{ "schemaVersion": "v1", "slug": "a-mixing-workshop-with-scoobert-doobert", "title": "A Mixing Workshop with Scoobert Doobert", "kind": "solo", "listenUrl": "https://podcasters.spotify.com/pod/show/lovemusicmore/episodes/A-Mixing-Workshop-with-Scoobert-Doobert-e1v9ogk", "publishedAt": "2026-10-14", "source": { "provider": "whisper", "model": "faster-whisper:base", "normalizedSchema": "v1", "transcribedAt": "2026-06-09T08:05:52.190Z" }, "paragraphs": [ { "startSec": 0.46, "endSec": 23.92, "text": "What up, it is Scoobert Doobert here, now I'm gonna be talking about mixing again.So I've been doing a ton of mixing lately, both for myself, for some other artists who" }, { "startSec": 23.92, "endSec": 49.16, "text": "just had Garvie on last time I'm mixing his stuff, mix it a bunch of other people's stuff,it's great.It's also really freaking hard, and every time I do another one, I learn a bunch of stuff.So what I was thinking is normally people that like get mixing wisdom or whatever,do it through like mix with the masters or something, where they're talking to like a legend," }, { "startSec": 49.16, "endSec": 72.12, "text": "somebody that has mixed thousands and thousands of records, or somebody that is like, you know,I'm Alan Parsons, and I'm going to tell you how I mixed dark side of the moon, and that'sincredible, but it's also is like so far removed from where most of us are when we're startingto do this stuff, that I was thinking it'd be a good thing for me to keep checking in, as I'm" }, { "startSec": 72.12, "endSec": 93.08, "text": "getting better and better at mixing, getting more and more experience, tell you along the path,the stuff that I'm learning, you know, so that instead of having to have like the gods tell youhow to walk the path that they walked 40 years ago to become gods, you know, it's like somebody that'slike, you know, getting decent at it tells you how they're kind of getting better at it." }, { "startSec": 93.08, "endSec": 98.2, "text": "That's at least my goal here. And the funniest thing that I'm finding out the more and more I do this," }, { "startSec": 99.32, "endSec": 105.88, "text": "is that there's no right answer at all. All of it is a matter of taste every single bit of it." }, { "startSec": 106.84, "endSec": 126.17668341708544, "text": "It is one of the most subjective, you know, art form slash science, this weird hybrid, that's whymixing engineers can sometimes get so mystical about what they're doing, because fundamentally whatyou're doing is conforming stuff to your taste. That's it. You have a ton of tools. I've talked aboutit on a bunch of these pods." }, { "startSec": 126.17668341708544, "endSec": 137.29261913965433, "text": "And if you haven't listened, and that's all good, I'll talk a little bit about it in this, but I'm trying to keep it super general. What does a mixing engineer do?" }, { "startSec": 137.29261913965433, "endSec": 156.8219382627423, "text": "They takethe recorded tracks that the artist and the recording engineer lay down and they mix them all upand turn them into a radio-friendly playlist-friendly thing that can, you know, hold up against other stuff in that genre. I think that's the most important bit is holding up against stuffin the genre." }, { "startSec": 156.8219382627423, "endSec": 168.95508342517417, "text": "It doesn't necessarily mean it matches the genre perfectly, but it keeps that certain genre-ness. It sounds like indie pop. It sounds like hip-hop. It checks a few of those boxes,at least to some extent." }, { "startSec": 168.95508342517417, "endSec": 185.59905025185103, "text": "And then from there, you can really go in a million different directions.And that's what's really kind of fun and taxing, as a mixing engineer, because ultimately, you will make something up. Usually you'll get it to a place you feel really good,like this could be released. And then you show it back to the artist." }, { "startSec": 185.59905025185103, "endSec": 203.24, "text": "And the artist will say, okay, XYZ, here's what I want changed. And all of it is a matter of taste. And so, ultimately,you have to go against your own taste often. But what I'm finding is a mixing engineer isadvocating for my taste a bit in those conversations, where it says, like, yes, I will do this." }, { "startSec": 204.04, "endSec": 216.51381215469613, "text": "Here are the reasons why I chose not to do that in the first place. And not, not, notcombative, saying, you know, you're the artist, like, we're going to go your direction. It's yourtaste that matters most." }, { "startSec": 216.51381215469613, "endSec": 233.94516398939737, "text": "But like, here's the reason why, you know, I went in that way.I am not approaching a mix as like a sterile scientist that is going to have every frequency, not, you know, jump on the other frequency that everything is going to sound like a guitar.And everything is going to sound like the platonic ideal of a drum set." }, { "startSec": 233.94516398939737, "endSec": 247.64, "text": "It's like, no, I'm thinking holistically. And so, the first thing that I would recommend is higher your mixing engineerbased on their taste. And then on the other side, as a mixing engineer, develop your instincts." }, { "startSec": 249.08, "endSec": 258.2, "text": "Because when you develop your instincts, then you can trust your instincts. And that's what thewhole process that I'm kind of going through, you know, mixing two, three songs at least a week." }, { "startSec": 259, "endSec": 276.6, "text": "And developing my instincts, listening to a bunch of music, consuming it. One of my favorite thingsto talk to a mixing client about is not saying, what do you want this song to sound like? Like,give me a reference track. Give me music that you want your music to emulate." }, { "startSec": 277.56, "endSec": 303.4, "text": "Less about this specific song. It's more about like, what do you think sounds good? Just outthere in the world. Like, give me 10, 15 songs that you're just hyped on. Taking that,internalizing that in a intuitive way. Because I sometimes I do, but it's very rarely in my bouncingback and forth between a track to see am I hitting that sound, you know, in my stealing that tone." }, { "startSec": 303.4, "endSec": 308.52, "text": "It's not really what I want to look for. I want to like, I want to get it so deep inside of me" }, { "startSec": 309.24, "endSec": 324.2, "text": "that when I instinctively reach for this type of compressor or this type of EQ, it is giving thething that I want it to give to the track. It is coloring it in a certain way." }, { "startSec": 325.72, "endSec": 340.4927659574468, "text": "And so it's training that instinct and hiring a mixing engineer where you trust through instincts.If you go too deep in notes, you probably should have hired a different mixing engineer.There are like, totally a few different outliers, like, like, perfect example." }, { "startSec": 340.4927659574468, "endSec": 358.79526841642075, "text": "One of the thingsI was working on with Garvie was we were trying to get this, like, filter sweep, which is this kind of like how I did in the beginning. There's my nod to this point. In the beginning in the intro,you heard how it was like all kind of digital and it was kind of weird sounding and it opens back upand then it's normal high five." }, { "startSec": 358.79526841642075, "endSec": 379.68865431958017, "text": "We're trying to go back and forth about getting this very specific thing over and over and over again to get that right. That's a totally different story. That's likewe're going to figure out the details of this narrow thing. If you have a mixing engineerwhere you get it back and you go, that's not even close." }, { "startSec": 379.68865431958017, "endSec": 397.0134508853798, "text": "You might want to hire a different mixing engineer from there on. And I'm saying that even if you're hiring me because you're hiringthem fundamentally for what they think music sounds like, like what they internalize music to be.And that goes across genre." }, { "startSec": 397.0134508853798, "endSec": 423.77268736947394, "text": "Like, I am trying to solve problems so that by the end of my mix, I can listen to the whole thing and feel happy. If I have problems in the mix, if I'm like,oh, this kick drum sounds like crap or the guitar is too loud for even for a heartbeat of a second,those things will ruin the mix and it'll start over and that's not a mix yet.You know, a proper mix. Maybe I'll do a rough mix. That's different." }, { "startSec": 423.77268736947394, "endSec": 443.8299900640773, "text": "But like, something I'm going to deliver to the client, I have to listen to the whole thing and not have amoment that makes my hair on the back of my neck stand up like in a bad way. I have to at leasthit that before I send it. And so if you're getting that from your mixing engineer, if it's differentif I'm saying like, hey, just check in direction. Here's a rough mix." }, { "startSec": 443.8299900640773, "endSec": 457.96, "text": "Is this in the vibe that that's a different thing. But if the mix engineer is hitting up the client saying, this is what thedirection I think the song should go in and you say that's completely the wrong direction,you probably have the wrong person because you want to hire for instincts." }, { "startSec": 459.48, "endSec": 482.189052631579, "text": "And then I want to talk about a few other things. I've talked about birth and death of songs.A few times, I want to dig into that a little bit more. It's not just the first moment. It's notjust your introduction. It is the point after you press play that that song comes into the world.And the way that it comes into the world should be really intentional." }, { "startSec": 482.189052631579, "endSec": 505.5371221156339, "text": "It's not that it has to sound like the best thing ever. It doesn't have to be super full. It could be really tiny. It could bereally big. It could be any of these things. Super reverby, super dry. What I'm saying is it has tohave a reason to exist right from the jump. Don't just like phone it in. Like an intro.It just like make an intro. We've got to start the song somehow." }, { "startSec": 505.5371221156339, "endSec": 528.68, "text": "It does just start on the one chord and we're going to start. Give it a reason. Something thematic. Listen to what the lyrics are,listen to what the melodies of Oking, if it's instrumental. Give it a moment because that's firstbreath into the world. And then conversely, on the other end, don't end lame. Do something." }, { "startSec": 528.68, "endSec": 540.76, "text": "It needs to have a good death too. Because after that, that song's gone. You could call it back intoexistence again. But its existence is only in the span of somebody listening to this song." }, { "startSec": 541.72, "endSec": 558.2, "text": "So make a count. Make the beginning in the end really, really count. And that's why I like giving itthe terms of birth and death. It's like, those have so much weight. It's not an intro and an outro.That's just like, yeah, throw it away. You've got to start. We've got to end. It's like, no, give it," }, { "startSec": 559, "endSec": 583.7313984168865, "text": "give it the respect that that song deserves. Even if it's a goofy song, it needs to start and endin interesting, intentional ways. It doesn't need to be the best sounding. Just like,intention, give it a reason to exist. The reason to die. The other thing that goes along with thisis I like, I like to think of entrances of, especially the really interesting sounds." }, { "startSec": 583.7313984168865, "endSec": 590.84, "text": "So like, say, a big, weird synthesizer comes in. That's all warbly. The moment that that synthesizer enters," }, { "startSec": 591.56, "endSec": 619.4, "text": "it should be like, you know, Kramer walking in on Seinfeld. You know, it's like, you're opening thedoor and this crazy zany thing is entering into the arrangement. Let that speak. Let that enter.Like focus on these things popping in and out of your arrangement. These are your actors on stage.Let them have their moment when they come in or maybe consider not adding them in the first place." }, { "startSec": 619.4, "endSec": 642.84, "text": "If you don't want something to be loud, that's got a lot of character. If you want it to just besorted tucked into the background, delete it and see what that sounds like because I'm all fortexture. I'm all for layers. I do this a bunch of my music. But if there's a principle character,they should be featured at least for a second. They could tuck back into the chorus, so to speak." }, { "startSec": 642.84, "endSec": 664.4567979002625, "text": "Like picture like a Broadway scene or something like that. Some big dancer that say they're likeseven feet tall and wearing polka dots or whatever. They come on stage. They shouldn't justimmediately go back into the chorus line dancing with people in the way way far back. That personshould have their moment. Like, whoa, that is a character on stage now." }, { "startSec": 664.4567979002625, "endSec": 681.5776797900263, "text": "And then they can tuck in the back. But they've introduced themselves. And when they tuck in the back, now, you know, they'repart of this very interesting tapestry. But if you don't even acknowledge their interest or theirexistence, then you can tune them out and the listener often does." }, { "startSec": 681.5776797900263, "endSec": 703.86, "text": "And it's like why even be there in the first place, just wallpaper up instead. It's one of the things that makes, you know, like stickingwith acting that makes like black box performances so impactful where if there isn't like a bigextravagant set, it's just these actors against a stark black background with great lighting," }, { "startSec": 704.5, "endSec": 726.3061538461538, "text": "that can sometimes suck you in more where you're like looking at their faces and their postureand the little details of how the actor is acting. It's the same thing with music. When there'sless going on, less distracting, you can really really look at what are the tiny details of somebody'sface, you know, you can really look at those polka dots of that seven foot dancer." }, { "startSec": 726.3061538461538, "endSec": 739.1181873571973, "text": "But when there's so much going on, it's really easy to get lost. And so in dense mixes, great entrances.Another thing is how parts evolve." }, { "startSec": 739.1181873571973, "endSec": 760.3439137193071, "text": "And so like when there's more going on, sometimes that's a good moment to create the appearance of like the stage being too full. In the same way like picturea rock band, when they're like really laying in like live, you can't hear the vocals very wellbecause the bands playing so well." }, { "startSec": 760.3439137193071, "endSec": 783.78, "text": "And the sound engineer might be boosting it but they're probably not. They're like in the back having a beer, they're not even paying attention.You can barely hear the vocal and so the vocalist is straining and yelling and trying to cut.There is emotion in that and you can capture that in your mixes by allowing things to you knowquote unquote get louder by making some of the things get quieter." }, { "startSec": 783.78, "endSec": 800.7010582010582, "text": "So if the guitars really kick in and the drums are really hitting hard, maybe tuck thethe lead vocal in a little bit in that section because that contrast is what ends up makingthings feel that way. And so like let parts evolve. The vocals shouldn't always always always be atthe very top tip of the mix." }, { "startSec": 800.7010582010582, "endSec": 808.4916569809467, "text": "There are moments where it should duck behind the arrangement to give the sense that the arrangement is bigger. Everything is in relation to each other." }, { "startSec": 808.4916569809467, "endSec": 820.6178980285455, "text": "All of this is a trickyou know, they're it's not like the mix is not going to get that much louder in a section likesure yeah you could just have a acoustic guitar and voice and then all the 15 million instruments I'll drop in." }, { "startSec": 820.6178980285455, "endSec": 838.2244756438679, "text": "Yeah it's going to be louder but we have a pretty clear ceiling on what we can dodigitally and even analog where it's like it's the contrast that makes things pop in the same way that like you know two-dimensional art can look three-dimensional with the right contrast. We'redoing the same thing with mixing." }, { "startSec": 838.2244756438679, "endSec": 859.5907949242395, "text": "It's allowing things to evolve and then dovetail into one another. So like if there's a really cool intro guitar that's got a nice reverb maybe let thatreverb do something interesting into the first verse so that each section doesn't feel like thisblocky little square like allowing the whole arrangement to breathe and interact." }, { "startSec": 859.5907949242395, "endSec": 882.2302441700584, "text": "And so all of this goes to a holistic view of mixing. That's why I'm talking about in the beginning like developingyour intuition your instincts and then also hiring your engineer based on those intuition andthose instincts because it's some some engineers do like it's super super in the weeds but the bestones don't. The best ones don't talk like that." }, { "startSec": 882.2302441700584, "endSec": 886.881997373233, "text": "Not just even in my opinion the people that are most successful they look at this holistically." }, { "startSec": 886.881997373233, "endSec": 902.82, "text": "They they they don't even solo stuff very often.Solving is where you're just listening to just the vocal and not the rest of the arrangement.I try to do the same thing where there are times obviously where you need the solo stuff and really here what's going on but in general like trying to get a sense of everything that's going" }, { "startSec": 902.82, "endSec": 919.0884350132626, "text": "on because everything relates to each other. If I get the perfect guitar tone when it's soloedand it sounds like crap when it's the rest of the band then it's not the perfect guitar tone.It everything needs to sound with each other and everything reinforces each other." }, { "startSec": 919.0884350132626, "endSec": 939.1096768810165, "text": "So if I get youknow a little bit of too much two kilohertz EQ on the guitar now it's going to be harder for anything else in the arrangement at two kilohertz to poke through. So now all of a sudden we're kindof like racing every instrument is getting brighter and brighter with more and more presencebecause it's fighting a guitar that I boosted too much." }, { "startSec": 939.1096768810165, "endSec": 957.2366981960369, "text": "And then I fix that guitar and then everything else sounds like crap because it was all in relation to the guitar. So it's like it'sbeing able to think of two things at once which is the hardest thing about mixing is it superintuitive like intuitive in terms of intuition." }, { "startSec": 957.2366981960369, "endSec": 973.9155037264137, "text": "You have to train this like extra sense of thingsthat I struggle with and I think everybody struggles with that is like sometimes it just clicks sometimes it doesn't it's a puzzle but it's a puzzle that you're you know carving the pieces atthe same time." }, { "startSec": 973.9155037264137, "endSec": 986.4680311889821, "text": "And a big part of that is ultimately just trusting yourself and then growing that trust in yourself by doing it over and over and over again. And with that you had to trust yourears instead of your eyes." }, { "startSec": 986.4680311889821, "endSec": 1001.46, "text": "There's so many cool like plug-in guise these graphic user interfacesthat can trick you like you know if you have a spinning tape machine that looks all cool or whatever and you're like I put that on my my mix and everything sounds better because it just sounds better" }, { "startSec": 1002.5, "endSec": 1019.75, "text": "maybe it just looks cool. It's really easy to trick yourself and thinking that things sound betterwell it's just 10% better because it looks cool and it's dancing in a fun way. We're not you knowairplane pilots we shouldn't be trusting our instruments we should be trusting our ears." }, { "startSec": 1021.27, "endSec": 1040.0600518134715, "text": "So trick yourself sometimes and note that the times where this happens because this does happenwhere you'll be making changes on the wrong track or something like that so something would happenwhere I'd have maybe three instances of the same compressor 1176 compressor on three differentguitar tracks or vocal tracks." }, { "startSec": 1040.0600518134715, "endSec": 1059.99, "text": "And I'd be highlighting the wrong one thinking that I'm soloing this one track I'm turning this knob and I think that it's doing something this happened to me a lot whenI was starting out you know six years ago or something like that where I'd be like oh yeah that soundsso much better that sounds so much better and then you realize oh I wasn't even affecting the thing" }, { "startSec": 1059.99, "endSec": 1084.23, "text": "that I was listening to. Remember those moments they happen remember them be humbled by themand realize that you got to you got to really listen it's harder to fool me now but I'm notinvalable. I mess up sometimes too. So yeah try not to look too much at the cool user interfacesthe fancy graphics because they might not actually make things sound better." }, { "startSec": 1084.23, "endSec": 1107.5633333333333, "text": "Sometimes like the worst graphic interfaces are the ones that actually sound the best becausethey invested all the time in the engineering rather than the graphics and stuff. Same deal waslike when you go systematically through a big mix like one of the ones that Garvie sent me it waslike you know 150 tracks just something like that God bless. It's all good." }, { "startSec": 1107.5633333333333, "endSec": 1127.05, "text": "I actually really appreciate that because it's fun. It's like he has a lot of ideas and now it's like okay go I getto go through these ideas and see like what do I want to highlight like what are the ideas that Iresonate most with and it becomes this collaborative process through the mix rather than just likehere's six stems like do your thing that's a lot less collaborative still super fun still can sound" }, { "startSec": 1127.05, "endSec": 1144.73, "text": "really really good but anyway I ended up having to systematize that a little bit where when youhave that many tracks you gotta be like okay I'm gonna listen to the drums get the drums at leastto a decent spot listen to the percussion get the percussion to a little bit of a decent spotclean some stuff up move some stuff on tracks all the stuff that really fancy guys have" }, { "startSec": 1144.73, "endSec": 1148.97, "text": "assistant engineers that do all of that to begin with so then they sit down and they just are creative" }, { "startSec": 1150.25, "endSec": 1170.01, "text": "we the ones that do not have the luxury of having assistant engineers just gotta do it all yourselfand you have to end up trusting your past self it's like okay yeah I know that I did those drumsso I'm just gonna focus on the next thing but every once in a while don't be afraid to tear it upbecause you might you know go through the drums go through the bass go through the" }, { "startSec": 1170.01, "endSec": 1190.09, "text": "percussion all this kind of stuff and then you realize oh this synthesizer is actually acting asa percussion instrument and it's actually driving the pulse and I didn't notice it because there are150 tracks that are all stereo then I can't find it eventually you pull that into the percussion stemand it changes everything see I tear it up so don't be afraid to tear it up but also don't be" }, { "startSec": 1190.09, "endSec": 1198.73, "text": "afraid to trust yourself and systematize when you have to sometimes you have to be the assistantengineer first clean stuff up and then be the main mix engineer and like take it to the next level" }, { "startSec": 1199.45, "endSec": 1224.65, "text": "dividing those can really really help but sometimes it's not as neat you can't just put on one hatand then take it off and put on the next sometimes you gotta switch hats back and forth a few timesthat's okay and on the stereo bit not everything has to be stereo mono is dope is dope I love widesounding things but mono is sometimes the absolute best way to get things to sound wide" }, { "startSec": 1225.61, "endSec": 1248.81, "text": "here's what I'm saying so if you have one mono track in one ear and another mono track in theother and you affect them differently now the waveform is different between the two ears creatingthe illusion of width the easiest way to do that is put something on it that turns it stereo so youlike micro shift or something but delays it between the two ears detunes it between the two ears" }, { "startSec": 1248.81, "endSec": 1254.17, "text": "or phase flips it if like you want to be super intense like Goodhertz Wow Control love that plugin" }, { "startSec": 1255.13, "endSec": 1272.73, "text": "for all these kind of things but another way that you can do that is split them into mono andaffect them totally differently put a different chorus on one than the other put a differentphaser on one than the other put a different reverb on one than the other put a differentinstance of distortion like so there's this plugin called Decapitator by Soundtoys that" }, { "startSec": 1272.73, "endSec": 1296.17, "text": "everybody uses and it's got different models of distortion so you can have an API model or a Neve model maybe try the Neve in one ear and the API in the other instead of just leaving them onthe same stereo track and affecting the whole thing maybe split up those waveforms a little bitwith the tiny subtlety and it can go a long way the same deal with mono reverbs having a mono reverb" }, { "startSec": 1296.17, "endSec": 1318.49, "text": "that is in either in one ear or just panned in one direction so mono is just you know straight up oldschool style that is though there's only one speaker sometimes having something like thatso say you pan it to like you know 45 in your left which would be like 10 o'clock if you're kind" }, { "startSec": 1318.49, "endSec": 1344.17, "text": "of like gonna do in the clock around your head that that mono reverb can add so much depth becauseit is coming to you as though it's like this long tunnel in that direction and so it can actuallysound wider than a stereo reverb because you have directionality to it the same way that just youknow we're animals so there were like tuned to certain frequencies and certain things certain" }, { "startSec": 1344.89, "endSec": 1359.37, "text": "you know states of reverb reverberation of like you step in one room versus an elevator it soundsdifferent but if suddenly there is this tunnel in one of your vision and not in the otherthat is striking because that doesn't happen in nature" }, { "startSec": 1360.33, "endSec": 1374.89, "text": "and you can recreate that with the power of digital mixing and so it's like don't don't just slapa stereo reverb on everything sometimes the mono reverbs sometimes taking stereo tracks anddumbing them down to mono can create more depth than your mix than just having stereo everything" }, { "startSec": 1376.86, "endSec": 1396.54, "text": "yeah so that's a bunch of stuff that I've been thinking about recently and just got to takea note as I've been mixing these last couple weeks in preparation for this pod those are the thingsthat came out on my head there's a million more but those I think you know they kind of sum up alot of stuff the other things that I love obviously I talk about this in every pod every interview" }, { "startSec": 1396.54, "endSec": 1421.9, "text": "controlling your highs controlling your lows if your high end or low end is bugging you or if you needsome evolution those are great places to start because they're striking if you want it to sound morelow end carve off some top end if you want it to you know get thinner not as big carve off some low endbecause size comes from the bottom up size of mix bottom up um yeah so those are my like random" }, { "startSec": 1421.9, "endSec": 1446.38, "text": "random thoughts and another pod um then I'm kind of prepping for I was thinking about doing thisthis time but I thought it would come better after this I'm going to talk about color color is likedigital versus analog uh why you know analog sounded better but now why digital I think is verymuch caught up if not eclipsed it it's because of color and I will talk about the ways that I" }, { "startSec": 1446.38, "endSec": 1460.86, "text": "approach um you know analog sounding digital in another pod and I'm excited to get into that thatwill affect you know production or ranging recording mixing all that good stuff but until then" }, { "startSec": 1461.82, "endSec": 1474.7, "text": "that's my little uh mixing workshop tearing through it if you have any questions uh hit me up at scoobertdoobert.pizza is where you can find my links and also on my Spotify you can see uh" }, { "startSec": 1475.42, "endSec": 1497.02, "text": "I think 160 songs or something that are up there it's not everything I've made but it's a good chunkof it um you can listen to some of my mixes so the mixes I've done for other people for myselfso check that out um and I look forward to growing with you because I'm mixing every weekand I and becoming a better mixing engineer as we go it's not always linear two steps forward" }, { "startSec": 1497.02, "endSec": 1523.66, "text": "one step back sometimes a lot of you know side to side steps and then the three leaps forwardit's not linear but it is a fun progressive growth as a mixing engineer um and I also sometimesthink that the best stuff can come out of those times when you're growing where you're not likelocked into your process so trying to revel in that and grow aggressively and try also new stuff" }, { "startSec": 1523.66, "endSec": 1536.14, "text": "and as I learn new stuff I will gladly share it with you guys hopefully it will spark somecreative energy of your own with that that is music appreciation 101 mixing workshop" }, { "startSec": 1537.82, "endSec": 1569.67, "text": "see you guys next week remember when Led Zeppelin like everybody thought Led Zeppelin was tellingsubliminal messages to people by reversed um stuff so one time I tried to do that actually Itried to sing in reverse it sounded so bad um I'll definitely try that again" } ], "correctionsApplied": [ { "id": "fuzzy-host-name", "count": 1, "note": "Fuzzy host name (rapidfuzz) (87.5%): 'scoobert doobert' -> 'Scoobert Doobert'" } ] }