Brett Keane Talks Musicians, Studio Work, Mastering, AI Editing, Music Production, Distribution

Brett Keane Talks Musicians, Studio Work, Mastering, AI Editing, Music Production, Distribution

Episode Transcript

(00:07):
Hello ladies and gentlemen, my name is Brett Keane from GOD TV
Radio. I hope you're all having a
blessed day out there. When you get an opportunity,
check out my radio station on Spotify that's connected to
hundreds of other outlets. You can listen to me on Spotify
as well as Amazon Music, iTunes,iHeartRadio, and the list goes

(00:28):
on and on and on. Plus, you can check out my books
and I've written quite a few of those.
You can check them out on Amazon.
And also I have created several albums of music.
Quite a few of those albums are now distributed to the world.

(00:49):
And there's more to come. Just recently, my newest one, my
most recent one is called Trialsand Tribulations.
You can find that on the front of my YouTube channel, along
with everything that is distributed so far through
YouTube and so on. My songs are copyrighted and

(01:14):
they do have content ID on them,but I've set it up to where if
anybody decides they want to useit, and they don't even have to
ask me permission, all they needto do is not edit the music in
any kind of way. Like if you want to use one of
my songs for your intro or your outro, you're perfectly capable

(01:35):
of doing that. But what happens is is you will
get a thing that says that you're playing copyright music.
It'll say by Brett Keen, GOD TV Radio, but it'll tell you that
it'll have no impact on your channel.
It'll only have impact if I decided to do something about

(01:56):
it. So if you're doing some kind of
rude, hateful videos or you're messing around with my sound,
then we'll have issue. But if you're just using it for
an intro, I see no problem with it.
I've already set up an application and it's already

(02:17):
been approved that my music willstart becoming a part of.
I don't know if many of you knowthis, but you can actually add
YouTube Music to your videos. Like for instance, if you get a
copyright thing, you can like put some music over it or add
music to places in your videos that you want.

(02:41):
Well, they have entire list of songs that you're able to use.
I did an application that sets it up to where my music will
eventually show up on the list and you'll be able to use it
like that through YouTube's video editor.
And that's pretty neat. And of course, I'm getting paid
for it. How do I go about getting paid

(03:03):
to do music through Spotify as well as YouTube and all these
things? Well, it's set up to where every
time someone just simply plays my music, if you play it on
Spotify or you play it through YouTube, YouTube monetizes all
of my songs. Spotify does that.
And all the other sites, of course, I get paid through

(03:26):
Amazon, iTunes, iHeartRadio, andthe list goes home and home and
home again. So some people out there might
be asking me, Brett, why did youchoose to do like angels and
demons and all this kind of stuff?
For those out there who've actually bought the physical CD,

(03:47):
it's got a lot of artwork for every album and a lot of it's
heaven, hell type of concepts. The one in the middle with the
woman with the red hair holding up the apple.
She represents many visuals I'veseen in the past and paintings
of a character that they claim is existing in mythology or lore

(04:14):
of Judaism and mentioned a little bit in the Torah and I
believe something called the Kabbalah.
The character's name is Lilith. You're probably familiar with
the name because you've probablyseen the LGBT parades.
They endorse her because she represents A demoness who was

(04:37):
originally the first woman that Adam got hooked up with.
She was created equal alongside Adam according to the lore, and
then obviously she was banned and she had special powers where
she could shapeshift. There's fascinating stories
around her. Each one of my, every bit of the

(04:58):
artwork that you see for my albums, there's a story behind
it. There's biblical references or
something that you can find in lore.
I guess the reason why I went for demons and godly stuff.
Obviously I'm a Christian, I believe in God, but I've always
found angels and demons very fascinating.

(05:21):
I've actually researched writings about angels and I've
also dabbled in demonology, looking into that, and I found
that fascinating. And one at one point in time, I
actually reached out towards theSatanic Church and some of these
Satanist groups out here becauseI was interested in seeing what

(05:44):
kind of study or research they've ever done.
But I found out that many of them were just fakes or fluffy
bunnies or just atheist posing, using the religion as a prop to
cause controversy or just simplyto antagonize Christians.
And they really had no idea anything about the history of

(06:05):
Satanism except for my buddy. You guys have met him before.
He's been on my shows and my podcast.
He's what you call atheistic Satanist.
I always mess up his name though, 'cause he's got this
really, really big name, but he calls himself Lucifer, Liva

(06:27):
Gordon, something like that. I apologize if he watches the
video. He always gets a little pissed
at me that I get the name messedup, but I've always been that
way with names. If somebody says their name's
Bob, I'll say Boob. I don't know why that is.
It's just a keenism, I suppose. Some people have asked me how do

(06:50):
I go? How did I go about creating the
music and all this? Was AI involved?
I did use AI, but not in the sense that some people are
thinking or what they're theorizing about.
AI can be used in studios. You can go in and let's say you
record a ref on the guitar and you come up with something

(07:13):
really sexy and the timing's a little funky.
Well, normally back in the 80s and 90s, and even in the early
2000s, if you went into a studio, usually you had to
record an entire track all the way through.
And if you screwed up on guitar,then you would have to, you

(07:35):
know, cut that part out and thenredo that part of the track in
the timestamp, kind of like a video.
However, with AI, you can simplysay, I really like the way this
riff is going. I want you to copy and paste the
riff. Like if you got something that
goes dead and then, then, then, then, then, then, then you can

(07:59):
tell it loop that four times andthen you have almost an entire
minute worth of stuff. And with AI, you can also add
sound effects. You can say I'd like it to sound
like a police siren right here, you know, And I wanted to have
like dynamic sound effects. Like there's people screaming

(08:19):
and yelling. I did a song called Annihilation
that is talking basically about souls being destroyed and liars
burning in hell. This kind of concept, Dante's
infernal type of message and youhear screams, you hear yells,
you hear the sound of wind and falling and all that kind of

(08:42):
stuff. It's not just enough just to
simply say AI do this. You have to kind of direct it.
You have to tell it where you wanted in the in the music and
all that, explain to it by doingprompts and information.
And you have to be really clear on what it is that you're
looking for the tone of the music.

(09:05):
As far as vocalist, you get people that are You'd be
surprised how easy it is to findpeople who want to sing.
But some people are too busy, like doing jobs and working and
all that to be able to go out onthe road.
Or some people don't desire to go away from their families.

(09:25):
But if they're offered the ability to be heard on the radio
or be on a studio CD, it's really easy to get people to do
things. And surprisingly, there's a lot
of people that are not professional singers where if
they're offered the opportunity,some people actually have

(09:46):
natural talent that you can bring in and saying.
And even if they're not that great of a singer.
The great thing about AI is let's say someone is singing
really well, but on some chords they don't match up.
Like they sing too high or they sing too low, or they have a
problem with some of the notes. You can simply use Pitch Bender

(10:10):
where you adjust and make sure that their voice actually hits
the octave along with the music.Luckily a lot of the people that
brought in are naturally talented and didn't have to do
that much editing with voices and all that.
I in the past, of course, when Ifirst started doing music, the

(10:34):
music was meant when I started taking music seriously and
learning engineering and production and all this.
I am obviously the plan was to upgrade and improve my music.
But as I got better and all that, and then I started having
friends who had their own visions and their own bands and

(10:58):
their own desire to do music, and they were willing to pay me
to make the most optimal, maximum type of sound for them
recorded. They realized that not only was
I talented, but because I was sogood at doing things digitally,

(11:19):
I was. I was somebody they could go to
and they could get it done cheap, but sounding like it's
absolutely 100% fidelity and professionalism is where a lot
of you out there. If you ever wanted to do music
and go into somebody's studio, you could be paying thousands of
dollars, hundreds of dollars perhour to use the stuff.

(11:42):
And then that's only just to usesome of the equipment.
And the equipment may not even be that great or exactly what
you're desiring, especially if you like to do music like I do.
I like to do a lot of experimental stuff.
I like to do a lot of genres andsometimes you need certain
instruments and a certain type of tone in order to be able to

(12:03):
do that. And that's one of the things
that AI and technology's gotten really good at.
Like I could sit down at my keyboard and play a really plain
sounding piano and then I can, you can do this with any kind of
equipment in the 1st place, but AI makes it easier.

(12:24):
Like I'll say, huh, I like the way that melody sounds.
I'm going to tell the AI that I want the piano to sound like
strings. Or what would it sound like if I
were to tell it to replace the instrument with a guitar?
Like Techno Wizard, for example,if you go through my music,

(12:45):
you're going to hear a techno industrial type of computer,
digital sounding type of track. It's something you could really
dance to. Techno wizard, boom boom, techno
wizard, boom boom. I decided that it would be smart
to make it sound really computerized as well as add
explosive sounds whenever it does the boom boom, and it

(13:09):
turned out really well. I imagined that it was going to
be interesting, but sometimes the finished product is a hell
of a lot better than what you assumed it was going to come
out. Now, as far as AI, there's some
people who have wondered, did you just generate it?
Is that how you did it? There's a lot of programs out

(13:31):
there and a lot of websites offer the ability that if you
write some lyrics out or some lines and then you put it down,
the AI will attempt to create music around it.
But it's not that simple. If you're trying to do music
that's actually good. If you go right now and mess

(13:55):
around with any AI and you try to generate some noise or just
have the AI off the cuff try to do something, you're going to
notice that whatever it producesis not going to sound emotional.
Listen to my music and you'll beable to hear the effort and

(14:15):
you'll be able to hear the pronunciations.
You'll be able to hear high pitches and screams and and
yelling and all that kind of stuff.
Like I got a song called These Walls and if you listen to it,
you will actually hear towards the end of the song where the
singer, the real singer is actually screaming and kind of

(14:38):
scream singing it like SebastianBach does on Skid Row.
Like on songs like 18 and Life, you can't get that from the AI.
The AI doesn't know how to do that kind of expression, and you
can tell very quickly that a generated song is computerized

(15:00):
as opposed to an actual singer with emotion and expression in
their voice. Listen to Broken Dreams or
Crying Tears of Blood. You know, that's from my first
and second album that you could listen to right there, and
you'll be able to tell the difference.

(15:20):
You'll be able to go, Oh yeah, that's definitely an actual
vocalist. AI is really, really smart and
it's good and it's great for editing and it's great for
enhancing your music and adding effects, but it's not so great
as at mimicking humanity just yet.

(15:41):
Now you probably have seen that people have been screwing around
as of recent with Google AI likeVO 3.0 where they're able to
make like 10 second little clipsand then they make a bunch of
clips and then they put them together in a compilation and
make it appear as though it's actually a full video when it's

(16:01):
actually little clips here and there.
And it looks a lot of that looksreal and it looks good and
everything. And they are starting to get
better expressive. So I do expect in the future
that people will be able to get more results from just simply

(16:22):
generating or describing to the AI what they're wanting to do.
I fully expect that musicians inthe in the near future, I'm
talking in the next 5 years willbe absolutely put out of
business. Sad to say for them, AI is going
to completely take over every department of creativity that is

(16:44):
out there. So it is one of the reasons why
I myself, I started learning about it.
I started wanting to understand the code and the scripting.
I wanted to understand what you could do with it, take advantage
of the technology because I knewthat AI is going to be the

(17:05):
future period. It's going to put painters,
people who draw, people who do any kind of art form whatsoever,
it's going to put them out of business.
And if they ever create some kind of holographic technology
where it can create physical matter like sculptures and

(17:25):
things like that. Oof.
So some people would be like, what do you mean physical
matter? If it could actually make a
representation of an image and then create a physical version
of it. It's kind of like what you see
on Star Trek with the with the teleprompter.

(17:46):
Not the teleprompter, but the how they travel from the
different planets. I forget what the name is or how
they produce food. It gets all the ingredients
together and then creates the actual product as long as the
substance is there to use it from.

(18:09):
So as far as my AI software, youI'm able to put notes in and I'm
able to play into my software. I use stuff like Cakewalk and
Cool Edit Pro that was originally created by a company
called Centrillium. I can use a multitrack

(18:30):
sequencer, record my music, and then run my music through AI
type of effects. If I don't feel like my guitar
sounds heavy enough, or I don't feel like my keyboard's got
enough reverb or doing the kind of sound that I want, or I feel
like it's not merging well with the other instruments.

(18:52):
I can simply tell the AII want the keyboard to sound more like
a synth, or I'd like it to soundlike a church organ, or I want
the piano piano to sound more like an old classical, or a baby
piano. These are the kind of things you
could do, but you could already do that kind of stuff if you had

(19:13):
expensive ass equipment. You just simply change the dial
on a keyboard to the instrument or sound that you wanted to.
The problem with the keyboard, though, is that once you
recorded the track with the melody or the instrument you're
using, you couldn't just simply replace it.

(19:34):
But now AI is able to read everything like information and
digital, kind of like DNA. You just tell it.
Look, instead of it playing a keyboard in this part, I prefer
to do a guitar. And there you go.
So that's why it sounds so clear.
There's so much clarity to it. The reason why my music sounds

(19:58):
100,000 times better than any generated AI crap out there is
because the difference is is I'mactually a musician.
I know notes, I understand. Arrangements and changes I
understand. You'll notice with a lot of
people who generate music, they don't have any choruses, they
don't have outros, they don't have solos, they don't have

(20:20):
intros. It just sounds like a bunch of
shit thrown together and kind ofresembles like a cheap sounding
song that you might hear on the radio and it might even be
somewhat convincing. But listen to my shit.
You'll hear tons of arrangement.You'll hear tons of effects and
a lot of things going on in my music.

(20:41):
My music actually will take you for a ride because I know how to
do the notes and I know how to make the music work.
And then on top of that, I know how to produce the kind of
effects as well as what I want. And not just with the
instruments, but you could do itwith a voice too.
Like I got a track I did recently called Where Did Love

(21:04):
Go? And you'll hear me do all these
neat ass effects where it makes it sound like the person's voice
is reverbating throughout the speakers.
You hear it go Where Did Love Go?
Go go go and do all kinds of neat shit.

(21:26):
Techno Wizards are a perfect example.
I've been dabbling a lot in trying to kind of combine
techno, industrial and thrash metal and technical metal all
together. It's a little bit difficult to
combine thrash metal with technical metal though, because
technical is more like Dave Mustang, Joe Satriani, Steve I

(21:52):
and Maumstein is where Drass Metals more erratic sounding and
dirtier. I like more cleaner sounding
guitars. I I like it.
I like going from doing something that sounds like clear

(22:12):
Megadeth sounding guitars to something that you would hear
that fuzzy sound that you get from 70s music.
I like the 70s and and early 80stype of music.
It's really cool. Before it became bubble gum
shit, you know, like Fear the Reaper, that kind of shit.

(22:40):
And so that's the difference. I've got no problem admitting
that I use AAI in order to help with the fidelity and clear
things up. Anybody can take my challenge,
try to generate some garbage andshit, use something that you
know about on the Internet or look up some videos and try to

(23:03):
just generate some music out of nowhere and see, compare it to
what I have going on and you'll see.
You'll be like, Oh well, it's clear that Brett Keene is a
musician. He understands arrangements and
chords and and changes and all that you do.
If you do something with AI, you're going to get the same

(23:24):
shit over and over again. Now there are some generators
out there where you could add some prompts like say, OK, I
want this repeated a couple times, I want this.
Do the it's a little bit more advanced where you can, if you
know what the hell you're doing,you could tell it to do copy
paste of the chorus and shit like that.

(23:48):
But even there, I've always tried to make it to where every
one of my songs has a build to it, where it works its way into
the the plot and the concept of the song.
And it gets heavier and heavier and more complicated as it goes
on. Some people are going to ask,
Brett, you are mostly into like heavy metal, right, And Hard

(24:13):
Rock. So why did you do a lot of these
slow songs, especially for this newest release of GOD TV Radio?
Why? Why the Crying and Blood Angels
and all that and all these pretty songs?
Well, I wanted my music to. I'd already done like heavy

(24:33):
songs when I was younger and it was hard to get Radial airplay.
Metallica had a hard time when they first started out as a lot
of lot of bands who do thrash metal or heavy metal, like my
brother's kind of music unfortunately, as though it's
beautiful and it's awesome what he does.

(24:53):
He was never going to get on theradio doing that kind of music.
That's not what they'll play. We live in, we live near Saint
Louis and we got a radio stationcalled KC95 and KC95 plays
classic rock and shit like Led Zeppelin, Pink Floyd and
Journey, you and Scorpions, Def Leppard, that kind of stuff,

(25:16):
stuff popular shit from the 80s,you know, cultural things.
My brother is like a clash between Black Sabbath, Megadeth
and Metallica, so and not the Black Album.
Once Metallica kind of mainstreamed with the Black
Album and also their song one from the Justice For All, they

(25:39):
started getting radio airplay but realize that they weren't
getting shit. None of their music from Ride
the Lightning or before that wasgetting out there on radio play.
It was only about 10 years ago. After the Black Album cut they
started releasing songs on the radio like Master of Puppets and

(26:02):
some of their older tracks, but they had to breakthrough the
mainstream first in order to have that happen.
Same with Ozzy Osbourne, took a while for songs to get out there
and you'll remember Black Sabbath.
A lot of their more chill songs were the ones that ended up

(26:23):
playing over the radio like IronMan.
A real chill type of ref is where a lot of the other stuff
that was really dark and rough wasn't getting any airplay.
It took a few years before War Pigs started getting radio
airplay. Well, that was back during the

(26:45):
time of The Beatles and shit. People weren't ready for that
kind of stuff. That's probably one of the
reasons why eventually when people started really listening
to Ozzy, why he picked up like he did.
So some of you may not know this.
I mean, we talked a little bit about music, but I actually have

(27:09):
written an entire book about my life.
From the moment I could remember, from the moment I
became conscious and sentient and understood what was
happening around me, I wrote everything I could possibly
remember. And it wasn't terribly hard to

(27:30):
remember because since I've beena young person, I wrote journals
and Diaries and all that kind ofstuff.
I've always kept notes. I used my journals and Diaries
to write hundreds of thousands of poems and songs and stories
and all that and drew pictures. IA lot of you may not know that,

(27:52):
but I am an artist as well. But I went from drawing pictures
and doing sketches to graphic design because I always believed
that eventually computers would take over graphics.
And because of that I was able to construct a lot of great
websites and design a lot of good stuff.

(28:14):
Some people are going to say, well, where did some of your
websites go? I remember you used to have some
pretty bad ass websites. You even had a video sharing
site. Unfortunately, I was hacked
repeatedly. Although I knew how to design
websites back then, I didn't know how to keep a website
secure or safe from hackers and shut in groups like Anonymous.

(28:36):
Now I've gotten a lot better, but I just don't feel like
dealing with it. If I do use a website or
distributors or whatever, I go through third party places.
That way they're insured and they can actually protect it and
back shit up. I don't want to be in charge

(28:59):
independently of any kind of website anymore.
And besides, what's the point ofhaving a website anymore?
I'm doing videos and music. So the idea is if you want to
get heard or you want to get seen, you use the more popular
websites. If you do something
independently, then you got to go through all the bullshit of
promoting that, going through that nonsense.

(29:23):
So I stick with sites that are popular, that already have
credibility, that I know aren't going anywhere anytime soon,
that have good security. And so I wrote a biography.
At this point, it's about 450 something pages.

(29:46):
The reason why I haven't released it live and distributed
it to people is because unfortunately, besides talking
about my life, obviously throughout my life I've had
interactions with real people and had real experiences, and
real places are mentioned in thebook.
If I released it, some of my family members may not enjoy my

(30:10):
perception of some of the experiences I had with them.
There's a lot of talk in my books about abuse and
abandonment and neglect, some really, really traumatic,
terrible experiences that I've had in my life, and some of
these people may hold me liable if I just release it.

(30:31):
So I'm still trying to figure out how to handle that, even
though I've got the entire manuscript put to put to use.
And I've also got a sequel I've been working on of afterlife
simulation too. I had originally thought I would
re release remaster the eternal and dying loves trilogy about

(30:54):
Damian Andrews, John Reznor the detective and the basically the
demon vampires and the apocalyptic fights and wars that
were happening on a divine level.
Thought about it, but I don't know if I want to go through the

(31:14):
process. I've already used AI to fix the
grammar and the spelling problems and the run iron
sentences and and paragraphs. As many of you know who've known
me for a long time, Eternal and Dying Love was.
The entire series was written whenever I was between 13 and 18

(31:37):
years old. I was a teenager when I wrote
it, so it was wasn't as deep or intense as the kind of material
I do nowadays. And unfortunately, back then I
wasn't the greatest speller, andI didn't put paragraphs the way
they should be. I mean, if somebody put forth

(32:01):
the effort, they'd be able to understand the plot line and the
story and the point. And there was a lot of people
who did buy the original books that thought they were pretty
cool. And I've had people non-stop
say, hey, are you ever going to re release it or anything?
I don't know. I thought, but I there was a

(32:24):
point where I thought it'd be cool to do that, but I didn't
want to release them as 1-2 and three like the trilogy.
I wanted to combine them and just make one big giant novel,
you know, kind of like the way Stephen King used to do those
big thousand page books. That's what I thought about.

(32:44):
For example, the size of an old phone book with art and
everything else. But I don't know, I'm so
involved with the biography and doing music.
I just don't know if I want to go through that process.
My old books are still out thereon PDF files of people look hard

(33:07):
enough they can find them, but Idon't want to.
I don't want to deal with that shit.
And of course, some of you may not know this, but I had
actually wrote an atheist book along time ago too, back when I
was a former atheist, and it gota lot of popularity.

(33:29):
A lot of people bought it, but when I transitioned over to
Christianity, I ended up taking that shit off the shelves.
I stopped distribution, aren't it?
Because why would I keep an atheist book out there if I'm no
longer atheist and endorsing or promoting that death cult in any

(33:53):
kind of way? So what does the future hold for
me for music? Well, I've spent the last year
and a half, right before I quit YouTube a year and a half ago, I

(34:17):
I knew that I needed to get in the zone.
You got to be in a certain zone and have a certain creative
spark in you in order to do things.
For a long time I thought, man, I tried doing music when I was
younger, what the Hell's the point?
But then I realized, OK, things have changed.

(34:40):
I don't have to go out and tour.I don't have to actually go out
on the road. I can just simply create the
music and then distribute it outlike I'm doing on Spotify radio,
and people can either love it orhate it.
They can share it with their friends and I can make a little
bit of dough doing it. So I figured, why not.

(35:04):
A lot of things have changed. Back whenever I was younger, we
didn't have YouTube or Spotify or things like this where you
could share your music so easilyand and get it out there and get
it heard and seen. If you were going to make it or
get signed, you had to somehow manage to get your ass in the

(35:24):
radio and you had to do countless shows in order to be
heard or hand out tons and tons of tapes back when they had
cassette tapes to promote your music.
And even then you were throwing away money left and right, which
I didn't have, so I had given upa long time ago.

(35:49):
I also did not enjoy working with musicians.
But now I'm to the point where I'm musically inclined.
I don't mind dealing with singers, but a lot of guitar
players are very narcissistic. They're difficult to deal with.
There's some musicians who thinktheir shit don't stink, a lot of
musicians who do drugs or drink or want to party.

(36:12):
And I just simply didn't want tobe around that shit.
So I learned how to do a lot of stuff on my own.
And of course, my brother's a prodigy on the guitar.
He's got his own YouTube channel.
You guys can hear him. I could go on for three hours
describing to you the music process and what you can do with

(36:34):
equipment and computers, and then also tell you how you can
enhance things with AI. But I'm not really sure anybody
wants me to go that far deep into it.
You get the point. You play the music and then you
record it. You come up with ideas and then
you you can use AI if you want to in order to enhance the

(36:55):
material that you've already created or whatever.
Or you can just do it as is and throw it out there and see what
happens, see if it sticks to thewall.

(37:15):
How is my music doing? It's doing pretty good on
Spotify. It's doing pretty good on
websites that actually have something to do with music, like
iHeartRadio. And Spotify is actually
companies that are all about music.
So it makes sense that my music's doing really great on

(37:39):
sites that are focused and concentrated on music.
ReverbNation. They actually set me up so far
where I've hit #1 quite a few Times Now on their site because
my releases went back-to-back toback so quickly, it wasn't hard

(38:01):
to be able to do it. I'm in the category of
experimental. Why do I choose to do category
experimental when some of my stuff is clearly rock or heavy
metal or slow ballads? Because if you listen to a full
album by me, you'll see that I do country, I do rock, I do

(38:24):
techno, I do industrial, I even do rap music.
I do all kinds of weird shit. Some of it I wouldn't even know
where to place it in a category.So I choose experimental because
I'm all over the place. There's no category where you
can say everything you know. It's either you choose rock,

(38:48):
metal. When you're filling the shit out
and doing the information. You either choose metal, rap, or
just one genre alone. Sometimes you get a subclass,
but that's about the only options you have.
So who knows if people would like me to in the future, I

(39:12):
could make some videos where I talk about the inspiration and
what I was thinking about are ina couple of the different songs.
Some songs they just naturally were ready to go.
I already had ideas about where I wanted the songs to go.
A lot of musicians, unfortunately, they, they kind

(39:33):
of start from scratch and they just kind of throw some shit
together and hope it sounds good.
But I kind of, because I've beena musician for so long, I
envision how I want my songs to be sang, whether they're by me
or other singers. I envision how I want the piano

(39:56):
work to go, if there's even any piano at all, and how I want
guitar drum fills, how I want the bass line to go.
Do I want it to where when the singer is singing?
Is it going to be just a bass line with a little bit of
trickling of guitar in the back,a little bit of tickle here and
there, or is it just going to beraunchy all the way through all

(40:20):
instruments together? I've always liked music where
the guitars go quiet and you hear the singer going along with
the bass line and the drums and then the guitar starts ripping
in. You'll notice quite a few of my
songs where you hear the singer and then the guitar starts
breaking in. I love that shit and the drums

(40:43):
are picking up and speeding up in tempo.
I like build songs that build up.
One of my favorite songs by Metallica, Fade to Black.
I love the way that shit starts out slow and melodic and then
get sick towards the middle of the song after the lyrics are

(41:05):
about done. I love that kind of music and I
love Black Friday Megadeth and Ilike the way P Cells hits and I
like a lot of shit off content and extinction.
I I love songs where they have astrange and intro and then like

(41:30):
come in really hard and shit. Like wherever I may roam.
I love the way near, near, near,near, near, near, near near.
I love that shit. I love when it's chill and then
this fucking bust out like that.It's crazy.

(41:52):
I love it. So that's a little bit about it.
And yeah, this will go up on theradio and I'll probably throw
this into one of the playlist with one of one of the albums
and everything. So people will be able to listen
to the music and then they can hear, you know, the musicians

(42:17):
point on it. Some people may wonder, will I
ever bring any of the musicians on video?
Sure. I've actually had some of the
musicians in my live shows before.
The reason why I'm not I haven'tannounced them or sent people to
their YouTube channels is unfortunately, I have people out

(42:39):
there who like to attack me. And they have this immaturity
where if I advertise these musicians and people that I see,
not all the people I took off the street or were not looking
for, some of them are online. I just sent them the music, they
recorded their vocals and sent sent it back to me.
And then I put it through production, cleaned it up,

(43:04):
mastered it, that kind of thing.So some of them, they don't want
to be attacked simply because they're friends or do business
with Brett Keene. That's the that's the problem.
And I can understand that. I totally respect their privacy.

(43:25):
If I say this person did it and I give out their real name, then
you people will know who they are.
And if you are a hater, then you'll instantly go looking for
their channel and give them shit.
So we got it set up. The through the distributors,
things are split up. You know, whoever sang on this

(43:47):
song or whoever played this instrument or did this, whatever
money's made it, it basically gets folded and split to whoever
worked on or collaborated with me on a track.
So if you're a musician out there, if you're a singer,
guitar player, you play keyboards or you do anything

(44:07):
fancy, let me know. I might be willing to
collaborate with you, and I'll advise you like I did all the
other musicians. Don't let people know what
you're working on. One, people will try to steal
your shit before it becomes copyrighted #2 if you are
friends with people that haters don't like, you're going to take

(44:30):
a lot of shit and it's going to actually hurt you.
These people out here, these haters will deliberately go to
CDs and music and books and write terrible reviews for shit
just simply because they don't like the person they'll try to
hurt and crush your job. They did it on one of my books

(44:52):
whenever I announced it a while back.
They didn't even read it. It shows on Amazon.
They weren't even verified. They didn't even buy a copy.
They just went over there because they're garbage.
Well, that's all I got to say. Ladies and gentlemen, my
throat's starting to hurt and I'm getting tired.
So I hope that you found this educational and interesting,

(45:15):
talking about music and books and and so on.
If you have any questions, I askand I'll talk about it later.
God bless.