So yeah, living the dream for sure. I've got a few questions here from our crowd for you.

Speaker 4 (00:52:04):

I'd

Speaker 2 (00:52:05):

Like to ask, here's one from Michael Cranwell who says, I noticed your problem solving techniques are extremely thought out with subtle but effective results using hardware, but also comparing software as well. Can I ask, what techniques do you use to get a rap vocal to sit in a mix while also taming the bass and kick in combination? I'm just looking to get another perspective for rap and electronic productions. Thanks.

Speaker 3 (00:52:31):

Okay. So yeah, I mean, I did a tutorial on that, a full length tutorial because it's not really a one sentence answer, but the general gist of it is that with rap in particular, I almost always start from the vocal because I want to get the vocal to sound the absolute best that it can to me as almost like an acapella, although it will get adjusted a little bit as things go, but not very much. So I'm basically making it sound like it was recorded by God. And then from there, it's a matter of bringing in the kick and the snare and just getting the balances right between the kick snare and vocal working around the vocal. So it's not what I'm really doing to the vocal exactly. It's more like what I'm doing with the elements that are going to compete with the vocal. And so if I can get that snare, and a lot of it's just level actually, if I can get the snare level to be that perfect sweet spot of in your face, but also not totally overstepping the vocal and that kick where it's really giving you that good punch to the gut without making the vocal sound like it's tiny. If I can find that perfect sweet spot and it's usually within a two DB margin where that's arguable, then the rest of it's really not too tough.

Speaker 2 (00:53:44):

Okay, great answer. Sam Hines is wondering, in general, do you have an approach for processing eight oh eights or do you let them go with minimal work?

Speaker 3 (00:53:55):

It can be either or. Well, one of the 8 0 8 things to really be aware of is that the weight of the 8 0 8 is the fundamental tone, and an 8 0 8 is basically just a sine wave with this tune. I mean, it's a little more complicated than that, but I mean not much. What really defines an 8 0 8 is the overtones, which is the distortion. So if the 8 0 8 went through its tape machine being recorded, if it went through a console being recorded, if it ran through some gear really hot to give it a buzzy quality or get some fluffier harmonics that are up in the primary base range, those are the things that kind of define what the 8 0 8 sounds like more so than just the sine wave of it. So I pay attention to the overtones and also the context. If it's like a Atlanta type trap type tune, then you're going to want a lot of aggression from that 8 0 8.

(00:54:50):

So I'm going to distort it, I'm going to EQ it. I'm going to do whatever I have to do to bring out those buzzies as I call 'em. So it almost sounds like a bass instrument laying on top of an 8 0 8. The other thing that is worth considering for eight oh eights, especially if the style of hip hop is cleaner, like some of the throwback dirty South style eight oh eights, a lot of stuff that you hear coming out of club scenes like in Florida or the west coast, it's how it's paired up with a regular kick drum. So with the so digital stuff, his eight oh eights are not clean, but they're not super blown up distorted. It's really that they pair with these very simple but very punchy kick drums that allow them to really knock through. So it ends up sounding like one drum almost, but it just knocks because it has that extra layer. The really important thing is if you have a kick, a short duration kick on top of an 8 0 8, the most important thing is to check the phase between the two. Even though they're not the same element, they don't share phase coherent recordings, the phase will still affect them. So do a phase invert on those to make sure that they're not canceling each other. Now we can jump to the next question.

Speaker 2 (00:56:00):

All right. The next question is by Scott Spriggs is what are your go-to reference tracks for hip hop especially to check low eng?

Speaker 3 (00:56:09):

God, this is going to be the most egotistical thing in the world at this point. I don't check other people's stuff that much because I feel like I'm doing it better. I'm so sorry for, I'm not trying to be an egomaniac when I say that's okay. Honestly, my low end I feel like is very, very good. It's something that I work very hard to do and the mains in my sphere, you've

Speaker 2 (00:56:29):

Got a very nice low

Speaker 3 (00:56:30):

End, Matthew. Thank you. I appreciate that. That's what all the ladies say. No, I have.

Speaker 2 (00:56:36):

I was just admiring it.

Speaker 3 (00:56:37):

I have mains at my studio that crank out low end down to the sub audible region, and you can pick apart every bit of it. So it's really, for me, the referencing is more about the monitoring and low end is tough because you need a good room to hear it. Right. And good monitors, which I do have. What are you running? They're custom mains. They were built specifically for the studio. I think each one of the wolfers is a 15 inch, and then there's ported horns that carry the tweeters that are back loaded. So you don't actually see any tweeters on there, but they poured out through the horns and they're dual horns on each cab.

Speaker 2 (00:57:24):

Okay. Very nice. I like that answer. I'm curious about the answer to this from Matt Linsky coming from a hip hop background. Do you feel like listening to a knowing metal tone affects your mixes

Speaker 3 (00:57:40):

Coming from a hip hop background? Do I feel like listening to annoying metal music affects my mixes? Right. Well, all music affects my mixes, but very little of it affects it in a negative way. If there's something that I find annoying, it just means that I don't do it, which is a positive effect.

Speaker 2 (00:58:00):

Oh wait, he didn't say annoying, he said, do you feel like listening to a knowing metal tone affects your mixes, but I love that your brain picked up annoying.

Speaker 3 (00:58:10):

That's awesome. Well, metal is a genre that there's a very thin line between aggression and annoyance. Yeah, sometimes no line do I feel like listening to and knowing metal music influences my mixes. Absolutely. Recently I've been listening to a lot more classical music, but a while back I was like, I know this is going to be super dated reference for you guys, but I was listening to a perfect circle and just really digging what I was hearing in this. It was lo-fi, but it was well recorded and everything, all the emphasis of the mix was placed on the groove and the energy of it. And it took me a moment to be like, well, wait a minute. Why can't I sort of use this to inform my more commercially styled mixes? And I think it improved my mixing, just meditating on that kind of a concept. So yeah, of course, every bit of new music and new way of hearing something has a tremendously positive influence on even the most commercial pop stuff.

Speaker 2 (00:59:19):

I think that most great mixers that I know personally draw influence from multiple genres

Speaker 4 (00:59:26):

Yeah.

Speaker 2 (00:59:26):

Yeah. I think that's just normal. Do people

Speaker 3 (00:59:29):

Still consider a perfect circle medal kind of, right? They walk like a pro line or something, right?

Speaker 2 (00:59:40):

Yeah. I mean, the question is do you consider tool metal? And I do. It's like

Speaker 3 (00:59:49):

I'm not a metal guy, so I mean, for me, asking for metal references is like, we'll take it,

Speaker 2 (00:59:57):

Take kind of thing. But yeah, I mean, maybe they fall under the umbrella

Speaker 3 (01:00:03):

Somewhere. I mean, I'm also a system of a down fan, which I know is also basically pop music, but

Speaker 2 (01:00:10):

I think they fall closer into the umbrella,

Speaker 3 (01:00:13):

Into

Speaker 2 (01:00:13):

The center of the umbrella.

Speaker 3 (01:00:14):

That self-titled album is excellent.

Speaker 2 (01:00:17):

Yeah, they've got lots of great stuff. I mean, I don't think anyone is going to argue with you about a perfect circle, though. They're an awesome band. They're one of those bands that I think people just love. I don't know of anyone. I don't know what to classify them as other than just cool.

Speaker 3 (01:00:36):

Okay. Well, there you go. I mean, the genres always get a little blurry to me because it's like when I'm listening to Metallica was still putting out their albums when I was just beginning my musical awareness really, and they literally called Metallica. You didn't really get much more metal than that at the time. But even by today's standards, it almost doesn't even sound like metal.

Speaker 2 (01:00:59):

No, it's a classic rock, but the genre of metal is so wide that it's hard to even really categorize at this point. There's so many sub genres and so many iterations of it.

Speaker 3 (01:01:17):

Either

Speaker 2 (01:01:17):

You like it or you don't. Is

Speaker 3 (01:01:19):

Dream theater considered metal?

Speaker 2 (01:01:20):

Yeah, Prague Metal.

Speaker 3 (01:01:22):

Okay. Yeah. I was having, not really an argument. I didn't have an answer, but it is something that I was talking to somebody.

Speaker 2 (01:01:32):

I think they're p prog metal, I think. I mean, someone might argue that they're p prog rock or whatever, but I'm not going to get into those arguments.

Speaker 3 (01:01:41):

They were saying, it's math rock. Okay,

Speaker 2 (01:01:44):

Fine. It's math rock.

Speaker 3 (01:01:45):

I've never heard that that term before.

Speaker 2 (01:01:48):

That's a term that people use for stuff that's complicated, so life. Yeah. Right, but the thing is that usually math rock is for stuff that's rhythmically complicated like dream theater. Well, more like Chuga.

Speaker 3 (01:02:06):

Oh, wait a minute. Wait a minute. Wait a minute. Chuga is not metal.

Speaker 2 (01:02:10):

Well, the thing is Chuga is more like math metal. I don't know, man. To me, it all falls under the big awesome umbrella of rock and roll.

Speaker 3 (01:02:19):

That's fair.

Speaker 2 (01:02:21):

Yeah. It's got guitars, it's got drums, it's got bass, it's got a bassist, it's got anger. It falls under the rock and roll umbrella, and some are just more pissed off than others. The way I see it,

Speaker 3 (01:02:36):

Some are more Norwegian than others.

Speaker 2 (01:02:39):

Yeah, exactly. Some will burn down your church and some won't. That's all there is to it, but to me it's all rock and roll. The reason I say that too is because if you listen to the metal of yesteryear, it just sounds like classic rock now. So

Speaker 3 (01:02:57):

Saw rock and roll. There you go. Hopefully whoever's editing this can take a lot of that down so I'm not embarrassing myself too badly or at least include the parts where I'm acknowledging that I don't really know metal that well. I don't

Speaker 2 (01:03:09):

Think you said a single embarrassing thing. Sweet. Yeah. Well, Matthew, thank you for coming on talking to us and giving us some of your time. Been. It's a perfect note to end on. You did not embarrass yourself. Thank you for being here. No, you didn't. No, you were enlightening. It was cool to have you on. Cool. Do you have anything you want to plug, or should I just plug for you? Weiss sound.com or Pro Audio files? Go find this guy. He does great sounding stuff or go learn from him. Hey,

Speaker 3 (01:03:47):

Here, I'll give my quick rundown. So a lot of great educational material at the pro audio files.com,

Speaker 2 (01:03:56):

And that's true for coming. I will back it up and say that those of you who are now the mixed subscribers, you're, I'm enhanced. If you're looking for other stuff that's equally awesome. Audio files is great.

Speaker 3 (01:04:12):

Yeah. Well, actually, I guess if I'm doing the pitch at the end here, then what I'm pitching is for the rock stuff and for metal stuff, nail the mix is very quickly becoming the standard, I think. But for the stuff that's more like gutting into the worlds of pop and hip hop and jazz and things that I'm doing, the Pro Audio Files has tons of amazing educational information, not just for me, but for me as well. So the pro audio files.com. My tutorials are Weiss, W-E-I-S-S tuts, TUT s.com, so weiss tuts.com, and for anybody who's interested in booking me for whatever reason, www.weisssound.com. Great. Yeah. Well,

Speaker 2 (01:04:59):

Thank you, sir.

Speaker 3 (01:05:00):

You're welcome, sir. It's been a pleasure. This is all mine.

Speaker 1 (01:05:03):

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