Multi-instrumentalist Youngr tries to whittle down his studio to only six items. Will he be able to decide between two classic polysynths? And has he considered how to deal with the angry geese in his chosen location? Listen to this episode to find out.
Chris Barker:
Hi, I'm Chris Barker.
Will Betts:
And I'm Will Betts. And this is the Music Tech My Forever Studio podcast.
Chris Barker:
In this podcast, we talk to artists, musicians, producers, studio engineers, and fellow gear heads about their fantasy studio.
Will Betts:
They'll choose where they want to have their studio, describe the studio vibe, but we are cruel masters, and they can only have six pieces of gear in that studio forever.
Chris Barker:
That's right. They'll get a computer, an audio interface, a DAW of their choice. But then they'll only have the six items and one luxury item that's non-gear related to choose from.
Will Betts:
In this episode, we're talking to multi instrumentalist and producer Dario Darnell, AKA Youngr.
Chris Barker:
I actually discovered Darnell's music when I saw a video of him performing live on social media. He was an incredible combination of looping, triggers, live performance, live instruments. And those videos blowing up has given him an army of fans and a packed touring schedule. Today we're going to discover the tools he'd take from the stage to his studio forever.
Will Betts:
Here we go then. This is Music Tech Magazine's My Forever Studio with Youngr. Welcome.
Youngr:
Welcome. Thank you very much. Nice to meet you.
Chris Barker:
Thank you. Let's talk a bit about the location of the studio.
Youngr:
Okay.
Chris Barker:
Because that's got to be the first place. Where are we going to put this? I mean, you must be relatively well travelled touring, yeah?
Youngr:
Relatively well travelled, yeah. But the place I've gone for is Sweden, because it's actually in my dad's house that he has, which is in South Sweden, and it's like in a forest with a lake in the background. It's just serene, beautiful scenery. And I've always just been like, "This would be the best place in the world for a studio." Yeah.
Chris Barker:
So are we allowed to qualify who your dad is at this point?
Youngr:
We can. Yes.
Chris Barker:
Because people might not know he lives in Sweden as well.
Youngr:
Yes. He has a house there, but he's also trying to move out of that house to move to Maui, back to Maui.
Will Betts:
Oh, okay.
Chris Barker:
So you can move your studio straight in there.
Youngr:
That's what I'm thinking. He said, "Yo, son. I'm going to leave this house." I'm like, "Wait, wait, wait. Don't sell it. Don't sell it. I need a hit record first. Just wait."
Chris Barker:
So, for those that don't know, Dario's father is Kid Creole, the legendary Kid Creole, from Kid Creole and the Coconuts.
Youngr:
He is.
Chris Barker:
So, yeah, and has an incredible place in Sweden that-
Youngr:
Yeah. Lovely place. Brings all the family there. We were just there for his birthday last week, and yeah. It's an amazing place. And he was talking about selling it, and it's just always been a dream of mine, because he's got this big games room in there. There's like a pool room, and a table tennis thing, I want to keep dreaming, just getting all that shit out of there, and where I'd put things. It'd be amazing.
Chris Barker:
Don't get me wrong, but that's an unusual location, I would say.
Youngr:
Yeah.
Chris Barker:
I think Kid Creole and the Coconuts, I would expect them to be not in cold, old Sweden.
Youngr:
In cold Sweden, I know. That's why he's moving back to Hawaii, because he's done with the cold. There's three months out of the year which are hot and lovely. But the other nine are there, yeah.
Chris Barker:
And for your own personal choice then, obviously you know it as a beautiful location, but you're happy with that kind of weather scenario?
Youngr:
Yeah, no, I-
Chris Barker:
I guess living in London, it's not too different?
Youngr:
Yeah. There's something in it. I don't like being cold, but I like being wrapped up. I like having layers on and being warm, but cosy. Come in the house, it's nice and warm. Put on the fire, whatever. I mean, it's that kind of thing. I say that, but when it's cold, I'm like, "Oh, I choose summer."
Chris Barker:
Then when it's summer, you're unprepared for it. You're like, "Oh."
Youngr:
Yeah, exactly. Exactly. We're never happy, are we? But, yeah. I love the location. It's just beautiful.
Chris Barker:
And tell us about the vibe as well, because it's not just location. Studios come in many forms. I'm sure you know.
Youngr:
Yeah.
Chris Barker:
Some are wooden and organic.
Youngr:
Yeah, it's wooden beams on the top. There's lots of windows. The window you look out, one side you look out and it's a lake. It just has geese and cows. It feels like you look out and your mind feels open, and open to creativity. It's like endless rolling Swedish fields. And the other way in the forest. Sort of dense lovely forest, with lots of wild boar in there.
Will Betts:
Delicious.
Chris Barker:
Scary.
Youngr:
Yeah, exactly. Mmm. But, yeah. It's just lovely. It's a very natural scenic, just like very organic vibe.
Chris Barker:
Nice.
Will Betts:
Right. Well, let's kick it off in terms of gear.
Youngr:
Yeah.
Will Betts:
You get some freebies here.
Youngr:
Right, okay. Nice.
Will Betts:
You're allowed to have a computer with a door on it.
Youngr:
Lovely.
Will Betts:
What would you have?
Youngr:
I'm going Ableton, just because I know it.
Will Betts:
Yeah?
Youngr:
Ableton, yeah. And also, when I write tunes, I like to jam them live. So I like to put it into Clip View a lot. Loop things. Change things up, and it makes you think about it less structurally. You know, linear. You can think of it in blocks, which is nice. So, I grew up on Cubase SX. That was my jam.
Will Betts:
The dream.
Youngr:
The dream. Yeah. That was my jam for a lot of music tech in college time then.
Chris Barker:
No judging, but wasn't that the last crackable version of Cubase? Is that the?
Youngr:
Without the dongle?
Chris Barker:
Yeah.
Youngr:
Yes. It was all that long ago. I definitely had a cracked version.
Chris Barker:
Yeah.
Youngr:
Yeah.
Chris Barker:
When people mention that version specifically, I think.
Youngr:
That's yeah.
Will Betts:
For legal reasons, we can't condone cracking software. Do not crack software.
Chris Barker:
Oh, we're not condoning it at all. But I mean, yeah. Yeah.
Youngr:
Yeah, the one after that have to have a little dongle. Oh it's Cubase 4, and then 5, and then when the live shows started kicking off, I moved to Ableton.
Chris Barker:
Yeah. Nice. And obviously on a Mac then? Not a PC?
Youngr:
Mac, yeah.
Chris Barker:
Mac. Right.
Youngr:
But I did start on Sony VAIO.
Chris Barker:
VAIO, yeah?
Youngr:
I'm actually pretty proud of that. I made a computer blow up.
Will Betts:
How? What did you do?
Youngr:
I was mixing down on SX back in LIPA, when I went to Liverpool uni. Producing someone's song, and I was just like, "Plugins, plugins, plugins, plugins." And then I went to bounce down, and I was watching it, it was like whoosh, the fan. And then it just shh, smoke just started coming up. And I was like, "That's really fucking annoying, because I needed that bounce down." But I was like, "It's pretty baller."
Chris Barker:
Yeah, that is.
Youngr:
To make a computer blow up.
Chris Barker:
Yeah.
Will Betts:
Wow.
Chris Barker:
We won't dwell too much on computing, because it's kind of boring. But one detail is, are you going to be a laptop guy then, so you can take it live and have it in the studio. Or are you going have a?
Youngr:
Yeah, laptop, because I like to move it around.
Chris Barker:
Yeah.
Youngr:
Sample some wild boar, and some geese, and some shit.
Chris Barker:
Exactly, yeah. Danger.
Youngr:
Yeah, exactly.
Chris Barker:
Both of those animals are quite vicious.
Youngr:
Yeah, they are.
Chris Barker:
To track down a sample and-
Youngr:
Geese, shh, they're so loud.
Will Betts:
Scary thought, yeah?
Chris Barker:
Great open high hat sounds though.
Youngr:
Fuck.
Chris Barker:
Everybody knows that about geese.
Youngr:
Nature's open high hat.
Will Betts:
Nature's open high hat. That's the quote with the podcast for sure.
Chris Barker:
The goose. Nature's open high hat.
Youngr:
That's the sample pack, isn't it? The goose. Shit, that's good.
Chris Barker:
Right.
Will Betts:
Okay. So you're recording with the internal mic on your laptop.
Youngr:
Yeah.
Will Betts:
Geese, boar, et cetera. You also get an audio interface.
Youngr:
Ah, yeah. I've go t the Apollo 8p at the moment. Is it an 8p? I think it's an 8p. I'll stick with that then.
Will Betts:
Twist or stick?
Youngr:
I'm going to stick with it.
Will Betts:
Stick.
Youngr:
Just because I know it, and it's kind of bad ass. And I love the UAD plugins.
Chris Barker:
And you will only get the stock plugins, don't forget.
Youngr:
Yeah. I'm pretty sure I still run on them.
Chris Barker:
That come with, yeah, yeah.
Youngr:
Yeah.
Chris Barker:
We have a strict rule of no bundles.
Youngr:
No bundles. Interesting.
Chris Barker:
No bundles.
Youngr:
Oh, I do actually have a few add-ons. No, but the basics are good on that.
Chris Barker:
Okay. You can add the add-ons, but they will count towards your six later on. Which we're going to start on now. And I guess the first of the six, you have to hear it. So you're going to need some headphones or some monitors [crosstalk 00:07:03].
Youngr:
Ah, I didn't think about that.
Will Betts:
Uh-oh.
Chris Barker:
Uh-oh.
Youngr:
Oh, I mean, I use ADAMs at the moment, but-
Chris Barker:
It's a dream.
Will Betts:
Money is no object here.
Youngr:
Money. You know, I don't really know. See my gear is more on the instrument side. My brother's like the tech guy. He knows all the ins and outs of that. But I'm like, if it makes sound, it's great. But ADAMs are great. Let's go for like the most expensive ADAMs on the market. What are they?
Will Betts:
Look that up.
Youngr:
Ah, yeah. Let's Google that.
Will Betts:
It's about sixty grand.
Chris Barker:
Yeah.
Will Betts:
I've been trying to push the soft fit mounted add ins on people.
Youngr:
Sixty?
Will Betts:
Yeah.
Youngr:
Sixty thousand pounds?
Chris Barker:
They're not going to have-
Will Betts:
Ah, maybe it was forty.
Youngr:
Do they make you a hit record?
Will Betts:
They do. They do. Yeah.
Youngr:
Sick.
Chris Barker:
The ADAMs family.
Will Betts:
You want the soft fit mounted ones.
Youngr:
I just lost it. I like sort of soft fit mount.
Will Betts:
Yeah, soft fit.
Chris Barker:
Main monitor. Soft fit mount.
Will Betts:
I do say soft fit a lot.
Chris Barker:
The S6X. Are these the ones? These bad boys.
Youngr:
Oh, those are massive, yeah.
Will Betts:
Let me see that.
Chris Barker:
Look at those.
Youngr:
These are, oh, I'm in. How many droves have we got there?
Will Betts:
Jesus.
Youngr:
Enough.
Chris Barker:
And that's just one.
Youngr:
That's just one of two.
Chris Barker:
Oh. It does look like a Bluetooth speaker that you would have. No. Wow.
Youngr:
Let's put them in the wall.
Will Betts:
Put them in the wall.
Youngr:
Put them in the wall. Job done. Okay. I'm in. Wire them up. So, what are those? ADAM?
Chris Barker:
ADAM S6X.
Youngr:
S6X.
Chris Barker:
I'm going to look for a price on these bad boys.
Youngr:
Ooh.
Will Betts:
Okay. So why ADAMs for you?
Youngr:
It's nice just because I know, I've used them for so long now. But when I went to Dean's studio, and he was running out of, oh, I can't remember what he had. But it was, I've heard-
Chris Barker:
He has too many monitors.
Youngr:
Right, he's always like-
Chris Barker:
Every time I go, he's got like different ones.
Youngr:
Always A/B'ing things.
Will Betts:
This is who, sorry?
Youngr:
Dean Ramirez.
Chris Barker:
Dean Ramirez. Yeah, I think I mentioned him before without naming him on the podcast. He's a bit of a monitor addict.
Youngr:
Yes.
Chris Barker:
Every time I go he goes-
Youngr:
He's always trying for the new, yeah.
Chris Barker:
Any monitor manufacturers out there, if you want to sell a pair of monitors.
Youngr:
He's your man.
Chris Barker:
So and demo some to Dean, and he will buy them.
Youngr:
Yeah, I've heard some pretty incredible monitors. But I just don't know. If someone wants to reach out and tell me, give me some advice, then I'm all ears.
Chris Barker:
So, the ADAM audio S6X is per speaker are a snip at $20,000.
Youngr:
Woo.
Will Betts:
US?
Chris Barker:
US. Oh, yeah. US. So you get, you know.
Youngr:
Or you talk the conversion.
Chris Barker:
You've got the conversion, yeah. Shipping I think would probably be quite a lot.
Youngr:
Okay, so we're looking at that site. 40,000, that's like what, 35,000 quid?
Will Betts:
Well if-
Chris Barker:
Yeah, yeah, yeah. Give or take.
Youngr:
Lovely.
Will Betts:
If you don't get the hit, then you can just sell the speakers, and it's done.
Chris Barker:
Yeah, done.
Youngr:
Probably the same amount of money you get now.
Chris Barker:
Yeah.
Youngr:
A good stream on Spotify, anyway. Okay.
Chris Barker:
So, first item down.
Youngr:
Yes.
Chris Barker:
Big, bad ass monitors.
Youngr:
The second item would probably be a Steinway grand piano.
Chris Barker:
I'm surprised how popular the grand piano has been on this podcast.
Youngr:
It's because-
Chris Barker:
I thought it would be just synth heads speaking about vintage rare synths. But everybody has a grand piano.
Will Betts:
Everyone wants a grand, yeah.
Youngr:
Either a grand, grands are a bit showy offy. I do like the upright.
Chris Barker:
You've got 40 grand speakers. I think you're fine.
Youngr:
I know, exactly.
Will Betts:
You don't need to impress any more.
Youngr:
He's like, "Oh, the speakers are cool, but the piano is overkill."
Chris Barker:
That's just so bougie,
Youngr:
Overkill. Yeah, yeah. Bougie. I don't need it. Yeah. Yes, that is just, when was the last time you played a grand?
Chris Barker:
Some flash studio. I can't remember where.
Youngr:
Right.
Chris Barker:
But yeah. Probably in 301 Studios in Cologne or something, eight years ago. But yeah, every time you touch it-
Youngr:
It's just ridiculous.
Chris Barker:
Actually, no. There's a lady who was in the Hackney complex who had an amazing-
Youngr:
Lucinda.
Chris Barker:
Lucinda.
Youngr:
She recorded the piano on the new single using that.
Chris Barker:
Ah.
Youngr:
Yeah.
Chris Barker:
That was the one I played on. I was terrified, because it was so beautiful.
Youngr:
It is gorgeous.
Chris Barker:
Yeah.
Youngr:
It's amazing. Every time you touch it, a song comes out of it. It's amazing.
Chris Barker:
Yeah, yeah. And even when you're a horrible piano player like me, it just sounds jazzy and discordant. When you get it wrong you're like, "Oh, maybe it is right." Do you know what I mean, though?
Youngr:
When it's wrong though.
Chris Barker:
When it's such a good instrument.
Youngr:
Yes, I know.
Chris Barker:
And I guess the intonation, or whatever it is, just like, hmmm.
Youngr:
The dissonance.
Chris Barker:
I'm really glad people got to see the actions I'm making.
Youngr:
Shoulders up.
Chris Barker:
Yeah, shoulders. Okay. Let's stop describing it. So, yes. And specifically Steinway then?
Youngr:
Yeah. Steinway's just, can't go wrong.
Chris Barker:
So, Steinway grand.
Youngr:
Yeah, would be the first piece. And then the second piece, wow.
Chris Barker:
So the third piece, in fact.
Youngr:
Third piece.
Chris Barker:
Third piece we're on.
Youngr:
It was Oberheim OB-8.
Chris Barker:
Xa?
Youngr:
OB-Xa. The one.
Chris Barker:
Yeah. The D. Train one?
Youngr:
Yes.
Chris Barker:
Yeah.
Youngr:
Just the glorious.
Chris Barker:
Big blue. Yeah, yeah.
Youngr:
The big blue one, yeah. Which is the one that Prince did?
Chris Barker:
Yeah. OB-8.
Youngr:
OB-8. That's it.
Chris Barker:
OB-8. But there's also the OB-Xa.
Youngr:
Oh.
Chris Barker:
But the X-
Will Betts:
I think OB-8.
Chris Barker:
Oh, yeah?
Will Betts:
They're available for a mere £5,000.
Youngr:
Beautiful. Easy.
Chris Barker:
So yeah, it's-
Will Betts:
Sure. It's chump change after the monitors, basically.
Youngr:
Exactly.
Chris Barker:
It's the 999 synth. It's the Van Halen Jump synth, I believe. It's the D. Train synth. P from Chromeo had D. Train's actual one.
Youngr:
No way.
Will Betts:
What?
Chris Barker:
Yeah.
Youngr:
That's good.
Chris Barker:
That's a fact.
Youngr:
Studio facts.
Chris Barker:
Studio facts. I played on that bad boy, and it was scary. I was like, "Uh, history."
Youngr:
Yeah.
Chris Barker:
Big Prince fan? Is that the way-
Youngr:
Huge Prince fan, yeah.
Chris Barker:
Yeah.
Youngr:
And I went through the stage of really wanting to produce loads of throw back vibes with those big pads of brass pads, and-
Chris Barker:
Those are those mod.
Youngr:
Yeah, I've kind of gone off that a little bit. But still, I found texturally and if you put them in a chorus, or you put the pads, or something. They're just so lush. They were in someone's studio in New York, and I was producing with them. And you could put it on every... As soon as you loaded it up, played it, it just felt right and felt good. I don't know what it was.
Chris Barker:
And what's it like as a player? Because see anything we sort of never talk about with these, because they were instruments in their own right back then, and now they're kind of used via MIDI.
Youngr:
Yeah, it's great. And I just love things with knobs. You know what I mean?
Will Betts:
Yeah.
Chris Barker:
Yeah.
Youngr:
Fiddle a knob, and you lift up a fader and get-
Chris Barker:
Straight in.
Youngr:
... straight in. Yeah. I bought a Prophet 08 off Dean, actually, again yeah. The only-
Chris Barker:
Is it the one that's not port, it's the one with the endless rotaries?
Youngr:
Yes.
Chris Barker:
The first version, yeah.
Youngr:
Right. So, and there's a screen. And it's just that little bit too fiddly for me to get-
Chris Barker:
Because they did a revision, didn't they? Where they-
Youngr:
Stopped the-
Chris Barker:
... stopped the end knob. So they stopped it being endless rotaries.
Youngr:
Oh.
Will Betts:
Yeah.
Chris Barker:
Because a lot of people complained about that.
Youngr:
That would be great. I didn't know that.
Chris Barker:
Yeah.
Youngr:
Dean gypped me off there, didn't he? He knew. He gypped me off.
Will Betts:
Gypped you right off.
Youngr:
He got me.
Chris Barker:
Yeah.
Youngr:
He said, "Look at this beautiful synth with endless turning knobs." Endless, you say? Endless? Wow. But I played a Prophet 06 is it? Or just the six?
Chris Barker:
Yeah, the new little six one that they do.
Youngr:
No, the original.
Chris Barker:
Oh, the original. Five.
Youngr:
Five. It's mono, right?
Chris Barker:
No, poly.
Will Betts:
No, that's poly.
Youngr:
Poly?
Chris Barker:
Yeah, it's a poly.
Youngr:
I was in a studio in LA, when was that? Last year?
Chris Barker:
Unless it was broken. Then it could have been.
Youngr:
Yeah, maybe. Exactly. No, it was some random guy. He lived in the studio, and I was there for 10 days. And instead of doing an Air B&B and hiring that studio, we were like, "Let's combine both these things."
Chris Barker:
Yeah. Nice.
Youngr:
And he had a wicked studio. But that would be my next one. The Prophet-5.
Chris Barker:
Wow, we're racing through these.
Will Betts:
Whoa, okay. So you're going an OB-8 and a Prophet 5.
Youngr:
Exactly. I'm going both of them.
Chris Barker:
Wow.
Will Betts:
Bloody hell.
Chris Barker:
That's two big mean polys.
Youngr:
Yeah.
Chris Barker:
I mean, it is dream studio. I don't want to have to upsell your dreams as we've done previously. But like-
Will Betts:
It's a segment we do now. Upselling your dreams.
Chris Barker:
But there is such thing as a Prophet 10. Have you seen the Prophet 10?
Youngr:
Ah, no.
Chris Barker:
It's quite rare. Two keyboards.
Youngr:
Oh. I like this.
Will Betts:
It's-
Youngr:
Actually-
Will Betts:
Yeah, go on. Go on.
Youngr:
I'm going to, so the Oberheim and the Prophet are like really in the same bracket for me. I was trying to fight between which one it would actually be. That does look very nice.
Chris Barker:
So we're showing a picture of the Prophet 10 here. Do Google it if you've never seen one.
Youngr:
Is this new? Because that's old.
Chris Barker:
Oh, no. It's old.
Will Betts:
No, it's old.
Chris Barker:
It's just rare.
Will Betts:
Two keyboards, two manuals, and a big set of controls along the top as well.
Chris Barker:
Yeah.
Youngr:
Wow. That's beautiful.
Chris Barker:
It's good for a player like you.
Youngr:
Yeah.
Chris Barker:
Yeah.
Will Betts:
That's interesting on the point of you being a live performer as well. Do you find that if you're having to menu dive, it kills your set?
Youngr:
Yeah. I've got this wicked synth, the KORG Delta. You ever played it?
Chris Barker:
Yep.
Youngr:
It is great. It's just knobs and faders. You have to take a picture of it if you want to remember that sound. I just love it. Same with presets, obviously wicked. But when you're writing in the studio, and just trying to get a sound together, just knob fiddling's great.
Chris Barker:
Oh, is it a string synth?
Youngr:
There's a string, and there's a synthesiser. There's two separate sections.
Chris Barker:
There we go.
Will Betts:
Oh, okay.
Chris Barker:
It's KORG string. It's got a joystick.
Youngr:
Yeah.
Will Betts:
It has got a joystick on it.
Chris Barker:
Joystick thoughts? I love a joystick, right?
Youngr:
Love a joystick.
Chris Barker:
Yeah.
Youngr:
Joystick's are fantastic.
Chris Barker:
They came out of fashion, didn't they, with the pitch?
Youngr:
I think because they broke a lot. I mean, mine's broken off mine.
Chris Barker:
Ah.
Youngr:
So it's like a sticky one.
Chris Barker:
But when we're playing, it just feels more nice.
Youngr:
It feels better.
Chris Barker:
It feels like a guitar bend, doesn't it?
Youngr:
Yes.
Chris Barker:
It feels more natural.
Youngr:
Yeah.
Chris Barker:
Yeah.
Youngr:
So, I'm going to hang the Prophet and the Oberheim on the same, I'm going to-
Chris Barker:
Which one are you going to get rid of then?
Will Betts:
Okay. Let's come back to them. You can pick at the end once we've got to the last.
Youngr:
Right, right.
Will Betts:
Okay.
Youngr:
Because I don't think I want two of them on the list.
Will Betts:
Okay. Okay. That's sensible. That's sensible. You're a wise man.
Youngr:
Yeah, I know.
Chris Barker:
That gives you four more choices, which is enough.
Youngr:
Yeah, yeah.
Will Betts:
Okay. So onto number four then.
Youngr:
It would be, I haven't actually Googled the make of it, but a nice vintage Ludwig.
Chris Barker:
Drum kit?
Youngr:
Drum kit.
Chris Barker:
Okay.
Youngr:
Lovely shell. The cymbals I've got sorted. I've got Meinl, and I love Meinl. They're amazing.
Chris Barker:
We can bundle all this I think with drum kit.
Will Betts:
Yeah, that's one things.
Chris Barker:
A drum kit comes with cymbals.
Youngr:
Yeah, I'm thinking like-
Will Betts:
That's the one bundle we allow.
Chris Barker:
Yeah.
Youngr:
Thank you. 22 inch kit, 10 inch tom, 14 inch floor tom, 14 inch snare. Nice deep snare. Ludwig. That's what I'm going for.
Will Betts:
What's the snare made of?
Youngr:
Snare's brass. I'm going to go with brass, I believe.
Will Betts:
Ooh. Yeah.
Youngr:
Yeah. Nice deep brass snare. I've got a sling line at the moment, and it's really, really old. You shoot it down, muffle it up, and it's just like boof, boof.
Chris Barker:
Nice.
Youngr:
Love it. But it doesn't work live. I tried it live, and it just doesn't cut through. You need a bit-
Chris Barker:
So you have a bit of a hybrid live with your drums, right?
Youngr:
Mm-hmm (affirmative).
Chris Barker:
So it's the electronic kit, basically?
Youngr:
What you saw wasn't the usual one. It's because we had to kind of dumb it down for the small room.
Chris Barker:
So it depends on the show, usually, yeah.
Youngr:
Depends on the show. Usually if we're doing like a festival, it's like live drums, you know? We got kick in, kick out. And then a kick trigger.
Chris Barker:
Okay.
Youngr:
So my man's got three kicks. And then snare top, snare bottom, snare trigger. And there's a second snare. And then I've got wrap floor, and then the TD-50 pads all around, with all my own samples. And a bunch of BT-1s, and lots of percussion. Bongos, timbales, cowbells, tambourines, hand percussion, yeah. Sort of stuff.
Chris Barker:
So, this is a throw away question not related to the podcast. But if the stage is big enough, I mean, your manager's sat over there. Does he have to tell you, "Can we just scale this back a bit?"
Youngr:
There's been a few times. There's been a few times. Not my manager. It's usually my techs going, "Come on. I can't set up any more shit. Just stop." I saw some timpanis in Abbey Road, and I was like, would make a good little section in the show.
Chris Barker:
Very true.
Youngr:
Just one little doof doof would be fucking sick.
Chris Barker:
Yeah. A gong, maybe behind? A gong?
Youngr:
A one hit gong.
Chris Barker:
Just right at the end of the set.
Youngr:
Right at the end. That's all you need. But it takes like two hours to set it up.
Will Betts:
Worth it.
Youngr:
Yeah.
Chris Barker:
And different ones depending on the song that you're ending with. So it has to be in tune with the last track.
Youngr:
Exactly.
Will Betts:
Yeah.
Chris Barker:
Yeah.
Youngr:
I saw a Gorillaz show in Switzerland, and I think you were there as well. He has these old bells from, oh where is it? It's like some ancient bells that they hit once in the set. Anyway, the guy from the truck dropped it and cracked this bell. And Damon Albarn, you could just see he was pissed. And England just lost us to a football game in the World Cup. It was that day.
Will Betts:
Double whammy.
Chris Barker:
Damon was probably gifted that by some tribe that nobody else gets to meet.
Youngr:
No, it was like a Tibetan fucking bell.
Chris Barker:
Yeah.
Will Betts:
Right.
Youngr:
And he used it once. It was all over the new album. Anyway, he plays it in this one song, and he's like, "Just so you can fucking hear how it sounds and how here it is." And he just like, "Anyway." Bang. He was like joking, but real serious. There was a tech sweating in the back for sure. He was sweating.
Chris Barker:
Or he'd already been told to go home.
Youngr:
Yeah, yeah. He was on his merry way.
Chris Barker:
Yeah, drop it.
Youngr:
Dropping a Tibetan bell.
Chris Barker:
Yes.
Youngr:
That's thousands of years old.
Will Betts:
So that's your fifth pick, then. A Tibetan bell presumably, is it?
Youngr:
Tibetan bell. Yeah, yeah, yeah.
Will Betts:
Unbroken Tibetan bell.
Chris Barker:
Quickly though, why Ludwig though? Because you were very specific.
Youngr:
Ludwig, I've just started to mess around with those kits, and they're just lovely. The shells, and finish, and even the look of them is lovely. Yeah. I like the vintage sound, because I think because of what I do is all electronic, I'm never going to produce a record that sounds vintage, or like 60s sound. It's always going to have some kind of new electronic electrified element. So it's more interesting for me to mix really old with new. So, yeah. That's why.
Chris Barker:
Cool.
Will Betts:
And I think-
Youngr:
I think they old drum kits very well, Ludwig.
Will Betts:
And are you recording this drum kit as well?
Youngr:
Yeah. For sure.
Will Betts:
And how are you recording? How are you processing this thing?
Youngr:
This thing is-
Chris Barker:
Especially with your list of items so far.
Will Betts:
Yeah, you've got two items left, mate.
Youngr:
So, oh. A microphone's supposed to be in this as well. Interesting. Well here's the next interesting thing.
Chris Barker:
Otherwise you've got a grand piano and a drum kit.
Youngr:
Yeah, yeah, yeah.
Will Betts:
And no mics.
Youngr:
But all you need is a Voice Note. Voice Note, make your hit record there. Come back to London. Record it-
Chris Barker:
No, you're trapped. It's a forever studio.
Will Betts:
Mate, you can't go back to London. You're stuck in Sweden.
Youngr:
Oh, I'm there.
Will Betts:
You're there. It's your forever studio.
Youngr:
I'm done, forever.
Will Betts:
It's in the title.
Youngr:
Maybe that's the next thing Voice Notes. Releasing Voice Notes.
Will Betts:
What, in order to get out of this? You're going to change your entire recording set up because of this? Hats off, sir.
Youngr:
I'm into it. I'm into it. Think on your toes. But, wait. What was the question?
Chris Barker:
So, you've got two items left, and nothing-
Youngr:
Oh, oh. Microphone. So I discovered my first ever, it was a Fostex 8 track recorder. My dad bought it for me on my 12th birthday, or 13th. And I was moving house. I'm currently in the process of moving house. And I found this thing in a PS2 case. I was like, "What is this? I don't have a PS2." Opened it. And it was like, ta-da. This holy thing. And it brought back floods of memories, because I loaded it up and listened to these songs which I thought were amazing. I mean, amazing's a far cry. But I used one mic on the drum kit. I remember it was my bedroom, it was like an SM15 eight something, dangling off my light over the drums. And they sound sick. And I was listening going, "That's one mic. And it's brilliant." And you produce things around it. I guess you couldn't make dance music with one drum link. Anyway. It made me realise limitations in creativity are actually really good sometimes, you know?
Chris Barker:
So what was the Fostex? Let's look that up?
Youngr:
It was a Fostex 8 track. I wish I could remember.
Chris Barker:
It would be interesting to see which particular one, because people have lots of memories about this. Was it hard disc, or was it cassette?
Youngr:
It was internal. It was internal memory.
Chris Barker:
Memory. So maybe the, is it the-
Youngr:
Eight faders.
Will Betts:
VF80 maybe?
Youngr:
VF80. It's that!
Chris Barker:
Yeah, there we go.
Youngr:
Oh, my shit!
Will Betts:
So this is a little blue number.
Chris Barker:
Yeah.
Youngr:
Oh, it's fucking beautiful.
Chris Barker:
So if you want to have look.
Youngr:
You could bounce it downwards.
Chris Barker:
It's the Fostex VF80 8 track digital recorder. So not quite as old as the old school cassette ones.
Youngr:
No, no, no. Because my first entry into composing, arranging.
Chris Barker:
It's that bit, isn't it? In music television history, between cassette, before computers.
Youngr:
Right.
Chris Barker:
Where you kind of got these computers in a box basically, with a little screen.
Youngr:
You'd just having tracks, and you bounced it to the track at the end, and then you got another seven. And it was just a wonderful, wonderful time.
Chris Barker:
Seven tracks? Oh, I guess the last one's stereo, isn't it?
Youngr:
Yeah, you do the stereo and then you've got this-
Chris Barker:
It is an 8 track, yeah.
Youngr:
Yeah. It just reminded me. It just flooded wonderful memories of just music. You don't really know what you're doing. You know? One mic on the drum kit's more than enough.
Chris Barker:
It's an exciting time when that happens. The limitations, it feels like you're inventing every process.
Youngr:
Yes. Yeah.
Chris Barker:
And it makes you feel clever.
Youngr:
Yeah, yeah, yeah, yeah. Nobody's done this before.
Chris Barker:
No, but totally.
Will Betts:
They have.
Chris Barker:
It's funny because actually, a lot of the studio process now, maybe this is just my own personal thing, but it makes you feel stupid. You're like, "Oh, why is this not working? How come I can't figure this out?" Whereas then it was like, "Oh, we'll make this work. We can solve every problem." Because of the limitations of it.
Youngr:
Yeah, yeah. This is it. The limitations, and you find ways around it. You just do. Which leads me onto my next thing. Can I be cheeky and get a pair of mics in one?
Will Betts:
Oh, we've just denied somebody that.
Youngr:
Oh, no.
Will Betts:
I'm afraid you're not the first.
Chris Barker:
You can have a stereo mic.
Will Betts:
Yeah.
Chris Barker:
But not a pair of mic.
Youngr:
All right, well I'm going to go bold. I'm going to get one Coles.
Chris Barker:
Oh. The ribbon.
Youngr:
The ribbon one. The flat ones. The lovely ribbon Coles.
Chris Barker:
I think it is the 4038, yeah. These ones with the beautiful. I think the do actually sell-
Will Betts:
The STC. The BBC mic.
Youngr:
Is that the BBC mike?
Will Betts:
Yeah. Yeah.
Chris Barker:
They sell these as a pair. Oh no, they don't.
Will Betts:
No.
Youngr:
Oh. [crosstalk 00:24:13].
Chris Barker:
You can get them individually, so you nearly got away with it.
Will Betts:
No bundles.
Youngr:
No bundles.
Chris Barker:
No bundles. No mic bundles.
Youngr:
I used one of them in the same studio as this guy with the Oberheim, and I was on a drum kit, and it was just warm.
Chris Barker:
Overhead's really good for drum kits, yeah. Used a lot, aren't they?
Youngr:
Yeah.
Chris Barker:
But, they're pretty good for everything, right?
Will Betts:
Great for a room mic. Put it out front.
Youngr:
Sick. Maybe the geese mic.
Will Betts:
Yes.
Youngr:
You know what I mean?
Will Betts:
What if you leave the door open?
Youngr:
Yeah.
Will Betts:
Yeah.
Youngr:
Door open, because I'm not allowed out, right?
Will Betts:
Not allowed out, no. Just become a recluse. It will be different to do a live show, but make it work.
Chris Barker:
You have to wind it up to get the high hat sound out of a goose, though.
Youngr:
Come on, come on.
Chris Barker:
That's what it's technically called, isn't it? The open high hat sound of a goose?
Youngr:
Yes, that is it.
Will Betts:
If you're into music production, you should also check out Music Tech Magazine. In this month's issue. We share 100 tips from the pros on song writing, production, mixing, recording, and loads more. We also give you our verdict on the Moog Matriarch, two mics from newcomers Austrian Audio, and we also try out the Behringer VC340 vocoder.
Will Betts:
In our interviews, we talk to up and coming house producer Cody Currie about process and ping pong. We find out about London producer O'Flynn's sampling approach, and we have a stack of tutorials for Logic, Cubase, Live, Reason, and Studio One. You'll find all that and more in this month's issue. Subscribe now at MusicTech.net.
Chris Barker:
That's all right.
Will Betts:
One more item in your studio.
Youngr:
One more.
Chris Barker:
So you could have another Coles, but it seems like a-
Youngr:
Bit of a waste, that. Bit of a waste. We won't be listening in stereo in 10 years anyway. There will be a new form of audio.
Chris Barker:
Yeah. Just straight into your mind.
Youngr:
Yeah, yeah.
Chris Barker:
Yeah.
Youngr:
Stereo.
Will Betts:
We'll be watching it.
Youngr:
Right. I haven't thought about this, so I would like, I'm going to keep myself on my [crosstalk 00:25:51].
Chris Barker:
Let's do a little mini recap.
Youngr:
Okay. Mini recap.
Chris Barker:
Just so you can visualise it.
Will Betts:
Sweden.
Youngr:
Geese. Boar outside. Sorry.
Chris Barker:
So it's in Sweden.
Youngr:
It's November. It's dark.
Will Betts:
We're all there. There's a fire. Ableton on a Mac. An Apollo 8p. Your huge ADAMs. A Steinway grand. You haven't chosen yet between the OB-8 and the Prophet 5.
Youngr:
Yeah.
Will Betts:
But we can come back to that. The Ludwig drum kit. And then a Coles 4038 ribbon mic.
Chris Barker:
One more item.
Will Betts:
One more to go.
Chris Barker:
One more item, and then back to make the decision on the synths.
Youngr:
Right. And I think I'm going to go for. I think it's going to have to be a bass guitar. Going to be a Fender jazz bass.
Chris Barker:
Fender?
Youngr:
Maybe like crazy vintage old. Like some of them go for like $90,000.
Chris Barker:
What's the finish on this? Are you going for the distresses?
Youngr:
I'm going for aqua blue, but like worn to the wood.
Chris Barker:
On the right bits.
Youngr:
But not fake worn.
Chris Barker:
No.
Will Betts:
Actual.
Youngr:
This has been worn by like, you know, Flea. And, you know, Palladino. And then probably Prince picks it up at some point, you know? Because, why not?
Chris Barker:
Yeah.
Will Betts:
Because it's aqua.
Youngr:
Yes, exactly. And he's like, "I like the colour."
Will Betts:
Irresistable.
Youngr:
"Let me pick it up."
Chris Barker:
"Change it." Do you know the Prince story when he rented that place in LA, and he painted the whole thing inside and out black.
Youngr:
No. Fantastic. He's just amazing.
Will Betts:
What. He's just amazing.
Chris Barker:
It was amazing. So, yeah. I'll tell you the story. He was looking up his [inaudible 00:27:35]. And they were like, "Oh, yeah. You can't change anything." He was like, "Okay." And then just did. Painted.
Youngr:
You can't do anything. Don't move any plant pots.
Chris Barker:
Because he was renting it for like $12,000 a day or something.
Youngr:
Of course, yeah.
Chris Barker:
Some insane massive place in LA. And then just painted it all black. So tell us about why the jazz bass, though. So, you must, I mean?
Youngr:
I was trying to move to a bass and a guitar then, and a bass is more of a jam than a guitar. And I think piano... I love piano, I love drums, love bass. Guitar's like the last bit of my process. My brother's always been an amazing guitarist, so we've always been in bands. So I never bothered to properly learn it. And I can find my way around it, but it's the one where I'd go, "Ah, fuck it." That instrument. You know what I mean? When you play it you go, "Gah." That one.
Chris Barker:
And you're in music, I mean, correct me if I'm wrong. But you use a guitar more percussively anyway.
Youngr:
Exactly. Exactly.
Chris Barker:
Kind of like the sort of-
Youngr:
Tunk tunk tunk tunk tunk tunk.
Chris Barker:
Yeah.
Youngr:
Palm muted. Lots of delay. Lots of reverb. The emotive touches rather than bases of songs.
Chris Barker:
And not banging out big chords or solos.
Youngr:
Not banging out big, yeah. My hands are too small. I call them percussion hands. I got bongo hands. You know? Great for hitting things and jamming on things. But when it gets intricate, you get all up here. I can't. I'm just.
Chris Barker:
So bass. So is that thumb coming out on the bass. That dun ka donk?
Youngr:
Oh, he's not out. I'm not slappy yet. I'm more of a, again, palm muted. Palm mute with a thumb, though. You know what I mean?
Chris Barker:
Oh yeah, yeah?
Youngr:
So you hold the things.
Will Betts:
Oh, yeah.
Youngr:
And it's like dunk dunk pum pum, pum pum.
Will Betts:
Get close into the mic to do that, please.
Youngr:
Pum pum pum pum, pum pum.
Chris Barker:
So let's break it down between the OB-8 and the Prophet 5 then.
Youngr:
Okay.
Will Betts:
Yeah, we need to make a decision, don't we?
Youngr:
I'm going to go... because you know what the Oberheim would do? It would colour my writing process too much. I'd go, "Oh, it should be like-"
Chris Barker:
Every song would sound like, "nigh nigh nigh."
Youngr:
Right, right. Whereas maybe the Prophet 5 is more versatile. I don't know. You got basses, you got leads on it. You've probably got those on the Oberheim as well, but-
Chris Barker:
No, but I know what you mean. I think the Oberheim is more of a-
Youngr:
It's a statement, isn't it?
Will Betts:
Yeah.
Chris Barker:
I mean you get your extra voices on the Oberheim though. It's eight voices. Whereas the Prophet 5 I guess is five. I might just be making that up, but I think so.
Youngr:
In my studio I've got-
Will Betts:
I'll fact check that.
Chris Barker:
Fact check it.
Youngr:
... you know, I've got my Steinway, classic. You've got the piano. Then you've got a nice bass. And then you got a drum kit. You got a Coles mic.
Will Betts:
Yeah, five.
Youngr:
And then-
Will Betts:
Five voices.
Youngr:
Five voices. And then what do you want to sprinkle on top of that? Is it an... what is it?
Chris Barker:
Do you want those big Oberheim pads and chords, or do you want? I mean, I think they're both very versatile, but the OB-8, hence with the eight voices, is designed for a bit more width, and a bit more-
Youngr:
I'm going to throw a huge spanner in the works.
Will Betts:
Get rid of both.
Chris Barker:
It's a completely new item.
Youngr:
I'm getting rid of them both, and I'm going Fender Rhodes.
Will Betts:
Oh.
Chris Barker:
Ooh.
Will Betts:
Okay, okay.
Youngr:
Because I just bought one. I've been saving up all my life. Bought one, and it's the greatest thing I've ever done in my whole life, probably.
Chris Barker:
Yeah.
Youngr:
So, I'm taking it with me to Sweden. Yeah.
Chris Barker:
So, we actually have quite a, it's quite a sort of rock and roll kind of rig.
Youngr:
Yeah.
Chris Barker:
From the man that is born out of electronic drum kits, Ableton Live, and push controllers and all the latest kit.
Youngr:
But there's no saying I can't warp things in Ableton, right? I can [crosstalk 00:30:38].
Chris Barker:
No, no. You can do it. [crosstalk 00:30:38].
Will Betts:
[crosstalk 00:30:38].
Youngr:
That's it. So I could turn a piano into a synth, right?
Will Betts:
Easy. Yeah. Yeah.
Chris Barker:
Yeah.
Youngr:
Oh, yeah. I'm going Fender Rhodes.
Will Betts:
Fender Rhodes.
Chris Barker:
I like the way you've gone for that way round rather than trying to turn that grand piano into a Rhodes, or the Prophet as a Rhodes sound.
Will Betts:
Yeah.
Youngr:
Yeah.
Chris Barker:
But, yeah. I guess there's a feel with the Rhodes that's different.
Youngr:
Oh, man. Yeah. For sure.
Chris Barker:
It's the way you play those, isn't it? It's the key bed is completely different.
Youngr:
It's the nicest.
Chris Barker:
It's not just the tone.
Youngr:
It's amazing. It's one of those things I played it for the first time and about three songs just came out. It was great.
Will Betts:
So what's your background with the Rhodes, then?
Youngr:
Why I love it so much?
Will Betts:
Yeah.
Youngr:
I think I came down to it... So my favourite band of all time is Simply Red, right?
Chris Barker:
Wow, now that's a brave thing to say out loud.
Will Betts:
That was unexpected.
Youngr:
Brave thing to say down the microphone.
Chris Barker:
Yeah.
Youngr:
Unexpected, right?
Will Betts:
Yeah.
Chris Barker:
Really unexpected, yeah.
Youngr:
He wrote some tunes, and he's got an amazing voice. Let's just forget about-
Will Betts:
Yeah, don't even.
Youngr:
Yeah. The songs are incredible. So, grew up on them. And also my mom loved acid jazz. Which I didn't remember until someone played the Brand New Heavies the other day. I was like, "Why do I know this?" My mom was like, "Oh, I used to have that on the compilation." And that is just like Rhodes, lovely chords, jazz. Lots of jazz influences, and it's the warmth of them. And then I got into Zero 7, and Air, and all these bands that just use Rhodes in the warmest ways. And it's just like someone hugging you. A musical hug.
Chris Barker:
Yeah, when it's produced right in the mix as well, then it's just like-
Youngr:
It's Rhodes.
Chris Barker:
Maybe bits of Tremor, the wide stuff, or-
Youngr:
You can have a whole song which is Rhodes, like an A08 kick, and just cut loose.
Chris Barker:
It's quite vibey for dance music as well.
Youngr:
Yeah, for sure.
Chris Barker:
You can get a kind of bed for some of those kind of things.
Youngr:
Absolutely. All the new records coming out from this point on have that Rhodes heavily in it.
Chris Barker:
It's like instant deep house isn't it? Just put some-
Youngr:
Right, right, right, right. That one chord.
Chris Barker:
A nice seven chord or something like that.
Youngr:
Yeah, right, right.
Chris Barker:
Get that.
Youngr:
Fender Rhodes, it is a pretty rock and roll line up now.
Chris Barker:
Yeah, it is. Start a band with the wild boars and the geese.
Youngr:
Absolutely.
Chris Barker:
So, now we're on to the final. I mean, I was going to say, we've had sort of a fun time anyway. But there's a fun item.
Youngr:
Oh, okay.
Chris Barker:
A luxury item.
Youngr:
Oh, the luxury item. Of course.
Will Betts:
Yeah. Non-gear related.
Chris Barker:
So non-gear related. But something you'd love to have in the studio. Or something that you always take with you in the studio, or always take with you live, or something. It can be sentimental, or it can be really selfish, like a chef, or something like that.
Youngr:
Can you take a sausage dog?
Chris Barker:
Yeah. We've had dogs before as a luxury item.
Youngr:
Oh, it's too, oh.
Will Betts:
You could get round your guitar issue you know, by bringing your brother.
Youngr:
Oh, but he'd be a lot to live with forever.
Chris Barker:
As most brothers are, I think, yeah.
Will Betts:
Lads, this is being recorded for posterity.
Youngr:
He's an amazing human. But-
Chris Barker:
Forever.
Youngr:
Forever. What about something controversial, like a batch of magic mushrooms.
Chris Barker:
Wow, that is controversial. But we can do that.
Will Betts:
That is controversial.
Youngr:
I'm going to go for some magic mushrooms.
Will Betts:
Okay but this, bearing in mind, you're taking one batch.
Youngr:
Oh, no, no, no.
Will Betts:
This is forever.
Chris Barker:
No, no.
Youngr:
No, I'm taking like-
Chris Barker:
He's got a forest.
Youngr:
... a forever growing.
Chris Barker:
He's got a forest in the back yard.
Youngr:
Yeah.
Will Betts:
Oh, yeah.
Chris Barker:
He's going to cultivate them.
Youngr:
Get some seeds.
Will Betts:
Those wild boars are going to have some interesting times.
Youngr:
Yeah. Oh, no. I might get tired of it after a while. Have that, "Oh, not again. I'm not tripping balls again."
Chris Barker:
Yeah. Just this. Not this again.
Youngr:
Yeah.
Will Betts:
Not that goose. Stop playing the piano.
Youngr:
Oh.
Chris Barker:
What do you have in your studio? Think about like your studio right now. Is there anything in there that never is relevant to making your music, but you have to have it there? It can be a picture, or anything? Or do you not care?
Youngr:
I do care. I always thought of a table tennis table. But how sad would that be? Just playing by myself.
Chris Barker:
Just running around each side.
Youngr:
Against who?
Will Betts:
Yeah, you could put it the one side up.
Youngr:
Yeah, the one side up.
Will Betts:
Exactly. Forrest Gump it. Yeah.
Youngr:
And then I'm finally better than my manager, who seems to beat me every time we play.
Chris Barker:
Or attempt to train the geese.
Youngr:
Yeah.
Chris Barker:
Their wing span though. That would be quite a cheat, wouldn't it? For table tennis. They could just-
Youngr:
They'd be great.
Will Betts:
I think you'd need to hold it. You got to tape away from you.
Chris Barker:
Geese hold it. They just do that.
Youngr:
What are the options here? Mushrooms, sausage dog, brother, or table tennis.
Chris Barker:
This is going to be hard on your brother if you choose table tennis.
Youngr:
Yeah, yeah, yeah, yeah.
Chris Barker:
He's not going to take it well, is he?
Youngr:
What about my wife? Can I take my wife?
Chris Barker:
That's the best choice that you've got here, mainly because you have to go home later, and if you've got yourself out of a real pickle there. Well done Dario.
Youngr:
I'll take my wife who's an amazing cook.
Chris Barker:
"Oh, you're on that podcast. I may watch it later." "Oh, don't worry about it."
Youngr:
"No, no, no."
Chris Barker:
"It's not, no. Don't worry."
Youngr:
"We didn't record it in the end."
Chris Barker:
"Don't worry, we didn't record it, yeah."
Youngr:
Oh, my God.
Chris Barker:
"I definitely didn't choose a Prophet 8 over-"
Will Betts:
I think we assume you can basically uproot your life.
Chris Barker:
Yeah, yeah.
Youngr:
Ah.
Will Betts:
We're not expecting you to go without anybody.
Youngr:
Interesting.
Will Betts:
You don't have to Castaway it.
Youngr:
Okay.
Will Betts:
You can take people.
Youngr:
Right.
Chris Barker:
Frivolous item. Come on.
Youngr:
A basketball net.
Chris Barker:
Yeah?
Youngr:
No, an indoor bowling alley.
Will Betts:
Oh.
Chris Barker:
Oh, that's good.
Youngr:
An indoor fucking bowling alley.
Will Betts:
There we go. That's the dream.
Youngr:
That's what I'm doing. Got there.
Will Betts:
Sell the dream.
Youngr:
Got there.
Will Betts:
Yeah. Indoor bowling alley. Madman.
Chris Barker:
That's kind of 90s kid rich, isn't it?
Youngr:
Yeah, this is like Big.
Chris Barker:
Yeah, basically, yeah.
Will Betts:
You're Tom Hanks now.
Chris Barker:
Or Richie Rich. He has one a well, doesn't he?
Will Betts:
He does, yeah.
Youngr:
Can this bowling alley have speakers playing the mix back.
Chris Barker:
Yeah.
Youngr:
Can it?
Chris Barker:
Yeah.
Youngr:
Or is that another purchase?
Chris Barker:
No, no, no, no.
Will Betts:
I mean, are they going to be the sort of speaker/fan that they are in the bowling alley.
Chris Barker:
Oh yeah, they have those ones, don't they? Where they?
Will Betts:
I'm not sure if it's a speaker or a fan.
Chris Barker:
Dut da la dah.
Youngr:
[inaudible 00:36:12] Big. You know, it's that.
Chris Barker:
Yeah. Play back music in it, yeah. It's more of a hi-fi projector.
Youngr:
Probably a projector with a movie.
Will Betts:
Okay. Okay.
Chris Barker:
Love it. [crosstalk 00:36:21].
Will Betts:
I fell like this is like you pushing a little bit here.
Youngr:
Pushing a bit, sorry.
Chris Barker:
I'm being too strict here. He's making music in his bowling alley, Will. He's just having a good time, [crosstalk 00:36:28].
Will Betts:
He's checking his mixes.
Youngr:
Just checking while I pound some pins.
Chris Barker:
You were going to let him have magic mushrooms, for God's sake.
Will Betts:
Lucky we dodged that one.
Youngr:
Yeah, yeah, yeah. Okay, yeah. Bowling alley. Boom.
Will Betts:
Bowling alley. Should we run it down?
Youngr:
Yeah.
Chris Barker:
Run it down, Will. Go on.
Will Betts:
Youngr.
Youngr:
Yes.
Will Betts:
You want to have a forest based studio in Sweden, by a lake, with nearby geese and boar.
Youngr:
And wild boar, yeah.
Will Betts:
Wild boar. Wooden beams, you were saying?
Youngr:
Wooden beams. There's also a castle right next to it.
Chris Barker:
Nice.
Youngr:
A 17th century castle. Forgot to mention that. It's beautiful.
Chris Barker:
Very beautiful.
Will Betts:
Easy to forget that.
Youngr:
Yeah. Yeah.
Will Betts:
Ableton on a Mac laptop. An Apollo 8p [crosstalk 00:37:10].
Youngr:
I feel like I fucked it with the 8p. But it's okay. I feel like I could have gone higher. But it's okay. I know it. I know the 8p.
Will Betts:
That's fine.
Youngr:
I'll stick with it. Yeah, yeah, yeah.
Will Betts:
The ADAM S6Xs. Steinway grand. A Fender Rhodes. A vintage Ludwig drum kit. Coles 4038 ribbon mic. A Fender jazz bass in aqua blue.
Youngr:
Yeah, oh yeah. A bit faded, as well.
Will Betts:
Played by-
Youngr:
Flea, Pino Palladino, and Prince.
Will Betts:
Perfect.
Youngr:
Yeah.
Will Betts:
And indoor bowling alley.
Youngr:
Great.
Will Betts:
Wow.
Youngr:
That sounds like a great place to be.
Chris Barker:
Yeah, it does. It really does.
Youngr:
Let's go.
Will Betts:
Shall we?
Youngr:
Let's go.
Chris Barker:
Let's go right now. Let's go right now.
Youngr:
It's totally achievable. I reckon that's achievable. There's nothing on that list I reckon-
Chris Barker:
The speakers, maybe.
Youngr:
Speakers, maybe. And the bowling alley.
Chris Barker:
Yeah. I think, for the bowling alley, you could put a bowling alley in for less than it would cost to buy those speakers.
Youngr:
I was just thinking that. I wonder how much it actually is when they get them done in their houses.
Chris Barker:
I bet in the States you can get one done really cheap.
Youngr:
Bowling alley.
Chris Barker:
There's probably a company. You know like the people that instal massive fish tanks and drink bowls.
Youngr:
That goes underneath, back to-
Chris Barker:
There's probably a TV show.
Youngr:
That's true.
Chris Barker:
Bowling Alley Installers.
Youngr:
I bet there is. I bet there is.
Will Betts:
Bowling Alley Dons, would you say.
Chris Barker:
Oh, why not. No, that's what you said. I would say Bowling Alley Installers.
Youngr:
Oh, yeah. I like Dons, though.
Chris Barker:
Bowling Alley Dons is a better name for a TV show.
Youngr:
That's the English version.
Chris Barker:
Yeah.
Youngr:
How much do we think? Ten grand, to instal a bowling alley?
Chris Barker:
Yeah.
Will Betts:
Oh, mate. Ten grand, max.
Youngr:
Yeah?
Chris Barker:
Let's get some quotes in. If any bowling alley installers are listening to this-
Will Betts:
And want to sponsor this podcast.
Chris Barker:
Yeah. We can make it one of the given items at the start, if anybody wants to sponsor the podcast, we have have it you've got an audio interface, a door, a bowling alley.
Will Betts:
Brought to you by, Bowling Alley Dons.
Chris Barker:
Thank you very, very much Dario.
Will Betts:
If you're enjoying the podcast, make sure you subscribe using your favourite podcasting app, and also think about rating and reviewing Music Tech's My Forever Studio. Don't forget to check back every Thursday for new episodes. Thanks for listening.