Getcha Some Productions Podcast Episode 35
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A podcast covering all things related to music production: from the first note to the last fan and everything in between. Our mission is to create music and to inspire others to do the same.
Not your typical podcast, each episode is a live business meeting. We are in the process of building a media empire (a music production company) and listeners/viewers come along for the ride. This is a chronicle and archive of our progress. This podcast is always candid and unrehearsed.
In this episode we discuss:
In this episode we discussed the fact that we should try to level up one item.
I pulled out our business plan which we share in a Google doc. I’m looking at the first page which discusses the podcast intro.
I suggest adding some verbiage to the intro so that we could get a little bit more professional. I also suggest that maybe we could level up the quality of our production every 25 episodes or every 10 episodes are every 35 episodes something like that. Not every episode because that would be too much but once in a while, we should level up.
We decide to try to make our intro a bit better:
A podcast covering all things related to music production: from the first note to the last fan and everything in between. We create music and inspire others to do the same.
Every episode is a live business meeting between me and Dan (me and Keith) as we build this media empire right before your very eyes/ears.
Dan also suggests that the intro and the standard repeated verbiage should be streamlined and made more efficient.
The next item to be discussed was the interview we recently did with Tim Mirth. I had some feedback about the process of doing the interview and some ways we could make it better. First, I thought that it would be good to have Dan be more involved. I also thought we could tighten up our process a little bit better. Second, I thought that we should always have wired microphones so that our sound quality is at least sufficient rather than dealing with the microphones that are native to Our devices.
My next suggestion was that we need to have more of a back-and-forth between Dan and me and Tim in this case. And going forward, we would have more of a back-and-forth between me and Dan and the interviewee. So we have to strategize how we can get Dan more involved in the process generally.
Dan actually didn’t enjoy the interview very much at all. He felt that he didn’t learn anything during the interview. We spent a long time on Tim’s bio during the show. So, we didn’t have enough time or we didn’t have the opportunity to get into the art of making the album as much as we could have.
Actually, we start formulating a better interview plan right in the moment as we feedback to each other about what the last interviews process was like. Here are some of the items we discussed.
- Usually the interviews are about an hour long.
- Ask for the musician’s bio or superhero origin story but keep that portion to 15 minutes.
- Is there one particular recording or album or piece that you want a deep dive into? Send that to us A few weeks before the show.
- Here are the elements of the creative process that we tend to focus on. Songwriting, musicianship, the philosophy of artistry in general, working with other musicians, the experience in the recording studio, Etc.
Here are some hypothetical fallback questions.
- Which album was the most challenging to make?
- What musical experience made you grow the most? How?
- What does it take to make an album?
- Any special/crazy/weird/powerful/emotional experiences you had while creating your art?
- Any particular questions/topics (listed above or not) that you would like to cover?
I also had to disclaim and disclose to Dan that creating the show notes and releasing the interview is exponentially harder than it is to just record these usual chats between me and him. It’s just way more complicated and harder to make thoughtful detailed show notes when a third-party is involved (for whom we have to produce something special, rather than when Dan and I are talking and having A more informal experience). Also, the shows are just longer so there are way more notes to make and edit.
Then, Dan wisely points out that if we’re doing the interviews less frequently, it might be more practical for me to have a more professional recording set up to bump the overall quality of the interview up a little bit. So, if we know we’re about to do an interview, I would carve out the time and also secure the space and make sure I have a nice microphone and all that. That’s a good suggestion.
The last subject to cover in the show is the need for us to have a more regular influx of fresh material to riff off of. That’s why I sent Dan the book.
Unlocking Creativity: A Producer’s Guide to Making Music & Art by Michael Beinhorn
Please buy the book through this link to support the show: https://amzn.to/3k5YdKs
Dan just opened the book for the first time and flipped to chapter 26 which is titled the blind terror of live performance. And then we have a good laugh about that. Dan says that he does not think about performance that way. That is absolutely true.
Dan suggests that we should read the introduction and the first chapter just to see if the author annoys us or not.
My thought process for choosing this book:
- I felt that we needed more of a steady stream of material to talk about.
- We can sell this book as Amazon affiliates. So there’s a chance to make money off of this process.
- It’ll serve as our 101 course on music production. So we can actually learn while we’re doing.
We actually discussed Anthony Kiedis and the red hot chili peppers little bit and we even discussed his book scar tissue which I really liked despite the fact that I really don’t like the band very much frankly.
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#10,000Hours
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