April 13, 2022 • 22 mins
This episode was recorded the day that Frank and Tom finished the theme song for this podcast. The first half consists of snippets from the final session where they put the finishing touches on the song. The seconds half is a reflection of the entire process from Tom's vision for the song to Frank's execution of the production.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Uh, Hello everyone.
(00:01):
My name is Tom driver andwelcome back to another episode
of the drive program.
Today, my guest is FrankMarrazzo.
You guys should probably befamiliar with Frank.
This is his fourth time on thepodcast.
And Frank also created the thememusic for the podcast.
So this episode is actually arecording.
(00:23):
Uh, the conversation me andFrank had the day that he
finished the theme song.
So we talked for a while about,putting the finishing touches on
the theme song.
And it was a longer conversationwith some boring parts, you
know, just like pulling up thefiles, names and stuff like
that.
The first half of thisconversation is just some
(00:44):
snippets that I pieced together.
From our, final conversationworking on the song.
I skip around a little bit tothe interesting parts of the
conversation, but it captureshow excited we were and like me
testing out, talking over thetheme song for the first time.
So I definitely wanted toinclude that in this episode.
(01:04):
And then the second half of theepisode is me and Frank do a
reflection of the whole process.
How we came up with the ideaand, and Frank's process for,
creating the song.
It's a pretty short episode.
It's only about 20 minutes long.
But, it's really special.
Me and him are just reallyexcited to have put this
(01:25):
together from scratch.
I talk about it in the episode,but I'm beyond grateful that.
Frank.
Let me work with him throughoutthis creative process and pieces
together.
So shout out to Frank.
Thank you, man.
You're amazing.
if you guys enjoyed this and youhaven't heard Frank's other
episodes, you guys should gocheck those out.
(01:46):
I would probably start withepisode number 10.
Because we talk about psychologyand mental health, and that is
Frank's field to study.
So, if you have not heardepisode 10 and you enjoy this
episode.
Definitely go check that oneout.
Last thing since this is theepisode about the theme song.
I am going to let the theme songplay all the way out.
(02:07):
Usually I cut it short.
Okay guys.
Enjoy.
(02:55):
I'm excited, dude.
This is going to be sick.
I'm still going to be likeediting some of these today.
I'm still gonna try and makelike little, little touches
here.
Do I love just making music?
like I told you the other day,this has been like, like I
haven't worked on a song likethis in like years or whatever.
Yeah.
It's been like two years orsomething.
(03:18):
I haven't put out something intwo, three years.
But like, even then, like, Ididn't know shit about mixing
mastering, anything like that.
So a ways to go, but like, thiswas like the perfect opportunity
to be like, I need to see a songthrough, you know, and like
every aspect practice, everyaspect.
Also it's small and you know, ifit was like three minutes long,
(03:40):
that'd be so hard to finishuntil like completion.
Yeah.
No, this was super satisfyingtoo.
Cause, I think what happenedlast year is that.
You just sent me something you'dalready worked on for something
else.
And we just put it on thepodcast.
It was good.
It was good, but I was like,it's not like, it wasn't like a,
me and Frank like creation wherelike the year, the year before
(04:04):
it actually wasn't me and Frankcreation because we had made it
for the other project andrepurposed it.
But then like the one last year,it was like an EDM song.
It was sick, but I was like, Idon't know.
It didn't fit the vibe.
I remember which one it was.
Yeah, yeah.
Yeah.
I just kind of made thatrandomly at one point, but this
one, it felt like very pointed.
(04:26):
You know, it, I don't know.
So I've been, I've been bumpingthis theme song, number 10, I've
been loving it.
If this is the final product,I'd be happy.
Right.
I send that to Blake.
He likes it.
I've been trying to do likelistening to it on my speakers,
my headphones, my phone, my car,my laptop TV.
(04:47):
Cause it's very subtledifferences, but in each of
those environments, like you cantell a difference with things.
I think the biggest thing I'venoticed of like what I've really
been, I guess kind of the maindifference between them, is the
base.
Sometimes it'll fit really niceon speaker, but then you can't
really hear it much on thephone.
So that's, that's kind of whatI'm like really trying to piece
(05:09):
it together right now.
Where you can hear it on yourphone, but it's not distorted
and like taking over the wholesound.
What I'm thinking about doing islike, I can talk over the, the
beginning part and be like, Hey,you know, my name is Tom driver.
This is the dry fitness program.
Boom.
Then 20 seconds.
And that's when the bass dropsand then I might let the episode
start while it fades out.
(05:31):
So it might not be, so the end,the tail end is going to be like
basically silent by the timeit's already filtering out
anyways.
So that that'll be perfect.
Yeah.
But let me listen, I like that.
(05:54):
It's a little ear candy.
Okay.
I like that a lot.
little glitchy edits.
That's my shit.
Yeah.
(06:16):
Be like, Hey guys, my name isTom driver and today's guest is
Frank Marrazzo and this is thedry.
Enjoy the episode.
Yes, let's go.
(06:36):
Can you a little slideshow oflike all the different guests
are doing real quick orsomething, you know, then it,
then here then it's then boom.
It's going to be over basicallyafter that.
So all this part of the end,it's already going to be, it's
going to have to fade out.
(06:58):
After the whoa, whoa, whoa.
I think it's that's as long asit can get real, it can really
be, you know, at least for theintro part.
Um, yeah, so I can fade it outor if you want to fade it out
too, but definitely don't worryabout making anything past that
point.
I kinda like where it's at.
(07:18):
Like once I listened to it a fewtimes, I was like, Actually
pretty good at like, I don'treally want to mess with it too
much.
Yeah.
I don't think you should.
I think it's pretty good.
I can't even really tell, isthere much difference between
some of these versions?
No, no, it's really, it's asubtle thing and that's, I
figured that.
For it.
(07:38):
I think it's good that like, youcan't tell a difference, you
know, like it's just like thelistener.
Cause like for me, like, um, youknow, listening in every
different environment.
So I'm trying to get the onethat sounds best in all of those
environments, but to somebodywho's just listening to it once
or twice, they probably soundalmost identical.
Yeah, I can hear the differencein my car on one or two, then I
(08:01):
can't on here, whatever it is.
But like for most people thatare just listening to it on
their phone or throughheadphones, it's not going to be
really a big deal.
I'm just going to edit one ofthem.
And just try to get just alittle bit cleaner sound base.
But other than that, I thinkit's good.
But yeah, I just wanted to haveon here, just confirm.
I figured it'd be easier thanhere than just texting.
(08:23):
Like, Hey, this is cool.
Just so I can kind of explainthe process and everything too,
of like where my head's at withall of this.
Is there anything else youwanted to try or do or things,
or I dunno, man, like, and atone point I was going to try,
um, to do like a, uh, kind ofstutter edit at the beginning of
(08:44):
like Mac does with like the denand then like that kind of
thing.
Um, but it really wasn'tsounding good.
Like it didn't seem to fit likethe overall, um, so I was like,
this intro is fine.
Nice and smooth.
Like, I think it's good for a.
A theme song type of thing.
Yeah.
So I'm pretty content with whereit's at.
(09:05):
So you tried, you tried thatidea out actually, and it didn't
work yet.
Okay.
So don't do that then.
I really liked that.
Whoa, whoa, man.
That's so sick, but yeah.
I can fade it out obviously, orif you want to fade it out, like
the way you like it, but afterthe whoa, whoa, whoa.
Then there'll be like one moreand that's going to be like, I
(09:28):
would, I would like decrease it.
So that, that is like trailingoff into nothing.
Yeah.
Yeah.
I gotcha.
You know what?
Whoa, cool, man.
I think, yeah, I think we shouldnot overthink it anymore, dude.
I think you should pop thechampagne.
This is done.
Yes, sir.
Lea I did on a journey.
(09:50):
It's been quite a journey, dude.
Do you have any likereflections?
I might put like the next coupleof minutes out as was like a
clip or something?
What'd you think about the wholeprocess?
Uh, Leslie.
I think it would, like I toldyou, I think it was just what I
needed right now.
It was really cool.
Obviously.
I was love working with youcause like we have very similar
(10:12):
music tastes, but I think I getcaught in my head a lot as
producers.
Especially when you hear thesame thing over and over, it's
hard to tell, like, is it good?
Have I just been listening to itso many times?
So I think it's good.
So to like free, not only topick the samples and be like,
Hey, do you think these wordstogether?
Like, I think they do.
And then be able to like, workwith that and, you know, expand
(10:34):
from that.
Just small idea.
That was so cool.
Just to like, start with like avery, very, this is kind of what
I'm going for.
I have these few that seem likethey might mesh well together
and then just to go from thereand to see where we're at now is
crazy.
Yeah.
So when we started this rightMac Miller's faces just released
(10:55):
and.
And I was just crazy about theDiablo, uh, instrumental at the
time and I hit you up.
I was like, dude, I want to dosomething that's like faces
related specifically somethingthat has like the horn and
Diablo and then, or, or like theAbloh.
And then what's the, um, wheredid we, where did we find the
samples?
What's that website calledsplice splice.
(11:17):
So then I, I went on splice andI've found some sounds that.
Like, like, I felt like it hadthe same texture as faces,
right?
Yeah.
And then we linked up, like, andwe went, we went through a bunch
of sounds together too, we triedtwo other songs too.
Like with.
And then yeah, you were saying,I, you said something about how
(11:39):
it was nice for me to come inwith my taste.
I feel like when you're justmaking music in general, it must
be overwhelming to be like, Icould literally put any sound
together right now.
I do feel it helps to havesomeone who just wants to go in
a certain direction because.
It's like, you need, you don'thave an assignment if you're
just like a musician making itfor fun, you know, dude, that's
(12:02):
a thing.
That's the other part of it?
It's like, not only, like yousaid, every time I sit down, I
think of like 40 John auras.
I want to go through, you knowwhat I mean?
I'm like, oh, I can make atrappy I make electronic.
I can make house.
I can make.
I love all of those, and then Igo on the splice and there's
thousands of sounds, each ofthem like the highest quality
possible.
You're doing this one.
It's like, oh, but like, well,how can I waste that one?
(12:25):
I spent hours just trying tofigure out like what I want to
do.
So like, not only to have anudge and like, Hey, focus just
on this.
But also with like a date inmind.
cause you can get, it neverends, you know what I mean?
You can get lost in thereforever.
That's the thing about artversus like, and you know, work
or like an assignment where it'slike cut and dry.
(12:46):
There can always, like we werejust talking about, I can always
edit the base a little bit more.
Try and get one sound a littlebit cleaner, a little bit clear.
So it's like to have like a, aset time when the kids, this is
the one we're going to do it.
It's just, it's a really nicechange of pace from just this.
Seemingly endless cycle of like,you know, just getting caught up
(13:06):
in the same thing and neverfinishing it.
Yeah.
Yeah.
And then I think I was talkingto blahzay about this, but it's
a, when is the song over, youknow, you might post it on
SoundCloud and then realizelater that you want to edit
something with it.
You know, I think it's good thatI'm going to release this
episode this week.
And now it's just over for you.
(13:26):
You got to move past it afteryou can tweak it today a little
bit, but.
Like, nah, it's, it's done, youknow, even just thinking about
that as such a hard concept,cause like as soon as you put it
out, I'm going to judge everylittle detail about it.
I know it, you know, like it'sjust, you just get in that mind
state, it is nice to just belike, I'm going to send it off.
I can start working on a newproject.
(13:47):
Put my focus is elsewhere andlet it be for what it is.
So, what did you, so after wekind of picked out the texture
of everything, I was like, okay,that's the extent of what I can
do here.
I think we played, I think weplayed around with like the,
just the pacing of the beat, thedrum beats and stuff, and the
bass beats.
But like, what did you do afterthat?
(14:09):
To the music?
And then what was like maybesome challenges.
Yeah.
What do you use, do you use FLFL studio?
Right.
So I made the original B inmachine, which is like a
software that's, a part of thelike little drum machine that I
have, where you can like chopsamples, you know, that's kind
(14:30):
of where I got those like littleglitchy effects of just like
pressing a sample real quick.
And then, I kinda messing withthat a little bit.
first made it in there and thenedited it, like put it all into
FL studio.
Cause that's where I arrangedthe beat a little bit, um, and
mix it and all that.
So I just put like the basiccomponents we had and then I
(14:51):
think.
What 10 different variations ofthings.
I'm like, let me start with thisintro.
See if that works, you know, seewhen the patient come in, when
the drum should come in.
And then once I found one, I waslike, okay, these seem to work
really well together.
Then I just jumped into mixingit and.
You know, adding like thoselittle sound effects and just
seeing like what flows together,you know, is this too much?
(15:13):
Is this going to take away fromthe other instruments or,
there's a lot to it.
That's for sure.
Then we have to like, like themelody of the horn with
something like didn't we matchone sound to another sound.
I don't even know what I'msaying, but oh, I know she talks
about, for the, the one beat weare trying to.
Two samples were out of key ormaybe it was this one.
(15:34):
I think the, either the drums orthe piano was like a slightly
different key.
So we just, we call those contransposing it, which is just,
changing the pitch of it.
Let's say 200 semitones away,which means it's, two steps.
Right.
So if it's, if you're in a minorand it's in a sharp minor,
(15:54):
that'll just be 100 semitones tothe left or right.
Wherever you're going.
So we just changed them up, madesure they're in the same key.
And then, um, from there we kindof figured out, okay, like, how
do we want the horn to sound?
What's what's the melody of thatmatched up with the piano.
So I think we put the pianofirst and then laid the horns on
top of that.
(16:15):
Um, okay.
And the drums and all that cameafter.
Yeah.
Yeah.
I think that's right.
I think we did match the horn tothe piano.
Yeah.
Cause like the, like over, likeit's always kind of in the
background, the horn kind oftakes the center a little bit.
but piano has always given youthat just, you know, something
to kind of keep it going andkeep the flow going.
(16:36):
Cool, man.
What was your favorite partabout the process or the song?
Ooh, good question.
I mean that first day, like whenwe were on zoom, working on it,
that was really cool.
Cause you know, I get reallynervous making music, showing
music, especially in front ofsomebody.
I think you're the only personI've really actually produced in
front of.
it's probably super nervewracking for me cause I'm like
(16:58):
very self-conscious about music.
You've done the live streamsthough, right?
Uh, that's more of a deejayingstuff.
But yeah, more and more.
So do you think, cause that'slike I just get so caught up in
my head, always second guessedmyself, you know, that's
different.
You're just like deejaying.
Yeah.
Yeah.
More sort of just mixing songsand stuff.
(17:19):
but yeah, it's really easy.
Even that, that day, like ittook me a little bit get
started, you know, we got caughtup and I kept focusing on the
little details of one song thatlike, clearly wasn't really
working, but if you just.
So caught up in like, how do Imake this work?
I gotta do this, you know?
Um, so for you every now andthen it'd be like, Hey, you
know, maybe try this.
Let's, let's take a step backfrom that go over here.
(17:40):
that was really cool.
Just to have a change of pacewith production, you know, just,
just try something new.
but then also just seeing it allcome together and like there's
so many times where.
Like when you told me, like, allright, we're going to start on
this date.
I was like, how is it going toget to this point?
Like, I don't know if it'sready.
Like it's nowhere near, youknow?
so to see, not only myself pushthrough that and like, get it to
(18:04):
where it is today to where like,I'm happy with it.
I'm comfortable putting it outthere.
I didn't think I was ever goingto get to that place.
So it's, it's really nice to seeit all come together and, just
be really happy with what, whathappened from it, you know, and
really proud of.
Well, that's awesome, man.
Yeah.
I really appreciate you doingthis with me and I love I I'm
(18:24):
biased.
Cause obviously this is what Iwanted, but I love this intro so
much.
I don't know if I'm ever goingto change it.
It's just like really smooth.
And I really, even more thanjust like the SAR, I really
appreciate.
you like letting me be part ofthe creative process, because I
do have an ear for music, but Idon't have any skills when it
comes to music.
If I was just in charge of this,I would have to just pay someone
(18:46):
to, or just find like a free, afree intro online or so it's
been really cool just to likework with someone and yeah.
I actually put my opinions in.
I know it must be hard to like,have someone who doesn't know
what they, like.
They don't know what it takes tomake music, insert their opinion
into it.
So it's just been it's has beenvery special for me to be a part
(19:08):
of the whole process.
And just obviously I love, Ilove you.
I love working with you, but, Ifeel like it's a very unique
situation to get, to bring anyart that you.
familiar with, but especiallylike music to life when you
don't know, I don't play anyinstrument, you know, or have
any producing skills.
So it's a very magicalexperience for, it feels like
(19:28):
magic for someone like me, youknow?
and, I know it probably iswracking to being in the
producer mode with someonelooking over your shoulder, but
you did a great job, man.
You got a lot of skills and.
I love the funky, the vibes,bro.
It's cool though, man, it reallyjust shows just how much goes
into music.
(19:49):
Like not only do you need theskills and like the technical
fundamentals, but like you gotto understand what works
together, what, what peopleactually want to listen to.
And that's a whole skill on itsown, you know?
There's so many different partsof it.
So it's cool to, to see likewhat types of collaborations and
skills need to come together forsomething.
Mm, a lot more than justtechnical something you can
(20:09):
learn in school.
Definitely, dude.
Well, I think people are goingto like it and resonate with it.
We got, we got one feedback fromBlake.
He liked it.
So it, Blake likes it.
Everyone's going to like it, youknow, Hey we, and if they don't
then fuck them.
Cause we like it, you know?
Ah, oh, well, hell yeah man.
(20:33):
That's all I got.
I don't know.
If you got anything else, butthat's, that's about it.
Yeah.
I'm happy where we're at.
I think we got to land at a goodspot because there.
All right.
Well then, just, I guess, tinkerwith whatever you want with it,
but then upload just likeupload.
Oh, oh, the final mix on thoselast two was kind of quiet too.
(20:56):
I'm going to raise the volume.
So raise the volume of the finalmix and that's as much feedback
as I got, but just make sure youjust are like, all right, this
is the final version.
Yeah.
Yeah..
Don't give me two more versionsto decide between these three.
That's it.
Final one, Frank, you got it.
You're there.
Honestly.
It's going to be good.
I need to just put it there.
(21:17):
We'll walk away.
I'll walk away, go, go drink abeer or ride a bike or something
you're done with this project.
Maybe you hit these, do thesedays, don't listen to a
different song.
Other than this one a hundredtimes.
I don't know if I can't anymore.
That's the only song in my headall the time.
Yeah.
(21:37):
Maybe just go, listen, just go.
Listen to nature.
Go sit outside.
And it's actually probably coldwhere you're from right now.
So freezing it sucks.
Lived there for the next twodays.
There you go.
There you go.
Well, enjoy your game, man.
Uh, tell Kayla I say hi, tellthe wife.
I said hi.
Jeez, whoa.
(21:57):
Hi lifey Jones as well.
Of course.
All right.
I will.
Sounds good, man.
I'll tell you CC and homie.
Thanks again.
Love you brother.
Uh, Hello everyone.
(00:01):
My name is Tom driver andwelcome back to another episode
of the drive program.
Today, my guest is FrankMarrazzo.
You guys should probably befamiliar with Frank.
This is his fourth time on thepodcast.
And Frank also created the thememusic for the podcast.
So this episode is actually arecording.
(00:23):
Uh, the conversation me andFrank had the day that he
finished the theme song.
So we talked for a while about,putting the finishing touches on
the theme song.
And it was a longer conversationwith some boring parts, you
know, just like pulling up thefiles, names and stuff like
that.
The first half of thisconversation is just some
(00:44):
snippets that I pieced together.
From our, final conversationworking on the song.
I skip around a little bit tothe interesting parts of the
conversation, but it captureshow excited we were and like me
testing out, talking over thetheme song for the first time.
So I definitely wanted toinclude that in this episode.
(01:04):
And then the second half of theepisode is me and Frank do a
reflection of the whole process.
How we came up with the ideaand, and Frank's process for,
creating the song.
It's a pretty short episode.
It's only about 20 minutes long.
But, it's really special.
Me and him are just reallyexcited to have put this
(01:25):
together from scratch.
I talk about it in the episode,but I'm beyond grateful that.
Frank.
Let me work with him throughoutthis creative process and pieces
together.
So shout out to Frank.
Thank you, man.
You're amazing.
if you guys enjoyed this and youhaven't heard Frank's other
episodes, you guys should gocheck those out.
(01:46):
I would probably start withepisode number 10.
Because we talk about psychologyand mental health, and that is
Frank's field to study.
So, if you have not heardepisode 10 and you enjoy this
episode.
Definitely go check that oneout.
Last thing since this is theepisode about the theme song.
I am going to let the theme songplay all the way out.
(02:07):
Usually I cut it short.
Okay guys.
Enjoy.
(02:55):
I'm excited, dude.
This is going to be sick.
I'm still going to be likeediting some of these today.
I'm still gonna try and makelike little, little touches
here.
Do I love just making music?
like I told you the other day,this has been like, like I
haven't worked on a song likethis in like years or whatever.
Yeah.
It's been like two years orsomething.
(03:18):
I haven't put out something intwo, three years.
But like, even then, like, Ididn't know shit about mixing
mastering, anything like that.
So a ways to go, but like, thiswas like the perfect opportunity
to be like, I need to see a songthrough, you know, and like
every aspect practice, everyaspect.
Also it's small and you know, ifit was like three minutes long,
(03:40):
that'd be so hard to finishuntil like completion.
Yeah.
No, this was super satisfyingtoo.
Cause, I think what happenedlast year is that.
You just sent me something you'dalready worked on for something
else.
And we just put it on thepodcast.
It was good.
It was good, but I was like,it's not like, it wasn't like a,
me and Frank like creation wherelike the year, the year before
(04:04):
it actually wasn't me and Frankcreation because we had made it
for the other project andrepurposed it.
But then like the one last year,it was like an EDM song.
It was sick, but I was like, Idon't know.
It didn't fit the vibe.
I remember which one it was.
Yeah, yeah.
Yeah.
I just kind of made thatrandomly at one point, but this
one, it felt like very pointed.
(04:26):
You know, it, I don't know.
So I've been, I've been bumpingthis theme song, number 10, I've
been loving it.
If this is the final product,I'd be happy.
Right.
I send that to Blake.
He likes it.
I've been trying to do likelistening to it on my speakers,
my headphones, my phone, my car,my laptop TV.
(04:47):
Cause it's very subtledifferences, but in each of
those environments, like you cantell a difference with things.
I think the biggest thing I'venoticed of like what I've really
been, I guess kind of the maindifference between them, is the
base.
Sometimes it'll fit really niceon speaker, but then you can't
really hear it much on thephone.
So that's, that's kind of whatI'm like really trying to piece
(05:09):
it together right now.
Where you can hear it on yourphone, but it's not distorted
and like taking over the wholesound.
What I'm thinking about doing islike, I can talk over the, the
beginning part and be like, Hey,you know, my name is Tom driver.
This is the dry fitness program.
Boom.
Then 20 seconds.
And that's when the bass dropsand then I might let the episode
start while it fades out.
(05:31):
So it might not be, so the end,the tail end is going to be like
basically silent by the timeit's already filtering out
anyways.
So that that'll be perfect.
Yeah.
But let me listen, I like that.
(05:54):
It's a little ear candy.
Okay.
I like that a lot.
little glitchy edits.
That's my shit.
Yeah.
(06:16):
Be like, Hey guys, my name isTom driver and today's guest is
Frank Marrazzo and this is thedry.
Enjoy the episode.
Yes, let's go.
(06:36):
Can you a little slideshow oflike all the different guests
are doing real quick orsomething, you know, then it,
then here then it's then boom.
It's going to be over basicallyafter that.
So all this part of the end,it's already going to be, it's
going to have to fade out.
(06:58):
After the whoa, whoa, whoa.
I think it's that's as long asit can get real, it can really
be, you know, at least for theintro part.
Um, yeah, so I can fade it outor if you want to fade it out
too, but definitely don't worryabout making anything past that
point.
I kinda like where it's at.
(07:18):
Like once I listened to it a fewtimes, I was like, Actually
pretty good at like, I don'treally want to mess with it too
much.
Yeah.
I don't think you should.
I think it's pretty good.
I can't even really tell, isthere much difference between
some of these versions?
No, no, it's really, it's asubtle thing and that's, I
figured that.
For it.
(07:38):
I think it's good that like, youcan't tell a difference, you
know, like it's just like thelistener.
Cause like for me, like, um, youknow, listening in every
different environment.
So I'm trying to get the onethat sounds best in all of those
environments, but to somebodywho's just listening to it once
or twice, they probably soundalmost identical.
Yeah, I can hear the differencein my car on one or two, then I
(08:01):
can't on here, whatever it is.
But like for most people thatare just listening to it on
their phone or throughheadphones, it's not going to be
really a big deal.
I'm just going to edit one ofthem.
And just try to get just alittle bit cleaner sound base.
But other than that, I thinkit's good.
But yeah, I just wanted to haveon here, just confirm.
I figured it'd be easier thanhere than just texting.
(08:23):
Like, Hey, this is cool.
Just so I can kind of explainthe process and everything too,
of like where my head's at withall of this.
Is there anything else youwanted to try or do or things,
or I dunno, man, like, and atone point I was going to try,
um, to do like a, uh, kind ofstutter edit at the beginning of
(08:44):
like Mac does with like the denand then like that kind of
thing.
Um, but it really wasn'tsounding good.
Like it didn't seem to fit likethe overall, um, so I was like,
this intro is fine.
Nice and smooth.
Like, I think it's good for a.
A theme song type of thing.
Yeah.
So I'm pretty content with whereit's at.
(09:05):
So you tried, you tried thatidea out actually, and it didn't
work yet.
Okay.
So don't do that then.
I really liked that.
Whoa, whoa, man.
That's so sick, but yeah.
I can fade it out obviously, orif you want to fade it out, like
the way you like it, but afterthe whoa, whoa, whoa.
Then there'll be like one moreand that's going to be like, I
(09:28):
would, I would like decrease it.
So that, that is like trailingoff into nothing.
Yeah.
Yeah.
I gotcha.
You know what?
Whoa, cool, man.
I think, yeah, I think we shouldnot overthink it anymore, dude.
I think you should pop thechampagne.
This is done.
Yes, sir.
Lea I did on a journey.
(09:50):
It's been quite a journey, dude.
Do you have any likereflections?
I might put like the next coupleof minutes out as was like a
clip or something?
What'd you think about the wholeprocess?
Uh, Leslie.
I think it would, like I toldyou, I think it was just what I
needed right now.
It was really cool.
Obviously.
I was love working with youcause like we have very similar
(10:12):
music tastes, but I think I getcaught in my head a lot as
producers.
Especially when you hear thesame thing over and over, it's
hard to tell, like, is it good?
Have I just been listening to itso many times?
So I think it's good.
So to like free, not only topick the samples and be like,
Hey, do you think these wordstogether?
Like, I think they do.
And then be able to like, workwith that and, you know, expand
(10:34):
from that.
Just small idea.
That was so cool.
Just to like, start with like avery, very, this is kind of what
I'm going for.
I have these few that seem likethey might mesh well together
and then just to go from thereand to see where we're at now is
crazy.
Yeah.
So when we started this rightMac Miller's faces just released
(10:55):
and.
And I was just crazy about theDiablo, uh, instrumental at the
time and I hit you up.
I was like, dude, I want to dosomething that's like faces
related specifically somethingthat has like the horn and
Diablo and then, or, or like theAbloh.
And then what's the, um, wheredid we, where did we find the
samples?
What's that website calledsplice splice.
(11:17):
So then I, I went on splice andI've found some sounds that.
Like, like, I felt like it hadthe same texture as faces,
right?
Yeah.
And then we linked up, like, andwe went, we went through a bunch
of sounds together too, we triedtwo other songs too.
Like with.
And then yeah, you were saying,I, you said something about how
(11:39):
it was nice for me to come inwith my taste.
I feel like when you're justmaking music in general, it must
be overwhelming to be like, Icould literally put any sound
together right now.
I do feel it helps to havesomeone who just wants to go in
a certain direction because.
It's like, you need, you don'thave an assignment if you're
just like a musician making itfor fun, you know, dude, that's
(12:02):
a thing.
That's the other part of it?
It's like, not only, like yousaid, every time I sit down, I
think of like 40 John auras.
I want to go through, you knowwhat I mean?
I'm like, oh, I can make atrappy I make electronic.
I can make house.
I can make.
I love all of those, and then Igo on the splice and there's
thousands of sounds, each ofthem like the highest quality
possible.
You're doing this one.
It's like, oh, but like, well,how can I waste that one?
(12:25):
I spent hours just trying tofigure out like what I want to
do.
So like, not only to have anudge and like, Hey, focus just
on this.
But also with like a date inmind.
cause you can get, it neverends, you know what I mean?
You can get lost in thereforever.
That's the thing about artversus like, and you know, work
or like an assignment where it'slike cut and dry.
(12:46):
There can always, like we werejust talking about, I can always
edit the base a little bit more.
Try and get one sound a littlebit cleaner, a little bit clear.
So it's like to have like a, aset time when the kids, this is
the one we're going to do it.
It's just, it's a really nicechange of pace from just this.
Seemingly endless cycle of like,you know, just getting caught up
(13:06):
in the same thing and neverfinishing it.
Yeah.
Yeah.
And then I think I was talkingto blahzay about this, but it's
a, when is the song over, youknow, you might post it on
SoundCloud and then realizelater that you want to edit
something with it.
You know, I think it's good thatI'm going to release this
episode this week.
And now it's just over for you.
(13:26):
You got to move past it afteryou can tweak it today a little
bit, but.
Like, nah, it's, it's done, youknow, even just thinking about
that as such a hard concept,cause like as soon as you put it
out, I'm going to judge everylittle detail about it.
I know it, you know, like it'sjust, you just get in that mind
state, it is nice to just belike, I'm going to send it off.
I can start working on a newproject.
(13:47):
Put my focus is elsewhere andlet it be for what it is.
So, what did you, so after wekind of picked out the texture
of everything, I was like, okay,that's the extent of what I can
do here.
I think we played, I think weplayed around with like the,
just the pacing of the beat, thedrum beats and stuff, and the
bass beats.
But like, what did you do afterthat?
(14:09):
To the music?
And then what was like maybesome challenges.
Yeah.
What do you use, do you use FLFL studio?
Right.
So I made the original B inmachine, which is like a
software that's, a part of thelike little drum machine that I
have, where you can like chopsamples, you know, that's kind
(14:30):
of where I got those like littleglitchy effects of just like
pressing a sample real quick.
And then, I kinda messing withthat a little bit.
first made it in there and thenedited it, like put it all into
FL studio.
Cause that's where I arrangedthe beat a little bit, um, and
mix it and all that.
So I just put like the basiccomponents we had and then I
(14:51):
think.
What 10 different variations ofthings.
I'm like, let me start with thisintro.
See if that works, you know, seewhen the patient come in, when
the drum should come in.
And then once I found one, I waslike, okay, these seem to work
really well together.
Then I just jumped into mixingit and.
You know, adding like thoselittle sound effects and just
seeing like what flows together,you know, is this too much?
(15:13):
Is this going to take away fromthe other instruments or,
there's a lot to it.
That's for sure.
Then we have to like, like themelody of the horn with
something like didn't we matchone sound to another sound.
I don't even know what I'msaying, but oh, I know she talks
about, for the, the one beat weare trying to.
Two samples were out of key ormaybe it was this one.
(15:34):
I think the, either the drums orthe piano was like a slightly
different key.
So we just, we call those contransposing it, which is just,
changing the pitch of it.
Let's say 200 semitones away,which means it's, two steps.
Right.
So if it's, if you're in a minorand it's in a sharp minor,
(15:54):
that'll just be 100 semitones tothe left or right.
Wherever you're going.
So we just changed them up, madesure they're in the same key.
And then, um, from there we kindof figured out, okay, like, how
do we want the horn to sound?
What's what's the melody of thatmatched up with the piano.
So I think we put the pianofirst and then laid the horns on
top of that.
(16:15):
Um, okay.
And the drums and all that cameafter.
Yeah.
Yeah.
I think that's right.
I think we did match the horn tothe piano.
Yeah.
Cause like the, like over, likeit's always kind of in the
background, the horn kind oftakes the center a little bit.
but piano has always given youthat just, you know, something
to kind of keep it going andkeep the flow going.
(16:36):
Cool, man.
What was your favorite partabout the process or the song?
Ooh, good question.
I mean that first day, like whenwe were on zoom, working on it,
that was really cool.
Cause you know, I get reallynervous making music, showing
music, especially in front ofsomebody.
I think you're the only personI've really actually produced in
front of.
it's probably super nervewracking for me cause I'm like
(16:58):
very self-conscious about music.
You've done the live streamsthough, right?
Uh, that's more of a deejayingstuff.
But yeah, more and more.
So do you think, cause that'slike I just get so caught up in
my head, always second guessedmyself, you know, that's
different.
You're just like deejaying.
Yeah.
Yeah.
More sort of just mixing songsand stuff.
(17:19):
but yeah, it's really easy.
Even that, that day, like ittook me a little bit get
started, you know, we got caughtup and I kept focusing on the
little details of one song thatlike, clearly wasn't really
working, but if you just.
So caught up in like, how do Imake this work?
I gotta do this, you know?
Um, so for you every now andthen it'd be like, Hey, you
know, maybe try this.
Let's, let's take a step backfrom that go over here.
(17:40):
that was really cool.
Just to have a change of pacewith production, you know, just,
just try something new.
but then also just seeing it allcome together and like there's
so many times where.
Like when you told me, like, allright, we're going to start on
this date.
I was like, how is it going toget to this point?
Like, I don't know if it'sready.
Like it's nowhere near, youknow?
so to see, not only myself pushthrough that and like, get it to
(18:04):
where it is today to where like,I'm happy with it.
I'm comfortable putting it outthere.
I didn't think I was ever goingto get to that place.
So it's, it's really nice to seeit all come together and, just
be really happy with what, whathappened from it, you know, and
really proud of.
Well, that's awesome, man.
Yeah.
I really appreciate you doingthis with me and I love I I'm
(18:24):
biased.
Cause obviously this is what Iwanted, but I love this intro so
much.
I don't know if I'm ever goingto change it.
It's just like really smooth.
And I really, even more thanjust like the SAR, I really
appreciate.
you like letting me be part ofthe creative process, because I
do have an ear for music, but Idon't have any skills when it
comes to music.
If I was just in charge of this,I would have to just pay someone
(18:46):
to, or just find like a free, afree intro online or so it's
been really cool just to likework with someone and yeah.
I actually put my opinions in.
I know it must be hard to like,have someone who doesn't know
what they, like.
They don't know what it takes tomake music, insert their opinion
into it.
So it's just been it's has beenvery special for me to be a part
(19:08):
of the whole process.
And just obviously I love, Ilove you.
I love working with you, but, Ifeel like it's a very unique
situation to get, to bring anyart that you.
familiar with, but especiallylike music to life when you
don't know, I don't play anyinstrument, you know, or have
any producing skills.
So it's a very magicalexperience for, it feels like
(19:28):
magic for someone like me, youknow?
and, I know it probably iswracking to being in the
producer mode with someonelooking over your shoulder, but
you did a great job, man.
You got a lot of skills and.
I love the funky, the vibes,bro.
It's cool though, man, it reallyjust shows just how much goes
into music.
(19:49):
Like not only do you need theskills and like the technical
fundamentals, but like you gotto understand what works
together, what, what peopleactually want to listen to.
And that's a whole skill on itsown, you know?
There's so many different partsof it.
So it's cool to, to see likewhat types of collaborations and
skills need to come together forsomething.
Mm, a lot more than justtechnical something you can
(20:09):
learn in school.
Definitely, dude.
Well, I think people are goingto like it and resonate with it.
We got, we got one feedback fromBlake.
He liked it.
So it, Blake likes it.
Everyone's going to like it, youknow, Hey we, and if they don't
then fuck them.
Cause we like it, you know?
Ah, oh, well, hell yeah man.
(20:33):
That's all I got.
I don't know.
If you got anything else, butthat's, that's about it.
Yeah.
I'm happy where we're at.
I think we got to land at a goodspot because there.
All right.
Well then, just, I guess, tinkerwith whatever you want with it,
but then upload just likeupload.
Oh, oh, the final mix on thoselast two was kind of quiet too.
(20:56):
I'm going to raise the volume.
So raise the volume of the finalmix and that's as much feedback
as I got, but just make sure youjust are like, all right, this
is the final version.
Yeah.
Yeah..
Don't give me two more versionsto decide between these three.
That's it.
Final one, Frank, you got it.
You're there.
Honestly.
It's going to be good.
I need to just put it there.
(21:17):
We'll walk away.
I'll walk away, go, go drink abeer or ride a bike or something
you're done with this project.
Maybe you hit these, do thesedays, don't listen to a
different song.
Other than this one a hundredtimes.
I don't know if I can't anymore.
That's the only song in my headall the time.
Yeah.
(21:37):
Maybe just go, listen, just go.
Listen to nature.
Go sit outside.
And it's actually probably coldwhere you're from right now.
So freezing it sucks.
Lived there for the next twodays.
There you go.
There you go.
Well, enjoy your game, man.
Uh, tell Kayla I say hi, tellthe wife.
I said hi.
Jeez, whoa.
(21:57):
Hi lifey Jones as well.
Of course.
All right.
I will.
Sounds good, man.
I'll tell you CC and homie.
Thanks again.
Love you brother.
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