Monday Commute (017) - Eder Cheddar

Eder on the Pod this week. Eder has become a Long Beach staple, spending countless hours digging at the renowned Foot Work records. Initially getting his start on digital, Eder quickly shifted to vinyl, and it has shaped his sound into a classic style with a little more groove and a little more soul.

Eder Links:
https://www.instagram.com/ederchedder562?igsh=NTc4MTIwNjQ2YQ==

Ian Myers links:
https://www.instagram.com/ianmyers_official/?hl=en

Monday Commute on IG:
https://www.instagram.com/mondaycommutepodcast/?igsh=MWpqczVmcjM4MHdvaw%3D%3D&utm_source=qr

Transcript

SPEAKER_05 0:00

Alright. Can you hear me? Yeah. Sounds good. Alright. Sweet.

unknown 0:08

Hello.

SPEAKER_00 0:09

Hello.

SPEAKER_05 0:10

Remember that I have a mic. Yeah, just make sure you have the mic up. Um thanks for coming on. Of course, man. Thanks for having me. My first podcast. Yeah. Yeah, it's uh it's an experience. Yeah, we'll see. Um I uh I'm sure all the all the Long Beach heads know Edder. Um I wanted to have him on just because I have you just started producing, but I honestly like talking to both sides of like just like people that only DJ and like people that I guess are like more on the production side. Yeah, there's because it's just like a different mindset, you know? Yeah. Like being only a DJ. So yeah. What uh you started did you start playing vinyl before you No, so I started with digital first.

SPEAKER_00 1:06

Okay, and then I got into vinyl, yeah.

SPEAKER_05 1:08

And why why did you want to get into vinyl?

SPEAKER_00 1:12

Well, it was really never my intention. It was it's crazy because um I started spinning when uh Daken opened up Footworks.

SPEAKER_05 1:20

No that was like what three years ago? Yeah, three years ago, two years ago, three years ago.

SPEAKER_00 1:25

Damn. Yeah, he um he played at our New Year's party, our day ones. It was like a day party we had. He had like his uh strange loving kind of deal. Was that the one that was outside at the gray? So it was like after we had our New Year's Eve party, yeah. New Year's Day next day, yeah. It was like a day party.

SPEAKER_05 1:44

Damn. I didn't I I don't know why I don't remember that. Like I remember the party, I just didn't remember there being like a secret service thing before, like the night before of New Year's, you know.

SPEAKER_00 1:56

Yeah, it was fun, it was it was a marathon, but yeah, it was cool.

SPEAKER_05 2:00

We haven't done it since just because that took some years. I bet. Because I'm sure you guys stayed out, you know, like went to some after stuff. Yeah, we were the afters.

SPEAKER_00 2:12

Yeah, but yeah, it was cool. So um I went to I got my first record at um Footworks, DJ Sneak record. It was on um it was his birthday, or like it was his grand opening, Slash birthday. That's tight. And um yeah, I would just I got my first record there, and then I kind of wanted to get into it. I didn't have turntables, so you know he was nice enough to go let me jam and practice. I would buy records and he'll just we'll I'll be there from open to close, dog. Really? Yes, like sometimes Saturday, Sunday, bro. When he would open them at 12, I'm like at the door, 1150. Here, like, yo, D, where you at, bro? I'm ready.

SPEAKER_05 2:50

That's tight. Do you do you have vinyl players now? No, I still don't.

SPEAKER_00 2:54

I'm I'm gonna get some eventually. I sold my digital, I mean I wasn't using it. What did you have? I had uh uh the all-in-one, the X E. Oh yeah, yeah, nice, which really helped me a lot. Like when I was first starting to DJ, yeah, like that was the closest thing to a C DJ. Yeah, like in terms of like the mixer and stuff, yeah. And you know, when I first started DJing, I was just grinding that X out, bro, fucking putting hours, and then um yeah, I just started collecting, collecting, and then once I got the hang of it, it was just yeah, it's addicting, dude. It was hard to leave the store without Adi Space. That's what, dude, that's exactly what happened to the biggest thing. Such good music in there, yeah, such good music there, bro. Like shit you can't even find on YouTube.

SPEAKER_05 3:34

Yeah, Dakon's got like really good taste.

SPEAKER_00 3:38

Oh yeah. He and he knows like if he's heard your DJ or like likes or knows what you like, he will go and like find out some records for you and he'd write on the money.

SPEAKER_05 3:48

Like that's so tight.

SPEAKER_00 3:50

But yeah, dude, I'd be there fucking Saturday, Sunday sometimes, open a clothes with him, jamming out.

SPEAKER_05 3:54

Yeah, that's how I learned. How much money do you think you spent on records? Oh, dude. I mean, when I first started, I wish people would just like keep track, like a log of like I did one time and I was like, I'm never doing this again.

SPEAKER_00 4:06

I went to like I went to my bank statements and put typed in footworks and just scrolling. Think about that. I was like, I'm not doing this again. But I mean, I love it, dude. I'm I'm a cheap ass. That's how I started like yeah, like the eight dollar records. I was like, Well, what does it hurt to listen? Sometimes it'll be fucking bangers, dude. He wouldn't even know it because I mean most of the records he does into and he cleans every single record, yeah. But you know, it's a lot of records to listen to, and so sometimes you'll just kind of like uh price match it off something and kind of go based off that. But I'll get like an eight dollar record and I'll throw it on.

SPEAKER_01 4:38

He's like, Yo, what's this? He was like, Fuck, dude, that should be a little bit more expensive. Yeah, like no, I already bought it. Yeah, bro, there's a price tag on there.

SPEAKER_05 4:46

That's funny. Um, have you played? I know you've played some like vinyl stuff with Secret Service, like when they would do the footwork stuff.

SPEAKER_00 4:55

Yeah, so we've uh we used to host, well sometimes we still do. We have like a second stage, and it'll be the footwork stage. I also did uh two of my birthdays were all vinyl parties.

SPEAKER_05 5:06

Oh yeah, I remember the last one.

SPEAKER_00 5:07

Yeah, it looked really sick. Yeah, it was fun, man. It was it was stressful. I was stressing because you know you gotta dial that shit in. Yeah. I was there for like since Wednesday, like, you know, making sure there's no feedback. Yeah. Making sure all the room was getting covered with sound, but yeah.

SPEAKER_05 5:22

That shit always happens, like dealing with the feedback. Yeah. I think I can't remember which one it was, but yeah, they were having issues with the it just skipping and yeah.

SPEAKER_00 5:34

It really just it depends on like the kind of booth you have. Yeah. And then, you know, you kind of just go based off that. Yeah. Like if you have like a solid steel table, that's what I used last time. Like, yeah, like a steel booth. So yeah, there's no way. And then you know, you gotta go old school with it, you put some cinder blocks down there. Yeah, loaves of bread. Yeah, anything. Yeah, you just see in the you know, like the old school beer fools have like pillows and stuff like that.

SPEAKER_05 6:01

Yeah. But have you played any other like vinyl stuff, like gigs, I guess, like outside of Secret Service?

SPEAKER_00 6:07

Uh yeah, not as like big production, but like I've played with Ian at like little bars and stuff, yeah. And then I've played at like Good Times Billiards. Uh what else? Besides that, now just footwork, Secret Service. Yeah. But you know, eventually.

SPEAKER_05 6:27

So how did you get involved with the Secret Service guys? Because you've only been DJing for not that long.

SPEAKER_00 6:34

Yeah, so I actually started like I bought my first little controller, started on Serrado. This was during COVID. Yeah, same, bro. COVID years. It was hey, dude. Hey, this is one other time. What does it do? It was either Fortnite or like we did it. But uh yeah, this was like 2020, and then I started, I was just practicing in my room, unemployed, yeah, C D D baby.

SPEAKER_05 7:04

That era of playing like Call of Duty with all the homies, that was like so sick to me.

SPEAKER_00 7:10

It was the only thing that sucked for me was I was still in college, so I was like Zoom University, bro.

SPEAKER_05 7:16

Yeah, that fucking blows.

SPEAKER_00 7:18

But honestly, I'm pretty sure if it wasn't for like how lenient the professors were, yeah, I probably would have failed some classes. Yeah. So it's a it's a blessing in disguise, I guess. I still got to like walk in person and stuff. Yeah, yeah. Luckily that came back. But yeah, um, going back to starting DJing, I was practicing like during COVID, and I didn't know about them. Like, I didn't know about anyone doing anything in Long Beach. Like when I got comfortable playing like with the homies and stuff, we would go to like the beach and like just set up 212s and play volleyball and stuff. And I was like, eventually I was like, damn, maybe I should start throwing my own events. But then a homie had told me about Secret Service, and I don't want to hit not only them, but anybody up, any other collectors, until I knew I was ready to like play at least one hour set with the like little to no errors, you know. So I was in my garage just practicing, recording sets, listening to them, like trying to get better, and then once I was like finally ready to hit people up, I hit them up, I was like, yo, I'm from Long Beach, you know. If you guys ever need DJs or like help with anything, you know, he's like, Yeah, dude, like come meet me. And I was I originally was supposed to go meet him at Legends when they were doing stuff at Legends. Yeah, I played there with them. And um I went to go meet him and I just got really nervous. Yeah, like I was like a little faded, I was smoking Louise, so it made me more and I just like I left. I didn't even meet her, I just got nervous and I left. I was like, whatever, I'll meet him next time, you know. Because like I didn't want to feel like, oh, this guy's a fucking crazy animal. But um, I ended up going to a boat party that they were having a stage on, uh, or like their own little takeover. And he recognized me, he was like, Edder, is that you? I was like, Yeah, I was like, what's up? I took my cousins, I took a bunch of people with me. Yeah, and um, yeah, I we chopped it up more, like he started like seeing what kind of like music I was DJing, and then finally he gave me my first gig at uh Sandbar. We're doing uh out in HB. Yeah.

SPEAKER_05 9:26

They were doing stuff there, yeah.

SPEAKER_00 9:28

I didn't know that. Yeah, it was it was cool. I mean, have you been there?

SPEAKER_05 9:34

Yeah, yeah. It's like a restaurant. I played there a little bit. Yeah, it's it's cool. I mean, it's very um it's like commercial tech house, you know. I know that's not really your style.

SPEAKER_00 9:45

Yeah, no, I mean, but back then I just wanted to play, you know. Yeah, yeah. But you know, we had we had our kind of style like going out everywhere, so you know, funk, disco. Um yeah, it was a Thursday, and I didn't tell him that I've never played to anyone before. Yeah, I just kind of like he didn't ask. But like I was like super nervous, and like I took like all my family and cousins, and it was cool. And like he had told me that oh, for every like five or six people you bring, uh you get a free bottle. And I was like, okay, cool. And I tell you, I took like my cousins, it was like my first set ever. Everyone you know, so like all the homies went, it was super cool. And he got there a little later, like I want to say like 20 minutes into my set, and he looked around and it was he was like, You brought all these people, and I was like, Yeah, bro, these are like my cousins and stuff, and then they just started bringing bottles out, and it's like a Thursday, dude, and everybody's just getting hammered. It was cool. I don't know if they do that anymore. Yeah, I don't know. I don't think so. We don't we stopped doing sandbar, we stopped doing legends, uh, we used to do body o too. Yeah, so now we're just kind of doing like altar Fridays and then events at our at our venue, yeah, bigger ones because they took over the gray, right?

SPEAKER_05 11:01

Yeah, gray. Yeah, it's our new home. Grey is a cool spot. It is, it reminds me of like New York, like loft vibes, yeah. The the upstairs like loft thing looks tight. Yeah, and it's like pretty narrow. It's cool. Sound is is good in there because yeah, it's like it's kind of like locked in. Yeah. Yeah, we uh for the tempo gallery thing last night, all we had was just my we just used my sound system, just two QSC tu subs and tops, and like it's such a small room, that shit was fucking bumpy. Yeah, dude, that's all you need. Two subs and two tops, bro.

SPEAKER_00 11:38

That'll work you wonders, bro. The right room. That was our like body setup, and body's still like a little more open, but you know, if you dial it in, it sounds good.

SPEAKER_05 11:47

Yeah, because sometimes when it's in like too big of a room, it's just not enough sound.

SPEAKER_00 11:52

Yeah, you really have to like use science, yeah, like where sound travel because sound travels in certain ways, you know, and bass, you know, it could cut each other off and stuff, all that.

SPEAKER_05 12:05

Yeah, and especially when there's more people, yeah. The sound's better. Like the sound is different when there's the actually a crowd.

SPEAKER_00 12:13

Yeah, it's a trip. Like you might sound you sound check just to make sure like everything's working, but it's not gonna sound the same as when people are actually in there dancing. Yeah, yeah, or talking, yeah.

SPEAKER_05 12:23

Jeez, it depends where you're at. Yeah, you're right. LA is fucking horrible for that. Yeah, I know, dude. Depending on the venue, but I've just gone to some stuff and there's just people just like standing on the dance floor, just like in groups, just like talking. Like I know, that's so the the noise of them talking is louder than the music almost. Yeah, I know.

SPEAKER_00 12:49

That's if you're like keeping it like middle, it's fine, you know. Yeah, have a little jib jab. Yeah, but if you're having like fucking laughing, like, dude, come on, man. Yeah, you gotta turn out and give them a little stink look.

SPEAKER_05 13:00

Yeah. What were you listening to, I guess, before you started DJing? Like what kind of like influence the style that you have?

SPEAKER_00 13:10

So what got me into well, deep into like house music, because I always like knew about the commercial stuff, you know. I was in middle school, and you know, yeah, David Getta, yeah, Skrillex, Dead Mouse. I had DJ Heroes, so like Dead Mouse was like the gods.

SPEAKER_05 13:29

I never I never got a chance to play that.

SPEAKER_00 13:31

Well, it was cool, it was sick. It was like before his time, and I never like ever had an idea of being a DJ. Uh my cousin, uh Letty, shout out to her. That's my road dog. She's the one that's been like raving for like 10 plus years, like EDC 2010, like kind of stuff. OG. Yeah, so she's the one that like took me to my first rave and like got me into all that. So like when I started raving, it was like with a bunch of like OG ravers, you know, like candy and everything.

SPEAKER_05 14:02

What was the f uh your first rave?

SPEAKER_00 14:05

Well hard summer. I wasn't really, you know.

SPEAKER_05 14:08

Yeah, I mean it's kind of like EDC with like hip hop, basically. Just at the Nas. Nas, everyone that that was the first like big festival that I went to. Was that NAS? I think it's just gotten worse just because the crowd the crowds worse now. Yeah. But when I first went there, yeah, it was cool.

SPEAKER_00 14:30

It's it's huge, it's great. Like you gotta watch it venue. Yeah, I mean, there's nothing else like it. Yeah, literally. Besides obviously, like the Vegas raceway, but yeah, it's just a mini version. But I mean, I had fun.

SPEAKER_05 14:42

Yeah, it was cool. I haven't been back. I haven't really gone to any like big festivals lately.

SPEAKER_00 14:48

Yeah, I usually just do like day trip and LIB. I went to my first LIB recently, and that's a game changer, bro. Yeah, I've wanted to go. Bro, it's you don't have to worry about nothing, no pickpockets or like someone fighting, like you're just floating around, bro.

SPEAKER_05 15:02

Yeah, and that's what's nice about the like I wouldn't say like more underground festivals, but like yeah, I don't know, the more indie watching.

SPEAKER_00 15:12

Yeah, exactly. Everyone's chilling, yeah. But um, yeah, hard summer. So and it was um right when everything opened back up from COVID. So it was like the first hard summer. So everyone was getting accurate.

SPEAKER_05 15:26

Yeah, I remember that too. Yeah, dude, it was crazy.

SPEAKER_00 15:29

I remember like going to different stages and then picking two chains up there, and everybody just dying in the heat, like, and he was like tripping out. He's like, Man, fuck you guys, like because nobody was everyone's dying in the heat, and then you know, everybody's all tripping and shit. Yeah, but yeah, um, and it's funny because when I first started raving, like my whole rave group, we're all into different things, you know. We had the techno people, like the bass heads. But like at first, what I liked was like bass house, you know, like the night bass stuff, and it's cool, bro. Like the UK, yeah, like Mala, like AC Slater.

SPEAKER_05 16:04

Yeah, I did too.

SPEAKER_00 16:05

I mean, it was cool, bro. Like the UK baseline, it was still dope. Like AC Slater's still ahead, bro. Like, he plays like break beats and like those nice UK bass signs. But yeah, that's kind of like where I started. Like, um, what's his name? Can't remember, but you know, all the mala guys. Yeah, Chris Lorenzo.

SPEAKER_05 16:23

Chris Lorenzo. Um I think everyone kind of not everyone, but I think everyone that's like a house head eventually like starts at kind of like the kind of ravey stuff. Yeah, the hard shit, you know. And then it gets to like base house, and then you slowly just like keep going down and definitely.

SPEAKER_00 16:44

But yeah, I started off with that, and then you know, I started finding about like the classics and stuff, started doing but my game really changed when I started collecting vinyl because I would go in there and I wouldn't know mostly any of the DJs, maybe some if they were like you know, Armin Van Heldon, yeah, you know, people like that. But at one point I was like, I'm not even gonna look for DJ names, like I'm just gonna listen to them. Like that I I still do that. I still like if it has a cool artwork or a cool name, you know, I'll check it out. What does it hurt to listen to it? I'm already, I know I'm gonna be there for hours. So I'm gonna grab a nice little stack, and then um, yeah, I mean, even being with Secret Service, they like they got me more into like the funky disco stuff, you know, the deeper stuff. So shout out to Risky, yeah, dude. Risky, he's he's giving me records, bro, too, and like he's gifted me them, and they're like spot on. He knows like DJs and what they would like.

SPEAKER_05 17:43

Yeah, risky's risky's dope, bro.

SPEAKER_00 17:45

He's he's like the most unpredictable guy you would ever like meet, and he's such a good guy, and he's a great DJ selector.

SPEAKER_05 17:54

Yeah, we love Risky. Yeah, that's my guy, man.

SPEAKER_00 17:57

Shout out Risky, yeah, taking a risk. He's a really good DJ. I know, dude. He doesn't look like it, but he's you know, his glasses just go there, yeah, just start fucking dropping heaters, dude.

SPEAKER_05 18:08

Yeah, because he's been around for a long time. That's why I really enjoyed like having him on the podcast because he's like super well spoken, but he just has like so much experience and knowledge.

SPEAKER_00 18:19

Yeah, I've learned a lot from all those guys, man. You know, him, Dakin, Sal, you know, Trev, my boy Ramon V, all those, all the OGs, man. Yeah, you gotta stay loyal to the soil.

SPEAKER_05 18:31

Yeah, yeah, that's what's uh that's why I like Brando so much because his flavor and taste is insane. Yeah, that guy, that guy knows ball.

SPEAKER_00 18:40

Yeah, he knows ball. Me and Brando clicked like right away, dude. I remember the first time I met him, it was when we had um we had a uh a vinyl night at Altar 2 where it was like eight of us going back to back on that.

SPEAKER_05 18:53

We caught it the I was there, I remember that. Didn't Colin play for a couple records? Yeah, he played a couple records, yeah. Yeah, I remember that. I think that was I think that was the first, maybe not the first Secret Service event I went to.

SPEAKER_00 19:06

No, it was I think it was Thanksgiving now that I remember I went back to back with Ian. Yeah. It was a Thanksgiving.

SPEAKER_05 19:13

I can't remember if I was there for that or not.

SPEAKER_00 19:15

Yeah, but I remember Brandon was just in the dash, like fucking grooving, bro.

SPEAKER_01 19:19

Like he knows his guy knows.

SPEAKER_00 19:20

Yeah, yeah, and then you know, we kicked it at their the regular start many uh regular many times, and you know, we we fucking we've exchanged a lot of you know information and knowledge, and I was like, damn, dude, like yeah, he's ahead. Yeah, and I've heard from other people that he's ahead, like that time.

SPEAKER_05 19:40

Yeah, cuz uh we just had a town hall event at uh footwork with uh Wyatt Marshall.

SPEAKER_00 19:48

Oh yeah, so that's yeah, so that's what I heard from because he he played at uh our after our peers after party. I think it was the same day, yeah.

SPEAKER_05 19:58

Yeah, it was the same day.

SPEAKER_00 19:59

Yeah, and I wanted to go to but obviously we're you know we're at the pier. And because Brando opened up, right? Yeah, and I was like, Yeah, that's my boy. He's like, though, he's you and him are like both heads, like you guys know he was like that, but yeah, why it's fucking he's a G2.

SPEAKER_05 20:13

Yeah, yeah, dude. He's really good at vinyl. Yeah, I was like when I booked him, I didn't know he had it like that. Oh yeah, yeah.

SPEAKER_00 20:21

The first time I met him was at the record store too, and he's like super cool, super humble, you know, shows a lot of love. Yeah, yeah.

SPEAKER_05 20:27

His new uh marmalade jams project is tight. Oh yeah, dude. So good. Yeah, just like the artwork and everything is sick.

SPEAKER_00 20:36

Yeah, it takes a lot of time to do all that, man. That's you know, it means that's what a lot of that's what I say about like records. It's it means more because it took so much to like put into that to actually get it pressed, you know, working artwork. It's not like, you know, no disrespect to what we're doing now, like just slapping music on USBs, but you know, back then you know like I'm not saying like not everything that's pressed is good, but it took some kind of you know like effort and time.

SPEAKER_05 21:04

Yeah, and people just knew their records way more, you know. Like you didn't have access to you can't bring a thousand records to a gig, you know. I mean unless you need to. Yeah. But you know what I mean? Like you have to know your music and yeah, that's all you got.

SPEAKER_00 21:22

You you gotta pick and choose. Yeah. So it's a little more difficult to like really curate your set and you know, play something good because you can't just bring like you say, you can't bring your whole library. Yeah, you gotta specifically hand pick how you want to curate the night.

SPEAKER_05 21:42

Um SoundCloud actually I was uh I just had Anthony, DJX boyfriend on. Yeah. And he was saying that you could just get like vinyl pressed, just like singles.

SPEAKER_00 21:56

Oh really?

SPEAKER_05 21:57

Yeah. On SoundCloud? Yeah, on SoundCloud. He said there were fifty erup I think he gets like ten bucks if he sells them, but I think it's fifty bucks. They charge fifty bucks and you can just press whatever.

SPEAKER_00 22:12

Like one. That's crazy. You know? I wonder if it's like good quality. Because you know like some records are different. Yeah, I didn't know that until like you could feel them, like some of them are flimsy and then I mean some just sound uh just as good, but I was doing some research and apparently like there's two different types of records, like how they're pressed.

SPEAKER_05 22:32

Yeah, I don't know. I'll have to scope them when he gets them. Yeah, but yeah, it would be sick to just like press a couple records, just have them like on your wall. Oh yeah, for sure. I was telling him you should make like a fake platinum record, you know. Yeah, dude. Why not? Yeah. Um, you just started uh production. I saw.

SPEAKER_00 22:54

Yeah, yeah. It's it's fun, man. It's it's a lot, but you know how's it up and going? It's cool. Um what's funny is that like when I first started DJing, like I bought my first controller, I also like downloaded like the Ableton, whatever light, like the intro trial intro, and I opened and closed that so fast. Like I was like, you know what? Let me just focus on DJing. It kind of reminded me of that um that old computer game. What's it called?

SPEAKER_05 23:22

Where like you click one little box and it's like the gray yeah, it's like mind break or something like that.

SPEAKER_00 23:29

You know what I'm talking about, where like you click one other thing, blah blah blah. It reminded me of that. And even as a kid, that was like, I don't know what I'm doing. But yeah, I try to get into it early, but I realized like I'm gonna actually need to sit down and like either learn by the book or like get take classes because some people can learn on themselves, and you know, my hat's off to them, but you know, going to college, it kind of taught me how to learn a certain way where I have to really like sit down or have someone actually more structure with intention to teach me, yeah. Um, but yeah, I kind of dabbled with it throughout the years, but I decided that I wanted to focus solely on DJing first and kind of like master that in a way, and then once I'm ready, I wanted to get like go full into production, and I'm honestly glad I did because if I would you know, when I first started DJing, my taste was completely different, and I probably would have been making way different music than what I am now, yeah. So, you know, and then you know, the whole structure of house music DJing really helped me understand that, you know, in terms of phrasing, intro, 16 bars, 32 bars. Yeah. So, you know, it all worked out. Um, I started seeing a mentor taking one-on-one classes, just to kind of get like the basic blueprint, sort of.

SPEAKER_04 24:53

Yeah.

SPEAKER_00 24:53

And you know, the the sessions were recorded and everything, so I could always refer back to that. So that's what's been helping me. Uh I'm not going anymore, but I kind of got what I wanted and needed for the most part.

SPEAKER_04 25:04

Yeah.

SPEAKER_00 25:05

But yeah, dude, right now I'm just kind of shooting out sketches and just trying to get as many ideas out and then go back to them in whatever I like and feel like I could finish or you know, will finish, then you know, eventually finish those songs. But that's like my thing right now, just finishing the song because I always feel like it needs more or it could have more.

SPEAKER_05 25:27

Yeah, I mean, and when also when you're at the very beginning, it's like nothing is gonna actually like sound good enough to play out, you know.

SPEAKER_00 25:36

Yeah, exactly. You don't know until like you actually go out and you know, test it out. But you know, you just kinda I kinda have to like get through that whole PIFO thing if it's good enough or not.

SPEAKER_05 25:48

Yeah, you just don't know what you don't know. Yeah, that's the problem.

SPEAKER_00 25:52

Yeah, you know. And I was just talking to someone about this, like usually the best songs are the ones that you don't really overthink. Like, even in all music, a lot of like the the hit songs on an album, they'll say it themselves, like it was one that I just like it wasn't even gonna be on the album, you know? So it's kind of just like an overthinking thing, and at one point you just have to like start shooting shit out.

SPEAKER_05 26:18

Yeah, I think the one of the things that I've kind of learned just from doing it for a while is just not being so attached to ideas, you know. Like if it's not working, don't try and force it to work. Yeah, just for sure. Move on to something else. You can always like come back to it, you know. Oh yeah, for sure. You gotta be in that flow state, you know.

SPEAKER_00 26:46

Oh yeah, yeah, that's important. It's it's crazy because like there's some days like I'll get home from work and like okay, I'm gonna sit down and try to work on something, and I just you just don't feel it, you know. And then there's other days where like you have ideas, like I'm sitting in traffic and I'm like making bass lines in my head, or like stuff like that, and then I get home and like I'll sit down and three hours fly by, you know. Like it just depends on your mood, I guess.

SPEAKER_05 27:09

Yeah, yeah, you really have to just in the beginning, especially, you kind of just have to take your licks, you know, and just like try and figure things out on your own.

SPEAKER_00 27:22

Yeah, and what really helped me is actually like having a desk and making like my little space because when I first started going to my mentorship and trying to like make music, I was literally just like on my bed on my laptop with headphones. Yeah, and it's hard to get into like a workflow in that way. And like once I sit down at my desk, like I'm kind of like locked into that, you know.

SPEAKER_05 27:43

Yeah, do you use a mouse?

SPEAKER_00 27:45

No, I need to use a track tag guy, track tag demon, dude. I I literally just have like two boots, my interface, like some MIDI's and but yeah, I need I'm still building my little studio. I need to get a monitor and mouse, all that stuff.

SPEAKER_05 28:01

Cause yeah, that's helped me so much.

SPEAKER_00 28:04

The mouse it's crazy.

SPEAKER_05 28:06

It sounds crazy, no, but you're right, it's just more easier to like these guys. I need to get better at just like using a trackpad. Because if I'm not at home, I'm just like I just hate working off a laptop. Because here it's like I have a giant fucking monitor, a mouse, like everything is like so much easier. Yeah, because it's literally on on a laptop, the space in like the arrangement view is like this big. Yeah, I know. But it's like on my computer at home, it's like this.

SPEAKER_00 28:35

Yeah, for sure. That's why like I needed if I do get a monitor, it's gonna be like the nice car too. Or sorry, I'm not even tagging the mic. But um, or two of them because you could see literally like a whole song. Yeah.

SPEAKER_05 28:46

In terms of like fucking scrolling. Yeah. I've been using, I just started I used to only produce in like the arrangement view. But I recently started using the session view, like maybe this past week. And I think that's honestly like a game changer for like because I have so much trouble with arrangement, the arrangement part of the track. Yeah. But you basically can like stack ideas in a loop. And then when you go to do the arrangement, you could have say you have a a lead and you have three different um just like patterns for the lead. You can just play them live and then you have them all saved right there. Yeah. So it's easier to just kind of like click in between stuff. Yeah, I know. Or if you have a section that you're working on and it needs more drums or something, you just click play on one of the racks with the that has drums on it, or it's like an open hi-hat or like a ride or something, you know? It's like easier to just kind of like hear it instead of it. Yeah. Yeah, I feel you. Cause I've seen um I watched this video with Josh Baker, and he showed how he arranges his tracks. He basically just hits record and it it'll record it into the arrangement view, but he just hits record, and he just activates all his own. And then just like activates it as it's going. And it's kind of almost how like when you're DJing, it kind of feels the same way.

SPEAKER_00 30:32

Yeah, for sure. It's like playing live, you know.

SPEAKER_05 30:34

Yeah. Yeah, that's cool. Yeah, there's I don't know, there's a thousand ways to like work. Yeah, exactly.

SPEAKER_00 30:43

It's a trip. And I feel like what I am gonna like end up leading more to is like I'm more of like a hands-on guy. Like eventually I want to go like full analog or like drum pads, stuff like that. Cause I have I have drum pads, but I haven't really used them. But I know it'll be more of like uh a better workflow for me because like I like rhythm, I like hitting drums and stuff. It's more like natural swing. It's rather than like everything's quantized.

SPEAKER_05 31:14

Yeah. Yeah. You can use a lot of times I think uh when I'm like doing drums, you kind of get like an uh you're trying to place everything too too perfectly, you know? When it's when it's playing, you kind of have to just blast a bunch of notes, you know, and it'll give you just a different groove that you're like, oh, that actually sounds tight. Yeah. You almost just like are just throwing ideas until something kind of works. And that's one thing I've noticed just working with other producers, yeah. They're not so hung up on the idea, you know? They're just clicking stuff, like twisting knobs, yeah, when it's fucking with stuff, and they're like, oh, alright, this sounds tight. Let's move on.

SPEAKER_00 32:01

Yeah, yeah, that's happened to me where like I have like some stabs and then I'll add like some effect and like it completely flips it and turns it and like cuts one of the notes out, and it sounds like sick. I'm like, dude, if this it feels wrong, but like right at the same time, you know. Like I didn't mean to do that, but it sounds sick, but I mean I'm pretty sure that's what most producing is like you're just trying stuff out. Yeah, exactly. Whatever sounds good to the the naked ear, you know. Yeah, yeah.

SPEAKER_05 32:29

I mean, obviously using reference tracks really helps.

SPEAKER_02 32:33

Yeah.

SPEAKER_00 32:34

Just for arrangement and I feel like all songs you kind of get a vibe from a different song or like an idea, or like you don't necessarily need to make it sound exactly like that, but it just gives you like that same feel, vibe.

SPEAKER_05 32:50

Yeah. Yeah, and you can also I'm I started doing this again where I literally would just copy exact like basically re not remake the track, yeah, but just copy every single arrangement change that they do.

SPEAKER_00 33:09

No, yeah. I mean it's a blueprint, you know. Yeah, even like when I first started producing, I'm like, wait, well, how many how many bars is there? When I'm gonna bring in the bass line, so I'll go to like record box and see like what bar it's on, and then you know, go back to like cause but not all songs are gonna be arranged the same. Yeah. So which is cool, you know, you don't really need to follow that. Um like old a lot of old tracks, they they're not doing 16 bar intros, they're just filling it out, you know, where it's more like natural.

SPEAKER_05 33:42

Cause they're doing it by feel. Yeah. Like back then you didn't have visual, yeah, you know, like the visual uh aid when you're arranging a track. You're you're basically just recording it live.

SPEAKER_00 33:57

Yep, and you can tell like some house tracks from back then, like the kick never leaves. You know, like there's no build-up, there's no like it's just going all the time. There's might be something changing, like in terms of like sense or like other instruments, but it's just now like if you see it on it, if you have old songs like on the CDJ, there's no, you know, there's a kick the whole time, there's like a bass sign the whole time or like something, you know? Yeah, there's no like euphoric build-up or like break or anything like that.

SPEAKER_05 34:28

Yeah, that's why a lot of the stuff back then kind of feels more melodic and yeah, techno-y sounding.

SPEAKER_00 34:37

Because it's so repetitive and yeah, it's just like something changes about the song where like you know, you notice it and it gives you a different feeling. Like sometimes some songs it sounds like two completely different songs, and that's why like it's cool to let songs play out. Like the second drop might be completely different than a whole different part of the song. It's it sounds like two different songs, but it's really just the song telling a story or like building up to something new, you know.

SPEAKER_05 35:04

Do you ever edit uh tracks in Record Box for like when you DJ? Nah I don't. Like cut out like part of a breakdown.

SPEAKER_00 35:15

No. Um, I've had like homies tell me about that like back then, but I'm like, nah, I don't really put my shit on grid, dude. I'm I'm a lazy pass here, yeah. I don't put my music on grid or anything. I mean, if it's on there, it's on. If it's not fucking. Use my ear doing it by ear.

SPEAKER_05 35:33

Depends on how you mix. Do you loop do you uh use a lot of looping when you're mixing?

SPEAKER_00 35:40

When I first started, yes. Just because you know, you didn't. So you want everything like, but now I unless it's like an emergency. Yeah, and I think you know, vinyl kind of helped me out with that because obviously you can't loop on records. But nah, I I usually don't unless like to avoid vocal clashing or like the song ending, obviously. But for the most part, like house music mixes itself. Yeah.

SPEAKER_05 36:12

Yeah. I've seen have you s have you ever watched Colin play? Oh yeah. Like the way he DJs, he uh he uses a lot of looping, like he'll loop in and just like I don't know. No, but I mean he's really good at doing it.

SPEAKER_00 36:26

Yeah, you could you could make looping your best friend, like you could do a lot of cool shit with looping, you know. Obviously, keeping the vocal in, like keeping two songs in is like also a different like art. Yeah. If they work, like you could keep two songs in for a whole other song.

SPEAKER_05 36:42

Yeah, and you can also just if you know like if you're know all the phrasing and stuff, like you almost use looping as a way to get it like in phrase, you know? Yeah, yeah, for sure. You can do a lot crazier stuff with I don't know, just how you're mixing.

SPEAKER_00 37:01

Oh yeah, for sure. And there's like I still loop, yeah, obviously, but I don't depend on it like I used to when I first started DJing.

SPEAKER_05 37:08

Yeah, it's every fucking time you go to mix out, you just loop the song that's playing.

SPEAKER_00 37:15

Yeah. But I mean, when I first started DJing, obviously, like you don't know all of it unless you have someone there that's like knows the actual way it's DJ house music. And like my boy that literally taught me how to count beats, you know. Shout out my boy Lexus. Um, he's the open format DJ and house DJ. So like you could tell when someone's an open format DJ.

SPEAKER_05 37:41

They're also like way better DJs than us. No, yeah, dude. Respect to open format DJs. So I hate it.

SPEAKER_00 37:47

I mean, I know like there's a lot of like business and money to be made in it, but it's like the most stressful thing ever. Like one of the most stressful gigs I've ever done was the fucking quince inera. And like, yeah, not even like opening up for like bigger names has ever made me that stressed out. But yeah, dude, you gotta respect open format DJs. Cause you know, at least at a a dance like genre, dance floor, it's all the same. People are gonna stick around, even if you play like one bad song or something they don't like, they're gonna like wait till the next song, or like they're not gonna leave. If you're like at a dive bar, you play one bad song, bro. Everyone will fucking walk off. Literally, like, and I've seen it, like I wouldn't think about it back then, like when I wasn't in DJ, but now like thinking about like dude, that must fucking it's like a punch to the gut, bro. You play a song and everybody just like ah walks off. But I mean it's normal, it's it's the name of the game, yeah.

SPEAKER_05 38:50

Yeah, especially in those big like those big nightclubs, you know? Oh, yeah, yeah.

SPEAKER_00 38:57

That shit would be so nerve-wracking. I know, dude. But I mean, those guys have like all the songs ready, and like you have to really prep for stuff like that, which is I think why they get paid so much because they have to have Sweet Home Alabama, you gotta have the all the the must plays.

SPEAKER_05 39:16

Yeah. And I've watched one of my buddies, he's actually a pretty decent uh open format DJ. Shout out Mark. Shout out Mark. Um I just was watching him, he played at uh what's that bar called? It's that Irish bar on Huntington Main Street. I forget the name of it. No, I wouldn't know. Oh wait, no, I'm thinking about another one. I don't know where he's. Killarny's. That's what it is.

SPEAKER_00 39:44

Never been.

SPEAKER_05 39:45

Anyway, he uh uh he was in a frat, so their their frat would Killarnies would send them like a party bus to pick their whole frat and like this these sororities up, so they would pack it out on a Thursday. Oh shit. So I went over there when he was DJing because shit's fucking popping.

SPEAKER_00 40:05

College Fridays, dog. Yeah.

SPEAKER_05 40:07

So I went over there and I was just watching him DJ, and he's like sweating because he's so like locked in. Yeah, brother. Because he has to you have to mix so quickly. Yeah, yeah, for sure. Luckily, this was when like the stems first came out on Serato. Oh, okay. And so that makes open format for sure way easier, and fun, yeah. Yeah, but yeah, even just using Serato, I'm like, dude, how the fuck do you think?

SPEAKER_01 40:35

I know the the what they're going down to the downside.

SPEAKER_05 40:38

Dude, I can't. That's old school shit though. Yeah. Because one time I was I forget where I was, but the DJ had to go take a piss or something. He's like, you can play a couple tracks if you want. And I was like, dude, I can't even like I tried to mix in one track and I just train wrecked. I was like, dude, fuck this. Yeah, bro.

SPEAKER_00 40:57

Like there was times where like I was doing like corporate gigs, and like they would want like a little bit of house, but then sometimes like they just got so used to boogie me. It was like, oh, uh St. Patrick's, we need you to play all Irish music or bands. I'm like, oh, they're like mixing the cranberries, yeah.

SPEAKER_05 41:16

Like, how are you supposed to mix that?

SPEAKER_00 41:17

You know, yeah, and like at one point it's just echo out play. Yeah, literally, like that's the way to go. Yeah, because later it's just about it's just about selection. Like, they're not carrying like be matching. If you do like mashups, that's cool, but yeah, you can do mashup fucking Irish dance, yeah. The cranberries with the fucking floggin Molly, dude.

SPEAKER_05 41:41

Yeah, have you seen those? I was talking about this last night. Have you seen those videos of those Irish tap dancers and their things look fucking crazy? Yeah, like hella whimsical.

SPEAKER_00 41:53

You know, it looks hard though. I can't tap dance.

SPEAKER_05 41:56

Yeah. Did you uh did you grow up around music? Were your parents?

SPEAKER_00 42:02

Yeah, so what's funny is that like I'm the only like DJ in like my whole family. Like, there's not one other DJ like my mom's side, dad's side. Um, the only one that was really into like dance music was me and my cousin. Literally, like I come from very traditional Mexican household family, but I grew up dancing and singing. Yeah, so like before I was into like house music, I wanted to start like my Mexican band. Yeah, it's called a grupo in Spanish. That's fire. Yeah, like I was trying to learn the accordion, the guitar, and then you know, I used to sing, I used to just get drunk and sing with my homies, yeah, bands and stuff. And I did want to like follow through with that, but the thing about like that whole scene is just like it's a lot of politics, it's about status, it's about you know who has more money, who has more stuff like that. And then when I started coming into like the the dance community, it was like a breath of fresh air because you don't really have to worry about I mean there's fights and stuff now, but it's not politics, yeah. But I mean it's not like as deep as like the Mexican music, yeah, yeah.

SPEAKER_05 43:15

Like everyone kind of helps each other, I feel like if you're in around the right crew of people and just like collectives, yeah.

SPEAKER_00 43:24

But I'm just saying like in general, like a dance floor, like just everyone dancing and vibing together. You you hardly won't see that in any other scene. Yeah, you know for sure, yeah. And it was like everyone's just wants to fucking party, dude. It's cool, you know. So I like decided I wanted to start DJing when I just I think it was like nocturnal. I went to my first nocturnal and I was just you know amazed uh what one person could do for all these people, you know? Like the power that this person has, and it's not like Bad power, you know, because there's bad power out there. Yeah. You know, it's it's like a power for good, you know, making people dance, giving them because I to this day remember sets. Like remember, I remember that set. Like, I will remember that set for the rest of my life, and like to have that impact on someone. And you know, most people go there to heal, you know, to dance and have a good time, create memories with friends. So like that kind of like it enlightened me, you know, like that one guy and those fucking turntables, all these people, you know? Yeah. And everyone's just kind of flowing and bouncing, and you know, it's it was crazy to me. And you know, when I was back then when I was singing, it was cool to like see people dance, make people dance, but it's a different feeling, you know, when you give people this memory and like this feeling, this even if it's just for one hour, you know.

SPEAKER_05 44:55

Yeah, and even on a smaller scale, like some of these like small parties that I've done, like with town hall or like with temple gallery, like shit's so tight.

SPEAKER_00 45:05

Yeah, bro, like there's been times where like I've played to like a hundred people, two hundred people, and then there's been times where I played to one person, three people, fifteen people. And there's been times like these 15 people, but they're fucking grooving, bro. And it's like way more fun than like a hundred people that are like some of them are dancing, some of them are just fucking yapping. And you know, it's just it's just a connect, it's a different connection when people are actually like listening and dancing and you know, acknowledging the music that you're playing.

SPEAKER_05 45:35

Yeah, people don't really dance anymore, you know. I love going to the parties and people are like actually dancing and people are spread out, you know. Yeah, not everyone's just like this kind of in the crowd, just like shoulder to shoulder.

SPEAKER_00 45:48

I mean, I I guess it goes both ways. It's hard to dance if it's oversold or like if they go past like um whatever the capacity. So if there's space to dance and people are dancing, yeah, it's the best. It's cool, it's always good. And like there's still parties out there that still have that feel, like you know, certified groovers, our party secret service, midnight lovers, uh dialogue. They still have like you go. I every time I go to this party, I'm like, I'm probably the youngest guy here, but it's it's the best. Like, I even I love playing like the older crowds, yeah.

SPEAKER_05 46:21

Just cause yeah, the older crowds are fucking tight.

SPEAKER_00 46:26

They know what's up. Yeah, I love it. Yeah, cuz I mean, nobody's really there to dance as much as they were back then, you know? People are there just because they want to get fucked up or they just want to get it on camera that they saw this DJ.

SPEAKER_05 46:45

Yeah, it's a lot of like bro culture now. Yeah. The bros have infiltrated.

SPEAKER_00 46:51

Yeah, I mean, but if they're dancing, fuck it, dude. Like I ain't mad at it.

SPEAKER_05 46:55

Yeah, people kind of get I don't know, like annoyed with it's gotten like so big now that it's like in the mainstream. But I think it's a good thing because those mainstream, like like you were saying, you're listening to night bass, but you would have never thought you would have been digging through records in Yeah, no way, you know. So I think the more people kind of get introduced into the commercial stuff, it's just gonna bring more people to the underground.

SPEAKER_00 47:30

Yeah, for sure. And like that's why, dude, when I was like doing my first gigs, like I was fucking ripping SoundCloud and YouTube edits of like hip hop. Why? Because you know, like you you kind of have to like at especially legends, like these people are like they just got done eating wings and watching the Lakers, bro. Like they're not trying to be like you can't just throw some deep cuts out, you gotta give them something to like learn, man, you know, something to sing along with. Yeah, and that's funny, yeah. But um, yeah, dude, that's what I tell like a lot of like people that want to start DJing or start DJing, like they I tell them like, yeah, dude, like it's cool to have those little hip hop edits, but just don't depend on them, you know. And like even now, like bigger DJs, they solely depend on those hip hop edits, those rap edits, and it's it's it's cool to throw in. You have to, even myself, you have to throw a sing along, whether it's like an 80s edit or like you know, some kind it's it's just it's the name of the game, bro. You people love singing along, and it's you gotta throw it in there and you're set at least like one or two songs, you know. Yeah, then you can go back to your deep shit. But if you're just like solely depending your whole set on those sing alongs, then you're not digging deep enough, you know, you're not trying hard enough. It's kind of like the easy way out.

SPEAKER_05 48:49

Yeah, yeah, I totally feel that. I feel like the edits have just gotten out of hand, yeah.

SPEAKER_00 48:54

And like even with producing, I'm kind of like on the same kind of thing. Like, I'm just trying to make like dubs right now, not too many vocals. If anything, they're chopped, you know. But you know, so uh a friend told me he was like, you know, sometimes you kind of have to throw a little like hip hop edit or maybe something that will people that will catch the people's attention to kind of get your name known out there, and then once you kind of recognize then you could get deeper into your your actual, you know.

SPEAKER_05 49:26

Yeah, I feel that I just never I'm just not a big edit guy. Yeah, I mean like there's so much better shit out there. Like we've heard these songs like so many times. But it's it depends on how you do the edit because a lot of them are just kind of like cheap.

SPEAKER_00 49:43

Yeah, you're just putting a four by four yeah with the vocal on top.

SPEAKER_05 49:46

But if you actually like sauce it up, you know, yeah, you could do there.

SPEAKER_00 49:50

That's the thing about bro, like there's uh crazy art to sampling like chopping the screw and you know, stuff like that.

SPEAKER_05 49:59

Yeah, the edits have just always been I forget what track it it is. Um it's a tribe called quest edit that's like only on wax. You know which one I'm talking about? Um Brando has it on wax.

SPEAKER_00 50:16

I think I know which one he was telling me about it, if I'm not mistaken.

SPEAKER_05 50:20

I'll have to send it to you. It's like, dude. I told Brando I was like, dude, this shit needs to be in a museum.

SPEAKER_00 50:28

I know it's crazy because I was talking to him about a record that I have that like I was saying you can't even find on YouTube. It's a um uh mama's mama's groove. Mama's groove. No, no, no, it's not mama's groove, it's the the label. I can't remember, but it's the um it's a it's called Don'tcha. It's uh you know the Pussycat. Well, it's originally by someone else, and the Pussycat dolls like kind of use the same idea. Don't you wish your girlfriend, bro? But like it's a regular habit. It's like the sickest edit ever, dude. Like, and it's it's respectful because like they were doing it back then, you think they're doing it now. Like if they were doing it back then, like I guess sometimes it's okay, you know? It hits if it hits.

SPEAKER_05 51:13

You know that shit has to be tight if they're pressing it together. Yeah, exactly.

SPEAKER_00 51:16

They took the time and paid the money, like you gotta you can't just throw some bullshit out there.

SPEAKER_05 51:22

You can't just like they're not just uploading on the SoundCloud, like they had to get the shit pressed.

SPEAKER_00 51:27

Yeah, so they're like, I'm not gonna pay this money and you know, cook some wax shit.

SPEAKER_05 51:31

Yeah. And I like that you can find those, like I know, dude. That are vinyl only.

SPEAKER_00 51:36

Yeah, like I wish I wish I could listen to it in I wish I could listen to it in my truck, but you can't, dude. Like it's not on YouTube, like it's on discogs, obviously, but yeah.

SPEAKER_05 51:45

That's what's tight about vinyl. Like, people always talk about just gatekeeping records, you know? Yeah, but that's just part of being a DJ, in my opinion. Yeah. Cause you just put so much effort into digging, you know? Yeah, for sure.

SPEAKER_00 52:02

I'm a I mean if it's homies like, yeah, I'll tell them what sign it is, but but that's part of what makes you a good DJ though, is like your traffic. Finding your own, yeah, exactly. Like, I don't yeah, I'll like I'm a DJ here and there just cause like you know it's a sick ass song. And I might not even DJ, I just want to hear it in my car. Yeah. Like, but most of the time, like, it's it's always better when you find the music yourself. And then even going back to like playing the sing alongs and stuff when I was like going to a lot of shows and events, I liked hearing stuff that I had never heard before. So like it doesn't make it worse just because you don't know the the words, you know? Yeah. Or like the whole thing about harder is better, faster is better.

SPEAKER_05 52:46

It's you know, it's not yeah, especially coming from vinyl. It's like 120. Yeah, I know, dude.

SPEAKER_00 52:53

And you would never think it's and it doesn't even sound like 120. Yeah, it doesn't feel like it at all. Just because like you you wouldn't even know unless you're like they're like counting and stuff, you know? Yeah, but you know, the whole thing is it's always cool, like playing music, underground shit, and people like, whoa, what is that song? What was that? You know, people want to some people want to hear shit they've never heard before because it's you know just good.

SPEAKER_05 53:21

Yeah, that's why I like the the head parties, yeah. So we're like, yo, what is this? I know that's a good feeling though, as like a as a digger and like a DJ when somebody's like, yo, what is this track? Yeah, like yeah, that's what's up.

SPEAKER_01 53:36

Yeah, it's bro at the record star, I'm telling you, I'll be in there digging, bro. Like fucking eight dollars. That's why he's a college. Because it's fucking, I'm a cheap ass, bro. You gotta go and then what is this, bro? All the OGs and shit, right? What is it? Don't worry about it, bro. Don't worry about it, it's already sold.

SPEAKER_05 53:54

Yeah, it's funny, like seeing the old heads too, you know, like oh yeah, man. You get the respect from them, you're like, yeah, yeah, bro.

SPEAKER_00 54:02

Those those are the boys, man. Yeah, so on um my birthday in January, I had an Alvino party, and I had like basically the footwork screw do like back to backs. Yeah, that's tight. And it was cool, but I like I closed out myself and like the night was going, I was like, fuck, dude. Like, I gotta go after all these guys that have been DJing for like 20 plus years. And they were fucking throwing down, bro. Like, I tell them, like, don't hold back at all. Like, yeah, whatever. I'm they're gonna get whatever I give them. Like, you guys fucking go balls out, and it was it was a good time. I got a lot of compliments like from all the opening sets, and like it wasn't intentional to pair them how I did, but it worked out great because I kind of know their styles and it was sick, dude. Like they were just flowing. That's time. They had so much fun, and like that, that like that made me happy, you know, like having all the OGs come out and fucking jam.

SPEAKER_05 54:55

Yeah, and I love seeing them play because they're just like so interactive with each other, you know, like they're just like getting into their bags, like fucking around.

SPEAKER_00 55:04

Yeah, bro, it's it's a cool, like even like going, because for a minute when I was practicing vinyl a lot, I was you know, statistically, I was spending more time on turntables than digital because I wasn't practicing my ex anymore, but just because I didn't I felt like I didn't need to, you know? Yeah, but there was a point where I was like on turntables more than the CDJs. And like when I started like going back into the digital gigs and stuff, I would be like I'll I'll be bored. Yeah, like I'll queue a song up, sometimes I won't even move BPM, like I'll try to pitch right just to have fun, you know. But like there's just there's kind of like an emptiness that I felt going to digital. I totally feel that you know, playing records, you're you're dropping a record, you you go look through your bag, you know, have a sip of beer, and sometimes you drop a record, listen to it, uh change your mind. You gotta do it quick though, so it's like you're always moving, you're always doing something, you know. So it's it's always more interactive and fun. And I I love spinning vinyl. It's it's it's stressful, but it's like it's more rewarding in a way, you know.

SPEAKER_05 56:15

Yeah. I've talked to Ian about this too, and he's like, dude, playing like a three-hour vinyl set is like way more work than playing like an eight-hour digital set. Yeah, for sure. He's like, I'm mentally just like done after three hours.

SPEAKER_00 56:29

Yeah, bro. It's I mean, the most I've played, well, like officially, I um I played two hours set at Footworks. On vinyl? Yeah. Nice dude. Um, and it was cool. I was I was like worried, but like once you're in there and like you have a good amount of records and you kind of know what most of them sound like, then like you're in the fly. And two hours really isn't a lot if you think about it. Yeah, like you're flying by, it's probably like 30 records.

SPEAKER_05 56:57

Yeah, because you're not with vinyl, you're not mixing as quick. No, no, for sure, no.

SPEAKER_00 57:03

I mean, unless the song is short, but even with digital, like when I first started DJing, I would like I was so excited to mix a new song in, I'll like do like one drop and then like ready. But now, like minimum two drops each song, and that's what I like try to tell people that want to know how to DJ, like you gotta let the song breathe, you know? Yeah, and you know, sometimes I'll even even let it go to the third drop just because it's a good song. If it's a good song, you don't have to like make mashups, fucking with it, yeah. You don't have to mash it up with another, you just let it play, bro. And then even with the records, it's the same thing, also because you're beat matching half the time, but yeah, yeah, for real.

SPEAKER_05 57:44

Yeah, and I love one of my favorite things about vinyl that I think is so funny. Everyone's like worried about just like perfectly mixing tracks, but back in the day, yeah, that track just end and then they would hit play. Yeah, bro. Like that's fucking tight. Yeah, I mean that's where the deep cuts came from, bro.

SPEAKER_00 58:06

You literally and like even so funny. And what's crazy is that sometimes they made it work so smoothly because they knew their music. And you know, if you look at like vinyl DJs that would mix like disco, soul, stuff like that, they they can't have the two records playing for so long because they're they're um so on time, they're not quantized, they're played by like live bands. Oh, yeah, that's so they're they're moving up and down the um in pitch. Like it's not on time. Yeah, so like you're either pitch writing or you just pitch write for a couple seconds and boom, you cut into the next as soon as like the vocal comes in for the new song, yeah. And uh it works. Yeah, if you're like in key with the records, you know, it it sounds just as good as beat matching and you know, mixing them that way.

SPEAKER_05 58:56

Yeah, I've seen some just like guys on Instagram, like they're mixing like disco. Fuck, these guys are sick. Yeah, bro. That shit is crazy. Yeah, I forget the guy's name, he's kind of a younger guy.

SPEAKER_00 59:08

I think I know he's talking about the curly haired dude. Yeah, with the with the live bro, he's a G, bro. Respect to that guy. Cause he's mixing like old records, like I said, that are like pretty sure they're not on time, like they're played by live bands, so they're not really following the actual BPM. Yeah. And he's just fucking riding out and he makes it easy.

SPEAKER_05 59:28

Yeah, he's like got got the sauce, you know.

SPEAKER_00 59:31

Yeah, dude, and like he cuts at the perfect time, like I was saying, because he knows his records, you know, he knows when the main vocal is gonna come in, and you know, if as long as it's in key or in harmony with the last record, then yeah, it sounds great. Yeah, yeah, for sure.

SPEAKER_05 59:46

Um, what was I gonna say? Oh, when I played Sandbar, like when you play there, I was talking about this with uh do you know Bijan? Yeah, that's the boy. He was like, if you play Sandbar, you have to like quick mix. So you it's literally like one drop. Yeah, one drop and then mix out, one drop and then mix out. I was like, dude, I can't I can't do that. Yeah, I can't dude. I have to do it. And I don't have like enough like records that can just like you can keep going like that for an hour, yeah. Two hours.

SPEAKER_00 1:00:22

Yeah, when people tell me, oh yeah, like I could play like 25 songs, I'm like, dude, there's no way like max will like 14 yeah five minutes each song, yeah, or less.

SPEAKER_05 1:00:32

But yeah, it depends on the gig, obviously, but yeah, yeah, you gotta let stuff ride.

SPEAKER_00 1:00:38

Yeah, no matter what, minimum two drops. Yeah, and what's the worst is like when you go like back to back with someone who like loves quick mixing, yeah. And like I get it, like and people like to mix like that, but you know, it's kind of an etiquette thing.

SPEAKER_05 1:00:54

Yeah, yeah. I'm not I'm not a huge fan of back to backs. It depends who it is. I feel like I have to know the person.

SPEAKER_00 1:01:02

No, yeah, because I've had like great back to back partners, like me and Ian go pretty well back to back, like uh Jacob Cardell. Me and him have had like a good amount of back to backs, and we just flow. No prep. No prep, no motherfucking handful. Nah, you're kidding me.

SPEAKER_05 1:01:20

When did you buy the what is the fucking one ear thing called?

SPEAKER_00 1:01:24

Oh, the lollipop? Yeah. Um did you get that? I think like a year ago.

SPEAKER_05 1:01:29

That shit's so tight.

SPEAKER_00 1:01:30

Yeah, it's a Sennheiser. That's so I guess it's uh by Ariel, Ariel Lollipop from NYC. So he's uh same person that makes them for Louis Vega.

SPEAKER_05 1:01:38

Damn, how much was that?

SPEAKER_00 1:01:40

If you don't want me asking it, I don't care. It was like 200 bucks. It wasn't that expensive. I mean, it's half a headphone, yeah. I guess that's true. No, but it's like it's literally like a microphone, but just with a Sennheiser like attached to it. It sounds great, yeah. And the reason why I got that was because I even like when I had headphones, I would still one ear just because I didn't like having stuff on my head. Like sent her, these senthers are the ones I could like wear on my head and be fine.

SPEAKER_05 1:02:09

But I used to have like the like the noise canceling ones.

SPEAKER_00 1:02:13

No, I had the uh Pioneer XH X7s or something like that. The over-the-ear ones, yeah. They're just they're really big and bulky. I mean, they sound good, but it was because it had a swivel, so that's why I really liked them. So I'll have them on my shoulders and just kind of one ear. Yeah, but then I kind of like got tired of also having headphones on my neck, yeah, because you couldn't see my neck. I looked like I had a fucking cast on my neck. Yeah, and then I would always just use one ear just because I I get why people use both uh ears for their headphones, yeah. But I always like if I have a good booth, like I like to hear what's actually like out there, you know.

SPEAKER_05 1:02:56

Yeah, it's a cool just like I feel like if you play vinyl, you're like allowed to have one of those. You know, if you're a digital guy, you can't rock that.

SPEAKER_00 1:03:06

Yeah, sure.

SPEAKER_05 1:03:07

I I still use it for digital, I give shit, but no, but you do both, so you have you got the you got the the pass. Cool, thank you. Because it looks tight.

SPEAKER_00 1:03:16

I like the way it looks and just like I mean that's how they used it back then, just because it was it was easier, you know? Yeah, if you're B match you could just throw it out, and then also I wear like different kinds of hats. So like I can't have head. If I'm wearing like a fedora, I can't I will have to use these on my neck, and then it just goes back to using headphones on my neck.

SPEAKER_05 1:03:37

Yeah, I'm just not a huge fan. I can't do the neck thing, like each that way. I think it just depends on your like your build, you know.

SPEAKER_01 1:03:46

Yeah, I got a pretty long neck, dog, so yeah.

SPEAKER_05 1:03:50

Some guys just I don't know. I just never liked doing it that way for some reason.

SPEAKER_00 1:03:57

Yeah, everyone's everyone has their preference. I think it's just because I don't spend too much time with like listening to well at least when I first started DJing. Well, vinyl like beat matching, yeah. Like with vinyl, I realized that sometimes I do need a I'm probably gonna, you know, get another pair of Sennheiser's because just because it's it's convenient, yeah. Because you know, sometimes it it kind of slips away and you gotta still beat match while you're but yeah, it's cool. I like it.

SPEAKER_05 1:04:28

Yeah, these I think I just bought a new set of these. But these are great, those are like my original headphones, I'll probably keep those like just as like a you know sentimental framework. Yeah, I'll put them up with my fucking fake platinum record. Soundcloud, dude. Yeah, yeah. No, but they uh for some reason they work fine doing this, but when I would plug them into the mixer, one of the ears would always like cut in and out.

SPEAKER_00 1:04:56

Yeah, I think it's the problem with like these little cables that you just you could fix them and like some people like well weld them is in.

SPEAKER_05 1:05:03

Yeah, so I ended up just I mean I got five ears out of them, so that's like that's that's a good run. Yeah, and they still work, you know. Yeah, they were fine, yeah.

SPEAKER_00 1:05:13

And I think these were originally used for like like broadcasting or like yeah, yeah, if I'm not mistaken.

SPEAKER_05 1:05:20

Like sports broadcasters, they use a lot of Sennheiser stuff. Yeah, these go back, dude.

SPEAKER_00 1:05:24

Yeah, like these go way back, apparently.

SPEAKER_05 1:05:26

Yeah. Have you used any other uh I guess like DJ equipment besides pioneer stuff and like techniques? Like have you messed with uh what's that other brand? Denon? Denon. Have you ever messed with one of those?

SPEAKER_00 1:05:44

Uh I haven't. No, I've seen 'em though. Yeah. They just I don't know.

SPEAKER_05 1:05:49

They just don't look as tight. Yeah.

SPEAKER_00 1:05:51

I mean it's not really look I mean, I'm sure I've seen like the the C D J version of like denons and they look they look cool. They're fucking huge. Yeah. But I don't know. It's just I never got my hands on one or tried. I'm sure it's the same shit.

SPEAKER_05 1:06:04

Yeah, but it's all the same.

SPEAKER_00 1:06:07

But Pioneer's where it's at. Yeah. Have you does Secret Service have a V10? Uh yeah, we do. Fuck. But we don't really use it unless like the headliner asks for it. Yeah. I like it.

SPEAKER_05 1:06:21

I mean it's I've V10's like the standard now.

SPEAKER_00 1:06:25

Yeah. And it's you could honestly do a lot of cool shit with it. The sessions. Yeah. But the thing is like practicing it. Like not everybody has just a V10 sitting around that you can practice on.

SPEAKER_05 1:06:37

Because that's why I was gonna sell my A9 and get a V10, but I'm like most of these people can't even use them. Yeah, one even full potential. Yeah. So it's kind of pointless. And yeah. I don't know. At some point I'll get it. Just for myself. Yeah.

SPEAKER_00 1:06:56

Even just like what isolator, that's probably the other cool part.

SPEAKER_05 1:07:00

Yeah, and just I've always been like so nervous, like on CDJs. So that's why I ended up just like buying them. Oh really? Because I don't know. If I pulled up to like a big important gig and I had to use a V10, like I want to be like nice with it, you know. I don't want to be like in my head like fuck. Like I'm not mixing how I should on this.

SPEAKER_00 1:07:24

Yeah, the first time I used the V10, it was uh it was a pretty big show. I went back to back with my girl M's. Yeah. Um it was for Will Clark. When we had Will Clark, it was like an unannounced. Were you direct support? No, we were just opening set. Okay. We're direct support for friendly fire.

SPEAKER_05 1:07:42

Uh that was the Halloween one?

SPEAKER_00 1:07:44

No, it was the uh it was a space yacht collab. So they had like a boat party with Will Clark. Yeah, but it was like secret lineup, like it was unannounced, like they weren't supposed to know it was him or whatever. Yeah. And that was the first time I ever used the V10. I was like, I'm not touching any effect. Like at Careaver, that's it, dude. Like, I'm not getting risky with it, but isolator at most.

SPEAKER_05 1:08:07

Yeah, it's just a little weird mixing on like the four channels.

SPEAKER_00 1:08:11

Yeah, and then the it has like extra knob, right?

SPEAKER_05 1:08:15

It's like the um it's like the lows and like mid lows. Yeah, mid lows, yeah. But you can like somebody that knows how to mix on a V10, you just like it's pretty easy.

SPEAKER_00 1:08:28

Yeah, and then even then, like if your songs are good, you don't need any effects. It makes it like cooler or whatever, like if there's like a kind of like dry area in the song, you kind of like her build up. But shit, dude. You give me a rotary mixer and records, and you could still get a good ass set, you know?

SPEAKER_05 1:08:48

Yeah, yeah. As long as your music's good. Yeah, Ian played I forget what the warehouse is called. Um, I don't know if you've ever been there. It's Sensory Signal would do their parties there.

SPEAKER_00 1:09:03

Is it the one he works at? Yeah. Yeah. Have you been there? Yeah. Crazy spot.

SPEAKER_05 1:09:07

Yeah, he uh he had a tempo gallery there one night. Oh, and they have that one?

SPEAKER_00 1:09:11

No, I was supposed to. Uh I think was it you that told me? Like, or I think Ian told me to pull up like a because you guys were all gonna jam out at the end. Um I couldn't stay that long.

SPEAKER_05 1:09:21

I had to be somewhere the next day, so I dipped out kind of early.

SPEAKER_00 1:09:25

Yeah, but I I remember I think, and then they had the um the Alpha Theta rotary mixer, right? Yeah, because it's gnarly.

SPEAKER_05 1:09:31

I was like, dude, I'm so glad you didn't put me on this lineup. I won't be able to DJ on this.

SPEAKER_00 1:09:36

It's honestly not that it's not that bad. It's just a matter of like knowing because they're all knobs, so the other like Risky has um I forget what it's called, but it's a it's a rotary mixer. Yeah, it is so sick, dude. Like it has a nice isolator, and like you just feel the fucking you have so much control over the sound. Yeah, and I use that for my first um all vinyl party on my birthday. And like I've before that, we he'll like bring it over to the shop and I'll just like kind of dabble with it. Yeah, but it's not much to it, it's just like knowing where everything's at. Yeah, especially his, like all the knobs are silver and like all the words are like silver, silver, silver. So it's like everything just takes getting used to, yeah. And having obviously you have it available to you. Yeah, like I want to try a zone. I've never mixed on a zone.

SPEAKER_05 1:10:23

Yeah, that's that's another thing. I'm just like anything like off different than what I'm like used to playing on, it just like throws me off.

SPEAKER_00 1:10:32

Yeah, I've like used different ones, but you just gotta find like where's the queue? Like, even Dakens, he has like a old school like pioneer, and it's sick though. It's like it's old school, but it still has like effects and stuff, yeah. But like literally, like the Q is like a little lever, you go left regular, right regard, yeah. But I mean the reason I want to try the uh the uh the zone is because it's uh fully analog, yeah. So you could feel the difference, and even like with riskies like rotor, you could feel like the different sound it it brings, you know. The warmth, yeah, dude. And it's more like slow burning mixing, you can't like chop it unless you're like using your crossfader, but everything's like more slow mixing, and it has to be a little, you know, you gotta be patient. Yeah, for sure. Yeah, the because then if you like bring it in too fast and it's like way louder than you anticipated. Yeah, because like you're on the rotary mixer, on his at least, you're like going up like less than halfway and like you're not hearing much, but as soon as you reach like a certain point, it's like there.

SPEAKER_05 1:11:41

Like it's you know it's there, you can hear it. Yeah, yeah. I used to I used to uh like set up my decks in like a different like I would put like two CDJs on one side and just only mix like like have two right here and then the mixer, I would use like different table heights because like if the table's like too low, it just like fucks up my flow. Really? Yeah, I don't know why I'm sensitive.

SPEAKER_00 1:12:11

I get that. I hate fucking low tables, dude, especially when you're fucking six feet yeah.

SPEAKER_05 1:12:17

Ian is like a troll-sized guy, so he can play on those like little tables, but that's the only anytime I like can request a like bar height table, like I have to like play on that. Because on just like you know the plastic like six-foot tables people have, like, I can't. After an hour, your back is just destroyed. Yeah, and it seems like there's just so many DJs that are tall. Yeah, and then there's also just a bunch of D's that are short too.

SPEAKER_00 1:12:55

It's crazy. There's no in between, there's no like average.

SPEAKER_05 1:13:00

Yeah, it's funny. Yeah, yeah. The uh have you ever met the surf house guys? Um, no, I was they're Christian and Steven. No, I haven't. Yeah, they're just tall as fuck.

SPEAKER_01 1:13:13

But that could also suck too.

SPEAKER_00 1:13:15

Like, damn, dude. Unless you're like playing main stage and they fucking have the risers.

SPEAKER_05 1:13:20

Oh, yeah, that reminds me. Have you seen uh it's like Pasa on Dennis Cruz? Like he looks I I don't know how tall he is. I think he's like 6'7 or something. Yeah, he's up there. He's fucking huge. It's like playing a Dennis Cruz and he's like down here.

SPEAKER_00 1:13:37

That's so funny. Yeah, he for sure takes the he takes the bad side of that back to back. Dennis Cruz like a big ass smile. Yeah. But yeah, shit. That's a trip. Yeah. It's a huge gap.

SPEAKER_05 1:13:52

That's funny. What time are we at? An hour 15. Nice. Yeah, we can call it. Um plug yourself. How can people find your new music that's coming out? Sooner or later, sooner or later.

SPEAKER_00 1:14:06

Edit Cheddar562 on Instagram. You want my number or not? Yeah. Social Security address, email, you name it.

SPEAKER_05 1:14:14

Yeah. Uh you're uh do you have anything on SoundCloud?

SPEAKER_00 1:14:19

No.

SPEAKER_05 1:14:20

Okay.

SPEAKER_00 1:14:21

No, yeah. I'm gatekeeping for now. It's because I have like you don't want any records on the world. No, I do eventually, but like it's just like a personal thing. Like, I want like my first like either batch of songs or song just to be like really how I want it, you know. But just like DJ mixes. Do you have oh yeah, I have like uh not SoundCloud, not anymore, just because I just hate to call it on SoundCloud, but um I have mixes on YouTube, Secret Service page. We're about to uh release to our recent peer party videos. Sick. So those were fun. Uh I have one with Stash House Studio. Shout out to my boy Martin.

SPEAKER_05 1:15:01

Oh yeah, I've been seeing those. Roscoe's played over there. Yeah, yeah. We've all we've all shout out, Roscoe. Shout out Roscat.

SPEAKER_00 1:15:10

I love you, Roscoe.

unknown 1:15:11

Yeah.

SPEAKER_00 1:15:12

Fuck you, Roscoe. I love that guy. But uh yeah, dude. I mean, I really don't record mixes as much as I used to. Because primarily they were just for me to listen back to and see if I needed to get better, like work on something. Yeah. And I'll put those on SoundCloud, but then like I stop because I don't want to like I'd rather have people hear those songs live. Yeah. Because I don't want to like be like, oh, it's the same set you have on SoundCloud. Yeah. And I guess like I don't really play a lot of the same music, but if I wanted to, you know, I would just kind of like wasting my selections on SoundCloud mixes rather than playing them out live. I totally feel that.

SPEAKER_05 1:15:54

Yeah, I kind of deleted everything.

SPEAKER_01 1:15:56

Yeah, literally, me too.

SPEAKER_05 1:15:58

Like, fuck this.

SPEAKER_00 1:15:59

And then I'll like I'll go back and listen to my old sets, and I was like, Jesus Christ, I used to think like this mixing was good. I mean the songs were cool, like I would forget about some songs that I first first downloaded.

SPEAKER_04 1:16:09

Yeah.

SPEAKER_00 1:16:10

And now like I listen to them way differently, and like, wow, this is actually a good song. I just sucked that mixing. She was just ruining the songs.

SPEAKER_05 1:16:18

It's all like context, you know. Yeah, for sure. But uh, you have any gigs coming up?

SPEAKER_00 1:16:23

Uh as of now, no. Dry like the Sahara, but I mean it's a good thing. I ain't mad at it. Yeah. More time in the studio.

SPEAKER_05 1:16:30

Yeah, I never dude. I fucking never play out anymore. It's sad. Yeah.

SPEAKER_00 1:16:34

I mean, there was a time where I was just like, I was gigging a lot, and it's cool, it's good, it was a good practice, but now I feel like it's better for me not to play as many gigs just because you know it's just fatigue. Yeah. Not only for me, but like for the crowd. Yeah. Like if I'm playing every week, it's not gonna be the same people wanting to come out and support, you know, because it's more frequent. Yeah. With the less frequent something is, like, the more people are gonna want it.

SPEAKER_05 1:17:05

Yeah, I think for sure in the beginning, you gotta like put your time in, you know. But once you get to a certain point, I think you can kind of you can be more selective, yeah. And play like the bigger stuff, you know.

SPEAKER_00 1:17:18

For sure. And then like not only that, but like there's just certain parties I just don't want to play, you know. Not in an not in a bad way, it's just like I I wouldn't be able to play like the kind of music I want to play, you know?

SPEAKER_04 1:17:33

Yeah.

SPEAKER_00 1:17:33

And it's not in a like a disrespectful way or anything, but it's just like preference, you know.

SPEAKER_05 1:17:38

Yeah, yeah, that's one thing that's nice. Like doing my own events, like I can I can just play whatever I want. Yeah, and like not playing bar gigs anymore. Yeah, I think it's you can start like people will book you just like based on your sound, you know. Yeah, for sure.

SPEAKER_00 1:17:57

You're not kind of just like someone that could DJ, yeah, top 40. Yeah, and I think that's just where I'm at right now. Like, I could go and play some deep cuts, and like they're playing, they're booking me because you know they know what I'm coming with and yeah, the vibe I bring. Yeah. For sure. Sweet. Thanks for coming on, dude. Thanks for having me, bro. That was fun. I was I was nervous as fuck. I'm not gonna lie.

SPEAKER_01 1:18:20

Oh, yeah, dude. I've never been on a podcast or anything.

SPEAKER_05 1:18:22

Yeah, it's it's it's easy money. Hours easy to do.

SPEAKER_00 1:18:26

Yeah, I mean, it's just a conversation.

SPEAKER_05 1:18:28

Yeah. I try to keep it just like as low pressure as possible. Nah, you did fine, yeah, dude. This is great.

SPEAKER_00 1:18:35

You're in nature and shit, dude. Yeah, this is way better than my studio.

SPEAKER_05 1:18:39

Yeah, yeah, that's why it's almost better that I don't have like a bunch of cameras.

SPEAKER_00 1:18:44

Yeah, because I feel like it would it freaks people out. No, yeah, for sure. Like when I the first like recorded set I did with uh Stash, he had like camera here, camera here, and I was like, damn, dude, like it makes you nervous. I yeah, I I get like recording and all that, but I honestly like I hate cameras. Yeah, but I know like that's how you get content, but uh you gotta get used to it.

SPEAKER_05 1:19:06

Yeah, have you sorry to keep going? I don't care to eat. I'm chilling. Let's run it. Uh have you how do you like I guess approach the content that you're putting out? Do you post? I mean, I know you post like the kind of like flyers and just like for show stuff, but have you started thinking about content?

SPEAKER_00 1:19:29

I mean, in terms of like flyers, that's mostly just to kind of you know support my collective, you know, it's you have to.

SPEAKER_05 1:19:38

Well, I'm talking about just like your personal brand.

SPEAKER_00 1:19:40

Yeah, I mean it sucks because like once you start making music, like you kind of have to lean into some kind of way of putting it out there. Yeah. But I'm not really like I feel like you just haven't figured out like the lane that you want to go in. Yeah, I mean back then I I just like to like prefer like back then, what the fuck? You just pull up to a record shop and like give them samples and stuff like that. I feel like when I do have like a batch of songs ready, I do want to like just get a bunch of USBs and throw like a crate in there. Yeah, you know, like give them to people or like even go to record label people, you know. Yeah, but in terms of like shooting videos in my backyard, like go stream my shit. Nah, or like even like snippets, you know, like you know how like I've been posting little snippets. I feel like yeah, like if I see I mean even if it's just not like I feel like that's that's cool. I mean, like even the little snippets I've been posting, like they're not full songs that are out yet, but you know, it's it lets people know that I'm starting to produce or like I'm starting to have music out.

SPEAKER_05 1:20:49

I think it just really depends on your personality. Yeah, I mean I just don't like to be a fucking cornball on Instagram. Yeah, bro, that's my thing.

SPEAKER_00 1:20:58

Like, if we're in person, like I'm a corn, I'll go shit, dude. Like, I'm like, but like once like I'm recording myself, it's just you just feel so whack.

SPEAKER_05 1:21:07

Dude, this is the wackest thing ever. And then like if you keep rewatching it, you're like fuck, dude. Like you can't even like I just hate like this. Is fine. Yeah, we're just I'm not back at the camera. If it's like me trying to like promo something, I'm like, dude, this is the wackest thing I've ever done.

SPEAKER_00 1:21:24

You gotta have to like make it seem like yeah, yeah, you're like hyped up, but nah, I feel like it's just hard to find a lane that you don't absolutely hate. You just I mean, I feel like if you just have good music and you know like who to promote it to, I guess in a way, but I mean most of the songs that blow up now is just TikTok. Yeah. And like I stopped posting on TikTok. Yeah, saying like back then I used to like when I first started using I used to post like mashups or like I wanted to go TikTok live so bad.

SPEAKER_05 1:22:01

Dude, my buddy, he uh uh shout out Kendall, he's a little fucking degenerate. James, but uh he kind of like he does make music, but he blew up on TikTok just like doing live streams.

SPEAKER_00 1:22:21

Yeah, bro. A lot of people have came up that way.

SPEAKER_05 1:22:23

Yeah, and he plays like nothing that I would play. He plays like hard techno, like lick and dip. Oh like he's played for them a bunch of times, code red, like these fucking huge crowds. Yeah, it's crazy. He sent me a video, he's like, dude, scope this. Like, damn, bro. Yeah, I've been a couple of things. Just off of TikTok. Yeah. And he they're they're so funny. They're just like this uh it's him and one of his other buddies, and he's a photographer, and he's like shot for like a bunch of big DJs, like he'll like shoot for EDC and stuff like that. And they're just like every gig that he gets booked, he just uh flies him out to like shoot uh content and just like f pictures, videos, and they're just like every gig that he goes to, they're just fucking like this little team. It's just so funny because they'll just be goons.

SPEAKER_00 1:23:22

Yeah, like content like that's fun, you know, vlogging and like you know the life of the that could be fun, I'm sure. Yeah, but it's just like raw shit, you know.

SPEAKER_05 1:23:31

Yeah, but he has like professional like videos and photos for every gig that he plays.

SPEAKER_00 1:23:36

Oh yeah, well you gotta you gotta come with something. But yeah, dude, like for that. I know, right? But yeah, like when I first started DJing, I was like trying to get my I was trying to get in that way too. I'm not gonna lie, like trying to get on, but you had to have a thousand followers back then to go TikTok live.

SPEAKER_05 1:23:53

Well you can just buy them, yeah. But you can just buy them to get like past the point.

SPEAKER_00 1:23:58

Yeah, but now now you don't need a thousand followers. Now anybody could go live. Really? Yeah. Now that I don't even want to.

SPEAKER_05 1:24:05

Yeah. Well, it wasn't even that I just didn't one, I just think TikTok It's not I don't know. It's not like the audience that I want to be like affiliated with, you know. Yeah, I feel you. Because uh TikTok you will like you get engagement, yeah, but that doesn't necessarily convert to people being actually like fans of you, you know?

SPEAKER_00 1:24:31

Yeah, for sure. I mean the algorithm is is crazy, like you'll you'll be scrolling and you have like a video with like three million views, and then you scroll and it's like some guy in fucking middle of the butt fuck, like no likes, and like you saw it goes all around that, but I get what you mean. Because like I scroll through comments on TikTok and it just like pisses me off.

SPEAKER_05 1:24:54

Yeah, these guys don't know what they're doing. And it's just such a younger demographic, yeah.

SPEAKER_00 1:24:58

I mean there's there's a little bit of everything on there, like there's a lot of knowledge to TikTok, like it's yeah, for sure. Like, I'm not gonna lie, like if I want to know something like really quick or like how to do it, like I don't go on YouTube anymore. Like, I just go on TikTok, bro, and just search up, you know, how to do this.

SPEAKER_05 1:25:12

Yeah, there's just a lot of with with this type of stuff, like podcasts don't really do that well, like clips on TikTok. Like I had a few like do okay, but I don't know. I just feel like people on Instagram are more likely to just like click on this and then like actually click on the artists, you know. Yeah. Because it's like a direct line to like promote other people. Yeah, for sure. Because that's basically what this is to like promote artists that I think are dope and just like cool people. Oh, thanks, man. Appreciate that. Yeah. And uh on TikTok, like not everyone has a TikTok. Yeah. You know, so I'm kind of just like posting this shit into the abyss just for clicks, you know? Yeah, for sure. Yeah, so if I post everything on Instagram, it's like most people will have Instagram, and then you just click on their Instagram profile and their music's right there. Yeah. If you do want to like follow whoever, yeah, that's true. So yeah, just Instagram and YouTube.

SPEAKER_00 1:26:13

That's where it's man. I mean, it's more direct. Like people are like I said, people aren't even really looking. Like if you're a DJ, like, yeah, your algorithm might like go based on that, but it could just go left field on TikTok, like you said, into the abyss.

SPEAKER_05 1:26:28

Like, you're just posting like into the abyss, like, yeah, and I feel like right now it's more like streamers and like stuff like that. Yeah, it's just like slop. Yeah, you know, like I want my my stuff to kind of just have I don't know, a little more like meaning, I guess, to that. Yeah, for sure. You know, because I could I don't know if at some point I would have to pay someone to like if I was to do them weekly. Yeah. Cause it's just like so much effort. No, I bet dude. If if I was to do it like an episode a week, I for sure would have to like record them like beforehand. Which I'm already kind of doing, but yeah, there's just no way. I like to have the stuff like sit, you know? If it's if I do one every two weeks, then people have a chance to like, I don't know, see the clips and like wait for it. Everyone just wants to like blast everything out as quick as possible.

SPEAKER_00 1:27:23

Exactly. Yeah, and that's like we were saying about you know, DJing all the time. You can't you gotta make them wait. Even with DJ music, like sometimes you can't have a crazy song or a crazy bass line all the time. Yeah. Yeah. You can't just go banger after banger after banger, banger, 'cause you know, you gotta give 'em a little break. You gotta give a dance for a break.

SPEAKER_05 1:27:46

Yeah, and people don't like people don't care about albums anymore. I just gotta b like dial it back a little bit, you know.

SPEAKER_00 1:27:54

Yeah, and I feel like I don't know if it's just for me personally, but I feel like it's it's all one big circle. Like People are like kind of starting to realize where it all started, you know, shit like that. And I mean, it's good as long as people do it with good intention, you know. Like even people that like I run into a lot of people that want to start DJing, you know, that's my advice. And I'm like, look, if you really like the music and you know, you're doing it solely for the music, then why not, bro? Like I started off with everybody everybody, every DJ started off with just the idea of it. Yeah. But if you're just doing it for the girls, for you're not gonna you're not gonna last long. Yeah. It's not, you know.

SPEAKER_05 1:28:36

Cause you're competing with motherfuckers that will just like die for the shit, you know? Yeah, bro. Like these guys, the OGs, like, I like being around guys like that. Cause then they're like whatever, 40, 50 years old, and these fuckers are still DJing. Yeah, bro. Like, they don't care. That's so tight.

SPEAKER_00 1:28:57

They have their nine to fives are retired and they're still fucking doing it for the game, bro.

SPEAKER_05 1:29:01

For the love of the game. Yeah, so it's like if you think you're gonna compete with those guys, you know, it's just there's just no way. Yeah, because the amount of effort and money it takes to just like get good and especially with music production, like it takes a lot of time to get like actually good. Yeah. At some point, if you just are doing it because you want to be famous on Instagram, you're not gonna last long. No, you're gonna burn out. Yep. Cause it's you're competing with people that will do this for free, you know?

SPEAKER_00 1:29:36

Yeah, and then not only that, but like the good shit never dies out, bro. Like a lot of people are still playing records from the 80s, 90s. And you know, like all the stuff that was like on Kiss FM, like it's is nobody's playing it anymore, you know? Like it was it was huge, like the all like the whole all the eras that passed, like Mama Tom and like jump up, stuff like that, like yeah, you don't really see it anymore. But you're still gonna hear some fucking deep house cuts and like OG shit, you know, because it's it's good, it's soulful, it's yeah, it's real. Disco, yeah.

SPEAKER_05 1:30:12

Disco is just like you play a disco track, like everyone's fucking with it. Yeah, it's hard to like not have a good time.

SPEAKER_00 1:30:18

Yeah, if you do, then you just fucking you just suck. Yeah. But like even like house techno German bass, you know, some of the oldest genres. It's just if it's like organically made, like soulful stuff like that, it's just it's never gonna die out. Yeah. As much as people wanted to and call it elevator music and boring, like I just don't get it, bro. Yeah, you know. I wish I was in this fucking elevator every day.

SPEAKER_05 1:30:50

Have you looked back? That's one thing I've tried to start doing is just going into like the history, I guess, of how everything has started. Because I think it's just so interesting.

SPEAKER_00 1:31:05

No, yeah, I mean, I always see like it's always on my feed, like all the algorithms and stuff, and you know, I've I've done research and you know, heard a lot of shit. But obviously, you know, house is from Chicago, techno's from Detroit, and like it all has their certain sound, and then the fact that like when I also started like collecting records, I realized that you know a lot of shit is a sample from either like old school soul disco or even house. Yeah, like Kanye, he's from Chicago. Yeah, a lot of people don't know that he imp like implements a lot of house music in his music. Yeah, or even like um his song Fade. Yeah, I just fade away that bass line dumb dum dun. That's actually Mr. Fingers from uh it's called The Mystery of Love. And that record was made in like 85. Yeah, but people would have never thought. Yeah, and then he also implements uh in drive deep inside, same track, yeah. Those are two different house tracks that he combined, and like he still made it a great song, it's a dope song.

SPEAKER_05 1:32:07

Yeah, I think a lot of people just don't know that, yeah.

SPEAKER_00 1:32:11

You know, I mean I don't expect I don't expect him to unless like you're Chicago. I didn't know, but yeah, like getting into all the East Coast, like East Coast has honestly my favorite kind of house. It's got that like raw Jack in Chicago shit, that like New York deep, Brooklyn deep house. Yeah, yeah, they uh stuff.

SPEAKER_05 1:32:33

My brother, uh my brother was I don't even know if he was asking me, but yeah, he thought like house music started in Europe. Yeah, I mean we all did, we all did.

SPEAKER_00 1:32:43

We thought it was like, you know, you're like, nah, this is us, bro. Yeah, dude, that's what people don't realize. Like, house was actually like for the colored and the gay people, yeah.

SPEAKER_05 1:32:54

Shout out, shout out them always. You have to shout out to the gays because they're always the ones that are like dancing and yeah, dude, they're the fucking hot steppas, bro.

SPEAKER_00 1:33:05

They're the hot steppers, yeah. Like, yeah, they're fun, dude.

SPEAKER_05 1:33:09

They know what's up, they know how to party, yeah. Always a good time, yeah.

SPEAKER_00 1:33:13

But yeah, dude, I like started realizing all this stuff came from here, yeah, America. Yeah, which is tight. Yeah, exactly. We have something cool, yeah. Something real.

SPEAKER_05 1:33:27

Have you been to New York? No, I want to go. Yeah, dude, I want to go so bad.

SPEAKER_00 1:33:32

I want to go to Chicago to Ark.

SPEAKER_05 1:33:34

Yeah.

SPEAKER_00 1:33:35

And then to New York for sure. Yeah, my brother lived in Chicago for a bit, but he's not a yeah, there's there's only a few other places I want to live, like besides Long Beach, because I love Long Beach. Yeah, it's either like Miami, probably not. I'm just saying that because it's the closest thing to Long Beach besides fucking humidity, but like even like the East Coast, bro, like there's so much culture and history out there. Yeah, and there is a lot here in LA too, but it's just like I feel like it's just more soulful out there.

SPEAKER_05 1:34:05

Yeah, I think it's California is just kind of like a melting pot. Like over there, it seems like it's been kind of the same for a long time. Yeah, and they stick to their shit, you know. Yeah.

SPEAKER_00 1:34:17

I mean LA has its scene too, obviously. You know, we have OGs that started the sound here, Doc Martin, sneak, sneak's like half LA, half Chicago. So he like kind of implements both. Uh, you know, DJ Dan, R.I.P.

SPEAKER_05 1:34:34

Yeah, the it's just LA is tough because it's kind of like the epicenter of just entertainment. Yeah, for sure. So it shit just changes so often here. Yeah, whatever's trending, that's what they want in LA. Yeah, you go to Chicago, they're still playing like good shit. Yeah, yeah, exactly.

SPEAKER_00 1:34:52

Like I forgot what um it's like uh a basketball team, I think. Where like you know the the organ that they play during the game, then then they'd be playing like house music and stuff. Like they play like classic house sense, it's just dope. Yeah, and you don't realize it. Even like um I don't know why, like I just recently started like downloading PlayStation 2 games on my PlayStation, and I was playing uh San Andres. Nice, dude.

SPEAKER_05 1:35:22

I had that on disc for on my Xbox 360, yeah, bro.

SPEAKER_00 1:35:25

That's just shit. But I was like listening to the music and I'm like, holy shit, bro! Like, if you I think the station's called like SFM or something, and it's like move yo bad, like classic house tracks on there that I didn't even know back when I was a kid, but now like going like it's always been there, yeah.

SPEAKER_05 1:35:43

Like all the GTAs, like stuff Rockstar, like yeah, Rockstar has like shaped people's like music tastes, yeah, subconsciously. Yeah, yeah. A lot of just like I guess video games just in general has like shaped everyone's music taste.

SPEAKER_00 1:35:58

Yeah, and that like even not only that, but like I used to play Jack and Daxter back then when I was a kid, and I downloaded again, and like it's like the first one is like in the island jungle, and I'm like listening to the music, bro. Like, this is tribal house, yeah, like mean bass lines, bro. I'm like there, like, yeah. I was like on the loading screen for like 20 minutes, just like jamming, bro. It's like it's a trip, yeah. Need for speed too. Yeah, exactly. I was just talking to uh I was playing the Need for Speed uh Underground, the old one. Yeah, and there's a song by like Felix the House Cat on there, yeah. Like old school TS though. I'm like, you would you didn't know back then, you're just fucking racing, bro. Did you ever play Midnight Club dub edition? Oh, fuck yeah, bro.

SPEAKER_05 1:36:37

The soundtrack on that game was so less.

SPEAKER_00 1:36:40

Dang that well, well, yeah, bro. I had all the bops, yeah. Shit was a vibe, bro. They don't make shit like that anymore. Yeah, but even like old school, like arcade racing games, bro. They're like Rip and Jungle and Drummond Bass, Deep House.

SPEAKER_05 1:36:53

Yeah. We just didn't even know it.

SPEAKER_00 1:36:56

Oh, we didn't. You know, they knew it.

SPEAKER_05 1:36:58

I mean Yeah, we just got uh indoctrinated into electronic music.

SPEAKER_00 1:37:04

Yeah, dude. I mean it's cause it's it kind of there's so much different kind of electronic music that like makes you feel different ways. Yeah. You know, like even with just music in general, like if it's high pitch or like you know, high end key, it could either make you feel really happy or really sad. Yeah. Whereas like lower pitch or lower key, it's more like it could either make you like feel like courageous or like you want to rob someone like angry or sad as well. So it's it's a trip. Yeah.

SPEAKER_05 1:37:41

Yeah. The uh what was I gonna say? Um fuck. Just lost my train of thought. That train's gone. Yeah, that train is gone. Alright. We'll actually wrap it up. Alright, yeah, that was fun though, man. Yeah, uh, thanks for coming on. Of course, man. Thanks for having me. It's summertime in LB. So summertime! Let's go. It's gonna be a good summer. Yeah, man. We uh we get spoiled out here, I will say.

SPEAKER_00 1:38:11

I know, yeah. Even though it fucking feels like all different seasons throughout the other different seasons.

SPEAKER_05 1:38:17

Wintertime, I'm just like, fuck. I don't want to do anything. As soon as like the sun comes out and it's like 80 degrees, I'm like, yeah, that's why we live here. Yeah. Again, my money's worth dead. Yeah. We'll see you guys in the next one. Peace out. Peace.