Behind The Console

Johnny Hills On What It Really Takes To Make It In Music

• Behind The Console • Season 1 • Episode 17

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In this episode, we sit down with Johnny Hills to unpack studio stories, music industry lessons, and the mindset behind building a lasting career in music.

SPEAKER_01

What's going on, guys? Welcome back to another episode of Behind the Console. As usual, I'm Derek. This is Dot. And today we have another special guest with us today. It's Johnny Hills. Johnny M. Hills. Johnny M. Hills, yes, sir. So wind it back, wind it back. So what we like to first start with always with our guests is just give us a brief background of your come up, how you got started in music, how you got to where you are today. Like from the jump jump? Uh, I mean, whatever you feel is you want to share with the audience. You can condense it, of course, it's whatever you're comfortable with. Yeah, whatever you're doing. Yeah, no, I'm comfortable with anything.

SPEAKER_00

Uh basically how I started was um I started off as a rapper. So I started off because my cousin, he got paralyzed, like from he was a quadruple, he turned he became a quadriplegic and uh off of incidents, and basically I made a song for him one time, and uh I performed it for my family like for the first time. And how long I was like probably like 13, like around there. And I rapped it for them, and like everybody started crying, and it was the first time I got like a reaction, emotional reaction, and I was like addicted to that feeling of like making a song or something that makes someone feel something excitement, sadness, whatever the case is. So after that, you know, I started getting really serious with the rap shit, and then um when I finished high school, I went to Metalworks, and yeah, I I got what I got from from the metalworld.

SPEAKER_01

I'm also an alumni. Yeah, so we share that, we share that, we share that, we share that. What year did you go? I graduated in 2019, September 2019.

SPEAKER_00

Brother, what? I was wait, did I go 2018 or 20? You must have been a year after.

SPEAKER_01

I dude.

SPEAKER_00

I think I think I was a year before you. You went to memoirs before me? Because I went right after high school, but I went in like 2018. I think I I graduated in 2018.

SPEAKER_01

Oh, you graduated in 2018? Okay. Wait, how how old are you? I'm 27. 27? You graduated in 2019?

SPEAKER_00

I'm nine, uh my year's 999. Oh, okay, okay. Okay, that makes sense. Yeah. Anyways, but yeah, no, um, after that, fucking I just continued doing what I was doing, and then COVID hit, and I just started investing in buying my own equipment because I didn't really like engineering at first. I just thought it was like very tedious, and I don't know if it's because I don't know, metalworks turned me off about it or whatever the case is, but I don't do metalworks. I just I just like stopped, I just stopped engineering for a bit. And then once I bought my first interface and mic, uh, I started doing more research on mixing, and I started buying courses online, and then I eventually got my first client, and I uh I forgot I forgot his name, but it was a hundred dollars for a mix, and it was terrible, I did delivered a terrible mix, but whatever. Um it was worth hundreds. Yo, he paid yo, he was lit. He was like, yo, that's fire. I was like, all right, sick. So after that, I was like, yo, you can actually make money with this. And I was like, I really went full force after that. I started running ads. Uh, I eventually got a job at Achieve Dreams, shut up, Achieve Dreams, and that's what really like accelerated my career because um I was thrown in with the wolves basically. And what I mean by that is like I was working 16 hours a day, every day, and just consistently working with new people and and new sounds, and I messed up a lot, I'm not gonna lie.

SPEAKER_03

And uh faith for it, so you can go.

SPEAKER_00

But bro, what what people loved about about me, and it's something that people still love about me to this day, is like my energy and like my passion for music. So even though maybe my skill wasn't there, my passion was there. So people wanted to work with me because I really cared about their pe their music. And I hear a lot of days now, like people go to studios and the engineer doesn't really say anything, or it's it's like you know, it's very like you do your thing and get the hell out. They're there as a punishment.

SPEAKER_02

Yeah, basically, you know what I'm saying? Working for 15 bucks an hour, yeah. Okay, okay, that's a fact, yeah, yeah.

SPEAKER_00

You're right. But um after that, I ended up getting an internship with him, and you know, taught learned a lot from him, and I do songwriting too, right? So, like I was doing all this at once. I started writing for uh Levi and then a bunch of other big Toronto artists, and um fast forward the life-changing moment was when I invested into my first space, which he told me is like bro, trust me, do it. And I was always I was always scared, bro. I was like, I don't know if I can do it, and like bro, I was terrified. I was like crunching down the numbers every day, like, yo, what if the worst month? Like, can I still afford it? And I I took the leap of faith, bro, and my life just went bro. I swear to god, bro. It was like night and day because I was working 16 hours like at other studios, but bro, like I wasn't seeing the financial and I don't know, bro. Soon something about when you become your own boss and you take a risk, it's not even just about money, it's just like opportunities just start coming out of nowhere. You get what I'm saying? 100%. Which leads us to here, yeah. Are you gonna say something?

SPEAKER_04

Um, yeah, I was telling both of you guys to like basically do your own thing. Yeah, I brought this guy to 669. Yeah, yeah, okay. Were you skeptical at first? Oh, about brother 669, of course.

SPEAKER_00

Because, bro, you know what it is, bro? It's like it getting comfortable, it's really uh it's when they say, bro, you can't get comfortable, and even now, bro, like things are going good, but at the same time, it's like you gotta still take risks, even when things are going good and try new things because that's how you really succeed, bro. You get what I'm saying? And to be honest, what it did for me giving me more responsibility to grind every day. For the past two years, I've been working, sorry, three years, I've been working seven days a week. I just started taking Mondays off because I I live with my girl now, so now like I have to like dedicate a little bit of time to her, but like it really put a fire under my ass. I was like, yo, like get to fucking work. Like, you know what I'm saying? Like you have bills to pay, you have shit, you know what I'm saying? It's responsibility. Cold being a grown man right now.

SPEAKER_02

You know what I'm saying? I don't know why it's the same thing.

SPEAKER_03

We had this conversation the other day, too. It's like when you tell me, oh, I gotta do this and that and that, bro.

SPEAKER_04

You guys are like acting like this is not what men do.

SPEAKER_00

You're right. You know what, fam? I think you gotta hear that sometimes because like even today, like some shit. I was dealing with some client shit, bro, and I was just stressed out. I was like, yo, like fuck, like sometimes the shit gets overwhelming, bro. The shit's demanding, bro. Clients calling you all hours around the day. You know, you have to that's a good problem to have it is, it is, but bro, it does get overwhelming. I don't know, maybe you're a fucking machine, I don't know, but like yo, like you, like do you ever get to the point where like, yo, fuck, I have so much shit to do and I want to execute everything properly and like fuck, like you just ever get stressed out? Of course, 100%. I get stressed out there.

SPEAKER_04

At the end of the day, I feel like just to like give you an advice when it comes to that situation, you have to understand your worth in your client's eyes. With what I'm trying to say is that everything in due time for everybody. You know, I mean, when people start to press you, it's like you gotta do this, this, this, and they're trying to tell you like you have to do this here, right now, this and this and that. I had a couple of guys that were like acting like they are bigger than the system. Yeah, I cut them off. I was like, yo, I don't play that. People call me, it's like, yo, we have to do it right now. This is not threatening me. I'm like, block. Yeah, I don't have time for this shit. You know what I mean? It's like you come to me to get the shit done, I'm gonna get it done. But like I also deal with a whole bunch of other stuff.

SPEAKER_00

Yeah, that's what people don't realize, bro. They think that you're only working on their shit, but in reality, I'm fucking doing so much shit. You know what I'm saying? So, but you're right, bro. I think that's what I gotta learn is letting little things like that not bother me and just yo, I'm I'm always gonna work to the best that I can and the hardest I can. But at the end of the day, like, there's only so much I can do. No, 100%. So that's what I gotta teach myself, you know what I'm trying to say?

SPEAKER_01

Yeah, you gotta protect your energy, definitely. That's for 100%.

SPEAKER_04

That's for sure. You don't wanna you don't wanna deal with no fucking bullshit.

SPEAKER_01

Yeah, yeah. One thing I learned is like, you know, you all you always get those clients who give you one, either a hard time, or number two, you have to chase them for payments. I'm sure we've all dealt with that before. And it's just like at a certain point, you just gotta tell them like, bro, not working anymore. I'm sorry, but we can't work anymore. I can't continue dealing with this kind of stuff because you gotta protect your own interest and your own energy and your own state of mind. Yeah, shit just stresses you out, bro. It's not worth it.

SPEAKER_00

See, with the chasing for payments, bro, I don't play with that shit, bro. I swear, fam, like as soon as like you cancel last minute or like some shit, I make you pay for the whole session. And it's no disrespect, but it's just like, bro, like I said, we we we're working with so much people, and I don't have the time to like you know, sacrifice hours of my day. Yeah, yeah. And you just like decide not to show up. Unless it's like an emergency, bro. I get it. Like, you know what I'm trying to say? But like, bro, like like we're running a business, bro. Like, you when you book, I don't know, a hotel, you know what I'm saying? Like, you're responsible for that, bro. If you cancel last money, you're still chart, you're still getting paid.

SPEAKER_04

I think the difference too, especially here in Canada, how we operate. For example, states in uh in Canada, right? In states, everything is credit card. You book a notice credit card, bam, bam, bam. Here, nobody wants to like nobody wants to do credit cards.

SPEAKER_01

Not even give you your fucking name. Yeah, you know, you even mention HST and taxes, people start running around there. It's the crazy, they don't understand the concept of like running a small business.

SPEAKER_00

Brother, I tell you plus HST, they're like, yo, why? Yeah, bro, because you have to.

SPEAKER_02

They think like I'm charging it on purpose so I get more bread. Like, no, bro. I have to do it. Like, if you know what I'm saying, like uh it's nonsense, bro.

SPEAKER_01

It's yeah, it's nonsense.

SPEAKER_03

The crazy thing, man, is like I've lost clients when I said plus tax everyone like message me back. Yeah, it's the same. Literally, bro. Like, you know what I mean? It's just it's just the reality of things. People here are a little bit, you know. Yeah, yeah. I don't want to call it by nickname. I get it, bro.

SPEAKER_00

The economy's shit too, you know. So like I get it. But at the same time, it's like, bro, like, I don't know, bro. Stressful, dog. A lot of people think they can just like I have so many clients that will buy gear and then they don't know how to use it, and then they come back to the studio because like it's like bro, it's like not easy, bro. I think you can just buy a mic and an interface and then that's it. It's like, no, bro, there's more shit to it, like way more shit. You know what I'm saying?

SPEAKER_04

I think like I I feel like there's a there's a beauty of people just being able to go buy gear and just record themselves. But I agree with what you say, because I have guys that, you know, record it with me, but they're like, oh, it's getting too expensive. I'm just gonna record at home and send you the stuff to mix. Which I get you you save, you know, a couple of hundred bucks in recording this and that and that, right? But the thing is that when you get the recording back, it's not really up to the quality that it was before. And not even that, sometimes, especially you as a writer and like you understanding the pockets, the everything else route. When somebody records by themselves, they just hear what the hell what the hell they hear in their head. They have no guidance to it. So you have no guidance. So sometimes it's like in there, it's like, yo, it sounds sick. Yeah, yeah. And then you listen to it, it's like, bro, it makes no sense. Yeah, timing's off. Timing's off, like you're out of the pocket, like the notes are not the right notes, you know what I mean? So it's like there's always a benefit of having somebody in the room that knows what they're doing, that they can guide you to get the track sounding better. And the thing is that if you have somebody that does it, when you become better or when you could become good to the point where you don't need that guidance anymore, then you could just take it yourself. It's like with with uh, let's say you you do like a personal training with uh at the gym, right? If you don't know how to work out, you can be at the gym, you can be doing things, you're not really gonna see the results because you don't have somebody to tell you, like, yo, you're doing your revs wrong, you're not doing the right intensity and all that stuff. You need somebody to show you how to do it. Once you have the fundamentals in the right place and you understand what you're doing, then it's much easier to, you know, take it from there. So you need that initial somebody to show you that's a perfect analogy to be honest, bro.

SPEAKER_00

Yeah, that's perfect to describe it like that. But yeah, some people are just hard-headed, bro. That's just what it is. And it's artists, bro. Bro, trust, and then it's crazy because then they're chasing like expectations that are like unachievable because of what we're working with. You get what I'm saying? So, like, sometimes I even beat myself up about it. I'm like, yo, am I fucking like not mixing this properly or something? And then I'm like, honestly, bro, it's like what you're given is big to making a good mix or not, bro. You get what I'm saying?

SPEAKER_01

So yeah, bro. Well, so would you say because you started as an artist and then you transitioned into an engineer after, would you say you being an artist helps you work with other artists because you can understand things from their perspective more?

SPEAKER_00

A lot of reason why people like working with me is because I'm a songwriter too, so I'm actually building the song with them. And I have so many clients that come in and be like, yo, like I came in with this song and you turned it into something completely different, like you know, right? So my I guess my style, and not everybody I guess likes it, but my style is I'm very involved in the process, like regarding like if I feel like this is not the chorus, I'll write you a new chorus, or like I'll help, I'll help restructure the whole song. And um, I feel like again, I'm not pushy with my opinion. Like, if like for example, there's times where I'll give a line and I know it's better, and but the client will still say no. You know what I'm trying to say? I'm not gonna be like, yo, you have to use my line. Like, you know what I'm trying to say? I'm just here to help, assist however I can, and if you want to take it, you take it, right? But a lot of people do come to me specifically because I'm not I'm more than just recording, I'm help, I'm helping make the song. Right. You get what I'm saying?

SPEAKER_04

So when you when you write for people, let's say you change the hook and all that stuff, like when you help help them with writing and writing the songs, do you get credited for that as well? Like, do you fight for your credits or no?

SPEAKER_00

That's something that like, yeah, maybe I I thought about it, bro. Like, I would say 95% of my sessions, I'm helping, right? Wow, 95%. Yeah. Wow. So I would say, even if it's like, bro, like changing a lord, a line, technically, bro, what I should be doing is getting my publishing and credit for every song, because bro, that adds up. Yeah, bro. I don't even know how many songs I've worked on since I started, but bro, like possibly in the thousands, like at least thousands, bro. I don't know. Like, you know what I'm saying? Like, I'm like sometimes I'm doing like 20 tracks a day, right? So 20 tracks a day? Yeah. Rappers, man. Rappers, bro. Rappers, bro. That's a lot, man. Bro, I have some people that come in and they will bang out like it's quick, but like six, seven songs in like a sitting. You know what I'm trying to say? Yeah, yeah. But yeah, like, bro, the way I look at it is like, I'm not obviously how do I explain this? You're already paying me, so I that's why I don't make a big issue out of it. And to be honest, I'm also offering. It's not like you get what I'm saying? So it's like it's like me saying, oh yo, and you know, by the way.

SPEAKER_04

It's almost like part of the service. Yeah, yeah.

SPEAKER_00

It comes. That's why that's where I'll look at it. And bro, to be honest, bro, like I enjoy it. So it's not like I actually like I would rather do it than just like what what if what if you ride the hook and it goes crazy?

SPEAKER_03

Yeah, yeah, yeah. And you know that you did the hook and you gotta pay 300 bucks.

SPEAKER_02

I probably have to message, like, yo, pal, like, give me like a at least a one-two point. Like, you know what I'm saying? Like, yeah, you're right, don't fuck. Yeah, bro.

SPEAKER_04

Yeah, I mean, yeah, with those types of situations, it's uh, it happens that you do a one-two, you know, and it's like, even for me, it's like I had sessions where I came up with the melodies, I came up with like certain ad libs or like do this, like change certain things. And next thing I know, it's like, man, the song is not like 300 million, 400 million.

SPEAKER_00

Bro, like for example, the the session you gave me at Sony when I worked with uh Snotty Nose Res Kids, bro, I didn't think anything of that session. And um, bro, fucking months go by, Juno nomination. I'm like, what the fuck? I'm like, for real? And then ended up winning. But I literally, bro, just went in there, did the job, and didn't think anything of it. I honestly believe in this industry, bro, the more like you think about it that something's gonna happen, yeah, like I feel like the less likely. Sometimes a lot of the times where I met somebody or worked with somebody, it was just like it just happened instead of me chasing it. You know what I'm trying to say? Yeah, yeah. So I hear you, yeah, that definitely happens a lot, bro, for sure.

SPEAKER_01

So you mentioned that you're doing a lot of work like on the go. So are you um traveling to people's like uh places, homes, or you're going to different studios, or like you mainly in your own studio working? How is your workflow?

SPEAKER_00

I would say it's like 60% my studio, and then like I'll pull up. It depends if I'm writing. Like if I'm writing for like bigger artists, like I'll have to pull up to whatever studio they're at. Right. Or sometimes they come to mine, you know what I'm saying? But um, it's also because like like I said, my space, I can't really play music too loud during the day, and I do a lot of my mixing during the day because at night I'm usually booked. So that's the reason why. But yeah, to answer your question, yes, I do do a lot of traveling.

SPEAKER_01

I see. Is it because your space is in like a commercial like your neighbors? Yeah. Oh, I see, I see.

SPEAKER_00

Yeah, it's like in a commercial space, but everybody's usually gone around four. Okay. So it's it's pretty blessed, bro, because like all my clients usually come around that time. Right. To like three in the morning, four in the morning. Right. That makes sense. Uh bro.

SPEAKER_01

So what's your uh current setup right now at your studio?

SPEAKER_00

Upgrade stuff or yeah, I I again it's not like the craziest setup, bro, like like this guy over here. But what I'll say is it's like I have uh Neumann U87 going into um a Neve clone, okay, a Great River, to be exact, and then going into Apollo, and then I have a SSL Fusion for mixing pro uh mastering processor that you don't even use. I use sometimes I'll be honest, bro. You're right, you're right. Okay, look, I'll say this regarding outboard gear, it's just a different workflow, and like the way you have to process stuff, and it's just like it's just a an extra step that sometimes, bro. Like when I'm in the studio, a lot of my clients they just want shit now, and I'm mixing with it in session a lot, right? So it's one of those where like I don't really have time to kind of experiment with gear and like get the tone, and it's just really on the fly, you get what I'm saying? So um, but I do use it still, but it's more so on request. So like I give a person an option if they want to do like a hybrid analog slash digital, you get what I'm saying? So I give people an option, but it's one of those where like I just use it more so on request than just regularly in my chain. You get what I'm saying?

SPEAKER_01

So are you doing like the majority of your mixes like you record and then you would they'd be like, Oh, can you just mix this for me like after you record it and you're mixing it in like for an hour or two and then you send it to them? That kind of thing.

SPEAKER_00

So how how I was taught, bro, at Achieve was the owner, he told me a couple things I never forgot. And it was like very valid points, bro, because the thing is, bro, people don't understand when they leave the studio and they're playing it. If it doesn't sound good, they're immediately gonna be judging your work. You get what I'm saying? So he always told me when when when the client leaves the studio, make sure it's good enough to where it sounds like they can drop it already. You get what I'm saying? So I always worked like that, and it's kind of embedded in me to where while I'm recording you, I'm mixing as we go, and then if we have like an extra 10-20 minutes, I'll do a little quick cleanup, throw a little mastering limit uh sorry, a limiter on, make it loud, and then you're good to go, right? Um, but like I said, it depends on the client. Like some clients want to just do mixing and session, and then some just want to actually pay for a mix, and then I work on my own time. I'll say this we get better results when we do it that way. No, mixing on your own time, you mean? Yeah, because I can take like bro, I like taking breaks, bro. It's like I'll mix for 30 minutes and then I'll take like a 10-minute break, and then I'll come back to it, and then I keep doing that until it's done. You get what I'm trying to say? Sure. Regarding mixing in session, sometimes I do get good results, but sometimes I feel like I could have done this better, this better.

SPEAKER_01

Yeah, you're on a time crunch, people are there, like it's hard for you to take breaks because people are technically paying you for your time.

SPEAKER_00

So But what I'll say, bro, for an engineer that's coming up is like I really do believe that method of getting it sounding decent because immediately people are judging your workflow, like your work, and they're gonna be playing it for people and like yo, why does this sound like raw? You know what I'm saying? It's just like I understand that, like, yo, that's just the way it is, it's raw, and then you have to mix and master, but the average person just doesn't understand that. And you could lose a client like that.

SPEAKER_01

So when you're recording, are you usually recording with like your own template that you made with your vocal chain, or are you just just auto tuned?

SPEAKER_00

Uh no, template. So it's a it's a mixed template. I already have like some effects going, right? Um, it's not like a finished. Template to where, like, like I can just bounce it and it's done. Like, I still have to tweak it to the according song. But it's if I were to just record you right now on my template, even if I were to bounce it like that, it would sound like enough where okay, like it sounds like you did some shit already. Right, right, right. You know what I'm saying?

SPEAKER_01

Makes sense. Yeah. Okay. So what are some of your go-to plugins that you've been using? Some of your favorite plugins.

SPEAKER_00

Soothe is like my number one. Um sooth three? You start using Soothe 3? Uh no, I just I still have Sooth 2 upgrade still. Um that's a plugin that has really been like a staple for me because it solved a lot of problems that I had when I would mix without it. Like, like there'd be a lot of times where the vocal would be really harsh, and or even the master would be like a harsh, and I'll try to EQ it or multi-band compress it, do all like all that types of shit, and it'll take too much life out of it. And soothe, I'll just slap it on anything, bro, especially if I'm in a rush and the client's like, yo, just clean it up quick and bounce it. I'll slap a soothe on a couple places, you know, and then it'll literally make it sound decent. You know what I'm saying? But soothe is definitely one. Uh waves, I use um plug-in alliance. God particle. God particle. If you forgot about that. I use that a lot.

SPEAKER_03

You look like a god particle like that. So you look like particle.

SPEAKER_00

I I use God particle a lot still. But yo, I'll be honest with you. I used to like use it as at it at its full setting, but I didn't realize it adds too much. So what I'll do is like I'll keep the mix and then also like the input. I'll lower the input so it's not driving the saturation more, and then I'll also like turn the mix knob like super low because I just want a little bit of harmonics and weight added, but not too too much. You know what I'm saying?

SPEAKER_01

Yeah, a plugin does do a lot for sure. It does, yeah, yeah. 100%.

SPEAKER_00

But sometimes it works, right? But no.

SPEAKER_01

So this is uh I guess maybe a controversial question is, but do you think a bad a good mix can fix a bad song?

SPEAKER_00

No, no, no. I think it always starts at the song. You know what I'm trying to say? Like I'll say this, right? Obviously, like you can make a bad song more interesting. But for example, the average person when they're listening to a song, they're not thinking of oh, like yo, like unless you completely fucked up the mix.

SPEAKER_02

Like, you know what I'm saying? Like, unless it sounds like you completely fucked up the mix, then that's an issue.

SPEAKER_00

But I don't think the mix is gonna make or break a great song because there's a lot of songs that are hits that if you really break it down, they're not the craziest mixes, bro.

SPEAKER_01

So so to counter that, do you think if you have a great song, do you think if it was mixed really poorly, do you think it would not um take it down from being a great song?

SPEAKER_00

To a certain extent, like bro, by poorly I mean like it sounds like a band lab, band lab mix, then yeah. Okay. Just bad lab, eh? Yo, fam, I've been hearing some shit recently. Yeah, yeah. You know what I'm saying? Bad lab is fucking up the game. Yeah, it is, it is. But I'll say, like, if it's like a terrible mix, it will ruin the song. But if it's like an amateur mix, but it's a great song, I still think it would go. It would go for sure. Okay, yeah. What do you guys think?

SPEAKER_04

Uh I mean, man, I feel like the number one question that we have to ask is what is a bad song? Like, what is the character of a bad song? Because I'm not gonna lie, I recorded some songs that I personally thought they were very bad.

SPEAKER_03

You know, but then once everything was put together, I'm like, yo, it's actually I guess it's actually pretty sick.

SPEAKER_04

Yeah, you know, and like I'm not I'm not gonna mention like what artists, like what names and all that stuff, but yo, there's some people that their vocals are very bad without auto-tune. Oh yeah, 100%. You know what I mean? It's almost like without auto tune, like if you just take the song without like any processing and all that, so you just put it out there, nobody could pay it online to that record. For sure. You know what I mean? So again, is it the bad song? Overall, yeah, it is bad, but like once you process it and you kind of have everything in the place and it shapes into something else. Is it still a bad song or did it become something else? What if it's still bad even after all the processes? Oh, yeah, if it's bad still after processing, you already know it's the bad song.

SPEAKER_00

Yeah, like basically okay, autotune. I didn't obviously without auto-tune, like the song's fucked. You know what I'm saying? But I'm saying regarding a bad mix would be um sorry, what was I getting at? Like a good song, if it had but a bad mix, as long as it has like the basics, like the auto-tune, compression, a little EQ, like I still feel like it would still do decent. Like, you know what I'm trying to say? Yeah, but obviously if it's raw, then obviously that's a different story. Like you know what I'm trying to say?

SPEAKER_04

But yeah. I have um I have a question. It's a little bit uh not out of the topic, but I'm gonna say it because I did it recently and I want to see if you guys kind of think alike. When you guys work, when you guys mix, and you know, you sit in your chair and just listen to the speakers and all that stuff. Do you ever pay attention to the things that you want to fix within your system? You know that it is an issue, but it doesn't bother you until it starts to bother you. What do you mean? Okay. So basically, I I'm gonna give you my example, right? So last week, I always had this issue. Well, is it technically it's a technical issue, it's not the issue when it comes to the work itself when I was working, but it was an issue, nevertheless. So because I have two converters, I have the Neumann MT48 and I have a Burrow. And I have two mixed buses when I mix, right? You already know one is going mix mixed bus A, mixed bus B. But the thing is that when I was summing everything back into Pro Tools, the MT48 timing was slightly earlier than the return of the Burrow. So when I have it on like mixed bus A, Mix Bus B, you know, if if I don't sum it into like the same channel, then I would get like face issue. But if I don't do it, there's no issue. But I was like, you know what, I had some time, let me figure it out how to fix it. So I started doing some tests. I figure out that the difference in the latency is exactly 1.4 milliseconds or 1.4 something milliseconds, which was around 67 samples. So the crazy thing is this simple the the simplest fix, the simplest solution is just to put the time adjuster on the bus. And then I put the 67 samples time adjuster, and all of a sudden, as I'm saying, I didn't think it was an issue. But the stereo imaging got so much tighter, and I was able to hear so much more. And the phase and right now I can put uh same same signal into Mix Bus A, Mix Bus B, blend them together, no face issues. They would cancel out. Well, they don't cancel out because they are two different processing, but I'm just saying timing-wise, they align perfectly. So again, it's something that I kind of knew was there, but I've never really paid attention to. But what I'm what I'm asking you, is there anything within your current setup that you have that when you mix, you know that it bothers you, but you just let it be. You just let it slide.

SPEAKER_00

I guess I should go first.

SPEAKER_01

I mean, I think the the biggest thing for me was before I got the Sigma, it was something that you actually mentioned to me. It was that the high pass filter on my porticle was too low. And I remember I was always like, oh, but is that like 125 hertz? Like, that's that's fine. Like, you know, it's not a big deal. But then as soon as I got the sigma and I started sending the bass to mix B instead of running through the porticle, I got way more low end out of just like kick, 808, sub, everything. Yeah, so that was I think one thing that I was definitely ignoring. So I was like, ah, it's probably not that big of a difference. But then as soon as I got the Sigma and I didn't run the bass to the porticle anymore, I was like, wow, this is actually a huge difference, significant difference. And now I can feel like everything just feels rounder, feels heavier without even me like doing anything. Yeah, you know what I mean?

SPEAKER_00

So yeah. Are you talking about sound-wise or just anything? Anything. Oh bro, mine's way more stupider. Um my computer, bro, it's like on his last leg. And uh it's just not like when I start having a full mix, it starts tripping. Like, you know what I'm saying? Leggy, um, like fucking, for example, like bro, I'll be recording and like when you're when you're dragging shit or whatever, like it's like delayed, like very slightly.

SPEAKER_01

I know what you're talking about, 100%.

SPEAKER_00

And like, for example, if I have my console, um, because I have like three screens, if I have my console on one screen, um, UAD, because some I use it to like turn down the volume, right, of like the speakers, because I don't have like um a knob on right like a monitor controller, yeah, at the front of where close to me. So if I have that open, I start getting like some serious leg issues. I'm just so used to it and cheap to where like I just run with it, and then I have like one of my I just I one of my engineers that I hired recently. He was recording one day on my computer, and he's like, Yo, how the fuck do you do this? And I'm just so used to it, bro. That like I feel like if I didn't have it, I'd be tripping.

SPEAKER_02

Like, you know what I'm saying? Like, but that would be mine, I don't know, still.

SPEAKER_00

What computer are you running right now? Bro, it's um MacBook Pro 16 gigs of RAM. She running 16 gigs in 2026 and an i5. i5 whoa, that's crazy. Yeah, yeah, damn. Yeah, it's I guess I run into some serious issues, but what it is, bro, it's just like I'm just a type of person where like if it's not like broken completely, don't fit. Whoa, that's crazy.

SPEAKER_03

i5, yeah, yeah. No, it's wrong. It's whatever you guys do, don't listen to this guy. Don't, don't, don't do it to yourself.

SPEAKER_02

Get a new computer, please. Yo, yo, bro. Like, I'm gonna get it eventually, but this guy wants to buy headphones, this, this, bro.

SPEAKER_04

It's like start at the base. You're right, yeah. You're right. Yeah, you're right, bro. I'm just stubborn, bro. Look, let me tell you something. Computer, my computer has to run like a Swiss watch. For sure. As soon as I feel something that my mouse is laggy or something, something, I go into like uh OCD mode. Like I have to figure out what is wrong, man. You know what I mean? Because it's like, I don't know if you maybe you don't realize because you're so used to it, but when you have your computer running smooth, bro, you're so much more efficient. I would agree. I already agree. So, like, because the thing is that what think about it from this perspective. Computer is your main interface, like, system is your interface interacting with everything else you do. If your system is laggy or you have to do like some steps to go over to get to another thing, this and that, there's all those little steps in between that add to your workflow. You know what I mean? So it's like it slows you down without you even realizing that it's slowing you down.

SPEAKER_00

Bro, and it's you know what's crazy? It's at the worst times. Even going back to um the when I work with uh Snotty Nose Res kids, bro. That day, my first day with them, my computer keeps crashing. Bro, I'm like freaking out, bro, because like I didn't want to make dot look bad, and also myself, right? So like I have this huge pressure on me right now. So now basically, bro, I had to um I couldn't use my computer, so I had to use the computer at kilometer. And the problem was is that the mouse was the fucking ball mouse. Oh yes, brother, I was moving so slow, and like I can tell the manager of the of the group was like he was being patient, but he was getting annoyed. And I'm like, we took a lunch break, and bro, I was so cheesed. I'm like, yo, I have to go buy a mouse right now or I'm I'm done. You know what I'm saying? So, bro, I didn't even eat. Okay, I went straight to Canada computers. I went to go buy a mouse and it saved the session, bro. Smooth like butter after that. But it's funny because yeah, bro, like my computer crashed at me on me the worst time. Even when I was working with PopCon 2, bro, it was moving weird. Luckily, it was like what happened with what I did was I just took off all because it's usually a plugin that's causing the issues, right? So I just took off all the plugins and I just kept like a raw base uh template and it was blessed but yeah, it's always those sessions that brother, the serious ones, like you don't want to go wrong buttons, you know, and bro, working with popcorn, bro, you gotta be on it, brother. Like he's not playing, like fam. Uh uh, he's like has a heavy accent, right? So like I didn't understand him at one point. So he's like, he's like he's like going off. He's like, and I'm like, what? And he's like, what am I telling you?

SPEAKER_02

And he's like and he's like, yeah, he's like telling me what brought he's like he's he's sick, fam.

SPEAKER_00

It's just funny, bro. Because like I get it though, fam. Like artists that are at that level, you gotta come correct. Because even me, bro, like if I get engineered by somebody that's just like not on my pace, I get like really frustrated. Definitely. So I get it, bro. Like, you know what I'm trying to say, you gotta be on point.

SPEAKER_04

I think when you work with the artist, it's like in that moment, in that session, it's like you guys have to be like a team. It's like, you know, you gotta know the timing, like how he wants to things like punch this, this, this, like do things, edit. So you have to be quick with whatever artist is thinking. As soon as you start being slow, I mean, bro, it's like I know a story. I think Brendan even told me that. Where they had the intern at the what's that studio they used to intern at? Noble Street? Noble Street. Yeah. And uh I forgot who the session was, but basically they had the session with uh with the guy, and this guy was so slow that they told him to leave.

SPEAKER_01

Oh, and then Brandon came in.

SPEAKER_04

Brandon was the artist, I remember, or you can't say. I think it might have been I remember who it was. Presser? It was Presser, yeah. Yeah, yeah, maybe it was Presser, yeah. But anyway, the guy was like so slow, and they had him for like a couple of hours, and they just basically told him, like, yo, just leave. Yeah, 100%. Press somebody else.

SPEAKER_00

Fam, and yo, it's one of those where like I can't go out like that, bro. Definitely. That's why, like, that moment where my computer crashed. I'm like, I'm not going out like this, bro. I'm going out swinging, you know what I'm saying? So, like, bro, I didn't eat nothing. I was starving that day, fam, and we worked 10 hours straight. And bro, like, but those moments, bro, toughens you up. Like, you know what I'm saying? So, like, I honestly believe, bro, certain things, if you're meant for this shit, certain things are gonna happen to you to make you the greatest. Yeah, you get what I'm saying? So, there's a lot of times where bro, shit happened to me. I'm like, yo, why is this happening to me, bro? And it's just like, it's to make me better, bro. You know what I'm trying to say?

SPEAKER_04

I feel like when those things happen, your biggest advantage or like your biggest skill in that situation is gonna be for you to figure it out on the go. Because things happen, you have to figure out how to fix it. For sure. You know what I mean? Because when you go to the studio with the artist, especially first session, your computer is messing up, or something happens, microphone stops working, this whatever happens, you can't be panicking because as soon as you start panicking, it's like they know it's like what the amateur is.

SPEAKER_00

So that's one thing that I'm glad you mentioned that is like you have to be calm. Yes, because if you're like if you're like yo, like I don't know what to do, like then it looks bad, bro. And like when I was beginning starting out, I would do that, and it wasn't a good look, bro. So like even though I'm fucking freaking out inside, it's like yeah, no, we're blessed.

SPEAKER_02

Like, you know what I'm saying?

SPEAKER_00

Like, so yeah, but like I said, bro, I think these things are good when when like especially technical shit, because when you learn and you fix it and you find the problem, now you know exactly what it is. Like now I know, bro, if I'm getting any crashing issues, nine times out of ten, it's a plug-in, bro. Nine times out of ten. Before I didn't know that, bro. I was like, I thought it was my computer, I thought it was this, and then bro, when that shit went down, my computer crashed, and it wasn't every time I would open Pro Tools with this crash, I thought it was my computer, I went to go get it cleaned, I went to do a bunch of shit, and then I realized it was just a faulty plugin that it's had to delete. You get what I'm saying? So I think it's good that that shit happens.

SPEAKER_04

Yeah, when it happens, you learn, and if it happens again, you know where to think, you know. Exactly. Right away. Right away. Yeah. That's why I I feel like in those types of situations, it's good to keep calm, go through it, and figure it out. Yeah. Because you start like, you know, if you start calling me or something, like every now and then you call me, but sometimes I can't I can't fix your problems. But when when you start, when you start to find or you try to find solutions other places without you thinking about it, you're missing the whole point of trying to understand how to how to figure it out. How to figure it out.

SPEAKER_00

You're right, you're right. And you're right, because there's a couple times where I asked you for your help and you've helped me, and then I forgot how to do it because I didn't figure it out myself.

SPEAKER_04

You know, it was just automatic. It's like you're not rethinking what you're doing.

SPEAKER_00

So you're right, you're right. One thing I want I I want to say is for an engineer, it's more than just being good at engineering, especially like if you're just a mix-mixing engineer, it's a different story, right? But like if you're in a studio with artists, you gotta be a likable person. 100%. You're almost like a therapist, you know what I'm saying? So it's like that's why I think a lot of engineers they'll ask me, like, yo, like, how do you build a client list and all this stuff? And it's like, bro, it's like you just gotta get people to like you, bro. That's why when I started out, I wasn't that good, bro. But it was just my something about me, people gravitated to. So you gotta find out what that is about you. Like, you know what I'm trying to say? Like, are you good at giving advice? Are you like like really just be yourself in the studio? I know some people are in like what's the word, introverted, where like they're just kind of nervous in the studio. The problem with that is, bro, you better be crazy at engineering, bro. Because I'm telling you, especially in hip hop, bro, you they they want somebody that they can vibe with, bro. For sure. I actually have clients that get cheesed when like they're in the studio and you're not reacting to their music, bro. Like, you know what I'm trying to say? If you're just like, all right, next, all right, next, like bro, people like don't like that, bro. Yeah, they want you to feel engaged, bro. And I get it, bro. I was an artist and I know that feeling of going to a studio and feeling like I'm like I'm just in and out, and that's it. Like, obviously, like if the engineer is good, I'll still pull up, but if I had a choice between two engineers, one was great and one was great, but also I fuck with him, it's no question. For sure. You get what I'm saying? That makes sense. So that's one thing I want I would want to say still.

SPEAKER_01

So following up on something that you mentioned before, so that pop con session, how did that session come to life?

SPEAKER_00

So it was um uh Charlie B, he basically connected me with a lot of people in the city, and um I had a session that day, a whole day booked up actually, and I get a call from Charlie. And the thing was, bro, I was supposed to work with PopCon multiple times, and it flopped. So when I got the call, I'm like, bro, like I have a whole day of sessions. Are you sure, bro? He's like, bro, it's 100%. So I had to cancel all my sessions that day, bro. I had to like get free hours, I got to I had to like yeah, because I had to go, right? So I pulled up to PopCon's crib and um so it was like in crib session. It was in crib session, so it's actually a great story. So I'll tell it, I'll tell it. This is my first time telling it. Uh so basically, bro, I pull up to the crib, and when you were working with a big artist, bro, I don't know for you, but like for me, it adds like an extra anxiety, you know what I'm saying? Because like, especially if I listen to the artist and I'm like a fan of the artist, I've listened to PopCon ever since I was a kid, so I'm already like anxious, and now I'm like, fuck, like I'm already thinking, like, what if this goes wrong? What if this goes wrong? And then like whatever. So um Popcorn ended up leaving the house for a couple hours. He came back and then we started working, and we're recording in the kitchen, right? So it's an open concept kitchen, so like uh there's a table and then um the kitchen on the left. So Popcorn's cooking a full meal while we're working.

SPEAKER_02

Okay, so bro, we're we're cooking or or on the I'm cooking on the on the kitchen table, and bro, he's a chef, like serious chef.

SPEAKER_00

So, like, bro, like he Record a line and he'd be like, he'd play it out loud, and he'd be just like, he'd just go butcher a chicken from scratch. No, from scratch. So he's just like butchering the chicken, and then he'll think of a line and he'll come running back to me. Record the line and then go back. And then, bro, we were I was there for like 10 hours. That's right. And then at the end of the session, bro, it was just me and him for like 10 hours and his one of his boys. Bro, he cooked a whole meal and it was oxtail, riced and peas, fried chicken. Wow.

SPEAKER_01

As he was recording, bro, by himself, as he's recording, and we cooked up two slappers. Wait, so so were you hearing like the pan cooking in the bag?

SPEAKER_00

Some of the takes you hear like the pressure cooker going on.

unknown

Yeah.

SPEAKER_00

So this is the best part. So I was always like grossed out by oxtail. I always thought, like, I don't know if I could eat a tail. Bro, I tried it, and this guy's cooking's insane. Bro, number one, his fried chicken's like KFC. Okay. No. Like fresh KFC. And then like the the the oxtail was like, bro, it was like my first time trying it. And after that, I got hooked off of oxtail. And like I would just start, I start going to stores to buy it and shit. But that was a very interesting session. It was sick, bro, because like, oh, here's another note, okay? That like I I uh want to like bring it to light. So in the session, obviously popcorn works with a lot of engineers, right? So in the beginning, the first two hours, I was very quiet. I was like nervous. And then I started thinking to myself, like, bro, if you don't fucking get this guy to like remember you somehow, what are you doing? Yeah, yeah, for sure. So I stopped being a bitch. I'm like, yo, stop being a bitch. I started making conversation with him. He's butchering the chick. I'm like, yo, so like I need to cook, like, you know what I'm saying? I'm I'm being my usual self now. And bro, like, he warmed up to me. You know what I'm saying? And then at the end of the session, Charlie's like, yo, I don't know. Do you like him? Like making a joke. It's like, yeah, he's good, he's good. And then it was just my point is is like, bro, anybody can engineer. Like, you know what I'm trying to say? You gotta really leave an imprint, and that's your sauce. Either that's your character, that's your you know, me as a songwriter, whatever the case is. So I did it to PopCon too, bro. There's a couple times where like he would record a take, and I'd be like, nah, bro, like do it like this, and like you think I'm crazy because it's like I'm talking to PopCon. But like, bro, you got you gotta just say your opinion.

SPEAKER_03

But he was cool with it, though.

SPEAKER_00

He was cool with it, fam. And even like Roy Woods one time I was in a session with him, and like I gave him a note to like do it like this. It's like, okay, like it's like, like, you know what I'm saying?

SPEAKER_02

Like, it's just like, bro, like, you gotta really just leave an impression.

SPEAKER_00

Yeah, that's what I'll say, right? Yeah, makes sense.

SPEAKER_01

Yeah, so you were an artist, now you're an engineer. So, what would you say that you've noticed is the main difference between artists who succeed and those who don't?

SPEAKER_00

Um, so there's a couple things. A lot of artists get like lucky off the junk. Um, let's just say the artist has everything, the right, the perfect situation. They're talented, image, everything. A lot of the talented artists are lazy and they think that like they they think it's gonna be handed to them, and it's not like that, bro. You have to outwork everybody, and this is even every creative, as an engineer. I'm very competitive, and it's like, bro, like I you have to if you wanna be the best, you have to really gun for that, bro. You know what I'm saying? So as an artist, bro, like if you're not consistently making music, consistently networking, and you know, doing all this shit, then like, bro, like you're not gonna go anywhere. It's not just about talent. There's so much talented artists. I believe I was a talented artist, but what was wrong with me was I was doing too much shit. When I I used to go to Dot a couple times, he makes one of my songs back then. Oh, no way.

SPEAKER_01

Yeah, is that how you guys first knew each other? Because you used Levi with it. Yeah, well, Levi.

SPEAKER_00

So he makes one of my songs.

SPEAKER_01

That was before you was my intern.

SPEAKER_00

Way before. No, it was before way before, yeah. Wow. So um, yeah, bro, it's just like I feel like if I took it more serious and and focused 100% on being an artist, and like that included my image, my social media presence, everything, I would have gone way further. I do believe right now, if I were to drop as an artist right now, because of all the knowledge I have, I would do more of a dent. But the only thing is that I know it requires a lot of my time, and I have so much things going on right now that it wouldn't make sense for me to drop all this and chase being an artist. So, what I would say is consistency, super hard work, and bro, it's social media presence, bro. Like, I one of my friends, he's a mentalist and I seen him go from 2,000 followers to 1.2 million followers. A mentalist? Yeah, like read minds? Oh wow, I see. He went from 2,000 followers to 1.2 million followers, and that is because social media, bro. Like he just life changed. His life changed completely, bro. So as an artist, bro, you need to go viral. You gotta figure out what that is. If you are ballsy and you're willing to do anything, you're gonna get there faster, bro. But like, again, so a lot of artists, and I get it, bro. I wouldn't want to look like an idiot online just to go viral, but like I'll tell you this, bro. Idiot drama, that all sells, bro. The reason why Drake's album is going through the roof is the anticipation of this whole beef and and what is he gonna do next. And I really think that that helped propel. I feel like Drake's the biggest he's ever been right now. You get what I'm saying? So it's one of those where um you gotta find something to really get people talking about you, bro. For 6ix9ine, it was the way he looked. I mean, he was you fucking and then obviously after the way he talked, but like at first it was the way he looked, people thought him thought it uh started clowning him. Oh, he's the SoundCloud final boss, and then turned into the top rapper at one moment. You get what I'm saying? So it's all up to you, bro. Like, if you're willing to do the fuckery, you'll get there faster.

SPEAKER_04

But then do you think that if you are willing to do anything for social media, you're just gonna become a gimmick?

SPEAKER_00

No, because Doja Cat. DojaCat start with the move started off what yeah, but it's bro, there's so many people that started off as like a fucking joke and then get super serious.

SPEAKER_04

But I think with her, it's like the move video that was one thing, but you know, she looks how she looks. She obviously good looking, and she has a character. Yeah, like she's a likable person, for sure. You know what I mean? So it's like yeah, and I I think even that time that was still a world star or hip hop era, no?

SPEAKER_00

Yeah, yeah. So, but like let's look at it this way Stunasandy, right? Do you know what that is? No, okay. Well, she just was on Drake's album. Oh, that'll go. Yeah, yeah, yeah, yeah, yeah. First, bro, she looked like an ice ice spice lookalike. Yeah, yeah. And everybody's clowning her for it. You know what I'm saying? And then no one's laughing no more. Like, you know what I'm saying? So it's like, I believe, bro, however you can get somebody talking who gives a shit. You just gotta be willing to go through the mental stress. But if you are truly talented and you truly make good music and you have that skill, you like people will take you serious eventually. You know what I'm saying? You might be joked about for the first year. You know what I'm saying?

SPEAKER_04

People are always gonna like people always have something to say. There's gonna be people that love you and people that hate you, people that got opinions, people that agree with you, you know what I mean?

SPEAKER_00

So it's like Bro, there's people that I never met that don't like me, and I I don't understand it. You know what I'm saying? So there's people that are hating my hairstyle.

SPEAKER_04

Right now, comments. Yeah, yeah. Oh, for real? I don't really know.

SPEAKER_00

Internet's a fucking place. People always are gonna find something to say about you, bro.

SPEAKER_04

And um And then they're gonna go back to the empty bedroom with nothing. Exactly, bro.

SPEAKER_03

To KR case, maybe exactly and the focus right. Yeah, and they're gonna think they do. That's a serious diss. And then that's a good election.

SPEAKER_04

And then they're gonna try to and then they're gonna think that they are the best engineers and they know everything. Spock has the biggest focus right hater in the platform. Yeah, 12 months of experience on their fucking belt.

SPEAKER_00

Bro, everybody is gonna view you a certain way until you get somewhere. Bro, now I feel like I'm getting obviously I'm not at the biggest point in my career. I still have big ambitions and big goals, but I feel like I got somewhere where it's respectable and like people are viewing me a certain way. But bro, before that, people would like treat me like a little dog and shit like that. It's like you gotta really put the work in, and then once you get those results, people can't, people are still gonna talk shit, but bro, you you have results, bro.

SPEAKER_01

Right. What the fuck? So so taking everything that you just said and applying that to yourself, what would you say is the main thing that you did to get to where you are today?

SPEAKER_00

Um I think it was aligning my okay, I got one, I got it. It's not having pride, like, like, for example, um being able to reach out to people like dot and be like, yo, like I need help, or like whatever the case is, internship, built and then relationships, bro. Like, so many relationships I built, it took years for it to like come things to come to fruition. But like, for example, um dot got me my first Juno, and it was something that was like, you know, maybe was like a last like it, I didn't think it was gonna be that, but it ended up turning into that. But it was also because I built a relationship with Dot where he trusted me, you get what I'm saying, and relationships and just like bro, not having pride and think you're so sick, and just being a genuine person, bro, like people really like can feel that out, and especially when you're working with big artists, bro, if you start acting weird, you're cut, bro. You're done, you know what I'm trying to say. So, um, but a lot of relationships brought me here, and this goes back to what I said being a likable person. Because, for example, uh, let's go back to Charlie, for example, like Charlie introduced me to a couple people that led me to big artists, you know what I'm trying to say, and I'll give them a shout out for that. Um, but yeah, bro, it's like it's really relationships and just being a likable person. Um obviously skill has to be there, but in this industry nowadays, especially in hip hop, it's more than just skill. Yeah.

SPEAKER_01

So do you think then anyone can become an engineer, or do you think you need to still possess some kind of natural talent?

SPEAKER_00

I think to be successful, there has to be something special about you. Like, let me ask you this: why do people rock with you?

SPEAKER_01

I would say a big thing is what you mentioned. I feel like it's because I'm a likable person and that I care about the music. So I completely agree with what you're saying. It's not like when people come to the studio, I'm just like, all right, cool, like you're done. Like, easy, I'll see you next time. It's like I'm really offering my opinion, my advice, but it's also like even at the end of the beginning of every session, I'm always talking to my clients for at least like 10-15 minutes. So it's like, yo, what's up? Like, how's your life? Like, what's going on with you? Like, we'll just talk about like life shit.

SPEAKER_00

Bro, I literally have sessions where like we don't even record, it's a therapy session. Yeah, yeah, yeah. Like an hour goes by, yeah, say, and they're just venting. Yeah, same, same. And I'm like, yo, honestly, bro, but like it's like I said, bro, this is like sometimes it's more than just like getting work done, it's also like um, what's the word? Meditation almost. Like we know when you go to the gym, puts you at peace of mind sometimes. You know what I'm trying to say? So it's like coming to the studio for some people is a good time, it's more than just we have to get work done. I have some clients that just only want to get work done. But then I have clients that want to come in, have a good time, and get work done. You know what I'm saying? So um, but yeah, bro, like you just prove my point again. You know what I'm saying? I think anybody can be an engineer, bro. But like, like Dots had a lot of interns, and he said, respects by the way, that we're the most successful, successful. Sorry, why is that? Let's break it down. You know what I'm saying?

SPEAKER_04

Out of out of, I don't know, man, it was plenty, but only you two guys and Brendan are the only ones that are actually still like doing music and doing well and doing something. Everybody else, who knows?

SPEAKER_00

Yeah, but that's what I'm saying. It's more than just bro, it's it's a it's a bunch of shit, dog. You gotta really be obsessed with this shit for sure. Like, bro, I'm obsessed with this. Like when I take off a couple days, like obviously, like I need a couple days off, like or like a day off, but I still think about it, like, yo, what's my next step? What's my next plan? And um it's really true when they say, like, yo, you gotta be obsessed with what you do to really be the top tier of you know what I'm saying? Because if you don't, like, if I didn't love this, I wouldn't be going to the extent of how I approach this shit. Like, I would be lucky at the time, clock out, done, let's go. Like, you know what I'm trying to say? Yeah, so there's times where I do free sessions, bro. I pull up to people because I know it might be a big opportunity to get somewhere bigger, and that's happened a lot of times, bro. Sometimes you gotta put the reps in, it's not always about the paycheck, it's not always about um the moment, it's about like yo, what it could lead to. You get what I'm saying? So you kind of have to invest your time, a lot of your time.

SPEAKER_04

Yeah, yeah. I always say that when you go to sleep, you have to be excited about being back at the studio the next day. Yeah. You know, I mean it's like if you don't have that spark in you where you're just like, I need to be in the studio, then it's like most likely not for you.

SPEAKER_00

Well, I'm not gonna lie, bro. There's times where like I'm not always the most excited. You know what I'm saying? But that's because like, bro, we we do this so much that sometimes, like, like I said, bro, I do get overwhelmed, you know? But it's a great problem to have. I'm not complaining, bro, you know? But it is very demand, it's a our job is very demanding, and sometimes it takes a toll on me mentally, right? 100%.

SPEAKER_04

You know, so many things.

SPEAKER_00

So But it is um, it is good that um I'm taking a day off now because now I'm just like relaxing and and it's making me more excited to go back to work instead of working seven days a week. You get what I'm saying?

SPEAKER_01

For sure.

SPEAKER_00

So, yeah. Yeah, yeah.

SPEAKER_01

Do you have any crazy uh studio like horror stories? Is there like any crazy sessions you've been part of? Like in what sense? Any sense.

SPEAKER_00

In the worst session you had. Yeah. I have a bunch, bro, but like the worst one. You don't have to name drop or anything. Yeah, I know. I just can't really say the story, bro. But I'll say, I'll say this. I'll say it. I can't say it. But I'll say this, bro. Like, um, I'm very selective with who I work with now because I realize not all money is good money, especially dealing with hip-hop. You deal with a lot of like people that maybe aren't the best people, and you gotta be careful. And a lot of people told me that when I started, and I didn't listen, and I learned the hard way. So I'll say this, bro. I don't care if you're good at music, if you're bad at music, if I can genuinely fuck with you, I'd rather do that than you know what I'm saying, then work with an artist that he's sick and he has clout, but like, yo, he's fucked. Like, you get what I'm trying to say? So, luckily, bro, I haven't had any terrible stories, but I hear stories where it's like, bro, insane. Like, I'm like, that happened to you, bro? Like, for real? Like, you know what I'm saying? Like, I hear so many times where like yo, studios are getting shot up. Yep. And bro, I that's what I'm saying, bro. It's like you gotta be very careful, bro, with who you bring to your studio. I screen people, bro. For sure. You have to. I I ask, like, yo, if I have mutuals with the person, I call somebody, yo, you know this guy? How do you know him? He's blessed, okay.

SPEAKER_04

And you have to the crazy thing too is like you have to know, especially when you work with a lot of rappers, you have to know the politics. Yeah, which is nice. You have to know.

SPEAKER_00

But I'll be honest, I stopped working with a lot of street guards, bro, because it's one of those where it's like in Toronto, bro, it's too, it's too much, bro. Yeah, for sure. I just want to make music, bro. I don't want this extra shit. And you know what I'm trying to say?

SPEAKER_01

Yeah, like bro, I really don't, bro. That's it. You want someone pull up to your studio shooting it up, bro? Yeah, bro.

SPEAKER_00

Bro, I've heard engineers told me that's they've been in the studio and that happened, bro. I'm like, yo, that's fucked. Yeah, that's insane.

SPEAKER_04

You know what I'm saying? Like, I mean, I definitely back in the day, I definitely had situations with when guys brought the gun to the studio.

SPEAKER_01

Yeah, yeah.

SPEAKER_04

What happened? They just brought the gun.

SPEAKER_00

Oh, brought a oh yeah, that happens all the time, bro. But that happens all the time. Then it's like, you know, the crazy thing is too, is like that's like though, in my opinion. Like, yo, as long as you're not like fucking flashing it and shit. But bro, nine times out of ten, you have you're working with rappers in Toronto, they have a gun on them. Let's be real.

SPEAKER_04

Yeah, that's true. Yeah.

SPEAKER_00

Street artists, nine times out of ten, bro, they probably have it. Like, you know what I'm saying? Yeah, for sure.

SPEAKER_04

Yeah. Just don't want uh police to pull up, you know what I mean, and just like lock up everybody.

SPEAKER_00

No, you're right though, fam, because who's gonna claim it? I thought about that sometimes too, bro. Like, they're not gonna claim it. Nobody's gonna claim it. You know what I'm saying? But whose studio is that? That's what I'm saying. So, like, that's where it's like it gets sticky, you know what I'm trying to say? But that's why, like, I think the the safest you can be is just like be very careful with who you bring to the studio. For sure. Don't just be hungry to get work and this and that, because like I said, bro, it's it's not worth it because it takes one time for something something to go seriously wrong, and then you're fucked. You know what I'm saying? So I agree. Yeah.

SPEAKER_04

You got any other questions? Uh, there's always questions. There's always questions. I just don't have anything right now. So we're we're like past the hour mark, anyways. It's already hour? Yeah, yeah. And it's hard, I'm not gonna lie, man. I'm sweating, bro. I'm sweating buckets. Yeah. Wanna say anything else? Is there anything else you want to say? We're probably gonna have to do it, man.

SPEAKER_00

I'll say this like special shout out to Dot, you know what I'm saying? Sosa, Sammy Sosa, uh I think I don't wanna Charlie, man.

SPEAKER_03

Charlie. You mentioned it like five times today.

SPEAKER_00

AR Paisley uh and Frost, ADX Frost. A lot of those, um, all those people I mentioned, you know, helped me get to where I am today. And a lot, a lot of them, you know, didn't expect anything in return. And I, you know, have to you have to, I wanted to give my respects. So I even you, fam, you're here, you're right here. I only expect you to be good. That's what I expect. I'm trying my best. But yeah, no, um that's uh I guess that's all I would say. Probably sounds good, man.

SPEAKER_01

Cool, sounds good. I appreciate you. Thank you guys. Thank you for watching another episode. Thank you again, Johnny, for pulling up. Really appreciate you. And yeah, we'll definitely run back another episode sometime in the future. But thank you guys for watching. Stay tuned for the next one. And don't hate on my haircut.