Welcome back to episode 34 of Fret Buzz
The Podcast. Today we’re going to get
into part 2 of Synthesizers and
Sampling. In today’s conversation we’re
gonna get into the music of Stranger
Things from the synth oriented
electronic band Survive, a little bit
about Michael Jackson, the evolution of
MTV and VH1, Garage Band and the modern
era of instant gratification, we get a
little bit into mixing and your
environment and how that plays a role in
terms of your final product. We talked a
little bit about our live performance
and finally, we wrap it up with the idea
of creating your own jazz band and
creating your own samples on the top of
it. Be sure to check out Panther God and
Paul Abdul at bandcamp.com and without
further ado let’s jump into episode 34
part 2 all about Synthesizers and
Sampling on Fret Buzz The Podcast.
You want to talk about Stranger Things?
Yeah, the show? Can we? Yeah.
The intro that song the theme song?
I just mean in the sense that people are
really getting into you know once again
the sound of the 80s and and the
interest in synthesizer says I think
spiked as a result of that show and so
many people seeing it the guys that made
this that’s all the music pretty
interesting thing because we booked them
for a festival we do every year called
mock fest and we first booked them I
think it was like 2014 and 60 to 70
people showed up for that for that
particular show keep in mind there are
other events happening simultaneously so
people probably had to choose between
like Kraftwerk and this unknown band
called survive well we booked them
hooked him a couple other times since
then and since the show had blown up in
like three thousand plus people show up
to see him now and it’s sold out always
and they’re using a ton of analog
hardware the first time we booked him
they drove up from Austin Texas in a van
and they they had all this vintage stuff
from like the 70s and 80s so probably
$20,000 worth of sense that let’s just
say can easily break down and go out of
tune and you know kind of a risky move
to bring old gear out like absolutely
huge yeah especially all the way from
Texas and they probably weren’t getting
paid a ton because nobody knew who they
were at that point so they played and
their thing is they play it all by hand
live so they use some sequencing for
sure but they’re also fantastic players
and they recreated kind of your stranger
things sound live for us here in the
store and I thought man these
eyes are legit they really really know
their stuff and to see how the shows
exploded it’s just really cool it’s
inspired me a lot – yeah and you know
what no idea but it makes sense you know
you have you know stranger things brings
back the nostalgia
it makes people really interested in
that era you’ve got it’s like what
Taylor Swift in with little girls and
the acoustic guitar like so many little
girls students come in and they’re like
I saw Taylor Swift playing the guitar
and I wanna do that you know it’s yeah
pop culture has a huge influence on what
people want to learn I mean I even said
like didn’t like the acoustic guitar was
becoming with all the electric guitars
of the 70s and 80s the acoustic guitar
was falling out of fashion and then like
didn’t Eric Clapton release that
Unplugged album in 1992 and yep like I’m
kind of Reese purred a lot of acoustic
players and Nirvana to that Unplugged
album yeah yeah big big for me yeah MTV
was doing that unplugged series yeah
which I miss what happened at MTV and
now it’s like dating naked and the shows
I have no idea what it is
I haven’t even yeah I haven’t checked in
on MTV in over a decade
problem no I hadn’t lion made he used to
watch that dating naked it’s ridiculous
oh so it is the thing I thought that was
a joke no it’s it’s for real that’s how
far how far I’m TV is fallen Wow
there’s nothing musical about music
television same with vh1 the same thing
yeah well in all those so I used to
as a kid when I lived in Naples I had
almost no access to music other than the
radio which was horrible for the most
part and MTV so MTV was a big deal for
me and that that’s how I found out about
music and almost exclusively for better
or worse yeah right right
right oh how the times are changing
yeah YouTube and every little kid can
post there every kid and adult can post
anything and now it’s just oversaturated
yeah it’s like anybody can get it up
there but nobody’s gonna see it yeah
that is its own problem hidden hidden
amongst the masses now yeah it’s so true
I did think of kind of a funny story so
as a kid you know I’m talking three
years old thriller came out and I was
just in love with thriller that was my
album right and my dad and I could both
agree that it was great there was
nothing else musically we could really
agree upon but thriller was like that
point and the baseline for thriller is
the sound of the Minimoog which was the
the first portable synthesizer and the
first portable mode and who knew that I
would be working for the company that
makes the Minimoog like 35 years later
right but I just knew there was
something about that that record that
was so different from what I was hearing
and I think it was that funky bass line
as much as it was anything it was the
sound of the synth and of course I
didn’t know what a synthesizer was at
that point thriller is actually the
best-selling album worldwide 43 million
copies and Counting but the second
best-selling album in the United States
do you guys know what the first is or
sorry the second yes in the Ewell’s
what’s so worldwide second best
worldwide best-selling album in the
United States okay so what’s the
best-selling worldwide thriller come
what’s the second best is what he’s
asking yeah but what is it I don’t know
you guys want to guess second best it
must have to do with the sin I feel like
you wouldn’t
when these excited if I don’t know I’m
not that because I beat the Beatles it’s
not the Beatles it’s not Pink Floyd I
was gonna say it’s like I was gonna say
like pink or Fleetwood Mac has rumors
that’s a that’s a great selling out it’s
Eagles Greatest Hits Vol your – okay
I think Hotel California is on that yeah
that would make sense I’m sure there are
sense on that record but I mean come on
thriller really you’re gonna outsell
thriller in the United States that to me
is a surprise
together love the Eagles it’s just like
apparently well this you happy yeah if
you look at the if you look at the
layout of the land and I have this
discussion with a lot of people in terms
of like politics and one like that but
yeah a lot of the country is cornfields
and a lecture and a lot of trees yeah
and a lot of farmland so yeah the Eagles
it’s got that it’s got that country home
towns kind of sound to it and yeah it’s
it’s a great sound yeah we are have a
discussion last week Joe and I and yep
and I saw the Eagles second row it was a
great concert love it but yeah
it’s got that nice sound to it that you
can kind of just connect with which is
good yeah well here’s another
interesting tidbit off that record Billy
gene that was the first time that a
black musician or that video was ever on
MTV oh yeah
when did Village Inn come out like 82 83
I mean right around the time the album
did yeah
so most people were not going to MTV
before that now granted I’m like two and
a half or three when it when this thing
happened so I don’t remember before that
but yeah apparently was just white
musicians before that yeah not
surprising a whole lot of radio before
that man yeah it was all about yeah
I used to make mixtapes oh yeah for
track here oh yeah absolutely seeds they
have changed they have and you know I
think that is the one thing that’s
somewhat been lost is the whole start
from the basics basics I mean make a
mixtape people are not really making
mixtapes anymore that much or get like
the most basic sampler and make
something and you know now it’s like if
somebody wants to get started they go
mom I want to do music production she
might come down to the store buy Ableton
Live yeah and now the kid has a studio
in his computer you know so what what I
found interesting was I had a kid
exactly like that and the mom asked if I
could teach the kid how to do it how to
do music production yeah like I had had
Aaron actually taught me a lot about
using Pro Tools in the studio and I’ve
had dabbled with GarageBand and stuff
and so I like was like I give give the
kid an introductory lesson or two to get
started with how to do it and I got more
into it and I started staying out in
front of the kid and like learning more
and yeah we were doing GarageBand which
has all the built-in loops and then I
was like okay it’s time to start like I
got into Ableton because I got a free
version of Ableton with my scarlet focus
right you know my Focusrite Scarlett
audio interface and I started like
wanting to teach this kid Ableton and
then he just got it in his head he just
wanted a controller and he was gonna
play awesome stuff with this controller
yeah you’re like he didn’t understand
that the controller does nothing
different from the computer it’s just
got buttons to play your presets or
whatever and like I think most people
don’t understand that
you can’t just make music out of nothing
like it doesn’t yeah happen because you
have a controller right right like yeah
you can play some drum loops but you
still have to learn like what chords are
in order – yeah I understand what you’re
saying but not really I mean we can do a
basic level of stuff but you’re never
gonna make your own sounding thing like
well okay but at the same time I mean
like Paul was saying earlier I want it I
want it now
I want it to happen right now so you go
out and you get GarageBand and you get a
key you know you get a plug-and-play and
literally plug-and-play you were
mentioning that in the beginning of the
episode Paul you know MIDI oh my gosh
like trying to explain MIDI to somebody
in a MIDI controller and trying to get
that whole thing set up and mapping and
all that now it’s just plug and play so
you have GarageBand and you have a
keyboard that you just plug into the USB
and you go to GarageBand you drag down a
loop and om and hit this key cuz ooh
there’s an already and you know our PEGI
error on this that sounds cool and it’s
already got this preset you know filter
on it cool and I’m gonna hit this what
nope that doesn’t sound right
the oh that one sounds cool cool now
I’ve got two chords but I don’t know
anything about music but but now I’m
gonna hit print set that off to you know
YouTube and I’ve got an awesome hit or
whatever it is so it’s just so easy and
accessible nowadays that I love it I
love the fact that it is easy and
accessible because you can make things
really quick
it’s it’s nice to be able to get ideas
out fast and kind of a play around with
them but at the same time going back to
our conversation earlier there is
something about the exploration of
getting your hands on that piece of
hardware or whatever it is there’s that
that in my personal opinion the a
musician or an artist should go through
yeah but yeah I agree and while it’s
certainly accessible and direct and fun
to just hit a key trigger a preset on a
synth that is literally like the entire
song you just hold one Cummins right
okay you’ve seen those charts I’m sure
about like an artist where at first
everything is exciting because well
you’re making it right okay so
everything is exciting at first and then
your ear gets more and more refined so
everything is less and less exciting
from there and you’re trying to
inversely build up your skill set so you
can counteract that that ear which is
becoming more discerning so all of a
sudden it’s not enough to just hit one
key and have the thing do it for me
because everybody else can do that and
that doesn’t sound original right so I
think that’s what happens to us all like
when I first got a sampler I would
invite my friends over I would load
seven floppy disks and make them wait
there for 20 minutes
oh this floppy disk loaded I feel like I
promise you this is worth the weight and
then I would I would hit play and it
would be a three note rip thing with
horrible horrible program drums yeah and
I’d look at my friend’s face expecting
him to get as excited as I was and he
would go how do I break it to you you
know right this sucks
or that’s completely dissonant you just
sample two records that are not even in
the same key or ballpark you know so I
think this is what happens and that’s
been my process that’s been my journey
is it gets harder and harder for me to
trick myself into going this is good art
you know which i think is a positive
thing ultimately right right yeah I
think that being able to enjoy it at the
beginning is what people need to be
hooked into it yeah I think that it’s a
positive overall it’s a positive thing
for society if more kids have the chance
to try it out and they like it at first
they may stick with it and as you’re
saying like as they keep doing it
they’re gonna have to either learn how
to get better it’s gonna get boring
right and I think that’s a really
positive thing that happens it you know
it happens to me every day of my life I
get like the better I think I the better
I probably technically get at the guitar
or whatever the less good I think I am
in my head yeah you know you know better
basically yeah at certain point it’s
just you realize how much is out there
and how much you don’t know and like I
think about myself when I was like 22
playing in a rock band like thought it
was really good at the guitar Oh
ridiculous like looking back it’s like
ten years later I’m like I’m terrible
now like I mean I’m I’m better than you
know the general population but like I
understand how much I don’t know and how
where my weaknesses are and but that’s
what makes it exciting it makes me want
to practice and you know if a kid sits
down on GarageBand and they’re like this
is really fun
like maybe they can meet somebody like
you or one of us that can help guide
them towards like okay we know you like
doing this how can we support yes yeah
keep it fun for you right
but yeah push you along so that you can
actually get good at it and have them
create something unique to yourself yeah
well I think the other thing to to
consider is all of the music making
process is not fun I don’t know that’s
my opinion I am NOT a tech person by
Nature believe it or not even though I
do it for living and music theory was
incredibly difficult for me to on my own
basically off the web and while I
consider myself an intermediate I’m
certainly not an expert level music
theorist but I really take the stand
that yeah you can use your ear but it’s
only gonna get you so far yes you know
that’s I think that training your
training is invaluable pitch detection
is the skill that if you sample is so so
useful even being able to go you know
that just doesn’t work that record and
that record are not related or I’ll need
a penny to pitch that down that kind of
but yeah all of that training and
actually learning how to play
instruments is invaluable and a lot of
it is not super fun so those kids that
get into it that want it all to be a fun
roller coaster
they typically reach that point where oh
I’ve got to learn some math or some
science or I got to practice this thing
over and over again that’s kind of what
separates the wheat from the check the
shaft often I find it’s true it is I
just wish that they would all push
through that that one song down and it
will be fun again electronic music was
so relatively obscure when I first
started and this is like late 90s right
that my conception of how these guys did
it and I literally thought they were
like wizards and keep in mind this is
all on early pcs nobody was even on a
Mac really at that point no no it no
real internet like if they did internet
this is the beginning of it right that
was until 1980 you for right so people
are very early adopters might be using
it the late 90s and your musicians were
the same guys who built their own
computers I’m talking idea music I’m
talking techie electronic music and what
I thought happened was that they turn
the lights down they would
speak in tongues to the computer and the
computer would generate the music and
they would kind of curate and edit right
turns out I wasn’t all that far off
because generative music in that world
is definitely a thing especially with
modular synths but I just thought these
guys were like wizards and warlocks and
there’s no there’s no guitar playing
involved in that you know yeah
little did I know that almost everything
I was hearing was being programmed one
note at a time
processed etc these guys were building
their computers from the ground up so
there were like 10 people in this in a
city the city of Miami in the late 90s
that I considered like true electronic
musicians ten people and now I mean
there’s probably there’s probably
thousands of kids making electronic
music there it’s exploded but the
education about it has exploded too with
YouTube if you want to learn how to do
something get on YouTube right you know
or take a lesson I’m a big fan of taking
and giving lessons – absolutely yeah
YouTube tends to not have it doesn’t
know where you are it doesn’t take into
account like your previous knowledge or
where you’re trying to get to and you
tend to get all this scattered scattered
bits of information that doesn’t all
connect and that’s where a teacher can
like I I like it when my students go to
youtube and they’re like yeah I looked
at this I’m like great I’m glad you’re
taking the initiative yes let’s let’s
try to make sense of this with the
knowledge that you already had and how
you can actually use this so you didn’t
just like learn this random thing about
seventh chords like how do you use
seventh chords yeah yeah yeah yeah yeah
you tune little bit more on a one-on-one
basis yeah
teachers can do yeah absolutely having a
yeah nothing that can beat having an
actual human teacher whether it’s on
skype or in real life
yeah when I first started you know the
apprentice thing was still alive and
well and that meant a lot of coffee runs
and a lot of being somebody’s for lack
of a better word like you know just
assistant or gofer and I was you know
when I was getting started I really knew
the MPC well so producers that I wanted
to learn from I would go into the studio
and I would chop their samples so that
all the like the manual labor I was
doing you know I like I liked it I
didn’t mind and that’s how I learned you
know and a lot of these guys that I was
working with had like major drug
problems some of them were like you know
had guns and stuff around and it’s just
like the things that I put up with to
learn just a tiny little bit like I
wasn’t getting a ton and I already knew
how to operate the machines I was there
to get inside the producers head who is
making big bigger records than me or
better records than he I thought and I
was like I would do anything I was
literally like putting my life on the
line at times dealing with scumbags just
to get in a little shred of information
and so I think it’s easy to take for
granted what we have access to now the
wealth of information is incredible I
was just gonna ask are you up Pro Tools
guy or younger yeah well I went to
school for Pro Tools and I’ve used other
things I’ve used reason I actually
started out on cool at it you know many
many years ago yeah that’s a matter of
digital performer huh there’s yeah much
room out there but Pro Tools is the one
that you know it’s the industry standard
so I just kind of stick with it nice I
see we have the same mackie’s I’ve got a
set of those oh yeah I love them okay
yeah I’ve always enjoyed them at work
I’ve got the NS tens and they’re a
little brittle a little a little
brighter yeah
are those the original do you have the
original and as no other
remodels remakes yeah I’ve used those
they were like he said a little hard on
the ears a little little brittle rate
yeah yeah I got these I think probably
coming right out of school and there was
like a sale on them yeah mine yeah you
can get them used for I got them for
like four or five hundred
oh that’s there oh yeah your studio
monitors yeah okay air now and our I was
asking an errand for advice about that
and yeah I’m sticking with my headphones
for the time being yeah skin it was like
if you’re gonna get that you gotta start
you know thinking about soundproofing
and yeah room your in and everything
else and yeah mixing on headphones is a
totally different animal and like I said
to you Joey I mean there’s a lot more
producers who are actually getting or
not getting away with it that’s not the
right Burbage but that’s fair yeah it’s
you know you’ll you’ll see more top
top-selling albums being produced with
producers who are actually using
headphones but yes generally you want to
do all of that within a room that is
treated and that you have a decent pair
of monitors I have a friend he’s a bass
music producer so EDM for lack of a
better word more like the trappy stuff
but pretty pretty high level like he’s
definitely got the technical know-how to
make big records and I asked him one
like you know you’re on tour all the
time how do you mix low-end and he’s got
a sub pack which is a sub woofer you can
like wear as a backpack or strapped to
your seat and really yeah you monitor
with your headphones all the highs and
then your lows are physically like yeah
and I’ve used them they’re cool
they’re a little tricky because they’ve
got cables that hang out of them so if
you swivel your chair real fast you can
like rip one of the cables out or get
caught up in
yeah um but those are pretty cool but
you know what he told me is he said
despite that fact I got good at guessing
and I think that kind of sums up you
know I use a lot of visual meters yeah
yeah but I think over time I got better
and better at guessing because certain
things you can’t properly here without
all of the treatment you know a room
that’s been like properly addressed in
terms of all its issues right right
certainly I don’t have a treated studio
yeah you know well with any given space
you just start to become accustomed to
yeah the certain nodes you know fall
short or are boosted within any room
you’re gonna have that yeah you know
that going into it like my little room
here like this is a terrible room to mix
really no fur bass oh my goodness yes
okay because it’s such a small compact
room yeah oh and I don’t have any bass
traps or anything like that so I know
going into this that a lot of my bass is
going to be you know bunched up so I
have to know that going into it when I
mix any kind of bass I have to in here
pull away from the bass that way when I
go out to a a car or stereo system or
anything like that that it’s not too
much yeah so yeah compl us I have the
advantage of going and taking my stuff
to work as well which has a different
kind of studio so I may be things a lot
but yeah yeah so if you get to know your
room you can kind of know those things
going into it the weird thing now for me
that was mixing for my compete my laptop
speakers oh yeah like how is everybody
else gonna be hearing right this thing
no bass at all no it’s not so much that
that drives me crazy it’s the way that
the low mids distort oh yeah yeah yeah
drives me crazy like do I just cut those
do I leave them you know yeah it’s
tricky yeah it is do you actually create
separate mixes for like it where you
think people are only gonna listen on
their cell
around their computer no I just try to
find a middle ground yeah yeah anymore
more often than not most people are
listening and – you know music through a
pair of earbuds or their speakers on
their computer yeah you don’t really see
HiFi systems anymore yeah those are you
know pure audiophile guys that are you
know system and and typically older ya
and typically the order I have mine yeah
you’ve got AB money and you’ve got to
have like a reason for wanting yeah that
kind of thing
yeah yeah and then the the best I guess
the best car the best system that most
people have would be the car yeah and
luckily that’s a great place to
reference mm-hmm all your mixes yeah yes
it is I get with my demos I did a set of
demos awhile back to just try to get
gigs and I I actually had a studio up in
DC we actually had tines and he’s I
don’t know 10 20 episodes ago we had
tines from district district
entertainment studios come in and we
talked about recording studios and he
actually mixed those tracks for me for
computer speakers today kind of be app
optimized for that because yeah you
figure you’re emailing like a bar and
the manager is gonna list or the
Booker’s gonna listen to like 15 seconds
through their own or the computer like I
wasn’t trying to like promote people
normal people to listen to those songs
ya know it is just it’s totally
different I hate when people listen to
your heart or your tracks that you’ve
worked so much on and they they listen
through computer speakers yeah yeah well
you’re not hearing this song as I
intended at all yeah yeah or in general
any of the you know whether it’s iTunes
or YouTube or whatnot like that they’re
generally listening to an mp3 not a WAV
file yeah that’s like there’s so much
information that’s lost
yeah I find it also informs my composing
a little bit because if I know the bass
is more filtered and more in the sub
range I either know it’s not going to be
audible on those pods or you know on the
computer speakers or I’ll be layering a
more mid-range sound so I make decisions
you know based upon those those
listening situations you mean you’re
actually like essentially doubling the
baseline but an octave up so that yeah
for it if you had good headphones or
good speakers you could hear the sub if
you don’t you could still hear that kind
of mid-range version of it yeah or
distortion or something to make it poke
poke through a little bit it’s a good
idea are you still performing a little
um I have you know a couple different
projects that I perform under one of
them is called zero god with an X it’s a
like a play on words because the the
vocalist is musashi’s 0 and then Panther
God’s so collaborative you know project
that we do about four or five times a
year and then I do a couple Panther got
gigs a year and I’m gonna start DJing a
little bit so yeah I try to do it
semi-regularly I’m more of a studio
permit right I’ve almost never really
feel comfortable onstage I always feel
that whole imposter syndrome really gets
me right right like I don’t know what to
do up here like look the other way I
guess I’m doing a good job yeah I spent
16 thousand hours on what you’re hearing
right please don’t look at me you know
right right right yeah yeah yeah how
about you guys are you performing out
Joe you perform all the time yeah I’m I
perform a lot I played 135 shows last
year Wow not as much as like like last
week we had dusk I know Dustin furlough
I think he said he played like 230 yeah
that’s a lot that’s I mean that’s
getting into two thirds of the year
you’re playing like four nights a week
basically I’m more of a like two to four
nights a week you know gets usually more
in the summer or less in the winter yeah
yeah and I don’t perform at all anymore
yeah no I I basically once I had my kids
I was like okay I can’t do that for a
while now you play you played a couple
shows with me no I know I get that I
understand no reality no I don’t provide
any more and I just don’t I don’t I
don’t enjoy the performance as much as I
did when I was a younger guy yeah I
enjoyed going out at night and doing
that whole thing now it’s like yeah I I
don’t want to be at a bar or any place
at 2:00 in the morning
I’ll be right I’ll be right here at 2:00
in the morning you know composing and
doing stuff on the computer but ya know
I enjoyed it while I did and maybe I’ll
get to it at some point in my later life
but right now good yeah yeah I’m there
do you have kids no but you know I have
a serious partner girlfriend and yeah if
I was single maybe I’d play out more I
don’t know I would if I was doing this
on my own I’d be out yeah when all kinds
of stuff yeah and even through this
podcast like they was telling Joe at the
beginning the guy he had with the guy we
had on last week Dustin he was talking
about something called concerts in your
home I was like man I wish I would have
known about something like that
mmm when I was younger cause it’d be
nice to be able to just go to people’s
houses and just perform yeah actually
have a good audience yeah good idea
with what you do Paul I feel like your
you could go I feel like you could make
so much money going like – I mean you
could start at the University of
Asheville but like the college scene I
just think of like these people want DJs
of those things it just seems like it
would be I think
my van got paid a thousand bucks to play
at a fraternity alumni thing it was I
don’t know five years ago we like they
have big budgets yeah I mean campuses
have huge budgets too in general yeah
but then you know fraternities and
sororities there are a lot of people who
I would think would kill to have stuff
like your your Panther God at their
party yeah I’ve never wanted extra cash
I’ve explored a little bit of that you
inevitably are gonna get that play the
pretty light song and it’s like I’m not
pretty light so I’m not actually really
a DJ I’m I made all the stuff you heard
and I have a limited number of tracks I
can pull from in the moment so you kind
of yeah it can be hit or miss for me on
that stuff especially to be honest like
I really want to do more of the Paula
Abdul stuff live and it’s funny because
kids are getting down with that sound
like they’re they’re studying and doing
homework too lo-fi hip-hop yeah
and it’s it’s kind of blown up on
YouTube so I find that there’s this
younger audience that is really really
getting into the slow very very chill
stuff that I’m into so I’m kind of
excited to explore some of that ya know
after listening to a couple of tracks of
just that Paula Abdul yeah I definitely
enjoyed it I think it’s been I know that
Joe has discussed a couple times on the
podcast about how he’ll take something
from the past and then throw a cool beat
underneath it to make it more modern and
that’s exactly what you’re doing
together to a very good skill like your
you thinks you’re not you’re doing a lot
with it and it sounds awesome thanks man
yeah yeah you’re actually helping to
revive some of the greatest music ever
made you know I feel about it like thank
you for today for sure yeah hopefully
people will hear it and then also get
back into fifties jazz ballets too
when discover new music through it so
there’s little snippet sanam if you
notice these little snippets of
interviews with jazz musicians in it
God’s son raw Sonny Liston and Miles
Davis as well as Robert Frost at the end
and so that’s going to be a theme I’m
gonna continue because this is the
winner album I just put out
it’s named after a Robert Frost poem
it’s called promises to keep it not the
name of the poem but the name of this EP
and then I’m gonna do a spring summer
and fall
follow-up awesome so that’s that that’s
the goal that’s cool that is that is
hopefully you don’t get more than take
it right I’ll deal with those lawyers
when I have to yeah that that
opportunity that lost opportunity it
really made me think oh man you know
what what is possible like if somebody
wanted to license a track I thinking
that I would hire I would hire like the
best pianist upright bassist and drummer
and maybe try to recreate some of it
truly needed so yeah the big money yeah
right you could team up with somebody
and I mean write a jazz track like yeah
make an arrangement of your own and then
just boom there you go yeah like it
doesn’t have to be like the greatest
jazz track ever but if you had a strong
melody and then you put you know a very
modern groove behind it yeah that’s what
Aaron was saying I I like to do I’ll
take a Miles Davis tune in put in my
looping system I I can pick a hip-hop
setting and within that I have like 12
different options nice and I will
actually put I’ll play Miles Davis over
hip hop live yeah and if I’m at like a
bar or something a brewery I’ll play the
same song at a more jazz oriented thing
at retirement home whatever and I’ll put
a jazz groove behind it but yeah people
will be like I really like that song
what was it yeah I was Miles Davis yeah
oh my god I thought I didn’t like Miles
Davis no they just didn’t like they
didn’t like that style of drumming and
bass playing is more likely what it was
the melody was always good yeah they’re
they’re into a more modern sound and
that’s okay
that’s yeah yeah totally and that’s
that’s a lot of what I’ve always loved
about hip-hop is you know there’s so
much jazz in hip-hop that’s being
sampled but you’re not limited to two
that either like folk music world music
and so it’s kind of the filter through
which I can discover all these all these
other sounds out there yeah well uh
we’ve I’ve really enjoyed having you
Paul and I think yeah work yeah thanks
for shooting me that text this morning
because I really I literally woke up and
it was like oh my god and there was a
snowstorm by the way it’s it’s been
snowing this whole time it’s like 10
degrees out
so what’s outside I was like okay I’m
going for it I’m not missing room you
know oh thank you yeah where can we go
to find out more about you Paul
I guess just you know check out that
that paul abdul record it’s on Bandcamp
PA you L may be D ul and then Panther
God is something you could Google Paul
Abdul is not something you can Google
but yeah those would be the best places
yeah thank you again for joining us
hey thank you guys yeah you shoot it and
all you guitarists and other pianists
and other instrumentalists out there
might be worth your while to get a hold
of a synth and see if it can disperse
some new creativity might get you out of
a lull
maybe listen to some music you know
listen to Emerson
Lake and Palmer and like it’ll be some
nice you know normal fairly normal
sounding classic rock song and all of a
sudden there’s is like awesome Keith
Emerson Moog synthesizer solo in it like
it might inspire you to do new things or
take a different approach to writing a
song many of the things that you’ve
heard before
I’m sure you’ve actually heard a synth
at some point you just may not have
known it and and like just that I
definitely recommend just to go out
there even if it is just a free plugin
go out there get your hands on on the
synth and just play around yeah they are
amazing they are very enjoyable and
being at Boston for hours I know I have
and they do they create inspiration for
certain ideas and they think of it like
a new instrument and be patient as well
like if you’re a guitarist you know
you’ve put a lot of time into learning
that guitar it takes time so you know be
patient with yourself and have fun well
uh y’all have a great week and we’ll be
in touch all right sounds good guys yeah
thank you same way

Leave a Reply

Your email address will not be published. Required fields are marked *