It's Levels To This

Speaker 1 (00:00.142)
I had to look at it like, okay, I need to evolve to maintain level of control of my quality, right? Now when I deliver mixes, I'm also tapped to do the Dolby Atmos. The average consumer, 90 % of people consume music on their earbuds, right? And I was sitting there thinking the logic in me said, okay, the consumer is consuming this way. I need to optimize my mix to make sure that it translates on the headphones first and foremost, and then

worry about the speakers. Secondly, we were joking about how like these audio files would spend like $200,000 on like just speakers for their house. And we'd be feeling like, man, they're hearing the stuff better than we ever heard it. And we mixed it. And it's just like, that's the reality of it. you know, it is what it is.

What

It used to crack me up because like they would have their be dead set on their template right down to the auto tune It'd be the wrong key, but they're like no our setting is perfect. That's my template and I would just be like Okay, you'll find out later. They wrong, but that's just wrong

Ha

Speaker 3 (01:08.942)
You're listening to the show where music industry pros Sensei and Fatboy go deep on what makes music great.

In part two of our conversation with Grammy award winning engineer, Corey Anders, we're talking tech, templates, AI, Dolby Atmos, and lessons in adaptation for the future from the best in the biz. Get ready, because it's levels to this.

Speaker 2 (01:42.092)
the newer artists that are coming into the game, a lot of that lingo is getting lost. Cause when I came into the game, more artists knew how to describe things a little better. Because the artists back then, when we came into the game needed the producers more, they needed the engineers more because they themselves,

weren't technical to do this stuff because, you know, having everything at your disposal in the box was something still pretty new. So you needed to patch things in, plug things in and make it do what it do to a bunch of outboard gear. That transformation coming from analog in the box, how did that affect you? Or did you start in the box?

Well, I definitely started analog mixing, but it was a hybrid of the two, like mixing on the console with outboard gear. And even in the tracking days, it was producers with keyboards and sound modules. So having the MIDI sync all that up to run through the boards and record in the Pro Tools versus now they just hit a button and export all those WAV files and give them to you. So I got the best of both worlds. What I can say, the biggest thing that I notice now from artists back then to now,

is because things have become a lot more convenient, they're also a lot less patient. And to me, I think that that kind of hurts the art too, because as engineers, it's like, if I have a vocalist, you know, there was a time where, you you were given the space to try a couple of different microphones on a vocal to get that best sound. And now vocalists, they're ready to go in and you have it recording when they're walking in from the moment. And you gotta have the level perfect from...

The moment that they say their first phrase. And so it's just the level of patience that I'm noticing that they don't have just because they're used to things being so quick. Like they can instantly record a take and it's damn near, you can have an EQ, reverb, know, compressed all that by the time they're done with the take. So it, you know, a lot of that just becomes a lack of patience. But then I feel like that kills the creativity because you don't have time to be creative with the sound and really sculpt a sound.

Speaker 2 (04:06.538)
And to add to that, the template game became like a key thing. you know, these artists have their set templates and no matter what the song is, that template, they try to make that template fit everything. What are your thoughts on the template game?

It used to crack me up because they would be dead set on their template, right? Down to the auto tune. It'd be the wrong key, but they're like, no, the auto tune setting is perfect. That's my template. And I would just be like, okay. I'm not going to commit the auto tune to tape. You'll find out later that you're wrong, but let's just roll with it. It's a gift and a curse because a template can be a valuable tool for consistency and convenience if...

If you was right, like for instance, for me, I have a mixing template, but if I gave you my mixing template for you to pull up your mix and put in, it wouldn't change the sound of your mix. Like my template, I look at a template as like a starting point. So like everything is null, everything like all the effects are off, but they're just everywhere where I need them so that when I'm working, I can move quicker or more efficient. So template to me is about efficiency and not so much about just, okay, well this is.

You know, this is Gucci's template and this is Lil Wayne's template and that's how they get their sound. I the sound is sculpted within the actual process, but from the jump, like you're not, you know, and that's just, I think a lot of people get that misconception because they just think that a template is just plug and play. Okay. If I want, you know, if I want Travis Scott, you know, sound, just plug that in that template and I'm going to get Travis Scott sound. I'm not realizing that like, okay, in order to get that auto tune type super sound,

You've got to know that you're supposed to sing incredibly awesome that the auto tune is heavily on it to, know, just like the T-Pain effect and it's all of that, but you don't know that you just see the template and roll with it. So have a love hate relationship with the template in that, that realm.

Speaker 3 (06:14.028)
You know, like, this is the kind of thing I wish AI would do for us. Just be like, Hey, give me that compressor. I now I'll just say it out loud. I don't want it to do the mix for me. I don't want it to make the song for me. But do you see AI like biting into the production engineering business?

Absolutely. It's already biting into it. I mean, it's because there's already like even, you know, now a lot of these like plugin companies, even, even like waves, like they've come up with, with different plugins now. They, will analyze your vocal and create a basic, you know, blend of like compression and EQ based on, you know, just AI. And so there is a level of that. I don't, I don't feel threatened by it. Cause I'm, I'm one of those that I embrace technology.

I think that there's always a fear because it's the fear of the unknown. And then once it's understood more, you recognize, like you said, okay, this can be a valuable tool. Because I think one thing, AI, as far as I'm concerned, I don't think it can ever fully replace the human experience. Right? And so I think that it'll come to a point where right now, you know, people might be looking at it as a shortcut and it's convenient and getting this and not having to pay for this and this and that. But I think it's gonna, it's gonna level out to where.

everything is going to start sounding the same, feeling the same. There's not going to be any soul and stuff. And then they're going to realize, okay, there's an intangible, the human element to music. It's emotionally supposed to be, you know, and that's AI. if they can create emotion, like, and they can figure that with AI, more power to them. But I just think the human experience is going to balance that out to where it's going to be, okay, this is another tool. Just like back in the day when they said Pro Tools,

was going to kill the music because everything sounded so much better on analog and this and that. No, it became a convenient tool that now is the standard, but it didn't kill music. It facilitated a lot more music to be made a lot easier.

Speaker 3 (08:19.758)
or for that matter drum machines or samplers. But it changed the landscape, right? And the thing about the technology and people got home studios and it's democratizing the industry. mean, does that threaten you or what's your reaction to your career or your viability or?

Exactly

Speaker 1 (08:47.008)
It's funny, I don't look at it like it's threatening me. I just look at it like, okay, this is where these are the trends. This is where it's moving. Let me adapt. And I'll give you a prime example. Like a couple of years ago, you guys are familiar with Dolby Atmos, right? Yes. And so a couple of years ago, I was tapped to make a Gucci project, right? And at the time, the label hit me up to mix a project. This was nothing new. I'd mixed a ton of stuff for them before. But when I was done mixing,

They were like, okay, we need you to send all the stems to so-and-so, they're gonna do Dolby Atmos mix. And I was like, huh? Like, what do you mean, right? So I did that. then, know, then the, fortunate for me, I was cool with a lot of the A &Rs at the labels, the Atlantic, and she gave me that. She was like, look, moving forward, when you mix records, we're always gonna, we always want both Dolby Atmos and stereo. And so I was like, okay, I can either just continue.

to just do stereo and outsource the Dolby Atmos. And for me, would have, at first I was comfortable with that, because I was like, okay, this is a whole new thing. It was intimidating, just the thought of learning it, right? But then I started listening to some of the Dolby Atmos mixes that were coming back. And I was just like, this isn't honoring my mix, this sounds horrible. And then I would look at the credits and it'd just be my name listed, because they weren't listing the immersive mixers yet. So I was like, okay, my name is starting to be associated with this. So I had to look at it like, okay, I need to evolve.

to maintain level of control of, you know, my, my quality. Right. And so over the course of about a year, I just took time to teach myself in and out, Dolby Atmos. Shout out to my boy D up in Nashville, cause he works at, Apple and they have a Dolby Atmos studio. So he kind of helped me tune and fine tune my, my craft to where now it's like, okay, I've evolved to where now when I deliver mixes, I'm also

tap to do the Dolby Atmos and that helped because now I'm charging for a stereo mix and then I charged additional rate for Dolby Atmos mix and I'll make control of all of the quality of it. So I don't have, not at the mercy of whoever gets those stems and may or may not do them justice. So that's what I mean by the whole evolving. Cause it's like, I could sit there and even now I still have mixed feelings about Dolby Atmos and music just because

Speaker 1 (11:09.4)
The technology for playback hasn't caught up. Like most people don't have speakers in the cylinder of their house to listen to it. And I get it, they're doing it for the headphones, the immersive experience. But I still, to this day, still prefer the stereo mix versus Adobe Atmos mix. Maybe in the future, the technology is going to be where it's convenient and it makes sense. But right now it's like, okay, I could rebel against it and not learn it. But then that just cuts me off and limits me from being able to compete moving forward.

Yeah, you know, that's funny because I had this it reminds me of like when they were trying to make 3d video a thing Remember about 10 years ago. It's avatar but on your home screen you gotta wear the glasses. Yeah Like if the consumer doesn't buy in it's not gonna fly I do you get the sense that consumers are buying into the at most thing or

Right.

Speaker 1 (12:04.138)
It's right now from the outside looking in, it looks like the streaming services, mainly Apple, because Apple's been spearheading it, has been shoving it down our throats. And what that indicates to me is that down the pipeline, relatively soon, they have a technology that's going to make it commercially viable for the masses that they can consume. Because I know cars are starting to come with Dolby Atmos in them. Speakers,

Because I'm over your head?

Yeah, I think Mercedes Benz has started doing it. I think BMW on some of their high-end has started to do it. But it's one of those things where like, it's, to me, it still just seems like a stretch because even with music, like you take hip hop and you can go crazy with Dolby Atmos. I don't necessarily want like a high hat lying over my head. as if I, you know, so I think, or,

That guy peeing

Yeah, yeah, you know, because. Right, but it can be a useful tool for creating an experience like a live show to where you can really create, recreate, like if someone's at a concert and they can put on their headphones and they sound like they close their eyes and you hear, you know, the drummer over here, you hear the background singers over here and you hear all that, you hear the crowd behind you. It's truly immersive. That's when I see that being amazing. And until like.

Speaker 1 (13:27.086)
more artists start recording with that in mind on the back end, i.e. like artists even using like, not to get too technical, but like a binaural head microphone to where, you know, they're rapping at it, but then like when they're doing their ad-lib track, we might be whispering in one ear over here, whispering in another ear so that it captures it so that immersively when you're listening to it, they're rapping, but then you hear ad-lib over here and it sounds like they're whispering from behind you. That's when I think it's going to catch on. But it just hasn't gotten to that point where the technology is caught up to where the

the average consumer even cares. Cause you ask the average consumer about Dolby Atmos and Immersive, they really don't.

I think for a minute it's going to be the audiophiles who really care about it. Yeah. The everyday average consumer, they just want to hear their song. I mean, in the club, is it going to have a, like if there's gunshots in the song.

Good.

Or you're driving to the car as a sample of an ambulance going by, you're gonna crash the car, right? We were talking the other day, and this is my thing. I see my daughter, she's like 15. They listen to the iPhone like this. It's mono. iPhones are basically killing stereo unless you want to put your AirPods in or whatever. But so many people experience music through the phone doing this.

Speaker 1 (14:31.03)
Right, right, right, right.

Speaker 1 (14:54.007)
Yeah.

kinda killed stereo let alone...

But what's even crazier about that with Atmos, Atmos, they're like the average consumer, 90 % of people consume music on their earbuds, right? And so the Atmos spec for mixing Atmos was like, you're supposed to be in an Atmos certified studio and da da da. And that's where you're supposed to check and make sure everything is, you know, that's the ultimate test. And I was sitting there thinking the logic in me said, okay,

I get that and I understand that element, but I also understand, okay, if the consumer is consuming this way, I need to optimize my mix to make sure that it translates on them headphones first and foremost, and then worry about the speakers secondly. I'm not neglecting the speakers, but I'm just going with 90 % versus 10 % that actually have most systems. I'm going to make sure that they sound good on the headphones first and foremost.

real world performance.

Speaker 3 (15:51.47)
It's the same principle about using like NS tens or the avatones, you know, simulate a TV or like a crappy cause you have to average out your mixes to the consumer experience. Don't you.

Yeah. mean, like you see that speaker behind, right? Yeah. That's not no audio file speaker that I know, but I mixed Usher albums on that speaker. Because I understand that like at the end of the day, I want to make it viable for the user and sound best for the user. Like I don't need a $20,000 speaker system to tell me something that's inaccurate. And this might just be a testament to experience and time in the game to really...

I two of my ears to be able to hear real subtle things to make those changes. I don't recommend that to somebody new that doesn't do it, but I'm just saying over time you recognize that at the end of the day it's music and people don't experience music on high end systems all the time. They hear it on whatever they hear it on. So if it sounds good on something crappy, it's going to sound good on something high end most of the time.

That's the thing that there's more people listening to music on crappy stuff than it is people listening to stuff on super audio systems. What did they call that back in the day? Hi-fi. It's more people listening on crappy stuff than hi-fi.

Like the high fives

Speaker 1 (17:16.728)
Yeah, mean, it's funny, me and my, I have an engineer buddy named Miles and we were joking about how like these audio files would spend like $200,000 on like just speakers for their house. And we'd be like, Miles was like, man, they hearing this stuff better than we ever heard it. And we mixed it. And it's just like, that's the reality of it, but you know, it is what it is.

Well goes back to something we talking about at beginning, it's almost like the vibe is more important than the audio quality.

Yeah. I see that now more than ever because especially I can say in hip hop, I don't see it a lot with the pop and the R &B stuff, but in hip hop, now y'all are familiar with the whole demo-itis thing. And as a mixer, it's almost a prerequisite now that when someone sends me files to mix, they've got to send me the rough mix so that I can hear the rough mix and hear the vibe from when it was cut. Because if I deviate from that vibe,

then, you don't know what the hell you're doing. You're not mixing the record, right? So it's almost like it's getting to the point where like these artists are wrecking. And me as a mixer, I don't take offense to that because at the end of the day, I'm trying, there's something that made you fall in love with that record. I don't want to break that. And let me honor that and enhance it and make it commercially viable. And so understanding that even if there's things that aren't correct, whether, mean, there's times where like I'd be mixing a record and...

they might think something off key and I'll correct it and then I listen back and it'll lose the feel. And I'll be like, you know what, let's take that back off. It was wrong, but the feel was right. And I think that that's something that it's a balance that you have to find between that because you know, the same token, you don't want something to sound so horrible, but it has a vibe because no one cares because it sounds horrible that they can't decipher the vibe. But at the same token, you don't want something so sterile that now doesn't have any feeling. That's what AI does.

Speaker 2 (19:11.094)
Speaking on that, cause when we saw the shift, when more producers started being self-sufficient, in the box and, and, and came off of NPCs and all of that. And the, the main platform to create, to make music in became Dawes. pro, you know, Pro Tools, you can make beats in Pro Tools, but the main one is FL Studio.

And a lot of the newer producers would capture their vibe, whatever they put on the master track, not understanding that when you bounce those files out, send it over to Corey to mix, everything that was on that master track was lost because you're just getting the individual. Now, whatever's on the individual tracks, you're getting those and you send it over and then they blame you for it not feeling like.

No, man, it's not the same because the crunch that they had, because they're making it super hot on the master, so it's hitting the clipper and it's clipping and it's giving it that digital distortion that everybody likes, but they lose that because when they send it over to you, it's gone, but they blame it on you. How did you, you know, how do you deal with those situations like that when you get false accusations? Oh.

Well, me, fortunate for me, I dealt with that with folks that I could have a conversation with that respected what I did because there was a learning curve for me as a mixer to go from that transition of being able to get files and mix and they'd be like, sounds, you know, it is what it is to just doesn't, it doesn't have that same feel. it took

It took back and forth with certain producers to figure out, well, damn, what? I'm listening to your rough mix, and I'm hearing things in your rough mix that I'm not hearing in any of the files that I have. And then that's when it got down to drilling down to, well, let me see what you're doing. Let me see everything that you have FL and then discovered the whole Clipper on the master bus that was causing that to be a certain way. And so now one of two things happen. For me now, I have a plethora of Clippers that I can...

Speaker 1 (21:30.83)
A B to them, but then a lot of times I'll ask them like, Hey, the stuff that you want to have that crunch, just print that, that into the way file. even if it's. Ordered 808. If even if it's a distorted 808, technically it's correct. It's incorrect. Cause it's distorted if you want to call it technically, but if it feels right, that makes my job easier because I don't have to reinvent the wheel. don't have to go back and figure out how to take this 808. That sounds nothing like the 808 in the song and having to.

Bake it in.

Speaker 1 (22:00.046)
to go and do that. So it just becomes the best of both worlds. But there was a time period where it was a learning curve for me as a mixer to figure that out. And that's the beauty of being an engineer. Like you always trying to figure something out. one thing that I did was I started tapping my younger engineer buddies, some of them were even interns fresh out of school, just asking them, learning about FL and this and that. And, you know, I'm never scared to ask any, I'm never, there's no ego about me. Like I learned from

And I learned from my wife, Tom, things about audio. Because there's no right or wrong a lot of times, and you can learn from everybody. And so those were the times where it's like, okay, I'm gonna tap this person that knows about this. They came up in this realm, and they can help me with that. And that helps me become a better engineer.

I think that learning curve hit all of us at the same time. Yeah. know, because why are you dealing with that learning? Because me and you, you know, we've had millions of conversations about this same stuff right here. You know, the difference between us, because we're the older guys in the industry now versus the newer guys. That was coming in. You know, and that gap, it's now done this.

And we get it on all sides, but yeah, that, was definitely a gap, a learning curve that we all had to go through.

Yeah, I mean, because we went through a period where everyone had subwoofers in their trunks. So the goal was to capture that low end bass when we're talking about hip hop, that low end bass, so now everyone listening on their phones and their earbuds, but they want to experience that same bass. So how do you get that? Infatuation and distortion, those harmonics is where that came from. So back in 2004, you would hear, if you could transport us from 2004 to now, you know,

Speaker 1 (23:51.63)
But your 2004 mentality, you would listen to something and be like, oh, that sounds so wrong because it sounds so distorted. that's a sign of the times that we're in. And it's not wrong, it's just the evolution of the sound.

Give us.

Are you ready for your thing now, Fat? Okay, okay, go ahead.

Almost. I got one question for Cory before we get to the level up. Give us probably one of your funniest stories in the studio working because know, like Vent passed by, almost didn't make it. That was a situation when you had to turn the album in, all the mixes.

by 12 o'clock and I lost the files to Vet Pass By and I had to make it all over again. I literally, Gucci said, you don't want, if you want Vet Pass By to be on the album, you gotta bring Corey mixing and he gotta have it turned in by 12 o'clock. And I literally had to bring the Phantom up to the studio while you were mixing.

Speaker 1 (25:00.994)
studio I remember

Wait, wait, hold up, so you had to do a whole beat from scratch to make this deadline.

Yeah, I had to make the beat over while Corey was mixing other records. I had to get this done by 12 o'clock to turn it up.

And this was at a time where it wasn't like he exported WAV files and gave them to me. No, he had to create it and then I had to track it.

Check it

Speaker 3 (25:29.486)
These kids that don't know, I used to do like a whole day in my studio with a producer, track an out beat from MPCs.

The end.

This is the time we're talking about. Eight coming out of the NPC, four coming out of the, only four at a time coming out of the fandom, so you get one passed and you gotta come again. Yeah, like that.

Speaker 2 (25:57.484)
I end up, and it became a thing a lot of people don't know what that.

came from before songs actually got started, but I left the count in there because we was on the time crunch. you go, Corey. So what story, a good story that you have in a, whether it was a tracking session or a mixing session with an artist or just an experience that you had mixing, a funny one or?

it

Speaker 1 (26:32.174)
I'll give you two quick stories. One of the most memorable recorded, well, magical recording experiences I had was working with Marsha and Broships, right? And there was one day where she came to the studio, she had a beat CD. was just me and her in the room. in the B room at Patch Road, 9-on-5, right? Popping the CD and we're just sitting there just skipping through songs, skipping through tracks, right? We get to this one track and you you...

For me as an engineer, I'm sitting there having to do the skipping. In my mind, you you skip every 30 seconds. If she don't say nothing, you just keep going, right? So I skipped on, she said, no, no, no, go back to the other one. So I go back to the other one. It's like a three minute beat, right? So I play the beat and I'm sitting at the console. She's sitting behind me at the credenza. And so I'm letting the beat play and I just happened to peek over my shoulder and she's crying. And I'm like, goodness. So I sneak off the room to go get some Kleenex and I give it to her.

And by the time I've walked back in the room, she's jotted down a whole song on a piece of paper. mean, it had to be within three minutes, right? And she was like, Corey, I just wrote something, you know, very deep, da da da, load that beat in, right? Another 10 minutes later, she had this whole song recorded, right? And it was about a friend that she lost, I think a grandparent that she lost. And I don't think the song has ever come out. She might put it out to this day, but to see that level of

how a beat can touch you and cause you to just write something that quick. it was so like, I mean, it was like poetry and motion. And just to capture that in that timeframe was just magical to me. Cause it was just me and her in the room. And then she, to me, I was always a fan of her voice. Like this is crazy. But it was just, that was one of those times that always stuck out to me on the recording side. On the mixing side, I had a pinch myself moment. I got to mix a record for Andre 3000.

for the class, he had his cartoon back in the class of 3000, right? And ironically, the song ended up being, I think in a Nike commercial, but it was literally, I had watched Leslie mix with Andrei. So I understood Andrei's process about like, okay, he's gonna have me make a whole bunch of changes, da da. So I was prepared, right? So I mixed the record, he comes in, we're sitting, just me and him at the console, no one else in the room, right? And I'd save my mix and then,

Speaker 1 (28:55.508)
We proceeded for like three, four hours tweaking this, tweaking this, tweaking this, tweaking this. Ultimately to drive back to the original mix and him going with that. But that process was just dope because it was like, you recognize in his mind, he's having to go through certain things to get to where he wanted to be. But ultimately it was like.

pat on the back for me to recognize, okay, he went through his process and did what he did and then still came back to what mostly, pretty much what I had done. That was a pinching moment just because it's three stacks and I'm sitting there like this is three stacks mixing for three stacks. And that was, that was a dope moment for me in the studio.

That's dope.

That's real validation.

Yeah,

Speaker 1 (29:42.638)
And the record that I mixed was actually a Beatles remake. It was the song All Together Now. Yeah, so it wasn't like a hip-hop song, but it was still kind of a cool thing, know, Andre 3000 remaking a Beatles song.

I'm just glad one of your stories isn't the time you caught me on sleep cam that don't count because.

And then, so I swear, if you want me to talk about-

I want to hear it now. He used to give me so much grief because I'd be like falling asleep on his sessions.

I think he just figured it out.

Speaker 3 (30:19.118)
You know how he- my beat one time on one of his sessions.

Nah, nah, but listen to this story. Listen to this story. So we in the B room in Patchwork, right? I'm sitting there playing music dumb loud or whatever in the room. Fats backing behind me at the concert at the credenza on his phone, right? I happen, listen, he's on speakerphone, right? You can't hear anything because the music's playing. So I happen to hit stop. Right wing, this female on the other end of the phone was like, okay, Sugarfoot, I'll talk to you later.

Right.

Speaker 3 (30:51.633)
Shut your foot.

So check it out, I'm sitting at the console, right? I didn't want to do it. I turned around slow like, hey.

Hold up, I'm gonna change his nickname to Sugarfoot.

He did that! He did that!

Yeah, I remember that is what is one of those moments where the music is loud you can't hear anything Cory hit stop And okay sure But then then the spin was so slow

Speaker 3 (31:16.216)
have to do him like that.

Speaker 1 (31:21.154)
because it was like...

man.

Hilarious, hilarious.

That's that next level. Oh God. we go.

We something at the end of the show where we level up and we get you with some, you know, 10 quick hitters. Lighten, lighten around. Yep. Gotcha. So.

Speaker 3 (31:49.41)
I this or that kind of deal.

Alright, let's go. Are you ready?

I'm ready. Here we go. In the box or on the board?

In the Box

Fracking or mixing?

Speaker 1 (32:04.332)
Make sure you

Aspen or a steamboat? Ah, you didn't think I was gonna go there with you, you? SSL or Neve?

SSL

Pro Tools or tape? Pro Tools. Sennheiser or AKG headphones?

AKG.

Speaker 2 (32:25.344)
UA-Dear Waves.

Woof!

You might have to believe this,

Context because they you know, they deserve different purposes. I had to go for if I had to choose one I didn't go to you ad

Okay, okay. $9,995 at Patchwork.

Speaker 1 (32:49.538)
and my track in the mix.

Mixing. Track, tracking and mixing.

9,000 for mixing, 9,000 for tracking because it's a while.

Yamaha JBL.

YUM

Speaker 2 (33:07.256)
Full Sail or Lennard Institute.

Speaker 3 (33:15.598)
Trust me, there is. We'll get to that later.

And the last one, 49ers of Falcons.

49ers man. I mean, I know I'm in Atlanta, but I was born and raised in the Basils.

Hey!

Speaker 3 (33:33.972)
That's what's up. Cora, we've touched on so many great diamonds of knowledge. Is there anything you want to tell the people about what's happening or just anything you want to get out?

Yep, yep,

Speaker 1 (33:48.49)
I just as far as like, you know, my biggest thing is just, you know, do what makes you happy and follow that, that drive, especially in the realm of like audio, whether it's production, sound writing, instrumentation, any of that, just following and being true to that and not feeling like you have to please anybody else. Just please yourself first and then, you know, other people will be pleased by what you do. That would be my biggest thing to impart on people.

Corey, it's an honor and pleasure to talk with you. I feel like we could have went three more hours. You gotta come back and do another one of these, yeah.

We all gotta get back in the or something.

Yeah, for-for-

Speaker 2 (34:27.959)
real. we still trying to put the band back together, know, for Gucci Project.

Rare!

Listen, I've been trying. I've been trying. So, you know, it might become, we'll see. Yeah. I can get the stars to line up.

Knock on wood.

All right, well, we're gonna wrap it there. It's Sensei Hollywood and Fatboy talking to Corey Anders. It's levels to this.

Speaker 3 (35:01.646)
We need your support if you like seeing discussions like this we need you to like comment and subscribe to the channel Thanks for watching

Hey, just real quick!

Speaker 2 (35:09.294)
It's Levels to This