Hello. Hello. Hello. Hello.
Hi, you lot.
How's it going? It's the end of Sunday. That's weird, isn't it?
That just happened. It's like, crazy, I don't really know where all the time went.
Can we all just keep hanging out? Like, I don't see any reason not to.
Can I see of show of hands if you're either tired or really inspired?
Either tired or just really inspired. Wicked.
Hands up if you're more hung over than me.
Right, yeah. You people are what I like to call liars.
But that's OK, I've finally managed to make my way to this
traveling though juice and ibuprofen. This is a good thing.
So we're gonna talk about some music stuff, some YouTube related things.
I'm gonna just like, get on YouTube, because that's what we're talking about.
It's the end of the day on Sunday so I wanna try keep this fun and inspiring
and show you a load of videos, obviously videos of these guys I will introduce you to in a moment
but also some other bits and pieces.
So in the spirit of this thing I'm gonna use actual real-life YouTube
which means that the internet may drop out, that's not my fault.
Ads will definitely pop up on videos, and you're welcome.
I might make spelling mistakes, it's possible my girlfriend will text me part way through,
like, hopefully that's something polite.
So bear with us. But I wanna kind of like, show you what these guys do
and also we'll talk a little bit about what's possible with YouTube,
what music makers are doing out there.
Firstly...
please welcome Andrew Huang, Rachel Collier and Adam Neely.
So...
There's obviously a whole ton of online video channels that are out there,
these three people that are sat with me are using YouTube in different ways,
all as music makers.
And rather than kind of like, digging too far into why it is they're using YouTube...
it's worth just saying that YouTube for music makers is seemingly at the moment
kind of the best place for lots of different reasons.
I wanted to skirt round the analysis of the tech platform itself, and have a kind of
creative discussion, I guess, about the different approaches to video
that these three people are using.
And what it means to commit to making video content as music maker.
So, firstly...
I guess, in the broadest sense, Rachel, let's start with you because you're drinking.
Alright. Yeah, cool. Hello, everyone.
What does YouTube mean to you as a creator, what are you looking for from it?
YouTube has been super cool for me just being able to take my studio production
and actually have a place where I can arrange something for a live performance
and kinda put it somewhere.
So you know, it's not just me performing in front of the mirror, I can actually put it online.
And so, for me, it's been actually really awesome in finding my path as a live performer, as well.
You know, just 'cause of the people watching and the reaction, so inspiring, you know,
and the feedback I got, I'm thinking: "OK, you know what? People like this."
So it pushes me and helps me to develop as a live performer myself, but...
initially it was just a place for me to put something... put a live performance out there.
Because, you know, when you're a new artist and you're just producing, you know,
but you wanna be able to perform, how can you perform to people
if nobody knows who you are and, you know, you're just, again, in your bedroom.
I'm not a live band. I'm not gonna go down the pub and say, "can I set my band up here
and do an indie show?" So for me it was like, a really great platform,
and somewhere as well where, you know, you can get feedback.
'Cause sometimes if you just do a show in the pub people might come down and say, "yeah, great"
or whatever, but you actually get, like, OK, you get like, a feel for...
how people are responding to it and I think it's been really inspiring
and I really appreciate everyone on YouTube, especially now when I've done a couple of shows.
I mean, the fans are obviously all over the world. And just doing my UK tour,
a few people that know me from YouTube came down to the show,
and it really melts my heart, to be honest, when they introduce themselves,
and say they've been following the videos and I've been inspiring their music, and...
you think, "it is actually real life," you know, 'cause sometimes I think we forget that,
it's like a screen, and you think there's no connection,
you really are making a difference to people. And they're making a difference to me
and inspiring me to keep on pushing myself as a live performer and producer, so...
yeah, it's been really cool.
Andrew, how about for you?
I think YouTube's been a lot of different things to me over the years,
and I've changed my content a ton of times. I signed up for YouTube in 2006.
And I had a little audience just from a website that I was posting my music on.
So at that point it was like, let's collect all the fan art,
all the videos that people have animated to my songs, let's just put that in one place
so it's easy for people to find.
And then I realized there's this huge community around YouTube.
It's constantly growing, it's still growing, it's the second largest search engine in the world
like, this could be a platform for me. And I started posting stuff more regularly in 2010
and exploring blogging, music, covers, originals, remixes and more recently
I've just found it an amazing place to share something a little deeper about my music,
like, going into my process, my perspectives on music. And it's really...
I think the cool thing about online video is like, this combination of video and audio,
you can capture life, you can capture whatever you want
and put it in front of whoever you want.
So it's just an incredibly powerful tool for anyone who has ideas that they wanna share.
I was talking with someone who came to my listening session today,
he say he's really passionate about pandas, he's gonna start a panda channel.
And... right, you can do that. And...
that's amazing.
Adam, how about for you? Your channel's always had a...
Well, it has a slightly more educational slant, right?
Yeah, I've had my YouTube channel since 2006. I started in high-school.
And I started posting like, educational bass videos, like,
"This is how you play the C-major scale and all that stuff.
And it turns out that those sorts of videos are very popular,
and so I was able to build some audience with that.
And over the years I've been posting more and more, like, bass lessons,
bass guitar lessons, how to play bass.
But I realized that the format actually could be expanded a little bit and so I could turn these like,
lessons on playing bass guitar into a little bit deeper explorations
into anything I was thinking about at the time.
So: Philosophy, like, Nietzsche and the bass guitar.
And, you know...
which it did pretty well actually, that video. And I found that people really enjoy...
the storytelling aspect of teaching and learning. And so, I kind of have geared my channel
over the past year to making these essays, video essays on educational subjects in music.
And it's been really exciting, 'cause I think the YouTube platform has allowed
people who really want and are interested in that sort of thing
to connect with me and my channel, and it's been great because I've met
a whole bunch of different people from a whole bunch of different styles
of music and backgrounds, and they... I get to sort of share what I'm thinking about,
what the ideas in my brain. It's been a great sort of canvas for me to sort of
paint a picture of whatever... - I wanna throw some of this stuff up there
'cause the very best way to get a handle on this is just to have a look at some of the stuff.
So, like, this clip here is from a video where you were talking about working...
You're a session musician. - Yeah, yeah.
And so you were talking about working alongside, with a string quartet alongside a jazz group.
And your thoughts on the different sense of rhythm that's experienced by
these different types of people. - Yeah.
I'll play it, then we can talk about it. I'll embarrass you, then we can talk about it.
I got some stuff to say about this video. - I bet you do.
Here we go.
<i>'Cause I saw these classical musicians perform</i> <i>these very technical feats of musicianship,</i>
<i>and yet this simple rhythm that I and the rest</i> <i>of this rhythm section had no problem with,</i>
<i>they could not really play very cleanly.</i> <i>Why might that be?</i>
<i>One framework to understand this,</i> <i>and this is generalizing a little bit here,</i>
<i>is that classical musicians react to the pulse,</i> <i>and jazz, rock, pop, etc. musicians...</i>
<i>feel the pulse. Classical musicians</i> <i>will very often perform an ensemble</i>
<i>under the direction of a conductor, and the</i> <i>conductor's job is to keep everybody in sync.</i>
<i>Not unlike a drummer does.</i>
<i>Orchestral musicians will react</i> <i>to the ictus of a conductor's baton</i>
<i>or a conductor's breathing. Then they'll count</i> <i>rhythms based upon the pulse</i>
<i>that they're seeing. This might give some</i> <i>insight into why Whimm's string quartet</i>
<i>could sight-read that music that was</i> <i>contrary to the pulse of the rhythm section.</i>
<i>For the rhythm section to accurately play these</i> <i>rhythms, we needed to graft the subdivisions</i>
<i>onto the actual pulse. It was very difficult</i> <i>to do that when visually the pulses do not align.</i>
<i>So the result of all this is classical musicians</i> <i>might have a good sense of rhythm</i>
<i>but not have a good sense of what's called:</i> <i>Phase locking.</i>
<i>Check out these two metronomes,</i> <i>one of my phone and one on my iPad,</i>
<i>they're both clicking away at 120 beats...</i>
So...
you get the picture. There's like... - Yeah.
So...
So this video was basically me exploring this subject that I'd talked about a lot
with a lot of my fellow jazz musicians, rock musicians also who I'd played with
who'd also played with classical musicians. And we were trying to figure out why
there was sort of a disconnect between these two styles.
Really just conceptions of what rhythm is, like, how to feel it, internalize it,
or whether it's sort of reactive with the music.
And I made this video and it has kinda this snarky tone, like basically everything I do.
And because there's such a snarky tone, not a lot of classical people like this video,
if you look at the comment section, it's one of the more interesting comment sections,
very very angry, but somehow polite, classical musicians.
So, yeah, this is the sort of thing that I do on my channel,
is I like to kind of push people's buttons a little bit by saying what they're doing is wrong
but also trying to... Not really what they're doing is wrong,
but like, to try and explore why music is the way it is, like,
to try and think critically about these things that I've noticed
and a lot of other people have noticed. And, you know, I think that's...
kind of the main thesis of my channel.
I found this one really interesting because it deals with music theory,
and also just like, that subjective experience of being a musician,
which your channel kind of deals with all the time.
Like stuff that... Some of it obviously clearly you have an extremely thorough knowledge of
theory, but you also kind of like, deal with all sorts of different things.
In your talk on Friday you talked a little bit about synesthesia, which is like, one of your...
one of your videos. So if we look at this bit, the 'New Horizons in Music'...
there's loads of stuff in here, there's the synesthesia thing,
you talked about like, pitch and tone, the Coltrane fractal,
there's some like, really, really heavy stuff.
But there's also some stuff that kind of just deals with
the experience of being a very active musician.
I wonder where you're getting these ideas from. How are you bringing these ideas to the table?
It's a question I get asked a lot. And the thing... - Sorry.
No, no. It's an important question, 'cause I want people to be thinking, like...
in the same sort of scatter-shot way that I do, because...
I like to try and make connections between things that's kind of another thing I'm thinking about a lot.
And whenever I'm researching or thinking about one thing, maybe another thought
will pop into my head, it's like, oh that's a good idea, let me write that down.
I have like a Google docs of just like, all these ideas, like...
one of them, I don't even know, I just have one that says: "Mingus Neural Net."
I have no idea what I was thinking there but that's just like...
that's just what happened. And, you know, it comes down...
The ideas are really never the problem because I have the opportunity
because of a variety of income streams, YouTube and Patreon,
I'm able to do this pretty much full-time now, which is fantastic, and so I get to, sort of
dedicate my time to making these sorts of connections.
So, you're a bassist and you started out with: Adam Neely's Bass Lessons.
So now your channel is called 'New Horizons in Music'? - Yep.
But it started out as Adam Neely's Bass... Wait, we should listen to the theme of that
because it's an absolute jam. - Oh yeah, it's a great one.
Chances are your body's...
That's what you get. - OK, there we go.
So, like... - What a bop.
Thank you.
What happened? Or why that transition? That seems to be your main thing now.
Yeah, well, it turns out that not just bass players were watching my channel,
and that was the main thing, is like, it turned out to be many different kinds of people.
And so, I'm a bass player and am very passionate about bass guitar
but at the same time there's only so many subjects that you can talk about
that relate just to bass guitar and the way that I wanted to do it.
So that's why I made these things like: Nietzsche and the bass guitar.
I really just wanted to talk about performance practice
and what the Apollonian and Dionysian meant to bass guitar practice or performance practice,
just the different mindsets that Nietzsche was explaining in his philosophy.
And that was way beyond the scope of like, here's how to play a walking bassline
or here's how to play a country bassline or something, which are things that I love
and I do all the time, but that's not really what I was passionate about for my YouTube channel.
So maybe I can jump over to your channel, Rachel, and I can whack something on.
This one is a track called 'Paper Tiger. '
It goes on, yeah. - Awesome stuff.
Thank you.
Can you just like, walk us through this? How does a video like that come together?
Well first of all, the song is the first thing. So producing and writing the song.
I mean, I could go into a lot of depth talking about that.
I did a workshop on Friday actually about the songwriting to this process.
But yeah, I'm not gonna talk for 40 minutes, so I'll just quickly...
Yeah, get your big production in Arrangement view,
and I'll... first thing I'll do is kinda decide what parts can I play live.
So I like to play my bass, play around ,with all the cut-off on all the square waves
the triangles, whatever. I like to play keys and I like to sing.
So that's the main three things I can do.
So immediately I'll color those tracks red in the Arrangement view, delete them all.
And then I'll pick the midi sounds that I wanna play live.
So I'm using the Arturia mini keys there to play the simpler riff the...
which I made with my voice. So I'll pick the midi sounds I wanna play,
and then play them with a controller.
And then the radio edit version of the track is actually pretty different, it starts, you know, like:
And for a live performance I feel like you want to bring the audience in,
you wanna build up the sounds, you want them to come on the journey with you.
This is all kinda stuff I've kinda been crafting along my journey.
So I'll then take separate stems, and like, separate sounds and put them into clips,
into loops. And then I'll probably really change the whole introduction of the radio edit
and make it a bit more exciting and more fun to play live.
So I'll take... Like you saw there was one clip at the start that just:
Something to keep me in time, and then I'll do some vocal looping.
And then I said the: "Tiger, tiger," and then, yeah, duplicate that into another track,
cut it up with Push.
Did a midi Simpler loop there. So I've built up like a nice, big introduction,
and then obviously those clips I've made on the fly
I can bring back into the live performance as well.
And then I'll bounce out certain sections then which I don't want to change
if I'm just gonna be performing. I'll bounce that next scene down
where you've got kind of those more atmospheric sounds.
So I'll build up a big intro, keep lots and lots of clips and then...
bring in a "swelchhhh," and then into the next scene then.
So is all of this stuff to make it so that it's kind of a compelling live performance on film?
Um, not really, it's for fun. I'll do it for fun, for me, first, you know?
And then afterwards it's only in the camera work we'll think about like,
my friend Danny, who shot this one, my old flatmate, I used to drag him in.
"Come film me please." You know, and... So only when we get Danny in we realize
"Ooh, that bit's quite good. Zoom in on that." So, it's more in the edit then, we'll sort of say,
"Did you get any footage of..." you know, just for the technical people who are watching
and so you guys can see a little bit more what I'm doing.
But first and foremost, I do what I wanna do, and what's fun to do, basically.
But yeah, I guess though actually, if I'm totally honest, it does push me to make stuff...
more technical, but in a fun way, you know? In the breakdown section later on,
that's where I had like, a lot of fun. It's just a drum loop, then I'll loop the bass,
loop the keys, do some more vocal looping. And then I've midi mapped the 'solo' button
of the vocal group, and the lead vocals, or I'll build up all these parts,
and then solo just my vocals. And then the clips are in Toggle mode,
so I'll turn off all the clips, then unsolo, bring in another clip
and then build it back up to another scene drop.
Yeah. - Nice.
It seems like, it is like a live looping thing that you're going for, that you're interested in.
I want to try and loop as much as possible, 'cause that's really fun.
When I first started performing outside YouTube, it's also the most scary thing ever.
But obviously with Push you've got the 'Delete' button
so if you do a bad loop, and it does happen, just delete and do it again.
So, yeah... for me, you know, I'm not... I can't have 20 musicians on stage,
I can't have everyone playing these parts live, it would cost way too much,
it would also take way too much time.
So I try to just do a combination of whatever I can loop and cut up and play with live
with the pre-made stuff.
I've sort of... I...
I saw a comment or two on one video if yours where someone was like:
"This isn't all being played live." I find really weird that people are assuming
that you're in any way telling them that's what's happening.
Yeah, you get a lot of those comments. One was like,
"Aw I wish there was some live instruments." And you're like:
"Dude that's an analogue Korg and a bass, it's kind of..."
then I just think they just haven't got a clue really.
And what about the singing? I mean, you know, and people think, right...
they think I'm miming. And I'm like, have you ever tried to mime?
Because that is just... Years ago, I think, like, back before I was doing all my producer stuff,
any video you do where you're like, yeah, there's the recording, just mime along.
No chance in hell. Like, it just doesn't work. So I just wanna say to them:
Just go have a go, make your own video and then tell me if you're miming.
But, you know, it's just part of what you get with YouTube, innit.
Is this mimicking what you do on stage though, like, are you also doing live looping on stage?
Yes. It's kind of like, my live show obviously varies between like, how much looping
and clip triggering and everything I'm doing. Because if you did a whole live show of that,
and you don't have four cameras around you, you're who live show is just, you know, kind of,
people aren't gonna see your face. And that's kinda not what my music's about,
you know, I kind of, well, I like to dance and kinda want people to dance too, so...
I've been trying to work on this balance of like, without four cameras around me,
of a cool, technical performance, performing with Ableton, doing fun stuff that...
feels my heart and stuff, but then also giving a performance.
So that's something, and really a journey I'm on at the moment.
You sent me this inspiration of yours.
I just love people who just do whatever the hell they want, and this guy definitely does that.
Yeah. - He doesn't care.
Yeah, so it's like his... - He doesn't care.
The whole track is built up of like, weird sounds that he's making.
Have you seen this? It's so cool.
And the video is really cool, as well.
Yeah. But there's definitely something incredibly compelling about simply watching
someone make all the music right in front of you.
Adam, we were talking a little bit about this over email. - Yeah.
It's like, we hear with our eyes much more than our ear sometimes.
And it's so compelling.
I wanna talk a little bit about this idea of the video song.
So there's this guy Jack Conte, the founder of Patreon,
who described the 'video song'...
as just "the direct conversion of music into video."
He said... His quote was: "Direct conversion of music into video."
That was it. "It was a equation, a way to convert a piece of audio to something that would work
where people were flocking, which was YouTube."
So he is one half of Pomplamoose, this group that made a load of videos
in exactly this style.
And I think...
Andrew, like, this kind of style is something is something that you do a great deal of.
Certainly, like... - A great deal of.
Your song challenges are kinda like, all in this kind of home, right?
I might just... We'll chuck this on and then we can talk about it.
Yeah, I think we'll leave you hanging there. - Yeah, sure.
Keep me up there in my gold tights.
Yeah, so...
I had no idea of what you were gonna show of mine,
but yeah, this is something I like to do to really challenge what's possible with...
with a limited set of sounds and... My love of puns comes through,
I cover songs sometimes just using words that are in the lyrics.
My biggest one of that is "99 Red Balloons," or, "Luftballoons."
And it's played with some balloons.
And so, just like, sampling stuff has been a passion of mine for a long time
and I'm kinda taking that to an extreme.
And, I mean, I don't know what to say about this one.
Well, how much of the sounds come from carrots?
I did the vocals obviously, and then the bassline is my voice as well, pitched down an octave.
And everything else is carrots. - Everything else? - Everything else.
I actually made a ton of carrot whistles and had to get enough of them
to cover all the pitches that I needed.
Did you have to tune, like... the carrots, like, were you sitting there with a...
or did you get a carrot tuner in to do that for you?
Well, you know, it's interesting. It behaves enough like a wind instrument
that like, the pressure that you're putting through will kind of vary the pitch a bit.
But I think on this one I probably did a little post. 'Cause that's... this was an extreme...
extreme instrument to work with.
But... Yeah. - Do you wanna explain...
Do you wanna explain what these song challenges are?
Like, where they came from.
Oh. Yeah, well, I started doing this maybe four years ago...
and I had been doing YouTube for a while up until that point and I was...
always experimenting with these strange ways to make music, and a buddy of mine...
said, like, "why don't you frame them as challenges, like...
you know you can do this, but the audience doesn't know."
So, phrase it as "can you make music with carrots, with pants?"
And that sort of like shifted the way my content was views and consumed
and I grew a lot from that and created this series called "Song Challenge," which started as a bit of
just this creative sampling stuff but expanded into anything that I thought of
or that people would suggest, like, making a song in an extremely short period of time.
Or making a song out of YouTube clips.
Like, a whole bunch of just extreme limitations around the way that you approach music making,
which I just think is a lot of fun.
You said to me that one of the things that's interesting about this approach
is that the videos and the music only make sense together,
there isn't one without the other.
Yeah, that's right. I like the idea that maybe I'll produce something and no one will know
that the sounds all came from a water bottle and a... I don't even know. A cat.
But... - We'll get there.
That's another way to look at it. But you can't have the video without the audio.
Like, watching that is ridiculous. And... So it just... The fusion of seeing
this air being let out of a balloon while you hear how I've paired it with the popping of the balloon,
the rubbing of the balloon, like, it just turns into this audio-visual symphony.
Yeah, and there are some people out there who're applying this principle to great effect.
I think you sent me this, Adam. - Oh, yeah. This is great.
This is a classic.
That'll do.
My favourite parts of that are, you might notice... It's not actually his hand with the microphone.
He just as a hand as a microphone stand.
Yeah, it's awesome, like the whole thing is awesome. I wonder like... I wonder....
how much production knowledge you need for something like that.
You have quite a lot of post production stuff on your videos.
Yeah, there's audio posts, video posts.
I have training of the music side of things but zero on the video side,
so it's just been like brute forcing my way through, like, oh how do you make the video smaller
and put another video with it? And doing that, taking forever,
and then two years in being like, "oh, they make a plug-in for that."
So now it just feels like a breeze.
But... - What's the plug-in, 'cause I don't know it."
You know what? It's called SplitSceen. - Alright, sweet.
Or Screen Splitter? - I'll look for it.
But, yeah, editing takes the longest of any part of the process.
And, yeah, that's just my world now.
Something that all of you are doing is like, seeking to use creative processes like,
narrative in your work. So...
Rachel, you've...
Actually, in the video that I showed before, I noticed that down in the comments section...
you've listed really thoroughly all of the kit that you've used,
and even gone into like, the process, essentially.
Was that up there from the beginning? Why was that important?
So, initially I didn't. I just uploaded a video, whatever, see what happens.
And the people would start asking quite a lot of questions.
So I was like, maybe it'd be really helpful if I would write in the comments,
just tell everything I'm using, everything I'm doing, blah, blah, blah.
And then I did that, and then over time I get a lot of questions,
and I feel quite passionate about sharing it, 'cause it's fun and cool.
And so I thought after, just in June actually, when I did my last performance video.
I thought... My manager Ben was there, and we had this little camera,
and I just thought, hang on now, let's not pack down, I'll do a talk-through
and may as well just do a video and explain it rather than write it down.
'Cause the descriptions would take me an hour, I'd be there just writing this big description,
and then copy and paste it into my YouTube blurb, but I just thought I'd do a little video.
Can I just show 30 seconds of this to just give a flavor...
<i>So, I think we'll start with the instruments here.</i>
<i>I'm gonna try do this</i> <i>in a small amount of time as possible.</i>
<i>So we've got the Minibrute here,</i> <i>Arturia Minibrute.</i>
<i>So this is gonna be playing</i> <i>the bassline in the song.</i>
<i>Which you'll hear when you hear the video.</i>
<i>And we've got the KingKorg here,</i> <i>which I've got this lovely whirrly sound</i>
<i>which I usually use, but I've just changed</i> <i>the attack slightly, so I got a bit...</i>
<i>So you got this nice, floaty sound.</i>
<i>So there's a lovely, floaty sound on there. OK...</i>
Was there something you noticed then that, are you kinda going through comments
to figure out that people are looking for this thing?
I just wanted to explain everything. So, you know, and then,
but there's still a lot of questions. So... But that's the first talk-through I've done.
So... you know, and people seem to like it. So, I'll do more.
So, yeah. But obviously I'm terrible at editing and I did it in iMovie, and I cut out all the:
"uuumm," you know, and there was no like, cool transition,
so I had to like, kind of use those squares, but I have started using Premiere now,
so hopefully there'll be an improvement.
I like that when you mentioned 'iMovie,' Adam just shook his head.
No, that was like, "Yes, hell yeah." That's my speed, man.
So, yeah.
Like, Andrew, this is something that you're doing all the time. So the aforementioned...
the aforementioned carrots get dealt with here.
<i>What's up. Today we're gonna learn</i> <i>how to make carrot instruments.</i>
<i>You're watching Carrot Kitchen</i> <i>with Andrew Huang. That's me.</i>
<i>If you didn't already see last week, I dropped</i> <i>a cover of "24K Magic" by Bruno Mars,</i>
<i>but I played it using only 24 carrots.</i>
<i>Today we're gonna learn how to make</i> <i>the carrot slide whistle.</i>
<i>And the carrot recorder.</i>
<i>For this project you're gonna need a clean</i> <i>surface to cut on,</i>
<i>some big carrots, some little carrots,</i> <i>a knife, a drill,</i>
<i>a big drill bit and a little drill bit.</i>
<i>So grab your carrot. At the beginning</i> <i>it should sound like this:</i>
<i>Don't worry, that's normal. Let's begin.</i> <i>First, chop off...</i>
I'm usually not like, that funny, but... I also work with other materials that aren't carrots, but...
Yeah, I started doing this kinda stuff because I was creating music where...
I felt like a lot of the things I was putting into it were just going completely unappreciated.
Like, I just wanted to point out: "Did you hear that chord change, that key change,
this is how I designed that tiny sound that you just hear one time
and it took me two hours." And I just wanted to share about that...
and it turns out that's something a lot of people are interested in.
I think so many more of us now have access to tools to create and so I think
a lot of people now come to my channel to learn, to get inspired for their own productions.
But, yeah, I'm always... In addition to putting out the original music,
trying to find some kind of story, or tip or trick that I can share about it along with it.
You pretty much take any opportunity that you can get to share information
about the process behind the music that you're putting out through the channel.
And a lot of your channel seems to be like, really given over to this stuff.
I'll flick through the channel in a moment, but I wanted to show this one.
<i>Hello, I'm Andrew Huang,</i> <i>and welcome to another beat-making video.</i>
<i>For today's tutorial, all you're gonna need</i> <i>is some basic music production software,</i>
<i>I'm using Ableton Live. And a single</i> <i>Donald Trump sniff sample.</i>
<i>Here's the one I have chosen.</i>
<i>So first of all set your BPM to 70,</i> <i>'cause that's how old Donald Trump is.</i>
<i>And we're gonna start by making a hi-hat.</i> <i>So all you need to do is filter away</i>
<i>some of the low-end, and then you're gonna</i> <i>shorten the sample</i>
<i>so you're only using the very beginning of it.</i> <i>And now we can program a simple rhythm.</i>
<i>Next we're gonna make a "clap" sound,</i> <i>and we do that by slightly lowering</i>
<i>the pitch of the sniff and then we'll shorten it</i> <i>again at the end, but this time we'll use the end</i>
<i>instead of the beginning.</i>
<i>There we go. Maybe not a perfect clap,</i> <i>but it's closer to a clap than a sniff.</i>
<i>Now let's compliment that clap with a snare,</i> <i>again using just a short portion of the sample</i>
<i>but we'll take it from the middle this time</i> <i>and add a little fade-out.</i>
<i>Yep, very good, very good. To make</i> <i>a kick drum, we're gonna transpose our sniff</i>
<i>down by 39 semitones.</i>
<i>And we'll just grab another little chunk</i> <i>from the middle of the sound, add that fade-out.</i>
<i>Turn the treble right down and warm</i> <i>the whole thing up with some saturation.</i>
<i>Last but not least, we're gonna make a bass.</i> <i>We're gonna isolate a low frequency</i>
<i>and distort it a little bit.</i>
<i>And now we can re-sample that</i> <i>and program a bassline.</i>
<i>And there you have it, a solid beat,</i> <i>and you know it's sick</i>
<i>because it started with a sniff.</i>
Thank you.
It's like you're treading this line in this one between like, music fans
without any production knowledge, where you're really showing in very simple terms
how these things are done, and actual creators who are well versed in music tech,
and in the tools of music making.
Who are you speaking to, like, who are you thinking about?
You know, I'm trying to find a balance where the ideas are interesting enough
that people, who may have been producing for a long time,
would still find something that they can get out of it. But also where it's accessible to
just about anyone, 'cause, you know, music speaks to everybody
and if I can find the... Get away from too much of the technical terminology
but just share, at the surface level, I guess like, what is happening, like what,
what does pitch shifting mean, or, you know, trimming samples, like, I think...
people who aren't music producers just don't see that side of music creation.
And so, it's kinda fun to make that accessible.
Why is it so important to you though, to connect with creators?
You very clearly have a strong community of creators. Is that, like, the...
As you can see, like, this video has a casual 3 million views.
There's a ton of people that subscribe to your channel,
clearly many of whom are probably not music makers,
but why is it so important to you to connect with people who are actively making?
I guess it's from my passion of creating, and how important creativity is to me.
So...
Yeah, I just like to share all these little tips and tricks, or...
ways that I've been inspired, or... things that I don't see a lot of people talking about
about the creative process, or that maybe I'm not sure if other people are even doing.
But it's just cool to have a dialogue about that rather than, you know,
me creating this music on my own and only sharing the result.
It's just more interesting to share the process as well.
How are you guys thinking about community? Like, Adam, for you, are you kinda like,
are you scrolling through comments, are you checking what the feedback looks like?
Um, yeah, and I'm trolling people back all the time.
Probably not the wisest idea. Well the thing I like doing is Q&As,
I do Q&A videos all the time, where people ask questions and I can really quickly answer
in a minute or so. And so it's fun, 'cause then the community is then part of the channel
in a pretty big way. And another thing I do...
You know, before I had my YouTube channel, although I still had it then,
I did a lot of private teaching, and that way kind of how I, you know, did my life.
And so I kind of extended that recently into a series I call: How to Not Suck at Music.
And people submit videos of them playing their instrument or compositions or whatever.
And then I give a deconstruction, I try and like, break down what I think they could do to improve.
And I try and make it as useful for everybody as possible, but I'm not selecting things to say:
"This is awesome, this is amazing, you're incredible."
I'm like, specifically trying to say these are the things that I think you could improve upon.
And so everybody has always taken that as me being extremely negative with everybody.
Like, "Oh my God, Adam is roasting all these people, all the time." That's not the point.
But it's really fun to bring in people from the community to like, invite them into the channel
and also, it's really fun seeing how excited people are getting
about some of the things that I'm talking about. So that's kind of my...
How I interact with my particular community.
What about you, Rachel? Do you see your channel as a community of people?
I'd say so, like, the cutest ones I get are like, "my daughter loves it,"
and I get sent on Facebook little videos of kids watching the videos and,
"my daughter wants to get the same controllers as you," and like, it's stuff like
the dads showing their daughters and things like that, I'm just like,
OK this is really cool. So things like that you start to think, "aww."
But yeah, and you know, you're seeing people obviously commenting on the videos,
get some nice poems and stuff like that. So, like...
Do you respond to those?
Not enough, 'cause I get quite a far amount, and it would probably take me...
I really... Ben, my manager, he's always like,
"you need to sit down and respond to YouTube comments."
But it's just finding the time to go through all those...
Was a point where I was keeping up-to-date with them, but I've gone a bit off the point now.
So that's why I wanted to do a talk-through video as well,
because if I couldn't answer the questions directly I can try and answer things in a video.
But, no, it definitely feels like, yeah, there's a really nice kind of...
yeah, vibe around it all and you feel really supported by it and stuff like that.
But I definitely would like to be able to have more time to go in on the comments.
I mean, you guys might feel like that as well, it's kind of hard to...
really address everyone. I at least try going through, like, like, like, like, like...
as many as I can.
Andrew, you even kinda like, have challenged your community to a couple of things.
I like to get 'em involved with various projects that I'm doin'.
Yeah, like, where are you actually... Where do you have the one-to-one dialogue with people?
Are you doing that outside of YouTube?
There's a lot of people... messaging me. And I can't respond to everyone,
but when I do community projects, I just have ideas where I like to get other people involved
where I like to see stuff come together from all around the world.
So I've done a video where I got just anyone who wanted to could submit a track
that I layered into a song, that I just wanted to be kinda big and cacophonous.
And then...
I did another one where people sent me samples and I turned those into a beat.
This one you're loading up was like a challenge to see if we could all come up with a new genre
based on certain parameters, and I just featured maybe 20 or 30
of my subscribers' music in this video. - Let's watch just a little bit of it.
<i>Hey, it's Andrew Huang. You guys did it.</i> <i>You made Shiny. It's incredible.</i>
<i>Shiny is the name of the genre we were all</i> <i>gonna invent together.</i>
<i>It's taken me way too long to make this video</i> <i>because I just haven't had time</i>
<i>to make my own Shiny track.</i> <i>And... I still haven't made it. But wait.</i>
<i>I have so many talented subscribers, I'm sure</i> <i>you made a perfectly good Shiny without me.</i>
<i>So let's see what this fake but now real genre</i> <i>sounds like. And I guess this will be like,</i>
<i>a reaction video?</i>
<i>Shiny.</i>
I love this one because you literally co-created, with a bunch of people that watch your channel,
the idea of what a genre of music could sound like,
and then encourage them to go away and make it, and they did.
Yeah, I think I got 200 submissions. And I just love that everyone...
had an opportunity to exercise their creativity. I made this video as long as I felt like I needed,
I think it's nine minutes, just to showcase as many of the submissions that I could,
that I really enjoyed. And I wanted to link to these creators too because...
it is a community, like, so many people in my audience are creators
and I just love that with the internet now you can find all these different people
just doing their thing, and for some reason, for some people like us, you know,
there's more followers that come in but, yeah, I just love the idea that
there's so much creativity happening and you can kinda like...
spiderweb out to all these different people.
So...
I thought, one thing that I wanted to do was to throw up the very first video
on each of your channels.
I was looking for a way to embarrass you guys and it seemed like the obvious toy.
It's gonna be embarrassing. - So, this is yours first, Rach.
Oh, God.
This is, yeah, pre-tech days. Not a happy place.
That's some money coming in your direction.
You're welcome.
Still pretty great. - That was... Yeah.
Oh, God. Yeah, no.
It's a lot less technology.
Did you think that your channel was just gonna be performances?
Was that the original intention?
I mean, yeah, it's kind of... Yeah, I haven't like, you know, done a whole thing with my channel.
It's just kind of, yeah, like I said, it's like my little stage to kinda go put stuff.
Especially in the times where I've been working up to performing out live
and things like that.
Yeah, so it was just a couple of acoustic videos. I mean, I went to music tech college,
so this was in my transitional period after tech college where I just did like,
top lines and stuff like that for other producers.
And, yeah, so I just used still the platform, but, to be honest, I do kinda wanna delete those,
'cause they don't really represent me, I think. But...
Yeah, I just haven't got 'round to doing that either.
So it's not like you've sat down and planned out what your channel is?
No, not at all. I haven't even done good thumbnails,
I haven't got a logo yet... Yeah, I need to have a re-brand, probably.
Then how do you figure out how often to post videos?
How often, is just when I feel like, to be honest. - When you have time?
When I have time. So I post... I like to do bootlegs so, cover really cool songs,
and I think that's a good way as well, to fill like, a gap between a release.
But... and yeah, I'm gonna do a Christmas song now as a little challenge for myself.
And I've also filmed like, a breakdown talk of my live set-up, when I was on tour.
But I need to edit it and stuff, so it's just finding the time, really, 'cause obviously...
I actually still teach a bit of piano as well. So I still work and then produce my own songs,
and that takes up enough bloody time. And then... Yeah, and then I've just been on tour,
and done some really cool stuff as well, the past few months.
So for me, it's finding the time to do it. I mean, and you know,
you guys who are releasing music, I do it on my own label, my manager Ben as well,
and, you know, the artwork, the performance video, like, obviously writing it, producing it,
the mixing, the mastering, the PR. It takes so much time, it's a lot of effort.
So then, doing YouTube as well, I feel like if I could give as much time into all of that,
and to YouTube, that would be cool, but you know, I'm still finding my way. So, we'll see.
Let's embarrass you next, Adam.
Let's do it. - Check out the hair on this guy,
it's spectacularly great.
17 years old, and the haircut is not...
Look at that.
Still got some chops.
I definitely cannot do that any more.
I think that was the peak of my chops, back when I was in high-school.
But you could still rock that hairstyle?
Yeah, sure.
So that was 2016.
Yeah, so I heard of this new, cool thing called YouTube in high-school.
And I was like, oh this is cool. And I'd been shooting little films... just, like...
with my mom's camera, which was this really janky sort of thing,
and you could hear this little clicking noise in the background
which was the sound of it trying to autofocus.
So I... filmed this on that, and some of my earlier videos were just that literally,
and I look back on this somewhat fondly because it's a testament to like,
hey, I was just trying to like, create videos, and like, oh this is me playing in my bedroom
and I just wanna get that out. And I think that... It's an idea that still resonates today...
for a lot of people, I think. - You have such a clear narrative style now.
Clearly you have sat down and thought about how that should look and feel.
Yeah, well, for most of my videos now, which have nothing to do with this,
a lot of it was borrowed from a lot of, I'll call them "science channels."
One channel in particular was PBS Idea Channel, which is no longer running,
but it was run by this guy Mike Rugnetta.
He had this very particular way of pairing philosophical ideas,
like pretty intense philosophical ideas, with pop culture.
And it was just a really interesting blend of things, it was really inspiring.
And I thought like, oh, I wanna do that sort of thing,
but then for bass guitar, I guess. But that didn't really pan out,
it ended up being for music in general, and that was kinda the idea
what I really trying to go for, is like, kinda take that sort of style of, you know,
throwing in memes all over the place, and this sort of irreverent style of editing,
like, Bill Nye, to like, teach people and make a point, tell a story with the lessons.
So that was kinda the genesis of all that.
But it's like... It's quite... It's a very nuanced style that you do have. Have you...
Is this just something that's evolved over time, or are you really sketching this out?
Yeah, I mean... The process is I'll write a script, I'll tightly script the whole thing,
I'll film the talking head and edit it. And editing is always kind of a slog,
'cause I'm not a video editor at all, but during it I'll think, "oh that's a funny joke,
maybe I'll throw that in." And so it's a fun kind of... weekly process that I have for myself.
And yeah, a lot of it was borrowed.
There's a lot of things which I definitely try and emulate and steal from other people.
You know, remix culture is something I feel like is talked about a lot here at Loop,
and I definitely feel like that's the sort of theme for a lot of the... where I get my stuff.
It's just that I'm doing it for music, versus other topics.
So, I wanna put on your first video, Andrew. I've a sneaking suspicion that, like...
this isn't like, the first ever thing that you posted.
I had the fan animations up before, which... when I made the channel more my content
I took those down, but... yeah. - We will go through this one.
<i>Come here. Come on. Are you in tune?</i>
<i>Are you in tune?</i>
<i>OK, good.</i>
Ah, I love that.
So cute.
Like, you say your videos aren't always that funny,
but clearly humor was there right from the very beginning.
Yeah, I guess I just kinda put up whatever is funny or cool to me. But...
Yeah, I'm just having a laugh so much of the time. I guess it happens a lot more that I think it does.
How did you develop the language and style that you have?
Oh, um...
I'm not sure. I think... I think I do watch a lot of vloggers on YouTube.
This is something that I noticed years ago, that, you know, I'm a musician and uploading...
musical content to YouTube. And while I do follow some musicians on YouTube,
I follow more vloggers. I watch the Vlogbrothers, I watch Casey Neistat, I watch Tessa Violet,
Chescaleigh, like, I watch people talking. And... I just thought, well this is clearly a format
that works for YouTube, and started taking the way that they communicated into...
my videos, whether it was jump-cutting or the way they would change angles.
Or, you know, even a little bit in the delivery.
And using that as the vehicle through which I could share about music
even more that I had been.
I've no idea how you're finding the time to watch other people on YouTube,
given the volume of content that you turn out.
I mean, we should talk about that. And also all these roles that you play.
Like, writer, producer, performer, engineer, educator, videographer, Canadian.
That one's hard work.
Yeah, well, I guess at this point they all... roll together into the one process,
which is divided into a million processes. But... I kind of have that end result of the video
fairly formulated, with, you know, a lot that can change along the way, but...
each step that I'm doing, whether it's writing the song or finding inspiration,
or, you know, looking on Twitter for ideas, or the editing, the mixing, it's all...
part of that series of steps to get to that place where I have that video to publish
every Monday and every Thursday.
But there's so many hats to swap round, especially...
You're producing a vast amount of music, as well, like, your musical output,
there's a bunch of musicians who'd be frightened by that.
And this stuff on top, I genuinely wonder how you like, sequence your time out
and think about how to fit all that stuff into the week.
Yeah, um. Well, some of you might have seen me floating around and on my laptop producing
'cause I have a clamped deadline tonight. So I've been chipping away at that, you know,
for 20 minutes here and there throughout the day, at Loop. But, that's kind of like...
how I work, it's always like, a hundred projects at a time, knowing what needs to happen next
in each one and just diving right in. And I think something that I became good at...
from doing this for so long is pivoting. Pivoting my creative, sort of, mindset,
'cause it's a little bit different, the place you need to be in when editing a video
versus designing a synth patch.
And I think... I noticed as I did this more I got quicker at knowing which zone I need to be in,
and getting to that headspace. So it's that, it's making decisions as quickly as I can.
And never looking back.
There's... I mean, we've already seen, with the content that all of you guys are creating,
but there are definitely some new formats that YouTube has sort of facilitated
that really kind of couldn't exist anywhere else.
And I wanted to throw up a couple of things as examples, partly just for inspiration,
and partly as a kind of talking point.
I think it's... I find it particularly fascinating when music makers are kinda like,
really trying to kind of flex their creative muscle in the way that all of you guys are.
But also looking for the thing that's kinda like, just unique to them.
One of these examples that's a particular favorite of mine at the moment.
I... This guy is an absolute hero of mine. His channel's called 'A Capella Science,'
has anyone come across 'A Capella Science? '
Yeah. So, like, the short version this is that... this guy is like a, I guess a science major,
I can't remember whether he was doing a masters or a PhD. And he's super into music,
and super into science. Real nerdy science.
And his videos are like, incredibly well researched.
And he's obviously into acapella singing. This particular video is...
about something called CRISPR-Cas9. Does anyone know what CRISPR-Cas9 is?
Yeah. Yeah.
So, I reckon I'll show you the video and then you can see whether you know
what CRISPR-Cas9 is right afterwards.
I'll... Yeah, watch the lyrics and then we can touch on it briefly. It's a heavy subject.
But, what this guy does is amazing to me.
OK, you get the picture.
Got it? Yeah?
CRISPR is like, the absolute frontier of gene editing.
And it's like the... I won't bother to explain exactly where it comes from, but it's like,
using bacteria to find a way to literally edit genes. So, change the color of a mouse,
change someone's eye color. And it's super fascinating.
One of the things I love about this guy is like, he does his videos,
which are obviously just kinda insane.
And at the end of them, he's got like, a whole list. He says, here's a playlist
that you can go find out more about these things. And then he does videos
of how he puts the tracks together. Which is like, very similar to your approach.
And it seems like this idea of engaging with people and using the YouTube ecosystem
is really important, kinda the key, I think.
Does that resonate with you too? Yeah, I mean, this guy, first of all, he...
the amount of editing that goes into one of these things is insane.
Yeah, he's also tapping really deep into this video song thing, which this is like,
the next level evolution of it, and he's using it to teach,
which I think is really exciting and really cool.
Especially talking about something so, you know...
You could imagine you could make an absolute fortune with education videos with stuff like that.
Yeah, I mean, I...
There are huge amounts of people watching this stuff, I wish there were more.
Imagine that was your lesson in school. That would be cool.
It's pretty awesome, isn't it? And I've watched this video a bunch of times,
and it just literally taught me what CRISPR-Cas9 is.
Do you have Bill Wurtz - History of the World?
This is probably the most genius thing I've ever seen
and probably the best YouTube video ever to exist, I think.
Bill Wurtz is this amazing, wonderful...
I don't even... He's a musician, but I don't even really know how to describe what it is he does.
He... Uh, well you'll see.
Could someone quickly come and actually plug this charger in to the mains please?
Yeah, this whole video's completely amazing. - Yeah, so that was about a minute,
he goes on for about another 20 and it goes through the entire history the world.
So, in that exact cadence too. It's incredible.
So... another thing. You've talked about this a little or kind of alluded to it on your channel, Adam.
But another thing that I'm super compelled by.
So, yeah. This style became really popular actually, like last year.
There's two guys I wanna point to. There's a guy by the name of Publio Delgado.
who did... He did harmonizer version of some of these, basically, viral videos.
He would take a... He would harmonize... - Can we watch it?
For context, so that it doesn't look too scary. This is a kid that's just woken up from like,
anaesthetic at the dentist, I think. And he's speaking to his mom,
he thinks he's like, a gangster and he went to Dubai.
Oh, yeah. - Publio Delgado's guitar on top is just insane.
To put this into like, some context, this...
I wanna talk like, my channel about some of this stuff real quick.
So this sort of style of like, editing music on top of other media actually goes back really far,
there's like, Hermeto Pascoal, I think is his name, a Brazilian composer, did this a lot.
And then there's also this band called Spastic Ink, in the 1980s
that did the entirety of all of Thumper's lines in the movie Bambi.
They created like, a track on top of it, it's insane. But they could never release it
because of copyright issues, as like, this is what it is. But now because we're...
using this sort of remixing thing, now this has sort of exploded as a creative possibility.
There was this guy by the name of MonoNeon, who is, if you don't know who MonoNeon is...
MonoNeon, you should definitely check him out, 'cause he does nothing but this sort of thing.
In the weirdest, most far-out there sort of like, music, he does like, microtonal music,
and it's this weird like, microtonal-southern-gospel fusion sort of thing, but it makes total sense
because you're seeing it with the video, and it's like what we were saying earlier, like,
the combination of video and audio really can't be, like, divorced from one another.
I think it's just exciting to see this, this is the sort of thing that could only really exist
in like, online video, which I think is so cool.
Yeah, there's one more thing that I wanted to pop on, because it...
it touches on, you mentioned Patreon earlier on.
So, Jacob Collier did a series called: #IHarmU.
The idea being that people would send him this sort of like, 30-second clip of...
mostly them singing, but kinda like anything: Them playing some instruments, whatever.
And he'd harmonize on top of it.
And I think it's like, just a really neat, clever, very creative thing to do,
but also a neat way to make Patreon work, and to have like, small contributions come to him
so he can basically fund his album. Let's watch a little bit.
And then with Jacob.
So he does loads of these things, all of them with the same format.
Someone doing something, and then him harmonizing over the top.
So cute. Yeah, that's cool. Do people send the videos into Jacob?
Yeah. - That is cool.
Yeah, via... - He recently did a live stream
where he showed the process behind this, and he is fast in Logic, let me tell you,
the guy just like... - Oh, really?
... comes up... like, these harmonies are otherworldly complicated and he can hear them...
perfectly and he sings them all on the first go and like, it's pretty insane, like,
and his whole creative process is very much like, stream of conscious.
And, you know, this whole thing has to be stream of conscious in a way
because you have to keep... Like, you mentioned earlier the idea of like, the constant flow
of content creation, and so, Jacob Collier is one these guys that just does it like...
He's insane. Anyway, I don't mean to geek out on him, but he's like a true new genius of music.
Does he used autotune on those vocals? - Oh, no. No way...
They sound like, really perfect, don't they? - You should check out Jacob Collier.
There's a video where he sings like, microtones with precision, like...
let's divide a semitone into four and move our way down to the next,
and just sings it spot on. - Music theory interview with June Lee,
he has two half hour interviews, it'll change your life, I swear.
So... Patreon is obviously a really important, very interesting platform for artists to be able to...
get enough money to do cool stuff, but also to interact very directly with fans,
with your community again. And I know it's something you've been doing a lot.
So does it kind of facilitate you kind of taking the next step with whatever you wanna do?
I guess for me it was a way to have a dependable income, as a musician.
I started on Patreon a couple years ago. And, you know, at that point...
income was really sporadic, it was like, I get a job here and there.
YouTube just goes up and down depending on what views you get every month.
So Patreon, I think, for so many creatives has been that solution where
the people who are most into your work have an easy way to support you
on an ongoing basis.
And something I wanna point out about it is, when I first approached it I kind of felt like...
it was transactional in nature, like, I'm gonna offer these perks and these people
will be interested in these perks and therefore they will support, but...
so much so I'm just finding that these are just people who believe in what you do so much
that they wanna be able to contribute, they wanna make sure that you can keep doing it
and that's amazing.
We need to wrap up. There's one more thing that I wanted to show you.
These guys are of course here. And I'm not gonna have a Q&A,
but if you have questions you should come and say hi and address those questions directly,
there is still plenty of time to chat.
I guess one of the things in collecting this stuff together and thinking about what good...
video making is for music makers looks like.
It seems to be that it's...
the kind of... the continuous theme is kind of embracing your own creativity first of all.
And then each of you have like, found a voice by really connecting with
what it is that you're most interested in.
And going through all your channels it seemed like really you can see that process of
gradual refinement and just persuing the thing that fascinates you most.
I found that really warming, and looking through these other things too,
it's the successful stuff seems to be the stuff that's quite true to like,
what you're actual passions are.
I think, as a music maker, video software, the creating stuff, making the time for it,
but especially producing work, can be quite a daunting prospect.
And the idea of starting to make videos when you're maybe not particularly well versed
in the software is a frightening thing.
I want to show this video, which basically is one long quote from Ira Glass,
that tackles this exact thing, and I think speaks to something, I'm sure we'd all agree,
but especially on this topic of video making, it's something to think about.
<i>Nobody tells people who are beginners...</i>
<i>And I really wish somebody had told this to me,</i>
<i>is that: all of us who do creative work, like,</i> <i>you know, we get into it,</i>
<i>and we get into it because we have good taste.</i>
<i>But it's like there's a gap.</i>
<i>But for the first couple years</i> <i>that you're making stuff...</i>
<i>what you're making isn't so good, OK,</i> <i>it's not that great. It's trying to be good,</i>
<i>it has a mission to be good,</i> <i>but it's not quite that good.</i>
<i>But your taste,</i> <i>the thing that got you into the game,</i>
<i>your taste is still killer.</i> <i>And your taste is good enough that you can tell</i>
<i>that what you're making is kind of</i> <i>a disappointment to you, know what I mean?</i>
<i>A lot of people never get past that phase,</i> <i>a lot of people at that point, they quit.</i>
<i>And the thing I would just like, say to you</i> <i>with all my heart is that most, everybody, I know</i>
<i>who does interesting creative work,</i> <i>they went through a phase of years</i>
<i>where they had really good taste,</i> <i>they could tell that what they were making</i>
<i>wasn't as good as they wanted it to be.</i> <i>They knew it fell short.</i>
<i>It didn't have this special thing that we wanted it</i> <i>to have.</i>
<i>And, the thing I would say to you is:</i> <i>Everybody goes through that.</i>
<i>If you go through it, if you're going through it</i> <i>right now,</i>
<i>if you're just getting out of that phase,</i> <i>you gotta know it's totally normal.</i>
<i>And the most important possible thing</i> <i>you could do is do a lot of work.</i>
<i>Do a huge volume of work.</i> <i>Put yourself on a deadline</i>
<i>so that every week or every month</i> <i>you know you're gonna finish one story.</i>
<i>It is only by actually going through</i> <i>a volume of work</i>
<i>that you're actually gonna catch up</i> <i>and close that gap.</i>
<i>And the work you're making will be as good</i> <i>as your ambitions.</i>
<i>It takes a while, it's gonna take you a while.</i> <i>It's normal to take a while,</i>
<i>and you just have to fight your way through that.</i>
Cool.
That was beautifully shot. - Real talk.
So, on that note I would like to thank all of you guys,
you have been amazing this weekend. Let's go and hang out.
And I would like you to join me in thanking our three panellists.
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