130. Becoming a Multi-Platinum Music Producer: Vince DiPasquale on Burnout, FaderPro & Authenticity | Part 2 - Musicians Tip Jar

Episode Transcript
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Speaker 1 (00:01):
Welcome to the show that explores the methods and strategies
on rocking the financial side of your music business. With
over forty years combined experience, here are your host Chris
Webb and Dave Tampkid.

Speaker 2 (00:15):
Welcome to Musicians Tip Jar, where we talk about musicians
and money. I'm Chris web I've joined by my co
host Dave Tampkins.

Speaker 3 (00:21):
Hey, Dave.

Speaker 2 (00:23):
How many electronic musicians does it take to screw in
a light bulb?

Speaker 4 (00:27):
Love it when you left before you say the joke?
How many?

Speaker 2 (00:31):
Chris? It doesn't matter. They just wait for the drop.

Speaker 3 (00:35):
Know what that means?

Speaker 2 (00:37):
Come on the bass, drap the bass. They don't call
it a bass drop. They just call it a drop
when the song hits the big part. Maybe, boy, you
really don't know electronic music.

Speaker 4 (00:49):
It's not exvience to not explain that to us in
the last episode, nor this episode.

Speaker 2 (00:56):
Fair If I like it, My dad jokes are too
Sophisticatere're too modern for you. That makes me so much cooler. Today,
we complete our sit down with Vin's Deepest Quality, an
artist whose talent and dedication has propelled him to multi
platinum success. We discussed the mixer's game, which is in
quotes the mixer's game, the daw choices and how he

(01:20):
uses them in certain circumstances, and being diversified not only
in your income streams, but also in your style proficiency
as a producer. Today's quote comes from our guest Vince.
He said, there are one hundred thousand songs that get
uploaded to Spotify every day. Right, does the world need
another song? The answer is yes, but it needs to

(01:43):
be the right song.

Speaker 4 (01:44):
So glad he said, the answer was yes, that would
have just screwed in.

Speaker 2 (01:49):
That's today's episode.

Speaker 4 (01:53):
Vince is also a cancer survivor, and I reached out
to him and I asked him for a nonprofit that
you'd like to share, and he.

Speaker 3 (02:00):
Picked this one.

Speaker 4 (02:02):
The Colorectal Cancer Alliance is the nation's leading nonprofit dedicated
to colorectal cancer. Together with the nation of passionate allies,
they advocate for prevention, magnify support, and accelerate research to
endless disease. Learn more at Colorectalcancer dot org. If you
find this information us feel please rate and subscribe to
the podcast and also slam that like button if you're

(02:23):
on YouTube so it can help keep you up on
the finance side of your music business.

Speaker 2 (02:27):
Vince deepest Qually is the renowned music producer, remixer, and
educator with over two decades of music industry experience. He's
worked alongside some of the biggest names in the music industry,
including Madonna, Justin Timberlake, Mariah Carey, Timberland, Nellie Fertado, and
Missy Elliott. His remix of Madonna's hit song four Minutes

(02:51):
not only sort to number one on the Billboards Dance
Club Chart, but also achieve double platinum certification. Beyond his
impressive career as a Vince is passionate about empowering the
next generation of music makers. He co founded fader Pro,
an innovative educational platform offering aspiring producers unprecedented access to

(03:13):
industry leading artists and their creative processes. Today, Vince is
here to share his wealth of knowledge, creativity, and entrepreneurial wisdom,
helping us all better navigate our journeys in this business.
There's so much here to absorb. Let's go.

Speaker 4 (03:39):
Can you tell us about fader Pro?

Speaker 3 (03:40):
Absolutely? Yeah, so again. I was doing educational events at
SAE and with Apple, and every time when I was done,
people would come up and say where could I learn more?
And with my own education experience, like I said, I was,
I was not a good student, didn't relate well with like,
you know, the the kind of traditional way of learning.
And I learn experience. You know, if if I watch

(04:01):
you do something, if I you know, play by ear,
all the things experientially. So Stephen Lee, who was one
half of Lee Cabrero, which was that dancing music act
that I engineered for many many years. By this point,
you know, he and I were working a lot together,
and he came to me one day and he said,
you know, I was. I was on a flight home
and talking to this business guy and I was telling
him what I do and how we make music basically

(04:22):
on computers and it's electronic and all these other things.
And I had this idea like we should, we should,
you know, And he knew I was doing all this
education stuff. He's like, we should just show people, you know,
how we do it. And so he and I got
together then and hatch this idea like we're gonna we're
gonna show people how to make music not by like

(04:42):
the learn logic pro step one, step two. This is
the fader, This is the pan pot, this is ratio,
this is this plugin. We're just gonna bring cameras into
the studio and do what we do showing the creative process.
And so that was kind of the genesis of fader
Pro was, you know, kind of what I was doing
with that where they were interested in showing showcasing logic,
but with real projects and real producers and how they

(05:05):
use it. And so Steven and I hatched this idea
to record artists and their creative processes using all this
software and all these tools. And so that was about
twenty ten, i'd say we launched fader Pro and launched
with one course and then just kind of grew the
business and because of our electronic music experience, you know,

(05:26):
we we do focus on electronic music and teaching aspiring
electronic music producers and DJs how to produce in logic
and Ableton, and so yeah, we've grown that company and
now we travel around. We have a film crew in
the United States, we have a film crew in Europe,
and we partner with labels and artists and go into

(05:46):
the studios of successful electronic music producers to film their
creative process.

Speaker 4 (05:52):
And that's kind of is that where you were last
month doing that when we talked when you just got
back from Europe.

Speaker 3 (05:57):
No, well, actually partially, yes, I met with the team
outside of London. Is actually in Bath where the Fader
Pro team is, so I met with them there. My
wife actually ran the London Marathon, so we had like
this trifecta of reasons to go there. We were in
London for her to run the marathon, and then I
met the guys in Fader Pro, and then I also
did I engineered a project over there too.

Speaker 4 (06:18):
So wow, Busy, can you tell us for a project
that was or is that on the d L.

Speaker 3 (06:23):
It's a new project I'm starting, you know, this is
the later part of the story. But yeah, I've been
working with these guys, you know, writing a whole bunch
of new music. I still have this itch to you know,
kind of be in a band. I still I still
feel weird saying that, but you know, we're writing a
whole bunch of new music and we're we're going to

(06:44):
release it, I hope in the fall. And you know,
it's all in terms of the name and all these
other things that's still kind of under under wrapped to launch.
But right now, me and and some collaborators are very
busy writing in the studio, which has just been such
an amazing process and so long story short, I was
engineering one of our songs over there at Peter Gabriel Studio,
a real world which was like a bucket list kind

(07:05):
of a thing for me. I've always wanted to work
at that studio, and you know, my favorite pro team
is in Bath and so it was just fortunate that,
you know, I reached out to the two people at
the studio and they had an open day and so
I book booked the room and mixed one of our
songs that will be released later this year.

Speaker 2 (07:23):
So cool. Here the type of genre would you say?

Speaker 3 (07:27):
It's It's it's pop rock alternative, you know, I think,
you know, like Snow Patrol meets kind of like Bonnie
Vera on certain days, meets you know, Taylor Swift. Because
there's a collaborator I'm working with. She's a female vocalist.
Her name is Teresa Mahoney. She's amazing, and so, you know,
the original vision, honestly for me, was like this consortium

(07:47):
of musicians where we collaborate. There are the main you,
myself and a couple of other collaborators as the main people,
but we also collaborate with other artists and other people
and release just a smorgas board of music, you know,
covering edges of genres and kind of you know, cohest
into one thing that was kind of always my vision.

(08:09):
Just a creative consortium of music. Basically, that's awesome.

Speaker 2 (08:14):
I love.

Speaker 4 (08:14):
Do you think starting Fader pro and then becoming that
educator or even professor at the University of Denver.

Speaker 2 (08:22):
Right, that's Rightsity, Colorado, Denver.

Speaker 4 (08:24):
Right, yeah, Colorado, Denver.

Speaker 3 (08:26):
Yeah.

Speaker 4 (08:26):
Sorry, very different, very different, like twenty minutes away from
each other. Very different. Do you now going into creative
role again, trying to do something different that you've wanted
to do for a while, Like you said, band, Do
you approach that differently because you've done so many videos,
because you've taught so many people, and now you have

(08:48):
kind of a fresh start at something different than that.
Do you approach it differently?

Speaker 3 (08:52):
Yes? I approach it differently than how I've approached most
things in my career, mainly because most well, all of
the commercial work that I've done with major labels and
even with independent artists and independent labels. You know, you're
hired to do a task, there's a deadline. So my
career for the most part has been working against deadlines.

(09:13):
And in the remix world, that was, hey, we want
you to do this remix. We need it done yesterday, literally,
like you know, when can you Like, it's just it's
always at a break neck speed. Working at the Hit factory,
you weren't good unless you were fast. So you know,
I was really really really really really fast as approach
tools operator and as an engineer, you know, you're you're

(09:34):
the invisible person that just makes everything magically happen. And
so speed was the thing with this project. On purpose,
it's the opposite. So I'm doing this project asap, which
means as slow as possible. And that's the main difference
between this project and twenty years of my career. And
and and I say it kind of hepped jokingly, but

(09:55):
it's true. And and and I think it's important to
say that. It makes a huge difference. Now. It's it's
not always possible. If I get hired to engineer something,
there's there's a deadline, Like that's okay, there's nothing wrong
with that. But when I'm talking about my own endeavors,
either as an artist, now or you know, even when

(10:16):
independent artists come to me and they have time. Okay,
time and money are the two things, right, Like, okay,
there's a budget, but then time is the one thing
that I'm trying to spend more of and put more
of myself into the pre production and production. And that's
the big difference. To basically answer your question.

Speaker 2 (10:36):
What would you say your instrument is? You had to say,
like your main proficiency on an instrument.

Speaker 3 (10:43):
I would say piano, guitar, you know, and bass and
drums up to eight bars. I had to throw that
in there because you know, you know, I'm good enough
to write and you know I have a piano, an
acoustic piano, and you know, people will come in like, oh,
you played piano, you know, play me a song? Like nah,
Like we can like ype one if you want so. Yeah,

(11:06):
But again back to the ear thing, like you know,
especially now that I'm older, and I don't not like,
you know, scared of looking like a fool. You know,
I'll pick up guitar and just kind of hammer it
out and hash it out. So so you know, you
have those instruments, but not to any degree of like
you know, a performance level thing it's a producer level thing.

Speaker 2 (11:26):
But can we talk a little bit about the creative
process that you go through. I mean, there's a lot
there to unpack, because at least people our age and
I think we're similar that we started out when we
had to use analog equipment and and now we've watched
this incredibly fast progression of technology just continually push us
forward to have so much more accessible in such a

(11:49):
small space. Now, and first, I guess I want to
ask you two questions. First, do you still use Logic.

Speaker 3 (11:54):
Pro mostly now? If I'm doing vocals, I'll track that
in pro Tools half the time. If I'm going out
like I did, you know, I went in you know
Bath last last month, that was all in pro Tools.
If someone hired me to record outside at a studio,
you know, pro Tools to me obviously is great, and
recording vocals and tracking that would be my preference. But

(12:14):
creating from scratch, I'm always in Logic.

Speaker 2 (12:17):
The other question I wanted to ask then was when
you're writing, whether you're with the project of other people
or by yourself. Now that you have all this gear,
and certainly this is one of your strongest suits as
an artist, do you write and record at the same time.
Or are you more of like a I want to
create Because you just said eight bars, i'd imagine that
I know the answer to this, but or are you

(12:38):
somebody that likes to write the song and then approach
the studio.

Speaker 3 (12:42):
So I used to be, and I used to be,
I mean, up until probably two years ago, I would write,
I mean the world that I come from, you know,
at the Hit Factory and stuff. Most of the artists
that I worked with was producer and artist relationship. Okay,
so yes, I worked with a lot of bands that
would come in and have stuff written. But a lot
of what I was exposed to was the commercial pop

(13:05):
music world, which was here's an artist, here's a producer.
You know, Timberland's the best example. So so I worked,
you know a lot with Timberland, was around his world
and so he was a beat maker. Is a beat
you know, one of the best beat makers ever and
would come in and so you get these artists that
would show up and he would start playing music beds,
and then that artists would pick the music bed and

(13:25):
then they go to work and start to write. So
up until a couple of years ago, that's how I
would work. I would, and because of my technical experience too,
that was the easier part, was to just make a
music bed and then if I'm collaborating with someone, we
would write to it. If it's myself, I would write
over top of that. Now I'm trying to do the opposite.
I'm trying to create the song, not from any technical perspective,

(13:50):
but from you know, singers songwriter with an acoustic guitar,
core progression, melody lyrics like what is the song? You know,
and whether it's in business or in music. You know
you could, as you and your audience surely well know,
you could have an amazing take any amazing song stripped
down to an acoustic guitar, it's still amazing, you know,

(14:10):
versus this amazingly produced, not good song. So now it's
more focusing on what is this song, saying first what's
the emotion and then we'll do the rest of later.

Speaker 4 (14:20):
Have you heard a popular piece of advice in your
career and over the years you completely disagree with it. Yes,
whatever it takes, it's it's not whatever it takes, no.

Speaker 3 (14:33):
Because that can kill you. Yes, and you know that's
a witty answer to that question. But in all honest well, yeah, honestly,
it's true. You know, there was a time in my life,
you know, when burnout and you know, not being healthy
reared its ugly head and you know, I you know,

(14:54):
got very sick and all the things, and looking back,
working hard is required, you know, but not whatever it
takes up to whatever point that might be, whether it's
your health, whether it's your mental well being, whether it's
literally that you need to sleep because you haven't in
two or three days, or whether it's you know, whatever
it is, there are boundaries which which thankfully I think

(15:17):
in today when when you start talking about these things
mental health, burnout, all the things, you know, I think
people are like they do what you guys just did,
They shake their head and like, yes, this is super
important and let's talk about it. Whereas back then it
was like, if it's not you, it's the dude waiting
in line for your job, who will do whatever it
takes and whatever it takes. Meaning the boundary of that

(15:39):
is individual. You know, for me, it's different than someone else.
So I think being true to yourself as an artist,
being true to yourself as a person, being true to
whatever relationships you have in your life. You know, I'm
just not one that thinks, you know, your career and
health and all these other things are are expendable.

Speaker 2 (15:56):
And this is sort of the benefit of getting to
this stage of your career probably is that you're more
in the driver's seat, I would say, would you, I
hope you agree on that, because it certainly from the
outside it looks like you're in the driver's seat. And
so can we talk a little bit, just a little
about your percentages of like we usually talk about income
streams and how you've diversified your income streams, not the

(16:17):
numbers themselves, just kind of what the main focuses have
been for you and maybe which ones are the most
you know, important to you.

Speaker 3 (16:24):
You know, historically it was engineering, you know, and producing,
and so you know, I it was the next job,
the next job, the next job, and you know, I was,
you know, fortunate that I was. I was in that world,
making the relationships at the labels, making the relationships with
the artists, and so it was feast and famine for

(16:46):
a very long time. And you know, I didn't get
comfortable with that for a very very long time, you know,
And that's when education came along, and I was teaching
and then doing a lot of that stuff, and I
had that iron in the fire. I also made some
relationships with some people that were building studios, and you know,
I got to consult on constructing recording studios, which I

(17:08):
still do very on the like, I don't promote it.
I don't talk about it much. I mean in these environments,
I kind of do. But I've designed recording studios and
installed them and built them. And you know that's a
partly born out of a passion because I love studios,
but I also I'm not going to get off on
a tangent. But you know, especially now in home recording world,
you know, it does not take a fortune to make
a room sound amazing. So anyway, that's something that I've

(17:29):
always you know, had a passion for. But but yeah,
you know, for me, in terms of you know, income streams, engineering,
producing those first ten to fifteen years was was the
bread and butter. Then education was kind of the second.
See then education, you know when we when I founded
Fader Pro and we really made a go oft that.
I moved to Colorado in twenty ten and that was

(17:52):
you know, I was fortunate because I signed I signed
a production deal with an artist and did two albums
with that artist. And so when I moved to Colorado,
I didn't really like broadcast that I was moving to
Colorado to like you know, you know, I just did
it and with my wife, and so I had this
project of production that kind of bridged that gap. But
then after that it was a full focus on Fader

(18:14):
Pro and building that as a real company. And so
you know, did the whole fundraising thing, you know, raised
money for that, got a team together, and so then
it flipped where the production kind of took the back seat,
and now it was building this company. And I was
working at the University of Colorado, you know, in Denver,
I'm teaching recording arts, you know a little bit later
because I missed what I had in Florida, the face

(18:34):
to face kind of teaching things. So then teaching was
the main bread and butter of what I do. And
then you know, now it kind of waffles back and
forth between the two.

Speaker 2 (18:44):
You know, would you say royalties have played a part
in any of this with all the work that you've done.

Speaker 3 (18:49):
No, not hugely, not hugely.

Speaker 2 (18:51):
Has that been by design or just by the contracts?

Speaker 3 (18:55):
Yeah, just just by the contracts. You know, most of
what I've done is additional production you know, remixing or
additional production engineering, you know, and some of the big
s projects you know, were not you know, in a
point scenario for me, basically. Yeah.

Speaker 4 (19:10):
But well, I have a remix question for you, and
I think this might be the most important question that
has been asked of you this entire interview. Your remix
of Madonna's four Minutes m hm, incredibly successful. How many
minutes did it take you to do it?

Speaker 3 (19:25):
Let's see, it probably took me like four days.

Speaker 4 (19:28):
All in, you know, for four minutes.

Speaker 3 (19:30):
All for four minutes, four days, four minutes.

Speaker 2 (19:32):
Yeah, I mean four days is actually kind of amazing. Still,
you must have made seriously worked fast.

Speaker 3 (19:37):
At that time. So at that time, it was that
was the twenty four to seven phase of my life.
You know. My wife was was still in school and
she was living in a different city, so I would
commute back and forth, which which is the whole other story.
But the point is I was literally like doing music
sun up to sun down, between remixing and my studio
and still you know, still still doing hyphidric plus teaching,

(19:59):
you know, teaching at that time and so yeah, it
was probably four days and to condense it down, most
of that writing was probably one day, you know, and
there was live based on that record. One of my
favorite things about that particularly remix is the live base,
which you know, at that time, I was desperate to
sneak in, you know, anything live just to bring like
obviously to bring a creative flavor to it, but that

(20:19):
particular record, the live base, I was happy made it
all the way to the end. So it's probably like
a day day and a half of like all the
production and then you know, mix it, give yourself twelve
to eighteen hours to let your ears breathe and come
back and make sure you're not crazy and weren't hearing
things sideways, and then that was it.

Speaker 2 (20:37):
It really is amazing. It's amazing how many people you've
had the chance to work with. I mean, that must
be such an incredible feeling to know that you've been
able to touch all of these different areas of music
and all of our culture. I'm curious, like, I'm sure
some of them just kind of were out of nowhere,
But how have you made yourself so available and noticeable

(20:58):
to get those kind of opportunity of these over these years.

Speaker 3 (21:01):
I appreciate the question because it's it's one of the
things I feel most blessed like and most fortunate to
have worked in so many different genres. I love all
kinds of music, and yes, I love electronic music, you know.
But but I do look back and I really love
the fact that I'm as comfortable collaborating with an electronic

(21:22):
music artist enable to on a laptop as I am
on a ninety six channel SSL tracking a full band
or an orchestra, you know. And and and I'm very
fortunate to have that range, you know. In a way,
I will say, though, it's almost at times felt like
a hindrance too, because people, you know, sometimes especially you know,

(21:44):
with engineering, it's like, unless you're Roger Nichols, you know,
gave this amazing quote about the life cycle of an engineer,
and he used his own name as an example. What
I'll use mine. So the life cycle of an engineers.
Who is Vincent deepasqually, Then get me Vincent deepasqually. Then
who sounds like Vincent depasqually? Then who's Vincent Depasqually. So,

(22:04):
unless you're kind of the it guy of the moment
of anything, you know, people might question, like, can you
really mix this country record, you know, because I haven't
done a country record in you know, ten years, And
my answer would be absolutely, because I know I have
the skill set, not necessarily to be on the bleeding
edge of what people are doing in country, but I

(22:25):
have the ears where if you came to me, my
job is to make you happy as my client mixing
this song and my ears and my skill set is
good enough that you tell me how you want it
to sound, and you talk to me and I will
make it sound that way. But but you know, convincing
people that sometimes is not always easy, right. They want
they want the dude that's perfect at country, you know.
But I love the fact that that I've been able,

(22:47):
that I've been blessed to work in so many different genres.

Speaker 2 (22:50):
And have those been through specific connections that you've made
in relationships, or has it been that you've put your
information out there into some database just to get an
idea of like how that works in your area of
the industry.

Speaker 3 (23:04):
It's all been through my own networking, you know, and
word of mouth, and you know, I used to do
a lot of things with the recording and academy you
know down in Miami and was on you know, very
involved in that for many, many years. And so that
part of it is get out and meet people, put
your name out there, you know, make relationships, nurture those relationships,

(23:26):
you know, in a professional way, you know obviously, and
go out and and make yourself known. You know, it's
never been actually not never, only two or three times
has it been hey, I've found you and your website
type of thing. You know, it's always been hey, you
know someone, this person gave me your name or you

(23:46):
know that kind of a word of mouth type of
a thing.

Speaker 4 (23:49):
Has there been an insignificant moment in your career that
ended up being something much more than you thought it
was going to be at the time.

Speaker 3 (23:59):
Well, yes, I mean, and you know, like like I
mentioned a bit ago, you know, a couple of the
absolute biggest remixes that I've done, like Mariah Carey is
the example, I think the best example I got. I
got a call to do Mariah Carey remix. There was
only one other person, David Morales, who was going to
do a remix. So I was doing productions under the
name Sugar Dip at the time with another partner, Ian
Sugarman and so it was us and Daved Morales and

(24:21):
so the deal was terrible. You know what you would think,
you know, you'd get paid to remix Mariah Carey, you know,
wasn't the case. But it's Mariah Carey. So who's going
to say no to that? Right? So anyway, doing it
was I just said, this is we're doing it regardless
of what comes, you know, and we did get paid,

(24:42):
and it was It wasn't terrible as a paid check.
But when you think of Mariah Carey and your lights
get your eyes get big, you know it's not that.
But what came from that insignificant you know payoff was
that credit that you know. Then you know, however, many
other projects came in because oh, you know, you did

(25:02):
the thing for Mariah Carey and it was it was
the thing. So to answer your question, in and of itself,
that was insignificant in terms of you know what I
got paid for that, but it paved the way because
it was an amazing project. Yeah, and I was proud
to do it. And we put live saxophone on it,
and I was always you know, putting my little how
can we make this organic as electronic music?

Speaker 2 (25:25):
So Yeah, that's cool.

Speaker 4 (25:26):
It seems like over time that's become your signature too,
with those remixes.

Speaker 3 (25:30):
I would like to think so. But it goes back
to me always wanting to be that kind of artist,
you know, kind of live instrument, live recording, and I
love electronic music and I've made plenty of electronic music
that has zero live instruments, you know. But at that point,
you know, and I think putting into this conversation, what
we all struggle with is how are we going to

(25:51):
be different? You know, there's one hundred thousand songs that
get uploaded Spotify every single day. Right, does the world
need another song? Well the answer is yes, but it
needs the right song. Okay, well what's the right song?
You know? Well, what are you trying to say? You know,
and why are you trying to say it? You know,
are you trying to say it because that's what Taylor
Swift said and you're going that way, you know, judging
or throwing anything against people that you know, whatever, or

(26:13):
you know, is this what you're really wanting to say?
And so really knowing why, you know, you want to
do things, I think is important and at that point
for me, bringing it back you know, putting live instruments. Yes,
I love live music. I always wanted to play live instruments,
but I did honestly think like, Okay, this is just
going to be different because not a ton of people
are doing that at that time.

Speaker 4 (26:33):
A lot of people don't even get the opportunity to
put their stamp on that many songs either, So that's
pretty awesome.

Speaker 3 (26:40):
And then two, it's like, okay, do do a remix?
You have to, you have to, you know, And remixing
is interesting because the song exists. You're reimagining it, you know,
you're recreating it. But there's an an R and there's
an artist. And I was fortunate to work a lot
directly with the artists. And so if they thought it
was cool, the A and R thought it was cool.
You know. Yeah, a lot of times which it was
just the A and are you get into trouble because

(27:02):
what they think is cool, you know, it's what you're
different than what you think is cool. And that's a
whole different can of worms, you know. And so but yeah,
it's it's it's trying to find the value in whatever
it is that you're doing, whether that's through your own
desire to make music, or why you're you know, writing
about this particular song you know, and all those other
things about why that's amazing.

Speaker 2 (27:22):
What I love about your story so much is that
you're you're constantly just finding ways to use all of
these natural gifts that you've worked to make strong and professional,
and then you've still managed a way to build a
career that's all you in that. That is a really
amazing thing. So I'm curious, like what as you look forward, like,
what what are you thinking about heading towards with all

(27:45):
of this? What is it you're focused on in your
next couple of years of things?

Speaker 3 (27:50):
Yeah, I mean, thanks for saying that, by the way,
you know, I appreciate that, And you know, I think
what I'm most passionate about now is still teaching, still
trying to reach people that are that are having all
questions that you know, thankfully you guys are doing this podcast,
you know, reaching artists that are trying to make a
make a go of this and make a career of it.
And I'm I will always be passionate about doing anything
I can to share any of my story or help

(28:13):
someone that might be trying to figure that out. Part
of these projects you know, I've got an ambient music
project so called Soul Escape, you know, that does ambient
electronic music and it's chill, kind of meditation music, and
we just launched it. And then this new project that
I told you I'm writing for that's kind of twofold.
First of all, it's because I've always wanted to create
music with like minded individuals and people that I want

(28:34):
to work with with no timelines, no the deadlines and
all that kind of stuff, and really put our stamp
on it. But also a part of that too is
to to help to try to figure out the conundrum
of the modern music, you know, release, Spotify streaming, How
do you make it work? You know, no one. I mean,
it's a really big head scratcher. And we could have

(28:55):
a whole other podcast about the equity of what we're
paid as creators and of what we're paid at even
as engineers. You know, on the liner notes, which where
are liner notes nowadays? Well, thankfully, you know, with with
with some political action. You know, liner credits exist now
a little more publicly, but for long time, you know,
most of what I did, you know, I mean, you know,
no one knows my name or anything. You know all

(29:17):
these projects, yeah sure, you know, like those are those
are big, high profile things. But I'm like a liner
note that no longer exists on the CD, that no
longer exists, you know what I mean? And and so
my passion now to kind of land all this is
is how do we as a community of music professionals
and creatives help either pave the way or kick down

(29:38):
the door of making this make a little more logical sense,
you know, in the gap between learning your craft, creating
your craft, which is hard enough as it is, by
the way, but then learning the business side being the
entrepreneur that can do it all yourself. You know. I
have a friend who who did a song that blew

(29:58):
up and went viral, the whole story and got literally
the next day phone called by every major label, and
he turned them all down, turned them all down. And
this was like two years ago, and they're still doing
it themselves. I mean that takes a ton of like
strength and courage fortitude, you know, but he knew in
the long run he'd probably be better off. They've got

(30:19):
this platform now. And so these are the things I
think that we as a community, and what you guys
are doing is great with this podcast to help figure out, Yes, creative,
but this is a business. We do need to make
an income, we do need to monetize it. These are
not bad words, These are not scary words. You know,
going after a certain level of income, going after you know,

(30:40):
sustaining your livelihood to pay the rent, that is real.
We need we need to solve that better, you know,
as a creative community. And yeah, that's what I'm passionate
about now, you know, even though it's still incredibly hard.

Speaker 2 (30:53):
You know.

Speaker 3 (30:54):
One of the reasons I got in, one of the
reasons why I actually decided to go for music, which
was the thing I loved, is that, you know, after
I finished college and I was doing music as a
you know, as for fun, as what I love to do,
but I thought I'd have to get a you know,
real job, you know. And that wasn't My parents weren't
telling me that this is just like my head, you know.
And it wasn't until I saw my friends who were

(31:15):
going into the finance industry, who were becoming doctors, who
were becoming all the real job things. They were saying
to me, you know, it's it's so hard, the hours,
you know, it's cutthroat, the things I have to I
got to stay up. And it's like, well wait a minute,
that's all the stuff that the music business is scaring
me about. Like, okay, well I'm going to go for that,

(31:36):
because if they're complaining about the hours and the cutthroat
and that I might not make it. You know, financial
advisors that coming to be like, all right, here's a book,
I go make it work or you're out. You know,
I'm like, well, shoot, might as well go for the
music industry, you know, you know it is. It is unfortunate.
I think that you know, music has become commoditized as such,
where you know, unfortunately, you know, the listener virtually expects

(31:59):
it for free, and that's real tragedy, right, So I'd
love for us to figure out a way to change that.

Speaker 4 (32:04):
Well, thank you for talking to us about it. And
there are many more topics that we can cover on
this that you have expertise in, and even if it's
down to like what you were saying about building studios,
like being able to do that on a budget where
you can take whatever's left over from that to hire
someone like yourself within their home studio or have better

(32:26):
instruments to play it on or to have that money
to market the music lives.

Speaker 3 (32:31):
In a vacuum. There's a lot to be said, and
it does go back to you know, age old cliches,
but it's always you know, finding that value, finding how
you can do things on you know, whatever your budget is, obviously,
finding the why you're doing it, having the fortitude up
to a point, which we talked about earlier, you know,
and and and having a lot of irons you know,

(32:52):
in the fire. That's kind of been my kind of
story of how I've managed to hang on this long,
you know, and get kind of I guess you could say,
to the other side of thankfully being able to do
it for so long as I have full time, you know.
And yeah, I'll end on the fact that we do,
you know, we really do as a music creative community
do need to find ways to figure And when I

(33:14):
say figure it out, I don't mean like, you know,
fight the man and all this kind of talk. But
it's like, you know, you go watch the latest Transformers
movie and you pay forty bucks, Like everyone watches that
and they know what it took to create that, which
is no small feat. Twenty million dollars Okay, music is
similar in the case that I just don't think it's
as obvious of really how much goes into what we do,

(33:40):
and so finding equitable ways and championing that all while
individually on a Monday, figuring out how we're gonna make
it work is equally important, you know, ahead, but also
looking at all, right, what can we do today to
further my reach in the endeavor on friends you, either
as a singer, songwriter or whatever it is in music.

Speaker 4 (34:01):
We have a friend Megan Burt who lives out by you,
and her Patreon did so well or proud funding because
she went and said, it costs us much to do
A this much to do b this much to do
see and even someone who's been doing it as long
as Chris and I have, we're like, oh man, those
prices have gone up, like and I think that really

(34:25):
brought a lot of attention to people saying, hey, we
want to support her not only to make this album,
but to get it out there and market it, because
it does take a village to stand behind this musician,
because that's a lot of money for anyone to, you know,
let alone in a career that you know you might
be playing side gigs for you know, one hundred and
fifty to three hundred bucks a night here and there.

Speaker 3 (34:46):
Absolutely, Yeah, But yeah, the breakdown if you take a
chunk of money and say I'm going to make music,
the pie that that's broken into now is so much
different obviously than it was where you know, in terms
of what it used to take the record an album.
You know, now it's almost flipped to where you know,
so much of that budget you know, being used, especially
as an independent artist. And I think that's there's a

(35:08):
there's a very positive conversation to we have about that.
I love. I love the opportunities that do exist now
that just simply didn't it exist. So there is a
lot to celebrate for us trying to you know, make
original music and get it out there. The learning curves
are just adapting. That's kind of the big difference.

Speaker 4 (35:25):
Well, thank you so much for spending all this time
with us, and know how busy you are, so it
really means a lot, and thank you for being so
gracious with your time and your expertise.

Speaker 3 (35:34):
Really appreciate it. Thanks, thank you, Yeah, thank you guys.
Thanks for inviting me. You know, I hope it was helpful.
You know in some way to this conversation. I think
it's great what you guys are doing, and I appreciate
it so much for being invited to talk to you guys.
Thanks so much, guys, Thank you.

Speaker 2 (35:48):
Thanks man.

Speaker 4 (35:59):
You know how many minute Dona's four minute song is.
Can't look it up?

Speaker 2 (36:02):
Don't look it up, man, Three minutes ninety seven seconds.

Speaker 4 (36:07):
Three minutes ten seconds, that wouldn't make.

Speaker 2 (36:09):
Any sense, three minutes and fifty eight seconds.

Speaker 4 (36:14):
Three minutes and one hundred and twenty seconds. I'm still
glad we're talking about Fader Pro to start this episode,
because when I first met Evince, I tried to get
on the Fader Pro affiliate program for our website to
get deals for all our listeners, and we were rejected.

(36:35):
And we were right fully so rejected because we didn't
have any followers at the time, nor did we have
anyone to our website. But when I called him after
the video and I'm like, dude, we need to get
on the affiliate program for that, He's like, yeah, let
me call my guy, and within minutes, Chris, we were accepted.

Speaker 2 (36:50):
Yeah.

Speaker 4 (36:51):
Yeah, gotta know it. Sometimes you gotta know someone that's true.

Speaker 2 (36:55):
Yeah, he's a good one to know and good for
us and good for our all our listeners.

Speaker 4 (37:01):
Yes, absolutely so.

Speaker 5 (37:02):
I mean.

Speaker 4 (37:04):
It's awesome that he started it, and much like how
we started this, he wanted to find a solution to
help other producers and mixers learn how to do what
he did and do it in a different way. And
Fader pro has grown so much since it started, and
I highly recommend everyone check it out when you have
a chance to see all their tutorials.

Speaker 2 (37:26):
Especially if producing or mixing is a part of your
process that you are in control of, the one part
that you want to improve on, or just the part
that you want to be able to watch other people
doing it. Like we said that last episode, everyone learns differently,
and Vince and I are very similar in that we
both learned by watching and then doing right that those

(37:47):
are the the easiest ways for me to get something
down is by watching it, not by reading it, not
by someone telling me about it. I need to watch
them do it. So there's really a lot of value
to being able to get the insider video footage of
what these guys do and how they do it.

Speaker 4 (38:06):
I think that's also something inspiring for musicians to share
what you know. I mean if you don't just don't
underestimate that power of how you could connect not only
with your audience, but with other musicians. And if you
have a little spot on your website that you know,
for a blog or anything, I mean, share what you know,

(38:26):
share what you went through today, lessons learned. It's fun
and give us back, and you might even learn more
by articulating it in a way for people to understand
and give you feedback, so you no longer feel alone
in that situation.

Speaker 2 (38:40):
It's fun to focus on electronic music. I don't know
how many times I've been able to talk about electronic music,
but I used to actually teach the history of electronic
music at the university, and that course. I did not
know a lot about electronic music when they gave me
that course to teach, and it changed my understanding of

(39:05):
the electronic world and and understanding how big it is,
and how many different genres there are within electronic music itself,
you know, and and sub genres and very eclectic little
teeny you know, sub sub subgenres, and and how much
of an audience there really is for that whole world.

Speaker 4 (39:26):
What did you go into a lot of shows when
you were graduating from school because your thesis had to
do with sign language and you were describing how people
that can't hear feel music differently.

Speaker 2 (39:42):
What you like that, Yeah, yeah, I went I when
I was studying music in the deaf culture. That's kind
of my senior thesis for my undergrad I attended and
hung out with a lot of deaf people because that
was my foreign language, which was also very bizarre as

(40:02):
a vocal major.

Speaker 4 (40:03):
Any minor in Mali.

Speaker 2 (40:04):
One on one right, I never touched this stuff, but
I could tell a lot of people did at those shows,
but they were all well, I would say eighty ninety
percent of the people at these concerts that I attended
were deaf, and most of them are fully deaf. Like
it's not just like mostly death and so they have

(40:28):
it's mostly it's all electronic music. They don't listen to
the singer songwriter because there's not much reason for it,
because most of what they get out of it is
is the physical vibration, you know, and so they can
feel the beat. They can feel the beat, and then
it's very visual. There's a lot of lights flashing, and
it's incredibly loud, and it's full of intense changes and stuff,

(40:51):
because that is what they experience as being deaf. It's
the physical part of it.

Speaker 4 (40:55):
Well, imagine communicating with sign language and being on Mali
or Ascid that the trails on that have to be amazing.
Your words, I feel insane.

Speaker 2 (41:08):
Yeah, that's right.

Speaker 3 (41:09):
I like.

Speaker 2 (41:10):
I enjoyed listening to him talk about his other passion
projects that he's found room for in this phase of
his career and talking about making music for the sake
of art.

Speaker 4 (41:22):
And without deadlines too, which is free, and.

Speaker 2 (41:27):
Doing it in a way of humbling, still learning, you know,
doing the parts that maybe you hadn't spent as much
focus on before, but now they interest you so much.
About being a career long artist is continually finding things
that inspire you, finding ways to feel excited, to keep learning,

(41:47):
and to keep pushing yourself forward. We can easily get
so caught up in the ego and forget that we
have to humble ourselves in order to learn something new.
It could be very frustrating, especially as you get older,
to learn anything new. You got, like what six instruments
over there trying to learn.

Speaker 4 (42:05):
But I the way I look at it is I
have hopefully an easy forty more years and my brain changed.
Where I used to think getting older was something that
would hinder me from doing that, but now it's something,
you know, Like he said, if just purely because your
soul calls for it, I mean, think about it. Twenty

(42:25):
out of college. To youre then forty, it's twenty year career,
that's awesome. Sixty is nothing. Sixty is nothing anymore. And
if you're using your brain every day and stretching and
staying fit, and you know, engaging with society and art,
I mean, that's a whole nother career you can have

(42:45):
doing whatever you want. And I realize when I'm looking
at myself talking right now, I think I have to
I'm getting passionate about what I'm talking about, but my
mouth is going to the side, like so it's like
a weird passion talk that I'm doing. I don't know,
I gotta stop doing that. But anyway, I'm totally serious
about what I'm saying.

Speaker 2 (43:06):
I liked how he was able to bring up what
he's doing can fit in with his life and what
he wants to do, and supporting his spouse. All of
that kind of worked together in that example. When he
went to London, recently and was able to book Peter
Gabriel's studio and then also meet with his team from

(43:27):
Fader Pro and then also support his wife to run
that marathon. I mean, I love synchronicity like that because
it I think those are those kind of keys in
life that tell you you're doing the right thing, you know,
when things are just like working and you're like, wow,
we did all that and we made it work. It's really,

(43:47):
I think the easiest way to have signals from the
universe telling you that you're on the right path.

Speaker 4 (43:54):
I think, you know, after being a runner as long
as he was, I was surprised he didn't do the
right because he was he was a runner at the studio,
Oh getting coffee.

Speaker 2 (44:06):
Sorry, it was a little distracted because you're also wearing
a shirt that this is Boulder Running Company. I wasn't
sure how literally you're being there.

Speaker 4 (44:15):
It's all right, sure, everyone at home, it's not looking
at the T shirt. They're listening and going, God, Dave's
so fucking funny.

Speaker 2 (44:25):
Yeah, that's what they're saying.

Speaker 4 (44:27):
All his jokes are only funny to him.

Speaker 2 (44:31):
Let's let's let's shift over and talk about the mixing
game and and talk about how hard it can be.
I think to get into that part of the industry.
I do think there's a lot of competition there and
only a few spots. Right, there's only a few seats
in front of the mixing board, and everyone wants, Like
he said, the person that did the other thing that

(44:52):
was really successful, and one point that he made was
how fast can you be doing what it is need
to do? That's what people care about in that part
of the industry. I don't think you would get that
same answer like singer songwriter or songwriters that this is
their career.

Speaker 3 (45:10):
Right.

Speaker 2 (45:10):
We know some lots of people in especially like Nashville area,
and they have a nine to five essentially writing session
every day of the week. You know, it's pretty standard.
But they don't go in there being like, let's see
how fast, Like if you're not a fast writer, I'm
not having you back. You know they're That isn't how
it works in other parts of this industry. But mixers
they have that pressure. They have to be they know

(45:32):
all the shortcuts, they know they know their dolls, they
know all the dolls, right. They have to know whatever
they're working and they have to be ready to work
with that project that in that system or whatever they're
using has to be incredibly fluent in it.

Speaker 4 (45:47):
We'll think of it from a musician's point of view
that hires that producer or mixer. I mean, if they're
taking a long time to get through something, that's dollar
dollar bills baby, totally, you know. And if someone's not fast,
you know, it's just a hole in someone's pocket.

Speaker 2 (46:03):
Yeah, and that is one hundred percent true. I wouldn't
want to work with a slow mixer. I wouldn't want
to work with somebody who has to look up the
shortcuts while they're going. It reminded me of one of
the last album I recorded before I moved to Chicago
with the band I was in back there, called the
Lotus Band. We recorded in this nice studio that he

(46:24):
had just converted from an analog to a digital. It
was like the first pro tools version. And so I
don't think it was him, but he was learning it
a bit as he goes. He was very successful previously
in working with lots of big artists in the Chicago area,
and he certainly knew how to record, you know, and

(46:47):
be a good producer and mixer, but he had this
learning curve of dealing with pro tools in the early stages,
and the main thing that kepts happening that was driving
us crazy was it would freeze and then it would
have to be rebooted and that would take like twenty
minutes to do, and we would be like, we're paying
you per hour. This sucks, you know. Yeah, And so

(47:11):
that part of it is a factor too, like what
are we working with here? You know, sometimes it's not
necessarily the best thing to work with the brand new things,
you know, new technology, because maybe those kinks are still
being worked out less of a situation now than it
was at the beginning. But I still think that's relevant
to this conversation because when you were talking about the
mixer's game, I don't think we would never go back

(47:32):
to him again, even though I don't know. That was
twenty some years ago, and I'm sure he's gotten better
if he's even in the game anymore. He was already
old fact then, So who knows what's going on, but
it is. It is definitely a factor, and a legitimate one.

Speaker 4 (47:46):
Which is funny because Vince was deliberately talking about how
he flipped its process to slow down and go deeper,
which obviously he's talking about the art there, but you
know that's like two to Sometimes growth sometimes looks like
doing the opposite of what made you successful in the
first place. It's not how fast can you get to

(48:08):
the finish line?

Speaker 2 (48:09):
Right? And the creative process is a funky thing, right,
like we sometimes we can write. I watch a lot
of Chris Martin videos by him talking about how I
wrote songs, and certain songs come out of the strangest places,
and he's arguably one of the best songwriters right now
in mainstream music. He talks about how sometimes it's like

(48:31):
it comes from trying to write a song for a
couple hours and basically giving up, almost leaving, and then
something got him to stop, like a person said, oh wait,
come on, we can work for a little bit longer,
and then boom out comes the next big hit. You know,
in ten twenty minutes. It's just a very strange thing,
and you can't pressure that end of the industry. You

(48:53):
can't speed that and expect those great results. It comes
from a messy, organic and expressive place that is full
of weird things, whereas mixing and that part of things
I think is much more cut and dry. I mean,
it's still got plenty of art involved, but the task

(49:17):
is much more clear.

Speaker 4 (49:19):
I think for both you do have to show up
for though. And with the songwriting, I think many years, oh,
nothing's happening, you know, no new songs are coming out. Well,
how many times did I sit down and say, Okay,
I'm going to dedicate this time, you know? And I
learned that way later that sometimes you just have to

(49:40):
show up for it.

Speaker 2 (49:41):
Yeah. Well, and if Vince hadn't had all the situations
that experience of working with these high profile artists and
having that pressure and having to be pushed, he wouldn't
be as fast as he is, right, he wouldn't be
as fluent and incredibly impressive at doing it as he is.

Speaker 3 (49:58):
Yeah.

Speaker 2 (49:59):
Right, that pressure you come out the diamond, right or
something like that.

Speaker 4 (50:06):
And he talked from there. He talked about how much
pressure anyone can handle. And I was very personally, I
was very proud of the question, like, what's you know
a myth in the music industry that you just do
not agree with? And it's like, you don't need to
destroy yourself, you don't need to go all in to
be successful in music.

Speaker 2 (50:27):
It's real to whatever it takes right.

Speaker 4 (50:30):
Yeah, So, I mean, I think sustainability is something that
we talk about financially, but he's talking about it is mentally.
You know, make sure you're there to have a long
career and don't burn yourself out. Make that a part
of your artists plan totally well.

Speaker 2 (50:47):
I think also, you know, he talked about writing with
or working with Timberlake and experiencing how other people that
are at this level that most of us will never
achieve their works. And he didn't necessarily say it like that,
but I got from that how he witnessed how other
people function at this high level. You know, I think

(51:08):
that is really what his education platform does. That gives
the gift of letting you see how these people that
are at the top function, How do they work, what's
their workflow like, you know, like what is their energy? Like,
what is their attitude like? All of that I think
is the most useful stuff you can get from witnessing

(51:30):
how other people are working around you at this top level.
And Timberlake he talked about how he comes to start
and starts with the beat, and their processes are all different.
You talk about songwriters, and some people start with the
song and we asked him that question, do you start
with the song? Do you start with the beat? You know?
And it can always depend on what the results are
trying to be. But that diversification in style proficiency, the

(51:52):
fact that he's worked with so many artists in so
many different styles allows him to know maybe what might
be the best approach for this next project.

Speaker 4 (52:00):
With that also finding his style of saying, Hey, I
like to take real instruments in this electronic field and
add them as much as I can his own little signature,
so he was saying, be versatile with different genres, but
have your message to find Markeet your range without losing

(52:20):
your identity, believe is what he said.

Speaker 2 (52:22):
Yeah, yeah, and how about working with Mariah Carey and
her stuff? And I love that he was humbly telling
you guys that it wasn't a great paycheck, or at
least it wasn't any better than the others, even though
it was Mariah Carey. But how much he understood another
one of those moments where he understood that was going

(52:43):
to lead to so many opportunities, that the opportunity is
where the biggest value was coming. Everybody says this every interview.
We ever do but it always comes back to networking
and word of mouth. You know, there was no short
answer to how he's had so many incredible opportune it
needs to work with these people that everyone else would
die to work with. Except for that, it was networking

(53:06):
and it was word of mouth because he kept showing
up being the best at what he was doing, showing
his value and being easy to work with.

Speaker 4 (53:14):
I didn't even think of that as far as liner notes.
You know that being a concern for a producer or
mixer that before your name lived there on a piece
of paper, a physical product, and then for everything to
go to digital, how many times would someone even see
your name unless you're getting an award for it? Or again,

(53:35):
it would have to be word of mouth to say
I worked with Vince who was fantastic. You should work
with them too.

Speaker 2 (53:42):
Yeah, I mean, how many people really watch the mixing
awards section of the Grammys anyways? I don't think many us.
We do, but not the general public. And the same
goes with it. You can find those liner notes on Spotify,
You can find them on your streaming site. You just
got to go look for him. But I do think

(54:02):
that some people don't put them on there and that's
really not okay, and it you know, I think he's right.
It needs to change, It needs to be simplified, and
it needs to be standard. Another thing that repeats itself
with all of our guests is this reality that this

(54:23):
occupation is as much as it's different in the path
that you have to take and how everyone can find
a different path, the reality is the scariness and the
hard aspect to it aren't that different than any other
great achievement in any other industry or any other goal
in life. And truthfully that concept being true that no

(54:49):
matter what, whatever you're doing, it can be hard and scary,
you might as well do what it is that you
really want to do with this one life. And if
it really is music or art that you want to
create or be in involved in, don't let being hard
or scary be the reason you don't go for it.

Speaker 4 (55:06):
Imagine the outcome for what he describing that story with
finance or medicine was the payoff was just money. It
wasn't loving what they were doing. They were bitching about it.
So if it's music that you love to do and
money is the one thing that you could learn how
to make money, but if you love what you're doing already,

(55:29):
that's got to be hard to be in medicine or
finance some way and then try to find the love again.

Speaker 2 (55:36):
And that really goes along with teaching to be honest, too,
because if you really have a passion for helping other
people achieve great success in the industry that you've had
success in or not, even if you're just someone who
just loves teaching, you will find a way to make
enough money. And I really think people need to hear

(55:56):
that because it doesn't mean that it doesn't always mean
traditional thing some people we've we've talked a lot about
how musicians can increase their income as a as an educator,
and a lot of times it's being a little more
creative about how you're teaching or where you're teaching. But
the truth is that if you really have that passion,

(56:18):
the money will follow. And no matter what every time,
if it's really something that you're bringing a great value
to these other people, the money will come behind that.

Speaker 4 (56:28):
It comes with purpose. I think if you find your purpose,
what you want to wake up to every morning and
fill your life with, like you said, you could find
money to do it. And if it's all hard anyway,
might as well do what you're calling is.

Speaker 2 (56:42):
Yeah, you know, there's something else that somebody said to
me that is pertinent to this, in that if you
also are leaning into this fear, into the all of
the negative parts that make us, that hold us back
from doing what it is we want to do, that
the inner monologue can often be so distracting that you

(57:05):
can't get to the things that you want, like they're
the reason. It's not the fear, it's not the scary things.
It's the fear of the scary things that is actually
what's going to stop you from ever making it in
this industry.

Speaker 4 (57:19):
I believe it was you that said that. I think
you're saying again something that's really profound and trying to
point it on someone else. And really these are things
that I've heard you say before.

Speaker 2 (57:30):
Well, I do believe them. I really do think that
we we so many people, you know, I don't think
I think it was probably another president Eisenhower that said
the only thing where we have to fear is fear itself, right,
that is what Henry Ford, I don't know, whatever one
of the presidents.

Speaker 4 (57:49):
I love how you have all these president quotes in
your brains.

Speaker 2 (57:58):
Jfk oh okay, John F.

Speaker 4 (58:02):
Kennedy, whatever, No, No, it wasn't It was Frank Clinton, Roosevelt.

Speaker 2 (58:08):
It was Roosevelt.

Speaker 4 (58:09):
Okay, through all that and you nailed it right out
of the gates.

Speaker 2 (58:13):
Great edit the rest is out?

Speaker 4 (58:15):
Why that would be no fun? Don't you dare edit
it out?

Speaker 2 (58:19):
Well, all of this I think leads to a good
action step for us this week. I think we need
to stop and listen a little bit more. Wait, I'm
gonna go on a little tangent here for a second.
What I mean by listen is actually listen to your
inner monologue. And I have a funny story because my
son is really into listening to rap and some electronic music.

(58:43):
But when he listens, he thinks that means staring at
the little shorts, you know, on the videos that are
now included on the streaming sites with the song. He
can't listen without looking. Can I really think this new
generation is gon used on what listening to music means.
It's gotten so attached to the visuals that we can't

(59:05):
just listen and actually let that be the only sense
that we're absorbing it. With side tangent, but I do
think it's relevant in this conversation here because when I
want you to listen to your inn monologue, I mean
like close your eyes and stop doing everything else, because
you really aren't allowing yourself to hear what it is
that you're actually worried about. So spend some time with

(59:28):
that inner monologue, listening, identifying what it is you're worrying
about and what perhaps you maybe we're not aware of
because it was more in your subconscious mind. This inner
monologue can cause so much stress and derail any of
the process or progress from ever happening. This is the
part of the work that needs to happen in order

(59:49):
to reach that success that you want. We know your
time is valuable and we appreciate you spending this time
with us and being a part of this community. It
is our hope that you feel that sense of community
here at musicians tip jar and that will help spread
the word to make us all stronger. If you'd like
to get a hold of us or vince what's the
best way to do that.

Speaker 4 (01:00:06):
Musicians tipjart at Gmail and musicians tipcar dot com, where
you can check out all the resources and discounts we
have collected just for you. Check out all our episodes
now on YouTube. If you find this information useful, please rate,
subscribe to the podcast and slam that like button so
we can help keep you up on the finance side
of your music business. Check out faderpro dot com to
find all you need to know about Vince and we'll

(01:00:29):
put his socials and other websites in the liner notes
as well. You're gonna put his social security with the
liner notes. He's used to being in the liner notes.
He doesn't need his name front and center. You have
to go search for it.

Speaker 2 (01:00:46):
As always. Thank you for joining us, and remember there
is already enough for everyone. You just need to know
how to get it. Until next time on behalf of
Dave Damkin and myself Chris Web stay happy, healthy and wealthy.
Listen to that in your voice. Trust your gut. It
knows before your brain can explain. This is musician's tip, Jar.

Speaker 1 (01:01:12):
Somebody somebody.

Speaker 5 (01:01:19):
Nothing on this show should be considered specific personal or
professional advice. Please consult an appropriate tax, legal, business, or
financial professional for individualized advice. Individual results are not guaranteed,
and all discussed strategies have the potential for property loss.
So operating on behalf of the musicians Tip jar l
L exclusively

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130. Becoming a Multi-Platinum Music Producer: Vince DiPasquale on Burnout, FaderPro & Authenticity | Part 2

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}130. Becoming a Multi-Platinum Music Producer: Vince DiPasquale on Burnout, FaderPro & Authenticity | Part 2