#243 - Creating Unforgettable Client Experiences - Secret Sonics

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Don't make your clients feel hospitalized.

Speaker 2 (00:03):
Don't make them No, don't make them hospitalized. Just don't
make them make them feel hospitalized.

Speaker 1 (00:11):
They had a good time, you may have a fair time. Hi.

Speaker 2 (00:16):
I'm Ben and I'm Carl, and you're listening to Secret Sonics,
honest conversations chock full of tactical advice to help you
build your dream career in music and audio.

Speaker 1 (00:26):
Whether it's skill development, mixing mindsets, personal branding, or work
life balance. We talk about ways to help set yourself
up for success in the ever changing music industry. Let's
get started. Hi, Ben, Hi Carl. You just interrupted me.
I was in the middle of a wonderful banter and
you said, oh, you didn't say Hi Ben yet, and

(00:46):
then I had to stop. Derailed me.

Speaker 2 (00:49):
But it's right, but you were about to say something.

Speaker 1 (00:51):
So I'm just gonna say something that this is not
necessarily relevant to today's episode, but something that I've always
as a drummer, I've noticed a lot and to pay
a lot of attention to you. Now, a little behind
the curtain before we start recording these episodes, Ben does
a little, you know, clap countdown thing, you know, so
we can clap and sick. It makes it easier to

(01:13):
line all the stuff up and post YadA, YadA YadA.
Nothing crazy new there. But one of the things that
Ben tries to do is to pick a specific bpm
and like almost like how Babe Ruth would you know,
point out to the field and try to call where
he would hit the home run. Yes, Ben does that
with bpms and what he's gonna can I count down?

Speaker 2 (01:35):
Well, this is all originated because I was terribly slow
at bpms for these countants and Carl's like, why are
you counting down so slowly? And so for like thirty episodes,
I was at like sixty bpm and Carl's like, dude,
come on.

Speaker 1 (01:51):
To be fair, it's not that the speed objectively as
a problem, where like the bpm matters when you're doing this,
but it's more that it was so slow. It was
so hard to like clapp in time. So instead of
like three two one clap, it was like three two.
It was like the countdown timer when you watch like

(02:14):
an action movie, like a James Bond movie and there's like, yeah,
ten seconds left for like twenty minutes, you know, like
that's That's kind of how I felt Anyway, what I
was saying before I was so rudely interrupted by mister
wallak over here was that one of the things that
made me really love playing along with a Click, especially live,
was the fact that depending on your mood, depending on

(02:35):
the adrenaline, the energy, how much coffee you had before
the show, how much well rum you had before the show.
You know, your perception of time and your perception speed
varies depending on the situation and depending on your you know,
your momentary brain chemistry. So I feel like there are

(02:55):
a few tempos that I feel like I can nail it,
no matter why. But then I'm just thinking here too,
like you know, my Copye's kicking in. Maybe what I
feel is one eleven was not actually one eleven. But
then the next step was, well, how do I know
what is reality? You know? How does it matter if
it works for me and it works for Ben. Is

(03:16):
there some sort of like tempo god that's going to
come down and smite us? And then I realized, Carl,
what is wrong with you? This doesn't matter, Shut the
hell up, get on with the episode. And that's probably
the same thought that every listener is having as well.

Speaker 2 (03:29):
So well, if we're going to like pseudoscience silliness. I've
felt like BPM's felt different in different countries. Even this
is like kind of maybe everyone's like, shut up, Ben,
this is not a thing. But when I was in England,
I felt like the tempo's felt different than here in America,
in Israel or in America, Like I felt like the
tempo's felt I had a different resonance.

Speaker 1 (03:48):
Like it was just like so like how the pro
tools meters sound different.

Speaker 2 (03:51):
Exactly.

Speaker 1 (03:53):
We're not going to get into that, like it definitely not.

Speaker 2 (03:56):
True, but like, I don't know, maybe I was in
some sort of altered you know, post flying state that
I felt that.

Speaker 1 (04:02):
If it was jet lag or it was just like
the excitement of being in a new place, yep, exactly.

Speaker 2 (04:08):
But anyway, Yeah, we were going to talk about being
particularly hospitable and helping your The artists you work with
have such an amazing experience working with you that they
wouldn't dream of working with anyone else because you are
their dream because you're just so accommodating and you're making
them such an amazing experience. What's the term hospitality.

Speaker 1 (04:32):
Something unreasonable hospitality.

Speaker 2 (04:34):
Unreasonable hospitality. Yeah, so yeah, you mentioned to me also
that you've you've been discussing this in studio Land and
that it's something that's the top of mind for you.
So I'm in for this because I think this is
super important. So maybe you can get us kicked off here. Yes,
it looks like you just went to get some sort
of book or yes.

Speaker 1 (04:53):
Yes, okay, So this is something that I was actually
talking about in studio Land for all of March, so
I know that this is going to be coming out
a couple of weeks after we wrapped up this particular
month's series about this, but a few months ago at
this point, I got this book Unreasonable Hospitality by Well Gadara,

(05:15):
and the whole idea behind it is, you know, he's
a restauranteur working at some of the best restaurants in
the world and eventually running the best like award winning
like rated like the best restaurant in the world. And
I thought it was going to be a bit more
of a more of a business book than it actually was.
It ended up being a lot more of a business

(05:38):
focused autobiography, I guess, which is not a bad thing.
But I thought there was going to be a little
bit more some more tactics in there, But I think
with what ended up helping me was the fact that
there wasn't. I feel like the fact that it was
much more about his his approach and what he's seen
in the restaurant industry of what are things that the

(05:59):
restaurants can do. What are things that not not just
the individual servers or the hostess or the chef, but
like the culture that they create within a restaurant, what
are the things that they can do to make that
restaurant just be such a unique special experience that people
will make a reservation, you know, nine months in advance,
that they will pay hundreds and hundreds of dollars to

(06:22):
go and have a meal that they have no idea
what the food's going to be because they just know
that the experience this stuff is going to be so insane.
And what I love about some of the examples that
he talks about is it's not gimmicky. And I think
that's something I want to be very clear about right now,
that it's not gimmicky, like over the top ridiculous things,
because I've experienced some of those in restaurants before. While

(06:45):
on the road, I want to talk about at some
point the most ridiculous whiskey I've ever had, But he
talks about even simple examples of one of the restaurants
that he was at, they one of the waiters overheard
somebody at a table sing how they have to, you know,
go feed the meter soon, and the way staff just
went back, got some quarters, went outside, put quarters in

(07:08):
the in the meter for them, and then came back
and said, hey, you know, I overheard you talking about that.
Don't worry about it. We took care of it. You know,
like simple little gestures like that that maybe cost the restaurant,
you know, like two dollars, but made such a huge
impression on those diners because it was something so thoughtful

(07:28):
and so like simple, but it enabled them to like
continue enjoying their meal. They didn't have to like go
get their coat on, go outside, put money in the meter,
come back. They didn't have to interrupt the the moment
that they were they were sharing together with their friends.
So the reason that I said, I'm kind of glad
that it didn't have a whole bunch of like specific
tactics and it was just more of a an autobiography

(07:52):
of observations, Teddy said, is it actually made it a
lot more difficult and easy for me to to apply
this to us as audio professionals because the examples that
he used were not so uniquely perfectly specific that you
have to do this, this and this and then the
diners will be happy. It was just more of a

(08:15):
way of thinking and a way of approaching your business
in a way of approaching your client interactions. And I've
never really thought about it as hospitality. But this is
stuff that I've been paying a lot of attention to
and trying really hard to do for my entire career,
and I just never really put it into the words
of hospitality or thinking of it in like the frame

(08:38):
of hospitality, because I feel like that's not a word
that we typically associate with recording studios or like mixing
engineers mastering engineers. So it opened up a lot of
new ways of thinking for me, and also a lot
of ways of really refining the things that I'm already

(08:58):
doing as far as trying to work on the client
experience and making it fantastic.

Speaker 2 (09:03):
Yeah, maybe you could start us off with like some
sort of example of something that you were able to
refine based on what you read in this book, or
maybe you could even say, like this is a mindset
that was illuminating from the book that I was instantly
able to apply to my audio business and give us
that example.

Speaker 1 (09:21):
So I guess client experience has always been something that
I've cared about, and I'm not always been good at it,
you know what I mean. Like that's I'm not going
to say I'm perfect at it by any stretch, because
I'm always screwing up and trying different things. But maybe
a very simple, specific example that I started doing recently,
and this is actually kind of in a way inspired

(09:42):
by that parking meter story, where maybe kind of analyze
my interactions with my clients and think of what are
some really very low cost things that have a lot
of personality and like personalization in it and that will
make them feel right. And I had an idea, like

(10:04):
this is for Studio land right now, like for all
the members in there. I thought, what if I just
handwrite a letter to everybody that's in there, everybody that joins,
Just something that simple, right. I don't know how expensive
it would be to mail stuff overseas because there are
you know, a lot of the members are international. And
something I did not know even was a thing is

(10:26):
that here in the US, you know, we have the
Forever stamps, which is like, you know, you can buy
your stamps, you know, at whatever price they are now,
and then even if the price goes up later, I
could still use that stamp. I did not realize that
there are global Forever stamps, which is the same concept,
but for international airmail, so I could send a letter

(10:47):
to anywhere in the US. For I think the current
stamp price is like seventy seven cents, like it's it
went up quite a bit since last time I bought stamps,
because it's twenty twenty five, I don't.

Speaker 2 (11:00):
Guess thirty something since because that was I think the
last time I remember buying stamps in America.

Speaker 1 (11:04):
Yeah, I mean yeah, because like, yeah, I don't. I
never mail stuff, you know, Like if I have to
mail anything, it's usually like if I'm paying if I
have to pay a bill with a check or something,
which I don't even know what that was, or if
I have to sign something and like mail it back
to like the insurance company or something, usually they give
you like a you know, a prepaid envelope. So like,
I haven't bought stamps in probably like five or six years,

(11:28):
you know, so anyway, but I was like, okay, well
it's like seventy some cents. Envelopes are basically negligibly priced,
you know, like I can get a fifty pack for
like three bucks or something, and obviously, like you know,
printer ink and paper. You know, it's a very very
very minimal cost. And then I looked at the prices
for international, thinking it was going to be ridiculous, and

(11:50):
it's like a dollar sixty something. Like, it's like a
buck sixty five, I think to like to mail a
letter anywhere in the world. So I was like, that's
nothing relative to you know, whether it's like a mixing
client that's giving me hundreds or thousands of dollars, or
like one of my students it's giving me, you know,
hundreds or thousands of dollars, Like I can spare a

(12:12):
dollar sixty five to do something special for them, you know,
like it almost becomes like such an obvious no brainer.
It actually sparked me to make some custom studio land letterhead.
I made a whole new logo for it, which I've
been putting off for a long time, and I was like,
I'm gonna make a cool new logo, make a little letterhead.
I went out and I got some like card stock

(12:33):
some this is like pastel colored card stock from Target
and just made like a bunch of these things. So
it's like thicker paper. So my thought being, I want
it to be something that they would never want to
throw away as something, you know. I wanted to be
like it's colorful, it's like thicker paper, it's handwritten, it's
just like something it's a little bit special. And I

(12:55):
sent an email out to all of the members and
just said, hey, give me your mail like address. I
want to send you something. And obviously it's not going
to like change the world, but it was the first
idea that I had that I was like, Okay, this
is something that I think can create another memory, just
make it feel extra special and something that is not,

(13:16):
you know, relative to the amount of money that a
client pays me, this is like nothing. You know, if
I don't have a dollar sixty five to spare, then
I should be changing my pricing structure. But then also like,
because I'm remote, I'm like fully remote. This is something
that I could do for my mixing clients as well,
you know, or for mastering clients. Or whoever. Because usually

(13:40):
the big thing that I had to really like pull
myself away from the examples in the book and try
to like really apply it very thirty thousand foot you know,
approach to it was the fact that I'm remote. So
a lot of the things, all of the examples in
the book that he uses are not only just for restaurants,
but also obvious, like in person situation. So it made

(14:04):
me start going down this rabbit hole of trying to
find ways that I can create memorable client experiences for
people that are not physically ever going to be setting
foot into here, you know, because a lot of the
examples I can think of for studio owners would be,
like you have a coffee maker, or you have like
really good beans, or maybe like you know, you have
a grinder, and like you freshly grind the coffee for

(14:25):
every every session that you do, like like little little
dumb things like that that people will remember. Or sometimes
people would like there's a lot of studios in LA
where they like, you know, bring in fresh baked cookies
or doughnuts or something, and like there are a lot
of things that are obvious a like fairly easy to do,
you know, like who's not going to be excited about

(14:46):
unexpected freshly baked cookies. But the challenge for a lot
of us being remote is that, you know, I can't
you know, I'm not going to like be able to
send you freshly baked cookies for our zoom hall, you know, so,
I mean I could, That's going to be insane. So
I've been trying to figure out other ways that, you know,

(15:07):
we as remote engineers or producers can do this and
find ways to create those little, extra, extra little things
that don't cost a lot of money but do have
a big impact.

Speaker 3 (15:19):
Yeah.

Speaker 1 (15:19):
Yeah. One of the things I've noticed over the past
twenty years being in the industry is that audio school
usually leaves most graduates completely unprepared for entering the industry.
I mean, sure, you learn how to rewire a patch
bay or sleep, but they probably won't teach you how
to stand out and attract the kinds of artists that
fuel your passion for recording. I appreciate what you bring
to the table, let alone pay their rates. You want

(15:40):
to get paid, and YouTube university is full of people
telling you that their way is the right way, and
it doesn't help you apply things to your unique struggles
personality and ideal clients. So I've been building studio land
to fill those gaps. We use structured learning paths, weekly
live classes in a private community of other pros to
help you discover how to turn your technical experts some
to a thriving business that attracts the right clients at

(16:03):
the right rates. Try it out for free the links
in the show notes.

Speaker 2 (16:08):
Man, I was thinking about this the whole time you're talking.
Is so I'm working on this like meditation app. And
in Israel, it's like a big thing to send people
like a gift around a holiday or like if a
company has employees, they'll usually have like nice things for
a holiday, so, you know, for Passover, they usually give
out like cards that you could spend in the supermarket,
will help you pay for your you know, your holiday

(16:29):
groceries and stuff. And so we just had the holiday
of Porim, which is like I guess the Jewish Halloween.
People dress up, drink alcohol and have a good time.
And there's a concept in that holiday where you give
out something called note, which is like a gift of
just food that you give to your neighbor or your
friend or whatever. And so people go around to houses
kind of like trick or treat, but usually they give

(16:52):
you something nice and you give them something nice back
or whatever. And the guys that I've been working on
this meditation app with just sent me like such a
nice thing just because they appreciated me. It was just
like it was this michelak my note with like a
bottle of wine and nice chocolate. It was just like, wow,
this is so nice. They really appreciate me. I've always
just been like a freelancer, so I never thought about

(17:12):
like getting any you know, any of my clients or
anything like this. But it really like it really resonated
with me, and I was like I told my wife,
like I need to get like my biggest clients something
really nice every year. Now like this is like like
it finally like clicked, Like this is like like I
felt so appreciated, and then if I send this to anyone,
they'll feel so appreciated. So it's like if they're sending me,
you know, thousands of dollars of business every year, like

(17:35):
I could send them something really nice for the holidays.
So thanks for reminding me about this, because I had
this this realization, you know, two weeks ago on Poor him.
When I got this this package, it was just so meaningful.
So I'm like, from the receiving end, I realized how
amazing this can be if you give this to someone else.
I guess it's for me, Like the artists that I'm

(17:57):
working with are not big enough client it's that I
would send them such a nice package. But there I
do have some audio clients that it would make sense,
you know what I mean.

Speaker 1 (18:07):
That's something that I was gonna say, is it depends
on the scope of the project.

Speaker 2 (18:12):
You know. I feel like, yeah, I've been busting my
balls for these guys, so it makes sense that the
scope of what they did, even though I was still
really honored, you know what I mean.

Speaker 1 (18:20):
Like yeah, And I think like an an obvious you know,
studio example would be, you know, if you're producing a
full album for somebody versus mastering a single, you know
what I mean, Like exactly, it's it has to be
kind of like relative.

Speaker 2 (18:36):
But if you're a mastering engineer and you have like
a few mixing engineers who send you most of their
stuff and you're consistently getting work from them, like that's
an amazing thing to do. It's to be like you
know those three mixers who send me, you know, twenty
tracks a year or more, like I'm going to get
them like some bouquet or something for Christmas or passoverever holiday,

(18:58):
you celebrate kind of thing you're.

Speaker 1 (18:59):
Going to show out a friend of the show, Nick
de Lorenzo, because a couple of years ago, like this
was it was. It might have been twenty twenty year,
twenty twenty one, when I was like in the the
thick of doing gosh, I don't know how many songs
I sent him. I probably sent him like over I
would not be surprised if I sent him like over
one hundred projects per year for a little bit. But

(19:21):
one year he like sent me a mocha pot, like
one of those like coffee makers, which I'd never had before,
and some some coffee with it as well, and I
that was like my new favorite thing for like a
couple of months, and I was just like, oh, I
can make coffee this way, you know, And it was
like something like he did not have to do that.
I did not expect that at all, But it stuck

(19:43):
with it and I still have it and I still
use it, and every time that I see it, I
think of Nick. Right, you know, not because it has
you know, like a pianorama mastering logo, want it or
anything like that. It was just like a regular mocha pot.
But the thoughtfulness of it, yeah, stuck with me all
these years.

Speaker 2 (19:58):
Yeah, you know, so so be thoughtful.

Speaker 1 (20:01):
Yeah, okay, so let's think of some other things we
could do. So we talked about like, you know, writing
writing a letter, liket, like a handwritten letter. I'll let
you know, I think both of these things before we
brainstorm some other ideas. What I think is so meaningful
about them, in my eyes is that they're physical and
not in a oh you know, like material items are

(20:23):
more important. But I think, especially for people like us
that work remotely with so many people, the fact that
any sort of like physical interaction is almost never going
to happen. Like I've I've probably worked on like hundreds
hundreds of songs with Nicholas and we've never met in person,
you know, even my my my partner Julian, who I've

(20:48):
been working together for working together for six or seven
years now, Like we've never met in person, and I
talked to him every single day, you know, So like
there are these relationships that we have that we have
the rapport, and we have the collaboration, and we have
like the one on one even like you and I
we've never met in person, you know. So like the
fact that we're able to have these these relationships as

(21:10):
friendships but never have any sort of like physical like interaction.
These little things like even just like a handwritten letter
or something is just a way to kind of like
bring these digital relationships into the physical reality. I don't
know that got really like healing crystals, see by the
end of that. But like, do you know what I mean?
Am I making sense? Yeah?

Speaker 2 (21:31):
Yeah, yeah, yeah, you're like, oh no, this person does exist.
They're not just in my phone or on my computer
screen like in zeros and ones, Like there's something tangible there,
you know, beyond the screen.

Speaker 1 (21:41):
Yeah. Another important thing I keep on like finding more
things to talk about before we start brainstorwing. But another
thing is like I want to be very clear that
I don't mean that you should send people stuff with
your logo on it. I think that kind of misses
the point and makes it about you instead of making
it about that. So like if I were to, like,

(22:01):
let's say that I wanted to make like a custom
coffee mug to send you, Ben, I wouldn't want it
to be like the Carl Bonner logo or like Studio
Land logo, right, Like I want it to be like
I would get like if I wasn't your co host,
if I was just a guest, then I would like
want to get like a secret Sonics mug or something,
you know, something that you'll use, but like it's not

(22:22):
about me, it's about you, but you'll still think of
me whenever you use it, you know what I mean.
I think that's the difference. Like I don't want people
to think that this is an opportunity to like send
people your merch, because that's kind of like missing the point.
I don't it shouldn't be like.

Speaker 2 (22:38):
Although I don't necessarily think that's a terrible idea. Like
when I started a wedding band, the first ten couples
we played for, we actually made these like wedding band
mugs with our logo on it, and just like we said,
like we were so happy to make you guys happy
again Hebrew. It made more sense in Hebrew, but we
wrote like, you know, we were happy to be part
of your happiness or whatever, and it had our logo
on it on the other side. And then we gave

(22:59):
those to those ten and they kept them and they
kept using them and like and they recommended us also
because of those mugs. It was like a really good thing.
I think sometimes doing things with your logo is not
a terrible idea. Also, when I got married, the photographer
gave us a USB stick with our photos, was like
this really nice wooden USB stick with his logo on it.

(23:21):
And I'll like, I'm like thinking about it now, you
know what I mean, Like that was like really nice
to get that, you know, I don't know.

Speaker 1 (23:26):
Yeah, but I'm going to say this though, I'm going
to say for both of those examples, they were still
very personalized because like that the wedding one, it wasn't
just like the mug with the wedding band logo on it,
Like it was a special message to the couple, like
we're exactly we made you happy, you know what I mean,
Like it's still a memory about them.

Speaker 2 (23:45):
It was like the same for those ten couples.

Speaker 1 (23:47):
But but yes, I don't but I've seen as far
as they felt like they it felt like genuine. It was.
It was a message to them like we're happy that
you're happy, you know. And then also with the USB stick,
like they didn't just give you like a blank you at,
like an empty USB stick with their logo. It was
like the pictures that were on it or of you guys,
and so so I think it's it's not that you

(24:08):
can't have stuff with your logo on it somewhere in there.
I think it's just when that is the gift, When
the gift is something with your logo on it, and
that's all that it is, and there's no context, there's
no personalization.

Speaker 2 (24:19):
You don't want to make it like a corporate like
you're at like some trade show and then you get
like a corporate like mouse, you know, a trackpad or something.

Speaker 1 (24:26):
Yeah, it's going to end up at Goodwill or the
trash or.

Speaker 2 (24:29):
Yes yeah player dog, Yeah, no, something that that's something
that you'll use, you know.

Speaker 1 (24:34):
So like if you if you were able to make
like a mug that maybe had your logo on one
side but then had like their album art on the other.

Speaker 2 (24:41):
Wow, that's cool. That's an idea.

Speaker 1 (24:43):
Something like that, or like a just text of like
an inside joke that you guys had something gives them
incentive to not donate it. That's really that's really the thing,
you know. Yeah, okay, so uh let's brace storm. What
are some other things that we can do?

Speaker 2 (24:57):
Are we talking specifically remote or can it be also
in person stuff.

Speaker 1 (25:01):
As long as we do some remote as well. I mean,
if you want to do some some in person once
first to kind of like get the juices flowing because
they're a little bit more they're like a little bit
more like low hanging fruits.

Speaker 2 (25:10):
Yeah, yeah, they are offering people quality beverages. Is just
like such a basic like having good coffee on hand,
having like a nice mug even to drink it in,
not just like a paper cup. I always like to
hand somebody like a nice mug, yeah, coffee, tea, having water,
and if you have snacks even better, you know, I
don't know, just having like some basic stuff on hand

(25:31):
that made people feel like, oh like I can chill
here and it just like opens up like makes them
more comfortable immediately, Like is like okay, cool, we can hang.
We could also like talk while we're getting you know,
the coffee prepped or whatever and get into a zone
of like oh cool, I'm in the studio now, having
like comfortable space in your studio, like like having a

(25:52):
nice cozy chair they could sit in, have it presented
for it, like I have this yellow chair. You also
have your yellow chair, just like a place where they
could sit and they could feel cozy and they could
feel like they could be themselves and be comfortable, unhappy.

Speaker 1 (26:06):
Yeah, so I want to I want to push you.
Let's talk about the food and then like the coffee
and tea stuff. So let's think of it in like
tears of how hospitable we could be. Let's challenge that
a little bit. So, yes, having snacks on hand is great,
Having tea and coffee on hand is great. Having water
on hand is great. But making a mental note, like

(26:29):
if you're if you're the artist coming in and you know,
you had a session and it was great, and you
end up coming back for another one and they got
the specific snack that you really loved, or like you
mentioned you were talking about a specific like you're talking
about chips or something. You know, I came up and
they're like, oh, do you ever have blah blah blah
blah blah, And you're like, oh no, I never had those.

(26:50):
And the next time they show up and you have
like a bike of those chips, you know, or a
particular kind of tea that they really like, you know,
or even just saying like, oh, hey, you know, I
made sure we had like I know you're you're really
liking the earl gray or whatever, or like the throat coat,
you know, like I know's a vocal session today, so
I've made sure it has some extra throat coat around.

Speaker 2 (27:08):
I don't even know what that is.

Speaker 1 (27:10):
Oh, it's just like a special te like singers. It's
just like a I don't know if it's a honey
in it or something. But I'm a drummer, I don't
I don't know. But it's like, how can we think about,
you know, going beyond having some basic things and like
aiming for the unforgettable, right, aiming for that like outrageous
experiences or even like comfy vibe, Like what could we

(27:32):
do to like make that even more special comfy vibe?

Speaker 2 (27:35):
Well, I don't know. I mean, like like what I
love about my new studio space is just like the
vibe here. People walking, they're like, oh, I'm in a
different kind of place. It's like an old, old like house.
It's got a there's like a cool view here it
just sets the scene in like such a nice way
of like oh wow, what is this place? And then
you can kind of show them the space and they
come in, and then they come into the studio and

(27:56):
then they see like you know, the acoustic treatment, and
they see the yellow chair, and they see like the lighting,
and they see like not that my lighting's so good yet,
but they see like the basses on the wall, the
guitars on the wall, and it just like it says
a ton of like oh this is like a cool space,
and it just makes them want to be like oh wow, Ben,
space is dope. You know. It just it totally like

(28:17):
solidifies it. I don't know, good rugs, having rug on
the floor, you know, like big Lebowski style all that stuff. Yeah,
And you know, sometimes like if a singer's not comfortable,
sometimes like I'll be like let's do vibelighting, you know,
and then I'll just shut the light and we'll have
like I have like you know, a nice little lamp
here and like some led lights, so it'll be just
like a totally dimmed, warm light kind of vibe thing.

(28:41):
That also really helps just like having that as an
option to be like every other session I do that,
I'd be like, let's let's trim the lights. You know,
today I didn't need it, but like two days ago
session needed it, So like, let's get the vibe lighting.
Let's relax a little bit, like if a singer is
stressed out about it, or in this case it was
like their second time recording and a recording studio, it's like, hey,
it's all good, take it easy when the dim lights. Yeah,

(29:04):
And I don't know, my studio has like a lot
of the personal touches, like when people come in here,
they see like I have above my acoustics, I have
like these like old whiskey bottles. You're gonna mention something
about whisky before old whiskey bottles. There's no actual bottles
in there. It's just like the boxes that they were in.
But like it has like personality like oh wow, oh
the lack of ulin you know, people like it's like
it's like a vibe and people people see it and

(29:25):
they like feel cool, Like it feels like, oh, it's
like a homey space. Mine doesn't feel like super polished.
It feels homey. And I got like this like Native
American sort of rug like all kinds of stuff the
flight of the concords poster. So like these little things
like give it like a personal touch. So if people
are like aware of those things and like those little
things that I'm into, then it makes them feel like
Bend's my guy, you know, more than just like the

(29:47):
actual comfort of it. It just like feels like me,
and then people feel like I'm just more authentic.

Speaker 1 (29:52):
I think that's awesome because I feel like a lot
of studio I think this is less less of an
issue now than it was even like five years ago.
But I feel like there was a while where every
studio looked the same and every studio kind of felt
the same. Every every uh a solo preneur's studio kind
of looked the same because it either looked like a

(30:12):
bedroom or it looked like the most stale like uncreative
space I think, or it looked like a colleges recording studio,
you know what I mean, where like everything is clean
and simple and just very functional but completely devoid of
vibe life and like vig Yeah. Yeah, so like my

(30:33):
mixed sweet like I've got it's like dark wall. I
painted dark walls. I went and like bought hanging lights
that are like not chandeliers, but like special like like
mid century like light fixtures, and it's like pretty low
lighted in there, but like I'm just mixing, so whatever.
And and for me, like when I did that, like
I don't even have people come over, Like the vibe

(30:55):
is not just for people coming over to the studio,
but also it's for me to put me in the
right kind of space and then also for it to
look interesting on camera too, you know, because people are
gonna get their first impressions of that vibe of you
on social media before they even come over, right, So
that's why I mean, I was gonna say, Ben, I

(31:17):
feel like all this stuff you're describing is really cool
and off screen, and I wish that I could see
some of that stuff, Like I wish you had like,
yeah vibe stuff behind you, because like I.

Speaker 2 (31:28):
Got the Beatles poster, I had the the Danish in
the frame at one point, but then it had to
move because of the way the acoustic treatment went up here.

Speaker 1 (31:36):
Well, I'm gonna say it's like like here, and especially
because I mean the most people like the Secret Sonics
clips are pretty much all that all the content you make, right,
and when it's that when it's like the trimmed up reel,
Like you don't see any of that stuff, Like I
mean even now, like I can't see the Beatles poster.
All I see is I see the little speaker pillow

(31:57):
behind you. I see that's the up on the wall,
and I see a curtain. Yeah, and then I see
you in all gray in front of a wall that's
eighty percent gray, right yeah, so fa, Yeah, And I
always saw like a little bit of blue in your chair,
but like that was only when you like uncomfortably squirmed
when I called you bout on it, you know what
I mean. So I have like that's something too, like

(32:19):
if the vis something that we have to really take
into consideration as when we're working remotely too. But it's
that like a lot of that stuff people might not
even see, so we have to try to put like
physically put things in a space that they can actually
see it and get that vibe, because that vibe, it
doesn't help them get a sense of that vibe if
they can't see it.

Speaker 2 (32:39):
Yeah, totally true. And uh, nice calling me out there
with my social media lack thereof.

Speaker 1 (32:45):
It's what I do. It's how you know what I feel,
Like you know vampires need to suck your blood. If
they suck the blood to be able to survive, I
need to call out producers and engineers when they don't
make enough content.

Speaker 2 (32:57):
I think, yes, that's why I'm like deeply aware of
the lack of content. But it's also sort of like
a season I'm in right now that I'm not prepared
to do more right now. I just don't have anywhere.

Speaker 1 (33:10):
It's a season you've been in since I've met you, Ben.

Speaker 2 (33:12):
That's not true. Well, fair point about the lack of content,
but the actual season has not been the entire time,
But the season I am in now is is fairly
I don't want to say intentional, because like I wasn't
my career has twisted and turned and I've had to
stay afloat in a country at war for a year
and a half and life has been bizarre. But I

(33:33):
hope that this season comes to a class.

Speaker 1 (33:36):
And I do want to say too, like I'm not
saying you need to make more content. I'm just I
was just sassinated. But I would say I would challenge
you to say that, like if that is the main
way that people are gonna, you know, see you, and
like kind of get your vibe before they meet you.
I would would try to make the try to make
your background a little bit more.

Speaker 3 (33:54):
We're Ben more Ben, Yeah, Ben's cool.

Speaker 2 (33:58):
There should be more content of the front of the
studio that you can't see.

Speaker 1 (34:01):
You're right, yeah, I don't think I've ever seen the front.

Speaker 2 (34:03):
It's vibeing here. People like it. People come in, they're like, ooh,
I like your room.

Speaker 1 (34:07):
Okay, so let's get back to brainstorming some ideas. So remotely,
let's think about like remote specific stuff, even if it's
not physical, even just sending like a loom video after
the project's over, thanking them for having you on a team.
It could be things like going out of your way

(34:27):
to make the release date posts like really personal and
special and instead of just the image of the album
art and hey new song by so and so out
now check it out. Like you could literally talk into
the camera and talk about how you felt the first
time that you heard it when they sent the demo,
and like how excited you are that it's out because
you knew that there was something special about it when

(34:49):
you first got it, and you tried your best to
just not get in the way of how awesome their
ideas were and it's out now check it out. It's
worth the three minutes, you know, like something like that
that can like definitely not take a lot of time,
not take a lot of physical effort, but just takes
a little bit of thought, you know, and thinking ahead.

(35:12):
And yeah, I feel like it a we're sometimes bad
at that. We're sometimes bad at just like remembering to
do that or like thinking to do it even though
it is such an easy, super easy thing to physically,
like logistically do.

Speaker 2 (35:27):
Yeah, I think it's it's important to just remember that
your artists are putting stuff out and then remember to
share them and to like at the very least like
praise them and say like, wow, I was it was
so fun working with at the very least say it
was so fun working with it. You know this artist
on this song, like go check it out, Like I
loved working on it. And that will make the you know,

(35:48):
the artists that you've you've done that work with like
appreciate you so much that you were there for them
every step of the way, including sharing it with with
your audience.

Speaker 1 (35:56):
Yeah. And I think something you could do too is
what would I think it's maybe be the first step
in being able to do that effectively is to always
check in with them, not about if they have new
songs ready to hire you to work on, but just like, hey, like,
do you have a do you have a release date
yet for that song? Do you have the artwork figured

(36:16):
out yet? Oh? I mean I can't wait to see
what you have in mind, you know, let me keep
keep you posted, let me know when when you get
the artwork back, and like, well, you know when you
have a release date, and then keep on checking in
about it, not checking in about new music to work on,
but just check in on like, oh, like, do you
have a date? I'm excited to post about it when
it comes out. It's a way to stay on their radar,
you know, obviously, but also to really show that you

(36:39):
care about them and the song, even after you've already
received your you know, your final payment for it.

Speaker 2 (36:46):
Yeah.

Speaker 1 (36:46):
So then it also it makes you look good, It
makes them feel good, and then you know you're not
surprised when you're like, oh, that song I worked on
came out three weeks ago and nobody told me, which
happens to a lot of people.

Speaker 2 (36:59):
And you can also ask them like how people are
resonating with it, like like, oh, how did this song
do like on like a response like level, Like you know,
even if it got a thousand streams or less, like
it could still have like, Oh, my friends told me
this like really resonate with them. They really loved it,
like and just like, oh, I'm so glad, Like that's great,
you know, just like just staying in communication and finding

(37:21):
out what worked didn't work with them, and that could
even be like, you know, a seed for them for
what to do next time, you know.

Speaker 1 (37:27):
Yeah, And it's staying in communication with them regarding like
the emotional side of it and like the experience side
of it and the creative side of it, not just
the logistical Let's work on more songs, you know, do
you have you're ready to send me files and a
deposit yet kind of follow upset to many people default

(37:49):
doing Yeah, okay, So you know, there's a lot of
things you could do. I'm sure there are lots of
ideas that we didn't mention or that you know, we'll
think of the second we stop recording this episode.

Speaker 2 (38:00):
Feel free to reach out and send us your ideas.

Speaker 1 (38:02):
Oh yeah, I want to wearness, I want to hear
what everybody else is trying, and whether things that you've
done before, or things that people have done for you,
or things that you've been thinking you should do, but
you've just never never actually taken this up to do it.
But I guess what I would want to challenge everybody listening,
and this is including you, Ben, I'm including myself and

(38:24):
the listeners, like, try to identify one thing that you
could add to your your you know, standard operating procedures, right, Like,
one thing that you could add to your process that
just makes the client feel extra special, one little addition,
you know, and start doing it. It can be something extravagant,

(38:45):
but probably doesn't need to be. It can just be
something small but personalized. And I would almost try to
argue to make it not about the music itself, and
especially not about your role in it. Not about like, oh,
here's some strip stems or something, you know what I mean,
Like you get about the their emotional experience working with

(39:06):
you and trusting you collaboratively.

Speaker 2 (39:09):
Yeah. I like that. It's a good challenge to think about.
But Carl, you still haven't told us about the whiskey.

Speaker 1 (39:13):
Okay, well, this is this is how we'll end the episode.
I'll tell you the most.

Speaker 2 (39:17):
We also have to talk about our songs that we
were in. Oh okay, yeah, but we'll do that after
the whiskey.

Speaker 1 (39:22):
Okay, so quick whiskey story, and then we'll talk about
our songs or our dose songs for the week. Okay,
So my quick whiskey story. The most ridiculous beverage experience
I ever had. I was on tour in England with
my old band Cheerleader, and after one of the shows
in London, the president of our labels out with us

(39:42):
and took us to this restaurant. I forget what it was.
It was like a bar that apparently the bartender there
had just won like, you know, best bartender in the
world like that that year. And we go in and
it's kind of, you know what I of imagined a
fancy hotel bar would be like. So that didn't really

(40:04):
surprise me. But we we sat down and even the
menus were like physically very weird. They were like this circle.
It was like a circle. It almost looked like a
like a like a board game where there was just
like circular menu and you had to like spin a
menu that was like inside of this cas thing, and
it had like a little cutout where you could see

(40:27):
the drink name or something. It didn't make it. It
was weird, but I just remember like it was like
this weird, like interactive experience to even look at the
menu and then the drink that I ordered. I tell
the story a lot because it's so ridiculous and I
love it and also I hate it, and also I
love it, but also I hate it, but also I
love it, so.

Speaker 2 (40:47):
That amount of love and hate.

Speaker 1 (40:48):
Yeah, I don't even remember what it tasted like, because
that wasn't what actually made it memorable. I'm not joking
when I tell you this. So I ordered this bourbon drink,
and I'm I'm sure there are some other ingredients in it.
I don't remember that because that's not what's important. But
they come out and the waiter comes out with the
drink and an inflated plastic bag, and inside of that

(41:12):
bag is a handmade eucalyptus worry doll made somewhere and
like at the top of the Andes Mountains by villagers,
and part of the experience of drinking this bourbon but
have been whiskey, not bourbon. But again, that's not the
important part.

Speaker 2 (41:30):
Bourbon's the type of whiskey, so.

Speaker 1 (41:32):
It is, Yeah, I just forget if it's like specifically
bourbon or if it was whiskey. So he comes out
and explains to me that part of the experience of
this drink is that he is going to hold this
bag of Andy's mountain Air that was it was captured
in the top of the Andes Mountains and sealed with
this eucalyptus worry doll. Is to hold it there, I

(41:52):
have to poke a hole in it and smell the
Andy's Air as I take my first sip of the drink.
So I am not necessarily saying that, you know, as
mixed engineers, you should do that, like don't make your
clients sniff mountainair.

Speaker 2 (42:09):
I mean, could you even smell anything? Like I'm I'm
like finding it hard to buy.

Speaker 1 (42:13):
I mean it had like the eucalyptus like worry doll
in it, so like it did happen. It's like so
it was like a spelling pecile with this, which you
know affected the flavor of the of the drink. Sure,
but also I mean this is ten years ago, and
I think it was something like it was like forty
pounds to get this drink. It was like an absurd

(42:34):
amount of money even you know in twenty fourteen that
I wasn't paying for you know, the label was paying
for it. So I got two I got to poke
two bags of Andy's Mountainair. I did not regret that part,
but it was just but like, that is an absurd
thing that like, was it kind of gimmicky? Probably? Yeah?

(42:54):
Am I very bad that I got a little too
drunk and forgot to take those worry dolls home with
me because I really wish I still had that. I
don't have a lot of regrets in life, but I
think that's going to be one of them. It is
not remembering the Eucalyptus ore dool, but that is an
example of, you know, how to make an unforgettable experience,
because here I am, you know, eleven years later, still

(43:15):
talking to talking about it. Now. Did I remember the
actual drink itself.

Speaker 2 (43:19):
No?

Speaker 1 (43:20):
Did I remember the ingredients in it?

Speaker 2 (43:22):
No?

Speaker 1 (43:23):
But do I remember the feeling that I had when
I was there and like the memory that it created
for me? Absolutely? And in the same way that you
know the artist is going to forget exactly how your
snare drum, you know, how punched you the snare drum
was in that mix, or if they were going to
forget exactly which microphone you've used when you were recording vocals,
But they are going to remember the way that they

(43:45):
felt and the way that you made them feel strong.

Speaker 2 (43:48):
So yeah, it's a great story. Yeah, yeah, I like it.

Speaker 3 (43:52):
Man.

Speaker 2 (43:52):
So we got to channel our inner you know, bourbon
or whiskey, eucalyptus drink, and just of people an unforgettable
experience and with positive experiences that make them feel comfy, cozy,
hospital and hospitalized.

Speaker 1 (44:14):
Don't make your clients feel hospitalized.

Speaker 2 (44:17):
Don't make them No, don't make them hospitalized. Just don't
make them make them feel hospitalized. You've been you've been
hit by a smoothed hospitalizer. I don't know with this,
how do you say someone's been somebody been given hospitality?

Speaker 1 (44:38):
I don't know.

Speaker 3 (44:39):
You know what I'm saying to hospitalitiized? Hospitaliti hospitality. Yes,
they had a good.

Speaker 2 (44:50):
Time period, and they're hiring you to mix the next record.

Speaker 1 (44:55):
Yes, okay, So speaking of records, Okay, let's abruptly transition
into the fun piece.

Speaker 2 (45:02):
I think we skipped one week, but I want but
we want to make this. We want to make this
a weekly thing where we're adding five songs each meaning
five for me and five for you, Carl, to an
updated playlist of inspiration of stuff that we've been listening
to and are inspired by, for you, dear listener, to
get inspired also and to follow along. And I think

(45:22):
we said we maybe would delete songs off the playlist
after like I don't know, ten weeks or something, five weeks.
Once once we get to fifty songs, we start purging,
but we're gonna like have it a continued playlist of
inspiration for people to just get into the zone, and
it'll be curated by us and a little bit of

(45:43):
inspo from Ben and Carl. So let's let's go through
the five songs that we chose for the next the
next batch. I have it so minor first right now,
so I'll go first. So the first song I chose
is called Grapevinefires. It's by Death Cab for QT. It's
off the record at Narrow Stairs. And the reason why
I chose this song, I've just been like on a

(46:03):
bit of a death cap for Cutie Kick recently, but
I love that the drums are actually very small on
this song. But there's like a Fender Rhodes or a
worldly that just like envelopes everything and like actually provides
the low end of the song. And I think it's
just like a really cool way to to kind of
give the low end from a different place than you
would expect. So it's like small drums with a really
cool shuffle beat and then like this really dope low

(46:25):
end from the keyboards. So I think it's just like
a cool sound and it's a nice song, so check
it out.

Speaker 1 (46:30):
Cool. My first one is You by jad Heart. I'm
not even sure how to say that, and honestly, I'm
gonna be very very blunt and say that a lot
of these I or at least two of them, I
don't remember what they sound like. I'll have to listen
to them again, because there are not songs that I've
listened to a million times. These are things that jumped
out at me over the course of this past week
and I was like, that's really cool, and I just

(46:52):
added it to the playlist. So some of these I've
only listened to one time. If I remember correctly, I
was just playing a little clip of it in the
background so I could remember. This one has some like
modern electronic. Oh no, weird, gritty, atmospheric modern electronic, but
like with some maybe massive attack or port his head

(47:12):
kind of you know, trip hop bits in it, especially
with the vocals, like the way that the energy of
the vocals kind of feels that way to me, And
I just was like, this is cool. I remember, like
sonically it was just like really a lot of interesting
things happening in the song, and that was all it
took for me to put on there because it got
me excited at the moment, and that is the whole point.

Speaker 2 (47:33):
Amazing. Yeah, And I listened to it and I also
thought it was sonically really cool. The second song I
chose was a song by Bob Dylan called with God
on Our Side and it's just like a super cynical
song about what people do when they say God is
on their side. Yeah, and he like there's like a
mention to the Holocaust in there that made me tear
up the first time I heard it. Yeah, And it's

(47:53):
just like super powerful song and it's just like a
guitar and a vocal and just powerful lyrics and raw
emotional vocals and just yeah, I know everyone's into Bob
Dylan now, because of the movie, but it's it's a
good one, so check it out.

Speaker 1 (48:07):
The next one for me is I Won't Let You
Die By Signs of the Swarm just really heavy and
very fast and very gritty, and there's this kind of
I don't want to say, like a newer wave or
at least like it's newer to me, where there's just
like really dissonant, heavy, heavy, heavy songs that are coming

(48:28):
out that also have a lot of punch in places
that you don't expect there to be punched, Like I
feel like, for a while, a lot of like heavy
metal stuff, like that's not such a broad term, but
like the drums were punchy, and then the guitars were
kind of like very there's like eight layers of the
same guitar and it just kind of becomes a big wall.

(48:48):
And there's some really interesting, like I don't know, like
bit crushing kind of stuff that sounds like that's what's happening.
I don't know that's literally what's happening. But there's something
really interesting about some of the textual pieces in the
way that this is mixed. And I feel like the
the newer, like you know, the recent Knock to Loose

(49:09):
album is very similar in that sense, like there's a
lot of like familiarity, but also like the way that
the grit is added is I don't know, it's it.
It sticks out in a in a really interesting way.
So I wanted to add I Won't let You Die
by Signs of the Swarm nice.

Speaker 2 (49:25):
I will say that I when I listened to it
for the first time, I was like, I can't listen
to this right now. It was like too intense. It
was like I was not in a headspace to hear it.
So like for me metal, like I have to be
in the right zone to be able to listen to
the metal, and it's like not always, you know.

Speaker 1 (49:39):
And the fact that on this playlist right now it's
currently in between Bob Dylan and Steve Miller Band. Yeah, yeah,
pretty great.

Speaker 2 (49:46):
It just shows it just shows how old school I
am really. But okay, so my next song, Fly Like
an Eagle by Steve Miller Band. I just love the
ambience of this of this song. I think it's just
so well done and it's like, oh and done really
well back in the day, and like really great use
of like early synthesizers, how they just come out of

(50:06):
nowhere in the mix and just to envelop you from
the sides and stuff. I think it's just like a
really it's like well done seventies thing.

Speaker 1 (50:14):
Carried away by Passion Pit. It is just pure Passion
Pit has some of the purest juxtapositions of really happy
sounding music and really really difficult lyrics.

Speaker 2 (50:29):
And I didn't even notice the lyrics. I just noticed
the happy backing track.

Speaker 1 (50:33):
Yeah, Like they do such a good job of that contrast.
It's incredible. That song gets stuck in my head I'd
say probably every couple of months, and then I just
have to listen to it a bunch of times to
get out of my head again. And this is one
of those one of those seasons of my life where
I just had Gossamer on for you know, on repeat

(50:54):
for a little bit amazing.

Speaker 2 (50:56):
I'm playing in old school for this in this list.
But after the gold Rush, I nearly Young. If you
haven't gotten into this whole record by Neil Young, it's
just an incredible folks songwriting record. It's just a classic.
Like I think more people are familiar with Harvest probably
if like if you go back and like the early
Neil Young days. But after gold Rushes had some phenomenal
songs and this is one of them, and if you

(51:19):
haven't listened to it, go check it out.

Speaker 1 (51:21):
Cool I edit outright by Wild Party. Another one from
like the Passion Pit kind of era, this one. I
love that song. I love the band. It was the
very first song I did a remix for because I've
met them done at south By Southwest. It was like
very difficult time for me personally, Like I don't think

(51:43):
I talked about this on the podcast, so this is
gonna be a very abrupt quick turn. But like I
ended up going inpatient in a mental institution for a
week just for like happened, not good thoughts, I'll just
say that. And it was this weird thing where I
was in and I came out and then like literally
I think like the next day, like the day after

(52:05):
I got out, we went to south By Southwest and
like spend a week done there. So like I was
in like a very it was a weird time mentally
for me kind of like just first, you know, realizing
that I had anxiety and depression and like starting to
tackle that and come to terms with that and understanding

(52:25):
what that even means. And then like literally going from
being impatient and I'm not allowed to have shoelaces to
getting in the van driving across the country to south
By Southwest and it was a weird time. But I
met Wild Party then ended up doing a remix of
this song and it was the very first remix I

(52:46):
ever did, And this was the moment that kind of
like changed the whole trajectory of my professional career. And
I will always hold that song like really really really
close to my heart because it was like unintentionally the
catalyst for like a whole new dirict for me as
a person.

Speaker 2 (53:01):
Wow, it's crazy. Yeah, hard to follow up after that,
but that sounds like I'm gonna have to listen to
that again.

Speaker 1 (53:08):
Yeah, So talk about your Rush song, Ben?

Speaker 2 (53:09):
Oh yeah, I got nothing to say here, Okay, Well,
Rush was actually my first concert, the first concert I
went to with my I went with my cousin MSG
as the Square Garden Rush two thousand and one. Good stuff?

Speaker 1 (53:21):
Is that counter grades or what was the.

Speaker 2 (53:23):
I don't you know, I don't matter what the record
with this. I don't remember what the record that came
out was, but it was an amazing concert and as
a bass player, you know, Geddy Lee's obviously amazing, But
actually I chose this song not because of the bass
or drums, which are maybe more famous in Rush, but
because of the guitars. I think this song has just
the most badass guitar riff, like in the verse, Like

(53:45):
the verse just is like it's just such a badass
guitar thing, and like the lyrics are weird. It's a
great song like melodically and harmonically, and the lyrics are
obviously weird because Rush, but the guitar parts are just
the most badass guitar parts of like any rock verse
you'll hear. And I just like was I had a
Rush kick earlier this year. I was like going down

(54:06):
the Rush trail for a while there. Yeah, there's something
about this song that just like the guitars just stand
out to me. And uh yeah, so I felt like
sharing that.

Speaker 1 (54:14):
Yeah, I'll listen to it. I don't think I know
that one. Yeah, oh no way, no passion of being cock.
I have heard that. No, no, no, it's like it's a yeah.

Speaker 2 (54:21):
I think that was like a breakthrough record for them,
twenty one twelve. That's it. That's the chorus. Yeah, But
the verse is where it kicks ass. Yeah, check it out.

Speaker 1 (54:28):
I feel like I just I haven't listened to that
in so long that all I can think of is
like the choruses, I can't I can't think of the
guitar part. Okay, Yeah, so I'll listen to that and
then also my last one, Find a Reason by Montgomery.
This is another one that I just heard in the
moment and thought that's really interesting and cool, and I
added it to the playlist and then haven't listened to

(54:49):
it since. So I'm gonna listen to it again.

Speaker 2 (54:51):
We'll go listen to it.

Speaker 1 (54:53):
Reinspire myself, but awesome. Yeah, I just wanted to That's
why I put it on the playlist, so I could
come back and listen to it and not forget about it.
The never ending deluge of new music that I'm listening
to every day amazing.

Speaker 2 (55:05):
Well, I'm here for the throwbacks and Carl's here for
the new music Fridays. Hopefully, hopefully I'll be able to
find some newer ones and you'll be able to find
some older ones too. As we go through this process,
I think I'm really enjoying. Yeah, I'm enjoying the challenge
of finding new music. And sharing it with Carl and
you guys, so hopefully this will continue. Awesome. Well, Carl,

(55:30):
thanks for hanging with me and talking about hospitality and
how we can stand out as engineers and people.

Speaker 1 (55:39):
Yeah, and I hope that you get to experience your
own weird eucalyptus ory doll trapped in an airbag. I
would love to sort of experience that.

Speaker 2 (55:48):
Sounds amazing.

Speaker 1 (55:50):
Bye, bad bye, Carl.

Speaker 2 (55:54):
We hope you enjoyed this conversation as much as we did.
If anything here resonated with you, please share this or
your favorite episode with a friend.

Speaker 1 (56:01):
And as always, we love to hear from our listeners,
so find us on social media at Secret Sonics.

Speaker 2 (56:06):
At Ben Wallach Music, and at Carl Bonner.

Speaker 1 (56:10):
Until next time, Bye Ben.

Speaker 2 (56:12):
Bye Carl. That's good. I think the outro is great.

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#243 - Creating Unforgettable Client Experiences

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