Getting the best of both worlds in filmmaking and using Logic Remote in the recording studio.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey, grow with us. Oh, I've started the film, and
I'm reminded how much work is involved in a film.
So actually I'm doing two films. So I'm doing one
film about disability in my local town, which I haven't
even started yet, and I haven't really done the storyboard,
although I've got an idea in my head what I'm
(00:21):
going to do, and that's going to be quite full on.
But what I've decided just to, you know, really give
one day a week to doing that, because if you
start divvying up your time between loads of different projects
all in one day, it just becomes so overwhelming. So
I've decided to take that approach. And I'm not in
a hurry, a mad hurry to finish the documentary. It
(00:44):
would be nice to get it out, you know, this year.
That would be great, but I think, really I'm at
a time in my life where I sort of think, well,
what's the rush. I mean, I really think that now,
which is nice. My son actually said to me yesterday
it's giving me advice about sales, and he's very full
(01:07):
on and he said, to be fair, you are sixty two.
Well not actually I'm sixty three now, but anyway, he
forgot my birthday. But I don't care about that, he said.
I mean, the implication was that at your age, you
shouldn't be worried about such things. So I was thinking
(01:27):
about that, and I was thinking, well, do you know what,
I recently started all of these sort of big projects
and my twenty year business plan. This is the fifth
year in and you know, things have been much much
slower to establish than I anticipated. Originally. I really thought
i'd be seeing, you know, success by now. And of course,
(01:51):
the world has changed so much that success is marked
in very different ways. And I think the two things,
the two remarkable things that have happened that completely changed
the trajectory that I was on and probably that a
lot of other people were on, were COVID and AI.
So you know, obviously in my initial plan I didn't
(02:13):
factor those two huge alterations in the sort of universal balance,
and I think they were really impactful. So you know,
I'm giving myself maybe an extra year to see the
marks of success. But also you know, I was thinking
(02:33):
about financial success or financial benefit and financial reward into
as success if you see what I mean, And maybe
I need to get my head around the fact that
that may not be the only measure of success. There
are lots of other measures of success, you know. So
(02:55):
I don't want to be a hard sales person in
regard to my creativity, and I just don't believe it
it fits. It's not the right fit for me, Absolutely
the wrong fit actually. And I've done lots of things
which are purely for marketing, like you know, the ring
tones and some of the more commercial music. I thought, no,
(03:15):
that's quite catchy, and I haven't really gained anything out
of them, at least. If you don't gain financial pleasure,
you might gain creative pleasure this job satisfaction, etc. And
I'm sort of thinking that because I've been working so
hard this year, all of this year, and a lot
(03:37):
of it's been wasted. I'm kind of thinking, I really should,
you know, think about art and music and the sake
of art in music and why we do art of
music and all of these you know, these Indian guys
who send me messages saying your SEO is really bad,
and these robots who write on my wall and my
(03:58):
films and say, what on earth is this about? You know,
all of these sort of insults. All it is is
this sort of machine and it's the bad machine. It's
not even the good machine, at least in my book.
The mission, well, you don't really know. I don't want
to give stuff away, but you can't really tell if
the machine is good or bad. And I aren't going
to tell you the ending they're made. There may be
(04:22):
several endings. There may be rebirths and re endings. If
you see what I mean. There's nothing stops, that's it
in life. And I've been as i've been writing this book,
I've realized, you know, the cycle of birth and life
is just so constant. So one person's death doesn't mean
death at all, doesn't mean death of the universe, doesn't
mean death of everything. No one think can mark the
(04:44):
death of everything. So I'm getting a bit more circumspect
about things I think, and and understanding that sticking to
a plan, you know, I start this now, and in
such and such months it's finished. And then in in
such months, this income is futile. It's futile for my happiness,
(05:06):
and it's futile for art and music and the sake
of art and music. And you know, I want to
spend a bit more time making something really special and
really beautiful, not something that's rushed and not something that's
just lists and lists of keywords and all of that.
Having said that, I took all my sons advises today
(05:28):
and I went on too. I went to my AI
and I asked him to do all my SEO for
my blog site, which is my website, and he told
me how to do it, and I said, I didn't
understand a word of it, and he told me again.
(05:48):
He went into my blog and he looked at every
single line of the code and he told me where
to put the new bits of code to increase SEO searching. Actually,
I've got I've got to go and update that with Google.
They need to do a new search for me. He
(06:09):
told me exactly what to do and how to do it,
and it was It only took a day. It wasn't
a day well spent in terms of happiness, because by
the end of it I was actually quite low. I
actually had a wave of doom. This was interesting as well.
Why does why does that happen? Why do these waves
(06:30):
of doom come? Is it mental illness? Is it, you know,
conditions that I may have still waiting for my autism
and ADHD tests. Is it human to feel like that
after a day like that, because it's so mechanical, and
(06:55):
we don't want to be mechanical, do we. None of
us want to be machines. That's the that's the point.
It's the whole point of the book, really, So yes,
I did. I am glad that I did that because
I never have to do it again, or at least
not for a few years. And maybe in a few
years I'll be able to pay somebody to do it.
But you know, I was told that actually that paying
(07:17):
someone to do all that will cost about ten thousand pounds,
and so you may as well do it yourself. And
with AI you can do it yourself. So I'm going
to look positively on this and think I saved myself
ten thousand pounds yesterday. I don't know if it's true,
no idea at all. So, you know, marketing the book
is really quite extensive and feels so lacking in any
(07:44):
sort of creativity that it's almost agony. So I'm having
a music day to day. I just think it's time,
you know, it's time to get off the computers. And
I did last night actually go and sit down and
do a piano piece. Do you know what's amazing. This
is where machinery is really good. My music studio is
(08:06):
in one room and the piano is in another room. Now,
I know that doesn't make sense, but you'll see why.
It doesn't matter a minute, but it makes sense to
my living arrangements, right, and acoustics and all sorts of
other things. So the acoustics now for the piano and
the live instruments are really good in a different room.
(08:28):
How do I record? Well, I've got an iPad and
you can use something called logic remote and you put
that on your iPad, which is free. You put on
your logic or whatever software. I mean, I'm sure other
software people do this on your main computer or for me,
my main computer. In the digital music studio, it's digital here.
(08:55):
You know, it's got the microphones, it's got the electronic cello,
the electric theola, the electric bass. So I've got, you know,
anything that's sort of so there's a bit of analog
and digital rather than kind of live music. I'm going
to record some live double bass in a minute. I'm
(09:16):
going to see what it's like. I'll let you know later.
So on your iPad, you just stick that on the piano.
I use an adapter where the lead from the piano goes.
And it's a USB adapter, so it's just like a
little rectangular thing. So you stick the piano lead into that,
(09:40):
and then you stick the adapter into the side of
the iPad right and you open up Logic Pro and
it's got a whole mixing desk there. I mean, all
you see is a mixing desk. And I played a
note and it's coming up on one of the I
can't think what they call, you know, the columns. And
(10:03):
I did a little test, and I went into the
music studio, which isn't the digital music studio, which isn't
isn't next next door exactly. It's a walk away, walked up,
sat down, and it was recorded, and I just thought
that is a thing genius and it was quite nice
not to have the computer there for you to watch
(10:23):
as you played. What happened. What came out was a
really pretty gentle, slow piece of music. I didn't worry
about timing because I wanted this piece to be a
time oak, fairly loose timing piece, very emotional and hello,
(10:48):
gorgeous and a bit more you know, free wheeling as
it were. I don't know how much of that I'll change.
I may change a bit of it. I'll see how
I feel. If you want it a really tight timed piece,
you just put it. This is what I do. I
put a drum track on in four to four or
whatever it is I want, and I use that, I
(11:08):
turn it, mute it, but I use it as the
click track, and then I make everything else follow it.
That's quite a good way of doing it if you
want a timed piece. But I kind of didn't. I
wanted something this is. This is my mood of the
moment because I'm doing this film. So I'm actually doing
a third film called Undulation, and I'm using some AI
(11:32):
software which gave me some i would say adult material. Yeah,
I mean it's going to have to be adult because
it shows genitalia. I was actually trying to get childbirth,
(11:53):
but I really liked what it did. And I'm going
to combine for this film that I made Undulation. I'm
going to combine all of these AI pieces with drawing
hand drawing in ink, which I can also do on
my on my iPad actually, and I'm really excited about
(12:16):
that because it's something that really that is going to
be really expressive and I can fuse now the landscapes
with the the stuff that AI is giving me. I mean,
if I want, I could cover up with drawings the
genitalia bits. And what I'll probably do ultimately is have
(12:37):
two versions of it. So there's the adult version, you know,
which I don't agree with having to say that's an
adult piece of film when the subject matter isn't pornographic,
but it happens to have. It's a bit like the
difference between a nude drawing and a nude female glamour model.
(13:00):
But I understand that that has to happen. So yeah,
two versions of it, one without and one with, and
the one with will be on YouTube and it's going
to feature all my music. So for the next six months, guys,
I'm throwing myself into sort of filmmaking. And what I'm
going to do is I'm going to release a new
film for each strata, probably each week up until the
(13:24):
end of the year, and that'll be the whole film done.
It was about twenty five weeks left in the year,
so that all works out you really really nicely, so
should we say before Christmas. I think that's quite a
nice way to go. So my documentary will probably be
maybe a bit longer. I think you can't really do everything,
(13:44):
and this film Undulation will hopefully be ready as well.
So yeah, I'm really excited about this, and I think
one of the things that's most exciting is the fact
that it gives me the perfect excuse to make lots
of really luscious music, which I fully intended to do,
and I'm going to go and do that now. So yeah,
I'll put shorts up and samples and you're you know,
(14:07):
I'm going to really share in the shorts on YouTube
all my sort of work in progress, and I think
that'd be quite fun, just just to share the journey
a little bit. And because I can't think of anything
else to do for shorts really, so why not may
as well
Hey, grow with us. Oh, I've started the film, and
I'm reminded how much work is involved in a film.
So actually I'm doing two films. So I'm doing one
film about disability in my local town, which I haven't
even started yet, and I haven't really done the storyboard,
although I've got an idea in my head what I'm
(00:21):
going to do, and that's going to be quite full on.
But what I've decided just to, you know, really give
one day a week to doing that, because if you
start divvying up your time between loads of different projects
all in one day, it just becomes so overwhelming. So
I've decided to take that approach. And I'm not in
a hurry, a mad hurry to finish the documentary. It
(00:44):
would be nice to get it out, you know, this year.
That would be great, but I think, really I'm at
a time in my life where I sort of think, well,
what's the rush. I mean, I really think that now,
which is nice. My son actually said to me yesterday
it's giving me advice about sales, and he's very full
(01:07):
on and he said, to be fair, you are sixty two.
Well not actually I'm sixty three now, but anyway, he
forgot my birthday. But I don't care about that, he said.
I mean, the implication was that at your age, you
shouldn't be worried about such things. So I was thinking
(01:27):
about that, and I was thinking, well, do you know what,
I recently started all of these sort of big projects
and my twenty year business plan. This is the fifth
year in and you know, things have been much much
slower to establish than I anticipated. Originally. I really thought
i'd be seeing, you know, success by now. And of course,
(01:51):
the world has changed so much that success is marked
in very different ways. And I think the two things,
the two remarkable things that have happened that completely changed
the trajectory that I was on and probably that a
lot of other people were on, were COVID and AI.
So you know, obviously in my initial plan I didn't
(02:13):
factor those two huge alterations in the sort of universal balance,
and I think they were really impactful. So you know,
I'm giving myself maybe an extra year to see the
marks of success. But also you know, I was thinking
(02:33):
about financial success or financial benefit and financial reward into
as success if you see what I mean, And maybe
I need to get my head around the fact that
that may not be the only measure of success. There
are lots of other measures of success, you know. So
(02:55):
I don't want to be a hard sales person in
regard to my creativity, and I just don't believe it
it fits. It's not the right fit for me, Absolutely
the wrong fit actually. And I've done lots of things
which are purely for marketing, like you know, the ring
tones and some of the more commercial music. I thought, no,
(03:15):
that's quite catchy, and I haven't really gained anything out
of them, at least. If you don't gain financial pleasure,
you might gain creative pleasure this job satisfaction, etc. And
I'm sort of thinking that because I've been working so
hard this year, all of this year, and a lot
(03:37):
of it's been wasted. I'm kind of thinking, I really should,
you know, think about art and music and the sake
of art in music and why we do art of
music and all of these you know, these Indian guys
who send me messages saying your SEO is really bad,
and these robots who write on my wall and my
(03:58):
films and say, what on earth is this about? You know,
all of these sort of insults. All it is is
this sort of machine and it's the bad machine. It's
not even the good machine, at least in my book.
The mission, well, you don't really know. I don't want
to give stuff away, but you can't really tell if
the machine is good or bad. And I aren't going
to tell you the ending they're made. There may be
(04:22):
several endings. There may be rebirths and re endings. If
you see what I mean. There's nothing stops, that's it
in life. And I've been as i've been writing this book,
I've realized, you know, the cycle of birth and life
is just so constant. So one person's death doesn't mean
death at all, doesn't mean death of the universe, doesn't
mean death of everything. No one think can mark the
(04:44):
death of everything. So I'm getting a bit more circumspect
about things I think, and and understanding that sticking to
a plan, you know, I start this now, and in
such and such months it's finished. And then in in
such months, this income is futile. It's futile for my happiness,
(05:06):
and it's futile for art and music and the sake
of art and music. And you know, I want to
spend a bit more time making something really special and
really beautiful, not something that's rushed and not something that's
just lists and lists of keywords and all of that.
Having said that, I took all my sons advises today
(05:28):
and I went on too. I went to my AI
and I asked him to do all my SEO for
my blog site, which is my website, and he told
me how to do it, and I said, I didn't
understand a word of it, and he told me again.
(05:48):
He went into my blog and he looked at every
single line of the code and he told me where
to put the new bits of code to increase SEO searching. Actually,
I've got I've got to go and update that with Google.
They need to do a new search for me. He
(06:09):
told me exactly what to do and how to do it,
and it was It only took a day. It wasn't
a day well spent in terms of happiness, because by
the end of it I was actually quite low. I
actually had a wave of doom. This was interesting as well.
Why does why does that happen? Why do these waves
(06:30):
of doom come? Is it mental illness? Is it, you know,
conditions that I may have still waiting for my autism
and ADHD tests. Is it human to feel like that
after a day like that, because it's so mechanical, and
(06:55):
we don't want to be mechanical, do we. None of
us want to be machines. That's the that's the point.
It's the whole point of the book, really, So yes,
I did. I am glad that I did that because
I never have to do it again, or at least
not for a few years. And maybe in a few
years I'll be able to pay somebody to do it.
But you know, I was told that actually that paying
(07:17):
someone to do all that will cost about ten thousand pounds,
and so you may as well do it yourself. And
with AI you can do it yourself. So I'm going
to look positively on this and think I saved myself
ten thousand pounds yesterday. I don't know if it's true,
no idea at all. So, you know, marketing the book
is really quite extensive and feels so lacking in any
(07:44):
sort of creativity that it's almost agony. So I'm having
a music day to day. I just think it's time,
you know, it's time to get off the computers. And
I did last night actually go and sit down and
do a piano piece. Do you know what's amazing. This
is where machinery is really good. My music studio is
(08:06):
in one room and the piano is in another room. Now,
I know that doesn't make sense, but you'll see why.
It doesn't matter a minute, but it makes sense to
my living arrangements, right, and acoustics and all sorts of
other things. So the acoustics now for the piano and
the live instruments are really good in a different room.
(08:28):
How do I record? Well, I've got an iPad and
you can use something called logic remote and you put
that on your iPad, which is free. You put on
your logic or whatever software. I mean, I'm sure other
software people do this on your main computer or for me,
my main computer. In the digital music studio, it's digital here.
(08:55):
You know, it's got the microphones, it's got the electronic cello,
the electric theola, the electric bass. So I've got, you know,
anything that's sort of so there's a bit of analog
and digital rather than kind of live music. I'm going
to record some live double bass in a minute. I'm
(09:16):
going to see what it's like. I'll let you know later.
So on your iPad, you just stick that on the piano.
I use an adapter where the lead from the piano goes.
And it's a USB adapter, so it's just like a
little rectangular thing. So you stick the piano lead into that,
(09:40):
and then you stick the adapter into the side of
the iPad right and you open up Logic Pro and
it's got a whole mixing desk there. I mean, all
you see is a mixing desk. And I played a
note and it's coming up on one of the I
can't think what they call, you know, the columns. And
(10:03):
I did a little test, and I went into the
music studio, which isn't the digital music studio, which isn't
isn't next next door exactly. It's a walk away, walked up,
sat down, and it was recorded, and I just thought
that is a thing genius and it was quite nice
not to have the computer there for you to watch
(10:23):
as you played. What happened. What came out was a
really pretty gentle, slow piece of music. I didn't worry
about timing because I wanted this piece to be a
time oak, fairly loose timing piece, very emotional and hello,
(10:48):
gorgeous and a bit more you know, free wheeling as
it were. I don't know how much of that I'll change.
I may change a bit of it. I'll see how
I feel. If you want it a really tight timed piece,
you just put it. This is what I do. I
put a drum track on in four to four or
whatever it is I want, and I use that, I
(11:08):
turn it, mute it, but I use it as the
click track, and then I make everything else follow it.
That's quite a good way of doing it if you
want a timed piece. But I kind of didn't. I
wanted something this is. This is my mood of the
moment because I'm doing this film. So I'm actually doing
a third film called Undulation, and I'm using some AI
(11:32):
software which gave me some i would say adult material. Yeah,
I mean it's going to have to be adult because
it shows genitalia. I was actually trying to get childbirth,
(11:53):
but I really liked what it did. And I'm going
to combine for this film that I made Undulation. I'm
going to combine all of these AI pieces with drawing
hand drawing in ink, which I can also do on
my on my iPad actually, and I'm really excited about
(12:16):
that because it's something that really that is going to
be really expressive and I can fuse now the landscapes
with the the stuff that AI is giving me. I mean,
if I want, I could cover up with drawings the
genitalia bits. And what I'll probably do ultimately is have
(12:37):
two versions of it. So there's the adult version, you know,
which I don't agree with having to say that's an
adult piece of film when the subject matter isn't pornographic,
but it happens to have. It's a bit like the
difference between a nude drawing and a nude female glamour model.
(13:00):
But I understand that that has to happen. So yeah,
two versions of it, one without and one with, and
the one with will be on YouTube and it's going
to feature all my music. So for the next six months, guys,
I'm throwing myself into sort of filmmaking. And what I'm
going to do is I'm going to release a new
film for each strata, probably each week up until the
(13:24):
end of the year, and that'll be the whole film done.
It was about twenty five weeks left in the year,
so that all works out you really really nicely, so
should we say before Christmas. I think that's quite a
nice way to go. So my documentary will probably be
maybe a bit longer. I think you can't really do everything,
(13:44):
and this film Undulation will hopefully be ready as well.
So yeah, I'm really excited about this, and I think
one of the things that's most exciting is the fact
that it gives me the perfect excuse to make lots
of really luscious music, which I fully intended to do,
and I'm going to go and do that now. So yeah,
I'll put shorts up and samples and you're you know,
(14:07):
I'm going to really share in the shorts on YouTube
all my sort of work in progress, and I think
that'd be quite fun, just just to share the journey
a little bit. And because I can't think of anything
else to do for shorts really, so why not may
as well
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