Studio Session: Polishing An Original Song with Doug Haag

Doug never set out to become a singer. He started on drums, picked up guitar to process emotions, and wrote songs just for himself—quietly, late at night, when no one could hear. But eventually, something shifted. It started to feel selfish not to share.

We explored how to release vocal tension, how tongue placement can subtly affect tone, and even making tweaks to the lyrics to make them more singable. Doug brought in an original song—one that’s deeply personal—and we focused on staying connected to the message, not just the notes.

It was a reminder that you don’t need perfection to move people. You just need to mean it.

📍Mentioned Resource: Follow Doug on Instagram @doughaagmusic

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Episode Transcript

(00:05):
is your tongue cramping up a little bit in the back
when on a heart uh not sure
and ha ha ha
my tongue should be a little more relaxed than on that
right yeah
so I think you're almost like
trying to get the R sound into the A
uh huh ha

(00:26):
like you're preparing for the err on the aw already
so pretend like you're just singing ha earth haha
almost like the diphthong
but exactly like with the yes constant okay
it's not a diphthong but
but same concept same concept
yes okay

(00:46):
try it one more time unbroken heart
stick out your tongue slightly unbroken
ah
okay that's it
did you feel or hear a difference
I did hear a difference yes
I felt the difference
cause I was trying not to lick the microphone but haha

(01:06):
marking your territory
hey Vos Star and welcome to from singer to artist
I'm Lara Chapman award winning singer and songwriter
turned viral vocal coach and the host of this show
at VoxTape Studios

(01:27):
we help singers from all over the world
level up their voices
by teaching them the three fundamental skills
all singers need technique
awareness and artistry whether you're looking to go pro
or just develop your voice for fun
my team and I are here to help
check the link in the description
to book your first session
or grab some of our other resources
Alrighty are you ready

(01:47):
let's get started today I have got
another singer with me here in my home studio
welcome Doug
hey how are you
good how are you Laura
I am doing so great it is so good to see you
it's so good to see you too
it's been a minute it's been
hold on it's 2025 yeah
the last time I saw you was 2019
so it's been yeah
maybe even late 2018 it's been a while

(02:07):
yeah it's been a long
long long time
but I am so glad you're back yeah
oh my goodness thanks for having me
of course anytime
thank you for coming
thank you for sharing your beautiful voice with us
I appreciate it you brought an original song today
yeah yes
so I'm really excited to um
to work with you on an original
I don't get to do that a lot
but I love doing it so thank you sure

(02:29):
but before we dig in um
let's maybe fill everybody in on how we met initially
yeah so uh
I'm you know
as you know I'm a drummer yes
by background but I really wanted to get into guitar
I got into songwriting
really as a way of journaling and expressing myself
and um
I really never meant to share it with anybody

(02:51):
it was gonna be me the guitar
the front porch when everybody else was asleep
and nobody could hear me yeah
and that was fine but I really felt like at
at some point it was kind of selfish not to share
and that if some of my favorite songwriters had taken
some of that same approach
that I never would have heard their stuff
and been inspired and I thought well

(03:13):
you know maybe
maybe if I get good enough
then I can share it with others
and yeah that's how I reached out to you
I wanted cause you had offered not only vocal coaching
which I definitely needed
yeah still need um
but you have a passion for helping
people get their originals
to bring it to life and to communicate it
and you've helped me with a few already

(03:35):
and so this was a no brainer
yeah yeah
no like I
like I just said I don't get to do it that much
but whenever I do I'm like yay
haha cool
make the vision come to life and
you know get the
get the songwriting part of it right
but then also the vocal delivery of it
yes yes
right cause it takes both
it does it takes both

(03:55):
and you've been moving
around a bit in the last couple of years too
yes
so I can't remember if this was pre pandemic or no
no this was post pandemic
we we moved three times
we moved into well
we moved I say three times

(04:15):
we helped my mother in law move okay
then we moved into Warsaw
which is like a couple hours north
and then from there we moved from that rental house
into a house in Columbia City yeah
and it was still trying to pursue that music dream
and it it still is
it's changed a lot
and there's been a variety of changes

(04:36):
so yeah but that's how it works right
like sometimes we have a plan
and then it's like
change of plans because of things you can't control
or maybe you can control
but it's just not where this evolved to
that's how I got started with vocal coaching
that was never the plan oh really
I never wanted to be a vocal coach

(04:57):
I wanted to be a singer right yeah
and then I started teaching voice lessons on the side
and I was like oh
actually I really love this
I love this a lot more than performing see
I would have thought you know
that at Berkeley like that was your vision
I wanna be a vocal coach no
no no
was always a performer like that was
that was the
the dream being a performer in LA somewhere

(05:20):
and then I was doing it you know
not in LA but in Nashville and I was like yeah
don't love it
like it's not like I hated it or anything like that
but I realized
as I was starting to teach voice lessons on the side
and I'm like oh
I like this a lot more I love the one on one
and I love the creative aspect of it and helping you

(05:43):
right it felt very much like ah
this is so lonely and it was hard to create like
meaningful connections with people
versus when you're doing vocal coaching
and you help somebody one on one
it's so easy oh yeah
to create these meaningful connections
and I'm forever grateful for that
and that's why I'm like oh
I'm gonna stick to this cool

(06:03):
this is a lot more fun for me
so now I get to help you make your dreams come true
this works this is great
yes yes
yes and uh
so anyways just go with the flow right
sometimes things are out of their control
we just gotta do what we what we gotta do
but you're still performing right
yes yeah
performing around the Fort Wayne area
yeah uh

(06:23):
so if you happen to like what you hear
and you're near the Fort Wayne area
check me out yes
go support Doug yeah
I am on Instagram it's at Doug Hag music
h a G yep
so I'll be sure to link to it as well
so that people have the link awesome
um and then you're working on your first album
yes that is the project right now

(06:45):
and I'm trying to put perfectionism aside and be like
OK let's just
let's just get it going let's do this
yes I love it
and that song that we're gonna work on right now
is that gonna be on the album
yes that is the intent OK
that is the goal
so this is great because this is gonna be album prep
yes exactly
exactly cause
I wanna make sure that when you go into the studio

(07:06):
that you feel super ready
that you can just trust your voice
so that
the only thing you have to focus on
is just getting the story across
the emotional part of it right
right not is that note gonna come out right
I hope so that's not what we want to be thinking about
in the studio for sure right
for sure cause at the end of the day
the a take doesn't ever need to be perfect

(07:27):
like the vocal delivery of it
it's so much more about the raw emotion yeah
and producers at least the the good ones
the ones that know what they're doing um
always pick a less perfect take if it is more raw
more emotional because there's things like autotune
where we can just fix the pitch

(07:49):
and there's no shame in doing that
everybody does it it's a tool right
and so
not that I'm saying you're gonna have to use autotune
but oh no I get it well
the producer that I'm looking to work with yeah
he even mentioned that
there's just about nobody that does a perfect
raw take without some kind of adjustment needed
in the production side absolutely

(08:10):
so that makes me feel better
no 100% and again
it's not about perfection
it's about the raw emotional connection to the song
that's what people love in contemporary music
maybe I need to specify that in contemporary music
it's not about perfection
but again I don't want you to be in your head about it

(08:31):
when you get into the studio
so that that's what you can focus on
sure right
so what's your song called
a way of an unbroken heart Alrighty
yeah let's dig into it okay
you sent me a little demo
thank you for doing that so I already know it
ha ha ha ha ha uh
but um
let's let's maybe do first verse and chorus okay
before we dig into the entire thing all at once

(08:54):
I like to break it into sections
I had to listen to the entire thing
so your song structure is really great actually
question for you yeah
um do you
do you want to work on song
I like the structure of your song
but is there anything that you're like
I'm not sure about this I wanted to work on that
um I think structure wise I feel pretty good

(09:15):
but I'm always open to suggestion
yeah from what I heard in the demo
I really liked it cool
and I was like okay
he listened when we talked
I love it uh
so if if something comes to mind as we're working on it
I will let you know okay
but just hearing the demo
I'm like yeah
no that's a solid strong song structure cool

(09:35):
so in that case
are you cool with breaking it into sections
and working on let's do it on that yeah awesome
did you besides the vocal delivery of it
want to focus on anything else
yeah well yeah
specifically enunciation
I have gotten some feedback from others that
you know maybe my enunciation isn't as clear OK

(09:55):
um I know that that
you know from working with you in the past
that breathing has always been one of my main
uh huh um
the bane of my existence I guess okay
so okay
yeah okay
um lyric writing
anything that are you feeling good about that
I feel pretty good awesome
but here again you know
I'm I'm open if you've got suggestions
I always have to ask because

(10:16):
I'm not the kind of person that listens to lyrics first
mm hmm I always listen to everything else first
and then lyrics at the very end
got you very unlike
like very atypical for songwriters
but it's probably because
I didn't grow up speaking English
and I always sang and wrote in English
my dad would like help me translate from

(10:38):
German to English to get the point across
what I was trying to say
but so yeah lyrics
that's why I'm asking like
if you want me to pay attention to it
I will
but if I'm not specifically paying attention to it
I will not notice it fair
okay that's fair
um but I'll
I'll pay attention to it and you sent me the lyrics too

(10:59):
I did yes
so I can follow along over here
I'm not the greatest guitar player in the world
you know you are a lot better than I am
so you know

(12:16):
yeah beautiful
okay alright
very nice okay
how do you feel all right
yeah yeah
it's a little nerve wracking
that's okay I know
I know it's a good start
it's a good start the first time
it's always like oh my God
oh my God oh my God
and then eventually you forget the cameras are there
um loved it
I thought that was
that was really quite solid for that first time through

(12:37):
you've come a a long way with your
with your singing too
and even with your guitar playing too
even though you're like I'm not the best guitar player
my friend you are a lot better than anything I could do
so thank you appreciate it
like I told you I have two guitars that I never touch
so you know
here we are I think you can get away with a lot less
in the beginning yeah

(12:57):
so I've built this ghost town with two hands
is that how it goes no
that's the chorus melody
no that yeah
no that's right
that's that that is right
see and this is only the second time I'm hearing it
and I already know the melody
that's a good sign oh good OK
right like if I can easily pick up what you

(13:19):
what you wrote
and like just by the time we get to the second course
I can start singing along
sweet that is a good sign
it's an earworm so
you know instead of singing that with a full voice
I built this ghost town

(13:39):
OK so maybe like a little more head voice
um
sure uh
I I want you to think about it
keeping it conversational conversation right
okay just conversational
we don't necessarily speak in our head voice right
this is just where it sits in my voice
mm hmm obviously
male female voice
very different in range and I'm singing in

(14:01):
in the same key as you so for me
it does get a little bit headier
mm hmm for you
we probably don't have to do that okay
just think
turn the volume knob down and keep it conversational
okay yeah cool
let's try that first verse one more time
just the verse alright
I built this ghost town

(14:39):
nice okay
how's that feeling that felt way better
okay love
love how did that feel better
um well
I guess I didn't feel like I had to
you know push real hard
yeah and um
I never thought about that imagery of a conversation
and um

(14:59):
I like that it feels natural great
great cause a lot of times
you know as singers
we're like we are putting on our singing hat and now
we are performing yeah
exactly and it's like wow
do we have to cause like
this is very much like singer songwritery
balladty type of song we don't need to overdo it right

(15:21):
right yeah
uh
it really brings out a beautiful quality in your voice
and I basically I can compare it to like
having different colors that you now can paint with
cool right
rather than
when you're singing everything with more volume
like you were doing before
then it's we're painting with one color
right and it's a beautiful color

(15:42):
it really is great but it's just one color
mm hmm when we're taking it a little bit more easy
in the beginning
and we start building as we go through the first verse
and as we go through the entire song
all of a sudden there's different colors that pop up
that we can now use
so that the painting becomes a little bit more vibrant
not giving it all away at the beginning

(16:02):
exactly yeah
because if you do that then
why should we listen to the
other three minutes of the song
exactly if we already heard it
all right yeah right
so don't be afraid to
really take it easy in the beginning
uh one more thing that I want to mention about this uh
and I heard it in uh
the first version that you were doing it as well

(16:23):
you're holding back your breath a little bit hmm
it's not surprising
I do that drumming too I really do
yes my
my teacher had to tell me like
you know do you understand you're not breathing
and I'm like oh no
and I'm like no
I cause I would be playing and I'd be like
yeah yeah

(16:43):
that's like yeah
just breathe just really focused on what you're doing
okay okay
fair enough well
in singing we can run into issues when we do that
because the voice is a wind instrument right
and if there is no air there is no sound
also if there's very little air
it's harder to get the sound out

(17:05):
that doesn't mean that more air is always better
I'm not saying that but here in this case
you think about keeping it conversational
and think about letting the breath flow through you
right rather than thinking about support or
I don't know what people like a lot of people are like

(17:26):
ah what do I need to do with my support
and it's like okay
don't worry about any of that
just focus on flow breath flow
breath flow
let the air come out I built this ghost town

(17:58):
oh beautiful crescendo there wow
watch you smile

(18:26):
okay how was that
felt better until I got to the chorus
the chorus I felt a little
uh huh lost okay uh
it felt like
I wasn't quite sure how to control the note
and keep it conversational
as I started to move up the register fair fair yeah
I mean as you're going up
and you wanna keep it in a chest dominant tone

(18:49):
mm hmm it's gonna get a little louder
yeah right uh
otherwise
we have to kind of transition into more of a mixy
or head voicey place
uh huh um
but for the verse like at the very
either way the very last note
did you hear me say how that was a beautiful crescendo
oh that was stunning cool
thank you that was stunning

(19:09):
and when you're actually breathing
you have air to do that yes hahaha
otherwise you don't you run out of breath before
you can do something like that uh
you have the quietest inhalations
it's insane it's like
is he breathing or not so
you know don't be afraid to breathe
okay hahaha

(19:31):
just inhale it's uh
it's
yeah it's easy to overthink breathing
mm hmm but also I'm like
you've been breathing for many years many decades you
you know you know how to breathe had some practice yeah
you've had some practice I wonder if that's so I
I did a little bit of work in radio OK
in the past and I wonder if it's from that because

(19:52):
you know maybe nobody wants to hear a lot of like
you know into the microphone
maybe I don't know
maybe I actually really like it in music
when we can hear the singer breathe
it sounds a lot more natural than when we
can't hear the breaths also
if it's like an insane kind of breath
oh yeah well
obviously we don't want to sound like that

(20:14):
because then that means there's a lot of constriction
sure in your throat when you're breathing in like that
that's not a good sign
that is something we would want to work on sure
just release that so you can breathe like that
but an audible breath
like what I just did is totally fine
and in editing in the post production part
mm hmm when you're recording music
we can always make that quieter

(20:35):
or completely cut it out too
gotcha if we need to yeah
but I actually like it when they keep them in okay
but that's a personal preference
everybody's everybody's different there
um but yeah
I just wanna make sure that you're actually breathing
yes they're actually taking in a good enough
a good enough breath right right
but in the verse it worked really well cool

(20:56):
mm hmm
any questions anything else about that
first verse that you wanna look at
no for what I'm hearing is 15 years ago
um because the 15 year a 15 years
going down to that note feels very final to me
and we're only in the second verse

(21:16):
there's two uh
in the second phrase of the first verse yeah
there's two more phrases that are coming
so 15 years ago up here feels a little less final to me
okay but that's personal preference
I built this ghost town

(21:38):
old and then I wait
yeah but keep the note short
oh 15 years ago
uh oh

(21:59):
what was the line thought I could change it thought I
yeah I'll
I'll have to work with that
but I like the way that's yeah
that's blending in the way
the way that it goes up like that

(22:20):
I like it yeah
play around with it OK
um I don't think you can go wrong either way OK
it just comes down to what do you like the most
so you're saying it doesn't matter either way
oh my God oh
what it matter oh
that was totally not oh wow
yes that was good
I didn't even notice that
um I love that

(22:42):
a couple vowel things
because articulation is something that you brought up
yes I would not have brought that up
but it's because you're bringing it up
so I I built this ghost town
ghost town ghost town uh rather than ghost town

(23:03):
I built this ghost town yeah
better great
now can you pretend like you're not trying hahaha
I built this ghost town with
yeah um
can you sorry for interrupting you
no um
can you um
instead of ghost like making it so short

(23:23):
I built this ghost town so it's
it's not like ghost
like you're not holding out the note
a little more legato maybe
but a little more it's just
this much longer got you
yeah the vowel cause you're really digging into the
the consonants of the word ghost
uh huh like mostly good to right

(23:44):
uh huh but the o part that diphthong part
we wanna linger on that like just a little bit longer
you know this is actually encouraging
because I remember in the last lessons that I had
uh huh with you when you worked on my enunciation
it was the consonants I had issues with oh well
there you go and so I've swung to the other ditch now

(24:04):
yes not gonna come back center a little bit yeah okay
so I built this ghost town with my own two hands
it is like better such a small difference
but it makes a big difference cool yeah
how did it feel better
better
and I I could tell even listening that it was clearer

(24:27):
perfect perfect yeah
a lot of times
when people have been told that their articulation
could be better we focus on consonants right
cause it's like
that's what's gonna get the word out there um
and I do believe you swung a little bit far well
and I'm glad you brought it up on that word because the
the imagery of the song hinges on that first line yeah

(24:48):
that because you know I wanted this to be um
well yes
we were talking earlier
this song is all about one of my favorite hobbies
and past times which is laying awake at night
and rehearsing all the regrets I have in life
and how am I dealing with that
you know um
but I wanted to use yeah right
um so I wanted to use the imagery of a ghost town yeah

(25:09):
and kind of try to play with that throughout the song
and but if I'm not communicating the word ghost town
and that's missed at the beginning yeah
the rest of the song might
might not hit home yeah exactly
no you're totally right
you're totally right
and the word ghost is the important part here
not the word town but right
the ghost so yeah I built this ghost

(25:35):
yeah instead of I built this
this ghost town yeah right
do you hear the difference
I totally do
it's not that I'm like necessarily sustaining the low
the notes any longer
I'm just focusing more on the vowel than the consonants
right yeah
yeah and then there's another one of those 15
I go I go

(25:56):
I go uh
I think that one was good thought I
and can you try that phrase yeah
thought I could change yeah
oh change too thought I could

(26:27):
yeah OK
yeah yeah
so change and different right there
we're not necessarily lingering on the vowel longer
like we're doing in ghost
but we're just opening up the vowel a little bit more
I thought I could change it
not thought I could change
change it more long

(26:48):
yeah more long
I'm probably not dropping my jaw as much am I
you know
OK hot take OK
do it dropping your jaw is overrated sometimes
oh OK
sorry uh
not sorry it
when we're singing down here in this com
comfortable range for you

(27:09):
why why would you start singing like this
it's so overdone in contemporary singing again
this is we're doing contemporary music here right
uh but yeah
keep it conversational
and when we're keeping it conversational
we're not doing this with our mouths right
right now when we're hitting higher Beltyer

(27:30):
whatever more difficult kind of notes
then sure we can talk right
but down here no
like don't think about it
got you just think about the vowels itself
yeah it
just sing it like you speak it
because there is absolutely
nothing wrong with the way you're speaking right
I can clearly understand you

(27:51):
oh good
and you're not heavily emphasizing the uh
vowels or the consonants or anything
mm hmm it's just very natural
sing just like you speak
and all of those things will happen automatically okay
yeah we just change it
different cause we don't say different
we say different right

(28:12):
yeah different
easy yeah
let's try the whole thing
the whole verse one more time conversational
flowy just like you speak it okay
I built this ghost town with my own two hands
15 years ago today nice

(29:17):
all right
all right you love the verse
you nailed the verse thank you
how did you feel about it
I I felt really good cool
yeah the chorus
I felt like I did it better
this time than the last time yep
uh huh still probably need some work
but I felt better that time
now it's just a couple tweaks
a couple details in the chorus uh
but I I agree

(29:37):
this is absolutely already going in the right direction
what were you mostly thinking about
when you were just doing that
uh I was trying to like
just focus on the word conversational cool
think about how I speak okay
um and that helped a lot with the verse maybe

(29:59):
neglected that would be a little bit easier to sing
I kind of like the word neglected for some reason
to me personally again
this is gonna be different for everybody
but to me that word carries more weight than abandoned
hmm um
but I couldn't tell you why
probably because abandoned is more used than neglected

(30:22):
yeah and I think
and neglect carries a certain intentionality
mm hmm you know
like it's this way because you did something
which is kind of the theme of the song
yeah or it's this way cause you didn't do something
right it's
there's an intent there yes
um because abandoned
it could be like well yeah
you know things happen

(30:43):
but yeah it's almost like it happened to me
yes neglected is more like I'm taking responsibility
right yeah
oh yeah
we might need to play with that okay
okay I
it doesn't matter what I think
it matters what you think hahaha
I guess and how it sounds in these

(31:04):
I can yeah
where's the cord yeah I can see
I'll again oh
nope again
I'm losing the chords no
you're good well
it's actually pause pause right there um

(31:25):
that's good
and these na na
neglected can you make it a little bit longer yeah
there it is yeah
so I mean when I say longer
I mean your shape
like your mouth shape goes down rather than neglected

(31:54):
okay is that better
I like it how do you like it
do you like it I like it okay
maybe you can comment down below which you think yeah
exactly perfect
that's that's the way
is it abandoned or neglected
yes yes yes
um singing wise
do you like just how it sounds
how it feels mm hmm

(32:15):
just putting the word aside
like what the word means and what it carries
like what what kind of baggage it carries um
what do you how do
how do those two compare abandoned and neglected
hmm
I think that
it's funny because with with the word abandoned
just phonetically

(32:36):
singing wise I like the the
you know I
I like the word up until it gets to the ah yeah
the one that you're holding
you know like when I get to
you know that part is
I like it but
but the sitting on that short a vowel
I'm not loving that as much

(32:57):
I was trying to sacrifice that for the sake of the word
but neglected
I really like the vocally landing on that vowel yeah
but to start with the neh neh
that was a little it was a little uncomfortable
but I don't know if it's just
cause I've been used to seeing it one way
possibly possibly in these

(33:23):
can you make the consonant sound
that OK
that felt a lot better good
that was nice cool
yeah especially when you're not digging into the good

(33:45):
of neglected ah
right cause sometimes that can um
that maybe that's what felt uncomfortable
yeah it's probably you
uh okay
hold on let me try that again thoughts
whoa my brain goes faster than my mouth uh
the good can sometimes or consonants in general
in general
can sometimes serve as a little bit of a pressure
launchpad this is something I Learned from coach Emily
from our team

(34:05):
cause it's something I apparently was doing too
and I didn't know and she helped me figure that out
oh my God hell no hahaha
so uh yeah
so the glat glat it's
you know it's really kind of like pushing you up there
huh so
um yeah
if we soften that g a little bit in these night

(34:26):
just focus more on the glà glà LA neglect not the right
yeah it makes it a little easier to sing for sure
sometimes sometimes we do need the pressure launch pad
but not in this case so soft g okay
neglected
neglected neglected yeah

(34:47):
just like that just like that
just like that just like that
that was perfect uninhabited in these uninhabited walls
that's not machine gun lyrics for you there
yeah
idle is the word then oh okay yeah
yeah I still like neglected though
neglected awesome
uh
this might be interesting for everybody who's watching

(35:08):
the reason why we even searched for a different word
was not because
that that word does not quite get the point across
it wasn't a lyrical thing that we were initially
trying to change
it was more like how does it sit in your voice
and how does it like come out
that made me wanna

(35:28):
try and see if we can find a different word right
because I don't want the way
the way that that sound hits an audience member's ear
to distract from the message exactly
of the song exactly
and now the cool part is that
we found a word that you feel like oh
that might actually be even better lyrically too yeah
not just the vocal delivery of it

(35:50):
but also lyrically yeah
so that's really cool cool
I love it sweet okay
uh Scott remains
I'm really happy about that
how do you feel about that
yeah in these

(36:13):
okay great
I'm gonna pause you right there
okay I can see you all
oh fess
you're singing fess fess fess
fess face
there's an in a dipthong there
don't forget the second vowel sound of the dipthong
please what is a diphthong
oh great
that's a great question I'm so glad you asked okay
you're definitely not the only one who doesn't know
a piece of clothing and I was like

(36:34):
it's actually grammar stuff
like English language grammar stuff um
a diphthong is not a monothong believe it or not
and it has nothing to do with clothes clothing
uh no
so a diphthong is
when you have two vowel sounds in one syllable oh okay
so for example the word I like hmm

(36:54):
not me me
it's just e right
yeah it's just the e vowel sound
I I e
I e
that's two vowel sounds in one syllable ah
so face is what the uh
yeah Fey yeah
that's a yeah
that's a diphthong right
exactly a e yeah

(37:14):
a e Fey
with diphthongs usually
the rule of thumb is that we sustain
the first vowel sound okay
and only get to the second at the very end
because also in face that would be face
face right not face right
the reason for that is
the first vowel sound is always more open

(37:36):
than the second vowel sound
so it makes it easier and more pleasant to hear
like easier to sing and more pleasant to listen to
so I can see
yes
I totally hear the difference right now with your case
like what what happened was you can

(37:57):
you just kind of cut the e part of face I can see
right it's just
oh my God it's such a tiny
tiny tiny little detail yeah
but it makes it easier to understand what you're saying
and it does make a big difference okay

(38:17):
that I can see
great I can see
great now don't focus on it okay
right cause now the word
so focusing on it yeah
of course of course
but this time the word was standing out a lot okay

(38:38):
keep it the same
my face it's the same note three times in a row right
treat that face just like you do c your okay
black and
your face watch you smile again great
one more time OK
just like you speak it face I can see your

(39:03):
okay how was that felt better okay
yeah okay
could you hear the difference
yes okay
yeah yeah
it was it was very different uh
keep playing around with it
till you get the version that you love
yeah right
and even when you're recording this in the studio
record a couple different versions of it
so that you can then pick
when it comes to comping you know what comping is

(39:23):
uh
no okay
ha we're learning
we're learning today
comping is when you take all the different vocal takes
and you cut them into one
so like you have the final yeah
we we did that with the um yeah yeah
you I'm sure you did yeah
we yeah
I just didn't know the term for it yes

(39:44):
there you go it's very
very very rare
and when I say very rare I mean super duper
duper duper duper rare that it's a one take I can see
all right right there
had I what known okay

(40:04):
no okay
am I I'm not a
okay I'm probably not shaping the 0 as much
am I uh huh alright
okay cause that's the same issue I had on my
my O's earlier on ghost on ghost yeah and yeah

(40:41):
less trying
haha ha yeah ha
it's the h haha
like do the do I do I scoop into it or I ha
you know I don't know yeah do the whole unbroken ha

(41:04):
is your tongue cramping up a little bit in the back
when on heart uh not sure
huh okay
so
my tongue should be a little more relaxed than on that
right yeah okay
so I think you're almost like

(41:26):
trying to get the R sound into the a
uh huh ha
like you're preparing for the R on the all already
so pretend like you're just singing ha earth haha
almost like the diphthong
but exactly like with the constant okay
it's not a diphthong but
but same concept same concept yes okay

(41:52):
heart
yeah okay
yeah yeah
is that try one more time okay
unbroken heart
stick out your tongue slightly unbroken
ah
okay that's it
did you feel or hear a difference
I did hear a difference yes
I felt the difference
cause I was trying not to lick the microphone but haha

(42:15):
marking your territory
I love it it's yours now
I feel bad for whoever's using this next
that was fantastic how did it feel
better yeah
better okay
it was really good I loved it sweet
so yeah your tongue was just a little grabby back there
okay a little grabby
it doesn't need to grab
it just made your aw more clear without more effort

(42:37):
actually less effort yeah
that's and that's the goal yes
that's the goal yes try one more time
ah yeah yeah
yeah yeah
yeah yeah yeah
uh keep practicing this OK
this is gonna be really cool for you OK
uh huh awesome uh
it just makes the word heart more smooth yeah

(42:59):
for some reason which you know it should
uh huh because that's
that's the landing point of the chorus
yeah yeah
I don't want that word to sound awkward
if we're landing it there
you know it
I wouldn't say it sounds awkward
like this is a crazy small little detail yeah
but that way
you don't have to put quite as much emphasis on it

(43:21):
like work quite as hard
so it's gonna volume levels wise and intensity wise
just fit a little bit more seamlessly into unbroken
and a unbroken heart
and then you there's a little bit of a push behind it
yeah right
so it's your tongue your tongue is what it is

(43:43):
so do tongue stretches stick out your tongue
practice it this way I know it's ridiculous
but it works haha
um coach Emily calls this reverse tongue tension okay
when you're just sticking the tongue out
so that it can't retract ah okay

(44:13):
yeah your tongue is shaking
it really doesn't like this
yes it really doesn't like that
so I'm gonna let you practice that on your own
so that we can keep going through the rest of the song
but you know what to do yeah
yeah are you open to suggestions for sure for your song
let's do it so okay
my brain here's where my brain is going uh
in this up and

(44:43):
and so easy for me to sing that back to you
uh huh now the next part I'm like struggling like
oh hold on
where is it going what's happening next
okay I'm not saying that
you should sing it exactly the same way again
please don't do that I love me a third different line
oh especially when the first two are very similar
uh huh um

(45:03):
but then you have like
four lines that you're trying to cram into two
uh huh phrases
I okay

(45:25):
I think what trips me up is the
by the way
because to me it almost takes away from Unbroken Heart
when you're going back up there huh
okay that is very possible
I know I'm very see this is
this is what I I love coming to you
because you're very honest about your feedback

(45:45):
and I love that I want that okay
and well even
even if I land on keeping it the same
I don't know but to hear that it like
even if I keep it the same for this song yeah
that makes me think about it for the next song yeah
fair you know
that's totally fair
what phrases are highlighted by what I'm doing
with the melody yes
yes and at the end of the day
like what what I'm hearing

(46:07):
or how I would do it is not the right way
or the wrong way it's just a different way yeah
that's exactly it
there is no right way and there is no wrong way
there's just different ways of doing the same thing
and it's very possible
that a lot of people do not agree with me
and that's totally totally fair again

(46:28):
there is no right or no wrong way
there's space for that
this is English second language brain over here
what exactly are you trying to say with
I'd have come by the way of an unbroken heart
the the phrasing okay
like the meaning yeah
um and I kind of borrowed that
that phrasing from um
I I think it's more of a southern type of expression
but okay um

(46:48):
uh
there's a there's a song
that that I heard one of my favorite groups
the Waylon Jenny's do and and it's a cover
but it's called by way of sorrow
but the but the concept is like if if
if we were gonna go to Nashville yeah
it's it's kind of like a stop along the way
so am I going

(47:09):
am I going to Nashville by way of Louisville
or am I going by way of Cincinnati right
so there's different routes
you could go to get to that destination
so you know
I could either get to this place full of sorrow
or by the way of an unbroken heart
that's that's the message I'm trying to okay
get with with that alright

(47:29):
second verse okay
I can't go back to how it

(47:54):
OK great
and then it goes back into the chorus yeah
hold on before I say anything
how did it feel I it felt better
I you know
here again trying to be you know
go back to conversational
uh huh in the yeah
in the verse so
but you're giving me a little bit more here
in the second verse than you did in the first verse
verse which I like right
cause we do need to build the song yes
there I don't know arrangement wise
what how the song evolves

(48:15):
like what the instruments are playing yeah
I what I'm kind of envisioning here is yeah
a little backbeat yeah
you know coming in here at this the drummer's speaking
I love it yeah
hahaha can't go yeah
a little bit uh huh
you know a little click in there yeah
oh I like it
I like it so there arrangement wise
there's gonna be a little bit more
starting in that second verse
momentum in that second verse
love it have your voice match that

(48:37):
so basically exactly what you did just now alright
the second verse yeah
it's still conversational
but a little more than what you did in the first verse
yeah
I can't go back to how we
nice

(49:08):
yes yes
yes yes yes
and it seems like um
and blame I gotta do the same thing as heart too right
where I like blame
yes instead of blame
exactly okay
I'm starting to hear this now yes
oh I love that you're like
I'm hearing it I'm hearing it yes
that's exactly why we're doing this yeah
so that you don't need me anymore

(49:30):
eventually you can hear it yourself right
yeah and um
I love how you're like oh
I I need to do the same thing here as I did over there
I see that I love that you're making these connections
cool that's really
really really great
you're killing it Doug
you're killing it thank you
uh did you hear feel a difference
uh yes
with those endings yes
I did it was not at all louder or anything like that

(49:51):
it was just finished play in a blame yeah
yeah it makes it just a little less bright overall
mm hmm and therefore just a little less twangy almost
right blame not blame right
yeah in these

(50:26):
I only played it safe ah
that's the word I was just second guessing myself yeah
you you changed the word and I only played it safe
oh yeah
yeah yeah
yeah hahaha

(50:47):
you're doing it okay
wait one thing before we go into the bridge
you got the heart you got the heart um
what's the word if I only what
played it safe played safe yeah
oh played yeah
uh you were saying plead it safe
plead it safe yeah
oh that I only play oh
I hear I feel what I'm doing okay
had I only played it safe okay

(51:10):
one second we're gonna make an adjustment there
played it safe played uh
you're turning the diphthong into a monothong
had I only played it safe
played it safe played it safe
played it safe had I only played played
play play
I want you to just sustain
had I only play OK
just that had I only

(51:34):
OK great
and only at the very end when you get to the EED part
that's when it comes back
that's when it comes up
I was holding it up the whole time exactly
I could feel it had I only play
and there it is okay
yeah it's your tongue
it's literally your tongue
it is I can feel it wanting to yep

(51:55):
just pull up there uh huh okay
had I only played it same
you're already doing it on Lee only
that's why had I only had I only
and so it's staying up there play
let's chit chat boo

(52:16):
move the tongue forward yeah and I
there it is there it is okay okay
uh I'm really excited for you to listen back to this
recording whenever this episode comes out
so you can hear it
cause sometimes it's really difficult to hear it
as we're doing it it's like that all sounds the same

(52:38):
what are you talking about
it's like actually it doesn't haha
it's difficult to hear it in the moment
but it's it's literally just your tongue okay
so yeah just focus on play
play play it

(53:00):
it has more body to it yeah
that's the only thing in cause the rest is the same
it's a different word here than
right in the first chorus
which I'm I always find that cute when like
the majority of the chorus is the same
it's just one phrase in there
that's a little different
yeah I like it yeah
that's that's the part where I was kind of wrestling
you know with
you know this is the different flavors of regret

(53:21):
you know like what if I did this
what if I didn't do that what if I
you know oh
I like it
that's kind of what I wanted to do with the chorus
I love it yeah
I love that and I think people will only notice it
if they're really paying attention to it
most people are not going to notice it
until they pull up the lyrics
and like oh
it's not the same right
but I like it I like it it's really cool

(54:06):
fix this okay
there you go you fixed all of them on your own
did I okay
maybe cause I was concentrating probably
probably think about the vowels well
I mean you have like some fit
fit in fit in from and top
tired of I'm not tired
but that's not how we sing right
like yes
we say tired I'm tired

(54:26):
not I'm tired unless you're from the south
but whatever that's uh
but then in singing I'm tired of
that sounds weird yeah right
so tired of and fading fading
it's a little
you still have to make sure that the dip sound is there
like the e sound of fading fading

(54:46):
but we're going to the E part of fading
a lot quicker than we normally would
yeah that seems to be the running theme with my vowels
yeah so through
this is going to the second half of the diphthong
too quick yes
but here I actually think it's a good thing
oh it's a good thing on that word okay
yeah I think here is the opposite
cause otherwise it's fading
fading from I see

(55:08):
compared to like fading from okay
yes yeah
I hear the difference it's just a style thing here um
cause otherwise I feel like it's gonna be so big
that it's gonna stand out a lot yeah
and if we go to E quicker
which again is the opposite of
all the other stuff that we were doing um
it blends in more with the rest of the phrase

(55:29):
mm hmm can you try it
yeah fading from existence yeah
I love that cool

(55:50):
this yeah
yeah yeah yeah
yep yep
yep yep
uh you're
I love what you're doing on
on on is on a diphthong or a monophthong
uh huh on
on
oh
that's hard I don't know
it's like on on
it's mono yeah

(56:10):
just one okay right
but you're kind of going on on so
oh little country fight no
but I kinda I'm kinda loving it
because it fits with the way you sing tired
yeah right
so that whole like tired of moving on is like
hello country and then we go back to normal

(56:31):
but yeah I don't mind it
like I kind of love it yeah
I kind of love it kind of love it hahaha
throw a bone to the baby
I just wanted to point that out
but I kind of like it so you don't
you don't have to change that um
so city streets behind me
okay how long is the song
do you know I've not timed it

(56:52):
no well
you sent me a video we can see how long the video is
it's already 3:30 it's already three minute 30
how long um
no not no
I actually think it's great
okay what
where I'm going with it is like
what if you made the chord the
the bridge a double oh yeah
ooh I usually
I'm the person who tells people to cut

(57:13):
stuff out of their songs yeah
and now I'm like that's what I'm just
what if I was not prepared for you to say that
I know I know
if you're performing it live
I would not double the bridge okay
because you're
unless you have a whole band playing with you
and background singers or you're using tracks
sure then yes
but if it's just you and the guitar
it's not it's not necessary

(57:34):
if you are recording it in the studio
mm hmm and you're doing all this layering and harmonies
and all that stuff that we were talking about
just a minute ago then
you would have a little bit more space
to really build up this bridge
yeah you know
as you're saying that I wonder if maybe
before I even go lyrically into the bridge
that Musically

(57:55):
it goes one time through maybe like a solo section
you know if you have a guitar player or something
um let me pull up the lyrics
or I could lyrically go a double bridge
yeah um
if you wanted to have that building
effect you would have to have some sort of vocals
but it could also just be ahs and oohs true actually

(58:18):
here's what I would do I would just repeat sorry
hahaha
I would just repeat the same lyrics one more time oh
OK right
so I fade in from existence
and then like the first four lines
and then go back to the beginning OK
city street
yeah city stretch behind me
they're in the distance you're building vocally too

(58:40):
yeah okay
you go back to that yeah
so I feel like if you're repeating
the city's in the distance
mm hmm like two or three times
like the whole four lines right
you repeat that two times
like two times through or three times through
and then you go into tired
that word is gonna stick out a whole lot more

(59:01):
because now you changed it cool
right now it's different
I like that
and it really gives you the opportunity to build
this bridge and have a bigger moment in the song
oh my I think this could be so cool cool yeah
I'm digging it I'm loving this um
so this is where I was trying to think too is you know
not just vocally but yeah

(59:22):
arranging wise you know
with the goal of going into the studio and so having
having these ideas in the back pocket
is gonna be great yeah
yeah and then vocally
you're gonna deliver them all a little differently
right
so the first time it's just cities in the distance
splittering whatever
littered in the distance alright

(59:44):
so um
city stretch behind me sorry
littered in the distance it's easy
it's easy it's almost maybe like a little husky right
it's conversational right
uh many more like these or I don't know
something like that it's like okay
it's coming out it's coming out
mm hmm so anyways
play around with it sweet yes

(01:00:05):
oh I will
I'm excited about that that's oh
I can't wait to hear it cool
and then harmonies you know
add some slap some harmonies on top of that
yeah and uh
and then yeah
see if you want to start with OOS
make like and then have them go into lyrics
or if you want to do just lyrics or just OOS
play around with it see what

(01:00:26):
what feels right to you
and then obviously also the arrangement
like music wise mm hmm
needs to be building there too
yeah that's definitely one to be a high point
and the way I'm envisioning it coming out of the bridge
if we're not getting too ahead of ourselves is
is to kind of take the energy down on the chorus okay
the the final or at least the first iteration of it um

(01:00:47):
you know um
what's this last part I'm writing Onward
okay so
and this is where I might really want your
your input there because um
some feedback I've gotten
on some of my songwritings
like I love sad songs I think they're phenomenal and
and people relate to it connect to it
but um

(01:01:08):
my brother who who is
he's an incredible musician
but uh
he
he talks about like when you have desperation in lyrics
but you have like a little
a little dash of hope yeah
that it it
it brings yearning yes
which is like you know
that's where the money's at right there
like that's where people can connect

(01:01:29):
it's not like I'm just wallowing in despair
and gonna leave you there in this song
you know so that's kind of where I was going
but thematically
and maybe this is where I might need your lyric focus
here is like
does that make sense
because earlier in the song I'm saying like
you know in the bridge

(01:01:49):
I'm tired of moving on I
you know I
uh huh I
you know I don't have
I ain't got no more resistance
I'm kind of done uh huh
but then at the end I'm like yeah
but I'm I'm riding on
I'm moving on like yeah yeah
I'm tired of moving on but I am like
is this is this contradictory or is this no
that's perfect or is
is it yes okay
cause I really was waffling on no

(01:02:09):
because otherwise
if you already said what needed to be said
you can just stop the song there
mm hmm you
but you keep going with it yeah
so give me a reason as to why you
you you keep going with it and on yeah
and having the hope there
I definitely think is is awesome okay
I like to be able to summarize each

(01:02:30):
section of a song in one sentence
and if I keep saying like
if the summary of every
every section keeps ending up being the same
I'm like nope
rewriting this thing because it's not
the story is not evolving
then
you're just saying the same things in different words
yeah but there's nothing new being introduced

(01:02:51):
hmm and so we want to keep the story story moving
and so having that ending
I think is beautiful well
I think that's it's kind of human too where
you know we're upset about a situation be like okay
I'm just done like
you know I'm done
but then maybe I've gotten my emotions out like no no
I'm no I'm not really
you know yes
I'm at a better place now
and no 100% 100% it's me on a daily basis

(01:03:14):
hahaha I think I that's the same for all of us
I think yeah yeah
cause at the end of the day
we don't all give up yeah right
we we do try and find something that keeps us going
yeah so no
absolutely don't change that OK keep that cool for sure

(01:04:23):
okay you're not repeating
I will come by the way of an unbroken I could on here
in the lyrics you have it twice
oh do I
yeah okay
I'm not even following my own lyrics
what the heck okay
uh you also said I'm writing Onward in the lyrics
but you're pressing yeah
I should say writing because that's kind of um
the ghost town lyric you know
kind of western horseback riding

(01:04:43):
I should say I should say writing yeah
the the basis of pressing is gonna be quite harsh oh
so if you wanna keep it softer
writing I do is probably gonna be better okay
I'm

(01:05:23):
smile again that's also something you could do oh yeah
uh
and oh
oh yeah I like that
watch you smile again yes
do that I like that
that's great that's fun
uh hahaha
uh smile again okay
hear me out what if yeah

(01:05:44):
the first two lines of this chorus up until smile again
you still have a little bit of a
a lot of energy okay
and then it comes down and I don't know just
you start calming down there okay
um but keeping like kind of like that energy cause um

(01:06:07):
is there no way to fix this and
it kind of like
I feel like if you're not doing that
we're gonna be
we're ready for the climax and then it doesn't happen
and it's like what happened
haha
um you know what I mean
you know what I mean yeah

(01:06:27):
but then you don't have to stretch it out forever
it can literally
just be those first two phrases in the chorus
and then bring it back down okay
it doesn't need to be a whole chorus of
yeah uh
can we just just to see what
what that feels like can you go from tired of moving on
yes
but I'm

(01:07:27):
uh
okay great
great great great great great
great great great alright
um
when you're doing the tired of moving on
the bridge there that last part
strum it uh huh
to get that energy moving
yep right
and then keep strumming through
smile again okay
and then we start going back into the fingerpicking

(01:07:50):
from there on out
yes yeah
anyways um
do you like that or are you like no
I want to keep I do like that the chorus soft
I do like that because what you said makes sense where
you know
we don't want that energy to dissipate too fast
yes and leave the audience really in a lurch
we want but

(01:08:12):
but I do like the idea of it coming down at some point
yep so that we can
you know kind of end on Broken
you know and yes
and the energy is a little bit yeah
bigger toward the end maybe not as big as the bridge
but at least bigger than no
for sure maybe mezzo forte to the end
yeah no
for sure for sure
I would have these abandoned or necklace

(01:08:35):
like how that be like
this is what we work towards now we have arrived
and now I'm gonna stay here for two phrases
and then I'm gonna go back down yeah right um
is there no way to fix this
how does that phrase go yeah is there no

(01:09:03):
walls I like either you pick which one you like
so when you when you do this
I like how you did that
so so you're kind of hanging on this and these yep
like where it's so you're kind of
you know jumping off that s a little bit at the end
yep this and these yep yep

(01:09:24):
exactly you don't take a breath there
you keep right going with it instead of
OK go straight into it
and then you can take a breath after wolves
so that's even more important for me
to take a breath earlier yes sir
big breath to get me through that whole thing
yes with the right energy

(01:09:44):
you are exactly right you are exactly right
but that's gonna be so freaking good
oh my God and then um
um and then oh

(01:10:05):
I'm writing Onward
is that the same had unknown just what to say
no it was a I'm mad it's almost like the verse so oh
I'm

(01:10:26):
I come ah no I had to come
ha okay
hear me out what if we made that simpler
yes cut the repetition okay
only do it once okay
because
because you said it's kind of like the verse uh huh
so we wanna end it just like how we started it

(01:10:49):
yep easy conversational
uh huh
not loud at all right
Elsa

(01:11:19):
I just my brain wants to have this ending because like
we were building so much in that bridge right
and then that chorus
first two lines in the chorus are like yeah
let's go and now the ending
I'm like
I wanna go back to like the beginning and keep it like
super simple okay
but when you go by the way

(01:11:40):
back up there I'm like no
too much hahaha right
like super super super
super easy
but or maybe even if I did melodically that way
I can maybe back the intensity off of that
that melodic jump so
uh huh
nautical

(01:12:05):
I don't know not the
yeah yeah
but not so like by the way yeah
you know like punch in the face with that note yeah
almost like a little falsetto moment there yeah
by the way
yeah yeah
but just keep it super easy okay I'm running on

(01:12:32):
and ended on not the tonic
oh okay
oh my gosh that's
it's so funny cause um
that's that's my wife's pet peeve
oh no unfinished songs
no no
like where where it where it line where it
it lands on like the fifth
yes or something like
but that I kind of like
not the one I kind of like it leaves it open cause like
which is the theme of the song

(01:12:53):
it's the hope yeah
yeah OK
OK we're not done yet
no we're not done
oh this is good
this is good I'm getting goosebumps
can you try that I'm teasing my wife
she she does like
I mean there are songs
I get that sense so I totally get that
I tease her a little bit I totally get that
I'm right

(01:13:16):
yes and you just end it right there
oh I like that
oh you have to make sure that the bum
that note from your picking pattern
that that ends on like that
that hits at the same time as start
oh yeah okay

(01:13:37):
come on
how can you not lose your shit when you hear that
oh cool
I like that yes
let's do it let's do it
I like that I'm all in on that ending
I like that I like that a lot
very atypical for me to suggest that
but I like that cause me too
just like your wife I like finished things
yeah um
but it really brings home the lyrical point

(01:14:02):
mm hmm hope yeah
we're not done yet yeah
yeah I had so much fun with this
me too thank you
you sound awesome I love this song
thank you
I think it's a really great balance between simple
but not simple at the same time right
like you're doing a couple things
like with the roundabout way in the chorus

(01:14:22):
right that
that's not a simple way of doing it
yeah but then other parts um
like the verse for example is
is is straightforward
simple in a good way like when I say the word simple
I mean it in a positive way
yeah and
and then if you have that build up in the bridge
uh huh oh
it can really land that chorus

(01:14:43):
that last chorus yeah
and then you bring it back down
you keep the ending open for that feeling of hope
uh huh and you're golden cool
amazing awesome
and I'm not 100% sold on the word neglected yet okay
abandoned or neglected I'm like 50
50 on either yeah
you you pick whichever one you like better
I might uh
I might do an informal survey with my posse and see

(01:15:06):
there you go perfect
I love that yeah
comment below yes yeah yeah
let us know do we like abandoned or neglected
um but yeah
then then pick which
which one you like better
I don't think you can go wrong either way yeah
I love it any preguntas
any questions no
you give me a lot to chew on
I know I know oh
I had so much fun I hope you had fun too

(01:15:27):
oh yeah this is a blast yay
thank you thanks for having me
of course and thank you for letting me
you know make suggestions too
cause oh yeah
a lot of times I'm like large
shut up this is not your song just shut up haha
it's not they didn't ask for it
so no don't say anything
if I
if I just was concrete sold on my own interpretation
yeah all the time and never took any input

(01:15:47):
it would never be better you know yeah
there's always room room for for growth
and again at the end of the day
there's no right or wrong way to do it yeah
it's just like what do you like the most
here's what I'm hearing here's what you're hearing
what do you like maybe it's a third different thing
I don't know
two of my favorite authors CS Lewis and JRR Tolkien

(01:16:07):
they were best friends but they had
totally different views on their approaches
to the way they wrote
mythology and things like that
and so they would meet all the time
critique each other's work
but then like they're both timeless classics
you know yeah
so yeah I'd you know
I'd it'd be foolish not to be open to well
and usually like out of collaboration
a lot of stuff is like oh my god

(01:16:29):
I didn't think about that
but I love this and then you know
like you both do that and it's like wow
now the song is so good so no
that's super awesome thank you so much for sharing
for sure you will have to share the song with us
I will when it's done I can't wait
oh my God
if you need somebody in the recording studio with you
let me know I'll come record harmonies

(01:16:50):
oh I would love that
thank you I'd love to have you
that would be so fun oh my gosh
um anyways
great job keep practicing it
like all the things that we talked about
and then you're gonna nail it alright
thank you
and I'll include the link to your social media
for everybody so they can check you out
thanks so much
anything else you wanna get off your chest
no I'm just OK
super appreciative and thank you all for listening

(01:17:11):
and I hope you follow Vox Tape Studios for more
because Laura is awesome oh
thank you thank you
thank you if you made it this far
they're probably liking what they're all doing
there you go I love it
thank you so much duck
I appreciate you your song is beautiful
can't wait to hear the full thing sweet
thank you everybody for tuning in for listening
we'll see you in the next one bye bye