How do you kind of get that feedback? Or do you fall asleep? Listen to it in the morning. Um, so you know, back when I did that wrapping stuff, I probably would have put it on the Internet if I had a chance. That's the best thing he had ever made at the time. And I don't regret any song I've ever made. Um, but that doesn't mean I'm not going to take it down like it was definitely part of the process. Um, and usually I don't take it down. I just make the song private. So, uh, I personally will always have it there for the rest of my life to know what I was doing back then. And yeah, you ask a lot of producers, especially especially people that are just, you know, they're making a full song all by themselves on their computer. It's a lot of just making shitty songs and just guessing and checking and going back and going back and redoing it. It's, um it's really part of it. Making a shitty song is the best thing you can do for yourself. Because it's a great car. I'm gonna cut you, man. like I the There's two. There's two things like you can make. You can be up till two in the morning making this song and you're like, Okay, time to go to bed and then you wake up the next day and you're like, All right, will this still sound good? What happens? And sometimes it does. And sometimes it doesn't. And you're like, Wow, I just spent six hours of my night last night. I'm gonna delete this whole thing, and it's like, That sucks. But, you know, it's part of it. It really is. Over the years, I've really learned how to finish the song and how to know if it's good or not. Because in the past, you know, years ago when I would learn a new skill make an actual decent song like, Oh, my God, this is so cool. I'm gonna put this on soundcloud right now and then, like, three months later, like, dude, what the hell is that? And you're like, Oh, I forgot the ending. So, um, what I've been really forcing myself to do is take your time. Like if you're tired, man, don't stop, You know, or if you if you're working on. I think if you're working on the same song for three or four hours, I really think you need a break. Because after that, long after hearing that same loop over and over again, you stop even hearing the song. You're you're not even hearing it anymore. And you don't even know if it's good or not. So I really try to either switch between songs maybe two hours in this song, two hours on this song or I just go to bed and I wake up. I'm like, Okay, let's see how this this is a good stopping point. Let's see how this sounds in the morning And then even then when I've completely finished the song Okay, the songs as good as good I love as Good as you can get. I love it. Mhm. Don't don't finish it Just seriously walk away for two weeks, then come back. Is this done? And so I've surprised myself. I'm like, Oh my God, no, I could I can make this better. And so it's all about stepping away for a little bit. And then if you come back after two weeks, you know, like, yeah, I can't do anything to this, then Then it's done and you
So I have a lot of people tell me they want to make music and I tell them, That's great. You shouldn't. You should go do it. I have it hanging on my wall right here. If you say something, you should do it. So say do say equals Do say, Colin do Yeah, and I have a lot of people telling me. I say, If you're going to do it, make sure you love it because it's it shouldn't feel like work. And if it does, you should probably get out because it's not a very lucrative business. Yeah, um, and I'd say I would say, um, find your own sound. Maybe start out imitating someone, but as quick as you can stop, don't. Because yeah, if you wanna, you know, maybe one day be known or be successful, then I think more than quality, Um, more than your connections. It's about how unique you are. And I think original sound trumps all. So if you don't mind elaborating on that a little bit, how do you find? How do you find your sound? I've heard you say your tempo earlier in this interview, you know, how do you own it. You know your sound. How do you own that tempo? How do you find that feel that really resonates internally? Um, it takes everyone a different amount of time. It took me seven years to be honest, to really find, like what I wanted to, um, I think it's about guessing and checking a lot, at least in my experience I've done. I've tried trap. I've tried house. I've tried hip hop. I've tried everything in between, Um and it really was just like, Hey, this song doesn't sound like other songs like I really like this. Maybe this is what I should go towards and your sound can be a combination of someone else's sound. That's okay, but as long as it's it's got your own twist and maybe it's a mix of some multiple artists. I think I think it's just a matter of time
but tell me about the difference between making a song and making a our mix. Yeah, super different. Let's break down for the listener. So are they finished songs that you line up in order? Yeah. So I try to put as much as of my own music in there as possible. And my my spring one was my first. I felt like it was who I am. It was my identity in the mix, because before then, I didn't really have too many songs like finished songs that I was I felt comfortable with, and I was able to put in there. So the spring one, um, it was really popular. Um, it takes it takes a love of your genre because I'm sitting here on soundcloud all day just listening, not even in in trying to make a mix. I'm just listening just to find new songs, find new artists and just always go find that next cool song. And so what I did was just kind of take every song that I discovered the past few months, um, narrow them down to songs that kind of fit my own sound. Um, mix them with my own songs. make a journey of emotion through it. Make sure they all kind of match together well and then come up with an hour. Now where does the temple come from now? Like, how do you decide that? Because if all the songs are related, yeah, they're not all the same tempo. They're not the same tempo, but there must be some sort of flow between. It's definitely it's a puzzle, Um, for sure. So most of my songs are around 100 beats per minute, and so most of the mixes around 100 for that mix. I think it goes from 100 then up to like a house beat at like 1 25. And then at the end, I believe it goes back down to, like, trap music, like 70 um, and so it's really just a matter of trial and air. Piecing each song together makes making sure like they sound compatible one after another. So it's like a chain of of them sounding good one after another and, um, a lot of just guessing and checking and and moving puzzle pieces around to get like a good feel overall feel of it. So when you record that mix? Is it? Is there any element of live, or is it all pretty recorded? Um, the way I do it is all alive. Yeah. So it it can get frustrating because, you know, you make a mistake at almost every show you play. Most people don't hear it, but when you want a mix that's going to sit on your page forever, you don't want it clean as possible. So it got really frustrating messing up a minute 40 five, and then you have to start over. Um, sometimes I'll make a mix. And if I mess up on men of 45 I'll just do this 40 for 15 minutes and then put them together and reason or something. Okay? For the most part, I think there's I have one break and that mix. But the whole thing is me live. Continuous. So, what are you using this DJ set up? And I'm looking at a pioneer. What are we looking at? Colorado SX two sx two. Yeah. So this thing we've got to turn tables a few beat pads for for four channels with Vader's and yeah, my eq. Um, so this guy is pretty much the best. The best control you can buy before you get into C D J s. Um, so this this needs, um, as a controller. So for listeners out there, you need a laptop to run it. Um, and you just connect via USB. Yeah. And so you're basically sending your your tracks to that and and, uh, deejaying you're set, or I would call it a set, but a mix You're deejaying. The mix. Um, are you are you blending the two tracks simultaneously? So you're actually sending to, um, so two songs out with a lot of my mixes and all of my sets, I play live. I utilize the full 44 channel things. So most of time, it's two tracks, one going back and forth. And then if I want to do kind of like a triple mash up or maybe an acapella, um, that's when I can use the to the three and the four so that they can get kind of hairy, especially when you're alive in front of people. Um, so what I can do is I can go from one song and to another song and have as that song is playing. I can start a third song whether it be, uh, you know, an outcast Acapella Or maybe, um, an extra drumbeat or something like that, not you. And are those four tracks those are evolving over the mix, right? Because they're not, uh, 25 minutes or 15 minute songs. Yeah, I'm not a very, um, melodic DJ. Some DJs, like they pride themselves on, um, not being able to tell when you're going from one song to another, and that's really great. I love listening to those guys, but my style is more of a hip hop style where I don't want a song playing for more than a minute, minute and a half, sometimes even less than a minute. So I'm going back and forth pretty quickly, always trying to like, you know, keep it hype. Keep the definitely give the crowd a break, but, you know, one drop after another, I guess listening to your spring mix. You had a array of samples, and you you mentioned briefly that you you found your favorite songs from the last couple of months. But there's some songs or some vocal samples from way back in the day like bad boys. I don't know if you're watching cops or something, and, uh, therefore is relevant. But you know, how do how do you draw those influences into one mix? Yeah, So I think the key is, um, you know, you always want to play something that crowd can recognize, but you don't want to do that too much. You don't want to be, um, you know, poppy club DJ. So I try to balance that, Um, my, my one of my favorite parts about that mixes a a Jennifer Lopez instrumental. It's so great because it's, like, kind of a really song. But, man, I found the instrumental on YouTube. I'm like, this shit is hot. I think it's like a timberline beat, and I throw that in there. Um, I got an outcast acapella playing over a new keys and create song. So how do you How do they fit? You know, like, how do you see this ahead of time? Or do you just as you said, trial and error, like, slap them all on and makes every night? Um, the trial and air picking songs. There's a, um you know, there's a few songs that I find every month that are like this is going in my next mix. This is perfect. This is my style is my tempo. This is good. Um, so it's kind of combining those amazing songs with some random shit like a J lo instrumental and and obviously my own music and using my whole library and trying to piece it all together.