1 00:00:14,145 --> 00:00:14,945 [Nick] Sonic. 2 00:00:15,985 --> 00:00:16,625 [Nick] Hello, 3 00:00:18,705 --> 00:00:23,585 [Nick] everybody. Welcome to Sonic Talk episode nine zero nine. Obviously, the big news was 4 00:00:23,825 --> 00:00:57,930 [Nick] it was the ninth of the ninth last week, and we have episode nine zero nine this week. I've got a couple of videos to play or a video to play where we can enjoy the nine zero nine ness of the nine zero nine because it's such a sort of genre specific... I'm not sure if everybody enjoys the music that is used to make the nine zero nine, but I'll leave everybody else to judge that. And the reason we're talking about that sort of thing is because this is the music technology podcast as I always forget to remember to say at the very beginning. Yes. We talk about music technology, including things like the nine zero nine drum machine, software, synthesizers, drum machines, touring, live performance, 5 00:00:58,250 --> 00:01:00,170 [Nick] DAWs, 6 00:01:00,170 --> 00:01:01,130 [Nick] plug ins, 7 00:01:01,690 --> 00:01:18,465 [Nick] technology of all kinds that surround the world of that. And so I to say welcome everybody in the chat room. Lovely to see a fulsome chat room. Picking up a bit. Floppy Winkle, neighbor Jack. Steve Elbows, cheaper card company with the puns again. Tommy $91.30. 8 00:01:19,265 --> 00:01:20,785 [Nick] I think Robath, 9 00:01:20,785 --> 00:01:21,905 [Nick] Melted Cheese. 10 00:01:22,145 --> 00:01:24,400 [Nick] I think Wagyu's in there somewhere 11 00:01:24,560 --> 00:01:26,640 [Nick] manning the controls of the 12 00:01:26,960 --> 00:01:31,600 [Nick] of the moderation, which they do so brilliantly and just some of the other back end stuff. Thanks, 13 00:01:32,080 --> 00:01:35,245 [Nick] Wagyu. You're a champ as ever. And... 14 00:01:35,485 --> 00:01:43,245 [Nick] Yes. So I just wanted to let you know. What do we got coming up? We got a few things coming up with Sonic Talk. Oh, let me just get my right screen up because then I can read the actual... 15 00:01:43,805 --> 00:01:49,005 [Nick] What I'm looking for. Where is it? Oh, there it is. Yes. Actually, we got some videos from KnobCon coming up. 16 00:01:50,040 --> 00:01:51,560 [Nick] In case you haven't seen them, 17 00:01:51,880 --> 00:01:57,800 [Nick] Jim, EarMonkey Music, who sometimes hangs out in the chat, a friend of ours from LA, he went over to KnobCon. 18 00:01:57,880 --> 00:02:09,965 [Nick] Got 13 videos total. I think I've published about four. They're all in the pipeline ready to go. I just wanna dump them all in one go even though our systems are designed to do that. So do check those out. We've also got... 19 00:02:10,285 --> 00:02:15,165 [Nick] Paulie's done a new episode of RetroCast episode five with DJ Aphrodite, 20 00:02:15,325 --> 00:02:17,805 [Nick] a very famous, I think, jungle DJ from what I remember. 21 00:02:18,540 --> 00:02:24,860 [Nick] We've got... I've done the the patch flip on the Arturia Pure sub in case you're interested in that. That'll be coming out soon. 22 00:02:25,180 --> 00:02:35,255 [Nick] And Matt's taking a look at the Chordcat, which is something that's been out for a little while. Just hasn't had an awful lot of interest. And don't forget, if you're a member, whether that's YouTube members or 23 00:02:36,055 --> 00:02:40,775 [Nick] Patreon members, we got 30% off Cherry Audio DS 30% 24 00:02:40,775 --> 00:02:42,455 [Nick] off Music HackSpace courses, 25 00:02:42,535 --> 00:02:44,535 [Nick] and talkback.se 26 00:02:44,535 --> 00:02:54,910 [Nick] as well. So if you're a member, head over and claim them. If you're not, maybe you'll be interested. In which case, that's perfect timing for me to plug our memberships back after this. 27 00:02:55,710 --> 00:03:02,925 [Nick] Don't know. I can't get quite slick at this. I don't think I've made a mistake yet. Although having said that, that's gonna happen now, clearly. But, hopefully, 28 00:03:03,245 --> 00:03:07,805 [Nick] Gaz, you'll be able to keep me on the straight and narrow because I am joined with... By Gaz Williams, 29 00:03:08,125 --> 00:03:10,845 [Nick] YouTuber, bass player, touring musician. 30 00:03:11,325 --> 00:03:21,160 [Nick] Well, are you a owner? Is that an Erica since... Do you own that, or are you just checking it out? I'm borrowing it. Yeah. I'm borrowing it. Yeah. I I would really like it, actually. 31 00:03:21,960 --> 00:03:23,880 [Gaz] It's the Mark one Syntrix. 32 00:03:23,880 --> 00:03:24,440 [Gaz] Yeah. 33 00:03:24,840 --> 00:03:25,480 [Gaz] Yeah. 34 00:03:26,680 --> 00:03:29,080 [Gaz] It's it's it's more like the... It's really 35 00:03:29,695 --> 00:03:32,815 [Gaz] one for one more or less with the Synthi, 36 00:03:32,815 --> 00:03:34,495 [Gaz] the EMS Synthi, 37 00:03:35,055 --> 00:03:36,575 [Gaz] including speakers 38 00:03:36,975 --> 00:03:37,535 [Gaz] and 39 00:03:38,735 --> 00:03:45,210 [Gaz] spring reverb. Spring reverb? They brought Ah. Yeah. The real spring reverb. The the mark two's got, like, a kinda 40 00:03:45,450 --> 00:03:49,850 [Gaz] emulated digital spring reverb, hasn't got speakers. There's a few bits and bobs differently. 41 00:03:50,650 --> 00:03:52,170 [Gaz] But this one really is... 42 00:03:52,810 --> 00:03:55,850 [Gaz] I I don't think it sounds the same as a synthy, but 43 00:03:56,250 --> 00:04:00,010 [Gaz] it does at least give you a really good 44 00:03:59,335 --> 00:04:09,415 [Nick] Is it is it is it more straightforward? Because I have to say, whenever I'm confronted by a synthy, I just kinda go, I really don't know what the hell I'm doing. Right. It's so confusing. 45 00:04:09,735 --> 00:04:11,575 [Nick] Is it easier, or is it just as different? 46 00:04:12,420 --> 00:04:28,705 [Gaz] I'm... I think it's more or less the same other than the the way that the matrix works. You know, you can store matrix settings and Yeah. Neat. And you can also stack. You can have multiple things go to the same destination, whereas I think on the the Synthi, it would be just, you know, one Enormously. 47 00:04:29,105 --> 00:04:31,745 [Gaz] Yeah. Yeah. But at the same time, part 48 00:04:32,225 --> 00:04:37,745 [Gaz] of the reason for me borrowing it really was I'd always... I just love that kind of cosmic 49 00:04:37,825 --> 00:04:42,230 [Gaz] space sounds that you associate with the Cynthy. A lot of the seventies 50 00:04:42,230 --> 00:04:49,990 [Gaz] space rock stuff that I love so much, Gong and Hawkwind and that kind of thing. You know, it's a kind of key instrument. Descending, 51 00:04:50,390 --> 00:04:51,110 [Gaz] period. 52 00:04:51,270 --> 00:05:07,215 [Gaz] That kind of stuff. It's just Yeah. Just love it. You know, really psychedelic stuff that passes through your brain when you're kinda mashed. You know? It's so... It's kind of a... It's a... Yeah. It's something. So I've been really enjoying I've been enjoying getting getting to to know it, but I definitely 53 00:05:07,695 --> 00:05:08,255 [Gaz] was 54 00:05:08,600 --> 00:05:12,760 [Gaz] and am still a bit perplexed with it, but making a little bit of progress with it. 55 00:05:13,720 --> 00:05:23,160 [Nick] Nice. Well, you you... Because you've been on the road. You've been touring. You've been gigging. Still am. And it's not just any of it. Yeah. You're gigging with Charlotte Church. And all the videos I see, you're basically 56 00:05:24,155 --> 00:05:28,395 [Nick] wigging out with, like, leather trousers on really sort of performative, 57 00:05:28,635 --> 00:05:29,915 [Nick] proper glam 58 00:05:29,915 --> 00:05:34,635 [Nick] sort of postures. I... That's gotta be good for the soul, isn't it, doing that sort of thing? It's amazing. 59 00:05:35,115 --> 00:05:45,110 [Nick] Mean, if you do it every day for, like, years, it might get a little bit jaded. But but just a, you know, a few months a year must be fantastic for the ego and the... Just of your well-being, all those things. 60 00:05:45,750 --> 00:05:52,150 [Gaz] Charlotte is is incredible, and the band are just all just super quality musicians. I feel so thrilled 61 00:05:52,565 --> 00:05:59,125 [Gaz] to be playing with them. I really don't feel worthy, but I'm... I I am a founder member of the Pop Dungeon, so I've kinda got 62 00:05:59,685 --> 00:06:06,565 [Gaz] a right to be there. But, yeah, it's it's amazing. I do get to sort of, like, live out fantasies a little bit. 63 00:06:07,285 --> 00:06:12,780 [Gaz] And I'm, like... I'm sort of representing Gen X because they're a lot younger than me, the others. So 64 00:06:13,180 --> 00:06:16,860 [Gaz] I'm like, oh, yeah. Bring in proggy elements in. 65 00:06:17,260 --> 00:06:19,500 [Gaz] And something really cool happened the other day. 66 00:06:19,820 --> 00:06:31,815 [Gaz] I'm so so thrilled. When we're playing up in London, Jack Ojaxic, who is the, well, wonderful musician, guitarist, singer, was the last frontman of... Official frontman of King Crimson. 67 00:06:33,330 --> 00:06:45,330 [Gaz] We play the song called... Well, it's like a nineties girl banger called Don't Let Go by en... On Vogue. We saw The the thing what the pop dungeon does, we mash up we mash up stuff. And in the very first ever rehearsal 68 00:06:45,330 --> 00:06:48,930 [Gaz] that we ever did back in 2016, it's ten years old now, the pop dungeon, 69 00:06:51,465 --> 00:06:55,225 [Gaz] I think I had a King Crimson T shirt on. I think that was the motivation. 70 00:06:55,225 --> 00:07:16,085 [Gaz] But midway through the song, I just started playing twenty first century Schizoid Man. And we all like... And then Davey, the drummer, kinda cottoned on to what I was doing and played along with... And then Johnny, the guitarist, he also cottoned on and played along. And Charlotte just carried on singing through it. And now it's crazy. It shouldn't work, but it's that thing of, like, determination. 71 00:07:16,165 --> 00:07:20,405 [Gaz] You just... It's amazing what you can do if you just don't 72 00:07:20,405 --> 00:07:25,845 [Gaz] kind of go. Stop. Stop. What are you doing? Where's my where's my harmonic support? 73 00:07:27,070 --> 00:07:49,925 [Gaz] But, anyway Well, I mean, it must be quite it must be quite hard, actually. I mean, it takes a certain skill to manage to keep going through it with... When when when all the sort of support vanishes, I suppose. Yeah. Yeah. So, I mean, yeah, testament to Charlotte, really. She's an absolutely incredible singer. But... Yep. So we played that on on the gig on... When was it? Saturday, I think, in London, and Jacko was in the audience. 74 00:07:50,565 --> 00:07:51,205 [Gaz] So 75 00:07:51,685 --> 00:07:58,420 [Gaz] he had a bit of a surprise when we launched it, the twenty first Century Schizoid Man, in the most unlikely 76 00:07:58,740 --> 00:08:00,500 [Gaz] place. But but, I mean, that's... 77 00:08:00,740 --> 00:08:09,620 [Gaz] The pop dungeon, I think, was one of the first bands of its kind, really, to do that, really, to sort of do mashup stuff, but but as a as a kind of live band. 78 00:08:10,100 --> 00:08:13,835 [Gaz] And one of the things about... Some people say, oh, it's just covers, but it... 79 00:08:14,235 --> 00:08:18,715 [Gaz] Technically, yes. But it's... There's a lot of creativity and the Yeah. 80 00:08:20,635 --> 00:08:21,355 [Gaz] And it's... 81 00:08:21,755 --> 00:08:25,115 [Gaz] But from a musical point of view, you have to just really be on... 82 00:08:25,790 --> 00:08:26,510 [Gaz] You know, 83 00:08:27,390 --> 00:08:30,670 [Gaz] you've gotta be on form because there's like changes, 84 00:08:30,750 --> 00:08:32,830 [Gaz] sudden changes. And you gotta just... 85 00:08:33,310 --> 00:08:38,830 [Gaz] Like we do this kind of medley thing in the opening part where it's a kind of mixture of 86 00:08:40,715 --> 00:08:43,675 [Gaz] war pigs, Black Sabbath into 87 00:08:43,675 --> 00:08:44,635 [Gaz] cashmere, 88 00:08:44,715 --> 00:08:47,915 [Gaz] zeppelin, and children of the revolution T Rex. 89 00:08:48,155 --> 00:08:49,995 [Gaz] And like a late addition 90 00:08:50,315 --> 00:08:52,635 [Gaz] sort of in the second verse of the 91 00:08:53,050 --> 00:08:59,850 [Gaz] part of Children of the Revolution just switches instantly into Army of Me by Bjork. It's all a concept set. 92 00:09:00,170 --> 00:09:05,130 [Gaz] So it's called the pop dungeon end times. But, like, you're having to go... You know, so you go in you go 93 00:09:08,725 --> 00:09:09,285 [Nick] And then. 94 00:09:11,285 --> 00:09:16,165 [Gaz] Yeah. Right on the right on the nail, you know, pow. And Yeah. 95 00:09:16,725 --> 00:09:17,925 [Gaz] It's stuff like that. So 96 00:09:18,920 --> 00:09:52,150 [Gaz] incredibly gratifying from a music from a musician. I had a lovely message from Jacko after the next day where he he was saying he loved the show and was... And, you know, I'm I'm a huge I'm a huge fan of his and of King Crimson. So that was just... Things like that are just really gratifying, you know, really, really, really There's a thing, isn't there? I mean, when you see a band that are really on form and they're so good and on their game that they're just enjoying it and playing with it. It's quite a rarity because music Yeah. Is kinda hard to play. It's hard to play well And we've got 97 00:09:52,950 --> 00:09:53,590 [Nick] yeah. 98 00:09:54,070 --> 00:10:04,945 [Gaz] And and the the musicians who play with is very anti backing track. You know? There is a definite growing movement. I've been part of that anti backing track thing. Now, you know, I know I've gone on about this very briefly. 99 00:10:05,585 --> 00:10:10,785 [Gaz] You know, I understand in certain electronic ways and certain types of of of musical situations, 100 00:10:11,340 --> 00:10:13,980 [Gaz] track kind of is unavoidable 101 00:10:14,300 --> 00:10:15,340 [Gaz] unavoidable. 102 00:10:15,340 --> 00:10:15,900 [Gaz] But 103 00:10:17,580 --> 00:10:18,380 [Gaz] with... 104 00:10:19,740 --> 00:10:25,580 [Gaz] When it's kind of there as a sort of... I don't know, as a crutch or a kinda... Or even worse to, 105 00:10:25,900 --> 00:10:30,705 [Gaz] you know, switch in parts when a singer's having difficulty or just all kinds of 106 00:10:31,345 --> 00:10:33,905 [Gaz] skullduggery that that the track can do. 107 00:10:35,025 --> 00:10:47,690 [Nick] Well, to be honest, I think in most cases, it's more about cost because you can't afford to take a big band with you. You know? Most places, you can't do that. And that's that's a different Yeah. Thing again. So it's like, do you do? Don't cry at all? Or, you know, that It's 108 00:10:47,690 --> 00:10:51,850 [Gaz] a weird one. It's a weird one. I've made a few streams about this in the past, I won't go over that. But just... 109 00:10:52,410 --> 00:10:54,890 [Gaz] The thing is what we do in the pop dungeon, 110 00:10:55,610 --> 00:11:02,125 [Gaz] in some cases, track would make some things quite, you know, a lot easier. I mean, there's one song where there's an arpeggiator, 111 00:11:02,285 --> 00:11:08,205 [Gaz] and drummer puts some headphones on just just so he can play in time to the arpeggiator, 112 00:11:08,285 --> 00:11:29,195 [Nick] and about... That's about as close as we get to anything like that. But Yeah. But that's alright. Yeah. Yeah. No. Brilliant. I I I I Yeah. Keep telling telling myself I must come and see it, but I just... I've never done it, and I really should come into a gig. I need to try and figure out. I know. Sunday Bristol's probably on this Sunday. It's done Bristol. Sunday Cardiff is probably the closest. We've been Liverpool 113 00:11:29,595 --> 00:11:42,850 [Gaz] on Friday. And then and then that might be it. And... But there are... There's rumblings of some more shows next year. But I must be. It must be incredibly addictive. Must be so addictive to just sort of just... 114 00:11:43,410 --> 00:11:53,650 [Nick] You know, because she's... You've you've done this a couple of times. She's done it a few times. Okay. That's it. And then Mhmm. Actually, you know Yeah. I guess it's it's very hard to give up that because it must be such a buzz. 115 00:11:54,285 --> 00:11:58,925 [Gaz] It's Stuart Lee, the comedian's fault. I don't know if you know him. Brilliant brilliant British 116 00:11:59,005 --> 00:12:00,605 [Gaz] stand up comedian. He's 117 00:12:00,605 --> 00:12:02,045 [Gaz] he's the guy who really 118 00:12:02,685 --> 00:12:18,580 [Gaz] kind of made it happen in the first place because he invited Charlotte to take part in a concert that... In this... In the Baltimore's parties festival that he was curating. And Charlotte wanted to put some put something together specifically for for Stuart, and that's how it... The pop dungeon came about. 119 00:12:18,980 --> 00:12:24,500 [Gaz] Anyway, I mean, she did call time on it after the... We played at Eurovision Song Contest in 2023. 120 00:12:24,935 --> 00:12:26,775 [Gaz] But Stuart asked her this, 121 00:12:27,335 --> 00:12:28,695 [Gaz] I think, maybe the beginning... 122 00:12:29,015 --> 00:12:31,015 [Gaz] Or the end of last year or beginning of this year 123 00:12:31,415 --> 00:12:32,215 [Gaz] if 124 00:12:32,375 --> 00:12:35,735 [Gaz] we would come and play at this festival that he was involved with. 125 00:12:36,135 --> 00:12:37,495 [Gaz] So... Because Stuart asked 126 00:12:37,910 --> 00:12:44,150 [Gaz] then... You know? So Stuart Lee is the kind of founding father of the pop dungeon. Oh, that's alright. That's alright. 127 00:12:44,550 --> 00:12:45,190 [Nick] Well, 128 00:12:46,150 --> 00:12:46,710 [Nick] we 129 00:12:47,350 --> 00:13:04,380 [Nick] should probably get on with some some topics. I mean, there are some. I mean, we could talk for hours. I don't suppose it really matters all that much, but I suppose I like to keep some sort of loose structure. It helps me sort of figure out what the time is, you know, where I am in the world, all that kind of stuff. Let's have a look then. What did I put... 130 00:13:05,180 --> 00:13:12,940 [Nick] Yeah. Oh, I've I've played the ad, haven't I? So... Yeah. This was... I thought this was kind of interesting. This is a free baritone guitar 131 00:13:13,900 --> 00:13:15,660 [Nick] from 132 00:13:14,835 --> 00:13:15,555 [Nick] Instruments. 133 00:13:16,115 --> 00:13:23,155 [Speaker 2] And I went down a bit of a baritone guitar ramming. Hole. In this video, we're gonna have a quick look at the Velvet Guitar's fragment, 134 00:13:23,235 --> 00:13:25,475 [Speaker 2] a free atmospheric It's free actually. Instrument. 135 00:13:27,650 --> 00:13:47,185 [Speaker 2] So this is a single preset from the larger Velvet Guitars library and features the mellow baritone and gives you that really evocative sound that the baritone guitar is known for. Now while the feature set has been trimmed down from the full version I thought was gonna play it in for a minute. The instrument does come with a complete sample set and features sustains, 136 00:13:47,185 --> 00:13:47,585 [Speaker 2] mute. 137 00:13:53,820 --> 00:14:03,820 [Nick] I mean, it's quite a mellow. Was what was really interesting about this is a free one. I mean, can get it for nothing. E Instruments do some really good stuff, actually, so it's well worth checking out for that. And free is free is never bad. 138 00:14:05,020 --> 00:14:32,470 [Nick] But it just got me... Comes with a US sort of sixties tremolo recreated to stay in true with the... But it's so... A baritone guitar is essentially what a fourth down. So it's got a b string below the bottom e, and it just sort of chews everything down. And people probably missed... I mean, there's... There was... There were lots of sort of surf records with baritone guitar, weren't there? I think which you've all got surf bands, so you'll know about this. But I was I was thinking, wasn't Twin Peaks? Wasn't the Android Van Lamenti? 139 00:14:32,950 --> 00:14:42,295 [Nick] But it's not. It's actually not. It's a bay... It's a guitar sample. But I have to say, I'm not gonna play it because it's probably gonna get me busted. But if you look for that, 140 00:14:42,695 --> 00:14:44,455 [Nick] there are some absolutely 141 00:14:44,455 --> 00:14:45,415 [Nick] amazing 142 00:14:45,415 --> 00:14:51,030 [Nick] acoustic baritone guitar covers where they're just playing the harmonics and the whole tune, 143 00:14:51,350 --> 00:14:58,550 [Nick] and it's just mind blowing. Absolutely brilliant. So, yeah, that's... I thought that would get us riffing on Yeah. And coincidentally, 144 00:14:58,550 --> 00:15:00,390 [Gaz] we do it in the pop dungeon. 145 00:15:00,630 --> 00:15:04,555 [Gaz] We do it. Oh, do you? And we do and we mash it up with Laura Mavula's 146 00:15:04,555 --> 00:15:18,880 [Gaz] Green Garden. So Charlotte sings Green Garden over the top of Twin Peaks. So I'm playing the... That very part. So just fantastic coincidence there. I'm playing it on a basic guitar and using a tremolo. And so, you know, playing it in the right octave, 147 00:15:19,840 --> 00:15:28,560 [Gaz] playing it with a pluck drum, and using a fairly trebly kind of sound. So you kinda get kinda close to it. But, I mean, e instruments, 148 00:15:28,560 --> 00:15:37,165 [Gaz] I... I've done a little bit of work for them over the last few years, and I've just been blown away by the realism of their... They've got such a 149 00:15:38,125 --> 00:15:42,525 [Gaz] really brilliant attention to detail, and the instruments 150 00:15:42,290 --> 00:15:44,290 [Gaz] have such a naturalistic, 151 00:15:44,290 --> 00:15:48,290 [Gaz] realistic sound. So this is definite... It's an absolute 152 00:15:49,010 --> 00:15:51,490 [Gaz] bargain for free, isn't it? It's brilliant. 153 00:15:51,970 --> 00:15:57,330 [Nick] I think it's in contact. That's the only thing. But, you know, you will need a... I think I think you could just use 154 00:15:57,665 --> 00:16:00,865 [Nick] contact free player, I imagine. Oh, yeah. I think so. 155 00:16:02,065 --> 00:16:02,705 [Gaz] But... 156 00:16:02,865 --> 00:16:04,785 [Gaz] Yeah. So the baritone... 157 00:16:04,785 --> 00:16:05,185 [Gaz] Things... 158 00:16:07,825 --> 00:16:09,025 [Gaz] So Fender 159 00:16:09,025 --> 00:16:15,000 [Gaz] released a guitar in the sixties called the Fender bass six, which was actually tuned down 160 00:16:15,400 --> 00:16:17,160 [Gaz] like a full octave down. 161 00:16:18,360 --> 00:16:22,040 [Gaz] Right. And a lot of guitarists, I think, would then put 162 00:16:22,760 --> 00:16:32,015 [Gaz] or tune into, like, baritone as well. So I'm not sure where the baritone started. I think Dan Electro might have had Dan Electro. Yeah. 1956, 163 00:16:32,015 --> 00:16:36,175 [Gaz] apparently, according to my research. Ah. Ah, okay. There we go. So 164 00:16:37,135 --> 00:16:38,895 [Gaz] famous 165 00:16:38,975 --> 00:16:39,935 [Gaz] kind of usages. 166 00:16:40,320 --> 00:16:45,360 [Gaz] I mean, this is the thing you see. Sometimes people think it's baritone when it's actually the Fender bass six. 167 00:16:45,600 --> 00:16:46,160 [Gaz] The 168 00:16:46,720 --> 00:16:52,400 [Gaz] guitar solo, bass solo, what... Whatever you wanna call it off, Witcher to lineman, Glenn Campbell, 169 00:16:52,955 --> 00:16:59,435 [Gaz] I think is the... On the Fender bass six. But often again, people quote that one as a baritone. But 170 00:17:00,715 --> 00:17:05,195 [Gaz] the baritone is a is a particularly lovely sound. I mean, 171 00:17:05,915 --> 00:17:06,795 [Gaz] it's 172 00:17:07,720 --> 00:17:13,480 [Gaz] especially coupled with tremolo and a little bit of spring reverb. It's just instant evoc... Evocative. 173 00:17:13,560 --> 00:17:17,720 [Gaz] So this library seems to have that sort of sound covered really well. 174 00:17:18,360 --> 00:17:21,240 [Gaz] And, really, it isn't a sound that's been 175 00:17:21,975 --> 00:17:25,815 [Gaz] overused either. I mean, there are very key things like 176 00:17:26,295 --> 00:17:27,335 [Gaz] Twin Peaks. 177 00:17:27,495 --> 00:17:30,615 [Gaz] Incidentally, what made me think about that because that was a sample, 178 00:17:30,855 --> 00:17:34,695 [Gaz] it was also... It reminded me similar period as Alana 179 00:17:35,040 --> 00:17:35,840 [Gaz] Miles' 180 00:17:36,080 --> 00:17:38,880 [Gaz] black velvet with this kind of slinky, 181 00:17:39,280 --> 00:17:47,200 [Nick] fretless bass line and and, like, the shuffle beat. That was a that was a five string. That was one of the... I think that was one of the first five string bass 182 00:17:47,585 --> 00:17:49,105 [Nick] sort of when it was... Because it was. 183 00:17:49,505 --> 00:18:00,145 [Gaz] Was Lower than it sounds like that. No. It's it's a synth. It was a synth. That's a synth. No. And I... Yes. It is. It's it's not a real bass at all. So... Yeah. Wow. And it's a. 184 00:18:02,800 --> 00:18:03,360 [Gaz] Yeah. 185 00:18:04,480 --> 00:18:17,215 [Gaz] And it's got, like, you know, I think... So I mean, it's it's pretty well done. It sounds like a fretless bass being played, you know, with a... With some slides and stuff. But, nope, it's a sample or it's a... Certainly not a real bass guitar. So 186 00:18:17,615 --> 00:18:18,815 [Nick] Well, I never. 187 00:18:20,895 --> 00:18:27,535 [Gaz] But... Yeah. So the the thing about a baritone though is it it does have a... If you use, 188 00:18:27,775 --> 00:18:29,935 [Gaz] like, really minimal bass, 189 00:18:31,430 --> 00:18:33,510 [Gaz] really minimal bass of just 190 00:18:34,550 --> 00:18:49,805 [Gaz] only a couple of, like, notes pinning down the lower octave, and then use baritone for filling in, it's a lovely combination then if you use the two together, very rich, very, oh, it's a beautiful, beautiful sound. But as I said, I don't think that's been overdone. 191 00:18:50,445 --> 00:18:51,485 [Gaz] I mean, obviously, 192 00:18:52,365 --> 00:18:54,765 [Gaz] the tuning step, you know, you can... 193 00:18:55,245 --> 00:18:57,725 [Gaz] If you check it through a load of distortion, 194 00:18:57,725 --> 00:19:02,120 [Gaz] you can get some real drop down sort of vibe, tuning vibes of guitar. 195 00:19:02,440 --> 00:19:05,080 [Nick] I would I would I would imagine that it's 196 00:19:05,320 --> 00:19:06,120 [Nick] metal. 197 00:19:06,440 --> 00:19:09,800 [Nick] The people would use it in metal, you know, I would assume. 198 00:19:10,920 --> 00:19:12,325 [Gaz] Yeah. I I 199 00:19:12,805 --> 00:19:16,005 [Gaz] Not modern metal where you just want super low chokes. 200 00:19:16,405 --> 00:19:26,245 [Gaz] I'm sure they do, but I think they tend to go elsewhere than baritones. But I'm sure they do use them. Often use a seventh string with an extra low string on there, which would give them a b. 201 00:19:27,960 --> 00:19:28,760 [Gaz] But 202 00:19:30,200 --> 00:19:44,835 [Gaz] actual baritone guitars... You know, we're... But I mean, if you look a lot of the time, baritone guitars do have kind of surfy style to them. They... You know, the the ones that you get... That you can buy of, you know, they've got that evocative look about them as well. 203 00:19:45,715 --> 00:19:46,515 [Gaz] But... 204 00:19:46,995 --> 00:19:47,875 [Gaz] Yeah. I... 205 00:19:49,075 --> 00:19:56,035 [Gaz] Andy, you know, Andy plays guitar in Rumblers. He also plays in a a silent film accompanist 206 00:19:56,120 --> 00:19:57,800 [Gaz] act called Minima, 207 00:19:57,960 --> 00:20:02,920 [Gaz] and he plays a baritone guitar. But I think now he has that tune down. 208 00:20:03,400 --> 00:20:09,400 [Gaz] It is a baritone. I think it's a Gretsch baritone, but he has tuned it even further. He's tuned it down to bass. Yeah. 209 00:20:09,720 --> 00:20:13,155 [Gaz] Well, there we go. I've got I've got a bass six downstairs, 210 00:20:13,315 --> 00:20:15,235 [Gaz] and I hate it. I absolutely 211 00:20:15,235 --> 00:20:17,955 [Gaz] hate it. It sounds fantastic. 212 00:20:18,595 --> 00:20:21,075 [Gaz] It really sounds fantastic. It looks brilliant, 213 00:20:21,395 --> 00:20:23,715 [Gaz] but I hate playing it because 214 00:20:24,515 --> 00:20:26,035 [Gaz] it's in the bass range. 215 00:20:27,370 --> 00:20:30,410 [Gaz] But it's like a horrible guitar to play because it's really... 216 00:20:31,690 --> 00:20:47,985 [Gaz] To to use it as a guitar. And to play it as a bass, oh, I hate it so much. I don't know. Just because we're... I'm I'm used to a 34 inch scale, and this is a 30 inch scale. And it just... I don't know. It's a it's a weird thing. It's It all feels wrong. It's all wrong. It's just Oh, yeah. 217 00:20:48,705 --> 00:20:57,505 [Nick] Yeah. I'm sorry. I didn't mean to traumatize you there, guys. Perhaps you can have a little moment to recompose yourself while I play an ad. That's probably the perfect 218 00:20:56,730 --> 00:21:00,170 [Nick] perfect antidote, I'm sure. Back after this, folks. 219 00:21:01,050 --> 00:21:03,290 [Nick] Lots of people in the chat are 220 00:21:03,530 --> 00:21:10,890 [Nick] talking about how they dislike certain guitars as well. I know this is music. Well, guitars are music technology. It's just an older form of music technology. 221 00:21:11,365 --> 00:21:17,525 [Nick] So that's fine. We could talk about it as much as we like. I don't feel like I need to apologize, although somehow I am. 222 00:21:18,405 --> 00:21:25,045 [Nick] Okay. Well, actually, maybe we'll we'll skip the Leslie for now, and we'll go to the dirty wave. This was really interesting. Chris 223 00:21:26,780 --> 00:21:36,140 [Nick] Chris posted this midi era, and it's it's got... Yeah. It's got... This looks... These are the people that may... The the tracker, which is is massively popular. 224 00:21:36,220 --> 00:21:37,100 [Nick] So, yeah, play. 225 00:21:41,355 --> 00:21:48,155 [Nick] This is a little performance mixer, which seemed to be all the rage at the moment. It's got like a, I guess, a buffer so you could do time based effects, 226 00:21:48,555 --> 00:21:49,355 [Nick] filtering, 227 00:21:49,355 --> 00:21:50,075 [Nick] chopping, 228 00:21:50,875 --> 00:21:53,435 [Nick] distortion, all sorts of stuff there as well. 229 00:21:54,315 --> 00:21:55,355 [Nick] Three audio ins, 230 00:21:57,060 --> 00:22:17,865 [Nick] two MIDI outs, in and out, USB host port, USB mains for charging and a headphone jack, and beats, and it has a built in sampler with up to twenty four seconds of stereo. And it's got those clacky keys that we've come to love. This is just a single input, so I'm not quite sure what what it's doing, but it seems to be doing a bunch of stuff. I guess it's playing back some things as well. 231 00:22:18,425 --> 00:22:29,050 [Nick] Gaz, you said this this this floated your boat. I'm I'm guessing this sort of thing is is is right up your street now because, I mean, performance mixes. So I I did the NTS four recently. 232 00:22:29,450 --> 00:22:30,410 [Nick] I don't know. It's 233 00:22:31,770 --> 00:22:35,850 [Nick] Yeah. But it's... This looks a bit more interesting, although it's less influenced, obviously. 234 00:22:36,490 --> 00:22:47,045 [Gaz] I mean, with a lot of the kind of electronic performances I'm doing, such a lot of the action I feel is in the mixing. So, you know, the more you can make mixing 235 00:22:47,045 --> 00:22:47,925 [Gaz] performative, 236 00:22:47,925 --> 00:22:52,565 [Gaz] and this is all about that, I think is a is a really great thing. And, of course, the crossfader 237 00:22:53,240 --> 00:22:55,960 [Gaz] is is just a really lovely 238 00:22:55,960 --> 00:23:00,600 [Gaz] device for all sorts of... Other than just mixing between two two 239 00:23:00,760 --> 00:23:05,960 [Gaz] signals. I mean, I've got the the Octatrack here, and the and the way that you can use the crossfade 240 00:23:05,960 --> 00:23:09,400 [Gaz] is is so ingenious on the on the Octatrack 241 00:23:11,005 --> 00:23:18,045 [Gaz] to kinda morph between scenes and and and whatnot. You know? It's a it's a... That kind of... That performance 242 00:23:18,045 --> 00:23:23,020 [Gaz] stuff you can do, I think, is brilliant. So to have a device like this, which is clearly 243 00:23:23,020 --> 00:23:25,340 [Gaz] inspired by DJ mixers, 244 00:23:25,340 --> 00:23:26,380 [Gaz] but is also 245 00:23:27,260 --> 00:23:31,100 [Gaz] kind of more into the kind of synth side of things. 246 00:23:31,740 --> 00:23:42,305 [Gaz] It looks really, really good. I mean, you know, only it's as a mixer, it's what it... What'd you say, three inputs on a USB stream or something. So I'm not quite sure how you differentiate or... 247 00:23:43,105 --> 00:23:44,625 [Gaz] But interestingly, 248 00:23:44,625 --> 00:23:45,745 [Gaz] because it's from 249 00:23:46,145 --> 00:23:47,425 [Gaz] the dirty wave 250 00:23:48,145 --> 00:23:48,705 [Gaz] people, 251 00:23:49,490 --> 00:23:50,130 [Gaz] that 252 00:23:50,290 --> 00:23:52,290 [Gaz] gives me a lot of 253 00:23:52,850 --> 00:24:03,010 [Gaz] hope that this would be a a really good device. I mean, I did also notice, and I'm sure relevant to this now, that the m eight tracker is now available on 254 00:24:04,185 --> 00:24:08,345 [Gaz] well, I know it's on iOS as well. IOS? On Android. Yeah. Yeah. 255 00:24:08,425 --> 00:24:12,425 [Gaz] And if you put your phone into landscape, 256 00:24:12,985 --> 00:24:16,425 [Gaz] the... Your thumbs go over the buttons, which 257 00:24:16,810 --> 00:24:22,810 [Gaz] would kinda give you the feeling a little bit of of the m eight. I think the m eight's been very successful 258 00:24:23,050 --> 00:24:25,290 [Gaz] because of just how rapid 259 00:24:25,370 --> 00:24:43,985 [Gaz] that you can operate it, and obviously very much Sort of like gaming almost, isn't it, in a way? Gaming. Absolutely influenced by gaming. Yep. Yeah. Yeah. So And similar similar lead to work that way. Yeah. And the Tracker Mini, the Polyn Tracker Mini, I think, has been a a bigger hit for Polyn than the the full size tracker 260 00:24:44,800 --> 00:24:47,840 [Gaz] Because of a similar thing, it's that handheld 261 00:24:47,840 --> 00:24:50,160 [Gaz] kinda game Very tiny. Yeah. 262 00:24:50,880 --> 00:24:53,600 [Gaz] And and it just suits the tracker 263 00:24:53,840 --> 00:24:59,600 [Gaz] workflow because, you know, you kinda move it up and down between the lines, changing the cell values and stuff. And and 264 00:25:00,385 --> 00:25:09,585 [Gaz] that doesn't seem necessarily like a kind of performance thing, but it really, really is. It's it's a... It's kind of a very different way to do stuff. But... 265 00:25:09,905 --> 00:25:16,990 [Gaz] So with that in mind, I was thinking, ah, okay. So this mixer has probably got that really fast fluid 266 00:25:17,870 --> 00:25:18,830 [Gaz] performance 267 00:25:18,990 --> 00:25:19,790 [Gaz] approach. 268 00:25:20,350 --> 00:25:30,430 [Gaz] And a big screen, which is kind of interesting. Colors... Little color screen. Yeah. For for doing, like, the... Doing samples and and just sample buffer kind of stuff, it looks really good fun for. 269 00:25:31,925 --> 00:25:40,005 [Nick] Yeah. I'm, yeah, I'm sort of, like, looking at that thing. Oh, can I fix? Can I I don't know how much it is? I I could... I couldn't find any pricing information about it anywhere. 270 00:25:40,405 --> 00:26:03,035 [Nick] The only thing is if you've got a crossfader in a tiny little unit like that, you're gonna have to clamp it down because it's just gonna slide. If you get vigorous with it, it's gonna just gonna be moving from side to side. It's gonna be quite That's ergonomic. Really good point. That is a really good point. There's a lot of times that I've flung things across the room from being too vigorous with it. So... Yeah. Okay. I know. You've done it on air several times. 271 00:26:05,675 --> 00:26:06,315 [Gaz] Yeah. 272 00:26:07,115 --> 00:26:09,355 [Gaz] So... Yeah. But but the... 273 00:26:10,075 --> 00:26:11,835 [Gaz] It's the thing. It's like performance 274 00:26:12,635 --> 00:26:13,035 [Gaz] is... 275 00:26:15,660 --> 00:26:19,340 [Gaz] Yeah. You know, you want to be able to 276 00:26:19,580 --> 00:26:22,700 [Gaz] flow and to be and to be expressive. 277 00:26:22,700 --> 00:26:23,180 [Gaz] So 278 00:26:23,660 --> 00:26:25,420 [Gaz] I guess maybe if you're 279 00:26:26,300 --> 00:26:33,115 [Gaz] pushing it down or holding it with one hand or... I'm not sure. I I... I'd have to I'd have to get my hands on this. Red 280 00:26:33,515 --> 00:26:37,755 [Nick] walks in the chat room, the voice of reason, Velcro it down. Actually, with Velcro now... 281 00:26:38,235 --> 00:26:59,005 [Nick] Because the old Velcro is like fluffy bit and Yeah. And and hooky bit. Well, now you get those ones which are Double lock. Hooks, and they rip Yeah. They really good. We use it on our rigs because we've got our p four necks, which don't have a mounting point. You just snap them in place. They're they're really, really effective. So... Yeah. Oh, yeah. Yeah. Fair point. Using that. Fair point. Yeah. It's easy enough solve. Okay. I stand corrected. 282 00:26:59,565 --> 00:27:05,565 [Nick] Yeah. I don't know how much it is or when it's coming. I think it'll be coming here soon, so it should be sort of fairly quick, I'd imagine, 283 00:27:05,805 --> 00:27:07,405 [Nick] or or happening fairly soon. 284 00:27:07,965 --> 00:27:09,885 [Nick] Yeah. Do you... Have you have 285 00:27:10,045 --> 00:27:12,110 [Nick] you got any performance mix stuff in your 286 00:27:12,510 --> 00:27:18,670 [Nick] rig? Because, like I say, I reviewed the NTS four, built the NTS four, and it was alright. But you just go 287 00:27:19,470 --> 00:27:25,215 [Nick] l six. I mean, that's just the two things that you say for the money, all that multitracking, 288 00:27:25,215 --> 00:27:31,775 [Nick] all that other... All of that stuff. I mean, yeah, effects are actually a lot better than the I t s four, but the l six is impressive. Yeah. 289 00:27:32,255 --> 00:27:38,015 [Gaz] But l six... And and I've got the l six max, I think, is hard to beat. I'm using that as my kind of 290 00:27:39,740 --> 00:27:44,860 [Gaz] my mixer that feeds front house and my headphones and things like that. But in my... 291 00:27:45,500 --> 00:27:52,300 [Gaz] I kinda call in it my quasi modal rig now. I've got I've got... Well, I've got two soon to have three performance cases. 292 00:27:53,395 --> 00:27:56,755 [Gaz] In that, I've actually put the create audio 293 00:27:56,995 --> 00:27:58,915 [Gaz] assembler mixer, which is 294 00:27:59,475 --> 00:28:04,915 [Gaz] a really good value mixer. It can work as... It comes in a case, so it's like standalone, 295 00:28:05,250 --> 00:28:15,810 [Gaz] But you can take it out of that and actually put it into a into a UDRA. Is that when a Richard Nichols designs? Yeah? Richard Nichols. Yeah. And it sounds super... It's got really good sound about it. And, 296 00:28:16,690 --> 00:28:20,530 [Gaz] yeah, and I use that a lot. And I do find that live, 297 00:28:21,325 --> 00:28:27,085 [Gaz] a a lot of what I do is just... Yeah. It's like kinda just like levels, bringing things and controlling levels. 298 00:28:28,285 --> 00:28:32,765 [Gaz] So... Yeah. So mixing is, yeah, a huge part of things. But, yeah, the l six 299 00:28:33,005 --> 00:28:35,740 [Gaz] max, I know we've talked about this before. 300 00:28:35,900 --> 00:28:37,900 [Gaz] Yeah. When the l six came out, 301 00:28:38,620 --> 00:28:39,900 [Gaz] it it was fabulous, 302 00:28:40,060 --> 00:28:41,740 [Gaz] but it had a few shortcomings, 303 00:28:41,740 --> 00:28:43,420 [Gaz] and the l six max just 304 00:28:43,580 --> 00:28:57,355 [Nick] sorted all around. It's hard. I mean, I look at it, and I just go, what what do I need a big digital mixer for ever again? I mean, you know... Yeah. Okay. So it is a digital mixer, and it's not necessarily this... But I could use it for so many... The only thing I wish that they would do is 305 00:28:57,995 --> 00:29:00,555 [Nick] an l six, an l an l three. 306 00:29:00,875 --> 00:29:18,435 [Nick] Do you know I mean? Right. Something which is just a bit smaller because I took what what... When I went away, I took the l six Max with me, and I think I could probably do it with the... Just the p four because Right. I don't... I I mean, the multitracking is really handy because I've I've just done... When I... When I'm doing a review of plug ins, 307 00:29:18,675 --> 00:29:23,235 [Nick] I just got the mic coming in on input one. I set up four inputs in OBS, 308 00:29:23,475 --> 00:29:31,100 [Nick] and I have the main output going to, you know, the the the USB return of the instrument, and I just record that into OBS. It's a four channel. 309 00:29:31,260 --> 00:29:44,285 [Nick] It's it's really handy, and it means I don't have to transfer because I just record, and then I've got the footage with the the stuff embedded and... Yeah. Happy days. You know? So... But it's it's to take with me because I took... When I went to France, 310 00:29:44,525 --> 00:29:45,325 [Nick] I took 311 00:29:46,125 --> 00:29:48,125 [Nick] the p four because 312 00:29:48,365 --> 00:29:50,285 [Nick] I just thought I'm only gonna do a podcast, 313 00:29:50,605 --> 00:29:53,005 [Nick] and that was absolutely fine. And it it reduced 314 00:29:53,005 --> 00:30:06,970 [Nick] my footprint enormously. I I just, you know, didn't have... I took an even smaller bag, you know, and it was... I was able to do the show from Nice. You know, it's it's down to network as well. So, yeah, just kind of thinking, do I need to take an l six max even though it's a fantastic 315 00:30:07,290 --> 00:30:10,855 [Nick] piece of equipment as we say? But, yeah, this this one looks interesting. Yep. 316 00:30:12,135 --> 00:30:22,695 [Nick] Yes. Absolutely. Very essential. Well, the p four has mix minus as well. Well, you know Oh, the p four too. Yeah. Yeah. Good point. And so does the p four next. Maybe I should get the... Actually, I could take the p four next. 317 00:30:23,220 --> 00:30:28,660 [Nick] That makes perfect sense because the p four next would give me what I need, and it would record multitrack. 318 00:30:28,660 --> 00:30:35,620 [Gaz] And it's got a full channel output. I I mean, I know I've banged on about this a lot, but I use the Zoom. 319 00:30:36,725 --> 00:30:39,685 [Gaz] I use the h six essential. 320 00:30:40,005 --> 00:30:50,405 [Nick] I use it so much. I mean, it's like I don't like it. It's become... You don't like the h six essential? The... Oh, no. The h four. That's what I mean. Yeah. I don't like the six It's 321 00:30:50,405 --> 00:30:51,125 [Gaz] just 322 00:30:52,400 --> 00:30:55,440 [Gaz] it's the fact that you just don't have to set levels. 323 00:30:55,920 --> 00:30:57,040 [Gaz] You just plug 324 00:30:57,600 --> 00:31:06,560 [Gaz] it in, and you just don't worry about it. Different approach. I... I'm not I'm not worried to Change my life. Sort of situation. Change my life. Was it? I love it. I've made, I mean, 325 00:31:07,255 --> 00:31:14,535 [Gaz] thousands and thousands of recordings now with... Well, probably, I don't know how many, you know, so many. And just being able to, 326 00:31:16,215 --> 00:31:17,895 [Gaz] yeah, just not worry about 327 00:31:18,375 --> 00:31:19,175 [Gaz] worry. And 328 00:31:19,670 --> 00:31:22,150 [Gaz] I think that the current Zoom, 329 00:31:22,790 --> 00:31:23,510 [Gaz] whatever... 330 00:31:24,950 --> 00:31:30,230 [Gaz] I don't know what converters I use, whether... I I assume they might be an in house design, 331 00:31:31,030 --> 00:31:33,990 [Gaz] for that... Anything that's got the 32 bit float. 332 00:31:35,215 --> 00:31:50,130 [Nick] Yeah. They're better, aren't they? So there's a Just Yeah. Whenever that is, it was The h four was a a bit crappy. Yeah. Yeah. Anything with that 32 bit float is, I think, the sound quality Much lower. Is fantastic. Isn't it? Yeah. 333 00:31:50,290 --> 00:31:53,250 [Gaz] Yeah. Really, really good. Really good products. I think they've really, 334 00:31:53,650 --> 00:31:58,930 [Gaz] you know, I I I think they've hit a real high point now, Zoom. They've always been 335 00:31:59,490 --> 00:32:00,130 [Gaz] good, 336 00:32:00,370 --> 00:32:04,850 [Gaz] but I think their stuff now is just, yeah, brilliant. Big, big fan. Absolutely. 337 00:32:05,945 --> 00:32:06,825 [Nick] Okay. 338 00:32:06,825 --> 00:32:15,385 [Nick] Let's have another topic. What was that one? That was... Yeah. There's a few... There's these new Audient Thunderbolts. I'll just throw this one in quickly. Introducing 339 00:32:15,385 --> 00:32:20,265 [Speaker 3] the Audient Horizon range, a line of flagship Thunderbolt audio interfaces 340 00:32:20,520 --> 00:32:21,480 [Speaker 3] meticulously 341 00:32:21,480 --> 00:32:24,120 [Speaker 3] engineered for the mission critical studio. 342 00:32:24,760 --> 00:32:28,520 [Speaker 3] Horizon represents the absolute pinnacle of our engineering, 343 00:32:28,920 --> 00:32:32,520 [Speaker 3] combining high performance 32 bit converter technology 344 00:32:32,600 --> 00:32:35,160 [Speaker 3] with sub millisecond round trip latency 345 00:32:35,555 --> 00:32:37,635 [Speaker 3] to ensure your technical foundation 346 00:32:38,515 --> 00:32:53,860 [Nick] Yeah. It's a long video where it goes into... I think I've interviewed him. I I did him at the gear expo in the summer. I forget what is the the chap's name is now because I don't have his card at hand. But these look kind of interesting. You got three units, the the the the 347 00:32:55,060 --> 00:33:13,115 [Nick] the... What is it? The t three, the eight p, which is 24 in 32 out, the 16, which is thirty four and thirty four, and the 32, which is fifty and fifty. And it's got a DSP mixer in it. It doesn't have... I don't think it has any kind of DSP stuff, but that round trip, that's $19,224.32 348 00:33:13,115 --> 00:33:25,970 [Nick] bit, in fact, round trip of point nine nine milliseconds over Thunderbolt three. Amazing. That is mind blowing. And I mix it Mac only at the moment. I think... I don't think they've got them. I mean, they start at 2,000... You know, they're not cheap. 349 00:33:26,290 --> 00:33:27,730 [Nick] The eight p $2,001.09 350 00:33:27,730 --> 00:33:29,250 [Nick] $9.16 $2,001.09 351 00:33:29,250 --> 00:33:30,610 [Nick] 9, and $2,007.09. 352 00:33:30,610 --> 00:33:32,130 [Nick] I think I use d types, 353 00:33:32,450 --> 00:33:33,250 [Nick] d sub controller 354 00:33:34,165 --> 00:33:51,200 [Nick] connections. So you're gonna have to spend a bit on cabling, but the idea is, you know, you put it in your studio. You never have to worry about it again. It's an interesting one. High end, but not flashy, you know, which I think is kinda good. And and multichannel monitor control. So you can you can actually control an entire 355 00:33:51,680 --> 00:33:54,640 [Nick] Atmos system or multichannel system with it as well. 356 00:33:55,520 --> 00:33:59,200 [Gaz] Yeah. And, I mean, it's interesting, isn't it, how it it... Audience have 357 00:33:59,775 --> 00:34:03,855 [Gaz] followed kind of Focusrite in a way with a quite similar backstory, 358 00:34:03,855 --> 00:34:04,735 [Gaz] both being 359 00:34:05,055 --> 00:34:08,815 [Gaz] Mhmm. Having that large format console, British mixing 360 00:34:08,815 --> 00:34:10,495 [Gaz] desk kind of thing, and then 361 00:34:11,135 --> 00:34:12,655 [Gaz] and then going into 362 00:34:12,910 --> 00:34:18,190 [Gaz] exactly like Focusrite did into the low end of the market as well as kind of 363 00:34:18,750 --> 00:34:21,870 [Gaz] having more high end stuff. And so 364 00:34:21,950 --> 00:34:25,710 [Gaz] quite similar. And, obviously, Focusrite and Motu, 365 00:34:26,350 --> 00:34:29,235 [Gaz] some others, and maybe Antelope. There's others 366 00:34:29,315 --> 00:34:30,995 [Gaz] in this kind of category, 367 00:34:32,035 --> 00:34:34,595 [Gaz] but these look really smart. I think Motu 368 00:34:34,915 --> 00:34:36,675 [Gaz] seems to be the most 369 00:34:36,995 --> 00:34:42,035 [Gaz] similar to what I've seen. Although maybe the Motu maybe go a little bit more on a DSP. 370 00:34:43,460 --> 00:34:45,540 [Gaz] But what the Audient have done... 371 00:34:45,780 --> 00:34:48,420 [Gaz] And many people I know are using Audient. 372 00:34:48,820 --> 00:34:54,340 [Gaz] It's become... In the last, I don't know, maybe five to ten years, Audient have just 373 00:34:54,820 --> 00:34:56,660 [Gaz] really done a great job 374 00:34:57,585 --> 00:34:58,305 [Gaz] because 375 00:34:58,385 --> 00:34:59,265 [Gaz] they're 376 00:34:59,905 --> 00:35:04,705 [Nick] Yeah. They've told a good story, haven't they? And made and made their brand kind of become... Yeah. Yeah. 377 00:35:05,185 --> 00:35:07,585 [Gaz] And and and have done really good products. 378 00:35:08,145 --> 00:35:14,260 [Gaz] So like the ID two and the ID four, all that that, you know, the small kind of ranges as 379 00:35:15,860 --> 00:35:18,420 [Gaz] I think have really won a lot of people over. 380 00:35:18,660 --> 00:35:21,460 [Gaz] So with that in mind, you you know that these are gonna be good. 381 00:35:23,135 --> 00:35:26,575 [Gaz] But it's also... I mean, it's it's one of those marketplaces 382 00:35:26,575 --> 00:35:28,975 [Gaz] where you think, well, okay. That's... 383 00:35:29,135 --> 00:35:35,775 [Gaz] There's no network audio on this. Is there? There's no Dante or anything? Is No. You can you you can 384 00:35:36,015 --> 00:35:37,855 [Nick] daisy chain up to four. 385 00:35:38,540 --> 00:35:46,460 [Nick] So if you would go four thirty... Horizon 30 twos on a Mac... On a basic MacBook or even a, you know, modern Mac... Anything with Thunderbolt three, 386 00:35:46,700 --> 00:35:48,540 [Nick] you're talking 200 IO. 387 00:35:48,700 --> 00:35:49,740 [Nick] It's just... 388 00:35:49,980 --> 00:35:53,580 [Nick] But, obviously, it's on a Thunderbolt cable, so you could only ever be 389 00:35:53,925 --> 00:35:58,565 [Nick] more... No further than about, what, two meters away from the audio interfaces. 390 00:35:58,565 --> 00:36:05,685 [Nick] That's the only problem, isn't it? But... Yeah. Yeah. That's that's the downtime. I'm sure you can get extenders and stuff, but they probably cost as much as the units. 391 00:36:06,130 --> 00:36:13,170 [Gaz] Makes me think this is very studio focused then as opposed to, like, RME or... Oh, RME, of course, is the other... You know, 392 00:36:14,450 --> 00:36:16,290 [Gaz] that have really made, 393 00:36:16,450 --> 00:36:19,410 [Gaz] you know, huge inroads into the live sector 394 00:36:19,965 --> 00:36:22,445 [Gaz] over, well, many years now, I guess. But, 395 00:36:22,925 --> 00:36:46,740 [Nick] yeah, I mean, difficult to know what else to say about them. I mean, because Yeah. I mean, that's what they are, ain't it? They have audio interfaces, high end audio defenses that aren't made by somebody else this time. Yeah. Absolutely. Well Yeah. We could drop that there. I got a couple of things I want to bring up in the chat. Nice to see Doctor. Synth. Manny's there. Manny Fernandez and also Technomatic. Nice to see Technomatic. Maybe he's there at work. Who knows? 396 00:36:47,825 --> 00:36:52,465 [Nick] Okay. So let's have a look. Oh, this was another one. I mean, we're in the sort of getting into door world. 397 00:36:53,265 --> 00:36:55,665 [Nick] Let's have a look. I'll go for this. 398 00:36:56,385 --> 00:37:04,310 [Nick] I... Should I do an ad? I can't... Yes. I should probably do the ad first. Back after this first, then we'll come and do the next topic back in a sec. 399 00:37:05,030 --> 00:37:06,950 [Nick] Got there in the end. Whoops. 400 00:37:07,990 --> 00:37:37,480 [Speaker 3] So I I said it was all going very smoothly. Yes. So I was gonna play this one. So this is our next topic. We'll do that now. Maybe this will work, and then I can cover my embarrassment. What's up, everyone? My name's Chris Hazel, and today we're gonna take a look at Universal Audio's massive new release, Luna three point o. Now, it seems like yesterday that Luna two point o came out, and honestly, it's kind of amazing how much of a leap forward this already great dub. It introduces a very forward this powered by noises to some features that you may by producing a piece This is really intro... 401 00:37:38,040 --> 00:37:39,480 [Nick] I'll 402 00:37:39,480 --> 00:37:42,760 [Nick] just play... I'll just basically explain it because it's quite a long video. 403 00:37:43,645 --> 00:37:44,765 [Nick] Luna Luna, 404 00:37:44,765 --> 00:37:47,245 [Nick] when it first came out, they were a great they 405 00:37:48,045 --> 00:37:54,525 [Nick] were a great pains to say, no. It's not a DAW. It's not a DAW. It's not a DAW. Yeah. It's obviously a DAW. 406 00:37:54,525 --> 00:38:07,220 [Nick] But three point o adds quite a lot of really interesting stuff. This thing called Luna Play, which is, in my opinion, you know, we've been talking about this for ages about the use of sort of assistive AI within the DAW, and they seem to have come up... Upon 407 00:38:07,380 --> 00:38:11,380 [Nick] a strategy where this may be an acceptable use. It's less about generative. 408 00:38:11,620 --> 00:38:36,670 [Nick] So Luna Play, you know, you could basically just launch the software, start, plug something in, and play. You don't need to... And it goes, oh, I can... I think that sounds like a guitar you got plugged into input three. Here's a channel strip, and there's a voice into... Through. Do you want me to record? Bang. And the idea is it's essentially... It's it's a bit like this sort of... Well, we talked about it before. It'd be the sort of notion of an actually useful Microsoft paper clip for a DAW. So it just basically... 409 00:38:36,910 --> 00:38:52,865 [Nick] What you're doing. Right. Okay. Don't worry. Just go. I'll I'll get you play it. It figures out what the instrument is, figures out the levels, maybe just gives you an idea of what sort of signal chain which you could use or not choose, and then you just go. And then it'll figure out. It can transcribe your lyrics. It can pick up the chords, 410 00:38:52,945 --> 00:39:03,060 [Nick] and that could form the basis of your main session, which you would then build upon inside the main sort of Luna itself, which is still free. I think Luna Play is free. I mean, Luna Studio, 411 00:39:03,300 --> 00:39:16,465 [Nick] obviously, you get... You've got stem separation as well. So in this instance, what it does is take... I I have this old demo where I like the drums, couldn't find the master, dropped it in there, used the drums, extracted them, and played against it. I mean, this is the sort of thing where you're just going, ah. 412 00:39:16,705 --> 00:39:21,265 [Nick] Yeah. It's almost presenting it in the right way. It seems to it 413 00:39:21,425 --> 00:39:24,945 [Nick] seems to actually make sense here rather than make you sort of bristle. 414 00:39:25,110 --> 00:39:27,030 [Nick] I don't know. Maybe you felt differently. 415 00:39:27,670 --> 00:39:29,350 [Gaz] No. I mean, I've 416 00:39:29,830 --> 00:39:36,630 [Gaz] always thought that the presentation of Luna looks really nice, like a really kind of fairly straightforward 417 00:39:36,790 --> 00:39:37,510 [Gaz] DAW. 418 00:39:39,505 --> 00:39:57,820 [Gaz] I don't know if anyone uses it, so I've never actually tried it myself. But I have to say the thing that that really caught my eye on here was the built in stem separation, and that's largely because I've been doing a lot of that using Cubase, and Cubase has got that built into it now. I I think though there, though, it says it's powered by Moises. 419 00:39:57,820 --> 00:39:59,180 [Gaz] It's very 420 00:39:59,180 --> 00:40:00,780 [Gaz] good stem separation 421 00:40:00,780 --> 00:40:01,820 [Gaz] algorithms. 422 00:40:03,340 --> 00:40:06,220 [Gaz] And as as you mentioned there with your example, it's... 423 00:40:06,380 --> 00:40:09,340 [Gaz] Having stem separation built into the DAW, it 424 00:40:10,155 --> 00:40:12,235 [Gaz] just makes just perfect sense. 425 00:40:12,635 --> 00:40:15,115 [Gaz] An example of something that I did recently was 426 00:40:16,155 --> 00:40:16,955 [Gaz] Frank 427 00:40:17,595 --> 00:40:19,035 [Gaz] of teaching machines 428 00:40:19,595 --> 00:40:23,195 [Gaz] and Rocket Gold Star. He sent me some old Rocket Gold Star recordings. 429 00:40:24,075 --> 00:40:31,160 [Gaz] I think one from about '98, a live, like, a live recording of, like, a desk mix. You know, desk mix is typically 430 00:40:31,480 --> 00:40:32,760 [Gaz] quite horrible. 431 00:40:33,080 --> 00:40:34,440 [Gaz] But using 432 00:40:34,440 --> 00:40:45,655 [Gaz] the the stem splitter in Cubase, I managed to extract the different elements out, played around with them, you know, boosted up the drum, made the drum sound fat. It is a million percent 433 00:40:45,895 --> 00:40:53,575 [Gaz] different, you know, the finished thing compared to what I had. It was an enormous thing. And I guess being all built into the DAW, 434 00:40:54,110 --> 00:40:56,110 [Gaz] you know, you you drag your file in, 435 00:40:56,510 --> 00:40:57,470 [Gaz] split it out 436 00:40:57,870 --> 00:41:00,590 [Gaz] all in situ is is fantastic. So 437 00:41:00,910 --> 00:41:06,430 [Gaz] for Luna to have that now built in, but especially with its kind of being the Moises one, 438 00:41:07,575 --> 00:41:11,895 [Gaz] I'm not sure, but Moises may be one of the first. I mean, them and 439 00:41:13,815 --> 00:41:15,495 [Gaz] RIPEX or whatever to... 440 00:41:15,975 --> 00:41:17,895 [Gaz] I'm not sure. I haven't seen 441 00:41:18,615 --> 00:41:20,055 [Gaz] the spec on that. 442 00:41:20,615 --> 00:41:23,200 [Gaz] I wonder how many sources... 443 00:41:23,360 --> 00:41:25,680 [Gaz] How many things it can actually 444 00:41:26,160 --> 00:41:30,560 [Nick] Well, the the the the the the free one gives you four, 445 00:41:31,360 --> 00:41:34,080 [Nick] and the paid... You know, the the paid one gives you six. 446 00:41:35,325 --> 00:41:35,965 [Gaz] Right. 447 00:41:36,365 --> 00:41:41,165 [Gaz] Yeah. I would like a little bit more granularity because you've got, like, in cubes, you've got, like, drums, 448 00:41:41,325 --> 00:41:42,125 [Gaz] bass, 449 00:41:42,205 --> 00:41:56,450 [Gaz] or, like, percussion, drums and percussion, bass, vocals, and other. And then other covers had an awful lot of stuff. I would like to see more. Here's an interesting thing, actually, for any Gentle Giant fans out there. I know Rich Hilton is a giant Gentle Giant fan. 450 00:41:57,490 --> 00:41:58,450 [Gaz] A 1973 451 00:41:58,450 --> 00:42:04,050 [Gaz] album called In a Glass House has recently had, like, it's more than a remaster. 452 00:42:05,090 --> 00:42:07,385 [Gaz] The the masters... Like, 453 00:42:07,705 --> 00:42:19,465 [Gaz] Steven Wilson has been going to a lot of the classic seventies kind of prog albums and doing new Atmos and new mixes of things. But with this particular album, the master tracks, the master tapes, 454 00:42:21,200 --> 00:42:24,400 [Gaz] Sorry. The multitrack masters had been lost. 455 00:42:24,800 --> 00:42:26,400 [Gaz] So this Brazilian 456 00:42:27,520 --> 00:42:28,560 [Gaz] engineer, 457 00:42:29,120 --> 00:42:29,840 [Gaz] Epa... 458 00:42:29,920 --> 00:42:32,240 [Gaz] I can't remember his name. Sorry. But he... 459 00:42:33,595 --> 00:42:36,155 [Gaz] I think he used Logic's 460 00:42:36,155 --> 00:42:37,595 [Gaz] built in stem 461 00:42:37,915 --> 00:42:42,395 [Gaz] splitter Okay. To take, you know, like a high quality stereo 462 00:42:42,635 --> 00:42:45,355 [Gaz] master of the In a Glasshouse album, 463 00:42:45,595 --> 00:42:48,235 [Gaz] and then 464 00:42:46,810 --> 00:42:47,930 [Gaz] has essentially 465 00:42:47,930 --> 00:42:48,970 [Gaz] remixed 466 00:42:48,970 --> 00:42:51,690 [Gaz] it just using stem separation. 467 00:42:53,450 --> 00:42:56,890 [Gaz] And he's done an an astonishing job. I mean, the... 468 00:42:57,530 --> 00:42:58,890 [Gaz] To a b between 469 00:42:59,355 --> 00:43:04,475 [Gaz] the two mixes, I did that. I actually... I I sort of captured it just so I was really interested to 470 00:43:04,715 --> 00:43:08,635 [Gaz] just to have a a comparison between two songs 471 00:43:09,435 --> 00:43:10,155 [Gaz] that... 472 00:43:11,115 --> 00:43:11,755 [Gaz] I had 473 00:43:12,635 --> 00:43:20,300 [Gaz] like a remastered version from, I don't know, maybe, like, ten, fifteen years ago, comp... And comparing them, and it's astonishing 474 00:43:20,380 --> 00:43:21,020 [Gaz] how 475 00:43:21,180 --> 00:43:25,260 [Gaz] different it is. And it really got me thinking about how 476 00:43:25,740 --> 00:43:28,655 [Gaz] so many classic albums or... 477 00:43:28,895 --> 00:43:31,535 [Gaz] Like... And and in my case, I used it on an old live 478 00:43:31,935 --> 00:43:45,300 [Gaz] recording, just how you can just bring those up into the modern era. And and like with that Gentle Giant album, being able to actually make Atmos mixes, mixes, you know, all derived from just a single multitrack stereo. 479 00:43:45,380 --> 00:44:00,225 [Gaz] I digress. I'm sorry. This is all, like, moving aside from the Luna. The fact that Luna has got it now built in is a big one. So does that mean then that you can download the free one and have access to a four channel stem separation for free? 480 00:44:01,265 --> 00:44:12,220 [Nick] I I think so. It's what it seems to suggest. I mean, that you... Oh, That... You know? That's There's the free version, then there's the UAD Spark Studio, which is at a subscription, a $149 481 00:44:12,220 --> 00:44:14,780 [Nick] a year, which actually seems... That seems 482 00:44:15,100 --> 00:44:19,420 [Nick] that seems pretty reasonable. You get 70 UAD plug ins with that. 70 UAD? Counting. 483 00:44:20,195 --> 00:44:24,835 [Nick] Yeah. I don't know whether that runs on hard... Whether they're native or whether that runs on hardware. 484 00:44:24,995 --> 00:44:30,835 [Nick] And then there's a... Or you can buy it as a one time. That comes with thirty thirty plug ins, six ARA 485 00:44:31,235 --> 00:44:33,075 [Nick] console and tape emulations, 486 00:44:33,075 --> 00:44:33,795 [Nick] which I think 487 00:44:34,360 --> 00:44:39,160 [Nick] I'm not quite sure what that is. But but... So, yeah, if you've got UAD hardware, 488 00:44:39,320 --> 00:44:41,320 [Nick] seems like a no brainer, assuming 489 00:44:41,400 --> 00:44:48,200 [Nick] assuming you want to work in that way. But I I think it seems like what they're doing, they're they're really going for that sort of class of 490 00:44:48,785 --> 00:44:56,945 [Nick] it's... I mean, it's almost Californian musicians, isn't it, who just are told what to buy because they're gonna be writing songs at home. They get a UAD, 491 00:44:57,105 --> 00:45:03,020 [Nick] and then, you know, they they maybe don't want to get into all of the the kind of nuts and bolts of a DAW. 492 00:45:03,020 --> 00:45:07,580 [Nick] This might actually give them a way to really sort of just be really easy, 493 00:45:07,820 --> 00:45:27,915 [Nick] make stuff... You know, get stuff down, get it... And get it documented because you could sort of scrabble away with a guitar and a bass or a guitar and a voice, and it'll do the lyrics, do the chords, and just sort of build you a structure, which you could then either pass on to somebody else or finish the arrangement in a more sort of... In a more measured fashion. I think that's that's kind of interesting. 494 00:45:29,670 --> 00:45:40,790 [Gaz] Yeah. Yeah. It's just getting me thinking about what is available for free these days, though. I mean... And, you know, it makes sense, doesn't it? If you use the free version, you might well want to then, 495 00:45:41,430 --> 00:45:47,915 [Gaz] you know, upgrade. I'm sure that that path is a successful path. But at the same time, as if the free one is... 496 00:45:48,635 --> 00:46:06,450 [Nick] Let... Oh, I need to figure out how many tracks are you allowed to do on a Oh, I don't know. It doesn't say that. I didn't I didn't Yeah. I didn't get all of that. Yeah. No. That's interesting. I mean, was it seven years ago they launched for that? Because I remember they launched it at NAAM Yeah. Or just before NAAM. NAAM is a And we did it, and we literally... 497 00:46:06,690 --> 00:46:08,850 [Nick] They said you cannot use the word DFW. 498 00:46:08,850 --> 00:46:17,225 [Gaz] It's not Can't use the word I just remember the ludicrousness of it at the time. Ludicrous. It was crazy because it... You know, it's like, it's a DAW. 499 00:46:17,545 --> 00:46:22,025 [Gaz] What is the special sauce that makes it in front of DAW? 500 00:46:22,585 --> 00:46:43,155 [Nick] Maybe. Are they calling it a DAW now, did you say? Yeah. Yeah. It is. I mean... And and I think it was... Back then, it was because they were incorporated into sort of... The UAD ecosystem was It was locked in with the hardware, wasn't it? But it was in Pro Tools. Yeah. And, you know, you would be using that. And they didn't want to alienate all of those kind of partnerships, 501 00:46:43,155 --> 00:46:43,875 [Nick] I suppose, 502 00:46:44,515 --> 00:46:54,595 [Gaz] guess. I'm I'm wondering if a lot of Luna users are former Pro Tools users who... I I... I'd imagine that that that there's been a lot of traffic that 503 00:46:54,595 --> 00:46:55,235 [Gaz] way. 504 00:46:55,475 --> 00:46:56,755 [Gaz] That would be my assumption. 505 00:46:58,810 --> 00:47:07,130 [Gaz] Could possibly be. It's funny, you know, talking to DAW. In fact, behind me... Oh, there's a screensaver. No. But I'm... I've got queue base running, 506 00:47:07,210 --> 00:47:10,170 [Gaz] and, you know, as much as I've dabbled with other things, 507 00:47:10,810 --> 00:47:12,810 [Gaz] I think you're like, no. You're sure. Still, yeah. 508 00:47:13,585 --> 00:47:21,185 [Nick] I I want... To be honest, these days, I I I rarely spend any time in in in any of them. I used Logic to do the 509 00:47:21,425 --> 00:47:21,905 [Nick] Mhmm. 510 00:47:22,305 --> 00:47:24,385 [Nick] Now I use Logic to do stuff 511 00:47:24,465 --> 00:47:59,600 [Nick] where I might need an Apple loop or something because I could just... Because if I've got some demo software or a plug in where I have to write some music, then, you know, that is a major commitment, you know, because then you get into all of that. I think the last thing I did was Yuhi, and I made that Yuhi demo out of Apple loops. And that took me long enough just to sort of make an arrangement and picking things up and doing whatever. Demo... But this time, I just used it as a sort of something to play bass sounds against, which was rather unsuccessful anyway because they were all at the same tempo. So... And wrong most of the time. But but... Hey. You know? But... So I use Reaper. I use 512 00:48:00,400 --> 00:48:12,480 [Nick] Ableton, and I use Logic. It's sort of equal. Those are the three that I hover, but I... I'm not really make... I'm not doing project work anymore. I'm not really kind of involved in that sort of big, gotta get my act together sort of door work. 513 00:48:13,995 --> 00:48:19,595 [Gaz] So, I mean, I... I'd recorded the rehearsals for the pop dungeon into my Zoom h 514 00:48:19,915 --> 00:48:20,715 [Gaz] six 515 00:48:20,875 --> 00:48:26,475 [Gaz] using the mics over the drum kit and then having four feeds of bass guitar going in, 516 00:48:28,990 --> 00:48:35,150 [Gaz] and then some feeds from the mixing desk just in the rehearsal room to take the vocals in, 517 00:48:35,390 --> 00:48:36,430 [Gaz] the guitar, 518 00:48:37,070 --> 00:48:38,750 [Gaz] and the keyboards, 519 00:48:38,750 --> 00:48:46,605 [Gaz] and also the electronic drum kit, the SPD thing, so... To come in. And then when I brought it back, unfortunately, the guitar hadn't recorded. 520 00:48:47,165 --> 00:48:51,885 [Gaz] And I was making this recording for the rest of the band as a sort of a rehearsal. 521 00:48:51,885 --> 00:48:54,445 [Gaz] You know, she don't have to be super tight with it, 522 00:48:55,640 --> 00:48:58,920 [Gaz] but, like, you know, just a a way to practice along to. 523 00:48:59,880 --> 00:49:00,600 [Gaz] Yeah. 524 00:49:00,760 --> 00:49:03,480 [Gaz] So I was like, I was going to the overhead, 525 00:49:03,480 --> 00:49:04,840 [Gaz] the the microphone, 526 00:49:05,240 --> 00:49:07,000 [Gaz] stem splitting that, 527 00:49:07,400 --> 00:49:09,400 [Gaz] removing the drums from it, 528 00:49:10,885 --> 00:49:16,965 [Gaz] and then removing the vocals from it. I just try to manage to get a little bit of guitar. 529 00:49:17,045 --> 00:49:21,125 [Gaz] Of course, it brought the keyboards in as well a little bit and some... 530 00:49:21,285 --> 00:49:30,650 [Gaz] But actually, you know, worked worked pretty well. Sorry. That's a complete... That was just tying in with things No. No. Interesting. No. No. Yeah. Yeah. Yeah. 531 00:49:31,130 --> 00:49:46,055 [Nick] But, I mean, I suppose... But the thing is those are the sort of things, you know, people just think, you know, I would think with stem separation, what am I gonna use it for? You know, I'm not a DJ. I don't need to sort of... But, you know, you're just illustrating that those that those are really, really helpful, 532 00:49:46,295 --> 00:50:05,585 [Nick] certainly in, you know, in restorative work and all of those things. Just being able to kinda go, I've got the master. I just need to get this out or get that. And it's getting better and better and better. In fact, I'm trying to remember who that company. We did a... I did an interview with with the the the the woman who was in charge of... I'm trying to remember what they were. They were really good. 533 00:50:05,985 --> 00:50:11,745 [Nick] And I did an interview at NAM, and she said, oh, send me... Because it was really noisy. She said, just send me the send 534 00:50:12,145 --> 00:50:23,320 [Nick] me the recording, and I'll fix it. And I... And then she said that you could do that. She said that halfway through the interview. She said, if you just send me these stems, I'll fix it for you, which point I cut to the fixed stems. And it was just like 535 00:50:23,640 --> 00:50:27,720 [Nick] really good illustration of of of how that works. It was a very powerful 536 00:50:27,880 --> 00:50:50,390 [Nick] powerful situation. So, yeah, you could use that sort of stuff. It's got it's got use, I suppose. That's the main thing. Oh. Because with many of these things and certainly AI in general, you know, it's like, yeah, it can do these things, but who wants it to do any of that? You know? What is it that you would be using it for? And I suppose, yep, the the the whole point about this this topic was I... It's obviously using AI or machine learning or algorithmic something, and it seems to be a useful 537 00:50:50,470 --> 00:50:55,590 [Nick] pro... A useful thing for it. That was my It's it's hugely useful. And 538 00:50:56,150 --> 00:50:56,790 [Gaz] I'm also, 539 00:50:57,645 --> 00:50:59,085 [Gaz] you know, Frank 540 00:50:59,085 --> 00:51:03,485 [Gaz] gave me this trove of old nineties stuff. He he he he found an old DAT. 541 00:51:04,685 --> 00:51:14,020 [Gaz] It's still working. And then this DAT player is still working, which is one of only 30 in the world, I believe, that is still working. Yeah. I joke. 542 00:51:14,740 --> 00:51:16,500 [Gaz] But he managed to capture, 543 00:51:16,660 --> 00:51:21,300 [Gaz] like, about ninety minutes of stuff that I'd done in the mid in the mid nineties. 544 00:51:22,420 --> 00:51:26,580 [Gaz] And, like, listening back to that stuff, some of it, I just had no memory of at all. 545 00:51:27,315 --> 00:51:30,675 [Gaz] And some of it, I was just ever so glad to to have back. 546 00:51:30,835 --> 00:51:31,555 [Gaz] But then 547 00:51:32,355 --> 00:51:37,075 [Gaz] it was funny because I haven't done it yet because I haven't had time, but I I was listening to some of them, 548 00:51:37,315 --> 00:51:41,395 [Gaz] and and and some things that were irking me from way back then, 549 00:51:42,160 --> 00:51:45,120 [Gaz] hearing it again, I would not heard it thirty years. 550 00:51:45,600 --> 00:51:47,520 [Gaz] It still irked me. 551 00:51:47,760 --> 00:51:54,640 [Gaz] And I thought, you know what? So you are... I was right. Put that into this... I'm gonna put that into the stem splitter, and I'm gonna fix it. 552 00:51:55,725 --> 00:51:59,645 [Gaz] I'm gonna fix some, you know, little Times are retroactive. 553 00:52:00,045 --> 00:52:06,685 [Gaz] Some vocal tuning some vocal tuning issues from the era before, you know, autotune even existed. 554 00:52:06,765 --> 00:52:18,120 [Gaz] Just sort of going back in, it just... It is just sharp. I'd get too excited when I'd sing, and I just push too much energy in and just overshoot the note and just go sharp. 555 00:52:18,360 --> 00:52:22,040 [Gaz] Just wanna go back in and just tuck it back down again. 556 00:52:22,360 --> 00:52:24,840 [Gaz] Just purely just to cure 557 00:52:25,575 --> 00:52:27,895 [Gaz] a 30 year old irk. 558 00:52:28,695 --> 00:52:30,855 [Nick] Jessica Powell from AudioShake. 559 00:52:30,855 --> 00:52:41,620 [Nick] Thank you very much. All rain mode... All range mode. My memory is not what it was. So, yeah, sorry, guys. I did... I I got that, and then I realized I only had eight seconds or six seconds to to read it out before it disappears. 560 00:52:41,860 --> 00:52:43,300 [Nick] Yeah. Well, again, 561 00:52:43,300 --> 00:53:12,200 [Nick] useful stuff. It's useful stuff. Yeah. Okay. Let's have a look. Should we... I think as it's episode nine zero nine, I should probably just do a little bit of nine zero nining. So I found this video actually by doctor Mix. Great guy. I love I love doctor Mix. I always see him at the London City Pedal Show. Yeah. He's So I'll play this. So episode nine zero nine as it's nine zero nine. Hi. Welcome to doctor Mix. Today, I'm gonna show you some of the most famous TR nine zero nine drum patterns. I will start with inner city good life. This is a 121 562 00:53:12,200 --> 00:53:13,000 [Gaz] tempo, 563 00:53:13,080 --> 00:53:14,600 [Gaz] and let's play it right now. 564 00:53:20,200 --> 00:53:20,920 [Nick] Yeah. Interesting. 565 00:53:21,795 --> 00:53:27,235 [Nick] It sounds kind of pretty crap. There's 566 00:53:27,235 --> 00:53:33,795 [Nick] a there's a bunch more in there, actually. But I was just thinking because, I mean, again, with the nine zero nine, it was all about the processing really... 567 00:53:34,510 --> 00:53:40,190 [Nick] Well, as well as processing the individual out and getting that sound out. Those hi hats sounded just like... 568 00:53:40,510 --> 00:54:13,140 [Nick] Just sort of so kind of... Like they were... Like, you're playing a hi hat with a massive stick, just a really coarse and sort of no... You know, they needed so much EQ to get that sort of silky sound, that sort of petty bone sound that was all all over the Madonna stuff, which... And which they're a pet. But it's interesting, isn't it? We... We've we've waxed lyrical about the eight zero eight part in the past. In fact, I think we we did a special episode with Roger Lynn, bizarrely, which didn't really make any sense, but he agreed to come on. But the nine zero nine, I mean, you know, back in the day when I was doing remixing stuff, it would be certainly the kick 569 00:54:14,265 --> 00:54:17,625 [Nick] more often than not the snare, though quite modified, 570 00:54:17,865 --> 00:54:21,145 [Nick] and certainly had... You know, the kick, snare, and hat, that was kind of basically... 571 00:54:22,185 --> 00:54:27,785 [Nick] That was it. You know, that's... That was what you had to use. Certainly, you know, you would enhance it to a degree, but it defined 572 00:54:28,000 --> 00:54:32,640 [Nick] rather embarrassingly a whole genre and a whole slew of rather 573 00:54:33,680 --> 00:54:36,080 [Nick] turgid and sort of derivative 574 00:54:36,080 --> 00:54:50,395 [Nick] house house music stuff that was only populated by the occasional classics such as Good Life in a City. And, you know, there were obviously some great ones, but there was an awful lot of nonsense there. And it's interesting how something become... Can become... Once it becomes a standard, 575 00:54:50,715 --> 00:54:56,395 [Nick] it can become... Its its magic is eroded somehow because it's it's just omnipresent and 576 00:54:56,860 --> 00:54:58,460 [Nick] over... Overused. 577 00:54:58,780 --> 00:55:01,100 [Nick] But I guess, you know, I've 578 00:55:01,100 --> 00:55:02,860 [Nick] never had a 909. Have you? 579 00:55:03,900 --> 00:55:07,980 [Gaz] No. But I have used one, and it was always more of a 909 580 00:55:07,980 --> 00:55:09,740 [Gaz] than 808 sort of guy, really. 581 00:55:12,505 --> 00:55:16,745 [Gaz] I... I've always found it just really... Like, I've always found it really satisfying 582 00:55:16,745 --> 00:55:20,585 [Gaz] sounding, you know, the kick. I love it. I do love it. Although, 583 00:55:20,985 --> 00:55:24,985 [Gaz] I avoid them like the plague now in in terms of 584 00:55:25,780 --> 00:55:27,620 [Gaz] that overuse thing. But 585 00:55:29,380 --> 00:55:31,780 [Gaz] what to say about the 909? 586 00:55:33,780 --> 00:55:34,420 [Gaz] There 587 00:55:35,300 --> 00:55:42,325 [Nick] hasn't been It's gotta be one of... I I was... It's gotta be once one of the most sampled drum machines Oh. All time. Unquestionably. 588 00:55:42,325 --> 00:55:55,510 [Nick] It's gotta be. I would imagine more than... And then more than the... More than the eight zero eight. I don't know. Maybe not. Or maybe there's probably more records with nine zero nine sounds on them than there are with eight zero eight. I don't know if that... That's that's a controversial statement. 589 00:55:56,710 --> 00:55:59,430 [Gaz] Yeah. And the t r... The little t r six, 590 00:55:59,670 --> 00:56:02,390 [Gaz] you know, current... Well, sort of current Roland 591 00:56:02,550 --> 00:56:03,830 [Gaz] little drum box, 592 00:56:04,150 --> 00:56:10,015 [Gaz] it does such a great job, in my opinion, of getting a great nine zero nine. 593 00:56:11,375 --> 00:56:17,375 [Gaz] It feels like now that the sounds are just so everywhere and sampled to... 594 00:56:17,775 --> 00:56:18,095 [Gaz] You know? 595 00:56:20,390 --> 00:56:25,110 [Gaz] I don't know. He's kind of... He finds it hard to get excited about it, really. 596 00:56:26,550 --> 00:56:27,830 [Gaz] I suppose partly 597 00:56:28,790 --> 00:56:30,630 [Gaz] that's me because I'm 598 00:56:31,750 --> 00:56:34,630 [Gaz] I'm really going through this anti genre thing. 599 00:56:35,535 --> 00:56:41,935 [Gaz] I don't want anything... In in my electronic in my electronic sort of pursuit, it's either with Steve or Quasimodel. 600 00:56:41,935 --> 00:56:45,375 [Gaz] I'm just trying to avoid anything that can be 601 00:56:46,415 --> 00:56:47,535 [Gaz] identifiably 602 00:56:47,535 --> 00:56:49,455 [Gaz] like 603 00:56:48,610 --> 00:56:49,650 [Gaz] something. 604 00:56:49,730 --> 00:56:50,290 [Gaz] Yeah. 605 00:56:50,850 --> 00:56:57,490 [Nick] That's changed. People like to be able to sort of go, oh, that sounds a bit like this, and I like this. So therefore, like that. Yeah. 606 00:56:57,650 --> 00:56:59,730 [Gaz] Yeah. It's true. I mean, I I was direction. 607 00:57:01,410 --> 00:57:03,250 [Gaz] In the preshow, I was showing 608 00:57:03,665 --> 00:57:06,225 [Nick] this drum farm, which The drum farm. Yeah. 609 00:57:07,025 --> 00:57:15,425 [Gaz] You can get, like, really good nine zero ninety... Oh, my light is coming in. This happens in the show. I was gonna say that the god light just comes in. 610 00:57:18,430 --> 00:57:19,710 [Gaz] What I really like it... 611 00:57:20,990 --> 00:57:28,350 [Gaz] What I like about the drum farm is you can really get a... Can really bend sounds away from those 612 00:57:28,670 --> 00:57:30,590 [Gaz] kind of 613 00:57:30,895 --> 00:57:32,335 [Gaz] traditional sounds. 614 00:57:32,335 --> 00:57:39,935 [Nick] It's really good for that. And another one that Yeah. Paulie just had a review of it. I I wanted to get my hands on one. I think it looks absolutely fine. Have you been 615 00:57:40,175 --> 00:57:47,900 [Nick] have you been creating drum sounds like a like a like a madman since you got it? Yeah. I mean, that's the way it works. It automatically samples. 616 00:57:47,900 --> 00:57:48,380 [Gaz] So 617 00:57:49,100 --> 00:57:53,180 [Gaz] you know, you can... And it... So talking to Jason from Nobula, 618 00:57:53,180 --> 00:58:09,125 [Gaz] he said really that he was imagining that a lot of people who might like this would be people who want to make drum drum libraries up. And that's, you know, and that seems quite odd to get a module to make sample libraries, but it makes a lot of sense once you start using it because, you know, you can just go 619 00:58:11,525 --> 00:58:14,885 [Gaz] trigger it 620 00:58:13,660 --> 00:58:23,020 [Gaz] sixteen sixteen times with little tiny differences. And With variance. Yeah. Yeah. With variance. And then you just got a little bank of 16 samples automatically. 621 00:58:23,260 --> 00:58:23,900 [Nick] All it's set. 622 00:58:24,380 --> 00:58:25,580 [Nick] A beautiful... Yeah. 623 00:58:26,140 --> 00:58:33,025 [Gaz] And the... Oh, yeah. The... And the round robin thing. That was that was my suggestion to Jason in the early days to make... To round robin I 624 00:58:34,865 --> 00:58:37,585 [Gaz] don't know how how much you... You took that on. But 625 00:58:37,985 --> 00:58:38,625 [Gaz] but 626 00:58:39,345 --> 00:58:45,260 [Gaz] another drum thing that I love using is the Percon's voice. And I've actually got 627 00:58:45,660 --> 00:58:46,380 [Gaz] Erica... 628 00:58:46,540 --> 00:58:50,940 [Gaz] I've I've borrowed an Erica Percon's, the big unit itself as well. 629 00:58:51,660 --> 00:58:55,580 [Gaz] But, you know, they now do that. You can get it as an individual voice, 630 00:58:55,820 --> 00:58:57,340 [Gaz] as a module, the Percon's voice. 631 00:58:58,815 --> 00:59:03,215 [Gaz] And again, what's really fabulous about that is just how... 632 00:59:04,255 --> 00:59:06,575 [Gaz] I don't know how much you can get that 633 00:59:06,975 --> 00:59:07,775 [Gaz] away 634 00:59:07,775 --> 00:59:09,055 [Gaz] from these, 635 00:59:09,535 --> 00:59:14,740 [Gaz] you know, 909, 809... 808 type things and into other territories. 636 00:59:15,860 --> 00:59:20,580 [Nick] That's, yeah, that's what I like about the that's what I like about the Pulse Arthur 23. 637 00:59:20,980 --> 00:59:27,460 [Gaz] Oh, yeah. Another great example there. So, you know, so, I mean, obviously, we're talking... Oh, it's episode nine zero nine and 638 00:59:28,025 --> 00:59:33,385 [Gaz] definitely deserves a, you know, a shout out. But, yeah, for me, I think it's almost like 639 00:59:33,865 --> 00:59:38,825 [Gaz] almost the opposite now. In fact, trying to... I mean, it's hard to... Those things are... 640 00:59:39,225 --> 00:59:40,345 [Gaz] Yeah. They form, 641 00:59:41,500 --> 00:59:44,860 [Gaz] like, a a kind of... A thing in our minds of 642 00:59:45,100 --> 00:59:48,700 [Gaz] what it should... You know, what a good electronic drum sound 643 00:59:49,100 --> 00:59:50,540 [Gaz] should sound like. 644 00:59:52,380 --> 00:59:56,695 [Gaz] And then I... I'd say nine zero nine kick is just I find ever so satisfying. 645 00:59:57,975 --> 01:00:02,855 [Gaz] It's a it's a brilliant archetype, I I suppose. Yeah. I suppose so. 646 01:00:03,735 --> 01:00:05,095 [Nick] Well, hats 647 01:00:05,095 --> 01:00:18,810 [Nick] off or, you know, raise a glass to a nine zero nine. I think I think that's fair. Play. It's a it's a phenomenal thing. Yeah. Agree. It's, again, another one of those drum machines that has mistakenly become a cult classic because it was designed for something else. Something else. 648 01:00:19,050 --> 01:00:20,250 [Nick] But, hey. You know? 649 01:00:20,650 --> 01:00:42,480 [Nick] Yeah. We'll take that. Mean, I I'm sure Roland will... And, of course, they've they've they've they've they've milked... Not milked it, but they've they've they've finally mined it because it it wasn't... There was a a whole period of time where they were making drum machines, they just wouldn't include the sounds of their classics. And you just go, what the fuck's the matter with you? What? I know. Crazy, isn't it? Absolutely crazy. But, yeah, they they seem to have kind of moved on that now. 650 01:00:43,600 --> 01:00:46,080 [Gaz] But, you know, like, the the little t r nine 651 01:00:46,640 --> 01:00:52,395 [Gaz] does a great job, I think. And, of course, the, you know, Beringer's nine zero nine is also... 652 01:00:52,875 --> 01:00:55,355 [Gaz] Does another good job of getting 653 01:00:55,915 --> 01:00:57,435 [Gaz] Yeah. Pretty close 654 01:00:57,435 --> 01:01:01,355 [Gaz] to what it... But, again, I think you were right when you said it, though. It's all about 655 01:01:02,190 --> 01:01:08,590 [Gaz] processing it, isn't it? And I think a lot of those classic tracks wouldn't be classic if you could... If it was sound. Yeah. 656 01:01:08,910 --> 01:01:25,145 [Nick] Exactly. The nine zero nine hat works, but in my opinion, it works really well with, I think basement jacks are the masters of it, you know, because they use the nine zero nine for some of But the they've got all of that beautiful Skippy Shaker stuff, and it's just... Oh, man. That's so groovy. 657 01:01:25,305 --> 01:01:29,545 [Nick] So... And that's obviously not played in nine zero nine. It can't be because it couldn't do that sort of groove. 658 01:01:30,600 --> 01:01:31,160 [Gaz] The... 659 01:01:31,640 --> 01:01:38,040 [Gaz] When you mentioned shaker, though, that that drum farm has got a brilliant shaker model in it because you can kinda control... 660 01:01:38,280 --> 01:01:48,895 [Gaz] The shaker comes... It... It's not just a single shake. It's the return of the shake as bounce. So Bounce. Shaker bounce. Yeah. Bounce. Yeah. And I think that's that's fabulous. And 661 01:01:49,295 --> 01:01:53,615 [Gaz] it can really get that. I love a shaker. A shaker for me is just 662 01:01:54,415 --> 01:01:56,895 [Gaz] the most underrated of all instruments. 663 01:01:57,935 --> 01:02:00,175 [Gaz] A good shaker track is 664 01:02:01,820 --> 01:02:02,460 [Nick] Well, 665 01:02:03,900 --> 01:02:10,300 [Nick] I remember we we always used to name... I always used to name the shaker the shaker channel on my mixes as the two pack. 666 01:02:11,420 --> 01:02:11,980 [Nick] But... 667 01:02:12,540 --> 01:02:18,825 [Nick] And and and also the the the tambourine was the Oliver as well as a... In in the knowledge to Oliver Tambo. 668 01:02:19,145 --> 01:02:39,480 [Nick] So... Yeah. The two pack should cure. Yeah. There we go. Yeah. Right. We should probably probably wrap things up now. I... I'm getting into getting into reminiscent territory, which is fine. Is that episode nine zero nine? Well That is nine zero nine. It was Are you one little thing I wanted to mention, and that was at the concert that I saw last week. I went over to Montreal 669 01:02:39,880 --> 01:02:42,385 [Gaz] and saw Rush in concert. 670 01:02:42,385 --> 01:02:47,105 [Nick] Oh, okay. With the new drum. I think What's her name? Anika With Anika Niles. Yeah. 671 01:02:47,345 --> 01:02:48,385 [Gaz] Anika Niles. Yeah. 672 01:02:49,425 --> 01:02:50,065 [Gaz] And 673 01:02:50,625 --> 01:02:55,265 [Gaz] there's many things that you can say about this. I'll try and keep it brief. I mean, obviously, 674 01:02:55,670 --> 01:02:56,790 [Gaz] Annika Niles 675 01:02:57,190 --> 01:02:59,350 [Gaz] taking what is ostensibly 676 01:02:59,350 --> 01:03:21,225 [Gaz] the biggest rock job on the planet, I think, and the expectation and the... You know? And and and for and for for it to be a woman as well is astonishing in in many ways and just Yeah. That's awesome. Inspiring and... It's brilliant, isn't it? It's really, really good. And I think the thing that just struck me about it watching this concert, the presentation was fantastic. 677 01:03:22,425 --> 01:03:33,740 [Gaz] We're sitting in the bleachers or whatever you call it, like, quite far back, but you ate... But pretty straight on to able to watch the whole show and the the whole kind of visual presentation. 678 01:03:35,900 --> 01:03:39,900 [Gaz] It it was pretty next level. I was incredibly impressed by it. Rush always 679 01:03:40,385 --> 01:03:50,305 [Gaz] put a big show on there. They're they're famous for that. But I think the thing really that struck me, and I thought it was just so wonderful to see, was these guys 680 01:03:50,865 --> 01:03:51,825 [Gaz] and gal. 681 01:03:52,145 --> 01:03:56,760 [Gaz] Well, the joke is there's always a woman at a Rush concert. Now she's joined the band. Band. 682 01:03:59,800 --> 01:04:04,920 [Gaz] Although there were plenty of women there were plenty of women there at the concert, to be fair. But it 683 01:04:05,400 --> 01:04:18,085 [Gaz] was the fact... I mean, I think Gedi is 73. Alex, maybe 73, 72. So, you know, these chaps are... You know, they're getting on a little bit, and in no way were they dialing it in. They were stepping up and actually 684 01:04:18,565 --> 01:04:19,845 [Gaz] pushing themselves. 685 01:04:20,325 --> 01:04:27,760 [Gaz] You know, this wasn't like some sort of, like, nostalgia cashing in sort of tour. This was a band who had always pushed themselves, 686 01:04:28,080 --> 01:04:34,560 [Gaz] really, you know, really pushed hard to sort of... You know, as players and as songwriters and as arrangers, 687 01:04:34,560 --> 01:04:38,720 [Gaz] etcetera. You know? And the fact that they were still pushing rather than just, you know, 688 01:04:39,585 --> 01:04:41,265 [Gaz] taking the easy route. 689 01:04:41,905 --> 01:04:51,585 [Gaz] I... Well, I mean, one one thing that they had done is that they'd incorporated a keyboard player, Lauren Gold, who was just sort of kind of off to the side a little bit, you know, but, 690 01:04:52,225 --> 01:04:53,505 [Gaz] you know, still very much 691 01:04:53,880 --> 01:04:56,600 [Gaz] part of what was going on. But making 692 01:04:57,240 --> 01:05:01,080 [Gaz] it a little bit easier because both Gedi and 693 01:05:01,960 --> 01:05:04,120 [Gaz] Alex and also Neil when he was alive 694 01:05:04,840 --> 01:05:10,360 [Gaz] would all be triggering things. And what was interesting, like, they never used 695 01:05:09,975 --> 01:05:12,055 [Gaz] click... They never used playback 696 01:05:12,055 --> 01:05:12,855 [Gaz] tracks, 697 01:05:12,855 --> 01:05:15,015 [Gaz] but they did use samples. 698 01:05:16,215 --> 01:05:18,375 [Gaz] So they'd have samples, but, 699 01:05:19,335 --> 01:05:27,220 [Gaz] like, Neil would trigger a sample, and he was so well practiced with a sample. He could play perfectly in time with it without needing 700 01:05:27,540 --> 01:05:32,180 [Gaz] a a click track or a backing track to do that. And 701 01:05:32,980 --> 01:05:35,300 [Gaz] so I think they're still carrying on with that, but 702 01:05:36,340 --> 01:05:40,675 [Gaz] having the keyboard player there has just made it a bit easier. And also, 703 01:05:40,835 --> 01:05:46,995 [Gaz] Alex and Gedi would both be playing synth parts with their feet. They still did a little bit of that, which was good to see. 704 01:05:48,035 --> 01:05:50,035 [Gaz] You know, they opened the show with 705 01:05:51,600 --> 01:06:00,240 [Gaz] it's all this, like, dry ice and all this stuff. And there's like an outer screen that comes in front of the band that they can do projections onto, 706 01:06:01,120 --> 01:06:04,960 [Gaz] and that and and that made for a really nice parallax. 707 01:06:04,960 --> 01:06:10,725 [Gaz] Yeah. And then that kinda lifts up in all this kinda mystic side. And they stride out on stage, 708 01:06:10,965 --> 01:06:14,405 [Gaz] and they play Xanadu, which is this classic 1977 709 01:06:14,405 --> 01:06:15,605 [Gaz] prog epic. 710 01:06:16,325 --> 01:06:20,325 [Gaz] Both... And both of them, Alex and Geddy, both play in the twin necks. 711 01:06:20,725 --> 01:06:23,580 [Gaz] And I was thinking, those things are heavy. 712 01:06:24,060 --> 01:06:24,780 [Gaz] You know? 713 01:06:25,340 --> 01:06:29,740 [Gaz] And he came out and he plays Xanadu, which for a Rush fan is just such a thrill. 714 01:06:29,900 --> 01:06:41,695 [Gaz] But it was just... I think the the thing I wanted to say that was just the way that they played so well. And Getty's voice, which I know for a lot of people is definitely a sticking point with Rush. But his voice was in... 715 01:06:42,015 --> 01:06:45,135 [Gaz] It was brilliant. It's probably best I've ever heard him sing. 716 01:06:45,375 --> 01:06:54,040 [Gaz] And I just thought... I was really inspired by them, you know, just thinking, yeah. You know, these guys are well past retirement age, and yet they're 717 01:06:54,200 --> 01:06:55,960 [Gaz] they're they're pushing. 718 01:06:56,280 --> 01:07:02,120 [Gaz] They're trying to do something. You know? And Annika brings a phenomenal energy in as well. 719 01:07:03,160 --> 01:07:06,615 [Gaz] She's a superb drummer. And it's quite interesting because her... 720 01:07:06,855 --> 01:07:20,215 [Gaz] She made a name for herself as a YouTube drummer. You know? So she landed a fantastic job with Jeff Beck, which is the path how she ended up in in Rush. Yeah. Okay. She was Jeff's last drummer before he passed away. But 721 01:07:20,590 --> 01:07:24,670 [Gaz] the thing is with Annika, one of her kind of key things is is to sort of 722 01:07:25,230 --> 01:07:25,790 [Gaz] play 723 01:07:26,110 --> 01:07:28,910 [Gaz] really kind of counter to what 724 01:07:28,910 --> 01:07:34,030 [Gaz] you might expect. There's lots of videos of of her on YouTube units, she'll play, 725 01:07:34,750 --> 01:07:40,655 [Gaz] you know, offbeats and and sort of poly polymetric patterns or polyrhythmic patterns 726 01:07:41,455 --> 01:07:42,175 [Gaz] and 727 01:07:42,495 --> 01:07:47,935 [Gaz] and and and in in a really interesting way. So her instinct is to kind of play, 728 01:07:48,840 --> 01:07:54,520 [Gaz] not to play written parts. But the thing is with Rush, more than any band ever, 729 01:07:54,920 --> 01:07:56,280 [Gaz] the eardrummers 730 01:07:56,280 --> 01:07:57,720 [Gaz] in the audience, 731 01:07:57,960 --> 01:08:03,080 [Gaz] you know, they... They've never seen a band where the audience eardrum the drum fills. 732 01:08:03,515 --> 01:08:16,235 [Nick] And, you know, and so so she's kinda trapped to a certain degree. There's some of the first You know? Because they'll be expect that... Yeah. That's funny. That is funny. And and I might have to... I'm looking out with that. 733 01:08:17,560 --> 01:08:29,080 [Nick] I... I'm gonna have to wrap things up. That's not... That was my point. That was my point. You're off in full. No. No. That was my point. It's just What am I... Air drum... I'm trying. Air... Air drum... What's it? I don't know. Air drum fills. 734 01:08:30,305 --> 01:08:43,265 [Nick] Airdrum Yeah. Airdrum fills. Yeah. That that... That's a good name for it. I'll show it to you. Brilliant. Yeah. Yeah. Thank you so much. Them Yeah. Brilliant. I'm glad you got to see that. I haven't been seeing GoodGeek for a while yet. Actually, I'm gonna I'm gonna try and get They are coming to the next 735 01:08:43,985 --> 01:08:44,225 [Nick] year. 736 01:08:45,410 --> 01:08:51,090 [Nick] I've never been out to me. That's not my... I I don't think I'd You don't have to be. Wish I'd got to Yeah. 737 01:08:51,090 --> 01:08:52,210 [Nick] I think you do. 738 01:08:53,250 --> 01:08:55,890 [Nick] Think you do. You're gonna go to a lot of effort. $2,200 739 01:08:55,970 --> 01:09:05,015 [Nick] Exactly. Ticket or whatever. Yeah. Yeah. Exactly. I don't wanna... Yeah. Alright. Well, thank you very much. Thanks to everybody in the chat room. It's been a lovely show. We'll be back next week. 740 01:09:05,655 --> 01:09:09,495 [Nick] I'm trying to think. Was there something I had to remember? There was something I was gonna try and remember, 741 01:09:10,455 --> 01:09:14,610 [Nick] which I can't remember now, but it's got Oh, I all come. Quick quick point. 742 01:09:14,850 --> 01:09:21,490 [Gaz] In Bath tomorrow, I'm coming to watch a show. Maybe you should come to it. Oh. It's Jon Andersen and the band Geeks 743 01:09:22,050 --> 01:09:25,330 [Gaz] playing. Where's that? In the Forum. 744 01:09:26,050 --> 01:09:27,170 [Nick] Oh, okay. Alright. 745 01:09:27,575 --> 01:09:30,615 [Nick] Yeah. Which... That's that What might we eat for a drink? 746 01:09:33,575 --> 01:09:35,815 [Nick] Yeah. And then I'm back off. Lovely. Liverpool 747 01:09:35,975 --> 01:09:36,855 [Gaz] on 748 01:09:36,855 --> 01:10:09,145 [Gaz] Friday for anyone who's that neck of the woods for Pop Dungeon and Cardiff on Sunday. I guess that. Are these all sold out? They must be sold. No. I think this aren't they? They're close to. They might... I'm not sure. There might be a few tickets left. I think it's... All the shows have been done really well so far, so I don't know. But I do imagine there might be a few tickets left. But Nice one. Alright. Well, guys, thank you so much for joining me. Yeah. It was great. Thank you. The chat room. Thanks for joining us. I'll I'll end the show now with my my button press. I think this is how I do it. See you next time. Take care, everybody. Bye. Bye.