RSR325 - Colin Brittain - Producing Papa Roach, Dashboard Confessional, & 5 Seconds of Summer

this episode of recording studio rockstars is brought to you by owc jay-z microphones spectre 1964 atom audio and izotope you're hearing my voice right now on a jz pop filter and bb29 microphone through the spectra 1964 stx 100d mic pre and izotope rx and ozone all recorded safely onto an owc ssd so get ready to rock yeah just just have fun and be yourself and have and and be self-aware i've always been aware that i've always really wanted to impact the most amount of people possible and that sounds really like grand and everything but not everybody is gonna want that not everybody wants to put the work in if your dream is strong enough you know you will walk over a bed of broken glass to get there [Music] welcome to recording studio rockstars i'm lid shaw and this is the podcast created to help you become a rock star of the recording studio [Music] [Applause] if you're ready to discover the secrets to making your mixes sound great no matter what your studio situation then check out my free mixing course mixmasterbundle.com where i show you how to get great sounding mixes in your studio using simple techniques and free plugins and when you're ready for more advanced studio skills then check out recordingstudiorockstars.com academy where you can learn from grammy-winning teachers to help you record edit mix and master your best record ever use the code rockstar right now at checkout for 10 off any course for a limited time no matter where you like to rock in the galaxy the owc envoy pro electron lets you record with confidence over usbc with up to more than a gigabyte per second real-world performance transfer tracks in seconds and take your sessions with you wherever you go built for reliability the owc envoy pro electron is waterproof dust proof and crush proof find the new owc envoy pro electron and all your storage needs at maxsails.com rockstars [Music] hey rockstars it's your host lid shaw and welcome back to recording studio rockstars bringing you into the studio to learn from recording professionals so that you can make your best record ever and be a rock star of the studio yourself my guest today is colin britton an american songwriter producer and musician signed a warner chapel music he's written and produced for acts such as papa roach hands like houses basement dashboard confessional five seconds of summer stick to your guns miyavi one okay rock and beautiful bodies to name just a few column began his career playing drums in the band ono fiasco and was signed to five seven music where they released their debut ep no one's gotta know colin is an accomplished multi-instrumentalist whose work consistently hits number one on the billboard charts known for his dynamic genre bending production collins credits include platinum lps and singles for artists such as five seconds of summer again one ok rock all-time low avicii and papa roach writing and production credits include back to back number one debut albums for one okay rock all-time low and papa roach again including singles for papa roach which for the first time landed them two number one mainstream rock songs for the same album and an i heart radio nomination for rock song of the year for the song help leading papa roach to be nominated for rock artists of the year that's very cool man collins joining us from la originally from nashville we're going to talk a little bit about that and a big shout out and a thank you to ryan hewitt and kelly over at linear management for helping to connect us for this interview please welcome colin britton to recording studio rockstars colin are you ready to rock my friend let's go dude for having me yeah thanks for being here man it's nice to have you here on the show i would say rocking is definitely it's part of your your ammo for the studio i mean we all like to rock we all like to get a little dirty i know some people just want to make folk music and jazz you know nothing wrong with that so give us a little bit of an introduction to who you are i mean i kind of gave you know the brief um reading of your bio there but you started out in national wikipedia right so yeah no i still i'm i started in nashville but i really like am kind of an la baby like as far as my producing career i didn't really start doing like heavy producing i think until i moved here like seven years ago so i've been doing i've been producing bands actually since i was probably 14 years old wow and i just never really connected the dots that that was like something i might be good at i was always trying to be you know in a band and do the whole touring grinding thing i was like you know work harder not smarter kind of vibe and then i came to la and i started realizing that i was most fulfilled less like on a tour bus or on a you know in a club or whatever i was much better like in a studio and um you know as an artist getting to sort of like create with other artists and that was just where the the magic was for me the whole time so you were growing up here in nashville playing music and doing the band thing well i actually grew up in knoxville um with my wikipedia says nashville because i guess it's people think that that's like they're like oh you're from tennessee must be from nashville um my family is from nashville um but i grew up and went to high school in in knoxville which is like for those who don't know is about two hours east of nashville yeah um cool spot yeah i love that you know what i have here in the studio actually um on a on a family vacation visit we went to a thrift shop like way up north and they had a 1982 knoxville world's fair coffee mug which i got oh yeah yeah they're still talking about that the knoxville knoxville people like to hold on to the the old stuff yeah well you guys have that great tower with the gold dome or the globe on top right yeah yeah it's knox is an interesting place to come from um especially like since i've you know in my career have been able to like get out of there and see like the rest of the world and see like you know these crazy you know buildings and crazy cities and different cultures and stuff so knoxville is a really unique place yeah yeah well knoxville has a kind of a thriving music scene there um and you know asheville north carolina is not too too far away from there i i feel like it's all sort of connected somehow yeah i mean it's like it's mountain music you know what i say because it's like right in this the foothills of the smoky mountains so it's like you know there's a ton of like the avid brothers and you know bob dylan and those kind of like folks meets uh bluegrassy influence there's a lot of that stuff that's really like natural for that i mean that's where all that music came from dolly parton's from there you know it's like all that kind of like the hill people music um is is very strong in nashville or i'm sorry in knoxville and uh you know they're really proud of that so like i think that that's a cool place it's a cool place to grow up there's definitely a lot more music in that town than there is in like you know just anywhere else i think in in regular regular tenses maybe than like you know i don't know reading pennsylvania or somewhere like that it's definitely more like music culture in knoxville for sure but it's different it's different than nashville i mean nashville is more you know mainstream i mean nashville's sort of like the number two music city in the us behind la obviously so it's it's sort of it's a very different it's it's close geographically but it's it's very different as far as like the actual industry goes yeah totally well so you you sort of align yourself more with the valley people and not the band but the or the village people rather no the valley people and the beach people right i think that i came to la like i'm a rock and i'm a punk rock kid you know ultimately and um and i always have been i grew up in tennessee obviously and like was just surrounded by great country music and great you know bluegrass and bulk and americana music and stuff so that stuff is is like very much a part of who i am um but i don't think that it's like something that i ever really like as a as a kid was drawn to i was i was always drawn to you know like incubus and rage against the machine and the chili peppers and um which is funny when i was ryan hewitt you know and i met him and we became friends and you know he's just like yeah i'm out here working on the chili peppers right now and i was just like bugging out kind of like asking him all these questions about how they're doing stuff and nerding out with him about the process and stuff like that because i'm such a big fan of of that kind of music so anyway you know rock music and hip hop music and like you know stuff that primarily came out of california i think was something that was always more like appealing to me so when i came out here and i stopped touring i was in like i said you like you said i was in a band we were we got signed we were touring all over the place and um every time i would come home from tour you know i'd be home for a couple days in knoxville and i'd always be like man this is you know this is like not this is not it this is not as ambitious as i want like i always want to be working on different projects and um it's just like you know go where the talent is i think and that for me was la it was just a totally different change up i never really spent a ton of time out here until i started touring with the band and then um we came out here a bunch of times you know for video shoots and what have you sessions and all those sort of things and so when i was here i would usually like meet up with people from our label and i would you know write songs with them and bring my laptop and we'd like produce stuff and that's really where i i met my friend john feldman who i wound up working for um for a year or so when i first moved out here um john's a big rock producer he's done you know the used five seconds of summer he's he's had a ton of hits and uh so i went up working with him and learning a lot from him and and uh then kind of branching out on my own yeah so that's cool so i mean um you said seven years ago is about when you hit hit la yeah i think it was like early 2000 late 2013 early 2014 was was when i started coming out here yeah now but you've set up a um like i've i've been checking out your instagram and you've got what looks like your studio in a lot of those shots and it looks like a really cool setup that you've created for yourself tell us a little bit about your studio setup like what are you surrounded by i am surrounded by well i have shoot just so much stuff that probably i don't need um like i have a pile of guitar pedals over here on the floor that we're just are constantly going through um it looks like a bomb went off in here actually so i've got um i just bought this api console this um oh sweet yeah i have the an api 2448 console that that i got that's really old that actually came from nashville um most of it works and uh it is from the 70s it's really sick it's just like it sounds like an api's version of a neve almost really um which i've always known like apis to sort of be like you know kind of mid forward clear lots of head room not clean is not the word but like you know what i mean like not distorted consoles clarity right and um lots of color but not like a lot of distortion like a neve console or a chandler emi console is like known for its distortion right you know you crank it and you can really like drive it so i never thought api like newer api stuff is always not really like that you don't really drive it in the same way that you would a neve console you know you drive a neve console like you would a guitar amp it's like you can just crank it until it gets really shitty and interesting fuzz sounds direct guitar phone yeah yeah 1073. yeah so this console so i've never known api to do that i've always thought api's got tons of headroom and if you drive an ap like a new 3124 preamp or something you drive a 512 preamp or whatever if you drive it a new one you can really drive it pretty hard before it actually hits like the the top and starts distorting this channel this and so and and neve i would say are stepped right you know so you you crank the red knob on a 1073 and it goes one crank and then it stops and there's a step and then it's stepped that way and this console is not like that it's like traditional api where it's a fluid console there's no steps on it so you could literally drive this console and it actually sounds like a 1073 kind of like it gets like distorted and blown out but there's no steps so you can smoothly drive into it um that's cool which is super cool and i never knew that was like a thing and then when i figured this thing out when i figured out that you know these old apis sound like that i was just like this is the console for me like you know they're smaller they're compact they're not as expensive as neve you know neves are obviously like way overpriced i think right now and they're big and neaves are also very proprietary and like the old neves break a lot and there's a lot of they're very expensive to fix um api was sort of like it's a little more compact everything's you know the 500 series mod modules for the the eqs it's not it doesn't take up a tremendous amount of space in the studio but it also sounds really great and sort of vintage but very modern as well so i've been really happy with it yeah what are some use cases for driving a mic pre like that you know if you're driving an api mic pre what are the instruments where you might be like oh this sounds better when i just push it harder and i start to see the red light so honestly i don't so there's no red light on here that's the best part it's old so there's no like there's no clipping light because there is no clip um it's just how hard do you want to hit the pre so it's not like you're doing something wrong you're just it's just a color palette so how color yeah how colorful do you want it and um i do that on drums a lot of snare drum a lot i just bleed it to where it's like really distorted and then we just back it off to where the hi-hat bleed doesn't come through as much um i also have got like four channels so it's a 24 channel console it's not super big but i usually have got like four mono channels or like two stereo pairs of channels at the end of my board that i use for mixing and i don't actually record through either one of those and so what i'll do is i'll once i have like a project a lot of this hip-hop stuff i've been doing this with which has been new for me cool it's like you know they'll want something that's like oh we want something different we want it to sound fatter and less like processed in the box so what i'll do is i'll literally run a stereo channel of like you know a synth or whatever out of pro tools into my um into my mic inputs on the board and then in line with the eqs and all that stuff and i'll drive the mic inputs as an insert oh cool so it's a virtual synth but you take it back out of the computer yeah or you can do whatever you want you could you could you could re i call it reamping but it's not really that but it's like you know you re send out whatever signal you want it could be a vocal it could be percussion maybe anything you know so like um but it's a cool way to get like an it's literal analog just mic pre distortion um for anything so i can a lot of times i'll parallel stuff like that and i'll just blow the [ __ ] out of it and it'll just be super blown out and fuzzy and it's just got this really cool vintage but modern like fuzz tone so it's it's almost like a fuzz tone and it's in the same way that like an eve would break up that's cool and then you can just blend that back in with the original and it adds add something yep absolutely that's awesome i think what's cool about that is when we start thinking like that we're reminded i mean it's awesome if you've got like a killer api 2448 in front of you but even if you just have an old mackie mix or something like that you can get go a long way with sounds like that i know somebody here who is um you know really exploring like the daft early daft punk sound by like running running loops through that and uh alesis 3630 to get that sound oh yeah man i mean there's there's all kinds of stuff i mean i try not to like trip up on gear you know i think that plug-ins now are like so good yeah that you you know you really don't have to have any of this stuff like it's just a matter of like what's your process like um for me it feels like hardware is is faster a lot of times when you're like finishing stuff or at least it's certainly more like maybe inspiring or something for me like i like it when i'm touching something i know that there's like electricity moving through it and it's like yeah you know it's not just it's not it's not just like it's like point-to-point you know wires actually doing [ __ ] you know capacitors or i'm not a tech guy i don't know how this stuff works but like feeling like there's energy that's moving from one chain one into the chain to the other and then like back in the computer feels better to me and more like authentic than you know just like throwing up a decapitator plug-in which i use all the time by the way so there's no there's no like right or wrong answer for it i think that it's just like what's your process like and and how does that feel um sometimes i feel like it's also just the part that when you're doing it through the analog world you're committing to something because you're about to record it back in and when you do it in plug-in world you feel like you you're always you never fully committed like you could change it again in a minute oh yeah and honestly i'm kind of one of those people that like i print plot like i commit plug-ins a lot uh on productions and mixes um i'll just go ahead and commit it because it's just like i don't really want to mess with it i'll maybe save a backup file if i ever need to go back and change something but i'm to the point now to where i don't want a second guess i mean you think about it you got 160 200 tracks or whatever a session i mean you really want to sit there and have like all these active plugins open so you can give yourself that many you have that much like question of yourself of like oh well i might want to change it it's like dude like do you really want to change that do you really want to go backwards you know right so like it's just a it's a for me it's keeping open those all those sounds no i mean like there's certain things that i keep open all the time like you know vocals obviously i'd usually keep that open because you can make a change in the drums and then the you know the last the the 11th hour of a mix and then all of a sudden that changes like what vocal frequencies you might want to be scooping out so i usually keep like vocals lead vocals and stuff like that pretty flexible um but yeah when it comes to like synth sounds or like guitars or or drums even like i just usually set it and forget it kind of thing do you need to record direct stereo keyboards spectra 1964 now offers the stereo bbdi2 with custom wound hi-z transformers for big head room virtually flat response and a 15 db input pad the spectra 1964 bbdi passive direct box is also perfect for recording deep bass that will make your mixes sound huge plug that into a c610 comp limiter and as founder bill chaney points out it'll move your pant leg get your sound moving at spectra1964.com with so many game-changing izotope plugins to choose from deciding which one to buy next could be a bit of a challenge but did you know that now you can have all their plugins through izotope's new affordable subscription bundle music production suite pro for only 19.99 per month get your rockstar extended 30 day free trial subscription now at izotope.com rockstars and use the code rock10 to get 10 off any individual plug-in purchase so that's cool so do you just use the commit feature that's in pro tools where you just kind of right click on the track and and it'll hide the original and give you a new audio track i'm actually in cubase i used to okay cool and they've they i think pro tools i'm going to go ahead and [ __ ] on avid right now sorry no no it's all good like those guys i don't know why but they just refuse to do certain things that other dogs have been doing for like literally 10 years and then they're just like oh look we have a commit feature like last year and i'm just like oh great congratulations you are literally 10 years behind everybody else thank you for adding this feature in here for everybody else i mean every time i have to use pro tools i'm so frustrated because of just how like why can't you search plugins on like in logic or in cubase or ableton you could type in in the search bar like if i want to go decapitator for example i just type in dec right in the search bar and then it pops right up and then you just click on it but pro tools you got to go search you gotta you know down plugins you know multi plugins whatever uh you know sound toys decapitate like you have to go through the whole thing everything you can search now they did they did add it finally so i guess that was okay ten years afterwards they added it yeah so anyway i'm not trying to shed on pro tools but seriously they have not been very nice to me that's all right no no you're not the first person to you know talk about how some of the features have been around and other other daws so what what are some other features that you really dig about cubase i mean we love hearing about all the different things and people are constantly wanting to know like what should i start out and what would be a good choice for me um what stuff you love over in cubase i mean cubase has just i've been on it forever like that was the first one that i learned um just because it was the guys that i was working for when i was a teenager where were innuendo and so and it just for whatever reason each person that i kept learning from i was learning from this guy kato kandawa for a long time and he was my mentor for a while and he just so happened to be in cubase and it was just like all those people you know so i didn't learn pro tools actually until i moved to la and i started working for john feldman who was in pro tools and i actually when i was in pro tools 10 i think or maybe 11 is when i when i started using it and it was like he was all about it and i was like okay i'll learn it so i learned it in like a month and that was like my main dot for like a year was pro tools and then one day i was working by myself after i had left him and i was working by myself and i thought you know let me just open this session in cubase and and i did and then i literally haven't turned back so the midi functions for example like drawing midi in pro tools makes me wanna just you know it's it's just like why so uh you know it's cuba this is why i like cubase because it's laid out like pro tools like in a way that's familiar with the editing window i think pro tools is really good with like the way that they lay out everything it's you know the old school layout and the tracking window and all that stuff is really good for for editing and all that stuff um so it's laid out like that but then like all the actual applications feel more like ableton to me yeah it's really fast there's you know midi to you can commit midi to audio really fast you can um do sections you can do uh melodyne within cubase like they have their own melodyne plug-in that's like within the audio form so you don't have to like rent you don't have to open up third party plugins and then like render that in place you can literally have that all like tune as you go kind of thing and um it's just really really really flexible well that's cool let me let me ask you about that so when i do melodyne i'm typically doing it for vocals that's sort of my my usual go-to for that although i know it does lots of other things if you want it to but um one of the things that can be a challenge is if i want to work on two vocals at once i want to see them right next to each other and so therefore i tend to you know either melodyne opens up as like a a window in the daw and now i'm seeing them that way or i export them over to the melodyne studio app does it work similarly if you're doing it in cubase do you sort of is it easy to see two vocals right next to each other yeah you can do that in cubase with the um you can see like two things over you can still put them in a folder and then select melodyne both and then you can see like where they're they're overlapping i don't actually use that feature a lot um i just kind of click back and forth between the two of them for whatever reason that's just the way i've done it you know how like you develop old habits like with old versions of so like for example pro tools 10 i was super used to so i was like super used to you know having to before there was like commit the commit feature um in pro tools like i was used to just making a new aux track or you know make a new audio track send it out like and then print it onto the silicon if i was committing plugins for example so i was so used to that process so like even when pro tools move to the commit feature like i just found myself naturally just doing that so you sometimes like develop habits that were are restrictive to the other uh version of cubase or whatever and then you just kind of keep with that and then they come out with a new feature and then they're like so that's kind of the whole thing with cubase i haven't like i'm not like the most efficient with i'm sure the brand new features of it just because i'm so used to doing it but you know it works for me did you ever learn the um the hack kind of work around for committing a track in earlier pro tools where you feed the output of a track back to its own input and you put it in punch mode no yes there's this crazy hack like uh russ long did a video on on youtube yeah you mute the track and then you play the whole song down from top to bottom and because you were in punch mode that means pro tools was automatically recording a fresh track it was just waiting for you to drop into record somewhere to actually make it show up no kidding yeah it's just a kooky thing so but like if you did it wrong if you did it wrong you'd have you'd get feedback on every single track in the session oh yeah you just got to mute it you know i'm sure blow up the entire studio pressing one button yeah so so uh you know talking about stuff that's in the box and out of the box um i think one of the things i noticed on youtube is that you either you either have a pack a simulator like an amp simulator pack or you've got a lot of experience and talk about that stuff and i thought maybe if you want to you can kind of pivot to talking about you know when and how real amps in the studio versus using amp simulator plug-ins can both be really useful for production oh yeah well i do have a pack out um with stl tone hub um stl is a great company my friend will putney told me about this when i was working on the data remember album last year and he was like hey i'm working with this company stl i've got and will putney for like heavy guitar tones is i mean his his amp plugin is insanely like it's so good it's just so realistic and i wound up using a lot of those on the day to remember album actually like in post-production awesome um even after we recorded you know 30 000 with the amps for months you know we wound up a couple of them being like oh this one's actually cooler um so they he wound up and being like hey they want to do a pack with you and i met sonny and and james over there and they were there you know we worked on it for like a year they were asking me dude when are we going to do this when we can do this and i was always like uh i just don't have time to put this together and finally they were like dude are we going to do it or not and i was like let's go and so we did and uh and a lot of it was like pulling it out of you know pulling they have an algorithm that they i didn't like create a ton of tones for this pack because there's a lot of records that i'd already made so for example you know from the all-time low record i had you know six tones that i really liked out of that record and i would literally just send them the di and then the corresponding guitar amp track that below it and as long as it was like 20 seconds long and there was no like delay or anything like that on it or you know chorus and so they just kind of wanted like the tone by itself um they were able to recreate it almost identical like it's 99 accurate i think that's cool and so that you know first of all i guess you were glad that you had already gotten into the habit of recording the di because otherwise you wouldn't have been able to do that trick right i mean there are times when i am lazy or i'm just so sure of myself like there's one time i was thinking i figured out that like in the studio you know if we're being hyper critical and i'm not like this by the way usually i'm not super critical about guitar tones to where i'm like you know oh what cable am i using i'm not like one of those weird guys like the impedance of the cable is wrong so well we were doing a proper roach record and i remember we had all the amps set up and um i figured out that like if you don't use a di or any plug it pedals or any any like points breaking it if you just took a cable and plugged it straight into the guitar amp um that that is like definitely the purest tone and that's for sure so there were some instances in the past where i've just gone like that and been like you know what this is just this five percent better is actually what it's needing and so i won't record a di especially if it's like a clean guitar tone because i feel like you can really hear it with that stuff and so there were some specific instances where i didn't have a di but i had a cool tone then i'm like damn like i wish i could you know use that tone or whatever but yeah it's one of those conundrums with guitar stuff where it's like even if you want to run a long cable out to another part of the studio or you want to split it and do things like that it's it's like you said you learned that there's a there is a difference between just plugging straight in to the amp and going through stuff there is and that doesn't you know sometimes that maybe could make a difference it just depends on the time that you have and i don't typically have the time to do that anymore especially the more modern records i work on i realize that how little people care which is why i think that you know amp plugins have gotten so good in a lot of ways um that it now there's there still is that like you know five percent difference sometimes of like cool is it better just to hook up a marshall stack and record it i feel like i always talk about guitar tones like if you've ever seen the movie wizard of oz like the original one from the sixth from the 60s so did they make a new one i i don't know maybe that's why i was adding that provision in there i don't know so i feel like i feel like guitar tones are like there's a scene in there where she like goes to see the wizard and there's this big guy's on a big screen right he's like this big godlike figure and then she looks over and there's like this little man short man who's like behind the curtain over there who's actually you know that's actually the wizard of oz so i feel like that little short man over behind the curtain is actually your guitar di right and and like an amp plug-in or an or a kemper profile or like any digital profile like that is basically taking your di this little short man over here who's not very imposing and not very special and then they're adding all this crazy like harmonic distortion which is then making it look and sound like it's this giant god like figure on the wall but a real amp is actually that big like you know what i mean yeah and so so to the naked eye does it matter then no they're both imposing and scary but if you really dig harder and you look around you can tell that one of them is fake so i think that for all intents and purposes it is really really good the more distortion that you have the more like detail it's going to be able to provide you with a faithful recreation of that amp so like the cl i found that cleaner tones um digital amps haven't really like nailed the clean tones quite as well yet even the kempers i mean there are some good ones but there's just like when i hook up my custom tweed in here you know with a ghost echo pedal and then i put like a u67 in front of it running it into an api board you know with like a distressor or with a you know with a fair child on it or something like that and you know you've got all this gear going through it and it's like a clean guitar tone and there's not a ton of harmonic distortion because it's clean um the the the sound of that versus like a kemper profile or an axe effects profile or something is just you can't really compare in my opinion yeah that's it's sort of fascinating that a clean sound would be the one that's challenging you'd think yeah the other way around or something well it makes sense though because like the the distortion is what's easy to create and so the more distortion like the gain amps like honestly like the plug i mean the heavier the amp to me the more likely it's going to work as in the digital world that's just been my experience the jz microphone vintage series are built by hand in latvia and feature the patented golden drop capsule design for enhanced clarity that will give your recordings that classic vintage tone our friends at jay-z microphones have come up with a special offer only available to you recording studio rockstars listeners use the limited time coupon rock stars to get fifty percent off the v67 v47 or the new v12 microphone at jzmike.com atom audio can provide all your monitor needs whether you are setting up a first-time home studio for recording music or podcasts or a world-class studio for professional mixing and mastering their unique accelerated ribbon tweeter design is famous for creating smooth detailed imaging that let your speakers disappear into your music allowing you to focus on the mix visit the atom audio youtube channel for lots of cool free interviews tutorials master classes and learn how to set up your studio monitors and control room just click the link in the show notes of this episode now what about the guitars going in so you know when we think of amp simulators like oh man i can get this huge heavy tone are there some go-to's for appropriate guitar choices to be able to feed into these amp simulators um you know for example when a al levy was on the show we were talking about something called the um the evertune bridge as being a really important thing to be aware of and i wonder if you have any thoughts about just that that end of the chain the evertune bridge like the one that's like that makes it like impossible because we have one of those guitars here yeah yeah just just that sort of stuff like i mean that's [ __ ] that's dude everton evertunes are are white like wow what a great technology that is um i haven't used one yet so i've just the thing that sucks about the thing that sucks about it there's two things that suck about evertunes um well let's go let's go to the like the thing the reason that they're so amazing you the reason they're so amazing is you don't have to have a good guitar player to get a perfect chord so like on my les paul you know if i have a guitar player who's not you know even a professional guitar player who's like in a big band if they're not if they don't have really good technique on their left hand um to where their cording hand you know you could have a perfectly in-tune guitar especially something like a gibson and then press it weird or have like a slightly you know not super clean like cord hand and it'll bend the strings out of tune and then and then it just micro out of tune things just make it sound kind of mushy and not clear and evertune will completely like eliminate that at all so every chord like no matter how your technique is is gonna sound good and this is something you could put on uh vintage guitars and stuff or are they obviously for modern guitars well they they do take they do you could put it in any guitar i think you they basically took take a chunk out of the back of your guitar and they put this device in so i probably wouldn't yeah if it were me like take a vintage guitar like that you really like and and do that because you're going to kind of get literally gut your guitar out yeah um so they do make new guitars but i mean you could yeah for sure you're doing any guitar yeah we're taking enough chunks out of our guitars just accidentally knocking them off no doubt so i i think that like i think that like the the thing that sucks about evertune is that is the same reason that makes it awesome is that like you can't bend it out of tune but like literally you can't bend any strings out of tune right so it's not gonna work well for blues it's just not gonna work well for any kind of expressive um bending or any kind of like yeah anything that's not straight so like if you're playing power chords or you're playing chords that you need a guitar player to play in tune and they just can't do it grab the evertune you'll be solid like every time so it's a good it's a really unique and i think important tool especially when it comes to like super low tunings because you're playing you know drop a and stuff like that not that i do that a lot but when i do you have to play those kind of riffs and stuff drop b and whatnot um [Music] especially on guitars that like normally wouldn't hold those tunings well it it really helps because it's just like oh yep that's the chord cool it's you know something i'm sure you've probably made records before where you're like playing power chords or playing guitar chords and it's like you have to like okay let's punch these two chords and then now re-tune the guitar so it prevents that kind of stuff which is cool it's well what's fascinating is when you get into distortion you're making rock records you begin to discover you're like there are some times where you're like i i don't understand why i can't get this power chord two notes there's a root and a fifth to sound in tune with this distortion and this sound no matter what we do it gets really challenging and then you're like then you get into all the like you know the mysticism of like well do you tune it and then is there like some do you fine tune it after that and you know is do you trust the tuner do you not trust the tuner right yeah uh i mean evertune would definitely be a solution for that i think yeah um what um what about some other stuff that so let's let's put the evertune aside for a second yeah um you're you're just playing guitars you're layering guitars you're you're rocking out you're tuning things let's talk more about that because i think that is really important especially if you're going to layer and build songs and listening to your records it's like the one of the things that makes your record sound so powerful is because they are you know they're well crafted and they're they're in tune and they have a focus to them i think that it's a lot to do with the part you know i i talk on like facebook and instagram live and stuff with um some people who follow me uh because i offer up like little bits of i call it like miss wisdom it's probably not wisdom it's just coming from me so maybe it'll sound like it's wisdom but then if you try it it probably won't work so disclaimer here nice pick everything i say with a grain of salt um because it may not work for you but i do think that if you know you're you're the part you're playing and the way you're playing it is so much more important than whether even it's not in tune you know what i mean to me it's just i think people get way too cut like engineers particularly get way too caught up with uh what am i using rather than how am i using it and um which is why the better i get at this and the more the more records i make the more i find that like the demos you know tracks from the demo wind up like making the final record yeah because it was just it was the feeling it's a lot of times that's not in tune a lot of times it's not in perfect order or even played that well um but then you know you build around it so i i challenge people always to look at it more of like a bird's-eye view producer looking at something like how does that feel for you you know and it shouldn't feel perfect like music isn't perfect have you ever listened to the beatles um go listen to helter skelter that [ __ ] is out of tune as hell dude like everything's out of tune so and i mean bad attitude so you know it's i don't i think that there's a time for precision and then there's a time for feeling there's always a time for feeling there's it's not always the the time for precision sometimes precision is good and i really like records i like i love pop records i love metal records for the same reason that i like pop records which is that they're a lot of times very precise and you know but like well they're precise and perfect and very well put together and everything is in its right place and it feels totally cohesive but i think that if you don't have like the feeling of a great part or a great song to start with that you're recording that way then it doesn't matter at all whether you're in tune or not yeah no 100 and i mean you know it all the instrumentation that we record i feel like it ultimately is about the voice it's like things that we love about instruments are probably in a lot of ways things we love or don't love about a just a voice you know and it's like sometimes you want the voice to be perfectly in tune sounding and then sometimes you just want it to be moving around and be really expressive for sure um it's just i mean music is imperfection like all that's i mean literally if if all we wanted to do if humans preferred perfect sounds then we would just be listening to sine wave music like you know like with no distortion it would just listen that we would list like the whole i mean distortion is imperfection like that's why we on a micro level like put tape saturation on vocals you know and like things like that it's like that's distortion that's harmonic distortion that is imperfections that is [ __ ] up the wave you know and making it irregular to where it doesn't have the same thing so on a macro level that's tuning essentially you know so like why would we focus so much on tuning just focus on the part you're playing yeah that's cool you know if you've ever if you study or when you study synthesis one of the things that i remember learning at the beginning was that to recognize the sound you have the the attack and what's going on there and then you have also you know like the um the sustain and the decay and all that um and the sustain like on a piano note is much more like the sine wave but if you cut off the attack you begin to not be able to recognize it very as easily that it's a piano note it might sound like it could be some other instrument sure and that it's the it's that noise it's that distortion and the attack that goes on in a note that actually informs us as to what what the hell we're listening to so yeah i feel like that plays into everything you just said and also like a piano i mean a piano is what two strings per per note right yeah two or three three you know why why is that you know is it is is it's because it's because those two strings are not gonna be perfectly in tune so like if you if you ever played a one string piano it sounds like a harpsichord yeah you know and uh which has got its own kind of cool sound to it but it sounds bizarre you're like what the [ __ ] is this instrument like i played a one string piano one time when um we were i was in florida where they were doing the day to remember album and they were tuning the piano and he had like he was um he had like a couple of the keys where they were um he had muted like he had a cloth over one of the strings and he was just getting he was really going in hard resetting it up and i played like a couple notes and it was really unsettling actually so i think that um and synthesis is the same way like you know you got a big synthesizer pulled up and what's the first thing that you you usually do once you get like the basic sine wave or square wave dialed in you usually you reach for the other oscillator and then bend it out of tune a little bit so it rubs you know sounds different yeah yeah for sure and then of course you add all the chorus and all the other stuff that goes into it so yeah i remember having a band in here and they actually they loved the piano i had in the studio and then when they came back in we had just gotten the piano tuned and they didn't like it anymore because it didn't sound as thick yeah yeah for sure well so tell us a little bit more about your studio um talk about uh you've got your api console in front of you you got scattered uh guitar pedals on the floor next to you i think you had a cello in the back when i saw the video earlier um what about monitors how important is monitoring for you and what are some of the things that you like to do to make sure you're getting the right sounds in your studio i think uh i just like monitoring is is um i i always heard dave pensado talk about like that was the most important part of the studio and i um i was working at this other place um for five years or so in this other room in north hollywood and it wasn't the best mixing room it wasn't the worst mixing room but it wasn't the best mixing room and then i moved to this new place in north hollywood in my house it's like in my guest house basically we built it out as a studio and my friend rick carson helped me design it and this guy allen hug if you've ever heard of him he's a great studio designer he did an amazing job but we really got this room we've got this room really dialed in well and i remember coming in here and going oh my god like i thought something was wrong because it was so clear and so i do think that the listening environment especially for mixing is very important you don't have to have the greatest mixing environment but what you do have to have or even the greatest speakers but what i think it is is that you have to have a mixed environment that is fairly neutral that's not giving you disgust it's not disguising anything right unfortunately unfortunately a lot of times that really requires a lot of space so i find that like big dead rooms are better for me um the bigger the room with higher the ceiling you know the less treatment you probably need because there's just you're not going to have all that immediate resistance um tricking your ears so my new studio that's coming up in nashville is is very high ceiling um and i'm knocking out actually the control room and the live room one i'm making that one big room um more like a writing room studio yeah but it's like but then there's like a live or there's another live room there's tons of yeah it's it's like a proper thing um it's dope but there's you know the ceilings are really high and there's like you know there's like a floated ceiling and there's more space up above that and then the room behind me you know which will be kind of like the listening areas it's got super high a-frame ceilings and stuff so there's plenty of room for the sound to diffuse so you don't get tricked by anything so if you're mixing in a smaller room the bass frequencies can be a really big problem so like all the really nice rooms that i've been to like really great mixing rooms that were smaller are there's more stuff done to it so like right more bass trapping that has to be sure yep for sure what about just the recording side of things i mean like how critical do you think everybody needs to be just as far as dialing in a cool guitar sound and making music in your studio you know a lot of listeners of course are in home studios for sure i dude i think that like taste is everything like you you're required so it's it's never really like people like oh is it more mixing is it more um it's it's both i think it's not it's it's mixing and it is it's tracking too it's it's you know there's always going to be mixers who can like fix crappy tones but it's always better of course if you can get it just wow that sound is incredible it doesn't have to be any guitar tone necessarily be any kind of tone synth whatever it's just like if it sounds if it makes you feel something then it's right period that's my mission you know that's like my mission in life is to try to tell people to stop worrying so much about what it should be and start worrying about how it feels you know and if it feels good then it is good awesome i love using izotope plugins for my music and podcast productions in fact you're hearing ozone and rx on my voice in this podcast episode and now you can get access to all the izotope plugins through the new subscription bundle for only 19.99 per month music production suite pro is designed for the serious recording mixing and mastering engineer putting the finishing touches on music film and podcasts with fully pro versions of ozone rx neutron nectar neoverb tonal balance control visual mixer and more including free plug-in updates and just for you rockstars get an extended 30-day free trial subscription at izotope.com rockstars and use the code rock10 to get 10 off any individual plug-in purchase coupon not valid for subscriptions the stx 100d from the spectre 1964 custom shop is the big brother to the now famous stx 100 a fully discreet mic pre with dual transformer isolated spectra 101 amplifiers the stx100d is exactly the same original circuit found in stacks arden ad vision a m and record plant recording consoles the sonic performance is identical best of all it will plug into a single space of your standard 500 lunchbox and if you want to add the sound of the famous spectra c610 comp limiter then check out the new stx 600 modules combining the stx 100 mic pre and c610 into a single 500 module now you can get the same incredible sound in your studio that work for famous producers like tom dowd with the stx mic pres bbdi and comp limiters go to spectra1964.com or call 801 797-0642 hey rockstars we're back now for the jam session my guest today is colin britton joining us from his studio in l.a colin are you ready to jam yes sir do you ever jam to be honest actually i've been doing that lately with my friend swaco um i was like come back here and sometimes i literally just hook up my marshall uh jcm800 and one cable straight in yep and a half stack and nobody is recording and then like one of us will play guitar and just play shitty music like not really play like good music either just play just play really shitty music and at just loud volumes and i figured that that is maybe the most therapeutic thing that there is for me yeah i'm with you on that i'm trying to just sit down and play a little bit every day i was i was playing bad drums just before i got on the mic with you uh that's where you i could hear you banging around in there when you were using the bathroom so i was like oh okay he's probably just in there just getting some rage out right right this interview is going great let me see here all right so uh you've gotta again you watching videos of your studio what one of the things i dig about your style is you look like you're having fun with it so it's you know it's like organized a little bit of organized chaos going on there was like keyboards nearby there's guitar pedals around um there was one on shot on your instagram where you're like showing off this synth sound and it was going through just like crazy amounts of pedals and everything i was like that sounds awesome and i feel like there's also this crossover like if you're making a record like you're making with a band like papa roach that might be a great sound for that but you could be making a record where like that's like the farthest thing from your style and and the thing i like about the studios we all get excited about gear like that and playing around with sounds in the studio so talk a little bit about some of the fun ways that you like to run out through guitar pedals like how do you even set that up it looked like you were doing a digital synth coming out of the computer to do that um okay so that sound that you were hearing on my instagram is um my friend mick gordon who did all the the new doom soundtrack um the new doom video game um i just reached out to him my friend jeremy mckinnon a day to remember was telling me about him and uh when we were making that record he said man it'd be cool to collab it just never worked out for whatever reason we never reached out or something and then he wound up actually mick wound up doing uh a lot of stuff in the new bring me the horizon album and after that i was like oh [ __ ] okay he is collabing with bands so i just reached out to him one day and i was just like hey dude like do you want to work on this track for this hollywood records band and he was like absolutely send it over and then i started talking to him more and realizing like how he got some of those sounds for the doom soundtrack and it was just a really interesting approach which i've i've used similar methods like in the past and i'm always like if i can go full analog and then [ __ ] with it in digital land later um i always think that that's a really cool thing for me it's very inspiring but mick was doing this really cool thing where he was literally playing a sine wave out of the computer and he was running it into like a separate mixer um and then splitting it out into like i'm sorry he was running it out of a splitter and then he was separating it into like different chains and then he would run it out through different kinds of guitar pedals with different gates and or different kinds of distortion pedals and then he would like blend those four tracks in together and then sum those down and so he was literally just kind of doing like which how you maybe do like synth design in the box like just analog with a bunch of guitar pedals and i was like i've done stuff kind of like that before but i just never used that exact approach so i really for that particular video gave mick all the credit for like that's i just kind of copped his style and just made it my own a little bit um what a cool idea though so it's like it's like you're creating an analog synth out of all these guitar pedals that we might have in the studio you kind of but start with a simple tone and then just split it maybe if you get a little mackie mixer send it out eight different ways yeah and so he he uses a like a serum sine wave or like something something like digital um i kind of went another step forward i've got this this model d over here this mook model d um that's an analog synth and i was running uh i was running like a midi keyboard out to the model d like triggering the actual analog model d which was then triggering all the guitar pedals which you're hearing and so um so i'm doing it a little differently um just in that i'm using an analog synth to trigger all this stuff as opposed to a digital sine wave but the principle is the same it's he did it that way just because it was like the digital sine wave was the purest like non-distorted thing ever so literally every bit of distortion that was added was coming from the blend of guitar pedals that he was running and he was literally playing because the thing that the thing to take away from this is that he was playing um and that i was playing in this video is literally using those pedals the harmonic distortion of those pedals were feeding into one another and they were like playing off of each other so like one is side chains to the other one and then you know so like the gate of one of them is sidechained by the the input signal of one of the blending channels but all the signals are the same so it's this weird thing you're literally listening to distortion being played as an instrument that's which is instead of just like adding distortion to a sound that's already there so so like the distortion is the instrument and just and it's all feeling because there's no way to like there's no way to like manipulate that or draw that in you you just have to hear it and feel it so i let any time that where i can like restrict myself to a feeling and not have any like you know you know what this knob does right but you don't actually know if you turn this certain knob up past a certain point it's gonna completely act differently than if it was turned back a few a few dials you just don't know it's like an animal you know you're trying to like wrangle it in and that's cool because it restricts you it restricts it completely eliminates the technical side of your brain 100 you're just like whoa no more technical stuff and this is all about this is all feeling how does it feel oh it's not right cool let's scratch it and move on something else or wow this is incredible let's keep it print it and then that's it i love stuff like that i mean to me that's the kind of playing around in the studio that makes being in the studio fun to be in there all day what are some methods that you figured out i mean you talked about making records really quickly where people may not sometimes people may or may not care about a certain sound you know finer finer part of a sound but then there's other times where it's like you want to be able to give yourself that freedom to create this wild concoction of multiple petals how do you strike a balance between that in the studio and um you know just what thoughts do you have about that that's a good that's a good question actually because because there really is a lot of like you know there's a rabbit hole which all of us kind of have to go down i think if you work in this business like if you're a creative in the studio like as an engineer or a producer or whatever like i think that all of us go at some point in our careers down this rabbit hole of like oh spending you know three four five days on one track you know and and getting really caught up in the and and i think there's like certain degrees of like learning curve that you you have to do that at some point because that's you know that's like your school and um but for me i'm no longer in school i'm in the real world and you know i have real deadlines and real expectations and so i can't actually afford to like sit there for three days and come up with a sound so i think that it's a matter of feeling it and knowing when the feeling is right and then certain certain songs um like for example that instagram video with the mick gordon style scent that i was using was was done for this video game soundtrack um and this band called dreamers we're still working on it actually and it's a really great song that uh we wrote with my friend um jordan for this guy grandson a great artist if you haven't heard of him go check him out um and we wrote this song and we were like dude this needs to sound kind and actually that's like we were like dude it should sound kind of video gamey anal but analog style like one of like the old mortal kombat nice like like video games you know and and i was like i thought of mick gordon i was like dude we should hit a mick because i bet mick would be sick to like collaborate with this on on this idea and uh so like that was we were like okay this is worth spending the time to set that rig up because i feel like this is what this actually needs there's a papa road song that i just did with a similar setup where we came in we're like cool we want this outro to sound heavier and it should kind of go grimy like ana like have that sound so i've got that sound in my head of like i know that i'm never going to be able to recreate with that setup i'm never going to recreate each sound ever exactly like there's just no way so i'll be so it's like once it's done it's done so i have this idea in my head i'm like cool well let's i think that something like this is going to work so it's it's worth because i've done it before i'm like i know it's gonna probably take me you know this amount of time to get this part done so now we have like a two hour window roughly and i'm just in my head i'm eyeballing it i'm like cool this is probably gonna take around two hours to like really nail this part in and having the confidence and knowing that i'm not gonna really be able to spend any more time than that because i know that i'm probably gonna nail it um and that that is like kind of maybe the difference between like an amateur and a pro is like you can then decide when you know that you've like okay i know that this level of experimentation typically will take me this amount of time um so there's a little bit of a time restriction in my head it's like i know that i'm not gonna like i'm i gotta go i gotta go until i'm gonna get it right yeah i like that i like that that's a great tip it's the one that says you have to give yourself that window ahead of time to totally go crazy experimenting but you have to pay attention to like how long does it take you to get there so that later you can simply plan it in you can just be like yeah right and we're doing this it's organized chaos i think that's what you said earlier yeah and that's really what it is it's like it's an organized you know i let my brain run wild but you know there's like my mom still in the corner of the playground going hey you know we got to go to dinner and so like if you don't have that then you know you'll just run until you drop and then you wake up and then you don't have like what you needed and then and then the thing that i'm always conscious of is like there really is a timeline for me at least on how long i can work on a track before it starts to get stale and so so it has to stay fresh you know and like you kind of have to like delete your that part of your brain that's worried about other people's expectations in that way and just be okay to fail like it's okay if like you'd send it to somebody and they don't like it like whatever like let's move on yeah no well um i appreciate you sort of reminding us to play around in the studio and create wild crazy instruments because yeah that stuff is super fun okay so why would you but like why would you do it if that's what's what's fun to you you know there's always this business side of things there's always like you know this pressure to like get new more records and get more work and all this sort of thing but like if it's not fun like why would we yeah why would we be here in the first place well what's funny to me is is how we can surprise ourselves in the studio so i did a tracking session with um my band uh my buddies we did like we did a ton we did 11 songs in a long weekend and it was um it was one of those things where everything's super fast-paced and we get to the last song and i was like and i was like let's get everybody on an instrument which was kind of nutty because we didn't have enough time and then it's like you also know that for a new song that's kind of unarranged that might be a disaster but then somehow it's like in those moments sometimes you can really surprise yourself you can really pull off a difficult thing in that last final little stretch you know i i'm a big fan of like intentionally limiting yourself so i think for example okay last week i went to nashville for for like 10 days because my wife and my my daughter live there in ryan's house we're renting ryan hewitt's house right now nice and i'm in la i'm working they moved there and we're selling our studio here so i'm back and forth and so i went there though to work with my friend parson james and i because i'm i'm producing his album right now and he's like an rnb soul kind of guy like that's sort of his his thing he had a big song with kygo a couple years ago and he's a really great like he's really kind of going for this like organic motown you know amy winehouse sort of that's fun so it's different than a lot of the records that i work on normally and sorry everton bridge no it's all good so we're renting so so we're like you know we're right we're just writing we're not we're not really focusing on production and so i limited myself by literally not bringing my pro tools right so my partner razz my i do a lot of records with nick furlong he's a phenomenal writer he came with me for that week and i was like you know can you just bring your laptop and your rig and so he did and you know it's pro tools and which i don't normally work in and we didn't have any of my plugins we didn't have any my gear we're in ryan's studio so he's got some cool preamps and guitars and stuff but we didn't have like any i was limiting myself by like not having any of my usual go-to tools to reach to and so that way like we i was like cool i'm not gonna spend time like spend a ton of time trying to to get the right thing because it's going to take me a lot longer in this situation than it would in my studio at home to to get sounds right so what do we do instead cool we just don't waste any time thinking about the soundscapes we just do the first thing that comes to our mind and we focus really on the songwriting and that that really put me in a weird box um and it and it was uncomfortable but it was also really great because i didn't have this i was intentionally limited and so i focused on a completely different element so i didn't waste time trying to you know i wasn't like competing with myself i was like i'm not going to try to compete with what i have at home because there's no way you know i've developed my system at home i've developed over years and years and years so like there's no way in a week i'm just gonna take this guy's laptop with plugins that i am not usually used to working with and like limited scope of things and try to compete with my productions at home i'm just gonna completely limit myself and that really showed up in the songwriting because the songwriting was better i thought that way so i think some sometimes i think that it's and that's like a macro thing like you can sort of kind of apply that to anything like limit yourself to if you're used to working you know entirely in the box try it one day where you don't use any plugins and you try all stuff and then see where see where that gets you and then kind of vice versa if you're used to working with a bunch of analog stuff maybe try working with only waves plugins one day so it's cool to like limit yourself because that's the only way to like um if you want a different outcome of you know you have to change the process yeah and when you you you're referring to it as limiting yourself but it's also kind of like shifting your comfort zone a little bit you know for sure like that's the the if you want a different outcome you have to change the process you can't change the process or you can't not change the process and expect a drastically different outcome every time i think you and einstein said that i mean well okay so it's an einstein thing so like i'm i'm all about quoting other people i don't know if it sounds like it it probably is i mean it's or somebody like that i i think that that's like a true universal truth though yeah adam audio designs monitors with a mission to bring accuracy transparency and high definition to your studio guiding you each step of the way on your journey from starting out in a home studio to installing your ultimate mixing setup in your pro studio check out their complete line of speakers and headphones from the t series to the ax series to their top of the line s series which all use the unique art accelerated ribbon tweeter design famous for creating smooth detailed imaging that let your speakers disappear into your music want to feel awesome to make brilliantly accurate creative decisions in your mixes because you can finally hear your music clearly your ears are the greatest instrument you have and if you can hear the music then you can mix the music visit the adam audio youtube channel for lots of cool free interviews tutorials master classes and learn how to set up your studio monitors and control room just click the link in the show notes of this episode [Music] look every studio needs a good vintage mic for that classic warm sound whether you're looking for those airy highs sweet mid-range or silky low end a good vintage mic can put the magic in your mixes so it's no wonder vintage mics have been loved and praised by thousands of engineers for decades the jay-z microphone vintage series are built by hand in latvia using only the best electronic components and feature the patented golden drop capsule design for great detail and richness of tone that will bring that classic vintage vibe to your studio and be a real workhorse for your sessions this time our friends at jay-z microphones have come up with a special offer only available to you rockstars use the limited time coupon rock stars to get 50 off the vintage series mike's v67 v47 and the new v12 at jay-z mike.com [Music] how do you like to write and produce with a band like papa roach for example um do you what are some of the things that are in the comfort zone or part of the system that work really well for you um so a lot of stuff what we do with papa roach like i i work with my partner nick furlong um who's a great top line writer and and great producer and um usually with those guys they're so prolific and they've just they've got such a an energy like that band is just so intense like as far as their creative drive and their their desire to make new stuff they're they're like a bunch of kids actually so it's and it's like the three of them together really the three members jacoby tobin and jerry are like the three you know guys who write most of the stuff like co-write most of the stuff with us and they really bring just some like when they come in even if they don't have any ideas they're just so like i don't know they're just their energy together it's like power rangers like when they all like when they all like you know power up into the big zord thing and they're like all their robots come together and make the big robot it's kind of like that when they get together so you know coming in like this record this is our third record we've made together we decided to change it up and get out of la so we rented this massive house in temecula which is like probably 40 minutes north of san diego and we all moved in there for three weeks and we had like a chef come make us food every day so we didn't have to worry about food and we had we had like uh um our jacoby's little brother bryson is like a videographer a really great content creator so he was living there um tuan who's the bass player's brother who also plays live with them and does a lot of writing who's there my assistant was there we had another assistant there we had and then we just had like all these people there that were running around and um it was just so much fun being around it's kind of like being at summer camp with your with your homies like as adults you know and so and and we had like you know my big rig in the living room we set up up in the living room and then tobin the bass player had his own little like production rig in his room and he was writing ideas and stuff and so it was just like tons of energy and we just get together and you just show up for work every day and you know you go for a run goes for a swim come in hey all right let's go guys let's eat lunch and let's go and you just sit down hey what about this riff and i i've been really [ __ ] with this song lately you know and a lot of times it'll start out and start out from like one of the songs we we started came from like an 07-0 shake song which if you haven't heard that record that's awesome but mike dean did a lot of it but nice it's like a hip-hop kind of wrecker like like an ambient hip-hop kind of vibes and um you know so like a lot of the ideas that we come in um come into don't actually come from like rock music and you know we just do it we do it so fast like we're just like like idea comes out it's like as little time as it takes to get it onto the computer as possible and then we just comb over it and come over and come over it kind of like that that's that's like our process it's just just vomit it out and then if it makes you feel something great if it doesn't then [ __ ] it let's move on that's awesome it's just like process of like it's like duck hunt it's just like shooting down as many bad ideas if it doesn't make you feel something right then and there no good you know you got it you got a fair amount of video game references going on man i you know tennessee nerd over here dude what can i say um so did you get a chance to watch the bc boys documentary the one that's on netflix that they did wasn't it did that did you get that feel were you like uh ready to like throw some furniture in the swimming pool while you guys were there for three weeks or anything well no but we did have a pretty i mean we had a pretty crazy like psychedelic experience one night which was super fun and memorable let's just say to say the least so i won't get it i won't get too much into that only because because i think that that's gonna that actually influenced a lot of the the sounds and the the um not the mood of the record but definitely like there was like a theme of like self actualization um cool that that came about through that moment um that was a really special cool thing that happened that was terrifying but also kind of cool and um just being alive man being human not being afraid to like fail not being afraid to like have demons not being afraid to like self-hate and being like why where does that come from you know where does this insecurity come from because insecurity is not always like a bad thing and i think it's something everybody has and it comes out in all good music so i'm not saying this is like a downer thing like oh this record's about insecurity it's not it's just about like being human and being and being cool i'll let the band talk about that because it's a lot of their lyrical ideas but sonically for me it was really inspired by just the people that were around at the time and you know prodigy uh you know i know that uh keith died just just a you know year or two ago so you know we were listening like some old beastie boys some old prodigy records for some of this you know and just kind of just listening through great records and finding the moments of like wow that was really special and not being afraid to you know chase after that that's cool i mean the idea of staying in a house together and recording like that and just hunkering down and that's all everybody's doing is so much fun i love doing stuff like that it's i think i don't know how many of our listeners feel similarly but for me that was like a big part of the beginning of recording for me when it was just me no family no kids and then that seems to take a new shape as you as you you know become a a dad and have kids but now i'm trying to bring it back in different ways and and if i can get into the studio like i've done with my friends and just be like even four days of nothing but but that you know recording until five in the morning six in the morning i love it i try to keep that i mean my family is really really supportive of me and um my wife in particular and we we have a one-year-old daughter and another one on the way and and um that changed my life for infinite better reasons um you know as you know being a dad yeah and i but the thing about it is is like i don't and some people will be like you're an irresponsible father for leaving your children behind but we've got a great family dynamic at home and the grandparents are always around and stuff and you know it's my my family has never challenged my ability to be like challenged my desire to be like cool i got to go for a month to australia to make this record like this is what i'm put here to do it's no different than if you're um you know in a famous band and you're touring eight months out of the year or a military situation you know where you've got to go away for periods of time i'm still a kid in my mind and i feel like that's what provides me the inspiration to continue making great records like when i'm not if i'm if i'm ever feeling like i'm you know stuck at home just doing the same old thing i'll probably just hang it up and not make records anymore because it's so competitive and it's so like um you know it's so difficult to stay at this speed you really do have to i think you really do have to uh it's like being a professional fighter you know you you have to just keep training and training and training until you're not ready until you don't want to compete anymore right and then and then you can back off and and stuff and i'm just not in that place so i'm trying to squeeze every i'm getting this whole like live fast die young kind of thing i'm really trying to i'm trying to squeeze it as much as possible for as long as i can until until i feel like that's just not my calling and i want to maybe like fill a more executive role you know yeah or later on but um i think right now it's it's just i'm still so inspired you know and i see older guys too like ryan hewitt um who who've been doing it for for a minute and they just keep crushing it and keep in that and so like it really gives me the inspiration that you can work at this at a high level for like a long period of time if you want to yeah i just got to strike that balance always whatever it is yeah and i mean and then when you're there with your kids you know you just gotta be there and um i've always been a believer in that in in being do what makes you happy my family makes me really happy but also locking myself away with a bunch of uh with a bunch of my friends in a you know kitchen in bandai beach in australia for a month is also something that i'm really passionate about and that yields great results for me yeah yeah well i like to say my kid's the best record i ever made so you know there you go i know that feeling um you're putting together a new studio now i think you're you're getting ready to kind of come to nashville is that right you want to talk about uh what you're excited about exciting new plans i'm so excited about nashville i have been excited about nashville for a long time and i haven't um you know i haven't like made it really a big priority until actually now that i think about it this temecula thing with papa roach we um i took a heavy dose of mushrooms like too much probably and i had this like sort of like self-actualization like self-realization kind of moment and uh it was really funny because it was like um i don't recommend that by the way and i'm not here saying take ghost takes psychedelics kids definitely do not do that but that is just something that happened to me and i tell people about it because it was so profound that it made me go like what do i actually want in life and i thought you know i want my family to be happy and also i really like nashville and i like the energy that started to build there in the last few years like when i left tennessee it was it was definitely you know different than it is now i think and so i just felt like it was the right thing to do and so now i'm going to split time between la and nashville i've got an la studio here that's that's really great but we just bought this studio in east nashville this guy um keith garrett um and we just bought his place and so we're moving in in july and it's just so beautiful and i'm just so inspired to like you know i love the people of tennessee it's like kind of my it's my home people and i just love the attitude that they have and and the weather and just the whole like the spring and you know country music i just love it i just think it's really fun and so i've got my grimy la north hollywood studio that i've been in for seven years i'm probably going to continue you know spending a lot of time out here as well but like i'm excited to to get and start a new chapter over there and see what nashville has to offer that's cool well i mean you know 2020 aside the music scene in nashville has just has been and continues to be booming i think um and there's just and by that i mean there's just so much creativity there's so many cool musicians and artists and bands and people making music here it's really fun i'm just i love the fact that i've been here for 30 years and i'm just constantly discovering new people and new music it's just such a great it's a really great place and i really feel like the last like like i said the last five years there's just been a lot of really awesome bands that i i love and also some of my friends too my friend jordan schmidt has a really great producer um and he's just been absolutely killing it in nashville and it's just so great to see you know my friends win and uh he he was telling me years ago like five years ago he's like dude we need more guys like you in nashville come to nashville and i was like yeah but l.a man you know like whatever and i'm glad that i stayed here it's been really great for my career but i also think that like there's there's also a lot of stuff in nashville yeah take it the owc envoy pro electron is the fastest toughest mini-sized universal portable usbc ssd that lets you record from anywhere in the galaxy with confidence with speeds of up to more than a gigabyte per second real world performance the owc envoy pro electron gives you high speed audio data for recording and playback take your sessions and sample libraries with you anywhere you go built for reliability the owc envoy pro electron is waterproof dust proof and crush proof never worry about your storage and the safety of your music again find the new owc envoy pro electron and all your storage needs at maxsails.com rockstars so another artist you work with um hands like houses is one of the tracks i was listening to black i'm going to dig into some drum topics here um but one of the things that leapt out at me on that one was right away it was just like i was like oh that snare sounds great and i was like i think that snare is like in tune with the track here i go bringing up tuning again yeah i wondered if you had any thoughts about recording drums there was a great video you did on your instagram again where you talked about how you like to mic the drums and thinking about them in 3d mic and all that and i just wonder if you want to talk about making sure our drums sound right for these songs we're producing for sure i think tuning is a big thing i mean like like i said it's it's not something that like i don't think any one of these steps of towards getting music to creating music should should like trip you up necessarily although my engineer will probably like laugh at me saying that because he's just like yeah because how many times have have i walked in the room after they've set up a whole drum kit i mean you listen to it and be like yeah that that whole that kick drum is totally not right right we do it you know what i mean um and uh but but so i am kind of like a perfectionist in some ways but again it's balancing time right it's going okay cool like what's the time value of money so you know we have a studio that's two thousand dollars a day for example um and you're like cool we've got a you know 14 hours to work and um we're going to work here a whole week then it's probably more makes a lot more sense to spend all the time on the front end you know because we have all that time getting the sounds right getting the sounds right as opposed to blowing through it really quick and then having tons of time on the end and be like [ __ ] i wish we'd done that better or something so usually spend a lot more time on the front end obviously that's that's a no-brainer but um as far as drum tuning goes i'm a big proprietor of getting drums in tune i think that makes a huge difference especially like in the kick drum area which is sometimes more difficult um a tip that i would say okay so when you're tuning drums like i almost always have like a drum tech come when i'm doing like a full album or something who's just so i'm not like constant because i'm not my favorite i'm not my favorite drum tech you know i'm a drummer by profession but like i'm still not the best drum tech in the world i can get a drum sounding really good but i if i can have somebody else and be like i'm just hovering around the studio as this whole thing is happening and i always have a team of guys that are really exceptionally good at whatever they're doing and then i can be like dude that snare drum is just too i don't know it's too flabby or something it needs to it's it's giving this ring it's that tone i need it to go i need that tone yeah and then somebody who can go cool sick i know what you're doing and then he can just do it and i don't have to think about it anymore i can just like move on to my next adhd thought so i think those are drum tuning though is really important um kick drums especially um one tip tip that i would do is you know when sample selections um when you record a drum kit and you're like okay i don't know if this kick drum is right sometimes what i'll do is i will um find wherever like the resonant frequency is like the low frequency so let's just say it's 160 hertz okay that's sort of like your resonant frequency in the kick drum and you like don't know because a lot of people are like well colin i can't hear a kick drum freak i can't hear 160 hertz like i don't know what what like note that is i can't tell because maybe sometimes it's like a harmony with itself you know the drum is like a harmonious thing right anybody who's tuned drums would know like you'll hit you'll hear a overtone that sometimes overlaps with the actual tone itself so what i do is i find whatever that frequency is in the box like in a kick sample for example i'll find whatever frequency it's 160 hertz and then what i do is i literally just take a pitch thing and i go i boost that frequency up right at 160 it's really loud so that frequency is like it's really singing right and then i i take a pitch tool and i shift it up 12 semitones an octave to where you can really hear the note right and then usually you can usually you can then like go okay cool that's a d-flat actually we're in b so let's p let's find either a different sample that's in b or let's pitch this down to b so then you'll know like that's just a quick way of if you can't if you're having a hard time like finding drum tuning issues just try pitching it up an octave and really boost in that resonance and then you can really kind of hear like what the tone of the actual drum is and so that's really helpful something that's cool so that's something you can do in the box if you're using a drum sample and you can manipulate it can you spin that trick into tuning a drum kit somehow in the studio are there any tips for like how do you make sure that you can hear i guess you could record the kick and then pitch it up yeah so so you know kick drums are weird because a lot of times it's a lot of transient and then the boom after it is sometimes um the boom after it is sort of like you know what i mean yeah it's like a pillow sometimes kick drums like being recorded is not always the biggest issue i feel like you can sometimes have like a live kick drum that doesn't have to be perfectly in tune with the song or that you can't even hear what it is because it's more of like an attack so you know it's more like toms and snares actually on live kits that tend to give me the biggest issue you can only i feel like you can always like replace a kick drum it's pretty easy to do that it's harder to replace a snare drum or tom samples in a live situation because you can really hear the transients you hear the difference a kick drum pedal is pretty even most the time it's all hitting the same spot spot so you can just put a sample in and it doesn't really make a difference um the snare drum is a different story so to answer your question yes you can what you can do with the snare drum is like record the snare drum and then pitch that up and then hear where it is if you're having a hard time hearing what tone it is sometimes that will help you can hear the tone obviously it's gonna sound like [ __ ] but you can hear exactly what the the fundamental frequency is and then go cool all right that's you know a half a step off so then you go back and you can tune your snare accordingly that's cool man i like that um all right so i know i know we've got uh some time constraints so let me let me sort of zip forward um if you got time for one or two questions um but when you were starting out in in recording and stuff like that i mean you've been doing this for a long time do you feel like uh you know was there anything that was sort of holding you back at the beginning the biggest thing holding me back was myself and that is i wanted to i had this dream of like being rockstar in a band and having my band be the thing that broke me as a musician but i didn't realize that i was my productions were so when i was 15 i started a band in high school and we recorded my dad had like this 16 track recorder and i would i quit i quit football quit all sports and i i went home every day and i was like recording music after school and um i made a couple demos with my band and my guitar player uploaded it to like myspace or something at the time which was like probably 2005 or six or something like that around that time and uh a member from atlantic records like a junior a r from atlantic records found it and like hit us up and was like dude we'd love to hear more from you and so we were sending back and forth we never got signed with atlantic but we we were sending demos back and forth and that should have been a beacon of me going dude this was your productions that got that not the band it was the productions interesting that did that and then instead we went to a producer who then polished it and then we never heard back from atlantic so and then and you know to me i was just like oh it's not meant to be like let's keep being in a band and stuff and you know that's just all growing up so i don't regret any of it because it it it's you know growing up and learning you know living in a house with a bunch of guys and trying to get booking agents and trying to play local shows and just doing that grind for a few years was fundamental for me but it also was very distracting like i feel like if i had not done that and just focused simply on productions and like moved to la when i was 19 would have been in instead of i was 26 when i moved out here so if i you know could have saved like seven years of my life of course i wouldn't have you know been toured all over the world i wouldn't have been able to meet a lot of the people that i know now and and stuff and and improve my life the way that it is now that was those are fundamental years but i would say like believe in yourself if you feel like you have the chops to do it and it's something you really want to do you know just do what makes you happy and if you're good enough to compete then you know your your records will speak for that i feel like eventually like they will they'll speak for that but you really do have to have the confidence and self-awareness to be like this is me this is who i am going to be like i don't want to be a drummer in a rock band i want to be a producer yeah and if somebody had been like yo hey why are you why are you doing that like there's tons of drummers like why don't you just go do that that would have helped me out a lot with self-awareness to answer your question that's like the short answer i thought that's a great answer though i mean it's like i feel like sometimes we're reminded of that when things that like seem like opportunities go away and and at first your first reaction could be like oh that'll never come back again because it wasn't me that was the opportunity but when you begin to recognize that you trust that what what made something work before had a lot to do with you then it's then it helps you move forward too because you realize you can keep bringing yourself back to the table for every product absolutely absolutely do you want to record killer drums in your home studio rock stars of drums will show you how to record edit and mix pro sounding drums with examples from a nashville session drummer in a grammy winning studio do you want to know how to master your own music at home rock stars of mastering we'll show you how with plugins in your daw so that your music will sound awesome when you finish your mixes and if you're looking for a step-by-step solution for a pro sounding mix that won't take years to learn the ultimate mixing master class with craig alvin will show you a proven method for creating grammy-winning quality mixes that you can apply in your home studio right now or if you just need to learn the fundamentals of creating a great sounding mix then register for my free course mix master bundle to get great mixes using simple free plugins and get started now making your best record ever at recordingstudiorockstars.com academy use the code rockstar at checkout to get 10 off any course for a limited time [Music] okay so this is kind of a business related question for you um you know do you have a tip or a resource you want to share with the rock stars that are you know something that might help them be able to continue doing music for a living in case they want to do this for more than just a hobby yeah i think that the biggest thing that like is i i've and maybe i'm wrong about this but like i feel like the biggest thing that people say to me is like how do i get asked this kind of question like relatively frequently and the answer is everybody's path is different but mine changed the day that i moved to los angeles so if you're sitting in like in my case knoxville tennessee even though the proximity of closeness to nashville like we're two hours away oh well i can just go there anytime i want no that's not how that works if you are in a city surrounded by tremendous amounts of energy that are creating this one thing like nashville is exploding right now right there's tons of records being made out of nashville yeah move why wouldn't you move to a city like that and be in the middle of it to where you're at a coffee shop and you might see you know jordan schmidt or scott bennett or someone like that like i was in nashville like a year ago and i saw desmond child at the car and i was like dude desmond child oh my god like you know like [ __ ] aerosmith bro like i was he was so nice and took a picture and everything and you know like when are you gonna be around that kind of talent all the time you know if you're in columbus ohio no offense to columbus people i like that city but like if you're in columbus ohio like what's the best records being made out of columbus ohio like for real and how many of them it's not just like oh maybe the black keys did uh another from akron but like maybe the black keys did a record in columbus you know that's one record in los angeles there are literally a thousand records being made today right now you know right right down the street like i can walk down i mean in my walking distance neighborhood like within a mile proximity there are i can literally think of 12 studios and not including mine so they're being around it all the time is probably the biggest thing and people will argue with me until there's people are afraid they're like well you know zoom now you can just then i'm just like okay cool well unless you have tons of people to zoom then good luck like yeah who are the 12 people you're gonna zoom right now i just think that being around and being available is the most important thing so so if you're really serious about production there's really in my opinion there's only a couple places you can move and nashville is one of them la's the other one um maybe miami if you're doing like more like dance kind of electronic stuff or reggaeton kind of stuff or like latin music um or atlanta atlanta is also great if you're like trying to do more hip-hop stuff so there's definitely more there's definitely tons of places and like that but um get out of your comfort zone if you live in the middle of oklahoma and you're serious about it like if you're really serious about it i'm you know again tons of people have made it made productions in their bedrooms in nova scotia and have like there's there's examples of that all over the place where they're just like living in there and they're so talented that it you know they become an artist or whatever and you know but there's just no how like how are you going to compete with a city like that if you're really trying to get off the ground and nobody knows you you really you got to have help you got to have people around you that are talent that are more talented than you to push you and uh if you're just in an echo chamber by yourself you know in your backyard and nobody ever comes by except for your local bands and stuff like that's all that's as good as it's going to get i i've improved so much just by being around more talented people than me you know my friend dwilly for example um great producer i'm working with on this guy swaco you know and he comes through and he plays the piano and i'm just like oh my god you're just an insanely gifted piano player and your chord choices are so great and i'm watching him do it in front of me in my own studio and then he's like oh yeah like i like this one synth and i've like learned and then i share wisdom with him and then we're like now we're like homies and he comes over and we like pass ideas back and forth and now we're working on projects together you know and and then it's just like i've got time i've got so many examples of that of like how many like a-list or dope producers that i've just become friends with just because we were in the same room and i've learned so much from these people and you know that's helped my you know tony maserati for example is literally right down the street from me um if you don't know him he's you know one of the greatest mixers of all time yeah and and now he's like a friend of mine i call him you know to see how his family's doing and he he like gives he's he's helped me so much by just giving me great little tips on you know oh hey you should check your you should check this limiter out and you know you're when i haven't mixed projects for me he'll be like you know hey man just want to let you know like this sounds really really great i just want to let you know you're you're it's a little crispy on the top end it's just just just so you know you're really cooking it too hard and he's like giving me lessons like feedback on my own mixes i'm like tony maserati you know i mean so like where else are you going to find that yeah yeah so that's mine that's great man we're glad you're moving to nashville so we'll meet you look forward to seeing you here in the coffee shops all right so here's the last question this one's hypothetical you can take the way back studio machine you get to go back and find young colin maybe in knoxville just jamming out at the local coffee shop or i don't know where you guys were playing your gigs at the start but you say listen dude here's the single most important thing you need to know to be a rock star of the studio yourself one day um what would you go back and tell yourself if you could go give yourself that advice i would say like have fun doing it and um yeah just just have fun and be yourself and have and and be self-aware i've always been aware that i've always really wanted to impact the most amount of people possible and that sounds really like grand and everything but you know not everybody is going to want that not everybody wants to put the work in if your dream is strong enough you know you will walk over a bed of broken glass to get there and you know like really you will like you'll get up i'm dude okay so you're tony robbins yeah has he said that no i think he walks on hot coals or something like that oh he's some weird he's a weirdo and tony robbins stop being so weird with your perfect jawline no but like you know um last night um you know i didn't get done with the session until 1 30. we had an anr guy over here until 1 30 a.m i didn't get to sleep till probably 2 30. i was i woke up at 7 30 this morning because i had a call with publicist and then we had this interview right after that so like you know i'm running on five hours of sleep i got a session here in an hour and that's gonna take all day and then i have a mixing session later tonight so awesome i'm tired but bro i'm gonna [ __ ] do it and i'm stoked to be here so if if your dream is is that strong you will make it happen just be around people like that's the biggest thing man i think is i've said it in my last point about moving to nashville or la or wherever like it's i think it's like surrounding yourself with people who are better than you who are are doing the [ __ ] you want to do you know our friend ryan hewitt is just another case example of that but you know that guy's i mean like i'm living in his house right now my wife's living in his house right now like he has a grammy sitting on his mantel and you know i'm just like when i look at that thing i'm like drinking my coffee looking at ryan hewitt's grammy and i'm just like how the [ __ ] did i get here and it's so inspiring though dude like to go wow like this dude has got this guy is so much further than i am right now and i want to be that and i just want to like be around that and literally just having living in his his space it's i'm just renting his house like just being around that is just like [ __ ] like cool and it makes me push and it makes me push so much harder and you just have to like if you're if you are if you're just like stagnation bro is just the killer of dreams because it starts to warp your your own vision like if you're stagnant then you start feeling like you know your vision isn't maybe it's not right nobody wants to suffer for like it's just a starve for 30 years you know like there's only nobody wants to do that everybody wants to feel like they're moving something and so people think that i'm crazy because i just built this studio in north hollywood right and we you know we've spent like a year and a half building it i moved in in august i just sold my house last week and i'm moving to nashville and people are going like what the [ __ ] dude like you've been working on this for so long like why are you doing this and i'm like you know what i just like change like it doesn't stress me out like change doesn't stress me out it's it's stagnation stresses me out more than anything yeah yeah i love it so i think and i think in the audio community it's like super common um for people to just go well you know blow this and this and this and i'm not getting clients and stuff and i'm just tired of recording local bands and stuff and it's like okay well then do something about it i mean as engineers in studios we got two choices we actually either keep our butts in these chairs or we can get the hell up out of them and move around and get something done in the studio just go twist stops go go be in spot go find your inspiration like you're everybody is gonna die one day like we are all going to die and we will we are not coming back you know so let's just get out there and go out there and like go live it kids just do it i think it's like a nike slogan or some [ __ ] but awesome dude i get turned up with this stuff so that's great man i'm sorry people are like people who was this [ __ ] oh it's good stuff man really great to meet you dude thanks so much for taking time out for us on this um you know busy day you got let the rockstars know how can they find you online where do you want them to go check out your work find you what if they're ready to make their next hit record and and they don't even recognize that it's their own production that is so awesome just yet where are they going to reach out and find you um at doc britton d-o-c-b-r-i-t-t-a-i-n that's my instagram and then i'm on facebook just calling britain um and then just google i guess if you just put me in google i'm pretty easy to find just pop me an ariel something will pop up i'm sure all right awesome yeah and i think i found you you have a page over on linear management's website as well right so yeah that might be a place to find you well dude thanks man really great to meet you thank you again i can't wait to meet you in person i'm sure i'll see you right here in east nashville you have to come over and uh i'll fake you fix you an oat milk cappuccino here at my studio one day i am ready for oatmeal cappuccinos brother all right all day thanks thanks for hanging with us cheers thanks so much for listening to recording studio rockstars if you enjoyed the show and want to help make it better then please share this episode with your friends on social media and leave a rating and review on itunes to help the podcast reach more rock stars like yourself you can click directly over to itunes or go to rsrockstars.com review for an easy explanation and remember to hit the subscribe button to keep up with weekly episodes and if you're ready to make your best record ever now then head over to recording studio rockstars academy where you can start with my free course at mixmasterbundle.com and if you want more free content from recording studio rockstars all you have to do is go to rsrockstars.com email again that's rsrockstars.com email to enter your name and email and i'll keep you in the loop with articles videos podcast updates and even free gear giveaways for your studio just look for the link in the show notes below thanks so much for listening and thanks for being a rock star i'm lid shaw and this is recording studio rock stars now go make great music [Music] recording studio rock stars would like to give a big thank you to our amazing sponsors who have helped make this episode possible owc atom audio spectra 1964 izotope and jay-z microphones remember to use the coupon codes rock10 at izotope.com rockstars for 10 off any plug-in purchase or start your extended 30-day free trial subscription to get access to lots of plug-ins and rockstars at jay-z mike.com for 50 off select vintage series mics for a limited time and remember to visit the atom audio youtube channel for free interviews and master classes and use the coupon code rockstar for ten percent off any course at recording studio rockstars academy for a limited time you'll find links to all these wonderful sponsors in the description of this podcast these are all things 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