Starting music production at home? This episode of Inside The Mix is your step-by-step guide to building the best home studio setup for beginner music producers. Marc Matthews and Tim Benson unpack exactly what gear you need to produce music at home, without breaking the bank.
They walk through a basic home studio equipment list for new producers, including affordable equipment for starting a home recording studio—from entry-level DAWs for home music production like Logic Pro and Cubase, to beginner audio interfaces for music production such as those from Focusrite and Behringer.
You’ll also hear about the best headphones for home studio recording, how to source quality gear secondhand, and whether or not you really need an audio interface for home recording. This episode covers the essential gear to start making music at home, while emphasising the importance of building skill over collecting expensive tools.
If you’re feeling overwhelmed by gear options and just want to get started, this episode delivers the practical advice, gear recommendations, and mindset shift every beginner needs. It’s not about having everything—it’s about knowing how to use what you’ve got.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Marc Matthews (00:00):
Buying more equipment, more plugins, isn't
necessarily the answer to aproblem that you might be facing
.
It could well be linked tomaybe you just need to go back
to basics and look at what youhave at hand, and it might be.
Actually, you don't need to goout and buy the best EQ plugin
out there.
Maybe you need to actuallyrefine your understanding of
(00:21):
what equalization is.
Tim Benson (00:24):
You're listening to the Inside the.
Marc Matthews (00:25):
Mix podcast with your host, Mark Matthews.
Welcome to Inside the Mix, yourgo-to podcast for music
creation and production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
and smash it in the musicindustry.
(00:47):
Let's dive in.
Hello folks, Welcome to Insidethe Mix and in today's episode,
my friend Tim Benson, aka R9,and I are answering your
questions again.
So you've submitted questions,a question, and we are answering
it on the podcast.
(01:09):
So this is an anonymousquestion.
Put my teeth back in.
What do I need to start musicproduction at home?
So this really is going andharking back to right at the
beginning.
So we're talking about basicshere today.
But before we dig into that,Tim, how are you?
And welcome back.
Tim Benson (01:26):
Oh, thank you.
Yeah, I'm good, not too bad.
Yeah, just been drifting aroundlike lovely bits of Somerset
like and Devon in the beautifulsunshine, so I can't complain,
it's been good.
Marc Matthews (01:38):
It is at the point of recording this, so we
are at the tail end of April.
I think we've got a heat wavenext week.
Tim Benson (01:43):
Yeah.
Marc Matthews (01:43):
Or something along those lines.
What constitutes a heat wave inthe UK?
Tim Benson (01:47):
So yeah, Well, it's hot in here.
My studio is definitely warmingup.
Marc Matthews (01:51):
Yeah Well, it's quite good because I'm finally
having my chimney stack redone.
So they're raising it to theroof level and then redoing it.
But the weather's going to benice, hopefully they doing it.
But the weather's going to benice, hopefully they do it this
week.
The scaffolding's up, so, uh,perfect time for them to do it
so I don't get a deluge of watercoming into my uh, into my
property while they're doing it.
But uh, folks, if you've got aquestion, we would love to hear
(02:14):
from you, so click the speakpipe link in the episode
description to submit yourquestions.
Uh, you can share your socialmedia handle as well, or your
website or anything you've gotgoing on in your questions.
So something along the lines ofhey, mark and tim, my question
is xyz.
You can find me at, or I've gota release coming up.
You can find it at xyz and onelucky person each month will win
(02:37):
a coffee voucher on me.
I love coffee, so I will sharethat with you.
If you want to get an idea, ifyou've never listened to the
podcast before of what thisformat sounds like, obviously
listen to this episode, but alsogo back and listen to the first
one, episode 175, what's theSecret to Mixing Without
Muddiness, which dropped on NewYear's Eve and has been the most
(02:57):
popular episode of the podcastto date, which is amazing, which
is amazing.
So in this episode, we're goingto talking about starting music
production at home.
So, whether you're completelynew to music production or
thinking about upgrading yoursort of home studio setup,
obviously it can be quiteoverwhelming.
So we're going to be breakingdown maybe some do's and don'ts
and some gears and basicallyjust our own experiences of when
(03:19):
we started out as well.
So we're going to keep itsimple, practical and, ideally,
budget friendly.
So the extent, the essentials,the essentials that you need to
start, and we're talking aboutcomputers or laptops, desktops,
laptops, whatever it may be.
Now I've got a mac, I've got anapple mac and I've got a mac
studio and that's what I'm using, and you've got a windows
(03:42):
device, tim.
Tim Benson (03:42):
So this is quite good we're coming at it from
different sides here.
Marc Matthews (03:46):
So I'll let you start, because I was speaking
long enough on this one here.
So what are your thoughts on?
Let's start with sort of theMac versus Windows idea of where
we should start with a device.
Tim Benson (03:57):
Yeah, I mean, personally I don't think I've
got a MacBook for sort ofoutside stuff as well I use, and
sort of when I'm wanting to sitsomewhere else.
But, like um, and you know, myMacBook and my PC are both
totally up to the task.
I mean, I think you need to geta well-specced machine.
Um, you know, that is ideal ifyou're going to be doing audio
(04:21):
and most modern stuff is up tothe task these days.
But, um, I don't think it'svery easy to get into the mac pc
sort of debate.
But I would say, if you haven'tgot anything and you were going
to start out and you're goingto go and purchase something,
getting something like a macbook, you know, would probably be
(04:45):
the better option, I think,because it's simpler.
I do think, having worked onboth of them extensively, pcs
are fantastic but they are noteasy necessarily to configure
for audio, although they do havelots of software availability
and stuff.
And you know there's lots ofgood sides to it, I think.
Um, you know, and it's easierto just buy a hard drive and pop
(05:08):
it in a pc often than it is amacbook, you know, they're a bit
more user-friendly in that waybut they're not out just
straight away the easiest thingfor audio.
I think macbooks just work verywell and very reliably.
You know you could buy amacbook and we're discussing if
we get into software, somethinglike logic or something.
It's quite a straightforwardroute into it without lots of
(05:30):
complications and I do think ifyou have too many technical
complications it can put you offactually just getting started
and getting music made.
Marc Matthews (05:39):
So uh, yeah, I agree, you kind of want to
reduce or remove those barriers,the friction to getting started
.
I mean, I remember when I wasstarting out and when I first
properly got into musicproduction, I was using Logic 9
and this was back in 2012, if Iremember rightly, and I had an
HP laptop before that and Itoyed around with I think it was
(06:00):
Cakewalk at the time and likebastardized the connection,
going into it and tried torecord my guitar.
Before I did a, I did like anevening course in music
production, which thenintroduced me into Logic 9 and I
bought a Mac MacBook If Iremember rightly this was in
2012, which I had for about sixor seven years.
And that's the beauty again Ithink of I'm not an Apple
salesman here, but of Appledevices is I had that for so
(06:23):
long and I had no issues with it.
Now I'm going to touch woodhere because I got a mac studio
and I don't want that to die onme, um, having tempted fate.
But, like you said that, I thinkit's important that with max
and with apples in particular,you do have that entry level.
You got garage band and I'vespoken to and helped artists as
well who started out with garageband and even like you could
(06:44):
think it is, yeah, it's thatentry level.
It's not overwhelming, it's awatered-down version of logic
and it doesn't mean to say thatyou cannot then go on to use
other daw's, because I think forthe most part you've got daw.
We're going to daw's in aminute but the idea, the concept
behind them, is pretty much thesame across the board.
(07:04):
It's's just different in howthey operate.
But I think, max, straight offthe bat, when you open the
device, it's easy to get started.
However, I mean, there is theargument to say that they are
more expensive.
But I guess it all comes downto budget, doesn't it,
ultimately?
But I think, in terms of specsfor devices, we're not going to
(07:24):
go into too much detail on specsin terms of what you need and
how much you should spend, butjust spend within your budget
and then work within that.
But it'd be interesting, youknow what?
I've never actually used aWindows device for music
production.
I've only ever used I'm au faitwith Windows devices, but never
actually used a Windows devicefor music production.
(07:46):
Challenges, or maybe benefits,are there any in comparison to a
?
Tim Benson (07:53):
Mac I mean.
I think cost can be a benefit,definitely, and if you're into
sort of, because you can buildyour own.
Marc Matthews (08:03):
Basically, yeah, I suppose there is that.
Tim Benson (08:04):
yeah, you can build your own desktop machine If
you're building a sort of studiodesktop machine.
That's how I got into.
It was like I, I got intobuilding my own machines and
like I could spec them all upwith all the stuff that I wanted
and, of course, if I wanted toadd another hard drive or
another couple, you know, I'vegot I don't know how many hard
drives built into my machine nowand like, uh, you know, and I
(08:26):
mean, yeah, it's, it's just likeif I wanted to add some ram, I
just go off and buy some ram andstick it in there, whereas if
that isn't so easy with a lot ofmacs they're more designed that
you you do need to send them toapple or you need to buy them
with what you, the amount of ramyou need when you buy it, or
(08:47):
the hard drive size that youwant internally, you know and
then, but you know I say thatyou know there are many reasons
why that going the mac route isis just easier, you know.
But like, um, certainly, uh, yes, software wise, I mean I don't
(09:07):
think it makes a huge difference.
You do get a lot of.
I mean there are tons of sortof random windows options for
things.
There are tons of sort of.
It's a more diy approach, Isuppose you know.
But I think it matters lessthese days perhaps than it used
to, but you know yeah I.
Marc Matthews (09:25):
I totally forgot about the fact that obviously
you can that highly sort of um.
I was gonna say combustible,then that's the wrong word if
you want to burn, customize,customize.
Tim Benson (09:35):
Yeah, I was gonna say combustible.
Marc Matthews (09:36):
Yeah, I mean you could burn either one if you
wanted to.
But yeah, uh, don't go out anddo that audience listening.
I don't want to be heldaccountable for anyone going out
burning devices, uh, but yeah,I forgot about that.
I mean, with a mac, I mean Ican upgrade the ram, um, but
short of doing that, I'd have totake it somewhere else.
I suppose I could overclock it,but you're going into weird
territory there.
So I think I think it comesdown to usability.
(09:57):
Use both and find out which oneis preferable to you, which
one's more conducive to yourworkflow and easier to use.
Tim Benson (10:05):
For me it's mac, and you can use tablets now as well
.
I mean, like you know Imentioned that.
Yeah, cubasis yeah, exactlycubasis or something on an ipad
and, uh, our good friend roguerogue effects like, has used for
years like sort of producinghis stuff on that and I know
he's actually changed over tomac now and he's got a sort of
(10:26):
like a full version of thesoftware and it's a bit like
daunted by what a change it isand it's trying.
It feels like he's learningsomething completely different
now.
But like, yeah, it is entirelypossible to do that.
I think there are some benefitsvery portable and very easy to
go everywhere with, like um,ipads.
There are disadvantages in whatyou can really run on them and
(10:49):
you know the plugins and stuffis limited and the things you
know.
There are some limitations toit, but like, but for some
people it's the place to getstarted.
They've got an ipad and theycan get cubasis or something
down on it and get going.
Marc Matthews (11:03):
So you know, I think that's important, yeah,
yeah yeah, because I was looking, because I never actually used
it myself, but logic do, an ipadversion, um, and I think that's
a really good place to startbecause it can be quite
overwhelming.
So I think if we move on toDAWs now, for example, and
choosing the right DAW which canbe I mean with that I used when
(11:24):
I started out, I used I had ago with Logic, reason, ableton,
pro Tools I think those were theones that I tried and then I
sort of came back to Logic.
But I think if you start withsomething like GarageBand or you
start with an iPad version ofit, that's a good way to go, I
(11:44):
think, because you won't bedaunted by opening up a DAW and
then just seeing this greatscreen in front of you and not
being able to navigate around it, like Reaper, for example.
I use Reaper a lot.
That's quite a steep learningcurve.
Fantastic DAW.
But would I advise people tostart there?
Probably not.
I use Logic myself and I thinkLogic's a great place to start.
(12:06):
Logic is very user-friendly.
I find it Very, veryuser-friendly.
Yeah, it is now.
I think yeah, yeah, find itvery, very, yeah, it is now.
Tim Benson (12:10):
I think yeah, yeah, yeah, most definitely years ago
it didn't used to be, but, likeI think, since apple took it
over and it's kind of like theyflow.
You said there's a flow, isn'tthere for something like garage
band?
To logic, yeah, yeah exactly,and it is designed to make it.
Yeah, gateway.
Yeah, it is a lot moreuser-friendly than it used to be
.
I think it's pretty good.
(12:31):
I mean, I'm a big cubase user.
That's what I use since Istarted using cubase on an atari
.
So there we go I hadn't even gotto pc at this point, but like,
um, so I guess I just followedon from what I knew.
But like, if I'm honest, Ithink it's a great program.
You can buy it.
It in the, for instance.
(12:52):
I mean it runs on PC and Mac.
Marc Matthews (12:54):
Yeah, it does have that benefit, logic does.
Tim Benson (12:56):
And you can change your thing during using it,
which is kind of handy if yousuddenly ended up getting a Mac
in the middle.
But like, they've got acut-down version, something like
58 quid at the minute orsomething like that, so you can
get like like from the realsimple version and kind of
gradually move up from theelements to artists to sort of
(13:19):
pro.
But I still wouldn't.
I think it's phenomenal, Ithink it's a great program, but
I don't know that I would say itwas the easiest way in.
Maybe it isn't, you know, maybesomething like like garage band
is probably the winner on thesimplest place to start.
But like, yeah, but otherwiseI'm sure it's true with ableton.
(13:40):
I know they've got a lightversion, most things have got a
slightly cut down, simpler,beginner version and that that
could be a good idea to sort ofgo for one of the big sort of
DAWs but go for the cheapest,simpler.
Marc Matthews (13:56):
Lite version to start off with, so you're not
too many options, I think that'salso good as well, because you
could go for the Lite versionand then you're not shelling out
a ton of cash on the fullversion.
I mean logic in itself.
You are locked into Apple.
I think it's only about 200quid I was going to say it's
unbelievably good value.
(14:17):
It is.
I mean you do have to buy theApple device to get it.
Tim Benson (14:21):
GarageBand is free, isn't it?
Yeah, it comes with it.
Marc Matthews (14:24):
They do the same with Final Cut, though, as well.
So with Final Cut there'siMovie.
I is it movie?
Imovie, I think it might becalled iMovie.
I've never actually used it butagain it's the idea that uses a
simpler version.
Then move on to Final Cut.
Did you ever use Logic beforeApple bought it, when it was
agnostic towards device?
(14:45):
Did you ever?
Tim Benson (14:46):
use it before I did.
I had it on PC actually, I hada copy.
Was it called Logic then?
Well, it used to be calledsomething like notator, didn't?
it eventually it was notator andthen it changed to logic.
Yeah, e-magic, it was run bythe company.
Yeah, e-magic.
Yeah, and I did.
(15:07):
I had a version on pc actually.
Um, uh, and it wasn't my chosenthing, but I, like you, I've
learned a few different ones toa degree.
Pro tools I've done as well.
Um, which I don't know.
I know again, there are quite afew people who have actually
started on pro tools, whichsurprised me but yeah, but you
(15:28):
know, um, personally I Iwouldn't be what I would choose.
But, like you know, I mean again, I don't know that it matters,
as long as you can find it, getyour head around it.
And of course, quite a lot ofthese have free sort of trial
periods, don't they that you can?
Logic's got a big one, I thinkthree months or something like
(15:49):
you can have Logic and trial it.
Yeah, it's quite a long period.
So do make use of that, as Iwould suggest.
So get your mac or your pc, um,and get a trial of some
software and like, actually, if,if the company does it, like,
you know that you'd like to try,you know, I think there's a
trial version of most of themand like, try it for a while and
(16:11):
go what's this like?
Do I actually like using protools?
Do I like using logic?
Can I make some sense of it?
Um, before you put out yourcash, I guess you know?
Marc Matthews (16:20):
yeah, what I was going to say then is is um,
we're going to move on to audiofaces shortly.
Audio, faces, audio interfacesmy audio face when I'm making,
when I'm making music like abass face, you know, a drummer
face.
I've got my audio face.
Uh, it's moving on to those.
But what you'll find is whenyou buy an audio interface which
never will move on to that nowis that, yeah, you get a light
(16:42):
version often with an audiointerface.
I know it comes with it.
Yeah, yeah, the first one Ibought was native instruments,
complete audio six great pieceof kit.
It's like brick 2-in, 2-outaudio interface.
But it came with a lightversion of Ableton, if I
remember rightly, was it Ableton9?
(17:02):
Might have been Ableton 10.
Can't remember, but no, thatwas great.
So often with audio interfacesyou'll get a light version.
So think about what audiointerface you're going to buy
and then maybe pick one with aparticular daw that you like the
look of and maybe tie the twoin together yeah, definitely
well worth shopping around on.
Tim Benson (17:24):
When we come to the audio interface, well, we're
shopping around a little bit forwhat you get included software
wise.
Um, you know I wouldn't getswayed massively by it, but like
is sometimes worth lookingaround because like there are
deals on some things and you golike, oh look, I get all these
sort of things bundled in when Iget that interface and it can
(17:45):
be a good way of doing it, yeah,yeah I remember with it with
the audio and, uh, with thenative instruments audio
interface, I think I've got alike a light version of complete
with it as well it was.
Marc Matthews (17:55):
It was quite good , quite a lot with it, to be
fair.
um, maybe that I mean just to tosort of cap daws, it really is.
With the.
I think the advice really is totry and experience as many as
you can and just go with the one.
That's again, it's kind of likeI said with the mac with his
windows debate.
Whatever suits you best,whichever one you find is
conducive to your workflow forproducing, whether you're
(18:18):
recording, it might be Pro Tools, whether you want to go down
the sort of in-the-box producingroute, it might turn out to be
logical.
Cubasis, obviously You've gotCubasis.
Cubase, you've got Fruity Loopsas well.
Fl Studio One, daw, I've nevertried FL Studio.
No, no, never tried that one.
Tim Benson (18:34):
Very limited.
I do remember using it a verylong time ago, yeah, but much
beloved by some sort of likedance producers and DJs.
And, yeah, and Ableton as well.
I mean I think that might besomething that you know depends
a little bit how much whatyou're thinking of.
If you're thinking of producingin a studio and then maybe
(18:54):
going out live as well with itand using it live, ableton,
ableton might be the place to go.
But if you're more of a studioperson, then maybe Cubase and
Logic and Pro Tools more sit in,that sort of thing.
But I think an important thingto say is that they can all do
(19:15):
the same stuff basically itisn't like you know.
If you choose this, you're youknow it will be much better than
choosing something else interms of audio quality or
production or what you can doyeah, I think it's um what's the
phrase?
Marc Matthews (19:30):
a bad, bad workman blames his tools, sort
of thing isn't it.
Yes, it's all.
Just get your head stuck intoone and dig deep.
Go dig deep into it withregards to its plugins and its
workflow and what you can dowith it, and there is a wealth
of resources on YouTube to getyou started.
Yeah, definitely, from zero to100 pretty quickly, whatever 100
(19:52):
looks like.
But audio interfaces now.
I mentioned that I started witha complete audio 6, 2 in, 2 out,
which was a great audiointerface, um, but I mean, I've
now got the ssl 2 plus, which I?
I mean, I spent some time in astudio working with an ssl
duality desk and unfortunately,when I said studio, I couldn't
then afford a duality becausethey're quite expensive and I
(20:15):
don't have the room for duality,so I then resorted to I
narrowed it down to an SSL 2Plus interface, which is 2 in, 2
out, which does everything Ineed.
So I got the two inputs,channel one, channel two.
You've got the 4K legacy on itso you can get that harmonic
(20:35):
saturation which I don't.
Maybe I should do that in myvoice on the podcast.
Maybe that'd be quite nice.
You've got two headphones outon it as well.
And then obviously you've gotthe monitor, control and then
just the headphone mix as well,and that's pretty much it.
I think that's all you reallyneed to get started with an
audio interface.
I don't think there's any needto go wild like a focus right I
(20:59):
know focus right online it gets.
You see, on social media itgets panned a bit.
A focus right uh, what are they?
scarlet scarlet, yeah, yeah, um,but yeah, man, whatever does
the job, like I don't think whenyou're starting out, I don't
think you need to go crazy andspend, spend big no, I think you
have to think what, how manythings you're going to be
recording at once, and if, if?
Tim Benson (21:20):
the answer is for a lot of people, well, I might
only be recording one thing atonce my guitar, or my vocal, or
whatever.
I'm not going to be, you knowsome people.
I'm not actually going to berecording any audio.
I'm just going to be likecreating beats or whatever, and
I'm be you know some people.
I'm not actually going to berecording any audio.
I'm just going to be likecreating beats or whatever, and
I'm not, you know, electronicmusic.
I'm not actually going to berecording any vocals or any
(21:40):
guitar.
So you know you won't be usingany of the inputs you know,
you're only really wanting it toas outputs, um, and then you've
got, obviously you know youneed outputs to, and we all come
onto this studio monitors orheadphones so that you can
listen to what you're doing.
(22:01):
But there are people who mightbe going like, well, actually
what I want to do is want to getinto production and I'm
recording my band and I want torecord the drummer and I want to
record, you know, and then youmight have a bit of a different
sort of needs.
You might want to go and get,you know, more inputs on your
(22:23):
thing, but I think for mostpeople, two in, two out, is
enough for most people.
But some people, you know,might want four in or six in or
or something more, um, becausethey're planning on recording
lots of things all at once.
But for a lot of us we don'trecord more than one thing at
once.
Really, you know, we mightrecord.
(22:45):
It's like I record guitars andI might record many guitars on a
track, but I only record eachone, one at a time.
Marc Matthews (22:54):
So I don't need multiple inputs, I only need one
, it's very true with the audiointerfaces if you did want more
than two in.
I can't remember, but Iremember I had a beringer
interface.
Yeah, I cannot remember thename of it, but that was really
good, really good value formoney.
This was years ago and I hadthis yeah, flight case and I
created a mobile recording rigbasically.
So I had a headphone out andthen I had it's going to bug me
(23:20):
now what the name of it isAudience listen, I'll put a link
to it in the episode notes soyou can go check it out.
But it was a basic.
I think it was 18, if Iremember rightly a Behringer
interface.
Yeah, behringer, do some really.
Tim Benson (23:31):
I was going to say they beringer interface yeah,
beringer do some.
Really.
I was going to say they arewell worth looking at for, like
budget multiple input interfaces, they do some really good ones
and you know um they do, budgetconscious, they do a, they do a
console and I want to say it'scalled the x32.
Marc Matthews (23:47):
They do do the x32, yeah, which is a great,
great console if you want tocreate sort of like a mobile rig
or you want to go down sort oflike the live sound, maybe route
or something along those lines.
A bit off topic in terms ofbedroom, home studio.
Tim Benson (24:00):
Yeah, I've got that.
Cut down one, the X Air, I'vegot that the X.
Air, which is a cut down withthe X32.
So, yeah, I've got that myself.
Multiple inputs, great, butyeah, probably a bit over the
top of your bedroom producerwho's starting off.
So yeah, I mean, if, if youwere to mention names, like you
said, focus, right.
I mean there's like nativeinstruments, do them.
(24:22):
Um.
There's, like you know, ssl.
There's lots of.
I mean, universal audio is whatI use, and apollo, and that's
very well loved, but it's a lotof money.
I mean they do do a cheaper one, I think, um, than the Apollo,
but like they're definitely themore pricey end and I think you
would have to think do I want tospend that?
(24:45):
rather than, you know, behringer, make them, steinberg, make
them, lots of people, m-audio,make them, you know there are
lots of pre-sonus, lots of thesekind of companies, and we'll do
a two in, two out interface andyou know, I don't know that you
really need to spend more thanthat when you're starting off no
(25:05):
, I I do agree, and, um, I thinkyou could always upgrade.
Marc Matthews (25:10):
That's the key, isn't it?
When it comes to interfaces,and also with headphones and
studio monitors as well, it'sanother one that you could start
with something and then upgrade.
So, again, with audiointerfaces, I wouldn't like to
say don't.
I don't think you need to gocrazy too in, too out to get
started.
But moving on to headphones,I've got headphones versus
(25:31):
studio monitors in my notes here.
So way back when I was doing it, when I started out, I started
out primarily using headphonesand I've still got them now.
Actually, it's these, uh, audiotech net, a technica ath m50s
uh, great headphones.
I mean, I think you got thesame.
Are those the same?
Yeah, there we go.
The band itself has like lostall of its.
Tim Benson (25:53):
Yeah, it ends up on my head, yeah, yeah.
Marc Matthews (25:57):
My mind does the exact same.
So I think, I mean they, Ithink you can pick.
I'm not saying, go out and buythese, but they're fantastic
headphones for, like, um, forediting.
I use them all the time whenI'm editing the podcast, I wear
these headphones, um, I wearthese headphones just for that
detail.
I mean, obviously they do havea particular sort of frequency
curve to them, ultimately, aswith any headphones, but they
(26:18):
are fantastic and I think youcan pick these up for about 150,
130, 150, something along thoselines.
Tim Benson (26:24):
I think you probably want to spend a bit of money.
Yeah, you can hear a lot ofdetail.
Marc Matthews (26:27):
Yeah yeah, but I know there is a set of
headphones.
I want to say DT990s, I thinkthere was a.
There is a set of headphones.
Tim Benson (26:36):
I want to say dt 990s, I think that's.
I think that's what they are,but they're very good headphones
, yeah, ones, yeah yeah, is it.
Marc Matthews (26:39):
Are they biodynamic are?
They bad, yeah, yeah yeah, Ithink if I was starting out
again I might be inclined tomaybe start with open, but do
you have any open backheadphones?
Tim Benson (26:49):
yeah, I do.
Yeah, I've got more headphonesthan any man needs.
I sold a set of Loads of themfocal ones recently.
Marc Matthews (27:00):
Yeah, Really good headphones, but they were just
too the high end was just likein my ears it was just I didn't
like it.
So I got rhythm.
But I, If I were going to startout again, I'd probably maybe
consider starting out with openback, specifically if I haven't
got monitors, Because I findwhen I wear these for too long,
the bass response and thenaround my ears it's a bit too do
(27:21):
I want to say overwhelming.
It does a bit, I find, when I'mwearing them for too long.
Tim Benson (27:25):
I think, when it comes to buying headphones for,
like, starting off as a studiothing, I mean, you know, yes,
you can go, you can go for Imean, we've got pro headphones
here, that's what they'reclassed as um and you could
spend more, but that's the sortof that's kind of level, 120
sort of pound level kind ofthing, isn't it?
Yeah, but there are a lot ofcheaper options that you could
(27:49):
get that are probably usable um.
You know cheaper studioheadphones, um how reliable they
are.
When you come to mix you mayfind that they're not that
accurate um, that's the problem.
But you could definitely startwith any sort of enclosed sort
of headphone because you want itenclosed.
(28:10):
If you're going to be recording, if you're going to be using a
mic, you don't want it to beopen of course, yeah, you don't
want the bleed.
Marc Matthews (28:16):
Yeah, yeah, yeah, yeah um.
Tim Benson (28:19):
So probably if you're going to buy one set of
headphones, closed backheadphones are the way to go.
And again, you know there aresome pretty cheap makes.
I'm trying to remember staggprobably do one, you know.
I mean there's probably somesort of you know, cheaper makes
of studio headphones that infact I think stack do a really
good pair of headphones,bizarrely, because I think a dj
friend of mine's got them.
(28:39):
Um, but like you know, it's it.
There are some ones that aremore like 40, 50 quid kind of
range, which are not going to bequite as good but will get you
going, get you started, I reckonyeah, I what you say.
Marc Matthews (28:53):
There is a good argument.
Actually, I didn't think ofthat.
I was thinking it purely fromsort of like a mixing and
editing perspective, notconsidering actually, if I were
going to be recording my ownvoice, then, yeah, you probably
want the close back.
Otherwise, you're going to getthat If you've only got money
for one set of headphones,you're going to get that bleed.
I think that bleed, I thinkwhat you mentioned there about
(29:17):
you can get get them for lessthan 100 pounds is, and then
obviously, your mixes are goingto be subject to whatever you're
hearing.
So you can think of it as alike a filter.
Those headphones are going toapply a filter to your mixes and
it's going to influence whatyou hear.
But I think the advice therewould be to, just before you
start actually mixing or maybeeven recording using these
headphones, just listen to ashit ton of music through them
(29:39):
and get used to listening towhat sort of high quality audio
sounds like.
So you can use that as areference, as a benchmark, to
think, okay, well, if that, Iknow that music is of a high
quality and I want to replicateit using these headphones and go
down that route.
I suppose you could then thinkokay, well, I could use some
sort of corrective software, butthen that's another expense.
(30:01):
And then you might think well,why don't I just go and then buy
some more expensive headphones?
But it depends which route youwant to go down.
Tim Benson (30:07):
Yeah, I mean the good thing with the more sort of
pro headphones as well.
You get longer cables.
You get like sometimesreplaceable cables like these.
You get like parts of thembecome replaceable and you know
it.
Probably they last for a longtime.
You can keep using them and golike, oh, I've got the same pair
of headphones that I've beenusing for like 20 years, whereas
(30:29):
, like the cheaper headphoneshave a habit of not lasting very
long in studio use sometimes.
Marc Matthews (30:36):
So you know, yeah , I think these are testament to
that.
Like I've had these well over10 years, these headphones, and
uh, touch wood again.
They haven't sort of skipped abeat.
No, in that time, I would say,is well beware be.
Tim Benson (30:51):
If you're on the lookout for, like car boot sales
and all kinds of random places,you would not believe what
headphone bargains you comeacross.
I bought a pair of zennheiser590s I think something like that
which are about 160 quid new.
I bought them for two quid theother day just in a, in a kind
(31:11):
of you know, boot sale.
Yeah, yeah, kind of thing.
They're not a hundred percent.
There's something a little bitodd about them, so maybe maybe
they've been a little.
I'm not convinced that left andright side are a hundred
percent on them, but likethey're a really nice sounding
pair of headphones but like fortwo quid I was like, well, it's
worth a punt, isn't it so?
(31:32):
yeah, yeah, yeah you never know,you can sometimes pick these
things up cheaply on ebay orcheaply on, you know, because
again, secondhand pair ofheadphones that's working well.
I mean, maybe the people's justlike, oh I don't really love
these headphones, I'll get ridof them, and you know you could
pick them up.
So if you're trying to savemoney on on on gear, headphones
can probably be acquired for abit less than the you know yeah.
Marc Matthews (31:57):
And I think as well.
It's a good point to makebecause you could do the same
with audio interfaces.
Yeah, and you could also do thesame with your laptop, desktop,
whatever it may be yeah, 100%.
It's a very good point.
Actually, you don't necessarily.
I've done that with my guitars.
Tim Benson (32:19):
The guitars I have, none of them are brand new
bought, none of them brand newum, no, none of them brand new.
And some things are a bit morereliable to buy second hand,
like, possibly, guitars, likeyou know, microphones, maybe you
know some things that are a bitmore sort of reliable to buy
second hand and some things Idon't know.
You know you can have moreissues sometimes with computers
and bits and pieces like secondhand and some things I don't
know.
You know you can have moreissues sometimes with computers
and bits and pieces like secondhand.
Marc Matthews (32:37):
I think as soon as you the more moving parts,
like air quotes.
More moving parts, then there'smore potential for things to go
wrong or possibly not be quitewhat they should be.
Tim Benson (32:49):
But I mean, I got a second hand.
Well, it was actually off mywife, but like she, actually, I
bought it for her second hand atthe time, like macbook, that is
something like a 2012 orsomething ridiculous, like yeah,
and I did live gig at the.
Um, oh, the fleece in bristol,yeah, the fleece yeah bristol
and I played that gig with thatlaptop and I did a whole load of
(33:11):
stuff with it and I meanunbelievably enough.
Like you know, a macbook likethat that cost 250 qu did a
whole load of stuff with it, andI mean unbelievably enough.
Like you know, a macbook likethat that cost 250 quid a very
long time ago is still perfectlyable.
You know, works okay and youcould, I could sit down and
record on it now.
So you don't necessarily haveto go spending thousands.
You can be a bit canny about itand just buy some slightly old
(33:32):
tech.
You can be a bit canny about itand just buy some slightly old
tech CEX somewhere I don't know,you know what I mean Somewhere
and get something decent offFaceBay or something and get
started.
Yeah.
Marc Matthews (33:43):
I agree, and this kind of moves on nicely.
To wrapping things up, Iappreciate we didn't touch on
headphones there, sorry onmonitors, but in the interest of
time I think it's in my head,I'm thinking of that that there
are other sports available.
But that individual who buys ahigh sort of I was gonna say
high fidelity set of golf clubs,high fidelity golf clubs it's
(34:14):
the case of just like, look forthat second-hand equipment, and
then not all of it to besecond-hand, as you say, but
like there's no need to go andshell out a shit ton of cash and
buy the the best that there is,just start and then replace
over time, replace over time.
So I think to wrap it up nicelywould be the the mindset really
to get into the mindset forstarting a or upgrading your
home studio, and I think one keypart could be is to not get
(34:36):
caught up in gear acquisitionand just that you just have to
die I think this goes back towhat you were saying then just
by the most expensive stuff orjust accumulating loads and
loads of gear, um, and just forme, I mean, this is my, this is
my personal work, but the way Ilike to work is I like it to be
relatively streamlined andthat's the way I like to work
and it's all conducive to what Ido.
(34:57):
But I think it's quite easy andI think gear acquisition in
particular it can be quite easyto fall into gear acquisition
syndrome with plugins.
Tim Benson (35:11):
But I mean that could be a whole episode in
itself.
Microphones as well we haven'treally touched on and had time
to touch on, but again you canbuy standard sort of studio
microphone now capacitormicrophone for probably about
100 quid at the beginning pointsand equally you can get second
hand microphones.
Or you can even get a usbmicrophone, like sometimes.
But like you know, it's justyou.
It's surprising what you canget and get yourself started.
(35:34):
I have one client who I doquite a lot of stuff for, who
seems to for some reason recordhis vocals on a phone and
release them.
So there we go.
It wouldn't be my suggestionfor the way to go, but it's not
stopped him from getting intomaking music and producing music
and releasing albums.
(35:54):
So you know, don't get too hungup on.
Marc Matthews (35:57):
If I don't have a anointment I'm not going to be
able to, you know, make somegood music indeed, and uh, and
just to add to that as well, Ithink building skills is
important as well, and thisagain could be an episode in
itself is that buying moreequipment, more plugins, isn't
(36:18):
necessarily the answer to aproblem that you might be facing
.
It could well be linked tomaybe you just need to go back
to basics and look at what youhave at hand, and it might be.
Actually you don't need to goout and buy the best EQ plugin
out there.
Maybe you need to actuallyrefine your understanding of
what equalization is and tonalbalance before actually going
(36:39):
out.
So building up your skillsbefore maybe having the ultimate
perfect setup could be the wayto go.
Tim Benson (36:45):
Yeah, and most I mean it probably, as we've said,
like DAWs and all the differentthings, most of them now will
come with everything you need tostart making music.
You won't need to go and buy aload of third-party things.
Don't get sucked into thatstraight away.
You've probably got a ton ofthings to learn within what
(37:07):
you've got, you know and mostdefinitely, most definitely.
Marc Matthews (37:12):
So we go, so we go, folks.
So we touched on their devicesDAWs, headphones and just the
mindset.
Briefly, at the end there, andI think to summarize, really,
it's a case of just try what'sout there, don't spend a shit
ton of cash.
Look at what is out there interms of secondhand and then
(37:33):
gradually build and replace overtime, but make sure that you
sort of pay attention to theskills, music production as well
and don't just think spendingloads of money is going to
result in a in a smash hit.
Uh, you need to get.
Well, it could do, could do, um, but you need to.
Uh, there was actually this isa bit of a tangent um, my fiance
(37:54):
, she shared with me a producerand I cannot remember his name,
but he was a.
He is a producer and heproduced loads of songs for
artists, top tier artists inlike the in the noughties and
into the tens as well, and hesaid that a lot of those songs
are at 120 BPM because he didn'tknow how to change the BPM in
(38:17):
his DAW.
That's great, didn't know whatit was, so they're all 120 BPM,
so that might just spit in theface of everything I've just
said.
And he's obviously got.
He's a lot more successful thanme and he's probably got a lot
more money as well.
But yep, cannot remember hisname.
But fair play, man, if youmanaged to do that, I wonder if
he's managed to work it out bynow.
Tim Benson (38:38):
You like to?
Marc Matthews (38:38):
think so.
It is that big, at least hisfirst track at 110.
Tim Benson (38:42):
Yeah, it's that big number?
Marc Matthews (38:43):
isn't it Right at ?
the top of your DAW that 120,that you double click to change
Folks.
If you've got a question thatyou'd like Tim and I to hash out
on the podcast again, please doclick on the SpeakPipe link in
the episode description.
You don't need an account forSpeakPipe, you don't need a
particular setup.
(39:03):
You can just use your mobilephone and you can record an
audio message just like you'resending one via WhatsApp,
facebook, whatever it is.
And then I said, as I say, onelucky person each month will
receive a coffee voucher.
But before we go, tim anyupcoming releases At the point
of this going live.
Your most recent release wouldbe live Liquid, blue Liquid.
Tim Benson (39:23):
Blue, yeah, so anything else.
Marc Matthews (39:25):
I think this is going to be towards the end of
May.
Tim Benson (39:28):
Towards the end of May.
Well, there will be a newrelease.
I don't actually know what itis at the moment.
I'm true, I will be trying towrite it as we, uh, you know, I
well, hopefully I'll havewritten it and mixed it and it
will be in the pipeline by then.
Um, I am really trying to getmy album finished, which sort of
um.
So if I was really lucky, Imight get that out by the end of
(39:49):
may, but if not, the end ofjune.
So yeah, I've definitely got analbum in the pipeline.
Yeah, exciting stuff, mate.
Marc Matthews (39:56):
Well, audience listening.
If we have released anythingbecause I'll be in a similar
position check the episodedescription and there might be
some links to music in there, orthere might not, depending on
how we've got on.
But, tim, it's been a pleasure.
Thanks for joining.
Buying more equipment, more plugins, isn't
necessarily the answer to aproblem that you might be facing
.
It could well be linked tomaybe you just need to go back
to basics and look at what youhave at hand, and it might be.
Actually, you don't need to goout and buy the best EQ plugin
out there.
Maybe you need to actuallyrefine your understanding of
(00:21):
what equalization is.
Tim Benson (00:24):
You're listening to the Inside the.
Marc Matthews (00:25):
Mix podcast with your host, Mark Matthews.
Welcome to Inside the Mix, yourgo-to podcast for music
creation and production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
and smash it in the musicindustry.
(00:47):
Let's dive in.
Hello folks, Welcome to Insidethe Mix and in today's episode,
my friend Tim Benson, aka R9,and I are answering your
questions again.
So you've submitted questions,a question, and we are answering
it on the podcast.
(01:09):
So this is an anonymousquestion.
Put my teeth back in.
What do I need to start musicproduction at home?
So this really is going andharking back to right at the
beginning.
So we're talking about basicshere today.
But before we dig into that,Tim, how are you?
And welcome back.
Tim Benson (01:26):
Oh, thank you.
Yeah, I'm good, not too bad.
Yeah, just been drifting aroundlike lovely bits of Somerset
like and Devon in the beautifulsunshine, so I can't complain,
it's been good.
Marc Matthews (01:38):
It is at the point of recording this, so we
are at the tail end of April.
I think we've got a heat wavenext week.
Tim Benson (01:43):
Yeah.
Marc Matthews (01:43):
Or something along those lines.
What constitutes a heat wave inthe UK?
Tim Benson (01:47):
So yeah, Well, it's hot in here.
My studio is definitely warmingup.
Marc Matthews (01:51):
Yeah Well, it's quite good because I'm finally
having my chimney stack redone.
So they're raising it to theroof level and then redoing it.
But the weather's going to benice, hopefully they doing it.
But the weather's going to benice, hopefully they do it this
week.
The scaffolding's up, so, uh,perfect time for them to do it
so I don't get a deluge of watercoming into my uh, into my
property while they're doing it.
But uh, folks, if you've got aquestion, we would love to hear
(02:14):
from you, so click the speakpipe link in the episode
description to submit yourquestions.
Uh, you can share your socialmedia handle as well, or your
website or anything you've gotgoing on in your questions.
So something along the lines ofhey, mark and tim, my question
is xyz.
You can find me at, or I've gota release coming up.
You can find it at xyz and onelucky person each month will win
(02:37):
a coffee voucher on me.
I love coffee, so I will sharethat with you.
If you want to get an idea, ifyou've never listened to the
podcast before of what thisformat sounds like, obviously
listen to this episode, but alsogo back and listen to the first
one, episode 175, what's theSecret to Mixing Without
Muddiness, which dropped on NewYear's Eve and has been the most
(02:57):
popular episode of the podcastto date, which is amazing, which
is amazing.
So in this episode, we're goingto talking about starting music
production at home.
So, whether you're completelynew to music production or
thinking about upgrading yoursort of home studio setup,
obviously it can be quiteoverwhelming.
So we're going to be breakingdown maybe some do's and don'ts
and some gears and basicallyjust our own experiences of when
(03:19):
we started out as well.
So we're going to keep itsimple, practical and, ideally,
budget friendly.
So the extent, the essentials,the essentials that you need to
start, and we're talking aboutcomputers or laptops, desktops,
laptops, whatever it may be.
Now I've got a mac, I've got anapple mac and I've got a mac
studio and that's what I'm using, and you've got a windows
(03:42):
device, tim.
Tim Benson (03:42):
So this is quite good we're coming at it from
different sides here.
Marc Matthews (03:46):
So I'll let you start, because I was speaking
long enough on this one here.
So what are your thoughts on?
Let's start with sort of theMac versus Windows idea of where
we should start with a device.
Tim Benson (03:57):
Yeah, I mean, personally I don't think I've
got a MacBook for sort ofoutside stuff as well I use, and
sort of when I'm wanting to sitsomewhere else.
But, like um, and you know, myMacBook and my PC are both
totally up to the task.
I mean, I think you need to geta well-specced machine.
Um, you know, that is ideal ifyou're going to be doing audio
(04:21):
and most modern stuff is up tothe task these days.
But, um, I don't think it'svery easy to get into the mac pc
sort of debate.
But I would say, if you haven'tgot anything and you were going
to start out and you're goingto go and purchase something,
getting something like a macbook, you know, would probably be
(04:45):
the better option, I think,because it's simpler.
I do think, having worked onboth of them extensively, pcs
are fantastic but they are noteasy necessarily to configure
for audio, although they do havelots of software availability
and stuff.
And you know there's lots ofgood sides to it, I think.
Um, you know, and it's easierto just buy a hard drive and pop
(05:08):
it in a pc often than it is amacbook, you know, they're a bit
more user-friendly in that waybut they're not out just
straight away the easiest thingfor audio.
I think macbooks just work verywell and very reliably.
You know you could buy amacbook and we're discussing if
we get into software, somethinglike logic or something.
It's quite a straightforwardroute into it without lots of
(05:30):
complications and I do think ifyou have too many technical
complications it can put you offactually just getting started
and getting music made.
Marc Matthews (05:39):
So uh, yeah, I agree, you kind of want to
reduce or remove those barriers,the friction to getting started
.
I mean, I remember when I wasstarting out and when I first
properly got into musicproduction, I was using Logic 9
and this was back in 2012, if Iremember rightly, and I had an
HP laptop before that and Itoyed around with I think it was
(06:00):
Cakewalk at the time and likebastardized the connection,
going into it and tried torecord my guitar.
Before I did a, I did like anevening course in music
production, which thenintroduced me into Logic 9 and I
bought a Mac MacBook If Iremember rightly this was in
2012, which I had for about sixor seven years.
And that's the beauty again Ithink of I'm not an Apple
salesman here, but of Appledevices is I had that for so
(06:23):
long and I had no issues with it.
Now I'm going to touch woodhere because I got a mac studio
and I don't want that to die onme, um, having tempted fate.
But, like you said that, I thinkit's important that with max
and with apples in particular,you do have that entry level.
You got garage band and I'vespoken to and helped artists as
well who started out with garageband and even like you could
(06:44):
think it is, yeah, it's thatentry level.
It's not overwhelming, it's awatered-down version of logic
and it doesn't mean to say thatyou cannot then go on to use
other daw's, because I think forthe most part you've got daw.
We're going to daw's in aminute but the idea, the concept
behind them, is pretty much thesame across the board.
(07:04):
It's's just different in howthey operate.
But I think, max, straight offthe bat, when you open the
device, it's easy to get started.
However, I mean, there is theargument to say that they are
more expensive.
But I guess it all comes downto budget, doesn't it,
ultimately?
But I think, in terms of specsfor devices, we're not going to
(07:24):
go into too much detail on specsin terms of what you need and
how much you should spend, butjust spend within your budget
and then work within that.
But it'd be interesting, youknow what?
I've never actually used aWindows device for music
production.
I've only ever used I'm au faitwith Windows devices, but never
actually used a Windows devicefor music production.
(07:46):
Challenges, or maybe benefits,are there any in comparison to a
?
Tim Benson (07:53):
Mac I mean.
I think cost can be a benefit,definitely, and if you're into
sort of, because you can buildyour own.
Marc Matthews (08:03):
Basically, yeah, I suppose there is that.
Tim Benson (08:04):
yeah, you can build your own desktop machine If
you're building a sort of studiodesktop machine.
That's how I got into.
It was like I, I got intobuilding my own machines and
like I could spec them all upwith all the stuff that I wanted
and, of course, if I wanted toadd another hard drive or
another couple, you know, I'vegot I don't know how many hard
drives built into my machine nowand like, uh, you know, and I
(08:26):
mean, yeah, it's, it's just likeif I wanted to add some ram, I
just go off and buy some ram andstick it in there, whereas if
that isn't so easy with a lot ofmacs they're more designed that
you you do need to send them toapple or you need to buy them
with what you, the amount of ramyou need when you buy it, or
(08:47):
the hard drive size that youwant internally, you know and
then, but you know I say thatyou know there are many reasons
why that going the mac route isis just easier, you know.
But like, um, certainly, uh, yes, software wise, I mean I don't
(09:07):
think it makes a huge difference.
You do get a lot of.
I mean there are tons of sortof random windows options for
things.
There are tons of sort of.
It's a more diy approach, Isuppose you know.
But I think it matters lessthese days perhaps than it used
to, but you know yeah I.
Marc Matthews (09:25):
I totally forgot about the fact that obviously
you can that highly sort of um.
I was gonna say combustible,then that's the wrong word if
you want to burn, customize,customize.
Tim Benson (09:35):
Yeah, I was gonna say combustible.
Marc Matthews (09:36):
Yeah, I mean you could burn either one if you
wanted to.
But yeah, uh, don't go out anddo that audience listening.
I don't want to be heldaccountable for anyone going out
burning devices, uh, but yeah,I forgot about that.
I mean, with a mac, I mean Ican upgrade the ram, um, but
short of doing that, I'd have totake it somewhere else.
I suppose I could overclock it,but you're going into weird
territory there.
So I think I think it comesdown to usability.
(09:57):
Use both and find out which oneis preferable to you, which
one's more conducive to yourworkflow and easier to use.
Tim Benson (10:05):
For me it's mac, and you can use tablets now as well
.
I mean, like you know Imentioned that.
Yeah, cubasis yeah, exactlycubasis or something on an ipad
and, uh, our good friend roguerogue effects like, has used for
years like sort of producinghis stuff on that and I know
he's actually changed over tomac now and he's got a sort of
(10:26):
like a full version of thesoftware and it's a bit like
daunted by what a change it isand it's trying.
It feels like he's learningsomething completely different
now.
But like, yeah, it is entirelypossible to do that.
I think there are some benefitsvery portable and very easy to
go everywhere with, like um,ipads.
There are disadvantages in whatyou can really run on them and
(10:49):
you know the plugins and stuffis limited and the things you
know.
There are some limitations toit, but like, but for some
people it's the place to getstarted.
They've got an ipad and theycan get cubasis or something
down on it and get going.
Marc Matthews (11:03):
So you know, I think that's important, yeah,
yeah yeah, because I was looking, because I never actually used
it myself, but logic do, an ipadversion, um, and I think that's
a really good place to startbecause it can be quite
overwhelming.
So I think if we move on toDAWs now, for example, and
choosing the right DAW which canbe I mean with that I used when
(11:24):
I started out, I used I had ago with Logic, reason, ableton,
pro Tools I think those were theones that I tried and then I
sort of came back to Logic.
But I think if you start withsomething like GarageBand or you
start with an iPad version ofit, that's a good way to go, I
(11:44):
think, because you won't bedaunted by opening up a DAW and
then just seeing this greatscreen in front of you and not
being able to navigate around it, like Reaper, for example.
I use Reaper a lot.
That's quite a steep learningcurve.
Fantastic DAW.
But would I advise people tostart there?
Probably not.
I use Logic myself and I thinkLogic's a great place to start.
(12:06):
Logic is very user-friendly.
I find it Very, veryuser-friendly.
Yeah, it is now.
I think yeah, yeah, find itvery, very, yeah, it is now.
Tim Benson (12:10):
I think yeah, yeah, yeah, most definitely years ago
it didn't used to be, but, likeI think, since apple took it
over and it's kind of like theyflow.
You said there's a flow, isn'tthere for something like garage
band?
To logic, yeah, yeah exactly,and it is designed to make it.
Yeah, gateway.
Yeah, it is a lot moreuser-friendly than it used to be
.
I think it's pretty good.
(12:31):
I mean, I'm a big cubase user.
That's what I use since Istarted using cubase on an atari
.
So there we go I hadn't even gotto pc at this point, but like,
um, so I guess I just followedon from what I knew.
But like, if I'm honest, Ithink it's a great program.
You can buy it.
It in the, for instance.
(12:52):
I mean it runs on PC and Mac.
Marc Matthews (12:54):
Yeah, it does have that benefit, logic does.
Tim Benson (12:56):
And you can change your thing during using it,
which is kind of handy if yousuddenly ended up getting a Mac
in the middle.
But like, they've got acut-down version, something like
58 quid at the minute orsomething like that, so you can
get like like from the realsimple version and kind of
gradually move up from theelements to artists to sort of
(13:19):
pro.
But I still wouldn't.
I think it's phenomenal, Ithink it's a great program, but
I don't know that I would say itwas the easiest way in.
Maybe it isn't, you know, maybesomething like like garage band
is probably the winner on thesimplest place to start.
But like, yeah, but otherwiseI'm sure it's true with ableton.
(13:40):
I know they've got a lightversion, most things have got a
slightly cut down, simpler,beginner version and that that
could be a good idea to sort ofgo for one of the big sort of
DAWs but go for the cheapest,simpler.
Marc Matthews (13:56):
Lite version to start off with, so you're not
too many options, I think that'salso good as well, because you
could go for the Lite versionand then you're not shelling out
a ton of cash on the fullversion.
I mean logic in itself.
You are locked into Apple.
I think it's only about 200quid I was going to say it's
unbelievably good value.
(14:17):
It is.
I mean you do have to buy theApple device to get it.
Tim Benson (14:21):
GarageBand is free, isn't it?
Yeah, it comes with it.
Marc Matthews (14:24):
They do the same with Final Cut, though, as well.
So with Final Cut there'siMovie.
I is it movie?
Imovie, I think it might becalled iMovie.
I've never actually used it butagain it's the idea that uses a
simpler version.
Then move on to Final Cut.
Did you ever use Logic beforeApple bought it, when it was
agnostic towards device?
(14:45):
Did you ever?
Tim Benson (14:46):
use it before I did.
I had it on PC actually, I hada copy.
Was it called Logic then?
Well, it used to be calledsomething like notator, didn't?
it eventually it was notator andthen it changed to logic.
Yeah, e-magic, it was run bythe company.
Yeah, e-magic.
Yeah, and I did.
(15:07):
I had a version on pc actually.
Um, uh, and it wasn't my chosenthing, but I, like you, I've
learned a few different ones toa degree.
Pro tools I've done as well.
Um, which I don't know.
I know again, there are quite afew people who have actually
started on pro tools, whichsurprised me but yeah, but you
(15:28):
know, um, personally I Iwouldn't be what I would choose.
But, like you know, I mean again, I don't know that it matters,
as long as you can find it, getyour head around it.
And of course, quite a lot ofthese have free sort of trial
periods, don't they that you can?
Logic's got a big one, I thinkthree months or something like
(15:49):
you can have Logic and trial it.
Yeah, it's quite a long period.
So do make use of that, as Iwould suggest.
So get your mac or your pc, um,and get a trial of some
software and like, actually, if,if the company does it, like,
you know that you'd like to try,you know, I think there's a
trial version of most of themand like, try it for a while and
(16:11):
go what's this like?
Do I actually like using protools?
Do I like using logic?
Can I make some sense of it?
Um, before you put out yourcash, I guess you know?
Marc Matthews (16:20):
yeah, what I was going to say then is is um,
we're going to move on to audiofaces shortly.
Audio, faces, audio interfacesmy audio face when I'm making,
when I'm making music like abass face, you know, a drummer
face.
I've got my audio face.
Uh, it's moving on to those.
But what you'll find is whenyou buy an audio interface which
never will move on to that nowis that, yeah, you get a light
(16:42):
version often with an audiointerface.
I know it comes with it.
Yeah, yeah, the first one Ibought was native instruments,
complete audio six great pieceof kit.
It's like brick 2-in, 2-outaudio interface.
But it came with a lightversion of Ableton, if I
remember rightly, was it Ableton9?
(17:02):
Might have been Ableton 10.
Can't remember, but no, thatwas great.
So often with audio interfacesyou'll get a light version.
So think about what audiointerface you're going to buy
and then maybe pick one with aparticular daw that you like the
look of and maybe tie the twoin together yeah, definitely
well worth shopping around on.
Tim Benson (17:24):
When we come to the audio interface, well, we're
shopping around a little bit forwhat you get included software
wise.
Um, you know I wouldn't getswayed massively by it, but like
is sometimes worth lookingaround because like there are
deals on some things and you golike, oh look, I get all these
sort of things bundled in when Iget that interface and it can
(17:45):
be a good way of doing it, yeah,yeah I remember with it with
the audio and, uh, with thenative instruments audio
interface, I think I've got alike a light version of complete
with it as well it was.
Marc Matthews (17:55):
It was quite good , quite a lot with it, to be
fair.
um, maybe that I mean just to tosort of cap daws, it really is.
With the.
I think the advice really is totry and experience as many as
you can and just go with the one.
That's again, it's kind of likeI said with the mac with his
windows debate.
Whatever suits you best,whichever one you find is
conducive to your workflow forproducing, whether you're
(18:18):
recording, it might be Pro Tools, whether you want to go down
the sort of in-the-box producingroute, it might turn out to be
logical.
Cubasis, obviously You've gotCubasis.
Cubase, you've got Fruity Loopsas well.
Fl Studio One, daw, I've nevertried FL Studio.
No, no, never tried that one.
Tim Benson (18:34):
Very limited.
I do remember using it a verylong time ago, yeah, but much
beloved by some sort of likedance producers and DJs.
And, yeah, and Ableton as well.
I mean I think that might besomething that you know depends
a little bit how much whatyou're thinking of.
If you're thinking of producingin a studio and then maybe
(18:54):
going out live as well with itand using it live, ableton,
ableton might be the place to go.
But if you're more of a studioperson, then maybe Cubase and
Logic and Pro Tools more sit in,that sort of thing.
But I think an important thingto say is that they can all do
(19:15):
the same stuff basically itisn't like you know.
If you choose this, you're youknow it will be much better than
choosing something else interms of audio quality or
production or what you can doyeah, I think it's um what's the
phrase?
Marc Matthews (19:30):
a bad, bad workman blames his tools, sort
of thing isn't it.
Yes, it's all.
Just get your head stuck intoone and dig deep.
Go dig deep into it withregards to its plugins and its
workflow and what you can dowith it, and there is a wealth
of resources on YouTube to getyou started.
Yeah, definitely, from zero to100 pretty quickly, whatever 100
(19:52):
looks like.
But audio interfaces now.
I mentioned that I started witha complete audio 6, 2 in, 2 out,
which was a great audiointerface, um, but I mean, I've
now got the ssl 2 plus, which I?
I mean, I spent some time in astudio working with an ssl
duality desk and unfortunately,when I said studio, I couldn't
then afford a duality becausethey're quite expensive and I
(20:15):
don't have the room for duality,so I then resorted to I
narrowed it down to an SSL 2Plus interface, which is 2 in, 2
out, which does everything Ineed.
So I got the two inputs,channel one, channel two.
You've got the 4K legacy on itso you can get that harmonic
(20:35):
saturation which I don't.
Maybe I should do that in myvoice on the podcast.
Maybe that'd be quite nice.
You've got two headphones outon it as well.
And then obviously you've gotthe monitor, control and then
just the headphone mix as well,and that's pretty much it.
I think that's all you reallyneed to get started with an
audio interface.
I don't think there's any needto go wild like a focus right I
(20:59):
know focus right online it gets.
You see, on social media itgets panned a bit.
A focus right uh, what are they?
scarlet scarlet, yeah, yeah, um,but yeah, man, whatever does
the job, like I don't think whenyou're starting out, I don't
think you need to go crazy andspend, spend big no, I think you
have to think what, how manythings you're going to be
recording at once, and if, if?
Tim Benson (21:20):
the answer is for a lot of people, well, I might
only be recording one thing atonce my guitar, or my vocal, or
whatever.
I'm not going to be, you knowsome people.
I'm not actually going to berecording any audio.
I'm just going to be likecreating beats or whatever, and
I'm be you know some people.
I'm not actually going to berecording any audio.
I'm just going to be likecreating beats or whatever, and
I'm not, you know, electronicmusic.
I'm not actually going to berecording any vocals or any
(21:40):
guitar.
So you know you won't be usingany of the inputs you know,
you're only really wanting it toas outputs, um, and then you've
got, obviously you know youneed outputs to, and we all come
onto this studio monitors orheadphones so that you can
listen to what you're doing.
(22:01):
But there are people who mightbe going like, well, actually
what I want to do is want to getinto production and I'm
recording my band and I want torecord the drummer and I want to
record, you know, and then youmight have a bit of a different
sort of needs.
You might want to go and get,you know, more inputs on your
(22:23):
thing, but I think for mostpeople, two in, two out, is
enough for most people.
But some people, you know,might want four in or six in or
or something more, um, becausethey're planning on recording
lots of things all at once.
But for a lot of us we don'trecord more than one thing at
once.
Really, you know, we mightrecord.
(22:45):
It's like I record guitars andI might record many guitars on a
track, but I only record eachone, one at a time.
Marc Matthews (22:54):
So I don't need multiple inputs, I only need one
, it's very true with the audiointerfaces if you did want more
than two in.
I can't remember, but Iremember I had a beringer
interface.
Yeah, I cannot remember thename of it, but that was really
good, really good value formoney.
This was years ago and I hadthis yeah, flight case and I
created a mobile recording rigbasically.
So I had a headphone out andthen I had it's going to bug me
(23:20):
now what the name of it isAudience listen, I'll put a link
to it in the episode notes soyou can go check it out.
But it was a basic.
I think it was 18, if Iremember rightly a Behringer
interface.
Yeah, behringer, do some really.
Tim Benson (23:31):
I was going to say they beringer interface yeah,
beringer do some.
Really.
I was going to say they arewell worth looking at for, like
budget multiple input interfaces, they do some really good ones
and you know um they do, budgetconscious, they do a, they do a
console and I want to say it'scalled the x32.
Marc Matthews (23:47):
They do do the x32, yeah, which is a great,
great console if you want tocreate sort of like a mobile rig
or you want to go down sort oflike the live sound, maybe route
or something along those lines.
A bit off topic in terms ofbedroom, home studio.
Tim Benson (24:00):
Yeah, I've got that.
Cut down one, the X Air, I'vegot that the X.
Air, which is a cut down withthe X32.
So, yeah, I've got that myself.
Multiple inputs, great, butyeah, probably a bit over the
top of your bedroom producerwho's starting off.
So yeah, I mean, if, if youwere to mention names, like you
said, focus, right.
I mean there's like nativeinstruments, do them.
(24:22):
Um.
There's, like you know, ssl.
There's lots of.
I mean, universal audio is whatI use, and apollo, and that's
very well loved, but it's a lotof money.
I mean they do do a cheaper one, I think, um, than the Apollo,
but like they're definitely themore pricey end and I think you
would have to think do I want tospend that?
(24:45):
rather than, you know, behringer, make them, steinberg, make
them, lots of people, m-audio,make them, you know there are
lots of pre-sonus, lots of thesekind of companies, and we'll do
a two in, two out interface andyou know, I don't know that you
really need to spend more thanthat when you're starting off no
(25:05):
, I I do agree, and, um, I thinkyou could always upgrade.
Marc Matthews (25:10):
That's the key, isn't it?
When it comes to interfaces,and also with headphones and
studio monitors as well, it'sanother one that you could start
with something and then upgrade.
So, again, with audiointerfaces, I wouldn't like to
say don't.
I don't think you need to gocrazy too in, too out to get
started.
But moving on to headphones,I've got headphones versus
(25:31):
studio monitors in my notes here.
So way back when I was doing it, when I started out, I started
out primarily using headphonesand I've still got them now.
Actually, it's these, uh, audiotech net, a technica ath m50s
uh, great headphones.
I mean, I think you got thesame.
Are those the same?
Yeah, there we go.
The band itself has like lostall of its.
Tim Benson (25:53):
Yeah, it ends up on my head, yeah, yeah.
Marc Matthews (25:57):
My mind does the exact same.
So I think, I mean they, Ithink you can pick.
I'm not saying, go out and buythese, but they're fantastic
headphones for, like, um, forediting.
I use them all the time whenI'm editing the podcast, I wear
these headphones, um, I wearthese headphones just for that
detail.
I mean, obviously they do havea particular sort of frequency
curve to them, ultimately, aswith any headphones, but they
(26:18):
are fantastic and I think youcan pick these up for about 150,
130, 150, something along thoselines.
Tim Benson (26:24):
I think you probably want to spend a bit of money.
Yeah, you can hear a lot ofdetail.
Marc Matthews (26:27):
Yeah yeah, but I know there is a set of
headphones.
I want to say DT990s, I thinkthere was a.
There is a set of headphones.
Tim Benson (26:36):
I want to say dt 990s, I think that's.
I think that's what they are,but they're very good headphones
, yeah, ones, yeah yeah, is it.
Marc Matthews (26:39):
Are they biodynamic are?
They bad, yeah, yeah yeah, Ithink if I was starting out
again I might be inclined tomaybe start with open, but do
you have any open backheadphones?
Tim Benson (26:49):
yeah, I do.
Yeah, I've got more headphonesthan any man needs.
I sold a set of Loads of themfocal ones recently.
Marc Matthews (27:00):
Yeah, Really good headphones, but they were just
too the high end was just likein my ears it was just I didn't
like it.
So I got rhythm.
But I, If I were going to startout again, I'd probably maybe
consider starting out with openback, specifically if I haven't
got monitors, Because I findwhen I wear these for too long,
the bass response and thenaround my ears it's a bit too do
(27:21):
I want to say overwhelming.
It does a bit, I find, when I'mwearing them for too long.
Tim Benson (27:25):
I think, when it comes to buying headphones for,
like, starting off as a studiothing, I mean, you know, yes,
you can go, you can go for Imean, we've got pro headphones
here, that's what they'reclassed as um and you could
spend more, but that's the sortof that's kind of level, 120
sort of pound level kind ofthing, isn't it?
Yeah, but there are a lot ofcheaper options that you could
(27:49):
get that are probably usable um.
You know cheaper studioheadphones, um how reliable they
are.
When you come to mix you mayfind that they're not that
accurate um, that's the problem.
But you could definitely startwith any sort of enclosed sort
of headphone because you want itenclosed.
(28:10):
If you're going to be recording, if you're going to be using a
mic, you don't want it to beopen of course, yeah, you don't
want the bleed.
Marc Matthews (28:16):
Yeah, yeah, yeah, yeah um.
Tim Benson (28:19):
So probably if you're going to buy one set of
headphones, closed backheadphones are the way to go.
And again, you know there aresome pretty cheap makes.
I'm trying to remember staggprobably do one, you know.
I mean there's probably somesort of you know, cheaper makes
of studio headphones that infact I think stack do a really
good pair of headphones,bizarrely, because I think a dj
friend of mine's got them.
(28:39):
Um, but like you know, it's it.
There are some ones that aremore like 40, 50 quid kind of
range, which are not going to bequite as good but will get you
going, get you started, I reckonyeah, I what you say.
Marc Matthews (28:53):
There is a good argument.
Actually, I didn't think ofthat.
I was thinking it purely fromsort of like a mixing and
editing perspective, notconsidering actually, if I were
going to be recording my ownvoice, then, yeah, you probably
want the close back.
Otherwise, you're going to getthat If you've only got money
for one set of headphones,you're going to get that bleed.
I think that bleed, I thinkwhat you mentioned there about
(29:17):
you can get get them for lessthan 100 pounds is, and then
obviously, your mixes are goingto be subject to whatever you're
hearing.
So you can think of it as alike a filter.
Those headphones are going toapply a filter to your mixes and
it's going to influence whatyou hear.
But I think the advice therewould be to, just before you
start actually mixing or maybeeven recording using these
headphones, just listen to ashit ton of music through them
(29:39):
and get used to listening towhat sort of high quality audio
sounds like.
So you can use that as areference, as a benchmark, to
think, okay, well, if that, Iknow that music is of a high
quality and I want to replicateit using these headphones and go
down that route.
I suppose you could then thinkokay, well, I could use some
sort of corrective software, butthen that's another expense.
(30:01):
And then you might think well,why don't I just go and then buy
some more expensive headphones?
But it depends which route youwant to go down.
Tim Benson (30:07):
Yeah, I mean the good thing with the more sort of
pro headphones as well.
You get longer cables.
You get like sometimesreplaceable cables like these.
You get like parts of thembecome replaceable and you know
it.
Probably they last for a longtime.
You can keep using them and golike, oh, I've got the same pair
of headphones that I've beenusing for like 20 years, whereas
(30:29):
, like the cheaper headphoneshave a habit of not lasting very
long in studio use sometimes.
Marc Matthews (30:36):
So you know, yeah , I think these are testament to
that.
Like I've had these well over10 years, these headphones, and
uh, touch wood again.
They haven't sort of skipped abeat.
No, in that time, I would say,is well beware be.
Tim Benson (30:51):
If you're on the lookout for, like car boot sales
and all kinds of random places,you would not believe what
headphone bargains you comeacross.
I bought a pair of zennheiser590s I think something like that
which are about 160 quid new.
I bought them for two quid theother day just in a, in a kind
(31:11):
of you know, boot sale.
Yeah, yeah, kind of thing.
They're not a hundred percent.
There's something a little bitodd about them, so maybe maybe
they've been a little.
I'm not convinced that left andright side are a hundred
percent on them, but likethey're a really nice sounding
pair of headphones but like fortwo quid I was like, well, it's
worth a punt, isn't it so?
(31:32):
yeah, yeah, yeah you never know,you can sometimes pick these
things up cheaply on ebay orcheaply on, you know, because
again, secondhand pair ofheadphones that's working well.
I mean, maybe the people's justlike, oh I don't really love
these headphones, I'll get ridof them, and you know you could
pick them up.
So if you're trying to savemoney on on on gear, headphones
can probably be acquired for abit less than the you know yeah.
Marc Matthews (31:57):
And I think as well.
It's a good point to makebecause you could do the same
with audio interfaces.
Yeah, and you could also do thesame with your laptop, desktop,
whatever it may be yeah, 100%.
It's a very good point.
Actually, you don't necessarily.
I've done that with my guitars.
Tim Benson (32:19):
The guitars I have, none of them are brand new
bought, none of them brand newum, no, none of them brand new.
And some things are a bit morereliable to buy second hand,
like, possibly, guitars, likeyou know, microphones, maybe you
know some things that are a bitmore sort of reliable to buy
second hand and some things Idon't know.
You know you can have moreissues sometimes with computers
and bits and pieces like secondhand and some things I don't
know.
You know you can have moreissues sometimes with computers
and bits and pieces like secondhand.
Marc Matthews (32:37):
I think as soon as you the more moving parts,
like air quotes.
More moving parts, then there'smore potential for things to go
wrong or possibly not be quitewhat they should be.
Tim Benson (32:49):
But I mean, I got a second hand.
Well, it was actually off mywife, but like she, actually, I
bought it for her second hand atthe time, like macbook, that is
something like a 2012 orsomething ridiculous, like yeah,
and I did live gig at the.
Um, oh, the fleece in bristol,yeah, the fleece yeah bristol
and I played that gig with thatlaptop and I did a whole load of
(33:11):
stuff with it and I meanunbelievably enough.
Like you know, a macbook likethat that cost 250 qu did a
whole load of stuff with it, andI mean unbelievably enough.
Like you know, a macbook likethat that cost 250 quid a very
long time ago is still perfectlyable.
You know, works okay and youcould, I could sit down and
record on it now.
So you don't necessarily haveto go spending thousands.
You can be a bit canny about itand just buy some slightly old
(33:32):
tech.
You can be a bit canny about itand just buy some slightly old
tech CEX somewhere I don't know,you know what I mean Somewhere
and get something decent offFaceBay or something and get
started.
Yeah.
Marc Matthews (33:43):
I agree, and this kind of moves on nicely.
To wrapping things up, Iappreciate we didn't touch on
headphones there, sorry onmonitors, but in the interest of
time I think it's in my head,I'm thinking of that that there
are other sports available.
But that individual who buys ahigh sort of I was gonna say
high fidelity set of golf clubs,high fidelity golf clubs it's
(34:14):
the case of just like, look forthat second-hand equipment, and
then not all of it to besecond-hand, as you say, but
like there's no need to go andshell out a shit ton of cash and
buy the the best that there is,just start and then replace
over time, replace over time.
So I think to wrap it up nicelywould be the the mindset really
to get into the mindset forstarting a or upgrading your
home studio, and I think one keypart could be is to not get
(34:36):
caught up in gear acquisitionand just that you just have to
die I think this goes back towhat you were saying then just
by the most expensive stuff orjust accumulating loads and
loads of gear, um, and just forme, I mean, this is my, this is
my personal work, but the way Ilike to work is I like it to be
relatively streamlined andthat's the way I like to work
and it's all conducive to what Ido.
(34:57):
But I think it's quite easy andI think gear acquisition in
particular it can be quite easyto fall into gear acquisition
syndrome with plugins.
Tim Benson (35:11):
But I mean that could be a whole episode in
itself.
Microphones as well we haven'treally touched on and had time
to touch on, but again you canbuy standard sort of studio
microphone now capacitormicrophone for probably about
100 quid at the beginning pointsand equally you can get second
hand microphones.
Or you can even get a usbmicrophone, like sometimes.
But like you know, it's justyou.
It's surprising what you canget and get yourself started.
(35:34):
I have one client who I doquite a lot of stuff for, who
seems to for some reason recordhis vocals on a phone and
release them.
So there we go.
It wouldn't be my suggestionfor the way to go, but it's not
stopped him from getting intomaking music and producing music
and releasing albums.
(35:54):
So you know, don't get too hungup on.
Marc Matthews (35:57):
If I don't have a anointment I'm not going to be
able to, you know, make somegood music indeed, and uh, and
just to add to that as well, Ithink building skills is
important as well, and thisagain could be an episode in
itself is that buying moreequipment, more plugins, isn't
(36:18):
necessarily the answer to aproblem that you might be facing
.
It could well be linked tomaybe you just need to go back
to basics and look at what youhave at hand, and it might be.
Actually you don't need to goout and buy the best EQ plugin
out there.
Maybe you need to actuallyrefine your understanding of
what equalization is and tonalbalance before actually going
(36:39):
out.
So building up your skillsbefore maybe having the ultimate
perfect setup could be the wayto go.
Tim Benson (36:45):
Yeah, and most I mean it probably, as we've said,
like DAWs and all the differentthings, most of them now will
come with everything you need tostart making music.
You won't need to go and buy aload of third-party things.
Don't get sucked into thatstraight away.
You've probably got a ton ofthings to learn within what
(37:07):
you've got, you know and mostdefinitely, most definitely.
Marc Matthews (37:12):
So we go, so we go, folks.
So we touched on their devicesDAWs, headphones and just the
mindset.
Briefly, at the end there, andI think to summarize, really,
it's a case of just try what'sout there, don't spend a shit
ton of cash.
Look at what is out there interms of secondhand and then
(37:33):
gradually build and replace overtime, but make sure that you
sort of pay attention to theskills, music production as well
and don't just think spendingloads of money is going to
result in a in a smash hit.
Uh, you need to get.
Well, it could do, could do, um, but you need to.
Uh, there was actually this isa bit of a tangent um, my fiance
(37:54):
, she shared with me a producerand I cannot remember his name,
but he was a.
He is a producer and heproduced loads of songs for
artists, top tier artists inlike the in the noughties and
into the tens as well, and hesaid that a lot of those songs
are at 120 BPM because he didn'tknow how to change the BPM in
(38:17):
his DAW.
That's great, didn't know whatit was, so they're all 120 BPM,
so that might just spit in theface of everything I've just
said.
And he's obviously got.
He's a lot more successful thanme and he's probably got a lot
more money as well.
But yep, cannot remember hisname.
But fair play, man, if youmanaged to do that, I wonder if
he's managed to work it out bynow.
Tim Benson (38:38):
You like to?
Marc Matthews (38:38):
think so.
It is that big, at least hisfirst track at 110.
Tim Benson (38:42):
Yeah, it's that big number?
Marc Matthews (38:43):
isn't it Right at ?
the top of your DAW that 120,that you double click to change
Folks.
If you've got a question thatyou'd like Tim and I to hash out
on the podcast again, please doclick on the SpeakPipe link in
the episode description.
You don't need an account forSpeakPipe, you don't need a
particular setup.
(39:03):
You can just use your mobilephone and you can record an
audio message just like you'resending one via WhatsApp,
facebook, whatever it is.
And then I said, as I say, onelucky person each month will
receive a coffee voucher.
But before we go, tim anyupcoming releases At the point
of this going live.
Your most recent release wouldbe live Liquid, blue Liquid.
Tim Benson (39:23):
Blue, yeah, so anything else.
Marc Matthews (39:25):
I think this is going to be towards the end of
May.
Tim Benson (39:28):
Towards the end of May.
Well, there will be a newrelease.
I don't actually know what itis at the moment.
I'm true, I will be trying towrite it as we, uh, you know, I
well, hopefully I'll havewritten it and mixed it and it
will be in the pipeline by then.
Um, I am really trying to getmy album finished, which sort of
um.
So if I was really lucky, Imight get that out by the end of
(39:49):
may, but if not, the end ofjune.
So yeah, I've definitely got analbum in the pipeline.
Yeah, exciting stuff, mate.
Marc Matthews (39:56):
Well, audience listening.
If we have released anythingbecause I'll be in a similar
position check the episodedescription and there might be
some links to music in there, orthere might not, depending on
how we've got on.
But, tim, it's been a pleasure.
Thanks for joining.
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