Building Community Through Music - Interview with GorillaFist

I had a chance to talk with Canadian DnB producer, GorillaFist. 

IG: https://www.instagram.com/gorillafistdnb/

Soundcloud: https://soundcloud.com/gorillafistmusic

For info on sponsoring or being a guest on the show send a message to swishermedia@gmail.com

Transcript

0:06

What in God's name? Welcome to the producer's chair. All right, that's enough. Welcome to the producer chair. Thank you for listening. I'm your host, Steve Switcher. On the show, we interview people making music in their bedrooms, basements, and home studios. We're going to talk about hardware, software, tips and tricks, everything that goes into their creative process. Our special guest today is Gorilla Fist. We're going to listen to one of his tracks and then talk with him a little bit about his creation process, the tools he uses. So here we go with Gorilla Fist and All My Life.

Song 1: All My Life

3:20

I want to work on it. I turn the body at night. One that powered a tie.

Interview Part 1

4:29

Any cool story behind that name? I don't know if it's cool, but the story is uh I it's pretty simple. I was looking for a name and uh remember my wife was always uh saying that I held our held, you know, grocery bags and shopping bags and stuff like that, like a gorilla. I didn't use the handles, I just kind of strangled the bag. So so I just kinda I don't know, it just hit me one day and I just and so I just went with uh gorilla fist. That's gonna that's good. Yeah. That's as good a story as any, I guess. Yeah. Alright. How long have you been producing? What what what got you started into it? Well, I'm an old guy, man. I've been producing for a long time. Started back in the 90s, I had had gone to this underground club, heard a I guess what was really the beginnings of early day techno. I heard the techno tune, I was like, I like this, but I was also thinking, you know what, I think I could make this. I bet I could do this. And that started my very long, decades-long journey into production. But that was the that was the tip of the iceberg, that techno song way back in the day. Okay, awesome. Let's talk about that track you just heard. Did you did you do the vocal pieces and stuff on that as well? No, that's uh that's a guy I met out in Montreal. I'm up in Canada. I mean, I agree. That's a guy I met up in uh over in in Montreal, Regimental one ton. Um connected with him last summer and uh been working on a few tunes with him. Uh uh couple have been released, uh, a couple more coming up. Um actually coming up probably next month. That was probably released next month, it's not out yet. Yeah, yeah, I want I want to talk about that a little bit for sure. Yeah. But uh yeah, so it's it's him working on it, so I make uh a rough sketch of the tune, send it over to him. He then works on the vocals, sends the vocals back to me, and I and I slot them in. Oh, that's that's awesome that um with the with our platforms and the internet, you know, we're able to do that and work work with people from you know totally different places now. It's a it's amazing. It's so cool. Like like I said, I've been producing since the 90s, and I'll tell you, it was not like that back in the 90s. Right. No. Um how how long did it take you to uh to make that track we just heard? The track took a while. Uh you know, it goes through multiple revisions, yeah, as as you know, working with the vocals, especially, you know. Um but all eight hours on my side, probably 30 hours, 40 hours. Okay, yeah. Yeah, you're putting putting in the time, and uh we we can tell that it's you know it sounds sounds really good. With you you said you're you're primarily D B. Yeah. That's what your your genre uh category, your music would be in. Do you normally stick with that or do you experiment with other genres as well? I experiment a little. Um back in the day I used to, you know, like I said, I started kind of with techno and then did some house. Eventually was uh after a while was producing for a few rappers. Um so that carries over a bit too today. Uh once in a while I'll you know, step outside of DB and maybe make some dubstep or try making some dubstep. Uh and also once in a while I'll make some some techno. Or even just recently, I was inspired by uh a couple of guys on Instagram, especially Johnny Slash. Man, he makes some dope beats. But I was inspired by him and tried to uh put my hand at uh making a few hip hop beats again. So yeah, I say about once in a while, but most of the time I'm like, well, if I'm gonna invest the time in front of the computer, I'm gonna put my put my effort into something that furthers my my DB, my main track theme. Sure, that totally makes sense. How do you get started making a track? Is it a melodic idea in your head? Uh where does the inspiration come from? You know, how do you get started? Yeah. And a lot of time the inspiration, the really initial inspiration is probably somebody else's tune. They'll have a really doped sound or crazy beat or something, and that just really makes makes me you know gets me jonesing to get behind uh the computer and start making some beats. But from I guess the more technical side, I used to always start with drums, but then or or almost always start with drums. I mean there's no a hundred percent thing here, but most of the time I'd start with drums, but uh lately I've been, and by lately I mean for the last couple years, I've been using templates, and so my initial template that I open up to has some really basic drums, you know, just kick drum, a snare drum, and a hi-hat. At least I don't have to spend any time uh media on the drums. So a lot of the time now I'll probably start with uh working on some bass sounds, a bass line and uh the the sound design for basses at the same time. Sure. And then uh forget that rolling a bit, then you know I'll flip to the drums and start to flesh them out, flip back to the the bass. I mean it's a drum and bass, so it's mostly drums and bass, so a lot of attention on the bass and the sound design of the bass, the bass is, but then there's also little melodic pieces you add on top. Yeah. Um absolutely. But normally normally that's where I'll start these days. Very cool. And then so that uh that template you got, what um what's the tempo on that on that template? When and because I know D and B kind of falls into some of the faster tempos. Yeah, my it's 175. Okay. And is is that pretty standard for for D and B? Yeah, do you almost all DNB these days is 172 to 175. Sure. Some stuff is uh outside of that, some jungle can maybe be slower. I mean, you know, again, there's there's never a strict rule, but vast majority, 95% of what you'll ever hear out is is gonna be between 172 and 175. And then a lot of the time the DJs will pitch it up a bit. Like when I play live DJ, I'll I'll be pitching things up to around 180, 182 sometimes. Okay, sure. During producing, uh, is it is there something unique that you do that distinguishes your music from another, you know, D and B producer out there? That what what makes yours different? Well, you know, man, I'd I'd love to say I have some very unique spin, but you know, I d I'm not sure that I do. Like, like the the the producers I really respect, you know, I I personally I just I do not think I'm as good as that. One of the things that makes them so good is they do have a very unique viewpoint and a very unique voice. I think everyone has has something, whether they realize it or not, that they're they're doing that's making that makes their music different. You know, maybe it's just part of their process that you know that they do every time. And uh, you know, eventually that might become an established, recognizable thing, but it it doesn't always start off that way. And so I'm I'm sure there's some things that you're doing already that um you know are probably unique to your process. And but that's all right, you you know, that's that's stuff you can figure out over time. It could be, and you know, I mean one of the things about DB and dance music in general is it's is there's just an incredible fire hose of volume of tunes coming out every week. So, you know, just with that kind of it you know, it's a it's maybe it's a little bit different, maybe from the the hip-hop world. But then again, maybe not, I don't know. I'm not super familiar with the hip-hop world, but there's just such an incredible volume of tunes coming out every week that it just it does become really tough to distinguish yourself individually just because there's just so much being released every week. Yeah, I I think that's probably uh pretty standard across the board, you know, what no matter what genre you're in, that there's uh there's a lot of other a lot of other people making, you know, trying to make stuff that fits into that that vein or whatever, or at least you know does fit whether they're trying or not. So uh let's let's talk about let's talk about tools a little bit. I know from uh from talking from talking to you a little bit um through emails that you're you're primarily in the box or you know, or completely in the box. Is that right? I am um 100% in the box these days, you know. I mean I do have one piece of hardware still. I have a I have a Moog uh sub 37, which which I hate to say, it's just sitting there collecting dust. I wish I wish I was using it more. I just find it so easy and I find the the the sausage so powerful that it's just it's so it's so hard for me to to to set it up and and play with it, unfortunately. I also have limited space, so I have a space constraint as well. Sure, yeah, I'm I'm sure that's something that uh I know I know a lot of a lot of people producing at home and in their bedrooms and wherever else. Uh that is a is a major issue for sure. Space. What was your first DAW that that you used? Well, going way back, I mean it was it was uh it was on the Amiga computer way packed, it was a Dr. T's, something like that. First one I used that kind of people today might know would be Q Base, which is really standard. Cubase with an Atari ST was kind of what almost everybody was using back in the 90s in the in the in the techno-ish type world. And that's what I had. I used that for a long time. So yeah, Q Base, and then I eventually uh when I on the PC side I I moved to FL Fruity. Okay, is that is that what you're on now? The uh FL standard. No, about about I think six years ago, I moved from FL to Bitwig. Oh, sure. And I I love it so much, man. It's just it's so amazing. Things that would take me seven, ten clicks in Fruity would take me one, two clicks in Bitwig. I just it's it's just a phenomenal dog. I really it's it's by far my favorite piece of software that's ever been created. Okay. Yeah. What's your most used software synth, you think, when you're when you're making your music? I used to read or see a video about somebody some guy respected using some synth, and so I would go out and buy it, waste money. And eventually I realized, you know, it's probably better for me to rather than knowing a little bit about a lot of synth VSTs, I figured it's probably better for me to go deep and try to know a lot about one. And so that one I use now and I've been using for a long time is serum. Now serum too. Yeah, I love the X Expert Records guys. Yeah, yeah. And and serum is you know, totally the standard in electronic music. Everybody uses serum. And there's a reason why though. It's it's just a phenomenal scent. Yeah, and I I I like your perspective too about, you know, and instead of just buying whatever the new flashy um synth that some you know that people are using, uh just you know, to to stick with one and and really deep dive on it. Because the truth is, you know, you're right that the since it came out five years ago, you can still do the same things that the newest, latest, and greatest, you know, release has. They have that in there that some of it you have to work a little more for and figure out, you know, how to use the LFOs and whatever else. But can they can they can do a lot of that same stuff if you just stuck with it, learn how to actually use all the things that it's capable of. Yeah, so serum. And then is there is there another uh any other plug-in that that makes it into every song is one one of your go-to's that you want to talk about? Well, yeah, I mean there's there's for sure a lot. I mean something I've used a lot lately, because it's really big in the electronic world, is clippers. I don't know if they're like a lot of people are using clippers now instead of compressors or limiters in a lot of ways. Okay. Just just to make things as loud as possible. Like like D M B is super loud from a uh you know a dynamic uh a file dynamic range perspective. Like most people nowadays are probably like minus three, minus four luffs. Sure. So every everything just looks like a big square across the waveform. Right. Yep, it's a big it's a big sausage when you look at it on SoundCloud or whatever. Right. And it's just so I'm using a ton of clippers. Uh use the KHS one a lot and use the newfangled audio one a lot. Okay, yeah. One one that I don't know if it's the clipper necessarily, but um the sausage fattener, uh dot I like the you know, did the same thing. It turns your turns your waveform into a into a big, you know, just rectangle and uh squ squishes everything and uh you know also also adds some uh some coloring with when you add that the distortion, you know, you has adds some saturation and things like that. But that's a that that's a blast from the past. I haven't heard I I forgot about that. Uh it's still it's still roughly it's yeah, it was big like what, ten years ago? A lot a lot of people were using me ten years ago, eight years ago. Yeah, I I still I still use it uh once in a while just for you know for a little bit of uh of the saturation and the you know just let add a little coloring onto something or you know, throw it throw it onto a drum bus and you know only I don't I don't want the castaches getting too angry, just you know, turn them up a little bit and uh just wipe the smile off his face, and by the time it gets there, it's you know you got a perfect amount, basically. Yeah, yeah, hey man. If it works, it works, right? Whatever works. Sure, yeah. So what's your biggest buyer's regret? A plug-in or uh, you know, because you're not a hardware guy, but uh something you something you bought and then you know just found it un unusable or you know, just didn't didn't work with your workflow. Uh what's what's something that you you wish you wouldn't even have messed with buying? Well, you know what? It kind of goes back to what I was saying earlier when I used to buy all these VST synths just because I heard somebody else was using it. I wasted so much money trying out all these synths over time. But it's just there's been a lot of synths I've gone through over time before I decide to really focus on one. Really regret those. I I I wish I had gone deep a lot earlier. Sure. Yeah. That's a cool place to be that you know, where you find that you understand that and you know it helps you help you make decisions better, you know, down the road on what to spend your money on, I guess. Most of us that live this life and have have this hobby that every penny of our expendable income goes back into this. Yeah. You know, again, going to back earlier, you know, people like for the younger pre it's so good nowadays. Like, like I said, I used to have to have you know an outboard mixer, right? So I had a Mackie 16 channel mixer and I had one compressor and I had one effects unit. And like now in the box, you know, and all that cost a lot of money back then. Now in the box, you you have almost unlimited compressors, unlimited effects, like it's just insane. And that's one of the reasons why I I am in the box, just I think uh my appreciation for how easy and simple it is these days compared to what it used to be. I just really appreciate it, and then so I stick in the box. Sure. You know, that actually makes me think for for a because you mentioned reason, I think. Yeah, yeah. And I did I I did flip to reason. I tried before I went with FL, I did try out Reason. I mean, you know, I found it frustrating because I was because it it emulates cables and stuff like that. And I was like, man, this is all in the box. Why are they emulating because changing around cables and stuff out with sound was a huge pain in the ass. Sure, sure. So you know, I was like, Yeah, why are they taking why are they taking the complicated part of of hardware and sticking it in software when they could like they they could just do away with this? Exactly. That's why I was like, this this this this software, hey, it's it definitely can create cool sounds and do everything you want it to, it just wasn't for me. Sure. I'm I'm sure reasons come a long way. Back when I was on it, it was either version two or three, uh, you know, back in the early 2000s. Yeah. So if a software engineer is listening to this, a program right now, what plug-in do you want them to make? Stuff is just so good these days. I'm just trying to think, what do I always have a pain doing? Yeah, maybe there's something just like, man, I I wish there was a plugin that to like automate this process, or you know, that would just do this, so I didn't have to spend so much time just on that little task. You know, and there and there are plugins that do this. I I guess sometimes I just wish it was easier to randomize, just randomize, I guess, randomize notes, note sequences, and then even perhaps parameters like um and and that already exists. Sure. And I know it exists, but it just I guess I wish it was maybe a little bit easier. And in some some applications are easier. I don't think serum has it. Maybe it does. I'd love to just be able to click a button and all the parameters are randomized. Because you know, sometimes you can discover some really, really cool things through random randomness. I've created chains before in my dot, just to randomize a whole bunch of stuff. You know, I'll set up uh, you know, maybe I'll set up 64 bars of semi-random notes. Maybe I set up a bunch of random modulators on serum just to randomize filter cutoff and distortion amount and just whatever parameters I can put on, and then you just let it run. Out of the 64 bars, you might only find two bars that have something cool, but hey, at least you found two bars, stuff that I would never dream of, that I could never would never make on my own. Sure. But you you sit there and you let it run, you record it, you listen through, and you pick out the best parts, and sometimes you can come up with some some really cool uh elements, things like that. So I I I'm a big fan of randomization at times. I I am as well. You know, I I would rather a plug in give me a lot more uh randomization options than have a thousand presets that came with the thing. Like yeah, I'm I'm I'm totally with you on that. Totally unique things. A lot of them can be junk, but hey, there's uh there's always a little bit of little pot of gold at the end of the long junk rainbow. Absolutely. Well, hey, uh let's take a listen to this uh the second track that you sent over, and then we'll we'll get back on it and talk a little bit more. Yeah, you better

Song 2: DatFunk Organ

21:33

do that.

Interview Part 2

25:06

All right, we just listened to that funk organ. We're back here with Gorilla Fist. That track was awesome. I love the the burp the drop in the middle of it. The build-up and then uh you know how everything just drops out there for a second and kind of a calm, calm moment before uh before it goes back in. That's that's a fun that's a fun one. Yeah, you know, one of the things I like drum and bass is it kind of has this, I don't know, humorous point, like you know, that's kind of like a a nursery rhyme, kids' nursery rhyme type of melody. And uh, you know, drum and bass can sometimes have super hard stuff. It also has some mellow stuff. That the mellow stuff isn't as much for me, but that's the smooth, super hard stuff, but then uh there's a lot of tunes that kind of have that nursery rhymes, really simple melody type piece that I think is kind of funny, but I also really like it. Sure, yeah. I I I've been producing so long, I've I've branched out into a lot of different uh things, you know, where or I've heard a heard a tune and be like, oh, you know, I I want to try making something like that. You know, what what goes into that? I remember, you know, back in 2012, 12 or uh around around then, um I I heard uh Skrillex, you know, I wanted to attract by him uh for for my first time, and it's like, wow, that's you know, that's cool, you know, the the growling basses that sound like they're talking to you and stuff. And it's like, what do I do to make stuff like that? You know, the it's basically you know using using filters and things on your bass to um, you know, vowel filters, and yeah, you know, it's really it's been fun to experiment with things like that as well. Yeah. You know, that's it's one of the things I love about producing. It's a real it can be a real challenge. Like you can really challenge yourself with it. Absolutely. So did you consider yourself more of a hobbyist or more of a professional? Uh definitely hobbyist. Okay. Uh you know, it's it's not a you have to be at the very, very top levels to even try to make a living at something like drum and bass. But so definitely a hobbyist, and I'm absolutely okay with that. Awesome. And so you you is there is there a long-term goal uh for you, or is it you're making making music just purely for the enjoyment of the creation process? Well, a little bit of both, but one of my biggest long-term goals is about to be achieved. Uh, I'd always had the a goal of having a release out from uh England. Because England is the motherland for drum and bass. It's where it was created, it's where by far the most you know drum and bass enjoyers are. Most of the DJs are from there, most of the producers are from there. So I've always had a goal of of having uh something out on a on a UK label, and uh that is about to be achieved uh within within a month. Yeah, I'm really stoked about that. June 26th, is you you have some new music coming out? June 26th, I have uh a two-tracker coming out on OTD Records, and then also this month, I think it's either I think it's June or July, but I have another, I have a five-track EP coming out on Brain Rave, so I'm really stoked about that. And then also speaking of releases, like I've had a few North American releases, and I actually have another North America Canadian release uh or a Canadian label, uh Yard Records. That one's coming out, and that's five tracks, and that's coming out uh next month. Oh, that's awesome. And for our listeners, we'll get links from Gorillafist uh of how to find that music online. Yeah, yeah. What's your favorite part of the creation process? I think my favorite part is finishing a song. Okay, you know, I think it's really it's it I'm sure a lot of producers recognize, you know, it's super easy to get going and have a 16-bar loop or something like that, which is super fun. It's super fun coming up with 16, 32 bars, but then extending that out, uh you know, uh a full DMB song is typically well the typical sequence would be a 32 bar intro, 64 bar drop one, 16 or 32 bar break, and then another uh 48 bar drop two. Sure. So it's you know, taking yeah, it's it's pretty it's a quite a formulaic arrangement. That's the word I was looking for earlier, arrangement. So it's a pretty formulaic arrangement. Um, most of the creativity is in the in the sound design. But yeah, so you know, it's really fun to create a 16 bar or even a 32 bar loop, but then extending that out to the full track length with all of the transitions and ear candy here and there. That that part for me is kind of hard work. It's a little bit tough for me to take a 16 bar and transform that into a full tune. So if I get to the point where I'm actually, yeah, I know it's it's uh yeah, I'm sure every everybody listening to this is be like, yeah, I they're all very familiar with the with the pain. But that's why actually wrapping up a song and thinking, you know what, I think this is done now. I love that, I love that point because it's not uh it's not all that frequent. Let's let's go the opposite. What what's your least favorite part of the creation process? Well, you know what? I think it's it's what I touched. Well, of the creation process would be, yeah, I think what I touched on is just all the kind of niggly little finishing bits that you have, all that effort you have to put in just to wrap up a song. Sure. Super fun making the 16, you know, and going for there, but little transitions here and filter sweeps there and little things like that. For me, that's that part's a little bit painful. Yeah, some of it gets tedious. Tedious, perfect words. What specific thing do you feel like you spend the most time on while creating a track? It's gotta be sound design for sure. Sure. This is just such a big part of of D. You gotta try to come with something new most of the time. So, you know, a lot of time on on sound design for sure. Sure, yeah. Do you have any any secret tricks that you use for the sound design stuff that you want to share? Well, I mean, it's not super secret, but you know, there's a lot of a lot of FM, a lot less, you know, analog style, uh subtractive synthesis and a lot more FM frequency modulation, yep. Yeah. A lot of that. And then that's um, it's not a secret, because that's what most people are doing. But uh it's something that you know was just it was a really big change from from the old days. Like I said, because I used to have all this analog equipment, so I was very used to you know, filters and subtractive synthesis, so trying to be modern and have modern sounds, FM is really what you what you gotta learn. And you mentioned Skrillix, I think Scrillex was the guy who really you know catapulted FM into the into the forefront. Yeah, he he had he had a really unique sound. Um, you know, when I first heard it, I I hadn't heard basses like that. Yeah. What's the weirdest thing that you do in your process? I don't I don't like I don't know if it's weird, but I mean I take a lot of time. I'm you know, usually I'll I rarely just sit down and produce. It'd probably be good if I did, but I find it tough. So I'm always you know, I'll produce a little, I'll surf a little, I'll list some tunes. I'm very it's very unstructured. A tune that might take 20 hours of actual effort ends up taking two, three weeks of time just because I putz around a lot. I think that's a good thing is to is to be able to take breaks and you know could continue with your with your life outside of just staring at the computer screen, clicking buttons and turning knobs. Like you're sure, like a lot of I think a lot of us you know can get into that where we spend you know crazy amounts of hours right in a row. But it's good to get outside, touch some grass, and breathe some fresh air once in a while. 100%. That's true, that's very true. Do you get writer's block? And if so, how how do you get past that? Oh man, I get writer's block all the time. I mean, really the way I get past it for me is time. And and usually it's not too long, but you know, I I just recently had writers block, and it maybe took three weeks. I couldn't I sat in front of my computer, tried to do something, tried to make something, it just wasn't working, and so I just kind of stopped. But normally it solves itself by uh just listening to new tunes. You know, my my Spotify release radar follow. My release radar is really deep, so every Friday I'll fire up Spotify, list some stuff, and eventually after a week or two, something will be like, oh man, that's so dope, and it gets me fired up to try to start making something again. That's awesome. That that's it basically answers my next question. I was gonna ask, what are you listening to currently, you know, when you're riding around in your car that's giving you some inspiration? Yeah, I mean, it's just it's just all those guys I follow. I mean, you know, I don't know. Uh I'll drop a couple names in case anybody's interested, but one guy, the producer I look up to the most would be a guy named Benny L. Fantastic. He's a he's a guy who has an absolute unique sound. And then, you know, I'll he'll have a if I'm if I'm in a club and I hear his his tune uh tune come on, I can just tell if it's him or not because he's the only guy that can do what he does, and he does it amazingly. Another guy named Gino, he's great. Enta E-N-T-A, he's great. I mean, there's there's so many fantastic D B producers out there, but those are the guys I I listen to a lot. Awesome. How do you feel about AI, you know, taking a big role in the software tools we use? Does it devalue what we do as producers? I think it does. I think it's super scary. Um, kind of when AI music came out a couple years ago, I played with it. It was like, yeah, interesting. I I mean I knew the direction it was taking was not going to be good for us as producers. But then literally just a month ago, I I decided to take a deeper dive. And um I used uh Suno for some vocals, and man, it is so good. And it and I don't like it. It's scary, like it's scary how good it is, but it's just phenomenal. But it's not something that I want to release. I don't want to be known as an AI guy. So actually, I I turned around and I actually hired uh UKMC to put together some vote uh or to to send me some vocals loosely based on what the AI guy AI did. Yeah. You know, I think the direction it's going is is super scary because AI could pump out like I'm talking uh earlier I talked about how many songs are coming out from from DMB producers. Well, that pales into combat in comparison to what AI AI could pump out 10,000 songs a day if it wanted to. Eventually, it's gonna get to a point where there's just so much, I think it's gonna get to a point where there's just so much AI music that us humans can't compete, especially if AI music is half decent. And from what I've experienced, it is. And actually, just a couple days ago, I saw a video on uh IG where a guy filming his daughter, and you know, she was showing her dad this AI song she really likes. And I'm just thinking, you know, for us and and even for you know, maybe even the Gen Z, AI music is maybe a little bit controversial. But for the kids, they're just gonna grow up with it. And it's just gonna be the way things are. And it's sad, but I'm I'm really concerned. I think I think AI's I think it'll take over, unfortunately. Sure. Yep. What advice do you have for someone starting out in the production world right now? Well, I have a couple themes, I guess, in that I've stuck to on this in this interview, but uh I think it'd be one synth. Go deep on one synth, learn a synth inside and out. That's good advice. So a fantastic one that I often recommend to people because it's free and it's super powerful, it's vital. It's almost like serum, and it's better in some ways, actually, than than serum and worse than a couple others, but it's an amazingly powerful synth. It's free. Highly recommend just getting vital. Get your DAW. I highly recommend Bitwig, but uh the honest truth is Bitwig's not the most popular. So if you want a DAW with uh the most tutorials and stuff, if you're into electronic music, it'll probably be Ableton. I think if you're more on the hip-hop side, it'll probably be fruity. Uh, but yeah, so go deep on one synth. That's a great piece of advice. What else would you like people to know about your your art and the stuff you're creating? Well, you know, I just love it. It's so good. I just think there's so much energy. I wish more people would listen to it. It is growing in popularity, DB. Uh, there's more and more tours coming through, bringing people, some of the great guys from your from the UK over. Uh, I'd love it if if if via this show, just uh if a few people discover DB, that'd be fantastic. That's that's awesome. Uh if you could have a creative session with with any other producer in the world, who would it be? Benny L. Benny L, okay. Yeah, absolutely. Benny L, if you're listening, you need to link up with Gorilla Fest. That's right, Benny. Come on, man. If you could have any, you know, singer or rapper or somebody, you know, do do some vocals with you on one of your tracks, who would it be? Well, you know, I could be for the business side, Drake. Sure. Uh maybe future. I don't know. Yeah, that'd be fun. It'd be I'd love to like you know, that'd be such a the number of ear holes that you could shove your music into would be so huge with one of those guys. It'd be sure amazing. Yeah, doing some kind of remix with them. Oh fantastic. Well, the the show's called Producer's Chair, so I gotta ask, uh, what what kind of chair do you have that you sit on and to produce? What are you using? It's it's funny. I've recently been looking at chairs online, seeing if I should get an upgrade. But you know what? I have uh place I used to work out was was moving, and so they sold out off a bunch of their office chairs. So I had been sitting in the office chair for a few years before that at work. I had the opportunity to buy it. It was comfortable and it worked for me, you know. Sitting eight hours a day at work. Uh, so I bought that. I think it's a steel case office chair, but it's pretty sweet, man. I like it. I don't I don't think I'm I'm gonna upgrade it. It's it's a great chair. Yeah, that's uh if that if it's working, and it obviously is, um, keep using it. Yeah. Where can our listeners connect with you online to hear more of your music? Yeah, so the main places would be SoundCloud and Instagram. Uh I'm Gor Gorillafist Music on Instagram, and I'm also GorillaFist Music, I believe, on SoundCloud. I look at it so infrequently. Okay, and we'll we'll try to get those links up so people can can find you easily on there. So Gorillafist, I really appreciate you joining us today um on this show and uh hope to hope to hear be hear more from you soon. Yeah, thanks, man. It's a lot of fun, and good luck with with the podcast. Yeah, thank you for it. Great idea. All right, thank you for listening. If you're interested in becoming a sponsor or a guest on the show, use the provided email and follow me on social media for more updates. We have a lot more interviews coming up, so until then, I'm Steve Swisher, and you've been listening to the producer's chair.