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Two longtime music pros (Sensei & Fatboi) go deep on what makes music great. A podcast for music producers, artists, and fans.
Fatboi is a Multi-platinum, Grammy nominated, award winning producer whose credits include: Camoflauge, YoungBoy Never Broke Again, Gucci Mane, Young Jeezy, Rocko, Shawty Redd, Flo Rida, Bow Wow, Bone Thugs-n-Harmony, Juvenile, Yung Joc, Gorilla Zoe, OJ Da Juiceman, 8Ball & MJG, Jeremih, 2 Chainz, Nicki Minaj, Bobby V, Ludacris and Yo Gotti, Monica, Zay Smith, TK Kravitz, Future.
Sensei Hollywood (a.k.a. Dan Marshall) formerly an instructor and chair of the Audio Production program at the Art Institute of Atlanta, is an accomplished musician, producer, engineer who's performed on and engineered multi--platinum records with Big Boi, Outkast, Killer Mike, Chamillionaire, Carlos Santana, Mary J. Blige, Snoop Dogg, Ron Isley, Lil Wayne, Trillville, Monica, and more...
Speaker 3 (00:00.238)
Remember you were day one in my audio 101 class. How do I frighten you?
Yes, and you frightened me.
Yeah, it was just like you know our teachers like super happy and this and that he was like just straight up like
or damn it like this as a professor
It was a hard day, you know what saying? It was the first day. Me, I did my research and the second day of class I was like, I know who you are. I may have not met you, but I heard you on record. And it was just like his, his energy and mystique about him that I was like, this is different. And I feel like he was more authentic than the other teachers, like there for a check. Like Dan really cared about us. Like I got plenty of stories about that, but like that at first I was like, whew, I was like 18. You know what saying? Like I was still figuring myself out as a man and he was just like.
Speaker 2 (00:47.638)
super honest person like yeah man I'm not here to play with you I got socks older than y'all
my god, that's my favorite line. I can't believe I used it back then too.
And this is like birthday fat, you know what saying? Like out here is this anxious 18 year old kid and he humbled me plenty of times and boy, it paid off.
listening to the show from Music Industry Pros, Sensei and Fatboy. Go deep on what makes music great. Today we're talking to Grammy nominated engineer Scott Taylor. He leveled up in my Audio 101 class straight to the top of the charts, working with JID Ray Sermon and Travis Scott. The student has become the teacher, so get your pencils ready. It's levels to this.
Speaker 3 (01:39.768)
Hey, it is levels to this. got my partner fat boy over here and one of my OG students, Scotty, AKA Scott Taylor, AKA I know what your real name is, but I'm not going to tell everybody. Scotty. I'm so glad you could be here, man.
You
Speaker 2 (02:00.622)
Man, thank you. I'm glad to be here, man. Y'all are two great people to know.
So you've had the chance to work with Fatboy in the professional setting as well.
Yes, we ran into each other in Miami, which was hilarious.
What a
Tell us about start with that. Tell me about that.
Speaker 2 (02:20.078)
Yeah, so, we was in Miami working this was two years ago, Yeah, I was working on a Shin Seas album With a lot. It was a lot of dope people there was too much to name but They I was in the we was a hit factory So we was in the downstairs like the legendary hit factory and then I was in that room for like I don't know weeks and then they're like, man, we're gonna send you to another room and I'm like
Okay.
Speaker 2 (02:47.65)
You know how like it is like you in the like the biggest room you like man ain't going to other room like just got all this in there. So I'm just like, know what, whatever I go in there. I see fat boys sitting at a table. I was like, yes. It was like, it was a lot of people in the room, but I just seen your fat boy just sitting at the credence in the middle. And I was like, cool. Then, I think it happened twice, didn't it? Cause you came in, he came in the big room.
Hahaha
Speaker 1 (03:13.142)
twice. Yep. Came into the room the next day, I think.
Yeah, because every day it was like a new vibe like you don't know what writer was coming in you don't know what producer was coming in. Yes
It's like a writer's camp situation.
Yeah, it was like a writers camp, it was like, you know, everyone came in at different times, different dates, and it was like multiple engineers, multiple writers, multiple producers. It was just, it was all over the place in a good way.
Okay.
Speaker 1 (03:39.438)
Do you still have the chains that I left on the table?
No, I finally got rid of that. He left. He left 62 cents, I believe, or was it 30 percent?
Okay
Speaker 1 (03:51.022)
Like that I don't I don't I don't know
I literally put it in my bag from Miami and took it back to Atlanta.
and called me and said, hey man, you left your change on the table in the studio in Miami.
That's proving Scotty is one of the few people with integrity in the music business.
Me and the intern, the intern was like this
Speaker 2 (04:16.142)
I was like, don't be tested at 62 Cent. Hey.
That's the streaming royalties from a million streams.
Right, and the thing is, I left it on purpose. I didn't want it because I don't like change. I happen to have, because I don't normally, I usually don't carry paper dollars. I do everything swiping. And I happen to have some cash on me. So I needed to, you know, I bought something with the cash, got changed back, leaving the hotel. And this just rattling in my pocket was driving me crazy. So I took the change out and put it on the table. I intended to leave it.
But the change followed me back to Atlanta. 62 cents, guys.
Yeah.
Speaker 2 (04:59.63)
That is
Scotty, you're the most honest accounting music business professional I know. Trust me, I've gotten some checks for 62 cents.
Hey, that's a million streams right there. I already bought a million streams back to me.
Yeah
Speaker 3 (05:19.409)
man.
I knew he was gonna bring that up.
That's funny
That's one of the funniest things Scotty ever said to me man, he says a lot of funny stuff.
Yeah, man.
Speaker 3 (05:30.574)
Man we're doing this thing. We just started this whole podcast deal out of like conversations me and fat boy would just have naturally in the studio Just chopping it up waiting for the engineer to do something You know, play the guitar on a bunch of stuff with fat boys productions and we just be in there like holding court and then we notice like all the youngins were listening to us like
I need you on something, but let's go.
Yeah, What's that? Yeah, I'm still in the biz here. But we're like talking about, you know, Cyndi Lauper, Guitar Tone or PM Dawn, and like people are like, what's that? You know, we just started having these conversations and then we're like, hey, we should like, you know, talk to our community of folks. then Scotty, you were like literally one of my very first students at our institute. Like I'm trying to think the year 2010. I have known you for 15 years.
Yeah.
Speaker 2 (06:23.95)
2010, yep.
I remember you were day one in my Audio 101 class.
Yes, and you frightened me.
How do straighten you?
Yeah, not like in the sense of I'm not one man. I'm scared of is my dad So I wouldn't say he well, right me but like it was just like, know, our teachers like super happy and this and that he was like just straight up
Speaker 1 (06:49.998)
Odan ain't like this as a professor.
Eventually. It was the first day. You know what saying? It was the first day. Me, I did my research and I was like, the second day of class, I was like, I know who you are. Like, I may have not met you, but I heard you on records. But no, he was cool. just, you know, when it's the first day, it's like, you know, hey, I worked on this or I've done this. And it was just like his energy and mystique about him that I was like, I was like, oh, this is different. And I feel like he was more authentic than the other teachers, like there for a check.
Dan really cared about us. I got plenty of stories about that, but that at first, was like, whew. I was like 18. You know what I'm saying? I was still figuring myself out as a man. Here's this super honest person, like, yeah, man, I'm not here to play with you. I got socks older than y'all.
my god, that's my favorite line. I can't believe I used it back then too.
I was just like, and this is birthday fat. You understand? out here is this anxious 18 year old kid and he humbled me plenty of times and boy, it paid off.
Speaker 1 (07:59.822)
You're one of those superstar students that came out of that class. Yes. And I think I met you in 2012. Yes, I beat that up. 2012. it was something that stood out about you then. You know what saying? It's just like how you could tell Dan really cared about what he was trying to teach to you students. You came off as
the type of person who really loved what he was attempting to try to do and not just trying to do it just to get a check and all that because it's the thing to do. Is that kind of how you envision this course and what got you into wanting to follow this path?
Yeah, like, I mean, just to bounce off what you said, like, I love people and I love music. So like with that together, like I knew that was going to help me long term. You know what saying? And then like what I would do was like, even though, because at the time, so 2010, so I started as a lot of people don't know, I started as an artist, but it's not really that I wanted to be an artist. I just didn't know how to, how can I show people that I write, that I produce and that I'm an engineer? So I was like, I'm going to start putting out my own music.
And they like, who mixed this? And I was like, me. And they're like, who wrote it? I was like, me. You know what saying? So the only thing I didn't do at that time was produce. My style is more so like executive produce. So I started as an artist. I think like just I always thought long term when it came to music. Like I never thought like, OK, if I do this now, this will get me here. You know what saying? If I do this now, this will get me here. I'm just like, OK, if I plant this seed here, like
Just let's just talk about college. I just finish college long term, this will get me way further than engineering, like way further. Like we had to take public speaking classes. That has helped me out a lot, like a ton. The math didn't help me out too much, but you know.
Speaker 3 (10:07.712)
You know how to count to 62 serps though.
Yeah. So just, think the overall, just, just like I said, it's thinking long-term and just really loving what you do and wanting to be successful. it'll take you way further. And then another thing that I did was, I did my research. I studied the greats, you know, I think when you talk about engineering, like, yeah, you have guys now that are hot, like, you know, me, Preston, Maddox, like all these people, but I'm talking about Bruce Whedin.
Yeah, that right
Speaker 2 (10:39.736)
Tony Maserati, CLA, like, you know, all these guys, I'm talking about guys that are way older than my dad, you know what I'm So it's like, I had to do my research and be like, okay, what is engineering and Dave Fanzato, and then you get into the Jason Joshua's and then like, know, people like Servins and, you know, all those guys that if you mentioned to these young engineers, they're like, who? You know I'm saying? Like, and it's like, yo, they're mixing like a lot of these young mixtures, including me, like we model after the people before us, you know what saying?
or engineering in general, not having to just be mixing. like when I did my research on guys like that and Leslie, course, but, just all these old geez, I was like, okay, cool. With, with thinking longterm and just really just thinking like in goal on top, like, like you said, 15 years, that's how I was thinking then. Okay. 15 years from now, where am I going to be? You know what saying?
You bring up a good point about studying the greats and following, And I wouldn't say necessarily follow the path of some of those guys, but at least give you a blueprint of where you wanted to go in your journey. And this carries across with artists as well. It seems like today, a lot of artists, engineers, producers,
They don't do their due diligence today and try to find out this thing that I'm doing, who laid the tracks for me to get here to where I am. Cause I know for me, I was the same as you, know, Dr. Dre, Timberlin, Jimmy Jam and Terry Lewis, the OG Quincy Jones. And not only that, you know,
Going back further, Prince, George Clinton, you know what saying? Some of these great producers also from the 70s, my parents' generation of music. Do you think that is having an effect on the way music is created today with a lot of these young artists, producers, and engineers not...
Speaker 1 (12:55.114)
Studying the greats because that was a lesson that I learned that I got that listen study the greats Yeah, you want to be great study greatness
Yeah, a hundred percent. I think it's affecting all creatives. It's not just engineers. It can be simple as like in Audio Engineering 101, class that Sensei Dan taught. Like we taught, he went to the basics, like how to set a tempo, how to count bars. Like we went over the basics of engineering and I'm just like, yo, and just, it was like a music theory and engineer class together to me. And I'm just like, okay. So even just taking that into the studio, some people don't know how to count bars.
They're not putting bridges on songs. Just concepts. You I was in the studio not too long ago recording, which is a rare occasion now, but I was in the studio recording and the artist was like, hey, can you, you know, he was just getting off topic and I was like, I'm gonna just start it from the top for you. You know what saying? And it was just like 32 bars and I'm just like, bro, come out the booth. And I was like, what's the vision here? What do you want to, like, it was love in there somewhere, but it was just like,
What about love? Like, are you seeking love? Do you want to be in love? Are you currently in love? Like, or how can we relate this to the audience? Cause it wasn't making sense. And we had to reformat the song and, know, just stuff like that. Just, just when studying music, you have to study no matter what your role is in music, you have to study the greats and what you think is great and what other people think is great to see how to format a song. Like, know, like certain hit records are in certain tempos. They're in certain keys.
They're, you know, if you look at a song, it's like, it's basically like one big hook, essentially. You know what I'm saying? And you just keep breaking the hook down. And then when it gets to the bridge, that's like the real change up. But it's really just, you know, depending how you format and depending who we're talking about. You know what I'm saying? just, if people just would do research as creatives in general, it would help like knowing when to make the shot. even as as both of y'all as producers, like, okay, cool.
Speaker 2 (15:02.254)
Maybe not so many hi-hats in this record or take every two hi-hat out. It's down to like stuff like that to where maybe not a kick on this record. Maybe we don't need to kick 808. Maybe we just need to kick. It's just simple stuff like that. Like, okay, I got eight pads and two pianos. Four of these pads are gonna come out. You know what I'm saying? So it's knowing when to make that call. Just if you're not studying enough music, you wouldn't know. You're like, oh, it's fine. You know what I'm saying?
Well, even like, you know, specific things like that can, you know, maybe you do need eight pads, but if you don't have a good foundation, if you don't have a sense of the history and the context that came before you, how can, you what are you doing? know, like, like, or when would you ever have the nerve to take the bass out of your record? Like Prince does cry, you know, like, you know, what would you have the temerity to make a bold choice like that? If you didn't like know all the other.
What rules you were breaking, I guess, is where
The balls to do that. Yeah. How dare you? Yeah. We follow a pattern. We don't change from it. Yeah. Every song has to have a kick, a snare, a hi-hat, a bass. It has to go this way. Like, we're, it seems like this era that we're in, like you said, everything is cookie cutter. It has to be, I mean, to the point where
And I've been able to do this my entire life, but especially now when I can hear something and tell you what's coming next before it comes. And this is the first time I hear the song. It's just like, okay, it's going to go to this chord. there's nothing that surprises me. And those records that do surprise me, I love them. You know what I mean? What do you attribute that to? Because my thing was always when I talked to
Speaker 1 (16:57.366)
And I may have had this conversation with even you. Yeah. When you were young, Pup, I always said, as an inspiring artist, producer, whatever.
try to be able to go back at least two generations of music. If you can go back to your grandparents music, you can pretty much make whatever style of music that you wanna make. And in some cases, your great grandparents music, that's even for another generation of music that you have in your wheelhouse where whatever the current state of music is, if you wanna put those elements in your current...
music. You can do that just because you have the information in your head. you're one of the few today as the new generation of engineers that have even taken that approach. Like the conversation doesn't even really come up for a lot of guys. It just seems like they feel like everything started with them.
Which is crazy. You know I'm saying it's like it's like, you know Going back to like the question you asked early man knowing when to do stuff and that comes with like reading a room You know I'm saying like knowing what to okay. Maybe this record is banging, but this bass line is not good. Hey fat what you think about this? But if you are if you offer something you better have a solution like don't Don't say okay. This needs this needs a guitar and have a guitar player called, you know
You know, this is something we've been talking about a common theme over the last few things. This is something I knew about you on day one, because you still have, it's the vibe. Ways the technical you can look up how to do parallel compression. Dave Pinsadio will tell you 10 ways to Sunday how to do it. But doesn't he know good if no one wants to work with you or you can't vibe with people in the studio environment, you know, tell us,
Speaker 2 (18:47.148)
Yeah. Out.
Speaker 3 (19:06.242)
Tell us when you've seen that go wrong. When have you seen vibes go wrong in the studio? Not with you. Obviously not with you, Yes.
I'm the vibe curator. I've seen vinyls growing plenty of times early on in my career and like not too much recently, but I would say about two years ago. Just people not knowing how to read the room, people talking too much. Maybe they had a little too much liquor occurs and just even when someone's sober, just not knowing how to read the room. Like the thing about being an engineer,
A creative in general, a deaf engineer, you gotta control your emotions. Your idol may walk in instantly. You gotta be like, you ain't got a front. like, because I've met people and I've been like, yo, it's an honor to meet you, my name's Scotty. But I'm letting you know for sure, my name is Scott Taylor Jr., nice to meet you. Like, you're in the room with me as well as I'm in the room with you. Right, right. can't be coming off arrogant, you know what saying? But I've always tried to hold my confidence to a certain level, you know what I'm saying?
You're
Speaker 2 (20:12.876)
I've seen people let egos get in the way of the vibe. you know, for example, I was in, this was like 20, this was my mainstream day. So this was like 2018 to like 2021, something like that. We're cutting the record and this rapper, this artist, undisclosed artist, we're in a room full of people. But mind you, it's like the A &R, it's like the writer, the producer. And you know, like,
I'm just, we vibing, I'm just like, man, if we can just clear the room with all his homies, get out the room, you we can finish this record. So I cleared the room, you know, but as he's rapping and singing, you know, you can hear the artist crew talking in the background, they're laughing, they're smoking, and I'm just sitting there like, dude. And it's like, you're not getting this, you know what saying? But that's just ego. Like, I gotta have 50 people in the room, and I was just like, hey man, um.
you know, let's just clear the room till we finish this hook. And we had a whole song to do, but I just hit hook. Let's just clear the room, finish this hook. So that was one reason, that was one way. And then another one happened. This was recently, this was like a year ago. I was working on this country album and just the artist was in a funky mood and I just felt like, you know, the producers wasn't, it wasn't really the producers. It was the people that was with the producers, just wasn't making it well.
I mean...
Speaker 2 (21:38.35)
I study, being an engineer you have to study people, study patterns. You know what saying? Like this artist in particular, like to come in, drink coffee, talk, and just kind of go from there. But one person can be in a funky mood. It can't be two. You know what I'm saying? So obviously this artist was in a funky mood. It's totally fine, we're human. You know what saying? But it's just like, don't keep poking a bear. Like, so what happened? Why are you sad? It's like, yo, just let them live in the emotion. You know, even if it's like for...
Like we were just sitting there silent. I was totally fine with it. Because in that moment, the artist just needed some a moment like, you know what saying? And it was just like trying to get the information out of that person just wasn't the time. Like I've worked with the artist long enough to be like, yes, he just needs 15 minutes, bro. You know what I'm saying? And I just had to say something. I was like, yo, just just give me like 15 minutes. Matter of fact, you know, we got a lobby, you know, you can go out there for a minute. And then she, you know, she was like, thank you. And I'm just like, boom, you know what I'm saying? So it's been
Little stuff like that. And then it's been like major stuff that's happened that I'm just like, what if the artist is like saying, Hey, play another beat, play another beat. And it's been 30 minutes is like, just start making something from scratch. You know what I'm saying? Like it's been 30 minutes, bro. Like it's totally fine. We all miss. It's totally fine. It's like, yo.
Again, that goes back to what you said about reading the room. If nobody's popping their head, switch it up. You know, something's not resonating. And you, you know, that room in Miami was quite large. It was a lot of people in that room. And for you to be the trusted engineer to really, number one, record her. Yeah. And not only that, but
command your, because it's really only two people that command the room. Yeah. The producer. For sure. And the engineer. Yeah. The producer isn't, you know, getting the room together. If it gets a little out of hand, the engineer is going to step in and do that. Yeah. And now this room was, was, was, was, was really under control because, you know, you had established producers, London, myself in there, you know, so that room wasn't going to get out of control.
Speaker 1 (23:53.934)
but also the way you handled the room. And it also lends to what I noticed, you know, in my own productions, the engineers that I work with, when I trust them, I want them to be included, you know, give me feedback. Scottie, do you What do you think about this, Scottie? Scottie will, you know, give his input on something and everybody in the room follows it. It's good ideas, you know.
We follow it. Do you think, what does it take to get, build that kind of trust? Because like, you know, when I say he had control of the room, he had control of the room. It's a lot of egos in that room too. A lot of egos in that room. It was. you know what I'm saying? The room never got out of whack.
us.
Speaker 1 (24:50.188)
You know, if any ideas was getting shot down, you know what saying? You know, nobody really went off the deep end. Scottie's input was in there. Yeah. Do you think that's important from, you know, because I'm of mine, you know, some of these engineers should get production credit on some of these songs because a lot of you guys are putting these songs together and not the producer.
Yeah, for sure. I think what takes what was it's a lot of things why I just say this like I think it takes confidence within yourself and Trusting yourself and trusting your art, you know Just to name a few people I was in the room. It was fat boy London that alone London on the track and fat boy is to me It's like crazy, you know, I'm saying like no matter how many times or how cool we are Like I still I'm still a fan of them, you know, I'm saying so like for me. I'm just like wow, this is a heavy room man We had Shin Seiya we had
You know, uh, had Angel, she was in there. We had, uh, I Nizia pulled it that day. You know what saying? Like it was heavy hitters, Grammy award winning. It, were in the room together. It was at least 300 million records. You know what saying? So I'm just sitting there like, okay. You know what I'm saying? So yeah. You know I mean? So it's, it's, it's confidence within yourself, confidence within your art. And you just, as an engineer, you can't be afraid to speak up. The worst thing they can say, they meaning the client or everyone in the room is like, yo,
Yes or no, it's really one of the two, you know what saying? So I just had to stop being too humble and just speak up. Because most of the time I really spoke up in my career. It's not that I was right, but it was like, OK, that's a good idea. Like, let's just try it. The worst thing they can do, they try it, you don't like it, you can playlist it. You know what I'm saying? And that's what I was telling people, even to Angel that day. It was a time in that session where we had to switch the beat.
And I just had to tell Angel, like, I had to command the room. And I was like, yo, come out real quick. I was like, I'm gonna save this idea. I was like, yo, fat, something else up. And he was like, bet. Like, it wasn't no conversation. was like, bro, it's been like 30 minutes. And it's just like, and I think we end up coming back to that record. But again, we had to, you know what saying? We had to switch that vibe up, because in that moment, the record wasn't special. Two, three days later, it was like, we finished it. So it's like, you gotta trust your art, trust yourself.
Speaker 1 (26:46.658)
Just get it done.
Speaker 2 (27:04.526)
Don't be scared to speak up. Don't be scared to share your idea. Yeah, you can't. You can't sit there and try to look too Not at all. You can't try look too humble. You got to just say something. then people like Fatboy in London, they'll come up to me and be like, yo, Scotty, what you thinking? You know what saying? In front of everybody. And I'll just be like, the hook's cool. Cool. Have a cut of the game. Instantly, they're like, yeah. Have a cut of the game. I'm like, the second half of the verse is all right. Cool. Play this. Come in again. Write something else. And I guess like, oh, dang. So once I've seen stuff like that,
You can't fake the funk.
Speaker 2 (27:33.844)
over the years, it has built my confidence. Cause I'm just like, okay, well one day, Garrett said, this was cool. Another day, Fat Boy said, this was cool. Another day, London said, this was cool. Another day, Blanco said, this was cool. So like all these people telling me like, yo, you got good ideas. I was like, I should probably trust myself. You know what I'm saying? And it does give you opportunities to get credits and stuff, but it's like, I look to getting the best record possible. You know, like I'm like, forget even those eight people in the room.
That's cool, but like we gotta get the best record possible. That's why we all here. You know what saying? But like I keep that mindset when I'm in a room and just being courageous and like fearless, you know, like not caring what people think, being mindful and feelings obviously, but just like, yo, if you have an idea that's gonna help the room and we're obviously stuck on the idea for 30 minutes or even 20 minutes, like, yo, say it and maybe it can, maybe it'll spark something to just get the vibe going, you know?
Yeah. You know, you know, that's something, we've, we have, we've visited with some engineers that are pretty high level, like, D Brown and, Corey Anders. And one thing I think they have in common with you is that diplomatic way of massaging the egos while still having your own self-confidence and self-respect as your role. And that, that's what the people who last tend to have in common.
Do you find that, you know, is that something you've noticed in the 15 years you've been in this biz?
Yeah, for sure. just think like knowing how to, I tell people all the time like it's crazy because I'm an instructor now. So I tell my students, I'm like, hey, if you don't know how to deal with the ego, don't be in this business. know, because technically we're there to boost the ego, you know? They come out the booth, man, that sounds good. Yeah, it does, man. Good job. Absolutely. You know what I'm saying? I'm not about to overdo it, but like, yeah, you do sound good. You know why? Me. You know what I'm
Speaker 2 (29:32.942)
It's like, yeah, you can sing, yeah, you can rap, but like, yo, I'm here to make you sound good. So when you say you sound good, absolutely, you do. You like you can't be scared to like, like know your role, but just know who you are. You know what I'm saying? Like, just know that we're all here for a reason. And knowing how to deal with the ego goes a long way. You know, it goes outside of the studio. You know I'm saying? They may say, you know what, let's go grab something to eat. You know what, you drink coffee, let's go to a coffee shop. You know what, we're going to the club later.
You should pull up. You know, I've had that happen too. I'm not a club guy, but I went, you know what I'm saying?
So, you know what I the growth of that is building those relationships. You get a lot of repeat customers, a lot of repeat business from that kind of investment in relationships.
that and then like people were referring, you know, like I met London on track through Money Long, you know, but if I never would have worked with Money Long, that never would happen. I met Money Long through Sony, Sony ATV, you know, I met Sony through Kenya who also went to our Institute, you know what saying? So it was one connection that led to four or five different people, you know, like, and then I met London's manager, Tia through London.
to hear connecting with people. just was like this, it was crazy. One connection led to like literally like seven, eight different people. So your work, your relationships work too, but it's like the industry for me, my success has been, well, God obviously, but like other than that, like just word of mouth, this person knowing this person, this person knowing this person. And they're like, yeah, he's doing this, she's doing this, they doing this. And then we all just connect. So word of mouth is like huge when it comes to relationships because your work speaks for itself.
Speaker 2 (31:19.606)
and then it can also help speak for you.
Yeah, because you're a good, you know, the best engineers in this business, they're good people, good people persons, person, people. Yeah. cause when I, you know, I initially met you through Dan, you were still in school then. Yeah. and then the next time I met you, don't know if you remember this, it was an artist that was signed to Red Bull.
And you came to my, uh, one of my partner's studio house with Sean, uh, from, from Universal. I remembered you from being with Dan. And a matter of fact, that this was the first time that I had the chance to actually work with you. you did this, um,
Reverb delay thing. Yeah that I stole I stole it from you. Yeah, how they were so dope Well, I didn't steal you you told me how you do it Yeah, but but you I mean you you it was something that you took from Jason Joshua Yeah, I'm saying it and and and you passed it down But you told me this and to this day. I still use Yeah that but it was because you know
you were willing to just even get it. Cause I'm a producer. I'm one producer that any of the engineers that I've ever worked with, if they have something dope in their sessions, they're like, man, you just made it. I got to find out how he does that. And then I learned it and I put it in my toolkit. For sure. Is that something that you run into a lot where, you know, producers like you do?
Speaker 1 (33:12.654)
You know, because we'll just be walking around the room, you know, vibing to whatever's going on. And then we'll hear the vocal sound in certain ways. Like, whoa, whoa, What was that? Is that something that happened for you a lot?
Yeah
Yeah, it does, because my specialty when we're in the studio is like showing out. I want to get everyone's attention without saying, hey, I can do this. I'm going just always speak through the computer, you know? Because I can do a lot. I can sing. I can write. I can rap. I can play instruments. But I'm just like, OK, while I'm at this computer, what's going to get Fat Boy to turn his head? What's going to get Dan to ask me a question? And so like, any time anyone asks me a question in the studio, and they're like, hey, how'd you do that? I'll show them, because I just believe that you must teach.
what's been taught, you know, so it's like, I don't, I don't mind showing you anything, you know, it could be, it could be, well, how you get your vocals sound like that? Well, let's start with the pre-amp I'm using, you know what saying? Or the compressor or why I chose this mic, you know what saying? So I, I purposely do that to make sure I have at least one or two moments in a session where people like, how'd you do that? Or what is that? And then next thing you know, you know, I'm teaching, you know what I'm saying? So.
And then that trick right there, that helps you build relationships. Like, yo, Scotty, just good person, vibe, and he has a sauce. You know, boom.
Speaker 1 (34:36.174)
definitely referred you after that, you know. Yeah, I appreciate it. Not only that, other people that were in the room, yeah, would ask me about you, you man. What's up with Scotty, man? You think we could get him in? said, if you pay, he'll show up if you pay.
62 cents. but seriously, that's what, you know, the studio environment, it's cool and all, but it's a time-ticking, we're paying money for this time. Everyone's got to bring something to the table without shoving everybody else out the way. It's a neat trick to pull off, right? But that's key, is bringing something to the table.
Yeah, yeah, exactly. And it's like, just going back to the ego thing, learning to deal with egos. And can you be in a room for 18 hours? People always talk about four hour sessions. Well, can you do an 18 hour session? Can you do a 16 hour session? Any average Joe can last four hours. If you're a decent engineer, you can last eight, depending who you work with. when you talk about writing camps and working on albums, you're not doing these cute four to eight hour sessions. You're doing 12, 18 hours.
Asswitch
Speaker 2 (35:48.684)
where you better put clone on and take a shower because it's going to be so long. It's like I bring everything to the studio. Candle, mouthwash, extra clone, gum. Because it's like you never know. You're going to get to go home, obviously, but it's like you may run into if a vibe is there and they're like, man, and a good engineer, they'll be like, I'm going to have this person pull up. Matter of fact, I'm going to have a songwriter pull up. Next thing you know, you just peek at the clock real quick and you're like, it's been 12 hours.
You're good funky.
Yes
Speaker 2 (36:18.146)
You don't
I had one of the biggest business opportunities of my life come after an all night session. Like we go all night, it's like 10 a.m. I'm like, crap, I gotta walk over to their office and talk about how I'm do the scoring gig for PBS. I go in there, you you don't sleep for like a day or two and that filter goes away. And somehow I just cut myself the best deal I've ever gotten, because I was just like, nah.
to first offer. I was like, no, I can't do it for that. And they're like, we didn't expect that. Yeah, okay. You can do that, you know, but like, you got to be prepared to like, just go the distance in this.
You gotta be willing man like people, know, so I be I encourage these young engineers man I'm like, you know, I talked to my students now and I'm like, hey do y'all want to intern and it's like Some people, you know, they get it. They're like, I'm gonna intern and some people are like no and I'm like man you got to really humble yourself down in and To get where you want to go my first my first Gold record in my first number one was off being an intern at blue room studios. know I'm saying I was
doing what everyone else is doing. Well, I wasn't doing what everyone else is doing, but I was cleaning everything. I was cleaning the studio, was mopping floors, I was scrubbing floors, I was getting amps, I was getting food, I was doing scheduling, I was sending out emails, I was doing promotion on Twitter. I was doing everything, I can just list, I was doing sign-in sheets. I was prepping sessions, but the whole time people may not say something, but they see you.
Speaker 2 (37:57.102)
You know what saying? Like they're like, okay, cool. That's this guy. That's the next thing you know, they walk in, they're like, what's your name again? Then I'm like Scott Taylor Jr. That's me too. You know what I'm saying? So it's like, you got to be willing to work and really put in the work. And what that means is like, know, since they then told me this thing about 10,000 hours, like when we first, first day he's like, man, you gotta put your 10,000 hours in. It goes back to like why I said I was scared as a guy. I'm like, 10,000 hours, you know, I'm 18. So I'm like, 10,000 hours, I put a little 10,000 hours.
Hey, he-
Speaker 2 (38:26.67)
Now that I'm 32, I'm like, don't put 10,000 hours in about eight times. Yeah, but it's like, yo, you can never get like comfortable, like never be scared to evolve. know, with times changing, I got to update my template. Even if it's something small, like I got to update my template. Like we're not anything vocals anymore. You know what saying? So you may have to come off of that filter. You know what I'm saying? On that vocal.
Alright.
Say it's
Speaker 2 (38:53.198)
You may have to some mid range. may have to pull up the pull take and add some low end. like we're not on that no more. Like everybody's drums is a knockin' no matter the genre. You know what saying? Everything is hip hop right now. You know what I'm saying? So it's like stuff like that. have to know how to like people be like, oh yeah, I know how to mix country. Everything's the same. Everything's hip hop. So it's like, you got to know how to mix country. You know, everything, know, something that since Aidan did over the course of my college career that was dope was like,
Pop Rock.
Speaker 2 (39:22.902)
when, cause I had him for a couple of classes. So he'll be like, so, what do you want to mix? Or he'll, he'll make us make like do like classroom projects where we'll make a song from top to bottom, produce it, write it, coordinate, mix and master everything. like, he would do something like, Hey, so what's your favorite Johnny? What do you want to do? And I was like, yeah, gospel R &B. He's like, cool. You're doing a rock song. You know what I'm saying?
That's very damn thing to do.
I never forgot that. was just like... I was like, okay, and dude, and he was... I just kept like an urban mindset. Like I added some drums to it. I had a drummer come by, I put some drums on it, but everything else was like rock bass. I put some rap verses on there, you know? like, it's... That seed paid off like years later. Cause like, I was like, well, I know how to do this now. Like, you know what saying? So going, I said all that to say this, like having the willingness to even do it.
That's a damn thing.
Speaker 2 (40:19.566)
You know, I didn't fuck. In my head, I was like, I hate this guy. But,
Speaker 2 (40:31.566)
But I was like, maybe I should listen, you know what saying? So it was just that willingness of like, let me just try, you know, the worst thing I can do is fail and then I can learn something like maybe you should do this. And that has happened too. And you got to be ready to not only do the work, but you got to be ready to fail. You got to be ready to learn. You got to be ready to experiment because those three things will take you further. You know what saying?
And that's a great fact because me and Dan have become such good friends over the years. And part of that is because of all the guitar players that I know, Dan, I go to Dan a lot because what Dan brings to the table is
He'll go maybe the opposite way of whatever the track might be. Yeah. And that's not because he doesn't know the genre. He understands the genre well, but Dan brings another element to it that if I went to another black guitar, yeah, he's going to understand the assignment and he's going to give me something good. Yeah. But Dan might add a little Cyndi Lauper into it.
Yeah, a little, what's another great, guitar player Prince.
Prince, prince, yes. I get bet, I bet. I'm supposed to be
Speaker 1 (42:04.522)
Might add a little prince into it. Give me and give me some of those tones. Yeah. That, you know, the average typical black guitar player might not think the dude because he's going to understand the assignment and give me exactly what the genre is asking for. Yeah. So that right there, you know, I like going against the grain on some stuff. Yeah. Because it adds another element to it.
that, you know, cause when them will do something, I'd be like, made you think of that.
Yeah, I'm dog it's been so many times we've been in class man, and I still got my hard drive from school So maybe I go through him one day But he'll be he'll be doing something so cold and he'd be like, huh Maybe I'll just try this and it'll be like the dopest thing you ever heard in your life And I'm just sitting as a student like I ever like, you know, he's gonna be like
Well, I brought that up because Scotty, he said it. He said it earlier. Yeah. But Scotty is a dope ass writer,
And he can sing his ass off to Sing his ass off. I knew him as a singer first when he was in my class. I'm like put him in the booth
Speaker 1 (43:18.655)
Thank you!
Speaker 1 (43:25.378)
I had no idea he was that. I know he was the engineer first and foremost. And this some years ago now. Yeah. One day Scotty just hit me and was like, yo, fat, send me some tracks. So like, what you gonna do? He's like, I'm going to try something. And I swear to God, man, I've been trying to this day, I'm still trying to place those tracks. of them Atlantic liked for Bruno Mars. Yeah. But then they played
musical chairs, and you know how stuff get lost. You know those A &R's move. Man, I told Scottie and Scotty they love this for Bruno. You know what saying? But Scotty is a dope writer and singer, man. When you look at Scotty, you don't think that voice is gonna come out. But he has a really good voice, man.
We have
Speaker 2 (44:18.733)
Thank you.
So let's turn that into a question. How do you manage wearing different hats in this business?
It's the
Speaker 2 (44:28.265)
I just try to know where I made it in the room. Now, by the grace of God, anytime I'm in a room, people will be like, okay, he writes, he vocal produces, he sings, he does it. But it's like, if someone can fill that void, and I know I can, I just speak up. You know what saying? I've been in a room where people have been stuck on verses, and I'm like, yo, if you don't mind, I can help you write the rest. They're like, oh, word, for real. Because the worst thing that can happen is they don't like your line.
Cause anybody's gonna give you a chance from the big artists to the big A &Rs to the small artists and smart artists, anybody. They just want the record done. then if anything that just adds to your catalog, you know what I'm saying? It's just like, just know if you mention something, just make sure you can deliver. So it's like, I've been like getting more into that as well. You know I'm saying? Like, and just not being scared to tell people that you do multiple things. You know, people don't have to just know you as fat boy to producer, you know?
People can know you as Fatboy the engineer and Fatboy the songwriter or co-producer or whatever. Like, yo, it's just knowing when you're in a room and or in a situation, like how can you help get to the finish line? You know, if that's you telling them you're writer and writing more, do it. If you have to add extra production, if you have to bring in producers, if they're bringing writers, or if you have to sing the demo yourself or whatever, you know, I've always wanted to be in a room and be able to do everything.
So that's when I took pride in. I can literally go to any studio and just be like, well, the songwriting pull up, I got it. The producing pull up, I got it. You know, the vocal producing right here, I got it. And I took pride in it, you know what I'm saying? And I still take pride in that, like knowing I can do that in the room. even when you think about like people we look up to, you like you mentioned Jason Joshua early fact, yo, okay, cool. Well, Jason Joshua was an A &R first, you know what I'm saying? So it's like.
he can literally pick a single out, you know what saying? So people like, he's a great mixer. know, his journey was different than other people. My journey was I started as an artist, you know, developed into an engineer, and now I'm mixing engineer. But like, I had to start way down there. And in between those slots was, you know, vocal producer, writer, singer. And I grew up in church singing, like, my whole life. like, that was like a hidden gift that was there that I kept right here just in case someone needed it.
Speaker 1 (46:48.59)
I think you really need to, I mean, cause even Cardi B picked one of your songs too. But even then a situation came out, she ended up firing her manager at the time. And Pardi was like her main writer then. Pardi actually picked the...
Cardi liked it, she looked at Pardee, Pardee was like, yeah, put that in there. But it was your record, they loved the hook.
We gotta do a special about the lost records that didn't make it that should've made it.
I got a lot of those.
But the crazy thing is you get those stories of these records that might be four or five years old and then it finally gets to that right place and it's picked because like I said, I'm not giving up on this. Scotty delivered some great shit. it's only thing, if it's anything that I might do, I might update the sonics of the track a little bit. But his lyrics are timeless because he's talking about the things that human
Speaker 1 (47:58.447)
life
I mean, if it's on your hard drive and it's never been heard, it's new. It's new to everybody else, you know?
Pan- and music is a revolving door so you know I'm saying Sonic's might get old for a second but it comes back. You know what mean?
It's like these vans I'm wearing. My daughter's wearing them now too, so.
Nothing new under the sun, know, which today it seems like again, which would go back to, you know, studying because it does seem like things are new under the sun to a lot of these, the new kids. But there are those ones, you know, if it's 10, it's one in 10 that will still go that route and really try to pick up gain from every room.
Speaker 1 (48:50.434)
that they're going, cause I know every room that I'm in, especially if me and Dan are in there, we always try to leave some nuggets in that room with those that are just getting into it and trying to get someplace. Is that something that you try to do for aspiring engineers, producers, artists?
For sure. always, I always, it's two things, it's two main things I try to do when I'm in the room is like, I try to learn something and I try to teach something. Cause that's how you evolve. You know what saying? Like I watched the young engineers too. Like I'm not too far off. I'm 32, but these, these 22 year olds, they, they got a different ear. I was in the, I was in the studio with a young engineer the other day and he was like, yo, I never did rap before or I never did. I was laying some demos and I was giving a tour. I'm not gonna lie. I was so fast. And he was just like, and I was like,
Do this, stack that, put that here. Or put that in Ad-lib. Okay, cool. Start from the top of the song. I was purposely telling him to do multiple things, you know what saying? Drilling them. And he was just sitting there and he was doing it. You know I'm saying? And then I was just like, okay, cool. So it's like, I was teaching him at the same time, but then he was teaching me cause he was like, well, let me just try something. Then I was like, all right, let you try something. And then he showed me something and I was like, whoa. So it's like, anytime I'm in the studio with just even the older guys, like I try to.
teach them something and then learn something from them. Cause it's like, if we keep learning from each other, we'll evolve. And then you don't have to be, you can be the OG that's stuck in old ways or you can be the OG that's still thriving or you can be the young guy that's stuck in his own ways or the young guy that's still thriving. You know what saying? So it's like, I try to be the young guy that's still thriving, but I'm still learning from everybody. New guys, older guys, and just always, I always catch myself in a room preaching to somebody. So,
whether it's about life or work ethic. And then I have to literally stop my, know, me and Fatboy would talk for hours, like session over at six, me and Fatboy in there at 7.30. You know what I'm we in there like, man, with life, you just gotta keep going. You know, like that's me all day. Like, I'm unk now. You know what I'm saying?
Speaker 3 (50:57.662)
You'd be surprised I don't feel any different than when I was 24 and starting my studio Yeah, I I look a little different but like I don't feel any different, you know, like it's gonna creep up on you but man just just to see you like Thriving now and still I don't feel like it's been 15 years
Take one.
Speaker 2 (51:18.958)
Yeah, me either. That's the scary part. you know, someone asked me the other day, man, they was like, just off your point. was like, yo, how you feel? I was like, man, I feel great. And I honestly feel like I'm just getting started. You know, like I feel like I'm going to go on a writer's run. You know what saying? I feel like I'm going to executive producer run. And I have time. I'm 32. You know what saying? By the grace of God, what I've been able to accomplish in the last 15 years is what some people don't accomplish in their career. You know what I'm saying? So, and I don't take that for granted.
It's an honor every single other day or month or year. This goes platinum. That goes number one. This Grammy nomination. It's an honor. it's you know, it's crazy because when stuff comes out, it's technically old. You know what saying? So it's like, I'm working on something different. And then we're celebrating accomplishments that may be new to the world, but like old to us. So it's like, I really feel like I'm just getting started. Like, I don't know what 32 feels like, but I feel...
I don't feel 32. Like, feel like a kid, honestly. I feel like I'm just getting started because I finally, it's room to grow, but I can finally say I now know what I'm doing. You know what I'm saying?
So something I might have taught you on day one is about the cycle of learning. Does this sound familiar? Yes. Like you start off as a white belt, right? Yeah. Exactly. a karate analogy to death or whatever, but you grow up a little bit like a sprig and you get your green belt and you become like a tree with a trunk. You're a brown belt. You achieve mastery. You're a black belt. But if you keep going around that black belt starts turning gray and getting weathered.
It turns white again. And that symbol to me is you're always learning, at least the true masters are. And it's such an honor and privilege to see the student become the master now.
Speaker 2 (53:06.85)
Yeah, yeah.
Speaker 2 (53:13.614)
Thanks man, you're gonna make me cry
Speaking of, speaking of mastery, Scotty, you've been on an awards run lately, man. You had some plaques coming in and some successful projects that you were part of, Talk, let us know a little bit about that, What's some of the awards and accomplishments that you've had over the last couple of years?
One, once again, thanks Sensei Dan, that means the world. You've always treated me right in college and even outside of college. Same with you, Fatboy. A lot of people don't know, before I moved to Atlanta, I was in basically the Savannah area for four years. how people looked at Zaytoven when Zaytoven was growing up, Fatboy was the man where I was from. You know what saying? to still be on the podcast, it's just like, you know?
I appreciate that.
I don't take for granted for both of y'all like it's it's I'm so blessed to be here I'm so blessed still to be thriving and to see y'all thriving too
Speaker 1 (54:23.95)
He's been everywhere that I've been, Howdy has been there, like.
Yeah
Like, bro, when you was running through the when you was traveling to Atlanta, jeez, like, bro, I was a jit. And I'm just like, man, I'm a kid. Like, man, I wish I could work with Fat Boy one day. so to see me. That's crazy. That's why when I seen you at the B Battle, some people didn't know who you were once again because of research. But me, I was like, I'm like, yo, that's Fat Boy. And I went through the crowd and I bumped off for everybody. And I went and shook your hand. I looked you in eyes. I was like, yo, I said my full government. I was like, yo, my name is Gregory Satchella Jr.
I'm gonna break
Speaker 2 (55:02.83)
I took his hand. I was like, my name is Gregory Sattelo Jr. You know, but I go by Sky and you know, I'm gonna work with you one day. already meet you. He was like, he's yeah, that's what's up, man. Nice to you, bro. And then years later, see this happens beautiful. So I just want to say that before I answer your question.
That's real, that's real. bro. I like to go in rooms, because one thing that I say, I've always said, is I want to be able to go to Walmart if I want to go to Walmart. So I've never tried to, you know, even though my manager, they've tried to push me to do stuff like that, but I would rather just pay me, and I'm cool. Yeah.
Yeah, for sure.
Speaker 1 (55:41.406)
And you can keep the glitz and glamour because I don't want to get trapped into that world. So that's why I'm able to walk in rooms a lot of time. And some people don't know who I am. Some people will. But I appreciate that. And I remember that like it was yesterday.
Yeah, bro, me too. So so yeah, it's a blessing man. God is good So the few accomplishments I've been able and blessed to be a part of over years is I got a Grammy nomination from Travis Scott Utopia That went number one. I think on billboard like top 100 That I think it just went double platinum the album just went double platinum I worked on a record called lost forever with a west side gun on here After that
Let me see. Rae Shimmer's stuff is always going up. I worked on Trimlight 2 and 3, but mainly 2. That has gone double platinum recently. Queen Iza just went gold not too long ago for her misunderstood album. Jits Round Sound just went triple platinum, I believe. That song is with number one so many different times on so many different billboards. It's a blessing to be a part of that. I've been a part of
It was a Lil Durk album. He dropped some of the albums. It was like four albums ago at this point, but they all go to platinum. I was a part of that album. It was a deluxe album. They ended up doing good as well. So it was that one. I won a Arista award overseas for basically like album of the year. And it was a feature I recorded on an album. I still haven't ordered that. I need to order that. I just moved. So I have enough. Now I have more space to
put my words so.
Speaker 3 (57:26.018)
Can I put some of your plaques
These this is where my plaques are going. But like I just moved like two months ago. So it's like we just really settled in. And my wife was like, yeah, so, baby, it's time to hang up your plaques. And I need to order some more plaques because like I've always liked like where we moved here and there. But it just was like I never had like that space where I'm like, yeah, I'm going to hang this up there. So now I'm going to do that. What else have I been a part of?
Uhhhh
I did Dave and the Temple Man worked on a project. So it was a gospel album that did pretty well. think that was like top 10, top 20, I believe. What else, what else, what else? I'm missing some stuff, but it's plenty more.
Too many to mention, You're crushing it over here. So how much stuff has changed over the last 15 years? What do you think is going to happen to the music industry for the next 15 years? Where do see it going?
Speaker 2 (58:31.382)
Uhhh...
In my heart, I've always felt this way. I feel like real music is slowly coming back, but I feel like it's getting to the point where when I say real music is coming back, that's what I mean. Like you have to know how to make a song. I don't think it's going to be as free spirited as it is now. I think getting records mixed is coming back, which is why you see these older guys pop back out. Like Serbin is popping back out, you know. As much as Jason Jobs just say he's retiring, he's not, you know what I'm saying?
And even the older guys are coming back because I think people do want music. They do want high quality mixes and masters and just songs. And I think that's been proven with when we get blessed with people like phenomenal artists and songwriters like SZA and Coco Jones and Money. I'm a big fan of Lucky Day, Giveon, all these people. When you think about musicality.
Like that's what I think of, but I think it's getting, I think it's gonna, within the next 15 years, it's gonna be, I don't think it's gonna be a young industry. I just think it's gonna be a seasoned industry. Where like, if you're really good at music, you're gonna thrive. So.
So you're not worried about AI stealing everybody's music careers?
Speaker 2 (59:49.998)
Because AI don't got energy, you know what saying? Like AI don't got energy and AI don't You know, AI can't make a beat like Fatboy. AI can't play guitar like Sensei Nen. AI can't mix and record and control the room like Scotty. it's like, you know, I think AI... Exactly. I think AI can and will help us, but I don't... I'm not worried about a computer taking my spot. You know what I'm saying? Like, there's so many spots out here for everybody and...
It doesn't have the human element.
Speaker 2 (01:00:18.094)
I don't think AI will scoot everybody out the way. think if we learn how to use it, whether it's- exactly. Yeah, like chat. Yeah, yeah, yeah. That's how I feel. But yeah, just, answer your question, just think within the next 15 years, I think I see a lot of these young mixers, including me, just starting to step up and just evolve into the creativity that they've been called to do. And that doesn't just have to be engineering. I can see a lot of these engineers being A &Rs.
tool. Great, great tool. Yeah. It's not a replacement.
Speaker 2 (01:00:48.334)
I could see a lot of these engineers being producers and being successful in both, you know, including me, you know what saying? So it's like, I see musicality coming back. see music evolving until where we get that real feeling back, you know? It was nothing like growing up and I go in the kitchen and my mom's playing Aretha while she cooking. You know what I'm saying? My mom playing Shirley Seasons, my mom playing the Clark Sisters, like my mom playing all this good music where they had music like drums, bass, guitar.
you know, they may have to bring in a choir, may have to bring in someone to play the piano. Like I can see music getting back to that within the next 15 years. It may be a slow process, I can see it coming back. And I always have hope for that. You know, I said that 15 years ago and I'm gonna say it again. that good feeling you get when you hear a song, you know, that's what makes a record, a hit record is making it relatable and making sure that it's timeless. You know what saying? So that's what I think.
the music business is gonna shift to in the next 15 years.
Awesome. Hey fat. Do you think it's time for your deal now?
I think it is. Scotty. Yes. We have some questions that, what Dan, ask a couple of.
Speaker 3 (01:01:53.685)
Okay.
Speaker 3 (01:02:02.136)
Okay, I'll set you up. So this is is level up. It's our last little bit we do on the thing. We just started doing it rapid fire. Yes or no, this or that judgmental questions. We're putting you on the spot. So don't think about it. Just go with this or that. Okay. All right. Dawes pro tools or logic. Okay. Headphones, Sony or AKG.
Brutus.
Speaker 2 (01:02:30.872)
Sorry.
Mac or PC? Mac. Alright, those are easy. Fatboy, go.
analog or digital.
Depending digital.
okay. AI or human intelligence? In the box or on the board?
Speaker 2 (01:02:48.536)
Human intelligence.
Speaker 2 (01:02:54.967)
In the box.
Big Studio, Small Studio.
Small studio, please.
Speaker 1 (01:03:04.651)
Our Toons in S10s.
My generation, our tones. Your generation, innocent.
That's cold man, that's cold. Hit us with that your generation.
I had to be honest.
You know, you gotta be honest, most young guys don't know what to do with innocence. don't know how to, their ears are not trained to them. Mine,
Speaker 3 (01:03:31.636)
I got socks and NS10s older than you.
I'm on Mr. Light!
Speaker 1 (01:03:40.142)
And last one, Sis A Dan a Fat Boy.
Both.
Speaker 1 (01:03:50.734)
Well, one of his other former students he went the day and wait, yeah Well, you know
I said I gotta get him.
We're both your senseis. We couldn't be prouder to you, Scotty. have taken that creative spark and you're sparking it in the new generation. And it's just wonderful to see that cycle of learning and creativity going in your hands too, Scotty. Man, thank you. Man, got to, we could go for hours on this. We're going to have you back. We got to do some more of these if you're willing.
Man, I'm willing, man. Anything for y'all just actually fit within my schedule. I was taking an ear break from mixing and I was decompressing. So this was great.
Speaker 1 (01:04:45.146)
While saying hopefully hopefully next time we'll have a studio so we can yeah, yeah
We're working on that. We're still a baby podcast right now. This is like episode five or six, but, man, we're so pleased that we could get people of your caliber to come talk with us about music and creativity and all these great things. I'll be having my partner fat boy. I am sensei Hollywood AKA Dan Marshall. I want to thank my former OG student now, the master of creativity, Scotty.
for joining us today on.
It's levels to this.
Thank you so much for watching.
Speaker 3 (01:05:33.494)
Hey, just real quick, we need your support. If you like seeing discussions like this, we need you to like, comment, and subscribe to the channel. Thanks for watching.
levels to do.