Sisters Yasmine and Jahan Yousaf aka Krewella are DJs, producers, singers and songwriters. With platinum record status, headline festival sets and a brand new album out now, they are set for another huge year. In this episode, we talk about unconventional vocal production techniques, a misidentified studio and an instrument that they’d want to steal from a musical idol.
Sisters Yasmine and Jahan Yousaf aka Krewella are DJs, producers, singers and songwriters. With platinum record status, headline festival sets and a brand new album out now, they are set for another huge year.
In this episode, we talk about unconventional vocal production techniques, a misidentified studio and an instrument that they’d want to steal from a musical idol.
Season 4 is sponsored by EVO by Audient: https://evo.audio/
STUFF WE TALK ABOUT (SPOILERS!)
https://en.wikipedia.org/wiki/Krewella
https://sethro8.wordpress.com/morning-view-studio/
https://www.uaudio.com/audio-interfaces/apollo-x6.html
https://en-de.neumann.com/kh-310-a
https://iproducemusic.com/
https://en.wikipedia.org/wiki/Mike_Einziger
https://output.com/products/substance
Chris Barker 0:02
I'm Chris Barker.
Will Betts 0:03
And I'm Will Betts and this is the MusicTech My Forever Studio podcast brought to you in partnership with EVO by Audient.
Chris Barker 0:07
In this podcast, we speak with producers, engineers, DJs and industry figureheads about their fantasy forever studio.
Will Betts 0:13
The studio that our guests describe will be one that they have to live with forever. But even in this wild forever studio fantasy, we have some rules.
Chris Barker 0:21
Yes, let's explain the rules. Okay. Our guests will first select a computer, a DAW and then an audio interface. Those are free kit, they get those free. Then, our guests will be able to choose six other bits of studio gear plus one non-studio related luxury item.
Will Betts 0:35
Chris, there is one more rule isn't there?
Chris Barker 0:38
Yeah, yeah. And we're in season four now guys, so let's say it together. No bundles. There it is. Yeah. No bundles choosing a package of separate software or hardware as a single item is not permitted.
Will Betts 0:52
Today we have the EDM subgenre mashing duo that is Krewella.
Chris Barker 0:56
Yes, that's right, the duo not only known as DJs, and producers, but singers, songwriters and sisters. Together, Krewella have been creating epic electronic music for over 15 years. With platinum record status headlined festival sets and a brand new album out now, they are set for another huge year.
Will Betts 1:13
Plus a new mindset to making music and exploring new songwriting techniques means their dream Forever Studio could have some interesting choices.
Chris Barker 1:20
Indeed, let's do it. This is My Forever Studio with Krewella. Welcome, Krewella!
Yasmine 1:24
Hello, thank you guys so much for having us. Epic intro.
Chris Barker 1:29
I told you it was gonna epic, right? There we go. We try and do it right. Before we get on to any kit, the first thing we like to talk about is like, in this dream desert island studio scenario – well, it doesn't even have to be on a desert island. It can be on the moon.
Where in the world, and why, would you put your perfect dream studio or your creative space?
Yasmine 1:57
This might be the hardest question because once you're there, you can't – like, this is forever. You can't move so that's it.
Chris Barker 2:04
Forever studio. Yeah. Oh,
Yasmine 2:06
Okay. So I think we might have different places, which is, you know, we'll have to agree on choosing one, but we'll throw –
Chris Barker 2:14
I like watching the compromise happen in real time.
Yes, exactly.
Yasmine 2:18
We'll throw both of our ideas in. We live in LA and we have lived here for almost a decade now. And most of our family has migrated here. So we've really fallen in love with this place. But when I was a child, I knew of LA only through you know, bits and pieces of movies and TV shows. But one band recorded one of our collective favourite albums in a studio in Malibu and that is Incubus' Morning View and whenever I think about the pinnacle of what my dream studio would be, it would probably be the studio that Incubus recorded that in, in like what 96 or something I don't even know the year.
Chris Barker 3:05
Will, is that Rick Rubin's studio?
Will Betts 3:07
Pretty sure that's Rick Rubin's studio.
Krewella 3:11
Oh, no.
Chris Barker 3:12
I don't want to make you guys feel too cliched here. But this comes up all the time.
Krewella 3:16
[Laughs]
Will Betts 3:18
Very, very good studio, to be fair.
Yasmine 3:21
Honestly, it's such a piece of my childhood remembering that they were all at this studio with this beautiful ocean view. And I had never been to Malibu I was like, ‘What is Malibu, this magical place?’ So I think it has this special spot in my heart where I'm like, one of my favourite bands made one of my favourite records in this glorious place that now – I mean, we don't live in Malibu, but we live 30 miles away. And I basically call it home so it's on the list but the biggest problem with Malibu is it doesn't rain enough for me to want my forever studio, actually to be there.
Jahan 3:59
We might have to move further up the coast. If we are getting warmer. We know we like access to oceans and mountains which California has, is close enough to family. We're checking those boxes. You might have to go further north.
Yasmine 4:11
Might have to go north.
Chris Barker 4:14
Will, are we confirmed that it is Rubin's studio that did the Incubus recordings?
Will Betts 4:18
90% sure but I will just let the internet confirm.
Chris Barker 4:21
Yeah but he comes up a lot. It's meant to be an incredible place. We're trying to track Rick Rubin down for the podcast so that he can see what he chooses. Because when you've got that place…
Yasmine 4:36
Like, where do you go from there?
Chris Barker 4:41
So where are you thinking up the coast? You're thinking keep going, keep going?
Jahan 4:47
You know where we stayed in Aptos, in that gorgeous Airbnb?
Yasmine 4:48
The Redwood Forest. It rained the first day we got there and it was so mystical, magical. It felt like we were transported to like, you know, King Arthur's time. It's all gloomy and green and the trees are as tall as gods. And…yeah, that's a good vibe.
Chris Barker 5:07
That's how I live every day here in the UK, guys.
Yasmine 5:10
That's true. That's so true.
Chris Barker 5:11
Gloomy. Trees. I hear you.
Yasmine 5:14
We also want a sprinkle of sun, you know, you know. When it comes out, we're happy for it.
Jahan 5:19
So I guess we kind of landed on a location. Let's say, somewhere between Big Sur, California and San Francisco in the Redwood Forest. Can we request a hot tub outside?
Chris Barker 5:33
We'll get to that too, exteriors and things. Also at the end of your studio, we have a luxury item to go in your studio. We'll get to that. And don't forget, this is fantasy as well, so sky's the limit, you know,
Jahan 5:50
I'm stealing your idea of the moon. I think we should have a portal to the moon.
Yasmine 5:55
We'll think about our luxury item. It might be a spaceship.
Chris Barker 6:00
Okay, yeah.
Yasmine 6:03
We're putting a pin in that one
Chris Barker 6:05
And you're gonna go remote, as in like, you want forest, you're not going to be in a city? I mean, where do you want now in comparison, like, can you walk down the street and go to a store or are you remote?
Yasmine 6:18
We're in a quiet neighbourhood, but it's close enough that the highway is right around the corner. You know, it's not remote, but it kind of feels remote, because we don't ever really leave. We don't ever really leave the neighbourhood that much. So in a sense, it has become remote.
Jahan 6:34
We're not really studio rats who feel like they need to leave and go get a coffee and go out to eat throughout the day. We kind of bring our own food or cook our own food or bring your own snacks. We really like to stay grounded in the studio when we're creating. But I do think being remote but having access to like the local village store somewhere to get groceries and make our own food…
Yasmine 6:58
Yes, that's important.
Chris Barker 7:01
Okay, that's cool. That's cool. And what about the sort of the aesthetic of the studio then like what kind of space – because you know, studios have many different styles. And, you know, people are in them for many, many hours. So, you know, the wrong vibe can really upset your process. I mean, have you worked in other people's studios as well? I mean, you don't have to name names. But have you been in studios where you're just not comfortable? Where you feel like you can't be there for a long time? I guess. Maybe you don't choose them. But…
Yasmine 7:31
Yeah, we've definitely been in studios where by the time we walk out, I feel like I'm – because it's so dark and we've entered when it's daylight and we've exited and it's suddenly dark. I'm like, the whole day is gone and I didn't see any sun. So there are definitely things, I think we have to have at least one room in our fantasy remote Redwood Forest studio where it's dark and cave-like that, then we need to have another room. That's maybe just like got a – I guess I can't say a grand piano because that's one of the things that…
Chris Barker 8:06
We'll get to the items, yeah,
Yasmine 8:08
It's like the room that's maybe more of the live room and it's got a big skylight, you know, just access to sunlight. But then also the cave portion of the studio. Got to have both.
Chris Barker 8:22
Okay, that's fair. That's fair. Well, I guess let's move on to the free items. Because we can usually whip through these everybody sort of needs them in the studio, a computer, a DAW and an audio interface. I mean, what's in the fantasy studio for those three items? You get these for free, they don't come off your list, but are you Mac are you PC or are you computer-less, are you using an Atari, you know.
Yasmine 8:48
Definitely not computer lists. We are Mac although, you know what, it's funny. We've never worked on a PC. So it's hard for me to even choose one without having ever tried the other. Maybe someday, I'll do my best to get into the PC game for now for the Forever Studio, we're Mac. And I would probably I mean, we just upgraded to the M1 [MacBook] and I'm like, ‘Oh, how nice would it be to have like the desktop M1?’ We got laptops, but I'm like, ‘how nice would it be to have the desktop and just like, really big screen?’ And if we're talking DAW, we're in Ableton.
Chris Barker 9:27
Okay. Mac-wise, you can max it out, you can go for the – but I mean, could you be without your laptop? This is a forever studio and you get one computer. So I mean,
Yasmine 9:37
Yes, because Jahan and I are a big notebook people, even with songwriting or jotting down ideas, and as long as we have our phones on us like voice recording. We can step outside into this redwood forests [laughs], this hypothetical redwood forests, and I think it's actually good to step outside from being glued to the big screen all day. I think it's really good to separate yourself.
Jahan 10:03
At least to get the fundamentals of songwriting down.
Chris Barker 10:07
Yeah, yeah. Well, I mean, I only ask that because obviously, some people like to have the laptop for a similar reason to take the whole studio out, but separate that's nice.
Yasmine 10:17
I think I want the desktop beast.
Will Betts 10:20
So you're going for the M1 studio. The new one. As of the time of recording the brand new, silver lunchbox.
Yasmine 10:29
And it's a silver lunchbox. Yes, it is. Yes, it is.
Will Betts 10:33
And Ableton. How long have you been on Ableton for, is this like a forever thing forever?
Yasmine 10:37
Yeah. Always, always and forever. Yeah, again, I don't know. I mean, when I was a young child GarageBand was my gateway. You know, like any kid with their parents. It was our mom's work computer and I'm like, let's see what I can make with some GarageBand but besides that, never used any other DAW besides Ableton.
Chris Barker 10:58
And what made you choose Ableton at the time? Was there a particular person or an act or a video or something you saw that made you go – because there's obviously still a lot of choice?
Yasmine 11:08
Of course, and I actually just realised I lied. We've dabbled with Pro Tools, but it's not my favourite. But back to the Ableton thing, we had an original third member Chris, and Ableton was his first – I would actually say second, because I think he actually started in Reaper. Yeah. So I think when he transitioned to Ableton, it just was so user friendly. And I'm like, that's what we're gonna do. We started making all of our mixes in Ableton, it was just like the simplest, most user friendly and now, I can't imagine working in anything else. That's just, you know, the thing I've stared at for so long.
Chris Barker 11:50
And what about the final one of your freebies, the audio interface? I guess mic inputs and stuff are quite important to you?
Yasmine 11:59
Absolutely. We actually already have this so I guess it's cheating a little bit, but I'm not cheating. It's the Apollo X6 interface, we have the rack mount and it is a beast, it is a beast, because obviously we're vocalists we're recording all the time, we need something that has that real-time, no latency. And even when we're, if we have a friend that comes over to record guitar, like I need to be able to plug and go with that much ease, and it's a beast. And that's the one, that's my one.
Chris Barker 12:33
And what did you have before that one? And did it make a huge difference? Did you really notice when you went from what you had before to this?
Yasmine 12:40
It was actually the Apollo Twin. It's actually this is our guest room setup. This is not Studio A, but I have the Apollo Twin just still sitting here. But you know, definitely not as much of a beast. But I still really love Apollo and UAD as a company so stuck with them.
Chris Barker 12:57
Again, a very popular choice on the podcast, a very popular choice. Right. Now it gets a bit interesting because we're starting to fill a studio, we've got six items. Now, these can be instruments, they can be hardware, they can be software, they cannot be a bundle, no bundles.
Yasmine 13:12
That is the worst rule. Do you know how hard you make it for people?
Chris Barker 13:16
Gotta make it hard. Gotta make it hard. Yeah. Don't forget. And don't forget, you haven't even gotten the speakers yet as well.
Yasmine 13:23
Oh, I know. Trust me, I'm like, that's the first thing that I'm I'm choosing.
Chris Barker 13:30
So, item number one, Krewella, item number one.
Yasmine 13:34
We'll start with speakers. We love the Neumann KH310s. And with the matching sub because we make dance music and we got to turn the sub on sometimes [laughs]. And I've done a lot of shootouts to compare different speakers for the type of music that we make. They are my favourite.
Chris Barker 13:57
What came a close second? I'm just interested.
Yasmine 14:00
Um, oh my goodness, I'm actually going to blank because it's been so so long since the shootout. It was the… It'll come to me in a moment during this podcast. ‘That was it’.
Chris Barker 14:19
All edited.
Yasmine 14:20
I remember the close second didn't nearly have as much low end. Without sub. I'm talking like even without sub. The Neumanns were just far more suited for the type of music we make. And I think being able to have that true-to-club sound in your own home studio. I mean, for all intents and purposes, we make club dance music, for the most part. And I think that being able to feel that in the studio, what it might feel like in a club or a venue. It's like what we rely on, like our body needs to feel it. We need to have that gut instinct that we're going in the right direction sonically.
Chris Barker 15:02
And that's why you need to be in the middle of nowhere in a forest as well, scaring the wildlife. You can't really upset the neighbour, can you?
Yasmine 15:11
That's true, but you don't know noise complaints. So there we go.
Will Betts 15:15
Well, squirrels can't write famously.
Yasmine 15:19
They can't call they can call the cops on you, the squirrels. They can't.
Chris Barker 15:23
Yeah, yeah. So Will, can we upsell some dreams here?
Will Betts 15:32
Maybe upsell some dreams. Yeah. It's a great choice, though. Honestly, the KH series…
Chris Barker 15:39
They must do something more expensive, bigger.
Will Betts 15:42
I'm not sure that they do. Actually. I think those are the biggest ones. They do. Well, I've got a pair of the little ones of the teeny tiny.
Yasmine 15:48
Those are great, too, love, love them.
Will Betts 15:50
But the 310s No, there's no upsell on those.
Chris Barker 15:54
Wow. Okay,
Will Betts 15:55
With the sub, as well, because the sub would have been the upsell. So you've already upsold your own dreams.
Yasmine 16:00
Is it okay that I kind of combined that in one like the sub is a part of the speaker package? Is that okay?
Will Betts 16:08
Sure, we allow this. This is like the one free pass that we do in terms of the bundle rules, but it's you know, we're walking a fine line here.
Chris Barker 16:18
I can't remember which artist or producer it was that suckered us into that. But now it has to be a rule for everybody because the rules didn't…
Yasmine 16:25
Oh they set the precedent!
Chris Barker 16:25
Yeah, we let it slide once. We were bad. Anyway, let's move on to item number two. So you've got your basic – you've got your setup now. You can make music now.
Yasmine 16:35
I'm sweating, guys, this is so difficult.
Jahan 16:41
Maybe we should jump to the microphone?
Yasmine 16:41
Yes. The next important thing for us microphone.
Chris Barker 16:46
Item number two.
Yasmine 16:48
Two has to be the microphone. You're absolutely correct. We are singers. And we make so much. I mean, we use our voices in terms of production as well. I mean, if you listen to our new album, there are so many layers that are just like hums that we used as MIDI and created a whole synth out of that. And then there's also like low-end layers of Jahan just going into a really guttural growl. And that we processed into a sub. We use our voices so much.
Chris Barker 17:18
So it's interesting, though, isn't it? Because you'll see people programme a synth for hours to get a sound that sounds vowel-like as if somebody's doing that. It's like, just record your voice.
Yasmine 17:29
I feel like we have this superpower because we just do that automatically. And have always done that. And it's so much fun.
Jahan 17:36
It makes making music more fun. When you can tangibly create something from your voice. I love it.
Chris Barker 17:42
And truly unique because nobody else has your voice. That's the thing. It's like, there's still a chance that somebody can programme that synthesizer in the same way, but that is never going to be the same.
Yasmine 17:52
I love that.
Will Betts 17:54
I want to know who's driving the growling. Is it you, Yasmin? Or is it Jahan? What's the deal here, who's saying, ‘Let's do the growl.’
Jahan 18:03
Sometimes it comes out instinctually when we're like there have been a couple of times where we'll be in the finishing stages of a song and we'll kind of go in and do adlib layers. And for me a lot of the time instead of adlibs. It's these deep, like [primal hums] very primal-sounding calls.
Chris Barker 18:28
I've seen you do some like quite punky stuff as well as kind of like shouts. Wicked.
Jahan 18:34
For me in my head, I'm just like, ‘this is a complete mess’. But on the other end, when [Yasmine] asks me to record, I think she'll have a vision of how to kind of weave it into our base layers or chop it up.
Yasmine 18:47
We always have like, a scrap layer when we're recording vocals where I'm like, okay, that's not top line. That might not be an adlib, but I'm going to put it in in the scrap track. And we're going to use it somewhere, some way, somehow, at some point and some of them end up in the oddest places.
Jahan 19:07
We always find effects like [pow, pow]
Yasmine 19:10
Yes, percussive elements. We make like vocals like [breathe in, pah], like vocal sweeps and risers. I mean, it's endless.
Jahan 19:18
It gives us a good giggle in, the studio, too.
Will Betts 19:21
I was gonna say, you both must have to work on your straight faces when this is happening.
Yasmine 19:27
That's like the comedic relief when we start doing the mouth effects because it kind of reminds me of when we're a kid and you're just like making up your own sounds with your mouth.
Jahan 19:37
Absolutely.
Chris Barker 19:39
But it's those sort of innocent moments and those kinds of moments of madness, where you get the most original, unique, interesting things. I mean, I was in the studio with rappers in Atlanta, pre-pandemic and they were just saying ‘just say what comes into your head.’ And they come up with these really odd lyrics and odd lines, because it's just, it's so free thinking that you don't overthink it. And then that becomes the hook because nobody would ever sit down and write that line. It just comes out when you're just vibing.
Yasmine 20:11
Yeah, yeah. Yeah, it's magic.
Chris Barker 20:14
Because I saw you sort of had that when you were saying about lyric writing as well.
Yasmine 20:18
Absolutely. It's mostly gibberish in the beginning, and then words will start to form and then if full phrases haven't come out, we'll write lyrics to the gibberish phrase. But we hate forcing lyrics in. Sometimes, the lyrics that were gibberished out, like you just said, are the thing that you end up writing about. Even though you didn't have the intention to write a song about that, it just flows that way. And that's where the magic is. That intuitive initial moment. You can never get that again. That was special.
Will Betts 20:52
Did that happened on the most recent release, then are there tracks on there where you started out with gibberish, and it sort of formed into something more?
Yasmine 20:58
Yes. 100%. Sure. Yes.
Jahan 20:59
I think Traces is probably that…
Yasmine 21:01
I would actually say most of the songs but the, yeah, the most specific one is Traces – the second album on the track. Jehan, I literally –
Jahan 21:12
Second track on the album [laughs]. You just referred to the second track on the album as the second album on the track [laughs].
Yasmine 21:18
Wait, oh yeah, my bad [laughs]. But yeah, the the hook of that song, I think, is mostly Jahan's first take of her just singing whatever came out of her mouth. And we were ‘like, cool, that's it, we're gonna use that.’ You can't predict that, you can't predict that. It's amazing.
Will Betts 21:40
And also, just on the point of like, you having these experiments, these vocal experiments, and you talked being kids again, like, you guys have clearly been making music together forever. Has it been a forever thing? Or was it something you discovered later?
Jahan 21:57
As kids we were always playing, like, we experimented and explored all forms of creativity. Whether it was like drawing art – visual art was a big part of our household growing up, because our mother is a graphic designer and illustrator. We always had music going, we're you know, dancing, making up our own plays with our sister and our cousin…very imaginative kids. But it never really crossed our minds as careers as kids. It kind of seemed like a form of escapism for us, a form of play. And I would say it was when we were – you were still in high school, or I was in my last year in high school.
Yasmine 22:36
I was 15 or 16. Jehan was 17, 18. And then we were like, ‘cool, we can we can make this a thing. We can take this seriously’. Behind our parents back because it was terrifying for them [laughs].
Chris Barker 22:45
I was gonna say like, did you have the full support, because not everybody always does?
Yasmine 22:50
Not quite until we started actually playing festivals and getting booked for shows and they're like, ‘Oh, this is a real career? Got it, cool.’
Jahan 23:00
I think the word that comes to mind for me is scepticism, which I think a lot of parents feel when they see their children or teenagers going into any sort of creative fields or any sort of alternative form of –alternative career. And the energy around it was like, ‘we'll see. We'll see how it goes’. But they were supportive.
Chris Barker 23:22
I guess it's extra scary for parents in dance music as well because it's kind of it's associated to like that club culture.
Jahan 23:29
Oh, for sure.
Chris Barker 23:29
It's not like your…
Jahan 23:31
Our dad was pretty concerned about us. Us just being around drugs and access to alcohol all the time. And rightfully so, when I think of an important – you know, we were so young and impressionable when we first started out. But our mom actually is the one who loaned us money for our first microphone so she was supportive in practical ways. And what helped us out with paying rent when we decided that we needed to quit our jobs to focus on music.
Chris Barker 23:59
Well, that takes us full circle to item number two.
Yasmine 24:01
It does!
Chris Barker 24:01
So what was that first microphone and what's been the microphone journey from that first microphone?
Yasmine 24:08
You guys are gonna laugh because the first microphone is still the microphone that's now in studio A and –
Chris Barker 24:15
Your mum bought your Neumann U 67!?
Yasmine 24:18
No, no but that's a good – if I didn't love the mic we have that would probably be my gold standard. But the mic that we bought with a loan from our mother is a Sony C800. I don't think you can upsell.
Will Betts 24:38
What! What are you talking about! Your first microphone?!
Yasmine 24:42
Yeah.
Chris Barker 24:42
That completely destroys my cheeky joke about getting a Neumann because you got even better! Okay, good.
Yasmine 24:49
I love Neumman mics don't get me wrong. Neumans and Manleys. We have very…not very different voices, but I have a lot more high end. My timbre is different and Jahan has a lot more low-end. So the Sony C800, since it is more like a bright and shiny mic, sounds amazing on Jahan's voice and I feel like I have to process my vocals slightly differently and EQ my vocals a lot differently on the Sony C800. But it doesn't change the fact that the sheen on it for the kind of music we make again, it's like more pop leaning, dark-pop leaning dance music. It has just been the thing that has lasted and withstood time for us. And we started with it, we kind of branched away from it, we actually lent it to a few of our friends for two years, and went on a different microphone journey. And then, when we were building the home studio during the pandemic, I got that mic back and we made the new record fully with that mic and were like ‘Damn. Okay, I love it again’. I love it. I just needed a break from it. But I love it again.
Chris Barker 25:55
So tell us how you chose that as your first mic. Like, were you exposed to it before somewhere or – because it's not not everybody's…I've never used one of those mics. I've seen them. But I've never used one. And I never seen one when I was, you know, in high school.
Jahan 26:11
Our former member Chris, he was working closely with someone named Ken Lewis, and who's a producer and writer. And I think that was his recommendations when he was thinking of shooting for the highest quality.
Yasmine 26:26
It's also more than that. I think we were all obsessed with the pop music of the time, which was – I mean, I know it's probably a dark thing to talk about right now – but Dr. Luke was like, the head of what was happening. And that was like 2010, he was the king of pop music. He had just graduated from being Max Martin's underbelly and he was like the guy. And that was the mic that they used all the time in his studios. And we were obsessed with that era of music. And yeah, it kind of stemmed from that. It was a tall order to think that we were worthy of that mic, but I think we've grown into it nicely. Well, and
Chris Barker 27:06
And you still have it, which is amazing. You know,
Yasmine 27:09
She's been repaired a few times, but still going strong.
Chris Barker 27:13
A few times. So not reliable.
Yasmine 27:16
So it's just because it's a tube mic. It's just the tube sometimes get dirty. Sometimes it's not a repair. Sometimes it's just like a cleaning. She just needs a little sprucing up here and there.
Chris Barker 27:27
Okay, okay.
Will Betts 27:28
She does she have a name?
Yasmine 27:29
She doesn't! I'm saying she as though – but like, I don't know if she might be a he. I don't know what she is. She's just ol' reliable for now. We'll come up with the name someday.
Chris Barker 27:42
Yeah, yeah. When you do, tag us.
Yasmine 27:44
[Laughs] ‘We named her, finally!’
Chris Barker 27:50
And so that's going straight into the Universal Audio right now?
Yasmine 27:56
It is.
Chris Barker 27:56
It is? Okay, so we can move on to item number three.
Yasmine 28:03
Sweating again.
Chris Barker 28:06
So you only have Ableton so far as well. Don't forget software, you're gonna get Ableton.
Yasmine 28:10
I think the beauty of Ableton is, and I think a lot of people who have Ableton sometimes know this when they download it, but then forget it as time goes by. But the stock plug-ins are really, really good. So that's the only bit of, like, relief I have right now in knowing that, okay, well, if I can't have Valhalla Shimmer, or Valhalla – I can't because I need to choose other things. But like Ableton has some really nice verbs and and I can sleep at night knowing that and it's fine. I'm so sorry. Our dog is in here with us. Do you mind if we pause and I let her out of the room real quick?
Chris Barker 28:54
Wait, wait wait wait, wait show us your dog first, come on.
Will Betts 29:00
This should be a new bit. Show us your dog.
Yasmine 29:02
She's definitely a studio dog.
Jahan 29:11
Does a dog count as an item?
Yasmine 29:13
Nooo!
Chris Barker 29:14
We had this conversation, and about family members, and it's all fine. It's not like an apocalyptic scenario here. You have your pets and your friends and stuff.
Yasmine 29:25
That's another bone you threw us.
Jahan 29:28
Like she's really she's been – she's a pitbull mix – she's been important to the creative process because sometimes when we're like really in the vortex, we're looking at her and having a moment to pet her is a good way to kind of like take a little breather and a reminder to connect with a living being.
Chris Barker 0:00
I had a friend producer whose dog used to always, when he visited studios, they'd always like fall asleep in the really bassy part of the room where like…So he'd know like, where they'd kind of, ‘oh, if you stand there, then you can hear these massive peaks at like 30 hertz’ or whatever. And the dog used to like it was like a little [rumbling].
Jahan 0:18
She likes the vocal booth, actually, it's really cute.
Yasmine 0:21
She loves the studio. She's a good studio dog. But yeah, she'll crawl into the dark abyss of the vocal booth. Even if nobody's in there. She just wants to go there on her own. It's very strange.
Chris Barker 0:32
It must be really relaxing for them, because they're hearing's so good. Maybe the acoustics and the no echoes. And maybe that chills them out?
Yasmine 0:38
I don't I never thought about it that way. It's so dead in there. They don't have all these like, things going on.
Chris Barker 0:43
Yeah, all the stuff we can't hear. Maybe that just helps.
Yasmine 0:46
Very true. Very true. Number three.
Chris Barker 0:52
Did you play insurance before you got into electronic music? Or do you know are we going to have real instruments in the studio?
Yasmine 0:57
We're going to discuss – this is one of the things that we're going to have to [laughs]
Jahan 0:59
I might have to make a case for guitar here.
Yasmine 1:03
We 100% will have a guitar on the list.
Jahan 1:05
It's something I just started playing only a few months ago. And it's completely – just on my own at home – it's completely changed my songwriting process and my relationship to my voice. And it's something that I feel like, as we make new music, I would absolutely…it feels like a staple. As far as just like navigating around the fretboard and finding chords, to ground a melody as well.
Chris Barker 1:28
Yeah, picking up a new instrument stops you falling into the same habits with how you reach for chords or where you go.
Jahan 1:35
Certain chords also, because I've always written to beats that already exists or if Yasmine is playing chords. I feel like when you're discovering your own chords, it brings out the theme or the lyric or the emotion itself simply by like, I'll just throw metal kind of experimenting with different chords on the guitar and I'm like, ‘Oh my God, this makes me feel a certain way.’ So it's definitely become invaluable.
Chris Barker 2:01
I guess there's so much heritage in guitar music as well that like you accidentally, like, put yourself in a record or an era or by those transitions and those chords. There's so many references throughout like musical history that you can even by accident use. You're suddenly in the 50s or the 60s or the 70s or whatever.
Yasmine 2:24
100%. Love that.
Jahan 2:25
How are you feeling Yasmine about the…
Yasmine 2:27
The thing is, if you don't put the guitar in there, I'm going to struggle with like, what could fill that and I will fall down a rabbit hole. So I think we should put the guitar in there. Okay, yes,
Jahan 2:38
It gives us a moment to step outside in the forest and create in the forest. Yeah, like on the balcony of the studio or in the sunlight.
Yasmine 2:46
So true
Will Betts 2:46
There's a balcony is there?
Yasmine 2:52
[laughs] Oh my goodness,
Chris Barker 2:53
Will's just scrapping plans, architectural plans.
Will Betts 2:59
I'm texting the architecture right now it's a nightmare.
Jahan 3:02
We could've gone above and beyond with the studio and we're like it's just…
Yasmine 3:07
We are simple, though. We need a really, really good vibe close to nature. And I think that it's really simple. We don't need much, we just need the right equipment. And that's it.
Jahan 3:19
But you know what, you might need to upsell me on the guitar because I'm using a very, just very basic Gibson that we've had since we were like teenagers
Yasmine 3:30
We got it when I was 10 actually, it was for my 10th birthday. It's a good it was like the basic Gibson like the base model acoustic guitar. I can't even remember what model it was. But it's we still have it twenty years later.
Jahan 3:42
It's really good for learning how to navigate the guitar, but eventually, like I'm going going to get to the point where I want to make an investment so please –
Yasmine 3:52
Upsell us.
Chris Barker 3:54
Well electric or acoustic?
Yasmine 3:56
Acoustic-electric. You gotta be able to plug that in. But you want to be able to play it without it being plugged in as well. Yeah, little bit of both.
Will Betts 4:03
Stick with Gibson or do you want to go for like a Martin or a Taylor?
Unknown Speaker 4:07
Taylor. My boyfriend has a Taylor acoustic and it is so so beautiful. It sounds great. It's actually on the intro of our album he recorded on.
Chris Barker 4:17
We can just take that one. Just steal it.
Yasmine 4:18
We can just take that one for sure [laughs].
Jahan 4:21
I think the option is great.
Chris Barker 4:25
Well, I mean, if we leave a little dramatic pause for us to upsell your dreams
Will Betts 4:29
[Upsell your dreams]
Angelic
Chris Barker 4:35
Let's upsell some dreams. We can take a guitar from anywhere. Let's take one from history from one of your favourite guitarist, let's get it signed. You know, think about this stuff.
Yasmine 4:46
Oh, you recently opened up the door just now your Oh, it's
Chris Barker 4:51
It's a fantasy forever studio
Yasmine 4:53
Gone deeper…Yeah.
Jahan 4:56
Damn, I mean, we were talking about Incubus earlier…
Yasmine 4:58
I know!
Jahan 5:00
I mean, I would say like the foundation of our inspiration as kids growing up and when I think about melodies and songwriters…
Yasmine 5:07
Brandon Boyd
Jahan 5:08
…and structure for songs, Incubus, you know.
Yasmine 5:12
Probably one of the biggest inspirations for our songwriting but in the beginning stages, for sure.
Jahan 5:16
I feel like I would be very emotionally connected to that guitar.
Chris Barker 5:20
I'm an Incubus novice, I have to say. I know their tracks but it doesn't strike me as something where there'd be many acoustic guitars.
Will Betts 5:27
Incorrect.
Yasmine 5:38
Wish you were here! [laughs], Will, you'er like ‘Incorrect!’, immediately.
Will Betts 5:42
Point of order! So there's a lot of acoustic guitar on that. Mike Einziger played an acoustic all over that record.
Yasmine 5:50
He's such a legend guitar player.
Chris Barker 5:53
Take his guitar. Gotta take it.
Will Betts 5:55
Just take Mike's guitar.
Chris Barker 5:58
Get him sign it! To Krewella, love Mike. Done.
Yasmine 6:03
I love that. It's amazing.
Jahan 6:05
Bloc Party's another band that – Kele plays guitar. Lead singer.
Yasmine 6:11
Yeah, that's definitely more electric. We can't have two!
Will Betts 6:16
He plays a Tele. Yeah. Oh, so what's it gonna be? It's gonna be the acoustic…
Yasmine 6:19
I think it's I think it's gonna be the acousitc. I think it'll come more in handy over time.
Chris Barker 6:24
So what are we on now, item number four?
Will Betts 6:27
Item number four.
Yasmine 6:27
Oh, no.
Chris Barker 6:28
Item number four.
Yasmine 6:30
Wait no! Oh, no. Okay. Plug-ins, because I know Ableton stock plug-ins don't have it all. And I think the one thing we don't go a single session without is Serum. It's just, you know, we use it for like, almost every single songs low-end. And on top of that, synth leads. And the amount of things that you can create with Serum is kind of infinite. So I have to choose Serum. I think it might be the only plug-in I choose. Unless you think of one where you're like ‘wait, no, no, no, no, we also need this one.’ But we're running out of things to be able to have so I think I might need to choose Serum.
Chris Barker 7:14
We will have we will have a rundown at the end and if there's any panic at the end for choice…
Yasmine 7:20
Okay, I like that we can we can do some swaps.
Will Betts 7:22
It's a last chance saloon.
Yasmine 7:23
I like that a lot.
Unknown Speaker 7:24
Yeah, we'll have a last chance saloon. Will shall set the scene later but right now let's let's put Serum in and let's go to item number five.
Jahan 7:37
Yasmine, we need headphones. What do you think? At least for you for mixing.
Yasmine 7:40
I was like, maybe we can just pretend that the headphones don't exist. So I can actually have a keyboard I want. Let me think.
Jahan 7:50
Oh, shoot for recording you need headphones.
Chris Barker 7:53
Well, if you've got if you've got in-ear pods, and you've happy to use those for like recording. But if you want studio headphones, they are a separate item. If you want proper like we've all gotten now if you want proper headphones, then…
Yasmine 8:12
The one's I'm wearing right now I would want but I can't take them with me yet.
Chris Barker 8:16
Tell us about the ones you're wearing right now though. Let's let everybody know.
Yasmine 8:18
There Audezes. They're the LCD 10s. We also have the LCD X's, which are incredible, but they're huge. I can either wear these all day, and never fatigue like physically but then also sonically, but the 10s I used for – I didn't mix the album myself, but I did the pre-mixes for the album and the 10s…I did most of the pre mixes on the 10s and they were so good. They're so crispy. They're so true to sound. They're really good when you were trying to mix club music. We're not adding them to the list though. We're not adding them to the list because I think other things are more imperative.
Chris Barker 9:04
Two more items.
Yasmine 9:05
Let me think. This is where like the rubber meets the road for me because as I was conceptualising this earlier today, I think it was in the shower. I'm like, What's going to be the keyboard or synth? Because I don't think I can have a keyboard and a synth. And I have a dream. I have a dream since I was a child, actually since I was a teenager and I was in an indie band in high school.
Chris Barker 9:28
What were they called?
Yasmine 9:30
Oh, the the band in high school is called Sunset and Camden which are the streets in Singing In The Rain, where they're singing in the rain the street corners.
Chris Barker 9:41
I really wanted it to be more embarrassing than that. That's quite cool.
Yasmine 9:45
I didn't come up with the name so I can't take credit. The other lead singer of a band did but that was my high school band and we would all geek over synths together and Moog in general is just like a top tier for me but the Moog One was always the dream?
Chris Barker 10:01
Well, I mean, it's a it's a good one, Will, right?
Will Betts 10:03
It's something we upsell people to. So you already you're upselling yourself here, which is great.
Yasmine 10:09
It's really expensive. What is it like a $4,000 synth? Or is it like seven?
Chris Barker 10:15
10,000
Yasmine 10:15
Oh, it's ten? I haven't actually like seriously looked into buying it in a long time.
Chris Barker 10:22
And I think, you say want a keyboard but it's obviously it's got MIDI, it's probably got USB, as well.
Yasmine 10:29
And it's also polyphonic. It would cover the bases. We have the Arturia Keylab 88. And it is so nice to play a weighted keyboard when you're coming up with stuff in the studio. So it's really sad. I'm like, ‘do I choose function over just like pure sparking joy?’ And I think for me,
is it okay, if I choose…
Jahan 10:56
You can hijack this one.
Yasmine 10:58
I think for my childhood heart and also just for like expanding the sounds we can make in the studio. I think I would choose the Moog One. I think I want to make the fifth item.
Jahan 11:08
Dream girl. She's got expensive tastes!
Chris Barker 11:13
How many keys on the Moog One? Is it 61? Or do they do an 88? They surely don't.
Will Betts 11:17
They don't do an 88, no.
Yasmine 11:18
They don't, no. Is it? Is it 61?
Chris Barker 11:23
Or is it 49? What's your Keylab?
Will Betts 11:25
61, [Moog] is a 61.
Yasmine 11:26
Keylab is 88. It's like a proper, big, giant keyboard which is really nice. But then again, it's the crazy sparks of inspiration that you can get toying around with a Moog that I feel like I'm craving in the studio. We don't have a synth in the studio like that yet. So I'm manifesting.
Chris Barker 11:52
Something about getting hands on isn't it. Similar to what you're saying about the guitar as well, it's different. It's just different to interact with a real instrument.
Will Betts 11:59
We're gonna have to upsell you on this one to the 16th voice rather than I think the eighth voice I mean, let's do it. Money's no object here. So let's do it.
Yasmine 12:11
I'm sold, you up sold me!
Chris Barker 12:18
Okay, last item for the studio gear, anyway. Last item.
Unknown Speaker 12:22
Oh my gosh. Um, is there anything else in your heart that you're like, ‘ Iwould love this?’
Will Betts 12:29
Jahan, come on.
Jahan 12:30
Yasmine's the one who's navigating the software and the tech stuff and equipment for me. I feel very satiated with a guitar because it's kind of opened up a whole new world for me since I picked it up. I feel like that in itself is infinite as to what I can learn there. And the amount of time that I could spend…
Chris Barker 12:53
You have forever to learn so.
Jahan 12:55
Exactly.
Yasmine 12:56
It's an infinite thing having a real instrument, which is why I'm like…baby grand? No, no.
Chris Barker 13:02
Why not go full grand?
Yasmine 13:05
Yes, that's true. But there's something about – I have this vision for like the size of a baby grand and how it fits in a room and I'm like, ‘oh, yeah, maybe it would just…’ But how big is our studio? Maybe it fits a grand. Maybe it fits a grand.
Will Betts 13:22
I'll ask the architect.
Yasmine 13:25
Let me know if it fits in the blueprints maybe it'll be the the luxury item.
Will Betts 13:29
yeah, I'll come back to you.
Chris Barker 13:32
It needs to fit on the balcony, Will.
Yasmine 13:36
The fact that we can't do bundles is really what's killing me because it makes it so much more difficult.
Will Betts 13:45
What are you missing?
Yasmine 13:48
I would definitely – I'm torn between Waves. They're just like complete bundle because we use Waves plug-ins on almost everything. But…
Chris Barker 14:03
Do you process your vocals in any way? Melodyne or Auto Tune?
Yasmine 14:08
Absolutely.
Chris Barker 14:09
And you have them for effects sake as well, right? I mean, that's going to be a big part of your sound.
Yasmine 14:14
We do. We record actually with Auto Tune direct in, but it's also been such a fun thing to play with. It adds such a nice sheen, and even adjusting the retune speed in different areas just to like, have a different effect or sometimes there's literally – the retune speed is completely down but humanises all the way up and it's just there for that nice little sheen.
Will Betts 14:39
Question.
Yasmine 14:39
Yes. Ask!
Will Betts 14:40
Your current vocal chain. What does that look like?
Yasmine 14:43
Oh, there's a lot of fun stuff. We always have FabFilter Q 3 That's like the beginning of the vocal chain. So SSL EQ, I've got on there, and that is like the major component of making this sound good right now. Usually, when we're going in on actual vocals we have Valhalla, I have H Delay, a lot of waves plug-ins, EQ Eight, that Ableton stock is thrown in there because it's a wonderful EQ. I use EQ Eight and EQ Three arguably more than any equaliser besides FabFilter Q3. And then, on top of that, if we are doing big sounding lead vocals, I have a chorus on there I have RVox, the Renaissance Waves plug-in. It's amazing. Oh my goodness. A couple other fun ones, depending on what kind of vocal and then Auto Tune. Yeah.
Will Betts 15:46
Cool.
Yasmine 15:47
Yeah, that's the basic, you know, I mean, there's obviously so many other things when we're going back and doing the vocal production. Lots of random stuff is thrown on. I really love SoundToys. That's why I'm like, if I could choose a bundle, maybe I'd choose the SoundToys bundle. And this whole thing has been very difficult.
Chris Barker 16:03
The bundle thing is the… it's the reason that makes us interesting. Otherwise, we –
Yasmine 16:09
It's killer, yeah. I think one of my favourite plugins for experimenting though, and I used it so much when we were working on the last album is Substance. It's an Output plug-in. But the problem is, is that you need Kontakt to host it. So here's my thing.
Chris Barker 16:33
That's fine. There's, there's a Kontakt player. That's okay, Will?
Will Betts 16:38
Yeah,
Yasmine 16:38
I won't have any other Kontakt plug-ins. I'll just use it as the host for Substance, I promise.
Will Betts 16:45
So if you do have other ones, we do come round and delete them every night. Yeah, that's another precedent that's been set. Yeah.
Yasmine 16:54
You guys creep in every night?
Chris Barker 16:55
Yeah.
Will Betts 16:56
Mission Impossible-style. Yeah. And then just get into the plug-in folder and take everything out.
Chris Barker 17:00
That's why we have to make friends with your dog.
Yasmine 17:02
Oh, because she'll let you guys in there will be no – I understand. She will bark when she sees you.
Chris Barker 17:11
Because we're all friends. So it's fine. Yeah, exactly.
Will Betts 17:14
You are allowed Kontakt. Yeah, that's okay. That's all fine.
Chris Barker 17:17
So that final item it was Output – what was it called again?
Yasmine 17:20
Substance, I think it might be. But you know, it's so funny. It's like, that's my flavour of the – not even the month – the year. I've been really loving this plug-in, because the parameters on it are infinite. You can really adjust that one to the moon, and you will never run out of different ways to use it. And I feel like it is so useful in that way more than just like subs and leads, but like little ear candy moments, strange effects to like layer with vocals. I mean, it really has felt infinite for me. So…
Chris Barker 18:00
That's a good recommendation. That's kind of what this is about, as well, it's like turning people on to other stuff.
Yasmine 18:06
It's a fun one. And I also think if you are a producer that is hitting a wall with like, not even a song but like maybe where you want to evolve your sound into it's a really fun plug-in to just experiment with different kinds of sounds and see where something could take you into maybe a new genre you've never tried making or adding some spice you've never had added before. So I think it's a good experimental plug-in as well.
Chris Barker 18:36
Okay, fantastic.
Will Betts 18:37
And has this appeared on the new record?
Yasmine 18:39
Absolutely. It's used on maybe five or six songs on the record, I would say. Yeah, maybe even seven because it's in the intro.
Will Betts 18:49
The intro for the first track is it?
Yasmine 18:50
Yeah, there's substance on that yet. It's so funny saying substance because it sounds like, ‘there's some substance in that!’
Will Betts 18:59
We added substance!
Yasmine 19:00
Double entendre. Oh my gosh, I'm sweating guys. That was so difficult.
Chris Barker 19:07
Well, here we go. Will, can you give us the the full – set the scene, rundown this fantasy forever studio. Have a listen to this. See, what you think and see if you want any changes, but here we go.
Will Betts 19:17
Okay, so before we get to this, I'm just going to point out that I was completely wrong about it being Rick Rubin's studio.
Chris Barker 19:24
I knew it!
Will Betts 19:26
You got it, Chris. So all of my ‘actually I think you'll find’ moments. I take it all back. It's called Morning View Studio. It used to be just a house. They just turn the house into a studio. So…
Jahan 19:44
Do we want to move there from Big Sur?
Yasmine 19:47
It doesn't rain enough. I think it needs to rain from time to time.
Chris Barker 19:51
But Will, Rick Rubin didn't buy it afterwards or something? No, it's totally separate?
Will Betts 19:58
Separate. Totally separate. It's not Shangri-LA. No.
Jahan 20:02
We'll stick with our cabin in the woods.
Yasmine 20:04
Yeah, the treehouse cabin in the Redwoods.
Will Betts 20:07
Exactly. So we're in Northern California in a remote Redwood studio. It's the floorplan from morning View Studio used to record Morning View by Incubus.
Yasmine 20:16
Love.
Will Betts 20:17
We've we spoken to the designers, it's all good. We have a live room which is full of sunlight so you're connected to the day. We have a mixing room which is a little bit more cosy. There's a balcony, not quite sure where but there is a balcony. Your computer is a Mac M1 Studio fully spec'd ou. Your interface isn't Apollo X6 from Universal Audio. Your DAW is Ableton Live 11 Suite. And your studio items…For speakers you have the KH310s with the matching KH750 DSP sub for a true to club sound. Your vocal mic is your very first vocal mic. The Sony C 800. Your guitar is Mike Einziger's guitar. It is a 1930s Gibson with a small body. That is the guitar that was used. You have Serum for synth sounds in the box. You have a Moog One 16 voice as your hardware synth. And you also have Output Substance for earcandy basses and vocal layering. How does that sound?
Yasmine 21:31
My goodness. Because some of it is what we don't have yet, I'm like, ‘oh, would be nice.’ I think we're gonna we're gonna look into some of the things that were missing in the studio and make our current studio, the fantasy studio. Including Mike's guitar. I'm gonna like knock on his door and be like, ‘Mike…?’ I don't know Mike, I wish I did.
Will Betts 21:51
DM him.
Chris Barker 21:52
Yeah, we made this plan Mike. You weren't aware of it. But that's ours now. Well, before we finish, we have the final item which isn't a piece of music gear, but it's some luxury item that you would love to have in the studio at all times. Is there something in the studio that you wish you could have?
Jahan 22:13
So it's a non music related item, right?
Chris Barker 22:15
Yeah. It can be to do with creativity. You know, we've had people choose very random things but like – and really, really crazy random things. But yeah, it can be anything. Could be a painting that you've always moved from studio to studio or it could be something that you've always wanted.
Jahan 22:32
When we were designing the studio and we're saying this is a log cabin treehouse vibe in the Redwood Forest, does that inherently include like, bedrooms in a kitchen or…?
Chris Barker 22:46
Yeah.
Jahan 22:46
Okay, cos I was gonna say kitchen. We need a kitchen.
Yasmine 22:49
We must have a kitchen.
Oh, Will. You look sceptical.
Will Betts 22:55
No, no, the kitchens allowed. We're not that cruel. We wouldn't just make you be there.
Yasmine 23:01
Make us Postmates everything.
Chris Barker 23:03
I mean, if we were that cruel, I'd definitely be thinking bathroom before kitchen.
Yasmine 23:09
We prioritised pretty hard there, didn't we?
Chris Barker 23:12
But you are in the woods.
Yasmine 23:13
The great outdoors, of course, yes.
Jahan 23:15
Okay. I'm gonna throw some things out there.
Yasmine 23:17
Throw it at me.
Jahan 23:18
Do we want a theatre situation? Do we want a hot tub? Sauna? A cold plunge?
Yasmine 23:25
Can we have a hot tub sauna and pool plunge?
Jahan 23:28
Maybe a package deal?
Chris Barker 23:36
Hang on - no bundles!
Yasmine 23:36
Not even sauna bundles?
Chris Barker 23:36
Spa bundles are also out.
Yasmine 23:37
Spa bundle. Exactly. The spa bundles out.
Jahan 23:40
When I think about creativity. I think some self care item is really important.
Yasmine 23:46
I think the hot tub is the most self care. That is maybe a little bit less about health and more about soul. Because sitting in the hot tub under the stars with a good glass of wine is gonna inspire some great music if you ask me. I think – is that it?
Jahan 24:05
I love the hot tub
Yasmine 24:05
That's probably I think that's a unanimous, no compromise needed. In the rain, in the snow.
Chris Barker 24:13
I'm sure that Mike from Incubus has a hot tub. We could take his.
Yasmine 24:19
We'll trade him a one free use in our hot tub for his guitar. I think that's an equal trade.
Chris Barker 24:25
Okay, okay. You don't want to steal somebody's hot tub. Elton John's hot tub. Why not?
Will Betts 24:30
Buy new with a hot tub is my rule of thumb.
Yasmine 24:32
You don't know what's happened in a used hot tub. Yeah, it's very sketchy.
Jahan 24:40
A salt water hot tub though.
Yasmine 24:42
Saltwater, saltwater.
Jahan 24:44
No chemical saltwater.
Yasmine 24:46
Yeah, no chemicals. We're in the Redwoods. We don't want to bring chlorine.
Chris Barker 24:50
I feel like I'd have really red eyes while looking at the stars with saltwater.
Yasmine 24:55
It probably feels great, though.
Hot tub, if we're really dreaming, hot tub with like – it's a custom hot tub with beautiful mosaic tile where it's imported from Istanbul. Got a tile from our favourite places in the world.
Chris Barker 25:11
Like a Roman mosaic hot tub. Okay. Okay, yeah, we've gone on a tangent here. Anyway. Let's round this. That's so, so good. So good. Okay, well, all that's left to say is thank you so much for coming on the podcast and dreaming about your forever studio with us. We've had so much fun having you on so thank you so much, Krewella.
Yasmine 25:31
Thank you, Chris and Will!