In the final episode of Season 5, we welcome Canadian producer, songwriter, DJ and vocalist Jessy Lanza. With two records of nostalgic-sounding electronic music already released on Hyperdub and a third on the way, we find out which vintage effects unit helps her get that distinctive sound, how she nearly had a beloved synth lost by an airline, and which song Will Smith has completely ruined for her forever.
In the final episode of Season 5, we welcome Canadian producer, songwriter, DJ and vocalist Jessy Lanza. With two records of nostalgic-sounding electronic music already released on Hyperdub and a third on the way, we find out which vintage effects unit helps her get that distinctive sound, how she nearly had a beloved synth lost by an airline, and which song Will Smith has completely ruined for her forever.
Season 5 is sponsored by Audient: audient.com
STUFF WE TALK ABOUT (SPOILERS AHEAD!)
https://www.instagram.com/jessy.lanza/?hl=en
https://www.youtube.com/watch?v=UpLbvSB8GkY&ab_channel=KEXP
https://www.instagram.com/pearsonsound/?hl=en
https://www.apple.com/uk/shop/buy-mac/mac-studio
https://www.rme-audio.de/fireface-ufx-3.html
https://www.behringer.com/product.html?modelCode=P0AWN
https://en.wikipedia.org/wiki/Rhodes_piano
https://www.youtube.com/watch?v=R6uysIQp4Lg&ab_channel=FenderRhodesStory
https://www.youtube.com/watch?v=jtMHsNhQBvI&ab_channel=StrutRecords
https://www.youtube.com/watch?v=qNQCZwol3Ec&ab_channel=Amblin
https://www.sequential.com/product/prophet-5/
https://www.youtube.com/watch?v=ywrUdtk1JY0&ab_channel=BlueBambooMusic
https://en.wikipedia.org/wiki/Akiko_Yano
https://www.eventideaudio.com/rackmount/h3000/
https://www.eventideaudio.com/rackmount/h9000/
https://www.instagram.com/jeremy_greenspan/?hl=en
https://www.akaipro.com/mpc2000xl
https://en.wikipedia.org/wiki/DJ_Rashad
https://www.neumann.com/en-en/products/historical/u-47/
https://www.telefunken-elektroakustik.com/product/m81/
https://spiralgroovestudiomonitors.bigcartel.com/
https://www.matrixsynth.com/2015/11/rare-boss-syb-3-bass-synthesizer-wrist.html
Chris Barker 0:02
I'm Chris Barker.
Will Betts 0:03
And I'm Will Betts and this is the music tech my forever studio podcast brought to you in partnership with adient.
Chris Barker 0:09
llIn this podcast we speak with musicians DJs engineers and producers about their fantasy forever studio,
Will Betts 0:15
the imaginary studio that our guests dream up today will be one that they must live with for forever. But even in the world of studio forever them we do have some rules.
Chris Barker 0:24
Yes, the rules Okay, so I guess we'll select a computer, a DAW and an audio interface that was a free items that everybody gets, then our guests will choose just six other bits of studio kit plus one non gear related luxury item, however,
Will Betts 0:40
bundles,
Chris Barker 0:41
no bundles Exactly. Choosing something sold as a package of separate software or hardware as a single item is strictly prohibited.
Will Betts 0:49
This time, we're joined by a Canadian producer, songwriter, DJ and vocalist who makes critically acclaimed nostalgic sounding but difficult to pigeonhole electronic music PS Our
Chris Barker 0:59
guest has toured the world live stream from the back of the people carrier, released two records on hyperdub and has a new solo record coming in July.
Will Betts 1:07
And we know from her performances that she's no stranger to vintage since and studio gear but what six items selection will make it into forever them.
Chris Barker 1:16
Yes. Let's see. This is my favorite studio with Jesse Lanza. Welcome, Jessie. Welcome.
Jessy Lanza 1:21
Hi. How's it going?
Chris Barker 1:23
Good morning to you.
Jessy Lanza 1:24
Good evening.
Chris Barker 1:25
Yes, evening. Yeah, we are stretching across the world today.
Okay, so you heard the rules there and we'll get to building your third or forever studio. Yeah, we raced through them just to bamboozle you. But we'll get to that in a minute. But let's, let's get everybody up to speed with your journey into music production and making music and like how that got started. I mean, did you start somebody traditionally that was playing an instrument or singing that kind of style? Or Did Did you always want to know you wanted to make electronic music?
Jessy Lanza 1:57
Yeah, both my parents. Both my parents were musicians. And my dad actually was a music teacher. So I was in piano from an early age singing it assemblies, choir, all that kind of stuff. Okay, yeah, but my dad also ran a PA rental company. So okay, that and one of the ways we would spend time together is he would take me to these auctions in Toronto. And that was a very strange culture to me as a seven year old, but I was fascinated. So I think that's where it all started for me. And gear as in like music equipment auctions. Yeah. Cuz he, he would rent pas to the clubs in Hamilton. So he was always looking for, like, you know, tweeters and subs and bins, he could paint and you know, he was just always out in the garage spray painting stuff. That's what I remember about my, my child should be exposed to a lot of bass at an early age, shall we say? Yeah, and paint.
That was much nice with paint.
Will Betts 3:01
You were on painting duties painting these custom speaker systems, essentially,
Jessy Lanza 3:06
totally a painting taping. Yeah, sometimes it was really boring. But it was, you know, being at these auctions, because I was quite young. But it was fun. And I'm obviously It made an impression on me.
Chris Barker 3:20
Did your dad have synths and electronic gear then? And that's how that journey started? Or was he was he more of a sort of traditional musician, if we can call it that? No, he
Jessy Lanza 3:29
totally. He it was important to him to keep up with all the newest stuff. And like I had an older cousin who was really into music and throwing raves and like Southern Ontario, Windsor and Detroit and that area. So he was always like telling my dad like, Oh, you gotta get the newest best drum machine, which at the time was like a 909. So my dad bought one of those and didn't know how to use it. But my cousin did. So
Chris Barker 3:56
yeah, that's like the coolest dad ever. Like, Well, my dad had an iPhone nine.
Jessy Lanza 4:02
He wasn't. But he had a hobby studio in the basement. For sure.
Chris Barker 4:08
Okay, yeah. And did you? Do you just tinkering around in there? Or was it kind of, was it like, pushed on you? Or were you like, I want to go? Well play with the equipment.
Jessy Lanza 4:18
The thing that kind of sucked when I was growing up is that I wasn't allowed to tinker. It was like, kids not allowed zone, but I could practice piano. And I could sing neither of which I really didn't really like the singing lessons. I liked the piano lessons. But it wasn't until a lot later that I got to actually do my own tinkering.
Chris Barker 4:38
So what was your first steps in terms of equipment that you used? And, and when you started thinking that this might be what I want to do forever?
Jessy Lanza 4:46
Yeah, I mean, this is a little not to get too heavy at 9am in the morning, but when my dad passed away, I got all of his stuff. Basically. That's when I got to tinkering And yeah, when I decided that I wanted to actually make music myself and be the engineer and be the producer, you know, get my hands dirty a little bit.
Chris Barker 5:08
Were you going in kind of like with little experience? Or at that point I had, you
Jessy Lanza 5:14
know, I had no, I had no clue what I was doing at all. But that was it was really frustrating. But it was also really fun. I'm sure you're familiar with the with the feeling?
Chris Barker 5:23
Yeah. Oh, yeah. Yeah, it's kind of it's kind of gamify is it? Doesn't it? Because you kind of you get those little achievements of like, Oh, now I know how to do that.
Jessy Lanza 5:31
Totally. I mean, that's, yeah, I think what keeps you going? For sure.
Chris Barker 5:35
Okay, so I guess we're gonna have some quite difficult choices here for this for when we start picking the equipment. But let's, let's talk about your dream studio in terms of location and vibe. Like, oh, my
Jessy Lanza 5:47
goodness, it's all stressful. This the leaf. It's a lot of pressure. I'm sorry. I didn't mean to interrupt. You
Chris Barker 5:54
know, go go go and like, applying the pressure of you deciding where you're going to have a studio in the world or where you're going to have a studio forever and what he's going to be like, Yeah, let's, let's try and make it happy pressure, though.
Jessy Lanza 6:06
Happy? Yeah, yeah. Yeah,
Chris Barker 6:09
I can have anything you want here. So dream away.
Jessy Lanza 6:13
I think the studio location would be in Los Angeles, because because there is a rental place. That's like a 15 minute drive from my house. Does renting factor
Chris Barker 6:25
in Yeah, you're not allowed to rent anything.
Jessy Lanza 6:29
You're not allowed to rent. Okay, so location doesn't the location doesn't really matter. But I live in Los Angeles. And so my dream is to have like, a room that's built like outside my house. So I can like leave my house but like a little cube like a studio cube in my backyard. That's my dream. That's good.
Will Betts 6:50
How big a cube are we talking like?
Jessy Lanza 6:54
A quiet cube.
Will Betts 6:57
smallish cube, big, big cube? How big? Does the cube need to be? It
Jessy Lanza 7:02
doesn't, it doesn't need to be that big. Because it's like, if you have a big house, you know, it's like, you only need so much space and then, you know, other rooms start to become just like where you put junk. You know what I mean? Like you have like a Yeah, that's true, like a junk room on?
Chris Barker 7:19
I don't know, I'm if you have space, you always fill it with something that you just kind of totally
Jessy Lanza 7:23
like, yeah, and I think with gear that can be really, it can be dangerous.
Chris Barker 7:28
It won't be too much of a problem on this show, though. Because you get six pieces of gear.
Jessy Lanza 7:36
So that's true. That's true. What's
Chris Barker 7:39
the kind of vibe of this cube then? Can you see the outside a joint? Do you like that? Or did you want to be locked away? Is it is it kind of cool and like, what's the style?
Jessy Lanza 7:49
The Cube, the studio cube was inspired by my friend David Kennedy, who goes by the name Pearson sound and he I went to London and spent like 10 days with him. In his he has a studio cube in his backyard. And he has like a son. I can't think of what the notice sunroof. But he has like sunlight. I know. You mean yeah, here's the sunlight and he has a lovely garden. And yeah, he had the perfect setup and so working with him mixing my I'm putting out a record this summer called Love hallucination and he he mixed it we mix it together there. It was a lovely experience. He has a cube with a sunlight.
Chris Barker 8:31
So when when you're saying cube this is I think I know you mean this is an actual company, isn't it that sort of cranes into your garden like a ready made studio cube to go think that it is? Yeah. You may have seen adverts for that. Yeah. And can you see whether I'm making that up or not? Well,
Will Betts 8:47
I'm just I think,
Chris Barker 8:49
I think there's a company that kind of like yeah, just comes on the back of a lorry and they just pop this like awesome, like ready to go sort of office type studio cube.
Will Betts 8:57
There are a few of these companies. Yeah, there's that do acoustically treated recording spaces that you just literally plop down in your Yeah. In your garden. Yeah, very cool.
Jessy Lanza 9:07
Although it was lovely. Yeah.
Chris Barker 9:09
So you think in one of those in LA somewhere where any particular part of La
Jessy Lanza 9:13
Oh, like Northeast LA like Pasadena, you know, some big trees around the cube. That's what I'm picturing. Yeah.
Chris Barker 9:23
It's just, it's cool. It's called the studio cube as well, isn't it? It's like cube studios. I like it.
Jessy Lanza 9:28
Oh, yeah. Yeah, yeah, totally. I could that does have a little ring to it. I like it too.
Chris Barker 9:33
And what's what's your kind of the style inside? Like, I mean, if you've been to heard lots of studios, and you know, because some studios people just don't get on with like, the kind of the vibe without being too sort of vague, but you know what I mean? Like, he doesn't click it's not the right, crave environment for them. I mean, what what do you like?
Jessy Lanza 9:52
Yeah, I don't want a leather couch. I don't want it to be dark. It's nice to have some light like it's Yeah, I have been in some pretty gross studios where it's not a lot of light comes through so I think I want the opposite of that. Like, light isn't option is definitely something I'm going for.
Chris Barker 10:11
And so have minimal furniture quite clean and slick.
Jessy Lanza 10:15
Yeah one a little like like one of those little roll out futons, but just a single one on the floor that I can just like lay down, you know, read a book.
Chris Barker 10:23
Okay. Nice. Yeah. And you can stare up through this sunlight. Nuts good. Yeah, I'm getting I'm totally, we're building a pitch now. Yeah. Okay. Well, as we continue to build this, let's get the, you get the three free items, which are computer your DAW and your audio interface. So let's talk computers first, I mean, a Mac PC. Something else? I don't know what what are you going for? I'm
Jessy Lanza 10:49
just gonna be practical here and go with one of the new Mac Minis just as long as it has like these chip. You know, if it has the M one chip, then I'm good.
Chris Barker 11:00
Wider mini in your dream fantasy forever studio. This is feels like an opportunity to upsell some dreams? Well, we could
Jessy Lanza 11:07
like just some serious rock computing power. I mean, do you need what this is? Like, kind of with the space thing? It's like, I just don't know. I mean, I'm not going to be running one of those like virtual consoles of like casino or like you like to do it with your hands. That's never I'm never going to do that. You know, it's like how much computing power? Do you really need to make music? Maybe you have a good answer? I don't know.
Chris Barker 11:37
Well, the answer that was two nerds would probably give you as much as possible all the time.
Jessy Lanza 11:44
But it's so at one point, do you think just kind of gets like it gets in the way?
Chris Barker 11:48
No, no, I didn't know. You mean, I think as computers got more and more powerful, I started a definitely not that I've ever made particularly great music. But like I definitely made worse music, the more options I had, when I didn't have to commit and like I had loads of plugins and loads of stuff. Whereas when I the computer would fall over after eight tracks, you really had to commit to an idea. Whereas you can endlessly get buried in it now. Yeah, the fact that it never, ever struggles can kind of be a bit paralyzing sometimes.
Jessy Lanza 12:17
I mean, I know what you're saying. I know what you're saying, though, that I would love. If I have enough computing power for like my isotope plugins to run without crashing my da, then that's enough. I don't know exactly how much that is. But I think that that's what I need. And I'll be happy with that.
Will Betts 12:36
What about if we upgraded you to the MAC studio, which is about the same size but way more powerful? It's got like all the cores, as many cores as you could possibly want for computing.
Jessy Lanza 12:48
Sorry, I'm just Googling it. You know, it's got the chip I'm talking about. I mean, it looks nice. It looks nice. Yeah. 20 core CPU. Yeah. Looks good. Look, I think I've been up sold. Yes,
Will Betts 13:01
yes. Okay.
Chris Barker 13:02
Well, okay, let's talk DAW. What you're using as your main sort of program for music creation.
Jessy Lanza 13:09
I think I would it kind of pains me to say it, but I think I would have to use logic you know, it just is like a huge I just, I don't know what else I would use. What does it pains me to say it? Because it's so annoying to us? Sometimes. You know, it's just I've never felt angrier than I do when there's like just one it doesn't know it's just a stupid things that happen that could just be so easy, but they're not.
Chris Barker 13:34
And have you tried tried to the programs?
Jessy Lanza 13:37
Yeah, I've used I mean, I use Ableton a lot. But if I'm talking about forever, I think I would have to pick logic. I've dabbled and reason. dabbled in Fruity Loops. You know, I always come back to logic though. I think that's the Forever program.
Chris Barker 13:54
It's nice. It's a nice as a phrase isn't I dabbled in reason, but ended up with logic.
Jessy Lanza 14:02
I think people think a lot of people can relate. Yeah,
Chris Barker 14:05
yeah. It's true.
Jessy Lanza 14:07
Yeah. Yeah, it just always comes back.
Will Betts 14:11
And so what what are your frustrations with it then? Because you said Yeah, it's like this slightly strained relationship by the sounds of things. What What are your issues with logic? What do they need to fix? I
Jessy Lanza 14:21
don't like this. I don't like the sampler. Okay, like xS 24. I think it sucks.
Chris Barker 14:26
That used to be the main people reason people got logic back in the day, didn't it?
Jessy Lanza 14:32
No time. Yeah, totally. It is powerful. It's just not practical, I guess. And in Ableton, it's so you know, there's just so much dragging and dropping, and you can drag and drop with the Xs 24, too, but it's not. I don't know. It's just not as intuitive and then there's just silly. It's mostly like the key commands. It doesn't snap properly. The warping function is like kind of a joke compared to Ableton, it's just not as easy. It's not as fun but that in the end, I don't think It sounds as good in Ableton, it ends up sounding evil, tinny. Oh,
Chris Barker 15:05
it's interesting. That's a. That's a hot topic that isn't it the sound of a DAW?
Jessy Lanza 15:11
Maybe it's kind of BS, but I don't know. Yeah, it's kind of like a placebo. I don't know if you know what I'm saying.
Chris Barker 15:18
Maybe Zizo enough people talk about it. Things like that. Is it placebo? I don't know. It's a bit like expensive speaker cables. It's kind of you'll just never know.
Will Betts 15:28
I mean, but with that one that is definitely snake oil. I'm just gonna call that out expensive speaker cables, there is no difference. There's literally no difference. But that's, you know,
Jessy Lanza 15:36
you think the gold plates the gold? I mean,
Chris Barker 15:42
silver is a better conductor than than gold to in technically, is goodwill instantly trying to observe certainly a good guy. So for anybody listening, we'll just we'll just dive at the keyboard like in a heartbeat when I made that speculative claim that silver was more conductive than gold,
Will Betts 15:59
mate. You're absolutely right. You're absolutely right, Chris,
Chris Barker 16:04
of course I'm right. Well, I wouldn't I wouldn't make such a crazy claim.
Jessy Lanza 16:08
My front of house person sold me on this milak Mogami cable for my vocal.
Chris Barker 16:13
My favorite ones are the cables that tele you have to plug it in in a certain direction. I love that side. Now you've got the
Will Betts 16:21
wrong end make the wrong end,
Chris Barker 16:23
the audio goes to that way down the cable.
Will Betts 16:26
Now at least within Mogami, though, that's like a high quality that's a really high quality product. And it's well made. I totally get that. Yeah, for sure.
Chris Barker 16:33
Yeah, it's worth getting ragged cables. Yeah, for the ruggedness and nykeya. That the fact that they don't get rumble as you keep plugging them in and out all the time. Yeah, anyway, do what do email us listeners with your expensive cable stories to editors at music tech.com We'd love to hear your your snakeoil stories prove us wrong. solid silver cables. That's what we want.
Jessy Lanza 16:59
Nothing but the best.
Chris Barker 17:02
So we're looking in logic. And then we're going to talk about your audio interface stream audio interface. What do you want?
Jessy Lanza 17:09
I mean, I spent so long learning how to use total mix that I think it would have to be like, you know, just a buyer face. Some kind of some kind of RME product. Sorry, this is it's really difficult, like, you know, the pressure of this, like, I don't know if title is
Chris Barker 17:27
now immediately, forever now.
Jessy Lanza 17:32
It is not good under pressure. You know, I'm not gonna lie. You know, like just an RME. Fireface was like a lot of inputs and outputs. You know, I don't know, I don't know how much better it could get than that.
Chris Barker 17:44
Nice that well, well, what's the two? What's What's the top end our me stuff now. I mean, it's nice to have an army selected. Actually, we haven't had one for a while.
Will Betts 17:51
We haven't note we, if you want lots of ins and outs, including lots of mic preamps in here for the 12 Mic, which is the mic preamp that connects over USB and has all sorts of other connections as well. But they have a bunch, don't they? I mean, there's all sorts of desktop one and they're
Chris Barker 18:11
still called Fire faces because they used to be FireWire. That's why they were fire faces, right. And now the
Will Betts 18:14
the Fireface. You FX three is also a big one.
Jessy Lanza 18:18
Oh, that one's really nice. Yeah. And the preamps are really nice on it. I mean, you still have to use something else, I think but in a pinch. You know, I think the preamps are really nice.
Chris Barker 18:29
It used to be about the drivers with those ones. They were just RME was just so solid, wasn't it? Like, they'd always have them ready for like new versions of OSs and stuff like and yeah, they will just never fell over. They were really, really good with customer support and supporting old products as well. I think they still update drivers for very old products. So yeah, really good.
Will Betts 18:47
So if you're taking this out on the road, thanks. And a lot of people use these things for touring and that kind of thing.
Jessy Lanza 18:53
Yeah, definitely I use the Fireface you see x for my life rig. And because I have other people on stage with me it's just really nice to dial in the IRS using total max but it was a bit of a pain. It was a learning curve. But now I know how to use it. I feel like I can't let go
Chris Barker 19:12
and how was getting the live show together and with that in mind, because it's it's quite an electronic music or a kind of live show but like you know when you're dealing with technology can be a bit of a minefield.
Jessy Lanza 19:23
Yeah, it can. There's a lot of places where things can go wrong, but the total mix actually, once I actually knew what I was doing, it took a lot of like the guesswork, but on this last tour I went on I actually bought one of those Behringer X 32 racks for all the ears, and that was pretty straightforward. So you know, got the iPad. Yeah, nice. Pretty simple. Yeah.
Will Betts 19:47
And so do you give everyone iPads then to control their own headphone mixes? Is that how you run it?
Jessy Lanza 19:53
Well, I ended up having to be the willie of one iPad and then nobody ended up I'm downloading the app on their phones that I told them to. Yeah.
Chris Barker 20:07
I don't really want to delete Angry Birds, you know, space.
Jessy Lanza 20:12
I was good monitor tech for the inner ears.
Chris Barker 20:15
Did you have any? I don't want to cause any bring up any trauma. But do you have any technical disasters? Anything? Any shows that went sideways and you had to fix
Jessy Lanza 20:25
it? How on this tour? Actually, I'm really I'm gonna knock on wood for the future. But this last tour? No, I have pretty good before. It's like you were saying with electronic music things can go very sideways. Mostly with like compute, like with CPU meltdowns or something like that. And I, I did have an incident once or twice with my computer. But since I started touring with the Mac Mini, those days are hopefully behind me because they're pretty reliable. It's often
Chris Barker 20:57
keeping things cold, isn't it like hot venues and like, it all works in like freezing cold rehearsal room or something. But then once you're in, the temperature goes up on stage and all of that that's when things start falling over?
Jessy Lanza 21:09
I think the most anxiety I've ever experienced playing a show was I played a festival in Dubai. And this exactly, like you're in the desert. And then we did a soundcheck and they're like, oh, yeah, just leave your stuff set up. I'm like, No, I can't do that. I can't just leave it in the desert for three hours is not going to work later. And these are things that people don't think about. I mean, you know, you have enough to think about planning festival, but those sorts of things. They're definitely competing issues.
Chris Barker 21:40
You see that a lot with DJs as well, like, you know, not being able to, I guess same with Mac screens as well, but you can't see the screens because of the sunshine and also the oldest. All of the DJ equipment is black, and it's like in the sun just getting meltingly insanely hot and you know, they're just computers basically so it's at some point they're gonna fall over and it's it's kind of terrifying. DJing on red hot equipment.
Jessy Lanza 22:06
Yes, the night Am I cool green backyard cube, you know, everything's quiet and controlled. Nice then have that in the cube.
Chris Barker 22:16
Now we're going to talk about your six other bits of studio kit. So item number one, what's going to be in your forever studio.
Now we're going to talk about your six other bits of studio kit. So item number one, what's going to be in your forever studio.
Jessy Lanza 22:25
So in my forever Studio will be a Fender Rhodes 73. And it'll be my mom's Fender Rhodes because I grew up with her playing at her my dad used to card it around with them to gigs. And it's like, the first kind of not a piano, not a synth, but the first kind of like, unique instrument that I got to play on live, because I used to play jazz music when I was a teenager. So
Chris Barker 22:52
nice. Yeah. And did your mom have that from new sort of from the buy in the 70s? Was it like an old? Or was it something that was purchased? Like afterwards?
Jessy Lanza 23:03
Yeah, so my dad would buy her. My my dad was the guitar player, and my mom was the keyboard player and he would like buy her things to play. And my mom didn't really have much of an interest in in gear, but Yeah, he definitely bought it for her new for sure. Wow. Yeah.
Chris Barker 23:23
Yeah. So have you checked out the new roads? We've mentioned that on one of the podcasts, but they're they're really pretty but like, obviously, no attachment? It's not much of an upsell, what's the update? Has anything changed? Yeah, it's got like a lot of built in analog effects and analog preamp analog. Yeah. preamps and things like that gain stages and stuff. And they're just it's just like a new modern Rhodes but sounds exactly like the old ones. But yeah, Mark eight is worth a little look. But yeah, okay, not quite as cool as your mom's on from 73 That's very cool.
Jessy Lanza 23:57
Also one of my favorite musicians Patrice Rushen. She plays a Rhodes and she has like a spot like she's done like I'm sure she has lots of free i There's this great YouTube video of her doing like a ad for roads like a little demo and yeah.
Chris Barker 24:11
Oh, nice. Yeah. The forget me nots fame. Right, Patrice. That's right. Yeah.
Jessy Lanza 24:17
ruined by Will Smith.
Chris Barker 24:22
Yep. When a chair and people hear anything that many blacks gonna come on. Oh, boy. It's a crime really shouldn't be allowed to have done that. Yeah. Let's lock in the roads and go on to item number two, and see what's next.
Jessy Lanza 24:41
I would love to have a Prophet 5. Mainly, I've been fascinated with those because yellow magic orchestra is one of my favorite bands. And they have the Soul Train performance where they're all They're all just playing like three Prophet 5s. And I've always been pretty fascinated Buy that so I think I would want one of those
Chris Barker 25:02
forever. And have you ever played one? No,
Jessy Lanza 25:06
I haven't. So it fits the fantasy of like, yeah, if I could have one of my own, they're very expensive. I have to have somebody that could like tune it up every 16 months or something, but I think it'd be worth it.
Will Betts 25:20
Would you get a vintage one then? And if you did get a vintage one, whose would you have? If you had to take somebody else's? Oh, if
Jessy Lanza 25:27
I had if I had to take somebody else's I would like to take Akiko euros from her, you know, just right off the stage. Like if I could have her Prophet 5 that would be amazing.
Chris Barker 25:39
We'll arrange in
Jessy Lanza 25:44
i don't i I'm curious. Like what happened to all of their gear if they still have it? Like if it's got sold or if it's sitting in a museum somewhere? I mean, I don't know.
Chris Barker 25:55
Probably be a really horrible story by just going missing. You hear a lot of that kind of stuff where Oh, we had it in storage and then just the manager lost the keys and we just don't know.
Jessy Lanza 26:07
It just got absorbed. Yeah.
Chris Barker 26:10
There was that story. I think I've told it before on the podcast but where somebody checked a CSA in for repair or something somewhere and then the manager literally had like the ticket to like go and collect it. And that hit the manager in the artist fell out. Ticket got lost and then that was it. Just like oh, and the guy was going to the store likes my CSA is like Well, where's the ticket? Oh, my God. Yeah. Horrible.
Jessy Lanza 26:37
But I want to I want to vintage one, I would want it like you know, an original
Chris Barker 26:43
well with your we're going to save that one for you. So it's fine. Okay,
Will Betts 26:46
thank you. We can get in the Time Machine go back take it off the stage immediately post performance in 1980 No
Chris Barker 26:53
mid performance change the timeline.
Will Betts 26:55
Don't change the timeline change the timeline.
Jessy Lanza 27:00
Know what Jason was on the Soul Train performance. It's like it wasn't plugged in anyway, you know, like, making sound so maybe that would be the best time be of little consequence
Will Betts 27:12
is the perfect synth heist. Yes. Yeah.
Chris Barker 27:16
Yeah, it may go you know, be it'd be known throughout the years like dodge remember that episode of Soul Train where those two guys came on stage and took the sentence. The music tech my forever studio podcast is supported by audience makers of the EVO 16 and EVO SBA interface, as well as the EVO expanded system.
Will Betts 27:38
Yes, building on audience 25 years of design heritage, the EVO range of audio interfaces and preamps. Provide stacks of IO and professional level audio performance alongside innovative new features like smart gain, and motion UI designed to make recording easy, and to enable you to focus on the creative process. And all of that is without breaking the bank.
Chris Barker 27:58
Yes, multi channel smart gain means you can dial in microphone gain automatically for up to 24 microphones at once, and all in less than 20 seconds. Great for drummers or for band recordings.
Will Betts 28:09
That's right, the EVO 16 interface serves up a massive 24 ins and outs, including eight preamps with smart gain, and each SP eight provides another eight intelligent EVO preamps advanced add a converter Tech and a versatile range of IO connectivity including two J FET. Instrument inputs.
Chris Barker 28:28
The EVO SBA is designed to be the perfect partner for your existing audio interface and rounds out the EVO expanded system.
Will Betts 28:34
Visit adient.com for more information and to explore the EVO expanded system
Chris Barker 28:43
and we're on item number three.
Jessy Lanza 28:45
So for item number three, I'm going to go for just a workhorse effects all I just would love an ebb and tide H 3000. hat would be just magical thing to have.
Chris Barker 28:59
We do have an upsell here. Right? Well done. They have a 9000
Will Betts 29:07
there is a 9000 If you want the more modern one with all the bells and whistles,
Chris Barker 29:12
three times three times as good.
Jessy Lanza 29:15
What what is I've never heard of the 9000 Please 6000
Chris Barker 29:19
times better than the other one.
Will Betts 29:21
That is not mathematically accurate. But yeah. The H 9000 is it's also a rackmount effects unit but it has more effects pods I think so you can I think has more ins and outs so you can have it can do more stuff at the same time at the same time but and I think it has a bunch of the old algorithms in it from the H 3000. But if you want to go vintage you can go vintage that's this is your forever studio, so it's your call.
Jessy Lanza 29:52
I'm gonna go with the original. Yeah, yeah. I'm gonna go into So,
Chris Barker 30:00
is this something you've used in software? Or do you have the original or have you used the original?
Jessy Lanza 30:05
Yeah, so I myself don't own the original. But Jeremy Greenspan, who has worked mixed my first three albums. He has a really nice studio with a lot of really nice outboard gear and he has a, he has an H 3000. So I've always been envious. And I know, I know how nice my vocals sound through it and great since I use it for so many different things. So I think if I had to use something forever, that would be a good, it'd be a flexible one.
Chris Barker 30:39
Yeah, it's a popular choice as well, isn't it? I mean, we have assaulted the ninth house a few times, but the vintage ones definitely have their vibe.
Will Betts 30:46
There is something about that sound so what are you using that on in your interacts? We can hear.
Jessy Lanza 30:53
So the last record I put out on hyperdub called all the time, it's just used on everything if like used like snares, like the drums since my vocal. Yeah, it's just everywhere. I think we use the the H 3004. Reverb, we use this Bricasti which was really beautiful. I Bricasti almost made it on the list. But
Chris Barker 31:18
that's the is it M seven? The M seven. Is it?
Jessy Lanza 31:21
Yes. Yeah. Yeah, it's a really beautiful piece of gear. But I think it got knocked off for something else that will get to
Will Betts 31:30
the point on the point of the using on everything because your sound is really sort of nostalgic, it has this retro quality to it. And yet it still sounds really modern, like licking heaven. For instance. Did it make it onto that track? Is that what we're hearing? are we hearing the extra 1000?
Jessy Lanza 31:47
Definitely, on my vocal, there's like a lot of layers, and we definitely use the issue 1000 on my vocal in for like, in heaven for sure. I'm sure that some of the synthesizers were ran through it as well. It's just between Jeremy and I like we would layer so many things. Yeah. But I definitely think it made it on to some of the synth effects as well.
Chris Barker 32:11
Just gives them that extra lushness. Isn't it? Really nice.
Jessy Lanza 32:15
It really does. Yeah, it turns like it yeah, there's a lot of depth.
Chris Barker 32:20
It's because it's just been used on so many other records as well is one of those bits of equipment that makes makes it sound like a record if that makes sense. It's like, oh, that sounds like done. Now. Do you know I mean, like is born? Well, there's bits of quality totally like the SSL buss compressor used to have where it's just like, Oh, now it sounds like a record. And like, I don't know why, what that is, but it's a guess we're so used to hearing it. All of the stuff that it just oozes sort of professionally finished, ready to go.
Jessy Lanza 32:49
No, I know what you're saying. There's a texture there. Yeah. Yeah, you can you can hear
Chris Barker 32:55
so item number four.
Jessy Lanza 33:00
So this is kind of a sentimental short, I've noticed as I'm going through my list that it's kind of it's a sentimental list, but this one's important to me, because so my dad got this 909 My cousin took it. And I think pond it and I don't know where it is now. But I want it back and I want it in my forever studio.
Chris Barker 33:23
Do you know the serial number or anything like that? Can we help you track it down?
Jessy Lanza 33:29
No, I don't know where it is. It's probably gone. I would love an original 909 I think that would be really nice.
Chris Barker 33:36
Somebody must have it. Nobody's throwing these away. Somebody must have it somewhere. I know. There can't be that many in the world. Maybe my
Jessy Lanza 33:42
cousin still has it and he's just lying to me about it. Sounds like A likely story now but one day I'm gonna find it.
Chris Barker 33:49
And how does it have any any? I want to find it using the podcast. Does it have any significant markings?
Jessy Lanza 33:55
I don't know. I haven't seen it.
Chris Barker 33:56
How many tattoos?
Jessy Lanza 34:01
Excuse me? No, I think it is just your every day. You know utility 909 I don't think it has anything distinctive. I haven't seen it. I haven't laid eyes on it in probably 15 years. So so how
Chris Barker 34:13
do you know if you do see it? Union you just know. Yeah, I
Jessy Lanza 34:17
would just know you know, that sat in my basement and I was allowed to look at it but not touch. So yeah, I would want it in my forever studio.
Chris Barker 34:26
Will will track it down.
Jessy Lanza 34:27
Definitely. Okay, that's sweet.
Will Betts 34:29
Do you have one right now or do a yes. Oh, okay.
Jessy Lanza 34:33
I have a 707 which is not the same. But um, it's incredible to see how expensive it is to buy a 707 these days.
Chris Barker 34:43
707 was quite popular though for them. Because sometimes the 909 can be a bit big. Yeah. So I know there was a lot of producers using the 707 kicks and some of the bits of that because it it was thinner but it would slide into certain mixes better if you find yourself too making lots or lots out of the 909 Kick sometimes but
Jessy Lanza 35:03
yeah, it is a bit of a one trick pony sometimes, like yeah, if you're not sculpting
Chris Barker 35:08
seven to seven is the exciting one, isn't it? Isn't that the Latin? Oh, there's like a Latin one, which is kind of cool.
Jessy Lanza 35:14
That's fun to get the seven or seven and the 727 going together at the same time. Yes, yeah.
Chris Barker 35:20
Do you have a seven to seven as well?
Jessy Lanza 35:22
No, I don't only have seven or seven. But you know, maybe if I have more options, I could do the side by side for this forever studio. But you know, you only got six choice and
Chris Barker 35:32
not bending the rules. Now not never the rules. We will live and die by these rules.
Will Betts 35:39
So using the 77 in your in your live performances as well, or is that just exclusively a studio thing for you?
Jessy Lanza 35:45
It's just a studio thing. I'm always freaked out that. Yeah, the pattern will I don't know. It just seems too unpredictable.
Chris Barker 35:53
Taking vintage gear on the road is risky anyway, isn't it though? Because
Jessy Lanza 35:57
it's yeah, it's a great way to lose equipment. So have like heartbreak things just get, you know, you've seen the way people load things on planes. It's like yeah, not It's not kind
Chris Barker 36:08
was it Soulwax that told us on my making this up, somebody told us about them putting a ms 20 Like the customs, you know, like TSA, open it up, check that it is what it is. And then they closed the lid back to front. So it just crushed all the keyboard in half. Because it was like the case was angled like the Ms. 20. And then they put it on the reverse or just forced it on and just basically crushed it. So when they opened it up at the other side, it was just yeah. Just gone. Just this was like an original, you know, vintage Ms. 20.
Jessy Lanza 36:40
Yeah, yeah, that's like that's just a heartbreaker. I've had you know, when I was six go missing for like, almost a month. And ever since that happened. I just said never again. Yeah, it's just gonna get ruined. Yeah. Or lost. It's like too tough on the instrument for
Will Betts 36:58
sure. So you got it back then your Do you know, did you?
Jessy Lanza 37:01
I did after a lot of time spent on my goodness, what's the Irish airline Aer Lingus. Okay. Air Lingus. But they did find it and they did send it back to Toronto, and somebody dropped it off at my house. And it was fine. And it was okay. Yeah, it wasn't crushed. But it did. I did think I'm never going to see it again. Yeah, yeah. Because once it passes, like a two week mark, it's like, Oh,
Chris Barker 37:29
yeah. You know, for sure. And what happens if that happens is you just say, Oh, well, that was that's worth this much money and they give you compensation or they just go, you should actually read the terms and conditions. We're allowed to lose whatever we want. I mean, I've never had my own purse. I just wonder what would happen if you think
Jessy Lanza 37:48
it's, like, you know, it's like, we'll give you 500 bucks or something. You know?
Chris Barker 37:54
It's 500 bucks now shut up.
Jessy Lanza 37:57
Pretty much. I think that that's how it goes. Like, I don't think you descriptions far off at all.
Chris Barker 38:01
Yeah, yeah, they get whatever they do. So now we're on item number five. We're locking in the 90909. Right. And now we're on item number five.
Jessy Lanza 38:11
Yeah, I would really love to have an MPC 2000 XL like an original because my hero DJ Rashad, he used one and ever since I found out that that was like what he made all his tracks on like just an old an older MPC I've
Chris Barker 38:29
always always stealing his stealing his stealing. No.
Jessy Lanza 38:34
I think he's I think his kids, his I think his son makes music too. So I wouldn't want to like think his son would want it.
Chris Barker 38:43
Dealing MPCs for children.
Jessy Lanza 38:48
Just that kind of person. Not cool.
Chris Barker 38:49
Person.
Jessy Lanza 38:51
No. Yeah.
Chris Barker 38:53
So do you. I mean, do you use that kind of environment in your music now?
Jessy Lanza 38:59
I do. So I have a 2000 XL and a turntable and like a scuzzy drive that is a huge pain in the ass to get from sources to get from the MPC to my computer, but honestly, I think the workflow is nice for me, and it is a bit tedious, but it keeps me engaged. And I've tried other other ways. I had that I'm like, blanking on what it's the Torres
Chris Barker 39:26
Oh, yeah. The Pioneer. Yeah,
Jessy Lanza 39:29
the pioneer the witch. It's really cool. But squid. Yeah. Yeah, those are really pretty amazing. And I've used one before, but I just I don't know. I have more fun with the MPC.
Chris Barker 39:43
Yeah, I think the different different quite different bits of gear I reviewed the squid for music tech and why do you think yeah, loved it, but But it had that. I guess all kit like that does but it had this moment where I sort of hated it. And then. And then there was like a, it was a moment where, and I've heard people talk about this about the like Octa tracks and things like that as well the electron gear, there's just a moment where it snaps in your head and you understand the entire workflow, and how you know how the menus operate all that kind of stuff. You kind of go, oh, yeah, get it now. And then it was so easy to use, but it took me ages. And he felt like I was never going to get there. And then it just clicked and you kind of like, oh, this is amazing how they've done this. And then I found it so easy and fun to use. And it was so great at generating ideas, especially with external hardware. It was wicked at like trigger in other sense and yeah, I loved it. They are cool.
Jessy Lanza 40:39
Yeah, like how you can sync them up to your CDJs if you like yeah, you just need a an Ethernet hub, and then you're just good to go. Which is pretty cool.
Chris Barker 40:49
Yes, it's, it's so cool. And yeah. The idea of having decks and synths and all BDF anyway, yeah, loved it,
Will Betts 40:56
but the MPC so the MPC 2000. XL, notice that you've in your music, there's a lot of the drums don't always feel super on the grid. Are you performing stuff? Live on it? Are you quanta are using like the MPC swing? The swing on the MPC? How are you? How are you approaching that?
Jessy Lanza 41:15
Yeah, totally just kind of like jiggling things around until they feel they feel good. We've had friends come in and play overtop of what we've done on a drum machine. But I Yeah, it's definitely a mix of samplers, both outside and inside the computer. Yeah, it's a real mishmash, for sure. There's just a lot of layers. If I could describe the music in one way, it would be like layered lots of layers
Chris Barker 41:48
for different equipment, as well as
Jessy Lanza 41:50
lots of different equipment. Yeah, because the way I work normally is I will start something and then give it to another producer that I'm working with, and they can add their thing and then give it back. And so it does turn into a bit of a mess. That always works out in the end. But yeah, there's always a lot of layers and versions and sounds like
Chris Barker 42:11
a podcast. Oh, yeah. Oh, works out in the end. Yeah, somehow.
Jessy Lanza 42:16
Yeah. Yeah, I know what you're saying about the using I've never actually made a track with the Octatrack. I've, like messed around with it before, but I don't know. Yeah, the workflow I have found hard to get past feel like I'm really I'm in like, a university course or something. I'm not.
Chris Barker 42:33
Yeah, yeah. But I've heard from people they say, you know, with the electronic stuff, then it's snap. So the great thing is, I think with the electoral stuff is one once you figure it out, it's kind of a similar method across all their devices. So it's like director on way learn the electron way and stay in that world. And I guess people do that with NPCs. And you know, people that's why people like machinery and other things. Also, the MIDI
Jessy Lanza 42:55
or the, the using the MPC. 2000. XL is like a brain is really it. It really works with everything else, like the clock that it sends is really sturdy and like so I was I factor that in with the Forever Studio, you know, I just want I want to have a sturdy clock, as well.
Chris Barker 43:17
Yeah, a lot of people use it for that reason on stage and stuff down. Because it's like it's really reliable. So we're approaching the final, final bit of studio kit. Mostly gonna be
Jessy Lanza 43:29
so I would want to Neumann you 47 Because, yeah, if it's a fantasy
Chris Barker 43:36
I've been I've been biding my time to say this. I'm gonna bring you some horrible news on why you don't have any speakers. Or rage So wait, like forever like you like yeah, yet? No, you haven't chosen any.
Will Betts 43:57
Right and I need some maybe might
Chris Barker 43:59
need some speakers or some headphones. If you're, I mean, maybe you don't ever want to hear this stuff.
Jessy Lanza 44:03
So for my so is this will this be my last item?
Chris Barker 44:07
This is your last bit of studio kit? Yeah.
Jessy Lanza 44:10
Okay, and like for a pair Does that count as one? Yes.
Will Betts 44:14
Yeah, we're not we're not that mean. Yes. Yeah, that's fine. Yeah.
Jessy Lanza 44:19
I have an attachment to the spiral groove Studio One speakers, the monitors. I would I would get those. They're really beautiful.
Chris Barker 44:27
That's a new choice on the on the podcast. So this is replacing your microphone then. We're not having any sing. No,
Jessy Lanza 44:33
no, don't I have said I had one more. No.
Chris Barker 44:38
Look, this is this is so horrible of me to say but I love the panic in your voice
Jessy Lanza 44:47
you're gonna have to go really? Yeah, um, oh, no. Have I reached capacity? I mean, I guess I would have to replace the
Chris Barker 44:56
something's gonna have to give here. Yeah, but that's if you want speakers. I mean, you could it will be bold
Will Betts 45:06
Ah, yeah.
Jessy Lanza 45:08
You know what, then I would have to replace the Prophet-5 Okay,
Chris Barker 45:15
so now we go back in time put it back on stage tight timeline is intact.
Jessy Lanza 45:22
Do I have a keyboard? I have the I have the roads. Have I have the sampler? Yeah, I mean, I just don't know what else could really go you know? Okay, it's tough you guys run it. Tight and tough ship.
Chris Barker 45:36
Yep. It's it's six items was no accident. It's kind of just that just the right amount of annoyance, isn't it?
Jessy Lanza 45:43
Yeah, I'm afraid I regret it later. But I don't know. Well,
Chris Barker 45:47
let's let's lock in those speakers. Tell us about the speakers though. Because it's first time they've appeared on the podcast for us.
Jessy Lanza 45:53
Yeah, they're just like, super. They're super nice. And I have a an attachment to them. Because when we were mixing my second album, Oh, no. We use them. For reference all the time. Like it was like an A B between the spiral grooves and then a nice pair of Adam speakers. But these ones just, yeah, I really like how they sound and we mixed one of my albums on them. So So will
Chris Barker 46:23
will tell us a bit about spiral grooves because I'm very excited that they're called spiral groove and not called or do they? Are they called spiral groove? S for two, three x's.
Will Betts 46:33
So it's a spiral grooves the company Studio One mixing monitor? Is the name of the monitor. These are expensive as well. This is $3,250 each. Oh, okay. That's a pair. That's a pair. Sorry. Yeah. Okay. But it's so it's not there. How
Chris Barker 46:51
do their high end? High end? Yeah. And are they the top of the? Do they only make one? Type?
Will Betts 46:57
This is it. That's it? Yeah. That's that's what they make. Wow.
Chris Barker 47:01
And what are they eight inch? 10 inch? A good
Will Betts 47:03
question. It looks like it's an eight inch seven or eight inch woofer. But yeah, I'm trying to find out more. Yes. What what had so how did you find out about them? Jesse, what was was the story there. So you're referencing with them. But in what studio?
Jessy Lanza 47:21
So in Jeremy Greenspan, who is in the junior boys, he has a really nice studio in Hamilton, Ontario. That's like my hometown where I used to live. And yeah, we spent a lot of time with those spiral groups, speakers, but he Yeah, he bought a pair to AB with his Adams. They're super nice, super even
Chris Barker 47:45
was the company from Well, are they a Canadian company or the definitely don't have much, much traction in Europe. Do they have not seen them in any studios?
Jessy Lanza 47:54
I thought that they were a British company. But I could be wrong. I
Will Betts 48:00
couldn't tell you. It's their site is one page. It says it says nothing about them. So
Chris Barker 48:08
that sounds pretty British. But it's priced in dollars.
Will Betts 48:11
So that it gives me a sense that it could be American. Yeah. Okay. Yeah. No information available easily. All
Chris Barker 48:18
right. Well,
Will Betts 48:19
I have to look into this.
Chris Barker 48:20
All that's left to do right is Will is going to give you a little rundown.
Will Betts 48:24
Before we do though, okay. Before we do let's let's get into that microphone. Because we got to the Neumann U 47. Didn't we? Yeah. And then we had to change this specifically. And we've kept five, we kept the Neumann why Jesse the nominee 47 Of all the microphones.
Jessy Lanza 48:43
So I think I don't have I sing really quietly. So I think that detail is important and character is important. And I think that getting a really nice solid recording that I can like, manipulate after the fact is important for it sounding good. So I just wanted to go big, you know, wanted to go big for this microphone. And this is a microphone that I don't think I'll ever be able to own in real life. So for this fantasy, I think it works and I'll just get a really, really good recording out of it. I think and then everybody's used to it's like if it's good enough for Frank Sinatra, it's good enough for me, you know, that's what I always say.
Will Betts 49:30
About loads of everything said
Jessy Lanza 49:33
he couldn't really he wasn't a great singer, but he had a lot of character you know, and that that resonates with me.
Will Betts 49:41
What about other mics that you've used of your career? What what are you using more more commonly to record your stuff?
Jessy Lanza 49:50
I have a Telefunken that I use live and in the studio. I think it's an M 81 which is a really nice mic. I haven't I'm an SM seven eight that i You are sorry SM seven B that I use but I have a lot of yeah singing quietly and I wish that I could do you get what's that? Can you tell me about the item that's like the not luxury item like does that does a really nice vocal booth Does that count as like non gear? I think
Chris Barker 50:25
I think you could have that in the studio fixtures and fittings. I think I think I think I think on that and think about upselling your dreams a little bit to something a bit more. I think you'd have a really nice vocal booth in your cube you know, we've got the nice layout like you said the show launch and all this kind of like cool furniture that you like. So think about something else if we can. So why do you think on that will if you take us through Have a listen to the stream studio, this forever studio, this cube studio and see what you think.
Will Betts 50:59
We're in Pasadena. Out the back of your house in a garden you have a cube. Inside the cube, surrounded by trees is a skylight with a rollout futon. For your three free items. You have an Apple Mac Studio with a 20 core CPU. Your interface is an RME Fireface your effects three and your DAW is Logic Pro X into your six items you have chosen your mother's Fender Rhodes 73 Your second item after a switch up from the sequential Prophet 5 stolen from Akiko Yano. we instead have the spiral groove Studio One monitors may be stolen from Jeremy Greenspan's studio do we think we still those ones? still excellent. Sorry, Jeremy. Item number three is the Eventide H 3000. Your fourth item is your dad's old Roland TR 909. Item five is an MPC 2000 XL in mint condition. And your final item is a Neumann U 47. Microphone. How do you think that's gonna work for you?
Jessy Lanza 52:11
It'll be fine. It'll be fine. Under the podcast?
Chris Barker 52:17
Yeah, that's fine.
Jessy Lanza 52:19
Yeah. You know, I wish I hadn't been so sentimental. I think I got distracted by my family history of instruments, but I think it'll be fine. And I've got that roads, so I'll be able to do something with that. And the sampler. Yeah, I'll be okay. I'll be okay.
Will Betts 52:41
And also for inspiration. I mean, this space is as much about as inspiration as is about Sonics. No.
Chris Barker 52:49
Yeah. Yeah, guess what?
Will Betts 52:52
Show whatever. Yeah.
Jessy Lanza 52:55
That's right. It was lovely. Hearing it read back. I thank you for that. You're welcome.
Chris Barker 53:01
Yeah, the luscious tones of Mr. William Betts there. We've talking luxury items now. So what is your final non bit non studio gear? So it's not not a bit of music what you have?
Jessy Lanza 53:14
Are we talking like a fancy water dispenser here? Like what I could we could
Chris Barker 53:18
say, if that's how low and easy you want to play it? I mean,
Will Betts 53:24
I feel like there's room to room to those dreams.
Chris Barker 53:26
Yeah, there's upselling of dreams out you fancy water dispenser of feels a bit low balling.
Jessy Lanza 53:33
I would love to have a sauna.
Chris Barker 53:39
Again, we're getting then okay. Yeah, that is a dispenser.
Jessy Lanza 53:43
Yeah, I want to have like a bucket. Like one of those buckets. You can pull so I can dump cold water from the fancy water dispenser and then go sit in the sauna. Okay, what a hot water hot cold facility like outside of my cube.
Chris Barker 53:57
Also like a sauna and a black ice bath plunge pool thing. That's right now, yes. Okay.
Will Betts 54:04
And why is that? Yeah.
Chris Barker 54:06
Where's this come from?
Jessy Lanza 54:07
Because? Yeah, it's a good way to feel good without doing drugs, you know?
Chris Barker 54:14
2.5 times dopamine. Yeah,
Jessy Lanza 54:17
I think it's the only thing I've come across where it's like, okay, if I was sober, then I could just see getting really into spas. You know? Yeah. That's where it comes from.
Chris Barker 54:29
I've got I've got a terrible spa habit. I'm on five spas a day now.
Will Betts 54:33
It's crazy. Explain to your glow. Chris.
Chris Barker 54:36
I like it gets late at night. I'm just one more spa. Just need it just.
Jessy Lanza 54:41
It's very wholesome. You know, it's a little consequence, but you do feel very good.
Chris Barker 54:46
Yeah, it's the worst thing. The first bar is free. And they're like, oh, just try it. See, we liked the spa. And I was kind of like, Yeah, I'll go and try the spa. And now it's crazy. Um, you know,
Will Betts 54:58
just just splash the rocks one more time. It's fine. Just one more. It's almost flat on the right. Yeah. And then I'm done. Yeah, just one more.
Chris Barker 55:07
Yeah, nobody, it's true. The ice bath thing is the same. It's like 2.5% dopamine increase after you do it. And
Will Betts 55:15
it's like 3.2 and 2.5 times. So you get into a nice is this the thing? Is this the theory? Because yeah, you get into an ice bath. And afterwards the rest of the day, you have 2.5 times the amount of dopamine in your system for the entire day than you would if you hadn't. I don't
Chris Barker 55:29
even know if isn't it a an entire day? I mean, depends on on your days, you know?
Will Betts 55:34
But between plunge bar, yeah. But
Chris Barker 55:37
nobody's some, it's because it's like cocaine dips at after like 10 minutes or something. It's like nobody spikes your dopamine levels, like a lot of drugs generally do that. And they and that's why you keep trying to get the hit. But people don't get addicted to ice baths because it's a it's, you know, it's the it's the slow energy release. It's a carbohydrate of I don't know what I've learned science with Chris on the missing.
Jessy Lanza 56:10
I'm learning a lot. I didn't know about the dopamine. The exact levels. Yeah, contrast. I'd
Chris Barker 56:15
read it the other day. I read random stuff and it stays. It stays in my mind. Okay, well, before we before we wrap up the podcast, and now we've got the ice ice bath sauna situation locked in. Tell us about what's coming up for you. Big albums tours.
Jessy Lanza 56:31
Yeah, so my new album Love hallucination comes out July 28. Awesome. hyperdub. I'm going on a big tour. In the US September, October and then London. I'm playing the Roundhouse on November 11. Amazing. There's a big tour in the EU. And in I think there's another show bank, Manchester in the UK. Yeah, big. Just lots of touring. And you can see all the dates on my website, which is Jesse lanza.com. Excellent. Well,
Chris Barker 57:03
thank you so so much for joining us. It's been hilarious and very, very, really insane. And I loved it. Thank you.
Jessy Lanza 57:10
Thank you. Thank you for the upsells too. I learned a lot and it was really nice to see my dreams reflected back at me through that story.
Chris Barker 57:17
Yeah. We love it. Thank you so much, Jesse.
Will Betts 57:21
Thank you
Chris Barker 57:25
another great show. Well, season
Will Betts 57:27
ended season ended. Yeah, yes. You Lanza. What a lovely, lovely guests to end the season on.
Chris Barker 57:34
Yeah. And I like the sentimentality. I like learning about people's, you know, how they got into music. And you know, it's nice having that having those stories and those attachments to equipment. I think people do form attachments to equipment, just like any anything else, you know, there's no reason to not be attached to a 909 like a same way that somebody gets attached to a guitar or a piano.
Will Betts 57:53
Some of them are weird as well, like me and my dad years ago, we made some acoustic panels, which I will be honest, are not the best acoustic panels one can own. Right, but I will not get rid of them. No. Because you made them. Yeah, he made them. Yeah. And it's this thing of like, I won't give it to my first guitar either. It was Yeah. Have you still got like an old instrument? You must have?
Chris Barker 58:12
Yeah, yeah, I've well, especially with guitar. I've got a guitar. An old like Jazzmaster type Utah that I bought thinking that I was going to be an incredible rock guitarist that I used to record a bit and then it sort of needs sorting out a lot, but Right. And I should either sell it or get it sorted out and neither has happened. So it just sort of exists there. But yeah,
Will Betts 58:33
I see you have you have an unused Jazzmaster I have a half built Jazzmaster we should have we should finally form the band. Chris
Chris Barker 58:41
finally formed the band. Yes, we can. Yes. Yeah, I think I think you're right with that kind of, I mean, the stupid things I hold on to aren't even really equipment, but it's stuff around music. Like I've got like a I've got a boss, bass synthesizer pedal watch. That's probably worth a body. Google. I just said, listeners. You'll see how ridiculous it is. It looks like a boss stomp pedal. But it's a watch. And it's the bass synthesizer one. And it was something sent out by boss in like the early 90s. late 90s, early 2000s to to journalists and stuff and yeah,
Will Betts 59:24
I have found it. Yeah,
Chris Barker 59:25
I've even got a they sent a LIKE A BOSS pedal mantelpiece clock, but it just looks like a pedal. It's like, those are random stuff. Yeah, I love that. Very cool. Right. Well, that's it wrap for the season. Well,
Will Betts 59:40
and if you liked the show, don't forget that you can leave us a nice little review. You can tell your friends. Tell your family tell anyone literally anyone who will listen
Chris Barker 59:49
and email us editors at music tech.com for ideas for guests. Things you like ideas for episodes, new rules we can implement we love a new rule I mean maybe it's time here well that's it and we will see you next time next series for more adventures in studio for evidence goodbye bye bye
Transcribed by https://otter.ai