1 00:00:00,060 --> 00:00:01,824 Speaker 1: Hello, dear friends, this is John Butler 2 00:00:02,385 --> 00:00:04,931 Speaker 1: and you're about to listen to a podcast 3 00:00:04,951 --> 00:00:06,013 Speaker 1: called Running the River. 4 00:00:06,560 --> 00:00:08,626 Speaker 1: This is a new podcast that I have put 5 00:00:08,666 --> 00:00:10,511 Speaker 1: together with my dear friend Dingo Spender. 6 00:00:10,680 --> 00:00:12,726 Speaker 1: He, you may recall, helped me with the last 7 00:00:12,966 --> 00:00:14,972 Speaker 1: podcast I made for my album Home. 8 00:00:16,000 --> 00:00:18,565 Speaker 1: Here again we deconstruct and get under the 9 00:00:18,645 --> 00:00:20,708 Speaker 1: skin and get our hands dirty in the 10 00:00:20,768 --> 00:00:23,272 Speaker 1: substrate soil of what I was envisioning 11 00:00:23,352 --> 00:00:25,095 Speaker 1: for this latest ambient album. 12 00:00:25,220 --> 00:00:27,324 Speaker 1: This is an album I made for wellness 13 00:00:27,344 --> 00:00:30,010 Speaker 1: practitioners and practicers alike to 14 00:00:30,591 --> 00:00:34,108 Speaker 1: defrag and decompress in this very busy, 15 00:00:34,912 --> 00:00:38,704 Speaker 1: fast and quick world, and we hope you enjoy 16 00:00:38,924 --> 00:00:42,573 Speaker 1: as we take you up down and across the river. 17 00:00:43,100 --> 00:00:44,828 Speaker 1: This is Running the River. 18 00:00:47,900 --> 00:00:49,003 Speaker 2: So let's go a little bit deeper on the 19 00:00:49,123 --> 00:00:50,547 Speaker 2: intros to your songs. 20 00:00:50,567 --> 00:00:52,492 Speaker 1: So, yeah, always mucked around with that 21 00:00:53,133 --> 00:00:56,080 Speaker 1: eastern and celtic, I mean even blues does 22 00:00:56,180 --> 00:00:56,240 Speaker 1: it. 23 00:00:56,741 --> 00:00:58,023 Speaker 1: You know, there's like this miran 24 00:00:58,544 --> 00:01:02,389 Speaker 1: meandering, uh, intros, that kind of set a 25 00:01:02,469 --> 00:01:06,314 Speaker 1: mood and a feel, um, and so, like you know, 26 00:01:07,215 --> 00:01:10,626 Speaker 1: even acoustically, uh, you know, for 27 00:01:10,666 --> 00:01:14,777 Speaker 1: example, you know, even when I was learning 28 00:01:14,797 --> 00:01:16,301 Speaker 1: with Deba Shish, for example, you know, 29 00:01:16,341 --> 00:01:19,668 Speaker 1: like the, the, the intros are kind of 30 00:01:19,768 --> 00:01:22,413 Speaker 1: important, you know, and then then you'd go 31 00:01:22,473 --> 00:01:23,346 Speaker 1: into the Raga but like, for example, you 32 00:01:23,366 --> 00:01:24,132 Speaker 1: know this ESC, you know, as I said, into 33 00:01:24,152 --> 00:01:24,939 Speaker 1: the raga, but like, for example, you know 34 00:01:24,959 --> 00:01:25,622 Speaker 1: this esque. 35 00:01:25,963 --> 00:01:27,789 Speaker 1: You know, as I said, I bastardize and 36 00:01:27,809 --> 00:01:28,873 Speaker 1: mongrel everything. 37 00:01:29,034 --> 00:01:33,686 Speaker 1: So this is no, there's no strict modality 38 00:01:33,706 --> 00:01:34,427 Speaker 1: about what I'm doing. 39 00:01:34,487 --> 00:01:38,363 Speaker 1: But these kind of things, yeah, so I mean 40 00:01:38,383 --> 00:01:40,233 Speaker 1: the Celtics have is much the same as the 41 00:01:40,314 --> 00:01:42,083 Speaker 1: Indian stuff, at least how I approach it. 42 00:01:42,645 --> 00:01:45,879 Speaker 1: As I said, I'm no aficionado how do you say 43 00:01:45,899 --> 00:01:46,080 Speaker 1: that word? 44 00:01:46,762 --> 00:01:50,230 Speaker 1: Aficionado, aficionado, I'm no aficionado 45 00:01:50,470 --> 00:01:51,212 Speaker 1: on any of it. 46 00:01:51,272 --> 00:01:54,640 Speaker 1: So you know what would that be? 47 00:01:57,345 --> 00:02:01,232 Speaker 1: It's like, you know, I mean it's 48 00:02:01,713 --> 00:02:02,474 Speaker 1: Celtic-esque. 49 00:02:02,494 --> 00:02:06,064 Speaker 1: You know, if I was doing the intro, you 50 00:02:06,084 --> 00:02:08,450 Speaker 1: know, just kind of very similar to like the 51 00:02:08,510 --> 00:02:09,252 Speaker 1: Indian stuff in a way. 52 00:02:09,272 --> 00:02:24,187 Speaker 1: You know, but then not instantly, I start 53 00:02:24,729 --> 00:02:27,379 Speaker 1: bringing in Debashisha stuff and turns into 54 00:02:27,419 --> 00:02:29,086 Speaker 1: Celtic Indian, I don't know whatever. 55 00:02:30,552 --> 00:02:32,179 Speaker 1: So yeah, it's very much the same. 56 00:02:32,199 --> 00:02:33,841 Speaker 1: But if you're doing even blues, if you're 57 00:02:33,861 --> 00:03:04,323 Speaker 1: starting, I think you know probably most 58 00:03:04,363 --> 00:03:06,243 Speaker 1: practices, you know most styles of music 59 00:03:06,304 --> 00:03:09,042 Speaker 1: have that kind of thing, or maybe 60 00:03:09,383 --> 00:03:10,508 Speaker 1: instrumental music, maybe. 61 00:03:12,001 --> 00:03:14,928 Speaker 2: Yeah, so show us like how you make these 62 00:03:14,948 --> 00:03:16,572 Speaker 2: guitar beats and lay down this band. 63 00:03:17,320 --> 00:03:19,809 Speaker 1: Yeah, so I think I said earlier on, like 64 00:03:20,330 --> 00:03:23,340 Speaker 1: once I decided I got the arc of the seasons 65 00:03:23,581 --> 00:03:25,609 Speaker 1: and had some context. 66 00:03:25,760 --> 00:03:29,169 Speaker 1: It was like things started falling into 67 00:03:29,189 --> 00:03:29,992 Speaker 1: place really quickly. 68 00:03:30,100 --> 00:03:32,166 Speaker 1: So I just kind of this is like my little 69 00:03:32,346 --> 00:03:36,806 Speaker 1: mini, kind of mini rig that I use for real 70 00:03:36,866 --> 00:03:39,393 Speaker 1: small you know, doing benefits and stuff, 71 00:03:40,021 --> 00:03:42,891 Speaker 1: but it was something even smaller than this 72 00:03:42,931 --> 00:03:43,413 Speaker 1: in my living room. 73 00:03:43,460 --> 00:03:44,986 Speaker 1: I just sat there and kind of wrote most of 74 00:03:45,006 --> 00:03:46,201 Speaker 1: the music really quickly and it kind of 75 00:03:46,221 --> 00:03:48,988 Speaker 1: started just with, like you know, literally 76 00:03:49,008 --> 00:03:52,605 Speaker 1: a heartbeat, as simple as possible, you 77 00:03:52,625 --> 00:03:52,826 Speaker 1: know. 78 00:03:52,846 --> 00:03:54,962 Speaker 1: So something to play over, something to 79 00:03:55,002 --> 00:03:56,387 Speaker 1: kind of create a bed with. 80 00:03:56,460 --> 00:04:27,337 Speaker 1: So it's like you know, and and then create 81 00:04:27,377 --> 00:06:57,085 Speaker 1: some ambience, some, you know, that'd be 82 00:07:00,067 --> 00:07:10,275 Speaker 1: the basis really. 83 00:07:10,295 --> 00:07:12,276 Speaker 1: Thank you, thank you, so, so, and that's 84 00:07:12,316 --> 00:07:14,361 Speaker 1: kind of how I wrote most things Like. 85 00:07:14,461 --> 00:07:23,165 Speaker 1: Even, like you know, you know, sometimes I 86 00:07:23,185 --> 00:07:27,814 Speaker 1: would slow down the delay a bit and then 87 00:07:27,874 --> 00:07:33,746 Speaker 1: just literally just on the spot, be like so 88 00:07:33,766 --> 00:07:35,229 Speaker 1: yeah, so there's like a whole delay pedal 89 00:07:35,249 --> 00:07:36,411 Speaker 1: like on the bridge pickup. 90 00:07:36,431 --> 00:07:38,121 Speaker 1: So I run two pickups and this guy's picking 91 00:07:38,161 --> 00:07:41,948 Speaker 1: up the body and this guy's picking more of 92 00:07:41,968 --> 00:07:51,514 Speaker 1: the amp just to bring in extra grunt when 93 00:07:51,534 --> 00:07:57,115 Speaker 1: needed, you know, and so maybe one song 94 00:07:57,135 --> 00:07:59,360 Speaker 1: might just be a little bit more like, like, 95 00:07:59,380 --> 00:08:00,806 Speaker 1: uh, and all of them are like based around 96 00:08:00,846 --> 00:08:03,155 Speaker 1: this heartbeat, like not getting fancy with 97 00:08:03,176 --> 00:08:03,597 Speaker 1: the beats at all. 98 00:08:03,617 --> 00:08:05,365 Speaker 1: So just kind of like, let's make it slower. 99 00:08:05,405 --> 00:08:06,363 Speaker 1: Wait, what's that? 100 00:08:06,383 --> 00:08:07,707 Speaker 1: Speed back, that's actually good. 101 00:08:07,728 --> 00:08:11,065 Speaker 1: It's slower, john, that's faster, let's try 102 00:08:11,085 --> 00:08:15,073 Speaker 1: this one, okay. 103 00:08:15,093 --> 00:08:18,045 Speaker 1: So a lot of times like, okay, I want this 104 00:08:18,065 --> 00:08:21,561 Speaker 1: to be calming, slow, and in the practice of 105 00:08:21,661 --> 00:08:26,168 Speaker 1: making it, it sent me to new places to 106 00:08:26,349 --> 00:08:28,774 Speaker 1: really get mindful, because there was no 107 00:08:28,834 --> 00:08:30,478 Speaker 1: way I could be anywhere else but in these 108 00:08:30,718 --> 00:08:31,821 Speaker 1: very slow rhythms. 109 00:08:31,881 --> 00:08:33,364 Speaker 1: So like something like this, for example 110 00:08:58,887 --> 00:08:59,667 Speaker 1: what do we do next? 111 00:08:59,747 --> 00:09:00,247 Speaker 1: May I go? 112 00:09:12,273 --> 00:09:13,633 Speaker 1: Yeah, so that's the song off the album, 113 00:09:14,433 --> 00:09:17,294 Speaker 1: thank you. 114 00:10:10,807 --> 00:10:13,208 Speaker 1: And just the practice of having to play 115 00:10:13,228 --> 00:10:22,697 Speaker 1: that slow and just like Was amazingly 116 00:10:24,000 --> 00:10:24,522 Speaker 1: therapeutic. 117 00:10:24,810 --> 00:10:26,853 Speaker 1: It was totally healing for me just to play 118 00:10:27,353 --> 00:10:31,399 Speaker 1: that slow, bring the nervous system down 119 00:10:31,940 --> 00:10:41,533 Speaker 1: away from something like you know, like you 120 00:10:41,573 --> 00:10:44,483 Speaker 1: know, like whoa, which is great and super 121 00:10:44,523 --> 00:10:45,968 Speaker 1: warrior and great. 122 00:10:46,229 --> 00:10:48,514 Speaker 1: But you know there's a whole other idea of 123 00:10:49,135 --> 00:10:49,476 Speaker 1: warrior. 124 00:10:49,516 --> 00:10:51,059 Speaker 1: That's common, you know. 125 00:10:51,780 --> 00:10:57,191 Speaker 1: And so I made this a lot of these songs 10 126 00:10:57,251 --> 00:11:01,038 Speaker 1: minutes, 15 minutes to, so you could be 127 00:11:01,139 --> 00:11:04,004 Speaker 1: used for like a practice, like TM does, 20 128 00:11:04,070 --> 00:11:05,978 Speaker 1: minutes, you know, and you know, some of 129 00:11:05,998 --> 00:11:09,431 Speaker 1: the breathing exercises are 15 to half hour 130 00:11:09,451 --> 00:11:10,535 Speaker 1: and I was like, how can I make this? 131 00:11:10,655 --> 00:11:12,952 Speaker 1: You know, shavasana, shavasana. 132 00:11:13,072 --> 00:11:15,861 Speaker 1: After yoga it's like you sit for 10 minutes, 133 00:11:16,202 --> 00:11:16,964 Speaker 1: 15 minutes. 134 00:11:18,349 --> 00:11:20,339 Speaker 1: So I was writing, you know, I'd make a loop 135 00:11:20,440 --> 00:11:22,070 Speaker 1: on the beat and then I play this chord 136 00:11:22,150 --> 00:11:29,941 Speaker 1: progression for 10 minutes and I often 137 00:11:30,001 --> 00:11:31,804 Speaker 1: pluck different every time. 138 00:11:31,864 --> 00:11:33,807 Speaker 1: But this song, these songs, wanted 139 00:11:34,247 --> 00:11:36,050 Speaker 1: repetition, trance, like headspace. 140 00:11:36,110 --> 00:11:50,473 Speaker 1: So it's just, you know, One, two, three, 141 00:11:50,693 --> 00:11:56,784 Speaker 1: four, that's it the whole time, like that's 142 00:11:56,864 --> 00:11:56,965 Speaker 1: it. 143 00:11:58,051 --> 00:12:17,476 Speaker 1: And then you know, and doing that for 10 144 00:12:17,516 --> 00:12:18,281 Speaker 1: minutes, like it's an extremely calming 145 00:12:18,302 --> 00:12:19,147 Speaker 1: thing, a very simple thing, very 146 00:12:19,188 --> 00:12:21,655 Speaker 1: trance-like thing, and a lot of times we'd 147 00:12:21,675 --> 00:12:23,700 Speaker 1: listen back and we'd both be nodding off 148 00:12:24,550 --> 00:12:25,857 Speaker 1: and that was like, yes, we're doing the 149 00:12:25,897 --> 00:12:28,229 Speaker 1: right job, you know, because, yeah, it was 150 00:12:28,269 --> 00:12:30,277 Speaker 1: about bringing the nervous system down. 151 00:12:30,510 --> 00:12:32,871 Speaker 1: So that was kind of how it was built and I 152 00:12:32,891 --> 00:12:35,078 Speaker 1: just made most of the songs other than 153 00:12:35,820 --> 00:12:39,356 Speaker 1: Wartua, you know, wartu song and chant and 154 00:12:39,456 --> 00:12:43,394 Speaker 1: pray for my people, and the flute, the 155 00:12:43,454 --> 00:12:46,742 Speaker 1: flute kind of breathing cedar instrumental. 156 00:12:47,471 --> 00:12:49,798 Speaker 1: They were mostly built this way and kind of 157 00:12:49,818 --> 00:12:51,291 Speaker 1: that quickly sometimes, you know, and then 158 00:12:51,331 --> 00:12:52,938 Speaker 1: in the studio we could elaborate and 159 00:12:53,671 --> 00:12:55,498 Speaker 1: Stretch out and David have a suggestion of? 160 00:12:55,518 --> 00:12:58,753 Speaker 1: Maybe not, and that's how it started. 161 00:12:58,793 --> 00:13:01,579 Speaker 1: You know, we, we literally set up a whole 162 00:13:01,619 --> 00:13:03,443 Speaker 1: room with a PA that would just make, you 163 00:13:03,463 --> 00:13:07,155 Speaker 1: know, put the beat in the room and record 164 00:13:07,195 --> 00:13:09,982 Speaker 1: that whole beat in a big ambient space, not 165 00:13:10,002 --> 00:13:14,124 Speaker 1: just through a DI, that whole beat in a big 166 00:13:14,144 --> 00:13:18,792 Speaker 1: ambient space, not just through a DI, and 167 00:13:18,852 --> 00:13:21,058 Speaker 1: then, you know, I'd play to that and we'd 168 00:13:21,078 --> 00:13:23,503 Speaker 1: have nice mics on my guitar, but then this 169 00:13:24,005 --> 00:13:26,049 Speaker 1: whole thing, or at least, or at least this 170 00:13:26,070 --> 00:13:28,701 Speaker 1: part, it would all be going on in another 171 00:13:28,741 --> 00:13:30,050 Speaker 1: room as well through a PA system. 172 00:13:30,170 --> 00:13:35,874 Speaker 1: So mics in this PA system, and Dave just 173 00:13:35,915 --> 00:13:37,160 Speaker 1: did this amazing job of capturing like the 174 00:13:37,221 --> 00:13:39,711 Speaker 1: three-dimensionality of the sonics and that 175 00:13:39,992 --> 00:13:41,556 Speaker 1: space actually really adds. 176 00:13:41,957 --> 00:13:43,341 Speaker 1: It really adds to the sound. 177 00:13:43,490 --> 00:13:44,595 Speaker 1: I mean, yes, there's delays and there's 178 00:13:44,635 --> 00:13:46,976 Speaker 1: reverbs, but there's also this cavernous 179 00:13:47,056 --> 00:13:49,337 Speaker 1: space that all the sound is being able to 180 00:13:49,457 --> 00:13:49,939 Speaker 1: envelop in. 181 00:13:50,890 --> 00:13:52,631 Speaker 1: So yeah, that's kind of the techie world 182 00:13:52,691 --> 00:13:55,433 Speaker 1: and the birthplace of it. 183 00:14:18,866 --> 00:14:20,447 Speaker 1: You know, a big part of that was Dave Mann, 184 00:14:20,467 --> 00:14:22,028 Speaker 1: which we've kind of gone into before, just 185 00:14:22,050 --> 00:14:23,917 Speaker 1: like how amazing he is as an individual and 186 00:14:24,338 --> 00:14:27,269 Speaker 1: the sounds he pulled, and also just a 187 00:14:27,309 --> 00:14:31,704 Speaker 1: really great this crow, this war, the car 188 00:14:31,725 --> 00:14:35,677 Speaker 1: ward on and and what, andy Wongi, and that 189 00:14:36,017 --> 00:14:38,404 Speaker 1: there's a crow that's on a song so 190 00:14:39,387 --> 00:14:41,534 Speaker 1: interesting and we you know Davis, we had a 191 00:14:41,614 --> 00:14:43,602 Speaker 1: whole bunch of mics up in the in the 192 00:14:43,642 --> 00:14:46,373 Speaker 1: recording room that had that was recording 193 00:14:46,413 --> 00:14:49,365 Speaker 1: the PA, and then I was in the monitor room 194 00:14:49,385 --> 00:14:52,335 Speaker 1: with him with the mics on my guitar and 195 00:14:52,355 --> 00:14:55,234 Speaker 1: this word on was kept on crowing through 196 00:14:55,254 --> 00:14:56,898 Speaker 1: the whole song and it ended up becoming the 197 00:14:56,938 --> 00:14:58,302 Speaker 1: name of the song flight of the crow, 198 00:14:58,851 --> 00:15:02,778 Speaker 1: because he just was just there coming at, 199 00:15:03,339 --> 00:15:05,784 Speaker 1: okay, knocking on the window can I ask is 200 00:15:05,844 --> 00:15:06,811 Speaker 1: it, is it the crow? 201 00:15:06,951 --> 00:15:08,214 Speaker 2: is it the get out of bed crow? 202 00:15:08,875 --> 00:15:09,857 Speaker 2: It's the get out of bed crow. 203 00:15:10,018 --> 00:15:11,621 Speaker 2: Yes, yes, can I share? 204 00:15:11,721 --> 00:15:12,583 Speaker 2: Yes, please do so. 205 00:15:12,643 --> 00:15:14,594 Speaker 2: I've stayed quite a number of times in your 206 00:15:14,614 --> 00:15:17,661 Speaker 2: studio, um, not necessarily because we've 207 00:15:17,681 --> 00:15:19,131 Speaker 2: been doing music, but I've also. 208 00:15:19,232 --> 00:15:20,073 Speaker 2: Yeah, I've got a lot. 209 00:15:20,093 --> 00:15:21,456 Speaker 2: I've done a lot in time in that room. 210 00:15:21,757 --> 00:15:27,554 Speaker 2: Yes, and there's this crow, this that has 211 00:15:27,614 --> 00:15:31,640 Speaker 2: this compulsion at the crack of dawn, 212 00:15:32,080 --> 00:15:34,624 Speaker 2: pretty much every day, and he comes up to 213 00:15:34,664 --> 00:15:37,193 Speaker 2: the, to the glass, and he just pecks it and 214 00:15:37,234 --> 00:15:38,778 Speaker 2: it's like quite loud, like he goes bang, 215 00:15:38,858 --> 00:15:42,535 Speaker 2: bang, bang and then, and then you wait a 216 00:15:42,555 --> 00:15:46,765 Speaker 2: minute and then three knocks again and he, 217 00:15:46,985 --> 00:15:49,210 Speaker 2: it's, he does that, he's been doing that 218 00:15:49,230 --> 00:15:51,517 Speaker 2: for years, he has been doing it for years 219 00:15:51,738 --> 00:15:52,741 Speaker 2: and who like? 220 00:15:52,841 --> 00:15:54,092 Speaker 1: what's his story who? 221 00:15:54,313 --> 00:15:54,814 Speaker 1: Who are they? 222 00:15:55,636 --> 00:15:57,761 Speaker 1: Um, I mean, I mean, that's a big question. 223 00:15:58,041 --> 00:16:00,935 Speaker 1: You know, I'm always similar to when dogs 224 00:16:00,995 --> 00:16:02,479 Speaker 1: don't like you and you're like what do they 225 00:16:02,519 --> 00:16:03,461 Speaker 1: see that I don't see? 226 00:16:03,541 --> 00:16:04,853 Speaker 1: Like, oh, I'll take that personally. 227 00:16:04,893 --> 00:16:06,117 Speaker 1: I always take it a little personally when 228 00:16:06,277 --> 00:16:08,271 Speaker 1: the crow just finds the room I'm in, when 229 00:16:08,292 --> 00:16:10,376 Speaker 1: the whole house is empty, and goes with his 230 00:16:10,396 --> 00:16:10,636 Speaker 1: beak. 231 00:16:10,897 --> 00:16:16,732 Speaker 2: Yeah, it's so hard as well, like his beak 232 00:16:16,933 --> 00:16:17,977 Speaker 2: must be, yeah. 233 00:16:18,017 --> 00:16:20,614 Speaker 1: Well, you know they, like I don't know what 234 00:16:20,915 --> 00:16:23,101 Speaker 1: the dreaming stories are for other places, 235 00:16:23,161 --> 00:16:24,433 Speaker 1: but you know what I've been shared with 236 00:16:24,955 --> 00:16:30,420 Speaker 1: from Uncle Wayne and and his son Isaac is, 237 00:16:30,701 --> 00:16:34,120 Speaker 1: you know there's a vanity story. 238 00:16:34,210 --> 00:16:36,361 Speaker 1: There's a vanity dreaming kind of story 239 00:16:36,401 --> 00:16:38,711 Speaker 1: about, kind of being obsessed with their 240 00:16:38,932 --> 00:16:41,379 Speaker 1: image and having this whole kind of war 241 00:16:41,420 --> 00:16:45,319 Speaker 1: with it and the fact I think it was 242 00:16:45,419 --> 00:16:48,756 Speaker 1: actually like I don't recall the story 243 00:16:48,817 --> 00:16:51,677 Speaker 1: exactly but like the reason why the crow 244 00:16:51,737 --> 00:16:53,371 Speaker 1: and the magpie are the way they are is 245 00:16:53,431 --> 00:16:54,375 Speaker 1: because they were fighting. 246 00:16:54,570 --> 00:16:57,227 Speaker 1: They're both really big, bold energies that 247 00:16:57,247 --> 00:16:58,975 Speaker 1: were fighting to be the most beautiful and 248 00:16:58,995 --> 00:17:02,737 Speaker 1: they got in a fight and they actually got 249 00:17:02,817 --> 00:17:06,416 Speaker 1: burnt in the flames and that's why the crow 250 00:17:06,456 --> 00:17:11,013 Speaker 1: is black and that's why the magpie cobardy, 251 00:17:11,314 --> 00:17:13,760 Speaker 1: as they call it in Southwest is is black 252 00:17:13,821 --> 00:17:15,213 Speaker 1: and white, um, but I don't know the 253 00:17:15,313 --> 00:17:16,297 Speaker 1: intricacies of that story. 254 00:17:16,337 --> 00:17:19,774 Speaker 1: but yeah, all Wardong came and knocked at 255 00:17:20,676 --> 00:17:22,721 Speaker 1: pretty interesting times during the whole 256 00:17:22,741 --> 00:17:25,914 Speaker 1: thing, hmm, and you can pick it up because 257 00:17:26,756 --> 00:17:29,402 Speaker 1: the studio is not soundproof, like this my, 258 00:17:29,630 --> 00:17:33,179 Speaker 1: my monitor room is ish, but the main room 259 00:17:33,863 --> 00:17:34,226 Speaker 1: isn't. 260 00:17:34,266 --> 00:17:36,175 Speaker 1: You know, we live in the country, you don't 261 00:17:36,215 --> 00:17:36,898 Speaker 1: need a lot of it. 262 00:17:37,039 --> 00:17:39,448 Speaker 1: And uh, so there's a lot of bird sounds on 263 00:17:39,468 --> 00:17:41,434 Speaker 1: the album that were caught, captured. 264 00:17:41,454 --> 00:17:42,175 Speaker 1: You know this. 265 00:17:42,536 --> 00:17:44,320 Speaker 1: We're capturing this pa doing this guitar 266 00:17:44,380 --> 00:17:46,896 Speaker 1: beat and then I'm playing over the top of 267 00:17:46,976 --> 00:17:47,036 Speaker 1: it. 268 00:17:47,096 --> 00:17:49,446 Speaker 1: We have like a pickup that's with a delay, 269 00:17:49,466 --> 00:17:51,654 Speaker 1: that's being played through a pa in a very 270 00:17:51,815 --> 00:17:54,313 Speaker 1: big room with high ceilings and then these 271 00:17:54,394 --> 00:17:56,354 Speaker 1: mics on and so like everything's kind of 272 00:17:56,395 --> 00:17:57,017 Speaker 1: getting picked up. 273 00:17:57,177 --> 00:17:59,956 Speaker 1: There's all this space and yeah, there's a 274 00:17:59,996 --> 00:18:00,699 Speaker 1: few birds in there. 275 00:18:01,690 --> 00:18:06,177 Speaker 1: And yeah, Dave just got an amazing sound, a 276 00:18:06,297 --> 00:18:07,939 Speaker 1: really great sound. 277 00:18:07,999 --> 00:18:11,264 Speaker 1: And then from there, uh, and also just an 278 00:18:11,304 --> 00:18:13,648 Speaker 1: amazing individual, very gentle and humble 279 00:18:13,828 --> 00:18:18,959 Speaker 1: and thoughtful individual, um, to work with, 280 00:18:19,039 --> 00:18:19,861 Speaker 1: which was really great. 281 00:18:19,881 --> 00:18:23,337 Speaker 1: It felt really, you know, uh excuse the 282 00:18:23,377 --> 00:18:26,511 Speaker 1: catchphrase, but it felt safe, you know and 283 00:18:26,812 --> 00:18:29,320 Speaker 1: um, and then we took it to James Newhouse, 284 00:18:29,430 --> 00:18:31,372 Speaker 1: an amazing engineer, producer, mixer, and 285 00:18:31,392 --> 00:18:32,193 Speaker 1: we sat for a few days and mixed it. 286 00:18:32,213 --> 00:18:33,273 Speaker 1: So, Dave and an amazing engineer, producer, 287 00:18:33,294 --> 00:18:34,695 Speaker 1: mixer, and we sat for a few days and mixed 288 00:18:34,775 --> 00:18:34,835 Speaker 1: it. 289 00:18:34,895 --> 00:18:36,657 Speaker 1: So Dave and I worked for 10 days on the 290 00:18:36,717 --> 00:18:38,979 Speaker 1: album just doing all the stuff. 291 00:18:40,000 --> 00:18:42,762 Speaker 1: And then I went to James Newhouse and he's 292 00:18:42,842 --> 00:18:45,665 Speaker 1: fantastic and also, once again, a very 293 00:18:45,725 --> 00:18:50,170 Speaker 1: amazing gentle, humble, badass and 294 00:18:50,190 --> 00:18:52,176 Speaker 1: sweetheart of an individual Went to his 295 00:18:52,316 --> 00:18:54,231 Speaker 1: home studio there, or the studio that he 296 00:18:54,251 --> 00:18:55,716 Speaker 1: has in his home, a really great studio. 297 00:18:56,670 --> 00:18:59,620 Speaker 1: And then we got Zeno Mickerey to master it 298 00:18:59,730 --> 00:19:02,537 Speaker 1: and I got Zeno's name because he did all 299 00:19:02,557 --> 00:19:05,813 Speaker 1: the Nils Fram stuff, which is music I just 300 00:19:05,994 --> 00:19:09,396 Speaker 1: love to listen to Speaking of soothing Me 301 00:19:09,416 --> 00:19:11,182 Speaker 1: too Frayed nervous systems. 302 00:19:11,525 --> 00:24:08,525 Speaker 1: No-transcript.