March 17, 2025 • 43 mins
Connor Small, also known as Quiet Son, shares his journey as a Los Angeles-based producer and mix/mastering engineer for both Grass-Fed Music and independent artists worldwide.
• Originally from Philadelphia, Connor discovered his passion for music early, banging on pots and pans as a child
• Gained initial studio experience through high school recording programs and internships
• Approaches production as a collaborative process rather than exerting control over artists
• Uses the analogy of artists being in the driver's seat while he rides shotgun with the map
• Views rhythm as the foundation of all music, emphasizing its importance when recording live performances
• Has worked on projects ranging from American Horror Story to independent artists across multiple genres
• Believes in making professional production accessible by working with artists' budgets
• Advises new artists to trust themselves while remaining open to feedback
• Emphasizes the importance of finding someone who believes in your vision
• Recommends waiting until you truly believe in your songs before recording them
• Can be reached through Instagram (@quietsonmusic) or his website (quietson.com)
For production inquiries, visit Connor's website at quietson.com or find him on Instagram @quietsonmusic.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Rob (Wardrums) Franklin (00:00):
Hi and welcome to Franklin's Garage to
Stage podcast.
My name is Rob Franklin and myco-host is Dana Thunderbase
Franklin With us today.
Dana (Thunderbass) Franklin (00:11):
We have a special guest, Real
excited to have him on our show.
His name is Connor Small.
Also goes by the name of QuietSon.
He's a producer and mix andmastering engineer for Grass-Fed
Music.
How are you doing, sir?
I'm good.
Thanks for having me on, fellas.
Oh, absolutely Thanks forjoining us.
So tell us a little bit aboutyourself and what you do over
(00:33):
there.
Conner (Quietson) Small (00:34):
Yeah, so I'm a Los Angeles-based
producer and engineer.
I work both as an in-houseproducer for Grass-Fed Music,
which is an artist managementcompany, and I also work as a
freelance producer withindependent artists all across
the country and the world.
And, originally fromPhiladelphia, I'm living in Los
(00:56):
Angeles now and, you know,working on music every day.
It's been a blessing.
Rob (Wardrums) Franklin (01:02):
Oh cool , I see how we see from your
webpage.
You've worked with quite a fewartists, which is your most
successful project to date.
Conner (Quietson) Small (01:11):
You know I've done a couple of sync
things for some TV shows likeAmerican Horror Story, some
trailer things for that.
Probably that's the mostrecognizable.
But I've also had a couple ofindependent successes with
artists like Nikita and Chrissy.
So you know very, very proud ofthe independent work I've done.
Dana (Thunderbass) Fran (01:31):
Awesome .
So how did you get involved inyour trade there?
At what age did you realizethat this is something you
wanted to get into and whatmotivated you to pursue this?
Conner (Quietson) Small (01:50):
and and what motivated you to pursue
this?
Yeah, you know, uh, I think forme it's it was never really a
decision.
I think it was more somethingthat I always wanted to do and,
um, you know, as I grew up, Ikind of learned the right way as
far as how to produce music andlike how to get into it, as far
as going to school and and allthat, but I think.
But I think if you ask myparents the same question, they
would say I was born this way.
I used to pull all of the potsand pans out of my pantry and
(02:12):
start.
Yeah, would hit them with spoons.
And you know, I think at thatpoint my mom and dad were like,
oh, we're in trouble.
Rob (Wardrums) Franklin (02:21):
I went through the exact same thing.
Being a drummer.
That's exactly what.
Conner (Quietson) Small (02:23):
I did.
Rob (Wardrums) Franklin (02:27):
Tu.
I went through the exact samething, being a drummer.
Conner (Quietson) Small (02:29):
That's exactly what I did Tupperware
pots and pans with a ladle andspoons Very cool yeah.
But I think I grew up in a verymusical household.
I was in the church choirgrowing up and both my parents
were singers, so they reallyfostered that early on and I was
very fortunate that just atdifferent touch points in my
education kind of things werestarting at the time I was there
(02:49):
.
So a couple examples of thatare my high school started a
recording kind of program, likea couple classes when I was
there, and so I got to have someexposure to that in high school
and that pushed me in thedirection of doing my senior
project at a recording studio.
That was, you know, pretty closeto where I grew up.
So I was just an intern thereand, you know, a runner, just
(03:12):
got coffee, learned how to wrapcables the right way, but even
doing that very menial stuff Iwas just in love with being in
the studio and being around fansand artists and just kind of
wowed by the more engineeringand technical side of things too
.
So I decided to go to college.
When I went to college it was aliberal arts school but again,
(03:33):
just very fortunate that theyhappened to start a music
production program there, anaudio engineering program when I
was a sophomore.
So very quickly dropped mybusiness major and ran to that.
Rob (Wardrums) Franklin (03:44):
That's a good combination of business
and recording.
Conner (Quietson) Small (03:47):
Yeah, I think it ended up being really
useful as I transitioned frombeing somebody who always loved
music and wrote music intosomebody who really saw this as
something that could be aprofessional venture to somebody
who really saw this assomething that could be a
professional venture.
(04:10):
Now I see that you work with alot of independent artists, but
do you work with any bands aswell?
I do, yeah, I work with acouple of bands, for example,
one run by a guy named DavidKessling and a couple others out
here in Los Angeles.
Primarily I work with more solopop artists, but I do take on
band clients whenever I can,because it's a very different
(04:30):
experience and it's really fun,yeah, I bet.
Dana (Thunderbass) Franklin (04:33):
Now , when you do band stuff, do you
limit the genre that you wantto work with, or will you take
on everything from regular rockbands to death bands, or I mean,
how, how far would you, how farwould you go with that?
Conner (Quietson) Small (04:49):
Yeah, I know I really don't like to
limit myself.
Uh, as far as genre I, I thinkthe only thing I would limit
myself to is I really like towork with artists who are
imaginative and who are tryingto push the boundaries in
whatever genre they're doing.
So you know, for me, I listento everything.
I have a deep appreciation forall kinds of different music.
So you know, if it's a deathmetal band and they're trying to
(05:10):
bring in elements of differentthings and push the sonic
boundaries, I think my specialtyis really like bringing in
different types of referencesand different types of genres
into whatever genre the artistor the band I'm working with is.
So don't try to limit myself,and I have musical ADHD,
basically.
Dana (Thunderbass) Franklin (05:30):
So I get a little bored if I'm
working on the same type ofthing all the time.
Nice.
Now.
Is there any special kind ofelements or process that you go
through when mixing andmastering to make these bands
sound different, or is there aspecial technique that you use?
Conner (Quietson) Small (05:48):
Yeah, that's a great question.
I don't know if I have aspecial technique.
I don't think I'm doinganything that is revolutionary,
Although I would say what Ialways fall back onto is
trusting my taste and reallylistening to the artists.
So that's what I would say ismy special sauce is really
putting the artist's vision atthe forefront, doing everything
(06:09):
I can to support that and thenreally bringing in my own taste
and my own kind of way oflooking at the musical landscape
and what lights me up.
You know, I think overall Iapproach mixing and production
as as a world-buildingopportunity.
I really love fiction andsci-fi movies and things like
(06:30):
that.
I try to apply the fundamentalsof how do you get sucked into a
really good story into what Ido.
Even though mixing can be verytechnical, I still try to
approach it from a creative,world-building standpoint.
Rob (Wardrums) Franklin (06:45):
Okay, cool.
Now do you have a particularstudio that you work with, or
you do a lot of home typeengineering, or how's that
process?
Conner (Quietson) Small (06:55):
Yeah, both.
So I have a home studio that Iwork out of.
I would say maybe, you know, 60to 75% of the time and that's
just for my own convenience.
But you know I work out of anumber of studios around la.
So I've worked out of melrosehills and, um, girl sound
studios on hillhurst.
Stab is a great one.
Um, you know various homestudios that friends of mine or
(07:15):
colleagues of mine run um, yeah,it's great.
Dana (Thunderbass) Franklin (07:36):
La is fantastic.
There's just a range of studios, yeah, yeah, it's awesome for
the last 30, 40 years, and wejust recently started another
project.
But you know if, if we were atthe point where we're ready to
go into a studio and, you know,get something going, could we
come to you directly, or or isthis something that they would
have to go through, like grassfed or some other kind of
management company?
Conner (Quietson) Small (07:58):
Yeah, I mean you can definitely come
right to me.
I think, uh, with with grassfed.
You know they have a roster ofindependent artists that they're
developing, so they will sendthose artists, when they think
it's a good fit, over to me.
I'll take a listen and see ifit's a good fit and we'll work
together in that capacity.
But I have independent artistsor label artists hit me up all
(08:19):
the time.
Most of the time I would sayit's pretty informally, through
Instagram, people just saying,hey, do you have any beats?
Or um, you know I found yourwork on such and such platform
and you know I have some demos.
But you know I.
There's a number of ways thatartists find me, whether that's
through kind of the onlineproducer, like freelancing
(08:41):
marketplaces, like sound better,or Instagram, or they find my
website.
It's.
It's always cool, but you know,I think for me a lot of it is
referrals as well.
That's how I get a lot of work.
Rob (Wardrums) Franklin (08:52):
Okay, cool.
Now I hate to date myself here,but the last time I was in a
studio it was actually on tape.
It was, I believe, an inch anda half or two inch tape I can't
remember the size exactly, but Iremember when we were finished
we had to actually pay for themaster.
You know that tape, and thatwas actually more expensive than
the the recording process.
So how is that different fromnowadays, where everything's
like digital?
Conner (Quietson) Small (09:14):
yeah, well, I you know.
Similarly, I don't think you'redating yourself.
I also started on tape you'remuch younger so cool.
No, I I remember vividly gettingchastised about not being very
careful with the tape, but thatwas also an education I got in
college was like learning how tocut the tape with you know
razor blades and splicedifferent sections.
(09:35):
I wouldn't say it's a lost artform, but it's definitely not
common anymore.
You know, I think one of thegreat things is you can do
everything in the box now, and Ithink that in some ways
democratizes things both forpeople like me, who are in the
production world or theengineering world, but also for
(09:56):
artists too, because, as yousaid, it can be a really
expensive process and I thinkthat a lot of artists are able
to come to somebody like me, orI think that a lot of artists
are able to come to somebodylike me or you know my.
You know people who are kind ofdoing the same thing that I'm
doing, and they're able to havea more affordable experience and
still get a really, reallygreat professional sound Nice.
Dana (Thunderbass) Frankli (10:17):
Okay .
Well, since you brought up theword affordable, you know I'm
going to ask what kind of costsis involved for somebody using
your services, whether it's fora single song or a complete.
Well, I guess they don't callthem albums anymore, Do they?
Conner (Quietson) Small (10:34):
Yeah, there's definitely still albums.
Actually Just wrapped an albumproject today.
They're definitely still inexistence.
I think you know, as far aswhen somebody comes to me, I
like to look at, you know I havestandard rates right.
They're always changingdepending on my bandwidth and
(10:54):
you know what the artist is ableto swing and and that's that's
really what's key for me is Ilike to keep things.
You know, unless you have alabel that's giving you an
advance and you're you know youhave a set budget for your
production or for the mix onyour album.
My thing is, there's so manybarriers to entry to the music
industry already, Like one ofthe things that I can control in
(11:15):
my own world is, you know,without sacrificing being able
to put food on the table, I liketo work with artists as much as
I can on their budget.
Um, cause I don't think thatanybody should be priced out of
having a professional sound, andthere's so many artists that
I'm sure throughout history hasbeen priced out.
You know they, they are supertalented, but you know it's if
(11:36):
it's a choice between payingyour rent or you know recording
a song, you know I canunderstand if the choice is rent
, and so for me, I always lookat a project holistically.
You know, what can the artistafford?
Where's my kind of middleground on what I can afford to,
you know, allow in terms ofreductions on my price?
But if they come to me I'lllook at it holistically and I'll
(11:58):
offer production services vocalrecording, mixing, mastering.
Sometimes I offer programmingfor live sets if they're doing,
you know, more of a, if they'reusing background tracks or maybe
they're mixing in someelectronic elements with a band.
So, yeah, I like to provide arange of services and also price
(12:19):
it in a way where the artistfeels comfortable and they still
feel like they're getting areally good producer and really
good sound nice.
Rob (Wardrums) Franklin (12:27):
Now, do you do live shows as well?
I mean, have you doneengineering on live shows as
well, or just, uh, strictlyrecording?
Conner (Quietson) Small (12:35):
yeah, strictly in the studio.
I I've never really branchedout into the live engineering
scene.
That's uh, it's a wholedifferent piece and I think for
me I I'm a little morecomfortable in the studio.
Dana (Thunderbass) Frankli (12:46):
Okay , I get you like to have the
four walls around me morecontrol, uh okay, well, speaking
of control, you know, say, aband comes in and you know
they're working with you and butyou hear something that maybe
you don't like or you'd like tochange.
How much control do you like tohave and what?
What kind of you?
Rob (Wardrums) Franklin (13:06):
know, what?
Dana (Thunderbass) Frankli (13:09):
what kind of giveaway is there for
you know, do you work with theband and the band work with you?
Conner (Quietson) Smal (13:14):
question .
Yeah, really good question.
I think it's always a it's adance, right?
I think for me, control is areally sticky work, because I
think that a lot of producerswant full control and that's
just not how I approach it.
I think for me, it's really moreof a collaboration.
You know, as I mentioned before, it's like it's putting the
(13:35):
artist's vision first right,because they are the artists.
They have that artisticinstinct and I like to.
I like to work with the artiststo maximize that artistic
instinct and when there aredisagreements, when there are
moments of maybe feedback needsto be delivered in terms of hey,
I think we can do thisperformance a little bit better,
or, you know, maybe somethingisn't working.
(13:57):
It's more of an examination ofwhy isn't this working, or why
aren't we feeling what we wantto feel, versus you need to do
it this way, cause I think forme, I'm only one person and
maybe I do trust my taste andthat, again, that's always what
I fall back on, but you know,I'm not the only person with
good taste in the world, or Iwould say good taste, obviously,
(14:18):
but uh, you know, I think it'salso a learning experience for
me too.
Sometimes I get surprised, Ithink something's not going to
work and it ends up being thebest part of the record.
So it's always remaining opento that part of the process and
making sure that the artistsbecause a lot of artists can get
discouraged very easily andworking with a producer,
especially as an independentartist, can be really
(14:40):
intimidating um, I've hadartists kind of look at me as,
like the, the boss of theenvironment, and that is very
much not what I'm trying tofoster.
I'm very much trying to foster.
I'm very much trying to foster.
I think the metaphor I alwaysuse with artists is like when I
talked to them for the firsttime is you, as the artist, are
in the driver's seat, I'm ridingshotgun, I'm looking at a map,
(15:02):
I'm telling you all thedifferent ways we can get to
your destination.
Maybe this one's the fastest,but this one's maybe a little
more scenic and you get todecide do we take the scenic
route or do we get on thehighway and just floor it 100
miles an hour and get there asfast as possible.
Rob (Wardrums) Franklin (15:16):
That's a good analogy.
Thank you, and I can tell youyour compassion for it as well.
Now, I've only recorded in astudio twice.
Both scenarios were live, wherewe were all playing at the same
time, but one was in all theinstruments were in isolation
booths and the other was in thesame room.
How do you approach live-typerecordings?
Conner (Quietson) Small (15:40):
Live recording is fun.
I think there is definitelymagic that can happen when you
have a band that's trackingtogether in the room.
Now, obviously, there aretechnical limitations to what
you can do there.
Rob (Wardrums) Franklin (15:53):
Right and all that Right.
Conner (Quietson) Small (15:56):
Yeah, you know it's.
I think for me, like alwayshaving the drum room feel big
but somewhat contained, like youwant it to feel, like there's
some energy and vibe coming fromthat particular room Right, and
having the basis to be in thereis really helpful because you
have that rhythm section syncingup and that's what we are yeah,
(16:19):
there you go.
So, yeah, you, you know exactlywhat I'm talking about.
I think I'm very bottom up whenit comes to production, so I
always want to make sure thatthe rhythm is is hitting first
thank you, I love your writingyeah, I mean, I think it's
important, right, like wheneverI'm tracking something that is
(16:40):
live, and I think this appliesto electronic recording too but
the, the rhythm, is the mostimportant part to me outside of
the vocals, because that's Imean, that's the first music
anybody made, right?
Rob (Wardrums) Franklin (16:57):
It's like we're sitting around a fire
.
Conner (Quietson) Small (17:00):
Rocks against stick, yeah, clapping
hitting our thighs, you knowthose are the most.
I think that's the essence ofmusic.
Vocalizing on top of thoserhythms is it's a communication,
and so you communicate a lotwith the rhythm.
I think that everything has tostart there, and then you know,
it can be a challenge if youhave a lot of session musicians
(17:23):
coming in and they're trying toslot themselves into that.
But I think as long as therhythm is working, it's very
easy for other musicians to pickup what's going on.
So I always start from therecool there we go
Dana (Thunderbass) Frankli (17:33):
okay , so here's a scenario for you
and, um, you know, say you knowyou've got a full band coming in
.
They want to do, you know, somestudio work and stuff down, and
and you're on board witheverything they're doing, but
say there's one member of theband that's just not quite
cutting it or maybe isn't up topar.
The rest of them, you know, doyou suggest to the other members
(17:54):
hey, we can replace this guy.
You know just on, you know onthe work and you know if you
want to do stuff with them, livefine.
But I mean, how would youapproach something like that
where you have maybe one memberthat's just holding, holding the
rest of the guys back?
Conner (Quietson) Small (18:10):
yeah, I mean, the studio environment
can be very different than alive environment.
So you may have somebody whogets a little for lack of a
better word like a little gunshy or a little nervous when
they're in the studio.
So my first instinct is toalways go to that person
privately and have aconversation with them and be
like hey, like just checking inwith you how you feeling, do you
(18:31):
need anything?
I think my the way I approachmy role as a producer when I'm
in the studio is, you know,obviously there's there's
personality management that canhappen, but I think you know
making sure that, yeah, I thinkit's like you never want to
cause a situation where somebodyis going to feel embarrassed or
tempered or temporarily goingto flare that like that happened
(18:52):
, of course, right and then youcan manage those situations.
But I think, going to somebodyprivately and being like you
know, encouraging them right,like I know you can do this,
like you, you wrote this partright, you can definitely do
this or do you want a littlehelp or a little, you know,
maybe maybe I can give it a shotand we can kind of work on it
together.
It it's.
I think that's the first way toapproach it Now.
(19:12):
If it's really not working, Ithink then it's still a private
conversation of like, hey, howdo you feel about bringing
somebody in for this?
You know, I know you can playit, but maybe maybe it's just an
off day, right?
We're humans, we have, we haveour off days.
Um, you know, yeah, uh, michaeljordan didn't score, you know,
80 points every game, right, youknow, he had his games where he
(19:35):
scored 10 or 20, right.
So you know, I I think it'sit's really about giving grace
to people, meeting them wherethey're at.
If somebody does need to bereplaced, it's making sure that
you have buy-in from the wholeband and that you know, because
they're still going to go outand perform together, maybe tour
together you don't want toleave a bad taste in anybody's
mouth through the studio and youalso don't want to let anybody
(19:58):
domineer from other band members, like you don't want the singer
coming in unless it's thesinger's band and and
everybody's in agreement thatthe singer called the shots.
You don't want somebody kind ofdictating what's going on, and
that's a big part of being aproducer as well as managing
ourselves.
Rob (Wardrums) Franklin (20:14):
Yeah, like I said, that's got to be
the hardest part of managingpersonalities.
In fact, we just had thisdiscussion on our last podcast
about you know how a band isreally like a marriage, and it's
got to be more of a democracy,rather than, you know, one
person calling the shots.
Yeah, so that's an importantpart of being a band.
But my question to you is fornew artists, because we're kind
of we're called Garage and Stage, so we're kind of trying to
(20:37):
encompass the whole process.
But for new artists, like maybejust starting out, what would
be your advice to them?
Conner (Quietson) Small (20:48):
getting to the point to where they
should record.
Yeah, I think the first thing Iwould say is trust yourself.
You make the music you make fora reason, so always trust your
artistic vision, but also beopen to feedback, constructive
feedback, you know.
Be open to community, bringpeople in, you know, don't be
(21:08):
afraid to work with other people.
You might.
You know, I think it can bekind of like dating, like you,
with producers, with bandmembers.
Like you, you might need to gothrough a couple of different
quote-unquote relationships tofind the one that sticks.
Um, you know, it can be, it canbe nerve, like nerve-wracking,
(21:29):
putting yourself out there.
But I think that's the firstthing is really trust yourself,
be open to community.
The second thing is findsomebody who is going to believe
in you.
Find somebody who's going tomeet you where you're at and
help you grow, whether that's amanager, a producer, band member
, band member um, you want tohave somebody that is going to
(21:57):
see your vision, maybe see howthat vision can be achieved, uh,
if you don't yourself, andsupport you on the way getting
there.
And then, lastly, just from atechnical, uh, perspective, as
far as like, when do you knowit's time to go to the studio.
I think you know it's time togo to the studio when you have
songs that you really believe inand need to record.
I think if you're unsure abouta song, don't go to the studio
(22:19):
yet.
Refine it, work with somebody,bring in a songwriter, if you're
, if your gut's telling you, hey, I, I don't know what I want to
do in terms of recording thissong, just wait, you know it can
be recorded later.
But if you have songs thatyou're like God, I'm dying to
get these recorded and I'm dyingto put them out because I
believe in them.
I believe in myself.
That's your indication.
Rob (Wardrums) Franklin (22:41):
Good advice Awesome.
Dana (Thunderbass) Franklin (22:44):
So when everybody's pointed in
their career, they always havetheir one special moment where
the light bulb goes on and ithits them.
It's like oh shit, this is,this is what I was meant to do.
Or you know, kind of like thepinnacle of your career, have
you had a moment like that?
Conner (Quietson) Small (22:59):
I think I've had several.
Yeah, I I don't know if thatwill ever stop for me because I
think it's uh, I don't know ifthat will ever stop for me
because I think it's.
You know, this is a very likepassion driven career for me,
but I think one moment thatreally stands out to me is when
(23:21):
I first graduated college and Imoved to New York.
I was both working on some solostuff as an artist, learning
how to produce, and I was in aduo where I was producing, uh,
most of the tracks, although wewere co-writing, and my band
member, you know, was also doingsome production.
(23:43):
And I think the light bulbmoment for me was when that duo
ended and I felt fine.
Not fine because I wasn't, youknow, sad to see that kind of
phase end or to see that projectend, because I was, but I felt
fine because I, through thatprocess, had learned not only
(24:05):
like I can do this as far asproducing music, but also I felt
so lit up by it, I felt sofulfilled by it that I was like
oh yeah, I can do this formyself, but I can also do this
for others.
You know, I can help othershave that feeling for myself,
but I can also do this forothers.
You know I can help others havethat feeling and that's what
really drove me to fully pursueproduction, because you know
(24:34):
there were so many things thatwere saying to me.
Like you know, I was working ata record label at the time.
You know you could just work ata record label, you could stay
there and be in the musicindustry, but I wasn't getting
that same feeling of beingreally like fulfilled and lit up
.
It was a day job.
It was a cool day job, but itwas a day job, yeah.
But you know, I think I thinkthat was the aha moment for me.
It was like, okay, this thingthat I was putting a lot of
(24:56):
energy into fizzled out and Ihad to step away, and feeling
fine about that and feelingconfident in that really pointed
me in the right direction.
Rob (Wardrums) Franklin (25:05):
Cool.
Well, you have an impressiveresume.
Are we able to take things fromyour website and put it on our
podcast website as well?
Conner (Quietson) Small (25:14):
Yeah, absolutely Everything on my
website is released, so pleasefeel free to include any songs
you feel gravitating toward.
Rob (Wardrums) Franklin (25:20):
Cool, Thank you.
Now.
If somebody wanted to approachyou after listening to this,
what's the best way to contactyou?
Conner (Quietson) Small (25:27):
Yeah, so, as I mentioned you can, you
can definitely find me onInstagram, my.
My Instagram handle is quietsun music.
You can reach out to me overemail.
I have a website form on mywebsite quiet suncom.
You can fill out all yourproject details and get in touch
with me directly.
Um, I would say those are thebest uh, best places to reach me
.
Dana (Thunderbass) Frankli (25:47):
okay , cool okay and okay, so quiet,
son.
There's got to be some kind ofbackstory to that you know where
does that come from?
Is that, is that like a, afamily thing, or is that
something you came up with?
Tell?
Conner (Quietson) Small (26:00):
tell us the story on that family thing,
or is that something you cameup with?
Tell, tell us the story on that.
Yeah, no, I you know.
I don't know if there's anylike huge story or meaning
behind it, but it's.
You know, when I first startedout, I was producing under a
moniker called husks and thatwas like I was making really
dark industrial music and I wasreally into horror movies and it
(26:21):
like, yeah, it was something Ithink for me at the time was
embodying this like very dark,brooding side of me.
But it wasn't.
It wasn't a complete pictureand I struggled with it for a
while and I I also realized likepeople, people weren't really
getting it and I had to havesome really hard conversations
with myself about like okay,what, what identity am I trying
(26:43):
to put out there as producer andas an artist?
Cause I I do still record andrelease my own music.
Cool and quiet son just kind ofcame to me Cause I think I was
always a shy kid, I was always aquiet kid.
Rob (Wardrums) Franklin (26:57):
Um, now , do you have a brother?
It was like there's one.
Is that my sister?
Okay, okay, I have a sister.
Conner (Quietson) Small (27:03):
She's uh, you know, she's eight years
older than me.
So in in some ways, uh, I didhave a lot of alone time as a
kid because I think when shewent to college I was eight or
nine.
Um, you know, so I was a quietkid and I think what quiet son
communicates to me and what Ifound that people really
understand about it when theyread my bio and kind of connect
(27:25):
that all is that there is asoftness.
You can kind of come as anartist, be seen, um, you know,
be taken care of as far as, likebringing something really
powerful or painful into yourmusic and know that somebody's
(27:52):
going to have the empathy to sitacross from you and understand
that and work through thatprocess of putting it into a
song, which can be reallydelicate.
Um, so, yeah, I think overallit's really just trying to
communicate to people that, uh,this is a, this is a space of,
of, yeah, of softness andquietness.
Rob (Wardrums) Franklin (28:11):
Cool.
Well, you sold me.
I'd love to work with you.
Hey, I've got one more question.
Okay, I've got one morequestion for you.
Um, recording practices,practices.
We're a band, obviously, sowhat would be your advice for
bands in like, say, maybe alimited room for just recording
practices?
you know, basically for your own, you know your own use to look
(28:33):
for, you know areas to beimproved on yeah, areas to be
improved on in terms of just howyou record well, yeah, just
overall, like like, sound like,say maybe like we, we spend a
lot of time with our mix to makesure it sounds good before we
even play, obviously so we canhear each other at the right
levels.
But if we want to record ourpractices to see, you know, just
(28:55):
basically for listen formistakes or see what's working,
what, what isn't working, whatwould your advice be for for?
Basically the mix of a room andmaybe say a small room like
like 20 by 20 type size roomyeah, sound treatment is very
important.
Conner (Quietson) Small (29:13):
Um, you want to make sure that you're
not having any spots, especiallyif you're recording like drums
or guitar that have some ofthose really high mid
frequencies.
You want to make sure that anyreflection points are taken care
of, and there's some programsand microphones you can buy that
can help you find thosereflection points so that you
can put that sound treatment inin a way that's unique to your
(29:34):
room.
I think ear training is reallygood.
There's a website, I think it'scalled Ear Gym or something
like that, but it basicallygives you listening exercises
and it can help you train yourear.
So I do see that as somethingthat can be really helpful.
As far as, like understanding ifthe mix is off or if something
(29:58):
isn't quite sitting right, cankind of identify oh, it's coming
from these low mids and maybethe guitar needs to be lowered
an octave or the bass needs tofill a little bit more space.
Um, and then you know the otherthing, as far as just hardware
or software, it's like reallylearning how to use eqs and
really learning how to usecompressors at least a like a
(30:19):
basic fundamental understandingthat can also take recording to
another level, because it willadd just a little bit of more
control dynamically and controlfrequency-wise, to your
recordings.
I think you can go a long waywith EQ and compression.
Dana (Thunderbass) Frankli (30:35):
Cool .
So if say a solo artist or bandthey want to work with you,
especially after hearing thispodcast, they're like oh, this
guy sounds awesome.
And you know say down the road.
We get our stuff, you know,really tight and we want to give
you a call.
At what point, I mean, would anindividual or a band need a
(30:55):
manager to approach you first?
Or can they just come to youand say, hey, we want to do this
, we don't have any management,you know, we approach you first.
Or can they just come to youand say, hey, we want to do this
, we don't have any management,you know, we just want to do
this on our own.
Um, is that something asapproachable?
And then the other part of thatquestion would be what are the
legal ramifications?
I mean as, as far as you know,um legal ownership of the rights
and licensing and all that thatgoes with it.
(31:17):
How do you approach that?
Conner (Quietson) Small (31:18):
yeah, yeah, you definitely do not need
a manager to reach out to me,uh, nor a lawyer.
You can just hit me up directlyand work with me.
Uh, I promise I'm aapproachable guy.
But, uh, yeah, I, I think Iwork with artists of the entire
spectrum of the music industry,like somebody who's just
(31:39):
starting out and has no ideawhat a producer does or how to
make a song, um, all the way upto people who are assigned to
labels and you know the wholegamut in between.
So it's the kind of thing whereyou can reach out to me
directly and I I treat everyartist the same, um, you know, I
look at every projectindividually, um, and give that
(32:01):
project what it needs.
So sometimes it's I need toproduce and mix and master the
whole song.
Sometimes it's hey, we justneed an extra set of eyes or
ears on this.
Can you come in and just add acouple of things?
As far as legal ramifications,you know I always think it's
good to have a produceragreement ramifications.
(32:23):
You know, I, I always thinkit's good to have a producer
agreement.
Um, that way, just everythingis above board.
You know what the terms are.
I think there's a couple ofthings, uh, split sheets and and
producer agreements are good.
Split sheets are always anegotiation as far as what you,
as the artists, are comfortablegiving up sometimes what is that
exactly?
so a split sheet is basicallywhat artists and producers and
(32:45):
songwriters use to determinewhat percentage of the song each
person who worked on it okay,controls okay.
Industry standard for aproducer is five points, and
five points essentially means 20of the artist's share of the
track.
So in a situation where youhave a label, you have multiple
(33:07):
songwriters, the artist might betaking, let's say, 18% of the
track Within that.
Typically, they're giving up20% of that to a producer.
Um, no, I don't always do that.
It's a little more simple whenyou don't have a label with
independent artists.
I've done 50, 50 splits ifthere's no fee involved.
(33:30):
Um, so it's.
It's always a negotiation asfar as like, how much are you
paying me upfront?
How much do you feelcomfortable giving up?
Um, I'm never going to demand acertain amount, but we will
have a conversation around whatfeels good for everybody.
If you have songwriters in theroom, you know we always have to
have a transparent conversationaround what contribution was
added.
Normally I try to keep thingsequal and equitable between all
(33:54):
the people in the room.
Make sure everybody's voice isheard and everybody feels
adequately compensated.
Make sure everybody's voice isheard and everybody feels
adequately compensated.
Now, if you have a manager,they're going to take care of
the bulk of that.
But again, they should beinvolving everybody in the
conversation.
Producer agreements it's reallyjust setting forth the terms of
(34:14):
the work that we're doing.
You know, am I producing analbum for you?
Am I producing a single?
How much am I charging you?
When are the payments due?
You know how do I deliver yourfiles, what are my expectations
as far and your expectations asfar as the cadence of how often
we're meeting, as well as like,if we do need to split, if you
(34:35):
do want to go in a differentdirection or I want to go in a
different direction, you knowwhat are the terms of how we
split.
So it really just keepseverybody protected and all the
information about porn.
Dana (Thunderbass) Frankli (34:45):
Cool .
And one more thing I want toask, and you know now, now that
we got all these questions aboutall the formality stuff down,
um, loosen this up a little bit,and everybody's had a moment in
their, in their career whereit's either really mostly
embarrassing something wherelike, oh shit, I can't believe I
really did that.
Tell us about something thatmaybe you're producing something
(35:10):
and it didn't quite go asplanned, or you forgot to hit
the record button, or somethinglike that.
Rob (Wardrums) Franklin (35:15):
No shit moments.
Dana (Thunderbass) Frankli (35:17):
Yeah , there's got to be a moment
where you're like, oh damn, Iwish today never happened.
Rob (Wardrums) Franklin (35:21):
We've had quite a few of those.
Conner (Quietson) Small (35:24):
Oh, we all, we all have.
Oh, man, um, where do I evenstart?
I mean, I, you know, I wasdoing a.
I was doing a producing awriting camp.
Uh, last year, maybe it was theyear before, I can't remember,
but, um, you know, I'm the mainproducer.
I'm also engineering.
We got, you know, 50 differentartists and songwriters cycling
(35:46):
in and out of the room and Ishow up to the studio and thank
god I showed up early because Icome in and I'm like, oh fuck,
nothing's set up, sorry can Icurse?
that's all right, well, yeah,but uh, yeah, you realized, oh
man, like there's no intern, uh,so I have to figure this out on
my own.
There's, um, just nothing isworking.
(36:07):
And you know, having to kind oftroubleshoot that and for the
first, like I would say, hour ofthe day, just everything that
could go wrong was going wrong,like the mic preamps weren't
working, the compressor was shutoff, my laptop was having
issues and I was like man, thisis just not my day.
You know, eventually we foundanother producer who could come
(36:28):
in and troubleshoot some thingswith me and we got it all sorted
.
But I think it's moments whereyou feel like, okay, people are
kind of counting on me to figurethis out.
It's a new environment and youcan't quite exactly get it.
And you know this is why wehave interns and assistants who
are familiar with the space.
But you know, I think that wasthat was an oh shit moment.
(36:51):
And I think also, just, youknow, reflecting on the question
about contracts and things likethat, you know my own personal
experience and I'll share thisfor any artists who are
listening who might beintimidated by contracts I think
it's always a good thing tohave a lawyer take a look at
things.
I got into a contract when I wasmuch younger with an artist
(37:14):
marketing firm and I won't saythe name of it.
But an oh shit moment for me waswhen I realized I signed this
agreement and they're not doinganything.
They're not doing any work andI had to essentially buy out the
agreement, um, and move forwardfrom that.
But it was no shit momentbecause I learned a lesson of
(37:35):
like I, as an artist, wanted tohave my music promoted and I
didn't do enough vetting to makesure that it was the right
situation for me.
Um, now, luckily, I continuedto follow up and I continued
pushing them to do the work thatthey said they would do in the
contract.
They gave me the bare minimum,didn't even fulfill the terms of
the contract.
But that was no shit moment forme, cause I was like you know,
(37:57):
I really wish I had done alittle bit more research and not
trusted so readily.
So I'm not saying artistsshouldn't trust, but they should
definitely do their research,do their homework, have
conversations with people Makessense.
Trust your gut before you putanything in writing.
Rob (Wardrums) Franklin (38:13):
Okay, good advice Now in closing.
I know you're a busy guy so Idon't want to take up your whole
afternoon here.
You're a busy guy so I don'twant to take up your whole
afternoon here, but I noticedthat you're nominated for the
Best Mixing and Engineering forHollywood Independent Music
Awards.
Are there any other awards thatyou've been nominated for?
Conner (Quietson) Small (38:33):
I don't think so.
I think that's the main one.
I tend to be a little shy aboutsubmitting.
I happen to be encouraged tosubmit by the artist I was
working with, and also my fiancéwas very supportive of me doing
that.
So you know, you're making merealize I should probably submit
to some more things.
Okay, all right.
Rob (Wardrums) Franklin (38:55):
Well, I really appreciate your time,
Connor, and also, as your nameimplies, Quiet Son, and it's
been a pleasure.
You've given us some reallygreat advice.
In closing, is there anythingelse you'd like to say to new or
or artists that are ready tohit you up?
Conner (Quietson) Small (39:13):
Yeah, no, I, I, I think the music
industry is a really, reallygreat place.
You know, like anywhere, it hasits problems.
So I think, just as I saidbefore, trust yourself, um, be
open to new experiences, makethe best music you can make and,
when you're ready to jump intothe studio, find a producer and
(39:33):
an engineer that you reallytrust and it's going to be a
super fun process and just enjoyit, cause you know, recording
is special.
There is a magic in being inthe studio and that's why I do
it as a career.
So, yeah, thanks for having me.
Rob (Wardrums) Franklin (39:49):
Hey, thank you very much and, like I
said, we'll include your allyour social media contacts and
your website and and yourpicture as well and on our
website, if you don't mind.
And again, thank you, weappreciate it.
Conner (Quietson) Small (40:00):
Thank you very much yeah, thank you
guys, this was a pleasure allright.
Rob (Wardrums) Franklin (40:03):
Well, you have a great rest of your
day and, uh, talk to you lateryou too thanks all right, thank
you, bye, bye all right.
Dana (Thunderbass) Frankli (40:11):
Well , that was a.
That was a good interview withthat guy.
He was, uh, very, veryeducational and, you know, let
gave us some really good adviceand any of you aspiring
musicians out there, it's good.
Like he said, do your homeworkwith the producers and
management and, once you get tothat level, trust your instinct
on these people.
(40:31):
When you get to talking to them, you'll know if it's a fit or
not, and so, yeah, so Iappreciate all the advice from
him and thank you again forlistening.
And please don't forget to hitus up on our site and anybody
who wants to contribute to theshow.
This is a two-man show and ittakes a lot of work and some
financial means on our end toput this together, and we'd love
(40:54):
to keep doing it for you.
So please contribute if you can.
A couple bucks a month is allit takes, or a big lump sum.
If you got some extra moneyhanging out, you know we'll take
a big check from you too, so sowhat do you got to say, bro?
Rob (Wardrums) Franklin (41:06):
well, I'd like to thank everybody
again for listening and do checkout our website because I will,
in our contributors page, putum quiet son's bio and his
picture and basically his, allhis accomplishments, and he's
got the links to all the artistshe's worked with and there's
some, there's some great stuffon there.
It's not really our cup of teabecause it's more pop, but it
shows, you know, his expertisein the field.
(41:27):
So, yeah, once again, thank you, and everything Dana said was
like perfect.
So thank you very much andplease do continue to listen.
Thank you All right.
Hi and welcome to Franklin's Garage to
Stage podcast.
My name is Rob Franklin and myco-host is Dana Thunderbase
Franklin With us today.
Dana (Thunderbass) Franklin (00:11):
We have a special guest, Real
excited to have him on our show.
His name is Connor Small.
Also goes by the name of QuietSon.
He's a producer and mix andmastering engineer for Grass-Fed
Music.
How are you doing, sir?
I'm good.
Thanks for having me on, fellas.
Oh, absolutely Thanks forjoining us.
So tell us a little bit aboutyourself and what you do over
(00:33):
there.
Conner (Quietson) Small (00:34):
Yeah, so I'm a Los Angeles-based
producer and engineer.
I work both as an in-houseproducer for Grass-Fed Music,
which is an artist managementcompany, and I also work as a
freelance producer withindependent artists all across
the country and the world.
And, originally fromPhiladelphia, I'm living in Los
(00:56):
Angeles now and, you know,working on music every day.
It's been a blessing.
Rob (Wardrums) Franklin (01:02):
Oh cool , I see how we see from your
webpage.
You've worked with quite a fewartists, which is your most
successful project to date.
Conner (Quietson) Small (01:11):
You know I've done a couple of sync
things for some TV shows likeAmerican Horror Story, some
trailer things for that.
Probably that's the mostrecognizable.
But I've also had a couple ofindependent successes with
artists like Nikita and Chrissy.
So you know very, very proud ofthe independent work I've done.
Dana (Thunderbass) Fran (01:31):
Awesome .
So how did you get involved inyour trade there?
At what age did you realizethat this is something you
wanted to get into and whatmotivated you to pursue this?
Conner (Quietson) Small (01:50):
and and what motivated you to pursue
this?
Yeah, you know, uh, I think forme it's it was never really a
decision.
I think it was more somethingthat I always wanted to do and,
um, you know, as I grew up, Ikind of learned the right way as
far as how to produce music andlike how to get into it, as far
as going to school and and allthat, but I think.
But I think if you ask myparents the same question, they
would say I was born this way.
I used to pull all of the potsand pans out of my pantry and
(02:12):
start.
Yeah, would hit them with spoons.
And you know, I think at thatpoint my mom and dad were like,
oh, we're in trouble.
Rob (Wardrums) Franklin (02:21):
I went through the exact same thing.
Being a drummer.
That's exactly what.
Conner (Quietson) Small (02:23):
I did.
Rob (Wardrums) Franklin (02:27):
Tu.
I went through the exact samething, being a drummer.
Conner (Quietson) Small (02:29):
That's exactly what I did Tupperware
pots and pans with a ladle andspoons Very cool yeah.
But I think I grew up in a verymusical household.
I was in the church choirgrowing up and both my parents
were singers, so they reallyfostered that early on and I was
very fortunate that just atdifferent touch points in my
education kind of things werestarting at the time I was there
(02:49):
.
So a couple examples of thatare my high school started a
recording kind of program, likea couple classes when I was
there, and so I got to have someexposure to that in high school
and that pushed me in thedirection of doing my senior
project at a recording studio.
That was, you know, pretty closeto where I grew up.
So I was just an intern thereand, you know, a runner, just
(03:12):
got coffee, learned how to wrapcables the right way, but even
doing that very menial stuff Iwas just in love with being in
the studio and being around fansand artists and just kind of
wowed by the more engineeringand technical side of things too
.
So I decided to go to college.
When I went to college it was aliberal arts school but again,
(03:33):
just very fortunate that theyhappened to start a music
production program there, anaudio engineering program when I
was a sophomore.
So very quickly dropped mybusiness major and ran to that.
Rob (Wardrums) Franklin (03:44):
That's a good combination of business
and recording.
Conner (Quietson) Small (03:47):
Yeah, I think it ended up being really
useful as I transitioned frombeing somebody who always loved
music and wrote music intosomebody who really saw this as
something that could be aprofessional venture to somebody
who really saw this assomething that could be a
professional venture.
(04:10):
Now I see that you work with alot of independent artists, but
do you work with any bands aswell?
I do, yeah, I work with acouple of bands, for example,
one run by a guy named DavidKessling and a couple others out
here in Los Angeles.
Primarily I work with more solopop artists, but I do take on
band clients whenever I can,because it's a very different
(04:30):
experience and it's really fun,yeah, I bet.
Dana (Thunderbass) Franklin (04:33):
Now , when you do band stuff, do you
limit the genre that you wantto work with, or will you take
on everything from regular rockbands to death bands, or I mean,
how, how far would you, how farwould you go with that?
Conner (Quietson) Small (04:49):
Yeah, I know I really don't like to
limit myself.
Uh, as far as genre I, I thinkthe only thing I would limit
myself to is I really like towork with artists who are
imaginative and who are tryingto push the boundaries in
whatever genre they're doing.
So you know, for me, I listento everything.
I have a deep appreciation forall kinds of different music.
So you know, if it's a deathmetal band and they're trying to
(05:10):
bring in elements of differentthings and push the sonic
boundaries, I think my specialtyis really like bringing in
different types of referencesand different types of genres
into whatever genre the artistor the band I'm working with is.
So don't try to limit myself,and I have musical ADHD,
basically.
Dana (Thunderbass) Franklin (05:30):
So I get a little bored if I'm
working on the same type ofthing all the time.
Nice.
Now.
Is there any special kind ofelements or process that you go
through when mixing andmastering to make these bands
sound different, or is there aspecial technique that you use?
Conner (Quietson) Small (05:48):
Yeah, that's a great question.
I don't know if I have aspecial technique.
I don't think I'm doinganything that is revolutionary,
Although I would say what Ialways fall back onto is
trusting my taste and reallylistening to the artists.
So that's what I would say ismy special sauce is really
putting the artist's vision atthe forefront, doing everything
(06:09):
I can to support that and thenreally bringing in my own taste
and my own kind of way oflooking at the musical landscape
and what lights me up.
You know, I think overall Iapproach mixing and production
as as a world-buildingopportunity.
I really love fiction andsci-fi movies and things like
(06:30):
that.
I try to apply the fundamentalsof how do you get sucked into a
really good story into what Ido.
Even though mixing can be verytechnical, I still try to
approach it from a creative,world-building standpoint.
Rob (Wardrums) Franklin (06:45):
Okay, cool.
Now do you have a particularstudio that you work with, or
you do a lot of home typeengineering, or how's that
process?
Conner (Quietson) Small (06:55):
Yeah, both.
So I have a home studio that Iwork out of.
I would say maybe, you know, 60to 75% of the time and that's
just for my own convenience.
But you know I work out of anumber of studios around la.
So I've worked out of melrosehills and, um, girl sound
studios on hillhurst.
Stab is a great one.
Um, you know various homestudios that friends of mine or
(07:15):
colleagues of mine run um, yeah,it's great.
Dana (Thunderbass) Franklin (07:36):
La is fantastic.
There's just a range of studios, yeah, yeah, it's awesome for
the last 30, 40 years, and wejust recently started another
project.
But you know if, if we were atthe point where we're ready to
go into a studio and, you know,get something going, could we
come to you directly, or or isthis something that they would
have to go through, like grassfed or some other kind of
management company?
Conner (Quietson) Small (07:58):
Yeah, I mean you can definitely come
right to me.
I think, uh, with with grassfed.
You know they have a roster ofindependent artists that they're
developing, so they will sendthose artists, when they think
it's a good fit, over to me.
I'll take a listen and see ifit's a good fit and we'll work
together in that capacity.
But I have independent artistsor label artists hit me up all
(08:19):
the time.
Most of the time I would sayit's pretty informally, through
Instagram, people just saying,hey, do you have any beats?
Or um, you know I found yourwork on such and such platform
and you know I have some demos.
But you know I.
There's a number of ways thatartists find me, whether that's
through kind of the onlineproducer, like freelancing
(08:41):
marketplaces, like sound better,or Instagram, or they find my
website.
It's.
It's always cool, but you know,I think for me a lot of it is
referrals as well.
That's how I get a lot of work.
Rob (Wardrums) Franklin (08:52):
Okay, cool.
Now I hate to date myself here,but the last time I was in a
studio it was actually on tape.
It was, I believe, an inch anda half or two inch tape I can't
remember the size exactly, but Iremember when we were finished
we had to actually pay for themaster.
You know that tape, and thatwas actually more expensive than
the the recording process.
So how is that different fromnowadays, where everything's
like digital?
Conner (Quietson) Small (09:14):
yeah, well, I you know.
Similarly, I don't think you'redating yourself.
I also started on tape you'remuch younger so cool.
No, I I remember vividly gettingchastised about not being very
careful with the tape, but thatwas also an education I got in
college was like learning how tocut the tape with you know
razor blades and splicedifferent sections.
(09:35):
I wouldn't say it's a lost artform, but it's definitely not
common anymore.
You know, I think one of thegreat things is you can do
everything in the box now, and Ithink that in some ways
democratizes things both forpeople like me, who are in the
production world or theengineering world, but also for
(09:56):
artists too, because, as yousaid, it can be a really
expensive process and I thinkthat a lot of artists are able
to come to somebody like me, orI think that a lot of artists
are able to come to somebodylike me or you know my.
You know people who are kind ofdoing the same thing that I'm
doing, and they're able to havea more affordable experience and
still get a really, reallygreat professional sound Nice.
Dana (Thunderbass) Frankli (10:17):
Okay .
Well, since you brought up theword affordable, you know I'm
going to ask what kind of costsis involved for somebody using
your services, whether it's fora single song or a complete.
Well, I guess they don't callthem albums anymore, Do they?
Conner (Quietson) Small (10:34):
Yeah, there's definitely still albums.
Actually Just wrapped an albumproject today.
They're definitely still inexistence.
I think you know, as far aswhen somebody comes to me, I
like to look at, you know I havestandard rates right.
They're always changingdepending on my bandwidth and
(10:54):
you know what the artist is ableto swing and and that's that's
really what's key for me is Ilike to keep things.
You know, unless you have alabel that's giving you an
advance and you're you know youhave a set budget for your
production or for the mix onyour album.
My thing is, there's so manybarriers to entry to the music
industry already, Like one ofthe things that I can control in
(11:15):
my own world is, you know,without sacrificing being able
to put food on the table, I liketo work with artists as much as
I can on their budget.
Um, cause I don't think thatanybody should be priced out of
having a professional sound, andthere's so many artists that
I'm sure throughout history hasbeen priced out.
You know they, they are supertalented, but you know it's if
(11:36):
it's a choice between payingyour rent or you know recording
a song, you know I canunderstand if the choice is rent
, and so for me, I always lookat a project holistically.
You know, what can the artistafford?
Where's my kind of middleground on what I can afford to,
you know, allow in terms ofreductions on my price?
But if they come to me I'lllook at it holistically and I'll
(11:58):
offer production services vocalrecording, mixing, mastering.
Sometimes I offer programmingfor live sets if they're doing,
you know, more of a, if they'reusing background tracks or maybe
they're mixing in someelectronic elements with a band.
So, yeah, I like to provide arange of services and also price
(12:19):
it in a way where the artistfeels comfortable and they still
feel like they're getting areally good producer and really
good sound nice.
Rob (Wardrums) Franklin (12:27):
Now, do you do live shows as well?
I mean, have you doneengineering on live shows as
well, or just, uh, strictlyrecording?
Conner (Quietson) Small (12:35):
yeah, strictly in the studio.
I I've never really branchedout into the live engineering
scene.
That's uh, it's a wholedifferent piece and I think for
me I I'm a little morecomfortable in the studio.
Dana (Thunderbass) Frankli (12:46):
Okay , I get you like to have the
four walls around me morecontrol, uh okay, well, speaking
of control, you know, say, aband comes in and you know
they're working with you and butyou hear something that maybe
you don't like or you'd like tochange.
How much control do you like tohave and what?
What kind of you?
Rob (Wardrums) Franklin (13:06):
know, what?
Dana (Thunderbass) Frankli (13:09):
what kind of giveaway is there for
you know, do you work with theband and the band work with you?
Conner (Quietson) Smal (13:14):
question .
Yeah, really good question.
I think it's always a it's adance, right?
I think for me, control is areally sticky work, because I
think that a lot of producerswant full control and that's
just not how I approach it.
I think for me, it's really moreof a collaboration.
You know, as I mentioned before, it's like it's putting the
(13:35):
artist's vision first right,because they are the artists.
They have that artisticinstinct and I like to.
I like to work with the artiststo maximize that artistic
instinct and when there aredisagreements, when there are
moments of maybe feedback needsto be delivered in terms of hey,
I think we can do thisperformance a little bit better,
or, you know, maybe somethingisn't working.
(13:57):
It's more of an examination ofwhy isn't this working, or why
aren't we feeling what we wantto feel, versus you need to do
it this way, cause I think forme, I'm only one person and
maybe I do trust my taste andthat, again, that's always what
I fall back on, but you know,I'm not the only person with
good taste in the world, or Iwould say good taste, obviously,
(14:18):
but uh, you know, I think it'salso a learning experience for
me too.
Sometimes I get surprised, Ithink something's not going to
work and it ends up being thebest part of the record.
So it's always remaining opento that part of the process and
making sure that the artistsbecause a lot of artists can get
discouraged very easily andworking with a producer,
especially as an independentartist, can be really
(14:40):
intimidating um, I've hadartists kind of look at me as,
like the, the boss of theenvironment, and that is very
much not what I'm trying tofoster.
I'm very much trying to foster.
I'm very much trying to foster.
I think the metaphor I alwaysuse with artists is like when I
talked to them for the firsttime is you, as the artist, are
in the driver's seat, I'm ridingshotgun, I'm looking at a map,
(15:02):
I'm telling you all thedifferent ways we can get to
your destination.
Maybe this one's the fastest,but this one's maybe a little
more scenic and you get todecide do we take the scenic
route or do we get on thehighway and just floor it 100
miles an hour and get there asfast as possible.
Rob (Wardrums) Franklin (15:16):
That's a good analogy.
Thank you, and I can tell youyour compassion for it as well.
Now, I've only recorded in astudio twice.
Both scenarios were live, wherewe were all playing at the same
time, but one was in all theinstruments were in isolation
booths and the other was in thesame room.
How do you approach live-typerecordings?
Conner (Quietson) Small (15:40):
Live recording is fun.
I think there is definitelymagic that can happen when you
have a band that's trackingtogether in the room.
Now, obviously, there aretechnical limitations to what
you can do there.
Rob (Wardrums) Franklin (15:53):
Right and all that Right.
Conner (Quietson) Small (15:56):
Yeah, you know it's.
I think for me, like alwayshaving the drum room feel big
but somewhat contained, like youwant it to feel, like there's
some energy and vibe coming fromthat particular room Right, and
having the basis to be in thereis really helpful because you
have that rhythm section syncingup and that's what we are yeah,
(16:19):
there you go.
So, yeah, you, you know exactlywhat I'm talking about.
I think I'm very bottom up whenit comes to production, so I
always want to make sure thatthe rhythm is is hitting first
thank you, I love your writingyeah, I mean, I think it's
important, right, like wheneverI'm tracking something that is
(16:40):
live, and I think this appliesto electronic recording too but
the, the rhythm, is the mostimportant part to me outside of
the vocals, because that's Imean, that's the first music
anybody made, right?
Rob (Wardrums) Franklin (16:57):
It's like we're sitting around a fire
.
Conner (Quietson) Small (17:00):
Rocks against stick, yeah, clapping
hitting our thighs, you knowthose are the most.
I think that's the essence ofmusic.
Vocalizing on top of thoserhythms is it's a communication,
and so you communicate a lotwith the rhythm.
I think that everything has tostart there, and then you know,
it can be a challenge if youhave a lot of session musicians
(17:23):
coming in and they're trying toslot themselves into that.
But I think as long as therhythm is working, it's very
easy for other musicians to pickup what's going on.
So I always start from therecool there we go
Dana (Thunderbass) Frankli (17:33):
okay , so here's a scenario for you
and, um, you know, say you knowyou've got a full band coming in
.
They want to do, you know, somestudio work and stuff down, and
and you're on board witheverything they're doing, but
say there's one member of theband that's just not quite
cutting it or maybe isn't up topar.
The rest of them, you know, doyou suggest to the other members
(17:54):
hey, we can replace this guy.
You know just on, you know onthe work and you know if you
want to do stuff with them, livefine.
But I mean, how would youapproach something like that
where you have maybe one memberthat's just holding, holding the
rest of the guys back?
Conner (Quietson) Small (18:10):
yeah, I mean, the studio environment
can be very different than alive environment.
So you may have somebody whogets a little for lack of a
better word like a little gunshy or a little nervous when
they're in the studio.
So my first instinct is toalways go to that person
privately and have aconversation with them and be
like hey, like just checking inwith you how you feeling, do you
(18:31):
need anything?
I think my the way I approachmy role as a producer when I'm
in the studio is, you know,obviously there's there's
personality management that canhappen, but I think you know
making sure that, yeah, I thinkit's like you never want to
cause a situation where somebodyis going to feel embarrassed or
tempered or temporarily goingto flare that like that happened
(18:52):
, of course, right and then youcan manage those situations.
But I think, going to somebodyprivately and being like you
know, encouraging them right,like I know you can do this,
like you, you wrote this partright, you can definitely do
this or do you want a littlehelp or a little, you know,
maybe maybe I can give it a shotand we can kind of work on it
together.
It it's.
I think that's the first way toapproach it Now.
(19:12):
If it's really not working, Ithink then it's still a private
conversation of like, hey, howdo you feel about bringing
somebody in for this?
You know, I know you can playit, but maybe maybe it's just an
off day, right?
We're humans, we have, we haveour off days.
Um, you know, yeah, uh, michaeljordan didn't score, you know,
80 points every game, right, youknow, he had his games where he
(19:35):
scored 10 or 20, right.
So you know, I I think it'sit's really about giving grace
to people, meeting them wherethey're at.
If somebody does need to bereplaced, it's making sure that
you have buy-in from the wholeband and that you know, because
they're still going to go outand perform together, maybe tour
together you don't want toleave a bad taste in anybody's
mouth through the studio and youalso don't want to let anybody
(19:58):
domineer from other band members, like you don't want the singer
coming in unless it's thesinger's band and and
everybody's in agreement thatthe singer called the shots.
You don't want somebody kind ofdictating what's going on, and
that's a big part of being aproducer as well as managing
ourselves.
Rob (Wardrums) Franklin (20:14):
Yeah, like I said, that's got to be
the hardest part of managingpersonalities.
In fact, we just had thisdiscussion on our last podcast
about you know how a band isreally like a marriage, and it's
got to be more of a democracy,rather than, you know, one
person calling the shots.
Yeah, so that's an importantpart of being a band.
But my question to you is fornew artists, because we're kind
of we're called Garage and Stage, so we're kind of trying to
(20:37):
encompass the whole process.
But for new artists, like maybejust starting out, what would
be your advice to them?
Conner (Quietson) Small (20:48):
getting to the point to where they
should record.
Yeah, I think the first thing Iwould say is trust yourself.
You make the music you make fora reason, so always trust your
artistic vision, but also beopen to feedback, constructive
feedback, you know.
Be open to community, bringpeople in, you know, don't be
(21:08):
afraid to work with other people.
You might.
You know, I think it can bekind of like dating, like you,
with producers, with bandmembers.
Like you, you might need to gothrough a couple of different
quote-unquote relationships tofind the one that sticks.
Um, you know, it can be, it canbe nerve, like nerve-wracking,
(21:29):
putting yourself out there.
But I think that's the firstthing is really trust yourself,
be open to community.
The second thing is findsomebody who is going to believe
in you.
Find somebody who's going tomeet you where you're at and
help you grow, whether that's amanager, a producer, band member
, band member um, you want tohave somebody that is going to
(21:57):
see your vision, maybe see howthat vision can be achieved, uh,
if you don't yourself, andsupport you on the way getting
there.
And then, lastly, just from atechnical, uh, perspective, as
far as like, when do you knowit's time to go to the studio.
I think you know it's time togo to the studio when you have
songs that you really believe inand need to record.
I think if you're unsure abouta song, don't go to the studio
(22:19):
yet.
Refine it, work with somebody,bring in a songwriter, if you're
, if your gut's telling you, hey, I, I don't know what I want to
do in terms of recording thissong, just wait, you know it can
be recorded later.
But if you have songs thatyou're like God, I'm dying to
get these recorded and I'm dyingto put them out because I
believe in them.
I believe in myself.
That's your indication.
Rob (Wardrums) Franklin (22:41):
Good advice Awesome.
Dana (Thunderbass) Franklin (22:44):
So when everybody's pointed in
their career, they always havetheir one special moment where
the light bulb goes on and ithits them.
It's like oh shit, this is,this is what I was meant to do.
Or you know, kind of like thepinnacle of your career, have
you had a moment like that?
Conner (Quietson) Small (22:59):
I think I've had several.
Yeah, I I don't know if thatwill ever stop for me because I
think it's uh, I don't know ifthat will ever stop for me
because I think it's.
You know, this is a very likepassion driven career for me,
but I think one moment thatreally stands out to me is when
(23:21):
I first graduated college and Imoved to New York.
I was both working on some solostuff as an artist, learning
how to produce, and I was in aduo where I was producing, uh,
most of the tracks, although wewere co-writing, and my band
member, you know, was also doingsome production.
(23:43):
And I think the light bulbmoment for me was when that duo
ended and I felt fine.
Not fine because I wasn't, youknow, sad to see that kind of
phase end or to see that projectend, because I was, but I felt
fine because I, through thatprocess, had learned not only
(24:05):
like I can do this as far asproducing music, but also I felt
so lit up by it, I felt sofulfilled by it that I was like
oh yeah, I can do this formyself, but I can also do this
for others.
You know, I can help othershave that feeling for myself,
but I can also do this forothers.
You know I can help others havethat feeling and that's what
really drove me to fully pursueproduction, because you know
(24:34):
there were so many things thatwere saying to me.
Like you know, I was working ata record label at the time.
You know you could just work ata record label, you could stay
there and be in the musicindustry, but I wasn't getting
that same feeling of beingreally like fulfilled and lit up
.
It was a day job.
It was a cool day job, but itwas a day job, yeah.
But you know, I think I thinkthat was the aha moment for me.
It was like, okay, this thingthat I was putting a lot of
(24:56):
energy into fizzled out and Ihad to step away, and feeling
fine about that and feelingconfident in that really pointed
me in the right direction.
Rob (Wardrums) Franklin (25:05):
Cool.
Well, you have an impressiveresume.
Are we able to take things fromyour website and put it on our
podcast website as well?
Conner (Quietson) Small (25:14):
Yeah, absolutely Everything on my
website is released, so pleasefeel free to include any songs
you feel gravitating toward.
Rob (Wardrums) Franklin (25:20):
Cool, Thank you.
Now.
If somebody wanted to approachyou after listening to this,
what's the best way to contactyou?
Conner (Quietson) Small (25:27):
Yeah, so, as I mentioned you can, you
can definitely find me onInstagram, my.
My Instagram handle is quietsun music.
You can reach out to me overemail.
I have a website form on mywebsite quiet suncom.
You can fill out all yourproject details and get in touch
with me directly.
Um, I would say those are thebest uh, best places to reach me
.
Dana (Thunderbass) Frankli (25:47):
okay , cool okay and okay, so quiet,
son.
There's got to be some kind ofbackstory to that you know where
does that come from?
Is that, is that like a, afamily thing, or is that
something you came up with?
Tell?
Conner (Quietson) Small (26:00):
tell us the story on that family thing,
or is that something you cameup with?
Tell, tell us the story on that.
Yeah, no, I you know.
I don't know if there's anylike huge story or meaning
behind it, but it's.
You know, when I first startedout, I was producing under a
moniker called husks and thatwas like I was making really
dark industrial music and I wasreally into horror movies and it
(26:21):
like, yeah, it was something Ithink for me at the time was
embodying this like very dark,brooding side of me.
But it wasn't.
It wasn't a complete pictureand I struggled with it for a
while and I I also realized likepeople, people weren't really
getting it and I had to havesome really hard conversations
with myself about like okay,what, what identity am I trying
(26:43):
to put out there as producer andas an artist?
Cause I I do still record andrelease my own music.
Cool and quiet son just kind ofcame to me Cause I think I was
always a shy kid, I was always aquiet kid.
Rob (Wardrums) Franklin (26:57):
Um, now , do you have a brother?
It was like there's one.
Is that my sister?
Okay, okay, I have a sister.
Conner (Quietson) Small (27:03):
She's uh, you know, she's eight years
older than me.
So in in some ways, uh, I didhave a lot of alone time as a
kid because I think when shewent to college I was eight or
nine.
Um, you know, so I was a quietkid and I think what quiet son
communicates to me and what Ifound that people really
understand about it when theyread my bio and kind of connect
(27:25):
that all is that there is asoftness.
You can kind of come as anartist, be seen, um, you know,
be taken care of as far as, likebringing something really
powerful or painful into yourmusic and know that somebody's
(27:52):
going to have the empathy to sitacross from you and understand
that and work through thatprocess of putting it into a
song, which can be reallydelicate.
Um, so, yeah, I think overallit's really just trying to
communicate to people that, uh,this is a, this is a space of,
of, yeah, of softness andquietness.
Rob (Wardrums) Franklin (28:11):
Cool.
Well, you sold me.
I'd love to work with you.
Hey, I've got one more question.
Okay, I've got one morequestion for you.
Um, recording practices,practices.
We're a band, obviously, sowhat would be your advice for
bands in like, say, maybe alimited room for just recording
practices?
you know, basically for your own, you know your own use to look
(28:33):
for, you know areas to beimproved on yeah, areas to be
improved on in terms of just howyou record well, yeah, just
overall, like like, sound like,say maybe like we, we spend a
lot of time with our mix to makesure it sounds good before we
even play, obviously so we canhear each other at the right
levels.
But if we want to record ourpractices to see, you know, just
(28:55):
basically for listen formistakes or see what's working,
what, what isn't working, whatwould your advice be for for?
Basically the mix of a room andmaybe say a small room like
like 20 by 20 type size roomyeah, sound treatment is very
important.
Conner (Quietson) Small (29:13):
Um, you want to make sure that you're
not having any spots, especiallyif you're recording like drums
or guitar that have some ofthose really high mid
frequencies.
You want to make sure that anyreflection points are taken care
of, and there's some programsand microphones you can buy that
can help you find thosereflection points so that you
can put that sound treatment inin a way that's unique to your
(29:34):
room.
I think ear training is reallygood.
There's a website, I think it'scalled Ear Gym or something
like that, but it basicallygives you listening exercises
and it can help you train yourear.
So I do see that as somethingthat can be really helpful.
As far as, like understanding ifthe mix is off or if something
(29:58):
isn't quite sitting right, cankind of identify oh, it's coming
from these low mids and maybethe guitar needs to be lowered
an octave or the bass needs tofill a little bit more space.
Um, and then you know the otherthing, as far as just hardware
or software, it's like reallylearning how to use eqs and
really learning how to usecompressors at least a like a
(30:19):
basic fundamental understandingthat can also take recording to
another level, because it willadd just a little bit of more
control dynamically and controlfrequency-wise, to your
recordings.
I think you can go a long waywith EQ and compression.
Dana (Thunderbass) Frankli (30:35):
Cool .
So if say a solo artist or bandthey want to work with you,
especially after hearing thispodcast, they're like oh, this
guy sounds awesome.
And you know say down the road.
We get our stuff, you know,really tight and we want to give
you a call.
At what point, I mean, would anindividual or a band need a
(30:55):
manager to approach you first?
Or can they just come to youand say, hey, we want to do this
, we don't have any management,you know, we approach you first.
Or can they just come to youand say, hey, we want to do this
, we don't have any management,you know, we just want to do
this on our own.
Um, is that something asapproachable?
And then the other part of thatquestion would be what are the
legal ramifications?
I mean as, as far as you know,um legal ownership of the rights
and licensing and all that thatgoes with it.
(31:17):
How do you approach that?
Conner (Quietson) Small (31:18):
yeah, yeah, you definitely do not need
a manager to reach out to me,uh, nor a lawyer.
You can just hit me up directlyand work with me.
Uh, I promise I'm aapproachable guy.
But, uh, yeah, I, I think Iwork with artists of the entire
spectrum of the music industry,like somebody who's just
(31:39):
starting out and has no ideawhat a producer does or how to
make a song, um, all the way upto people who are assigned to
labels and you know the wholegamut in between.
So it's the kind of thing whereyou can reach out to me
directly and I I treat everyartist the same, um, you know, I
look at every projectindividually, um, and give that
(32:01):
project what it needs.
So sometimes it's I need toproduce and mix and master the
whole song.
Sometimes it's hey, we justneed an extra set of eyes or
ears on this.
Can you come in and just add acouple of things?
As far as legal ramifications,you know I always think it's
good to have a produceragreement ramifications.
(32:23):
You know, I, I always thinkit's good to have a producer
agreement.
Um, that way, just everythingis above board.
You know what the terms are.
I think there's a couple ofthings, uh, split sheets and and
producer agreements are good.
Split sheets are always anegotiation as far as what you,
as the artists, are comfortablegiving up sometimes what is that
exactly?
so a split sheet is basicallywhat artists and producers and
(32:45):
songwriters use to determinewhat percentage of the song each
person who worked on it okay,controls okay.
Industry standard for aproducer is five points, and
five points essentially means 20of the artist's share of the
track.
So in a situation where youhave a label, you have multiple
(33:07):
songwriters, the artist might betaking, let's say, 18% of the
track Within that.
Typically, they're giving up20% of that to a producer.
Um, no, I don't always do that.
It's a little more simple whenyou don't have a label with
independent artists.
I've done 50, 50 splits ifthere's no fee involved.
(33:30):
Um, so it's.
It's always a negotiation asfar as like, how much are you
paying me upfront?
How much do you feelcomfortable giving up?
Um, I'm never going to demand acertain amount, but we will
have a conversation around whatfeels good for everybody.
If you have songwriters in theroom, you know we always have to
have a transparent conversationaround what contribution was
added.
Normally I try to keep thingsequal and equitable between all
(33:54):
the people in the room.
Make sure everybody's voice isheard and everybody feels
adequately compensated.
Make sure everybody's voice isheard and everybody feels
adequately compensated.
Now, if you have a manager,they're going to take care of
the bulk of that.
But again, they should beinvolving everybody in the
conversation.
Producer agreements it's reallyjust setting forth the terms of
(34:14):
the work that we're doing.
You know, am I producing analbum for you?
Am I producing a single?
How much am I charging you?
When are the payments due?
You know how do I deliver yourfiles, what are my expectations
as far and your expectations asfar as the cadence of how often
we're meeting, as well as like,if we do need to split, if you
(34:35):
do want to go in a differentdirection or I want to go in a
different direction, you knowwhat are the terms of how we
split.
So it really just keepseverybody protected and all the
information about porn.
Dana (Thunderbass) Frankli (34:45):
Cool .
And one more thing I want toask, and you know now, now that
we got all these questions aboutall the formality stuff down,
um, loosen this up a little bit,and everybody's had a moment in
their, in their career whereit's either really mostly
embarrassing something wherelike, oh shit, I can't believe I
really did that.
Tell us about something thatmaybe you're producing something
(35:10):
and it didn't quite go asplanned, or you forgot to hit
the record button, or somethinglike that.
Rob (Wardrums) Franklin (35:15):
No shit moments.
Dana (Thunderbass) Frankli (35:17):
Yeah , there's got to be a moment
where you're like, oh damn, Iwish today never happened.
Rob (Wardrums) Franklin (35:21):
We've had quite a few of those.
Conner (Quietson) Small (35:24):
Oh, we all, we all have.
Oh, man, um, where do I evenstart?
I mean, I, you know, I wasdoing a.
I was doing a producing awriting camp.
Uh, last year, maybe it was theyear before, I can't remember,
but, um, you know, I'm the mainproducer.
I'm also engineering.
We got, you know, 50 differentartists and songwriters cycling
(35:46):
in and out of the room and Ishow up to the studio and thank
god I showed up early because Icome in and I'm like, oh fuck,
nothing's set up, sorry can Icurse?
that's all right, well, yeah,but uh, yeah, you realized, oh
man, like there's no intern, uh,so I have to figure this out on
my own.
There's, um, just nothing isworking.
(36:07):
And you know, having to kind oftroubleshoot that and for the
first, like I would say, hour ofthe day, just everything that
could go wrong was going wrong,like the mic preamps weren't
working, the compressor was shutoff, my laptop was having
issues and I was like man, thisis just not my day.
You know, eventually we foundanother producer who could come
(36:28):
in and troubleshoot some thingswith me and we got it all sorted
.
But I think it's moments whereyou feel like, okay, people are
kind of counting on me to figurethis out.
It's a new environment and youcan't quite exactly get it.
And you know this is why wehave interns and assistants who
are familiar with the space.
But you know, I think that wasthat was an oh shit moment.
(36:51):
And I think also, just, youknow, reflecting on the question
about contracts and things likethat, you know my own personal
experience and I'll share thisfor any artists who are
listening who might beintimidated by contracts I think
it's always a good thing tohave a lawyer take a look at
things.
I got into a contract when I wasmuch younger with an artist
(37:14):
marketing firm and I won't saythe name of it.
But an oh shit moment for me waswhen I realized I signed this
agreement and they're not doinganything.
They're not doing any work andI had to essentially buy out the
agreement, um, and move forwardfrom that.
But it was no shit momentbecause I learned a lesson of
(37:35):
like I, as an artist, wanted tohave my music promoted and I
didn't do enough vetting to makesure that it was the right
situation for me.
Um, now, luckily, I continuedto follow up and I continued
pushing them to do the work thatthey said they would do in the
contract.
They gave me the bare minimum,didn't even fulfill the terms of
the contract.
But that was no shit moment forme, cause I was like you know,
(37:57):
I really wish I had done alittle bit more research and not
trusted so readily.
So I'm not saying artistsshouldn't trust, but they should
definitely do their research,do their homework, have
conversations with people Makessense.
Trust your gut before you putanything in writing.
Rob (Wardrums) Franklin (38:13):
Okay, good advice Now in closing.
I know you're a busy guy so Idon't want to take up your whole
afternoon here.
You're a busy guy so I don'twant to take up your whole
afternoon here, but I noticedthat you're nominated for the
Best Mixing and Engineering forHollywood Independent Music
Awards.
Are there any other awards thatyou've been nominated for?
Conner (Quietson) Small (38:33):
I don't think so.
I think that's the main one.
I tend to be a little shy aboutsubmitting.
I happen to be encouraged tosubmit by the artist I was
working with, and also my fiancéwas very supportive of me doing
that.
So you know, you're making merealize I should probably submit
to some more things.
Okay, all right.
Rob (Wardrums) Franklin (38:55):
Well, I really appreciate your time,
Connor, and also, as your nameimplies, Quiet Son, and it's
been a pleasure.
You've given us some reallygreat advice.
In closing, is there anythingelse you'd like to say to new or
or artists that are ready tohit you up?
Conner (Quietson) Small (39:13):
Yeah, no, I, I, I think the music
industry is a really, reallygreat place.
You know, like anywhere, it hasits problems.
So I think, just as I saidbefore, trust yourself, um, be
open to new experiences, makethe best music you can make and,
when you're ready to jump intothe studio, find a producer and
(39:33):
an engineer that you reallytrust and it's going to be a
super fun process and just enjoyit, cause you know, recording
is special.
There is a magic in being inthe studio and that's why I do
it as a career.
So, yeah, thanks for having me.
Rob (Wardrums) Franklin (39:49):
Hey, thank you very much and, like I
said, we'll include your allyour social media contacts and
your website and and yourpicture as well and on our
website, if you don't mind.
And again, thank you, weappreciate it.
Conner (Quietson) Small (40:00):
Thank you very much yeah, thank you
guys, this was a pleasure allright.
Rob (Wardrums) Franklin (40:03):
Well, you have a great rest of your
day and, uh, talk to you lateryou too thanks all right, thank
you, bye, bye all right.
Dana (Thunderbass) Frankli (40:11):
Well , that was a.
That was a good interview withthat guy.
He was, uh, very, veryeducational and, you know, let
gave us some really good adviceand any of you aspiring
musicians out there, it's good.
Like he said, do your homeworkwith the producers and
management and, once you get tothat level, trust your instinct
on these people.
(40:31):
When you get to talking to them, you'll know if it's a fit or
not, and so, yeah, so Iappreciate all the advice from
him and thank you again forlistening.
And please don't forget to hitus up on our site and anybody
who wants to contribute to theshow.
This is a two-man show and ittakes a lot of work and some
financial means on our end toput this together, and we'd love
(40:54):
to keep doing it for you.
So please contribute if you can.
A couple bucks a month is allit takes, or a big lump sum.
If you got some extra moneyhanging out, you know we'll take
a big check from you too, so sowhat do you got to say, bro?
Rob (Wardrums) Franklin (41:06):
well, I'd like to thank everybody
again for listening and do checkout our website because I will,
in our contributors page, putum quiet son's bio and his
picture and basically his, allhis accomplishments, and he's
got the links to all the artistshe's worked with and there's
some, there's some great stuffon there.
It's not really our cup of teabecause it's more pop, but it
shows, you know, his expertisein the field.
(41:27):
So, yeah, once again, thank you, and everything Dana said was
like perfect.
So thank you very much andplease do continue to listen.
Thank you All right.
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