Phillip Broussard Jr. Interview

0:00 Phillip Broussard Jr. Peace, music, appreciation.

0:10 Luke F. Walton What's up, everybody? Welcome to Love Music More. I am your host, Scoobert Doobert, joined by a very, very special guest, Phillip Broussard. What's up, Phil? How are you doing, man?

0:20 Phillip Broussard Jr. I'm doing well thank you very much good morning to you it's a pleasure to be here and yeah this looks this is cool

0:27 Luke F. Walton I'm super, super excited to chat. We met for the first time in person at the NAMM show. For those of you that don't know, Phillip, Phil has worked on some... Very big records with a bunch of really awesome artists like Red Hot Chili Peppers, Adele, Justin Timberlake, Eminem, Muse, and longtime...

0:46 Luke F. Walton person that worked along with Rick Rubin and that's all really really cool stuff and so what we were thinking about today was kind of giving both music fans and up-and-comer producer engineers kind of a look at what it looks like to be in some of those big sessions to set up for them and then all the way up to the kind of the mixing process so why don't we start there so obviously you have a home studio you've also worked in a bunch of other big studios and stuff like that

1:13 Luke F. Walton what's your mindset for even before the artist shows up what do you like to do to like set up the studio set up the vibe and kind of do your pre-session work okay

1:22 Phillip Broussard Jr. Sure. It depends, actually. Depends what we're going in for. If it's a rock band, if it's a songwriter, if it's a vocalist and what have you, we will take that into consideration, not to mention personnel. Are we cutting a live band? Are we cutting?

1:40 Phillip Broussard Jr. a singer are we doing an overdub with a guitar player so it kind of runs the gamut but once we find out what the layout's going to be that's going to if it's a live band session then we figure you know we figure out what we're going to cut live If it's typically, in a band situation, drums, bass, guitar, a

1:59 Luke F. Walton Mm-hmm.

1:59 Phillip Broussard Jr. piano or keyboard if we need to, and vocals. And then we'll, depending on where we are, we'll figure out we're going to put the vocalist in the live room with the band and

2:09 Luke F. Walton Cool.

2:10 Phillip Broussard Jr. have like an SM7 mic and have them far away from the drums as possible just to get a scratch vocal. Or you've probably seen those, what are they called, the whisper rooms? You ever seen those

2:20 Luke F. Walton Yes.

2:20 Phillip Broussard Jr. booths?

2:20 Luke F. Walton Yep.

2:21 Phillip Broussard Jr. we

2:21 Luke F. Walton Uh

2:21 Phillip Broussard Jr. would get those uh use use those to have them in the live room or have somebody in like a legitimate vocal booth with a piece of you know piece of glass in the wall where they can see everything the idea is to keep everything live off the floor including the vocals there is a live element that happens you know right in in music with a live band um and so once we figure out what that will be

2:49 Phillip Broussard Jr. Then we'll go in, hopefully we have enough time where we can load in gear. If

2:54 Luke F. Walton Cool.

2:54 Phillip Broussard Jr. it's all rented gear, load in the gear. Typically the day before, start setting up. We'll go out with a, you know, start out with a plot on how we're going to.

3:05 Phillip Broussard Jr. place everybody for eyesight lines of vision clear communication does baffling need to happen between live guys are we cutting acoustic guitars are we cutting electric guitars amp amps need to be isolated or it's going to be in a round setting all acoustic you know we'll take those into consideration and then we start setting up

3:29 Phillip Broussard Jr. typically the day before and we'll hang mics uh plug-in eq compression and start running test recordings it might be me and another guy might be me and a couple of guys but i'm definitely we're definitely going to hang mics we're going to get signal to pro tools which we use not you know anything else um or tape we'll do a test recording or several test recordings we're plugging in earphones monitoring situation

3:56 Phillip Broussard Jr. and plug in a plate reverb or a hall

4:01 Luke F. Walton Yeah

4:01 Phillip Broussard Jr. reverb or a delay anything that we think the song and obviously the genre of music would call for we do all of that the day or the night before so that when we walk in and the producer comes in and the band comes in

4:21 Phillip Broussard Jr. people can just sit down and start recording start playing they can hear one another in the headphones i

4:26 Luke F. Walton Yes.

4:27 Phillip Broussard Jr. mean we've got to make some adjustments because you

4:29 Luke F. Walton Sure.

4:30 Phillip Broussard Jr. absolutely

4:30 Luke F. Walton Everybody plays differently. Drummer hits harder or quieter or whatever. All that good stuff.

4:34 Phillip Broussard Jr. absolutely and typically on a live session or a drum session we'll usually typically start with the drums and ideally not this is not always not everybody can always have the luxury of having six or eight eight different snare drums if

4:49 Luke F. Walton Yes.

4:49 Phillip Broussard Jr. not a couple of different kick drums because

4:51 Luke F. Walton Yep.

4:52 Phillip Broussard Jr. each snare will have its own different character and depending what type of song it is you might not want a big low fat snare you might want a crisp sharp

5:01 Luke F. Walton Right.

5:01 Phillip Broussard Jr. you know snare that's got some quickness to it so we'll be able to kind of test a few of those out we mark them same with guitars you know we kind of go through some things hopefully we can get a band member Remember a couple band members there, certainly when we're choosing drums, the drummers there because we want to hear the drummer play. We

5:19 Luke F. Walton Uh

5:20 Phillip Broussard Jr. want

5:20 Luke F. Walton -huh.

5:20 Phillip Broussard Jr. to select

5:20 Luke F. Walton Yeah.

5:20 Phillip Broussard Jr. cymbals, you know,

5:21 Luke F. Walton Yep.

5:22 Phillip Broussard Jr. hi-hats, kick and snare combinations. But typically that's how we kind of approach the setup for the session in

5:29 Luke F. Walton Like that.

5:30 Phillip Broussard Jr. a band setting. And then

5:31 Luke F. Walton Yes.

5:32 Phillip Broussard Jr. so that when everybody hits the room, it's forget all the technical stuff and just start like recording.

5:40 Luke F. Walton i like it

5:40 Phillip Broussard Jr. Yeah.

5:40 Luke F. Walton i like the

5:41 Phillip Broussard Jr. So there's

5:41 Luke F. Walton laying

5:41 Phillip Broussard Jr. nothing

5:41 Luke F. Walton that

5:41 Phillip Broussard Jr. else to stage think about.

5:42 Luke F. Walton that's nice yeah

5:42 Phillip Broussard Jr. You know, it's just let the

5:43 Luke F. Walton yeah

5:43 Phillip Broussard Jr. freedom, let the freedom flow, let

5:45 Luke F. Walton exactly

5:45 Phillip Broussard Jr. the creativity flow.

5:46 Luke F. Walton and you're able to uh hopefully eliminate some of that you know linear problem solving that's what one of my mentors said that the recording day that's kind of what it is it's like you you do the creative stuff on the front end and then it's like crap this cable's got hum or you know the the drummer plays his hi-hat like way too loud and it's like we gotta I got to play it mess of miking and stuff like that,

6:09 Phillip Broussard Jr. that, Absolutely.

6:09 Luke F. Walton that, that frees you up to do those things.

6:11 Phillip Broussard Jr. And it never fails. I mean, like, and when that happens, when you start recording, a channel on the console will go out. You just don't know which one. And so maybe in between a take, you know, let's take two minutes. I got to move this EQ. I got to switch this channel strip out. I need to replace this mic cable. you know or what

6:32 Luke F. Walton Yes.

6:33 Phillip Broussard Jr. have you it's happened and who was it someone told me a long time ago that engineering is 90 troubleshooting than it than it is anything else you know because something's gonna go there's too many variables at play something's gonna go out and you just got to be able to

6:53 Phillip Broussard Jr. deal with it swiftly and efficiently so that the creative vibe doesn't really get interrupted.

6:57 Luke F. Walton yeah i i actually um before i did recording engineering i worked in like tech support and then when i went to it was like this is the same thing it's

7:06 Phillip Broussard Jr. Totally. It really

7:08 Luke F. Walton like okay

7:08 Phillip Broussard Jr. is.

7:08 Luke F. Walton where where in this chain of 50 things is it going wrong it's like um it's like christmas lights the old christmas lights where like one bulb goes out and just blows up the whole thing it's like okay we got to find it

7:20 Phillip Broussard Jr. And they used a mark one with a little bit of a shade on

7:23 Luke F. Walton Oh,

7:23 Phillip Broussard Jr. one

7:23 Luke F. Walton yeah?

7:23 Phillip Broussard Jr. of the tip of the light bulb.

7:25 Luke F. Walton Okay, okay.

7:25 Phillip Broussard Jr. But then then you change that and you can't find out which one it is after that. So you're going down the line. Yeah. So especially when it's on the tree, it's really tricky when it's on the tree.

7:35 Luke F. Walton Yes, yes, yes, yes. I mean... I suppose that you could say that similar things could happen like with patch bays if you had a few of the connections get go bad or something like that it could just drive you crazy for those that have seen in recording studios all those million colorful cables plugged into a bunch of little tiny holes routing all the outboard gear what what um how do you like to like kind of visualize setting that up like your layout knowing okay we're going to have these channel strips be for vocals and for bass and for drums

8:06 Luke F. Walton um and then we're gonna you know like what what what's kind of like your checklist when you're setting that stuff up like saying okay we're gonna get that la2a over here and you know prioritization

8:15 Phillip Broussard Jr. Yeah.

8:15 Luke F. Walton and stuff like that i'm curious

8:17 Phillip Broussard Jr. If we're working in a pro studio, you know, that's what they do for a business. It's a commercial facility. We pretty much leave everything in the racks.

8:27 Phillip Broussard Jr. We don't pull anything out of the rack and get it close to us. We leave it all there because it's all connected. It's been there that way. We're

8:33 Luke F. Walton Yeah.

8:33 Phillip Broussard Jr. not there to interrupt anything. But also that being said, certainly when I think about the Rick sessions that we did with, you know, chili peppers or System or Linkin Park or Slipknot, we typically would bring a set of. mic pres and eqs a

8:52 Luke F. Walton Oh,

8:52 Phillip Broussard Jr. bunch of neve

8:53 Luke F. Walton cool.

8:53 Phillip Broussard Jr. preamps we had we had our own

8:55 Luke F. Walton Nice.

8:55 Phillip Broussard Jr. so uh we'd have couple racks of eight so it could be 16 or 24 different ones in addition to a console depending on how big the layout was obviously a band like slipknot there's nine guys in the band we don't need that big of a console when it's a smaller band but um we typically would bring some outboard gear with us a bunch of mic pres maybe some mic mics if we if we had them or

9:19 Phillip Broussard Jr. Okay. something very specific some guys you know we would bring mics and bring some fun boxes maybe a level lock or you know a pedal or something to get some coloration obviously we would Mike, our drum kits kind of normally how everybody would, right? Kick drum inside the microphone inside the kick drum or on the outside and on the outside of the kick drum, snare top and bottom, overheads, you know, each tom mic'd up.

9:47 Phillip Broussard Jr. And that could vary from different types of microphones for whatever sound we were going for. But

9:52 Luke F. Walton Sure.

9:52 Phillip Broussard Jr. also in addition to that, we might put something on an auxiliary send from one of the drums or two of the drums or multiple of the drums and send it. and it to a crazy smash compressor in like a level

10:03 Phillip Broussard Jr. Yeah. lock now it's a devil lock on the software side or Right. we would use a yeah totally or we would use um sans amp pedal or something along those lines just to and we might even put something on the room mics you know we might have two or three different pairs of room mics some really far back high up maybe some low to the ground close maybe one or two near kind of the kick drum and snare drum area

10:28 Phillip Broussard Jr. For these, for these room mic.

10:29 Luke F. Walton room mics and these effect mics are you are you rolling off top and bottom like or are you kind of like envision like visualizing them differently like those lower ones maybe getting more low mid and the top ones getting more air something like that where

10:39 Phillip Broussard Jr. Could

10:39 Luke F. Walton you yeah

10:39 Phillip Broussard Jr. be. Yeah. Yeah.

10:40 Luke F. Walton yeah for sure okay

10:41 Phillip Broussard Jr. We kind of experiment.

10:43 Luke F. Walton yeah

10:43 Phillip Broussard Jr. We don't spend a whole lot of time on them because these are more things to add coloration and character later on as we get further down. We're not monitoring them in the studio during playback. These are just things that we're kind of recording. recording we'll

10:56 Luke F. Walton Yeah.

10:57 Phillip Broussard Jr. we listen to them to get the sound that we like and how it complements um the sounds but uh we just record them and kind of keep the faders down and don't really monitor them just make sure that there's no problems we'll check on them every so often but we're not when we're cutting a band and when we're playing back for the band we're hearing the raw mics and we want it to sound in a rig in a rig session we want to sound like a record as it's going down as

11:24 Phillip Broussard Jr. down as quickly as possible so Cool. we're listening to all of the close mics and maybe a little bit of reverb if necessary but typically things are pretty dry and in your face so we can hear how the band is really kind of reacting to each other but

11:37 Phillip Broussard Jr. That's awesome. so but back to your uh question on setting up and those sorts of things we would bring in uh yeah mic pre's eqs and start setting setting that stuff up because though so typically The external pre's, the knees and stuff would typically go for drums. We would also put bass in there too. We would put guitars in there too, depending how many channels we had.

11:59 Phillip Broussard Jr. Because what that does is allows the first, let's say, let's say 24 tracks on the console.

12:07 Phillip Broussard Jr. not to be going to pro tools these can be returns it's a very luxurious way to kind of work now um

12:15 Luke F. Walton For sure.

12:15 Phillip Broussard Jr. but we we could free up those faders so that we could kick drums coming back on one snare drums coming back on two and it just so on down the line so we can turn things up and down on the console not in the computer right

12:29 Luke F. Walton That's

12:29 Phillip Broussard Jr. because if

12:29 Luke F. Walton awesome.

12:29 Phillip Broussard Jr. there's multiple guys in the room one guy working a mouse on the computer and we have control services as well if need be you know d command or or something like that but um typically on the rig sessions and stuff we'd like to work on a console so we can really get that that analog sound coming back and we can mute

12:50 Phillip Broussard Jr. pan things really quickly on the desk and not do it in the computer so that we get a quicker sense of what we need to do if something's not working or how well something is working and we like it this way but also that being said since we're doing so many things on the console so many moves and eqs or panning moves and so forth

13:11 Phillip Broussard Jr. anytime we're we're tracking i'm pointing to the screen over here over here i'm recording in pro tools our thing uh our interview here um but we're also printing down a live mix as well so anytime we're cutting from the console absolutely because inevitably somebody a band member or even the producer is going to want to take home a rough mix and instead of spending a lot of time let's say you cut five tunes that day

13:38 Phillip Broussard Jr. instead of

13:38 Luke F. Walton Yeah.

13:39 Phillip Broussard Jr. spending a lot of time at the end of the day making rough mixes we'll just have a board mix ready to go we can give them to them as they're leaving drop box it put it on a thumb drive cd even if we even still still can

13:52 Luke F. Walton Yeah, totally.

13:53 Phillip Broussard Jr. use the cd term now but uh that's what we do so we always we'll always have a reference of how the tracking day went and we can kind of hear the development over time so anytime we're recording A live band were always burning a two mix.

14:06 Phillip Broussard Jr. i like that i Yeah, like that and then that's that's cool too because then you're able to kind of ideate and play with some panic things and maybe make some decisions down the pipeline for when you're in the mixing

14:14 Phillip Broussard Jr. absolutely. yeah that makes total sense yeah uh i'd love to talk a little bit more on drums just

14:19 Phillip Broussard Jr. OK, because i yeah. feel like every recording engineer that drums are so difficult because they're full frequency spectrum you know you get the lowest of the lows the highest of the highs and it drives the entire tune and everything else has to like tuck within them like you still have to have room for vocals you still have to have room for guitars um

14:35 Phillip Broussard Jr. Absolutely. would love to just like think about just philosophically when you're looking at okay i'm gonna do like slipknot or red hot chili peppers and we're gonna get that live band feel um when you're close miking these drums are you are you trying to like

14:54 Phillip Broussard Jr. Are you trying to just get the most amount of putty that you can play with later in the mix? Or are you trying to like say, okay, this is where I want the snare drum to kind of live in comparison to the vocal and to the guitar? Like, are you making those decisions in real time? Are you solving those problems later down the pipe in the mix?

15:11 Phillip Broussard Jr. We're making those decisions in real time. Awesome. That's very thought out. Yep.

15:16 Phillip Broussard Jr. Kind of goes back to when we were talking about the setups on drums Yeah, and exactly.

15:19 Phillip Broussard Jr. so forth. We'll audition Slipknot. not a metal a metal drum sound right Uh um -huh.

15:24 Phillip Broussard Jr. very Right. tacky kick drums pretty Yep. Ton of attack and yeah. tight snare drums pretty tight toms cymbals you know a metal a metal drum sound um we'll audition you know the drummer obviously with anyone that we're working with we want the drummer to bring in their drums we want the guitar player to bring in their guitars etc that's their sound that's their thing that's their comfortability Two very different drum sounds, Chad,

15:49 Phillip Broussard Jr. Yeah, totally. you know, Slipknot, Joey and Jay Oh, yeah, Jay Weinberg. Weinberg. Thank you so much. Amazing drummer, by the way.

15:59 Phillip Broussard Jr. So yeah, two very different drum sounds and we'll audition different kick drums. We'll audition different snare drums,

16:05 Phillip Broussard Jr. we'll audition different snare drums, hi-hats, cymbals, toms, everything. We'll know, I mean, we'll obviously know what songs we're going to cut or a

16:17 Luke F. Walton Yeah.

16:17 Phillip Broussard Jr. pretty good idea of the batch of songs that we want to cut. And then we'll change snare drums. and or kick drums based on those songs do

16:27 Luke F. Walton Okay.

16:27 Phillip Broussard Jr. they need a big open sounding snare no probably need something tighter more quicker uh etc does it have the body does it have uh does it have enough chain or snare on the bottom to have that cut through or do you want it kind of boxy kind of woody big sounding drum obviously the bigger sounding drum more space it takes up in the in the in the stereo field you

16:52 Luke F. Walton Right.

16:52 Phillip Broussard Jr. know same thing with a kick drum drum you Yep. know still got to Yep. fit bass guitars but we know the songs and you know there's been times where we're working on a song as a band and it's like yeah the snare drum's not working you know we'll hear one or two takes and it's like i think we should let's play with the snare drum let's you know or maybe i'm not saying these rick saying this or greg fiddleman or somebody's making these decisions uh if not if not the drummer in question you know um i don't think the snare drum's working i don't like it

17:19 Phillip Broussard Jr. it's

17:20 Luke F. Walton Mm.

17:20 Phillip Broussard Jr. too tinny it's too tight it's too big it's too soft you know what have you and we'll address it right then and there just so because as we're cutting as a live band you know we want to we want to hear it sound like i said we want to have it sound like a record as quickly as possible we don't really want to leave anything left to deal with later on because that's just more work and

17:42 Luke F. Walton Absolutely.

17:42 Phillip Broussard Jr. we need it we need to make decisions stat based on what we're

17:47 Luke F. Walton And

17:47 Phillip Broussard Jr. hearing right

17:48 Luke F. Walton it's a good. Yeah, totally.

17:49 Phillip Broussard Jr. we're

17:49 Luke F. Walton I like the way that you're putting it to like make the decision, like

17:53 Phillip Broussard Jr. yeah we're

17:53 Luke F. Walton make

17:53 Phillip Broussard Jr. committing

17:53 Luke F. Walton the call. Yeah,

17:54 Phillip Broussard Jr. we're

17:54 Luke F. Walton exactly.

17:54 Phillip Broussard Jr. committing because we're all here we're all there uh from from from songwriter to performer to producer to engineer

18:04 Phillip Broussard Jr. And maybe those people are mixing. Maybe they're not the people that are recording the record and you never know, but that's not the job. We're not thinking about mixing. We're thinking about recording and performing. So we're going to, you know, focus all of our attention to detail as if we're mixing it right now, right here, right now. We want this to sound as finished as possible.

18:26 Phillip Broussard Jr. So if the kick drum's not working, let's change it out. Snare drum's not working. Let's change out the cymbals are too splashy. Let's get something. something darker or crisper you know um and then that then helps us get a better idea of what's starting to work and then maybe we realize we change the drums and we realize maybe the bass is the wrong bass too it's the wrong amp it's

18:47 Luke F. Walton you change

18:47 Phillip Broussard Jr. the wrong totally

18:48 Luke F. Walton one puzzle piece and then the other one has to be tweaked as well yeah exactly

18:52 Phillip Broussard Jr. totally

18:52 Luke F. Walton exactly yeah

18:53 Phillip Broussard Jr. for sure and certainly when you get into writing then when you're writing then that can that can change too and maybe somebody likes the drum sounds it's like no i think this is right maybe it's the wrong bass maybe it's the wrong key let's

19:08 Luke F. Walton Okay.

19:09 Phillip Broussard Jr. you

19:09 Luke F. Walton Yeah.

19:09 Phillip Broussard Jr. know

19:09 Luke F. Walton Right.

19:09 Phillip Broussard Jr. what you know what's the wrong key maybe it's not an electric song maybe it's all acoustic song maybe it's the right drums and not sticks maybe we do blastics Totally. you know the little uh hot rods exactly

19:21 Luke F. Walton I just

19:21 Phillip Broussard Jr. or

19:21 Luke F. Walton picked

19:21 Phillip Broussard Jr. yeah

19:22 Luke F. Walton these up.

19:22 Phillip Broussard Jr. a

19:22 Luke F. Walton These

19:22 Phillip Broussard Jr. brush

19:23 Luke F. Walton are so weird.

19:23 Phillip Broussard Jr. hold

19:23 Luke F. Walton These remix. It's a, it's like a wooden brush.

19:28 Phillip Broussard Jr. can i see that again who makes those vic

19:29 Luke F. Walton Yeah. Vic Fir.

19:30 Phillip Broussard Jr. firth i've not seen those yeah

19:32 Luke F. Walton They're rad. They're rad. They're a bunch of alternative materials. I don't know if you can.

19:36 Phillip Broussard Jr. Yeah,

19:39 Luke F. Walton yeah it's

19:39 Phillip Broussard Jr. for

19:39 Luke F. Walton like it's

19:39 Phillip Broussard Jr. sure.

19:39 Luke F. Walton just really weird it's like it's like a brush but it has a little bit more of the um the wooden attack it doesn't have that that brightness of the standard metal

19:48 Phillip Broussard Jr. Yeah.

19:48 Luke F. Walton brush wood but i i'm with you changing all those different inputs is going to get a different output um and i also really like that what you keep coming back to is change the instrument itself change the way that you're interacting with it like obviously mics and all these things

20:02 Luke F. Walton definitely play a factor but when you have the choice just change the snare drum maybe it's not the mic maybe it's the the source for

20:09 Phillip Broussard Jr. More, and again, you know, not everybody has the luxury of to have the budgets and the big studios at

20:17 Luke F. Walton sure

20:17 Phillip Broussard Jr. their beckoning call on a caliber of project like that. But more often than not, we always go to the source first because you've got to have confidence in your signal chain. to know what you're doing and it's one thing if you're really carving in on the eq or you don't have the mic that you want you've got to dig hard into compression or or

20:37 Luke F. Walton Mm

20:38 Phillip Broussard Jr. a

20:38 Luke F. Walton -hmm.

20:38 Phillip Broussard Jr. mic pre or whatever to get a specific sound that's one thing but um typically i would always recommend to go to the source first um we can be aggressive in recording no doubt about it certainly if we're trying to put a fingerprint or some sort of stamp on the recording but more

20:55 Luke F. Walton Yeah.

20:55 Phillip Broussard Jr. often than not it's easy it's easy as a subjective term it's not easy to pull out two kick drums on a big metal drum set of like five toms and array of cymbals you know that

21:06 Luke F. Walton Right.

21:06 Phillip Broussard Jr. takes takes

21:07 Luke F. Walton Oh, yeah.

21:07 Phillip Broussard Jr. a few minutes because you don't want to move anything after you got everything mic'd up and all your phase correlation It can be tricky but typically go to the source first because that might be the quickest thing that's going to make a change than your signal chain

21:22 Luke F. Walton Um, Yes.

21:22 Phillip Broussard Jr. so we have confidence in our signal, our signal chain. So yeah, we go to the source pretty quick and you're going to know that snare drum and we might go through six snare drums and really only two of them work, you know?

21:34 Luke F. Walton yep and i mean something that i had recently in a session the drummer brought different kick beaters i

21:40 Phillip Broussard Jr. Of

21:40 Luke F. Walton was like

21:40 Phillip Broussard Jr. course.

21:40 Luke F. Walton huh that's a great idea haven't been in many sessions like that

21:44 Phillip Broussard Jr. Yeah.

21:44 Luke F. Walton should do that every time

21:45 Phillip Broussard Jr. Totally,

21:45 Luke F. Walton you know

21:46 Phillip Broussard Jr. totally. Yeah,

21:46 Luke F. Walton the actual

21:47 Phillip Broussard Jr. you've got the hard on one side, the hard plastic, you got the soft felt on the other.

21:50 Luke F. Walton especially when we're you know we're talking about two uh very contrasting bands between you know slipknot and chili peppers where it's like couldn't be more different kick

22:00 Phillip Broussard Jr. Yeah,

22:01 Luke F. Walton drum like modalities or focuses you

22:04 Phillip Broussard Jr. sure.

22:04 Luke F. Walton know and so you'd probably be like hey maybe maybe we use different beaters on those two different sessions Yeah. cool

22:09 Phillip Broussard Jr. And I remember, I think we had Chris Dave play on, on the Adele stuff when we

22:15 Luke F. Walton awesome

22:15 Phillip Broussard Jr. did 21 and he had like the old school soft.

22:17 Luke F. Walton yeah the felt kind of

22:20 Phillip Broussard Jr. Yeah,

22:20 Luke F. Walton yeah

22:20 Phillip Broussard Jr. the soft belt

22:21 Luke F. Walton nice

22:21 Phillip Broussard Jr. beater, you know, great sound,

22:22 Luke F. Walton super

22:23 Phillip Broussard Jr. great sound.

22:23 Luke F. Walton good sound yeah yeah

22:24 Phillip Broussard Jr. Yeah. And then also then like to kind of talk about his drum set for just a quick second.

22:29 Luke F. Walton that sounds fun i'm a big fan of chris dave yeah sick

22:31 Phillip Broussard Jr. Big fat marching snare drum off to his left hand side,

22:35 Luke F. Walton nice

22:35 Phillip Broussard Jr. you know, and then had rattles and little percussion things sitting on his drums and a very unique identifiable drum set that. was you know amazing completely

22:49 Luke F. Walton Yeah.

22:49 Phillip Broussard Jr. different from from jay or from chad you know obviously fitting the material fitting the genre but

22:55 Luke F. Walton Yeah.

22:55 Phillip Broussard Jr. different sizes of cymbals we would have tape on certain cymbals just different sounds because it's really an ensemble kit in metal it's it's an ensemble kit but it's got it's serving a purpose as well but when you have more open laid-back music um that's got more space you can have more characters so to speak speak maybe

23:14 Luke F. Walton Yeah,

23:14 Phillip Broussard Jr. lack of a better term uh to have more character and more unique voices in the drum set that give something different than than just a standard drum set

23:24 Luke F. Walton totally, totally. Yeah, so my favorite drummers are Nate Smith and

23:28 Phillip Broussard Jr. Oh,

23:28 Luke F. Walton Louis

23:29 Phillip Broussard Jr. yeah.

23:29 Luke F. Walton Cole. They'll do like, you know, stacking splash cymbals on snare drums and super

23:34 Phillip Broussard Jr. Exactly,

23:34 Luke F. Walton cool stuff.

23:35 Phillip Broussard Jr. Yep. exactly. I was going to say drum heads also play a big factor on that too.

23:40 Luke F. Walton Yep.

23:40 Phillip Broussard Jr. We

23:41 Luke F. Walton Definitely.

23:41 Phillip Broussard Jr. were talking about the metal beater kick. You can also get the flam pads or

23:45 Luke F. Walton Yes.

23:46 Phillip Broussard Jr. without them, you know, but Evans heads to me sound very different than Remo heads.

23:54 Luke F. Walton Definitely.

23:54 Phillip Broussard Jr. You

23:54 Luke F. Walton I

23:55 Phillip Broussard Jr. know, so

23:55 Luke F. Walton totally agree.

23:55 Phillip Broussard Jr. those are, I mean, again. those aren't cheap and you start running

24:00 Luke F. Walton Yes, I

24:00 Phillip Broussard Jr. through heads it's

24:01 Luke F. Walton know. I know.

24:02 Phillip Broussard Jr. gonna it's your your cost is gonna add up but um and there's some really great drum heads out there certainly for the sound that you're going for so those are conversations obviously we all kind of have to have with the drummer going in knowing okay this is going to be more of a ballad we want more of those uh you know fiber skin kind of heads with brushes and dark warm symbols with mallets than say

24:24 Phillip Broussard Jr. a, you know, something very bright, pointy kind

24:27 Luke F. Walton Yeah, like

24:27 Phillip Broussard Jr. of thing.

24:27 Luke F. Walton a gospel record or something where you get a, yeah, really

24:30 Phillip Broussard Jr. Yeah.

24:31 Luke F. Walton bright cymbals and yeah, yeah, love all that. I'm really curious, two of my favorite things to talk about, overheads. We were just talking face.

24:41 Luke F. Walton uh getting phase right and and measuring stuff could you explain to listeners some of the listeners like you know probably have never and never will go into a recording studio can you talk about kind of how you're measuring out the distance from the microphones why that matters and kind of how that plays into end result yeah

24:59 Phillip Broussard Jr. Yeah. Oh, we're getting so technical. I love it.

25:04 Luke F. Walton man

25:05 Phillip Broussard Jr. It's fun. Yeah. I mean, yeah, we measure microphones. from the

25:09 Luke F. Walton Mm

25:09 Phillip Broussard Jr. top

25:10 Luke F. Walton -hmm.

25:10 Phillip Broussard Jr. from the top of the snare head to the microphones up top we want them to be equal and we want them to you know we want the drum set to sound What did I say earlier? Like an ensemble kit and how

25:21 Luke F. Walton Yep.

25:21 Phillip Broussard Jr. that snare reacts to those mics. Sometimes we're miking cymbals. Sometimes we're miking the drum set. It really sort of depends on what we're doing.

25:29 Luke F. Walton Right.

25:29 Phillip Broussard Jr. But phase correlation is huge so that the microphones are getting the source at the same time as everything else essentially is what we're trying to achieve. And we do the same thing with room mics. Well,

25:41 Luke F. Walton Okay.

25:41 Phillip Broussard Jr. we measure room mics. We want them to be equidistant as well. Well, that number is arbitrary, whatever you decide to do.

25:47 Luke F. Walton Mm

25:47 Phillip Broussard Jr. And

25:48 Luke F. Walton -hmm.

25:48 Phillip Broussard Jr. again, sometimes depending on the room, depending on the genre and the sound, we could have close mics, medium mics, and then far back mics. And we can play with those. wideness and

26:02 Luke F. Walton Yeah.

26:02 Phillip Broussard Jr. how far back and that's going to create several different sounds of whatever we're going for but and i must say for any drummer or engineer people out there when you have a day off and you have your own place or you have downtime at the studio that you may work at if you're an intern or employee see if your manager person will let you bring in a buddy with a drum set and just forget the close mics on the drum set

26:27 Phillip Broussard Jr. Do the tests on the Rune sounds. That's super fun as well. And you can get some super cool drum sounds that way. In fact, one of my favorite records of all time is by a band called Talk Talk, an English band from the 80s.

26:44 Luke F. Walton Okay.

26:44 Phillip Broussard Jr. And they made a record in the late 80s, 88, 89.

26:50 Luke F. Walton Cool, I'm pulling them up.

26:51 Phillip Broussard Jr. It's called Laughingstock.

26:53 Luke F. Walton Laughingstock.

26:54 Phillip Broussard Jr. Yeah, there's a whole story behind that about they Polly Dore put it out, but their engineer, Phil Brown was the guy who made this record and he worked with he made a few of them and.

27:04 Phillip Broussard Jr. phil wrote a book a couple years ago several years ago now called are we still rolling and he he was a old olympic studio guy made a bunch of island records with chris blackwell a bunch of bob marley stuff traffic whole bunch of records he's an older guy but

27:19 Luke F. Walton Yeah.

27:20 Phillip Broussard Jr. he made this this laughing stock record with talk talk and the drum sound on majority of this record as he says in his book is one single u47 microphone like i don't know how many

27:34 Luke F. Walton cool

27:34 Phillip Broussard Jr. meters down the hall but

27:36 Luke F. Walton cool

27:36 Phillip Broussard Jr. that's what he says he said they recorded the whole drum set but then in the end when they got down to like final mix they ended up using just the room sound and

27:47 Luke F. Walton very cool

27:48 Phillip Broussard Jr. i thought wow and they had to offset it uh i think for when they were doing overdubs because there was such a delay

27:53 Luke F. Walton there's such a delay

27:54 Phillip Broussard Jr. yeah

27:54 Luke F. Walton from the

27:54 Phillip Broussard Jr. and they

27:55 Luke F. Walton sound

27:55 Phillip Broussard Jr. were on

27:55 Luke F. Walton having

27:55 Phillip Broussard Jr. like an

27:55 Luke F. Walton to old go all

27:55 Phillip Broussard Jr. 33

27:56 Luke F. Walton that distance

27:56 Phillip Broussard Jr. 48 digital tape machine or something or maybe the mitsubishi Um, but I thought, wow, that is quite a statement to say that, yeah, the drum sound is just a single U47 microphone 12,

28:09 Luke F. Walton Yeah.

28:09 Phillip Broussard Jr. 15 feet away,

28:10 Luke F. Walton Yeah.

28:11 Phillip Broussard Jr. but that was, that's the part that. phil harris i think was the drummer i think that's the part he played it

28:18 Luke F. Walton wow

28:18 Phillip Broussard Jr. was the it fit the vibe of the tune and that was the sound that they were able to like use right but

28:24 Luke F. Walton yeah well

28:25 Phillip Broussard Jr. how many people have you said oh yeah look we're just going to do a u-voice and

28:27 Luke F. Walton yeah exactly we'll

28:28 Phillip Broussard Jr. that's

28:28 Luke F. Walton just throw it what down

28:29 Phillip Broussard Jr. we're gonna

28:29 Luke F. Walton the go hall for yeah

28:29 Phillip Broussard Jr. i mean that's cool that you're going to start off like that like okay that's that's that's a goal cool i love it but yeah

28:36 Luke F. Walton i mean that and that it's funny because that like you're saying sometimes the you that's a choice sometimes it's the necessity of reading that innovation where it's like we've got a u47 guys like a very nice microphone and that's it

28:48 Phillip Broussard Jr. yeah that's right that's right that's make right

28:51 Luke F. Walton it work um you know just like bedroom producers like how many how many vocals on this microphone are there yeah

28:58 Phillip Broussard Jr. yeah but also i would like to say this that i do think is important about microphones

29:02 Luke F. Walton please yes

29:03 Phillip Broussard Jr. and a u47 you know whatever a neumann telefunken 251 any of these uber brand textbook examples of like classic german

29:15 Luke F. Walton Yes.

29:15 Phillip Broussard Jr. engineering microphones they're amazing they're gorgeous they have all these sonic qualities that we all love however what i think is something that's a bit overlooked a lot of people think that if you record on those microphones your vocals are going to be great and

29:31 Luke F. Walton Ah, yes.

29:32 Phillip Broussard Jr. that and they're they're not wrong but there are better microphones Scratch that. There are other microphones that suit better other people's voices.

29:46 Luke F. Walton Yes.

29:47 Phillip Broussard Jr. So some people think, okay, yeah, we're using a U47. It's a $40,000 microphone. It was made in the 40s and the 50s. It's all tubes. Great.

29:57 Phillip Broussard Jr. And then there's a $400 microphone right here that you and I both are talking into, which

30:02 Luke F. Walton Mm-hmm.

30:02 Phillip Broussard Jr. is equally as good based on that person's voice and performance.

30:09 Luke F. Walton Yes.

30:09 Phillip Broussard Jr. And some voices, those large diaphragm microphones, they're not for everybody's voice. And so there became a stigma for a while there. Well, you got to sing on a U47.

30:20 Phillip Broussard Jr. Yeah, I mean, you could try it, but then you should listen to, you should record and we did this on tons of Rick projects for years and still do for the most part where we'll have five or six different microphones and have a singer.

30:35 Luke F. Walton Mm

30:35 Phillip Broussard Jr. seeing

30:35 Luke F. Walton hmm.

30:35 Phillip Broussard Jr. on we keep the same mic pre we don't change that but we'll change each microphone we don't change we'll change the level if it's necessary but

30:44 Luke F. Walton Yeah,

30:44 Phillip Broussard Jr. we'll

30:44 Luke F. Walton yeah.

30:44 Phillip Broussard Jr. go from an sm7 to a u67 to a c12 maybe a c12a maybe a 251 and maybe a u47 and then maybe a rib uh a

30:55 Luke F. Walton Ribbon

30:55 Phillip Broussard Jr. royer

30:55 Luke F. Walton microphone.

30:56 Phillip Broussard Jr. 121 or

30:57 Luke F. Walton Right

30:57 Phillip Broussard Jr. an rca

30:57 Luke F. Walton on. Yeah,

30:58 Phillip Broussard Jr. 44 and

30:59 Luke F. Walton For sure.

30:59 Phillip Broussard Jr. then and those are pretty drastic sonic qualities

31:02 Luke F. Walton Huge, huge,

31:02 Phillip Broussard Jr. but

31:03 Luke F. Walton especially

31:04 Phillip Broussard Jr. then come

31:04 Luke F. Walton with those.

31:04 Phillip Broussard Jr. in with the vocalist and listen to them and not tell them which one's which and just you sing it in the song like just the first verse and like which one do you like because you at that point you're deciding with your ears not with your eyes it's

31:20 Luke F. Walton I like that. I like that. That's something I think a lot about with plugins because they have those fancy graphic user interfaces.

31:27 Luke F. Walton but sometimes they sound like crap and sometimes the ones that look terrible sound amazing it's like just got to turn off my eyes a little bit so i can actually assess what's going on here

31:35 Phillip Broussard Jr. And there's also something to be said for just putting a plug-in on a track and not doing anything to it, right? Because like on an API, because you do the same thing, you could plug in an API 550. equalizer on a snare drum and you

31:50 Luke F. Walton Mm-hmm.

31:50 Phillip Broussard Jr. will hear on the insert of a channel and you'll hear the difference without actually engaging if you just engage the eq but don't cut or boost any signals you

31:58 Luke F. Walton Right, right.

31:58 Phillip Broussard Jr. can hear the difference plugins are emulated to do the same thing and i have been in situations where i'm mixing and i just needed i don't just a little something to add a little bit more character and i can put a plug-in on like oh there it is but i'm not doing really i'm not doing anything it's just sitting there

32:00 Phillip Broussard Jr. are emulated to do the same thing and i have been in situations where i'm mixing and i just needed i don't just a little something to add a little bit more character and i can put a plug-in on like oh there it is but i'm not doing really i'm not doing anything it's just sitting there there's a sound there but uh you have to be open you have to be open to listen to listen to it and make sure we

32:25 Luke F. Walton Of

32:25 Phillip Broussard Jr. get distracted by the visual aspect of things.

32:28 Luke F. Walton course, of course. And I think that there's a benefit to mixing on a console. can make it more tactile and also maybe like limit your options and also have everything running through those transformers so it there that's something that i've yet to do but i someday i really want to because i've watched people do it i've gone in the studio and i've assisted and stuff but it just seems like there's another layer of mojo and tactile feedback and that that why don't we skip to mixing a little bit let's

33:01 Phillip Broussard Jr. Okay,

33:02 Luke F. Walton let's talk

33:02 Phillip Broussard Jr. sure.

33:02 Luke F. Walton a little bit about processing this audio audio um what's your preferred preferred way of of like you know budget be damned what what and and i want you to mix let's say a rock band that

33:15 Phillip Broussard Jr. Yeah.

33:15 Luke F. Walton you recorded um what would you where would you start what would you want to um do it where would you want to do it and how would you approach it yeah

33:23 Phillip Broussard Jr. The dream, the ultimate

33:25 Luke F. Walton the dream

33:25 Phillip Broussard Jr. dream.

33:25 Luke F. Walton yeah

33:27 Phillip Broussard Jr. I mean, obviously, I think, I mean, I have my own ideas and I know that's what we're asking here. But also, I think it's important about the artist and what they want to,

33:40 Luke F. Walton Oh,

33:41 Phillip Broussard Jr. right?

33:41 Luke F. Walton cool.

33:41 Phillip Broussard Jr. It's comfortability

33:41 Luke F. Walton Yeah. Good point.

33:42 Phillip Broussard Jr. and also

33:42 Luke F. Walton Very good point.

33:42 Phillip Broussard Jr. something that inspires performances.

33:45 Luke F. Walton Okay.

33:46 Phillip Broussard Jr. I might like to work in a studio that maybe somebody else doesn't like working in because they may have a bad memory. So I got to take that into consideration,

33:52 Luke F. Walton And

33:52 Phillip Broussard Jr. right?

33:52 Luke F. Walton no

33:52 Phillip Broussard Jr. But all those

33:53 Luke F. Walton parking.

33:53 Phillip Broussard Jr. be damned. and right um

33:54 Luke F. Walton Yes,

33:55 Phillip Broussard Jr. we want because ultimately we're capturing magic right or lightning

33:59 Luke F. Walton yes.

33:59 Phillip Broussard Jr. in a bottle however you want to phrase it um we want our artists to be inspired we want them to

34:05 Phillip Broussard Jr. pull out great performances we want we want it to sound finished and inspired with intention um

34:11 Luke F. Walton Yes.

34:12 Phillip Broussard Jr. and emotion right i mean because there's one thing if you play a song way too many times you just you can tell people don't care anymore right they're just they got to get they got they're ready to be done they want to go home whatever it is they want to they don't want to play the song anymore it's time to knock it on the head and go home you know and come back tomorrow and attack it again but that being said um

34:31 Phillip Broussard Jr. I mean, yeah, ideally, I love working on consoles. Mm-hmm. Neve 8068 is my favorite or an 8028, something class A with obviously, you know, great microphones too. But, and I love all of that stuff and I've been fortunate, very lucky and fortunate to have done that for a large portion of my career. And not everybody gets those, but I like both actually. I like working.

35:00 Phillip Broussard Jr. working i love working on a console so i can process things i love combining and busing microphones together to create a sound if

35:08 Luke F. Walton Yeah,

35:08 Phillip Broussard Jr. it's drums

35:08 Luke F. Walton totally.

35:08 Phillip Broussard Jr. if it's guitars if it's vocals or bass or anything i love doing that because you you it allows you to have flexibility and allows you to really do things um that you can't do in the computer because like you said transformers op amp

35:25 Phillip Broussard Jr. amps you can really carve on an eq you can just get super aggressive with pre's and you can insert stuff on you could drive outboard gear and just really get a lot of harmonic distort distortion if that's something you want to do but i love combining microphones together to committing to a sound right on a kick drum i definitely want to combine inside outside mic snares i want to combine snares as well to make

35:53 Phillip Broussard Jr. make it so

35:53 Luke F. Walton Cool.

35:54 Phillip Broussard Jr. when i pull up the fader on a kick drum it sounds like the kick drum i

35:57 Luke F. Walton Nice.

35:57 Phillip Broussard Jr. don't want to fiddle with the

35:58 Luke F. Walton Right.

35:58 Phillip Broussard Jr. balance of the two mics etc i want to commit that as quickly as possible um and then i love doing those things um so i can kind of shape and craft the sounds um but i also like I like doing it in, I love mixing in the box. I have a console at home I use as processing, printing things through. I can stick a distortion pedal or got

36:25 Luke F. Walton Cool.

36:26 Phillip Broussard Jr. an array of guitar pedals that I'll use as outboard gear too, you

36:29 Luke F. Walton Love that.

36:29 Phillip Broussard Jr. know, inserts and on auxins and do all sorts Super of fun stuff as

36:33 Luke F. Walton underrated

36:33 Phillip Broussard Jr. well.

36:33 Luke F. Walton super underrated trick. That outboard guitar pedal.

36:36 Phillip Broussard Jr. And the pedal market these days is off the chain. I mean, there are some incredible... incredible incredible sounding guitar pedals now um that are really really pushing pushing boundaries i mean uh there

36:51 Luke F. Walton I agree with you.

36:51 Phillip Broussard Jr. are

36:52 Luke F. Walton Yeah.

36:52 Phillip Broussard Jr. some fantastic manufacturers and i love that and i think actually it's kind of challenging some of the outboard 19 inch rack gear makers you know like

37:01 Luke F. Walton I agree.

37:02 Phillip Broussard Jr. um it's a different price point too you can get a lot more out of a guitar pedal uh for a lot less cheaper than what you can on some of the 19 inch rack track and not and that's not to slide against the

37:14 Luke F. Walton No,

37:14 Phillip Broussard Jr. 19

37:14 Luke F. Walton no,

37:14 Phillip Broussard Jr. age folks because there's some really fantastic gear being made on the microphone level on the compression level uh on the equalizer level as well on pro gear uh it seems like the options now today are not anything what they were 25 years ago and

37:30 Luke F. Walton Oh, I agree.

37:30 Phillip Broussard Jr. i also think the quality of that stuff is amazing you know

37:35 Luke F. Walton And the controls. I mean, now you can have all this. analog gear that can be digitally controlled and that was just i saw that at aes in like 2019 or something 2018 seeing a lot of that that change it's

37:47 Phillip Broussard Jr. Yeah,

37:47 Luke F. Walton like okay that's that's a nice future because you're getting the best of both worlds now

37:51 Phillip Broussard Jr. absolutely.

37:51 Luke F. Walton yeah

37:52 Phillip Broussard Jr. Absolutely. You are. But anyhow, back to your question. I love doing that on the console and working that way.

38:00 Luke F. Walton okay

38:00 Phillip Broussard Jr. But I also I also. mixing on the console i still love but

38:06 Luke F. Walton Mm-hmm.

38:06 Phillip Broussard Jr. sometimes budget and time constraints doesn't

38:10 Luke F. Walton Yes.

38:10 Phillip Broussard Jr. allow for it depending on what you're doing how you're doing it in in the budget and time that you have to do it so sometime in and you know dolls have gotten so so much better sounding as well as converters and and everything in between so i love working in the box as well and i i mix mix I do a lot in the box. Like I said, I'll use the console for I can bring things up and stem things out and use

38:35 Luke F. Walton Yes.

38:35 Phillip Broussard Jr. it as a summing mixer.

38:37 Luke F. Walton Cool.

38:37 Phillip Broussard Jr. I do that. I can use it as a guitar pedal where I'm just combining a bunch of stuff and printing it back in.

38:43 Luke F. Walton Yep.

38:44 Phillip Broussard Jr. And then, but I kind of have a hybrid setup on the mix side of things.

38:48 Luke F. Walton Okay.

38:48 Phillip Broussard Jr. I'm doing a lot of mixing in the box and then I'm coming out of my DAW and going into a rack of outboard gear that's usually a compressor or an EQ. or an EQ, I have a tube stage that I could

38:59 Luke F. Walton cool

39:00 Phillip Broussard Jr. use.

39:00 Luke F. Walton nice

39:00 Phillip Broussard Jr. I have a pair of transformers I can run through as well, like some old Western electric transformers as well, if I wanted to do that.

39:06 Luke F. Walton that's awesome okay

39:07 Phillip Broussard Jr. And then I just print that back in.

39:09 Luke F. Walton that was my next question so are you are you doing that for like individual tracks uh stems or are you doing that as like your your two mix your master bus or all

39:18 Phillip Broussard Jr. Two

39:18 Luke F. Walton of them

39:18 Phillip Broussard Jr. mix,

39:18 Luke F. Walton two

39:19 Phillip Broussard Jr. two mix. Yeah,

39:19 Luke F. Walton mix

39:19 Phillip Broussard Jr. my master

39:20 Luke F. Walton mix

39:20 Phillip Broussard Jr. bus is all out of the box and then I'm printing back in. And for, uh, for the two mix, I'm printing

39:25 Luke F. Walton great

39:26 Phillip Broussard Jr. back in okay so I can compare. So if I have a revision,

39:28 Luke F. Walton yeah

39:28 Phillip Broussard Jr. I

39:29 Luke F. Walton uh

39:29 Phillip Broussard Jr. can listen

39:29 Luke F. Walton -huh

39:29 Phillip Broussard Jr. to the mix, you know, and then make changes. Uh, but I'm always printing back into the session,

39:35 Luke F. Walton nice

39:35 Phillip Broussard Jr. uh,

39:36 Luke F. Walton yep

39:36 Phillip Broussard Jr. always done. I've always done that. So, uh,

39:38 Luke F. Walton it's

39:39 Phillip Broussard Jr. I find it's easier, uh, more flexible to sort of get

39:42 Luke F. Walton awesome

39:42 Phillip Broussard Jr. it that

39:42 Luke F. Walton i

39:42 Phillip Broussard Jr. way.

39:42 Luke F. Walton mean that that's that's something when i you know if i get another sync check or whatever you know that's that's my next like level up up is having some stuff that i can print my two mix out too so i'm not just having to throw my you know waves ssl compressor and all

39:57 Phillip Broussard Jr. Which

39:58 Luke F. Walton the other

39:58 Phillip Broussard Jr. is

39:58 Luke F. Walton stuff

39:58 Phillip Broussard Jr. great.

39:58 Luke F. Walton which

39:58 Phillip Broussard Jr. I use

39:59 Luke F. Walton is good

39:59 Phillip Broussard Jr. that too.

39:59 Luke F. Walton it's good it's fun it's a great compressor yeah

40:01 Phillip Broussard Jr. Phenomenal sounding. I mean, it's my favorite bus compressor. Yeah,

40:05 Luke F. Walton yeah i

40:05 Phillip Broussard Jr. the SSL.

40:05 Luke F. Walton agree i use that thing put that shit on everything

40:10 Phillip Broussard Jr. Another big fan, I'm a big fan of, do you know the Massey 2007?

40:16 Luke F. Walton I don't think so. No.

40:18 Phillip Broussard Jr. Amazing limiter, amazing limiter. Yeah,

40:20 Luke F. Walton Yeah.

40:21 Phillip Broussard Jr. yeah. Massey, M-A-S-S-E-Y. He makes fantastic stuff. That limiter is it's like a mastering limiter.

40:28 Phillip Broussard Jr. And even if you're not doing a whole lot to it, just very little makes a big difference. It's fantastic.

40:35 Luke F. Walton Awesome.

40:35 Phillip Broussard Jr. I

40:35 Luke F. Walton Oh,

40:36 Phillip Broussard Jr. use that as well.

40:36 Luke F. Walton this is a good question. What's your take on how quiet of a mix to deliver to a mastering engineer?

40:44 Phillip Broussard Jr. oh well quiet i do two things uh

40:50 Luke F. Walton Sure.

40:51 Phillip Broussard Jr. well i always so when i'm mixing and i'm doing like just straight up two mix stuff i always print a loud bus a separate track that's got like an l2 on it for loudness and those are things that i typically kind of you know give to band members because

41:08 Luke F. Walton Mm-hmm.

41:09 Phillip Broussard Jr. it's loud and

41:10 Luke F. Walton Yeah.

41:11 Phillip Broussard Jr. i people don't like the mystery of mastering they want it they want it to be loud they want it to be competitive and i get it i understand not everyone is a record maker just because you're a musician doesn't mean that you know you don't get to hear things loud and that you should hear it you know not mastered so i try to and i don't spend a lot of time on i just make sure that's loud so that

41:33 Phillip Broussard Jr. If they're going to listen in between a bunch of other songs, the levels are pretty similar.

41:37 Phillip Broussard Jr. totally totally But the mastering engine, I don't like a loud, super crushed mixes unless the band wants it, unless somebody likes it. I myself like to have some headroom,

41:51 Phillip Broussard Jr. me too exactly like to have some headroom for the mastering engineer to do his thing.

41:57 Phillip Broussard Jr. yeah because when you take away we take away that headroom and now they don't have a ton of stuff to work with

42:03 Phillip Broussard Jr. they because it's all kind don't they don't their job is done for and them unless you unless that like i said unless that is a specific desire and you tell the mastering engineer look we square waved everything this is intentional but i still need you to do x y and z on this right um but typically i try to i try to keep it within a normal realm um And I don't mind getting it loud.

42:29 Phillip Broussard Jr. I definitely want my mixes to be competitive as well because I don't want, again, I don't want anyone to have questions about mystery of is it too quiet or is it too loud or what have you.

42:41 Phillip Broussard Jr. So I feel good about having a competitive level, but I always like to have a conversation with the mastering engineer too ahead of time because I definitely need to know his scheduling and what or she could be he or she what their scheduling is and what their time frame is. and then what uh and i also like to kind of send them something just before we finish the wrap up the final just to give them an idea of

43:07 Phillip Broussard Jr. Oh, okay. what we're working on so Yeah, that yeah, they're not blindsided also like and i and i'm talking about professional mastering engineers

43:16 Phillip Broussard Jr. yeah um yeah for sure yeah guys and typically guys that i have relationships with so we're already we're already familiar with one another's work and it's like hey can we have a listen to this and just you know it also depends what what the project is you know um maybe somebody doesn't want me to send any a pre-mastering out you know or anything like that but i kind of like to get them involved a little bit like okay yeah i want to do this i got this new thing i want to try this here's what i'm hearing and we definitely have conversations about it

43:43 Phillip Broussard Jr. If their input is allowed to get. Uh, Yeah. creative with it. Sometimes, no, Sure.

43:50 Phillip Broussard Jr. just do, just do very your, your minimum, you know, light EQ, light compression, you know, those kinds of things. Everything has a variable, but, um, yeah, that's kind of the way I like to approach it. I like to definitely use guys that I know and have the relationships and have conversations with them and go have a back and forth, but typically there aren't a lot of revisions, you know, it's pretty quick.

44:13 Phillip Broussard Jr. Right. I agree. I agree. Yeah.

44:14 Luke F. Walton Once it gets to that stage, just before that stage, I want to, I want to ask you a question. This is for me.

44:20 Phillip Broussard Jr. So in terms of.

44:22 Luke F. Walton taking a collection of instruments and turning it into a mix gluing everything together um

44:28 Phillip Broussard Jr. Yeah.

44:28 Luke F. Walton how much like parallel processing do you do is it mostly like that two mix are you like sending you know drums and and bass together and gluing them together are you gluing all the guitars together how how do you typically obviously every mix is a little bit different but how do you typically envision kind of the aspect of glue parallel compression parallel saturation parallel eq all that good stuff

44:48 Phillip Broussard Jr. Yeah, I do all of that. uh uh it Cool. all it all depends on the genre of music and the style uh on what how you're doing it but yeah i i definitely do parallels on not the entire drum set i like to uh

45:04 Phillip Broussard Jr. I don't, you know, and there's a whole several different schools of thought on how everybody does their stuff. Totally. But for me, I typically like everything coming live. I say live coming out of the same. I have a mix bus and I have everything coming out of the mix bus and then I spin off and do parallels. And I typically treat my kick and snare drums. I do punches. I do a thing called punch.

45:28 Phillip Broussard Jr. I do a thing called length. I do a thing called Smash. and any number of any number of items in the drum set may or may not get those typically

45:40 Phillip Broussard Jr. Okay. i'm trying to get a little you know and and those fader levels those fader levels kind of they're never the same i might drive a compressor or distortion really hard but bring the level way down so that it's just i'm maybe getting a db out of the whole thing on the final mix or or whatever uh but i definitely i definitely process kick and snares Sometimes Tom's definitely rooms if needed.

46:05 Phillip Broussard Jr. Yeah, yeah. Sometimes cymbals to make excitement. Okay. Maybe I'll use them in the chorus. Maybe I don't. Maybe I only use them in the bridge.

46:14 Phillip Broussard Jr. Cool. Yep. And those kinds of things. St. Bass obviously is Mm-hmm. dependent on how that part's being played. I definitely do a processing thing. I'm usually trying to warm it up. But if it's an aggressive thing, then I'm using some distortion.

46:31 Phillip Broussard Jr. I don't really like to carve out heavy EQ unless it needs it, if it's something that's very specific. And sometimes even a lot of compression. then on a parallel just tucked in is just

46:46 Phillip Broussard Jr. Mm all it needs -hmm. to Yes. just very tucked in at the very bottom and Yes. then vocals or guitars i definitely do processing on guitars a lot of parallels but again it depends but i'm doing a side not a side chain but i'm doing some parallel compression sometimes aggressive sometimes soft just to kind of lift it in spots um

47:06 Phillip Broussard Jr. Keep that body side in, yeah. eq as well um if Okay. not distortion or even reverb and delay throws um i

47:15 Phillip Broussard Jr. Yep. try not to get really aggressive with the tracks Because then you start getting phase issues on just things pokey or too dark and so forth. So I typically throw on the parallel stuff after I've kind of got a pretty solid balance going on. I kind of want to hear it.

47:36 Phillip Broussard Jr. i want to i obviously i've gone i've heard rough mixes i've got the refs but i kind of want to get a balance and panning as

47:43 Phillip Broussard Jr. Mm hmm. quickly as possible to get the track really kind of flying and then figure out okay this changes are happening here we need to jump here we need to duck down here then

47:52 Phillip Broussard Jr. Yeah. i'll start adding my processing to kind of i don't really have like a factory where everything kind of gets the same thing um i'll start doing that after i kind of get everything bounced then i'll maybe mute some things and focus on the drums a little bit and feel

48:07 Phillip Broussard Jr. Sure. guitars and vocals and then start kind of applying and messing with things yeah and I don't really do a whole lot to the stereo bus I mean I have my normal I do have a cookie cutter lack of a better term but I have kind of a standard that I use because I want all the songs to sound the same coming on the mix chain so I don't really change that I calibrate it every every time I print you know kind of have to to make sure that's all good

48:37 Phillip Broussard Jr. Um, but yeah, yeah, I don't really, yeah, I don't really dig in really hard on the individual tracks, but on the processing, it's kind of anything goes and that's really

48:47 Luke F. Walton Yeah.

48:47 Phillip Broussard Jr. where the fun can kind of happen, you know,

48:50 Luke F. Walton Totally.

48:51 Phillip Broussard Jr. because you might be using it on the verses or just in sections of songs to create, to create excitement or to create just something you don't know, but it really feels good. You

49:01 Luke F. Walton Yeah,

49:01 Phillip Broussard Jr. know if

49:02 Luke F. Walton and I

49:02 Phillip Broussard Jr. it's a rhythmical thing sure

49:03 Luke F. Walton like that that perspective, and I also think that that's one of the benefits of in the box is you have a lot more control of let's let the song evolve in this way.

49:12 Luke F. Walton Let's get really specific with automation and saying like you're saying like second verse, let's let's bring in this this delay and this reverb and stuff and then into the bridge, let's have it build in there with some parallel saturation or compression or whatever, lifting you through so I that's kind of what I What I see is the alternative benefit of in the boxes of specificity, the automation,

49:34 Luke F. Walton being able to do all the things that your hands couldn't possibly do all in real time.

49:38 Phillip Broussard Jr. Absolutely. And sometimes, you know, you work on things, maybe you're, you know, maybe you spend all day on it, maybe you're at the end of the day.

49:49 Phillip Broussard Jr. maybe you finished a mix earlier in the day and you're starting up a new track and it's coming together really quickly and you had some leftover ideas on the other one and so but and you brought you imported those settings in as well

50:01 Phillip Broussard Jr. Mm like this -hmm. really worked well for this vocal on this last thing or the guitar

50:04 Phillip Broussard Jr. Yes. i'm going to do the same thing here similar song but you're kind of tired and you're kind of like i don't even i can't tell the force from the trees anymore

50:13 Phillip Broussard Jr. Yes. Yes. and you can put it away and you can go have dinner or do something else and not work for the rest of the night and then come back in the morning and listen with fresh ears and

50:25 Luke F. Walton Mm-hmm.

50:25 Phillip Broussard Jr. you can tell if it worked or not or

50:27 Luke F. Walton Mm-hmm.

50:28 Phillip Broussard Jr. you're like oh this was much better than I thought it was

50:31 Luke F. Walton Mm-hmm.

50:32 Phillip Broussard Jr. So let's, and it's all there. You

50:34 Luke F. Walton Yes.

50:34 Phillip Broussard Jr. can adjust the automation, you can redo it, you can take it a bit further if you want, or maybe pull it back, whatever. But I love having that flexibility. Obviously, you can do that on a big console as well with automation. My console doesn't have automation. So I'm doing all the automation in the box if I'm stimming it all out on the desk.

50:53 Luke F. Walton Just, oh, sorry, for listeners, automation is where you're automating the way that these levels are changing. So things... things get louder or quieter depends left to right ear these little things that's all just catch all this automation just in case anyone's

51:06 Phillip Broussard Jr. Yeah,

51:06 Luke F. Walton curious

51:06 Phillip Broussard Jr. that's right. You're moving the, yeah, well, in Pro Tools, you can automate the panning and equalizers go popping in and out. Yeah, anything. Yeah, absolutely. So it's literally automated for you once you make and write those moves. And I love that in the box. It's so easy. It's so quick. It's instantaneous. and it's always going to be there i don't

51:28 Luke F. Walton Right.

51:28 Phillip Broussard Jr. have to worry about synchronization issues or the

51:30 Luke F. Walton Right.

51:30 Phillip Broussard Jr. computer failed we got to reboot the computer uh or anything like that that you had on the on the old consoles you know it

51:38 Luke F. Walton Yes. And that's a beautiful thing.

51:41 Phillip Broussard Jr. really is okay

51:41 Luke F. Walton One bonus question because we're talking to this. I've never worked with tape. I've worked with, you know, plugins that emulate what tape does.

51:52 Luke F. Walton How much do you think those plug-ins are getting it versus not getting it, like the mojo of tape, like throwing like a UAD Studer onto a track or whatever versus actually going in there and doing it yourself as somebody that has experience? Like I'm just curious your perspective there.

52:12 Phillip Broussard Jr. That's a good question. I've never really. I've never really A-B'd them back

52:17 Luke F. Walton yeah

52:17 Phillip Broussard Jr. to back,

52:18 Luke F. Walton yeah totally

52:18 Phillip Broussard Jr. honestly, you

52:18 Luke F. Walton even

52:19 Phillip Broussard Jr. know, and that's a I

52:20 Luke F. Walton with that just like

52:20 Phillip Broussard Jr. should.

52:20 Luke F. Walton the feeling that would be a curious test but i'm just curious like your your experience your feeling of like ah this doesn't quite have the mojo or this this is capturing it

52:27 Phillip Broussard Jr. I

52:28 Luke F. Walton or

52:28 Phillip Broussard Jr. should I should do that. And the thing with me on tape. certainly is more about the the transient aspect on

52:38 Luke F. Walton Okay. Okay.

52:38 Phillip Broussard Jr. actually

52:39 Luke F. Walton So

52:39 Phillip Broussard Jr. working

52:39 Luke F. Walton the way

52:39 Phillip Broussard Jr. with tape the yeah

52:40 Luke F. Walton way that it hits the those attacks and those releases the pop.

52:44 Phillip Broussard Jr. yeah because you're getting the tape compression there you know you're getting

52:50 Luke F. Walton Interesting.

52:50 Phillip Broussard Jr. second third you know with the analog stuff you get the second third harmonic distortion and going through all of that stuff as well so it's it's a little different i think those plugins are great and there's a couple of there's i use a mc dsp um who makes the other one there's one there's a silver one um I can't think of who makes the other tape emulation.

53:13 Phillip Broussard Jr. I don't have the UAD stuff, so I'm not familiar with the UAD. But somebody makes another one that I've used from time to time. And I don't often reach for those.

53:23 Luke F. Walton Yeah,

53:24 Phillip Broussard Jr. They're cool for character things,

53:25 Luke F. Walton exactly.

53:25 Phillip Broussard Jr. but I don't often reach for them unless it's something that calls for it. But what I often or what I love about tape. is what it does for transient stuff so things like cymbals really

53:39 Luke F. Walton Okay.

53:40 Phillip Broussard Jr. smooth them out make them warm And still retaining the clarity, you know, still retaining

53:47 Luke F. Walton Yeah.

53:47 Phillip Broussard Jr. that crisp top end. It rounds and soothes them out. And I know everyone has said that.

53:54 Luke F. Walton That's good.

53:55 Phillip Broussard Jr. So you've

53:55 Luke F. Walton That's

53:55 Phillip Broussard Jr. not heard

53:56 Luke F. Walton good.

53:56 Phillip Broussard Jr. that, but you definitely have heard that before. But it also does something to, you know, a snare drum. A crack of a snare drum is, you know, it'll do something. And also that depends on the tape you're using and it depends the calibration or the alignment in which you're using. So how hard is your tape deck calibrated to hit it and then how hard are you digging, how hard are you pushing those levels on

54:21 Luke F. Walton Yes.

54:21 Phillip Broussard Jr. the tape? Are you burying the meters, you know, or are you just barely hitting them? Because that's going to make a big difference too.

54:27 Luke F. Walton Absolutely.

54:28 Phillip Broussard Jr. I don't subscribe to either.

54:32 Luke F. Walton Mm-hmm.

54:32 Phillip Broussard Jr. For a specific reason. Again, there's that age old question, does tape sound is analog versus

54:38 Luke F. Walton Yeah.

54:38 Phillip Broussard Jr. digital like we're not going to have that discussion today.

54:41 Luke F. Walton We don't have enough time.

54:43 Phillip Broussard Jr. But because I think at the end of the day, it doesn't really matter as long as an emotional performance gets captured. That's what it is all about. It's about the music, you know. But when I was on Chili Peppers over lockdown, we did everything on tape. You know, the whole both of those double records were made on tape, everything. And it was fun to do that.

55:10 Luke F. Walton Yes.

55:12 Phillip Broussard Jr. But it also reminded me of kind of the time it takes. You got to rewind back. You got to fast forward. You got to put a reel up. If a band's hot and you've just done two or three takes in a row and you need to switch reels, that's a five to ten minute.

55:31 Luke F. Walton Mm

55:31 Phillip Broussard Jr. pause

55:32 Luke F. Walton hmm.

55:32 Phillip Broussard Jr. you got to spin it off put the other one up get it back on you know and hopefully you've maybe you've prepped the reels to have leader tape on the front you're storing it you know heads out so you can just thread it on and get going and i mean it takes a couple of minutes and the band may not or any band not just them but any band may not want to wait and

55:53 Luke F. Walton Yes.

55:54 Phillip Broussard Jr. pro tools

55:54 Luke F. Walton Because you're in the you're in the groove. You're like, I've found my flow state. I want to. want to yep

55:58 Phillip Broussard Jr. We're

55:58 Luke F. Walton keep

55:59 Phillip Broussard Jr. rolling.

55:59 Luke F. Walton it going we're

55:59 Phillip Broussard Jr. We're rolling.

56:00 Luke F. Walton just loop loop record that it's just yeah

56:03 Phillip Broussard Jr. Well, and in those,

56:04 Luke F. Walton that was coming

56:05 Phillip Broussard Jr. when

56:05 Luke F. Walton right back yeah

56:05 Phillip Broussard Jr. I'm recording or when we are recording, not just me, but when we're recording live bands, we like to record on the whole timeline.

56:13 Luke F. Walton Cool.

56:13 Phillip Broussard Jr. we don't we don't do

56:14 Luke F. Walton Nice.

56:14 Phillip Broussard Jr. loop record

56:15 Luke F. Walton No playlisting, not playlisting,

56:16 Phillip Broussard Jr. no because

56:17 Luke F. Walton just going cool.

56:17 Phillip Broussard Jr. yeah because i

56:18 Luke F. Walton Love it.

56:19 Phillip Broussard Jr. don't have to worry about flipping things it's

56:21 Luke F. Walton Yep.

56:21 Phillip Broussard Jr. less things to do we're recording on the timeline to get a master take so we can hear them all in a row because that timeline the timeline doesn't really become an issue or become standard until we get the master take then

56:33 Luke F. Walton Okay.

56:33 Phillip Broussard Jr. we got the master we don't do anything then we'll start recording overdubs in that same then we'll start playlisting but as we're recording a live band i don't want to we don't want to flip through anything we it's less to do right we just hit

56:45 Luke F. Walton Exactly.

56:45 Phillip Broussard Jr. record

56:46 Luke F. Walton That's

56:46 Phillip Broussard Jr. and let

56:46 Luke F. Walton a good

56:46 Phillip Broussard Jr. point. it run so there's no accidental pilot error somebody hit something or did something wrong or this track didn't go into record everything's in record and we i don't even i forget how many hours you have now on pro tools to record on the top the top play list it's

57:01 Luke F. Walton oh it's yeah it's very long

57:04 Phillip Broussard Jr. a yeah it's super long so we're never going to run out of that and in also that being said that's we try to do that by song so each song gets its own pro tool session but

57:14 Luke F. Walton yeah totally

57:15 Phillip Broussard Jr. but if they're like hey we just finished up a song we did like three takes like i don't do this anymore let's do another one okay ready two three four you just let it roll you know they're just we're gonna run right into it we can put You can put that into its

57:27 Luke F. Walton yeah

57:27 Phillip Broussard Jr. own song

57:28 Luke F. Walton you can import

57:28 Phillip Broussard Jr. pencil

57:28 Luke F. Walton that to

57:29 Phillip Broussard Jr. session later

57:29 Luke F. Walton a pro yep

57:29 Phillip Broussard Jr. if

57:30 Luke F. Walton import

57:30 Phillip Broussard Jr. we

57:30 Luke F. Walton session

57:30 Phillip Broussard Jr. need to.

57:31 Luke F. Walton data boom

57:31 Phillip Broussard Jr. Yeah,

57:32 Luke F. Walton good

57:32 Phillip Broussard Jr. exactly.

57:32 Luke F. Walton yeah i like that i like

57:35 Phillip Broussard Jr. Yeah.

57:35 Luke F. Walton that i feel like that's a that's actually a really good place for us to kind of kind of wrap it up here because i love what you said about it's all in service of getting that emotional performance everything we talked about the what snare drum what kick drum what tape analog board in the box box it's all about that yeah

57:55 Phillip Broussard Jr. Absolutely. And I love having those discussions and I love having those tools available.

58:01 Luke F. Walton of course not to diminish them

58:02 Phillip Broussard Jr. And also I was talking with someone the other day, you don't have to have, you know, a major five star.

58:09 Phillip Broussard Jr. sunset boulevard recording studio to make a great recording now and i don't want to in i don't want to take away from those studios because we need we do need them for orchestras and big rock bands um

58:21 Luke F. Walton Yes.

58:21 Phillip Broussard Jr. but you don't need them um but i love that they're still here and they're my favorite places to work um but if you don't have a budget if you're an up-and-coming artist you're an up-and-coming producer you're an up-and-coming songwriter you don't need to spend

58:35 Phillip Broussard Jr. you know that kind of money to go in and demo out your song you can do it we all have software comes on your phone now you know garage bands on your phone we have laptops we have everything so even if you have a four track tasking cassette recorder like you can still do it you know but at the end of the day it's always about the music it's always about the performance it's always about the songs and that's what people are going to relate to and

58:59 Phillip Broussard Jr. People who don't work in music or creative arts and they do something else for a living and they love music, that listen to and purchase music, they don't know if the vocal was recorded on a 47, U47, or if it was recorded at Sunset Sound or East-West. And most likely... That doesn't matter to them either. It's the music. And does it transport them the way the music was written to transport them?

59:26 Phillip Broussard Jr. And do they benefit by being a listener and getting what they need out of it? That's the most important thing at the end of the day. And I love talking about all the tools and the ways that we make records and the craft that goes behind it. Obviously, I chose that as a career or more importantly, it chose me. But at the end of the day, I think it always is about the service of the music.

59:46 Phillip Broussard Jr. music in service of the song and what the creators of that music are doing to make sure that that emotional content comes through the way that it needs to and that's all we're really trying to do is keep that intact and keep moving forward and keep creating music.

60:03 Luke F. Walton And part of that is having professionals like yourself that get it and then have the courage to say.

60:12 Luke F. Walton let's keep the scratch vocal you know those those decisions it's like that's where the song is

60:17 Phillip Broussard Jr. I watched a documentary a while back, Fleetwood Mac, Rumors.

60:22 Luke F. Walton cool

60:22 Phillip Broussard Jr. I don't remember which is the making of the record behind the music or something, one of those. And I didn't know this. And I think Ken Calliet, who was the engineer on the record, said that on, what song, is it Rihanna? And that may be on the record before Rumors, but it it was one of those songs.

60:45 Phillip Broussard Jr. It was on the Rumors documentary. So it's one of the songs on there that Stevie Nicks on

60:51 Luke F. Walton Mm-hmm.

60:51 Phillip Broussard Jr. one of her songs, they kept her original scratch vocal in a couple of the verses because she couldn't beat it.

61:00 Luke F. Walton Hmm.

61:00 Phillip Broussard Jr. she she they beat it by sounds but they couldn't beat the emotional performance and

61:06 Luke F. Walton Yep.

61:07 Phillip Broussard Jr. she was in the room i think there's you know all kinds of bleed in the mic and stuff and they just they couldn't they she couldn't beat the performance and they kept it and it's like that is that is crucial that's most important and if there's bleed in the microphone well then you know that it was That's fine because you actually performed it that way. And that's not

61:28 Luke F. Walton Yeah.

61:28 Phillip Broussard Jr. a bad thing. You know, sometimes if you listen to old records, you can hear guys in the live room counting the band off at a breakdown or at a bridge or at a stop. And as a younger listener before I got into making records, I never really knew. I mean, I always thought it was the guys in the band, but like you never really you didn't hear that until you started paying attention a little bit better.

61:52 Phillip Broussard Jr. Then you would hear guys count off and do things. It's like, oh, wow. Yeah. So he was in the live room, but the guitars don't the guitars sound different. The vocals sound different than the drums, you know, as they start overdubbing and piecemealing their records together, you start figuring those out once you become a record maker. But.

62:08 Phillip Broussard Jr. I love those little things, but but yeah, if you can't beat an emotional performance, someone had said the other day about the difference in the demo, what the demo is now compared to like the final record. And it's

62:19 Luke F. Walton Mm-hmm.

62:19 Phillip Broussard Jr. like, we don't really have to there are no rules about that anymore.

62:24 Luke F. Walton No.

62:24 Phillip Broussard Jr. The demo can become the song that's out on the radio.

62:28 Luke F. Walton Yes.

62:28 Phillip Broussard Jr. literally you know um so there is no real distinction anymore because if that emotional content is there and the performance is there what you can try and beat it all day long but do you actually beat it just because it sounds good doesn't mean that you've beat it So, yeah.

62:50 Luke F. Walton that's it man that's it that's the statement that's the mic drop right there phil thank you for joining joining us and sharing all this wisdom that was really great where where could they uh find some of your work uh maybe instagram or website or anything like that where we could great place

63:07 Phillip Broussard Jr. Yeah, websites, you know, I have a website, you can reach me there, phillipbroussardjr.com. There's just a couple of silly photos and then an email address. Best if anybody has, yeah, if wants to reach out. I'm on Instagram as well. All the socials, Facebook, Phillip Broussard Jr. Um, yeah, I'm, uh, I'm out and about. I'm just like everybody else making records, man.

63:31 Luke F. Walton making music,

63:32 Phillip Broussard Jr. I

63:32 Luke F. Walton doing what

63:32 Phillip Broussard Jr. love it.

63:33 Luke F. Walton you love.

63:33 Phillip Broussard Jr. Yeah.

63:33 Luke F. Walton And hopefully, hopefully this podcast for the listeners made you love music more. That is

63:38 Phillip Broussard Jr. Thank

63:38 Luke F. Walton the name

63:38 Phillip Broussard Jr. you

63:38 Luke F. Walton of for the podcast

63:38 Phillip Broussard Jr. having me.

63:39 Luke F. Walton now after. It's my pleasure.

63:40 Phillip Broussard Jr. This

63:40 Luke F. Walton But

63:40 Phillip Broussard Jr. is great,

63:40 Luke F. Walton yeah,

63:41 Phillip Broussard Jr. dude.

63:41 Luke F. Walton I

63:41 Phillip Broussard Jr. I had

63:41 Luke F. Walton hope

63:41 Phillip Broussard Jr. a great time.

63:42 Luke F. Walton we can

63:42 Phillip Broussard Jr. Really,

63:42 Luke F. Walton do this again.

63:42 Phillip Broussard Jr. very fun.

63:42 Luke F. Walton I feel like we've got a million more things to talk about. So I would love to do this again sometime.

63:47 Phillip Broussard Jr. Please let's love

63:49 Luke F. Walton So let's let's definitely keep in contact and, you know, make some music together and all that good stuff.

63:54 Phillip Broussard Jr. to.

63:54 Luke F. Walton Um, once again, my name is Scoobert Doobert. You can check out my music at scoobertdoobert.pizza, www.scoobertdoobert.pizza. And be sure to subscribe and rate the pod five stars so that people can find this, these awesome conversations and we can keep doing them. So thank you everybody and we'll see you next time.

64:12 Phillip Broussard Jr. Bye now. Thank you.