KRIS CRUMMETT: Pristine Vocal Production, Layering DGD’s Guitars, and Studio Construction

Speaker 1 (00:00):

Welcome to the Unstoppable Recording Machine Podcast, brought to you by Line six. Line six is a musical instruments manufacturing company that specializes in Guitar, amp, and affects modeling and makes guitars, amps, effects, pedals and multi effects. We introduced the world's first digital modeling amp and we're behind the groundbreaking pod multi effect, which revolutionized the industry with an easy way to record guitar with great tone. Line six will always take dramatic leaps so you can reach new heights with your music. And now your host, Kris Crummett. Welcome

Speaker 2 (00:35):

To the URM podcast. I'm your guest host Kris Crummett, and I'll be answering recording related questions submitted by listeners. If you enjoy this episode and want to submit questions for a future Dear Kris podcast, send an email to al at URM Academy with the subject line. Dear Kris, that's Eyal at URM Academy. You can also check out my previous appearance episode 22 by searching unstoppable recording machine on your favorite podcast app or going to URM Academy. I'm stoked to be doing this today. It's always a pleasure sharing my experiences and it's cool to get on this side of the mic every once in a while. But before we get into the q and a, I want to talk to you guys about the Kemper profile bundle I've been working on for the past few months. It includes well over a hundred profiles of my favorite Guitar Heads, cabs, and combos recorded here at my studio Interlace Audio.

(01:28):

It'll be available September 8th through sstl tones.com. Okay, onto the catechism. Our first inquiry comes from Zach Knight, who I actually just mastered a record for, so that's pretty cool. Alright, Zach, here's your question. You always have such a lush vocal production and sparkly high-end in your mixes, especially with Tillion and Tyler Carter. Besides the parts being well-written, is there anything in particular you go for in your chain or mix that shapes that sound? So we all know Tillion and Tyler sound excellent on their own and they don't need any dolling up, which makes my job a lot easier in the mix. I like to keep my vocal chain pretty simple. It usually starts with an eq, just doing a little bit of boosting on the top and generally with a high pass somewhere around 80 to a hundred, that way I can get out rumble or any low frequencies in the P's or B's or d's.

(02:20):

Then that immediately goes into my inward connections rack compressor and that comp really glues the vocals together and gives 'em the energy in the mix that they need. It also kind of shapes the vocals eqy and really makes them pop over the instruments. And the last thing that's always in my vocal chain is just the standard Waves dsr. Aside from that, I'll occasionally use Crane Song Phoenix to get a little more energy or I'll use the UAD pull tech to boost a little bit of high mids because it kind of has this dirty grind that sounds like pop music that I like. But other than that, you won't find me using much else on vocals. Now keep in mind that when I track vocals, I'm always using a distress or an 1176 on the way in, so that's the bulk of the compression. Then it's going to the eq and then after that, the back rack and then the deser.

(03:08):

Another thing that helps add space around the vocals that really makes 'em shine are the reverbs and the delays that I'm using For my main delay, I'm usually using Sound Toys Echo Boy, it's pretty awesome and has a ton of control and works really well to lock the vocals into the rhythm of the song. Then I'm doing delay throws and other delay effects with my Kurzweil Mangler and my even tied H 8,000. I also like to use a bunch of other random delay plugins for just little things here and there, but the Sound Toys plugin is what I'm using the most for sure. But for Reverbs I really have to be more specific per project because I'm changing the vocal reverbs I use all the time. I know that on the last couple dance Gavin Dance records, I used a lot of Fab filters, pro R as well as UADs EMT two 50.

(03:55):

The last issues record, I used the EMT two 50 from UAD and all kinds of other stuff. I can't even begin to list it. There's different reverbs on every part of that record. For the first issues record, I remember a lot of the vocal delay is that UAD 2 24 reverb, which is super cool, but I love playing with new reverb plugins and old reverb plugins and just messing around until I find the exact sound I want for each part. Our next question is from Blake Matthews and it kind of ties into the previous question. So Blake asks, I believe your go-to vocal mic is the 2 51. Obviously it varies from singer to singer, but what kind of EQ moves are you typically doing? The 2 51 is a great top end. Are you often adding even more top end? Like I said previously, I'm usually just doing a high pass around 80 or a hundred hertz to get rid of some of that low rumble and then I'm also boosting a little bit of top end.

(04:53):

But you're right, it does depend on the singer. I don't have to do a ton of EQ when I'm using the 2 51, which is why I like using it a lot. The one thing I do factor in when I'm mixing is whether I've used my pencil trick while tracking or not. When I use the pencil trick by putting a pencil on the microphone to get rid of plosives while the singer's singing, a lot of times I'll have to boost a little more high mids in the three to six K area because otherwise the pencil is cutting out some of those high mid frequencies, which is what you want for the Ss, but you have to bring it back in the mix. Next up, Royce Whitaker asks, how do you handle tuning when working with guitars, particularly since they can never be perfectly in tune and dealing with riffs that are all over the neck and not hidden behind a ton of gain.

(05:39):

How often are you punching in and tuning for certain parts where intonation can be an issue without editing guitar tracks? The most important thing is the intonation and the quality of the guitar, but you always have to get your guitars professionally intonated before you come into the studio. That's number one. Otherwise this is going to be an uphill battle the whole way. The next part of the equation is the player themselves. A lot of things being out of tune can be corrected with your fingers and guys who are super good know how to do that and that will solve a lot of problems from the get go. Unfortunately, not everybody has that skill and that's totally fine. So when you're tracking a guitar and you have a riff that's all over the neck, the first thing you want to do is just make sure you tune the lowest note that you're playing on each string on the fret and then tune the highest note that you're playing on each string on that fret and see if you can get both of them in tune or really close.

(06:40):

And that will also solve a lot of problems. Now if you can't, I like to just have someone play the whole riff and make sure it really flows and make sure it sounds awesome and if some of those high notes are out of tune and I'll just go back and tune the notes that sound out of tune in the original take and we'll re-punch them, but I'll keep the original attack and then I'll use the sustain from the freshly punched part so that everything flows together in the entire riff. I also occasionally run into chords that sound out of tune even though we've tuned everything to the open position. So what I do here is each note in the cord will tune to the fret and then we'll punch that cord in separately. And on top of that, something else that you may have noticed and I run into all the time are cords that have a third harmony in them.

(07:28):

Even though you tune 'em all to the fret, they'll still sound out of tune to the ear and they'll get that kind of wobbly thing going on. So what I do there is I'll tune all the notes to the fret in the chord except for the third harmony and then I'll have them hit the third harmony with the string above and below if it applies. And then I'll just tune that third string by ear and by third string I mean the string of the third harmony. Here's a good one from Austin. I hope I said that right. When producing a record, how involved do you typically get in the songwriting aspect of the record? Do you like to dig really deep and completely rewrite stuff or do you tend to just add small improvements? I think I actually answered this question on Break it down with Matt Carter and the Noise Creators podcast, but I'll go a little deeper this time.

(08:19):

So I think it's really important as a producer to assess songs and assess a situation one by one and not really have a mindset going into things that you're going to do this or that to songs because that can be pretty detrimental and I've seen that happen to other artists. So for me, I go in with an open mind and if the song's awesome, I'm not going to touch it if I like the song a lot, but I feel like there's individual parts that need work or there's just stuff that I know I can do kind of in the background to make it work and to make it super awesome. I'll just do that during the tracking process as we go along and try to be incognito so that I'm not really disrupting things and that we're keeping everything moving, but I'm also getting what I want out of the song.

(09:06):

Now sometimes people come in and the songs just aren't quite all the way there and we will start going into them pretty hard and I'm not afraid to switch things up or have people rewrite stuff or sit down and try to write with people. Now I'm not normally a songwriter from the core, so I'm not telling people, oh, you got to use my songs. I got songs for you guys to use and we should do this and that. I'm not coming from that aspect at all. I'm definitely always looking in from the listener's aspect and thinking what's going to be the best thing? Am I excited? Am I sad? Am I feeling something right now? And if I'm not feeling something, then we probably need to make a change to the song. Our next question is from Max Wolfgang Stratman. By the way, Wolfgang is the name of my favorite character from the 1985 Sci-fi hit Explorers Ethan Hawk River, Phoenix.

(09:56):

Check it out. Max asks, I remember you saying in your creative live class you said that you prefer to run your outboard gear processing live until you print the final mix. Any particular reason you prefer to do this? Yeah, the answer's pretty simple. I have all my outboard gear running while I'm listening to the mix. That way I can tweak the knobs and change things as the song goes along or just dial things in perfectly while the mix is being built. So if I've got the drums and the guitars and bass going and I realize I want to mess with something on the kick drum or the vocals like on mix three or four, I don't have to reprint stuff. I just turn around and mess with the compressor or the EQ and get it the way I want it. Now once the mixes are approved, and of course all my recall stuff is written down because this day and age you're mixing 10 things at once and bands always take a little time to get notes back to you and stuff, but once I'm at the final mix, then I'll print all the tracks that way in five years when someone asks for stems or backing tracks or something else that wasn't taken care of at the time of the mix, I can go back and recall it perfectly.

(11:08):

Here's one from Cameron Bledsoe. Hey Cam, it was good seeing you the other day. Don't see each other enough. Here's the answer to your question, actually, here's your question first, what did you use to get the guitar and bass tones on the new sworn in album album? Sounds killer, by the way. Thanks, man.

(11:27):

All the distorted rhythm guitars are a guitar that sworn in brought it was custom built. It's kind of like a baritone, pretty awesome sounding, and that's going into a decimators and the decimators going into a kee tube screamer and that's going into my 94 Mesa dual rectifier. It's one of the two channel ones with Schumacher Transformers and it's pretty cool. Then that's going into a mojo tone for 12 Cab that has V thirties from 2006. I have this quad of V thirties that I just love. As for the lead guitars, there's all kinds of stuff. Some of it's actually printed from the demo, some of it's stuff we did here and it's really just mostly effects. There's not even amps on a lot of that stuff. It was pretty fun and super cool and a lot of the effects is stuff that Kris actually came up with.

(12:17):

I can't take credit for that. The base was a Fender Jazz base four string just tuned super low into a voodoo lab Sparkle Drive that was also modified by Kee, and then that's going into a Tech 21 sand amp, a base driver. Then that's going into my 1983 Ameg SVT two. I love that AMP because it has a parametric EQ on it and it's got the old transformers again and it just rules. And that's going into the ameg, A 10 mics on the bass. Were a tele Funken M 82 and Assure Beta 52 oh and then on the guitars, all the mics are an SM 57 and an A EAN 22. This next one is from Tom Betsy Clark. Tom, I hope that's your real middle name, Betsy. That is a fantastic name. We've had to redo this take like seven times now because I keep laughing and I apologize if that's your real name, but no, it's all in love because that rules and I just want to say it one more time, Betsy, Tom, Betsy Clark.

(13:24):

Here we go. Hey Kris. I love the mix on the a lot like Bird's album, no place such a busy arrangement and yet everything has its own space and is easily heard. I'd love some insight into your process for these techy busy kind of thing. Is the approach any different to what you would do for a more straightforward band? The simple answer is yes, mixes where there's a lot of guitar parts going on at the same time or just a ton of instrumentation. I treat a lot differently than mixes where there's just two guitar, bass, drums and vocals. So when I have a lot of instrumentation or a lot of guitar parts, I'll make sure my drums are set and I really like the sound, make sure the bass sits in there really nicely and then I mute all that stuff and I start going through all the other instrumentation that isn't vocals and I kind of make a mix where that all works and it all works with each other, usually using a ton of automation.

(14:20):

So I'll make sure everything's panned where I want it. Guitars come up and down when they need to and make sure everything sits as if all the instrumentation besides the bass and drums and besides the vocals is like its own mix. Then I'll put that on a fader. I'll turn on the drums and bass and I'll bring all that up behind the drums and bass until it sits nicely and that way you kind of get this even wash of everything, but everything stays clear because you've paid special attention to it outside of the drums and bass and vocals. Then of course I bring in the vocals and they sit on top of that. And in that respect, I guess it's really similar to when I mix a band with simpler instrumentation because I'm treating all that extra instrumentation as if it's the guitars. So it's using the same space as the guitars would in another mix, but it could be strings and synths or just a ton of guitars all meshed together.

(15:19):

But that's generally my approach to songs like that. This question is from James Fray. You mentioned in your last podcast that you had hired an engineer. Can you tell us about them, what they're doing for you and your process working with another engineer versus working solo? You're correct. I've been working with a second engineer assistant since the summer of 2015. The current guy started working with me at the beginning of this year. His name's Tate Mercer. He's awesome. Got to give a shout out to him. He does excellent work. We also have interns here a lot of times doing extra stuff. Maggie's here right now running the board, and by board I mean keyboard, but Tate does a lot of stuff and the main thing he does is keep me from losing my mind. So he's here a lot and he'll run the computer or he'll be setting up mics and getting things where I want them. He knows my workflow and when I'm just, my ears are starting to get worn out or my eyes are starting to hurt, I'll step back and I'll sit on the couch or I'll just step out for a little bit, eat some lunch, and Tate takes over and works with the bands so I can keep a fresh head and not completely lose my mind. He also does all kinds of stuff that I can't even begin to explain. He's always helping me get mixes set up, doing pretty much everything that doesn't need my opinion.

(16:48):

So the difference I would say between working solo and working with an engineer is pretty huge. I win a good 12, 13 years of doing everything myself. Every process during the recording start to finish from setting up the drums to doing the mastering and I was the only one doing it and I was fine with that for a long time, but it really started to take its toll and it kind of got to the point where I needed some help and I've been lucky enough to be in that position financially to get some help who is really serious and is a talent on their own, which is what I needed. Tate's engineered all kinds of stuff before he was working with me so he knows what he's doing for sure.

(17:38):

For me now, I feel way fresher coming into sessions. I'm always way more stoked because I probably worked a 10 hour day the day before instead of a 14 or 15 hour day, and it's just those little things that keeps me going and the teamwork makes a dream work, I guess as stupid as that sounds. This question is from Blake Matthews. What is your thought process on selecting drum tones for a record? I remember thinking the kick drum on the newest issues record sounded quite different from their self-titled To answer the first part of your question, a lot of thought always goes into the drum sound when we're setting up the drums. I'm not really into the idea of trying to fix stuff in the mix when it comes to drums because frankly I'm just not that good at it. So for me, I need to listen to the demos, listen to everything we've worked on and listen to what the band wants and what records they're listening to and kind of what they imagine for the drums.

(18:33):

Do we want a super high snare? Do we want a deep snare somewhere in the middle? And then the other thing that comes into play is the tuning of the Toms and the Kick drum, like what key the song is in and how the Toms are going to get tuned, what intervals you want, and that kind of helps you decide what size you need of Toms and kicks. I'm generally a fan of Kick Drums between 22 and 26. I don't really like to go smaller than that, and those drums usually cover all the possible tunings. The way I mic things really depends on the overall tone we want of the record. Is it going to be really roomy drums? Do we want super tight drums? Are we going for kind of an indie sound or big rock? And I'll get the band's opinion and kind of my take on the song and that'll help me decide those things.

(19:26):

As for the difference between the two Kick drums on those two issues records, they're both DW kick drums. They're both the exact same size, but they are different DW kick drums. I was using one kit in 2013 when we did self-titled, and then in 2015 I had a different kit at the studio that I was really liking. So same sizes, just different drums. I use different mics, I queued them differently. Those are actually more a product of the mix and the other things that are around it, not so much a product of, oh, this is the kick drum sound I want. It's more of what kick drum sound worked to make the song sound the best. And the songs on self-titled are very different than the songs on Headspace. So that was just kind of a product of the whole thing and not necessarily a conscious decision of this time it's this kick drum and this time it's this other kick drum and I almost forgot.

(20:29):

The most important thing are the symbols. You got to have awesome symbols. You got to have the right symbol choice and the drummer has to be hitting 'em right, and with all the drums, making sure the drummer's hitting stuff right is really important for the drum sound of the record. If you're doing a super chill indie record, you don't want a dude hammering away and going nuts If you're doing a super heavy record or a rock record, I want a guy hitting hard and super solid and dead center every time. So same goes for symbols and if you're using crappy symbols, broken symbols or just honestly not that high quality symbols, there's a lot of them out there and there's a lot of drummers using them, you're not going to get good drum sounds because you're not going to be able to hear the shells pass the symbols.

(21:13):

Those bad symbols are going to be in the room mics and the overheads and in every close mic and they're just going to be ruining everything. So I'm personally a Zian guy all the way. Almost every record I do is pretty much all zian. That's not 100%, but probably 90% of everything is zian on the symbols because I know I can get a great product with those symbols. There's other stuff out there that works. Sabian makes great symbols, PIY makes great symbols. Aside from that, I think if you're an engineer or a producer have a good set of symbols on hand just in case a guy comes in with something that's not sounding too hot because you're going to be stuck with these awful symbols sounds if you don't fix it in the beginning. Here's a question from

Speaker 1 (22:03):

Premier Lia.

Speaker 2 (22:06):

What drum samples did you use for Headspace? This is an interesting one because

Speaker 1 (22:10):

Premier Lia

Speaker 2 (22:12):

Isn't the first person to asked me this. For the most part, the drums on Headspace are the real drums that we tracked in the studio, so it's like actually Josh hitting the drums and then there's a little bit of sample blended in with some of the drums, and that's mostly just samples that we took on the first day of the DW kit that we used. So the Kick is a DW 22 by 18. The rack is a DW 12 by eight or nine, and the Floto is definitely a DW 16 by 16, and there might be a couple other samples blended super low that are samples I've took. I try to never use other people's samples and I get asked about that on a lot of records, like who samples do you use, what samples are you using for this and that? And first off, I try to make sure that samples aren't the foundation of the drum sound and if I am using 'em when I do, I generally just reach into my own sample library and back catalog from all the drums I've recorded in the past 15, 17 years.

(23:20):

I always keep everything. And then on top of that, there's a lot of confusion because Josh from issues sells drum samples called the Headspace kit, which are awesome, and those are of his SJC kit that has the imagery from Headspace on it and that stuff's rad. It wasn't from the record, it's something that he did on his own with some other engineers and it turned out really cool. So go support Josh. He's awesome. Just wanted to clear it up that those are not the same drums that are on the record and that's really just because we didn't track things to be a sample set and Josh wanted to have a sample set that was separate from what we tracked, but those things aren't one and the same and I get asked that all the time. And so just to clear that up, those things are completely different.

(24:14):

I am actually going to have a sample set coming out probably early next year, and it's going to have all my drums and a ton of snares and a ton of kicks, and it's going to include the ones that we used on Headspace as well as on a ton of other records. I mean those two kits on the two issues records are also on tons of records I've done in the past, so going to be a lot of cool stuff coming out with that. The next question is from Zachary Duka, how many layers do you track for dance? Gavin Dance's, guitars, will has extremely intricate guitar parts and wondered if the process was any different. Also, what is your process on tracking vocals for DGD in regards of layering my process while tracking guitars for dance Gavin dance isn't a ton different than when recording any other band with busy guitar parts or multiple busy guitar parts.

(25:11):

Basically the most important thing is just to make sure that all the tones work together. And something that I've kind of developed from working with Dance Gavin dance for almost 10 years is I like to take will's parts and I'll double them and then I'll take the other guitar player or if the other guitar player will on the record, I'll double their guitar parts as well. Then I'll have will on one side super loud and the other guitar player on that same side, decently quieter and then vice versa. On the other side I'll have the other guitar player or the other will, and then the first will will be quieter and that way it's not pulling your ear left and right constantly. And the guitars are kind of harmonizing and locking in with each other, but the things that are in the forefront are pan left and right.

(26:04):

And then with layering for dance, Gavin dance, I always layer John's screams, there's at least two johns, sometimes there's 4, 6 10 johns. It really depends on the part, but I always try to have a least two because I personally think John's voice sounds awesome, doubled. That's just my personal opinion. As far as Tillion goes, most of his stuff is single except for choruses. Sometimes we'll triple track and then harmonies will be doubled and we'll do stacks and stuff that way, but a lot of tillian stuff is just single tracked and it was the same with Kurt and Johnny. All those guys were single tracked except for the harmonies and choruses. We doubled things up to make 'em bigger. This one's from Charlie Abend. What are some of your do's and don'ts for building a studio? Is there anything you regret about your studio build or did it go more or less according to plan?

(27:01):

As far as the true do's and don'ts for building a studio, man, there are volumes of books that are like 300 pages each on the do's and don'ts of building a studio, so that's a hard one to cover, but I'll give you a few studio construction tips that I've learned over the years that can help keep the budget down and just make sure you're getting the most for your space and your money. The first and possibly most important thing is whatever you think your budget is, whatever you calculate, triple it because unexpected things happen. There's all kinds of stuff that goes into it that you're probably going to forget about and I feel like it's honestly just impossible to stay on budget. So whatever your budget is, make sure whatever you think it's going to cost to build it is under half and more, ideally like a third of that.

(27:55):

And this goes for any kind of construction and anyone who's dealt with construction will tell you that. The second thing that's super important, do your homework. I know this isn't a tip for the actual structure itself, but get on the John Sayers form, go to the library, look at books, read things by informed people. Don't listen to guys like me. I mean, I can give you a couple tips, but for the most part there's a ton of guys on the internet that are going to give you bad information. So John Sayers is a great place. Any actual published book is probably going to give you good information, make sure you're doing things right because tearing it down and doing it again is going to cost way more money than just nailing it the first time. And this goes for your bedroom studio all the way to some 5,000 square foot multi-facility.

(28:48):

Even if you can't afford to work with an acoustician or an actual designer, do your homework, it's going to pay off and it's super, super important, so easy to make bad decisions or do the wrong thing. The next thing that's really important to know, and I get asked about this a lot, and it's just not possible. You can't soundproof a room that already exists. You're not going to put foam or mattresses on the wall and actually get a soundproof room. If you want something that's truly soundproof, you got to build it from the ground up or from your main structure. The rooms have to be built to be soundproof, so you really got to know what you're getting into before renting a space or buying a space. Soundproofing is really hard. You can do it, but I would recommend finding a space where noise isn't really going to be a big deal in the first place, and then do your best to soundproof From there, you can get yourself into a bad position If you're renting a spot and you find out there's a massage parlor next door and they want absolute silence and you could do everything you could possibly do to soundproof stuff and your kick drums are still leaking through and they're complaining that a landlord, you just don't want that.

(30:00):

I've had friends there, I've been there to a certain point, and you just really want to make sure that the place that you are going to be recording is going to work for the people around you. And lastly, something that I think is really important, especially for tracking rooms, ceiling height is number one, make sure you have a ton of ceiling height. You don't have to have the biggest tracking room in the world, but if you're tracking drums, I just dropped a peanut. If you're tracking drums, you really want make sure that you have a lot of room above the symbols because you could have the deepest, longest, widest drum tracking room of all time, and if your ceilings are only seven feet, you're not going to have that cool of drum sounds. Now that being said, you can do a lot with all kinds of different spaces, but if you're working from the ground up, that's another thing that a lot of guys don't realize is ceiling space is huge.

(31:00):

I've gotten better drum sounds out of rooms that are like 12 feet by 12 feet with 15 foot ceilings than I have out of rooms that are like 30 by 30 feet with eight foot ceilings. So that's just something that's super important to me and something to keep in mind when you're building a studio and tracking drums and what kind of space you're starting with. As for my studio, my current space, there's nothing I regret about it at all because I really made sure to do my due diligence and do everything the right way the first time because I've built other studios and I've been in other studios. The last studio I was in was built so poorly and it wasn't soundproof between the two studios and there was three panes of glass between the live room and the control room. And some things that were in the live room were actually louder in the control room, then they were in the live room and it was unbearable.

(31:52):

And I had a lot of fun there, made a lot of cool records, but it was not ideal. So I used all the other spaces. I've worked as inspiration to make sure that this place was built exactly how I wanted it and that's how it is and I love it and I wouldn't change a thing. Here's another one from Blake Matthews, and it kind of ties into the last question. Can you talk a little more about your new studio build? Just did that. You mentioned rent being really costly at your last space, roughly, how does that compare to the cost of your own build? I would also love to hear more about the actual space. Yeah, the rent was decently expensive at my last place, but it was more about the rent plus the responsibility of a commercial space and giving all that money to someone else while doing all the work myself.

(32:43):

So this was a necessity for a long time and it was totally fine, and there's nothing wrong with doing it that way, but for me personally, I got to the point where I was able to get a loan and buy some property and do it myself. And for me, it just felt like the right thing to do because I really didn't want to be paying rent until the end of time feels good to be the owner. And if worse comes to worse, I can sell all this and at least come out with a little bit of something or break even. But more than anything, I just liked having the ability to build my own space, not be stuck with someone else's thing. And really what I didn't want to do was spend a ton of money on construction in a place that I'm leasing, and then in five years or even 10 years, lose that lease and lose everything and all the money that I put into that space.

(33:40):

I understand why certain people do it, but for me, like I said before, I really wanted to own, I wanted it to be mine. And as far as the price difference goes, honestly, my monthly commitment is about the same. But again, the difference is that my previous situation, all that money was going to someone else. In this situation, I'm investing in myself and my own property. So for me, that's really what I wanted to do. The setup here is pretty simple. I just have one big control room and one decent sized live room. And the live room, I've got some rolling walls so I can kind of build a makeshift boost for vocals and guitar cabs or a tighter drum sound. But I really wanted to keep it simple, partially to keep the cost down. And also I just like having flexible space. When I had a studio with a vocal booth, I did not use the vocal booth that often because I kind of wanted to change the space.

(34:38):

So I found myself using a live room and using baffles and stuff to create my own spaces. So in this situation, it's just those two things, plus there's a lounge and a bathroom and a little place for people to rest, and that's it. And it just makes up one nice place to do work and to be in every day. The final question is from Kris Crume and he asked, did you forget to brush your teeth this morning? Well, me, I didn't brush my teeth this morning because I used my toothbrush last night to clean something and now I don't have a toothbrush and I haven't been to the store yet. So sorry, Maggie. I'm sure my trail mix omelet breath is absolutely disgusting. And that concludes the q and a. I really enjoy talking to you guys, and if you ever have any more questions, just send 'em my way. I'd also like to thank the URM crew for having me on. Guys are super cool and it's always fun doing this, and I would definitely like to thank

Speaker 1 (35:40):

Louisa

Speaker 2 (35:41):

Noble for translating the name

Speaker 1 (35:46):

VA

Speaker 2 (35:48):

Because I never would've got it on my own.

Speaker 1 (35:58):

The Unstoppable Recording Machine podcast is brought to you by Line six. Line six is a musical instruments manufacturing company that specializes in guitar, amp and effects modeling, and makes guitars, amps, effects, pedals and multi effects. We introduce the world's first digital modeling amp and we're behind the groundbreaking pod multi effect, which revolutionized the industry with an easy way to record guitar with great tone. Line six will always take dramatic leaps so you can reach new heights with your music. Go to www.linesix.com to find out more about line six. To get in touch with the URM podcast, visit urm.com/podcast and subscribe today.